This is Pop review: Netflix docuseries is a well-rounded exploration into the history of chart-topping music

This is part 3 of the three-part series Firstpost is doing on the occasion of World Music Day. Read part 1  here and part 2 here. * Pop music often invites the scorn of music snobs — “It’s overplayed/overrated", “There’s nothing special about it", “The lyrics are so foolish", “Oh, I only listen to Porcupine Tree and Tool” (you know who you are). Yet, these songs have embedded themselves into the collective consciousness and acted as cultural unifiers by transcending geopolitical confines. The lyrical simplicity and the earworm quality of pop music draw listeners to it, something ABBA’s Benny Andersson to Backstreet Boys’ Brian Littrell agree upon in Episode 2, “Stockholm Syndrome”, of  This is Pop. This is Pop, an eight-episode docuseries that Netflix premiered on 22 June, does not set out to defend popular music. It doesn’t have to. The series sets to explore how many classic hits came into being, why they appeal to a global audience, and how songs and artists have challenged preexisting notions of music. Each episode enmeshes technical details with biographical testimonies from celebrated names in the music industry. This balanced combination ensures the series elicits minimum yawns from viewers. [caption id=“attachment_9749331” align=“alignnone” width=“640”] Nathan Morris of Boyz II Men. YouTube[/caption] The pilot focuses on Boyz II Men, one of the original contemporary boybands that broke race and class barriers after crossing over into the white-dominated pop charts. Nathan Morris, Shawn Stockman, and Wanya Morris speak about the genesis of their group and their struggle to preserve the momentum of their success when white boybands like Backstreet Boys, *Nsync, and 98 Degrees were appropriating their every move. History repeated itself: New faces took over the old, just like Boyz II Men trumped New Edition. Their crash was inevitable, yet they resurfaced with a new attitude. [caption id=“attachment_9749321” align=“alignnone” width=“640”] T-Pain in This is Pop. YouTube[/caption] My favourite episode is “Auto-Tune”, where T-Pain recounts how he used the groundbreaking invention to create his signature sound. Time and again, he was told the novelty of the effect would run its course. He recalls going through a four-year-long period of depression after Usher told him he ruined music for “real singers.” The episode questions whether auto-tune is a crutch or a tool for enhancement. Long ago, I believed that auto-tune is a lazy way of finessing one’s performance. It was only after T-Pain’s NPR Tiny Desk concert did I start seeing him in a new light. T-Pain admits that he was conflicted about the response his performance received. One can only empathise with the singer when he relays his story with genuine honesty.

He also talks about how innovation frequently remains unappreciated and only becomes acceptable whenever someone else also follows suit. It’s uncomfortable and alien and hardly fits into the ambit of our understanding. Following the norm is easier than challenging it — but conformity never breeds innovation. The same lesson is learned from “When Country Goes Pop”, where artists like Dolly Parton and Shania Twain defied the stiff standards of country music to be their people. They paved the way for newer musicians like Taylor Swift or even Lil Nas X, whose song  ‘Old Town Road’  ruffled feathers by colliding the world of hip-hop and trap with country. Billboard landed in controversy after it quietly removed the song from its country music charts, later citing that it does not   “embrace the elements of today’s country music.”   This is Pop  gives a proper introduction to the many Swedish imports behind the nostalgic pop hits of Backstreet Boys and Britney Spears to Childish Gambino’s  ‘This is America.’  These are names behind hits after hits that we probably never notice. Britpop and its ascend into the radios and TVs across the world, the long-drawn battle between Blur vs Oasis, and the germination of similar, slightly less-talked about bands that followed their footsteps were teachable moments for even long-time fans like me. [caption id=“attachment_9750181” align=“alignnone” width=“640”] Shania Twain in This is Pop. YouTube[/caption] The last episode goes over the legacy of the Brill Building, a sub-genre of pop named after a real-life location that brought together aspiring songwriters, record producers, and singers to create the next big hit. The episode on music festivals explains how these large-scale events have ushered crucial pop culture moments. Each of these iconic festivals was reflective of the time they took place: Monterey Pop Festival and Woodstock took place at the peak of the counterculture movements in the US. It was entrancing, particularly the footage of Pandit Ravi Shankar’s performance at the 1967 Monterey Pop Festival. Glastonbury in the UK, for instance, was the first of its kind to generate profit. This is Pop  examines the various -isms that have weighed down artists — racism, classism, sexism. The music industry is still in a constant tussle with these issues. Boyz II Men discuss putting in double the effort than their white counterparts; news reports show how Twain’s body, after the release of her  ‘Man! I Feel Like a Woman’, being a topic more talked about than her music; and female artists in Britpop divulge how the regressive “lad culture” sexualised and further marginalised them from the scene.

The docuseries is an example of well-rounded journalism bringing together different voices and perspectives — journalists, music historians, engineers, producers, public relations executives, and the musicians themselves.

This is Pop services the fans with enough content from archival footage to evoke nostalgia and marvel at unknown anecdotes. Also, the use of different methods of storytelling — direct-to-camera interviews, voiceover narrations, and colourful infographics — keeps the topic interesting. This is Pop is streaming on Netflix. Watch the trailer here —