W. David Marx
@wdavidmarx.bsky.social
1.9K followers 120 following 440 posts
Author of Ametora, Status and Culture, and the upcoming Blank Space: A Cultural History of the Twenty-First Century (Nov '25). Newsletter at http://culture.ghost.io. Tokyo, Japan.
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wdavidmarx.bsky.social
What explains the resurgent 2013 winner's list? It doesn't have a clear narrative (although interested in your ideas): Lorde, Drake, Kacey Musgraves, Haim, DJ Snake feat. Lil Jon, Paramore, Arctic Monkeys, Justin Timberlake, Miley Cyrus, Sky Ferreira, Jason Isbell, Alvvays
wdavidmarx.bsky.social
There will always be some anti-recency bias in canon-building, because new things have yet to prove their long-term value, but there's also a clear bias here towards "long '90s" songs like "B.O.B." and "Get Ur Freak On" and lingering respect for the post-9/11 rock revival
wdavidmarx.bsky.social
Then I weighted the entries (so that a #1 was worth much more than a #250), and it tells a similar story, although 2013 shows a resurgence before things collapse again
wdavidmarx.bsky.social
I tallied the number of entries per year, and there's a steady and linear decline, with a very clear dip in the last half of the Aughts:
wdavidmarx.bsky.social
Rolling Stone compiled a "The 250 Greatest Songs of the 21st Century" list, and while the specific inclusions are debatable, it gives a sense of the 21st century canon as it's forming.

I noticed a bias towards the early 2000s so I ran the numbers:

www.rollingstone.com/music/music-...
The 250 Greatest Songs of the 21st Century So Far
The 250 greatest songs of the 21st century so far -- from all over the musical map and every corner of the globe
www.rollingstone.com
wdavidmarx.bsky.social
Coolness eventually trickled down to the very people it was created to devalue
thebestrevenge.info
Who is this cool to
realqrampage.fightins.online
LMAO LOOK AT THIS PHOTOGRAPH
EVERY TIME I DO IT MAKES ME LAUGH
wdavidmarx.bsky.social
(Impeccable comic timing that this happened right after the anti-anti-poptimists took a victory lap that they settled the poptimism debate once and for all with "Poptimism has never been a pro-pop ideology.")
wdavidmarx.bsky.social
The New Yorker: The editorial policy that Taylor Swift is incapable of making a bad album

New York Times: Album gets perfectly positive review from Jon Caramanica

Normal people: Yeah, this sucks
wdavidmarx.bsky.social
Actual music criticism in 2025: "Swift is masterly when it comes to making money."
Reposted by W. David Marx
otherdavemoore.com
Thought this was pretty shaky when I wrote it (at peak Eras tour/TIME profile) but so far it's....less shaky
The end of Taylor Swift’s era, the symbol of the end of American pop music as synecdoche for global pop music, is uncertain. Marvel might be providing a glimpse of her future: a gradual overextension, relative sales erosion, and a mass sense of everyone (read: casual fans) being sick of the project, with a core of diehards keeping things high-selling but the extended universe losing its luster of untouchability. In that event, Taylor Swift would “settle” into being an A-list star who outsells everyone else but no one talks about much: a mere Sheeran.

A few things probably won’t happen:

Taylor Swift will not be “dethroned” by another American artist.

Barring a major scandal (politics, drug use, cult shit, a long string of extremely bad movies), her status as a sales leader won’t diminish much until she decides to stop making music (the Rihanna story), even if her general cultural status according to cultural commentators and magazine profile writers ebbs (the Eminem story).

Once Taylor Swift is no longer #1, there won’t be a #1 to return to, and it will be clear to everyone, if it wasn’t already, that pop music as an American art form is now a geeky, small-potatoes niche format like comics and theater, not a transnational commercial concern.
wdavidmarx.bsky.social
Carl Wilson's pleasant definition of poptimism: "Taylor Swift has the potential to be rewarding and is worthy of serious critical attention."

Actual music criticism in 2025: "Taylor Swift might not be *capable* of making a bad record"
newyorker.com
Taylor Swift might not be capable of making a bad record, but “The Life of a Showgirl” is at least a little bit cringe. In today’s daily newsletter, our writers discuss their initial reactions to the new album.
Taylor Swift Sounds Stuck
From the daily newsletter: our writers react to “The Life of a Showgirl.”
www.newyorker.com
wdavidmarx.bsky.social
I know there's a lot of political news, but it'd be nice to get some hard answers on why Obama chose Charli's "365" over "360" on last year's playlist
wdavidmarx.bsky.social
21st century culture in one paragraph:
wdavidmarx.bsky.social
Hey, the "hamster nests" made my book as a signature work of post-9/11 downtown NYC.
wdavidmarx.bsky.social
I don't know what it's called when something is beyond art but this is that thing
wdavidmarx.bsky.social
Oh wow I'm just noticing now that it says HOLY SHIT if read upside down. Art is WILD
wdavidmarx.bsky.social
Dan Colen's "Holy Shit (2004–06)" truly embodies the Kantian ideal of art in its inherent mysteriousness: How could the artist have even come up with such an incredible idea, let alone executed it? It's a total inimitable enigma.
wdavidmarx.bsky.social
Also: Boiler Room tells the story from the perspective of labor—an employee anxious about the corruption of higher authorities.

The Wolf of Wall Street invites the viewer to wear the shoes of a successful founder-entrepreneur whose dreams the authorities keep trying to squash
wdavidmarx.bsky.social
A clear value shift in films about Jordan Belfort's fraudulent brokerage Stratton Oakmont:

Boiler Room (2000): the moral dilemma of ripping people off

The Wolf of Wall Street (2013): the jubilation of ripping people off, because it's more noble to have been rich once than to have stayed poor