Poptimism rules; gatekeeping is passé. Where does that leave Kenny G?
. There, I use Céline Dion as a case study of a similarly divisive pop culture figure at her commercial peak to ask how people’s tastes develop, what they mean, and why we clash about them the way we do—often as stand-ins for other kinds of social antagonisms. Whenpremiered at the Toronto International Film Festival in September, Lane told me that my project had been one of the seeds for hers. So obviously I have sympathy for and curiosity about what she’s up to here.
After hearing that, Ratliff asks, “Is Kenny G’s music a weapon of consent? Does it make people agree to comply?”This whole line of critique strikes me as a specious recycling of old Frankfurt School cultural theories that consider commercial popular culture in general as a capitalist and fascist ploy to dull the senses of the masses. But sweet-sounding tunes aren’t some recent consumer-age innovation to tranquilize the people; human beings seem pretty much to have always liked them.
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