What and Why Is High-Pop?

What and Why Is High-PPop? Or, What Would It Take to Get You into a New Shakespeare Today? Brian Cowlishaw A recent New Yorker film review observes wryly that lar is not "high," and that which is "high" is not terribly filmmakers, desperate for more Jane Austen novels to popular. (At least, comparatively speaking. People do film but having filmed them all to death, have now had pay, for example, to attend opera performances; but to resort to her life for material in Becoming Jane. It's gross ticket sales will never approach American Idol's true: an awful lot of Jane Austen films have been pro- moneymaking might.) It would therefore seem futile to duced in the last fifteen years. Not only that, they've bring to the popular market a work of high-pop, one been popular. Googleplex-goers just can't get enough based on something not especially popular to begin witty, romantic Regency banter. This is one prominent with. "Wagner's Greatest Hits" are still works com- current example of the phenomenon that is "high-pop"- posed by Wagner; they will never sell anything like "high culture" repackaged and resold as popular cul- "The Eagles' Greatest Hits" (the bestselling rock album ture. of all time). In a way, selling high-pop is like selling chocolate-covered ants from a mall kiosk: a select few The name "high-pop" comes from a 2002 book edited may gasp with delight over every one of the product's by Jim Collins, High-Pop: Making Culture into Popular fine qualities, but most people will not willingly give the Entertainment. Collins observes in his introduction- product a try. Consider also the chain bookstore. and the book as a whole supports the idea-that high- There, in a great barn of a building, tucked into a cor- pop has made huge gains, in both influence and mar- ner (never near the door, cash register, or other high- ketability, in the last few decades especially. traffic location), behind rows upon rows of "best- Subjective experience certainly suggests that this is sellers," sits one small, lonely shelf labeled "Classics." so. Since my childhood (I was born in 1964), I have If "classics" sold more copies-and overall they don't, witnessed many groundbreaking, hugely popular despite Oprah's including Anna Karenina, Night, and instances of High-Pop: the existence and success of the works of William Faulkner in her Book Club-then Masterpiece Theatre. Around-the-block lines for the the proportions of shelf space allotted would be quite King Tutankhamen museum exhibits. The Steve different. Martin hit song "King Tut." Smash-hit Broadway musi- cals adapting canonical authors' works: Cats, based In a way, selling high-pop is like on poems by T. S. Eliot; Les Miserables, based on selling chocolate-covered ants Victor Hugo's massive historical novel; and now The Woman in White, based on Wilkie Collins's Victorian from a mall kiosk: a select few thriller. Movie adaptations of Shakespeare's plays, may gasp with delight over every such as Ten Things I Hate about You (The Taming of one of the product's fine qualities, the Shrew) and She's the Man (Twelfth Night)-to say nothing of the many "straight" big-budget Shakespeare but most people will not willingly film productions, by stars such as Kenneth Branagh give the product a try. and Mel Gibson. There have always been connec- tions and overlaps between high and popular culture: for example, television in its early days touted itself as And yet high-pop is huge business, as King Tut and the way to bring great literature, higher education, and company illustrate. Why? Three reasons related to highbrow entertainment to the American masses. At human nature suggest themselves, as do two reasons least, television made this claim briefly, before, say, related to specific, recent changes in our material real- Uncle Milty in a dress won the day. But the great ities. prominence, cultural power, and potent marketability of high-pop today are new and special. First, high-pop alleviates our "slummer's guilt." After we receive a certain amount of education-for example, That high-pop should be so prominent today-any time, after we complete a certain number of literature cours- really-makes no obvious sense. After all, we make an es, and read a certain number of works approved as offhand distinction between "high culture" and "popular high culture-we develop slummer's guilt. That is, we culture," and generally consider the distinction self-evi- feel guilty when we take joy from works that are not dent enough not to define our terms. This distinction high culture; we expect our own tastes to have been implies-and we most often find-that that which is popu- refined more thoroughly. We gulp down a Harlequin Intelligent Agent 8.1 free radical.cowlishaw.01 Romance, or a gritty detective story, with much the possible, to consume more (see the previous para- same feeling a dieter experiences gulping down a dou- graph)-tend to buy lots of them. For example, the ble bacon cheeseburger. We heartily believe we small percentage of the general public that actually should consume more edifying things, but the "junk" is spends ten hours or more per week reading, is the so enjoyable. High-pop takes the edge off that guilt. group that buys most of the books. In that way, high Watching a movie version of Vanity Fair, as opposed culture is like wealth: a tiny segment of the population to reading Thackeray's novel, or reading Fforde owns almost everything. People tend to be heavy instead of Pope, at least produces less guilt than users or nonusers; there are relatively few users in would real slumming--e.g., reading Stephen King, who moderation. So, while the gold mine may be small, it's has publicly described his own books as "the literary rich. equivalent of a Big Mac with fries." It's as if someone strongly craves a hot dog, but knows that a hot dog is These three timeless factors-slummer's guilt, cultural something she really shouldn't eat. So, to get around smugness, and in-for-a-penny-in-for-a-pound con- the ban on hot dogs, she collects relatively high-quali- sumption-guarantee that high-pop will always remain ty, low-fat meat scraps and puts them through the at least somewhat saleable. standard hot dog-making process; then she eats the product, telling herself, Well, I'm not actually eating a The existence and popularity of high-pop reveal, and hot dog. I'm satisfying my craving for a hot dog, true. bank on, the self-contradiction built into our attitudes And yes, this looks like a hot dog, and it is in fact toward high culture. On the one hand, we lament the made just like a hot dog. But see, it's not so bad for fact that high culture isn't very popular-that most of the me! Consuming high culture in the form of high-pop philistine world just doesn't "get it," and isn't that tragic. works much like that. We enjoy the best of both On the other hand, we need the same exclusivity we worlds: the content of high culture (sort of-more on this lament, because if everyone were as culturally hyper- below), with the accessibility of popular culture. literate as we (think we) are, then in what exactly would we excel? High-pop also appeals to the cultural snob, the smarty- pants, inside us all. We enjoy catching the high-cul- Jasper Fforde's Thursday Next novels exemplify the ture references and associations. It makes us feel very essence of high-pop. As even their titles suggest, superior, elite, in the know. We like to imagine that they are absolutely crammed full of high-culture refer- we, a few standard deviations above the norm, "get" ences and general bibliophilia: The Eyre Affair, Lost in the work of high-pop in a way that others must surely a Good Book, The Well of Lost Plots, Something not. We cling to this belief despite the fact-which we Rotten, and Thursday Next: First Among Sequels. hide even from ourselves-that when it comes to identi- This, in a highly accessible, witty, amusing series of fying high-culture references, the bar is actually set detective novels: high-culture content in popular-cul- pretty low. For example, when a literary work is ture form. referred to in high-pop, one generally need not even have read it; it is only necessary to have heard of it. High-ppop also appeals to the cultur- Often one only needs to pretend plausibly that one has al snob, the smarty-ppants, inside us heard of it. I invite you to perform a little self-test here. In David Lodge's novel Changing Places, professors in all. We enjoy catching the high-ccul- an English department play a (disastrous) cocktail ture references and associations. It party game called Humiliations: they name the most canonical work of literature they have never read; the makes us feel superior, elite, in the person with the most canonical work wins. Ask your- know. self that question: What's the most canonical work of literature I have never read? Have I ever-with a col- league, a student, a friend-allowed anyone to maintain Fforde knows his audience: the group described the mistaken impression that I am intimately familiar above, who may in fact be highly literate culturally, but with this work? At least passively, by not going out of who at least want to enjoy feeling so.

Load more