Emma Winston and Laurence Saywood suggest that, in the case of lo-fi hip hop (as well as other music on the nostalgia genre continuum) “the specific, personal nostalgia becomes merged, in real-time, into a past which the listener already knows never to have existed.” 10 An attribute of a person’s experience while listening to a song may include how aroused a person feels during listening, as well as the particular emotions that a person experiences during listening.” 8 In sum, nostalgia usually relies on “a person’s relationship to a given song, which may be expressed as how familiar they are with it, as well as the degree to which the song is associated with a personal memory.” 9 In the case of the music within the nostalgia genre continuum, this is upended. 7 Nostalgia for music usually tends to involve familiarity “a person’s relationship to a given song may be expressed as how familiar they are with it, as well as the degree to which the song is associated with a personal memory. 5 Barret and Petr Janata suggest that “nostalgia is often evoked by personally salient music,” 6 while, for music that is unfamiliar, it is unlikely that autobiographical memories will be evoked. An examination of listeners’ narrative explorations of these genres posted online suggests that users engage knowingly and willingly with this “reconstructed nostalgia.” Ultimately, this forms a collaborative and collective universe used by listeners as a method of escapism, through both their own imaginations and online comments.įor Frederick Barret et al., nostalgia is a “complex emotion that gives rise primarily (albeit not exclusively) to positive affect and serves to counteract sadness and loneliness,” frequently triggered by music. Through a discussion of the visual and musical connections that draw these genres together, the concepts of nostalgia in music (as well as the related concept of “reconstructed nostalgia”) are explored. This article argues that the re-interpretation of cultural memory is an important structural feature in chillwave, synthwave, vaporwave, and vaporwave subgenres such as mallsoft and the associated Japanese “city pop” revival. The memories evoked, however, tend to rely on unrealistic depictions of reality and center on times and places that have perhaps only existed in the listener’s imagination. Although these genres certainly approach nostalgia in different ways, they each rely on imagery that evokes nostalgic feelings or memories in a form of collective, imaginative self-soothing. This is the case for both the cover art used for these releases, as well as compositional techniques used in the music itself. Wide-leg Denim JeansĪnd then there were the wide-leg denim jeans, featuring a loose and flowing silhouette that exuded a laid-back vibe.In chillwave, synthwave, vaporwave, and their respective subgenres, a common element is the thread of nostalgia, constant in each. Skinny jeans were a more modern take on the classic denim look, often paired with statement tops and bold accessories. Baby Phat, a popular fashion brand of the era, was known for its signature denim, including baggy jeans. Baggy Jeansīaggy jeans were also a popular choice, embodying the Y2K aesthetic of casual comfort. Low-rise jeans, in particular, were a hallmark of early 2000s fashion, often paired with crop tops or butterfly tops to show off a hint of midriff. Celebrities like Missy Elliot and Christina Aguilera were fashion inspirations for many young women, often sporting iconic Y2K looks featuring denim. There was a jean style for everyone, from low-rise jeans to baggy jeans, skinny jeans, and wide-leg denim jeans. When it comes to Y2K fashion, jeans were a defining element of the era. Girl group Destiny’s Child in low-rise jeans.
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