How To Invent a Fake Pop Culture

I don’t recall when I first heard the song “Sally Go ’Round the Roses.” I know I first heard Pentangle’s folk singalong arrangement, not the Jaynetts’ Motown-tinged original. Like most listeners my age, who grew up with the mythology of Baby Boomer cultural innovation, I received that generation’s music out of sequence; the 1960s appeared like a single unit, without the history of cultural evolution that define the decade.

Therefore I didn’t understand how influential the Jaynetts’ original version really was. Its use of syncopated backbeat, gated distortion effects, and enigmatic lyrics were, in 1963, completely innovative. The British Invasion hadn’t hit America yet, with the inventive tweaks that the Beatles and the Kinks experimented with. The original label, Tuff, reportedly hated the song until another label tried to purchase it, causing Tuff to rush-release the record.

Eventually, the track hit number two on the Billboard Hot 100 chart. More important for our purposes, though, a loose collective of San Francisco-based musicians embraced it. Grace Slick recorded a rambling, psychedelic cover with her first band, The Great Society, and tried to recreate its impact with classic Jefferson Airplane tracks like “White Rabbit” and “Somebody To Love.” Much of her career involved trying to create that initial rush.

Once one understands that “Sally” came first, its influence becomes audible in other Summer of Love artists, including the Grateful Dead, Creedence Clearwater Revival, Moby Grape, and Big Brother and the Holding Company. These acts all strove to sound loopy and syncopated, and favored lyrics that admitted of multiple interpretations. Much of the “San Francisco Sound” of 1966 to 1973 consisted of riffs and jams on the “Sally” motif.

That’s why it staggered me recently when I discovered that the Jaynetts didn’t exist. Tuff producer Abner Spector crafted “Sally” with two in-house songwriters, an arranger who played most of the instruments, and a roster of contract singers, mostly young Black women. The in-house creative team played around and experimented until they created the song. It didn’t arise from struggling musicians road-testing new material for live audiences.

Grace Slick around 1966, the year she
covered “Sally Go ’Round the Roses”
with the Great Society

A New York-based studio pushed this song out of its assembly-line production system, and it became a hit. Like other bands invented for the studio, including the Monkees and the Grass Roots, the Jaynetts didn’t pay their dues, the studio system willed them into existence. They produced one orphan hit, which somehow travelled across America to create a sound-alike subculture, back when starving musicians could afford San Francisco rent.

Culture corporations, such as the Big Three labels which produce most of America’s pop music, and the Big Five studios which produce most of America’s movies, love to pretend they respond to culture. If lukewarm dribble like The Chainsmokers dominate the Hot 100, labels and radio conglomerates cover their asses by claiming they’re giving the customers what they want. Audiences decide what becomes hits; corporations only produce the product.

But “Sally’s” influence contradicts that claim. Artists respond to what they hear, and when music labels, radio, and Spotify can throttle what gets heard, artists’ ability to create is highly conditional. One recalls, for instance, that journalist Nik Cohn basically lied White disco culture into existence. Likewise, it’s questionable whether Valley Girl culture even existed before Frank and Moon Zappa riffed in Frank’s home studio.

It isn’t only that moneyed interests decide which artists get to record—a seamy but unsurprising reality. Rather, studios create artists in the studio, skimming past the countless ambitious acts playing innumerable bar and club dates while hoping for their breakthrough. This not only saves the difficulty of having to go comparison shopping for new talent, but also results in corporations wholly owning culture as subsidiaries of their brand names.

I’ve used music as my yardstick simply because discovering the Jaynetts didn’t exist rattled me recently. But we could extend this argument to multiple artistic forms. How many filmmakers like Kevin Smith, or authors like Hugh Howey, might exist out there, cranking out top-quality innovative art, hoping to become the next fluke success? And how many will quit and get day jobs because the corporations turned inward for talent?

Corporate distribution and its amplifying influence have good and bad effects. One cannot imagine seismic cultural forces like the Beatles without corporations pressing and distributing their records. But hearing Beatles records became a substitute for live music, like mimicking the Jaynetts became a substitute for inventing new culture. The result is the same: “culture” is what corporations sell, not what artists and audiences create together.