Timeless Echoes: How Olivia Rodrigo’s Music Transcends Eras without Living Through Them”
Dive into the whimsical world of a six-year-old! They’re like tiny tornadoes of fascination, especially when it comes to action figures or lunchboxes featuring police dog heroes. The excitement builds until you finally give in, but once the toy lands in their hands, it’s just the start of their adventure. My daughter’s journey through “Octonauts,” “Paw Patrol,” and Pokémon is a rollercoaster of excitement, with moody dragons thrown in for good measure.
The sole enduring passion has been The sole enduring passion has been “Teenage Mutant Ninja Turtles.” We’ve explored every iteration, starting from the 1990 movie, which recently led us to a matinée showing of “Teenage Mutant Ninja Turtles: Mutant Mayhem,” the latest cinematic escapade brought to life by Seth Rogen and Evan Goldberg. This journey felt intergenerationally fulfilling; I had once watched the original T.M.N.T. film in theaters with my parents. It’s as if the filmmakers had folks like me in mind. The movie’s soundtrack, featuring hits like M.O.P.’s “Ante Up,” De La Soul’s “Eye Know,” Blackstreet’s “No Diggity,” and A Tribe Called Quest’s “Can I Kick It?” transported me back to my dorm room in 2001, where I would have downloaded these songs on LimeWire. My daughter, accustomed to my dad-rap playlists in the car, recognized these tunes, bridging the gap between characters from both our childhoods..”
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We’ve explored every iteration, starting from the 1990 movie, which recently led us to a matinée showing of “Teenage Mutant Ninja Turtles: Mutant Mayhem,” the latest cinematic escapade brought to life by Seth Rogen and Evan Goldberg. This journey felt intergenerationally fulfilling; I had once watched the original T.M.N.T. film in theaters with my parents. It’s as if the filmmakers had folks like me in mind. The movie’s soundtrack, featuring hits like M.O.P.’s “Ante Up,” De La Soul’s “Eye Know,” Backstreet’s “No Diggity,” and A Tribe Called Quest’s “Can I Kick It?” transported me back to my dorm room in 2001, where I would have downloaded these songs on LimeWire. My daughter, accustomed to my dad-rap playlists in the car, recognized these tunes, bridging the gap between characters from both our childhoods.
Olivia Rodrigo’s latest musical opus, “Guts.”
Despite her youth, this twenty-year-old sensation made history with her debut album, “Sour,” in 2021. Now, with “Guts,” she invites you to experience a nostalgia-packed blast, tailor-made for those born between 1972 and 1985. Immerse yourself in the echoes of iconic bands like Weezer, Bikini Kill, No Doubt, Green Day, and Blondie as their influences permeate every track. In a live performance of “All-American Bitch,” a song that seamlessly weaves elements from the Breeders, Sleater-Kinney, and Blink-182, Rodrigo dons a Fiona Apple T-shirt, paying homage to her musical roots. The penultimate track, “Pretty Isn’t Pretty,” launches with a riff so reminiscent of the Cure that it feels as if Robert Smith himself might step in to complete the song.
Generally, I dislike projects like these. For instance, the 2015 film “Dope,” where the enjoyment is untangling references, doesn’t appeal to me. Nostalgic moments are nice, but I believe artists should aim higher than asking, “Remember that band?”
The twist? Rodrigo doesn’t recall that band. Her music and style, like donning Todd Oldham’s 1995 designs (eight years before her birth), prove that artists can evoke eras they didn’t live through. Displaced nostalgia is a music staple, with modern Nashville bars featuring songs about bygone woes, even from artists born during the second Bush Administration.
Rodrigo’s reference game brings chaotic playfulness and energy to her music. Unlike Greta Van Fleet, who mimics Led Zeppelin with excessive seriousness, Rodrigo’s approach is diverse. For instance, “Vampire” starts as a nu-metal lament and then morphs into something reminiscent of Alanis Morrissette’s “Jagged Little Pill.” Her work resembles Girl Talk’s style more, the DJ who thrilled sorority parties by mixing artists from various genres like Electric Light Orchestra, Lil’ Kim, and Simon & Garfunkel. While acts like Greta Van Fleet (or even the Strokes) yearn for a vinyl vibe, Rodrigo’s music feels like a YouTube playlist of your mom’s college favourites.
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I’m not qualified to define Rodrigo’s significance to her teenage audience. How young people today, raised on YouTube and limitless music, connect with the present is a curiosity for me. Unlike their parents, who had music closely tied to specific cultural scenes, Rodrigo’s album seems detached, more like an expression of someone whose “scene” is shaped by Spotify’s recommendation algorithm. It’s a journey from Babes in Toyland to Blondie with no friction.
In “Guts,” you’ll find quick references that show how Rodrigo’s music is catchy. She mixes different stuff really well, almost like magic. Is she trying to sound like 4 Non Blondes? Or something like Godspeed You! Black Emperor? The album, kinda like that recent “Ninja Turtles” movie, uses lots of Gen Z stuff, which makes parents remember their own youth. So, imagine this: me, driving my daughter to soccer practice in our van—a pretty funny thing. “Guts” still made me feel like a teenager from way back, even though it’s been a really long time. My daughter’s got about ten years before she gets there, but we both went back to the ’90s for a bit.
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