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When you grow up believing that the world is all problems without solutions-Twitter runs on an efficient engine of dread and hysteria-it is easy to absorb a kind of ambient hopelessness. Yet I sense that Eilish is identifying and alleviating an ache that I don’t quite understand, because I am old enough to have come of age without social networks, or a device in my pocket intent on reminding me of the precarity of literally everything.
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Owing to some powerful combination of hubris and self-delusion, I almost never listen to a new artist and think, Maybe this isn’t exactly made for me. I cannot think of a more modern horror than a ghost-eyed, grinning person pretending to be entirely unchanged by enormous success and fame.
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Félix recently wrote, looking back upon the pop heroines of her youth, “The teens we revered moved in militaristic phalanxes, and, though they were forced to dress and live as virginal sex kittens, they seemed like robots programmed never to act out.” The strictures have relaxed a bit in subsequent decades, but the biggest female pop stars in the world-Taylor Swift, Beyoncé-still appear practiced, if not terrifyingly overdetermined, both in public and online. Her humanity and weirdness are, in many ways, what make her such an unusual presence on the charts. It’s not that she’s blind to the work of character development-it’s that she appears inured to or ambivalent about it. She simply exists before us-futzing with her Invisalign braces, doing a bunch of goofy-ass dances, posing on Instagram alongside a soiled mattress awaiting trash pickup. Eilish feels like a miracle in a cultural moment when we are all trying very hard to sort out real real people from the ones who are merely savvy and ambitious enough to know the right way to curate and present an authentic-seeming vibe. It feels fair to describe Eilish’s aesthetic as both an antidote to and a queering of the hyper-feminized pop-star archetype, but the most striking thing about her is how unguarded she appears-which, per the contemporary vernacular, means that she appears deeply uninterested in the cultivation of a persona, or in the very lucrative business of performing vulnerability. In photographs, she looks comfortable and awesome. She has blue hair and prefers to dress in enormous monochromatic outfits-loose, wide shorts, boxy tops, sneakers. Her spare, portentous electro-pop (she writes with her elder brother Finneas, who also produced her début album, “ When We All Fall Asleep, Where Do We Go?”) recalls the work of Trent Reznor, but is imbued with far more friskiness, conviviality, and youthful nonchalance.Įilish was homeschooled by her parents, in Los Angeles. Eilish is now the first artist born in the two-thousands to enjoy such success. Photograph by Elbaz Melanie / DAPR / ZUMAĮarlier this week, “ Bad Guy,” a spooky, twitching single by the seventeen-year-old singer and songwriter Billie Eilish, unseated Lil Nas X’s “ Old Town Road” from the top of the Billboard chart, ending that song’s unprecedented nineteen-week run at No. Billie Eilish is one of the first pop stars of a new epoch, in which the oft-repeated challenge of staying alive can only be counterbalanced by an interest in the absurd.