It’s a new day for Rebecca Black. The viral phenom has just released “Saturday,” the follow-up to her mind-bendingly bad single and video “Friday.” And I’m pleased to say that it’s an incredibly good, boundary-pushing piece of pop art. No, I’m kidding, it sucks terribly.
Black and her team, including duet partner Dave Days, who takes a verse and sings harmonies here, seem to think that displaying some modicum of the self-awareness that “Friday” lacked entirely will erase the public perception of her as a talent-challenged hack.
It does not. The un-subtle recalls to some of the more laughable moments of the “Friday” debacle (the bowl of cereal, the shocking ‘fun, fun, fun, fun’ lyric) in fact make them instantly un-laughable. We weren’t laughing with you, Ms. Black, and we don’t want to. It’s important that you understand that. You’ve actually ruined “Friday” for us. Amazing.
As some reviewers have noted, “Saturday” is a much more professional production. Black’s voice sounds better, and the song is both better written and better produced. But now she, and we, must face the moment of truth in which we hear and evaluate the ‘mature artist’ being offered here, unfettered by producers Ark Music Factory, which rightly took a lot of the blame for “Friday.” Now, almost three years after that toxic smoke has cleared, we gaze upon the banal horror of utterly soulless, overproduced, uninspired tween party pop, no different from a hundred other forgettable, disposable songs.
And that is why we should be glad for “Saturday.” It exposes the quality-irrelevant mess that pop music has become. If the person responsible for what has been called the worst song ever produced can turn around and release a song that would sound right at home on Top 40 radio or at the VMAs, what does that say about those celebrated pop pushers who were spared the embarrassment of having a “Friday” released before the pros got their hands on them?