48 | / Popular music has always addressed a speci c target group – the young. Its goal has always been to hit a nerve that provokes, one that hits the target with a clear message. Pop, however, went through an identity crisis at the beginning of the millennium, due to the in uence of major record labels on performers, nurturing a cult of untouchables and incrediblepersonalities, sendinggeneric messages – go clubbing and have a good time. Today, fortunately, music stars can release a songwhenever they want, because the internet has enabled that, and they promote the idea - ‘we are the same as everyone; wehave the sameproblems andwant to share them with you’. Contemporary popular music has been dubbed by BIllboardmagazine as authenticormeaningful pop sound. Speci cally, these are primarily young performers who write their own songs with the intention of de-stigmatising certain taboo topics, mitigating what is an already di cult life for teens, adolescents and thirty-somethings in the digital world. And the group of those who are successfully changing theworld includes the likes of Harry Styles,multipleGrammy winner Billie Eilish, underground pop star King Princess and African-American sensation Lizzo. The question is - how are they changing the world of modern music? One of the dominant themes of Billie Eilish’s melancholic album “WhenWe All Fall Asleep, Where Do We Go?” is the struggle with depression. In the track“Xanny”, Billie sings, “I don’t need a Xanny [xanax] to feel better ... don’t give me a Xanny now or ever”. As noted in the research of the World Economic Forum, a large number of teens in America struggle with suicidal thoughts and insecurity, due to the massive in uence of social networks, and most commonly with the help of a large number of medicines. Billie Eilish precisely addresses this problemof modern times, i.e. addiction toantidepressant, and turns it towards the search for oneself, one’s desires and little pleasures, in order to feel better, all with the intention of sending a message to millions of listeners that she has the same problems as them, but that they don’t need Xanax. On the ip side of the coin is rapper and singer Lizzo. This groundbreaking and self-con dent African-American sends only messages of love or, as she herself says: “If you can love my big black ass... you can loveyourself”. Representingapositive attitude towards the body, regardless of curves and weight, her debut album “Cuz I Love You” focuses solely on self-love, because that’s the only way to love others. “If you ght like a girl, cry like a girl; if you feel like a girl then you real like a girl,”sings Lizzo, who sees no reason why people wouldn’t be able to love themselves if they can love others. Harry Styles and King Princess address people who don’t care for society’s gender norms. British singer Styles aligned his latest album with so-called feminisedmale standards, in order to shake o his image as a seducer that dogged himwhile he was with the band One Direction, creating room for both men and women to identify with him equally. King Princess introduced a new way of writing lyrics with the intention of demolishing the feminist and patriarchal matrix. Namely, she dubbed the track “Hit the Back” as a bottom anthem, i.e. the anthem of submissive and passive people in a relationship. As she explained, the long-standing belittling of men whose role ispassiveandwomenwho like to be emotionally dependent on men within the gay community inspired her to sing the verse: “And I don’t care if you degrade me, ‘Cause after all, you are my safety,” alluding to the fact that society always de nes one person as the “carrier of a relationship” and the other as the trailer. King Princess sees nothingwrong in wanting someone on whom you can rely. If we were to ask our parents whether their time had musical directions such as the “anthem for the submissive”,“kiss your ownpicture for someone tokiss you”,“Dodecasyllable verseonantidepressants”, theywould look at us in bewilderment. That’s because the young people of their time had di erent problems and di erent songs, and every generation has its own problems, its own dreams, and therefore its own songs. merom da pošalje poruku milionskoj publici da ima iste probleme, ali da im ksanaks nije potreban. Sa druge strane, reperka i pevačica Lizo je druga strana novčića. Prodorna i samouverenaAfroamerikanka šalje isključivo poruke ljubavi ili kako sama kaže: „Ako možete da volite moje veliko crno du*e, onda možete da volite i sebe.“ Predstavnicapozitivnog odnosa prema telu, bez obzira na obline i kilažu, na debitantskomalbumu Cuz I LoveYou fokusira se isključivo na ljubav prema sebi jer je to jedini način da voli druge. „Ako plačeš kao devojka, onda plači kao devojka, ako se osećaš kao devojka, onda si devojka“, peva Lizo i ne vidi razlog zašto ljudi ne bi voleli sebe, ako mogu da vole druge. Hari Stajls i King Princes se obraćaju ljudima koji ne mare za rodni normativ društva. Britanski pevač je najnoviji album uskladio sa takozvanimfeminiziranimmuškim standardima kako bi se otresao uloge zavodnika koja ga je pratila u bendu One Direction, ostavljajući prostor da se sanjimpodjednako poistovete imuškarci i žene. King Princes je uvela novi načinpisanjatekstovaunameridasruši feminističku i patrijarhalnumatricu. Naime, numeru Hit the Back nazvala je bottom anthem, to jest himnom za submisivne ipasivne ljudeuvezi.Kako jeobjasnila, dugogodišnjeomalovažavanje unutar gej zajednicemuškaraca čija je uloga pasivna i žena koje vole dabuduemotivnozavisneodmuškarca ju je inspirisalo da zapeva: „Baš me briga što me degradiraš, ti si moja sigurnost“, aludirajući da društvo uvek jednu osoba definiše kao „nosioca veze“, a drugu kao prikolicu. King Princes ne vidi ništa loše u tome da želite nekog na koga možete da se oslonite. Ako bismo pitali naše roditelje da li su u njihovo vreme postojali muzički pravci „himna za submisivne“, „ljubi sliku svoju da bi te neko poljubio“, „dvanaesterac o lekovima za smirenje“, zbunjeno bi nas gledali. Zato što sumladi u njihovo vreme imali druge probleme i drugepesme, asvakageneracija ima svoje probleme, svoje snove, pa time i svoje pesme. One of the dominant themes of Billie Eilish’s melancholic album “When We All Fall Asleep, Where Do We Go?” is the struggle with depression Jedna od dominatnih tema melanholičnog albuma Bili Ajliš „When We All Fall Asleep, Where Do We Go“ je borba sa depresijom
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