Come with me this far, at least: March Fadness is in truth an essay made of essays, a great metaekphrasis using art and memory to heighten and sharpen one another’s mystery. March Fadness is rooted in a belief that art—even the one-hit wonders of the 90s—offers access to humanity.
These votes are immensely complex; if two of us vote for the same song, can we say with any certainty that those two votes mean the same thing? We cannot. Are people voting for the songs? For the videos? For the memories? For the essays? For the essayists? For the preservation of their own brackets? Or against any of those things, as I always root for whoever the Jets are playing? Or do all these strands braid around the maypole of a single radio button? Can we have a meaningful conversation about “which song is the best” if we are not in communion about what purpose art serves?
That last question is why Justin St. Germain—and, by extension, OMC’s “How Bizarre”—must be stopped.