POP Music

As this forum is filled with many music fans that appreciate everything from classical to metal, jazz and etc... what is your take on the Nsync, Brittney pop music that seems to be considered as genius by most VH-1, MTV, E network analysts. I don't really see the talent involved in that type of music. Is it that MTV tells kids what to like by commercializing it and playing it continuously over and over. Force feeding it to them through action figures, dolls etc.. Consequently, with the exception of Christina Aguilera and a few others, most of these "pop stars" can't even carry a tune in a bucket. What happened to the good old days when actual instruments were used in construction of an album? Furthermore, I don't mean to be critical and do not mean to "knock" those who have succeeded in pop music as I'm sure they must have some talent to be up on stage night after night making millions, but I just don't see what all of the hype is. Maybe I'm just old fashioned and love to hear guitars, strings, piano's, horns, base blast through and not a synthesizer.

Yes I do understand that synthesizers are instruments played by muscians It wasn't a knock on them what I ment was a whole musical composition by one man one synthesizer, yes he is talented not the "pop star" in question. Sorry if it looked like a "knock" :) But I'd imagine a good amount of the music is sequenced but thanks for hearing my frustration I think i'm gonna pop in a Miles Davis CD :)

I was honestly suprised when I talked to sombody who Really Likes pop music. I always considered it pap that nobody listened to but they sold to little kids. I think Zappa summed it up the best which these two statements - and it still holds up and makes perfect sense today. (I should just photocopy this entire book and post it here)

From a lecture to the American Society of University Composers

Today, just as in the glorious past, the composer has had to accommodate the specific taste (no matter how bad) of THE KING - reincarnated as a movie or TV producer, the head of an opera company, and the lady with the 'frightening hair' on the 'special committee' or her niece Debbie.

 

Some of you don't know about Debbie, since you don't have to deal with radio stations and record companies the way people from THE REAL WORLD do, but you ought to find out about her, just in case you decide to visit later.

 

Debbie is thirteen years old. Her parents like to think of themselves as Average, God-Fearing American White Folk. Her dad belongs to a corrupt union of some sort and is, as we might suspect, a lazy, incompetent, over-paid, ignorant son-of-a-bitch.

 

Her mother is a sexually mal-adjusted mercenary shrew who lives to spend her husband's paycheck on ridiculous clothes-to make her looks 'younger.'

 

Debbie is incredibly stupid. She has been raised to respect the values and traditions, which her parents hold sacred. Sometimes she dreams about being kissed by a lifeguard.

 

When the people in the Secret Office Where They Run Everything From found out about Debbie, they were thrilled. She was perfect. She was hopeless. She was their kind of girl.

 

 


 


...continued


She was immediately chosen to become the Archetypical Imaginary Pop Music Consumer & Ultimate Arbiter of Musical Taste for the Entire Nation  from that moment on, everything musical in this country would have to be modified to conform to what They computed to be her needs and desires.


Debbie's 'taste' determined the size, shape and colour of all music broadcast and sold in the United States during the latter part of the twentieth century. Eventually she grew up to be just like her mother, and married a guy just like her Dad. She has somehow managed to reproduce herself. The people in the secret office have their eye on her daughter at this very moment.


Since Debbie prefers only short songs with lyrics about boy-girl relationships, sung by persons of indeterminate sex, wearing S&M clothing. And because there is Large Money involved, the major record companies (which a few years ago occasionally risked the investment of recordings of new works) have all but shut down their classical divisions, seldom recording new music.


The small labels that do, have wretched distribution. (Some have wretched accounting procedures-they might release your recording, but you won't get paid.) 




I don't agree with his opinions on drum machines today -  electronic music has evolved a lot since this was written. I do agree with the detrimental effect it had on music then and carries over into todays studio performers. You don't even have to be able to hit a note anymore thanks to things like autotune.

 

Dance Fever

 

The most important innovation in recent rock technology is a naughty little appliance, sold in various shapes and sizes, under an assortment of brand names, referred generically as a 'drum box' or 'rhythm machine.' This device is used by people with diagonal zippers on their clothes to provide the inflexible rhythms and obnoxious artificial handclaps that cause Americans to 'make the dance face' (eyes closed; lips pooched out  you know the one  as if when you do that with your face, it gives you license to do other stupid stuff with your buttocks).

 

Before the Emergence of this wondrous tool, record producers worried that the tempo of their hit records would drift (maybe a little faster on the chorus when everybody was banging it out, maybe a little slower when the I love you comes in)- a terrible problem, which in the long-long-long-ago, led to take after take during the recording session to capture a single performance with JUST THE RIGHT GROOVE.

 

But this is The Eighties (phewww)-we're a modern now, and studio time is more expensive. We cant be waiting around for 'just the right groove.' We need that sumbitch in a hurry (science has just proven that Americans (who can barely get their shit together on the assemble line) find it absolutely UNPOSSIBLE during their precious off-duty hours to dance to a song unless it's in 4/4 and 120 beats per minute ' no fucking around now - no 119 -  no 121 - gimme the ol' 120 'n turn up the goddam handclaps! Ow! Ow! Ow! I'm Dancing! I'm Dancing!

lolol

sad but true

LOL! Thanks Das