Originally Posted by Pollyanna
I'm sure if you asked nicely The Colonel could come up with something that might be classified as microtonal concrète pop/jazz experimental music ...
Britt, apology accepted. Just don't do it again :)
Don't do it, Ferret! It sounds painful! Dying a fiery death and burning forever in the bowels of Hell probably wouldn't tickle either ...
Actually, I like some pop music a lot - or should I say the genre formerly known as pop? :) Now Ferret, before you think "bah humbug!" about me, remember you're talking to someone who owned 14 King Crimson albums in the 70s and now has 150 King Crimson MP3s on her hard drive.
Some commercial music is boring to me, but someone has to make music that speaks to teenyboppers and adrenaline-charged teenage boys. The kids no doubt find a lot of my music boring too. Fair enough, since music is made by people so it attracts and repels us just as we variously attract and repel others.
The main beef about pop seems to be the idea of commercially-minded cynics bastardising music for profit - barstardising that which we consider sacred. I suspect that's where you're coming from. But superficial music wouldn't be created if the demand wasn't there, if the big record companies couldn't find a way of tapping into humaity's lowest common denominator in order to make a buck.
But hey, they're businesses, and businesses are about making bucks - paying for mortgages, early retirements, private school education for the kids, overseas trips etc.
My beef's a bit different to yours - pop production. My irritation isn't aimed at the musos but the record companies. They have conditioned people's ears to expect mega production for music that doesn't warrant it (ie. not Sgt Pepper or Dark Side of the Moon). It puts bands deeply into debt (ie. under the company's control) and they polish up simple pop that should take 2 weeks to record. This, in turn, squeezes out indie bands who can't compete production-wise. Sometimes they still break through, most mostly they have to settle for niche markets to make a living. Or get a day job.
My other beef is how changes to licensing laws in my state have allowed our bars to be infested with lines of poker machines - bars that used to have live music. The poker machines pay better and the bar owners don't have to deal with rock'n'roll crowds, who tend to make a mess. Sydney's live scene is much the poorer for this, as compared with the glory days of live bands in this city during the 70s.
Edit: I posted at the same time as Aydee. It seems we're saying some similar things.
I see it the same way as I do prostitution really. They take something incredibly intimate, personal, and emotional, and sell it as just another manufactured product with all the handmade quality of an assembly line robotic arm.
I am a younger player, (age 20, 6 years) so I am still filled up with all my dramatic convictions. I have been doing well in the local scene but I really hope I never get paid for my solo stuff, I really hope I never have a fan base with a financial vice grip on my creativity. I don't do this to appease, and artists with that attitude fall out of public interest very easily by the look of it.
The depressing bit to me is I know that peoples taste in music isn't anywhere as poor as the grammies would indicate. After 20+ years of hard work dream theater just last month finally got the record sales they have deserved all along. It just irritates me that producers get fat and happy doing what they know will work, while it takes real musicians decades just to get what they deserve.