APassionLikeMine
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I think he's upset that low level intelligent, meaningless music is popular and talentless people are winning awards for it.
I think he's upset that low level intelligent, meaningless music is popular and talentless people are winning awards for it.
Why does music HAVE to mean anything?
I adore Morrissey but I sure as hell wouldn't want 'Please, Please, Please Let Me Get What I Want' coming on when I was out at my local club.
Should Kylie have won the award? Who cares.
Was Morrissey simply making a joke? I'd guess yes.
Why does music HAVE to mean anything?
I adore Morrissey but I sure as hell wouldn't want 'Please, Please, Please Let Me Get What I Want' coming on when I was out at my local club.
Okay, but what if Kylie Minogue's songs blaring in your local club meant "Please Please Please Let Me Get What I Want" never existed? The defense of mindless pop music is fine-- we all like some flavor of dumb music or other-- but only up to a point, and that point is when the success of some kinds of music starts to ensure the gradual homogenization of all kinds of music. The success of Kylie Minogue, and the championing of her as an important cultural figure, mean that it's going to be that much harder for the next Morrissey and Marr to put out a record. She represents the triumph of the music industry-- profit over art-- and like the music industry she has only one real ambition: ruthless self-perpetuation. To be recognized as she was is a dire insult to people like Morrissey (although hardly an unpredictable one), not so much out of envy on the part of less wealthy, less recognized artists, but because they know it means more, more, more of the same. That's where the marketplace is heading, in music and in all forms of pop culture, and when we arrive there will be nothing aside from 32 flavors of Kylie Minogue at your disco and in your bedroom.
People want to make Morrissey out to be a spiteful snob for ripping her. He isn't. It's just that he knows the business and he knows that Kylie doesn't just stand for Kylie-- she and others of her kind represent larger forces at work. This should be obvious by now, but don't worry if it isn't. A time will come when it will be, maybe in a few years from now when one of us goes to the only place that sells music in a physical, non-MP3 format, Wal-Mart, and can find only Kylie in the 'M' section where Morrissey used to be.
Okay, but what if Kylie Minogue's songs blaring in your local club meant "Please Please Please Let Me Get What I Want" never existed? The defense of mindless pop music is fine-- we all like some flavor of dumb music or other-- but only up to a point, and that point is when the success of some kinds of music starts to ensure the gradual homogenization of all kinds of music. The success of Kylie Minogue, and the championing of her as an important cultural figure, mean that it's going to be that much harder for the next Morrissey and Marr to put out a record. She represents the triumph of the music industry-- profit over art-- and like the music industry she has only one real ambition: ruthless self-perpetuation. To be recognized as she was is a dire insult to people like Morrissey (although hardly an unpredictable one), not so much out of envy on the part of less wealthy, less recognized artists, but because they know it means more, more, more of the same. That's where the marketplace is heading, in music and in all forms of pop culture, and when we arrive there will be nothing aside from 32 flavors of Kylie Minogue at your disco and in your bedroom.
People want to make Morrissey out to be a spiteful snob for ripping her. He isn't. It's just that he knows the business and he knows that Kylie doesn't just stand for Kylie-- she and others of her kind represent larger forces at work. This should be obvious by now, but don't worry if it isn't. A time will come when it will be, maybe in a few years from now when one of us goes to the only place that sells music in a physical, non-MP3 format, Wal-Mart, and can find only Kylie in the 'M' section where Morrissey used to be.
Those larger forces at work are obvious, yes, and they invented the music industry. It almost sounds like you have this idea of some sort of pure art form being gradually corrupted, when it started long ago, in my opinion. The homogenization of music started when they wrote the first playlist.
I vaguely recall from when I observed dance pole etiquette that it's wiped with antiseptic between users. I want to get one. Maybe the local community centre would opt to purchase one if I put in a proposal. And some Kylie albums to go with it, and Prince.
Sorry Worm but I really do not get your point.
How on earth would you rectify this?
TV and music IS business - Morrissey plays the game as much as Kylie or anyone else (if you think he has no say on tracklistings or single releases you are very much deluded, he is strongly advised to do certain things but he makes the final choices).
People are always going to have search out unknown artists otherwise we'd be drowning in choice.
Look at the internet for example, people CAN listen to anything but there is so much choice they become lazy. The record companies guide us to certain bands/artists (however cynical their intention).
Information overload is a powerful thing and a lot of 'good' stuff gets wasted, however, if exploited to its full potential then people will get to know about it.
Bands and musicians will, in order to survive, HAVE to find new ways of releasing their music (iTunes has massively helped in this respect), but you can't blame Sony/Universal for only selling a product they know will sell. Can you?
I can't tell if any of that made sense.
An intelligable reply, Worm. Thanks for explaining this without being offensive to those who do like Kylie's stuff for the most part.You've captured what I'm talking about in your post. Yes, information overload is a problem. Relatively few people are willing to seek out all their options. That's as true of pop music as it is laundry detergent, movies, cars, computers, TV shows, and every other product. There needs to be a common, mainstream marketplace-- not monolithic, but loosely centralized-- offering a spectrum of choices as broad as possible, choices which are Newton's apples, so to speak-- options that fall into your lap.
Such an ideal marketplace has never existed because on a practical level it can't. A record store doesn't have space in its windows to advertise every new album that's released. It has to focus on big sellers like Justin Timberlake or whoever. Radio stations have to select songs to add to their playlists, and there are only so many they can play. Labels can only spend so much on producing bands. Et cetera. Resources are finite.
My point is that, flawed as it was, the distribution of these finite resources for the mainstream-- not the enthusiast who knows his stuff, but the mainstream-- is now much worse and will continue to worsen. The primary sales channels will be filled with Kylies and the Morrisseys of the world will increasingly be shunted off to the side, there to be discovered accidentally or to die in neglect.
Going back to my original point, the official praise given to Kylie represents one more move in that direction, which is why many people are upset.
Oh, you mentioned Universal, by which you meant the Universal Music Group I assume; UMG is owned by Vivendi. That means Vivendi controls the following:
A&M Records
Barclay Records
Decca Records
Deutsche Grammophon
DreamWorks Records
Geffen Records
Hollywood Records1
Interscope Records
G-unit Records
Vagrant Records2
Island Def Jam Records
MySpace Records
Island Records
MO Records (Montreal)
Jazzland Records
Lost Highway Records
MCA Nashville Records
Mercury Nashville Records
Mercury Records
Motor Music Records
Polydor
Philips Records
Stockholm Records
Triple Crown Records
Universal Classics Group
Universal Motown Records Group
Universal Music Group Nashville
Universal Records
Universal South Records
Blackground Records
Motown Records
Republic Records
Cash Money Records
Bad Boy Records
Casablanca Records
Street Records Corporation
Univision Music Records
Urban Records
Verve Records
Look at the names on that list. A & M. Polydor. Motown. Mercury. Island. Think of the history of those labels. Think of the thousands of albums released. Think of the many decisions made by some of the labels (the active, not the legacy labels) every year about which CDs to release and which to pass on. Think of the subsidiary bosses who get calls from Vivendi's accountants saying "We've slashed the budget by 50%" or "Only sign artists who have multinational appeal" or "We're going after the tween market". One company controls them all (...one ring to rule them all...). The list is only going to get bigger, and eventually Vivendi will get swallowed up by a bigger fish, ceding even more control. Again, I'm not saying this is how it is now-- we're at a midpoint on the curve, hence the expression "Decline of Western civilization".
I'm not even sure what the "can't get you out of my head" song is called.
heh. I'm pretty sure that's what it's called!
I used to think it was called La La La.haha, well some of these alternative people could learn from that. Say the name of the song a lot so that the consumers know what to buy. it just makes sense.
I still think that her award for contributions to music is nothing to get too worked up about. For one thing a lot of people do really like her, and she seems to make them feel happy, as opposed to the bands that most of you here like. Cause I know most of you are you are into the proto-emo scene, Joy Division and so forth.
I'm kind of surprised that Bernard Sumner hasn't earned some sort of award. I'll bet he's been the vocalist on more genuine (UK, though) hit songs than Kylie. She barely sells records in the US, by the way. I'm not even sure what the "can't get you out of my head" song is called. I think that New Order has been featured on one of those videogames where people shoot the prostitutes, even.
I just feel that things are always in flux moving one way or the other and if formats are restrictive and getting more so, I still think that things will swing the other direction at some point. That's just the general situation. But also specifically there will always be people that are seeking, and that come together with other seekers to talk about music and what's new. I don't really think that you can oppress people to that degree permanently, where you are repackaging everything and reselling it through a smaller number of available channels. I think people will rebel, though I'll admit, the taste of the general public is probably as bad as it's ever been.
though I'll admit, the taste of the general public is probably as bad as it's ever been.
Personally I don't care much about Kylie. I'm just trying to explain my own sense of why Morrissey has been mouthing off about her. I don't think he's being bitchy-- okay, okay, he is, but there's something behind his bitchiness worth thinking about.
There is something behind Morrissey's bitching - there always is. Many people find Kylie unlistenable - myself included. Maybe the problem is that we take pop music too seriously. I know I'm from the school of "Revolution" rather than "Silly Love Songs." It's easier (and more lucrative) to entertain than to push the envelope.
Sinead O'Connor said that she finds Kylie "unlistenable": "I know Australian fans might want to shoot me for saying this, but that would be a far better option than to listen to one of her albums."
It does seem bitter when the likes of Morrissey and Sinead O'Conner pile on but, love them or hate them, one thing they cannot be accused of is frivolity.