"rebecca263" <rebecca263@netzero.net> wrote:
quoted 5 lines well, I've never heard of Radiohead, sorry to say, but I LOVED Roy
>well, I've never heard of Radiohead, sorry to say, but I LOVED Roy
> >Orbison's pop music, and I like Kate Bush, They Might Be Giants, XTC,
> >the Ramones,sex pistols,kraftwerk,can,aznavour,pierre >schaeffer,billie
>holiday,dvorak,glenn miller,raymond scott,joy >division,hafler trio and
>well, etc etc.and they're ALL famous, so? :)
Yeah, Hafler Trio played our local megastadium recently, but I just couldn't
bring myself to shell out the $39 (+ ticketmaster fees) for a bunch of skag
sell-outs.
Not responding directly to rebecca, but: As far as *pop* music is concerned,
what becomes popular tends to be a matter of near irrelevance to most of the
criteria you're going to toss out for quality (other than maybe level of
polish). Plus, innovation needs to be taken relative to a given frame of
reference. I would say that Kid Rock, an artist I don't really have all that
much respect for, is much more innovative in his domain than are CiM or
Lackluster in theirs, although I have a good deal of affection for both CiM
and Lackluster.
Radiohead, to me, is an example of a band pushing the limits of what
mainstream pop can be right now, and they've been doing so since The Bends.
Much of this is through making palatable in a new context a number of other
genres (non-Pink-Floyd 70's prog, notably; idm, recently) that are otherwise
DOA for mass appeal. People can complain about artists like Radiohead, or
the more blatant examples of Beck and Tarantino, but successful
appropriation into pop appeal shouldn't be looked at as something that
requires anything short of a great deal of talent. And none of these three,
I'll add, do I think of as pandering to a mass audience-- the latter two
preen and patronize more than anything, and the former shows nothing if not
disregard. And at least Yorke (of Radiohead) can summon up some genuine
(schizoid, if heartfelt) sentiment.
The future of idm is likely not idm. The process of dissemination and
cross-pollenation has sped up considerably over the past century, to the
extent that idm producers have apparently worked with *Madonna*, and
mainstream hip-hop producers have been churning out some odd syncopated
idm-influenced rhythms for some time now. Welcome to the logic of late
capitalism, where dissidence and difference are necessary to nurture the
main utilizable flow *as long as they aren't pass?* (those poor socialists).
I tend to think that the category "idm" will slowly dissolve as it becomes
less and less workable as a genre, just as *innovative guitar music* would
seem a strange and useless category to us now unless one just wanted to
write a magazine article about a few luminaries.
And yes I know idm is a mailing list, not a....
Cheers,
Matthew
"If there's one thing I can't stand, it's up."
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