Today, we’re going back in time. Back to the year 2014. A time when this blog had existed barely a year, and when I was a different person than I am today. Though I didn’t realize it at the time, it was a period of transformation that would not be complete until many years afterward. If I’m honest, it’s a transformation period that is still in progress. I’ve come to realize that I’ll likely never find myself in a period of political or ideological stability. To put it another way, there is almost always something new to learn, and as such this transformation journey may well last until such a time as I take my last breath, or biology takes away my mental acuity.
Coming back to the current day (march 13, 2022), I just need to focus on something more lighthearted than all the various real-world vectors that are slowly eroding away at my sense of sanity.
The unprovoked Russian attack (attempted annexation?) of Ukraine. The win of CovidIOTS who mostly never gave pandemic restrictions a chance (thanks to economic principals taking priority over pandemic containment. Or to put it in layman’s terms, “YAY! No more masks!”). US oil producers (and 1 Canadian Premiere) using the Ukraine invasion to promote more soon to be written off fossil fuel infrastructure. Because any chance to reshuffle the deck chairs on the Titanic is a good opportunity, apparently.
And overall, a global society that is just . . . very angry. Though primarily a very understandable reaction of the last 2 years that we all endured, the various agendas of the world’s shit disturbers have proven masterful at turning up the heat in these individuals without ever tipping their hand. I mean, is it really surprising that much of the Western world was focused on business owners blockading Ottawa and various Canadian and US ports of entry as Russia was slowly ramping up its presence on Ukraine’s doorstep?
Media manipulators don’t rely on the boob tube anymore, folks. They have switched tactics, and now social media is the new Wild West of psychological warfare.
Boomers taught my generation that you can’t believe everything you see on TV. If only they all hadn’t seemingly forgotten that valid rule of thumb upon signing up for Crackbook, Tweeter and BoobTube.
While I have always taken a fairly bleak (dare I say, red-pilled?) stance towards the future of the species, even I have started finding it harder to cope with everything of late. Even without spending hours doom scrolling (I learned my lesson after Deepwater Horizon and Fukushima), it’s like the treadmill to hell has started to speed up since November 2016. And the slow creep of the cold-war era back into modern-day life since late February certainly isn’t helping things.
Even though my overarching concern is less nuclear and far more cyber, considering how little we all know about how far external national entities are embedded into the public and private infrastructure of the world. Particularly privately owned and ran infrastructure (we can only hope that the rest of the world learned from Colonial Pipeline).
Anyway, I promised light-hearted so lighthearted I shall deliver.
As I explained at the beginning of this post, 2014 was a time of transformation for me. Not only was I dealing with my perceived ex-communication from a community that I had felt at home in since late high school (mainstream Atheism), I was also unknowingly starting the slow process of regimentation of what media I like versus what is new and trendy. I didn’t know it yet, but I was slowly becoming Oscar Leroy shouting “Get the F off my lawn!”.
Since I am also a fan of metal (and was then an elitist. In a nutshell, Metal is the best and everything else is garbage), this also played into my sentiment.
Which was why it was interesting to come across an old post titled Music – Will Our Generation Look Back In Admiration? though a spam comment left on it. Seemed like an opportunity to see how much I have changed.
Thus, we will begin our journey into the depth of my mind as it existed 7 years ago.
It is the start of yet another new year. And as such, what was popular in 2013, is on its way out the door come 2014. Thank GOD for that.
I suppose that I may be getting to old to enjoy whats modern and hip (not to mention my love of all things heavy), but even so, this generations “fresh hits” leaves much to be desired. It is for that reason, that I go out of my way to avoid subjecting myself to the music, when at all possible.
Out of curiosity, let’s have a look at what was trendy back in 2013. Mostly to gauge if my contempt still holds after this length of time.
I don’t remember (likely have not heard) pretty much everything from 5 down to 100. 4 was irritating then, and it’s certainly irritating now (when your trend hits the Dr. Oz Show and other daytime BoomerTube, you ain’t cool, yo!). I don’t mind #3, having had some time for it to grow on me. Number 2 is garbage in terms of both its lyrical content AND the fact that it was allegedly ripped off (the song’s only saving grace being Weird Al’s iteration of it). And as if we didn’t already have enough proof about how thick Robin Thicke can be, he allegedly groped a model on the set of blurred lines, blaming the presence of alcohol on set for the action.
In glad that the first thing that comes to mind when I hear blurred lines is Word Crimes. Cause FUCK Robin Thicke.
As for #1, I have no reaction since I can’t ever recall hearing it.
Since my old post was celebrating the exit of 2013 and harkening the entrance of 2014, let’s also take a look at what was trendy in 2014. We will also of course see if my visceral reactions still stand.
Though I don’t recognize many of the songs from 9 onward, there are more familiar ones (maybe 4 or 5) than in the 2013 top 100 list. The presence of Jason Derulo 3 times is amusing since people used to call me that at work. Though I am still unfamiliar with the man’s work (aside from hearing that the video to Trumpets is random as hell).
Number 8 isn’t bad (didn’t even mind it at the time. It was upbeat). I don’t remember 7, 6 or 5. As for 4, I am far more aware of the Weird Al iteration than of the original (that tends to be a throughline when it comes to me and modern music, no matter the year). 3 I don’t remember. 2 I heard for the first time not long ago (it’s not terrible, but it is slow. A hallmark of the mid-2010s era).
As for #1, I find the song irritating (it’s annoying, to begin with, let alone having heard it blasted pretty much everywhere). However, the Weird Al iteration is very much to my liking (particularly the single-shot music video that accompanies it).
Weird Al is a bit like ACDC. I don’t think he could ever put out an album that I don’t like.
I have not always had this kind of relationship with pop/other “hit” music. I remember when I was younger, one of my aunts commented on how I could look into being a DJ as a career, because I knew pretty much every song on the radio at the time. Though at the time, I was young and impressionable, and the radio was the only real source of music me and my family had.
Another source of music that I had though out my younger years, was my fathers extensive collection of 50s/60s/70s/80s hits. Stored on cassette tapes, records (yep, vinyls. 45s, LPs, you name it), 8 tracks and later CDs and MP3 players (when the Internet was introduced into the household), he had an endless supply of music that I thought to be mostly irritating.
My stance on oldies hasn’t really changed, though I wouldn’t go as far as calling most of my father’s music annoying at this point. Far too slow and vanilla come to mind, but not so much annoying.
Well, unless we’re talking about Air Supply or Frankie Vallie. If I never hear “I’m all out of love! I’m so lost without you!” again, it’s still too soon. And don’t even get me started on “SHERRY! SHERRY BABY!”. My ears are bleeding just from thinking about it.
The only exception to the Frankie Valli scorched earth policy is Oh, What A Night. Because I now associate the song more with unexpected baby news at John Watson’s wedding than excruciating vocal pain.
As for the rest of my narrative on music, though I did stop following the popular music scene, I suspect this to be a function of 2 things. First, the music and culture of one’s childhood or youth will almost always elicit a more positive response since that time of life is almost always more positive than what follows (the trap of nostalgia). At the same time as my taste for the new and trendy was gradually being erased by blind cultural cynicism (for lack of a better description), the overall popular music scene was also changing. Though I arguably stopped paying attention to music before the late 2000s was over, the 2010s brought with it a new trend of slowness. While there were exceptions to the rule (as there always are), the BPM of many of the releases started to slow WAY down.
Consider the difference between, say, Rihanna’s SOS or Nelly Furtado’s Promiscuous, and Katy Perry’s Dark Horse. While I am indeed looking at 3 raindrops out of an ocean, you can see the pattern.
Whilst I’m almost inclined to consider early to late 2000s pop music as my Herman’s Hermits and Lobo (my dad’s preferences), I can’t even call this correct. That designation would be better suited to groups like Metallica, Linkin Park, Rammstein, Nirvana and many more. Interestingly, the material that streaming services mostly automatically serve up since I’m such a creature of habit.
Of course, this was par for the course when one is young (very rarely it seems, do parents and children have the same tastes in music). And looking back, it had a lot to do with not wanting to be alike my elder. However, though I do enjoy a few of my fathers old favorites such as Bony M (their Christmas album has become a family staple of the season) and Lover Boy, most of the other stuff is not for me.
I am not sure that I would use the term “Garbage” to describe it, but its more just, not for me. The various artists may have been cutting edge and talented for their time, and they may stand as gems in the greater music scene, but its just not my cup of tea.
Can’t say that much has changed here. Well, aside from the fact that the tamer side of my music library (rock music that ranges from Loverboy to Twisted Sister, my original gateway to metal) doesn’t get nearly the airplay it used to as my music tastes slowly evolve towards more complex, faster material. I have nothing against groups like ACDC, Twisted Sister and the like. It’s just that I recently realized that I find this (Panic Attack – Dream Theater) slow.
I have also started allowing my music taste to broaden not just further down the metal sub-genre scene, but also outside of it into territory that I never ever thought I would tread. I’m still very selective whilst outside of my comfort zone, but have started to discover (rediscover?) the pop scene, and even some hip hop. Even if it’s hard to know where the line ends between those 2 genres in some cases (for example, the Weeknd).
I even crossed the bridge into country territory at one point. Though not very far, admittedly (not much aside from some Dierks Bentley really appeals to me).
Each day brings with it a different music craving. Thanks to streaming media, this constant itch can almost always be easily scratched with the push of a button. Though not on Spotify anymore.
Because FUCK Joe Rogan.
Having heard this music at various times (and a great many times over lol) all through out growing up, it was a bit of a surprise when I started hearing the same songs on the radio.
First it was a trickle of remade songs, which eventually culminated into a torrent that left almost no “new” song that played, truly new. The popular artists of the day such as Britney Spears and No Doubt, all putting out redone material. But the worst part about it, was more often then not, the songs status as a remake was not mentioned (a few times it was noted by the DJ, but usually not).
One moment that sticks out for me, is when the song “SOS” by Rihanna came out. Though the lyrics were seemingly original, the music that it was sung against was borrowed. A factoid that I would have missed, had the station not played the original (or a remake of the original song) just before Rihanna’s version. Though I had long before lost respect for most new music and artists, this was certainly a new low.
Interestingly enough, I actually don’t mind that song at this point. The music may not be original, but at least it was catchy and upbeat. This, and judging by the fact that I never heard about any lawsuits from the previous artist, I’m thinking that she must have properly licenced the material she was borrowing (and presumably shared some of the royalties made off the song). Which is more than you can say for Robin Thicke and Pharrell Williams.
Truth be told, when it comes to bad artist renditions of previously released material, I have to showcase a man that I once respected to the point of being an idol. That man is Marylin Manson.
Before he was exposed as an allegedly wife-beating and berating asshole, his consistent rebelliousness in the face of the horrified and hypocritical hordes was very much relatable. Though I’ve never found a need to tear apart a bible for sport, his motives and George Carlin’s “It’s Bullshit, and it’s bad for ya!” moto really stuck with me. Despite this stance becoming much more stressful the less my income is tied to a business that I actually own and control.
Either way, a close friend of mine once expressed dismay at what Marilyn Manson did with his remake of Sweet Dreams. To use his own words, “That is all he did with it?!”.
At the time, my fancy for my idol flashed before my eyes, so I of course didn’t see what he was seeing. Indeed, much of Manson’s catalogue didn’t have the same awe factor as it did when I was a teenager )grabbing every Manson track I could find on Limewire). It’s not all The Fight Song, but it had sentimental value.
But, not so much anymore. Though the allegations are just that (allegations), I don’t find it a hard stretch to imagine that there is truth in them. In the same way that it’s easy to see how the blurred lines music video set would provide the perfect backdrop for a predator to strike (it’s literally in the lyrics!), I can also see how the caustic personality that is Marylin Manson may well be hellish if it is turned inward in the form of domestic violence.
Of course, we are dealing with allegations in both cases. Nonetheless, it’s not hard to read between the lines, however blurred. Particularly when witnesses (or more than 1 alleged victim) exist.
To move the dialogue away from artists of disappointment and contempt, not all artist renditions I have come across are bad. In fact, I can think of 3 goodies right off the top of my head.
The first (and my overall favourite) has to be Disturbed’s cover of Simon & Garfunkel’s The Sound of Silence. Unlike any other Disturbed song before it (aside from Darkness), I love how it starts low and slowly builds, David’s voice following the loud notes of the booming orchestra behind him. Until the pause, and the last booming outro of the orchestra.
An honourable mention goes to Nevermore’s interpretation of the song, a tune so different that I didn’t even know it was a cover. Having listened to the song many times before, I didn’t realize the connection until after hearing the Disturbed version.
The 3ed is the most recent, Saint Asonia’s cover of The Weeknd’s Blinding Lights. In all honesty, it’s a bit surprising that the original made this list since it irked me the first time I heard it. But much like the Billie Eilish song Bad Guy, the song ended up growing on me. And not just because it’s amusing to see people’s reaction to me saying Billy Eyelash or saying the Baaaad guy phrase in a sheep voice.
Though I certainly would have never expected to hear a rock version of Blinding Lights, Saint Asonia did a good job of it. And though YouTuber Jared Dines hasn’t done any pop goes metal videos for a long time, I’d personally love to see how he would interpret this song.
But in any case, after moving away from the hits of today, my first reaction was switching from the all hits radio station to the local rock station (my fathers choice, and as good an alternative as there was). There I gradually grew more fond of rock music in its many classic forms.
Then with the internet, came exposure to ever more heavier forms of metal, which is where I have stayed for the most part to this day.
I have always loved music, usually taking advantage of any opportunity that I had to listen. When I was younger, that meant that I had a radio going for whatever task I was in the process of completing (chores). And I have always listened to music in bed before going to sleep (when I was young on a clock radio/stereo, and now on an ipod/phone).
This has not changed. Though I now reserve podcasts for things like chores, music is still nice for random computing tasks (like writing posts like this) or going to sleep.
One thing that I can tell you, however, is that I now hate terrestrial radio stations. Well, maybe just the stations where I live. The Rock station I used to listen to was taken over by a national media company, and thus the name and format changed to be more generalized. But I don’t like it since the playlist seems just barely larger than that of the average retail store, and the branding is annoying. After every song, you hear some iteration of “Bob!” (or now, “Bounce!”). It’s the kind of Boomer pablum that I now only listen to if I have no choice in the matter.
That is the story of my evolution of music.
Each passing generation, has grown up with, and primarily stuck with the music that grow familiar to them in their younger years. The Sirius/XM satellite radio systems take advantage of this, by having channels 4-9 dedicated to the format of said decade of the 90’s (4=40s, 5 =50s etc). This seems to hold true, as far as the 80s, and maybe even the 90s (Sirius/XM has 90s 0n 9).
Imagine. Me acting like I am better than all of these people tuning into Sirius 50s on 5 or 90s on 9. I know I certainly didn’t when I had a Sirius radio. Octane/Ozzys Boneyard/Liquid Metal and Howard 100/101 were far more interesting.
But that was 2009. Truth be told, it’s honestly amazing that satellite radio is still a thing.
Most past generations look back at the music, and other cultural phenomenons of their time with pride, nostalgia. The music often went hand in hand in their daily lives back then, making revisiting it a nice trip down memory lane. And associating music with fond (or not so fond) memories will always happen, no matter what.
But, can we look back at the music (as well as other media) of the past decade or so (as well as today), with pride? If were still around in 20,30,40,50 years from now, will we still be listening to the long lost hits of the 2000’s?
Yes me, I’m sure that many of today’s youth will still occasionally listen to the music of today even in the future, possibly long after youthful freedom and bliss have left them behind. This is a point that is proven in the grocery stores of today, which love to loop a mixture of boomer and millennial favourites.
Hell, I proved it myself in this very post. Since this entry is technically me talking to myself, I wonder if this counts as a self-pawn. . .
I personally think that the answer will be no.
Well, you’re wrong bud.
Such is a good lesson for many people. Never try to assign rigid rules of categorization to the subjective. Most human-influenced culture (and even physiology) is very much ambiguous and hard to paint with a broad brush. Even though most humans seem to lack the mental acuity to experience the world from outside the safety of rigid interpretations.
My reason for this conclusion, is the nature of the music industry today. Like everything else, music has turned into a super formulated, bland, disposable, predictable mess. Instead of having a few gems of talent coming up in a sea of musicians, we now have a sea of mediocrity. An endless tide of catchy one hit wonders with VERY few (if any) gems coming out of the mix.
I also have noted the behaver of many modern music listeners. Many that grew up fans of such genres as pop, have moved on to others, such as country, rock or others. Others that listen to the music, seem to drift with the time, not having any affiliation with past works (even within the same genre).
While hindsight tells me that I could have likely written this in any decade and interpreted similar results in the popular culture of the time, one thing I never really saw coming was services like SoundCloud and Spotify. Though at the time I was talking of merely the corporate-driven uniformity of the pop scene, the scene is very different today in that anyone with a computer and increasingly affordable equipment can release their own material. Much of this is only as good as the creator (to put it in a nice way). Either way, I had NO idea how much mediocre material that democratizing the recording studio would bring into the marketplace.
On the other hand, though, you can get your voice out there. And with far less effort than anyone trying to start a musical career even 15 years ago.
As for the behaviour of modern music listeners part, I feel like I was taking from anecdotes in my own life. I saw a lot of people drift from pop music over to country from my teens onward. But this may not have been anything more than a local to the fairly local occurrence. Not to mention that not unlike other genres that have been typically floating around the realm of (and blurring the boundaries of) typical pop music, country music has been making a similar evolution throughout the 2010s. Though there have always been breakthroughs (like Picture or All Summer Long. Having heard the latter on 3 different stations running under 3 different formats (rock, country, pop) at one point, I fucking hate that song), many artists seem to be straddling the line between country and pop. I think one of the most interesting examples thus far for me has been Old Town Road, another song that has grown on me since I’ve been getting more exposure to the modern-day iteration of hip hop/rap.
To explain this difference, consider Stronger (Kanye) or Lose Yourself (Eminem) versus Money Longer (Lil Uzi Vert) or Gucci Gang (Lil Pump). Since I find it hard to keep a straight face whilst listening to the Lil Pump earworm (I would fail spectacularly if is I was high), consider Fair Trade (Drake ft. Travis Scott).
And speaking of unintentionally hilarious songs to listen to after some edibles, consider this unexpected gem (Im 2 Sexy – Drake ft. Future and Young Thug).
Now, where was I? Oh yeah . . . songs blurring the lines between pop music and other genres.
I feel like this inquiry raises a question that I have never considered before. That question being, what even is pop music? A style? A format? A vast category for anything and everything that is popular? All of the above?
I’m reminded of a documentary I watched some time ago called Classic Rock. Focusing on a term that I had never given a second thought to, I believe the goal of this documentary was trying to see if they could nail down a more or less standardized definition of what music or era Classic Rock entails. At its core, the term originated in radio as a station format surrounding rock music from around the 80s. Some also say from the mid-60s to the mid-90s.
Judging by both the documentary I watched and various YouTube compilations, no one has any idea where the line lies in terms of a standard definition. When the term was coined, I’m sure that it was focused on a given era of rock. But as time moves on indefinitely, the question seems to have been “Does the Classic Rock format grow to also include more modern works which also could be considered classics (ie the 90s)?”.
Some in the documentary argued “No way!”. The ACDC era belongs nowhere near Nirvana. Others make the argument that the term has to move ahead with time. Judging by the various Classic Rock compilations, I’d say that many people agree with the latter assessment. With most of them containing songs by Nirvana, some Metallica, and even the Bee Gees in one case (recall that they are Disco), I’d say that the widely accepted definition is very fluid.
Or, people aren’t aware of the various categorization nuances of the music they love (for example, did you know that the popular Kiss tune I Was Made For Loving You is actually disco?).
It all goes to show how something as fluid as culture can be difficult to assign rigid categorical differences to, particularly when it comes to what lies at the fringes. To use the Kiss example, Detroit Rock City or Psycho Circus are fairly easy to categorize. I Was Made For Loving You on the other hand . . .not exactly. It checks the boxes of 2 categories, and as such, it sits in both nicely.
This brings me back to the question that I never did get around to answering. What exactly is pop music?
Pop is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom. The terms popular music and pop music are often used interchangeably, although the former describes all music that is popular and includes many disparate styles. During the 1950s and 1960s, pop music encompassed rock and roll and the youth-oriented styles it influenced. Rock and pop music remained roughly synonymous until the late 1960s, after which pop became associated with music that was more commercial, ephemeral, and accessible.
Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Identifying factors usually include repeated choruses and hooks, short to medium-length songs written in a basic format (often the verse-chorus structure), and rhythms or tempos that can be easily danced to. Much pop music also borrows elements from other styles such as rock, urban, dance, Latin, and country.
Though that definition nicely describes the situation as it stands today, further study of the wiki article details how the definition of the term Pop music is just as disagreed upon as Classic Rock is. And like Classic Rock, the definition seems to evolve with time, though this was to be a certainly given the roots of the term being much further back than those of Classic Rock.
Realistically, this all makes sense since people’s subjective interpretations of these terms and what encompasses them (which are shaped by traits like preference and bias) will almost always land on a different conclusion. And you can’t really go by the record label slash music industry standard since that formula is less based around categorization than it is around monetization. The more boxes you can check in terms of each category, the bigger potential audience you can push to. Something that is becoming increasingly important in the age of both streaming (reduced overall revenues) and democratized music production.
As such, I don’t think there will ever be a standardized definition for Classic Rock, Pop, or possibly any other music form. Humans are far too subjective to ever come to any sort of agreement on that sort of thing.
As for the ongoing inroads of country into the Pop realm (so much for the last statement?), that evolution will continue to be interesting. Not to mention that the genre itself will benefit from the new life brought into it by the new fan base, something that even the older more established artists will enjoy.
Despite my giving country music more of a chance than I once did, I am still put off by the overly formulaic nature of a huge chunk of it (old and new). In a nutshell, rich and wealthy Nashville mansion owners sing about the rough and tumble life of the average working man. Though rappers sporting Lambos and walking Tigers in their videos are over the top, talking the talk without walking the walk is just, well, bullshit.
The one exception of course being Arron Lewis’s Country Boy. Imagine my surprise upon discovering his crossover into enemy territory!
And don’t even get me started on artists like Toby Keith and Allan Jackson cashing in on patriotism during rough times. Your fans will never call you out for such bullshit, but NOT COOL. Not at ALL Kosher.
In a sense, Toby Keith and Allan Jackson made the CNN faux pas long before CNN actually did.
And with that steaming hot potato of a sentence, we will move on.
Its not really surprising seeing this reaction. I make a habit of avoiding modern pop type music, because of its cookie cutter nature. Every year there is a new Jonas Brothers/One Direction/Bieber (he’s had an amazingly long longevity, for the times). And when it comes to the ladies, it seems that the formula is throwing any lyrics against a catchy beat, even if its just a single word .
This critique is interesting since one could level it against any music genre (including metal). Though there are artists in every genre that stand out against the rest of the financially driven majority, the existence of genres in general (along with many artists that fit into them neatly) nicely sabotages my own argument. I can’t accuse one group of people of being overly infatuated with an overly similar and inherently simplistic product when I am essentially the same person. Though my flavour of cookie may be far more complex than the vanilla that encompasses what sells, I still have a flavour.
Really, this discourse isn’t really even applicable to me anymore since my music taste has grown greatly compared to what it used to be. But I’m reminded of my former metal elitest self. The arrogant twat that looked down on everything that didn’t smash the windows when cranked to the max.
This makes me think of another question. Is metal inherently better than other genres?
Back in 2013, the answer would have been simple (Yes!). If one’s subjective definition of better is complexity then metal would in fact be better than pretty much everything else that is available (possibly short of Classical. Again, depending on who you ask). Many traits of metal (eg. advanced riffs or growling vocal tones) take a lot of practice to master. The end result of such dedication is easy to hold as the standard if your comparison criteria involve only effort. Compared with a song containing an autotuned artist singing against a computerized melody, of course, one can find much of metal as superior. One can find much of anything superior to that.
But that is just personal subjectivity. In reality, complex or not, music is just music. It is highly doubtful that the trajectory of any music genera (however prolific) will dictate the trajectory of a society. Refect the status and overall trajectory, yes. But dictate? Unlikely.
It is just a form of art, after all. An area of human development (knowledge?) that has always been more reflective than prescriptive, though much like other human developments (such as science and philosophy), art can also be used to malicious ends.
As for “it seems that the formula is throwing any lyrics against a catchy beat, even if its just a single word .” , my reference was to a popular tune which was trending sometimes in the late 2000s to early 2010s which basically consisted of the word Hello being repeated over a very upbeat and catchy melody. Considering the slow nature of the era we would go into, the song is less irritating in hindsight, though I can’t for the life of me think (or find!) the artist responsible for it. Though Katty Perry comes to mind, I feel like i’m thinking of Firework. A song that is similarly upbeat, but not it (the voice is different). If you know what song I am talking about (or even have a guess), feel free to leave it in the comments and I’ll edit it into this entry.
Another thing I can tell you . . . though I hated the Hello song equally as much as Feist’s 1 2 3 4, not so much anymore. Feist is still high on the list, however, since I associate her with helping Apple to make millions of dollars. No, she didn’t help guide them into being an over-rated anti-right to repair monopoly (at least as far as the app store is concerned. And no, Google is no better), but she was responsible for generating a whole lot of the cash of which made it all possible.
While not exactly worthy of the Robin Thicke treatment (that is to say, cussing her out, not groping her tits), she does deserve at least a little sarcasm.
I can’t help but wonder about the message were sending future generations, or the world in general. I can’t help but think, there is something wrong with this picture. I can’t help but see a problem with a society that values an endless stream of mediocre garbage (with no real talents coming out). What does it say, when we value money more then quality?
Here again, I find myself using my subjective conclusions as a gauge for the state of the world in general. Viewing my cultural zeitgeist as if it is unique in the grand scheme of things, even though I’m sure we can find similar trash to treasure ratios no matter how far back (or for that matter, ahead) we were to look when it comes to any aspect of popular culture in any time period.
I used to think the same of TV coming from the 2000s and the 2010s, but that is hardly true, is it?
This era gave us Breaking Bad, Sherlock, Luther, Mr. Robot and many MANY others that I am yet unaware of (let alone can recall). Though the next 2 have been largely forgotten to time at this point, Revenge and Desperate Housewives earned themselves a spot in my subjective list of preferences.
While the source of new content is rapidly changing from traditional cable to streaming, various streaming services will keep funding and releasing new and interesting content for as long as that medium is to last. Already we have shows like Black Mirror and Bojack Horseman. Whilst there will be a lot of stuff released through these mediums (as has always been the case), there will be many gems of which we have yet to discover and treasure.
And with that, I conclude this revisit of one of my past works. Though I ended up going in many unexpected directions in this entry, it was an interesting journey.