Re: [rumori] curve of sound innovation


dserklandATnish.org
Date: Tue Mar 13 2001 - 14:30:32 PST


"Rap and hip-hop account for most of the real musical innovation in the
last
decade, at least in pop music. pop-friendly hip-hop didn't even exist
until
the Fugees released "The Score" in the mid90s."

I gotta disagree. Hiphop petered out years ago, and has been
institutionalized and coopted by The Industry just the same as rock has.
I'd say the Beastie Boys brought it to the masses via the "crossover" value
of "License to Ill" - metal + rap = Top40. Unfortunately, "the kids" needed
white musicians and rock'n'roll references to accept it. Their parents
needed it, too. Also, there was a time when you could hear un-cleared
samples in hiphop records, but not any more. Innovation got legislated
against.

You could say the same has happened to techno. In the larger metropolitan
areas there are "dance Pop" stations popping (no pun int.) up. Any music
sold in "units" ie, tapes, CDs, MDs, vinyl - can be distinguished from
music sold as a performance. Cher may have sold 2 billion copies of her
last dance single, but Paul Oakenfold is yet to have a Top 40 hit (correct
me if I'm wrong, please) and still can sell out the LARGEST "rave" events.
In any case, I doubt Cher'd fanbase is expanding the way Oakie's is.

Remember, modern pop music has grown out of performed music. Before Edison,
all music needed to be live. Jazz, Classical, and even the early Rock and
HipHop records were "documents of the performance." The industry focuses on
selling "units" because they can make more money that way. Musicians can
make more money in performance. The reason the Industry failed in it's push
to make pop stars out of DJs is because DJs still work in the realm of
performance. Not to mention the obligatory intellectual property issues...
which, BTW, probably RESTRICT DJs to the performance realm - Hmmm, this
almost sounds like a case of "the chicken and the egg," which first?

later,
dan

GromitFiveATaol.com on 03/13/2001 04:57:33 PM

Please respond to rumoriATdetritus.net

To: rumoriATdetritus.net
cc: (bcc: Dan Serkland/National/NISH)
Subject: Re: [rumori] curve of sound innovation

In a message dated 3/13/01 4:08:23 PM, steevATdetritus.net writes:

<< any 18-year old pop fans on this list want to speak up? >>

well thanks for the invitation. but in all honesty, i can't call myself a
true pop fan. at least not of today's crap pop. Like Dan, i rather doubt
that there are any 'NSync and Christina-style "pop fans" on this list. in
any case, though, it really is a frame of reference issue. Whether or not
you 30-somethings and such can see the difference between 1996's top 40 and
today's, there is one. i mean, for cryin out loud, HOOTIE was big then.
HOOTIE! and that means a Lot to me. because Hootie sucks.
    and by the way - while i agree with the "all sounds have been made"
theory, all original Music has most surely not been. and yes, Rap is
music.
Rap and hip-hop account for most of the real musical innovation in the last
decade, at least in pop music. pop-friendly hip-hop didn't even exist
until
the Fugees released "The Score" in the mid90s. In the last five or so
years,
top40 has grown from lists of groups like Blues Traveller, Gin Blossoms,
and
of course the aforementioned Hootie to a list strewn with hiphop and rap
albums. I can almost guarantee that a comparison between pop music in 1980
and 1990 will show less of a difference than one spanning 1990 and 2000 if
one takes into account the dominance of rap, and to a lesser extent white
metalrap (aka Limp Bizkit). Music like DMX and Outkast simply did not
exist
a decade ago. Those who say that pop music has stopped evolving are
forgetting that pop music has a history of either absorbing the music of
non-pop cultures, (ie, Elvis being a white man singing "colored music") or
selling out the original non-pop package (ie, DMX or Method Man, both of
whom
have been known to top Billboard charts.) what the current non-pop package
is right now, i can't say. i won't even know until it hits MTV. but it
will. soon.
the next bomb will drop.

    -binder (age 18)
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