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bmusic Newsletter No.210 March 13th - March 19th 2006 Readers may be able to help me with this. I know what I'm about to ponder has likely been pondered for centuries, but I think perhaps there are more intricacies related to the topic in the modern day. I've been thinking lately about the state of affairs commerical music sees itself in. Most generations hitherto have had a genre to embrace, a movement in music that galvanises the youth of the time, united in their rebellion against their forefathers and their own music. I've spoken about this a little before, when I looked at the Eminem phenomenon, something I had totally overlooked as the most influential artist to the present young generation. Not in terms of music, per se, but in a culture, sense of fashion, and an attitude. Blink 182 to a lesser extent for the echelon that was anti-rap. Blink 182's influence was a little more clean cut than Eminem's, but even Eminem, despite his lyricism, wasn't that over the top when compared to some of the artists who've come before him. So to what I've been thinking about. It seems right now there is a confused mix of sub genres for one side of the music fence, and a wrestle against corporate control over pop and R 'N' B stuff on the other. The sub genre group includes the hardcore/heavy metal/emo/punk stuff that, by virtue of it's supposed rebellion, appeals to the disaffected (or wannabe disaffected) youth of the day. But as mentioned before, the one genre, hardcore, that has the opportunity to be the grunge of the day destroys itself from the inside out with sub genres determined to outdo or belittle one another. Metal will always have it's place but appears to be struggling under the weight of hardcore/punk at present. Metal will never really get the commercial promotion to bring it to the fore. One might question whether hardcore (I'm using this term as I've no friggin' idea what they want to label it as nowadays with all it's sub-genres) enjoys "commercial promotion", but it most certainly does. Not in the traditional sense of airplay, print advertising, and the like, but by the sheer amount of small time promoters pushing the genre and Murdoch's myspace being totally dominated by such groups networking. The genre is to be applauded for it's own promotion and scene it's developed, and the hard work has paid off handsomely for some, that is until their fans accuse them of "selling out" because they actually made a few bucks from their work. And I mean enough money to eat Macaroni & Cheese instead of 2-minute Noodles. On the other side of the fence, I consider the rest of the commercial stuff, including the likes of Jet, Wolfmother, et al. These bands, in my opinion, are part of a popular music manipulation by the corporates without even knowing it. I mean, it started with The Vines, what's happened there? I don't see a record company getting behind these bands for more than one, maybe two, albums. We all know it's recycled stuff, that doesn't mean it's not good, but to a certain extent it's safe. I'm not trying to belittle the bands and their music, it just seems to be the style of choice for one aspect of commercial music that would have had no chance of breaking through the way it did unless the record companies had done what they've done for it. And they wouldn't be doing it for no reason, as we all know. I think record companies these days are looking for two things. Short term commitments to bands selling explosive numbers, and all sorts of cross merchandising opportunities and alternate income generators. The latter brings us to pop, R & B and rap. I would be very surprised if potential ringtone income didn't play a major part in the decisions of record companies these days. So ridiculous to think of it as such, but you'd have to consider it. So branding and image are even more important than they ever were nowadays, you're not necessarily going to sell someone a record after all, yet you might be able to gnerate some income from them in a raft of other ways. Which, finally, brings me to my question proper. Where's music going to go next? What's going to be THE genre that galvanises a generation? Is there even going to be another grunge, another rock 'n' roll, another punk (Sex Pistols era please), or another New Wave? All these genres came about as the one before it either imploded, became redundant as another generation searched for their own voice, or became top heavy and irrelevant as the heavy metal of the early 90's did. You'd have to say that the current conditions are more than ripe for a new mass appeal genre to take over. But it's not happening, and I can't see it happening. Is this necessarily a bad thing? Could it be good for music as more styles and genres will have their place and their exposure in popular music? Or is it a bad thing as it indicates that not only this generation, but a generation to come have their musical destiny already written by corporate number crunchers and MTV? Of course, all this pertains to "popular" and "commercial" music. Thankfully, as my offsider Mark says, "We don't have to despair as there will always be free thinkers who play and listen to what they want and not give in to a corporate edict". Any thoughts on the subject, feel free to drop me an e-mail or post on our forum HERE. A new Where Are They Now? by request this week with an excellent amount of very current information available on each former member. Regulars including Feature Article, The Week Ahead in Music History, Featured Artist and more are all inside Issue 210 of the bmusic Newsletter. Links in the Table of contents below will launch your browser, so you'll need to be online to view the newsletter. If you are unable to receive html format e-mails then copy and paste the following link into your browser's address bar to view the newsletter: http://www.bmusic.com.au/links/whatsnew/newsletters/archives/newsno210.html Thanks to everyone for reading, we'll see you next week! TABLE OF CONTENTS (You will need to be online to use the Table of Contents to jump through sections) Events Births Deaths |
WHERE ARE THEY NOW? - THE NOLANS
FEATURED PRODUCT - ZOOM G7.1ut GUITAR FX & RECORDING INTERFACE
THIS WEEK'S FEATURE ARTICLE - THE SLICE & DICE OF EDITING
THE WEEK AHEAD IN MUSIC
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