|: War! let there be War here! :| Codified message enclosure |:
I'm not sure if I'm more ashamed that I care how top 40 is doing, or that I
don't.
Audience theory, people. Works do not exist except in audience. :|
(you know, "marketing channels") (%~|)
Therefore, neither does "innovation" exist until heard ("recognized" by
channel X, leading to "recognition" by channel Y until it finally gets to
"top 40" (bumpersticker: the "top 40" is neither!). The reverse of how we
learn music appreciation in the U.S. beatles-first. (ELO4ME) ). .).
I believe that's why the droplift instructions targeted major chain stores.
(_8~|____)
Situationism, people. Context is content. What does the word "the" refer
to. What did "Bush" mean in 1968. (ok, 69, haw haw haw) &{
|: I think there are changes from year to year on what you can hear.
Certainly in Chinese restaurants :| 3
Of course, I'm the guy who thinks baroque is back
The genre cycle we learned in collige is
xperimental->classical->baroque->grotesque. Is "Wind beneath my Wings" and
the work of Whitney Houston not grotesque? It's the end of popular song as
we know it! I'm not so sure how I feel about that.
One great thing that happened was the Jazz Switchback: Jazz (Parker) had
gone grotesque, but especially Glenn Miller "refreshed" the cycle back to a
monotonous classical dance form. And perhaps killed the whole thing (I
don't think so, I think you can't kill zombie forms, drum and bass being
value-added be-bop without horns).
Of course there is new music, there are new instruments with new sets of
errors. But the sounds available have outpaced the forms available (kind of
like CPU power being way beyond software requirements)
more
didactic-yet-as-unresearched-as-they-are-unclear-yet-somehow-obvious-platitu
des on request
||: If I had an infinite amount of money I'd keep it and not tell a soul!
Ask me how! :||
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