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In Reply to: RE: What? posted by J on February 12, 2008 at 20:01:12
"Bash her all you want."As I stated before, the artist isn't really the problem. It's how the art itself is being promoted. And I think it's sickening.
"But it makes a little more sense if you do so on the basis that you don't like her music...right?"
I don't like the sheer phoniness..... The artists are being rendered as pawns in the middle of it. Like that six-year-old on Brit Got Talent, who ultimately lost to Paul Potts.
"In other words, bash her music; I'm sure there's a good reason why you don't like it, beyond pitch correction. So, go ahead, bash it."
The problem is the pitch correction turns the music into garbage. It's destroying the essence of the art. I really don't know how good or bad a lot of these artists really are. It's like I wouldn't be able to judge cyclists who use training wheels, paint artists who use paint-by-number, or swimmers who use kickboards..... (I'm a decent swimmer with a kickboard, I can't even swim without one.)
"As opposed to bashing her because people buy tabloids."
A lot of Who fans buy tabloids.....
"Or because of pitch correction."
See above.
"Or because you bemoan the state of the music business, and the emperor has no clothes, or some such."
Correct.
"I've read some very interesting negative critiques on Amy Winehouse by people who actually stuck to the topic of her music."
I have not heard one performer or performance that used any sort of prefabrication (aside from the Monkees), that has impressed me. Although I admit I was duped into believing Renee Olstead, Celine Dion, and Michael Buble were fabulous singers, before realizing they were all pitch corrected..... (And if you think that's disgusting, it's now being applied to symphonic performances. Check out that youth symphony from Venezuela.)
What's happening is the art is cheapening, being produced in a phony and maybe even fraudulent manner, and people are being duped into believing it's great, mainly because they perceive consensus saying so.
And the media and peers are expecting us to accept it as an "alternative" rather than call it for what it actually is- a decline. I just can't accept that. With pitch correction, I think I'm hearing the same thing, over and over and over and over and over and over and over again. With no nuance. With no dynamics. With no soul. With no originality. With no complexity.
I'd rather listen to a singer or musician standing at a street corner. I throw them a lot of change nowadays.
Maybe I've been spoiled. I don't know. I think half the problem is fewer and fewer people are being exposed to what I think is real music. That could very well be the root the problem. The issue is how to rectify that. (This is the single biggest reason why I love YouTube. A lot of real deals that would have otherwise gone unnoticed.)
"and so many uninteresting ones that have to do with just about anything but music, but nearly always manage to mention some lazy-ass, gratuitous Billie Holiday comparison (that does nothing but reveal yet another pseudo-critic with a desire to point out the perfectly obvious, except in this case they manage to get it wrong)."
When the media compares a modern pitch-corrected vocalist to Billie Holiday, they're painting a huge target on both the music and the performer. For some people have gotten so sick of this con job. It insults their intelligence. It insults my intelligence.
"Bash away, sez me."
As if I shouldn't...... But I will. And I don't care if people despise me for saying what I think needs to be said. The emperor has no clothes.
"Tell you what, though. I'm sure there's a correlation between pitch correction & songwriting just waiting to emanate from yr keyboard. If you'd be so kind..."
I think when it comes to songwriting, a good yardstick is simply how much the music is covered by other artists. (Provided the songwriter has exposure in the first place.) Especially those whose genre isn't the same as that of the originator. (I think Nirvana won out in recent time, only because there hasn't been a lot of decent songwriting elsewhere.)
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