Pink Fairies, Music in this Generation, and why whiney liberal ethnomusicoligists should be forced to live in the projects
Pink Fairies:
We have the drummer from Pretty Things, who played on several tracks of SF Sorrow, went on to play with Keith West and Steve Howe(of Yes) with Tomorrow. We have influences of Hawkwind and the roots of garage rock, punk, and Motorhead. A psychedelic power rock album that is all balls. Remember this was all released in 1971.
Do It: Which was a B Side on the single off the album, is a great song if your guilty about having that last beer.
War Girl: Subtle rock song, a classic.
Never Never Land: Song that grows on your like jock itch.
Teenage Rebel: Power song that sounds so much like Motorhead, you would think Lemmy was screaming the vocals.
Uncle Harry's last Freak Out: Ten minute psychedelic rock anthem that was pure 70's rock at its best.
The Snake: Power chord rifts that would define Punk.
Shame that all this music is lost in the past. All things are a product of their times and arguments can be made to forget old music. But the beauty of CD's and writing is that we preserve the material and why not listen to the best? We can consume classical, blues, jazz, rock, new wave, punk all from a vantage point of selecting the best.
This is all lost though, for commercialism plunges a head with the theory to buy new crap now and shit on the past.
What annoys me most is that Hip Hop lingers on. Its crap. Yet jazz, blues, 50's rock, classic country, psychedelic, etc. These artists were all quickly labeled has beens, sell outs, and torn apart, never given a second chance on radio.
However, hip hop is around now 20 years or more, it sold out immediately, they can't perform well live, and they sip champagne with elites no more than the Stones may have done in the later seventies. So why does it escape criticism?
I will say its because of the violent message in Hip Hop that attracts teenage angst, in an unhealthy outlet misused at the power of corporations and Madison Ave. That Hip Hop is not healthy political rebellion, but down and out consumerism. Its shielded by blacks, who are defended by the liberals, because they claim to sing about the struggles in the ghetto. This is not the blues, talking about real racism and hard ship, this is a description of violent fantasies, enjoying the crime, and hoping not to work hard or improve their environments, but to get rich, take the money for themselves, wear Tommy Hilfiger, fly in a helicopter, and sip champagne in a yacht. Its unintelligent and base, and what hip hop artist has given back to their neighbors or helped solve any of the problems they claim to be pointing out?
The elite liberals spurned classic rock in the eighties, as a way to rebel against their parent liberal professors who lived the protest classic rock movement. They attacked classic rock on the basis it stole from black blues players. These professors of the eighties were given the globalism movement in the eighties as further current evidence of this problem.
When groups like Talking Heads and Paul Simon went on to perform Brazilian, third world, or African music, they said it was further evidence of cultural stealing in a global power relationship.
They neglected that this propelled African and third world music into the consciousness of the world, giving it access to the radio and global media. Much like classic rock did for blues, it inspired a look into blues that was largely prevented from being played on radios, because of the racism against blacks. Without the Who or Stones covering early blues, it would not have brought as much attention to John Mayall or others.
Music is tradition, building, and borrowing, the racism was over played on elite campuses or at my alma almamada Hunter College.
To prove they are wrong I offer the following argument. In describing the Pink Fairies I can tell you that we see the roots of punk. I can tell you, that one song sounds just like motorhead, which occurs ten years ago. So why is Lemmy not evil for adopting a sound? Why did the Sex Pistols cover The Who in their early days? This is all what music is about, its not that anyone was picking on the blacks or stealing their guitar rifts. Quite frankly they loved the music and built on it.
Led Zeppelin for all its blues influenced rifts and covers, developed its own sound. Same as Pink Floyd and I can't say that all of it sounded like stealing. It was adopting sounds and pushing forward to something new. Often over looked is how closely Miles Davis sounded psychedelic on Bitches Brew, and I can't say he stole from Floyd or that Floyd stole from him. My point being that even new wave stole from Roxy Music, so this is white on white borrowing.
Its easy then to pick out examples where whites borrow from blacks and assume its a power relationship, in fact its a story, and a bad observation. Music is a good thing and it is not stealing for hits, its an artist hearing a sound and adopting it as his own. If that artist makes a hit, that's the nature of the business. If the Pink Fairies sold less albums than Motorhead or the Sex Pistols, its just nature of what people enjoyed. Maybe we often prefer the final extent of a sound where some people appreciate the roots more. The difference between enjoying a flowering rose bush as to learning to appreciate the thorns and greenness of the plant, then the anticipation as the buds appears, til we have the final product our flowers. Without the whole plant though, there is nothing but dirt.
Because they neglect all the evidence contrary to this, as white on white music borrowing occurs.
In Hip Hop, the blacks began to borrow rifts from classic rock behind their songs. The glaring difference was they simply did a bad cover of the rift, made no changes, or plain just played the song in the background. They never gave their own style to the sound, just sang over a catchy track. This to me is horrendous, yet you will not read anywhere in an elite journal that this is lousy outright stealing. Instead, they would argue its the blacks reversing the power struggle, I say because no style was added, this was actually commercialism at its worst.
In essence, at least maybe some hip hop kids may go out and try to find out where that led zeppelin track came from when heard in a hip hop song, however there is no blending or forward momentum of musical style.
The land scape in music today is a treacherous one. With radio completely eliminated over the years, even with satellite radio emerging, we can only witness the influence of the net. There is a lot of discussion now about the fact there is no shared cultural media.
We all do not sit down to watch the same TV shows, as cable offers variety. As TV shows move to DVD, as we work longer hours, as radio dies and satellite offers infinite choice, and the net offers random downloads to be carried on mp3 players, there will be no mass music movements. We are left with bland skater punk (Sorry unk you do know the good stuff though) and blaring metal (I know some of the good stuff on this) and branded hip hop or bubble gum Mariah Carey pop.
It will be packaged and sold but they may find it harder getting those big global hits.
The club scene will still dominate dance, gothic, and underground music, but this will splinter as well.
What the next musical movement will be is hard to say. I think the renaissance is over once people put down instruments, took meaning out of their lyrics, and allowed themselves to be commodities.
Teenagers in England have everything and have a serial killer aspect to them, that makes them bury themselves under hoodies, get wrecked, but then use that energy in mindless violence, that they transfer to their cell phones to perhaps, commodify and make it unreal. Even though the happy slapping may have hurt or killed someone, by transfering it to their cell phones, its a way of saying that did not really happen look its just a movie. The lines have blurred for a new generation of what is real or not. The world will catch up with them as they grow up, but what music or ideas have they left behind?
When life is as easy as George Jetson pushing buttons, there is no need to understand how a moog sythesizer works, how to play a drum beat, or pick up a violin or guitar.
We will be left with trading snippets of the past and merging them into new sounds, where the actual skill shall be lost.
As the new world order approaches, we will soon be restricted to bland beeps and bops, while Dick Cheney turns an entire generation into bullies losing fights.
Music is a wonderful thing, and classic rock artists borrowed from who they loved and changed it to new levels. There was no power struggle or racism, when we look at every musical genre having founding roots, whether is whites borrowing from white sounds, Americans borrowing English sounds, or Whites using Third World sounds, its all about the music man.
We have the drummer from Pretty Things, who played on several tracks of SF Sorrow, went on to play with Keith West and Steve Howe(of Yes) with Tomorrow. We have influences of Hawkwind and the roots of garage rock, punk, and Motorhead. A psychedelic power rock album that is all balls. Remember this was all released in 1971.
Do It: Which was a B Side on the single off the album, is a great song if your guilty about having that last beer.
War Girl: Subtle rock song, a classic.
Never Never Land: Song that grows on your like jock itch.
Teenage Rebel: Power song that sounds so much like Motorhead, you would think Lemmy was screaming the vocals.
Uncle Harry's last Freak Out: Ten minute psychedelic rock anthem that was pure 70's rock at its best.
The Snake: Power chord rifts that would define Punk.
Shame that all this music is lost in the past. All things are a product of their times and arguments can be made to forget old music. But the beauty of CD's and writing is that we preserve the material and why not listen to the best? We can consume classical, blues, jazz, rock, new wave, punk all from a vantage point of selecting the best.
This is all lost though, for commercialism plunges a head with the theory to buy new crap now and shit on the past.
What annoys me most is that Hip Hop lingers on. Its crap. Yet jazz, blues, 50's rock, classic country, psychedelic, etc. These artists were all quickly labeled has beens, sell outs, and torn apart, never given a second chance on radio.
However, hip hop is around now 20 years or more, it sold out immediately, they can't perform well live, and they sip champagne with elites no more than the Stones may have done in the later seventies. So why does it escape criticism?
I will say its because of the violent message in Hip Hop that attracts teenage angst, in an unhealthy outlet misused at the power of corporations and Madison Ave. That Hip Hop is not healthy political rebellion, but down and out consumerism. Its shielded by blacks, who are defended by the liberals, because they claim to sing about the struggles in the ghetto. This is not the blues, talking about real racism and hard ship, this is a description of violent fantasies, enjoying the crime, and hoping not to work hard or improve their environments, but to get rich, take the money for themselves, wear Tommy Hilfiger, fly in a helicopter, and sip champagne in a yacht. Its unintelligent and base, and what hip hop artist has given back to their neighbors or helped solve any of the problems they claim to be pointing out?
The elite liberals spurned classic rock in the eighties, as a way to rebel against their parent liberal professors who lived the protest classic rock movement. They attacked classic rock on the basis it stole from black blues players. These professors of the eighties were given the globalism movement in the eighties as further current evidence of this problem.
When groups like Talking Heads and Paul Simon went on to perform Brazilian, third world, or African music, they said it was further evidence of cultural stealing in a global power relationship.
They neglected that this propelled African and third world music into the consciousness of the world, giving it access to the radio and global media. Much like classic rock did for blues, it inspired a look into blues that was largely prevented from being played on radios, because of the racism against blacks. Without the Who or Stones covering early blues, it would not have brought as much attention to John Mayall or others.
Music is tradition, building, and borrowing, the racism was over played on elite campuses or at my alma almamada Hunter College.
To prove they are wrong I offer the following argument. In describing the Pink Fairies I can tell you that we see the roots of punk. I can tell you, that one song sounds just like motorhead, which occurs ten years ago. So why is Lemmy not evil for adopting a sound? Why did the Sex Pistols cover The Who in their early days? This is all what music is about, its not that anyone was picking on the blacks or stealing their guitar rifts. Quite frankly they loved the music and built on it.
Led Zeppelin for all its blues influenced rifts and covers, developed its own sound. Same as Pink Floyd and I can't say that all of it sounded like stealing. It was adopting sounds and pushing forward to something new. Often over looked is how closely Miles Davis sounded psychedelic on Bitches Brew, and I can't say he stole from Floyd or that Floyd stole from him. My point being that even new wave stole from Roxy Music, so this is white on white borrowing.
Its easy then to pick out examples where whites borrow from blacks and assume its a power relationship, in fact its a story, and a bad observation. Music is a good thing and it is not stealing for hits, its an artist hearing a sound and adopting it as his own. If that artist makes a hit, that's the nature of the business. If the Pink Fairies sold less albums than Motorhead or the Sex Pistols, its just nature of what people enjoyed. Maybe we often prefer the final extent of a sound where some people appreciate the roots more. The difference between enjoying a flowering rose bush as to learning to appreciate the thorns and greenness of the plant, then the anticipation as the buds appears, til we have the final product our flowers. Without the whole plant though, there is nothing but dirt.
Because they neglect all the evidence contrary to this, as white on white music borrowing occurs.
In Hip Hop, the blacks began to borrow rifts from classic rock behind their songs. The glaring difference was they simply did a bad cover of the rift, made no changes, or plain just played the song in the background. They never gave their own style to the sound, just sang over a catchy track. This to me is horrendous, yet you will not read anywhere in an elite journal that this is lousy outright stealing. Instead, they would argue its the blacks reversing the power struggle, I say because no style was added, this was actually commercialism at its worst.
In essence, at least maybe some hip hop kids may go out and try to find out where that led zeppelin track came from when heard in a hip hop song, however there is no blending or forward momentum of musical style.
The land scape in music today is a treacherous one. With radio completely eliminated over the years, even with satellite radio emerging, we can only witness the influence of the net. There is a lot of discussion now about the fact there is no shared cultural media.
We all do not sit down to watch the same TV shows, as cable offers variety. As TV shows move to DVD, as we work longer hours, as radio dies and satellite offers infinite choice, and the net offers random downloads to be carried on mp3 players, there will be no mass music movements. We are left with bland skater punk (Sorry unk you do know the good stuff though) and blaring metal (I know some of the good stuff on this) and branded hip hop or bubble gum Mariah Carey pop.
It will be packaged and sold but they may find it harder getting those big global hits.
The club scene will still dominate dance, gothic, and underground music, but this will splinter as well.
What the next musical movement will be is hard to say. I think the renaissance is over once people put down instruments, took meaning out of their lyrics, and allowed themselves to be commodities.
Teenagers in England have everything and have a serial killer aspect to them, that makes them bury themselves under hoodies, get wrecked, but then use that energy in mindless violence, that they transfer to their cell phones to perhaps, commodify and make it unreal. Even though the happy slapping may have hurt or killed someone, by transfering it to their cell phones, its a way of saying that did not really happen look its just a movie. The lines have blurred for a new generation of what is real or not. The world will catch up with them as they grow up, but what music or ideas have they left behind?
When life is as easy as George Jetson pushing buttons, there is no need to understand how a moog sythesizer works, how to play a drum beat, or pick up a violin or guitar.
We will be left with trading snippets of the past and merging them into new sounds, where the actual skill shall be lost.
As the new world order approaches, we will soon be restricted to bland beeps and bops, while Dick Cheney turns an entire generation into bullies losing fights.
Music is a wonderful thing, and classic rock artists borrowed from who they loved and changed it to new levels. There was no power struggle or racism, when we look at every musical genre having founding roots, whether is whites borrowing from white sounds, Americans borrowing English sounds, or Whites using Third World sounds, its all about the music man.
posted by Chuck Deggsy at 11:08 PM
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