Back in tha day there was a backlash against “that hot new sound”: rap music. A flurry or columnists, journalist, politicians, concerned citizens, and future bloggers (read: puritanical uptight sissies) raised a stink. They complained about obscene lyrics, how you couldn’t understand what was being said or what it meant, and the general offensive tone and beat of the music itself. A similar sort of backlash struck the emerging heavy mental scene as well. Both musical styles, more or less, successfully defended themselves in the court of public opinion, growing in popularity and legitimacy as musical styles with genuine talent.
But there still exists offensive music that shouldn't be allowed. While these songs might sound like rap, metal, or whatever, they are, really, instances of “pop music”. They’re typically boo-hissed by genuine fans of music. Here I wanna explain why, despite how you feel about gangsta rap (or other “offensive” music), the real offensive music is valueless pop music.
First off, I wanna differentiate between “pop music” and “popular music”. The latter is music that becomes popular in virtue of its own goodness; the former is thrust in with popular music despite not gaining notoriety of its quality. Pop music, instead, is designed and promoted as that which is (or, according to some, should be) popular. Here I’m only arguing against “pop music”. (“Popular music” is okay.)
While pop music got started back with, I dunno, the Monkees, it seems that pop music has exploded in the last decade or two: It has been growing in presences and "legitimacy" and there’s now a constant influx of new “artist”; from Brittney Spears, to Lady Gaga. These pop artists are often at the fringes of legitimate musical styles; they aren't really rap, metal, or whatever simpliciter. Instead they're bastardized creations made by hacks that are pushed and promoted by record labels. And there are instances from all kinds of music genres: the Theory of A Deadman types representing Rock’n’Roll; the Chingy types representing Rap; the Aqua types representing Electronica; and the Ashlee Simpson types representing…. I don’t even know what. A lot of these people don’t write their own music, or do any kind of performing other than singing (or, I should say, lip syncing; see Simpson link). Their tunes are manufactured and polished by producers working behind the scenes; working not for the art of it, but to fabricate the next “hit” to sell and make another cool million bucks. These crappy musical products are designed to be (one way or another) attention getting. It’s superficial and “soulless”. This is a case-in-point of where capitalism and Big Business have tainted the arts and our culture.
So why hasn’t “pop music” faced the same persecution as other kinds of contemporary music? Anyone that’s not a 14 year old girl and has an I.Q. over 40 can’t deny that pop music has no redeeming qualities. I mean, come on, it’s obviously inherently crap. Sure, a lot of it might not be offensive in the same say Metal and Rap was accused of being offensive. But pop music is offensive in its shittyness and fakeness (which, perhaps, is such a subversive kind of offensiveness that it gets missed; which would make it a more dangerous kind of offensiveness). It’s overly commercialized nature certainly doesn’t help it. By tolerating pop music we’re allowing the record industry to dictate to us what’s “cool” and what we should listen to; by tolerating it, we’re acting like sheep.
But let’s face it, we like pop music (even though we’d never admit it). It’s catchy. And a lot of it just somehow make you wanna dance. I mean, I can dance like John Travolta, but I hate to do it. Nevertheless, a lot of pop music just makes me wanna get out there and crunk up a storm. Does this redeem it? Not at all. Despite the superficial attractiveness some pop music might be conceded as having, its other detrimental qualities surely trump that and make it frustratingly objectionable. I could say more, but I think that’s enough for now. This is just my spur-of-the-moment thoughts on the subject. I could be wrong. After all, what do I know.