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Michael Jackson (1958-Forever)

6/25/2010

4 Comments

 
It has been one year since Michael Jackson passed away and it seems like no time has passed at all. Here, in his memory, is a tribute that I wrote last year.

June 30, 2009
Losing Michael Jackson hurts in a very unique way, mainly because he is enrichly tied to who and what we are intrinsically and as a culture.

“…A major strand of our cultural DNA has left us. RIP MJ. I think we’ll mourn his loss as well as the loss of ourselves as children listening to Thriller on the record player…” -John Mayer

How is Michael so tied to who we are? Because for anyone who loves Michael, he is the center of so many specific memories and moments in our lives, both past and present. His performances, his videos, his music, his interviews, the historic moments; they’re all earmarks of a specific time and place. Just a glimpse of him automatically jumpstarts a flood of memories, taking you back to when you were a certain age, with a certain someone, feeling a certain way. He is symbol of what we were and are, where we were and are, and what we did and do. Losing him feels like losing every ounce of those memories. A sign of your childhood, a symbol of your existence on this earth is gone. It’s like losing your baby pictures in a fire, or having a family heirloom stolen. Many have said that Michael was like a family member and it felt like you knew him. It’s hard not to feel that way when you don’t recollect a time without him. That’s part of the reason why this moment is so hard to absorb and describe. For many of those who were born after 1968, there was NEVER a moment without Michael. THREE generations don’t know life without Michael. We always had him and he was always there.

“…Way before Oprah Winfrey, way before Barack Obama, Michael did with music what they later did in politics and television…”-Al Sharpton

For the previous generation, this loss especially hurts because they were there to MEET Michael. He was like a peer, a brother. He was their age, and for African-Americans, their color. For the African-American community, seeing Michael on television was like seeing themselves, which had a monumental impact. Hot off the heels of the civil rights movement, while blacks were still largely excluded from mainstream media, Michael was a sign of change. Much like Barack Obama was to the generation that saw him get elected, Michael was a sign that if you dreamed and worked hard enough, you could achieve, despite racial barriers. This little boy and his 5 older brothers gave young people something to hope for and relate to.

"…I would not be the artist, performer, and philanthropist I am today without the influence of Michael...In so many ways he transcended culture. He broke barriers…His legacy is unparalleled. Michael Jackson will never be forgotten." –Usher

Artistically, Michael did with music what should be done with music. Michael was cross-genre, cross-culture, and cross-generational. This was proven in the days after his death, as news footage from around the world showed fans celebrating his life and in mourning, from South America, to Asia, to Europe. Music is supposed to move and unite people, and Michael did exactly that in more ways than one. Literally the WHOLE world had one person common, regardless of culture, race, gender, age and economic class. One person with a musical gift, that cherished the human spirit, penetrated and surpassed ALL of our societal barriers as if they weren’t there. That one person was Michael Jackson; a black man from a poor neighborhood in Gary, Indiana. A man who typically would’ve been shunned based on those demographics, united and was mourned by the world. How remarkable.
Michael did more than just sell records; he touched souls, which is one reason he will be forever adored. You never forget the people that reach your heart and spirit, and for those who benefited from his humanitarian work, change your life.

"This is such a tragic loss and a terrible day. The incomparable Michael Jackson has made a bigger impact on music than any other artist in the history of music. He was magic. He was what we all strive to be…For anyone who has ever seen, felt, or heard his art, we are all honored to have been alive in this generation to experience the magic of Michael Jackson. I love you Michael.” –Beyoncé

Many have said that MJ set an almost unreachable standard for the artists following his impact. That’s probably true, considering no artist has even COME CLOSE to having global influence or breaking his historic records. Perhaps today’s artists are more so beneficiaries of Michael versus successors (clear beneficiaries are the African-American artists who have had their music videos featured on MTV, considering MTV did not show videos by black artists until “Thriller”). Apparently, touching the soul of the world and having cross appeal in every sense of the word is hard to accomplish. The funny thing, however, is that Michael didn’t seem to try that hard. The music just flowed from him. All he used was his natural talent and his desire to make memorable music. It wasn’t about marketing or business politics with Michael; it was about the music and us-the fans (We knew it was about us too; thank you, Michael). That’s how he was able to convey the pain of a broken, grown man on “Who’s Lovin’ You” at age 10, and the commitment of a deep, true love on “Got to Be There” at 14.
Genre-wise, you couldn’t put MJ into one category. Yes, he’s revered as the “King of Pop”, but pop is still short for “popular” music. Part of what made him so “popular” was the fact that he hit every demographic: the “rockers”, the “hip-hoppers”, the “cowboys”, the “pop-tarts”, the “soulsters”; everyone. The R&B of “Remember the Time”, the pop of “Billie Jean”, the rock in “Dirty Diana”, the hip-hop in “Black and White”; there was something for everyone. Something for my 51-year-old mom, who always walks around the house singing “Who’s Lovin’ You.” Something for the boys of Alien Ant Farm who covered “Smooth Criminal.” Something for the 7-year-old I saw in Wal-Mart years ago that knew all the words to songs made years before she was born.Not only did Michael incorporate genre-bending versatility into his music, but the element of a message as well. Yes, MJ had plenty of just fun, danceable songs, but for every “just for fun” song, there was a song with a message. He was always trying to enlighten or inspire us.

Michael had the type of career that most artists can only dream of. A 40-year career in which he was always relevant and his influence could be seen everywhere. Most artists have a “hey-day” or a prime. Michael was never NOT in his prime. Every album was a success (contrary to popular belief, ALL of his albums went, at minimum, platinum). Every performance and tour was eagerly anticipated. Even his Pepsi commercials caused worldwide hysteria. If MJ was on, you were paying attention. Every moment with Michael felt special and surreal. He took you by his glittery-gloved hand to a magical fantasy world that you never wanted to come back from. Michael had the admiration of the world, and yet, never seemed arrogant, selfish or egotistical. Even when he was angry or passionate, he was always soft-spoken. Michael was the backbone of music and gave a new meaning to the word “pop-culture.”He made music history, black history, American history, world history. It hurts, to say the least, that he’s not with us and there are no justifiable words to describe this moment, but I wanted to try.

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Music on Facebook 6/23/10

6/23/2010

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Omg, I LOVE Kelly Clarkson, Fantasia and Carrie Underwood! They can sing their faces off! American Idol's good days are long GONE!
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Music on Facebook

6/22/2010

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Here's my most recent musically-related facebook status:
“in TEARS! Xtina Aguilera's "VH1 Storytellers" was AMAZING! Lawd, I LOVE MUSIC! Such a moving performance!”  (here’s the link to part 3 of 5 of the show. You should definitely see the whole thing.)
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Christina Aguilera: Bionic (Deluxe)

6/18/2010

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Album Review.
Loved: “You Lost Me,” “Prima Donna,” “Sex for Breakfast,” “I Am”
Hated: “Bobblehead,” “Elastic Love,” “Vanity”
Overall: If you like techno-dance pop, listen to tracks 1-7/16-21. If you’d like a more familiar Christina, listen to tracks 8-15/22-24. Decent album.

With Christina’s sophomore album, “Stripped,” many assumed until further notice that the entire album would sound like her raunchy hit “Dirrty.” With her latest effort, “Bionic”, it’s a similar effect. If you heard the single “Not Myself Tonight,” you probably assumed that the entire album consists of techno dance-pop. This is only half-true. Christina split the album down the middle between her newly adopted sound (i.e. the techno) and the more familiar.
The dance fever begins with the catchy and acceptable “Bionic.” From there until track 8, is a bunch of dance songs that lack lyrical strength and purpose, which made the album hard to listen to initially. The songs are, at minimum, catchy. Those who don’t care about lyrical substance and just want a bouncy beat will find the songs satisfactory. “Woo Hoo,” featuring Nicki Minaj, is bound to be a single; at least the song has some value production-wise. 80’s pop fans will like “Elastic Love.” “Glam” channels Madonna’s “Vogue” and, dare I say it, a little Gaga. “Single Ladies (Put a Ring on It)” producer Tricky Stewart worked on the aggressive, hip-hop influenced “Prima Donna,” a song that’s sure to be a fun girl anthem. My only beef with that song is that Stewart copied and pasted a riff from Rihanna’s “Hard,” which he also produced. I hate it when producers recycle their tracks, but that’s another story.

After “Donna,” Christina takes a break from her new sound, throwing her older fans a bone. Aguilera gets her Robin Thicke on with the floaty, sultry “Morning Dessert/Sex for Breakfast,” then takes the sensitive and sentimental route.  “All I Need,” is a poetic lullaby to her young son, Max. “Lift Me Up” and “I Am” express the need for support during times of vulnerability and the embracing of flaws. I can appreciate “I Am” on soooo many levels. The production, the lyrics and the vocals are all just right. The music is just beautiful, tender and breathtaking (especially on the “stripped” version), it’s well-written, and Aguilera experiments a bit with her vocals. At times, she vocally reminds me of “Chasing Pavements” singer Adele. One of the better things about this album is that it appears that Aguilera has officially learned WHEN to over-sing. If there are any over-singing moments, they’re well placed and fail to annoy. Following “Am” is the dramatic “You Lost Me.” For me, “Lost” is the album’s golden moment. A song about infidelity, “Lost” is musically and vocally emotional and features a “classic” 1950’s sound that “Back to Basics” fans will enjoy. The song reminded me of why I love Christina in the 1st place.

So, by this time on the record, we’ve gotten 2 different feels. For the next 9 tracks (6 of them make up the bonus material), Aguilera somewhat blends the two styles. The winners of the song set are “Birds of Prey,” “Little Dreamer” and “Stronger than Ever.” “Prey” is an enticing song about the evils of having the wrong social circle. Songs that might be describing the dangerous, yet alluring Hollywood crowd never get old. “Little Dreamer” is an ode to a loved one. Just when I thought the days of dance songs with a purpose (ex. Janet Jackson’s Rhythm Nation) were over, Christina proved otherwise. “Stronger” tells of being a victim of psychological warfare and abuse. Some may grow tired of Aguilera’s songs about loving yourself and abuse, but songs like that will always be needed, and I much rather have songs like that than meaningless tracks like “Not Myself Tonight.” Chicks should love “I Hate Boys,” a “boys get on my nerves” anthem. I can appreciate the sentiment, and the lyrics are humorous, but it’s so campy, that it’s almost immature on Aguilera. I could see Katy Perry doing the song. “Bobblehead” is even worse, and could easily be a Kesha song. Christina went through the trouble of getting recognized as a serious singer/songwriter, only to regress to the sound of a new, gimmicky pop-tart with some of these songs. Chicks will probably also dig “Vanity,” a “hottest chick in town” song dedicated to egotism and arrogance. Just take Beyonce’s “Ego” and add 3 million more degrees. The song turned me off because of its topic, AND because of Aguilera’s need to call herself a bitch. I am SO OVER women calling themselves bitches in songs. Beyonce` did it, Rihanna did it-STOP THE FREAKIN’ MADNESS! No matter what you do, you can’t turn the word around. If you still get mad when people call you that within a certain context, you haven’t changed it. Stop it! I digress….

It’s so hard to say whether the album is good or bad as a whole. It has its great moments and its shaky ones. How did Christina pull of dance music? In my humble opinion, not well. To a degree, dance music is like a shoe that doesn’t fit for Aguilera. I can appreciate her exploring a different genre, but it all seems so regressive, like she’s back-tracking instead of moving forward. Like I said earlier, she’s worked hard to establish and prove herself as a serious artist, and it doesn’t make sense to go the gimmicky pop-tart route again when you’ve gotten so far away from it. Fortunately enough for this album, she’s got some good material to balance everything out. The mix of material is smart because it appeals to both new fans that like dance music (if they like her stuff) and her older fans that like her prior sound. Christina shouldn’t have tried to play catch up. It wasn’t necessary. She says in “Vanity”: “let’s not forget who’s on the throne.” It looks like she may have forgotten herself, trying to “update” her sound when she didn’t have to.

All and all, the album is a decent effort broken up into 2 styles. You’re bound to like at least one of those sides. Taste both flavors and see which one you like.
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Music on Facebook 6/16/2010

6/16/2010

2 Comments

 
Here's a recent musically-related facebook status of mine. Feel free to comment :) "Am I the only person that misses Danity Kane?"
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You Should Hear This: MGMT

6/14/2010

1 Comment

 
Check out MGMT’s “Electric Feel.” MGMT is a duo from Brooklyn, New York.

 
1 Comment

Professionals Sounding Like Newbies

6/7/2010

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So, I’m listening to the new Usher record, “Raymond vs. Raymond” and I get really irritated because almost every song sounds like a Chris Brown, Trey Songz, or Omarion throw away.  It was like whatever songs didn’t make the cut for their albums made it on Usher’s. Instead of sounding like the artist that influenced Chris Brown & etc, he’s sounding just like them. After 16 years in the industry, he’s sounding like someone who’s been in it for 6.

I saw Christina Aguilera’s video for “Not Myself Tonight.” While the sexual antics in the video were not surprising, the sound of the song was. “Futuristic” techno dance pop (ex. Lady Gaga) is currently popular, and “Not Myself Tonight” fits that mold. In Christina’s 12 years an artist, I’ve never seen her be such a conformist. Her albums (in their entirety) are always vastly different in some way from her counterparts’ projects. If “Tonight” is a reflection of how the “Bionic” album will sound, I will be disappointed; as it will be falling in line with not only Aguilera’s counterparts, but the newer generation of pop artists as well. “Rolling Stone” magazine hinted at this idea, saying that the “Tonight” single sounded like it could be from Gaga’s “The Fame Monster” or an outtake from Britney Spears’ “Blackout.”

Destiny’s Child’s Kelly Rowland has out new material (her next album will be her first under a new record label/management) that also has a techno-pop feel to it. In Kelly’s case, it’s not so much that she’s doing dance music that’s the issue. The problem is that the songs “Smooches” and “Commander” (the officially released single) completely lack substance; the lyrics have no point. Again, if the singles are indicative of what the completed album will sound like, we won’t have an artistic or masterful product. The music is catchy and will probably get her some attention, but that’s what new artists do. Put out catchy, pointless songs to get attention and sell a couple of records.  An artist who has been in the industry for 13 years shouldn’t sound like a new artist.

I’m seeing a pattern in music where older, more established artists are musically conforming to whatever is currently popular, resembling the sound of newer artists. This is a problem to me.
You can’t become an icon going backwards. As you progress as an artist and have some years under your belt, you set the standard and the tone for those who come behind you. I’m not sure what the industry horizon is going to look like if artists keep regressing.
I also see this pattern as a problem because the fans who have been following the established artists are going to feel abandoned/or frustrated. They listen to these specific artists because they relate to and identify with them. They are the artists that they have matured with. If the artists have a regressive sound, the fans now have to go elsewhere to find music they can enjoy (if they can find it). If fans have to go elsewhere, the artist loses their primary fan base, and that can be detrimental to the artist’s future success.

Who’s to blame for this and why is this happening?
Well, this typically happens because an artist is trying to stay relevant or popular. As far as blame is concerned, it could be both the recording artist and their record label. The artist may feel it necessary to sound like a newer artist to stay afloat, or their record label may be requiring that of them. Either way, if this is about staying relevant, regressing is NOT the answer. Like I mentioned before, you run the risk of losing your primary fan base when you do that. Furthermore, it sometimes comes off desperate, gimmicky or like a cheap trick and the new sound or persona is just not believable.

A lot of these artists who came out during the 90’s are in an interesting position. They’re at a crossroads point in their careers. They’ll either take the path to greatness and become full-grown icons, or they’ll just be fairly relevant or dissipate. They’ve now been around long enough to where they have SOME respect and control of their careers, but they’re still young enough to have to play by the current industry rules and meet certain expectations. Cards have to be played right, and steps have to be taken carefully. All I know is that regression is definitely not the answer. Take the case of Madonna. In my opinion, it’s not a coincidence that in comparison to her previous, platinum albums, her latest album “Hard Candy” only went gold. “Hard Candy” featured the production stylings of Justin Timberlake and Timbaland; artists the generation BENEATH Madonna’s. The material on “Hard Candy” could have easily been on a Nelly Furtado or a Britney Spears record. Moral to the story, sounding like the kids under you doesn’t work.
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Music on Facebook

6/7/2010

1 Comment

 
Here's some musically-related facebook statuses I've had lately. Just thoughts lol. Feel free to comment on any of them.

1.“Dear Ciara, PLEASE go back to the old you. Thanks. That is all.”
2."Is it just me or has john legend have yet to supersede the "get lifted" album?"
3.“I need more Erykah Badu in my life. I don’t own enough Erykah Badu.”
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StuCk In mY HeAd

6/6/2010

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Today’s “Stuck in My Head” song is Kelly Rowland’s “Commander.” I hate the fact that she’s using auto-tune and that the song is essentially about nothing but dancing, but some way, somehow, this song has remained in my psyche.
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The State of The Music: Gimmicks, Aging, Marketing & Consumers

6/6/2010

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Yet another blog were I talk about multiple semi-related things and hope it makes sense LOL.
I was reading a XXL magazine (hip-hop music) feature on Jay-Z (if you don’t like him, don’t stop reading- this post is about the music industry in general), and he said several things during his interview in relation to hip-hop that I thought could be applied to the music industry in general.

Gimmicks, Patterns, Formulas and Trends.
Jay was making the point that hip-hop has taken over mainstream music and culture and it runs the risk of losing its position to other genres as things have been become rather predictable and generic in terms of style and sound. “When a trend becomes a gimmick, it’s time to get rid of it…I saw everyone, because it was successful, following one path…We’re going to open the door for another genre of music. Same way when rock was doing hair metal, it opened the door even wider for hip-hop to come through and put rock in trouble for 10 years or more. Right now, a lot of indie bands are coming out, making rock more interesting...You keep messing around, making generic music, people are going to start turning off one at a time.”
This idea can be applied to the whole industry. In the music industry, it has long been a practice to massively reproduce any one thing that’s a success (i.e. a particular sound or trend like extreme auto-tune or blonde hair). It’s considered a smart business practice, but in regards to art, it makes things redundant. Over the last ten years, the “practice” has turned into religion: EVERYTHING is being recycled and reproduced. This is the reason why so many new artists aren’t lasting; they’re designed to deliver a recycled gimmick, make some quick money for the recording label, then disappear. This is reason why the same “heavyweight” artists don’t have any competition and continue to dominate. We as consumers have to get smarter to improve music. The record labels count on us being stupid enough to buy the same thing over and over, and unfortunately, we often are. For example, we already know that everything with auto-tune sold like hotcake. Or take the songs “Irreplaceable” (Beyonce`), “With You” (Chris Brown) and “Tattoo” (Jordin Sparks). All 3 have a very similar drum and acoustic guitar pattern (It’s no coincidence; they were all produced by Stargate. They changed the same track just enough for them to not be identical). All 3 songs sold like hotcake. We bought the same song THREE times. This “smart” business practice to recycle/reproduce will no longer be smart if we stop buying into it.

Aging in the Industry and Marketing.
In regards to marketing and being criticized for being a nearly 40 year old rapper Jay said: “I think people should make music as long as their heart is in it….If the target market is 15 to 25, that’s too narrow. What am I going to listen to at 26 and beyond? That’s a quarter of my life…We have to expand the genre. I would love to listen to hip-hop all day...everyone is speaking to the kids, thinking that’s the key to success…it’s the lack of growth that will keep us in certain place…you have those guys who are 35 years old trying to make “LOL smiley face”, competing with Soulja Boy.”
Again, his ideas are relevant to the entire music industry. Whatever the genre, once you turn 40, people treat you like you should disappear and stop putting out music. Music is an art and a form of expression. So, what, if you’re 40, you’re too old to express yourself? And if music is who you are, I guess you should stop being who you are. It’s disgusting how we discard artists after years of great music just because we think they’re too old to love music. A couple of different crappy things happen to you when you get older in the industry. If the record label keeps you around, they try to “update” your sound and make you “current” to compete with Soulja Boy (which just makes you look stupid). OR, if they let you keep your old sound, they barely promote you. You lose either way, because the audience ends up not buying your record.

Furthermore, in regards to the target market ALWAYS being 15 to 25, Jay is so right. What do you listen to at 26 when nothing relates to you? Why focus on one target audience? Focusing on one target audience is another practice that’s considered “smart”, but to me, it’s really stupid. Why milk one cow, when you can milk two (In this case getting money from more than one fan base)? Is the music industry A.D.D.? It seems as if currently, there is a pattern of doing one thing at a time. An artist will explore one genre at a time, target one fan base type at a time, either have an “artistic” album or a “commercial” album, or be JUST a great dancer or JUST a great singer. Yet, ironically, in order to have longevity, an artist must be multifaceted, multitalented and multitask.
The “one at a time” approach to marketing may make QUICK dollars for music execs, but it does nothing for the artist. It cuts their longevity short. For example, with focusing on just one fan base at a time, you alienate whoever you’re not focusing on. This will keep an artist from building a fan base that follows them long term. An artist will NEVER have the complete package doing one thing at a time, and therefore will get lost in the dust. But the record execs don’t care whether the artist lasts or not, even though the longer an artist lasts (and is successful), the longer they’ll make money for them. And yet, the execs are supposed to be the smart ones….

Consumers.
MUSIC SUCKS RIGHT NOW. What the hell can we do about it? We can be smarter consumers. It may SEEM like the execs run everything, but the truth is, we DRIVE the industry. We DICTATE the market. We ARE the market. What we buy helps them decide what products to create. For example, if we all bought ONLY oranges, fruit sellers would stop selling apples and only oranges. In music, if we ONLY bought Mariah Carey albums, then they would fashion all artists after her to try to get us to buy it. When it comes to purchasing music, only buy what you want to see more of.
#2, stop falling for the record execs’ games and gimmicks. Don’t be so shallow as to fall for someone with great looks, but doesn’t have a great voice. Don’t play into publicity stunts, gossip and hype. Stop listening to music that you feel is “just ok.” Don’t tolerate “just ok.” Raise the bar. Only buy what you think is “amazing.” Own your power as a consumer.
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