hw3004 said:

thedoorkeeper said:

You got that right. This may shock you youngsters but in the 1970's McDonald's was GOOD. There French fries were to die for. You would go in, order fries, dump them in the bag & walk down the street eating them out of the bag. Heaven. There used to be this deli chain called Bagel Nosh. A huge bagel with a slab of cream cheese about an inch thick. You took one bite and the cream cheese gushed out. Sadly those days are gone.

I'm not a youngster.

I'm sorry I didn't realize you were an old coot like me!!!!

[Edited 7/19/13 8:37am]

Record companies control what is played on the radio. Not that radio is as huge as it once was, but when the record companies only push "the latest" with a minute amount of talent... that is all we get. It transfers to what video and promotions are out there too. So much of award shows tout the talent being pushed by the record companies. The stars that participate in such shows are only doing it as part of their promotional packages. Who produces these award shows? They are largely supported by the record companies, just as in the radio business. A recent example is, say, Cher. She's only out there right now because her record label is making her promote her upcoming album. If there were no album involved, we wouldn't be seeing so much of her. Where's Madonna? Well, who knows. What we do know is that since she doesn't have an album to promote, we won't see or hear from her until then. Meanwhile, anyone without the backing of a record company, especially those considered "old hat" have to resort to self-promotion through their own websites. Sad really.

“I’m going to cut you.”

“If I have seen a little further it is by standing on the shoulders of Giants” – Isaac Newton. That saying has been repeated by the greatest thinkers, builders and entertainers but many misuse his words as an excuse for imitation. Such is the case in the music industry and that lack of originality is causing more damage than people understand.

What Newton meant by his famous phrase was that he only accomplished his goals because he built on the work of those brilliant scientists before him. Indeed, he understood that his findings were mere contributions to constantly expanding field of Physics, and his ideas simply stemmed from the foundation laid by his predecessors.

That same reasoning can be applied to other areas, including the music industry, and was strongly supported by the late Michael Jackson. Yes, the King of Pop was one of the greatest artists of our time but as we discussed in our reflective piece marking the anniversary of this death, he was also a student of other men and women who influenced him in many ways.

Unlike Jackson, however, performers from the current generation rarely strive to build on the work of industry leaders and pioneers. Instead, they emulate, copy, mimic, mirror and every other synonym for the word ‘imitate’ greats without adding anything new to the tapestry of music. As a result, the industry has become stagnant; stuck in a limbo with little signs of progression.

To develop a better understanding of this issue, let’s take a look at a few examples of copycats from across the music industry. First on the list is Beyonce but before I starting typing, give me a few seconds to lock my doors, shut my windows and check the locks to ensure that her maniac fans can’t enter my house…

Beyonce is a very talented singer, she has fiery stage presence and she can shimmy with the best of them but nothing she does is original. When the diva isn’t copying Jackson’s stage productions – thanks to the input of “creative” director Frank Gatson – or the videos of countless other acts, she is blatantly stealing routines and costumes from Tina Turner.

That lack of creativity is observable in every sphere of Beyonce’s brand and it has stunted her growth as an artist. Imagine how amazing she would be if she simply took the time to craft her own songs instead of allegedly purchasing a slot in the credits from real songwriters. Imagine how exciting her concerts would be if we hadn’t already seen the various costumes, light shows and routines performed by other acts. I guess we’ll just have to keep dreaming because as her documentary stated, Beyonce’s life and her originality are but a dream.

Another popular copycat in the music industry is Chris Brown. He is a fantastic dancer and his moves certainly rival those of Jackson. Yet, is Brown as good as the latter or do people only draw such parallels because of his many recreations of Jackson’s old performances?

Think about it: How many times has Brown executed a routine onstage or in his videos that wasn’t previously done by Jackson? We all know that Jackson borrowed the moves of many of his own inspirations – he learned the moon walk from Soul Train dancer Jeffrey Daniels and his “Smooth Criminal” video was heavily inspired by Fred Astaire’s “The Band Wagon” – but at least he combined each element in incredible new ways. Brown, on the other hand, copies his idol move for move.

Even Brown’s music follows the formula of other artists, especially that of Usher, and his most recent hit, “Fine China”, sounds as though it could have been a demo for Jackson’s Invincible album. Well, minus the strained falsetto notes and the slurred lyrics.

Our final example of an industry copycat, as you may have guessed from the main image above, is Ariana Grande. Relatively new to the music scene, this 20 year old is taking the charts by storm with her sugary voice and sweet high notes. However, the only reason that she has made any impact this far, aside from the hordes of tweens who watched her on Nickelodeon, is because she looks and sounds almost exactly like a young Mariah Carey.

Grande’s team has styled her to look like Carey in her prime (1993-1996). Also, following Tommy Mottola’s model of success that made the latter a megastar in the 1990s, they have branded Grande as the innocent, ambiguous girl next door with the big voice yet polite demeanour that even the most conservative consumer would appreciate.

Finally, to complete the perfect clone, Grande’s music is a direct imitation of Carey’s material. It’s almost as though there is a camp of writers and producers operating under the specific instruction to recreate Carey’s biggest hits so that Grande could give the former fans of the diva a sense of nostalgia. That would be a clever move because as Britney Spears stated during her On Air with Ryan Seacrest interview, she misses “old school Mariah Carey.” So, since Carey refuses to give the people what they want, Grande’s team have provided them with a substitute.

Still, it is important to note that although the problem is more rampant today, blatant imitation isn’t new to the music industry. For instance, when Natalie Cole started her career, she ripped off Aretha Franklin’s sound and many people thought that her breakthrough hit, “This Will Be”, was performed by the latter. To be a fly on the wall in Franklin’s dressing room when Cole took home Best Female R&B Vocal Performance title at the 1976 Grammy Awards by using her singing

The real point of this article is closely related to the issue of mediocrity we discussed early this week. With few acts trying to take music and entertainment forward, the industry has come to a halt. As we previously stressed, labels aren’t developing their signees as true artists and those with the potential to reach new heights are refusing to take risks as they release generic material just to score a hit.

So, music industry is in limbo. Most artists are nothing more than copycats who imitate those who came before them and rarely contribute anything to this culture of what we call popular. No wonder most of the songs of the charts are so uninspired; we’re all sitting in a cesspit of the old and recycled.

“Damn, this music stinks!”

Read more: An Industry of Imitation: How Unoriginality is Damaging Music http://thelavalizard.com/2013/07/an-industry-of-imitation-how-unoriginality-is-damaging-music/#ixzz2ZXMA4WzN
Follow us: @TheLavaLizard on Twitter | TheLavaLizard on Facebook

I don't understand people saying that the music business today is about making money. It's always been that way. The mafia wasn't involved in it for "artistic value", it was to make money, and sometimes had record labels and nightclubs as fronts for money laundering and other illegal activities. There isn't that much of a difference in the "suits" today and the mob decades ago, except maybe the "suits" don't beat up the acts, hang them over a balcony to make them sign contracts, or put hits out on them.

I don't know...I'm gonna call bullshit out on this one. There is nothing new underneath the sun. Everyone copies from everyone. It's how new art is created. People swiping from each other didn't just happen in 2000.

I'm not sure how it happened but i know its here and has been for a long time.

I was listening to that song where the chick is singing about umbrellas or some shit, It might have been Rhianna. Anyway I don't like to say stuff like this but whoever it was, that stuff was garbage. Her voice sounded all monotone and was bland as hell. I think she kept on singing Oh Oh, Oh Oh.

JoeyC said:

I'm not sure how it happened but i know its here and has been for a long time.

I was listening to that song where the chick is singing about umbrellas or some shit, It might have been Rhianna. Anyway I don't like to say stuff like this but whoever it was, that stuff was garbage. Her voice sounded all monotone and was bland as hell. I think she kept on singing Oh Oh, Oh Oh.

I think im mixing up the Umbrella chick with beyonce. Beyonce does the Oh,Oh and the tone def chick kept on saying Umbrella over and over.

The big problem is we have run out of ideas. Every single melody, harmony and chord progression has been to death. There are only so many mathematical combinations in the 7 note scale that sounds pleasant to the human ear. The last ounce of originality was squeezed out in the early 90s. That's why the last decade has been a musical chair of already existing genres. Composition is exhausted and musical production is on its last frontier of original thought.

We no longer have artists like Miles Davis, Dave Brubeck, Frank Zappa, Prince, David Bowie, Kate Bush, Nina Simone, etc who push musical composition in new directions which allows other artists to explore. Right now we are just spinnings wheels long after the rubber has burned off. Don't get me wrong, there is still amazing music being made by talented artists , but its based off of older ideas with very little new concepts being added.

I think this musical stasis has effected all areas of music including mainstream artists. The reason mainstream artists are so off putting because they're giving us a very simplified version what we've already heard. They are not the problem but the symptom.

Great art is born from the unknown and the familiar. We need more of the unknown. Maybe music theorists or mathematicians can break new ground for other artists to develop new motifs. And we as the audience will have to let go of our comfort zone and start inviting music that may be challenging to our ears at first , but ultimately rewarding in the long run.

This again? There is no way to prove that there ever was a time when the status quo

of the music industry was or wasn't "mediocre," "good," "bad," "excellent," or "excellently

bad" mostly.

.

I invite anyone who would argue otherwise to go to Wiki and take a look at the Billboard

Hot 100 charts from the 60s, 70s, 80s, 90s and 00s: you'll see that what is popular music

has always been constituted of "mediocre," "good," "bad," "excellent," or "excellently bad"

music.

.

We have not "run out of musical ideas." That is a slap to the face to jazz musicians and

classical composers and musicians releasing music today who have not run out of ideas.

.

I commend y'all who are presently writing eulogies to "good music" to stop listening

to the radio and go find something new. You have not heard every single piece of music

ever constructed or composed so why should I listen to you talk about how music today is

mediocre?!

lrn36 said:

Maybe music theorists or mathematicians can break new ground for other artists to develop new motifs. And we as the audience will have to let go of our comfort zone and start inviting music that may be challenging to our ears at first , but ultimately rewarding in the long run.

.

This is the only part of your post that I agreed with; it is well said.

I find that,the "new" songs that I like today,borrow heavily from the past.I like the idea of music going back to basics.....using sounds and ideas from the past.I'd rather hear a new record that sounds more like 1978,as opposed to 2013.There are alot of amazing things that were done,musically, in the past that should have never been abandoned.

duccichucka said:

This again? There is no way to prove that there ever was a time when the status quo

of the music industry was or wasn't "mediocre," "good," "bad," "excellent," or "excellently

bad" mostly.

.

I invite anyone who would argue otherwise to go to Wiki and take a look at the Billboard

Hot 100 charts from the 60s, 70s, 80s, 90s and 00s: you'll see that what is popular music

has always been constituted of "mediocre," "good," "bad," "excellent," or "excellently bad"

music.

.

We have not "run out of musical ideas." That is a slap to the face to jazz musicians and

classical composers and musicians releasing music today who have not run out of ideas.

.

I commend y'all who are presently writing eulogies to "good music" to stop listening

to the radio and go find something new. You have not heard every single piece of music

ever constructed or composed so why should I listen to you talk about how music today is

mediocre?!

Well, I did say there is still amazing music being made by talented musicians. I'm not blaming or putting down today's artists. Also, I haven't listened to radio since the late 90s so I don't gobbled up what mainstream has to offer. I also agree there has been good and bad music from decades ago to now.

When I say we have run out of musical ideas, I'm talking about musical ideas based on an old paradigm. You say there are great classical and jazz composers releasing new music. That's great, but who is making the music we can't even name yet. They couldn't be creating it right now and we haven't recognized it yet. It's like we are creating in a bubble that's getting increasingly smaller and smaller. We need to blow the bubble up and see what's on the outside.

[Edited 7/20/13 12:54pm]

The original post makes the point about lack of investment in artist development. I'm no music industry insider, but that would not surprise me. Seems consistent with a wholesale lack of any sort of investment in new/young talent in every part of society.

What's left of the old established music industry makes much of it's profit off of long-established acts. But would these acts have become the money spinners that they are today if no-one nurtured them near the start of their careers? Exactly.

Same thing goes for young people starting out in the world of work today. After working hard for four years in college/university and running up eye popping debts, the vast majority have little prospect of getting job other than an unpaid internship (in some ways the modern version slavery) or a shit fast food jon that will only enable them to keep their noses above the waterline at best. Hardly any chance to grow or develop in a career or as a person. I digress.

An earlier post said that middle aged people have always been bitching that younger acts will be forgotten tomorrow. Fair point. But seeing as unestablished contemporary artists are only being given the means to make cheaply produced, easily disposable music, which doesn't add much to musical culture that is already out there, I actually think that nothing of worth might be left behind from today's era. It's like the industry is churning out the musical equivalents of millions of cheap shit Ikea chairs and hardly any Chippendales (please do substitute your own quality/quantity metaphor here!)

[Edited 7/20/13 14:18pm]

HAPPYPERSON said:

“I’m going to cut you.”

“If I have seen a little further it is by standing on the shoulders of Giants” – Isaac Newton. That saying has been repeated by the greatest thinkers, builders and entertainers but many misuse his words as an excuse for imitation. Such is the case in the music industry and that lack of originality is causing more damage than people understand.

What Newton meant by his famous phrase was that he only accomplished his goals because he built on the work of those brilliant scientists before him. Indeed, he understood that his findings were mere contributions to constantly expanding field of Physics, and his ideas simply stemmed from the foundation laid by his predecessors.

That same reasoning can be applied to other areas, including the music industry, and was strongly supported by the late Michael Jackson. Yes, the King of Pop was one of the greatest artists of our time but as we discussed in our reflective piece marking the anniversary of this death, he was also a student of other men and women who influenced him in many ways.

Unlike Jackson, however, performers from the current generation rarely strive to build on the work of industry leaders and pioneers. Instead, they emulate, copy, mimic, mirror and every other synonym for the word ‘imitate’ greats without adding anything new to the tapestry of music. As a result, the industry has become stagnant; stuck in a limbo with little signs of progression.

To develop a better understanding of this issue, let’s take a look at a few examples of copycats from across the music industry. First on the list is Beyonce but before I starting typing, give me a few seconds to lock my doors, shut my windows and check the locks to ensure that her maniac fans can’t enter my house…

Beyonce is a very talented singer, she has fiery stage presence and she can shimmy with the best of them but nothing she does is original. When the diva isn’t copying Jackson’s stage productions – thanks to the input of “creative” director Frank Gatson – or the videos of countless other acts, she is blatantly stealing routines and costumes from Tina Turner.

That lack of creativity is observable in every sphere of Beyonce’s brand and it has stunted her growth as an artist. Imagine how amazing she would be if she simply took the time to craft her own songs instead of allegedly purchasing a slot in the credits from real songwriters. Imagine how exciting her concerts would be if we hadn’t already seen the various costumes, light shows and routines performed by other acts. I guess we’ll just have to keep dreaming because as her documentary stated, Beyonce’s life and her originality are but a dream.

Another popular copycat in the music industry is Chris Brown. He is a fantastic dancer and his moves certainly rival those of Jackson. Yet, is Brown as good as the latter or do people only draw such parallels because of his many recreations of Jackson’s old performances?

Think about it: How many times has Brown executed a routine onstage or in his videos that wasn’t previously done by Jackson? We all know that Jackson borrowed the moves of many of his own inspirations – he learned the moon walk from Soul Train dancer Jeffrey Daniels and his “Smooth Criminal” video was heavily inspired by Fred Astaire’s “The Band Wagon” – but at least he combined each element in incredible new ways. Brown, on the other hand, copies his idol move for move.

Even Brown’s music follows the formula of other artists, especially that of Usher, and his most recent hit, “Fine China”, sounds as though it could have been a demo for Jackson’s Invincible album. Well, minus the strained falsetto notes and the slurred lyrics.

Our final example of an industry copycat, as you may have guessed from the main image above, is Ariana Grande. Relatively new to the music scene, this 20 year old is taking the charts by storm with her sugary voice and sweet high notes. However, the only reason that she has made any impact this far, aside from the hordes of tweens who watched her on Nickelodeon, is because she looks and sounds almost exactly like a young Mariah Carey.

Grande’s team has styled her to look like Carey in her prime (1993-1996). Also, following Tommy Mottola’s model of success that made the latter a megastar in the 1990s, they have branded Grande as the innocent, ambiguous girl next door with the big voice yet polite demeanour that even the most conservative consumer would appreciate.

Finally, to complete the perfect clone, Grande’s music is a direct imitation of Carey’s material. It’s almost as though there is a camp of writers and producers operating under the specific instruction to recreate Carey’s biggest hits so that Grande could give the former fans of the diva a sense of nostalgia. That would be a clever move because as Britney Spears stated during her On Air with Ryan Seacrest interview, she misses “old school Mariah Carey.” So, since Carey refuses to give the people what they want, Grande’s team have provided them with a substitute.

Still, it is important to note that although the problem is more rampant today, blatant imitation isn’t new to the music industry. For instance, when Natalie Cole started her career, she ripped off Aretha Franklin’s sound and many people thought that her breakthrough hit, “This Will Be”, was performed by the latter. To be a fly on the wall in Franklin’s dressing room when Cole took home Best Female R&B Vocal Performance title at the 1976 Grammy Awards by using her singing

The real point of this article is closely related to the issue of mediocrity we discussed early this week. With few acts trying to take music and entertainment forward, the industry has come to a halt. As we previously stressed, labels aren’t developing their signees as true artists and those with the potential to reach new heights are refusing to take risks as they release generic material just to score a hit.

So, music industry is in limbo. Most artists are nothing more than copycats who imitate those who came before them and rarely contribute anything to this culture of what we call popular. No wonder most of the songs of the charts are so uninspired; we’re all sitting in a cesspit of the old and recycled.

“Damn, this music stinks!”

Read more: An Industry of Imitation: How Unoriginality is Damaging Music http://thelavalizard.com/2013/07/an-industry-of-imitation-how-unoriginality-is-damaging-music/#ixzz2ZXMA4WzN
Follow us: @TheLavaLizard on Twitter | TheLavaLizard on Facebook

She may be quite talented, but there's no way Cat has a leg up on Mimi. At least not musically. (Maybe as an actress, but she's really over the top if you have seen Ms. Grande in Victorious or Sam and Cat.)

BTW, Ariana Grande is only the latest Mariah Carey wannabe, and there have been a bunch who have come and gone over the years, most notably Leona Lewis. She was supposed to be the next huge pop sensation but was upstaged by her fellow Brit Adele. As for Ariana, she may be a whole generation removed from Mariah's early days; after all, she wasn't even born when Mariah first got her start. But don't discount her following from her Nickelodeon fans. Here's a clip of her from Victorious where she actually gets to share some of the spotlight. (The show was a vehicle for Victoria Justice which was partially produced by Sony Music.)