Mechanical Music for the Masses
By Troy Taylor
I am going to write one last time here on the subject of Mechanical Music for the Masses, as I seemed to have stirred up somewhat of a controversy and ruffled some feathers, which was never my intent. I am not going to retract my previous writing -- if I am guilty of a grave misinterpreta- tion of writing, then please delete references to that writing and let my view stand on their own. I am going to attempt here to further clarify my views.
Although Mr. Brougher and I have written some conflicting postings, I think that they have a common root that initially escaped us both. We have communicated privately to this end. I do share some of his views regarding the destructive results the "music" that he refers to has on society, but this is not the forum for discussion of that issue and I will refrain from doing so now.
The confusion resulted, at least in part, from our respective use of such all-encompassing words as "everyone" and "we/they". If "everyone" was truly interpreted to mean "each and every person", then yes, I would say that there are indeed some elements of society that would be detrimental to the realm of player pianos. If "we/they" is interpreted as "those of us that currently appreciate player pianos for what they are" vs. "all other people", then that can be viewed negatively as well.
It was my interpretation that broadening the appeal of MM instruments would mean exposing them to more elements of the younger generation, and then welcoming those that took a liking to them with open arms. Awareness of _both_ the instrument and the history/culture along with it, _not_ just awareness of the instruments alone. I did not think that this would involve trying to find a lowest common denominator to attract even those sheep farthest from the MM fold, or expanding the fold to recruit them all, and I have not and will not advocate doing that. Rather I _do_ believe that there should be increased acceptance of those that enter the MM realm of their own accord, as a result of said increased awareness and accessibility.
As rap/grunge/banger music does not currently make use of pianos anyway, it seemed highly doubtful to me that Mr. Brougher's fears of X-rated rolls and songs would ever become a reality. Player piano rolls are exceedingly difficult to produce in any quantity, and since the people that would choose to purchase such a roll were it available represent such a tiny minority, I did not think that the potential for MM instru- ments to become purveyors of filth was even a consideration. My thoughts about rappers and grungers accepting MM were if they actually did so for all it represents in its _current_ form, and _not_ because of some potential they saw for creating more pollution.
If a rapper or grunger would go as far as sing along to "Bell-Bottom Trousers", "Little Bitty Tear" or the like, then they must have, at least for that moment anyway, chosen to rise to the standards Mr. Brougher mentioned. That behavior should be welcomed, for if they will do it once, they are more likely to try it again. Repeat customers are what we need in this hobby, regardless of what other types of music they choose to enjoy.
I still will not agree that those who merely tolerate such trashy music are no better than those who produce it. I myself tolerate it, not because I believe obscene music is right or acceptable, but because that is the surest way to hasten its downfall. People producing such "music" are looking for only two things: reaction and money. Music can be a force for rebellion only if it arouses public condemnation and outcry.
If the public is silent, the "artist" is left without the reaction they wanted, and will thus cease using that medium to elicit response if none can be evoked. By not purchasing or listening to such music, I am also depriving them of profits. Money drives all things and, if for no other reason, this scourge will end when it becomes unprofitable to perpetuate.
I might add here -- to remind those that would like to believe that all such garbage is a product purely of "Generation X" -- that Sony, Time-Warner, and the other big companies currently producing and market such "albums" are neither owned nor controlled by Generation X-ers.
I would welcome any further comments that anyone would like to discuss with me regarding this topic, but, in order to refrain from beating a dead horse in the Digest, please respond to me directly.
Regards, Troy Taylor
n9344027@cc.wwu.edu |
(Message sent Tue 11 Feb 1997, 18:13:08 GMT, from time zone GMT-0800.) |
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