I’m continuing to work my way into the book slowly and am enjoying it. I could read it more quickly but I’m enjoying that the slow pace gives me the time to enjoy his many interesting asides or digressions, rather than trying to follow a thread of argument too closely. I will post some more quotes later but I wanted to follow up one one of the quotations from the previous post.
When Simon Reynolds says that, “This is the way pop ends, not with a BANG but with a box set whose forth disc you never get around to playing” or quotes Sufjan Stevens as saying that rock is dead*, the obvious example of what this might look like is Jazz. For years older albums and reissues have been outselling new music in Jazz. People still play and listen to jazz but, as a genre, it is no longer part of the pop culture landscape, more or less. It’s possible to imagine the same thing happening to rock music.
I don’t think that will happen to rock, anytime soon. But I do think it’s reasonable to assume that, if Rock dies, something will replace it. I don’t think there are fewer people making music now than their used to be — to a first approximation at least it’s possible that some people who would have picked up a guitar twenty years ago are now spending their time blogging instead or some other waste of time. But generally, I don’t doubt that people, including young people, are doing some music, somewhere. So if Simon Reynolds no longer feels connected to a contemporary music scene that doesn’t mean there isn’t one.
I don’t mean that to be too easy a response. It’s entirely possible that nothing happening today feels like a satisfactory replacement for the music that Simon Reynolds cares about, and I don’t want to dismiss that. But I will turn the mic over to George Starostin at his cranky best.
Now the problem is: when and how does a new musical revolution occur? The obvious answer is – when the previous musical genre has exhausted its possibilities. While a certain genre is new and fresh, its supporters are many and its new creations are welcome. But sooner or later, it inevitably dies down – simply because no type of art is limitless. Classical music was given two centuries to flourish, after which it withered down and, let’s admit it, died a miserable death. How many important classical composers do we know in the 20th century? One can probably count a handful, but even these won’t really be able to compete with masters of the Beethoven, Mozart, Chopin or Tchaikowsky species. And it’s no big surprise that the most accepted ‘classical’ composers of the 20th century were much more ‘experimental’ or ‘avant-garde’, rather than purely ‘classical’, like Stravinsky or Schnitke.
Jazz was given even fewer time: about half a century. Again, jazz is not completely dead today, but who has superated or even come close to Armstrong, Duke Ellington, Charlie Parker, etc., etc.? Nobody. Jazz is exhausted as a genre, and today’s jazz is an esoteric and almost perverse affair enjoyable only by complete jazzmaniacs.
Why the hell does that happen? People will tell you about the lack of brains, the corruption of our time, the conservatism, the need to grow… rubbish. It all happens simply because the ‘pool of ideas’ has become shallow. Like I said, nothing is limitless. After all, music is not magic, at least in the process of being composed. Music consists of notes played by people on instruments. The number of notes is limited. The number of instruments is limited. The number of note combinations is huge, but, first of all, not all of these combinations are pleasant to the ear, second, even this number is limited, too. No matter how long you are able to create good music using a given pattern, you won’t be able to do it forever – even if you’re the greatest genius on Earth.
The musical processes that happen now may be interesting to some, but they’re so tiny, pudgety and midgety as compared to the global cultural revolution of 1966-75, that I’m not really interested. It is true that I do not, and cannot, observe much of the things happening in the States, or, in fact, anywhere in the world except Russia, but after all, isn’t Russia part of the world? Here, we have the definite rule of recycled, brainless pop music; the few good bands that are in existence are mostly unknown to the general record-buying public, and have no hope of becoming known someday. But are these ‘few good bands’ really good? Answer is – they’re… okay. There are some bands who I don’t mind listening to; some bands that have interesting melodies I ain’t never heard before; some bands that I’d really like to see in concert, etc. But there are no bands of which I’d say: ‘well, this is definitive modern Russian rock!’ Russian rock also passed its heyday, by the mid-Eighties it was already half-dead, and now it is struggling, but less and less and weaker and weaker….
Which brings me to my final, and decisive point. Rock music is dead. The few interesting bands that are still in circulation today can be fun and entertaining (even if 99% of them can only be found in the Underground), but overall they are mostly conservative – bringing up and fostering the old values of the same Beatles, or Yes, or Mott the Hoople, or the Police, but not coming up with ideas that would be essentially new. The widespread idea that rock is alive and well and the only problem with it is that it needs to be saved from corporate greed and greedy, murky managers that only feel the need to stuff the public with all that brainwashing crap like Alanis Morrisette or Puff Daddy or Marilyn Manson, is a myth. It is a myth created by people who simply do not want to face the obvious: there will never be another Beatles, or another Doors, or another Jethro Tull, in rock music. There will be amusing, entertaining bands that’ll go in and come out and be forgotten, but that’s not it. Rock is dead. We do need another Beatles – but these new Beatles, if ever they are bound to appear (and I do hope for it, since I’m an optimist), will not be an element of rock music. They will create another type of music – I don’t know what’s it gonna be called, nor what instruments or harmonies it is bound to exploit, but it’s gonna be something different. Something totally different from rock – rock that died, just like jazz and classical died before it. Do not try to deceive yourself and say, ‘oh no, you’re wrong, it’s all the fault of our commercialized and greedy recording industry’. Recording industry was always commercialized and greedy – yet it let out the Beatles. Do you think today’s recording industry would miss another Beatles if it saw ’em? They sure could bring even bigger bucks!