What’s ‘pop music?’ Where did this differentiation arise and what’s its goal? When it’s a goal, who does it function?
On close examination, you notice that it is how society absorbs something; the method by which in which the tiger is defanged. It is another helpful illusion out of society’s arsenal of illusions. All through my college years, I needed to put up with this prattle about ‘intense music,’ and ‘pop music.’ Oh sure, I bought into it a little, initially. But one just has to question the status quo.
First of all, all of us understand exactly what it means, the business of ‘pop music’ and ‘serious music.’ It depends a good deal on which side of the fence you are sitting on, of course. If you are a ‘serious performer,’ ‘serious music’ is ‘good,’ and ‘pop’ music is ‘bad.’ Of course most of us recognize the ‘serious music’ will make you no money. Why? As it is ‘good,’ of course, and the vast majority of people do not understand about ‘good.’ They simply pay for music that is ‘bad.’
Now to be fair, if you are on the opposite side of this particular weapon, then ‘serious music’ is ‘dull,’ (that is awful) and pop wengie music is ‘cool.’ (That is ‘good’). Moreover, this historically speaking, has tended to be ‘radical’ and ‘revolutionary.’
‘Intense music?’ Part of this establishment.
It is important to reflect on the political demographics indicated with these distinctions in music. They are fairly clear, when you cease to consider it, but it’s interesting that the majority of people throw these distinctions around without another thought. By both of these straightforward musical categories, you may easily develop profiles of this listener’s politics, faith, average income and so forth and so forth. People do plot these demographics. Not the viewer, however, the people that are in the business of sales and marketing.
However, as you may suspect, all those demographics are bound and kept in place by belief systems which are spun on half truths, exaggeration and outside right dream.