Last night, before succumbing to a world-class headache* that left me semi-conscious, draped over a love seat and altogether out of the New Year's Eve loop by 10:45, I caught a bit of Dick Clark's annual Times Square extravaganza, nowadays hosted by the ubiquitous Ryan Seacrest. (One pictures ol' Dick sitting off in a corner counting residuals between TIAs.) These fetes always feature live music, or
a barely plausible excuse for same. And each year, as I listen to the plausible excuse of current vintage, I grow increasingly disconsolate.
What happened to music or, more precisely, musicality? Where are the people who can actually (a) sing and/or (b) play?
Before we go any farther, let's clear something up real fast. What you're about to read is not another cliched, nostalgic rant from some pathetic, barely sensate old fart who sits around in his stained and smelly recliner, gulping Vesicares by the handful as he pees into his Depends while insisting that Marciano could've beaten Iron Mike (as if!) and pining for the days of Glenn Miller or Elvis or the Beatles or even Springsteen. (The Boss couldn't sing, either, for the record.) I like to think I can separate my personal tastes from my grasp of aesthetics. And I pride myself on having never gotten stuck in a certain time period and grown stale, artistically. No, I'm talking about musicianship here, in whatever genre. I'm talking about originality and invention. I'm talking about the simple and pure ability to carry, or at least interpret, a tune. (Example: Jagger has a lousy voice, but was a great interpreter of the music he sang and played. Same with Tony Bennett.) I know what you're thinking: Salerno's a jazzophile. He's never going to find anything he likes or admires in pop music. For the record, here are some musicians from the pop/indie camps that I like and greatly admire: Stevie Wonder, Sting, Prince, Trent Reznor, Rob Zombie, Michael Jackson, the late Guru of Gang Starr, Robert Plant & LZ as a whole, Walter Becker/Steely Dan, Phil Collins (can't sing, but lots of musical talent), Redman (ditto), the Deftones as a group. Stevie Wonder gets my vote as the single most brilliant all-around musician to emerge from the pop realm in the 20th Century. Reznor is a close second: nowhere near Stevie for vocal talent, of course, but his musical instincts are scary-brilliant. The pickins since the world ended in Y2K are slim indeed. Alicia Keys is ... just OK. John Legend, on the other hand...yeegads. What an ironic name. And to think that he's bracketed as a "jazzy" singer. Bleccch. I find him unlistenable.
Anyway, suffice it to say no brilliance was on display last night. Before disappearing into merciful unconsciousness, I heard three performances, at least two of them described as "top-of-the-chart hits of 2010!" These performances were by Ke$ha (that's how she spells it), Train and, God help us, Will Smith's 10-year-old daughter, Willow. (And what is it with the name Willow! It's becoming the Jennifer of the 2000 set.) I was appalled. Just appalled. The songs were simple-minded and absurd (Soul Sister a bit less so, but hard on the ears anyway, possibly because I'm so sick of hearing it at the gym), the interpretations were dreadful—not a grace-note of musicality in the bunch—and the backgrounds/harmonies were of a caliber that any non-ADD-afflicted 9-year-old with a half-decent memory could master in perh
aps a half-hour. These were the top hits of 2010. This is the music America likes. (Incidentally, Ke$ha, on her site, offers this invitation for fans to keep up with her tweets: "Twitter my a$$." Cla$$y gal, that Ke$ha. Too bad $he can't $ing.)
It occurs to me that all of pop music now is like advertising jingles. Think about top-40 radio. These songs that we uphold as our mega-hits could easily be radio jingles for McDonald's or Midas Muffler, with their pulsing, hummable melodies and their droning repetition of key phrases every 8 seconds or so. ("Gonna git me some, baaa-by... Oh yeahhh ... Gonna git me some, baaa-by ... Oh yeahhh ... Gonna ... ") This must explain why you seldom hear today's top-40 performers described as "artists." (Am I right? Who was the last...?) Even the promoters and producers who are banking millions off the efforts of these posers and buffoons are ashamed to use the term. Do you realize that it's impossible to write a parody of top-40 music that is any sillier than our friend Ke$ha's Tick Tock? Seriously. Give it a try. I defy you.
Of course, this is part of a larger syndrome that also plagues prime-time TV, movies and, ahem, literature. The movies and TV shows, too, are written and rendered on the level of an ad jingle, to appeal to an audience of giddy pubescent females who spend half their time chain-texting everyone they know and the other half worrying about when they're going to begin filling out their training bras so Josh will finally notice them. The literature is an exception. It's designed to appeal to somewhat older women who, though they may fill out their bras better, for the most part still think on the level of a pubescent female. (Do I sound bitter? No argument there. See title of post, above.)
And in footnote, here's something else that struck me funny about the whole Will/Willow Smith thing. I remember distinctly a Babwa Walters interview with Smith-the-father some years back in which he bemoaned the stereotypical black youth's tendency to talk in street slang, to elide the closing letters of words (e.g. "bruth-a"), etc. He emphasized the importance of speaking properly enunciated, syntactically correct English. He held himself up as a role model for these virtues, saying he was willing to take a stand on this even at the cost of losing street cred or being labeled a sell-out by some "in the community." Say what? Will, did you happen to hear your daughter singing [sic] last night? I guess this sell-out thing cuts both ways, huh?
No wonder I had a headache.
* Just FYI, I do not drink. The headaches are vestiges of my college football career back in the era of the head-slap. They come and go, sometimes with a bizarre and surreal predictability. When I'm in a "headache period," I'll get them, say, every afternoon at precisely 3:07.