When did you grow out pop music?

>>73208799
growing up in the country, I never got into pop music, even after moving to the city.

When I discovered /mu/
I cant fucking stand pop made after the 1980s anymore, Rare exception would be Taylor Swift who I have been listening to for 5 years

>>73208799

grew into it desu

Pop music was never good, p4ks promotion of poptamism was just a capitalist scheme to get more clicks and sell more radio friendly unit shifters.
And the music world is stagnate and worse off for it.

I prefer metal and electronic music, not EDM, what electronic music used to be.

I guess im an outlier because i dont listen to garbage pop music or niggers like it seems 99% of humanity now does

>>73208799
At about age 12.
Only just starting to appreciate it again at 30.
I used to love shit like Destiny's Child and Robbie Williams... but my love of rock/drum and bass music soon took a hold of me as soon as I reached 13.

>>73208842
>When I discovered /mu/

HAHAHAHAHAHAHAHAHAHAHAHAHAHAAHHAHAHAAHAHHAAHAHAHAHAHAHAHAHHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAAHHAHAHAHAHAHAHAHAHHAAHHAHA

*breathes in*


HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHHAHAHAHAHAHAHAHAHAHHAHA

OH MY GOD. WHAT A LOSER L M A O

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>>73209054

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I'm just now growing into it

never

>>73208799
If you EVER were into pop music at any point in your life, you're a fucking pleb. That's just a fact.

>>73209285
Not really. I hate music that i was listening as a kid and I don't really understand why I did like it.

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>>73208799
Never. As long there are visionaries like Grimes leading the way there's no need to grow out of pop music.

>>73208842
It's sad if true. Letting a bunch of autists influence your taste like that, that's just pathetic. Grow a pair.

>>73209285
Like The Beach Boys or The Zombies?

>>73208799
The older I get the more I appreciate it, actually. We all go through those edgy teen phases where we like to build an enclosure around our tastes and never stray outside of it. There comes a point though that you have to. It's just too much effort not too.

>>73208799
I go through life pretty much song by song. have never come across and artist or even album that was consistent for long enough to become fully invested in. some of those songs have been pop. it is what it is.

>>73208842
This whole sentence is a joke.

>>73208799
if by pop music you mean music that has been sold for profit then never because I still listen to music that you can buy
If you mean manufactured formula droll I want to think I've somehow escaped that recently but chances are I've just been continuously played for a fool for the past few years

>>73209569
I don't agree, it's formulaic and lacks soul or linguistic talent. This opinion serves only you, monitor your biases or let them consume true reality

>>73208842
>fell for the Taylor Swift meme
Taylor Swift is absolute garbage

>>73208799
>3 years ago

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>>73210091
Right? I mean she's even worse than Llama Del Rey.

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This album is really good though

Never really grew out of pop music. Just realized that 99.8% of it is pure shit, where other genres have a far lower shit to good music ratio.

never really was into pop aside from pet shop boys and depeche mode

My love comes at the limit of my knowing. Everything I know gets me to a point before peaking, but the climax will be at yielding to what is unknown. Union with bliss waits at the summit.

This feeling of transcendence is one of the principle aims of music as communication. It’s said that music is a universal language. It’s true: we can understand the message or mood of a piece of music based on its sound, regardless of any verbal features. From this, it can be noted that sound exists as a form of language itself. The language of sound is what we commonly know as music. Musical expression comes in an infinite amount of varieties.

I am a musician who performs in a wide range of styles, and with that I often see commonalities between musical languages where others see differences. It is my urge to encourage audiences and consumers of music to develop an awareness of what exists outside of the adopted limits of one’s knowing. Differences dissolve at the taste of transcendence.

“Cellulite” sounds so much more beautiful than “gorgeous.” So does “nausea.” “Nausea” could be a name for a girl and “Nauseous” for a boy. Unfortunately, the pure phonetic impressions of these words are quite different than their attributed definitions. Too bad.

Language systems — including music, fashion and politics — are built on this play of “idea” as expressed through a “form.” More often that not, we take for granted the implied cohesion of idea and form, but in essence they are distinct entities that have been co-opted into a partnership of “meaning” and “signification.” (Thanks, Roland Barthes.) Calling attention to language as a system of codes, as much art does, is to reveal what exists at the core of communication. This process serves as a means to better understand personal thought patterns and the power dynamics of images and sounds, and to establishing a purer sense of perception and self-awareness.

>>73208799
Last year when I read Adorno

Mars was particularly great at dismantling language. Their lyrics and music convey a raw and primal expressivity as sound and syntax are liberated. “LSDOTBHFC CASUAL T CASUAL T talk to me talk to me I hate you perfectly perfect perfection XYZ.”

Historically speaking, Mars and others from the “No Wave” era of the late ’70s/early ’80s represent an interesting sub-thread of the punk rock narrative. As “punk” was being developed at that time by such bands as the Ramones and Sex Pistols, etc., there were the No Wave bands lurking further underground. “Classic” punk is just an inverse image of pop: each is derived from the same musical source material (i.e. they use similar chord structures, song forms and melodic hooks) with the key differentiating factor being one of attitude.

The No Wave bands ran concurrently with the classic New York punk scene, but turned their attention more severely to musical language itself. Gone were conventional models of song form, gone were conventional ways of playing an instrument, gone were conventional notions of “listenability”…what emerged in place of convention was a completely unique — beautiful and volatile — expressive tonal palette, genuinely innovative and avant-garde.

Music is a language, one that speaks from conditions of time and place. And, like all forms of communication, a message exists that motivates the language. Some of my favorite moments as a performer come when I play to a crowd unfamiliar with my music. These scenarios require that I step up and assess the most fundamental aspects of my music as communication, to put forth what is naturally universal about my music — what transcends culture and prior listening experience.

I don’t necessarily like making the nominal distinctions of “pop” or “avant-garde” or “whatever,” because ultimately they are equal on the fluid spectrum of musical language. (For me, hearing a violinist putting hard pressure on the bow so that it grates against the string can have a tonal effect similar to a guitarist playing with distortion.) But as a musician working in both “mainstream” and “experimental” contexts, I do feel a sense of personal responsibility to call attention to underdogs of the music world: extremely talented musicians/composers who go relatively under-recognized (and underpaid) due to being active in music communities existing outside of mainstream visibility.

The biggest difference between “mainstream” and “avant-grade” is the permitted access to musical vocabulary. Mainstream music allows itself such a limited and repetitive amount of material for its construction; it’s largely been recycling similar content for more than a century, with the main change being that of sonic aesthetic. The avant-garde looks to discover new expressive possibilities of “language” and thus pushes past conventional boundaries; its historical trajectory as “contemporary music” is quite accessible if one wishes to follow it. Most musicians who play “avant-garde” music also have a love for rock, pop, R&B, etc., but it is much less the case the other way around.

I first heard Chris Cochrane play in ’98 or ’99. I was around twenty or so. I went to Tonic, the club on Norfolk street that was home to the downtown New York music scene for about ten years starting in the late ’90s*. I was there to see Cobra, the famous piece by the infamous John Zorn. Cobra is one of Zorn’s earlier works and is part of his collection of compositions called “game pieces.” These pieces are composed as a set of very specific instructions, as the way rules are to a game; each game piece has a different set of instructions. The outcome of each performance is never the same, just as a sports match will always be different.

At one point during the show, Zorn (who was conducting) gave Chris the cue to solo. Chris’ playing blew me away. Soon after, I got Chris’s solo album Bath (which sounds nothing like Cobra) at Downtown Music Gallery, the record shop that’s been the steadfast outpost for downtown New York music. This is what makes music a community: going to shows, feeling excited and having heroes.

Almost fifteen years later, Chris and I are in a band together called Collapsible Shoulder. It also features Kevin Bud Jones (of lesser known No Wave band Dog Eat Dog) on synths and samplers and Kato Hideki (of many notables) on bass.

Music functions as a reflection of our time. Yet, in this regard, the idea of “modern” is only concept; what is modern today is outdated soon after. Every age is a technological age, from the invention of fire to that of Instagram to that of flying cars that can travel backward and forward in time. “Progress” is a process that is endless, with an indefinable beginning and a seamless end. Which brings us to the point: how does technology ultimately serve humanity and its cultural evolution? In the case of the Internet — the most common platform for listening to music — the benefit is that it brings the world closer by making information accessible in a way that’s never been done previously.

>>73208799
When I realized hip hop was superior

The down side is that it’s brought an increased emphasis on “virtual reality,” which is distinct from actual experiential reality and has drastically shifted human interaction to an online one instead of a direct personal one. These changes are reflected in how the Internet has impacted the commerce of music. As indicated by the rampant closure of record stores and rapid decline of music sales, the music community in its mid- and lower-economic strands is suffering.

I don’t know if the general public realizes how harmful it is to not be paying for music. Every industry needs support, and dedicated musicians face very real living expenses just as those in any other trade. The way things are now, the ones that are benefitting the most are the purveyors of the music, the “middle man” (i.e. iTunes and Spotify), and less so the musicians themselves.

Over the coming years I believe the system will get more fair. Until then, my recommendations would be to buy music directly from the artists or from record labels when possible, and to support local music stores (we miss you OTHER MUSIC) and independent radio (WFMU, WKCR).

Internet radio services such as Pandora are the antithesis of creative thinking: they work according to algorithms to suggest music similar to what is already being played. In this case, identity is being cyclically reinforced and the opportunity for new discoveries beyond the expected is quashed. What is important is to make the access to information a creative activity. The more it is recognized that musical language is not a fixed entity, but rather a diverse multitude of dialects, the more we will honor music as personal and communal expression and embrace it as a potential indicator for the future.

To think in terms broader still: everyone will be happier and increasingly prosperous the more we regard the peoples and cultures of the world as a universal entity (in that we share the planet with those currently with us) and consider time as an eternal continuum (in that we share the planet with those that have come before and will come after us).

Why should anyone grow out of pop music?

Elitism to that degree over vibrating sounds is pretty retarded.

The OP should read
>>When did you grow up

>>73208799
Whenever i discovered that music can have actual meaning to it.

Pop music is just catchy phrases and instrumentals that appeal to the majority of the public, there is no substance

>>73209554
Precisely

>>73210747
In the dictionary's defense, "nausea" is the perfect phonetic word for the feeling, imo.

>>73210747
>>73210774
>>73210790
>>73210810
>>73210819
Im actually saving this thread so i can read these posts on the shitger because i like that you speak proper english and have a lot to say, but just fyi, stuff like this isnt welcome on this board. Please reduce your thoughts to an incoherent bejnumblement of soundbytes and memes next time, so that EVERYONE can take part. Thank you for your cooperation.

>>73209545
its not that sad if you look at it, music taste changes as you grow and discover new music. Im not saying that you should let /mu/ decide things for you, but once you start exploring new genres and expanding your horizons its fairly normal do start to dislike some other things you used to listen, or not, its up to you. But this anon probably didnt know much about music until he discovered /mu/.

>>73208799
Dunno, what;s your definition of pop? If you mean whats on the Top 40 then probably when I was midway through high school. However I still do like some music that share the label pop like some Beatles and Beach Boys songs

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>>73210960
>implying anyone here knows much about music

>>73211049
we dont know a lot, for sure.
But we know more than your average normie, in my expirience

>>73208842
I'm the opposite, I got into pop with /mu/

>>73209532
What is it with you people, stay in your fucking containment thread. Fuck your pedo shit

>>73209554
exactly

beach boys for example are literally the epitome of normie pop MALL MUSIC. not that there's anything wrong with that, but with the way so many people speak of other artists?? /mu/ is trapped in their lil bubble consisting of pitchfork, fantano and that Italian fuck

>>73208912
>I guess im an outlier because i dont listen to garbage pop music or niggers like it seems 99% of humanity now does

this. but I'm happy for it.

>>73212479
>projecting retard
you should be in jail. now.

since i was born 'cause my father showed me some underground bands when i was growing up

>>73208912
In 2004 pitchfork's songs of the year were dominated by top 40 pop, r&b, and rap dummy

>>73208799

define pop, because I still listen do plenty of obscure synthpop type stuff.

>>73214189
All forms of pop

>>73208799
I actually started listening to it more as I got older. I like it.

Just before turining 16. Started to listen to Pink Floyd, then Radiohead, and at the same time Kendrick Lamar. By now Radiohead is my favorite music artist, and I've gotten into experimental shit like Death Grips and Danny Brown, and Swans if you can call it experimental.

Is Kodak black pop music?

>>73208799
Depends what you mean by pop. I don't listen to Top 40 but stuff like The Beach Boys and Elliott Smith is still considered pop and I enjoy both of them very much.

>>73209219
That's not pop, faggot. Pop means popular

>>73209285
I love pop music but I can tell I'm less of a pleb than you

>>73215901
>That's not pop, faggot. Pop means popular
Pop is a genre faggot, there are plenty of pop artists that aren't popular at all.

>>73211049
do you ever speak to normies about music? their answers are usually 'i listen to everything', which is never true, or 'i like drake' or some shit. get off 4chan for once in your life.

>>73209219
I hope the experience doesn't crush you

>>73208912
lol (at you, not with you)

Some pop is great stuff, usually artists that influence changes in pop are pretty good. Pop is different at different times, while a genre typically tries to capture a feeling, a sound, an idea - Pop music doesn't share these attributes. Pop music can be happy, sad, angry, relaxed, electronic, acoustic, singer-songwriter, distorted, heavy, light, minimalist or complicated - It's a culimation of all music that rest below the surface underneath it.

Pop music is just what floats to the top of different genre's. There is music specifically made to be pop music, which 90% of the time is absolute garbage (but not always). The best pop music is music that happened to become pop music and then changed the course of pop music for a little while.

Hating pop is a sign that you are in the early stages of music appreciation, and need time to grow.

>>73208799
Never got into it.

>>73215901
>newfag detected