As you read please keep in mind the less then memorable sentiment in the quotation above. It is a perfect metaphor for music composed without standards.
Music is a gift from God. Why and how rhythmic sounds accompanied by vocals have an emotional impact on humans is a beautiful mystery. Words have meaning both direct and implied. They communicate messages and feelings. Words expressed through beautiful voices become human instruments that can inspire action, joy, tears and sometimes thought. In summation all that is both good and bad can be expressed through music. One might think that people blessed with musical talent would assume the responsibility of using their talent in a professional and creative fashion. What distinguishes professionalism from amateurism are standards of performance.
With this in mind I’d like to highlight the sad state of affairs that characterizes some areas of popular music. Winning a Grammy used to be the mark of excellence. In concept, talented artists would come together to award the cream of the crop among their peers. I will review a few of this year’s nominees for “Song of the Year”. Evidence to the contrary about hailing the cream of the crop, a whole lot of soured milk has been regurgitated by Grammy voters this year.
Prime among the artless selections are two gems. I will assume that both “artists” have talent and thus could have produced tunes of greater or any quality and substance for that matter.
Nominee number one is a billionaire named Shawn Corey Carter who calls himself Jay-Z. His offering is titled “The Story of O. J.” Among the words he chose to accompany his tune are repeating the word ‘nigga’ no less then sixty-two times, “f…” (Pronounced in full) twice and ‘shit’ three times. So profound and moving was his message that he didn’t have the time or inclination to choose words more creatively. Cursing and racial slurs require no talent or language skills beyond those of a marginally literate teenage boy. I assume, having built a financial empire, Mr.Z could have done better.
He is also getting a pass with reference to a line that would have raised a great deal of protest if uttered by President Trump or for that matter any conservative. I quote, “Credit. You ever wonder why Jewish people own all the property in America?” Sounds like a quotation right out of a Louis Farrakhan speech. I guess provoking lovely memories of 1930 era hate propaganda is nostalgic for Z. For your information Mr. Z, your lyrics are not a compliment to the Jewish community. Oh I forgot. If you are on the left, then your verbal expressions of bigotry and sexism are redefined as forms of authentic expression. In this case we have a double standard instead of no standard. Nice exemption if you qualify.
Nominee number two is a performer named Kendrick Lamar with his ditty titled “Humble”. His lyrical skills include word choices such as that old favorite ‘nigga’ four times, ‘bitch’ thirty-four times, ‘f…’ eight times, ‘yo’ass’, ‘pussy’, ‘pigs’ (not a hog) and ‘piss’ once. Where are music industry feminists? Could they be in patronizing and demeaning mode when it comes to black misogynists? Hum?
Kendrick must have been up for days racking his brain in order to select perfectly chosen works to produce his compelling message. Or more likely he just hung out in a boy’s high school locker room taking notes on their hormone-fueled style of expression.
It is very reveling when the music glitterati come together giving standing ovations for those who produce crap. They have redefined crude and offensive as cutting-edge. Stuff that would have embarrassed artists a few generations ago is now lauded as “real” or “authentic” and thus acceptable and reward worthy.
There is a deafening silence from those in the industry who should know better. People like Tony Bennett and Quincy Jones suck up to these performers rather then remind them that without standards music is just noise. And in these two cases noise that exudes indecency.
Here’s a list of some of the Songs of the Year winners at a time when composition, harmony, orchestration and standards were valued more then anger, and crude and superficial social commentary.The artless degradation that has infiltrated the music community since those days is evidenced in contrast to the following set of wonderful award winners; 1958 Volare by Domenico Modugno, 1959 Mack The Knife by Bobby Darin, 1960 A Summer Place by Percy Faith and His Orchestra, 1961 Moon River by Henry Mancini, 1962 I Left My Heart In San Francisco by Tony Bennett, 1963 The Days Of Wine And Roses by Henry Manicni, 1964 The Girl From Ipanema by Stan Getz and Astrud Gilberto, 1965 A Taste Of Honey by Herb Alpert And The Tijuana Brass, 1966 Michelle by Beatles, 1967 Strangers In The Night by Frank Sinatra,1968 Mrs. Robinson by Simon And Grarfunkel, 1969 Games People Play by Joe South.
Listen to the older tunes juxtaposed against the two new ones. When those on the left call themselves progressives this is one example of their version of progress. It doesn’t sound like social or cultural progress to me.
The older classics have weathered the test of time. No one will be listening to Mr. Z or Lamar’s infantile offerings in two years let alone fifty years from today. These two songs represent a cultural tragedy. Grammys voters participate in the corruption of millions of young people. Just keep in mind the sage uplifting message that we are all pimps. Or maybe Mr. Z is just projecting.
Post Script: I picked up the San Diego Union Tribune on Thursday, December 14, 2017 to find an article titled, “Jay-Z Focused On Family Legacy” by a music critic named George Varga. I thought maybe I had misjudged the paucity of standards in Z’s music. Verga referred to Z as “an elder statesman”, mentioned he was inducted by Obama into the Songwriters Hall of Fame, suggested he was “contemplative and introspective”, blah blah blah. Could I have been wrong? Having now reviewed all eleven tunes on Z’s new album I can only conclude it was a adventure in vulgarity, superficial social commentary, private apologies made public and pop psychology rapped in some good rhythms. I have also discovered that the Songwriters Hall of Fame grades on the same curve as the Grammys. Please also understand that we now live in a nation where a former President gives effusive praise to a performer whose reputation is build on use of the language quoted above. I have to make a correction. Mr. Z. is only worth 810 million dollars. He is not yet a billionaire. I further must admit that two of Jay’s eleven tunes are relatively vulgar free. It’s the new measure of excellence.