Pop Genre Quotes

Like almost all of Beefheart's recorded work, it was not even "ahead" of its time in 1969. Then and now, it stands outside time, trends, fads, hypes, the rise and fall of whole genres eclectic as walking Christmas trees, constituting a genre unto itself: truly, a musical Monolith if ever there was one.

I welcome the liberation of music from the prison of melody, rigid structure, and harmony. Why not? But I also listen to music that does adhere to those guidelines. Listening to the Music of the Spheres might be glorious, but I crave a concise song now and then, a narrative or a snapshot more than a whole universe. I can enjoy a movie or read a book in which nothing much happens, but I'm deeply conservative as well—if a song establishes itself within a pop genre, then I listen with certain expectations. I can become bored more easily by a pop song that doesn't play by its own rules than by a contemporary composition that is repetitive and static. I like a good story and I also like staring at the sea—do I have to choose between the two?

The near future? Pop will go down into the tube station at midnight and have sex. Lots of sex. And all those genres I listed earlier? Every single year will generate a list of new genres like that. Then every six months. Then every month. Then every week. Pop will fuck and mutate and survive. The new sounds will be everywhere, in too many places for us to notice them all at once. A million glorious bursts of incoherent noise.

Few men ever stop and actually think critically about why they like certain things, why certain forms of pop culture are popular and others are not. Few have the curiosity to look into new art forms or hobbies and figure out how they feel about them. Here are some concepts to keep in mind as you go through your life experiencing art and media: 1. Assume everything has a form of value; it's your job to find it. Nothing is stupider than to be prejudiced against a genre of music or type of movie for no other reason than because of some stereotype or preconceived notion about it. Drop all of this prejudice and adopt this mentality immediately: "there has to be something to this form of art, otherwise it wouldn't have a following, so I should find out what that something is." Once you find it, then decide if you like it or not. Whether you like something or not, you should always be able to appreciate it.

Skotos performed music in two different genres. When he wasn’t singing about love, his music fell in the genre I can only describe as doucherock. When he was singing about love, he was all about the power ballad. Or even the pop ballad. It just depended on where his cheesy muse took him. Given a choice between listening to Skotos sing and listening to a lawn mower, I would pick the mower. He also spent a good deal of time doing theater. He was a master of melodrama, and there were certain Dynamisians who thought that was the pinnacle of acting. I personally found him over the top. When we were assigned to do a scene together I had to pinch myself to keep from asking him where he spit out all the scenery he’d chewed.

There's no difference between pulp fiction and highbrow fiction, one is as good as the other, the only difference is the aura they have, and that's determined by the people who read the stuff, not by the book itself. There's no such thing as 'the book itself.

Ever since the sixties, rock ’n’ roll had been the most prestigious form of popular music, beloved both by “rock critics” (the term itself suggested this bias) and by everyday fans, many of whom were inclined to accept the idea that mainstream pop music, no matter how much they loved it, was relatively inconsequential. The new pop revolution encouraged listeners of all sorts to question this hierarchy: to consider the possibility that rock ’n’ roll was boring, and that so-called pop music was the future.

Without Nonini Genge music wouldn't've seen the light of the day, well, now it can compete with other local genres! But I'm here to present Kalpop music; a genre where pop is cut.

In all his evangelical glory, Bogdan popped up and stared down at the taxi driver from the rancid dumpster like a delirious Jack-in-the-Box. ‘I feel restless.

Kids in America is a high-energy, power-packed, ultra-fun 80s cover band paying tribute to the awesome tunes of the 1980s. Kids in America covers all genres from this timeless decade. From new wave, pop, dance, rock, hair metal, and more! Kids in America specializes in recreating the 80s visually and musically by delivering authentic sound with a vivid show for your favorite 80s hits. We encourage crowd participation so our fans have a fun experience at every event.

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.

I’ve decided to bridge out a little, explore different genres, if you will. And because you, my very good friend, are starring in a play penned by none other than the renowned—which I’m sure you know means celebrated—Mr. Grimstone, I decided to try a few of his gothic novels.” “What did you think of the Grimstone stories?” Bram asked from behind them. Turning, Lucetta found that Bram had stepped out of the carriage and was looking dashingly rumpled, with his hair standing on end and his face streaked with soot here and there. Glancing at Millie, Lucetta found her friend considering Bram closely, right before she nodded at Lucetta and arched a brow. “The mysterious grandson, I assume?” “One and the same.” Lucetta pulled Millie forward, stopping right in front of Bram. “Millie, I’d like to introduce you to Abigail’s grandson, Mr. Bram Haverstein. Bram, this is one of my very dearest friends, Millie Mulberry, formerly Millie Longfellow.” “It’s a pleasure to meet you, Mrs. Mulberry,” Bram said, bringing Millie’s hand to his lips and placing the expected kiss on it. “Lucetta and my grandmother speak most highly of you.” Millie smiled, the action causing a dimple to pop out on her cheek. “It’s a pleasure to meet you as well, Mr. Haverstein. I won’t embarrass you by relaying all the things your grandmother told me and Lucetta about you over the past few months. Although I will admit I thought she was exaggerating your attributes—and that means features—but . . . never mind about that.” Her smile widened. “I’m very relieved to discover that you appear to be relatively normal, and that you’re not sporting a humped back or any other peculiar deformity, something Lucetta and I were afraid your grandmother was trying to hide.” Bram quirked a brow Lucetta’s way. “You’d thought I’d be deformed?” Smiling, Lucetta shrugged. “Abigail made you out to be so mysterious, who could blame us for concluding the worst?” “She kept calling you a dish,” Millie added with a grin.

Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover

Bernard and I always believed that most pop music fits into the board category called rock and roll. Rock and roll was ever changing, and this art form had different genres of classification for the benefit of consumers, like sections in a library or bookstore. Once any genre-folk, soul, rock or even some jazz-reaches a certain position on the pop charts, it does what’s known in the music business as crossing over, and gets played on the Top Forty stations. That’s the reason so many of us own songs by artists from genre’s we normally wouldn't-their hit songs crossed over into the pop Top Forty mainstream. When a genre repeatedly crosses over and comes to dominate the Top Forty, what had originated as an insurgency becomes the new ruling class. This was the path disco had taken-from the margins where it started, a weird combination of underground gay culture and funk and gospel-singing techniques and, in the case of Chic, Jazz-inflected groovy soul. But it was basically all rock and roll, historically speaking, as far as we were concerned. But the media and the industry pitted us against the Knack-the disco kings in their buppie uniforms verses the scrappy white boys. But we never saw it that way. We thought we were all on the same team, even if our voices and songs followed different idioms. Boy, were we naïve. And boy, did things change.

Neither technology nor Carmack would be his ruler. In fact, he would simply license the Quake engine—which id had agreed to do—and make a game around it. He would have three designers, working on three games at a time in different genres. And he would give each designer a large enough staff to get the jobs done quickly. It wouldn’t be just a game company, it would be an entertainment company. And the mantra of anything they produced would be loud and clear: “Design is law,” Romero said. “What we design is what’s going to be the game. It’s not going to be that we design something and have to chop it up because the technology can’t handle it or because some programmer says we can’t do it. You design a game, you make it and that’s what you do. That’s the law. It’s the fucking design.

Eno again: “I know he liked Another Green World a lot, and he must have realised that there were these two parallel streams of working going on in what I was doing, and when you find someone with the same problems you tend to become friendly with them.” Another Green World (1975) has a different feel to Low, but it deploys some of the same strategies. It mixes songs that have recognisable pop structures with other, short, abstract pieces that Eno called “ambient”—with the emphasis not on melody or beat, but on atmosphere and texture. These intensely beautiful fragments fade in then out, as if they were merely the visible part of a vast submarine creation; they are like tiny glimpses into another world. On the more conventional tracks, different genres juxtapose, sometimes smoothly, sometimes not—jazzy sounds cohering with pop hooks but struggling against intrusive synthetic sound effects. The end result is a moodily enigmatic album of real power and ingenuity. One structural difference between the two albums, though, is that while Eno interspersed the “textural” pieces across Another Green World, Bowie separated them out and put them on another side, which provides Low with a sort of metanarrative.

Screenplay is a company that provides music videos to businesses. Music and video screens are such common attractions in city businesses that court sexual minorities that many of them subscribe to this service. Via disc-based or direct-to-system download, Screenplay subscribers pay for access to a service called “VJ Pro,” where they choose from different genres of music videos that loosely resemble radio formats: HitsVision, a Top 40 mix that promises subscribers “nothing but the hits from every source”; DanceVision, featuring “exclusive remixes, hard to find imports and popular mainstream hits and everything in between designed expressly for the fast paced dance environment”; UrbanVision, a rhythm and blues/hip-hop hybrid that purports “to be all inclusive”; RockVision, rock music featuring songs “from Classic . . . to Disco, New Wave to Old School”; CountryVision, “an upbeat mix of current hits and classic favorites”; and LatinVision, “designed specifically for the sophisticated Latin dance crowd that demands only the hottest and best in tropical, Caribbean, merengue dance and Latin pop.”48 Many gay bars subscribe to ClubVision, which features a mix of “techno, trance and euro-flavored . . . tracks.”49 For dance-themed bars, this subscription features “an extended autoplay feature and individual chapter stops for single track selection.

The results are consistent with the worldview divide. The fluid reported that they love rap and hip-hop, along with a remarkable range of other favorites that include both widely popular genres (such as pop, rock, and classic rock) and a lot of niche interests. For example, a smattering of people identified world music, Korean pop, and electronic dance music, all of which have their roots outside the United States, as their favorites.

By contrast, not a single respondent at the fixed end of the worldview distribution identified either rap or hip-hop as his or her favorite, to say nothing of K-pop or EDM. Instead, the fixed especially love country, oldies, and old country. Country music turned out to be a very polarizing genre. A significant number of the fluid said that they like all music except country.

I watch a couple more. My favorites are the cultural ones, because they have the strange feeling of being instruction manuals on becoming whatever ethnicity the person in the video is. One of my favorites has over six million views and combines the what-I-eat genres of "in a week," "Japanese food," "realistic," "teen," and "ASMR." I watch an entire twenty-five minutes of a girl in Tokyo with dyed wine-red-fading-into-pink hair eating sausages, toast, a Japanese corn dog made with hotcake mix dipped in ketchup, demae hot sesame ramen with an egg plopped in, pizza, stir-fried udon, seaweed salad and barley rice, tapioca and black tea ice cream, soy-glazed salmon on okayu, pearl milk bubble tea. Each time she eats, the microphone hones in on the sounds of her eating---slurping, chewing, crunching. When she drinks her bubble tea, there's a loud pop as the straw goes through the lid, and the sound of gulping. Gulp, gulp, gulp. I realize that I'm gulping along to the video, imagining that the bubble tea is blood.

The Mean Girl looms large in this genre as an amplification of a teenage bully, or antagonist, or frenemy that we’ve all had in our lives. She gets her strength from creating a culture of fear, and the specter of our own personal mean girls can live on for years after we’ve left the high school hallways.

The commercial genre which has developed from Tolkien is probably the most dismaying effect of all. I grew up in a world where Joyce was considered to be the best Anglophone writer of the 20th century. I happen to believe that Faulkner is better, while others would pick Conrad, say. Thomas Mann is an exemplary giant of moral, mythic fiction. But to introduce Tolkien's fantasy into such a debate is a sad comment on our standards and our ambitions. Is it a sign of our dumber times that Lord of the Rings can replace Ulysses as the exemplary book of its century? Some of the writers who most slavishly imitate him seem to be using English as a rather inexpertly-learned second language. So many of them are unbelievably bad that they defy description and are scarcely worth listing individually. Terry Pratchett once remarked that all his readers were called Kevin. He is lucky in that he appears to be the only Terry in fantasy land who is able to write a decent complex sentence. That such writers also depend upon recycling the plots of their literary superiors and are rewarded for this bland repetition isn't surprising in a world of sensation movies and manufactured pop bands. That they are rewarded with the lavish lifestyles of the most successful whores is also unsurprising. To pretend that this addictive cabbage is anything more than the worst sort of pulp historical romance or western is, however, a depressing sign of our intellectual decline and our free-falling academic standards.

When Cash sat down for his annual New Year’s Eve reflections, he was too close to the situation to appreciate fully that he had just finished one of the most remarkable years in pop history. He’d not only made what is perhaps the greatest country album ever—a work so powerful and rich that Rolling Stone magazine would one day name it one of the hundred best albums regardless of genre—but also recorded a gospel album that was light-years away from the conventional collection of hymns.

It’s what you are passionately interested in, and it’s what entertains you. You might jot down characters you have imagined, cool plot twists, or great lines of dialogue that have popped into your head. You might list themes that you care about or certain genres that always attract you.