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On Mon, Feb 14, 2011 at 5:40 PM, Buzap Buzap <buzap@gmx.net> wrote: > well, I don't share this opinion that mainstream is going downstream. What exactly does "going downstream" mean in English? If we are all floating in the river of time the expression would mean "the future" (since "downstream" is where the water takes everything). That makes Bill's post mean that everything is going mainstream sooner or later. But if we regard ourselves not floating with the stream but rather sitting on the river bank watching all that junk pass by - well, then Bill's post would mean that mainstream is a more or less passed chapter. I personally think mainstream music has got better and better over time, according to my own taste. > Actually, for the first time since early 90's, I'm listening to charts >and buying mainstream music again. I'm having the same experience! :-) For me it started in 1987 with the Israeli submission to the European Song Contest, a very cool uptempo piece sang by Ofra Haza utilizing a middel eastern melody scale over a hard sequenced bass synth line that was tonally flirting with Bach style "falling" bass lines but by timbre rather following the by then rather obscure production style of Scritty Politti (the percussive synth sequencing style Miles Davis then was looking into to soon be using on his album Tutu). After that mainstream tune more "odd" music made it into the charts and by the nineties it opened up a lot. House, Detroit Techno and local folk music from all over the world (don't know who was responsible for the stupid idea to call that "ethno") were more often heard within the same songs in the mainstream airplay domain. KLF's What Time Is Love was a mind opener for may by that time. Mano Dibango was heard playing african sax growls over a 909 recorded by a guy that produced a mega commercial hit the week before. Sudden world hit tracks coming right from the underground experimentation laboratories. Hip Hop and Grunge kind of dumbed it down a bit, but only temporarily. I'm all positive that a part of the mainstream music will keep on amazing people. The reason for this is, as explained in my previous post, that the market, economy and culture doesn't allow large scale manufactory style music marketing anymore. If no one can make big money on it, it won't happen large-scale. It seems this is a good scenario for the 99 percent musicians that are not superstars. (although musician still, as always, is a shitty job - but that's another story) Greetings from Sweden Per Boysen www.boysen.se www.perboysen.com www.looproom.com internet music hub