The Golden Hope Shown by Manufactured Pop

 

Root_Thumm_20100703_Japan_Expo_05

The middle unit is an Antares AVP-1 Vocal Processor, or if you ask some people, it’s Satan.

If you pick up the Oct. 14 copy of the New Yorker, you’ll learn that there is a guy actually named Dr. Luke. It’s his job to write, fix, finagle, produce, or whatever you call it when you make your living making hit songs for a pop artists. He’s the head of a network of songwriters, lyricists, so-called “vibe” people, and other specialists whose job it is to be as creative as possible so that our beloved pop stars can appear to be superhuman.

2013_10_14_p323Here’s a quote from the New Yorker’s article, “The Doctor is In:”

Gottwald also serves as an exclusive in-house hitmaker to an array of superstar artists on Sony’s major labels: Epic, RCA Records, and Columbia. Kelly Clarkson, Pink, Miley Cyrus, and Britney Spears are in constant need of new material, and Gottwald works hard to keep these ladies supplied with song.

 

Here Comes the Golden Hope

If the music industry bigwigs have that many people working that hard to produce a handful of hits for the biggest acts in the world, it must mean that people’s ears still matter. It must mean that it’s impossible to slap any old crap together and ram it through the radio until people buy it.

And that, in turn, means you and I have as much chance as any Katy Perry or Juicy J do. Sure, they might have more resources than we do, but we’re all doing the same thing: making products for people’s ear ducts. I find that kind of refreshing, personally.

So get out there, you gorgeous artist you. Bang your drum or do scratches on your laptop or whatever you kids call it. Make some music if it’s in your heart. You have a chance.

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