chickfactor 17: sneak preview poll question!

how has music changed in the past 20 years?

allen clapp: seems like there’s more tolerance for melody now than there was 20 years ago. everything back then was so aggressive and serious! ugh. I think the world has loosened up a lot since the early 90s. thank goodness.

dawn cf: lots.

stephin the magnetic fields: the enormous changes in every genre between 1972 and 1992 are obvious. changes since ’92 are subtle (country, dance music, children’s music) to nonexistent (cabaret, rap, metal, musical theater, rock, gospel, jazz, soundtracks). In chickfactor’s core genre of cheaply made strummy rock, there hasn’t even been a new guitar effect.

gordon the fan modine: hmmm. has it?

stephen the real tuesday weld: there seems like there is an awful lot of it.

corin tucker: obviously the format has gone digital and people find new music in a different way now. there also seems to be many many more bands than there were in 1992. unfortunately there are still very few great bands.

james dump/yo la tengo: haven’t really been paying attention.

ed shelflife: more bands and less labels.

jeffrey honeybunch: everything is accessible which has its good points (josef k video’s on youtube) and bad (I can’t tell if the josef k–influenced band is new, or something old I missed out on).

michael white: it barely has; only its delivery systems have been revolutionized.

gaylord cf/wfmu: music has changed more between 1960 and 1970 than in the 42 years that follow.

shaun brilldream: we have a healthy post-oasis indie scene now. more record labels too.

andrew eggs/talk it: the 1992 music economy is unrecognizable today because it depended on narrow channels to distribute music, channels that are by and large irrelevant now.

bridget st john: It’s a more level playing field – with the will and a little wherewithal any one who chooses can make music and has a good chance to be heard.

clarissa cf: there is much less new music that is my idea of a good time, and much more that is 20-years-younger people’s idea of a good time. I’m fine with that.

fran cannane: a lot of use of the vocoder. more silly talent shows encouraging bad music. a lot more cover versions being hits perhaps?

gene booth: popular music is incredibly subtle and diverse now — thanks nirvana you really did change everything.

jennifer o’connor: the idea of what passes for a song in many cases these days is a joke.

pete paphides: it’s more freely available and, as with anything which is more freely available, its monetary value has gone down.

gail cf: the underground disappeared in the 1990s when the internet happened and maybe even before.

daniel handler: has it? I keep hearing music that I think is new and turns out to be old, or vice versa.

ian musical chairs: the mainstream has embraced an indie sound; indie bands have embraced commercials and other licensing opportunities (now the only reliable sources of income for bands). most commercial rock music is otherwise basically the same as in 1992 (grunge) and aside from the occasional interesting production job, top-40/dance music seems pretty the same too except for the overuse of auto-tune which will sound silly in a few years.

tim dagger: mp3/downloads.

joe pines / foxgloves: the sundays stopped. belle & sebastian started. I got better at writing songs, and was lucky enough to record some of them with a few tremendous people. it arguably became easier to filter out what you didn’t like. which may, come to think of it, mean that contemporary culture is even worse than I think.

 

chickfactor poll: what is your dream gig?

what is your dream gig?

from the archive, chickfactor 16 (2005)…

greg the saturday people: I’d like to be an executive assistant.

jonathan lambchop: any gig where I’m onstage in my underwear.

lupe pipas: gal costa/stereolab/sun ra/anonymous french ye-ye session musicians/the aislers set + the lucksmiths + the frenchmen + free loan investments + vashti of course.

claudia the magnetic fields: playing in barcelona, outdoors in a medieval church courtyard at the twilight with gargoyles and swallows swooping overhead. and it really happened!

clarissa cf: I dreamt a few months ago that I just happened to go see the b.p.m. lineup of unrest—they weren’t making a big deal about being “reunited,” they just happened to be playing. it was happy. I woke up with longing in my heart. this marks me as a relic of my era, I realize.

mike alway: to begin with, it would have to be at lunchtime.

bliss blood: playing for 100 people who are listening and making $100,000.

slim kill rock stars: a captive audience.

stephen the real tuesday weld: the bar of les trois garcons with al bowlly guesting.

josh gennet: anything that (1) pays and (2) number of people you don’t know in crowd exceeds the number you do know. if they clap it’s a plus.

rebecca cf: seeing the pixies reunion tour in 2004 was, pretty much, my dream gig.

candice p: I would have liked to see the clash, dusty springfield, and al green. that would be a pretty good show.

david silver jews: csn and m: crosby stills nash and me.

joe the pines: roger mcguinn, johnny marr and neil clark: duelling 12-strings

amelia tender trap: magnetic fields supported by beat happening at la guinguette inparis. I would have queued overnight in the snow for that one.

gail cf:: I own my own nightclub which is a combination of les trois garcons and the old town bar in new york. we have concerts, parties, exhibitions, screenings, readings, and salons. I have a partner with cash so there is endless funding. we use the stage during the day for filming silly chat shows. we have a vegan cafe fully stocked with superstrong coffees, homemade ginger beer, and veuve clicquot. it’s open 24 hours with a full service bar and kitchen. we have our own shuttlebus service! I hardly have to ask anyone to play because everyone wants to play here and people call me!

tim dagger: love (circa forever changes), beach boys (circa pet sounds), nick drake (circa anything), belle and sebastian, and the modern lovers end it with “roadrunner”!!!

lisa cf: the national book award.

john phosphene: pink floyd at the ufo club, late 1966/early ’67, with syd upfront and people alternately dancing or lying on the floor.

sam brumbaugh: the left banke did a show at the london school of economics and the opening bands were bill fay and fresh maggots. any 70s eater show or anne briggs impromptu pub performance.

ld flare: any one where people can sit down comfortably. ideally in a theatre with a proscenium.

peter straub: um, the one I have right now.

alasdair the clientele: I thought it said “pig” for a minute.

louis philippe: I was there—brian wilson playing pet sounds at the festival hall in london.

aliccia slumber party: I had a dream that I was a country music singer. playing a show, on a large dark stage alone with a brilliant, beautiful, white acoustic guitar with inlaid abalone. and a head stock I didn’t recognize. it was old and haunted. I wish that would happen.

john true love always: I’d love to back up george michael in his timberlake/ flaming lips-style image remake. I am holding my breath.

james dump / yo la tengo: trouble funk, santa claus, an octopus, my 3rd grade teacher, and sherilyn fenn, but I’m stranded somewhere thousands of miles away in my underwear.

dawn cf: like a gig that happens in my dreams? I had a dream that chelsea clinton was singing antietam’s “walk away”. I have a feeling this isn’t what you are asking. gig of my dreams:

stephin the magnetic fields: walk into next room, find tuned (and self-tuning) ukulele ready to go in specially designed uke stand, discover my hearing damage is cured, play all-new set of beautiful songs I didn’t know I’d written, fronting a band such as tito puente might have led. the show is filmed, so I never have to play live again, and I don’t.

frances cannanes: I think we had it in new york one time. music went well, I was drunk enough to think I was being funny and there were lots of people there. but also in byron bay when there was no one there and also in northampton in a cellar and also in tokyo last visit on first night…I guess they just keep happening.

stephen cannanes: so many really, easy lug!, good sound, good engineer, good lineup, lots of mates, guinness rider, upstairs accommodation with a party room, recently it’s been doing three set evenings where it’s all pretty relaxed and people dance a lot, you always seem to have a good time when the crowd are getting down!

daniel handler: writing liner notes for a saint etienne album. if I say this enough perhaps it will come true.

david grubbs: it would involve people who’ve never heard me play before. old people in the first several rows, smiling. outdoors at night. cobblestones.

alistair tangents: it would be a two-night show (not a festival) with the velvets, byrds, felt and the clientele on the first night, and then fire engines, hellfire sermons, mccarthy, the wolfhounds, the playwrights and the pipettes on the second. the show would be at the silver factory, andy would be projecting his films, edie sedgewick would be dancing and billy name would be taking photos for posterity.

the legendary jim ruiz: the would-be-goods, max eider and I on a package tour of the netherlands and belgium, by bike of course.

kristian airliner: for watching? the beatles at any venue in ’63 or ’64. for the way they looked more than anything else.

jeff aden: at this point, I’d settle for a nice, high-paying show where we don’t actually have to play music. oh yeah, with chili-dogs on the rider.