--- Cinco coisas que Tom Ewing considera que a escrita musical pode/deve fazer:
- Good music writing brings me to the music.No último parágrafo da coluna, Ewing alude a este post sobre os Cascada (que diz incluir aqueles 5 pontos) e conclui: "So criticism isn't at the brass-rubbing stage quite yet. To fully avoid it, it seems to me as a reader that music critics will have to stop relying on their superior taste and expertise, and start trading on their ideas and the conversations they help spark."
- Good music writing shows me something new in the music.
- Good music writing tries to start conversations, not stop them.
- Good music writing excites me with its insights and ideas.
- Good music writing puts a focus on the listener.
--- Jody Rosen escreve sobre o novo álbum e as implicações da nova direcção sonora e visual de Avril Lavigne, "one of the most influential pop singers of the decade".
Explica que a sua principal inovação foi a nível sonoro, ao renunciar à teenpop ameninada (das dance beats e baladas xaroposas) e encaminhar-se nos refrões desmedidos atirados para cima de guitarras, abrindo caminho às novas meninas de rímel preto: Kelly Clarkson, Ashlee Simpson, Hilary Duff, etc.
«A defining feature of post-Lavigne teenpop is its adult pretensions: The drift from pop into rock signals both attitude and "seriousness," and the songs, accordingly, are full of psychobabble (...) - a teenager's version of mature relationship talk. (...) While indie rockers are busy fetishizing teenybopper music old and new, today's real live teenagers are spending most of their time, as kids will, trying to sound like grown-ups.»
Outro ponto interessante é Lavigne ter-se transformado neste álbum naquilo que detestava (ou declarava detestar, em álbuns anteriores), "barking slogans of prissy entitlement". Na verdade, embora a sua música quisesse então parecer bruta e enraizada no punk e contrapor-se assim ao plástico polido de Britney Spears & co., só o era à superfície. The Matrix, a equipa de produção responsável pelos três primeiros singles de Lavigne, aplica as mesma técnicas de produção polida que Max Martin usa(ra) (além de posteriormente os próprios The Matrix terem trabalhado com a própria Britney Spears...).
--- Num loongo tópico no ILM à volta de Hilary Duff, saltaram várias interrogações relevantes que poderão explicar o interesse de um adulto por algo como a pop adolescente. Uma das hipóteses (até bastante compreensível e óbvia) é a possibilidade de se viver, via música, uma adolescência que nunca se teve (ou, pelo menos, nos moldes que se quereria ter tido). Alex Macpherson aborda o assunto da adolescência atípica pela perspectiva da homossexualidade:
«i've often wondered whether the stereotype of the gays loving the teenpop possibly stems from the way in which teenpop approaches things like love, relationships, crushes, finding personal identity, growing up - sometimes clichéd, sometimes romanticised, sometimes confused. i think to a lot of gay people it might not be as...banal, as it's sometimes accused of being, because obv few gay people (of our age and above, certainly) could have actually had a typical adolescence.»
Tim Finney desenvolve:
«It's a double pincer movement I think: most pop culture representations of adolescence are obsessed with the difference between essences and appearances, so in a funny way most pop culture representations of adolescence tell the story of gay adolescence at one level of remove.
At the same time, the specific content of those representations is not just something we didn't happen to experience, it's stuff we were structurally unable to experience (or, to get the emotional sense of it more accurately, it's stuff we were denied) even if we were in the right time and place for it.»
Alex Macpherson:
«totally agree: i'd say that the obsession is based on the tension between the absolute certainty adolescents have regarding appearances (ie what they "should" be, what is socially acceptable) and the total uncertainty they have over "essences" (ie who they really are - the process of adolescence is after all trying to find this out, and for gays this is magnified)»
Alfred Soto fala dos ecos da natureza histérica da adolescência intrincados na vida adulta:
«As I age and life gets duller, the memorable experiences are actually MORE melodramatic in context, so "Girlfriend," "Wake Up," and "Since U Been Gone" really do become the soundtrack to my life. Call it hyperrealism. (...) Thirtysomethings are pretty smug, generally, and so are the artists we tend to admire; thus, there's something to be said about teens striving for adulthood using the language and manners of eighteen-year-olds.»
--- O jornal australiano Herald Sun questiona Tom Findlay dos Groove Armada acerca de "Song 4 Mutya". Afinal Mutya Buena não sabe a letra de "Hot Thing" de Prince:
Herald Sun: The song says Prince's HOT THING is playing while she's driving and she knows every line. Does she?--- O novo single das manas-californianas-católicas Aly & A.J. é especialmente delicioso pelas pequenas inflexões melódicas da voz quando é afectada por um vocoder, pelas partes em que as vozes baixam o registo e aumentam a velocidade e pela parte em que cantam o titulo da canção de uma forma melodicamente decalcada dos "la-la-la-la-la-la-la-la-la" de "Spice Up Your Life" das Spice Girls.
Tom Findlay: Ah, no, that's definitely my lyric. I don't think she'd know what that's about.
Aly & AJ - Potential Break Up Song
--- O último tema do disco dos Dragonette é especialmente delicioso devido àqueles diálogos bollywoodescos depois cortados pela vocalista com um suspiroso "ah hah", num ar de diva que encarna perfeitamente, enquanto desfalece para o refrão.
Dragonette - Marvellous
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