Lissie Covers Lady Gaga’s “Bad Romance”

Blame It On the Pop

Another year in music has come and gone. And once again DJ Earworm has given us a mash-up that says it all. He has taken the Top 25 hits of 2009, according to Billboard and arranged and mashed them all into one 4 and 1/2 minute song.  And I have to say I am pretty impressed that this can be done and made into a reasonably enjoyable song.  It even has a bit of a theme and a decent song structure.

But what does that say about the state of pop music,  that all of these songs are similar enough to mashed up into one singular song?  I don’t think this a completely untalented group of artists.  I actually enjoyed a fair amount of these songs this year.  But I think it goes to show how much the labels and producers are controlling the sound on these records.  It’s no wonder we eat these songs up and then make ourselves so sick of them that we never want to hear them again. Because we’re essentially listening to the same song over and over again.  What do you guys think?

Here’s a list of all of the songs included in this year’s mash-up.

• The Black Eyed Peas – BOOM BOOM POW
• Lady Gaga – POKER FACE
• Lady Gaga Featuring Colby O’Donis – JUST DANCE
• The Black Eyed Peas – I GOTTA FEELING
• Taylor Swift – LOVE STORY
• Flo Rida – RIGHT ROUND
• Jason Mraz – I’M YOURS
• Beyonce – SINGLE LADIES (PUT A RING ON IT)
• Kanye West – HEARTLESS
• The All-American Rejects – GIVES YOU HELL
• Taylor Swift – YOU BELONG WITH ME
• T.I. Featuring Justin Timberlake – DEAD AND GONE
• The Fray – YOU FOUND ME
• Kings Of Leon – USE SOMEBODY
• Keri Hilson Featuring Kanye West & Ne-Yo – KNOCK YOU DOWN
• Jamie Foxx Featuring T-Pain – BLAME IT
• Pitbull – I KNOW YOU WANT ME (CALLE OCHO)
• T.I. Featuring Rihanna – LIVE YOUR LIFE
• Soulja Boy Tell ‘em Featuring Sammie – KISS ME THRU THE PHONE
• Jay Sean Featuring Lil Wayne – DOWN
• Miley Cyrus – THE CLIMB
• Drake – BEST I EVER HAD
• Kelly Clarkson – MY LIFE WOULD SUCK WITHOUT YOU
• Beyonce – HALO
• Katy Perry – HOT N COLD

80’s Life, pt. 1: The Music

It’s plastic synthesizers, neon pinks and greens and all things huge and tasteless. The decade of decadence is governing our culture, music especially, selling nostalgia to the middle-aged and novelty to their children.

The death of Michael Jackson, no doubt the most affecting music story of the year, has created an outpour of covers, tributes and endless video montages, not to mention an ungodly number of CD sales. But while the King of Pop’s death may have supplemented the resurgence of the 1980s, the era’s influence reappeared long before June 25.

Observe two of pop’s biggest stars of the moment: Kanye West and Lady GaGa. With his shutter shades and self-professed Star status, West is the figurehead of the revival. Lady GaGa’s career thus far has been aping that of Madonna’s, though, like West, she’s found success in the rhythms and pastel synths of the 1980s.

But the era’s influence on the world of pop is not so recent, as 80s stars have laid claim to concert ticket sales for the latter half of the decade. Before last year was half over, Bon Jovi, Bruce Springsteen and Van Halen had grossed $133.9 million in concert tours alone, according to Pollstar.

Barbra Streisand struck concert gold in 2006 and Tina Turner, another 80s icon, grossed $83.5 million from January through July of 2009. Bands from The Police to U2 (well, obviously) recently enjoyed a lucrative reunion tour, according to the trade magazine.

Consumers continue to pour out money for concert tickets to win back a piece of their romanticized youth, to relive corners of their lives that have long been darkened. But it’s bigger than that.

At the moment, the U.S. is on the brink: of forfeiting our decadent way of life, of joining the ranks of the unemployed, of losing ourselves in political correctness. Everything is exaggerated and merged. As in the 1980s, huge change is coming quickly and, as in the 1980s, pop is filled with big, loud character.

Perhaps artists like West and GaGa aren’t as proactive as they think they are, since they’re essentially reacting to the world around them. They aren’t producing culture as much as transmitting it. The message here is underscored by its means of delivery: LOUD is back.