It is hard for me to keep a straight face and talk to people about music most of the time, as I have said before. I find the motivation for listening to music fascinating. Why do we do it? Why do I do it? Well, it stirs something up inside of me. It taps into a place inside of me that can’t be reached through that many other avenues. For a long time I assumed that this was a universal truth. When I became old enough to talk to my peers about music, I was excited. To find people who are passionate about the same things as you are is invigorating, reaffirming, and fun. When I became a teenager, it became increasingly clear that the popular view of music was not grounded in notes, composition, and execution, but almost solely in being a means of achieving personal identity. It was reduced to a mere social accessory. Not to say that I
didn’t buy into this cultural norm for the majority of my middle school and high school years (it was virtually impossible to escape). But in later years I had to relearn how to love music for what it was to me personally, not just what demographic it could connect me to. So I understand the pressure to listen to the “right” genres of music, but it still bothers me that this pressure exists. I wish people could just like what they are personally drawn to, and not be
forcefed something that they would naturally have no interest in, and then feel a frantic need to recognize its merits to find acceptance.
But there is something worse, in my opinion. This is what Nick
Hornby refers to in his book
High Fidelity as, “The Professional Appreciator.” Such a person suffers from another form of the same identity crisis. This is the person who tries to armor themselves with wider and better musical taste than anyone else. They find comfort in isolating themselves from everyone, and scoff at people who listen to “that band.” And the number one rule for this type of person is: its
ok to like “this band” because no one else has heard of them. Once "this band" becomes well known and well liked by all, the Professional Appreciator can make the claim that he was listening to them before everyone else did, and now the band sucks because they have “sold out.” One of my favorite examples of this is “The Death Cab For Cutie Argument” that I love to have with supposed fans of music. Death Cab was a good little band back in the early 2000s. They were musically tight, and had a lot of energy. The songwriting was decent, the recording quality of the albums was mediocre, and Ben
Gibbard’s vocal delivery was shaky. Now, those first couple albums were not bad. For a band on a very small independent label, they were fine. If nothing else they showed a lot of potential, but they were far from stellar. Along comes “
Transatlanticism” and blows everyone away. An amazing album! Right there Death Cab lost some fans. “Everyone is listening to Death Cab now.” Of course from that statement it can be deduced that they obviously gained some fans too. The album was successful because it was musically better than the previous albums. The songs were better, the production better, and
Gibbard’s vocals were more confident. Then “Plans” is released, and my oh my, if this
didn’t piss some “hard core” Death Cab fans off. “They’
ve signed to a major label. They’re total sellouts!”
Ok, yes, now they can have their music distributed all over the world in mass proportions. But Chris Walla is still doing all the production in their same studio, and their approach to the process of songwriting, arranging, and recording has for all intents and purposes remained the same. They are growing as musicians. That is really the only change. They are maturing as most people do when they stick with the same thing. This does not seem to register with a large portion of “serious” fans. Before “Plans” hit the street people were trashing it.
I have a tough time picking a favorite between “
Transatlanticism” and “Plans” because they are both so musically good. They are the only two Death Cab albums that I bought. I would never buy the earlier ones because there is not enough musical merit there for me to warrant owning them. I still run into people who talk about Death Cab’s “glory days” (before “
Transatlanticism”) and how they “suck now.” Really? They suck now? Could you qualify that statement? I have never received any answer that has any relation to anything musical. It is always an issue of personal identity. Something that in reality has absolutely nothing to do with music at all. And this is coming from the people who make the claim, “Music is my life. Without music I would die.” This brings me to a whole other topic that I won’t go into now, but if you are claiming that one particular aspect of this life
IS your entire life (meaning that this thing encompasses your whole being), it will end up destroying you, rather than enhancing your life experiences.
I drove to pick up Ben from a Death Cab show in Raleigh in October 2005 right after “Plans” had come out. There were all these fans standing outside the venue that were on this topic. I thought, “Why are you even here?” Ben is a true fan of music. He
wasn’t talking to any of these kids who have numerous opinions on everything that all miss the point. He was in the back talking to the band about music. I think Chris Walla and my brother would get along pretty well in a studio.
I wrote a poem that night about this whole idea. I guess if you’
ve read this entire rant then the poem might be obsolete, or vice-
versa. Also, I updated the blog
Spring Break Oh! Eight!, because I found a revised version of the poem
Idle in another notebook. Alright, I’m done now.
The Professional AppreciatorDarlings no more,
Purists turned whore,
You used to be more beautiful
When only I knew you.
I loved you when nobody knew
Who you were.
But now they crowd
Around what I’d found,
And claim you as their own,
When you used to be mine alone.
My ears were your home
When you were outsiders.
My darlings no more,
Since everyone beats on your door.
You used to be more beautiful
When your efforts were less fruitful
In the eyes of the world.
Now you could care less,
But I
didn’t used to be faceless.
Though tonight I blend in with the masses,
Of polo shirts and cell phone flashes,
And every other trust fund boy and girl.
Boohoo.