I don't have a tumblr account to comment with, so forgive me is I discuss that manifesto here.
This article also works well with the pleasure portions.
Would you mind expanding on your definition of "admittedly despicable “famous for being famous” types?" It seems odd that America's celebrity culture has more of these compared to the celebrity-based television of old, still largely in place in Asia, where there is a "geinou"(talent) celebrity description wherein their job is to appear on talk shows and such and be amusing, not technically being a singer or actor or even comedian in official capacity, although with enough popularity they may branch out into those areas of pop culture.(Japanese game shows are often crazy not for the sake of being crazy, but because said geinou know how to make the best reactions to such craziness, which is what the audience is really looking for. Prizes are inconsequential in such game shows, and are more like over-the-top improvised comedy skits.) Those people are technically "famous for being famous" as well. Or did you more mean "famous for being infamous?"
Current Kpop is musically based on European music trends, although "black forms of music and rhythms" are usually found in the album tracks and are making their way into the promoted singles of some groups with that image. askbask and I have this running joke that the Kpop revolution is actually a Norwegian one, given that many companies buy their songs from Norweigan songwriters. I don't know if that has any influence on your rhythm theories.
One note about the praise of fandom you have in your manifesto: the threat fandom does pose to pop music is in that fandom for much of Apop is not tied to the music, but the idol, which has allowed music quality to become a lower priority for those with enough popularity.(Especially when music pays the least dividends compared to, say, endorsements) The same can be said for production quality in general, as fanclubs will do everything to keep their biases on top, regardless of the products being pushed on them by the management. Thus some lament the state of their music markets as being idol saturated, without variety, and other artists not having a chance at the spotlight because the idols so expertly feed our pleasure drives. There is that element of "Sure, [[artist]] has better music, but I gotta support [[idol]] so I'll buy [[idol]]'s CD instead!" Luckily, the competition between pop music and itself is usually enough to produce great music on its own. How would you compare Gaga, Bieber, and tween market(Disney and Nickelodeon stars) fandoms to Apop fandom. Or when you speak of the American mocking of fandom, do you refer to how the aforementioned Little Monsters/Beliebers/tweens are looked down on as mindless fangirls?
Re: Banging on a peeve
This article also works well with the pleasure portions.
Would you mind expanding on your definition of "admittedly despicable “famous for being famous” types?" It seems odd that America's celebrity culture has more of these compared to the celebrity-based television of old, still largely in place in Asia, where there is a "geinou"(talent) celebrity description wherein their job is to appear on talk shows and such and be amusing, not technically being a singer or actor or even comedian in official capacity, although with enough popularity they may branch out into those areas of pop culture.(Japanese game shows are often crazy not for the sake of being crazy, but because said geinou know how to make the best reactions to such craziness, which is what the audience is really looking for. Prizes are inconsequential in such game shows, and are more like over-the-top improvised comedy skits.) Those people are technically "famous for being famous" as well. Or did you more mean "famous for being infamous?"
Current Kpop is musically based on European music trends, although "black forms of music and rhythms" are usually found in the album tracks and are making their way into the promoted singles of some groups with that image.
One note about the praise of fandom you have in your manifesto: the threat fandom does pose to pop music is in that fandom for much of Apop is not tied to the music, but the idol, which has allowed music quality to become a lower priority for those with enough popularity.(Especially when music pays the least dividends compared to, say, endorsements) The same can be said for production quality in general, as fanclubs will do everything to keep their biases on top, regardless of the products being pushed on them by the management. Thus some lament the state of their music markets as being idol saturated, without variety, and other artists not having a chance at the spotlight because the idols so expertly feed our pleasure drives. There is that element of "Sure, [[artist]] has better music, but I gotta support [[idol]] so I'll buy [[idol]]'s CD instead!" Luckily, the competition between pop music and itself is usually enough to produce great music on its own.
How would you compare Gaga, Bieber, and tween market(Disney and Nickelodeon stars) fandoms to Apop fandom. Or when you speak of the American mocking of fandom, do you refer to how the aforementioned Little Monsters/Beliebers/tweens are looked down on as mindless fangirls?