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Thursday, January 15, 2004

Industrial music pioneer Genesis P. Orridge, as quoted in "Cyberia: Life in the Trenches of Hyperspace" by Douglas Rushkoff:

"We openly declared we were inventing an anti-muzak that, instead of cushioning the sounds of a factory environment, made use of those very sounds to create rhythmic patterns and structures that incorporated the liberating effects of music by unexpected means. This approach is diametrically opposed to the position of official muzak, as supplied by the Muzak Corporation of America. Their intention is to disguise stress, to control and direct human activity in order to generate maximum productivity and minimum discontent.''

He may sound crazy, but every time I stand next in an elevator, he becomes more and more vindicated.

(Or even listening to the radio at the aforementioned Japanese joint. Music these days seems more intent on sedating the listener then entertaining them, especially when the radio stations have slogans like "Poseidontown's Non-Stop Party Station!" or "Keeps you Buzzing at Work!" I'm serious, folks; this goes in the file on why we are living in a bad science fiction novel.)

(In George Orwell's 1984, [not a bad science fiction novel, but still relevant] the creation of music is seen as manual labor.. and already, according to Slashdot, music companies are creating computer programs that identify the hit potential of a certain song, based on established patterns in previous hits. Holy cripes.)
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