Fiona Apple and Bjork.....but Bjork is not really pop.
As anyone who's read my pointed views on pop music will know, I radically and vehemently disagree with this limited, conventional-wisdom, dull definition of pop music. Bjork is pop; Radiohead is pop. Anything else is arrogant, petty hair-splitting. Anything else declares a serious lack of perspective on music, pop or otherwise. The only definition of pop music that really works is expansive and universal: Anything, on any scale, intended to be mass-replicated/produced/broadcast for public consumption, is pop music. Any other definition means nothing to me, and anyone can see that those other (usually quite short-sighted, self-aggrandizing) definitions have pretty well destroyed the literally popular portion of pop music, let alone any hope of quality in it.
I think "girl groups," from Lesley Gore and the Shangri-La's through to the Go-Go's, are entirely underrated by the culture at large. Particularly the original styles and sounds put together in the early '60s; these, the Motown girl-groups, the Spector groups, and everything else, were absolutely every bit as important as The Velvet Underground or the Stones or the Beatles or The Beach Boys, but even though they are occasionally acknowledged, they never get the acknowledgment they actually deserve.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." -
Morrissey"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that
language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet
it will act on the whole of the child's existence."
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