The Napa Music Industry: Does My Gender Have a Parent? | Letters to the Editor

Seriously, as a record artist and engineer / producer as with others, I have a very large collection of music on vinyl, CDs, permanent digital downloads and a prehistoric collection of cassettes. (Just to mention that anyone wants to buy a cassette collection?) My point here is that my knowledge of my collection allows me to follow the influences in musical art from our musical roots to modern derivatives and new creations. Yet I discovered that gender zombieism has arrived and that it is eating away at the artistic history of music appreciation to the bone and more.

Why am I crying? Some have said it’s because popular music has diluted like a martini with too much water, a cup of tea with too much lemon, or a soft drink in the fridge for two weeks without a cork. When I have young people who are interested in what I discuss and show them from my collection how to follow the influences of music, it becomes a whole new world for them.

A completely different dimension that prompts them to have fun intelligently, from artistic detectives at work to researching history, both audio and written. Why has the music changed? Who made the change? And where did it happen? For example, John Coltrane moving from Modular Jazz to Free Jazz.

There are generations of individuals who have come under the mind control of radio sponsorship money and new forms of payola. Most interestingly, the mindset of the production chain of influential record companies. Or, backwards, the avant-garde of generational music.

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About John Villalpando

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