Anyway, Joe is a humorist so part of me wonders whether he’s just having a laugh at contemporary music’s expense, tweaking classical music’s collective nose in a way… But reading it again, he really does seem to genuinely dislike all the many different flavors of new music out there. And you know what? His article, and that provocative title especially, WILL resonate with a lot of listeners. Just because I like this music doesn’t mean I’m naïve about it – I see exactly what Joe writes about: people restlessly waiting for the new crap to finish so they can hear their beloved Mozart serenade, or just sleeping through it. (But I’ve seen people sleep through Mozart too.)

I guess we need to define our terms: contemporary music for many people means the ascetic, cerebral music of Elliott Carter. For others it’s the relentless tonality of Philip Glass. Some would point to a straightforward composer of symphonies and concertos like Ellen Taaffe Zwillich. But what about the long-dead Arnold Schoenberg? Is that still contemporary music? And if so, then what do we call Puccini, Debussy, Ravel, and Rachmaninoff – all from the same time?

So, what do you think about contemporary music – however you define it? Do you like some of it, all of it, or none of it?

The thing is, his story is specific only in its details; if you look at what he’s writing about more generally, it really is a very common thing. As teenagers, we are still forming our view of the world, and music can be a powerful force in shaping that developing outlook. My Queens neighborhood in the 1970s was quite homophobic, but I was a huge fan of David Bowie, and his sexually ambiguous persona meant that whatever childhood fears I’d keep (heights, Red Sox fans, milk chocolate), homophobia was not gonna be one of them.

What musician or band helped shape your view of the world?

Every summer, one song seems to blast from every beach radio, car stereo, and block-party boombox around the city. This Friday, Blender editor at large Lizzy Goodman joins us to help crown this summer’s biggest jam.

But first — we need your help! Cast your vote for this year’s summer song. Tune in to Soundcheck this Friday for the results! (Need some help? Click here for clips of each song.)

Photo credit: flickr/Marcelo Vejar G.

Like rock, and its surprisingly close cousin, punk rock, hip-hop started outside the mainstream and has come perilously close to being co-opted by that mainstream. All those pretty little pieces of paper with dead presidents on them, you know… But I actually think there’s a lot of really interesting hip-hop being made now. Again, you just have to know where to look - and as indie-rock is where the interesting rock music is made these days, indie-hop is booming too. I’m partial to Mr. Lif and P.O.S. myself, but you can make a pretty long list of creative rappers whose music you won’t hear on Z-100. So take that fork out of hip-hop… it’s not done yet.

Tell us: What do you think? Has hip-hop’s Golden Age come and gone? Where is the best hip-hop being made today? (Photo: Flickr/raygunb)

What? Who did you think I was talking about? Oh right, the Beatles had already played at Shea. Twice. But I was too dull or too young to have registered that. But I remember my best friend’s brother’s excitement when he returned the day after the concert, raving about how cool it was and how the opening act, called Humble Pie, was gonna be HUGE. (Well, their guitarist would be… a guy named Peter Frampton.)

I have never seen a concert at Shea myself. Growing up as a heretic Yankee fan deep in Mets country, I hated Shea Stadium. During the 1974-75 seasons, I had to watch the Yankees play there while their own vastly superior stadium was being renovated, and even with MY team on the field, Shea was still a pit. But now I recognize the importance of that old eyesore - it was the birthplace of arena rock.

Tell us: Have you seen a concert there? If so, which one(s)? And how was it?

And there’s an even bigger problem with these events - me. I am a big baby. I don’t like to roast in the sun, and I don’t like to stand in the mud. (Hell, I don’t even like standing at the back of a club anymore but that’s just because I’m an old crank, while still managing to be a baby.) If you’re going to ask people to brave the elements for long stretches of time, you are going to make the experience of listening to music a lot harder than it has to be.

Tell us: Do you go to these summer music festivals? I will admit they often lead to great stories - share them if you dare…

Of course, if someone offers you a choice of being waterboarded or having to listen to Metallica at bruising volume all day and all night, most of us would choose the music. But as an apology for torture – because that’s what it is – that simply doesn’t cut it. In this case, music is not being used as music, as one of mankind’s most expressive forms of communication. Instead, it’s being perverted, used as a sonic cudgel. And as with all forms of torture, it says more about the torturer than the victim.

Tell us: What do you think of the military’s use of music in interrogation? Are there times when it’s justified? Where do you draw the line? (Photo: Flickr/.martin)

When I went to Beijing earlier this year, before and after the NY Phil’s historic trip to North Korea, I was impressed with the orchestra’s concert at the National Center for the Performing Arts (or The Egg, as it’s universally called in Beijing) – not by the program, particularly, or by the hall, which is IMHO an acoustic disaster, but by the people outside trying to scalp tickets to get inside.

But the closer you look, the more you see problems – classical music in China is being “used” as an aspirational device (look how cosmopolitan and modern we are), and as an expression of a new nationalism (we can do this as well as the West). For this reason, concert series and individual shows have a planned-by-committee feel to them.

And yet, there is no denying the enthusiasm – whatever’s at the root of it. Check out Alex’s article and let us know – do you think the future of classical music lies in China? Leave a comment.

Having said that… James Brown Live At The Apollo. Nirvana Unplugged. There ARE some tremendous live recordings. (I’m gonna refrain from mentioning Johnny Cash at San Quentin, which, as longtime Soundcheck listeners may recall, was very much a studio creation – especially the iconic roar of the prisoners when Cash sings “well I shot a man in Reno/just to watch him die.” That roar was layered on by the engineers later for dramatic effect.) And for jazz and classical music, live concert recordings are absolutely essential, and arguably way more important than the studio creations of either a be-bop combo or a symphony orchestra. (Fans of the classical pianist Glenn Gould will probably disagree. Fans of Keith Jarrett may feel torn.)

For me, though, the live album in the world of pop music usually has a whiff of “let’s fulfill this record contract and get back to the beach.” What do you think? Are there live albums that helped form your musical tastes? Are they still relevant in an age when tonight’s concert is tomorrow’s Youtube clip?