Friday, December 27, 2013

The Best of the Worst

in which schadenfreude comes to the forefront of this blog for a minute.

After my completely hypocritical lambasting of best-of-the-year lists yesterday (while reading them, and then listening to all of the music on them, because, as I mentioned, I'm a sucker), I realized that I forgot to mention my TRUE favorite, which are the worst-of-the-year lists.

Here are the best of the worst-of-lists from this year:
  1. Entertainment Weekly - The Five Worst Singles of 2013  The song Chinese Food. Really. Need they say more? Oh yeah, of course, there's also Accidental Racist (which was unintentionally racist, and completely demoralizing), and the truly execrable I Hit it First, Ray-J's ode to Kim Kardashian. Their sex tape made her famous. Him, not so much. 
  2. Salon.com: The 17 most jaw-droppingly terrible lyrics of 2013 which had gems such as this: “Cause I understand you/We see eye-to-eye/Like a double rainbow in the sky/And wherever you go, so will I/Cause a double rainbow is hard to find.” — Katy Perry, “Double Rainbow” Is Katy Perry aware that rainbows don’t have eyes?
  3. Faster Louder - The 50 Worst Things in Music This Year John Mayer's album cover. Absolutely Everything About Pitbull. #Hastagsongtitles.
  4. Idolator - The 10 Worst Album Covers of the Year  If you were confused as to why Bangerz looks like something from the Miami Vice era. The crappy paintings that Drake and Jason Derulo used on their respective covers... ugh.
And, my personal favorite from Faster Louder - Haters Gonna Hate: A Guide to Hating End-of-Year  Lists dude. totally should have read this BEFORE writing my post yesterday. heh.

Thursday, December 26, 2013

The Worst Top 10 Lists of 2013

In which I bitch, once again, about music criticism.

It is that time of year (ok, well, really this started in November, and I've been tortured by it for nearly two months now) in which magazines and websites love to publish their top 10 lists for no apparent reason other than (possibly) ass kissery, impressing us with their obscure music knowledge, and slutty editorial practices.

And, like a sucker, I read them. And then get pissed off. And then rail against them. And then spend hours talking about how much I absolutely can't stand Vampire Weekend, Arcade Fire and Yeezus. (well, that's this year anyway).

All these music critics must have much better taste than me. And all the other people I know. Because I really can't find anyone who actually likes any of the aforementioned artists/albums.

It just seems like popular opinion and those of music critics are wildly divergent, and honestly, despite the fact that "the masses" made songs like Macarena popular, I tend to land much more on the side of mainstream music.

Yes, I listen to plenty of non-mainstream stuff, and no, I'm not automatically opposed to anything that hipsters are into. I frequently get accused of being a hipster (probably am, but shh...)

However, for the most part, the songs that are going to be remembered, that make the biggest impact on us as a culture, and that fundamentally add to our day-to-day existences collectively, are the ones that get the biggest airplay. And if songs don't fit in with the zeitgeist of the moment, they're not going anywhere, no matter how much a record label pushes. And some, like Macklemore's Thrift Shop or Same Love, explode despite the lack of big budget music label support.



So, a quick comparison:

Top selling albums of 2013 (that came out in 2013, according to VH1):

  1. Justin Timberlake - The 20/20 Experience, Part I
  2. Eminem - The Marshall Mathers LP 2
  3. Luke Bryan - Crash My Party
Top Rated Albums of 2013 (my completely unscientific compilation from Rolling Stone, Pitchfork, Entertainment Weekly, the New York Times, Spin, Billboard, and other publications):
  1. Kanye West - Yeezus
  2. Vampire Weekend - Modern Vampires of the City
  3. Arcade Fire - Reflektor
Hmm. Not much overlap. One of the few albums that actually on both top critics lists and top sales was Drake's Nothing Was the Same. (Which, of course I haven't listened to yet. I'll get around to it eventually, when I'm in the mood.)

I feel like arts criticism and popular opinion are on fairly parallel tracks (or at least have gotten closer) for movies and television. (My husband completely disagrees. I'm sure this will show up in his comment. And yeah, I may be talking out of my ass here, as I pretty much only read movie reviews in the NYT or Entertainment Weekly).

With books, readers generally know where to go to read reviews of books that they'd be interested in. I mean, your average romance/horror/sci-fi reader is not going to be perusing the NYT Review of Books or the New Yorker, and readers of "serious literature" are not going to be poking around in The Romantic Times, Oprah's book club or Entertainment Weekly. 

So, as usual, I conducted an orgy of music listening after reading the lists, catching up with things that I may have missed or overlooked over the course of the past few months. Many of the albums on the lists were boring, unlistenable, or one-note.

On the positive side of the best-of lists, I discovered that I actually LIKE Haim's album Days are Gone, which was surprising. Everything that I've read about it made it seem like exactly the type of music that I'd hate. Here's a recent big hit of theirs:



I re-listened to Yeezus, thinking I'd missed something the first time around. It still sucked. And I have been a huge champion and defender of Kanye for quite a while. While I firmly believe that every album of his up until now has advanced the art form (of music/hip-hop/whatever, take your pick), this one is just... bad. Not good bad. Bad bad. Case in point, the most unintentionally hilarious video of the year:



Hell, I even listened to Miley Cyrus' Bangerz, and discovered that it's not bad (more on that in another post).

Wednesday, December 18, 2013

It's so fluffy! I'm going to die! (of boredom)

In which I try to figure out exactly which part of Katy Perry the movie "Part of Me" portrays.

Confession time: Sometimes when I'm alone at night with my craft beer and my knitting and my 30 cats (ok so there are only two, but one of them is the pain in the ass equivalent of 30), I'll get extra fluffy and watch something. It would be so much cooler if I said it was something sexy, but usually it's something that Mr. Deviant doesn't give a shit about.

I figured the Katy Perry movie was a pretty safe bet, as Mr. Deviant is a male of the heterosexual variety.



And, safe it was. 

After watching it, I felt... nothing?

Ok, look, I'm a sarcastic, cynical bitch (if you hadn't already figured that out), and while I usually heckle tv and movies, especially the ones I like, I couldn't bat aside my ennui enough to actually find anything to snark on while watching this thing. 

The overarching blandness of the film... it just didn't touch me one way or the other. Katy Perry seemed nice. Her tour seemed nice. Her breakup with Russell Brand seemed absolutely bloodless. Her sister, brother and parents seemed nice. 

No, I'm not fooling myself into thinking that this movie, commissioned by the evil empire that controls Katy Perry's career, is at all the truth. I think that maybe bits and pieces of the truth may have been inadvertently left in the movie here and there, where nobody noticed it. 

On the whole, this was one of the most banal things I've ever sat all the way through. I couldn't even get inspired enough to turn the fucking thing off.

Shit, at least Shine a Light disgusted me enough to walk out. And that was some lame ass starfuckery.

It was a weird experience. I usually have strong feelings about (all the) things one way or another, and you'd think that bright colors and glitter would have been enough to elicit at least SOME reaction out of me.

I actually like Katy Perry's music. I didn't really care about I Kissed a Girl, but Teenage Dream and Prism, I've purchased, and regularly listen to a few tracks from both albums. 

The fluff, the tight song-writing, and (admitting it) the bright colors and glitter appeal to me. I enjoy the good girl-gone-wacky  n' wild vibe that she puts out. And it cracks me the fuck up that she calls her cat/mascot "Kitty Purry." 

Photo via Perez Hilton


So why didn't this silly movie connect with me? Have I actually reached the age where I refuse to look for meaning in the completely vapid? Is it just too fluffy? Is there such a thing? 

Monday, December 16, 2013

a complicated relationship

in which i discuss my incredibly mixed feelings about R. Kelly.

So, R. Kelly's first solo album, 12-Play, came out in my senior year of high school, and our school's administration desperately tried to keep "Bump N' Grind" off of every school dance's playlist ever after. (they failed). They also unsuccessfully prevented us from doing the "Tootsee Roll" at school dances (that, kids, was 1994's version of twerking. It can also be seen in the Bump N' Grind video below).



After that, there were what I deem "the blackout years," in which I was too busy doing other things (sex, drugs, & rock'n'roll) to actually pay attention to popular culture, so I missed pretty much everything from 1995 to 2000 (ish). There were a lot of drugs.

Which means that I completely missed "I Believe I Can Fly." Thankfully. However, my daughter's day care had the kids sing the song at one of their "graduations" (seriously. as it was put in The Incredibles it's a celebration of mediocrity). My child, at 3, mangled the lyrics into "I be like a fly." which cracked me the hell up. Also couldn't pass up the irony of a group of children singing a song by a suspected child molster, but  nobody else at the daycare saw it. Le Sigh.

I didn't really catch back up with R. Kelly until the Chocolate Factory era, at which point, he'd become a caricature of himself. I didn't quite take him seriously, but there were so many good songs on the album, that I was caught.

And then the whole child porn/sex with minors scandal hit.

Man.

That made it a little difficult for me to actually, you know, purchase one of his albums. It's one of the few times that an artist's personal life has actually impacted my desire to own their music (Chris Brown being another notable case). And it's a tough place to be in as a music lover, and a huge R&B fan. If I buy the music, am I supporting that type of behavior? Am I really putting money into the pocket of that guy?

Here's the thing. His songs are good. Some of his songs are transcendentally brilliant. Some of his work is such unbelievable crap that it comes all the way back around to awesome again (Trapped in the Closet, I'm looking straight at you). It's tough to ignore these amazingly beautiful songs. The man has talent, even if he is a child molesting ego maniac. (I'm not saying that he is, just if he is. Don't sue).

Anyway, after Chocolate Factory and TP-2 & TP-3 (which really makes me wonder about some sort of Freudian obsession with anuses), I contented myself with purchasing the occasional song or two of his off iTunes (Amazon now, thank you), and working them into guilty pleasure mixes on my music listening devices. And quoting his lyrics constantly, because, well, they're hilarious.

But now... with this most recent album, Black Panties, and the, might I say, NUMEROUS references to cunnilingus, I feel that I must support R. Kelly in this endeavor. Although it would be even hotter if I could just listen to Benedict Cumberbatch do a dramatic reading of then full album.

I watched/listened to "Cookie" today. And it was... magic.



Is it funny? Should I take it seriously? Is he taking himself seriously? Is it feminist? Is it exploitative to women? Who cares, just as long as Kelly is referring to eating pussy like an Oreo, and continuously refers to himself as the "Cookie Monster." I'm liking this trend, Kells. Keep it up.

heh.

(though honestly, what woman is going to be turned on by scantily clad females shaking their asses all over the screen? Really.)


Sunday, December 15, 2013

SOLD!

You just can’t make this shit up. (Picture from the Entertainment Weekly review of R. Kelly’s new album “Black Panties.”)
I’m totally buying this album now. Promise.

Friday, December 13, 2013

Artpop

in which I go to lady gaga’s artrave, and then listen to the new album. really late. because I have things that make me busy. stupid things.
So I went to this little thing back in November called Artrave, which was basically Lady Gaga’s album release party. Here’s a photo:
image
My takeaway from the event: I’m really old. And jaded. Probably far too old to actually go to Artrave, but whatever. When I get offered the chance to go to a random Lady Gaga event, you’d best believe that I’ll go.
  1. There were a lot of skinny white girls there who seemed to think it was necessary to be naked. I’m not complaining, mind you, I just find it odd. Is Lady Gaga’s music really that liberating? Is being naked the conventional person’s way of being “wild” these days? Are we as a society just lacking imagination? I felt like saying “yes, honey, you’re being super unconventional by taking off your clothing, just like the 315 other skinny white chicks with glitter on their faces who have also taken off their clothing at this event. Go you.” Also, I thought that taking off one's clothing in public was generally considered to be a sign of mental illness?
  2. Lady Gaga was showing her performance art videos on six huge screens on the walls. Apparently Maria Abramovic had a hand in some of them. Performance art is not my bag, y’all. I’ve participated in enough performance art over the years (ok, all before I turned 22 and stopped taking drugs, but still) to know that it is mostly bullshit. It was fun bullshit, but man, I do NOT want to watch it any more. 
  3. Lady Gaga was naked in a lot of her performance art videos. Maybe that’s why so many of these girls were taking off their clothing.
  4. I hate to tell y’all this, for fear of disappointing you, but underneath her clothing, Lady Gaga appears quite human. Not an alien or anything.
  5. There were Jeff Koons pieces all over the place. They were shiny.
  6. Lady Gaga performed some of her new songs. You can watch most of the performances on YouTube if you haven’t already.
  7. There was an open bar.
Here’s one last picture:
So, onto the music:
For the first few hours of Artrave, DJ WhiteShadow, a producer that she worked extensively with on Artpop, performed (does DJing count as performing?). He was fine, if a bit repetitive in his beats. He tended to have very similar beats throughout each song, and tended to drop the beat at exactly the same point on each track. 
Anyway, if you want to know what his set sounded like, listen to the song Aura (here’s a link to her performing it at Artrave), which honestly, sounded so much like the rest of Whiteshadow’s stuff, I didn’t even realize the performance had started.
So yeah, the album. I bought it. I’ve been living with it for the past month or so. Despite my complaints about the repetitiveness of WhiteShadow, I really like the song Aura, as I feel like that goes in a somewhat new direction for Gaga. Applause, Do What U Want, Applause and Gypsy are also fun tracks. The rest of them, honestly, I can live without.
On the whole, after a month of listening to Artpop, I’m kind of… tepid. Which sucks. I’m bummed. Maybe some of the other songs will grow on me, but for the most part… eh.
Gaga puts on one hell of a party though. 

Saturday, November 9, 2013

work (pants), bitch

I think the most significant thing about this video is that Britney is wearing pants. Twice. And they’re not skin tight.
I do believe this may be the most clothed I’ve seen a major female pop star in a video in…forever?

Monday, September 30, 2013

i am going to end up hating myself tomorrow...

…when I end up buying this album, despite many reviews saying it had the same problems as Part I:
Entertainment Weekly’s review of it was particularly damning, me thinks.
Still, there were a couple of good songs on the first part… 
Maybe I’ll just wait until it goes on sale at Amazon for very little money. Maybe I won’t actually buy it. 
Maybe my soul is redeemable after all. (probably not)

Thursday, September 26, 2013

economics of audiophilia: part 1

in which I grouse about seeing live shows.
 
So, I’d say I love going to see live (rock) music, but honestly, I’d be lying. There are so few shows that I can say were truly amazing throughout the course of my life, and the only ones that come to mind are those by  ¡TchKungin the Seattle/Olympia era of the late 1990s. Because yeah, musicians who play on trash, fire breathers, concert goers covering themselves in mud, and random takeovers of the city streets are, in fact, amazing. Also, the sound quality was pretty good, in or out of the theater.
(Live classical music, by the way, is a totally different animal. I have zero issues going to see/hear symphonies, other than cost, and the potential for whoever I’m going with falling asleep and/or making fun of me for being consistently moved to tears. Yeah, I cry at live symphonic performances. Whatever.)
 
Anyway, one of my favorite bands, Phoenix, is playing at the Barclays Center in Brooklyn next week, and for about five seconds, I was ready to buy tickets, before going “nah” and shrugging in a very Gallic way (Phoenix is from France, btw).
 
I really loathe seeing concerts in huge venues. The last one I went to was the final show of the Police reunion tour at Madison Square Garden, and yeah. Feh. I went to that show because it was going to be the only chance I’d have to see them live, ever (being under 10 for most of the 1980s put a crimp in my concert going during the Police’s heyday). It was… ok. The performance was great, but all the bullshit in the venue detracted from it (for me at least).
 
And mind you, I’ve been to huge stadium concerts all over the country. King Dome in Seattle, some gigantic fucking place in California, RFK Stadium in DC, blah blah blah. They all suck. It’s not just MSG (which mind you is probably the suckiest of all of these). 
 
The tickets are ridiculously expensive. Overhead’s a bitch man, and while I’m all about supporting the bands, paying for these ugly ass, energy hog, sports-oriented, architectural monstrosities is not really on my agenda. I really HATE paying hundreds of dollars to be herded around like mentally disabled cattle through what is essentially a temple to concrete. And then sitting really really far away from the stage, and having to use binoculars because I can’t deal with the fiscal ass-raping that comes with buying “good” seats. 
 
Also, the sound quality blows. Almost always. And I hate leaving these venues mostly deaf, with my ears ringing. Or having to listen to the show through ear plugs, which is almost as insulting as having to watch it through binoculars. Because, what’s the point of going, at this point?
 
Additionally, I have no desire to pay craptons of money to basically hear/see a rehash of a studio album that I could have listened to in the comfort of my own home for free. There’s also the chance that you’re going to pay a ton of money to see a really shitty show because the performers feel off that night, don’t give a shit, are really tired, or had their pipeline of cocaine cut off.
 
Fuck that noise.
 
Sorry, my dear, dear (imaginary) friends Phoenix, I will not be seeing you at Barclays Center next week unless the magical ticket fairy somehow coughs up free tickets to your show. (Then, I’d be there with bells on.) I’ll stick to listening to your albums obsessively while on the subway.

Tuesday, September 24, 2013

all this time...

in which [the royal] we discuss the relevance of older artists.
 
So, Sting released a new album today. I honestly have no clue how well it is going to do, nor do I really care. I mean, I guess the dude has enough money, and probably has enough fame at this point. Given what emotions come through in his songs, I figure that probably part of the reason why he’s still writing, recording and releasing songs is for art. Or joy. Or love. Or something. Whatever that thing is, it works for me.

I mean, it worked for me when he was younger, cockier, and more of a jackass. I’ve always loved his stuff. Grew up on it. We’re talking more than three decades of having Sting in one form or another in constant rotation with all my other music.
The only other artists that I’ve had on constant rotation are Michael Jackson and Bruce Springsteen. And I don’t listen to them nearly as frequently as I do Sting. For instance, I have every single one of Sting’s albums on my phone, for daily listening, but only three songs from MJ and Bruce…
Anyway. I mentioned Sting’s new album to a coworker, who mind you, is older than I am, and her first response was to ask “Is he still relevant?”
She brought up Rod Stewart, who she mentioned had released an album earlier this year. I had to fact check this statement, and apparently he did release an album of original material in May. (It didn’t do well in the US as far as I can tell, but went to the top of the charts in the UK.) She spent some time reminiscing about Rod during the 70s and 80s, and then again in the Aughts, and how hot he’d been back then.
Which raised a lot of questions for me. 
Does it matter if musicians are making music just because they can? Or to appease diehard fans? Or to hold on to past glory? Or to please themselves? Or to pay their kids’ college tuition bills? For nostalgia’s sake? 
Why would we care if that’s all they were doing?
Does it fucking matter if an artist is still relevant? If somebody, somewhere, gets enjoyment out of art, sees the beauty in it, and it somehow adds to their existence, doesn’t that negate any questions of relevancy?
What does it matter if the only person in the world who is listening to Rod Stewart is some 60-something cat hoarder living on the dole in Great Britain who pops on his record to masturbate to while fantasizing about his lithesome 1970s era bod? (or, his not so lithesome 2013 one…)
Or that Sting releases some song that has a ridiculously complicated time signature that only certain math/music geeks understand? (or jerk off to. fine. whatever)
This is a large part of why I try not to slag on musicians (or artists of any sort.) I’m not going to emotionally connect with Miley Cyrus making out with a sledgehammer (Ke$ha making out with unicorns is way more my speed), but obviously millions of other people are, so who am I to judge them for their tastes in art? It’s doing something for someone somewhere.*
(Although, I may be somewhat disturbed by what it says about our culture that watching Miley simulate sex with a wrecking ball has garnered 149,000,000 views on YouTube, but whatever. I mean, I watched it. Once. I guess it is kinda like a car wreck.)
Yeah. I still love Sting’s music. So what?
*Please note that this attitude does not so much extend to genocide, cannibalism, Yoko Ono’s recordings, and other things that cause harm to any living being.

Randomesque Side Note: I once had the opportunity to meet Sting, and I declined, because I was afraid that he’d be a total asshole (I think he was still in his jackass phase) and I didn’t want his shitty behavior to ruin my love of his music. That particular modus operandi still stands for most of the musicians I deeply admire. (i.e. stay the fuck away)

Saturday, September 7, 2013

lovin it

in which I discuss Ariana Grande. while trying not to mention Mariah.

I gotta start this by saying I’m a huge fan of Mariah Carey. Always will be. And despite the inevitable comparisons between Mimi & Ariana, that’s the last thing I’m going to say on the subject here, because I honestly don’t think that in the long run, the comparisons are going to do either artist any favors.
So yeah, I bought the Ariana Grande album, Yours Truly. And, at the absolute base of all of it, I  find this album to be a highly enjoyable experience. 
image
So a few notes:
  1. This album is full of 90s nostalgia in a seriously good way. Little Mix is 90’s nostalgia in a really bad way. 
  2. I’ve always been a sucker for a Babyface written/produced song. Since he was so heavily involved in this album, it kind of naturally follows that I’d like it. (side note: I think Babyface was the first producer I was actually aware of.)
  3. Have been excited about this album since I first saw the video for “Baby I
  4. This album has a lot of production elements in it (like that irritating slowed down deep voice thing that is in EVERY FRICKEN SONG on the radio these days), that I think are going to sound dated in about five minutes, and yeah, that annoyed the shit out of me.
  5. Can’t wait to hear her voice grow, mature, and, well…ripen.
  6. Why the fuck did somebody decide to put that boy band guy on “Almost is Never Enough?” Ariana so dramatically outshines him from a talent standpoint that I actually get embarrassed for the dude every time I hear the song.
Anyway. Yeah. I like this shit. A LOT. 
It’s just pure pleasure to sit back and listen to somebody do something that they clearly love, and have an awful lot of natural talent for. Really looking forward to the rest of this chick’s career.

Wednesday, August 21, 2013

exposure

in which I connect emotionally with pop music for the first time ever.
 
Due to my father’s hatred of pop music, as previously discussed, I didn’t really hear pop music in any meaningful way until I was six.
 
Now that I’m a parent and watching my daughter’s burgeoning awareness of the world around her, I realize this was probably also a function of being a kid. To some extent anyway.
 
It is really fuckin cool to rediscover the world through my kid, by the way.
 
For the most part my friend’s parents were also classical music listeners so I didn’t really have any exposure there either.
 
In winter 1982 when we went to Colorado for our annual ski trip. As always we stayed at my parents’ friends’ house, and these friends had a pair of  magical creatures called teenaged girls, as well as a son who was about my age.
 
One non-skiing day, apparently us kids were being obnoxious little shits, or the adults wanted some day time wife swapping, or to drink themselves into an alcoholic stupor in peace, so we were locked out on the deck together.
 
Did I mention this was Colorado? In the winter? And that we were literally locked out? God, parenting in the 80s rocked. I’m happy to report that no one died of exposure.
 
So we’re out on the deck in five feet of snow, and like all brilliant kids, the boy and I planned ahead and packed roller skates. The magical teenagers packed their record player. Which, I suppose was slightly more practical than fucking roller skates.
 
Anyway, while their younger brother and I were unsuccessfully trying to skate in three feet of packed snow, the teenagers were busy digging out the outdoor outlet to plug in their record player. Once we’d finally given up on our fruitless enterprise, they had plugged in and started playing the one record they’d managed to get outside.
 
It was Aerosmith’s Toys in the Attic, which apparently was the right album at the exact right time for me. Something about the music reached out and grabbed me, and I clearly remember Walk This Way and Sweet Emotion. It was an epiphany and I remember sitting in the snow listening with the same weirdly rapt attention I’d give to a major symphony orchestra. 
For the rest of the trip when I wasn’t terrifying my ski instructors, I was begging the girls to play me more records. They got annoyed, but I was completely entranced by their baseball sleeve concert ts, posters and record collections. Even the cover art was a revelation. I’d sneak into their rooms to flip through their albums, and run my fingers down the track lists memorizing the exotic song names.
 
I also started to explore other music voraciously. I got a Columbia record club membership, much to my mothers chagrin. I discovered that radios played music other than classical and spent hours holed up in my room with a shitty clock radio listening to every station I could get a decent signal for.
 
And I loved everything. My friend’s dad introduced me to AC/DC, Led Zeppelin and Simon & Garfunkel (go figure). I watched MTV in my allotted 30 minutes of TV per week, and absorbed music videos. I listened to the poppiest of pop, heavy metal, hair bands, the blues, alternative stuff, dance music…
 
Still do. Still love it all. I’ve steadfastly clung to my childhood openness to everything.
 
Now, rather than voraciously consuming everything all at once, I tend to go through phases. Right now, it’s alternative rock, but I’m seeing EDM looming on the horizon.
 
(pardon if there’s any weird typos, I wrote this whole post on my phone. Which is hard.)

Monday, August 19, 2013

audiophilia & misophonia

in which we discuss my father’s bizarre relationship to music and the rest of the world.
My father was autistic. Straight up. Not gonna sugar coat that one, folks.
(that’s dear old dad, at about 20)
He couldn’t handle all of the different layers of sound and meaning and words and sound in pop music, and didn’t listen to it at all. Couldn’t stand it, actually. Most pop music would cause him to get somewhat catatonic, or curl up in the fetal position in his armchair and start rocking back and forth. Or run away, or get angry.
My mother married my father in 1966, so her consumption of pop music stopped that year, given my dad’s issues. In the 80s, when I was starting to become aware of the music world outside of classical, the only bands she could name were The Beatles (good) and the Rolling Stones (satan). 
Despite my dad’s issues with pop, he loved music.
Loved. It. 
It was one of the only ways that he could express emotions. Art, architecture, dance, film all did nothing for him, and in fact, in many cases, would also send him into catatonia. So classical music it was.
Dad had thousands of classical music records, reel to reel tapes, and CDs. He had the best headphones money could buy at the time, and he built his own sound system, including speakers, from scratch. I spent many hours with him in his basement workshop, silently sanding mahogany panels for the subwoofers he was building, or watching him solder components together. Quality time, autism style, I guess.
I have no idea how he knew how to build the speakers, as he didn’t work from plans at all. I guess just made it up? Maybe he took apart some speakers when he was younger? Maybe he looked it up in a library, memorized the plans, and built it from memory at home? No clue. He was a genius, or idiot savant, and could easily memorize HUGE swaths of text, including various languages, without any issues at all. He just had massive issues expressing himself. Words, sounds, concepts and emotions didn’t really connect for him (no wonder I’m so into semiotics), so speaking his native language of English was tough for him, even though he could read and write in something like 30 different languages.
Once Dad finished the speakers, he put them in the living room, where they sat as gorgeous, highly functional pieces of furniture. Art, maybe? No clue. He then fiddled with the sound system, and the EQ board he had for our home system for hours, getting the levels, which were completely imperceptible to me, exactly right. He’d put a record on, blast it, stand in various spots in the living room, go back to the sound system, lift the needle off the record, fiddle for a bit, and then repeat. For days. I think I heard the same snippet of Tchaikovsky’s Sleeping Beauty something like 95 times over the course of a week.
Do you all know about the concept of the Golden Ear I’m betting that my dad could have schooled all those motherfuckers. Then again, maybe he was just completely insane. Both are distinct possibilities. Who knows how my father’s brain worked? I was probably the only person who came even remotely close to understanding him, and he’s still a complete mystery to me.
We were constantly taking trips to the giant Tower Records store in Washington, DC, so Dad could lock himself into their classical music listening room and purchase new recordings. He was so happy when CDs came out, because their sound quality was much clearer for him.  I guess the absence of the snap and crackle of vinyl made the experience even more pure for his incredibly sensitive brain. 
On one notable occasion, my father purchased a CD of Bax’s Spring Fire from Tower, which he was incredibly excited about, as it had been years since he’d last heard the piece played, and apparently had a hard time finding the recording.  When we got home that evening, he popped the CD into the player, and out came the sounds of the Talking Heads’ Psychokiller. Apparently the CD had been mislabled with Bax and was actually a recording of Stop Making Sense. I thought my poor father’s head was going to explode, but he actually found it funny, and went back to the store where he convinced the guys in the nice quiet, glassed-in classical enclave to pop the disc on, which immediately cleared the room.
(quick note: after numerous years of living with my dad, it became easier to read his emotions. Even when he couldn’t express them, I got pretty good at sussing out what he was feeling, thus being able to describe him as happy and/or excited)
Our house was constantly filled with classical music. Dad would get home, put on a record, and sit in his armchair with a beer, a book, a cat, and listen. It was kind of awesome. 
Except that he liked either music playing in the household (with no one talking) or silence. Makes things difficult for a little kid, but I somehow adjusted.
We also went into DC to the Kennedy Center and to Vienna, VA to Wolftrap for performances on a regular basis. He’d spend days researching the best seats in the house, or location on the lawn for sound quality. 
From a very young age I was able to sit still and listen to whole orchestral movements without fidgeting or freaking out. Probably because of the model of connecting emotionally to the music that my father presented me with. Either that or I was scared of my dad. Maybe some of both. I guess I got some of his obsession with good sound quality (hence, the deviant audiophile thing), but it really blossomed into a love of sounds of all sorts, and dad, for whatever reason, couldn’t handle most noises.
Really long side note:
As a teenager, I forced my dad to interact with pop music again. He still hated it. 
However, when I was 19, I was at home drawing or painting with VH1 on in the background. We were out in the middle of nowhere in Oregon and couldn’t get any decent radio stations. My father couldn’t handle MTV, so VH1 it was. Mariah Carey’s song Always Be My Baby came on, and my father sat there, stony faced, watching the video, before getting up and stomping out of the room. 
Two days later, my dad and I are hiking through the wilderness, and out of NOWHERE he starts singing the “doo doo doo’s” that open the song. I picked up the harmony, and we sang for a few minutes together, dogs at our side, filling the silence of the Oregon Coastal Range.
One of the most surreal moments of my life, and there were many, given my parentage.

(Dad died in 2006. RIP)