“You listen to some horrible music,” Nelly said.
“What do you listen to?”
No answer.
Some of us listen to music others consider weird, strange, and just plain different music, but we’ve listened to it for so long that it no longer bothers us when they say it’s horrible. Who cares what anyone thinks of the music we play for our entertainment? We do, when we’re in high school and college, but we wanted everyone to like us back then. Some of us were so insecure that we thought if they didn’t like our my music, or the music we loved so much it was a part of us, it was equivalent to character assassination. As age provided clarity, we realized we didn’t have anything to do with the creation of this music, so it was silly to think it was an insult by extension.
Nothing Nelly said was personal. She just said silly, inoffensive jokes about my music at parties and family get-togethers. If Nelly wanted to get personal, she could’ve said something about my wife, my children, my financial stability, or my personal appearance. No, Nelly chose a relatively harmless subject on which she thought I had a humorous vulnerability. She was ribbing me. It was all part of this fun, little game we play with one another.
Repetitive jokes like these only leap the fence from meaningless and harmless to competitive with repetition. When she first said, “You listen to some horrible music,” we laughed as hard as everyone else. We felt no need to respond. She could’ve been a little more creative, but it was a decent shot, and it was funny.
We’ve found some jewels in the rough over the years, but we know that an overwhelming majority will never enjoy the music we do. It’s a thing, or a thang, we’ve known for so long that it doesn’t really matter to us anymore. It used to matter a great deal to us. We used to try to discover bands before any of our friends did, and the excitement we felt when we found such brilliantly creative artists was almost physical. If the recipients of our recommendations grew to love the music, and they attributed it to us in some manner, it was thick and delicious gravy. That pursuit probably started us down these weird, strange, and just plain different musical paths, but whatever the anthropology of it was, when we returned to the chart-topping, traditional music that the majority enjoy, we were left with, “Is that all there is?”
By constantly dropping various incarnations of this joke, Nelly was trying to fit in with us. We all enjoyed taking shots at me, and she would score with these little shots more often than not. We would laugh, big belly laughs, because we knew how difficult, strange, and just plain different my music was. We laughed for years, perhaps too many years, until I turned the tables on her.
“Wait a second,” we said. “What music do you listen to?”
“Oh, I was just joking with you,” Nelly said.
“I know you were, and I took no offense,” we said, “but if you’re going to get in the ring, whaddya got?”
Nothing.
No one cared what kind of music Nelly enjoyed, because she doesn’t love music, and that wasn’t the point. Music was background noise to her. It’s what she turns on when it’s a little too quiet. She doesn’t ache for brilliance the way we do, great songs don’t alter her mood, and she’s never used the word masterpiece with emotional exclamation points. She lets a DJ select her music for her. Okay, but to what station does she tune? She prefers trite and simplistic tunes that are as far from difficult and challenging soundscapes as songs get. Her favorite music involves corporate production, computer enhanced vocals and a professional songwriter composing and editing lyrics. We have no problem with any of that on the surface, because we know 90% of the population prefers that music. They don’t seek unique chord changes and complicated structures that no one else considered before. She’s not a musician or a music aficionado, and either are we. Nelly just wants a hummable beat in life, so she can strum it out on her steering wheel. She doesn’t demand artistry from her favorite artists, and we suspect that most of the music we love involves more minds than we’ll ever know. Yet, her repetition suggests that there is some sort of psychological game going on that she’s won, because we considered this game so silly that we never fired back before.
When we asked “What do you listen to?” a snark was born. We used to defend our music, because it meant so much to us that it felt like it was a part of us. It was our music in a way that breeds kinship, love, loyalty, and some form of mental monogamy. Age brings clarity, and we realized that we can love something that is not ours. We didn’t create the music, so we no longer view their insults as personal. We stopped defending our music, because we matured into the realization that it didn’t need defense, or at least we didn’t need to be the ones who defended it. Plus, most of her insults were right on the mark. The music we listened to was weird, strange, and just plain different.
It’s fine if you crack on our music. We don’t defend our music, because we didn’t think it needed defense. The only reason we said anything at all was because she spent the whole game on offense, and if we were going to find out if she had any game at all, we thought we should test her defense.
***
Someone stepped into her silence and stuck up for Nelly. He was a gentleman who saw a woman flopping on the shore. She wasn’t embarrassed, and we didn’t really make her look bad, but he apparently felt the need to fill a void Nelly couldn’t.
He preferred important artists who created important music. He preferred cultural scribes who wrote meaningful music. He preferred musicians Rolling Stone told us that we’re supposed to like. As he spoke, we thought of all the articles that centered around the theme, “Why it’s okay to like this artist now.” This guy preferred to listen to the martyrs, the prophets, and philosophers of music who told us what to think. We told him that we sought our philosophical mainframe in other venues. He asked where, we told him, and we both viewed the other’s path to philosophical truths as simplistic.
“[My artist] has witnessed carnage and mayhem firsthand,” he said, “and he writes about it. He writes about tragedies, foreign and domestic, and he does so with heart-wrenching and illustrative prose and poetry.”
“It’s poetry without a punchline. He writes subjectivity as if it’s objectivity.”
“But he’s been there,” he said in a tone that suggested we don’t get it. The you-don’t-get-it crowd gets a lot of mileage out of that line without saying it. The power lies in the inference.
“He’s been on the yellow brick roads provided by the undersecretary of tourism development.”
“But he writes from the soul,” he said. “His lyrics are deep and meaningful.”
“[The artist] regards it as the truth, but it is his truth. He regards it as challenging. It’s his important music. It’s the college thesis paper he never wrote, because he never attended college. It’s his “I’m smart. Not like everybody says … like dumb … I’m smart and I want respect!” moment.”
“This is where you and I differ,” he said, “because I find his lyrics so intellectually stimulating that I consider him important.”
“But did he write it to be important?”
“Why does that matter?” he asked.
“My favorite artists don’t strive for importance in this vein, and when an artist does, it always sounds contrived to me. Did your favorite artist write your favorite important song for the purpose of artistic interpretation, or did he do it to be a star?”
“I doubt that anyone writes a song with the hope that someone, somewhere will consider it important,” he said. “I’ve never written a song, and neither have you, but I have to imagine that it’s so hard to write a song that if you strive for a hit, or the level of importance that we’re talking about, you probably end up chasing your own tail.”
“You can hear it in the song,” we said. “You can hear it in the emotional triggers he uses to evoke and provoke. There’s nothing wrong with it of course, but it doesn’t move the needle for me. Listen, every musician wants to be successful at what they do, but what do they do to get it? I respect anyone who knows their limitations and battles them from within. Do some artists reach a peak of creative brilliance, and they witness the other guy constantly outdoing them? Does this idea that they can’t outdo their rivals compel them to go down intelligent and important roads? I don’t know. Does the idea that they’ll never reach their creative peak again compel them to do it? I don’t know, but I can tell you that no musician has ever changed my mind on anything, and I find the never-ending attempts to do so a little tedious at times.”
“So, who’s the music snob here?” he asked in a genuinely reflective tone I found disarming.
Our initial thought, after this conclusion of this conversation, was that this man was attempting to turn the tables on us. I did a deep dive on the reflective chuckle he gave after saying it however, and my best guess is he was laughing as much at himself as he was us.
