Please send vibes that Ann Miner and Mike reynolds of All That Chat decide to reveal the identity of the person they are inexplicably protecting who thought it would be cute to post a taunting lyric saying "I really hope you die" yet claims in another post taht he's a friedn of Skip and mine, yet won't identify himself. It's just extremely creepy, and All that Chat just doesn't get why this is disturbing.
I'm putting the complete post here. The person in another post says "I'm someone you've dined with and consider a friend' but knows I'm upset by this and won't come forward to reassure me, some "friend" that is! that leads me to believe it really is someone menacing who is pulling the wool over ATC's eyes and Ann and Mike just really want to believe it because they want to be hurtful.
Here's the post with the violent lyric. It feels creepy in light of the other incidents such as the "Fred Landu is Dead" newspaper links, and those strange "stalks" on the Times comments.
Brooklyn Boy, you've changed the subject yet again (not that there's anything wrong with that). Before addressing your new topic, I'd like to "like" Chromolume's peeve --
contemporary lyricists (or composer/lyricists like Brown) - again, so many of today's composers are influenced by contemporary pop, and the dense, overwritten lyric style of rap, and what I'd call "rant" songs ("One Week" being a good example) that this is seemingly all they know how to write - so we have these long overwritten marathons by the likes of Brown, Kerrigan/Lowdermilk, Gealt, etc, which tend, to me, all to become "more is less" songs. No one these days trusts the economy of, say, the lyric to a Hammerstein ballad, where often there is ONLY ONE REFRAIN to listen to, digest, and embrace - and in general, that kind of economy of writing can very easily be "less is more" - with the words NOT being sung just as important as the ones that are. But these days, a good number of lyricists feel they need to just vomit out all the subtext and everything else into one huge-ass song. And for me, that's often a tedious, masturbatory, wholly unsatisfying thing to listen to.
-- "They pack their lyrics 'til they're so damn dense, you could put 'em in your yard and you could use 'em for a fence." These songs/writers are extremely popular among performers under a certain age, and that has nothing to do with who is or isn't winning awards. Take for example: the Pasek and Paul song called In Short, which is really anything but. It includes these charming lines:
I wanna stick pins your eyes
I pray you get a rectal rash
I hope your Visa’s declined
Your children are blind
Get broke and have to do porn for cash
Become epileptic and violently shake
Find out that you were conceived by mistake
Fall out of a roller coaster
Take a warm bath with a plugged in toaster
In short
I really hope you die
but the real problem is that the song goes on and on, making the same point, which never develops, all at a thousand words per minute, never giving the ear a chance to rest, devoid of subtext. Listen to it back to back with Hammerstein's The Gentlemen Is a Dope for fun.
There's also Miller & Tyson's Spring Cleaning, Brown's Hopalong Heartbreak, plus countless other epics with countless words and notes. But when Chromolume says no one today is writing with economy, leaving things unsaid - well, it sounds like he's unaware of the better songsmiths of our day, such as the fine and diverse group who've won the Ebb award.
