It's great to see George Telek's music being produced overseas but it's frustrating when such albums get very little or no promotion at all within PNG's airwaves where his fan base is massive.
Young aspiring musicians and even the general listening population need to be exposed to music and songs, which have lyrical content and creative melodic arrangements.
Tribe Of Jubal is another sad case. An album, which should have set a standard, and trend, which unfortunately got very little attention from our prominent, radio stations. Which are more concerned about western pop culture.
Differences within the media organizations is also a major contributing factor to the demise of the quality in music that is being produced and promoted. It’s no longer about passion but more profit, power and influence.
It’s time PNG music listeners recognized cream from crap and the mass media to cultivate fine wine rather then the bubble gum which has already polluted and degenerated the average PNGean’s taste in local contemporary music not to mention it’s artists and bands.
response
It is true that differences between some media organizations seem to be effecting the way music by some artists are represented on radio and sold in the stores, which is not an ideal situation for recording artists.
In reference to your post - in what ways do you think that PNG artists tastes are being effected (I will refrain from saying degenerated) by overseas music? Lokal Papuan music for example is already heavily influenced by - if not entirely derivative of Pacific Island music (take a look at a Moses Tau video clip for example). I am interested in your opinion on what the differences between, and implications of imitating Polynesian styles in the 1950's, and imitating Caribbean and Afro-American styles in the 2000s? (assuming this is what you mean by 'bubble gum' - if not, please elaborate).
Furthermore, your comments seem to allude to the question: how are ideas of authenticity embedded in the different musical-borrowing practices?
these questions only refer to PNG musicians (and not audiences) but does anyone have any further thoughts on this??
lets get some discussion!!
response
It is true that differences between some media organizations seem to be effecting the way music by some artists are represented on radio and sold in the stores.
However, in what ways do you think that PNG artists tastes are being effected (I will refrain from saying degenerated) by overseas music? Lokal Papuan music for example is already heavily influenced by - if not entirely derivative of Pacific Island music (take a look at a Moses Tau video clip for example). I am interested in your opinion on what the differences between, and implications of imitating Polynesian styles in the 1950's, and imitating Caribbean and Afro-American styles in the 2000s? (assuming this is what you mean by 'bubble gum').
How are ideas of authenticity embedded in the different musical-borrowing practices?