THE TUNE ITSELF. The Mighty Mighty Reason Man, understandably unwilling to focus on politics every minute of the day, uncorks a long lament on the parlous state of popular music. Sample bit:

There is very little new music that doesn't sound like utter shit to me, and I actually caught myself referring to some Nu Metal song as "just noise" the other day. Just noise?!? Dear God, soon I'll be denouncing Elvis's lurid pelvic gyrations.

Understandable reaction. There is nothing new under the sun, the preacher sayeth, and when you reach a certain age new things aren't going to sound as good to you anymore.

So is there any objective basis for MMRM's verdict that "overall, the kids don't know what the hell they're doing these days"? Well, as I tell my Saturday reading comprehension class, if you can't prove a fact it's just an opinion, and there is no reliable metric for the suck/doesn't suck factor.

I would venture to say, though, that how we think about pop music has some influence on what we get, and so read with an interest an article in last week's Entertainment Weekly (Feb 13) about how the Beatles were now some kind of "alternative" band, respected and in some respects imitated by the smart, popular kids. Tom Sinclair quotes Mark Hoppus of blink-182: "Of course the Beatles are still relevant. They changed the landscape of music forever. They are geniuses and heroes and will always remain relevant."

The other opinion-leader quotes are as laudatory, but no less dull and unthoughtful, and focus either on the total like awesomeness of the band or on that highly prized quality, innovation: "...sitars, symphonies, feedback, echo, multitrack," says a music professor at Trinity College, "They were like Orville and Wilbur Wright, even though people are now flying fancier airplanes." Another guy says he likes "Tomorrow Never Knows" because "that's like, the first electronic song." Q-Tip says the Beatles' tendency to "lay the music down, manipulate it, fuck with it, try to push it... is the hip-hop aesthetic."

What's interesting is that no one in the whole story talks about the Beatles' ability to write excellent tunes, or indeed about any musical gifts that do not involve fucking with sounds once they're out, as oppose to creating them.

Sinclair obviously took this direction on purpose, but I think it was an easy sell to EW because that's all we think we want from music anymore.

This is the Age of the Phat Beat, and at musical equipment stores there's as much of a crowd around the digital gear and samples section as there is around the pine boxes that emit the original unprocessed sounds. Pro Tools has been the industry recording standard for about a decade, and DJ and producers are superstars. The country may be less enthusiastic than it once was about processed foods, but these are boom times for processed music.

And a lot of processed music is great. One might argue that the music mills of old (like the Brill Building and Motown's famed The Corporation) were the Industrial Age forebears of whatever fun-factories churn out the current wave of product. Only those guys were churning out tunes, see. The Beatles wouldn't have been able to push the white-lab-coated sound engineers out of the control room and fuck with their own shit if they hadn't demonstrated their ability to grab ears with their tunes. The ensuing technological playtime was an outgrowth of their musical genius, not a substitute for it.

It's great that we have all the bells and whistles we have now -- that's the product of the restless exploration of creative minds. And the best sonic experimenters from Negativland to Ween to Fatboy Slim make objets d'audio that are at least as impressive as anything the best song/guitar bands put out. But I think things have flipped over in the minds of the audience and even of a lot of the music makers: the raw material is less important than the shiny product that can made of it. If the Beatles were starting now, I suppose the Phat Beats would be engaged early on, and who knows what "A Hard Day's Night" would sound like if the Neptunes had first crack at it, rather than the rather professorial George Martin.

The paleness some of us perceive in contemporary pop has to do, I think, with the expectations bred by years of technical and -- maybe more so -- industry progress. Once the distance between your band playing a local sock-hop and the exalted status of Gerry and the Pacemakers was not so great. Now it's a world away. Why would you want to write something as modest as a great pop song when there's this ornate machine that makes you sound like money? Why wait for the symphony orchestra? There's a module for that at Sam Ash.

Once upon a time, if you wanted all that flash and syrup, you didn't go into rock and roll or r&b. You made Cliff Richard records.

After a while music blather is as tiresome as political blather, but I will add that I sometimes think the popularity of "divas" like Beyonce (however attractive the package) have to do with the sheer power of their vocal apparati, which push something like a human sound through all the 24K schmaltz. And that Outkast comes up with some great tunes.