COPPER

A PS Audio Publication

Issue 79 • Free Online Magazine

Issue 79 TWISTED SYSTEMS

I Hate...(Fill in the Blank)

When I’m introduced as Jay Jay French of Twisted Sister at parties or social events, the first question I’m asked is, “So what music are you listening to these days?”

The questioner is usually in the age range of 40-60. Before I answer, I usually ask, “Well, what do you listen to?”

The typical response is, “I’m still into 80’s metal.” I then ask, “Do you like current music, like hip hop?”

I usually receive one of the following responses:

“I hate Hip Hop; it’s all garbage and it all sounds the same.”
“I hate Rap; it’s not music, it all sounds the same.”
“I hate Pop; it’s nowhere near as good as when I was a kid.”
“I hate country, it all sounds the same.”

And so on and so forth.

I have been just as guilty over the years when I have been dismissive of jazz, jazz fusion, and classical music.

So, what really is the deal here?

The deal is simple; we have turned into our parents.

My dad thought everything after 1945 was terrible.

He summed up my entire love of the Beatles, Stones, and all the incredible groundbreaking music of the 60’s with this simple statement:

“After 1945 (why that year, I have no idea but I presume meaning after WWII) everything you (meaning me) listen to is just “baby, baby, baby, yeah, yeah, yeah.”

That simple, that easy. Case closed.

And that is exactly what has happened to my generation.

Now, hold on before you feel the need to instantly respond to this essay, saying that you have a much more sophisticated sense of taste and music, that you like some Rap or Hip Hop, Country or (fill in any genre), and that there are just two kinds of music (good or bad).

All are politically correct responses, and I’m sure that some of you really appreciate many, if not all, kinds of music.

The fact is really simple.

When one chooses to not care about the differences in the evolution of a particular musical genre, then one can simply dismiss the whole genre as “It all sounds the same” in one broad stroke.

Do all British invasion bands sound the same? Do all Motown acts sound the same? Do all San Francisco Haight Ashbury bands sound the same? Can you tell the difference between all Prog bands, all Midwest 70’s era arena rock bands, all Blues artists, all classical composers, etc.?

Of course not!

When you are passionate about anything, then it MATTERS to you to know and appreciate the differences.

Are there bad versions of the music that you love?

As subjective as that is, of course there are!

That’s why you listen to what you listen to and can criticize, with varying degrees of expertise, why you don’t like a certain version of a chosen genre.

I love the Blues, but not every blues artist.

I love metal bands, but not every metal band.

Some Beatles albums are better than others simply because I KNOW THEM!

In truth, most musical genres, within their geographical and chronological time frames, have some similarities. That’s because artists (and producers) that influence other artists take some of the successful sounds and copy them to sound commercially relevant to a particular audience.

Whether it’s an homage or a cynical attempt to jump on the bandwagon, the effect to a non-fan is the same, ergo: “It all sound the same.”

To an untrained ear, the following tunes (released in 1964), played in no particular order, will all sound the same:

“Ferry Cross the Mercy”
“I’m Telling You Now”
“Bad To Me”
“Till There was You”
“Needles & Pins”
“A World Without Love”

Yep, they all sound the same, except they don’t to me because I care enough to know the difference between Gerry & The Pacemakers, Freddy & The Dreamers, Billy J Kramer & the Dakotas, The Beatles, The Searchers, and Peter and Gordon.

Add to this the visual images of the artists. Once a look becomes “in” then it seems that all artists jump on that look, either because they want to or they are directed to by a manager or record label.

Whether it’s art, music, acting, etc., whatever is hot and the flavor of the month is copied, giving further ammunition to someone who wants to dismiss a whole group of music.

Don’t waste your time by telling me that The Grateful Dead don’t sound like the Airplane, or that Led Zeppelin doesn’t sound like Pink Floyd.

Why?

Because to my dad, it all sounded the same and it all sucked!

Please keep that in mind the next time someone asks you if you like a certain kind of music.

For me, I really don’t get Opera, Classical, or Jazz fusion.

The truth is, I just haven’t spent the time to listen and understand it enough, and even if I did, I may still not like it!

Keep this in mind the next time someone asks your opinion of a musical genre.

The politically correct way to answer, if you really hate a specific kind of music, is that you just haven’t had the time to appreciate the genre.

Or…

You can dismiss it all by saying:

“I hate (fill in the blank).”

More from Issue 79

View All Articles in Issue 79

Search Copper Magazine

#234 A Life in High-End Audio: The Roy Hall Interview, Part One by Frank Doris Sep 07, 2026 #234 Jason Greenlaw Offers His Personal Perspective on Jazz Guitar in Vantage Point by Frank Doris Sep 07, 2026 #234 Transcendent Phoenix: Lucina Yue Brings the Ancient Konghou Into Modern Times by Frank Doris Sep 07, 2026 #234 We Must All Follow Our Bliss by B. Jan Montana Sep 07, 2026 #234 How to Play in a Rock Band, 27: Leveling Up by Frank Doris Sep 07, 2026 #234 Ross Valory: Traveling Into New Musical Territory With All of the Above by Ray Chelstowski Sep 07, 2026 #234 Singer/Songwriter John David Schrader: On the Need to Create by Joe Caplan Sep 07, 2026 #234 The People Who Make Audio Happen: More From T.H.E. Show SoCal 2026 by Harris Fogel Sep 07, 2026 #234 The Vinyl Beat Digs Into the Gadget Box by Rudy Radelic Sep 07, 2026 #234 The Rolling Stones: Foreign Tongues Spoken Loud by Wayne Robins Sep 07, 2026 #234 Musical Moments by Rich Isaacs Sep 07, 2026 #234 Rags for Solo Piano and a Dog: David Chesky's Ragtime Music for the Modern Age by Frankly Speaking Sep 07, 2026 #234 HIGH END 2026, Vienna: Here to Stay by Carsten Barnbeck Sep 07, 2026 #234 From The Audiophile’s Guide: The Two Main Types of Loudpeakers – Box and Panel by Paul McGowan Sep 07, 2026 #234 Letting it Slide by Frank Doris Sep 07, 2026 #234 PS Audio in the News by PS Audio Staff Sep 07, 2026 #234 Long Playing by Peter Xeni Sep 07, 2026 #234 La Mer by B. Jan Montana Sep 07, 2026 #233 A Report From The Total Hi-Fi Experience Show SoCal 2026 by B. Jan Montana Aug 03, 2026 #233 Bluegrass Meets Country, Folk, Jazz and More in All That We Carried by The Squid City Slingers by Frank Doris Aug 03, 2026 #233 Corey Glover and One Tribe Nation: A Variegated Musical Collective by Ray Chelstowski Aug 03, 2026 #233 Excursions with Clive: The Late Clive Davis, A Personal History by Wayne Robins Aug 03, 2026 #233 AI, Art, and Music: A Conversation With Synthography Art by Joe Caplan Aug 03, 2026 #233 New American Symphonies: A Rediscovered Gem and a Vital Contemporary Work by Frank Doris Aug 03, 2026 #233 The Vinyl Beat: Genesis, the Dave Clark Five, Antonio Carlos Jobim and More by Rudy Radelic Aug 03, 2026 #233 How to Play in a Rock Band, 26: When It's Time to Record Your Music by Frank Doris Aug 03, 2026 #233 More From T.H.E. Show 2026, and the People Who Made it Happen by Harris Fogel Aug 03, 2026 #233 Underappreciated Artists, Part Three: Icehouse by Rich Isaacs Aug 03, 2026 #233 The Surprisingly Rich and Varied Music of Somalia by Steve Kindig Aug 03, 2026 #233 A Remarkable Discographic Legacy: The LP Recordings of the Basel Symphony Orchestra by Stephan Haberthür Aug 03, 2026 #233 From The Audiophile’s Guide: The Importance of Loudspeakers by Paul McGowan Aug 03, 2026 #233 From Swimming Pool to New Listening Room: A Conversation with Norman Varney of AV RoomService by Gilles Laferrière Aug 03, 2026 #233 PS Audio in the News by PS Audio Staff Aug 03, 2026 #233 Audio Jewelry by Peter Xeni Aug 03, 2026 #233 Enrich Your Life by Frank Doris Aug 03, 2026 #233 The Searcher by James Schrimpf Aug 03, 2026 #232 What came first: Art or Music? A Conversation With Artist Jose Acosta by Joe Caplan Jul 06, 2026 #232 Blow By Blow: The Jeff Beck Story: An Insightful Book About a Guitar Icon by Ray Chelstowski Jul 06, 2026 #232 Creed Over Camaraderie? by B. Jan Montana Jul 06, 2026 #232 Chronicles of a Sound Pilgrim at the 2026 Montreal Audiofest by Hugues Morin Jul 06, 2026 #232 The Vinyl Beat: Summer Grooves by Rudy Radelic Jul 06, 2026 #232 Hibbing Hillbilly Dylan's Acoustic Rock by Wayne Robins Jul 06, 2026 #232 Quad Quads and Plasmatronics Tweeters: An Extraordinary System Comes to Life by Frank Doris Jul 06, 2026 #232 In Praise of Live Music, Once Again by Ted Shafran Jul 06, 2026 #232 Allnic Audio’s L-9000 Preamplifier: Design and Engineering Innovation by Howard Kneller Jul 06, 2026 #232 “Best Of” Lists and Rage Bait: Enough Already by Frank Doris Jul 06, 2026 #232 Quick Takes: Bud Shank, Paulo Almeida, Jakob Dreyer, Tim Eriksen and Peter Irvine by Frank Doris Jul 06, 2026

I Hate...(Fill in the Blank)

When I’m introduced as Jay Jay French of Twisted Sister at parties or social events, the first question I’m asked is, “So what music are you listening to these days?”

The questioner is usually in the age range of 40-60. Before I answer, I usually ask, “Well, what do you listen to?”

The typical response is, “I’m still into 80’s metal.” I then ask, “Do you like current music, like hip hop?”

I usually receive one of the following responses:

“I hate Hip Hop; it’s all garbage and it all sounds the same.”
“I hate Rap; it’s not music, it all sounds the same.”
“I hate Pop; it’s nowhere near as good as when I was a kid.”
“I hate country, it all sounds the same.”

And so on and so forth.

I have been just as guilty over the years when I have been dismissive of jazz, jazz fusion, and classical music.

So, what really is the deal here?

The deal is simple; we have turned into our parents.

My dad thought everything after 1945 was terrible.

He summed up my entire love of the Beatles, Stones, and all the incredible groundbreaking music of the 60’s with this simple statement:

“After 1945 (why that year, I have no idea but I presume meaning after WWII) everything you (meaning me) listen to is just “baby, baby, baby, yeah, yeah, yeah.”

That simple, that easy. Case closed.

And that is exactly what has happened to my generation.

Now, hold on before you feel the need to instantly respond to this essay, saying that you have a much more sophisticated sense of taste and music, that you like some Rap or Hip Hop, Country or (fill in any genre), and that there are just two kinds of music (good or bad).

All are politically correct responses, and I’m sure that some of you really appreciate many, if not all, kinds of music.

The fact is really simple.

When one chooses to not care about the differences in the evolution of a particular musical genre, then one can simply dismiss the whole genre as “It all sounds the same” in one broad stroke.

Do all British invasion bands sound the same? Do all Motown acts sound the same? Do all San Francisco Haight Ashbury bands sound the same? Can you tell the difference between all Prog bands, all Midwest 70’s era arena rock bands, all Blues artists, all classical composers, etc.?

Of course not!

When you are passionate about anything, then it MATTERS to you to know and appreciate the differences.

Are there bad versions of the music that you love?

As subjective as that is, of course there are!

That’s why you listen to what you listen to and can criticize, with varying degrees of expertise, why you don’t like a certain version of a chosen genre.

I love the Blues, but not every blues artist.

I love metal bands, but not every metal band.

Some Beatles albums are better than others simply because I KNOW THEM!

In truth, most musical genres, within their geographical and chronological time frames, have some similarities. That’s because artists (and producers) that influence other artists take some of the successful sounds and copy them to sound commercially relevant to a particular audience.

Whether it’s an homage or a cynical attempt to jump on the bandwagon, the effect to a non-fan is the same, ergo: “It all sound the same.”

To an untrained ear, the following tunes (released in 1964), played in no particular order, will all sound the same:

“Ferry Cross the Mercy”
“I’m Telling You Now”
“Bad To Me”
“Till There was You”
“Needles & Pins”
“A World Without Love”

Yep, they all sound the same, except they don’t to me because I care enough to know the difference between Gerry & The Pacemakers, Freddy & The Dreamers, Billy J Kramer & the Dakotas, The Beatles, The Searchers, and Peter and Gordon.

Add to this the visual images of the artists. Once a look becomes “in” then it seems that all artists jump on that look, either because they want to or they are directed to by a manager or record label.

Whether it’s art, music, acting, etc., whatever is hot and the flavor of the month is copied, giving further ammunition to someone who wants to dismiss a whole group of music.

Don’t waste your time by telling me that The Grateful Dead don’t sound like the Airplane, or that Led Zeppelin doesn’t sound like Pink Floyd.

Why?

Because to my dad, it all sounded the same and it all sucked!

Please keep that in mind the next time someone asks you if you like a certain kind of music.

For me, I really don’t get Opera, Classical, or Jazz fusion.

The truth is, I just haven’t spent the time to listen and understand it enough, and even if I did, I may still not like it!

Keep this in mind the next time someone asks your opinion of a musical genre.

The politically correct way to answer, if you really hate a specific kind of music, is that you just haven’t had the time to appreciate the genre.

Or…

You can dismiss it all by saying:

“I hate (fill in the blank).”

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment:

✏️ Edit Comment

Enter your email to verify ownership: