We could post a few of these lists, and that could at least start a discussion. Some websites are more than happy to let you know what is supposed to be the worst in music. I will use the formula from recent the polls.Īny additional ideas, comments, rules, parameters, etc. Deadline will (edit: most likely be after the roll-out of the results of the all-time songs).Ĥ. Submission will start the same time as the all-time songs poll, since I feel that in coming up with the list of the all-time songs it will also remind people of their "guilty pleasure" songs. Post your list in another thread I'll be opening.ģ. The minimum list size is 20 songs, maximum is 100.Ģ. If you don't believe in guilty pleasures/don't feel "guilty" in liking a song, then submit your top songs you enjoy listening to that does not deserve the reputation you think they get.ġ. no ones gets embarrassed listening to any of the 1,000 songs ?Ģ. or do you think like maybe the top 1,000 are "untouchables", a.k.a. All songs are eligible, even novelty songs or even those listed in the AM top 10,000. I used to listen and jam to it all time in the mid 90's and now that I've seen all these lists in AM without the song (it even made a top awful songs of all time list), I keep thinking where did my ears go wrong.īelow are some talking points I came up with:ġ. If I have to cite a personal example, I don't get the hate for "Two Princes" by Spin Doctors. Many of the reasons why people end up feeling "guilty" about music involve seemingly arbitrary external constraints." (complex) " ongs that most of us secretly like, love even, but probably keep to ourselves for playing loud in the car or for a Saturday morning spent doing chores." (udiscovermusic) "music that is supposedly so bad that people feel "embarrassed" listening to it" (bustle). How these break down can tell us a lot about how we see ourselves. Other definitions are: "something you like, but feel guilty about liking, because you are aware that your fondness for said thing is a little embarrassing or not so great." () " n the real world, there are social pressures, signals that communicate preconceived notions of what music we can and can't like.
In short, my idea of a guilty pleasure is probably in line with the description found in wikipedia, to quote " guilty pleasure is something, such as a film, a television program or a piece of music, that one enjoys despite feeling that it is not generally held in high regard, or is seen as unusual or weird." There is no denying, especially for us AMFers, that these lists, to a degree, influence our listening habits and inform us what songs are held in high esteem. We also live in a time where all these lists by critics can be easily found and referenced to (as AM can attest). We live in a time where music is available in a few taps and clicks. I have long been intrigued with the concept. Together with period-instrument ensemble The Frolick – variably mixing violin, flute, theorbo, baroque guitar, lute, cello and triple harp – she breathes life and spirit into this true discovery of the 18th century.Hello AMFers! I have decided to run a survey of the "guilty pleasure" songs of all-time. London-born Emma Curtis is blessed with a rare, rich voice – “the most contralto Contralto I’ve heard,” according to Marilyn Horne – which couldn’t be better suited to the gender-bending theatricality of the songs on Calliope, her debut recording. Each song is its own microcosm of society and style. Calliope displays a broad and entertaining picture of 18th century London, reflecting the society for which it was collected, allowing us to see and feel the world and the humour in which its songs were born. Handel in Ariadne, England’s Lamentation on the Loss of Farinelli, Maurice Greene’s The Fly, and many by Signor Animo. Performing music from Calliope, the era’s most popular songbook, with period instruments and style, more than fifty songs from the opera, theatre, coffee-house, tavern, folk and soapbox, including A Favourite Aire by Mr. Emma Curtis & The Frolick invite you back to London, 1739, for an evening of music-making at the height of Handel’s fame.
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