Avoiding Awfulness

[freakytigger.livejournal.com]

"And I don't think she remotely cuts it compared to the Lorettas and Tammys and Dollys she's harking back to, much less the modern-day MOR Deanas and Martinas and Joe Dees and Jamies and LeAnns and Lee Anns and Natalies. But I think she's got talent and I'll guess that she never does the totally sappy dreck that some of my current loves are quite capable of unleashing."

This quite of Frank K's (about Neko Case, but the subject isn't really the important thing) touches on something quite important and related to that Fluxblog post we were discussing yesterday, i.e.

How important is it to you that the artists you love don't produce dreadful stuff along with the amazing stuff?

And do you think the risk of dreadfulness in some cases stops being something you have to endure and becomes a deeper part of why you like something?

(I think these ideas are kind of related to the 'NPR' idea that Frank writes about in his book, maybe, but if you haven't come across that idea don't let it stop you discussing this) (EDIT: I meant "PBS"! - though NPR and PBS are kind of similar things, no?)

Comments

[dubdobdee.livejournal.com]

i think potential awfulness makes my likes more interesting -- established (and unbroken) boringness is the disaster, and by boringness i guess i mean "unable any longer to inspire/goad/conjure other than same-old-same-old response in responders, hata or fan" (ie *i* am the judge of the boringess of the response)

[freakytigger.livejournal.com]

I just had to edit a powerpoint chart about acceptance of risk in the product innovation process which makes exactly the wider point - maybe I should scan it!