I've been seeing it for a few weeks now: It's a crazy world out there, Heinz is selling mustard, and French's is selling ketchup.

Nah, IPA is just the current consensus on cool. Last week I ate in three different cities and everybody had their own variation of the milkshake stout with a little bit of coffee. Just before that everybody was making a vanilla porter of some kind, and before that I believe it was apricots. It all seems very…

I always thought this song was more about the struggle to be recognized as an something more than mommy's little girl who needs her mother.

C'mon Zoolander 2, I didn't need a reason to not see you.

It's too bad Manson's ego prevents from working with someone talented enough to help him make a decent album, or at least an interesting single.

My first thought was… wait, isn't that the song with the cool groovy baseline?

Point is my knowledge of free jazz goes beyond be able to name drop Albert Ayler whenever I hear a screechy sax solo. That I don't feel like going through the catalogs of Soft Machine, Hawkwind, King Crimson, et all that have ended a song with atonal soloing over a lock-groove.

Or Pharoah Sanders, or Joe McPhee, or John Coltrane, or Ornette Coleman, or Peter Brotzmann, or Larry Ochs, or Anthony Braxton.

I would strongly disagree. The sax thing is called a freak-out and freak-outs are a 60s/70s rock thing.

I understood that, just wanted to fish it out a bit. I'm coming from the perspective of having listened to a lot of avant-garde music. I don't think I'll ever know how weird music can get.

There's that connection to self-worth, and there is also a terribly condescending attitude that ends up being directed toward everybody.

"avant garde" ? Radiohead?.

It's not bad taste though. It's just not your taste.

I tend to think that the fact that it is quaint and melodic is the point, and before people just couldn't see past the use of electronics. When I was a huge fan of IDM, Kid A wasn't that interesting, especially since I liked Radiohead as a guitar band, but after 10+ years of hearing moog, krautrock, and everything…

Tyranny in the sense that you can't have a conversation about anything without having one of those idiots chime in.

I wouldn't ask you to champion Carly Rae Jepsen as master poet, but I would ask you not to be obtuse to the fact that people can honestly enjoy her music, find her fun to listen to, and get something out of that.

Actually, the artists are told it's their fault for not working harder and being more innovative.

I wasn't asking you the question.

No, I just figured you were participating in the same conversation I was participating in.

So what you're saying is. Getting regular play in every market in the US and the UK is not a significant achievement, not the kind of thing a band could make money off of?