What comes from the lack of knowledge! The sad and pure ignorance.

It constantly feels like I live in a country that is being flushed down the toilet.

I randomly logged on my social web page and even though I am not very fond of them I sometimes come across very interesting post that arouses my curiosity. But this time my eyes were stuck at a song that had fresh from the oven, or better said, fresh from the coop because it stank from Turkishness and ignorance. A so-called “ballad” sang from the crows, so wailing it almost makes you laugh, poor in every detail and compositional means, in harmony, lyrics, rhythm etc. Of course, I do not want to go into detail to analyze this song, because, I do not wish to deal with the song or its author, but what I do wish is to raise an even bigger problem. This song was one of the many that come from the hands of Albanian “musicians” on all sides of our borders and these are the models that ionize our musical environment, from small cafes up to family celebrations and weddings. Young creators take these models and what they do is remake them in Arabic – Turkish intonations, as they are popular and trending; all singers do now days is singing in a shaky-voice  in order to sound as much as possible with the “trendy” tunes and patterns of the east or west musical propaganda. Nobody even understands these so-called songs and how are they to understand that low-level culture that is presented to them, all people around us have created an authentic profile even in light songs, while we continue to dominate the tastes of far-off places and dead times but apparently have left the rope out of their grave.

History is as old as it is sad, as misfortunate as it is dead-ended. Once a country that was torn into pieces, oppressed, isolated, began to set up its own school and create its own songs. Maybe suppressed but very Albanian, often very beautiful and especially professional, as at that time the song was not free to flourish as desired but would embark on some formative ideas and mainly in some forms of professional levels. In other corners of this country people also began to create songs but within mass amateurism with an exception to any creator who had studied abroad. However the public’s taste was that of the last century and no one was interested in changing it, renewing it, and turning it less towards the individuality of the mother nation. After the liberation or better said after the cultural tearing, the song became a commodity and began to be composed as such by all those who knew or did not know the music notes. This did not depend on knowledge but on finances from the ability to provide any synthesizer and then any recording studio. Music was not of any importance but it was the rhythm that mattered, the song’s lyrics had no value compared to how exciting was to look at the singer’s breast. I mean who cares about harmony when you can stare at the singer’s bare shiny legs! On the other hand, the taste of the common public that usually remains the old food slave pulls down. Very few remember the fact that Europe educated its peoples with the creativity that made prominent and godly professionals, whom the aristocracy then bourgeois kept and appreciated for their workmanship. Unfortunately, we did not go through this phase normally and just stayed in the ditch to shake our voices as taught by Indians, Turks, and then Slavs. We never came to understand the importance of our wonderful folklore and never leart to take it as an example. We were more willing to imitate jazz, rock and roll, and adopt the turnarounds of the Serbian and Macedonian accordion techniques into introductions rather than keeping the characteristic profile of our particular music. We never able to understand the importance of music of social circles in educating people and sadly enough we did not manage to care for it. We were a small, poor and largely unsupported divided country, with no strong cultural foundation. And those who were evil-hearted struck us in these very foundations, to replace them with their stones.

What about today? This is exactly the problem! Stopping pseudo-creators to produce new songs, or educating the tastes of ordinary people is utopia. There is only one way: Criticism must be strongly supported back into the system by all professional musicologists who can express valuable thoughts on day-to-day creativity and establish a more powerful competitive and stimulating system for the song. The market economy has already failed and will not be fruitful in this regard for many more decades.

Nestor Kraja

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