There’s nothing like the letters page of an old news magazine for capturing the musty funk of zeitgeists past. This is why I found myself spending a good portion of yesterday afternoon reflecting upon the wisdom offered by the reader missives published in Time Magazine during the opening weeks of 1982.

As could be expected, Cold War rhetoric dominates the proceedings — calls to nuke Russia in support of Polish shipworkers, accusations that nuclear freeze proponents were Kremlin moles, general “better dead than Red” boilerplate — but I found myself more interested in this forgotten lament concerning contemporary trends in music:

Heaven forbid a blip-tone work its way into the rich analog atonality of experimental music for highbrows. What’s next, pop stars composing a score for Eisenstein’s The Battleship Potemkin?

Horrors!

Reading Foldes’s rant against electronic music triggered an odd sense of deja vu. I was convinced I had encountered this argument and attitude several times before, but it took a little time for me to realize where — in the letters column of every issue of Creem, Hit Parader, Rolling Stone, or Spin published during that era…

Rockism.  It’s not just for rockers anymore!

Recommended listening: V. Mescherin Orchestra – On the Kolkhoz Poultry Farm (from Easy USSR, Vol. 1, 2001)

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As the creator of the “Soviet lounge” microgenre, Vyacheslav Mescherin acted as a strategic counterweight against Delia Derbyshire and Raymond Scott in the synthesizer race between the Free World and the Eastern Bloc.

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