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Most music that isn't catchy feel generic to me, I've tried to listen to music from bach, led zepelin, aerosmith, the beetles, and it feels like another generic clasical music, another generic rock song and another generic pop music.

It's not that I can't appreciate them intelectually, is that my brain makes me feel they're generic music that feels like other generic music of that genre, most bach and mozart music that doesn't have catchiness feel like generic piano pieces to me.

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When I first asked my friend and music journalist Ian Winwood about the premise of his excellent new book, Bodies, his answer was simple: \u201Cthe music industry makes people ill.\u201D Bodies, then, charts the casualties, with Ian talking to some of those who made it out of the industry alive \u2013 just.

With the perspective of being now three years sober, Ian examines how the music industry, \u201Cdandruffed in powder\u201D, not only tolerates but celebrates dysfunctionality. Extreme behaviour is normalised; vices can pass off as personality traits \u2013 and admired ones at that. Ian describes how in music press circles \u201Cgetting plastered on a Tuesday night was a commendable achievement\u201D and how, when a magazine editor who got so smashed after a Metallica gig fell asleep upon platters of food on the buffet table, he was \u201Cwidely applauded\u201D (though I can see this happening in other industries too). Nearing the peak of Ian\u2019s addiction, a Los Angeles press agent he\u2019d only just met that day greeted him with: \u201CI hear you like a bit of jazz salt. There\u2019ll definitely be some of that for us later tonight.\u201D

One moment in the book sums up the \u2018normality\u2019 of excess and self-destruction within the music business with horrifying clarity. After talking to LostProphets bassist Stuart Richardson about how the band remained oblivious to their vocalist\u2019s paedophilia, Ian writes: \u201CThe reason LostProphets failed to identify something so uniquely vile within their ranks was because Ian Watkins could take his pick of routine ruinations behind which he could so easily hide.\u201D

So what is it about the music industry and \u201Cruination\u201D? And why has it ceased to shock us? When I was working at GQ, particularly in the lead up to the Men of the Year awards, there was constant gossip circulating on the latest celeb to have pulled out last minute because of a heroin or coke addiction. Someone would always know somebody\u2019s stylist, and stylists always know the stars\u2019 dirty secrets \u2013 they literally have to see them naked.

Five years later and it\u2019s more shocking to hear about the musicians who haven\u2019t been addicted to something, or who haven\u2019t had a mental breakdown. Demi Lovato has opened up about their addiction to crack cocaine and heroin. Justin Bieber has said that his drug addiction to pills, marijuana and alcohol was so bad that his security used to have to routinely check his pulse. Lady Gaga revealed that when she did \u201Cbags and bags of cocaine\u201D alone in her room, she rationalised it as \u201Cabout being an artist\u201D....\u201CI wanted to BE the artists I loved, like Mick Jagger and Andy Warhol \u2013 and I thought the only way to do it was to live the lifestyle.\u201D

In Bodies, Ian interviews up and coming rock band Creeper. On their 2017 tour, the frontman Will Gould tells Ian that every day for three months straight, he and the band would drink pints of gin from 11 am to offset the sleeping tablets they\u2019d taken the night before to cope with anxiety. And they would continue drinking until they went to bed. Ian Miles, Creeper\u2019s guitarist, said that nobody around them saw their behaviour as unusual. \u201COne night I set my guitar case on fire and threw it in a lake. It was people going mad, essentially. And that\u2019s just normalised. Not in public perception, just within the music industry\u2026\u201D

Landing on my desk at similar times to the proofs of Ian\u2019s Bodies last year were two other books about tragedy in the music industry: the official biography of Avicii by Mans Mosesson, and My Amy by musician Tyler James, Amy Winehouse\u2019s best friend and flatmate for most of her life .

Avicii, like many artists, was unprepared to deal with the mental and physical exertion of being on tour for six weeks straight. His dad blamed the lack of \u201Cstructure\u201D he felt his son was given as an up and coming musician navigating the \u201Cdangerous combination\u2026of fame and fortune\u201D. As the bluegrass musician Tom Gray tells Ian in Bodies: \u201CThere is no longer any money in recorded music so everyone just stays on the road playing hundreds and hundreds of gigs.\u201D (The average pay out per Spotify stream is $0.004, while Avicii could charge over $500k for a single show). Artists can get into alcohol or prescription drugs simply as a way to stay awake on stage at a time of sheer exhaustion. Or as a way to calm down following the enormous surge of adrenaline when you come off stage. There begins the vicious cycle. Rappers Lil Peep, Juice WRLD and Mac Miller all spoke of their addiction to prescription drugs \u2013 all of them died before they were 27.

What was horrifying to read across Bodies, Avicii\u2019s biography and My Amy was how much the music industry knowingly feeds this cycle. Almost everyone around Amy was on her payroll, so it was in everybody\u2019s interest that she keep working, that she keep performing, despite her crack cocaine and heroin addiction. Of course there were some good guys, but she could fire anybody who disagreed with her, which is what happened to her manager Nick Shymansky when he tried to get her to go to rehab.

As Ian in Bodies makes clear, the music industry attracts vulnerability, and vulnerability is easy to control \u2013 and monetise. \u201CThe managers, the agents, the whole industry is porn\u2026\u201D Billy Corgan of the Smashing Pumpkins tells him. \u201CIt was built on the assumption that you\u2019re only going to be here for a few years, so we\u2019re going to tell you what you want to hear and we\u2019re going to say what we need to say to get what we want from you.\u201D Corgan goes on to tell Ian how, when their drummer left the band after a decade of debilitating drug abuse, they were rushed back on tour six weeks later. \u201CHow can that psychologically be a good idea?\u201D

Near the end of Bodies, Ian notes that the music industry is getting better. Mental health helplines have been launched by record labels, while earlier this year Sony launched Songwriter Assistance, which provides free, confidential counselling sessions to its entire roster. But for every article or press release promoting change, there are artists pointing out all the gaping holes \u2013 artists are thrown into the deep end too soon, they are unprepared, under-supported and underpaid, and they continue to be exploited. Or, as musician Grant Hutchinson tells Ian in Bodies, there remains impure motivations. \u201C\u2018To put it quite bluntly, people who take their lives can no longer play shows. I think [the industry] is starting to realise that looking after [vulnerable performers] also means that they\u2019re looking after themselves.\u201D

Whenever I see an artist\u2019s machine in motion, I am often struck by how infantilised these stars can seem. There is someone hired to do every job they could possibly need doing, to respond to any whim \u2013 as if they were children that might tantrum at any moment. I remember, in one interview I did a few years ago, the publicist was on the phone to PlayStation customer service to retrieve the 24-year-old musician's forgotten password, so he could continue to play it during our conversation. The other month I was shocked to read that then-17 year old Kid Laroi would ask his manager to drive 30 mins out of town to get him his favourite frozen Coca Cola.

Reading Bodies, younger journalists like me might read about Ian\u2019s trips across the world, backstage with bands, drinking with artists, with eyes saucer wide. It\u2019s true the music industry in 2022 seems, in comparison, like a much more moderate, healthier place. The other day a veteran publicist was literally dumb-struck that I had never been taken to Los Angeles on a press trip (press trips! remember them??), while I\u2019m lucky if an artist orders so much as a drop of caffeine in an interview, let alone a shot of tequila. I\u2019ve never even been backstage and a publicist has never offered me drugs. I\u2019ve very rarely seen an artist drunk. Dua Lipa\u2019s pre-performance routine, as she described in her newsletter last week, involved meditation and a facial, while these days artists answer the classic what\u2019s in your rider question with talk of Evian and carrot sticks.

Visually induced motion sickness (VIMS) is a well-known side-effect in virtual environments or simulators. However, effective behavioral countermeasures against VIMS are still sparse. In this study, we tested whether music can reduce the severity of VIMS. Ninety-three volunteers were immersed in an approximately 14-minute-long video taken during a bicycle ride. Participants were randomly assigned to one of four experimental groups, either including relaxing music, neutral music, stressful music, or no music. Sickness scores were collected using the Fast Motion Sickness Scale and the Simulator Sickness Questionnaire. Results showed an overall trend for relaxing music to reduce the severity of VIMS. When factoring in the subjective pleasantness of the music, a significant reduction of VIMS occurred only when the presented music was perceived as pleasant, regardless of the music type. In addition, we found a gender effect with women reporting more sickness than men. We assume that the presentation of pleasant music can be an effective, low-cost, and easy-to-administer method to reduce VIMS.

A spoken segment near the end of the song describes a child who is physically abused by his mother and who ultimately retaliates. This segment is somewhat controversial and music critics sometimes express a negative opinion of its inclusion in the song. For example, Leor Galil of the Chicago Reader opined, "Yet I still find it hard to believe that the megasingle 'Down With the Sickness,' with its vocal breakdown in which front man David Draiman crudely describes being beaten by his mom (and vice versa), guided the band on to a path that's resulted in four albums topping the Billboard 200."[8] e24fc04721