future of prog

    And the classical 70s prog, obviously, is among the lowest of low in the hierachy of rock due to its issues like being too difficult to start with and being too bourgeois or elite-like. What's more, I think prog's mission to influence musicians has come to a halt these days. When we talk about 70s music, definitely, King Crimson, Genesis, Pink Floyd, ELP are big names we can't avoid whose influence was still carried into the 80s when Talking Heads, Marillion, Rush stepped up to the forefronts whith their legacies. (Btw: We can also make a bold claim: no prog in 70s, no Bohemian Rhapsody.) Math rock, opera rock, to name a few, all inherit prog's boldness in blending different musc elements. Even Kurt Kobain received KC's power of Red and started the legend we all know. But, now just tell me, besides new prog, have any famous rock stars during the two decades after 2000 specially mentioned 70s prog as the greatest impact and gained predominance over pops or massive popularity Dream Theatre, Tool, and the likes once had who can ascertain their roots back in 70s? Pretty rare. And the strak reality is, many new young fans are drawn to prog simply because of the publicity of JoJo's Bizarre Adventures instead of modern rock bands.

   There's another fact. I keep in contact with many rock fans. Some of them like prog but hate Keith Emerson especially. Their thinking is very simple: who the hell will be insterested in rock interpretation of classical songs that nobody actually listens to or even cares, which will take back to my aforementioned point on rock and classical music.

    But, what people must admit is that if someone delves into quintessential rocking music, rather than electrical pop sh*ts, those big names of prog are inevitable. They just stand there. Nobody can circumvent. The Beatles designed a blueprint of rock music and prog was one of the most outstanding pioneers to reinvent it. Their musicianship decides their characters: they are not postitutes to give pleasure, rather the cynical Diogenēs to push limits, explore boundaries. So, that is why when ELP started to embrace extravagance during mid 70s, their doom was inevitiable. And all classical prog bands died soon. 

   Still, new tech and interpretation of music helps to inspire kids to develop new prog of thier own. They put a completely different complexion over prog and ensure its continuity. Prog is not going to be doomed in the future. It just lives in another form we might not be familiar with.

You keep saying things that newer bands/artists do like they are bad things (and it's erroneous to assume that all, or even most of them, do, but that's another issue). You also claim to know that all the classic era musicians you listed actually have that much of a background in Classical music (which, again, is a brooooaaaaad genre, that covers many styles that Zappa and Fripp enjoyed, but you'd probably label as "experimentalist cr@p"). Many of them did not, and if they did, didn't actually receive formal training. Which shouldn't matter. And many of those artists see it as an upside to not have that training so as not to pigeonhole their own creativity. 

None of it is good or bad, it just is. Once again, it's ok to not like it, but just admit that it comes down to your taste and not the talent of the musicians. For every band that actually reaches for something, like black midi, Bubblemath, you get some band that professes to love Mussorgsky and Yes and it just sounds like rehash after rehash (Karfagen, Karmakanic, etc.).