Well, the people have spoken, and the people don't like The Stupid.
I know what Garrity meant by this -- she explained in a comment -- but I'm curious as to what the other people voting for that option had in mind.
Hope it's not more anonymous insults from random strangers on the Internet. Because boy, that really. . . has no effect on me whatsoever, really. Get a hobby, asshole.
Any road up, Video Game Soundtracks.
Tell an idiot you listen to those, and it's a bit like telling an idiot you're going to an Ethiopian restaurant. They do insist on going for the most predictable, stupid joke possible.
In Zero Four, I'm going to start carrying a Louisville Slugger with me, so I can deliver some hands-on diversity training where necessary. Not sure how to handle that online, but I'm confident a solution will present itself.
If you know nothing of this but are willing to learn, a trait I'm going to be looking for in people from now on, here's another copyright-violating streaming Real Audio file for your amusement and edification:
Encoded it dual-stream for 56k dialup and 256 Kbps DSL, but I think the dialup version wants all of that bandwidth. So, you may be SOL. But you must be used to that by now.
I'm not asking you to geek out over this stuff. You don't even have to be interested; you might give it a try and decide you don't like it.
Key phrase: give it a try.
I realize it's easier to make your mind up beforehand, but you know what?
"Easier" is not something you should necessarily be looking for in your life.
Update: From that link, and interview with former Police-man Stewart Copeland and Mark Motherbaugh called The Art of Video Game Soundtracks:
These short conversations provide a valuable perspective on the art and craft of composing music for games. Because both of these music artists have had great success in both the popular music as well as film and TV scoring worlds, their insights into working on games provides a helpful commentary for anyone trying to understand the critical and artistic basis of game music.
Unlike doing a TV show, like Iím doing Dawsonís Creek this week. I get the tape yesterday, Iíll write the music today and tomorrow and score it the day after and it will be on TV by next week. So, you know itís a really fast turn around. Whereas with Crash [Bandicoot], we have maybe 6 months, at least as much time as you have when you do an album with a band. You have about as much time as that to craft your music and to keep improving on it as you listen to it over and over again and look at it against graphics. So itís interesting, itís a different process.
Itís not really between writing pop songs and scores, itís really a 3rd thing. Like film composing, you donít have to write the top line, but like pop music you donít have to follow the drama, the plot line. So itís kind of ideal really, you can come up with that riff, that cool groove, but not have to come up with a lyric for it.
Mind you, I'm not saying all of them are good, or creative, or worth listening to even while you're playing the game itself. Sturgeon's Law applies as well here as anywhere else.