>world is more globalised than ever
>musical artists 50 years ago had more reach
how?
World is more globalised than ever
American music sucks now.
Other cunts took American styles and created their own stars, like J-Pop, K-Pop, French Rap, etc.
Don't listen to American music desu, its poop.
They weren't trash, that's why.
>there's bazillion time more music on the market than before
>"why are individual artists selling less?"
i dont understand this. any musical act getting pumped with money is going to have more global reach than any average joe making music. just because you put it on the internet doesnt mean its going to be everywhere. i had one teenage girl in myanmar listen to my album and one in madagascar but a majority of my listens were in my country.
Put your head on my shoulder!~~~
damn, the world really put america on a pedestal back in the 20th century didn't they
theyre arent selling less than 50 years ago because 50 years ago it was a bitch and a half to record. now you just need a laptop a mic and an empty closet with blankets and you can make an album
There's enough content for people to stay in small bubbles rather than be forced into whatever's the mainstream.
Music industry and distribution was cobtrolled by multinationals. Independent markets couldnt compete.
Now a single macaco from shitholinho grande, brasil releases a video rapping with her school friends twerking behind him on youtube and gets more listens than a bowie hit single did then.
Musuc has becone language centric, internet killed cultural imperialism, if it ever existed.
>cultural imperialism, if it ever existed
>if it ever existed
Nothung has fubdamebtally changed in our moral values here since the early 1900s
T_T
I think "cold war" overrides "cultural inperialism"
You must be too young to remember then
Through an astonishing number of front organizations, in particular The Congress for Cultural Freedom (CCF), the CIA paid the bills for jazz tours, art exhibits, the publication of enough books to fill a small library1, and the animated version of Animal Farm, to name just a few of their many cultural activities.
1 In 1977, the New York Times alleged that the CIA had published more than 1000 books.
Given America’s public image, the need for such activities was obvious. The need for secrecy in these activities became equally obvious in 1947 when the exhibit “Advancing American Art” was sent to Europe (quite openly) at taxpayer expense. President Truman and numerous members of Congress loudly voiced their disgust. How could leftist and ex-Communist artists making incomprehensible (and reprehensible) abstractions—that any three-year-old could make just as well—receive government funding to have their art “advanced”? Lesson learned. Art still received funding, but the money was funneled through fronts, including, but not limited to, those later unveiled in 1964 by Congressman Wright Patman—the Gotham Foundation, the Michigan Fund, the Price Fund, the Edsel Fund, the Andrew Hamilton Fund, the Borden Trust, the Beacon Fund, and the Kentfield Fund. These were all little more than addresses to send money before it went elsewhere.
The Cultural Cold War was a huge operation, featuring incredible amounts of money, art, and secrecy. So much secrecy, in fact, that many of those involved had no idea their place of employment was a CIA front.
And you remember the miral values of the 1920s?
Back then your choice of music was super limited. Your only options were radio and then some albums that you purchased at the store.
The CCF was founded by the CIA in 1950, following a successful conference of anti-communist intellectuals in Berlin. Michael Josselson, an Estonian-born polyglot who had worked as a cultural officer for the American occupation government in postwar Germany, ran the Congress from its inception until its embarrassing outing as a CIA front in 1967. The CCF hosted conferences and directly published numerous political and literary magazines around the world—in particular, the British journal Encounter—and also helped fund and facilitate other journals, including the Paris Review and the Partisan Review. The CIA bailed the Partisan Review out of bankruptcy in 1953, while a series of recently discovered letters to and from Paris Review editor George Plimpton help reveal the CIA’s role in the Paris Review’s operations, while also offering an interesting glimpse into the tactics and practices of cultural warfare.
The CCF also helped present exhibits of contemporary American art throughout the world, usually in cooperation with another major player in the Cultural Cold War, the Museum of Modern Art. Visual art, especially abstract expressionism, became the CIA’s most important weapon in its cultural warfare arsenal, making MoMA’s assistance quite essential.
I only know some Micheal Jackson songs that they played on History channel after he died. I know the middle ones are called Beatles because sometimes they get posted here, but who's the 3rd one?
Most prominently, Nelson Rockefeller, who eventually served as Gerald Ford’s vice-president, also served as trustee, treasurer, and president of MoMA throughout much of the 1940s and 50s. In 1940, FDR appointed Rockefeller to the new position of Coordinator of Inter-American Affairs (CIAA) to combat burgeoning Nazi influences in Latin America. In this position, he worked closely with the Office of Strategic Services (OSS), the forerunner of the CIA, which was not formed until 1947. Then in 1954, Rockefeller became Eisenhower’s special advisor on Cold War strategy, and chaired the Planning Coordination Committee, which, among other things, oversaw the NSC and CIA—all while still working with MoMA. Not coincidentally, given Rockefeller’s involvement with both, MoMA frequently collaborated with the CIA throughout the Cold War to export and promote American art.
Hold me close, hold me tight
Make me thrill with delight
Let me know where I stand from the start
I want you, I need you, I love you
With all my heart
Every time that you're near
All my cares disappear
Darling, you're all that I'm living for
I want you, I need you, I love you
More and more
I thought I could live without romance
Until you came to me
But now I know that
I will go on loving you eternally
Won't you please be my own?
Never leave me alone
'Cause I die Every time we're apart
I want you, I need you, I love you
With all my heart
I thought I could live without romance
Until you came to me
But now I know that
I will go on loving you eternally
You please be my own?
Never leave me alone
'Cause I die Every time we're apart
I want you, I need you, I love you
With all my heart
The bar for entry is very low. Nowadays, anyone can produce their own music and publish it online for pennies. It used to be very expensive to publish a record, so music companies select for only the best talents. This meant there was a higher standard before the internet became big. As a result, we are now being flooded with mediocre memetic music acts that are flash in the pan one hit wonders.
Elvis Presley
And is it really such a “coincidence” that “grunge” was heavily marketed to white suburban youth, inspiring them to strum guitars and mumble about their personal sadness, just as Public Enemy and NWA were successfully telling these same young people about the systemic racism of the United States? Why wouldn’t the CIA prefer flannel shirts to Malcolm X hats as the main sartorial signifier at suburban malls? Why would the U.S. Government want Chuck D saying “Fight the Power,” when it could have Kurt Cobain’s “Oh well, whatever, never mind”?
grunge was political too
>music companies select for only the best talents
American industry invented mass producing of plastic ingeneered "music" long before kpop.
The Beach Boys, Elvis, Frank Sinatra, Nate King Cole and many more. Behind their success was a group of studio musicians called The Wrecking Crew.
Thank you. Seeing some of his photos i remembered this Hindi Bollywood song. He's parodying elvis.
kek