Kitaro
Published 17 Feb 2022Listen at Spotify: https://spoti.fi/2Q2T9qx
Listen at Apple Music: https://apple.co/2Iyx1QC
Listen at Amazon: https://amzn.to/2Q0opGp
for more info, visit: https://bit.ly/2W6CQMo#Kitaro #DomoMusicGroup
May 30, 2022
Kitaro – “Caravansary” (live)
Comments Off on Kitaro – “Caravansary” (live)
May 26, 2022
QotD: They don’t make good music any more
The Lindy effect, recently popularised by Nassim Nicholas Taleb in Skin in the Game, tries to explain the “Test of Time”, or granny’s wisdom. It’s a heuristic to streamline decisionmaking over the long term, and it has predictive qualities. For example, if a business is only a year old, the most likely scenario is that it will last one year more. However, if it does last two years, then the likelihood that it will last an additional two years increases.
To state the hypothesis as it applies to music: If a song or an album has been remembered for 20 years, then it’s more likely to be remembered for another 20 years. If it’s been remembered for 50 years, then it’s probably pretty damn good. If it’s been remembered for centuries, then it’s probably better than you can understand.
If this is true, then it might explain why anyone who has been listening to music for more than a decade has the sense that music was simply better back in the day. It’s not that music is necessarily worse now, on average – we’re in the moment, and it’s difficult to sort the wheat from the chaff.
What we hear in the daily soundtrack of life, when you’re getting your hair cut, out shopping, something coming from someone’s phone at the other end of the bus, is noise. The quality of this music is going to vary wildly because what is popular doesn’t necessarily correlate to what is good. The signal is the true state of music, which fluctuates, and can come from anywhere from the top of the pop charts to underground niche movements.
What we think of as “good older music” is not representative of the general state of music back then. It might be the case those songs that are remembered, and still played on the radio, TV and movies, happen to be the exceptional outliers. The Lindy effect is about filtering: Time has sifted out the mediocre songs that were popular for arbitrary or non-universal reasons, or were just faddish. If you’re going to go to the trouble of looking back to the 1980s now, what you bring back for us better be good.
And what is considered as great music from decades ago wasn’t necessarily chart material. But in the long term, they have been rediscovered by subsequent generations.
James Smith, “The myth of ‘bad’ modern music”, Being Libertarian, 2019-02-25.
May 13, 2022
Womp-womp – “Probably you didn’t watch the debate. Probably you read that last paragraph and thought, well, Wells has finally lost his mind, it had to happen eventually.”
Paul Wells watched the most recent Conservative leadership debate so none of the rest of us had to. Let’s take a bit of time to appreciate the sacrifice Mr. Wells made on our undeserving behalf:
Well, that was a national disgrace.
What is it about the last two years that made the Conservative Party of Canada’s Leadership Election Organizing Committee decide Canadians are yearning for shorter conversations about sillier questions?
Who came out of last week’s thoughtful debate at the Canada Strong and Free conference — at least, the questions and the format permitted thoughtfulness, although candidates varied in their ability or willingness to deliver it — thinking there weren’t enough questions about TV viewing habits?
Who surveyed the issue landscape that will face Justin Trudeau on Thursday and would face his successor — war in Europe, inflation, labour shortages, stark conflict between climate targets and natural-resource export imperatives, long-cheated and still-difficult Indigenous reconciliation, exiting from COVID — and thought, “Keep the answers short. We want time to hear them out on what’s on their playlists”?
As a mechanism for allowing Canadians to weigh the judgment of six people, one of whom might, after all, be the next prime minister, the evening was a write-off. We learned that Leslyn Lewis likes “Coltrane” and was eager not to be asked to name a second musician, that Jean Charest likes Charles Aznavour and doesn’t know how to pronounce Pat Metheny, that moderator Tom Clark isn’t sure how to pronounce Roman Baber, and that Charest and Scott Aitchison were reckless enough to trigger the dreaded sad-trombone sound effect for the sin of mentioning the prime minister of Canada by name during a political debate.
Probably you didn’t watch the debate. Probably you read that last paragraph and thought, well, Wells has finally lost his mind, it had to happen eventually. But no, this is a faithful record of … of … of whatever that was that just happened in Edmonton. Sorry, I’m stuck with the material. There is no way I could make this stuff up. If I were making something up, it would be funnier.
Clearly the organizers fell prey to two of the most fashionable current temptations in debate design: “Keep it snappy” and “Let’s get to know these candidates as people.” As though the decline of modern government were caused by excessive reflection and insufficient attention to our leaders’ public image.
Comments Off on Womp-womp – “Probably you didn’t watch the debate. Probably you read that last paragraph and thought, well, Wells has finally lost his mind, it had to happen eventually.”
May 3, 2022
Is all of social media just a “giant domestic surveillance operation”?
Severian posted this last week, but I’m only just getting caught up now:
I was wrong about Musk buying Twitter. Lot of that going around — the Z Man got a whole podcast on “avoiding error” from his misread of the situation. It’s well worth a listen. I, too, had a “hot take” on Musk’s offer — not that it was particularly hot, as most folks on this side were saying it, but I too thought it was a stunt. After all, Musk, like Bezos and all the other “new commerce” billionaires, don’t exist without massive government support. I figured his “offer” was stoyak — he’s got something in the works in the Imperial Capital and needed to play hardball with somebody.
But I was also working off my longstanding assumption that Twitter, Faceborg, and all the rest are essentially CIA / NSA fronts. When I first heard about Facebook, my first thought was “Wait, don’t we already have Friendster? What does this bring to the table?” My second thought was the first one I’d had about Friendster: “That’s clever, I guess, but how on earth is this going to make money? Even if they saturate it with ads, to the point where it’s unusable — which will happen in about two weeks — they can’t monetize your personal data any farther. People are pretty set in their habits — once the algorithm figures out you’re the kind of guy who likes anime and New Wave music, any further data is useless.”
Being a much more naive, trusting sort back then, I figured it was just stupidity. You know, Pets.com level stupidity. The VC boys were trying to get another dotcom bubble inflated, because if the first one proved anything, it’s that people are dumb and will keep falling for the same obvious scam over and over. I could hear them in the board rooms: “This time, instead of sticking ‘cyber’ in front of everything, we’ll call it ‘Web 2.0.’ Cha-ching!”
Obviously that didn’t happen. So I went with the common explanation that was floating around in those days, that “social media” sites made their money by selling your data to advertisers. But that doesn’t pass the smell test either. For one thing, as I said above, your habits don’t change very much. For another, as anyone who has any experience with them knows, those algorithms really suck. The other day, for instance, I was listening to some old music one of the streaming music sites. And I mean really old. Nothing I’d played the whole morning had been composed after the 17th century, but the service’s algorithm was convinced that what I’d really like to listen to next was some rapper.
Indeed, the whole point of the ads on Pandora, Spotify, whatever seems to be: To annoy you to the point where you pay for their premium service. Pandora, for instance, either really really really believes I want a Surface Pro 8 and some Taco Bell, or they’re just playing those ads every two songs to annoy me into buying the premium service (which is every ad that isn’t Surface Pro or Taco Bell). Which is just bizarre, because I haven’t had Taco Bell since college — which was 30 years ago, and I paid cash — and this essay right here is the first time I have ever even typed the words “Surface Pro 8”, much less looked at the product.
I really wouldn’t be surprised that the “algorithm” is reading itself. Hey, this guy sure has seen a lot of ads for Taco Bell and Surface Pro! He must really want some!
But the algorithm for companies whose entire business model is e-commerce is no better. Amazon seems to have gone to a “push” model — they must be selling their suppliers on the idea that they can push you stuff, which is why they always pimp the same four or five items in the “Amazon’s Choice” recommendations, no matter what you’re searching for. And these again are laughably wrong — the only things I get off Amazon are used history and philosophy books, and stuff for my dog. Based on this, they have concluded that what I’m really looking for are chick lit and beach gear.
Given all that, I came to the conclusion that “social media” (and Amazon too, probably) really only have one customer, who really does have a use for your data, and that customer’s initials are CIA. It’s a giant domestic surveillance operation.
And why wouldn’t it be? The Regime has had a legitimacy problem for a long time, and a “feedback loop” problem for longer than that. Even if we assume no ulterior motives whatsoever — fat chance, but let’s stipulate — the fact remains that public opinion polling, however you want to define it, has a similar problem as psychological studies. Since the vast majority of study participants are college undergrads, what you get is WEIRD — that’s Western, educated, industrialized, rich and democratic, and also in a very narrow age range. Psych studies that purport to be universal are, at their very best, snapshots inside the head of the BCG.
If you haven’t encountered the Basic College Girl, he provided a thumbnail sketch here.
Comments Off on Is all of social media just a “giant domestic surveillance operation”?
May 2, 2022
“Race To The Sea” – The Failure of the Schlieffen Plan– Sabaton History 110 [Official]
Sabaton History
Published 1 May 2022In the fall of 1914, the initial mobile stage of the war on the Western Front came to an end outside of Paris and trench warfare set in. As the trench lines stretched from the Swiss border to northern France and Belgium, both sides realized that if they could head north quickly enough, they could turn the enemy’s flank and win the war NOW.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Race To The Sea” on the album The War To End All Wars: https://music.sabaton.net/TheWarToEnd…
Watch the Official Music Video of “Race To The Sea” here: https://www.youtube.com/watch?v=m-yrj…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Rickard Eri
Comments Off on “Race To The Sea” – The Failure of the Schlieffen Plan– Sabaton History 110 [Official]
March 22, 2022
“The Unkillable Soldier” – Adrian Carton de Wiart – Sabaton History 109 [Official]
Sabaton History
Published 21 Mar 2022Adrian Carton de Wiart fought in a variety of wars over more than forty years, and he was wounded … again and again and again, and yet he always came back for more. This episode is his sometimes ridiculous but always interesting and incredible story.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “The Unkillable Soldier” on the album The War To End All Wars: https://music.sabaton.net/TheWarToEnd…
Watch the Official Music Video of “The Unkillable Soldier” here: https://www.youtube.com/watch?v=b4vj_…
Watch more videos on the Sabaton YouTube channel: https://www.youtube.com/user/Sabaton
Listen to Sabaton on Spotify: https://sabat.one/Spotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Marek Kaminski
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Archive: Reuters/Screenocean – https://www.screenocean.com
Colorization:
– Julius Jääskeläinen – https://www.facebook.com/JJcolorization/Sources:
National Army Museum, London
IWM HU 94459, Q 4511, Q 7105, Q 3140, IWM 32, IWM 162, IWM Q 68300, IWM 130-09+10
National Library of Scotland
All music by: SabatonAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
Comments Off on “The Unkillable Soldier” – Adrian Carton de Wiart – Sabaton History 109 [Official]
March 16, 2022
Al Stewart – “Josephine Baker” – LIVE
James Bone
Published 7 Mar 2021A live performance from Al Stewart’s Last Days Of The Century album, featuring Al’s 1988 band of Peter White on accordion, with Stephen Recker, Robin Lamble, Dave Camp, and Steve Chapman. One of Al Stewart’s historical topics, this time on 1920s sensation, American Josephine Baker, who became quite the talk of Paris. Recorded at the Bottom Line in New York City in 1988.
Comments Off on Al Stewart – “Josephine Baker” – LIVE
March 8, 2022
QotD: Modern pop music
James Lileks, “Turning into an old crunker”, Star-Tribune, 2005-05-29.
Comments Off on QotD: Modern pop music
February 8, 2022
Neil Young and the rebellion of “the Grumpy Old Woke Bros”
Julie Burchill on the (one hopes) last opportunity for elderly, wrinkly 60s and 70s rock stars to virtue signal their protests to a rapidly diminishing body of fans:
For a while now the generation gap has been making a comeback in politics in a way not seen since the youthquake of the 1960s. “Don’t trust anyone over 30” has become “OK Boomer”. Oldsters have been demonised for everything from Brexit to Covid. Personally, at 62, looking at the lives today’s teenagers can expect, I thank my lucky stars that I was young in the 1970s and 80s, when you could say what you liked and go where you wanted. But this dwindling of fun and freedom has as much to do with the stifling nature of woke culture as it does with the other virus.
So I wouldn’t blame teenagers if they were cross. But those doing the most to promote the alienation of young and old aren’t hot-blooded bright young things. They are old men who appear to identify as young, despite sharing the same unsavoury grey whiskers. Of course, if someone with a penis can be a woman, a greybeard can be a teenager. They’re the Grumpy Old Woke Bros.
We can trace this unhappy breed from the then 68-years-young Ian McEwan spluttering at an anti-Brexit rally in 2017: “A gang of angry old men, irritable even in victory, are shaping the future of the country against the inclinations of its youth. By 2019 the country could be in a receptive mood: 2.5million over-18-year-olds, freshly franchised and mostly Remainers; 1.5 million oldsters, mostly Brexiters, freshly in their graves.” Since then the likes of Alexei Sayle, Billy Bragg and Stewart Lee have joined in from the monstrous regiment of woke entertainers, adding Damon Albarn (a youthful 53 – and an OBE, the rebel!) to their rankled ranks last week when he said of Taylor Swift “She doesn’t write her own songs”. (This isn’t the first time Albarn has had beef with young female pop stars. He said of Adele in 2015: “She’s very insecure”, to which she replied “It ended up being one of those ‘Don’t meet your idol’ moments … I was such a big Blur fan growing up. But it was sad, and I regret hanging out with him.”)
Though we think of grumpiness as being an English trait, let’s not forget Neil Young (76) who spat his dummy out last week over sharing Spotify with Joe Rogan. Young is a latecomer to the wonderful world of wokeness, whose welcome to the spotless ranks was somewhat marred by the emergence of a 1985 interview in which he backed Ronald Reagan’s gun control policy and added for good measure, AIDS having recently been discovered, “You go to a supermarket and you see a faggot behind the cash register – you don’t want him to handle your potatoes”.
Comments Off on Neil Young and the rebellion of “the Grumpy Old Woke Bros”
February 5, 2022
QotD: I get a faint sense that he’s not a fan …
His new band, anyway, consists of four competent but unimaginative player-songwriters, and him. And the album’s a turgid lukewarm brew of reworked Oasis numbers which Liam’s brother Noel, every bit as ugly, every bit as unpleasant but a fraction less stupid would have rejected; the band switch between a dazzling selection of Rickenbaker and Gretsch guitars — funny, isn’t it, how a fiddler will manage with one Stradivarius, Robert Johnson played only a two-dollar guitar, Rory Gallagher the same battered old Strat and yet the current lot switch from one expensive instrument to another between songs, maybe even during songs, the rock’n’roll of Consumerism — to produce the same sounds, the same chords, the same figures over and over, to sing the same harmonies, the same shouty, angry, miserable, hateful, retarded adolescent drivel, tripe, every fucking bar of it; Liam, stooped inside his ugliness, howling and frothing his whining, meaningless doggerel; forty year old men, there oughta be a law against them doing this shit. Liam, rock hero caricature posturing, grunts at one point that this is whaditsallabout knoworramean, fucking keeping on playing and touring, selling the albums, to the kids, otherwise I’d end up working in fucking McDonalds, knoworramean; setting his sights way too high, there, overestimating his personal qualities, I mean, Billy Bragg might get a job in McD’s, on the mop bucket, Paul Weller, maybe, but they wouldn’t let Gallagher within a hundred yards.
Ishmael, “The Sunday Ishmael 31/10/2021”, Call Me Ishmael, 2021-10-31.
Comments Off on QotD: I get a faint sense that he’s not a fan …
February 2, 2022
Neil Young revives the PMRC
Jim Treacher invites you on a trip down memory lane to a time when musicians like Neil Young were [gasp!] against censorship:
If you’re Generation X or older, you might be getting flashbacks over this whole “Neil Young vs. Joe Rogan & Spotify” contretemps. On one side, we’ve got a popular public figure who’s expressing his thoughts and opinions, just as America’s Founding Fathers told us we get to do. On the other side, we’ve got a bunch of miserable old fuddy-duddies who want to shut down free speech because they believe it hurts people.
In other words, Neil Young just revived the PMRC.
If you don’t know what the PMRC was and you’re too lazy to google it, here’s the short version:
Back in the ’80s, a senator’s wife named Tipper Gore got sick of her kids listening to music she didn’t like, so she started an organization called the Parents Music Resource Center. The PMRC compiled a list of songs they found unacceptable, including “Darling Nikki” by Prince, “We’re Not Gonna Take It” by Twisted Sister, and “She Bop” by Cyndi Lauper. Then Tipper used her political connections to convince the Senate to hold hearings about this supposedly dangerous music.
A lot of Americans decided they liked what popular entertainers were saying, and a handful of busybodies tried to put a stop to it. “If we don’t want to listen to it, nobody should get to listen to it. We need to protect the helpless unwashed masses from themselves!”
Sound familiar?
But then this happened:
If you’ve got a half-hour to spare, you can watch Dee Snider’s entire Senate testimony here. By the time he was done, the PMRC had been exposed for the meddling, hypocritical clowns they were. Their brief moment of relevance was over, at the hands of a guy who looked like Bette Midler transitioning into a Wookie.
The PMRC did get a consolation prize, though: the “PARENTAL ADVISORY” sticker you can find on a lot of cassettes and CDs from the era. Y’know, the sticker that made kids want to listen to what was inside because their parents wouldn’t like it.
Over the next couple of decades, the PMRC ended up helping a lot of artists sell a lot of records. Like this one:
I remember seeing that CD cover for the first time and thinking, “Damn … this must be awesome.” And it was! If not for Tipper Gore, NWA might not have become superstars and Dr. Dre probably wouldn’t be a near-billionaire now.
Comments Off on Neil Young revives the PMRC
January 26, 2022
“Soldier of Heaven” – Mountain Warfare in WW1 – Sabaton History 108 [Official]
Sabaton History
Published 25 Jan 2022The war in the Alps between the Italians and the Austro-Hungarians added new dimensions to the fighting in the Great War since mountain warfare has its own unique set of challenges and dangers. What sort of men were doing the fighting here? And how did they cope with it? How did the survivors survive? Let’s take a look.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Soldier of Heaven”: https://music.sabaton.net/SoldierOfHe…
Watch the Official Music Video of “Soldier of Heaven” here: https://www.youtube.com/watch?v=LYI3e…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Archive: Reuters/Screenocean – https://www.screenocean.com
Sources:
– IWM Q 65115, IWM Q 65299, IWM Q 65062, IWM Q 65324, IWM Q 65102, IWM 1034-4, IWM 1062-14, IWM 459, IWM Q 114805б IWM Q 65104, IWM Q 65053, IWM Q 54778, IWM Q 65114, IWM Q 65130, IWM Q 65158
– esercito.difesa.it
– Médiathèque de l’architecture et du patrimoineS
– Business vector created by macrovector, Background vector created by freepik – www.freepik.com
All music by: SabatonAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
Comments Off on “Soldier of Heaven” – Mountain Warfare in WW1 – Sabaton History 108 [Official]
QotD: “Waltzing Matilda”
A gay Fusilier was marching down through Rochester
Bound for the war in the Low Country
And he cried as he tramped through the dear streets of Rochester
Who’ll be a sojer for Marlb’ro with me?
Who’ll be a sojer? Who’ll be a sojer?Who’ll be a sojer for Marlb’ro with me?
Marlborough being the Duke thereof: Winston Churchill’s forebear. “Cried as he tramped”? “Sang as he watched”? Don’t tell me that’s not a conscious evocation. Nonetheless, “Waltzing Matilda” is a splendid improvement on the original. If you’re a non-Australian who learned the song as a child, chances are you loved singing it long before you had a clue what the hell was going on. What’s a swagman? What’s a billabong? Why’s it under a coolibah tree? Who cares? It’s one of the most euphonious songs ever written, and the fact that the euphonies are all explicitly Australian and the words recur in no other well known song is all the more reason why “Matilda” should have been upgraded to official anthem status.
And yes, a “swagman” is a hobo, and this one steals a “jumbuck” (sheep), but he ends up drowning, which gives the song a surer moral resolution than most similar material. Yet in a sense that’s over-thinking it. It’s not about the literal meaning of the words, but rather the bigger picture that opens up when they’re set to the notes of that great rollicking melody: the big sky and empty horizon and blessed climate, all the possibilities of an island continent, a literally boundless liberation from the Victorian tenements and laborers’ cottages of cramped little England. Few of us would wish to be an actual swagman with a tucker bag, but the song is itself a kind of musical swagman with a psychological tucker bag, a rowdy vignette that captures the size of the land. One early version of it went “Rovin’ Australia, rovin’ Australia, who’ll come a-rovin’ Australia with me” – which is a lousy lyric, but accurately describes what the song does.
One sign of the song’s muscular quality is the number of variations. Of the rock’n’roll crowd’s monkeying around with it, I think I’ll stick with Bill Haley and the Comets’ goofy “Rockin’ Matilda”. The Pogues-Tom Waits approach – “And The Band Played Waltzing Matilda”, “Tom Traubert’s Blues” – seems to me to glum up the works unnecessarily. To use it for the story of a soldier who loses his legs at Gallipoli is unduly reductive: It’s too good a real marching song to be recast as an ironic marching song. I don’t know whether today’s diggers marched to “Matilda” in Afghanistan and Iraq and East Timor and wherever’s next but it’s one of the greatest marching songs ever, and today as a century ago it remains the great Australian contribution to the global songbook:
Waltzing Matilda
Waltzing Matilda
You’ll come a-waltzing Matilda with me
And his ghost may be heard as you pass by that billabongYou’ll come a-waltzing Matilda with me
Mark Steyn, adapted from A Song for the Season, 2008.
Comments Off on QotD: “Waltzing Matilda”
January 24, 2022
QotD: The Punk-Prog War of 1977
The Sex Pistols were angry young men — sois-dissant situationists who hated the dreamy Jung men with their Hipgnosis gatefold album art, their endless concept albums and “song-cycles”, and their am-dram dressing-up box shenanigans. The progs were pretentious and effete and disdained, not only for being able to read music, but for littering their lyrics with symbols from the collective unconscious. It all came from doing too much prep — they were the decadent ancien regime to punk’s snotty sans culottes.
Whether there was any truth to all this didn’t matter much. As mediated by their friends at the NME, the punks despised prog — a genre they regarded as anything but progressive. And Genesis were among the original sinners. True, it was a Pink Floyd t-shirt onto which Johnny Rotten had scrawled “I hate”, an alteration which amounted to all the wit he needed back then to get hired by Malcolm McLaren. But Genesis were the Druidic Lords of the iddly-diddly — the eye-wash and the whimsy that the bin-bag and safety-pin boys and girls found so contemptible.
The Pistols drew as much of their energy from the desire to make overfed rock dinosaurs like Genesis extinct, as they did from making music themselves. They wanted to see the carcasses of these privately educated fops littering the impact crater of punk rock, exposed for the cold blooded, lumbering, vegetative grotesques that they were. The nimble-witted likes of Rotten and Co. pogoed jubilantly on the wreckage of shattered Melotrons and twin-necked Gibsons and their long-overdue graves. Their hour — 1977, year zero — had surely arrived.
Simon Evans, “Rocker Crocked. Pistol Shot.”, Quillette, 2021-10-04.
Comments Off on QotD: The Punk-Prog War of 1977
January 20, 2022
“The new music market is actually shrinking. All the growth in the market is coming from old songs”
As a certified (certifiable?) old pharte, I have to admit I pretty much stopped listening to “new” music on the radio the year my son was born, so I certainly listen to a lot of music from my younger years, but apparently even young people today are also more inclined to listen to music from before they were born:
“Framed Vinyl Album Art: America ‘Homecoming’; Nick Gilder (Studio Copy of Singles From ‘City Lights’ Chosen for AOR); Climax Blues Band ‘FM Live’)” by JoeInSouthernCA is licensed under CC BY-ND 2.0
I had a hunch that old songs were taking over music streaming platforms — but even I was shocked when I saw the most recent numbers. According to MRC Data, old songs now represent 70% of the US music market.
Those who make a living from new music — especially that endangered species known as the working musician — have to look on these figures with fear and trembling.
But the news gets worse.
The new music market is actually shrinking. All the growth in the market is coming from old songs.
Just consider these facts: the 200 most popular tracks now account for less than 5% of total streams. It was twice that rate just three years ago. And the mix of songs actually purchased by consumers is even more tilted to older music — the current list of most downloaded tracks on iTunes is filled with the names of bands from the last century, such as Creedence Clearwater and The Police.
I saw it myself last week at a retail store, where the youngster at the cash register was singing along with Sting on “Message in a Bottle” (a hit from 1979) as it blasted on the radio. A few days earlier, I had a similar experience at a local diner, where the entire staff was under thirty but every song more than forty years old. I asked my server: “Why are you playing this old music?” She looked at me in surprise before answering: “Oh, I like these songs.”
The reasons are complex — more than just the appeal of old tunes — but the end result is unmistakable: Never before in history have new tracks attained hit status while generating so little cultural impact. In fact, the audience seems to be embracing en masse the hits of decades past. Success was always short-lived in the music business, but now it hardly makes a ripple on the attention spans of the mass market.
H/T to Althouse for the link.
Comments Off on “The new music market is actually shrinking. All the growth in the market is coming from old songs”
