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Few Of Us Get Exposed To Different Sorts Of Music As We Used To When Tunes Weren’t Sliced, Sliced And Targeted To Particular Market Segments.
CHICAGO As I scrolled thru my Twitter timeline last Sun. night, the MTV Video Music Awards-related tweets gave me that sad ache a few individuals get when they realize they’re growing older and are out of touch with young peoples passions.
I haven’t observed a music award show in years and, though Lady Gaga, Beyonce and Katy Perry are familiar from the mag covers I see at the corner store checkout, their music has never reached, not to mention touched, me.
I miss how music used to be more of a communal experience. Today electronic jukeboxes like iTunes, niche of list of radio stations, satellite and streaming Web radio let everybody listen only to whatever music they prefer. Few of us get exposed to different sorts of music as we used to when tunes weren’t cut, cubed and aimed at particular market segments.
Remember when it appeared as if everybody listened to Casey Kasem’s Top 40? Today Poster advertisement has so many chartsradio songs, digital songs and ring tones, plus 29 different genres like rock, classical, “Latin,” and “kids”I don’t know where to begin.
This is not always a unpleasant thing, but I’m a sap for a while when “popular” music, aka pop, suggested delicate societal shifts.
For example, look back to 1984 when massive audiences tuned into the two yearly music award shows and Michael Jackson was winning several VMAs and Grammys for “Thriller.” His blockbuster performances at those shows exposed millions to a new advance by a successful and talented black artist. It was actually the start of a fledgling shoot for black parity in conventional entertainment that began picking up steam later that year when “The Cosby Show” commenced its eight-season run on NBC.
For me, 1985 was the important musical year. I used to be a world-weary 10-year-old who pushed the car’s radio dial to alternative stations that played punk, attempted my best to dress like Madonna, and was completely intolerant of my parents’ Spanish-language music.
Their salsa, cumbia, merengue and mariachi corridos constantly filled up the house and accompanied every massive family get-together. It was music that I felt required complex dance moves that I wouldn’t have dreamed of attempting, was certainly not “cool” and, to my teen mind, actually not American.
And then in October the Miami Sound Machine zoomed up the Poster advertisement Hot hundred with “Conga,” which became the 1st single to be simultaneously included on Billboard’s pop, Latin, soul, and dance charts.
Epiphany time : the trumpet-cowbell-hot-piano-timbale combo was overwhelming, not solely to me but to other folks, most importantly my classmates and the people listening to English-language radio.
I’ll always remember the look on my parents’ faces the 1st time they heard me blaring “Conga” on my boombox. “What are you listening to?” my mum asked, surprised. She called my pop over to witness the miracle of my embrace of a musical style that I had formerly defied. They really beamed with joy.
I shrugged it off, but main line audiences happily doing the “Conga” made me embrace a part of my culture that I had never actually given any thought to. Back then, at least in Chicago, no one was going around making a fuss about who was Latino or Hispanic. I believed of myself as simply American.
The acclaim for “Conga” was like a Michael Jackson moment for me and other Hispanics. The song’s recognition prepared the ground for an even wider audience’s embrace of Los Lobos’ version of “La Bamba,” from the flick about Ritchie Valens. Many radio stations played the tune, with its folkloric guitar outro, in its totality.
Those were heady days leading up to Ronald Reagan signing the not-particularly-contentious Immigration Reform and Control Act of 1986. Salsa was on its way to becoming as popular a seasoning as ketchup. Who’d have imagined that 1 / 4 of a century later people would be genuinely anxious about America losing its actual soul to Latino culture.
Today calls for a new song to remind individuals that Hispanic and main line cultures can come together and be enjoyed equally by people of all racesafter all, there are no census form race designations on the dance floor. Where are you, crossover star? And are you able to hit the Hot 100 in time for next year’s MTV Video Music Awards? – as reported tagya.com.
Vlog 2 “How to get your music on Itunes” Mike Kalombo