Music VS Propaganda

In the symphony of musical history, propaganda prevails, carefully constructed by music companies in the 1950s.

# Myth of "Classic" Music

The term "classical" music, was propagated to market new music in the mid-20th century. Contrary to popular belief, Mozart, Beethoven, Bach, and their contemporaries are not "classic" genre.

The music industry, seeking to promote specific genres, crafted the term "classical" to establish a false sense of tradition and elitism. This propaganda disregarded the rich diversity of musical expressions that preceded and succeeded these revered composers.

Mozart, for instance, composed symphonies, operas, chamber music, and sonatas—each piece a reflection of its time, not confined to a timeless "classical" era. Similarly, Beethoven's revolutionary compositions resonated with the societal shifts and artistic explorations of the Romantic period.

The myth of "classical" music not only overlooks the evolution of musical genres but also suppresses the creativity and innovation that define music throughout history. This deceptive narrative stifles the recognition of Baroque, Romantic, Impressionist, Opera, Metal, Epic metal, Power metal and more are unfairly marginalized.

Consider composers and bands like Hans Zimmer, Nightwish, Epica, Rhapsody of Fire, Therion, Linked Horizon, Xandria. Their musical expressions, akin to Mozart or Bach but with electronic elements, challenge the notion of a static "classical" era. Could it be that, in 50 years, their compositions will be deemed classics, or is this merely another ploy in the music company's propaganda playbook? The labeling of diverse and evolving genres as "classic" only serves to limit our appreciation of the vast and dynamic musical landscape.

# Metal VS Pop

The Propaganda attempt to classify Opera and Metal within the term of "classical" music is not merely a mislabeling but a strategic move by music companies. The mainstream industry, driven by commercial interests, tends to favor pop music over the complexity and depth found in opera and metal genres. These genres, rich in narrative, emotion, and technical prowess, pose a challenge to the formulaic simplicity often embraced by popular music.

Pop music, with its catchy hooks and easily digestible melodies, caters to a broader audience, making it more commercially viable. The majority of listeners may not engage with the intricate compositions and unconventional structures found in opera or metal, leading music companies to downplay or dismiss these genres. This cultural bias perpetuates a subtle yet persistent war of recognition between pop and metal.

The unseen war between pop and metal is not just about musical preferences; it's a battle of narratives and cultural significance. Metal, with its diverse sub-genres and themes, delves into complex societal issues, mythology, history and emotions. On the other hand, pop music, prioritize instant gratification and mass appeal.

As music companies promote pop as the mainstream and attempt to marginalize opera and metal, a disservice is done not only to these genres but also to the diversity and richness of musical expression. This biased narrative perpetuates a cycle where only the commercially viable and easily consumed music is celebrated, stifling the exploration and appreciation of the vast musical landscape. The unseen war is a struggle for legitimacy and acknowledgment, where propaganda shapes not only what we hear but also how we perceive and value musical artistry.

# The Marketing Machinery

The realm of pop music has long been entangled with the threads of propaganda, marketing, and capitalism. Marilyn Monroe, an icon of the silver screen, is often remembered for her captivating presence and beauty. However, her foray into music exemplifies the transient nature of pop stardom. Monroe, despite her status as a cultural symbol, had only a few musical recordings, with "Diamonds Are a Girl's Best Friend" being one of the most notable. The industry's ability to amplify the fame of those with a single hit, while overlooking their musical depth, illustrates the shallow waters of pop music propaganda.

Nancy Sinatra, with her hit "These Boots Are Made for Walkin'," achieved commercial success. However, her career was not without controversy. The song, written by Lee Hazlewood, showcased a prevalent trend in pop music where artists, particularly female ones, were often handed songs rather than being active contributors to the creative process. This dynamic perpetuated a culture of appropriation and obscured the true talents behind the music.

Pop music becomes a powerful tool for propaganda when intertwined with political agendas. The manipulation of emotions is evident in events like "Support the Troops" concerts or performances during sports events. Artists align themselves with nationalistic narratives, promoting political ideologies. This marriage of pop and politics, amplified by the media, serves as a reminder that even the seemingly apolitical world of pop music can be a strategic player in shaping public sentiment.

The marriage of pop music and marketing is intrinsic to the industry's survival. Capitalism's influence on pop culture is apparent in the creation of manufactured pop stars who, fueled by aggressive marketing campaigns, become symbols of an era. The emphasis on image and marketability often overshadows musical talent, perpetuating a cycle where the industry molds stars according to market demands.

As the thirst for market demands intensifies, the line between artistic expression and exploitation blurs in the world of pop music. The industry's insatiable appetite for scandals, both sexual and dramatic, reaches into the personal lives of artists. The lives of individuals are manipulated and sacrificed on the altar of sensationalism, with no limits to the depths the industry will plunge.

Amy Winehouse, became a casualty of the pop media machinery. The relentless scrutiny of her personal struggles by the media contributed to the deterioration of her mental health and well-being. The tabloids feasted on her tumultuous journey, turning her struggles into headlines for public consumption. The tragic end to her life serves as a stark reminder of the destructive impact of pop media's relentless pursuit of sensationalism.

Behind the glitz and glamour of the pop music industry lies a dark reality. Some artists, desperate for success, find themselves coerced into compromising situations. The specter of sexual abuse, often orchestrated by promoters and managers, haunts the lives of artists. The exploitation of these individuals becomes a grim reflection of an industry that prioritizes profit over talent.

The pressure to conform to market demands takes a toll on artists, pushing many to the brink of despair. Instances of suicide among struggling artists are not uncommon. The realization that fame comes at a steep cost, coupled with the relentless scrutiny from both media and fans, leaves many feeling isolated and desperate. Some, unable to bear the weight of expectation, succumb to the darkness, becoming casualties of an industry that prioritizes success over the humanity of its creators.

In the pursuit of market demands, the pop music industry often becomes an unforgiving landscape where artists navigate treacherous waters. Exploitation, tragedy, and grim choices are woven into the fabric of an industry that places profit above the well-being of its stars.

# Hip Hop VS Capitalism

Hip hop, punk and rap music emerged as defiant genres, born out of the streets and fueled by a desire for social change. These genres stand in stark contrast to the glossy, manufactured world of pop music, offering a raw and unfiltered reflection of the realities faced by marginalized communities. Artists position themselves as rebels, using their craft to challenge the status quo and shed light on societal injustices.

The Streets found a voice to articulate experiences. From the South Bronx to Compton, the streets became a canvas for artists to paint vivid portraits of their harsh realities. Unlike pop music, where marketability often takes precedence over substance, hip hop and rap artists prioritize authenticity and social commentary. Lyrics delve into the stark realities of systemic inequality, racial injustice, and economic disparity. The anti-establishment ethos embedded in the genre positions it as a direct challenge to the consumer-driven, profit-centric narrative perpetuated by the pop music industry.

In a parallel movement, punk music aligns itself with the rebellious spirit of hip hop and rap. Emerging in the 1970s as a visceral reaction to the perceived excesses and conformity of mainstream music, punk became a countercultural force. Punk artists rejected the polished aesthetics of pop, favoring a do-it-yourself ethos that emphasized individuality, anti-authoritarianism, and social critique.

These genres stand as a testament to the power of music as a tool for social change. Challenging listeners to question the status quo and envision a world beyond the confines of pop propaganda.

In a world inundated with manufactured melodies, hip hop, rap, and punk stand as beacons of authenticity, reminding us that music can be a potent instrument of rebellion and resistance against the prevailing currents of pop culture.

# Trap - Hip Hop War

With the rise of Punk and Rap music, the Pop industry's quest for dominance birthed pop-rap, a fusion genre designed to appeal to a broader audience while retaining elements of hip hop. This strategic move by music companies catapulted artists like Eminem and 50 Cent to overnight stardom, blurring the lines between pop and rap.

Pop-rap aimed to attract a wider audience. While initially successful, this genre marked a departure from the rebellious roots of hip hop, aligning more with commercial interests than social commentary. Trap music emerged as a response to the success of pop-rap but carried a different agenda. Created to counter the socially conscious messages of its predecessors, trap embraced themes of crime, sexual exploitation, and neo-nazism.

Trap artists, often glamorizing a criminal lifestyle, became the heralds of a new, darker era in music. The birth of trap music sparked an unseen war within the music industry. Trap, with its anti-hip hop ideology, aimed not only to co-opt the musical style but also to subvert the cultural impact of hip hop and rap.

As trap gained popularity, its influence extended beyond the music itself. The glorification of crime and the rejection of the socio-political consciousness present in hip hop raised concerns about the potential real-world consequences of this genre. The trap vs. hip hop battle is not just a musical clash, it represents the struggle of societies.

# Impact of music

In the ever-evolving tapestry of music propaganda, the world has witnessed the transformative power of orchestrated narratives. Music, a vessel of cultural expression, has been both a tool of liberation and a weapon of manipulation. From the calculated marketing machinery that crafted pop icons to the rebellious spirit of hip hop and punk challenging societal norms, the impact of music propaganda has been profound.

The ongoing trap-hip hop war marks a pivotal moment, where the struggle for cultural influence and narrative dominance manifests within the beats and lyrics. As these genres clash, they reflect a broader societal tension, underscoring that music is not merely a passive art form but an active agent shaping the contours of our collective consciousness.

In the unseen war of melodies, the final notes resonate with the realization that, beyond the propaganda, music remains a dynamic force that echoes the complexities and contradictions of humanity.