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Few Of Us Get Exposed To Different Sorts Of music As We Used To When Tunes Were Not Chopped, Diced And Targeted To Particular Market Segments.

chicago As I scrolled through my Twitter timeline last Sunday night, the MTV video music Awards-related tweets gave me that sad ache a few individuals get when they realize they are ageing and are no longer in 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 grocery store checkout, their music has never reached, let alone touched, me.

I miss how music used to be more of a communal experience. today electronic jukeboxes such as 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 were not cut, chopped and targeted to particular market segments.

Remember when it appeared as if everybody listened to Casey Kasem's Top 40? today Billboard has so many chartsradio songs, digital songs and ring-tones, plus twenty-nine different genres such as rock, classical, "Latin," and "kids"I do not know where to start.

This is not always a unpleasant thing, but I am a sap for a time when "popular" music, aka pop, portended refined societal shifts.

For example, look back to 1984 when huge audiences tuned into the two annual music award shows and Michael Jackson was winning several VMAs and Grammys for "Thriller." His smash hit performances at those shows exposed millions to a new advance by a successful and proficient black artist. It was the beginning of a fledgling shoot at black parity in conventional entertainment that commenced picking up steam later that year when "The Cosby show" started its eight-season run on NBC.

For me, 1985 was the significant 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, tried my best to dress like Madonna, and was completely intolerant of my parents' Spanish-language music.

Their salsa, cumbia, merengue and mariachi corridos continually filled the house and accompanied every big family get-together. It was music that I felt required complex dance moves that I would not 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 Billboard Hot 100 with "Conga," which became the first single to be concurrently included on Billboard's pop, Latin, soul, and dance charts.

Epiphany time : the trumpet-cowbell-hot-piano-timbale combo was overwhelming, not simply to me but to other folks, most critically my classmates and the people listening to English-language radio.

I can 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, startled. She called my pa over to witness the miracle of my embrace of a musical style I Had formerly defied. They actually 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'd 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 assumed of myself as simply American.

The idolization of "Conga" was like a Michael Jackson moment for me and other Hispanics. The song's recognition paved the way for an even broader audience's embrace of Los Lobos' version of "La Bamba," from the movie about Ritchie Valens. Many radio stations played the track, with its folkloric guitar outro, in its entirety.

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 favored a seasoning as ketchup. Who'd have imagined that a quarter of a century later folk would be genuinely worried about America losing its very 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 folk of all racesafter all, there are no census form race designations on the dance floor. Where are you, crossover star? And can you hit the Hot hundred in time for next year's MTV video Music Awards? - as reported tagya.com.
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