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Post by countrygirl918 on Mar 4, 2014 23:31:27 GMT -5
To be clear, I wasn't saying that anyone who likes FGL has horrible taste in music. I was saying that people who think FGL's music is better than Little Big Town's, Kacey Musgraves', George Strait's, etc, have horrible taste in music. "Horrible" is of course exaggerated; I don't mean to offend. I was simply referring to the large dislike scores for the latter artists compared to the small dislike score for FGL.
That said, it's all subjective. What is one man's garbage is another man's gold. And it goes both ways - I fully accept that the music I love may be considered "horrible" by others as well.
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Deleted
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Post by Deleted on Mar 5, 2014 1:33:14 GMT -5
My problem with bro-country is that it seems to be all that radio plays these days...the male artists who don't sing it wind up not really breaking through, and the female artists? Well, they can't get away with it at all. There's been a shortage of female artists getting played at country radio for several years now but it's only getting worse in the bro-country era, despite several super-talented newer ladies (Kacey Musgraves, Lauren Alaina, Mickey Guyton, Leah Turner, Ashley Monroe, Brandy Clark, Jana Kramer, Maggie Rose, Jaida Dreyer, Sunny Sweeney). Danielle and Cassadee have so far had pretty good success at radio, but still...how many new male artists hit #1 each year with a single from their very first album? And then compare that to females...yikes. Cassadee has so far gotten as high as #10 with her debut single and Danielle's debut looks to be done with a #12 peak. It just seems to be a completely different demographic that 'controls' things nowadays, because this younger demographic is what corporate country radio is going after. For the record, I personally feel like most of the 'bro-country' artists and songs are only marginally country, but after a couple songs got popular, radio saw where the money was at, so to speak, and now every other style of country music--most of which, again, IMO, are way more country both in terms of lyrics and production, as well as the overall culture--has been pushed to the side. The values, or lack thereof, in bro-country make it essentially a completely different culture than 'regular' (for lack of a better word) country. I've listened to country radio for 20 years now...from when I was very young all the way to the present, from "Achy Breaky Heart" to "Cruise". There have always been bad songs (see the aforementioned "Achy Breaky Heart") but for my entire life so far, there were always a ton of good songs that used to become big hits as well. But now, for me, the good songs that become hits are fewer and far between, and many of my absolute favorites get stuck lower down on the chart and never make it past #30 let alone top 40. For 20 years, things were good--not perfect--but good. Overall I really enjoyed country radio. But with the emergence of this new style comes the first time in my life where I find myself talking bad about country radio, whereas before I'd often boast about it. It's not all bad but I'm just not that big of a fan of FGL or Luke or Thomas Rhett or Brantley Gilbert...I'd much rather see Kacey Musgraves, Charlie Worsham, Easton Corbin, Greg Bates, Ashley Monroe, and others of that sort become really popular but sadly it just doesn't seem likely. Maybe the younger male demographic is mostly to 'blame' for this change in radio but I think 18-34 females are just as much at fault (that is, if you're like me and don't like "bro-country"...if you do, then obviously you would give the 18-34 demo a round of applause instead of blaming them, but in my case it's blame). So many of my friends--and many other girls at college--are just obsessed with the likes of FGL and Luke. Alan Jackson and George Strait? They're not hip or cool. They're just old dudes. Charlie Worsham and Chris Stapleton who? It's definitely subjective, though, and I don't begrudge bro-country or the artists who sing it for their success, but I do wish the females and traditionalists and other talented non-bro artists could still get played. I could live with some popular bro-country songs if bro-country hadn't almost completely taken over country radio, if there was still some more variety left. So I absolutely can't stand "This Is How We Roll". For me it's just not a good song, and not country. One other thing...since I can't resist I saw this meme floating around on the internet tonight: All in good fun Cheers!
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sabre14
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Post by sabre14 on Mar 8, 2014 19:03:18 GMT -5
HitFix 7 thing's we learned from FGL's new music video "This Is How We Roll" with Luke Bryan. Bro-Country alive and well in new video. www.hitfix.com/news/7-things-we-learned-from-florida-georgia-lines-this-is-how-we-roll-video-with-luke-bryan^ Pretty funny piece of sarcasm. I knew this would be a big hit, but it's numbers are mindblowing. Up over 700 spins on Mediabase as of today, which is the greatest gainer on the entire chart; even more than "Automatic" by Miranda Lambert. It seems the worse the FGL song is, the quicker it flies up the chart.
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14887fan
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Post by 14887fan on Mar 9, 2014 0:44:05 GMT -5
There is only one proper summation for describing that video, as well as the quality of it, the song, and this duo:
BORCHETTA IS SATAN.
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churchchoir
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Post by churchchoir on Mar 9, 2014 2:25:14 GMT -5
Did these guys really need Borchetta to break out, though? I thought they could have easily gotten a record deal with any major label.
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rjz
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Post by rjz on Mar 9, 2014 9:07:22 GMT -5
My theory:
During my adolescence young males had Hard Rock, Heavy Metal and Punk Rock to satisfy their testosterone driven need to gather in groups and get rowdy (whether it be sports, drinking, etc).
Modern Music=None of that. Rock is now folky, alt rock is just a different animal than the head banging party music of my youth. And the pop/techno stuff doesn't satisfy their need.
Country has just tapped into this market-somebody smart discovered a huge demographic niche that was unfulfilled-there is rap, but it just didn't fill the bill for everyone. So Bro-Country is the perfect 'party' music for that 18-24 yr range- full of testosterone friendly songs about partying, sex and has the loud sound that satisfies.
I don't think that is going to change soon-the boys have found their home-until some other genre steps up.
Business would have been idiotic to not jump on the trend after the massive success of Florida Georgia Line. So even as I tip my hat to them (and Luke Bryan for softer earlier efforts-although it really wasn't until FlGAL was it that rap started to combine with Bro Country elements?) for their business acumen, I still wish radio would play a little more variety.
Like others have said, it would be nice to have different 'types' of country stations-kind of like my cable TV and satellite.
I don't mean this as negativity toward any young male, BTW- I remember those days and the concerts I attended-Among Bruce Springsteen, Eagles there were my share of KISS type concerts, ha. And of course not every male is enraptured completely (or even at all....obviously for many here on the board)
Its just my personal opinion on why songs like "This Is How We Roll" remain so popular, even with some critical backlash.
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onebuffalo
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Post by onebuffalo on Mar 9, 2014 14:06:04 GMT -5
^ Pretty funny piece of sarcasm. I knew this would be a big hit, but it's numbers are mindblowing. Up over 700 spins on Mediabase as of today, which is the greatest gainer on the entire chart; even more than "Automatic" by Miranda Lambert. It seems the worse the FGL song is, the quicker it flies up the chart.
Preach it, Brother sabre14!
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onebuffalo
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Post by onebuffalo on Mar 10, 2014 15:46:31 GMT -5
Just for sabre14:
Greatest Gainer No. 17 "This Is How We Roll" Florida Georgia Line Featuring Luke Bryan
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sabre14
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Post by sabre14 on Mar 10, 2014 15:53:49 GMT -5
Just for sabre14: Greatest Gainer No. 17 "This Is How We Roll" Florida Georgia Line Featuring Luke Bryan I was having such a lovely day too >:(
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onebuffalo
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Post by onebuffalo on Mar 10, 2014 16:06:24 GMT -5
Just for sabre14: Greatest Gainer No. 17 "This Is How We Roll" Florida Georgia Line Featuring Luke Bryan I was having such a lovely day too >:( I'm sorry. Anything I can do to make it better?
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sabre14
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Post by sabre14 on Mar 10, 2014 16:28:09 GMT -5
I was having such a lovely day too >:( I'm sorry. Anything I can do to make it better? Make "It Ain't The Whiskey" the greatest gainer next week. But you're not a miracle worker.
Did you locate that regular Lime Coke yet?
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onebuffalo
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Post by onebuffalo on Mar 10, 2014 16:29:22 GMT -5
I'm sorry. Anything I can do to make it better? Make "It Ain't The Whiskey" the greatest gainer next week. But you're not a miracle worker.
Did you locate that regular Lime Coke yet?
You remembered the Lime Coke. I will get to work on that right away!
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Marv
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Post by Marv on Mar 10, 2014 21:36:57 GMT -5
As much as I would love for this to flop having just heard it for the first time moments ago on WWKA (K92.3/Orlando), it's indeed a train wreck which is so bad that it makes 'Truck Yeah' sound like 'The Cowboy In Me', which spent three weeks atop the R&R/Mediabase chart exactly 11 years ago.
Unfortunately, I don't see it falling short of #1, but given the 'quality' of far too many country hits to mention in recent years, I shouldn't be surprised that's it's screaming up the charts like all the rest of their singles, and a ton of other underwhelming tunes as well.
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Post by tim on Mar 10, 2014 23:18:40 GMT -5
As much as I would love for this to flop having just heard it for the first time moments ago on WWKA (K92.3/Orlando), it's indeed a train wreck which is so bad that it makes 'Truck Yeah' sound like 'The Cowboy In Me', which spent three weeks atop the R&R/Mediabase chart exactly 11 years ago. Unfortunately, I don't see it falling short of #1, but given the 'quality' of far too many country hits to mention in recent years, I shouldn't be surprised that's it's screaming up the charts like all the rest of their singles, and a ton of other underwhelming tunes as well. I'm not at all surprised this is burning up at radio. It had hit all over it when I first gave it a listen (not that I liked it). But, I actually can tolerate this much more than the utter train wreck and big pile of crap that was "Truck Yeah." That song is intolerable...but that's not saying much. TIHWR is going to be one of the biggest songs of the spring/summer no doubt. It's not going anywheres so prepare to hit that switch button plenty. edit: I actually have a confession...I don't hate this song. I can make it through listening to the entire song and still not dislike it. I honestly have a varied taste in music and do like some rap and r&b music (such as say Drake, Rihanna, or Eminem), but I've never been a fan of the bro-country trend. I can tolerate TISWR and don't mind it as much as i think I should or would have. Ok there, that's out there.
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kml567
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Post by kml567 on Mar 10, 2014 23:38:46 GMT -5
Is FGL heading towards Carrie Underwood territory? I'm starting to think their first 10 singles will hit #1 on Mediabase.
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dajire4
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Post by dajire4 on Mar 11, 2014 10:14:07 GMT -5
sadly to me, this guys are only getting bigger. I just don't see any way they lose momentum any time soon
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Kris
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Post by Kris on Mar 12, 2014 17:15:33 GMT -5
I like this song. Hate me for it.
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Post by 43dudleyvillas on Mar 14, 2014 21:19:14 GMT -5
On the subject of Callout America, I've often mentioned that it reflects the taste of the most musically conservative of country radio listeners. That has a lot to do with methodology...primarily, the screens used to determine their response pool. Those screens include, for example, self-identification as someone who listens to country radio for a certain amount of time each week. These days, the people who still listen to enough country radio to make it through the survey screen would be more likely to have a high tolerance for, and even appreciation of, the type of music that dominated country radio in 2013, whereas those who lack that tolerance/appreciation are more likely to be screened out based on reduced listening time. The thing about Callout America is that its response pool kind of absorbs trends after the fact -- Bullseye "refreshes" its response pool regularly, and like I said, the screens operate to reflect the changing nature of the most committed radio listener. So seeing the formulaic, backwoods cliché-dropping, female-objectifying, wannabe hip-hop songs like "This Is How We Roll" do well at Callout America now is not terribly surprising after how much that type of song dominated country radio in 2013. To give another example, Taylor Swift would test absolutely terribly at Callout America during her first couple of album cycles. Lately, her country-only releases have done better at Callout America, the by-product, I think, of the response pool's increased familiarity with her sound. To show how different surveys operate differently, though, Taylor's singles continue to put up consistently poor numbers at Radio Feedback, and radio consultants generally refer to her as an artist who doesn't test well at the format. So any of one of these surveys is just one lens through which to view listener preferences, and lens "design" impacts (or skews) the view that we get. All this is to say that for those of us looking for a light at the end of the tunnel, or some way out of the creative rut at country radio, we're not going to see it at Callout America, at least not until well after it is already in place. And frankly, I don't think the first signs of that light at the end of the tunnel are going to be at radio, either. The development of the online and mobile spaces as music platforms has resulted in radio taking a follower role: it reflects existing music markets as opposed to taking a leading role in shaping them. That's not to say that airplay is inconsequential. Like I said in the Craig Campbell, "Keep Them Kisses Comin'" thread, airplay prospects impact who gets signed to major label contracts, whether and when albums get released by those labels, the singles that are released from those albums, and to varying extents, the kind of music that appears on those major label albums. I still think that the narrowness of country radio today is choking off variety and by extension, creativity within the mainstream part of the country genre. But at the same time, I don't think the widespread criticism of "bro country" is going to be without consequence. Over the past six months or so, criticism of "bro country" has been the dominant mainstream media narrative when it comes to the country genre. These days, country artists doing mainstream media interviews can count on being asked about either the struggles of women on country radio or the overload of formulaic wannabe rock/hiphop songs about trucks, tailgates, beer and parties, or both. Zac Brown and Kacey Musgraves aren't the only ones who have spoken out against formulaic songwriting and the endless parade of truck/tailgate/beer/party songs at country radio. In just the past couple of months, we've seen Carrie Underwood, Kellie Pickler, and Suzy Bogguss commenting to Billboard on country radio's narrowness both in terms of female support and song content, Sara Evans noting to The Tennessean that "every song can't be about...beer drinking and partying and trucks," Jennifer Nettles discussing the long-term dangers of country radio's current lack of diversity (thanks avalyn), and Josh Turner, in interviews with multiple radio outlets, saying,Even Scott Borchetta, who is no doubt still happy to embrace the sales of a song like Brantley Gilbert's "Bottoms Up," told NPR that "We can't keep talking about Fireball [whiskey] and Coors Light and having the tailgate down, etc. So we'll task our writers and artists to dig a little deeper." It's clear that even the industry profiting from the recycling of these musical and lyrical clichés recognizes the creative rut. The work of a number of Nashville songwriters is under attack. I think there is enough self-consciousness within the artist community, both among professional songwriters and performing artists, that a significant portion of them are looking to distinguish themselves from the formula that seem to run the day. As carriekins pointed out, we can already see that in a number of early 2014 album releases: Eric Church was very vocal about jettisoning every potential formula, whether his or country radio's, on The Outsiders, Dierks Bentley's Riser often shows him grappling with the kind of lyric that seems to rule country radio, but with a more contemplative point of view, Eric Paslay and Jon Pardi both try to engage more deeply with country sounds on their album, and Paslay in particular seems eager to cover the broader range of topics that has historically identified country music. And the only real concessions that David Nail's new album makes to today's trends at country radio are more upbeat fare with more guitar and more tempo. Eric Church's album is significant because he is one of country's top sellers. Dierks' album is significant in that he, like Chris Young and Jake Owen, is a mid-level star at the format trying to get to that next level of commercial impact. But unlike Chris and Jake, who chased the market and failed to craft a distinctive identity for themselves on their fall 2013 releases, Dierks tweaked formula and tried to take it somewhere that felt more authentic to him. Unlike Chris and Jake, Dierks was rewarded with first-week sales that improved on those of his previous album, and Dierks' first-week sales tally topped that of both Chris and Jake. We still have Miranda Lambert, Zac Brown Band, and I think Little Big Town to come this year, hopefully Josh Turner, and perhaps Carrie Underwood -- all of them high-profile artists likely to seek/try to create hits that don't conform to the formula of the moment. Granted, Little Big Town is coming off two well-acclaimed singles that missed the top-25 and top-30, respectively, and Josh Turner is coming off his own top-40 miss. But I think that new releases from them will naturally help to diversify a market that in 2013 was flooded by high profile "bro country" from Blake Shelton, Luke Bryan, Tim McGraw, Jason Aldean and Florida-Georgia Line (the latter two were carryovers from late 2012), as well as a cavalcade of mid-level and rising wannabes. 2014 will still have plenty to offer the bros -- we still have a Cole Swindell album that is off to a good start, and Jerrod Niemann has declared that his adversaries on his upcoming album "are party poopers, and I'm about to face that so that all of us can have a great time." Moreover, the Brantley Gilbert and Tim McGraw albums will likely be the first high-profile albums of 2014 that build on last year's formula. But there's a chance for them to be balanced by contemporaneous releases by Miranda and what I call the Rascal Flatts pop-country trifecta (Dan & Shay, Hunter Hayes, and, well, Rascal Flatts). All of this is to make two points: (1) I remain optimistic about 2014 based on the country album release schedule, because I think that the combination of media and industry backlash has made some of country's biggest names more determined to diversify the market and I believe that radio will eventually follow the market, and (2) to bring this back to the original thread topic, that diversity will make it easier for people like me to treat songs like "This Is How We Roll" as a pimple rather than a pestilence.
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Deleted
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Post by Deleted on Mar 17, 2014 18:59:05 GMT -5
I heard this on Clear Channel KNIX yesterday (I wasn't in control of the radio dial.. ;) ) and it was really weird because they edited out the entire 2nd verse of the song. It went first verse, chorus, then Luke. I found it very strange. Perhaps KNIX thinks the 2nd verse is too 'rap-like' but yet the rest of the song doesn't quite cross that line?
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joey2002
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Post by joey2002 on Mar 17, 2014 23:48:10 GMT -5
I heard this on Clear Channel KNIX yesterday (I wasn't in control of the radio dial.. ;) ) and it was really weird because they edited out the entire 2nd verse of the song. It went first verse, chorus, then Luke. I found it very strange. Perhaps KNIX thinks the 2nd verse is too 'rap-like' but yet the rest of the song doesn't quite cross that line?Yeah, without the second verse, this would just be another annoying "bro country" (I hate that term) song. To me, the rapping is what puts this in a whole new league of terrible.
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Uncle Lumpy
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Post by Uncle Lumpy on Mar 19, 2014 12:09:42 GMT -5
I was apparently in a masochistic mood the other day & I actually sat through this video in its entirety . Call me evil or a bad person but I found myself wishing there was a really low overpass during the scenes with them on top of the 18 wheeler.
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Ten Pound Hammer
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Post by Ten Pound Hammer on Mar 24, 2014 13:41:25 GMT -5
Someone on TV Tropes half jokingly suggested that Florida Georgia Line is actually the country version of 3OH!3, which made me laugh out loud. As long as they don't somehow find a country version of Ke$ha to record something as toxic as "BlahBlahBlah".
Also, I hope we never get a country version of LMFAO...
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Post by countryfan4life on Mar 24, 2014 14:12:36 GMT -5
Someone on TV Tropes half jokingly suggested that Florida Georgia Line is actually the country version of 3OH!3, which made me laugh out loud. As long as they don't somehow find a country version of Ke$ha to record something as toxic as "BlahBlahBlah". Also, I hope we never get a country version of LMFAO... Haha there is already a country version of Blahblahblah... well sort of... Also is it bad that this song has grown on me? I mean I'm still not fond of Tyler's rapping on the second verse, but I love the chorus!
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onebuffalo
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Post by onebuffalo on Mar 27, 2014 10:36:31 GMT -5
Stay has been moved to recurrent status on the mongrel chart.
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killintime
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Post by killintime on Mar 29, 2014 6:38:21 GMT -5
People are just eating this crap up. Clearchannel and CBS radio cram it down our throats, and people are led to believe what's a 'hit' and what isn't. And people fall for it, too, as evidenced by the iTunes charts. I was really really hoping this would flop and be the one that woke people up thinking, "what the **** am I listening to?" Obviously that's not the way it works. Anyone else feel uncomfortable riding in a car with someone and a song like this (or any current country genre song) comes on?
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rjz
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Post by rjz on Mar 29, 2014 9:06:53 GMT -5
People are just eating this crap up. Clearchannel and CBS radio cram it down our throats, and people are led to believe what's a 'hit' and what isn't. And people fall for it, too, as evidenced by the iTunes charts. I was really really hoping this would flop and be the one that woke people up thinking, "what the **** am I listening to?" Obviously that's not the way it works. Anyone else feel uncomfortable riding in a car with someone and a song like this (or any current country genre song) comes on? Ha! That made me smile because my husband and daughter hate Country music, but whoever drives gets to choose the station. I try to plead my case when a really good song that has great lyrics without being too twangy (since those who dislike country must become accustomed to twang ;) ) but when stuff like this comes on they roll their eyes/laugh or I get a comment on how cliche he told me country music always is
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matty005
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Post by matty005 on Mar 29, 2014 14:40:14 GMT -5
People are just eating this crap up. Clearchannel and CBS radio cram it down our throats, and people are led to believe what's a 'hit' and what isn't. And people fall for it, too, as evidenced by the iTunes charts. I was really really hoping this would flop and be the one that woke people up thinking, "what the **** am I listening to?" Obviously that's not the way it works. Anyone else feel uncomfortable riding in a car with someone and a song like this (or any current country genre song) comes on? I don't think that is it at all. There are plenty of songs that are radio hits that don't sell well ("Radio" by Darius Rucker for example). It's crazy to me that people constantly put this music down and justify reasons why it's popular. It's fine if you don't like it. It's not everyone's cup of tea, I get that. But when a group has consecutive #1 hits and sells millions in singles, you just have to come to a point where you have to just admit there are people who do actually like it. It's not a big conspiracy with secret messages telling people to buy this. People buy what they like - not because they are being forced to.
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killintime
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Post by killintime on Mar 29, 2014 19:58:01 GMT -5
People are just eating this crap up. Clearchannel and CBS radio cram it down our throats, and people are led to believe what's a 'hit' and what isn't. And people fall for it, too, as evidenced by the iTunes charts. I was really really hoping this would flop and be the one that woke people up thinking, "what the **** am I listening to?" Obviously that's not the way it works. Anyone else feel uncomfortable riding in a car with someone and a song like this (or any current country genre song) comes on? I don't think that is it at all. There are plenty of songs that are radio hits that don't sell well ("Radio" by Darius Rucker for example). It's crazy to me that people constantly put this music down and justify reasons why it's popular. It's fine if you don't like it. It's not everyone's cup of tea, I get that. But when a group has consecutive #1 hits and sells millions in singles, you just have to come to a point where you have to just admit there are people who do actually like it. It's not a big conspiracy with secret messages telling people to buy this. People buy what they like - not because they are being forced to. Okay, I do agree with your statement that we must admit people like it. No question there. But when we're force fed this stuff on the airwaves 24/7, it, well, I hate to use the word "brainwash" but for lack of a better term it brainwashes listeners into thinking the song is popular and must be good. I really need to learn more about the radio business and how stations pick and play the songs they do, because there is no accurate ratings system that directly reflects listeners. 92.3 KRAP has no way to tell if I'm tuned into their frequency and as I understand the few monitoring systems out there aren't accurate in any way. Most stations don't even take requests anymore. Then again people probably are tuning in because the crap's already leeched into their heads and now they just can't get enough.
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rjz
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Post by rjz on Mar 30, 2014 10:33:57 GMT -5
It's crazy to me that people constantly put this music down and justify reasons why it's popular. It's fine if you don't like it. It's not everyone's cup of tea, I get that. But when a group has consecutive #1 hits and sells millions in singles, you just have to come to a point where you have to just admit there are people who do actually like it. It's not a big conspiracy with secret messages telling people to buy this. People buy what they like - not because they are being forced to. Thank you. I couldn't have said it better. Oh, but there's conspiracy sometimes ;) Stations push songs, artists do favors and its a fact that people frequently like something the more familiar they are with it-especially music (until something gets beyond the saturation point). Some things are organic too-like Cruise-that song flew up the sale charts before it had much air play at all. Having said that, I don't think anyone judges anyone for liking something- the criticism seems aimed at just the song itself. I loved Red Solo Cup and Boys Round Here, but I wholeheartedly agree artistically they are big piles of pandering, partying, goofy junk. Sometimes that is fun Probably the biggest legitimate complaint I see is the monotony of songs/lyrics on mainstream country radio these days. That is what I can't defend when I play the radio and my passengers give me grief about cliches.
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Steven
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Post by Steven on Mar 31, 2014 16:54:56 GMT -5
FGL and Luke. Wow. It's like someone decided to record my worst nightmare. This is exactly how I feel.
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