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Vi vet alle at det finnes en rekke gode eller mindre gode sosialist band, fks Refused, Rage against the machine, + et lass med diverse andre artister med sosialistisk budskap i tekstene sine.

 

En dag slo det meg hva hører kapitalistene på. Har de sin egen muskk?

Det finnes selvsagt mange artister uten et politisk budskap i tekstene sine, men finnes det foreksempel kapitalistiske rockeband osv?

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Videoannonse

Videoannonse
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Bytex

Bytex

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Skrevet (endret)

Det eneste jeg kan komme på er disse "bad ass gangsta pimp"-rapperne i USA.

De strør rundt seg med penger, har på seg tunge smykker av gull, har gullbelegg på tennene, svære diamantsmykker med navnet sitt på. F.eks. 50 cent, p.diddy, og Snoop.

Og tekstene handler stort sett om å p*le flest mulig "bitches" og få mest mulig penger. Som f.eks. P.Diddy som inviterte en haug med kjendiser til cruise på megaluksusyachten sin i Karribien, der gjestene fikk champagne til 10000kr flaska som velkomstdrink.

 

Mange av disse er også involvert i narkotrafikk, som jo er en veldig kjapp måte å tjene masse penger på. Det eneste målet de har i livet og med musikken sin er å skaffe seg mest mulig "bling", eller stash som skinner og glitrer tydeligvis.

Er ikke det kapitalistisk så vet ikke jeg.

Man kan kanskje si at superkommerse rockeband som Linkin Park tjener noe av den samme nytten? De er "satt sammen" kun for å generere mest mulig penger til plateselskapet, som tyner ut NØYAKTIG den musikken de vet de unge, hvite, middelklasseskaterne liker.

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fy_pokkers

fy_pokkers

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THE CAPITALIST MUSIC INDUSTRY IS OBSOLETE: WHAT CAN TAKE ITS PLACE?

 

A music industry that prices music out of the reach of tens of millions of

people, intentionally keeps most music off the radio, and censors

musicians has clearly outlived its usefulness.

 

A music industry that gets laws passed to prevent the distribution of

music by computer technology, makes music a slave to the whims of Wall

Street, and would rather work with the FBI to combat "piracy" than put

money into artistic development is not only obsolete, it's dangerous. The

beauty and power of music can no longer co-exist with the corruption and

greed of the capitalist music industry.

 

These harsh assessments may seem hard to accept, since the rise of the

popular music that dominates most of the world today has been closely

linked to the rise of post-war capitalism and to thousands of music

business entrepreneurs. The Post-War Music Industry

 

As rock and soul music emerged in the 1950s, new record labels took the

stage and made the new sounds available at affordable prices. Clear

channel radio stations beamed music from the deep South out across the

country. Even payola--the payment of bribes by the record companies to get

records played on the radio--had a positive aspect. Payola helped to break

down many of the barriers in the broadcast industry, allowing the music of

Southern blacks and whites to break out and become the raw material of an

emerging culture.

 

Entrepreneurs were indispensable to this process. Although they brutally

exploited artists, the owners of record labels and radio stations helped

to create and shape a previously non-existent teen market (the idea that

youth has a culture of its own did not exist before the 1950s). The

emergence of the teen market was an important step in the evolution of

today's revolutionary youth culture. However, the music we take for

granted today did not emerge peacefully. In the 1950s, there were constant

attacks on music by politicians, the media, police, district attorneys,

the Klan, and the church.

 

In the late 1960s, a concert industry developed which brought a variety of

artists into every town in America with a decent-sized theater at an

affordable price. At the same time, both national record store chains and

a new breed of independent record stores brought a diversity of recorded

music within driving distance of most Americans.

 

The strength of the U.S. economy--not just high profits but the growth of

jobs and even welfare benefits--allowed music to develop as it did. For

the first twenty-five years of the rock & soul era, the stock market

allowed music companies to raise the capital they needed to fund an

infrastructure that brought music to almost everyone. It allowed

corporations to raise the money they needed to build the factories and

offices that kept us employed. Those jobs provided the money we needed to

buy records and concert tickets.

 

In the 1980s, entrepreneurs made sure that new styles of music became

widely available and, in the most striking example of that process, rap

was transformed from a New York neighborhood phenomenon into an

international language of the greatest importance.

 

The Worm Turns

 

The 90s has seen a resumption of the full-scale war against music that

took place in the 50s. Once again, politicians, the media, the police,

district attorneys, and the church are attacking music, blaming it for

everything from drug use to the depressed state of the economy.

 

But there is a very important difference today. The same music industry

that helped make our culture possible has become one of the foremost

obstacles to getting music heard. High Retail Prices.... Although total

manufacturing cost for a CD is around 50 cents per disc, the consumer pays

up to $20 for it. In a world where 3 billion people live in poverty

(including 80 million people in the U.S.), many music fans can no longer

afford to buy the music they love.

 

Live Music.... Many concert tours now have average ticket prices of over

$100. Ticketmaster surcharges are now sometimes more than the price of a

concert ticket itself was only a few years ago. With millions of Americans

who used to enjoy a night out now living in poverty, many clubs have gone

out of business. Those that remain often force bands to pay for the

privilege of playing while fans suffer from high cover charges and drink

prices. Many clubs have become dependent on tobacco company promotion

money and, as a result, musicians must promote lung cancer in order to be

heard.

 

Censorship.... The major record companies now place warning stickers on

many of the albums they release. This means a lot of music that does get

recorded can't be sold to teenagers or, in many cases, anyone. The major

record store chains all actively promote censorship. The record companies

all have in-house censorship committees that, among other things, forbid

criticism of the police.

 

>From its beginnings in the mid-1980s, the current wave of music censorship

has been orchestrated from the highest levels of power, led by politicians

who receive strong music industry support. For example, in 1986 a secret

meeting was held in the Maryland countryside to discuss the danger music

presents to the ruling class. Sponsored by the Parents Music Resource

Center (an organization founded by current Second Lady Tipper Gore),

participants included the commandant of the Marine Corps, representatives

of foreign countries, most Democratic and Republican Presidential

candidates of the past twenty years, a former chairman of the Federal

Communications Commission, current vice-president Al Gore, a

vice-president of Merrill Lynch and a vice-president of Northwest

Airlines. The music industry has gladly accepted many of the demands of

the Parents Music Resource Center, such as placing warning labels on CDs

and cassettes.

 

Radio.... Since the 1996 Telecom bill made it legal to put together giant

radio chains--including ownership of several stations in the same

city--radio has played a narrower and narrower span of music, focusing on

selling advertising to national corporate clients. Record companies now

openly pay hundreds of thousands of dollars to radio chains to get their

records played. This keeps anyone without a multi-million dollar slush

fund from being heard.

 

Many people have turned to unlicensed ("pirate") radio as a way to

broadcast the music and news ignored by the big radio chains. The response

of the broadcast corporations has been to pressure the Federal

Communications Commission to shut down all pirates. Over the past few

years, the FCC has raided hundreds of unlicensed stations, often at

gunpoint.

 

Technology.... There has been a steady stream of advances in music

technology since the end of World War II: stereophonic sound, eight-track,

cassette players, compact discs, DVD, etc. The music industry embraced and

promoted them all until the most important advance ever--the

Internet--came along.

 

A lot of people all over the world use computer technology to listen to

and distribute music without paying for it. The response of the giant

music monopolies has been to hire people to search the web for

"unauthorized" use of music, to sic their lawyers on music-lovers who use

the Internet to distribute music or lyrics for free, to prevent artists

from putting their music up on the Internet for free, and to get

legislation passed to criminalize the free distribution of music.

 

The Stock Market

 

The role of the stock market has changed. Today, the only thing Wall

Street wants to hear from a company is how many jobs it's going to

eliminate. The more people who hit the street, the higher a company's

stock price goes. The increase in poverty and homelessness that results

undermines the distribution and enjoyment of music because it removes

millions of music consumers from the economy.

 

The stock market is also used as a club to force record companies to

censor themselves. Politicians in several states who control pension funds

that own record company stock have threatened to dump that stock on the

market if music that's critical of society isn't eliminated. For instance,

every major record label passed on issuing a pro-choice compilation album

featuring several well-known musicians, saying that to release it would

cause them to be attacked in the stock market.

 

What can replace the capitalist music industry?

 

There was a time when it was almost impossible to even record music

without using a full-blown studio controlled by a record company. Today,

it's easy for any musician to make high-quality recordings and to

distribute the result via the Internet. In other words, we no longer need

the capitalist music industry. For anything. It's obsolete. It's

worthless.

 

But the rapidly-growing music underground is only an indicator of what a

bright future culture can have. By itself, the underground is not that

future. We can't settle for simply finding ways to circumvent the

capitalist music industry while most musicians remain in poverty and the

attacks against the music underground continue in the form of lawsuits,

raids, and punitive legislation. That is a losing strategy.

 

The League of Revolutionaries for a New America (LRNA) proposes that we

turn the music underground into an overground of unlimited musical

creation and enjoyment. We already have the capability to guarantee the

basis for the full creativity of every human being: Food, shelter, medical

care, education, and 24 hour a day access to all the tools anyone needs

for producing music.

 

It is computer technology that makes the current music underground

possible and modern technology also produces an abundance of food,

shelter, medicine, and, of course, musical instruments. We simply need to

take music and the other essential elements of life out of the hands of

the capitalists and place them in the hands of the public. By removing the

barriers of the music industry, of the stock market, and of capitalism

itself, what naturally wants to happen will be able to happen.

 

The result will be that everyone who wants to create music will be able

to. Musicians will be able to be heard by anyone on earth who wants to

listen. They won't have to work at degrading day jobs. Music and other

forms of culture will finally be free to fully reflect and uplift the

human spirit as part of a cooperative society that nurtures humanity every

step of the way.

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FiskePinna

FiskePinna

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Skrevet

Mye bra kapitalistisk musikk.

For rappere kan nevnes Oral B.

Kapitalistmusikkens gullår var åttitallet. A-Ha er overveiende kapitalistisk musikk.

Når jeg tenker på kapitalistmusikk er det naturlig og nevne

 

James Brown - Living in America

 

Det varmer en vinterkald kapitalist å høre en afroamerikaner synge om hvor fint USA er, og ikke bare om bitches, mothafuckers og KKK. :thumbs:

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Suppelars2k

Suppelars2k

Skrevet
Skrevet (endret)
Men seriøst, det er et mangel på rene kapitalstband i dagens musikkfauna, unge høyre må gjøre noe.

Kapitalistene mangler det rebellske og "røffe" som sosialistmusikken har. Det er som forskjellen på Klanen (V.I.F) og Bastionen (Lyn)...

 

Klanen: "*fyll inn skråling, banning, fyll og rakettoppskytning*"

 

Bastionen: "Ut med dommern, inn med kua! *vrikke litt småfemi på rompa*"

 

Nå, kan du se for deg et band som forteller om fordelene ved lavere skatter og avgifter innpakket i skikkelig hardcore rock? :thumbs:

 

I tilfelle måtte det ha blitt cøntri, danseband eller folkemusikk :ermm:

Endret av HalTan
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