greatest stage of blues artists ever. I'm glad to have seen it when all of them were with us.
You do realize I was kidding?
And Janis, Jim, Mama Cass, and Brian Jones...
I saw Judas Priest 4 times back in the day. They were excellent live!
I saw Judas Priest 4 times back in the day. They were excellent live!
The best of the bunch was Priest/Iron Maiden in 1981
I was a sophomore at Maryland and we saw them at the old dump Capital Centre. A dump it was indeed, but we caught a ****-ton of shows there because it was 15 mins from campus.
It's hard to believe that the old Capital Centre was still hosting occasional Capitals/Bullets games well into the 90's long after the Bullets had officially "moved" from Baltimore to D.C. in the mid-late 70's to play in D.C.'s Chinatown. Being located near one of this nation's biggest markets, the DMV, and given the ultra-important context of it being located in the nation's capitol sort of provided arenas like Capitol over-sized influence than most other arenas elsewhere in the country at the time.I was a sophomore at Maryland and we saw them at the old dump Capital Centre. A dump it was indeed, but we caught a ****-ton of shows there because it was 15 mins from campus.
I remember wedging 7 idiots (including me) into my Camaro for the Van Halen concert because the derelict with the bigger car let it break down. I dared even one of those drunk ******* to spill a single drop. Told them if one spilled, they all died
To answer the title question. I HOPE SO!Good article from the Atlantic
I've always preferred older music - 60's and 70s make up 95%+ of what I buy and listen to, and have for 30+ years when I first got into music (and not just listening to the same songs over and over - though I do plenty of that, I'm constantly looking for 60s and 70s songs, albums and artists I haven't heard before, and what draws me to 'new' music is when it sounds like 60s and 70s music
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Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm. Those who make a living from new music—especially that endangered species known as the working musician—should look at these figures with fear and trembling. But the news gets worse: The new-music market is actually shrinking. All the growth in the market is coming from old songs.
The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago. The mix of songs actually purchased by consumers is even more tilted toward older music. The current list of most-downloaded tracks on iTunes is filled with the names of bands from the previous century, such as Creedence Clearwater Revival and The Police.
I encountered this phenomenon myself recently at a retail store, where the youngster at the cash register was singing along with Sting on “Message in a Bottle” (a hit from 1979) as it blasted on the radio. A few days earlier, I had a similar experience at a local diner, where the entire staff was under 30 but every song was more than 40 years old. I asked my server: “Why are you playing this old music?” She looked at me in surprise before answering: “Oh, I like these songs.”
Never before in history have new tracks attained hit status while generating so little cultural impact. In fact, the audience seems to be embracing the hits of decades past instead. Success was always short-lived in the music business, but now even new songs that become bona fide hits can pass unnoticed by much of the population.
Only songs released in the past 18 months get classified as “new” in the MRC database, so people could conceivably be listening to a lot of two-year-old songs, rather than 60-year-old ones. But I doubt these old playlists consist of songs from the year before last. Even if they did, that fact would still represent a repudiation of the pop-culture industry, which is almost entirely focused on what’s happening right now.
Every week I hear from hundreds of publicists, record labels, band managers, and other professionals who want to hype the newest new thing. Their livelihoods depend on it. The entire business model of the music industry is built on promoting new songs. As a music writer, I’m expected to do the same, as are radio stations, retailers, DJs, nightclub owners, editors, playlist curators, and everyone else with skin in the game. Yet all the evidence indicates that few listeners are paying attention.
Consider the recent reaction when the Grammy Awards were postponed. Perhaps I should say the lack of reaction, because the cultural response was little more than a yawn. I follow thousands of music professionals on social media, and I didn’t encounter a single expression of annoyance or regret that the biggest annual event in new music had been put on hold. That’s ominous.
Can you imagine how angry fans would be if the Super Bowl or NBA Finals were delayed? People would riot in the streets. But the Grammy Awards go missing in action, and hardly anyone notices..............
Is Old Music Killing New Music?
Old songs now represent 70 percent of the U.S. music market. Even worse: The new-music market is actually shrinking.www.theatlantic.com
Disagree sir. The best was AC/DC in 81. The cannons on for those about to rock caused 2 50ft fissure fracturesI saw Judas Priest 4 times back in the day. They were excellent live!
The best of the bunch was Priest/Iron Maiden in 1981
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