I ask folks if they think the current music, Zeitgeist, etc. will be remembered in 50 years — not because I cynically think it’s horribly forgettable (which it is) — but because in the long run the Eloi have a negative birth rate, and their culture won’t matter either way.
I do think I might have stumbled upon one key factor, at least to the point of articulating it – ego.
For the hippies of our day, this was the new anthem:
Whatever you think of the thoughts in that and what it consequently meant, e.g. Ayers and the Weathermen, it was vibrant and vital at that time. Ditto this:
For the harder edged in Britain, there was this anthem:
Having run those three, how difficult it is not to get into the politics of the time, particularly as we now know that youth was being manipulated [see Laurel Canyon etc., Dylan’ antecedents], fed drugs to incapacitate them and messages were being embedded in well written and well produced songs, e.g.
Their philosophy was everyone make babies with everyone and produce some sort of pea soup nation of peace, love and harmony. However:
Relationships within the band were deteriorating; there was friction in particular between the Stone brothers and Larry Graham, Epic requested more marketable output, the Black Panther Party demanded that Sly replace Gregg Errico and Jerry Martini with black instrumentalists and fire manager David Kapralik.
After moving to the Los Angeles area in fall 1969, Sly Stone and his fellow band members became heavy users of illegal drugs. In 1970, Sly Stone spent most of his waking hours on drugs, [he] hired his streetwise cohorts, Hamp “Bubba” Banks and J.B. Brown, as his personal managers; they in turn brought in gangsters such as Edward “Eddie Chin” Elliott and Mafioso J.R. Valtrano to be Sly’s bodyguards. Sly enlisted these individuals to handle his business dealings, to retrieve drugs, and to protect him from those he considered his enemies, some of whom were his own bandmates and staff.
And so on. The lefty boomer was essentially someone encouraged to be selfish in an officially love-all way, man, someone who did not play by the rules of society, mainly because Them were not and were slaughtering kids, e.g. in Vietnam.
Yet the music played by the rules – the golden chords again – and was melodic by and large, the lyrics were about things going on out there and fixing them, there was none of this wimpy navel-gazing of me-me-me which characterised so many of the Eurovision entries and which won it. That and grotesque costumes flashing female bits and now even male bits, along with that thing in the French entry, all this gender fluidity.
The music was not just a few noises here and there to back the auto-tuned ego-yodelling of adenoidal females throwing voices around to prove they’re such great Singers [Whitney Houston started that] or SNAGs almost bursting into tears over their woe-is-me alienation. Me me me me me me me me me me … aaaagggghhhh!!!!!
That’s not music, they’re not what we’d call ‘songs’, any sound in those tracks is just as a backdrop to some toerags ego, e.g. Swift’s endless sleeping about and writing ‘songs’ about the last one.
Forgettable. Eve of Destruction will still be played 50 years from now, this bollox now will not.