Kids that are into hip-hop still listen to 90s hip-hop, now called golden era.
On the other side 90s electronic music has great stuff, but the field has much advanced in quality and depth.
It reminds me of the opening scene in Office Space where a white man listens to rap during traffic on his way to a typical 9-to-5.
Universally auto-tuned and synthesized, short, overly repetitive, mumbling/distorted, and whatever backing track they do have could barely be called musical by any objective standard (i.e. a measure of complexity/interrelated instruments/harmonies/themes/tracks). It doesn't matter whether its an african-american mumbling about being a gansta or a breathy-autotuned tween girl, its the same issue.
Listening around the world, it seems to be universal with slight variations here and there.
It's genuinely depressing...
I really like the website. It is interesting how popular music in the US appeared in other countries, for instance Bulgaria, and how other countries most popular song I'd never even heard of the artist.
In searching for hip-hop without braggadocio etc., I have repeatedly been told by hip-hop aficionados that these tropes are inherent to the genre and it would be unreasonable to seek hip-hop without them, just like oldies rock was inherently about dancing or sweethearts, and country music about personal woes and drink.
It is a shame, because the genre seems to have the potential for more lyrically. Hip hop is now a global phenomenon with innumerable performers. Is there really no hip-hop out there with a more abstract lyrical approach, like for example Climate of Hunter-era Scott Walker?
Not on that soundtrack, but Mind Playing Tricks On Me is another a really good song by them and not at all formulaic, misogynistic, etc. Not saying that anyone attacked the Geto Boys.
https://en.m.wikipedia.org/wiki/List_of_Billboard_number-one...
I’d say the quality of “most listened to” music peaked in the 80’s, with each decade that followed being the worst ever.
Most of my favorite artists are from the 90’s-2010’s, with a few exceptions scattered in the 40’s, 70’s and 80’s.
It could be that music got more diverse in the 90’s, and the billboard chart stopped being broadly relevant.
To focus on only the recent past: we only know about radio plays (determined by cronyist industry dealings) and about record/8track/cassette/CD/iTunes sales (where a record sale could represent a purchase due to virality—i.e. a purchase for status-signalling/watercooler-conversation/joining-a-subculture reasons, but where nobody actually listens to their purchase more than a few times; or it could represent a song everyone loves and puts on repeat all day every day. And a purchase could represent a fad that fizzles out; or a classic in the making.)
We can talk about what the top40 billboard charts were doing back then, but what people were “most listening to” is very likely a wholly different list with little intersection to the billboard chart. Just like this Spotify most-played list is actually an almost-entirely-distinct list from the current radio top40!
1) Chart toppers from previous eras are still listenable. Almost nothing on the charts today will be listenable in 2 years. Out-of-touch grandparents in the 1960s could have been convinced to listen to the Beatles. Nobody of a certain age will put up with Top 40 today.
2) It's not quite as democratic as you'd imagine. There are promotions, placements, trends, people sucking kids into clicks in big herds.
A major issue is that today music is more global, and there is a much wider, much lower common denominator.
It used to be 200M Americans, now it's 4B global listeners, Americans are a tiny fraction of that.
16 out of the top 20 songs were from Ed when he released his 2017 album ÷.
https://www.theguardian.com/music/2017/jun/27/official-chart...
That feels like being quite selective. The Beatles were not the only band existing in the 60s, and a lot of stuff that did top the charts in the 60s was entirely ephemeral.
Source: Mother-in-law who was a young parent outside Liverpool in the mid 60s, relaying the reactions of her parents' generation to the Beatles and "beat/rock" music of the 60s.
Top40 is already pablum, but it still has some tiny amount of curation (and therefore elitist dictation of taste) driving it. This chart, meanwhile, represents pure populist sentiment—it's "what the people want to hear." And populist sentiment has always been pretty much all of those things you said.