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[Event]Twenty Years of Music

Two decades of time have slipped through the red, white, and blue palms of the United States. The international geopolitical theatre has suffered massive shifts, and continue to change, effervescently, as well as permanently. The geopolitical theatre, though, becomes gradually more degrading on the senses. Focusing on the starving masses abroad, the rampant instability in hundreds of countries, the homicidal governments of Southeast Asia as a whole, it all gets very tiring. Sometimes it’s better to lie back and look through a whole different lense: cultural.
The American musical scene has been shifting, evolving, changing, just as the American political scene has. They’re intangibly connected. The former provides the comfort and distraction necessary to keep your sanity when dealing with the horrors of the latter. As everyone is screaming partisan nonsense, relishing in the rugged hispanic voices and harsh metallic sounds of Latronic music becomes quite the pastime.
It is time to delve into the evolution of music in America. Two decades of time is the difference between Elvis Presley and AC/DC. Two decades of time is the difference between Ye and TH_ (pronounced Thunderscore). What exactly makes that difference is quite the journey.
2018 represented the overcoming of rock and roll by hip-hop in popularity. Innovation in rock and roll occurred still, and it managed to hold on well enough to the coattails of the now-dominant hip-hop genre, but as years went on, the establishment of new bands began slowing down as most prominent publishers focused their intention on finding their own shining stars in hip-hop. Many publishers actually began to bankrupt themselves by uplifting their own “diamond-in-the-rough” artists without much actual talent, just trying to get their foot in the door. As mainstream rock died, the indie rock scene began to thrive on a level seen briefly during the early noughties.
This period of decline for rock and roll would last for quite a while. A lot of listeners began to waddle in the direction of hip-hop as they became dismayed with the lack of many new release in their favourite genre. The majority, though, did not go directly for that, seeing themselves as too good for it. Instead, electronic music gained a large portion of the audience. Some went into the direction of the now runner-up of music in America, supporting pop music. Pop music during this period was being spearheaded by a synthpop revival on an impressive scale.
Accompanying the rise in popularity of synthpop was a cultural takeover of K-pop and J-pop. Not produced in America, it still had a significant impact on pop music being produced in the America, with a lot of its electronic bases leaking into the leading synthpop bands at the time. In fact, across most of American music, electronic effects were becoming more and more accepted, integrating impressively with a lot of different genres, and less impressively in some other genres.
Although a lot of amazing music was produced during the time using this, and acceptance of electronic music’s legitimacy by the majority of Americans, proponents of “pure” music pointed to one of the more exotic hybrid genres: Latronic music. Latronic was a simple combination of traditional mariachi/salsa vocals accompanied by light sounding electronic beats and effects. It was certainly an acquired taste, and not many people acquired that taste.
Mainstream country music was one of the more accepting of that influence, surprisingly. This was one of the final straws in the downfall of mainstream country music, revealing the rotten core on the inside of that entire genre. It was rebuilt by people committed to the sounds of Marty Robbins and Roy Orbison. That was the rise of Paleo-Country. Paleo-Country would remain a bastion of oldies music for decades, and some songs that sounded like they were pulled right out of the 1950s landed smack dab in video-games committed to that.
All of this led up to what can be described as a technological revolution in 2027 with the rise of the most sophisticated voice synthesis technology ever produced. Through analysis of a large enough catalogue by certain artists, an open-source software easily available could produce a spot-on facsimile. With adaptation of this to an impressive upgrade of the MIDI, the possibilities were endless.
The first major trend of this were the new cover bands. Resurrected artists covering already existing songs. Legislation covering this in the US never really came to pass, and a trip through the court system resulted in the verdict that voice synthesis of existing persons for the creation of new music was in the grounds of fair use. This was huge, to say the least. It meant the revival of rock idols from across American musical history, for the most part, in singing covers and new material until the end of time.
The most interesting results of this were the revival of Pink Floyd, the Talking Heads, Queen, Oasis, CCR, The Clash, and hundreds of other bands, leading the charge in rock and roll taking back its spot as the dominant genre of America. It was a sort of Renaissance (the good parts at least), with the amount of potential released in this technology’s availability. Streaming services facilitated the widespread dissemination of most of the new music, cementing themselves more in place than ever before. Music piracy made quite the return with this breakthrough, however, with slight alterations to releases making it possible to avoid any automated crackdown.
With the perfect voice facsimile came Artificial Voice Synthesis, AVS, referring to the creation of an original voice instead of simply copying an existing one. This represented quite the new ground. Many publishing companies began taking groups committed to taking a virtual band under their wing, a la Gorillaz, except with the twist that this time the voices aren’t going to be changing, as nobody’s going to really “leave the band.” This was a good idea, and every genre of music was pervaded with AVS.
The rejection of AVS as unnatural was common, similar to the initial rejection of electronic music as “not real music”. It would take another decade for AVS to get accepted on the same level electronic music was. The prime case of AVS going as wrong as possible was when the Christian music band Shining Light’s lead singer was revealed to be an AVS creation. This caused an onslaught of threats to the creators of Shining Light, and protest focusing on how AVS was of Satanic origins. Shining Light fell in popularity immediately after the revelation swept through the public. An attempt at revival of Shining Light using a human voice was met with crickets.
AI composers were yet another massive technological boon. The technology for AI composers already existed during 2018, but only during the late 2020s was it really capitalised on. Completely autonomous units of music production, utilising AVS MIDI technology and AI composers, produced millions of hours of song, most of which might’ve been listened to once or twice. Every once in a while someone scavenging the desolate wastes of the music produced by these units would find a beaut, which would be released and take the charts by storm.
So much music was being produced, yet not being listened to, that it quickly began highly probable that the best song ever produced by mankind lay in the now billions of hours of song produced by Autonomous Musical Units provided with terabytes of space for production. That’s quite sad to know, and in order to do what humans can, it became a hobby for people to begin exploring massive databases of songs produced by the AMUs available online. A few songs of great quality were discovered and released on the internet, celebrated in mostly silence.
The last few major changes to the modern balance of musical powers occurred during the early 2030s. The emergence of an avant-garde pop subgenre based in new wave, called rewave, resulted in some of the most prolific sounds of the 30s. The complete eradication of mumble rap on the hip-hop scene was celebrated by millions, only those cries of joy to be silenced by the retirement of Wiz Khalifa from the music scene, due to his acceptance of his own increasing mental instability.
The beautiful reemergence of modern progressive rock occurred, solidifying the entirety of rock-and-roll’s essence during these times as the new oldies. That was how the American mainstream music scene solidified for the rest of the decade: The new oldies of the once-again dominant rock-and-roll, the ever-experimental electronic scene with its accomplishments being crystallised in an avant-garde synthpop and rewave based pop genre, and the forever innovating hip-hop, now stuck firmly in third place, only barely holding out against the still-growing electronic genre.

New Toys

The new instruments of 2038 compared to two decades ago are numerous. The majority of the new instruments are simply electrically based old instruments. Novelty e-Harmonicas, e-Kazoos, and e-Accordions sold for a few dollars in instrument shops across the country represented some of the most annoying and ubiquitous sounds in schools across America. In addition to the previous novelty toys, the toy theremin and music squares were also added to the gang, for excessively cheap prices.
In American bands, there was the displacement of the standard violin and company by the stylish electric violins, electric violas, and electric cellos, akin to the rise of electric guitars. The new sound’s uses were more versatile compared to the acoustic versions, and meant a lot of new innovative creations in band music. In addition to the rise of electric versions of already existing instruments, a purely electronic addition to the standard american band occurred: a much more nice sounding theremin, with the wiry whiny sounds replaced by much lower sounds more comforting to the ears.

Conclusion

Perhaps the journey of 20 years has not led American music forward; perhaps this represents a regression into previous steps, ones not meant to be taken twice. Or maybe this represents another chance to right the wrongs marked in American musical history. Another round of innovation in the same materials? What harm could it do? It’s certainly quite the comfort the elderly of America, seeing the culture of their youth rise again.
It represents the re-establishment of the musical world’s focus on America. The cultural peak of the 80s has returned to us in another form, this time better in so very many ways. Whatever awaits music over the horizon, no one can tell. Hopefully its not the Russian invasion of europe. Slavic music is actually quite popular in America at the time, and it’d be sad to see that governmentally repressed.
submitted by Slime_Chap to Geosim

Future of gaming in india is dark

Don't think I lost my brain. It's true . 2017 has been a turning point for esports in india. Estimates suggest mobile esports market will be worth $ 1.1 billion by 2020. And despite of big companies investing on exports, it is uncertain if gaming will be given an equivalence to sports such as cricket, football etc.
The reason behind this is emulator(u know where this is going) . PUBG MOBILE had started a revolution in mobile gaming in india . But , tencent destroyed it by announcing their official emulator pung mobile .
People started streaming a mobile game on pc and started calling themselves pro .
The reason why I am blaming emulator for this is because it is making foreign esports investor wonder if they should invest their money indian gaming .
Aditya Sawant , more famously know as dynamo gaming or ga... (i think u got it), is emulator streamer and also the only gaming youtuber with 5million + subs and more than 2k members.
A indian pc games' streamer named Hydra Flick said," when a reports company or an investor thinks about investing their money on a country, they research on yt which game is trending in that country . Now , imagine those investors researching on yt india and what will the see? The biggest gaming youtuber in india plays a mobile game on a $1800 pc and has 5million subs. This affect their decision to invest money on indian gaming."
Conclusion: If we , indians don't stop watching emulator %@%%@$ , 5 years later , every parent will think games as a threat to their children's future( which they already are thinking).
submitted by RM-FAN234 to IndianGaming

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