Billy Corgan calls (Them) out for intentionally destroying rock music
| barnabyjones | 03/07/26 | | things from the 90s/00s so ethereal and dreamlike: | 03/07/26 | | SkaddenArse | 03/07/26 | | The Helix Project | 03/07/26 | | barnabyjones | 03/07/26 | | The Helix Project | 03/07/26 | | things from the 90s/00s so ethereal and dreamlike: | 03/07/26 | | lex | 03/10/26 | | but you thought you could fool God | 03/10/26 | | Nyuuug | 03/07/26 | | Big Clique Energy | 03/10/26 | | Brother Peter Dimond | 03/07/26 | | MISO HORNY | 03/10/26 | | potluck | 03/10/26 | | sealclubber | 03/10/26 | | ,..,,,,,,....,,,..., | 03/10/26 |
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Date: March 7th, 2026 1:22 PM Author: barnabyjones
Billy Corgan has a theory as to why rock music hasn’t been as prevalent in mainstream culture in the 21st century as it was in the ’70s, ’80s, and early ’90s. The Smashing Pumpkins frontman believes that rock was “purposely dialed down” beginning in the late ’90s.
On the latest episode of his own podcast, The Magnificent Others, Corgan discussed the state of rock music with his guest, writer and cultural commentator Conrad Flynn.
“I think, and I will say it overtly, I think that rock has been purposely dialed down in the culture,” began Corgan. “Again, this gets ‘wizard behind the curtain,’ right? Somebody’s gonna say, ‘Well, how do you know who was the wizard behind the curtain?’ All I know is I saw the gravity shift.”
He continued, “If you were at MTV or around MTV in 1997 or 1998, suddenly they decided rock was out when rock was still very, very high up in the thing. And it was replaced by rap… Their standards and practices immediately shifted, so now that things that weren’t allowed were suddenly allowed. People were waving guns. Some people assert that the CIA was involved in all that. Again, above my pay grade, but I saw it happen. I did witness it happen.”
https://consequence.net/2026/03/billy-corgan-rock-music-purposely-dialed-down/
(http://www.autoadmit.com/thread.php?thread_id=5842687&forum_id=2)#49723506)
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Date: March 7th, 2026 1:42 PM Author: Brother Peter Dimond
probably some truth to this but where was rock really going at that point
im sure he remembers what he was doing in '97. he released "eye" on the lost highway soundtrack which is a song he was intending to have shaq(not flame) rap on before david lynch told corgan that "tear"(which ended up on the adore album) wouldnt work for the movie
(http://www.autoadmit.com/thread.php?thread_id=5842687&forum_id=2)#49723593) |
Date: March 10th, 2026 1:23 PM Author: MISO HORNY
Frances Stonor Saunders’ 1999 book The Cultural Cold War: The CIA and the World of Arts and Letters (originally published in the UK as Who Paid the Piper?) reveals how the Central Intelligence Agency (CIA) covertly funded cultural initiatives in Western Europe and the U.S. from the late 1940s to the 1960s to counter Soviet influence during the Cold War.
The CIA established the Congress for Cultural Freedom (CCF) in 1947 as a front organization to sponsor art exhibitions, literary journals (like Encounter and Partisan Review), concerts, and film adaptations (e.g., Animal Farm, 1984).
Funds were channeled through philanthropic foundations like the Ford and Rockefeller Foundations to conceal the CIA’s role, creating a "long leash" strategy to distance the Agency from artists and intellectuals.
The campaign aimed to promote American cultural values—especially freedom of expression—by supporting movements like Abstract Expressionism, which was portrayed as the antithesis of Soviet socialist realism.
Saunders argues that many prominent figures, including George Orwell, Jackson Pollock, Hannah Arendt, Bertrand Russell, and Arthur Schlesinger Jr., were either unknowingly or knowingly involved in this effort, raising ethical questions about intellectual autonomy.
The book sparked significant debate: praised by critics like Edward Said as a "major work of investigative history," it was also challenged for its narrative style and sourcing, particularly regarding the extent of CIA infiltration.
The CIA’s cultural program was exposed in 1967, leading to the CCF’s collapse. Saunders suggests the Agency allowed its exposure, possibly because the campaign had served its purpose.
The book remains a landmark in Cold War historiography, highlighting the blurred line between state power and cultural freedom
(http://www.autoadmit.com/thread.php?thread_id=5842687&forum_id=2)#49731913) |
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Date: March 10th, 2026 2:13 PM Author: ,..,,,,,,....,,,...,
I’m not convinced that radio/MTV force-meming of Goo Goo Dolls or Sheryl Crow was a superior system of music discovery. You can now listen to tons of good old indie stuff that you previously had to live near a good college station to hear, or even more esoteric stuff if you prefer. If you want anthemic radio ballads that is still a business for Ed Sheeran, or you can be a boomer and listen to 90s rock radio until you die.
(http://www.autoadmit.com/thread.php?thread_id=5842687&forum_id=2)#49732094) |
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