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casecandy wrote:'90s rap, Slipknot, AC/DC, System of a Down, Green Day, and Trivum. A lot of Trivium. All the metal kids stuck on Trivium. And Metallica. Metallica is huge.

Mudfuzz wrote:so you are saying like all the kind'a stuff that gets played every day, every fucking day, on every mainstream rock station in north america then?

casecandy wrote:

Mudfuzz wrote:so you are saying like all the kind'a stuff that gets played every day, every fucking day, on every mainstream rock station in north america then?

Don't make assumptions about what plays on the radio "in North America." Canada has CanCon (Canadian content) laws that mandate certain things.

All radio stations must play a bare minimum of 35% Canadian content (i.e. according to the MAPL system, Music, Artist, Performance, Lyrics), and that's a bare minimum, like flare on Office Space (if you get the reference you know exactly what I mean LOL). Furthermore, on college radio, no more than 10% of the music can be music that's charted... on any non-college chart... ever.

Because there were relatively few Canadian hip-hop artists until recently, I'd argue that these laws really curtailed urban radio in our country. The rock stations do play American Idiot-era Green Day for sure, but are way heavier on Canadian bands: Trooper (only good if you're nostalgic for them), April Wine (actually good), Nickelback (awful), Avril Lavigne (awful), Finger 11 (awful), Billy Talent (excellent), Alexisonfire (also excellent), etc.

In Quebec, where I live, American music is even further sidelined by French content laws wherein all stations must play 55% French-language music during the day, and French-language stations (i.e. the majority of the stations), 65%. Not much French-language music coming straight outta Compton. I do love me some Cœur de pirate, though...

I'm 29 and I've never heard Slipknot or 2Pac on the radio.

LOL I didn't mean to body you or anything, just educating

casecandy wrote:Because there were relatively few Canadian hip-hop artists until recently, I'd argue that these laws really curtailed urban radio in our country.

casecandy wrote:It's funny... while I loathe Nickelback, I'm proud that a Canadian band conquered 'Murrica so comprehensively.

Mudfuzz wrote:

casecandy wrote:It's funny... while I loathe Nickelback, I'm proud that a Canadian band conquered 'Murrica so comprehensively.

that's like say I'm proud of W cuz he won the war with Iraq…. musically speaking

No urban radio, just country and pop beats

casecandy wrote:
How the fuck is "urban radio" racist? Isn't that the format? Examples, Modern Rock, AOR, Classic Rock, Modern Country, Top 40, Urban...?

The term “urban contemporary music” was first coined by New York radio DJ Frankie Crocker in the late 1970s, in an attempt to attract more advertisers and maintain the rating of the very successful New York radio station, WBLS (Barlow 1999, Simpson 2005, Sterling & Keith 2008, Williams 1995, 2000). Crocker, who began his career as a “black power” radio DJ, became program director of WBLS in 1972, and established it as the premiere “Total Black Experience in Sound” radio station. According to black-radio historian William Barlow (1999), the success of the all-black music format “brought in advertising billings, but it also spawned imitators.”

They call it urban contemporary so they don’t have to call it black,” explained the once famed R&B radio DJ Georgie Woods: “they change the name from black radio to urban contemporary so that it will attract a lot of white people, so that it can make a lot of money”

D.o.S. wrote:Just curious: If you get cut, do you bleed Wonderbread?

casecandy wrote:LOL I didn't mean to body you or anything, just educating