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From the earliest moments in the history of show business, the uneasy relationship between commercial spectacles and more cultural leisure activities has been outlined: spectacles are more democratic, but much less conducive to personal development.
In the 20th century, show business decisively displaced more elite types of art. There is a situation where even "high" art is forced to use the experience of show business: it is unlikely that any cultural phenomenon, artistic event, work of art, etc. will be noticed by the public and will receive recognition if it does not take the form of a show. According to many artists who have successfully integrated into this system, market relations are the only way to "save" culture.
The negative costs of this approach are already visible today. These processes are especially evident in classical forms of art. The circle of its well-known figures is now made up not by masters who create for connoisseurs and connoisseurs, but by those who have received approval in the collective consciousness, who have designated their creativity as a commodity brand. The success of an artist is ensured not only (often – not so much) by his talent and skill, but by the correspondence of virtual cultural values, which often have nothing to do with the merits of art itself.
However, there is also a hierarchy of quality within show business. If, for example, the creativity of the members of the Beatles ensemble approaches "high" art (it is no accident that Paul McCartney was solemnly awarded a knighthood), then the "creativity" of most other performers is a "one-time listening" commodity.