Were The Doors in the 60s a reaction to the social and economic state of the United States, a random musical phenomenon, or was the entirely new punk music style that emerged in the 70s at CBGB a coincidence or a response? Similarly, were the slower rhythms that gained prominence in the U.S. in the 90s with Massive Attack an outcome or a coincidence? The hypothesis that the most famous music genres at any given time are directly linked to employment levels, economic growth or decline, war or prosperity depends on numerous factors: a long enough time frame, a wide variety of musical genres, and the choice of the market to test or refute the hypothesis. Let's confirm or reject this hypothesis.

First, the period from 1960 to 2020 provides a sufficiently long period for observing changes in economic and other indicators. All major music genres were considered in the analysis: rock, pop, hip-hop, punk, funk, disco, techno, jazz, blues, classical music, R&B, folk, soul, electronic, country, and reggae. Including a wide range of genres was necessary to avoid attributing a particular period to a single genre and thus artificially influencing the connection between harder/softer sounds and the economic situation in society. Conversely, many genres can complicate examining the potential link between genres and financial indicators. Therefore, all mentioned music genres were classified into two categories based on the tempo of the music (B.P.M.—beats per minute), as either low-BPM or high-BPM. This classification was done by analyzing the rhythmic patterns and tempo of the songs. The top 100 songs from the 40 biggest U.S. radio stations were the primary indicator for classifying each year as predominantly low-BPM or high-BPM from 1960 to 2020. This methodology simplifies testing and understanding the hypothesis.

After collecting and systematizing data on economic trends from this period, the alternating economic growth cycles (lower unemployment rates, recovery after crises/recessions, technological development) and decline (unemployment, recession, wars, pandemics) stand out. Collecting and analyzing the top 100 songs for each year from 1960 to 2020 from the TOP 40 Weekly U.S. Archive site revealed a direct connection between these periods and the speed/style of the most popular music of the time: faster and harder sounds or slower and softer sounds. For example, the 60s in the U.S. were marked by recession and the beginning of the Vietnam War. This was also the era of The Doors and Jimi Hendrix, with their rock music mixed with psychedelic elements, darker tones, and apocalyptic visions. "The Unknown Soldier," "The End," and "Machine Gun" were emblematic songs of this period. Interestingly, most songs that emerged and were popular during this time had a high B.P.M. style.

The 70s in the U.S. were characterized by above-average unemployment rates and the emergence of a new music genre that completely deviated from the established rock style. The Ramones and Television were authentic representatives of this genre in the U.S. Punk was everything that rock had not been; it was raw, fast, and simple, and it was exactly what someone who had lost their job needed. They were shabby, had cheap clothing, and could have been better groomed. However, data on the most popular songs of that time clearly show that most songs featured faster melodies (high-BPM music).

The 80s in America were not marked by significant economic prosperity either; instead, there was a new recession, high unemployment rates, and the emergence of even more robust and faster sounds in metal and hip-hop music. Metallica, Van Halen, Run-D.M.C., and Public Enemy were notable bands that defined this period. Then came the 90s, a decade of absolute economic prosperity in the U.S., driven by rapid technological development. Most of this period was marked by low-BPM music that was very popular in the U.S. Some of the significant bands that marked this period were Massive Attack and Portishead, Garth Brooks, but also R.E.M. and Radiohead, who had a whole range of low-BPM songs, such as "Nightswimming" and "Street Spirit."

The period from the start of the economic crisis in 2007 to the beginning of economic recovery was marked by songs like "Lollipop" by Lil Wayne, "Don't Stop the Music" by Rihanna, "Poker Face" by Lady Gaga, "In My Head" by Jason Derulo, "Party Rock Anthem" by LMFAO, "Firework" by Katy Perry, and many others. The most popular songs of that time had a high BPM style. In contrast, the period of economic recovery after the 2007 financial crisis is remembered for a large number of low-BPM songs, such as "Say Something" by Christina Aguilera, "Stay" by Rihanna, "Wrecking Ball" by Miley Cyrus, "The A Team" by Ed Sheeran, etc.

The general conclusion that can be drawn after analyzing the collected data on the top 100 songs each year from 1960 to 2020 in the U.S. is that there is a strong link between the economic situation in society and the dominant music style at the time. The most popular songs feature faster and more complex melodies in periods of recession or higher unemployment rates. In contrast, in economic recovery and growth periods, songs are slower and softer. It is important to note that this analysis does not prioritize music genres but rather the speed of the songs. This means that songs from any genre can have either a faster or slower tempo. However, the tempo of songs from different styles is related to the economic state of society at a given time. This raises the question: do music labels, producers, and authors follow economic indicators and adapt their music style accordingly, creating songs that fit the moment? Or are songs an automatic product of feelings and moods related to the economic and social conditions in which society and individuals find themselves? This analysis highlights the role of music as a mirror of societal conditions, posing intriguing questions about the interplay between art and economics.