Being an American, I never actually heard of Kylie Minogue until a trip to London in 2001. I remember very little about my introduction to one of Europe’s most popular names: I was in a bar somewhere (probably Soho), I liked what I heard, and when I asked somebody who the artist was, I received a look of “Where have you been? America?” from the puzzled individual in question.
When it comes to foreign artists in the music industry, America always assumes the backwoods hillbilly stereotype that we’re oh-so-famous for. To explain this phenomenon in anything other than an analogy would be futile. So, here‘s an analogy: sure, we could just pop open a bottle of imported whisky, but why should we when we have our own lethal moonshine?
OK, so I’ll be the first to admit that analogy sucked, so I’ll try explaining it in words this time: America hates foreign music. There, I said it, and I’d say it again if I had to.
For those of you who don’t live in the States, I believe our profound bigotry towards foreign artists extends from the fact that we really don't like foreigners, period. We also find European music to be very silly as the lyrics mostly talk about dancing, loving, and music itself, whereas we Yanks prefer to listen to the strained sounds of overly-patriotic-yet-depressed (and drunken) rednecks who complain about their sorry-ass lives, or amusingly-attired urban thugs who talk about nothing but killin' and bangin' bitches. That's what we prefer to listen to in America, folks: rural shit or urban shit.
We pride ourselves on producing albums written by people whose behavioral studies usually contain the words "borderline sociopath" and whose vocabularies rarely include beyond the usage of words like “drink”, “motherfucker”, “nigga”, or “bitch” (and they all carry guns, too).