Why does all new pop music sound the same?

I am a record producer, mixer and multi grammy winner currently still
active in the industry , although I started in the early 90's.

The biggest difference isn't really the talent, there is some great talent out there all across the musical spectrum. The reason I believe music
has hit the creative wall is technology.

Digital technology, making records for the most part entirely on a computer and distributing it via streaming and promoting over the internet has created the opposite of it's intent.

There is now SO much music out in the world it's sometimes hard to find the great stuff and due to radio formatting all the same type of music gets the heavy promotion. The heavy handedness of digital recording has given everything a similar overprocessed dynamic free sound

I'm not quite ready for a walker, and I do think there are some good new groups....Spoon, the Shins, Cage , all good stuff....I was really talking about the pop music that is constantly being regurgitated....

U2 and Beck,  great artists....  you were probably still in diapers when I saw U2 in the early 80s....

I agree with @chayro that the horror of the Video and the book it is based upon is not generations gap or compression. As mentioned in the book, teen wants to listen to something different from what her/his older brother/sister is listening to, so there is no need to go poetic about old geezers or noncompoops. It is an intentional Manipulation, or mind-f$&k at the Industrial level, something Robert Fripp (king crimson) been bitching about for the last 20+ years.
i want to grab my crutch and hit our young poster here for not getting the simple 20min message (I do not expect anyone under 30 to actually read the book!). Then I want to hug this kid for listening to some real good music produced nowadays. I would love to add more to the list he/she provided (Orb, Flaming Lips, Marjorie Fair, Deepchord, Crippled Black Phoenix/SeDelan, Underworld, TesseracT, Therion, Lycia, Assemblage 23,... the list is long) but why bother? Bruckner under Celibidache or Tchaikovsky under Monteaux, or Mahler under Bernstein: I would also have to mention those before getting out of breath, and then I would look like an "old man". Why bother?

Actually, this thread is interesting from an academic point of view in that, in my original post, I never said or even implied that one form or era of music was better than another.  I merely made the, what I considered to be factual, observation, supported by the video, that modern WKTU-type music sounds very similar because of the reasons stated in the video.  This seems to have morphed into an old vs young, living in the past, et al. type of discussion, which it was never meant to be.  It doesn't matter really, but it makes you think of how in life, once you go public with something, it twists and distorts itself as it continues.  I have a friend who ran for congress a few years ago and asked him why politicians gave such insipid answers to questions and he told me that "You can't say hello to a million people without offending half of them."  OTOH, as I have said to other posters on other threads, once you decide to go public with something, you open yourself up to potential criticism.  So it's like that. 

@chayro - It’s a pretty good thread for other reasons too including musicology. The ’beat and hook’ formula fits with modern listening habits. We’ve all noted (I think) that music listening is background for other things, seldom an end to itself. So, having a beat (most of the modern pop I heard in the last few years was in the gym) and a hook every 8 seconds (instant gratification, hit the button again and again, filling up on empty calories) makes sense.
Musical taste is so subjective~ and it isn’t just age, background or culture. I trade listening notes, record tips, etc. with several people who are constant listeners and it’s like a Venn diagram- there are overlaps of varying degrees for each of us, but the bulk of what we "like" isn’t the same.
Does broadcast radio even have much significance any more with the ability to listen from a phone (whether plugged in, or blue-toothed, I guess, to a car, home system or on the go, with a playlist) or so-called Internet radio? (My wife had satellite radio in her car and I found it just as limited as heavy rotation top 20 type programming).
I actually dug Pandora for a while, mainly because of the "sound recording performance complement" model (driven by Section 114 of the U.S. Copyright Act). You’d plug in BB King and wind up hearing Skip James or Bukka White, introducing you to a range of similar but different performers and tracks. There were a few occasions back in the day where I’d hear something on the radio, hoping the jock would identify the track so I could go to Tower and buy the record. That part of the model still works in the Internet age-probably even better than before.