This process can take place in many different ways and have divergent outcomes. Musical cultural exchange has been dominated and profitable by the West, especially by the United States, which has established a firm hegemonic position. This is often labeled as cultural imperialism, which is the product of the process of imperialism, in which economically dominant countries such as America systematically develop and extend their political, economic, and cultural control over other countries. Cultural imperialism often refers to important aspects of imperialism, focusing on the ways in which certain products such as popular music and fashion depend on certain markets (Ref B). This leads to a model of consumption and demand supported by the culture and ideals of their dominant origin (Ref B). It is through cultural imperialism that local cultures, usually in developing countries, are invaded by foreign and often Western cultures. The term cultural imperialism can be used to provide a conceptual understanding of how music moves through the world and is commonly described in terms of its "impact" on culture and how dominant power is exercised (Geographies). The terms “imperialism” and “capitalism” are nothing new, so in terms of their relevance to contemporary studies and to this essay, we can use these terms to study the relevance of popular music and the global media corporations associated with it. These companies are continuously expanding in search of profits from overseas territories (geographies). Geographies describes the topic of media imperialism as “the way in which the forms, practices and arrangements of the world's media (whether news, films, soap operas, billboards as well as recorded music are came to show basic characteristics derived from the United States but also