Yeah, hard to believe you would take issue with information that might be a threat to your own livelihood.
I work mostly in video games and live music/theater, so the complaints about over-compression and musical complexity have almost no impact on me. If anything, video games are going the other direction.
Care to expand and itemize/dissect?
Why not.
You might want to take a class on music theory. The quality and very substance of music are actually devolving. The number of elements of music found in popular compositions is dwindling with each generation.
I haven't seen data on this; I doubt you have any; and I suspect that anybody who tried to compile something like this would be guilty of some extreme cases of cherry-picking.
How do we quantify "elements of music"?
Number of instruments available and/or utilized? There are more types of instruments available now than ever: all of the acoustic instruments developed over the past few centuries + all of the classic synthesizers from the 20th century + all of the digital stuff from the late 20th & 21st centuries. That digital stuff includes custom instruments constructed from recordings of modified instruments and/or non-traditional "non-musical" items. John Cage wrote a piece for an amplified cactus. I've seen water balloons and skeeball machines used for percussion tracks. Hildur Guðnadóttir's score for Chernobyl was made using recordings of her banging on stuff in an abandoned factory. I don't recall any Mozart concertos written for a bowed vault door. Western composers also have access to a wider variety of non-western ethnic instruments than they did even a few decades ago.
Complexity of music? This varies widely by genre. Some modern music is very simple; some is very complex. But the same is true of older music as well. Bach chorales are so simple and formulaic that they're used as the basis for nearly every Music Theory 101 class. A lot of atonal new music is so self-indulgently complex that it's absurd. Music for video games is often written and constructed in a way that allows it to be rearranged and re-mixed in real-time in order to respond to events in the game.
And with ever-increasing frequency, recordings are dynamically compressed so that softer sounds are amplified, louder sounds are attenuated, and then the entire waveform is normalized to the slightest margin below what would introduce unplanned distortion.
This is true, but often overblown. Yes, it's sometimes overused, but at the same time, some genres benefit greatly from heavy dynamic compression.
This yields the maximum amount of decibel assault upon our eardrums and represses the actual electro-chemical function of the pre-frontal cortex--the part of our brains that governs empathy, moral fidelity, decision-making, ability to worship--you might actually even think of it as the Most Holy Place of the temple of the Holy Spirit. So when you're all done chuckling, you might want to utter a little prayer for our children and grandchildren.
And that's where we get into the pseudoscience, pseudoreligious nonsense.
The loudness wars started as a sort of arms race that were based on the limitations of broadcast and playback technologies. If a radio broadcast is fully modulated, it transmits farther. If a track is louder, it stands out more than other tracks and is also easier to hear over ambient noise (which is important when you're listening in a car).
It's a relatively new-ish phenomenon because the physical medium of vinyl couldn't handle waveforms like that.
Then there's your usage of the word "worship", which, I'm guessing, is conflated with a trance-like sense of euphoria. While that conflation is common, there are not only a lot of theological problems with it, but it ignores the fact that many people actually respond positively to that sort of loud, highly-compressed sound. For them, it makes them more inclined to "worship".
Many intelligent producers of popular entertainment will either curb greatly or simply not allow their children indulgence. Audiovisual entertainment is exponentially worse.
And more nonsense. I know hundreds, if not thousands, of people who work across all facets of the entertainment industry. I can't think of a single one who doesn't allow their children to consume media. Sure, they may put caps on screen time or limit things for age-appropriateness. But my impression is that the majority seem to afford their kids more screen time than the folks I know who work outside the industry.