Musicians who win audiences have been feared by those who wish to control directions society moves, for a long long time.
In parallel with the evolution of sound and image reproduction, the power of a star has increased. The power of oratory and theatre was seen long before, when theatre an live performance was king.
Linked also into our ancestral memory, watching fires, stars, and then singing and telling stories. This is our heritage. Our way. This is part of us and has direct access to our emotions. Y'know, because the subset descriptor, "Emotions" gets referred to often and easily, we are talking about driving forces. Peoples sensibilities, and hopes and dreams, their pain body if you wish, interacting with thought loops, and forming that person's narrative.. or narrative's' I should say.
The library of stories and reasons and excuses that people have within them, to explain to themselves why they are who they are and do what they do.
People's story. Their world view. Their motives. The reasons behind actions. It all comes from the story within, the emotional narrative. The bonds made to ideas and events and institutions, via either negative or positive experience.
That is, people coupling emotional symbolism to events, ideas, or people by way of their personal narrative and emotional interaction with the story.
Powerful orators can "capture people's imagination"
Powerful singers, story tellers, and artists can "capture people's hearts"
The joy bag and the woe bag. These are where all useful toils come from, it seems.
Nothing is done for nothing.
Along the way clever people have observed and learned, and they have used what they have learned to embellish and garnish events and ideas.
The things which need to be embellished or obfuscated can change or evolve over time, dependant on the general state of entrainment of the audience.
For instance, modern musicians don't have to sound skilled anymore because the audience mind does not necessarily seek for skilled crafting in that way these days.
This is partly because of technology enhancing recordings and therefore the skill of the performer has become a lessor box to tick in the selection process of choosing players for roles, more credits can be spent on the image of the performer, their beauty and their complicit malleability.
To have the sorts of actors filling our society, they have to come from somewhere. They have to be, in turn, driven to be the best they can be in their role. As in they have to have bought in to the gag of it all enough to give of themselves to be effective in their role.
I would be careful of the term, crisis actors, becoming a new trigger word. Oh, too late.
Remember what we are talking about under the labels we toss over them.
That sticky point where one says, "stop going into so much detail, I already understand"
And then before long, so much is being omitted, that there becomes huge chance for distortion between the dialogues.
Speaking one to one is one thing. Addressing faceless groups is another.