Mo' Money, Mo' Problems

     

The music conglomerates crashing down on the masses

     This chapter filled me with a sense of nostalgia for the good old days of music gone by; a time when I wasn’t even alive. Before the 90s existed an era of music like none that my generation has ever experienced. It’s termed the Golden Age of Music; the Golden Age of Rock, Jazz, Folk, Pop, and many of the music genres that our society is currently familiar with/fixated with or that have died down shortly before our times. This decline in music is not due to a likewise decline in the number of artists. In fact, now more than ever live artists who have become more experimental and more risqué than days past. However, to counterbalance those raw talents is a new flock of “talents” whose appeal resides solely within pop culture; these new “talents” do not generate an authentic music fandom. They shine, they sell, and then they dissipate to give way to their successors. No, the decline in music is due to the people in charge of the music industry. It is due to a situation that has been plaguing the media world as of late: conglomerates.

     It seems futile now to constantly harp on the negative consequences engendered by media conglomerates. Many of my blogs and essays since the last year have spoken out about the very danger they present to creativity and freedom. Yet, I cannot stray away from the same speech for media conglomerates are the ones that have rendered our modern music industry formulaic. In the video that we watched in Dr. Wilson’s Intro to Mass Media and Mass Communication class, it was pointed out by one of the interviewees that a company in the music business could own more than 1200 radio stations, whereas as recently as the 90s there was a limit of 45 on the amount of radio stations that one company could own. This is a staggering difference in numbers and is evident that at present there exists an oligopoly of sorts. A few parents companies own all of the radio music media that is available to us, each trying to outdo the others; each trying to steal audiences from the others. The only way for them to continue holding as many subsidiaries as they do is to generate more income for their accounts. The only way they know how to get the money is to give the public what they think it wants. Thus, a certain “star system” has gained prominence in the modern music industry.

     Whereas in the past music was far more authentic and focused solely on itself, nowadays videos have made such a concept obsolete. As stated in the video the video age has killed radio. Nowadays, it’s not solely about the music. It’s about the look of the star as well. The visuals have become part of the package, which begs the question “How can music or sound be about a picture?” When the two forms combine, they form films, feature or short. Thus, it can be said in truth that there is no longer a large market for the music industry; in fact, has it not gone extinct? Its carcass on the radio is evidence of its former glory, its living days. The media conglomerates have reverted to the star system mostly attributed to Old Hollywood cinema. They manufacture stars, forge their image, and then sell their souls to the masses. Is it any wonder then that fame can easily go to the head of a young singer who has been exploited by the powers that be? Justin Bieber has become the source of public fodder. People constantly harp about his wild behavior and antics. Fame has changed him for the worst. Like Erykah Badu said in the video, our music “legends” nowadays are a whole bunch of teeny boppers who have not truly experienced life. Their “lives” are written for them by music executives and then sold to the public who buys that this is who the stars truly are; that through the overly-manufactured music and the overly-photoshopped image on the CD they are taking a glimpse at the real soul of the star.

   Sadly, the manufactured music in existence has become increasingly similar to each other. When we hear something on the radio, we immediately know who sings that song by having watched the accompanying video beforehand. Nothing is new; nothing is original. Originality has given way to album sales, to charting, and to dollar signs. The conglomerates refuse to take risks on authentic talents because of their fear that their music won’t sell or appeal to the public. Hence, the Bob Dylans and Janis Joplins of this generation remain obscure underground figures never to receive their big break. Two decades of such flash-in-the-pan music has had a negative effect on the public itself. The public is no longer interested in being challenged by music, in connecting with it and giving it an interpretation. The masses now just want the latest hit that they can bop their heads to on the way to work or at school. Stars fade and with them their ephemeral music. Music no longer inspires. The conglomerates have made sure of that in their blind belief that inspiring music does not sell. They don’t look at the prospective longevity of a star and his legacy. Several stars of old never had a hit during their lifetime, yet are now recognized as being legends and having forged a path for others. Their estate now earns a lot of income. Still, the media conglomerates want to reap the benefits now. They are parasites that look for the next hot young thing to attach themselves to. Music has been bled dry.

Originality and Uniqueness