History Main / MusicIsPolitics

9th Dec '17 12:37:01 PM nombretomado
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* The DixieChicks documentary ''Shut Up And Sing'', which showed how [[StrawmanPolitical actual politics]] plays into this within CountryMusic.

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* The DixieChicks Music/DixieChicks documentary ''Shut Up And Sing'', which showed how [[StrawmanPolitical actual politics]] plays into this within CountryMusic.
19th Oct '17 8:14:20 AM HasturHasturHastur
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* This is what went on behind the scenes in Melechesh around the time that ''Enki'' was recorded. After Yuri Rinkel was fired in 2013, the band had decided to retain the services of [[Music/{{Gorod}} Samuel Santiago]] on at least a session basis. While it is unclear whether Santiago was supposed to become full-time eventually or was just going to track the album, he did indeed play on it and recorded his tracks in Greece in the summer of 2014. Shortly after this, Santiago had some sort of major blowup with Murat Cenan, and Cenan decided to spite him by scrubbing all mentions of Santiago from the album credits and hastily concocted a story about original drummer Lord Curse returning to track the album before making the rest of that lineup sign a contract stating that they were to not speak of Santiago's involvement and were to refer to Saro Orfali (aka Lord Curse) as the album drummer. While it was no secret in that circle that Santiago was the actual drummer (Orfali, for one, wasn't even in Europe at the time of recording), the truth finally publicly came out in late 2017, when former bassist Scorpios Androctonus (who had notably refused to sign the contract) posted the story on Facebook and also posted screencaps of several extremely rude and hostile messages that he received from Orfali about the reveal.
30th Sep '17 8:42:01 PM nombretomado
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* HollywoodAccounting: Labels have tried all kinds of ways to keep their artists from their hard-earned money.
23rd Aug '17 8:49:07 AM HasturHasturHastur
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* ICouldaBeenAContender: Happens a ''lot'' to naive or inexperienced new artists who quickly find themselves getting lots of attention and enjoying a day in the limelight, only to get chewed up and spit out by the business side of things. Did you see a new artist that got a lot of buzz tour relentlessly for a year or two until they suddenly imploded and either broke up or had a massive lineup change that destroyed their momentum? If you did, they probably got screwed by everyone on their team and either cut their losses or cracked under the pressure and ate each other alive.
19th Aug '17 2:07:17 PM TSims
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You see, the promotion of music is politics, and [[ExecutiveMeddling a lot more goes on behind the scenes]]. It's way more complicated than walking into the studio and recording a hit album. You (or more accurately the record company) have to worry about image, artistic directions, {{demographic|s}} considerations, marketing, [[MoralGuardians censorship]], courting radio and music networks through legal or, um... [[BribingYourWayToVictory non-legal]] means, and paying close attention to trends. It's never ''just'' about music, for better or for worse. In the end, you could end up with [[ArtistDisillusionment disillusioned artists]] ''and'' fans.

to:

You see, the promotion of music is politics, and [[ExecutiveMeddling a lot more goes on behind the scenes]]. It's way more complicated than walking into the studio and recording a hit album. You (or more accurately the record company) have to worry about image, artistic directions, {{demographic|s}} considerations, marketing, [[MoralGuardians censorship]], courting radio and music networks through legal or, um... [[BribingYourWayToVictory non-legal]] means, and paying close attention to trends. It's never ''just'' about music, for better or for worse. In the end, you could end up with [[ArtistDisillusionment disillusioned artists]] ''and'' fans.
[[FanDisillusionment fans]].
7th Aug '17 11:29:07 AM HasturHasturHastur
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* FollowTheLeader: When a hot new trend emerges, labels are going to want in on the action, and that usually means that they're going to snatch up as many acts within that trend that have any kind of meaningful buzz as possible. The contracts that those acts tend to be given are more often than not highly exploitative and designed to wring as much out of them as possible while still giving them just enough to keep them going.
5th Aug '17 6:36:12 AM jormis29
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* In the music video for Dr. Dre's "Fuck wit Dre Day (and Everybody's Celebratin')", a character portraying a rapper trying to start a solo career ''finally'' gets a record deal, and is told to "sign your life--I mean, your name on the contract."[[note]]The actual song, however, is a [[TakeThat diss track]] towards Dre's former Music/{{NWA}} colleague Eazy-E, [[WeUsedToBeFriends with whom he'd had a falling out.]][[/note]]

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* In the music video for Dr. Dre's Music/DrDre's "Fuck wit Dre Day (and Everybody's Celebratin')", a character portraying a rapper trying to start a solo career ''finally'' gets a record deal, and is told to "sign your life--I mean, your name on the contract."[[note]]The actual song, however, is a [[TakeThat diss track]] towards Dre's former Music/{{NWA}} colleague Eazy-E, [[WeUsedToBeFriends with whom he'd had a falling out.]][[/note]]
14th Jun '17 1:33:11 PM Mario1995
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* The song "Sell Out" by Music/ReelBigFish delves into this topic quite well.
5th Jun '17 4:13:07 PM MarkLungo
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* Despite being the most successful solo female singer of the GirlGroup Era of the early [[TheSixties 1960's]], with hits like "It's My Party", "Judy's Turn To Cry", "Maybe I Know", "She's A Fool" and proto-feminist anthem "You Don't Own Me", the late singer Lesley Gore was by WordOfGod only given $16,000 in advance money by her label Mercury Records in 1963 for the success of "It's My Party", and no more royalties for her music until 1989[[note]]Mercury, then having changed hands with management also paid off a $175,000 debt she acquired at the end of TheSixties[[/note]]. Apparently this was a result of her agents failing to meet a deadline to file audit papers in 1963, and Mercury's [[ReadTheFinePrint contract with Gore stipulating in a clause]] that her agent would no longer be allowed to audit after that year. Partly due to this, and Gore realizing early on of the "fickleness" of success, she enrolled in college in 1965 to study American English and history as her career began a slight downswing, only sporadically doing personal appearances and recording around her school schedule for Mercury until her contract ended in 1968. She would maintain, in spite of this, that she was "one of the lucky ones".

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* Despite being the most successful solo female singer of the GirlGroup Era of the early [[TheSixties 1960's]], with hits like "It's My Party", "Judy's Turn To Cry", "Maybe I Know", "She's A Fool" and proto-feminist anthem "You Don't Own Me", the late singer Lesley Gore was by WordOfGod only given $16,000 in advance money by her label Mercury Records Creator/MercuryRecords in 1963 for the success of "It's My Party", and no more royalties for her music until 1989[[note]]Mercury, then having changed hands with management management, also paid off a $175,000 debt she acquired at the end of TheSixties[[/note]]. Apparently this was a result of her agents failing to meet a deadline to file audit papers in 1963, and Mercury's [[ReadTheFinePrint contract with Gore stipulating in a clause]] that her agent would no longer be allowed to audit after that year. Partly due to this, and Gore realizing early on of the "fickleness" of success, she enrolled in college in 1965 to study American English and history as her career began a slight downswing, only sporadically doing personal appearances and recording around her school schedule for Mercury until her contract ended in 1968. She would maintain, in spite of this, that she was "one of the lucky ones".
31st May '17 7:02:11 AM HasturHasturHastur
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In the end, artists have to be not just musicians, but also lawyers, accountants, and managers. If not, they're likely to get taken advantage of by {{Corrupt Corporate Executive}}s who screw them out of royalties and rights to their music because they were ignorant to the business side of the industry. Not to mention being stuck with a terrible unfair contract that more or less makes them slaves to the label. Young upcoming artists are more prone to becoming victims of these types of shady record deals. Rappers of the late 80's and early 90's were also victims of these deals, as were pop-punk and emo-pop acts from the early to mid 2000s. See [[Analysis/MusicIsPolitics analysis]] for more possible causes.

to:

In the end, artists have to be not just musicians, but also lawyers, accountants, and managers. If not, they're likely to get taken advantage of by {{Corrupt Corporate Executive}}s who screw them out of royalties and rights to their music because they were ignorant to the business side of the industry. Not to mention being stuck with a terrible unfair contract that more or less makes them slaves to the label. Young upcoming artists are more prone to becoming victims of these types of shady record deals. Rappers of the late 80's and early 90's were also victims of these deals, as were pop-punk and emo-pop acts from the early to mid 2000s.2000s and deathcore acts of the late 2000s and early 2010s. See [[Analysis/MusicIsPolitics analysis]] for more possible causes.
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