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Example does not sufficiently explain how it applies, TRS cleanup
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* ExecutiveVeto: Same as above, most artists don't even have the final say-so over their ''OWN'' track list.
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** SexSells
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* MisaimedMarketing
* MoneyDearBoy: The cause of all of this.
* MoneyDearBoy: The cause of all of this.
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*
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So, you're an up-and-coming music star, and you're probably thinking that all you really need to make it in the music industry is to be an exceptional singer/rapper, songwriter, and a very good, technically skilled musician, right?... '''WRONG!''' [[ThisIsReality It's not that simple at all]].
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So, you're an up-and-coming music star, and you're probably thinking that all you really need to make it in the music industry is to be an exceptional singer/rapper, songwriter, and a very good, technically skilled musician, right?... '''WRONG!''' [[ThisIsReality It's not that simple at all]].
all.]]
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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 [[UsefulNotes/HollywoodAccounting 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 '80s and early '90s were also victims of these deals, as were pop-punk and emo-pop acts from the early to mid-2000s and deathcore acts of the late 2000s and early 2010s. See [[Analysis/MusicIsPolitics analysis]] for more possible causes.
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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 [[UsefulNotes/HollywoodAccounting screw them out of royalties and rights]] to their music because they were ignorant to the business side of the industry. Not industry, not to mention being stuck with a terrible terrible, unfair contract that more or less makes them slaves to the label. Young Young, upcoming artists are more prone to becoming victims of these types of shady record deals. Rappers [[HipHop Rappers]] of the late '80s 1980s and early '90s 1990s were also victims of these deals, as were pop-punk [[PopPunk pop-punk]] and emo-pop [[EmoMusic emo-pop]] acts from the early to mid-2000s and deathcore {{deathcore}} acts of the late 2000s and early 2010s. See [[Analysis/MusicIsPolitics analysis]] for more possible causes.
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* The parts of manga ''Manga/{{Beck}}'' that aren't about CharacterDevelopment and ThePowerOfRock are about this trope. The titular band could have triumphed easily since the beginning due to their sheer talent, but their leader unknowingly ticked off both a mobster and a fellow musician who became major before him, and both men, on their respective sides, have pulled off and cut whenever thread of influence the band could have used to move to the next level.
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* The parts of manga ''Manga/{{Beck}}'' ''Manga/{{BECK|1999}}'' that aren't about CharacterDevelopment and ThePowerOfRock are about this trope. The titular band could have triumphed easily since the beginning due to their sheer talent, but their leader unknowingly ticked off both a mobster and a fellow musician who became major before him, and both men, on their respective sides, have pulled off and cut whenever thread of influence the band could have used to move to the next level.
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[[folder: Web Original]]
* Parodied by ''Website/TheOnion'', with [[https://www.theonion.com/song-banged-out-in-half-hour-by-professional-songwriter-1834990574 this article about how songs that constitute a random teenager's identity were created in a by-the-numbers fashion by a disinterested producer]].
[[/folder]]
* Parodied by ''Website/TheOnion'', with [[https://www.theonion.com/song-banged-out-in-half-hour-by-professional-songwriter-1834990574 this article about how songs that constitute a random teenager's identity were created in a by-the-numbers fashion by a disinterested producer]].
[[/folder]]
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* Music/{{Chumbawamba}} had an interesting history toying around with music politics, in large part because they themselves were an extremely political band, being outspoken [[UsefulNotes/{{Anarchism}} anarchists]] who had a massive [[CapitalismIsBad anti-capitalist]] and chronically rebellious streak, but also a level of curiosity with the system that led them to playing their game in order to benefit their messages. This manifest in 1997 when they ended up signed by ''Creator/{{EMI}}'' of all labels (for reference, the band released a compilation in 1989 they titled ''Fuck EMI''), and while this got them accused of becoming [[SellOut sell-outs]], they wound up using their position to largely do the same as what they were usually up to -- namely trolling industry suits and intentionally stifling corporate commerce -- just in front of a bigger mainstream audience with more label funding. After releasing their [[OneHitWonder (only) major mainstream hit]], "Tubthumping", Chumbawamba appeared on talk shows to encourage fans to shoplift their albums, making inflammatory comments [[CopHater celebrating the deaths of police]], performed at the 1998 BRIT Awards with new lyrics in support of Liverpool Dockers' Strike (as well as dunking water over Deputy Prime Minister John Prescott, who was in attendance), basically doing everything ''they'' wanted to do which guaranteed that they would never find another mainstream breakthrough, even though on a fundamental level, they didn't mind at all.
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* Music/OutKast experienced this after their record label got bought out. The executive who signed them was excluded from the merger, and the new executives didn't have the same understanding. Because of this, the Idlewild soundtrack wasn't marketed properly, and despite having a significant buzz built up around the songs "Mighty O" and "Hollywood Divorce" they weren't able to record videos for them. Things got worse, when Big Boi decided to record a solo album [[https://www.theguardian.com/music/2010/jun/09/outkast-big-boi-andre-3000 he butted heads]] with executives for various reasons [[ExecutiveMeddling such as them taking away his creative control, and trying to get him to copy other artists]]. [[DevelopmentHell The album was held up for three years.]] Eventually, the label let him out of his contract, but under the stipulation that Andre 3000 can't collaborate with him on his solo records, as the label wanted exclusive rights to Music/{{OutKast}}.
** Record companies have a very high turnover rate in regards to executives. Someone new comes in and starts to scrap everything and start over from scratch. This is how a lot of artists get dropped unceremoniously, because some new guy/girl came in and took over the company.
** Record companies have a very high turnover rate in regards to executives. Someone new comes in and starts to scrap everything and start over from scratch. This is how a lot of artists get dropped unceremoniously, because some new guy/girl came in and took over the company.
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* Record companies have a very high turnover rate in regards to executives. Someone new comes in and starts to scrap everything and start over from scratch. This is how a lot of artists get dropped unceremoniously, because some new guy/girl came in and took over the company. It can also lead to disputes between artists and execs over what to do,
** Music/OutKast experienced this after their record label got bought out. The executive who signed them was excluded from the merger, and the new executives didn't have the same understanding. Because of this, the Idlewild soundtrack wasn't marketed properly, and despite having a significant buzz built up around the songs "Mighty O" and "Hollywood Divorce" they weren't able to record videos for them. Things got worse, when Big Boi decided to record a solo album [[https://www.theguardian.com/music/2010/jun/09/outkast-big-boi-andre-3000 he butted heads]] with executives for various reasons [[ExecutiveMeddling such as them taking away his creative control, and trying to get him to copy other artists]]. [[DevelopmentHell The album was held up for three years.]] Eventually, the label let him out of his contract, but under the stipulation that Andre 3000 can't collaborate with him on his solo records, as the label wanted exclusive rights to Music/{{OutKast}}.
**Record companies have a very high turnover rate in regards to executives. Someone new comes in and starts to scrap everything and start over from scratch. This is how a lot of artists get Music/MichelleBranch dropped unceremoniously, into obscurity from her mid-2000s peak [[https://www.elle.com/culture/music/a44009/what-happened-to-michelle-branch/ in large part because some of a revolving-door of management]] at Creator/WarnerBrosRecords, constantly demanding [[FollowTheLeader she change her sound to follow trends]]. It wasn't until the mid-2010s, now free of WB and their repeated attempts to shift her in different directions, that she was able to release new guy/girl came in and took over material without the company.pressure to sound like someone else.
** Music/OutKast experienced this after their record label got bought out. The executive who signed them was excluded from the merger, and the new executives didn't have the same understanding. Because of this, the Idlewild soundtrack wasn't marketed properly, and despite having a significant buzz built up around the songs "Mighty O" and "Hollywood Divorce" they weren't able to record videos for them. Things got worse, when Big Boi decided to record a solo album [[https://www.theguardian.com/music/2010/jun/09/outkast-big-boi-andre-3000 he butted heads]] with executives for various reasons [[ExecutiveMeddling such as them taking away his creative control, and trying to get him to copy other artists]]. [[DevelopmentHell The album was held up for three years.]] Eventually, the label let him out of his contract, but under the stipulation that Andre 3000 can't collaborate with him on his solo records, as the label wanted exclusive rights to Music/{{OutKast}}.
**
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Compare HorribleHollywood and CorruptingPornography for other other entertainment industries being depicted as evil and corrupting. Not to be confused with ProtestSong, which is music ''about'' politics.
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Compare HorribleHollywood HorribleHollywood, TheWickedStage, and CorruptingPornography for other other entertainment industries being depicted as evil and corrupting. Not to be confused with ProtestSong, which is music ''about'' politics.
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Compare HorribleHollywood. Not to be confused with ProtestSong, which is music ''about'' politics.
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Compare HorribleHollywood.HorribleHollywood and CorruptingPornography for other other entertainment industries being depicted as evil and corrupting. Not to be confused with ProtestSong, which is music ''about'' politics.
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* This trope is taken to an extreme in a [[UsefulNotes/ConspiracyTheories conspiracy theory]] involving Music/MichaelJackson. Michael told family members that the various problems he had from the TurnOfTheMillennium onward -- his declining sales, arrest and trial on child molestation charges, etc. -- stemmed from Sony Music, his label, plotting to render him financially destitute so they could buy his half of a valuable song publishing catalog that he co-owned with the company. When they couldn't manage to ruin him, he believed that they would try to ''kill'' him, and sister La Toya has gone on to claim that his sudden death in 2009 (as he was preparing a farewell concert run in London) was an assassination masterminded by Sony and concert promoter [=AEG=] Live, who knew he was worth more dead than alive. A similar theory surrounds the death of Music/TupacShakur.
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* This trope is taken to an extreme in a [[UsefulNotes/ConspiracyTheories conspiracy theory]] an UrbanLegend involving Music/MichaelJackson. Michael told family members that the various problems he had from the TurnOfTheMillennium onward -- his declining sales, arrest and trial on child molestation charges, etc. -- stemmed from Sony Music, his label, plotting to render him financially destitute so they could buy his half of a valuable song publishing catalog that he co-owned with the company. When they couldn't manage to ruin him, he believed that they would try to ''kill'' him, and sister La Toya has gone on to claim that his sudden death in 2009 (as he was preparing a farewell concert run in London) was an assassination masterminded by Sony and concert promoter [=AEG=] Live, who knew he was worth more dead than alive. A similar theory surrounds the death of Music/TupacShakur.
