->''"He's about to learn the most important lesson in the music business: don't trust people in the music business."''
-->--'''Homer Simpson''', ''WesternAnimation/TheSimpsons'', "A Star is Torn"

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?... '''[[RealityEnsues WRONG!]]''' [[ThisIsReality It's not that simple at all]].

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'' [[FanDisillusionment fans]].

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 and deathcore acts of the late 2000s and early 2010s. See [[Analysis/MusicIsPolitics analysis]] for more possible causes.

Compare HorribleHollywood. Not to be confused with ProtestSong, which is music ''about'' politics.

!!Related tropes and subtropes of this include:

* BlameGame: Usually happens when an album fails or underperforms. But the ultimate issue is usually people blaming other people over things like missing money, music rights, and royalties, etc..
* CreativeDifferences: Disillusionment over industry politics eventually leads to this, and a band may also sometimes eat itself alive if the infighting turns into one or more parties engaging in shady backroom deals to shut other members out. Basically, if a band's inactivity can be blamed on legal battles between members, this is why.
* ContractualPurity: An artist could be a slave to this thanks to this trope.
* DevelopmentHell: Darkly speaking, CreativeDifferences (and contract disputes) can eventually lead to this trope as a form of punishment if the label doesn't get what they want. Essentially, they can invoke this trope on an uncooperative artist's album till the contract expires, which could take years and make it impossible to jump labels. Tragically, this also often ends up making it nearly impossible for said artist to reestablish themselves in the mainstream. Ever wanted to know what happen to that artist that dropped that great album and then disappeared? ...Well, this is probably what happened to them.
** If it wasn't the label, it very well could have been band politics; rampant infighting and a revolving door of personnel caused by general dysfunction and/or a few members being control freaks or complete assholes can cause the conception of a new album to drag on and on or just eventually hit an insurmountable brick wall. Is a band touring on the same album for far longer than they should with a new lineup on at least a yearly basis with only vague assurances that a new album is coming with no actual evidence? Again, this trope is probably why.
* ExecutiveMeddling: Created a bad ass track list for your album? Plus it has a recurring theme, concept and message throughout? ...Too bad, because you're gonna do it all over again whether you like it or not. Sometimes you're forced to shoehorn in songs (or even another artist) that the label wants, thus derailing the theme and concept or style of your whole album. Discussed in the number 1 spot in this [[http://www.cracked.com/personal-experiences-1764-i-was-reality-tv-judge-5-secrets-i-shouldnt-tell-you.html Cracked Article]].
* ExecutiveVeto: Same as above, most artists don't even have the final say-so over their ''OWN'' track list.
* 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.
* HotterAndSexier: Often enforced on female artists, mainly to acquire a male PeripheryDemographic. But could also very well be voluntary thanks to MoneyDearBoy.
** SexSells
** SexyPackaging: Could also double as false advertising. Especially if the album has nothing to do with sexual themes or topics.
** Can also be used as a form of [[WriterRevolt Artist Revolt]] by a younger artist attempting to break free from the aforementioned ContractualPurity. Because honestly, you can only go so far making sugar pop songs and albums while in your early to mid 20's without looking ridiculous. Of course, opinions vary on whether or not hotter and sexier (or DarkerAndEdgier for that matter) is a good way to go about breaking free of contractual purity.
* 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.
* TheLastDJ: In the literal sense if a DJ refuses to adhere to the playlist. Alternatively, it could happen to the artists themselves if they refuse to compromise.
* LighterAndSofter: Usually enforced on RockAndRoll, HeavyMetal, and HipHop artists. But, just like HotterAndSexier, this could also very well be voluntary.
* MisaimedMarketing
* MoneyDearBoy: The cause of all of this.
* TroubledProduction
* RadioFriendliness: If you wanna get played on the radio, your song better not be too dark, too controversial, too political (even if music is politics, that doesn't mean politics is music), too long (gotta fit those commercials in), or too niche.
* RevolvingDoorBand: Often a result of this trope, though not always.

!!Fictional examples


[[folder: Anime & Manga ]]

* This can be seen in the manga/anime ''{{Manga/Gravitation}}''. The band Bad Luck, originally a duo, becomes a trio when the director of the record company decided that Shuichi should take front stage without being constricted behind the keyboards. Then the former band of the keyboardist reunites again, so the director imposes a new keyboardist, and in the same move changes their meek manager for another, this one a bit more... forceful.
* In ''Manga/{{Nana}}'', BLAST and Trap Nest deal with their need to be profitable for the labels -- smoothing out their sound, changing their style, and dealing with the paparazzi in ways that help their bands along,
* 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.
* In the {{Hentai}} anime ''Cool Devices'', there is a young pink-haired IdolSinger named Rina who starts off with a wholesome GirlNextDoor image. Her manager, knowing that SexSells, wants to make her image HotterAndSexier to generate [[MoneyDearBoy more revenue]]. But he isn't satisfied with just an UnnecessaryMakeover here, or a sexy photoshoot there. No, he basically starts pimping her, and by the end of the vignette, she masturbates on stage with the microphone.
* The plotline of ''Anime/{{Interstella 5555}}'' is about a band of [[GreenSkinnedSpaceBabe teal-skinned aliens]] being kidnapped from their homeworld, changed to look like (and have the [[FalseMemories memories]]) of regular human beings, and forced to work for a CorruptCorporateExecutive in the music industry.


[[folder: Film ]]

* The Music/QueenLatifah film ''Brown Sugar'' had a subplot based around the politics of the music industry.
* This trope was a major part of ''{{Theatre/Dreamgirls}}'' story.
* One of the themes in ''Film/ThatThingYouDo''.
* Parodied in the ''Film/JosieAndThePussycats'' movie, where not ignoring the EvilPlan got you in trouble with management.
** The movie was more or less about this trope.
* The movie ''Slade in Flame'' is about an idealistic young rock band who are gradually disillusioned by their manager's dirty dealings, which arise entirely out of his desire to squeeze as much money out of the band as possible.


[[folder: Literature ]]

* ''Discworld/{{Maskerade}}'' sends up the politics of ''opera''; its protagonist, Agnes, is a young overweight woman with a great voice who has to sing from the background while a more attractive woman (whose family are also financial contributors) is the one seen by the audience. Then there's Salzella, who has to balance keeping his profit-hungry boss happy while still making good opera, which actually [[spoiler: drives him insane and causes him to murder two people.]] (There's also the Musicians' Guild in other Discworld books, but those aren't so much Music Is Politics as Music Is Organized Crime.)


[[folder: Live-Action TV ]]

* ''California Dreams'' on occasion deal with this.
* A large part of the show ''InstantStar'' is about the IdolSinger lead character battling her record company over her artistic direction.
* ''Series/{{Smash}}'' covers some of this in terms of Broadway stars.
* ''Series/{{Vinyl}}'' deals explicitly with the politics and DirtyBusiness of the Record Industry during TheSeventies, inspired by several actual record malpractises and systemic abuse of artists.
* ''Series/{{Youngers}}'' covers this with a small rap group from Southeast London. However unlike most portrayals of this trope with rap groups, one record producer actually wants them to become more GangstaRap instead of LighterAndSofter.
* Happens in ''Series/{{Empire}}'', about the Lyon family's titular record label. Gets more literally political when Jamal comes out of the closet, much to the chagrin of his HeteronormativeCrusader father (and CEO) Lucious.
* One episode of ''Series/{{Scorpion}}'' deals with the team helping in the investigation of a murder, which leads into the discovery that the murder victim created a computer algorithm that had the capacity to help make "perfect" songs (read: plug into a computer, enter genre, out comes prediction of combination of music factors that will ensure the song will be a hit) and both the knowledge that many singers had used it in the past and that he was killed to keep the program secret and because one producer wanted to maintain the sole ownership of it.


[[folder: Western Animation]]

* ''WesternAnimation/TheSimpsons'' took it to the extreme with the episode ''New Kids Of The Blechh'', which outright said that boy bands were made to manufacture propaganda for the military (read: add subliminal messages to the song to brainwash teens into enlisting).


!!RealLife Examples

[[folder: Real Life]]
* The documentary ''Before the Music Dies'' covers this.
* The documentary ''Electric Purgatory'' uses this trope to explain why modern black rock musicians have such a hard time breaking into the mainstream during the last 30 years or so. Long story short -- the record labels didn't know how to market them to mainstream white listeners, since most of them weren't interested in listening to "black music". So the labels found their white counterparts. T'was done before that as well during the 60's with white counterparts like Music/TheBeatles and Music/TheRollingStones.
* Tomica Wright (CEO of Ruthless Records) brought this up in a interview, in which she said "I like giving young artists a chance, but i can only be a player in the game. I can't save HipHop." That quote pretty much sums up this trope.
* This is covered extensively in ''[[http://www.mixerman.net The Mixerman Diaries]]'', which is about what really happens at a big-budget recording session.
* The Music/DixieChicks documentary ''Shut Up And Sing'', which showed how [[StrawmanPolitical actual politics]] plays into this within CountryMusic.
* One of [[Music/KoRn KoRn's]] music videos covers this.
* AlternativeRock band Red Jump Suit Apparatus was unhappy with their former label, Virgin Records, because of this and had the golden opportunity to leave without it hurting their career, and leave they did. They are on an independent label now and are as successful as ever with complete creative control.
* Music/{{Prince}} was very bitter over this. So much so he once changed his name to an unpronounceable symbol in order to defy Warner Bros, and disassociate himself from the "slave" artist the he claimed the label had turned him in to. He wouldn't change it back until his contract expired.
* Music/KellyClarkson's album ''[[DarkerAndEdgier My December]]'' was a victim of this trope. She publicly battled with BMG honcho Clive Davis over creative control of her album, then suffered a vengeful smear campaign by her own label. ''My December'' only sold 800,000 copies (a disappointment compared to ''Breakaway'''s huge success). She canceled her tour and fired her management after the ''My December'' debacle.
** Recently, she was allegedly pressured to [[HollywoodPudgy lose weight]].
* Music/NewEdition learned this the hard way when they were first starting out.
* Rapper Chamillionaire discuses this trope with his fans via video chat, basically explaining why his album ''Venom'' was stuck in DevelopmentHell. It's been permanently shelved due to an agreement with Universal in order for him to be able to leave the label.
* 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 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}}.
* Music/FiveIronFrenzy's song "Blue Mix" denounces the practices that some touring bands use to screw over their opening acts (namely, having the soundboard guy deliberately mix the opening band badly, or forcing the bands to mark up their merchandise).
* Project 86 felt they had been ripped off by their record label, so as soon as they went independent they recorded the album ''Songs to Burn Your Bridges By'' to vent their anger over the whole incident. Interestingly, they ended up reconciling with the label soon afterward, and re-released ''Bridges'' on that same label.
* Payola bribes, and radio station consolidation.
** The scandal hasn't hurt Music/JenniferLopez' career though. As she was a huge part of that payola scandal (circa ''Rebirth'' album), which would explain a lot of her musical success actually.
** On a similar note, there's a few people who believe viewer participation shows like ''Total Request Live'' and ''106 & Park'' are/were rigged.
* A large number of R&B fans think this trope is in play every time a sexy, [[ButNotTooBlack not-too-black]] female singer whose talent lies more in dancing than singing becomes popular. Unfairly or not, these people like to point at Music/{{Rihanna}}, Music/{{Beyonce}}, Kristinia [=DeBarge=] (though this has more to do with whether or not she's [[{{Nepotism}} using the DeBarge name to get successful]]), Keri Hilson, the Music/PussycatDolls, and even Music/{{Aaliyah}} ([[NeverSpeakIllOfTheDead until she died]]), among many others, as examples of "industry whores". Of course, these artists all have fans, and they will come out in droves to defend them. Detractors of the aforementioned singers will accuse them and the industry of impeding the success of more "pure" and "mature" R&B/Soul singers like Conya Doss, Amel Lareaux, Heather Headly, India.Arie, Angie Stone, Corinne Bailey Rae, Vivian Green, Music/JillScott, and so on.
** To add insult to injury, some of the latter artists were either writers or back-up singers for the former to help them sound good. They were basically languishing in the background helping arguably lesser artists, and the only reason they even got a deal was probably because they were ''promised'' one by the company for their work with the former R&B/pop artists. The former, artists get the most attention and their albums are fast tracked (That's if they don't fall victim to this trope themselves), while the latter artists sometimes see their albums get shelved, or under promoted.
* Some see Music/MileyCyrus's HotterAndSexier look as this. Basically she's just trying to sell records, and get attention through the controversy. Let's be honest here, it's not like she didn't know this would cause controversy. Could also make the argument that she likely did it to get out of ContractualPurity which she might see as holding her back. In addition to all the above she's also maturing and getting older, so this and all of the above are all reasons for the new look. But it's hard not to believe that record sales aren't the real goal.
* Most people don't know that Music/AliciaKeys has been around since the mid '90s. She languished in DevelopmentHell because the labels didn't know what to do with her.
* Music/MandyMoore had to deal with industry politics when she got older and wanted more creative control over her music. She now views the two teen pop albums she put out when she was young as {{old shame}}s, and has offered refunds to anybody who purchased them.
* Many would argue (and she [[WordOfGod basically confirms this in a 60 Minutes interview]]) that Music/LadyGaga's fame came as a result of her being GenreSavvy enough to work the system to her advantage. She spent several years writing for other artists before trying to make it on her own. As a result, she knew to play by the record label's rules by pumping out [[EarWorm ridiculously catchy]] songs about [[IntercourseWithYou love]] and [[MoneyDearBoy success]], and when she made it big she was pretty much given license to do whatever she wanted. Compare her first album, ''The Fame'', to her second, ''The Fame Monster'', which more or less [[DeconstructedTrope deconstructs]] all the SexSells and MoneyDearBoy tropes used in the former.
** She wouldn't be the first one to get famous by this method, although she was one of the more notable ones. It's also at least somewhat suspected that Music/KendrickLamar did the same with ''Music/GoodKidMAADCity'', which, while still very dark and mature, was decidedly more radio-friendly, accessible, and overall mainstream-friendly than the extremely dense and difficult ''To Pimp a Butterfly''. Given the sharp contrast in accessibility between the two, it's not unreasonable to assume that the former was intended to be an album to blow up with that he could still stand behind, while the latter was intended to be the album that he wanted to make and could make thanks to the free reign provided to him with his newfound status.
** This method doesn't always work out though, as the Music/KellyClarkson example proved.
* This might be the cause of [=LeAnn=] Rimes' latest album stalling.
* Former winner Steve Brookstein has suggested that there is an element of this in the career of ''Series/TheXFactor'' winners. Certainly, the "battle" for the Christmas number one single position has shades of it; Joe [=McElderry=]'s singing career seems to have been a non-starter after he lost that spot to Music/RageAgainstTheMachine.
* R&B/Soul singer Heather Headley switched to indie/gospel music due in large part to record execs wanting her to be HotterAndSexier.
* [[http://www.allhiphop.com/stories/features/archive/2011/03/22/22621302.aspx This depressing interview]] by Music/BoneThugsNHarmony's Krayzie Bone explaining why Bone will never be able to reestablish themselves due in part to internal conflict and this trope combined.
* Many people, especially haters, feel that Music/JustinBieber is only famous because he is relatively good looking and sings [[RadioFriendliness inoffensive radio-friendly]] songs, and not because of any actual talent. Of course, said {{Hatedom}}, notably on Website/YouTube, provides [[NoSuchThingAsBadPublicity the sort sought-after cultural recognition money can never buy]].
* The funk-Pop band Rose Royce imploded because of this trope.
* Creator/{{Motown}} Records was plagued by this.
** In fact it's rumored that Motown sabotaged Mary Wells' career out of simple spite due to the fact she left the company. (Popular web critics Wilson & Alroy snarked back that one listen to her cover of "I Can't Take My Eyes Off You" is enough to disprove that theory.)
* Happened with contemporary R&B singer Phylis Hyman when she butted heads with Clive Davis, who wanted her to do crossover pop. Ms. Hyman was a R&B singer and didn't like to be forced to do fluffy pop. Clive eventually moved on to a younger singer whom he could have more control over...Music/WhitneyHouston.
* In the music video for 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]]
* 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.
* Laura Izibor was seen as a prodigious talent in her teens, and has spent the better part of four years being groomed for success. The official line is that it's been spent perfecting her long-awaited debut statement to the world. But Allmusic said given that much of the music on her debut has been floating around in some capacity for the better part of two years, the delay seems to actually be a result of uncertainty over how to market her.
* [[http://madam-shogun.livejournal.com/16271.html This article]] discuss how this trope changed hip-hop. Originally posted on the blog of former Bostonian rapper and blogger Dart Adams (from his blog Poisonous Paragraphs).
* British rock band Bush didn't get their debut album, ''Sixteen Stone'', released until ''[[DevelopmentHell eleven months]]'' after its completion. Why? At the time of recording, Bush was signed to Hollywood Records, Creator/{{Disney}}'s music label (yes, they were going to be working for ''Disney''). After Disney president Frank Wells died suddenly, however, executives who had cold feet about Bush being associated with a family-friendly company took over majority opinion, and the band was quickly dropped before they could even release their album. Bush's manager Rob Kahane then went to court other labels for the band to sign with, and eventually got the attention of Interscope Records. Interscope ultimately signed the group and finally put ''Sixteen Stone'' out in the market near the end of the year.
* Female R&B super group {{Music/TLC}} was a victim of this, according to all three members of the group. They claimed despite them creating a number one selling album in ''Crazy Sexy Cool'', they didn't see a dime of the money because of extreme expenses cost--the result of a poorly written business contract. They even famously walked out on stage with their pockets hanging out during the middle of an award show, symbolizing that despite the praise and popularity, they were still broke as artists. And after winning many music awards, their after show interview was mostly how they sold millions of albums but were still poor. The group ended up filing chapter 11 bankruptcy shortly afterwards.
** Granted, that wasn't all that was at play. Watkins' medical bills (due to sickle-cell disease) and Lopes' court-ordered fines (due to a presumably drunken fight with her boyfriend, Atlanta Falcons player Andre Rison, that resulted in her throwing a bunch of his shoes into a plexiglass bathtub and lighting them on fire, which melted the tub and set the entire house on fire), and general internecine conflict were all contributing factors to their financial situation.
* The TV One show ''Unsung'' is stuffed with all kinds of sordid tales regarding politics and the business side of the music industry. Barry Gordy might be the worst depicted person in the docudrama.
* This played a significant role in Music/{{Queen}} choosing to bail Creator/ElektraRecords, their longtime North American label, in 1983. As the band prepared to release their ''Queen: Greatest Flix'' video compilation in the U.S. two years prior, Elektra's home video distributor Creator/WarnerHomeVideo decided to implement a rental-only program for all of their videocassettes, including the aforementioned ''Greatest Flix'' compilation. Queen was not pleased with this, and [[DevelopmentHell refused to put the compilation out in the market]] in protest. When EMI, their label in the UK, gave the band the opportunity to sign to EMI-owned Capitol in the U.S., the ''Greatest Flix'' compilation was finally released in America through Thorn-EMI.
* [[http://www.cracked.com/article_20256_5-things-record-labels-dont-want-you-to-know-they-do.html This Cracked article]]
** [[http://www.cracked.com/article_20939_7-things-record-deal-teaches-you-about-music-industry.html Here]] the rapper Spose tells his story about his disheartening 11 month experience with the music industry. It [[HappyEnding ends on a happy note]], though: he can make a name for himself (and a satisfactory amount of money) without their "help".
* Music/NineInchNails is a notable example due to Trent Reznor fighting back against this on multiple ocassions. Firstly, after the first album ''Pretty Hate Machine'' was released in 1989, it initially didn't make much of an impact in terms of sales (the record label expected "Down In It" to become a radio hit). As a result, TVT Records ordered Trent to make a more successful album. Despite this, as NIN toured, the album grew in popularity, recieving airplay on MTV and a large following. As NIN's popularity increased, TVT then changed their mind and ordered Trent to create another Pretty Hate Machine due to the album's success. When TVT began to take over creative control, and refusing to terminate the contract, Trent refused to release another album. However, he secretly recorded the Broken EP in this time, which was deliberately made very loud and abrasive as a "fuck you" to the labelling of NIN as synthpop by TVT. At that time, Jimmy Iovine of Interscope Records, in discussions with NIN's manger, John Malm (who wasn't part of TVT) managed to transfer him to Interscope, at the same time giving him creative control as well as his own vanity label, Nothing Records. ''Broken'' was finally released in 1992. Then in 2004, Trent Reznor sued John Malm after he accused him of owing him $2 million, and it emerged that Malm had taken advantage of Trent during his alcohol addiction. Trent won the suit, and Nothing Records collapsed. In 2007, he then left Interscope after a dispute over the label's overpricing of ''Year Zero'' in Australia, and afterwards going independent. However, in 2012 he returned to major labels due to issues with promoting independently, albeit with a specially negotiated contract.
** [[{{Music/Ministry}} 1000 Homo DJ's]] 1990 ''Supernaut'' EP suffered from some collateral damage from this conflict: Trent Reznor recorded vocals for the title track (a Music/BlackSabbath cover), but TVT refused to let him appear on anything released by another label (in this case Wax Trax!) - Ultimately, Al Jourgensen recorded the vocals instead. The "Trent Reznor Vocal Version" finally saw an official release on the 1994 box set ''Black Box -- Wax Trax! Records: The First 13 Years'' - Ironically, said box set was released by TVT, who had recently purchased Wax Trax!.
* At least according to recent (reputable) biographies on the artist, Music/EltonJohn was a victim of record label politics and legal issues in much of TheEighties. He left his original American distributors, MCA Records, in less-than-friendly terms, him feeling that they had done a poor job promoting his late-[[TheSeventies 1970's]] releases (though it did not help matters when Elton laid off most to all of his classic band by 1975, stopped working with producer Gus Dudgeon by 1978, had little involvement with original lyricist Bernie Taupin and had by 1976 [[StraightGay come out as bisexual]], [[ValuesDissonance costing him much of his market in Middle America and rock radio in the process]]. Elton sued MCA for breach of contract for not paying for Elton's next album, 1981's ''The Fox''. Elton joined Creator/GeffenRecords in 1981, hoping that the then-new label would treat him better. The counter-lawsuit MCA gave Elton alleged that part of ''The Fox'' was comprised of 1979 recordings made during the production of 1980's ''21 At 33'', when Elton was still signed to the label, meaning that MCA would have the rights to release the album. Geffen felt it in their best interests not to heavily promote ''The Fox'' to make it less commercially attractive to convince MCA to settle, or to make it less of an incentive in case MCA won the rights.
** There were also rumors that Geffen's founder, David Geffen had invited Elton to appear at be the premiere of ''Theatre/{{Cats}}'' in 1982, which Geffen helped to finance, only for Elton to politely turn the invitation down as he was rehearsing for a tour. This supposedly angered David so much that he might have sabotaged promotion of Elton's albums and singles from then on, and though ''Too Low For Zero'' was a resounding success and he had a few more hits in the decade, the albums sold (and were promoted less and less). By the time of the end of Elton's contract in 1986, he had released the Contractual Obligation album, ''Leather Jackets'', an experiment in '80's synth-pop, and an inconsistent commercial failure. He rejoined MCA in 1987.
* Averted and awesomely flipped on its' head by Music/JayZ, whom nobody would sign when he started out, decided to start his own record label - Roc-A-Fella Records - in 1995 (releasing his debut ''[[FirstInstallmentWins Reasonable Doubt]]'' a year later). The album was a success, and since Jay was one of the 3 execs (at the time) who had control over his music, this never happened, nor has ever in his career (to the point where he ''bought out'' his contract at Def Jam - a company which he was previously CEO of - for $5m, to run his own label - Roc Nation - again). To add the icing on the cake, Jay's tenure at Roc-A-Fella helped to establish a lot of the superstar rappers of the early 2000s (admittedly however, only [[Music/KanyeWest one]] has had a lasting mainstream career), and his tenure at Def Jam helped to establish artists like Music/{{Beyonce}}, Music/{{Rihanna}} and Music/KanyeWest (all of whom are also signed to Roc Nation).
** That being said, Jay still plays the MusicIsPolitics game by choice, and most of his closest collaborators (all three above, for starters) do so as well.
** While Jay-Z might have averted it, this didn't stop him from victimizing his own signed artist and partners, that's if what Damon Dash, Beanie Sigel, and Memphis Bleek among others have said is true.
* Music/DavidBowie faced this problem several times.
** Spendthrift manager Tony Defries helped him make his commercial breakthrough in TheSeventies, largely by presenting him as a star with limos, an entourage, etc. before he really was one. But as time passed Bowie saw little of the money his work was generating, and the litigation required to break away from this relationship lasted him the rest of the decade.
** As well, his label [=RCA=] wasn't happy with his choice to move into less-commercial artistic realms with ''Low'' in 1977, the first step towards his choice to break away from that company in TheEighties.
** At [=EMI=], he had the biggest commercial success of his career with 1983's ''Let's Dance'', but choosing to continue with that mainstream album's style as the label pressured him for another blockbuster proved artistically unsatisfying for him; critics and fans regard that stretch of TheEighties as a DorkAge. He left the label when it had reservations about a second album he made with his HardRock group Tin Machine.
** 1993's ''Black Tie White Noise'' went to #1 in the U.K. but was overlooked in the U.S. -- partially because the distributor there, Savage Records, went belly-up the month after its release.
** The MissingEpisode ''Toy'' (which focused on remakes of his little-known work from TheSixties, pre-''Space Oddity'') was supposed to be his first album after ''hours...'' but wound up shelved by EMI/Virgin Records.
* In either case, this was the cause of Music/AllShallPerish's extended period of inactivity from 2013 to late 2015. The reason given at the start was related to Hernan "Eddie" Hermida's new job with Music/SuicideSilence, as the latter's management had allegedly placed severe restrictions on his activities with All Shall Perish until he was "well-established" as the new Suicide Silence frontman (and it was apparently understood that running afoul of them could have ''dire'' consequences for All Shall Perish), which would have required him to be well into the touring cycle for a new Suicide Silence album before he could do anything with All Shall Perish again. This allegedly forced Mike Tiner's hand and left him with no choice but to fire Eddie. However, a new side emerged when they came back in 2015 with virtually all of the ''Awaken the Dreamers'' lineup (''including'' Eddie) minus Tiner and plus founding member Caysen Russo in his place and an explanation that the hiatus was actually due to a legal battle with Tiner over rights to the band's name, royalties, and control over band assets that had only just concluded, raising the reasonable suspicion that the original reason given was a cover for Tiner to make him look better. Basically, regardless of what the full story was, this trope was clearly in effect at that time.
* Music/BillyJoel signed a deal with unscrupulous manger Artie Ripp in 1972, giving Ripp control over the rights to Billy's music and productions, as well as little in the way of royalties for the singer. Joel stayed out of the limelight while working at a piano bar while his new managers negotiated to get Joel out of the deal; one compromise Joel made would be that Artie's "Family Productions" logo would be applied to each of Billy's albums for the following ten years, and a portion of Billy's royalties was awarded to Ripp even when Ripp had little or nothing to do with Billy's management or direction.
* This is why it has been taking Music/{{Tool}} so long to make a new album. Essentially, lawsuits have put the new album in DevelopmentHell. Adam Jones explains more [[http://www.rollingstone.com/music/news/tool-explain-why-they-havent-put-out-a-new-album-since-2006-20140715 in this Rolling Stone interview.]]
* The song "Sell Out" by Music/ReelBigFish delves into this topic quite well.
* One story related to Music/JethroTull (which, perhaps, may have been the case for many artists at the time) included in the liner notes to a 2013 reissue of their 1973 ConceptAlbum ''A Passion Play'' was that although ''Melody Maker'' magazine critic Chris Welch, a fan and champion of the band, may have had some dislike for the album (admittedly one of their more challenging, polarizing efforts), he embarrassingly admitted to the band that the level of vitriol he heaped upon them and the album was meant to dissuade readers from thinking the magazine had a pro-Tull bias and were "in bed with" the group (or progressive rock in general); the magazine wanted to show (certainly in light of PunkRock just around the corner) that they were uncompromising and not lacking in integrity, and it was Tull's turn to face bad press. The review became the basis from which music newspapers all over England and America based their own reviews, leading to the CriticalBacklash against the band which follows them to this day. It didn't help when their manager, Terry Ellis, published an contrived press statement without the band's permission to gain sympathy, stating how hurt the band was about the poor reviews to the point they would cease touring. Bandleader Ian Anderson would express his own annoyance at Ellis' statement, feeling it made the band look "petulant" in the media.
* Several of Music/DeadKennedys and Music/JelloBiafra's songs are about this, most notably "Pull My Strings". The band became a literal example of this trope when Jello's former bandmates sued him.
* Music/HenryCow formed the Rock in Opposition festivals as a protest against music industry practices.
* This trope is one reason the second [[Music/{{Death}} Control Denied]] album has languished in DevelopmentHell for so long: the surviving members were embroiled in a lengthy legal struggle with their record company. (Then their gear got stolen...)
* Bonnie [=McKee=] was a teenager who signed a lucrative deal, struggled to see her album released because the label didn't know how to sell her, and despite the first single gathering internet buzz the record flopped. [[http://www.billboard.com/articles/columns/pop-shop/5646340/singles-lady-bonnie-mckee-is-looking-out-for-number-one Shortly later, the label dropped McKee]] - but not before in frustration she "drove to the label CEO's house in the middle of the night, took a CD of my best songs and stabbed it onto a tree right in front of his door with a dagger. I then wrote 'Platinum Baby!' in lipstick on his car." When years later she broke out as a successful songwriter for hire (mostly for her friend Music/KatyPerry), [=McKee=] admitted learning the machinations of the music industry at such a young age served as a cautionary tale.
* 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 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, 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".
* The founding of Drum Corps International is a result of this trope. Prior to DCI’s founding, the major shows were governed by the American Legion and VFW. Corps directors wanted more control of the activity. This included a more equitable distribution of the show’s proceeds among the corps (under the VFW/AL, only the top corps received any contest money), uniform judging standards (the two veterans’ groups’ criteria often varied considerably and were subject to the whims of their directors), and greater artistic flexibility (the VFW/AL ruled that aspect of the activity with an iron fist). As a result, in 1971, a group of Midwest and Western directors led by Don Warren (Cavaliers) and Jim Jones (Troopers) founded The Combine to gain more control over the activity. One year later, they merged with the United Organization of Junior Corps (their East Coast counterpart, who formed under similar circumstances) to form DCI. They quickly gained firm control of the drum corps activity within a few years, while the VFW/AL became increasingly irrelevant, hosting their last major championships in the early 1980’s.
* This trope is the reason why Music/{{Cimorelli}} opted to go indie. Why? At first, they were discovered by Island Records, one of UMG's labels, thanks to a daughter of one of the executives at Island who saw their covers one day on YouTube, and they signed them up. At first it was OK, but it was mostly limited to EP's and a few original songs here and there and they were even gaining ground slowly, to the point they even had one of their songs (''What I Do'') be featured in commercials for Hasbro's Doh-Vinci (which itself was short lived) as well as having another song of theirs (''Come Over'') as one of the songs featured in a new version of the Twister Dance toy, and even having at least two songs of their (''Made in America'' and ''That Girl Should be Me'') played on RadioDisney at one point. But then came the pressure to be more than just themselves and to do more songs that don't really represent them, and they thankfully (and peacefully) left on good terms with the label, but it also had a the side effect of the sisters (And the whole Cimorelli family) moving from Malibu to Nashville as of current. Only then they finally got a chance to release their much awaited first album, ''Up At Night'', after a long time wait from the fans, on their own (But through [=PledgeMusic=] at first; the same occurred for the second one, ''Alive'', but got released on [=ITunes=] on May 5th, a few months after their February release on [=PledgeMusic=]).
* 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.