History Main / MusicIsPolitics

** It gets worse. 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, while the latter artists sometimes see their albums get shelved, or under promoted.

** It gets worse. 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 artists even got a deal was probably because they were ''promised'' one by the company for their work. The former, prettier artists get the most attention and their albums are fast tracked, while the latter artists sometimes see their albums get shelved, or under promoted.

* R&B/Soul singer ''Heather Headley'' switched to gospel due in large part to record execs wanting her to be ''HotterAndSexier''

* [[YourMileageMayVary Many would argue]] that 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.

* The documentary ''Electric Purgatory'' uses this trope to explain why black rock musicians have such a hard time breaking into the mainstream. 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 (like TheBeatles and TheRollingStones) instead.

This is hardly new. Sure, it may look as though the homogeneous corporate domination of the music industry is something that didn't exist before [[{{MTV}} August 1, 1981]], but for a second, let's take off the [[NostalgiaFilter nostalgia goggles]]. The mainstream music industry has always been dominated by labels [[FollowTheLeader latching onto trends]], short-sighted producers [[ExecutiveMeddling getting in the artists' way]], and hype -- indeed, a good number of the examples listed below come from "back in the day." The first payola scandals were in TheFifties. FrankSinatra's success was built upon an AstroTurf army of paid actresses hired by the label to mob him and {{squee}} at his presence. TheMonkees were carefully crafted and controlled by their record label to appeal to a specific demographic. Even Motown Records did it -- the [[HistoricalHeroUpgrade rose-tinted view given to them now]] often ignores the fact that they helped ''pioneer'' the "image over music" style that many people complain about today and mistake for a recent phenomenon. And the less said about [[EverythingsFunkierWithDisco disco]], the better. The musicians from the old days that we remember today as some of the greatest of all time? [[SturgeonsLaw They represented only about 10% (give or take) of the actual output of the American music industry at the time.]] Fifty years from now, it likely won't be the disposable pop/rock/R&B artists that we complain about today who will be remembered.

This is hardly new. Sure, it may look as though the homogeneous corporate domination of the music industry is something that didn't exist before [[{{MTV}} August 1, 1981]], but for a second, let's take off the [[NostalgiaFilter nostalgia goggles]]. The mainstream music industry has always been dominated by labels [[FollowTheLeader latching onto trends]], short-sighted producers [[ExecutiveMeddling getting in the artists' way]], and hype -- indeed, a good number of the examples listed below come from "back in the day." The first payola scandals were in TheFifties. FrankSinatra's success was built upon an AstroTurf army of paid actresses hired by the label to mob him and {{squee}} at his presence. TheMonkees were carefully crafted and controlled by their record label to appeal to a specific demographic. Even Motown Records did it -- the [[HistoricalHeroUpgrade rose-tinted view given to them today]] often ignores the fact that they helped ''pioneer'' the "image over music" style that many people complain about today and mistake for a recent phenomenon. The musicians from that era that we remember today as some of the greatest of all time? [[SturgeonsLaw They represented only about 10% (give or take) of the actual output of the American music industry at the time.]] Fifty years from now, it likely won't be the disposable pop/rock/R&B artists that we complain about today who will be remembered.

This is hardly new. Sure, it may look as though the homogeneous corporate domination of the music industry is something that didn't exist before [[{{MTV}} August 1, 1981]], but for a second, let's take off the [[NostalgiaFilter nostalgia goggles]]. The mainstream music industry has always been dominated by labels [[FollowTheLeader latching onto trends]], short-sighted producers [[ExecutiveMeddling getting in the artists' way]], and hype -- indeed, a great number of the examples listed below come from "back in the day." The first payola scandals were in TheFifties. FrankSinatra's success was built upon an AstroTurf army of paid actresses hired by the label to mob him and {{squee}} at his presence. TheMonkees were carefully crafted and controlled by their record label to appeal to a specific demographic. Even Motown Records did it -- the [[HistoricalHeroUpgrade rose-tinted view given to them today]] often ignores the fact that they helped ''pioneer'' the "image over music" style that many people complain about today and mistake for a recent phenomenon. The musicians from that era that we remember today as some of the greatest of all time? [[SturgeonsLaw They represented only about 10% (give or take) of the actual output of the American music industry at the time.]] Fifty years from now, it likely won't be the disposable pop/rock/R&B artists that we complain about today who will be remembered.

This is hardly new. Sure, it may look as though the homogeneous corporate domination of the music industry is something that didn't exist before [[{{MTV}} August 1, 1981]], but for a second, let's take off the [[NostalgiaFilter nostalgia goggles]]. The mainstream music industry has always been dominated by labels [[FollowTheLeader latching onto trends]], short-sighted producers [[ExecutiveMeddling getting in the artists' way]], and hype. The first payola scandals were in TheFifties. FrankSinatra's success was built upon an AstroTurf army of paid actresses hired by the label to mob him and {{squee}} at his presence. TheMonkees were carefully crafted and controlled by their record label to appeal to a specific demographic. Even Motown Records did it -- the [[HistoricalHeroUpgrade rose-tinted view given to them today]] often ignores the fact that they helped ''pioneer'' the "image over music" style that many people complain about today and mistake for a recent phenomenon. The musicians from that era that we remember today as some of the greatest of all time? [[SturgeonsLaw They represented only about 10% (give or take) of the actual output of the American music industry at the time.]] Fifty years from now, it likely won't be the disposable pop/rock/R&B artists that we complain about today who will be remembered.

* The documentary ''Electric Purgatory'' uses this trope to explain why black rock musicians have such a hard time breaking into the mainstream. 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 preferred to find their white counterparts instead.

* One of {{KoRn}}'s music videos cover's this.

* The documentary ''Electric Purgatory''. Explains why there aren't alot of black rock musicians in the mainstream. Basically The industry didn't know how to market them to white people, and alternatively white listeners wasn't interested. So the labels preferred to find white counterparts instead.

* 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 {{Rihanna}}, Cassie, Ashanti, {{Beyonce}}, Kristina Debarge (though this has more to do with whether or not she's screwing up the Debarge name), Keri Hilson, Nicole Scherzinger, Ciara, Christina Milian, Mya, and even {{Aaliyah}} ([[NeverSpeakIllOfTheDead until she died]]) 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, Jill Scott, and so on.

* Most people don't know that AliciaKeys been around since the mid '90s but languished in DevelopmentHell because the labels didn't know what to do with her.

* 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.

Music fans will often give two points for when the music industry became like this. The first is the rise of {{MTV}} and {{music video|Tropes}}s in TheEighties, which produced artists like MichaelJackson and {{Madonna}} who were defined primarily by their image rather than just their music. This era has been called the start of the music industry's equivalent of the BlockbusterAgeOfHollywood, which turned the industry into something that became less about the music, and more about the profits (much more than usual). Of course, YourMileageMayVary, since the music of the era (including the two artists named) is often well-regarded in spite (or even because) of the focus on image. The second point, which tends to spark much less disagreement, is the Telecommunications Act of 1996, which deregulated American radio and allowed companies like ClearChannel to consolidate radio. This made it tougher to appeal to a niche, as commercial music had to be homogenized for an audience of 300 million Americans.

Younger artists are very susceptible to this trope. This is probably one of the reasons labels prefer younger artists: they're less well-versed in the ways of the business and easier to control. And it's likely the reason the industry focus on younger listeners. Older music buyers/listeners ''already know'' what they like and don't like , where as younger listeners [[GullibleLemmings can be ''told'' what to like]]. It should also be noted that record labels aren't exactly what they use to be, they're more like corporations now. And there's only 4 major music companies: Sony Music Entertainment, EMI Group, Warner Music Group, and Universal Music Group. Then there's the fact A&R doesn't do much artist development anymore, or help create long careers; For instance if you fail to garner high six figure sales in the first week or two, you're usually dropped like a hot potato. Records companies want immediate results, they have no time to actually build, and grow artists' careers anymore. Some argue that the way the industry is set up now legendary artists like StevieWonder wouldn't have a snowball chance in hell of getting signed today, let alone have a fledgling career.

* CreativeDifferences: Industry politics eventually leads to creative differences..

** SexSells:

* KellyClarkson ''My December'' album was a victim of this trope. She publicly battled with BMG honcho Clive Davis over creative control of her third album, My December, 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 lose weight.

** ItGotWorse, it's been permanently shelved due to an agreement with universal in order for him to be able to leave the label.

** Interestingly enough, the real WallBanger is the fact that 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 artists even got a deal was probably because they were ''promised'' one by the company for their work. The former, prettier artists get the most attention and their albums are fast tracked, while the latter artists sometimes see their albums get shelved, or under promoted.

* MandyMoore had to deal with industry politics when she got older and wanted more creative control over her music. She also seem to think of her debut album as a OldShame.
* [[YourMileageMayVary Many would argue]] that 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 rediculously 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).

* This might be the cause of Le Ann Rimes' latest album stalling.

* CreativeDifferences: This trope could lead to this one.

* The DixieChicks documentary ''Shut Up And Sing'', which showed how actual politics plays into this within CountryMusic.

So your probably thinking all you really need to make it in the music industry is being a exceptional singer/rapper, songwriter, and a very good, technically skilled musician, right?... '''[[RealityEnsues WRONG!!]]''' [[ThisIsReality It's not that simple at all]].

* The Queen Latifah film ''Brown Sugar''.

* The documentary ''Electric Purgatory''.

* HotterAndSexier: Often enforced on female artists (but could also be voluntary thanks to MoneyDearBoy), mainly to acquire a male PeripheryDemographic.

* KellyClarkson ''My December'' album was almost a victim of this trope.

* Some see 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.

->- ''TheSimpsons'', "A Star is Torn"

Younger artists are very susceptible to this trope. This is probably one of the reasons labels prefer younger artists: they're less well-versed in the ways of the business and easier to control. It should also be noted that record labels aren't exactly what they use to be, they're more like corporations now. And there's only 4 major music companies: Sony Music Entertainment, EMI Group, Warner Music Group, and Universal Music Group. Then there's the fact A&R doesn't do much artist development anymore, or help create long careers; For instance if you fail to garner high six figure sales in the first week or two, you're usually dropped like a hot potato. Records companies want immediate results, they have no time to actually build, and grow artists' careers anymore. Some argue that the way the industry is set up now legendary artists like StevieWonder wouldn't have a snowball chance in hell of getting signed today, let alone have a fledgling career.