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Music Is Politics
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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! It's not that simple at all. You see, the promotion of music is politics, and 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 considerations, marketing, censorship, courting radio and music networks through legal or, um... non-legal means, music critics' opinions, 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 disillusioned artists and 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 Executives 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 1980s and early 1990s 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 for more possible causes. Compare Horrible Hollywood, The Wicked Stage, and Corrupting Pornography for other other entertainment industries being depicted as evil and corrupting. Not to be confused with Protest Song, which is music about politics. |
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Glitter: At the beginning of the film, Billie is a back-up singer for Sylk. The manager decides to have the sub-par Sylk lip-sync to Billie’s vocals. Billie later outs Sylk publicly when she insults her back-up singers. | |
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One episode of 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. | |
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There were also rumors that Geffen's founder, David Geffen had invited Elton to appear at the premiere of 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 '80s synth-pop, and an inconsistent commercial failure. He rejoined MCA in 1987. | |
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Chumbawamba had an interesting history toying around with music politics, in large part because they themselves were an extremely political band, being outspoken anarchists who had a massive 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 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 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 (only) major mainstream hit, "Tubthumping", Chumbawamba appeared on talk shows to encourage fans to shoplift their albums, making inflammatory comments 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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Vinyl deals explicitly with the politics and Dirty Business of the Record Industry during The '70s, inspired by several actual record malpractises and systemic abuse of artists. | |
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The Simpsons 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). | |
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Happens in 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 Heteronormative Crusader father (and CEO) Lucious. | |
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Love & Mercy: The Brian Wilson biopic shows Brian clashing with Mike Love over Pet Sounds and his own father selling The Beach Boys' music publishing without telling him. | |
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Bohemian Rhapsody has a number of these moments, most notably when music executive Ray Foster pours cold water on the titular song. | |
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Dreamgirls, which is about Motown and follows a girl group, deals prominently with this trope. Its plot includes a ruthless manager, a talented lead singer who is demoted in favor of the more conventionally attractive singer, an R&B and soul singer who is repackaged to be more pop-friendly, and payola. | |
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Idolish 7 The main story deals with behind-the-scenes details of the Music and Entertainment industry, as well the complexity of an Idol's job. | |
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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 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.) | |
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In That Thing You Do!, Jimmy gets a rude awakening when he insists that The Wonders record his original songs. Mr. White, the band's manager, informs Jimmy that their contract stipulates the record label dictates the material, not the band members. In response, Jimmy decides to quit the band. | |
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JC Chasez of *NSYNC dealt with this in his thwarted solo career. His label Jive Records, poured most of their resources into promoting bandmate Justin Timberlake's career, while declining to promote Chasez's first album Schizophrenic. They also had the final say on Chasez's single choices as well as album art, and did not support his club tour. Despite Schizophrenic flopping, Jive wrangled JC into making a sophomore album (tentatively titled Story of Kate) featuring production from Timberlake as well as Timbaland, but continued to shelve it up to 2007. Chasez subsequently left Jive and the album is unreleased (some leaked tracks have surfaced online). Though Chasez remains active in the industry as a songwriter and producer, his experiences as a solo artist have likely soured him on resuming that role. | |
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In either case, this was the cause of All Shall Perish'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 Suicide Silence, 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. | |
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In Melody, a lot more than her talent goes into the title character's success: getting noticed by the right people at the right time, image, social dynamics with her band and manager, and avoiding a pregnancy (or some medical condition) that could keep her from touring. | |
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A Star Is Born comments on the difficulties of maintaining artistic integrity in the music industry, with Ally forced to change her music and image in order to be successful. | |
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The message of No Straight Roads is that the music industry is harsh and brutal to the unprepared, naive artist. While it doesn't have to become something evil or exploitative, it will become so if left unchecked, especially if it takes hold of people who don't have it in their minds that stardom isn't all it's cracked up to be. None of the game's bosses are truly evil people, but their respective reputations have become so large that it has corrupted and taken hold of their egos (like DJ Subatomic Supernova), their inner demons (Eve), their artistic integrity (Sayu's creative team) or even their familial bonds (Yinu and her mother). | |
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Parodied by The Onion, with this article about how songs that constitute a random teenager's identity were created in a by-the-numbers fashion by a disinterested producer. | |
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The plotline of Interstella 5555 is about a band of teal-skinned aliens being kidnapped from their homeworld, changed to look like (and have the memories) of regular human beings, and forced to work for a Corrupt Corporate Executive in the music industry. Said executive is also revealed to have been abducting, disguising, and exploiting alien musicians over the span of centuries. | |
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This trope is the reason why 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 Radio Disney 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 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). | |
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Visage suffered from an awful case of this when the band got revived in 2012. According◊ to a private email Rusty Egan sent to a troper, the restarted Visage was supposed to feature five original musiciansnote presumably including Billy Currie, Midge Ure, etc. to be paid 1/6th of the royalties. However, MRC Digital's John Pitcher, who financed the project, convinced Steve Strange to forgo paying the five members in favour of just using session musicians. To make matters worse, Steve rang up Rusty, telling him "Fuck you. I am Visage, I will never repay and we don't need you." (This from a man who once proclaimed "Rusty became my saviour.") Pitcher was later sued for pulling the same trick on the French disco group Space. The saddest part is that Rusty made his own album that was far closer to the Visage sound than the dull electro-pop drivel of Hearts And Knives. | |
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This can be seen in the manga/anime 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. | |
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The parts of manga BECK that aren't about Character Development and The Power of Rock 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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In 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. | |
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Begin Again: Gretta criticizes Dave, her ex-boyfriend and former songwriting partner, for being a sell-out. Dave, a newly successful musician, took a song Gretta had originally wrote and composed for him as a present and changed the original arrangement to make it more commercial. | |
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The KoRn music video for "Y'all Want a Single" is all about some of the statistics and numbers behind the music industry, along with KoRn destroying a music store for good measure as some Biting-the-Hand Humor. It even includes some Self-Deprecation by pointing out how much money it cost to shoot the music video. | |
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Former winner Steve Brookstein has suggested that there is an element of this in the career of The X Factor 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 Rage Against the Machine. | |
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Tinashe suffered from this with her albums Nightride and Joyride. Joyride was stuck in almost three years of Development Hell, and several of the promotional singles intended for the album did not make the final track list for the US version. Tinashe has also stated that her collaboration with Chris Brown, "Player", was her label's idea and that she didn't want to work with him. She also apparently didn't want to release "Flame" and cried when her label forced her to. In 2019, Tinashe left RCA Records and currently releases music independently. | |
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While when they first got signed, Waterparks claimed that Equal Vision let them keep control over their creative direction. Things went sour after Cluster as Equal Vision took more umbrage to Parx's personal marketing strategies (streaming lower quality snippets of demos of upcoming music on Instagram is bad, apparently) and side projects (Awsten Knight doing a whole parody rap mixtape is also bad, apparently). The hassle impacted how they planned to go forward, either with a more tolerant major label or self-publishing, until they decided on Hopeless Records. Equal Vision now owns Cluster, Double Dare, and Entertainment, which necessitated the creation of the "Double Dare 2019" and "Entertainment 2019" mash-up tracks. The studio versions of those tracks were later made unavailable for purchase and streaming due to the continuing legal issues, but live versions were later made for purchase. In contrast, Hopeless Records gave them far more promotional support for FANDOM despite only being signed for a one-year deal and even handled distribution for their live concert film the label financed after they moved to 300 Entertainment. | |
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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 diss track towards Dre's former N.W.A colleague Eazy-E, with whom he'd had a falling out. | |
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Straight Outta Compton: The biopic of N.W.A shows the group dealing with an unscrupulous manager and internal tensions. Jerry Heller tries to get Ice Cube to sign a contract without Cube’s lawyer reviewing it first. | |
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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 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. | |
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Michelle Branch dropped into obscurity from her mid-2000s peak in large part because of a revolving-door of management at Warner (Bros.) Records, constantly demanding 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 material without the pressure to sound like someone else. | |
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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 Gangsta Rap instead of Lighter and Softer. | |
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Henry Cow formed the Rock in Opposition festivals as a protest against music industry practices. | |
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The South Park episode "Banned in China" features a B-plot where Stan and his metal band Crimson Dawn catches the attention of a record producer who wants to film a biopic about the band... on the condition that it must be marketable to a Chinese audience to maximize the film's profitability, so there can be no mention of homosexuality, America being a free country, the Dalai Lama, organ transplants, or Winnie the Pooh. Later in the story the producer brings in a pair of Chinese censors to assist in production, who constantly shoot down Stan's ideas. In the end Stan gives up on the biopic, refusing to betray his ideals for money. | |
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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 Kendrick Lamar did the same with good kid, m.A.A.d city, which, while still very dark, 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. | |
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BTS has mentioned several times (including, most notably, the lyrics of the Hidden Track "Sea") the struggle of being a Korean idol group from a small company. In Korea, the power and connections of an idol company are a massive factor in your success as an idol, with quick releases and constant promotion through music shows, variety shows, and other TV shows being practically obligatory in order to make yourself known or (in the case of music shows) debuting at all. In an industry (at the time) ruled by the 3 biggest idol companies, BTS only managed to get their debut show by luck (after another group left their slot open), and, as many other small company artists, had later performances cut from broadcast. On the Western side, part of the reason BTS' songs have gotten little to no airplay in US radio stations (no matter how radio-friendly they are or how high they debut on charts in spite of this lack of airplay) is not for lack of requesting, but - as fans have found and radio stations have stated - BTS' songs not being in English and a lack of radio promotions (difficult to do if you only go to the US while on tour), with the members stating their refusal to change their identity just to chart in the US. This lack of radioplay (along with scarce or inconsistent playlisting in digital music platforms) is also credited as a major factor for BTS' songs free-falling on the Hot100 chart after the first week. This is further examined here. Dynamite is BTS' first purposefully English language song...and also their first major radio hit. This confirmed to many fans that not having songs in English was the major obstacle getting in the way of radio play for the band. The success of the track was made more bittersweet by the song having far simpler lyrics than much of their Korean back-catalogue, no writing credits for the members, and the Korean follow-up single "Life Goes On" not getting nearly as much radio attention. The portrayal by media of BTS' success as not the success of a single group, but of a faceless "Kpop wave", or as simply occupying the place left by One Direction, or as popularity that only exists in social media (all despite BTS having the second-highest global sales in 2018 according to the IFPI and getting 3 #1s in Billboard 200 in less than a year), with the fandom being portrayed as only teens who just like the pretty faces (instead of the diverse and very lyric-invested fandom it actually is) certainly doesn't help matters, with awards shows supposedly based on popularity only nominating BTS in categories such as "Best Fandom" or creating new ones such as "Best Kpop" while keeping them away from the main awards. |
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Homestar Runner: The Strong Bad Email "cheatday" has Coach Z and Bubs forming their own band. They get into an argument over the royalties on one of their demo tapes. | |
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Yesterday (2019) has a man suddenly being the only one who remember The Beatles, and thus he attracts the attention of the music industry. And he has a crash course in how brutal and unscrupulous those people are, with one executive outright says his songs will make a lot of money and they will take most of it. | |
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Parodied in the Josie and the Pussycats movie where not ignoring the Evil Plan got you in trouble with management. | |
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A large part of the show Instant Star is about the Idol Singer lead character battling her record company over her artistic direction. | |
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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 album would remain out of print in the region until EMI picked up the rights in 2003. | |
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