Teamwork And Fight For The Music Industry I Knew That It Was A Cutthroat Business

Every music artist begins somewhere. Every artist had to do something to get their music out there. No one just automatically becomes famous. Then everyone wants to listen to your music. You start out new and anonymous and become more popular over time. Artist become famous by advertising. Every music artist should be able to advertise.

Your manager also helps you develop who you are as an artist; your personal image is being developed here. Do you begin to appear in public with other artists of the same level of success? Do you volunteer time and services for charitable purposes and do you begin to identify those charities whose interests you feel you can advance by your involvement? (Thall, 2006) This image will develop and change overtime due to the music industry environment and the people you become associated with along the way.

I propose that all unsigned rising artist should target the business side of the music industry to be successful in the entertainment business because it allows the artist to be taken seriously and make solid connections that can further his/her career. Learning the works of the music industry also enables a new artist to be further successful and profitable. Recent studies show that most new artists without professional representation and a business mindset have a slimmer chance in getting signed to major or independent labels (Lowry, 2011). Overall, the specific change needed is that unsigned artists should be concentrating on their careers as professionals and not amateurs, thus focusing on the ins and outs of the music business and

The music industry is made of companies which produce and sell music. The music industry as we know it was solidified in the mid-twentieth century, where records succeeded sheet music as the primary product in the music business. Record companies were established, but did not last very long until the late 1980s when the “Big Six”, a group of multinational corporations consisting of Sony, MCA, WEA, Polygram, EMI, and BMG controlled most of the market. Initially there were five corporations (CBS and RCA (both now belonging to Sony), WEA, EMI, and Polygram) that had emerged in 1978 to own 60 per cent of the market. (Wallis and Malm, 1984, p. 81)

Over the years, musicians have allowed their music to be used in advertisements for various businesses. However, doesn’t the artist’s creativity in their music fade away after it has been used in various commercials? Most importantly, advertisements may change the lyrics to a song to relate to the product, so the business would benefit more and take the focus away from what really matters, the music.

The first problem is the royalty fees made with labels. An artist’s album can cost anything from $15,000 to $200,000 (Recording Connection) and the artist is often left in debt after which is slowly paid back through the sales of their own records which only leaves them a fraction of what the original product was sold for. Another major problem with most major record labels is that their sole reason to get artists is to further their own profit. Most major labels put business before art,

Throughout our Communication Studies, we have examined the capitalist economy through a critical lens and as a result, corporations always appear at the forefront of debate, blame, and power. From a neo-liberalist economic standpoint, the typical “prosumer” is encouraged to create consumer-generated content, but what happens when you put your creative labour to the test? York University consistently advocates, “this is your time”; in other words, students are responsible for their own success and are held liable for any failures or mishaps they may endure. While contemporary technologies have multiplied and democratized opportunities for musical creativity, intellectual property law has been used to repress our right to free speech, which is guaranteed under the first amendment (Demers 2006). Therefore, the industry’s effort at convincing people that file-sharing is equivalent to thievery have turned an increasing number of artists into intellectual property activists.

From the day we’re in our mother's stomachs, to the day we die, we have always been listening to music. For me, listening to music all my life helped me develop a passion for it. When I was around the age of 6 my dad introduced me into the world of Rock. The very first band I remember listening to was System of a Down and ever since then, I fell in love with rock music and all its possible variations; for a long time this was all I listened to. It wasn’t until high school that I started listening to all sorts of genres and realized that I wanted to have a career in the music industry. That's when I learned about producing music.

Every day millions of Americans turn on their radios, IPods, or some other device which allows them to listen to their favorite musicians and have no idea that there is a union standing guard to ensure the rights of those very musicians. The average American may think their favorite musicians are rolling “dough” and not realize that for the past hundred and fourteen years the American Federation of Musicians, aka AFM, has worked to improve the professional lives of musicians across North America. (American Federation of Musicians, 2010) AFM attracts its members with a mission to unite professional musicians which states, “We can live and work in dignity; Our work will be fulfilling and compensated fairly; We will have a meaningful voice

Many people have dreams of being a part of the music industry and becoming successful musicians, but do not seem to do the research necessary to make the dream come true. The music industry is a branch of the entertainment industry and is where music, whether it is recordings or performances, is distributed and sold to the public. One of the problems is that people do not realize the risks that come with being a part of the music industry and being a musician. There are many factors that come into play when deciding to pursue a career in the music industry. Factors would include having noteworthy knowledge of music, originality, publicity, and business entitlement.

Questioning the correlation of commercial success and true artistry began in the light of mainstream music. Mainstream music has been given a negative connotation due to the supposed lack of originality of the artists. Repetitive chord progressions and meaningless lyrics compose the majority of “mainstream music,” making each song sound like the next . Despite these patterns in music, artists still ventured outside of what was societally normal and created music that was unheard of. Despite the potential risks in being an individual in the music industry, several groups achieved high success and maintain the popularity in the present. Creativity and commercial success can definitely exist alongside one another, and this paper will prove that through the music of the Beatles, the performance styles of David Bowie, and the grunge movement in Seattle which was fueled by Nirvana.

The Beatles' audition for Decca Records on New Year's Day 1961 was not perfect, as a group was nervous and hope to get a record deal. Nevertheless, they still felt good about their opportunities, and hope to proceed with the following step of their career. Finally, the decision was made by A&R representative Mike Smith to instead sign a local act from London, the safer choice. The reason that Decca's gave was that "guitar groups are on the way out." However, the Beatles went on to become the best-selling band in the history of the world, starting a cultural revolution in the process.

It took the band Thirty Seconds to Mars and lead singer, Jared Leto a little longer to give the modern day world music to talk about. The band took a year to find a studio to support them. In 1998, the band signed a contract with Immortal and Virgin. Their first album was set to be released in 2002, but before that the band, Puddle of Mud, asked for them to join their six week tour around the country in the spring. Thirty Seconds

The evolution of the music industry follows the familiar pattern of digitization. Innovation began with the introduction of the vinyl record, transitioned from the cassette tape to the compact disc and landed us in an era of digital downloads. The emergence of music streaming services like Spotify has progressed the industry even further, giving consumers the ability to access music on demand using download-free online platforms. Spotify faces criticism from artists as a result of the overlap of creativity and commerce. They argue that business activities corrupt creativity, transforming it into a tool for profitability rather than an outlet for expression. Artists insist that Spotify deters album sales, favors established artists and fails to support them financially. However, Spotify was created for consumers. It delivers an accessible alternative to purchasing and downloading music. The interplay between creativity and commerce is changing the nature of the music industry. Spotify has adapted to this change, providing a platform that supports both artists and consumers. Through analysis of the market, artist’s revenue, record labels and consumers, I will argue that artists should accept the evolution of the industry and support Spotify.

The idea that businesses expand by taking advantages of consumers ' weaknesses is obvious to most people. By concentrating on the areas that the consumers are susceptible, many businesses annually make sales based on same type of audience over and over again. An example is the pop music industry. Those categorized under "Pop" always have a set target: young children and teenagers, especially those who watch Disney Channel or Nickelodeon. To target these audiences, the pop music industry tends to produce songs that are catchy and easy to sing-along such as those by Hillary Duff and Miley Cyrus. They are not necessarily about producing quality music, but more of those that can catch the minds of youngsters. Their success thrives because