During the 1950’s, music was evolving. Rock and roll’s growing popularity, the rise of middle-class prosperity, the beginning of the teenage era, the dominance of inexpensive 45 rpms, and the growth of radio stations led to changes in music and the way it was marketed, promoted, and distributed (Hutchinson, 2015). While some of these changes were necessary and positive, others were damaging and downright illegal. As such, the payola scandals came into play.
Power 106Fm is broadcasting one of the largest Hip-hop and R&B radio stations in the Los Angles Community. During the weekdays from three pm to seven pm anyone may tune in to listen to the stations personal DJ, DJ Felli Fel. As everyone may know a DJ can turn listeners away or make everyone enjoy themselves and come back for more. Well in this situation this DJ was very enjoyable and would definitely have listeners coming back for more. As well as this station has an equal balance between commercials and music and overall has pure quality. It plays plenty of the newest and greatest hits and also voyages back to the past to keep everyone entertained.
The term payola came around early in the years that would change the music industry very dramatically. Payola was created in order for the illegal practice of payment by a recording company, so it allowed a radio station to broadcast a certain song. This even
Music has become a center piece of life; however it comes with a vigorous price unknown to most of the public. The music industry is littered with corruption. My proposed research problem focuses on the manipulation and control the music industry has upon its artists through an unescapable 360 deal, which in and of itself is not only reducing an artist to almost indentured servitude, but also cripples record labels themselves. The 360 deal is a common mandatory contract record labels utilize to financially support an artist. This includes advances and funds for promotion, touring, and marketing, all which the artist has to pay back to the label. I believe this problem is significant and warrants further research because the record labels are unconstitutionally taking away artists rights in favor of their own greed, in turn, leaving the artist without ownership of their own songs, money, and rights to royalties.
I hear people complain all the time [I’m guilty as charged] about mainstream radio – who can blame us when you hear only music from 20-25 artists for the most part, and good songs played to over and over till you turn it when you hear it come on. To top it off we have comments from radio executives coming out like Gary Overton’s comment [don’t even get me started on that one right now, that’s deserves special attention] “if you’re not on the radio you don’t exist” and things like women are the tomatoes.
How might one explain Howard Stern? Yes, he is a refreshing change from the typical, politically correct figure, and he provides humor and sex for late night audiences who are growing weary of Leno and Letterman. And while Howard Stern, shock jock turned television host, is more on the same wavelength as a Jerry Springer than a late night comic, Stern has always claimed--like Jerry--that his show is just an act.
The Congress passed the Telecommunications act of 1996 to promote competition and media crossing; but it also resulted in many company mergers from across different media spectrums which altered the structure of radio and music industry connection because (1) there are less radio stations owned by many individuals instead big companies, (2) the companies that own Radio Stations and Music Industries that promote music and generate sales which is favorable on both ends. Based off of Killmeier’s article, he explained a number of things that represents radio, the music industry and corporations: (1) how popular music coincides with political views in a way to reach listeners because it is
In 1935, American commentator Walter Winchell coined the term "disc jockey" (the combination of "disc", referring to the disc records, and "jockey", which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation's top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.
I learned a great deal this week about the music industry and the various events and innovations that over time contributed toward the shaping of American music into the “business” that it is today. The chapter “The Six Life Stages of the Music Industry” allowed me to gain a broader understanding of how and why such events occurred, and what underlying factors precipitated them. In particular, I found the impact of MTV on the music industry enlightening, as while I was aware of the profound effect it had on dance, I had never really considered the impact that it had on music in that it essentially ushered in today's trend of “making” stars based on looks and appearance as opposed to genuine talent. The experiment performed in the documentary
What do you think about whenever you hear a song on the radio? Do you think about the artist singing it or the dozen of people who made it possible for you to hear the song? There are many roles in the music industry that goes unnoticed. Such as the songwriter, manager, marketing executive, music publisher, and producer. These are the people who make it possible for us to connect with others through music.
To start with we have to talk about R.I.A.A. R.I.A.A stands for “Recording Industry Association of America”. It is a trade organization in the United States that represents the recording industry. 85% of all legally sold recorded music in the U.S. is manufacture, created, and distributed by members of this group. It was originally formed in 1952 with the original mission of administering recording copy right fees as well as researching government regulations and the overall recording industry. The RIAA current missions include “1. To protect intellectual property rights and the first amendment rights of artists. 2. To perform research about the music
The notion of music consumption brought forth by Homer therefore builds upon Scale's comments upon the power relations dictating professional studios . This source, however, could have benefited from more qualitative data, such as the aforementioned pricings. In a similar manner, Richard Burgess' critical analysis of the music market entitled, Producer Compensation: Challenges And Options In The New Music Business reveals worrying decline through a multitude of statistical data . Burgess reveals the degradation of supply and demand within the music industry and the subsequent impacts this decline has upon the various fields within music. The focal points of interest will consequently be the impacts upon professional studios, however the effects within other areas will be considered as this is potentially due to a domino effect. This source is excellent due to the inclusion of ample qualitative data in the forms of statistical values. The saturation of data does disrupt the flow of the arguments, however this is the only point of
For over a decade now music piracy has threatened the music industry by costing it money, and stealing from it. Peer-to-peer file sharing has been somewhat of a red flag for the music industry ever since Napster, a once highly used file swapping network, came into the picture. Napster and the websites similar to it made it possible for people to trade files downloaded onto their computer through the internet for free. What that means is that someone who had downloaded the new NSYNC album could give it away to however many people could access it and no one had to pay a penny. The big deal about that is the fact that the artists who worked for months to make that album did not get paid. The only money they saw was from the people who actually went out and physically paid for the CD.
After thoroughly reading Chapter 8, “Exclusive Recording Artist Contract” in the textbook, Take Care of your Music Business, I have learned that there are a multitude of rules and regulations that musical acts and artists must adhere to and, in some circumstances, sadly abide by in order to make the most out of their profession. Although signing to a major label record contract appears to be the best way for musicians to get their music out there to larger audiences, more problems by agreeing to “unfair” terms seem more prevalent in this particular contract then there are favorable ones. Artists royalty rates, warranties, representations, restrictions, and indemnities, along with an All-rights 360 agreement contract proves that musical artists today must be well represented and well educated with the fine print of any recording contract.