The other day I was listening to this interesting podcast from Keven Grace and Kevin Steele, two hosers from some place called “Canada.” Both had careers in the media and now they don’t, presumably due to the local blasphemy laws. I’ve listened to a number of their interviews I found on YouTube. For those interested in hate-think and the haters who founded hate-thinkery, their interviews of Gottfried, Sailer, Taylor and others are a good introduction to the hate. They ask good questions and get good answers.
The podcast on music is interesting if you enjoy thoughtful discussion of the business side of popular culture. If you are under the age of 80, you just assume that pop music is a feature of society. It’s hard to think about a time when there was no such thing as pop stars or hit songs played on the radio. The music business did not exist a hundred years ago, at least not in the way we think about it today. It was after the war that cheap radios, cheap record players and a prosperous middle-class birthed modern pop music culture.
If you read a book like The Wrecking Crew, you see that much of what we think of as rock and roll lifestyle was manufactured. The early years of pop music were dominated by old experienced guys from the jazz and big band scenes. They wrote the music, recorded the songs and made the hits. The acts that turned up on TV and radio were often just front men, hired to be the face of the act. From the very beginning, music was a business designed to make money, not music, for the people who owned the music business.
One of the things I found interesting from the podcast is that the music industry, the people involved in the business end of things, is about half the size it was at its peak. A couple of years ago I did a post on the state of music. Per capita music sales have collapsed from their peak 15 years ago. That peak was largely a bubble created by the advent of the compact disc. Everyone went out and repurchased their music collection in the new digital format. A lot of old stuff was remastered for the new format and that boosted sales too.
We are now in a time when selling songs is no longer very profitable. Often, bands will put their new releases on YouTube free of charge. The song itself is a form of marketing for their live shows. In my youth, the opposite was the case. Bands went on tour to promote their latest album. The tickets to the show were often cheaper than the album. Now, anything you want is on-line so trying to monetize the songs has become a lost cause. As a result, the focus is on making money from the live shows.
In many respects, pop music is back to where it was before the great wars of the 20th century. In the 19th century, sheet music was the item of value in the music business. Many of our intellectual property laws, in fact, come from efforts to protect the owners of sheet music. The main source of income for musicians, however, was the live act. They went around performing for customers. It is where the expression “sing for your supper” started. Often musicians were paid, in part, with a meal.
There are some important lessons in the history of pop music. One is that cultural phenomenon have a life cycle. They come into existence, blossom and then die off. The music business is never going to go completely away. There’s still money to be made marketing acts and managing the production of recorded music, but the boom times are over. It is, as they say in business, a mature sector now. It’s not a business attracting wild men looking for adventure. Instead it attracts MBA’s moving through the corporate system. “This is Josh, who came over from the petro-chemical division.”
Pop music’s impact on the greater culture is also largely over. There will never be another Beatles or Rolling Stones. That’s because “American culture” is over. Prior to the two great industrial wars of the 20th century, America did not have a unified national culture. It was federation of regions. New England may as well have been a different country from the Deep South or the Southwest. The South was very different from Appalachia. There was no unified “American” culture to which all the regional cultures submitted.
The great national project of conquering Europe and Asia opened the door for the flowering of an American culture after the war. Into it was drawn anything that could be sold as celebrating this new world power. It is why what we think of as American pop culture blew up after the war. In music, for example, producers scoured the land looking for authentic American sounds to package up and sell, in order to meet the demand of this new growing thing called Americana. It even went global, in search of spice to ad to the mix.
Like the music business itself, the great unifying national culture that blossomed in the 20th century has run its course. America is, to a great degree, falling back to its natural, regional state. Just look at the popularity of movies and TV shows by region and you see old weird America emerging again. Live acts now setup their tours to reflect the fact that they have greater appeal in some regions than in others. If you are a country act, for example, there’s no point in booking a lot of dates in the north, outside of the one-off festivals in the summer that feature a variety of acts.
That’s another lesson from pop music. The past is the actualized, the present is the actualizing and the future in the potential. Culture is that middle part, standing on the past in an effort to realize the potential that lies in the future. Once culture attains its natural end, it dies. What’s left is what it created. The grand unified pop culture of the Cold War era is now like an old factory building that has been renovated to be lofts, shops and boutique restaurants. It’s influence on what comes next is purely utilitarian.
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