From Joel Ongthorne Sent Fri, Sep 10th 1999, 00:05
>http://www.lrna.org/league/mr/mr3a.html > >August 29, 1999 > >Music & Revolution 3 > >THE CAPITALIST MUSIC INDUSTRY IS OBSOLETE: WHAT CAN TAKE ITS PLACE? > >A music industry that prices music out of the reach of tens of millions of >people, intentionally keeps most music off the radio, and censors >musicians has clearly outlived its usefulness. > >A music industry that gets laws passed to prevent the distribution of >music by computer technology, makes music a slave to the whims of Wall >Street, and would rather work with the FBI to combat "piracy" than put >money into artistic development is not only obsolete, it's dangerous. The >beauty and power of music can no longer co-exist with the corruption and >greed of the capitalist music industry. > >These harsh assessments may seem hard to accept, since the rise of the >popular music that dominates most of the world today has been closely >linked to the rise of post-war capitalism and to thousands of music >business entrepreneurs. The Post-War Music Industry > >As rock and soul music emerged in the 1950s, new record labels took the >stage and made the new sounds available at affordable prices. Clear >channel radio stations beamed music from the deep South out across the >country. Even payola--the payment of bribes by the record companies to get >records played on the radio--had a positive aspect. Payola helped to break >down many of the barriers in the broadcast industry, allowing the music of >Southern blacks and whites to break out and become the raw material of an >emerging culture. > >Entrepreneurs were indispensable to this process. Although they brutally >exploited artists, the owners of record labels and radio stations helped >to create and shape a previously non-existent teen market (the idea that >youth has a culture of its own did not exist before the 1950s). The >emergence of the teen market was an important step in the evolution of >today's revolutionary youth culture. However, the music we take for >granted today did not emerge peacefully. In the 1950s, there were constant >attacks on music by politicians, the media, police, district attorneys, >the Klan, and the church. > >In the late 1960s, a concert industry developed which brought a variety of >artists into every town in America with a decent-sized theater at an >affordable price. At the same time, both national record store chains and >a new breed of independent record stores brought a diversity of recorded >music within driving distance of most Americans. > >The strength of the U.S. economy--not just high profits but the growth of >jobs and even welfare benefits--allowed music to develop as it did. For >the first twenty-five years of the rock & soul era, the stock market >allowed music companies to raise the capital they needed to fund an >infrastructure that brought music to almost everyone. It allowed >corporations to raise the money they needed to build the factories and >offices that kept us employed. Those jobs provided the money we needed to >buy records and concert tickets. > >In the 1980s, entrepreneurs made sure that new styles of music became >widely available and, in the most striking example of that process, rap >was transformed from a New York neighborhood phenomenon into an >international language of the greatest importance. > >The Worm Turns > >The 90s has seen a resumption of the full-scale war against music that >took place in the 50s. Once again, politicians, the media, the police, >district attorneys, and the church are attacking music, blaming it for >everything from drug use to the depressed state of the economy. > >But there is a very important difference today. The same music industry >that helped make our culture possible has become one of the foremost >obstacles to getting music heard. High Retail Prices.... Although total >manufacturing cost for a CD is around 50 cents per disc, the consumer pays >up to $20 for it. In a world where 3 billion people live in poverty >(including 80 million people in the U.S.), many music fans can no longer >afford to buy the music they love. > >Live Music.... Many concert tours now have average ticket prices of over >$100. Ticketmaster surcharges are now sometimes more than the price of a >concert ticket itself was only a few years ago. With millions of Americans >who used to enjoy a night out now living in poverty, many clubs have gone >out of business. Those that remain often force bands to pay for the >privilege of playing while fans suffer from high cover charges and drink >prices. Many clubs have become dependent on tobacco company promotion >money and, as a result, musicians must promote lung cancer in order to be >heard. > >Censorship.... The major record companies now place warning stickers on >many of the albums they release. This means a lot of music that does get >recorded can't be sold to teenagers or, in many cases, anyone. The major >record store chains all actively promote censorship. The record companies >all have in-house censorship committees that, among other things, forbid >criticism of the police. > >>From its beginnings in the mid-1980s, the current wave of music censorship >has been orchestrated from the highest levels of power, led by politicians >who receive strong music industry support. For example, in 1986 a secret >meeting was held in the Maryland countryside to discuss the danger music >presents to the ruling class. Sponsored by the Parents Music Resource >Center (an organization founded by current Second Lady Tipper Gore), >participants included the commandant of the Marine Corps, representatives >of foreign countries, most Democratic and Republican Presidential >candidates of the past twenty years, a former chairman of the Federal >Communications Commission, current vice-president Al Gore, a >vice-president of Merrill Lynch and a vice-president of Northwest >Airlines. The music industry has gladly accepted many of the demands of >the Parents Music Resource Center, such as placing warning labels on CDs >and cassettes. > >Radio.... Since the 1996 Telecom bill made it legal to put together giant >radio chains--including ownership of several stations in the same >city--radio has played a narrower and narrower span of music, focusing on >selling advertising to national corporate clients. Record companies now >openly pay hundreds of thousands of dollars to radio chains to get their >records played. This keeps anyone without a multi-million dollar slush >fund from being heard. > >Many people have turned to unlicensed ("pirate") radio as a way to >broadcast the music and news ignored by the big radio chains. The response >of the broadcast corporations has been to pressure the Federal >Communications Commission to shut down all pirates. Over the past few >years, the FCC has raided hundreds of unlicensed stations, often at >gunpoint. > >Technology.... There has been a steady stream of advances in music >technology since the end of World War II: stereophonic sound, eight-track, >cassette players, compact discs, DVD, etc. The music industry embraced and >promoted them all until the most important advance ever--the >Internet--came along. > >A lot of people all over the world use computer technology to listen to >and distribute music without paying for it. The response of the giant >music monopolies has been to hire people to search the web for >"unauthorized" use of music, to sic their lawyers on music-lovers who use >the Internet to distribute music or lyrics for free, to prevent artists >from putting their music up on the Internet for free, and to get >legislation passed to criminalize the free distribution of music. > >The Stock Market > >The role of the stock market has changed. Today, the only thing Wall >Street wants to hear from a company is how many jobs it's going to >eliminate. The more people who hit the street, the higher a company's >stock price goes. The increase in poverty and homelessness that results >undermines the distribution and enjoyment of music because it removes >millions of music consumers from the economy. > >The stock market is also used as a club to force record companies to >censor themselves. Politicians in several states who control pension funds >that own record company stock have threatened to dump that stock on the >market if music that's critical of society isn't eliminated. For instance, >every major record label passed on issuing a pro-choice compilation album >featuring several well-known musicians, saying that to release it would >cause them to be attacked in the stock market. > >What can replace the capitalist music industry? > >There was a time when it was almost impossible to even record music >without using a full-blown studio controlled by a record company. Today, >it's easy for any musician to make high-quality recordings and to >distribute the result via the Internet. In other words, we no longer need >the capitalist music industry. For anything. It's obsolete. It's >worthless. > >But the rapidly-growing music underground is only an indicator of what a >bright future culture can have. By itself, the underground is not that >future. We can't settle for simply finding ways to circumvent the >capitalist music industry while most musicians remain in poverty and the >attacks against the music underground continue in the form of lawsuits, >raids, and punitive legislation. That is a losing strategy. > >The League of Revolutionaries for a New America (LRNA) proposes that we >turn the music underground into an overground of unlimited musical >creation and enjoyment. We already have the capability to guarantee the >basis for the full creativity of every human being: Food, shelter, medical >care, education, and 24 hour a day access to all the tools anyone needs >for producing music. > >It is computer technology that makes the current music underground >possible and modern technology also produces an abundance of food, >shelter, medicine, and, of course, musical instruments. We simply need to >take music and the other essential elements of life out of the hands of >the capitalists and place them in the hands of the public. By removing the >barriers of the music industry, of the stock market, and of capitalism >itself, what naturally wants to happen will be able to happen. > >The result will be that everyone who wants to create music will be able >to. Musicians will be able to be heard by anyone on earth who wants to >listen. They won't have to work at degrading day jobs. Music and other >forms of culture will finally be free to fully reflect and uplift the >human spirit as part of a cooperative society that nurtures humanity every >step of the way. > >- -- > >The entire contents of Music and Revolution 3 can be found at on the >League of Revolutionaries for a New America web site at: > >http://wwwlrna.org/league/mr/mr3.html > >Send articles from Music & Revolution via email to everyone you think >would be interested. > >League of Revolutionaries for a New America >P.O. Box 477113 >Chicago, IL 60647 >(773) 486-0028 >E-mail xxxxxx@xxx.xxx --------___----__----^^^-----__^^^^--- No Scarves !!! No Kids !!! 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