Music Is Politics/Analysis: Difference between revisions
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The second point, which tends to spark much less disagreement, is the Telecommunications Act of 1996, which deregulated American radio and allowed companies like [[Clear Channel]] to consolidate radio. This made it tougher to appeal to a niche, as commercial music had to be homogenized for an audience of 300 million Americans.
Younger artists are very susceptible to this trope. This is probably one of the reasons labels prefer younger artists: they're less well-versed in the ways of the business and easier to control. And it's likely the reason the industry focus on younger listeners. Older music buyers/listeners ''already know'' what they like and don't like, where as younger listeners [[Gullible Lemmings|can be
It should also be noted that record labels aren't exactly what they use to be, they're more like corporations now. And there's only 4 major music companies: Sony Music Entertainment, EMI Group, Warner Music Group, and Universal Music Group. Then there's the fact A&R doesn't do much artist development anymore, or help create long careers; For instance if you fail to garner high six figure sales in the first week or two, you're usually dropped like a hot potato. Records companies want immediate results, they have no time to actually build, and grow artists' careers anymore. Some argue that the way the industry is set up now legendary artists like [[Stevie Wonder]] wouldn't have a snowball's chance in hell of getting signed today, let alone have a fledgling career. Lastly, labels don't help people record albums anymore: they only sign people who have already recorded professionally-done albums and release them. This is not impossible--[[Jonathan Coulton]] does it in his basement—but you still need amounts of of time, ability and money that a lot of people would find prohibitive.
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