Songwriters and Music Artists are the OG ‘voices of America’
Is Music Next Up for Censorship after Voice of America, NEA, Books, etc? The removal of books from libraries, restrictions on education curriculum, slashing of funding for the National Endowment of the Arts (NEA), National Endowment for the Humanities (NEH), Institute of Museum and Library Services (ILMS), National Public Radio (NPR) and Public Broadcasting System (PBS), usurping the cultural programming of the Kennedy Center, firing of the Registrar of the US Copyright Office, the Department of Education being demolished by someone who cannot distinguish between AI and A-1 Sauce. Does this portend a much more plausible ruinous censorship of music than Tipper Gore’s much derided attempt in the 1980s?
“Does this portend a much more plausible ruinous censorship of music than Tipper Gore’s much derided attempt in the 1980s?”
“Voice of America,” the longstanding radio broadcast espousing democracy and heard around the world is being eviscerated by Trump’s administration based upon their obtuse, conflated reality that incomprehensibly concludes that this essential endeavor to educate about American values to repressed countries undermines their biased interpretation of conservatism. One of the most egregious examples of our cultural history being bastardized by Trump is the unconscionable appointment of conspiracist Kari Lake to oversee and dismantle this organization. Just as reprehensible is Lake’s prioritization of content from far-right propagandist broadcaster OAN (facetiously named One America Network), the pathetic purveyor of misinformation and disinformation which had allegedly been financially supported by AT&T (dump the stock if still true), and challenging Fox for the mantle of abject stupidity.
Music is the spirit of America. The appropriate and effective pushback must continue to reverberate from the same sense of responsibility stirred in us by Woody Guthrie, Muddy Waters, Nina Simone, Dylan, Paul Simon, Springsteen, Marvin Gaye and so many others. Songwriters and music artists are the OG essential ‘voices of America’ and we expect those who remain active to awaken from their social hibernation to animate this symbolism and make themselves heard. One of music’s highest imperatives is to fill us with inspiration, hope and impetus at such times such as now when we seek the comfort and encouragement of community. We look to music to once again deliver the anthemic centerpieces of transformative peaceful protest, fueling definitive resistance to the wrong that most of us recognize – in this case, the indefensible, meandering policy of a ramshackle administration genuflecting to one man’s tenuous pseudo-ideology that is more ephemeral than principled – a malignancy in the body politic that can’t be allowed to further metastatize by the inaction of feckless partisan sycophants with misplaced fealty.
VOA is just one of the latest victims of Trump’s ignorantly malicious and ultimately doomed crusade that would remake America into some form of reactionary dystopia designed to benefit himself and the “broligarchy.” On a day when the Register of Copyrights and Director in the U.S. Copyright Office is fired reportedly for issuing a report about the dangers and inequities of AI resulting from data scraping thousands of songs without properly licensing them and then arguing “Fair Use,” we must support robust debates aimed at solutions. When the music business is of one voice, its protestations can ironically become the loudest voice in blocking this brazen, big tech-driven money-grab made possible by this administration’s passive acceptance of the opinions of its biggest campaign donor. Fortunately, music is uniquely suited to send a resolute competitive message. It can generate public support for its counter-offensive to the stifling of the VOA with call-to-action metaphorical music, in this case specifically built around samples of the classics for emphasis. This will motivate the deep pocketed “geniuses” who paid ludicrous multiples to acquire so many catalogues of classic songs, to join in taking a stand against the violation of the very copyrights that they have a fiduciary duty to monetize and protect. These nascent copyright holders will want to safeguard their investments against a possible AI-imposed devaluation with an energy that far exceeds the influence of the industry’s powerless professional lobbyists who have only an account to lose.
This administration’s lack of understanding and/or overt mindless disdain for this country’s fundamental social programs, essential sciences and research is further evidenced by its systematic dismissal of experts being replaced with the utterly unqualified, and the slashing of grants for life-altering medical research. The science contrarian oddball, RFK Jr., controlling the Department of Health and Human Services, or a Surgeon General without a medical license, would have been totally unimaginable in the past for good reason. The public has the power to reverse course, and music can be an extraordinary propellant. Combining this subject of health with the aforementioned AI argument will deliver a musical knockout punch to blithe acceptance.
Various hypotheses by other thinkers attempt to illustrate the correlation of the visual art and music universes at times when both were laid dormant, left uninspired by pervasive social malaise. It’s interesting to ponder, but it is even more illuminating to connect the dots and consider how these creative arts once complemented each other during upheaval, and why we can anticipate a modern day renaissance, a reaction to despair when the arts will complement each other again, rising like a powerful, proverbial, counter-culture phoenix.
Music experimentation and evolution is still occurring and discoverable, but demonstrable only with a very deep dive. It is unfortunately still just a small fraction of recordings in a vast wasteland of current contemporary music. For music to recapture its cultural significance, it must ignite a visceral, emotional response. It must speak to and for us about any of our shared cares and experiences, as it once did.
The reasons for lack of meaningful music transcends the common rationalizations and are largely related to the myopia of the corporate music industry (labels and publishers) which has rendered them irrelevant. This is the result of a lemmings mentality, both creatively and administratively, as it respectively forgoes artist development and obfuscates corporate greed that should be redirected to creating an equitable streaming model for artists and songwriters. Managers of music artists who are not encouraging music for a purpose at this societal inflection point are equally negligent. Given that music is the most powerful means of communication for the expression of ideas and emotion en masse, it’s the responsibility of this art form to strive for its most impactful potential.
Let’s dispense with another common, fallacious explanation for intellectually bankrupt contemporary music. Much has been written contrasting supposedly different sensibilities between generations, with Boomers, Gen X, Y, Z and Alpha drawing comparisons of how their socio-political environments shape their development and priorities which are reflected in art, music and fashion. Examples are cited of periods of jaded music that correspond to times of civil disruption, social apathy, or worry about the inevitability of technology upending careers. But the converse has more often been evident when the arts influence and impel us to take action during challenging times, such as we face today when individual ambition conflicts with truth and decency. And be disabused of the misconception that celebrities aren’t effective proponents of change. They can move the needle gauge when there is personal emotional investment based upon factual knowledge of the subject and commitment to being actively and visibly involved. The current opportunities could not be more obvious.
There is a common thread between American generations that renders them more similar than disparate. It’s called democracy. Generations that have been labeled and dismissed as consumed by self-interest, or the superficial trappings of algorithms, or are deemed so disenfranchised as to be indifferent, will prove those who perpetuate these categorizations wildly misinformed. There is a flawed notion that today’s tsunami of information is so overwhelming as to preclude focus on much of anything, nevermind expecting new music to motivate a resurgence of actionable thoughts. If Tommy Smothers were alive to dispel this hopelessness, he’d likely parody the misfits of the current administration and remind us that his satire broke through to the zeitgeist at another difficult moment of major distraction in American history.
Meanwhile, once again, the corporate music industry is consumed in a futile survival struggle of its own making best described as the battle of the luddites, oblivious to the rapidly encroaching end of the protracted demise of the outdated record label and music publisher model. The visionary expectation is that, unlike its past confrontations with evolution and technology, time will not be kind and their fate is sealed. Where they once embodied a zeal for the discovery and development of talent, thoughtful nurturing of an identity, and a steadfast commitment to promotion, marketing and record distribution, those functions have largely evaporated and are supplanted by the chasing of would-be musicians who have demonstrated traction on various Internet platforms. These corporations serve very little purpose anymore (literally and especially figuratively) in the age of online distribution, emerging models of user generated content exposure now being adopted by established acts, and AI disrupting the status quo. There is also every indication that the relationship dynamic between the music business and creators will invert. Record labels and music publishers will morph into a “music facilitator” role to guide artists and songwriters in turn for a commission much like talent agents, with ownership inuring to the originators. In cases of benefactor investment for equity participation, limited royalty share may occur, but equity – if assigned – will be incrementally returned to the writers once the publishers’ and labels’ contributions to success is exhausted. Songs, without which contemporary music doesn’t exist, will be rewarded equally with the labels’ previous share of royalties, and with songwriters retaining all but administration percentages.
There is optimism in the belief that independent labels and artists will lead the industry into modernity, albeit revamped for optimization, and continue to innovate, both creatively and in moving from anachronistic business models into methods that will return professional music creation to a potentially lucrative occupation. As we venture into a new social paradigm, it becomes increasingly clear that the mindless adoration of artists will recast to a respectful interactive relationship incentivized by shared concerns and catalyzed by songs of social impact. This is how fans become super fans. The self-righteous indignant rejection of sponsorship that was once meant to signal some bullshit statement of integrity has largely succumbed to a philosophical turnabout of artist endorsed products that now become as de rigueur as concert merch. Musicians will explore diverse themes affecting us all from the perspective of their heritages and cultures in much the way that Anthony Bourdain used food as his springboard into discovery of international influences. Businesses with products from different locales that illustrate shared values with artists and song stories will become patrons, tantamount to the old days of noblesse oblige benefactors, to bring another revenue source to music creators.
The plight of VOA is emblematic of an ill-conceived strategy (heavily influenced by Project 2025 and a grifter who will flout the law when intimidation fails) to constrain free thought and free speech with flagrant malfeasance and disregard for the U.S. Constitution’s First Amendment. Until VOA can again speak for itself, who better than songwriters and music artists to speak truth to power, to identify the causes that beckon their personal empathy and compel them to aggregate and rally fan bases for social impact purposes? Together, we will peacefully, always peacefully, ensure that our local politicians understand the gravity facing us all, our demand for their partnership in activism to preserve our democracy, and our promise that they will otherwise be voted out post haste.
#Music, #MusicBusiness, #Politics, #Censorship, #Activism, #Protest