Week 26
NB. F stands for Fears
Date: 28 June 2022
Motion: THF rock music was just a giant Ponzi scheme
Role: Deputy (gov.)
One cannot help thinking in seeing the poor and young rock musicians of today against the rich and old rock musicians of the past that they get compensated in different ways. Young musicians release studio albums in a steady stream and tour their country, continent and the world, but receive scant income for their hard work. Older musicians, conversely, may not release anything and may not tour, for their frail health, but still seem to have good standards of living and a classy car, educated children and house of their own. Could it be so that the small print has dictated this in some way?
I have come to the conclusion that maybe rock music is the most massive Ponzi scheme since Bernie Madoff’s risk-capital shenanigan. Let’s go back to the basic premise of a Ponzi (also sometimes called a pyramid): it’s an economic arrangement where the owner or the scheme and the early adopters benefit hugely. Later adopters and initiates may get even, but latest initiates give without getting any in return, because the Ponzi/pyramid scam folds when there are no newcomers anymore and it isn’t fueled by an internal bottom-top moneyflow. Could pop and rock music be just such a Ponzi?
My suspicion is that the rock business was set up so that record-company owners and the earliest rock stars would benefit from any latercomers. Agewise we are talking about the first few decades. We are roughly talking about the age before instrument manufacturing moved to Asia, before punk rockers and synthesizers. So, those standing to benefit would be musicians and record bosses in operation in the 50s, 60s and 70s. From the 80s increasingly onward, through the 90s, 00s and 10s, young musicians would stand to benefit less or nothing from their musical work. How could this be implemented legally in practise?
It Could Be a Bigger Share of Streaming
One of the great injustices of our time is that a young musician today cannot get much income if his or her song gets played a million times over the internet. Musicians on apps are treated like a bunch of hoodlums where the Top 10–100 get most income (the so-called pro rata model), while all contribute to the attraction of popular music. We do not know how old musicians get paid for their music on streaming apps, for theirs is there as well. Usually they do not discuss this aspect of the business side of their music. Old musicians seldom complain about their situation.
It Could Be a Retainer
There could be an intra-industry arrangement in place, where a record company paid a so-called retainer to an aging musician. This means that (s)he collects a monthly salary just for being around and available, without a work obligation, a little bit like a professor at a university. Conversely, there would not be such retainers available for young musicians, apart from record-company personnel and the best session musicians.
It Could Be a Shareholder Status
The third way to channel money old musicians’ way is to give them shares. I assume most record companies are LLCs or PLCs, which means that they have a share base and options that can be distributed to the inner circle, the chosen few. That could include old-hat musicians. Their payday would be in the form of dividends that record companies paid annually out of their profits to the shareholders; executives and top producers included.
Rock music was not designed for just two early generations that came of age in the 20th century. The offspring of rhythm & blues and country, folk & western arrived here to stay. While old musicians had often a superb altosoprano or contratenor singing voice and good songcrafting skills, newer musicians are great at collaborations, networking and the digital or technical aspects of music production. Young musicians of each decade have often had attractive, model-category looks. I would regard it as paramount that a good musician could still buy his Rolls-Royce in this day and age, were he a household and successful name. But, it won’t be like that if music business is a Ponzi scheme. It ceases to be based on merit.
Perustelu(t)/puolustelu(t): Spekulatiivinen aloite testaa hallituksen kykyä käyttää tietämystään tämän teollisuudenalan ahdingon luotaamisessa. I tiimin dynamona teen itse villeimmät spekulaatiot ja annan jonkin ajatuksentyngän tiimini partnerille, esim. kysymyksen siitä, kuinka tahallinen aloitteen väite on eli olisiko kyse (s)ala(n)liitosta. Jotta kieli ei jäisi keskelle suuta, aloitetta voi lähestyä hallituksen puolelta kahdella tapaa: musiikkibisneksen “asiantuntijat” yrittävät soveltaa tietämystään pyramidihuijausten maailmaan tai pyramidihuijausten “asiantuntijat” yrittävät soveltaa tietämystään musiikkibisneksen maailmaan.