Steaks and Snowtires

As a music industry vet, I am ambivalent about what we euphemistically call “independent promotion.”
Before I entered the business, “payola” meant bribery. After a few years in it, the money my companies paid to indies (read: “middlemen”) and the gifts we gave to DJs were simply the cost of doing business.
And here’s the funny thing about Spitzer’s current witch hunt, and all payola investigations. Nobody in the business itself is ever really outraged. Not even the artists, who often scream when they’re not getting enough indie promotion. It’s only people outside the business who express shock and dismay. As if removing indie promotion would completely wipe Britanny Spears and Celine Dion from the airwaves.
In hip-hop, it used to be about what a DJ liked to play. In the late 80s and early 90s, the mix shows seemed to be the last bastion of purity in all of radio. That ended quickly once programmers started relying heavily on the advice of their rap jocks, using the mix-shows as a proving ground for new records.
Majors began throwing money at mix-show jocks for many records that they probably would have played anyway. They became used to taking “favors” for playing even the records that they liked. So when it came time for them to play yours, you could get a few spins on the strength, or you could pay their side company to do some “street promotion” and get some real support.
For a good record to which you’ve given a year of your life, it was a no-brainer.
An excerpt from an old diary:
“At the local station, XXXX was no longer the rap attack champion. But on the same day we went down to defeat there, we won for the first time at the station across town. Keeping XXXX champion there, however, involved more than just getting all my friends to call the station at 8pm. Every day I’d call the station and ask, ‘Did we win?’ And the answer would be, ‘You didn’t, but you did.’ Soon, I was buying car stereo systems and rims and getting windows tinted and booking plane flights for people I didn’t even know.”



5 Comments:
It's rather humorus how the industry set the precedent for years and years for what has ultimately developed that they currently fear. They created the monster and will cry now because they fear being eaten. Ha ha.
i guess this means J-Lo really is wack...
sup dan, nice comments
or Angie Martinez is really garbage...
The problem seems to be that there are these established DJs who are more than willing to take money to play shit, and there are these major labels more than willing to pay them. It just kind of exists as a phenomenon. Minor labels can't afford to pay and minor DJs wouldn't get offered the perks so it only exists at the top level right?
I've never liked the whole culture of "free shit" in music. I don't even like being on labels' record mailing lists. Free shit just makes you feel obliged to play/review/listen to stuff that doesn't warrant it.
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