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We weren't a glam band. We had to put on that kind of stuff to play the clubs. -Rex Brown
Every music-formatted radio station, both commercial and non-commercial, has a Music Director and Program Director. The Music Director (MD) is the main contact for a record label’s Promo Rep. The Music Director’s immediate boss is usually the station’s Program Director. The PD is responsible for everything that goes out over the air and reports directly to the station’s General Manager. These General Managers (GMs) are then, in turn, responsible for the entire operation of a station and report directly to the owners of the station. www.musicbizacademy.com...
Pearl Jam had never been more popular than they were in early 1994. Armed with that sense of invincibility, the Seattle band set about taking on a concert industry behemoth in Ticketmaster.
Pearl Jam charged that Ticketmaster, which in 1991 gobbled up its principal competitor in Ticketron, had effectively created a monopoly — and thus could pile on whatever it wanted in additional service fees, driving up the price for concerts. Pearl Jam wanted to charge no more than $18.50 for tickets in ’94, with service fees of no more than $1.80. Ticketmaster balked, saying that it needed at least $2 in fees simply to cover its own costs.
Eddie Vedder and company weren’t just paying lip service: They hired the Manhattan-based law firm Sullivan and Cromwell, and on May 6, 1994, they filed an official complaint with the Justice Department, leading to testimony from bassist Jeff Ament and guitarist Stone Gossard before Congress. Ticketmaster’s CEO, Fred Rosen, shot back, “If Pearl Jam wants to play for free, we’ll be happy to distribute their tickets for free.” Time magazine referred to the anti-trust-focused legal battle as “Rock ‘n’ Roll’s Holy War.”
Pearl Jam ended up skipping a summer tour that year as the battle raged — no small thing, considering the celebrated reception the group’s two most recent albums (1991’s Ten and 1993’s Vs.) had received. They tried, mostly for naught, to book into venues that weren’t associated with Ticketmaster.
originally posted by: IgnoranceIsntBlisss
a reply to: Edumakated
Okay, so they dont keep you from doing local shows, and having a local following. They just keep you off the radio, off the TV and off the charts. That's called SELL-OUT OR CENSORSHIP, especially the part where if you're music doesn't fit the mind numbing mold, odds are you'll never be given the chance to even sell out. The only 2 examples outside of this dictation would be System of a Down, and Rage Against The Machine, which I call blow off valves. All the rest is mind numbingly pointless. I have endless examples, and I dont even listen to or watch the 'damn thing'.
Fear Factory is one easy example that comes to mind.
originally posted by: Krazysh0t
a reply to: IgnoranceIsntBlisss
People still listen to the radio? I have tons of gigs of music (90 some percent of which you'd never hear on the radio) and I can put that whole list on shuffle and get weeks of music without rehearing a song. If I don't have access to that, I have access to my phone which has internet radio stations where I can literally design my own stations to play what I want to hear. Why are you still listening to the radio?
And there it is: the corporate radio big wigs decide for us what is "pop" (popular).
They all have the same structure: Verse, Chorus, Verse, Chorus, Verse, Chorus. In the world of Hip hop they have a far less euphemistic word for "Chorus"... they call it the "Hooks". And for good reason: it's what gets you hooked (the model itself, not the content).
originally posted by: introvert
Have you ever studied music theory? It varies from genre to genre, but certain theories or progressions are popular, or more appealing to the ear.