Over the last two weeks, we've seen glimpses of various ways to make it in the music business, how it used to be and how it can be done today.
The old-school ways were on display at the Rock And Roll Hall Of Fame induction last Monday night in New York. The evening's centerpiece inductee, Madonna, made her way to fame and fortune by, shall we say, networking through the Big Apple dance music scene of the early-'80s and, then, morphing into a master of self-promotion and reinvention.
John Mellencamp was first marketed as a post-Bowie glam artist called Johnny Cougar but soon rejiggered his image as a heartland-bred spokesman for the common man. The Ventures only had two major hit singles, which bookended the decade of the '60s, but they sold large quantities of albums of guitar-driven instrumental rock in an era when the LP charts were dominated by Broadway cast albums, movie soundtracks, comedy albums, and non-rock "good music".
Leonard Cohen was a poet first and songwriter second who never tried to "make it" but whose songs became quite influential. And The Dave Clark 5 made it via Dave Clark's Hollywood-style looks and the band's spiffy onstage threads to become the first real challenge (in America, primarily) to The Beatles by one of the new breed of British bands. But times have changed and one can make it very quickly under the right circumstances.
The evening's non-performer inductees were the '70s Philly soul icons Kenny Gamble and Leon Huff and Gamble mentioned co-writing the Billy Paul mega-hit "Me And Mrs. Jones" and commented that there apparently was a "Me And Mrs. Jones"-type story brewing in New York that very night.
Indeed, the news had broken that afternoon of New York governor Elliot Spitzer's involvement as a customer with a high-price call-girl service. By midweek, the 21st century Christine Keeler at the center of the scandal turned out to be a 22 year old girl from an affluent New Jersey family and, like many girls her age, Ashley Alexandra Dupre (a.k.a. Kristen) has a MySpace page with two recordings by her.
They're pretty typical hip-hop/dance material and, after the page got millions of hits within a couple of days, the songs were moved to a pay download platform and were selling like, um, hotcakes by the weekend. One suspects, though, that Ms. Dupre's time as a hitmaker may be even shorter than her shelf life as a celebrity but, hey, so are those of most of the "winners" on American Idol. Heard much from Ruben Studdard or Taylor Hicks lately? Fantasia and Clay Aiken had to go to Broadway to keep their careers afloat. Even Kelly Clarkson is giving every indication that her career may have already peaked (take note, Carrie Underwood). But "Kristen", presumably, and the "Idol" winners show that the potential for having a short, forgettable career in the limelight is magnified in the A.D.D. world of 21st-century celebrityhood.
But, then, there's South By Southwest, the confluence of film and music festival and brainstorming conference that just concluded in Austin, Texas. SXSW, as it’s come to be known, began in 1987 as one of a number of indie rock showcases but is now one of the highest-profile examples of the 21st-century music industry. While there are certainly representatives at SXSW from the four mastodon mega-conglomerates that now house the major record companies, the vast majority of acts there, both young and old, represent the new alternatives for making it in music today.
The boomer audience knows about the recent success of Paul McCartney and of The Eagles with new albums marketed outside the normal channels (McCartney through Starbucks' Hear Music, The Eagles through Wal-Mart). But the new technology is, naturally, more the domain of young musicians. In the age of Pro Tools, it’s possible to make a professional-quality recording in one’s living room and, then, put the track up on MySpace and give it away free as a means of getting known. The track could well end up getting the attention of Internet and/or satellite radio or be placed into a commercial or a movie soundtrack.