How Music Can Provide Solace and Resilience after Devastating Fires and Unnerving Politics
Music and Politics Come Together for a Major Course Correction for Both (and to Obliterate the Blatant Pursuit of American Kleptocracy)
The anecdotal consensus amongst those of us whose lives were profoundly influenced by the Beatles and the wealth of innovative music that followed concludes that much of our current contemporary hit music is disposable and a wasteland writ large, analogous to commodities with built-in obsolescence. Songs that become coverable copyrights have historically not been written by committee and are the foundation of a recording, not secondary to production values. Indeed, there is a de minimus percentage of new music to discover, with enough of a deep dive, deserving of wider recognition for simultaneously entertaining us and speaking to our psyche. The themes of most noteworthy songs espouse a purpose, the standouts inspire society. As for artistry, being able to sing impressively is not the only prerequisite. Nor is imitation. The music industry has largely been hibernating far past any excuse for rejuvenation. We are poking the bear from its interminable slumber.
The music industry “pundits” recognize the telltale signs of a business in relative freefall. Many regale us with bloviating excuses for failure of the streaming model that offer no consequential answers, and others present us with reductive analyses (e.g., Bifurcation Theory; Lean-in vs Lean-back — Passive listening; Sustaining Innovation vs Disruptive Innovation). The latter are often valid assessments, but tend to neglect the macro level, not connect the dots, and are generally fixated on micro pieces of the DSP streaming model’s financial inadequacies for creators. There is unquestionably an unresolved major problem largely caused by the inundation of these platforms of music by amateur “User Generated Content,” “Fake Artists” and “AI” that dilute royalty distribution for record companies and music publishers, and which should be allocated to a separate tier or disallowed. But this is only a part of the quandary. Rather than reinvigorate the music development model that propelled music in its mid to late 20th century renaissance, the corporate labels and publishers look to imitation of the most recent successes. The newest lemmings-like acquiescence to “The Flattening of Music” theory is a surrender to an expectation of pablum that is not inevitable. And distracting from the dysfunction by touting box office revenue as the solution for paltry royalty earnings defies reality for most artists. Then there is the industry’s newest incessant mantra that success comes with superfans, although that path remains so elusive to them that they have no understanding to impart about what motivates fans to become so enraptured. Need proof? Check out the convenient forthcoming DSP ploys built on new super tiers of questionable value for more subscription cost.
There is an uncomplicated, but mostly overlooked remedy when one recognizes the void that music has historically filled but now abdicates. Our current times are even more conducive to music for a purpose than were the challenging 60’s and ‘70’s when it so poignantly reflected our angst and inspired us to action. It indelibly touched us viscerally and intellectually, and manifested a sense of community and self-identification. It educated us and invited everybody in, including the lonely and disaffected in a manner that disabused them of their hopelessness. It spoke to and for us so intimately that it often defined us.
The potential for music to again communicate resoundingly just awaits its next messengers, and it’s sacrilege to not search for and embrace them. These are the authentic artists who become admired for character, not obligatory content in a useless competition for attention. If DSPs create a tier of songs with diverse societal purpose that derive from introspection and the relatable journey of evolving perspectives, fans will empathize, follow and become superfans, some of the clutter will be alleviated, and the labels will feed it. Need examples? Check out Rolling Stone’s recently published list of “Top 100 Best Protest Songs of All Time” (which might be better categorized as “Calls-To-Action”).
For context, and being among those whose home in Malibu was destroyed in this past January’s apocalyptical conflagrations in California, we extend our heartfelt gratitude to FireAid for its twin concerts benefiting all of us who were impacted. This was yet another demonstration of the power of music when it has a purpose, with the bonus of resurrecting some of the musical gems that remain relevant, perhaps even more so today (the more astute observers were reminded that ageism bias is all that is quashing the new music of legacy experts). The gathering of support was palpable and the beneficiary organizations are a diverse, meticulously vetted group of dedicated entities with much to offer. We encourage those artists who participated in the shows (and others) to stay visibly engaged with our plight (and other social good causes) in conjunction with the organization that most resonates with them and is actionable with the involvement of their fans. With consistent resolute action (especially to complement a single event), these altruistic activities will concurrently and reciprocally reward the artists with, dare we say, achieving the aspiration of a superfan club (defined as fans with elevated status resulting from sustained direct collaboration with their preferred artist on a social cause for which they share a passion).
Again, superfandom can only occur when there is a compelling mutual purpose to advocate together. Artists have credibility when they are genuinely empathetic. The corollary to politics is axiomatic and often evidence tangible desired results, with the caveat that there must be sustained engagement. The centerpieces are songs that metaphorically illuminate societal issues and energize the replacement of apathy with intervention.
One wonders whether the California fires could have been lessened if artists, through music that encouraged fans to join with them to rectify any of a number of tangential issues, had awakened the public to ensure that officials were identifying and mitigating potential problems. Similarly, what would have been the outcome of the 2024 election if the electorate was factually informed and sanguine? History reaffirms that politicians take notice and are influenced by their vocal constituencies, especially when a cause is galvanized by an empowering anthem. Businesses then also lend their support. These intersecting observations implore us to electrify the music community to transition from its dormancy into an animated circumvention of political complacency, fueled by the inertia of its fan bases.
We are presently experiencing a Potemkin Village dismantling of American democracy and its venerated institutions, with the pretext of reducing bloated government, but actually nothing more than knee-jerk regression.
The myriad examples of underlying self-serving, flouting the law, intimidation and mendacity include: The subversion of government by oligarchs and plutocrats (aspiring Kleptocrats) with no interest in the noblesse oblige demonstrated by some of their predecessors (the moral obligation of those of high birth, powerful social position, etc., to act with honor, kindliness, generosity, etc.) — a core American tenet that enables egalitarian potential; Incompetent sycophantic misfits and miscreants appointed to Cabinet and other powerful positions; the complete subjugation of a major political party and its craven willingness to disingenuously eschew its principles for fear of being primaried out of office; the disinformation, scare and retribution schemes; fomenting of cultural divisiveness and prejudice disguised as popularism, but in reality xenophobia and jingoism; usurping of cultural organizations (e.g., The Kennedy Center and the National Endowment of the Arts); the wanton dismantling of essential government programs and services; the abject disregard of far right hate, allowing for suspicion that there is support for its deleterious dogma and the extremism of the reactionary Project 2025, replacement theory, and reprehensible spewings of brain-dead neo-Nazis (e.g. Kanye West); an utterly incomprehensible foreign policy of obsequious capitulation to emulated authoritarian figures. And more, all of which we must vigorously oppose
There is a physiological reason that music stands alone as the most potent antidote to the doomed retrogressive policies now assaulting us. It can communicate succinctly and ubiquitously with riveting emotion energized by the profound effect of dopamine, the neurotransmitter released in the brain. By activating the reward pathway, evoking emotions, and stimulating cognitive processes, music can promote positive feelings, improve mood, and enhance well-being. It’s a game changer for the music industry and politics if deliberately cultivated.
Ultimately, the resurgence of the music industry will emanate from independent artists, labels and publishers who inherently exist to innovate and lead. Look to them for inventive productions infused with diverse cultural influence built upon inspired song foundations of social poignancy and resonating purpose (mental health would be a useful theme to explore right about now). Show these artists your fervent support at their local shows, and become their superfans.
Rather than despair in fraught times, we must stand strong against intimidation schemes, knowing that the present-day political aberration is inevitably transitory. Everyone who is eligible to vote must act on their responsibility to do so, protect the right, and encourage others. It is incumbent upon us to defeat the repudiation of our Constitution, and honor the values for which The Greatest Generation (and all veterans) served and too often sacrificed their lives.
The forthcoming midterm elections will be the firewall in stopping the march to autocracy, as we vanquish the politicians who choose fealty over country and bolster those like Illinois Governor JD Pritzker, Connecticut Senator Chris Murphy, and Maryland Congressman Jamie Raskin, all of whom unflinchingly epitomize the resistance. We are strategically building a grassroots coalition in association with artists and fans in each district to defeat members of congress who have proven their willingness to defend the indefensible, beginning with Riverside, San Bernardino and Los Angeles Counties in California, who came together with others so valiantly to fight the recent fires. We urge all to identify your local elected representatives in the comments section below to then connect with artists and their fans in a growing groundswell of public support for those who defend our Constitution, and in opposing the feckless lawmakers who will predictably betray their platform in a feeble attempt to retain their offices amidst an uprising of intense public backlash. For the disingeuous and spineless, it will be too little, too late.
Socially Driven Music was created as the industry’s de facto activist organization and consultancy with a mandate to facilitate advocacy for positive social change with the development of new socially conscious music, discovery of buried treasure, and the concomitant mission of improving the livelihoods of music creators with untapped distribution outlets and administrative transparency. It invites submissions of socially poignant music on its website with a description of the specific social cause alignment that it is envisioned to support. Fans and NGOs are also encouraged to identify those artists with whom they’d like to interact in furtherance of a positive cause, and it will make the introductions with the help of its consortium partners. Organizations like Indivisible.org exist to aggregate constituents in special interest groups that then interact with their local politicians for positive change. Socially Driven Music is the synergistic, potent catalyst for such activism.