Ongoing History of New Music – Episode: Theories, Thoughts, and Half-Baked Ideas

Release Date: January 8, 2025
Host: Alan Cross
Podcast by Curiouscast

Introduction

In this thought-provoking episode of Ongoing History of New Music, host Alan Cross delves into a series of theories, musings, and partially formed ideas that explore the evolving landscape of the music industry. Titled "Theories, Thoughts, and Half-Baked Ideas," the episode invites listeners to engage in an interactive dialogue, providing insights that span from the golden age of alternative rock to the disruptive forces of streaming in the modern era.

Theory 1: Grunge Ruined Alternative Rock

Alan Cross opens the discussion with a compelling theory: grunge destroyed the diversity of alternative rock. Reflecting on his early days in alt-rock radio starting in 1986, Cross reminisces about the vibrant and eclectic nature of alternative music during the 1980s.

"The 80s were a fascinating time for alt rock. People involved in the scene, from the bands and the managers to the labels and the DJs to the record stores and fans, reveled in their outsiderness."
— Alan Cross [03:15]

Key Points:

• Diversity in the 80s: Alternative rock stations like CFNY in Toronto showcased a wide array of genres, including technopomp, industrial, punk, early hip-hop, goth, and British indie remixes. This diversity was driven by localized playlists tailored to specific audiences, resulting in unique sounds across different regions.

• Rise of Grunge: The early 1990s saw grunge emerge as a dominant force with bands like Nirvana, Pearl Jam, Soundgarden, and Alice in Chains. This shift led to a homogenization of alternative rock, prioritizing hard guitar riffs and aggressive vocals.

"Grunge was so big and so popular that it effectively became alt rock."
— Alan Cross [13:45]

• Impact on Radio and Industry: As grunge gained popularity, alternative rock radio began to favor guitar-centric sounds to boost ratings and revenues, sidelining the diverse range that previously defined the genre. This move towards a more uniform sound limited the variety that listeners once enjoyed.

• Consequences: The dominance of grunge not only constrained the musical diversity within alternative rock but also influenced the industry's approach to promoting new artists, favoring established grunge bands and making it challenging for innovative sounds to gain traction.

Theory 2: The Struggle to Develop Superstar Acts in the 21st Century

Cross transitions to a critical examination of the modern music industry's ability to cultivate superstar acts.

"Selling pieces of plastic went by the wayside. Record stores started to close. And when streaming took hold in the 2000s, all the power swung away from the star-making machinery behind the popular song to the individual."
— Alan Cross [17:30]

Key Points:

• Legacy of Older Bands: Iconic bands from the 80s and 90s continue to dominate airplay and fanbases, making it difficult for newer artists with fresh sounds to emerge and achieve similar levels of popularity.

• Shift to Streaming: The rise of streaming platforms has democratized music consumption but also fragmented listeners' attention across millions of songs. This shift diminishes the impact of traditional gatekeepers like record labels and radio stations, which previously played pivotal roles in promoting and establishing superstars.

• Challenges for New Artists: The sheer volume of available music means that new artists must compete not only with their contemporaries but also with the entire legacy of music history. Achieving the consensus and widespread appeal necessary to fill arenas has become increasingly rare.

"Try to make a list of acts that have emerged this century capable of filling an arena. There aren't that many."
— Alan Cross [20:15]

Theory 3: Streaming is Ruining Music

One of the most critical theories discussed revolves around the transformative and often detrimental effects of streaming on music creation and consumption.

"Streaming is not about possession. It's about access and convenience. And this has resulted in some very different interactions with music."
— Alan Cross [22:10]

Key Points:

• Economic Impact on Artists: Streaming platforms compensate artists based on play counts, with payments typically starting after 30 seconds of listening. This model incentivizes shorter songs and immediate hooks to prevent listeners from skipping, leading to a decline in song lengths.

  "In 2000, the average length of a song on The Billboard Hot 100 was four minutes and none were under two and a half minutes. Today, the average song on the same chart is 3 minutes and 30 seconds."
  — Alan Cross [23:40]

• Alteration of Song Structure: To adapt to the streaming economy, songwriters are crafting tracks that capture attention within the first few seconds, often at the expense of more complex and lengthy compositions.

• Decline of Album Culture: The traditional concept of albums as cohesive works is being overshadowed by the emphasis on individual singles. Streaming encourages a "drip" of continuous single releases to maintain listener engagement, mirroring pre-album-era practices from before 1965.

  "With streaming, it's all about individual songs, specifically singles, album tracks. They don't get much love at all. So why bother recording albums?"
  — Alan Cross [25:00]

Theory 4: The Vinyl Resurrection and Its Future

Cross explores the resurgence of vinyl records, attributing it to strategic efforts by record store owners and special events like Record Store Day.

Key Points:

• Origins of Vinyl Revival: Inspired by Comic Book Day, Baltimore-based independent record stores initiated Record Store Day in 2008 to boost sales and engagement, leading to a significant increase in vinyl purchases globally.

• Market Surge: Vinyl sales experienced double-digit growth annually, resurrecting pressing plants and encouraging new manufacturers to enter the market.

• Challenges Ahead: Despite its popularity, the vinyl industry's sustainability is in question due to:

  • Pricing Issues: Record labels have inflated vinyl prices, making them less accessible.

  • Supply Constraints: Events like the 2020 California plant fire severely disrupted production, highlighting vulnerabilities in vinyl manufacturing.

  • Impact of COVID-19: The pandemic led to the closure of many record stores, both new and used, threatening the continued growth of vinyl.

    "In 2020, the dollar value of vinyl sold exceeded that of CDs in the United States. That hadn't happened since 1986."
    — Alan Cross [29:50]

Half-Baked Idea: Paul Williams and the Origins of Goth Music

Towards the episode's conclusion, Cross presents a speculative and partially formed idea linking songwriter Paul Williams to the genesis of goth music.

"Is it possible that the guy who wrote the 'Rainbow Connection' for Kermit the Frog and the Muppets, not to mention the co-writer of the super sappy 'We've Only Just Begun' for the Carpenters, invented goth music?"
— Alan Cross [30:10]

Key Points:

• Phantom of the Paradise: In the 1974 film, Williams played a character pivotal to a fictional rock opera that blended horror, science fiction, and the macabre, elements central to goth aesthetics.

• Proto-Goth Influence: The inclusion of a band performing in corpse paint within the movie suggests an early proto-goth visual and musical style predating the formal emergence of goth bands like Bauhaus in the late 1970s.

• Cultural Impact in Winnipeg: Despite the film's overall lack of success, it became a cult classic in Winnipeg, deeply influencing the local music scene and solidifying its place in the city's musical DNA.

Conclusion

Alan Cross wraps up the episode by inviting listeners to engage with these theories, encouraging peer review and dialogue to further refine these ideas. He emphasizes the importance of understanding the shifts within the music industry and how they influence both creators and consumers.

"Let me bounce a few of these things off you and you can tell me if I'm onto something or if I'm off base or if I've completely lost the plot."
— Alan Cross [32:30]

Listeners are encouraged to continue the conversation through various platforms, including social media and the podcast's website, fostering a community of music enthusiasts eager to explore the ongoing evolution of new music.

Notable Quotes:

• "Grunge was so big and so popular that it effectively became alt rock."
  — Alan Cross [13:45]

• "Streaming is not about possession. It's about access and convenience. And this has resulted in some very different interactions with music."
  — Alan Cross [22:10]

• "In 2020, the dollar value of vinyl sold exceeded that of CDs in the United States. That hadn't happened since 1986."
  — Alan Cross [29:50]

• "Let me bounce a few of these things off you and you can tell me if I'm onto something or if I'm off base or if I've completely lost the plot."
  — Alan Cross [32:30]

This episode of Ongoing History of New Music offers a deep dive into critical analyses of the music industry's past and present, providing listeners with a rich tapestry of insights and provoking thoughtful conversations about the future of music.