December 27th, 2011 
Admin Silly Me
With the above in mind, here’s my theory and the important points of my pitch:
Record labels invest in genuinely creative acts (like Pink Floyd and The Doors) who produce top quality products, which then generate billions of dollars. This kind of music becomes the industry standard for the Rock genre as well as for generations of Rock fans.
The aforementioned “standards” so simply generates cash year-after-year, that the music business has the capacity to focus on developing new artists. Even so, it rarely operates outside the proven revenue generators of the past.
In the 80′s, industry returns skyrocket when formats change from LP to CD. The lesson to the executives? “The far more I sit back and relax, the more dollars I make!”
Next, key labels get fat and lazy, like well-fed pigeons in a park. They forget their core A & R values and focus only on the straightforward, short-term money. In part, they accomplish this by spending money on advertising and advertising (Keep in mind Vanilla Ice, Millie Vanilli and CMC Music Factory?) It was less difficult for the organization to pedal the junk they already had and jam it down the throat of the consumer. Creatively speaking, they had been only interested in music that was cheaply produced.
In the meantime, the industry ignores bands like Dave Matthews and Phish. These bands generate millions of dollars for live performances–money that bypasses the record organization and goes directly into pockets of the artists.
This “game change” of advertising music “product” and producing cheap music may work for a while, but it will never exceed the sales of music based on the talent and cultivation of musicians and songwriters like Dylan, Elvis, Beatles, U2, Eagles, AC/DC, and other standard artists.
This new process also stiff-arms the 30 and over audience, who’ve since found comfort in the “new” country music.
Hey, but I’m the guy with no organization background. Silly me.