The Mafia/ The Yakuza/ Real Criminals Have More Love/ Honour/ More Humanity & Integrity Than 98% Of So Called ''Modern Music [ creepy ] Industry" - Here Is Why .
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The mafia or criminal underworld might surprisingly seem to exhibit more honor among its members than the modern music industry. In the music world, especially in its non-creative sectors, it often feels as if everyone is out to exploit, deceive, or undermine the intelligence and integrity of artists.
The music industry has notoriously earned a reputation for its exploitative practices, particularly in areas such as contracts, royalties, and the general treatment of artists. Terms like "slave deals" are not just hyperbole; they vividly capture the nature of certain music contracts that shackle artists to unfavorable terms, severely curtailing their creative freedom and limiting their financial gains. Although it might seem overly simplistic to draw comparisons between the music industry and the criminal underworld, the analogy is far from far-fetched.
At first glance, the music industry and the criminal underworld operate on vastly different principles, with distinct repercussions for breaches of trust. In the so-called criminal underworld—which, upon closer inspection, the entertainment business might not be far removed from—unfair dealings or breaches of trust can lead to severe, often violent, consequences. This creates a brutal form of "honor among thieves," where certain codes are strictly enforced because the stakes are literally life and death.
Conversely, the music industry operates within the boundaries of legal frameworks, which lend it a veneer of legitimacy and regulation. However, this world has long been home to fascinating characters engaged in shady business dealings. Particularly during the 20th century, many of these dealings were intricately connected to the Italian and Jewish Mafia, who viewed the music business as an extension of their broader criminal enterprises. Consider the following points:
All-Cash Transactions: Business dealings in the music industry were often conducted in cash, including payments for jukebox plays, nightclub entry fees, drinks, vinyl records, and even occasional artist payments. This cash-based system allowed mobsters to hide profits from tax authorities and launder money from other illegal activities.
Consistent Revenue Streams: Just as rental properties or annuities provide regular income, master recordings and music publishing rights generate ongoing revenue. For the Mafia, these assets offered a means to invest and grow capital accumulated from their other ventures.
Cross-Promotion Opportunities: Music-related businesses, such as nightclubs and record stores, served as fronts for other Mafia-controlled enterprises. The Mob could supply various services and products, including real estate, construction, food and beverages, tableware, and waste management, thereby weaving their illicit operations into the fabric of legitimate businesses.
Counterfeiting Ease: Physical formats like vinyl records and cassette tapes were relatively simple to counterfeit. Bootleggers could produce fake records and sell them for cash at competitive prices, creating a profitable illicit revenue stream.
It’s not implausible to suggest that in today’s digital streaming world, the same criminal elements are behind some of these digital music companies, making it easier to steal from artists and launder vast amounts of money.
Take, for instance, Meyer Lansky—one of the most successful organized criminals in history. He owned an international gambling empire and had significant investments in music jukeboxes. It was rumored that he controlled every Wurlitzer jukebox in the New York area. Wurlitzer’s vice president, Milton J. Hamergren, even testified before Congress, acknowledging that the company was aware Lansky and his associates were involved and that people may have been killed to secure jukebox distribution deals.
James Mishara’s 2020 article sheds light on the record industry's "chicken-and-egg" problem when promoting new albums. Over time, this problem gave rise to a culture of bribery and payola, where record labels paid off radio stations to ensure their artists received airplay. Although the U.S. government made various attempts to crack down on payola, these efforts only served to strengthen a network of middlemen between the record labels and radio stations. By the 1980s, independent promotion for records was estimated to be a $60 million to $80 million per year business.
Today, in the opaque digital age, common sense—an oxymoron in many places—suggests that digital equivalents of Meyer Lansky are in control of the music industry. With few exceptions, this is likely to continue, given the unregulated "wild west" nature of our current digital age.
Parallels between the modern digital streaming music industry and old-school organized crime:
Monopoly and Control: Just as Mafia groups sought to dominate entire industries, major streaming platforms today exert near-monopolistic control over the distribution and visibility of music.
Opaque Revenue Distribution: Similar to how the Mafia obscured financial dealings, the streaming industry often lacks transparency in revenue distribution, leaving many artists underpaid and unaware of their actual earnings.
Gatekeeping Algorithms: Like Mafia gatekeepers controlling who could do business, streaming platforms use algorithms to determine which artists get exposure, often favoring those with connections or investments.
Exploitation of Labor: Just as the Mafia exploited workers, streaming services exploit artists by paying minimal royalties while profiting significantly from their work.
Pay-to-Play Practices: Similar to organized crime’s requirement for kickbacks or protection money, some digital platforms favor artists or labels who pay for promotion, influencing playlist placements and visibility.
Consolidation of Power: Old-school Mafia organizations centralized power within families; similarly, a few large companies dominate the streaming industry, controlling vast catalogs and artist rights.
Manipulation of Data: The Mafia often manipulated records to hide true earnings; likewise, there are concerns about manipulated streaming numbers and fake plays in the digital world to boost revenue or exposure.
Pressuring Competition: Just as the Mafia pushed out or absorbed competition, major streaming platforms can pressure smaller competitors or independent artists, making it difficult for them to survive without conforming to the dominant players’ terms.
Payola Resemblance: The pay-for-play system in streaming echoes the old payola schemes in radio, where money changed hands to ensure airplay or favorable treatment, much like Mafia bribery.
Control over Public Perception: Just as the Mafia influenced public perception and media, streaming platforms have significant control over what music becomes popular, shaping public taste and trends.
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