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Fallen Kingmaker: How Radio Gambled With BTS, Lost & Hopes Nobody Noticed (Part III)
If you haven't read Parts I and II, you should probably do that before getting into this final thread in the series:
https://twitter.com/sweetbtstea/status/1246637084061941761 https://twitter.com/sweetbtstea/status/1247721230859452421
https://twitter.com/sweetbtstea/status/1246637084061941761 https://twitter.com/sweetbtstea/status/1247721230859452421
In this final section, I cover the underbelly of US radio, factors that are shameful and yet somehow enduring, and could certainly play some role in how BTS and similar artists get treated by the powers that be in that industry.
I think many of us have already drawn the conclusion that much of the sorry treatment toward BTS boils down to the fact that the American music industry remains a dirty one.
Indeed, if Korea's idol industry is dark, then America's own scene can only be described as Vantablack.
Indeed, if Korea's idol industry is dark, then America's own scene can only be described as Vantablack.
ARMYs gave the benefit of the doubt because many of us didn't know any better or were naively optimistic. Between p@yola and prejudice, American radio has famously struggled to do right by music listeners and artists alike for decades.
Part VI. Ungreased Wheels Don't Turn
Previously, I wrote about the "golden age of radio." It's accepted that it spanned through the 1930s and 1940s, petering off in the 1950s. https://twitter.com/sweetbtstea/status/1246641475791794178
Previously, I wrote about the "golden age of radio." It's accepted that it spanned through the 1930s and 1940s, petering off in the 1950s. https://twitter.com/sweetbtstea/status/1246641475791794178
What l previously failed to mention is one reason for the medium's decline was the series of federal hearings launched at the top of the 1960s.
https://web.archive.org/web/20100307190358/https://www.history.com/this-day-in-history/the-payola-scandal-heats-up
https://web.archive.org/web/20100307190358/https://www.history.com/this-day-in-history/the-payola-scandal-heats-up
It came out that many songs only became hits because labels spent enough money to get radio spins.
For instance, a radio DJ named Wesley Hopkins of KYW in Cleveland revealed he accepted $12,000 in "listening fees" for deciding if a song had the potential to be a hit.
For instance, a radio DJ named Wesley Hopkins of KYW in Cleveland revealed he accepted $12,000 in "listening fees" for deciding if a song had the potential to be a hit.
DJ Stan Richards of WILD, Boston defended the practice, claiming it was the equivalent of "going to school and giving the teacher a better gift than the fellow at the next desk."
Said, Richards, "It's primarily built on romance—I'll do for you, what will you do for me?"
Said, Richards, "It's primarily built on romance—I'll do for you, what will you do for me?"
[Unrelated, but the above statements are very interesting given the ongoing college admissions scandal: https://www.insider.com/college-admissions-cheating-scandal-full-list-people-charged-2019-3]
They say absolute power corrupts absolutely. And you had thousands of people who understood emphatically that all they had to do was wave a sort of wand and stars got made overnight.
Why do that purely out of the goodness of your heart when you can make mad bank?
Why do that purely out of the goodness of your heart when you can make mad bank?
It was all "booze, broads, and bribes" until the government stepped in. Ironically, radio had TV to thank for the bright light getting shined on it; a series of quiz shows got exposed over rigging.
So it was the radio industry's turn to face the music. http://performingsongwriter.com/alan-freed-payola-scandal/
So it was the radio industry's turn to face the music. http://performingsongwriter.com/alan-freed-payola-scandal/
In the aftermath, Alan Freed, an influential figure known for pushing black artists rather than sticking to white versions of their music, had his career ruined virtually overnight. Meanwhile, Dick Clark's squeaky clean image (and move to, in his words, "protect his own ass") -
helped him to come out unscathed.
Many stations, fearing the loss of their licenses, moved to fire DJs outright. But perhaps they need not have bothered, as much of the tree shaking was about politics. It was an election year, and some politicians wanted to look good to voters.
Many stations, fearing the loss of their licenses, moved to fire DJs outright. But perhaps they need not have bothered, as much of the tree shaking was about politics. It was an election year, and some politicians wanted to look good to voters.
The sincerity drive industry-wide change was not there. Loopholes remain open which allows the practice of p@yola to continue in various forms. https://www.vice.com/en_us/article/64y8y9/a-brief-history-of-american-payola
Every so often, government officials would shake their canes at it. But it continued. https://www.npr.org/2017/01/17/509851163/in-an-ever-changing-music-industry-cash-for-hits-remains-a-constant
With exposes coming out as recently as last fall, I think we can expect the issue to remain indefinitely. We joke about hearing the same songs all the time, and for many, it's an open secret as to why. https://www.rollingstone.com/music/music-features/radio-stations-hit-pay-for-play-867825/
If you're unwilling willing to play the game, then there are certain avenues that just won't be open to you. It's a shame because these practices cast a shadow on all of popular music.
Is a song getting played because it's liked or because the right palms were greased?
Is a song getting played because it's liked or because the right palms were greased?
Old habits die hard. It's sadly apparent that the p@yola wheel still turns and turns more quickly depending on what labels are willing to pay to get plays.
Still, not everyone is willing to jump through those firey hoops and thankfully don't have to.
Still, not everyone is willing to jump through those firey hoops and thankfully don't have to.
VII. Must Be This Color To Get Spins
As much as we might want to tell ourselves that American radio has left behind the shameful shackles of bigotry, it's an industry that continues to get called out for its treatment of non-white artists.
As much as we might want to tell ourselves that American radio has left behind the shameful shackles of bigotry, it's an industry that continues to get called out for its treatment of non-white artists.
For example, the Rolling Stone called attention to the fact that since 2012, only one non-white rapper successfully managed to "cross-over" to pop radio and hit #1 on American Top 40 radio: Drake with "One Dance." (and there's debate as to whether it even counts as a rap song.)
But it's not that Top 40 radio hates rap music. During that same period of time, several white rappers managed to get a #1 (even Machine Gun Kelly, damn).
It seemed it black rappers wanted a shot at the mainstream (which pop radio typically represents), they needed to team up with white artists or produce a mainstream (white) friendly sound.
The issue isn't unique to black hip hop artists. "Despacito" was a hit, but even Luis Fonsi admits that it was adding Justin Bieber to a remix of the song that made the hit more palatable for American radio. https://www.gq.com/story/luis-fonsi-despacito-grammys-2018-interview
Even now, the American music industry is struggling to let go of this need to define the mainstream as something other than "what do most white American music listeners like?" It's a hurdle all areas of American entertainment is attempting to clear, all in an effort to impress-
young Millennials and Gen Z with enough "wokeness" to survive competition arising in foreign markets. But I'd argue that visual mediums (TV and Film) are covering more ground than radio.
This is one medium that could be marching towards obsolescence by way of a paper bag test.
This is one medium that could be marching towards obsolescence by way of a paper bag test.
EPILOGUE
I finish this series several days out from ARMYs throwing a collective "fvck you" to American radio, weeks out from pushing BTS into the Top 5 of the Hot 100 with virtually no radio support. It's been an illuminating period.
I finish this series several days out from ARMYs throwing a collective "fvck you" to American radio, weeks out from pushing BTS into the Top 5 of the Hot 100 with virtually no radio support. It's been an illuminating period.
First, I am of the opinion, based on the research I put into this thread, that there is nothing more that ARMYs can do to appease American radio. We should maintain relationships with those stations and radio DJs who are on the level.
Everyone else can get fvcked.
Everyone else can get fvcked.
I am also more convinced than ever that there's no reasonable justification for BTS repeatedly getting excluded from US radio aside from corruption and prejudice.
To that, I include the fact that US radio stations are mostly owned by a scant few. http://www.insideradio.com/resources/who_owns_what/
To that, I include the fact that US radio stations are mostly owned by a scant few. http://www.insideradio.com/resources/who_owns_what/
