The other day I ran across an article in the business section of the newspaper that described the marketing behind Lady Gaga’s newest album as revolutionary… the first campaign to fully utilize all aspects of the social media revolution to promote the album.
This approach is revolutionary in terms of the technology, but not exactly so in terms total self-promotion. That was pioneered, again in music, more than a century ago by Richard Wagner, who, in addition to being a musical genius, was also a marketing genius who was the first artist to make himself inseparable from the product in all dimensions, from its design, creation, production, and in the end, even the very physical forum in which his works were presented, a forum which endures at Bayreuth… more than a century after his death.
Wagner was incredibly successful in creating a form of opera which was essentially self-referential, whose “truths”[although derived from other sources] existed wholly within the opera itself. That self-referential structure, with its emphasis on what might be called Nordic mythical truths, was tailor-made for Goebbels and the Nazi propaganda machine because, first, the music was powerful and essentially nationalistic and, second, the “truths” presented in Wagner’s work required and needed no understanding outside the works themselves.
Prior to Wagner, and for many artists, even well after him, the emphasis was on the work, and at the highest levels, artists attempted to reveal what they saw as the “truth” through their work, but the majority of such works contained references well beyond the works themselves and often attempted to make sense of the “greater world” beyond the work.
Some still do, but with the growth of the Ipod music culture of personalized music and especially with social media, this gets harder – and such “exterior-referenced” artistic attempts at revealing greater truth become less interesting and less personally relevant to those in the social media world, because the whole concept behind social media is to tailor the online world of the participant around that participant, to create a self-referential narcissism.
The difference between the “old” approach and the, if you will, “Wagnerian/Gaga” approaches is that the old approach was based, at its best, on the affirmation and understanding of something greater than the artist or the reader/listener, while the “Wagnerian” approach is based on selling the product through its isolation from other conflicting “truths” and the cult of the composer/producer, while the “Lady Gaga” approach to selling her music is designed to go a step beyond fusing artist and work, and fuse the artist, work, and audience in a form of self-identification and self-validation, independent of “outside” truths or references.
Am I being alarmist? I don’t think so. Over the last few months, three major U.S. symphony orchestras have either declared bankruptcy or given indications that such is likely in the weeks ahead. Others have either frozen or cut salaries or schedules. Bookings and appearances for classical musicians and singers are declining rapidly.
The more simplistic and the greater the narcissistic appeal a work of music has, the greater the likelihood that it will be commercially successful.
And since music, even more than literature, reflects a culture, this trend should be disturbing… not that any narcissist would even bother to care.