Why the Chappell Roan Speech Critic “Couldn’t Be More Wrong” (Guest Column)

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Instead of spending an entire day editing videos for my social media, a task I struggle with and cannot outsource due to financial constraints, I am not a filmmaker. Despite being a songwriter, the creation of music is merely the beginning of numerous tedious tasks required to keep my work from getting lost in obscurity. This highlights the reality that today’s artists can no longer rely on labels or networks for promotion; we must take responsibility for it ourselves.

My daily routine took an unexpected turn when my songwriter chat threads buzzed to life. The conversation focused on a guest article published in The Hollywood Reporter, penned by music industry executive Jeff Rabhan. Titled “Chappell Groan: The Misguided Rhetoric of an Instant Industry Insider,” it was a piece that, deep down, I knew I shouldn’t dive into, but the curiosity (and perhaps a touch of defiance) got the best of me. As expected, I found myself wading through a mansplaining torrent of overcooked opinions from my fellow Gen X comrades, which left me feeling rather frustrated and underestimated.

Undeniably, the article appeared to have been penned shortly following Chappell Roan‘s significant Grammy speech, where she criticized the big record labels for their unfair practices towards emerging artists. Essentially, her demand was straightforward: fair pay and healthcare benefits.

Roan, an exceptional musician who’s making a comeback after signing with her second major label (having been previously dropped from the first at 16), expressed her gratitude upon receiving the Grammy for ‘Best New Artist’, having a decade of experience under her belt.

If I were to ever win a Grammy, standing before the influential figures in the music world, I’d make it a point to advocate for fair treatment. I’d request that record labels and the industry, who reap significant profits from artists, should ensure a living wage and health care benefits, particularly for up-and-coming artists.

As a gamer, let me share my story. Being signed at such a young age, I didn’t have the chance to accumulate work experience before being dropped. The pandemic made job hunting even more challenging, and with no health insurance, it was a crushing blow. It felt like a betrayal, being so passionate about my art yet struggling to access basic healthcare. If my record label had prioritized artists’ well-being, they could have offered me the care I deserved, given all I was giving them.

Hey there! As a gamer, I feel like game developers are just like record labels’ artists. We both pour our passion and creativity into our craft. So

To put it simply, some old-school music industry veterans instinctively felt the need to voice their disagreement (a holdover from an ancient ‘listen-and-obey’ instinct in this nearly extinct group). And honestly, I can understand why Mr. Rabhan might have been initially puzzled by this.

Maybe he was contemplating: a young lady; an emerging prodigy in music; she appeared out of nowhere and is bewildered by our ways here. Let me, a 50-something executive in the music business, clarify: these are corporations that legally bind musicians to produce hits for them exclusively until either the musician surpasses 99% of their peers or some vague corporate measure deems their service to the company unnecessary (or unpopular, or not gaining enough TikTok views, or unable to lose 15 pounds). When this happens, the musician is “let go” – a harsh, unforgiving term that has been commonly used in the industry.

In simpler terms, Roan seems to misunderstand what this record company represents. It’s not like a typical employer who pays wages in return for work done. An employer doesn’t treat money given as salary as a loan that needs to be repaid, nor would they ask an employee to sign a contract promising to reimburse future expenses. Quite the contrary!

The Recoupment tab includes various expenses such as music video costs, recording budget, Grammy awards expenses, and the cost of a pizza party for the intern team. A music worker will have to cover all these costs from their share of the earnings. Additionally, the invoice also includes funds that record company executives spend on entertaining staff (like taking them out for dinner or drinks) in order to “promote” an artist’s career, or in some cases, compensate for losses due to damaged products during shipping. This practice, known as “breakage,” is quite surprising given that it continues even in the streaming era. It’s almost comical, one might say, how labels continue to use this term in their accounting systems.

It’s possible that Mr. Rabhan believed Roan was too inexperienced or naive to voice her opinions on the platform she had earned. However, he was mistaken about this. Yet, he did touch upon a truth – the music industry is one of the hardest industries out there, characterized by its ruthlessness, unpredictability, and unfairness. Many aspiring talents squander their best years trying to crack the code, while the successful ones reap all the rewards. The music industry has also provided a platform for some of the most influential voices and revolutionary thinkers in contemporary times.

Music creators are admired not just for their ability to adhere to rules or conform, but precisely because they don’t. Their nonconformity is what endears them to their fans.

During the Grammy Awards, Roan approached with her deadliest asset – a beautifully written speech neatly tucked away in a pristine notebook. That delicate, satin-covered notebook she carried. It was like a hidden signal to those in the know. She truly deserved every second of her time on stage, and she utilized it more shrewdly than anyone I’ve witnessed in my 35-year career in music.

Hey game developers and publishers, I’m calling you out! A 26-year-old trailblazer just made a move that’s shaking up the industry, so it’s high time for change in your approach. May the odds be ever in your favor.

As a music enthusiast, I’d like to express that I’m just like Kay Hanley – an Emmy and Peabody Award-winning songsmith, the vocalist for the Boston-rooted rock band Letters To Cleo, a founding member of Songwriters of North America (SONA), and the executive producer of the enchanting Disney Junior show, Kindergarten: The Musical. You might even recognize my voice on some iconic ’90s movie soundtracks, such as 10 Things I Hate About You and Josie & The Pussycats.

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2025-02-07 21:55