Protesters across America are confirming by their numbers that politicians who ignore and defy their constituencies’ expectations will put their midterm 2026 elections in peril. This is not a partisan perspective, but is an observation of the aberrant state of politics fostered by incessant, divisive rhetoric. The Instagram video, below, is a simple commentary on the absurdity of the situation. Similarly, protesters are feeding social narratives to artists and songwriters that are fodder and clarion calls for music themes that speak to relevant issues in our current fraught times. Politics affects everything and metaphorical commentary resonates. Recognizing the collective distress currently felt by a large swath of society opens possibilities for music to influence a return to civility and compromise which may well become a music renaissance that concurrently transforms a decaying industry.
Readers of my Substack will know that I’ve been a music industry executive since the mid-1970’s. I attribute my becoming a music industry luminary to a meeting with Elton in 1971 at the beginning of his emergence in America, and his introducing me to his music publishers at the time, the late-David and Margo Rosner, who prior to leaving Dick James Music in New York, had helped guide Elton’s emergence in the States (and whom he acknowledged in his autobiography, “Me”). The Rosners soon hired me on as their apprentice. One of my most treasured memories is attending a Jackson Five concert in Madison Square Garden with Elton and the Rosners well before he ever played there himself. His excitement was palpable. Another was the day that Elton came to the NYC office for opinions about his new song, “Daniel,” which he played to us on the office electric piano. All I could say was “OMG!!” Elton’s been my muse and barometer for recognizing superiority in new music ever since hearing the “Elton John” album, and what has to be the best live album ever, “11-17-70.” Lessons learned from the fastidious Rosners, who then lovingly represented Neil Diamond, led to my becoming worldwide Executive VP of ATV music, representing Lennon-McCartney (working closely with Lennon for a time) and renown songwriters Mann & Weil, among others (where I, not coincidentally, arranged for Elton’s producer at the time, Gus Dudgeon, to produce an EP for Barry upon placing him with Lenny Waronker at Warner Brothers Records). After Michael Jackson acquired ATV, I went on to run music divisions and handled music supervision for movie and television companies such as Pearson Television, Fremantle and All American Communications.
Over the years, I have often thought about why Elton’s music has always resonated so deeply with me. These are “proper” songs that become engrained in our psyches as the brilliant melodies combine with the lyrical prowess of Bernie Taupin. I can viscerally feel Elton’s empathy at the core of his ethos flowing through his piano. I believe that music, at its best, is the most powerful means of mass communication that exists. Elton has been a big influence throughout my journey, including serving as an example of our shared tenacity and perseverance. It would be a serendipitous, albeit a longstanding wish, that the final chapter of my music career would come full circle with Elton. And it would be especially rewarding to reciprocate with the following untapped avenue for him to parlay his unparalleled altruism.
I am reaching out to Elton specifically about his “Rocket Hour” on Apple Music. This program is essential listening for new music discovery and homage to the classics, and I always look forward to hearing new episodes. The interviews are interesting and I find myself wanting to know more about the artists’ cultural background, influences, societal concerns and motivations that define their core, their purpose. This exploration would be a logical extension of Elton’s interviews with his guests, given his renowned philanthropy and humanitarianism, and can catalyze his clear desire to expose the artists he introduces on his program to an inordinately larger fan base. The following is a strategy that will compel the programs’ listeners to join the superfandom communities of the artists Elton supports on his radio program to deliver his ultimate gift of exponential exposure of the music he loves and wants to share.
Most of us concur that we are living in volatile and challenging times, causing uncertainty and despair for many. With Elton’s ethics as its North Star, “The Rocket Hour” is uniquely positioned to be inspirational, objective and non-partisan. I am suggesting that the “Rocket Hour” program can be a unique resource to educate, with music as the centerpiece much as Anthony Bourdain did with food. Listeners will be enthralled with stories of the socioeconomic and ethnic influences experienced by artists and infused into their music. Sharing factual stories will interconnect listeners with any of the causes about which an artist and/or fans themselves are passionate and for which they would like to raise consciousness and support together. Importantly, this coalition has the capacity to affect and demand a minimum “Golden Rule” baseline in the politics that touches virtually every issue. As simple as it sounds, most artists who have supported a cause do so rather covertly, perhaps for fear of their motivation being misconstrued. But when sincerity is palpable and presented knowledgeably, artists needn’t be reticent and are accepted as credible. The Elton John Aids Foundation serves as the paragon to emulate; an artist who embraces a cause with visible, tangible commitment.
One example apropos of what might have been is Elton’s interview with Burna Boy. While this conversation was one of the less superficial (they are all entertaining), it presented an opportunity to talk about the influence of the late Nigerian musician/activist, Fela Kuti, on Burna. Elton did reference Fela Kuti in asking if he was managed by his father (it was his grandfather), but the history of Kuti as the originator of Afrobeats and his infusion of messaging for Nigerian protest is as relevant to Nigeria today as it having the potential to peacefully impact our disquieting American politics.
To be clear, we are not suggesting a thematic sea change in popular music, but only some consideration to including socially conscious metaphorical songwriting that can bring attention and rally fans to peaceful activism to accomplish shared aspirations. The personal interaction of artists and fans for a cause is what creates purpose and superfans. It shouldn’t be that the most innovative music is not easily discovered. Listen to Lewis Capaldi’s song, “Survive,” that speaks to his overcoming Tourette’s Syndrome without ever mentioning the affliction in the song, but using it to educate in his various appearances. Check out Lola Young’s “Messy” to begin to understand mental health struggles. Listen to “The Power” by Elton John and Little Richard and imagine the potential as an anthem. Delving into an artists’ purpose, whether it be personal introspection or leading peaceful advocacy for a cause would provide the listener another dimension and motivate interaction.
We have the utmost respect for artists and songwriters and appreciate the innovative productions that drive their appeal. But, beyond situationship themes, we must not abdicate music’s responsibility to encourage thoughtful reaction to societal rights and wrongs. Complacency is Complicity! Consider that the corporate music industry is ostensibly choosing to stay below the Trump censorship radar with its priority seemingly on the low-hanging fruit; i.e., pablum that is too anodyne, vapid, insipid, vacuous (meaningless) for the administration to bother trying to control. It’s a losing strategy that will inevitably put them in the company of other media and institutions that Trump has neutered once the independent music business demonstrates its responsibility to resist this scourge and again shines a spotlight on music’s superpower writ large.
For the corporate music industry, the path to their clueless mantra of superfans as an end-all is hiding in plain sight at a time when harnessing it is crucial for both music creators and society. The concepts of superfans and crowd sourcing are interchangeable when one considers the potential of building the relationships around purpose. When we acknowledge the emerging artists in virtually every city and encourage collaboration with their fans, it creates an elixir that can answer most any malady, especially when aggregated across the country.
Reasonable people cannot accept the daily assault on civility and democracy we are experiencing in the U.S., and artist and superfan interaction around shared issues and values can lead to energizing voters for supportive politicians with the backbones to facilitate the best interests of their constituencies over self-serving sycophancy. Foremost among urgent issues is dysfunctional government. It is incumbent upon us to call out the music organizations that are blithely displaying a craven indifference to a clear and present attack on democracy and disruption of world order. And let’s understand that fleeting artist indignation at award shows is counterproductive, and further diminished when it can be dismissed as a belittling meme. The Recording Academy’s gratuitous acknowledgment of our quagmire must become more than superficial self-aggrandizement. Its support of selected social programs such as MusicCares and music education is certainly commendable, but its overall mission is insular and gravely insufficient. The Grammys will forever be tarnished with the abject shame of inaction when it could have marshaled resistance to censorship and proactively led in myriad other social impact initiatives. Nonetheless, our coalition of fully engaged, caring artists will take the lead and will be far-reaching.
Elton has the sui generis advantage of goodwill, credibility and strength to have immeasurable impact on expanding perspectives just through the introduction of ideas. If he would prefer to collaborate with us as an extension of his interviews in a handoff podcast (perhaps Bernie would be interested in co-hosting an adjacent program with us), we’d be pleased to discuss the logistics. As previously discussed in my Substack essay, "The P-word, American Politics and the Music Industry,” working with Elton would bring my career full circle from 1971 when he introduced me to David and Margo Rosner, and help advance a legacy of trying to positively influence society with music, particularly motivated by current events. And, as an example of the influence that Elton still retains, I am taking advice from his recent song with Brandi Carlile to “Swing For The Fences.” I am looking forward to exploring this multidimensional roadmap leading to a truly robust artist and superfan dynamic for reciprocal benefit.
#Music, #MusicIndustry, #Advocacy, #Democracy, #Activism, #Politics, #Superfans, #NoKings, #Vote, #Midterms
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