Hay una teoría muy interesante acerca de porqué Tierno Galván promocionó aquella movida madrileña, y era para acabar con una creciente ola de cantautores con un mensaje de denuncia que no le interesaba nada.
qué tierno el Tierno
Me refiero más a la obsesión compositiva que se adueñó del pop desde los Beatles (aprox.) y que no tiene demasiado sentido. En la etapa anterior el repertorio de cualquier artista estaba compuesto de covers, estándares y ocasionalmente un tema propio. Pero en un momento dado todos los grupos se ponen a grabar álbumes con un par de singles y el resto de relleno... supongo que más consecuencia de la política de ventas de las discográficas que de las propias necesidades del artista en cuestión.
No estoy de acuerdo. El concepto de superestrella de esos géneros está más ligado a intereses políticos que económicos.
No estoy seguro de eso, justamente Alfred Marshall usaba a una conocida soprano de hace 200 años como ejemplo:
I want to highlight four factors that are important in generating a superstar economy. These are technology, scale, luck and an erosion of social norms that compress prices and incomes. All of these factors are affecting the music industry.
The idea of a “super star economy” is very old. It goes back to Alfred Marshall, the father of modern microeconomics. In the late 1800s, Marshall was trying to explain why some exceptional businessmen amassed great fortunes while the incomes of ordinary artisans and others fell. He concluded that changes in communications technology allowed “a man exceptionally favored by genius and good luck” to command “undertakings vaster, and extending over a wider area, than ever before.”
Ironically, his example of a profession where the best performers were unable to achieve such super star status was music. Marshall wrote, “so long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great [an increase] as that which the business leaders of the present generation have made on those of the last.”
Elizabeth Billington reputedly was a great soprano with a strong voice, but she did not have access to a microphone or amplifier in 1798, let alone to MTV, CDs, iTunes, and Pandora. She could only reach a small audience. This limited her ability to dominate the market.
Modern economists have elaborated on Alfred Marshall’s insights. The economist Sherwin Rosen developed a theoretical model in which super star effects are driven by “imperfect substitution” and “scale” in production. Simply put, imperfect substitution means that you would rather listen to one song by your favorite singer than a song and a half by someone else. Or, in another context, it means that if you need to have heart surgery, you would rather have the best surgeon in Cleveland perform it rather than the second and third best together.
Scale means that one performer can reach a large audience.
Technological changes through the centuries have long made the music industry a super star industry. Advances over time including amplification, radio, records, 8-tracks, music videos, CDs, iPods, etc., have made it possible for the best performers to reach an ever wider audiencewith high fidelity.
And the increasing globalization of the world economy has vastly increased the reach and notoriety of the most popular performers. They literally can be heard on a worldwide stage.
But advances in technology have also had an unexpected effect. Recorded music has become cheap to replicate and distribute, and it is difficult to police unauthorized reproductions. This has cut into the revenue stream of the best performers, and caused them to raise their prices for live performances.
Una explicación algo más clara de lo que supone esta "economía de las super-estrellas" o "el ganador se lo lleva todo" está en este artículo:
¿El pop tiene economía de super-estrellas pero la clásica o el jazz no?. ¿Porqué?.
"Fiat iustitia et pirias mundus". (Haya justicia aunque arda el mundo)
"Ad maiora nati sumas". (Estamos llamados a obras mayores).
"Après moi, le déluge". (Después de mi, el caos).