Musing on the Music Biz Ahead of 75th Birthday and Album Release
As Marius Müller-Westernhagen, a German music sensation known for hits like "Mit Pfefferminz bin ich dein Prinz" and "Zeitgeist," prepares to turn 75 and unveil a new album, he's voiced concerns about changes in the music industry. In a recent interview with dpa news agency in Berlin, the prolific musician shared his thoughts. "Back in my heyday, music was birthed on the streets, giving rise to movements and pioneering new music genres," he asserted. "Nowadays, genres also emerge thanks to the industry's sway, practically attempting to control art."
Müller-Westernhagen's notable achievements include a coveted spot among Germany's top musical talents. His 75th birthday falls on December 6, and on December 1, the box set "Westernhagen 75" featuring 75 of his songs spanning from 1974 to 2023, will be available.
"Genuine value can only stem from the artist themselves, not from marketing wizards' opinions," Müller-Westernhagen opined. He perceives a wide gulf between contemporary music and its predecessors. "Issues like these didn't resonate with my peers, yet we were eager to express ourselves, uninhibited by approval or criticism," he said. "We believed we had something valuable to share."
Concerns about the waning importance of individual creativity in music extend to pop and rock genres, where artists may prioritize industry validation over rugged self-expression. Drawing stark contrasts with those earlier times, Müller-Westernhagen's generation valued authenticity and artistic liberty above all.
While the music industry is often credited with spawning new genres, Müller-Westernhagen contends that ultimately, the roots of music were grounded in the streets. Despite his continued success, he bemoans the growing influence of marketing.
Modern music marketing strategies are often more sophisticated and far-reaching, incorporating digital platforms, social media, and data analytics. While these advancements offer unparalleled global reach and fan engagement, they also risk homogenizing artistic expression and prioritizing commercial success over creative value.
If Müller-Westernhagen were to compare marketing's role in music today to the past, he might emphasize the shift in how artists gain recognition and promotion, arguing that today, digital platforms and social media have largely supplanted radio and print. He might also point to the shift from grassroots marketing to more industrialized and data-driven approaches, which sometimes impact the types of music that are created and celebrated.
