(2) she's not entitled to a success
(3) One hit wonders have always been a part of the music industry
If you read on, the author points out the album she put out could be a contender for best pop album of the year, but not enough people care about her as an artist enough to check it out.
I find that pretty interesting. It's almost like a new take on the 15 minutes of fame idea, but now your 15 minutes, for whatever you did, make you famous to EVERYONE, but that has no affect on you sticking around in people's minds afterward....
The idea here is that follow-through has to be made by everybody, artist, label and so on to take an opportunity like this and to turn it into a marketable brand.
I'm reminded of:
Which I'd never heard of before running into it on digg, it's musically mediocre, has a fantastic video but ultimately failed to convince me to go out and buy an album.
The internet can't be given credit for the success and it can't be given the blame for subsequent failure, it is just a tool and how you use that tool is up to you.
Caring about an artist means to go and visit their concerts, becoming a successful artist means that you're going to have to slog through the 'building a loyal fan base' trough of sorrow somehow and as far as I know outside of throwing huge marketing budgets after fan acquisition (talent optional) there are no short-cuts there.
By the way, a similar issue faces websites, you may be able to get that front page on HN with your new offering but that won't make much difference in the long run, you'll still have to have the staying power and the determination to see it through for a long period without being sure if it is going to work out or not. And if you do the chances of it working out go up.
Overnight success is not a right, and if you've been handed a free head-start you can't blame your tools if it subsequently does not pan out the way you intended.
The last 4 paragraphs of the article go on to describe exactly what the new dynamic is. In addition to the normal bombardment of hearing the song all the time, it is the additional flood of memes that the internet and social media bring about. As the article says:
> In the past, the worst thing that could happen to the Song of the Summer was it being played to death. But in the digital age, the pitfalls are boundless. As “Call Me Maybe” is increasingly meme-ified, it runs the risk of becoming completely mummified.
> Simply put: when you think of “Somebody That I Used to Know,” you’re less likely to think of the man, Wally de Backer, but the meme.
Both of you arguing about something that isn't even the main point of the article.
You can't ride on a wave and then complain that others are trying to ride that wave too, you especially can't blame the wave.
The future of music is very likely to be more one-hit wonders, with a few artists who attain long-lasting (but modest) success. There's just too much choice. This is largely a good thing, IMO, especially for the artists as a group (obviously it's not as good for the few who would have been anointed as the kings and queens).
So essentially, she has a few fans but did not make a very good pop album, let alone best of the year.
It's obviously just his opinion though...
The fact that she signed on with his manager and performs at his concerts, attempts to look 15 when she's 26 and so on give a clear indication of what it is that they're trying to achieve here and I'm frankly not surprised that it didn't work.
It doesn't have much to do with her being 'best of the year', and you'd have to discount whatever success she does have in the domestic market by the Canadian laws that give air-time preference to Canadian born artists.
The problem is not the artists or the songs, but the format that's being used here as a measure of success. Her album didn't do well because her fans don't buy albums. Her fans will buy songs, one at a time, at 69c a pop. The article even states that it's a "singles driven market". All of the delivery mechanisms (iTunes, Pandora, Last, YouTube, Facebook, Xbox) funnel listeners into the on-demand or magic playlist style of listening. Songs are standalone entities served up as a recommendation, a link or a search result. For this generation the idea of listening to an album is pretty much dead.
It didn't kill her career, her career didn't take off, no matter how much they tried to force the song-meme. The "tastemakers" have little power over the Internet at large, thankfully.
Translation: I'm a self-proclaimed expert in music. When the public disagrees with my assessment of specific music products, it should be lambasted.
BTW, she's hired by reputable publications to write music reviews, because they feel she is capable of expertly writing music reviews.
"she's hired by reputable publications to write music reviews, because they feel she is capable of expertly writing music reviews"
Her worth as a corporate blogger is irrelevant to her smug irritation that America isn't investing itself in Youtube celebrities as much as she is.
Of course if you define "success" as "being in the Billboard top 100" then almost nobody will be successful, and being successful twice - well that's almost impossible!
Maybe for a lot of people like me, Call Me Maybe was just enough pop? I didn't need a whole album of her.
Why is what's being written about you what matters? These blogs seem to have forgotten that music blogs do not define culture - music defines culture (and same for tech).