Kutztown​ ​University
KU​ ​Honors​ ​2017
The​ ​Nature​ ​of​ ​Virality
in​ ​Music​ ​Business
An​ ​Honors​ ​Capstone​ ​thesis​ ​by:
François​ ​Ngon​ ​A’​ ​Bessing
(Music​ ​Department)
Faculty​ ​Advisor:​ ​Dr.​ ​Gregory​ ​Shelley
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Acknowledgements
Table​ ​of​ ​Contents
2
Title​ ​Page
1
Introduction
3
Virality​ ​Recipe
4
Ingredients:​ ​Market
5
Ingredients:​ ​Talent
8
Ingredients:​ ​Power
17
Ingredients:​ ​Faith
26
Ingredients:​ ​Relevance
3​7
Exceptions:​ ​Derivativeness
50
Exceptions:​ ​Conformity
5​3
Exceptions:​ ​Saturation
54
Virality​ ​Case​ ​Study:​ ​Interview​ ​with​ ​Cathy​ ​Chemi
56
How​ ​to​ ​Go​ ​Viral:​ ​The​ ​Plan​ ​of​ ​Action
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Conclusion:​ ​Call​ ​to​ ​Action
76
Acknowledgements:
I​ ​am​ ​forever​ ​thankful​ ​for​ ​the​ ​Spirit​ ​of​ ​Music​ ​and​ ​the​ ​gifting​ ​of​ ​God​ ​in​ ​song​ ​that​ ​has​ ​sparked​ ​this​ ​interest
many​ ​years​ ​later​ ​to​ ​decide​ ​to​ ​pursue​ ​music​ ​and​ ​to​ ​decide​ ​in​ ​the​ ​end​ ​of​ ​my​ ​undergraduate​ ​studies​ ​to​ ​pursue
this​ ​subject​ ​of​ ​virality.​ ​I​ ​am​ ​forever​ ​thankful​ ​to​ ​Dr.​ ​Gregory​ ​Shelley​ ​who​ ​eagerly​ ​provided​ ​support​ ​for​ ​this
thesis​ ​in​ ​our​ ​first​ ​meeting​ ​and​ ​provided​ ​support,​ ​constructive​ ​criticism,​ ​and​ ​insight​ ​to​ ​hone​ ​this​ ​thesis​ ​to
its​ ​final​ ​form.​ ​I​ ​wish​ ​to​ ​thank​ ​honors​ ​director​ ​Professor​ ​Johanna​ ​Forte​ ​for​ ​encouraging​ ​me​ ​to​ ​pursue​ ​a
subject​ ​that​ ​I​ ​am​ ​genuinely​ ​passionate​ ​about.​ ​I​ ​also​ ​wish​ ​to​ ​thank​ ​Dr.​ ​Marie-Aline​ ​Cadieux,​ ​Dr.​ ​Ina
Grapenthin,​ ​and​ ​Dr.​ ​Katherine​ ​Kaiser​ ​who​ ​provided​ ​feedback​ ​in​ ​the​ ​early​ ​stages​ ​of​ ​this​ ​thesis​ ​which
contributed​ ​to​ ​the​ ​direction​ ​of​ ​the​ ​overall​ ​work.​ ​My​ ​hope​ ​is​ ​that​ ​this​ ​work​ ​would​ ​be​ ​used​ ​as​ ​a​ ​guide​ ​for
aspiring​ ​musicians​ ​to​ ​create​ ​a​ ​path​ ​as​ ​they​ ​pursue​ ​their​ ​dreams.​ ​May​ ​this​ ​pursuit​ ​never​ ​remove​ ​them​ ​from
the​ ​love​ ​of​ ​their​ ​family​ ​and​ ​friends​ ​and​ ​may​ ​they​ ​ever​ ​contribute​ ​to​ ​the​ ​village​ ​which​ ​raised​ ​the​ ​child.
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Introduction
Music​ ​is​ ​the​ ​great​ ​uniter.​ ​As​ ​ancient​ ​as​ ​time​ ​itself,​ ​it​ ​is​ ​music​ ​that​ ​occupies​ ​the​ ​earliest
parts​ ​of​ ​our​ ​memories​ ​as​ ​children​ ​and​ ​is​ ​often​ ​the​ ​last​ ​of​ ​our​ ​recollections​ ​held​ ​by​ ​the​ ​now​ ​aged
individual,​ ​acting​ ​as​ ​a​ ​stronghold,​ ​protecting​ ​the​ ​last​ ​few​ ​fragments​ ​of​ ​life’s​ ​memories​ ​against
the​ ​onslaught​ ​of​ ​Alzheimer’s​ ​(Deason​ ​et​ ​al.).​ ​Interestingly​ ​enough,​ ​what​ ​becomes​ ​part​ ​of​ ​our
memories,​ ​the​ ​melodies​ ​that​ ​make​ ​us​ ​laugh,​ ​that​ ​make​ ​us​ ​weep,​ ​dance,​ ​express,​ ​rejoice,​ ​worship,
scorn,​ ​hate,​ ​or​ ​emote:​ ​those​ ​songs​ ​that​ ​now​ ​evoke​ ​the​ ​overwhelming​ ​sense​ ​of​ ​nostalgia,​ ​in​ ​the
beginning,​ ​are​ ​not​ ​of​ ​our​ ​choice​ ​or​ ​creation.​ ​That​ ​initial​ ​exposure​ ​was​ ​thanks​ ​to​ ​the​ ​parents,
caregivers,​ ​and​ ​persons​ ​of​ ​interest​ ​who​ ​constructed​ ​our​ ​initial​ ​environment​ ​(Mittal).
Think​ ​of​ ​your​ ​childhood.​ ​As​ ​I​ ​think​ ​of​ ​mine​ ​I​ ​can​ ​still​ ​hear​ ​Donna​ ​Summer’s​ ​“Behold​ ​the
Lamb​ ​of​ ​God”​ ​from​ ​her​ ​Christmas​ ​album,​ ​Whitney​ ​Houston’s​ ​“The​ ​Preacher’s​ ​Wife”​ ​through
the​ ​cold​ ​winters​ ​of​ ​Washington,​ ​D.C.​ ​I​ ​remember​ ​the​ ​French​ ​hymns​ ​and​ ​native​ ​African​ ​songs
from​ ​the​ ​Cameroonian​ ​tradition.​ ​These​ ​songs,​ ​presented​ ​and​ ​enjoyed​ ​by​ ​my​ ​family​ ​over​ ​20​ ​years
later,​ ​became​ ​my​ ​“go-to”​ ​music​ ​when​ ​in​ ​need​ ​of​ ​instruction,​ ​when​ ​down,​ ​when​ ​seeking
direction.​ ​So​ ​influential​ ​were​ ​the​ ​former​ ​that​ ​I​ ​enrolled​ ​in​ ​school​ ​later​ ​in​ ​life​ ​to​ ​nurture​ ​that​ ​love
of​ ​music​ ​which​ ​has​ ​now,​ ​at​ ​the​ ​conclusion​ ​of​ ​my​ ​University​ ​studies,​ ​resulted​ ​in​ ​this​ ​thesis​ ​which
I​ ​present​ ​to​ ​uncover​ ​the​ ​roots​ ​of​ ​an​ ​interest.​ ​To​ ​be​ ​fair,​ ​it​ ​was​ ​first​ ​a​ ​fascination​ ​held​ ​by​ ​my
father.​ ​He​ ​loved​ ​Whitney​ ​Houston.​ ​Don’t​ ​worry,​ ​this​ ​fascination​ ​was​ ​approved​ ​by​ ​my​ ​mother.
My​ ​father​ ​is​ ​native​ ​to​ ​Cameroon​ ​and​ ​from​ ​that​ ​side​ ​came​ ​the​ ​native​ ​folk​ ​songs​ ​and​ ​the​ ​hymn​ ​of
praise​ ​from​ ​the​ ​Christian​ ​faith​ ​in​ ​which​ ​he​ ​was​ ​raised.​ ​My​ ​mother​ ​is​ ​from​ ​Puerto​ ​Rico​ ​and
brought​ ​the​ ​folk​ ​songs​ ​of​ ​the​ ​jibaritos​ ​(villagers),​ ​the​ ​love​ ​ballads​ ​of​ ​the​ ​famous​ ​latin​ ​world​ ​pop
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sensation,​ ​Camilo​ ​Sesto,​ ​and​ ​introduced​ ​me​ ​to​ ​the​ ​first​ ​music​ ​competition​ ​I’d​ ​heard​ ​of​ ​known​ ​as
Eurovision.
I​ ​didn’t​ ​know​ ​about​ ​the​ ​competition​ ​by​ ​name​ ​at​ ​first,​ ​but​ ​learned​ ​of​ ​it​ ​through​ ​the​ ​music
group​ ​named​ ​Mocedades​ ​who​ ​scored​ ​the​ ​hit​ ​single​ ​“​Eres​ ​Tu”​ ​(It​ ​Is​ ​You)​ ​full​ ​of​ ​flagrant
nostalgic​ ​movement​ ​and​ ​sultry​ ​vocals.​ ​It​ ​is​ ​this​ ​point​ ​that​ ​this​ ​thesis​ ​seeks​ ​to​ ​explore.​ ​It​ ​is​ ​this
one,​ ​simple,​ ​three-letter​ ​word​ ​that​ ​has​ ​caused​ ​the​ ​poor​ ​to​ ​wax​ ​rich,​ ​the​ ​fledgling​ ​start-ups​ ​to
become​ ​music​ ​titans,​ ​the​ ​dreamers​ ​to​ ​become​ ​the​ ​standard,​ ​the​ ​peanut​ ​farmer​ ​to​ ​become
president,​ ​the​ ​seekers​ ​to​ ​become​ ​finders,​ ​and​ ​the​ ​hopeful​ ​to​ ​build​ ​castles​ ​out​ ​of​ ​the​ ​imagination
they​ ​have​ ​learned​ ​to​ ​trust.​ ​That​ ​three-letter​ ​word​ ​is​ ​“hit”.​ ​For​ ​the​ ​purposes​ ​of​ ​this​ ​thesis,​ ​we​ ​are
going​ ​to​ ​focus​ ​on​ ​what​ ​a​ ​“hit”​ ​is​ ​in​ ​the​ ​world​ ​of​ ​music​ ​and​ ​how​ ​this​ ​has​ ​affected​ ​our​ ​reality​ ​in
the​ ​present​ ​time.
The​ ​Virality​ ​Recipe
Hits​ ​are​ ​not​ ​a​ ​modern​ ​phenomenon​ ​in​ ​the​ ​world​ ​of​ ​music.​ ​The​ ​genre​ ​of​ ​Opera​ ​was​ ​a​ ​hit
created​ ​in​ ​Italy​ ​with​ ​the​ ​production​ ​and​ ​creation​ ​of​ ​the​ ​first​ ​Opera​ ​entitled​ ​“Dafne”​ ​whose
libretto​ ​(name​ ​referring​ ​to​ ​the​ ​script​ ​or​ ​text​ ​of​ ​an​ ​Opera)​ ​was​ ​written​ ​by​ ​Ottavio​ ​Rinuccini​ ​and
was​ ​composed​ ​by​ ​Jacopo​ ​Peri​ ​and​ ​Jacopo​ ​Corsi​ ​(Howard​ ​2).
Now​ ​you​ ​may​ ​be​ ​asking​ ​why​ ​is​ ​this​ ​important?​ ​You​ ​may​ ​not​ ​even​ ​like​ ​Opera!​ ​That’s​ ​ok.
In​ ​order​ ​to​ ​understand​ ​virality,​ ​we​ ​must​ ​be​ ​able​ ​to​ ​look​ ​at​ ​all​ ​viral​ ​music​ ​regardless​ ​of​ ​genre​ ​and
analyze​ ​the​ ​individual​ ​elements​ ​(or​ ​in​ ​our​ ​case,​ ​ingredients)​ ​which​ ​encourage​ ​virality.​ ​I​ ​propose
that​ ​if​ ​virality​ ​were​ ​a​ ​dish​ ​it​ ​would​ ​be​ ​a​ ​casserole​ ​and​ ​that​ ​the​ ​recipe​ ​for​ ​Virality​ ​Casserole​ ​would
be:
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Each​ ​of​ ​these​ ​areas​ ​will​ ​be​ ​explored​ ​in​ ​case​ ​studies​ ​throughout​ ​this​ ​work​ ​for​ ​greater
understanding.​ ​Let​ ​us​ ​start​ ​first​ ​with​ ​possibly​ ​the​ ​most​ ​important​ ​determining​ ​factor​ ​of​ ​success​ ​in
business;​ ​the​ ​Market.
Market
Case​ ​Study:​ ​Guido​ ​Monaco​ ​of​ ​Arezzo
There​ ​are​ ​many​ ​definitions​ ​of​ ​exactly​ ​what​ ​a​ ​market​ ​is​ ​even​ ​in​ ​the​ ​Oxford​ ​Dictionary;​ ​however,
this​ ​is​ ​the​ ​closest​ ​to​ ​what​ ​is​ ​implied​ ​for​ ​our​ ​purposes​ ​is​ ​the​ ​following​ ​(Market).
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To​ ​put​ ​it​ ​simply,​ ​the​ ​market​ ​referred​ ​to​ ​is​ ​the​ ​purchasing​ ​market:​ ​the​ ​millions​ ​of​ ​buyers
whose​ ​buying​ ​habits​ ​influence​ ​trends​ ​and​ ​virality​ ​directly​ ​(we’ll​ ​discuss​ ​more​ ​on​ ​this​ ​attribute
when​ ​we​ ​tackle​ ​Relevance.)​ ​To​ ​understand​ ​why​ ​the​ ​market​ ​is​ ​important​ ​in​ ​determining​ ​success,
let’s​ ​look​ ​at​ ​necessity,​ ​which​ ​is​ ​often​ ​called​ ​demand​ ​when​ ​expressed​ ​by​ ​a​ ​market​ ​(Davis).
Many​ ​of​ ​us​ ​are​ ​familiar​ ​with​ ​the​ ​song​ ​that​ ​goes​ ​“Do​ ​-​ ​a​ ​deer,​ ​a​ ​female​ ​deer,​ ​Re​ ​-​ ​a​ ​drop
of​ ​golden​ ​sun”​ ​(you’re​ ​probably​ ​even​ ​singing​ ​it​ ​in​ ​your​ ​head​ ​right​ ​now​ ​as​ ​the​ ​voice​ ​of​ ​Julie
Andrew);​ ​Me​ ​-​ ​a​ ​name​ ​I​ ​call​ ​myself,​ ​Fa-​ ​a​ ​long,​ ​long​ ​way​ ​to​ ​run!​ ​Sol​ ​-​ ​a​ ​needle​ ​pulling​ ​thread,
La-​ ​a​ ​note​ ​to​ ​follow​ ​Sol;​ ​Ti​ ​-​ ​a​ ​drink​ ​with​ ​Jam​ ​and​ ​bread;​ ​that​ ​will​ ​bring​ ​us​ ​back​ ​to​ ​Do,​ ​Do,​ ​Do,
Do,​ ​Do!​ ​(Do​ ​Re​ ​Mi)​ ​A​ ​clever,​ ​and​ ​classic​ ​song​ ​which​ ​enchants​ ​both​ ​young​ ​and​ ​old​ ​and​ ​brings
with​ ​it​ ​great​ ​nostalgia.​ ​But​ ​where​ ​do​ ​these​ ​words​ ​come​ ​from?​ ​Do​ ​Re​ ​Mi​ ​etc,​ ​are​ ​not​ ​words​ ​but
they​ ​are​ ​known​ ​internationally.​ ​They​ ​have​ ​gone​ ​viral​ ​in​ ​a​ ​way​ ​that​ ​few​ ​things​ ​in​ ​music​ ​have.
How​ ​did​ ​this​ ​happen?​ ​There​ ​was​ ​an​ ​Italian​ ​monk,​ ​music​ ​teacher,​ ​and​ ​theorist​ ​who​ ​lived​ ​in​ ​10th
and​ ​11th​ ​century​ ​Italy​ ​named​ ​Guido​ ​Monaco.​ ​He​ ​is​ ​often​ ​associated​ ​with​ ​the​ ​town​ ​where​ ​he
performed​ ​his​ ​work​ ​which​ ​is​ ​called​ ​to​ ​the​ ​present​ ​day​ ​“Arezzo”​ ​(Claude​ ​et​ ​al.).
The​ ​Catholic​ ​church​ ​was​ ​the​ ​dominant​ ​religion​ ​in​ ​Europe​ ​and​ ​it​ ​controlled​ ​much​ ​territory
and​ ​directly​ ​influenced​ ​the​ ​political​ ​sphere.​ ​Monasteries​ ​and​ ​parishes​ ​were​ ​taught​ ​Latin​ ​chants​ ​to
be​ ​sung​ ​in​ ​the​ ​Masses​ ​(ie.​ ​Kyrie,​ ​Gloria,​ ​Gradual​ ​etc.).​ ​Due​ ​to​ ​the​ ​empire​ ​that​ ​Catholic​ ​church
had​ ​built,​ ​there​ ​were​ ​many​ ​people​ ​who​ ​needed​ ​to​ ​learn​ ​this​ ​music​ ​across​ ​their​ ​parishes.​ ​There
was​ ​no​ ​way​ ​to​ ​learn​ ​the​ ​music​ ​except​ ​by​ ​ear​ ​and​ ​this​ ​was​ ​a​ ​task​ ​that​ ​took​ ​a​ ​lifetime​ ​to​ ​learn​ ​and
memorize​ ​all​ ​the​ ​chants​ ​(Babb).​ ​Guido​ ​of​ ​Arezzo​ ​became​ ​well-known​ ​for​ ​being​ ​able​ ​to​ ​teach
singers​ ​to​ ​learn​ ​the​ ​masses​ ​quicker​ ​than​ ​in​ ​other​ ​monasteries.​ ​This​ ​is​ ​because​ ​he​ ​developed​ ​a
system​ ​where​ ​notes​ ​assigned​ ​pitches​ ​based​ ​on​ ​their​ ​distance​ ​from​ ​a​ ​pitch​ ​(Babb).​ ​These​ ​names
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came​ ​from​ ​the​ ​Latin​ ​text​ ​to​ ​an​ ​old​ ​hymn​ ​entitled​ ​“​ ​Ut​ ​Queant​ ​Laxis”​ ​which​ ​is​ ​a​ ​hymn​ ​composed
by​ ​Guido​ ​dedicated​ ​to​ ​John​ ​the​ ​Baptist,​ ​a​ ​figure​ ​in​ ​the​ ​Bible.​ ​In​ ​the​ ​diagram​ ​below,​ ​you​ ​can​ ​see
the​ ​emphasis​ ​on​ ​the​ ​letters​ ​that​ ​became​ ​“solfege”​ ​(a​ ​fancy​ ​name​ ​for​ ​do-re-mi​ ​etc)​ ​(Monaco).
The​ ​text​ ​which​ ​Guido​ ​set​ ​to​ ​music​ ​was​ ​written​ ​by​ ​Paulus​ ​Diaconus​ ​in​ ​the​ ​8th​ ​century​ ​and
it​ ​translates​ ​as​ ​such:​ ​“​So​ ​that​ ​these​ ​your​ ​servants​ ​can,​ ​with​ ​all​ ​their​ ​voice,​ ​sing​ ​your​ ​wonderful
feats,​ ​clean​ ​the​ ​blemish​ ​of​ ​our​ ​spotted​ ​lips,​ ​O​ ​Saint​ ​John”​ ​(Chants)
As​ ​you​ ​can​ ​see,​ ​the​ ​emphasized​ ​text​ ​is​ ​Ut,​ ​Re,​ ​Mi​ ​Fa,​ ​Sol,​ ​La,​ ​Si.​ ​A​ ​musicologist​ ​named
Giovanni​ ​Battista​ ​Doni​ ​was​ ​the​ ​person​ ​who​ ​suggested​ ​the​ ​change​ ​from​ ​Ut​ ​to​ ​Do​ ​and​ ​English
music​ ​educator​ ​Sarah​ ​Ann​ ​Glover​ ​indicated​ ​that​ ​it​ ​would​ ​be​ ​easier​ ​to​ ​teach​ ​if​ ​each​ ​beginning
consonants​ ​were​ ​all​ ​different.​ ​As​ ​such,​ ​she​ ​suggested​ ​the​ ​change​ ​from​ ​Si​ ​to​ ​Ti​ ​(McNaught).
To​ ​address​ ​our​ ​original​ ​point,​ ​what​ ​does​ ​the​ ​Market​ ​have​ ​to​ ​do​ ​with​ ​this?​ ​(PS:​ ​To
indicate​ ​one​ ​of​ ​the​ ​ingredients​ ​in​ ​the​ ​recipe,​ ​the​ ​ingredients​ ​will​ ​be​ ​capitalized​ ​throughout​ ​this
thesis.)​ ​Since​ ​the​ ​market​ ​expressed​ ​a​ ​strong​ ​need​ ​for​ ​some​ ​sort​ ​of​ ​technique​ ​ ​in​ ​the​ ​ordering​ ​of
pitch​ ​and​ ​Guido​ ​Monaco​ ​was​ ​able​ ​to​ ​develop​ ​a​ ​method​ ​that​ ​directly​ ​addressed​ ​this​ ​need​ ​(in​ ​the
form​ ​of​ ​the​ ​“Scale​ ​Degrees”)​ ​hence​ ​the​ ​Scale​ ​Degrees​ ​are​ ​our​ ​first​ ​example​ ​of​ ​virality​ ​in​ ​the
music​ ​industry​ ​of​ ​the​ ​time​ ​(Ex​ ​1.​ ​Degrees).​ ​The​ ​Market​ ​and​ ​ironically​ ​the​ ​Power​ ​as​ ​well,​ ​was​ ​the
Catholic​ ​Church​ ​and​ ​its​ ​constituents​ ​(Constable​ ​78).​ ​The​ ​Relevance​ ​ingredient​ ​was​ ​that​ ​many​ ​at
the​ ​time​ ​needed​ ​to​ ​learn​ ​the​ ​chants​ ​and​ ​this​ ​was​ ​the​ ​quickest​ ​way​ ​to​ ​do​ ​learn;​ ​the​ ​Faith​ ​aspect
was​ ​that​ ​this​ ​was​ ​a​ ​religious​ ​organization​ ​that​ ​used​ ​the​ ​Latin​ ​text​ ​from​ ​Biblical​ ​scripture​ ​to​ ​teach
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and​ ​edify​ ​the​ ​people.​ ​Additionally,​ ​Guido​ ​believed​ ​that​ ​his​ ​method​ ​could​ ​work​ ​and​ ​taught​ ​it​ ​until
it​ ​caught​ ​the​ ​attention​ ​of​ ​the​ ​papacy​ ​(Babb).​ ​The​ ​Talent​ ​aspect​ ​was​ ​Guido​ ​Monaco​ ​himself​ ​who
had​ ​the​ ​musical​ ​ability​ ​and​ ​the​ ​teaching​ ​acumen​ ​to​ ​be​ ​able​ ​to​ ​identify​ ​and​ ​label​ ​recurring​ ​pitches
but​ ​also​ ​relay​ ​this​ ​new​ ​method​ ​to​ ​the​ ​lay​ ​persons​ ​whose​ ​end​ ​result​ ​was​ ​that​ ​the​ ​Latin​ ​masses
were​ ​learned​ ​quickly​ ​(Babb).​ ​The​ ​end​ ​result​ ​of​ ​the​ ​development​ ​of​ ​this​ ​technique​ ​was​ ​a
worldwide​ ​innovation​ ​of​ ​scale​ ​degree​ ​(also​ ​called​ ​Solfege)​ ​which​ ​to​ ​the​ ​present​ ​day​ ​is​ ​taught​ ​in
all​ ​accredited​ ​Universities​ ​and​ ​Music​ ​Conservatories​ ​across​ ​the​ ​world.
Talent
Case​ ​Study:​ ​Whitney​ ​Houston
The​ ​second​ ​ingredient​ ​in​ ​our​ ​Virality​ ​Casserole​ ​is​ ​Talent.​ ​When​ ​some​ ​of​ ​us​ ​first​ ​think​ ​of
the​ ​word​ ​talent,​ ​we​ ​think​ ​singing,​ ​acrobatics,​ ​prodigies,​ ​and​ ​maybe​ ​someone​ ​who​ ​is​ ​double
jointed​ ​who​ ​can​ ​literally​ ​bend​ ​over​ ​backwards​ ​or​ ​snap​ ​their​ ​neck​ ​on​ ​cue.​ ​But​ ​what,​ ​really,​ ​is
talent?​ ​The​ ​Oxford​ ​Dictionary​ ​defines​ ​Talent​ ​as:
“Power​ ​or​ ​ability​ ​of​ ​mind​ ​or​ ​body​ ​viewed​ ​as​ ​something​ ​divinely​ ​entrusted​ ​to​ ​a​ ​person​ ​for
use​ ​and​ ​improvement:​ ​considered​ ​either​ ​as​ ​one​ ​organic​ ​whole​ ​or​ ​as​ ​consisting​ ​of​ ​a
number​ ​of​ ​distinct​ ​faculties;​ ​(with​ ​pl.​)​ ​any​ ​one​ ​of​ ​such​ ​faculties”​ ​(Talent).
A​ ​word​ ​that​ ​I​ ​found​ ​recurring​ ​in​ ​other​ ​definitions​ ​of​ ​the​ ​word​ ​talent​ ​was​ ​“disposition”
which​ ​can​ ​also​ ​mean​ ​“proclivity”.​ ​The​ ​natural​ ​leaning​ ​of​ ​the​ ​mind​ ​or​ ​body​ ​towards​ ​a​ ​certain​ ​area
that​ ​is​ ​manifested​ ​or​ ​implied​ ​naturally.​ ​In​ ​my​ ​personal​ ​research​ ​on​ ​the​ ​subject​ ​of​ ​Talent,​ ​I​ ​have
found​ ​ ​that​ ​it​ ​is​ ​not​ ​necessarily​ ​the​ ​most​ ​talented​ ​that​ ​go​ ​viral.​ ​This​ ​is​ ​because​ ​you​ ​need​ ​each
ingredient​ ​of​ ​the​ ​Virality​ ​casserole​ ​for​ ​it​ ​to​ ​be​ ​complete.​ ​In​ ​like​ ​manner,​ ​natural​ ​talent​ ​alone​ ​is
not​ ​enough​ ​to​ ​ensure​ ​virality.​ ​In​ ​this​ ​category​ ​of​ ​Talent​ ​I​ ​would​ ​like​ ​to​ ​present​ ​two​ ​cases​ ​of
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Talent​ ​one​ ​being​ ​a​ ​one-hit​ ​viral​ ​experience​ ​and​ ​another​ ​which​ ​had​ ​a​ ​profound​ ​impact​ ​on​ ​the
sound​ ​of​ ​Pop​ ​music​ ​across​ ​the​ ​world​ ​and​ ​set​ ​international​ ​standards​ ​of​ ​female​ ​Pop​ ​singing​ ​to
change​ ​(Everitt).​ ​Our​ ​first​ ​case​ ​study​ ​in​ ​Talent​ ​which​ ​is​ ​the​ ​one-hit​ ​viral​ ​experience​ ​which​ ​many
have​ ​scorned​ ​is​ ​that​ ​of​ ​a​ ​young​ ​American​ ​woman​ ​named​ ​Rebecca​ ​Black​ ​of​ ​Irvine,​ ​California
(What​ ​I​ ​Learned).​ ​Many​ ​will​ ​not​ ​have​ ​heard​ ​of​ ​her.​ ​This​ ​is​ ​another​ ​dimension​ ​of​ ​virality:​ ​virality
does​ ​not​ ​necessarily​ ​equate​ ​fame.​ ​There​ ​is​ ​space​ ​in​ ​successful​ ​virality​ ​for​ ​many​ ​though​ ​this​ ​alone
does​ ​not​ ​ensure​ ​long-term​ ​career​ ​success​ ​or​ ​fame.​ ​Rebecca​ ​Black​ ​is​ ​known​ ​for​ ​a​ ​Bubble​ ​Gum
pop​ ​song​ ​which​ ​was​ ​originally​ ​uploaded​ ​to​ ​her​ ​Youtube​ ​page​ ​on​ ​February​ ​11,​ ​2011.​ ​The​ ​name​ ​of
the​ ​song​ ​was​ ​“Friday”.​ ​It​ ​received​ ​1,000​ ​hits​ ​(views)​ ​in​ ​the​ ​first​ ​month​ ​but​ ​went​ ​viral​ ​in​ ​March
2011​ ​to​ ​the​ ​tune​ ​of​ ​over​ ​2​ ​million​ ​views​ ​at​ ​the​ ​time​ ​(Perpetua).​ ​At​ ​the​ ​present​ ​time,​ ​Rebecca
Black’s​ ​“Friday”​ ​has​ ​over​ ​110​ ​million​ ​views.​ ​(Black)​ ​The​ ​video​ ​would​ ​be​ ​removed​ ​due​ ​to​ ​a​ ​legal
dispute​ ​between​ ​Black’s​ ​family​ ​and​ ​the​ ​production​ ​company.​ ​Black’s​ ​family​ ​won​ ​the​ ​dispute​ ​and
re-uploaded​ ​the​ ​video​ ​to​ ​Black’s​ ​Youtube​ ​account.​ ​The​ ​story​ ​goes​ ​that​ ​Rebecca​ ​Black’s​ ​mother,
Georgina​ ​Marquez​ ​Kelly,​ ​paid​ ​the​ ​ARK​ ​Music​ ​Factory​ ​(the​ ​production​ ​company​ ​in​ ​question)
$4,000​ ​to​ ​write​ ​the​ ​song,​ ​produce​ ​the​ ​music​ ​video,​ ​and​ ​market​ ​the​ ​final​ ​results.​ ​The​ ​Black​ ​family
would​ ​own​ ​the​ ​copyright​ ​for​ ​both.​ ​(Perpetua)
The​ ​reason​ ​this​ ​case​ ​became​ ​part​ ​of​ ​this​ ​virality​ ​study​ ​is​ ​because​ ​even​ ​though​ ​the​ ​video
went​ ​viral,​ ​many​ ​did​ ​not​ ​like​ ​the​ ​song,​ ​the​ ​video,​ ​and​ ​felt​ ​that​ ​Ms.​ ​Black​ ​has​ ​little​ ​to​ ​no​ ​talent
(What​ ​I​ ​Learned).​ ​The​ ​song​ ​was​ ​even​ ​rated​ ​the​ ​“Worst​ ​Song​ ​Ever”​ ​by​ ​the​ ​LA​ ​Times​ ​and​ ​yet​ ​the
virality​ ​led​ ​to​ ​definitive​ ​career​ ​positive​ ​opportunities​ ​(Lewis).​ ​The​ ​song​ ​charted​ ​on​ ​the​ ​Billboard
charts​ ​and​ ​peaked​ ​at​ ​number​ ​58​ ​in​ ​the​ ​US.​ ​Black​ ​was​ ​signed​ ​to​ ​Maker​ ​Studios​ ​where​ ​she​ ​is
managed​ ​by​ ​Debra​ ​Baum​ ​of​ ​DB​ ​Entertainment.​ ​She​ ​was​ ​featured​ ​in​ ​Katy​ ​Perry’s​ ​documentary
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“Part​ ​of​ ​Me”,​ ​she​ ​collaborated​ ​with​ ​Funny​ ​Or​ ​Die​ ​(co-founded​ ​notably​ ​by​ ​ ​actor/comedian​ ​Will
Ferrell),​ ​and​ ​was​ ​featured​ ​on​ ​an​ ​ABC​ ​special​ ​entitled​ ​“​Underage​ ​and​ ​Famous:​ ​Inside​ ​Child​ ​Stars'
Lives”​ ​(Canning).
In​ ​the​ ​case​ ​of​ ​Rebecca​ ​Black’s​ ​virality,​ ​the​ ​Power​ ​was​ ​the​ ​production​ ​company​ ​ARK
Music​ ​Factory​ ​co-founded​ ​by​ ​Nigerian-American​ ​music​ ​producer​ ​Patrice​ ​Wilson​ ​and​ ​Sri​ ​Lankan
record​ ​producer,​ ​multi-instrumentalist,​ ​and​ ​composer​ ​Clarence​ ​Jey.​ ​Both​ ​had​ ​connections​ ​in​ ​the
music​ ​industry​ ​through​ ​collaborations​ ​and​ ​partnerships​ ​with​ ​large​ ​commercial​ ​venture​ ​(Venuto).
The​ ​Power​ ​and​ ​Faith​ ​ingredients,​ ​were​ ​also​ ​Rebecca​ ​Black’s​ ​mother​ ​Georgina​ ​Marquez​ ​Kelly
who​ ​paid​ ​the​ ​$4,000​ ​necessary​ ​to​ ​be​ ​able​ ​to​ ​access​ ​the​ ​services​ ​needed​ ​to​ ​create​ ​the​ ​virality
(Canning).​ ​I​ ​would​ ​like​ ​to​ ​note,​ ​however,​ ​that​ ​money​ ​does​ ​not​ ​necessarily​ ​create​ ​or​ ​provoke
virality​ ​consistently.​ ​In​ ​this​ ​case,​ ​the​ ​other​ ​elements​ ​of​ ​the​ ​Virality​ ​Casserole​ ​were​ ​present​ ​and
this​ ​incited​ ​virality​ ​but​ ​it​ ​should​ ​not​ ​be​ ​interpreted​ ​that​ ​money​ ​can​ ​purchase​ ​viral​ ​success.​ ​Note
that​ ​the​ ​market​ ​does​ ​not​ ​refer​ ​to​ ​people​ ​a​ ​viral​ ​candidate​ ​wishes​ ​to​ ​attain.​ ​In​ ​this​ ​case,​ ​the​ ​Market
was​ ​generally​ ​teenage​ ​Youtubers,​ ​fueled​ ​by​ ​other​ ​viewers​ ​who​ ​denigrated​ ​the​ ​song​ ​and​ ​shared​ ​it
to​ ​mock​ ​Rebecca​ ​Black.​ ​This​ ​fueled​ ​sharing​ ​among​ ​friends​ ​and​ ​contacts​ ​which​ ​became​ ​the
catalyst​ ​that​ ​caused​ ​there​ ​to​ ​be​ ​a​ ​Market​ ​for​ ​this​ ​candidate​ ​of​ ​virality​ ​(Canning).
Talent​ ​in​ ​this​ ​case​ ​was​ ​both​ ​Rebecca​ ​Black’s,​ ​Patrice​ ​Wilson,​ ​and​ ​Clarence​ ​Jey.​ ​Jey​ ​and
Wilson​ ​created​ ​the​ ​song’s​ ​lyrics​ ​and​ ​composition​ ​but​ ​it​ ​was​ ​Rebecca​ ​Black​ ​who​ ​sang​ ​and​ ​acted
in​ ​the​ ​music​ ​video​ ​to​ ​cement​ ​the​ ​completion​ ​of​ ​the​ ​song​ ​(Chelin).​ ​Some​ ​may​ ​be​ ​alarmed​ ​and
state​ ​that​ ​Ms.​ ​Black​ ​does​ ​not​ ​have​ ​any​ ​talent.​ ​As​ ​we​ ​discussed​ ​earlier,​ ​abundant​ ​talent​ ​does​ ​not
secure​ ​virality​ ​and​ ​neither​ ​does​ ​a​ ​perceived​ ​lesser​ ​level​ ​of​ ​talent​ ​preclude​ ​persons​ ​from​ ​achieving
virality,​ ​fame,​ ​or​ ​even​ ​long-term​ ​commercial​ ​success.​ ​The​ ​Relevance​ ​in​ ​this​ ​scenario​ ​is​ ​that
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Rebecca​ ​Black​ ​looked​ ​and​ ​sounded​ ​like​ ​a​ ​teen​ ​singing​ ​a​ ​Bubble​ ​Gum​ ​clean​ ​pop​ ​song
reminiscent​ ​of​ ​the​ ​recent​ ​works​ ​of​ ​Disney​ ​while​ ​singing​ ​lyrics​ ​that​ ​were​ ​deemed​ ​basic​ ​and​ ​dumb
(Chelin).​ ​She​ ​was​ ​relatable,​ ​the​ ​market​ ​could​ ​identify​ ​to​ ​the​ ​imagery​ ​being​ ​portrayed​ ​in​ ​the
music​ ​video,​ ​and​ ​she​ ​bore​ ​a​ ​resemblance​ ​to​ ​Selena​ ​Gomez​ ​of​ ​Disney.​ ​To​ ​this​ ​point,​ ​physical
attractiveness​ ​catches​ ​the​ ​eye,​ ​however,​ ​this​ ​is​ ​not​ ​a​ ​sure​ ​initiator​ ​or​ ​sustainer​ ​of​ ​virality.​ ​Virality
candidates​ ​Blu​ ​Cantrell,​ ​Anastacia,​ ​and​ ​Carmen​ ​Electra​ ​are​ ​examples​ ​of​ ​this.​ ​Though​ ​their
images​ ​were​ ​tailored​ ​to​ ​be​ ​seductive​ ​physically,​ ​musically,​ ​they​ ​have​ ​not​ ​had​ ​the​ ​kind​ ​of
long-term​ ​success​ ​that​ ​comes​ ​with​ ​a​ ​sustained​ ​musical​ ​career.​ ​To​ ​drive​ ​this​ ​point​ ​home,​ ​sex​ ​isn’t
what​ ​sells;​ ​sexiness​ ​does​ ​(Ferguson).​ ​Many​ ​have​ ​shown​ ​more​ ​and​ ​more​ ​skin​ ​hoping​ ​to​ ​sell
increasingly​ ​more​ ​product​ ​or​ ​service.​ ​Due​ ​to​ ​saturation​ ​(discussed​ ​in​ ​exceptions​ ​towards​ ​the​ ​end
of​ ​the​ ​thesis)​ ​and​ ​the​ ​multiplicity​ ​of​ ​options,​ ​the​ ​market​ ​now​ ​has​ ​more​ ​control​ ​than​ ​ever​ ​in​ ​what
becomes​ ​a​ ​hit​ ​(Weber).​ ​The​ ​Faith​ ​ingredient,​ ​as​ ​mentioned,​ ​was​ ​Rebecca​ ​Black’s​ ​mother
Georgina.​ ​She​ ​believed​ ​in​ ​her​ ​daughter’s​ ​dream​ ​even​ ​though​ ​her​ ​daughter​ ​had​ ​not​ ​had​ ​formal
music​ ​training​ ​and​ ​she​ ​chose​ ​to​ ​invest​ ​$4,000​ ​into​ ​her​ ​daughter’s​ ​dream.​ ​Rebecca​ ​Black​ ​also
believed​ ​that​ ​she​ ​could​ ​contribute​ ​musically​ ​to​ ​the​ ​industry​ ​and​ ​also​ ​exercised​ ​faith.
The​ ​second​ ​example​ ​of​ ​Talent​ ​which​ ​is​ ​the​ ​one​ ​mentioned​ ​earlier​ ​as​ ​the​ ​one​ ​who​ ​forcibly
redefined​ ​the​ ​female​ ​sound​ ​in​ ​Pop​ ​music​ ​internationally​ ​after​ ​her​ ​is​ ​none​ ​other​ ​than​ ​the​ ​woman
who​ ​caused​ ​me​ ​to​ ​have​ ​an​ ​interest​ ​in​ ​this​ ​subject​ ​at​ ​all.​ ​Her​ ​name​ ​was​ ​Whitney​ ​Elizabeth
Houston.​ ​Whitney​ ​was​ ​born​ ​in​ ​Newark,​ ​New​ ​Jersey​ ​on​ ​August​ ​9,​ ​1963​ ​to​ ​Veteran​ ​and
Entertainment​ ​Executive​ ​John​ ​Russell​ ​Houston,​ ​Jr.​ ​and​ ​Gospel​ ​recording​ ​artist​ ​Emily​ ​“Cissy”
Houston​ ​(Notable).​ ​She​ ​had​ ​one​ ​half​ ​brother​ ​and​ ​two​ ​cousins​ ​one​ ​of​ ​which​ ​is​ ​the​ ​legendary
Dionne​ ​Warwick​ ​who​ ​produced​ ​classic​ ​hits​ ​between​ ​the​ ​1960’s​ ​and​ ​1980’s​ ​(Whitburn).​ ​Her
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other​ ​cousin​ ​is​ ​the​ ​legendary​ ​Opera​ ​singer​ ​Leontyne​ ​Price​ ​who​ ​was​ ​one​ ​of​ ​the​ ​most
internationally​ ​sought​ ​out​ ​voices​ ​of​ ​Opera​ ​in​ ​the​ ​50’s​ ​and​ ​60’s​ ​until​ ​her​ ​retirement​ ​in​ ​1994
(Kettle).​ ​Whitney’s​ ​virality​ ​is​ ​distinct​ ​from​ ​Black’s​ ​virality​ ​in​ ​the​ ​sense​ ​that​ ​it​ ​did​ ​produce​ ​fame,
an​ ​International​ ​market,​ ​and​ ​shifted​ ​the​ ​perception​ ​of​ ​the​ ​female​ ​voice​ ​in​ ​pop.​ ​What​ ​most​ ​made
Whitney​ ​Houston​ ​a​ ​serious​ ​candidate​ ​for​ ​virality​ ​was​ ​both​ ​Relevance​ ​and​ ​Talent.​ ​Power
certainly​ ​came​ ​from​ ​Arista​ ​records​ ​founder​ ​Clive​ ​Davis​ ​who​ ​worked​ ​with​ ​Whitney’s​ ​mother,
Cissy​ ​Houston,​ ​to​ ​prepare​ ​Whitney​ ​for​ ​virality.
There​ ​were​ ​early​ ​attempts​ ​in​ ​1980​ ​to​ ​sign​ ​Whitney​ ​but​ ​her​ ​mother​ ​refused.​ ​She​ ​insisted
that​ ​Whitney​ ​would​ ​first​ ​need​ ​to​ ​finish​ ​High​ ​School.​ ​One​ ​night,​ ​in​ ​a​ ​New​ ​York​ ​City​ ​nightclub,
Arista​ ​Artists​ ​&​ ​Repertoire​ ​(A&R)​ ​Gerry​ ​Griffith​ ​heard​ ​Whitney​ ​singing​ ​with​ ​her​ ​mother​ ​and
was​ ​impressed.​ ​Gerry​ ​convinced​ ​Clive​ ​Davis​ ​to​ ​hear​ ​Whitney​ ​and​ ​Clive​ ​was​ ​also​ ​impressed​ ​and
signed​ ​her​ ​immediately​ ​to​ ​Arista​ ​with​ ​a​ ​worldwide​ ​recording​ ​contract.​ ​Whitney’s​ ​mother,​ ​Cissy,
approved​ ​(The​ ​Billboard…).​ ​This​ ​leads​ ​us​ ​to​ ​the​ ​issue​ ​of​ ​Whitney​ ​Houston’s​ ​Talent​ ​which​ ​is​ ​the
focus​ ​in​ ​this​ ​segment.​ ​Whitney’s​ ​Father​ ​described​ ​in​ ​an​ ​Ebony​ ​Magazine​ ​interview​ ​in​ ​June​ ​1990
how​ ​when​ ​he​ ​first​ ​heard​ ​Whitney​ ​sing​ ​in​ ​the​ ​New​ ​Hope​ ​Baptist​ ​Church​ ​of​ ​Newark,​ ​New​ ​Jersey
when​ ​she​ ​was​ ​around​ ​11​ ​years​ ​old,​ ​he​ ​was​ ​so​ ​moved​ ​that​ ​he​ ​got​ ​up​ ​and​ ​paced​ ​around​ ​the​ ​church,
incredulous.​ ​The​ ​song​ ​she​ ​had​ ​sung​ ​was​ ​“Guide​ ​Me,​ ​O​ ​Thou​ ​Great​ ​Jehovah.”​ ​It​ ​was​ ​Whitney’s
mother,​ ​Cissy,​ ​who​ ​would​ ​help​ ​nurture​ ​Whitney’s​ ​talent​ ​since​ ​she,​ ​also,​ ​was​ ​a​ ​singer​ ​(Norment).
One​ ​can​ ​say​ ​that​ ​Whitney​ ​Houston’s​ ​fach​ ​was​ ​of​ ​ ​“Mezzo-Soprano”​ ​classification​ ​but​ ​there​ ​are
many​ ​mezzo-sopranos​ ​and​ ​most​ ​don’t​ ​sound​ ​like​ ​she​ ​did.​ ​There​ ​was​ ​an​ ​eruption​ ​of​ ​soul​ ​in​ ​every
phrase​ ​uttered​ ​by​ ​Whitney​ ​Houston​ ​in​ ​the​ ​early​ ​years​ ​(Collette)
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When​ ​featured​ ​on​ ​The​ ​Merv​ ​Griffin​ ​show​ ​and​ ​Whitney​ ​sang​ ​“Home”​ ​from​ ​the​ ​Musical
“The​ ​Wiz”​ ​this​ ​attribute​ ​was​ ​most​ ​evident.​ ​There​ ​were​ ​no​ ​gimmicks.​ ​There​ ​was​ ​simply​ ​a​ ​stream
of​ ​thought,​ ​of​ ​place,​ ​of​ ​sentiment,​ ​of​ ​heart.​ ​She​ ​connected​ ​story​ ​to​ ​song​ ​in​ ​a​ ​way​ ​that​ ​was
immediately​ ​believable​ ​and​ ​one​ ​was​ ​obliged​ ​to​ ​take​ ​the​ ​journey​ ​with​ ​her​ ​whether​ ​one​ ​wanted​ ​to
or​ ​not​ ​(Griffin).​ ​As​ ​I​ ​listen​ ​again​ ​to​ ​that​ ​broadcast,​ ​which​ ​was​ ​her​ ​first​ ​national​ ​television
appearance,​ ​I​ ​begin​ ​to​ ​take​ ​into​ ​account​ ​things​ ​I​ ​could​ ​not​ ​before​ ​I’d​ ​received​ ​my​ ​musical
education.​ ​Her​ ​enunciation​ ​indicates​ ​a​ ​savoring​ ​of​ ​the​ ​words,​ ​there​ ​was​ ​a​ ​playful​ ​improvisation,
an​ ​innocence,​ ​a​ ​faith​ ​that​ ​was​ ​projected​ ​through​ ​a​ ​voice​ ​so​ ​flexible​ ​it​ ​could​ ​belt​ ​with​ ​integrity
and​ ​direction​ ​but​ ​could​ ​also​ ​become​ ​soft​ ​and​ ​reassuring​ ​(Griffin).​ ​What​ ​I​ ​find​ ​now,​ ​after
studying​ ​music​ ​to​ ​be​ ​most​ ​puzzling​ ​about​ ​her​ ​voice​ ​is​ ​that​ ​the​ ​belts​ ​exploded​ ​out​ ​of​ ​her​ ​from​ ​a
vortex;​ ​it​ ​was​ ​as​ ​though​ ​there​ ​was​ ​a​ ​powerful​ ​mechanism​ ​keeping​ ​direction​ ​and​ ​volume​ ​of
emittance​ ​in​ ​constant​ ​check​ ​so​ ​that,​ ​at​ ​any​ ​moment,​ ​when​ ​she​ ​was​ ​so​ ​moved,​ ​she​ ​could​ ​release
an​ ​upward​ ​belt​ ​so​ ​full​ ​supported​ ​that​ ​one​ ​could​ ​only​ ​listen​ ​in​ ​hopeful​ ​praise​ ​fearing​ ​that​ ​she
would​ ​eventually​ ​let​ ​the​ ​note​ ​go​ ​and​ ​that​ ​it​ ​might​ ​not​ ​happen​ ​again.​ ​Around​ ​this​ ​Talent,​ ​the​ ​voice
of​ ​Whitney​ ​Houston,​ ​many​ ​female​ ​Pop​ ​singers​ ​converged​ ​and​ ​imitated​ ​so​ ​much​ ​so​ ​that​ ​the
present​ ​day​ ​female​ ​pop​ ​artists​ ​each​ ​can​ ​be​ ​heard​ ​attempting​ ​to​ ​imitate​ ​the​ ​power,​ ​placement,
riffs,​ ​and​ ​improvisations​ ​(Everitt).​ ​Lady​ ​Gaga​ ​openly​ ​admitted​ ​that​ ​she​ ​wrote​ ​the
Grammy-winning​ ​song​ ​“Born​ ​This​ ​Way”​ ​imagining​ ​Whitney​ ​Houston​ ​singing​ ​the​ ​song​ ​because
she​ ​did​ ​not​ ​feel​ ​she​ ​had​ ​the​ ​confidence​ ​to​ ​do​ ​perform​ ​it​ ​(Lady​ ​Gaga).​ ​Even​ ​so,​ ​Whitney
Houston’s​ ​vocal​ ​talent​ ​alone​ ​did​ ​not​ ​account​ ​for​ ​her​ ​incredible​ ​success.
What​ ​made​ ​Whitney​ ​Houston​ ​relatable​ ​across​ ​the​ ​world​ ​were​ ​her​ ​heartfelt​ ​songs.​ ​Songs
such​ ​as​ ​“I​ ​Have​ ​Nothing”,​ ​“The​ ​Greatest​ ​Love​ ​of​ ​All”,​ ​“I​ ​Will​ ​Always​ ​Love​ ​You”,​ ​“When​ ​You
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Believe”​ ​(duet​ ​with​ ​Mariah​ ​Carey),​ ​have​ ​gone​ ​on​ ​to​ ​become​ ​standards​ ​in​ ​the​ ​world​ ​of​ ​pop
frequently​ ​covered​ ​on​ ​singing​ ​competitions.​ ​The​ ​female​ ​pop​ ​power​ ​ballad​ ​was​ ​a​ ​phenomena​ ​that
was​ ​typically​ ​experienced​ ​prior​ ​to​ ​the​ ​1980’s​ ​in​ ​girl​ ​groups.​ ​Songs​ ​such​ ​as​ ​“Be​ ​My​ ​Baby”​ ​by​ ​the
Ronettes,​ ​“Lady​ ​Marmalade”​ ​by​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Bluebells,​ ​“It’s​ ​in​ ​His​ ​Kiss​ ​(The​ ​Shoop
Song)​ ​by​ ​Betty​ ​Everett​ ​are​ ​precursors​ ​to​ ​the​ ​80’s,​ ​90’s​ ​ballad​ ​where​ ​one​ ​prominent​ ​voice​ ​lead
the​ ​song​ ​with​ ​the​ ​other​ ​background​ ​vocalists​ ​acting​ ​as​ ​accompaniment.​ ​Arguably​ ​the​ ​most
memorable​ ​of​ ​such​ ​groups​ ​is​ ​none​ ​other​ ​than​ ​The​ ​Supremes​ ​led​ ​by​ ​Diana​ ​Ross​ ​in​ ​songs​ ​such​ ​as
“You​ ​Can’t​ ​Hurry​ ​Love”,​ ​“Baby​ ​Love”,​ ​“Stop​ ​in​ ​the​ ​Name​ ​of​ ​Love”.​ ​This,​ ​I​ ​opine,​ ​is​ ​the​ ​root​ ​of
the​ ​female​ ​power​ ​ballad​ ​which​ ​Whitney​ ​Houston​ ​took​ ​to​ ​a​ ​level​ ​that​ ​none​ ​had​ ​taken​ ​it​ ​before
that​ ​Now​ ​some​ ​may​ ​argue​ ​that​ ​she​ ​learned​ ​from​ ​others.​ ​This​ ​is​ ​true.​ ​She​ ​would​ ​have​ ​learned
from​ ​Roberta​ ​Flack,​ ​Chaka​ ​Khan,​ ​and​ ​Aretha​ ​Franklin​ ​whom​ ​she​ ​cited​ ​as​ ​influences​ ​early​ ​on
(Norment).​ ​The​ ​elements​ ​of​ ​Whitney​ ​Houston’s​ ​success​ ​were​ ​so​ ​carefully​ ​administered​ ​and
manned​ ​by​ ​persons​ ​of​ ​expertise​ ​that​ ​this​ ​case​ ​of​ ​virality​ ​is​ ​unique.
The​ ​elements​ ​of​ ​Whitney​ ​Houston’s​ ​virality​ ​are​ ​as​ ​such:​ ​Market:​ ​the​ ​Market​ ​was
ambiguous​ ​yet​ ​large​ ​in​ ​that​ ​it​ ​encompassed​ ​the​ ​same​ ​markets​ ​which​ ​purchased​ ​Motown​ ​music,
Phil​ ​Spector​ ​music​ ​when​ ​it​ ​came​ ​to​ ​the​ ​Ronettes,​ ​and​ ​Burt​ ​Bacharach/Hal​ ​David’s​ ​music​ ​as​ ​it
was​ ​composed​ ​for​ ​Dionne​ ​Warwick​ ​(Laing).​ ​Talent:​ ​The​ ​Talent​ ​element​ ​was​ ​embodied​ ​in
Whitney​ ​Houston;​ ​however,​ ​there​ ​were​ ​3rd​ ​parties​ ​involved​ ​who​ ​were​ ​hand-picked​ ​by​ ​Clive
Davis​ ​in​ ​the​ ​form​ ​of​ ​songwriters,​ ​audio​ ​engineers,​ ​producers​ ​etc.​ ​He​ ​made​ ​a​ ​conscious​ ​effort​ ​to
surround​ ​Whitney​ ​with​ ​the​ ​most​ ​talented​ ​of​ ​persons​ ​in​ ​their​ ​own​ ​domains​ ​which​ ​contributed​ ​to
the​ ​massive​ ​success​ ​Whitney​ ​Houston​ ​had​ ​(Nichols).​ ​Power:​ ​The​ ​Power​ ​in​ ​this​ ​scenario​ ​is​ ​very
much​ ​Clive​ ​Davis.​ ​Davis​ ​had,​ ​at​ ​the​ ​time,​ ​several​ ​years​ ​of​ ​experience​ ​signing​ ​up-and-coming
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artists​ ​and​ ​turning​ ​them​ ​into​ ​hit​ ​making​ ​standards.​ ​Before​ ​working​ ​with​ ​Whitney,​ ​as​ ​the​ ​Vice
President​ ​and​ ​General​ ​Manager​ ​of​ ​Columbia​ ​Records,​ ​Davis​ ​discovered​ ​and​ ​signed​ ​Janis​ ​Joplin
with​ ​Big​ ​Brother​ ​and​ ​the​ ​Holding​ ​ ​Company,​ ​Laura​ ​Nyro,​ ​Carlos​ ​Santana,​ ​Bruce​ ​Springsteen,
Chicago,​ ​Billy​ ​Joel,​ ​Blood,​ ​Sweat,​ ​&​ ​Tears,​ ​Aerosmith,​ ​and​ ​Pink​ ​Floyd.​ ​He​ ​was​ ​actively
involved​ ​in​ ​launching​ ​these​ ​artists​ ​careers​ ​by​ ​picking​ ​material​ ​in​ ​the​ ​form​ ​of​ ​music​ ​and
production​ ​that​ ​would​ ​best​ ​emphasize​ ​their​ ​talent​ ​(Billboard).
As​ ​a​ ​result,​ ​by​ ​the​ ​time​ ​Davis​ ​encountered​ ​Whitney,​ ​he​ ​already​ ​had​ ​the​ ​experience​ ​in
recognizing​ ​talent​ ​and​ ​nurturing​ ​that​ ​talent​ ​to​ ​best​ ​present​ ​said​ ​talent​ ​to​ ​the​ ​public​ ​(Laing).​ ​This
meant​ ​that​ ​Davis​ ​had​ ​significant​ ​credibility​ ​since​ ​these​ ​artists​ ​(and​ ​other​ ​who​ ​would​ ​be​ ​signed)
produced​ ​number​ ​one​ ​hits​ ​continually​ ​as​ ​a​ ​result​ ​of​ ​Davis’​ ​involvement​ ​in​ ​these​ ​artists​ ​careers.
Hence,​ ​Clive​ ​Davis​ ​had​ ​the​ ​power​ ​to​ ​put​ ​Whitney’s​ ​talent​ ​in​ ​a​ ​place​ ​to​ ​receive​ ​exposure​ ​and
marketing​ ​which​ ​contributed​ ​to​ ​her​ ​massive​ ​success.​ ​Relevance:​ ​the​ ​1986​ ​Grammy​ ​Awards​ ​were
filled​ ​with​ ​the​ ​Soul,​ ​Gospel,​ ​Rhythm​ ​and​ ​Blues​ ​inspired​ ​persons​ ​across​ ​several​ ​genres.
Something​ ​that​ ​is​ ​important​ ​to​ ​note​ ​is​ ​that​ ​not​ ​every​ ​nominated​ ​artist​ ​in​ ​a​ ​category​ ​goes​ ​on​ ​to
have​ ​a​ ​successful,​ ​long-term​ ​career.​ ​For​ ​example,​ ​in​ ​the​ ​category​ ​of​ ​Best​ ​Rock​ ​Instrumental
Performance,​ ​out​ ​of​ ​six​ ​nominees,​ ​today,​ ​the​ ​one​ ​with​ ​the​ ​most​ ​name​ ​recognition​ ​would​ ​be​ ​Steve
Ray​ ​Vaughan​ ​or​ ​Jeff​ ​Beck.​ ​The​ ​others,​ ​except​ ​for​ ​loyal​ ​fans,​ ​are​ ​relatively​ ​unknown​ ​(Grammy).
​​
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However,​ ​indicative​ ​of​ ​the​ ​popularity​ ​of​ ​a​ ​category​ ​is​ ​the​ ​nature​ ​of​ ​the​ ​nominees.​ ​This​ ​means
that​ ​in​ ​times​ ​when​ ​a​ ​category​ ​is​ ​“hot”​ ​or​ ​producing​ ​many​ ​greats,​ ​many​ ​recognizable​ ​persons​ ​will
be​ ​nominated.​ ​In​ ​a​ ​time​ ​when​ ​a​ ​category​ ​isn’t​ ​as​ ​strong,​ ​the​ ​persons​ ​nominated​ ​may​ ​not​ ​be​ ​as
popular​ ​or​ ​have​ ​a​ ​strong​ ​career​ ​(Westover).​ ​As​ ​such,​ ​let’s​ ​take​ ​a​ ​look​ ​at​ ​the​ ​category​ ​for​ ​“Best
Rhythm​ ​&​ ​Blues​ ​Vocal​ ​Performance​ ​-​ ​Female”.
What​ ​is​ ​significant​ ​in​ ​this​ ​category​ ​is​ ​that​ ​the​ ​women​ ​in​ ​this​ ​category,​ ​for​ ​most​ ​persons​ ​who​ ​are
fans​ ​of​ ​the​ ​genre​ ​and​ ​even​ ​some​ ​who​ ​may​ ​not​ ​know​ ​the​ ​names​ ​but​ ​know​ ​the​ ​songs,​ ​would
recognize​ ​these​ ​women​ ​as​ ​well​ ​as​ ​their​ ​careers.​ ​What​ ​is​ ​even​ ​more​ ​significant​ ​is​ ​that​ ​every​ ​one
of​ ​these​ ​women​ ​continued​ ​in​ ​music​ ​and​ ​had​ ​significant​ ​success​ ​after​ ​the​ ​1986​ ​awards​ ​ceremonies
scoring​ ​hits​ ​and​ ​some​ ​even​ ​went​ ​on​ ​to​ ​achieve​ ​legendary​ ​status​ ​in​ ​the​ ​field.​ ​This​ ​demonstrates
how​ ​fierce​ ​the​ ​competition​ ​was​ ​in​ ​this​ ​genre​ ​at​ ​that​ ​time​ ​so​ ​much​ ​so​ ​that​ ​the​ ​top​ ​producers​ ​in​ ​the
genre​ ​were​ ​generally​ ​accepted​ ​as​ ​the​ ​standard​ ​bearers.​ ​In​ ​another​ ​similar​ ​category​ ​in​ ​that​ ​same
year,​ ​Whitney​ ​Houston​ ​won​ ​her​ ​first​ ​Grammy​ ​for​ ​the​ ​hit​ ​single​ ​“Saving​ ​All​ ​My​ ​Love​ ​For​ ​You”:
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In​ ​this​ ​category,​ ​the​ ​same​ ​phenomena​ ​occurs.​ ​Whitney​ ​wins​ ​in​ ​this​ ​category​ ​against
industry​ ​titans​ ​such​ ​as​ ​Madonna,​ ​Pat​ ​Benatar,​ ​Linda​ ​Ronstadt,​ ​and​ ​Tina​ ​Turner.​ ​This​ ​indicates
the​ ​strength​ ​of​ ​the​ ​category​ ​and,​ ​by​ ​reason,​ ​the​ ​power​ ​of​ ​the​ ​Market​ ​contained​ ​therein​ ​(Hsieh).
This​ ​brings​ ​us​ ​back​ ​to​ ​the​ ​point​ ​of​ ​Relevance.​ ​In​ ​this​ ​period,​ ​the​ ​market​ ​for​ ​the​ ​powerful​ ​female
gospel-influenced​ ​vocalist​ ​(seen​ ​in​ ​the​ ​Best​ ​R&B​ ​Performance​ ​-​ ​Female​ ​category)​ ​was​ ​potent
and​ ​it​ ​is​ ​a​ ​genre​ ​which​ ​to​ ​this​ ​day​ ​continues​ ​to​ ​inspire​ ​vocalists​ ​around​ ​the​ ​world.​ ​Therefore,​ ​the
Relevance​ ​was​ ​that​ ​the​ ​market​ ​bought​ ​heavily​ ​into​ ​acts​ ​similar​ ​to​ ​Whitney​ ​Houston​ ​(The
Nielsen).​ ​They​ ​loved​ ​Patti​ ​Labelle,​ ​Aretha​ ​Franklin,​ ​Chaka​ ​Khan​ ​and​ ​now​ ​that​ ​a​ ​big​ ​voice​ ​with
new​ ​energy​ ​broke​ ​out​ ​onto​ ​the​ ​scene​ ​with​ ​great​ ​emotion​ ​and​ ​sincerity,​ ​they​ ​quickly​ ​embraced
Whitney​ ​Houston​ ​as​ ​well​ ​(Lady​ ​Gaga).​ ​As​ ​such,​ ​there​ ​was​ ​an​ ​immediate​ ​relevance​ ​factor​ ​for
Whitney​ ​due​ ​to​ ​similar​ ​acts​ ​of​ ​a​ ​similar​ ​nature​ ​in​ ​a​ ​broad​ ​market​ ​(Grammy).
The​ ​Faith​ ​element​ ​in​ ​Whitney​ ​Houston’s​ ​case​ ​was​ ​first​ ​exercised​ ​by​ ​her​ ​mother,​ ​“Cissy”
Houston​ ​and​ ​her​ ​father,​ ​John​ ​Russell​ ​Houston,​ ​Jr.​ ​Long-time​ ​members​ ​of​ ​the​ ​New​ ​Hope​ ​Baptist
Church​ ​where​ ​Cissy​ ​serves​ ​as​ ​Music​ ​Director,​ ​they​ ​encouraged​ ​Whitney’s​ ​talent​ ​in​ ​the​ ​church
and​ ​encouraged​ ​her​ ​to​ ​develop​ ​a​ ​faith​ ​of​ ​her​ ​own​ ​(McCall).
Power
Case​ ​Study:​ ​Celine​ ​Dion
Power:​ ​“​Ability​ ​to​ ​act​ ​or​ ​affect​ ​something​ ​strongly;​ ​physical​ ​or​ ​mental​ ​strength;​ ​might;
vigour,​ ​energy;​ ​effectiveness”​ ​(Power).​ ​In​ ​order​ ​for​ ​us​ ​to​ ​understand​ ​what​ ​“Power”​ ​is​ ​in​ ​the
context​ ​of​ ​the​ ​music​ ​industry,​ ​it​ ​is​ ​important​ ​to​ ​understand​ ​what​ ​the​ ​American​ ​music​ ​industry​ ​is
and​ ​where​ ​it​ ​came​ ​from.
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The​ ​American​ ​music​ ​industry​ ​has​ ​its​ ​roots​ ​in​ ​the​ ​colonial​ ​period​ ​around​ ​the​ ​early​ ​17th
century​ ​where​ ​sheet​ ​music​ ​was​ ​considered​ ​a​ ​luxury​ ​as​ ​it​ ​had​ ​to​ ​be​ ​imported​ ​from​ ​Europe.
American​ ​music​ ​publishing​ ​was​ ​typically​ ​in​ ​strophic​ ​hymn​ ​texts​ ​in​ ​a​ ​book.​ ​These​ ​contained​ ​little
to​ ​no​ ​musical​ ​notation.​ ​(Ogasapian​ ​170-172).​ ​There​ ​were​ ​two​ ​distinct​ ​moments​ ​in​ ​the
development​ ​of​ ​the​ ​American​ ​Music​ ​industry​ ​which​ ​completely​ ​affected​ ​and​ ​altered​ ​the
landscape​ ​on​ ​which​ ​the​ ​industry​ ​would​ ​grow.​ ​The​ ​first​ ​occurrence​ ​was​ ​the​ ​creation​ ​of​ ​the
Copyright​ ​Act​ ​of​ ​1790​ ​(Mulhaney-Clements).​ ​For​ ​the​ ​first​ ​time,​ ​composers,​ ​pianists,​ ​and​ ​other
musicians​ ​could​ ​create​ ​and​ ​sell​ ​their​ ​own​ ​music​ ​without​ ​fear​ ​of​ ​illegal​ ​reproduction​ ​(Copyright).
The​ ​second​ ​innovation​ ​that​ ​catapulted​ ​the​ ​industry​ ​forward​ ​was​ ​the​ ​invention​ ​of​ ​lithography.
Lithography​ ​is​ ​the​ ​process​ ​of​ ​printing​ ​from​ ​a​ ​flat,​ ​treated​ ​surface​ ​where​ ​the​ ​ink​ ​is​ ​repelled​ ​except
for​ ​the​ ​places​ ​where​ ​it​ ​is​ ​needed.​ ​This​ ​method​ ​was​ ​cheaper​ ​than​ ​wood​ ​printing​ ​and​ ​music​ ​printed
entirely​ ​by​ ​hand.​ ​The​ ​laws​ ​of​ ​copyright​ ​would​ ​be​ ​amended​ ​three​ ​times​ ​after​ ​its​ ​initial
implementation​ ​in​ ​1790​ ​(The​ ​Early​ ​0:52).​ ​This​ ​would​ ​allow​ ​for​ ​copyright​ ​owners​ ​to​ ​have​ ​longer
terms​ ​of​ ​control​ ​over​ ​the​ ​material​ ​created​ ​which​ ​would​ ​increase​ ​the​ ​potential​ ​profitability​ ​of​ ​the
work​ ​in​ ​question.​ ​(See​ ​the​ ​chart​ ​below​ ​for​ ​the​ ​breadth​ ​of​ ​changes​ ​to​ ​Copyright​ ​law.)
Due​ ​to​ ​the​ ​creation​ ​of​ ​this​ ​law,​ ​this​ ​opened​ ​doorways​ ​for​ ​legal​ ​recourse​ ​to​ ​be​ ​sought​ ​by
songwriters​ ​and/or​ ​publishers​ ​in​ ​the​ ​case​ ​of​ ​infringement​ ​of​ ​the​ ​copyright.​ ​The​ ​precedent​ ​in​ ​this
category​ ​for​ ​the​ ​first​ ​infringement​ ​of​ ​a​ ​musical​ ​creation​ ​which​ ​was​ ​brought​ ​to​ ​court​ ​is​ ​the​ ​case
known​ ​as​ ​Millet​ ​vs.​ ​Snowden​ ​(1844)​ ​which​ ​was​ ​served​ ​in​ ​a​ ​Circuit​ ​Court​ ​in​ ​New​ ​York​ ​(Millet).
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Millet​ ​versus​ ​Snowden​ ​established​ ​that​ ​even​ ​if​ ​a​ ​word​ ​were​ ​omitted​ ​or​ ​a​ ​line​ ​was​ ​changed,​ ​that
this​ ​would​ ​not​ ​be​ ​sufficiently​ ​distinct​ ​to​ ​warrant​ ​the​ ​use​ ​of​ ​that​ ​work​ ​for​ ​publishing​ ​without
proper​ ​rights​ ​(Millet).​ ​This​ ​was​ ​the​ ​first​ ​implication​ ​of​ ​the​ ​music​ ​laws​ ​addressing​ ​derivative
works.​ ​These​ ​laws​ ​enabled,​ ​for​ ​the​ ​first​ ​time,​ ​persons​ ​who​ ​made​ ​their​ ​entire​ ​living​ ​exclusively
from​ ​royalty​ ​payments​ ​on​ ​songs​ ​which​ ​they​ ​owned​ ​the​ ​copyright​ ​for;​ ​the​ ​first​ ​American​ ​to​ ​do​ ​so
was​ ​Stephen​ ​Foster​ ​(The​ ​Early).
Stephen​ ​Collins​ ​Foster​ ​was​ ​an​ ​early​ ​19th​ ​century​ ​songwriter​ ​who​ ​wrote​ ​the​ ​American
classic​ ​“Oh​ ​Susanna”​ ​and​ ​many​ ​other​ ​Country,​ ​Patriotic,​ ​and​ ​ ​Bluegrass​ ​songs.​ ​He​ ​was​ ​raised​ ​in
the​ ​Pittsburgh​ ​area​ ​and​ ​it​ ​is​ ​said​ ​that​ ​he​ ​had​ ​some​ ​musical​ ​training​ ​from​ ​German​ ​immigrant​ ​and
musician​ ​Henry​ ​Kleber​ ​(Professional).​ ​Now​ ​you​ ​may​ ​be​ ​asking​ ​why​ ​this​ ​matters​ ​and​ ​how​ ​this
relates​ ​to​ ​the​ ​pop​ ​music​ ​of​ ​today.​ ​This​ ​is​ ​the​ ​part​ ​of​ ​American​ ​music​ ​history​ ​which​ ​more​ ​people
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are​ ​familiar​ ​with.​ ​Because​ ​of​ ​these​ ​laws​ ​and​ ​the​ ​protection​ ​of​ ​copyright,​ ​this​ ​served​ ​as​ ​a​ ​catalyst
to​ ​protect​ ​musicians​ ​and​ ​publishers.​ ​In​ ​the​ ​late​ ​19th​ ​century,​ ​many​ ​of​ ​those​ ​publishers​ ​would
move​ ​in​ ​in​ ​close​ ​proximity​ ​to​ ​each​ ​other​ ​creating​ ​and​ ​publishing​ ​music​ ​in​ ​a​ ​way
never-before-seen​ ​in​ ​this​ ​country​ ​(The​ ​Early).​ ​They​ ​would​ ​occupy​ ​the​ ​apartments​ ​and​ ​living
spaces​ ​of​ ​New​ ​York​ ​City,​ ​New​ ​York​ ​on​ ​28th​ ​street​ ​between​ ​Fifth​ ​and​ ​Broadway​ ​avenue​ ​and​ ​in
that​ ​space​ ​created​ ​the​ ​first​ ​major​ ​hits​ ​known​ ​across​ ​America,​ ​and​ ​these​ ​days,​ ​around​ ​the​ ​world.
They​ ​called​ ​their​ ​small​ ​creative​ ​musical​ ​space​ ​“Tin​ ​Pan​ ​Alley”​ ​(Britannica).
Tin​ ​Pan​ ​Alley​ ​would​ ​see​ ​the​ ​coming​ ​together​ ​of​ ​many​ ​songwriters,​ ​composers,​ ​lyricists,
pianists​ ​and​ ​other​ ​music​ ​makers​ ​who​ ​would​ ​create​ ​music​ ​in​ ​various​ ​genres​ ​including​ ​ragtime,
dance,​ ​ballad,​ ​jazz,​ ​and​ ​related​ ​genres.​ ​These​ ​would​ ​form​ ​the​ ​basis​ ​of​ ​American​ ​Pop​ ​music.
Some​ ​of​ ​the​ ​more​ ​readily​ ​recognized​ ​names​ ​of​ ​this​ ​period​ ​are​ ​the​ ​likes​ ​of​ ​Irving​ ​Berlin,​ ​Irving
Caesar,​ ​George​ ​Gershwin,​ ​Ira​ ​Gershwin,​ ​Oscar​ ​Hammerstein​ ​II,​ ​Scott​ ​Joplin,​ ​Frank​ ​Loesser,
Johnny​ ​Mercer,​ ​Cole​ ​Porter,​ ​Richard​ ​Rodgers,​ ​Al​ ​Sherman,​ ​Sunny​ ​Skylar,​ ​Harry​ ​Von​ ​Tilzer​ ​and
many​ ​others​ ​(Song​ ​For).​ ​Even​ ​if​ ​some​ ​of​ ​the​ ​names​ ​are​ ​not​ ​familiar,​ ​the​ ​songs​ ​that​ ​were​ ​created
during​ ​that​ ​time​ ​period​ ​live​ ​on​ ​until​ ​today.​ ​Songs​ ​from​ ​this​ ​time​ ​period​ ​have​ ​gone​ ​on​ ​to​ ​signify
Americanism​ ​and​ ​are​ ​considered​ ​as​ ​foundational,​ ​patriotic,​ ​and​ ​significant​ ​to​ ​the​ ​American
tradition.​ ​Such​ ​songs​ ​include:​ ​“God​ ​Bless​ ​America”​ ​by​ ​Irving​ ​Berlin;​ ​“Happy​ ​Days​ ​are​ ​Here
Again”​ ​by​ ​Jack​ ​Yellen​ ​and​ ​Milton​ ​Ager;​ ​“My​ ​Blue​ ​Heaven”​ ​by​ ​Walter​ ​Donaldson​ ​and​ ​George
Whiting;​ ​and​ ​the​ ​ubiquitous​ ​“Take​ ​Me​ ​Out​ ​to​ ​the​ ​Ball​ ​Game”​ ​by​ ​Albert​ ​Von​ ​Tilzer​ ​(The​ ​Parlor).
Now​ ​that​ ​we​ ​understand​ ​the​ ​history​ ​of​ ​the​ ​American​ ​music​ ​industry​ ​and​ ​how​ ​it​ ​lead​ ​to
the​ ​formation​ ​of​ ​the​ ​Tin​ ​Pan​ ​Alley​ ​it​ ​is​ ​now​ ​time​ ​to​ ​decrypt​ ​the​ ​“Power”​ ​ingredient​ ​for​ ​virality
which​ ​is​ ​probably​ ​the​ ​trickiest​ ​piece​ ​of​ ​the​ ​pie.​ ​It​ ​is​ ​important​ ​to​ ​note​ ​that​ ​even​ ​with​ ​the​ ​Power
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element,​ ​musicians​ ​are​ ​not​ ​guaranteed​ ​lifelong​ ​musical​ ​success​ ​(which​ ​we​ ​will​ ​see​ ​in​ ​the​ ​Van
Winkle​ ​study​ ​later​ ​in​ ​this​ ​thesis).​ ​As​ ​discussed​ ​in​ ​previous​ ​ingredients​ ​of​ ​the​ ​virality​ ​recipe,​ ​it​ ​is
the​ ​joining​ ​of​ ​these​ ​ingredients​ ​together​ ​that​ ​initiates​ ​serious​ ​virality​ ​which​ ​can​ ​be​ ​utilized​ ​to
create​ ​long-term​ ​success.​ ​However,​ ​if​ ​any​ ​one​ ​ingredient​ ​had​ ​the​ ​ability​ ​to​ ​attract​ ​and​ ​command
the​ ​other​ ​ingredients​ ​of​ ​virality​ ​to​ ​appear,​ ​it​ ​would​ ​be​ ​Power.​ ​This​ ​is​ ​because​ ​Power​ ​has​ ​typically
referred​ ​to​ ​the​ ​people​ ​or​ ​persons​ ​in​ ​a​ ​case​ ​of​ ​virality​ ​who​ ​have​ ​the​ ​money,​ ​and​ ​thus,​ ​the​ ​budget
to​ ​make​ ​things​ ​happen​ ​to​ ​initiate​ ​virality​ ​tests​ ​at​ ​the​ ​highest​ ​levels​ ​(Kirkpatrick).
The​ ​general​ ​consensus​ ​is​ ​that​ ​those​ ​with​ ​Power​ ​in​ ​the​ ​music​ ​industry​ ​today​ ​are​ ​those
attached​ ​to​ ​a​ ​music​ ​label.​ ​It​ ​is​ ​true,​ ​however,​ ​that​ ​independent​ ​music​ ​labels​ ​are​ ​still​ ​able​ ​to
compete​ ​in​ ​this​ ​day​ ​because​ ​of​ ​digital​ ​distribution​ ​and​ ​easy​ ​access​ ​to​ ​various​ ​markets​ ​via​ ​the
internet.​ ​There​ ​are​ ​certainly​ ​cases​ ​of​ ​virality​ ​that​ ​began​ ​without​ ​the​ ​aide​ ​of​ ​a​ ​major​ ​music​ ​label;
however,​ ​at​ ​some​ ​point​ ​during​ ​virality,​ ​there​ ​tends​ ​to​ ​be​ ​a​ ​point​ ​where​ ​a​ ​major​ ​label​ ​becomes
involved​ ​either​ ​through​ ​a​ ​record​ ​deal,​ ​a​ ​distribution​ ​deal,​ ​or​ ​some​ ​deal​ ​in​ ​which​ ​they​ ​provide
exposure​ ​for​ ​a​ ​piece​ ​of​ ​the​ ​royalties​ ​pie.​ ​Let’s​ ​dive​ ​into​ ​the​ ​record​ ​label​ ​to​ ​try​ ​to​ ​understand​ ​who
they​ ​are​ ​and​ ​how​ ​their​ ​power​ ​works​ ​(Sony).
The​ ​Power​ ​of​ ​the​ ​music​ ​industry​ ​we​ ​know​ ​today​ ​is​ ​controlled​ ​and​ ​managed​ ​at​ ​the​ ​highest
level​ ​by​ ​what​ ​some​ ​refer​ ​to​ ​as​ ​“The​ ​Big​ ​4”.​ ​When​ ​any​ ​music​ ​is​ ​played​ ​on​ ​the​ ​radio,​ ​on
television,​ ​in​ ​movies,​ ​in​ ​soundtracks,​ ​in​ ​performance​ ​halls,​ ​live​ ​in​ ​concert,​ ​or​ ​anywhere​ ​else
where​ ​it​ ​is​ ​being​ ​monetized,​ ​one​ ​of​ ​the​ ​“Big​ ​4”​ ​is​ ​getting​ ​paid.​ ​Now​ ​who​ ​are​ ​the​ ​“Big​ ​4”​ ​you
may​ ​be​ ​asking.​ ​The​ ​1st​ ​which​ ​controls​ ​slightly​ ​more​ ​market​ ​share​ ​than​ ​its​ ​closest​ ​competitor​ ​is
the​ ​Universal​ ​Music​ ​Group​ ​referred​ ​to​ ​as​ ​UMG​ ​(Grocock).​ ​UMG​ ​controls​ ​29.85%​ ​of​ ​the
monetized​ ​music​ ​market​ ​which​ ​includes​ ​every​ ​pop​ ​artist​ ​we​ ​know​ ​and​ ​those​ ​working​ ​there​ ​way
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up.​ ​The​ ​2nd​ ​in​ ​the​ ​“Big​ ​4”​ ​is​ ​Sony​ ​Music​ ​Entertainment​ ​which​ ​also​ ​owns​ ​and​ ​created​ ​the​ ​all
famous​ ​“Playstation”.​ ​Sony​ ​Music​ ​Entertainment​ ​(known​ ​simply​ ​as​ ​SME)​ ​owns​ ​29.29%​ ​of​ ​the
monetized​ ​music​ ​market​ ​(Grocock).​ ​The​ ​3rd​ ​largest​ ​of​ ​the​ ​“Big​ ​4”​ ​is​ ​a​ ​media​ ​powerhouse​ ​known
more​ ​for​ ​its​ ​movies​ ​and​ ​television​ ​shows:​ ​it​ ​is​ ​none​ ​other​ ​than​ ​the​ ​Warner​ ​Music​ ​Group​ ​(WMG)
whose​ ​sister​ ​company​ ​Warner​ ​Bros.​ ​Family​ ​Entertainment​ ​produced​ ​movies​ ​such​ ​as​ ​Batman,
The​ ​Iron​ ​Giant,​ ​and​ ​the​ ​Matrix​ ​among​ ​its​ ​impressive​ ​roster.​ ​The​ ​4th​ ​of​ ​the​ ​“Big​ ​4”​ ​is​ ​EMI​ ​Group
which​ ​(in​ ​2013)​ ​was​ ​absorbed​ ​by​ ​Sony​ ​Music​ ​Entertainment​ ​thereby​ ​creating​ ​“The​ ​Big​ ​3”
(McDonald).
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The​ ​graph​ ​highlighted​ ​above​ ​indicates​ ​the​ ​graph​ ​from​ ​which​ ​the​ ​statistics​ ​were​ ​taken
(Loynes).
I​ ​would​ ​like​ ​to​ ​do​ ​present​ ​a​ ​case​ ​study​ ​of​ ​two​ ​artists​ ​who​ ​had​ ​most​ ​of​ ​the​ ​ingredients​ ​of
virality​ ​present​ ​and​ ​yet​ ​their​ ​careers​ ​could​ ​not​ ​have​ ​been​ ​more​ ​different.​ ​This​ ​case​ ​study​ ​will
look​ ​at​ ​the​ ​career​ ​of​ ​Canadian​ ​songbird​ ​Celine​ ​Dion​ ​and​ ​the​ ​career​ ​of​ ​her​ ​contemporary​ ​Lara
Fabian​ ​of​ ​Belgian​ ​lineage.​ ​Both​ ​Lara​ ​and​ ​Celine​ ​had​ ​a​ ​natural​ ​gifting​ ​that​ ​can​ ​be​ ​called​ ​the
ingredient​ ​of​ ​Talent.​ ​The​ ​Market​ ​which​ ​would​ ​eventually​ ​catapult​ ​both​ ​of​ ​them​ ​to​ ​stardom​ ​came
later​ ​on​ ​in​ ​their​ ​lives​ ​when​ ​the​ ​33rd​ ​Eurovision​ ​Song​ ​Contest​ ​was​ ​held​ ​in​ ​Dublin,​ ​Ireland​ ​in
April​ ​1988.
Celine​ ​Dion​ ​would​ ​be​ ​entered​ ​in​ ​the​ ​contest​ ​to​ ​represent​ ​Switzerland​ ​and​ ​Lara​ ​Fabian
represented​ ​Luxembourg​ ​(Eurovision).​ ​However​ ​what​ ​brought​ ​both​ ​of​ ​these​ ​artists​ ​to​ ​this​ ​point?
Let’s​ ​explore​ ​their​ ​individual​ ​histories​ ​to​ ​more​ ​fully​ ​appreciate​ ​the​ ​importance​ ​of​ ​each​ ​ingredient
in​ ​this​ ​recipe​ ​of​ ​virality.
Celine​ ​Dion​ ​was​ ​born​ ​March​ ​30,​ ​1968​ ​in​ ​Charlemagne,​ ​Quebec,​ ​Canada,​ ​the​ ​youngest​ ​of
14​ ​children.​ ​Her​ ​parents,​ ​Adhemar​ ​and​ ​Therese​ ​Dion,​ ​formed​ ​a​ ​family​ ​singing​ ​group​ ​known​ ​as
the​ ​“Groupe​ ​Dion”.​ ​They​ ​would​ ​tour​ ​Canada​ ​while​ ​Celine​ ​was​ ​an​ ​infant​ ​and​ ​eventually​ ​opened
up​ ​a​ ​piano​ ​bar​ ​where​ ​customers​ ​would​ ​be​ ​treated​ ​to​ ​Celine​ ​at​ ​age​ ​5​ ​singing​ ​and​ ​performing​ ​with
her​ ​family.​ ​Six​ ​years​ ​later,​ ​at​ ​age​ ​12,​ ​Celine​ ​would​ ​record​ ​a​ ​demo​ ​tape​ ​on​ ​which​ ​she​ ​recorded​ ​a
song​ ​she​ ​and​ ​her​ ​mother​ ​wrote​ ​entitled​ ​“Ce​ ​N’etait​ ​Qu’un​ ​Reve”​ ​(which​ ​translates​ ​to​ ​‘It​ ​Was​ ​But
A​ ​Dream’).​ ​This​ ​demo​ ​tape​ ​was​ ​sent​ ​to​ ​manager​ ​and​ ​producer​ ​Rene​ ​Angelil​ ​who​ ​at​ ​the​ ​time​ ​was
representing​ ​popular​ ​French​ ​singer​ ​Ginette​ ​Reno​ ​(Celine).​ ​The​ ​story​ ​is​ ​told​ ​that​ ​when​ ​Rene
heard​ ​Celine​ ​sing​ ​this​ ​song​ ​at​ ​age​ ​12​ ​that​ ​he​ ​was​ ​reduced​ ​to​ ​tears.​ ​He​ ​believed​ ​in​ ​her​ ​gift​ ​so
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strongly​ ​and​ ​her​ ​potential​ ​for​ ​a​ ​future​ ​in​ ​the​ ​music​ ​industry​ ​that​ ​he​ ​remortgaged​ ​his​ ​home​ ​to
finance​ ​her​ ​first​ ​album​ ​entitled​ ​“La​ ​Voix​ ​Du​ ​Bon​ ​Dieu”​ ​(translates​ ​roughly​ ​to​ ​‘The​ ​Voice​ ​of​ ​the
Good​ ​God’).​ ​By​ ​age​ ​20,​ ​Celine​ ​Dion​ ​won​ ​several​ ​Felix​ ​and​ ​Juno​ ​awards​ ​which​ ​is​ ​the​ ​equivalent
of​ ​the​ ​Grammy​ ​in​ ​the​ ​USA.​ ​It​ ​was​ ​at​ ​that​ ​point​ ​that​ ​in​ ​1988​ ​she​ ​would​ ​eventually​ ​be​ ​entered​ ​into
the​ ​Eurovision​ ​Song​ ​Contest​ ​which​ ​she​ ​would​ ​win​ ​(Biography.com).
Lara​ ​Fabian​ ​was​ ​born​ ​on​ ​January​ ​9,​ ​1970​ ​in​ ​Etterbeek,​ ​Belgium​ ​to​ ​Pierre​ ​Crokaert​ ​and
Luisa​ ​Fabian.​ ​Lara​ ​was​ ​enrolled​ ​at​ ​the​ ​Royal​ ​Conservatory​ ​of​ ​Belgium​ ​at​ ​the​ ​tender​ ​age​ ​of​ ​8
where​ ​she​ ​studied​ ​the​ ​classical​ ​repertoire​ ​and​ ​music​ ​theory.​ ​She​ ​studied​ ​dancing,​ ​singing,​ ​and
took​ ​piano​ ​lessons​ ​in​ ​her​ ​time​ ​studying​ ​and​ ​she​ ​would​ ​graduate​ ​ten​ ​years​ ​later.​ ​She’d​ ​been​ ​part
of​ ​different​ ​songwriting​ ​and​ ​singing​ ​competitions​ ​up​ ​to​ ​this​ ​point​ ​and​ ​would,​ ​at​ ​this​ ​age,
compete​ ​in​ ​Eurovision​ ​1988​ ​which​ ​took​ ​place​ ​in​ ​Dublin,​ ​Ireland.​ ​Lara​ ​would​ ​relocate​ ​to
Montreal,​ ​Canada​ ​and​ ​work​ ​on​ ​original​ ​music.​ ​She​ ​would​ ​sell​ ​go​ ​on​ ​to​ ​sell​ ​100,000​ ​copies​ ​of​ ​her
French​ ​debut​ ​album​ ​in​ ​Montreal​ ​and​ ​2​ ​million​ ​copies​ ​in​ ​France​ ​which​ ​spawned​ ​a​ ​hit​ ​entitled​ ​“La
Difference”​ ​(Lara​ ​Fabian).
Even​ ​though​ ​both​ ​Celine​ ​and​ ​Lara​ ​had​ ​many​ ​commonalities​ ​in​ ​terms​ ​of​ ​voice,​ ​power,
presence,​ ​the​ ​Relevance​ ​and​ ​Faith​ ​factors​ ​ultimately​ ​determined​ ​why​ ​Celine​ ​has​ ​gone​ ​on​ ​to
become​ ​a​ ​major​ ​commercial​ ​success​ ​in​ ​the​ ​United​ ​States​ ​and​ ​why​ ​Lara​ ​fabian​ ​is​ ​relatively
unknown​ ​in​ ​the​ ​mainstream​ ​music​ ​industry​ ​in​ ​the​ ​USA​ ​(Lara​ ​Fabian).​ ​Specifically,​ ​Relevance
played​ ​a​ ​major​ ​role​ ​in​ ​the​ ​dramatically​ ​different​ ​career​ ​paths​ ​between​ ​Celine​ ​and​ ​Lara.​ ​First​ ​of
all,​ ​Celine​ ​Dion​ ​established​ ​herself​ ​in​ ​the​ ​French​ ​market​ ​and​ ​established​ ​herself​ ​as​ ​an​ ​award
winning​ ​vocalist​ ​before​ ​stretching​ ​out​ ​into​ ​the​ ​English​ ​market.​ ​This​ ​was​ ​done​ ​primarily​ ​with​ ​the
backing​ ​of​ ​Rene​ ​Angelil​ ​who​ ​who​ ​built​ ​a​ ​following​ ​around​ ​her​ ​by​ ​acquiring​ ​local,
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easier-to-attain​ ​market​ ​where​ ​she​ ​was​ ​planted.​ ​Lara​ ​Fabian​ ​emigrated​ ​to​ ​Montreal​ ​and​ ​released
original​ ​songs​ ​which​ ​accumulated​ ​100,000​ ​album​ ​sales​ ​over​ ​three​ ​years.​ ​In​ ​this​ ​time​ ​period,
Celine​ ​was​ ​recording​ ​covers​ ​of​ ​popular​ ​songs​ ​and​ ​original​ ​songs​ ​that​ ​showcased​ ​her​ ​voice
resulting​ ​in​ ​multiple​ ​awards​ ​which​ ​helped​ ​foment​ ​a​ ​market​ ​in​ ​the​ ​USA​ ​(Celine).
The​ ​issue​ ​of​ ​Market​ ​is​ ​also​ ​very​ ​much​ ​a​ ​defining​ ​reason​ ​between​ ​Celine’s​ ​success​ ​and
Lara’s​ ​career.​ ​Celine​ ​Dion,​ ​after​ ​acquiring​ ​a​ ​faithful​ ​following,​ ​stretched​ ​out​ ​to​ ​the​ ​USA​ ​market
by​ ​reference​ ​from​ ​her​ ​manager​ ​Rene​ ​Angelil​ ​reaching​ ​out​ ​to​ ​famed​ ​producer​ ​David​ ​Foster
(Biography.com).​ ​David​ ​Foster​ ​would​ ​bring​ ​together​ ​the​ ​engineers,​ ​producers,​ ​songwriters,​ ​and
persons​ ​of​ ​interest​ ​to​ ​surround​ ​Celine​ ​Dion​ ​with​ ​a​ ​power​ ​team​ ​(McDonald).​ ​(For​ ​the​ ​record,​ ​in
Celine’s​ ​ascent​ ​and​ ​crossover​ ​into​ ​the​ ​American​ ​market,​ ​David​ ​Foster​ ​would​ ​be​ ​the​ ​fulfilment​ ​of
the​ ​‘Power’​ ​ingredient.​ ​This,​ ​in​ ​like​ ​manner​ ​is​ ​how​ ​Whitney​ ​Houston​ ​rose​ ​to​ ​fame​ ​as​ ​we
discussed​ ​earlier;​ ​by​ ​a​ ​powerful​ ​producer​ ​who​ ​also​ ​acted​ ​as​ ​an​ ​element​ ​of​ ​the​ ​Power​ ​within​ ​a
case​ ​of​ ​virality.)​ ​Lara​ ​Fabian​ ​initially​ ​came​ ​to​ ​the​ ​Americas​ ​without​ ​a​ ​market​ ​and​ ​built​ ​one​ ​over
the​ ​years​ ​(Greve).​ ​Evenso,​ ​Lara​ ​marketed​ ​to​ ​the​ ​Canadian​ ​and​ ​French​ ​Speaking​ ​market​ ​more​ ​so
than​ ​to​ ​any​ ​other​ ​market.​ ​As​ ​a​ ​result,​ ​she​ ​also​ ​became​ ​big​ ​among​ ​the​ ​European​ ​and​ ​French
market​ ​although​ ​she​ ​didn’t​ ​win​ ​awards.​ ​She​ ​also​ ​wasn’t​ ​signed​ ​to​ ​any​ ​label​ ​which​ ​limited​ ​the
spread​ ​of​ ​her​ ​music.​ ​This​ ​is​ ​directly​ ​a​ ​case​ ​of​ ​superior​ ​Relevance​ ​to​ ​a​ ​market.​ ​Celine​ ​crossed
over​ ​with​ ​a​ ​stratospheric​ ​rise​ ​in​ ​popularity​ ​due​ ​to​ ​her​ ​first​ ​English​ ​album​ ​“Unison”​ ​which
presented​ ​her​ ​unique​ ​talent​ ​to​ ​the​ ​Powers​ ​of​ ​the​ ​time​ ​(Celine​ ​Dion).
The​ ​Unison​ ​album​ ​would​ ​be​ ​the​ ​first​ ​collaborative​ ​effort​ ​with​ ​David​ ​Foster​ ​which​ ​would
lead​ ​her​ ​in​ ​1992​ ​to​ ​sing​ ​on​ ​“Beauty​ ​and​ ​the​ ​Beast”​ ​as​ ​still​ ​somewhat​ ​of​ ​a​ ​relatively​ ​unknown
vocalist.​ ​She​ ​would​ ​release​ ​a​ ​self-titled​ ​album​ ​with​ ​this​ ​song​ ​on​ ​it​ ​as​ ​the​ ​single​ ​and​ ​it​ ​caused​ ​the
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album​ ​to​ ​reach​ ​#9​ ​on​ ​the​ ​Billboard​ ​Hot​ ​100​ ​(Celine​ ​Dion).​ ​As​ ​such,​ ​Celine​ ​became​ ​a​ ​beloved
soulful,​ ​belting​ ​yet​ ​compassionate​ ​vocalist​ ​who​ ​came​ ​from​ ​humble​ ​beginnings​ ​and​ ​with​ ​the
power​ ​of​ ​her​ ​voice​ ​became​ ​beloved.​ ​Lara​ ​Fabian​ ​who​ ​was​ ​similar​ ​in​ ​vocal​ ​style,​ ​failed​ ​to​ ​engage
Relevance​ ​to​ ​the​ ​English​ ​market​ ​and​ ​as​ ​such​ ​has​ ​much​ ​more​ ​of​ ​a​ ​fanbase​ ​in​ ​the​ ​French​ ​speaking
world.​ ​The​ ​Faith​ ​element​ ​in​ ​Celine’s​ ​case​ ​was​ ​first​ ​with​ ​her​ ​family​ ​who​ ​were​ ​a​ ​church​ ​going
people​ ​and​ ​believed​ ​in​ ​her​ ​enough​ ​to​ ​record​ ​her​ ​material​ ​at​ ​a​ ​young​ ​age​ ​which​ ​they​ ​would​ ​send
to​ ​Rene​ ​Angelil.​ ​Rene​ ​himself​ ​who​ ​would​ ​be​ ​the​ ​initiator​ ​of​ ​the​ ​Faith​ ​element​ ​into​ ​the​ ​industry
when​ ​he​ ​would​ ​remortgage​ ​his​ ​home​ ​and​ ​take​ ​complete​ ​control​ ​of​ ​Celine’s​ ​career​ ​(Celine​ ​Dion).
Faith
Case​ ​Study:​ ​Andre​ ​Young
​ ​Faith​ ​is​ ​an​ ​incredibly​ ​personal​ ​and​ ​ethereal​ ​practice.​ ​I​ ​define​ ​faith​ ​as​ ​the​ ​persistent​ ​belief
in​ ​what​ ​is​ ​not​ ​able​ ​to​ ​be​ ​fully​ ​proven.​ ​Faith,​ ​as​ ​it​ ​pertains​ ​to​ ​our​ ​study,​ ​means​ ​both​ ​the​ ​Faith​ ​that
is​ ​traditionally​ ​summoned​ ​in​ ​reference​ ​to​ ​religion​ ​and​ ​also​ ​the​ ​element​ ​of​ ​Faith​ ​as​ ​it​ ​pertains​ ​to
believing​ ​beyond​ ​dire​ ​or​ ​unfavorable​ ​circumstances.​ ​The​ ​person​ ​I​ ​would​ ​like​ ​to​ ​focus​ ​on​ ​for​ ​this
segment​ ​is​ ​somewhat​ ​of​ ​a​ ​controversial​ ​figure.​ ​Some​ ​may​ ​not​ ​think​ ​of​ ​him​ ​in​ ​terms​ ​of​ ​music​ ​but
he​ ​has​ ​impacted​ ​the​ ​music​ ​industry​ ​and​ ​the​ ​music​ ​business​ ​in​ ​ways​ ​few​ ​people,​ ​including​ ​artists,
have​ ​been​ ​able​ ​to​ ​do.​ ​Few​ ​know​ ​him​ ​by​ ​his​ ​real​ ​name​ ​which​ ​is​ ​Andre​ ​Romelle​ ​Young.​ ​He​ ​would
be​ ​know​ ​best​ ​as​ ​Dr.​ ​Dre​ ​(heretofore​ ​referred​ ​to​ ​as​ ​Dre).
Andre​ ​Romelle​ ​Young,​ ​known​ ​professionally​ ​as​ ​Dre​ ​or​ ​Dr.​ ​Dre,​ ​was​ ​born​ ​on​ ​February
18,​ ​1965​ ​in​ ​Compton,​ ​California.​ ​His​ ​moniker​ ​was​ ​partly​ ​inspired​ ​by​ ​former​ ​Philadelphia​ ​76ers
Most​ ​Valuable​ ​Player​ ​(MVP)​ ​Julius​ ​“Dr.​ ​J”​ ​Erving.​ ​He​ ​defended​ ​the​ ​“Dr.”​ ​portion​ ​by​ ​stating​ ​that
he​ ​was​ ​a​ ​“Master​ ​of​ ​Mixology”​ ​(Williams).​ ​Dre​ ​came​ ​from​ ​a​ ​musical​ ​family.​ ​Verna​ ​Griffin,
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Dre’s​ ​mother,​ ​was​ ​part​ ​of​ ​singing​ ​group​ ​known​ ​as​ ​“Four​ ​Aces”​ ​which​ ​she​ ​quit​ ​prior​ ​to​ ​Dr.​ ​Dre’s
birth.​ ​Dre’s​ ​father,​ ​Theodore​ ​Young,​ ​was​ ​part​ ​of​ ​a​ ​singing​ ​group​ ​known​ ​as​ ​the​ ​Romells​ ​which
he’d​ ​also​ ​left.​ ​Dre​ ​grew​ ​up​ ​with​ ​his​ ​mother​ ​after​ ​she​ ​and​ ​his​ ​father​ ​were​ ​divorced.​ ​Although​ ​he
attended​ ​school,​ ​he​ ​felt​ ​continually​ ​drawn​ ​to​ ​express​ ​himself​ ​musically​ ​(Williams).​ ​In​ ​Christmas
of​ ​1984,​ ​Dre​ ​would​ ​get​ ​this​ ​opportunity​ ​when​ ​he​ ​received​ ​a​ ​music​ ​mixer​ ​as​ ​a​ ​gift​ ​which​ ​he
would​ ​immerse​ ​himself​ ​into.​ ​Dre​ ​began​ ​frequenting​ ​a​ ​nightclub​ ​in​ ​Los​ ​Angeles​ ​named​ ​“Eve
After​ ​Dark”.​ ​In​ ​1985,​ ​Dr.​ ​Dre​ ​would​ ​partnership​ ​with​ ​rappers​ ​Eazy​ ​E,​ ​Ice​ ​Cube,​ ​Yella,​ ​MC​ ​Ren,
the​ ​Arabian​ ​Prince,​ ​and​ ​the​ ​D.O.C.​ ​to​ ​form​ ​a​ ​group​ ​called​ ​N.W.A​ ​which​ ​stood​ ​for​ ​“Niggaz​ ​With
Attitude”​ ​(Dr.​ ​Dre).​ ​Their​ ​second​ ​album​ ​was​ ​released​ ​in​ ​1988​ ​and​ ​was​ ​entitled​ ​“Straight​ ​Outta
Compton”.​ ​The​ ​sophomore​ ​album​ ​sold​ ​2​ ​million​ ​albums,​ ​created​ ​a​ ​hit​ ​single​ ​entitled​ ​F***​ ​tha
Police”​ ​which​ ​created​ ​great​ ​controversy,​ ​and​ ​was​ ​the​ ​catalyst​ ​that​ ​created​ ​the​ ​Gangster​ ​Rap
subgenre.​ ​The​ ​track​ ​was​ ​so​ ​controversial,​ ​that​ ​the​ ​publishing​ ​company,​ ​Ruthless​ ​Records,​ ​and​ ​its
parent​ ​company​ ​received​ ​a​ ​warning​ ​letter​ ​from​ ​the​ ​FBI​ ​(Dr.​ ​Dre).​ ​Dre​ ​would​ ​be​ ​signed​ ​in​ ​1989
and​ ​released​ ​his​ ​own​ ​hit​ ​single​ ​entitled​ ​“​ ​Nuthin​ ​But​ ​a​ ​G​ ​Thang”​ ​featuring​ ​a​ ​then​ ​unknown
rapper​ ​named​ ​Snoop​ ​Dogg​ ​(Williams).
Dre​ ​would​ ​continue​ ​to​ ​sample​ ​with​ ​new​ ​fusions​ ​of​ ​songs​ ​creating​ ​new​ ​sounds,​ ​working
with​ ​new​ ​talented​ ​artists.​ ​He​ ​enjoyed​ ​funk​ ​and​ ​would​ ​sample​ ​the​ ​fusion​ ​of​ ​funk​ ​and​ ​Gangster
rap.​ ​He​ ​would​ ​eventually​ ​create​ ​his​ ​own​ ​label​ ​which​ ​he​ ​named​ ​Death​ ​Row​ ​Records​ ​in​ ​1991.​ ​He
worked​ ​on​ ​the​ ​iconic​ ​albums​ ​of​ ​two​ ​artists​ ​who​ ​would​ ​achieve​ ​spectacular​ ​crossover​ ​success.
These​ ​albums​ ​were​ ​“Doggystyle”​ ​and​ ​“All​ ​Eyez​ ​on​ ​Me”​ ​belonging​ ​respectively​ ​to​ ​Snoop​ ​Dogg
and​ ​Tupac​ ​Shakur.​ ​After​ ​the​ ​release​ ​of​ ​the​ ​latter​ ​album​ ​in​ ​1996,​ ​Dr.​ ​Dre​ ​would​ ​leave​ ​Death​ ​Row
Records​ ​in​ ​an​ ​attempt​ ​to​ ​escape​ ​the​ ​East​ ​Coast/West​ ​Coast​ ​drama​ ​which​ ​would​ ​eventually​ ​claim
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the​ ​lives​ ​of​ ​Tupac​ ​Shakur​ ​and​ ​Biggie​ ​Smalls​ ​(Dr.​ ​Dre).​ ​Dre​ ​would​ ​again​ ​found​ ​a​ ​label​ ​known​ ​as
Aftermath​ ​Entertainment.​ ​Having​ ​been​ ​through​ ​the​ ​ups​ ​and​ ​downs​ ​of​ ​many​ ​musical​ ​successes,
danger,​ ​feuds,​ ​some​ ​of​ ​the​ ​greatest​ ​success​ ​across​ ​the​ ​Billboard​ ​Top​ ​100​ ​(which​ ​occurred​ ​within
the​ ​decade)​ ​Dr.​ ​Dre​ ​was​ ​somewhat​ ​disillusioned​ ​and,​ ​true​ ​to​ ​the​ ​name​ ​of​ ​the​ ​label,​ ​trying​ ​to​ ​find
his​ ​direction​ ​in​ ​the​ ​aftermath​ ​of​ ​the​ ​East​ ​Coast/West​ ​Coast​ ​feud​ ​where​ ​he​ ​lost​ ​a​ ​friend,​ ​a
colleague,​ ​and​ ​an​ ​associate​ ​(namely​ ​Tupac​ ​Shakur).​ ​At​ ​this​ ​time,​ ​he​ ​had​ ​no​ ​artists​ ​to​ ​work​ ​with.
His​ ​prior​ ​label,​ ​Death​ ​Row​ ​Records,​ ​was​ ​completely​ ​lost​ ​due​ ​to​ ​the​ ​incarceration​ ​and​ ​eventual
deportation​ ​of​ ​one​ ​of​ ​its​ ​co-founders,​ ​Suge​ ​Knight​ ​(International).​ ​It​ ​is​ ​important​ ​to​ ​realize​ ​that
by​ ​this​ ​time,​ ​Dre​ ​had​ ​had​ ​a​ ​long,​ ​mutually​ ​beneficial​ ​relationship​ ​with​ ​Interscope​ ​Records
co-founder​ ​Jimmy​ ​Iovine.​ ​Iovine​ ​is​ ​known​ ​being​ ​the​ ​Power​ ​ingredient​ ​launching​ ​Patti​ ​Smith​ ​and
U2​ ​to​ ​virality​ ​(International).​ ​It​ ​is​ ​also​ ​important​ ​to​ ​note​ ​that​ ​Dre’s​ ​“Death​ ​Row​ ​Records”​ ​acted
as​ ​a​ ​label.​ ​Its​ ​distribution​ ​was​ ​entirely​ ​handled​ ​by​ ​Interscope​ ​Records.​ ​This​ ​meant​ ​that​ ​any​ ​album
or​ ​hit​ ​successes​ ​from​ ​Death​ ​Row​ ​benefitted​ ​Interscope​ ​which​ ​created​ ​a​ ​close​ ​working​ ​trust
between​ ​Dre​ ​and​ ​Iovine​ ​Dr.​ ​Dre).
During​ ​the​ ​days​ ​of​ ​Aftermath​ ​Entertainment​ ​however,​ ​Dre​ ​was​ ​in​ ​a​ ​hard​ ​spot​ ​where​ ​he
wasn’t​ ​working​ ​with​ ​any​ ​new​ ​artists,​ ​he​ ​wasn’t​ ​releasing​ ​new​ ​content,​ ​and​ ​he​ ​was​ ​feeling​ ​stuck.
One​ ​day,​ ​ ​Iovine​ ​invited​ ​Dre​ ​over​ ​to​ ​his​ ​home​ ​to​ ​have​ ​a​ ​listening​ ​parties.​ ​Such​ ​parties​ ​consist​ ​of
going​ ​through​ ​new​ ​albums​ ​or​ ​works​ ​created​ ​by​ ​artists​ ​who​ ​are​ ​not​ ​yet​ ​signed​ ​but​ ​sent​ ​in​ ​their
content.​ ​At​ ​this​ ​particular​ ​time,​ ​they​ ​were​ ​using​ ​tapes​ ​and​ ​one​ ​particular​ ​tape​ ​immediately
grabbed​ ​Dre’s​ ​ear​ ​and​ ​piqued​ ​his​ ​curiosity​ ​(Dr.​ ​Dre​ ​Tell).​ ​The​ ​demo​ ​tape​ ​had​ ​been​ ​procured​ ​by
one​ ​of​ ​Jimmy​ ​Iovine’s​ ​interns​ ​who​ ​had​ ​attended​ ​a​ ​rap​ ​battle​ ​the​ ​night​ ​before​ ​and​ ​was​ ​floored​ ​by
a​ ​stellar​ ​talent​ ​who​ ​ended​ ​up​ ​losing​ ​the​ ​Rap​ ​Olympics​ ​tournament​ ​in​ ​which​ ​he​ ​was​ ​engaged.​ ​The
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intern​ ​brought​ ​the​ ​tape​ ​to​ ​Iovine​ ​who​ ​had​ ​Dre​ ​listen​ ​to​ ​it​ ​during​ ​one​ ​of​ ​their​ ​listening​ ​parties.​ ​Dre
requested​ ​an​ ​immediate​ ​audience​ ​with​ ​this​ ​rapper​ ​who​ ​was​ ​completely​ ​known.​ ​The​ ​rapper​ ​came
in​ ​and​ ​sat​ ​down​ ​in​ ​what​ ​Dr.​ ​Dre​ ​has​ ​described​ ​as​ ​an​ ​intensely​ ​yellow​ ​suit​ ​with​ ​a​ ​hoodie.​ ​The
rapper​ ​sat​ ​down​ ​across​ ​from​ ​Jimmy​ ​Iovine​ ​and​ ​Dr.​ ​Dre​ ​at​ ​which​ ​point​ ​Dr.​ ​Dre​ ​initiated​ ​working
together.​ ​They​ ​would​ ​travel​ ​to​ ​Dre’s​ ​home​ ​where​ ​Dre​ ​prompted​ ​the​ ​rapper​ ​to​ ​check​ ​out​ ​a​ ​sample
he​ ​put​ ​together​ ​in​ ​his​ ​drum​ ​machine​ ​at​ ​home​ ​(Dr.​ ​Dre​ ​Tell).​ ​Dre​ ​turned​ ​the​ ​beat​ ​on​ ​for​ ​the
rapper,​ ​and​ ​within​ ​5​ ​seconds​ ​the​ ​rapper​ ​improvised​ ​over​ ​the​ ​beat​ ​and​ ​said,​ ​“Hi!​ ​My​ ​name​ ​is
(What?)​ ​my​ ​name​ ​is​ ​(Who?)​ ​my​ ​name​ ​is​ ​chicka-chicka​ ​Slim​ ​Shady.”​ ​Dre​ ​begins​ ​playing​ ​beat
over​ ​beat​ ​and​ ​Slim​ ​Shady​ ​begins​ ​freestyling.​ ​Slim​ ​Shady’s​ ​name​ ​is​ ​Marshall​ ​Bruce​ ​Mathers​ ​III.
However,​ ​he​ ​is​ ​best​ ​known​ ​these​ ​days​ ​by​ ​the​ ​single​ ​name​ ​moniker​ ​“Eminem”​ ​(Dr.Dre​ ​Tell).
Dre​ ​would​ ​press​ ​his​ ​partners​ ​in​ ​Aftermath​ ​Entertainment​ ​to​ ​sign​ ​Eminem​ ​immediately.
He​ ​would​ ​experience​ ​strong​ ​pushback​ ​against​ ​this​ ​proposition.​ ​Many​ ​executives​ ​didn’t​ ​like​ ​the
idea​ ​that​ ​Eminem​ ​was​ ​a​ ​rapper​ ​who​ ​was​ ​Caucasian​ ​and​ ​refused​ ​to​ ​work​ ​with​ ​Dre​ ​as​ ​a​ ​result​ ​of
this.​ ​Others​ ​wanted​ ​Dre​ ​gone​ ​due​ ​to​ ​a​ ​lack​ ​of​ ​charting,​ ​profitable​ ​hits.​ ​One​ ​executive​ ​even
showed​ ​Dre​ ​a​ ​picture​ ​of​ ​Eminem​ ​saying​ ​“What​ ​are​ ​we​ ​doing?​ ​This​ ​boy​ ​has​ ​blue​ ​eyes?”​ ​The
pushback​ ​continued​ ​and​ ​Dre​ ​was,​ ​during​ ​this​ ​time,​ ​evicted​ ​from​ ​his​ ​home​ ​and​ ​lived​ ​on​ ​the​ ​streets
for​ ​some​ ​time​ ​(Dr.​ ​Dre).​ ​Eminem​ ​was​ ​also​ ​going​ ​through​ ​spousal​ ​issues,​ ​poverty,​ ​was​ ​living​ ​on
food​ ​stamps,​ ​and​ ​they​ ​both​ ​became​ ​close​ ​due​ ​to​ ​their​ ​shared​ ​deteriorating​ ​circumstances​ ​beyond
the​ ​music.​ ​Jimmy​ ​Iovine​ ​stated​ ​at​ ​the​ ​time​ ​that​ ​though​ ​the​ ​things​ ​Eminem​ ​was​ ​saying​ ​were
somewhat​ ​crazy​ ​they​ ​were​ ​imaginative,​ ​that​ ​he​ ​ultimately​ ​trusted​ ​Dre’s​ ​judgment.​ ​Dre​ ​would
decide,​ ​at​ ​that​ ​time,​ ​to​ ​put​ ​everything​ ​he​ ​had,​ ​to​ ​“throw​ ​the​ ​dice”​ ​and​ ​bet​ ​everything​ ​he​ ​had​ ​on
Eminem​ ​(Dr.​ ​Dre​ ​Tell).​ ​ ​Believing​ ​beyond​ ​the​ ​circumstances​ ​-​ ​the​ ​essence​ ​of​ ​Faith.
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The​ ​duo​ ​would​ ​complete​ ​the​ ​first​ ​album​ ​track​ ​they​ ​created​ ​and​ ​entitled​ ​it,​ ​“My​ ​Name​ ​Is”:
which​ ​was​ ​released​ ​on​ ​the​ ​Slim​ ​Shady​ ​LP​ ​in​ ​1999​ ​(Kajikawa).​ ​The​ ​very​ ​next​ ​year,​ ​in​ ​2000,​ ​the
track​ ​won​ ​the​ ​1999​ ​MTV​ ​Music​ ​Award​ ​and​ ​was​ ​nominated​ ​for​ ​and​ ​earned​ ​Eminem​ ​his​ ​first
Grammy​ ​award.​ ​This​ ​marked​ ​the​ ​beginning​ ​of​ ​a​ ​decade​ ​long​ ​relationship​ ​between​ ​Dre​ ​and
Eminem​ ​who​ ​would​ ​ ​go​ ​on​ ​to​ ​create​ ​“The​ ​Marshall​ ​Mathers​ ​LP”.​ ​This​ ​is,​ ​to​ ​date,​ ​considered
Eminem’s​ ​Magnum​ ​Opus​ ​after​ ​setting​ ​the​ ​record​ ​for​ ​most​ ​album​ ​sales​ ​for​ ​a​ ​rap​ ​song​ ​by​ ​selling
1.78​ ​million​ ​copies​ ​in​ ​its​ ​first​ ​week.​ ​The​ ​album​ ​was​ ​released​ ​on​ ​May​ ​23,​ ​2000​ ​on​ ​Dre’s
Aftermath​ ​Entertainment​ ​label.​ ​The​ ​album​ ​has​ ​sold​ ​32​ ​million​ ​albums​ ​worldwide​ ​and​ ​has​ ​been
certified​ ​Diamond​ ​by​ ​the​ ​Recording​ ​Industry​ ​Association​ ​of​ ​America​ ​(RIAA);​ ​the​ ​album​ ​is
considered​ ​by​ ​many​ ​a​ ​classic​ ​staple​ ​of​ ​the​ ​Hip-Hop​ ​genre​ ​(Eminem).
Dr.​ ​Dre​ ​would​ ​promote​ ​Eminem​ ​through​ ​subsequent​ ​albums​ ​while​ ​doing​ ​some​ ​touring
himself​ ​on​ ​a​ ​smaller​ ​scale​ ​(Williams).​ ​He​ ​would​ ​not​ ​go​ ​viral​ ​again​ ​until​ ​2006​ ​when​ ​we​ ​would
impact​ ​the​ ​music​ ​industry​ ​not​ ​by​ ​the​ ​music​ ​he​ ​produce​ ​or​ ​created​ ​but​ ​with​ ​the​ ​technology​ ​used​ ​in
the​ ​music​ ​industry.​ ​Jimmy​ ​Iovine​ ​contended​ ​that​ ​the​ ​two​ ​major​ ​problems​ ​with​ ​the​ ​music​ ​industry
at​ ​the​ ​time​ ​was​ ​pirating​ ​and​ ​Apple’s​ ​$1​ ​earbuds​ ​which​ ​provided​ ​low​ ​quality​ ​playback​ ​of​ ​high
quality​ ​audio​ ​tracks.​ ​Dre​ ​felt​ ​that​ ​it​ ​was​ ​a​ ​shame​ ​that​ ​the​ ​music​ ​which​ ​they​ ​spent​ ​so​ ​much​ ​effort
in​ ​creating​ ​was​ ​being​ ​devalued​ ​by​ ​the​ ​technology​ ​created​ ​to​ ​hear​ ​that​ ​music.​ ​As​ ​in​ ​times​ ​past,
Iovine​ ​and​ ​Dre​ ​got​ ​together​ ​and​ ​came​ ​up​ ​with​ ​a​ ​solution.​ ​This​ ​solution​ ​was​ ​a​ ​high​ ​end​ ​pair​ ​of
headphones​ ​that​ ​would​ ​bring​ ​the​ ​studio​ ​sound​ ​to​ ​portable​ ​headphones​ ​(Dr.​ ​Dre​ ​Tell).​ ​They
would​ ​sport​ ​noise​ ​cancellation​ ​technology​ ​previously​ ​found​ ​only​ ​in​ ​Bose​ ​headphones.​ ​They
would​ ​also​ ​be​ ​equipped​ ​with​ ​soft​ ​ear​ ​placement​ ​sponge​ ​and​ ​leather​ ​covering​ ​so​ ​that​ ​users​ ​could
wear​ ​the​ ​headphones​ ​for​ ​long​ ​periods​ ​without​ ​ear​ ​pain.
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They​ ​would​ ​choose​ ​the​ ​name​ ​“Beats”​ ​which​ ​would​ ​be​ ​marketed​ ​as​ ​“Beats​ ​by​ ​Dre”​ ​and
began​ ​creating​ ​prototypes​ ​which​ ​would​ ​be​ ​sampled​ ​to​ ​top-grade​ ​successful​ ​artists​ ​at​ ​Interscope
Records​ ​where​ ​Iovine​ ​still​ ​had​ ​connections.​ ​Music​ ​industry​ ​royalty,​ ​such​ ​as​ ​Gwen​ ​Stefani,
will.i.am,​ ​P.​ ​Diddy,​ ​Pharrell​ ​Williams,​ ​Robin​ ​Thicke,​ ​and​ ​basketball​ ​MVP​ ​LeBron​ ​James​ ​all
would​ ​provide​ ​input​ ​in​ ​the​ ​early​ ​stages​ ​of​ ​what​ ​is​ ​now​ ​Beats​ ​which​ ​affected​ ​the​ ​direction​ ​Iovine
and​ ​Dre​ ​took​ ​in​ ​the​ ​fashioning​ ​of​ ​the​ ​final​ ​product​ ​(Helm).​ ​They​ ​would​ ​use​ ​mutual​ ​marketing
techniques​ ​to​ ​initially​ ​present​ ​the​ ​product​ ​to​ ​the​ ​market.​ ​In​ ​other​ ​words,​ ​they​ ​would​ ​attach​ ​the
product​ ​to​ ​persons​ ​with​ ​clout​ ​and​ ​visibility​ ​in​ ​their​ ​fields.​ ​As​ ​they​ ​prepared​ ​to​ ​launch,​ ​for
example,​ ​will.i.am​ ​contact​ ​them​ ​and​ ​let​ ​them​ ​know​ ​that​ ​he​ ​had​ ​just​ ​completed​ ​a​ ​music​ ​video​ ​and
asked​ ​them​ ​if​ ​they​ ​were​ ​looking​ ​for​ ​a​ ​marketing​ ​opportunity.​ ​Iovine​ ​and​ ​Dre​ ​quickly​ ​sent​ ​them​ ​a
few​ ​pairs​ ​of​ ​the​ ​Beats​ ​headphones​ ​which​ ​were​ ​then​ ​featured​ ​in​ ​the​ ​video​ ​for​ ​the​ ​song​ ​entitled
“Scream​ ​&​ ​Shout”​ ​(Helm).
During​ ​full​ ​blown​ ​basketball​ ​season,​ ​they​ ​had​ ​Lebron​ ​James​ ​sample​ ​a​ ​pair.​ ​He​ ​liked​ ​the
configuration​ ​of​ ​the​ ​sound​ ​so​ ​much​ ​that​ ​he​ ​purchased​ ​pairs​ ​for​ ​everyone​ ​on​ ​his​ ​team​ ​which​ ​was
one​ ​of​ ​their​ ​first​ ​big​ ​sales​ ​which​ ​came​ ​with​ ​the​ ​added​ ​benefit​ ​of​ ​free​ ​publicity​ ​since​ ​the​ ​team
members​ ​would​ ​be​ ​seen​ ​around​ ​the​ ​world​ ​wearing​ ​the​ ​chic,​ ​new​ ​headphones​ ​(Dr.​ ​Dre​ ​Makes)
What​ ​started​ ​as​ ​an​ ​idea​ ​to​ ​make​ ​quality​ ​music​ ​reach​ ​the​ ​consumer​ ​with​ ​high​ ​quality​ ​took
a​ ​serious​ ​rise​ ​in​ ​media​ ​when​ ​Apple,​ ​Inc.​ ​announced​ ​that​ ​it​ ​was​ ​going​ ​to​ ​buyout​ ​Beats​ ​in​ ​early
2014.​ ​As​ ​deliberations​ ​went​ ​back​ ​and​ ​forth,​ ​as​ ​is​ ​the​ ​customer​ ​in​ ​high-stake​ ​buyouts​ ​on​ ​the
business​ ​end,​ ​there​ ​was​ ​no​ ​further​ ​information​ ​given​ ​and​ ​neither​ ​Beats​ ​nor​ ​Apple​ ​spoke​ ​to​ ​the
press​ ​concerning​ ​the​ ​acquisition​ ​(Dr.​ ​Dre​ ​Makes).​ ​Then​ ​on​ ​May​ ​28th,​ ​2014​ ​the​ ​official
announcement​ ​was​ ​made​ ​that​ ​Apple​ ​had​ ​bought​ ​out​ ​Beats​ ​for​ ​$3​ ​billion.​ ​In​ ​this​ ​process,​ ​Lebron
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James,​ ​who​ ​had​ ​acted​ ​as​ ​an​ ​early​ ​marketing​ ​aide​ ​and​ ​in​ ​the​ ​process​ ​had​ ​been​ ​given​ ​a​ ​small​ ​share
of​ ​Beats​ ​in​ ​compensation​ ​earned​ ​$30​ ​million.​ ​And​ ​thus,​ ​now​ ​Apple​ ​products​ ​come​ ​with​ ​Beats
with​ ​the​ ​price​ ​being​ ​factored​ ​into​ ​the​ ​retail​ ​value​ ​of​ ​their​ ​products.​ ​In​ ​this​ ​way,​ ​Andre​ ​Young
better​ ​known​ ​as​ ​Dr.​ ​Dre​ ​revolutionized​ ​high-end​ ​ear​ ​wear​ ​and​ ​created​ ​an​ ​internationally
significant​ ​brand​ ​which​ ​went​ ​on​ ​to​ ​sell​ ​and​ ​make​ ​him​ ​Hip-Hop’s​ ​first​ ​billionaire​ ​(Dr.​ ​Dre​ ​Tells).
Let​ ​us​ ​explore​ ​the​ ​ingredients​ ​for​ ​virality​ ​in​ ​Dr.​ ​Dre’s​ ​case.​ ​Market:​ ​Dr.​ ​Dre’s​ ​market​ ​was
one​ ​which​ ​is​ ​dominant​ ​today​ ​in​ ​the​ ​media,​ ​in​ ​movies,​ ​on​ ​the​ ​radio,​ ​and​ ​pulls​ ​in​ ​millions​ ​of
dollars​ ​in​ ​revenue​ ​and​ ​has​ ​become​ ​the​ ​dominant​ ​music​ ​of​ ​America​ ​at​ ​this​ ​time.​ ​That​ ​music​ ​form
is​ ​Hip-Hop​ ​and​ ​it​ ​boasts​ ​and​ ​international​ ​market.​ ​It​ ​has​ ​even​ ​created​ ​derivative​ ​genres​ ​such​ ​as
Dubstep,​ ​Electro​ ​hop,​ ​Krunk,​ ​and​ ​Trap​ ​(Dr.​ ​Dre​ ​Tells).​ ​As​ ​it​ ​is​ ​marketed​ ​as​ ​the​ ​new​ ​American
standard,​ ​the​ ​market​ ​includes​ ​a​ ​significant​ ​portion​ ​of​ ​America’s​ ​300​ ​million​ ​plus​ ​population.​ ​In
this​ ​way,​ ​Dr.​ ​Dre​ ​picked​ ​a​ ​market​ ​early​ ​on​ ​that​ ​was​ ​growing​ ​in​ ​its​ ​time​ ​and​ ​wasn’t​ ​as​ ​large​ ​as​ ​it
is​ ​today​ ​but​ ​which​ ​he​ ​saw​ ​potential​ ​for​ ​great​ ​growth​ ​(Hsieh).​ ​Markets​ ​with​ ​a​ ​large​ ​expanding
market​ ​ensure​ ​that​ ​any​ ​new​ ​competition​ ​has​ ​a​ ​fair​ ​chance​ ​of​ ​entering​ ​the​ ​market​ ​and​ ​having​ ​a
chance.​ ​However,​ ​if​ ​the​ ​other​ ​elements​ ​of​ ​virality​ ​are​ ​not​ ​present,​ ​in​ ​the​ ​long-term,​ ​the​ ​business
model​ ​will​ ​give​ ​out.​ ​Case​ ​in​ ​point:
​​
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This​ ​non-musical​ ​example​ ​is​ ​a​ ​grocery​ ​story​ ​named​ ​Bottom​ ​Dollar​ ​Food​ ​which,​ ​although
it​ ​successfully​ ​penetrated​ ​the​ ​cut-throat​ ​supermarket​ ​competition​ ​and​ ​acquired​ ​a​ ​market,​ ​did​ ​not
have​ ​the​ ​long-term​ ​business​ ​model​ ​once​ ​it​ ​went​ ​viral​ ​to​ ​sustain​ ​business​ ​(Helm).​ ​As​ ​of​ ​January
12,​ ​2015,​ ​Bottom​ ​dollar​ ​went​ ​defunct​ ​and​ ​all​ ​its​ ​locations​ ​were​ ​closed​ ​(Springer).​ ​This​ ​is​ ​one
point​ ​which​ ​Dre,​ ​prior​ ​to​ ​virality,​ ​demonstrated​ ​great​ ​business​ ​acumen​ ​in.​ ​He​ ​produced​ ​hits​ ​for
Snoop​ ​Dogg​ ​and​ ​Tupac​ ​and​ ​yet​ ​he​ ​did​ ​not​ ​rest​ ​on​ ​those​ ​laurels.​ ​He​ ​kept​ ​looking​ ​for​ ​the​ ​next​ ​big
thing​ ​and​ ​in​ ​the​ ​process​ ​came​ ​to​ ​know​ ​Eminem.​ ​This​ ​brings​ ​us​ ​to​ ​the​ ​case​ ​of​ ​Relevance.
Especially​ ​in​ ​the​ ​early​ ​stages​ ​of​ ​building​ ​musical​ ​notoriety,​ ​it​ ​is​ ​important​ ​to​ ​stay​ ​at​ ​the
forefront​ ​of​ ​people’s​ ​minds​ ​by​ ​being​ ​involved​ ​in​ ​significant​ ​projects​ ​with​ ​persons​ ​of
consequence.​ ​Persons​ ​of​ ​consequence​ ​don’t​ ​necessarily​ ​need​ ​to​ ​be​ ​famous​ ​but​ ​they​ ​need​ ​to​ ​be
people​ ​who​ ​have​ ​what​ ​it​ ​takes​ ​to​ ​become​ ​a​ ​foremost​ ​leader​ ​in​ ​their​ ​field​ ​(Helm).
Early​ ​on,​ ​Dre​ ​surrounded​ ​himself​ ​with​ ​talented​ ​MCs​ ​one​ ​of​ ​which​ ​founded​ ​a​ ​music​ ​label
(Dr.​ ​Dre​ ​Tells).​ ​As​ ​such,​ ​even​ ​though​ ​they​ ​were​ ​pre-virality,​ ​the​ ​brought​ ​together​ ​a​ ​team​ ​which
believed​ ​in​ ​the​ ​overall​ ​vision​ ​and​ ​contributed​ ​their​ ​individual​ ​talents​ ​to​ ​the​ ​whole​ ​to​ ​make​ ​it​ ​a
success​ ​(this​ ​is​ ​very​ ​much​ ​the​ ​same​ ​way​ ​David​ ​Foster​ ​created​ ​a​ ​power​ ​team​ ​around​ ​Celine​ ​to
launch​ ​her​ ​to​ ​virality​ ​in​ ​the​ ​US​ ​market).​ ​Relevance​ ​is​ ​important​ ​because​ ​it​ ​answers​ ​the​ ​question
“why​ ​should​ ​anyone​ ​care​ ​about​ ​what​ ​you​ ​are​ ​trying​ ​to​ ​do?”​ ​(Chetty).​ ​While​ ​attempting​ ​to​ ​answer
this​ ​question,​ ​it​ ​is​ ​often​ ​helpful,​ ​as​ ​is​ ​the​ ​case​ ​in​ ​the​ ​founding​ ​of​ ​new​ ​business​ ​ventures,​ ​to​ ​have​ ​a
team​ ​of​ ​talented​ ​persons.​ ​With​ ​many​ ​minds​ ​working​ ​together​ ​for​ ​a​ ​common​ ​cause,​ ​different
perspectives​ ​can​ ​be​ ​examined​ ​and​ ​others​ ​challenged​ ​to​ ​come​ ​up​ ​with​ ​a​ ​solution​ ​that​ ​will​ ​be
weighted​ ​by​ ​a​ ​jury​ ​and​ ​will​ ​ideally​ ​serve​ ​the​ ​agendas​ ​proposed.​ ​Dre​ ​kept​ ​relevant​ ​early​ ​on​ ​by
associating​ ​himself​ ​with​ ​persons​ ​of​ ​consequence,​ ​finding​ ​new​ ​opportunities​ ​once​ ​former​ ​streams
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dried​ ​out,​ ​and​ ​innovating​ ​change​ ​by​ ​solving​ ​simple,​ ​tangible​ ​problems​ ​which​ ​many​ ​people
experienced​ ​but​ ​didn’t​ ​have​ ​the​ ​clout​ ​to​ ​change.
The​ ​Talent​ ​ingredient​ ​is​ ​trifold​ ​with​ ​Dr.​ ​Dre.​ ​He​ ​initially​ ​made​ ​his​ ​way​ ​as​ ​a​ ​performer​ ​as
a​ ​Disc​ ​Jockey​ ​(DJ)​ ​and​ ​a​ ​rapper.​ ​This​ ​led​ ​him​ ​to​ ​meet​ ​and​ ​partner​ ​with​ ​Eazy​ ​E,​ ​Ice​ ​Cube,​ ​Yella,
MC​ ​Ren,​ ​the​ ​Arabian​ ​Prince,​ ​and​ ​the​ ​D.O.C.​ ​which​ ​ed​ ​to​ ​his​ ​talent​ ​in​ ​production​ ​since​ ​he​ ​would
produce​ ​some​ ​of​ ​their​ ​early​ ​works​ ​before​ ​notably​ ​producing​ ​Snoop​ ​Dogg​ ​and​ ​Tupac’s​ ​work
(Williams).​ ​Then,​ ​his​ ​talent​ ​in​ ​business​ ​was​ ​exemplified​ ​in​ ​his​ ​work​ ​to​ ​create,​ ​market,​ ​and
eventually​ ​sell​ ​Beats,​ ​Inc.​ ​to​ ​Apple.​ ​What​ ​this​ ​says​ ​to​ ​me​ ​is​ ​that​ ​Talent​ ​in​ ​one​ ​area​ ​can​ ​lead​ ​to
opportunities​ ​in​ ​others​ ​if​ ​the​ ​seeker​ ​virality​ ​has​ ​the​ ​awareness​ ​to​ ​know​ ​their​ ​strengths​ ​and
weaknesses​ ​(Dr.​ ​Dre​ ​Tells).
Some​ ​feel​ ​that​ ​they​ ​have​ ​little​ ​or​ ​no​ ​“natural”​ ​talent.​ ​Not​ ​as​ ​much​ ​as​ ​Person​ ​X,​ ​Y,​ ​or​ ​Z
who​ ​opens​ ​their​ ​mouth​ ​and​ ​sings​ ​like​ ​an​ ​angel​ ​with​ ​no​ ​training​ ​at​ ​all.​ ​Or​ ​some​ ​feel​ ​they’re​ ​“not
good​ ​enough”​ ​because​ ​although​ ​they​ ​can​ ​run,​ ​there​ ​are​ ​others​ ​who​ ​have​ ​“the​ ​gift”​ ​and​ ​can​ ​run
times​ ​low​ ​enough​ ​to​ ​almost​ ​qualify​ ​for​ ​the​ ​Olympics​ ​with​ ​seemingly​ ​minimal​ ​effort.​ ​What​ ​it​ ​is
important​ ​to​ ​remember​ ​is​ ​that​ ​the​ ​most​ ​“naturally”​ ​ ​talented​ ​people​ ​do​ ​not​ ​tend​ ​to​ ​achieve
virality.​ ​The​ ​difference​ ​between​ ​a​ ​Cyndi​ ​Lauper​ ​and​ ​Tata​ ​Vega​ ​for​ ​example​ ​is​ ​proof​ ​of​ ​this.
The​ ​former​ ​won​ ​all​ ​four​ ​major​ ​American​ ​awards​ ​for​ ​entertainment​ ​:​ ​the​ ​Grammy,​ ​Oscar,
Tony,​ ​and​ ​Emmy​ ​and​ ​is​ ​a​ ​cultural​ ​icon​ ​known​ ​for​ ​hits​ ​such​ ​as​ ​“Girls​ ​Just​ ​Wanna​ ​Have​ ​Fun”,
“True​ ​Colors”,​ ​“Time​ ​After​ ​Time”​ ​and​ ​many​ ​others.​ ​The​ ​latter​ ​sings​ ​background​ ​vocals​ ​for
many​ ​artists​ ​and,​ ​though​ ​she​ ​has​ ​a​ ​strong​ ​natural​ ​vocal​ ​gifting,​ ​she​ ​is​ ​not​ ​known​ ​typically​ ​outside
of​ ​the​ ​musician’s​ ​circuit.​ ​This​ ​is​ ​by​ ​no​ ​means​ ​an​ ​isolated​ ​case​ ​and​ ​this​ ​occurs​ ​at​ ​the​ ​highest
levels​ ​of​ ​the​ ​music​ ​business​ ​(​Iannone)​.​ ​For​ ​example,​ ​Jennifer​ ​Hudson​ ​is​ ​arguably​ ​a​ ​better​ ​live
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vocalist​ ​over​ ​someone​ ​like​ ​Adele.​ ​However,​ ​Adele​ ​has​ ​the​ ​hits​ ​and​ ​the​ ​starpower.​ ​Why?​ ​Because
hits​ ​define​ ​the​ ​success​ ​of​ ​a​ ​musician.​ ​When​ ​we​ ​think​ ​Adele​ ​we​ ​think​ ​“Hello”,​ ​“Set​ ​Fire​ ​to​ ​the
Rain”,​ ​“Someone​ ​Like​ ​You”,​ ​“Rumour​ ​Has​ ​It”​ ​and​ ​many​ ​other​ ​hits​ ​(Adele).​ ​Jennifer​ ​Hudson​ ​is
typically​ ​known​ ​for​ ​performing​ ​in​ ​Dreamgirls​ ​and​ ​singing​ ​“And​ ​I​ ​Am​ ​Telling​ ​You”​ ​(Christian).
This​ ​is​ ​another​ ​lesson​ ​of​ ​music​ ​business:​ ​old​ ​music​ ​reinterpreted​ ​well​ ​makes​ ​an​ ​impact.
New​ ​music​ ​that​ ​captures​ ​people's​ ​hearts​ ​can​ ​create​ ​a​ ​career.​ ​This​ ​is​ ​where​ ​Relevance​ ​can​ ​make
or​ ​break​ ​a​ ​career​ ​and​ ​create​ ​the​ ​defining​ ​point​ ​between​ ​semi-professionals​ ​touring​ ​in​ ​local​ ​bands
and​ ​The​ ​Temptations,​ ​Elton​ ​John,​ ​Lady​ ​Gaga​ ​or​ ​someone​ ​renowned​ ​internationally​ ​for​ ​their
music​ ​(Christian).
The​ ​Power​ ​element​ ​in​ ​Dr.​ ​Dre’s​ ​case​ ​is​ ​somewhat​ ​curious.​ ​There​ ​was​ ​not​ ​a​ ​label​ ​that
necessarily​ ​backed​ ​Dr.​ ​Dre​ ​and​ ​his​ ​group​ ​of​ ​rappers​ ​in​ ​the​ ​early​ ​days.​ ​This​ ​is​ ​one​ ​of​ ​the​ ​true
cases​ ​of​ ​grassroots​ ​Power​ ​virality.​ ​As​ ​in​ ​the​ ​case​ ​of​ ​Presidential​ ​Candidate​ ​Bernie​ ​Sanders,​ ​Dr.
Dre​ ​was​ ​very​ ​much​ ​elevated​ ​to​ ​popularity​ ​by​ ​the​ ​direct​ ​intervention​ ​and​ ​uplifting​ ​of​ ​his​ ​music​ ​by
the​ ​Market​ ​(Dr​ ​Dre​ ​Tells).​ ​This​ ​happened​ ​not​ ​due​ ​to​ ​his​ ​own​ ​rap​ ​but​ ​because​ ​of​ ​his​ ​production
skills​ ​as​ ​demonstrated​ ​in​ ​the​ ​works​ ​he​ ​did​ ​early​ ​on​ ​for​ ​his​ ​N.W.A​ ​group​ ​which​ ​prepared​ ​him​ ​for
work​ ​with​ ​Snoop​ ​Dogg​ ​and​ ​Tupac.​ ​This​ ​is​ ​a​ ​rare​ ​form​ ​of​ ​surge​ ​virality:​ ​the​ ​speaking​ ​of​ ​the
Market​ ​as​ ​one​ ​(Hall).​ ​This​ ​unified​ ​voice​ ​brings​ ​one​ ​group​ ​or​ ​person​ ​to​ ​prominence​ ​which​ ​creates
a​ ​self-promoting​ ​virality.​ ​Past​ ​examples​ ​of​ ​this​ ​phenomena​ ​are​ ​Duke​ ​Ellington,​ ​The​ ​Beatles,​ ​Ed
Sheeran,​ ​Rod​ ​Stewart,​ ​B.B.​ ​King​ ​and​ ​many​ ​more.
These​ ​persons​ ​typically​ ​engaged​ ​in​ ​busking​ ​(street​ ​performance​ ​for​ ​financial
remuneration)​ ​which​ ​created​ ​a​ ​grassroots​ ​following​ ​and​ ​a​ ​market​ ​which​ ​would​ ​self-pollinate​ ​by
sharing​ ​news​ ​of​ ​the​ ​new​ ​musician​ ​among​ ​friends,​ ​and​ ​family.​ ​In​ ​this​ ​manner,​ ​a​ ​market​ ​was
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formed​ ​at​ ​the​ ​local​ ​level​ ​which​ ​would​ ​then​ ​take​ ​on​ ​virality​ ​over​ ​time.​ ​This​ ​is​ ​another​ ​lesson​ ​on
virality.​ ​It​ ​doesn’t​ ​(and​ ​typically​ ​does​ ​not)​ ​have​ ​to​ ​happen​ ​all​ ​at​ ​once​ ​in​ ​order​ ​for​ ​it​ ​to​ ​happen​ ​at
all.​ ​Virality​ ​can​ ​take​ ​years​ ​to​ ​achieve.​ ​It​ ​is​ ​sometimes​ ​better​ ​that​ ​the​ ​Virality​ ​be​ ​nurtured​ ​over
time​ ​instead​ ​of​ ​acquired​ ​all​ ​at​ ​once​ ​(Hall).​ ​Elton​ ​John​ ​spoke​ ​against​ ​American​ ​Idol​ ​back​ ​in​ ​the
early​ ​00’s​ ​for​ ​this​ ​very​ ​reason.​ ​He​ ​argued​ ​that​ ​by​ ​giving​ ​singers​ ​a​ ​stage​ ​and​ ​fame​ ​so​ ​suddenly
without​ ​working​ ​for​ ​it​ ​from​ ​the​ ​bottom,​ ​they​ ​lacked​ ​the​ ​staying​ ​power​ ​that​ ​other​ ​artists​ ​have​ ​who
went​ ​through​ ​the​ ​process​ ​organically​ ​and​ ​created​ ​a​ ​faithful​ ​market​ ​in​ ​so​ ​doing​ ​(A​ ​Q&A).
Relevance:​ ​As​ ​mentioned​ ​earlier,​ ​the​ ​very​ ​fact​ ​that​ ​the​ ​Hip-Hop​ ​genre​ ​was​ ​on​ ​the​ ​rise,
gave​ ​Dr.​ ​Dre​ ​a​ ​tremendous​ ​rise​ ​to​ ​popularity​ ​since​ ​the​ ​genre​ ​itself​ ​was​ ​still​ ​establishing​ ​itself
(Dr.​ ​Dre​ ​Biography).​ ​The​ ​lesson​ ​which​ ​can​ ​be​ ​distilled​ ​from​ ​this​ ​is​ ​that​ ​of​ ​trends.​ ​To​ ​answer​ ​the
question​ ​of​ ​Relevance​ ​in​ ​one’s​ ​own​ ​virality,​ ​you​ ​would​ ​need​ ​to​ ​be​ ​able​ ​to​ ​establish​ ​and​ ​take
advantage​ ​of​ ​trends​ ​on​ ​the​ ​rise,​ ​trends​ ​in​ ​full​ ​force,​ ​but​ ​not​ ​trends​ ​on​ ​their​ ​way​ ​out.​ ​Consider​ ​that
in​ ​the​ ​80’s-90’s​ ​as​ ​America​ ​was​ ​becoming​ ​more​ ​unified​ ​and​ ​open​ ​to​ ​racial​ ​equity.​ ​Even​ ​still,
there​ ​were​ ​still​ ​severe​ ​cases​ ​of​ ​racial​ ​discrimination​ ​and​ ​abuse​ ​such​ ​as​ ​the​ ​Rodney​ ​King​ ​case​ ​of
1991​ ​(Chaney).​ ​In​ ​the​ ​80’s-90’s,​ ​bubblegum​ ​pop,​ ​R&B,​ ​Rock,​ ​Soul,​ ​and​ ​the​ ​Power​ ​Ballad
dominated​ ​the​ ​charts.That​ ​decade​ ​saw​ ​the​ ​likes​ ​of​ ​Whitney​ ​Houston’s​ ​“I​ ​Will​ ​Always​ ​Love
You”,​ ​Celine​ ​Dion’s​ ​“My​ ​Heart​ ​Will​ ​Go​ ​On”,​ ​Mariah​ ​Carey’s​ ​“Vision​ ​of​ ​Love”,​ ​Nirvana’s
“Smells​ ​Like​ ​Teen​ ​Spirit”​ ​(VH1’s).​ ​Rap​ ​certainly​ ​was​ ​present​ ​in​ ​the​ ​underground​ ​and​ ​hadn’t
become​ ​a​ ​mainstream​ ​phenomena.​ ​The​ ​correlation​ ​is​ ​that​ ​the​ ​Hip-Hop​ ​genre​ ​gave​ ​a​ ​voice​ ​to
African-American​ ​men​ ​to​ ​voice​ ​their​ ​experiences​ ​with​ ​brutality,​ ​with​ ​the​ ​experience​ ​growing​ ​up
in​ ​the​ ​ghetto,​ ​to​ ​release​ ​tension​ ​bottled​ ​up​ ​and​ ​unrepresented​ ​in​ ​the​ ​mainstream.
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Because​ ​it​ ​was​ ​a​ ​widespread​ ​feeling​ ​of​ ​pain​ ​and​ ​a​ ​common​ ​experience​ ​that​ ​many​ ​African
American​ ​people​ ​were​ ​experiencing​ ​so​ ​close​ ​to​ ​post-Jim​ ​Crow​ ​era,​ ​the​ ​genre​ ​exploded​ ​and​ ​has
since​ ​gone​ ​internationally​ ​viral.​ ​Dr.​ ​Dre​ ​was​ ​one​ ​of​ ​the​ ​people​ ​who​ ​was​ ​present​ ​and​ ​contributed
to​ ​the​ ​birth​ ​of​ ​the​ ​genre​ ​(Eminem).​ ​The​ ​medium​ ​was​ ​relevant​ ​to​ ​many​ ​of​ ​those​ ​who​ ​had​ ​been
abused​ ​by​ ​police​ ​or​ ​had​ ​experienced​ ​prejudice.​ ​As​ ​such,​ ​when,​ ​at​ ​the​ ​time,​ ​mostly​ ​African
American​ ​men​ ​began​ ​talking​ ​about​ ​the​ ​issues​ ​through​ ​rap,​ ​the​ ​market​ ​found​ ​it​ ​relevant​ ​and
spread​ ​it​ ​to​ ​virality.
Faith:​ ​Dr.​ ​Dre​ ​exercised​ ​faith​ ​in​ ​the​ ​N.W.A​ ​team​ ​which​ ​he​ ​was​ ​part​ ​of​ ​early​ ​in​ ​his
experience.​ ​He​ ​assembled​ ​talented​ ​individuals​ ​who​ ​could​ ​rap,​ ​produce,​ ​promote​ ​etc.​ ​and​ ​created
a​ ​power​ ​team.​ ​He​ ​committed​ ​time,​ ​money,​ ​and​ ​talent​ ​to​ ​the​ ​production​ ​of​ ​the​ ​N.W.A’s​ ​music
and​ ​in​ ​so​ ​doing,​ ​caught​ ​the​ ​eye​ ​of​ ​Snoop​ ​Dogg​ ​and​ ​Tupac,​ ​among​ ​others,​ ​who​ ​he​ ​would
eventually​ ​collaborate​ ​with​ ​him​ ​leading​ ​to​ ​platinum​ ​selling​ ​album​ ​Doggystyle​.​ ​After​ ​his​ ​initial
successes,​ ​there​ ​was​ ​a​ ​lull​ ​in​ ​which​ ​Dr.​ ​Dre​ ​had​ ​produced​ ​many​ ​albums​ ​which​ ​did​ ​not​ ​chart​ ​and
didn’t​ ​perform​ ​well.​ ​In​ ​that​ ​time,​ ​that​ ​was​ ​when​ ​(as​ ​mentioned​ ​before)​ ​he​ ​decided​ ​to​ ​bet
everything​ ​on​ ​Eminem​ ​who​ ​was​ ​an​ ​unknown​ ​at​ ​the​ ​time​ ​(Dr.​ ​Dre​ ​Tells).​ ​Dr.​ ​Dre,​ ​in​ ​that​ ​time,
put​ ​all​ ​of​ ​his​ ​Faith​ ​on​ ​the​ ​chance​ ​Eminem​ ​could​ ​become​ ​a​ ​dominant​ ​figure​ ​in​ ​rap​ ​even​ ​though​ ​he
was​ ​Caucasian​ ​which​ ​in​ ​the​ ​rap​ ​world​ ​had​ ​not​ ​seen​ ​before.​ ​His​ ​leap​ ​in​ ​Faith​ ​was​ ​justified.
Relevance
Case​ ​Study:​ ​Patricia​ ​Louise​ ​Holt
Although​ ​relevance​ ​is​ ​listed​ ​in​ ​the​ ​ingredients​ ​chart​ ​as​ ​number​ ​four,​ ​I​ ​chose​ ​to​ ​put​ ​it​ ​last
because​ ​it​ ​is​ ​the​ ​most​ ​complex​ ​ingredient​ ​of​ ​them​ ​all.​ ​It​ ​is​ ​most​ ​often​ ​ignored​ ​because​ ​it​ ​does​ ​not
physically​ ​exist.​ ​The​ ​Market​ ​can​ ​be​ ​found​ ​by​ ​research​ ​of​ ​statistics​ ​in​ ​the​ ​industry.​ ​Talent​ ​can
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easily​ ​be​ ​spotted​ ​when​ ​a​ ​person​ ​performs;​ ​Power​ ​can​ ​be​ ​found​ ​through​ ​labels,​ ​music​ ​publishers,
or​ ​producers​ ​with​ ​renown​ ​(Grocock);​ ​Faith​ ​is​ ​a​ ​matter​ ​of​ ​believing​ ​that​ ​something​ ​you’ve​ ​never
seen​ ​happen​ ​can​ ​happen​ ​and​ ​that​ ​most​ ​importantly​ ​it​ ​can​ ​happen​ ​to​ ​you.​ ​Relevance,​ ​however,
deals​ ​with​ ​concepts​ ​that​ ​are​ ​difficult​ ​to​ ​easily​ ​define​ ​or​ ​manipulate.​ ​Oxford​ ​Dictionary​ ​describes
the​ ​root​ ​word​ ​of​ ​relevance,​ ​relevant​ ​as:​ ​“Bearing​ ​on​ ​or​ ​connected​ ​with​ ​the​ ​matter​ ​in​ ​hand;
closely​ ​relating​ ​to​ ​the​ ​subject​ ​or​ ​point​ ​at​ ​issue;​ ​pertinent​ ​to​ ​a​ ​specified​ ​thing”​ ​(Relevant).
Because​ ​it​ ​can​ ​be​ ​difficult​ ​to​ ​identify​ ​this​ ​concept​ ​practically,​ ​we​ ​are​ ​going​ ​to​ ​look​ ​at​ ​the​ ​effect
of​ ​relevance​ ​as​ ​it​ ​functions​ ​within​ ​the​ ​realm​ ​of​ ​trends.​ ​Although​ ​can​ ​also​ ​be​ ​difficult​ ​to​ ​track​ ​and
may​ ​not​ ​be​ ​the​ ​clearest​ ​way​ ​of​ ​defining​ ​relevance,​ ​they​ ​do​ ​stand​ ​as​ ​trackable​ ​occurrences​ ​of
strong​ ​market​ ​buy-in​ ​in​ ​a​ ​new​ ​product​ ​or​ ​service​ ​(Helm).
Our​ ​case​ ​of​ ​Relevance​ ​takes​ ​us​ ​to​ ​the​ ​city​ ​of​ ​Brotherly​ ​Love​ ​to​ ​explore​ ​a​ ​living​ ​American
music​ ​legend.​ ​I​ ​do​ ​not​ ​call​ ​anyone​ ​a​ ​music​ ​legend​ ​lightly​ ​due​ ​to​ ​the​ ​magnitude​ ​and​ ​power​ ​of​ ​this
title​ ​but​ ​in​ ​this​ ​case,​ ​after​ ​careful​ ​research,​ ​after​ ​reviewing​ ​the​ ​endless​ ​accomplishments,​ ​awards,
historically​ ​significant​ ​performances,​ ​and​ ​innovations​ ​into​ ​the​ ​world​ ​of​ ​music,​ ​I​ ​feel​ ​the​ ​title​ ​is
fitting.​ ​She​ ​is​ ​considered​ ​the​ ​Godmother​ ​of​ ​Soul​ ​ ​and​ ​the​ ​Queen​ ​of​ ​R&B​ ​by​ ​many​ ​and​ ​her​ ​name
is​ ​Patricia​ ​Louise​ ​Holt​ ​better​ ​known​ ​as​ ​“Patti​ ​Labelle”​ ​(Mester).​ ​Patti​ ​was​ ​born​ ​May​ ​24,​ ​1944​ ​in
Philadelphia,​ ​Pennsylvania​ ​as​ ​the​ ​third​ ​of​ ​four​ ​sisters​ ​to​ ​parents​ ​Henry​ ​and​ ​Bertha​ ​Holte.​ ​Her
father​ ​worked​ ​on​ ​the​ ​railroad​ ​and​ ​her​ ​mother​ ​was​ ​a​ ​homekeeper.​ ​She​ ​has​ ​written​ ​in​ ​her​ ​memoirs
entitled​ ​“Don’t​ ​Block​ ​the​ ​Blessings”​ ​how​ ​she​ ​was​ ​molested​ ​by​ ​a​ ​family​ ​friend​ ​at​ ​age​ ​7​ ​and​ ​how
at​ ​age​ ​12​ ​her​ ​parents’​ ​rocky​ ​marriage​ ​ended​ ​in​ ​divorce​ ​(Mahon).​ ​She​ ​also​ ​recounts​ ​in​ ​said​ ​book
that​ ​she​ ​was​ ​sexually​ ​assaulted​ ​by​ ​R&B​ ​singing​ ​sensation​ ​Jackie​ ​Wilson.
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Patti’s​ ​first​ ​public​ ​exposure​ ​to​ ​music​ ​was​ ​with​ ​the​ ​church​ ​choir​ ​of​ ​the​ ​Beulah​ ​Baptist
Church​ ​of​ ​Philadelphia.​ ​She​ ​sang​ ​with​ ​the​ ​choir​ ​and,​ ​two​ ​years​ ​later,​ ​sang​ ​her​ ​first​ ​solo.​ ​When
she​ ​was​ ​fifteen​ ​years​ ​old,​ ​she​ ​sang​ ​ ​in​ ​a​ ​talent​ ​competition​ ​in​ ​her​ ​high​ ​school.​ ​Among​ ​the​ ​many
students​ ​that​ ​participated,​ ​she​ ​won​ ​first​ ​place​ ​(Mester).​ ​Encouraged​ ​by​ ​these​ ​results,​ ​she​ ​decided
to​ ​form​ ​a​ ​singing​ ​group​ ​with​ ​her​ ​high​ ​school​ ​friends​ ​Jean​ ​Brown,​ ​Yvonne​ ​Hogen​ ​and​ ​Johnnie
Dawson​ ​called​ ​the​ ​Ordettes​ ​in​ ​1960.​ ​The​ ​group​ ​became​ ​a​ ​popular​ ​local​ ​attraction​ ​until​ ​two​ ​of​ ​its
members​ ​left​ ​in​ ​order​ ​to​ ​marry.​ ​In​ ​1962,​ ​three​ ​new​ ​members​ ​were​ ​added​ ​to​ ​the​ ​group.​ ​They​ ​were
Nona​ ​Hendryx,​ ​Sarah​ ​Dash,​ ​and​ ​Cindy​ ​Songbird.​ ​Later​ ​that​ ​year,​ ​they​ ​landed​ ​an​ ​audition​ ​with
record​ ​label​ ​owner​ ​Harold​ ​Robinson.​ ​It​ ​was​ ​later​ ​revealed​ ​that​ ​he​ ​was​ ​initially​ ​dismissive​ ​of​ ​the
group​ ​with​ ​Patti​ ​as​ ​the​ ​lead​ ​because​ ​she​ ​was​ ​“too​ ​dark​ ​and​ ​too​ ​plain”​ ​(Mahon).​ ​After​ ​Robinson
heard​ ​them​ ​sing,​ ​he​ ​agreed​ ​to​ ​work​ ​with​ ​them.​ ​It​ ​was​ ​at​ ​that​ ​occasion​ ​that​ ​Robinson​ ​stated​ ​that
Patti​ ​was​ ​beautiful.​ ​He​ ​called​ ​her​ ​La​ ​Belle,​ ​French​ ​for​ ​“the​ ​beautiful​ ​one”.​ ​The​ ​name​ ​would
eventually​ ​be​ ​used​ ​as​ ​her​ ​stage​ ​name.​ ​He​ ​would​ ​organize​ ​them​ ​into​ ​a​ ​singing​ ​group​ ​known​ ​as​ ​the
“Blue​ ​Belles”.
The​ ​Blue​ ​Belles​ ​ran​ ​into​ ​a​ ​bit​ ​of​ ​controversy​ ​early​ ​on​ ​around​ ​1961-62​ ​when​ ​an​ ​executive
decision​ ​was​ ​made​ ​by​ ​the​ ​label,​ ​under​ ​Robinson’s​ ​direction,​ ​that​ ​they​ ​would​ ​be​ ​used​ ​to​ ​market​ ​a
song​ ​sung​ ​by​ ​The​ ​Starlets​ ​entitled​ ​“I​ ​Sold​ ​My​ ​Heart​ ​to​ ​the​ ​Junkman”.​ ​This​ ​was​ ​done​ ​because​ ​of
conflicts​ ​between​ ​ ​the​ ​singing​ ​group​ ​known​ ​as​ ​“The​ ​Starlets”​ ​and​ ​their​ ​label​ ​Pam​ ​Records.​ ​The
Blue​ ​Belles​ ​would​ ​lip-sync​ ​the​ ​song​ ​on​ ​live​ ​television​ ​for​ ​the​ ​now​ ​defunct​ ​show​ ​“American
Bandstand”​ ​(Mester)​ ​The​ ​song​ ​became​ ​a​ ​hit​ ​and​ ​The​ ​Starlets​ ​sued​ ​Robinson.​ ​They​ ​would​ ​settle
out​ ​of​ ​court​ ​for​ ​sum​ ​of​ ​$5,000​ ​per​ ​member.​ ​After​ ​the​ ​settlement,​ ​Robinson​ ​altered​ ​the​ ​Blue
Belles​ ​name​ ​to​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Blue​ ​Belles.
39
Patti​ ​Labelle​ ​and​ ​the​ ​Blue​ ​Belles​ ​initially​ ​recorded​ ​several​ ​songs​ ​which​ ​didn’t​ ​chart​ ​and
were​ ​not​ ​successful.​ ​However,​ ​in​ ​1963,​ ​they​ ​scored​ ​their​ ​first​ ​big​ ​hit​ ​entitled​ ​“Down​ ​the​ ​Aisle
(The​ ​Wedding​ ​Song)”(Mahon).​ ​The​ ​song​ ​became​ ​a​ ​crossover​ ​commercial​ ​success​ ​on​ ​the​ ​Pop
and​ ​R&B​ ​charts​ ​and​ ​debuted​ ​in​ ​the​ ​Top​ ​40.​ ​That​ ​same​ ​year,​ ​the​ ​group​ ​released​ ​their​ ​rendition​ ​of
Oscar​ ​and​ ​Hammerstein’s​ ​“You’ll​ ​Never​ ​Walk​ ​Alone”​ ​which​ ​also​ ​charted​ ​on​ ​the​ ​Billboard​ ​and
became​ ​a​ ​hit.​ ​Their​ ​performance​ ​of​ ​said​ ​song​ ​in​ ​the​ ​Apollo​ ​Theatre​ ​in​ ​1964​ ​drew​ ​an​ ​uproarious
standing​ ​ovation.​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Blue​ ​Belles​ ​would​ ​become​ ​a​ ​staple​ ​of​ ​the​ ​Apollo​ ​Theatre
from​ ​then​ ​on.​ ​Later​ ​in​ ​1964,​ ​they​ ​would​ ​release​ ​their​ ​version​ ​of​ ​Frederic​ ​Weatherley’s​ ​“Danny
Boy”​ ​which​ ​charted​ ​on​ ​the​ ​Billboard​ ​100​ ​and​ ​became​ ​a​ ​moderate​ ​hit.​ ​The​ ​group​ ​would​ ​continue
to​ ​chart​ ​hit​ ​after​ ​hit​ ​until​ ​an​ ​unthinkable​ ​twist​ ​caused​ ​the​ ​group​ ​to​ ​change​ ​form​ ​(Mester).
In​ ​1967,​ ​Cindy​ ​Birdsong​ ​would​ ​leave​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Bluebelles​ ​to​ ​accept​ ​an
invitation​ ​to​ ​join​ ​The​ ​Supremes.​ ​They​ ​were​ ​signed​ ​to​ ​Atlantic​ ​Records​ ​at​ ​this​ ​time​ ​but​ ​due​ ​to​ ​not
having​ ​any​ ​hits​ ​and​ ​not​ ​being​ ​able​ ​to​ ​draw​ ​a​ ​crowd,​ ​The​ ​Supremes​ ​were​ ​dropped​ ​from​ ​the​ ​label
and​ ​removed​ ​from​ ​their​ ​manager’s​ ​roster​ ​(Bowman).​ ​That​ ​same​ ​year,​ ​after​ ​a​ ​dry​ ​spell,​ ​the​ ​Blue
Belles​ ​had​ ​a​ ​new​ ​manager,​ ​Vicki​ ​Wickham,​ ​whose​ ​first​ ​direction​ ​was​ ​to​ ​change​ ​the​ ​name​ ​to
simply​ ​“Labelle”.​ ​She​ ​also​ ​changed​ ​the​ ​genre​ ​of​ ​music​ ​they’d​ ​performed​ ​to​ ​more​ ​of​ ​a
psychedelic​ ​soul​ ​sound.​ ​They​ ​would​ ​blend​ ​rock​ ​with​ ​soul​ ​and​ ​had​ ​their​ ​first​ ​opportunity​ ​by
opening​ ​for​ ​“The​ ​Who”​ ​and​ ​singing​ ​background​ ​vocals​ ​for​ ​Laura​ ​Nyro’s​ ​“It’s​ ​Gonna​ ​Take​ ​a
Miracle”​ ​(Mester).
In​ ​1972,​ ​the​ ​group​ ​would​ ​release​ ​the​ ​album​ ​“Moon​ ​Shadow”​ ​whose​ ​single​ ​by​ ​the​ ​same
featured​ ​a​ ​rock,​ ​soul,​ ​funk​ ​mix.​ ​They​ ​wore​ ​David​ ​Bowie​ ​and​ ​Elton​ ​John-inspired​ ​costumes
featuring​ ​silver​ ​space​ ​suits​ ​and​ ​luminescent​ ​makeup.​ ​This​ ​was​ ​the​ ​year​ ​when​ ​Patti​ ​lost​ ​her​ ​eldest
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sister​ ​Vivian​ ​Rogers​ ​to​ ​Lung​ ​cancer​ ​at​ ​age​ ​42.​ ​She​ ​grieved​ ​privately​ ​while​ ​continuing​ ​to​ ​perform
and​ ​keep​ ​her​ ​commitments​ ​publicly​ ​(Mester).​ ​The​ ​group​ ​had​ ​a​ ​dry​ ​spell​ ​between​ ​1972-1974.​ ​As
a​ ​result,​ ​Labelle​ ​changed​ ​labels​ ​and​ ​was​ ​signed​ ​by​ ​Epic​ ​Records​ ​which​ ​led​ ​to​ ​the​ ​creation​ ​of
their​ ​most​ ​successful​ ​album​ ​of​ ​all​ ​time.​ ​It​ ​was​ ​entitled,​ ​“Nightbirds”​ ​produced​ ​by​ ​Allen
Toussaint​ ​which​ ​produced​ ​the​ ​mega-hit​ ​single​ ​“Lady​ ​Marmalade”​ ​which​ ​would​ ​hit​ ​number​ ​one
on​ ​the​ ​Billboard​ ​100​ ​and​ ​would​ ​sell​ ​a​ ​million​ ​copies​ ​of​ ​the​ ​single​ ​and​ ​the​ ​album​ ​itself.​ ​As​ ​a
result​ ​of​ ​the​ ​immense​ ​success​ ​of​ ​the​ ​single,​ ​Labelle​ ​made​ ​the​ ​cover​ ​of​ ​Rolling​ ​Stones​ ​magazine
in​ ​1975​ ​(Mester).​ ​They​ ​would​ ​be​ ​featured​ ​performing​ ​“What​ ​Can​ ​I​ ​Do​ ​For​ ​You?”​ ​on​ ​a​ ​live
recording​ ​of​ ​Cher’s​ ​“The​ ​Cher​ ​Show”.The​ ​group​ ​would​ ​release​ ​two​ ​albums​ ​between​ ​1975​ ​and
1976​ ​but​ ​neither​ ​of​ ​the​ ​albums​ ​produced​ ​a​ ​hit.
This​ ​stress​ ​created​ ​tension​ ​without​ ​the​ ​group​ ​which​ ​led​ ​to​ ​a​ ​defining​ ​incident​ ​in​ ​the
Labelle​ ​group.​ ​On​ ​December​ ​16,​ ​1976,​ ​Labelle​ ​was​ ​performing​ ​a​ ​show​ ​in​ ​Baltimore,​ ​Maryland
when,​ ​backstage,​ ​Nona​ ​Hendryx​ ​had​ ​a​ ​nervous​ ​breakdown​ ​and​ ​injured​ ​herself.​ ​The​ ​group​ ​would
eventually​ ​break​ ​up​ ​after​ ​mutually​ ​agreeing​ ​to​ ​go​ ​on​ ​their​ ​own​ ​paths​ ​(Walker).​ ​Patti​ ​would​ ​sign​ ​a
solo​ ​contract​ ​with​ ​Epic​ ​Records​ ​in​ ​1977.​ ​It​ ​is​ ​important​ ​to​ ​note​ ​that​ ​during​ ​their​ ​time​ ​together,
The​ ​Labelle’s​ ​had​ ​an​ ​ongoing,​ ​bitter​ ​rivalry​ ​with​ ​The​ ​Supremes​ ​who​ ​were​ ​then​ ​signed​ ​to
Motown​ ​Records​ ​and​ ​producing​ ​major​ ​hits​ ​regularly​ ​(Walker).​ ​This​ ​rivalry​ ​created​ ​a​ ​chasm
between​ ​Diana​ ​Ross​ ​and​ ​Patti​ ​Labelle​ ​which​ ​would​ ​not​ ​be​ ​resolved​ ​until​ ​about​ ​40​ ​years​ ​later.​ ​In
1978,​ ​Patti​ ​would​ ​lose​ ​her​ ​mother,​ ​Bertha​ ​to​ ​diabetes.
Patti​ ​released​ ​her​ ​self-titled​ ​album​ ​through​ ​Epic​ ​Records​ ​which​ ​would​ ​produce​ ​the​ ​songs
“You​ ​Are​ ​My​ ​Friend,​ ​“Little​ ​Girls”,​ ​and​ ​“Music​ ​is​ ​My​ ​Way​ ​Of​ ​Life​ ​among​ ​other​ ​well-known
hits​ ​(Mester).​ ​She​ ​would​ ​record​ ​four​ ​albums​ ​with​ ​Epic​ ​records​ ​into​ ​1980​ ​before​ ​her​ ​contract​ ​was
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up​ ​and​ ​she​ ​was​ ​not​ ​retained​ ​due​ ​to​ ​not​ ​having​ ​produced​ ​a​ ​hit​ ​on​ ​those​ ​four​ ​albums.​ ​She
proceeded​ ​to​ ​sign​ ​with​ ​Philadelphia​ ​International​ ​Records​ ​around​ ​1981​ ​where​ ​she​ ​would​ ​record
her​ ​explosive,​ ​emotive,​ ​R&B​ ​version​ ​of​ ​“Somewhere​ ​Over​ ​the​ ​Rainbow”​ ​which​ ​became​ ​one​ ​of
her​ ​defining​ ​songs​ ​(Walker).​ ​She​ ​would​ ​eventually​ ​sing​ ​this​ ​song​ ​in​ ​the​ ​White​ ​House​ ​for
President​ ​Barack​ ​and​ ​Michelle​ ​Obama​ ​in​ ​2014​ ​by​ ​request.
In​ ​1982,​ ​she​ ​would​ ​be​ ​featured​ ​on​ ​Grover​ ​Washington’s​ ​“The​ ​Best​ ​is​ ​Yet​ ​to​ ​Come”
which​ ​would​ ​produce​ ​Patti’s​ ​first​ ​Grammy​ ​nomination.​ ​In​ ​the​ ​same​ ​year​ ​she​ ​starred​ ​in​ ​the
Broadway​ ​musical​ ​“Your​ ​Arms​ ​Too​ ​Short​ ​to​ ​Box​ ​With​ ​God”.​ ​Though​ ​she​ ​had​ ​much​ ​success​ ​in
this​ ​year,​ ​she​ ​also​ ​experienced​ ​the​ ​loss​ ​of​ ​her​ ​second-eldest​ ​sister​ ​Barbara​ ​Purifoy​ ​to​ ​colon
cancer​ ​at​ ​age​ ​41.​ ​She​ ​would​ ​again​ ​grieve​ ​privately​ ​with​ ​family​ ​and​ ​close​ ​friends.​ ​In​ ​1983,​ ​she
would​ ​release​ ​her​ ​immensely​ ​successful​ ​“I’m​ ​in​ ​Love​ ​Again”​ ​album​ ​which​ ​featured​ ​her​ ​first
singles​ ​to​ ​hit​ ​the​ ​Top​ ​10​ ​on​ ​the​ ​R&B​ ​charts​ ​which​ ​were​ ​“Love,​ ​Want,​ ​Need​ ​You”​ ​and​ ​“If​ ​Only
You​ ​Knew”​ ​(Mester).​ ​In​ ​1983,​ ​however,​ ​would​ ​collaborate​ ​with​ ​Eddie​ ​Murphy​ ​in​ ​“Beverly​ ​Hills
Cops”​ ​as​ ​the​ ​vocalist​ ​for​ ​the​ ​movie’s​ ​soundtrack.​ ​She​ ​would​ ​record​ ​two​ ​songs​ ​in​ ​that
collaboration​ ​“New​ ​Attitude”​ ​and​ ​“Stir​ ​it​ ​Up”.​ ​The​ ​soundtrack​ ​was​ ​released​ ​in​ ​1984​ ​and​ ​“New
Attitude”​ ​became​ ​a​ ​hit​ ​which​ ​crossed​ ​over​ ​into​ ​the​ ​Billboard​ ​Hot​ ​100​ ​and​ ​peaked​ ​at​ ​17.​ ​The​ ​song
would​ ​go​ ​viral​ ​across​ ​the​ ​world​ ​charting​ ​in​ ​most​ ​countries​ ​and​ ​became​ ​a​ ​signature​ ​song​ ​of​ ​Patti’s
regularly​ ​performed​ ​in​ ​concerts​ ​across​ ​the​ ​world​ ​(walker).
In​ ​1985,​ ​Patti​ ​Labelle​ ​was​ ​invited​ ​to​ ​perform​ ​on​ ​a​ ​TV​ ​special​ ​entitled​ ​Motown​ ​Returns​ ​to
the​ ​Apollo​ ​and​ ​she​ ​also​ ​sang​ ​in​ ​an​ ​all-star​ ​benefit​ ​concert​ ​entitled​ ​Live​ ​Aid​.​ ​In​ ​the​ ​former​ ​she
performed​ ​alongside​ ​Diana​ ​Ross,​ ​Little​ ​Richard,​ ​Smokey​ ​Robinson,​ ​and​ ​many​ ​other​ ​legendary
Motown​ ​persons​ ​for​ ​an​ ​audience​ ​which​ ​included​ ​Berry​ ​Gordy​ ​(Founder​ ​of​ ​Motown),​ ​Coretta
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Scott​ ​King​ ​(Dr.​ ​Martin​ ​Luther’​ ​King’s​ ​widow)​ ​among​ ​others​ ​and​ ​was​ ​hosted​ ​by​ ​Bill​ ​Cosby​ ​of
“The​ ​Bill​ ​Cosby​ ​show”​ ​fame.​ ​She​ ​guest​ ​featured,​ ​in​ ​this​ ​event​ ​on​ ​George​ ​Michael’s​ ​“​ ​I​ ​Wanna
Know​ ​What​ ​Love​ ​Is”.​ ​Michael​ ​was​ ​also​ ​present​ ​and​ ​sang​ ​alongside​ ​Diana​ ​Ross.​ ​This
performance​ ​became​ ​a​ ​subject​ ​of​ ​great​ ​controversy​ ​(Walker).​ ​During​ ​the​ ​performance,​ ​Diana
Ross​ ​is​ ​featured​ ​and​ ​sets​ ​the​ ​tone​ ​for​ ​the​ ​song.​ ​In​ ​the​ ​second​ ​part​ ​of​ ​the​ ​chorus,​ ​Patti​ ​Labelle
entered​ ​the​ ​stage​ ​with​ ​a​ ​powerful​ ​belt​ ​that​ ​outshone​ ​Diana​ ​Ross​ ​and​ ​became​ ​the​ ​center​ ​of​ ​focus
in​ ​the​ ​performance.​ ​Labelle​ ​riffed​ ​and,​ ​in​ ​her​ ​typical​ ​fashion,​ ​performed​ ​a​ ​series​ ​of​ ​vocals​ ​that
dominated​ ​the​ ​stage.​ ​This​ ​same​ ​year​ ​she​ ​was​ ​invited,​ ​for​ ​the​ ​first​ ​time,​ ​to​ ​sing​ ​a​ ​song​ ​on​ ​Sesame
Street​ ​by​ ​invitation​ ​(Mester).
The​ ​consensus​ ​by​ ​some​ ​after​ ​this​ ​performance​ ​was​ ​that​ ​Patti​ ​had​ ​“stolen​ ​the​ ​show”.​ ​The
notoriety​ ​of​ ​this​ ​performance​ ​and​ ​that​ ​of​ ​Live​ ​Aid​ ​(in​ ​which​ ​she​ ​put​ ​the​ ​mike​ ​down​ ​on​ ​the
ground​ ​and​ ​kept​ ​singing​ ​and​ ​could​ ​still​ ​be​ ​heard)​ ​led​ ​to​ ​her​ ​having​ ​her​ ​own​ ​television​ ​special
later​ ​that​ ​year.​ ​She​ ​would​ ​end​ ​her​ ​contractual​ ​obligations​ ​with​ ​Philadelphia​ ​International​ ​and
signed​ ​with​ ​MCA​ ​Records​ ​with​ ​whom​ ​she​ ​release​ ​the​ ​album​ ​Winner​ ​in​ ​You​ ​in​ ​1986​ ​which
contained​ ​the​ ​international​ ​hit​ ​single​ ​On​ ​My​ ​Own​ ​which​ ​featured​ ​Michael​ ​McDonald.​ ​It​ ​became
a​ ​worldwide​ ​hit​ ​staying​ ​at​ ​number​ ​1​ ​on​ ​the​ ​Billboard​ ​Hot​ ​100​ ​and​ ​going​ ​gold​ ​in​ ​the​ ​UK.On​ ​My
Own​ ​became​ ​the​ ​charting​ ​peak​ ​of​ ​her​ ​solo​ ​success​ ​(Patti​ ​Labelle).​ ​The​ ​song​ ​would​ ​be​ ​covered
notably​ ​by​ ​Reba​ ​McEntire​ ​who​ ​invited​ ​Trisha​ ​Yearwood,​ ​Martina​ ​McBride,​ ​and​ ​Linda​ ​Davis​ ​to
sing​ ​backup​ ​with​ ​her.​ ​The​ ​song​ ​charted​ ​on​ ​the​ ​country​ ​Top​ ​20​ ​(Walker).
Patti​ ​was​ ​concurrently​ ​releasing​ ​and​ ​performing​ ​singles​ ​(and​ ​shooting​ ​the​ ​music​ ​video​ ​for
“On​ ​My​ ​Own”)​ ​while​ ​touring​ ​for​ ​her​ ​Winner​ ​in​ ​You​ ​tour​ ​from​ ​1986-1987.​ ​Between​ ​1985​ ​to
2013,​ ​Patti​ ​toured​ ​almost​ ​every​ ​year​ ​as​ ​part​ ​of​ ​one​ ​album’s​ ​marketing​ ​tour​ ​or​ ​another.​ ​In​ ​1987,
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Patti​ ​was​ ​invited​ ​to​ ​an​ ​interview​ ​by​ ​her​ ​friend​ ​Dolly​ ​Parton​ ​where​ ​she​ ​would​ ​also​ ​perform​ ​a
gospel​ ​song​ ​“Up​ ​Above​ ​My​ ​Ahead”(Walker).​ ​In​ ​1988​ ​Patti​ ​would​ ​be​ ​invited​ ​back​ ​to​ ​the​ ​Dolly
Parton​ ​show,​ ​this​ ​time​ ​to​ ​perform​ ​“I’ve​ ​Been​ ​Loving​ ​You​ ​Too​ ​Long”.​ ​This​ ​was​ ​the​ ​year​ ​she
appeared​ ​on​ ​magnate​ ​television​ ​series​ ​known​ ​as​ ​The​ ​Oprah​ ​Show​ ​by​ ​invitation.​ ​She​ ​sang​ ​her
rendition​ ​of​ ​“Somewhere​ ​Over​ ​the​ ​Rainbow”.​ ​Oprah​ ​called​ ​Patti​ ​Labelle​ ​“The​ ​Voice”​ ​in​ ​this
segment.​ ​In​ ​1989,​ ​Patti​ ​released​ ​her​ ​album​ ​Be​ ​Yourself​ ​ ​which​ ​produced​ ​the​ ​hit​ ​If​ ​You​ ​Asked​ ​Me
To​ ​written​ ​by​ ​the​ ​mega-hit​ ​songwriter​ ​Diane​ ​Warren​ ​(known​ ​for​ ​Celine​ ​Dion’s​ ​“Because​ ​You
Loved​ ​Me”,​ ​Leann​ ​Rimes’​ ​“How​ ​Do​ ​I​ ​Live”,​ ​Aerosmith’s​ ​“I​ ​Don’t​ ​Want​ ​To​ ​Miss​ ​A​ ​Thing”
among​ ​other​ ​hits)​ ​(Patti​ ​Labelle).​ ​Some​ ​controversy​ ​arose​ ​from​ ​this​ ​song​ ​when​ ​Celine​ ​Dion
made​ ​the​ ​decision​ ​to​ ​cover​ ​the​ ​song​ ​almost​ ​using​ ​the​ ​exact​ ​same​ ​arrangement​ ​that​ ​Patti​ ​used.
The​ ​controversial​ ​part​ ​came​ ​when​ ​Celine’s​ ​version​ ​was​ ​acclaimed​ ​higher​ ​than​ ​Patti’s​ ​version
even​ ​though​ ​it​ ​was​ ​almost​ ​a​ ​mimic​ ​copy​ ​of​ ​Patti’s​ ​(Walker).
In​ ​1989​ ​Patti​ ​experienced​ ​even​ ​more​ ​loss​ ​to​ ​her​ ​family​ ​as​ ​she​ ​lost​ ​both​ ​her​ ​father​ ​and
sister.​ ​Her​ ​father,​ ​Henry​ ​passed​ ​away​ ​from​ ​complications​ ​related​ ​to​ ​Alzheimer’s​ ​and​ ​her​ ​sister
Jacqueline​ ​“Jackie”​ ​Padgett​ ​passed​ ​away​ ​at​ ​age​ ​43​ ​from​ ​lung​ ​cancer.​ ​In​ ​this​ ​year​ ​she​ ​premiered
on​ ​a​ ​sitcom​ ​entitled​ ​“A​ ​Different​ ​World”​ ​which​ ​produced​ ​her​ ​own​ ​sitcom​ ​entitled​ ​“Out​ ​All
Night”​ ​(Mester).​ ​In​ ​1990,​ ​Patti​ ​was​ ​featured​ ​in​ ​McDonald’s​ ​commercial​ ​featured​ ​singing​ ​on​ ​the
highway​ ​and​ ​through​ ​a​ ​drive​ ​through​ ​in​ ​a​ ​high-powered​ ​gospel​ ​vocal​ ​performance.​ ​She​ ​was​ ​also
invited​ ​and​ ​featured​ ​on​ ​Natalie​ ​Cole’s​ ​television​ ​show​ ​where​ ​she​ ​sang​ ​“Need​ ​a​ ​Little​ ​Faith”.​ ​By
1991​ ​Patti,​ ​she​ ​was​ ​collaborating​ ​with​ ​Babyface​ ​who​ ​wrote​ ​the​ ​super​ ​hit​ ​“Superwoman”​ ​which
would​ ​be​ ​performed​ ​with​ ​musical​ ​legends​ ​Gladys​ ​Knight​ ​and​ ​Dionne​ ​Warwick.​ ​Patti​ ​would
release​ ​the​ ​album​ ​entitled​ ​“Burnin”​ ​which​ ​received​ ​gold​ ​certification​ ​and​ ​caused​ ​Patti​ ​to​ ​win​ ​her
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first​ ​Grammy​ ​award.​ ​She​ ​won​ ​for​ ​the​ ​title​ ​track​ ​of​ ​“Burnin”​ ​which,​ ​in​ ​odd​ ​circumstances,​ ​tied
with​ ​Lisa​ ​Fischer’s​ ​“​ ​How​ ​Can​ ​I​ ​Ease​ ​the​ ​Pain”​ ​which​ ​received​ ​the​ ​same​ ​amount​ ​of​ ​votes
(Mahon).
In​ ​1993​ ​Patti​ ​was​ ​invited​ ​onto​ ​the​ ​Arsenio​ ​Hall​ ​show​ ​where​ ​she​ ​sang​ ​one​ ​of​ ​Aretha
Franklin’s​ ​megahits​ ​“Natural​ ​Woman”.​ ​She​ ​would​ ​release​ ​her​ ​album​ ​“Gems”​ ​in​ ​1994​ ​which
produced​ ​the​ ​Hot​ ​Dance/Club​ ​Play​ ​number​ ​one​ ​song​ ​“The​ ​Right​ ​Kinda​ ​of​ ​Lover”.
In​ ​1995​ ​Patti​ ​Labelle​ ​was​ ​hired​ ​for​ ​a​ ​historically​ ​significant​ ​performance​ ​which​ ​would
affirm​ ​her​ ​status​ ​as​ ​a​ ​legend​ ​in​ ​Hollywood​ ​and​ ​across​ ​performing​ ​stages​ ​around​ ​America.​ ​A
birthday​ ​celebration​ ​was​ ​organized​ ​for​ ​Frank​ ​Sinatra​ ​in​ ​a​ ​concert​ ​format​ ​in​ ​which​ ​dinner​ ​was
served.​ ​Patti​ ​Labelle​ ​was​ ​hired​ ​to​ ​sing​ ​a​ ​song​ ​entitled​ ​“The​ ​House​ ​I​ ​Live”​ ​which​ ​Frank​ ​Sinatra
had​ ​sung​ ​and​ ​released​ ​in​ ​movie​ ​form​ ​in​ ​1945.​ ​Patti​ ​Labelle’s​ ​performance​ ​took​ ​the​ ​original
which​ ​was​ ​something​ ​of​ ​a​ ​showtune​ ​song​ ​and​ ​turned​ ​it​ ​into​ ​an​ ​exploding​ ​gospel​ ​ballad​ ​complete
with​ ​a​ ​back-up​ ​choir,​ ​R&B​ ​infused​ ​vocals,​ ​and​ ​powerful​ ​belts​ ​which​ ​at​ ​the​ ​very​ ​end​ ​of​ ​said
performance,​ ​brough​ ​Frank​ ​and​ ​Barbara​ ​Sinatra​ ​to​ ​their​ ​feet​ ​and​ ​the​ ​entire​ ​audience​ ​gave​ ​Patti​ ​a
powerful​ ​sustained​ ​standing​ ​ovation​ ​(Walker).
From​ ​one​ ​decade​ ​to​ ​another,​ ​it​ ​is​ ​important​ ​to​ ​appreciate​ ​and​ ​realize​ ​the​ ​significance​ ​of
remaining​ ​relevant​ ​and​ ​adapting​ ​to​ ​an​ ​ever​ ​changing​ ​market.​ ​Patti​ ​is​ ​our​ ​case​ ​study​ ​within​ ​this
ingredient​ ​for​ ​this​ ​very​ ​purpose,​ ​that​ ​from​ ​the​ ​1960’s​ ​she’s​ ​been​ ​able​ ​to​ ​ride​ ​an​ ​ever​ ​changing
wave​ ​and​ ​adapt​ ​to​ ​the​ ​realities​ ​of​ ​the​ ​market​ ​by​ ​pursuing​ ​the​ ​opportunities​ ​presented​ ​within​ ​and
spilling​ ​her​ ​essence​ ​and​ ​strength​ ​into​ ​each​ ​and​ ​every​ ​opportunity​ ​given​ ​which​ ​more​ ​often​ ​than
not​ ​accounts​ ​for​ ​the​ ​longevity​ ​of​ ​an​ ​artist’s​ ​career.​ ​In​ ​1996,​ ​Patti​ ​would​ ​release​ ​her​ ​book​ ​“Don’t
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Block​ ​the​ ​Blessings”,​ ​the​ ​first​ ​in​ ​a​ ​series​ ​of​ ​five​ ​cookbooks​ ​in​ ​1997,​ ​and​ ​a​ ​live​ ​album​ ​entitled,
“Live!​ ​One​ ​Night​ ​Only”​ ​which​ ​produced​ ​her​ ​second​ ​Grammy.
In​ ​1998,​ ​Patti​ ​was​ ​invited​ ​(among​ ​her​ ​tours)​ ​to​ ​sing​ ​on​ ​the​ ​Rosie​ ​O'Donnell​ ​show
February​ ​of​ ​1998​ ​where​ ​she​ ​premiered​ ​the​ ​single​ ​“Flame”​ ​from​ ​her​ ​album​ ​of​ ​the​ ​same​ ​name.
This​ ​same​ ​year,​ ​she​ ​was​ ​featured​ ​on​ ​the​ ​“One​ ​Night​ ​Only​ ​1998”​ ​TV​ ​premiere​ ​in​ ​which​ ​Patti
Labelle​ ​invited​ ​Mariah​ ​Carey​ ​to​ ​sing​ ​Cheryl​ ​Lynn’s​ ​“Got​ ​to​ ​Be​ ​Real”​ ​(Mester).​ ​In​ ​the​ ​year​ ​1999
Patti’s​ ​team​ ​released​ ​“20th​ ​Century​ ​Masters​ ​The​ ​Millennium​ ​Collection:​ ​The​ ​Best​ ​of​ ​Patti
LaBelle”​ ​which​ ​contained​ ​Patti’s​ ​hits​ ​and​ ​singles​ ​including​ ​“On​ ​My​ ​Own​ ​featuring​ ​Michael
McDonald”,​ ​“If​ ​You​ ​Asked​ ​Me​ ​To”​ ​along​ ​with​ ​ten​ ​other​ ​songs​ ​on​ ​the​ ​album.​ ​The​ ​year​ ​2000
marked​ ​the​ ​first​ ​time​ ​Patti​ ​Labelle​ ​was​ ​invited​ ​to​ ​sing​ ​the​ ​National​ ​Anthem​ ​at​ ​a​ ​major​ ​sporting
event.​ ​In​ ​this​ ​case,​ ​record-setting​ ​Tennis​ ​star​ ​Venus​ ​Williams​ ​played​ ​against​ ​Lindsay​ ​Davenport
in​ ​the​ ​US​ ​Open​ ​Final.​ ​Venus​ ​went​ ​on​ ​to​ ​to​ ​win​ ​the​ ​match​ ​and​ ​President​ ​Bill​ ​Clinton​ ​sat​ ​in​ ​among
the​ ​audience​ ​favorably​ ​grinning​ ​on​ ​live​ ​television​ ​as​ ​Patti​ ​Labelle​ ​sang​ ​an​ ​impassioned​ ​a
cappella​ ​version​ ​of​ ​the​ ​Star​ ​Spangled​ ​Banner​ ​with​ ​a​ ​backup​ ​choir​ ​singing​ ​in​ ​the​ ​background
(Walker).
BET’s​ ​Walk​ ​of​ ​Fame​ ​decided​ ​to​ ​honor​ ​Patti​ ​Labelle​ ​in​ ​2001​ ​in​ ​which​ ​she​ ​sang​ ​and
introduction​ ​live​ ​which​ ​sounded​ ​so​ ​pristine​ ​that​ ​some​ ​questioned​ ​whether​ ​it​ ​was​ ​a​ ​recording.​ ​The
veil​ ​moved​ ​away​ ​and​ ​she​ ​could​ ​be​ ​seen​ ​live.​ ​This​ ​is​ ​due​ ​to​ ​the​ ​fact​ ​that​ ​the​ ​connectivity​ ​of​ ​Patti’s
voice​ ​is​ ​practically​ ​seamless​ ​even​ ​at​ ​the​ ​register​ ​changes.​ ​At​ ​the​ ​end​ ​of​ ​this​ ​memorial​ ​show,​ ​Patti
dedicated​ ​her​ ​rendition​ ​of​ ​“The​ ​Lord’s​ ​Prayer”​ ​to​ ​the​ ​people​ ​who​ ​lost​ ​their​ ​lives​ ​in​ ​the​ ​terrorist
attacks​ ​on​ ​9/11/2001​ ​(Patti​ ​Labelle).
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Patti​ ​has​ ​continue​ ​to​ ​come​ ​out​ ​with​ ​one​ ​album​ ​after​ ​another,​ ​one​ ​powerful​ ​memorable
performance​ ​after​ ​another​ ​all​ ​the​ ​way​ ​to​ ​the​ ​present​ ​year​ ​of​ ​2017.​ ​A​ ​significant​ ​milestone​ ​was
the​ ​re-imagining​ ​and​ ​re-creation​ ​of​ ​Patti’s​ ​Lady​ ​Marmalade​ ​in​ ​2002​ ​which​ ​featured​ ​Missy
Elliott,​ ​Mya,​ ​Lil​ ​Kim,​ ​Pink,​ ​and​ ​Christina​ ​Aguilera.​ ​Patti​ ​was​ ​featured​ ​as​ ​a​ ​surprise​ ​performer​ ​in
the​ ​2002​ ​Grammy​ ​Awards​ ​along​ ​with​ ​the​ ​aforementioned​ ​performers.​ ​She’s​ ​also​ ​been​ ​on
Dancing​ ​With​ ​the​ ​Stars,​ ​American​ ​Horror​ ​Story,​ ​and​ ​became​ ​a​ ​key​ ​advisor​ ​on​ ​the​ ​singing
competition​ ​show​ ​“The​ ​Voice”​ ​(Patti​ ​Labelle).​ ​Key​ ​moments​ ​between​ ​2002​ ​and​ ​2017​ ​include
being​ ​featured​ ​as​ ​one​ ​of​ ​the​ ​legends​ ​in​ ​Oprah’s​ ​Legend’s​ ​Ball​ ​in​ ​2005​ ​where​ ​her​ ​improvisations
during​ ​a​ ​Sunday​ ​praise​ ​session​ ​caused​ ​a​ ​great​ ​stir​ ​in​ ​the​ ​crowd,​ ​she​ ​released​ ​a​ ​commercially
successful​ ​gospel​ ​album​ ​in​ ​2006,​ ​and​ ​released​ ​a​ ​holiday​ ​album​ ​in​ ​2007.​ ​She​ ​was​ ​asked​ ​to​ ​sing​ ​at
Oprah’s​ ​Farewell​ ​Spectacular​ ​when​ ​Oprah​ ​would​ ​be​ ​be​ ​presenting​ ​the​ ​finale​ ​of​ ​the​ ​Oprah​ ​Show
at​ ​which​ ​occasion​ ​she​ ​sang​ ​Somewhere​ ​Over​ ​the​ ​Rainbow​ ​with​ ​Josh​ ​Groban​ ​(Mester).​ ​In​ ​2014,
Labelle​ ​had​ ​the​ ​honor​ ​of​ ​performing​ ​by​ ​request​ ​at​ ​the​ ​White​ ​House​ ​for​ ​President​ ​Barack​ ​and
Michelle​ ​Obama.​ ​She​ ​also​ ​returned​ ​to​ ​Broadway​ ​in​ ​2014.​ ​In​ ​2015​ ​she​ ​appeared​ ​as​ ​herself​ ​as​ ​a
guest​ ​on​ ​the​ ​reality​ ​TV​ ​show​ ​known​ ​as​ ​Empire​.​ ​In​ ​2017,​ ​she​ ​released​ ​her​ ​first​ ​Jazz​ ​album
entitled​ ​Bel​ ​Hommage​.
The​ ​ingredients​ ​for​ ​our​ ​virality​ ​casserole​ ​in​ ​the​ ​case​ ​of​ ​Patti​ ​Labelle​ ​are​ ​as​ ​follows:
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Market:​ ​ ​In​ ​the​ ​60’s​ ​and​ ​70’s​ ​when​ ​the​ ​definitive​ ​female​ ​singing​ ​group,​ ​the
Supremes,​ ​reigned​ ​supreme,​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Bluebelles​ ​provided​ ​one​ ​of​ ​the
only​ ​true​ ​rivalries​ ​which​ ​kept​ ​the​ ​Bluebelles​ ​relevant.​ ​The​ ​market​ ​at​ ​the​ ​time​ ​was
acquiescent​ ​to​ ​the​ ​solo​ ​voice​ ​couple​ ​with​ ​background​ ​vocals​ ​over​ ​a​ ​mixture​ ​of
soul​ ​and​ ​classical​ ​which​ ​defined​ ​many​ ​of​ ​the​ ​early​ ​Motown​ ​classics.​ ​The​ ​market
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in​ ​those​ ​days​ ​readily​ ​accepted​ ​the​ ​soulful​ ​ballad,​ ​girl​ ​group.​ ​As​ ​such,​ ​the
Bluebelles​ ​rose​ ​to​ ​prominence​ ​in​ ​a​ ​market​ ​trend​ ​that​ ​was​ ​significantly​ ​open​ ​to
singing​ ​groups.
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Talent:​ ​It​ ​is​ ​evident​ ​from​ ​listening​ ​to​ ​Patti​ ​Labelle​ ​that​ ​she​ ​has​ ​a​ ​unique,​ ​powerful
vocal​ ​instrument.​ ​When​ ​Patti​ ​and​ ​the​ ​Bluebelles​ ​performed​ ​at​ ​the​ ​Brooklyn​ ​Fox
in​ ​1964​ ​performing​ ​“You’ll​ ​Never​ ​Walk​ ​Alone”,​ ​it​ ​is​ ​clear​ ​from​ ​the​ ​vocal
acrobatics​ ​and​ ​power​ ​that​ ​Patti​ ​is​ ​a​ ​vocal​ ​talent​ ​second​ ​to​ ​none.​ ​She​ ​wields​ ​her
voice​ ​with​ ​mastery​ ​and​ ​power​ ​throughout​ ​its​ ​full​ ​range.​ ​She​ ​has​ ​often​ ​been​ ​hired
to​ ​be​ ​the​ ​“showstopper”​ ​in​ ​award​ ​ceremonies​ ​or​ ​tribute​ ​concerts​ ​for​ ​this​ ​reason.
She​ ​was​ ​hired​ ​to​ ​sing​ ​tribute​ ​to​ ​Frank​ ​Sinatra,​ ​Destiny’s​ ​Child,​ ​Aretha​ ​Franklin,
Diana​ ​Ross,​ ​Michael​ ​Jackson,​ ​Gerard​ ​Levert,​ ​Prince,​ ​and​ ​Fantasia​ ​among​ ​other
people.​ ​This​ ​is​ ​not​ ​necessarily​ ​because​ ​the​ ​artists​ ​in​ ​question​ ​were​ ​“legends”​ ​as
much​ ​as​ ​it​ ​is​ ​because​ ​Patti’s​ ​interpretations​ ​are​ ​original,​ ​fresh,​ ​and​ ​full​ ​of​ ​heart
and​ ​originality​ ​(Patti​ ​Labelle).
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Power:​ ​The​ ​first​ ​power​ ​which​ ​initiated​ ​Patti’s​ ​foray​ ​into​ ​virality​ ​was​ ​local​ ​record
label​ ​owner​ ​Harold​ ​Robinson​ ​who​ ​initially​ ​dismissed​ ​Patti​ ​due​ ​to​ ​her​ ​being​ ​“too
dark​ ​and​ ​too​ ​plain”.​ ​After​ ​hearing​ ​her​ ​sing,​ ​she​ ​called​ ​her​ ​“the​ ​beautiful​ ​one”
from​ ​whence​ ​the​ ​name​ ​Labelle​ ​sprung.​ ​Thee​ ​group’s​ ​first​ ​project​ ​“I​ ​Sold​ ​My
Heart​ ​to​ ​the​ ​Junkman”​ ​became​ ​a​ ​hit​ ​even​ ​though​ ​it​ ​was​ ​being​ ​attributed​ ​to​ ​“The
Starlet’s”.​ ​This​ ​event​ ​put​ ​enough​ ​attention​ ​on​ ​Patti​ ​Labelle​ ​and​ ​the​ ​Bluebelles​ ​as
to​ ​invite​ ​more​ ​opportunities​ ​their​ ​way.
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Faith:​ ​Patti​ ​has​ ​stated​ ​on​ ​several​ ​occasions​ ​in​ ​interviews,​ ​on​ ​television,​ ​in​ ​movies
and​ ​other​ ​media​ ​that​ ​her​ ​first​ ​singing​ ​experiences​ ​were​ ​as​ ​part​ ​of​ ​the​ ​church​ ​choir
in​ ​the​ ​Beulah​ ​Baptist​ ​Church​ ​in​ ​Philadelphia​ ​where​ ​she​ ​attended​ ​church​ ​with​ ​her
family​ ​as​ ​a​ ​girl.​ ​Patti​ ​was​ ​never​ ​taught​ ​formally​ ​to​ ​sing.​ ​She​ ​learned​ ​by​ ​doing​ ​by
singing​ ​for​ ​years​ ​as​ ​part​ ​of​ ​the​ ​church’s​ ​choir​ ​and​ ​solo​ ​music​ ​opportunities
(Mester).​ ​Patti​ ​notably​ ​expressed​ ​her​ ​faith​ ​in​ ​an​ ​album​ ​released​ ​in​ ​2006​ ​entitled
The​ ​Gospel​ ​According​ ​to​ ​Patti​ ​Labelle​.​ ​She​ ​featured​ ​several​ ​Gospel​ ​artists​ ​on​ ​the
album​ ​including​ ​Cece​ ​Winans,​ ​Mary​ ​Mary,​ ​Wynonna​ ​Judd,​ ​and​ ​Yolanda​ ​Adams
to​ ​name​ ​a​ ​few.
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Relevance:​ ​Patti​ ​is​ ​one​ ​of​ ​the​ ​artists​ ​who​ ​rode​ ​trends​ ​impeccably​ ​and​ ​adapted​ ​the
sound​ ​of​ ​her​ ​music​ ​according​ ​to​ ​the​ ​times.For​ ​example,​ ​in​ ​the​ ​70’s​ ​when​ ​disco
was​ ​the​ ​staple​ ​of​ ​the​ ​industry​ ​Patti​ ​and​ ​the​ ​Bluebelles​ ​released​ ​and​ ​toured​ ​off​ ​of
the​ ​power​ ​of​ ​their​ ​single​ ​Lady​ ​Marmalade​ ​where​ ​they​ ​dressed​ ​up​ ​in​ ​uncanny,
shocking​ ​outfits​ ​with​ ​high-sole​ ​shoes​ ​and​ ​performed.​ ​This​ ​disco/soul​ ​fusion
would​ ​be​ ​inducted​ ​in​ ​the​ ​Grammy​ ​Hall​ ​of​ ​Fame​ ​in​ ​2004​ ​for​ ​defining​ ​an​ ​era​ ​in​ ​the
70’s​ ​and​ ​again​ ​in​ ​the​ ​2000’s​ ​when​ ​the​ ​remade​ ​version​ ​by​ ​Christina​ ​Aguilera,
Mya,​ ​Pink,​ ​Lil​ ​Kim,​ ​and​ ​Missy​ ​Elliott​ ​also​ ​went​ ​viral​ ​and​ ​sparked​ ​a​ ​hit.​ ​Towards
the​ ​end​ ​of​ ​the​ ​70’s​ ​she​ ​released​ ​an​ ​album​ ​to​ ​capitalize​ ​on​ ​the​ ​slow​ ​jam​ ​which​ ​was
becoming​ ​a​ ​favorite.​ ​It​ ​was​ ​the​ ​exact​ ​opposite​ ​of​ ​disco​ ​(Walker).​ ​It​ ​featured
smooth,​ ​serenading​ ​vocals,​ ​infused​ ​gentle​ ​harmonies​ ​with​ ​piano​ ​and​ ​gentle
electric​ ​bass.​ ​This​ ​became​ ​both​ ​a​ ​hit​ ​and​ ​one​ ​of​ ​her​ ​signature​ ​songs​ ​and​ ​a​ ​crowd
favorite.​ ​She​ ​capitalized​ ​on​ ​the​ ​soulful​ ​pop​ ​ballad​ ​of​ ​the​ ​80’s​ ​in​ ​her​ ​release​ ​of
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“New​ ​Attitude”​ ​which​ ​was​ ​nominated​ ​for​ ​a​ ​Grammy​ ​in​ ​1986.​ ​She​ ​would​ ​also
duet​ ​in​ ​a​ ​soulful​ ​ballad,​ ​which​ ​was​ ​popular​ ​at​ ​the​ ​time,​ ​entitled​ ​On​ ​My​ ​Own
featuring​ ​Michael​ ​McDonald.​ ​From​ ​decade​ ​to​ ​decade​ ​Patti​ ​Labelle​ ​has​ ​been​ ​able
to​ ​keep​ ​relevant​ ​in​ ​an​ ​ever-changing​ ​industry​ ​known​ ​for​ ​being​ ​cut​ ​throat​ ​and
constantly​ ​changing.​ ​She​ ​is​ ​still​ ​touring​ ​to​ ​the​ ​present​ ​day​ ​and​ ​released​ ​a​ ​new
album​ ​in​ ​2017​ ​entitled​ ​Bel​ ​Hommage​,​ ​her​ ​first​ ​Jazz​ ​album.​ ​She​ ​teaches​ ​the​ ​lesson
that​ ​adaptability​ ​is​ ​one​ ​of​ ​the​ ​cornerstone​ ​elements​ ​of​ ​Relevance​ ​if​ ​one​ ​is​ ​to
achieve​ ​and​ ​maintain​ ​virality​ ​and​ ​make​ ​a​ ​career​ ​of​ ​it.​ ​She​ ​is​ ​aptly​ ​called​ ​the
Godmother​ ​of​ ​Soul​ ​and​ ​the​ ​Queen​ ​of​ ​R&B​ ​(Walker).
In​ ​conclusion​ ​of​ ​the​ ​recipe​ ​of​ ​virality,​ ​I​ ​would​ ​like​ ​to​ ​present​ ​exceptions​ ​that​ ​will​ ​act​ ​as​ ​a​ ​counter
to​ ​the​ ​virality​ ​casserole​ ​and​ ​can​ ​stagnate​ ​rising​ ​careers​ ​and​ ​stifle​ ​even​ ​the​ ​most​ ​talented,
well-connected,​ ​inspiring​ ​musical​ ​figure.
Derivativeness
You​ ​can​ ​breathe​ ​easy:​ ​in​ ​this​ ​case​ ​of​ ​derivativeness,​ ​we​ ​are​ ​not​​ ​referring​ ​to​ ​calculus​ ​or
functions!​ ​Here​ ​is​ ​how​ ​we​ ​are​ ​interpreting​ ​the​ ​root​ ​word​ ​derivative​ ​for​ ​our​ ​purposes
(Derivative).
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There​ ​are​ ​certainly​ ​people​ ​who​ ​have​ ​inspired​ ​us​ ​all.​ ​However,​ ​to​ ​take​ ​the​ ​style,
mannerism,​ ​character,​ ​performance​ ​style,​ ​or​ ​nature​ ​of​ ​a​ ​person​ ​and​ ​mimic​ ​the​ ​artist​ ​in​ ​one’s​ ​own
performance​ ​is​ ​a​ ​surefire​ ​way​ ​of​ ​being​ ​a​ ​derivative​ ​artists​ ​who,​ ​in​ ​spite​ ​of​ ​talent,​ ​will​ ​eventually
be​ ​overlooked​ ​even​ ​if​ ​virality​ ​is​ ​achieved​ ​(The​ ​Rise).​ ​Examples​ ​of​ ​this​ ​phenomena​ ​are​ ​persons
such​ ​as​ ​Belinda​ ​Davis​ ​who,​ ​though​ ​wrought​ ​with​ ​great​ ​vocal​ ​talent,​ ​sings​ ​a​ ​Whitney​ ​Houston
tribute​ ​in​ ​which​ ​she​ ​mimics​ ​the​ ​mannerisms​ ​and​ ​singing​ ​style​ ​of​ ​Whitney​ ​Houston.​ ​She​ ​has​ ​been
typecast​ ​as​ ​a​ ​Whitney​ ​Houston​ ​tribute​ ​singer​ ​but​ ​has​ ​toured​ ​the​ ​world​ ​imitating​ ​Whitney
Houston.​ ​The​ ​picture​ ​below​ ​features​ ​Belinda​ ​Davis​ ​in​ ​her​ ​show​ ​entitled​ ​“The​ ​Whitney​ ​Houston
Show​ ​starring​ ​Belinda​ ​Davis”:
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Another​ ​example​ ​of​ ​this​ ​phenomena​ ​is​ ​classical​ ​crossover​ ​singer​ ​Lisa​ ​Kelsey​ ​who​ ​has​ ​performed
her​ ​show​ ​entitled​ ​“Angel​ ​of​ ​Music:​ ​The​ ​Sarah​ ​Brightman​ ​Show​ ​starring​ ​Lisa​ ​Kelsey”​ ​(The
Rise).​ ​Here​ ​is​ ​a​ ​picture​ ​of​ ​Lisa​ ​as​ ​she​ ​appears​ ​in​ ​concert:
In​ ​pop​ ​culture,a​ ​derivative​ ​is​ ​not​ ​as​ ​direct.​ ​These​ ​example​ ​demonstrate​ ​a​ ​derivative
market​ ​which​ ​is​ ​the​ ​of​ ​the​ ​“tribute”​ ​in​ ​which​ ​a​ ​singer​ ​or​ ​band​ ​will​ ​imitate​ ​a​ ​certain​ ​artist​ ​with
such​ ​bravado​ ​that​ ​they​ ​are​ ​able​ ​to​ ​turn​ ​the​ ​opportunity​ ​into​ ​a​ ​paying​ ​career.​ ​Notably,​ ​one​ ​of​ ​the
celebrities​ ​whose​ ​derivative​ ​market​ ​has​ ​remained​ ​constant​ ​and​ ​in​ ​constant​ ​demand​ ​is​ ​that​ ​of
Elvis​ ​Presley.​ ​One​ ​of​ ​the​ ​top​ ​current​ ​tributes​ ​is​ ​Shawn​ ​Klush​ ​featured​ ​below​ ​in​ ​costume​ ​who​ ​is
currently​ ​touring​ ​the​ ​world​ ​as​ ​Elvis​ ​Presley.
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However,​ ​top​ ​Billboard​ ​artists​ ​can​ ​rarely​ ​sustain​ ​a​ ​long-term​ ​career​ ​imitating​ ​the​ ​artists
they​ ​are​ ​most​ ​fond​ ​of.​ ​One​ ​example​ ​of​ ​an​ ​artist​ ​who​ ​began​ ​a​ ​career​ ​copying​ ​and​ ​imitating​ ​his
idol​ ​only​ ​to​ ​find​ ​his​ ​own​ ​voice​ ​and​ ​style​ ​is​ ​the​ ​case​ ​of​ ​Michael​ ​Jackson​ ​(The​ ​Rise).
Michael​ ​Jackson’s​ ​first​ ​audition​ ​for​ ​Motown​ ​was​ ​an​ ​electric​ ​tribute​ ​to​ ​the​ ​late​ ​Godfather
of​ ​Soul​ ​James​ ​Brown.​ ​From​ ​his​ ​vocal​ ​inflections,​ ​his​ ​movement,​ ​his​ ​improvisations,​ ​flamboyant
routines,​ ​and​ ​guttural​ ​yelling,​ ​Michael​ ​made​ ​an​ ​impression​ ​as​ ​part​ ​of​ ​the​ ​Jackson​ ​5​ ​so​ ​much​ ​so
that​ ​Berry​ ​Gordy​ ​signed​ ​him​ ​immediately.​ ​Michael​ ​would​ ​use​ ​the​ ​imitative​ ​style​ ​of​ ​James
Brown​ ​for​ ​the​ ​first​ ​few​ ​performances​ ​with​ ​Jackson​ ​5​ ​until​ ​new​ ​material​ ​was​ ​developed​ ​which
would​ ​allow​ ​him​ ​to​ ​explore​ ​his​ ​vocal​ ​talents​ ​and​ ​dancing​ ​in​ ​a​ ​more​ ​organic​ ​fashion​ ​(The​ ​Rise).
He​ ​would,​ ​in​ ​this​ ​process​ ​of​ ​development,​ ​later​ ​in​ ​life,​ ​take​ ​voice​ ​lessons​ ​to​ ​attempt​ ​to​ ​better
control​ ​his​ ​voice.​ ​Even​ ​though​ ​Michael​ ​Jackson​ ​was​ ​able​ ​to​ ​sufficiently​ ​branch​ ​away​ ​from​ ​his
inspiration​ ​to​ ​create​ ​his​ ​own​ ​original​ ​style,​ ​other​ ​artists​ ​such​ ​as​ ​Prince,​ ​Katy​ ​Perry,​ ​t.A.T.u.,​ ​The
Darkness,​ ​Fountains​ ​of​ ​Wayne,​ ​Macy​ ​Gray,​ ​Carl​ ​Douglas,​ ​The​ ​Weather​ ​Girls,​ ​Blu​ ​Cantrell​ ​and
many​ ​other​ ​one​ ​hit​ ​wonders​ ​have​ ​been​ ​unable​ ​to​ ​establish​ ​long-term​ ​success​ ​in​ ​the​ ​music
industry​ ​as​ ​a​ ​result​ ​of​ ​the​ ​trap​ ​of​ ​derivativeness​ ​(Helm).
Conformity
There​ ​are​ ​artists​ ​who​ ​although​ ​they​ ​are​ ​different​ ​from​ ​the​ ​typecast​ ​of​ ​another​ ​iconic
artist,​ ​pander​ ​so​ ​heavily​ ​to​ ​the​ ​lowest​ ​common​ ​denominator​ ​as​ ​expected​ ​or​ ​perceived​ ​that​ ​they
dissolve​ ​from​ ​public​ ​relevance​ ​if​ ​virality​ ​is​ ​attained.​ ​This​ ​does​ ​not​ ​mean​ ​that​ ​they​ ​will​ ​not​ ​have​ ​a
career.​ ​It​ ​typically​ ​means​ ​that​ ​they​ ​will​ ​be​ ​forced​ ​out​ ​of​ ​the​ ​music​ ​market​ ​to​ ​a​ ​different​ ​media
form​ ​where​ ​that​ ​may​ ​or​ ​may​ ​not​ ​be​ ​as​ ​successful.​ ​The​ ​ideal​ ​musician​ ​would​ ​be​ ​able​ ​to​ ​ride​ ​the
wave​ ​of​ ​music​ ​into​ ​a​ ​long-term​ ​career​ ​that​ ​would​ ​see​ ​continual​ ​musical​ ​involvement,​ ​tours,
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special​ ​event​ ​requests​ ​to​ ​be​ ​part​ ​of​ ​high-profile​ ​music​ ​projects,​ ​and​ ​would​ ​venture​ ​to​ ​other​ ​media
forms​ ​at​ ​will​ ​as​ ​opposed​ ​to​ ​by​ ​necessity​ ​(Helm).​ ​Conformity​ ​artists​ ​take​ ​a​ ​sudden​ ​path​ ​into
music​ ​possibly​ ​through​ ​shock​ ​or​ ​counter​ ​cultural​ ​activity​ ​which,​ ​as​ ​with​ ​and​ ​trend,​ ​fades.​ ​When
the​ ​trend​ ​fades,​ ​so​ ​does​ ​their​ ​appeal​ ​in​ ​the​ ​market​ ​and​ ​they​ ​are​ ​relegated​ ​to​ ​another​ ​media​ ​form
by​ ​necessity.​ ​Please​ ​note​ ​that​ ​this​ ​is​ ​only​ ​one​ ​scenario​ ​of​ ​a​ ​conformity​ ​artist.​ ​Not​ ​all​ ​conformity
artists​ ​use​ ​shock​ ​to​ ​become​ ​significant.​ ​Some​ ​pursue​ ​the​ ​career​ ​organically​ ​with​ ​grassroots
beginnings​ ​and​ ​may​ ​conform​ ​and​ ​lose​ ​their​ ​grassroots​ ​appeal​ ​(Hsieh).
Examples​ ​of​ ​the​ ​“conformity​ ​artist”​ ​phenomena​ ​(which​ ​I​ ​am​ ​coining​ ​for​ ​purposes​ ​of
clarity​ ​and​ ​distinction​ ​from​ ​a​ ​“derivative​ ​artist”)​ ​would​ ​be​ ​artists​ ​such​ ​as​ ​Miley​ ​Cyrus,​ ​Zac
Efron,​ ​Anita​ ​Ward,​ ​Sheb​ ​Wooley​ ​(of​ ​Purple​ ​People​ ​Eater​ ​fame),​ ​Paula​ ​Deanda,​ ​Amii​ ​Stewart,
and​ ​Taco​ ​among​ ​many​ ​others.​ ​In​ ​the​ ​case​ ​of​ ​Miley​ ​Cyrus,​ ​her​ ​shocking​ ​behavior​ ​and
provocative​ ​activity​ ​in​ ​2013​ ​helped​ ​her​ ​gain​ ​attention​ ​in​ ​the​ ​mainstream.​ ​However,​ ​once​ ​the
shock​ ​subsided,​ ​people​ ​moved​ ​on​ ​and​ ​she​ ​was​ ​relegated​ ​to​ ​being​ ​a​ ​judge​ ​on​ ​daytime​ ​television.
Conformity​ ​artists​ ​can​ ​still​ ​have​ ​successful​ ​entertainment​ ​careers;​ ​however,​ ​they​ ​don’t​ ​tend​ ​to
last​ ​long​ ​in​ ​the​ ​music​ ​industry.
Saturation
There​ ​are​ ​artists​ ​that​ ​make​ ​the​ ​right​ ​moves,​ ​release​ ​good​ ​music,​ ​work​ ​the​ ​circuit,​ ​become
locally​ ​lauded​ ​but​ ​never​ ​cross​ ​over​ ​to​ ​the​ ​mainstream.​ ​Many​ ​cover​ ​bands​ ​experience​ ​this
phenomena​ ​not​ ​for​ ​a​ ​lack​ ​of​ ​talent​ ​but​ ​due​ ​to​ ​the​ ​saturation​ ​of​ ​the​ ​market.​ ​Many​ ​capable
musicians​ ​have​ ​access​ ​to​ ​higher​ ​formalized​ ​education​ ​which​ ​resulted​ ​in​ ​the​ ​graduation​ ​of​ ​3.7%
of​ ​degrees​ ​earned​ ​from​ ​2011-2012​ ​in​ ​the​ ​United​ ​States.​ ​Out​ ​of​ ​the​ ​around​ ​3.7​ ​million​ ​people
who​ ​earned​ ​a​ ​degree​ ​in​ ​this​ ​same​ ​time​ ​period,​ ​3.7%​ ​(which​ ​was​ ​just​ ​over​ ​137,000)​ ​graduated
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with​ ​a​ ​music​ ​degree​ ​(Music​ ​Education).​ ​With​ ​this​ ​rate​ ​of​ ​graduation,​ ​about​ ​500,000​ ​students​ ​can
be​ ​projected​ ​to​ ​graduate​ ​with​ ​a​ ​music​ ​degree​ ​in​ ​the​ ​US​ ​within​ ​the​ ​next​ ​4-5​ ​years.​ ​This​ ​is​ ​not
accounting​ ​for​ ​persons​ ​with​ ​natural​ ​musical​ ​talent​ ​who​ ​enter​ ​the​ ​music​ ​industry​ ​without​ ​getting​ ​a
formal​ ​music​ ​education.​ ​Below​ ​shows​ ​an​ ​approximate​ ​breakdown​ ​of​ ​how​ ​students​ ​pursuing
music​ ​degrees​ ​compare​ ​in​ ​terms​ ​of​ ​class​ ​level:
Now​ ​that​ ​we​ ​have​ ​discussed​ ​the​ ​recipe​ ​for​ ​virality,​ ​I​ ​would​ ​like​ ​to​ ​present​ ​real​ ​life​ ​artists
who​ ​chose​ ​to​ ​pursue​ ​Music​ ​as​ ​a​ ​career​ ​and​ ​have​ ​committed​ ​their​ ​lives​ ​to​ ​performing​ ​music​ ​to
gain​ ​their​ ​living.​ ​Each​ ​of​ ​these​ ​artists​ ​I​ ​sat​ ​down​ ​and​ ​interviewed​ ​to​ ​glean​ ​details​ ​about​ ​their
history,​ ​their​ ​entry​ ​into​ ​music​ ​business,​ ​and​ ​what​ ​virality​ ​has​ ​looked​ ​like​ ​for​ ​them,​ ​or​ ​if​ ​not,​ ​what
they​ ​perceive​ ​as​ ​the​ ​barriers​ ​to​ ​virality​ ​when​ ​one​ ​chooses​ ​to​ ​undertake​ ​that​ ​path​ ​(Music
Education.)
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Interview:​ ​Cathy​ ​Chemi
To​ ​better​ ​understand​ ​what​ ​virality​ ​looks​ ​like​ ​and​ ​how​ ​a​ ​career​ ​can​ ​be​ ​launched​ ​using​ ​the
ingredients​ ​of​ ​virality,​ ​this​ ​section​ ​will​ ​present​ ​a​ ​real-life​ ​study​ ​of​ ​the​ ​nature​ ​of​ ​virality​ ​in​ ​the​ ​life
of​ ​vocalist​ ​and​ ​jazz​ ​singer​ ​Cathy​ ​Chemi.​ ​In​ ​our​ ​interview​ ​which​ ​spanned​ ​three​ ​non-consecutive
days,​ ​we​ ​discussed​ ​a​ ​range​ ​of​ ​subjects​ ​from​ ​her​ ​upbringing​ ​to​ ​her​ ​days​ ​working​ ​with​ ​Meredith
Wilson,​ ​touring​ ​with​ ​the​ ​Harry​ ​James​ ​band,​ ​and​ ​meeting​ ​Judy​ ​Garland,​ ​Johnny​ ​Mathis,​ ​and
receiving​ ​compliments​ ​from​ ​Ella​ ​Fitzgerald.
As​ ​a​ ​young​ ​girl,​ ​Cathy​ ​Chemi​ ​sang​ ​during​ ​Mass​ ​at​ ​Sacred​ ​Heart​ ​Catholic​ ​church​ ​in
Suffern,​ ​N.Y.​ ​where​ ​her​ ​mother​ ​served​ ​as​ ​an​ ​organist.​ ​She​ ​came​ ​from​ ​an​ ​Italian​ ​family​ ​which
was​ ​very​ ​close-knit​ ​and​ ​she​ ​was​ ​the​ ​youngest​ ​of​ ​four.​ ​She​ ​said​ ​they​ ​were​ ​all​ ​treated​ ​equally​ ​and
supported​ ​in​ ​anything​ ​they​ ​pursued.​ ​Her​ ​mother​ ​played​ ​through​ ​the​ ​Wurlitzer​ ​company
throughout​ ​the​ ​five​ ​bureaus​ ​of​ ​New​ ​York​ ​as​ ​a​ ​performer​ ​for​ ​the​ ​silent​ ​movies.​ ​Her​ ​paternal
grandfather​ ​was​ ​a​ ​pianist​ ​who​ ​passed​ ​the​ ​heart​ ​of​ ​music​ ​onto​ ​Chemi’s​ ​mother.​ ​During​ ​her​ ​youth,
Chemi​ ​passionately​ ​states​ ​that​ ​she​ ​had​ ​an​ ​interest​ ​in​ ​becoming​ ​a​ ​Catholic​ ​nun.​ ​She​ ​asserts​ ​that
this​ ​desire​ ​was​ ​genuine​ ​and​ ​came​ ​from​ ​her​ ​profoundly​ ​religious​ ​upbringing.​ ​Chemi​ ​had
performed​ ​for​ ​a​ ​number​ ​of​ ​years​ ​through​ ​the​ ​Frank​ ​Loesser​ ​publishing​ ​company.​ ​Frank​ ​Loesser
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was​ ​a​ ​lyricist​ ​in​ ​Tin​ ​Pan​ ​Alley​ ​known​ ​for​ ​writing,​ ​composing,​ ​and​ ​creating​ ​the​ ​Tony​ ​Award
winning​ ​musical​ ​“Guys​ ​and​ ​Dolls”.​ ​Chemi​ ​would​ ​work​ ​with​ ​Meredith​ ​Wilson​ ​which​ ​helped​ ​her
develop​ ​vocally​ ​as​ ​a​ ​professional​ ​and​ ​give​ ​her​ ​the​ ​confidence​ ​she​ ​would​ ​need​ ​when​ ​she​ ​would
eventually​ ​met​ ​Harry​ ​James.
Harry​ ​James​ ​was​ ​a​ ​legendary​ ​Trumpeter​ ​and​ ​band​ ​leader​ ​who​ ​is​ ​remembered​ ​for​ ​being
the​ ​first​ ​band​ ​to​ ​give​ ​Frank​ ​Sinatra​ ​a​ ​performing​ ​opportunity​ ​under​ ​contract.​ ​Chemi​ ​would
receive​ ​a​ ​call​ ​stating​ ​that​ ​Harry​ ​James​ ​was​ ​interested​ ​in​ ​hearing​ ​her​ ​for​ ​an​ ​audition​ ​due​ ​to​ ​an
opening​ ​in​ ​the​ ​band​ ​for​ ​a​ ​singer.​ ​She​ ​reportedly​ ​replied,​ ​“Have​ ​Harry​ ​give​ ​me​ ​a​ ​call.”​ ​He​ ​did
indeed​ ​give​ ​her​ ​a​ ​call​ ​and​ ​she​ ​was​ ​hired​ ​the​ ​same​ ​day​ ​Friday​ ​afternoon​ ​at​ ​4pm​ ​and​ ​Harry​ ​told​ ​her
to​ ​she​ ​needed​ ​to​ ​know​ ​24​ ​Helen​ ​Forrest​ ​arrangements​ ​by​ ​Monday​ ​morning​ ​at​ ​8am.​ ​When​ ​I​ ​asked
where​ ​she​ ​had​ ​developed​ ​the​ ​confidence​ ​to​ ​speak​ ​to​ ​the​ ​great​ ​Harry​ ​James​ ​this​ ​way,​ ​she​ ​referred
back​ ​to​ ​the​ ​days​ ​working​ ​with​ ​the​ ​Frank​ ​Loesser​ ​Publishing​ ​company​ ​and​ ​working​ ​with
Meredith​ ​Wilson​ ​where​ ​she​ ​had​ ​sung​ ​and​ ​travelled​ ​for​ ​years.​ ​She​ ​sang​ ​in​ ​playboy​ ​clubs,​ ​Las
Vegas,​ ​with​ ​greats​ ​such​ ​as​ ​Bassist​ ​Ray​ ​Brown,​ ​and​ ​worked​ ​with​ ​“a​ ​lot​ ​of​ ​fine​ ​players”.
In​ ​1969,​ ​Cathy​ ​came​ ​in​ ​with​ ​a​ ​yellow​ ​raincoat​ ​into​ ​the​ ​first​ ​rehearsal​ ​with​ ​the​ ​Harry
James​ ​Band.​ ​One​ ​of​ ​the​ ​Trumpeter’s,​ ​Skip​ ​Stine,​ ​said,​ ​“Oh,​ ​you​ ​must​ ​be​ ​the​ ​new​ ​girl​ ​singer.”
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“No”​ ​Cathy​ ​replied,​ ​“I’m​ ​the​ ​new​ ​boy​ ​singer.”​ ​She​ ​states​ ​that​ ​she​ ​was​ ​so​ ​nervous​ ​that​ ​this​ ​was
her​ ​response.​ ​This​ ​exchange​ ​led​ ​to​ ​a​ ​relationship​ ​which​ ​led​ ​to​ ​47​ ​years​ ​of​ ​marriage​ ​at​ ​the​ ​time​ ​of
our​ ​interview​ ​on​ ​November​ ​1st,​ ​2017.
Interviewer:​ ​“Show​ ​business​ ​relationships​ ​are​ ​known​ ​for​ ​being​ ​short-lived​ ​and
ending​ ​abruptly.​ ​How​ ​did​ ​you​ ​and​ ​Skip​ ​do​ ​it?​ ​How​ ​did​ ​you​ ​manage​ ​the​ ​business
and​ ​manage​ ​to​ ​stay​ ​together?
Cathy​ ​Chemi:​ ​“First​ ​of​ ​all,​ ​we​ ​both​ ​came​ ​from​ ​the​ ​same​ ​kind​ ​of​ ​background.​ ​Not
musically,​ ​but​ ​as​ ​far​ ​as​ ​principles​ ​and​ ​background​ ​as​ ​far​ ​as​ ​having​ ​close​ ​family
ties..it​ ​was​ ​just​ ​supposed​ ​to​ ​be..​ ​You’ve​ ​known​ ​me​ ​many​ ​semesters​ ​and​ ​you​ ​know
that​ ​I’m​ ​a​ ​very​ ​religious​ ​person​ ​(and​ ​not​ ​ashamed​ ​of​ ​it).​ ​We​ ​both​ ​believed​ ​that​ ​it
was​ ​in​ ​God’s​ ​plan​ ​for​ ​us.​ ​We’re​ ​very​ ​family​ ​oriented,​ ​we​ ​love​ ​our​ ​music,​ ​but​ ​it​ ​is
not​ ​the​ ​first​ ​thing​ ​in​ ​our​ ​lives.
Interviewer:​ ​“Considering​ ​the​ ​nature​ ​of​ ​the​ ​industry,​ ​you’re​ ​very​ ​active​ ​as
performers-​ ​how​ ​do​ ​you​ ​make​ ​time​ ​for​ ​each​ ​other?​ ​Do​ ​you​ ​gig​ ​together?”
Chemi:​ ​“Well​ ​we​ ​do​ ​gig​ ​together​ ​and​ ​we​ ​do​ ​most​ ​of​ ​our​ ​gigs​ ​together​ ​these​ ​days.
I​ ​do​ ​a​ ​lot​ ​of​ ​small​ ​jazz​ ​which​ ​Skip​ ​does​ ​not​ ​do​ ​and​ ​for​ ​35​ ​years​ ​he​ ​did​ ​theatre
things​ ​like​ ​in​ ​Hershey​ ​theatre​ ​which​ ​I​ ​did​ ​not​ ​do.​ ​For​ ​a​ ​time,​ ​however,​ ​I​ ​was​ ​part
of​ ​a​ ​wedding​ ​band​ ​which​ ​he​ ​was​ ​in.​ ​If​ ​I’m​ ​doing​ ​a​ ​jazz​ ​gig,​ ​he’ll​ ​typically​ ​come
and​ ​hang​ ​around.​ ​These​ ​are​ ​people​ ​we’ve​ ​both​ ​known​ ​forever​ ​and​ ​ever...​ ​We
support​ ​each​ ​other,​ ​we’ve​ ​never​ ​been​ ​jealous​ ​of​ ​each​ ​other​ ​and​ ​I​ ​think​ ​one​ ​of​ ​the
reasons​ ​is​ ​that​ ​we​ ​were​ ​both​ ​so​ ​established​ ​before​ ​we​ ​met​ ​each​ ​other​ ​-​ ​I’d​ ​already
opened​ ​for​ ​Red​ ​Skelton,​ ​Red​ ​Buttons,​ ​Allen​ ​Gate​ ​and​ ​Skip​ ​had​ ​already​ ​done
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things​ ​with​ ​Frank​ ​Sinatra,​ ​Sammy​ ​Davis​ ​Jr.,​ ​Bobby​ ​Darin​ ​etc.​ ​etc.​ ​etc​ ​Dionne
Warwick​ ​and​ ​everybody.​ ​So​ ​we’d​ ​both​ ​established​ ​ourselves​ ​individually​ ​as
performers.​ ​We’d​ ​also​ ​established​ ​a​ ​reputation.​ ​Skip​ ​was​ ​and​ ​is​ ​always​ ​a
gentleman;​ ​people​ ​could​ ​depend​ ​on​ ​both​ ​of​ ​us.​ ​We​ ​wouldn’t​ ​bad​ ​mouth​ ​anyone​ ​or
try​ ​to​ ​get​ ​anyone’s​ ​gig​ ​-​ ​you​ ​know​ ​when​ ​you​ ​have​ ​a​ ​gift​ ​versus​ ​a​ ​talent​ ​(and​ ​there
is​ ​a​ ​difference)​ ​you​ ​don’t​ ​have​ ​to​ ​sell​ ​yourself​ ​to​ ​somebody.​ ​When​ ​you​ ​get​ ​up​ ​and
perform,​ ​that​ ​is​ ​how​ ​you​ ​sell​ ​yourself.
Interviewer:​ ​“You​ ​mentioned​ ​some​ ​names​ ​and​ ​I​ ​wanted​ ​to​ ​explore​ ​that​ ​a​ ​bit
further.​ ​You​ ​worked​ ​with​ ​or​ ​were​ ​associated​ ​with​ ​Frank​ ​Loesser,​ ​toured​ ​Europe
withChemi:​ ​And​ ​Meredith​ ​Wilson.​ ​I​ ​worked​ ​with​ ​both​ ​but​ ​it​ ​is​ ​important​ ​to​ ​note​ ​that​ ​I
worked​ ​directly​ ​with​ ​Meredith​ ​Wilson.​ ​Frank​ ​Loesser​ ​I​ ​worked​ ​with​ ​his​ ​company
actually​ ​which​ ​is​ ​still​ ​around.
Interviewer:​ ​“Right​ ​-​ ​alright​ ​so​ ​you​ ​were​ ​featured​ ​in​ ​Harry​ ​James’​ ​live​ ​album
recorded​ ​in​ ​the​ ​Hollywood​ ​Palladium-”
Chemi:”No​ ​-​ ​that​ ​is​ ​not​ ​true.​ ​That’s​ ​not​ ​where​ ​it​ ​was​ ​Interviewer:​ ​“Where​ ​was​ ​it?”
Chemi:​ ​“​ ​It​ ​was​ ​in​ ​umm​ ​-​ ​Clearward-Clearwater​ ​Florida​ ​-​ ​I​ ​can’t​ ​remember​ ​the
hotel..​ ​And​ ​that​ ​was​ ​live​ ​which​ ​we​ ​didn’t​ ​know​ ​that​ ​was​ ​happening.​ ​We​ ​didn’t
know​ ​it​ ​was​ ​being​ ​recorded.
Interviewer:​ ​“Oh​ ​wow.”
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Chemi:​ ​“Yeah​ ​-​ ​it​ ​was​ ​recorded​ ​by​ ​a​ ​gentleman​ ​who​ ​was​ ​a​ ​radio​ ​disc​ ​jockey​ ​in
that​ ​area...he​ ​would​ ​interview​ ​all​ ​the​ ​bands​ ​coming​ ​through​ ​in​ ​this​ ​case​ ​Harry​ ​and
myself​ ​and​ ​other​ ​bands​ ​like​ ​Ellington’s​ ​and​ ​Bill​ ​Basie.
Interviewer:​ ​“And​ ​you​ ​worked​ ​with​ ​Red​ ​Skelton​ ​and​ ​Jimmy​ ​Durante-”
Chemi:​ ​“​ ​No.​ ​I​ ​worked​ ​some​ ​club​ ​dates​ ​with​ ​Red​ ​Skelton​ ​and​ ​Jimmy​ ​Durante​ ​no.​ ​He​ ​heard​ ​my​ ​voice​ ​somehow​ ​and​ ​in​ ​his​ ​later​ ​years,​ ​he’d​ ​written​ ​a​ ​whole​ ​lot​ ​of
songs​ ​and​ ​he​ ​wanted​ ​them​ ​documented​ ​-​ ​he​ ​wanted​ ​them​ ​sung.​ ​I​ ​did​ ​not​ ​meet
him.​ ​I​ ​was​ ​hired​ ​by​ ​his​ ​management​ ​and​ ​recorded​ ​his​ ​songs​ ​with​ ​a​ ​whole
orchestra​ ​in​ ​L.A.​ ​I​ ​dunno​ ​I​ ​think​ ​there​ ​were​ ​a​ ​half​ ​dozen​ ​things​ ​he​ ​wanted
recorded.
At​ ​this​ ​point​ ​in​ ​our​ ​interview,​ ​I​ ​read​ ​Cathy​ ​Chemi​ ​a​ ​review​ ​of​ ​her​ ​1999​ ​Album​ ​“You​ ​and​ ​I”
which​ ​states:
Cathy​ ​Chemi​ ​demonstrates​ ​vocal​ ​performance​ ​the​ ​way​ ​it​ ​was​ ​meant​ ​to​ ​be.​ ​Very​ ​few
singers​ ​have​ ​the​ ​vocal​ ​control,​ ​phrasing,​ ​timing,​ ​and​ ​musicality​ ​of​ ​Cathy.​ ​You​ ​can
understand​ ​every​ ​word.​ ​There​ ​is​ ​no​ ​electronic​ ​manipulation​ ​added​ ​to​ ​anything​ ​on​ ​this
album,​ ​it​ ​is​ ​strictly​ ​piano,​ ​bass,​ ​and​ ​voice.​ ​You​ ​can​ ​feel​ ​the​ ​chemistry​ ​between​ ​all​ ​the
performers.​ ​Steve​ ​Rudolph​ ​is​ ​an​ ​absolute​ ​master​ ​of​ ​the​ ​piano​ ​and​ ​accompanies​ ​so​ ​well,
accenting​ ​and​ ​enhancing​ ​what​ ​the​ ​vocalist​ ​is​ ​doing​ ​without​ ​being​ ​overbearing.​ ​Paul
Langosch​ ​is​ ​without​ ​a​ ​doubt​ ​one​ ​of​ ​the​ ​most​ ​talented​ ​bass​ ​players​ ​I​ ​have​ ​ever​ ​heard.
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She​ ​had​ ​never​ ​heard​ ​the​ ​review​ ​and​ ​graciously​ ​chuckled.​ ​We​ ​discussed​ ​Paul​ ​Langosch​ ​who
played​ ​Bass​ ​on​ ​this​ ​album.​ ​He​ ​was​ ​Tony​ ​Bennett’s​ ​bassist​ ​for​ ​16​ ​years​ ​and​ ​still​ ​was​ ​during​ ​the
recording​ ​of​ ​said​ ​album.
Interviewer:​ ​“You​ ​have​ ​people​ ​who​ ​are​ ​going​ ​to​ ​school​ ​studying,​ ​practicing,
getting​ ​degrees​ ​all​ ​trying​ ​to​ ​sing​ ​and​ ​have​ ​the​ ​kind​ ​of​ ​success​ ​you’ve​ ​had​ ​in
music.​ ​Many​ ​are​ ​never​ ​known.​ ​How​ ​did​ ​you​ ​do​ ​this?​ ​How​ ​did​ ​you​ ​achieve​ ​such
longevity​ ​in​ ​music​ ​business.
Chemi​ ​(chuckles):​ ​If​ ​only​ ​I​ ​knew!
Chemi​ ​credits​ ​growing​ ​up​ ​in​ ​a​ ​musical​ ​household​ ​where​ ​her​ ​mother​ ​was​ ​a​ ​pianist​ ​and​ ​she
grew​ ​up​ ​listening​ ​to​ ​Louis​ ​Armstrong​ ​and​ ​Fat​ ​Swoller​ ​as​ ​factors​ ​which​ ​helped​ ​develop​ ​her​ ​ear.
Her​ ​mother​ ​had​ ​perfect​ ​pitch​ ​and​ ​resisted​ ​vocalists​ ​whose​ ​phrasing,​ ​pitch,​ ​or​ ​tone​ ​was​ ​off.
Evenso,​ ​she​ ​loved​ ​Fat​ ​Swoller​ ​playing​ ​the​ ​piano​ ​and​ ​Louis​ ​Armstrong​ ​due​ ​to​ ​their​ ​style.​ ​Chemi
also​ ​cites​ ​Fred​ ​Astaire’s​ ​singing​ ​whose​ ​feeling​ ​and​ ​phrasing​ ​stuck​ ​with​ ​Chemi.​ ​She​ ​stated​ ​that
rehearsal​ ​alone​ ​is​ ​not​ ​sufficient​ ​to​ ​produce​ ​a​ ​career​ ​in​ ​music.​ ​She​ ​mentions​ ​the​ ​importance​ ​of
“having​ ​the​ ​cords”​ ​which​ ​fits​ ​into​ ​our​ ​Talent​ ​ingredient.
Chemi​ ​mentions​ ​how​ ​she​ ​would​ ​sing​ ​all​ ​around​ ​the​ ​home,​ ​had​ ​no​ ​formal​ ​training,​ ​and​ ​in
the​ ​parish​ ​she​ ​attended,​ ​would​ ​jokingly​ ​tell​ ​her​ ​local​ ​parish​ ​priest​ ​Father​ ​Gallagher​ ​that​ ​she​ ​sang
so​ ​that​ ​God​ ​wouldn’t​ ​hear​ ​how​ ​bad​ ​he​ ​was​ ​singing.​ ​She​ ​sang​ ​all​ ​over​ ​her​ ​home​ ​since​ ​she​ ​wasn’t
told​ ​that​ ​she​ ​couldn’t​ ​she​ ​went​ ​along​ ​singing​ ​around​ ​her​ ​family​ ​and​ ​in​ ​church.​ ​He​ ​told​ ​Chemi
that​ ​she​ ​would​ ​be​ ​able​ ​to​ ​do​ ​more​ ​for​ ​the​ ​world​ ​by​ ​going​ ​out​ ​there​ ​and​ ​just​ ​singing.​ ​This​ ​was​ ​a
turning​ ​point​ ​which​ ​led​ ​her​ ​to​ ​abandon​ ​thoughts​ ​of​ ​pursuing​ ​the​ ​convent​ ​life​ ​as​ ​a​ ​nun​ ​and​ ​led​ ​her
to​ ​pursue​ ​music​ ​seriously.
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Many​ ​years​ ​later,​ ​after​ ​the​ ​successes​ ​that​ ​Chemi​ ​experienced​ ​in​ ​the​ ​industry​ ​and​ ​after
marrying​ ​Skip​ ​and​ ​having​ ​her​ ​first​ ​child,​ ​she​ ​visited​ ​a​ ​now​ ​elderly​ ​Father​ ​Gallagher​ ​and​ ​thanked
him​ ​profusely​ ​for​ ​his​ ​support​ ​and​ ​encouragement​ ​which​ ​had​ ​been​ ​the​ ​catalyst​ ​which​ ​had​ ​led
Chemi​ ​to​ ​take​ ​the​ ​leap​ ​of​ ​Faith.​ ​She​ ​said​ ​to​ ​him,​ ​“I​ ​don’t​ ​know​ ​how​ ​I​ ​could​ ​ever​ ​repay​ ​you.”
“You​ ​already​ ​did,”​ ​he​ ​replied​ ​warmly,​ ​“your​ ​daughter​ ​was​ ​born​ ​on​ ​my​ ​birthday.”
Interviewer:​ ​“What​ ​creates​ ​long-term​ ​music​ ​business​ ​success?”
Chemi:​ ​“Well​ ​I​ ​don’t​ ​know​ ​that​ ​people​ ​would​ ​consider​ ​that​ ​I’ve​ ​had​ ​long​ ​term
music​ ​business​ ​success.​ ​It​ ​depends​ ​on​ ​how​ ​you​ ​define​ ​success.​ ​When​ ​I​ ​had​ ​my
second​ ​bout​ ​with​ ​breast​ ​cancer​ ​(which​ ​I’m​ ​not​ ​uncomfortable​ ​talking​ ​about…)
you​ ​know​ ​you​ ​think​ ​about​ ​your​ ​mortality,​ ​especially​ ​the​ ​second​ ​time.​ ​I​ ​remember
thinking-I​ ​was​ ​frightened​ ​what​ ​might​ ​happen.​ ​I​ ​remember​ ​thinking​ ​that​ ​if​ ​I​ ​read
my​ ​obituary,​ ​I​ ​would​ ​think​ ​wow​ ​what​ ​a​ ​lucky​ ​woman​ ​she​ ​was.​ ​Then​ ​I​ ​went​ ​right
ahead​ ​and​ ​faced​ ​what​ ​was​ ​in​ ​front​ ​of​ ​me.​ ​Success?​ ​I​ ​mean​ ​I​ ​think​ ​I’ve​ ​had
success​ ​because​ ​I​ ​had​ ​a​ ​career​ ​where​ ​I​ ​always​ ​did​ ​well,​ ​stayed​ ​honest​ ​as​ ​I​ ​could
be.​ ​I​ ​made​ ​a​ ​couple​ ​of​ ​mistakes​ ​-​ ​as​ ​we​ ​all​ ​do​ ​and​ ​I​ ​was​ ​able​ ​to..handle​ ​them;​ ​did
a​ ​lot​ ​of​ ​traveling,​ ​knew​ ​a​ ​lot​ ​of​ ​people,​ ​went​ ​a​ ​lot​ ​of​ ​places.​ ​Was​ ​lucky​ ​to​ ​find​ ​a
great​ ​partner​ ​in​ ​Las​ ​Vegas​ ​of​ ​all​ ​places,​ ​and​ ​I​ ​had​ ​the​ ​chance​ ​of​ ​being​ ​a​ ​good
wife,​ ​a​ ​good​ ​mother,​ ​a​ ​good​ ​grandma..so,​ ​what​ ​is​ ​success?​ ​And​ ​hopefully​ ​the
lives​ ​I’ve​ ​touched​ ​here​ ​at​ ​school​ ​for​ ​12​ ​years-even​ ​though​ ​you​ ​don’t​ ​hear​ ​from
them​ ​but​ ​that’s​ ​ok-I​ ​always​ ​hope​ ​they’re​ ​living​ ​good​ ​lives.
I​ ​mentioned​ ​the​ ​Virality​ ​Casserole​ ​that​ ​I’ve​ ​been​ ​working​ ​on​ ​for​ ​over​ ​a​ ​year​ ​in​ ​our
second​ ​meeting​ ​and​ ​discussed​ ​the​ ​ingredients:​ ​Power,​ ​Talent,​ ​Relevance,​ ​Faith,​ ​and​ ​Market.​ ​I
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mentioned​ ​that​ ​she’d​ ​been​ ​in​ ​the​ ​industry​ ​for​ ​45+​ ​years​ ​and​ ​she​ ​corrected​ ​me​ ​that​ ​she​ ​has​ ​been
performing​ ​in​ ​the​ ​music​ ​industry​ ​to​ ​the​ ​present​ ​day​ ​for​ ​over​ ​55​ ​years.​ ​This​ ​is​ ​one​ ​reason​ ​that​ ​she
was​ ​chosen​ ​to​ ​be​ ​interviewed.​ ​Her​ ​longevity​ ​as​ ​a​ ​performer​ ​and​ ​vocalist​ ​in​ ​an​ ​industry​ ​which​ ​is
always​ ​changing​ ​makes​ ​her​ ​one​ ​of​ ​the​ ​rare​ ​people​ ​who​ ​were​ ​able​ ​to​ ​convert​ ​their​ ​passion​ ​into​ ​a
career.
Interviewer:​ ​“​ ​Let’s​ ​tackle​ ​the​ ​ingredients!​ ​How​ ​did​ ​you​ ​create​ ​such​ ​a​ ​faithful
Market​ ​-​ ​such​ ​a​ ​faithful​ ​fanbase​ ​over​ ​time?”
Chemi:​ ​“I​ ​was​ ​fortunate​ ​that​ ​I​ ​worked​ ​with​ ​very​ ​big​ ​name​ ​people​ ​especially
during​ ​the​ ​Harry​ ​James​ ​years.​ ​Even​ ​now​ ​I’ll​ ​have​ ​people​ ​who​ ​will​ ​say​ ​‘Oh​ ​I​ ​saw
you​ ​with​ ​Harry​ ​James’..it’s​ ​just​ ​because​ ​your​ ​music​ ​has​ ​credibility,​ ​you​ ​have
talent….I​ ​don’t​ ​mean​ ​it​ ​to​ ​sound​ ​grandiose​ ​or​ ​stuffy...but​ ​people​ ​see​ ​that​ ​I​ ​love
my​ ​work.
Interviewer:​ ​“So​ ​your​ ​passion?”
Chemi:​ ​“Yes​ ​my​ ​passion​ ​-​ ​I​ ​mean​ ​I​ ​always​ ​think...people​ ​can​ ​see​ ​things​ ​on​ ​stage.
They​ ​can​ ​see​ ​number​ ​one​ ​that​ ​I​ ​have​ ​a​ ​passion​ ​for​ ​my​ ​work-​ ​that​ ​I​ ​love​ ​what​ ​I’m
doing.​ ​My​ ​longevity​ ​also​ ​proves​ ​to​ ​be​ ​even​ ​more​ ​positive.​ ​People​ ​aren’t​ ​stupid.
They​ ​don’t​ ​just​ ​go​ ​out​ ​and​ ​purchase​ ​tickets.​ ​They​ ​look​ ​into​ ​a​ ​person​ ​and​ ​see​ ​who
they​ ​are.​ ​And​ ​I​ ​think​ ​they​ ​see​ ​that​ ​in​ ​my​ ​performances​ ​-​ ​I’m​ ​a​ ​transparent
person...especially​ ​when​ ​I​ ​sing...especially​ ​when​ ​I​ ​sing…
Concerning​ ​Talent,​ ​Chemi​ ​stated​ ​that​ ​each​ ​vocalist​ ​is​ ​gifted​ ​their​ ​Voice​ ​by​ ​God​ ​and​ ​can
do​ ​as​ ​much​ ​as​ ​they​ ​can​ ​do​ ​with​ ​some​ ​practice.​ ​As​ ​far​ ​as​ ​Market,​ ​she​ ​states​ ​to​ ​be​ ​transparent​ ​with
your​ ​fanbase.​ ​Be​ ​genuine.​ ​She​ ​states​ ​concerning​ ​interaction​ ​with​ ​the​ ​Market​ ​“I​ ​am​ ​who​ ​I​ ​am”.
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Faith-wise,​ ​she​ ​was​ ​raised​ ​in​ ​a​ ​Church​ ​where​ ​a​ ​certain​ ​Father​ ​Gallagher​ ​told​ ​her​ ​she​ ​could
change​ ​the​ ​world​ ​more​ ​by​ ​going​ ​out​ ​and​ ​singing​ ​than​ ​by​ ​sticking​ ​around​ ​to​ ​become​ ​a​ ​nun.​ ​She
believed​ ​him​ ​and​ ​took​ ​the​ ​leap​ ​of​ ​faith.​ ​Her​ ​early​ ​connection​ ​to​ ​the​ ​Frank​ ​Loesser​ ​company
where​ ​she​ ​did​ ​demos​ ​for​ ​them​ ​and​ ​her​ ​work​ ​with​ ​Meredith​ ​Wilson​ ​gave​ ​her​ ​the​ ​connections​ ​to
Power​ ​to​ ​be​ ​able​ ​to​ ​perform​ ​and​ ​break​ ​into​ ​the​ ​music​ ​industry;​ ​as​ ​far​ ​as​ ​Relevance,​ ​she​ ​cites
doing​ ​your​ ​best​ ​on​ ​every​ ​occasion.​ ​Always​ ​putting​ ​the​ ​best​ ​foot​ ​forward,​ ​always​ ​being​ ​in​ ​the
zone​ ​on​ ​the​ ​job,​ ​always​ ​giving​ ​one’s​ ​best​ ​in​ ​every​ ​circumstance.​ ​This​ ​does​ ​more​ ​to​ ​keep​ ​one
relevant​ ​over​ ​time​ ​than​ ​anything​ ​else.
Virality​ ​-​ ​the​ ​Plan​ ​of​ ​Action
So​ ​how​ ​does​ ​one​ ​do​ ​it?​ ​How,​ ​in​ ​real​ ​life,​ ​does​ ​one​ ​go​ ​viral?​ ​Based​ ​on​ ​the​ ​Virality
Casserole​ ​and​ ​the​ ​Ingredients​ ​we’ve​ ​explored,​ ​I​ ​am​ ​giving​ ​my​ ​own​ ​opinions​ ​and​ ​thoughts​ ​on
how​ ​the​ ​aspiring​ ​musician​ ​can​ ​achieve​ ​virality.​ ​Let’s​ ​discuss​ ​how​ ​to​ ​use​ ​these​ ​concepts​ ​to​ ​go
viral!
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Cooking​ ​the​ ​Virality​ ​casserole​ ​requires​ ​action​ ​on​ ​every​ ​level​ ​of​ ​the​ ​recipe.​ ​This​ ​doesn’t
mean​ ​you​ ​have​ ​to​ ​do​ ​them​ ​all​ ​at​ ​once.​ ​It​ ​means​ ​that​ ​there​ ​should​ ​be​ ​a​ ​plan​ ​of​ ​action​ ​for​ ​each
ingredient.​ ​To​ ​help​ ​us​ ​determine​ ​the​ ​rank​ ​or​ ​importance​ ​of​ ​the​ ​ingredients,​ ​I​ ​am​ ​going​ ​to​ ​add​ ​a
system​ ​of​ ​measurement​ ​to​ ​the​ ​ingredients​ ​so​ ​we​ ​can​ ​understand​ ​what​ ​should​ ​be​ ​prioritized.
The​ ​order​ ​I​ ​have​ ​prioritized​ ​the​ ​ingredients​ ​in​ ​is​ ​left​ ​to​ ​right​ ​with​ ​a​ ​weight​ ​or
percentage​ ​demonstrating​ ​how​ ​important​ ​that​ ​one​ ​aspect​ ​is.​ ​Hereis​ ​the​ ​actual​ ​weight​ ​of
each​ ​ingredient​ ​in​ ​the​ ​Virality​ ​casserole:
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Talent​ ​is​ ​listed​ ​first​ ​in​ ​the​ ​Virality​ ​casserole​ ​because​ ​to​ ​be​ ​a​ ​musician,​ ​there​ ​needs​ ​to​ ​be
some​ ​sort​ ​of​ ​ability​ ​This​ ​doesn’t​ ​mean​ ​you​ ​have​ ​to​ ​be​ ​a​ ​prodigy​ ​or​ ​exceptionally​ ​gifted.​ ​It​ ​means
there​ ​needs​ ​to​ ​be​ ​a​ ​natural​ ​resource​ ​either​ ​vocally​ ​or​ ​with​ ​an​ ​instrument​ ​which​ ​can​ ​be​ ​developed
and​ ​experience​ ​growth.​ ​Talent​ ​does​ ​not​ ​always​ ​mean​ ​chops.​ ​It​ ​could​ ​also​ ​be​ ​the​ ​production​ ​side,
songwriting,​ ​arranging,​ ​composing​ ​etc​ ​or​ ​being​ ​able​ ​to​ ​identify​ ​those​ ​strengths​ ​and​ ​putting
people​ ​in​ ​those​ ​places​ ​where​ ​you​ ​are​ ​weak.​ ​Here​ ​are​ ​two​ ​examples​ ​of​ ​Talent:
Our​ ​Talent​ ​case​ ​study,​ ​Whitney​ ​Houston,​ ​was​ ​known​ ​and​ ​first​ ​recognized​ ​as​ ​a​ ​musician
because​ ​of​ ​her​ ​immense​ ​natural​ ​talent.​ ​This​ ​gave​ ​her​ ​a​ ​connection​ ​to​ ​Power​ ​(Clive​ ​Davis)​ ​which
then​ ​exposed​ ​her​ ​to​ ​the​ ​Market​ ​he​ ​controlled.​ ​She​ ​moved​ ​forward​ ​with​ ​Faith​ ​with​ ​her​ ​mother’s
encouragement​ ​and​ ​gave​ ​potent​ ​performances​ ​consistently​ ​which​ ​kept​ ​her​ ​relevant​ ​for​ ​a​ ​time.
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Hillary​ ​Duff​ ​became​ ​a​ ​megastar​ ​not​ ​because​ ​the​ ​Talent​ ​in​ ​her​ ​voice​ ​yet​ ​she​ ​is​ ​known
across​ ​the​ ​nation​ ​and​ ​the​ ​world​ ​for​ ​her​ ​music.​ ​Her​ ​bubblegum​ ​clean​ ​image​ ​was​ ​enforced​ ​in​ ​her
hit​ ​show​ ​Lizzie​ ​Mcguire​ ​on​ ​the​ ​Disney​ ​Channel.​ ​Her​ ​auditions​ ​landed​ ​her​ ​role​ ​with​ ​Disney​ ​which
was​ ​the​ ​Power​ ​which​ ​exposed​ ​her​ ​to​ ​a​ ​large​ ​Market​ ​which​ ​converted​ ​into​ ​a​ ​fanbase.​ ​She
remained​ ​relevant​ ​with​ ​big​ ​pop​ ​songs​ ​such​ ​as​ ​“So​ ​Yesterday”,​ ​“Come​ ​Clean”,​ ​and​ ​a​ ​cover​ ​of
“Our​ ​Lips​ ​Are​ ​Sealed”.​ ​Her​ ​hard​ ​work​ ​in​ ​being​ ​vocally​ ​present,​ ​a​ ​positive​ ​and​ ​engaging​ ​actress,
and​ ​a​ ​strong​ ​commitment​ ​to​ ​quality​ ​in​ ​Faith​ ​made​ ​her​ ​an​ ​act​ ​which​ ​is​ ​still​ ​Relevant​ ​in​ ​music
business​ ​today.​ ​One​ ​could​ ​say​ ​that​ ​the​ ​percentage​ ​of​ ​talent​ ​(though​ ​at​ ​most​ ​14%​ ​weighted​ ​in​ ​the
Virality​ ​casserole)​ ​was​ ​less​ ​relevant​ ​to​ ​Hillary​ ​Duff’s​ ​success​ ​than​ ​it​ ​was​ ​to​ ​Whitney​ ​Houston’s.
In​ ​the​ ​case​ ​of​ ​Faith,​ ​this​ ​is​ ​a​ ​difficult​ ​factor​ ​to​ ​account​ ​for.​ ​For​ ​our​ ​purposes,​ ​I​ ​will​ ​not
attempt​ ​to​ ​determine​ ​who​ ​has​ ​more​ ​or​ ​less​ ​Faith​ ​which​ ​would​ ​be​ ​absurd.​ ​It​ ​is​ ​to​ ​demonstrate​ ​who
risked​ ​what​ ​in​ ​order​ ​to​ ​be​ ​part​ ​of​ ​the​ ​Music​ ​business.
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This​ ​is​ ​Ramón​ ​Luis​ ​Ayala​ ​Rodríguez​ ​better​ ​known​ ​in​ ​the​ ​music​ ​industry​ ​as​ ​“Daddy
Yankee”.​ ​He​ ​exercised​ ​the​ ​Faith​ ​element​ ​early​ ​in​ ​his​ ​career​ ​in​ ​a​ ​way​ ​that​ ​was​ ​notable​ ​when​ ​he
(of​ ​his​ ​own​ ​confession)​ ​imitated​ ​DJ​ ​Nelson,​ ​DJ​ ​Playero,​ ​and​ ​DJ​ ​Drako​ ​only​ ​to​ ​adapt​ ​what​ ​he
liked​ ​about​ ​them​ ​into​ ​his​ ​own​ ​style​ ​and​ ​became​ ​one​ ​of​ ​the​ ​founding​ ​fathers​ ​of​ ​Reggaeton.​ ​He
trusted​ ​that​ ​there​ ​was​ ​a​ ​market​ ​for​ ​this​ ​new​ ​style​ ​even​ ​though​ ​it​ ​wasn’t​ ​popular​ ​at​ ​the​ ​time​ ​and
demonstrates​ ​a​ ​great​ ​leap​ ​of​ ​Faith​ ​which​ ​accounts​ ​for​ ​21%​ ​of​ ​the​ ​Virality​ ​casserole​ ​even​ ​topping
Talent.​ ​He​ ​is​ ​known​ ​most​ ​recently​ ​for​ ​collaborating​ ​with​ ​Justin​ ​Bieber​ ​and​ ​releasing​ ​the
worldwide​ ​hit​ ​“Despacito”​ ​featuring​ ​Luis​ ​Fonsi​ ​which​ ​currently​ ​has​ ​4.4​ ​billion​ ​views​ ​on
Youtube.​ ​The​ ​second​ ​case​ ​of​ ​Faith​ ​,​ ​however,​ ​is​ ​a​ ​vocalist​ ​who​ ​not​ ​very​ ​well​ ​known​ ​beyond​ ​the
back​ ​end​ ​of​ ​the​ ​music​ ​industry​ ​who​ ​has​ ​Power​ ​connections​ ​that​ ​stem​ ​all​ ​the​ ​way​ ​from​ ​Stevie
Wonder,​ ​Russ​ ​Taff,​ ​and​ ​Madonna​ ​to​ ​Steven​ ​Spielberg,​ ​Whoopi​ ​Goldberg,​ ​and​ ​Oprah​ ​Winfrey.
However,​ ​even​ ​given​ ​these​ ​Power​ ​connections​ ​(whose​ ​weight​ ​exceeds​ ​the​ ​23%​ ​required​ ​to​ ​make
a​ ​Virality​ ​casserole)​ ​she​ ​never​ ​went​ ​viral​ ​enough​ ​to​ ​become​ ​known​ ​on​ ​her​ ​own.
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That​ ​artist​ ​is​ ​Carmen​ ​Rosa​ ​Vega​ ​who​ ​eventually​ ​changed​ ​her​ ​name​​ ​to​ ​Táta​ ​Vega.​ ​She​ ​is
best​ ​known​ ​for​ ​providing​ ​the​ ​singing​ ​voice​ ​of​ ​Shug​ ​Avery​ ​in​ ​the​ ​Award-winning​ ​Spielberg
motion​ ​picture​ ​The​ ​Color​ ​Purple​.​ ​Her​ ​vocals​ ​were​ ​used​ ​for​ ​the​ ​power​ ​Gospel-ballad​ ​“Maybe
God​ ​is​ ​Trying​ ​to​ ​Tell​ ​You​ ​Something”​ ​and​ ​she​ ​was​ ​one​ ​of​ ​the​ ​background​ ​vocalists​ ​prominently
featured​ ​in​ ​the​ ​Oscar​ ​winning​ ​documentary​ ​“20​ ​Feet​ ​From​ ​Stardom”.​ ​Given​ ​her​ ​connections​ ​to
the​ ​Power​ ​ingredient,​ ​her​ ​undeniable​ ​vocal​ ​Talent,​ ​she​ ​was​ ​not​ ​featured​ ​for​ ​many​ ​years​ ​which,
although​ ​could​ ​be​ ​for​ ​different​ ​reasons,​ ​it​ ​can​ ​indicate​ ​that​ ​she​ ​did​ ​not​ ​submit​ ​herself​ ​to​ ​many
opportunities.​ ​This​ ​action​ ​is​ ​typically​ ​consistent​ ​with​ ​having​ ​the​ ​Faith​ ​element​ ​which​ ​leads​ ​an
artist​ ​to​ ​act​ ​on​ ​their​ ​belief.​ ​As​ ​such,​ ​even​ ​though​ ​Daddy​ ​Yankee​ ​may​ ​not​ ​have​ ​the​ ​overwhelming
vocal​ ​talent,​ ​his​ ​Faith​ ​in​ ​action​ ​causes​ ​him​ ​to​ ​be​ ​a​ ​prime​ ​example​ ​of​ ​an​ ​artist​ ​whose​ ​weight​ ​in​ ​the
Faith​ ​category​ ​overwhelmingly​ ​(when​ ​coupled​ ​with​ ​the​ ​other​ ​ingredients)​ ​led​ ​to​ ​great​ ​success.
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In​ ​the​ ​category​ ​of​ ​Market,​ ​these​ ​two​ ​artists​ ​were​ ​very​ ​similar​ ​in​ ​style​ ​and​ ​shock​ ​factor.
They​ ​are​ ​both​ ​American​ ​rappers​ ​who​ ​broke​ ​the​ ​stereotype​ ​by​ ​becoming​ ​mainstream​ ​Caucasian
male​ ​rappers​ ​but​ ​one​ ​became​ ​a​ ​dominant​ ​name​ ​in​ ​rap​ ​while​ ​the​ ​others​ ​career​ ​dwindled​ ​into​ ​the
underground.
Marshall​ ​Bruce​ ​Mathers​ ​III​ ​(better​ ​known​ ​as​ ​Slim​ ​Shady​ ​or​ ​Eminem)​ ​referenced​ ​in​ ​our
Faith​ ​ingredient​ ​prior​ ​in​ ​Dr.​ ​Dre’s​ ​case​ ​study,​ ​is​ ​an​ ​example​ ​of​ ​someone​ ​whose​ ​Market
percentage​ ​exceeded​ ​the​ ​22%​ ​and​ ​weighted​ ​it​ ​such​ ​that​ ​the​ ​other​ ​ingredients​ ​came​ ​together​ ​(due
to​ ​his​ ​connection​ ​to​ ​Power​ ​as​ ​discussed​ ​in​ ​Andre​ ​Young’s​ ​case​ ​study)​ ​and​ ​created​ ​virality.
Eminem​ ​is​ ​known​ ​for​ ​being​ ​uncensored,​ ​crass,​ ​and​ ​poignant​ ​with​ ​his​ ​words.​ ​He​ ​has​ ​mocked
homosexual​ ​men​ ​who​ ​wear​ ​makeup,​ ​called​ ​out​ ​celebrities​ ​and​ ​stated​ ​that​ ​they​ ​should​ ​be​ ​raped,
commonly​ ​referred​ ​to​ ​women​ ​with​ ​colorful​ ​expletives,​ ​and​ ​stated​ ​in​ ​passing​ ​that​ ​he​ ​would​ ​break
a​ ​table​ ​over​ ​the​ ​back​ ​of​ ​a​ ​couple​ ​of​ ​homosexuals​ ​(using​ ​instead​ ​a​ ​derogatory​ ​word​ ​for​ ​gay​ ​men).
In​ ​spite​ ​of​ ​these​ ​controversial,​ ​offensive,​ ​and​ ​slanderous​ ​lyrics,​ ​because​ ​he​ ​had​ ​a​ ​faithful
following​ ​which​ ​was​ ​his​ ​Market​ ​and​ ​because​ ​he​ ​was​ ​connected​ ​to​ ​Power;​ ​as​ ​a​ ​result​ ​of​ ​his
Talent​ ​and​ ​being​ ​something​ ​of​ ​a​ ​rogue​ ​that​ ​seemed​ ​to​ ​speak​ ​what​ ​was​ ​on​ ​his​ ​mind​ ​regardless​ ​of
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who​ ​was​ ​offended,​ ​and​ ​due​ ​to​ ​his​ ​continual​ ​Relevance​ ​even​ ​recently​ ​when​ ​he​ ​has​ ​spoken​ ​up
against​ ​the​ ​President​ ​at​ ​a​ ​time​ ​when​ ​that​ ​has​ ​become​ ​a​ ​popular​ ​trend,​ ​he​ ​was​ ​able​ ​to​ ​maintain
Virality​ ​for​ ​over​ ​a​ ​decade​ ​and​ ​remain​ ​one​ ​of​ ​the​ ​top​ ​rappers​ ​in​ ​the​ ​world​ ​as​ ​far​ ​as​ ​sales,​ ​tours,
notoriety,​ ​and​ ​reputation.
In​ ​contrast,​ ​Robert​ ​Matthew​ ​Van​ ​Winkle​ ​better​ ​known​ ​as​ ​Vanilla​ ​Ice​ ​became​ ​a​ ​one​ ​hit
wonder​ ​who​ ​was​ ​weighted​ ​most​ ​in​ ​Power​ ​which​ ​ultimately​ ​led​ ​to​ ​his​ ​downfall.
Vanilla​ ​Ice​ ​first​ ​gained​ ​virality​ ​when​ ​he​ ​covered​ ​Wild​ ​Cherry’s​ ​“Play​ ​That​ ​Funky
Music”.​ ​The​ ​single​ ​caught​ ​the​ ​attention​ ​of​ ​Ichiban​ ​Records​ ​who​ ​signed​ ​him​ ​and​ ​released​ ​the
song​ ​as​ ​a​ ​single​ ​on​ ​the​ ​“A”​ ​side​ ​with​ ​ ​“Ice​ ​Ice​ ​Baby”​ ​on​ ​the​ ​“B”​ ​side.​ ​Although​ ​the​ ​“A”​ ​side
didn’t​ ​gain​ ​much​ ​attention,​ ​the​ ​“B”​ ​side​ ​went​ ​viral.​ ​After​ ​“Ice​ ​Ice​ ​Baby”​ ​became​ ​a​ ​hit,​ ​an
associate​ ​of​ ​Rapper/Producer​ ​Suge​ ​Knight​ ​claimed​ ​he​ ​contributed​ ​to​ ​the​ ​creation​ ​of​ ​“Ice​ ​Ice
Baby”.​ ​Suge​ ​Knight​ ​and​ ​a​ ​couple​ ​his​ ​associates​ ​who​ ​were​ ​large,​ ​towering​ ​figures​ ​cornered
Vanilla​ ​Ice​ ​in​ ​a​ ​Restaurant​ ​in​ ​L.A.​ ​Knight​ ​allegedly​ ​took​ ​Ice​ ​to​ ​the​ ​balcony​ ​and​ ​allegedly
71
showed​ ​him​ ​how​ ​far​ ​up​ ​the​ ​balcony​ ​was.​ ​Ice​ ​states​ ​that​ ​Knight​ ​then​ ​gave​ ​him​ ​paperwork​ ​to​ ​sign
to​ ​transfer​ ​his​ ​points​ ​(royalty​ ​percentage)​ ​over​ ​to​ ​Knight’s​ ​associate.​ ​This​ ​became​ ​a​ ​major
turning​ ​point​ ​in​ ​ ​Ice’s​ ​career​ ​where​ ​his​ ​career​ ​faltered.​ ​There​ ​was​ ​a​ ​Market​ ​but​ ​it​ ​was​ ​not​ ​yet​ ​a
dedicated​ ​market.​ ​As​ ​such,​ ​when​ ​he​ ​failed​ ​to​ ​follow-up​ ​with​ ​viable​ ​material,​ ​he​ ​lost​ ​credibility
and​ ​became​ ​a​ ​one​ ​hit​ ​wonder.
A​ ​lesson​ ​in​ ​this​ ​case​ ​is​ ​to​ ​know​ ​the​ ​lifestyle​ ​a​ ​market​ ​begets.​ ​In​ ​this​ ​case,​ ​Hip-Hop​ ​and
Rap​ ​have​ ​been​ ​notorious​ ​for​ ​feuds​ ​some​ ​of​ ​which​ ​have​ ​lead​ ​to​ ​shooting​ ​deaths​ ​due​ ​to​ ​gang
violence.
One​ ​of​ ​the​ ​most​ ​elusive​ ​ingredients​ ​in​ ​the​ ​virality​ ​casserole​ ​is​ ​that​ ​of​ ​Power.​ ​For​ ​some​ ​it
has​ ​established​ ​their​ ​careers​ ​and​ ​for​ ​others​ ​it​ ​has​ ​given​ ​them​ ​the​ ​connections​ ​to​ ​the​ ​industry
needed​ ​to​ ​present​ ​their​ ​offerings​ ​to​ ​the​ ​Market.​ ​This​ ​next​ ​example​ ​is​ ​one​ ​that​ ​shows​ ​the
importance​ ​of​ ​taking​ ​opportunities​ ​and​ ​engaging​ ​calculated​ ​risks​ ​rather​ ​than​ ​avoiding​ ​them.
Diana​ ​Ernestine​ ​Earle​ ​Ross​ ​grew​ ​up​ ​on​ ​the​ ​projects​ ​of​ ​Highland​ ​Park,​ ​Michigan​ ​with​ ​her
family.​ ​She​ ​worked​ ​different​ ​jobs​ ​at​ ​a​ ​young​ ​age​ ​in​ ​cloth​ ​design,​ ​millinery,​ ​pattern​ ​making,​ ​and​ ​a
tailor.​ ​She​ ​aspired​ ​to​ ​be​ ​a​ ​fashion​ ​designer.​ ​She​ ​would​ ​join​ ​a​ ​singing​ ​group​ ​comprised​ ​of​ ​sisters
named​ ​“The​ ​Primettes”.​ ​The​ ​group​ ​would​ ​audition​ ​for​ ​local​ ​music​ ​label​ ​Motown​ ​Records
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catching​ ​the​ ​eyes​ ​(and​ ​ears)​ ​of​ ​founder​ ​Berry​ ​Gordy.​ ​However,​ ​when​ ​he​ ​learned​ ​how​ ​young​ ​they
were,​ ​he​ ​turned​ ​them​ ​away​ ​and​ ​told​ ​them​ ​to​ ​go​ ​finish​ ​high​ ​school.​ ​They​ ​returned​ ​day​ ​by​ ​day​ ​and
were​ ​willing​ ​to​ ​help​ ​out​ ​in​ ​the​ ​studio​ ​with​ ​hand​ ​claps​ ​and​ ​background​ ​vocals.​ ​Ross​ ​would​ ​serve
as​ ​hairstylist,​ ​makeup​ ​artist,​ ​seamstress,​ ​and​ ​costume​ ​designer.​ ​Berry​ ​Gordy​ ​would​ ​sign​ ​them
two​ ​years​ ​later​ ​and​ ​eventually​ ​name​ ​Diana​ ​Ross​ ​as​ ​the​ ​lead​ ​singer.​ ​Their​ ​relationship​ ​and
collaboration​ ​led​ ​to​ ​the​ ​creation​ ​of​ ​songs​ ​such​ ​as​ ​“You​ ​Can’t​ ​Hurry​ ​Love”,​ ​“Where​ ​Did​ ​Our
Love”,​ ​“Ain’t​ ​No​ ​Mountain​ ​High​ ​Enough”,​ ​and​ ​her​ ​iconic​ ​role​ ​in​ ​the​ ​feature-length​ ​film​ ​“The
Wiz”.​ ​This​ ​is​ ​a​ ​case​ ​where​ ​Power​ ​drove​ ​the​ ​direction​ ​of​ ​a​ ​career​ ​almost​ ​entirely​ ​until​ ​Ross​ ​would
eventually​ ​leave​ ​Motown​ ​Records.
Anastacia​ ​Lyn​ ​Newkirk​ ​is​ ​an​ ​example​ ​of​ ​an​ ​artist​ ​whose​ ​connection​ ​in​ ​Power​ ​to​ ​someone
without​ ​the​ ​influence​ ​or​ ​reputation​ ​can​ ​do​ ​little​ ​to​ ​advance​ ​a​ ​career.​ ​She​ ​came​ ​out​ ​with​ ​hits​ ​such
as​ ​“One​ ​Day​ ​In​ ​Your​ ​Life”​ ​and​ ​“Left​ ​Outside​ ​Alone”.​ ​Her​ ​songs​ ​mostly​ ​became​ ​top​ ​hits​ ​in
Europe​ ​even​ ​though​ ​she​ ​is​ ​an​ ​American​ ​artist.​ ​Her​ ​weight​ ​in​ ​Talent​ ​was​ ​the​ ​strongest​ ​and​ ​she​ ​did
have​ ​a​ ​Market.​ ​However,​ ​her​ ​management​ ​team​ ​never​ ​really​ ​pushed​ ​her​ ​to​ ​grab​ ​market​ ​in​ ​the
73
U.S.​ ​by​ ​presenting​ ​material​ ​specifically​ ​American​ ​and​ ​as​ ​a​ ​result​ ​she​ ​did​ ​not​ ​gain​ ​the​ ​market
sufficient​ ​to​ ​establish​ ​a​ ​long-term​ ​career​ ​in​ ​the​ ​US.​ ​This​ ​is​ ​a​ ​lesson​ ​is​ ​Power​ ​and​ ​how​ ​it​ ​directly
affects​ ​Market​ ​which​ ​determines​ ​one’s​ ​Relevance.​ ​The​ ​lack​ ​of​ ​Power​ ​connection​ ​with​ ​someone
who​ ​shares​ ​the​ ​same​ ​vision​ ​can​ ​stall​ ​a​ ​career​ ​even​ ​if​ ​successful​ ​in​ ​other​ ​geographic​ ​areas.​ ​It’s
important​ ​to​ ​make​ ​a​ ​plan​ ​containing​ ​a​ ​goal​ ​of​ ​what​ ​the​ ​artist​ ​wants​ ​and​ ​having​ ​management​ ​who
can​ ​craft​ ​a​ ​path,​ ​a​ ​step-by-step​ ​process​ ​to​ ​achieve​ ​those​ ​goals.
Relevance​ ​is​ ​again​ ​last​ ​because​ ​it​ ​is​ ​one​ ​of​ ​the​ ​most​ ​difficult​ ​things​ ​to​ ​measure​ ​in​ ​the
Quest​ ​for​ ​the​ ​Virality​ ​Casserole.​ ​It​ ​cannot​ ​be​ ​measured​ ​on​ ​a​ ​day-to-day​ ​basis​ ​much​ ​like​ ​trends
cannot​ ​be​ ​seen​ ​by​ ​looking​ ​at​ ​the​ ​ticker​ ​symbols​ ​for​ ​one​ ​day.​ ​This​ ​takes​ ​time​ ​and​ ​an​ ​ear​ ​to​ ​the
market.​ ​The​ ​Market​ ​determines​ ​Relevance​ ​but​ ​the​ ​Market​ ​can​ ​be​ ​swayed.
In​ ​the​ ​event​ ​that​ ​the​ ​Market​ ​has​ ​declared​ ​a​ ​preference​ ​for​ ​a​ ​trend​ ​or​ ​Relevance,​ ​the​ ​artist
that​ ​will​ ​survive​ ​must​ ​find​ ​the​ ​way​ ​to​ ​appease​ ​that​ ​market.​ ​An​ ​example​ ​of​ ​someone​ ​who​ ​has
carefully​ ​followed​ ​the​ ​pulse​ ​of​ ​the​ ​market​ ​over​ ​decades​ ​and​ ​has​ ​survived​ ​is​ ​Madonna​ ​Louise
Ciccone.​ ​From​ ​her​ ​smash​ ​hit​ ​“Material​ ​Girl”​ ​to​ ​“Like​ ​a​ ​Virgin”​ ​to​ ​“Like​ ​a​ ​Prayer”,​ ​Madonna​ ​is
one​ ​of​ ​the​ ​most​ ​adapted​ ​and​ ​fluid​ ​artists​ ​to​ ​ever​ ​have​ ​entered​ ​the​ ​pop​ ​scene​ ​in​ ​the​ ​late​ ​seventies.
74
She​ ​has​ ​redefined​ ​herself​ ​over​ ​and​ ​over​ ​again​ ​throughout​ ​the​ ​decades​ ​keeping​ ​abreast​ ​of
what​ ​is​ ​new​ ​and​ ​exploring​ ​continually.​ ​This​ ​has​ ​helped​ ​her​ ​remain​ ​relevant​ ​an​ ​artist​ ​who​ ​has
kept​ ​up​ ​with​ ​the​ ​Pop​ ​market​ ​in​ ​the​ ​US​ ​since​ ​she​ ​went​ ​professional.
Madonna’s​ ​arch​ ​nemesis​ ​has​ ​been​ ​said​ ​to​ ​have​ ​been​ ​Cynthia​ ​Ann​ ​Stephanie​ ​Lauper
better​ ​known​ ​as​ ​Cyndi​ ​Lauper.​ ​She​ ​came​ ​out​ ​with​ ​the​ ​worldwide​ ​hits​ ​“Girls​ ​Just​ ​Wanna​ ​Have
Fun”,​ ​“Time​ ​After​ ​Time”,​ ​and​ ​“True​ ​Colors”,​ ​among​ ​many​ ​other​ ​works.​ ​She​ ​has​ ​also​ ​adapted​ ​to
the​ ​market​ ​through​ ​time​ ​and​ ​kept​ ​Relevant​ ​through​ ​her​ ​music,​ ​her​ ​message,​ ​and​ ​her​ ​heartfelt
performances.​ ​She​ ​recently​ ​won​ ​a​ ​Tony​ ​Award​ ​for​ ​composing​ ​the​ ​music​ ​in​ ​“Kinky​ ​Boots”
which​ ​premiered​ ​on​ ​Broadway​ ​in​ ​2012.​ ​Both​ ​artists​ ​have​ ​remained​ ​relevant​ ​over​ ​time​ ​because
they​ ​listened​ ​to​ ​the​ ​will​ ​of​ ​the​ ​market​ ​and​ ​adapted​ ​their​ ​craft​ ​to​ ​the​ ​Market.​ ​Relevance​ ​is​ ​the
active​ ​will​ ​of​ ​the​ ​market.​ ​To​ ​read​ ​the​ ​will​ ​of​ ​the​ ​Market,​ ​one​ ​can​ ​look​ ​at​ ​newspapers,​ ​social
media,​ ​review​ ​aggregator​ ​websites,​ ​surveys,​ ​recent​ ​market​ ​research​ ​statistics,​ ​and​ ​study​ ​the
buying​ ​patterns​ ​of​ ​the​ ​market.
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Virality:​ ​A​ ​Call​ ​to​ ​Action
With​ ​this​ ​information​ ​and​ ​with​ ​careful​ ​planning,​ ​ ​the​ ​aspiring​ ​artist​ ​should​ ​be​ ​able​ ​to​ ​gain
enough​ ​momentum​ ​to​ ​get​ ​up​ ​and​ ​get​ ​going​ ​on​ ​their​ ​Quest​ ​for​ ​Virality​ ​Casserole.​ ​It​ ​will​ ​take
planning,​ ​discipline,​ ​and​ ​studious​ ​care​ ​just​ ​as​ ​anything​ ​else​ ​of​ ​worth​ ​requires​ ​such​ ​focus.​ ​It​ ​will
take​ ​long-term​ ​thinking​ ​wherein​ ​one​ ​must​ ​play​ ​the​ ​long​ ​game​ ​for​ ​lasting​ ​success.​ ​The​ ​first​ ​step
towards​ ​Virality​ ​is​ ​this:​ ​to​ ​engage​ ​the​ ​Faith​ ​ingredient​ ​and​ ​begin​ ​a​ ​plan​ ​addressing​ ​each
ingredient​ ​from​ ​one’s​ ​weakness​ ​to​ ​one’s​ ​strength.​ ​To​ ​quote​ ​the​ ​great​ ​French​ ​physicist​ ​Blaise
Pascal,​ ​“​In​ ​faith​ ​there​ ​is​ ​enough​ ​light​ ​for​ ​those​ ​who​ ​want​ ​to​ ​believe​ ​and​ ​enough​ ​shadows​ ​to​ ​blind
those​ ​who​ ​don’t.”
76
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