Updated: 12 July 2018 Written by: Natalya Davies
“This release does suggest something slightly more unsettling; that the value of a deceased artist is little more than a business asset, one strategized to send shock waves into the music community”
Unless you live under a rock (lucky you), you will surely have heard the news of Drake’s latest album ‘Scorpion’, which dropped on the 29th of June, shattering numerous music records, including those held by J Cole, The Beatles and even Michael Jackson. Ironically, while Drake overtook Michael Jackson’s record for the most Hot 100 Top 10’s achieved by a male solo artist at 31 hits, “Don’t Matter To Me” earned Jackson his 30th.
The unexpected feature quickly stirred excitement among music fans upon the album’s release, earning a number 2 position on the official singles chart. While this may not be the first time that Jackson has made a posthumous appearance, it is clear that the late star is still extremely relevant in the modern music world.
In times like this, it becomes apparent that we live in an incredible time period where we possess the ability and technological resources to glorify and recreate beloved, influential artists like MJ, through the use of unreleased works and even holograms. However, access to such power must call for ethical guidelines: in other words, is it ethical to profit from a part of a late person’s identity?
Before I continue, I will state that I love that the ability to encapsulate the essence of a late, great artist and input them into the modern world, exists. The musical contributions of artists like Jackson, Bowie and even Tupac are, without a doubt, worthy of this kind of glorification and exposure to younger audiences, keeping their existence alive through their music.
Similarly, this kind of collaboration is a great promotional tool for Drake, himself. Despite being one of the most successful artists of the modern age, much of this is a result of the clever marketing decisions made by him and his team. His involvement within the Sports and Fashion industry through the Toronto Raptors and his clothing line OVO (October’s Very Own) has exposed Drake’s presence and music to two varying industries which, otherwise, may not have shown a particular interest in him. In this situation, the collaboration has exposed Drake to a much older audience which are more likely to be stunned by a posthumous release and the nostalgia that Jackson’s distinctive voice brings.
“Where is the line between paying respects and seeking to be paid as a result of these respects?”
On the other hand, this release does suggest something slightly more unsettling; that the value of a deceased artist is little more than a business asset, one strategized to send shock waves into the music community. It has to be said, the news that Drake has collaborated with unreleased work from a late artist would surely urge a large amount of people towards his latest release; even if they are not particularly a fan. This ‘shock factor’ that is achieved with strategies like this is an extremely powerful ploy to, not only engage interests of many, but also to urge them to spread the word: quick and effective marketing.
Take the 2012 Tupac appearance at Coachella, for example. Who wasn’t baffled by the weekend’s events?
Engagement, however, is not the issue here. It is the idea of blatant capitalisation of a late being’s identity and success. Where, really, is the line between paying respects and seeking to be paid as a result of these respects?
CLICK HERE TO LISTEN: ‘DON’T MATTER TO ME’
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