section_path: 1970s–1980s: Commercialisation
section_name: 1970s–1980s: Commercialisation
paragraph_text: 1970s–1980s: Commercialisation
  
  Reflecting on developments that occurred in rock music in the early 1970s, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981):
  
  The decade is, of course, an arbitrary schema itself—time doesn't just execute a neat turn toward the future every ten years. But like a lot of artificial concepts—money, say—the category does take on a reality of its own once people figure out how to put it to work. "The '60s are over," a slogan one only began to hear in 1972 or so, mobilized all those eager to believe that idealism had become passe, and once they were mobilized, it had. In popular music, embracing the '70s meant both an elitist withdrawal from the messy concert and counterculture scene and a profiteering pursuit of the lowest common denominator in FM radio and album rock.
  
  Rock saw greater commodification during this decade, turning into a multibillion-dollar industry and doubling its market while, as Christgau noted, suffering a significant "loss of cultural prestige". "Maybe the Bee Gees became more popular than the Beatles, but they were never more popular than Jesus ", he said. "Insofar as the music retained any mythic power, the myth was self-referential – there were lots of songs about the rock and roll life but very few about how rock could change the world, except as a new brand of painkiller... In the '70s the powerful took over, as rock industrialists capitalized on the national mood to reduce potent music to an often reactionary species of entertainment—and to transmute rock's popular base from the audience to market."