This type of straw-man construction happens all the time. For much of my life, I lived under the fable that record labels were inherently evil. I was ceaselessly reminded that corporate forces stopped artists from doing what they truly desired—they pushed musicians toward predictable four-minute radio singles that frowned upon innovation, and they avariciously turned art into a soulless commodity that MTV could sell to the lowest common denominator. And that did happen, sometimes. But some artists need that, or they end up making albums like this.
