1.  The theory of deconstruction applies to many topics.  For instance, text.

Deconstruction generally tries to demonstrate that any text is not a discrete whole but contains several irreconcilable and contradictory meanings; that any text therefore has more than one interpretation; that the text itself links these interpretations inextricably; that the incompatibility of these interpretations is irreducible; and thus that an interpretative reading cannot go beyond a certain point.  We can apply this theory to music as well.  In addition to that, we can apply deconstruction to the industry itself.  J. Hillis Miller has described deconstruction this way:

Deconstruction is not a dismantling of the structure of a [work], but a demonstration that it has already dismantled itself. Its apparently-solid ground is no rock, but thin air.

The above statement from Mr. Miller applies to the music industry and major labels perfectly.

2.  The deconstruction theory is also the idea that in order to create a successful music industry we must first dismantle the current heir-achy of faulty and corrupt entities and make way for the passionate, talented, and driven artists.  We need to deconstruct the systems that are dragging the industry down.  If it isn’t working, we need to fix it.

So what am I doing about it?  What are you doing about it?  Create, produce, and propagate music to the masses. The music you want to make that they want to hear.  I am here to assist artists in that creation and to help guide them through the process.