The British Dance Music Industry: A Case Study of Independent Cultural Production

1998 ◽  
Vol 49 (2) ◽  
pp. 234 ◽  
Author(s):  
David Hesmondhalgh
Keyword(s):  
Cultural Production ◽  
Music Industry ◽  
Dance Music

“Turning Ourselves”

2017 ◽  
Vol 21 (1-2) ◽  
pp. 236-258
Author(s):  
David G. Robertson
Keyword(s):  
Cultural Production ◽  
Music Industry ◽  
Spiritual Experience ◽  
Rock Group ◽  
Progressive Rock

In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production.

scholarly journals Techno, Frankenstein and copyright

Popular Music ◽  
2007 ◽  
Vol 26 (2) ◽  
pp. 259-280 ◽  
Author(s):  
MARK A. McCUTCHEON
Keyword(s):  
Twentieth Century ◽  
Intellectual Property ◽  
Cultural Production ◽  
Copyright Law ◽  
Contemporary Dance ◽  
Industrial Capitalism ◽  
Dance Music ◽  
Sound Recording ◽  
Underground Resistance

AbstractThis essay argues that the widespread but not widely recognised adaptation of Frankenstein in contemporary dance music problematises the ‘technological’ constitution of modern copyright law as an instrument wielded by corporations to exert increasing control over cultural production. The argument first surveys recent accounts of intellectual property law’s responses to sound recording technologies, then historicises the modern discourse of technology, which subtends such responses, as a fetish of industrial capitalism conditioned by Frankenstein. The increasing ubiquity of cinematic Frankenstein adaptations in the latter two decades of the twentieth century outlines the popular cultural milieu in which Detroit techno developed its futuristic aesthetic, and which provided subsequent dance music producers with samples that contributed to techno’s popularisation. These cultural and economic contexts intersect in an exemplary case study: the copyright infringement dispute in 1999 and 2000 between Detroit’s Underground Resistance (UR) techno label and the transnational majors Sony and BMG.

scholarly journals From roadman to royalties: Inter-representational value and the hypercapitalist impulses of grime

2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods
Keyword(s):  
Digital Media ◽  
Music Industry ◽  
Music Videos ◽  
Digital Recording ◽  
Commercial Success ◽  
Production And Distribution ◽  
Ubiquitous Access ◽  
Rap Artists

This paper explores how digital media can cause the representational value of rap artists to be transformed. Ubiquitous access to digital recording, production and distribution technologies grants rappers an unprecedented degree of representational autonomy, meaning they are able to integrate the street aesthetic into their lyrics and music videos, and thus create content that offers a more authentic representation of their (past) lives. Sidestepping the mainstream music industry, the digital enables these integrations and bolsters the hypercapitalist impulses of content creators. I illustrate these ideas through a case study of grime artist, Bugzy Malone, who uses his music to narrate his evolution from a life of criminality (selling drugs on the street; a ‘roadman’), to one in which his representational value is recognised by commercial brands who want to partner with him because of his street credibility (collecting ‘royalties’). Bugzy Malone’s commercial success is not predicated on a departure from his criminal past, but the deliberate foregrounding of it as a marker of authenticity. The representational autonomy provided by digital media can therefore enable artists to maximise the affective cachet of the once-criminal self.

scholarly journals “Splendid Isolation”: The reproduction of music industry inequalities in Spotify’s recommendation system

2021 ◽  
pp. 146144482110221
Author(s):  
Tamas Tofalvy ◽  
Júlia Koltai
Keyword(s):  
Network Analysis ◽  
Recommendation System ◽  
Music Industry ◽  
Country Of Origin ◽  
Small Scale ◽  
Primary Determinant ◽  
Scale Network ◽  
Splendid Isolation

In this article, we argue that offline inequalities, such as core–periphery relations of the music industry, are reproduced by streaming platforms. First, we offer an overview of the reproduction of inequalities and core–periphery dynamics in the music industry. Then we illustrate this through a small-scale network analysis case study of Hungarian metal bands’ connections on Spotify. We show that the primary determinant of a given band’s international connectedness in Spotify’s algorithmic ecosystem is their international label connections. Bands on international labels have more reciprocal international connections and are more likely to be recommended based on actual genre similarity. However, bands signed with local labels or self-published tend to have domestic connections and to be paired with other artists by Spotify’s recommendation system according to their country of origin.

scholarly journals A Colloquium on TVTV

2001 ◽  
Vol 26 (3) ◽  
Author(s):  
Bob Hanke
Keyword(s):  
Media Studies ◽  
Cultural Production ◽  
Pierre Bourdieu ◽  
Public Knowledge ◽  
Sociological Perspective ◽  
Media Study ◽  
Etude De Cas ◽  
Paradoxical Effects ◽  
Television Journalism

Abstract: This article presents a case study of a televised encounter between representatives of the fields of television, journalism, and academic media study. The article moves from a description of what was, and could be, said during Moses Znaimer's A Colloquium on TVTV to an analysis of invisible fields of cultural production and their effects. I argue that Pierre Bourdieu's work on television offers a valuable sociological perspective on television, intellectuals, and public knowledge, but that Canadian Learning Television's use of media studies may have paradoxical effects. Unless media scholars reflect upon these effects and begin to negotiate the terms and conditions of our appearance on television, our involvement may not increase the power of our analysis. Résumé: Cet article présente une étude de cas sur une rencontre télévisée entre des représentants des mondes télévisuel, journalistique, et académique. L'article part d'une description de ce que ceux-ci ont dit ainsi que de ce qu'ils auraient pu dire lors du Colloque sur TVTV de Moses Znaimer, pour aboutir à l'analyse de champs invisibles de production culturelle et de leurs effets. Je soutiens que le travail de Pierre Bourdieu sur la télévision offre une perspective sociologique de valeur sur la télévision, les intellectuels, et le savoir public, mais que l'utilisation d'études médiatiques par Canadian Learning Television («La Télévision d'enseignement canadienne») pourrait avoir des conséquences paradoxales. À moins de négocier les modalités de nospassages à la télévision, nous les chercheurs médiatiques aurons de la difficulté à accroître le pouvoir de nos analyses.

Transit to East Germany: The Distribution and Reception of Once Upon a Time in the West in the German Democratic Republic

2016 ◽  
Author(s):  
Rosemary Stott
Keyword(s):  
German Democratic Republic ◽  
Cultural Production ◽  
Democratic Republic ◽  
East Germany ◽  
West Germany ◽  
Federal Republic Of Germany ◽  
Business Professionals ◽  
The West ◽  
Nation States

This chapter examines the relocation, transition, and appropriation of the Spaghetti Western in a hitherto under-researched context: the German Democratic Republic (East Germany), prior to its unification with the Federal Republic of Germany (West Germany) in 1990. It explores the selection, distribution and reception of Once Upon a Time in the West (C'era una volta il West, Sergio Leone, 1968) in the German Democratic Republic as a case study of how international cultural transfer causes objects of cultural production to be repositioned as they enter a new reception context. It also examines the ideological, economic, and sociological concerns underpinning the decisions of those who facilitated the movement of film across the political, cultural, and linguistic boundaries of nation states. In East Germany, the facilitators involved in the selection, censorship, dubbing, and promotion of films were mainly government administrators rather than film business professionals, because film was a state-controlled industry. The chapter focuses on the ‘official’ reception of the film on the basis of available censorship protocols and government policy papers, as well as print media sources.

Platformized book prosumption on Wattpad: Reading and writing in the case of a pandemic diary

Book 2 0 ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 139-155 ◽  
Author(s):  
Sven Stollfuß
Keyword(s):  
Communities Of Practice ◽  
Community Engagement ◽  
Cultural Production ◽  
Cultural Exchange ◽  
Data Driven ◽  
Mutual Relationship ◽  
Reading And Writing ◽  
Collaborative Community ◽  
Social Reading

This article investigates how readers and writers engage on the Wattpad platform. As examples of the digitalization of book culture, platforms such as Wattpad allow converging practices of reading and writing by means of collaborative community actions of prosumption in a data-driven environment of communication and cultural exchange. Following the concepts of prosumption, communities of practice and the platformization of media cultural production, I refer to Wattpad’s converging practices of reading and writing as ‘platformized book prosumption’. To understand how platformized book prosumption works on the Wattpad platform, I will analyse the reading and writing of the most frequently read COVID-19 online diary as a case study. In doing so, I will discuss the mutual relationship between author reflection and community engagement in social reading and writing on the Wattpad platform.

Professional Female Singers and the Gendering of Folk

2017 ◽  
Author(s):  
Stefan Fiol
Keyword(s):  
Cultural Production ◽  
Music Industry ◽  
Social Position ◽  
Professional Identities ◽  
Folk Culture ◽  
Folk Concept ◽  
Vernacular Music ◽  
Degree Of Acceptance ◽  
Female Singers ◽  
Scholarly Discourse

In much scholarly discourse there is an assumption that women are the natural repositories of folk culture. Although this assumption is often rooted in an important feminist motivation to challenge oppressive ideologies within patriarchal societies, this chapter argues that it is ultimately unhelpful to think about folk culture as an inherently male or female domain of cultural production. Chapter five critiques the gendering of the folk concept by comparing and contrasting the experiences of two professional female artists in Uttarakhand, Meena Rana and Bachan Dei. Both women have established their professional identities through interpretations of village-based repertories of song and dance, but each performer has experienced a different degree of acceptance and inclusion within the vernacular music industry as a result of her social position and caste background.

Still Watching Other People’s Programmes?

2011 ◽  
pp. 378-390
Author(s):  
Theodoulos Theodoulou ◽  
Savvas Papagiannidis
Keyword(s):  
Value Creation ◽  
Value Chain ◽  
Music Industry ◽  
Analysis Framework ◽  
Value Chain Analysis ◽  
Television Industry ◽  
A Value ◽  
Chain Analysis

In this paper, the authors adapt a value chain analysis framework used in the music industry and apply it to the television industry, in order to probe the television value creation and distribution mechanisms and examine how they were affected by technology. More specifically, they examine how viewers can effectively become producers by repositioning themselves in the value chain and the implications of such a shift. Their discussion takes place in the context of a case study, that of Current TV, in order to illustrate in practice the opportunities and implications for the content producers, the broadcasters, and the viewers themselves.

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