Artists as Entrepreneurs, Fans as Workers

Morris, Jeremy Wade

doi:10.1080/03007766.2013.778534

Cited by 81 publications

(58 citation statements)

References 18 publications

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“…Those bonds with consumers can directly benefit musicians in particular, whether in terms of psychological support or economic returns. In the realm of music today, consumers are both voluntary promoters in on-and offline spaces -for example, in the Swedish Model (Baym and Burnett, 2009), as patrons such as ArtistShare (Wikstrom, 2009), and as creative partners, as in the case of Imogen Heap (Morris, 2014). Those examples demonstrate that the participatory desires of consumers and the economic objectives of record labels can co-exist and support each other.…”

Section: The Participatory Paradigm Of Consumers In Cultural Marketsmentioning

confidence: 99%

“…Research has illustrated that like-minded artists and cultural corporations are eager to build relationships with their consumers by using social networking technologies (Baym and Burnett, 2009;Burnes and Choi, 2015;Choi and Burnes, 2013;Morris, 2014). The cardinal reason for developing relationships with their consumers is that cultural producers understand that consumers of cultural goods are key contributors to developing and maintaining cultural markets (Choi and Burnes, 2016).…”

Section: The Participatory Paradigm Of Consumers In Cultural Marketsmentioning

confidence: 99%

“…Not only that, but music consumers can also act as promoters and publicists (Baym and Burnett, 2009), financial supporters (Wikstrom, 2009), co-producers (Morris, 2014), and active actors in sustaining the market for music (Choi and Burnes, 2016). Such studies highlight, among other things, that producers in the recording industry should cultivate relationships with music consumers and that music consumers should be regarded as co-creators of value.…”

Section: Introductionmentioning

confidence: 99%

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Bonding and spreading

Choi

Burnes

2017

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Purpose: Although social media proficiency and use are key business and marketing practices in today's digital environment, research has failed to offer sufficient insights into what drives small firms to use social media and how they vitalise co-creative social media environments with consumers. In response, we conducted a qualitative research study to examine how small firms utilise social media to interact and build bonds with consumers.These bonds become an important tool in the development of successful, profitable businesses and marketing practices in the digital age.Design/methodology/approach: To examine how small firms use social media to engage with consumers and vice versa, we utilised a case-study approach and collected qualitative data by conducting semi-structured interviews. Findings:Our results showed that the small firms in this research seek to establish relationships and facilitate interactions with their core consumers in order to co-create value.In particular, our data demonstrate that producers engage in two distinctive practices: bonding (i.e. cultivating emotional ties with music fans) and spreading (i.e. encouraging expressive circulation by fans). Altogether, our findings indicate that the representative firms in this research use social media to develop synergistic relationships with consumers and to tap into the collective energy of consumers in their business environments. Originality/value:We show that small companies use social media to establish relationships and interact with fans in order to co-create value and vitalise collective consumption, engagement and participation. The case blurs the traditional distinction between production 4 and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.

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Section: The Participatory Paradigm Of Consumers In Cultural Marketsmentioning

confidence: 99%

Section: The Participatory Paradigm Of Consumers In Cultural Marketsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Bonding and spreading

Choi

Burnes

2017

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“…Writing in a more ambivalent register, Morris (2014) examines the ways in which the internet has blurred existent categories of music production and consumption, but examines a more quotidian example: the social media account of musician Imogen Heap.…”

Section: Consumption: Empowerment and Co-creationmentioning

confidence: 99%

“…It has been recognized that the influx of digital recording and performance technologies since the 1980s has blurred the boundaries between production and consumption (Théberge, 1997). This has spurred greater degrees of labour and participation by music fans (Morris, 2014;Galuzska, 2015) and produced institutional indeterminacy, rooted in cross-industry convergence, and in particular, the increasing presence of the computational industries (Morris, 2015b). The example of Bandcamp indicates a translation of both consumers and producers into service subscribers.…”

Section: Labour Incorporatedmentioning

confidence: 99%

Shine a Light: Surveying Locality, Independence, and Digitization in Ottawa’s Independent Rock Scene

Audette-Longo¹

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This dissertation examines the articulation and reconfiguration of locality inOttawa's independent (indie) rock scene. It argues that styles of producing and relating to indie music that have been traditionally embedded in local scenic activity and practices of "do it yourself" (DIY) have been translated into more ubiquitous, quotidian, and valuable metadata and labour that organizes and powers the operations of disparate digital media sites, including digital music services like Bandcamp, CBC Radio 3, and Wyrd Distro.This argument is developed through closer analyses of the following case studies: the entrepreneurial strategies and musical focuses of Ottawa-based independent record labels Kelp and Bruised Tongue Records; scene-bound media like zines, blogs, music video and campus/community radio; the re-articulation of local regions as metadata that organize the search and retrieval functionalities of the digital music streaming services CBC Radio 3 and Bandcamp (a particular iteration of local regions I dub the "indexi-local"); and the concurrent incorporation of DIY labour and reconfiguration of the business of independent music evident in the digital music retailers Bandcamp and Wyrd Distro.This project contends that in the midst of digitization, the media sites, entrepreneurial strategies, and subcultural practices traditionally folded into the production of independence in local indie music scenes persist. This not only nuances narratives of upheaval advanced about digital media technologies, but also challenges narratives of decline and compromise recurrently articulated to the field of independent music. Contra academic and popular discourse that valorizes independent music for its ability to circulate outside of the "mainstream" musical, media, and cultural industries, this dissertation contends that independent music is entangled within these industries.iii Moreover, the persistence of local music scenes across the sites examined in this dissertation signals the continued value, power, and allure of independent music's activities, subcultural commodities, and grassroots media sites to both scene participants and digital music services alike.

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Mediating Metal on Merseyside

Hassan¹

2021

Palgrave Studies in the History of Subcultures and Popular Music

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Artists as Entrepreneurs, Fans as Workers

Cited by 81 publications

References 18 publications

Bonding and spreading

Bonding and spreading

Shine a Light: Surveying Locality, Independence, and Digitization in Ottawa’s Independent Rock Scene

Mediating Metal on Merseyside

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