The music industry and the `cultural imperialism' thesis

World music, authenticity and Africa: Reading Cesaria Evora and Ali Farka Toure

“…For a broad theoretical accounting of the World Music see Taylor (1997), Tenzer (1996), Feld (1994, Keil andFeld (1994), Nettl, Turnino, Wong, Capwell &Bohlman (2004) and Bohlman (2002). For studies on World Music within the field of cultural studies, see Barrett (1996), Goodwin and Gore (1990), Erlmann (1996) For studies within the field of International Communication, see Colista andLeshner's (1998), Garafalo (1993), Laing (1986) and Roberts (1992).…”

Alternative music and mediation in late New Order Indonesia

“…In the early 1980s, when the 'full deployment of satellite transmission created the possibility of the simultaneous broadcast of performances on a worldwide scale' (Garofalo 1991: 327), Alternative music in late New Order Indonesia 221 scholars of pop and rock music (Mitchell 1996;Garofalo 1991;Frith 1991;Laing 1986;Shuker 1995) began to emerge as prominent critics of the cultural imperialism thesis. Many have argued that globalisation of the music industry has followed a post-imperial model.…”

“…All perform mostly original sets, with Western artists providing the stylistic raw material that is subsequently adapted to local circumstances. (WrightNeville 1996: 39) Many scholars of rock and pop music also assert that non-Western consumers of Western media texts tend to negotiate the meanings of such texts as they seek discursive ammunition with which to resist local oppressions (Laing 1986;Shuker 1995). Thus, as Hesmondhalgh (1998: 166) notes, 'the effectiveness of the criticisms of the CI thesis is rooted in (a) sense of pop's odd radicalism'.…”

Creating a scene

“…Many scholars of rock and pop argue that non-western consumers of western media texts tend to negotiate the meanings of such texts as they seek discursive ammunition with which to resist local oppressions (Laing, 1986;Shuker, 1995).…”