Micro-independent record labels in the UK
Abstract This article examines the relationship between the practices of do-it-yourself (DIY) micro-independent record labels in the UK and wider mediated discourses surrounding the music industry. It is suggested that a heightened version of the art versus commerce dichotomy central to rock ideolog...
Published in: | European Journal of Cultural Studies |
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Language: | English |
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Sage Publications
2011
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Online Access: | http://hdl.handle.net/2262/52274 https://doi.org/10.1177/1367549407075916 |
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fttrinitycoll:oai:tara.tcd.ie:2262/52274 2023-05-15T15:05:17+02:00 Micro-independent record labels in the UK 2011-03-01T05:28:27Z http://hdl.handle.net/2262/52274 https://doi.org/10.1177/1367549407075916 en eng Sage Publications Sage UK: London, England 1367-5494 (ISSN) http://hdl.handle.net/2262/52274 European Journal of Cultural Studies 10 2 245 265 doi:10.1177/1367549407075916 Open Access art/commerce binaries DIY culture media power music industry popular music production of culture 2011 fttrinitycoll https://doi.org/10.1177/1367549407075916 2020-02-16T13:51:32Z Abstract This article examines the relationship between the practices of do-it-yourself (DIY) micro-independent record labels in the UK and wider mediated discourses surrounding the music industry. It is suggested that a heightened version of the art versus commerce dichotomy central to rock ideology provides the basis for a number of legitimizing theories through which the aesthetic and industrial conventions of these practitioners are justified and given importance. First, the article suggests that these legitimizing theories serve to narrow the scope of, and draw distinct boundaries around, small-scale cultural production. Second, through a self-conscious critique of globalized corporate media they serve as an engagement with the politics of cultural production and, ultimately, media power. Finally, using two prominent case studies relating to new technology (Arctic Monkeys and Clap Your Hands Say Yeah) the article examines the ways in which discourses relating to DIY cultural production impact upon mainstream music industry practice and discourse. R.Strachan@liverpool.ac.uk (Strachan, Robert) University of Liverpool - (Strachan, Robert) Other/Unknown Material Arctic The University of Dublin, Trinity College: TARA (Trinity's Access to Research Archive) Arctic European Journal of Cultural Studies 10 2 245 265 |
institution |
Open Polar |
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The University of Dublin, Trinity College: TARA (Trinity's Access to Research Archive) |
op_collection_id |
fttrinitycoll |
language |
English |
topic |
art/commerce binaries DIY culture media power music industry popular music production of culture |
spellingShingle |
art/commerce binaries DIY culture media power music industry popular music production of culture Micro-independent record labels in the UK |
topic_facet |
art/commerce binaries DIY culture media power music industry popular music production of culture |
description |
Abstract This article examines the relationship between the practices of do-it-yourself (DIY) micro-independent record labels in the UK and wider mediated discourses surrounding the music industry. It is suggested that a heightened version of the art versus commerce dichotomy central to rock ideology provides the basis for a number of legitimizing theories through which the aesthetic and industrial conventions of these practitioners are justified and given importance. First, the article suggests that these legitimizing theories serve to narrow the scope of, and draw distinct boundaries around, small-scale cultural production. Second, through a self-conscious critique of globalized corporate media they serve as an engagement with the politics of cultural production and, ultimately, media power. Finally, using two prominent case studies relating to new technology (Arctic Monkeys and Clap Your Hands Say Yeah) the article examines the ways in which discourses relating to DIY cultural production impact upon mainstream music industry practice and discourse. R.Strachan@liverpool.ac.uk (Strachan, Robert) University of Liverpool - (Strachan, Robert) |
title |
Micro-independent record labels in the UK |
title_short |
Micro-independent record labels in the UK |
title_full |
Micro-independent record labels in the UK |
title_fullStr |
Micro-independent record labels in the UK |
title_full_unstemmed |
Micro-independent record labels in the UK |
title_sort |
micro-independent record labels in the uk |
publisher |
Sage Publications |
publishDate |
2011 |
url |
http://hdl.handle.net/2262/52274 https://doi.org/10.1177/1367549407075916 |
geographic |
Arctic |
geographic_facet |
Arctic |
genre |
Arctic |
genre_facet |
Arctic |
op_relation |
1367-5494 (ISSN) http://hdl.handle.net/2262/52274 European Journal of Cultural Studies 10 2 245 265 doi:10.1177/1367549407075916 |
op_rights |
Open Access |
op_doi |
https://doi.org/10.1177/1367549407075916 |
container_title |
European Journal of Cultural Studies |
container_volume |
10 |
container_issue |
2 |
container_start_page |
245 |
op_container_end_page |
265 |
_version_ |
1766337015714938880 |