This article is based on an ethnographic study of the independent (indie) rock scene in the east ... more This article is based on an ethnographic study of the independent (indie) rock scene in the east side Los Angeles neighborhood of Echo Park. There is very little money derived from music circulating in this scene (musicians are routinely paid only about $35–40 for a show), and musicians, indie label owners, and others attach symbolic values to certain amounts of money, which are viewed in terms of what they can help the musicians purchase, such as gas for the band’s van. People in the scene also produce and exchange value in a number of ways that aren’t capitalist, from generalized reciprocity to several forms of patronage. This article ultimately argues that scenes such as this are simultaneously maintained and destroyed by capitalism: maintained because capitalism needs a reserve army of those who operate outside of it but destroyed because such scenes are deprived of their ability to reproduce themselves given how little money circulates.
Les festivals de musiques du monde remplissent de nombreuses fonctions, y compris celle de reduir... more Les festivals de musiques du monde remplissent de nombreuses fonctions, y compris celle de reduire les expressions orales du monde entier a un « genre » supposement identifiable et controlable. Cet article montre que le genre n’est pas une simple categorie rassemblant des entites de style similaire, mais une pratique sociale actuelle de classification et de compartimentation. Dans un systeme capitaliste, il est necessaire de rendre l’Autre commercialisable, notamment a des epoques marquees par une modification des modeles de consommation. Tous ces facteurs participaient deja a la construction du marche des « musiques du monde » dans les annees 1980. Les festivals perpetuent et accentuent ce processus dans la mesure ou ils contribuent au travail culturel de positionnement des musiques du monde (en termes de genre).
This article is based on an ethnographic study of the independent (indie) rock scene in the east ... more This article is based on an ethnographic study of the independent (indie) rock scene in the east side Los Angeles neighborhood of Echo Park. There is very little money derived from music circulating in this scene (musicians are routinely paid only about $35–40 for a show), and musicians, indie label owners, and others attach symbolic values to certain amounts of money, which are viewed in terms of what they can help the musicians purchase, such as gas for the band’s van. People in the scene also produce and exchange value in a number of ways that aren’t capitalist, from generalized reciprocity to several forms of patronage. This article ultimately argues that scenes such as this are simultaneously maintained and destroyed by capitalism: maintained because capitalism needs a reserve army of those who operate outside of it but destroyed because such scenes are deprived of their ability to reproduce themselves given how little money circulates.
Les festivals de musiques du monde remplissent de nombreuses fonctions, y compris celle de reduir... more Les festivals de musiques du monde remplissent de nombreuses fonctions, y compris celle de reduire les expressions orales du monde entier a un « genre » supposement identifiable et controlable. Cet article montre que le genre n’est pas une simple categorie rassemblant des entites de style similaire, mais une pratique sociale actuelle de classification et de compartimentation. Dans un systeme capitaliste, il est necessaire de rendre l’Autre commercialisable, notamment a des epoques marquees par une modification des modeles de consommation. Tous ces facteurs participaient deja a la construction du marche des « musiques du monde » dans les annees 1980. Les festivals perpetuent et accentuent ce processus dans la mesure ou ils contribuent au travail culturel de positionnement des musiques du monde (en termes de genre).
Page 95. 4 Bad World Music1 TIMOTHY D. TAYLOR This chapter is not about music that people think i... more Page 95. 4 Bad World Music1 TIMOTHY D. TAYLOR This chapter is not about music that people think is bad. It is about music that is relegated to the margins of the" world mu-sic" category by the increasingly dominant music ...
Page 95. 4 Bad World Music1 TIMOTHY D. TAYLOR This chapter is not about music that people think i... more Page 95. 4 Bad World Music1 TIMOTHY D. TAYLOR This chapter is not about music that people think is bad. It is about music that is relegated to the margins of the" world mu-sic" category by the increasingly dominant music ...
The effect of radio cannot be underestimated. It was perhaps the most important electronic techno... more The effect of radio cannot be underestimated. It was perhaps the most important electronic technological innovation of the 20th century, at least in the US. It recon gured notions of public and private, helped usher in a new form of the consumer economy, played a large role in the creation of the star system in the entertainment industry, gave the country the rst mass-media superstar in popular music, Rudy Vallee, and more. While some scholarly literature (though not much) has paid attention to the programming of music on the air, this essay considers the early days of radio and the rhetoric surrounding the period immediately following its development, and the role that music played in promoting radio. This historical moment in the rise of a technology seems to be a particularly interesting juncture, especially with respect to radio. Workers in the eld of science and technology studies (STS) tend to concentrate on the development of a new technology, or its subsequent uses, but less...
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