Artists as Entrepreneurs, Fans as Workers.
This paper uses the increasing integration of social media into music making and marketing to reflect on the work artists and their fans perform. While new technologies are celebrated for making cultural production more accessible, there is also more pressure on artists, as cultural entrepreneurs, t...
| Publicado en: | Popular Music & Society Vol. 37; no. 3; pp. 273 - 291 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Jul2014
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | This paper uses the increasing integration of social media into music making and marketing to reflect on the work artists and their fans perform. While new technologies are celebrated for making cultural production more accessible, there is also more pressure on artists, as cultural entrepreneurs, to produce and distribute their own work. At the same time, fans are facing greater invocations to participate through overt calls to become co-creators or through more passive participation like behavior tracking. Fans cannot really consume without working. Using an analysis of British musician Imogen Heap—including press articles and data scrapes from Heap's social media accounts—this paper focuses on the changing occupational and creative roles for artists and fans and the attendant implications for the circulation of cultural goods. |
|---|