DIY and Popular Music: Mapping an Ambivalent Relationship across Three Historical Case Studies

Jones, Ellis

doi:10.1080/03007766.2019.1671112

Cited by 12 publications

(10 citation statements)

References 26 publications

(12 reference statements)

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…DIY cultures are also often heralded as countercultures that are agentic and grounded in resistance. Jones (2021) has a pertinent observation. She claims, “what is consistent across different DIY scenes is an ambivalent relationship to popular music culture, and that what is changeable across scenes are practitioners’ approaches to managing that ambivalence.…”

Section: Trouble In the Diy Art Paradisementioning

confidence: 99%

“…Bennett and Guerra (2018) note the association of DIY culture with the alternative and the underground. According to Jones (2021: 1), “DIY” (as in “do-it-yourself”) describes a music culture wherein emphasis is placed on forming and maintaining spaces for production and distribution which exist outside of, and are positioned as oppositional to, the commercial music industries. These spaces tend to be relatively small-scale—“bedroom” record labels, “lo-fi” home recordings, and makeshift live venues—emphasizing frugality and self-sufficiency, but can combine to form larger “alternative” networks of music circulation.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Impact of social media on artistic ecosystems: An overview of DIY music cultures in India

Pathak-Shelat

2023

DIY, Alternative Cultures & Society

View full text Add to dashboard Cite

This article offers an overview of the Indian DIY (do-it-yourself) music ecosystem in relation to current broad debates on DIY scenes, their connections to mainstream cultural industries, platform capitalism, and national policies. This article specifically focuses on the impact of social media on India's artistic ecosystem as social media have been one of the most recent influencing socio-technological factors that have changed the dynamics of India's DIY music cultures. The author examines how the Internet has fuelled and transformed DIY music in India with special attention to three trends—rise of the regional; rise of the small town; and rise of the independent. This article also draws attention to concerning influences of social media on the art ecosystem ranging from precarity and exploitation, trolling and scams to compromising collective solidarity in favor of neo-liberal notions of individual success. This article argues that social media participation for DIY artists is not equitable and fair. Social media, however, facilitates building of social and commercial capital for artists who have had no access to it in the deeply hierarchical conventional system in India. Social media also opens the possibility of negotiating the hegemonic cultural norms, be it with reference to gender, class, caste, or rules imposed on art by established powers. It is ultimately the techno-capitalist power that dominates the artistic eco-systems but through social media, DIY artists find and create small agentic and resistive opportunities, and make themselves a force to reckon with in the Indian and global art and entertainment ecosystem.

show abstract

Section: Trouble In the Diy Art Paradisementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Impact of social media on artistic ecosystems: An overview of DIY music cultures in India

Pathak-Shelat

2023

DIY, Alternative Cultures & Society

View full text Add to dashboard Cite

show abstract

“…He uses the example of the ‘politicized’ ‘street choir’ movement in Britain to reflect critically on DIY punk's profound limitations, arguing that, whileDIY is purportedly deeply interested in increasing participation, and minimizing artist-audience distinctions, it is notable that it very rarely takes an approach which thoroughly emphasizes participation over and above adherence to the forms and units of popular music. (Jones, 2021: 62)…”

Section: Challenging the Diy/punk Nexusmentioning

confidence: 99%

“…DIY is purportedly deeply interested in increasing participation, and minimizing artist-audience distinctions, it is notable that it very rarely takes an approach which thoroughly emphasizes participation over and above adherence to the forms and units of popular music. (Jones, 2021: 62)…”

Section: Challenging the Diy/punk Nexusmentioning

confidence: 99%

Was punk DIY? Is DIY punk? Interrogating the DIY/punk nexus, with particular reference to the early UK punk scene, c. 1976–1984

McKay

2023

DIY, Alternative Cultures & Society

View full text Add to dashboard Cite

This article offers a critical provocation and reconceptualisation of the DIY/punk nexus, both to challenge the standard critical narrative of punk as originary DIY culture and to liberate the broader practice of DIY from the limits of punk. It critically traces the development of the discourse of DIY both in original British punk c. 1976–1984 and in what has become punk studies, mapping the development of the scholarly orthodoxy. It then challenges the latter via an interrogation of aspects of punk that have been repeatedly presented in the scholarship as evidence of its DIY-ness: punk mediation, instrumentation, and participation. These three then constitute a context for the central and more detailed critical exploration of the most widely accepted DIY/punk practice, the independent or self-produced record, which is also read as ‘non-DIY.’ The article concludes by widening the critical gaze via a call for DIY to undergo a process of depunking.

show abstract

“…Det er også lite sannsynlig at tallene kan overføres til Norge uten noen viktige justeringer som tar høyde for norske forhold. Men, når Gross og Musgrave forklarer hvorfor man ser disse tallene, peker på de på forhold som resonerer med forskningsintervjuene dette kapittelet bygger på, og som videre kan knyttes til digitale, fleksible og mer uavhengige artist-karrierer, beskrevet som artist-sentrert økonomi (Tschmuck, 2017), eller DIY (Jones, 2021). Gross og Musgrave peker saerlig på arbeidsmengde, arbeidstyper og økonomisk usikkerhet (Gross & Musgrave, 2020, s. 42).…”

Section: Skjulte Kostnaderunclassified

Nesten alene: Artisten, økonomien og bransjen

Nordgård¹

2022

Musikerne, Bransjen Og Samfunnet

View full text Add to dashboard Cite

This chapter explores the framework conditions under which Norwegian artists and managers work and discusses them against a backdrop of established theories on the effects of digitalization. The author’s ambition is to expand our understanding of how the current business of music works by focusing on the people who work with it. The chapter draws on a series of interviews with ten Norwegian artists and managers conducted during the winter of 2019/2020. Building on these interviews, this chapter argues that while digitalization certainly has offered artists and managers a range of possibilities, many of the ways they work are variations on traditional structures and models. A key finding in this research is that economic predictability and stability is central to how Norwegian artists and managers organize themselves and their work.

show abstract

DIY and Popular Music: Mapping an Ambivalent Relationship across Three Historical Case Studies

Cited by 12 publications

References 26 publications

Impact of social media on artistic ecosystems: An overview of DIY music cultures in India

Impact of social media on artistic ecosystems: An overview of DIY music cultures in India

Was punk DIY? Is DIY punk? Interrogating the DIY/punk nexus, with particular reference to the early UK punk scene, c. 1976–1984

Nesten alene: Artisten, økonomien og bransjen

Contact Info

Product

Resources

About