‘Gimme shelter’: Observations on cultural protectionism and the recording industry in Canada

Wright, Robert

doi:10.1080/09502389100490251

Cited by 22 publications

(6 citation statements)

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“…The second is the censoring ‘authoritarian state’ of dictatorships or one-party states. Third is the ‘promotional state’ which designs policies and programmes to support the audibility and visibility of domestic sounds (see also Berland 1991; Rutten 1991; Wright 1991; Breen 1999; Looseley 2003; Strachan and Leonard 2004; McLeay 2006; Makela 2008). Since 1999, New Zealand can be seen as an example of a promotional state, for it came to regard popular music ‘as something of a national asset’ – a cultural form to be bolstered in the face of Anglo-American cultural domination (Cloonan 1999, p. 204).…”

Section: The Promotional Statementioning

confidence: 99%

“…Popular Music Studies have generated an emerging literature on the relations between state policies, the market economy and popular music (Wallis and Malm 1984;Berland 1991;Rutten 1991;Wright 1991;Bennett 1993;Breen 1999;Cloonan 1999Cloonan , 2007Eling 1999;D'Arcy and Brindley 2002;Power and Scott 2004;Strachan and Leonard 2004;Young 2004;McLeay 2006;Makela 2008). In the wake of policymakers' creative industry turn (Florida 2002;Hesmondhalgh and Pratt 2005;Oakley 2006), into whose ambit popular music was often folded (DCMS 1998(DCMS , 2001; Office of the Prime Minister 2003), academic attention has been especially drawn to the various contested means and ends of state support for popular music industries.…”

Section: Introductionmentioning

confidence: 99%

“…Some core themes in this field include how popular music making is aligned to welfare (Cloonan 2007; Baker et al 2009), forms of state regulation notably around live music venues (see, for example, Homan 2003), domestic broadcast quotas (Wright 1991; Strachan and Leonard 2004) and copyright issues post web 2.0 (Golding and Murdock 2010), along with an interest in the export policies of semi-peripheral states (see, for example, Makela 2008). In general, these popular music studies illustrate how the state, despite various claims to the contrary, remains as a central institution supporting national arts and culture, and the more contemporary creative industries.…”

Section: Introductionmentioning

confidence: 99%

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The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance

Scott¹,

Craig²

2012

Pop. Mus.

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AbstractThis article responds to Frith and Cloonan's (2008) call for researchers considering the relationship between the state and popular music to analyse more closely the ideologies of governance that undergird music policy. Building on Cloonan's ‘promotional state’ and drawing on recent New Zealand experience, this paper shows how New Zealand's Labour government (1999–2008) developed policies to support the export of ‘Kiwi’ pop which requires a reconsideration of state music policy as interventions in the market. The work of the New Zealand Music Commission in generating and coordinating working partnerships with diverse music industry actors illustrates emerging forms of ‘after neo-liberal’ ideology and governance, wherein state-related actors and musicians each and together adapt to market arrangements through supply side, social inclusion and new institutional policy settings and modalities. This article offers points of comparison to types of ideological and governing/institutional formations we can expect to see emerging in promotional states elsewhere.

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Section: The Promotional Statementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance

Scott¹,

Craig²

2012

Pop. Mus.

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“…The winners in many of the proposed categories would be based on the highest sales, and two categories would be for international performers (Adilman, 1974;Martin, 1974). This reflects the orientation of the CRIA, which primarily represents the interests of the major foreign labels in Canada and therefore regards record sales to be more important than whether the music is "Canadian" (Wright, 1991). At the time the new ceremony was announced, the CRIA was close to concluding negotiations with CTV to televise the Maple Music Awards a month after the Junos were held in 1974 (Adilman, 1974).…”

Section: Control Over the Awards Ceremonymentioning

confidence: 99%

The CBC and the Juno Awards

Young

2005

Canadian Journal of Communication

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Through a case study of the Juno Awards, this article attempts to enhance what is known about the crisis facing the Canadian Broadcasting Corporation (CBC). The CBC worked with the Canadian Academy of Recording Arts and Sciences (CARAS) on the annual ceremony for the Canadian music industry from the mid-1970s to 2001. An analysis of this time frame gives rise to three arguments about the CBC and the Juno Awards. First, as applied to the Junos, the concept of a promotional state for popular music provides insights into the CBC's crisis. Second, the role of CARAS points to the possibility that outside control has exacerbated the crisis in the CBC. Third, the CBC's response to CARAS' control suggests that the public broadcaster may have contributed to its own crisis.Résumé : Au moyen d'une étude de cas sur les prix Juno, cet article tente d'augmenter ce qu'on sait sur la crise à laquelle le CBC fait face actuellement. Le CBC a collaboré avec l'Académie canadienne des arts et des sciences de l'enregistrement (CARAS) pour diffuser la cérémonie annuelle de remise des prix Juno du milieu des années 70 à 2001. Une analyse de cette période mène à trois observations sur le CBC et les prix Juno. Premièrement, en ce qui a trait aux Juno, l'idée d'un état promotionnel pour la musique populaire aide à comprendre la crise du CBC. Deuxièmement, le rôle joué par CARAS semble indiquer que des contrôles externes ont aggravé la crise au CBC. Troisièmement, la manière dont le CBC a réagi aux contrôles de CARAS suggère que le radiodiffuseur public a peut-être contribué lui-même à aggraver sa crise.

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“…As Straw pointed out in 1996, "There is still no book-length study of the Canadian record industry, though a decade of public policy has left a paper trail o f consultants' documents and industry profiles " (1996a, p. 112). popular music tends to focus on two areas: either the attempt to identify a particular Canadian 'sound' or 'tradition'(see Grant, 1986;Brown, 1991;Wright, 1994)7 or the position of the Canadian industry relative to the United States and the success or failure of certain cultural policy measures in that regard (see Berland, 1991;Garofalo, 1991;Wright, 1991;Straw & Berland, 2001).…”

Section: So?mentioning

confidence: 99%

Making scenes: studying local independent music in Canada

Vincent¹

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This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.

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‘Gimme shelter’: Observations on cultural protectionism and the recording industry in Canada

Cited by 22 publications

References 1 publication

The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance

The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance

The CBC and the Juno Awards

Making scenes: studying local independent music in Canada

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