‘You've got to go to gigs to get gigs’: Indie musicians, eclecticism and the Brisbane scene

Rogers, Ian

doi:10.1080/10304310802311618

Cited by 29 publications

(15 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…It is also flexible in the way it exploits their identity and social networks for the promise of in-kind opportunities like exposure to a wider audience or access to closed scenes of cultural production. Like the scenes Rogers (2008) and Cluley (2009) identify, and unlike the musicians in Bradshaw et al's (2005;Marshall 2006a, 2006b) studies, the musicians in this study are not on the cusp of breaking into professionalised forms of work. Different to Bradshaw, McDonagh, and Marshall's (2006a) study, in the cases examined here, participation does not give musicians financial means to realise artistic ideals.…”

Section: Methodsmentioning

confidence: 49%

“…Some aspired to make a living from being an original artist, but most saw it as one creative pursuit combined with other ways of making a living. Cluley (2009) and Rogers (2008) also identify similar combinations of professional and amateur practices in music scenes. In these contexts, it would be a mistake to consider the labour of these musicians as flexible or precarious only in terms of wages and conditions.…”

Section: Methodsmentioning

confidence: 86%

See 1 more Smart Citation

Brand value: how affective labour helps create brands

Carah

2013

Consumption Markets & Culture

View full text Add to dashboard Cite

One way brands create value is by engaging the capacity of cultural labourers to animate affective connections with consumers. Brands assemble social spaces that harness the communicative capacities of cultural actors. A mode of branding that works by managing an open-ended social process depends on affective labour. Affective labour involves not only the capacity of individuals to produce specific meanings and feelings, but also the open-endedly social capacity to stimulate and channel attention and recognition. This affective labour does not always depend on making particular "authentic" representations, but on facilitating a general circulation of meaning. By investing in social spaces and relations corporate brands engage popular musicians in new forms of labour. This article examines the participation of popular musicians in branding programmes run in Australia by corporate brands between 2005 and 2010. I examine the accounts of musicians and managers who participate in these programmes to consider how they make their participation in social relations that create brand value meaningful. They employ a variety of practices: identifying with brands, endorsing brands' claims of socially responsible investment in culture, and distancing themselves from their own participation in branded space.

show abstract

Section: Methodsmentioning

confidence: 49%

Section: Methodsmentioning

confidence: 86%

Brand value: how affective labour helps create brands

Carah

2013

Consumption Markets & Culture

View full text Add to dashboard Cite

show abstract

“…In this approach, less emphasis is given to whether the music performed in Wollongong is unique or reflects regional culture*though this kind of frame has been adopted in similar studies of music scenes elsewhere in Australia (Luckman et al 2008;Rogers 2008;Stratton 2008). Instead, more relevant is how geographical elements of Australian cities shape availability of cultural spaces for music scenes: as a sparsely populated continent, centres of population have evolved unique city cultures in relative isolation from each other (Bennett et al 2008).…”

Section: Scenes Venues and Gatekeepersmentioning

confidence: 96%

Gatekeeping Night Spaces: the role of booking agents in creating ‘local’ live music venues and scenes

Gallan¹

2012

Australian Geographer

View full text Add to dashboard Cite

A complex relationship exists between music scenes and the infrastructure in which they are located. This article focuses on the rise and fall of the Oxford Tavern, a live music venue in the Australian city of Wollongong. Pivotal in this venue was the role that booking agents played in developing what they perceived as an inclusive, self-sufficient and vibrant music scene*by generating and then consistently implementing a strict philosophy on what music and which bands performed there. Bookings were not based on reputation, and potentially better known or more lucrative bands were regularly denied access in favour of 'local' bands socially connected to the music scene. These bands were authenticated as 'local' because of social and geographical proximity*not because of any innate musicological distinctiveness connected to Wollongong. This social geographical emphasis on 'local' and 'original' music transcended musical genre and subcultural style. Although in one sense 'exclusionary', gatekeeping also fostered bonds of community and belonging, creating a perceived haven for diverse local cultures within a monopolised urban nightscape. Such gatekeeping practices*explored here through interviews with booking agents and music scene participants*were pivotal to the longevity of the music venue and scene. Only when booking agents with a strong 'local' ethos were removed from the venue did it struggle to survive, and ultimately collapse.KEY WORDS Live music venue; local music; gatekeepers; cultural infrastructure; Wollongong; Oxford Tavern; booking agents.In July 2010 the Oxford Tavern, a pub in the Australian city of Wollongong, abruptly closed its doors. This brought an end to the major venue and focal point of the city's music scene for the past 20 years. With a small stage, dingy room and poor sound qualities the pub had never been purpose built or retrofitted as a music venue. Nor had it launched a globally famous band, genre or subculture. Instead, it was associated with local meanings of what it meant to play and support local music*a place to drink, socialise, dance, mosh, sing and belong (see Plate 1). It was a place for both up-and-coming bands and established acts to perform. The emphasis was on being local and playing original material rather than any preference in genre or style. Infused with many memories and myths through

show abstract

“…Dimana mereka menemukan Halangan dalam bentuk tantangan yang lebih bersifat komersial dimana budaya komersil tersebut merupakan hal yang sangat disukai oleh perusahaan rekaman raksasa (Hesmondhalgh, 2013). Jika dilihat, sejarah perjalanan musik indie, adanya obsesi musik indie terhadap temuan baru adalah reaksioner, mengelak dari yang popular atau dikenal banyak orang serta, jarang memberikan posisi para pendengar dan musisi dalam lingkup komersial industri musik atau lebih tepatnya menjadikan hal tersebut sebagai komoditas komersial (Rogers & Rogers, 2010).…”

Section: Kelompok Dalam Musik Indieunclassified

“…Beberapa di antaranya mengadakan gigs atau pertunjukan live music yang bertujuan memperkenalkan karya-karya milik mereka sendiri ataupun. Gigs menjadi ajang memamerkan musik idealis mereka kepada para musisi indie lainnya dan calon pendengar mereka (Harvey, 2017;Rogers & Rogers, 2010). Tidak hanya soal pertunjukkan, rilisan musik fisik pun menjadi bahasan penting setiap musisi yang hadir pada pertunjukkan tersebut.…”

Section: Kelompok Dalam Musik Indieunclassified

Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik

Putra

Irwansyah

2019

J. Komun.

View full text Add to dashboard Cite

The release of physical music will never be extinct, as is technology disrupting audio technology. This article provides an explanation of physical music releases in the digital era, where vinyl records, audio and CD tapes are still consumed by connoisseurs and musicians alike. Although digital music players and online music applications such as Joox, Spotify, Apple Music or Sky Music is very important in the spread of music in the digital era. The attitude of independent musicians or who are familiar with the term indie musicians still maintains the release of physical music as a tool for the dissemination of their work. This article presents descriptive data from existing journals which are then combined with interviews to obtain depth about what shapes the attitude of indie musicians in using physical music releases and how indie musicians and indie music distributors collaborate in communicating works - indie musicians work through strategies that are done together. As well as what indie music absorbs local culture and how they influence their work and what their attitudes are. Do they not pay attention to the presence of digital distribution or even combine these two things. With the existence of this article, the description of the things that underlie the independent musicians released the music they made themselves with the release of physical albums. Rilisan musik fisik tidak akan pernah punah, sebagaimana pun teknologi mendisrupsi teknologi audio. Artikel ini memberikan penjelasan tentang rilisan musik fisik pada era digital, dimana piringan hitam (vinyl), kaset audio dan CD masih tetap dikonsumsi oleh para penikmat serta pelaku musik. Walaupun pemutar musik digital dan aplikasi musik secara online seperti Joox, Spotify, Apple Music ataupun Langit Musik sangat berperan penting dalam penyebaran musik di era digital. Sikap dari musisi independen atau yang akrab dengan sebutan musisi indie tetap mempertahankan rilisan musik fisik sebagai alat untuk penyebaran karya mereka. Penelitian ini bertujuan untuk melihat bagaimana rilisan musik fisik akan tetap bertahan, dan mengapa sebuah rilisan fisik menjadi hal yang dianggap penting bagi musisi Indie. Artikel ini menyajikan data-data secara deskriptif dari jurnal-jurnal yang ada yang kemudian di padupadankan dengan wawancara untuk memperoleh kedalaman tentang apa yang membentuk sikap dari para musisi indie dalam menggunakan rilisan musik fisik dan bagaimana musisi indie dan distributor musik indie melakukan kolaborasi dalam mengomunikasikan karya-karya musisi indie melalui strategi yang dikerjakan bersama. Serta seperti apa musik indie menyerap budaya lokal dan bagaimana hal tersebut memberikan pengaruhnya pada karya-karya mereka dan seperti apa sikap mereka. Apakah kehadiran distribusi yang dilakukan secara digital tidak mereka hiraukan atau malah menggabungkan kedua hal tersebut. Adanya artikel ini, memberikan gambaran hal-hal yang mendasari para musisi independen merilis musik yang mereka buat sendiri dengan rilisan album fisik.

show abstract

‘You've got to go to gigs to get gigs’: Indie musicians, eclecticism and the Brisbane scene

Cited by 29 publications

References 6 publications

Brand value: how affective labour helps create brands

Brand value: how affective labour helps create brands

Gatekeeping Night Spaces: the role of booking agents in creating ‘local’ live music venues and scenes

Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik

Contact Info

Product

Resources

About