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  • Dancing in The Stardom: Recording Industry and Grassroots Marketing

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    Agnese Akame Vellar
    44 просмотров16 страниц
    New media changed the relationship between the recording industry and fans. In fact, networked technologies allow fans to share copyrighted music in p2p networks and social media. The majors reacted mainly with “prohibitionist” strategies, while cultural scholars argue that industry should adopt “collaborationist” approach to create an “affective economy” (Condry 2004, Jenkins 2006, Varnelis 2009). Also empirical research demonstrated that both indie labels and pop artists can benefit from “fan labor” (Baym and Burnett 2009, Beer 2008, Yang 2009). In this paper, I describe the strategies of the Italian pop music industry to create a fanbase of grassroot promoters. I’ve conducted an ethnographic research in a multi-sited field. Observing social interactions in professional web portals and analyzing data (textual messages and video) collected from social network sites (YouTube, Twitter, Facebook), I’ve identified different forms of grassroots marketing. Labels outsource promotional activities to fans organizing “street team” (i.e., groups of fans that distribute flyers), “flashmob” (i.e., collective performances in public spaces) and “contest” (i.e., challenge to create music video, to customise the online self with branded products, …). Why fans work for free? I argue that recording industry try to harness “performative stardom”. First of all stardom is created thanks to cross-media strategies. “Star-making Tv” as talent shows engage consumers in parasocial relationships with artists. This relationship is reinforced thanks to fan-artist interaction through social network sites and videochats. Finally labels stimulate fans promotional performances through “challenges” and “missions” that are rewarded with branded products and the opportunity to meet artists.

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    Dancing In The Stardom: Recording Industry and Grassroots Marketing

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    New media changed the relationship between the recording industry and fans. In fact, networked technologies allow fans to share copyrighted music in p2p networks and social media. The majors reacted mainly with “prohibitionist” strategies, while cultural scholars argue that industry should adopt “collaborationist” approach to create an “affective economy” (Condry 2004, Jenkins 2006, Varnelis 2009). Also empirical research demonstrated that both indie labels and pop artists can benefit from “fan labor” (Baym and Burnett 2009, Beer 2008, Yang 2009). In this paper, I describe the strategies of the Italian pop music industry to create a fanbase of grassroot promoters. I’ve conducted an ethnographic research in a multi-sited field. Observing social interactions in professional web portals and analyzing data (textual messages and video) collected from social network sites (YouTube, Twitter, Facebook), I’ve identified different forms of grassroots marketing. Labels outsource promotional activities to fans organizing “street team” (i.e., groups of fans that distribute flyers), “flashmob” (i.e., collective performances in public spaces) and “contest” (i.e., challenge to create music video, to customise the online self with branded products, …). Why fans work for free? I argue that recording industry try to harness “performative stardom”. First of all stardom is created thanks to cross-media strategies. “Star-making Tv” as talent shows engage consumers in parasocial relationships with artists. This relationship is reinforced thanks to fan-artist interaction through social network sites and videochats. Finally labels stimulate fans promotional performances through “challenges” and “missions” that are rewarded with branded products and the opportunity to meet artists.

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    Attribution Non-Commercial ShareAlike (BY-NC-SA)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
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    44 просмотров16 страниц

    Dancing in The Stardom: Recording Industry and Grassroots Marketing

    Загружено:

    Agnese Akame Vellar
    New media changed the relationship between the recording industry and fans. In fact, networked technologies allow fans to share copyrighted music in p2p networks and social media. The majors reacted mainly with “prohibitionist” strategies, while cultural scholars argue that industry should adopt “collaborationist” approach to create an “affective economy” (Condry 2004, Jenkins 2006, Varnelis 2009). Also empirical research demonstrated that both indie labels and pop artists can benefit from “fan labor” (Baym and Burnett 2009, Beer 2008, Yang 2009). In this paper, I describe the strategies of the Italian pop music industry to create a fanbase of grassroot promoters. I’ve conducted an ethnographic research in a multi-sited field. Observing social interactions in professional web portals and analyzing data (textual messages and video) collected from social network sites (YouTube, Twitter, Facebook), I’ve identified different forms of grassroots marketing. Labels outsource promotional activities to fans organizing “street team” (i.e., groups of fans that distribute flyers), “flashmob” (i.e., collective performances in public spaces) and “contest” (i.e., challenge to create music video, to customise the online self with branded products, …). Why fans work for free? I argue that recording industry try to harness “performative stardom”. First of all stardom is created thanks to cross-media strategies. “Star-making Tv” as talent shows engage consumers in parasocial relationships with artists. This relationship is reinforced thanks to fan-artist interaction through social network sites and videochats. Finally labels stimulate fans promotional performances through “challenges” and “missions” that are rewarded with branded products and the opportunity to meet artists.

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    Dancing in the Stardom

    Recording Industry and Grassroots Marketing


    Agnese Vellar
    Department of Social Sciences - Universit di Torino

    ESA - Sociology of Culture Conference Universit Bocconi, 8 October 2010

    Recording industry in the Web 2.0


    Major labels Indie labels

    networked technologies e-commerce digital distribution file sharing

    new markets

    participatory cultures

    Music How, When, Where You Want It. But Not Without Addressing Piracy
    (IFPI Report, 2010)

    Diversify!
    New way to distribute music.
    2009: 27% of the music industries revenues come from digital channels -la-carte download model centralized platform for HQ music videos

    Educate and Punish!


    Legal battle against file sharing services and p2p users.

    ad-supported services

    handset makers

    Graduated response approach


    (deals with ISP).

    Affective economies
    (Jenkins, 2006)

    Pop music
    Talent show Live performances

    Indie music
    MySpace profile Networked collectivism

    Li Yuchun
    pop national idol (Yang, 2009)

    Tori Amos
    songrwiter (Farrugia & Gobatto, 2010)

    Jarvis Cocker
    indie rock (Beer, 2008)

    Swedish indie music


    transnational audience (Baym & Burnett, 2009)

    promotional packages charity foundation anti-piracy campagin

    Rate, tag, translate, MP3 Blog, distribute bootlegs

    grassroots marketing

    Fans as promoters:
    social and cultural rewards
    4

    Ethnographic research

    construct a celebrity persona!


    Lady Gaga
    (US)

    Shakira
    (Colombian)

    Marco Mengoni
    (Italian)

    harness the free work of fans!


    Italian fan base of grasroots promoters

    1. construct a celebrity persona!


    to create an affective relationship between musiciants and fans

    Shakira: the philantropyst

    Barefoot foundation

    Mango and Unicef

    Online self

    Branded products

    Ethnic and bilingual

    Mengoni: the reality-celebrity


    (Curnutt, 2009)

    Talent show Broadcast Tv

    Backstage moments

    Content sharing Videomessages and online diaries

    Lady Gaga: queen of social media


    My Daddy had open heart surgery today. And after long hours, and lots of tears, they healed his broken heart, and mine. Speechless. @perezhilton i wish i had been there, you are a wonderful friend, only you would party all night/free cuba in the morning

    Performance of the intimate self to reduce social distance

    Happy 4th of July little monsters! I can smell you from backstage. Lipstick, whiskey, and the rat pack. F*ck I love AC. X Mother Monster

    engage

    videomessages

    fan video and pictures

    2. harness the free work of fans!


    to outsource the promotional activities

    Street team portal


    Professional Staff: Our motto is Fan just wanna have fun. Our aim is to let fans participate in the carrier of their favourite artists to knock down the wall that in the past keep separate recording industry and fans.

    Moderator
    moderate the public forum, coordinate the local teams and share the flyers.

    Group leader
    coordinates the local team (composed by 2 to 10 streetteamer).

    Mengoni: flashmob

    In every city. In every villages. All over the world. You too. All Me too. Everyone together. Lets dance together

    online audience

    online performances & offline performance live audience

    Shakira: Waka Waka dance

    Every child in the world should have access to an education. This time dance with me for this one goal. [] 1 Song, 1 dance, 1 goal.

    online audience

    online performances & offline performance live audience

    Lady Gaga: Flash mob contest

    costuming

    challange

    Performative consumption (Hills, 200)

    Pop music cultures in the Web 2.0


    new media company:
    harness

    stardom recording industry


    transmedia music star:
    sport event talent show social media

    collective intelligence
    collaborative construction of shared knowledge

    loyal consumers

    harnessing

    participative stardom

    grasroots performance (online and offline)

    performative cunsumption

    Thank you!

    agnesevellar@gmail.com http://agneseh.wordpress.com/ http://twitter.com/agneseh

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