The recording industry and grassroots marketing from street teams to flash mobs
New media has changed the relationship between the recording industry and fans. The Internet allows fans to share and access copyrighted music in P2P and Web 2.0 platforms. The recording industry reacted mainly with prohibitionist strategies, which cultural scholars argue that a collaborationist approach is needed with the aim of creating an effective economy
In an effective economy audiences are not passive consumers, but are active, emotionally engaged and socially networked users who cooperate with producers and musicians in the promotion of media contents. New media has changed the way cultural industries produce, distribute music, movies, radio and television programs. Cultural industries are characterised by a high cost of production and a low cost of reproduction.
In the pop music market, new forms of fans self expression, celebrity-audience relationships and marketing strategies are emerging. They are enabled by the participatory and audio-visual nature of Web 2.0 applications, but are not limited to the digital environment, and are specific to the music cultures, that are social and performative. The affective economy that is emerging in the Web 2.0 is changing the relationship between celebrities, labels, fans, and the new intermediaries such as street team portals. First, stars create an emotional relationship with fans with the aim of involving them in an affective economy. Second, label outsource promotional activities to fans; from this new relationship between labels and fans, new intermediaries emerge, such as street team portals that organise the free work of fans
New media has changed the relationship between the recording industry and fans. The Internet allows fans to share and access copyrighted music in P2P and Web 2.0 platforms. The recording industry reacted mainly with prohibitionist strategies, which cultural scholars argue that a collaborationist approach is needed with the aim of creating an effective economy
In an effective economy audiences are not passive consumers, but are active, emotionally engaged and socially networked users who cooperate with producers and musicians in the promotion of media contents. New media has changed the way cultural industries produce, distribute music, movies, radio and television programs. Cultural industries are characterised by a high cost of production and a low cost of reproduction.
In the pop music market, new forms of fans self expression, celebrity-audience relationships and marketing strategies are emerging. They are enabled by the participatory and audio-visual nature of Web 2.0 applications, but are not limited to the digital environment, and are specific to the music cultures, that are social and performative. The affective economy that is emerging in the Web 2.0 is changing the relationship between celebrities, labels, fans, and the new intermediaries such as street team portals. First, stars create an emotional relationship with fans with the aim of involving them in an affective economy. Second, label outsource promotional activities to fans; from this new relationship between labels and fans, new intermediaries emerge, such as street team portals that organise the free work of fans
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