Queremos mostly clearly highlights the logics developed throughout the chapter, in which affect-driven participation is exploited by capital, in that participation revolves around an economic risk to the participating individual. The layering of historically-rooted indie music industry structures upon each other and their adaptation to internet-mediated distribution mechanisms have helped make indie one of the primary youth musics in North America and Europe, where indie bands appear on major television programs and receive commissions and licensing deals from large corporations for the use of their music in advertisements. Because these social connections and spaces build themselves in network form, they have trouble generating economy in and of themselves. Mono emphasized that he would have liked to have events closer to the underground type of music parties he has been participating in and which he personally enjoys. This is also true of the historical relationship between mainstream media and a miniscule, lettered elite Ramos As already elaborated through the examples of Fauna and Squat, participation in the bringing into being of indie music occurs on multiple levels, from the macro to the micro: Much of this activity is already quotidian practice—going to a show with friends, meeting for drinks beforehand, posting about the show tickets or asking who else is going in social media.
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Each space is different in the way it manages connections, but all are also common amir several Santiago indie music sub-networks, and they are all familiar to the other venue owners and music participants. These fans are only sporadically able to participate in the in the form most ideologically valued within the indie sector —the live performance.
These produce a historical continuity of both modes of social relation and clusters of sonic parameters, such that musical sound becomes an infrastructural element in the production of social relations and the spaces where sounds are produced and experienced.
Fauna was unsuccessful with the band Caribou, for example, brought to Chile induring the height of its attention in taste-making blogs abroad. The change in infrastructure came along with a change in the type of public that would come. There is the sociality of seeing and being seen—the event as social relation.
A BBC-produced documentary on Krautrock is being projected in a room empty save for a couple of people sitting on the floor. But as the earlier description of the relationship between other producers like Fauna and Squat should already make clear, fans in Rio are not privy to these bands simply through the activation of their collective desire through Queremos-mediated campaigns.
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This dynamic is elaborated in the historical development of Fauna Producciones out of the indie realm in Santiago. Yet one of the tensions explored in this dissertation, particularly in chapter 3, is precisely the ajor generated not only by historical discourses defining independent production as indie rock, but also by historical practices of listening to and producing indie rock sounds themselves.
Toquf alliances, for their part, are nodes within social infrastructures that draw together different elements of the network, making them explicit and helping to give social fgaundes and social practices both form and durability in time and space. Space as a Value of Musical Presentation The police did not descend upon the Estudio Elefante in May,because it was producing a ruckus.
Facebook posts are cited in full when they were posted by the authors as publically accessible; comments others made publically available as Facebook posts are also cited in full. Why should financial investment in the process of production, specifically, tend to generate these feelings?
Lira would come to edit musicians under its own label and also distributed other independent recordings. While this may seem obvious, considering the variety of places and styles discussed, their approach marks a break from the usual indie rock journalist and fan position, akor, rhetorically at least, assumes a panoptical view of popular music. As such, Paola sold it to Multishow for its Mixtape project; Multishow would stream the show live on its Mixtape webpage page and, of course, keep the footage for content to be broadcast on the television station.
Moreover, in the past few years, the city itself has sought to revitalize these areas, creating the Gabriela Mistral Museum GAMan arts and performance complex whose back entrance opens onto Lastarria Street; building tile art into new sidewalks in Bellavista; and constructing a formal, permanent building for the long-standing artisanal market located at the entrance of the neighborhood when crossing from the Plaza Italia. To step out from the online to the practical.
I consider the tensions that arise as spaces for musical production, and their endurance in time and space, arise precisely through the mutual constitution of musical and social affinities, which in turn clash with their ability to expand to further networks and become economically sustainable within capitalist organization. To be fair, Queremos does now have a section on its homepage that lists artists for which registered Queremos users can petition.
The difference with Queremos shows is that the investor-fans exhibit a willingness not only to buy tickets, but to enter, economically at least, into the backstage process of negotiation which is normally resolved before audience members even become aware of the concert.
For one, touring musicians literally embody the value of social production as material bodies circulating along the paths generated by social production and by their very own movement. Narratives of 21st-century-born Brazilian and Chilean indie production put all the historical locus of independent culture in the north, which would subsequently move to the south with the arrival of a modernizing technology: The current manifestation of capital primarily as finance capital commands all other types of capital accumulation Lazzarato ; LiPuma and Lee ; Lee and LiPuma and ultimately directs life, as Lazzarato puts it, defining the present of human experience by foreclosing its future through the debt-credit relationship Lazzarato While this strategy is convenient for the agent selling the band—the bidding war leads to higher performance fees for the band, which remits to a higher commission for the agent—Paola does not usually enter into this type of negotiation, sometimes waiting up to five years to be able to book a particular band.
This reaction illustrates the complete breakdown of concepts like mainstream, underground, and indie to describe broad trends in listening consumption, as well as the ability to ascribe social identifications to musical market categories.
Social media, of course, are precisely the kinds of tools that foment and make possible this diffusion. Music, Affect, Labor, and Value: Building Music Venues in Santiago through the Politics of Social Connection There are a lot of people working for the love of it [por las ganas].
Other Brazilian blogs dedicated to indie music also cover these bands, but when compared to their foreign counterparts, these sites have much less reach—zero internationally and only a miniscule portion domestically.
Nazanin naz nakon radio javan music
On the other hand, Elefante was closed down due to police intervention, precisely for its central location but lack of permits. Yet tour announcements fagundrs patterns indicate that northern agents begin offering their bands to South American promoters after the major Euro-American backbone of a tour has been established or completed. The ease with which finance capital as brand can come to make up the fabric of social production-based circulation owes to the need for brand value to be generated according to the same pathways as social production.
I detail three different music venues in Santiago and the differential ways they manage the relation between type of music, type of person, public visibility, and management of connections.
Queremos relies on the activation of social networks in the broadest sense through the mechanism of social media to convince individuals to financially support a particular live music project, thus harnessing the sense of collective cultural production propelled by media sharing tools and transforming it into practical economic output.