Indie final preso r horton

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Indie final preso r horton

  1. 1. Indie Music: An Entertainment Industry InnovationRebecca Horton23 May 2012
  2. 2. Independence means not having to answer to anyone, really-that’s what it means in my mind. -Geoff Travis, founder and director of Rough TradeAs cited in King, R. 2012 2
  3. 3. Why Study Indie?•  Modern relevance•  Broad-sweeping impact•  Rootedness in local, start-up communities 3
  4. 4. BUT FIRST... 4
  5. 5. What is Innovation?Simply put, an innovation is a lever of changewithin a larger system.Relying upon the foundations of systems theoryand actor-network theory this definition supportsthe notion that ideas never exist in a vacuum, andit is the combination of forces surrounding thoseideas that ultimately make them prosper or fail. 5
  6. 6. What is Technology? Technology is not a thing, or an outcome; rather it’s a “process of development.”Based upon the work of Feenberg, A. 6
  7. 7. A BIT OF CONTEXT... 7
  8. 8. Indies Vs. Majors Music labels with a small, Music labels that own their devoted fan base that are own distribution channels.not heavily focused on sales but rather are focused on the craft of music. 8
  9. 9. Power Grip Of the Majors 9
  10. 10. Untethered Indies 10
  11. 11. “As soon as a major label opens it wallet, all this rebel independent stuff goes out the window.” -Jim Nash, President, Wax Trax Records, 1990As cited in Popular Music 11
  12. 12. INCREMENTAL BUT POWERFUL 12
  13. 13. Diffusion Timeline Innovators Early Early Late Laggards Adopters Majority MajorityRogers, E. The Diffusion of Innovations 13
  14. 14. 1950s-1960sINNOVATORS 14
  15. 15. 15
  16. 16. Late 1960s-1970sEARLY ADOPTERS 16
  17. 17. 17
  18. 18. 1980sEARLY MAJORITY 18
  19. 19. 19
  20. 20. 1990sLATE MAJORITY 20
  21. 21. Redefinition! 21
  22. 22. 2000sLAGGARDS 22
  23. 23. 221,188,824 views 23
  24. 24. Underground goes mainstream1980s Today 24
  25. 25. “[W]e no longer live in a world of the Mainstream and the Counterculture. We live in a world of multiple mainstreams and countless counter-, sub- and counter-sub-cultures.”Walker, R. The Brand Underground. 25
  26. 26. ANALYSIS OF INNOVATION 26
  27. 27. 27
  28. 28. Innovation Attributes Low High Observability Trialability Complexity Relative Advantage CompatabilityAdapted from Rogers, E. Diffusion of Innovations. 28
  29. 29. CONCLUSION 29
  30. 30. Indie is the New NormBut what does that mean for the professional musicianwho needs to make a living? 30
  31. 31. Indie is No longer Just about Music...Its tentacles have spread into art, fashion, the DIY/maker movement, and more 31
  32. 32. Bibliography•  Bower, J. & Christensen, C. Disruptive Technologies. Harvard Business Review, 1995.•  “Billy Corgan Rants About ‘Posers’ at SXSW.” Rolling Stone, 2012.•  Feenberg, A. Critical Theory of Technology. 1991.•  King, R. How Soon is Now: The Madmen and Mavericks who made Independent Music 1975-2005. Digital release, Faber and Faber, 2012.•  Nash, J., 1990. As cited in Popular Music.•  Oakes, K. Slanted and Enchanted. Holt Paperbacks, 2009.•  Rogers, E. Diffusion of Innovations. Free Press, 2003, 5th ed.•  Walker, R. “The Brand Underground.” 30 Jul. 2006, New York Times. http://www.nytimes.com/2006/07/30/magazine/30brand.html? pagewanted=2&_r=1•  “What Is Indie?” Movie Trailer. http://www.youtube.com/watch? v=5rLLqdnGwqQ
  33. 33. Image Sources•  sketch_biphop via flickr•  jkgroove via flickr,•  Dana Slaymaker, 1970 via Artstor•  Style.MTV.com•  The macinator via flickr•  Pitchfork Magazine•  Wildner via flickr•  Toniblay via flickr•  ListenMissy via flickr•  Shiftingpixel.com•  Youtube.com screenshot•  Vogue Magazine•  Jima via flickr•  Declann jewel via flickr
  34. 34. I think in the music business you have to give up on making money…marketing is the new money in music, if you can get the right partners in the internet to work with you and use their marketing power, that is the new money. You’re not gonna make it selling a CD more than likely. -Billy CorganCorgan, B. Interview with Rolling Stone, 2012. 34

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