The Digital Turn: Music Business as Usual
While the recording industry changed over the past twenty years, much of the underlying business structure remains the same. In this chapter, Arditi takes the rhetoric about change seriously, but finds that the main change to the ideology of getting signe
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, s t c a r t n o C R e c o r d s, Musicianer in and Pow Society
i t i d r A d i v Da
Getting Signed “There is a vast gulf between making music for pleasure and making music for money. David Arditi’s Getting Signed intelligently and compellingly captures the difficulty, frustration, and hope felt by musicians as they attempt to enter the realm of the music industry and make money at music.” —Timothy D. Taylor, Professor of Ethnomusicology, University of California, Los Angeles, USA “Even in our digitized era of streaming media and DIY culture, the seductions of landing a record deal with a cash advance have never been stronger for musicians, singers, rockers, and rappers. But in Getting Signed , sociologist David Arditi shines his well-honed critical gaze on the venality of the pop music industry, showing how even a record contract struck in good faith can be a dream-killing Faustian bargain for most musical artists.” —David Grazian, Associate Professor of Sociology and Communication and Faculty Director of Urban Studies, University of Pennsylvania, USA “In Getting Signed , Arditi deftly cuts through the fog of mythology, wishful thinking, and industry propaganda surrounding artist-label relations. As his exhaustive research shows, the recording industry is both fundamentally exploitative and still profoundly necessary, even as the technology, economics, and culture of the broader music industry continue to transform drastically in the wake of new, digital technologies. A must-read for aspiring musicians and scholars of the industry alike.” —Aram Sinnreich, author of The Essential Guide to Intellectual Property (2019) “Getting Signed is a timely and trenchant reconsideration of the economics of the recording industry, and how it relies on ideology to convince musicians not only that they have to play by its rules, but also that they desperately want to. You won’t think about the music business in the same way after reading it.” —Brian L. Frye, Spears-Gilbert Associate Professor of Law, University of Kentucky, USA
David Arditi
Getting Signed Record Contracts, Musicians, and Power in Society
David Arditi The University of Texas at Arlington Arlington, TX, USA
ISBN 978-3-030-44586-7 ISBN 978-3-030-44587-4 https://doi.org/10.1007/978-3-030-44587-4
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