List of Figures
List of Tables
List of Audio and Video Examples
Acknowledgments
Introduction: Capitalism, Music, and Social Theory
Music and Capitalism
Western Neoliberal Capitalism as a Cultural System
What Follows
1 A Brief History of Music and Capitalism before the Rise of Neoliberalism
Production of Musical Commodities
Capitalism and Musical Production
Artisans, Artists, Geniuses
Social Class, Markets, and Cultural Consumption
Youth
Conclusions
2 Neoliberal Capitalism and the Cultural Industries
Ideologies of Neoliberal Capitalism
The Cultural Industries as Industries
Brands and Branding
The Conquest of Cool— and the Culture
New Social Classes: The New Petite Bourgeoisie
Increasing Commodification
Consumption and/as Identity- Making
Plenitude
Music Supervisors
Search
Sociality
Art and Commerce
Advertising as Harbinger of the Present
3 Globalization
Globalization, Neoliberal Capitalism, and the International Music Industry
The Rise of “World Music”
Shifting Authenticities
Connoisseurs, Collaborators, Curators
Collaboration without Collaborators
Musicians in the Field of World Music in Neoliberal Capitalism
Case Study: Angélique Kidjo
Kidjo and “World Music”
Positions and Forms of Capital in the World Music Field
Gender
Oremi (1998)
Later Recordings
Ownership
4 Digitalization
New Sound Technologies: DIY Everything?
Remixing, Co- Creating
New Forms of Labor?
The Changing Nature of Work in the Commercial Music Industry
Longer, Harder
Digitized Music as a New Form of Music Objectified
Tactility
Ambivalences and Critiques
5 Singing in the Shadows of Neoliberal Capitalism
Motivated by Music
Burger Records: “Keeping the Teenage Spirit Alive”
6 Conclusions: Capitalism Is People, Too
Value in the Informal Logic of Actual Life
Notes
References
Unpublished Materials
Interviews
Other Unpublished Materials
Discography
Filmography
Books and Articles
Index