The British Dance Music Industry

A Case Study of Independent Cultural Production

Datos Bibliográficos

ID5635481
AutoresD Hesmondhalgh (0000-0001-5940-9191, autor de correspondencia)
Año1998
Volumen49
Número2
Páginas234
Fecha de publicación1998-06-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaBritish Journal of Sociology (JOURNAL)
Identificadores de la revistaISSN: 0007-1315 • E-ISSN: 1468-4446
EditorialJSTOR (PUBLISHER)
DOI10.2307/591311
OpenAlexW2328777614
IdiomaEN
Citas recibidas68
Referencias citadas6

This article analyses the British dance music industry and assesses claims that it offers a powerful alternative to the 'mainstream' music business. Two unusual features of the sector are identified. Whereas the recording industry as a whole is marked by concentration and centralization, the UK dance music industry is relatively decentralized and is made up of large numbers of 'independent' companies. Reasons for the success of small, local companies are offered, in particular the emphasis amongst dance audiences on genre, rather than on performer identity; and the low promotional costs enabled by negative press coverage of 'acid house' in the late 1980s. But the article argues that a number of features of the British dance music industry work against a view of the sector as a radical challenge to prevailing cultural-industry practices. These are as follows : firstly, the reliance of dance music companies on crossover hits and compilation albums; secondly, close ties between the independents and corporate partners; and thirdly, the pressures placed upon small companies to follow the standard ways of dealing with risk in the recording industry - in particular, the development of a star system

Aesthetics · Art · Dance · Economics · Microeconomics · Production (economics · Sociology · Visual arts · Asian Culture and Media Studies · Cultural Industries and Urban Development · Music History and Culture