Underground music

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KGZ008

Educación Entretenimiento y humor Empresariales

The Significance of Sound and Culture from the Great Below

[object Object],1.) Of or relating to an avant-garde movement or its films, publications, and art, usually privately produced and of special appeal and often concerned with social or artistic experiment. 2.) A genre in music and other forms of media intended for an elite audience, that is often characterized by its high levels of originality and experimentation, and does not conform to typical standards, trends, or hypes as set by the popular mainstream media.

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[object Object],[object Object],The success of Nevermind surprised the music industry. Nevermind not only popularized grunge, but also established the cultural and commercial viability of alternative rock in general.

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06889 Topic: Financial Statement Analysis Memo Number of Pages: 1 (Single Spaced) Number of sources: 1 Writing Style: APA Type of document: Essay Academic Level:Undergraduate Category: Accounting Language Style: English (U.S.) Order Instructions: Attached. Please follow the instruction, I will upload all the document, if have any questions please contact me! 88 c h a p t e r t h r e e Malm, a process that was beginning when they were conducting their study. By the mid- 1990s, the major entertainment industries derived over 50 percent of their income from foreign markets (Burnett 1996, 11). The mergers and ac- quisitions in the advertising industry discussed in chapter 2 affected the other cultural industries just as much. The cultural industries shifted to a model of seeking to find and promote blockbusters that they can market around the world rather than cultivating local or regional artists. MTV found its way to Europe in the late 1980s, then India in the late 1990s and elsewhere on the planet, and found that it could not simply export American culture around the world; local musics needed to be aired in order for the network to have a chance of survival. But local musics frequently owe much to Western pop and rock. And these musics are frequently employed in marketing campaigns. Local rock music, for example, is used to promote a rising consumer culture in India through the sponsorship of festivals by multinational brands (Coventry 2013). The Rise of “World Music” Those few recordings of musics from outside of Western metropoles by major labels, along with imports of recording by small labels, slowly began to awaken interest in what has become known as “world music.” While Western popular musics had been exported to non- Western countries for decades, it wasn’t until the 1980s that non- Western musicians commonly made popular musics that clearly emulated Euro- American popular musics and that were noticed in the West (though there was the occasional precursor, such as songs by Miriam Makeba or Manu Dibango’s “Soul Makossa,” from 1972, and the occasional fad for Indian or “Latin” sounds). It was probably African popular musics that first captured the attention of most listeners. These musics didn’t fit in the usual retail sections in record stores or radio formats, and a new term was needed. Thus, in 1987, a group of music professionals gathered in London to confect this new term. After ban- dying about a variety of labels, they settled on “world music,” a term that was already circulating in some ethnomusicological circles. The influential British DJ Charlie Gillett recounted: We had a very simple, small ambition. It was all geared to record shops, that was the only thing we were thinking about. In America, King Sunny Adé (from Nigeria) was being filed under reggae. That was the only place shops could think of to put him. In Britain they didn’t know where to put this music— I think A.

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