Exploitative Music Contracts
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Cultural Appropriation
From the fashion label Dior being accused of cultural appropriation after using American Indian imagery in an ad campaign for its “Sauvage” fragrance, to the backlash against Kendall Jenner’s afro-esque hairstyle in Vogue, debates about cultural appropriation have reached a fever pitch. In this much-needed analysis of the phenomenon Aurélia Bardon and Jennifer Page step back and ask: when is cultural appropriation wrong and when are we right to criticize it? Their analysis of wrongful cultural appropriation centers on three questions: whether appropriation involves theft; whether it communicates disrespect; and whether it disregards requests made by marginalized groups about their cultural practices. Sometimes, they argue, it is structural injustice rather than individual wrongdoing that is at stake. They examine cultural appropriation’s political dimensions, asking whether the state should be neutral between appropriative and non-appropriative artistic expression. They contrast bans on wrongful cultural appropriation and the state’s using its expressive power as a speaker, spender, and educator to discourage it. They also consider the ethical questions that arise when cultural appropriation debates spur further debates about online shaming and cancel culture. Using cases from music, fashion and the arts, Cultural Appropriation: Wrongs and Rights will be of great interest to students and researchers in philosophy, politics and related subjects, such as race and ethnic studies, sociology, and cultural studies.
Getting Signed
Record contracts have been the goal of aspiring musicians, but are they still important in the era of SoundCloud? Musicians in the United States still seem to think so, flocking to auditions for The Voice and Idol brands or paying to perform at record label showcases in the hopes of landing a deal. The belief that signing a record contract will almost infallibly lead to some measure of success— the “ideology of getting signed,” as Arditi defines it—is alive and well. Though streaming, social media, and viral content have turned the recording industry upside down in one sense, the record contract and its mythos still persist. Getting Signed provides a critical analysis of musicians’ contract aspirations as a cultural phenomenon that reproduces modes of power and economic exploitation, no matter how radical the route to contract. Working at the intersection of Marxist sociology, cultural sociology, critical theory, and media studies, Arditi unfolds how the ideology of getting signed penetrated an industry, created a mythos of guaranteed success, and persists in an era when power is being redefined in the light of digital technologies.
Musicâs Dark Side
Music's Dark Side explores the hidden struggles within the music industry, revealing the stark realities behind the glamorous facade. It examines the systemic issues that contribute to mental health problems, addiction, and exploitation among musicians. The book uncovers how the relentless pursuit of profit, combined with inadequate support systems, creates a breeding ground for these issues. For instance, the intense pressure of touring and maintaining a public image can lead to severe anxiety and substance abuse, impacting artist well-being. The book progresses through three key sections, starting with an introduction to the core problems, then delving into the contributing factors like predatory contracts and lack of mental health resources. Finally, it proposes solutions, including policy changes and improved artist support programs. Through meticulously researched case studies and interviews, Music's Dark Side provides a balanced analysis, offering valuable insights for anyone involved in or interested in the music business, from aspiring artists to seasoned executives, emphasizing the need for greater accountability and awareness within the music industry.