1,720,967 research outputs found
Counting the Beatz: Hip Hop Culture, Commercialisation and the State in Aotearoa New Zealand
No full textThis thesis explores the interplay between hip hop culture, music and the state and commercial entities in New Zealand. Hip hop is a culture which is diverse and unique in that it can be viewed as both a form of expression and a form of empowerment for various cultures. It can also be used to make a profit for commercial organisations such as the recording and broadcasting industries. This study therefore seeks to approach the study of New Zealand hip hop in an innovative manner, and to provide a fresh perspective.
There is also the need to provide a plausible definition which captures the complexities of hip hop culture. An assessment of both the American and New Zealand scene will provide a contrast in order to demonstrate that in both scenarios hip hop has the ability for empowerment and to create a new space for communities. Commercial exploitation has transformed hip hop in America, has severely reduced its ability to be seen as a source of public good and has reduced key aspects of the culture. New Zealand has managed to retain many elements of the sense of community and space of community inherent in hip hop culture and music. However commercial entities are gaining prominence in the exploitation of this culture. Hip hop locally has not made the transition to a purely commercial model, but is currently under threat.
The means by which commercial organisations are gaining prominence is the unique aspect which shapes New Zealand hip hop and will be a focus of this study. State funding via New Zealand on Air (NZOA) is assisting in the transformation of hip hop from a source of public good to a music form capable of generating profit for organisations such as the recording industry. This study therefore will analyse the relationship between those who embrace hip hop as a culture capable of creating a sense of public good, organisations which are commercially exploiting this culture as a musical form, and the role of the state in assisting with the transition between public good and private consumption
United Kingdom Music Radio Programming: Good Radio Records and the Imagined Audience
No full textNewcastle upon Tyne,div_MCaPApub2752pu
Radio as a Tool for Rehabilitation and Social Inclusion
No full textThe following chapter comes from an amalgamation of empirical research, reflection on practice and a desire to find practical examples to support some of the theoretical frameworks within which we work. In this chapter we will discuss ways in which community radio can support the rehabilitation, personal development and inclusion of marginalised individuals and their (re)engagement with mainstream society. Drawing on ideas of policy and practice, we will demonstrate how radio producers and trainers can facilitate personal development, whilst reconnecting people with society in a meaningful way
Counting the Beatz: Hip Hop Culture, Commercialisation and the State in Aotearoa New Zealand
No full textThis thesis explores the interplay between hip hop culture, music and the state and commercial entities in New Zealand. Hip hop is a culture which is diverse and unique in that it can be viewed as both a form of expression and a form of empowerment for various cultures. It can also be used to make a profit for commercial organisations such as the recording and broadcasting industries. This study therefore seeks to approach the study of New Zealand hip hop in an innovative manner, and to provide a fresh perspective.
There is also the need to provide a plausible definition which captures the complexities of hip hop culture. An assessment of both the American and New Zealand scene will provide a contrast in order to demonstrate that in both scenarios hip hop has the ability for empowerment and to create a new space for communities. Commercial exploitation has transformed hip hop in America, has severely reduced its ability to be seen as a source of public good and has reduced key aspects of the culture. New Zealand has managed to retain many elements of the sense of community and space of community inherent in hip hop culture and music. However commercial entities are gaining prominence in the exploitation of this culture. Hip hop locally has not made the transition to a purely commercial model, but is currently under threat.
The means by which commercial organisations are gaining prominence is the unique aspect which shapes New Zealand hip hop and will be a focus of this study. State funding via New Zealand on Air (NZOA) is assisting in the transformation of hip hop from a source of public good to a music form capable of generating profit for organisations such as the recording industry. This study therefore will analyse the relationship between those who embrace hip hop as a culture capable of creating a sense of public good, organisations which are commercially exploiting this culture as a musical form, and the role of the state in assisting with the transition between public good and private consumption
So Your Band Wants to Tour? Gigit: DIY Digital Tour Management
No full textThe touring model, one of the oldest ways used by musicians to promote and monetise their work, has remained relatively unchanged despite the rise of digital platforms such as Spotify, Facebook and YouTube. These new platforms provide more opportunities to make musicians’ output more accessible to a larger audience by helping to build their presence and profile online. However, for bands that are starting out that want to keep control of their work by self-managing, the do-it-yourself (DIY) model, where bands personally contact promoters and venues to book tours, positions promoters as gatekeepers and perpetuates a sense of distrust and uneven power relations between bands and those that can help them organise tours. This research analyses the experiences of musicians and promoters who have organised tours in New Zealand, through a series of online surveys, focus groups and professional interviews. This data was used to create an online platform, Gigit, which allows musicians to book their own tours in a fair, secure and transparent manner, disrupting the unfair power relations between musicians and the gatekeepers who traditionally controlled the key aspects of successful touring
Radio on the Internet: Opportunities for New Public Spheres?
No full textThis thesis investigates the potential for radio on the Internet to enhance processes of communication and media practice in the form of new a public sphere. Drawing on the work of Marshall McLuhan, the early stages of this thesis present an enquiry into the unique positive qualities of both radio and the Internet. The argument that follows contends that radio presented on the Internet can draw from the perceived technological benefits of each individual medium, combining as a potential site for public spheres. Both Habermas’s liberal public sphere and contemporary critiques of the concept are examined to define a range of principles that could be tested against relevant examples. The increasing commercialisation of the Internet is presented as a challenge to the normative ideals of a public sphere and counter-balances the optimism of a technologically determinist approach. A series of thematic codes are developed from the relevant theory and combined with qualitative interviews. This forms the framework for a thematic analysis of three individual case studies: Unwelcome Guests, an anti-corporate radio programme, SW Radio Africa, “the independent voice of Zimbabwe,” and NH Making Waves, the radio arm of a community peace activist group. The study investigates opportunities for these three individual case studies to act as public spheres, by examining the interplay that occurs between both Internet and radio practices. As the thematic analysis will demonstrate, placing radio content on the Internet presents new opportunities to diversify content and audiences through collaborative production and improved distribution. Recommendations for further research emphasise the need to pursue the Internet’s role in the public sphere potential of radio
Radio on the internet: opportunities for new public spheres?
No full textThis thesis investigates the potential for radio on the Internet to enhance processes of communication and media practice in the form of new a public sphere. Drawing on the work of Marshall McLuhan, the early stages of this thesis present an enquiry into the unique positive qualities of both radio and the Internet. The argument that follows contends that radio presented on the Internet can draw from the perceived technological benefits of each individual medium, combining as a potential site for public spheres. Both Habermas’s liberal public sphere and contemporary critiques of the concept are examined to define a range of principles that could be tested against relevant examples. The increasing commercialisation of the Internet is presented as a challenge to the normative ideals of a public sphere and counter-balances the optimism of a technologically determinist approach. A series of thematic codes are developed from the relevant theory and combined with qualitative interviews. This forms the framework for a thematic analysis of three individual case studies: Unwelcome Guests, an anti-corporate radio programme, SW Radio Africa, “the independent voice of Zimbabwe,” and NH Making Waves, the radio arm of a community peace activist group. The study investigates opportunities for these three individual case studies to act as public spheres, by examining the interplay that occurs between both Internet and radio practices. As the thematic analysis will demonstrate, placing radio content on the Internet presents new opportunities to diversify content and audiences through collaborative production and improved distribution. Recommendations for further research emphasise the need to pursue the Internet’s role in the public sphere potential of radio
Comprehending Commercial Speech: How 13-15 Year Olds Understand Non-Traditional Advertising on New Zealand Radio
No full textNew Zealand’s radio environment is considered one of the most commercially saturated in the developed world. Alongside this has been a rise in non-traditional advertising techniques such as aural product placement, sponsorships and giveaways which are presented as editorial content. This research explores the attitudes and understandings of 13-15 year olds in relation to these new forms of advertising on New Zealand commercial radio. Using a reception studies approach, this research shows that young people are very aware of the heavily commercialised media environment in which they are part of. However, the commercial reality is accepted as a naturalised status quo rather than as institutions that can be influenced. The participants were not necessarily able to identify non-traditional advertising approaches. Ultimately, this research provides an understanding of how growing up in one of the most heavily commercial radio environment in the world affects the experience of the listener
So Your Band Wants to Tour? Gigit: DIY Digital Tour Management
No full textThe touring model, one of the oldest ways used by musicians to promote and monetise their work, has remained relatively unchanged despite the rise of digital platforms such as Spotify, Facebook and YouTube. These new platforms provide more opportunities to make musicians’ output more accessible to a larger audience by helping to build their presence and profile online. However, for bands that are starting out that want to keep control of their work by self-managing, the do-it-yourself (DIY) model, where bands personally contact promoters and venues to book tours, positions promoters as gatekeepers and perpetuates a sense of distrust and uneven power relations between bands and those that can help them organise tours. This research analyses the experiences of musicians and promoters who have organised tours in New Zealand, through a series of online surveys, focus groups and professional interviews. This data was used to create an online platform, Gigit, which allows musicians to book their own tours in a fair, secure and transparent manner, disrupting the unfair power relations between musicians and the gatekeepers who traditionally controlled the key aspects of successful touring
Comprehending commercial speech: how 13-15 year olds understand non-traditional advertising on New Zealand radio
No full textNew Zealand’s radio environment is considered one of the most commercially saturated in the developed world. Alongside this has been a rise in non-traditional advertising techniques such as aural product placement, sponsorships and giveaways which are presented as editorial content. This research explores the attitudes and understandings of 13-15 year olds in relation to these new forms of advertising on New Zealand commercial radio. Using a reception studies approach, this research shows that young people are very aware of the heavily commercialised media environment in which they are part of. However, the commercial reality is accepted as a naturalised status quo rather than as institutions that can be influenced. The participants were not necessarily able to identify non-traditional advertising approaches. Ultimately, this research provides an understanding of how growing up in one of the most heavily commercial radio environment in the world affects the experience of the listener
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