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The (In)significance of the Brand: Brands and Music Culture

Snapshots from a resaerch project on commerical brands in contemporary music culture. Focus: Marketing Practices, Artists Networs, Social Media, Music Fans

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The (In)significance of the Brand: Brands and Music Culture

  1. 1. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 The (In)significance of the Brand Ph. D. Project Lorenz Grünewald // Supervision Prof. Carsten Winter
  2. 2. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Ain't singin' for Pepsi Ain't singin' for Coke I don't sing for nobody Makes me look like a joke This note's for you. Neil Young, “This note's for you”
  3. 3. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016
  4. 4. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016
  5. 5. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 "Die einzigartige und abwechslungsreiche Vielfalt des Electronic Beats Programms begeistert seit Jahren eine ständig wachsende internationale Fan-Community", sagt Ralf Lülsdorf, International Market Communications Deutsche Telekom (Deutsche Telekom AG 2016)
  6. 6. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Agenda & Research Question What is the meaning of commercial brands in and for (selected cases of) music culture 1. Framework & Methodology 2. Cases & State of Research 3. Snapshots from the analysis 4. Leading to challenges
  7. 7. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Framework ● Heuristic: Circuit of Culture ● Theory: Social Practices (Bourdieu/Hillebrandt) ? What practices of production and appropriation make up the formation of branded music culture (Grossberg)? ? How are these practices articulated? Production Appropriation
  8. 8. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Framework & Methodology Question What is the meaning of brands on music culture? Framework Practices in a circuit of culture Methodology Multi Sited Ethnography/Grounded Theory Strategy Follow the Brands Sites Concerts/Festivals, Agencies, Brand Events, Brand Departments, YouTube, Facebook etc. Methods Interviews, Textual Analysis, Participant Observation Analysis GT-Coding, Situational Analysis
  9. 9. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 State of the project Telekom Red Bull Jägermeister Seat Berliner Converse Boiler Room Audi Allgemein Total Observation 8 3 1 1 13 Interviews 3 4 4 2 1 2 1 1 18
  10. 10. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016
  11. 11. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Snapshot Produktion A Telekom or another brand of this size can give a band so much media power that a label could never pay for (PR-Agent) Kerry Chandler: Boiler Room. The first time I did it. We did it as the Mad Tech Takover. That was just me showcasing the label [...] and that’s just it. None of us got paid. LG: And how did that pay off for you? KC: Oh? Later on we had over a million views on the video. They got these guys out and noticed as well. They put Mad Tech on the map for that year. Die (Un)bedeutung der Marke: Mediale Praktiken & Mediales Kapital
  12. 12. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Snapshot Production The Significance of the Brand: Media Practices & Media Capital Brands allow Artists, Musicians and Fans to participate in meaningful music practices that offer the possibility to accumulate social, cultural, economic and possibly ‘media’ capital.
  13. 13. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Snapshot Nutzung The Insignificance of the Brand: Ambivalence? ■ Brands do not seem to play a significant role in identification or usage practices ■ It is however not without meaning but ambivalent. Branded music culture is only acceptable under certain circumstances I tell him [a random visitor at a RBMA sponsored concert at the CTM Festival] that I am here because I am writing my doctoral thesis about brands like Red Bull that sponsor festival. He immediately knows what I am talking about: “Red Bull does this very subtle compared to the Glastonbury Festival”. He then points to the pillar next to him: “This however is not subtle”
  14. 14. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Markus: And at the entrance there was a BIG Audi. And then there was something like a performance. Artists played on the car. I mean they drummed on it and frickled around with it. And in the back they played some records and it was supposed to be together. But I believe it was totally fake. If you look at the movements you saw that it was not synchronized. I believe it was quite fake. LG: And how was that received? Markus: My friends thought it was real shit. Placing a car in the center like this. Snapshot Appropriation The Insignificance of the Brand
  15. 15. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Snapshot Articulation ■ Music activities have to produce a variety of data or measurements ■ That data is used in reporting practices and legitimizes the ongoing of music activities. Despite the doubts of all managers and artists involved. ■ Measurable continuing media practices are forced. Sharing, Hashtaggin & Reporting I: There are two girls on the left that look into their phones and to the right there is like an instagram/ B: Those are the hastags I am talking about, right. They are just/ Yes I: Yes? Go on? B: They are just super important. It is almost like I am sometimes thinking: Guys please can you just hashtag this now so this thing here [the series of festivals, LG] can go on?
  16. 16. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 „Corporate publishing is viable as long as the belief in branding by association remains powerful. And that belief vanishes when the inability to measure the power of these associations becomes an issue. Clear metrics exist in the speedier world of online publishing with tweets, likes and clicks. Content is immediately shareable. Less so for a free print magazine.“ 3. Snapshot Sharing, Hashtaggin & Reporting Snapshot Articulation Sharing, Hashtaggin & Reporting
  17. 17. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 As a participant-observer, this leads to questions of what is observable (where, how), and as an observational participator, this leads to questions of how to gain access to others and the typical experiences in the field.” (Eisewicht & Kirschner, 2015) ● Twitter: RBMA 131.000 / Telekom Electronic Beats: 21.000 ● How can I get access to their media practices? Help! I need somebody…
  18. 18. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Help! After 10 minutes I mention my topic and ask them what they think about everything here being brand. Before that the Telekom or branding was not talked about. One of them said, that he would not care if a concert was branded. A long as it is free, he likes it. The matter would be different, however, when he also had to pay for the concert. Another said this would still be better, if brands put their money in culture than in other things. ■ If brands are only broached as an issue when I start talking about them how can I look behind these ambivalence? I need somebody…
  19. 19. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Thank you!
  20. 20. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Framework ● Heuristik: Kreislauf der Kultur ● Sozialtheorie: Praxistheorie ? Welche Praktiken der Produktion, Nutzung etc. von gebrandeter Musikkultur werden wie miteinander artikuliert? eig. Darst. nach DuGay et al. 1997/2010, Hepp 2004, Winter 2003)
  21. 21. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016 Boiler Room
  22. 22. Lorenz Grünewald M.A. // Young Scholars Workshop // Wien 29.09.2016

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