Tag: research (Page 6 of 6)

10 Questions for Birmingham’s Independent Music Industry.

March 5, 2011 /

The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.

There has a been a lot of discussion around these Ten questions. The questions have no deadline for submission, the questions will be open to anyone to answer at any time. You thoughts and opinions are welcome, at any time.

Ten Questions have already been answered by:

Andy Derrick, Keisha Thompson, Jon Cotton, Pam Bishop, Andy Roberts, Ben Calvert.

For more opinion, consultation and research we have collected together, read through our posts in the Strategy category.

If you want to submit your own Ten Questions or even just One new question please email them in. When we have enough, I’ll post them as “Another Ten Questions”.

Completed submissions will be published at http://www.birminghammusicnetwork.com unless you state otherwise. Please include your Name, brief biography or information about who you are and what you do, and links to your website or blog. You will be credited as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.

Submission by email send to: info at birminghammusicnetwork.com – Thank You.

10 Questions for Birmingham’s Independent Music Industry:

1. In your view, what is the current state of the region’s “Independent Music Industry?”

2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?

3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?

4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”

5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”

6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?

7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?

8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”

9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?

10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?

(The term “Region” as far as these questions are concerned refers to Birmingham or the geographic area Birmingham City Council works within.)

I have also quoted a number of existing articles below. Can anyone suggest any other existing articles that the group should read and consider that may have been omitted?

A DIGITAL AND CREATIVE INDUSTRIES ACTION PLAN https://birminghammusicnetwork.com/2008/03/06/a-digital-and-creative-industries-action-plan/

The people who control the Funding are damaging the Creative Industries in The West Midlands by Anthony J Hughes https://birminghammusicnetwork.com/2008/06/12/the-people-who-control-the-funding-are-damaging-the-creative-industries-in-the-west-midlands/

Birmingham Twinned with Your Darkest Thought? by Mark Iron Man Records https://birminghammusicnetwork.com/2008/11/10/birmingham-twinned-with-your-darkest-thought/

A Year later – Perspectives on the West Midlands Music Industry – Scott Roe, Solar Creations https://birminghammusicnetwork.com/2008/11/10/a-year-later-perspectives-on-the-west-midlands-music-industry-scott-roe/

What is your view of the West Midlands’ music industry? by Mark Iron Man Records https://birminghammusicnetwork.com/2009/02/03/what-is-your-view-of-the-west-midlands%E2%80%99-music-industry/

A Vision for the Music Industry in the West Midlands by Clare Edwards June 2008 https://birminghammusicnetwork.com/2009/02/03/a-vision-for-the-music-industry-in-the-west-midlands-by-clare-edwards-june-2008/

Another view of the West Midlands’ music industry and FUNDING by Andy Ward https://birminghammusicnetwork.com/2009/02/10/andy-ward-another-view-of-the-west-midlands%E2%80%99-music-industry-and-funding/

Countercultural Capital & the Creative Economy – How do 1990s DiY Music ‘Entrepreneurs’ talk about the contemporary music business?” by Charlotte Bedford 2008 https://birminghammusicnetwork.com/2009/06/04/countercultural-capital-the-creative-economy-how-do-1990s-diy-music-%E2%80%98entrepreneurs%E2%80%99-talk-about-the-contemporary-music-business-by-charlotte-bedford-2008/

Funding the Creative Industries by Andy Derrick 13th Feb 2009 https://birminghammusicnetwork.com/2009/02/13/funding-the-creative-industries-by-andy-derrick-13th-feb-2009/

The Scottish Music Industry Association(SMIA) – launched at Go North conference https://birminghammusicnetwork.com/2009/07/21/the-scottish-music-industry-associationsmia-launched-at-go-north-conference/

Redefining the Music Industry – A public consultation on the future shape, needs, direction and ambitions of the music industry. https://birminghammusicnetwork.com/2009/09/10/redefining-the-music-industry-a-public-consultation-on-the-future-shape-needs-direction-and-ambitions-of-the-music-industry/

National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009 https://birminghammusicnetwork.com/2009/09/22/national-survey-and-mapping-exercise-assessing-provision-scope-of-music-support-work-across-uk-2009/

How does Iron Man Records choose it’s artists and how does it promote them? https://birminghammusicnetwork.com/2009/11/28/how-does-iron-man-records-choose-its-artists-and-how-does-it-promote-them/

your comments please…..

cheers Mark – The Music Network, January 2011

How does Iron Man Records choose it’s artists and how does it promote them?

November 28, 2009 /

An article about Iron Man Records, Birmingham writtten by JANINE LABUSCAGNE BA (HONS) Media & Communication, University of Central England, 2007.

“…..There are two kinds of music – good music and bad music.  Good music is music that I want to hear.  Bad music that I don’t want to hear” Fran Lebowitz, Metropolitan Life, 1978

The objective of this study discusses promotional strategies generated by the independent record label, Iron Man Records.  The research examined the use of the Internet as a free marketing tool and how traditional methods of running a label did not have an affect on Iron Man.  Discussing this, I examined the theoretical areas of music industries, promotion and punk in order to understand and gain a solid background for the development of my research.

Conclusions are then put forward after conducting a participant observation, that social networks play the biggest part in promotion for the label.  Findings throughout the research have been put forward about the different strategies used in the process of online promotion, as well as more general suggestions for further research.

‘De muziek is de geleende creativiteit en motivatie in ons leven’ (translated from Dutch), music is the borrowed creativity and motivation in our lives.  The music industry has had one of the biggest influences in our lives and on our culture.  An example of this would be Wall (2003) and Anderson’s (2006) statements which look at popular music as the: “soundtrack to our lives” (2003; 1) and that “we are consumed by hits – making them, choosing them, talking about them, and following their rise and fall” (2006; 2).  The world of the music industry is one which has been forced to make changes because of the constant development of new technologies.  These changes are in order to keep fans consuming the product that is for sale – music.  Britain is a nation of music lovers and we buy more music than any other country – four units per capita each year (IFPI Recording Industry in Numbers 2002).

The music genre known as punk, has been around since the late 1960s, when unemployment was a prominent social feature in Britain.  It would appear that we are currently witnessing a re-evolution of the music industry and punk’s DIY (do-it-yourself) ethos within independent record labels.  Beyond the development and creation of music, technology has created an impact on the production, distribution, and consumption of ‘Iron Man Records’ music.  “Record companies see the other media as promotional avenues for their music” (Wall 2003; 111).  There are many new and different social networks such as MySpace, MOG and Flickr which will be one of the main areas of focus for the research.  These social networks have evolved on the Internet and the trend displayed by many bands in choosing independent record labels, such as Iron Man Records, above major record labels demonstrates what Barrow and Newby argued about how the music industry:

“Without popular recording artists there would be no music business and without record companies there would be no musical product to be bought in the shops” (1995: 2-3).

The research question, ‘How does the punk music label, Iron Man Records, choose its artists and how does it promote them?’ is a significant topic in the industry to investigate.  The independent label has not been explored in depth before, although academics have looked at similar areas of the music industry.  The study will look at how relationships are being built between a record label, the music industry and bands.  The study also looks at what steps are being taken to promote and market Iron Man Records music. Read more here: Click link for full article on Iron Man Records

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