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11. The Concerts and Live Entertainment Industry: A Significant Economic Engine

Author:
Michael Mariano and Adam Sacks
Publication Date:
07-2021
Content Type:
Commentary and Analysis
Institution:
Oxford Economics
Abstract:
We all remember our first concert or seeing our favorite band live, but rarely do we think of the stagehands, lighting techs, and ushers who worked hard to deliver these memorable experiences or the impact they have on our local, state, and national economies. In order to better understand the economic impact this important industry has across the United States, Oxford Economics developed a customized framework to analyze the impact of the concerts and the live entertainment industry's nationwide economic contributions in 2019 and conducted an in-depth analysis of the economic impacts of live event venues, artists, and visitor spending in terms of economic output, labor income, taxes, and jobs. Due to the pandemic putting a pause on live events in 2020, this report examined 2019 data to ensure a complete analysis could be conducted that is in line with regular performance of the industry. The industry drives significant economic activity that supports businesses, households, and government finances across the United States. In the wake of COVID-19, live events were shut down for over a year. Beyond the cultural loss involved, the US economy has incurred massive losses in GDP, employment, household income, and tax revenue due to the absence of live events. After a year of isolation, many crave getting back to enjoying memorable live experiences safely in 2021 and into the 2022 and 2023 seasons, which position the industry for growth in the coming years. The Concerts and Live Entertainment Industry, as defined by this report, includes all live musical performances, such as festivals and concerts, and comedy shows held in amphitheaters, clubs, theaters, arenas, stadiums, and other venues. Not included in this analysis are theater, Broadway, sporting events, and family shows.
Topic:
Economics, Culture, Music, popular culture, and Entertainment
Political Geography:
North America and United States of America

12. Exchange and Cooperation in Music and Art between the Soviet Union and North Korea (1948–1990)

Author:
Byong-Jo Lee
Publication Date:
11-2021
Content Type:
Commentary and Analysis
Institution:
East Asia Institute (EAI)
Abstract:
Prior to the collapse of the Soviet Union, an extensive number of cultural exchange visits were made between the Soviet Union and North Korea in various fields including the arts. Mutual visits paid by delegates of the respective countries served as an opportunity to introduce cultural techniques and receive training by experts of the other country. In this Research Review, Lee Byong-Jo, Professor at Al-Farabi (Kazakh) National University, explains the exchange of arts between the two countries. While most of them have been made with the intentions of praising the North Korean regime, findings show that there have been exchanges in folk music as well. In addition, research shows that Koryoin artists in Central Asia led cultural exchange between two countries. According to articles on the Lenin Gichi, exchange visits started with the founding of North Korea and persisted until the 1960s. Art groups reflected the sorrow of the Koryoin community, encouraged them to preserve their national identity, and contributed to the development of the arts in both countries.
Topic:
History, Arts, Culture, and Music
Political Geography:
Asia, North Korea, and Soviet Union

13. The Economic Impact of Music in Europe

Author:
Oxford Economics
Publication Date:
11-2020
Content Type:
Working Paper
Institution:
Oxford Economics
Abstract:
The European music sector has a major impact on the economies of the EU and the UK. In 2018 the recorded music industry supported an €81.9 billion contribution to EU27 and UK GDP, according to a study by Oxford Economics, commissioned by IFPI. This was larger than the GDP of nine of the 28 EU Member States in that year. Of this contribution, €37.5 billion was generated by the music sector itself through its output, wages and tax payments. To give a sense of scale, this was 1.5 times larger than that made by the wine-making and brewing sectors. The European music sector also had a significant indirect impact on the labour market and fiscal position around Europe. We estimate the music sector supported 2 million jobs across the EU27 and UK, which meant that 1 in every 119 jobs in the 28 countries were dependent on the sector’s activities to some degree. All of this economic activity also benefited public finances, with the sector supporting a total contribution of €31.0 billion to EU27 and UK tax revenues, equivalent to 19.4% of the entire EU budget for the same year. In addition to this, we also conservatively estimate that the European music sector earned €9.7 billion in export revenue in 2018 from customers around the rest of the world. These earnings are 13% higher than all exports of European GI-protected wines to non-EU countries (including champagne).
Topic:
Economics, Culture, Music, popular culture, and Job Creation
Political Geography:
Europe

14. China in the Geopolitical Imaginations of the Polish Pop Music after 1989

Author:
Jaroslaw Macala
Publication Date:
01-2020
Content Type:
Journal Article
Journal:
Polish Political Science Yearbook
Institution:
Polish Political Science Association (PPSA)
Abstract:
This paper focuses on the issue of geopolitics in the pop culture interpretation as illustrated by the Polish pop music after the year 1989. Songs selected from various trends of the Polish popular music made the source material of the text. The primary study method involved the analysis of the lyrics discourse. The Polish geopolitical imaginations used to revolve around the basis axis of better West and worse East, symbolized mainly by Russia, but its image was transferred over entire Asia. Asia, including China, was scarcely present in the geopolitical imaginations contained in the pop music, which, at the same time, reflected the irrelevant interest of Polish elites in global problems. The discourses in the musical texts about China frequently adopted the West’s perspective, where Poland made part of as seen by our elites. The rhetoric strategy concerning China in popular music featured two essential views, which references Orientalism as specified by E. Said. It explains the frequent use of the postcolonial discourse by the Polish elites, also the music ones, which promoted the supremacy of the West over the rest of the world and the universal nature of the Western world values which were meant to be implemented into other civilizations and nations for their own sake. China was presented as a growing threat for the dominance of the West, the USA in the first place, as an alternative model of globalization and international deal putting offthe world by its cultural and geopolitical alienation, as well as indicating negative effects for Poland
Topic:
Culture, Geopolitics, Music, and popular culture
Political Geography:
China and Asia

15. Musical Diplomacy: The Eurovision Song Contest in Tel Aviv

Author:
Dean Vuletic
Publication Date:
03-2019
Content Type:
Special Report
Institution:
Georgetown Journal of International Affairs
Abstract:
After winning the 2018 Eurovision Song Contest (ESC) with her song “Toy” (inspired by the #MeToo movement), Netta Barzilai issued the declaration, “Next year in Jerusalem!” By using the traditional Jewish phrase, she was suggesting that the 2019 ESC would be held in that city.
Topic:
Diplomacy, Culture, and Music
Political Geography:
Europe, Middle East, and Israel

16. Creativity at the Service of Social Mobilization in Chile

Author:
Iraida H. López
Publication Date:
12-2019
Content Type:
Commentary and Analysis
Institution:
The North American Congress on Latin America (NACLA)
Abstract:
Artistic expression is not only central to the protests in Chile—it's part of a long national tradition of resistance.
Topic:
Arts, Social Movement, Protests, and Music
Political Geography:
Latin America and Chile

17. The Daydreams of Polyphony: From The Music Revolution to The Birth of Turkish Popular Culture

Author:
Poyraz Kolluoğlu
Publication Date:
07-2019
Content Type:
Journal Article
Journal:
AURUM Journal of Social Sciences
Institution:
Altinbas University
Abstract:
The Turkish Cultural Revolution has been a steady of debate and controversy for scholars coming from different disciplines of social science since the founding elites attempted to build the new secular society upon a disintegrating cosmopolitan empire in 1923. One of the off shoots of this modernization project championed by a group of elite soldiers under the leadership of Atatürk was the so-called Turkish music revolution. In this paper, I am defining the imagination of a nation and its cultural modular forms in an underdeveloped oriental milieu as that of Turkey as daydreaming because I would argue that the so-called music revolution of this total cultural fabrication throughout the 1930s, 1940s resulted in confusion, feelings of anxiety, artistic and cultural volatility, and, thereby, paved the way for an opportunity to navigate in a space between the Occident and the Orient spatio-temporality in parallel to ethno-racist discourses.
Topic:
Nationalism, Culture, Music, Modernity, Cultural Revolution, and Occidentalism
Political Geography:
Turkey, Middle East, and Mediterranean

18. For the Love of Music

Author:
Isabel Roemer
Publication Date:
12-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies (CCAS)
Abstract:
MAAS alum combines language skills, industry savvy, and a bit of “wasta” to bring Arab musicians to Washington audiences. In 2003, MAAS alum David Chambers (‘88) received a call from the family of the late Munir Bashir, the celebrated Iraqi musician widely regarded as “King of Oud.” Chambers had spent much of the 1990s in the entertainment industry in the Arab world—notably, for the Showtime Arabia satellite TV network. Now back in Washington, D.C., he faced a challenge: how to arrange a gig for Omar Bashir, Munir’s son, in the nation’s capital?
Topic:
History, Culture, Higher Education, and Music
Political Geography:
Iraq, Middle East, North America, Washington, and D.C.

19. THE OUTSTANDING VIEW OF GLOBALIZATION: ROMAN GAME AIR AS CATEGORY OF WORLD MUSIC

Author:
Zeynep Gonca GİRGİN
Publication Date:
02-2018
Content Type:
Journal Article
Journal:
Alternative Politics
Institution:
Department of International Relations, Abant Izzet Baysal University, Turkey
Abstract:
The category of world music is a new genre-title created by that latest embodiment of globalization, the glocal (global-local) market in the music industry. The increase in the power of the world music market in late 1980's and the popularization of the Romani musician as an identity in that regard plays an important role in the popularization of the 9/8 Romani dance tune both in Turkey and in the Balkans sound. The Gypsy-Romani themed films in the last quarter century by Emir Kusturica and Tony Gatlif, the Gypsy-Romani music festivals held in Europe and North America, and the increase in the Romani instrumentalist and performer productions in the Balkans popular music market; also, the rise in the scientific and artistic interest in the academia show the emphasis on both the distinctive and the European identity of the Gypsies, while supporting the new political economic conditions. This article critically reviews the popularization process of Turkish Roma musicians and musics in the world music industry via correlation with Balkan territories.
Topic:
Globalization, Culture, and Music
Political Geography:
Europe, Turkey, Asia, and Balkans

20. How K-pop Broke the West: An Analysis of Western Media Coverage from 2009 to 2019

Author:
Jenna Gibson
Publication Date:
10-2018
Content Type:
Journal Article
Journal:
International Journal of Korean Studies
Institution:
International Council on Korean Studies
Abstract:
Over the last decade, Western publics have gradually caught on to the Kpop phenomenon; the Korean Wave has arrived on European and North American shores and shows no signs of receding. Heightened interest has corresponded with increased mainstream media coverage, both among news and entertainment outlets. This article analyzes mainstream media coverage of the Korean Wave from 2009 to 2019, including an examination of overall trends in K-pop framing over time. This analysis suggests that coverage of K-pop in Western media has proceeded through four distinct stages of development: 1) Introductory Stage, 2) Gangnam Style Stage, 3) Korean Wave Stage, and 4) Mainstreaming Stage. This article also examines how the changing portrayal of K-pop for general audiences has corresponded with a similar evolution in portrayals of South Korea and Korean society as a whole.
Topic:
Media, News Analysis, Soft Power, Music, and popular culture
Political Geography:
Asia, South Korea, and United States of America