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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