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Marketing the margins: Wax Trax Reco...

Lee, Stephen Clinton.

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Marketing the margins: Wax Trax Records, alternative music and independent record labels.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Marketing the margins: Wax Trax Records, alternative music and independent record labels./
Author:	Lee, Stephen Clinton.
Description:	310 p.
Notes:	Source: Dissertation Abstracts International, Volume: 54-04, Section: A, page: 1137.
Contained By:	Dissertation Abstracts International54-04A.
Subject:	Mass Communications. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9323471

Marketing the margins: Wax Trax Records, alternative music and independent record labels.
Lee, Stephen Clinton.

Marketing the margins: Wax Trax Records, alternative music and independent record labels. - 310 p.

Source: Dissertation Abstracts International, Volume: 54-04, Section: A, page: 1137.

Thesis (Ph.D.)--The University of Texas at Austin, 1993.

This item must not be sold to any third party vendors.

Independent record companies--those companies not affiliated with the major record labels--are something of a dying breed in the world music market. Yet, as economic and social circumstances conspire against the continued viability of these small and often innovative organizations, independent labels continue to be formed and their creators often tout their companies as wholly different from their larger competitors. This dissertation examines the efforts of one such company. Over the course of this study, Wax Trax Records, a Chicago-based independent best known for its "industrial dance" records, evolved from a fully independent record company to one directly affiliated with Warner Bros. Records. Through an examination of how the company's original ideology of independence incrementally changed to accommodate a more "mainstream" approach to music, culture and business, insights into the interaction of dominant and subordinate ideological perceptions emerge. While many previous studies (most notably Peterson, 1976 and Gray, 1990) have analyzed the role that the structure of the record industry has played in the production and dissemination of cultural products, this study moves beyond those production of culture studies in several ways. First, in order to acknowledge the critical role of human agency in cultural production this study utilizes ethnographic methods and extended interviews as its primary data-gathering tool. Second, in order to examine the shift in ideological "mind-sets" brought to their processes of cultural production, this study juxtaposes marketing theory with Marxist theories of ideological maintenance and challenge. The parameters of Wax Trax's ideology of independence are thereby situated in the midst of the two powerful yet conflicting belief systems that Wax Trax's employees negotiated in the record-making process.Subjects--Topical Terms:

1017395
Mass Communications.

Marketing the margins: Wax Trax Records, alternative music and independent record labels.
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245 1 0 $a Marketing the margins: Wax Trax Records, alternative music and independent record labels.
300 $a 310 p.
500 $a Source: Dissertation Abstracts International, Volume: 54-04, Section: A, page: 1137.
500 $a Supervisor: Thomas Schatz.
502 $a Thesis (Ph.D.)--The University of Texas at Austin, 1993.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Independent record companies--those companies not affiliated with the major record labels--are something of a dying breed in the world music market. Yet, as economic and social circumstances conspire against the continued viability of these small and often innovative organizations, independent labels continue to be formed and their creators often tout their companies as wholly different from their larger competitors. This dissertation examines the efforts of one such company. Over the course of this study, Wax Trax Records, a Chicago-based independent best known for its "industrial dance" records, evolved from a fully independent record company to one directly affiliated with Warner Bros. Records. Through an examination of how the company's original ideology of independence incrementally changed to accommodate a more "mainstream" approach to music, culture and business, insights into the interaction of dominant and subordinate ideological perceptions emerge. While many previous studies (most notably Peterson, 1976 and Gray, 1990) have analyzed the role that the structure of the record industry has played in the production and dissemination of cultural products, this study moves beyond those production of culture studies in several ways. First, in order to acknowledge the critical role of human agency in cultural production this study utilizes ethnographic methods and extended interviews as its primary data-gathering tool. Second, in order to examine the shift in ideological "mind-sets" brought to their processes of cultural production, this study juxtaposes marketing theory with Marxist theories of ideological maintenance and challenge. The parameters of Wax Trax's ideology of independence are thereby situated in the midst of the two powerful yet conflicting belief systems that Wax Trax's employees negotiated in the record-making process.
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