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“If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
14 references·1 citing·43 second hop
“If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia (2020)“If There Isn’t Skyscrapers, Don’t Play T…“Twice the Size of Texas”: Assessing the Importance of Regional Popular Music Scenes – A Case Study of Regional Queensland (2018)“Twice the Size of Texas”: As…Why go to pop concerts? The motivations behind live music attendance (2016)Why go to pop concerts? The m…Popular Music Scenes and Cultural Memory (2016)Popular Music Scenes and Cult…Live Concert Performance: An Ecological Approach (2016)Live Concert Performance: An …Touring Circuits and the Geography of Rock Music Performance (2013)Touring Circuits and the Geog…The economy of live music in the digital age (2010)The economy of live music in …Playing with Others and Selves: Australian Aboriginal Desert Musicians on Tour (2009)Playing with Others and Selve…Life in a northern (Australian) town: Darwin's mercurial music scene (2008)Life in a northern (Australia…Concert Tour Success in North America: An Examination of the Top 100 Tours from 1997 to 2005 (2007)Concert Tour Success in North…Chapter 20 Rockonomics: The Economics of Popular Music (2006)Chapter 20 Rockonomics: The E…Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene (2004)Unspectacular Subculture? Tra…Music Scenes (2004)Music ScenesDissonant Identities: The Rock'n'Roll Scene in Austin, Texas (1996)Dissonant Identities: The Roc…Systems of articulation, logics of change: Communities and scenes in popular music (1991)Systems of articulation, logi…‘A whole society, with its own economic system’: the reciprocal and capitalist configurations of American DIY music scenes (2023)‘A whole society, with its ow…Performing Arts: The Economic Dilemma (1967)All you need to know about the music business (1991)Superstardom in Popular Music: Empirical Evidence (1991)File Sharing and Copyright (2010)TALENT AND/OR POPULARITY: WHAT DOES IT TAKE TO BE A SUPERSTAR? (2010)Beyond Financing: Crowdfunding as an Informational Mechanism (2016)Consolidating the music scenes perspective (2004)‘Insider Research’ in the Study of Youth Cultures (2005)3.2. MARXISM AND LITERATURE (2006)Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans (2006)Popular Culture in Early Modern Europe (2017)The Production and Consumption of the Arts: A View of Cultural Economics (1994)Engineering great moments: The production of live music (2009)The Economics of Superstars (2009)Value Networks and Changing Business Models for the Digital Television Industry (2010)The Economics of Immigration (2018)Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art (2020)The structural transformation of the public sphere: an inquiry into a category of bourgeois society (1990)Club cultures: music, media and subcultural capital (1996)Destination culture: tourism, museums, and heritage (1999)The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry (2012)The ‘lonely raver’: music livestreams during COVID-19 as a hotline to collective consciousness? (2020)The Elementary Forms of Religious Life (1916)The Field of Cultural Production: Essays on Art and Literature (1996)The social and cultural values of live music: Sustaining urban live music ecologies (2019)The justification of a music city: Handbooks, intermediaries and value disputes in a global policy assemblage (2020)Stages, Platforms, Streams: The Economies and Industries of Live Music after Digitalization (2021)The importance of music to adolescents (2000)Using thematic analysis in psychology (2006)Why do we listen to music? A uses and gratifications analysis (2010)Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality (2017)Staying in, rocking out: Online live music portal shows during the coronavirus pandemic (2020)Abductive Theory Construction (2021)INDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE (1999)Subcultures, Scenes or Tribes? None of the Above (2005)The Yaoi Phenomenon in Thailand and Fan/Industry Interaction (2019)Music Scenes as Infrastructures: From Live Venues to Algorithmic Data (2020)Online prosumer convergence: Listening, creating and sharing music on YouTube and TikTok (2023)The post-subcultural turn: some reflections 10 years on (2011)‘I Always Remember That Moment’: Peak Music Experiences as Epiphanies (2015)Classification as Culture: Types and Trajectories of Music Genres (2008)Soundscapes: Toward a Sounded Anthropology (2010)Translocality: Concepts, Applications and Emerging Research Perspectives (2013)
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References

  • 1991Systems of articulation, logics of change: Communities and scenes in popular music893 cited
  • 2004Music Scenes437 cited
  • 1996Dissonant Identities: The Rock'n'Roll Scene in Austin, Texas241 cited
  • 2010The economy of live music in the digital age167 cited
  • 2016Popular Music Scenes and Cultural Memory150 cited
  • 2016Why go to pop concerts? The motivations behind live music attendance149 cited
  • 2004Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene98 cited
  • 2006Chapter 20 Rockonomics: The Economics of Popular Music92 cited
  • 2016Live Concert Performance: An Ecological Approach76 cited
  • 2007Concert Tour Success in North America: An Examination of the Top 100 Tours from 1997 to 200551 cited
  • 2008Life in a northern (Australian) town: Darwin's mercurial music scene19 cited
  • 2013Touring Circuits and the Geography of Rock Music Performance18 cited
  • 2018“Twice the Size of Texas”: Assessing the Importance of Regional Popular Music Scenes – A Case Study of Regional Queensland13 cited
  • 2009Playing with Others and Selves: Australian Aboriginal Desert Musicians on Tour12 cited

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  • 2023

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‘A whole society, with its own economic system’: the reciprocal and capitalist configurations of American DIY music scenes
3 cited