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22 Cards in this Set
- Front
- Back
issues raised by the commercialization on popular music: appropriation, authenticity |
authenticity appropriation |
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authenticity: |
produced for artistic purposes; not motivated by sales, experiments with new sounds or techniques, expresses an artist's individuality. |
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appropriation: |
taking one's music for their own, usually without the owner's permission |
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appropriation of black music by white performers |
in the novelty stage, white performers would take music by black musicians and remix it or make it their own because they had money and means to do so. they censored some of it to make acceptable for parents but it still had dangerous black culture elements that appealed to young people. cultural mixing is important for success. Elvis Presley |
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broadcasting vs. cable (technological and institutional differences) |
broadcasting: the transmission of programs to a large, undifferentiated audience via airways, valuable, must follow PICON (public interest, convenience, and necessity) shows to a large, undifferentiated audience by airwaves or the electromagnetic spectrum and can be radio or television cable does not use airways - "invited guest" |
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characteristics of the American system of commercial broadcasting |
it is loosely regulated, the FCC focuses on public interest or people's convenience, and network dominated Very advertiser supported (audience measurement, rise and fall of the sponsorship model) |
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role of network vs. affiliate |
networks have power networks are hardwired connected to affiliates who then take programs and put them on broadcast towers which are then transmitted through the air to our homes affiliates do not own channel but they license the right to use channel |
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changes in advertiser support (sponsorship, 30 second ads, product placement) |
sponsorship model of TV - networks didn't originate any programming themselves, they sold 15 blocks to ads - therefore, 100% sponsorship by ads |
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hegemony |
the acceptance of the dominant values in a culture by those who are subordinate to those who hold economic and political power |
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representation of gender on television, broadcasting and post-broadcasting eras |
Speaking characters in prime-time comedies: 68.5% men, 31.5% women TV participates in the construction of social reality by giving particular roles and activities to genders. |
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Least Common Denominator TV: |
TV in the broadcast era Shows everyone found "appealing" and not offensive Broad audience Ex: Cosby Show |
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TV with edge: |
TV in post broadcast era Appeal to a particular demographic, offend some Ex: South Park Concern: No shared cultural experience- Everyone is no longer watching the same shows |
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economics changes the lead to the rise/demise of broadcasting |
Developed during great depression during this time lack of consumption television advertising served as an effective way to raise consumerism (nation wide mass consumption) In 70’s-80’s mass production economy begins to collapse localized production, just in time production-making something right up to the point of selling (faster production) Fashion music television commodities industries become more central in economy More tailored ads |
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share: |
% of homes with TV sets ON tuned to a specific program share is always higher |
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rating: |
% of homes with a TV tuned to a specific program |
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challenges facing conventional TV ratings |
undifferentiated audiences (same thing to entire country, less people are watching live TV, advertising for TV prices are going up) Netflix & Hulu |
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relative ad spend in different media (TV, internet, radio, etc.) |
TV 38.7% Internet 18.7% Newspaper 15.5% Magazine 11.2% Radio 10.6% |
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social concerns about the decline of broadcasting |
concerns the trend toward cable, broadcasting, and telephone companies merging will limit expression of political viewpoints, programming options and technical innovation and lead to price-fixing |
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pay cable networks vs. premium channels (indecency) |
premium channels have more freedom of what they can show because it is not serving the whole population, they have less restrictions Premium can do what ever they want have no sponsors or anyone to tell them they can't do something |
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the scope of the First Amendment |
Broadcasting shows do not have first amendment rights. Because broadcasters are seen as a limited resource. Have to follow PICON rules and you cant prevent signals into a room Cable is an invited guess, has first amendment protections worried that if they don’t self-censor that then the FCC will step in and regulate do it out of fear of losing first amendment protections |
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the five rights guaranteed by the First Amendment |
freedom of religion, freedom of speech, freedom of the press, freedom to assemble peacefully, and freedom of petitioning |
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protected and unprotected forms of expression |
Obscenity: unprotected Indecency: protected |