Media Empire and Cultural Entrepreneurs - Coursework Example

Media Empire and Cultural Entrepreneurs No one can deny that technological development playsa special role in the life of any nation. In an era of rapid development of new information technologies cultural business is a very successful enterprise. Of course, only the competitive businesses can survive in the modern information market and make profit. This requires competent management, knowledge, technologies and professionalism. Due to new technological achievements, the production and distribution of the cultural products of one creative industry have been democratized. However, new wonderful opportunities make the quality of creative products lower due to the lack of regulation. There are so many young and talented people who wish to become famous, reach and demanded. So, is it easy to make such dreams come true, if you have no reach and influential parents, if your uncle is not a famous producer, but, nevertheless, you have a great potential, and you are convinced that you are able to bring something new, fresh and original to contemporary show business? Arctic Monkeys give a positive answer to this question. Nowadays the term “cultural entrepreneur” is very popular, when referring the media business. According to Arjo Clamer (2011), “a cultural entrepreneur is the character who is entrepreneurial in the realization of cultural values” (Clamer, 2011). Nonetheless, there are lots of controversies around the significance of this phenomenon. Leadbeater and Oakley suggest the idea that “cultural entrepreneurs” represent a new model of work and creative production (1999); moreover, they promote the creation of new jobs and are very important for the economic growth of countries. On the example of Arctic Monkeys this claim does not work. It is more relevant to them to appeal for another interpretation of the “cultural entrepreneurship”. Don Lavoie asserts that the character of contemporary cultural entrepreneur can inspire other people of arts, as well as promote the development of culture (Lavoie; Chamlee-Wright, 2000). But there is an idea that such creative entrepreneurs are a means of money-making for large companies and other “sharks” of show business. With this regard, it is relevant to mention the phenomenon of Justin Bieber. He is named the “YouTube phenomenon”. “Cultural entrepreneurship” has played a great role with the Bieber’s phenomenon. Usher and marketing team has developed an unprecedented advertising campaign developed especially for the boy, who wanted to become famous, but very often he was neglected. His sex appeal, a special haircut and charm enchanted millions of girls and women. He was occasionally recorded by a passerby and Bieber’s video became available for the million audiences in the Internet. Bieber is “the small-town kid with big-city dreams, many of which he’s already realized” (Sen, 2010). Now, the phenomenon of Bieber is a great industry with million sales of T-shirts, cardboard stand-ups and other stuff with a radiant smile and appealing glance of Bieber on it. Therefore, the significance of contemporary cultural entrepreneurship in the sphere of music industry is evident. No one wonders that any talent can be sold, and if we add good appearance, charisma and intelligence to this characteristic, the price can be doubled. Thus, this new talent should be advertised and delivered to every consumer. Social networks are an easy way and an available possibility for young musicians to become famous. Online word of mouth plays an important role in potential success of the favorite artist. Moreover, online postings and a growing number of “online friends” is the evidence of the modern success in show business. Unlike places set by artists in charts on TV or radio, modern online popularity of an artist is the real determinant of his success. Unlike traditional media, the rapid advances in information technology have shifted accents to the importance of online media. New media is a term that at the end of the last century began to be applied for interactive electronic media and new forms of communication between content producers and consumers, as well as to identify differences with traditional media, such as newspapers; the term refers to the process of digital development, networked technologies and communications. Convergence and multimedia editorial become routine elements of contemporary journalism. Influence of Forums Go Back Forums-media should not be underestimated. According to the estimates of sociologists, approximately 10% of the U.S. population influences the opinions of the rest 90%. So, 73% of the most influential Americans consider the Internet as a major source of political and economic information. At the same time, there are a number of people who have negative attitude towards the Internet in general. There are even those who argue that the Internet is killing culture of human civilization, replacing it with the information ersatz. Still, new media empires become stronger, more powerful and reach. At the present time, media monopolies are a hot topic. And no one have the idea about their real annual income. A great many of creative entrepreneurs dream about a chance to become a little cog in the huge money-making machine of these notorious media empires; still, the empires also need new talented people, as they are in constant need of new sources of income. What are those media magnates who, actually, rule and maintain the process of shaping our own tastes, values, preferences and desires? “They own the major entertainment parks, entertainment movie studios, television, radio broadcast networks and programming, video news and sports entertainment, as well as music industry, video game software and electronic media” (Caves 2000). Suffice it to mention some of the largest and influential media empires. A new generation of self-made cultural entrepreneurs may become a strong army of rivals to the traditional army of artists. YouTube has become such a significant phenomenon in the media world that even television should be with it. Nevertheless, previously YouTube was considered to be a very attractive for small, independent television stations and television channels (Cloud 2006). Thus, it is not difficult to guess that YouTube was a springboard to a successful career of such celebrity as Justin Bieber. Just fancy, he was an ordinary Canadian boy, found of music. Now he is a pop singer and actor. In 2008, Scooter Braun became viewed Justin’s videos on YouTube, and later he became his manager. Braun arranged for a meeting with Asher with Bieber in Atlanta. Soon Bieber became a star of Raymond Braun Media Group (RBMG) label, a joint venture of Braun and Usher; later on, DLA Reid invited Bieber to Island Records. “His debut single “One Time” was released in 2009; it reached the top ten in Canada and ended up in the top 30 in some countries. “My World”, the first mini-album, was released on 17 November 2009 and was certified platinum in the U.S” (Gail, 2009). Justin became the first pop star, whose seven songs from his debut album hit the Billboard Hot Chart 100. Another media giant MTV, the music network, owned by Viacom. Its main task is to meet the needs of teens and adolescents of the world in music at 150 decibels. No wonders that MTV did not miss the chance to “help” the young talent in promotion of his career. Why not satisfy Bieber’s fans? (Gail, 2009).Suffice it to recollect Justin’s and B.o.B.’s joint performance or the fact that young Canadian superstar, a popular teenage singer took the responsibility of becoming "digital" master of MTV ceremony Europe Music Awards 2010. Musical phenomenon and a frequenter of "Twitter" Justin Bieber became MTV Lives on-air host. To make that event truly interactive, Justin in real time commented the broadcast on mtvema.com and highlighted the events in Madrid on his part (Farber, 2010 ). It may sound brutal, but creative entrepreneurs are a demanded product, which can be sold well. All these pop singers, fashion designers, image makers, showman and women please us with what they do, with their creativity and uniqueness. Do they contribute to promotion of culture? Some people may disagree, but they do. Do cultural entrepreneurs generate new jobs and thus, promote the economic growth? Definitely, they do. But what, actually, cultural entrepreneurship could do without media help? There is no need to prove the fact that today’s media empires exploit the creative potential of their protégé to attract audience. There is no need to prove the fact that today’s media empires exploit the creative potential of their protégé to attract audience. But creativity and culture can not be distributed in some alternative way, since media is the most important element in the whole creative community. Still, nowadays people, especially those, inspired by the examples of Justine Bieber or Arctic Monkeys, have more opportunity to become noticed by famous producers due to new media. Another important remark is that new technologies have generated new idols for a new audience. A modern community of screenagers sets a tone for further admiring of the idols chosen by them and for them. But creativity and culture can not be distributed in some alternative way, since media is the most important element in the whole creative community. Nevertheless, the modern creative community is like a factory where the community of artists and producers work together and follow the needs of their audience. This claim is relevant to the phenomenon of Bieber. In case with Arctic Monkeys the situation is quite different. This British band has worked out their strategy to make their dreams come true and not for potential enrichment. Bieber’s phenomenon is also the Internet phenomenon, but currently we can talk about the whole Bieber enterprise. Creative entrepreneurship can be considered on the example of Bieber’s phenomenon. It is maybe not as much creative as in case with Arctic Monkeys, but it is definitely entrepreneurship. A wisely developed image making and marketing strategy has brought essential benefits for Bieber’s producers and Bieber’s industry in general: “a falsettosinging rock frontman can come off as coolly secure in his masculinity. In already feminized, dubiously "authentic" genres like dance pop, however, singing "like a girl" in a style that signifies "false" requires some legitimizing legwork” (Devitt, 2010). Moreover, his image is very close to teenagers of American and all over the world. Moreover, cultural entrerpreneurs in the face of Bieber’s industry representatives have greatly puzzled the society: “We dont know what to make of the body that goes with the girlish voice, the ambiguous face, and die incredibly youthful boyishness of someone who is almost, but not quite, a man. Do those cooing, cherubic vocals belong to an overgrown boy soprano? A young man singing falsetto? A girl in teen-boy drag? A modern-day castrato?” (Devitt, 2010). At this point they refer to the special online community who have chosen and promoted Bieber from the very beginning. Still, nowadays people, especially those, inspired by the examples of Justine Bieber or Arctic Monkeys, have more opportunity to become noticed by famous producers due to new media. Moreover, online Media Empire is an area, where artists can “come together” with their fans. References Caves, R. E. 2000, Creative industries: Contracts between art and commerce. Cambridge: Harvard. Cloud, J 2006, "The Gurus of YouTube". Retrieved 22 May,2014 from . CNN – MTV changed the music industry on August 1, 1981 – July 31, 1998". Retrieved 24 May, 2014 from. Bagdikian H B 1983, The Media Monopoly. California: Beacon Press. Farber, J 2010, Justin Bieber, My World 2.0. New York Daily News. Mortimer Zuckerman. Gail, M 2009, Usher Introduces Teen Singer Justin Bieber. Billboard, Prometheus Global Media. Retrieved 24 May, 2014 from Klamer, A Cultural entrepreneurship. A Springfield Journal. Vol. 24, No 2: 141-156. Konjicanin, A 2010, "Justin Bieber makes them proud. But why?" Vancouver Observer Vol. 34, No 5: 77-83. Lavoie, D., Chamlee-Wright, E 2000, Culture and enterprise: The development, representation and morality of business. London: Routledge. Lounsbury, M, Glynn, M A 2001, Cultural entrepreneurship: Stories, legitimacy, and the acquisition of resources. Strategic Management Journal, 22: 545–564 McCloskey, D 2006, Bourgeois virtues. Chicago: University of Chicago Press. Retrieved 22 May, 2014 from "MTV- Justin Bieber artist profile". MTV. MTV Networks. Retrieved 22, 2014 May from . Nelson, R R, Winter, S G 1982, An evolutionary theory of economic change. Cambridge: Harvard. Pittman, Robert 1991, "Cover Story – The Man Behind the Monster". Los Angeles Times Towse, R (Ed.) 2003, Handbook of cultural economics. Northampton: Edwar Elgar. Throsby, D 2001, Economics and culture. Cambridge: Cambridge University Press. “Do It Yourself”. Retrieved 22 May, 2014 from “Justin Bieber Cover Team Strategy”. Retrieved 22 May, 2014 from “How Usher Gave World Bieber Fever”. Retrieved 22 May, 2014 from “No More TV Appearances For Arctic Monkeys”. Retrieved 22 May, 2014 from http://www.gigwise.com/news/13898/No-More-TV-Appearances-For-Arctic-Monkeys Read More