{
    "filename": "L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Erupto\u0308rs",
    "department": "Marketing", "Manager",
    "cleaned_text": "project muse gmtartivate journal entrepreneurship arts volume issue httpartivateorg pp copyright authors creativities innovation networks garage punk rock case study erupt\u00f6rs gareth dylan smith institute contemporary music performance alex gillett york management school university york abstract two authors members punk rock trio erupt\u00f6rs also teach higher education one popular music management marketing writing experience erupt\u00f6rs present case study band draw theoretical perspectives respective intersecting fields explore erupt\u00f6rs entrepreneurship collaborations networks creativities diy underground punk rock scene paper provides crossdisciplinary insights internal external cultures erupt\u00f6rs proposing teaching case authors conclude students scholars practitioners music education popular music studies related disciplines fields involving entrepreneurship could benefit engaging reflexive entrepreneurial practice explores incorporates ideas models syntheses discussed paper keywords creativities innovation networks diy punk rock introduction methodology erupt\u00f6rs threepiece rock band sonically aesthetically influenced punk garage rock punkmetal crossover bands mot\u00f6rhead gluecifer electric frankenstein hellacopters defining output rock authors paper members erupt\u00f6rs classic power trio instrumentation consists guitar alex gillett bass geoff irwin drums gareth dylan smith three us responsible vocals irwin gillett share lead vocals smith joining gang vocal sections songs erupt\u00f6rs share creative responsibilities evenly possible working collaboratively ways burnard p terms collective creativity writing rehearsing performing music together production creativity making recordings albums together intraband creativities support enabled entrepreneurial creativity burnard p marketing music carving niche band collaboration external agents ways similar identified typical necessarily entrepreneurial musicians hundreds years hallam gaunt menger weber paper authors use selected frameworks scholarship business marketing approach richer understanding erupt\u00f6rs entrepreneurship multiple creativities rashidi p states punk rock genre formulated critical thinking advocates selfawareness reflecting cooks observation p rock musicians prefer intuitive approach creativity toolboxes account present reflexive postfacto framing ways erupt\u00f6rs worked rather explicit representation past strategies seek claim erupt\u00f6rs experience exemplifies epitomizes garage punkmetal crossover bands uk anywhere else rather aware work band members musical activities including working bands various sorts one us popular music higher education many bands work similar although different necessarily unique practices burnard mckinna shank smith project muse gmtsmith gillett perspectives arts entrepreneurship part common punk bands punk musicians assumptive frame reference tiryakian p jorgensen acknowledging wepole orientation tiryakian p emic perspective feleppa p ways working share others punk community increasing emphasis literature music education especially higher music education preparing students portfolio careers music bennett halla gaunt parkinson smith b musical lives external institutional education eg partti majority literature popular music studies focusing commercially successful bands coverage mainstream media also privileging artists performers highly visible audible general public smith b pp hope offer alternative authentic mckinna p account band statement reflecting cases popular music studies higher music education john berger p observes huge gap experience living normal life moment planet public narratives offered give sense life bennett p asserts students higher education need form entrepreneurship even studying authors thus hope paper might help bridge gap thereby serving higher music education broader higher education community helping orient students towards conceiving entrepreneurs bresler stake p advise music education need experiential understandings particular situations argue types understanding offer paper likely helpful educational contexts beyond music musicians exist fieldspecific epistemological vacuum reminded miles hubermans p observation case always occurs specified social physical setting cannot study individual cases devoid context context position paper crossdisciplinary involving music education business propose therefore interdisciplinary study may helpful teaching case least marketing popular music education contexts authors respective pedagogical contexts marketing higher popular music education applied realworld experience collaborative musicianentrepreneurs affords us bourdieu passeron p termed pedagogic authority credibility ascribed learners arguably essential certainly highly beneficial teaching environments perhaps especially important current climate employability become dominant concept value purpose higher education rationalized official discourse uk parkinson smith press bourdieu passeron p go explain real learning situations recognition legitimacy act transmission pedagogic authority transmitter conditions reception information even accomplishment transformative action capable transforming information mental formation training therefore encourage colleagues higher education discuss analyze examples others interdisciplinary practice music domains similar ways erupt\u00f6rs collaborative innovation network searching means frame way members erupt\u00f6rs collaborate smith gillett perspectives arts entrepreneurship part especially drawn peter gloors work collaborative innovation networks coins coin model applied fields wideranging medical research gloor et al collaborative editing wiki sites iba et al concept often applied largerscale collaborations introducing model gloor p also uses example trio collaborative musical composerperformers illustrate functions coins indicating coin construct applicable musicians others working networks various sizes gloor p observes groups people behaved ways framed research hundreds years many us already collaborated coins without even knowing erupt\u00f6rs seen quintessential example functioning coin model captures much termed punk musicians diy approach explored gloor tells us coin knowledge workers collaborate share internal transparency communicate directly rather hierarchies innovate work toward common goals selforganization instead ordered gloor p certainly true erupt\u00f6rs swarm creativity erupt\u00f6rs website erupt\u00f6rs states band members play respectively lead guitar lead bass lead drums position leaders competitors superiority show equal importance parts whole ideas equal validity equally control none us achieve bands goals without members want part erupt\u00f6rs order realize shared individual collective goals share expertise knowledge skills openly gareth dylan smith wants drummer erupt\u00f6rs two members band want drumming part context contribute collective individual good gain ways unachievable type working together gloor identifies swarm creativity taken studies insects bees ants work individually together colonies fast recognized highly efficient productive modus operandi human interaction gloor p gloors terms erupt\u00f6rs share goal convinced common cause coin members develop new ideas team whole much greater sum parts gloor p burnards terms pp thus band realize collective production creativities writing rehearsing performing music making recording albums together erupt\u00f6rs moneymaking project rock band exists make rock music find inherently worthwhile although erupt\u00f6rs financially motivated venture order write perform record produce generate interest band necessary interact elements business explore detail reference relevant concepts theories peers musicians fans rock originals band scenes understand raison d\u00eatre probably never hit song undertake major world tour become household names never objective band also typical coin characteristic people initially join coins fascinated challenge care deeply goals primary currency reward peer recognition gloor p number peerfans erupt\u00f6rs music small band members pleased music produced band large extent reward notion unpopular project muse gmtsmith gillett perspectives arts entrepreneurship part popular music like discussed smith c p ehls describes collaborations erupt\u00f6rs social exchange processes long organizational stimuli inducements greater equilibrium individuals objectives individual continue participate make contributions words long organization provides sufficient benefits attract participants contribute organizational objective ensure success coalition ehls pp dawkins p calls commitment bands cause sakes logic selffulfilling labor ethos common among doityourself diy practitioners milne course limited punk music scenes observed among niche communities online andreini cassia p theorized literature across domains including crafting human computer interaction scholars emphasized pleasure expressiveness communicative practices involved rather utility end products ability generate profit tanenbaum et al p functioning coin gloor identifies three characteristics define behavior coins collaborative innovation networks innovate massive collaborative creativity collaborate strict ethical code communicate directcontact networks gloor p look erupt\u00f6rs meets characteristics innovation massive collaborative creativity extent erupt\u00f6rs could described innovating debateable visual aural aesthetic perspective consciously pay homage music interests influences burnard p observes quite normal band fact able identify garage rock punk outfit places us firmly recognizable canon stylized rock music arguably little real innovation several decades music around said erupt\u00f6rs certainly created new music songs albums exist created although idea three people bass guitar drums playing loudly fast genuinely novel half century sense erupt\u00f6rs business rather renovating rock innovating deal evolution rather revolution type innovation identified sustained opposed disruptive gloor p descriptions collective creativity action among originals bands burnard p finds originals bands involves players individuals critically members longstanding collective finely tuned musicians able improvise embellish jam pick others brains group interactions band rehearsals performances erupt\u00f6rs involves precisely practices processes contexts burnard identifies well exercising production creativity burnard p smith gillett perspectives arts entrepreneurship part recording studio creating music later comes define experience others us collective record live gigs band comes together record erupt\u00f6rs hq co cork republic ireland goal usually capture much material short timeframe usually determined members commitments dayjobs means writing learning songs together archetypal rock band informal writing learning practices explained well greens classic text popular musicians learn meet record usually also write songs prior recording written guidelines erupt\u00f6rs composition sound like contain come assumption idea comes erupt\u00f6r worthy others attention collective creative effort toward realization member contributes anything onebar riff drum rhythm lyric idea share see idea become experimented collective quality controls deciding factors whether song worth recording whether play song b feels like erupt\u00f6rs song despite ostensibly punkmetal band recently recorded couple tracks sounded almost country problem us like played erupt\u00f6rs song share understanding band noone tells anyone else erupt\u00f6rs teach one another riffs andor song structures written individually another member hears riff differently plays wrong wants use half accept part groups collective creativity burnard p understand collective comprised precisely individuals attitudes preferences limitations predispositions creativities musicalities burnard smith shafighian erupt\u00f6rs sounds like erupt\u00f6rs follow similar process creating mixes adding lyrics songs one us expecting mix sound certain way sure agreed certain take given song find one members mixed song differently included something someone else band initially disliked able stand back say yes erupt\u00f6rs song sounds like us part bigger picture defer creativity collective swarm creativity action gloor bands music ends somewhere none individuals would wanted chosen could foreseen accept ultimately better band type behavior results sennett p identifies group collectively operating subjunctive mood people allow possibilities make suggestions wait things move along noone committing position sennett explains useful kind discussion dialogic conversation defined conversation resolve finding common ground erupt\u00f6rs combine disparate musical elements perspectives creating new common ground rather adhering preconceived consensus accept collectively produced outcome ultimately agree reached little step might individually refuse would perhaps make easiest closelyfitting musical choice commonality lies higherlevel cooperative tacit neverbeforenowarticulated decision differences make us work whole course sometimes things proceed synchronously outcome musically obvious means less desirable working creatively ways crucial erupt\u00f6rs sound sennett acknowledges p subtle dance dialectic discussion project muse gmtsmith gillett perspectives arts entrepreneurship part moving toward clear consensus dialogic discussion leading open innovative product best creative collaborations occur science journalist ed yong puts thats beauty part swarm even dont know youre going still get yong p sennett productive meaningful conversations collaborations happen empathic relationships empathy mature response another individual difficult manage close cousin sympathy sympathetic exchanges one person tries mimic another feel speak behave similarly empathic relationships contrast person listens tries understand responds unique way situation thus inviting indeed requiring deeper considered response turn sennett p observes musicians players sound entirely page performance texture complexity still players sparking one another true classic chamber music jazz garage punkmetal crossover rock thus deeper mutual musical understanding embedded individuals opportunity develop collective benefiting exponentially person brings describes empathy sentiment curiosity people erupt\u00f6rs creativities thrive collaboration strict ethical code erupt\u00f6rs never discussed shared ethical code per se tacitly understood wish intend succeed collaborations help us achieve band domain punk rock gloor p describes delicate balance reciprocity normally unwritten code ethics adhered tao coins gloor p tao coins constitutes shared understanding pull weight motivated deeply intrinsically shared goals band burnard p observes practice group composition broader group collaboration inspires popular musician sense higher purpose partti explains generously individual contributes expertise improve practice community may benefit participating practice community junction generosity selfinterest p result feeling sense higher purpose members erupt\u00f6rs willing contribute resources discovered independently band groups collective benefit one member able offer opportunity resource good ensemble eager take advantage benefits us collectively therefore individually relish process product participation band members connected range third parties making us many times capable whole explored assumption member band part tao coins others use network contacts mutual benefit collective feel strong sense stake band individual networks contacts thus valued member band since connections individuals make possible better work whole erupt\u00f6rs entrepreneurial creativity burnard p work alex gillett string lead electric guitar vocals connected visual artist created artwork erupt\u00f6rs first two albums designed printed merchandise including tshirts underwear connection alexs also saw compilation songs released japan title microwave massacre named record company owners favorite horror film gilletts colleagues print webbased smith gillett perspectives arts entrepreneurship part zines saw erupt\u00f6rs music reviewed underground music press gilletts knowledge contemporary marketing strategies saw band way substantial web presence discussed detail irwin string lead electric bass vocals costfree access recording studio rural cork band refers erupt\u00f6rs hq access numerous musical instruments microphones amplifiers borrow cost hire cheaply recording network able musicians actors appeared recordings augment soundworld gareth dylan smith lead drums vocals cowbell sourced bass player willing learn songs perform us live london found record label released first two albums facilitated opportunities us perform popular bands venues london initially mutual membership individual fandom another band erupt\u00f6rs formed irwin smith playing irish punk band london called neck gillett attended necks gigs london irwin gillett decided transform rebrand previous band erupt\u00f6rs asked smith join thus tao erupt\u00f6rs coin established spring communication directcontact networks swarm creativity gloor provides wide variety case studies coins function digital corporeal realms actualize burnard p calls entrepreneurial creativity without recourse management lines consultative hierarchies members equally empowered lead bass lead guitar lead drums thus liberty make decisions regarding future coin amongst authors elaborate worked erupt\u00f6rs functioning independently contracts record companies marketing teams agents promoters managers gloor emphasizes coins utilization internet achieve optimum performance team writing p coin cyberteam selfmotivated people collective vision enabled web collaborate achieving common goal sharing ideas information work working together physical space real time rejected coin construct rather traditional modes operation viewed part essential functionality group collaborators embrace working practices potentials offered internet become nimble thereby expanding opportunities success fairly certain without extensive use internet erupt\u00f6rs would survived band long erupt\u00f6rs came function internetsavvy coin specifically sought way working owing mundane factors irwin returned london live co cork ireland whence hailed felt correctly turned would find work musician better life back home gillett left london native teesside closer university studying live less expensively london smith remained london family financial logistical ties bandmates radius miles away easiest cheapest effective way us communicate via internet using democratized technological practices identified part broad cultural shift people engage technologies diy maker cultures tanenbaum et al p punk culture within band operates cowbell references comedy sketch nbcs saturday night live aired april project muse gmtsmith gillett perspectives arts entrepreneurship part discussed remains via email three us work musical collaborations two us wrote paper underlining parallels rashidi p observes punk musician academic since erupt\u00f6rs written arranged recorded produced released three albums bad time good time seduce destroy eruptorsculo boca split album californian punk band culo boca well microwave massacre compilation demo recordings released japan one albums entire membership band present majority recording process first album headed erupt\u00f6rs hq heart rural cork record drums guitars vocals record many bass guitar parts lead vocals occasion irwin able contribute recordings gillett smith flown home postcork emailed downloaded discussed various takes mixes occasionally even used telephones confer one another latest music sent irwin thus actualize production creativity coin times proved effective erupt\u00f6rs work online times better simply meet studio ever relying one anothers commitment motivation cointao get jobs done sennett acknowledges limits online cooperation even effective mutually understanding groups writes another project instead working online increasingly started board aeroplanes hideous torturetools modern society meeting face face practice effective lateral thinking including everyone fully conversation p erupt\u00f6rs sometimes two us meet person often record drums also sometimes although less frequently meet person mix master songs discussions mixes sometimes better conducted facetoface among erupt\u00f6rs bands collaborators often especially sensitive around engineering production recordings empathic dialogic process visibly work sennett smith shafighian networks entrepreneurial creativity far paper focussed mostly erupt\u00f6rs collective production creativities burnard p within band underpinned coin framework swarm creativity understand fully erupt\u00f6rs functioned important focus bands entrepreneurial creativity burnard p involving external actors record labels artistsdesigners two helpful constructs regard relationship marketing rm associated servicedominant sd logic rm theory emerged internationally address perceived limitations traditional marketing approaches although debate remains exactly rm single agreed definition useful summary provided gummesson p states rm marketing perspective network organization network society recent definitions encompass relationships stakeholders including notforprofit government voluntary organizations purpose marketing identify establish maintain enhance necessary terminate relationships customers parties objectives regarding economic variables parties met achieved mutual exchange fulfilment promises gr\u00f6nroos p gummesson p summarizes relationship marketing interaction networks relationships explanations indicate fuzzy nature breadth scope characterize smith gillett perspectives arts entrepreneurship part rm theory various models exist conceptualize scope rm general framework agreed although tentative attempt made clarkson et al synthesis supported updated gillett framework identifies four broad stakeholder groups markets customers suppliers internal external gillett raises important point four categories mutually exclusive areas overlap multiple types relationship exist organization stakeholder gilletts analysis local government procurement example given residents customers well internal eg employees andor suppliers local authorities case erupt\u00f6rs scope relationships summarized table provides overview significant parties band interacts scope erupt\u00f6rs relationships discussed table scope erupt\u00f6rs network relationships rm theory thus provides useful framework categorising identifying broader band supplies directly indirectly promoters live music venues record companieslabels license music followersfansconsumers music prerecorded live mediaproduction companiestv radio supply music supply band directly indirectly cd manufacturers social media websites guest musicians music services eg mastering audio artgraphic design merchandise instruments equipment repairs endorsements within band locations communication availability complimentary experience skillsets fairly defined roles outside bandbroader stakeholders including political legal regulatory performance royalty societies prs ppl united kingdom ascap bmi usa pressmediacultural influences production companies magazines radio websites musicians day jobs education university educated two band phds author author work academia contrast identities musicians legal contexts copyright etc project muse gmtsmith gillett perspectives arts entrepreneurship part network interactions relationships erupt\u00f6rs involved related concept servicedominant sd logic marketing vargo lusch consistent rm swarm creativity models sd actors create value service experiences relationships cocreating sharing tangible intangible resources one another marketing perspective usually applied cocreation customers suppliers although sd logic explains every organization service business terms customers suppliers may used loosely mean one organization exchanges value others differentiation made operant resources often invisible intangible produce effects core competences organizational processes operand resources upon operation act performed produce effect land minerals natural resources operand resources often finite groups possess traditionally considered wealthy goodscentred logic dominated operand resources considered primary vargo lusch contrast sd logic places greater significance operant resources lead excellent service value cocreated supplier buyer supplier offers value propositions brings resources together customers organizations customers interact cocreate value use rather organizations marketing customers process cartwright gillett smith press refer orchestration applying ideas context erupt\u00f6rs possible view three band members suppliers operant resources eg expertise creativity respective areas instrumentation access one anothers networks contacts well operand resources eg drum kits guitars irwins recording studio money finance certain activities rehearsals sd logic also positions band collectively supplier cocreator value network relationships perhaps evidently performing live cocreation may take form song requests rapport constructed iterative responses musicians audience thus see realization erupt\u00f6rs entrepreneurial creativities rm sd logic practice sd logic highlights production entrepreneurial creativities burnard menger realized production albums example microwave massacre compilation band based uk republic ireland wrote recorded supplied music record company fixing hole notforprofit specialist punk label located japan record companys mission champion make available music particularly english punk rock bands japan fixing hole designed cover art named album mastered supplied music sonic consistency activities undertaken constant communication band members record company writing recording songs distribution retail physical compact disk albums importance relationships within punk movement generally evident particularly consider marketing activities promotion ie advertising publicity place ie distribution today social networking websites facebook twitter punkrockerscom provide platforms bands artists interact audiences global scale social networking though always played important part punk culture long ubiquity easeofuse internet gordon tanenbaum et al smith gillett perspectives arts entrepreneurship part gillett brought erupt\u00f6rs insider diy punk knowledge gained writing fanzines purchasing diy punk rock heavy metal records via mail order bands operating underground nonmainstream level without investment involvement fulltime forprofit record companies thus diy approach required artists selffinance recordings bands would thus often source physical format usually cassette tapes vinyl records distribute advertise releases gordon pp fans purchased record demo tape band common also receive flyers advertising work bands scene catalogues independentnotforprofit record labels distributors advertising recordings fanzines even record labels distributors erupt\u00f6rs adopted approach diy approach appears collaborative competitive paralleling spirit galuszka p identifies todays wider music climate beyond attention mainstream media one bands compete listeners money attention often diy record companies distribution services operated people members band bands skills knowledge means motivation undertake activities consistent sd logic individuals provided operant services peers example uk band active minds since operated mailorder latterly also internetbased record label distribution network called looney tunes records active minds approach common across subgenres death metal grindcore well diy punk scene typically distribute mainstream channels well furthering music message bands enabling gain recognition internationally economiesofscale achievable global reach make selffinancing approach achievable important factor illustrating blurred lines stakeholder categories customers suppliers internal external mentioned many consumers music diy scenes tend also active within subculture musicians andor distributors record labels merchandisers providers artwork services written media would forward flyers catalogues people corresponded post live events therefore bands developed maintained multiple types relationship others within networks individual may instance supplier music via bands recordings distributor friends bands records well consumer audience member artists music authors contend appropriate view garage punk rock culture niche international serviceeconomy social networking important means sustained despite minimal exposure mainstream marketing channels exchange operant resources bands others network relationships expertise access contacts thus audience reach winwin nature rm sd logic essential erupt\u00f6rs entrepreneurial underground punk genres generally operand resources material products records cassettes cds financial means produce secondary means existence diy music culture mostly notforprofit culture fundamental resources music cases message valueset often political artists bands purvey coconstruct audiences conclusions implications paper integrating constructs creativities coins swarm project muse gmtsmith gillett perspectives arts entrepreneurship part creativity relationship marketing servicedominant logic provided perspectives diy habitus bourdieu erupt\u00f6rs erupt\u00f6rs arguably archetypal coin inasmuch model tends readily applicable larger groups collaborators power trio comprising band however ways gloor describes coin behavior characteristics illuminated provided new ways understand aspects erupt\u00f6rs collaborations might apparent without affordances theoretical framework fact gloor uses musical jazz trio en exemplar coin helps position model one hand understandings diy punk scenes gordon musical creativities developed burnard hand businessderived relationship marketing theory gummesson gillett servicedominant logic vargo lusch acknowledge broader context maker cultures diy communities across demographics domains within erupt\u00f6rs case exists hope focusing done paper single case help serve help enrich discussion classrooms publications figure shows diagrammatic form theoretical constructs explored paper combine describe activities case erupt\u00f6rs figure creativity innovation networks core model coin erupt\u00f6rs gloor understood rm theory smith gillett perspectives arts entrepreneurship part gillett internal relationships next layer model shows immediate collaborative workings band collective production creativities burnard innovation collaboration two operational modes gloors coin third layer shows tools context bands outwardfocused behavior understood communication mode coin rms supplier customer external relationships outer layer houses enabling entrepreneurial creativity band realizes benefits activities energy output inner layers combine support erupt\u00f6rs broader mutual aims entrepreneurial creativity addition collective production entrepreneurial creativities discussed authors acknowledge respective collaborative scholarly creativities writing article scholarly creativities closely connected creativities exercise musicianentrepreneurs erupt\u00f6rs peter cook p urges people business across sectors learn lessons musicians approaches art craft hope scholars students popular music studies music education peers across range networked relationships might find example erupt\u00f6rs useful one upon build whence develop understandings musicians educators others realize creativities individually collectively across networks mutual benefit beginning think terms multiple overlapping intersecting creativities individuals ensembles coins swarm creativity may help working diverse fields disciplines music marketing across cultural domains imagine freshly creative innovative successful futures businesses bands brands indicated cartwright gillett smith press looking way networking authors describe orchestration within networks achieve best results could helpful help emerging musicians higher education popular music sector comprised hope work also provide springboard research among scholars popular music popular music education tended focus research mainstream mass culture smith c pp life underground vibrant relationships creativities entrepreneurship hoskyns warns commentators academics authentic scenes public academia know nothing unless involve mutually sustaining sd logic rm networks authentic diy rock music music educators bennett gaunt hallam shafighian smith calling institutions students embrace awareness current practices entrepreneurial creative construing constructing careers uncertain musical landscape coins new creativities within without academy developing time lessons positive negative discursive thoughtprovoking learned discussion erupt\u00f6rs case presented paper hope therefore study presented may use classroom situations increasingly vocational context higher education case could serve provide discussion points regarding practice conceptualization students creative projects positioning viable collaborative entrepreneurial projects music marketing myriad fields interdisciplinary approaches citing tuans discussion space place smith shafighian p advocate transformation institutional place creative pedagogical approach learning liminal space brimming creative potential democratic facilitative pedagogical ethos likely contend enable project muse gmtsmith gillett perspectives arts entrepreneurship part students benefit present study scholars educators students punks others could benefit understanding engaging perpetual 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