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    "cleaned_text": "keith negus music genres corporate cultures music genres corporatecultures music genres corporate cultures explores workings music industry tracing often uneasy relationship entertainment cor porations artists sign keith negus examines contrasting strategies major labels like sony universal managing different genres artists staff assesses various myths corporate culture takeovers affect treatment artists polygram perceived european attract us artists didemi records attempt change corporate culture study three major genresrap country salsanegus investigates music industry recognises rewards certain sounds influences creativity musicians theiraudiences explores artists get international promotion others neglected performers packaged worldmusic negus examines tension raps image spontaneousmusic streets practicalities market asks executives new york feel uncomfortable visit countrymusic business nashville explains lack soundscan systems puerto rican record shops affects salsas position us bill board chart drawing extensive research interviews music industry per sonnel britain united states japan music genres corporate cultures shows creation circulation consumption popular music shaped record companies corporate business stylewhile stressing music production takes place within broader cul ture totally within control large corporations keith negus lecturer department media communica tions goldsmiths college university london author producing pop popular music theory music genres corporate cultures keith negus london new yorkfirst published routledge new fetter lane london ecp ee simultaneously published usa canada routledge west th street new york ny routledge imprint taylor francis group edition published taylor francis elibrary keith negus rights reserved part book may reprinted reproduced utilized form electronicmechanical means known hereafterinvented including photocopying recording information storage retrieval system without permission writing publishers british library cataloguing publication data catalogue record book available british library library congress cataloguing publication data negus keith music genres corporate cultureskeith negus p cmincludes bibliographical references index sound recording industry popular musichistory criticism title mln dc isbn master ebook isbn isbn adobe ereader format x hbk pbk contents acknowledgements vii introduction culture industry genre conditions musical creativity corporate strategy applying order enforcing accountab ility record company cultures jargon corporate identity business rap street executive suite corporation country culture communities musical production latin music industry production salsa culturalmatrix territorial marketing international repertoire world music walls bridges corporate strategy creativity within andacross genres notes bibliography index acknowledgements substantial part book based research funded eco nomic social research council esrc great britain within themedia economics media culture programme award ref l would like thank working esrcwho made possible along various anonymous referees andassessors whose comments reports helped focus ideas andthink project clearly would like extend specialthanks simon frith chair programme provided intellectual guidance practical advice also important feedback encouragement suggestions response questions working ideas research margaret crawford took administrative systems leicester univer sity unknown territory threemonth period planning andduring time away endured assisted number ofdesperate faxes concerning things unpaid hotel bills changeditineraries medicines spider bite would like thank margaretfor patiently coordinating sorting many administrativedetails research also help number personalmatters also leicester would like thank annabelle sreberny much personal professional support prior research thanks oliver boydbarrett prompted focusmy thoughts musical genres grey awayday leicestershire countrysideoliver unwittingly helped set motion pattern ofevents led research book peter jackson helped formulation research agenda providing number insights management thinking notions corporate strategy still leicesteri would like thank university supporting research forprior financial assistance enabled visit japan conducta number interviews uk puerto rico would like thank emilio pantojas garcia welcom ing center social research investigador invitadoand providing intellectual dialogue space reflect upon research material develop ideas specialthanks also due angel quintero rivera chuco much personaland professional support encouragement constructive criticism ofmy writings dialogue many ideas grateful jorge duanywho suggested submit article revista de ciendas socialesand subsequently translated spanish thus earlier versionof chapter appeared vol nueva epoca revista would also like thank journals anonymous referees com ments suggestions thanks jorge giovanetti torres liliana cotto discussions culture society puerto rico thecaribbean generally time new york city would less rewarding without company dialogue dave sanjek bob annie clarida kai fickentscher assisted urban orientation aspects research planning thanks also stuart liebman colleagues studentsat cuny queens providing feedback encouragement inresponse tentative working ideas thanks staff radio cityapartments flexibility friendliness assistance communications uk special thanks nel roman welcoming new york extended family showing parts city would otherwise probably little personalexperience tennessee would like thank paul wells providing access library facilities center popular music middletennessee state university staff library country musicassociation richard peterson dialogue information insightsabout country music city nashville material chapter researched trip japan would particularly like thank masahiro yasuda hiroshiogawa toru mitsui tadd igarashi welcomed intotheir homes shared music ideas food also thanksto takuya iwamura help arranging interviews translation would like extend gratitude following people gave time talk work companies genres themusic business general uk mike alien roxy bellamy minafukue david hughes hiroshi kato jorgen larsen eric longleyjonathan morrish fran nevrkla tina poyser john preston steve redmond peter scaping jeremy silver stuart watson adam white theunited states sarah brosmer brian chin bob christgau kevin conroysue dagostino tim dubois curt eddy john esposito chet flippoharry fox lynn franz joe galante victor gallo john ganoe jeffgreen linda greenberg george grelf david harleston ricardo howelldaniel jason anne latora joe levy fran lichtman roy lott anneviii music genres corporate culturesmansbridge ruby marchand kirn markovchick keith mccarthy david mcdonagh alastair mcmullen bob merlis antonio morenomarcus morton havelock nelson barbara nuessle rigoberto olariagajoanne oriti jim parham hal peterson jr dennis petroskey ronnypugh eddie reeves paul robinson nelson rodriguez michael rosenblatt terri rosi rick sanjek maribel schumacher ajax scott davittsigerson scott siman gene smith tanous neil turkewitz reneewhite timothy white larry willoughby walt wilson tim wippermanand puerto rico thanks lourdes laboy japan yoshihisahonda kei ishimura kei ishizaka akira kuwabara shigeo maruyamakei nishimura shigeki ouchi akira yokota researching thinking writing book tried number ideas formal presentations written work duringinformal conversations benefited feedback suggestions insights number people reading many draft chapters providing useful critiques encouragement suggestions wouldlike thank mike picketing thanks dave laing discussing working ideas pointing number useful directions providing withinformation spotting many errors drafts theircritical constructive comments response draft chapters thank reebee garofalo dave sanjek richard peterson also characteris tically perceptive insights observations helped thinking various working ideas would like thank paul du gayeamonn forde dave hesmondhalgh sarah thornton thanks torebecca barden alistair daniel sally carter elizabeth jones atroutledge crashlanding back highfields year away eased frequently crazy company eamonn hilde simon thanks tooto hari shoba friendship wit wisdom much transatlantic love support practical help throughout research project would like thank brothers chris phil parents maureen gordon finally yet importantly wouldlike thank patria love support wisdom sharing magic realism occasionally bizarre sometimes frustrating neverdull storyacknowledgements ix introduction first made contact record company aspir ing school friend mailed copy badly recorded reeltoreeltape donald jumbo vanrenen virgin records thinking back longlost recording produced acoustic guitars keyboards one live take back room parents house surprised thatwe even received response let alone brief letter accompaniedthe returned tape recall songs promise vocalswere weak advised try record using betterqualityequipment beginning long association recording industry would spend many hours offices ofrecord labels production companies song publishers initially oneof numerous musicians songwriters attempting make themusic business older increasingly wiser sociologistattempting understand peculiar mixture reckless abandon andcautious indecision feature music entertainmentindustry years first tape number us made transition back rooms bedrooms performing regularly pubs community centres youth clubs parties recognized venues become participant member passionate competitive yet convivial somewhat idiosyncratic music scene cowriting school friendsoon joined xray spex briefly achieved certain degreeof fame lesser degree fortune finding working inthe office building society stints numerous bands ended performing lesser known embarrassingly named coconut dogs released couple singles played numerousclubs bars provincial venues sinking ever deeper obscurityand inevitable bustup due stupid arguments areeuphemistically referred musical differences trailed routethrough various solo outings typical early faddish synthesizerprojects moved temporary bands playing ses sions variety people provoked equal doses elation despair time music industry various artist repertoire r people agents wouldbe managers publishers wheelerdealerswere lurking background occasionally stepping foreground verge signing lucrative compared dolepublishing contract songwriting company interested suddenly make financial cuts result earlys recession contact lost job sign witha music business contact manager procure thatelusive solo deal suddenly disappeared telephone calls hispersonal contact number exproduction company eventually provided vague information rather suddenlygone argentina much interest another manager andafter number telephone conversations met dingy bar adjacentto london station presented vision sawmy stage show future direction evoked image smalltheatre audience house lights dimmed thenafter heuttered phrase dry icei stopped listening mind wanderedon projects remember taking train back suburbsin rather depressed state realized one sane sober moments neville shakespeare told journalist turned backon aspirations fortune fame stardom producing ecological acoustic piano music might appear nuclear holocausti still news cutting became apparent something notquite right either music business peripherals thefactories warehouses working support earnings music habit driving crazy desperation ibecame sociologist devoted time attempting understand tried figure sitting alibrary north london recording latest album manhattan armed degree sociology grant study phd revisited many offices boardrooms maybe simply appeared walked rooms pencil hand stared thoughtfully similar rows desks low comfy chairs cooldudes blank security guards boredlooking receptionists hung around back gigs seeking packs r staff andlistened drunken conversations spoke poppaper peoplesifted words journals trade magazines biographies andconnected range sociological ideas retrospect oneof motives studying industry undoubtedly therapeutic ialso two fairly clear wellformulated intentions first would beable impart knowledge wisdom anyone brave stupid music genres corporate culturesenough follow route information might prac tical use thosewhether musician industry worker frustrated fanwho subject deal music industry whateverway second wished contribute academic debates scholarshipwithin popular music studies field study begun creeping intoclassrooms corrupting curriculums sociology cultural studies andrelated disciplines book second attempt understanding music industry works approaching perspective developed sociologist extended argument cre ation circulation consumption popular music shaped recordcompanies corporate owners along numerous peoplewho participate making called genre cultures myconcern interplay uneasy interaction economics music commodity various business strategies organizational struc tures culture practices interpretations ways life musicians fans industry workers ways two oftenblur fuse also interested genre categories inform theorganization music companies creative practices musicians andthe perceptions audiences researching thinking writing issues gradually become aware experiences recording industry musicmaking informedthis project influencing issues decided focus upon theway thought looking back period havebriefly alluded reflecting upon slightly ifonly knew know sentiment realized manyof intuitive assumptions made music industry result ofpersonal experience informed ideas developed moremeasured selfconsciously intellectual way book alsoadd reassessed numerous previous assumptions result research two main ideas trying think researching writing bookgenre corporate strategyand want highlight issues bearing come torecognize creativity chapter provide discussion themes terms specific intellectual debates theories without wishing become indulgent selfreferential want include words personal experiences assumptionthat unique comparable others may haveendured involvement writing songs performing andattempting obtain recording contract least would like toacknowledge ideas putting forward book notsimply derived detached scholarly process research thinkintroduction ing writing come together following rather chaotic pattern learning longer period central issue concerned book genre way musical categories systems classification shape themusic might play listen mediating experience ofmusic formal organization entertainment industry retrospect one two notable exceptions experiences amusician contained within whole series genre boundaries codesand expectations way impact upon musical consumption certainly experiences member bands agreater lesser extent focused goal recording contractwere lived within specific genre worlds first days trying toform band initial recurring question always type ofmusic play followed influences whatdo listen would ask asked meetings thatoccurred result wordofmouth communications answeringadvertisements melody maker reply notices placed record shops responding handscrawled announcements innewsagents windows type question would asked whenwe began arrange gigs didnt matter performance pub wedding arts centre support act another bandthe question always type music youplay attempt refuse musical labe lling coyly playing game dont like classify unlike bandwould help us get bookings would usually result request tohear tape decision could made began playing front public soon became apparent audiences became fans followed usaround would opinions category mightbelong break performance end gig members audience would come various unsolicited opinions makingspecific comparisons still recall play keyboards like guy incockney rebel band sounds like xtcthe boomtown ratsthe beatsplit enz would generic comparisons new wavebut bit soul youre poppy place heavy greatthe band members performing last phrase utteredwere using amplifiers pa equipment would best intentions continually produce distorted sound opinions influenced way band interacted audience weperformed drew set lists practical way recognized boundaries genre expectations interacted andoverlapped got know venues could bitpoppy could get away extended jams improvisationwhere bit heavy rows motorbikes parked outside music genres corporate culturesthe pub club usually clue couldor impor tantly could notinflict audience attempts funk workouts orintroduce reggae rhythms rock n roll standards responses expectations audiences influencing per formances assumptions genre codes also impactupon songwriting style playing like many people wasoften simultaneously member groups performing different repertoiresfor example playing slightly jazzy steely daninfluencedband time member punk bandand dont think unusual although often strategically necessary con ceal double lives reca pre punk days brief period playing heavyish rock band calledappropriatelybullfrog nightmare asked join band membersdid compose material heard somehow someone could write songs couple weeks rehearsals conversations introduced songs band response stillrecall songs good good lyrics melodies abit much like paul mccartney somewhat irritated iwent away brought limited knowledge deep purple bear ariff stolen lou reed put fuzz box wrote rock band cause minor havoc rundown hotel called rock man sion hotel instantly accepted band grasped genre rules years later asked join another band wake punk new wave desperately trying modify theirawkward retrospect rather unique unblended mix old r n briffs genesisinspired whimsies trex boogies instantly founda place angry elvis costello pastiches combinations ifound outlet bad stevie wonder imitations learnt stop thinking chords follow groove playing discojazzfunk irealized punk rock finally allowed leave keyboards behind jump across stage playing electric rhythm guitar badly naturally irony always vaguely aware throughout time lack relationship genre performed band musical inclinations record collections individual musiciansindividual preferences often eclectic defying simple assumptionsabout direct connection musical taste market socialidentities would also apparent meeting getting knowthe musicians bands groups tense collusion collision factions cliques lliances un style often result degree antagonism compromise occasional synthesis thiswas always leading arguments resulting bands continually splitting reforming alternative compromise simply involved goingcrazy going solo many us tried subsequently cometo believe successful bands knew exactly genre theyintroduction playing recognized musical social boundaries stood audience wanted hear see told mostinteresting bands musically least strange unpredictable mixtures messes trying please range audiences band members simultaneously always befound club bar somewhere necessarily mostsuccessful either commercial terms according ability tocommunicate large numbers people usually formerrather latter obtained recording contracts goeswithout saying ultimate genre question wasand isasked byrecord companies way music industry rewardsand recognizes certain genre practices sounds combinations cultures andnot others categorized easily labelled slotted thecultures production easily others one central themesof book concerns music industry broader social networks act divide constrain potentially fluid multiple influences genre crossings issue record company strategy also central book signed record company numerous discussionswith others receiving end various deals would believed record companies coherent strategies maybe back early clear obvious nowcertainly memories member bands signed record companies bring mind images inertia indecision things happening music business disorganized populated byuntogether people label directors always changing mindsand changing staff different r person seat every sixmonths recall days following euphoria accompanied thesigning recording contract time great expectations nothinghappening date release first single cameand went recording delayed forces beyond control release thefirst single postponed distribution company hadceased operating new deal completed poly grambut rest assured committed band firstrelease new deal single long last releasedbut seemed little evi dence marketing promotion managed get independently produced first single played three different bbc radio oneshows word filtered along chain friend friend knewsomeone worked secretary bbc independent promoter subcontracted push single opinionthat piece shit got attractive recordings plugwe told diplomatically record company wasnot radio friendly senior staff record label began reassess music genres corporate culturestheir obligation release second single even reach impending decision proceed first contractual optionclause commit record album informed thatthere problem credentials production duo exmembers wellknown rock band agreed produceour next single met discuss arrangements studios directors record company concerned theseproducers reputation remaining sober studio sowhat collective response rock n roll appreciatedby ones held purse strings even costs could recoupedfrom future earnings introduced another producer whocame qualification played sessions david bowiehe told us nice anecdotes really hit himmusically else would produce us weeks went turned months beginnings serious emotional arguments frustrated band membersand record label thought difficult also became vaguelyclear company financial problems eventually settledwe paid small amount cash spent bygoing straight recording studio putting awful demos good recorded reboundnot best selection songs performed fast many instruments inthe mix lot shouting halfsung ranting accompanying vocalline still recall reaction one r man polydor wepresented tape days later pressing stop button listeningfor less thirty seconds turned us monotone whichmust perfected many years said drum sounditslast years thing maaan time shortly afterwards believed entire mess one big unlucky chaotic cosmic accident without underlying logicreason cause later reconsider view formed opinion another typical series occurrences within themusic business symptomatic record companies function mostof time believe indicative inherent instability music business uncertainties corporate strategiesattempt deal also types fiascos sort ofevents corporate strategies help create reflecting upon experience particularly prefacing sociological account recording industry seems worth highlighting tensions different understandings worldof musical production one side academic tendency developedfrom training modern sociology brings assumptionthat lives people things occur according particular types oflogichence idea identifiable patterns music indusintroduction try practices recognizable motives guiding habits actions musicians recording industry personnel alike humanist sociologist learnt deal fellow human beings rational andincreasingly reflexive selfconsciously aware actions circumstances limit enable us engage one activity notanother like sociologists strongly resist tendency yiewbehaviour terms individuals hidden psychological motives orquirks instead focusing combined actions numerous groupsand alliances seek explain entities recording industry work systematic coherent orderly manner guiding approachis belief type knowledge useful academic colleagues students musicians people within recording industry policymakers anyone seeks participate exercise influenceon processes commercial music production yet time music industry clearly operate supposed doesnt work continually producing hugenumbers failures disorder even according basiccriterion success process generates large amount confusion incomprehension misunderstandings exploitation conflict andanxiety great music manage escape vortex seems inexplicable even magical point moments notions experiential confusion andimmediate emotional response mysteries music rub upagainst confront simply diverge away attempt offer systematic analysis chaos appeals many peoples experience themusic industrynot postmodern feeling relativist anxiety consequence complicated multiple influences potentially knowablenor psychological malady neither socialpsychological stateof equally explicable disorientation musicians experience andindustry workers anxieties embrace chaos confusion real expla nation social life organizational existence denying entiremess amenable kind systematic academic explanation challenge facing sociologist one become acutely aware result prior feeling chaos confusion however position book recording industry might make us feel confused mean cannotrelate disorienting rhythms specific social processes practices organizational arrangements always suspicious simple onedimensional explanations musicindustry operates whether tales corruption commercial ripoff ormodels melodies passing along bureaucratic assembly lines dobelieve possible research study gain useful insightinto complexity people organizations companies alliances andthe historically changing motives influences agendas shape music genres corporate culturesproduction popular music throughout book explain measured comprehensive way corporate contextthat surrounds tiny human dramas already alluded highlight reasons record companies characteristicmix reckless speculation sign band nervous caution whatshall using number sociological ideas toevoke series dynamics social relationships discursive practiceswhich characteristic features music production bearing mind thecomments intention presenting material thisbook neat mode l wish r educe diverse range expe riences drawn closed system production anumber moments shall explicitly attempt connect feelings confusion incomprehensionfor example discussing theconsequences corporate strategies problems faced senior executives chapter highlighting different ways music move across international borders chapter book informed oblique way series personal experiences also draws numerous sources writings authors fall sometimes one side sometimes related division grows dichotomy dividing experientialimmediate analyticreflexive usually pits oftenantagonistically academic writing varieties journalism andfanzine material similar way writings industry management often diverge material found weekly magazinesnewspapers popular paperbacks immediate analysis rallying calls pronouncements big business might shouldnot measured writing academics mayhave developed critical studies activities withinindustry commerce impossible deal subject production music recording industry without drawing upon acknowledging different sources various insights claims limitations dont pretend woven material put togetherfrom sources entirely academic analytical totally coherentand seamless pattern may certain academic perspectivesome parts book thought descriptive journalistic certainly much considered academic vantagepoint many fans journalists differing perspectives notalways discrete number authors successfully written acrossthese types divisions approaches also often converge divergeinteract inform one another example many people within themusic industry hold coherent theories andwhy music industry people within behave way dointroduction theories subcultures indies versus majors record compa nies throwing mud wall found writings academics everyday beliefs trying make sense whatthey within music business indeed drawn theseideas using material derived personal interviews musicindustry personnel leads another issue series ofdilemmas questions think useful raise introductory words years often asked similar question research question goes something like know thatpeople music industry telling truth notsimply lying giving standard public relations line commontype question fact asked many times researchers andinterviewers general asked extra suspicion perhaps people within media music entertainment industry particularly inclined deception lying simple practical response type question argue researcher draw repertoire techniques foundexplained many interviewing textbooks ask question different manner attentive body language signs evasiveness ask question different people check sourcestry validate said triangulation aware ofdifferent perspectives situation seeking sourcesof knowledge topic relatively straightforward needslittle elaboration however issues raised questionsabout truth might gained interviewing posing thistype question interviewing presupposes underlying truth world gain access askingpeople right sort questions way reveal truthif truth exist additional assumption person might interviewing aware knowledge thistruth hence supposition made conceal fromus issues concern philosophical problems nature truth relationship thoughts verbal utterances worldthey seek explain debates whether interviewer interviewee relationship provides means producing information world whether used reveal discover already existing truths fully deal issues would lead way beyond scope introduction wish say something issuehere clarify approached interviewing materialderived interviews first consider interviewing far collection data far concerned producing series standardized questions survey type format asking sam music genres corporate culturesple people interviews specific social encounters individuals occur particular times places relationshipwhich established develops develop theencounter decisively influence material derived interviewinterviews extracting information truths waiting revealed instead interview active social encounterthrough knowledge world produced via process ofexchange involves communication interpretation understandingand occasionally perhaps misunderstanding major part research book used interviewing attempt understand individuals within music industryperceive imagine world working nottaken reality simply constructed reality brought intobeing interview adopted naive realist approach presumed said interview understood reflection reality meanings soughtas much possible place within organizational historical socialand geographical contexts tried locate voices used inthis book way context interview apparent andin order conditions within understanding reality produced become clear way intend voices sim ply speak provide index particular truths andunlike academic researchers seeking develop socalledobjective concepts independent world views people placed within study easily result inrhetorical cynical attempts undermine devalue views thepeople spoken studied ie researcher translates someones words authoritative discourse therhetorical umbrella critical scientific thought since least nineteenth century numerous sociologists philoso phers stressed producing intellectual accounts world simply study observe human action behaviour away comparable natural physical sciences focusing growth plants movement atoms forces influencing flightof jet aircraft instead study social life people already ideas concepts theories world hence production theories concepts social scientific humanistic research inevitably involves process mediation translation wedraw existing frames meaning interpretations circulating inthe world order produce social theories seek understandinterpret theorize develop concepts world alreadyunderstood interpreted theorized various existing conceptseven ideas may strike us rather basic form ofintroduction everyday common sense cannot go find fun damental truth side yet researcher draws upon interpretations meanings already world people might studying drawingupon ideas interpretations developed circulated social scientists interaction lack separation cannot bracketor separate social scientific interpretation meanings people give situations within live idea discussed asthe double hermeneutic work anthony giddens traceableback writings wilhelm dilthey nineteenth century verymuch attempt stress connections vernacular everyday way people interpret understand lives themore technical formal interpretations theories developed bysocial scientists philosophers point two separate one cannot detached elevated moreauthoritative position simply produced ascholarly academic scientific method conducting research previous books apparent people music industry draw uponideas cultural studies sociology musicology linguistics semiotics often mediated journalism courses media cultural stud ies speaking artists recordings videos aspects production distribution much academic writers draw everydaytheories circulated staff within music industry thisthat makes arguments corporate strategies creative activities independent record labels subcultures company cultures identity globalization commodification simply concern academicdebate ultimately leads come experiential confusion favour order explainedunderstood acted upon book written academic reader mind informed type interactions beensignallingbetween scholarly academic theorizing vernacular everyday practical knowledge hope written con tribute sides often fraught divide also interpretative links two terms books structure arranged following chapters build account recording industry production ofpopular music based way specific cultural practices areproduced interaction corporate strategies musical genre formations first chapter provides frame outline theexplicit theoretical ideas informed thinking arewoven throughout later discussion chapter explains reasons corporate strategies introduced strategies involveand considers main consequences chapter focuses music genres corporate culturescritically companies adopt similar strategies also attempt differentiate according ideas company culture andcorporate identity first three chapters provide context profiles rap country salsa follow chapters chapter place musical production within interna tional setting aim chapters introduce number ofthemes issues discussion different types music ratherthan engage type comparison aspects examplecomparing role distribution radio geographical identities eachcase wish highlight specific ways musical production isshaped particular genre cultures highlight broader historical social context within production takes place examplewhen thinking production rap salsa country couldsuperficially note manufactured distributed recorded music companies carry corporate logos use office arrangements accord staff similar basic occupational titles andpromote media formats however way whichthese genres come produced circulated differenttoo often study pop rock generalized indicative ofall industrialized musical production general formal organiza tional similarities often conceal important cultural differences musical sounds meanings dependent upon way industry isproducing culture also shaped way culture producing industry thematic phrase leads directly firstchapter detailed discussion conceptual ideas whichframe rest 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h art collective action american sociological review vol pp art worlds social types rpeterson ed produc tion culture london sage pp billig banal nationalism london sage boggs v salsas origins voices abroad latin beat vol pp ed salsiology afrocuban music evolution salsa new york city new york excelsior bourdieu p distinction social critique judgment taste london routledge field cultural production cambridge polity rules art cambridge polity buckingham l tune uncle sam guardian may p chambers urban rhythms pop music popular culture london macmillan migrancy culture identity london routledge chapple garofalo r rock n roll pay chicago nelson hall clarkmeads j ifpi says sales latin markets bill board august p clarkmeads j white roger ames new president polygram music group billboard april p cline c indie country twanging april pp cusic country green money country music ctichi ed readin country music steel guitars opry stars honky tank bars south atlantic quarterly vol win ter pp dane c uk 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