Sarah Baker – författare

What is it like to work in the media? Are media jobs more ‘creative’ than those in other sectors? To answer these questions, this book explores the creative industries, using a combination of original research and a synthesis of existing studies.

Through its close analysis of key issues – such as tensions between commerce and creativity, the conditions and experiences of workers, alienation, autonomy, self-realization, emotional and affective labour, self-exploitation, and how possible it might be to produce ‘good work’ Creative Labour makes a major contribution to our understanding of the media, of work, and of social and cultural change. In addition, the book undertakes an extensive exploration of the creative industries, spanning numerous sectors including television, music and journalism.

This book provides a comprehensive and accessible account of life in the creative industries in the twenty-first century. It is a major piece of research and a valuable study aid for both undergraduate and postgraduate students of subjects including business and management studies, sociology of work, sociology of culture, and media and communications.

What is it like to work in the media? Are media jobs more ‘creative’ than those in other sectors? To answer these questions, this book explores the creative industries, using a combination of original research and a synthesis of existing studies.

Through its close analysis of key issues – such as tensions between commerce and creativity, the conditions and experiences of workers, alienation, autonomy, self-realization, emotional and affective labour, self-exploitation, and how possible it might be to produce ‘good work’ Creative Labour makes a major contribution to our understanding of the media, of work, and of social and cultural change. In addition, the book undertakes an extensive exploration of the creative industries, spanning numerous sectors including television, music and journalism.

This book provides a comprehensive and accessible account of life in the creative industries in the twenty-first century. It is a major piece of research and a valuable study aid for both undergraduate and postgraduate students of subjects including business and management studies, sociology of work, sociology of culture, and media and communications.

Redefining Mainstream Popular Music is a collection of seventeen essays that critically examines the idea of the "mainstream" in and across a variety of popular music styles and contexts. Notions of what is popular vary across generations and cultures – what may have been considered alternative to one group may be perceived as mainstream to another. Incorporating a wide range of popular music texts, genres, scenes, practices and technologies from the United Kingdom, North America, Australia and New Zealand, the authors theoretically challenge and augment our understanding of how the mainstream is understood and functions in the overlapping worlds of popular music production, consumption and scholarship. Spanning the local and the global, the historic and contemporary, the iconic and the everyday, the book covers a broad range of genres, from punk to grunge to hip-hop, while also considering popular music through other mediums, including mash-ups and the music of everyday work life. Redefining Mainstream Popular Music provides readers with an innovative and nuanced perspective of what it means to be mainstream.

Redefining Mainstream Popular Music is a collection of seventeen essays that critically examines the idea of the "mainstream" in and across a variety of popular music styles and contexts. Notions of what is popular vary across generations and cultures – what may have been considered alternative to one group may be perceived as mainstream to another. Incorporating a wide range of popular music texts, genres, scenes, practices and technologies from the United Kingdom, North America, Australia and New Zealand, the authors theoretically challenge and augment our understanding of how the mainstream is understood and functions in the overlapping worlds of popular music production, consumption and scholarship. Spanning the local and the global, the historic and contemporary, the iconic and the everyday, the book covers a broad range of genres, from punk to grunge to hip-hop, while also considering popular music through other mediums, including mash-ups and the music of everyday work life. Redefining Mainstream Popular Music provides readers with an innovative and nuanced perspective of what it means to be mainstream.

The Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music.

In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music’s connection to culture both past and present.

Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.

The Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music.

In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music’s connection to culture both past and present.

Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than ‘unofficial’ versions of ‘official’ institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people – often enthusiasts – are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers’ everyday interventions in the archiving and curating of popular music’s material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than ‘unofficial’ versions of ‘official’ institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people – often enthusiasts – are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers’ everyday interventions in the archiving and curating of popular music’s material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

There is a growing awareness around the world of the pressing need to archive the material remnants of popular music so as to safeguard the national and local histories of this cultural form. Current research suggests that in the past 20 or so years there has been an expansion of DIY heritage practice, with the founding of numerous DIY popular music institutions, archives and museums around the world.

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around "DIY preservationism," "self-authorised" and "unauthorised" heritage practice and the "DIY institution," while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

There is a growing awareness around the world of the pressing need to archive the material remnants of popular music so as to safeguard the national and local histories of this cultural form. Current research suggests that in the past 20 or so years there has been an expansion of DIY heritage practice, with the founding of numerous DIY popular music institutions, archives and museums around the world.

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around "DIY preservationism," "self-authorised" and "unauthorised" heritage practice and the "DIY institution," while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.