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David Bruenger expands on the ideas presented in his previous book, Making Money, Making Music, to offer readers a primer on the methods underlying the creative process, as well as the relationships between artists and their audiences, as well as producers and their consumers, and how each group is compensated for its participation. The various chapters provide unique insights into the mechanisms at work in how audiences learn about, engage with, and form relationships with musicians. “Create, Produce, Consume” examines the complete musical cycle from creation to consumption for aspiring artists, business people, and industry professionals. The essay aims to examine how the book’s statements and theories support the following arguments: K-pop idols gain power and influence over their organizations by performing well and proving themselves to be valued assets, and the idea that idols are kept prisoner by their companies is an unfounded caricature that is problematic and orientalist when combined with xenophobia and distortion in western media.
K-pop idols earn the right to make decisions about their own public persona and the bargaining power they enjoy with their record labels by proving their worth to the companies. Artists sponsored by the music production company show their usefulness and value through the creativity and originality of their music that sells out to the audience. The value framework introduced by Bruenger (85) explains the process of music production to reception through the commodification of music. Therefore, artists and songwriters who provide the best quality music expose the company to a better position in the music industry, proving the value of music idols in the company (Bruenger 39). Performers are obligated to have the capabilities of performing and singing music the audiences like to listen to sell out the company to the consumers. However, Bruenger (42) further argues that although working with a producer or record label might boost an artist’s profile and earnings, the process is not always a win-win since they can end up being exploited.
Many factors have contributed to the exploitation of artists by companies and labels. As the music industry is a high-risk industry, record companies reduce their exposure by aggressively making deals, often at the expense of performers and songwriters (Bruenger 42). Additionally, the need to strike a good balance between innovation and consistency is heightened by financial considerations and the fickleness of public taste, especially in pop music.
The idea that idols are kept hostages by their companies is an unfounded stereotype that contributes to xenophobia and misrepresentation of Asian cultures in Western media, which contributes to an orientalist bias. Through spectacle theory, Bruenger (326) provides light on the above argument by arguing that music consumers are more intrigued by spectacular performances. In the modern music industry, music labels and companies hire musicians and artists who produce stunning performances. Bruenger (327) argues that companies feature musicians who make spectacular performances when advertising brands and events to increase the number of audiences who buy tickets.
The basic premise of the music industry is to gather an audience and entertain them with musical performances. When more people listen to their music, there are more chances for artists to become well-known and successful (Bruenger 328). Therefore, xenophobia and misrepresentation from western culture are the results of the low quality of music production. When musicians produce quality music, hits, and gigs, they give labels and companies more assurance of their value that companies extend their contracts with them for a win-win situation (Bruenger 328). Therefore, companies never hold musicians hostage but renew their contracts with them for mutual and business benefits. However, because of K-pop, there has been worldwide curiosity about Korean culture and language. This trend works to counteract Westerners’ propensity for xenophobic and racist attitudes toward East Asian cultures, which are often based on false stereotypes and outmoded assumptions.
Work Cited
Bruenger, David. Create, Produce, Consume: New Models for Understanding Music Business. University of California Press, 2019.
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