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Surfing for punks: the internet and the punk subculture
Descriptive
TypeOfResource
Text
TitleInfo
(type = uniform)
Title
Surfing for punks: the internet and the punk subculture
Identifier
(type = hdl)
http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17774
Identifier
ETD_1299
Identifier
(type = doi)
doi:10.7282/T3W66M39
Language
LanguageTerm
(authority = ISO 639-3:2007)
English
Genre
(authority = marcgt)
theses
Subject
(authority = RUETD)
Topic
Communication, Information and Library Studies
Subject
(authority = ETD-LCSH)
Topic
Punk culture--New Jersey
Subject
(authority = ETD-LCSH)
Topic
Internet--New Jersey
Subject
(authority = ETD-LCSH)
Topic
Telecommunication--Social aspects
Subject
HierarchicalGeographic
Country
UNITED STATES
State
New Jersey
Abstract
(type = abstract)
This study examines the influence of the Internet on the punk subculture in New Jersey. Previous research by academics on the effect of the Internet on popular music has centered on the impact of Napster and peer-to-peer networks on the distribution of recordings (Alexander, 2002; Ayres & Williams, 2004; Bishop, 2004; Daniel & Klimis, 1999; Fox, 2004; Mardesich, 1999; & Oberholzer & Strumpf, 2004). However, unexamined is the influence of the Internet on a specific music subculture, punk. This is important because the subculture is occupied mainly by youth engaged with both the Internet and punk music. The Internet's influence on the punk subculture is a particularly important area of study because the Internet alters how participants in the subculture (punk fans, bands and independent labels) communicate with one another, as well as changes the distribution of punk artifacts and information.
Central to this study is the history of the major labels' dominance over the distribution and promotion of punk music, a domination examined via critical political economy theory. The Internet may offer a new outlet that removes the stranglehold of the major label system over punk.
Focus group research with punk members and interviews with punk label personnel and band members suggest that the Internet has made it easier and faster for punk fans, bands, and labels to communicate with one another. However, most of the online communication between punk fans, bands and labels now takes place on social networking sites (MySpace.com), where the central method of communication is one-to-many, instead of one-to-one. Recently, major labels have increasingly made both distribution and promotional deals with MySpace.com (and other social networking sites). These deals offer major label content prominent placement on social networking sites at the expense of independent label recordings. Ultimately, tours by punk bands will continue to play an important role in the promotion and marketing of punk music, as well as offer subculture members the authentic punk experience. Initially, the independent labels utilized the Internet to promote recordings more than major labels, but recently, major labels have begun to embrace the Internet to promote new recordings.
Central to this study is the history of the major labels' dominance over the distribution and promotion of punk music, a domination examined via critical political economy theory. The Internet may offer a new outlet that removes the stranglehold of the major label system over punk.
Focus group research with punk members and interviews with punk label personnel and band members suggest that the Internet has made it easier and faster for punk fans, bands, and labels to communicate with one another. However, most of the online communication between punk fans, bands and labels now takes place on social networking sites (MySpace.com), where the central method of communication is one-to-many, instead of one-to-one. Recently, major labels have increasingly made both distribution and promotional deals with MySpace.com (and other social networking sites). These deals offer major label content prominent placement on social networking sites at the expense of independent label recordings. Ultimately, tours by punk bands will continue to play an important role in the promotion and marketing of punk music, as well as offer subculture members the authentic punk experience. Initially, the independent labels utilized the Internet to promote recordings more than major labels, but recently, major labels have begun to embrace the Internet to promote new recordings.
PhysicalDescription
Extent
viii, 316 pages
InternetMediaType
application/pdf
InternetMediaType
text/xml
Note
Supplementary File: Abstract
Note
(type = degree)
Ph.D.
Note
(type = bibliography)
Includes bibliographical references (p. 289-315).
Name
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Furgason
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Aaron Robert
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author
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Aaron Robert Furgason
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Steiner
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Linda
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chair
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Linda Steiner
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Bratich
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Jack
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internal member
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Advisory Committee
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Jack Bratich
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Pavlik
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John
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internal member
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Advisory Committee
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John Pavlik
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Jones
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Steve
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outside member
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Advisory Committee
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Steve Jones
Name
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Rutgers University
Role
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degree grantor
Name
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NamePart
Graduate School - New Brunswick
Role
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(authority = RULIB)
school
OriginInfo
DateCreated
(qualifier = exact)
2008
DateOther
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(type = degree)
2008-10
Location
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NjNbRU
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TitleInfo
Title
Graduate School - New Brunswick Electronic Theses and Dissertations
Identifier
(type = local)
rucore19991600001
Subject
(authority = lcsh/lcnaf)
Geographic
New Jersey
Genre
(authority = ExL-Esploro)
ETD doctoral
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Rights
RightsDeclaration
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The author owns the copyright to this work.
Copyright
Status
Copyright protected
Availability
Status
Open
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Name
Aaron Furgason
Role
Copyright holder
Affiliation
Rutgers University. Graduate School - New Brunswick
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Type
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Detail
Non-exclusive ETD license
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Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
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