This presentation proposes the notion of the pseudo- record label, defined as a (typically, though not always) not-for-profit participatory network of creative fans that produce cultural artefacts such as live concert bootlegs (also known as Recordings of Illegitimate Origin or ROIO) for distribution to other fans within the network. These pseudo- record labels take on some of the functions of a traditional record label. For instance, they act as ?expert filters? (Baym Burnett 2009) to source, sort, edit and remaster concert recordings in search of the most complete, representative and/or best quality audio available. They create artwork for the recordings in order to produce a complete package, and also arrange various methods of distribution and marketing to fans within their networks. In the process they build a sense of security and trust in a collaboratively-produced yet non-official brand that is used to curate an alternative live archive of particular artists. The processes involved in creating and distributing these recordings promotes continued interest and discussion amongst fans, and may therefore be advantageous to the artists around whom these pseudo- record labels are created. Examples of such labels will be explored in this presentation, which also addresses questions and issues surrounding ownership and copyright, and the arguments surrounding ?free labour? (Terranova 2004).
|Title of host publication||One Century of Record Labels – mapping place, stories and communities of sound, 6-7 November 2014, Newcastle University.|
|Publication status||Published - 1 Nov 2014|