Will algorithmic playlist curation be the end of music stardom?

It is 2015 and there are no indications that the relentless digital transformation of the music economy is about to slow down. Rather, the music economy continues to rapidly reinvent itself and industry powers, positions and practices that were redefined only a few years ago are being questioned once again. This paper examines the most recent changes of the music economy as it moves from a product-based towards an access-based logic. The paper starts out by recognising the essential role of technology in the evolution of the music economy. It then moves on to a discussion about the rise of so-called access-based music business models and points out some of the controversies and debates that are associated with these models and online services. With this as a background the paper explores how access-based music services and the algorithmically curated playlists developed by these services transform the relationship between artists, music and fans and challenges the music industrial power relationships and established industry practices once again.

Stardom and celebrity : a reader

Contents :

* Introduction: what' in a reader? / S. Redmond and S. Holmes
* Star and celebrity culture : theoretical antecedents
* The analysis of fame : understanding stardom
* Fame
* remember my name? : histories of stardom and celebrity
* Producing fame : 'Because I'm worth it'
* Made in culture : star and celebrity representations
* Consuming fame/becoming famous : celebrity and its audience

Swivelling the spotlight: stardom, celebrity and ‘me’

Celebrity studies critiques the ways in which celebrity culture constructs discourses of authenticity and disclosure, offering the cultural and economic circulation of the ‘private’ self. Rarely, however, do we turn the spotlight on ourselves as not only scholars of stardom and celebrity, but also part of the audience. Autoethnography has become increasingly important across different disciplines, although its status within media and cultural studies is less visible and secure, not least because the emphasis on personal attachments to media forms may threaten the discipline’s still contested claim to cultural legitimacy. The study of stars and celebrities has often found itself at the ‘lower’ end of this already debased continuum, perhaps making such tensions particularly acute. Based on three personal narratives of engagements with stars and celebrities, this co-authored article explores the potential relationships between autoethnography and celebrity studies, and considers the personal, intellectual, and political implications of bringing the scholar into the celebrity frame.

Stardom in postwar France

The 1950s and 1960s were a key moment in the development of postwar France. The period was one of rapid change, derived from post-World War II economic and social modernization; yet many traditional characteristics were retained. By analyzing the eruption of the new postwar world in the context of a France that was both modern and traditional, we can see how these worlds met and interacted, and how they set the scene for the turbulent 1960s and 70s. The examination of the development of mass culture in post-war France, undertaken in this volume, offers a valuable insight into the shifts that took place. By exploring stardom from the domain of cinema and other fields, represented here by famous figures such as Brigitte Bardot, Johnny Hallyday or Jean-Luc Godard, and less conventionally treated areas of enquiry (politics [de Gaulle], literary [Françoise Sagan], and intellectual culture [Lévi-Strauss]) the reader is provided with a broad understanding of the mechanisms of popularity and success, and their cultural, social, and political roles. The picture that emerges shows that many cultural articulations remained or became identifiably French; in spite of the American mass-culture origins of these social, economic, and cultural transformations.

Mediated music makers : Constructing author images in popular music

The subject of the thesis is the mediated construction of author images in popular music. In the study, the construction of images is treated as a process in which artists, the media and the members of the audience participate. The notions of presented, mediated and compiled author images are used in explaining the mediation process and the various authorial roles of the agents involved. In order to explore the issue more closely, I analyse the author images of a group of popular music artists representing the genres of rock, pop and electronic dance music. The analysed material consists mostly of written media texts through which the artists authorial roles and creative responsibilities are discussed. Theoretically speaking, the starting points for the examination lie in cultural studies and discourse analysis. Even though author images may be conceived as intertextual constructions, the artist is usually presented as a recognizable figure whose purpose is to give the music its public face. This study does not, then, deal with musical authors as such, but rather with their public images and mediated constructions. Because of the author-based functioning of popular music culture and the idea of the artist s individual creative power, the collective and social processes involved in the making of popular music are often superseded by the belief in a single, originating authorship. In addition to the collective practices of music making, the roles of the media and the marketing machinery complicate attempts to clarify the sharing of authorial contributions. As the case studies demonstrate, the differences between the examined author images are connected with a number of themes ranging from issues of auteurism and stardom to the use of masked imagery and the blending of authorial voices. Also the emergence of new music technologies has affected not only the ways in which music is made, but also how the artist s authorial status and artistic identity is understood. In the study at hand, the author images of auteurs, stars, DJs and sampling artists are discussed alongside such varied topics as collective authorship, evaluative hierarchies, visual promotion and generic conventions. Taken altogether, the examined case studies shed light on the functioning of popular music culture and the ways in which musical authorship is (re)defined.

Making difference SUPER : a critical approach to the politics of celebrity-authored children's books

Recent years have seen a flood of celebrity-authored children’s books enter the children’s literature marketplace. This paper tracks the evolution of this phenomenon as it pertains to contemporary celebrity culture, and responds to the question: what are the embedded messages about identity at play in such texts? The key contention here is that these works endorse celebrity as the most desirable identity category for the children of the new millennium, going so far as to position difference as a commodity to be traded in the quest for fame. Using critical theory around celebrity culture, and through a close reading of a short celebrity-authored picture book, this paper demonstrates that far from being innocuous pieces of popular culture, such books beckon children into a world that increasingly values visibility and stardom above all else.

The Celebrity Aura Exhibition

The Celebrity Aura Exhibition was an art exhibition centred around 'celebrity aura' that featured 13 local artists. It was run by the School of Communication and Creative Arts and was held in conjunction with the Inaugural Celebrity Studies Journal Conference (12-14th December) at Deakin University.