Analysis of Alice in Wonderland

Analysis of Disney’s Movie Alice in Wonderland

Eman AbdalKarim

American University of Beirut

Abstract

Alice in Wonderland is a Walt Disney movie based on Lewis Carroll’s novel Alice’s Adventure in Wonderland. This paper will analyze some scenes of the Disney film in contrast with the original story. Moreover, it will uncover some stereotypes and hidden messages that emphasize on drugs use, gender roles and class struggle.

Analysis of Alice in Wonderland

Alice in Wonderland is one of Disney’s unique productions with distinctive characters and distinguished plot line. The original narrative differs from the one depicted in the Disney film. The initial story started with a plot in which Alice was sitting by a river bank with her older sister as she reads a borrowed book. The book was boring, lacked images, had no conversation, and held no interest for Alice. Yet, Disney decides to start the movie with the history lesson, a scene that appeared in the Caucus Race. In an interview, a Disney representative explained the reason behind the arrangement and compression of some dialogue. It “give[s] more coherence to all that follows” (Walt Disney, 1951). Hence, Disney started with the history lesson. Also, the Disney movie dismissed some chapters of the novel such as: A Caucus Race and a Long Tale, The Mock Turtle’s Story, and The Rabbit Sends in a Little Bill. Instead the movie is filled up with lots of fantasy that is different from the original tale creating an integrated story. Disney completes the movie by adding their touch of stereotypes and subliminal messages. There are number of scenes that call attention to gender roles, drug use, and class struggle. This essay will analyze these messages and explain their impact on children.

Alice, the main character of the movie, is a young teen between the age of ten and twelve. She is slightly younger than most female characters in Disney movies. Unlike the other Disney characters, Alice is not a princess who is “always ready for, longing for, hoping and dreaming for a man…they ‘want to be part of his world’, not create their own world”, but a child who envisions her own world (Packaging Girlhood, p. 67). She wishes to break away from routine and run to a wonderland, an imaginary world she creates. She then goes on a journey to this invented world, with no idea where it will take her. With no fear, she tours around a world that is enormously different from reality and full of strange characters. She is daring, curious and ready to explore the life around her. These are natural characteristics that most children have. Alice’s role is depicted in way to send positive message to girls in the same age; that a girl should use her imagination to fill her life with enthusiasm rather than being concerned with boys. On the counter to such positive message, the movie portrays a number of messages that enforce class struggle, gender roles, and drug use.

Gender roles:

Alice and Wonderland is not a typical Disney movie with a princess waiting for the perfect man. Yet, it did not escape Disney stereotypical messages about gender. In this movie almost all the leadership roles are fulfilled by women (the While Queen and the Queen of Hearts) who rule the two major kingdoms. While the headship is in the hand of these two women, we notice that the brain behind their operations rested in men’s hands. In the case of the Queen of Hearts, the Red Knight rules through the queen, as she is shown to be naïve and comically stupid. On the other side, the White Queen is the figurehead who is trying to rise up in power, however, it is the Mad Hatter who is leading and organizing a force against the Queen of Hearts. So the White Queen is nothing less than a symbol. This gives gender roles an obvious function in the movie “calling attention to the fact of gender caused children to agree more with stereotypes”(Moskowiz, 2010).

Moreover, the portrayal of the two queens is important, especially when considering their predicament of competition has an effect on Alice. The Queen of Hearts is depicted as a brutal, violent, frightened, and masculine. These traits are demonstrated as pre-conditional as the only way to rise in power. This particular idea is confirmed when the White Queen states that acting violent is against her vows and yet sends other to do her sadistic work, i.e. sending Alice to slay the Jabberwocky, to gain more power and maintain discreet support of her followers. The White Queen is illustrated as soft and feminine but lacks direct action. She needed someone like Alice, to save her kingdom, that ‘someone’ should embrace masculine traits to be able to do so.

Empowering girls through embracing courage in children’s movie may encourage positive inspiration, but to associate success with masculine characteristic is a bit archaic. This same idea is again reinforced in the end of the movie, when Alice becomes part of her father’s company, showing that she inherits this adventurous nature from him. While one can see this as a positive message, it traditionally abandon female gender role to embrace a masculine form.

Drug Usage

Other than the gender roles embedded in the story of Alice and Wonderland, the movie also illustrates various scenes that are related to the use of drugs. Alice’s adventure seems like a trip of investigation to examine the various types of drugs. The entire story is full of visual imagination and experience that can be closely related to that of hallucination. The movie contains many scenes in which rooms shrink, cats disappear, and tears become an ocean. All these are examples of drug usage and their effects.

In addition, we witness the slowing sensation of time and movement in the scene where Alice falls into the rabbit hole. She takes longer to admire the hole as she falls—longer than the real time a person experiences falling down—and ample time to explore inside the hole. Another example of drug usage is the caterpillar Dodo. It is an insect which smokes a water pipe; commonly used to inhale marijuana in western societies. In this scene, Alice (and all children) are introduced to the way drugs are used. The same insect also asks Alice to eat a mushroom she will become bigger in size and her mind will expand. This might be a dangerous message for children, that if someone hand you something you should take it. A similar incident when Alice partake a substance that says “consume me” without thinking about its consequences. This is another risky message send to children.

Class struggle:

In one of the scene, where Alice was walking through the forest, she met the twin Tweedle Dee and Tweedle Dum. The twins decided to tell her a story about walrus and carpenter. The way the carpenter and walrus were demonstrated emphasize on class differences; the carpenter was holding a hammer and wearing apron indicating that he is from a lower class, while the walrus was holding a case, wearing a tie and hat and smoking a cigar signifying a higher class. “We’ll sweep this clear in half a year, if you don’t mind the work,” says the carpenter after realizing that the beach they are on is dirty. To this, the walrus replies in singing: “Work?! The time has come to talk of other things; of shoes, and ships and sealing wax, and cabbages and kings!” This dialogue implies that the parties involved are of different classes.

In the same narrative, the carpenter is thrown half-way into the beach by the walrus who used the carpenter’s hammer to lift him off the ground. The carpenter then sees oysters. The walrus then lures the little oysters into a little shed built by the carpenter on the beach so he can eat them. The walrus makes the carpenter believe they will share the oysters, but once the carpenter goes into the kitchen, the walrus eats them all. Tweedle Dee and Tweedle Dum narrate this event and show that curiosity may leads to one trouble. This is quite possibly at a theme that kids would understand. However, the story also shows the inequality in a capitalist society between the upper class and the lower class, something perhaps too complicated for a child to identify. Children learn that in the real world there are those like the walrus who have control over other people and treat them in an unfair manner.

A similar occurrence happens shortly after, where the rabbit is pursued by Alice into his house. In the house, Alice eats a cookie and enlarges in size again. Frightened, the rabbit calls the newly enlarged Alice a monster. He sees Dodo and asks for his help. Like the walrus, Dodo simply smokes his pipe and speaks declaratively, as if showing off. Like a boss, he directs a lizard (Bill) to get Alice out of the house. Apprehended Bill flees Away to avoid the trouble, but Dodo  finds a way to bring him back and support him whilst going up the ladder and says, “You’re passing up a golden opportunity….you can be famous!” (Walt Disney, 1951).  He propels Bill down the chimney, even though Bill was constantly trying to seize him and forge back. This scene definitely triggers a visual interface into the Industrial Revolution when the proletariats were promised a harmonious ever after in heaven if their jobs were competently done. Similar to the bourgeoisie, Dodo attempts to compel Bill into performing his job by highlighting that Bill would become distinctly famous. After this failed planning attempt, Dodo, with the rabbit’s aid, though not willingly accepting to take part and hands him a match to ignite the fire, and decides to burn down the house. Like the walrus story, this scene clearly depicts the conflict between the upper and lower classes. Whilst watching this specific scene, children are not aware of the underlying reason behind it and would question vaguely, specially that they “incorporate some powerful myths and stereotypes about people from what they see on screen” (Media Education in the Practice Setting, n.d). Although this scene seems to be frank and child-friendly, it definitely signifies the cornerstones of class conflicts and discrimination (superior versus inferior), a topic definitely to be redefined for children. It is critically important to highlight the fact that these children must not, under any circumstances feel inferior or class bound in their society.

Conclusion

Disney movie Alice in Wonderland, like many other Disney movies, is full of stereotypes and subliminal messages. Even thought this film in particular did not depict a typical Disney princess, it however could not pass without adding Disney touch of stereotypes. The roles of the two queens show that women could be in power, however, they would not succeed without the help of men, nor would they be successful without a masculine characteristic.

Moreover, the tale contains number of scenes that expose children to drug uses. The entire film is full of visual imaginations that are closely related to those of hallucination. In addition, the film reinforces the idea of class struggle through various scenes by showing characters from both classes, in which the higher class is always the superior and the lower class is the inferior.

 

 

 

References

American Academy of Pediatrics. (n.d). Media Education in the Practice Setting: An Over view of Media and the Pediatrician’ s Role. American Academy of Pediatrics. Retrieved from http://www2.aap.org/advocacy/mmguide.pdf

Boeder, L. (n.d.) Classic Disney animated movies of the 1950s. Retrieved from http://classicfilm.about.com/od/childrensmovies/tp/Disney_Animated_Films_1950s.htm

Disney, W. (1951, May). How I cartooned Alice. Films in Review. Retrieved from http://www.alice-in-wonderland.net/alicepic/other/article-disney.jpg

GradeSaver. (n.d.). Alice in Wonderland Study Guide. GradeSaver. Retrieved from http://www.gradesaver.com/alice-in-wonderland/study-guide/

Moskowiz, C. (November 16, 2010). When Teachers Highlight Gender, Kids Pick Up Stereotypes. Livescience. Retrieved from http://www.livescience.com/8966-teachers highlight-gender-kids-pick-stereotypes.html

See No Evil? What Girls Watch. (.n.d.) Packaging Girlhood. (p. 62, 67-69) Retrieved from http://moodle.aub.edu.lb/file.php/5847/Packaging_Girlhood_Ch2.pdf

 

 

Ads analysis

 

Eman Abdalkarin

Ads analysis

American University of Beirut

 Abstract

This paper will attempt to analyze three advertisements shown in different magazines. The analysis will focus on the gender roles in advertisement and how the different genders are used to market certain products. Moreover, it will try to uncover the stereotypical portrayal of the models by looking at the semiotics, moods, camera angles, and cultural roles.

Ads analysis

Semiotics as we all know is the study of how the production of meaning is constructed through the study of signs and symbols. The signs and symbols in this ad are indicators of the meaning behind what is represented (Chandler, 2007).The two main elements that are used within semiotics to understand these ads are: the signifier (symbol, sign) and signified (meaning, concept of the brand) (Chandler, 2007). Nevertheless, we will have to decode the process of signification by not looking at the whole ad but rather at its distinctive parts. Before analyzing each ad from the outermost layer, it would be better to elaborate on each of the elements presented in order to understand the diverse messages underlying their symbols, all which together, gave meaning and significance to the brand’s name and image. Using the intricate approach of semiotics to analyze ads, this paper will study how gender roles are used to market certain products. Moreover, it will try to uncover the stereotypical portrayal of the models by looking at the semiotics, moods, camera angles, and cultural roles.

The first advertisement I chose for this assignment is the Absolut Vodka ad, a Swedish produced that being advertised eccentrically in creative advertisements, retrieved from Arab AD magazine (See appendix A). We can start with the obvious figures and elements presented in the ad in which we view a modern female figure opening a box containing different bodily parts of a modern working man in an urban designed room .The mood of this ad is somehow confusing. It is cognitively portraying a distorted scenario in which the woman tries to build up a so called perfect man from the body parts she ordered. We can choose to conclude that mood is frankly positive by neglecting the facial expression on the frustrated women face while she attempts to put the man’s body parts all together.

Each of the following part: the roses, the formal attire of the lower portion, guitar and the tattoo on the man’s hand, the girl reading the blue print on the package , the mars symbol for male on the package, the urban setting and contemporary furniture and decor , the specs, and the dog serve as signifiers in this advertisement. The body parts of the male figure are mixed in terms of color; the face appears white, the arms are white but oddly the torso is of darker color which could belong to a black male. Unlike previous perception, when “racial minorities were either ignored or stereotyped” they are now projected as part of an ideal world (Croteau & Hoynes 2003, 201). Coming to the different body parts, the ad cleverly puts across the Absolut definition of a perfect man .A perfect man is supposed to buy roses for his woman, he is supposed to work as a professional and may have other interests such as playing on the guitar, and his physique has six pack abs. Over here, the perfection of the man is superficial in nature and doesn’t seem to touch upon his emotional and intellectual characteristics as being an expectation of the woman’s dream man. The symbol of mars male on the carton reinforces the heterosexuality of today’s major society. The dog in the ad appears to be observing the woman. It looks kind of frightened seeing those body parts which expresses the confusion that the animal is in.

In today’s ‘do it yourself world’, we can select and arrange anything we wish to own and possess. In this ad, the parts of the male body received by the female in the package and her effort to arrange it don’t come across as odd. The reason could be the direct notion at how in the real world, a perfect man would probably not exist so one has to look beyond or assemble one himself. This is the role of creativity in this advertisement; where one would rely on the animated world to fulfill our realistic wants and demands.

Absolute Vodka campaign is undisputedly one of the big ideas in today’s ad industry. The evidence is that it has withstood the test of time for more than 20 years. Having gone through the ad campaign over a period of time, the semiotic of the campaign is that at the beginning the bottle represented the person and his world. The current campaign is about the world and the people in it .The concept of the ad is just brilliant and so it is the real transition behind its message. This is a global language that focuses on the world and its people, their identity and the one homogeneous desire of the vast diversity existing today .This campaign definitely addresses very universal issues in a sense of what Absolut vodka would be like in an Absolut world today.

The second Ad, retrieved form Magma magazine, portrays three women promoting Cosmal Cosmetic Satinett hairspray (See appendix B). The women are depicted as powerful, attractive, and feminine. Each one of the models was looking in a certain directing in a sharp, fixed, and a confident way indicating control of the region in which she is standing. Their heads are tilted downwards as if there looking down on everyone creating a sense of domination. Also, they are skinny, white, and fully made-up to stress on their beauty. This kind of depiction is in itself very stereotyping gender roles. According to an article entitle Media Portrayals of Girls and Women, the media often show “images of women and girls who are typically white, desperately thin, and made up to the hilt”. These images consumed by the public are often manipulated versions of the original photos that delineate beauty in the way media depicts attractiveness. In addition to that manipulation, the media also depicts women as provocative objects opposite to their common roles as “mother[s]/homemaker[s]” (Croteau & Hoynes, 2003, p. 213). These representations of women in the media which tend to “revolve around the focus of physical beauty” construct a definition of what is feminine and what is not (Gender and Media Representation, 2012). Thus, Cosmal Cosmerics tries to sell beauty to ordinarily females promising them a more feminine appearance and superior traits.

Colors also play important roles where they affect purchasing decisions, stimulate people’s senses, create conceptual intentions of products, affect emotion and perception, and have subconscious effects on the viewer (Nolan, 2003 & Marketing and Advertising, 2009). In this, ad color helps emphasize the superiority of the models. The severe difference between the front color and the background put these models on the center of the picture. The dark pink color/ fuchsia contrast the most, steal the first glance and hence give the model in the center a more dominant position. The two other women are dressed in slightly contrasting colors that are less appealing. However their hair color stands out pull them to the center attention again.

Finally, hairspray which naturally aims to hold hair in place becomes what the models are representing. The models who are strong, confident, and in control are used as a signifier to the strength of Satinett hair spy which “dedicated to keeping your hair exactly where you want it”.

The thirds ad for this paper is the Dolce & Gabbana, an Italian luxurious fashion line, retrieved form Bespoke magazine. The photo use in the ad was taken in a muddy street with background walls covered with ripped posters which gave a dark and harsh scene. Contradictorily to the chaotic dirty setting are the luxurious clothes in which the models are dressed in. The motorcycle used looks like a cycle that can be found in each corner of Italy. This associates the brand with its cultural of origin, Italy Milan. Moreover, one of the models is driving a convertible which serves as a signifier of a lavish lifestyle. This again reinforces the direction to whom the message is sent and limits it to men. It does so by using element, such as car, that attracts men’s attention.

Dolce & Gabbana is known to be a luxurious brand that targets audiences form higher class who can afford such an expensive brand. According to the Fashion Model Industry, the brand Dolce & Gabbana “centralizes on haute couture and expensive price tags”(Fashion Model Industry, n.d.). The ad is representing successful Italians on the street. It is successful because Dolce & Gabbana is targeting young men and women capable of affording such a luxurious lifestyle and it is Italian because the stereotypical motorcycle gives the street an Italian identity.

The ad portrays neither women nor children which again limits the audience to young males that are neither father nor strictly heterosexual. All of the models have sharp and serious expression on their faces indicating their seriousness giving no room for humor or emotions. The models’ sexual orientation is not fixated nor obviously indicated. However, the designer seems to target homosexual men, mainly because both Domenico Dolce and Stefano Gabbana are openly homosexual. Therefore their sexual orientation can affect their design and this the way they advertise their product.

The men in the ad seem professional because they’re wearing luxurious clothes and driving expensive cars and thus they conform to the stereotypical image of ‘the real man’ being economically powerful and socially stable. The main purpose of the ad is to show that Dolce & Gabbana’s clothing is designed for those fashionable, professional, and wealthy men.

After analyzing the ads, I realized the advertisements resemble the changes that are going on in the world. Women are portrayed as strong confident and powerful rather than then sexual objects which are beautiful and attractive. Moreover, homosexuality is indirectly reflected in ads, such as Dolce & Gabbana ads, and is longer taboo. Moreover, the perception of colored or racial deferent groups as perceived in positive way, and is encouraged by many advertisements; in the Vodka ad for example, a black body was perceived as part of ideal man.

 

Reference

 (2012). Gender and Media Representation. (Key Concept of Media Studies). Retrieved from http://www.someaddress.com/full/url/http://www.mediaknowall.com/as_alevel/alevkeyconcepts/alevelkeycon.php?pageID=gender.

Arab AD (2009)

Bespoke (2011)

Chandler, D. (2007). Semiotics for Beginners (sign). Retrieved from http://www.aber.ac.uk/media/Documents/S4B/sem02.html

Croteau & Hoynes. (2003). Media/society: Industries, Images and Audiences Social Inequality and Media representation (Chapter 6). p. 213.

Fashion Model Directory. (n.d.). Domenico Dolce & Stefano Gabbana. Fashion Model Directory. Retrieved from http://www.fashionmodeldirectory.com/designers/domenico-dolce–stefano-gabbana/

Magma Malia Group Magazine (Fall 2010-11)

Marketing and Advertising. (2009). The Subliminal Effects of Color in Marketing . Retrieved from http://bizcovering.com/marketing-and-advertising/the-subliminal-effects-of-color-in-marketing/#ixzz1racGKhHD

Nolan, K. (2003). Color it effective: How color influences the user. Retrieved from http://office.microsoft.com/en-us/frontpage-help/color-it-effective-how-color-influences-the-user-HA001042937.aspx

 

Appendix

 

Appendix A: Absoult Vodka. Retrieved form Arab AD magazine

Digital version retrieved from: http://adfactory.ecrater.com/p/3821766/in-an-absolut-world-vodka-magazine-ad#

 

 

 

 

Appendix A: Dolce & Gabbana. Retrieved from Bespoke magazine

No Digital version

 

Appendix D: Cosmal Cosmerics. Retrieved from Magma magazine.

Digital version retrieved form: http://www.cosmalcosmetics.com/cosmalproductsdetailed.aspx?pageid=9305

 

The Music Industry

 

The Music Industry

Eman Abdalkarim

American University of Beirut

Abstract

This paper examines the domination of music production by the major labels records. It studies the impact of that domination on the artist and the audience. Moreover, it highlights the positive and negative aspect of both independent and major labels and which one meets the needs of artists and customers

The Music Industry

 Music has always played a role in the social, religious and economical aspects of people’s lives. Composing, distributing and developing music has been altered by new musical genres that accompanied the development of musical instrument, the change in technology and global communication (David, 2006, p. 1). Recently –from the time of the Beatles, Rolling Stones to Rihanna, Justin Beiber and Timbaland—Western Pop music has penetrated the world music market, in both production and consumption (David, 2006, p. 2). This phenomenon can be understood by looking at the dominance of the music industry and studying the impact of these major records labels on the consumer, the artist, and the independent records labels. This paper will attempt to examine the impact of major label companies on the popular music genres in the market by looking at both independent and major labels different characteristic and their means of reaching the artist needs.

Label records are fundamental and influential part of the musical industry, currently, there are four major record labels, knows as the “the Big 4”. These four major records labels are dominating the label record industry and controlling about 75% of the music market shares (McDonald, 2012). “The Big 4” consists of The Universal Music Group, Sony, BMG Music Entertainment, EMI Group and Warner Music Group. These labels are corporations that mange number of businesses other than music recording, publishing and incorporating. They also expanded their activities to influence the entertainment industry as a whole (McDonald, 2012).

Other than the “the Big 4” there are alone-standing or independent record labels. Few independent record labels are owned by major labels and function independently, distribute its records independently through independent distributors where the major record labels do not interfere with the label’s affair (David, 2006, p. 3).

To have a closer look at this domination, I chose ten music records that I own and trace their label of production. The table below summarizes the artists, their album, label of production, and whether these labels belong to any of “The Big 4”.

Artist Name	Album Title	Label	Parent Company
Norah Jones	Come Away With Me	Blue Note	EMI Group
Magidah El Roumi	E’Tazalet El Gharam	EMI Arabia	EMI Group
Shereen	Lazim Ayeesh	EMI Music Distribution	EMI Group
Elissa	Bastanak	Rotana	Rotana
Khazem Al Saher	Yawmyat Rajoul Mahzoom	Rotana	Rotana
Usher	Confession	Le Face	Sony Music Entertainment
Shakira	Loca	Sony	Sony Music Entertainment
Dido	Life For Rent	Sony Music	Sony Music Entertainment
Rihanna	Good Girl Gone Bad	Def Jam	Universal Music Group
Jamie Cullum	Twenty something	Verve	Universal Music Group

 

To my surprise 80% of my music collection is actually produced by a major label of”the big 4”. The remaining 20% is from a local independent label. Yet this local independent label is one of the three leading labels among regional labels.

Before we go further and explain why artist choose major labels or independent labels, it is crucial to understand the characteristic of each type of those label. Independent labels make up a small percentage in the music industry, yet it has been valued for various reasons (David, 2006, p. 3). One, Independent label are run by a small number of people who work closely with the artist in certain roster that helps preserve the artist’s intended vision and produce an authentic natural work. Second, they operate using limited expenses following a simple structure that allows the label to make more money with fewer record sales. They also take more part in decision making which allowing room for diversity of music to the consumer David, 2006, p. 4). Third, they have an ability to create and maintain musical integrity through their presentation (David, 2006, p. 4). Forth, independent label allow writers and performers to publish records and keep the Right of recording which is not found in major labels. Finally, independent label allow the artist to make direct contact with their fans using Internet for mail, gigs, and publicity (Music Think Tank, 2010).

However, independent label lacks capital, international distribution network which would otherwise widen the distribution to stores. Moreover, independent records labels have less power in hand which sets a limit between them and the access to radio and other media outlets (Music Think Tank, 2010). Having said this, independent record label have to seek or come up with different way to promote their records in order to survive. However, this is implausible as they do not have the capital for it and reaching those media outlets require a substantial budget.

Major record labels have been the only picture that many artist look at when entering the music business. The attraction of this image goes back to major label representation, power, and of course both money and technical capabilities. In other word, these record labels invest a significant amount of money to make sure that an album is successful when released and will reach audiences both nationally and internationally (Spatz, 2003). They also play a crucial role in promoting their artist through different media channels newspaper, radio, TV, magazine, in stores display etc (Spatz, 2003).  Such marketing campaigns are highly regarded means that are utilized by the major label and contributed significantly to the sales of records, even though they take power and money. Nevertheless, this is not of larger concern to the major labels, because they have the money and better distribution network (Spatz, 2003).

One popular argument against major labels, is the idea that they promote and credit mechanical and unoriginal music creating a tend form a non-existence consumer appeal (Spatz, 2003). This undervalues the very historical purpose of music which is based on the original creativity and for the entertainment of listeners.  Moreover, the major labels have long attacked the online market, but recently began to adopt technologies that are close to those used by independent labels such as digital distribution and internet marketing techniques for. So, major labels are disadvantaged when it comes to the implementation of new techniques other than traditional market. In addition, major label controls production and distribution; they are mainstream business indicating the value of the label rather than the music or the artist itself.

Despite that fact that the major labels have more capabilities and power, we still find that there are some independent companies that are succeeding. They manage to offers their consumers with reasonable deals. However, this does not mean they can compete with major label since major labels still dominant the music market and have huge capabilities that seem to beat independent labels (Mcleod, 2005). Nevertheless, digital music and internet are replacing traditional market for cheaper music prices and this is threatening major label.

The choice of production labels goes back to the artists and their purpose, capabilities and availability of the labels. Audiences, in general, have little to do with this choice but are concerned with the quality and representation of the product. The latter is perceived as the expertise of major companies, since they put more emphasis on packages to grasp consumer attention. An example are Brent Rollins, Freeway & Jake One’s who are mastered in classic hip-hop album covers. These major labels are not open to embrace new ideas and prefer to follow competition (Spatz, 2003). The hardworking artists have tried to benefit from all presented opportunities while their future is being steward. In contrast, independent label have always succeed to represent creative liberty. However, we should not disregard that the fact that major labels are excellent in bringing artists music to their fans and ensure a better music to audience, but then who decides what is better music?

Steven Spatz (2003), a former director in marketing, says that a special feature in records was only available in major labels since the independent label cannot afford the cost of design, production, and duplication. However, this is no longer the case; there are some independent labels that are making these records affordable for artists. Independent labels now have multimedia specialist working for them. They design and produced interactive multimedia projects, including “high-quality video clips, Flash animation, and screen savers to interviews, promotional materials, and Web links”. These multimedia specialists offer the artists high qualities of work for lower prices.

Even though my music collection is pretty well dominated by the major labels, I am still not in harmony with their domination. I belief the existence of these major label does not benefit musicians, but in fact try to make the maximum profit out of them. This profit is possessed through their successful business strategies. Eventually these major records are creating a self-constructed frame of what it is actually poplar, talking this privilege away from the public. I can truly say that this is degrading to art. I understand that it is highly competitive market, even artist have to market their work so as to keep producing and make a living. However, I believe independent label offers the artist more freedom and ability to develop. It provides the right to own recording and the freedom to do anything to these records. Moreover they allow development in one unique way, meaning they do not draw a framework of how ones’ works should look like, but rather they work with the artist.

Therefore, as a supporter, I would go for a unique piece of music, then going for a popular standardized song that has no artistic value but rather a trend. Hereby I am not disregarding or degrading the work of these major labels, in fact they have been the producer of most of my music selection; I just dislike their support to the so called cool or hip music.

By sharing music online or with friends I am not supporting artists any less. I may be sharing some but at the same time purchase their creative work. It is indeed so that in the digital age, online social network and digital music retail stores introduced many changes that threatened the music industry, mainly the major labels.  Yet, there are still other ways to support one’s music idol.

Live music has become more popular in recent years with an increase in the attendance at arena shows. Ticket-masters reported that around 20,000 tickets were sold in the first 38 second for the Spice Girls’ first reunion concert that took place in London. Ticket prices to such concert cost multiple times the price of a CD. A ticket to Madonna’s concert cost roughly £160, a price that one can buy Madonna’s entire catalogue and hence fans do buy them (Music Industry Work website, 2012). So, one does not need to buy CD to support artists works but can do that by going to concerts. With globalization and the effective means of music distribution, artists work has reached people all over the world. These artists have fans all over the world, and performing in different region of the world has become part of their duties to entertain their audiences. That is why we have international artist performing in countries that is far away from home. Lebanon in the recent two years has witnessed numbers of concerts by foreigner artists such as Shakira, Akon, Jamie Cullum, and more. These artists are here to entertain their audience and get support from their fans.

Local performers are often seen on arena as well. These artists have larger audience within a certain region, but also known internationally. Fairouz and Nancy Ajram do not only perform in Arab stages, but are recently appearing in European stages. For example, Nancy Arjam recently had a concert in Nijmeigen, Holland. Fairouz gave one of her last performance in the last years at a festival in 2011 in Amesterdam. Hence, supporting a star is becoming as accessible as getting CD records. This phenomenon indicates the similarity in behavior between Arab artists and Western/American artists.

Regionally three labels control about 70-80% of production, and another 20 other labels account of the 20-30% of the production. In Lebanon international major label such as Sony Music International, EMI, BMG, Warner Music and Universal Music control around 15-20% of the music played in the country. Egypt carries the same model as Lebanon. But in some other Arab countries the system of music production and distribution differ completely (Harabi, 2009).

In Morocco for example, the system in music activities is not well structured. Till recently T.V and Radio were account for the distribution of music. The value of the Moroccan music market is hence very low. In Tunis, T.V and Radio used to dominate production of the music. Ennaghem, a distribution firm was established to replace the Tunisian Radio and Television Board (RTT). It monopolize the reproduction, while RTT continued to controls the recording, these are the two companies who are responsible for the production of music is Tunisia. (Harabi, 2009). In general the economy of music recording industry varies in the Middle East, it considered “positive” in country like Lebanon and Egypt and negative in Marco and Tunisia. (Harabi, 2009).

The similarity between Western and Arabic music can be found in trends and themes dominating the music collection. Like Western music, Arabic music attends to reflect themes related to sex, beauty, and money. Beauty and sex are often presented in women provocative clothing, with the conception if you are pretty you are worth everything and hence very powerful. Haifa Wahbi, Nancy Ajram, and Ruby are examples of artists who constantly appear in provocative costumes (Usher, 2007). In one of Ajrams’ videos, Akasmak Ah, she portrays herself as a powerful figure commanding men who were surrounding her feet while she was dancing on a table. This display could be understood as empowerment of women, but also as objectifying females as sex toys. Habib Battah, editor of the Middle East Broadcasting Journal, explained that messages found it those videos are not means to generate money. He said “there’s a real frustration in the Middle East among young people, and this is a way for them to kind of escape their family structure – of dating, of arranged marriages etc – and actually meet people in different countries – young people –  connect with them”. “And there is a big desire, a big thirst for that forum. And so right now that’s what’s happening with music in the Middle East – it’s being used as a way to connect young people.” (Usher, 2007)

Not only that, but an inescapable changed took place changing the attitude of teenagers and young individuals, who see an artist as a role model. They start to imitate the behavior of their idol as it transmitted in these video. Teenagers will evenly start wearing provocative clothes, talk about sex, money, and girls. Young female will seek beauty in all ways to gain both attention and power. These values however, are not communicated only in Arabic music, but in Western music as well. The major labels companies are mainly to be blamed in my opinion. As mentioned earlier, the major labels are more concerned with rewarding the business team rather the artist of the art itself. They focus thus more on the marketing of both the music (and their video clip) and making them as appealing as possible. With given little attention to the words, the story and effect of music, creating a new genre of persuasive music.

The major record labels have shareholders and board of directors aiming at making more money is the quickest time. So musicians have to comprehend that these firm are not only about making music but money as well. These influential people within the major label can have an effect on genre and the style generated. Although major label contracts with great number of artists from different cultures and with diverse style in music, there is still a common theme in the music produced. From my personal collection, most of the themes have to do with love, alcohol and betrayal. Taking the statistic in account will find that around 75% of the music in both the market and my music collection are dominated by idea such as love, alcohol and betrayal, topics that are still controversial in my culture. I hereby conclude that these labels are introducing practices that are odd to my culture and barrier in a society.

However, independent labels are more likely to sign contracts with artists that share a common interest with the label such as style and genre. Since they are more focused then major label, one can hardly accuse them for having a hand in spreading unpleasant behavior among our youth. Nevertheless, one cannot totally exclude them since they still make a small percentage of the music industry. In general, music industry is changing, major label are losing popularity and social media and digital music are taking over. However, independent label are benefitting from online techniques and embracing different methods like selling, promoting, and marketing though the web where they decrease the cost and increase their profit.

Conclusion

The music industry has been changing significantly in the last years. The introduction of digital music has reshaped the music industry, and has mainly affected the major label records. Those major labels are becoming less popular and thus starting to go down the drain.  Yet, they are still dominating the international music production. They are still in control of a power that creates trends, genre and initiates new customs. However independent labels are making use of the web to market and promote as well as sell their product. This way they decrease the expenses and increase the profit. Furthermore, their relationship with the artists is friendlier where it certainly provides a win-win situation. However, it is up to the artist to decide on which path to follow. Yet the artist should be aware of the benefits each one provides and accordingly settle. As for the customer, people like us; we are more concerned with the quality and the price of the product.

 

 

Reference

 

Brown, D. (2010, March 19). Music industry drops CD prices – Too late. BNET. Retrieved from http://www.bnet.com/blog/media/music-industry-drops-cd-prices-too-late/7482

 

Cohen, W. (2004). Wal-Mart wants $10 CDs. Rolling Stones. Retrieved from http://bigpicture.typepad.com/comments/2004/10/walmart-wants-1.html

 

David, P. (2006). How are independent artists and new technologies dismantling the impact of major record labels? Retrieved from http://hs.riverdale.k12.or.us/~hfinnert/exhib_06/davidp/paper4.html

 

Frucci, A. (2010, March 12). Record Labels: Change or die. Gizmodo. Retrieved from http://www.gizmodo.com.au/2010/03/record-labels-change-or-die/

 

 

Hara,N. (2009, June 02). Knowledge Intensive Industries: Four Case Studies of Creative Industries in Arab Countries. World Bank. Retrieved from http://info.worldbank.org/etools/docs/library/251761/day3creative%20Industry%20WB_version%201.pdf

 

McDonald, H. (n.d.) Indie label record deals: Pros and cons. Retrieved from http://musicians.about.com/od/beingamusician/a/indielabelpandc.htm

 

McDonald, H. (n.d.) Indie labels. Retrieved from http://musicians.about.com/od/musicindustrybasics/g/IndieLabel.htm

 

McDonald, H. (n.d.). Big four record labels. Retrieved

fromhttp://musicians.about.com/od/musicindustrybasics/g/BigFour.htm

 

McDonald, H. (n.d.). Major record label deals: Pros and cons. Retrieved from http://musicians.about.com/od/beingamusician/a/majorlabelpandc.htm

 

Mcleod, K. (2005. Jan) MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly, 530. Retrieved from http://ir.uiowa.edu/cgi/viewcontent.cgi?article=1004&context=commstud_pubs&sei-redir=1&referer=http%3A%2F%2Fscholar.google.com%2Fscholar%3Fhl%3Den%26q%3Ddomination%2Bof%2Bmusic%2Bby%2Bbig%2Blabel%2Brecords%26gs_sm%3De%26gs_upl%3D9605l29717l0l32721l33l22l4l0l0l17l641l8196l2-6.7.4.4l24l0%26bav%3Don.2%2Cor.r_gc.r_pw.%2Ccf.osb%26biw%3D1280%26bih%3D677%26um%3D1%26ie%3DUTF-8%26sa%3DN%26tab%3Dws#search=%22domination%20music%20by%20big%20label%20records%22

 

Music Industry Work website. (n.d.).  Music Industry Work. Ukessays. Retrieved form http://www.ukessays.com/essays/media/music-industry-work.php

Music Think Tank website. (2010, May 16). Indie Vs. Major: Which Record Label Contract Is Right For You? Music think tank. Retrieved from http://www.musicthinktank.com/mtt-open/indie-vs-major-which-record-label-contract-is-right-for-you.html

 

Harabi, N. (2 June, 2009). Knowledge Intensive Industries: Four Case Studies of Creative Industries in Arab Countries. World Bank Project. Second Version. Retrieved from http://info.worldbank.org/etools/docs/library/251761/day3creative%20Industry%20WB_version%201.pdf

 

Spatz, S. (2003, May 28) Disc Makers Makes Major-Label-Quality Enhanced CDs Available for Independent Artists. Disc Makers. Retrieved from http://www.discmakers.com/community/about/press/052803.asp

 

Usher, S. (21 May, 2007). Arab youth revel in pop revolution. BBC News. Retrieved from http://news.bbc.co.uk/2/hi/europe/6666725.stm

 

The Music Industry

The Music Industry

Eman Abdalkarim

American University of Beirut

Abstract

This paper examines the domination of music production by the major labels records. It studies the impact of that domination on the artist and the audience. Moreover, it highlights the positive and negative aspect of both independent and major labels and which one meets the needs of artists and customers

The Music Industry

 Music has always played a role in the social, religious and economical aspects of people’s lives. Composing, distributing and developing music has been altered by new musical genres that accompanied the development of musical instrument, the change in technology and global communication (David, 2006, p. 1). Recently –from the time of the Beatles, Rolling Stones to Rihanna, Justin Beiber and Timbaland—Western Pop music has penetrated the world music market, in both production and consumption (David, 2006, p. 2). This phenomenon can be understood by looking at the dominance of the music industry and studying the impact of these major records labels on the consumer, the artist, and the independent records labels. This paper will attempt to examine the impact of major label companies on the popular music genres in the market by looking at both independent and major labels different characteristic and their means of reaching the artist needs.

Label records are fundamental and influential part of the musical industry, currently, there are four major record labels, knows as the “the Big 4”. These four major records labels are dominating the label record industry and controlling about 75% of the music market shares (McDonald, 2012). “The Big 4” consists of The Universal Music Group, Sony, BMG Music Entertainment, EMI Group and Warner Music Group. These labels are corporations that mange number of businesses other than music recording, publishing and incorporating. They also expanded their activities to influence the entertainment industry as a whole (McDonald, 2012).

Other than the “the Big 4” there are alone-standing or independent record labels. Few independent record labels are owned by major labels and function independently, distribute its records independently through independent distributors where the major record labels do not interfere with the label’s affair (David, 2006, p. 3).

To have a closer look at this domination, I chose ten music records that I own and trace their label of production. The table below summarizes the artists, their album, label of production, and whether these labels belong to any of “The Big 4”.

Artist Name	Album Title	Label	Parent Company
Norah Jones	Come Away With Me	Blue Note	EMI Group
Magidah El Roumi	E’Tazalet El Gharam	EMI Arabia	EMI Group
Shereen	Lazim Ayeesh	EMI Music Distribution	EMI Group
Elissa	Bastanak	Rotana	Rotana
Khazem Al Saher	Yawmyat Rajoul Mahzoom	Rotana	Rotana
Usher	Confession	Le Face	Sony Music Entertainment
Shakira	Loca	Sony	Sony Music Entertainment
Dido	Life For Rent	Sony Music	Sony Music Entertainment
Rihanna	Good Girl Gone Bad	Def Jam	Universal Music Group
Jamie Cullum	Twenty something	Verve	Universal Music Group

To my surprise 80% of my music collection is actually produced by a major label of”the big 4”. The remaining 20% is from a local independent label. Yet this local independent label is one of the three leading labels among regional labels.

Before we go further and explain why artist choose major labels or independent labels, it is crucial to understand the characteristic of each type of those label. Independent labels make up a small percentage in the music industry, yet it has been valued for various reasons (David, 2006, p. 3). One, Independent label are run by a small number of people who work closely with the artist in certain roster that helps preserve the artist’s intended vision and produce an authentic natural work. Second, they operate using limited expenses following a simple structure that allows the label to make more money with fewer record sales. They also take more part in decision making which allowing room for diversity of music to the consumer David, 2006, p. 4). Third, they have an ability to create and maintain musical integrity through their presentation (David, 2006, p. 4). Forth, independent label allow writers and performers to publish records and keep the Right of recording which is not found in major labels. Finally, independent label allow the artist to make direct contact with their fans using Internet for mail, gigs, and publicity (Music Think Tank, 2010).

However, independent label lacks capital, international distribution network which would otherwise widen the distribution to stores. Moreover, independent records labels have less power in hand which sets a limit between them and the access to radio and other media outlets (Music Think Tank, 2010). Having said this, independent record label have to seek or come up with different way to promote their records in order to survive. However, this is implausible as they do not have the capital for it and reaching those media outlets require a substantial budget.

Major record labels have been the only picture that many artist look at when entering the music business. The attraction of this image goes back to major label representation, power, and of course both money and technical capabilities. In other word, these record labels invest a significant amount of money to make sure that an album is successful when released and will reach audiences both nationally and internationally (Spatz, 2003). They also play a crucial role in promoting their artist through different media channels newspaper, radio, TV, magazine, in stores display etc (Spatz, 2003).  Such marketing campaigns are highly regarded means that are utilized by the major label and contributed significantly to the sales of records, even though they take power and money. Nevertheless, this is not of larger concern to the major labels, because they have the money and better distribution network (Spatz, 2003).

One popular argument against major labels, is the idea that they promote and credit mechanical and unoriginal music creating a tend form a non-existence consumer appeal (Spatz, 2003). This undervalues the very historical purpose of music which is based on the original creativity and for the entertainment of listeners.  Moreover, the major labels have long attacked the online market, but recently began to adopt technologies that are close to those used by independent labels such as digital distribution and internet marketing techniques for. So, major labels are disadvantaged when it comes to the implementation of new techniques other than traditional market. In addition, major label controls production and distribution; they are mainstream business indicating the value of the label rather than the music or the artist itself.

Despite that fact that the major labels have more capabilities and power, we still find that there are some independent companies that are succeeding. They manage to offers their consumers with reasonable deals. However, this does not mean they can compete with major label since major labels still dominant the music market and have huge capabilities that seem to beat independent labels (Mcleod, 2005). Nevertheless, digital music and internet are replacing traditional market for cheaper music prices and this is threatening major label.

The choice of production labels goes back to the artists and their purpose, capabilities and availability of the labels. Audiences, in general, have little to do with this choice but are concerned with the quality and representation of the product. The latter is perceived as the expertise of major companies, since they put more emphasis on packages to grasp consumer attention. An example are Brent Rollins, Freeway & Jake One’s who are mastered in classic hip-hop album covers. These major labels are not open to embrace new ideas and prefer to follow competition (Spatz, 2003). The hardworking artists have tried to benefit from all presented opportunities while their future is being steward. In contrast, independent label have always succeed to represent creative liberty. However, we should not disregard that the fact that major labels are excellent in bringing artists music to their fans and ensure a better music to audience, but then who decides what is better music?

Steven Spatz (2003), a former director in marketing, says that a special feature in records was only available in major labels since the independent label cannot afford the cost of design, production, and duplication. However, this is no longer the case; there are some independent labels that are making these records affordable for artists. Independent labels now have multimedia specialist working for them. They design and produced interactive multimedia projects, including “high-quality video clips, Flash animation, and screen savers to interviews, promotional materials, and Web links”. These multimedia specialists offer the artists high qualities of work for lower prices.

Even though my music collection is pretty well dominated by the major labels, I am still not in harmony with their domination. I belief the existence of these major label does not benefit musicians, but in fact try to make the maximum profit out of them. This profit is possessed through their successful business strategies. Eventually these major records are creating a self-constructed frame of what it is actually poplar, talking this privilege away from the public. I can truly say that this is degrading to art. I understand that it is highly competitive market, even artist have to market their work so as to keep producing and make a living. However, I believe independent label offers the artist more freedom and ability to develop. It provides the right to own recording and the freedom to do anything to these records. Moreover they allow development in one unique way, meaning they do not draw a framework of how ones’ works should look like, but rather they work with the artist.

Therefore, as a supporter, I would go for a unique piece of music, then going for a popular standardized song that has no artistic value but rather a trend. Hereby I am not disregarding or degrading the work of these major labels, in fact they have been the producer of most of my music selection; I just dislike their support to the so called cool or hip music.

By sharing music online or with friends I am not supporting artists any less. I may be sharing some but at the same time purchase their creative work. It is indeed so that in the digital age, online social network and digital music retail stores introduced many changes that threatened the music industry, mainly the major labels.  Yet, there are still other ways to support one’s music idol.

Live music has become more popular in recent years with an increase in the attendance at arena shows. Ticket-masters reported that around 20,000 tickets were sold in the first 38 second for the Spice Girls’ first reunion concert that took place in London. Ticket prices to such concert cost multiple times the price of a CD. A ticket to Madonna’s concert cost roughly £160, a price that one can buy Madonna’s entire catalogue and hence fans do buy them (Music Industry Work website, 2012). So, one does not need to buy CD to support artists works but can do that by going to concerts. With globalization and the effective means of music distribution, artists work has reached people all over the world. These artists have fans all over the world, and performing in different region of the world has become part of their duties to entertain their audiences. That is why we have international artist performing in countries that is far away from home. Lebanon in the recent two years has witnessed numbers of concerts by foreigner artists such as Shakira, Akon, Jamie Cullum, and more. These artists are here to entertain their audience and get support from their fans.

Local performers are often seen on arena as well. These artists have larger audience within a certain region, but also known internationally. Fairouz and Nancy Ajram do not only perform in Arab stages, but are recently appearing in European stages. For example, Nancy Arjam recently had a concert in Nijmeigen, Holland. Fairouz gave one of her last performance in the last years at a festival in 2011 in Amesterdam. Hence, supporting a star is becoming as accessible as getting CD records. This phenomenon indicates the similarity in behavior between Arab artists and Western/American artists.

Regionally three labels control about 70-80% of production, and another 20 other labels account of the 20-30% of the production. In Lebanon international major label such as Sony Music International, EMI, BMG, Warner Music and Universal Music control around 15-20% of the music played in the country. Egypt carries the same model as Lebanon. But in some other Arab countries the system of music production and distribution differ completely (Harabi, 2009).

In Morocco for example, the system in music activities is not well structured. Till recently T.V and Radio were account for the distribution of music. The value of the Moroccan music market is hence very low. In Tunis, T.V and Radio used to dominate production of the music. Ennaghem, a distribution firm was established to replace the Tunisian Radio and Television Board (RTT). It monopolize the reproduction, while RTT continued to controls the recording, these are the two companies who are responsible for the production of music is Tunisia. (Harabi, 2009). In general the economy of music recording industry varies in the Middle East, it considered “positive” in country like Lebanon and Egypt and negative in Marco and Tunisia. (Harabi, 2009).

The similarity between Western and Arabic music can be found in trends and themes dominating the music collection. Like Western music, Arabic music attends to reflect themes related to sex, beauty, and money. Beauty and sex are often presented in women provocative clothing, with the conception if you are pretty you are worth everything and hence very powerful. Haifa Wahbi, Nancy Ajram, and Ruby are examples of artists who constantly appear in provocative costumes (Usher, 2007). In one of Ajrams’ videos, Akasmak Ah, she portrays herself as a powerful figure commanding men who were surrounding her feet while she was dancing on a table. This display could be understood as empowerment of women, but also as objectifying females as sex toys. Habib Battah, editor of the Middle East Broadcasting Journal, explained that messages found it those videos are not means to generate money. He said “there’s a real frustration in the Middle East among young people, and this is a way for them to kind of escape their family structure – of dating, of arranged marriages etc – and actually meet people in different countries – young people –  connect with them”. “And there is a big desire, a big thirst for that forum. And so right now that’s what’s happening with music in the Middle East – it’s being used as a way to connect young people.” (Usher, 2007)

Not only that, but an inescapable changed took place changing the attitude of teenagers and young individuals, who see an artist as a role model. They start to imitate the behavior of their idol as it transmitted in these video. Teenagers will evenly start wearing provocative clothes, talk about sex, money, and girls. Young female will seek beauty in all ways to gain both attention and power. These values however, are not communicated only in Arabic music, but in Western music as well. The major labels companies are mainly to be blamed in my opinion. As mentioned earlier, the major labels are more concerned with rewarding the business team rather the artist of the art itself. They focus thus more on the marketing of both the music (and their video clip) and making them as appealing as possible. With given little attention to the words, the story and effect of music, creating a new genre of persuasive music.

The major record labels have shareholders and board of directors aiming at making more money is the quickest time. So musicians have to comprehend that these firm are not only about making music but money as well. These influential people within the major label can have an effect on genre and the style generated. Although major label contracts with great number of artists from different cultures and with diverse style in music, there is still a common theme in the music produced. From my personal collection, most of the themes have to do with love, alcohol and betrayal. Taking the statistic in account will find that around 75% of the music in both the market and my music collection are dominated by idea such as love, alcohol and betrayal, topics that are still controversial in my culture. I hereby conclude that these labels are introducing practices that are odd to my culture and barrier in a society.

However, independent labels are more likely to sign contracts with artists that share a common interest with the label such as style and genre. Since they are more focused then major label, one can hardly accuse them for having a hand in spreading unpleasant behavior among our youth. Nevertheless, one cannot totally exclude them since they still make a small percentage of the music industry. In general, music industry is changing, major label are losing popularity and social media and digital music are taking over. However, independent label are benefitting from online techniques and embracing different methods like selling, promoting, and marketing though the web where they decrease the cost and increase their profit.

Conclusion

The music industry has been changing significantly in the last years. The introduction of digital music has reshaped the music industry, and has mainly affected the major label records. Those major labels are becoming less popular and thus starting to go down the drain.  Yet, they are still dominating the international music production. They are still in control of a power that creates trends, genre and initiates new customs. However independent labels are making use of the web to market and promote as well as sell their product. This way they decrease the expenses and increase the profit. Furthermore, their relationship with the artists is friendlier where it certainly provides a win-win situation. However, it is up to the artist to decide on which path to follow. Yet the artist should be aware of the benefits each one provides and accordingly settle. As for the customer, people like us; we are more concerned with the quality and the price of the product.

 

Reference

Brown, D. (2010, March 19). Music industry drops CD prices – Too late. BNET. Retrieved from http://www.bnet.com/blog/media/music-industry-drops-cd-prices-too-late/7482

Cohen, W. (2004). Wal-Mart wants $10 CDs. Rolling Stones. Retrieved from http://bigpicture.typepad.com/comments/2004/10/walmart-wants-1.html

David, P. (2006). How are independent artists and new technologies dismantling the impact of major record labels? Retrieved from http://hs.riverdale.k12.or.us/~hfinnert/exhib_06/davidp/paper4.html

Frucci, A. (2010, March 12). Record Labels: Change or die. Gizmodo. Retrieved from http://www.gizmodo.com.au/2010/03/record-labels-change-or-die/

Hara,N. (2009, June 02). Knowledge Intensive Industries: Four Case Studies of Creative Industries in Arab Countries. World Bank. Retrieved from http://info.worldbank.org/etools/docs/library/251761/day3creative%20Industry%20WB_version%201.pdf

McDonald, H. (n.d.) Indie label record deals: Pros and cons. Retrieved from http://musicians.about.com/od/beingamusician/a/indielabelpandc.htm

McDonald, H. (n.d.) Indie labels. Retrieved from http://musicians.about.com/od/musicindustrybasics/g/IndieLabel.htm

McDonald, H. (n.d.). Big four record labels. Retrieved

fromhttp://musicians.about.com/od/musicindustrybasics/g/BigFour.htm

McDonald, H. (n.d.). Major record label deals: Pros and cons. Retrieved from http://musicians.about.com/od/beingamusician/a/majorlabelpandc.htm

Mcleod, K. (2005. Jan) MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly, 530. Retrieved from http://ir.uiowa.edu/cgi/viewcontent.cgi?article=1004&context=commstud_pubs&sei-redir=1&referer=http%3A%2F%2Fscholar.google.com%2Fscholar%3Fhl%3Den%26q%3Ddomination%2Bof%2Bmusic%2Bby%2Bbig%2Blabel%2Brecords%26gs_sm%3De%26gs_upl%3D9605l29717l0l32721l33l22l4l0l0l17l641l8196l2-6.7.4.4l24l0%26bav%3Don.2%2Cor.r_gc.r_pw.%2Ccf.osb%26biw%3D1280%26bih%3D677%26um%3D1%26ie%3DUTF-8%26sa%3DN%26tab%3Dws#search=%22domination%20music%20by%20big%20label%20records%22

Music Industry Work website. (n.d.).  Music Industry Work. Ukessays. Retrieved form http://www.ukessays.com/essays/media/music-industry-work.php

Music Think Tank website. (2010, May 16). Indie Vs. Major: Which Record Label Contract Is Right For You? Music think tank. Retrieved from http://www.musicthinktank.com/mtt-open/indie-vs-major-which-record-label-contract-is-right-for-you.html

Harabi, N. (2 June, 2009). Knowledge Intensive Industries: Four Case Studies of Creative Industries in Arab Countries. World Bank Project. Second Version. Retrieved from http://info.worldbank.org/etools/docs/library/251761/day3creative%20Industry%20WB_version%201.pdf

Spatz, S. (2003, May 28) Disc Makers Makes Major-Label-Quality Enhanced CDs Available for Independent Artists. Disc Makers. Retrieved from http://www.discmakers.com/community/about/press/052803.asp

Usher, S. (21 May, 2007). Arab youth revel in pop revolution. BBC News. Retrieved from http://news.bbc.co.uk/2/hi/europe/6666725.stm

Mafrood to us

The way we perceive things,

Is the way things want to be perceptible

The way we hear things,

Is the way voices penetrate our hear

The way we taste things,

Is the way we flavor the bland

The way we are,

Is the way we meant to be

This is the way Mafrood to be & not t he way we want to be!