Mapping cultural creativity v2
April 13, 2009 by CMC · Leave a Comment
Some comments have pointed out that CMC’s Chicago: Music City report (drafted by the University of Chicago’s Cultural Policy Center) uses variations on the mapping methodology discussed in our post here (and in the NYTimes piece) it references). That is correct. If you’ve had a chance to read that document, you see that identifying and quantifying “scenes” is fundamental to the study and its underlying findings. We certainly have seen the value in this kind of analysis as we’ve used the economic impact study to effectively make the case to officials here in Chicago that Chicago music is a significant economic force. We don’t mean to suggest that these techniques are anything but innovative, important and helpful to music advocates.
Our point was that as music community advocates, it’s our job to give voice to those of identified scenes, but also those who are not always part of these scenes–and, ideally, to help generate community-driven development on the ground that helps create new scenes. These research tools are but a (significant) part of that effort, of course.
CMC encourages more research like Professor Currid and others are now undertaking. In Chicago we’ve got one of the nation’s leading cultural research institutions at the U of C’s Cultural Policy Center leading in just this kind of work. We look forward to seeing what they produce.
Keep the comments coming.
“How utterly we fail at discussing culture in America”
April 13, 2009 by CMC · 2 Comments
Newsweek recently reported on Wynton Marsalis’ speech to the arts advocate organization Americans for the Arts. In it, he made his case for the importance of the arts to Americans. He eloquently spoke of how throughout our history Americans have used “homegrown arts to make us into one people, to teach us who we are.” He ended his speech by playing his horn to a standing and clapping crowd.
Noting how art is not given its proper due in policy and political circles, the author of the piece faults what he considers arts advocates’ failed strategies: talking about the economic and job-generating value of arts, or of art’s power in cultural diplomacy, or of art as powerful entertainment. He then argues that “…amid all the demands for better funding for the arts, hardly anybody addresses the graver shortfall, which is for better thinking about the arts.”
Arts communities have clearly failed to develop a broad consensus about their importance and value. And new and persuasive thinking is surely in order to make the case that art matters. Just as we cannot reduce music to just an economic force, we also cannot rely on the emotional power and historical resonance of music in making our case that music matters. We must come up with better “frames” with which to make our case, now more than ever.
But we should also not rely on just making the abstract case for art through framing. Art is generated from communities, whether hyper-local ones or national ones. We must work to support these communities. We must make it easier and more rewarding to participate in these communities. And we must articulate why these communities are fundamental to our national success.
To do this, we can use community organizing tools to give artists a place at the policy making table. We can develop music-friendly policies and laws and hold lawmakers accountable for their support–or lack thereof–of them. This is the kind of hard work that CMC is doing now, and we think it’s the most effective way to give support to the wonderful advocates like Wynton Marsalis, who put into sound the value and power of art of everyday.
Mapping cultural creativity
April 13, 2009 by CMC · 1 Comment
So just where are “cultural hot spots” these days? The New York Times recently wrote about some researchers who have proposed a “geography of buzz” that identifies and catalogs hot spots according to how often certain cultural events happen in or around them: film and television screenings, music shows, gallery and theater openings, etc. While you may think hipster hot spots would match “cultural” hot spots, this kind of data suggests otherwise. The researchers make the case that in New York, Lincoln Center, the Broadway theater district, and other areas are cultural hot spots. In Chicago, we suppose the Loop central theater district, the Lake Street club scene, and the Rush/Division area would qualify as cultural hot spots (one of the data points in the research is photos taken at events—the more photos the more likely a spot is to be deemed a hot spot).
At CMC, we’re not quite sure what to make of this kind of research. On the one hand, we in the music community need to develop “facts on the ground” that support our now well documented assertion that music is a serious economic player in Chicago. Identifying and mapping where that music is happening is a large part of that effort. The sophisticated mapping techniques supporting this research are very important and can be a very effective tool as the music community makes its case to policy makers. On the other hand, this kind of research seems to stumble into the same problems as other attempts to quantify cultural output have–it fosters “district”-like thinking about music and the arts, thereby encouraging planning techniques that don’t encourage city-wide, inclusive music friendly policies and practices that break down barriers to participation in the music community.
How can researchers best measure a broad, diverse community’s cultural ‘production’? And can you measure what areas in a metropolitan fabric contribute to developing creativity and building a “creative class”? This research starts to answer these questions. CMC hopes more research continues, and shines a brighter light on the “value” of Chicago music to the city at large.
A Discussion on Podcasting and Blogging
April 11, 2009 by Paul · Leave a Comment
Recorded Monday, March 9, 2009
Music blogs have become influential in terms of breaking new music to casual listeners, other musicians and tastemakers alike. People tune in to these blogs and podcasts largely to be exposed to new bands. Are these blogs and podcasts helpful to musicians in a real, tangible way? Our panel of experts explore the issue and advise musicians on simple ways to set up and operate their own blogs and podcasts.
Moderator:
Jocelyn Michelle Brown
Panelists:
Fred Wells Market Frenzy
Jim Goodrich With a Voice Like This
Graham Sanford Gapers’ Block / Hai Karate! / Panzer Bebop
Jason Heath Doublebassblog.org
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A Discussion on Licensing Music
April 10, 2009 by Paul · Leave a Comment
Recorded Monday February 9, 2009
The essentials you need to know if you want to license your music for commercial use. Learn form the experts how music is licensed for movies, television, video games and more.
Moderator:
Paul Natkin- Chicago Music Commission
Panelists:
Sean Murphy- Music Publishing101
Tom Leavens – Attorney at law
Rich Carle, Head of audio group Midway Gaming
Kate McComb – Creative director – Commercial music licensing Warner Music Group
Shelby Hoffman- Victory Records
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