Video killed the radio star: A review of social commerce music platforms in facilitating production dissemination

The role of music in society should be in no way underplayed (pardon the pun). Indeed a society without Beethoven, The Beatles or Bauhaus, is a society bereted of feeling. This dystopian image of a future without music, an Orwellian big brother collective where individuality is frowned upon and where the musical rhythms of life are suppressed, is surely one that cannot be contemplated. Contemporary history has shown us that music and society are interlinked and often reflect the political and cultural reference points in society (1950s Beetnik generation, 1960s peace & war, 1970s punk movement, 1980s political changes/Thatcherism and social unrest, 1990s alternative media and girl power). Whilst society and its relationship with music have not always made great bedfellows, its legacy and cultural dynamics associated with place, fashion and performance should not be underestimated. The notion of music, its creation, delivery and consumption whilst ever changing in sound and style, has traditionally followed a tried and tested format that has been dictated by the producers (a term used by the authors, to describe those who involved in the management and distribution of the corporate musical product). This format and production style has historically seen the corporate giants controlling the creative flow and distributing it through the traditional distribution outlets of printed media, vinyl, fanzines, merchandising and the concert. Whilst it was argued that the ultimate consumer (i.e. the fan) had little involvement in the creative process (Gilbert 2012), history is itself punctuated with examples when consumers (the fans) have taken some control and ownership of the product (homemade fashion apparel, bootleg recordings and the creation of independent record labels, such as Creation and Sarah records to name but a few). At this point it is wise to note that as with all things that move in a cyclical nature, technology of recent years has greatly empowered the musical devotee and has put them squarely back in control.