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The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy

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  • A J Scott

    (Department of Policy Studies and Department of Geography, Uuniversity of California at Los Angeles, Los Angeles, CA 90095, USA)

Abstract

A description of the US recorded music industry is offered stressing (a) the two-tier structure of the industry divided as it is into majors and independents, and (b) the complex social division of labor that characterizes the overall production system. The locational characteristics of the recorded music industry are discussed, and it is shown that, although there is a wide scattering of companies across the entire United States, the main centers of production are in Los Angeles, New York, and Nashville. It is then demonstrated that Los Angeles and New York have a capacity to produce hit records that far exceeds their relative significance in terms of number of recording companies, even after abstracting away the effects of the majors. This capacity is conceptualized in terms of the creative field that is brought into existence by the dense agglomeration of many different specialized firms and workers interacting together in one place in the tasks of economic and cultural production.

Suggested Citation

  • A J Scott, 1999. "The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy," Environment and Planning A, , vol. 31(11), pages 1965-1984, November.
    • Handle: RePEc:sae:envira:v:31:y:1999:i:11:p:1965-1984
    DOI: 10.1068/a311965
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    Cited by:

    1. Roy Suddaby & Ryan Young, 2015. "The Art of the Form: A Configurational Perspective," Entrepreneurship Theory and Practice, , vol. 39(6), pages 1371-1377, November.
    2. Xu Chen & Chunhong Liu & Yao Jiang & Changchun Gao, 2021. "What Causes the Virtual Agglomeration of Creative Industries?," Sustainability, MDPI, vol. 13(16), pages 1-18, August.
    3. Peter Maskell & Mark Lorenzen, 2004. "The Cluster as Market Organisation," Urban Studies, Urban Studies Journal Limited, vol. 41(5-6), pages 991-1009, May.
    4. Jonathan Denis-Jacob, 2012. "Cultural Industries in Small-sized Canadian Cities," Urban Studies, Urban Studies Journal Limited, vol. 49(1), pages 97-114, January.
    5. Eric Klinenberg & Claudio Benzecry, 2005. "Cultural Production in a Digital Age," The ANNALS of the American Academy of Political and Social Science, , vol. 597(1), pages 6-18, January.
    6. Brass, Jennifer N., 2012. "Why Do NGOs Go Where They Go? Evidence from Kenya," World Development, Elsevier, vol. 40(2), pages 387-401.
    7. Juan D. Montoro-Pons & Manuel Cuadrado-García, 2018. "“Let’s make lots of money”: the determinants of performance in the recorded music sector," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 42(2), pages 287-307, May.
    8. Teemu Makkonen, 2014. "Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland," Environment and Planning A, , vol. 46(7), pages 1586-1600, July.
    9. Cheng-Yi Lin, 2014. "The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry," Urban Studies, Urban Studies Journal Limited, vol. 51(2), pages 335-354, February.
    10. Joel West, 2014. "Too little, too early: California’s transient advantage in the photovoltaic solar industry," The Journal of Technology Transfer, Springer, vol. 39(3), pages 487-501, June.
    11. Robert C. Kloosterman & Bart Lambregts, 2001. "Clustering of Economic Activities in Polycentric Urban Regions: The Case of the Randstad," Urban Studies, Urban Studies Journal Limited, vol. 38(4), pages 717-732, April.
    12. Hojman, David E. & Hiscock, Julia, 2010. "Interpreting suboptimal business outcomes in light of the Coase Theorem: Lessons from Sidmouth International Festival," Tourism Management, Elsevier, vol. 31(2), pages 240-249.

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