(2014). iTunes: Breaking Barriers and Building Walls. Popular Music and Society: Vol. 37, No. 4, pp. 408-424. doi: 10.1080/03007766.2013.810849
In order to develop and sustain MusicDetour, we require donations from supporters. We have no advertising, and do not sell data from users. MusicDetour is 100% non-profit and housed at the University of Texas at Arlington. Please consider donating to the site to help grow local/independent music.
Directions to donate:
- Visit https://giving.uta.edu/give-now-sociology-and-anthropology
- Select “MusicDetour” from the drop down menu next to designation
- Follow the rest of the directions
As we add more music in the archive, we will be featuring the content in our Artists/Bands pages. Each band page will be listed on the main page and they will be accessible by scrolling your mouse over Artists/Bands on the menu bar. Please be patient with us as we develop the content on the website. If you would like to share content for these pages do not hesitate to contact us: firstname.lastname@example.org.
Read “The New Distribution Oligopoly: Beat, iTunes and Digital Music Distribution” in Media Fields Journal‘s special issue on Digital Distribution.
Digital music distribution changed everything, and yet it changed nothing. Stoking the techno-utopian vision of the Internet in the late 1990s, Napster signaled the promise of a decentralized music distribution system that eclipsed the authoritarian stronghold of the major record labels’ distributors. People thought that by exchanging music as bits and bytes, the recording industry oligopoly would be overthrown as musicians gained the capacity to distribute music to fans directly, part of what Tom McCourt and Patrick Burkart term the “internet nirvana theory.” The Internet brought the possibility of a robust music commons where everyone has access to all music; a commons which could be used to create new culture. But the Digital Millennium Copyright Act (DMCA) was signed into law in 1998 restricting the free flow of digital information using Digital Rights Management (DRM) before Napster was even developed. Where major record labels always controlled distribution under physical media regimes, the DMCA, along with repressive surveillance of peer-2-peer (P2P) file sharing networks, has allowed the major labels to reestablish their dominance in the digital era.