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This paper aims to examine Indonesian independent musicians' (indie) adaptation to the environmental business model. The research on institutional entrepreneurship (IE) has been used in organizational studies, including the music profession. However, the music industry's information and technology advancement has not been scrutinized in a less developed country (LDC) context.

A qualitative approach is used to conduct semi-structured interviews with 14 independent music professionals and enthusiasts. The interview result was three stages of coding, including open, axial and selective, as well as generating appropriate themes.

The results summarize entrepreneurial behavior, socio-economy and technology factors. The existing literature supports these results, though new perspectives are only identified in the LDC context. Internal factors drive IE, while socio-economy, including music literacy, education and legal issues, influence its sub-setting. On the other hand, technology positively or negatively impacts IE based on individual utilization.

Despite the massive piracy and copyright issues, independent musicians require creativity and innovation beyond product creation. Weak and unclear regulations in Indonesia prevent musicians from revealing their identity and publishing their artwork, preventing or obstructing them from their goals.

This paper illustrates the urgency to implement copyright regulations for musicians in Indonesia, which are insufficiently enforced by law enforcement. Such conditions prevents musicians from revealing their identity and publishing their artwork.

This paper addresses the extent to which a community such as independent musician, struggles to find its identity toward the changing of its business model. By mapping the factors associated with an independent musician, the paper suggests that this community has strategic economic potential as a creative entity.

This paper examines the music industry in less-developed nations by contextualizing their institutions using the IE framework. It contributes to identifying the environmental factors influencing independent institutional musicians. Internal and external factors significantly contribute to identifying Indonesia's independent musician setting through IE.

The key concepts to be explored in this article include the blurring boundary between “indie” and “pop”; the significance of digital media in contemporary music industry and the distinctive socio-political nature of indie music in Hong Kong. To a large extent, it discusses the social functions of music – a subject discussed by Simon Frith (2007), a leading scholar in popular music studies.

In order to expound on some observations of the connections between music cultures and socio-political development in Hong Kong, a selection of musical works by indie musicians will be looked into closely.

A focus of discussion will be given to the difference between mainstream Cantopop and indie music in a way that the latter mentions socio-political matters overtly while the former downplays sensitive political issues, particularly in the post-colonial era after the handover of Hong Kong to mainland China in 1997.

Originality of research can be evidenced by the author's textual analysis of the musical styles and lyrics produced by various local indie artists' musical works through primary sources.

This study aims to explore how membership (initially as a consumer) in a given field shapes individuals’ entrepreneurial journey.

The research context is cultural and creative industries and, in particular, the independent (indie) music field in which unstructured interviews were conducted with nascent and established cultural entrepreneurs.

The authors introduce and justify their theoretical framework of consumption field driven entrepreneurship (CFDE) that captures the tripartite process via which the informants make the transition from indie music consumers to entrepreneurs by developing field-specific illusio, enacting entrepreneurial habitus and acquiring legitimacy via symbolic capital accumulation within the indie music field. The authors further illustrate how these entrepreneurs adopt paradoxical logics, aesthetics and ethos of the indie music field by moving in-between its authentic and commercial discourses to orchestrate their entrepreneurial journey.

This study holds several theoretical implications for entrepreneurship-oriented research. First is highlighted the importance of non-financial resources (i.e. cultural and social capital) in individuals’ entrepreneurial journey. Second, this study illustrates the importance of consumption activities in the process of gaining entrepreneurial legitimation within a specific field. Finally, this study contributes to consumption-driven entrepreneurship research by offering a detailed description of individuals’ consumption-driven entrepreneurial journey.

This study provides some initial practical implications for entrepreneurs within the cultural and creative industries. The authors illustrate how membership in a field (initially as a consumer) might turn into a source of skills, competences and community for entrepreneurs by mobilising and converting different forms of non-material and material field-specific capital. To acquire entrepreneurial legitimation, nascent entrepreneurs should gain symbolic capital through approval, recognition and credit from members of the indie music field. Also, entrepreneurs can acquire symbolic capital and gain entrepreneurial legitimation by either “fitting in” or “standing out” from the existing logics of the field.

This study contributes to the growing body of literature that examines entrepreneurship fuelled by consumption practices and passions with our theoretical framework of CFDE which outlines the transition from indie music consumers to indie music entrepreneurs.

Reports on the use of subjective personal introspection. Offers a brief overview of subjective personal introspection and then describes the technique used to inform an ongoing piece of research that is being conducted into popular music consumption. Concludes by assessing the usefulness of the technique and highlights how it may be of use to practitioners.

Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space.

Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied.

Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes.

While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.

Although social media proficiency and use are key business and marketing practices in today’s digital environment, research has failed to offer sufficient insights into what drives small firms to use social media and how they vitalise co-creative social media environments with consumers. In response, the purpose of this paper is to examine how small firms utilise social media to interact and build bonds with consumers. These bonds become an important tool in the development of successful, profitable businesses and marketing practices in the digital age.

To examine how small firms use social media to engage with consumers and vice versa, the authors utilised a case-study approach and collected qualitative data by conducting semi-structured interviews.

The results showed that the small firms in this research seek to establish relationships and facilitate interactions with their core consumers in order to co-create value. In particular, the data demonstrate that producers engage in two distinctive practices: bonding (i.e. cultivating emotional ties with music fans) and spreading (i.e. encouraging expressive circulation by fans). Altogether, the findings indicate that the representative firms in this research use social media to develop synergistic relationships with consumers and to tap into the collective energy of consumers in their business environments.

The authors show that small companies use social media to establish relationships and interact with fans in order to co-create value and vitalise collective consumption, engagement, and participation. The case blurs the traditional distinction between production and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.

This personal, non-fiction essay explores the punk subculture and themes of death as a teenager growing up in the post-industrial city of Buffalo, New York, in the 1990s. Within this text, punk and indie music releases, exposure to live performances in unconventional spaces, independent record stores as an alternative education, and participatory fanzine culture, serve as a pivotal catalyst for rejuvenation and release – for creativity and self-expression while grieving the loss of one’s mother from cancer. The punk subculture and its related ‘do-it-yourself’ (DIY) media communities which eventually led to a professorship prove to be both inspirational and a transformative method of healing and being.

The aim of this paper is to explore how spatial taste formation and the interrelationships between place and taste can inform the development of contemporary place marketing and/or place management strategies.

The paper draws on previous research conducted within the context of live music consumption and, in particular, within live musical spaces such as festivals and concert halls.

This paper illustrates how spatial taste formation can inform the development of topographies of taste which focus on the creation of field-specific experiences. It also offers insights for understanding the phenomenological uniqueness of various places and the role of place users and other stakeholders in the creation of place marketing and branding value.

The paper elaborates upon the potential usefulness of spatial taste formation for place management and marketing research practice and draws out implications for future research. It advances a holistic and phenomenological understanding of place which illustrates how users’ perceptions of place are shaped by their experiences in various places and by the interplay of these experiences with their individual tastes and vice versa.