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This chapter investigates the dynamics of teenage girls' musical.ly productions in relation to microcelebrity inspirations and (non)aspirations, and centrally details the mixed methodologies involved in the research process. The analysis focuses on the flow of the musical.ly app as evidenced through the walk-through method and young girls' engagements with the platform as solicited through personal observations and two small focus group discussions.

The New Grove Dictionary of Music and Musicians has been on the shelf for two years now, and the pride and excitement I felt when it first appeared, due to my small contributions to its content and completion, have not diminished. As a reference librarian, I use it constantly myself and with patrons to answer a wide spectrum of questions. As a cataloger, I turn to it for birth and death dates, help in establishing names and uniform titles, and for the date of composition for music (to be stored in field 045 of the MARC format). As a researcher, I delve into it time and time again for the opinions of respected scholars and for data in worklists and bibliographies.

Although the early conversations of microcelebrity centered on Anglo-centric theories and context despite the varied backgrounds and cultural context of microcelebrity, this compilation of chapters seeks to assess and reframe the applications and uptake of microcelebrity around the world. Each of the chapters in this anthology contribute to expand the theoretical concept and contextualize the history and cultural affairs of those who are famous online. The case studies provide examples of how a microcelebrity emerges to fame because of their exposure and interaction within a group of niche users, a specific online community, or a specific cultural and geographical context through the social networks that emerge online. Academic scholarship on microcelebrity has crossed methodologies, disciplines and platforms demonstrating the wide appeal as the influence of these figures are on the rise. As preparation for the reader, this chapter offers a brief history of current scholarship, with an emphasis on shifting knowledge production away from an Anglo and Global North perspective. The introduction chapter serves as a road map for the reader breaking down each of the three sections of the book – norms, labors, and activism. Lastly, the co-editors have outlined different ways to read the text group chapters according to reader interest.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.

The recent emergence of Chinese digital platform firms, whose size rivals that of the US platform giants, has attracted much popular interest. Given the size and increasing technical sophistication of these firms, there has been increasing interest in whether they have developed sufficient capacities and resources to become global-class competitors for the reigning US platform giants. The authors assembled a database of all overseas operations of the Chinese platform firms. Nine of them have foreign operations, with Tencent and Alibaba being the most important offshore investors. The authors describe the globalization patterns of these firms and analyze the strengths and obstacles to their globalization. Their globalization has proceeded on a number of vectors: first, these firms, with a few exceptions, when they have global strategies, have largely invested in firms with useful technology or content. One common strategy has been to follow Chinese customers abroad. Second, Chinese firms have made equity investments in a number of foreign Internet firms. And yet, in nearly all foreign markets, Chinese websites and apps still trail the US firms in market share and salience. Finally, Chinese investments are concentrated in proximate countries. Chinese platform firms, while having some state-of-the-art technologies, have a far smaller foreign presence than their US competitors do. Finally, the authors consider the implications of their research for discussions of whether emerging nation multinational firms require new theories for explaining their globalization.