Artists in the Rock band in Geneva involves many good forms of cultural work than bad cultural work.
Overview
This study addresses how Rock band artists in Geneva involve both good and bad forms of artistic work. It analyzes how those under the band in the music industry working in extremely diversified work environment faces various work issues within this sector. It also expounds on how these workers’ rights are undermined regardless of their contractual relationship. The employment regimes and culture are also discussed in the study, the taxation imposed on these workers, competition, social security, and many other forms. Therefore, the analysis is a significant milestone in inspiring a more elaborate debate on the good and bad conditions of artistic works in the music industry.
Introduction
Culture works, and the music industry consists of various subsectors that include a very diverse job description. This part of the economy consists of cultural workers in a vast dimension, consisting of musicians, journalists, producers, actors, technicians, content creators, visual artists, live performances, and audiovisuals. Therefore, these various parts of the economy are diversified in their way. For instance, the music industry includes the internet, newspapers, televisions, radio, films, and books, among other things accompanying it. It is also aligned by producing the musical elements, editing, and distributing them (Taylor, 2013). The live performance concept consists of the performing arts, ballet, comic music, theatre, dance, etc. The music industry does not only base on the performance itself but is aligned by both compositions of music and recording. Therefore, culture and the music industry are also concerned with video, print, electronic, and video games from a vast perspective.
Overlaying on the various activities is a broadened occupational status that works with the contractual relationship. Getting the concept to the globe’s perspective, some countries have made the music industry have the equivalence of the public servant. In contrast, most musicians and the people in the music industry tend to be self-employed workers and unstable. Another significant characteristic that the music industry is concerned with is instability like artistic work, partially in every country except the industry and the institutions responsible for the culture that has the highest account in the worker’s percentage. This scenario is evident in the world regions such as Africa and the Asian countries where there is a disjunction between the state employees and private workers or voluntary workers.
Additionally, other countries across the world, such as Indonesia, have their Labor Code that points that the contracts of employment can exist in written or verbal forms (Giusto, 2019). The dominance of such cultures termed as informal, and the music industry may result in the prejudice of the regular employment and the other different conditions of employment, thereby contributing to the ineffective labor laws. Qualitative data is, therefore, less reliable over an estimated long period that can provide a very accurate measurement of employment in the music industry over the past years. Similarly, artistic works and the music industry operate under the regulatory authorities, both legal, institutional, or administrative, different within different countries worldwide.
Main body: Rock band getting involved in suitable forms of cultural works
The best thing about working in the music industry on artistic work is that there is digitalization in the industry caused by the changes that are affected in the sector and comprise other subsectors, including; the audiovisual industry and the media. According to the case study I am examining in Geneva, digitalization positively influences regulation, payment of those involved in the music industry, business models, and work practices (Gruber, 2019). For example, in the 20th century, the profession of a music artist had a huge team comprising of a drum operator, guitarists, pianists, and the artist themselves. Today, the work may only require a single producer, or the artist can double up as the producer. The artist has an easy task in promoting their work because social media provides them with a platform to reach their fans and supporters and push their content quickly.
The digital revolution in the world has made the music industry in Geneva create much fiction in production and music. The production and distribution methods and the listening of the musical and their videos are digitalized. Digitalization also has a cultural effect on the whole cultural ecosystem, like online intellectual property. Compensation of the performers of the musical contents online often receives poor payments, which again makes it unfair to them at some point and may make them unable to cater for their expenses towards the performance. Regulation bodies like The International Federation of Musicians (FIM) and the International Federation Actors (FIA) are amending the legislation to see a fair remuneration towards those working in the music industry and more so towards the online performances of the audiovisual contents. The campaign for the amendment is already on and was initiated in Asia and the European Union.
Digitalization has positively influenced music’s working methods in traditional workplaces in Geneva and directly affects the places where the music stakeholders work or operate. Working in the music industry has made people in Geneva be aware that people can always work from home. For instance, when there is a collaboration between artists from different tenants and cannot meet in the studio simultaneously, they already share their content through an online platform, and the producer does the final content (Warwick, 2013). Telework makes employees of a given organization or station work without necessarily meeting and is applied more so in information, recreation, and culture can work away from their work stations. The music industry has also made it possible for other professionals to agree and accept that telework provides independence and flexibility. It also has the importance of helping individuals avoid stress, overworking risks, and removing working and social boundaries amongst society.
Another good thing in working in the music industry in Geneva has promoted surety of work and its security, unlike in the past when those working in the music industries were frustrated because of a lack of insecurity. The security measures in the professions have been perpetuated and put into reality by the digitalization of doing things related to music. In social work, the music industry has also made it possible for people to explore other business practices making them self-employed or even work for a single employer with little supervision. Freelancing is an example of a job that has been copied from how music is done and is always referred to as nonstandard employment based on its economic dependence nature disguised for tax issues so that they fail to social protection costs and find a way out from the labor laws. Working in the music industry, more so as an artist, is a form of self-employment and still operates under rules and conditions that are the same as those employed.
It is perfect to work in the music industry of Geneva because of its nonstandard nature and its relationship in the culture and the music industry, contributing to the rise of individuals from amateurs to be engaged and employed as artistic creators. The nonstandard nature of the music professionals has contributed to the formation of various expressions in the industry, like the songwriters who are very significant in providing content to the artists and those involved directly. The term also has developed professionalism in the music industry and quality, making the industry expand even to the D.J.s. They also have employment through the industry, increasing the music industry’s economy (Negus, 2011). Working in the music industry in Geneva has made it possible to use those individuals who are not professionals to globalize the sources they are using, develop varying contents, and save money on paying those individuals they employ. The consumption of non-journalistic content in old music has been viewed as very usual in contemporary society. Using the armature in the music industry has continually increased so that the employment relationships are flexible rather than being done because of technological advancements.
Working in this music sector also has the advantage of very few restrictions on the content displayed either through the video or the audio content. The few existing regulations have made those making, developing, and delivering the contents to the audience have a wide variety of displays, consisting of blended contents from collaboration among artists. I believe that associations in the music industry make individuals embrace and understand various cultures worldwide (Negus, 2013). The cooperation and the understanding of the cultures make it possible to develop unique content in the music industry, which is exciting and acceptable worldwide. The diversity in nature of music when an individual is working in the music makes people develop understanding and also accept the religious decisions of various people who have different religious backgrounds.
Main body: Rock band getting involved in destructive forms of cultural works
The bad thing about working in the music industry in Geneva based on a Rockbands is that there are many cases of biases. Here, there exist stereotypes as well as the pay gap and harassment. According to the regulatory act guiding the music industry in the country, women play a very significant role in the music industry. Given the role they play, they still face many challenges working in the field in that there is a very diverse form of discrimination and meager pay. Talking of some of the audiovisual occupations, the positions in the industry seems to have gained men’s preservation since society believes that men are the ones that can work best in this area.
On the other hand, women have their positions in the music industry in Geneva preserved in other places, such as the positions that relate to costumes, hair, make-up, and the rest. Their form of employment in this sector is viewed as a substandard relationship, men on the other side representing the standard form of the employment relationship. Thereby, the industry is generally is aligned by the distribution of responsibilities and roles based on the stereotype. In this case, women hold the positions as either their part-time job or a job considered to be nonstandard. Women participants in this industry, including the audiovisual sector, have their roles in the job position offered very few, considering their age (Rogers, 2013). Therefore, the cultural work puts the women’s jobs at risk, making their positions very insecure.
Another bad form of artistic work that workers experience in Geneva when working in the music industry is that young people tend to be on the verge of getting indispensable and vulnerable. Recent graduates in the sector mostly face this challenge. Since the youths seem to have a lot of passion for the industry and majorly occupy their account on the portion of the workforce in the sector, they experience the challenges such as lacking pay during their internship programs and their training process. However, the internship positions tend to be of greater importance to young people in the name of getting the skills and experience they need to have before facing the labor market; the increase in internship opportunities could give rise to hazardous forms of work that is accompanied by very unhealthy and unfair competition. There is also the challenge of the downward pressure on the wages of these employees, resulting in the demotivation of these individuals in this sector. Similarly, there is always the complaint of the structural imbalances in the graduates that are about to enter the labor market annually and the available employment positions in the labor market. The number of graduates entering the music industry in Geneva from almost ten universities is thousands.
As far as we are concerned with the technological aspect and its benefits to the music industry so much in the country, it is still considered a bad artistic work. The so-called digital world in different cultures in Geneva is still considered an environmental problem. The argument is that the technological and digital transition might damage the earth and the industry more than the physical part (Perullo, 2011). In this aspect, most societies reason out that working in this industry is accompanied by cloud hosting requirements that call for massive server facilities, thereby responding to the need to consume very high amounts of energy. In this scenario, a lot of waste is pumped out from this server, making the industry unsustainable for the environment and ignoring the cooperate social responsibility.
Similarly, another bad thing that individuals face in the music industry is the lack of appropriate social security systems, which is considered the right of every actor in the field. Nonstandard workers in the industry do not enjoy part or full rights for various reasons. These are inclusive regulations through which those people working in the industry that are employed do not qualify for some of the advantages (Stige, 2016). The working hours and incomes also look to be below the necessary threshold. The efforts for innovation to fill the social protection gap for self-employed people in the industry, for instance, the portage of wages, are tackled. However, these policies in this industry have a limited scope and are not inclusive of live performances and audiovisual performance.
Additionally, the first language is another bad thing that affects the music industry. The most common language used in Geneva is English, with non-English speakers suffering the most in this context. Therefore, expression or even the figures of speech become a challenge to them, thereby making it a challenge for most individuals to pick up from such environments. Similarly, the possession of accents and connotations adds to communications challenges. For instance, phrases adopted and commonly used in different English language forms in Australia, Jamaica, and America might be difficult to interchange. Therefore, an employee in the music industry might experience a challenge in understanding the variety in colloquialism of English. Additionally, in the case of an environment where some other languages seem to dominate the environment, those individuals who do not speak this language feel left out of context in this scenario.
Conclusion
Discussing the music industry and music as a phenomenon would not be authentic by not acknowledging the musical practices’ societal impact and cultural context in Geneva. The traditions associated with music are known to be changing, not static, and it is possible that it can always change with time. These shifts are noted, and it has consistently increased because of the universal movements of individuals. It is also caused by the excellent access to music cultures from other people because of the online environment (McRobbie and Mcrobbie, 2013). I, therefore, have to admit that working in the music industry around the whole world has both good and bad things to the artistic works but based on the discussion that has been done above, it is apparent that the good has outweighed the bad. These influences have been observed based on the wide ranges of music and the practices across the globe, which help increase our understanding so that individuals in the music industry can constantly improve on how to learn music and, by extension, have a positive influence on artistic works.
Much attention should also be paid to equality in gender and much work to promote those groups that are not sufficiently presented. Some countries have already begun encouraging this vulnerable group in various cultural and music sectors. The most basic and essential issues addressed are remuneration equality, access to managerial roles, and sexual harassment, which need to be discussed because they are poorly routed in the music industry. The gender issue in the music industry should be addressed centrally in the future, which will make the stakeholders in the field able to generate basic instruments like policies and codes of operations.
I would say that working in the music industry is interesting because it does not need any formal requirement to get engaged. It only requires a bit of structuring so that their remuneration considers gender equality so that the female gender is not exploited much.
List of References
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Gruber, M., 2019. Challenges and opportunities for decent work in the culture and music sectors. Geneva: Internation Labour Office.
McRobbie, A. and McRobbie, A., 2013. In the culture society: Art, fashion and popular music. Routledge.
McClary, S., 2014. Same as it ever was: Youth culture and music. In Microphone Fiends (pp. 17-28). Routledge.
Negus, K., 2011. Producing pop: Culture and conflict in the popular music industry. Edward Arnold.
Negus, K., 2013. Music genres and corporate cultures. Routledge.
Perullo, A., 2011. Live from Dar es Salaam: popular music and Tanzania’s music economy. Indiana University Press.
Rogers, J., 2013. The death and life of the music industry in the digital age. A&C Black. Taylor, Stage, B., 2016. Culture-centered music therapy. Oxford University Press.
T.D., 2013. Bad world music (pp. 93-113). Routledge.
Warwick, J., 2013. Girl groups, girl culture: Popular music and identity in the 1960s. Routledge.
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