Erik Hitters | Erasmus University Rotterdam (original) (raw)

Papers by Erik Hitters

Research paper thumbnail of The Business of DIY. Characteristics, motives and ideologies of micro-independent record labels

This paper examines micro-independent record companies, mostly set up by musicians according to t... more This paper examines micro-independent record companies, mostly set up by musicians according to the Do It Yourself (DIY) principle. They serve as distribution channels for counter-mainstream, often local, music. This paper discusses the characteristics of micro-(DIY) independents in the Netherlands and their rationale and motives in the context of persisting uncertainties in the music market. Earlier research (Hesmondhalgh 1998b, 1999, Strachan 2003, 2007) on micro-independents in the UK demonstrates their typical moral or political motivations, aiming to counter the hegemony of the capitalist mainstream music industry. The analysis is based on business information and open (qualitative) interviews with 14 companies in Netherlands. The paper shows that DIY-independents want to contribute to broadening the supply of contemporary music. By releasing indie genres and engaging in the associated social discourse, they differentiate themselves from the commercial majors. Commercial or financial success is not considered important and they adhere to collectivist ideologies. However, they do not aim to resist the dominance of the major music industry.

Research paper thumbnail of Back to Hilversum: Consolidation of the Dutch Broadcast Cluster

Research paper thumbnail of Porto and Rotterdam as European capitals of culture: toward the festivalization of urban cultural policy

Cultural Tourism Global and Local Perspectives 2007 Isbn 978 0 7890 3116 7 Pags 281 301, 2007

Research paper thumbnail of Koning van de regio. Populariteit en legitimiteit van regionale televisie

Research paper thumbnail of CICI: Cultures of Innovation in small scale creative clusters

Research paper thumbnail of The distinctiveness of Electronic Dance Music. Challenging mainstream routines and structures in the music industries

To what extent is the Dance (or EDM) genre distinctive, when compared to the structures currently... more To what extent is the Dance (or EDM) genre distinctive, when compared to the structures currently present in the dynamic music industries? We have combined a literature review with a qualitative analysis through interviews with prominent Dutch Dance label owners, in order to answer this question. The analysis shows that the Dance genre is not compatible with the existing models developed by Negus and Hesmondhalgh, used to explain the structures and the (power-) division within the music industry. The article looks at the unique characteristics (e.g. the 'digitally born' nature, the absence of majors and the live revenue focus) of this genre and what this has meant, and means, amidst all digital advances, for its development.

Research paper thumbnail of The social and political construction of a European cultural capital: Rotterdam 2001

International Journal of Cultural Policy, 2000

Research paper thumbnail of Conference review

International Journal of Cultural Policy, 1999

Research paper thumbnail of The Creation and Management of Cultural Clusters

Creativity and Innovation Management, 2002

This paper analyses two cultural clusters, the Westergasfabriek (WGF) in Amsterdam and the Witte ... more This paper analyses two cultural clusters, the Westergasfabriek (WGF) in Amsterdam and the Witte de Withstraat (WdW) in Rotterdam, and evaluates their contrasting creative management strategies. The WGF has to date been fairly successful in creating an attractive mix of different cultural activities, based on the creative potential of the buildings on the site, its image as a cultural centre and the general atmosphere of creativity. The more 'top-down' approach of the Local Authority owned but commercially managed WFG has injected new commercial skills and investment into the cluster, and creates the conditions for innovation through managing the mix of creative functions. The WdW, on the other hand, takes a more 'bottom-up' approach to the problems of cultural management, and so far the participants have resisted the imposition of formal management. This may allow cultural and commercial functions to co-exist more easily, but, thus far, there seems to be less evidence of innovation.

Research paper thumbnail of Tune in, fade out: Music companies and the classification of domestic music products in the Netherlands

Poetics, 2010

This article contributes to existing research on the use of genre classifications in the music in... more This article contributes to existing research on the use of genre classifications in the music industry by shedding light on it from the perspective of a relatively small European country. It investigates how recording companies, in the Netherlands, classify domestic music products. It examines differences and similarities in the genre-specification of ‘local’ products compared to the practices in the international music industry, and it analyses hierarchies both within local genre classifications and between domestic and foreign music over time. Besides relying on interviews with key individuals in the Dutch music industry, we draw on Dutch chart data, music databases and trade information that address developments in the Dutch music market between 1990 and 2005. During that period, local Dutch music has not only become increasingly popular but has, to some extent, replaced Anglo-American music. Successful Dutch acts – such as those operating in the genres ‘volks’ and dance – are primarily promoted by independent firms, while majors and independents primarily approach the ‘local’ in terms of market factors (e.g., demand), thereby foregoing the usual classifications of international genres.

Research paper thumbnail of The Business of DIY. Characteristics, motives and ideologies of micro-independent record labels

This paper examines micro-independent record companies, mostly set up by musicians according to t... more This paper examines micro-independent record companies, mostly set up by musicians according to the Do It Yourself (DIY) principle. They serve as distribution channels for counter-mainstream, often local, music. This paper discusses the characteristics of micro-(DIY) independents in the Netherlands and their rationale and motives in the context of persisting uncertainties in the music market. Earlier research (Hesmondhalgh 1998b, 1999, Strachan 2003, 2007) on micro-independents in the UK demonstrates their typical moral or political motivations, aiming to counter the hegemony of the capitalist mainstream music industry. The analysis is based on business information and open (qualitative) interviews with 14 companies in Netherlands. The paper shows that DIY-independents want to contribute to broadening the supply of contemporary music. By releasing indie genres and engaging in the associated social discourse, they differentiate themselves from the commercial majors. Commercial or financial success is not considered important and they adhere to collectivist ideologies. However, they do not aim to resist the dominance of the major music industry.

Research paper thumbnail of Back to Hilversum: Consolidation of the Dutch Broadcast Cluster

Research paper thumbnail of Porto and Rotterdam as European capitals of culture: toward the festivalization of urban cultural policy

Cultural Tourism Global and Local Perspectives 2007 Isbn 978 0 7890 3116 7 Pags 281 301, 2007

Research paper thumbnail of Koning van de regio. Populariteit en legitimiteit van regionale televisie

Research paper thumbnail of CICI: Cultures of Innovation in small scale creative clusters

Research paper thumbnail of The distinctiveness of Electronic Dance Music. Challenging mainstream routines and structures in the music industries

To what extent is the Dance (or EDM) genre distinctive, when compared to the structures currently... more To what extent is the Dance (or EDM) genre distinctive, when compared to the structures currently present in the dynamic music industries? We have combined a literature review with a qualitative analysis through interviews with prominent Dutch Dance label owners, in order to answer this question. The analysis shows that the Dance genre is not compatible with the existing models developed by Negus and Hesmondhalgh, used to explain the structures and the (power-) division within the music industry. The article looks at the unique characteristics (e.g. the 'digitally born' nature, the absence of majors and the live revenue focus) of this genre and what this has meant, and means, amidst all digital advances, for its development.

Research paper thumbnail of The social and political construction of a European cultural capital: Rotterdam 2001

International Journal of Cultural Policy, 2000

Research paper thumbnail of Conference review

International Journal of Cultural Policy, 1999

Research paper thumbnail of The Creation and Management of Cultural Clusters

Creativity and Innovation Management, 2002

This paper analyses two cultural clusters, the Westergasfabriek (WGF) in Amsterdam and the Witte ... more This paper analyses two cultural clusters, the Westergasfabriek (WGF) in Amsterdam and the Witte de Withstraat (WdW) in Rotterdam, and evaluates their contrasting creative management strategies. The WGF has to date been fairly successful in creating an attractive mix of different cultural activities, based on the creative potential of the buildings on the site, its image as a cultural centre and the general atmosphere of creativity. The more 'top-down' approach of the Local Authority owned but commercially managed WFG has injected new commercial skills and investment into the cluster, and creates the conditions for innovation through managing the mix of creative functions. The WdW, on the other hand, takes a more 'bottom-up' approach to the problems of cultural management, and so far the participants have resisted the imposition of formal management. This may allow cultural and commercial functions to co-exist more easily, but, thus far, there seems to be less evidence of innovation.

Research paper thumbnail of Tune in, fade out: Music companies and the classification of domestic music products in the Netherlands

Poetics, 2010

This article contributes to existing research on the use of genre classifications in the music in... more This article contributes to existing research on the use of genre classifications in the music industry by shedding light on it from the perspective of a relatively small European country. It investigates how recording companies, in the Netherlands, classify domestic music products. It examines differences and similarities in the genre-specification of ‘local’ products compared to the practices in the international music industry, and it analyses hierarchies both within local genre classifications and between domestic and foreign music over time. Besides relying on interviews with key individuals in the Dutch music industry, we draw on Dutch chart data, music databases and trade information that address developments in the Dutch music market between 1990 and 2005. During that period, local Dutch music has not only become increasingly popular but has, to some extent, replaced Anglo-American music. Successful Dutch acts – such as those operating in the genres ‘volks’ and dance – are primarily promoted by independent firms, while majors and independents primarily approach the ‘local’ in terms of market factors (e.g., demand), thereby foregoing the usual classifications of international genres.