List of Figures List of Tables List of Audio and Video Examples Acknowledgments Introduction: Capitalism, Music, and Social Theory Music and Capitalism Western Neoliberal Capitalism as a Cultural System What Follows 1 A Brief History of Music and Capitalism before the Rise of Neoliberalism Production of Musical Commodities Capitalism and Musical Production Artisans, Artists, Geniuses Social Class, Markets, and Cultural Consumption Youth Conclusions 2 Neoliberal Capitalism and the Cultural Industries Ideologies of Neoliberal Capitalism The Cultural Industries as Industries Brands and Branding The Conquest of Cool-- and the Culture New Social Classes: The New Petite Bourgeoisie Increasing Commodification Consumption and/as Identity- Making Plenitude Music Supervisors Search Sociality Art and Commerce Advertising as Harbinger of the Present 3 Globalization Globalization, Neoliberal Capitalism, and the International Music Industry The Rise of "World Music" Shifting Authenticities Connoisseurs, Collaborators, Curators Collaboration without Collaborators Musicians in the Field of World Music in Neoliberal Capitalism Case Study: Angélique Kidjo Kidjo and "World Music" Positions and Forms of Capital in the World Music Field Gender Oremi (1998) Later Recordings Ownership 4 Digitalization New Sound Technologies: DIY Everything? Remixing, Co- Creating New Forms of Labor? The Changing Nature of Work in the Commercial Music Industry Longer, Harder Digitized Music as a New Form of Music Objectified Tactility Ambivalences and Critiques 5 Singing in the Shadows of Neoliberal Capitalism Motivated by Music Burger Records: "Keeping the Teenage Spirit Alive" 6 Conclusions: Capitalism Is People, Too Value in the Informal Logic of Actual Life Notes References Unpublished Materials Interviews Other Unpublished Materials Discography Filmography Books and Articles Index.