This venue provides an appropriate local space in which music can be played by musicians that are growing their music (Cylex 2013). Bigga Fish (2013) provides for opportunities for up and coming artists age 14-21 so that they can have experiences such as playing next to experienced artists. The time they spend volunteering with Bigga Fish (2013) can be put towards points for their college applications making this experience good on multiple levels. Point Blank (2013) provides educational opportunities for those who are looking to learn about the popular music industry. Everything from production to the business of music is taught through this organisation.There are concerns about how the music industry will have an effect on disadvantaged youths. One of the concerns with promoting the popular music industry as a resource for disadvantaged youths in London is that the industry continues to be highly patriarchal, creating a problem for young women who try to gain entry into the industry. This problem could be one reason that the industry is not appropriate for young people as a way to re-engage into society (Ashley 2011, p. The music industry is driven from a top down management style which can often be an interruption between musicians and their audience (Young and Collins 2010, p. Organisations such as Bigga Fish have been created to develop young artists so that the problems in the industry are not imposed on young people who need encouragement and appropriate support.One of the new advantages in the music industry is that some of the power of the music executive has been diminished through internet resources and globalized exposure through video sharing sites such as Youtube. Popular journalism on music now reaches around the world creating increased exposure where previous exposure was limited to the discretion of the music label (Fursich and Avant-Mier 2012). In addition, Street (2013, p. 47) suggests that the new ways of entering into the music industry through internet resources creates an atmosphere where expression can act as a protest to social problems.This research will be done through field work in which the organisations are researched which may include unstructured or structured interviews. Engaging young people in a discussion of their music ambitions and how it is affecting their lives will also lend substance to the inquiry. Babbie (2013, p. 312) writes that field research is
Ashley, M. (2011). The perpetuation of hegemonic male power and the loss of boyhood innocence: case studies from the music industry. Journal of Youth Studies, 14(1), 59-76.
Babbie, E. R. (2013). The practice of social research. Belmont, Calif: Wadsworth Cengage Learning.
Bigga Fish (2013). [Online] Retrieved from http://biggafish.com/about/ Accessed on 10 March 2013.
Cylex (2013). The Ocean Music Venue. [Online] Retrieved from http://www.cylex- uk.co.uk/company/ocean-music-venue-16948560.html Accessed on 10 March 2013.
Fürsich, E., & Avant-Mier, R. (2012). Popular journalism and cultural change: The discourse of globalization in world music reviews. International Journal of Cultural Studies.
Point Blank (2013). [Online] Retrieved from http://www.pointblanklondon.com/ Accessed on 10 March 2013.
Smith, E. (2006). Using secondary data in educational and social research. Maidenhead: Open University Press.
Street, J. (2013). The Sound of Geopolitics: Popular Music and Political Rights. Popular Communication, 11(1), 47-57.
Young, S. and Collins, S. (2010). A View from the Trenches of Music 2.0. Popular Music and Society, 33(3), 339-355.
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