000			01730cam a2200193 4500500
005			20250121055756.0
041			_afre
042			_adc
100	1	0	_aBénistant, Alix _eauthor
245	0	0	_a“Mi disquera no es Sony, mi disquera es la gente.” Hegemonic and counter-hegemonic processes in Miami’s Latin music industry
260			_c2018.
500			_a44
520			_aThe city of Miami has gradually emerged, from the 1958-59 Cuban revolution and the massive arrival of anti-Castro exiles, as an economic, migratory, and cultural regional hub. The co-presence of people of different cultures on the same territory works towards the emergence of new social and artistic practices. Made up of mixes and appropriations, they result in new cultural expressions and objects seized by media industries. The major labels, present with their Latin subsidiaries, have a leading role in the production and circulation of the new music contents. In this paper, we focused on the industry construction and the emergent practices integration process, starting from the 1970s. The links between music, politics, and territory are a central issue in our study. The hegemonic and counter-hegemonic dynamics that ensue from these stakes and power struggles within Miami mainstream culture are examined through three case studies that span the period between the 1960s and the 2000s.
690			_apopular musics
690			_aMusic Industry
690			_alatin idendity
786	0		_nLes Enjeux de l’information et de la communication | o 18/1 | 1 | 2018-04-25 | p. 21-36 | 1778-4239
856	4	1	_uhttps://shs.cairn.info/journal-les-enjeux-de-l-information-et-de-la-communication-2017-1-page-21?lang=en&redirect-ssocas=7080
999			_c473492 _d473492