In an era of the rise of the free market and economic
globalization, Martin Cloonan examines why politicians and
policymakers in the UK have sought to intervene in popular music -
a field that has often been held up as the epitome of the free
market form. Cloonan traces the development of government attitudes
and policies towards popular music from the 1950s to the present,
discovering the prominence of two overlapping concerns: public
order and the political economy of music. Since the music industry
began to lobby politicians, particularly on the issue of copyright
in relation to the internet, an inherent tension has become
apparent with economic rationale on one side, and Romantic notions
of 'the artist' on the other. Cloonan examines the development of
policy under New Labour; numerous reports which have charted the
economics of the industry; the New Deal for Musicians scheme and
the impact of devolution on music policy in Scotland. He makes the
case for the inherently political nature of popular music and
asserts that the development of popular music policies can only be
understood in the context of an increasingly close working
relationship between government and the cultural industries. In
addition he argues that a rather myopic view of the music
industries has meant that policy initiatives have lacked cohesion
and have generally served the interests of multinational
corporations rather than struggling musicians.
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