I recently read a terrific book by sociologist Jennifer Lena, Banding Together: How Communities Create Genres in Popular Music. She explores the factors that influence the spread of musical taste — why some genres, bands, etc., gain popularity. Jennifer’s research is impressive because of the range of her exploration — according to her publisher’s website, she covers “rap to bluegrass to death metal and South Texas polka.”
Jennifer is helping redefine our understanding of social influence — what and who matters, and how ideas and tastes spread in complex social networks. I had a chance to ask Jennifer a few questions about her work.
Q. You are interested in factors that determine whether particular musical styles, genres, etc., will gain mass appeal — or remain circumscribed to a small niche. Have you discovered something about the process of “influence” or “contagion” that the social network scholars have ignored or underemphasized? What does your work tell us about the role of networks in shaping popular tastes?
A. The most common way for music to blow up from a small scene into global pop is for a controversy to erupt. Read More »
If you have 3 minutes and 41 seconds to spare on this fine Friday, you could do much worse than watching a performance of “Katy Hill” by Mei Han’s Red Chamber with John Reischman and the Jaybirds:
(HT: Nick Frisch) Read More »
We want to thank everyone for their questions — it’s great to see people responding to, critiquing and, in some cases, tweaking, the ideas we set out in The Knockoff Economy. We are fascinated by the complex relationship between copying and creativity — and we’re thankful that many of you are as well. So, to the Q&A . . .
Q. The issue that concerns my industry most is internet sales of prescription skin products such as retin-A and hydroquinone. Some might be counterfeit, but many are probably diverted products. The manufacturer sells them to a physician, the unscrupulous physician sells them on the internet at a deep discount, the patient may be hurt by expired or dangerous medications or may not use them correctly even if they are real. This hurts legitimate physicians by drawing business away from them, but also hurts a manufacturer’s reputation. (Apparently, people who have qualms about buying Viagra online don’t think twice before buying skin medications from those same sources.)
Do you plan to do any research in this area? Will you be looking at diversion in addition to counterfeits? Read More »
Here is an excerpt from The Knockoff Economy: How Imitation Sparks Innovation, which has just been published by Oxford University Press. Over the next few weeks, we’ll be running 2 excerpts from the book here on the blog and taking questions from Freakonomics readers in a Q&A. We’ll also run a contest for the wackiest photo of a knockoff item.
In The Knockoff Economy we examine the relationship between copying and creativity. Most people who study this area look at industries such as music or publishing, where intellectual property (IP) protections are central. We do something different: we explore innovative industries—such as fashion, food, fonts, and finance–in which IP is either unavailable or not effective. In these industries copying is common, yet we find that innovation thrives. In a world in which technology is making copying ever easier, we think these industries have a lot to teach us. And one of the key lessons is that copying is not just a destructive force; it can also be productive. Harnessing the productive side of copying—the ability to refine, improve, and update existing innovations—is at the heart of this excerpt.
THE KNOCKOFF ECONOMY
Rules against copying don’t just cover outright imitation. They also address variations: works that use that some portion of another creative work but add in new stuff, and in the process transform the original work. Think of Shepard Fairey’s famous Hope poster of Barack Obama, which took an existing photograph and reworked it into an iconic image: Read More »
From a reader named Becca Levin:
Read More »
Hi, I just listened to your podcast with NPR on the impact of shipping flowers. May I suggest, if you should ever air it again, you consider the song “Plastic Roses“ by the Chenille Sisters. A sample line: “He sent me plastic roses, the kind that never fade … ” A touching love song about lasting memories.
The day before Beastie Boy Adam Yauch’s untimely death from cancer, a lawsuit was filed in New York accusing him and his bandmates of illegal sampling. What’s unusual about this case is that the samples in question supposedly appeared on the 1989 album Paul’s Boutique. An obvious question is why almost 25 years went by before anyone decided to sue.
The reason? The alleged samples can’t actually be heard by the ordinary listener. Which raises a kind of existential question about intellectual property. If no one can tell that something is copied, is it still illegal to copy it? And if so, why?
Let’s assume for the sake of argument that the samples in question exist. They are snippets of songs by Trouble Funk, a 80s era go-go band. Trouble Funk’s complaint declares that the way the Beastie Boys sampled the tracks “effectively concealed to the casual listener” the fact that they are samples at all. And it was “only after conducting a careful audio analysis” that Trouble Funk even knew for sure that they had been sampled. Read More »
Last week, the New York Times ran an interesting and important op-ed by Stuart Green, a law professor, who argues that although illegal downloading of songs or videos from the Internet may be wrong, it’s not really “theft” in the sense that the term has been understood historically in the law. Nor is it theft according to the moral intuitions of ordinary people (as Green’s own research with psychologist Matthew Kugler shows), who draw a sharp distinction between online file sharing and ordinary theft, even when the economic value of the property taken is the same. Read More »