Reconsidering the Economy of Fandom

In New Economy of Fandom, Patryk Galuszka proposes that the expansion of online platforms has resulted in a different kind of economy in the music industry—an economy of fandom. Galuszka explains that, “fans may become artists’ sponsors or investment partners, co-creators of promotional added value, and participants in artistic collaborations” (Galuszka 39). Simply put, fans take up many different roles in the industry, not just that of the consumer. While I agree that technology has made it easier for fans to discuss/celebrate artists in different ways, I am unsure if I would trace these role shifts back to a business standpoint the way Galuszka has done.  

First off, Galuszka’s economy of fandom doesn’t accurately portray the intimate nature of artist-fan relationship. One of the largest fandoms in the world is ARMY, Korean boy group BTS' global fanbase. Together, ARMY has helped BTS break records on Twitter, bought a billboard in New York Times Square, and even “raised money for non-governmental organization Thirst Relief that provides clean water for families in Tanzania” in the name of BTS (Seo, Hollingsworth). These fans spend hours and hours on top of their day-to-day jobs celebrating their idols. Yes, BTS fans are providing free advertisement and such, but putting these people who freely provide so much for their idols in a business model just doesn’t seem right.  

Rather, I want to suggest that this economy of fandom is just an extension of the experience economy. Previously, we’ve discussed how attractions, such as Second Life and Meow Wolf, were made in our current experience economy, acting as an escape from many people’s real worlds. This new fandom phenomena can be seen through a similar perspective. According to Galuszka, filters through netlabels are one of fans’ new roles. Galuszka adds that by engaging in these netlabels, fans that run them have a “unique feeling of being at the center of their favorite music scene,” especially because they can “communicate with artists and audiences from positions distinct from those of ‘regular’ fans” (Galuszka 38). In other words, fans are not just consuming music anymore. They are experiencing every aspect of the music industry that they love and intimating themselves with the celebrities that they idolize—the celebrities that once seemed other-worldly. By investing in artists they love and co-creating promotional material, fans bridge the gap between their world and their idols’. Wouldn’t this mean that fans are just paying to take part in a new type of experience? 

Admittedly, there is no profound sensory escapade in participating in a fandom; it isn’t the same as going through a brightly lit refrigerator hallway or smelling churros at every turn in Disneyland. It is possible the thought of celebrities exploiting fans on a large scale just scares me, but as of now, I would like to lean on the side of these artist-fan relationships as something that is still personal and less reliant on business models.  
BTS


Works Cited

 Patryk Galuszka (2015) New Economy of Fandom, Popular Music and Society, 38:1, 25-43, DOI: 10.1080/03007766.2014.974325

 Seo, Yoonjung, and Julia Hollingsworth. “BTS' Army of Admirers: Inside One of the World's Most Powerful          Fandoms.” CNN, Cable News Network, 20 Oct. 2019, https://www.cnn.com/2019/10/12/asia/bts-fandom-army-intl-hnk/index.html.

Comments

Sydney Otis said…
I do think that there is some sort of business model in play here, but agree that these relationships closely mirror economies of experience. Since you mention that these fans are freely advertising their idols I feel they do so because of the experience they have, which makes me think economy of experience. I definitely believe that this devotion to these groups provides an escape for the individual. The thing that ties me back to the economy of fandom is that there is some sort of exchange that takes place. The consumer does this as they feel the cost is not greater than the benefit. Although it may cost them their time and money, I am weary to stray too far from the business model but do believe that the two economies can work hand in hand in this instance.
October 31, 2019 at 12:03 PM
Maggie said…
I like your idea of the economy of fandom being an extension of the experience economy because it is arguable that the entire fan experience is just that: an experience. However, I do think that there is an economic framework existent in the fan experience, though it may not be purposeful on the fan's part. I think what Galuszka was trying to highlight was that fans have grown in their roles as fans, from just being viewers and listeners to individuals who have certain power over an artist's success (socially and economically). And since an artist's popularity is directly tied to their economic profit, having an interactive fandom - and a large one, too - can lead the fandom to have significant influence over the artist that produces the content fans consume. And with this influence comes certain control over what content and experience the fans can consume. In this way, the fan is being raised to a higher level of power vis-a-vis the artist. I think Galuszka was hoping to highlight that this raises further implications for the role of the fan in the current experience economy.
November 28, 2019 at 2:32 PM
Lauryn McSpadden said…
I like the argument that fandom can be seen as an extension of the experience economy. I also agree with the comments of Maggie and Sydney that this association is still founded in a business model. The relationship between artist and fan is reciprocal – art for money/attention. When thinking of fandom, however, I think this model can easily become skewed as fans pour more and more of their energy, financial resources, and labor into this "experience".
December 5, 2019 at 8:48 AM
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