In this Master thesis Lisa explores the reasons for popular music venues in the Netherlands to (not) enter into strategic alliances with other cultural organizations. It is a qualitative study using semi-structured interviews to collect data. Lisa interviewed ten bookers/directors of some of the larger Dutch popular music venues. Here are some of the conclusions from the final chapter: "From the participants’ responses, it becomes clear that there are some major developments in the music industry. Most important developments are the growth of the Internet and globalization. The Internet causes audiences to become fragmented into smaller segments of visitors for larger segments of genres. Due to globalization, artists do fewer shows in The Netherlands. Participants consider experience an important theme, both for the audience as well for the artist. By booking at different locations, venues anticipate these changes. According to the researcher, this trend seems part of a bigger development. The interest of the city becomes an increasingly important factor in these partnerships on level of content. The researcher notices a shift in the function of the booker to some sort of promoter who divides the artists over the city depending on which location suits best. While participants are hesitant in their predictions, the researcher sees it as a step towards more cooperation." We are all very proud of her accomplishments! My take: In the past culture was something for the rich and upper echelons of society - those who could afford it. After 1960s this all changed. In the Netherlands the government started to subsidize culture, especially the type of 'highbrow' or 'fringe' culture which was not commercially viable on its own. It seems with the current economic crisis this policy is under scrutiny again and about to change. In all fairness the world has changed. In the Netherlands even most adolescents are now 'rich' enough to be able to afford the monthly smart phone bills. Mostly because they now all have (part time) jobs - this was not the norm when I was young. So, I think there is a market. The fact that Pop festivals have sprung up like wildfire the last couple of years is proof of this since they are - by and large - not subsidized. But the transition from guaranteed income from government to commercially viable enterprises will no doubt be painful. The commercial viability of popular music venues in Amsterdam is beyond doubt; they are and will continue to thrive. But the economic viability of venues in the provincial towns in the Netherlands is in question. Just image asking Madonna to perform at a gig in Groningen. "Where the **** is Groningen?" These harsh economic facts-of-life were dampened by government intervention for a long time. But, The times they are a-changin' (again)
