{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2024,3,23]],"date-time":"2024-03-23T13:13:09Z","timestamp":1711199589635},"reference-count":30,"publisher":"Cambridge University Press (CUP)","issue":"1","license":[{"start":{"date-parts":[[2010,2,3]],"date-time":"2010-02-03T00:00:00Z","timestamp":1265155200000},"content-version":"unspecified","delay-in-days":33,"URL":"https:\/\/www.cambridge.org\/core\/terms"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Pop. Mus."],"published-print":{"date-parts":[[2010,1]]},"abstract":"<jats:title>Abstract<\/jats:title><jats:p>This article addresses the ideologies developed by Portuguese music journalists towards Portuguese music in the context of the global crisis in the record industry. Music journalists who were once seen as the good Samaritans in coverage of the national repertoire have to reconcile their duty to cover the national acts with the pressures of a global music industry represented by the multinational record companies. Gathering information from interviews conducted between 2001 and 2003, I trace the perceptions of music journalists on coverage of the national repertoire in a period in which a global crisis in the music sector became noticeable and low airplay of Portuguese music became a matter of concern for agents within the local industry. Two approaches emerge from such a context, one more proactive towards coverage of Portuguese music, the other less interested in allowing the influence of the origin filter to determine the journalists' agenda. I conclude that in these two approaches the traditional opposition between music journalists and the music industry needs to be revised.<\/jats:p>","DOI":"10.1017\/s0261143009990377","type":"journal-article","created":{"date-parts":[[2010,2,3]],"date-time":"2010-02-03T09:10:58Z","timestamp":1265188258000},"page":"41-59","source":"Crossref","is-referenced-by-count":5,"title":["Good Samaritans and oblivious cheerleaders: ideologies of Portuguese music journalists towards Portuguese music"],"prefix":"10.1017","volume":"29","author":[{"given":"Pedro","family":"Nunes","sequence":"first","affiliation":[]}],"member":"56","published-online":{"date-parts":[[2010,2,3]]},"reference":[{"key":"S0261143009990377_ref2","volume-title":"Introduction to Qualitative Research Methods","author":"Bogdan","year":"1975"},{"key":"S0261143009990377_ref19","volume-title":"Os Profissionais do Disco: Um Estudo da Ind\u00fastria Fonogr\u00e1fica Portuguesa","author":"Neves","year":"1999"},{"key":"S0261143009990377_ref13","first-page":"231","volume-title":"Theoretical Strategies","author":"Harley","year":"1982"},{"key":"S0261143009990377_ref25","volume-title":"England's Dreaming: Sex Pistols and Punk Rock","author":"Savage","year":"1991"},{"key":"S0261143009990377_ref16","doi-asserted-by":"publisher","DOI":"10.1207\/s15405710pc0301_1"},{"key":"S0261143009990377_ref26","volume-title":"Understanding Popular Music","author":"Shuker","year":"1994"},{"key":"S0261143009990377_ref29","doi-asserted-by":"publisher","DOI":"10.1017\/S0261143000005730"},{"key":"S0261143009990377_ref10","volume-title":"Sound Effects: Youth, Leisure and the Politics of Rock'n Roll","author":"Frith","year":"1981"},{"key":"S0261143009990377_ref18","volume-title":"Producing Pop: Culture and Conflict in the Popular Music Industry","author":"Negus","year":"1992"},{"key":"S0261143009990377_ref15","volume-title":"Pop Music and the Press","author":"Jones","year":"2002"},{"key":"S0261143009990377_ref9","unstructured":"Forde E. 2001. Music Journalists, Music Press-Officers and the Consumer Music Press in the UK, Ph.D. thesis, University of Westminster"},{"key":"S0261143009990377_ref23","first-page":"26","article-title":"Return of the Inkies","volume":"31","author":"Reynolds","year":"1990","journal-title":"New Statesman and Society"},{"key":"S0261143009990377_ref6","doi-asserted-by":"publisher","DOI":"10.1007\/978-1-349-17818-6"},{"key":"S0261143009990377_ref20","unstructured":"Nunes P. 2004. 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