Record and fashion labels use the actual word “label,” but publishing houses, art galleries, filmmakers, and other collectives are all examples of a category we might call “culture labels” — entities that exist to fund, distribute, and promote culture of one kind or another.Most culture labels exist to promote a specific aesthetic, region, or point of view. A punk label flies the flag for punk rock with every record it puts out. A postcolonial fiction publisher creates space for marginalized voices in wider culture. These labels establish this perspective incrementally, release by release.
Labels provide seed funding to new ideas. Labels find, sign, and support talent. Labels signal to the rest of their ecosystem what matters. Taken all together, we can better appreciate what labels are. Labels are startups and institutions for culture.
It’s no coincidence that the push against labels coincided with the rise of the so-called “Creator Economy” and its new heroic myth of the independent creator who out-hustles and out-competes their way to millions of subs and riches. But the truth of the Creator Economy myth has become clear: billion-dollar platforms turning people into content factories and offering little in the way of creative support, financial security, or context in return.