The musical commodity can circulate within the media, generating income from the exploitation of per forming rights alone' (Erith 1987: 73). The work of music-business workers has become increasingly based around circulating the sounds and images of popular music across a range of media texts and entertainment items (films, adverts, videos, books, magazines) It is no longer so easy, if it ever was, to isolate and identify one piece of raw material' as a product that is being processed through the system.