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This master thesis is a study of actors bound to independent record labels in Gothenburg during the early 2000s. The aim is to study how these actors use the social room to organize, and how these individuals relate to profitability. The main material consists of semi structured interviews with nine informants, all based in Gothenburg, Sweden. Initially I examine how the actors argue when answering questions relating to upbringing and music interest. In the following chapter I analyze how to create a social room based on music, while the closing chapter is based on how these actors handle the combination of occupational and leisure time. In order to analyze my material I have used Bruno Latour’s Actor-Network-Theory and valuable terms, such as blackboxing, translation and inscription. Even Pierre Bourdieu and his theoretical framework, in particular the terms field, capital and habitus, have been of great importance. Lars Kaijser and Sverker Hyltén-Cavallius concept of affective alliances have also been valuable in the development of this thesis. 80 The independent record labels and the network around them have been shown to consist of a variety of actors, all of whom are somehow important for the record labels’ existence. It has come to my knowledge that the informants often use a predetermined view of what should be included in the story of an individual who identifies him or herself as a person with a high interest in music. The music is often described as autonomus, and family members and material things, such as records, are high-lighted as important actors in the creation of a music interest. Being a person who identifies him- or herself as a part of the music field, may therefore mean that the individual uses material things in the explanation of lifestyle. All of the nine informants are active in Gothenburg. I have analyzed how they orientate themselves in the city with aim of creating the community. In general none of the individuals seem to perceive any competition when it comes to being active in the music scene of Gothenburg, which probably indicates that these people are already established and part of the network. Their positions show a certain type of capital and habitus necessary for taking a position within the community. It also shows that the informants have taken a position that allows them to choose which, and what, to accept as an actor in the network. The thesis is rounded off with an analysis of artistry and profit. I will show, among other things, a difference between the business field and the artistic field, where in the latter there is an idea that art and profitability cannot be combined. The chapter also revolves around the physical product, especially the vinyl record, which is seen as an obvious actor in the network, although records generally do not generate any financial gain. Finally, the thesis focuses on the informants work situation, where they often use the concept of freedom to explain their career choices. Terminating their activities in order to increase financial compensation by other means, does not seem to be an option for the informants, which could possibly be explained by the stable positions they have taken in the network.