Is the Audience For Popular Music Created by the Music Industry?

When looking at the audience for popular music is often hard to distinguish whether it is created by the individual listeners or perhaps whether it is down to the music industry. It is known that the main focus of the big record companies within the music industry is making profit and so when they recognise something as popular and therefore profitable they exploit it to the max, creating a mass produced product which supports Adornos Marxist view of popular music as a commodity. The record companies also use merchandising and advertising as a tool too influence the listener. Although this is a valid view which I believe is true of some music it is also hard to ignore that there is a whole new range of creatively diverse music being born breaking the traditions of popular music.
Overall I believe that although it is true that some of the audience for popular music is created by the music industry it should also be taken into consideration that they can be created through the bands and their music themselves. 

Kerrang! Magazine Review.

Comprising of free posters, interviews, reviews, tour dates and feedback from gigs, Kerrang! Magazine is inevitably at the forefront of alternative music journalism, pulling threads from many genres such as Rock, Metal and Pop Punk. So who are the target audience? Well the answer is clearly reflective of its content with a mixture of rebellious dressing, face piercing, body tattooing, boys and girls in their mid teens. The magazine puts emphasis on large pictures, the writing is small but manages to include lots information in which the writing is casual and good for laugh. The magazine does attempt to report on underground bands however this seems rather hit and miss as the sections are small and are often followed with large 3 page articles on the popular ‘mainstream’ bands. Overall its large amount of advert pages, price at £2.20 each week and coverage on mainstream popular artists within the magazine suggest that it is rather marketing tool rather than a form of expression. Sadly the magazines is still the best out there, and if your interested in alternative music there is little viable alternative in a magazine. 

Are blackness and whiteness useful concepts in the study of popular music?

The concepts of ‘black’ and ‘white’ music are crucial elements which are useful in understanding popular music. The changes which took place in popular music due to the birth of rock are often suggested as a ‘result of white fascination with black music’ (Shank). The 1950s saw a sudden interest in black music by white audiences which led to many white musicians such as Bill Haley and Elvis Presley to produce music which were largely influenced by black music. These artists often made their own cover versions of black music too resulting in major success an example is Bill Haley’s cover of Big Joe Turner’s ‘Shake Rattle & Roll’. The development of this type of music coined ‘race records’ promoted black music which was not well known in the music industry, this led to the birth of new music genres such as pop which were ‘ dependent on the interaction between white and black traditions’ (Hatch & Milward 1987). These new genres combine many races, blurring the lines of definition, proving hard to categorise simply as ‘black’ or ‘white’.  The concept of ‘black’ and ‘white’ music is therefore useful in understanding both the advance and the history of popular music. 

Does the emergence of the digital download signal the end for the music industry?

The ability to distribute digital audio over the Internet was limited till the creation of the mp3, which consequently led to file sharing or a 'culture of piracy'. It was thought that digital copying had the potential to 'completely undermine the business of selling packaged music' and so the RIAA began to issue lawsuits against consumers to show computer owners that file sharing is equivalent to shoplifting. Lessig suggested 4 types of file sharing; the only category which could have an effect on sales was A – ‘to replace purchasing’. However Oberlnolzrr and Strumpt (2004) found file sharing had an effect on sales which was 'indistinguishable from zero' and so cannot be blamed for the decline in sales.  Condry found that students used file sharing as a way of sampling music before they buy, I agree with this as I used this practise myself, so file sharing should be viewed as a means of promotion rather than  signalling the end for the music industry.  Perhaps the blame should then be pointed at the record labels themselves, if they presented their music as something other than a commodity maybe there wouldn’t be such a decline in sales and a ‘culture of piracy’. 

Can popular music achieve genuine political change?

It is often suggested that popular music has the ability to facilitate political change by delivering a message to its listeners in order to ‘shape and influence their thoughts and actions’ (Street). An example is Billie Holidays ‘Strange Fruit’ which originated as poem describing the revulsion of lynching. In 1939 Time Magazine criticised it as a ‘piece of musical propaganda’, 60 years later the same magazine rated it as ‘the song of the century’. In 1985 Red Wedge was formed, its aim was to promote the labour party agenda using popular music, they organised many tours with bands such as the smiths and madness. Although a good idea the project proved unsuccessful with the labour party not being voted into power. Bob Marley gives voice throughout his music to a counter capitalist movement selling millions of albums; this is accepted as profit that is generated feeds straight back into the capitalist system. Whilst it is clear that popular music is successful in raising political awareness I would suggest that political change happens as a result of a combination of many factors not just popular music alone.

What is world music and why do we have such a category?

It is often problematic when trying to define what World Music is. The genre defines any type of ‘indigenous’ music which doesn’t fit into the ‘Anglo American nexus’. Shuker discussed how the wide distribution of popular music from dominant countries to inferior countries had led to a form of cultural imperialism, Anglo American popular music then had been established as the standard global template for music. The birth of the World Music category was then due to ‘indigenous’ artists holding onto their cultural identity and dismissing the Anglo American standards. However I agree with Smith who criticized the theory for being out dated as it relies on ‘analysis of the relationships between nation-states whereas we live in an increasingly globalized world'.
Personally I think that the reason for why do we have such a category is due to its position as a genre for music which is hard to define. Without its ability to fit into category, record labels would have problems promoting the music and so the creation of the World Music category can be seen as purely a selling device for record companies.

Is popular music a mass produced commodity or a genuine art form?

When looking at which types of music are considered as genuine art forms it is hardly ever popular music which is included. Much like Adorno, we often take the stance that music produced within the popular music industry are products of industrial standardization, mass produced with the sole purpose of making a large profit, lacking in both creativity and artistic substance. There is much evidence to support this claim with programmes for example such as The X Factor. Bernard Gendron argues against the views of Adorno, believing that the focus is on the way in which the different artists manipulate the meaning of a song through their performance. The Smiths for example were categorized as popular music due to their quick popularity and huge success. This popularity was due to their unique sound and meaningful lyrics which is now highly praised. It is then interesting to suggest that the idea of a mass produced commodity and a genuine art form as polar is wrong and that perhaps popular music can be explained as a mixture of the two. 

How useful is a production of culture perspective in understanding the birth of rock and roll?

Peterson’s production of culture perspective is useful in understanding the birth of Rock n Roll. It addresses 6 points which developed at the same point in time which consequently influenced its emergence. This approach is more realistic than the idea that the genre was born from its artists or that it was a result of the post war baby boom.
This approach tackles many of the factors which contributed to Rock n Roll’s emergence, however it’s hard to ignore that it doesn't account for a major factor which contributed to its birth, the music itself. It doesn't discuss the production or content of the music but rather its distribution. It doesn't pinpoint why it was this particular genre which emerged in 1955. Technologically it doesn't discuss the development of the microphone, amplification, recording and the electric guitar, all major aspects of Rock n Rolls unique sound. Lastly it doesn't address the connection and engagement between the genre and teenagers, the audience which had most control over its popularity. It is therefore plausible to suggest that if these factors were combined with the 6 points in the production of culture perspective that perhaps we would have a much more concise picture of why it actually was 1955. 

Is it reasonable to consider that rock music is gendered male?

It is noticeable that within rock music the ratio between men and women rock musicians is very unbalanced. Mavis Beyton suggests that the reason for women’s absence in rock music is entirely social, something which is installed in each generation, proof of this is how children are often assigned to a musical instrument depending on there gender, girls play pianos and boys play guitars. The guitar is a masculine object, so when a woman plays a guitar she must ensure that she is also sexually appealing. This takes the artists full attention away from playing in turn producing music which is not considered innovative. Charlotte Greig points out that for a woman to become a successful she must become ‘masculine’, it is then interesting how many male rock musicians often become successful through combining their masculinity with elements of femininity. It is therefore clear that from its artists right through to its links with technology which is considered masculine that overall rock music is gendered male. 

Can popular music ever really be unplugged?

The success of popular music is driven by electronic technology. Both the flawless production of the music and the easy access and consumption for its audiences depend on technology. It is therefore plausible to suggest that popular music can never be ‘unplugged’. The development of technology through the microphone, amplification, recording and the electric guitar enabled music to break free from the constraints of classical music, in turn leading to the birth of 1950s Rock N Roll which changed the way people thought about music. Setting aside the point that without being plugged in music festivals, large concerts and access to music at home would not be possible, it is also clear that the unique creativity of each song would be limited. Therefore no such thing as popular music would exist, all music would sound similar and therefore no music could stand individually presenting itself as exciting or innovative to its audiences. 

What is popular music?

There are many debates on how to define what popular music actually is. These debates question the primary aims of popular music often suggesting commercial recognition and profit over artistic and cultural creativity. As a result of this it is often referred to as a light form of music which lacks substance. Initially I would have linked popular music to the current music within the charts, sharing the view of theorist Adorno that popular music is commercially orientated, produced by the mass media with the only intention of profit in mind. However this view rejects music produced by artists such as The Who whose artistically intentional music invoked its popularity and profit. Therefore as defined by Shuker (1994) it is clear that popular music is a combination of artistic intentions and the commercial nature of the production and distribution bound together in order to create great significance for its consumers.