Reconsidering rock

Keightley, Keir

doi:10.1017/ccol9780521553698.008

Cited by 124 publications

(48 citation statements)

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“…This aligns with how authenticity is used by rock culture to distance itself from more commercial pop music (Keightley 2001). The Chemical Brothers indicate their disapproval of the fact that everybody can get their hands on new digital synthesizers (later in the interview, they also mention equipment made in very limited numbers by an esoteric German producer).…”

Section: Closure and Stabilization: The Yamaha Dx7mentioning

confidence: 69%

Old Instruments, New Agendas: The Chemical Brothers and the ARP 2600

Zeiner-Henriksen¹

2014

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A preference for old vintage music equipment is widespread in electronic dance music. My point of departure for a discussion of this phenomenon is an interview from Keyboard magazine in which the members of the production duo the Chemical Brothers proclaim their fascination with an old analogue synthesizer. Two rather diverse theoretical approaches will inform and nuance my narrative here. Wiebe E. Bijker's sociotechnical approach to the development of technology will highlight stages and processes in the transition from analogue to digital technology. In addition, Sarah Thornton's concept of subcultural capital will direct attention to the old instrument as a prestige item that serves to maintain power structures within the music culture.

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Section: Closure and Stabilization: The Yamaha Dx7mentioning

confidence: 69%

Old Instruments, New Agendas: The Chemical Brothers and the ARP 2600

Zeiner-Henriksen¹

2014

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“…However, the philosophies followed by the influential Murubbis or Boro Bhais regarding which new bands would be allowed in is more about limitation of resources than heavy-handed policing related to canonical western notions of authenticity (Coyle and Dolan 1999;Keightley 2001).…”

Section: Social Capitalmentioning

confidence: 99%

Forms of capital in the Dhaka metal scene

Quader

2016

Metal Music Studies

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This article examines the metal scene in Dhaka, Bangladesh, and attempts to explain how the resources crucial to its birth and continued existence can be understood through Bourdieu's different forms of capital. This local metal scene, which is part of a larger alternative music, is a youth-based male-dominated, non-commercial and non-professional music scene based on international genres of metal, located in the unique urban socio-historic milieu of this postcolonial developing country. For this research, a total of fourteen participants involved with this scene were interviewed, supplemented by participant observation at local gigs and analysis of related texts. This local metal community revolves around the activities of primarily middleclass, part-time, male musicians who share particular economic, cultural and social resources that afford their participation in it. Economic and cultural capital involves resources such as privileged upbringing, ability to invest time and money in such semi-professional activities like playing and being involved with metal music, covering costs of buying necessary gear like music instruments, amplifiers, multi-effect processors, microphones, etc., and learning instruments like guitar, bass and drums from music schools or professional music teachers. Being involved with the local metal milieu also entails participating in shared spaces like jamming pads, recording studios and small venues, having access to English-language education, which in turn enables the understanding of foreign music content as well as bringing together people with similar socio-economic and cultural backgrounds, and having access to foreign cultures and music through record stores, travels, cable TV channels and the Internet. Of equal significance alongside such economic and cultural capital is social KEYWORDS metal scene Dhaka Bangladeshi metal Bourdieu cultural capital metal 5 metal 5

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“…No style or performer is automatically entitled to ''rock'' since rock culture has also been defined historically by its process of exclusion. The ideology of rock involves a rejection of those aspects of mass-distributed music, which are believed to be soft, safe, or trivial, those things that may be dismissed as worthless ''pop''-the very opposite of rock (Keightley 2001). Although the idea of rock rejects mass-consumed or mass-produced music, millions of people purchase rock music CDs, cassettes, LPs, or concert DVDs, which produce feelings of freedom, rebellion, opposition, authenticity, and uniqueness in different geographies and cultures mostly through the brand name of a rock star/band.…”

Section: Rock Music As a (Global) Commoditymentioning

confidence: 99%

Contesting the Global Consumption Ethos: Reterritorialization of Rock in Turkey

Yazıcıoğlu

2010

Journal of Macromarketing

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This article contributes to the debates on globalization by studying the reterritorialization of rock music in Turkey to illustrate why and how heterogeneity exists in markets. Four years of data collection suggest that in Turkey, rockers have discovered ways to create their own modes of producing and consuming rock music that is no longer regarded as foreign. Such reterritorialization suggests that the authors reconsider the categories to interpret the meanings in and across global-local contexts and micromacro linkages. The article also illustrates and discusses rock as a postmodern self-marketing commodity with a dialogical evolution.

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Reconsidering rock

Cited by 124 publications

References 0 publications

Old Instruments, New Agendas: The Chemical Brothers and the ARP 2600

Old Instruments, New Agendas: The Chemical Brothers and the ARP 2600

Forms of capital in the Dhaka metal scene

Contesting the Global Consumption Ethos: Reterritorialization of Rock in Turkey

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