NME Magazine

NME is renowned for its ‘voice of youth’ in the 70’s and 80’s, representing music, fashion and image against the norm. The magazine has had to change with the decline of readership, it now provides the in’s and out’s for the indie music industry. quirky reviews of gigs across the UK, fashion know how and interviews with the old and new feature in every issue.
With its thin rough paper pages, its fair from a glossy magazine with adverts of music events rather than high-end clothes. As it attempts to divert away from mainstream, commercialised bands suddenly appear when a new album is released or they stick with the well known. However it wouldn’t be profitably to go completely individual with such high competition. NME is still an enjoyable magazine to reead but has now become a small fish in a big pond.

Can pop music achieve genuine political change?

Music is a medium that reaches billions of people world wide, its easy access and availability provides a perfect tool for politics. Events such a live aid, live8 and many more have raised millions for world political change. Although, the music plays a huge part, it’s the audience that effectively causes the political impact.

Such events raise money for charity, however other artists are arguably hypocritical such as Bob Marley’s ‘Get up stand up’, a song against the capitalist’s but produced income for them. Michael Jackson raised awareness for world change, however made millions with his 'earth song' and consequently self-profited.

Despite the financial gain made by some, the lyrics touch people, its may not change politics but at least provide a voice for those suffering. Music provokes thought, with billions of the same thoughts, political leaders will always be influenced and pressured to make a change.

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

Throughout history, the music industry has notably been exceedingly cautious and negative towards change influenced by technology. Cassette was first introduced in the 60’s, however by the 80’s an anti piracy campaign was launched to crack down on piracy. Only until 2000 did piracy become hugely threatening when Radio-Head’s album became available on a free file sharing website called Napster. Downloaded by millions, the album was only truly commercially released three months after and was predicted to flop, however it did the opposite and went straight to number 1
Lawrence Lessig stated four categories of file-sharing, download rather then buy, sample music before buying, obtain music that you can but anymore and share non copyrighted material. I-tunes embraced the sample before buy with its short previews and legal downloads have now wiped off CD singles off store shelves. The music industry wont end with digital downloading, it will only get better and evolve into a more cost effective industry.

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

It can be argued that each genre has a target audience, many of which aim at a particular race. However there is a vital floor with this approach, each person has different taste of music and availability via technology enables genres to branch to different races. Stereotypical black music could be Rap or Hip Hop, yes the genre is predominantly black however one of the leading artist is white (eminem). The same can be said for Rock music, a genre is targeted at white audiences but derives from Blues and black artists.
Pop music is targeted at the masses, to appeal to the masses all races must come into consideration. “ Pop music has always deepened upon the interaction between white and black tradition” (David Hatch). Popular music genres get influence from other genres, by doing so sounds from a particular race are now integrated together to appeal to a large audience and maximize profits for the record label.

What is World Music?

World music is extremely difficult to clearly define as it could mean and has been argued to be two completely different things. Firstly, world music could be popular music due to its global exposure and popularity. Popular music tracks are commonly spoken in English due to the two music dominating countries being the USA and Britain. The most widely spoken language in the world is English, therefore for a song to truly penetrate global markets and become a profitable investment for record companies it must be expressed in English and then translated thereafter.
On the other hand, world music is not popular music but traditional music produced by indigenous musicians whom express sounds from their regions culture. In music stores the world music section is a mix of music from non-English spoken countries. The sounds produced are learnt from decades of artists, the instruments used are indigenous, unique and provide diverse rhythms that are far from the norm. World music could simple mean ‘music of the world’.

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

Adorno argues, “The popular music industry is an all consuming production line that churns out mass produced, inferior commodities” (T. Adorno, 1941). Adorno also believed that the whole structure of popular music is standardized, these can be split into ‘part interchangeability’ used to streamline production costs and ‘ pseudo individualization’ used to illustrate uniqueness to a product that is essentially the same as others. However, Adorno has mad a key error with his judgment because standardization can be applied to other genres for example Jim Connell’s ‘The Red Flag’ is influenced by the 18th century folk song ‘My Love Was Born in Aberdeen’.
On the other hand, Bernard gendron believes that the song is ‘universal’ and the playable format is ‘particular’. Therefore the original pop music produced is certainly an art form, its just the CD/vinyl it’s recorded on turns into a mass-produced commodity. The X Factor streaming of pop talents diminish the clarity of art form, however previous artists such as Elvis restores the art form argument due to his notable creativity.

How useful is the production of culture perceptive in understanding the birth of Rock n' Roll?

Richard. A .Peterson constructed 6 key factors for the emergence of Rock ‘n’ Roll, all factors clearly identify major economic and sociological influence to its success in the 1950’s. The successful emergence of rock ‘n’ roll was certainly influenced by factors such as technology, where television transmitted image and sound to 65% of US homes. With teenagers captured by television and the sex appeal of artists such as Elvis Presley, Rock ‘n’ Roll appealed to the masses. However it isn’t fair to say that these were the only reasons for its success, Peterson most defiantly isn’t wrong but he hasn’t taken in to account the music itself. Why didn’t blues, jazz or R&B have the same success if these factors were so significant to Rock’s success? The diverse creative nature of Rock ‘n’ Roll stood out compared to any other genre at the time and it’s the mix of blues, hillbilly and jazz makes the sounds so unique.

Is it resonable to consider rock music is gendered 'male'?

The recent Rolling Stones magazines top 50 guitarists feature only two women, whom are both not even in the top 50. The Roll of Rock music in their social life has never been a key element and as girls grow up they are taught “to be feminine and not engage in masculine activities” (Bayton). Rock music is predominantly viewed as a male gendered music industry with guitars seen as women or an extension of there gentiles.

The influence of commercial media and peers are properly the most notably reasons to why there aren’t enough female guitarists. “Lead guitarists are made, not born. The reasons for women’s absence are entirely social” (Bayton). Where females aren’t as influential in rock music they are predominantly dominant in other genres such as POP music. I believe that their success in other genres will merge into Rock and lead female instrumentalists will emerge as inspirational figures like Linda Perry.

Can popular music ever really be unplugged?

Along with all other industries across the world, the music industry has adopted technology to improve quality, distribution and profitability. With popular music being dependant on commercialization, can it ever be unplugged? Since the invention of the recording and amplifiers artists can express their talents across the world. If technology were to be eliminated, this commercial industry would fold and instead of being international, artists would have to refer to local or national coverage. The use of recording has allowed people the capability to listen to music where ever and when ever. Amplifiers have also played an important role, if taken away music from all forms of technology would not exist. Live acoustic performances would therefore be played to small groups in small arenas. Popular music would then change in style, context and content. Folk music would perhaps become popular music as it was hundreds of years ago, the thought of technology not existing would destroy a whole way of social life.

What is Popular Music?

Some may refer popular music as highly commercialized or others may regard it as music of the time. In fact it could be both, it could be defined in many different ways depending on any individuals thoughts. The word ‘popular’ originated as the legal term ‘popularis’ (belonging to the people), with several changes though history the popularis term has somewhat remained. Now, we have the term popularize, which refers to presenting knowledge in generally assessable ways. To popularize is to simplify, top ten and number 1 records haven’t always been works of a genius or a classic. For example bob the builder reached Christmas number 1 in 2000 ahead of international superstar eminem. Its best defined by Ray Shuker as “essentially all popular music consists of hybrid’s of musical traditions, styles, influences and is also a economic product which is invested with ideological significance by many of its consumers” (R.Shuker, understanding popular music)