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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Ekins, Richard 2014. The social construction of a music Mecca: ‘Goin’ home’, New Orleans and international New Orleans jazz revivalism. Popular Music History, Vol. 8, Issue. 1,

    Duffett, Mark 2009. “We Are Interrupted by Your Noise”: Heckling and the Symbolic Economy of Popular Music Stardom. Popular Music and Society, Vol. 32, Issue. 1, p. 37.

    MATTAR, YASSER 2009. Popular cultural cringe: language as signifier of authenticity and quality in the Singaporean popular music market. Popular Music, Vol. 28, Issue. 02, p. 179.

    Matheson, Catherine M. 2008. Music, Emotion and Authenticity: A Study of Celtic Music Festival Consumers. Journal of Tourism and Cultural Change, Vol. 6, Issue. 1, p. 57.

    Hamm, Charles 2004. Popular Music and Historiography. Popular Music History, Vol. 1, Issue. 1, p. 9.

    Gibson, Chris 2003. Cultures at work: Why 'culture' matters in research on the 'cultural' industries. Social & Cultural Geography, Vol. 4, Issue. 2, p. 201.

    Duffett, Mark 2000. Transcending audience generalizations: Consumerism reconsidered in the case of Elvis Presley fans. Popular Music and Society, Vol. 24, Issue. 2, p. 75.

    Dibben, Nicola 1999. Representations of femininity in popular music. Popular Music, Vol. 18, Issue. 03, p. 331.

    Herman, Andrew and Sloop, John M. 1998. The politics of authenticity in postmodern rock culture: The case of Negativland andthe letter ‘U’ and the numeral ‘2‘. Critical Studies in Mass Communication, Vol. 15, Issue. 1, p. 1.


Resisting songs: negative dialectics in pop


But there isn't Al. If Al were there he would be giving a private performance to Chris Roberts as patron: an odd conception in the present-day world. In fact Al Green sings in a domain that is public although the musical commodity of the disc or tape turns it into a potentially solitary experience. In his comment Roberts has been captured by the Romantic understanding of the song: that its essence is (artistic) interiority made exterior. He is not alone in his fantasy of access to the pop singer. It constitutes the prevailing, if unformulated, view – a considerable irony in the postmodern world of late capitalism. The past few decades have witnessed the development of a global light-entertainment industry whose cultural objects partake in an increasingly closed circle of signification through pop videos, television advertising, soap operas and the tabloids. This (hyper)reality coexists today with the pursuit of the ever more soulful vocal, as if in a doomed attempt to crack open the reified commodity, by dint of the singer's passion to force something human across the gulf between exchange value and use value.

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Christopher Norris . 1982. Deconstruction: Theory and Practice (London)

Gillian Rose . 1978. The Melancholy Science: An Introduction to the Thought of Theodor W. Adorno (London)

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Popular Music
  • ISSN: 0261-1430
  • EISSN: 1474-0095
  • URL: /core/journals/popular-music
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