By examining the centrality of Romantic authorship to both copyright and the music industry, the author highlights the mutual dependence of capitalism and Romanticism, which situates the individual as the key creative force while challenging the commodification of art and self. Marshall reveals how the desire for bootlegs is driven by the same ideals of authenticity employed by the legitimate industry in its copyright rhetoric and practice and demonstrates how bootlegs exist as an antagonistic but necessary component of an industry that does much to prevent them. This book will be of great interest to researchers and students in the sociology of culture, social theory, cultural studies and law.

Romanticism and Popular Music

Romanticism and popular music

Duluth – where Baudelaire lived1

The arguments I have made so far have been historical in nature and this goes against my earlier statements that we should understand Romanticism as a contemporary cultural current rather than merely an historical movement. In this chapter, therefore, I want to shift eras and to discuss Romanticism in one particular contemporary context – the popular music industry – and to illustrate how the ideals of Romanticism are prevalent within the notion of authenticity. Authenticity is a central concept in the academic study of popular music but a term rarely heard in the everyday discourses of music fans. Instead, a wide range of synonyms prevail, such as ‘keeping it real’, ‘being true to himself’ ...

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