Kerrang! Magazine review

Kerrang! magazine claims to be the ‘world’s biggest selling weekly rock magazine’, at least that’s what their website says! Crammed full of moody, uncaring, generic rock bands who  never seem to smile, it seems to be aimed at mid to late teenagers going through a goth/emo/alternative phase. The adverts seem to reflect the age range and in the latest issue they offer ‘FREE GIANT POSTERS! & STICKERS!’, not something likely to excite the older reader.

The writing is slightly sarcastic, and clearly aimed at younger readers, although this hardly matters as the magazine is largely picture based with very small text. It offers interviews and reviews on rock bands, many outside of the mainstream music scene, but would appeal to those hardcore fans who follow their favourite bands everywhere.

Kerrang! focusses more on the image and persona of the Rock Star, rather than the music itself.

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

It is important to recognise the origins and influences of different genres of music but it is difficult to categorize music as either black or white. Music styles are not exclusive to any one particular group of people, and although black or white origins may be apparent in certain genres, there are always exceptions within the artists and audience. Elvis Presley and Eminem are two famous examples of artists who have been extremely successful in what is considered to be music of black origin.

Hatch and Millward suggest that pop music is dependent on on the 'interaction between white and black traditions’. The fusion of different types of music creates new genres which are neither specifically of black or white origin but a combination of both. Rock and Roll for example, is a mixture of Rhythm and Blues and Country music.

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

When looking at piracy through digital file sharing, Condry suggests that the idea of people sharing music ‘just to get something for free’ is ‘over simplistic’.(2004). People do not simply download music illegally in place of paying for it, as Lessig suggests, but also to sample before buying, find copyrighted material which is no longer available to buy, or to get non-copyrighted material.

Many artists have benefited from the downloading of their music; by reaching wider audiences or encouraging them to buy more of their material or to see them live. Radiohead’s album ‘In Rainbows’ was sold for an average of about £5 despite being available to download for free. 

When recordable cassettes were first introduced the issue of piracy was raised. Home recording did not ruin the music industry, and neither will file sharing. People will pay for music they like regardless of being able to download it for free.

Can popular music achieve genuine political change?

It is very difficult to quantify what effect music can have in a political sense as it if impossible to identify the full effects. Although a song itself can have no actual power to change things, John Street asserts that music has the potential to influence and change opinions. Artists have often made political statements within their work, and although this may raise awareness about particular issues, it is unlikely to lead to political change, as only specific audiences are being reached. Popularity also plays a part as fans may respect and mimic view of the artists they admire.

There have been attempts to make a change through music which have been unsuccessful, however Band Aid and what followed, proved to have a strong influence, as the outcome was shown through the money raised. This was achieved through a mixture of the artist involved, constant media attention and the emotive lyrics within the song.