Page 261 - Cultural Theory

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••• Eamonn Carrabine •••

(Herman et al., 1998: 4). Nevertheless, problems remain over how these three
domains of analysis might be integrated. It is still the case that while most authors
in the field acknowledge that production and consumption are interrelated, far fewer
have attempted to fully theorize the complex processes condensed under these terms
and consider how they might be related.
Much of the textbook commentary implies that the various approaches can be sim-
ply bolted together to form a satisfactory resolution of the problem. However, as this
chapter has indicated, there are intense disagreements and fundamental differences
over how the same domain ought to be approached that undermines any crude syn-
thesis of incompatible positions. Nevertheless, there are sufficient points of conver-
gence that can open up a space for dialogue between competing positions. Two
important studies that do attempt to draw together the different traditions are
Goodwin’s (1993) study of MTV and du Gay et al.’s (1997) account of the Sony
Walkman – though crucially the two accounts restrict themselves to analysing a dis-
tinctive medium as a window to explore the complexities of cultural practice.
Ultimately, few would doubt that the sounds, styles and images surrounding popu-
lar music need to be situated in historical and economic context. Of course, the dif-
ficulties lie not in keeping production, text and consumption artificially distinct, but
by bringing them together in a convincing synthesis that recognizes that neither a
focus on micro-processes of consumption and everyday life – or macro-contexts of
production and institutional analysis – is likely to capture, on their own, the rich
meanings generated by popular music. It is to such matters of integration that future
work in cultural theory might best be directed.

Notes

1 An example of this is provided by Costello himself on the voluminous liner notes to a recent
CD reissue of his Get Happy!! (1980/2003) album where he explains that the track ‘Black and
White World’ drew upon ‘the narrative style of a Ray Davies song while the final recording
was based on a Pete Thomas drum pattern which owed something to the style of Little Feat
employed on “Cold, Cold, Cold”’. This revelation led one reviewer to complain that such
detail ‘adds nothing to the pure enjoyment of the song while taking plenty away’ (Wilde,
2003: 133).
2 Simon Frith is rather overstating Benjamin’s impact here. Arguably, Gramsci (1971) has had
a much greater influence on studies of youth subcultures (Carrabine and Longhurst, 1999:
126–7). Nevertheless, the debate between Adorno and Benjamin continues to be a major
influence on cultural theory more generally.
3 The six major companies are Bertelsmann Group (BMG), EMI Music, MCA Music
Entertainment, PloyGram Records, Sony Music Entertainment and Warner Music
(McDonald, 1999: 94). Each of these companies are parts of other larger multinational com-
panies with headquarter bases in Britain (EMI), Germany (BMG), Japan (MCA and Sony), the
Netherlands (PolyGram) and the United States (Warner). Up until the Time–Warner merger
in 1989, the Bertelsmann Group which, although maintaining a low corporate profile, was
the largest media conglomerate (Negus, 1992: 2). Recent years have seen increased rumours
of mergers and acquisitions in the entertainment industry in response to fears over digital
piracy (from CD copying and Internet file sharing), the virtual collapse of single sales and
supermarkets offering substantial discounts on a narrow range of chart and MOR albums. By
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