AffiliationUniversity of Chester
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AbstractThis chapter surveys different ideas from popular music studies, fan studies and associated areas to explain how ‘the rock audience’ has been perceived. It outlines four theoretical perspectives which can be associated in various ways. The first suggests that our understanding of the audience is a consequence of rock’s extended reaction against elitist criticism. The second says rock has created a kind of community, or at least communality. The third suggests that mainstream media representations have hidden significant fan productivity. A final perspective suggests that ‘the rock audience’ is actually a composite housing a variety of discreet experiences based on the social identities of its individual participants. In other words, for example, males and female fans may have distinct experiences; the same goes for fans of particular generations, national identities, musical tastes, subgenre interests, and so on. The chapter argues that a critically nuanced approach is required: in every instance, we need to ask by who and for what purpose and is ‘the rock audience’ being defined.
CitationDuffett, M. (2019- forthcoming). Fans & Consumption. In Moore, A. (ed.), Bloomsbury Rock Handbook. New York, NY: Bloomsbury Academic.
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