Abstract
What happens to disintermediated, flattened, plural and resistive popular culture when classic rock is corporatized and the audience is middle aged white men? This article is provoked by Bob Dylan’s The Cutting Edge, the expensive reissuing of his albums from 1965 and 1966 in 2015, to offer a theorization of digital recording and sharing of analogue unboxing cultures. My interest particularly focuses on the audience of this affluent product and the odd cultural responses from the male audience. How do scholars of popular culture understand this shared enthusiasm for unpackaging consumerist items? The solution posed in this article is the deployment of Jean Baudrillard’s theories to understand and manage the cascading simulacrum.
| Original language | English |
|---|---|
| Pages (from-to) | 63-74 |
| Number of pages | 12 |
| Journal | KOME |
| Volume | 6 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 2018 |
Bibliographical note
All authors and readers have the right to download, copy, distribute, modify, create derivative works and display publicly the articles in electronic, digital, or print form, provided that the post-print version of the articles are not sold for a profit and the first Publication by KOME, with a URL link and complete bibliographic details, is referenced.Keywords
- Bob Dylan
- Jean Baudrillard
- The Cutting Edge
- disintermediation
- reintermediation
- popular culture
- popular memory