Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-04T20:09:38.651Z Has data issue: false hasContentIssue false

The reformer's charter: setting Bloom's Anxiety of Influence in the context of melodic rock

Published online by Cambridge University Press:  03 February 2010

Benjamin Earl
Affiliation:
19 Hillside Court, Ty-Gwyn Road, Penylan, Cardiff CF23 5JA, UK E-mail: [email protected]

Abstract

When a band reforms after a period apart, they offer intertextual observations on their previous releases, and consequently on their generic positioning both in the present, and prior to splitting up. This paper considers how reformed bands deal with the weight and expectation that is caused by their initial, original existence before splitting up. I modify Harold Bloom's theory of poetic influence in order to theorise how a reformed band struggle with the weight of themselves as precursor, including not only analysis of the text itself, but the inter-textual discourses surrounding the work. I argue that Princess Alice and the Broken Arrow, a release by the melodic rock band Magnum, showcases the band's struggle to gain subcultural capital in their field, and look at the position-taking strategies they employ to deal with their anxiety of influence as the melodic rock field shifts position relative to the field of large-scale production.

Type
Articles
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Allen, G. 1994. Harold Bloom: a Poetics of Conflict (Hemel Hempstead)Google Scholar
Ashcroft, P. 2007a. ‘Princess Alice and the Broken Arrow’, Fireworks Stockport, 27, p. 55Google Scholar
Ashcroft, P. 2007b. ‘Arrows of Outrageous Fortune: an interview with Magnum's Bob Catley’, Fireworks Stockport, 28, pp. 34–5Google Scholar
Barthes, R. 1977. Image, Music, Text (London)Google Scholar
Bennett, T., and Woollacott, J. 1987. Bond and Beyond (Basingstoke)CrossRefGoogle Scholar
Bloom, H. 1975. The Anxiety of Influence: a Theory of Poetry (London)Google Scholar
Borthwick, S., and Moy, R. 2004. Popular Music Genres: an Introduction (Edinburgh)CrossRefGoogle Scholar
Bourdieu, P. 1984. Distinction: a Social Critique of the Judgement of Taste (London)Google Scholar
Bourdieu, P. 1993. The Field of Cultural Production: Essays on Art and Literature (Cambridge)Google Scholar
Bourdieu, P. 1996. The Rules of Art: Genesis and Structure of the Literary Field (Cambridge)CrossRefGoogle Scholar
Burke, S. 1998. The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida (2nd edn) (Edinburgh)Google Scholar
Butler, M. 2003. ‘Taking It Seriously: intertextuality and authenticity in two covers by the Pet Shop Boys’, Popular Music, 22/1, pp. 119CrossRefGoogle Scholar
Cockett, D. 2007. ‘Stormzone: Caught in the act’, Fireworks Stockport, 27, p. 48Google Scholar
Collins, J. 1989. Uncommon Cultures: Popular Culture and Post-Modernism (New York)Google Scholar
Couldry, N. 2003. ‘Media meta-capital: extending the range of Bourdieu's field theory’, Theory and Society, 32/5–6, pp. 653–77CrossRefGoogle Scholar
‘Deano’ 2007. ‘Bob Catley – Magnum’, http://www.hardrockhouse.com/interviews/BobCatley.htm (accessed 3 July 2007)Google Scholar
‘Dougie’ 2007. ‘Magnum: Princess Alice and the Broken Arrow’, http://www.hardrockhouse.com/NewReleases/Magnum2.htm (accessed 3 July 2007)Google Scholar
De Bolla, P. 1988. Harold Bloom: Towards Historical Rhetorics (London)Google Scholar
Derrida, J. 1992. ‘The law of genre’, In Acts of Literature, ed. Attridge, D. (New York), pp. 221–53Google Scholar
Frosh, P. 2003. The Image Factory: Consumer Culture, Photography and the Visual Content Industry (London)Google Scholar
Gelder, K. 2004. Popular Fiction: the Logics and Practices of a Literary Field (London)CrossRefGoogle Scholar
Genette, G. 1997. Paratexts: Thresholds of Interpretation (Cambridge)CrossRefGoogle Scholar
Harris, K. 2000. ‘“Roots”?: the relationship between the global and the local within the Extreme Metal scene’, Popular Music, 19/1, pp. 1330Google Scholar
Hesmondhalgh, D. 2006. ‘Bourdieu, the media and cultural production’, Media, Culture & Society, 28/2, pp. 211–31Google Scholar
Hogwood, B. 2007. ‘Magnum: Princess Alice and the Broken Arrow’, http://musicomh.com/albums/magnum_0307.htm (accessed 3 July 2007)Google Scholar
Homan, S. 2006. ‘“You've Got To Carry That Weight”: tribute acts in the entertainment supermarket’, In Access All Eras: Tribute Bands and Global Pop Culture, ed. Homan, S. (Maidenhead), pp. 3252Google Scholar
Huq, R. 2006. Beyond Subculture: Pop, Youth and Identity in a Postcolonial World (London)Google Scholar
Kawamoto, A. 2005. ‘“Can You Still Keep Your Balance?”: Keith Emerson's anxiety of influence, style change, and the road to prog superstardom’, Popular Music, 24/2, pp. 223–44CrossRefGoogle Scholar
Klier, R. 1999. ‘Walt Whitman, Woody Guthrie, Bob Dylan, and the anxiety of influence’, In Midwest Quarterly: A Journal of Contemporary Thought, 40/3, pp. 334–50Google Scholar
Korsyn, K. 1991. ‘Towards a new poetics of musical influence’, Music Analysis, 10/1–2, pp. 372CrossRefGoogle Scholar
Leslie, B. 2007. ‘Magnum: Princess Alice and the Broken Arrow’, http://rockofages.wordpress.com/2007/03/18/magnum-princess-alice-and-the-broken-arrow/ (accessed 3 July 2007)Google Scholar
Ling, D. 2002. ‘Jukebox Heroes’, Classic Rock, 38, pp. 5364Google Scholar
Longhurst, B. 1995. Popular Music and Society (Cambridge)Google Scholar
Lopes, P. 2000. ‘Pierre Bourdieu's fields of cultural production: a case study of modern jazz’, In Pierre Bourdieu: Fieldwork in Culture, ed. Brown, N. and Szeman, I. (Lanham, MD), pp. 165–86Google Scholar
Macan, E. 1997. Rocking the Classics: English Progressive Rock and the Counterculture (New York)CrossRefGoogle Scholar
Moore, A. 1992. ‘Patterns of harmony’, Popular Music, 11/1, pp. 73106Google Scholar
Morley, D. 1992. Television, Audiences, and Cultural Studies (London)Google Scholar
Oakes, J. 2006. ‘All the King's Elvii: identifying with Elvis through musical tribute’, In Access All Eras: Tribute Bands and Global Pop Culture, ed. Homan, S. (Maidenhead), pp. 166–82Google Scholar
Pondrom, C.M. 1991. ‘Influence? Or intertextuality? The complicated connection of Edith Sidwell with Gertrude Stein’, In Influence and Intertextuality in Literary History, ed. Clayton, J. and Rothstein, E. (Madison, WI), pp. 204–19Google Scholar
Toynbee, J. 2002. ‘Mainstreaming, from hegemonic centre to global networks’, In Popular Music Studies, ed. Hesmondhalgh, D. and Negus, K. (London), pp. 149–64Google Scholar
Trafford, S., and Pluskowski, A. 2007. ‘Antichrist Superstars: the Vikings in hard rock and heavy metal’, In Mass Market Medieval: Essays on the Middle Ages in Popular Culture, ed. Marshall, D.W. (Jefferson, NC), pp. 5774Google Scholar
Walser, R. 1993. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music (Hanover, NH)Google Scholar
Warner, T. 2003. Pop Music – Technology and Creativity: Trevor Horn and the Digital Revolution (Burlington, VT)Google Scholar
Weinstein, D. 2000. Heavy Metal: The Music and its Culture (2nd edn) (New York)Google Scholar
Willis, P.E. 1978. Profane Culture (London)Google Scholar

Magnum discography

Kingdom of Madness. Jet, JETLP210. 1978Google Scholar
Kingdom of Madness. FM, WKFMLP118. 1989Google Scholar
Magnum II. Jet, JETLP 222. 1979Google Scholar
Magnum II. FM, WKFMLP119. 1989Google Scholar
Chase the Dragon. Jet, JETLP235. 1982Google Scholar
The Eleventh Hour. Jet, JETLP240. 1983Google Scholar
On A Storyteller's Night. FM, WKFMGP34. 1985Google Scholar
Vigilante. Polydor, POLD5198. 1986Google Scholar
Wings of Heaven. Polydor, 835277-1. 1988Google Scholar
Goodnight LA. Polydor, 845568-1. 1990CrossRefGoogle Scholar
Sleepwalking. Music For Nations, MFN143. 1992Google Scholar
Rock Art. EMI, EMD1066. 1994Google Scholar
Kingdom of Madness. Jet, JETLP210. 1978Google Scholar
Kingdom of Madness. FM, WKFMLP118. 1989Google Scholar
Magnum II. Jet, JETLP 222. 1979Google Scholar
Magnum II. FM, WKFMLP119. 1989Google Scholar
Chase the Dragon. Jet, JETLP235. 1982Google Scholar
The Eleventh Hour. Jet, JETLP240. 1983Google Scholar
On A Storyteller's Night. FM, WKFMGP34. 1985Google Scholar
Vigilante. Polydor, POLD5198. 1986Google Scholar
Wings of Heaven. Polydor, 835277-1. 1988Google Scholar
Goodnight LA. Polydor, 845568-1. 1990CrossRefGoogle Scholar
Sleepwalking. Music For Nations, MFN143. 1992Google Scholar
Rock Art. EMI, EMD1066. 1994Google Scholar

(Post-reformation)

Breath of Life. SPV, 8572902. 2002Google Scholar
Brand New Morning. SPV, 8569632. 2004Google Scholar
Princess Alice and the Broken Arrow. SPV, B000MX7UM6. 2007Google Scholar