Pop Music Chapter Summary

Chapter two talks about the interactions between the production of pop music and the technology that came with it, such as the digitization of music. This chapter also talks about how musicians handle being musicians in a digital era, such as the meanings and what it takes to do so. Artist will sometimes change roles within the company but keeping something familiar or recognizable to fans. On the bottom of page 63, The pop process, this section examines the different places in the division of labor, how it interconnects, and the different type of contributions to the overall product. This section talks about the A&R (The artist and Repertoire) and how Negus suggests that all record companies share a division of labor to the overall music

When I first read that title of the section I chuckled to myself. I thought it was funny and interesting that the way you can spot a music journalist in a crowd of strangers. Even though I do not listen to The Beatles, the example that the book gives, is the music journalist saying their favorite track from The Beatles was ‘Tomorrow Never Knows’, verses ‘Hey Jude’, ‘Hold Your Hand’, or even ‘Let It Be’ (that one I do know), but the main that really had me going was that critics have to say that song, if not they get kicked out of their committee. As I had already stated, I do not listen to their music, however I am pretty sure it can work with any other artist. I do have to agree to disagree with something that this section state. It says that in an ideal world we should all listen to music the same way; here’s a song that I think you would like, and then we would. Don’t get me wrong it would be nice but then again, what critics have to say about music people take into great consideration. Sure, we may disagree with them when the artist we were routing for didn’t win the award, but one positive side of it, is the publicity an album or artist might get after the critics critique