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Why Cover? An Ethnographic Exploration of Identity Politics Surrounding 'Covers' and 'Originals' Music in Dunedin, New Zealand
16 references·0 citing·41 second hop
Why Cover? An Ethnographic Exploration of Identity Politics Surrounding 'Covers' and 'Originals' Music in Dunedin, New Zealand (2016)Why Cover? An Ethnographic Exploration of…White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock (2017)White Boys, White Noise: Masc…The 'Dunedin Sound' (2015)The 'Dunedin Sound'A Critique of Michael Rings on Covers (2014)A Critique of Michael Rings o…Doing It Their Way: Rock Covers, Genre, and Appreciation (2013)Doing It Their Way: Rock Cove…Dunedin Soundings: Place and Performance (2011)Dunedin Soundings: Place and …I Did It My Way: Rock and the Logic of Covers (2010)I Did It My Way: Rock and the…‘Loaded’: indie guitar rock, canonism, white masculinities (2006)‘Loaded’: indie guitar rock, …What Is Indie Rock? (2005)What Is Indie Rock?In Defense of Cover Songs (2005)In Defense of Cover SongsCritical Ethnography: Method, Ethics, and Performance (2005)Critical Ethnography: Method,…Authenticity as authentication (2002)Authenticity as authenticationLosing the local: Sydney and the Oz Rock tradition (2000)Losing the local: Sydney and …‘Going down the pub!’: The pub rock scene as a resource for the consumption of popular music (1997)‘Going down the pub!’: The pu…Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania (1996)Popular Music and Local Ident…Kiwi rock: popular music and cultural identity in New Zealand (1994)Kiwi rock: popular music and …Aristotle's concept of ethos, or if not his somebody else's (1982)Aristotle's concept of ethos,…Mass Culture as Woman: Modernism’s Other (1986)Music for pleasure: essays in the sociology of pop (1989)Making Popular Music: Musicians, Creativity and Institutions (2000)Indie Culture: In Pursuit of the Authentic Autonomous Alternative (2009)‘… This little ukulele tells the truth’: indie pop and kitsch authenticity (2010)DIY Music and the Politics of Social Media (2020)Sincerity and Authenticity (1972)Image-Music-Text (1977)Performing rites: on the value of popular music (1997)‘Find out what it means to me’: Aretha Franklin's gendered re-authoring of Otis Redding's ‘Respect’ (2014)Pat Boone’s last laugh: Cover versions and the performance of knowledge (2017)A Philosophy of Cover Songs (2022)Discipline and Punish: The Birth of the Prison. (1978)The Field of Cultural Production (1994)Discipline and Punish: The Birth of the Prison. (1996)Critique and Renewal in the Sociology of Music: Bourdieu and Beyond (2011)Selling Out: Musicians, Autonomy, and Compromise in the Digital Age (2016)Big Sounds from Small People: The Music Industry in Small Countries (1984)Big Sounds From Small Peoples: The Music Industry in Small Countries (1985)‘Sadeness’, Scorpions and single markets: national and transnational trends in European popular music (1992)Pop and the Nation-State: towards a theorisation (1999)Sonic psychogeography (2009)The Cambridge Companion to the Singer-Songwriter (2016)The Condition of Postmodernity (1991)Running with the devil: power, gender, and madness in heavy metal music (1993)Club cultures: music, media and subcultural capital (1996)Authenticity Revisited: The Rock Critic and the Changing Real (2010)It’s really not hip to be a hipster: Negotiating trends and authenticity in the cultural field (2013)Education Policy as a Practice of Power (2009)The elephant in the living room: or extending the conversation about the politics of evidence (2009)Toward a Theoretical Foundation for Experience Design in Tourism (2013)Ethosas location: New sites for understanding discursive authority (1993)Using Actor Network Theory to Trace and Improve Multimodal Communication Design (2009)Duty orientation: Theoretical development and preliminary construct testing (2014)Gender, race, and the ma(s)king of ‘Joni Mitchell’ (2016)The influence of generative AI on popular music: Fan productions and the reimagination of iconic voices (2024)Perspectives on Males and Singing (2012)Rethinking DIY culture in a post-industrial and global context (2018)A Sweet Lullaby for World Music (2000)Music and the Global Order (2004)The post-subcultural turn: some reflections 10 years on (2011)
this work references cited by second hop

References

  • 2005Critical Ethnography: Method, Ethics, and Performance2,017 cited
  • 2002Authenticity as authentication486 cited
  • 1996Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania215 cited
  • 1982Aristotle's concept of ethos, or if not his somebody else's174 cited
  • 2005What Is Indie Rock?138 cited
  • 2006‘Loaded’: indie guitar rock, canonism, white masculinities106 cited
  • 2010I Did It My Way: Rock and the Logic of Covers88 cited
  • 2017White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock74 cited
  • 2005In Defense of Cover Songs67 cited
  • 1994Kiwi rock: popular music and cultural identity in New Zealand61 cited
  • 2013Doing It Their Way: Rock Covers, Genre, and Appreciation47 cited
  • 1997‘Going down the pub!’: The pub rock scene as a resource for the consumption of popular music41 cited
  • 2000Losing the local: Sydney and the Oz Rock tradition23 cited
  • 2015The 'Dunedin Sound'18 cited
  • 2011Dunedin Soundings: Place and Performance13 cited
  • 2014A Critique of Michael Rings on Covers10 cited

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