The 1985 Live Aid event, in which live television broadcasts of charity concerts taking place on both sides of the Atlantic were shown worldwide, not only put on public display the rock establishment and its variety of sounds but also made clear television’s potential as a marketing tool. The regeneration of DIY paralleled the development of new means of global music marketing. Hip-hop, as was quickly understood by young disaffected groups around the world, made it possible to talk back to the media. For a hip-hop act such as Public Enemy, what mattered was not just a new palette of “pure” sound but also a means of putting reality-the actual voices of the powerful and powerless-into the music.
Over the next decade the uses of digital equipment pioneered on the dance scene fed into all forms of rock music making. The radical development of digital technology occurred elsewhere, in the new devices for sampling and manipulating sound, used by dance music engineers who had already been exploring the rhythmic and sonic possibilities of electronic instruments and blurring the distinctions between live and recorded music. Local record companies became, in effect, research and development divisions of the multinationals. and in the ’90s for Nirvana-in which independent labels, college radio stations, and local retailers developed a cult audience for acts that were then signed and mass-marketed by a major label. A new pattern emerged-most successfully in the 1980s for R.E.M. For new white acts the industry had to turn to alternative rock.
Rock became adult music youthful fads continued to appear and disappear, but these were no longer seen as central to the rock process, and, if rock’s 1970s superstars could no longer match the sales of their old records with their new releases, they continued to sell out stadium concerts that became nostalgic rituals (most unexpectedly for the Grateful Dead). By this point the most affluent record buyers had grown up on rock they were encouraged to replace their records, to listen to the same music on a superior sound system. Vinyl records were replaced by the compact disc (CD), a technological revolution that immediately had a conservative effect. The music industry was rescued from its economic crisis by the development in the 1980s of a new technology, digital recording. Rock in the 1980s and ’90s Digital technology and alternatives to adult-oriented rock
#Making thinking rock portable how to
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