Chapter

Pop Music, Multimedia and Live Performance

Jem Kelly

in Music, Sound and Multimedia

Published by Edinburgh University Press

Published in print November 2007 | ISBN: 9780748625338
Published online September 2012 | e-ISBN: 9780748671038 | DOI: http://dx.doi.org/10.3366/edinburgh/9780748625338.003.0007
Pop Music, Multimedia and Live Performance

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This chapter describes the ‘inter-medial’ pop concert, where live performance is combined with virtual representations of some kind, and it looks at how these can impact on what actually constitutes a live performance. It defines examples of past music/sound-driven performances by the Velvet Underground and Madonna, and analyses new techniques and intermedialities employed by the animated pop group Gorillaz. Co-presence of performer and spectator is an enduring generic convention in pop performance, proposing a shared experience, a sense of ‘being there’ in the moment. Gorillaz contribute to the demise of the modernist meta-narrative of authorial presence in pop performance. While the Warhol-influenced Velvet Underground used film projection experimentally, Madonna continues to exploit telematic and video playback technologies as a memory device, or memoria technica. In performance, the shadows, ghostings, repetitions and inter-medial interventions that develop a complex and engaging scopic experience make Gorillaz' Demon Days innovative.

Keywords: pop concert; inter-medial interventions; live performance; Velvet Underground; Madonna; Gorillaz; video playback; Demon Days

Chapter.  7125 words. 

Subjects: Media Studies

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