Are blackness and whiteness useful concepts in the study of popular music?

To a certain degree, the concepts of blackness and whiteness are useful when studying popular music. They allow music theorists to identify where music is from and how it originates, and in turn how this music influences black and white culture. It is, however, only useful as a starting point. From these starting points, we can see how music is then further divided by and influenced by class, heritage and cultural background. However, these dividing terms can sometimes lead to discrimination and unreasonable division of audiences. More often than not we are cultured into thinking that so-called ‘Black’ music is Rap, R'n'B and Hip Hop and conventional ‘White’ music is Indie, Rock and Roll and Opera. When looking at music in the 1940s though, when 'Black' music needed artists to sing their songs, it took white musicians to make the music mainstream. Hence I do not believe that these labels are definate and instead they are more guidelines which help to address underlying social issues and heritage of genres of music.

Can music ever achieve genuine political change?

I do not believe music itself can change politics. However, it does not mean that music and artists have not tried to. Live Aid and Live 8 garnered some of the highest viewing figures in television history and together they rose over £200 million. This was achieved through a concert of music; therefore music can make a difference in the world and influence political leaders to make changes.

In 1994, trance music/raves led to the introduction of special legal provisions, however this was not intentional political change, but as a result of music influencing the masses in a negative way and evoking change as a result.

If popular music ever does create any kind of political change, more often than not it is only a temporary fix e.g. Band Aid – its very name concedes the limitations of the project given the scale of the problem. It’s unrealistic to think that one song could end world poverty, however it does raise awareness, but this does not ensure change. All in all I would say that music shouldn’t be considered a force for political change as it quite rare for a song to cause any kind of political conflict.

Does the emergence of the digital download signal the end of the music industry?

In a monetary sense of the word, digital downloads have definitely had their toll on the music industry. When just 10 years ago a CD-single would have usually cost around £4 on the week of its release, it would now cost just 75p to have the same song; simply downloaded instead of shop-bought. Therefore, there would be an obvious hit to the industry’s income.

However, in an artistic sense, the ability to hear any song at any time, along with the capability to send songs across the world with the click of a button enables artists and record labels to spread music worldwide within seconds.

Obviously along with this simplicity comes the clear temptation of consumers to download this music illegally. The music industry is still thriving off of the digital-download craze – with iTunes selling its 10 billionth song in February 2010 – there will always be a legal demand for digital songs, even if the presence of illegal downloading is there.