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By Kenny Sultan

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By Kenny Sultan

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ROMags’ were a mix of text, graphics, sound bites, videos and music, all organized in roughly the same way as their paper equivalents. The development of the Internet, with its ready access and the proliferation of music-related sites in the later 1990s, supplanted the CD-ROM and ROMags. CELTIC MUSIC Irish in origin but more widely influential, contemporary Celtic popular music is an example of a hybrid metagenre, variants of which have crossed over into the mainstream of popular music. Descriptions of it tend to be vague and lack specificity: ‘The element that the music of the Celtic lands most commonly shares is a feeling or quality that evokes emotions of sadness or joy, sorrow or delight’ (Sawyers, 2000: 5).

Authenticity continues to serve an important ideological function, helping to differentiate particular forms of musical cultural capital. It is also central to debates around the use of studio musicians (see bubblegum), sampling and other innovative recording techniques (see rap), and practices such as lip-synching, as in the Milli Vanilli affair (Friedman, 1993). Moore (2002) usefully moves the discussion of the concept beyond simple polarities (authentic versus unauthentic), by postulating a tripartite typology dependent on asking who, rather then what, is being authenticated.

5 inch plastic, aluminium-looking discs, the same size as the musical CD, which can each hold up to 700 megabytes of data, in multimedia form. The music CD-ROM represented a new marketing niche and a new advertising avenue for the popular music industry, and were part of the explosion of new multimedia in the 1990s. CD-ROMs became an important and influential part of the music industry, with an increasing number of popular music CD-ROM titles available through the 1990s. Most were artist-specific, but others let users compose, play guitar, and edit music videos.

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Acoustic Blues Guitar by Kenny Sultan


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