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MED6114 POPULAR MUSIC CULTURE• ASSIGNMENT 1•
Contents
MED6114 POPULAR MUSIC CULTURE ASSIGNMENT 1
Introduction...................................................................3Methodology.................................................................4Analysis of Emblematic text..........................................8
The song......................................................................8The riff.........................................................................9Vocal Melody.............................................................10Instrumentation and Timbre qualities.......................10Rhythm and Arrangement.........................................11Words and Image......................................................11
Conclusion...................................................................13References...................................................................14
Appendices................................................................15
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MED6114 POPULAR MUSIC CULTURE ASSIGNMENT 1
In what ways do the audience of Snobs identify themselves as fans
of indie music?
Introduction Snobs is perhaps one of the best known venues in the Birmingham clubbing area. It is known
as the base of Birmingham’s Indie and Alternative scene, with an audience consisting of
students and genuine music fans.
Before Snobs began its change into a more competitive and mainstream front by undergoing
a venue change and revamp, it consisted of two medium sized rooms underground an
apartment of blocks being renovated – the look of Snobs fit the indie and alternative scene
quite well which perhaps did aid the venue well. The club did look quite laid back and
alternative which was the target audience they were going for.
Snobs originally opened over 30 years ago in 1972 on Paradise Circus at the end of Broad
Street – Birmingham’s most popular nightclub street. Initially starting out as punk orientated
playback and live music venue, the reputation came later on in the history of Snobs due to the
club nights that followed, known for their different styles of music on the clubbing scene and
cheap affordable prices weekly.
The new Snobs club is located at the top of Hurst Street, one of Birmingham’s most popular
clubbing streets, with a massive sign and windows showing inside the club. The new venue
hosts a capacity of 1,400 people and consists of two main dance rooms and a bar like area at
the front of the venue which is used for a daytime pub but can be also opened into the main
dancefloor. Their new rebrand and venue aesthetic couldn’t be further away from their
previous efforts of a simple paper banner sign outside their old venue. Perhaps this shows that
the owners of Snobs are trying to distance themselves from their old renowned indie and
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alternative look and are looking to compete against all the ‘big name’ clubs on Broad Street
for example, which are all about a massive aesthetic of bright colours, large promo and
massive venues.
Methodology“Since indie is not merely ideology, it needs to be examined in habitus: participation in the
indie music scene is a process” (Fonarow, 2006)
For my methodology I decided to undertake an ethnography as I felt this was the best way to
find out real information from the main subject of this research report which would be the
audience in the environment I wish to research within – an ‘indie’ audience within a
nightclub. I will also conduct a few interviews to get a bit more contextualisation around the
research and do an analysis of an emblematic text found within the nightclub.
I attended two regular nights at Snobs Wednesdays on the 25th of November and 2nd
December. Snobs Wednesdays is one of the most iconic club nights in Birmingham due to
reputation and history that is associated with Snobs. Before the club opened in its new
building in 2014, each Wednesday night at Snobs would be sold out and always consistently
busy.
It’s interesting to look behind the theory of dancing that is associated within nightclubs.
Types of dancing can drastically change from one room in a club to another depending on the
music, setting, culture and situation of the surroundings.
I noticed through both nights at the club that there was a mixed ratio of males to females,
unlike a lot of other clubs in Birmingham which are widely known to have a uneven ratio –
especially with a lot of popular clubs on Broad street such as Gatecrasher and Players, which
often either have one or the other, which I have heard from various different people is quite
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off putting and intimidating. Perhaps this is why Snobs is such a popular club as the audience
are more concerned about the music and the genre and subculture that associate around it.
An example playlist of some songs that came on during a Wednesday night at Snobs
1. This Charming Man - The Smiths
2. Fluorescent Adolescent - Arctic Monkeys
3. Dog Days are Over - Florence and The Machine
4. Someone I Used to Know – Gotye ft Kimbra
5. Heads Will Roll – Yeah Yeah’s
6. What You Know – Two Door Cinema Club
7. Sugar Were Going Down – Fall Out Boy
8. Friday, I’m In Love – The Cure
9. Cassius – Foals
10. I Write Sins – Panic at the Disco
Most of the songs played are by predominately indie bands, with a large section of the songs
by mainstream British and Irish indie bands. I also noticed that Snobs doesn’t play any local
music in their playlists. This could be to do with the simple fact that they don’t feel that
although there are a lot of upcoming indie and alternative bands (Peace, Swim Deep and
Jaws) perhaps their songs just aren’t suitable for a club environment where they want the
audience to constantly be having fun, and not interrupted with perhaps an unknown song that
would kill the atmosphere and vibe of the crowd.
“The Social elements of clubbing are hugely important in terms of how you experience the
music itself. Sharing music intensifies the way in which it affects you and the presence of
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music alters the way in which crowds relate to each other” (Phil Jackson, 2004) I find this
quote interesting as it suggests that crowds can relate to each other through the presence of
something so simple as music – it suggests that strangers can have a mutual bond and become
one through the addition of music they both have a passion for. It’s interesting to look at
‘Sugar, We’re going down’ in this context as it’s a classic fan favourite during Snobs, and
personally I hear this song every time I attend Snobs and it always gets a massive reaction
from the crowd, with people regularly running to the dancefloor to sing along.
“Am I more than you bargained for yet. I've been dying to tell you anything you want to
hear, cause that’s just who I am this week” – Sugar, Were Going Down (Fall Out Boy, 2004)
I think it’s important to note that within the first verse alone it contains 11 pronouns (You,
Your, I, I’m) meaning that as crowds in club generally dance by interacting with one another,
the fact that within the first verse alone it can allow two different people to use their fingers
for example to point to one another with the next line resulting in a comeback of the same
reaction – ultimately creating that bond through dancing, lyrics and music.
In any nightclub worldwide, dancing is the main component that necessarily makes it
different from any other dark room with loud music, ‘dance expands your affinity to music by
allowing you to build a deeper and deeper physical relationships to it’ (Jackson, 2004) –
looking at how some cultures and musical genres have stronger connections with dancing
within that scene, it shows how dancing is another way that the listener can interact with the
rhythm and feel of the music but also with the audience and the surroundings that the music
would be played in.
Phil Jackson states in his book, ‘Inside Clubbing’ that ‘Sharing music intensifies the way in
which it affects you and the presence of music alters the way in which crowds relate to each
other’ suggesting that the impact of a large crowd of people enjoying music at the same time
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is a completely different experience from listening to music in smaller numbers or by
yourself. This is perhaps the reason why clubs are so popular in music culture, the fact that
bonding over music creates a unity and overall positive and welcoming atmosphere for music
fans.
Thornton states that “Clubs allow their patrons to indulge in the adult activities of flirtation,
sex, drink and drugs and explore cultural forms (like music and clothes) which confer
autonomous and distinct identities.” (Thornton, 1995) which shows how important it is that a
club such as Snobs caters for a niche audience within Birmingham’s local popular music
culture scene as it allows distinct identities to be recognised within a seemingly normal
atmosphere and not somewhere that would be considered a novelty from being different to
the norm.
I decided to conduct a few interviews to gain different perspectives and opinions behind the
audience that attended Snobs. This allowed me to get a more varied source of research from
the actual fan, as opposed to just observing. I decided to ask a few quick and short questions
so that I wouldn’t bore people and not gain any valuable feedback.
Regular Snobs attendee Claire stated that ‘although Snobs does have a reputation for people
who have lived in Birmingham before it got relocated, to new students and people in the area
since the relocation, I feel they are now making their own assumption of the venue, as
opposed to everyone previously knowing it as only a indie club’ – after speaking with Claire I
decided to ask someone who was new to the Birmingham scene and perhaps didn’t have any
preconceived opinion on Snobs. I spoke with a first year at Birmingham City University,
Lewis, who told me that he ‘attended Snobs around 5 times since fresher’s week. Although
I’m usually more into the grime and house music scene and prefer clubs like Rainbow, I do
love Snobs because the atmosphere is more relaxed and friendly. The music does vary in the
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different rooms but I do think there is a preference for a more alternative and indie genre and
scene.’
Analysis of Emblematic textI decided to analyse Seven Nation Army by The White Stripes.
The songReleased in 2003 by an American band called The White Stripes, Seven Nation Army
became their signature song and has became a classic alternative club anthem and also a
massively used chant in sporting events throughout the world. It won a Grammy Award for
Best Rock Song and also became the third best performing song of the decade.
The song can be widely noted to be inspired by the music repertoire of Tin Pan Alley. The
song is written within the classic 32 bar form and based around the form of –
Intro ➞ verse ➞ turnaround ➞ chorus ➞ intro ➞ verse ➞
Turnaround ➞ chorus (2X) ➞ intro ➞ verse ➞ turnaround ➞ chorus ➞ end
(Owsinski, 2013)
The song was also written by a singer songwriter, something very common within the tin pan
alley tradition, with such composers as the Gershwin Brothers and Irving Berlin all having
talents within song writing for entertainment and live audience purposes. As Seven Nation
Army’s form includes a turnaround just before the chorus of the main riff, it could be
suggested that it also takes influences from the European Art music repertoire as using a
turnaround is quite a classic feature of jazz composers and jazz song form, allowing the
musicians to show off their virtuosic talents and musical genius.
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The riffArguably one of the most iconic riffs in any song in the 21 st century, Seven Nation Army is
all about the simplistic and memorable riff that centres the whole focus of the song. Chilly
Gonzales points out that the melody which is often cited as simple and easy ‘actually
involves an initial rise of a minor third before descending… My guess is that great hooks
require a mix of surprise and satisfaction. Seven Nation Army is more of a veiled chord
progression than a melody. It begins on the one, up to a brighter three, down to a tense six,
and then lowered to a five. A five begs to be resolved to its home destination, the one. So
there is a neutral establishing note, and a brief trip through bright, tense and the most
common resolution of all, five-one. There might be something to the fact that the second
iteration of the theme adds a small variation that accomplishes some kind of storytelling with
minimal means." I feel that although there isn’t a large expansive use of notes within the key,
which could be considered a lack of emotional expansiveness, the timbre and sound quality
that is created through the distortion of the vocals and various instruments and the gradual
crescendo and consistent repetition of the riff creates the primitive and medieval ‘evil’
sounding chant that the song is known for.
Looking at the riff that Jack White created on his distorted acoustic guitar, it’s interesting to
see how many people have cited its similarities to a classical piece written in the 1800’s by
Bruckner – Fifth Symphony I (Part 1), where 4 of the starting notes of the riff are heard, and
also in 1980’s punk band Conflict song Mighty and Superior where the same riff is also heard
in an inverted way but still sounding similar to Seven Nation Army. I think this is always an
interesting situation in music where although music is always being created and innovated,
the idea of nothing ever being original and authentic is so subjective when you can hear such
strong similarities between contrasting different forms of genres and musical repertoires but
yet similarities within working in the same key and basis of musical theory and notation.
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Vocal MelodyAlongside the riff that introduces the song, the vocal melody is also quite simplistic. It is
written within E Minor and the first four lines consist of two notes only (E & G) before the
next line plays a ascending scale pattern in the melody shifting from E up to B and gradually
descending down through B, A, G, F# returning to the original starting note of E (‘and I catch
it falling from my eye...’). The use of D# (used on ‘story to tell’ and ‘hounds of hell’ etc,
usually the last three words of each line in the verses) which doesn’t necessarily fit within the
key of E minor gives a slight feeling of dissonance throughout the vocal melody in the verses.
This fits within the idea of the song creating tension, with the juxtaposed use of the D#
creating a sense of tension to resolution throughout the vocal melody. As the vocal riff carries
the main melody throughout the chorus of the song, the melodic restraint of the vocals within
the verses don’t span a wide range of notes within the E minor scale, which perhaps shows
how this song is so commonly known as anyone without any musical or technical singing
technique can easily sing along as the range of 6/7 notes within one octave throughout the
song make it easy to remember and easy to sing along.
Instrumentation and Timbre qualities The iconic riff that is used throughout the song is commonly mistaken for a bass, whereas
Jack White who created the riff explained how the riff was actually recorded using an electro-
acoustic guitar processed through a whammy pedal, which created the distorted noise we can
hear, on an octave below standard tuning, which creates the distinctive deep and low sound of
the riff which sounds like its being played through a bass.
After listening to the original version, the instrumental and the acapella version of the song –
its interesting to note the different techniques used in the production of the song to create a
unique sonic sound. In pastiche to the classic sound of blues that The White Stripes
constantly referenced, the song starts with a slight crackle in the background, like a faint old
radio player that you would hear an early blues song on. Jack White’s vocals are also over
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lapped to create a louder sonic sound, with the obvious crackle on the recording of the
microphone intentional to fit in with the timbre qualities that early blues also used. The
instrumental and guitar riff panning from the left slightly louder, once again creating an
unusual break in the stereo sound that we are used to in modern recordings today.
The vocals are delivered in various different manners throughout the song. I feel like
throughout the song, Jack White is trying to portray a sense of a warrior singing the song,
who could perhaps be regarded as slightly crazy and temperamental. In the first verse, Jack
White starts quite soft and gets harsher and louder on certain words. For example, in the line
“they’re gonna rip it off”, he dramatically sings the word ‘rip’ louder as this is the one
different note in the song (from E to G to E again) creating a sense of tension and shrieking.
Rhythm and ArrangementThe song consists of Drums, Bass guitar, Electro-Acoustic Guitar, Vocals and BG Vocals,
and Electric Guitar. The Lead consists of the vocals in the verse and the guitar riff in the
chorus; the drums carry the rhythm which is built upon the foundation of a syncopated drum
beat and bass guitar.
Words and Image The lyrics in the song deal about the singer’s inner rage and how he could essentially take on
a ‘seven nation army’ by himself. At the time this song was written, a lot of people and
tabloids were talking about the relationship between the two members of the band Jack White
and Meg White and their relationship. Jack decided to channel his anger into the lyrics
combined with the minor key of the song which gives an overall sonic sound of tension and
the gradual crescendo and diminuendo throughout the song until the climax at the end
portrays the emotional intensity the lyrics are also trying to convey.
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On the cover art of the single, the
colours are mainly red and white with
both members of the band shown, Jack
painting a picture of Meg, with the
outcome of the painting being an
Elephant (reference to the album that
Seven Nation Army comes from –
‘Elephant’ 2003). The strong use of a
bold colour of red, which universally
connotes aggression and passion,
contrasts against the purity symbolism behind the colour of white, creating an interesting
juxtaposition of the overall meaning of the song – the lyrics obviously convey rage but the
symbolism of the artwork conveys a more peaceful contrasting image.
The music video is also considered iconic in terms of early 2000’s videos. The innovative
look of the video could perhaps be a factor to the overall success of the song. The video is
essentially a journey through triangles, creating a kaleidoscopic void of switching images of
Jack white singing and Meg white playing the drums, along with overlapped images of
skeletons and elephants. The speed which the camera moves through the triangles changes
throughout the song and is in sync with the tempo and dynamics of the music, for example as
the chorus progresses and crescendos, the camera moves very quickly almost giving the
viewer a warped view of the images shown as the camera moves so fast it creates an eye sore.
This is stereotypical of indie music videos that usually are known to go against the norm and
be very creative and influential.
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ConclusionThroughout my research I have looked into different aspects of popular music culture to
consider how the audience of Snobs in Birmingham consider themselves types of indie fans. I
have researched into different types of primary and secondary research to gain a better
understanding and knowledge behind this area of music.
Birmingham does have a rather large underground and alternative scene, aiding the overall
consumption and distribution within music culture to the niche audiences that are targeted in
the area. As genres are constructed for marketing and distribution purposes, it could be
subjective to state that this is the main factor behind the success of Snobs, as so many
different factors contribute to this. However, a particular genre and main consistent club
sound does allow to give a particular grouping of people a form of identify, and although
identities are usually fluid, Snobs has stood the test of time for a popular nightclub within
Birmingham’s local music culture scene and perhaps this shows how the audience of indie
music, however fluid and dynamic an identity may be, will too be consistent, compassionate
and the ultimate catalyst to indie music and its success.
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ReferencesAzlyrics.com, 'THE WHITE STRIPES LYRICS - Seven Nation Army'. N.p., 2015. Web. 8
Dec. 2015.
Bannister, Matthew. White Boys, White Noise. Aldershot, England: Ashgate, 2006. Print.
Bobbyowsinski.blogspot.co.uk,. 'Bobby Owsinski's Big Picture Music Production Blog:
White Stripes "Seven Nation Army" Song Analysis'. N.p., 2013. Web. 8 Dec. 2015.
Fonarow, Wendy. Empire Of Dirt. Print.
Genius,. 'The White Stripes – Seven Nation Army'. N.p., 2015. Web. 8 Dec. 2015.
Jackson, Phil. Inside Clubbing. Oxford: Berg, 2004. Print.
Machin, David. Analysing Popular Music. Los Angeles: SAGE, 2010. Print.
The Quietus,. 'The Quietus | Opinion | The Quietus Essay | Stupid & Sophisticated: The Rise
& Rise Of The Seven Nation Army Riff'. N.p., 2015. Web. 8 Dec. 2015.
Thornton, Sarah. Club Cultures. Hanover: University Press of New England, 1996. Print.
Wikipedia,. 'Seven Nation Army'. N.p., 2015. Web. 8 Dec. 2015.
Wiseman-Trowse, Nathan. Performing Class In British Popular Music. Basingstoke
[England]: Palgrave Macmillan, 2008. Print.
YouTube,. 'Seven Nation Army - The White Stripes [Piano Sheet Music]'. N.p., 2015. Web. 8
Dec. 2015.
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AppendicesInterview Questions
Do you think Snobs accurately fits the stereotype of an indie nightclub?
Do you think the audience that attend Snobs fit within the stereotype of being an ‘indie
crowd’
Do you think audiences that have no interest in indie music could appreciate a club night at
Snobs?
Claire
Do you think Snobs accurately fits the stereotype of an indie nightclub?
“Very much so, it’s located in the clubbing area that not many people know about, on Hurst
Street where a lot of gay and alternative clubs are, as opposed to the reputation clubs have on
Broad Street, Snobs is quite a ‘cool’ club to attend. But although Snobs does have a
reputation for people who have lived in Birmingham before it got relocated, to new students
and people in the area since the relocation, I feel they are now making their own assumption
of the venue, as opposed to everyone previously knowing it as only an indie club”
Do you think the audience that attend Snobs fit within the stereotype of being an ‘indie
crowd’
Yeah, you always see people wearing pieces of clothing that makes them look like an indie
hipster. Like baggy shirts and ripped skinny jeans and funky haircuts – everything that you
would see in an indie video or a NME photoshoot.
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Do you think audiences that have no interest in indie music could appreciate a club night at
Snobs?
Yeah definitely, I love indie music but I can also appreciate other genres. I’ve brought along
friends from outside of Birmingham who are only interested in rnb music but they loved
Snobs and we had a great night, regardless of what music they played.
Lloyd
Do you think Snobs accurately fits the stereotype of an indie nightclub?
The old Snobs did more. The new Snobs has a lot more of a varied audience as opposed to
the old club, it might be that they’re just promoting it to a different audience of students now
that they have the new city centre club, but I wouldn’t say it has a main stereotyped audience.
Do you think the audience that attend Snobs fit within the stereotype of being an ‘indie
crowd’
Not necessarily no
Do you think audiences that have no interest in indie music could appreciate a club night at
Snobs?
Yeah definitely. I’m not a fan of indie music at all but I’ve been plenty of times to Snobs. I
would say it’s more the company you’re with than the music that’s played.
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Lewis
Do you think Snobs accurately fits the stereotype of an indie nightclub?
Yeah I feel it does. I’ve only attended Snobs around 5 times since fresher’s week. Although
I’m usually more into the grime and house music scene and prefer clubs like Rainbow, I do
love Snobs because the atmosphere is more relaxed and friendly. The music does vary in the
different rooms but I do think there is a preference for a more alternative and indie genre and
scene
Do you think the audience that attend Snobs fit within the stereotype of being an ‘indie
crowd’
Yeah for sure, everyone looks the same in my opinion
Do you think audiences that have no interest in indie music could appreciate a club night at
Snobs?
Yes, I’m a prime example!
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