Universität Potsdam Lars Eckstein Torpedoing the authorship of popular music : a reading of Gorillaz’ ‘Feel Good Inc.’ first published in: Popular Music. - ISSN: 0261-1430. - 28 (2009) 2, S. 239 - 255, DOI: 10.1017/S0261143009001809 Postprint published at the Institutional Repository of the Potsdam University: In: Postprints der Universitat¨ Potsdam Philosophische Reihe ; 80 http://opus.kobv.de/ubp/volltexte/2012/5911/ http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-59116 Postprints der Universitat¨ Potsdam Philosophische Reihe ; 80 Popular Music (2009) Volume 28/2. Copyright © 2009 Cambridge University Press, pp. 239–255 doi:10.1017/S0261143009001809 Printed in the United Kingdom Torpedoing the authorship of popular music: a reading of Gorillaz’ ‘Feel Good Inc.’ LARS ECKSTEIN Englisches Seminar, Universität Tübingen, Wilhelmstr. 50, D-72074 Tübingen, Germany E-mail:
[email protected] Abstract This article addresses problems of authorship and creative authority in popular music, in particular in view of a pervasive split between modes of aesthetic production (involving modernist assemblage, multiple authorship, and the late capitalist logic of major label policies) and modes of aesthetic reception (which tend to take popular music as the organic output of individual performers). While rock musicians have attempted to come to terms with this phenomenon by either performing a ‘Romantic’ sense of authenticity (basically by importing folk values to the production process) or ‘Modernist authenticity’ (by highlighting experimen- tation and alienation), Damon Albarn and Jamie Hewlett, creators of Gorillaz, found a third way which ingeniously allows them to do both. By creating a virtual rock band, and by hiding their own media personalities behind those of their virtual alter egos, they brought themselves into a position which allows them to produce ‘sincere’ popular music which ‘playfully’ stages the absurdities of major label music business while very successfully operating within its very confines.