Wade was selected as the subject of this case study for the following reasons. Wade was a relatively new and popular YouTube musician. At the time of selection (January 2009), he had approximately 4,000 subscribers. Therefore, he had a strong fan base. He was by no means “ordinary,” as is the case of most successful YouTube artists, as Lange (2008) suggests. Wade had covers of professional artists and original songs. He was promoting his own merchandise through his channel. He collaborated with other YouTube artists on his channel. His innovative ideas made him a good candidate who used YouTube in a number of typical and ground-breaking ways

In efforts to counteract the declining numbers of amateur music making, some music educators find ways to link popular music making to the classroom. Green (2005) presented observations and data collected from a pilot study that allowed students to bring in music of their choice to a music class, form friendship groups, and create their own rendition of a song

The phonograph was a widespread mechanism that allowed for the recording and playback of music. Katz called the process in which technological advances have changed the music industry a “phonograph effect

In the past, aural and performing arts such as the oratorio, symphony, and sacred mass had to be live. That media was eventually recorded by sound recorders and heard through phonograph cylinders, records, tapes, and compact discs (CDs). In the digital age, the same art form and media can be created and consumed via digital sound recorder and players. The sound film contained aspects of storytelling, performing, aural, and visual arts. Technological evolution brings the film to digital video allowing the same art to be created and consumed on a computer.

In October 2008, the site attracted 100 million American viewers a day, estimated to be over two thirds of the internet users in the United States (comScore, 2008).

These media are resources to educators and artists that allow them to refine, augment, and transform their crafts.

Teens evidently don’t see computers as technology.

Lil Wayne, Nine Inch Nails, Radiohead are hugely popular artists who recently circumvented the music business estab-lishment by giving their music directly to their audience for free on the web. The middle man has been cut out; listeners get a behind-the-scenes peek at work in progress. Lil Wayne can put out whatever he pleases, whenever he pleases, and the music fan gets access to far more material than a standard album release would provide. For all three of these acts, sales went up after they had first given away some, if not all, of the new release. Their fans rewarded them for creating this inti-mate link.

younger brothers from reading their Facebook pages than I ever have from actual conversation with them.

Somewhere along the way, as recording technology got better and better each year, the music lost something; it became too perfect, too complete.

From when I first met King Tubby and see him work, I knew there was a man with a great deal of potential.

Even when Jamaican musicians were available to play these public dances, the audience preferred the manip-ulation and combination of prerecorded material

Obama won because of his seeming commit-ment to reality, the common sense of his positions. Obama came off as completely real, playing basketball and texting people on his BlackBerry and tearing up over his grand-mother's death.

Over the course of my research, it became clear that authentication in the fieldof country music was made not by experts but by the end consumers of the music,the fans. More accurately, no one person or group authenticates country music.Rather there is a cycle of authentication involving everyone active in the field.Pared down to its simplest elements, performers and songwriters offer their bestefforts at producing what they think country music to be. A few performers andsongs are selected by the record companies with an eye to authenticity. How artistsare dressed and presented, and in the case of some, the very names they use,are created by others. Any given song has to run a twisting gauntlet of a decisionchain as it passes – or more likely fails to make it from being written, to beingpitched by a publisher, to being accepted by a producer and singer. At each ofthese stages it may be modified, if not rejected entirely. Then in the recordingstudio the song becomes something still different in the hands of the vocalist, back-up musicians and engineers. Next the rendition is either rejected or accepted bythe executives, and it is then further shaped by the photo art, video, and promo-tion departments. Once released, the recording may be played or rejected bycountry music radio programmers, and as the final link in just one cycle of thedecision chain, fans may, or may not, buy the song in large numbers. If it is a hit,artists, songwriters, and those in the industry will look for other songs that couldbe shaped along the lines of the hit song. Decisions are made ostensibly to satisfyfan tastes, but in practice they are made largely to satisfy the expectations ofthe next gatekeeper in the decision chain (Peterson and Ryan, 1983; Ryan andPeterson, 1982)

Works of art or archaeological arte-facts may be more difficult to authenticate, but experts of any given time agree onthe appropriate procedures to be used in testing for authenticity

Our attention has been on those who claim authenticity and the circumstances inwhich they do so. In finishing this discussion it is useful to focus more explicitly onthose who, in different circumstances, are able to grant or reject the authenticityclaim

Elasticity in the claim to authenticity is stretched to its limits in the case of thephotographs of corporate chief executive officers. As Guthey and Jackson showin their article in this issue (Guthey and Jackson, 2005),

The media’s most highbrow music critics, the same ones who barely batted an eye at Swift’s release, have rushed forward to gush over Adams’s transformation of a cheesy pop album into something more serious

Butthe backdrop tothese achievementsisa playing field thatisfar from level

YetthePerforming Rights Society for Music reportsthat only 13% of its95,000 members are female(Baker 2013)and other such societies report similar figures

The seemingly impenetrable wall of sexism and machismo in rap music is really the mask worn both to hide and to express the pain

reasonable

he grand dame of YouTube hits, Rebecca Black.

Authenticity isan attribute, not of the song but the singer, and is embodied in that singer's im-mediate presence

n part this isa response to the perceived decline in the status of poetry, or az any rate poetry onthe page.

fear of repetition

but, by the supposition, excitement is an unusual and irregular state of the mind; ideas and feelings do not, in that state, succeed each other in accustomedorder.

The end of Poetry is to produce excitement in co-existence with an overbalance of pleasure;

it presumes that the reader resembles the writer enough to step into the writer’s shoes and speak the lines the writer has written as though they were the reader’s own:

For oft, when on my couch I lieIn vacant or in pensive mood,They flash upon that inward eyeWhich is the bliss of solitude;And then my heart with pleasure fills,And dances with the daffodils.