When a band reforms after a period apart, they offer intertextual observations on their previous releases, and consequently on their generic positioning both in the present, and prior to splitting up. This paper considers how reformed bands deal with the weight and expectation that is caused by their initial, original existence before splitting up. I modify Harold Bloom's theory of poetic influence in order to theorise how a reformed band struggle with the weight of themselves as precursor, including not only analysis of the text itself, but the inter-textual discourses surrounding the work. I argue that Princess Alice and the Broken Arrow, a release by the melodic rock band Magnum, showcases the band's struggle to gain subcultural capital in their field, and look at the position-taking strategies they employ to deal with their anxiety of influence as the melodic rock field shifts position relative to the field of large-scale production.
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