Òyì nke e mepụtara

Reading the revival through our three theoretical frames, three claims follow. First, vinyl re-materialises the commodity. Against Adorno's pseudo-individualisation, the record is a finite, ownable object. The listener is not the product; the record is. Second, vinyl rebuilds subcultural belonging. In CCCS terms, record shops, listening bars, and sleeve-sharing on TikTok form precisely the kinds of rituals Bennett saw in earlier subcultures — now remediated through new platforms. And third, foll