Elton John: Master of Reinvention and Mass Appeal

One of the world's most well travelled, musically diverse and successful artists in Rock 'n' Roll, Elton John aka Reg Dwight has been a mainstay of Rock and Popular Music audiences in kind for 4 decades almost. After performing to a portentous crowd at the Troubadour in his first ever American show, Dwight received praise dubbing him the new musical talent and performer for his era.

In the wake of Rock 'n' Roll's most recent casualty list, including Janis Joplin, Jimi Hendrix and the breakup of The Beatles supergroup, people craved less and less the social activism which had charged Rock music of the 60's and instead looked to musicians to provide something new, something more individual, vibrant and artistic; "Elton John had somehow captured the zeitgeist of a new decade." (p. 238) Several things set Elton John apart from the previous decade's cohort, especially in regards to background, musical discipline and work ethic. Firstly, he was a suburban boy from the cosy Middle Class streets of Pinner, northwest of London. This in itself was not particularly remarkable, as many famous British musicians including John Lennon, Keith Moon and Mick Jagger had come from the suburbs, however unlike his predecessors who had rejected their suburban roots for inner city living, John revelled in and prided himself on his humble suburban roots. Secondly, he was not an amateur musician. By the time he had played his first show at the Troubadour in the US, John Lennon had over 10 years experience in the music business, having engaged in varied and musically diverse occupations working in all levels of the music industry itself. And into the present day, when charting Elton's progress, one can observe a veritable 9 lives in the business itself as Laing charts in his investigation of the man himself:

1. Classical Piano Prodigy
2. Pub pianist
3. Pop group member
4. Publisher's office boy
5. Backing musician
6. Songwriter
7. Session musician
8. Soundalike artist
9. Solo recording artist

As we can see, John comes from one of the most developed and musically diverse backgrounds of any performer today. Whereas many of the musicians of the 60's had simply picked up guitars, drums and were self-taught, John was trained in classical piano up to 8th grade before he even entered secondary school at age 11. Whilst it was this strong grounding in classic piano's artform which would inform his virutousity, it was his mother's love of pop music, especially the rock n roll of the 50's (Chuck Berry, Elvis Presley) which would ultimately decide his career direction in the music industry.

However Elton John's success is not only indicative of a shift in attitudes and perceptions of Rock music and a return to instrumentalism in the genre itself, but also of changing patterns in lifestyle, Rock audience demographics and the resegregation of music. At the time of his stardom being launched in the USA in 1970, John, a self-confessed suburbanite was hugely popular with a demographic which was more than ever, suburban in lifestyle and outlook, middle class to the core. Just as the backlash against the anti-war and civil rights movements of the 60's began to intensify and the idealism of the previous decades faded out, Elton John would come to dominate a music industry returning to the order and generic differentiation of popular music from yesteryear. What a curious coincidence.



Certainly Elton is a nonthreatening suggestion for any lover of rock wishing to steer clear of its activism and drug addled phase, however is such an explanation complete? Academics point to the resurgence of Elton John in a decade growing tired of the rock bands and supergroups of the 60's and certainly his appeal to older tastes in music, hearkening back to his love of popular music and rock 'n' roll in the 50's is a reflection of this. However it is not only his ideological differences, but also his musical background which play the biggest parts in creating his appeal.



Through his incorporation of jazz, blues and folk influences/styles in his work and the apparent readiness of a public wishing a return to good old Popular Music, but still craving a Rock vibe, Elton provided the perfect choice, a man who loved both popular music and Rock 'n' Roll, but whose social attitudes/performance were unthreatening and apolitical. Furthermore, his tastes and influences in music, as well as his training provided him with a virtuousity unshared by his counterparts and more appealing to a popular music audience which increasingly located itself in the suburban setting and hoped for a resurgence of the styles still popular in the 50's. By mixing old with new Elton was able to capture a Rock audience engaged in the mainstream and through his knowledge of the music industry and performance, has since been able to constantly reinvent himself to remain a popular artist through to the present day.

Therefore, In my opinion it is both a combination of his family background, musical training and social/cultural attitudes which gives John his appeal, combined with the favourable social conditions and apolitical cultural climate in which his music first emerged, perhaps even coming to typify the mood of the 70's themselves. Would he have enjoyed such success in the revolutionised world of the 70's which his hippy predecessors envisioned? Probably not. But that's not how the story went. How lucky for Elton.


Laing, D. (2008), 'Nine Lives in the Music Industry', Popular Music History, Vol. 2, No. 3, pp. 237-261

BLINK182.. In the spotlight

Following the recent return of the infamous BLINK 182 I thought it was high time we did a puff piece on them showing who they are and where they came from.

So In the beginning the band consisted of 3 members Mark Hoppus(Bass Guitar) Tom Delonge(Lead Guitar) and Scott Raynor(Drummer) and releasing 3 albums together "Buddha" , "Cheshire Cat" and of course "Dude Ranch" before the drummer Scott Raynor left and was replaced with the well know Travis Baker.

The bands first big hit was the well known "Dammit(growing up)" which quickly became and infectious teen anthem.

The band then went on to write another 3 albums and making it in to the charts with songs like "What's My Age Again?", "All the Small Things", "Adam's Song", "The Rock Show", "First Date", "Stay Together for the Kids","Down", "Feeling This", "Always" and "I Miss You".

The band split up in February 2005 saying they would be going on an "indefinite hiatus," and to everyones surprise in April of 2009 the band has returned saying they are touring again and writing a new album

Source = http://www.starpulse.com/Music/Blink_182/Biography/

Rock and Roll... & it's Influence on Sexual Attitudes

While scouring the internet for an interesting topic to blog about I came across an interesting on detailing rock and rolls influences on peoples sexual attitudes. I for one found this topic rather intriguing and also quite relevant. With today “pop stars” clothing seeming to get shorter and more revealing with every live show performed and also the added amount of swearing and sexual innuendo one cannot go without thinking that some of these messages might be messing with today’s youths minds.

Lady gaga is a perfect example of this. Don’t get me wrong I love the girl she’s quite possibly my favourite top 40 artist at the moment (not saying much I know) but surely when she stands up in front of the media and say that all of her songs are based upon sex and was written for homosexuals. Don’t believe me? Ever listened to the lyrics? “Let’s have some fun this beat is sick. I wanna take a ride on your disco stick.” But don’t think is stops there. Many other artists seem to be slipping in homosexual orientated lyrics into their songs. I mean we’ve all heard Kate Perry’s “I’ve Kissed a girl” and don’t tell me that you didn’t stop and think... hang on

Sue stone wrote and interesting article about the subject showing how lyrics in songs are not the only influence on youths but also the atmosphere in which the music is listened to. One could even surmise that technology has also assisted with this as the ability to listen to music on the go has become more and more possible as the years have passed.

But the real test of how true this theory is is to look at how certain songs have affected your life. Have songs such as Kate Perry’s made you want to cross to the dark side and try something different? I believe it can happen and Sue Stone thinks so too. While these songs are not necessarily rock music they are a good example as to how music can affect people lives and ever their sexual attitudes. I firmly believe that all forms of music can have a vast affect on people attitude both mental and sexual.

Source = http://www.xomba.com/rock_n_rolls_influence_on_sexual_attitudes

BLINK182 - Reforms and write new album

Rock? or Punk?... I believe that this long lasting band deserves a reclassification... Punk Rock. but why you might ask? simple. Being an avid Blink182 listener from back in high school and throughout university I never lost hope that this band would someone pull it back together. I for one have never really been a huge fan of neither Rock or Punk however I will happily sit back with an icy beer and enjoy song after song from this band.

The great new news that's just happened in the last few weeks is that this awesome band has announced that they will be reforming the band, writing a new album and organising a new world tour.

The band members were quoted saying "To put is simple, we're back, We mean really back. Picking up where we left off and then some, in the studio writing and recording a new album. preparing to tour the world yet again. Friendships reformed. 17 years deep in our legacy"

The band are expected to be on tour later this year

source = http://www.nme.com/news/blink-182/42641

Rock Music, The Disabled and What you Might Not Know

So i had been wanting to find something really interesting for my last couple of blog posts, as up until now i have been mostly analysing differing works of artists', movements within the sub-culture and social issues as they related to the genre. However for all the praise and critique loaded upon Rock 'n' Roll, I've yet to come across an issue which both exposes the inherent biases in performativity of Rock Music whilst concurrently challenging such essentialist notions of the rock band and the musician themselves.

"Fight for the Right to Party" documents the musical profile of British heavy metal band, Heavy Load, some of whose members have learning disabilities and their fight to gain greater freedoms and rights for disabled fans attending their concerts. Their "Stay Up Late" campaign illuminates the capacity for Rock groups and Rock culture to be both truly inclusive and catalyse change for those it hopes to capture as fans. The efforts of this band therefore showcase the ability of rock to be socially subversive and alternative in a manner which does not tokenise, but rather values and revels in difference and the triumph over adversity:

"The campaign, which is supported by learning disability charity Mencap, aims to make managers and support workers aware that people with a learning disability want more control over their lives and should be consulted when staff draw up rotas which affect things such as how late they can stay out"

Conversely, whilst this particular case highlights the positive role that Rock 'n' Roll music can take in affecting changes in attitudes towards and the cultural behaviours of previously excluded social minorities, it arguably raises the question, is Rock Music inclusive of those not able to (easily) access it as a medium for expression and artistic endeavour.

Whilst the members of Heavy Load possessing learning disabilities would have no doubt faced serious problems and issues in mastering instruments as technically complex as required to play in a rock group, they are only a part of the heterogeneous lotting of categories constitutive of "the disabled". In fact it may be this very categorisation itself which harms and limits the ability of those with learning and mobility impediments, as without a consideration of this difference and the unique challenges presented to differing disabilities, one cannot adequately gauge how best to innovate and cater for these groups.

Granted, some inroads are being made. 'Music Making for the Disabled' in Futurist magazine recently reported on the emergence of new technology for music composition in digital production, centered around a keyboard/piano program using facial tracking to aid those with mobility difficulties (particularly those who are quadriplegic or have Cerebral Palsy): "With the Keyboard Interface, the user sits in front of a camera and chooses a point to track, such as the tip of the nose; when the user "points" at the keyboard image, the software tracks the correct note to play"



Certainly, this is a great example of Rock and music in general being made accessible through human ingenuity. However the article the only one i was able to come across exemplifying this sort of inclusiveness in music production and creativity. Not only this but the article itself occupies about 3 paragraphs on a single page.

With a degree of certainty then could we assume that this issue is far from being adequately addressed and will continue to remain so as long as Rock music's performers are primarily able bodied and able minded musicians. Perhaps more tragically, this problem cannot be trusted to resolve itself, as disabled populations are both socially and culturally marginal and thus are often less able to have their opinions and quandaries considered. Furthermore, whilst they remain out of public awareness of Rock Music and are absent visually and culturally from the scene's acknowledged demographic audiences, they will be continually ignored. The issue itself presents a Catch 22 to disabled communities.

Therefore it is the duty of Rock pioneers, audiences, composers and disabled performers already involved in the scene to promote this cause; until then Rock cannot be truly said to be inclusive and absent of discrimination in its performance and participation.



References

1. Lucy, H. (2009, 'Fight for the Right to Party', Learning Disability Practice, Vol. 12, No. 3, pp. 18-19
2. Martin. P. L, (2007), 'Music-Making for the Disabled', Futurist, Vol. 41, No. 5, p. 2

It's Not Fair but We Don't Care-Punk's resurgence in the 90's

When Punk exploded onto the scene in the 1970's, it emerged as the voice of a disaffected and disgruntled youth full of rage, rebellion and incivility; alienated by a society that refused to acknowledge or value its contributions, ideas or listen to its problems, Punks of the 1970's were an angry and violent mob it seems. As Susan Hopkins (1997) states:

"Twenty years ago, the Sex Pistols released the punk anthem, 'Anarchy in the UK'. Against a backdrop of rising unemployment, street riots and political unrest the call to anarchy made its own peculiar chaotic sense.The Sex Pistols didn't so much write songs as give voice to anti-establishment anger and frustration."

And so it was that punk was born, its rage and uncivil behaviour, its chaos and contempt for a world that refused to deal with it directed against whatever manifestation of society it could get its hands on or around. And then as soon as it had come, it died out with the emergence of post-punk genres such as New Wave and Indie in the 80's.

In the 90's, bands such as Blink 182, Green Day, Rancid, Bad Religion, No Doubt and Pennywise stepped in to put Punk back on the map. But several things had changed. Punk was no longer about the problems and ills of a society that needed to be torn down, nor was it about the fight against a controlling impersonal state structure. Instead:

"Today the essence of punk remains misgovernment, as to be worthless is to be free from certain rules and conventions.Yet while the essence of punk remains, the focus of its erratic politics has shifted. It is no longer society in decline, but the self in decline, which has become punk's preoccupation."

This is not the only part of Punk's form and function that has shifted in kind with late/post-modernity, as Punk itself no longer operates on the social and musical margins, it is nowadays popular with the mainstream itself. This itself creates an odd paradox in Punk culture, something which Punks themselves have struggled with in the wake of the counter-culture's increasingly popular appeal, which has in turn been compounded by the popularity of original punk groups with newer audiences:

"To an extent unimaginable in the 70s, punk is now big business, anarchy is now commercial. For all their rhetoric of music industry revolt,even 70s punks have returned to ride the new wave of commercial punk. The figureheads of old-style punk, the Sex Pistols, reformed in 1996 and began their "Filthy Lucre" tour."

The return of the sound was not unaided by any means. Linking in with concurrent trends in Grunge Music, itself a reproduction of many facets of this newer form of Punk music, the return of a disaffected youth with Nirvana would ultimately inspire the revival of Punk in the 90's under a pall of identity crisis, uncertainty, self deprecation, distrust of the old and a seeming resignation to the circumstances in which young people found themselves. Punk it seems had grown tired, weary, even of itself and its ideology:

"The punk which emerged out of social decline and disarray in 70s London has been reborn in the US, injected with a 90s sense of introspection, irony and black humour."

What was once formed in rebellion to a society it sought to critique, tear down and remould, is now as much a victim of the controls of society it sought to rail against. Punk no longer exists to critique society, instead much of its content now deals with the critique of the self, the anarchy of identity and the violence and rage felt against the self, alienated from all and uncertain where to turn: "If there still is anarchy in punk, it's a kind of anarchy of identity. Now more than ever, critique of the postmodern personality is to be found within popular culture itself"



Hopkins, S. (1997), '20 Years of Punk', Youth Studies Australia, Vol. 16, No. 1, pp. 11-19

Australia the Island

There is no hiding it, I love 80s rock music. The bigger the hair and the shinier the leopard print vest the better. However I can’t help but feel us Aussies are being ripped off by our indignant isolation.

For artists to come ‘down under’ to Australia it involves a lot of time, money and resources. The sheer isolation of our continent to the rest of the world is enough to deter touring artists from coming here, or at the very least scale back their show production due to the logistics. This is a real issue for me as most 80’s rock metal makers require a full scale production to showcase their enormous talent (enormous enough to match their egos and hair!)

For example, not being able to see Poison’s world tour of the 80s the way it was intended, could severely alter the way they are represented and thus taken in by the audiences. It is common theory, that the foundations of rock and roll are embedded in the live performance and production of place. The distance of Australia from the rest of the world will thus affect this relationship and the central connectivity to the audience.

Tours like Bon Jovi’s Slippery When Wet and Motley Crue’s Girls Girls Girls are examples of this scaling back idea when it comes to Australia. The pyrotechnics and acrobatics of both tours were not reproduced for Australian audiences due to the high costs of insurance and legal frameworks. These details were commented on by the band in the VH1 series, Behind the Band Bon Jovi. It is these important characteristics of their show and persona that makes Bon Jovi and Motley Crue who they are. Without that, they may as well be a covers band, playing at the RSL, wearing spandex.

The recent sell out of the ACDC Black Ice tour set for February next year is an example of how in demand these types of all out productions are, with audiences promised a no holds bar extravaganza from the Back in Black foursome. This really highlights the current demand for such ‘stage show’ productions. Let’s just hope that my glittery 8o’s rock heroes have taken note and recognize that there truly is a call for large scale gigs. As Brian Johnson, the lead singer from AC/DC stated – we give our fans a pub gig – except ours is on steroids!

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