Sunday, May 31, 2009

Rock ‘n’ Roll - ‘Still Is’ or ‘Has Been’?

In my previous posts I have commented on a number of the most influential groups and artist of rock and roll from Elvis who contributed to the formation of the rock genre to the living legacy of rock and roll in the Rolling Stones. These musicians were reaching outside of their boundaries and were bringing together sounds from outside their particular and various genres to create music that was unique in sound to all other known styles, and it became known as Rock ‘n’ Roll.

So what was that original sound? Was it the in the music, with the prominence of the electric guitar? Or was it in the vocals and lyrics? There is not nearly as much difficulty in picking out a country singer or country song, there is a very distinctive sound and style to their music,which seems to be easy to identify when you listen to it. So what is so different about rock? Is the genre just very broad or have we made too many sub-genres within it when we could have distinguished new genres altogether? To another extreme, does ‘rock and roll’ still exist or has it’s time passed? Most of all who gets to decide what is or isn’t rock, and what criteria should be followed?

I could attempt to persuade you that the correct definition of ‘rock and roll’ is the one found in the Miriam-Webster online dictionary:


“popular music usually played on electronically amplified instruments and characterized by a persistent heavily accented beat, repetition of simple phrases, and often country, folk, and blues elements.”

But does this definition convey the essence of rock and roll? I think most people would agree that in order to have a good understanding of what rock is, you would have to listen it. This however, quickly brings us right back to the original question...what songs or artists would you need to listen to in order to get a clear idea of what is considered rock?

If you asked someone off the street what artist you could listen to in order to get a good idea of what rock and roll is, they would likely give you the name of a relatively modern rock band such as Greenday or Blink 182. Others, myself included, would point you to the first group of artists who were considered ‘rock’ artists, like Elvis Presley. Others might tell you to listen to the Beatles, and others yet might say Jimi Hendrix or the Rolling Stones (Grierson 2009). All of these artists had their own style and uniqueness, which is what made them such legends in their own respects, but there were also similarities (Grierson 2009). I think it is those similarities that make the essence of rock and roll, and I also think that that essence comes across differently to different people.

Ultimately I think it is very difficult to define rock and roll, and that in order to get an idea of what rock is, you should listen to a variety of artists who are considered to be in the ‘rock’ genre. I think every individual experiences rock in their own way, and from that will make their own decision, apart from what music ‘professionals’ say, as to what they consider rock and roll.

So as for the questions I posed at the start of this post:

When I think of true rock and roll, I think of the prominent electric guitar with a quick paced bass drum and snare combination for a full sound and edgy vocals and lyrics to pull it all together. I think that single bands or artists can make music that falls under a number of genres and so it is also hard to categorize artists. I also believe that over time the rock genre has been spread thin by the creation of sub-rock genres. If it were me, I would break off some of these sub groups into new genres. Most importantly I believe true rock and roll does still exist and that we as consumers should make up our own minds as to what should be considered rock.

But hey, that’s just me.



References:

‘Rock [2] noun’ in the Miriam-Webster Dictionary Online, viewed 1 June 2009, http://www.merriam-webster.com/dictionary/rock%5B2%5D.

Grierson T. 2009, What Is Rock Music: A Brief History of Rock Music, About.com, viewed 1 June 2009, http://www.newcastle.edu.au/service/library/biol1030/harvard.html#web.

John Lennon's having a revolution in his head and you're all (sorta) invited


He's a funny bloke that John Lennon. For all his incredible musical talent, revolutionary spirit and innovation in the world of rock n roll, not to mention his status as arguably one of the giants of the world's greatest rock group (do i even need to say who?) I'm really having a hard time pinning down who this guy really was and what he was about.

Oh sure, i know he was into peace, unity and the coming together of a world divided against itself, but after taking a slightly closer look, one can't help but think that Mr Lennon might himself have had trouble making his mind up and choosing who to back, even amongst his closest friend's.

1968 was a year that Platoff (2005) describes as "a high point of political unrest in the 60's", recounting the Tet Offensive at the apex of hostilities in the Vietnam War, protests of 100's of thousands of anti-war protestors, police brutality, student riots in France and the death of Martin Luther King Jnr to a sniper's bullet as crucial events which would shape the social and political climate of the year. In this same year of turmoil and upheaval, John Lennon recorded with the beatles most of the material which would comprise their all time classic self titled album, now commonly known as The White Album, nestled amongst which was the song "Revolution", a song intended to reflect John Lennon's and (at least in Lennon's mind) the band's sentiments towards the war.



Interestingly enough, the song itself has more than one version, which itself is indicative of the doubts Lennon had for the direction that these 'revolutionaries' were taking and the measures being used to achieve the desired ends. Three versions exist on wax, the first, as a studio recording containing the ambivalent lyrics "But when you talk about destruction, Don't you know that you can count me out---in". The next version of the song, released as a b side to
"Hey Jude" came without the ambiguous addition of the word "in" at the end of the lyric, before being released with the original lyric on The White Album itself.

Citing causes for the difficulties in deciding on content and performance of the song (the instrumentality differs from version to version), Lennon asserted that members of the band objected to the pace of the song, its outspoken political sentiment and the return of Lennon's dominant personality to the group. Perhaps most importantly however, Lennon's own doubts about the aims and ideas of the civil right's and ideological movements of the time are brought to the fore, something which we observe directly in his lyrics.

The song itself was supposed to be an expression of distaste against the emergence of violent tactics on the left, the abandonment of non-violence and a call to wage a revolution within, in order to change the world. However coming from a millionaire to the masses, this was received by a public which railed against it as preachy, narcissistic and hopelessly absurdist for its baseless optimism: "You know it's Gonna be All Right" formed part of the chorus.

Lennon was slammed by many radicals questioning the legitimacy of older tactics to achieve social change, perhaps surprising only Lennon himself. But he never stopped wanting to revolutionise, he never abandoned the causes and the issues he felt were important.

Rock music is often characterised as subversive and championed by social movements and causes when they fall in line with their aims and objectives. Lennon's idealism, spirit and humanity has been praised by countless millions, his music immortalised and canonised as Rock gospel. However here is what can happen when a darling of the revolution decides to shift stance. Calling for counter-revolution mid-takeover obviously isn't too popular with the higher ups then. Who knew? Maybe John should have just fallen into line and kept it kosher with everyone? I think John's answer might not have been so ambiguous: Count me out.



References:

Platoff, J. (2005), 'John Lennon, "Revolution" and the Politics of Music Reception', The Journal of Musicology, Vol. 22, No. 2, pp. 241-267


Rock and Roll Has A Hero





Bon Jovi, Queen, David Bowie, Kings of Leon, Tom Petty, Bob Dylan, Johnny Cash and The White Stripes have been announced that they will be appearing in a lineup in September 2009. No camping overnight necessary or queuing online for tickets to come on sale. This exclusive line up can be purchased from your local electronics store in the form of Guitar Hero 5, the newest edition to the company’s line of video games.

The commercialism of Rock and Roll has been taken to an all new level with the invention of the Guitar Hero video game series. However, this is one marketing ploy that has brought apparent life and rejuvenation to the rock and roll industry.

Guitar Hero is a video game designed for you to become a rock star in the comfort of your own living room. Players use a guitar shaped console that they can strum, pluck and shred on like their rock star heroes, while playing along with their favourite rock and roll song.

The introduction of Guitar Hero World Tour Edition in 2008, allowed more than one player to play the game at the one time, with the addition of vocals and drums to the fore.

This year’s version, Guitar Hero 5 is one of the most anticipated game releases ever, with the afore mentioned big names, all agreeing to lend some of their best songs to the game for fans to play along with.

While the description of Guitar Hero could trivialize these artists, they seem to have no problem with the game and are more than happy to lend their face, name and creative skills to promote the program.

The lead singer and founder of Def Leppard, Joe Elliot, has nothing but admiration for the game and its creators as he states on the television series, Live from Abbey Road. The series follows a bands recording process and records candid interviews on the current state of the music industry.

Elliot describes that products like Guitar Hero have allowed them to expand their fan base to a significantly younger audience. Guitar Hero is also responsible for the bands longevity and their ability to be able to do an international tour 20 years after their prime time moment.

Guitarist of Guns n Roses and Velvet Revolver, Slash, is another that has leant his face and music to promoting the game, giving it by far the most credibility among the rock community yet.

It appears that this is the one marketing product that has resonated with the music industry and its fans. Guitar Hero has been able to compliment rock music and not take away from the real music makers. It has even managed to give the tired old 80’s hair metal stars a second wind, with more and more albums being released by 80’s rock icons than ever before. Guns n Roses, Bon Jovi, Def Leppard and ACDC are among some of the bands releasing new music in the past 2 years.

References
Guitar Hero, accessed via Internet Explorere, May 29th, 2009.
URL:
http://gh5.guitarhero.com/about.php
Rolling Stone, accessed via Internet Explorer, May 29th, 2009.URL:
http://www.rollingstone.com/rockdaily/index.php/2009/05/28/guitar-hero-5-exclusive-10-bands-in-september-1st-game/




They're Back in Black



With ACDC tickets coming on sale last week and sweeping the nation in a 30 minute sell out, I thought I would celebrate this rock and roll event with an artist close up. I thought rock and roll was dead, along with its supporters. However last week’s mammoth turn out for the little Aussie pub band has blasted this conception right out of the water, and proved that this four piece ensemble is still kicking it.

ACDC was formed by the Young brothers, Malcolm and Angus in the early 1970’s upon their migration to Sydney Australia. The Young brothers were born in Glasgow, Scotland and were inspired to play music by their older brother George who was a member of the Easy Beats, another successful music group from that time.

There has been much speculation about the band name ACDC and what it represents. According to Angus, the name came from the back of a sewing machine that their sister Margaret owned, dispelling all rumours that it was a metaphor for the bands swinging sexual orientation.

In 1973 the two brothers displayed their unique guitar sound at a New Years Eve party at Chequers Club in Sydney, and the rest they say is history.

Malcolm and Angus moved from Sydney to Melbourne within days of their first successful gig, and threw all of their energy into finding a lead singer that would compliment their shredding guitar sound. Bon Scott, a fellow Scotsman, was the man for the job, who had a voice that could match Angus’ guitar. Albums such as ‘High Voltage’ and ‘T.N.T’ cemented them as bonofied rock gods within Australia and soon internationally, conquering Great Britain and the United States in the late 1970’s.

The bounding success came to a dramatic hault with the death of one of a kind front man, Bon Scott at age 33. However, it was thought by the remaining band members that the best way to celebrate and remember the legacy that Bon had left behind, was to continue playing and writing the music that he would love to hear.

One of Bon’s favourite bands, the Geordie, was able to provide more than just good listening, with the lead singer of the group jumping ship and becoming the new lead singer of ACDC. Together with the new lead singer, Brian Johnston, ACDC went on to produce some of its biggest hits with albums like Back in Black and anthems like You Shook Me All Night Long.





And now they are Back in Black again, with their new Album and national Black Ice tour. The lines for the tickets have been kilometers long, with people queuing up for days camping outside ticket booths. With 11 Australian shows, ACDC are not dead yet and are definitely injecting the rock and roll community with a much needed power surge.


Check out their official album for more info on the band, the tour and how to buy merch... well worth it.





References:
Homes T, 2009, ‘Biography’, ACDC Official. Accessed via Internet Explorer on May 30, 2009.
URL: https://tickets.acdc.com/


The Drugs of Rock and Roll


So I’ve always wanted to know while growing what the drugs in the “sex, drugs and rock and roll” phrase is. So here was my chance to find out. My search uncovered that early rock groups such as the Beatles start with the drug cannabis and were also one of the first bands to publically announce that they actually used the stuff. But by releasing this information into the public domain it gave rebellious youths all over the world the idea that drugs are cool because the Beatles do them. Strangely enough this revolution started around the same time as the hippie movements across the world.

It wasn’t until the late 1960’s – 1970’s that bands started to publically admit that other drugs were being sampled and even that some bands had become addicted to certain ones.much of the rock and roll cachet associated with drug use dissipated as rock music suffered a series of drug-related deaths and Although some amount of drug use remained common among rock musicians, a greater respect for the dangers of drug consumption was observed. At the peak of the drug/ rock and roll revolution drugs such as cocaine and heroin on top of the publically know use of cannabis and LSD.

So to summaries the drugs that were ushered in with the rock and roll revolution are still around today and youths still are following in the footsteps of their favorite bands and singers to try bigger and newer things. While there has been a step decline in the use 0of recreational drugs due to having a better knowledge of their effects on the human body. They are still out there.

Source = http://en.wikipedia.org/wiki/Social_impact_of_rock_and_roll

Rockwiz!


Rock is not just about the stars - its about the adoring fans too. Rockwiz, a rock game show screened on SBS each Saturday night, pays true homage to the fans of rock music. The game is played at the Esplanade Hotel in St Kilda, Melbourne. An apt venue, 'The Espy' as it is fondly called has been a very popular live music venue since its doors opened in 1878. It has hosted such stars as Paul Kelly, Dallas Crane, John Farnham, Jet and Wolfmother.

Rockwiz itself is hosted by Julia Zimero and Brian Nankervis. Before the show goes to air Brian holds a quiz among audience members, the four with the finest of rock knowledge are invited to participate in the show, the final member of each three man team is a star of some sort of music fame. Last night the 'stars' were John Paul Young (JPY) and Betty Harris. Now, as far as I am aware, John Paul Young is not known for his rock music; his fame lies in disco, stage musicals and pop. Before I could bag JPY's musical career (which is predominantly made up of "Jesus Christ Super Star" performances and "Love is in the Air"), Julia offered a little bit of trivia which almost gave him credibility - before Bon Scott, AC/DC reportedly asked him to be their lead singer! JPY dismissed this as a rumour and just like that his rock cred was gone. In all fairness though, he did play the game well so while he may not be a rock performer he very well could be another rock fan.

Betty Harris, while not a rock star herself, is a brilliant soul singer who is widely respected in the music industry (hey, its not pop so its ok). Her knowledge was not quite as broad as JPY but her life performance of "Cry to Me", which she originally released in 1963, completely made up for it!
She has amazing stage presence and a beautiful voice to go with it.

While the guests are not always 'rockers', the "Rockwiz Orkestra" certainly are. As usual, they amazed everyone with their abilities. They do not have a lead singer (though the lead guitarist has the presence of one), apart from that they are a true rock band. There is a lead electric guitarist who also plays the organ (he switches between the two with admirable ease), a bass guitarist and a drummer. The segment which best shows off their talents is 'million dollar riff' - the name of this segment is taken from a Sky Hooks song. Each riff is a flashback for all the rock fans out there, many of which are playing along with their 'mouth guitars' (you know the one).

Aesthetically, Rockwiz is less than glamorous - and we love them for it! The performers are sweaty on stage, the guests dress themselves and do their own hair and make-up so their true style shines (literally), and the room has a true live venue in a pub feel (probably because it is a true live venue in a pub). It embodies authentic rock culture. Everything is black, red and gold and hosts are always dressed in their own interesting style. Honesty, realism and grit make the show the success that it is - if you haven't watched it yet you have to tune in next week!

This show is the perfect combination of rock meets TV. It has kept the facets of rock that we love while providing a great show made just for the rock fans and enthusiasts.

Check it out on http://www.sbs.com.au/rockwiz

Saturday, May 30, 2009

The Case of Japanese Rock-Copycats of a genre, unique or something else?

Yasser Mattar's (2008) "Miso Soup for the Ears" is an analysis of the emergent musical styles in Japanese culture that have mirrored their contemporary Anglicized counterparts, tracking this development from the dissemination of popular Rock music in the 1950's and 60's across the world and through to the present day's rocker's and hip hoppers in the Japanese music industry. Whilst the mainstay of the article's audio comparisons and visual contrasts read like a 10 year old's science lab report (okay so that may be a slight exaggeration), the article does note a few key points:

1. The assertion of copycat trend mimicry in Japanese music only really holds weight in so far as it notes that cultural trends disseminate across global borders regardless of notions of race, culture and authenticity.
2. Japanese cultural forms of Rock music have developed over the course of decades, exhibiting both similar trends to anglicized Rock and later more divergent fusions of Japanese culture and Aesthetics through the use of what Mattar describes as Kei visual, a generically diverse form of semiotic communication through costumes and aesthetics of appearance designed to "shock the audience visually with pomp and pageantry". I have provided a youtube video below exhibiting some of the differing Kei styles. Ironically enough the video itself is referencing the adoption of many of these trends into Western societies and sub-cultural groups and shows an interesting retroactive loop in the communication of cultural trends.




Conversely, in Bourdagh's (2006) article on the stages and cycles of musical culture in Japanese rock culture, special attention is paid to the role of Record Labels themselves and their role in both producing and by extension limiting the images of popular rock groups of the day, especially in regards to how this is believed to have inspired the emergence of Japan's own unique Rock Aesthetic.

It seems then that the biggest similarity between the two counterparts, Japanese and Anglicised Rock lies not so much in the perceived transplanting of trends, but more in the similar ways in which the two have evolved through the processes involved in the establishment of the culture itself.


References

1. Mattar, Y. (2008) 'Miso Soup for the Ears: Contemporary Japanese Music and its Relation to the Genres Familiar to Anglophonic Audience', Popular Music and Society, Vol. 31, No. 1, pp. 113-123
2. Bourdagh, M. K. (2006), 'Za Kinkusu: Ray Davies and the Rise and Fall of Japanese Rock and Roll', Popular Music and Society, Vol. 29, No. 2, pp. 213-221

The LIST of ROCK!!!

Well recently I discovered a list of the various types of Rock music figured it would be an eye opener to avid fans of the genre... keep in mind this is the abridged version of the list only specifying the rock classification. I.E. no punk sub genres etc...


  • Acid rock
  • Action rock
  • Alternative rock
  • Anatolian rock
  • Arena rock
  • Art rock
  • Avant-rock
  • Avant-progressive rock
  • Bisrock
  • Blues-rock
  • Brazilian rock
  • Cello rock
  • Celtic rock
  • Chicano rock
  • Chimp rock
  • Christian rock
  • Classic rock
  • Cock rock
  • Comedy rock
  • Compressive Rock
  • Country rock
  • Dance-rock
  • Death rock
  • Detroit rock
  • Electronic rock
  • Experimental rock
  • Folk-rock
  • Funk rock
  • Garage rock
  • German rock
  • Ghetto Rock
  • Glam rock
  • Gothic rock
  • Hard rock
  • Heartland rock
  • Indie rock
  • Industrial rock
  • Instrumental rock
  • Iranian rock
  • Japanese rock
  • Jam rock
  • Kaizerrock
  • Krautrock
  • Latin rock
  • Lovers rock
  • Math rock
  • Noise rock
  • Ostrock
  • Pagan rock
  • Piano rock
  • Pinoy rock
  • Pop rock
  • Porn rock
  • Post-rock
  • Progressive rock
  • Psychedelic rock
  • Punk rock
  • Punta rock
  • Raga rock
  • Reggae rock
  • Russian rock
  • Samba-rock
  • Shock rock
  • Skate rock
  • Sleaze rock
  • Soft rock
  • Soul rock
  • Southern rock
  • Space rock
  • Speedrock
  • Stoner rock
  • Surf rock
  • Swamp rock
  • Symphonic rock
  • Synth rock
  • Thrashcore
  • Trash rock
  • Trip rock
  • Wagnerian rock
  • Wizard rock
  • Yacht rock

As you can see.. this list is massive and pretty encompasses EVERY form of rock music ever created... kinda kool huh :)





Decades of Hits – The Story of U2


Many rock bands have showed that they can withstand the test of time and such is the case for U2. Formed in 1976, they became internationally recognized by the mid-1980s.

Since their conception, U2 has played over 1,000 concerts for millions of fans all over the world. In fact, they’ve become known for their live performances. In fact, it wasn’t until their 1987 album, The Joshua Tree, that their success as record sellers surpassed their success with live concerts. 

There is a noticeable difference between their early albums and the release of The Joshua Tree. Not wanting to become another typical grunge rock band, the group opted to look back into the roots of rock music and become a bit more artsy and abstract. Starting in the late 1980s, U2 had officially changed their sound.  They mingled with American blues, country and gospel music and ended up expanding their fan base. 

The Johsua Tree album ended up scoring them their first two Grammy awards and put them on the front page of the music industry.

With over 145 million albums sold worldwide and 22 Grammy Awards under their belt, it’s a wonder how such rock artists could have time for anything else. Such is not the case with U2. Throughout their career, they have advocated for various human rights campaigns, including Amnesty International, the ONE Campaign and Bono’s DATA (Debt, AIDS, Trade in Africa) Campaign.  This may or may not be a reason why they’ve found continued success for the past 30 years.

Take a look at one of the songs that changed the path for U2 and helped them create a legacy for themselves. In this song, you can hear how they have mixed blues and gospel to create a new sound.





References

U2’s Web site, www.u2.com

Hank Bordowitz & John Swenson, 2003, ‘The U2 Reader,’ Hal Leonard Corporation

‘Wild Man of Borneo’ - Jimi Hendrix


“‘He looks like the Wild Man of Borneo.’ The tag would later end up as one of Jimi's nicknames in the tabloids, a consequence of his unkempt physical appearance and his race, both of which were so unusual on London's music scene that he might as well have been a new anthropological discovery. The name was racist, of course, and the description would never have been used for a white musician. Still, Jimi enjoyed the nickname, as it sounded mysterious and foreign, qualities he hoped to cultivate.” (Cross 2005).

Although you wouldn’t know by seeing him at first glance, there was extraordinary talent hidden under his untidy appearance. Many would say that Jimi Hendrix was possibly the greatest and most revolutionary guitarist of all time. Starting out as a backup musician for the like of artists such as Little Richard, the Isley Brothers, Jackie Wilson, the Impressions and Sam Cooke, he was soon discovered in 1966 by former Animals bassist, Chas Chandler (The Jimi Hendrix Experience 2007).

It wouldn’t be long before Hendrix would realize the fullest range of sound that could be obtained from an amplified instrument and go on to play at some of the most famous influential music festivals ever played; Monterey Pop and Woodstock. It has been said that “Hendrix channeled the music of the cosmos, anchoring it to the earthy beat of rock and roll.” (The Jimi Hendrix Experience 2007) He incorporated Free jazz, delta blues, acid rock, hoardcore funk to create the melodies of his masterpieces and combined it with the songwriting influence of Bob Dylan and the Beatles. The final result: “songs and sounds that were original, otherworldly and virtually indescribable.” (The Jimi Hendrix Experience 2007)



Hendrix’s performances (such as that in the video above) which were considered entertainment extraordinaire and included the ceremonial torching of his guitar at Monterey, have become part of rock and roll legend. Hendrix was inducted into the Rock and Roll Hall of Fame in 1992 (The Jimi Hendrix Experience 2007)

References:

Cross, C. 2005, ‘The Legend of Jimi Hendrix’, Rolling Stone, July 28, viewed 30 May 2009, http://www.rollingstone.com/news/story/7504172/cover_story_the_legend_of_jimi_
hendrix.

The Jimi Hendrix Experience, 2007, The Rock and Roll Hall of Fame and Museum, viewed 30 May 2009, http://www.rockhall.com/inductee/the-jimi-hendrix-experience.

"The World’s Greatest Rock and Roll Band" - Rolling Stones



Assembled in 1962, according to the Rock and Roll hall of fame, the Rolling Stones are the longest lived, continuously active group in rock and roll history. Over four decades they have adopted and molded the latest styles and sounds to become possibly “the World’s Greatest Rock and Roll Band” (The Rolling Stones 2007).

Watching their beginnings, their early manager-producer Andrew Loog Oldham said that he saw “the opposite to what the Beatles are doing” in the Stones. Right he was, while the Beatles, as I mentioned in my last post, had a “energetic sound and buoyant melodies”, the Stones would come to be the epitome of the dark, scruffy and bold sexual side of rock and roll (The Rolling Stones 2007). In 1967 the Stones were on fire, releasing three albums: Between The Buttons, Flowers, and Their Satanic Majesties Request. However also in 1967 the Stones were also showing signs burning out, with their involvement in media-instigated drug busts which nearly saw lead singer Mick Jagger and guitarist Keith Richards accumulate lengthy jail sentences (The Rolling Stones 2007).

While Jagger and Richards hung in there with steely resolve, band mate Brian Jones left the band in 1968 likely due to drug related problems and in 1969 was found at the bottom of his swimming pool, the official cause being given as “death by misadventure” (The Rolling Stones 2007).

One of the most telling attributes of the band is that throughout times of creative brilliance and relative creative lulls, triumph and tragedy the Rolling Stones have managed to maintain a dedicated following and continue to influence on Rock and Roll when most of their peers have fallen by the wayside.

The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989 after a long and famous history in Rock and Roll music (The Rolling Stones 2007).

References:

The Rolling Stones, 2007, The Rock and Roll Hall of Fame and Museum, viewed 30 May 2009, http://www.rockhall.com/inductee/the-rolling-stones.

Friday, May 29, 2009

Which Fad Next? Cycles in Rock's Dominant Cultural Icons and Styles: What does it all Mean?


In the world of rock, credibility stems from quite a few sources of musical legitimacy. Whilst in previous decades pioneers of an individual style could hope to enjoy cultural primacy if the audience of the time chose to embrace their particular form and performativity of the medium, now in the 21st century such trends and homogeneity in the preference of rock musical styles appears to be long gone. So what are the causes of this, the framework within which musical content is received, interpreted and either judged to be worthy of consumption or discarded? Moreover, what are the implications of this process of musical selection?

Peterson (1975) seized upon some trends in the world of musical culture in his treatise on the subject 'Cycles in Symbol Production: The Case of Popular Music' when he noted that "Periods of Market Concentration are found to correspond to homogeneity, periods of competition to periods of diversity". Such a statement seems axiomatic, but gains most importance when considered in light of the current form and function of the Rock Music industry and the current limbo in dominant cultural images of Rock Culture. As has been mentioned before, artists and musical content not traditionally associated with the form and conventions of Rock music, especially in regards to popular music of the 60's, 70's and 80's are now slowly amalgamating into a socially and culturally imagined "golden age of rock", as people find themselves unable to relate or embrace the current form and function of rock music.

This inability to reconcile the passing of older trends and a loss of a sense of belonging to Rock culture as its communities and factions split, diversify and develop is, i would contest, why we now see many popular music groups of diverse backgrounds and associations all vying to resurrect their own particular incarnation of the genre itself. This in turn it seems, is carried out either as a way of legitimising their own preferences and rationalisations of the genre or as a extension of their own innovations in the genre itself. We've been able to see this throughout the past decade or so with the popularity of widely divergent sounds and aesthetics of the rock album and the rock band itself, such as Bloc Party, JET, Kings of Leon, MGMT and countless others.

The question remains then, who gets to decide what's rock and what's not? If the artist's themselves are not fit to decide, who then? Industry? The fan? Who could honestly say nowadays that they without problem, fit into someone's neat definition of Rock Music or Rock Culture? Moreover, if so many definitions of Rock exist and the band persona is no longer so limited by perceived convention, this could open the way for a far more accepting and vibrant form of the culture.

Rocking Out, Greening Up

People are all about “going green” these days. Everything from eating organic foods and using eco-friendly house products, to reusing shopping bags and picking up trash when seen lying on the ground, are examples of this. Rock ‘n’ rollers, too, have gone from “bad boys” (and girls) wearing oh-so-stylish leather jackets to putting on “friendlier fibers” and donating CD and concert sale revenues to help clean up our loving planet.

Radiohead, for example, made a rather bold move with the release of their 2007 CD “In Rainbows.” Granted, it was only offered as a digital download “for any price you want to pay” in order to make piracy a useless action for their album, however, it reduced packaging costs, which I’m sure Mother Earth was smiling about. If you wanted a tangible copy of the CD, you needed to drop $82 on the discbox, but this did include both CD and vinyl versions of the bands album (Frucci).

A more purposeful example of a rock artist helping the environment is KT Tunstall. "Stop completely twatting your planet. We haven't got anywhere else to live," the Scottish rocker barks on the Global Cool website. (Tilden). Tunstall also had her house and recording studio built using “reclaimed wood, sheep's wool for insulation and solar panels for energy. To offset the carbon footprint from the making of her first CD, she planted 6,000 trees in Scotland” (Tilden). What's more, Tunstall claims: "I use biodiesel fuel on my buses and carbon-neutralize the audience's journey to gigs” (Tilden).

Reverb, a Portland, Maine-based environmental organization, also helps artists such as Alanis Morissette, Red Hot Chili Peppers and Barenaked Ladies, to go green. Reverb invited greening coordinators to gather up broken and used strings from the stage after gigs to be recycled by a New Hampshire company into jewelry” (Williams).

Rock on, you green-goers, you! Continue to give Mother Earth something to sing about!




References

Frucci, Adam. "Radiohead offers new album for whatever you want to pay". Gizmodo-The Gadget Blog. May 28, 2009 .

Globalcool.org

Tilden, Tommi. "Rock the Green". The Daily Green. May 29, 2009 .

Williams, Alex. “Have Guitar, Will Recycle”. Fashion and Style. May 29, 2009 http://www.nytimes.com/2007/03/15/fashion/15reverb.html

Does the notion of authenticity rely on live performance?

Is live performance the only authentic rock experience? I don’t believe it is. Having said that I do believe it is an integral part of proving or creating ones authenticity. As Regev (1994) explains, “Components of popular music - lyrics, amplification, recording technology, assemblage, stylistic eclecticism - have been interpreted in the rock context as aesthetic means for expressing rebellion and subversiveness, thus discovering in rock music aesthetic genuineness and serious meanings”. In other words, all the studio work is an accepted and appreciated part of the rock experience; it is not in conflict with the live performance but rather live and studio work together to create the entire authentic rock experience. An artist or band is not seen as ‘cheating’ for using studio equipment and effects during the recording of an album, providing they can prove during a live performance that the sound being generated is coming from the musicians and the instruments they play – if it the performer does not achieve this live then they are deemed inauthentic and a ‘pop’ act (Auslander, 1998).

Take Jimi Hendrix for example. Wakman (1999) explains;

“If Hendrix on stage was a near-mythic presence who both drew upon and signified a complex history of racial representations, Hendrix in the studio was something or someone else, an almost insular figure who could lose himself in the seemingly endless sound possibilities afforded by electric technology. In neither case do we find a more ‘authentic’ Hendrix, but rather in the sum of the two we find a story of the contradictions embodied by Hendrix, the most public of African-American performers, whose move to surround himself with a world of sound seemed more and more an attempt to escape the entrapment of the image that surrounded his celebrity”.

Not only does this explanation of Hendrix explain the importance of the studio in his work but it places the studio as the place where he is most honest, where he produces the music he is feeling without the added pressures of being an African-American icon during a racially charged time. While his image is of major importance to his success, his studio time is vital to the actual music he produces.

This leads me to another point made by Auslander (1998). Many of our ideas regarding authentic come from the knowledge we already have relating to a band or artist. We know that Hendrix was an amazing guitarist who was a successful black man in a white dominated genre – we automatically see him in a positive, authentic light. We know the Monkeys did not actually play instruments and were produced for TV’s sake – we automatically rule them out of the authentic rock world and place them in inauthentic pop. We need to be aware that our ideas of authentic are not solely based on the music we hear on recordings or the performances we see live; it is the combination of the two further combined with the knowledge we already have about that artist that then come together to create the authentic rock experience. None of these components alone can create the sense of absolute authenticity – each component relies on the other as evidence. The artist must have a history of live performance before they are signed as a rock artist and make an album, once the album is done it must be good, the live performance of the album must be as good as the music on the album and the performers must actually be creating the music on stage rather than just acting. This combined with the listener’s knowledge that the artist is thus far believed to be a genuine rocker creates the notion of the authentic – if any of the components are missing then the authenticity can be questioned.

I do agree that live performance is an integral component of the authentic rock experience – I just don’t believe that it is the sole decider of authenticity.

Sarah Gillam

Auslander, Philip 1998, ‘Seeing is believing: Live performance and the discourse of authenticity in rock culture’, Literature and Psychology: a journal of psychoanalytic and cultural criticism vol. 44 no. 4, pp.1-26.

Regev, Motti 1994, ‘Producing Artistic Value: The Case of Rock Music’, The Sociological Quarterly, vol. 35, no. 1, (Feb, 1994), pp. 85-102.

Wakman, Steve 1999, ‘Black sound, black body: Jimi Hendrix, the electric guitar, and the meanings of blackness’, Popular Music and Society, vol. 23, no. 1, pp. 75-113

Thursday, May 28, 2009

Woodstock Revisited

One of rock’s most memorable events was the original Woodstock festival, held in upstate New York in the summer of 1969. Following the Vietnam war, this festival was put on to promote peace and the love of music.

500,000 people from all walks of life ended up attending the infamous 3-day festival and, although people came from clashing backgrounds, the music helped spread peace. All in all, 

Woodstock brought peace through music during a difficult time. It’s now written in history books as one of the greatest rock concerts of all time. When havoc and destruction should have occurred, people came together instead.

On the 30th anniversary of Woodstock in 1999, a new Woodstock took place to pay tribute to the greatest rock concert of all time. Unlike the original Woodstock, Woodstock ’99 left a negative impression on the world of rock.

Sheryl Crow, a female performer at Woodstock ’99, described the audience as disconcerting 

and said that it was the worst performing experience she’s ever had.

“These people were so full of rage and totally unappreciative of the music, kids raised without any pride in themselves. I’m still really (angry) about the event and regret being a part of it” (As said by Sheryl Crow in Cateforis, 2006, p 313).

Why the drastic change? This festival was supposed to commemorate the orginal Woodstock, in which people banned together. However, at Woodstock ’99, the crowds got out of control as they raged, rioted, looted and flashed body parts for the camera.

Maybe Woodstock is something that can’t be re-created or re-visited. It wasn’t meant to be as big and grand as it turned out to be. But, that’s the spirit of it all. Without planning and without rules – Woodstock ’69 defied the odds and ended up showing America the healing power of music. Through rock, people forgave their differences for three days and focused on nothing but peace and prosperity. Isn’t that what music is supposed to be about? You can’t re-create that feeling. Maybe – just maybe – if we stop trying, it’ll come back to us one day and the world will see another successful Woodstock. Until then – I think it’s about time we stop trying so hard to make it happen.

 









Woodstock 1969    Woodstock 1999


References

Woodstock ’69 Web site, www.woodstock69.com

Theo Cateforis, 2006, ‘The Rock History Reader,’ CRC Press

rock for rock's sake - where has it gone?

Why is it with every search I do, whether it be in Google scholar or on a university database, do all the results for anything to do with ‘popular music’, ‘rock music’, or ‘rock and roll’ deal with the emergence of or history of music? Is anyone writing about music now? Or has music, as far as academics are concerned anyway, had its day? Sure, rock was invented in 1955 with the onset of Elvis Presley; sure, rock became recognised as more than pop music in the 1960s; ok, females were excluded in the formative years of rock therefore the industry developed into a male dominated one; yes, the 1970s saw a major increase in rock bands – then what? I am yet to find a journal article that discusses any bands or artists which are performing now - or at least who have occurred during my music listening years. There are many articles on the audience or popular music in general, and even more on music and its effect on youth - but what about a discussion on rock for rock’s sake? Or an analytical look at the lyrics of a recent band? How about some recognition for the contributions made toward the genre ‘rock’ by recent bands and artists? Let’s look at why women are still minorities of rock? Are women still minorities of rock? All these questions I’d love to answer as best I can but here’s the catch – I can’t write anything without the backing of an academics work because I am just a student with no authority on the subject. I am sure that there are more works out there, that there are journals full of recent articles tackling these problems but in the months I have spent searching databases and the web I am yet to find any (apart from the odd book chapter about U2 but, come on, there is more to rock today than that!). The only writings about recent rock music are performance and album reviews. Contemporary rock music has reverted back to being treated as just entertainment and is being written about in gossip and entertainment magazines and blogs. The hard work put in during the 1960s to have rock recognised as ‘art for art’s sake’ and not just profit making, industry pleasing music seems to apply only to rock made in that era. Is this true? Is the art of rock really dead? Or is there just a lack of scholarly text which creates the illusion that contemporary rock is not worth deeper analysis?

Sarah Gillam

The Rock star Style: Since when can you DIY??

I hope I am not the only one that becomes enraged when seeing Miley Cyrus wearing a Led Zeppelin T-shirt. Or Nicole Ritchie donning a head scarf, ala Axl Rose and flashing the rock on symbol at photographers as she is snapped walking up rodeo drive for a shopping spree thanks to dad Lionel.

A recent interview with Motley Crue Bassist, Nikki Sixx, illustrates that even the musicians are feeling the frustration. When asked what music would be playing in his version of hell, Sixx promptly replied, “Ashlee Simpson. She is not a rock chick.” (2004).
My point I, when did Rock and Roll become so commercial, that simply purchasing a vintage T, hanging Bon Jovi’s Slippery When Wet vinyl on the wall, and putting your facebook status as Rock on, become even remotely, rocks tar
It seems there is a lot of money to be made with marketers inventing and pedaling new ideas of how the ordinary person can be a rock star at home. When flipping through the latest issue of Rolling Stone, there article, ‘Rock and Roll Must Haves’ may as well be a DIY kit of how to achieve rock star status all in the comfort of your own home. According to Rolling Stone, one must have; the Guitar Hero, World Tour game, the Sex Pistols new graphic novel , The Man with Kaleidoscope Eyes by Alan Aldridge, a Sony USB turntable and of course the vintage T and scarf that all the celebs are wearing.

It is mind blowing that a genre that developed in such an effortless, real and raw circumstance, has become such a marketed product. This new wave of rock and roll consumerism is blurring the line between the greats and the would be’s if they could be’s

If we give the ordinary man a guitar, tell him to, play it, swear on stage and of course have all of the typical rock star paraphernalia where does that leave us? While I believe that rock stars are born and not made, it is sure hard to spot the genuine from the fakes in this day and age. In my opinion there has been no real rock band that has been able to fill the shoes of Guns n Roses since the 1980’s. Velvet Revolver came close, yet fell apart due to the pitfalls that are involved in a rock star’s life. Of course bands like RHCP, Pearl Jam and STP must be applauded for their input, and it absolutely does not go unnoticed. However, I’m sure you will agree with me that they are a different sounding type of rock. I really hope that this does not mean that we will have to put up with the likes of Fall Out Boy and Hinder, to fill the rock fans desire for down and dirty music.

References
Hiatt, B 2008, ‘Gear’, Rolling Stone, December issue, no. 685, p. 34, acp magazines.

Rock and Roll Guru
http://rockandrollguru.com/?p=1302

Chief Marketer
http://chiefmarketer.com/media360/broadcast_cable/rolling_stones_10042005/

In The Beginning: The Racial Divide

There are many contributors to rock and roll music. But none have had as much influence as the crew of the 1950’s and 1960’s that took the blues sound and ran with it. This pivotal time in the development of the Rock and Roll genre showcases the explicit relationship that music and culture have.

Rock and Roll is typically referred to as a union of rhythm and blues stemming from African American beats and melodies, coupled with youthful subject matter that as time went on applied more to middle class white society than its predecessors. The forefathers of this genre are undoubtedly those personalities of the 50’s and 60’s who saw this underground, often unspoken of music sound, become mainstream.
Fats Domino, Lloyd Price, Ike Turner, Hank Williams, Joe Turner, Louis Jordan, Ray Charles, Little Richard, Jerry Lee Lewis, Chuck Berry, Bo Diddley, Buddy Holly - and Elvis Presley are among the names that spring to mind when we talk of pioneers of Rock and Roll. As time went on and decades rolled past, Jimi Hendrix, The Beatles, The Rolling Stones and Led Zeppelin found themselves filling the shoes of those left behind.

Therefore the development of this genre was multi-racial, in the beginning. However, fast forward to the 1980’s and finding a black American engaged in rock music would be hard to come across. This issue became of such precedence that the Black Rock Coalition (BRC) developed to support those Black Americans displaced by the turn that rock music had taken in later years. Chapters in Los Angeles and New York emerged to support the desire of any black Americans that wanted to play, write or record rock music. There was such an obstacle as it was implausible to record executives and many music consumers that there was a place for black Americans in rock music, the fore-founders of the genre.


Between the 1980’s and today, the environment has changed very little. When trying to think of an African American rock group when writing this article, I found myself stumped and asked a friend if any names sprung to mind. Within the rock genre I found a few names that have a strong representation, Lenny Kravitz, Slash and Pharrel Williams. Williams is the founder of N.E.R.D, of which is the closest thing that the 20th Century has in the way of an all African American Rock and Roll Band. And to be honest, I personally feel that’s pushing it to class N.E.R.D as rock. There music is more, hip hop and rap. Pharrel himself is considered a master of those genres and commands a high power and even higher sum of money to work with him.
It is thought that as this genre evolved; the subject matter of rock music songs became less and less relevant to young, African Americans post WWII. The melodies that at first emerged as an outlet for black oppression, was superseded by the typically ‘white’ subject matter, that had no bearing on the African American lifestyle.










Now this race of people have a huge representation in Rap and Hip Hop genres that developed in response to the turn that Rock and Roll took. It is rather sad that the grassroots culture that Rock and Roll developed from are no longer as involved in the genre as they once were. But again it is evidenced that music and culture have a mutually exclusive relationship, where these two entities affect each other in all aspects of the word. It is like considering what came first the chicken or the egg. In this case what changed first? Was it the music of Rock and Roll that changed in response to the changing culture of a post WWII society, or alternatively did the music revolutionise culture and open it up to a whole new way of life. It is hard to argue either side, and only those that experienced this development first hand will be able to answer, if at all, that question.







References:

Mahon, M 2000, 'Black like this: race, generation, and rock in the post civil rights era', American Ethnologist, vol. 27, no. 2, pp. 283-311, JSTOR.

http://oldies.about.com/od/rockandrollpioneers/Rock_and_Roll_Pioneers.htm

Teen Idols

A teen idol is defined as a rock artist who attracts a large following of mostly female teenagers because of their sex appeal, popularity and music talent. They exist today, but the origins of such idols developed in the 1940’s as rock first began to hit the music scene in America.

Although popular with the female fans, many avid rock historians see teen idols as a threat to rock’s survival.

“Wimpy, overwhelmingly bland and safe, their connection to rock & roll was often tenuous, and their commercial ascendancy has even been discussed as a conspiracy by the music business and sundry other moral authorities to rob rock & roll of its vitality” (http://www.history-of-rock.com).

Was it that these idols were taking away the classic elements of rock? Instead of the vulgar lyrics and risqué style of older and more legendary rock artists, these idols made their claim to fame with sheer sex appeal and good looks. They didn’t have to wear face paint like KISS or bite the head off a bat like Ozzy in order to attract a following. They were able to lure women with charm – something that wasn’t a common trait in most rockers.

This should stand to see why avid rock historians disapprove of teen idols. In their defense, rock music was and is the music that defied the norms. Adding pretty faces with good manners doesn’t fit with the stereotypical rock image.


References

Wikipedia – searched ‘teen idols,’ accessed on May 28, 2009

History of Rock Web site, www.history-of-rock.com

Frank's not into rocking 'n' rolling


Throughout the 1950s and 1960s, rock ‘n' roll was truly born, birthing a world of music that introduced and expressed a new and different (and quickly popular) sound. Some people from earlier generations in the show and music businesses did not approve of the new style of music. One such critic was Frank Sinatra. In 1957 he was quoted as saying,

Rock and roll is the most brutal, ugly, desperate vicious form of expression it has been my misfortune to hear. Rock n' Roll smells phony and false. It is sung, played and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd...in plain fact, dirty lyrics…it manages to be the martial music of every sideburned delinquent on the face of the earth." (Frank Sinatra at 1958 Congressional hearings, New York Times Magazine, 12.1.58, p.19).

It is partially true what Sinatra mentioned above, however I do not think this held true until the 1970s when rock then began dividing into different subgenres. So Frank, fast forwarded about 13 years, and I would agree with you more. In the 70s, rock music grew to ‘soft rock’, ‘progressive rock’, ‘heavy metal’, etc. and not until the 80s did rock emerge into ‘hardcore punk rock’ or ‘alternative rock.’ With the formations of these new types of rock, it became a time of speaking out and rocking out. However, to categorize all rock ‘n’ roll music (especially in the 1950s) as “smelling phony and false” well Frank, that’s a bit harsh. Chuck Berry, Big Joe Turner, James Brown and Little Richard, to name a few, all had early rock ‘n’ roll career hits and are still considered some of the best-known and most influential artists of all rock ‘n’ roll time. Rock ‘n’ Roll has changed dramatically since the 1950s, constantly forming into many other rock-influenced styles, but it would have never come about if it wasn’t for the “cretinous goons” playing for the “sideburned delinquents.” Do not get wrong, I am a fan of Frank’s music; however his opinion on rock ‘n’ roll is something that I would beg to differ.














Frank wondering, perhaps, why people love rock 'n' roll so much



References:

Frank Sinatra at 1958 Congressional hearings, New York Times Magazine, 12.1.58, p.19

Shirley, David. The History of Rock and Roll. Canada: Library of Congress Cataloging-in-Publication Data, 1997