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Popular Music As History, Power & Politics |
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In this segment we investigate and establish: First, that music as a form of
communication has inherent power. Second, that in having power music itself can be
a form of political tool and used as a political tool. And three: its inherent nature is
therefore political. We then overview how certain forms of music in the West, via the
onset of industrial capitalism and the market economy became an actual object of
commodification - ie. music itself became a commodity to be marketed in a mass
industry that saw the birth of 'Western Popular Music' - other wise known as 'Pop' and
the emergence of Rock n Roll, and its later variants, as Pop music’s most popular form.
Hi I'm Dr Ivan Molloy
former university senior lecturer (a professor
for all you Americans) in International Politics and Co-ordinator and designer of the ground breaking University lecture series: Rocking The World - The Politics of Popular Music, upon which much of this web site is based. |
Tears For Fears - Everybody Wants To Rule The World
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In short, this section of Rock Mountain's web site is about the politics of popular music -
by that we mean Western popular music. As indicated it is about Rock and Roll (RnR)
- for sure, but not only RnR, but also other forms/styles of popular music as they have
evolved in the West last century up till now, and indeed together have been part of the
motor of 'Westernisation', or the spread of Western influence around the globe - or
'Globalisation' if you like, with all of its concomitant effects and consequences.
Music is a Basic Form of Communication
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Pop (popular music) is political because it is a form of communication. It is a means by which information and knowledge is transmitted. In fact this is one of the most important and historical roles of all music. Music has always been a way and medium of transmitting knowledge about other peoples, current affairs, news, other ideas etc. |
Music Can Reflect Values, Cultures, Histories And Impart News And
Messages
Messages
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Music has always reflected values and other cultures. And this
has been one of the most important functions of music in human society, indeed in all of civilisation, since the year dot! It's always been a way of imparting messages - take the `bard’, in medieval days in Europe, no more than a traveling current affairs reporter. Think of the strolling minstrel as news dispenser, of the events at court, of the latest political events in capital. |
Music has also been a way of recording history. Take for example, the medieval chants
by the monks as a way of retaining history and recording events (oral), as was also
early Folk music such as that played by the minstrels and traveling acts. In aboriginal
society as in others, it has been the way of telling of legends and mythical stories - it
has acted as an essential form of communication.
To quote one expert (Ellis): Through song the unwritten history of the people and the
laws of the community are taught and maintained; the entire physical and spiritual
development of the individual is nurtured; the well being of the group is protected:
supplies of food and water are ensured through musical communication with the
spiritual powers; love of homeland is poured out for all to share; illnesses are cured;
news is passed from one group to another.’
by the monks as a way of retaining history and recording events (oral), as was also
early Folk music such as that played by the minstrels and traveling acts. In aboriginal
society as in others, it has been the way of telling of legends and mythical stories - it
has acted as an essential form of communication.
To quote one expert (Ellis): Through song the unwritten history of the people and the
laws of the community are taught and maintained; the entire physical and spiritual
development of the individual is nurtured; the well being of the group is protected:
supplies of food and water are ensured through musical communication with the
spiritual powers; love of homeland is poured out for all to share; illnesses are cured;
news is passed from one group to another.’
Music As A Form Of Communication Has Also Long Been A
Traditional Form Of Protest And Reflects Other Societal Practices.
Traditional Form Of Protest And Reflects Other Societal Practices.
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As in the West, in many Third World states it is still the
common form of political protest. Music as communication records celebrations and cultural practices: births, birthdays, and funerals. Indeed music in human society has a multi-functional role, as a form of communication it entertains, is informative, and defines ritual. Indeed music is embedded in the human experience and is multi-functional. Music has also reflected celebrations and practices of other cultures and of course events. For our purposes it has |
reflected such things as the depression years, industrialisation, patriotism, nationalism,
end of empire, wars, slavery, cruelty, religion and liberation theology, life in the
Australian bush, or at sea, or at work, and of course love and broken hearts (Achy
Breaky Hearts) - All have all been captured in music and song.
end of empire, wars, slavery, cruelty, religion and liberation theology, life in the
Australian bush, or at sea, or at work, and of course love and broken hearts (Achy
Breaky Hearts) - All have all been captured in music and song.
Music As A Form Of Communication Has Power!
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Music as a form of communication has power - the power to inform. But it has other sorts of powers as well. To quote Ellis again, music `can bridge various thought processes; it is concerned with the education of the whole person; it can stimulate intercultural understanding at a deeply personal level, with the result that a person is no longer a member solely of one culture.’ Charles Seeger notes that `music is one of the two traditional means of auditory communication with among men, the other being speech.' He clarifies this |
by saying that `music, though not a universal language, is without question most nearly
universal in all sense of the world, including world-wide perspective than speech.’
Wachsmann attempting to locate the universal-ism in music argues that `man is at some
level `one’ with the universe’, and again that `music is a special kind of time and the
creation of musical time is a universal occupation of man.’
So while so many in this world believed that in the larger community Pop music has no
essential function in society, apart from an aesthetic one, we differ! Further, the very
existence of Pop music and the use of music in advertising proves that factual
information is conveyed through Western music and that music can indeed be
extremely useful in our society.
universal in all sense of the world, including world-wide perspective than speech.’
Wachsmann attempting to locate the universal-ism in music argues that `man is at some
level `one’ with the universe’, and again that `music is a special kind of time and the
creation of musical time is a universal occupation of man.’
So while so many in this world believed that in the larger community Pop music has no
essential function in society, apart from an aesthetic one, we differ! Further, the very
existence of Pop music and the use of music in advertising proves that factual
information is conveyed through Western music and that music can indeed be
extremely useful in our society.
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An Experiment
We should study the impact of Western popular music on society because Pop music is a form of power. While knowledge is a form of power - which music transmits, Pop music possesses power in yet another dimension. On a base level, it has power in its messages and power in its sound - it has power in what it does to the human body. Let's illustrate this. |
Dance to the Doors
The Doors - Roadhouse Blues
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To demonstrate music has power - lets conduct a little experiment. Play the U tube clip
of the Doors above and to the right.
Listen to it all the way through. I bet while listening your feet were tapping, or your
body was moving in some way to the beat. I bet some of you were even dancing. Why
did you move?
You moved because music has power! So I think I can make the point that music,
indeed Popular music, is inherently political - because music has power! It has power
of attraction, a power to make you feel good, a power to make you dance. It has
biological power for what ever reason. So - as you can see, music has power - not only
because of its communicative capacity. But because it can sound good and it can
effect your emotions.
Music is a powerful weapon as it affects feelings. It has the power to make people feel
happy, feel melancholy and even make people feel sad. It can infuriate, motivate,
propel, slow down, make people feel wistful, even enrage. Therefore again, music
is and can be a tool of power!
Music can also be a tool of unification! It can be a tool of tribalism. Like a musical
flag, music can be a rallying point for ethnic groups and communities. And it can be
used for motivation. If you doubt me - just think of the Liverpool ('tribe') crowd at a
soccer match like the one below singing 'You'll Never Walk Alone'. Also see Bruce
Springsteen below for his song 'Born In The USA', which is not only a protest song but
a song unifying Americans.
Music can therefore be just like a badge. It can symbolise the unity of people. It can
and often is the glue of nations. Just think of the power and impact of National
Anthems.
A Powerful Tool
So music can be, and is indeed, a powerful tool - even a weapon. Above all, it has the
power to motivate. For example, how many times do we see wrestlers entering the ring
to the sound of Rock music for motivation.
Music is the Beat - the Beat is Power - and Power is Politics.
of the Doors above and to the right.
Listen to it all the way through. I bet while listening your feet were tapping, or your
body was moving in some way to the beat. I bet some of you were even dancing. Why
did you move?
You moved because music has power! So I think I can make the point that music,
indeed Popular music, is inherently political - because music has power! It has power
of attraction, a power to make you feel good, a power to make you dance. It has
biological power for what ever reason. So - as you can see, music has power - not only
because of its communicative capacity. But because it can sound good and it can
effect your emotions.
Music is a powerful weapon as it affects feelings. It has the power to make people feel
happy, feel melancholy and even make people feel sad. It can infuriate, motivate,
propel, slow down, make people feel wistful, even enrage. Therefore again, music
is and can be a tool of power!
Music can also be a tool of unification! It can be a tool of tribalism. Like a musical
flag, music can be a rallying point for ethnic groups and communities. And it can be
used for motivation. If you doubt me - just think of the Liverpool ('tribe') crowd at a
soccer match like the one below singing 'You'll Never Walk Alone'. Also see Bruce
Springsteen below for his song 'Born In The USA', which is not only a protest song but
a song unifying Americans.
Music can therefore be just like a badge. It can symbolise the unity of people. It can
and often is the glue of nations. Just think of the power and impact of National
Anthems.
A Powerful Tool
So music can be, and is indeed, a powerful tool - even a weapon. Above all, it has the
power to motivate. For example, how many times do we see wrestlers entering the ring
to the sound of Rock music for motivation.
Music is the Beat - the Beat is Power - and Power is Politics.
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Bruce Springsteen - Born In the USA
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Liverpool Soccer Crowd - Walk Alone |
So Music Is A Means Of Exercising Power!
In short, because it is a means of communication - a means of motivating people
emotionally and physically - music is a means of power - of wielding power. It has the
power to inform and the power to motivate. Simply put, because power is the essential
ingredient of politics, all of these things are political, so music is therefore both political
and politics in itself. Why?
Because politics can simply be reduced to the interaction of two or more people - that
is essentially politics, and as all human interactions involve some sort of power
equations - music can deliver, define or shape power relations.
Politics is human interaction, and so is music. People think in musical terms, they
reminisce with it, it 'signposts our memories'. Music conveys emotions, messages, and
images, and images are powerful and are political. Music can politicise. Therefore
music is politics! And as such music can be a political tool.
So Why Bother To Examine the Historical, Cultural And Political
Impact Of Western Popular Music?
Impact Of Western Popular Music?
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So OK, music is politics, but why bother these days to make
the connections between politics and Popular music? In the 1960s this question would not have been asked- because of the Vietnam War and other issues. But in the 21st Century, to many of those of the 'Baby Boomer' generation, it’s not that apparent these days that there is much of a connection. Not overtly at least, because what they experienced might have been an exceptional, i.e. - the connection between Pop |
and politics? But as we know people of that age can’t filter all Pop history through the
lens of the late 1960s. Instead, in the early 21st century we perhaps need to ask some
hard questions of ourselves and of that late 1960s experience. Should we be looking
just for the obvious connections - the explicit messages between Pop and politics, or
should we also be looking for the harder more concealed, implicit messages?
lens of the late 1960s. Instead, in the early 21st century we perhaps need to ask some
hard questions of ourselves and of that late 1960s experience. Should we be looking
just for the obvious connections - the explicit messages between Pop and politics, or
should we also be looking for the harder more concealed, implicit messages?
And if we do, you'll find that YES - the study of Pop and politics is just as valid now as
in the 1960s. So we now need to study not only the explicit messages, but also and
perhaps more the implicit messages in music today, as the nature of Pop music has
changed - as has world and domestic politics. For this reason you'll find such a study
even more rewarding.
The Implicit And Explicit Politics In Music
So what are the 'implicit' and 'explicit' politics within and exhibited by Popular music.
Implicit politics means the political messages implicit within the music - those political
messages conveyed being the very existence of the form and lyrics of the music itself
and the genre it represents, and sometimes even the way it is produced and marketed.
As for explicit messages, these are the messages directly conveyed because of the
conscious intent of the artist, writer or musician (or both).
So What Can We Expect To Find By Studying Such Messages?
-A Tool For Shaping Mindsets
You will find that Popular music can and is often used as a powerful political tool both
explicitly and implicitly on a national level - or an institutional level, to shape mindsets
both of the individual and of the collective human community. While we cover much
of this later, what we basically mean here is that music, while being able to motivate
and inform, indeed it is also a powerful tool for shaping mind sets, and can and is
used to ignite nationalism and patriotism, and generally to inspire people to do all sorts
of things. Just think of national anthems, political party songs, songs that politicise,
songs that inspire sporting heroes, etc. And also just think of the melancholy power of
the Blues for example.
It Can Be A Tool For Westernisation/Globalisation
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Western Popular Music can also be a tool both implicitly
and explicitly for driving Westernisation/Globalisation. It is and can be used overtly and covertly to spread influence and the power of peoples’ cultures, nations and states over others - a process we call 'Cultural Imperialism'. This is indeed a major force today where we are seeing military and economic power in the world being displaced by the power |
of the message - the power of communication. The attractions of the West are now
being transmitted through manipulated images, and such manipulation is often
embodied in Western Popular Music. Today we see Western Popular Music as a
powerful ingredient of Westernisation and Globalisation, two concurrent processes
occurring right now. And music reflecting cultures is inherently political.
Pop Music Can Reflect The Power of Capitalism
In this respect, for example, Popular music reflecting Western culture is implicitly
and powerfully political. It projects the power of Western culture and thereby
capitalism globally. More than that, within its own evolution Pop music reflects
Capitalist commodification, etc. However, Pop music has often been used by artists and
indeed governments in explicitly political acts to achieve certain results and agendas,
and much of this we shall study.
being transmitted through manipulated images, and such manipulation is often
embodied in Western Popular Music. Today we see Western Popular Music as a
powerful ingredient of Westernisation and Globalisation, two concurrent processes
occurring right now. And music reflecting cultures is inherently political.
Pop Music Can Reflect The Power of Capitalism
In this respect, for example, Popular music reflecting Western culture is implicitly
and powerfully political. It projects the power of Western culture and thereby
capitalism globally. More than that, within its own evolution Pop music reflects
Capitalist commodification, etc. However, Pop music has often been used by artists and
indeed governments in explicitly political acts to achieve certain results and agendas,
and much of this we shall study.
Some Examples Of The Power And Politics Of Pop Music
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Let's consider a few examples for those who still might doubt that Pop music is essentially political, both in how it has emerged, and in turn how it has been used. Leading and Reflecting Change - Community Attitudes To Coloured People Besides its immediate, obvious effects, Popular music can have a subtle impact on the course of human events. For example, the music of Elvis Presley, ‘the white boy who sang colored’, in the mid-1950s actually helped pave the way for American racial |
integration. It was the black roots of much of Presley’s music, as well as his suggestive
gyrations, that made him such a controversial performer. White teenagers as we know,
liked his music, and it blazed a trail for many black singers who became popular
beyond the black community. Through Elvis' music and others like him, a major black
influence entered mainstream American culture.
There was also a 'Hillbilly' element in early Rock, bringing the concerns and issues of
poor rural whites - another oppressed, neglected minority, into the mainstream US
consciousness.
gyrations, that made him such a controversial performer. White teenagers as we know,
liked his music, and it blazed a trail for many black singers who became popular
beyond the black community. Through Elvis' music and others like him, a major black
influence entered mainstream American culture.
There was also a 'Hillbilly' element in early Rock, bringing the concerns and issues of
poor rural whites - another oppressed, neglected minority, into the mainstream US
consciousness.
Music Can Reflect Changing Human Values
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While we know music has the power to move people to
war and peace, to love and to sleep, it also reflects changing human values. In 1991, as US troops were massing at the Persian Gulf to retake Kuwait, American record makers issued music that reflected public enthusiasm for the war. For example, Arista records put |
Whitney Houston’s Super Bowl version of ‘The Star Spangled Banner’ on a single,
which sold 750,000 copies in only 8 days. It was the fastest selling single in Arista's
history. Also, Boston Dawn’s remake of the Shirelle’s oldie "Soldier Boy", expressing
a woman’s love for her soldier overseas, included some rap lines from the soldier. It
was very much a song of the times, and the record company, American Sound, had
25,000 back orders for the record almost as soon as it was released.
which sold 750,000 copies in only 8 days. It was the fastest selling single in Arista's
history. Also, Boston Dawn’s remake of the Shirelle’s oldie "Soldier Boy", expressing
a woman’s love for her soldier overseas, included some rap lines from the soldier. It
was very much a song of the times, and the record company, American Sound, had
25,000 back orders for the record almost as soon as it was released.
Music Can Also Aid Human Rights
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Music can also aid human rights. Released in 1984, `We
Are The World’ became the fastest climbing record of the decade. Four million copies were sold within six weeks and profits from the record went to the `USA for Africa ‘ project. Its marketplace success paled, however, next to its social impact. |
It Helped In Africa
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The records’s message of the oneness of humankind
inspired one of the most massive outpourings of donations in history. Americans pumped $20 million into USA for Africa in the first 6 weeks the record was out. Within 6 months, $50 million in medical and financial support was en route to drought-stricken parts of Africa. `We are the World’, a single song, had directly saved lives. |
The Power Of Music Has Always Existed
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Music has always had power. It has the power to motivate
and inspire. For example, ‘Over There’ and other songs inspired Americans to support their involvement in the First World War. It was exactly the same in World War Two and later wars including Vietnam. For example, some singer songwriters supported it, ie. ‘The Ballad of The |
Green Berets’ cast American soldiers in heroic vein, ‘An Okie from Muskogee’
glorified patriotism. But others didn't, as we know, there were also antiwar songs -
dozens of them.
glorified patriotism. But others didn't, as we know, there were also antiwar songs -
dozens of them.
Politicians and Music
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Many politicians and their speech writers also have used
Popular music to inspire and motivate support for their campaigns. Consider George Bush (Sen) in the 1992 primaries when he paraphrased a Nitty Gritty Dirt Band song to win over crowds in New Hampshire. Also one writer observed Bush using ‘If you want to see a rainbow, you’ve got to stand a little rain.’ In his state of the union |
message, he also borrowed from Paul Simon’s ‘Boy In The Bubble’ to make a point
on the economy: "If this age of miracles and wonders has taught us anything, its that if
we can change the world, we can change America.” All Presidents before and after
have used Popular music in some degree. It simply has that power. So, in short music
has tremendous effects on human beings, and the technology of sound recording, and
its reach, amplifies these effects.
on the economy: "If this age of miracles and wonders has taught us anything, its that if
we can change the world, we can change America.” All Presidents before and after
have used Popular music in some degree. It simply has that power. So, in short music
has tremendous effects on human beings, and the technology of sound recording, and
its reach, amplifies these effects.
Western Pop And Western Culture
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What should be obvious by now is that we are not talking about all forms of music - but primarily Western Popular Music. And also, when we talk about Western Popular Music, we mean 'Pop'. So we need to understand exactly what we mean by Pop. To do that, we need to understand what is political culture - as Pop is the music of the popular or mass political culture. |
Basically, the political culture of any society is the sum or the shared political and even
moral values of a community. These values can of course be educated and shaped by
all sorts of processes - historical, religious, ideological, economical and cultural
experiences.
In the West this is a capitalist and 'libertarian' - or even liberal, political culture.
Popular music, with regard to culture, is the music that both reflects and defines the
dominant political culture of a society. There are of course many types of music, and
many types reflecting different aspects of community. Much Popular music reflects
historical experiences and values, etc., of different societies, and different political
systems. There is indeed not one form of Popular music, and not one effect of music,
and in many societies around the world the popular reception of music is not governed
or dictated by the 'forces of production', but nevertheless reflect cultures. Take for
example: 'Pacific Island music' - which is popular, has an essential style, and reflects
Pacific Island culture, as does Aboriginal music, as does African music, as does Cuban
music and so on.
moral values of a community. These values can of course be educated and shaped by
all sorts of processes - historical, religious, ideological, economical and cultural
experiences.
In the West this is a capitalist and 'libertarian' - or even liberal, political culture.
Popular music, with regard to culture, is the music that both reflects and defines the
dominant political culture of a society. There are of course many types of music, and
many types reflecting different aspects of community. Much Popular music reflects
historical experiences and values, etc., of different societies, and different political
systems. There is indeed not one form of Popular music, and not one effect of music,
and in many societies around the world the popular reception of music is not governed
or dictated by the 'forces of production', but nevertheless reflect cultures. Take for
example: 'Pacific Island music' - which is popular, has an essential style, and reflects
Pacific Island culture, as does Aboriginal music, as does African music, as does Cuban
music and so on.
So We Are Talking About Western Capitalist Society
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So for our purposes we are talking about Western Popular
Music - the music reflecting the most dominant political culture in the world - Western capitalist society. And this is the important point, Pop music in the West reflects Western economic systems. It reflects Western capitalism and is indeed a product of capitalism and a tool of capitalism. As such, this century has seen the commodification of many consumer products in Western capitalist society, and also the |
commodification of Popular music itself in all its many strands - all of which
reflecting different cultural sub-streams in Western society.The result is Western Pop
music - the music of the Western masses.
reflecting different cultural sub-streams in Western society.The result is Western Pop
music - the music of the Western masses.
So What Is Western Pop?
It is commercial music - the music made in capitalist society for mass commercial use,
and its dominant form since the 1950s has been variants of what we know as Rock n
Roll.
So we are concerned with Western Popular Music: the music mainly of the urbanised
masses. In one sense, it is the music that reflects Western life experience - for as John
Street put it, there is a relationship between ‘public life and private experience’ - and
‘All popular music works by mediating or reinterpreting this connection’. In another
sense, Western Pop music in reflecting capitalism represents what and how the system
wants Western life experience to be perceived; or how culture should be moulded to
strengthen the system by encouraging further participation in it, ie. by buying the
products - whether they be concerts, records clothing whatever - but above all
supporting the capitalist political system/structure and all its vested interests.
The Connection Between Pop and Politics
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The connection between Pop and politics can never be excluded from any analysis of Pop music. What makes ‘Pop’ music popular? argues one expert. Is it something intrinsic to the sound of the music; something intrinsic to the combination of the sound, the look and the story of the act; or marketing by record companies? Ultimately, the experts say marketing rests on the identification of |
‘customer needs’, so what the customer gets has to connect, in some way, with what
the customer wants, but then we get into the territory of the creation, or manipulation,
of customer needs. If we follow this we get into ‘pop’ as ideology. We get into the
areas of Pop and censorship, Pop as distraction, recuperation even, God forbid, Pop as
‘false consciousness’. We also get into the post modern world of life as shopping.
Now no matter what way we explore the political dimensions of the existence of Pop as
a global (and rapidly changing and expanding global media industry) we have to have
this dimension present from the word go. But we can’t possibly explore all the political
dimensions of Pop - only two - its implicit and explicit messages. And we can show
how it is a subtle tool - both reflecting and attempting to affect agendas. As such,
Popular music has played an important role in our history.
the customer wants, but then we get into the territory of the creation, or manipulation,
of customer needs. If we follow this we get into ‘pop’ as ideology. We get into the
areas of Pop and censorship, Pop as distraction, recuperation even, God forbid, Pop as
‘false consciousness’. We also get into the post modern world of life as shopping.
Now no matter what way we explore the political dimensions of the existence of Pop as
a global (and rapidly changing and expanding global media industry) we have to have
this dimension present from the word go. But we can’t possibly explore all the political
dimensions of Pop - only two - its implicit and explicit messages. And we can show
how it is a subtle tool - both reflecting and attempting to affect agendas. As such,
Popular music has played an important role in our history.
An Important Historical Role
Pop music has played an important role in history. One expert argues that remember,
all political movements amongst the disenfranchised and powerless - the peasants, the
mob, the proletariat - have a populist content. Somehow political messages spread,
political ideals emerge to unify spontaneous bodies, political goals are set, however
incoherently, and existing political power bases are contested.
As we know, music has always played a twin role of informing and entertaining; of
expressing ideals, conveying a sense of community and solidarity, of lifting spirits,
organising exuberance and expressing doubts and fears, of consoling the vanquished
and lamenting the lost. Popular music is the music of the 'mass'.
But the mass can be constituted in different ways, with reactionary as well as radical
programmes. And the mass is not an homogenous whole (or only very rarely) there are
contradictions, there is heterogeneity within the mass.
Pop music has played an important role in history. One expert argues that remember,
all political movements amongst the disenfranchised and powerless - the peasants, the
mob, the proletariat - have a populist content. Somehow political messages spread,
political ideals emerge to unify spontaneous bodies, political goals are set, however
incoherently, and existing political power bases are contested.
As we know, music has always played a twin role of informing and entertaining; of
expressing ideals, conveying a sense of community and solidarity, of lifting spirits,
organising exuberance and expressing doubts and fears, of consoling the vanquished
and lamenting the lost. Popular music is the music of the 'mass'.
But the mass can be constituted in different ways, with reactionary as well as radical
programmes. And the mass is not an homogenous whole (or only very rarely) there are
contradictions, there is heterogeneity within the mass.
But Pop’s Greatest Contribution
So while we need to be aware of such heterogeneity, we must however be aware
Western Pop music has emerged as a most powerful force of Westernisation and
globalisation - a force that breaks down heterogeneity. And this last point is possibly
the most important we can make.
The greatest contribution Pop is now making in the world today is its role in
globalisation and uniting peoples of the world - we shall cover this later.
'Rock', Rock n Roll' - and Pop
Arguably the most dominant form of Western Popular Music has been something we
can loosely call Rock n Roll - and it has many variants, but most often these days it is
called 'Rock'. But for us to effectively examine and understand it (and its latter
variants) as Western Pop, we must also briefly look at other forms of music from which
it grew. In other words, let's look at its ingredients from which it grew, and still exists
side by side with it - and still contribute to it, i.e. when we trace the political evolution of
Pop from the turn of the century right up until now - we have to be also aware of the
inputs and existence of such music as Jazz, Folk, the Blues, Rhythm and Blues,
Gospel, Tribal, Ethnic, World Music, Country and Western and more. Only then can
we confidently then examine Rock n Roll and its later variant ie. Rock, and then
its morphing into Progressive Rock, Glam Rock, Disco (heaven help us) Punk,
Rap, Grunge, techno, on and on.
So while we need to be aware of such heterogeneity, we must however be aware
Western Pop music has emerged as a most powerful force of Westernisation and
globalisation - a force that breaks down heterogeneity. And this last point is possibly
the most important we can make.
The greatest contribution Pop is now making in the world today is its role in
globalisation and uniting peoples of the world - we shall cover this later.
'Rock', Rock n Roll' - and Pop
Arguably the most dominant form of Western Popular Music has been something we
can loosely call Rock n Roll - and it has many variants, but most often these days it is
called 'Rock'. But for us to effectively examine and understand it (and its latter
variants) as Western Pop, we must also briefly look at other forms of music from which
it grew. In other words, let's look at its ingredients from which it grew, and still exists
side by side with it - and still contribute to it, i.e. when we trace the political evolution of
Pop from the turn of the century right up until now - we have to be also aware of the
inputs and existence of such music as Jazz, Folk, the Blues, Rhythm and Blues,
Gospel, Tribal, Ethnic, World Music, Country and Western and more. Only then can
we confidently then examine Rock n Roll and its later variant ie. Rock, and then
its morphing into Progressive Rock, Glam Rock, Disco (heaven help us) Punk,
Rap, Grunge, techno, on and on.
The Ingredients Of Modern Rock As Pop
OK - let’s now briefly look at the various ingredients genres /sources of RnR music
that have featured and do feature at different times as, or in, Western Popular Music
and have contributed first to Rock n Roll, and then to modern Rock.
OK - let’s now briefly look at the various ingredients genres /sources of RnR music
that have featured and do feature at different times as, or in, Western Popular Music
and have contributed first to Rock n Roll, and then to modern Rock.
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George Lewis New Orleans Jazz Band- Mahogany
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The Blues
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Hooker - Boom, Boom, Boom
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Pete Seeger - Where Have All The Flowers Gone
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The Blues Brothers - Rawhide
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The Blues Brothers - Rocking The Gospel
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Rockabilly
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Rockabilly
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The Rolling Stones - Mona
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Rhythm
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And They All Added Up To -
Elvis Presley - Hound Dog
Which in turn led to Rock! and all its later variants!
All Of The Above Are Also The Ingredients Of Modern Pop Music.
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And at times, each one of these ingredients and their variants
have also even been considered to be Pop music in themselves. And indeed - I would argue all are have been, and are, inherently political. As such there are many forms or strands of Popular music, but for our purposes we shall focus mainly on the most dominant one and that is Rock n Roll which then morphed into Rock and its various variants and even mutants. |
So we can't get away from the politics of that loosely described form of music known as
Rock n Roll - the music which Frank Sinatra described as:
` .... the most brutal, ugly, desperate, viscous form of expression it has been my
misfortune to hear.” - (Frank Sinatra, testifying before the US Congress Payola
Hearings in 1958 )
But before we go any further, we must look next at the origins and commodification of
modern Popular music as we know it in the West and see if we can detect even in its
origins - the existence of implicit politics within it.
It is important to look at its commodification as in the modern Western Capitalist World
with all our technological forms of communication, the video, etc, music has indeed
become a commodity nowadays rather than a form of communication. If you ever
doubted that, just look at today’s Rock video, where many lyrics mean absolutely
nothing, and the music is sold on the visual image of the Rock video. Nevertheless, as
experts say - a message is still transmitted through the accompanying visual image - so
while music as a form of delivery is changing, and in one sense its function is being
weakened, its visual accompaniments still assist it carry out its role of conveyor of
messages.
In other words, the mechanism remains the same. Popular music today still transmits
messages and affects emotions, and still wields power - and still therefore is a tool of
politics.
Now, something we can discuss in addition to the above is: Can we draw links with
the development of music and the development of politics internationally and
nationally? - We believe we can. And this is what we set out to do in Rocking The
The World and in so doing seek to demonstrate the legitimacy and intrinsic value of Pop
music to our society.
Music does reflect different cultures and different eras and as such becomes part of the
many expressions of international conflict. Music as an information transmitting device
can also become an issue or tool of domestic conflict. Hence the making or playing of
music, as we have argued can be considered a 'Directly Initiated Political Action', or
explicitly political act with a defined and conscious agenda. And it will be such
expressions that in part we examine in Rocking The World.
Now to give you something to think about. Consider the differences between these two
songs below. Think about their differences in political content, i.e. expressed either
implicitly or explicitly, (i.e. self-initiating or directly initiated politics). And in turn what
do you think the message is in each. Compare and contrast them with your friends.
Rock n Roll - the music which Frank Sinatra described as:
` .... the most brutal, ugly, desperate, viscous form of expression it has been my
misfortune to hear.” - (Frank Sinatra, testifying before the US Congress Payola
Hearings in 1958 )
But before we go any further, we must look next at the origins and commodification of
modern Popular music as we know it in the West and see if we can detect even in its
origins - the existence of implicit politics within it.
It is important to look at its commodification as in the modern Western Capitalist World
with all our technological forms of communication, the video, etc, music has indeed
become a commodity nowadays rather than a form of communication. If you ever
doubted that, just look at today’s Rock video, where many lyrics mean absolutely
nothing, and the music is sold on the visual image of the Rock video. Nevertheless, as
experts say - a message is still transmitted through the accompanying visual image - so
while music as a form of delivery is changing, and in one sense its function is being
weakened, its visual accompaniments still assist it carry out its role of conveyor of
messages.
In other words, the mechanism remains the same. Popular music today still transmits
messages and affects emotions, and still wields power - and still therefore is a tool of
politics.
Now, something we can discuss in addition to the above is: Can we draw links with
the development of music and the development of politics internationally and
nationally? - We believe we can. And this is what we set out to do in Rocking The
The World and in so doing seek to demonstrate the legitimacy and intrinsic value of Pop
music to our society.
Music does reflect different cultures and different eras and as such becomes part of the
many expressions of international conflict. Music as an information transmitting device
can also become an issue or tool of domestic conflict. Hence the making or playing of
music, as we have argued can be considered a 'Directly Initiated Political Action', or
explicitly political act with a defined and conscious agenda. And it will be such
expressions that in part we examine in Rocking The World.
Now to give you something to think about. Consider the differences between these two
songs below. Think about their differences in political content, i.e. expressed either
implicitly or explicitly, (i.e. self-initiating or directly initiated politics). And in turn what
do you think the message is in each. Compare and contrast them with your friends.
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Spice Girls - Wannabe
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John Lennon - Give Peace A Chance
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A Statement To Consider:
'Music is communication, communication is power, power is politics, music is politics!'
Click on the following: TRUE or FALSE
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To Learn About All Other Ingredients Of Modern Pop Music, Go To Rock Mountain Music Ingredients Below 
RM Music Ingredients
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