Aurum Potestas Est

We as a race and a culture have a massive love affair with gold. It is the basis of our currency, the definitive mark of wealth and status, in some ways the bedrock of our society. We hoard it, we covet it, we hide it away except for special occasions, but we never really use it.

This is perhaps the strangest thing about gold; for something around which we have based our economy on, it is remarkably useless. To be sure, gold has many advantageous properties; it is the best thermal and electrical conductor and is pretty easy to shape, leading it to be used widely in contacts for computing and on the engine cover for the McLaren F1 supercar. But other than these, relatively minor, uses, gold is something we keep safe rather than make use of; it has none of the ubiquity nor usefulness of such metals as steel or copper. So why are we on the gold standard? Why not base our economy around iron, around copper, around praseodymium (a long shot, I will admit), something a bit more functional? What makes gold so special?

In part we can blame gold’s chemical nature; as a transition metal it is hard, tough, and a solid at room temperature, making it able to be mined, extracted, transported and used with ease and without degenerating and breaking too easily. It is also very malleable, meaning it can be shaped easily to form coins and jewellery; shaping into coins is especially important in order to standardise the weight of meta worth a particular amount. However, by far its most defining chemical feature is its reactivity; gold is very chemically stable in its pure, unionised, ‘native’ form, meaning it is unreactive, particularly with such common substances as; for this reason it is often referred to as a noble metal. This means gold is usually found native, making it easier to identify and mine, but is also means that gold products take millennia to oxidise and tarnish, if they do so at all. Therefore, gold holds its purity like no other chemical (shush, helium & co.), and this means it holds its value like nothing else. Even silver, another noble and comparatively precious metal, will blacken eventually and lose its perfection, but not gold. To an economist, gold is eternal, and this makes it the most stable and safe of all potential investments. Nothing can replace it, it is always a safe bet; a fine thing to base an economy on.

However, just as important as gold’s refusal to tarnish and protect is beauty is the simple presence of a beauty to protect. This is partly put down to the uniqueness of its colour; in the world around us there are many greens, blues, blacks, browns and whites, as well as the odd purple. However, red and yellow are (fire and a few types of fish and flower excepted) comparatively rare, and only four chemical elements that we commonly come across are red or yellow in colour; phosphorus, sulphur, copper and gold. And rusty iron but… just no. Of the others, phosphorus (red) is rather dangerous given its propensity to burst into flames, is also commonly found as a boring old white element, and is rather reactive, meaning it is not often found in its reddish form. Sulphur is also reactive, also burns and also readily forms compounds; but these compounds have the added bonus of stinking to high heaven. It is partly for this reason, and partly for the fact that it turns blood-red when molten, that brimstone (aka sulphur) is heavily associated with hell, punishment and general sinfulness in the Bible and that it would be rather an unpopular choice to base an economy on. In any case, the two non-metals do not have any of the properties that the transition metals of copper and gold do; those of being malleable, hard, having a high melting point, and being shiny and pwettiful. Gold edged out over copper partly for its unreactivity as explored above (after time copper loses its reddish beauty and takes on a, but also because of its deep, beautiful, lustrous finish. That beauty made it precious to us, made it something we desired and lusted after, and (combined with gold’s relative rarity, which could be an entire section of its own) made it valuable. This value allows relatively small amounts of gold to represent large quantities of worth and value, and justifies its use as coinage, bullion and an economic standard.

However, for me the key feature of gold’s place as our defining scale of value concerns its relative uselessness. Consider the following scenario; in the years preceding the birth of Christ, the technology, warfare and overall political situation of the day was governed by one material, bronze. It was used to make swords, armour, jewellery, the lot; until one day some smartarse figured out how to smelt iron. Iron was easier to work than bronze, allowing better stuff to be made, and with some skill it could be turned into steel. Steel was stronger as well as more malleable than bronze, and could be tempered to change its properties; over time, skilled metalsmiths even learned how to make the edge of a sword blade harder than the centre, making it better at cutting whilst the core absorbed the impact. This was all several hundred years in the future, but in the end the result was the same; bronze fell from grace and its societal value slumped. It is still around today, but it will never again enjoy its place as the metal that ruled the world.

Now, consider if that metal had, instead of bronze, been gold. Something that had been ultra-precious, the king of all metals, reduced to something that was merely valuable. It had been trumped by iron, and iron would have this connotation of being better than it; gold’s value would have dropped. In any economic system, even a primitive one, having the value of the substance around which your economy is based change in value would be catastrophic; when Mansa Musa travelled from Mali on a pilgrimage to Mecca, he stopped off in Cairo, then the home of the world’s foremost gold trade, and spent so much gold that the non-Malian world had never known about that the price of gold collapsed and it took more than a decade for the Egyptian economy to recover. If gold were to have a purpose, it could be usurped; we might find something better, we might decide we don’t need that any more, and thus gold’s value, once supported by those wishing to buy it for this purpose, would drop. Gold is used so little that this simply doesn’t happen, making it the most economically stable substance; it is valuable precisely and solely because we want it to be and, strange though it may seem, gold is always in fashion. Economically as well as chemically, gold is uniquely stable- the perfect choice around which to base a global economy.


The Consolidation of a World Power

I left my last post on the history of music at around 1969, which for many independent commentators marks the end of the era of the birth of rock music. The 60s had been a decade of a hundred stories running alongside one another in the music world, each with their own part to play in the vast tapestry of innovation. Jimi Hendrix had risen from an obscure career playing the blues circuit in New York to being an international star, and one moreover who revolutionised what the music world thought about what a guitar could and should do- even before he became an icon of the psychedelic hippie music world, his hard & heavy guitar leads, in stark contrast to the tones of early Beatles’ and 60s pop music had founded rock music’s harder edge. He in turn had borrowed from earlier pioneers, Jeff Beck, Eric Clapton, The Who (perhaps the first true rock band, given their wild onstage antics and heavy guitar & drumkit-based sound) and Bob Dylan (the godfather of folk rock and the blues-style guitar playing that rock turned into its harder sound), each of whom had their own special stories. However, there was a reason I focused on the story of the hippie movement in my last post- the story of a counter-culture precipitating a musical revolution was only in its first revolution, and would be repeated several times by the end of the century.

To some music nerds however, Henrix’s death aged just 27 (and after just four years of fame) in 1970 thanks to an accidental drug overdose marked the beginning of the end. The god of the guitar was dead, the beautiful voice of Janis Joplin was dead, Syd Barrett had broken up from Pink Floyd, another founding band of the psychedelic rock movement, and was being driven utterly insane by LSD (although he thankfully later managed to pull himself out of the self-destructive cycle and lived until 2006), and Floyd’s American counterparts The Velvet Underground broke up just four years later. Hell, even The Beatles went in 1970.

But that didn’t mean it was the end- far from it. Rock music might have lost some of its guiding lights, but it still carried on regardless- Pink Floyd, The Who, Led Zeppelin and The Rolling Stones, the four biggest British bands of the time, continued to play an active role in the worldwide music scene, Zeppelin and The Who creating a huge fan rivalry. David Bowie was also continuing to show the world the mental ideas hiding beneath his endlessly crisp accent, and the rock world continued to swing along.

However, it was also during this time that a key division began to make itself firmly felt. As rock developed its harder sound during the 1960s, other bands and artists had followed The Beatles’ early direction by playing softer, more lyrical and acoustic sounds, music that was designed to be easy on the ear and played to and for mass appeal. This quickly got itself labelled ‘pop music’ (short for popular), and just as quickly this became something of a term of abuse from serious rock aficionados. Since its conception, pop has always been more the commercial enterprise, motivated less by a sense of artistic expression and experimentation and more by the promise of fame and fortune, which many consider a rather shallow ambition. But, no matter what the age, pop music has always been there, and more often than not has been topping the charts- people often talk about some age in the long distant past as being the ‘best time for music’ before returning to lambast the kind of generic, commercial consumer-generated pop that no self-respecting musician could bring himself to genuinely enjoy and claiming that ‘most music today is rubbish’. They fail to remember, of course, just how much of the same kind of stuff was around in their chosen ‘golden age’, that the world in general has chosen to forget.

Nonetheless, this frustration with generic pop has frequently been a driving force for the generation of new forms of rock, in an attempt to ‘break the mould’. In the early seventies, for example, the rock world was described as tame or sterile, relatively acoustic acts beginning to claim rock status. The Rolling Stones and company weren’t new any more, there was a sense of lacking in innovation, and a sense of musical frustration began to build. This frustration was further fuelled by the ending of the 25-year old post war economic boom, and the result, musically speaking, was punk rock. In the UK, it was The Sex Pistols and The Clash, in the USA The Ramones and similar, most of whom were ‘garage bands’ with little skill (Johnny Rotten, lead singer of The Sex Pistols, has frequently admitted that he couldn’t sing in the slightest, and there was a running joke at the time on the theme of ‘Here’s three chords. Now go start a band’) but the requisite emotion, aggression and fresh thinking to make them a musical revolution. Also developed a few years earlier was heavy metal, perhaps the only rock genre to have never had a clearly defined ‘era’ despite having been there, hiding around the back and on the sidelines somewhere, for the past 40 or so years. Its development was partly fuelled by the same kind of musical frustration that sparked punk, but was also the result of a bizarre industrial accident. Working at a Birmingham metal factory in 1965 when aged 17, Black Sabbath guitarist (although they were then known as The Polka Tulk Blues Band) Tony Iommi lost the the ends of his middle and ring fingers on his right hand. This was a devastating blow for a young guitarist, but Iommi compensated by easing the tension on his strings and developing two thimbles to cover his finger ends. By 1969, his string slackening had lead him to detune his guitar down a minor third from E to C#, and to include slapping the strings with his fingers as part of his performance. This detuning, matched by the band’s bassist Geezer Butler, was combined with the idea formulated whilst watching the queues for horror movie Black Sabbath that ‘if people are prepared to make money to be scared, then why don’t we write scary music?’, to create the incredibly heavy, aggressive, driving and slightly ‘out of tune’ (to conventional ears) sound of heavy metal, which was further popularised by the likes of Judas Priest, Deep Purple and Motley Crue (sorry, I can’t do the umlauts here).

Over the next few years, punk would slowly fall out of fashion, evolving into harder variations such as hardcore (which never penetrated the public consciousness but would make itself felt some years later- read on to find out how) and leaving other bands to develop it into post-punk; a pattern repeated with other genres down the decades. The 1980s was the first decade to see hip hop come to the fore,  partly in response to the newly-arrived MTV signalling the onward march of electronic, manufactured pop. Hip hop was specifically targeted at a more underground, urban circuit to these clean, commercial sounds, music based almost entirely around a beat rather than melody and allowing the songs to be messed around with, looped, scratched and repeated all for the sake of effect and atmosphere building. From hip hop was spawned rap, party, funk, disco, a new definition of the word DJ and, eventually, even dubstep. The decade also saw rock music really start to ‘get large’ with bands such as Queen and U2 filling football stadiums, paving the way for the sheer scale of modern rock acts and music festivals, and culminating, in 1985, with the huge global event that was Live Aid- not only was this a huge musical landmark, but it fundamentally changed what it meant to be a musical celebrity, and greatly influenced western attitudes to the third world.

By the late 80s and early 90s the business of counter-culture was at it again, this time with anger directed at a range of subjects from MTV tones, the boring, amelodic repetition of rap and the controversial policies of the Reagan administration that created a vast American ‘disaffected youth’ culture. This music partly formulated itself into the thoughtful lyrics and iconic sounds of bands such as REM, but in other areas found its expression and anger in the remnants of punk. Kurt Cobain in particular drew heavy inspiration from ‘hardcore’ bands (see, I said they’d show up again) such as Black Cloud, and the huge popularity of Nirvana’s ‘Smells Like Teen Spirit’ thrust grunge, along with many of the other genres blanketed under the title ‘alternative rock’ into the public consciousness (one of my earlier posts dealt with this, in some ways tragic, rise and fall in more detail). Once the grunge craze died down, it was once again left for other bands to formulate a new sound and scene out of the remnants of the genre, Foo Fighters being the most prominent post-grunge band around today. In the UK things went in a little different direction- this time resentment was more reserved to the staged nature of Top of the Pops and the like, The Smiths leading the way into what would soon become indie rock or Britpop. This wave of British bands, such as Oasis, Blur and Suede, pushed back the influx of grunge and developed a prominence for the genre that made the term ‘indie’ seem a bit ironic.

Nowadays, there are so many different great bands, genres and styles pushing at the forefront of the musical world that it is difficult to describe what is the defining genre of our current era. Music is a bigger business than it has ever been before, both in terms of commercial pop sound and the hard rock acts that dominate festivals such as Download and Reading, with every band there is and has ever been forming a part, be it a thread or a whole figure, of the vast musical tapestry that the last century has birthed. It is almost amusing to think that, whilst there is so much that people could and do complain about in our modern world, it’s very hard to take it out on a music world that is so vast and able to cater for every taste. It’s almost hard to see where the next counter-culture will come from, or how their musical preferences will drive the world forward once again. Ah well, we’ll just have to wait and see…