The Hairy Ones

My last post on the subject of music history covered the relatively short timespan between around 1950 and 1965, leaving off at about the time The Beatles began leading the ‘British Invasion’ of American music culture. This invasion was a confluence of a whole host of factors; a fresh generation of youths wishing to identify with something new as ‘theirs’ and different to their parents, a British music scene that had been influenced by the American one without being so ingratiated into it as to snub their ability to innovate and make a good sound, and the fact that said generation of youngsters were the first to grow up around guitar music and thus the first to learn to play them and other genre-defining instruments en masse. Plus, some seriously good musicians in there. However, the British invasion was only the first of a multi-part wave of insane musical experimentation and innovation, flooding the market with new ideas and spawning, in the space of less than a decade, almost every genre to exist today. And for the cause of much of part two, we must backtrack a little to 1955.

Y’see, after the Second World War Japan, the dominant East Asian power, had surrendered unconditionally to the Allies and there was no dominant force in the region. This created something of a power vacuum in the area, with a host of new governments trying to rise from the post-war chaos and establish themselves as such a power. Many of these new nations, including those of China, Cambodia, North Korea and North Vietnam, were Communist states, and therefore were a serious concern to the western world. The US in particular, as a fiercely capitalist power, were deeply worried by the prospect of the whole of South East Asia, according to communist theory, just amalgamating into another great communist superpower and landing them with next to zero chance of triumphing in their ‘battle against communism’ against the already hugely powerful Soviet Union. As such, they were hell-bent on preserving every ounce of capitalist democracy they could in the area, and were prepared to defend such governments with as much force as necessary. In 1950 they had already started a war in Korea to prevent the communist north’s invasion of the democratic south, with the practical upshot (after China joined in) of re establishing the border pretty much exactly where it had been to start with and creating a state of war that, officially, has yet to end. In 1955, a similar situation was developing in Vietnam, and President Dwight D Eisenhower once again sent in the army.

Cut to ten years later, and the war was still going on. Once a crusade against the onward-marching forces of communism, the war had just dragged on and on with its only tangible result being a steady stream of dead and injured servicemen fighting a war many, especially the young who had not grown up with the degree of Commie-hating their parents had, now considered futile and stupid. Also related to ‘the Red Scare’ was the government’s allowing of capitalist corporations to run haywire, vamping up their marketing and the consumer-saturation of America. This might have lead to a 15 year long economic boom, but again many of the younger generation were getting sick of it all. All of this, combined with a natural teenage predisposition to do exactly what their parents don’t want them to, lead to a new, reactionary counter-culture that provided an impetus for a whole wave of musical experimentation; hippies.

The hippie movement (the word is, strangely, derived from ‘hipster’) was centred around pacifism, freedom of love and sex (hence ‘make love not war’), an appreciation of the home made and the natural rather than the plastic and capitalist, and drug use. The movement exists to this day, but it was most prevalent in the late 60s when a craze took the American youth by storm. They protested on a huge variety of issues, ranging from booing returning soldiers and more general anti-war stuff (hippies were also dubbed ‘flower children’ for their practice of giving flowers to police officers at such demonstrations) to demonstrations on the banning of LSD or ‘acid’, one of their more commonly used drugs. This movement of wired, eco-centric vegetarians didn’t connect well with the relatively fresh, clean tones of rock & roll and The Beatles, and inspired new music based around their psychedelic and their ‘appreciation’ of drug use. It was in this vein that The Beatles recorded Lucy in the Sky with Diamonds, and why Jimi Hendrix and Janis Joplin rose to fame in a new genre known as ‘acid rock’ (named after the drug from which most of the lyrics were ‘inspired’). Characterised by long, confusing and hideously difficult solos (I’m looking at you Hendrix), this was the prominent genre on show at the infamous Woodstock festival of 1969, featuring Hendrix, Joplin, The Who, The Grateful Dead & Carlos Santana among other things. Woodstock was the high point of the hippie movement, with over half a million fans attending to smoke, listen to the music, skinny dip and make love in and around the lake and generally by as hippie as possible.

Hippie culture went downhill post-Woodstock; public outcry following the Altamont Free Concert close to San Francisco (where Hell’s Angels provided security and shot a concert-goer during The Rolling Stones’ set for brandishing a gun) coincided with ‘the hippie generation’ mostly growing up. The movement still exists today, and it legacy in terms of public attitudes to sexual freedom, pacifism and general tolerance (hippies were big on civil rights and respect for the LGBT community) is certainly considerable. But their contribution to the musical world is almost as massive; acid rock was a key driving force behind the development of the genres of folk rock (think Noah and the Whale) and heavy metal (who borrowed from Hendrix’s style of heavy guitar playing). Most importantly, music being as big a part as it was of hippie culture definitively established that the practice of everyone, even the lowliest, ‘commonest’ people, buying, listening to, sharing and most importantly making music themselves was here to stay.

The story of hippies covers just one of the music families spawned out of the late 60s. The wave of kids growing up with guitars and the idea that they can make their own music, can be the next big thing, with no preconceived ideas, resulted in a myriad of different styles and genres that form the roots of every style of modern rock music. This period was known as ‘the golden age of rock’ for a reason; before pop was big, before hip-hop, before rap, decades before dubstep, before even punk rock (born in the early seventies and disliked by many serious music nerds for being unimaginative and stupid), rock music ruled and rock music blossomed.

You could argue that this, then, marks the story of rock, and that the rest of the tale is just one long spiral downwards- that once the golden age ended, everything is just a nice depressing story. Well, I certainly don’t like to think of that as true (if only because I would rather not have a mindset to make me stop listening to music),  but even if it was, there is a hell of a lot of stuff left in this story. Over? Not for another post or two…

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Think of the CHILDREN!

My last post dealt with the way that sex in our society is something kept very much under wraps, dusted under the carpet and kept out of the conversation of everyday life as much as possible. This post however could be said to be completely debunking every point I made in the last one, for today I will be considering the issue of the increasing use & prevalence of sex, sexuality and sexual connotations in society today.

The main people voicing a strong opinion against this trend are, of course, the kind of militant parents who started a war in the South Park movie (good film, see it if you can). They argue that modern media and marketing strategies place a lot of emphasis on the use of sex symbols and sexual connotations, and that these strategies are, more worryingly, being aimed at a steadily younger audience. Young girls in particular are often quoted as being aggressively targeted by clothing companies from as young as 8, companies trying to buy them into the whole ‘looks and clothes are the most important thing ever’ mentality in order to turn them into fashion-obsessed consumers as early as possible.

There’s certainly a lot of evidence to support their theory as to the increased prevalence of sexual symbolism in today’s culture. Sport may be a good place to look for examples- modern female sports stars are nowadays judged mainly by the way they look, and in many sports where men and women have roughly equal exposure (such as tennis) female competitors often have larger sponsorship deals. Is this because they are better at persuading people that sports equipment is awesome? No, it’s because they are capable of advertising perfume by wearing hardly any clothes and exploiting their sex appeal (think Maria Sharapova, whose game suffered heavily in the few years after she won Wimbledon as she turned into more of a model than a tennis player). And then what about tabloid newspapers and their page 3 hooks for readers, ‘lads mags’ that now have enough status to be invited as judges for the nomination of Sports Personality of The Year (not the BBC’s proudest moment), and clothes companies that now market ‘sexy high heels’ at under 10s?

So… where can this be traced back to? Well, if we, as the pressure groups tend to, blame everything on businesses and clothing companies, their reasoning is actually very simple. Firstly, to consider the issue of children being targeted in one way or another, it’s a well recognised fact that kids love to appear grown-up. They get fussy about their ages (“I’m not 10, I’m 10 and a half!”), copy their parents’ habits and what they see on TV, hate not being able to do stuff on account of age or size and might even try on Mummy and Daddy’s clothes when they’re a bit younger. A child’s ultimate fantasy (and probably one shared by a few adults as well) is to live with all the opportunity and ability of an adult, and without any of the responsibility. For them, therefore, all this sexually-related material that permeates their life is not about sex (which they probably don’t understand properly if at all), but about adulthood, and this just screams ‘awesome’ directly at them. We must also remember that it’s not just the kids who’re at it either; parents love it when their children appear ‘grown-up’ and mature because it makes them seem special, a cut above their peers, subtly suggesting to parents that not only are their kids better than everyone else’s, but that they themselves are better parents. Therefore, whilst some parents might be appalled at the sight of a 9 year old in heels and a miniskirt, others might think of her as quite the young woman, and perhaps even be jealous of the maturity that child seems to have compared to theirs.

And then we must consider a fact that countless bits of market research has shown- sex appeal sells stuff. Even if children don’t get the symbolism, their parents do, and whether the stuff they’re buying is for them or their kids, a bright, smiling, good-looking woman is more likely to encourage them to buy something than an advert featuring a dour looking bloke showing no interest whatsoever. This is especially true when we consider fields such as scent, beauty products and fashionable clothing, all of which are selling products actively designed to make you seem more attractive and, according to Freud at least, get you more sex. Even if you don’t make that connection consciously, there’s no doubt that your subconscious mind picks up on the connection, and that’s before we even consider how totally blatant use of sex, such as in tabloid page 3 columns, acts as a straight marketing hook to sell things. Put simply, sex appeal is an undeniably successful marketing strategy that makes perfect sense, from a purely fiscal point of view, to use.

To finish off, I would like to offer just a snippet of a history lesson. The 1920s were a great time for the USA, producing an economic boom thanks to the likes of Henry Ford,  massive growths in cultural areas such as major league sport, and reinventing social mobility. For the first time, women had a degree of social freedom, particularly among those known as ‘flappers’, who would cut their hair short, drink and smoke in direct and deliberate contravention of the classical female norm. The invention of the car gave young people freedom from their parents and invented the date for the first time, and in jazz music the young of the Roaring Twenties had their own music and social scene as well. This lead, among other things, to a huge increase in sexual freedom among the young, and the media of the time reflected this. This was especially true in the cinema, a relatively new phenomenon, which quickly developed the first sex symbols in the likes of Rudolf Valentino and Clara Bow, prompting advertising and marketing of the time to begin exploiting sex appeal as a means to sell their products. Understandably, the older generation went into uproar over this cultural revolution, but it didn’t make a scrap of difference, and a fresh wave of American culture swept across the world.

Sound familiar? It should do- it’s the same thing people are complaining about now, and people have complained in the same way about the changes in every successive generation, be it teenagers in the 50s, hippies in the 60s, or metal in the 70s. Culture changes, and that’s just a fact of life. There’s nothing wrong with being angry about it, but we must remember that society has survived each new wave of culture and come through each none the worse for wear. If you want to uphold society, then forming a pressure group for each successive thing that offends you probably isn’t the bet way to weather the storm. You’ll have far better results just sticking to what you do like, upholding the values you think are important, and trying to pass those off to your children. It’ll be a lot less painful.