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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‘Before it was cool’

Hipsters are one of the few remaining groups it is generally considered OK to take the piss out of as a collective in modern culture, along with chavs and the kind of people who comment below YouTube videos. The main complaint against them as a group is their overly superior and rather arrogant attitude- the sense that they are inherently ‘better’ than those around them simply by virtue of dressing differently (or ‘individually’ as they would have it) and listening to music that nobody’s ever heard of before.

However, perhaps the single thing that hipster elitism is loathed for more than any other is the simple four-letter phrase ‘before it was cool’. Invariably prefaced with ‘I was into that…’, ‘I knew about them…’ or ‘They were all over my iTunes…’ (although any truly self-respecting hipster would surely not stoop so low as to use such ‘mainstream’ software), and often surrounded by ‘y’know’s, this small phrase conjures up a quite alarming barrage of hatred from even the calmest music fan. It symbolises every piece of petty elitism and self-superiority that hipster culture appears to stand for, every condescending smirk and patronising drawl directed at a sense of taste that does not match their own, and every piece of weird, idiosyncratic acoustic that they insist is distilled awesome

On the other hand, despite the hate they typically receive for their opinions, hipster reasoning is largely sound. The symbolism of their dress code and music taste marking them out from the crowd is an expression of individuality and separatism from the ‘mass-produced’ culture of the modern world, championing the idea that they are able to think beyond what is simply fed to them by the media and popular culture. It is also an undeniable truth that there is an awful lot of rubbish that gets churned out of said media machine, from all the various flavours of manufactured pop to the way huge tracts of modern music sound the same, all voices having been put through a machine umpteen times. Indeed, whilst it is not my place to pass judgement on Justin Beiber and company (especially given that I haven’t listened to any of his stuff), many a more ‘casual’ music fan is just as quick to pass judgement on fans of that particular brand of ‘manufactured’ pop music as a hipster may be towards him or her.

In fact, this is nothing more than a very human trait- we like what we like, and would like as many other people as possible to like it too. What we don’t like we have a natural tendency to bracket as universally ‘bad’ rather than just ‘not our thing’, and thus anyone who likes what we don’t tends to be subconsciously labelled either ‘wrong’ or ‘misguided’ rather than simply ‘different’. As such, we feel the need to redress this issue by offering our views on what is ‘good’ and ‘bad’, which wouldn’t be a problem if other people didn’t happen to like what we see as bad, and perhaps not get on so well with (or not have heard of) stuff we think of as good. Basically, the problem boils down to the fact that all people are different, but our subconscious treats them as all being like us- an unfortunate state of affairs responsible for nearly all of the general confrontation & friction present in all walks of life today.

What about then that hated phrase of the hipster, ‘before it was cool’? Well, this too has some degree of logic behind it, as was best demonstrated in the early 1990s during the rise of Nirvana. When they first started out during the 1980’s they, along with other alternative rock bands of the time such as REM, represented a kind of rebellious undercurrent to the supposed good fortune of Reagan-era America, a country that was all well and good if you happened to be the kind of clean cut kid who went to school, did his exams, passed through college and got an office job. However, for those left out on a limb by the system, such as the young Kurt Cobain, life was far harsher and less forgiving- he faced a life of menial drudgery, even working as a janitor in his old high school. His music was a way to express himself, to stand out from a world where he didn’t fit in, and thus it really meant something. When ‘Smells Like Teen Spirit’ first made Nirvana big, it was a major victory for that counter-culture, and pretty much put grunge on the map both as a music genre and a cultural movement for the first time.

And with success came money, and here things began to unravel. Unfortunately where there is money, there are always people willing to make more of it, and the big corporations began to move in. Record labels started to sign every grunge band and Nirvana-clone that they could find in a desperate attempt to find ‘the next Nirvana’, and the odd, garish fashion sense of the grunge movement began to make itself felt in more mainstream culture, even finding its way onto the catwalk. The world began to get swamped with ‘grungy stuff’ without embracing what the movement really meant, and with that its whole meaning began to disappear altogether. This turning of his beloved underground scene into an emotionless mainstream culture broke Kurt Cobain’s heart, leaving him disillusioned with what he had unwittingly helped to create. He turned back to the drug abuse that had sprung from his poor health (both physical and mental) and traumatic childhood, and despite multiple attempts to try and pull him out of such a vicious cycle, he committed suicide in 1994.

This is an incredibly dramatic (and very depressing) example, but it illustrates a point- that when a band gets too big for its boots and, in effect, ‘becomes cool’, it can sometimes cause them to lose what made them special in the first place. And once that something has been lost, it may never be the same in the eyes who saw them with it.

Although having said that, there is a difference between being an indie rock fan and being a hipster- being a pretentious, arrogant moron about it. *$%#ing hipsters.