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…

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The Power of the Vote

Winston Churchill once described democracy as ‘the worst form of government, except for all the others that have been tried’, and to be honest he may have had a point. Despite being championed throughout modern culture and interpretations of history as the ultimate in terms of freedom and representation of the common people, it is certainly not without its flaws. Today I would like to focus on just one in particular, one whose relevance has become ever more important in today’s multi-faceted existence: the power of a vote.

Voting is, of course, the core principle of democracy, a simple and unequivocal solution of indicating who most people would prefer as their tyrannical overlord/general manager and representative for the next five or so years. Not does it allow the common people to control who is in power, it also allows them control over that person once they are in that position, for any unpopular decisions they make over the course of his tenure will surely come back to haunt them come the next election.

This principle works superbly so long as the candidate in question can be judged against a simple criteria, a sort of balance sheet of good and bad as directly applicable to you. As such, the voting principle works absolutely fine given a small enough situation, where there are only a few issues directly applicable to the candidate in question- a small local community for instance. Thus, the performance of the incumbent candidate and the promises of any challengers can be evaluated against simple, specific issues and interests, and the voting process is representative of who people think will do the best for them.

Now, let us consider the situation when things get bigger- take the electoral process for electing a Prime Minister, for example. Now, a voter in Britain does not directly elect his or her PM, but instead elects a Member of Parliament for his area, and whichever party he is in affects who will get the top job eventually. The same thing actually happens in the US Presidential elections to help prevent hung parliaments, but the difference in Britain is that MP’s actually have power and fulfil the roles of Representatives/Congressmen as well. Thus, any voter has to consider a whole host of issues: which party each candidate is from and where said party stands on the political spectrum; what the policies of the various competitors are; how many of that myriad of policies agree or disagree with your personal opinion; how their standpoints on internet freedom/abortion/whatever else is of particular interest to you compare to yours; whether they look like they will represent you in Parliament or just chirp away party lines, and what issues they are particularly keen on addressing, to name but a few in the most concise way possible. That’s an awful lot of angles to consider, and the chance of any one candidate agreeing with any one voter on every one of those issues is fairly slim. This means that no matter who you vote for (unless you run for office yourself, a tactic that is happily becoming more and more popular lately), no candidate is ever going to accurately represent your views of their own accord, and you’ll simply have to make do with the best of a bad job. The other, perhaps even more unfortunate, practical upshot of this is that a candidate can make all sorts of unpopular decisions, but still get in come the next election on the grounds that his various other, more popular, policies or standpoints are still considered preferable to his opponent.

Then, we must take into account the issue of ‘safe seats’- areas where the majority of voters are so set in their ways when it comes to supporting one party or another that a serial killer wearing the appropriate rosette could still get into power. Here the floating voters, those who are most likely to swing one way or the other and thus affect who gets in, have next to no influence on the eventual outcome. In these areas especially, the candidate for the ‘safe’ party can be held responsible for next to nothing that he does, because those who would be inclined to punish him at the ballot box are unable to swing the eventual outcome.

All this boils down to a simple truth- that in a large situation involving a lot of people and an awful lot of mitigating factors, one candidate can never be truly representative of all his constituents’ wishes and can often not be held accountable at the ballot box for his more unpopular decisions. Sure, as a rule candidates do like to respect the wishes of the mob where possible just on the off-chance that one unpopular decision could be the straw that breaks his next re-election campaign. But it nonetheless holds true that a candidate can (if he wants) usually go ‘you know what, screw what they want’ a few times during his tenure and get away with it, particularly if those decisions occur early in his time in office and are thus largely forgotten come the next election- and that can cause the fundamental principles of democracy to break down.

However, whilst this might seem like a depressing prospect, there is a glimmer of hope, and it comes from a surprising source. You see, whilst one is perfectly capable of making a very good living out of politics, it is certainly not the best paid career in the world- if you have a lust for money, you would typically go into business or perhaps medicine (if you were really going to get cynical about it). Most politicians go into politics nowadays not because they have some all-consuming lust for power or because they want to throw their country’s finances around, but because they have strong political views and would like to be able to change the world for the better, and because they care about the political system. It is simply too much effort to try and work up the political ladder for personal and corrupt reasons when there are far easier and more lucrative roads to power and riches elsewhere. Thus, your average politician is not simply some power-hungry arch bureaucrat who wishes to see his people crushed beneath his feet in the pursuit of making him more cash, but a genuine human being who cares about making things better for people- for from this pursuit does he get his job satisfaction. That, if anything, is the true victory of a stable democracy- it gets the right kind of people pursuing power.

Still doesn’t mean they should be let off the hook, though.