Matthew Evans

Explore in detail the social and political impact of music in defined

historical and cultural contexts
Table of content
1.

Introduction...............................................................................................1

2.

Speaking out, music and politics...........................................................1

2.1.

Sexuality in music.................................................................................3

2.2.

Gender Politics.....................................................................................4

2. Moral Panic and Censorship......................................................................5

3.

Conclusion................................................................................................6

4.

Bibliography..............................................................................................7

1.

Introduction

There are many subjects of discussion that could fall under the umbrella of
social and political impacts of music. As Roy Shuker observes the political
edge of popular music has been partly the result of this hostile reaction often
accorded to the music and its associated causes (Shuker, 2008: 225). The
focus of my research has been on these controversial subjects and certain
examples of controversial or thought provoking music. Examples of this are
Rock against Racism (RAR), Band Aid and the Sex Pistols. Music and its
impact on cultural society is most illustrated through censorship and this idea
of moral panic. These themes are also discussed later in the report.
2.

Speaking out, music and politics

There are a number of commentators who make reference to music and

social change. Shuker observes popular music has frequently acted as a
powerful means of both consciousness about, and funds for, political causes
(Shuker, 2008: 242). Traditionally rock music is the genre that rebellion is
associated with. In the 1960s and 70s musicians such as John Lennon made
it their business to protest the points about politics and life. Lennon went on to
write a whole album devoted to this cause. Lennons song imagine talks of a
world with equal rights and peace... In terms of the significance of rock rage
music from bands such as Rage Against the Machine and NOFX, Shuker
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makes a valid point that many listeners derive pleasure from such performers
without either subscribing to their politics, or, indeed, even being aware of
them (Shuker, 2008: 242).
There are a number of examples of popular music been at the forefront of
political activism. Rock against Racism (RAR) was an organisation formed to
combat racism in inner-city Britain in the 1970s. black and white people,
outside conventional politics, inspired by a mixture of socialism, punk rock
and common humanity, got together and organized to change things
(Widgery, 1986: 8). A significant milestone for RAR was the release of its
Greatest Hits album under Virgin Records. This went on to provide a
precedent for the subsequent efforts of Amnesty International, Band Aid etc.
(Shuker, 2002: 259).
This whole concept is interesting because is popular music simply used to
make the masses aware of a cause, or is it part of a media propaganda ring.
Band Aid has raised questions over the years of the motives of the organisers.
The various charity projects tasteless, self-serving for those involved,
symptomatic of existing geo-political relations and politically inappropriate
(Rijven and Straw, 1989: 206). Although clearly a strong view of organisations
such as Band Aid, this is not a fair representation of those organisations as
Shuker agrees, this rather misses the point that Band Aid was not about
music, and popular music as a focal point for youth, but rather about raising
money and consciousness (Shuker, 2008: 248).
Punk music is traditionally a genre associated with anarchism and speaking
out. The Sex Pistols perhaps being the most well-known band have had
commercial success with anti-establishment lyrics however some
commentators saw their view of revolution as a proactive marketing move
(Burchill and Parsons, 1978). On the other hand, bands such as the Dead
Kennedys provided true weight to anarchy. Punk music originated out of the
fault line between the two dominant conjunctures of post-war Britain: the postwar social democratic consensus and Thatcherism (Borthwick and Moy,
2004: 83). Although originating in New York, in Britain Punk is associated with
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a set of the public who were angry with the establishment and unemployment.
This is a prime example of the impact of music upon social and political
factors.
Punk music presented the first breakthrough in music since Elvis Presley as
somebody had figured out how to make artistically and commercially viable
pop music based on rhythmic process outside R&B (Marsh, 1989: 72). The
lyrics of punk songs such as Anarchy in the UK by The Sex Pistols are often
seen to be thought provoking and ideological. Commentators provide
evidence to support this, the ideology of sincerity was central to punk, and in
interviews, the stated beliefs of musicians and their congruence with the
perceived messages of their lyrics became routine (Laing, 1988: 75-6). In
short the lyrics of punk music are generally much more honest and true than
the music of previous eras. Punk music played an important part of
developing style and ideology within the youth of Britain.
There are also examples where musical acts have been directly engaged in
political campaigns. Bruce Springsteen endorsed Democratic candidate John
Kerrys campaign against Bush (Shuker, 2008: 246). A further example of the
extremes that music can affect public opinion is the Dixie Chicks remark on
President Bush at a London concert, just so you know, were ashamed the
President of the United States is from Texas (Shuker, 2008: 246). The media
around the world turned this innocent comment about the bands hometown
into an uproar, the Dixie Chicks went from being country darlings to being
enemies of the state (MOJO, October 2003:44).
2.1.

Sexuality in music

Certain genres of music are linked to certain particular sexualities. Disco

music typically celebrates the pleasure of the body and physicality, and is
linked to the gay community and specific club scenes (Shuker, 2008: 253).
Other commentators such as Thomas Geyrhalter contest these views by
saying the music has no real value and merit (Geyrhalter, 1996). A harsh
contrast for example is heavy metal as it is typically associated with
masculinity to the point that heavy metal- or hard rock has been branded by
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some observers as cock rock (Frith and McRobbie, 1990). Interestingly
Walser elaborates on this point. Heavy metal bands promote male bonding
and legitimate male power through a combination of misogyny and
exscription (Walser, 1993: 110). There is certainly merit to this argument. The
lyrics in heavy metal music are very hard for me to understand but once you
investigate deeper there is definitely a level of male power in the lyrics; they
often create a world of fantasy of worlds without women (Shuker, 2008: 253).
Sexuality in music can also refer to the arguments surrounding the idolisation
of women as being sex icons for men. Christina Aguileras music is a prime
example for this argument. While Aguileras songs follow the standard
heterosexual romantic narrative, she is also voicing compelling feminist
notions of female independence, autonomy and sexual expression (Smith,
2003). Many female artists are crafted by record labels into a feminist
because it makes good music. The lyrics seem so generic with Aguileras
songs it is hard to believe the feminist nature of them are genuine. Sexual
ambiguity has developed since the 1950s from stars such as Elvis Presley
seen as adored objects, (Shuker, 2008: 253) to the more erotic nature of
performs such as David Bowie, Morrissey, The Village People and Freddie
Mercury. Homosexuality has become more accepted in recent years for a
number of factors but the exposition of idolised musicians such as Mercury
has helped raise awareness of AIDS. Music and sexuality has had a lasting
impact on society.

2.2.

Gender Politics

Following on from the section before, the nature of the war between
masculinity and feminism in music has led to a lack of female presence, this is
referred to as gender politics. One of the more prominent arguments is the
lack of women in rock. I was informed that two things split up a band: women
and money women were just a distraction at rehearsals because they
created tension within the band (Cohen, 1991: 209). Although this is a
general comment it is easy to see how women would have been ousted
quickly from the rock scene. Practically thinking the success of rock music has
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depended upon their appeal to female consumers, and male band members
appreciated the fact that band membership helped make them more attractive
to women (Shuker, 2008: 250).
Studies have shown that gender socialisation has taught young girls not to
take part in traditionally male activities. Playing the flute, violin, and piano is
traditionally feminine, playing electric guitar is masculine. On TV and in
magazines, young women are presented with repeated images of men
playing electric guitar (Bayton, 1997: 39). There is an obvious social structure
to how the music industry works. Even now in 2014 there are few solid
examples of female rock artists. Female music is probably more alive than
male music in pop however it is questionable how much of the lyrics of that
music are truly meaningful.
2. Moral Panic and Censorship
Censorship in music was prominent in the 20th century and is still alive today.
A major problem that bands have faced for years has been the compromise
between playing what they want and the need to have commercial success in
order to live (Becker, 1963: 82). Record labels are afraid to take a risk to
expose a bands outspokenness. Shane MacGowan speaking about the
Pogues songs said many were not recorded because the label wanted to
clean up their image (Cloonan, 1996: 43). Even radical bands such as The
Redskins were told which producer to use by the record label (Street, 1986:
102).
The organisation that is often referenced is the Parents Music Resource
Centre (PMRC). The fundamentalist critique has gained ground in America
via the PMRC and labelling has become a common practice there, as has the
harassment of artists such as the Dead Kennedys, 2 Live Crew and Ice T
(Cloonan, 1996: 255). An example of a public reaction to popular music is the
censorship trial of Jello Biafra (the lead singer of The Kennedys) in 1987. The
argument was over artwork on their album Frankenchrist (See appendix).
The support of popular music to censorship was demonstrated by support
from Frank Zappa and Little Steven, and a series of benefit shows from
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European punk bands, helped raise the $70,000 needed for defence costs
(Shuker, 2008: 234). Biafra protested thoroughly against censorship and in
support for free speech arguing America was close to returning to
McCarthyism in the 1950s (Kennedy, 1990: 144).
Following on from this, Ice Ts Cop Killer is a controversial record but for
different reasons. It is argued that some songs previously held to be innocent
can become offensive Ice Ts Cop Killer only became an issue after the LA
riots of April and May 1992 (Cloonan, 1996: 24). This is evidential that
circumstances can be used to supress situations through the media. This is
part of a moral panic culture and moral conservatism which is supported by
observers, the new conservatism is, in a certain sense, a matter of public
language, of what can be said, of the limits allowable. This has made culture
into a crucial terrain on which struggles over power, and the politics of the
nation are waged (Grossberg, 1992: 162).
3.

Conclusion

Overall, there are many forms of art and creativity that have had its impact on
social and political life. In my opinion music is one of the most important.
Popular acts collaborating on projects such as Band Aid provide inspiration to
the public to act. The same goes for groups such as the Dead Kennedys and
Sex Pistols. The public will always follow a controversial group as it gives
them a sense of identity and of acting against the establishment. Sexuality in
music is becoming much more acceptable as sexuality in modern society
does and the gender politics in music is a war that will be raged for years to
come. Sexism is as pervasive in rock music as in any other form of music. It
pervades the structure of the music industry along with the lyrics and
instrumentation of the music itself (Chapple and Garofalo, 1977: 269).

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4.

Bibliography

Bayton, M. (1997) Women and the Electric Guitar, in Whiteley, S.

Sexing the Groove: Popular Music and Gender, London and New York:

Routledge.
Becker, H. (1963) Outsiders, Collins-Macmillan.

Burchill, J. and Parsons, T. (1978) The Boy Looked at Johnny: The

Obituary of Rock and Roll, London: Pluto Press.

Chapple, S. and Garofalo, R. (1977) Rock n Roll Is Here To Pay,

Chicago, IL: Nelson-Hall.

Cloonan, M. (1996) Banned! Censorship of Popular Music in Britain:

1967-92, Aldershot: Arena.

Cohen, S (1991) Rock Culture in Liverpool: Popular Music in the

Making, Oxford: Clarendon Press.

Frith, S. and McRobbie, A. (1990 [1978]) Rock and Sexuality, in Frith,

S. and Goodwin, A. On Record: Rock, Pop and the Written Word, New
York: Pantheon Books.

Geyrhalter, T. (1996) Effeminacy, Camp and Sexual Subversion in

Rock: The Cure and Suede, Popular Music, 15, 2: 217-24.

Grossberg, L. (1992) We Gotta Get Out of This Place: Popular

Conservatism and Postmodern Culture, New York: Routledge.

Kennedy, D. (1990) Frankenchrist versus the State: The New Right,

Rock Music and the Case of Jello Biafra, Journal of Popular Culture,
24, 1:131-48.

Laing, D. (1988) the Grain of Punk: An Analysis of the Lyrics, in

McRobbie, A. Zoot Suits and Second Hand Dresses: An Anthology of
Fashion and Music, Boston, MA: Unwin Hyman.

Marsh, D. (1989) The Heart of Rock and Soul: the 1001 Greatest
Singles Ever Made, New York: Plume/Penguin.

Rijven, S. and Straw, W. (1989) Rock for Ethiopia (1985), in Frith, S.

(ed.) World Music, Politics and Social Change, Manchester:
Manchester University Press.

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Shuker, R. (2002) Popular Music: The Key Concepts, London and New
York: Routledge Publishing.

Shuker, R. (2008) Understanding Popular Music Culture, New York:

Routledge Publishing.

Smith, L. (2003) Christina Aguilera- Cant Hold Us Down, The F Word:

Contemporary UK Feminism. At www.thefword.org.uk/review/.

Street, J. (1986) Rebel Rock: The Politics of Popular Music, Oxford:

Blackwell.

Walser, R. (1993) Running With the Devil, Power, Gender and

Madness in Heavy Metal Music, Middletown, CT: Wesleyan University
Press.

Widgery, D. (1986) Beating Time: Riot n Race n Rock n Roll,

London: Chatto & Windus.

Appendix

Dead Kennedys Inner album artwork that caused controversy.

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