Rhythm has always existed, has always been a major means of emotional expression and a bringing together of peoples. As a cultural form, music can be argued to have had more influence on men than any other of the arts this century. Popular culture has been driven by different musical styles, reflecting and affecting the social and technological changes of the times. The combination of music and technology has increased its pervasiveness immeasurably.
In this issue our main focus is the influence contemporary music has had on men. Since the invention of the teenager in the 1950s, young men have embraced this most immediate and emotional art form. From the rebellious &Teds& to the &Ravers& of the late 1990s, young male identity has been fused with musical styles, encouraging both individual expression and desires whilst at the same time providing a communal bond through those crucial formative years. Male youth seemed to lunge at the opportunity to break out of 'conformist' society - rebellion now had not only a tune to be moved by, but a whole lifestyle by which to aspire. Rock 'n Roll, Sixties Soul, Psychedelia, Punk, Rap, Rave all pointed to different ways of being male.
Music has always had a political dimension, being the one means of artistic expression which cuts across the social classes, bursting forth at irregular intervals with a new form, full of fresh desires, signalling a new dynamic in the social structure; the most recent example of this being Drum and Bass (a pure London urban sound). Many see this creativity as the 'Feminine' force coming through, bringing with it change and a challenge to stilted patriarchal life.
If it is indeed an opportunity for males to access and express their emotions (as explored in this issue of Achilles Heel), then music could be said to have played a major role this century in changing society.
At a macro level, many rebellions (eg. the 60s and Punk, or the more socio-political Algerian Rai) have not only had a soundtrack, expressing and inspiring the mood of the moment, but often musicians as their major icons, such as Bob Dylan, John Lennon, Johnny Rotten, Tom Robinson. Such icons have become role models for the young, providing a more real, 'street' way of living, in this furious changing world, than society or its elders (parents etc.) seem capable of providing. Music is so 'in tune' with the changes in the world, it's become the major player in the cultural spectrum, the place to look for the new, and so a natural bed for the young and marginalised to explore and find their voice.
On a micro scale, music has informed most elements of our life. Images of masculinity have broadened through different musical styles (soul, punk, glam etc.), giving everyone (but especially the young) the chance to try out different roles in their lives, enlarge their perspective of themselves. Long hair, 'feminine clothes', piercings, tattoos, make up - it's a very different world to the pre- 1950's, no wonder the establishment wanted to ban the devil's music - rock and roll. The phrase 'devil's music' reflects how music has come to represent the darker side of life - the stuff we don't know about, are scared of. Music can also be used to uphold values, which we'll come to later. However the transgressive aspects of music are what interests us here. From jazz clubs to soul music, music hall to burlesque to gay, here we have different , dangerous, exciting 'other' cultures impacting on our lives through music. The unstated, unashamed sexuality of a lot of this music tore through our youth, bringing with it drugs, new ideas, and a whole world of possibilities. It's been well documented how our capitalist white culture 'appropriates' black music, eventually stripping it of its life force to sell back to us in its more anodyne state. This is true of all new forms of music, and culture in general. However those initial stirrings (before the inevitable appropriation) have influenced generations, and changed the world. If this is the only way we can encompass the scarily new, then so be it. Another (more positive) way of viewing it would be as steps to multiculturalism.
| "...a divergent black American culture which values other, abstract things like tenderness, generosity of spirit, of love. Why these records have found an echo in so many hearts, and it is mainly male hearts, is that men are brought up in our society to despise the feelings that these records represent. That doesn't eradicate them. So there's a recognition and a realisation that yes, this is how we should interact with one another. Yes, we should put a value on love, and that yes, human relationships are damned difficult. It doesn't mean that you've got to stop trying to achieve this. And you have to say yes to these feelings and teach people not to be ashamed of them." Dave Godin, the main force force behind Northern Soul, the Tamla Motown of the north of England in the 70's. |
Back down to earth. Sex, youth, rebellion, community, these are the 'firestarter' aspects of music. Music being the 'language of the soul', means there's much more that can be touched upon. How sustaining and nourishing it is in our lives. How it chronicles our day to day living, especially those joyous and grieving moments, when nothing else quite cuts it. How for some of us music is still our lives (or a large part of it), be it through middle aged rock, classical or techno. Or how we've been moved to dance, with the rhythm affecting us on a much deeper level. On a purely physical level dance/club culture as a 90's phenomenon has encouraged males to express themselves through their bodies. For many young men now, dancing in a club is the preferred social experience, compared to the more 'macho' pub night.
All is not well, though, in the state of Tunesville. Sexist, misogynistic behaviour is more entrenched in some areas of music (rock and 'gangsta' rap for example) than in so called 'normal' everyday life. While the amount of women in music not restricted to the traditional 'babe' front singer is still quite limited.
However some of the most powerful and innovative music in pop in recent years has come from strong women (Bjork, P J Harvey, Neneh Cherry) presenting a very different image, while also having some control over their art.
Whatever, without music, man is a much smaller person. Achilles Heel celebrates the many delights and dilemmas that music brings us.
Copyright © Achilles Heel Collective
