{"id":631,"date":"2020-04-02T09:45:12","date_gmt":"2020-04-02T09:45:12","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/the-politics-of-pop-music\/"},"modified":"2023-02-20T08:13:20","modified_gmt":"2023-02-20T15:13:20","slug":"the-politics-of-pop-music","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2020\/04\/the-politics-of-pop-music\/","title":{"rendered":"The Politics of Pop Music"},"content":{"rendered":"

\"Shakeitup\"<\/a>Over the years I\u2019ve been refining my ability to defend my taste in Cher\u2019s music, not just her meaning as a media cultural object. Both things, but mostly her music because this is what is attacked the most from…well, mainly boys and the rare girl music aficionado. And as I\u2019ve been taking incoming criticism for her music by my other brothers since I was about 5 or 6 years old, I\u2019ve had a lot of practice doing this. And although I\u2019ve appraised my biases with books like How Pleasure Works<\/em> by Paul Bloom (which I highly recommend) and just the instinctual understanding that all taste is relative, I\u2019ve always worried that defending one\u2019s taste can be too much of an ongoing rationalization.<\/p>\n

In other words, I\u2019m just rationalizing arguments to defend what I like and there\u2019s an argument to be found for the worst taste in mankind. For example, one day at lunch when I was defending Agatha Christie's craft innovations to my boss (I've just turned 50 and am insatiably attracted to British mysteries as expected), my boss scoffed, "You can come up with an argument to defend anything." Fair enough.<\/p>\n

But I still have this ongoing desire to keep looking for something to explain it, especially when a feeling of defiance is aroused in me that this music is meaningful and a protest and a celebration of something, that it's doing some cultural work. But then that feels like a rationalization again. Until a straight, white male goes all anti-disco on me and then I go back to the search.<\/p>\n

But that\u2019s important. The straight male thing. And I don\u2019t want to gloss over that. It turns out this was very important. I always thought that was incidental to the enjoyment of this music, the fact that I'm a woman and enjoy it along with a whole horde of gay men (and some gay women). It\u2019s completely not incidental. Turns out it\u2019s the whole thing.<\/p>\n

Oh man. Sometimes you don\u2019t know what you\u2019re looking for until you come across it.<\/p>\n

Years ago I started reading academic pop culture books, stuff about the male gaze, drag and camp. If only there had been such a pop culture degree when I was starting college in the late 1980s. Recently I was doing an Amazon search and this book came up, Shake It Up: Great American Writing on Rock and Pop from Elvis to Jay Z<\/em> and I kept it on my wish list for a few years. I assumed it would be very rock-centric, which isn\u2019t bad but not as pertinent to my search as those books on camp and MTV videos. But eventually I bought it and loved every minute of reading it.  it opened my horizons to aspects of music writing that I wasn\u2019t getting from the other cultural books.<\/p>\n

Not only that, but there was some amazing essays in there by women, essays about rock music from a female point of view. I didn\u2019t even know I was looking for that. But I loved it so much so that I made a list of the writers and have been hunting down their books. The first one I found was the anthology Rock She Wrote<\/em>. In many ways it wasn\u2019t as satisfying as the Shake It Up<\/em> anthology but there were a few essays in the back that more than paid for themselves. <\/p>\n

The poet Emily Dickinson talks about reading poems that take the top of her head off<\/a>.  This idea has become such a clich\u00e9 in poet circles that a poet with go \u201cyeah, yeah, whatever\u201d if you so much as mention a poem \u201ctaking the top of your head off.\u201d It's like when you were in the late 1960s telling someone that thing \u201cblew your mind.\u201d<\/p>\n

All the same, this essay took the top of my head off. And if you ever need an essay to defend yourself as a Cher fan: this\u2026is\u2026the one.<\/p>\n

\"Rockshewrote\"<\/a>It\u2019s by a music academic named Susan McClary. She doesn\u2019t write about modern music very often, but this essay is called \u201cSame As It Ever Was: Youth Culture and Music\u201d and it appeared in the journal Microphone Fiends in 1994. You can\u2019t find it online but you can find it in Rock She Wrote<\/em>, edited by Evelyn McDonnell and Ann Powers. The essay talks about \u201cyouth culture\u201d as it has occurred throughout Western civilization and how this music always threatened the status quo because it was an explicit threat to their authority.<\/p>\n

You may not be a young person, but liking pop music is a threat to some kind of authority.<\/p>\n

And here's the interesting thing: most historical reactions have construed "the new thing" as being \u201ctoo feminine\u201d and too much of the body. McClary traces these critiques going back to Plato through the Middle Ages up to Theodor Adorno and beyond.<\/p>\n

\u201cYet those who purport to speak for popular culture have often reproduced this fear of the feminine, the body, and the sensual. Recall, for instance, the erasure of women\u2014whether the blues queens of the 1920s or girl groups of the early sixties\u2014from historical narratives, or the continuing devaluation of dance music as a pathetic successor to the politically potent music of the sixties\u2014especially in the \u201cDISCO SUCKS\u201d campaign where an underlying homophobia is quite obvious, but also in the blanket dismissals of the many African-American genres (including disco) that are designed to maximize physical engagement.\u201d<\/em><\/p>\n

And she traces this back past early responses to jazz to the Middle Ages innovation of polyphony.<\/p>\n

She also questions where a real political charge happens, in a lyric text (think 1960s folk songs) or in the music itself. She states [my bold]:<\/p>\n

\u201cFrom my perspective as a music historian, it seems to me that the music itself\u2014especially as it intersects with the body and destabilizes accepted norms of subjectivity, gender and sexuality\u2014is precisely where the politics of music often reside\u2026.The important question is: What qualifies as political? If the term is limited to party politics, then music plays little role except to serve as cheerleader; if it involves specifically economic struggle, then the vehicle of music is available to amplify protest and to consolidate community. But the musical power of the disenfranchised\u2014whether youth, the underclass, ethnic minorities, women, or gay people\u2014most often resides in their ability to articulate different ways of construing the body <\/strong><\/em>[see where fashion innovation happens], ways that bring along in their wake the potential for different experiential worlds. And the anxious reactions that so often greet new musics from such groups indicate that something crucially political is at issue.\u201d<\/strong><\/em><\/p>\n

\u2026\u201dThis is not at all to suggest that artists or fans control the scenario\u2014the ability of the industry to absorb and blunt the political edge of anything it touches must not be underestimated\u2026[but] by virtue of the market and its greed-motivated attention to emergent tastes that music has broken out of the officially prescribed restrictions and has participated as an active force in changing social formations\u2014formations that Plato and his followers saw as the very core of the political.<\/strong>\u201d<\/em><\/p>\n

\u201c\u2019It\u2019s got a good beat. You can dance to it.' Critics often dismiss such statements as evidence of the mindlessness, the lamentable absence of discrimination in pop music reception.\u201d\u2026<\/em><\/p>\n

\u201cRecall Plato\u2019s warning: \u2018For the modes of music are never disturbed without unsettling of the most fundamental political and social conventions.\u2019\u201d<\/em><\/p>\n

\u201c\u2026the fact that a tune is construed to maximize its ability to make money\u2026does not mean that its social effects are negligible. Without question we need to attend closely to how those who profit manipulate our reactions. But students of popular culture who hasten to trash all commercial music betray how little they know about Western music history.\u201d<\/em><\/p>\n

Snap!<\/p>\n

She concludes with:<\/p>\n

\u201cIn short, the study of popular music should also include the study of popular music.\u201d<\/em><\/p>\n

Yes! Wow. We have arrived at a clue here!<\/p>\n

This essay led to so many thoughts about the effectiveness of political action through lyrics and politics through music and where we are today vis a vis 1969. What has changed. What hasn\u2019t changed. I have been a firm defender of Bob Dylan as a poet fully deserving of the Nobel Prize in literature<\/a> but you could sing a Bob Dylan song today and it would not sound historical. We have changed but since the 1980s have been regressing backwards. For all the lyrics we love, "Masters of War<\/a>" still stands as a current argument. CCR\u2019s "Fortunate Son" more than ever. "One Tin Soldier<\/a>" one-hundred fold. "RESPECT." Beatles\u2019 "Revolution." Must I invoke "The Eve of Destruction" amidst coronavirus and Trump?<\/p>\n

But then we have gay marriage and Barak Obama was president for eight years. This is not to say one genre of music is better than the other.<\/p>\n

Just don\u2019t dismiss the \u201cother.\u201d <\/p>\n","protected":false},"excerpt":{"rendered":"

Where does political action really exist. Susan McClary tells us.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[15],"tags":[4,174,173,172],"class_list":["post-631","post","type-post","status-publish","format-standard","hentry","category-music","tag-cher","tag-dance-music","tag-protest-music","tag-susan-mcclary","wp-image-borders","post-preview"],"yoast_head":"\nThe Politics of Pop Music - I Found Some Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cherscholar.com\/cherblog\/2020\/04\/the-politics-of-pop-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Politics of Pop Music - I Found Some Blog\" \/>\n<meta property=\"og:description\" content=\"Where does political action really exist. 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