There have been many events in the course of music history that has shaped how what becomes popular and what is deemed “proper” in terms of music we should be consuming. In 1991, Lollapalooza, a multi city touring festival in the United States, highlighting alternative culture changed how music was consumed from there on forward. With the popularity of the festival and the highlighting of the alternative culture it represented the music industry took note, not long after the festival and explosion of alternative music hit mainstream music culture. New bands like Nirvana, Pearl Jam, Alice in Chains, Soundgarden, Stone Temple Pilots and bands who had been around awhile but had a smaller marginalized audiences such as the Red Hot Chili Peppers found mainstream success in a post Lollapalooza music environment. The affects of these bands are still resonating through the music that is listened to today, and without Lollapalooza there would have not been the event that signalled to the decision makers in the music industry that this kind of music could be popular to the masses.
This paper will discuss alternative music culture and Lollapalooza in a context of cultural analysis, drawing on the works of Raymond Williams, and Martha Gever . This paper will first explore what alternative music culture is, secondly this paper will discuss the importance of Lollapalooza to the alternative music culture movement, the second half of the paper will apply the concepts of the aforementioned authors to alternative music culture and Lollapalooza. Though this analysis this paper will unpack how alterative music culture can be used to illustrate how previously marginalized groups of people, such as those who were in the alternative music culture, can...
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In Highbrow, Lowbrow, Levine argues that a distinction between high and low culture that did not exist in the first half of the 19th century emerged by the turn of the century and solidified during the 20th century, and that despite a move in the last few decades toward a more ecumenical interpretation of “culture,” the distinction between high art and popular entertainment and the revering of a canon of sacred, inalterable cultural works persists. In the prologue Levine states that one of his central arguments is that concepts of cultural boundaries have changed over the period he treats. Throughout Highbrow, Lowbrow, Levine defines culture as a process rather than a fixed entity, and as a product of interactions between the past and the present.
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Although the style of ‘Rock music’ is easily adaptable to many different sounds, it is still thoroughly identified by its definingly amplified rhythm. The sudden worldwide popularity of rock and roll resulted in an unparalleled social impact. Rock ‘n’ Roll influenced lifestyles, fashion, attitudes, and language in a way few other social developments have equaled. The social impact is so large that rock stars are worshipped worldwide. In its early years, many adults condemned the style of music, placing a stigma on its name, and forbid their children from listening and following its ways.
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In this manner, western cultures command great power by being able to represent their own heritage as a higher ranking than the “primitive” art of Third World nations that is often exhibited: “It also means the power to define and rank people, to declare some as having a greater share than others in the community’s common heritage—in its very identity” (Duncan 102). These are the important findings of Duncan’s (1991) analysis of cultural imperialism, which I agree with in terms of the greater influence of American and European museums to ritualize their status as a first world modern nation. More so, American/European museums get greater funding to superimpose their culture over museums in third world countries, which defines the overt power of the museum as a “temple” for first world art. These are important aspects of Duncan’s view that the disproportionate presence of western art throughout the world is based on a primarily imperialistic notion of cultural superiority in the presentation of American and European heritage on a global scale. In my opinion, I feel that western museums deliberately impose their cultural values in terms of “modernity” as a means of ranking themselves above lesser nations. Certainly, the increasing popularity of “primitive”
This paper is an analysis of the grunge movement, an exploration into genre classification, audience and artist identity and how it is related to media and cultural capital. This paper will also highlight the vast difference between literary perception of the movement (analysis and articles written about grunge) versus the perception of inhabitants of Seattle that witnessed the grunge movement as it happened (extracted from interviews in the grunge documentary, Hype!).
In cultures all over the world, music can be seen encompassing many aspects of life for many individuals. It is a form of mass communication that"speaks directly to society as a cultural form", and often reflects a collection and pattern of personal experiences (King 19). Music is so influential because it communicates on three different levels: the physical, emotional, and cognitive. Not only does it operate in a nondiscursive way, by affecting the physiological mode of the body, causing one to move and dance, but it also encourages one to think. This paper will explore music as a form of protest; showing how a political message, in general form, is presented through music. Protest music addresses the social, political, and economic conditions of the times and often speaks directly to the listener's experience (King 20). In the following pages, a general comparison will be made between the evolution and effects of the blues, jazz, reggae music, and hip-hop, with a focus on reggae and hip-hop.
Rock ‘n’ roll and 20th Century Culture According to Philip Ennis, rock ‘n’ roll emerged from the convergence of social transformations which resulted from World War II (Ryan 927). Despite its pop culture origins, rock music is arguably one of the strongest cultural factors to develop in this century. Artists such as Lennon, McCartney and Dylan defined the emotions of a generation and, in the last decade, it as even been acknowledged by members of the establishment which it hoped to change as a major influence in the country. In order to understand how rock went from a sign of rebellion to a cultural icon, it is necessary to understand where it came from.
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In contrast, today’s popular music is of a secular origin. Some types of contemporary music mirror the decline in our value system. The “pop” or “hip-hop” culture is characterized by explicit sexuality, habitual use of profanity, and depiction of extreme violence in music and all other forms of entertainme...
In closing, the undoubtable influence of music, more specifically of Rock ‘n’ Roll on American society is responsible for a number of changes to the status quo. These range from sexual liberation and racial desegregation all culminating with other influences to create an intergenerational identity. Despite the desperate attempts of older generations to smother these influences, these changes ultimately shaped the years that followed, molding the country into what it is today. Along the way these changes as well as individual involvement in them has also eased the lives of many through empowerment and a feeling of community and purpose. Despite a lull and renewal Rock ‘n’ Roll continues to serve as an agent of influence and change in today’s youth culture and continues to burn in the heart of past generations of loyal fans.
Along with the peak of several movements music began to reach a point of climax. Rock specifically began to flourish in the 1960’s, while expressing the voice of the liberated generation. It is the power of such trends that overall lead to what is known as the greatest music festival of all time: Woodstock Music and Art Fair. The festival started on August 15, 1969 on Max Yasgur’s farm in Bethel, New York. Appealing to the time period, Woodstock was designed to be Three Days of Peace and Music. However, many argue that it was more than just a musical art fair of peace, but a historically significant event that shifted American culture. While some regard Woodstock as the beginning of a cultural advancement and the end of a naïve era, others view it as ridiculous hippy festival infested with illegal drug usage. Woodstock cost over $2.4 million and attracted over 450,000 people (Tiber, 1). Despite the debate of whether Woodstock produced a positive or negative effect, it is clear that a note worthy impact was made. When discussing the overall impact of Woodstock it is important to look at the influences and creative plan and the positive and negative effects produced from the festival.
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