'Rock Ideology\r'

'Does familiar medicinal drug equate to m superstarymaking(prenominal) success? Is mass supplicant enough to strike public practice of medicine? The answers to these questions may non stupefy in handy. Oftentimes, what argon considered to be popular melody atomic number 18 the ones that be frequentlytimes played in the radio or promoted through mixed television coiffe shows and programs. Record sales and concert attendance are also important factors in determining (popular unison). Yet, if one has to take a closer look, the above-given regards tramp be summed up in achieving commercialized triumph. However, for experts, there is a thing line that demarcates popular medication from those that agree emerged victorious from the economy of medicinal drug making.\r\nThrough the years, various melodic genres cause emerged. Their existence can be attri scarcelyed for several reasons. First, euphony goes through a serial publication of changes and trans progress to ations. individually and every generation of euphonyians and operatives are on a constant experiment on how to perform new sounds that can possible exceed the expectations of their predecessors. The some other reason stems from the fact that the audience’s musical needs vary from time to time.\r\nLike food, music is a media commodity that mustiness be ceaselessly consumed by its specific target market or audience. But the moment wherein the peaks of satiety levels have been already r distributivelyed, there is a strong tendency for an one-on-one to look or crave for another media commodity that can attend to his or her demands. If music is viewed two as a commodity and a form of expression, then there is no doubt that cosmos popular is also re latissimus dorsiive to being commercially triumphant. However, this generic notion tends to abolish music’s true meaning, essence, value and genial significance.\r\nCommercial success, if a great deal(prenominal) wi ll be used as mannequin for what accounts as popular music stripped dark the latter’s intrinsic and intangible characteristics and features. Each musical genre goes through such concerns. medicineians and artists analogous are trapped at bottom the norms of creating music for advantage and at the same time maintaining their musical justice and artistry. With regards to categorizing popular music, it is apparent that stir n roll and debate often finds itself as the center of argument between music scholars and expert.\r\nMany didder and grade bands have managed to induce commercially efficient, yet some stress that the insufficiency of musical genuineness deprives them from being considered as popular music. On the other hand, it cannot be denied that there are some controversy and Roll bands which have remained popular only to a few selective audiences, their commercial appeal is not highlighted, yet they are often tagged as popular music.\r\nThis discussion ai ms to rein in how endocarp and Roll struggles to balance its profit-based orientation and at the same time observe the pure and unmingled nature of its music. The paper will also commode with tilt political orientation, its effect on the music’s cull out base and youth stopping point and on the overall nature of rocknroll and Roll per se.\r\nRockin the offspring Culture\r\nBeebe, Fullbrook and Saunders (2002) explained that Rock and Roll and youth culture are interrelated to each other. The two quickly share a special relationship. Rock and Roll is the youth and the youth is Rock and Roll. The two reckon to find it hard to be separated from each other. For one reason, a number of youth groups are able to relate to the themes perpetuated by Rock and Roll. The music became the youth’s language in articulating their protest concerns and issues that cannot be overtly expressed through demand communication or confrontational scenarios.\r\nAs Epstein (1998) em phasized, rock music played an important role at heart to a greater extent youth subcultural groups wherein musical tastes and p credit ratings provide a sense of belongingness and togetherness. Rock and Roll allowed these youngsters to relate and come upon themselves to the youth’s basic needs and demands (Epstein, 1998). Gillet (1996) explained that Rock music is able to provide pleasanceâ€the physical body of satisfaction that no other musical genres can provide.\r\nBut of course, this is something that extends beyond entertainment purposes. Through co-optation, as Grossberg (1997) maintains, the intersection of youth culture and Rock and Roll is preserved and sustained.\r\nRock and Roll and public medicine\r\nKellog (2003) discussed that popular music is a representation or reflection of the cultural facets of society wherein it emanates. He added that the development of Rock and Roll is heavily influenced by the post-war era. In a time wherein a nation is attem pt to recover from war’s damages, the seemingly antipathetical and hostile nature of rock and roll would not really come as a surprise. It is not uncommon for such music to tackle amicable dilemmas that are experienced by the community.\r\nThis is most specially felt during the times wherein Rock and Roll is on the process of growth and development. In Latin the States for example, rock music functioned for propaganda purposes (Hernandez, L’Hoeste  & Zolov, 2004). dismissal back, it can be seen that such music is not merely used for entertainment activities. To give pleasure and at the same time take into consideration society’s critical issues transformed rock music into something that is revolutionary in nature.\r\nCommercially Popular\r\nSterns (2001) emphasized that Rock and Roll is â€Å"eminently commercial.” The appear and glamour that is associated with it is a concrete sign of a consumer-oriented music. There is the desire to garner m ass appeal which is nonetheless avoided by those individuals that belong to the counter-culture (Sterns, 2001). Placing overly much importance on form over gist makes Rock music prone to being a â€Å"consumer item (Sterns, 2001).”\r\nHowever, Hernandez, L’Hoeste and Zolov (2004) mentioned that under the circumstances wherein Rock music strayed from entertainment function, Rock and Roll as popular music has now differentiated itself from music that are commercially produced, this is of course in reference to the Latin American Rock music scene. Rock as popular music in line of products to rock as consumer item can be differentiated into four different ways. The latter’s differences are deeply characterized by its content and affable function.\r\nFirst of all, rock as popular music possesses â€Å"intrinsic intent” which is to promote awareness to social and political issues (Hernandez, L’Hoeste & Zolov, 2004). Secondly, it breaks free from â€Å" embodied gratifications, wherein Rock is produced as something worth listening since it embodies the pan Latin-American dream (Hernandez, L’Hoeste & Zolov, 2004). The lat but definitely not the least is that Rock has revolutionized the term â€Å"popular” wherein it previously refer to music created via the use of indigenous instruments (Hernandez, L’Hoeste & Zolov, 2004).\r\nIn the meantime, going against commerciality, most especially as for the case of Rock and Roll bands may seem too complicated. This stems from the fact that these musicians earn their bread and butter from this industry. Yet, in as much as musical authenticity and artistry is concerned in popular music, marshal (2005) explained that popular music must adhere to the canons of music making in the Romantic period. During those times, music intro was focused on maintaining the â€Å"truth” in artist and music’s intention, regardless of whether it would be social ly accepted or not by many (Marshall, 2005).\r\nRock Ideology\r\nIn order to preserve authenticity in rock music, may bands have successfully practiced the so-called rock ideology (Frith, 2007). Rock ideology purports that the music has an exclusive  fan base or community that highlights their individualistic approach shot and orientations (Frith, 2007). This is in stark contrast to pop icons and celebrities whose popularities are attained through excessive media hype and exaggeration. In other words, rock to maintain its ideology must create music that is not present in other genres and would cater to a specific set of audience. In this aspect, rock and roll is famous but its scope and coverage is far by more limited and narrow. It can be categorized as popular music but only within smaller groups, compared to music that follows a certain anatomy of formula.\r\nOnce and for all, rock as popular music is something that cannot be readily digested and appreciated by everybody els e. And so through following its ideological threshold, the genre qualifies into the place setting of popular musicâ€something that is worth listening and jammed with cultural and social significance.\r\nReferences\r\nBeebe, R.; Fullbrook, D and Saunders, B. (2002) Rock over the Edge: Transformation in           Popular Music Culture.   regular army: Duke University complot\r\nEpstein, J. (1998). Youth Culture: individualism in a Postmodern World. Massachusetts:           Blackwell make\r\nFrith, S. (2007). Taking Popular Music Seriously: Selected Essays. Hampshire, England:             Ashgate publish\r\nGillett, C. (1996). The Sound of the City: The Rise of Rock and Roll. USA: Da Capo Press\r\nGrossberg, L. (1997). Dancing in maliciousness of Myself: Essays on Popular Culture. USA: Duke          University Press\r\nHernandez, D; L’Hoeste, H and Zolo v, E. (2004). Rockin’ Las Americas: The Global Politics    of Rock in Latin/o America. Pittsbyurgh, USA: University of Pittsburgh Press\r\nKellog, W. (2003). American History The Easy Way. New York: Barron’s Online Bookstore\r\nMarshall, L. (2005). Bootlegging: Romanticism and Copyright in the Music Industry.       capital of the United Kingdom: Sage Publications\r\nSterns, P (2001). Consumerism in World History: The Global Transformation of Desire. London: Routledge\r\n'