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Table of contents
- A Look Back At The Top 15 Pop Culture Moments Of 12222
- Just Arrived
- Kyrie Irving is a pop culture purist
- A Pop-Culture Time Capsule of the s - The Atlantic
The effect of jazz music upon society can be depicted through a close examination of different aspects of popular culture. Jazz music had a profound effect on the literary world, which can be illustrated through the genesis of the genre of jazz poetry.
A Look Back At The Top 15 Pop Culture Moments Of 12222
Fashion in the s was another way in which jazz music influenced popular culture. The Women's Liberation Movement was furthered by jazz music, as it provided means of rebellion against set standards of society. The status of African Americans was elevated, due to the popularity of this distinctly African American music.
For the first time in American history, what was previously considered "bottom culture" rose to the top and became a highly desired commodity in society. Men's pants bagged and women's hair was cut short. Often the activity would have to occur even if there would be good reason why it should not, such is the commitment to it, and it has propriety above other things. As less people in the West have come to describe themselves as Christians, other activities have begun to replace traditional religions as the focus of their beliefs, hopes, faith and commitments, and a variety of things have been studied as being religious.
The study of such secularized religions has taken a number of forms. One approach has been to regard older, traditional mainstream religions as primary institutions, and others as secondary institutions. Secondary institutions are described as having a lesser level of requirement of the individual, less strict rules and freer codes of how to behave.
Such distinctions are problematic, as for example Christianity has groups of liberal adherents who interpret its traditions as guidelines rather than rules and focus on that everything is permissible.
This smacks of the older established religions being given a higher level of authenticity because they are established, and because it is adherents to them who write much religious literature. More useful perhaps to this book is the work of writers such as Edward Bailey and others, who differentiate between implicit and explicit religion. Implicit religions are those that have all the hallmarks of religion, but that may be focused on elements that may be regarded as belonging within the secular realm, or include elements that are not within easily defined boundaries of the sacred and profane.
Implicit religions often involve an intense level of commitment and seriousness as well as a set of beliefs and practices. Activities described as being implicit religions have included atheism, vegetarianism, consumerism, sport and various elements of popular music and its associated cultures. The cultures associated with these activities often require a huge level of commitment, regular participation, extreme seriousness, irrational faith and belief which is instinctive and passionate as much as it is rational and reasoned, ritualized participation and strict codes of practice.
This indicates that they are either religious they can be regarded as such, or they are the same as the religious.
Whether or not one agrees that these are religions, by defining them as such, a different form of analysis can be applied to them, which can offer new interpretations and insights into popular cultural forms. This kind of analysis indicates that some of the functions of religion within society are so important to human culture, that when traditional religious organizations begin to diminish and recede, they are replaced by other activities that take over these functions.
Large institutionalized religions have historically been integrated into political systems and played a part in social control by elite ruling classes. They have thus integrated the opinions and preferences, as well as reflected the interests, of these elements of society. As popular culture has emerged, and education has spread from the few to the masses, it is perhaps not surprising that older religions that still have such class-ridden moral and social attitudes embedded within them, have ceased to be chosen by the majority of popular culture and society as the centre of commitments, beliefs and codes of practice.
And it makes complete sense that popular religions should spring up, not be recognized as religions, in particular by ORMs that cannot compete with their more culturally relevant replacements, and be regarded as implicit rather than explicit religion. Popular music cultures are a common form of popular or implicit religion. Rather than describing them as NRMs, I have described them as cults for a number of reasons. They are usually focused around one individual figure or a group of figures who are treated as being special or more important than anyone else and are often worshipped as though they were divine.
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Their claim to have some kind of special link with the divine, or divine authority, comes through their musical abilities. When asked why they make music, musicians often claim that they want to express their feelings, as though in some way their emotional expression were more important, interesting or powerful than those of others. They become known as icons or rock gods, and when dead, become idealized and their status is often described as legendary and superhuman. Adherence to a particular musical group or popular music scene can involve large levels of commitment and participation, as will be described in subsequent chapters.
Parents are described as becoming alienated from their growing teenage offspring, as the latter choose pop cultures as alien as possible to their parents and families, joining youth cultures that deliberately aim to separate themselves from previous generations. The term fan, or fanatic, gives an indication of the level of commitment of pop cult members, fanatics can be obsessive, changing their characters and behaviours to copy pop icons, turning bedrooms into temples to stars with posters and photos, reading about their heroes and heroines and obsessively collecting and consuming their paraphernalia.
At the centre of such pop cults are shadowy industry figures who are rarely seen by the public, and who are only known to the high ranking initiates of the pop star world. These figures work tirelessly to increase the membership of the pop cults they are involved in, obsessed with trying to make the pop icons involved internationally known, and with making as much money as possible. There is evidence of brainwashing type activities. Fans repeatedly sing along to, or listen to, music that is in itself repetitive.
Marketing, lighting, sound, strobe, laser, video and other effects are used to enhance the effects of the music, and ultimately manipulate cult members into spending increasing amounts of money on group-related activities. Special venues have ritualized activities, which feature scenes of ecstatic loss of self. Crowd dynamics are artfully used and manipulated to great effect.
Illegal and legal drugs of various kinds are often associated with pop cults, as are unusual and transgressional sexual practices. There are very powerful reasons why musical cultures can be so readily identified as religious, and as cults or cultic. Music is not just a form of entertainment; it has important roles in human culture and society.
It is also often associated with dance, or to be more specific, dance is usually accompanied by music of some kind. Dance and music are intimately related, and in fact in some cultures are so intertwined that there are no separate words for music and dance, one single word being used to mean both. Much of contemporary western popular music is derived from African American music. Dance turns music into motion, synchronizes the body to time, and writes music in terms of space.
Indeed music can act to change the way one perceives time. While we have one word for time, the ancient Greeks usefully had two words for different types of time, chronos and kairos. Chronos is the sense of time of everyday experience. It is time that flows, that ticks by second by second, the time that passes minute by minute, hour by hour, day by day and year by year. Kairos is the time of the ecstatic moment, is the way time passes when one has lost track of chronos time , is the moment that seems to last an eternity, the long period of time that seems to have passed in an instant.
Music seems to be a bridge between chronos and kairos, capable of moving a person between the two. It also allows a number of people to synchronize their sense of time, and their bodies, together, which is a powerful communal experience. It seems that music may have developed in humans at the same time as fire, shelter and tools Freeman , p.
The group-based experiences that are common to many forms of popular music, and the sense of community, identity and belonging they engender are highly significant, and will be discussed in detail in later chapters. Since the renaissance and enlightenment, intellectual culture has been struggling to understand and control the world it inhabits. At the end of the modern era this resulted in theoretical approaches to music that focused on the intellectual rather than the emotional, the rational rather than the religious, on reason rather than faith. This resulted in art music traditions somewhat disconnected from the body, individualized and intellectualized.
This art music was separated by an intellectual superiority complex that placed it above the vernacular, and that had become separated from popular mainstream culture. Some of us would even say that it is such events and acts that constitute the hard, irremovable core of the human predicament. It has in a similar way allowed popular religions, or cults, to challenge traditional religions for the allegiance of the populace, to offer alternative pop cults that can provide a focus for commitment, belief and ritualistic practices. While traditional religions avoid cult-like behaviour, the music industry has no such scruples and has moved in to fill the void left by western religions that are still associated with a disenchanted mainstream culture.
Pop cults happily accept their implicitly religious roles, practicing what Small calls the art of social happiness: The art of social happiness is the supreme human art, to which all other arts, and the sciences also, must contribute. The arts, and especially that great performance art of music-dance-drama-masking-costume for which we lack a name, are vital means by which human identities and relationships are explored, affirmed and celebrated.
It listed a number of reasons, or needs; the need to belong, feel special and be involved; the need for spiritual guidance and vision; the search for answers, wholeness, cultural identity and transcendence.
Kyrie Irving is a pop culture purist
Tied up in traditions and its socio-political associations, and with a credibility gap in terms of cultural relevance and reference, mainstream religions do not convince mainstream cultures that they can address these issues, despite their best efforts. Pop cults are regarded as far more able to succeed, as we shall see in a series of examples. This chapter investigates popular music as a sex cult, in particular looking at the work of Madonna. Many forms, styles and genres of popular music have traditions of featuring sexually explicit material.
This chapter asks why that is, when this began, how it happened, who are the main protagonists and what this involved. Popular music has often operated in oppositional to mainstream culture. This is part of it being firmly placed within popular culture, as opposed to high society.blogland.xsrv.jp/takken-test.com/2020-03-13/2843.php
A Pop-Culture Time Capsule of the s - The Atlantic
An oppositional attitude gives subcultural capital, authenticity and authority to popular music forms, and assists participants in developing a sense of individual identity. Within youth culture, a sense of transgression allows a distance from the culture of older generations. This creates an environment in which there is a perceived freedom to create an individual identity. In this context enough space is sought to allow personality and a sense of self to develop.
Thus popular music styles that have developed often contain elements that might be regarded as oppositional.