NEW YORK (By Paris Kazakis, Top40 Charts Staff Writer) - The Charts usually disclose to us both the consumers' preferences and the limits of the music industry. In this exclusive article we try to explore the impact an important event has, not only involving the charts, but also regarding the behavior of the music industry.
Dealing with music and the Charts we observed that the phenomenon of terrorism and the deadly attacks have influenced the music industry. It all started with the terrorist attacks in New York - 9/11; the people's preferences changed, and new music genres were brought in the limelight while certain others were totally displaced.
For example, music currents like Patriotic Country, Christian Pop/Rock and Soul/Smooth Jazz, were brought dynamically in limelight - while the traditional Pop and Dance music became depasse in the US Charts. At the same time the American public and Contemporary radio turned to "voices-troubadour" and young singers like John Mayer, J. Mraz, Bethany Dilon, bringing a 'past' music atmosphere that resembles to the one of the '60s!
Today, an analogous change is in progress concerning the British musical ethics. Right after the terrorist attack of 7/7 at London, the public overwhelmed by fear, searched for a way out exploring other type of songs.
For the time being, the UK Singles Chart is dominated by James Blunt with "You're So Beautiful" and the No 2 single 'Bad Day'. Moreover, the only RnB songs that make success, are the melodic ones (like 'Lonely' by Akon), effectively an anthology of sexual lyrics. These types of songs can make you to forget for 2-3 minutes what is really happening in the streets of London, where the police can hold you a suspect or shoot you anytime.
The UK Singles Chart contains mainly songs that are not characterized as Pop, but have mid-tempo style; the last two weeks it also hosts older songs - adaptations as the 'Ghetto Gospel'/2Pac and Elton John.
All the music labels that circulated songs with dance music failed, while henceforth everybody seeks songs and artists that have a direct reference to the past (like the Kaiser Chiefs fashioning the rock sound of the 70's) or anything melodic that would remind the sound of Bob Dylan, Joan Baez, with traditional influences and "optimistic" verses, full of symbolisms for good life and love.
Furthermore, the British government (as it happened in the USA after 9/11) wants from the media to maintain this 'consuming' behavior and even to launch it to something totally mainstream. As a result, in Radio 1 and other radio and TV stations (or UK Music Press), they do not provide for airtime for politicized artists like Green Day, Bruce Springsteen, Radiohead, Travis or Hip-hop (Eminem, 50 Cent etc) because their lyrics can question the upcoming policy.
We believe that the charts are not only an index: a chart is the mirror of every age and if the terrorist attacks bring such changes in them or music in general, then we think that a specialist's opinion would be illuminating.
Also, reviewing the USA Charts history, we come to the conclusion that this music change did not last only for some months; instead, the change of music preferences of the American public seems more permanent than temporary.
- Therefore, Dr. Sarigiannidis (*), would you trace an interaction between politics and music?
First of all, I wouldn't treat music and politics as a separate issue. It is generally art, and more specifically militant art, that either attacks or underpins the domestic order and the political status quo. It is usually totalitarian regimes that use, or better say misuse good arts; take for instance the music of Wagner as applied by the Nazis to glorify mid-war Germany, or architecture as a means of communist expression and enforcement during the Cold War.
More recently, it was the regime of Saddam Hussein that was trying to keep the morale of the Iraqi people during the American-led intervention, by filling the airplay and TV programs with songs dedicated to the 'charismatic' personality of the dictator.
- What about art as a means of criticism towards politics?
There is always something political in every expression of life. And that includes arts as well. Take for instance the last presidential election campaign at the United States. So many artists used their influence and gave concerts against the re-election of George Bush Jr. I also remember Moby asking for the secession of Manhattan after the result of the elections was made public. Or, think of Cesaria Evora; everybody knows that she comes from Cape Verde, but who knows the name of the President of this country, or anything about the politics there?
Moreover, the recent Live8 initiative was a political act against distributive injustice and poverty. The importance of art, and specifically music, is based upon the fact that it is a code of communication that transcends national borders and can unite and alert people beyond domestic jurisdictions. It addresses the global agenda and it can easily spread its influence through global and transnational networks. Top-40charts.com is an example of such networking, a digital community that advances communication through music, and at the same time channels politicized messages through lyrics, press releases and interviews.
- How do you evaluate music after 9/11 and 7/7?
9/11 is viewed as a historic landmark that serves as a starting point for analytical insights and music can be no exception. I am usually receptive to music stimulants and I have an interest into music, since once upon a time I played my part on the radio as a producer. And although I do not generally focus on mainstream music, I must denote the impact of RnB music upon young people after 9/11. Listening to RnB, you move sexy and attract other people, fall in love, or have fun. That's the idea I think, and of course there is nothing wrong with it.
Nothing politicized so far, apart from the roots of this music stream. Now, if I suggest, instead of going to the club to listen to RnB, to go to the pub and have a beer listening to Radiohead or Green Day, that makes the whole issue political. RnB nowadays represents a happy-go-lucky attitude, whereas bands like the ones mentioned above, advance social activism and awareness. The first is mainstream, the latter is not. Put it in the 9/11 context you can reach the hypothesis that the American music industry paves the way. Either because it takes advantage of the people needs in order to secure profits, or because the politics of music-governmental authorities could also be involved, steer people's music preferences to music spaces that keep people away from everyday problems, especially the threat of terrorism.
- So, would you suggest that music is politically manipulated?
I believe that music can be manipulated or serve the interests of political elites and lobbies. But this is so natural and it happens in all fields of artistic activity. 'Harry Potter' and 'The Lord of the Rings' are equally highly politicized, since the pivotal elements of their scenarios is the struggle between Good and Evil. Good prevails always, but doesn't this remind you of the War against the Axis of Evil, that is against terrorism?
Music, whether manipulated, or the genuine expression of people's feelings and experiences, is a social construction that has always been framed by politics. All kinds of events with grave consequences worldwide have triggered a response in the realm of music. The starving populations in Africa alarmed the USA for Africa and Band Aid initiatives. Concerts were held after the tsunami disaster last December. When Lady Diana was killed in a car accident, Elton John took the burden to express the mourning of thousands of people.
After 9/11 the popularity of Country music and Christian Rock/Pop was launched sky high. An explanation that I can provide for is that there is a turn to traditional values and lifestyle. And then again, the question that arises is the identity of the agent who provokes this turn. It can be the people's instinct. But it can also be the adaptation of the principles and values of the so called New Republicanism. Music can serve a psychological operation and thus become a platform to take people to sociopolitical and cultural spaces that comfort political leadership and elites. I am not suggesting that there is a synergy between the American music industry and the American government; there are no proofs.
Music can also be used as a means for crisis management, and that could be the case for 9/11 and 7/7. In any case, we should be aware of the fact that music, apart from its artistic and entertaining value, is also a powerful tool of social engineering.
(*) Dr. Miltiadis Sarigiannidis
Lecturer of International Public Law
Aristotle University of Thessaloniki, Greece.
