Jazz & Rock in the Soviet Block - Essay Example

Jazz and Rock in the Soviet Block In late fifties and early sixties, amateur music groups appeared one after the other and rapidly spread allover the soviet block in both schools and clubs. They met considerable suspicion from hostile and distrustful local media and cultural institutions. This kind of suspicion had several origins. All of the Afro-American genres of music, whether rock ’n’ roll, the twist, or jazz, were considered as nothing but decadent imperialism cultural trash. This view had an influence within the cultural life and administration. Secondly, entertainment had a kind of a sentimental, sweet style with prevalence and whose attributes were extremely primitive techniques and vocals. The performers and composers had key (Anna Szemere, Some Institutional Aspects of Pop and Rock in Hungary, Pp 121-122). In this set up the idea of youth and music was not known. It existed for many years without being recognized to be a self-contained entity. It contrasted with traditional dances in musical characteristics, clothing, and physical appearance. Its adherents’ daily behavior stood out. It determined the lifestyle of hardcore followers and its own right became a subculture. This was the case with Western rock when it drew a lot of attention as a culture countering the others (Anna Szemere, Some Institutional Aspects of Pop and Rock in Hungary, Pp 125). Jazz and rock received mixed social reactions. On one extreme side it was being rejected by the authorities, while at the other side the well established cultural elite supported it. What shaped most of rock and jazz character was a centralized monolithic system. This institution was under directions from 'above' with support versus prohibition arguments being more important compared to commercial principles. Entertainment business in the soviet gradually started to take after the Western model (Vaclav Havel, The of the Powerless, Pp 172-173). The bureaucratic apparatus conservative faction, who politically and financially controlled the probability of rock and jazz groups appearing in public, viewed these teenagers as not only merely as faithful protesters but as also people expressing their discontent of the older generation. They were seen as thugs and hooligans revolting and siding with the capitalist west. For instance, outward appearance was seen to be double oppositionist. This explains why sixties teenagers enjoyed the illusion of seeing themselves as revolutionaries by simply wearing blue jeans keeping long hair. A different paradoxical aspect is that rock movement during its promising phases stood at the heart of dynamic artistic amateur by embracing a wide activity range like acting, puppetry, ballet movement etc. thus integrating a few criticism elements which had been denied expression in other public life spheres (Anna Szemere, Some Institutional Aspects of Pop and Rock in Hungary, Pp 125). Rock and jazz verse structures are known to influence individual actions within a common activity situation. This kind of musical progression focuses on both community and individuality. For the soviet youth it had no comparison. Rock music gradually evolved into essential freedom and self expression ingredient. It was viewed by its lovers as a political action companion rather than a being just a driver. This was especially because it unfolded from the west. Many rock ‘n’ roll musicians adhered to west anti war movement because of its rebelliousness appeal rather than political goals. Rock music engendered opposing the authority, specifically when it was tied to rigid political ideologies restricting freedom of expression (Yuri Pelyushonok, Strings For a Beatle Bass, Pp. 8-17). Rock and jazz played an important role in subverting the Soviet Union political order. This unique genre of music undermined Soviet authority and humanized the West. It helped to alienate the young generation from oppressive political systems and sparked a revolution. It was achieved through use of images, words, and the musical structure. This music spread through efforts by the eastern bloc populace (Yuri Pelyushonok, Strings For a Beatle Bass, Pp 15-16). Among the bands which enjoyed huge followings were the Beatles. Their popularity rose in the early sixties among the soviet youth. They had a huge impact on fashion among the youth as well. This was among the obvious signs of popularity. Cast-offs was being used to assemble collarless jackets ‘Bitlovka’ associated with the Beatles. Also, clumsy army boots got refashioned to fit “Beatles style.” A culture of hippies emerged during the late sixties and the early seventies. Although it was similar in aesthetics to the western ones, they were more passive in the Soviet. In Czechoslovakia, Hungary and Poland, hippies and rockers were politically active. In 1968 Prague Spring concerts were held supporting greater liberalization (Artemy Troisky, Rock in Russia. Pp 6-11) Bands like the plastic people of the Universe, Time Machine, and, Illes in Hungary adapted rock to their native languages. They used to enjoy steady followings which were unlike other similar attempts by other bands in the sixties, albeit mostly underground. Mainstream music industry was dominated by Vocal Instrument Ensembles (VIA’s). These were pop and rock groups which were sanctioned officially and their lyrics vetted. Their music was tamer considerably compared to the underground music. The government in East Germany went to an extend to establish a rock bureau, thus indicating a desire to control the movement (Artemy Troisky, Rock in Russia. Pp 13-14) The Seventies were just doldrums to rock and jazz fans in the Soviet bloc. Official policy resistance would time to time still erupt elsewhere within the bloc. In places like Czechoslovakia where suppression of rock did not end up in violent reactions, underground rock flourished and created a “second culture.” This would have future dramatic effects (Aleksandra Niemirycz, 1981. Pp 417-418). Despite attempts by the authorities to stifle the rock and jazz movements, underground music raged on and created a different culture which many people would flee towards. Those identified with this culture were less susceptible to ideologies and propaganda of the soviet regimes. Their probability of viewing western culture as a threat was low (Declaration of Charter 77, Pp 1-4). In conclusion, the youth lost interest in the Soviet unshakeable ideals. They no longer thought of English-speaking people as enemies. In the process the Communists had lost two young generations. The impact was incredible. Even if some people were no rock fans due to political reasons, since the political system was against it, by merely having to listen to music was disobedience by itself. Active participation by extension made an individual an active agent working against the soviet regime. Some of the dedicated writers and composers went to greater lengths of concealing their dissent. This was given a code name, ‘Rocking the Wall.’ Either way, the music reached its audience and the message was well received. Some songs would be indirectly talking about the west or the United States or sometimes capitalism. To the music fans this was coded message which was obviously ridiculing and criticizing the soviets and their communist ideologies. The communist regimes inability curb, replace, eradicate, or assimilate rock music influence probably helped in ensuring that the population would one day turn against totalitarianism. Read More