Art & Humanities - Essay Example

Ever since it burst onto the music scene in the 1960s, rock music has been associated with decadence, free sex and drugs. As rock music became louder and, over time, gave birth to hard rock, heavy metal, death metal and alternative rock, criticisms escalated. Hinds (1992), a sociologist and popular culture scholar, refers to the popular conception, or prejudices, linking rock music and all its derivative genres to violence, decadence and, in many cases, Satanism and devil-worship. Needless to say, such a link is not founded on facts and evidence but is based on misconceptions of the genre and fortified by the behavior of its leading representatives, the rockstars themselves. Through a critical analysis of Nickelback's hit single, Rockstar,' this essay shall try to establish that while the behavior of rockstars and rock bands is often supportive of the most negative of the stereotypes surrounding the genre, the music and lyrics particular to rock often have a profound message to communicate, one which directly ties in to the dreams, aspirations and fears of the youth. Nickelback is a stereotypical bad, wild boy rock band. The Canadian band, which made its first appearance on the music scene in 1995, is comprised of Chad and Mike Kroeger and Ryan Vikedal. Over the past twelve years, the band has attained popular success, with global sales of approximately 25 million albums and several Juno, MTV, American Music and World Music awards (Jennings, 2002) but has repeatedly aroused criticisms and controversies regarding the behavior both on and off-stage. While in concert in Portugal in 2002, the band members fought with and insulted audience members before walking off stage, refusing to come back on again. They were subsequently criticized as unprofessional and unreliable, in addition to which they lost a significant percentage of the European fan base as a result (Jennings, 2002). Association with excessive drug and alcohol use has not helped the band's image (Rendon, 2005). Objectively speaking, Nickelback's on and off-stage antics and behavior has furnished additional support for rock music's critics and, indeed, appears to further evidence the popular conception of rock music and musicians as decadent and a corrupting influence. As this appears typical of most rockstars, Kizis (2001) theorizes a link between the genre and the behavior of its stars. The genre is, by definition, a declaration of rebellion against customs and traditions, and embraces a rejection of what is typically regarded as music. Singing becomes shouting, melody becomes dissonance and the identification of rhythm is an often daunting challenge. Rock music is a rebellion, an uprising against musical conventions and rockstars are, by the very virtue of their adherence to, and association with, the genre, rebels against traditional and conventions, against norms and mores. In other words, just like the genre itself, the behavior of rockstars is a cultural statement and a declaration of refusal to be bound by conventions. Nickelback is no exception. Apart from the statement of rebellion which Nickelback expresses through both behavior and chosen genre, the band has something to say and their name is evidence of this. As explained on the band's official website, the band members are all from very modest backgrounds but had hopes of succeeding through their music. From the outset, however, they were determined that their success, if they ever attained it, would not make them forget their roots and their reality. The band's name serves as that reminder because it recalls the members' origins as employees of a small coffee shop when their only words to customers were "here's your nickel back" (Nickelback.com). The band's name derives from this and, at one and the same time, expresses both its members' originality and determination to remember, even when at the peak, their origins and, thus, their reality. The band's name, in other words, signifies a connection with its members' roots. Just as the band's name functions as a message to its members and fans, so do the lyrics of its songs. Rockstar,' their hit single from their 2005 album, All the Right Reasons, is perfectly illustrative of this. Produced by Roadrunner Records, Rockstar,' as with the entire album is regarded as too pop to be classified as rock and too rock to be classified as pop and, hence, falls under the ambiguous genre of alternative rock, or rock which falls from without the bounds of mainstream rock. It is, in parts, melodious and can even be described as having a catchy tune but, in others, it has the loud rock beat, with dissonance replacing harmony. Quite simply stated, the song moves between the pop and the rock genres and, in this way, appears to break the conventions of both. The lyrics are interesting and, in a strange way, reminiscent of that which the band's name symbolizes. Reflecting on the popular youth dream of rockstar fame and fortune, the main theme is dissatisfaction and disappointment with life. As the opening verse says, "this life hasn't turned out quite the way I want it to be." It talks of the desire for fame and fortune, for mingling with the famous and dying a legend. Cher and James Dean are held up as the examples of the living and the dead, but immortals, legends. This is what the singer aspires towards. Strangely enough, however, when he attains his dream, disappointment sets in. The life of a rockstar is the life of cheap drugs,' easy sex, playboy bunnies and groupies. It is an artificial life with neither substance nor meaning. It is a song in which dreams collide with reality and, as always, dreaming the dream is immeasurably superior to living it. As one reflects upon the song, one realizes that it is reminiscent of where the group was and where they are now. They were once struggling musicians, dreaming of fame and fortune and now they are rockstars who, having realized their ambitions, discover that they have traded in a real life for an artificial one. One can very well argue that the song exposes the life of the rockstar and, ultimately, rejects it. In other words, it is a declaration of rebellion against the very life which Nickelback lead. Rockstars and rock lyrics do not stand for meaningless noise as some presume, nor are they symbolic of violence decadence and Satanism. Should a person explore rock lyrics, investigate that which rock bands and rockstars represent, one may very well find that they have a message to communicate and, an important one at that. As this essay has tried to argue, this is the case with Nickelback. Theirs is a message which not all may approve of, being one of rebellion but, it is, nevertheless, a message. References Hinds, E.J.W. (1992) The devil sings the Blues: Heavy metal, Gothic fiction and postmodern discourse.' Journal of Popular Culture, 26(3). Jennings, N. (2002) Rock, the Canadian way.' Maclean's, 115(15). Kizis, S. (2001) The lyrics of rebellion.' Writing, 23(4). Rendon, P.M. (2005) For those about to rock.' Marketing, 32(7). Read More