Contemporary Punk and Rock Bands In Religion - Essay Example

Contemporary Punk and Rock Bands In Religion: Faith or Fame Introduction: Common sense tells us that religion has caused so much havoc and trouble since time immemorial. Millions of deaths are related to the conflicts between various "faiths" or "religions" many are now beginning to doubt if atheism is a better recourse, either disguised as the underdog terrorism and even the more legal "war". On the other hand, as science progresses to unparalleled heights, belief in a supreme being soars as well so that in a world of increasing chaos and confusion, the presence of individuals and groups that profess their found peace, calm, and sustenance serve as an oasis, if not an inspiration altogether for those who are in between. In many instances, personal beliefs and interests serve as jumping point for careers such as those who love cuisines putting up their own restaurants, divers serving a diving instructors, and related tasks and forms of occupations. This can be said about musicians, too. It is just a matter of interest and personal inspiration. But to some, it may go deeper, or elsewhere. This essay shall try to establish if faith weighs far more than fame for contemporary punk and rock bands through observation and previous literatures. I myself would have loved to interview bands to find it out but due to time and resources constraints would have to use any available sources. Discussion: Religion and Pop Culture It has been suggested that there was a notable relationship between religion and the construction of the identity of the United States of America as can be glimpsed in literatures (McCloud, 2004; Hendershot, 2004; Chidester, 2005). McCloud (2004) traced news coverage of religious movements from the 1950s banal tone and exoticism to brainwashing and coercion in the 1970s and beyond arguing that these served to reinforce assumptions that traditional Christianity is central in US life. Likewise, it also allowed the perceived "outsiders" of the white, middle class and heterosexual fold to be prejudiced. Hendershot (2004), on the other hand, offered an intriguing rationale traditional adherents engage in the consumption and development of a Christian retail industry, arguing further that "to purchase Christian products is to declare one's respectability in a country in which people are most often addressed by mass culture not as citizens but as consumers," (p 30). She proposed that Christian media have become more ambiguous citing crossover artists Jars of Clay, Sixpence None the Richer, Hansen and Creed in the Christian music industry who attained wider audience using insider language in order to appeal to evangelical supporters. Chidester (2005) suggested that "to recover the religious, creative, and imaginative capacity of America, we need to understand and appreciate the religious work and religious play of authentic fakes in American popular culture," (p vii). Butler's (2003) review on 1970s rock-an-roll band Black Oak Arkansas and their "Lord Have Mercy on My Soul" from the album Black Oak Arkansas had him comment that the "preoccupation with damnation and salvation [] is no aberration in the southern rock movement [] bands [] often expressed a seemingly earnest preoccupation with religious matters. The songs lyrics and personal lives of southern rockers demonstrate a constant struggle between sin and salvation." (p 73). He also noted that the use of evangelical ethos is seemed to be easily camouflaged with the rebellious lyrics. Spiritual Punk Rock But this essay will not look further. The most notable punk rock band Nirvana, or its late frontman Kurt Cobain will be the focus here. Zajicek (2006) quoted lecturer Dennis O'Brien, "I think he was a very religious man. He was very much influenced by Christianity, and if you listen closely enough to Nirvana, you'll find all kinds of religious thematics. You'll find that's true in a lot of rock music," referring to Cobain. In his "Smells Like Teen Spirit" 1991 anthem, Cobain wails, "I'm worse at what I do best With the lights out it's less dangerous / Here we are now, entertain us / I feel stupid and contagious / Here we are now, entertain us," (Cobain, 1991). In "Come As You Are", he calls on, "As I want you to be / As a trend, as a friend, as an old memoria / And I swear that I don't have a gun / No I don't have a gun." They covered the Vaselines' "Jesus Don't Want Me for A Sunbeam" and pleads, "Jesus, don't want me for a sunbeam / Sunbeams are never made like me / Don't expect me to cry, / For all the reasons you had to die / Don't ever ask your love of me," and the Meatpuppets' "Lake of Fire" echoing "Where do bad folks go when they die / They don't go to heaven where the angels fly / They go down to the lake of fire and fry / Won't see them again till the fourth of July Now the people cry and the people moan / And they look for a dry place to call their home / And try to find some place to rest their bones / While the angels and the devils / Fight to claim them for their own." In most of the Nirvana songs, Cobain is talking about people's uncertainties, poke fun of his shortcomings, talk to a supreme being, and question popularly accepted norms that should be questioned: "The finest day that I ever had / Was when I learned to cry on command I love myself better than you / I know it's wrong so what should I do I'm on a plain / I can't complain / My mother died every night / It's safe to say don't quote me on that I love myself better than you / I know it's wrong so what should I do" As O'Brien acknowledged, rock'n roll and God have long been considered anthemic: Led Zeppelin's "Stairway to Heaven", R.E.M.'s "Losing My Religion", U2's "I Still Haven't Found What I'm Looking For" (Bono, 1987). All these bands are big and famous. But they were either famous prior to or even after the release of these songs, singles or albums. In most instances too, "faith" or religion is not an issue among artists. As suggested, it was all about spirituality. As can be noted, Cobain himself did not expect to become famous, and his demise was often attributed to his being not able to cope with popularity. Nevertheless, he was made a "spokesman of his generation" or the so-called Generation X, albeit reluctantly. This alone, pointing to the most popular punk rock band until now, attests that fame was not the main reason why Nirvana became band. Cobain had an inclination to music, to humanity, and to a lot of spiritual things that are otherwise may be considered trivial or of no importance by many in a very materialistic society. He valued family that was why he was devastated when his parents divorced, he was heavily saddened when their song "Polly" was linked to a rape case, he was physically suffering, and although he admitted to have been very happy during the arrival of daughter Frances, this was cut short when he was declared dead (Cross, 2001). Spirituality in Music Wilson (2006) noted that "studies of American spirituality that stress the distinction between religion and spirituality have recently appeared" (p 76) as people view spirituality as more authentic, compelling, and sacred in contrast with religion defined by Wuthnow (2001) as an arbitrary social arrangement which is limiting and convenient at best. Wilson (2006) traces spirituality as earlier popularized by Elvis Presley, noting that Presley inherited a representative southerner with close relations to religious music and southern spirituality. Wilson (2006) reported how Presley cried when he read a newspaper story claiming he was ignoring his religion, although Presley was said to have engaged in subtle musical evangelism as well as incorporating gospel songs into his movie soundtracks, introducing gospel music in his Las Vegas shows, and showcasing black and white gospel groups in his performances. Of course, Presley is not a punk band, but is still considered the king of rock'n roll to this day. Contemporary may not include classics and previously popular musicians but punk and rock will always be considered contemporary as long as there are bands and musicians that produce music which are appreciated by the contemporary audience. Scheneiders (2003) proposed that problems such as inclusivity, addictions and family breakdowns are a product of unprecedented abundance, leisure and freedom and that the majority of Americans' claim of influence on religion has become questionable. But spirituality itself has started to become the major focus of contemporary writing and reading as workshops, retreat houses, spiritual renewal programs abound. Murchu (1998) has earlier noted the differentiation of spirituality and religion so that there is conflict as to the reference for fame and faith when it comes to punk or rock bands. But there is also a delineation on this part as there are actually rock or punk bands that openly claim to be Christian bands while those that were mentioned are claimed as either influenced by their Christian beliefs or are deeply spiritual without having to drag Christianity. Contemporary Punk Rock and Faith There are a lot of punk or rock bands that claim to be religious, or Christians. Some incorporate their lyrics with Biblical themes, if not their own sect's known ethos. And although these practices may sell, or that it could add to the fame of these bands is another question altogether. We have such albums by such bands as follows: They're Only Chasing Safety, Cries Of The Past, Act Of Depression, and The Changing Of Times by Underoath; Summer of Darkness by Demon Hunter; Anatomy of the Tongue-In-Cheek by Relient K; Bless The Martyr Kiss The Child by Norma Jean; and Agony Scene, by The Agony Scene (Christian Punks, 2007) but it cannot be said that these bands have come to a point where they can be called famous. Attaining fame is subjective as one may be famous among a small group of friends. Or famous internationally. While some punk rock bands may use their affiliation to a religion to advance their career, there are those who has taken the path as spiritual musicians to evangelise, or spread their ethos, their beliefs. In most instances, many Christian rock bands or even the spiritual ones rarely disclose any affiliation to a religious group. In fact, some do declare eastern influences, such as John Lennon (Chare Krishna) and Live to Buddhism. But mainly, the purpose has been to relay an understanding about spiritual experiences which could otherwise be drown in the massive production of pop, punk or generally rock music. Conclusion: As may be deemed necessary, individuals experience various sensations, motivations, and influences that lead or serve as factor for being and doing what they do. This could be the case for really good artists and musicians and spirituality is simply an accidental factor. It has been the case that many Christian musicians or non-Christians for that matter, remain unknown, or less popular than the acceptable famous. Likewise, representation for worldly, do in fact, become famous, taking for instance Madonna, and a long list of other secular musicians and artists. Religion per se does not exist in the realms of ideals and context of musical lyrics, and if ever it does, exists for the same reason that consumers are called as such, and not as the faithful. Spirituality is a matter of individual conviction that drives the famous musicians or bands, punk, rock, or whatnot. As O'Brien claimed, the music of punk rock band Nirvana ""It's a deliberate inversion of monastic chant. The style in which they sing moves us into the spiritual world, except they use incoherent rhetoric and loud guitars to ultimately make the words collapse into themselves, leading us to a higher spiritual place []Christianity, like Cobain, picks up all the sadness in the world and transcends it". But Christian or not, spirituality, disguised or not to gain fame, cannot be easily used by untalented people, punk, rock or even pop. Reference: Bono (1987). "I Still Haven't Found What I'm Looking For." Joshua Tree. PolyCosmic. Butler, Michael. (2003). "'Lord, Have Mercy on My Soul.' Sin, Salvation, and Southern Rock." Southern Cultures, Winter. Chidester, David. Authentic Fakes: Religion and American Popular Culture. University of California Press. Christian Punks. (2007). "Reviews". From Cobain, Kurt (1991). "Smells Like Teen Spirit." From Nevermind album. Geffen. Cobain, Kurt (1991). "Smells Like Teen Spirit." From Nevermind album. Geffen. Cross, Charles. (2001). Heavier Than Heaven." Hendershot, Heather. (2004). Shaking the World for Jesus: Media and Conservative Evangelical Culture. University of Chicago Press. McCloud, Sean (2004). Making the American Religious Fringe: Exotics, Subversives and Journalists, 1955-1993. University of North Carolina Press. Wilson, Charles. (2006). "Just a Little Talk With Jesus." Southern Cultures, Winter. Wuthnow, __. ((2001). "Spirituality and Spiritual Practice." From The Blackwell Companion to Sociology of Religion. Blackwell Publishers. Zagizek, Christina (2006).. "The Theology of Kurt Cobain." The Michigan Review 25 (5) Nov. 14. Read More