Hunger Strike (1991),Commercial Punk, The Grunge Attitude & More Politics
I’ve helped in a small way to get rid of those people or to at least maybe make them think about what they've done for the last 10 years - Kurt Cobain
The issue of the demonisation of rock'n'roll music has been an agreeable topic between prominent Republicans and Democrats which have sided with PMRC. Previously as mentioned, Chief Dennis R. Martin argued that rock music does not reflect the contemporary society, with this he has sided with the many music critics who have not acknowledged even the best examples of rock music. In case you missed it , we discussed this in the previous post. Check it out here: Republicans And Democrats Against Grunge: Parents Music Resource Centre (PMRC).
Radocy and Boyle (1979) concluded that ‘’culture clearly affects musical behaviour [and that] music may influence the culture [in which it is produced]’’ (Barton, 2018,p.25). Considering Adorno's theory about music reflecting the social fabric (CHECK THIS or THIS), PMRC in such a case, disregards music as a reflection of the society and disregards the middle lower population in America. It has the aim to protect the next generation from non-Christian values and prevent political music. Its aim is to maintain an unequal power relation between the American classes and to benefit the upper-class population. As in the context of the music industry, DIY- underground economy or the popularity of musicians that condemn the music industry’s practice hinders the economic situation for owners of the record companies.
Despite grunge supporting Democrats it had cultivated a great amount of influence which conflicted both the Republicans and Democrats. Important to mention that Temple of The Dog`s (with members from Pearl Jam and Soundgarden) signature single ‘’Hunger Strike’’(1991) was explained as a ‘’somewhat of a political, socialist statement’’(Hay, 2005), by frontman Chris Cornell. When considering the Cold War relations and the collapse of the USSR in 1991, ‘’Hunger Strike’’ (1991) released in 1991, proved that aspects of socialism had been merged into American society. Grunge was against corporatism and capitalism, despite its conformity to it. ‘’Hunger Strike’’ (1991) exemplifies not only in the lyrical sense its neglect of materialism but in the aesthetic of the video. The music video was filmed on a beach, which is symbolic of nature and simplicity. Even though the music video has high production values, it lacks the complex music video effects, editing and the complex post-production, mise-en-scene or studio set-up. Rather being subtle and cinematic, drawing focuses on the messages of the song. Not relying on visuals to narrate the story.
In comparison to Soundgarden ‘’Jesus Christ Pose’’ (1991) music video, which features heavy editing, intercuts, graphics, multiple colour grades and effects. Which all carry metaphorical references to narrate the lyrics. By doing this, ‘’Hunger Strike’’ (1991) music video becomes authoritative and doesn’t carry fictional references. The accent is on the musical figures. Just like in a political strategy or when it comes to political promotional videos, the subjects are visually crafted in order to evoke trust. The band performing alone and the close-up shots of each of the singers (Chris Cornell and Eddie Vedder) establish them as the spokesmen of grunge and establish the fact that they are the figures singing what Cornell characterises as a political, socialist statement. A statement which is not agreeable or favourable by both American Republicans and Democrats.
It became even more challenging for American politicians as a record was set in Seattle of estimated 3000 people registering to vote in a single day, as Pearl Jam performed a free show in Magnuson Park (1992) and encouraged the 30`000 attendees to vote (Wilson, 2018). Indicating how great influence the Seattle band had and demonstrating that the criticised rock musicians were able to interfere in politics. Nevertheless, of their political beliefs, such a record signifies Seattle musicians’ prominence as before, musicians, artists or politicians were unable to break such records in Seattle. Kim Thayil from Soundgarden made it known in an interview that:
‘’everyone's a strong personality and no one's going to take shit from anyone. If the President was here and told us, "I think you should do this…’’I`d say, ‘’I'll do that if I feel like it.’’ Everyone in the band has an attitude; it’s not an ego thing but hard-headedness’’ (Blush, 1996).
He also explained that:
‘‘It's irresponsible for entertainers to take advantage of their influence to encourage a particular belief. What is responsible is to give people the tools to think independently and reach conclusions. You can take any subject and ask us about it and I feel confident our band will present a more intelligent response than any other band’’ (Blush, 1996).
This is significant as Thayil is recognizing the power of music from a sociomusicology perspective and using it strategically. Indicating how individualistic Seattle musicians were and how significant grunge is as a political movement as it is not simplistically democratic sympathising. Pearl Jam`s Stone Gossard concluded that:
‘’Pearl jam was a corporation, meaning we are business, collectively make decisions, we have ya know stockholder meetings…In that sense it has some influence, and it can have influence beyond just the music. I’ve always thought that was an important way a force of some positive evolution…I think we’ve always sort of had this idea that we wanted to do something different that being a typical rock band and I think that activism was one of the elements that always from the get-go had been sort of built sort of in our DNA’’ (Lendt, 2021).
And the element of activism has always been present in grunge. The example of Nirvana's bassist Krist Novoselic is important to discuss, as it showcases the significance of politics for grunge musicians. Nirvana's bassist Krist Novaselic had become strongly involved in politics, joining the board of FairVote in 2008, previously named the Centre for Voting and Democracy and becoming the chairman of the Wahkiakum County Democrats. Novoselic explains that:
‘’in the American hardcore music, a lot of it was doctrine too. … It was just like; you would have the punk rock evangelists and … there was an ideology. So basically, now the whole pantheon of rock and roll – classic rock – that was a false God, and those who espouse it are false prophets. The new true god is punk rock. That is the new ideology ‘’(Hughes and Larson, 2008,p.33).
In the 90s punk music of the 80s was central and had become the new aspiration for rock musicians. Novoselic subscribing to the punk ideology, is important to note in the context of grunge. The integration of such ideology in grunge which became a mainstream format, despite the media’s appropriation or interpretation of it, remark’s that the punk ideology had been integrated in American society in the 90s with grunge.
Krist Novoselic at the WTO protests in Seattle, November 30,1999.
Both the Democrats and Republicans had agreed on global capitalism in the 1990s, so the anti-globalist stance within grunge and its popularity showcases a movement which is separate from both political parties. With the collapse of the USSR, the western world became the main topic of discussion within punk scenes across the world, especially the growing 1990s scenes across third world countries. Raymond A. Patton notes that ‘’punks were among the only voices of anti-globalization protest in the West, joined by ragtag assortment of other marginal groups’’(Patton, 2018,p.184). Anti-globalization was present within grunge as events such as the WTO Seattle protest of 1999, supported by Krist Novoselic, demonstrate. Krist Novoselic (Nirvana), Kim Thayil (Soundgarden), Jello Biafra (Dead Kennedy`s) and Gina Mainwal (Sweet 75) created the protest group The No WTO Combo. Releasing an album on Jello Biafra's label Alternative Tentacles.in 1999, they addressed support for the WTO protest promoting the DIY approach to protests against corporatism and globalisation as well as the synergies grunge had with punk artists. Opposing globalization:
‘’didn't make sense in the new era, when both the mainstream Left and the Right agreed on supporting global capitalism. Once again, punk fit poorly with the new political order…In part for this reason, punk had found unprecedented appeal in the Third World since 1989’’(Patton, 2018,p.184).
West and Orman highlight that the failure of the Communist regime was not due to the economy but due to the ‘’inability of these systems to deliver Big Macs, Levis, and rock music to its young people to keep them entertained and out of the street demonstrations against the regime. Karl Marx in his political theory never anticipated the problem that ‘’I want my MTV’’ could create for decision makers in socialist countries. (West and Orman, 2003,p. 61). This means that celebrity culture, consumerism, and everything that capitalist structures offered to their people, was sought after by citizens in Soviet societies. At the same time, MTV as a symbol of capitalism served as a focal point for punk bands. Dead Kennedys, for example, wrote the song ‘’M.T.V- Get Off The Air’’ (1985):
‘’And so it was our beloved corporate gods
Claimed they created rock video
Allowing it to sink as low in one year
As commercial TV has in 25’’
(Biafra,J., East Bay Ray, Flouride, K., Peligro, D.H., 1985)
Addressing the issue of appropriation of rock music, the song is a protest against corporatism. MTV's youth-oriented programs and ’Rock the Vote’ (with the inclusion of Seattle stars such as Eddie Vedder and Chris Cornell) claimed to have increased voter registration among the young with some 400`000 to 500`000 for consecutive elections. Its additional campaigns to encourage actual voting are said to have caused a 20 percent increase in youth turnout in the American presidential elections of 1992 (Van Zoonen, 2005, p.44).
Kevin Mattson has been sceptical of the success of the Rock The Vote's ability to increase young people's connection to politics, as ‘’the first problem occurred when its major spokespeople-figures such as Madonna, who went on television draped in a flag to tell young people to vote-were discovered not to be registered to vote themselves. This did little to overcome political cynicism ‘’(Mattson, 2003, p.40). Nevertheless, grunge artists used MTV for political causes. When addressing conservative stances against abortion, Eddie Vedder wrote 'Pro Choice' on his arm and sang: ‘’I could die to make a change for it…I know how I want to dress…I want to live…I want to choose’’ (Porch (Live) - MTV Unplugged - Pearl Jam,2014).This type of attitude was further embodied by Nirvana on their 1992 compilation album Incesticide, which in its liner notes explained that:
"If any of you in any way hate homosexuals, people of different colour, or women, please do this one favour for us: leave us the fuck alone! Don't come to our shows and don't buy our records’’ (Kurt Cobain's 1993 Advocate Cover Story: 'I'm Gay in Spirit', 2019).
However, these statements gained criticism from journalists. Cobain explained that ’’I can't think of another example of any current band that has had more negative articles written about them. A lot of it it's just simple sexism. Courtney is my wife…And because she's such a powerful person and such a threatening person that every sexist within the industry just joined forces and decided to string us up’’(T&H - Inspiration & Motivation, 2021).
When considering the issue of sexism that was raised by the Seattle movement, Kurt Cobain continuously expressed how lethargic and boring 1980s rock music had become. Addressing Led Zeppelin and Aerosmith, Cobain explained that: ‘’It gives me a small thrill, to know that I’ve helped in a small way to get rid of those people or to at least maybe make them think about what they've done for the last 10 years’’ (T&H - Inspiration & Motivation, 2021). This is significant as grunge music changed the mainstream ideologies. Considering sociomusicological concepts, such music changed the social fabric. Whilst Cobain recognized the influence that he held, 1990s politicians did not agree with the movement's figures. Bill Clinton's assimilation with the youth movement or with Pearl Jam, was not embodied fully in his presidency, especially when considering the Telecommunications Act of 1996. This will be discussed in the future post.
