4. Rock in the 1970s
The 1970s began as the decade of the rock superstar. Excess became the norm for bands such as the Rolling Stones, not just in terms of their private wealth and well-publicized decadence but also in terms of stage and studio effects and costs. The sheer scale of rock album sales gave musicians--and their ever-growing entourage of managers, lawyers, and accountants--the upper hand in negotiations with record companies, and for a moment it seemed that the greater the artistic self-indulgence the bigger the financial return. By the end of the decade, though, the 25-year growth in record sales had come to a halt, and a combination of economic recession and increasing competition for young people's leisure spending (notably from the makers of video games) brought the music industry, by this point based on rock, its first real crisis. The Anglo-American music market was consolidated into a shape that has not changed much since, while new sales opportunities beyond the established transatlantic route began to be pursued more intently.
Challenges to mainstream rock
The 1970s, in short, was the decade in which a pattern of rock formats and functions was settled. The excesses of rock superstardom elicited both a return to DIY rock and roll (in the roots sounds of performers such as Bruce Springsteen and in the punk movement of British youth) and a self-consciously camp take on rock stardom itself (in the glam rock of the likes of Roxy Music, David Bowie, and Queen). The continuing needs of dancers were met by the disco movement (originally shaped by the twist phenomenon in the 1960s), which was briefly seized by the music industry as a new pop mainstream following the success of the film Saturday Night Fever in 1977. By the early 1980s, however, disco settled back into its own world of clubs, deejays, and recording studios and its own crosscurrents from African-American, Latin-American, and gay subcultures. African-American music developed in parallel to rock, drawing on rock technology sometimes to bridge black and white markets (as with Stevie Wonder) and sometimes to sharpen their differences (as in the case of funk).
Rock, in other words, was routinized, as both a moneymaking and a music-making practice. This had two consequences that were to become clearer in the 1980s. First, the musical tension between the mainstream and the margins, which had originally given rock and roll its cultural dynamism, was now contained within rock itself. The new mainstream was personified by Elton John, who developed a style of soul-inflected rock ballad that over the next two decades became the dominant sound of global pop music. But the 1970s also gave rise to a clearly "alternative" rock ideology (most militantly articulated by British punk musicians), a music scene self-consciously developed on independent labels using "underground" media and committed to protecting the "essence" of rock and roll from commercial degradation. The alternative-mainstream, authentic-fake distinction crossed all rock genres and indicated how rock culture had come to be defined by its own contradictions.
Second, sounds from outside the Anglo-American rock nexus began to make their mark on it (and in unexpected ways). In the 1970s, for example, Europop began to have an impact on the New York City dance scene via the clean, catchy Swedish sound of Abba, the electronic machine music of Kraftwerk, and the American-Italian collaboration (primarily in West Germany) of Donna Summer and Giorgio MoroderGiorgio Moroder. At the same time, Marley's success in applying a Jamaican sensibility to rock conventions meant that reggae became a new tool for rock musicians, whether established stars such as Clapton and the Rolling Stones' Keith Richards or young punks like the Clash, and played a significant role (via New York City's Jamaican sound-system deejays) in the emergence of hip-hop.
Реферат опубликован: 7/06/2006