This is Not ‘Rolling Stone’!

A SEARCH FOR THE AUTHENTIC

For many years now, a growing distinction has been made between the pop artist and the rock musician. For the most part a like or dislike of the two is primarily based on an individual’s own opinion, however, this distinction is becoming more informed and even more critically analysed. While an analysis can be made based on the artist’s individual performance on a record, another (and perhaps more important) method of distinction is the analysis of the live performance.

According to Auslander (1999) because we live in a media-dominated culture, new media technology has encroached on live events to the point where many are hardly live at all (x). He draws attention to the infamous moment in music history when immediately after being awarded the Best New Artist Grammy in 1989, Franco-German pop singing duo Milli Vanilli were forced to return their Grammy after admitting to lip-synching through all of their live performances and the recording session of the song for which they won the Grammy. However, while most of the commentary was adamantly opposed to the practice of lip-synching fans of the group (and of pop artists who adopt the same technique) did not seem to care whether their idols sang or not (Auslander, 1999: 61).

Essentially what this attitude highlights is the way a live performance has become devalued and its original purpose disguised through the use of new media technology. However, while this situation can stimulate an individual’s search for the ‘authentic’, this search appears to be quickly lacking in the cultural realm of pop music. The term ‘pop’ has transformed into a seemingly negative term, being more commonly recognised as “a commodity category associated with…commercial mass product rather than…a taste shared between audience and artist” (Blake, 1999: 1). In this cultural realm, terminology such as ‘popular’ and ‘commercial’ carry with them negative connotations of superficiality and artifice and are thus seen as something to be avoided – in particular by alternative and rock musicians (Whiteley, 2000: 6).

In the rock world, even though artists use their music to earn a living, originality and authenticity are regarded to be of equal significance. In this case, the recording as well as the live performance are pivotal in the expression of their art form and can have a significant bearing on audience opinion, loyalty and support. Within rock and alternative culture, live performance is important as much as it is demanded so musicians and artists work towards presenting a performance that can be read as both ‘authentic’ and entertaining. While some performances (see clips below) do have a ‘show element’ to their performance – which can be emphasised through the use of new media technology – the visual culture that surrounds the music and the live performance must be seen as contributing to the overall, aesthetic experience (Auslander, 1999: 65).

Today it seems that the pop industry has taken a different path in the quality of their live performance – there is a greater emphasis on the “show” rather than the music being played onstage. This is where alternative styles and pop music clash. In metal for example, an artist is judged on their ability to perform live – it is almost evidence of the musician’s authenticity. While some bands, such as Iron Maiden, employ show tactics with their performance, the greatest emphasis is placed on musicianship and compatibility. Pop has those connotations of being false and overly produced, so it is no wonder the shows have become the essence of the pop show. However, while ‘authenticity’ can be heard and seen during the live performance, it is a term that varies between music cultures and subgenres. Pop fans, for example, might define an artist’s ‘authenticity’ based on their physical performance (rather than the music), while heavy metal fans regard the technical performance as the defining element (“seeing is believing”).

However the term may be defined, it can be concluded that the search for ‘authenticity’ has led many into genres that can be seen to encompass the relevant qualities such as alternative, experimental rock and heavy metal.

(A ‘pop’ example: Milli Vanilli Live Performance at the Grammy Awards 1990)

(A ‘heavy metal’ example: Iron Maiden – ‘Churchill’s Speech/Aces High’ Live in Sydney)

(A ‘rock’ example: Pink Floyd – ‘Comfortably Numb’ Live in London)

What each of these clips represent is the difference between the live performances for pop and rock – note that show elements are adopted in all 3 clips, yet there is a larger emphasis on musical content and performance in the last two than the first.

Lilen Pautasso

Words: 752

References:

Auslander, P. (1999) ‘Tryin’ to Make it Real: Live Performance, Simulation, and the Discourse of Authenticity in Rock Culture’ in Auslander, P. (ed.) Liveness. London: Routledge, pp. 61-111.

Blake, A. (1999) ‘Introduction: What’s the Story?’ in Blake, A. (ed.) Living Through Pop. London: Routledge, pp. 1-11.

Whiteley, S. (2000) Women and Popular Music: Sexuality, Identity and Subjectivity. London: Routledge.