The popularity and worldwide scope of rock music resulted in a powerful impact on society. Rock and roll influenced daily life, fashion, attitudes and language in a way few other social developments have equalled. As the original generations of rock and roll fans matured, the music became an accepted and deeply interwoven thread in popular culture. Beginning in the early 1970s, rock songs and acts began to be used in a few television commercials; within a decade this practice became widespread. Starting in the 1980s rock music was often featured in film and television program soundtracks.
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The rock and roll lifestyle was popularly associated with sex and drugs. Many of rock and roll's early stars (as well as their jazz and blues counterparts) were known as hard-drinking, hard-living characters. During the 1960s the lifestyles of many stars became more publicly known, aided by the growth of the underground rock press. Musicians had always attracted attention of "groupies" (girls who followed musicians) who spent time with and often did sexual favors for band members.
Drugs were often a big part of the rock music lifestyle. Many artist experimented with LSD and also influenced their fans to try it. In the 1960s, psychedelic music arose; some musicians encouraged and intended listeners of psychedelic music to be under the influence of LSD or other hallucinogenic drugs as enhancements to the listening experience. Jerry Garcia of the rock band Grateful Dead said "For some people, taking LSD and going to Grateful Dead show functions like a rite of passage.... we don't have a product to sell; but we do have a mechanism that works."
The popularity and promotion of recreational drug use by musicians may have influenced use of drugs and the perception of acceptability of drug use among the youth of the period. When the Beatles, once marketed as clean-cut youths, started publicly acknowledging using LSD, many fans followed. Journalist Al Aronowitz wrote "...whatever the Beatles did was acceptable, especially for young people."
In the late 1960s and early 1970s, much of the rock and roll cachet associated with drug use dissipated as rock music suffered a series of drug-related deaths, including the 27 Club-member deaths of Jimi Hendrix, Janis Joplin and Jim Morrison. Although some amount of drug use remained common among rock musicians, a greater respect for the dangers of drug consumption was observed, and many anti-drug songs became part of the rock lexicon, notably "The Needle and the Damage Done" by Neil Young (1972).
Many rock musicians, including Lemmy, John Lennon, Paul McCartney, Bob Dylan, Buffy Sainte Marie, Jerry Garcia, Stevie Nicks, Jimmy Page, Keith Richards, Eric Clapton, Pete Townshend, Brian Wilson, Carl Wilson, Dennis Wilson, Steven Tyler, Scott Weiland, Sly Stone, Madonna, Ozzy Osbourne, Mötley Crüe, Layne Staley, Kurt Cobain, Courtney Love, Anthony Kiedis, Dave Mustaine, David Bowie, Elton John, and others, have acknowledged battling addictions to many substances including cocaine and heroin; many of these have successfully undergone drug rehabilitation programs, but others have died. In the early 1980s, along with the rise of the band Minor Threat, the straight edge lifestyle became popular. The straight edge philosophy of abstinence from recreational drugs, alcohol, tobacco and sex became associated with hardcore punk music through the years, and both remain popular with youth today.
Rock music and fashion have been inextricably linked. The tough, leather-clad image of early rockers such as Gene Vincent influenced a generation of young people on both sides of the ocean. A cultural war broke out in the mid-1960s in the UK over the rivalry between the "Mods" (who favored high-fashion, expensive styles) and the "Rockers" (who wore T-shirts and leather); followers of each style had their favored musical acts, who eagerly fed into the conflict by releasing records praising one style and disparaging another (the Mods versus Rockers controversy would form the backdrop for The Who's rock opera Quadrophenia). In the 1960s, The Beatles brought mop-top haircuts, collarless blazers, and Beatle Boots into fashion.
Rock musicians were early adopters of hippie fashion and introduced such styles as the Nehru jacket; bands such as the Beatles had custom-made clothing that influenced much of 1960s style. As rock music genres became more segmented, what an artist wore became as important as the music itself in defining the artist's intent and relationship to the audience. The Glam rock of the 1970s brought fashion to new heights of importance in rock music with the "glitter" image of artists like T. Rex and Alice Cooper being widely influential. Some artists who had been active in the late 1960s such as David Bowie, Lou Reed and Iggy Pop also adopted a glam-influenced look. In the late 1970s, Disco acts helped bring flashy urban styles to the mainstream, while New Wave groups began wearing mock-conservative attire (including suit jackets and skinny ties) in an attempt to be as unlike mainstream rockers (who still favored blue jeans and hippie-influenced clothes) as possible.
In the early 1990s, the popularity of grunge brought in a fashion of its own. Grunge musicians and fans wore torn jeans, old shoes, flannel shirts, backwards baseball hats, and grew their hair against the clean-cut image that was popular at the time as well as heavily commercialized pop music culture. Musicians continue to be fashion icons; pop-culture magazines such as Rolling Stone often include fashion layouts featuring musicians as models.
Rock musicians and fans have consistently struggled with the paradox of "selling out" -- to be considered "authentic", rock music must keep a certain distance from the commercial world and its constructs; however it is widely believed that certain compromises must be made in order to become successful and to make music available to the public. This dilemma has created friction between musicians and fans, with some bands going to great lengths to avoid the appearance of "selling out" (while still finding ways to make a lucrative living). In some styles of rock, such as punk and heavy metal, a performer who is believed to have "sold out" to commercial interests may be labelled with the pejorative term "poseur".
If a performer first comes to public attention with one style, any further stylistic development may be seen as selling out to long-time fans. On the other hand, managers and producers may progressively take more control of the artist, as happened, for instance, in Elvis Presley's swift transition in species from "The Hillbilly Cat" to "your teddy bear". It can be difficult to define the difference between seeking a wider audience and selling out. Ray Charles left behind his classic formulation of rhythm and blues to sing country music, pop songs and soft-drink commercials. In the process, he went from a niche audience to worldwide fame. In the end, it is a moral judgement made by the artist, the management, and the audience.
Love and peace were very common themes in rock music during the 1960s and 1970s. Rock musicians have often attempted to address social issues directly as commentary or as calls to action. During the Vietnam War the first rock protest songs were heard, inspired by the songs of folk musicians such as Woody Guthrie and Bob Dylan, which ranged from abstract evocations of peace Peter, Paul and Mary's "If I Had a Hammer" to blunt anti-establishment diatribes Crosby, Stills, Nash & Young's "Ohio". Other musicians, notably John Lennon and Yoko Ono, were vocal in their anti-war sentiment both in their music and in public statements.
Famous rock musicians have adopted causes ranging from the environment (Marvin Gaye's "Mercy Mercy Me (The Ecology)" and the Anti-Apartheid Movement (Peter Gabriel's "Biko"), to violence in Northern Ireland (U2's "Sunday Bloody Sunday") and worldwide economic policy (The Dead Kennedys' "Kill the Poor"). Another notable protest song is Patti Smith's recording "People Have the Power." On occasion this involvement would go beyond simple songwriting and take the form of sometimes-spectacular concerts or televised events, often raising money for charity and awareness of global issues.
Rock and roll as social activism reached a milestone in the Live Aid concerts, held July 13, 1985, which were an outgrowth of the 1984 charity single "Do They Know It's Christmas?" and became the largest musical concert in history with performers on two main stages, one in London, England and the other in Philadelphia, USA (plus some other acts performing in other countries) and televised worldwide. The concert lasted 16 hours and featured nearly everybody who was in the forefront of rock and pop in 1985. The charity event raised millions of dollars for famine relief in Africa. Live Aid became a model for many other fund-raising and consciousness-raising efforts, including the Farm Aid concerts for family farmers in North America, and televised performances benefiting victims of the September 11 attacks. Live Aid itself was reprised in 2005 with the Live 8 concert, to raise awareness of global economic policy. Environmental issues have also been a common theme, one example being Live Earth.
Songwriters like Pete Townshend have explored these spiritual aspects within their work. The common usage of the term "rock god" acknowledges the religious quality of the adulation some rock stars receive. John Lennon became infamous for a statement he made in 1966 that The Beatles were "bigger than Jesus".[1] However, he later said that this statement was misunderstood and not meant to be anti-Christian.[2]
Iron Maiden, Ozzy Osbourne, King Diamond, Alice Cooper, Led Zeppelin, Marilyn Manson, Slayer and numerous others have also been accused of being satanists, immoral or otherwise having an "evil" influence on their listeners. Anti-religious sentiments also appear in punk and hardcore. There's the example of the song ""Filler" by Minor Threat, the name and famous logo of the band Bad Religion and criticism of Christianity and all religions is an important theme in Anarcho-punk/Crust punk.
Christian rock, alternative rock, metal, punk, and hardcore, are specific, identifiable genres of rock music with strong Christian overtones and influence. Many groups and individuals who are not considered to be Christian rock artists have religious beliefs themselves. For example The Edge and Bono of U2 are a Methodist and an Anglican, respectively, and Brandon Flowers of The Killers is a Latter Day Saint.
However, a small handful of conservative Christians single out the music genres of hip hop and rock as well as blues and jazz as containing jungle beats, or jungle music, and claim that it is a beat or musical style that is inherently evil, immoral, and/or sensual. Thus, according to them, any song in the rap, hip hop and rock genres is inherently evil because of the song's musical beat, regardless of the song's lyrics or message. A few even extend this analysis even to Christian rock songs.[3]
Christian conservative author David Noebel is one of the most notable proponents of the existence of jungle beats. In his writings and speeches, Noebel held that the use of such beats in music was a communist plot to subvert the morality of the youth of the United States.[4] Pope Benedict XVI was quoted as saying, according to the British Broadcasting Corporation, that " 'Rock... is the expression of the elemental passions, and at rock festivals it assumes a sometimes cultic character, a form of worship, in fact, in opposition to Christian worship."[5]
Lemmy of Motörhead, Kerry King of Slayer and Noel Gallagher of Oasis are well known rock stars that are atheists or agnostics. John Lennon released the famous hit Imagine, describing a better world in which religion was absent.
Some metal bands use demonic imagery, though they do not worship or even necessarily believe in Satan. Ozzy Osbourne is reported to be Anglican and Alice Cooper is a known born-again Christian. In some cases, though, metal performers have expressed satanic views. Numerous others in the early Norwegian black metal scene were Satanists. Even within this localized musical sub-genre though, the arson attacks were condemned by some prominent figures within the Norwegian black metal scene, such as Kjetil Manheim.[6]
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