The Message 7

The Message 7

"Would the real, the real Great Britain step forward!"

How do we view our American cousins? One of the most enduring stereotypes is one of brashness, and a tendency to be a bit 'over the top,' with a tendency not to shy away from doing things on a massive scale. Certainly over the past few years this has certainly been true of the music. Eminem, Marilyn, Fred Durst, Andrew WK, Kid Rock. All of these are larger than life, cartoon characters, none are above shock tactics to get noticed. Cast as agent provocateurs of youth rebellion by the moral majoritarians, these artists in fact, generally have no real subversive message. However the scale on which these 'subversive' artists and movements exist could be a lesson to the alternative music scene in this country. We can learn from them despite their tendency to the lowest common demoniator, with bands like Alien Ant Farm and Puddle of Mudd peddling boring and only vaguely evolved white-trash rock.

The reason we can learn from all this is that British alternative music creeping out from our own underground ghetto has done so under cover of blandness. Travis, Coldplay, Starsailor and now Haven; decent bands all but ultimately bands that shake up nothing apart from the occasional floppy barnet while playing AOR on Jools Holland.

So, what's my point? Well, in a nutshell, it is that maybe by our deference to the Americans to provide us with rebellion we are underestimating our own capacities as a country to make our own. Put simply, we're better at it.  When we take a chance on outspoken, larger than life characters and audacious music, we create a legacy. At the moment there are no signs of this occurring any time soon.

When British alternative music comes out of its shell it does so making a statement, yet often successfully preserving its credibility and intelligence. Due to this any rebellion it may encourage is genuine and truly challenging; the social and political rebellion of punk, the lifestyle rebellion of rave culture and its descendents, all of this has made a difference to music, to youth culture and to the attitudes of the authorities on various issues.

Looking at this, reluctantly, from a business point of view, it makes even more sense. The role of labels is, to paraphrase the Clash, to turn rebellion into money. Major labels brought punk to the masses, so no doubt punk lined a few suit pockets along the way. Eventually this dilutes the effect of whatever movement it is bringing towards the mainstream, but the difference has often already been made.

However, the lack of challenging or subversive music, figures or movements in this country is not solely due to the industry. Delving into the underground indie, punk or dance scenes does not reveal the materials for rebellion. This is bizarre as its not like we live in a utopia in Great Britain. Injustice is rife, a stagnant political environment exists, and there are numerous social problems. Despite all this, the kids seem apathetic. They might just want to dance, but the dancing of Britain's youth caused a seismic shift in attitudes in the late 80s so why not again? It would be more than welcome in the current branded, homogenous, stifling cultural climate.

The authorities must secretly love the American alternative, because I'm at a loss to see how Fred Durst and his ilk can be considered a threat to the normal order. I suppose no true rebellion can centre on ten year olds, after all. On the other hand, the youth of Britain have proved to be masters of subversion in the past, and now I feel we must again.

So c'mon kids, burn those brand name t-shirts, get your arses off the sofa and make a noise the man will want to ban.

CHRIS STANLEY