Music In Society

Kanye West is a highly controversial figure, but at the same time, highly intellectual. Regardless of what you think of him, there is no denying his creativity, whilst his ability to sample a song from any given era and turn it into a worldwide phenomenon is nothing short of incredible.

In terms of his sensational sampling, we first look at his debut album ‘College Dropout’, the album that announced Kanye West as an artist to the world. It was the introduction to Kanye’s method of merging tiny sections of niche songs and turning them into art. ‘Jesus Walks’ a prime example of this, Kanye sampled ‘Walk With Me’ by The ARC Choir, and ‘Ode to Billie Joe’ by Lou Donaldson, and the rest is history. However, as per the title, it was also our introduction to Kanye’s overinflated ego.

‘College Dropout’ also featured another moment of genius through his single: ‘Through The Wire’. In this instance, he sampled Chaka Khan’s ‘Through the Fire’, and Outkast’s ‘Player’s Ball’.  To provide some context as to why this was so clever, just after signing his first record deal, Kanye was in a life-threatening car crash that left his jaw wired shut and his face needing surgery. Rather than letting this get him down, his response? Use Chaka Khan’s ‘Through the Fire’ and turn it into ‘Through the Wire’ rapping through a wired shut mouth. Incredible. As for his single ‘Diamonds From Sierra Leone’, he sampled the iconic James Bond track by Shirley Bassey ‘Diamonds Are Forever’. In extraordinary Kanye fashion, the Chicago born rapper didn’t actually know Sierra Leone was a country when he produced this single.

Perhaps one of his most famous ‘mainstream’ songs, we look to ‘Stronger’ obviously sampled from Daft Punk’s ‘Harder, Better, Faster, Stronger’. His album ‘Graduation’ was a strange electronic phase, but there is no denying this is one of his most famous songs ever. During the production of ‘Stronger’, Kanye was fed up with the drums in the original after spending ages working around them in production. Rather hilariously, A-Trak played the acapella version one day in the studio, and Kanye said fuming: “You mean to tell me there was a fucking acapella this whole time.”

When it comes to Kanye’s single ‘Heartless’, it was sampled from ‘Ammonia Avenue’ by The Alan Parsons Project. The beat was initially made for Jay-Z, but Ye heard it and said he was keeping it for himself. When his producer exclaimed that he wasn’t even working on an album, Kanye replied: “I am now.”

Hailing from Orange County, California, Rage Against The Machine are a group of rap metal-heads who are hugely vocal against all manner of sociocultural and political concerns. The bands morals stem from lead singer Zack de la Rocha, the son of a Chicano political artist and grandson of a Mexican revolutionary, and Tom Morello, the scion of African insurrectionists.

Rage Against The Machine’s single ‘Killing In The Name’ comes with quite an astonishing story, and has essentially become the flag bearer for anarchism. The track was Rage Against The Machine’s first single and resonated with society on so many levels. It was the thrilling combination of modern punk with elements of hardcore and hip-hop thrown in for good measure. ‘Killing In The Name’ was a loud and violent statement targeted towards what the band saw as endemic racism in US security agencies, with De la Rocha’s politically fused lyrics citing ‘Some of those that work forces are the same that burns crosses’ alluding directly to the Ku Klux Klan.

‘Killing In The Name’ is perhaps most notorious for the final verse of the song in which the song has escalated to the point where de la Rocha is screaming: ‘Fuck you! I won’t do what you tell me!’ repeatedly, 16 times at that, before topping it off with: ‘Motherfucker! Uggh!’.

The single established even more substance by the time it was released on the album, and really grew into the political spearhead we know today. In November 1992, Rodney King’s police assailaints had unbelievably been acquitted by a jury in court that April, a verdict that instantly triggered the LA riots. The riots added so much more depth to the claims of institutional racism in certain sections of American society.

Fast forward to 2009, and the track that was first released in 1991 had suddenly re-emerged, but this time with a different motive. ‘Killing In The Name’ had resurfaced in an attempt to topple the generic pop that was cluttering up the music charts, and act as a big fuck you to the X Factor. The single went on to sell 500,000 copies and downloads, and ultimately beat Joe McElderry’s ‘The Climb’ in the race for Christmas number one. Speaking on the BBC Radio 1 chart show, Zack de la rocha said: “It says more about the spontaneous action taken by young people throughout the UK to topple this very sterile pop monopoly.”

The future of protests may lie with how well they can be organised online in the public sphere. Tufecki explains that the public sphere in the modern era can prove to be critical in current social movements, as it is central to communication which is crucial to organising collective and coordinated action. This article will be looking at Gretha Thunberg, #FridaysForFuture, and how an individual form of protest can quickly blossom into a widely known viral campaign which can be backed through the simplicity of sitting at a desk.

Greta has become a cult hero for many around the world following her powerful speeches and affective online movements. But it is the way in which she has utilised social media and the public sphere that has projected her to becoming the spearhead for change against a global crisis. Greta has become so popular on social media, to the point where UK media regulator Ofcom identified what it called ‘The Greta Effect’, whereby British children in 2019 were more likely to utilise social media for activist purposes in the previous year. Displaying how her online skills has unified a demographic, and through this is fighting for change against senior politicians in her bid to fight the climate crisis. This furthers Durkheim’s concept of the ‘collective effervescence’, which Liebst describes as the “affective arousal of an assembled crowd creates the potential for both social conformity and group-based agency.” Although in this instance the collective agency is displayed online to show solidarity and is transferred to the streets via organisation online.

The effectiveness of the online campaigning transferred onto the streets, and within just over a year Greta and her fans had co-organised a week long protest with over 6 million people contributing, one organiser stated “People power is more powerful than the people in power. It was the biggest ever climate mobilisation, and it’s only the beginning. The momentum is on our side and we are not going anywhere.” The power of organization online is undoubtable, but a political movement is still defined by feet on the street. 

Greta is perhaps most well known on Twitter, which is commonly known as being a site encouraging freedom of speech, and promoting activism. This is because users of similar minds tend to find each other through common interests. Twitter users do not associate with each other randomly, they follow and retweet each other in patterns that often reveal a shared identity or political affiliation. The hashtags #Climatechange, #FridaysForFuture, and #ClimateStrike is often associated with and considered important tools for Greta’s movement. However, in the current climate in the middle of a global pandemic, the use of hashtags to promote the movement have never been so important. 

The whole Peggy Gou vs Daniel Wang debacle may be utterly ridiculous and undeserving of an article, but since it has somewhat spiraled out of control and caused cases of rampant misogyny directed at Peggy and women in music, it seemed wise to write something. The story follows the feud between two Berlin-based DJs, stemming from an angry Facebook post from Daniel Wang.

Daniel Wang is a DJ and producer currently residing in Berlin. He wrote in a very long (and slightly exhausting) Facebook post accusing his former neighbour Peggy Gou of being abusive and narcissistic towards him and the other residents, having a ghost producer (something which almost every successful woman DJ has to deal with) and in general not being a nice person. The whole debacle reeks of someone being slightly envious that the other person’s career took off whilst he stagnated.

The post does somewhat lose its credibility when Wang begins to attack Peggy Gou for her wearing designer clothes, makeup, and taking pictures of herself for Instagram. This is something I’m sure Peggy can deal with, but when he starts slating Gou for her producing skills, accusing her of using a ghost producer, it suddenly is an attack on all woman DJs in music.

In her post on Instagram, Peggy Gou explains: “I am not the type of person that has been described, and I will never regret standing up for myself.” She furthers this by stating “I do think it’s important to consider this weak shitpost about women making music is enabling sexist behaviour and more. You should never let anyone bring you down. I wish him and the haters all the best.”

However, for some added nuance to this article, Peggy Gou playing MDL Beast was something that no DJ should have done, and her response to the criticism was off-hand. In saying that, she was not the only DJ to perform a set in Saudi Arabia. Why should she be the only one singled out when the likes of David Guetta, Steve Aoki, Nora En Pure, Martin Garrix, and Eagles & Butterflies, and many more all took the Saudi blood money.

A few weeks back now I interviewed Paul Boggie. In the interview we spoke about his struggles with addiction, overcoming his mental health issues, the importance of music on his road to recovery, and his campaign to abolish homelessness.

Paul has just released his book titled ‘Heroin to Hero’ which tells the story of his life, growing up with crippling depression and falling into the depths of addiction. He was at rock bottom but managed to turn his whole life around as he became a Scots guard. At the peak of his career as a Scots guard, he was protecting the queen at Windsor Castle.

There have been many twists and turns in Paul’s life, and now we get to follow him on his journey. The idea of a book stemmed from his recovery process, in which his counselor suggested he started to write down how he felt, and overtime he compiled so many notes together that he was left with enough content to produce a book.

When I sat down to speak to Paul, the first thing we spoke about was his mental health issues. Getting his mental health back on track was imperative to recovering from his addictions. Having grown up in the late 80s/early 90s, the education on mental health issues was next to nothing, so ultimately, Paul didn’t know how severely depressed he was, he merely assumed there was something wrong with him that he could never fix. Paul felt like he never really fit in, and this followed him for his whole life. It wasn’t until he completed a 4-week course on the power of the mind that he realised these mental health issues had plagued his life, and he’d always shut it out through his heroin addiction.

Only through acknowledging his mental issues could he find the way forward on his road to recovery. From that point onwards he ensured to work on his mind control. Anytime he felt depressed he became super aware and thought: “Why are you behaving that way?”. Asking himself “Do you want to let that person get you sad?” and “Do you really want to act like that?”. In the interview, Paul explained: “If I didn’t fix my mental health I would still be on heroin now. I would’ve just accepted I’m on heroin, I’m going to be on heroin, and I’m going to die on heroin.”

Music was also key to breaking Paul’s addiction. In the book, Paul explains how R.E.M’s ‘Everybody Hurts’ genuinely saved his life. When I spoke to Paul about this song, he explained: “‘Everybody Hurts’ inspired me to listen and to hold on. Not only did it save my life, when I listen to it now, it’s not a dark sad song, it makes me want to cry tears of happiness.”

Following the success of the book, Paul explained that there is a documentary in the process following his life. Leo Gregory of ‘Green Street Hooligans’ fame recently got in touch with Paul expressing his desire to play the part of Paul, whilst Vinnie Jones, AFC Wimbledon hardman and actor in Guy Ritchie’s ‘Snatch’ also likely to be involved. The story of Paul and the upcoming documentary has seen Paul’s life dubbed as a real-life Trainspotting.

However, the real motive behind ‘Heroin to Hero’ is to raise money to help the homeless, with all profits from the book going to homeless charities. In England on Christmas day this year, 280,000 people will be sleeping rough. When questioned on this Paul voiced his concerns by stating: “There is no other word for it than disgusting. The government should be ashamed of themselves. They never will, as long as they’re in their fancy houses with their millions, they’re never going to care.”

The conversation with Paul gave an excellent insight into his life, and shows that to anyone struggling, there is a way out, and there is help available if you need it. You just have to reach out. As for the saddening number of rough sleepers over the Christmas period, there is something that can be done. Treat them as equals, look at them with respect, and remember they’re humans that just need a second chance.

Call these numbers if you need help:

Samaritans - 116 123

CALM - 0800 58 58 58

Mind - 0300 123 3393

Homeless Charities:

Centrepoint -  0808 599 1782    

Crisis -  0300 636 1967  

Salvation Army - 020 7367 4800

Ryan Aitchison, better known by his stage name as Mella Dee, is a world-class DJ/Producer, and proud Yorkshireman hailing from Doncaster. Aitchison developed his love for the rave scene whilst exploring various warehouse parties in and around the local area.

This love for the scene further developed, and through his passion for music combined with his drive for creativity, it wouldn’t be long until he would find himself behind the decks at these type of events.

Aitchison started his musical career by playing records out in Doncaster at local shows and growing from there. He spread his passion for electronic music throughout Yorkshire in cities such as Leeds and Sheffield, and taking on a pirate radio show on Radio Frequency in Leeds. Through these experiences, Mella Dee curated an incredibly unique sound, fusing techno and house, with elements of hardcore and jungle for good measure.

Mella Dee is widely recognised as one of the current best British DJ/Producers around at the moment. His single ‘Techno Disco Tool’ reached number 1 in BBC Radio 1’s Dance Music Chart and was also chosen as one of the tracks of the decade by none other than Annie Mac and Pete Tong. With a debut Boiler Room set that smashed the doors off, and an explosive BBC Radio 1 Essential Mix, Mella Dee took the world of electronic music by storm.

We’re all aware of Mella Dee as the DJ/Producer, but many of you will not be aware of this multi-talented man whose artwork is of the same incredible quality. His artwork consists of amazing abstract designs, that reflect his time growing up, and tell a story of the rave culture through his eyes. RecentlyI got the chance to ask Ryan about the creative process behind his artwork, how he got into art, and what art means to him. Here’s what he said:

Interview with Ryan Aitchison AKA Mella Dee

Your music has such a distinct sound, how have you also created such a distinct look in your artwork?

Its always just been about doing what comes to mind for me, just working within the parameters of what my ability allows me and I guess that kind of sets the style, I’m not trying to be anyone, it always just feels like a representation of me as a person whether it music or art, it’s never pre conceived I just let it be and if its something that connects with people its a bonus

When did you first get into art?

Ever since I was a kid I’ve been into it, it was one of the only things that could hold my attention from being young at school, but I lost interest during art college as I just couldn't understand that need for an academic approach to it, there’s not much academic about art for me, it’s about how it feels when I do it

Who are your main artistic influences?

It’s so varied, there's no one influence, I just take it my surroundings and it all has an affect, I could name famous artists and such but there’s no one person or group of people that have such a hold over me as to define what I do, the influence for my creativity as cliche as it sounds is just life itself, every little part of it has an effect that you don't even  always realise

“Being creative can increase positive emotions, lessen depressive symptoms, reduce stress, decrease anxiety, and even improve immune system functioning,” - To what extent do you agree with this?

The creative part of me is very therapeutic, but it’s much more of a compulsive thing than anything else, i find myself starting to feel irritated when there are long lengths of time that I can't do anything creative. But on the flipside because my career also revolves around being creative there a certain pressure that’s placed upon myself to maintain and high standard and the daily battle of whether something I’m working on is actually worth the time spend can be a source of frustration, but on a whole, it’s an issue I manage to block and I just try to let things flow as that’s when it feels best

If you’ve already bought one of Ryan’s pieces, you have great taste. If you haven’t… what are you waiting for? Check out @artbymelladee on Instagram.

It is not uncommon for artists to use their platforms to voice their concerns over societal issues, but in this modern era that we live in, due to the power of social media, an artist’s reach is far greater than ever before. In this article, the artists we will be looking at for reference to how they use their platform to voice societal concerns are Sam Fender, Slowthai, and Bristol-based punk band IDLES.

During the research process, the main focal point of the conversation was to be centered around Sam Fender’s music video for ‘Dead Boys’. In an interview with the NME, Sam Fender was asked “What do you think it is that holds people from speaking out?” Sam replied: “I genuinely think it’s toxic masculinity and the idea of what a man is supposed to be. This really archaic, out-of-date idea of how a man is supposed to conduct himself. I think that’s what kills men, genuinely.” In the same interview, he discussed his song ‘Dead Boys’ which consists of incredibly hard-hitting lyrics aimed at men taking their own lives. He explains “It’s a song about male suicide, particularly in my hometown, I lost some friends very close to me because of that. This song came from that place, and I have been playing it ever since. It’s raised a conversation and I realised how much of a present issue it is.”

Interestingly, during the research process, a participant reflected on these thoughts perfectly. They stated: “That’s what they’re passionate about, maybe something close to them has happened and that’s how they express it. They’re artists so they express it through their art, I don’t think they’re necessarily on an educational campaign but artists like to speak through their art.”

With that being said, Joe Talbot, the frontman of IDLES appears to be on an unstoppable educational campaign, and with every album IDLES release their message grows ever stronger. NowThis News, a progressive social media-focused news organization explains that IDLES are one of the few bands who use the energy of punk to reconfigure the stereotypes of manhood. They explain that on the surface, their sound is innate and violent, however, Talbot and the band exploit that sound to combat the stigma around men’s mental health issues, and most importantly to this respective research, masculinity. Talbot states: “Really, it doesn’t matter what it is to be a man. I think what it means to be a human is a lot more important.”

However, it is Slowthai who offers the most brutally honest insight into depression and toxic masculinity. In an interview with Channel 4, Slowthai explained: “Depression is a mad thing for men because they feel they’ve got to live up to the stereotype and then they end up feeling like this ain’t me, I’m living a lie, I’m not being honest with anyone around me. Then they end up getting to a point where they’re like: ‘I can’t go on with this’ and take their life.”

Slowthai throughout his career has no doubt proved to be an incredibly controversial figure, but this is where the problem lies. Yes, some of the things he has done in the past were wrong, but so is the way he was outcasted. Rather than educating him on his mistakes, he was publicly shunned. It is important to remember that male-on-male domination is also a key contributor to toxic masculinity.

Moreover, Grayson Perry, an English contemporary artist, writer and broadcaster offers a solution in attempt to deconstruct toxic masculinity. He stated: “We need to shift away from seeing change as threatening, unnatural, and femininizing. I think ideas of masculinity needs to change to include behaviours that are at present regarded by many as feminine, behaviours that are sensible, life-enhancing, and planet-saving.”

Aria Wells, better known by her stage name Greentea Peng is a neo-soul and self-described psychedelic R’n’B singer and songwriter hailing from southeast London. Greentea Peng is influenced by the likes of Lauryn Hill, Erykah Badu, and Lily Allen, with her voice slowly becoming as distinctive as the aforementioned artists. Along with her music, Wells is also known for her distinctive fashion style. With full-body tattoos, piercings, and stunning jewellery, Wells regularly wears thick gold bangles, huge hoop earrings, and a ring on almost every finger. As for her tattoos, a chakra symbol sits on her throat atop her voice box, symbolising authenticity and speaking one’s truth, and an Om symbol sitting between her eyebrows.

Wells was born in South London in the early 1990s and moved to Hastings with her family at the age of 12. By the age of 15, she had stopped singing due to personal reasons but took it up again in her early 20s. After a 6 month period spent living in Mexico she decided to start recording seriously. What a decision that turned out to be.

Greentea Peng suddenly burst to fame following her appearance on the Berlin-based Youtube channel COLORS, in which she performed her single ‘Downers’, a cloudy, indefinable expression of feeling lost and isolated, even when surrounded by your closest peers. ‘Downers’ is the perfect example of the stylistic approach Wells has when it comes to writing. Aria’s approach allows her to lay out her most intimate emotions for us to find solace in, a process that regularly results in a feeling of intense vulnerability, but when done right, the music that follows is a beautiful creation. Wells explains: “I think it’s just important to be honest, man. I don’t really know how I can lie, you know what I mean? Singing is such a powerful thing. You’ve gotta feel it.”

In January 2020, Greentea Peng featured in The Observer newspapers’ 20 for 2020 list of rising stars in music, media, and culture. Meanwhile, in June 2020, she featured on The Streets’ single “I Wish You Loved You As Much As You Love Him” When you are gaining recognition from Mike Skinner, that is when you know you are doing something right.

Aria Wells is often extremely vocal about social justice, politics, and the climate crisis, issues that many of us also feel increasingly concerned about. There is a certain relief to hear someone with an ever-growing platform discuss important socio-cultural issues. Wells explained to Wonderland Magazine: “What I have to do is just tell myself it’s all love. Everything seems super imbalanced, but somehow everything is happening exactly how it’s meant to happen.” What incredibly calming words from an artist that is growing from strength to strength. 2021 is certain to be a monumental year for Greentea Peng.

Masculinity is constructed through various portrayals in the mass media, be it on television, film, advertising, music, and on the internet. The concept of ‘mediated masculinity’ means the way in which popular media representations provide highly crafted role models for boys and young men. If utilised correctly, music can be used as a source to raise awareness of toxic masculinity, and display how it has become a major issue in modern society.

In relation to the musical aspect, music is subject to change in responses to certain actions and meanings that are generated on the micro-social level. It often reflects the social environment of the respective era, and as a result of this the listeners of music are highly proactive in the way in which they digest the content. Rather than just passive listening, they absorb the lyrics and melodies which allows them to relate to the music on a personal level. Elefant State is quoted: “Music is a universal human form of communication that has the capacity to overcome linguistic, physical, mental and cognitive barriers to understanding with others”. With a monumental influence on the behaviour of individuals.

This is not to say that music is the answer to everything. Music can also trigger the activation of aggressive thoughts, emotions, expectations, and even has the capability to promote toxic ideologies. For an example of this, we look to Robin Thicke’s ‘Blurred Lines’ which was banned from various student unions across the UK. Edinburgh University Student’s Association (EUSA) was the first student body to ban the song. “It promotes a very worrying attitude towards sex and consent,” explained Kirsty Haigh, EUSA’s vice-president of services. Displaying the case that if created in a derogatory manner, music can also be used to promote toxic messages. Something that must be eradicated given how influential and powerful the cultural arts are for society.

However, musical theorists Baker and Bor explain that music displays a range of functions for human beings, adults, and teenagers in particular.

Music and lyrics often reflect a range of personal adolescent issues surrounding identity, dependence, independence, separateness, connectedness, and perception of the self. When you consider how societies gain insight into each others culture, one main aspect is to experience the local music. You listen to their music, and ultimately become acquainted with their backgrounds and origins. If we can use music as a means of insight into other cultures, then equally we can see it as a means of negotiating cultural identity, and in turn deconstructing toxic concepts.

But it is not only us as the listeners that music is important for. Music also acts as a huge release for the respective artist. For the artist, it is possible that they can use their platform to vent their concerns over sociocultural issues, whilst simultaneously using it as a form of expression for themselves. An attempt at venting their frustration over a personal or sociocultural issue, which the listener empathises with.

Overall, music promotes experiences of the extreme for both the artist and the listener, occasionally negatively, but primarily promoting positive experiences. Music turns emotional edges, vulnerabilities, and antagonisms of life into hypnotic, reflective tempos that can be experienced privately, or shared with others.

What is it with this Californian that oozes charisma and looks as though he should be sitting on the bank of a river in the deep south of America? A man who looks as though he smokes 40 Lucky Strikes a day, sipping on moonshine? The answer is simplicity. With his three-string trance wonder, hubcap guitar, and Mississippi drum machine, he carelessly strolls through life appreciating all the small things.

The answer to Steve’s effortless charm and simplistic lifestyle is the result of his younger years. Life wasn’t always easy for old Steve, earlier on in his life, Steve ventured to Memphis, Tennessee as a young man looking for the blues, as a self-proclaimed ‘hobo’. Steve would ride the freight trains from state to state looking for work on farms or other seasonal jobs. He claimed that he had worked at a carnival, as a cowboy, and as a migrant worker. Maybe it was this way of life that saw Steve wave in a new era of his life, as eventually, his whole life would be flipped upside down.

A wonderful man that goes by the name of Jools Holland would change this loveable hillbilly’s life forever. On New Year’s Eve in 2006, Jools invited Steve onto his annual Hootenanny. Seasick Steve performed his awe-inspiring rendition of “Dog House Boogie” on his three-string trance wonder and the Mississippi drum machine. The “Dog House Boogie” lyrics read:

“I left home 'fore I was 14 years of age; I figured I'd do better on my own

But then followed eleven years of bumb'lin' around and livin' kinda hand-in-mouth

Sometimes gettin' locked up an' somet- sometimes just goin' cold and hungry

I didn't have me no real school education,

So what in the hell what I was gonna be able to do?

But I always did pick on the guitar; I used to put the hat out for spare change

But now I'm makin' this here record and I'm still tryin' to get your spare change

I don't know why went wrong but it ain't bad now

And I just keep playin' my dog house music”

Instantly the U.K. was in awe of this larger than life American Blues rocker. Seasick Steve went on to win the 2007 MOJO Award for Best Breakthrough Act and appeared at Reading, Leeds, and Glastonbury, appearing at more U.K. festivals than any other artist. An immediate introduction to fame.

However, on his lead up to fame Steve had lived a rather unusual life. Steve spent a large part of his life in northern Norway, trained as a paramedic in the 80s, and befriending Kurt Cobain in the early 90s. But aside from all this, his rustic appearance and background is merely a gimmick. Steve was never really homeless, busking in the streets of Paris in the 1970s. In fact, he was a session guitarist and ran his own recording studio, recording for the likes of John Lee Hooker, Albert King, and Joni Mitchell.

So, I guess the moral of this story is quite similar to the concept of not judging a book by its cover. Even though Seasick Steve had been on the periphery of musical stardom for a very long time, it was his rugged aesthetic that threw him into the limelight. Despite his appearance, don’t let this distract from the fact that he grafted his whole life for said success.

Perhaps you could still say… Never judge a book by its cover.

The musical sensation began back with Thomas Edison’s first phonograph back in 1877, which played back sound from wax cylinders coated in tin foil. Evolution then took its natural cause and suddenly the world was introduced to the vinyl record and the turntable, which ultimately became a mainstay in most households. In the mid-1960s, along came cassettes and 8-track tapes, making it easy to play your favourite tunes in the comfort of your car. The convenience of recorded music couldn’t get any better.

Once digital recording was invented, we were greeted to CDs and then to digital streaming, which is currently at an all-time high right now, with individuals listening to more than 32 hours per week. You would have thought the evolution of digital recording would have seen off vinyl players, but you couldn’t be more wrong.

Sales of vinyl have gone up over 10% this year, putting it on track to break the £100 million mark by the end of 2020, making it the best year for vinyl since 1990. What a remarkable comeback, considering the physical music market sunk by almost half in March when the first nationwide lockdown forced high street retailers to close.

Drew Hill, managing director of Proper Music, the UK’s biggest independent distributor of vinyl and CDs, told The Guardian: “We have seen 250% growth from the bottom of lockdown to where we are now. I thought it could be catastrophic for the industry but during lockdown the kind of people buying records also went to a lot of gigs.” But aside from the fact fans can not go to gigs, spending their money on vinyl instead, there are still various other reasons as to why there has been a sudden resurgence of vinyl sales this year.

Firstly, it is the nostalgic experience of the older generations who grew up with vinyl players. For them, they have seen the big round phenomenon go in and out of fashion like a pair of Chuck Taylor’s Converse. For this generation, the listening experience invokes a musical memory that allows them to travel back to the first time they listened to music on vinyl and provides some comfort and familiarity, along with a brilliant quality sound.

For the modern generation, vinyl is used for its ‘cool factor’. According to MusicWatch, nearly half of all current vinyl record buyers are under the age of 25. That is quite remarkable. A vast amount of millennials have made an increased attempt at taking dated concepts such as mullets, corduroy jeans, and fedoras and making them relevant again. Much like a vinyl record.

However, this may be doing a disservice to the loyal vinyl listeners. Whilst many do listen for the nostalgic effect, or to follow the latest trend, many people still listen to vinyl for their devoted love of music, and the incredible sound quality. For the true vinyl lovers, there is a huge thrill of finding a rare LP in a random cardboard box at a record shop, or car boot sale. As for the sound quality, various experts have suggested that the old-school analog audio provided by vinyl actually sounds superior to digital audio.

The concepts of masculinity are constantly changing to reflect the respective era we live in, however,  the traits of masculinity liable to becoming toxic remain ever-present. As a result of this, toxic ideologies become deeply ingrained into society, that anything that goes against the societal norm, rather than being viewed as a positive step in the right direction, functions the other way and leads to outcasting and further scrutiny.

For a modern analysis of masculinity, two pioneering psychologists in Freud and Adler suggest that adult character was not predetermined, but constructed through emotional attachments to others in a turbulent growth process. Anthropologists such as Malinowski and Mead expand further on the cultural processes, and by the mid-twentieth century, these ideas had evolved into the concepts that we know today as masculinity, and the male sex role. 

Hegemonic masculinity as explained by various academics signifies culturally normative and influential ideals of masculinity. As a result of this, masculine hegemony can be viewed as a role, status set, perspective, behaviour, or personal characteristic. As for toxic masculinity, this can be described as the constellation of socially regressive male traits that serve to foster domination, the devaluation of women, homophobia, and sanctioning violence. Moreover, to understand the concept of toxic masculinity, hegemonic masculinity must be factored into consideration to fully grasp what creates toxic behaviour within masculinity. 

A study from the Samaritans tells us that suicide is the biggest killer of young people in the UK, whilst the study also shows that 5,185 men committed suicide in 2019. Although there may not be an exact correlation between toxic masculinity and suicide, it can act as a big contribution. Provided that suicide is an action-oriented, aggressive behaviour consistent with a traditional masculine cultural script, it can almost appear culturally preferable to the perceived shame of illness and incapacity. This conclusion is supported by considerable research displaying that men are less likely than women to request help, especially in regards to mental illness.

With toxic masculinity leading to such fatal occurrences, it is important to research into potential options that could solve the issue. One viable option is music. Music has proved to be central to modern day culture in the UK. Music is very often a product of its time, both a reflection of the ‘here and now’ and a ‘recaller’ of memories. With music creating empathetic messages that many can relate to, it could well prove to be an ideal solution to aid such a difficult socio-cultural issue.

What will become clearer in the next few articles on this respective subject, is whether music and the cultural arts can prove to be a driving force in abolishing toxic masculinity. This is not to say that music has the potential to be the answer to a monumental issue that society are faced with, but it could well prove to be a key vehicle in the pursuit of change.

Prince Rogers Nelson was an American singer-songwriter, amongst many other talents, and is regarded as one of the best musicians of all time. In fact, during the week of July 27, 1984, Prince’s film Purple Rain hit number one at the box office. That same week, the film’s soundtrack was the best-selling album, and “When Doves Cry” was holding the top spot for singles. Well known for his array of work across various genres, his flamboyant outfits, and androgynous persona, Prince was described by Jazz legend Miles Davis as the combination of James Brown, Jimi Hendrix, and Marvin Gaye. That is quite the concoction of talent. 

The Los Angeles Times called Prince “Our first post-everything pop star, defying easy categories of race, genre, and commercial appeal.”, whilst Prince also ranks No.27 on Rolling Stone’s list of 100 Greatest Artists. But it’s not actually what Prince did in the music world that we are going to talk about today, it’s what he did outside of it. 

The great man achieved so many accomplishments throughout his life. He became famous for playing with signifiers of gender, and his defiance of racial stereotypes. In many ways, Prince was so far ahead of his time. Prince’s ‘80s evasion of conventional gender norms speaks to us now more so than ever in the trans-aware moment. He promoted something that should be actively promoted in the modern-day, something that somehow is still a struggle, a world where men and women are treated as equal. Interestingly, Prince has always cast curiosity over his own gender. In his song ‘I Would Die 4 U’ we hear the lyrics “I’m not a woman. I’m not a man. I’m something you will never understand.” Perhaps this was why he so passionate about gender equality.

You see, Prince did many things before it was cool. The legendary musician was an animal rights activist who followed a vegan diet for the majority of his life. Prince never spoke publicly about this, nor did he speak out about the majority of his charitable endeavours. In 2001, he anonymously donated $12,000 to the Louisville Free Public Library system to keep its historic Western Branch Library from closure. At the time, the Western Branch Library was the first full-service library for African-Americans in the country. That same year, he also anonymously paid off the medical bills for the famous drummer, most notable for being James Brown’s drummer - Clyde Stubblefield, who was undergoing cancer treatment.

We all strive to emulate our favourite celebrities, whether we do this consciously or subconsciously, there is no denying that this is human nature. Some do this by constantly purchasing the new iPhone or flexing a new BMW, but for a real touch of class, with many Seiko watches, you will be able to emulate iconic heroes and intrepid explorers. An added bonus is that many Seikos come with a fascinating backstory that will ensure you always have a conversation starter for any awkward social situations. 

 When discussing the named Seikos, the background behind the Seiko Pogue is rather remarkable, named after Colonel William Pogue who ventured where few men have ever ventured before. The Seiko Pogue 6139 is believed to have been the first automatic chronograph to be blasted into orbit and worn in space. Originally, the Sinn 140 held pole position on the first watch to take the giant leap, however an eagle-eyed Seiko fan noticed the Seiko Pogue 6139 in a photo on the wrist of the NASA astronaut at a Skylab control panel in 1973 (Seiko fans are very good at this). NASA had granted Pogue permission to bring his watch on his mission into space as it had performed perfectly throughout. 

 Alternatively, for the more rugged approach, there is the Seiko Arnie - named after the Austrian juggernaut that is Arnold Schwarzenegger. Introduced in 1982, the Seiko “Arnie” H588 became the world’s very first hybrid divers watch, displaying both analog and digital displays. The watch came with a significant balance between traditional timekeeping, and multifunctional digital capability, something truly worthy of the Terminator. To paraphrase Arnie’s words from Terminator 2: “I need your boots, your clothes, and your Seiko.”

 There are other notable additions to the Seiko community such as Chinese tough guy, Bruce Lee, and the glamorous F1 driver Francois Cevert, to name a few to the ever-growing Seiko family. The Seiko community is a rather close-knit clique, and those who understand the magic behind the beautiful timepiece share the same mutual appreciation. The named Seiko’s may seem like a group of elite A-list celebrities, however, if you play your cards right, what’s to say you won’t have a Seiko named after you. Although, in order to do so, you need to join the ever-growing community.

Do you want to see more of the likes of Ed Sheeran, Justin Bieber, and Taylor Swift, and less of your favourite Indie bands? Of course you don’t! But this may be the looming disaster that would be the result of a No Deal Brexit. In the shit show that is Brexit, it appears that every industry in the U.K. is to be affected. However, when focusing on the music and creative industries, a No Deal Brexit would shrink the entire industry and only privilege the very wealthy. 

As a result of a No Deal Brexit, the outcome could see many emerging artists priced out of travelling to Europe, and ultimately mean they cannot expand their fanbase, their brand, and most importantly they would not be able to share their music globally. Obviously with the help of streaming services it eases the process of developing yourself in different countries, but there is nothing quite like the intimacy of seeing a developing band in a small venue. 

Many artists and industry insiders have long feared that Brexit could prove prohibitive for many mid-tier bands wishing to tour the EU, thus creating a “glass ceiling” for developing acts. A “glass ceiling” is essentially an unseen barrier that affects the advancements in a given profession, it is a term mainly used for women and members of minorities, despite sharing similar talents and the same skills, the people at the top will always try to find a way to prohibit these members of society from advancing. In this instance, it would mean less of your favourite emerging indie bands, and more of that mind numbing chart nonsense.

Jeremy Pritchard, bassist of Everything Everything had his say on the potential crisis, when talking to NME he stated: “The glass ceiling is getting higher and higher all the time the more the prospect of a No Deal Brexit looms. There’s a huge swathe of artists in the lower to middle tier, which includes rising talent, my own band and loads that are more successful than us, where touring Europe just won’t be a viable option anymore.”

It’s not just the cost of going on tour that would affect artists and bands, which alone costs a substantial amount for musicians attempting to grow their name in an already difficult industry, there would be various extra added costs on top of this. There would be visa costs for every country visited, added transporting costs for instruments, equipment, and merchandise across borders, and extra staff to account for these extra payments. 

It’s not all bad though, the government’s Department for Digital, Culture, Media and Sport have recently spoken with various creative industries and arts sector bodies and explained that they have acknowledged the potential risks that a No Deal Brexit would have on travelling artists, as they stated: “We are seeking a reciprocal agreement with the EU to allow UK citizens to undertake some business activities in the bloc without a work permit, on a short term basis.”

 It’s good news that they have noticed the potential problem that could arise, but a better suggestion would be to negotiate a Brexit deal, but the most ideal situation would be to scrap Brexit and run lovingly back to the EU.

Outkast are an American hip hop duo formed in East Point Georgia, made up of Atlanta-based rappers André “3000” Benjamin and Antwan “Big Boi” Patton. The duo are widely recognised for their intricate lyrics based around socio-political issues, memorable melodies, and most importantly - positive messages. Outkast are regarded by many as one of the greatest, most influential hip hop duos of all time.  

Of the album ‘Aquemini’, one song stands out in particular. ‘Rosa Parks’. The song was the first single to be released from Outkast’s album ‘Aquemini’, and was the album’s most successful single. Everyone should know who Rosa Parks is, but for those who don’t, Parks was an American activist in the civil rights movement widely known for her pivotal role in the Montgomery bus boycott. A lady who stood up in the face of racism and rightfully took her seat on the bus.

‘Rosa Parks’ was an ode to the lady Rosa Parks herself, and her name used in the title metaphorically to imply a change in American culture. Outkast titled the single ‘Rosa Parks’ in attempt to bring hip hop to the forefront of America, ushering out the old, and making way for a new sound. The song’s lyrics are somewhat unrelated to Parks, except for a reference in the chorus: “Ah ha, hush that fuss / Everybody move to the back of the bus” A line that Outkast maintained was used only to pay homage. 

However, the song was not recieved as expected. Rosa Parks filed a lawsuit against Outkast and LaFace Records citing that the song misappropriates Park’s name. Parks argued that there was no relevant connection between the song’s title, which appropriated her name, and the contents of the lyrics as Outkast failed to mention Parks’ life story, or what she stood for symbolically.  Despite all of this, as is often the outcome with majority of court cases, the trial became less about the reputation of Rosa Parks’ name, and more about the lawyers and her caretakers pursuing the case for their own financial interest. 

In April 2005, the judge appointed an impartial representative for Parks, and the case was ultimately settled two weeks later on the 14th April, 2005. Outkast, Arista Records, and LaFace Records admitted no wrongdoing, but subsequently agreed to develop and fund educational programs concerning Rosa Parks. The best possible outcome, and once more displaying Outkast’s consideration to enhancing positive messages to society.

“You gotta keep it innovative and new, creative. You know what I'm sayin'? Some people don't wanna hear the same old thing over and over”

Spooky season has just finished, but the events that will follow on November 3rd mean that things could soon get a hell of a lot spookier. As the American election looms, and the likeliness of Donald Trump being re-elected back into office, it seemed appropriate to discuss his fascinating use of social media to ensure he sustains a phenomenal buzz surrounding the Trump campaign. 

Donald Trump can be strongly related to that of a child in desperate need of attention, but is his cry for attention the result of being an egomaniac, or is there a method behind the madness? Information and technology form a central pillar of power in a democratic society, and that information and its control are at the core of the relationship between citizen and state, and the intermediaries between them. Which leads to suggest that Trump’s outrageous behaviour and tweets, manipulated the media, and turned his media capital into political capital. Moreover, it can be said that Donald Trump needs the media as a weapon and the media needs Donald Trump to sustain itself. 

Trump’s theatricality and outrageous behaviour caused him to become a household name, and the central point of the news media for years now, and we all have this morbid transfiction of him as, despite his crudeness, we are all eagerly anticipating what madness he might say next. Although it appears that Trump is very well aware of this, he embodies the inversion of the modern-era distinction between politics and entertainment, he is transforming notoriety, a brand name, and pop-culture persona into a populist hero. His image was formed through decades in the public eye, meticulously drawing media attention from tabloid journalism. Trump used this knowledge of the media and journalist’s attention to project himself to the White House. 

Social media can alter the political calculus in the United States by changing who controls information, who consumes information, and how that information is distributed. Trump was very well aware of this, and ultimately is why it seemed as though we could never rid him from our screens. During his campaign, Trump would tweet at certain times of the day that were specially calculated to have the strongest possible influence on newsroom editorial meetings across the United States. Moreover, between 2012 and 2014, Trump spent $100 million dollars on improving his campaign's digital infrastructure, and in his most recent campaign, he has blown everyone out the water spending more than $36 million on Google and Facebook ads.Moreover, whilst being a strongly disliked character by many, there was no doubting his media influence, and how highly he valued online influence. 

Talking of media influence, Trump’s relationship with Rupert Murdoch, one of the most powerful men in the media owning various media outlets, caused a fundamental impact in getting Trump to the White House, although the relationship is a convenient two-way system as previously explained that the press and Trump thrive off each other. As Trump grew closer to winning the Republican nomination, the relationship between the two grew stronger simultaneously, Fox news was a crucial platform for Trump, in the same way that Trump was great for Murdoch’s ratings.