This book is a psychoanalysis of rebellion in rock music. Part one explores the music of various male musicians to argue that rebellion in rock is basically about the psychological urge to separate from the mother. Alternative musicians are discussed in part two to suggest that this is inevitably followed by a desire to return to the lost unity of mother, "home", and the past. The final part explores female rebellion in rock.
There are remarkably few studies of gender, sexuality, and popular music, which makes this book particularly welcome. The discussion is informed by academic approaches to popular culture and by psychoanalytic theory, yet as rock critics the authors analyse music with passion and thankfully with little academic jargon. The writing is clever, perceptive, and generally persuasive, and the book makes for a compelling read.
The combination of rock criticism and psychoanalytic theory does, however, raise several problems. The only interpretations are those of the authors themselves, neglecting intentions and meanings of artists or audiences. Huge generalisations frequently appear, supported by little or no empirical data. Sweeping and often rather startling statements are made about issues such as the appeal of criminality and Zion for black pop rebels, and the genderlessness of ravers. Musical descriptions such as: "the riff/phallus fuses with noise/vagina in an undifferentiated blur of lava love", are particularly irritating, and the psychoanalytic approach often conceals more than it reveals. Neat complementary musical categories are created, for example ("cosmic rock", "oceanic rock" etc), with seemingly random examples taken from different times and places to slot in as substantiating evidence.
Particularly frustrating is the absence of social and historical context. We are told little about the musicians themselves, or about the situations and relations of musical production and consumption. The authors ask: "What is communicated when a female artist like Lennox or Madonna goes in drag in order to play feminine roles?" But without more thorough consideration of who is communicating what to whom, when, where, how, and with what effects, then such questions are left unanswered. In addition, although the issue of "gender politics" is raised, gender ideology is rarely related to existing power structures.
There also appears to be a fundamental tension between the notion of gender as socially constructed and as biologically determined. Throughout the book masculinity and femininity are taken as givens. Phrases such as "masculine aesthetic" and "feminine music" are used uncritically; female rebellion is described as a "subterranean river"; and "masculine logic" is opposed to "feminine flow and receptivity". Part three occasionally highlights gender ideologies, though these are generally reinforced rather than exposed and analysed as social constructs.
Part three also includes quotes from female musicians, and raises issues of authorship and control over production and representation. There is less focus upon the female psyche and more on the contested ideologies, contradictions and possibilities surrounding female musicians participating in a male dominated art form.
It might have been more illuminating, however, if the authors had not separated men and women musicians but had engaged in more direct comparison between them looking, for example, at how both relate to issues surrounding body and health, authorship and control, notions of "home" etc.
The exclusive focus on rebellion also raises questions. The book points to a central paradox: music that sounds the most exhilarating and liberating to women is often the most oppressive to them. "It's as simple as this," state the authors, "if you don't like the Rolling Stones, you don't like rock'n'roll." The Stones sound and feel like "freedom", yet "they are also one of the most misogynistic groups ever". The paradox is emphasised but not adequately explained. What is needed is an alternative approach that examines how people in specific situations perform and listen to, use, interpret, and value music in different, often conflicting ways.
Sara Cohen is a lecturer in popular music, University of Liverpool.
Author - Simon Reynolds and Joy Press
ISBN - 1 85242 396 X and 254 8
Publisher - Serpents Tail
Price - ?22.00 and ?14.99
Pages - 406pp
