Dance Music and Moral Panic free essay sample

An assessment of how the media can heavily affect societal norms guarding definitions of deviance will also be considered. The politicians of young people as the result of secondary deviance will be critically examined in relation to the genre of dance music and the punk culture of the sass. It can be suggested that in order to critically examine Cones theory regarding the creation of moral panics within society it would be advantageous to clearly define the aforementioned hypothesis in more detail.Scholars such as Cohen asserts that the creation of moral panic occurs within society when a marginals group or subculture is labeled as deviating from the norms and aloes of any given society. Once this deviation has occurred scholars such as Thompson (1998) suggest that these individuals or groups are labeled as folk devils and deemed somehow responsible for the moral or socio- political problems within the aforementioned societies. In his thesis regarding the moral panic within Great Britain in the sass surrounding the moods and rockers subcultures Cohen hypothesized that there is a clear relationship between the media and the creation of society deviants being labeled as responsible for societal problems. It can be argued that such shifts in public pinion regarding certain groups within society occurs through many varied processes such as moral passages in which societal definitions of deviance are ever changing (Justified, 1967) or due to the very labels given to individuals deviating from the excepted norm (Element, 1967).In his study Cohen identified in more detail the moral passage that occurred in relation to the moods and rockers movement he studied. He hypothesized that through a process of simplification of the issues regarding deviant groups within society the stimulation of such groups as folk devils occurs. Cohen identifies these groups as; The gallery of types that society erects to show its members which roles should be avoided. (Cohen, 1980, p. 87).In his identifications of the creation of moral panic Cohen theorized that once this stimulation happens a moral panic is created when media institutions such as newspapers amplify such negative stereotypes and create anxiety within society regarding such deviating groups. The aforementioned process is what Cohen defines as being an amplification of deviance resulting in the institutionalizing of sub-cultures by major institutions within society such as he police and the media (Cohen, 1980, p. 8 Followers of Marxist ideological assumptions take this idea further and theories that this process is particularly prevalent in the homogeneities of the disadvantaged within society ( or the proletariat. ) Scholars such as Willis (1978) claim that the process of creating a moral panic is done so to reinforce the norms and values of capitalist societies through the institutionalizing of deviating groups thus resulting in the protection of the ruling classes (or bourgeoisie) and the privileges that they posses.It can be theorized that such sociological examinations of the processes that lead to moral panic can be advantageous when considering differentiating genres of music within society. For example if one considers the punk rock music genre. Punk music can be described as a movement in the rock scene during the sass where youth subcultures formed bands and created music in order to rebel and deviate from higher society. They did this through the use of the DID ethic (do it yourself) as a way to promote independence and self-development without the need of others or experienced people to do it for them.It is theorized that within punk references, the lyrics are more important than t he music as the main message conveyed by the movement can be found within the words and the music played is simply a way to support the ideas expressed. To further examine the merits of Cones theories concerning moral panic the sub genre known an Anarchy-Punk can be considered. Anarchy-Punk is punk rock that promotes Anarchism and other anarchist ideas that developed during the late sasss following the start of the origin anal punk music genre.Although more recognized bands such as the Sex Pistols used anarchism as part of their hock value, bands such as Crass may have been the first to take anarchism and pacifism as a socio-political ideal seriously thus remaining authentic to the commonly accepted ontological assumptions of the genre. Scholars such as OHara (2003) states that Crass were pacifists and did not believe in using violence to get their message across and instead used non-violent ways such as peaceful protests, setting campaigns, lyrical content, graffiti and refusal of work.Crass also joined the Campaign for Nuclear Disarmament (CNN) in order to work alongside while doing gigs and raising awareness of socio- lattice issues. It could be theorized that many other bands such as Conflict and Flux of Pink Indians also adopted the anarchy-punk style as part of their ideology recognizing it as a socio-political ideal rather than a means to gain further popularity. It can be theorized that the intention of anarchy-punk is to deteriorate government or outside oppression.They challenge capitalism suggesting that the economic system itself is problematic and simply a way of producing profit through social hierarchies. In regards to Cones theoretical assumptions regarding societal panic the aforementioned genre of anarchy- nun can be used as an example of how a misunderstood sub-culture within a popular music genre can be diminished and seen as the cause of the moral and socio-political problems within society.During the emergence of the punk movement those involved in the culture were perceived by the media as being dangerous and violent thugs who threatened the established moral system within civilized societies through lyrical content that directly challenged the status quo. This is evident for example in the lyrics of the now infamous God Save the Queen by The Sex Pistols in which the lead singer reclaims Where there is no future, How can there be sin? In a clear criticism against the perceived moral boundaries members of the scene were against. Using Cones thesis the simplification and stimulation of those within the punk music genre Occurred very quickly. Those involved in the punk music sce ne were seen as being idiotic, crude and morally corrupt In clear contrast to the highly socio-political ideology of dismantling the white, male, straight, middle-class hegemony, (and) replacing it with a do-it-yourself culture (Hubbard, 2007) the majority of punks actually believed in.Although it can be argued that more recognized bands such as the Sex Pistols used the political concept of anarchism as part of their shock value, bands such as Crass took anarchism and pacifism as a socio-political ideal seriously. The suggestion that the punk genre was the result of the politicians and expression of disillusioned groups of youth with actual ideologies was never truly conveyed through major institutions within society. For example newspapers at the time reported punks as being obnoxious, cultist and disgusting causing in one incidence a man to smash his television set in order hat his son not witness the disgusting filth of The Sex Pistols appearing on a popular television show (The Daily Mirror, 1976. ) Such attitudes towards members of the punk movement can be seen to diminish the arguably intellectual criticism of the young people involved against a society they felt had abandoned them, thus protecting society from the threat of moral or class change.Once these moral panic regarding punks had been established; as Cohen may have predicted, the institutionalizing of the culture and its ideals began. The popularization within the fashion world of punk aesthetic dead one scholar to suggesting that; Whilst the punk style was revolutionary when it first appeared, even as early as the sass punk style had filtered into the mainstream. Black clothes, leather, and the signature Doc Martin shoes all became integrated into the mainstream fashion (Cox, 1994, p. 0) It can be argued from a Marxist perspective that this institutionalizing of the punk music genre was done so to protect the status quo of society and reinforce the well-established norms within capitalist culture thus ensuring the security of those in power (the bourgeoisie. ) It can therefore be hypothesized through n examination of the punk music genre that Cones theory regarding the processes involved in the creation of moral panics is advantageous in considering societal anxieties and the labeling of deviants. As the scholar Barron (1988) suggested it was the media and society itself that diagnosed (punk) not as a new music style but as a social problem, a theory that can be seen to add merit to Cones thesis regarding the creation of moral panics. The process, or moral passages that Cohen theories regarding moral panics can be observed through an examination of the initial outrage guarding the punk scene, to the eventual institutionalizing and popularization of the culture within such institutions as fashion.Another genre in popular music culture that can be examined in relation to Cones theory regarding moral panic is that of the dance music or rave scene. This genre, which emerged in the late sass, supports the ideal of compositions having fast paced music that is incorporated with electronic light shows (Scott, 2009) and quickly gained popularity amongst groups Of young people of the time. The genre is still arguably very popular in modern culture and has plopped into differentiating su b-genres such as deputes. It can be argued however that a moral panic did occur in relation to the emergence of the dance or rave music genre, which focused upon the illicit drug misuse of those, involved in the culture. The main focus of the moral panics that occurred in relation to the rave culture can again be seen as a response to preconceived stereotypes of those involved and the simplification of the issues surrounding the biggest youth subculture that Britain has ever seen (McDermott et al, 2000. It can be theorized that the main moral panics guarding the culture of rave music centered around the controversial drug misuse of those involved in the culture and in particular the use of MADAM (or Ecstasy) at underground rave events. It can be suggested that the moral panic surrounding the popularity of the drug Ecstasy became amplified through the medias response to the tragic death of a young girl called Lea Beets in 1 995 due to what was labeled by many media institutions of the time as the evil dance drug Ecstasy (Saunders, 1995).The simplification of the issues surrounding the rave music culture and the use of illegal drugs were often invoked in the media in damning statements that suggested all raves were no more than a facade for dealing drugs or simply the result of morally corrupt individuals attempting to trap young people into drug dependency through the guise of friendly pop music events (Sotto, 1989. ) It is for example interesting to note that the aforementioned and unfortunate death of MS Beets was in fact due to water intoxication rather than the Ecstasy tablet the media conveyed had killed her.This focus on the drug ecstasy rather than the true cause of Ms Beets death can be seen as yet another example of the Edie simplifying the issues and causes of a tragic event to gain more profit and amplify the controversial issues about the subject. As societal and moral anxiety regarding the rave music culture increased those involved in the scene began to be stigmatize and labeled as what Cohen would call folk devils by being portrayed as groups of young people who endangered the accepted moral status quo through hedonistic drug misuse and unregulated parties.Scholars such as Kruger (1998) highlighted the stimulation of the young people involved in the rave music culture by suggesting that irritants of the culture were often perceived with hostility and seen as dangerous deviants who needed to be oppressed by society and the police. It can be theorized that as Cohen may well have predicted the media amplification regarding the perceived misappropriations that occurred at unregulated outdoor rave events lent to the intervention of authorities and the eventual institutionalizing of the culture into a socially and morally acceptable form.A good example of this can be seen in the governments reassessment of legislation regarding the fining of individuals responsible for he promotion and conduction of unlicensed outdoor raves. Originally the average fine for such organizers would have been around the Sum Of two hundred pounds. With the introduction of the Criminal Justice and Public Order Act (1994) which was created in a response to societal concerns regarding the rave culture, the fine was raised to a possible twenty thousand pounds for those individuals deemed responsible for organizing illegal outdoor dance music events.Another example that can be given of major institutions within society attempting to protect the established moral norms an be seen in the Bibs decision in 1989 to ban all lyrical content that contained references to the word acid (Taking, 1988) as the use of such heavily suggestive terminology was deemed to adhere to the ideology of the rave culture and the promotion of illicit drug misuse.When examining the relationship between Cones theory regarding moral panic and the rave music culture it can be hypothesized that there is a parallel between the predicted stages of development as outlined by Cones theories (such as simplification of the issues involved) and the creation of social anxiety guarding the aforementioned cultural phenomenon.In regards to the rave music culture the media used provocative newsworthy stories such as the death of Ms Beets to oversimplify more complex issue within the cultural movement leading to individuals involved being labeled as deviant, drug abusers, drug dealers and the cause of moral corruption of young people through disguised means. The moral panic that ensued led to the institutionalizing of the rave music scene, which was evident through the introduction of harsher legislative powers for institutions such as the police to control unlicensed outdoor events. It can be theorized that this lead to such events being held in more acceptable forms Of social environments such as night clubs thus enabling more established and acceptable forms of control over issues such as alcohol and drug consumption.In conclusion it can be theorized that Cones examination of the creation of moral panics and the differentiating stages that occur to cause such social anxiety can be advantageous when considering popular music culture. Using the aforementioned scholars hypothesis it can be suggested that the creation of a moral panic regarding the punk movement of the 1 sass occurred due to the ideas simplification of the socio-political ideology of the young people involved in the scene.The media at the time of the movement chose to amp lified the image of punk as being an idiotic and violent youth phenomenon rather than focusing on the ideas of anarchism, liberation from perceived fascist regimes and the general anger at a dyspepsia society that was attempting to be expressed by individuals involved in the culture. This eventually led to the institutionalizing of the punk movement, which can be seen in the introduction of punk aesthetic into mainstream fashion.A brilliant example of the institutionalizing of punk can be seen in a recent television advertisement in which the lead singer of The Sex Pistols is seen advertising dairy products for a major capitalist brand whilst still conveying the arrogant attitude of apathy and fashion that the punk movement Was originally known for. In this instance the institutionalizing of the punk movement is clearly conveyed through the use of irony and sarcastic humor that seems to ridicule the socio-political ideologies originally expressed by the punk movement and almost demoralizes the politicians of youth culture in the sass.In regards to the rave music culture it can be suggested that Cones theories are again advantageous when critically examining the social phenomenon that occurred during the moral panic regarding the scene. It can be theorized that the media simplified the often-complex issue of drug use within the culture and amplified the young people involved as being drug dealers, users and rebels against acceptable moral norms.It can be argued that this process caused the stimulation of those involved in the scene leading to a perceived threat to the norms and values of society. It can also be suggested that once this had occurred the institutionalizing of the culture was created through the introduction of leg islation that gave institutions such as the police more power to control such events and the perceived hedonistic drug taking that occurred within outdoor raves.