Music and Counterculture

 Welcome to our final toast of this year's Black History Month! To wrap up this series, we shall focus on a group that shattered racial and countercultural stereotypes and made their mark in the history of punk. Here are Bad Brains with "I Against I." Of course, Bad Brains barely resembled the majority of punk bands of the 80s, as this band consisted of four black Rastafarians in a white-dominated genre. Bad Brains (originally a jazz fusion group) broke into D.C.'s punk scene in 1976 with a technical prowess uncommon amidst the rugged genre. They paired this with breakneck tempos, breakdowns, enforced chaos, and unapologetically brash lyrics, all combined to cement their iconic sound that would leave an impact as a pioneering band in the hardcore realm.  Bad Brains also stood out by breaking down cultural barriers. This could be seen in their blending of cultures, as they combined punk with funk and reggae. Also, they rejected stereotypes of what others expected those...

This week, we continue our Black History Month tribute in the 1960s with a rallying call for harmony and love in the face of disparity. Here is "Everyday People" by Sly and the Family Stone." Sly and the Family Stone, formed in 1966, was a representation of the socially conscious counterculture movement. The band consisted of both black and white, men and women, all working together to share their message using a driving union of rock and soul. In this, they practically became an embodiment of the change-seeking youth and became a voice for their beliefs. The band's album Stand (1969) came at a vital time, at an hour of turbulence in America. This was an era of racial struggles, violence, voices unheard, and pushes for equality that seemed at times to go nowhere despite laws passed years before (how times never change, I must say...). Amidst this, Stand delivered an array of messages, all important and timely, from comfort in times of trial to calls to action to pl...

 Here at MusicandCounterculture.com, we strive to embrace the diversity of the individuals within the alternative communities. Thus, this month, Black History Month, we raise a toast to the African Americans who have influenced and shaped the music of subcultures and countercultures. We start off the tribute this week in the Beat Generation with "Shaw 'Nuff," composed and performed by saxophonist Charlie Parker and trumpeter Dizzy Gillespie, two important fathers of bebop. But what is bebop? in the 1940s, a new form of jazz sprouted as a reaction against the formulaic, commercial jazz that dominated the airways. This innovative and experimental new genre - onomatopoeically named bebop - sets itself apart with much faster tempos, freer improvisation with a wider range of notes, asymmetrical phrasings, and virtuosic solos. Partly due to its less danceable rhythms, dissonance, and its drastic break from tradition, it faced skepticism from the broader public, critics, and oth...

 Those celebrating a winter holiday around this time know that this time of year is filled with much celebration. And a common best friend of celebration is chaos, especially as preparations, festivities, and whatnot fill each day with something to do. It is without a doubt a hectic season. That being said, your writer needs a few weeks off of research and cohesive thoughts as she dives headfirst into the days of carols and lights. But I don't want to leave you with nothing. [By this point, Christmas day proper may be over, and the new year may be almost here, but there are still holiday movies left to watch. And for some, it is only the 7th Day of Christmas.] As a little belated Christmas gift, I would like to share with you a few tunes that I frequently play around this time (whilst attempting to keep the commentary to a relative minimum). And of course, staying within the theme of the blog, the songs will more or less stay around the subcultural/countercultural realm. Abney Park...

Over the years, numerous Native Americans have embraced the metal genre as a source of self-expression, a reflection of heritage, a release of tension, and an amplified voice calling for change or recognition. Some have been there since the beginning, helping to shape the high-energy genre we know today, while others take part in creating new subgenres that display their soul in unique ways.  Although the metal subculture encapsulates an incredibly diverse array of backgrounds with fans from all walks of life, it's clear that the face of metal, especially to outsiders, is, unfortunately, noticeably white. But under the surface, an unmistakable Native American presence flourishes, waiting for the world to recognize its vitality.  In honour of Native American Heritage Month, I've decided to gather together a few articles to share with you, hoping to give you a little look into the Native American metal community. A little Show and Tell, if you will (as I recover my wits from the...

After a glorious several weeks of dark escapades and moonlit festivities, we have reached the end of the Spooky Season. Throughout this, I've enjoyed gifting you a menagerie of songs from different reaches of the subcultural music world. This week, we shall wrap up this series with a brief, final spotlight on a classic tune that encapsulates the theme of our ghoulish Soundscape. For a last hurrah, this is the aptly-named "Halloween" by Siouxsie and the Banshees.  Like I said, I shall be brief. Siouxsie and the Banshees, formed in London, England in 1976, originally rose to prominence as a unique presence in the punk scene. A major cause of this may have been their artful, experimental instrumentation and innovative guitar techniques, all of which earned them the additional title of "art rock." Their pivotal 1981 album Juju , from which our song comes, lent a largely influential hand to the flowering post-punk genre, the precursor to gothic rock. Although Siouxsi...

  Graveyard dirt has been an important component in spell work for centuries, featuring in rituals from all across the globe, from ancient cultures even to modern witchcraft. Its significance comes from its connection to the dead, to the world beyond to veil, and to the churchyard that graves used to border, steeping it in enough power to aid in whatever magic for which its used. Although the name of the ingredient sounds ominous, it can be used for positive or good-intentioned outcomes just as often as negative ones. However, if the person in question uses the graveyard dirt in deals with too dark of forces, he may find himself trapped in a dance with the devil. In this week's song, we explore that outcome. Here is "Ruumiinmultaa" by Korpiklaani. First, I must say that in recent weeks, Korpiklaani has become one of my favorite bands, so imagine my delight when I found a song that was perfect for this series. But who is this band of whom I've grown fond? Korpiklaani ...