Rock Candy

It has been observed many times by many music critics that the most successful popular music always has been sentimental. For an illustration of this insight, one need look no further than the Beatles. As Simon Frith observed (“Towards An Aesthetic of Popular Music”):

Twentieth-century popular music has, on the whole, been a nostalgic form. The Beatles, for example, made nostalgic music from the start, which is why they were so popular. Even on hearing a Beatles song for the first time there was a sense of the memories to come, a feeling that this could not last but that it was surely going to be pleasant to remember. (142)

I thought of Frith’s insight while driving to the store today, when I happened to hear on the radio Edison Lighthouse’s 1970 one-hit wonder, “Love Grows (Where My Rosemary Goes)” (to hear, go here). Subsequently, I thought of the fundamental opposition between so-called “hard” rock and “soft” rock. The structural oppositions of hard and soft, of course, are designations of an underlying aesthetic distinguishing two distinct kinds of musical taste. While the sexual innuendo inherent in these designations can scarcely be denied, more importantly, each form comprises an aesthetic suggesting certain values. There are those who like their rock hard--that is, loud, and, by implication, their whiskey straight and their meat rare. In contrast, those who like their rock soft prefer the volume low, fish or chicken to beef, beer to bourbon, and are highly likely to be girls, pansies, or pussies (from the perspective of those who like hard rock). Thus their oppositional tastes are structured around the following sets of oppositions, and these structural oppositions determine virtually all discourse on popular music today:

Rock/Pop:
Hard/Soft
Raw/Cooked
Masculine/Feminine
Guitars/Keyboards (and Strings)
Tough/Effete
Straight/Gay
Authentic/Artificial
Feeling/Intellect
America/Europe