English-Cultural Studies- Generation X Essay Example for Free

English-Cultural Studies- Generation X Essay Throughout the years, rock and roll stars have greatly emerged in the consciousness of every American youth. In a world that appears to be uncontrollably spinning, the pied pipers of rock have acted as jesters, pillows, and poets for every incoming generation. The forerunners like Sex Pistols, the Who, the Doors, the Stones, the Beatles, and other rock and roll Hall of Famers, many of whom have become millionaire icons, rebelling against the society and pulling out the rich and seemingly boundless vein of alienation and angst among teenagers of the Generation X. During the 1990s, the rise of grunge music characterizes an imperative element of what has been the alternative rock trend in that decade. Nirvanas Kurt Cobain made it to the pinnacle higher than any other rock and roll stars. Like several other rockers, Kurt Cobain became a sensation through the standards of his times. Generation X considered Kurt Cobain as their poet emeritus, he was the Richard Cory of his generation, joining the ranks of Elvis, Keith Moon, Jim Morrison, and Brian Jones as the white icon who apparently had everything, but threw it away. Generation X or Gen-X came into its own throughout the later part of 1980s and early 1990s. An inclination for grunge music epitomized by the band Nirvana expressed the disenchantments of a generation ceaselessly destined to exist in the gloominess of its elders. As it is ordinary in generational shifts, Gen-X philosophy has considerable inferences of disbelief against things held dear to the earlier generation. Accordingly, grunge music became the defining character of Generation X, who came of age throughout this period. Generation X Generation X consists of individuals who finished high school between the periods 1989 and 1996 (Bozenda 2). However, laggards have also been identified beyond those years, but were already considered the minority of their graduating class. In its glory days, Generation X, through its music, boasted tremendous recognition. For Generation X-ers, MTV was their sanctuary, and has been pronounced, the only TV channel that did not care just as much as them (Bozenda 2). Grunge saturated in this stretch of time and, without a doubt, it fit the bill. There were different classes of Generation X-ers: the light X-ers were typically just into the music and could not be easily identified; the medium X-ers were way into the music, and do really look the part; the heavy X-ers took the way of life to its limits, and were concerned with nothing but the music; and the major X-ers who are identifiable even these days, as they tend to talk slowly, typically wear clothes that are older than they are or, clothes that they did not buy, and feel more comfortable in a gloomy room (Bozenda 2). I. Origins of Generation X Although the precise dates of birth defining Generation X are highly disputed, on the whole, this age demographic consists of people born in the 1960s and 1970s. As an expression, without existing meaning, the term was made the title of a 1964 pulp novel, and was chosen as the name of young Billy Idol’s punk rock band (â€Å"Generation X†). Moreover, Douglas Coupland took it from a sociological text of Paul Fussell, which he later popularized in his book Generation X: Tales For An Accelerated Culture (â€Å"Generation X†). It was only after the publication of Couplands book that the media started to prevalently exploit the term as a name for the generation, by introducing Generation X as a group of undereducated, alienated, flannel-wearing lazybones with body piercing who had worked at McJobs and drank Starbucks coffee. Generation X has a great deal to be confused about: Prozac-happy therapy, the lingering presence of AIDS where love can turn into death; drive-by shootings, declining prospects, few good jobs, unparalleled levels of teen suicide and violence; and absentee parents striving to succeed in the two-income economy, Beavis and Butthead mean-spiritedness sufficing as social interpretation, and an increasing prejudice in particular sectors toward the homeless and poor (Hill). Generation X has undergone most of the 14 years of Reagan-Bush-Clinton economics, particularly the governmental policies of free trade (Hill). As a result, Kurt Cobain slammed, thumped and wailed his guitar against the converging walls of the putrefying society around him, and the existing generation followed into his direction feeling that they as well are experiencing the societal strap to be getting tighter. Unfortunately, in due course Cobain could not break out; therefore, taking the easy way out or perhaps the difficult one, by taking his own life. Generation X-ers Music As categorized through music: light X includes Pearl Jam, Nirvana, and other foremost radio bands; mid-X includes all of the above, and bands like Kyuss, Monster Magnet, as well as other bands that started small but eventually got big; heavy X also includes all of the above, Soul Coughing, Fu Manchu, as well as other bands that remained small but got major underground progress; and major X, which also includes all of the above, along with Desert Sessions, The Atomic Bitchwax, and bands that remained indie or stayed underground (Bozenda 2). Generation X music commenced in 1989, peaked in 1994, fell inconsistent in 1997, and eventually disappeared in 2000 (Bozenda 2). The year of 1996 proved to be the final year wherein grunge musicians were very much dynamic, seeing that many lasts had taken place during this year. The Screaming Trees and Soundgarden released their respective last studio albums entitled Dust and Down on the Upside; Alice in Chains gave their concluding shows with their estranged, ailing front-man Layne Staley; Pearl Jam released their last chart topping album entitled No Code; and Nirvana released their only album following the greatest hits album Nirvana in 2002, which is the live album entitled From the Muddy Banks of the Wishkah. Over the few ensuing years, grunges usual attractiveness promptly died away. Several grunge bands have continued touring and recording but with more limited success, most notably, Pearl Jam. I. The Grunge Music The term grunge was coined in the late 1980s by a British journalist to depict the style of music a group of bands played during the period in the Seattle area (Schmitz). During the period, the most recognized grunge band was a group called Green River, whose fame was confined within the Seattle area. Accordingly, once in a while, grunge music is referred to as the Seattle Sound in view of the fact that it was created as a subgenre of alternative rock played by bands from the state of Washington, mostly in the Seattle area, during the mid-1980s. Grunge is generally categorized through its sludgy guitar sound that makes use of a high level of feedback, fuzz and distortion effects. Grunge combines elements of heavy metal and hardcore punk, and is also normally characterized by heavy drumming, dirty guitar, and angst or apathetic-filled lyrics, although various bands performed with more credence on one or the other. Grunge music shares a similar lyrical concern and raw sound with punk genre. However, grunge involves more complex instrumentation, dissonant harmonies, and slower tempos, which is indicative of heavy metal. Some individuals linked with the growth of grunge, including the Melvins and Sub Pop producer Jack Endino, described grunges fusion of heavy rock authorities such as Kiss as musical provocation (Grunge 1). Grunge artists regarded heavy rock bands as cheesy but even so took pleasure in listening them. Buzz Osborne of the Melvins illustrated it as an endeavor to see what extreme things bands could carry out and yet pull off. In the early 1990s, Nirvanas signature stop-start song arrangement became a genre standard of the time. II. Grunge Music Scene Notwithstanding the fact of being looked down upon by most critics, glam metal bands, such as Warrant, Poison, and Motley Crue had been taking over the charts, particularly in the United States, during the 1980s. Glam metal bands was famous for their macho, gaudy clothing style, obsequious riffs, misogynist lyrics, and an apparent lack of social responsiveness, all done for the mere purpose of entertaining and staying ahead of the race of drawing mainstream audiences. These characteristics were well-liked throughout the 1980s, but they began to have the differing effect on audiences towards the last part of the decade. Most music critics and grunge fans believe that grunge progressed as a well-liked genre and as a result accepted by mainstream audiences as a response to the dwindling attractiveness of glam metal. Accordingly, the popularity of grunge music abruptly contrasted to glam metal. When the public realized the viable alternative to heavy metal music, the attractiveness of glam metal began to disappear as the recognition of grunge began to soar. Inspired by indie rock, heavy metal and hardcore punk, the early grunge movement came together around Sub Pop, which is a Seattle independent record label. Grunge bands were renowned for their indie approaches and their negative response to mainstream and theatricals success. Grunge became commercially flourishing in the first half of the 1990s, largely as a result of the release of Pearl Jams Ten album and Nirvanas Nevermind album. The accomplishment of these bands heightened the recognition of alternative rock and made grunge the most popular genre of hard rock music of the decade. However, a number of grunge bands were not comfortable with this popularity, as the genre became intimately linked with Generation X in the United States, given that the understanding of each rose at the same time. Although by the late 1990s the majority of grunge bands had faded or disbanded from public view, their previous impact persists to influence the most modern rock music today.