Dance Music and Moral Panic

The British Culture has a long history in regulating pleasures associated with parties. A fear seems to exist of the unregulated body that dances and is intoxicated…It is therefore not surprising that the acid house parties; that heady mix of house ‘n’ E events in 1998, were followed by various moral panics. (Rietveld, 1998, pp. 253-4.) The dance music genre that became popularised in the late 1980s led to the media amplification and misunderstanding regarding issues surrounding drug misuse as well as the creation of a moral panic in mainstream society. In this assignment an examination of this aforementioned misunderstanding and the connection between musical genres, subculture and labelling will be discussed in relation to Cohen’s theory regarding moral panics. An examination of two differentiating genres of music and culture will be given to assess the relevance of Cohen’s ontological assumptions regarding the creation of moral panic. An assessment of how the media can heavily affect societal norms regarding definitions of deviance will also be considered.

The politicisation 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 1970s. It can be suggested that in order to critically examine Cohen’s 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 marginalised group or subculture is labelled as deviating from the norms and values of any given society. Once this deviation has occurred scholars such as Thompson (1998) suggest that these individuals or groups are labelled 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 1960s surrounding the mods and rockers subcultures Cohen hypothesised that there is a clear relationship between the media and the creation of society’s deviants being labelled as responsible for societal problems.

It can be argued that such shifts in public opinion regarding certain groups within society occurs through many varied processes such as “moral passages” in which societal definitions of deviance are ever changing (Gustfield, 1967) or due to the very labels given to individuals deviating from the excepted norm (Lemert, 1967). In his study Cohen identified in more detail the “moral passage” that occurred in relation to the mods and rockers movement he studied. He hypothesised that through a process of simplification of the issues regarding deviant groups within society the stigmatisation 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 theorised that once this stigmatisation 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 institutionalisation of sub-cultures by major institutions within society such as the police and the media (Cohen, 1980, p. 88 ). Followers of Marxist ideological assumptions take this idea further and theorise that this process is particularly prevalent in the homogenisation 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 institutionalisation of deviating groups thus resulting in the protection of the ruling classes (or bourgeoisie) and the privileges that they posses. It can be theorised 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 1970s 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 DIY ethic (do it yourself) as a way to promote independency and self-development without the need of others or experienced people to do it for them. It is theorised that within punk performances, the lyrics are more important than the 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 Cohen’s theories concerning moral panic the sub genre known an Anarcho-Punk can be considered. Anarcho-Punk is punk rock that promotes Anarchism and other anarchist ideas that developed during the late 1970’s following the start of the original punk music genre. Although more recognised bands such as the “Sex Pistols” used anarchism as part of their shock 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 O’Hara (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 (CND) in order to work alongside while doing gigs and raising awareness of socio-political issues.

It could be theorised that many other bands such as ‘Conflict’ and ‘Flux of Pink Indians’ also adopted the anarcho-punk style as part of their ideology recognising it as a socio-political ideal rather than a means to gain further popularity. It can be theorised that the intention of anarcho-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 Cohen’s theoretical assumptions regarding societal panic the aforementioned genre of anrcho-punk can be used as an example of how a misunderstood sub-culture within a popular music genre can be demonised 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 proclaims “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 Cohen’s thesis the simplification and stigmatisation of those within the punk music genre occurred very quickly. Those involved in the punk music scene 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 recognised 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 politicisation 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, cultish and disgusting causing in one incidence a man to smash his television set in order that 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 institutionalisation of the culture and its ideals began. The popularisation within the fashion world of punk aesthetic lead one scholar to suggesting that; Whilst the punk style was revolutionary when it first appeared, even as early as the 1980s 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. 10) It can be argued from a Marxist perspective that this institutionalisation 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 hypothesised through an examination of the punk music genre that Cohen’s theory regarding the processes involved in the creation of moral panics is advantageous in considering societal anxieties and the labelling of deviants. As the scholar Harron (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 Cohen’s thesis regarding the creation of moral panics. The process, or “moral passages” that Cohen theorises regarding moral panics can be observed through an examination of the initial outrage regarding the punk scene, to the eventual institutionalisation and popularisation of the culture within such institutions as fashion. Another genre in popular music culture that can be examined in relation to Cohen’s theory regarding moral panic is that of the dance music or rave scene. This genre, which emerged in the late 1980s, 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 developed into differentiating sub-genres such as “dubstep.” 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 theorised that the main moral panics regarding the culture of rave music centred around the controversial drug misuse of those involved in the culture and in particular the use of MDMA (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 media’s response to the tragic death of a young girl called Leah Betts in 1995 due to what was labelled 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 conveyed 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” (Stott, 1989.) It is for example interesting to note that the aforementioned and unfortunate death of Ms Betts 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 Bett’s death can be seen as yet another example of the media 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 stigmatised and labelled 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 stigmatisation of the young people involved in the rave music culture by suggesting that participants 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 theorised 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 institutionalisation of the culture into a socially and morally acceptable form. A good example of this can be seen in the government’s reassessment of legislation regarding the fining of individuals responsible for the promotion and conduction of unlicensed outdoor raves. Originally the average fine for such organisers 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 organising illegal outdoor dance music events.

Another example that can be given of major institutions within society attempting to protect the established moral norms can be seen in the BBC’s decision in 1989 to ban all lyrical content that contained references to the word “acid” (Takiff, 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 Cohen’s theory regarding moral panic and the rave music culture it can be hypothesised that there is a parallel between the predicted stages of development as outlined by Cohen’s theories (such as simplification of the issues involved) and the creation of social anxiety regarding the aforementioned cultural phenomenon. In regards to the rave music culture the media used provocative newsworthy stories such as the death of Ms Bett’s to oversimplify more complex issue within the cultural movement leading to individuals involved being labelled 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 institutionalisation 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 theorised 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 theorised that Cohen’s 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 1970s occurred due to the medias simplification of the socio-political ideology of the young people involved in the scene. The media at the time of the movement chose to amplified 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 dystopian society that was attempting to be expressed by individuals involved in the culture.

This eventually led to the institutionalisation of the punk movement, which can be seen in the introduction of punk aesthetic into mainstream fashion. A brilliant example of the institutionalisation 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 institutionalisation of the punk movement is clearly conveyed through the use of irony and sarcastic humour that seems to ridicule the socio-political ideologies originally expressed by the punk movement and almost demoralises the politicisation of youth culture in the 1970s. In regards to the rave music culture it can be suggested that Cohen’s theories are again advantageous when critically examining the social phenomenon that occurred during the moral panic regarding the scene.

It can be theorised 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 stigmatisation 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 institutionalisation of the culture was created through the introduction of legislation that gave institutions such as the police more power to control such events and the perceived hedonistic drug taking that occurred within outdoor raves. It can therefore be theorised that when critically examining these controversial aforementioned popular music cultures (or any genre or culture that creates social panic) an examination of Cohen’s ontological assumptions regarding the stages of moral panic can be advantageous in understanding the processes that equate to the creation of societal anxiety at perceived deviant and morally corrupt groups.

REFERENCES

Abercrombie, N. et al. (2006) The Penguin Dictionary of Sociology. (p. 45). London: PenguinBooks. Cohen, S. (1980). Folk Devils and Moral Panics: Deviance and Moral Panics. (p. 80). Oxon:United Kingdom. Routledge. Greig, S., McCarthy, M., Peacock, J. (1976, December 2). An Essay on Punk Rock HeavyMetal. The Daily Mirror, p. 1. Gustfield, J. (1967). Moral Passage: The symbolic Process in Public Designations of Deviance,vol. 15, No. 2. (pp. 175- 188). Hubbard, S. (2007). Pretty Vacant. Retrieved from The New Statesmen website: http://www.newstatesman.com/arts-and-culture/2007/06/punk-art-1970s-sexual-capture) Kruger, J., Skelton,T., Valentine, G. (1998). Cool Places: Geographies of YouthCultures: Ravers’ Paradise? (pp. 28-31): London: Routledge.

Leglistation. (1994). The Criminal Justice and Public Order Act. Retrieved from theLegislation website: http://www.legislation.gov.uk/ukpga/1994/33/contents Lemert, E. (1967). Human Deviance: Social Problems and Social Control. (pp. 56-59).Englewood Cliffs, NJ: Prentice-Hall. McDermott, P. (2000). Still
Raving: Social Reaction to Ecstasy in Leisure Studies vol. 19, No. 3. (pp. 44-46).

Ox, P. (1994), Culture Scope: Australian rock music and its audience, vol. 40, No. 4. (pp. 7-18) Richard, S. (1989) A review of A Midsummer’s Night Dream Rave Party: The Daily Mirror. Scott, S. (2009). The Problem of Rave Parties. Retrieved from the Popcenter website:http://www.popcenter.org/problems/rave_parties/ Rietveld, H. (1998). Repetitive Beats: Free Parties and the Politics of DIY Dance Culture inBritain. (pp. 253-254). London: Verso. Takiff, J. (Executive Producer). (1988, July 24). Philadelphia Daily News [TelevisionBroadcast]. Philadelphia, U.S.A: Symbian Television. Thompson, K. (1998) Moral Panics: Why the Panic? (pp. 15-18) London: Routledge. Willis, P. (1978). Profane Culture: Moral Panic. (pp. 173-178). London: Routledge & KeganPaul. Young, S. (1995). Ecstasy pill puts party girl in coma. Retrieved from The BBC News website: http://news.bbc.co.uk/onthisday/hi/dates/stories/november/13/newsid_2516000/2516593.stm BIBLIOGRAPHY

Abercrombie, N. et al. (2006) The Penguin Dictionary of Sociology. London: Penguin Books. Cohen, S. (1980). Folk Devils and Moral Panics. Oxon: United Kingdom. Routledge. Greig, S., McCarthy, M., Peacock, J. (1976, December 2). An Essay on Punk Rock HeavyMetal. The Daily Mirror. Gustfield, J. (1967). Moral Passage: The symbolic Process in Public Designations of Deviance,vol. 15, No. 2. (pp. 175- 188). Hubbard, S. (2007). Pretty Vacant. Retrieved from The New Statesmen website: http://www.newstatesman.com/arts-and-culture/2007/06/punk-art-1970s-sexual-capture) Kruger, J., Skelton, T., Valentine, G. (1998). Cool Places: Geographies of YouthCultures: Ravers’ Paradise? (pp. 28-31): London: Routledge.

Legislation. (1994). The Criminal Justice and Public Order Act. Retrieved from theLegislation website: http://www.legislation.gov.uk/ukpga/1994/33/contents Lemert, E. (1967). Human Deviance: Social Problems and Social Control. (pp.
56-59).Englewood Cliffs, NJ: Prentice-Hall. McDermott, P. (2000). Still Raving: Social Reaction to Ecstasy in Leisure Studies Vol. 19, No. 3. (pp. 44-46).

Ox, P. (1994), Culture Scope: Australian rock music and its audience, vol. 40, No. 4. (pp. 7-18) Shuker, R. (2005). Popular Music: Key Concepts. New York: U.S.A: Routledge. Shuker, R. (2001). Understanding Popular Music. New York: U.S.A. Routledge. Richard, S. (1989) A review of A Midsummer’s Night Dream Rave Party: The Daily Mirror. Scott, S. (2009). The Problem of Rave Parties. Retrieved from the Popcenter website:http://www.popcenter.org/problems/rave_parties/ Rietveld, H. (1998). Repetitive Beats. London: Verso.

Takiff, J. (Executive Producer). (1988, July 24). Philadelphia Daily News [TelevisionBroadcast]. Philadelphia, U.S.A: Symbian Television. Thompson, K. (1998) Moral Panics: London: Routledge.
Willis, P. (1978). Profane Culture. London: Routledge & Kegan Paul.