SMASH THE CHARTS – POP, POLITICS, AND PUSSY RIOT

by Mike Vinti

It often seems today that everything exists in its own sphere — music in one box, politics in another, and visual art in another still. This is self-evident when you take a look at a lot of popular culture. For example, the rise of TV shows and films, such as The Interview, that use politics as backdrop for their plot, yet fail to engage in any substantial political critique.

The same thing has been taking place in music for the past twenty years, and musicians who have attempted to rectify this have either been relegated from their illustrious chart positions, or left to the underground.

This separation has made it harder for writers and artists of all stripes to experiment with the boundaries of their medium, and there’s been a death of explicitly political works of culture which make into the mainstream because of this. Of course, challenging the dominant perception of your chosen field always creates a stir. However it seems now, more than ever, musicians aren’t even being afforded the chance to do that.

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