Everyone’s a Little Bit (musically) Fascist

When the Broadway musical Avenue Q was shown in March 2003, I wonder if the producers ever realised that they were going to produce a cult hit. Even stepping into 2009, I have tunes from the musical stuck in my head. Avenue Q is still on my wish list to see, but we will always have the soundtracks to listen to while we wait.
        I spent my New Year celebrations in Newcastle with friends, fellow musicians past and present, tutors and students from regional band camps. The convergence was held at The View Factory in Newcastle as the Civic Big Band helped everyone Swing Into ’09. The night was a lot of fun and musically enjoyable, listening and dancing to music of a genre that isn’t dead but still alive and kicking. The troubles of 2008 were forgotten as we shared drinks, reminisced about past years and camps, and discussed as to what the future may hold for us.

But what does this have to do with fascism, especially in music?

My trip to Newcastle wasn’t only an opportunity to celebrate 2009 with great friends, but also to stir the “musical community” pot. With André Rieu performing in Newcastle in 2009 and discovering a Facebook group that labels André as a “musical turd”, there would be no better opportunity to bring to light the theory that everyone is a little bit “musically” fascist.

Musical fascism started off as an early theory at the New England Band Camp in 2008, held at Lake Keepit. The staff listing was a little bit revolutionary as well, with the return of a couple of old faces (not that old) and bringing in tutors that have tutored outside of the common regions (such as New England and Riverina). About halfway through the week, our bass guitar tutor was having a discussion with a percussion tutor about different musical topics when he mentioned the concept of “jazz fascism”. He mentioned that every now and then, you will find amongst a group of people someone that believes so strongly in jazz that if you discredit or criticise the music of the genre or an artist that they will be shocked, appalled, insulted, and will immediately jump to defend jazz. This would most likely encompass other genres being insulted or listed as being “impure” in comparison with jazz.
        To apply the “jazz fascism” theory, the tutor looked around the staff room and spotted the saxophone tutor. “Watch this, I bet you he’s a jazz fascist,” said the bass guitar tutor to the percussion tutor, as he made the following statement audibly clear for the saxophone tutor to take notice. “I think that every album that [John] Coltrane has ever made is s***!”
        The saxophone tutor froze, slowly turned around with a look of disbelief, pain, musical suppression, and disproportionate anger as he remarked with an exasperated “WHAT?!” The bass tutor looked at the percussionist tutor and said “See, jazz fascist.”

If there was such a thing as jazz fascism, then it would only be too simple to reinvent and apply this to classical music. If this was to be applicable to classical music, then it would not be fair to call it “classical fascism” since it would be identical to its jazz counterpart. Instead, we would have something known as “music fascism”.
        There was a great temptation to wear my André Rieu shirt from the Sydney concert, but that would only give away the ordeal immediately. The timing had to be unexpected, out of the blue, and within a group of people so everyone would share the dismay and indignation together.
        So prior to New Year celebrations, I tested the theory with a small group of friends as we waited to go to the beach. A silent moment occurred, which allowed me to pipe up with “So are you guys looking forward to André Rieu coming to Newcastle next year?” This was said without sarcasm to show that I was innocent and without bias. The response was hilarious with looks of disbelief and musical superiority. “Oh my f***ing God! Are you serious?!” “He’s the worst musician in the world!” “His playing is s***!” My response, “Geez, have we found some music fascists or what.” Then there might have been another situation where I approached someone and said, “Hey, I noticed you joined that “André is a musical turd” group on Facebook.” They would’ve acknowledged, thrown their own quick comment about André Rieu, and then I would’ve said they were such a fascist. Again, looks of horror, surprise, and the feeling of their beliefs insulted before they realised that they needed to get another drink. Then the whole ordeal was forgotten. Despite “tall poppy syndrome”, poor purism, and erroneous elitist beliefs on the matter from these people, they were found out to be musically fascist within their own art/study of classical music.
        Even I, and my family would be the first to agree, will admit that I can be musically fascist every now and then in different areas of music. For the people that are really in depth with their art or industry it is more prevalent. I already demonstrated with classical and jazz musicians, but even people involved with popular genres of music hold high their beliefs as they look to suppress other people for not following and/or opposing their ideals… I mean taste of music. And then some take this further by being quite racist… sorry, I mean musically discriminative, simply to aid their cause of being correct within their own system.
        And if it isn’t people within their own art or industry, then you have the people that follow these movements or genres. Rock fanatics are a classic example with people we would see in movies wearing shredded jeans, torn shirts, maybe long hair, with their hand in the “horns up” position yelling out “You can’t stop the rock!!!” Even church-goers around the world that are fanatical about the contemporary Christian movement will did their heels in when you mention how boring and not very enticing the music is, quickly making statements that make you feel less spiritual and perhaps not so much in touch with God as they are.
        Then we have the gang wars breaking out as genre comes face to face with genre, and likewise with musicians, ensembles, and artists. At times it is almost as comical as the huge television station face-off from the movie The Anchorman, as news presenters, weathermen and camera crew face off against each other in a territorial war for ratings and who has the best station.
        Let’s face it, we can all be musically fascist at some point or other. We all become the dictators of our own musical taste and try to influence people to join our belief(s). For many years I was stirred for being strongly opposed to John Williams and his movie compositions, but today I actually appreciate and use some of his music to teach or conduct with. In fact, I think musical fascism can be a good thing on a temporary basis since it shapes who we are and what we like. At times it may even encourage us to think as to why we do like, dislike, or become heavily engrossed, in that particular genre or style of music. We go beyond the trends of following society or going against the grain, and develop our own niche as we assemble a part of our personality influenced by music. I don’t think people truly believe or see how much of an influence music can have on their life and lifestyle, branching out to the emotional, cognitive, social, physical, and (to a degree) spiritual components of their life.
        The next time you listen to a piece of music or someone asks/insults you for your taste or path taken in music, why not stop and think about why you do like or dislike that particular belief you have embraced? Perhaps we can all learn something new from taking the time to discuss and think about the music we enjoy, instead of being caught up in the heat and fast-paced world of “music fascism”. Otherwise, what's the fun in being indoctrinated and engrossed with our own beliefs without allowing ourselves to be challenged or influenced outside of our personal boxes?