LMFAO’s infectious hit “Party Rock Anthem” is ripe for examination, especially when considering its intriguing title. While the music video’s zombie theme is visually captivating, it’s the song’s name itself that truly demands attention. Is “Party Rock Anthem” a genuine rock song? Or is it something else entirely, cleverly masquerading under the “rock” banner?
Despite its title and a direct nod to rock royalty Led Zeppelin, “Party Rock Anthem” is undeniably a dance-pop track through and through. This begs the question: Is LMFAO deliberately rejecting conventional “rock” music, or are they ingeniously adopting its spirit into a fresh, modern context? What is the true message behind labeling a dance track a “rock anthem”?
From the iTunes “Pop” section
Party rock is in the house tonight
Everybody just have a good time
And we gonna make you lose your mind
Everybody just have a good time
The song’s opening chorus boldly declares, “party rock is in the house tonight,” immediately pushing us to grapple with the complex definition of “rock” as a musical category. It’s easy to instinctively classify this song as “dance pop,” and most listeners likely would. However, to understand the nuances of “Lmfao Rock Anthem,” we need to establish a common ground for understanding these musical labels.
Musically, the distinction between “rock” and “pop” often lies in instrumentation. Traditional “rock” music typically centers around guitars, supported by acoustic drums and electric bass. In contrast, “pop” music tends to lean more heavily on electronically produced sounds for its sonic palette. While rock has incorporated electronic elements over time, guitars usually remain prominent. A quick look at the iTunes top “rock” songs list confirms this. Scanning the artists and listening to previews reveals the core sound of contemporary rock. Now, compare this to the iTunes top “pop” songs list. The difference is striking: significantly more synthesizers and fewer guitars in the pop selections. It’s therefore logical that iTunes categorizes LMFAO within the “pop” genre.
This lengthy explanation clarifies that, from a purely musical standpoint, “Party Rock Anthem” isn’t “rock” music. But what about the non-musical connotations of “rock”? Consider everyday phrases like:
“This rocks.”
“Let’s rock.”
“Rock out!”
“I’m rockin’ the new Amazon Kindle.”
“This party is rocking.”
These expressions of enthusiasm, energy, and dynamism are clearly rooted in the energetic essence of rock music but can describe non-musical things. This is where LMFAO taps into the concept of “rock” in a song devoid of rock instrumentation.
However, there’s a crucial distinction. The examples above use “rock” as a verb. Something “rocks” or is “rocking.” In “Party Rock Anthem,” “rock” functions solely as a noun, a “thing” that is “in the house.” We’ve established that this song isn’t “rock music.” So, if “rock music” isn’t “in the house,” what is?
LMFAO ingeniously crafts a new definition for “rock” as a noun. “Rock” becomes a state of mind, an atmosphere, rather than a specific music genre. LMFAO essentially takes the cultural evolution surrounding “rock” music and pushes it to its next stage: detaching it from its musical origins entirely.
It appears that traditional rock music, in a sense, is declared obsolete in the context of “lmfao rock anthem”.
But LMFAO isn’t necessarily aiming to kill rock music, nor are they mocking it by labeling a dance-pop song “Party Rock Anthem.” Instead, they are capitalizing on the cultural benefits of “rock” culture without relying on “rock” music. The broader music landscape allows them to do this effectively. “Rock” musicians are no longer the dominant cultural forces that once defined American popular music with iconic guitar solos and powerful chords. In today’s diverse “rock” scene, encompassing everything from the Insane Clown Posse to Foster the People, no single “rock” authority exists to challenge a non-rock “Party Rock Anthem.”
Black and white photo of Led Zeppelin performing live, representing the iconic era of rock music and its cultural dominance.
This former rock dominance was spearheaded by bands like Led Zeppelin, who LMFAO seemingly dismisses in the lyrics:
We party rock yea! That’s the crew that I’m repping
On the rise to the top
No led in our zeppelin
LMFAO clearly positions themselves as ambassadors of this new, rock-less “rock” and embraces it wholeheartedly (“that’s the crew that I’m repping”). They also envision themselves and their rock-less rock ascending to greater heights.
Yet, their vehicle for this ascent is still a “zeppelin,” albeit a “led”-less one. This reflects how LMFAO has adopted the cultural essence of rock (zeppelin) while discarding its musical and sometimes pretentious, somber thematic elements (led). They believe they are unburdened by these constraints, enabling them to create rock-less rock music entirely on their own terms.
Conclusion
Child's crayon drawing of a tree, sun, and flowers, symbolizing a simplistic yet bold and unconventional artistic expression.
LMFAO, a dance-pop duo, is boldly promoting their “party rock” music, a genre that lacks the musical characteristics of rock but channels its broader cultural essence. It’s tempting to dismiss this as a careless appropriation, akin to comparing a crayon drawing to a nineteenth-century Impressionist painting simply because both depict a tree.
While such a critique holds some merit, it’s important to acknowledge LMFAO’s audacity in challenging the conventional use of “rock” in music. Historically, rock music itself emerged from defying social and musical norms. Perhaps it’s a natural progression that as “rock” becomes the established norm, a new form of “rock,” like “lmfao rock anthem,” arises to challenge and redefine it.
