The Nameless på scenen på Hotel Phønix 19. september 1964 før det går løs med Brønderslevs første pigtrådsbal. Fra venstre: John Nielsen (rytmeguitar og sang), Jens Dalgaard-Nielsen (singleguitar og sang), Mogens Jensen (trommer) og Per Hansen (basguitar og sang).

 

”En støjende larm som ikke var til at holde ud at høre på”, ville være en måde, hvorpå forældrene ville beskrive de unge voksne i 1960’ernes musiksmag. Pigtrådsmusik, blev det også kaldt. Udtrykket i sig selv startede som et nedladende udtryk mod den danske rockmusik, som refererede til den ”støjende” guitarlyd. De unge opfattede dog den elektriske guitar (og de andre elektriske instrumenter) som en sød harmoni i deres unge og oprørske ører.

For lige præcis ungdomsoprøret spillede en stor del i de unges nye musiksmag. Faktisk var musikken en essentiel del af oprøret. Selve kernen bag de unges motivation til at gøre oprør var, at man ville ændre verden. Både det individuelle som ens egen tøjsmag og musiksmag skulle ændres – men også på et makroniveau, hvor hele samfundets forståelse skulle ændres til at være et bedre sted for alle at være.

Men lige præcis hvilken del spillede pigtrådsmusikken for de unge? I begyndelsen af 1960’erne var der 100.000 flere unge mellem 14 og 17 år end blot 10 år tidligere. Det medførte at folkeskolerne udviklede en mere fri pædagogik, der lagde vægt på børnenes selvstændighed. Oveni dette blev skolegangen og uddannelse prioriteret langt højere og velfærdsstigningen i Danmark gav forældrene mulighed for at kunne forsørge deres børn indtil de var færdige med henholdsvis skole og lærepladser. Dette resulterede i, at unge fik mere fritid mellem hænderne – og lige præcis her kommer musikken ind i billet.

Musik, dans, sex og stoffer fylder en større og større del af det unge samfunds identitet. Selvom skolen og familien havde den største indflydelse for de unge målt på tid, så var det de førstnævnte, der VIRKELIG fyldte tankerne på de unge i 1960’erne. De unge ønskede sig instrumenter og pladespillere i konfirmationsgave, så de enten kunne lære at spille instrumenterne selv eller lytte med på nyeste plader. De tog stoffer (primært LSD og marijuana) til store festivaller. De gjorde sex til et åbent samtaleemne.

Disse faktorer stred mod forældrenes holdninger om, hvad der var rigtigt og forkert blandt unge – jo mere forældrene hadede de unges musik, desto mere elskede de unge det. Som nævnt tidligere, så var dette netop kernen ved ungdomsoprøret; ændr den nuværende tilgang til hverdagen til noget nyt – skab noget som alle kan deles om og glædes ved. Musik.

 

Lavet af Oliver Dyrberg Hald

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