Music Exam 2

Jazz Rock Fusion

Elements of jazz are found in many genres, but in some cases, a distinct hybrid style emerged Miles Davis, "Miles Runs the Voodoo Down" (1970) Recorded a series of fusion albums in the late 1960searly 1970s Mahavishnu Orchestra, Live 1974 Lead by guitarist John McLaughlin (played with Miles) Psychedelic mysticism and intense musicianship Rock band + violin Frank Zappa, "Peaches En Regalia" (live, 1975) Guitarist and composer Expanded the use of jazz and classical in rock

How did their music compare to Led Zeppelin's?

For their crudeness tley were reviled by most rock critics, who perceived them to be playing to the lowest common denominator of rock taste Yet they also proved to be wildly popular during the fust years of the new decade, and the disparity between critical opinion and popular appeal led to them becoming a sort of cultural phenomenon, as writers continually puzzled over what fans could appreciate in their music Of the many articles written about the band, the most provocative was by Richard Goldstein, whose assessment of Grand Funk contains many of the same points as John Stim's discussion of hard rock, but more Ð/mpathetically and with a sharper eye toward the politics of popular culture

Hitsville, U.S.A.: Motown Records

Founded (as Tamla Records) by songwriter and producer Berry Gordy, Jr., in 1959 (B-E-R-R-Y) First major label to exclusively feature African American pop Music and performer images carefully constructed to appeal to wide audience In-house songwriting and production Slick sound with meticulous arrangements featuring the core "house band" of studio musicians known as the Funk Brothers Performers coached in etiquehe, fashion, and dancing Drew criticism from some parts of the black community for embodying an assimilationist philosophy Between 1964 to 1967: 14 #1 pop singles, 20 #1 R&B singles, 46 additional Top 15 pop singles, and 75 additional Top 15 R&B singles Moved from Detroit to Los Angeles in 1971

What event is widely credited as marking the "birth" of hip-hop?

Friday Marks 44 Years Since Hip-Hop Was Born in The Bronx THE BRONX — Friday marks 44 years since DJ Kool Herc threw a back-to-school party in the basement of a Sedgwick Avenue apartment building — an event that is largely credited with giving rise to hip-hop

Punk Roots

Garage bands (1960s) • The Kingsmen, "Louie Louie" (1963) ? and the Mysterians, "96 Tears" (1966) The Velvet Underground (feat. Lou Reed), "Heroin" (1967) Rock in the art scene Slightly distorted viola, guitar; emphasis on tom tom drums erratic tempo changes MC5, "Kick Out the Jams" (1969) Aggression; disregard for propriety Screaming vocals; fast tempo; very distorted guitar Iggy Pop and the Stooges Working-class aggression + performance art New York Dolls "antifashion" response to glam rock

P-Funk: One Nation under a Groove

George Clinton lead a large performing collective under a variety of names Parliament Funkadelic Parliament/Funkadelic (P-Funk) Funk fused with experimental psychedelia and Afrofuturism Parliament-Funkadelic, "Tear the Roof Off the Sucker (Give Up the Funk)"-> "Mothership Connection (Star Child)" (live, 1976) Interpolates a phrase from the spiritual "Swing Down, Sweet Chariot" Many songs sampled in hip hop

Meet The Beatles

George Harrison (1943-2001) John Lennon (1940-1980) Paul McCartney (1942-) Ringo Starr (Richard Starkey) (1940-) The "Fifth Beatle"? Stuart Sutcliffe/Pete Best Brian Epstein (1934-1967): manager George Martin (1926-): producer

New Musical Products: Girl Groups

Groups of young African American female singers performing songs written by professional songwriters and produced by record companies The Shirelles, "Will You Still Love Me Tomorrow?" (1960) Wrihen and produced by Carole King and Gerry Goffin for Aldon Music Lyrics paved the way for more mature song topics

Flowing into the mainstream

"Commercial Rock"; "Corporate Rock" A question of "authenticity": music designed for "the greatest popular appeal rather than as sincere musical expressions"? "highly produced and sophisticated" vs. "simple"? "Soft" vs. "hard" Marketing and promotion - "Album-oriented Rock" (AOR) FM radio - formatting and advertising Billboard Top 200 (May 1967-)

Music and the Civil Rights Movement

"Freedom Songs" (1950s-60s) Promoted by the Student Nonviolent Coordinating Committee (SNCC) to construct "a communal voice" Focused on raising awareness and promoting non-violence Adapted from spirituals, gospel songs, etc. or professionally composed "We Shall Overcome" Dylan, "Oxford Town" - a narrative about James Meredith's struggle to enroll in U of Mississippi "Unity Music" (mid-1960s) Written by performing artists in "popular" genres Show a transition from non-violence to anger in the wake of the violent response to Civil Rights activism in the South Black nationalist songs (late 1960s-1970s) Black power Self-Defense

A Band Dividing

"Hey Jude"/"Revolution" (1968) First release on the band's own Apple Records Two sides show the difference between Lennon and McCartney The Beatles [The White Album] (1968) Double album showing the individual trajectories of each member George: "While My Guitar Gently Weeps" John: "Revolution 1", "Revolution 9" Paul: "Ob-li-di, Ob-li-da" (Lennon: "granny music shit") Ringo: "Good Night"

What musical and thematic changes led to Simone's "Young, Gifted, and Black" being more widely welcomed by general audiences?

In late 1968 Simone, along with Weldon Irvine Jr., began writing "To Be Young, Gifted and Black," which took its title from the play Hansberry was writing before her death in 1965 at the age of thirty-two But the style and sound of "To Be Young, Gifted and Black" was very different from her previous freedom songs, drawing more from late-1960s R&B and gospel than from jazz and folk traditions

African American Pop in the 70s

"Soft soul" Love Unlimited Orchestra, "Love's Theme" (feat. Barry White) Motown pop The Jackson 5 (featuring Michael Jackson) Discovered by Diana Ross, provided radio and TV friendly pop ("bubblegum") Four #1 hits from 1969-1970 "I Want You Back" (1969) "ABC" (1970) "I'll Be There" (1970) "Mature" Motown Marvin Gaye Started as session drummer Ranged from pop to politically aware to sensual "I Heard It Through the Grapevine" (1968) "What's Going On" (1971) "Let's Get It On" (1973) Stevie Wonder Started in 1963 at age 11 as singer and virtuoso harmonica player Later fused funk, soul, and pop Five #1 hits from 1972-1977 "Superstition" (1972) Strong bass groove Horn back-up

How does the world of "cock rock" showcase the inherent tensions between homosociality and homosexuality?

It certainly restates the assumptions of Murray, Frith, and McRobbie regarding cock rock as a sort of homoerotic spectacle oriented toward the affirmation of male prowess Most notably, Led Zeppelin has been lnstruments of Desire understood by many as the quintessential purveyors of "cock rock," that brand of guitar-driven music that most clearly articulates a male-oriented regime of power and pleasure In his role as lead guitarist, Page sheds light uþon the ways in which the electric guitar might be said to signify the "cock" ofcock rock All of which brings us to the matter of cock rock Though often used as a generic descriptive term to denote the masculinist orientation of rock, cock rock has also been defined in more specific terms by Simon Frith and Angela McRobbie to refer to the male-centered exhibitionism of hard rock performance For'Frith and McRobbie, cock rock is "explicidy about male sexual performance," and as such stands as a distinctly homosocial acdvity that holds little attraction for girls who "are educated into understanding sex as something nice, soft, loving, and private rIn Heavy Music 247 248 cock rock performance, mikes and guitars are phallic symbols, and "cock rockers'musical skills become slmonymous with their sexual skills (hence Jimi Hendrix's simultaneous status as stud and guitar hero There is much in the cock rock f¡amework built by Frith and McRobbie that is sympathetic with my own argument Yet, as Frith himself acknowledged in a later essay, there is also much that is crude and reductionist in the cock rock formulation, particularþ regarding the failu¡e of the nvo writers to clearly define the relationship benveen sex and gender or to decide whether cocft rock mereþ reinforced existing gender rela' dons or worked to produce these relatíonships My reasons for addressing it despite these reservations voiced by one of the authors are t'wofold: fiÀt, th. terrr, "cock rock," and the conceptual framework it implies, remains influential in rock criticism, specifically with regard toLedZeppelin and second, there are flaws in the critical notion of cock rock beyond those Frith has already recognized'X,4rut I find problematic in the Frith, and McRobbie is the extent to which their criticisms, however well articulated, leave this operation intact, and how the term "cock rock" reifies the very process it seeks to break down It certainly restates the assumptions of Murray, Frith, and McRobbie regarding cock rock as a sort of homoerotic spectacle oriented toward the affirmation of male prowess Cock rock here assumes a new fluidity rooted in the sort of lack of sexual fixity gestured toward by Judith Butler in her discussion of the lesbian phallus Critics of cock rock have decried the gender/power dlmamic enacted in Led Zeppelin,s music, but Emily xYZ celebrates its exaltation of potency Her comments do not overturn the cock rock argument so much as they present a model of desire that existing criticisms of rock sexuality have rarely taken into account

Disco

A late 1970s style incorporating elements of pop, salsa, funk and soaring vocals into a club-focused dance experience

Girl Groups

A musical group composed of several women singers who harmonize together Groups such as the Shirelles, the Ronettes, and the Shangri-Las, featuring female harmonies and high production values, were especially popular in the late 1950s and early 1960s

Urban Folk

A type of music popular in the 1960s and 70s consisting of traditional folk songs in updated versions and new songs dealing with protesting of the Vietnam War and songs of social commentary

In the end

Abbey Road (1969) Released in the wake of their "unofficial" breakup Attempted to compromise for competing agendas Sonically, a discernable difference due to new, transistor-based recording equipment First single by George: "Something" Let it Be (1970) Mostly recorded prior to Abbey Road Recorded during filming intended to show "The Beatles at Work"; shows breakup instead Songs are a more straightforward culmination of the group's blend of rock' n 'roll and pop ideas "Let It Be" Released with added production by Phil Spector (without input by the band) Re-released in 2003 without Spector's interventions

"The Night They Drove Old Dixie Down" as a Historical ballad

Almost immediately after its release, the song was covered by many other artists, including folk singer Joan Baez, for whom it was a #3 pop hit in 1971 It is now often performed as an acoustic ballad, its historical perspective linking it to the older ballad tradition Lisa Hannigan, Glen Hansard, and John Smith (2012)

The Monkees

Band assembled for Beatles-inspired TV show in 1965 Members (Davy Jones, Micky Dolenz, Michael Nesmith, Peter Tork) focused on acting while the music was largely provided by studio musicians Later tried to be "real" band, all of its members pursued music after show ended in 1968 Hit singles: "Last Train to Clarksville," "I'm a Believer" (1966); "Daydream Believer" (1967)

New Wave in the Mainstream

Blondie "Heart of Glass" (1978) Blends New Wave with disco The Cars "Just What I Needed" (1978) "Retro" rock sounds with a New Wave attitude and image

"Rock" sounds

Boogie-woogie-influenced bass lines The backbeat: accents on beats 2 and 4, usually on the snare drum - listen for variations! Less 'refined" singing

What events of the mid 1960s led to changes in the goals and messages of the civil rights movement?

But by late 1968, Mayfield and Simone were no longer considered vanguards of protest music since with the release of James Brown's "I'm Black and I'm Proud" black popular music no longer avoided nationalistic messages The consciousness reflected in their songs was not rooted in mainstream success or the idea of creating black music that would attract white audiences with messages that ignored social problems and racial identity—rather it was defined in a consciousness that sought to inspire hope, faith, and perseverance in difficult times

Where did hip-hop DJs draw inspiration for their sound systems from?

Jamaica For its musical grooves, early hip hop incorporated elements of the party-based sound-system subculture popular at the time in Jamaica and brought to the Bronx by DJ Kool Herc from Kingston Kool Herc transported the large mobile sound units used in Jamaica to parties in the Bronx

Rock and the Politics of idealism

John Lennon, "Imagine" (1971) Uses the piano ballad format of "Let It Be" and "Hey Jude" to project a utopian political vision Although taken as a simple "peace"-oriented anthem, Lennon espouses some fairly radical politics

Salsa

Latin style popularized in New York City dance clubs Drew on Latin jazz and other hybrid styles Developed in conjunction with independent Latin labels Willie Colón Nuyorican (New York-born Puerto Rican) trombonist and bandleader Injected rhythms from West Africa, Cuba, Puerto Rico, Brazil, and Panama into a hybrid of jazz, rock, and salsa Rubén Blades Singer-songwriter, actor (Fear the Walking Dead), and activist Collaborated with Colón to record "Pedro Navaja," a song about a Jack the Ripper-type figure inspired by the song "Mack the Knife"

"Jazz-and-something-else" and Protest

Nina Simone Nuanced and blunt explorations of racial politics, paralleled by music that crosses genres in a purposeful defiance of convention "Mississippi Goddam" (1963): reaction to growing violence in the South, especially the murder of four young girls in a church bombing in Birmingham, Alabama

Punk

Rebellious attitudes/action Break from commercialism "hard" drugs DIY mentality Conflicting musical impulses De-emphasis on virtuosity - intensity (speed and volume) over technique Simple forms/structures - reinforces some elements of tradition; skews towards radiofriendly Provocative image Clothing + piercings as "auto-destructive art"

How do accounts of the offstage behavior of rock stars like Led Zeppelin problematize both the narrative of "free love" in the rock scene and the idea of cock rock as solely an expression of male sexual power?

Robert Plant's nostalgic reminiscence of "shovíng the Plaster Casters' cast of Jimi Hendrix's penis up one of the gifls in Detroit" as an instance of "free love" might be read as lnstruments of Desire disingenuous, but no interpretation can overcome t}¡e connotations rape conrained within rhe sctne Her example stands as evidence that the deployment of sexuality by thq part of their popularity is due to the fact that t}ey're the last of an era of cock rockers who play dirty and, if you'll excuse the expression, 'chauvinistic' rock 'n' roll

Punk

Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics

How does Kernodle analyze the form of "Mississippi *******"?

Simone's ingenuity as a songwriter is revealed in "Mississippi *******" in setting a highly emotional and angry text as an up-tempo popular song Simone introduces the tune to the audience by stating "the name of this song is 'Mississippi *******' and I mean every word of it "The song became a staple in Simone's nightly performances at the Village Gate and much like Billie Holiday decades earlier with her performances of "Strange Fruit" at Café Society, "Mississippi *******" became the one song people came to hear Simone sing In 1991, Simone wrote in her autobiography that "Mississippi *******" erupted out of her quicker than she could write it down, and that upon its completion she knew that she would dedicate herself to the struggle of black justice, freedom, and equality in the law for "as long as it took. Until all our battles were won."

1960s Soul

Soul music was a major part of the pop charts in the 1960s Labels like Motown, Stax, and Atlantic Records each had a signature sound, often based on a consistent house band Otis Redding "Mr. Pitiful" - helped popularized the image of the male soul singer as a passionate, often tormented lover "I've Been Loving You Too Long (to Stop Now)" (1965) "Satisfaction" (Rolling Stones cover, 1965) "(Sittin' On) The Dock of the Bay" (1967) Aretha Franklin The "Queen of Soul" - highlighted the gospel influence on soul Many songs exhibited a fierce persona that coincided with the feminist movement "Respect" (a cover of a song by Otis Redding, 1967) "Think" (1968)

"Cosmic American Music": Countercultural Covers in the 1960s

The Byrds (again) Folk rock->psychedelic rock->country Sweetheart of the Rodeo (1968) Gram Parsons - vocals, guitar, piano Covers of Dylan, folk, country, soul Foregrounded country influence Twang (in general) Pedal steel guitar: Nashville session pro Lloyd Green "Hickory Wind" (Parsons) New country-influenced music "Nothing Was Delivered" (Dylan) Combines country and rock elements "You Don't Miss Your Water" Cover of soul singer William Bell

Referring to specific artists and songs, discuss the ways that pop musicians in the 1960s and the 1970s combined their artistic work with political expression. Provide examples of specific artists and songs from at least two different genres and/or political contexts.

The connection between music and politics, particularly political expression in song, has been seen in many cultures Although music influences political movements and rituals, it is not clear how or to what extent general audiences relate to music on a political level Music can express anti-establishment or protest themes, including anti-war songs, but pro-establishment ideas are also represented, for example, in national anthems, patriotic songs, and political campaigns Many of these types of songs could be described as topical songs During the 1960s and early 1970s counterculture era, musicians such as John Lennon commonly expressed protest themes in their music, for example on the Plastic Ono Band's 1969 single "Give Peace a Chance" Lennon later devoted an entire album to politics and wrote the song Imagine, widely considered to be a peace anthem Its lyrics invoke a world without religion, national borders or private property In 1962-63, Bob Dylan sang about the evils of war, racism and poverty on his trademark political albums "The Freewheelin' Bob Dylan" and "The Times They Are a-Changin'" (released in 1964), popularising the cause of the Civil Rights Movement Dylan was influenced by the folk revival, as well as by the Beat writers, and the political beliefs of the young generation of the era In turn, while Dylan's political phase comes under the 'folk' category, he was known as a rock artist from 1965 and remained associated with an anti-establishment stance that influenced other musicians - such as the British Invasion bands - and the rock music audience, by broadening the spectrum of subjects that could be addressed in popular song The MC5 (Motor City 5) came out of the Detroit, Michigan underground scene of the late 1960s, and embodied an aggressive evolution of garage rock which was often fused with socio-political and countercultural lyrics, such as in the songs "Motor City Is Burning", (a John Lee Hooker cover adapting the story of the Detroit Race Riot (1943) to the 1967 12th Street Detroit Riot), and "American Ruse" (which discusses U.S. police brutality as well as pollution, prison, materialism and rebellion) They had ties to radical leftist groups such as Up Against the Wall Mother****ers and John Sinclair's White Panther Party MC5 was the only band to perform a set before the 1968 Democratic Convention in Chicago, as part of the Yippies' Festival of Life where an infamous riot subsequently broke out between police and students protesting the recent assassination of Martin Luther King, Jr. and the Vietnam War Other rock groups that conveyed specific political messages in the late 1960s/early 1970s - often in regard to the Vietnam War - include The Fugs, Country Joe and the Fish, Jefferson Airplane, Creedence Clearwater Revival, and Third World War, while some bands, such as The Beatles, The Rolling Stones and Hawkwind, referenced political issues occasionally and in a more observational than engaged way, e.g. in songs like "Revolution", "Street Fighting Man", "Salt of the Earth" and "Urban Guerrilla"

Psychedelic music

The exploration of rock as "serious" "art" music parallels exploration of the potential of the mind The Beatles, Sgt. Pepper's Lonely Heart's Club Band (1967) Virtuosic playing in the context of psychedelic rock highlights philosophical connections between genres and musicians The Byrds, "Eight Miles High" (1966) Turned from folk rock to psychedelia • Drew on jazz saxophonist John Coltrane, who drew on Indian music

how do these trends relate to changing economic practices of the music business?

The music of the 1960s not only revolutionized many genres and even produced some new ones, it also captured the heated spirit of the era's political movements: opposing the Vietnam War and fighting for civil rights

How did the pop music recording scene of the late 1960s compare with the world of rock in terms of racial integration?

The music was influenced heavily by blues rock, garage rock, and rhythm and blues Notable hard rock bands form the 1960s include The Who, Deep Purple, Led Zeppelin, The Rolling Stones, The Kinks and Steppenwolf

Garage Bands

made up of untrained musicians who practiced in their garages, producing a raw, unrefined sound

Hip-Hop

music that combines spoken street dialect with cuts (or samples) from older records and bears the influences of social politics, male boasting, and comic lyrics carried forward from blues, R&B, soul, and rock and roll

The Beach Boys genre

surf rock

Frankie Avalon genre

teen idols

Salsa music

A Latino musical style blending elements from Cuban and Puerto Rican dance music

Progressive and Outlaw Country

A group of country artists who avoided both the Nashville (pop) and Baskersfield (hardcore) styles Drawing on the singer-songwriter movement, they sought both artistic and intellectual independence Incorporated a rebellious image taken from rock, which was co-opted by industry marketing Wanted: The Outlaws (1976) Many had roots in Texas (esp. Austin) rather than Nashville or California Willie Nelson • Worked as a songwriter in Nashville in the late 50s and early 60s (Patsy Cline, "Crazy") "Blue Eyes Crying in the Rain" (1976) Waylon Jennings Remained in Nashville in the 70s, but secured creative independencs "Lonesome, On'ry and Mean" (1973) Townes Van Zandt Singer-songwriter based in Austin, Texas "Pancho and Lefty" (1972)

Psychedelia and Counterculture

A philosophy/lifestyle aimed at questioning our understanding of the world Timothy Leary (psychologist fired from Harvard) "higher consciousness"->"turn on, tune in, drop out" counterculture vs. "normal"/"the establishment" Influence of Eastern religions and philosophies Tibetan Book of the Dead Yoga -> music as meditation Drugs - THC, LSD

Surf Rock

A regional rock from California notable for high-register close harmony vocals and innovative guitar effects

Soul music

African American musical style rooted in R&B and gospel that became popular during the 1960s

Black Pop in the 70s

African American performers assimilate many features introduced to rock in the 60s and 70s More chart-crossing success than ever, but still marketed separately Soul Train (1971-2006) While mainstream pop styles show a continued integration, some styles remain predominantly tied to the black community Pop Funk P-Funk Hip-hop

Who were the "father" and "godfather" of hip-hop?

Afrika Bambaataa is one of the three main originators of break-beat deejaying, and is respectfully known as the "Grandfather" and "Godfather" and The Amen Ra of Universal Hip Hop Culture as well as The Father of The Electro Funk Sound

Rock's New (Psychedelic) Ambitions

After 1966, Beatles stop touring, focus on recording The Beatles, Sgt. Pepper's Lonely Hearts Club Band (1967) Loosely connected songs from increasingly divided band Complex musical arrangements making extended use of multitracking, studio effects "A Day In the Life" - Part Lennon, part McCartney, part Martin (orchestral arrangement) New fantastical image of the Beatles cemented by films: "All You Need is Love" satellite broadcast, Magical Mystery Tour, and Yellow Submarine

What was the SNCC, and what were its goals?

Although this vast body of literature is sound in its articulation of the function, scope, and structure of the freedom song of the early 1960s, little attention has been given to the second generation of freedom songs that emerged in the mid-1960s and reflected the rhetorical and eventual philosophical transition of the movement from the nonviolent, interracial, church-based activism of Martin Luther King Jr. to the black nationalist, black power rhetoric of the Student Nonviolent Coordinating Committee (SNCC), the Black Panthers, and similar organizations But two entities redefined the public use of these songs: SNCC and the Albany (Georgia) movement The two-day conference resulted in the creation of SNCC, which would serve as a student-based arm of the movement Through sit-ins that desegregated a number of facilities and Freedom Rides that attempted to desegregate interstate transportation, SNCC and CORE (Congress on Racial Equality) became the center of the movement's activity and the agents that made the singing of freedom songs an important element of movement strategy Through the Albany movement of 1961, SNCC redefined the public use of music The formation of the SNCC Freedom Singers was central to this phenomenon Because SNCC believed that the press intentionally distorted the meaning of the movement, the Freedom Singers sought alternative ways to present what was occurring in the South The interracial group of performers that performed for the SNCC-sponsored event garnered a substantial national audience through television coverage and an extensive write-up in the New York Times The following summer SNCC's Mississippi Freedom Summer project, a voter registration drive in Mississippi, was rocked when workers James Chaney, Andrew Goodman, and Michael Schwerner disappeared after being detained and later released by the local sheriff This further polarized SNCC and CORE from King's movement and inspired the gradual shift to the black nationalist rhetoric of Malcolm X In the months following the 1964 convention SNCC splintered into two groups—those who wanted the group to become more disciplined (hard-liners) and those who wanted it to remain loose, informal, and familial (floaters) By 1966 the new vision of SNCC was articulated for the world by Carmichael, who had begun popularizing the slogan "Black Power" during the Meredith March in Selma With SNCC and CORE's move to more nationalistic and militant views the function of freedom songs within the movement and their lyrical content and context changed The song was not a subtle reading of the struggle for freedom veiled in Christian-based lyrics of transcendence, such as the freedom songs popularized at mass meetings or by ensembles like the SNCC Freedom Singers, Selma Freedom Choir, Nashville Quartet, or other artistic factions that arose within the larger movement Four major themes emerged in the lyrics: 1) explicit articulation of the anger and hatred that was bubbling under the surface in northern cities and younger segments of the freedom movement 2) a growing sense of secularism 3) a turn from the rhetoric of nonviolence, both of which were becoming increasingly evident in SNCC by 1963 4) the mythology of assimilation and politics of respectability that had defined black middle-class life since the late nineteenth century According to SNCC member Stanley Wise, the song became the anthem of the summer of 1964 The release of the In Concert album and Simone's work to raise funds for SNCC would mark the beginning of a six-year period of protest music that reflected the changing ideologies of SNCC and other factions of the movement.In the protest songs that followed "Mississippi *******" and "Ol' Jim Crow," Simone documented not only the spatial migration of the movement, but bridged the ideological and generational gaps that had developed between King (and his organization, the Southern Christian Leadership Council) and the student-led SNCC during the mid-1960s Some SNCC members had begun stockpiling weapons and expressing the benefits of what they called "armed self-defense." As SNCC member Julius Lester wrote in 1965, the movement was quickly shifting away from the practices that had defined the early 1960s Carmichael, one of the SNCC leaders instrumental in the split from King's rhetoric of nonviolence, declared that Simone was "the true singer of the civil rights movement," and though other prominent black performers distanced themselves from the group, Simone openly acknowledged her relationship with SNCC and on several occasions headlined fund-raisers for it It has been recounted in a number of sources that nothing made SNCC workers forget their nonviolent training more than the theft [by other SNCC members] of their books and Nina Simone records Bernice Johnson Reagon, who had been a song leader in the Albany movement and one of the original SNCC Freedom Singers, went on to form Sweet Honey in the Rock, an all-female a capella group whose repertoire draws on spirituals, freedom songs, and folk tunes

The Beatles legacy:

An expanded world of "rock" or the destruction of "rock 'n' roll"? Rock is no longer just for youth Popular music can now be taken seriously as art Popular music can seriously engage with social issues, complex analyses of human condition

The Beatles Sound

Archetypal rock band: 2 guitars, bass, drums, vocals Plus: Electric 12-string guitar Harmonica Piano/organ/keyboards Orchestra "Studio" Close 2- and 3-part vocal harmonies Stylistic palette incorporating rock, R&B, pop, art music (classical and experimental), Indian music

Country Rock

Beginning with the countercultural pursuits of the Byrds and the Flying Burrito Brothers, some rockers look to older and less pop country as part of their "authenticity" Crosby, Stills, Nash, and Young Blend folk rock, country rock, singersongwriter Focus on vocal harmonies "Teach Your Children" (1969) Jerry Garcia (of the Grateful Dead) on pedal steel

The "Birth" of Hip-Hop

Bronx, NYC - Early 1973

Neil Young, "Southern Man" (1970)

Canadian-born singer-songwriter, guitarist, and bandleader Also performed with Buffalo Springfield and Crosby, Stills, Nash, and Young "Southern Man" (1970) and "Alabama" (1972) feature critical and confrontational lyrics paired with the edgy sounds of Young's voice and guitar

Please Please Me

First LP record, combines singles and new material 11 tracks recorded in one day, includes covers of R&B and girl groups

Glam Rock

Highly theatrical rock with an emphasis on costumes, light shows Musicians adopted stage personas that challenged norms of gender and sexuality Examples: David Bowie, Alice Cooper, KISS David Bowie, "Ziggy Stardust and the Spiders from Mars" (1972)

How was the disco scene similar to and different from the hip-hop scene?

Hip hop music was both influenced by disco music, as disco also emphasized the key role of the DJ in creating tracks and mixes for dancers As well, hip hop from the late 1970s used disco tracks as beats At the same time, hip hop music was also a backlash against certain subgenres of late 1970s disco

Referring to the course materials, discuss the new role(s) producers began to take in the late 1950s and early 1960s. How does this compare to earlier music industry roles in the music industry? Be sure to refer to specific songs, artists, and other figures.

In North America and Europe the decade was particularly revolutionary in terms of popular music, as it saw the evolution of rock At the beginning of the 1960s, pop and rock and roll trends of the 1950s continued nevertheless, the rock and roll of the decade before started to merge into a more international, eclectic variant In the early-1960s, rock and roll in its purest form was gradually overtaken by pop rock, beat, psychedelic rock, blues rock, and folk rock, which had grown in popularity The country- and folk-influenced style associated with the latter half of 1960s rock music spawned a generation of popular singer song writers who wrote and performed their own work Towards the decade's end, genres such as Baroque pop, sunshine pop, bubblegum pop, and progressive rock started to grow popular, with the latter two finding greater success in the following decade Furthermore, the 1960s saw funk and soul music rising in popularity rhythm and blues in general remained popular The fusion of R&B, Gospel -and original rock and roll was a success until the mid-part of the decade Aside from the popularity of rock and R&B music in the 1960s, Latin American as well as Jamaican and Cuban music achieved a degree of popularity throughout the decade, with genres such as Bossa nova, the cha-cha-cha, ska,and calypso being popular From a classical point of view, the 1960s were also an important decade as they saw the development of electronic, experimental, jazz and contemporary classical music, notably minimalism and free improvisation The 1960's were a time of upheaval in society, fashion, attitudes and especially music Before 1963, the music of the sixties still reflected the sound, style and beliefs of the previous decade and many of the hit records were by artists who had found mainstream success in the 1950s, like Elvis Presley, Ray Charles, Dion, and The Everly Brothers In 1963 and the years to follow, a number of social influences changed what popular music was and gave birth to the diversity that we experience with music today The assassination of President Kennedy, the escalation of the war in Vietnam and the forward-progress of the Civil Rights Movement all greatly impacted the mood of American culture and the music began to reflect that change The "British Invasion" also began around 1963 with the arrival of The Beatles on the music scene and the type of rabid fandom that followed them would change the way people would view and interact with music and musicians forever In this section we will cover the history of the "British Invasion", Motown and R&B, Folk and Protest music, and the large amount of variation that emerged in Rock music throughout the sixties Popular music of the United States in the 1960s became innately tied up into causes, opposing certain ideas, influenced by the sexual revolution, feminism, Black Power and environmentalism This trend took place in a tumultuous period of massive public unrest in the United States which consisted of the Cold War, Vietnam War, and Civil Rights Movement

New York Punk

Music scene intersects with "outsider art" Centered at the club CBGB Patti Smith Group, "Gloria" (1975) Cover of minor "classic rock" hit Unrefined vocals; loose arrangement The Ramones, "Blitzkreig Bop" (1976) Barely distinguishable vocals; fast tempo; simple chord progression "Rough" image

"Love Machine"

Musical technologies continues to develop Recording Mono vs. Stereo More capacity for overdubbing Amplification Now designed to fill stadiums Live effects Easier to manipulate sound in real time Listening technologies, too 8-track tape gives way to compact cassette CD concept introduced in 1979

What differing political views and influences do they reflect?

One is left with the impression that the articulation of black political rhetoric is defined solely in the freedom songs of the early 1960s and the nationalistic recordings of the late 1960s and early 1970s By 1964 a new body of freedom or protest songs (the terms are used interchangeably) written by artists such as Nina Simone, Curtis Mayfield, James Collier, and others came to reflect these shifts, serving as documentation of the evolving political identity of young black America Despite the festival's success, it would prove to be the folk movement's swan song as the onslaught of Beatlemania and Dylan's abandonment of his role as political spokesman in 1965 sent the genre into a fight for its own survival At the center of this musical shift was singer-songwriter and pianist Nina Simone, though in time, soul performer Curtis Mayfield and folksinger James Collier would also contribute to the freedom song's new political consciousness and sound But the escalating violence directed toward activists in the South and a close friendship with playwright Lorraine Hansberry and other politically minded actors and writers drew Simone into new political circles Two Village nightclubs were at the center of the evolution of Simone's musical and political identity during the late 1950s and early 1960s Audiences with these individuals would greatly influence Simone's political consciousness, particularly her close friendship with Hansberry, who inspired the pianist to become actively involved with the freedom movement and use her music to advance the cause The song was not a subtle reading of the struggle for freedom veiled in Christian-based lyrics of transcendence, such as the freedom songs popularized at mass meetings or by ensembles like the SNCC Freedom Singers, Selma Freedom Choir, Nashville Quartet, or other artistic factions that arose within the larger movement "Mississippi *******" addressed explicitly a number of political and ideological issues that had emerged out of the movement's activities The R&B released by these labels avoided lyrics that spoke of equality or political perspectives Vocalist Abbey Lincoln, who had made her political statements with the recording We Insist! Freedom Now Suite (1960), asserted: "To really understand the 1960s, you had to hear Nina. And you would have, if you'd lived then. . . . Well I guess it depends what corner you were on, you know "Texturally the song moved beyond being a documentary of movement activities and served more as a political manifesto set to music The release of "Mississippi *******" not only marked the awakening of Simone's political beliefs but symbolized the breaking of her musical inhibitions With the integration of black R&B styles into the mainstream a consciousness about the movement and the political struggles of black America were noticeably absent In the case of Motown, Gordy sought to distance the music produced by the label from overt political statements in order not to offend white record buyers By the mid-1960s R&B was moving away from its aversion to political themes and came to represent the emotions that the Chicago movement spurred "Backlash Blues" continued Simone's proclivity for writing songs that seemed more like political manifestos than documentaries of experiences or songs of uplift like Mayfield's The speech marked a transition in King's political focus and became the basis of his Poor People's Campaign, which many felt served as the prelude to his 1968 assassination Although the music of Simone, Mayfield, Chandler, and Collier was significant in bridging two of the more well-known eras of protest music within the black community, their significance lies in their documentation and articulation of the evolving political views of the black community in the mid-1960s

Led Zeppelin

One of the most important rock bands of the 70s Founded by Jimmy Page (guitar, former Yardbird), vocalist Robert Plant, bassist John Paul Jones, and drummer John Bonham Influenced both mainstream rock and the emergence of heavy metal Showcased a diverse range of musical styles "Whole Lotta Love" (1969) is a heavy blues "Tangerine" (1970) incorporates country rock "Stairway to Heaven" (1971) combines folk balladry with hard rock, and lyrics seeped in mysticism

What was the main objective of the SNCC Freedom Singers?

Organized by Cordell Reagon in 1962, the Freedom Singers' main objective was to capitalize on the national recognition garnered by the music of the Albany movement

Changing rock's politics

Parodying a politically associated song draws a link between listeners' memories of the original and any new ideas The Muppets, "For What It's Worth" (1977)

Jazz Rock Fusion

Style which combines the jazz musicians improvisatory approach with rock rhythms and tone colors developed in the 1960's

Latin Rock

Subgenre of rock featuring Latin and African percussion instruments (maracas, conga drums, timbales)

"Crocodile Rock"

Subgenres and styles become more specific, as record label try to provide something for everyone ____ rock Country Jazz Progressive Latin Glam Hard Southern The singer-songwriter emerges as a performer type Combines the rock-based emphasis on self-expression with the older emphasis on songcraft and more "adult" themes Carole King, "It's Too Late" Joni Mitchell, James Taylor

Arty New Wave

Talking Heads Got start at CBGB "Psycho Killer" (1977) Elements of rock and funk Highly idiosyncratic vocals by singer/ songwriter David Byrne Devo Blended rock with performance art "(I Can't Get No) Satisfaction" (1978) Transforms Rolling Stones song into a "spastic freak-out"

Country in the 70s

The Bakersfield Sound While Nashville producers took country toward pop, California-based country artists sought to integrate ideas and sounds of rock Instead of strings, bands foregrounded twangy lead guitar, pedal steel, and fiddle This style, in turn, had a great influence on later country rock Merle Haggard and the Strangers, "The Bottle Let Me Down" (1966) Mainstream country leans heavily toward pop "Countrypolitan" Glen Campbell, "Wichita Lineman" Charlie Rich, "Behind Closed Doors" Dolly Parton, "Jolene" Covered by Olivia Newton-John However, the idea of "authentic" country music still leads to the rejection of some performers John Denver, "Thank God I'm a Country Boy"

What types of artists sold the most albums in the late 1960s?

The Beatles Elvis Presley The Rolling Stones Bob Dylan The Beach Boys Frank Sinatra Cliff Richard Ray Charles Herb Alper Jimi Hendrix The Monkees John Coltrane Jim Reeves The Kinks Roy Orbison Simon & Garfunkel

UK punk

The Sex Pistols Image steered by manager Famously bad behavior, bad business practices Nihilist attitude; antagonistic politics "Anarchy in the UK" (1976) The Clash More refined political engagement Incorporated wide range of music, incl. reggae, ska, R&B The Clash (1977) "White Riot"; "Police and Thieves"

Pop After Rock 'n' Roll

The Twist and new trends in dancing The Empire Music Industry Strikes Back Phil Spector and the Wall of Sound Motown: Black pop in the 1960s California pop/rock Latin Music in the 1960s

Rock and Protest

The growing counterculture of rock provided an outlet for fears, frustrations, and anger about issues such as the civil rights movement and particularly the Vietnam "Conflict" (ca. 1955-1975) US troop levels rise from 900 in 1960 to a peak of over 500,000 in 1968 Approximately 1/3 of troops were drafted Rock stars and other pop culture figures participated in and responded to political actions Rock music becomes strongly linked to anti-war sentiments

What band was seen as the "American counterpart" to Led Zeppelin in the early 1970s?

The most controversial band of the moment n I97I was Grand Funk Railroad, aforementioned "American cormterparts" to Led Zeppelin, and purveyors of a more crudely heavy sound than Zeppelin practiced

How is this complicated by a closer look at the dynamics between Plant and Page during their performances?

The relationship between Page anð Plant alluded to above warrants further attention, for they present an important example of the sorts of relationships that were established between men in hard rock performance Reviewers of the band's shows regularþ discussed the interplay between the two, examples of which can also be seen n The Song Remains the Sarne: singer and guitarist seeking to echo and imitate one another "as both get inside each other's phrases to twist, expand and blow them up," Plant exploiting the possibilities of electronic sound every bit as much as his counterpart Page.te Such exercises did not only work to reinforce a sense of fratemal bonding and camaraderie among the musicians, however As characterized by Robert Plant, the i¡teraction between himself and Page was at once tense and playful: 'Ji--y was a vicious bastard [During the climax of the song "You Shook Me"] we used to lean forward and look at each other He would go higher and higher up the frets until he was somewhere around top E. I could see his fingers going further and further up, and I'd be going, 'No, don't do this to me Much as "\Øhole Lotta Love" presented sexual and musical lnstruments of Desire Heavy Music 251 Page and singer Robert Plant-a pair whose combination of competition and camaraderie set the tone for onstage relationships between the men of 1970s hard rock Courtesy of the Michael Ochs Archive, Venice, California 252 prowess to be ridden with conflict, the interplay between Page and Plant was marked by both cooperation and competitional Together they dis' turbed the boundary between voice and gtit"t, and the manner in which Plant's voice ís effectively denaturalized in descriptions of the band in performance emphasizes how the singer used his voice as "another instrumenr geared along the lead guitar's screaming highs +z Electronic technology was the mediunì through which Page and Plant negotiated for space within their band, complementing and clashing with one another as they worked to sftike a balance of power between their respective instruments

What emerged as the formula for Simone's freedom songs of the later 1960s?

There Simone found the formula that would define her freedom songs over the next five years—create songs that reflected the artist's true identity, keep them as simple as possible musically, and write texts that were real in their presentation of world events Complicating the matter further were the new definitions of blackness and beauty that were being formulated through the black nationalist movement

What trends in music contributed to their success?

They spearheaded the shift from American artists' global dominance of rock and roll to British acts (known as the British Invasion) and inspired a proliferation of young people to pursue music careers Over the 1960s as a whole, the Beatles were the dominant youth-centred pop act on the sales charts

The Yardbirds

Took over Rolling Stones' blues gig Chain of guitar greats: Eric Clapton ->Jeff Beck -> Jimmy Page Focused on "authentic" blues sound, extended improvisation "I Wish You Would" (1964) Later tried to go pop with "For Your Love" (1965) Lead to Clapton's departure

Turnablism

Use of the turntable to manipulate records in live performance Looping - pioneered by DJs such as Grandmaster Flash Needle dropping - taken to a virtuosic level by GrandWizzard Theodore Use of the turntable as a musical instrument Scratching - "discovered" by Grand Wizzard Theodore DJ battles

What artists and genres were at the top of the pop charts prior to the Beatles' early hits?

Various genre in the First World, rock and roll, doo-wop, pop, swing, rhythm and blues, blues, Country music, rockabilly, and jazz music dominated and defined the decade's music Rock and roll dominated popular music in the mid 1950s and late 1950s, and quickly spread to much of the rest of the world "Goodnight Irene"Gordon Jenkins & The Weavers "Mona Lisa"Nat King Cole "Third Man Theme"Anton Karas "Sam's Song"Gary & Bing Crosby

In what ways can the emergence of folk rock and other "rock" styles be seen as a disruption of the integration of white and black musics that characterized "rock 'n' roll"?

When you first start seeing that term [rock 'n' roll] arise it is actually describing an interracial form of music, it was certainly largely rooted in African American rhythm and blues But in its early years when that term is first being used it's to describe music black and white artists were making

The British Invasion

Young British audiences and bands drew inspiration from American popular music, particularly blues, R&B, and rock 'n' roll This music was fed back to the States by British bands, beginning in 1964 with the Beatles Subsequent bands were marketed with the more pop image of the Beatles or the more "bad boy" image of the Rolling Stones Musically, this period solidified the core sounds of rock: electric guitars (6- and 12- string), electric bass, and drums

In what ways did Led Zeppelin defy the emerging system of rock categories in the late 1960s?

\Øithout offering anything to suggest that this is the effect that Led zeppeln achieved in their music, I do want to offer this explanation on the part of Page and Burroughs as a significant variation on the efforts to make sense of the social value of amplified sound that.had been a part of rock discourse sínce the late 1960s

Bakersfield Sound

a genre of country music developed in the mid- to late 1950s in and around Bakersfield, California Bakersfield was the first genre of country music to be significantly influenced by rock and roll, and as a result, the first to rely heavily on electric instrumentation and a defined backbeat

The Wrecking Crew

a loose collective of session musicians based in Los Angeles whose services were employed for thousands of studio recordings in the 1960s and 1970s, including several hundred Top 40 hits The musicians were not publicly recognized in their era, but were viewed with reverence by industry insiders

Folk Rock

amplified folk music, often featuring politically overt lyrics influenced by rock and roll

What is a break?

an instrumental or percussion section during a song derived from or related to stop-time - being a "break" from the main parts of the song or piece

Merle Haggard genre

bakersfield sound

Donna Summer genre

disco

George Clinton genre

funk

The Kingsmen genre

garage bands

Sugar Hill Gang genre

hip hop

Mahavishnu Orchestra genre

jazz rock fusion

Santana genre

latin rock

Jim Reeves genre

nashville sound

The Ramones genre

punk

Willie Colon genre

salsa

Aretha Franklin genre

soul

Peter, Paul, and Mary genre

urban folk

What are the main differences between the freedom songs of the early 1960s and the later 1960s?

Although this vast body of literature is sound in its articulation of the function, scope, and structure of the freedom song of the early 1960s, little attention has been given to the second generation of freedom songs that emerged in the mid-1960s and reflected the rhetorical and eventual philosophical transition of the movement from the nonviolent, interracial, church-based activism of Martin Luther King Jr. to the black nationalist, black power rhetoric of the Student Nonviolent Coordinating Committee (SNCC), the Black Panthers, and similar organizations One is left with the impression that the articulation of black political rhetoric is defined solely in the freedom songs of the early 1960s and the nationalistic recordings of the late 1960s and early 1970s The development of a core body of freedom songs did not occur until the early 1960s Although gospel hymns were used in the marches and boycotts of the 1950s and the use of music as protest within the black community can be documented as far back as the seventeenth century, it was not viewed as an essential part of the early black freedom movement Before 1961 activists refrained from singing freedom songs publicly because of fear of reprisal Through sit-ins that desegregated a number of facilities and Freedom Rides that attempted to desegregate interstate transportation, SNCC and CORE (Congress on Racial Equality) became the center of the movement's activity and the agents that made the singing of freedom songs an important element of movement strategy Simple in their construction and initially adapted from spirituals and gospel songs, the freedom songs became "one of the best records . . . of the transformation of consciousness in the ordinary people, the masses, who took part in the movement.The public use of freedom songs, as defined by the Albany movement, was threefold Second, freedom songs conveyed key values and tactics of the movement in verses that progressed from freedom in its most abstract form (i.e., calls for equality) to specific assertions about measures that would be used to achieve it Finally, the performance of freedom songs became one of the ways in which grassroots leaders such as Fannie Lou Hamer emerged The freedom songs of the early 1960s fell into two general categories: professionally composed topical songs that commented on protest events from a sideline perspective and group participation songs that were adapted from spirituals or gospel songs with some textural modifications The use of freedom songs in this capacity reflected the growing interest and participation of the folk music community in the black freedom movement and the rise of singing ensembles from within local campaigns Mixing spoken dialogue with freedom songs, the group illustrated for their audiences the struggles civil rights workers endured The aggregation debuted on 11 November 1962 in a concert with Pete Seeger Over the next four years the Freedom Singers' relationship with the folk music scene did much to further the scope and form of freedom songs With SNCC and CORE's move to more nationalistic and militant views the function of freedom songs within the movement and their lyrical content and context changed There Simone found the formula that would define her freedom songs over the next five years—create songs that reflected the artist's true identity, keep them as simple as possible musically, and write texts that were real in their presentation of world events The song was not a subtle reading of the struggle for freedom veiled in Christian-based lyrics of transcendence, such as the freedom songs popularized at mass meetings or by ensembles like the SNCC Freedom Singers, Selma Freedom Choir, Nashville Quartet, or other artistic factions that arose within the larger movement Moving away from the call-and-response, a capella gospel-tinged performances of the more popular freedom songs, "Mississippi *******" took on the structure and form of an up-tempo show tune, with piano, bass, and drum accompaniment As with other freedom songs the focus of the performance was Simone's voice, which transitioned from her singing plainly the first phrase of text to an almost screaming exclamation of the famous line "everyone knows about 'Mississippi *******!' "The instruments maintain this supporting role, common to other freedom songs, allowing Simone's voice to be the complete focus of the performance."Mississippi *******," in structure and text content, was unlike any of the freedom songs that accompanied the movement's activities at the time Now it is over—the days of singing freedom songs and the days of combating bullets and billy clubs with love Simone's successive freedom songs became the embodiment of these beliefs and served as a strong link connecting the different militant factions developing across the country As she had done so poignantly with her previous freedom songs, Simone constructed through "Four Women" a communal narrative out of the invocation of her own personal experience But the style and sound of "To Be Young, Gifted and Black" was very different from her previous freedom songs, drawing more from late-1960s R&B and gospel than from jazz and folk traditions Absent is the raw, gritty texture and anger that defined Simone's vocals in previous freedom songs The consciousness of black music in the late 1960s and early 1970s never reached the explicit nature that Simone's early freedom songs had espoused, but it nevertheless continued to invoke a dialogue about the black community and the world at large Bernice Johnson Reagon, who had been a song leader in the Albany movement and one of the original SNCC Freedom Singers, went on to form Sweet Honey in the Rock, an all-female a capella group whose repertoire draws on spirituals, freedom songs, and folk tunes

Professionalization

Brian Epstein becomes manager in January 1962 Suggests suits instead of leather Audition at Decca Records (unsuccessful) Signed to Parlophone (EMI) in May 1962 by producer George Martin Pete Best fired as drummer, Ringo hired First single: "Love Me Do"/"P.S. I Love You" (October 1962) Reaches #17 on British charts Second single: "Please Please Me"/"Ask Me Why" (Jan. 1963) First #1 hit, followed by three more hit singles and British TV appearances

"Not Beatles"

British blues scene Parallels folk revival/skiffle, emphasis on faithful recreation of older records Guitar-driven - John Mayall, Eric Clapton The Rolling Stones Negotiated for creative control at beginning- >looser sound First singles Come On" (1963, cover of Chuck Berry) "I Wanna Be Your Man" (1963, written by McCartney) "Not Fade Away" (1964, cover of Buddy Holly) Focused on anti-Beatles image "(I Can't Get No) Satisfaction)" (1965)

Latin Music in the 1960s

Bugalú/Latin Soul Mixes rumba, mambo, and R&B Ray Barreho, "El Watusi" Bossa nova Brazilian poetry and rhythms with a cool jazz aesthetic Stan Getz, with João and Astrud Gilberto, "The Girl From Ipanema" (1963) "Ameriachi" Mariachi-style trumpets with pop arrangements Herb Alpert and the Tijuana Brass, "The Lonely Bull (El Solo Toro)" (1962)

What artistic freedoms came with the Beatles' shift from an emphasis on performing to an emphasis on recording?

But for their final four years as Beatles the prospect of going on tour became increasingly remote There were three key reasons why The Beatles stopped playing live: poor sound, exhaustion and unease about their personal security All three came to a head in their chaotic 1966 World Tour

What types of issues were addressed in songs by Chicago songwriter James Collier?

By 1964 a new body of freedom or protest songs (the terms are used interchangeably) written by artists such as Nina Simone, Curtis Mayfield, James Collier, and others came to reflect these shifts, serving as documentation of the evolving political identity of young black America At the center of this musical shift was singer-songwriter and pianist Nina Simone, though in time, soul performer Curtis Mayfield and folksinger James Collier would also contribute to the freedom song's new political consciousness and sound

How did Simone view her own musical identity, despite attempts by audiences and the press to categorize her?

By 1964 a new body of freedom or protest songs (the terms are used interchangeably) written by artists such as Nina Simone, Curtis Mayfield, James Collier, and others came to reflect these shifts, serving as documentation of the evolving political identity of young black America At the center of this musical shift was singer-songwriter and pianist Nina Simone, though in time, soul performer Curtis Mayfield and folksinger James Collier would also contribute to the freedom song's new political consciousness and sound Although Nina Simone had established herself as one of pop music's influential voices by 1963, her recorded material had crossed several genre distinctions and included everything from interpretations of spirituals like "Wade in the Water," operatic selections like "I Loves You Porgy," and folk songs like "Black Is the Color of My True Love's Hair." It has been recounted in a number of sources that nothing made SNCC workers forget their nonviolent training more than the theft [by other SNCC members] of their books and Nina Simone records

Reggae

Developed in Jamaica from interpretations of U.S. music, combined with distinct Afro-Caribbean elements Grew in popularity due to British musicians' engagement and covers, and the 1972 film The Harder They Come Ska (1950s-60s) Mixture of Caribbean music, jazz, and R&B Uptempo; horns; walking bass; guitar emphasizing offbeats (the "skank") The Skatalites, "Carry-Go-Bring-Come"(1964-5)

Disco

Discotheques featured streamlined music designed for dancing DJ's became personalities, often overshadowing performers Lighting and music combined for complete experience Disco stars were typically vocalists who worked with producers Donna Summer, "Bad Girls" Chic, "Good Times" Bee Gees combined the Disco craze with a more rock-oriented band model Soundtrack to Saturday Night Fever (1977) "Stayin' Alive"

What musical influences did they incorporate into their music?

Discussing "\White Summer" in a 1990 intervieq the guitarist explained the piece to be an outgrowth of his "Celtic, Indian and Arabic influences," many of which were manifested in his use of the "DADGAD" guitar tuning.sMore to the point, the video production of No Quarter ßnds Page and Plant performing with a corps of young musicians on location in \ù7ales, and v¡ith a troop of local musicians in Marrakech, displaying their "C.LA." influences to the fullest in both musical and visual terms

The Byrds genre

Folk Rock

How were the lyrics of existing spirituals and hymns altered to foster a sense of community?

Furthermore, these songs adopted traits of abolitionist and social gospel hymnody through the use of collective language, which fostered a sense of community

Country Rock Moves to the Middle of the Road

Linda Ronstadt "Silver Threads and Golden Needles" 1969 - aligns with FBB's rock edge 1973 - skews towards country pop The Eagles "Take it Easy" (1972) Skews towards rock/pop

A Southern Response

Lynyrd Skynyrd Quintessential Southern rock band Has long featured Confederate flag in their shows ("Heritage, not hate") Caused a huge fan backlash when they talked about lessening their use of the flag in 2012 Wrote "Sweet Home Alabama" in 1973 as a response to Young's songs Ambiguous lyrics lead again to multiple interpretations

New Wave

More arty expression of punk tendencies Substitutes ironic detachment for anger and aggression Re-engages with images and sounds of past rock Modernism vs. post-modernism Wide range of individual styles within umbrella of "new wave" image

Rock and Politics

Political reactions to rock Rock songs engaging political ideas Rock and Protest Rock and the Politics of North and South Rock and the Politics of Idealism Often, ambiguous lyrics lend to multiple social and political interpretations

Emerson, Lake, and Palmer genre

Progressive Rock

Explicit Messages

Protest Unification Motivation Memorialization

"Changes"

Racial issues confronted more directly TV: Archie Bunker / The Jeffersons • Feminism on the rise TV: Laverne & Shirley; Mary Tyler Moore Show Music: Loretta Lynn, "One's on the Way"; "The Pill" Dawning of "gay rights" American Psychiatric Association: Not a disease (any more)

How does Led Zeppelin's assimilation of selected ideas from non-Western music in particular raise concerns of cultural appropriation?

Relating to cultural systems of music making primarily, if not exdusively, in terms of sound allowed Page and his bandmates to assimilate aspects of those systems without worrying over matters of ownership and propriety, a quintessentially appropriative move

How did these changes affect the SNCC?

Simone's performance of this refrain framed the song's two main verses and bridge section, which seems programmatic in its structure as it fluctuated to reflect contextual changes in the text The protest music of the mid-1960s reflected many changes within the context of the black freedom movement

Platinum Records

The industry focused on the pursuit of selling over 1,000,000 copies of a album Peter Frampton, Frampton Comes Alive! (1976) "Show Me the Way"; "Baby, I Love Your Way" The Eagles, Hotel California (1977) "Hotel California"; "Life in the Fast Lane" Fleetwood Mac, Rumours (1977) "Go Your Own Way"; "Dreams"

Buffalo Springfield, "For What it's Worth" (1967)

Written by singer/songwriter Stephen Stills in response to a crackdown on the psychedelic scene in LA, but became an anthem for protest movement Music suggests sirens with guitar harmonics Later linked to an incident at Kent State University in 1970, in which 4 student protesters were killed and 9 others wounded by the Ohio National Guard

How did Led Zeppelin's music differ from the typical categorization of them as a "hard rock" band?

Yet for all Page's desire not to have his music tied to a single term or a single sound, Led Zeppelin remained a hard rock band, probably the preeminent hard rock band of íts time, and as such figured prominently in debates over the music's sþificance and direction

Referring to the course materials on the origins of hip-hop, define the concept of a "break" (note that this is a specific contextual definition!) and give specific musical examples. Name the specific technologies that facilitated the manipulation and transformation of breaks in the 1970s (i.e., before the digital era), and describe some of the techniques used.

an instrumental or percussion section during a song derived from or related to stop-time - being a "break" from the main parts of the song or piece A break is usually interpolated between sections of a song, to provide a sense of anticipation, signal the start of a new section, or create variety in the arrangement Music and mankind have always existed side by side In archaeological sites dated from the Palaeolithic era of over 40 thousand years of age, rudimentary forms of flute can be found Music, which is among man's first cultural expressions, appeared before agriculture or writing and is present in all societies on the planet in different formats and social functions, to follow a religious ritual or simply to break a lonely worker's silence We will recall in a very simplified way some of the recording technologies developed in the last 120 years, and how they have influenced the creation of new musical forms We will also see how the most recent advances have modified creative possibilities, and how industry's mass-produced music affects diversity Until not so long ago, hearing music required the presence of performing musicians Percussionists accompanied armies marching for the Roman Empire, and in southern USA cotton fields, workers would take turns in slave chants Throughout history, expansion wars, commercial routes, and religious impositions opened paths for cultural exchanges of all kinds, including musical While some automatic instruments, such as player pianos and music boxes, appeared in history, they did not replace de facto the musician as the central element - be it a lonely housewife singing or a professional hired to liven up a royal court dinner The way mankind experiences music started to change after the radio and the record were invented, since they made it possible to distribute and listen to pre-recorded sounds

Motown

is the term that refers to the style of music that emerged in Detroit, Michigan in the late 1960's The Sound was a mixture of several popular musical styles and can be considered a form of soul music

The Temptations genre

motown

Nashville Sound

originated during the mid 1950s as a subgenre of American country music, replacing the chart dominance of the rough honky tonk music which was most popular in the 1940s and 1950s with "smooth strings and choruses", "sophisticated background vocals" and "smooth tempos"

Waylon Jennings genre

outlaw country

Bob Marley genre

reggae

What were the Billboard chart categories in the last 1960s?

" The Twist" - Chubby Checker " Hey Jude" - The Beatles " The Theme From 'A Summer Place'" - Percy Faith And His Orchestra " Tossin' And Turnin'" - Bobby Lewis " I Want To Hold Your Hand" - The Beatles " I'm A Believer" - The Monkees

What style(s) does Simone draw on in "Mississippi *******"?

"Mississippi *******," in structure and text content, was unlike any of the freedom songs that accompanied the movement's activities at the time The release of "Mississippi *******" not only marked the awakening of Simone's political beliefs but symbolized the breaking of her musical inhibitions Later Simone would say "until songs like 'Mississippi *******' just burst out of me I had musical problems as well Like "Mississippi *******," "Ol' Jim Crow" was a militant, hard-line statement against the growing resistance against activists and the rising tide of desegregation The song moved away from the Broadway-inspired sound of "Mississippi *******" to reveal a swinging jazz tune in the hard bop vein Simone's piano was once again supported by bassist Lisle Atkinson, drummer Bobby Hamilton, and guitarist Rudy Stevenson, but her voice and the performance takes on a strikingly different approach than that displayed in "Mississippi *******." The structure of the piece allowed Simone to stretch out vocally and in her piano playing in a way that "Mississippi *******" had not Unlike "Mississippi *******," "Ol' Jim Crow" concretely connected the mainstream jazz style (i.e., hard bop) with the civil rights movement, which Sonny Rollins's Freedom Suite (1958) and Max Roach's We Insist! Freedom Now Suite had failed to do

What was the state of Led Zeppelin's career in the mid-1970s?

"The Led Zeppelin Story" t}e article is titled, a brief history of the band's career published by London rock journal Metody Maker n 1975, in anticipation of Zeppelin's first British concerts in two yearsIn 1975, they were at the peak of their success Regarding Led Zeppelin, similar sentiments u¡ere put forth by Susan rüØhitall in a 1979 article in Creent, in which the writer remembers listening to 'Jimmy's tarty guitar on 'You Shook l\ds'-¿ few bars and my lower torso would become l7-year-old rice pudding In the summer of. 197I, British pop newspaPer New Musical Express published an article indicative of the mood of the times in rock By 1976, when Zeppelin were all at the peak of their popularity, the two bandmates had already gone to Morocco, and had planned more extensive trips before Plant was involved in a car accident that left him and his family badly injured and placed the band's career in limbo As Page explained n a 1977 interview The death of Plant's son in 1977 upset the band's equilibrium once again, and drummer John Bonham died only 1 year after the group renewed itself for another album n |gTg,leading to the eventual breakup in 1980 Yet in I994,Page and Plant reunited to record a segment for the MTV show Heavy Music 269 270 Unplugged, and the result, titled No Quarter after one of Zeppelin's more cryptic mid-1970's songs, bears the distinct impression of the colonialist designs hinted at by Page some seventeen years earlier

Critics on the Hendrix Anthem

"The [Hendrix] 'Star Spangled Banner' is probably the most complex and powerful work of American art to deal with the Vietnam War. (Charles Shaar Murray) "For Jimi, it ['The Star-Spangled Banner'] was a musical exercise, not a manifesto." (Charles Cross) His National Anthem is meaningless and constitutes the cheapest kind of sensationalism. (Pete Johnson, The Los Angeles Times) The leader got up in my face and said, 'You running this thing Jimi was standing right next to me but this guy didn't address him in any way He just asked me again, and I said, "I guess I don't know He said, 'Well, you tell that ****ing ****** if he plays "Star-Spangled Banner" in this hall tonight he won't live to get out of the building I was stunned, replying, "Come on, get serious!" [He replied,] 'Did you hear what I said No one does that in Dallas, Texas and lives to tell about it We'll start a riot, and if he don't make it out of the building, that's just the way it ****ing goes.'" (Tour manager Ron Terry)

Hendrix on the Anthem

"When it was written then, it was played in a very very beautiful what they call a beautiful state, ya know It was nice, inspiring—your heart throbs and you say "Great, I'm American!" But nowadays when we play it, we don't play it to take away all this greatness that America is supposed to have, but we play it the way the air is in America today The air is slightly static, isn't it?" "We're gonna continue on with a thing called 'This Is America,' representing the sounds and the feedback which you'll hear is a really lost souls and a frustration it seems like to me we'll see if we can get this feeling across to you maybe through all this racket that some people think we're making up here You get tired of playing notes sometimes so you really want to play or get close to playing exactly what you call a true feeling..." "I still love America—quite naturally—but I can see why people put it down It has so much good in it, you know, but it has so much evil, too."

What are the characteristics commonly found in popular breaks?

A break beat is the sampling of breaks as (drum loop) beats, (originally found in soul or funk tracks) and their subsequent use as the rhythmic basis for hip hop and rap It was invented by DJ Kool Herc, a Jamaican to New York immigrant, usually credited with being the first to buy two copies of one record so as to be able to mix between the same break or, as Bronx DJ Afrika Bambaataa describes, "that certain part of the record that everybody waits for--they just let their inner self go and get wild," extending its length through repetition However, it is likely that there were a number of like-minded DJs developing the technique at the same time for example, Walter Gibbons was noted in first-hand accounts by his peers for cutting two copies of the same record in his discothèque gigs of the mid 1970s A particularly innovative style of street dance was created to accompany break beat-based music, and was hence referred to as "The Break", or breaking In the 1980s, charismatic dancers like Crazy Legs, Frosty Freeze, and the Rock Steady Crew revived the breaking movement More recently, electronic artists have created "break beats" from other electronic music, resulting in a broad style classification itself called breakbeat Hip-hop break beat compilations include Hardcore Break Beats and Break Beats, and Drum Drops

How was the electric guitar, in particular, seen as a status symbol, and how can it be interpreted as a gendered symbol of both sexual and social power?

A series of photos, laid out on a single page, tells a story about the status of the electric guitarist in 1970s ¡ock "The Led Zeppelin Story" t}e article is titled, a brief history of the band's career published by London rock journal Metody Maker n 1975, in anticipation of Zeppelin's first British concerts in two yearsfïvo ideas emerge from this statement that bear upon Page's status as guitar hero In Heavy Music 247 248 cock rock performance, mikes and guitars are phallic symbols, and "cock rockers'musical skills become slmonymous with their sexual skills (hence Jimi Hendrix's simultaneous status as stud and guitar hero¡ In either instance, though, one must make a crucial qualification: Page and Plant's travels are occurring in a changed imperial setting within which England's status as a colonial po'ü/er has all but dissolved

Reggae

A style of music that developed in Jamaica in the 1960s and is rooted in African, Caribbean, and American music, often dealing with social problems and religion

Where did breaks come from?

According to Peter van der Merwe a break "occurs when the voice stops at the end of a phrase and is answered by a snatch of accompaniment," and originated from the bass runs of marches of the "Sousa school" In this case it would be a "break" from the vocal part

How did Latino DJs and Latin music impact early hip-hop?

Although African-Americans are narrowly credited with the formation of hip-hop, Latinos have been involved in the scene since its conception According to Raquel Z. Rivera, "The social conditions and economic prospects for young people living in poor urban communities during the 1960s and 1970s were appalling She goes on to state that both African Americans and Latinos, particularly Puerto Ricans, called these poor communities their homes One of the worst areas to live in at this time was the Bronx, which was riddled with poor housing, fierce gang rivalries, and drug use According to Cheryl L. Keyes, Afrika Bombaataa, a former African American gang member himself and deemed the "Godfather of Hip-Hop" asserted his concept of youth solidarity by rechanneling violent gang rivalries into artistic competitions In 1973, Bombaataa formed a nonviolent coalition called the Youth Organization, later renamed the Zulu Nation. This organization was essentially a youth organization incorporating break-dancers (mainly Latinos), DJ's, and graffiti artists One of the first Latino famed Latino hip-hop artists during the formative years of this organization was DJ Charlie Chase of the Cold Crush Brothers According to Chase, he influenced the hip-hop scene by slipping in musical elements from Latin music just enough so that people would inadvertently enjoy them without realizing they were actually dancing to Latin music According to DJ Ill Will, "Back then race was never really a problem between Blacks and Spanish" Even though Latinos clearly had a large impact on the formation of hip-hop, they were not assimilated into the mainstream hip-hop scene until 1990 This may be due to the fact that hip-hop began to be dominated with purely African-American concerns by popular rap artists Logically, this African-American domination of rap would lead one to forget the influence Latino artists originally maintained on hip-hop and to associate hip-hop as a genuine African-American cultural movement instead of a ghetto-driven movement of repressed minorities including both African-Americans and Latinos This statement is confirmed by Rivera through an anecdote she provides of a Puerto Rican rap-fan during the afro-centric hip-hop phase discovering that his Puerto Rican heritage no longer related to the issues presented by such African-American rap artists like Public Enemy The point is driven home further when his African-American friends tease him by saying, "Why can't your people make good hip-hop" Therefore, the marginalization of Latino-oriented issues and concentration of African-American concerns into mainstream hip-hop culture in a sense segregated Latinos and African-Americans while elevating African-American hip-hop to a purely cultural movement As stated above, Latinos eventually were accepted into mainstream hip-hop once more One of the primary reasons for this acceptance was due largely to Kid Frost, who gained mainstream accepted with his debut album, Hispanic Causing Panic (1990), on Virgin Records Frost used this fame to organize a coalition of Latino rappers called the Latin Alliance Since this time, Latino rappers including Mellow Man Ace, Cypress Hill, and Fat Joe have contributed to the success of Latino hip-hop and guaranteed that rap will no longer be simply considered as an African-American cultural movement, but as an outcry from the disadvantaged minority groups living in the ghettos of America

What event inspired the composition of "Mississippi *******"?

Although Hamer became an identifiable representative of the Mississippi Freedom Democratic Party that challenged the Democratic convention for recognition in 1964, she was also identified as one of the movement's strongest song leaders Searching for an outlet for her anger, Simone went to the piano and in an hour wrote "Mississippi *******," her first protest song Mississippi *******" addressed explicitly a number of political and ideological issues that had emerged out of the movement's activities But beyond the narrative of the lyrics, "Mississippi *******" was unique in its musical structure and form Moving away from the call-and-response, a capella gospel-tinged performances of the more popular freedom songs, "Mississippi *******" took on the structure and form of an up-tempo show tune, with piano, bass, and drum accompaniment As with other freedom songs the focus of the performance was Simone's voice, which transitioned from her singing plainly the first phrase of text to an almost screaming exclamation of the famous line "everyone knows about 'Mississippi *******!'" The song was simple, utilizing a loosely constructed AABA, 32-bar form that was centered on the refrain "Alabama's got me so upset. Tennessee made me lose my rest and everybody knows about Mississippi *******!"

What music was Nina Simone known for prior to 1963?

Although Nina Simone had established herself as one of pop music's influential voices by 1963, her recorded material had crossed several genre distinctions and included everything from interpretations of spirituals like "Wade in the Water," operatic selections like "I Loves You Porgy," and folk songs like "Black Is the Color of My True Love's Hair."

How does Simone's music compare to other African American popular music at the time

Although Nina Simone had established herself as one of pop music's influential voices by 1963, her recorded material had crossed several genre distinctions and included everything from interpretations of spirituals like "Wade in the Water," operatic selections like "I Loves You Porgy," and folk songs like "Black Is the Color of My True Love's Hair." But the escalating violence directed toward activists in the South and a close friendship with playwright Lorraine Hansberry and other politically minded actors and writers drew Simone into new political circles The impact of these interactions was reflected in her music first in 1963 Over the next seven years, from 1963 to 1970, Simone would write and perform some of the mid-1960s' most explicit protest music, outside of the topical songs written by songwriters such as Matthew Jones, Carlton Reese, and others Despite accolades and acclaim from audiences and critics Simone initially viewed her career in popular music as a poor substitution for a career in classical music

What attitudes and philosophies developed in the civil rights movement alongside Simone's evolving protest songs?

Although this vast body of literature is sound in its articulation of the function, scope, and structure of the freedom song of the early 1960s, little attention has been given to the second generation of freedom songs that emerged in the mid-1960s and reflected the rhetorical and eventual philosophical transition of the movement from the nonviolent, interracial, church-based activism of Martin Luther King Jr. to the black nationalist, black power rhetoric of the Student Nonviolent Coordinating Committee (SNCC), the Black Panthers, and similar organizations But most important is the role these shifting philosophies would play in changing the function of music within the movement For this reason, many women, to the detriment of their own bodies and mental health, maneuvered through the philosophical obstacles and stayed silent about their experiences

What types of freedom songs emerged in the early 1960s, and what are some of the ways they were used?

Although this vast body of literature is sound in its articulation of the function, scope, and structure of the freedom song of the early 1960s, little attention has been given to the second generation of freedom songs that emerged in the mid-1960s and reflected the rhetorical and eventual philosophical transition of the movement from the nonviolent, interracial, church-based activism of Martin Luther King Jr. to the black nationalist, black power rhetoric of the Student Nonviolent Coordinating Committee (SNCC), the Black Panthers, and similar organizations One is left with the impression that the articulation of black political rhetoric is defined solely in the freedom songs of the early 1960s and the nationalistic recordings of the late 1960s and early 1970s (i.e., James Brown's "I'm Black and I'm Proud," the Isley Brothers' "Fight the Power, Part 1") The development of a core body of freedom songs did not occur until the early 1960s Before 1961 activists refrained from singing freedom songs publicly because of fear of reprisal Simple in their construction and initially adapted from spirituals and gospel songs, the freedom songs became "one of the best records . . . of the transformation of consciousness in the ordinary people, the masses, who took part in the movement." The freedom songs of the early 1960s fell into two general categories: professionally composed topical songs that commented on protest events from a sideline perspective and group participation songs that were adapted from spirituals or gospel songs with some textural modifications

Is what ways does Waksman describe the guitar's function as a symbolic "technophallus"?

As I have aheady argued, the electric guitar as "technophallus" was built out of a highly charged relatíonship bet'ween white and black men, within which white men sought to appropriate what they perceived to be the potency of black men This is the main importánce of the electric guitar as technophalius as a phallus clearþ dissociated from the penis, it produces the appearance of male potency even as it threatens to denaturalize that appearance, to reduce masculinity to its constituent parts One can easily apply such notions to the study of rock sexuality; for as the electric guitar as technophdlus wor'ks to affirm a phallocentric, male-dominated sexual order, it works u¡ith equal vigor to produce the appearance that this order is unquestionably heterosexual

How did the message songs of Curtis Mayfield combine ideas and themes from gospel music and the civil rights movement?

By 1964 a new body of freedom or protest songs (the terms are used interchangeably) written by artists such as Nina Simone, Curtis Mayfield, James Collier, and others came to reflect these shifts, serving as documentation of the evolving political identity of young black America At the center of this musical shift was singer-songwriter and pianist Nina Simone, though in time, soul performer Curtis Mayfield and folksinger James Collier would also contribute to the freedom song's new political consciousness and sound Jerry Butler and Curtis Mayfield had first met as teenagers and sang together in the Northern Jubilee Gospel Singers and the Traveling Souls Spiritualist Church

How does Led Zeppelin represent the idea of "loudness" as both a measure of volume and a metaphor for cultural impact?

By foregrounding technology in his discussion of the paradoxical effects of heavy metal "loudness," Duncan parallels the cautionary injunctions of Jacques Attali

What were the economic and social conditions in the South Bronx in the early 1970s?

By the 1970s, significant poverty reached as far north as Fordham Road Around this time, the Bronx experienced some of its worst instances of urban decay, with the loss of 300,000 residents and the destruction of entire city blocks' worth of buildings

What particular model of the "guitar hero" was Eric Clapton?

By the time of Hendrix's arnval. in London n t967, a significant cult of the electric guitarist had already developed, largely around a trio of musicians v¡ho played, at one time or another, in a single band, The Yardbirds: Eric Clapton, Jeff Beck, and Jimmy Page When the band began to move toward a more well-produced sound in keeping with standards of pop success, their guitarist, Clapton, opted to quit rather than compromise his commitment to a blues-based authenticity As the story goes, Jimmy Page, then a noted London session guitarist, was asked to replace Clapton, but refused, and recommended his friend Jeff Beck instead Meanwhile, Clapton more thoroughly represented the other side of the guitar hero equation, the mastery of the guitar as a solo instrument through the acquisition of a blues-based virtuosity As a¡tschool students in the earþ 1960s, Clapton, Beck, and Page all partici pated in the bohemian networks of exchange that developed at these schools, networks focused upon the shared appreciation of American blues and rock 'n' ¡oll.2\,Mhereas Beck and Page néver lost their earþ attachment to rock 'n' roll guitarists like Cliff Galiup and James Burton, Clapton has described how his tastes shifted significandy during his tenure with the Yardbirds: At first I played exactly like Chuck Berry for six or seven months Clapton's immersion in the blues, and his willingness to quit one of London's most popular groups rather than compromise his musical principles, led to his virn¡al deification among a core of rock enthusiasts the stories of "Clapton Is God" graffitt appearing on London streets during his tenure with John Mayall's Bluesbreakers have become part of the popular m¡hology of rock More relevant to my purposes here, though, is the way in which first rock 'n' roll and then the blues signified a"brand new world" for Clapton and his fellow musicians, a v¡orld made exotic by its association with two terms of othemess, "black" and "American," which together formed the basis of an alternative teen identity among British youth Clapton has related his aftachment to the guitar to his youthful fantasies about "being a Chicago bluesman, driving around - ^ Çaå|llac and living the li[e," a notion of black existence that he now acknowledges u/as born out of ignorance of the real circumstances of Ærican Amerícan life 2a' Eric [Clapton] began the precedent, and when he left Jeff lBeckl felt that he had to be better than Eric, and when I was left, I felt I had to try hard too

Funk music

Centered on the creation of a strong rhythmic momentum or groove, with the electric bass and bass drum often playing on all four main beats of the measure, the snare drum and other instruments playing equally strongly on the second and fourth beats (the backbeats), and interlocking ostinato patterns distributed among other instruments, including guitar, keyboards, and horns Funk brought the focus on dancing back into the pop mainstream

Bob Marley

Central figure transformation from rocksteady to reggae Increased political and spiritual content "Redemption Song"; "Get Up, Stand Up" Rastafarianism Pan-African "imagined community" + specific ties to Ethiopia Dreadlocks, ganja, and other spiritual practices adopted by mainstream listeners Brought in new pop and rock elements influenced by time in U.S. and UK "Stir It Up" 1967 - Rocksteady 1972 - Jamaican reggae 1972 - Additional processing and parts added in by studio musicians in UK; new elements became key to reggae sound: synthesizer, wah-wah guitar "I Shot the Sheriff" -> Eric Clapton (1974) Exoticism? Appropriation?

Country Joe and the Fish, "I-feel-like-I'm-fixin'-to-die Rag" (1965/68)

Country Joe and the Fish Bridged gap between the detachment of psychedelia and a highly engaged political stance "The F-I-S-H Cheer / I-Feel-Like-I'm-Fixin'-to-Die" Rag sarcastically denounces Vietnam war Performed live at Woodstock in 1969

What kind of music did the father and godfather of hip hop play?

DJ Kool Herc's signature innovation came from observing how the crowds would react to different parts of whatever record he happened to be playing: "I was noticing people used to wait for particular parts of the record to dance, maybe [to] do their specialty move." Those moments tended to occur at the drum breaks—the moments in a record when the vocals and other instruments would drop out completely for a measure or two of pure rhythm What Kool Herc decided to do was to use the two turntables in a typical DJ setup not as a way to make a smooth transition between two records, but as a way to switch back and forth repeatedly between two copies of the same record, extending the short drum break that the crowd most wanted to hear He called his trick the Merry Go-Round Today, it is known as the "break beat" By the summer of 1973, DJ Kool Herc had been using and refining his break-beat style for the better part of a year His sister's party on August 11, however, put him before his biggest crowd ever and with the most powerful sound system he'd ever worked It was the success of that party that would begin a grassroots musical revolution, fully six years before the term "hip hop" even entered the popular vocabulary

Prog(ressive) Rock/Art Rock

Draws heavily on classical music, both in terms of experimental music and more traditional forms like the symphony and concerto Emerson, Lake, and Palmer Pioneered the use of the synthesizer "Lucky Man" (1970) Pink Floyd Begin as a psychedelic band before turning to art rock and eventually mainstream success Dark Side of the Moon (1973) Studio effects over instrumental showmanship Radio-friendly songs with themes of madness "Brain Damage"

UK New Wave

Elvis Costello (and the Attractions) Lyrics emphasis wordplay, social criticism; music combines sophisticated chord progressions and aggressive guitar "Radio Radio" (1978) Written as a criticism of commerical radio programming, particularly the BBC's ban of the Sex Pistols Saturday Night Live performance: told not to play "Radio Radio"; does anyway The Police New Wave power trio Highly literary writing Heavy use of reggae "Roxanne" (1978) "Message in a Bottle" (1979) Quasi-Latin beat changes to driving rock at chorus

How did Jimmy Page's approach to the acoustic guitar draw on his interest in other cultures?

First, Page, like Hendrix before him, ís concerned with using the electric guitar to expand the sonic palette of rock, and is funher interested in increasing the possible sounds derived from the guitar itself His bowing segment recorded in the Zeppelin concert frJm, The Song Remains the Same, finds him generating a r^nge of unusual sonic effects organized into a free-floating structure, sans accompaniment, that gives the guitarist maximum room for experimentation Second, Page's recourse to alanguage of proper musical technique makes plain the central role of virtuosity to his persona, and to the guitar hero in general

What were the most important musical influences on early hip-hop?

Hip hop and rap have many important influences—R&B, funk, soul, jazz, rock and roll performers poets, and writers like Iceberg Slim stylistic forebears like Muhammad Ali and Richard Pryor

The "Birth" of Hip-Hop

Hip-hop emerged from musical practices that were at the heart of a "block party" culture in neighborhoods like the Bronx Innovators of the style included African Americans, Latino/a Americans, and immigrants from the Caribbean (Jamaica and Barbados) Four "pillars": DJing MCing (rapping) B-Boying/B-girling (breakdancing) Graffiti art Some influences Funk Jamaica Sound Systems Dub Toasting Trinidad Calypso Latin Music NYC salsa, mambo, etc. Disco

Who was particularly interested in them, and how did this interest foster a new musical practice?

Hip-hop is more than music, it's a full and vibrant culture Over the past three decades, hip-hop has influenced and uplifted America, speaking up for generations and providing a voice to marginalized populations Opponents of hip-hop culture argue that the music is aggressive in nature and promotes social rebellion

In what ways can the emergence of hip-hop be seen both as an oppositional response to the social conditions of the early 1970s?

Hip-hop music is generally considered to have been pioneered in New York's South Bronx in 1973 by Jamaican-born Kool DJ Herc At a Halloween dance party thrown by his younger sister, Herc used an innovative turntable technique to stretch a song's drum break by playing the break portion of two identical records consecutively The popularity of the extended break lent its name to "breakdancing"--a style specific to hip-hop culture, which was facilitated by extended drumbreaks played by DJs at New York dance parties By the mid-1970s, New York's hip-hop scene was dominated by seminal turntablists DJ Grandmaster Flash, Afrika Bambaataa, and Herc The rappers of Sugarhill Gang produced hip-hop's first commercially successful hit, "Rapper's Delight," in 1979' Rap itself--the rhymes spoken over hip-hop music--began as a commentary on the ability--or "skillz"--of a particular DJ while that DJ was playing records at a hip-hop event. MCs, the forerunners of today's rap artists, introduced DJs and their songs and often recognized the presence of friends in the audience at hip-hop performances Their role was carved out by popular African-American radio disc jockeys in New York during the late l96Os, who introduced songs and artists with spontaneous rhymes The innovation of MCs caught the attention of hip-hop fans Their rhymes lapped over from the transition period between the end of one song and the introduction of the next to the songs themselves Their commentaries moved solely from a DJ's skillz to their own personal experiences and stories The role of MCs in performances rose steadily, and they began to be recognized as artists in their own right The local popularity of the rhythmic music served by DJs at dance parties and clubs, combined with an increase in "b-boys"--breakdancers--and graffiti artists and the growing importance of MCs, created a distinctive culture known as hip-hop For the most part, hip-hop culture was defined and embraced by young, urban, working-class African-Americans Hip-hop music originated from a combination of traditionally African-American forms of music--including jazz, soul, gospel, and reggae It was created by working-class African-Americans, who, like Herc, took advantage of available tools--vinyl records and turntables--to invent a new form of music that both expressed and shaped the culture of black New York City youth in the 1970s

What role did music play in the civil rights movement prior to the 1960s

However, by the mid-1960s several significant events would become key to rhetorical transitions and factional divisions within the civil rights movement Unlike "Mississippi *******," "Ol' Jim Crow" concretely connected the mainstream jazz style (i.e., hard bop) with the civil rights movement, which Sonny Rollins's Freedom Suite (1958) and Max Roach's We Insist! Freedom Now Suite had failed to do Carmichael, one of the SNCC leaders instrumental in the split from King's rhetoric of nonviolence, declared that Simone was "the true singer of the civil rights movement," and though other prominent black performers distanced themselves from the group, Simone openly acknowledged her relationship with SNCC and on several occasions headlined fund-raisers for it The text "lent lyrical and spiritual support to the civil rights movement" and "embraced a much wider audience who could equally apply them to the everyday struggle in their own lives."

How did Simone's "Four Women" address issues of gender disparity within both society as a whole and the civil rights movement itself?

In 1965, Simone recorded "Four Women," which was the first song to insert gender into the context of the Black Arts movement."Four Women" reflected that despite the efforts of black men within the movement to free the black community from past stigmas and discrimination, black women were still being defined in limited terms, such as skin color and hair texture, attitudes often expressed by the white community "Four Women" struck a chord with black America as many black radio stations refused to play the record, citing that it insulted black women As she had done so poignantly with her previous freedom songs, Simone constructed through "Four Women" a communal narrative out of the invocation of her own personal experience All it ["Four Women"] did was to tell what entered the minds of most black women in America when they thought about themselves Although Simone would later claim that the black struggle was her priority at the time and that she never aligned herself with women's liberation, "Four Women" came to serve as a strong manifesto of black feminist thought

How did the early hip-hop parties aim to mitigate the tumultuous social conditions of the Bronx?

In the 1970s, fires ravaged much of the Bronx: seven census tracts lost 97 percent of their buildings and 44 tracts lost more than 50 percent Many people still believe that those fires were the result of arson—landlords burning their own buildings for profit, or even residents starting the fires

How did his vision for the guitar relate to the British understanding of African American music?

Just as sþificant was the band's conrinual manipulation of cultural and racial boundaries, its incorporation of elements drawn not only from African-American music but also from v¡hat Jimmy Page has referred to as the "C.I.A." influence-Celtic,Indian, and fuabic musical elements thar u/ere taken up with little regard for ethnological propriety

How does Jimmy Page embody the archetype of the "guitar hero"?

Meanwhile, Clapton more thoroughly represented the other side of the guitar hero equation, the mastery of the guitar as a solo instrument through the acquisition of a blues-based virtuosity Jimi Hendrix was in many ways the archerype of the modern guitar hero, using the technology of the electric guitar to mediate among the racial and sexual tensions that have governed the production of popular music Understanding Jimmy Page's and Led Zeppelin's version of the guitar hero presents a unique set of challenges fïvo ideas emerge from this statement that bear upon Page's status as guitar hero Second, Page's recourse to alanguage of proper musical technique makes plain the central role of virtuosity to his persona, and to the guitar hero in general The guitar hero is a master of his instrument, possessing the technique necessary to play musícal passages outside the reach of other musicians Gchnical capabilities alone do not explain the impact of the guitar hero, however In rock music of the 1970s, moreove! this tendency of the guitar hero to exceed the normal boundaries of musical practice was often indistinguishable from the electric guitar's role in defining those bouadaries, particularþ with regard to the gendered nature of rock peri forma¡ce Meanwhile, Clapton more thoroughly represented the other side of the guitar hero equation, the mastery of the guitar as a solo instrument through the acquisition of a blues-based virtuosity Even more provocative is Beck's language in describing his placement of the pickup, a perfect example of the ways in which the ideal of masculine achievement contained within the guitar hero ("boy, I was the king!") hinges in part (or in parts) upon the eroticization of technology In Heavy Music 247 248 cock rock performance, mikes and guitars are phallic symbols, and "cock rockers'musical skills become slmonymous with their sexual skills (hence Jimi Hendrix's simultaneous status as stud and guitar hero¡ While Goldstein describes Grand Funk as lacking variety and virtuosity, Zeppelin lacked neither; where Grand Funk presenred a version of rock in which human performers seemed mechanical and technology seemed the true hero, Jimmy Page's guitar heroícs presented a more complicated relationshiþ between performer and technology, one in which musical virtuosity signified the ability to manipulare rechnology to one's own ends Judged from this perspective, the guitar hero serves a crucial ideological function, offering the appearance of individual achievement and mastery in the face of the growing crowds that occupied the spaces of rock performance Such was the importance of the band's recourse to tropes of exoticism, the cultivation of musical "strangeness" that unsettled fans accustomed to guitar heroics

"History Written with lightning": Jimi Hendrix's Star-Spangled Banner

Most famously captured at Woodstock, Hendrix performed the national anthem more than 60 times between 1968 and 1970 His instrumental rendition embodies an intersection of performance, protest, and patriotism Vividly depicts "rockets" and "bombs" Interpolates a musical quotation of "Taps" Although often taken as critical of U.S. military involvement in Vietnam, Hendrix spoke several times in support of the war Hendrix (and bassist Billy Cox) had in fact served in the 101st Airborne Division the early 1960s

"Take It to the Limit"

Musical trends of 1960s taken to extremes For some, artistic expression still trumps commercial concerns Longer songs More instruments More technology More effects More displays of technique For others, it is all about the show More explosions More drama

The Brill Building

Offices and studios of music publishers Sought to take over youth market by combining elements of rock 'n' roll with established pop music formulas Songwriting and demonstration recordings Ex.: Aldon Publishing • Carole King and Gerry Goffin Cynthia Weill and Barry Mann Neil Sedaka and Howard Greenfield

"The Song Remains the Same"

Popular music in the 1970s is an amalgam of numerous styles: African American music European music Latin music Pop culture reflects/impacts society Music industry largely dominated by white men Music is a major site for the blending of culture, but also shows prejudices and inequalities Music is a part of political discourse, especially in terms of the civil rights and the anti-war movements

Referring to the course materials on the early 1960s, discuss ways that the music industry attempted to regain control of the market following the emergence of rock 'n' roll. Consider this in terms of how they approached making new music and how they molded younger artists? Be sure to refer to specific songs and artists

Regardless of the financial disadvantages faced by African Americans during the 1950s, rock In' roll was instrumental in gaining respect for African Americans with the youth of America This respect and new attitude would help garner support for the civil rights movement that hit a high level of achievement in the 1950s and 1960s although the rise of rock In' roll and the emergence of the civil rights movements happened at the same time The rise of rock In' roll undoubtedly helped change the way many young Americans looked at African Americans These young Americans were quickly becoming a part of the voting population in America Their attitudes towards African Americans were soon reflected in the policies of politicians that helped garner support for the Civil Rights Act of 1964 and the Voting Rights Act of 1965 In the scope of American history, the Civil Rights Movement is not far from memory However, as the years between the 1960s and the present grow farther and farther apart, students will have a decreasing a mount of personal connection, to the events of the Civil Rights Movement The number of people that experienced the personal and institutionalized prejudices first hand is starting to shrink The same dwindling effect is happening to the number of people that were involved in various elements of the Civil Rights It is because of these events falling further into recorded history that we need find new ways to make the post World War II era, America, relevant to students at the secondary level In the 1950's a specific style of music known as Rock 'n' Roll affected american society by influencing family lives, teenage behavior, and the civil rights movement This decade helped to influence everything that we listen to on the radio today Rock 'n' Roll, influenced the culture and reflected its changes The 1960s gave the rock world The Beatles, The Beach Boys, The Rolling Stones, the British invasion, surf music, folk rock, funk, soul, psychedelic music and ended with Woodstock The Ventures hit instrumental "Walk - Don't Run" leads to the creation of surf-rock which brings the electric guitar back into prominence

"Money"

Rock becomes big business Record production dominated by a small group of labels: Columbia/CBS, Warner Communications, RCA Victor, Capitol-EMI, MCA, United Artists-MGM account for 80% of all sales Marketing Tours - arena shows become the norm Counterculture gets commodified The "rock star" lifestyle becomes an image of success, despite the deaths of Hendrix, Joplin, and Morrison Radio goes corporate AM = Top 40 FM = rock - underground at first, but then corporatized and run according to business rather than artistic principles

Reggae - Musical elements

Rocksteady Slower tempo; Fewer chord changes "One drop" - bass drum played on beat 3 Reggae Tempo slows even further "Steppers" beat - bass drum on all beats ("four on the floor") "Rockers" beat - bass drum played on 1 and 3, snare on 2 and 4 More active bass; percussive ("scratchy") guitar and keyboard "bubble" interlocking with skank

Sly and the Family Stone

San Francisco-based band marketed as "psychedelic soul" and "pop funk" Racially and sexually integrated Featured Larry Graham, innovator of the electric slap bass style Early emphasis on lighter material "Dance to the Music" (1968) "Everyday People" (1969, #1 both charts) "Thank You Falettinme Be Mice Elf Again" (1969, #1 both charts) Later, heavier funk, more overt social commentary "Don't Call Me ******, Whitey" (1969) There's a Riot Goin' On (1971)

Latin Rock

Santana, "Oye Como Va" Band features Mexican American guitarist Carlos Santana Incorporated Latin, blues, jazz, and psychedelic rock styles Success bolster by appearance at the Woodstock festival in 1969 "Oye Como Va" (1970) A cover of a 1963 Latin pop song by Tito Puente Features rock guitar over an ensemble with organ and lots of Latin percussion

What songs were written by Northern songwriters such as Bob Dylan, Len Chandler, and Phil Ochs?

Songwriters such as Bob Dylan, Len Chandler, Phil Ochs, and others began to treat movement themes topically in their songs and devoted their music and services to further several campaigns Dylan's "Oxford Town" told the story of James Meredith's enrollment at the University of Mississippi, and "Only a Pawn in Their Game" and "The Lonesome Death of Hattie Carroll" documented the deaths of civil rights worker Medgar Evers and a poor black woman at the hands of a wealthy socialite, respectively Chandler's "The Time of the Tiger" foreshadowed the spirit of black militancy that would blossom in the mid-1960s Seeger, Theodore Bikel, Joan Baez, Chandler, and Peter, Paul and Mary, would go to the South throughout the early 1960s to draw attention to the scare tactics being used against activists, sing at meetings and freedom schools, and perform benefit concerts to raise money for various organizations The folk movement's participation in freedom movement activities hit its zenith in July 1963 when Seeger organized a folk festival in Greenwood, Mississippi The interracial group of performers that performed for the SNCC-sponsored event garnered a substantial national audience through television coverage and an extensive write-up in the New York Times Despite the festival's success, it would prove to be the folk movement's swan song as the onslaught of Beatlemania and Dylan's abandonment of his role as political spokesman in 1965 sent the genre into a fight for its own survival Nevertheless, the freedom song had become central in developing northern, largely white audiences' understanding of the black freedom movement

The Rock Song as Historical narrative

The Band, "The Night They Drove Old Dixie Down" (1969) Written by Robbie Robertson (a Canadian) to be sung by Levon Helm (a native of Arkansas) Centered on the perspective of a Southern "everyman" who fought on the losing side of the war Live performance (1976) adds brass band to further connection to military history Nothing I have read...has brought home the overwhelming human sense of history that this song does It's a remarkable song, the rhythmic structure, the voice of Levon and the bass line with the drum accents and then the heavy close harmony of Levon, Richard and Rick in the theme, make it seem impossible that this isn't some traditional material handed down from father to son straight from that winter of 1865 to today It has that ring of truth and the whole aura of authenticity." (Richard Gleason, Rolling Stone, 1969)

The Beatles in Hamburg

The Beatles developed their initial sound during residencies in Germany from 1960-1962 Repertory included songs by Elvis, Chuck Berry, Buddy Holly

Referring to the course materials, discuss the "British Invasion." How did this phenomenon both reflect an outside view of United States culture, and steer the course of popular music of the US in the mid- to late-1960s? Be sure to refer to specific songs and artists.

The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom and other aspects of British culture became popular in the United States and significant to the rising "counterculture" on both sides of the Atlantic Pop and rock groups such as the Beatles, the Rolling Stones, the Kinks, the Dave Clark Five, Herman's Hermits, the Zombies, and the Animals were at the forefront of the "invasion" The British Invasion had a profound impact on popular music, internationalizing the production of rock and roll, establishing the British popular music industry as a viable centre of musical creativity, and opening the door for subsequent British performers to achieve international success In America, the Invasion arguably spelled the end of the popularity of instrumental surf music, pre-Motown vocal girl groups, the folk revival (which adapted by evolving into folk rock), teenage tragedy songs, Nashville country music (which also faced its own crisis with the deaths of some of its biggest stars at the same time), and temporarily, the teen idols that had dominated the American charts in the late 1950s and 1960s It dented the careers of established R&B acts like Chubby Checker and temporarily derailed the chart success of certain surviving rock and roll acts, including Ricky Nelson, Fats Domino, the Everly Brothers, and Elvis Presley (who nevertheless racked up 30 Hot 100 entries from 1964 through 1967) It prompted many existing garage rock bands to adopt a sound with a British Invasion inflection and inspired many other groups to form, creating a scene from which many major American acts of the next decade would emerge The British Invasion also played a major part in the rise of a distinct genre of rock music and cemented the primacy of the rock group, based around guitars and drums and producing their own material as singer-songwriters A subsequent wave of British artists rose to popularity in the early 1980s as British music videos appeared in American media, leading to what is now known as the "Second British Invasion" Another wave of British mainstream prominence in US music charts came in the mid-1990s with the brief success of Spice Girls, Oasis and Robbie Williams At least one British act would appear somewhere on the Hot 100 every week from November 2, 1963 until April 20, 2002, originating with the debut of the Caravelles' "You Don't Have to Be a Baby to Cry" British acts declined in popularity throughout the 1990s, and in the April 27, 2002 issue of Billboard, none of the songs on the Hot 100 were from British artists that week, only two of the top 100 albums, those of Craig David and Ozzy Osbourne, were from British artists

Referring to the course materials on the Beatles, discuss how they contributed to the establishment of a new definition of "rock" in the 1960s? How did this foster a new status for popular music by the end of the decade? Be sure to refer to specific songs.

The English rock band the Beatles are commonly regarded as the foremost and most influential band in popular music history With a line-up comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they sparked the "Beatlemania" phenomenon in 1963, gained international stardom in 1964, and remained active until their break-up in 1970 Over the latter half of the decade, they were often viewed as orchestrators of society's developments Their recognition concerns their effect on the era's youth and counterculture, British identity, popular music's evolution into an art form, and their unprecedented following The Beatles were important because they were responsible for the mid 1960s musical British Invasion to the USA Initially their music was based on 1950's rock and skiffle The Beatles were also important because they not only defined the music of the time but they also had a big influence on popular culture in general The Beatles are the best-selling music act of all time, with certified sales of over 183 million units in the US and estimated sales of 600 million units worldwide They hold the record for most number-one albums on the UK Albums Chart, most number-one hits on the Billboard Hot 100 chart, and most singles sold in the UK The group were inducted into the Rock and Roll Hall of Fame in 1988, and all four main members were inducted individually between 1994 and 2015 In 2008, the group topped Billboard's list of the all-time most successful artists on the Billboard Hot 100 The band have received seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 film Let It Be) and fifteen Ivor Novello Awards Time named them among the 20th century's 100 most important people

"Cosmic American Music"

The Flying Burrito Brothers Gram Parsons, Chris Hillman (Byrds) "Sneaky Pete" Kleinow (pedal steel) Mix of hippie sensibilities, country, psychedelic rock, soul Image grafts the fantastical uniforms of the Beatles with the costuming of country pop The Gilded Palace of Sin (1969) Includes several soul covers "Do Right Woman" (Aretha Franklin) "The Dark End of the Street" (James Carr)

Countercultural Music in the 1970s

The dominance of mainstream rock and pop fostered a new crop of oppositional styles and genres Progressive Country Reggae Salsa Punk and New Wave

In what ways were hip hop parties successful and unsuccessful?

The rappers of Sugarhill Gang produced hip-hop's first commercially successful hit, "Rapper's Delight," in 1979' For many youth the heroes and success stories of the inner-city are rappers Hoping to follow the success of rappers like LL Cool J, Will Smith, Sean "Puffy" Combs, and Wyclef, many youth see the music industry as one of their only opportunities to achieve the notoriety and money to escape the hopelessness of the inner-city In the growing success of the hip-hop market, musicians have struggled to maintain rap's potency as a form of resistance and empowerment These organizations give youth the discipline, self-confidence, leadership, and other tools necessary for success in the music industry

How did early hip-hop serve as a vehicle for community building and entrepreneurship?

The song "Rapper's Delight" by The Sugarhill Gang, released in 1979, begins with the phrase "I said a hip, hop, the hippie the hippie to the hip hip hop, and you don't stop" Lovebug Starski — a Bronx DJ who put out a single called "The Positive Life" in 1981 — and DJ Hollywood then began using the term when referring to this new disco rap music Bill Alder, an independent consultant, once said, "There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit ('Rapper's Delight' by the Sugar Hill Gang on Sugarhill Records) Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Love-bug Starski as the first to use the term "hip hop" as it relates to the culture. Bambaataa, former leader of the Black Spades, also did much to further popularize the term The words "hip hop" first appeared in print on September 21, 1982, in The Village Voice in a profile of Bambaataa written by Steven Hager, who also published the first comprehensive history of the culture with St. Martins' Press

America responds

US record labels, producers, and musicians moved to reclaim their prominence in the pop and rock arena, and built on the trends set by the Beatles and other British bands "TV rock" Garage Bands California pop Folk Rock

How did Page's use of a violin bow serve as both a sign of his virtuosity and a transgression of normative guitar playing?

With his left hand, Page frets a chord at the bottom of the guitar's neck, while u¡ith his right, he wields'a violin bow that he rubs against the strings Page's violin bow, a curious detail of the opening photograph, takes us one step further into this anay of themes Vhateve¡ Page might say about "legitimate bowing techniques," the use of a violin bow to play an electric guitar is a decidedly illegitimate practice Paganini of the Seventies, who makes audiences scream by scraping a violin bow across screeching guitar strings "I loved every second of it," remembe¡s Millar, "SØhen Jimmy Page played his guitar with a violin bow I quite possibly wept for joy

Rock and the politics of North and South

With its roots in many aspects of Southern culture, including the African American experience, rock provided an outlet for both critical and celebratory depictions of the South Criticisms often responded to events in the Civil Rights Movement The "rebellious" nature of rock was (and is) linked to sentiments of nostalgia for the pre-Civil War South, and continued bitterness towards the loss of that war ("The South will rise again") Most clearly expressed in Southern rock

How do Page and Plant's travels, and their use of musicians from other cultures in their performances and products parallel the colonial mindset of the nineteenth century?

Yet in I994,Page and Plant reunited to record a segment for the MTV show Heavy Music Urcplugged, and the result, titled No Quarter after one of Zeppelin's more cryptic mid-1970's songs, bears the distinct impression of the colonialist designs hinted at by Page some seventeen years earlier Page's abfity ro synthesize disparare musical sryles has drawn much comment, often from writers critical of his appropriative tendencies, yet few have sought to place his international eclecticism within a framework that recognizes the significance of colonialist and Heavy Music Orientalist ideologies in the music of Led Zeppeln \øithin the musical logic of the band, acoustic sounds were regularþ used to signify exotic musical styles, and the far-rangíng soundscape was to conjure an expansive imaginarylandscape in which the two leaders, Page and Robert Plant, enacted afantasy ofexploration ¡ooted in colonialist desires.Urcplugged, and the result, titled No Quarter after one of Zeppelin's more cryptic mid-1970's songs, bears the distinct impression of the colonialist designs hinted at by Page some seventeen years earlier In either instance, though, one must make a crucial qualification: Page and Plant's travels are occurring in a changed imperial setting within which England's status as a colonial po'ü/er has all but dissolved They fr:¡ction not as representatives of state power in the traditional sense but of a new kind of global (dare one say post-colonial) commodification of culture, and their presence begs the question of 'u¡hether this new order might allow for new patterns of cultural exchange along the lines envisioned by Plant, or whether this is mereþ a recasting of the same historical processes of imperialist appropriation in a new guise

Progressive Rock

an alternative music format that developed as a backlash to the popularity of Top 40

reverb

an electronically produced echo effect in recorded music

Teen Idols

clean cut, wholesome singers that major labels promoted in the late 1950's and early 1960's to counter the success of independent label R&B and Rock and Roll

The Shirelles genre

girls groups

How can this be read in the practice of repeating breaks?

makes music easier to grasp, to understand, to remember It enables listeners and players to commit themselves more deeply into the music, by actively following the different repetitions Repetition also enables to establish symbolic/semiotic constructions into the music, motifs, etc.

How have critics interpreted the song, "Whole Lotta Love?"

viltng about the album's lead song, tÏe previously discussed "Iwhole Lorta Love," P?tir states that it was an emergency telegram to a neu/ generation In its frenzy of sex, chaos, and desrruction, it seemed to conjure all the chilling anxieties of the dying decade Ironically, the song (and Led Zeppelin) did¡'t much appeal to the kids of the sixties But their younger siblings, the high school kids, werc d.eterrtinedtohavemore fun Led Zeppelin was really their band For the next decade Led Zeppelin would be the unchallenged monarchs of high school parking lots all over America TT Davis and Led ZePPelin II, put fo thus heavY metal was born cluded "hard rock," "heavy music," "acid rock," and even "white blues

Outlaw Country

A term used by the record industry to capitalize on the overlap between audiences for rock and country music It included Willie Nelson and Waylon Jennings

James Brown

"The Godfather of Soul"; "Soul Brother #1"Embraced the theatricality of pop music Maintained a high degree of control over his recordings and live performances After early R&B hits, lead the development of funk "Please, Please, Please" (1956) Ecstatic vocals reminiscent of gospel "I Got You (I Feel Good)" (1965) 12-bar blues form "Papa's Got a Brand New Bag" (1965) 12-bar blues with a one-chord bridge 2-measure interlocking pattern played by drums, bass, guitar, and horns

Implicit Messages

"The medium is the message" (Marshall McLuhan) A song's meaning is linked to the means of its transmission The way people consume music is as important as the music itself Intertextuality (Julia Kristeva) The meaning of a song is shaped by its relationship to other song The meaning of a cover song is shaped by its relationship to the original Critical theory: everything has a message A song's meaning is derived from its cultural context

Bob Dylan, Rock Star

1964-66: musical style shifts to incorporate electric instruments, drums "Goes electric" at Newport folk festival in 1965 Tours with split acoustic/electric sets "Like a Rolling Stone" (1965) Establishes a new bar for rock songs in terms of: Length—over 6 minutes Sound—dense texture, but grounded in live performance Subject matter—provides a cutting social analysis through a serious narrative, but couched in poetic and indirect terms

Funk after James Brown

After Brown's establishment of funk's musical baseline (and bass line - get it?), the style was blended with other types of popular music Pop funk - a more commercial iteration of Brown's style Foregrounded dance rhythms and horn sections lyrical content was primarily pop-oriented Artists frequently appeared on the pop charts P-funk - a less commercial style led by singer George Clinton Incorporated rock guitar (including psychedelic and heavy metal styles) and more extended, jazz-oriented solos Retained a deeper connection to the civil rights movement and ideas of Black nationalism Drew on themes of Afro-futurism, a movement that uses science fiction, fantasy, magical realism and other literary stances to examine the African Diaspora

The Producer as Star: Phil Spector

Apprenticed with Leiber and Stroller Expanded role of producer to that of auteur Founded his own label: Philles The "Wall of Sound" House band: The Wrecking Crew Orchestral instruments Multi-tracking/Overdubs Lots of reverb "Symphonies for the little kids" Recorded tracks continue to become the primary unit of pop music Spector's hits The Crystals, "Then He Kissed Me" (1963) The Ronettes, "Be My Baby" (1963) The Righteous Brothers, "You've Lost That Loving Feeling" (1964)

What was the Beatles' presence in the US prior to February 1964?

Beatlemania was the intense fan frenzy surrounding the English band the Beatles in the 1960s The group's popularity grew in the United Kingdom throughout 1963, propelled by the singles "Please Please Me", "From Me to You" and "She Loves You"

"pop" sounds

Backing vocals in 4-part harmony Strings "Cleaner" lead vocals

The Kinks

Brothers Ray and Dave Davies Less polished, more original More aggressive pop, not as bluesy "You Really Got Me" (1964) "All Day and All of the Night" (1964) Later: story songs with social commentary "Sunny Afternoon" (1966)

Folk Rock

Combined folk vocals (and politics) with rock band instrumentation The Byrds "Mr. Tambourine Man" (1965), cover of Bob Dylan "Turn! Turn! Turn!" (1965, cover of Pete Seeger original) Both tracks centered on the sound of the electric 12-string Rickenbacker guitar Simon & Garfunkel "Sound of Silence" (1965) Originally an acoustic ballad, written in the aftermath of JFK assassination Rock instruments overdubbed by Bob Dylan's producer (without S&G involvement), became an anthem of anti-war movement

The "Nashville Sound"

Country music producers sought more success on the pop chart by altering arrangements Removed "rustic" elements of country music (fiddles, steel guitar) Added vocal choruses (like Elvis) Cultivated a more neutral image for singers - no more hillbilly or cowboy costumes Jim Reeves, "Four Walls" (1957) Adopted a "crooning" vocal style, singing softly, close to the microphone Songs featured lush string and vocal arrangements Patsy Cline, "I Fall to Pieces" (1961) Originally had "cowgirl" image Along with changes in sound, adopted a more "sophisticated" look Died in 1963 plane crash; came to be regarded as quintessential female country artist

The Beatles Invade the U.S.

EMI had refused to release first singles in the US - they were released on small labels with little success After British success of 1963, EMI finally releases "I Want to Hold Your Hand" on Capitol Records (12/26/63) Beatles booked on Ed Sullivan Show, along with pledge of massive publicity spending 2/7/1964: Arrive at JFK airport in New York 2/9/1964: The Ed Sullivan Show

What is the distinction that emerged between the terms "rock 'n' roll" and "rock"?

From a purely musical standpoint, rock music is an umbrella term to describe music typically characterized by a persistent, strong drumbeat and amplified (often distorted) electric guitars Rock and roll is a subgenre of rock music which evolved in the early 1950s from Chicago blues, jump blues, and big band swing

"Papa's Got a Brand New Bag"

Groove based on division of the beat into 2, rather than 3 Heaviest emphasis on beats 1, 2, and 4

An important addition

Harrison given prototype of electric 12-string guitar by Rickenbacker Instrument is a key component of mid-60s Beatles sound Inspires many other bands (Animals, Byrds, etc.)

All About the Break

Hip-hop Djing emerged from the practice of extending songs for dancing Breaks - short percussion sections from existing songs (R&B, soul, funk, rock, etc.) - were repeated in a loop Famous breaks include those from James Brown, "Funky Drummer"; Aretha Franklin, "Rock Steady"; Incredible Bongo Band, "Apache"; The Winstons, "Amen Brother" Later, new vocals were later added in performance (MCing) Eventually, discrete new works were made using this process and, later, digital sampling The reuse of existing material can be read in many ways - a philosophy of cultural "ownership", a way of making due with what one has, etc. Copyright Criminals (2009)

"Popular music" with a message

In 1960s soul music became a site for the expression of civil rights ideas A musical symbol of black identity, but a contested one Assimilation vs. autonomy/self-determination A parallel to the issues-driven ideas of urban folk music Sam Cooke, "A Change is Gonna Come" (1964) - written in response to "Blowin' in the Wind" Like freedom songs, soul paired sacred themes with secular social issues Curtis Mayfield/The Impressions, "Keep on Pushing" (1964); "People Get Ready" (1965)

The Social Message(s) of Funk

In the late 1960s, funk served as a vehicle for messages of "self-empowerment, celebrations, and self-love" James Brown, "Say it Loud, I'm Black and I'm Proud" (1968) James Brown, "Get Up (I Feel Like Being A) Sex Machine" (1970) Funk in the 1970s can be read as a contrast and challenge to predominant, more "superficial" genres (e.g., soul, disco) Were the achievements of the earlier civil rights movement(s) enough? What were alternative discourses about black power, black unity, and other social issues? James Brown, "Get Up, Get Into It, and Get Involved" (1971)

From R&B to "Soul"

In late '50s artists such as Ray Charles fused R&B with Gospel, harnessing the spiritual depth of sacred music to sing about secular love "I've Got a Woman" (1954) "Hallelujah, I Love Her So" (1956) R&B shuffle (uneven beat) punctuated by brass and saxes (horns) Charles drew on a variety of genresin pursuit of an inclusive definition of American music Tin Pan Alley: "Georgia On My Mind" (1960) Country: Modern Sounds in Country and Western Music (1962)

Prior to the Beatles, how did the single and LP formats signal different genre distinctions?

In the 1950s and 60s, the mass migration of African Americans out of the South continued Black sharecroppers came North for industrial jobs, and they brought their music with them This migration had a tremendous influence on blues, jazz, R&B and rock-n-roll He began to play jazz clubs with his brand of blues

"More Beatles"

In the immediate wake of the Beatles' first US successes, other bands followed with a similarly clean-cut image and pop-influenced sound Gerry and the Pacemakers "Don't Let the Sun Catch You Crying" (1964) Dave Clark Five "Over and Over" (1964) Herman's Hermits, "I'm Into Something Good" (1964)

James Brown Makes It Funky

In the mid-1960s, Brown leads a shift from soul to funk Musical features Rhythmic feel transformed from swing to straight 16ths, with heavy syncopation Strongest emphasis on "the one" (first beat of 2-measure pattern) Forms are reduced to verse + bridge Static harmonies in verses, with a change of groove at bridge Longer songs, often released as two-part singles Vocals from gospel, soul - vocables, screams, declamation Large bands, highly participatory Bass has leading melodic role Horn riffs, hits Improvisation (but in the box)

Urban Folk in the 1960s

Interest in folk "authenticity" continues to be centered in urban and collegiate environments Bob Dylan b. Robert Zimmerman Idolized Woody Guthrie Joined New York City folk scene in 1960 Embraced for his focus on the importance of words and his rough, "authentic" performance style "Blowin' In the Wind" (1963) "The Times They Are A Changin'" (1964) "Mr. Tambourine Man" (1965) • Peter, Paul, and Mary Presented a more polished, pop-friendly take on Dylan's thought-provoking lyrics Represented the more gentile, intellectual front of the anti-war movement

1965

Knighted by Queen Elizabeth II Increased consumption of marijuana, exposed to LSD July 1965: Help! (film and album) More of a "plot" Increasingly mature songwriting "Help!" "You've Got to Hide Your Love Away" (Dylan influence?) Classical instrumentation "Yesterday" Third US Tour - Shea Stadium, 8/15/65 (55,600 in attendance) Introduced by Ed Sullivan October: Enter studio to record Rubber Soul Four weeks dedicated just to recording All original songs Largely acoustic More obtuse lyrics Incorporates huge range of influences and sounds Marijuana, LSD Fuzz bass - "Think For Yourself" Indian music (drone-based, uses sitar) - "Norwegian Wood (This Bird Has Flown)" More classical (baroque pop + studio effects) - "In My Life"

The Animals

Lead by singer Eric Burdon Covered different sides of American music, adapted to their own style "House of the Rising Sun" (1964; US folk song) "We've Goga Get Out of This Place" (1965; Barry Mann/Cynthia Wells [Brill Building]) "Don't Let Me Be Misunderstood" (1965; Nina Simone)

From Sample to Song

MCs like Kool Herc began adding vocals over breaks, drawing directly on traditions from Jamaica ("toasting") and Africa, as well as spoken word traditions in the US The Last Poets, This is Madness (1971) Lightnin' Rod, Hustler's Convention (1973) Early hip-hop tracks are often based on a single source Chic, "Good Times"->Sugar Hill Gang, "Rapper's Delight" Later, hip-hop tracks come to be made up of many small samples, sometimes anchored by a drum machine Public Enemy, It Takes a Nation of Millions to Hold Us Back (1988) Beastie Boys, Paul's Boutique (1989)

New Musical Products: Teen Idols

Male singers recruited for good looks Safe and clean Exhibit a range of image from innocence to swagger Frankie Avalon "Venus" (1959) Paul Anka "Put Your Head on My Shoulders" (1959)

Jazz and Protest

Music with more explicit messages relating to the Civil Rights Movement had appeared in jazz since the late 1930s Charles Mingus, "Fables of Faubus" Reaction to "Little Rock Crisis" (1957) Recorded in 1959 as instrumental: Columbia Records wouldn't allow lyrics Re-recorded in 1960 for independent label Billie Holiday, "Strange Fruit" (1939) Columbia Records refused to let Holiday record it, but allowed a release from her contract for a recording, which sold well Equal Justice Initiative (www.eji.org): 3959 documented lynchings in the South from 1877-1950

Other Pop Funk

Ohio Players, "Love Rollercoaster" (1975, #1 both charts) Kool and the Gang, "Jungle Boogie" (1973); "Ladies' Night" (1979); "Celebration" (1980, #1 both charts) Earth, Wind, and Fire, "Shining Star" (1975, #1 both charts) Tower of Power, "What is Hip" (1974) War, "Low Rider" (1975)

Guitar Gods

Particularly in the mid-1960s British blues rock scene, guitarists and especially guitar solos became central to rock performances Major players included Eric Clapton (The Yardbirds; Cream), Jimi Hendrix, and Jimmy Page (The Yardbirds; Led Zeppelin) Bands used the blues form as a vehicle for extended solos Cream, "Crossroads" (1968) Cover of Robert Johnson, but more in line with 1950s electric blues

California Pop

Pop-folky side Mamas and Papas, "California Dreamin'"; "Monday, Monday" (1966) The Turtles, "So Happy Together" (1967) Pop side Phil Spector Righteous Brothers, "You've Lost That Lovin' Feeling" (1964) Tina Turner, "River High - Mountain Deep" (1966)

How were the demographics of pop music audiences in the 1960s different from previous decades?

Popular music of the United States in the 1960s became innately tied up into causes, opposing certain ideas, influenced by the sexual revolution, feminism, Black Power and environmentalism This stemmed from a revival of hillbilly music early in the decade, and drew on Appalachian folk-pop pioneers The Weavers

A Hard Day's Night (The Album)

Released July 1964 Singles: "A Hard Day's Night" "Can't Buy Me Love" All originals Recorded on four-track tape, allowed for stereo mixing Begins to show creative use of studio "A Hard Day's Night" chord

The Youth Market and the Mainstream

Rock 'n' roll-influenced music continues to grow more family-friendly Tamer rock 'n' roll-influenced pop is disseminated through mass media, especially dance shows American Bandstand (1957-1987) Chubby Checker, "The Twist" (1963) Social dancing gives way to more free-form individual dancing

Garage Bands

Seeking to share in the fun had the Beatles, amateur musicians formed bands focused on enjoyment rather than commercial success Kingsmen, "Louie Louie" (1963) ? and the Mysterians, "96 Tears" (1966) La,no rock band from Michigan Song form and lyrics secondary to sound/vibe

Jimi Hendrix

Showmanship: trick techniques, "auto-destructive art" (like the Who) His death in 1970 reinforced the image of the selfdestructive rock star Hendrix and race Played on the stereotyped reception of black male sexuality Envisioned music as transcending race Range of styles: Riff rock, lyrical compositions, blues "Purple Haze" (1967) Showcases his aggressive guitar sound "Castles Made of Sand" (1968) Showcases his use of studio technology to reinforce his vision "Machine Gun" (1970) Hendrix returned to more blues-based music in 1969, and included visceral imagery related to the Vietnam War

What set the Beatles apart from other "boy bands" of the time?

Since The Beatles wrote their own songs and played their own instruments, therefore, they are ineligible for boy band status They did congenial and catchy love songs in their early days because the standard for pop/rock music then did not allow for anything other than accessible love songs

Hip-hop and "The Message"

Some hip-hop followed directly in the activist mission of groups like the Last Poets to realistically depict and confront the social issues of the Bronx and other communities At first, this was seen as a risky change from the party-friendly orientation of the genre, especially in the wake of the commercial success of Afrika Bambaataa and the Soulsonic force's "Planet Rock" in 1982 Grandmaster Flash and the Furious Five, "The Message" (1982) The beat - an original track, not a sample - takes a clear supporting role to lyrics The lyrics, written by Sylvia Robinson and Ed "Duke Bootee" Fletcher, and rapped by Melle Mel, paint a gritty portrait of urban life

Why the Beatles?

Synthesis of new music ("rock") from numerous sources Evolution of recording technology Relationship of consumers to artists Impact of media on culture Dynamics of individual and group relationships Pop culture challenging cultural norms and narratives

The Who

The "mod" movement Modern jazz->R&B Late-night clubs, lots of amphetamines Line-up solidified in 1964: Roger Daltrey (vocals), Pete Townshend (guitar/songwriter), John Entwhistle (bass), Keith Moon (drums) Early singles tailored to movement "Zoot Suit"/"I'm the Face" (1964) (as the "High Numbers") Changed focus to R&B covers - "Maximum R&B" Shows featured destruction of instruments ("auto-destructive art") Imitated the Kinks (albeit much "cleaner") with "I Can't Explain" (1964) before developing own style The "Who" sound: one guitar (lead+rhythm), melodic bass, bombastic drums, lead and backup vocals First album, My Genera)on (1965) Covers of James Brown, Bo Diddley Originals range from rock ("My Genera,on") to pop ("The Kids are Alright") Second album, A Quick One (1966) moves away from R&B, features 9-minute mini-rock opera "A Quick One, While He's Away"

Resisting the "Poverty Theory" of Hip-Hop

The "poverty theory" of hip-hop is not a real scholarly theory, but characterizes the way many people describe the rise of hip-hop Suggests that hip-hop (esp. DJing) arose because those who created had no other options, were too poor to make music in traditional ways Why is this a problem? Discounts the individual and collective agency of performers and listeners Ignores the deep connections between hip-hop practices and earlier styles A better perspective: vernacular technological creativity

How can different patterns of music consumption be seen in the sales figures for Bob Dylan's late 1960s LPs?

The 1960s was a decade of liberation for music, public opinion, dance, invention, and the binds of racism From this generation spawned some of the greatest musical artists of all time—one in particular, Bob Dylan Bob Dylan is considered to be the greatest influence on popular culture of all time

California Pop and Surf Rock

The Beach Boys Led by singer/songwriter Brian Wilson, who combined 50s rock 'n' roll ideas, group vocal harmonies, and idyllic images of California lifestyle and teenage romance "Surfin' Safari" (1962) "Surfin' U.S.A." (1963) "Surfer Girl" (1963) "Be True To Your School" (1963) "I Get Around" (1964) Instrumental Driven by guitar with heavy reverb and saxophone Dick Dale and the Del-Tones, "Misirlou" (1962)

How did the Beatles' blending of "high" and "low" musical styles parallel the pop music amalgamations of earlier artists like Paul Whitman?

The Beatles began by studying a broad set of musical influences, including early Rock and Roll, Blues, Rhythm & Blues, Country & Western, girl groups, Phil Spector's Wall of Sound, and Broadway show tunes They went on to exemplify and solidify all of the aesthetic elements of rock music discussed in this book

San Francisco Rock

The Grateful Dead "Jam Band" Complex, multi-sectional songs with extended guitar and drums solos, and group improvisations "St. Stephen" A (counter)cultural phenomenon Concerts were a communal experience, especially for their most devoted fans (deadheads) Jefferson Airplane Brought together psychedelic philosophy and art music ideas (orchestration, slow build) with radio friendly forms and lengths Singer Grace Slick joins in 1967, lending a highly marketable persona "Somebody to Love"; "White Rabbit"

The Motown Sound

The Temptations, "My Girl" (1964) Carries forward the R&B/doo-wop group singing tradition Includes a full orchestra, but is anchored by the rhythm section, esp. the electric bass of James Jamerson and the electric guitar of Robert White The Supremes, "You Can't Hurry Love" (1965) Written by the songwriting team of Holland-DozierHolland The Supremes transcend (at least in part) the gender dynamics of the earlier girl groups Features another subtle part of the Motown sound - the tambourine of Jack Ashford Smokey Robinson & Miracles, "Tears of a Clown" (1970) One of several singer-songwriters at Motown Unusual instrumentation featuring bassoon and oboe along with a very Motown driving snare drum and tambourine

How did the black pop music of the late sixties exhibit a different view of the music marketplace?

The label developed an innovative—and commercially successful—style of soul music with distinctive pop elements. Its early roster included The Miracles, Martha and the Vandellas, Marvin Gaye, The Temptations, The Supremes, and others Black divas such as Aretha Franklin became '60s crossover stars

How did rock-oriented radio, print, and concert scenes differ from those of mainstream pop?

Thus, rock and roll emerged in the mid-1950s only to be appropriated by big business (for example, Presley's move from the Memphis label Sun to the national corporation RCA) and to decline into teen pop the Beatles then emerged in the mid-1960s at the front of a British Invasion that led young Americans back to rock

What societal factors contributed to the "cultural revolution" that Wald diagnoses?

Virtually all Americans now agree that the end of legal segregation, the achievement of legal equality for women, increased social tolerance for homosexuality, concern for the environment, and heightened respect for non-Western cultures are welcome achievements of the 1960s

"Wall of Sound"

a music production formula developed by American record producer Phil Spector at Gold Star Studios in the 1960s, with assistance from engineer Larry Levine and the session musician conglomerate later known as "the Wrecking Crew"

Multi-tracking/Overdubs

a technique used in audio recording where a passage has been pre-recorded, and then during replay, another part is recorded to go along with the original

pre-chorus form

builds from the verse-chorus form and is very common in modern pop songs The pre-chorus form is essentially a contrasting verse-chorus form with an extra section inserted between the verse and the chorus This extra section serves to increase the song's musical tension before releasing it at the chorus A typical iteration of this would be: Verse 1 Verse 2 Pre-chorus Chorus Verse 3 Verse 4 Pre-chorus Chorus Bridge Chorus A great example of this form is Bon Jovi's "Living On a Prayer" Note the way that multiple aspects of the sound change at 1:18, particularly the keyboard part, which switches to a dissonant, pounding rhythm The chorus is clearly set-up with a dramatic pause following the full band's unison hits with JBJ on "We'll give it a shot..." As is typical with this form, the pre-chorus returns with the same music and lyrics before the second (at 2:24) and before the final chorus at 3:18 Another example of pre-chorus form is Adele's "Hello," for which you can check out my analysis video from a previous semester below In this song, the pre-chorus is a more subtle departure from the verse, and much shorter than the Bon Jovi example You could analyze this as an extension of the verse, but it very clearly serves a "pre-chorus" function in terms of moving the narrative and the music forward into the chorus The persistence of the AABA structure can be seen in conjunction with the pre-chorus form in a last example, P!nk"s "Blow Me (One Last Kiss)" from 2012 This is a great example of how form is used to drive a song on multiple levels, and how analysis is often at least a little subjective I analyze this song as a pre-chorus form, although the "verse" is a very small portion of the total song, and one could argue that my "pre-chorus" is just the verse Note how although the music is relatively simple, small changes in the arrangement do a lot to create a sense of narrative and drama Once the song arrives at the chorus, we find a familiar pattern, as the internal form of the chorus can be seen as a miniature AABA song form

Compound AABA form

follows the nominal AABA pattern, with a repeated section surrounding a single iteration of a "middle eight" or "bridge" section of new material Whereas each section in the traditional AABA form is typically 8 bars, each section of a compound AABA form is much larger, consisting of several discrete sections, usually in a verse-chorus pattern An example of this form can be seen in Boston's 1976 hit, "More Than a Feeling" (click on the song title for analysis sheets of each of the songs in this lab). At 4:46 (long for a 1970s single), this example shows the "epic" nature of this combined form, and the B section is an instrumental solo that leans towards progressive rock If there is a distinction to be made between compound AABA and a verse-chorus form with a bridge, it would be that many verse-chorus forms go straight to the chorus after the bridge As with many of these analytical ideas, though, there is not necessarily a right or wrong choice between some of the formal models

The Beatles, The Beach Boys, and Experimental Rock

inspired by Rubber Soul, The Beach Boys recorded Pet Sounds (May 1966), mixing "wall of sound" studio effects, baroque pop, tape music The Beatles, Revolver (August 1966) "Tomorrow Never Knows" - Indian music, tape loops, vocals altered by studio effects More social commentary: "Taxman" More classical: "Eleanor Rigby" The Beach Boys, "Good Vibrations" (1966) Pop song + experimental sounds (synthesizer, tape loops) The Beatles, "Penny Lane"/ "Strawberry Fields Forever" (1967) Move towards increasingly surreal lyrical imagery, bolstered by studio effects