MUSC 11C-01 Final Study Guide

Riot Grrrl

- late 70s - 80s origins: Patti Smith, Joan Jett"Riot Grrrl is an underground, noncommercial womyn's support/action group here to open people's eyes and promote womyn in society. - Riot Grrrl is not a bunch of angry man-hating lesbians wanting to take over the world." - R.G. Mons of Venus, a Riot Grrrl zine (c. 1993) - George H. W. Bush anti-woman policies - 1991 Anita Hill testimony of S.C. Judge Clarence Thomas - 1991 'Girls Night' @ International Pop Underground Convention

1981 (Los Angeles): Black Flag and The Minutemen

- release debut albums & tour together, both are known for diversifying the hardcore sound with rhythmic complexity and dynamic range.

Jump Blues

- was among the first highly successful R&B categories - Used simplified swing "shuffle" rhythm (what became known as "rhythm"), blues progressions, boogie-woogie rhythmic drive and witty lyrics ‣ featured slimmed-down big band instrumentation generally consisting of a rhythm section with one or two horns; with a smaller horn section, rhythm became more pronounced - specialized in hard swinging, boogie-woogie based dance music characterized by outlandish lyrics and stage antics ‣ epitomized by Arkansas-born saxophonist and singer LOUIS JORDAN (1908-1975) and "Blues Shouters" like BIG JOE TURNER

Carl Perkins (1932-1998)

-"Blue Suede Shoes" went to number two on the pop charts in 1956; subsequently covered by Elvis on RCA -Nearly died in car crash, derailing his career

Johnny Cash (1932-2003)

-"Folsom Prison Blues" and "I Walk the Line" were hits on country and pop charts -Became a major figure in the country and western scene during the 1960s

Legacy of the Brill Building

-A uniquely integrated form of popular music in terms of race and gender -A study in opposites: -blatantly commercial music that cynically tried to cash in on "wholesome" teen culture -represents some of the most artistically ambitious popular music recorded up to that point -The recording itself increasingly becomes the definitive "text" -Transitional role between 50s and 60s aesthetics

Soul music, the civil rights movement, social protest

-An energized civil rights movement brings about significant political victories for African Americans while colonial rule is phased out on the African continent -The dawn of modern feminism fundamentally alters perceptions of and about women in America-Active resistance to governmental/militaristic Cold War policies energizes the "counter-cultural" political consciousness of American middle class youth -These movements all intensified during the 1960s around unrest spawned by the Vietnam war and a series of violent events seared into the nation's collective memory

Proto-Punk: Detroit

-Death (1971-1975) - re-formed in 2009, Bobby,David, and Dannis Hackney - The MC5 (1964-1972) - The Stooges, (1967-1974) - Scott Asheton,Ron Asheton, Dave Alexander,Iggy Pop (James Osterberg) - CBGB's - Country, Bluegrass, Blues, andOther Music for Uplifting Gormandizers (1973-2006) - New York Dolls S/T Debut Mercury Records, (1973) - The Ramones S/T Debut Sire Records April 23, 1976

Punk in the U.K.

-Malcolm McLaren (1946-2010) - The Sex Pistols: - Sid Vicious (John Simon Ritchie), Johnny Rotten (John Lydon) Steve Jones, and Paul Cook - "Anarchy in the U.K." EMI, 1976 - The Clash - Topper Headon (dr), Mick Jones (gt), Joe Strummer (gt/vox), Paul Simonon (bass) - London Calling, CBS Records, December 14, 1979

Jerry Lee Lewis (1935-)

-Pianist and singer with a wild, manic performance style similar to style of Little Richard -Several hits crossed over to all three charts

"The Sixties": Social and Historical Contexts

-The 60s solidified the "generation gap" between the Baby-Boomers and the generation of their parents-Solidified the "Teen Culture" of the 1950s into a politically and socially powerful movement -Saw the cautiously rebellious aspects of 50s youth culture amplified into open socio-political upheaval -the divisions and debates of the 60s still very much inform the political climate of today

British Invasion #2

British Invasion #2: The Yardbirds, Cream, The Kinks, The Animals, the Who, Led Zeppelin, Black Sabbath ‣In the tradition of the Rolling Stones, rather than the Beatles, some British Rock emphasized the Chicago Blues side of Rock and Roll ‣Others, like the Who and Sabbath, broke new sonic ground and attitudes ‣In the late 1960s, these bands (somewhat ironically) re-introduced American youths to this music, inspiring a wave of blues-based American garage rock bands

5 Ingredients of Rock n Roll

1. Swing or Shuffle Rhythm 2. Back-beat= a strong presence for beats 2 and 4 -- normally the weak beats of the bar - Emphasized by guitar chords and/or snare drum. 3. Small ensembles, simple arrangements 4. Blues-influenced singing 5. Television-ready personalities

Early 1980s: Contexts for Hip-Hop

1980: former California governor Ronald Reagan wins the presidency •preached small government→divestment from urban public housing projects •"Reaganomics": reduction or elimination of governmental economic controls; "trickle-down" theory of regressive taxation •"War on Drugs": disproportionately affects young male African-Americans •South Bronx, New York: cuts in public services; re-investment in tourism industries lead to a further breakdown of inner-city infrastructure

San Jose Garage Rock

Count Five (1964-1968), Syndicate of Sound (1965-1968), The Chocolate Watchband (1965-1970) ‣Return to the simplicity of "three-chord" rock and roll ‣white artists resisting commercialization •A national phenomenon, with distinct regional styles ‣some bands (like Tacoma's Sonics) went in an R&B/soul direction, while others (like LA's Standells and Music Machine) applied the sensibilities of the more pop-oriented British invasion bands •Garage Rock's D.I.Y. sensibility and anti-establishment ethos paved the way for punk and grunge •Psych/drugs influence Garage bands as well

Electrification and Rebellion, 1965-1975

DYLAN ELECTRIFIES ‣Harsh reaction stems from differing cultural roles assigned to rock and roll and folk-folk: music with a subtext of political identification and striving for social justice; universal themes-rock and roll: frivolous, "good time" music for teenagers; physical, mechanized distance between performer and audience -Peter Yarrow: "I was as if it was a capitulation to the enemy--as if all of a sudden you saw Martin Luther King, Jr. doing a cigarette ad." (Szatmary, 97) ‣Along with the Beatles, Dylan helped turn "Rock and Roll" into "Rock": Dylan made it acceptable—even expected—to grow up and consider serious, personal subjects

Michael Jackson (1958-2009)

Thriller (1982) •The best-selling album ever, with worldwide sales in excess of 100 million copies (U.S. #1 album for 37 weeks in 1983) •Successfully mediated among the various genres of early 1980s pop music •guest artists included Paul McCartney and Eddie Van Halen •Video for "Thriller" (dir. John Landis) sets a new standard for the medium emphasizing narrative •Jackson's understanding of video culture allowed him to crossover as a multi-faceted performer rather than as just a singer

Contradictory politics (Nationalist vs. Integrationist)

•Nationalist/Radical: ‣spearheaded a "buy-black" campaign, investing in black-owned businesses across ‣was a key figure in the "black power" movement of the late 60s with tracks like "Say It Loud (I'm Black and I'm Proud)" •Integrationist/Conservative: ‣involved with mainstream organizations like the NAACP; ‣agreed to a televised concert in Boston the night after MLK was assassinated in an attempt to keep potential rioters at home ‣supported Vietnam War and Richard Nixon

Joni Mitchell (b. 1943)

•Originally involved in the folk revival, she soon branches off on her own •Use of open guitar tunings (over 80 different ones!), unusual and complicated harmonies, direct as well as mysterious lyrics •Blue (1971)—an exploration of the many sides/meaning of "love" •In the 1970s she collaborates with jazz and fusion artists like Jaco Pastorius, Wayne Shorter, and Charles Mingus •Up and down critical+commercial success; in retrospect, the first pop "songstress" to be taken seriously

Black Sabbath

•Psych-rock band from Birmingham, UK •Guitarist, Toni Iommi pioneered down tuning •Singer, Ozzy Osbourne developed a trademark, spooky falsetto •Albums: Black Sabbath (1970), Paranoid (1971), Master of Reality (1971), Vol. 4 (1972), Sabbath Bloody Sabbath (1973), and Sabotage (1975) all certified Gold in the U.S. within 12 months of release.

What Is Punk?

•Punk's core values (rebellion, nihilism, social criticism) inhibit clear definition of the style •At best, it becomes an evolving tradition in many related movements; no "canonical" or "real" punk •Exposes crucial tensions in post-war popular culture: •Tension between the popular and the personal •Pits "official" culture / media establishment vs. "authentic" culture of unrestrained youth •Generally speaking: •barebones approach to musicianship and composition •small ensembles built around electric guitar(s), bass, and drum •vocals are either high pitched/screamed, or detached/ironic •aggressive sound, posturing, and lyrical content •several of these elements are arguably studied

Sly and the Family Stone

•Racially and sexually integrated band emerging out of the SF psychedelic scene in the late 60s-combined rock and soul elements-emphasized Larry Graham's pioneering slap-bass technique •Topped the pop and R&B charts with energetic, positive, dance-oriented hits like "Everyday People" and "Dance to the Music" and proto-funk tracks like "Thank You (Falettinme Be Mice Elf Agin)"

Tom Wilson

•Record producer Tom Wilson is one of the most prolific and far-reaching innovators of Americanmusic in the 1960s and 1970s, and one of the least well known. •Trained as a jazz musician, •Early career: cultivated the recording sound of avant-garde "collective improvisation" for theHarvard New Jazz society (Cecil Taylor, Sun Ra) •For Columbia records, producedthe breakthrough albums for Frank Zappa, Bob Dylan, Simon & Garfunkel, and the Velvet Underground.

Grandmaster Flash (Joseph Saddler, b. 1958 in Barbados)

•Refined Kool Herc's approach by adopting the headphone mixing techniques of disco DJ •Helped popularize "backspinning" and "scratching" practices → key elements of hip hop's sonic signature even after the music largely went digital ‣extended the use of turntables as "talking" instruments → echoes blues musician's adaptations of the guitar ‣helped elevate technological virtuosity as a critical component of hip-hop

Cultural Aspects of Sampling

•Sampling is a musical example of read-write culture •Think collages, arrangements, quotations, modding, parodies, the open source movement, etc... •In music, sampling can also take on a subtler meaning •Often the material being sampled had already been derived/appropriated →re-appropriation

Disco in the Mainstream

•Swedish band ABBA (winners of the 1974 Eurovision song contest) •little-known in the U.S.; their 1975 "Greatest Hits" (though they only had 4 hits) album = #1 in the U.K. •1976: Dancing Queen = #1 in the U.S. •The Bee Gees (an Australian folk-rock band influenced by Brit pop) •turn to a funk/soul-influenced sound in 1974 •added synthesizers in Children of the World (1976) •Saturday Night Fever (1977) spotlights the Bee Gees & other disco acts; Italian-American Brooklyn teen (John Travolta) struggles with family, low wages, racial tension, & religion; seeks & finds confidence and self-actualization in discotheques. •Sound-track = #1 album of 1977, remained on Billboard's Album charts until 1980 (15M U.S. sales)

State of the Industry: 1990s

•The 1990s saw the further consolidation of the "big four" music labels: Sony (merges with BMG), Warner, Universal (acquires Polygram), and EMI •Mainstream teen pop revitalized by boy bands and Disney-channel phenomena (Backstreet Boys, *NSync, Britney Spears); adult pop strong too (Whitney Houston, Mariah Carey, Celine Dion...) •"Alt" genres we discussed represent an important market/cultural share •generally flourishing in indie contexts before joining the majors.

George Clinton Afro-centric Sci-fi Erotica

‣Lyrics apply blatant sexual entendres to nearly every aspect of everyday life ‣created cosmological characters ‣embroiled in a battle between the funky vs. unfunky -code for the sexual (open, blissful, cosmically intelligent) -vs. the repressive (unenlightened, limited, partial, biased) - P-Funk's use of sci-fi iconography is an attempt to articulate a vision of utopia

Multi-tracking and "Art Rock"

‣Magnetic tape technology allowed for individual performances to be recorded independently (i.e. one instrument at a time); tracks could also be overdubbed for further complexity ‣In the mid-1960s this leads to grander, more ambitious albums by bands like the Beatles, the Beach Boys, the Mothers of Inventions, and many others ‣Explore unusual song structures; sound effects; and complex classical-influenced arrangements ‣These are the seeds for "prog" and "epic" developments in the 1970s.

The Motown Sound

•"The Motown Sound" was a slick, urban cosmopolitan sound based on the doo-wop vocal group tradition ‣tuneful melodies and hooks often built around memorable riffs; ‣songs tended to be about universal "romantic" themes: preserved the uncritical romantic stance of 30s and 40s Tin Pan Alley ‣a strong rock and roll backbeat (typically emphasized by Jack Ashford's tambourine) ‣rhythmic elements tend to be subservient to the melody ‣danceable beats, clear diction, a minimum of "melisma" ‣sonic, thematic, and visual palettes that allowed multiple points of entry across racial and class boundaries

DJ Kool Herc (Clive Campbell, b. 1955 in Jamaica)

•Born in Jamaica, raised in NY among Jamaicans w/ Jamaican music: Reggae, Ska, and Dub •Began spinning records in the mid-70s at neighborhood block parties, gym dances, dance clubs, and public parks. •Noticed that his audiences responded energetically to the rhythm "breaks" on funk and salsa records •A popular one was the break from "Amen, Brother"—a.k.a. the Amen Break •Originated "break-beat DJ-ing": use of 2 records to create a perpetual break beat by switching back and forth between the turntables

Phil Spector

- critically important in creating the modern role of record producer as a creative force

Bikini Kill

- formed 1990 - Olympia, WA - Kathleen Hannah, Billy Karren, Kathi Wilcox, Tobi Viel - credited with starting Riot Grrrl - 3 albums, several zines - 'anthem' "Rebel Girl"

The Brill Building (Rock n Roll's Tin Pan Alley)

(1960-1963): a new generation of professional songwriters write music for publishing companies in and around the Brill Building in Midtown Manhattan - Masterminded by Don Kirshner of Aldon Music, one of the most important Rock and Roll publishing companies of the early 60s - Kirshner nurtured the talents of young songwriting teams -Gerry Goffin and Carole King -"Will You Love Me Tomorrow," "Up on the Roof," , "One Fine Day" -King went on to a have a successful solo career as a singer-songwriter in the 1970s -Jeff Barry and Ellie Greenwich -produced a steady stream of with producer Phil Spector -"Be My Baby," "Da Doo Ron Ron," "Chapel of Love," "Leader of the Pack"

Big Joe Turner (1911-1985)

- "Shake Rattle and Roll" (February, 1954)

Pop Go the 90s

- 1989, Cleveland OH:Trent Reznor/Nine Inch Nails'Pretty Hate Machine is the first "independent record" to reach Platinum status - 1991 Seattle, WA: Kurt Cobain / Nirvana's Never mind mixes post-punk sounds of the Pixies and Sonic Yo u t h with sentiments of raw disillusionment and social criticism of 80s consumer culture (grunge scene) - 1992 LA, CA: eponymous debut album of "rap metal" band Rage Against the Machine reaches triple-platinum status and drives the mainstream success of Lollapalooza.

Bratmobile

- Alison Wolfe, Molly Neuman, Erin Smith - zine Girl Germs - cassettes - Oregon, D.C., Olympia - Kill Rock Stars - voice, guitar, drums - albums in early 2000s

Alan Freed (1922-1965)

- As a disc jockey and concert promoter, Freed played an important role in broadening the audience for R&B among white teenagers during the early 1950s -Supported African American musicians by securing them appearances in films and promoting concerts for racially mixed audiences -Regularly featured black artists' records on his radio show in the face of resistance in society as a whole to the idea of racial integration

Minneapolis-based Hüsker Dü(1979-1988)

- Blends energy/experimentalism of hardcore punk with lighter, pop melodies. Vicious, emotionally moving, always progressive. - 1984 double-album Zen Arcade sets new standard of complexity and drive for the hard-core sub-genre.

Antoine (Fats) Domino (1928-2017)

- Born and raised in New Orleans; first language was French -Distinctive New Orleans - derived style highlights connections between Rock and Roll and earlier music - strongly influenced by the piano style of Professor Longhair (1918-80) as well as boogie woogie ‣ Recorded Tin Pan Alley Tunes in addition to originals -replaced smooth crooning with full-throated, rhythmically accented New Orleans singing style ‣ Big break came when Pat Boone covered his "Ain't That A Shame"; Domino's original followed it to the No. 10 on the pop charts establishing him as a full-fledged rock star

Chuck Berry (1926-2017)

- Born in California, grew up in St. Louis where he absorbed blues and R&B styles along with the sounds of Rockabilly and country music. ‣ Career illustrates the fleeting nature of the Rock and Roll / R&B distinction ‣ arguably the most influential musician of the early rock and roll era: -as a lyricist -vocalist/performer -guitarist ‣ Forged a unique version of the blues/R&B drawing on country music styles - honed an "Anglopinonated" voice that spoke to a broad audience - helped crystallize the collective identity of the "Rock and Roll generation" explicitly glorifying teen culture

Beatlemania & the British Invasion

- British Pop in the late 50s-early 60s ‣British music all but invisible in America; conversely British pop charts dominated by American artists ‣Following WWII there was tremendous enthusiasm in Britain for American popular culture -in a war-ravaged society, America (particularly its "teen" culture) was seen as a relatively unscarred bastion of hope, confidence, and affluence

Early rock stars

- Chuck Berry, Little Richard, and Fats Domino

Rockabilly

- Elvis's Sun recordings set the template for the "Rockabilly" sound: - a stripped down, vigorous musical hybrid of country western, R&B, and electric blues -performed by a small ensemble: -typically two guitars (one acoustic "rhythm guitar" and one electric solo guitar) -upright bass -typically no drums - sonic characteristics -warm reverb; -"slapback echo" (rapid repeat of vocals and sometimes guitar) -upbeat and energetic sound

1980s: Video Kills the Radio Star (MTV)

- Founded in 1981, MTV was joint venture of Warner Bros. and American express (later bought out by Viacom International) •venture made possible by the deregulation of the airwaves and the advent of cable television •MTV originally conceived as a tool for directly marketing Warner and other major label artists •marketing campaign recycled a 1960s breakfast cereal commercial into "I Want My MTV" slogan

Roots of Rap Music: The Old School

- Grandmaster Flash (Joseph Saddler, b. 1958 in Barbados) - DJ Kool Herc (Clive Campbell, b. 1955 in Jamaica) - Afrika Bambaataa (Kevin Donovan, b. 1960 in the Bronx) •Innovative DJs increasingly attracted large and excited crowds, but tended to draw their attention away from dancing →MCs were added to hype the crowds and keep people moving •Kool Herc was one of the first DJs to rhyme phrases over the "breakbeats" produced on his turntables. •Early influential MCs included Melle Mel and Kid Creole, both of whom joined with Flash in Grandmaster Flash and the Furious Five ‣"rapping" derived from a tradition of verbal performance called "toasting," a form of poetic storytelling with roots in the trickster tales of West Africa ‣MCs updated this approach by adapting the aggressive vocal-patterning of James Brown •Until the release of the Sugar Hill Gang's 12-inch single "Rapper's Delight" (1979) hip-hop music was a largely a local phenomenon ‣provided the first indication of rap's potential crossover appeal (#4 R&B, #36 Pop) ‣popularized the use of the term "rapper" as an equivalent for "MC" •Unexpected crossover success paved the way for hip hop's commercial breakthrough in the mid-late 80s

ELEMENTS of HIP-HOP CULTURE

- Hip-hop culture was forged by African American and Caribbean American youth in New York City in search of "alternative identity formation and social status" (Rose 1994, 34) •Hip hop emerged as at first a local phenomenon, centering in certain neighborhoods in the Bronx, the most economically depressed area of New York City •Hip-hop refers to more than just rap; it is a cultural complex that also includes: ‣distinctive styles of visual art (graffiti) ‣break dancing ‣wild-style fashion ‣technological experimentation 1. The DJ: a musician appropriating (and re-appropriating) recorded music, to manipulate beats and other samples 2. The MC: a speaker, rapping (mixing an amplified voice rhythmically with dance music), representing group identity. 3. Graffers: visual expressions of group identity, claiming neighborhood territory 4. B-Boying/Breakdancing: athletic representational dance •contrast planned ensemble dancing / planned or improvised "solos" 5. KNOWLEDGE [coined later by Grandmaster Flash]: •all other elements require this "core" as a foundation and a goal

Rock n Roll Major Record companies

- Major Records: Columbia, Decca, RCA, and Capitol, found themselves far behind independents - Major records signed white artists (Pat Boone, The Crewcuts, etc.) to copy and cover black R&B tunes - Major Label marketing techniques included placing product on racks of suburban supermarkets and starting mail-order record clubs -DJs and radio stations gladly aided the majors' suppression of the independent labels and the African American artists they recorded

Motown

- Motown became the first black owned and operated independent record company to rise to the status of the majors •Successfully defied the internal segregation of the music industry ‣Motown emerged in a city not known for its racial harmony and civic peace •Gordy modeled his company on the assembly lines of Detroit's auto industry

Post-Punk/New Wave: The Talking Heads

- New Wave is a sub-genre following the punk explosion of the 70s; opposes "epic" attitude of art rock, embraces technology (synths!) - The Talking Heads Students at Rhode Island School of Design ~1975, opened for the Ramones at CBGB •connected punk to the "art" crowd •Deftly integrated musical traditions: •gospel •funk/disco •West African rhythms •electronic dance music •avant-garde/minimalist music

Wall of Sound

- Phil Spector's stylistic trademark - produced by multiple instruments doubling each individual part in the arrangement -the sounds of the individual instruments were then blended together into a single track and further magnified through use of reverb -the resulting music (often featuring orchestral strings as a final touch) sounded heroic and monumental (...or plastic) -Spector called the new sound "a Wagnerian approach to rock-and-roll; little symphonies for kids"

•SF Bay Psychedelic Rock

- The Grateful Dead (1964-1995), The Jefferson Airplane, Big Brother and the Holding Company •influenced by the "art rock" explosion of the mid-60s •Blues-, Jazz- and folk- influenced bands that steadily moved toward: -electrified/virtuosic uses of guitar, long solos -African percussion instruments, and layered rhythms (often to invoke "exotic" or "cosmic" experiences) •The Jefferson Airplane (originally a semiacoustic folk-rock band, performing blues and songs by Bob Dylan) ‣nationally successful; sparked a gold rush of psych. bands trying to cash in ‣ironic given antiestablishment "countercultural" values

Social Context for Soul and Funk

- The U.S. economic boom that followed WWII slows or stops early1970s -Factories close nationwide in the wake of (1) globalizing economy and (2) oil/energy crisis -Service and information industries thrive, privileging college-educated Americans -Blacks who benefitted most from the gains of the Civil Rights movement confronted with "white flight" - Black musicians throughout the 70s comment on deteriorating urban economic and social conditions

... late 80s: Post-punk falters

- U.S. hardcore bands area collective: rely heavily on one another to set up shows, share equipment, couch-surf, etc - despite millions of devoted fans, revenue was scarce SST Records —created by Black Flag guitarist Greg Ginn featured The Minutemen, Meat Puppets, Bad Brains, Firehose, Sonic Youth , Dinosaur Jr, and Hüsker Dü (the label's biggest seller)was unable to press high enough quantity of records; bands complained about questionable bookkeeping and payment practices

The Replacements (1979-1991)

- Wrote melodic, almost folky, extremely personal music that still embraced the punk aesthetic of amateurism and self-destruction.

Elvis Presley (1935-1977*)

-born in Tupelo, MS; father was a sharecropper, mother was a seamstress -At age 13 moved to Memphis, TN, a city with a rich and diverse musical culture including a thriving black music scene -Encountered Delta Blues musicians like B.B. King, John Lee Hooker, and Howlin' Wolf on records and in clubs on Beale Street -Also absorbed the sound of country-western artists like Roy Acuff and Jimmie Rodgers "Mystery Train" •Junior Parker version -Received little attention on its release -Instruments imitate train sounds -12-bar blues with some harmonic irregularity -Dark mood; evokes rural blues and R&B traditions •Elvis Presley Version -Much faster tempo -More aggressive and raw than original -Highly irregular, flexible blues form

Sun Records & Elvis Presley & Sam Phillips

-owned an operated by Sam Phillips (1923-2003) -began as an R&B label recording African-American performers like B.B. King and Howlin' Wolf -attracted white artists who had grown up poor and in close proximity to African American culture -Phillips struck gold recording Elvis Presley's cover of "That's All Right Mama" (originally by Arthur Crudup) in July 1954

The Motown Formula

Artist development and presentation aimed at crossover ‣most Motown starts were recruited from lower-income areas of urban Detroit ‣Gordy made sure they were "presentable" for white middle-class audiences through an in-house "charm school" ‣hired Maxine Powell, the head of an African-American "finishing school", to teach both male and female acts how to speak, move, and dress "gracefully" •The Supremes (Diana Ross, Florence Ballard, Mary Wilson) ‣formed in the late 50s, unsuccessful commercially until a run of Holland-Dozier-Holland penned hits ‣Adhered to Gordy's rules: were always well dressed "ladies" in public; "always performing" ‣Modeled the habits and the behaviors of the aristocracy ‣Carefully rehearsed dance routines choreographed by former Broadway choreography Cholly Atkins (1913-2003)

Big Four of Thrash Metal

Metallica, Slayer, Megadeth, Anthirax

Prince (1956-2016)

Purple Rain (1984) •reached a massive crossover audience with its embrace of rock-based inflections and an integrated band •title track leans clearly towards anthemic classic rock; cross-references Hendrix/Van Halen guitar heroism with New Wave aesthetics •Synergistic marketing campaign with MTV •WB spent 3.5 million buying ads on the network •the album advertised the film which in turn sold the album •videos airing on MTV promoted both •the Purple Rain tour reenacted scenes from the film

Proto-Punk: NYC

The Velvet Underground - Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrision, John Cale

Rhythm and Blues

• a loose grouping of African American vernacular styles rooted in southern traditions and shaped by internal migrations - Centered in urban areas like New York, Chicago, Detroit, and Los Angeles where segregated residential patterns spawned a thriving nightlife culture - Popularized by musicians like Muddy Waters, Bo Diddley (Mississippi --> Chicago), Ray Charles (Georgia --> Seattle), and many others • Initially largely ignored by major record companies, recorded and produced by hundreds of small independent companies - Key players: SUN Records (Memphis); KING Records (Cincinnati); ATLANTIC Records (New York); and CHESS Records (Chicago)

Effects on Consumption

•"Cherry picking" of favorite tracks from albums; will sort of revitalize the single format •Rekindled interest in back catalogs •Customization and sharing of playlists •Massive drop in sales value

Colonel Tom Parker

•"Colonel" Tom Parker (the country music promoter who promoted him to TV shows) recognized the interdependency of television and record sales ‣ Leads to a pioneering marketing strategy: public appearances (on television and later in hollywood) are synchronized with record releases ‣ TV appearances prove controversial, leads Col. Parker to "rehabilitate" Presley's image through Army service,insipid films and recordings • The cost of fame to Elvis was intense isolation and depression leading to death from a drug overdose in 1977 (*supposedly)

Jimi Hendrix (1942-1970)

•"Purple Haze" (1967) is a potent combination of blues and psychedelic elements ‣Blues elements: -falling shape of vocal line; -repetitive phrases and short motifs; -call and response between vocal and guitar ‣Psychedelic elements: -lyrics are explicitly about an LSD trip -mesmeric, incantatory effect of vocal performance -raga-like guitar noodling conveys a sensation of "drifting" -guitar sound is distorted, massive, colorful; larger than life

The Jimi Hendrix experience

‣In 1966 moved to London at the suggestion of producer Chas Chandler, joining with English musicians Noel Redding and Mitch Miller ‣Exoticized and sexualized in press as "The Wild Man from Borneo" echoing the reaction to Josephine Baker in 1920s Paris

Berry Gordy (1929-) and Motown

•( 1953) Gordy returns from Korean War, starts a jazz record store in Detroit •Co-writes several successful songs for R&B star Jackie Wilson •Founds Motown in 1958 with a small $800 loan from his family •Attracted great local talent quickly: ‣scouted local musicians through talent shows and amateur singing contests ‣Motown captured the musical artistry of the Detroit community and sold it successfully to audiences across racial boundaries •Adapted ideas from other successful people in the music business ‣followed past models of crossover success (Nat King Cole, Chuck Berry) ‣used Brill building-style songwriter-production teams while developing original production techniques ‣Above all attempted to project an affirmative, non-threatening image of blackness that would be attractive to mainstream consumers ‣Broke Motown into several subsidiaries to avoid accusations of bias/payola

Heavy Metal

•(Heavy) Metal: a varied, complex genre originating from late 1960s British Invasion bands like Black Sabbath and Led Zeppelin •Emphasis: •heavily distorted electric guitars •dark harmonies; either bluesy or neoclassical •ponderous, aggressive rhythms •virtuosity/showmanship; •links to mythology, the occult, and other "outsider" themes

1980s: hard rock vs. metal

•(opinions differ) difference between "hard rock" and metal crystallizes in the 1980s •Hard Rock (a.k.a hair metal, nerf metal) emphasizes sex, lust & party lifestyle; more melodic •Bon Jovi, Journey, Van Halen, Extreme, Guns 'n' Roses... •meanwhile metal splinters into many different subgenres •some commonalities: showmanship, virtuosity, guitars •difference in ethos, attitude, sound •Think eyeliner vs. corpsepaint - Iron Maiden (UK): melodic, twin guitars, horror themes - Metallica (Bay Area): aggressive rhythms, epic scale - Slayer (LA): angular, uncompromising - Pantera (southern/groove), Dream Theater (prog), Korn (nu-), Death (Death)

Donna Summer

•1968-1974: fronts psychedelic rock band Crow •Releases "Love to love you baby" (1975) and "Bad Girls," & "I Feel Love" (1977): melodic, synth- heavy funk •1978: "MacArthur Park" is Billboard #1 (U.S.) for 10 weeks straight •1979-1983: 3 consecutive #1 albums (100M copies sold)

Hip-Hop Enters the Mainstream: Def Jam Records

•1986 saw the release of the first two multiplatinum rap albums •Raising Hell by Run-D.M.C. (#3 Pop) •Licensed to Ill by the Beastie Boys(#1 Pop) •Both were released on a new independent label called Def Jam •Co-founded in 1984 by the hip-hop promoter Russell Simmons and the musician-producer Rick Rubin (punk background)

Hip-Hop Enters the Mainstream

•1988: The Grammys add a rap category and Billboard added a rap singles chart; Yo! MTV Raps attracts the largest audience in the network's history (DJ Battle from 1998) •Major record companies recognize the commercial potential of hip hop, set up distribution deals and/or purchased smaller independents (Columbia/Def Jam; RCA/Jive Records; Warner/Tommy Boy, etc.) •Larger labels increased rap's access to mainstream media outlets •edited/clean versions on pop radio stations •TV (The Fresh Prince of Bel Air, In Living Color) •Hollywood films (Do the Right Thing, Juice, Menace 2 Society, Boyz N The Hood)

Digital Evolution

•2001: launch of Rhapsody•Mid-00s: even faster Internet speed; mobile data/smartphones •2005: debut of YouTube •2008: streaming diversifies (Spotify, Soundcloud, etc...)

Afrika Bambaataa (Kevin Donovan, b. 1960 in the Bronx)

•A prominent South Bronx street gang leader in the early 1970s •Mid -1970s: pilgrimage to Africa, influenced by exposure to Zulu culture •Founded "Zulu Nation" in NYC, focused on community building •Used samples from diverse sources including Euro-Disco bands (e.g. Kraftwerk) on tracks like "Planet Rock" (1982) •Recently stepped down from Zulu Nation after four allegations of past sexual abuse

Mashups

•A style that combines recognizable samples from two (or more), often contrasting pieces •As much a musical genre as an online culture & community •Example: Danger Mouse (Brian Joseph Burton)'s Grey Album, mashing up Jay Z's Black Albumwith the Beatles' White Album •Poses unprecedented (and uncontrollable) legal complications

MTV and Video Culture: Michael Jackson (1958-2009)

•As a child star at Motown in the late 60s-70s, Jackson appealed to adults and teens alike ‣arguably the greatest child prodigy in the history of American popular music ‣uncannily absorbed and translated the performance style of James Brown into the language of Motown crossover •Solo career took off in the late 70s with Off The Wall (1979) released by Epic Records (a CBS subsidiary) produced by Quincy Jones •MTV had its biggest audience wherever HBO and other premium channels had subscribers ‣mainly in the Midwest ‣played videos by white mainstream rock artists and New Wave bands •Out of more than 750 videos shown on MTV during the channel's first eighteen months, only about twenty featured African Americans •The mammoth success of Michael Jackson's Thriller, released by Columbia Records in 1982, forced a change in MTV's essentially all- white rock music format.

Hip-Hop Enters the Mainstream: Madonna and the Beastie Boys On Tour

•Beastie Boys open for Madonna's "Virgin" tour in 1985 •Both slashed by the critics: •"singing out of tune and out of rhythm" •"their image has completely overshadowed their music." •Madonna "stole" Michael Jackson's "Billie Jean" & behaved like a brat. •White artists, playing to suburban white audiences but produced by African-Americans [Madonna produced by R&B Reggie Lucas] •Unprecedented commercial success

Bob Dylan's Early Career

•Bob Dylan (1941-), born Robert Allen Zimmerman to Eastern-European Jewish immigrant family •Listened mostly to Rock and Roll & blues as a "baby-boom" teenager •Dropped out of college to write poetry & participate in the folk music subculture: ‣Forerunners: Woody Guthrie, the Weavers, Pete Seeger.•1961: Inspired by Guthrie to play an aggressive "hobo style" in Greenwich Village •1961: rave reviews from critics, signed with Columbia •With Joan Baez's help, Dylan reached broader exposure very quickly •Covered by The Byrds, Peter Paul & Mary, mainstream pop groups •Feb 1963: Freewheelin' Bob Dylan continues "Hobo style" singing, but departs from folk themes •"Hard Rain's Gonna Fall" featureexistential, beat-influenced poetry •"Masters of War", "Blowin' in the Wind" dramatize contemporary political issues. •Aug 1963: participates in March on Washington, writes "The Times They Are a-Changin'"

Little Richard (Richard Wayne Perriman, b. 1932)

•Born in Macon, GA; sang in Pentecostal church choir and with his family's touring gospel troupe •After his father's death washed dishes at a Greyhound station and took R&B gigs to support his family •Transformed himself from a traditional R&B singer to a pompadour-wearing dynamo ‣ limitless energy, breakneck tempos ‣ manic singing/screaming ‣ aggressive, two-fisted piano pounding technique ‣ flamboyant, over-the-top performance style - Projected super-charged, though ambiguous, sexuality ‣wore makeup, earrings, eye-popping outfits ‣frequently use of gender-bending vocal techniques—falsetto howls ‣sexual ambiguity made lyrics and persona acceptable to mainstream audiences ‣cover versions by white artists were more commercially successful

Aretha Franklin (b. 1942)

•Born in Memphis, TN raised in Detroit ‣father was Reverend C.L. Franklin, "the Man with the Golden Voice" •Encouraged by Sam Cooke, in the early 60s moved to New York to record for Columbia Records ‣1962-1966: recorded generally uneven albums of jazz Tin Pan Alley standards and cloying, string-laden show tunes •Signed to Atlantic Records by producer Jerry Wexler in 1967 ‣records at Fame Studios in Muscle Shoals, AL with an integrated team of Stax producers and musicians ‣abandoned the supper-club sound to showcase earthier, gospel roots •These and subsequent NY sessions produced Franklin's iconic "soul" hits of the mid-late 1960s: ‣tracks like "Think" and "Respect" became iconic anthems of the burgeoning women's liberation movement ‣symbolized and actualized female empowerment

MTV and Video Culture: Prince Rogers Nelson (1956-2016)

•Born in Minneapolis, Minnesota •Taught himself piano, guitar, and drums by age 14 •Helped define the soul-pop "Minneapolis Sound" of the late 70s/early 80s ‣replaced trad. horn sections with synthesizers ‣funky rhythms and bass lines ‣danceable tempos •Freely mixed elements from a diverse musical palette (funk, disco, psychedelic rock, urban folk, guitar-based rock, new wave) •Prince's commitment to stylistic diversity locates him squarely within a continuum of African-American musical culture ‣Louis Armstrong, Chuck Berry, Sly and the Family Stone, Miles Davis, George Clinton ‣this creative imperative had a major impact in a time of rigid genre definition •Prince and the "Uptown" utopia ‣a domain of racial and sexual indeterminacy and freedom apart from the creative and social dictates of mass society

James Brown: "The Godfather of Soul"(1933-2006)

•Born in extreme poverty in the rural South Carolina; raised in Southern Georgia •First came to notoriety as leader of the doo-wop group The Famous Flames ‣early hits included "Please Please Please" (1956) and "Try Me" (1958) on King Records•From doo-wop to soul ‣During the 1960s Brown developed a uniquely hard-driving R&B sound infused with limitless energy ‣Horn section increasingly plays a percussiverole (horn "hits") ‣Developed a a dynamic stage show characterized by athletic dance moves, frenetic energy, precisely calibrated horn and rhythm sections •1963: Live At The Apollo (King Records) captures the energy and excitement of Brown's stage show reaching #2 on the album charts •1964-65: hits like "Out of Sight" "Papa's Got a Brand New Bag;" "I Got You (I feel good)" lay the foundations of funk -developed a polyrhythmic ensemble approach -rhythmic groove is created and sustained by the entire ensemble:basses and drums, guitars, horns, and—critically—vocals working together -absence of backing vocals further separates JB from Motown and his earlier 1950s doo-wop style

Hip-Hop Enters the Mainstream: "Gangsta" Rap

•By the time N.W.A. released Straight Outta Compton in 1988, hip-hop culture had already become highly politicized and controversial •N.W.A. presented a version of the L.A. gang life without distance or moral judgement •Crystallized middle-class America's (white and black, liberal and conservative) objections to rap music •glorification of sex and violence •misogyny •(homophobia not as problematic)

New Guitar Techniques and Technologies

•Developed by the likes of Frank Zappa, Jeff Beck, Pete Townshend, Surf Rockers (Dick Dale), Soul musicians, and Garage Rock guitarists;popularizedby Jimi Hendrix •tremolo bridge: modifies the pitch of the note either up or down •distortion/fuzz: hard- and harder forms of audio clipping; "sine" sound waves turned into "square" waves. Harmonically richer sound, but also closer to noise. Obtained by driving an amplifier beyond its limits, or through ad-hoc stomp boxes ("pedals") •"wah wah" pedal: filters the timbre variably to shift between dark "ooo" tones and bright "aaaa" tones. [ ooo → aaa = wah ] •feedback: loudspeaker sounds re-enter the amplifier, repetitively multiplying, low frequencies overload and vanish, leaving single high note. •tape delay: using a special tape recorder to repeat the sound; allows guitarist to create soundscapes and spatial effects

Stevie Wonder (b. 1950)

•Motown artist; gained total artistic control of his records: writing, engineering, playing most instruments •Music of My Mind (1972) and Songs in the Key of Life (1976—double LP): highly versatile songwriting that influences two generations of R&B and pop. •Innervisions (1973) took on political and social themes "You Haven't Done Nothing" and "He's Misstra Know-It-All" about Richard Nixon; "Living For the City" about the harsh realities of urban migration.

From Soul to Funk

•FUNK: from mid-1970s, Hard-edged Soul and R&B Acts ‣emphasized repeating "breaks", made of layered, and syncopated rhythms ‣bass plays "lead role", extending James Jamerson's Motown style & Billy Graham's slapping •Dayton OH, Brooklyn N.Y. early centers of activity •The Ohio Players, B.T. Express, Slave, Parliament/Funkadelic... •De-facto segregation of cities and school districts ended up bolstering musical education and competition between bands ("Dayton, Land of Funk") 1) The key organizing element of funk music is the idea of multilinear rhythm in which every rhythmic ingredient of the groove is overlaid, yet remains distinct this is an approach akin to West African musical traditions in which a "Master Drummer" organizes the ensemble and audience 2) Funk tracks are defined formally by cyclical repetition with differences funk music is non-teleological (that is, not goal-oriented) in the Western sense though the basic groove is relatively static, it is animated by subtle revisions and improvisations that signify on its meaning

Funk and the Genesis of Hip-Hop

•Funk is built on repeating accompaniment patterns, a.k.a."grooves" •Singer/poet can improvise, without pre-determined verse structures •Clinton's development of "DJ" characters onstage = prototype of hip-hop's "MC" ‣Hip Hop MC = a musician speaking rhythmically, usually aboutwho I am / who we are / how we got here / why you listen to us ‣Clinton galvanized a form of free speech, both musically and theatrically, laying groundwork for one of hip-hop culture's most important aspects

Elvis in the Marketplace

•In late 1955 major label RCA buys Elvis's contract from Sun for $35,000 (>$300M today) ‣biggest deal in the history of pop to that point ‣made Elvis Presley the first major label rock and roll superstar ‣signaled to other major labels that they too should sign rock and roll artists ‣Rock and Roll would now officially become a part of the pop mainstream

1978-1988: "Post-punk" diversifies

•In the 1980s, a variety of DIY musicians and "art" educated musicians react against punk's repackaging as New Wave for mass consumption •Strive to maintain the anti- authoritarian ideology and urgency of punk •Incorporate some elements of "classic rock": melody, virtuosity, lyrical complexity; generally harsher sound •1978: former Roxy Music member and Devo/Talking Heads/David Bowie producer Brian Eno notices underground NYC bands "Teenage Jesus and the Jerks," "the Contortions" and "Lydia Lunch" •coins term "No Wave" (as opposed toNew Wave, which Eno had helped define in turn) •Produces anthology No New Yo r k—the seminal album of the noise rock scene. - 1981: guitar-centered experimental band Sonic Youth •formed by students of no wave composer Glenn Branca, who produced their first album •Toured Europe ('82-83); the first noise band to gain wide appeal and critical acclaim with Bad Moon Rising('85) •Lead singer Kim Gordon mentoredKurt Cobain before his rise to fame.

Digital Revolution

•Mid-90s: faster and more widespread Internet connections •1997: introduction of WinAmp software and Rio portable music player •1999: Napster pioneers peer-to-peer file sharing networks •Labels and the RIAA go after users, especially on college campuses •2001: launch of Apple iTunes and iPod; iTunes store debuts in 2003

1988-1991: indie rock sinks and swims with major labels:

•The Replacements and Hüsker Dü break "indie" ranks to sign with Warner Bros. (in 1984 and 1985, respectively) •1988: After only 2 albums from Warner, Hüsker Dü breaks up •1990: Thurston Moore of Sonic Youth consults with Hüsker Dü's Bob Mould, before signing to Geffen (Whitesnake, Elton John...) •Fans consider the Replacements' Warner Bros. albums "lackluster"; what remains of the group eventually breaks up in 1991 •Sonic Youth's staying power under Geffen earns them a status as godfathers of the indie community •Geffen sees Sonic Youth as a "badge of coolness"—who help them lure Dinosaur Jr and eventually Nirvana to the fold.

Funk to Disco

•The counterculture of the 1960s blended musics formally considered "black" or "white" •white artists Big Brother and the Holding Company, the Grateful Dead, Van Morrison, and Cat Stevens emphasized mixtures of folk and R&B •Sly and the Family Stone, Hendrix Experience, the Mothers of Invention were racially integrated & blended Soul and Hard Rock •1970s: white bands like Led Zeppelin & Black Sabbath dominated high-budget FM radio •Black and Latinx musics (e.g. Celia Cruz and Ray Barretto) were marginalized to dance-oriented AM radio •Stax records' Isaac Hayes 1970 albums and Barry White's 1973 "I'm Gonna Love you Just a Little Bit More Baby" smooth out funk rhythms with romantic melodies and orchestral strings •1974 KC & the Sunshine Band "That's the Way (Uh huh Uh huh) I Like It" and Gloria Gaynor "Never Can Say Good Bye"

Guitar Heroes After Hendrix

•Through the 1970s, guitar technique & showmanship evolves in metal, hard rock, and progressive rock (Iommi, Page, Blackmore, Santana...) •In 1980s a bevy of new guitar heroes ("shredders") up the technical and showmanship ante •Led by Van Halen, Randy Rhoads (Ozzy), Yngwie Malmsteen •virtuosic use of scales and arpeggios (modeled on classical music) •two-handed tapping techniques •"screaming" harmonics •"dive bombs" and other extreme use of vibrato bridge •Largely done-in by the rise of Grunge and alt-rock in early 1990s

Sampling Technology and Hip Hop

•Through the 1980s, drum machines and digital sampling devices allowed producers to sequence rhythmic tracks with either synthetic or captured ('sampled") sounds •Uncovering diverse new sound sources becomes a creative imperative •The results: ‣increasingly complex original compositions ‣progression from DJing to "beat-making" to "producing" ‣period of legal upheaval regarding copyright law

The State of the Music Industry: 1970-1990

•Wave of deregulation 1980-1982 ‣"Reaganomics:" Reduction or elimination of governmental economic controls; "trickle-down" regressive taxation ‣1981: three major record companies' market share doubles (40% → 80%) ‣exploding value of radio and TV ads•cassette technology (1979-1990s) empowers consumers ‣boomboxes, walkmen →music becomes portable, personal ‣unrestricted copying; "mix-tapes" = haven for consumer re-appropriation and redistribution of pop culture ‣Expansion of U.S. culture in USSR & developing nations

Psychedelic v. Garage Rock (1965-1974)

•both develop themes of rebellion, inspired by beat poets' skepticism of authority; both feature electrified guitar technology ‣musical differences: -Psychedelic Rock elements of rhythm & blues and jazz, "world music," extended improvisation → the musical equivalent of an acid trip -GARAGE ROCK back to Rock and Roll's fast, simple arrangements and "small ensembles", often with swing rhythms. ‣ethical differences: -PsychedelicRock →internal self-exploration/experimentation replaces cultural knowledge, cultural breadth replaces cultural roots -GARAGE ROCK →"do it yourself" attitude, anti-commercial skepticism of pop and high-production

George Clinton

•guitarist/songwriter/spoken-word poet•prolific and influential figure in hard-core funk •Early motown-influenced music (1969-1971) was spurned by radio and music biz. •1970s—developed harder-edge and psychedelic elements into his style •1972: Bootsy Collins (bass) and Maceo Parker (saxophone) defect from James Brown's Band •One collective, two bands: Parliament and Funkadelic •Generally: •Parliament = danceable funk band, emphasizing cultural unity •Funkadelic = more experimental, acid/guitars, indifferent to audience appeal •Later dissolved/blended as Parliament-Funkadelic (P-Funk)

State of the American recording industry

•teenybopper love songs, traditionalism/social consciousness of folk; surf rock, Brill Building girl groups, and Motown •record sales had stagnated and the industry was collectively waiting for "the next Elvis" •December of 1963: "I Want To Hold Your Hand" leaked on U.S. radio by teenage fan Marsha Albert; labels scramble to catch up.

"The Sound of Young America" (1964-1967)

‣14 No. 1 pop singles; 20 No. 1 R&B singles; 46 Top 15 pop singles; 75 Top 15 R&B Singles ‣In 1966, seventy-five percent of Motown's releases made the charts. •Success prompts Billboard to discontinue the "R&B" chart entirely from 1963-65 •In its heyday of the mid-1960s, the Motown empire included eight record labels, a management service, and a publishing company.

The Beatles on Ed Sullivan (February, 1964) (First British Invasion)

‣Epstein demanded that Sullivan book the Beatles for three consecutive weekly appearances on his evening variety show ‣73 million viewers tune into the debut making the Beatles a household name virtually overnight ‣Sullivan opened the Beatles TV debut by noting they had just received a congratulatory telegram from Elvis and Col. Parker ‣Screen titles introduced the members of the band individually while they played -part of the Beatles' revolutionary marketing strategy of highlighting each member of the band with a distinct personality and identity

The Beatles: The Early Years

‣Formed in Liverpool in 1957 as "The Quarrymen" -a dreary working class industrial seaport town with a flourishing rock and roll culture initiated by steady stream of American seaman who brought records over ‣origins amid the skiffle craze (a blend of traditional English folk music with dixieland jazz and uptempo rockabilly/blues rhythms ) ‣Learned to play by imitating a broad spectrum of American Rockabilly, R&B, and pop music, honed their skills during performance residences in Hamburg, Germany ‣By 1962 the Beatles' lineup had solidified into: John Lennon and George Harrison (lead and rhythm guitars and vocals), Paul McCartney (bass and vocals) and Ringo Starr (drums and occasional vocals) •After signing with first-time manager Brian Epstein and British label EMI, the Beatles achieved unprecedented success in the UK under the guidance of producer George Martin in 1963. •Still relatively unknown in the US in late 1963 •Capitol (EMI's American subsidiary) declines to release the first Beatles hits in the US—released on black-owned independent label Vee-Jay, without much notice

Stylistic evolution and significance

‣Original songwriting, largely by Lennon-McCartney partnership, imitated American models, blending its hallmark stylistic elements and repackaging it as Brit Pop ‣Songs from 1963-64 tend to be constructed according to a Brill-building style "formula" -conventional AABA-type forms -note-for-note covers versions; teen-oriented lyrics ‣1964-66 sees a transition to more "artistically" minded music -experimentation with studio effects, style juxtapositions, new forms and sounds -Lyrical content becomes more sophisticated, from teenage love ("I Want to Hold Your Hand") to ambiguous and darker material ("You've Got to Hide Your Love Away," "Norwegian Wood," and "Eleanor Rigby"), into psychedelia and beyond.

Jimi Hendrix early career in the US

‣Played backing guitar with R&B/soul acts like Solomon Burke, Wilson Pickett, Curtis Knight ‣Strongest influence came from Chicago blues musicians like Muddy Waters, Willie Dixon, and Little Water

The British Invasion (Full Swing)

‣Unprecedented commercial success -fueled by the films A Hard Day's Night (1964) and Help! (1965) -in 1964 alone the Beatles charted 30 songs and released six best-selling albums in the U.S. - by 1969 the Beatles sold an estimated 300 million records worldwide ‣A legion of similarly dressed and marketed British boy-bands followed (over 2 dozen bands hit the American charts)

Brown's significance for African American audiences

‣galvanized diverse African American communities -urban and rural, southern and northern, militant and integrationist ‣played a style of music that seemed authentically black and uninterested in "crossing-over" →the rare celebrity who possessed undisputed credibility with his audience ‣bolstered this image through his pro-black business and charitable activities