Lesson 1 – The 1950’s

- Introduction

o Rock music was born out of controversy and part of its large appeal is

the rebellious image it gives off

o The artists served as influences and pissed off a lot of parents

- The Fan Mentality

o Rock fans usually are persuaded to a particular artist for a reason

- Chart Positions

o Record Industry Association of America (RIAA)

o Gold = 500k+ copies sold, Platinum = 1M+ sold

- The Four Theories of Music

o Musicological Analysis

 Analyzing the music form itself, such as the instruments used

or the beats and rhythm, etc.

o Technological Analysis

 Analyzing technology in music used for recording, writing, and

sharing

o Sociocultural Analysis

 Analyzing the social function of rock, its effect on shaping

culture and raising questions in politics

o Discourse of Authenticity

 How do we distinguish whether an artist is authentic or fake?

- Different Music/Song Forms

o Simple Verse, AABA, Simple Verse Chorus, Contrasting Verse-Chorus

and 12-bar blues

o The study of musical forms shows how sections are organized to

create a larger structure (the song)

o Musicians divide songs into verses, bridges and choruses

o Chord: A combination of notes played together

 A chord progression is a repeating series of chords that form a

song’s structural pattern

o A song form with no chorus and where all verses are based on the

same music is called a simple verse

o Jackie Brenston’s “Rocket 88” uses the simple verse form

 A simple verse structure has no chorus

 An alternative form of simple verse is the 12-bar blues

 The simple verse refers to a single repeating section in a song

o AABA refers to a music form with two sections, section A and section

o A song form with a three verses separated by a bridge is called AABA

o The most common musical form found in Tin Pan Alley’s music is

AABA form

o A song form with different music in the verse and chorus is called

contrasting verse-chorus
  Buddy Holly’s “That’ll be the Day” is an example of contrasting

verse-chorus

- 12 Bar Blues and Doo-Wop Progression

o 3 sets of four-beat measures (12 bars)

o Howlin Wolf’s “Evil Is Goin’ On” is an example of a 12-bar blues song

o Phrase: the first four measures

o Doo-wop progression is a series of four chords

o Jackie Brenston’s “Rocket 88”, widely considered the first ever rock

song, broke blues barriers by not repeating the lyrics of the first

phrase in the second phrase

o Between Johnny B. Goode, Shake Rattle & Roll, Rocket 88 and Can the

Circle be Unbroken, the final is the only one to not use 12-bar blues

form

- Rhythm

o The way musical sounds are organized in time

o A beat is a regular rhythmic pulse

o A song’s meter is a way of organizing rhythms and beats

o A measure is the way that beats are divided in a song

o A synthesizer is NOT used by the drummer (high-hat, tom-toms and

cymbals are)

o The drummer most often uses the high hat to play the fastest notes

o The job of the bass drummer is to connect rhythmically with the

drummer and provide harmony

 o Prior to the early 1960’s, the bass guitar was often an upright bass

that could be amplified if necessary

o The rhythm guitar rounds out the harmony by playing full chords

 The bass guitar CANNOT replace the rhythm guitar and its role

in the song

o Horns are often added to tracks to add an extra punch to the music

The 1950’s

- The main unit of trade for music in the 30’s and the 40’s was NOT the

vinyl

- Regional boundaries in popular culture began to diminish in the 1920s as a

result of NBC radio broadcasting coast-to-coast with a national radio

network

- One reason rock and roll was able to attain quick and broad attention at the

national level was because of the corporate transition from radio to

television

- The advent of networked radio did lots to change regional styles of music

- It was considered unethical to play records on the radio until 1945

- The first coast-to-coast radio broadcast in the U.S. occurred before 1950

- The solid body electric guitar was invented to create a purer guitar tone

- Les Paul was the first musician to use “overdubbing”

- The solid body guitar that Les Paul built was named the Gibson Les Paul
- The Grand Ole Opry was NOT an important radio show that played early rock

‘n’ roll

- Tin Pan Alley was NOT developed as a regional style of music

- Early 50’s mainstream pop was produced for family audiences

- The role of the Tin Pan Alley publisher was to pitch songs to musicians who

would consider recording them

- Elvis Presley was NOT associated with Tin Pan Alley ever

- The four major record labels of the 40’s and 50’s were RCA-Victor, Columbia,

Capitol, and Decca

- Mercury Records was NOT an independent label in the 40’s and 50’s

- The music of independent labels was often raw and unsophisticated

compared with major label records

- When rock-n-roll broke out, it threatened the way the music industry was

run, the segregation barriers of the industry, and white Americans’ sense of

moral decency

-
- Alan Freed

o Radio DJ

o Gave the name “rock-and-roll”

o His radio show in New York was called “The Rock and Roll Party”

- Jerry Wexler

o Billboard magazine editor

o Coined the term “Rhythm and Blues”, which was later shortened to

R&B

o R&B was an umbrella term for black popular music in the 1950s that

included blues

o Whereas R&B was more adult-oriented, rock was teenage-oriented

- Rock ‘n’ roll expanded the sound of R&B to include both country and pop

influences

- The “whitening” of rhythm and blues was marked by lyrics with dance

references, rather than sexual innuendo

- The Country & Western music chart was originally called “Hillbilly”

- According to Little Richard in Good Rockin’ Tonight, rock ‘n’ roll was based

on boogie-woogie

- According to Quincy Jones in Good Rockin’ Tonight, Elvis Presley was

responsible for an emotional revolution of White America

- Chuck Berry: Father of Rock

o Berry was the prototype for the singer-songwriter/lead guitarist that

would dominate much of rock history

o Berry introduced the electric guitar solo to rock ‘n’ roll. Whereas

many of his contemporaries (Fats Domino, Little Richard) were

pianists, Berry played lead electric guitar

o Chuck Berry adapted the boogie-woogie style used by his pianist,

Johnny Johnson, to electric guitar. A few acoustic blues guitarists had

previously done this (most notably Robert Johnson), but Berry made

extensive use of the boogie-woogie style on the electric guitar. Rock ‘n’

roll was essentially a modernized form of boogie-woogie with the

bouncy piano bass and backbeat drums

o Berry’s prominent use of electric guitar was directly influenced by his

love of Chicago blues, specifically the great blues singer and guitarist

Muddy Waters. The electric blues continues to be influential in rock ‘n’

roll today

o Not only did Berry draw on black forms of music like boogie-woogie

and Chicago blues, he also assimilated country or hillbilly music into

his new sound. His guitar licks employed double stops or dyads*

(playing two strings at one time—essentially a two note chord) and

his source material for songs like “Maybellene” was clearly out of the

country genre. When Berry recorded those early songs at Chess

Records, he used many of the same musicians that performed on the

electric blues and R&B songs that the label released. But most of

Berry’s material was deemed rock ‘n’ roll mostly because of the

addition of country sounds and “whiteness.”

 o Was influential because of the emphasis he put on song lyrics

o Before he was famous, Chuck Berry featured a country set of music in

between his usual R&B and blues songs at his regular gig back in East

Saint Louis at the Cosmo club

o “Maybellene” by Chuck Berry was considered an integrationist song

 Chuck Berry based “Maybellene” on a country song called “Ida

May”

 Leonard Chess did not call “Maybellene” blues, but agreed it

was integrationist

o In the documentary, Chuck Berry is called the “poet laureate of

America”

o Rock-and-roll clubs in the American south often had segregation

 Authorities put partitions between white and black audience

members at Chuck Berry shows in the south

 Berry did not seem fazed that “Maybellene” did not sell well to

whites

o Berry worked to appeal to blacks with blues songs such as “Wee Wee

Hours”

o Both Chuck Berry and Elvis Presley assimilated hillbilly and R&B

forms

 Leonard saw commercial potential in that it wasn’t a white guy

doing hillbilly

- The Record Business in the 50’s

 o An ethically questionable tactic independent labels used to get their

songs played on radio stations was Payola

 Payola is creating business friendships with DJs by offering

gifts

 Alan Freed lost his job as the result of being a part of a payola

scandal for the song “Maybellene”, which due to his influence

rose to #1

o “Maybellene” has all three of Alan Freed, Russ Fratto and Chuck Berry

as authors of the song, despite Berry recording it

o Early rock musicians such as Berry went through many hardships, like

racial discrimination and financial exploitation

o The civil rights movement did not make it a racial issue to appropriate

music from another culture

o As the music business matured, there was much more money at stake

o Authorship in folk-based genres was often understood as collective,

but there was little room for collective authorship in the legal

language of 1960s copyright law

o It is a common practice to borrow music from other songs in your

own, this is known as “sampling”

 Sampling is usually used to pay tribute to another artist, citing

them as an inspiration of sorts

- Elvis Presley: King of Rock

o Elvis was signed to Sun Records out of Memphis, TN by Sam Phillips

o Early in his career, Elvis was marketed as a Country & Western artist

o Elvis originally went to Sun Records to make a record for his mother

o Elvis was only with Sun Records for just over a year before moving to

RCA

o Elvis Presley’s contract was bought from Sun by RCA Records in

November of 1955 for approximately $35,000

o Elvis is often thought of as a song stylist because he recorded

numerous versions of the same song

o His first million-selling single was Blue Suede Shoes, also the first for

Sun Records

o Jerry Lee Lewis did NOT record any songs with Sun

o Janis Martin, also with Sun, was dubbed the “female Elvis”

o Elvis’ single, “That’s Alright Mama”, helped to launch his career at Sun

o Sun records helped pioneer the slap-back echo sound

o In Good Rockin’ Tonight, Sam Phillips frames his act of recording Elvis

as something he wanted to do to help popularize black music and help

black people

o According to Middleton, Sam Phillips thought if he could find a white

man that sounded black, he’d make a billion dollars

o Sam Phillips stated that the artists he signed were ignored by other

record labels, but they changed the world

o Johnny B. Goode was recorded at Chess

 o Because of Elvis’s work at Sun Records, he was the first person to

interest major labels in rock-and-roll

- Reading Quiz 1 Answers

o Chuck Berry’s “Maybellene” was based on “Ida May”

o Janis Martin of Sun Records was dubbed “The Female Elvis”

o Before 1945, radio listeners would have thought it was unethical to

play records on the air

o A simple verse structure has no chorus

o In the following quote, "I put everything I had into it: a hillbilly stomp,

the chicken peck, and even ad-libbed some southern country dialect"

Chuck Berry is talking about Maybellene

o The duck walk was invented by Chuck Berry

o The business practice of payola involved creating business friendships

with DJ’s in exchange for gifts and airtime

o The "whitening" of rhythm and blues was marked by lyrics changed to

dance references instead of sexual innuendos

o Elvis’ initial performing moniker was The Hillbilly Cat

o The Gibson Les Paul was named after Les Paul

 Lessons 3 & 4 – The 1960’s

Chapter 3 – Folk Rock and British Invasion

- Phil Spector

o Very famous producer from the 1960’s

o He was known as a very influential rock producer because he found

ways to capture all the sounds

o His producing method was eventually known as “The Wall of Sounds”

o One characteristic of his production was that he liked to use small

rooms that were filled with lots of musicians

o Another characteristic is that he allowed the sound from one

instrument to spill or “bleed” into another instrument’s microphone

- Spector loved to use string sections

- Covach and Flory

 o Their theory states that since the producers worked for the labels and

not the artists themselves, they maintained much more control

- Doubling

o Two or more instruments playing the same part

- The heavy amount of reverb on Spector’s recordings made the song sound

thicker by blending together the sonic textures

- Phil Spector’s recordings were made on a three-track recorder

o Spector used LA’s top studio musicians

o He wanted to make himself the primary star of his productions

- Spector is the template for the modern producer because this is exactly how

a producer is conceived of in the business now—someone that is an artist in

their own right and has the technical, musical and aesthetic expertise to

shape a recording’s sonic qualities

- The Surge of Folk Music

o The dominant themes of folk songs were NOT young love, cars and

high school

o Covach and Flory depict folk as the maturing of the rock audience

o The main folk audience, or “folkniks” were college-agers in the early

1960s

o The original folk music boom DID NOT occur in New Orleans in the

1920s (NOLA was a Jazz town)

o Bob Dylan has described himself as “a song and dance man”

o One characteristic of the folk movement was NOT the folk singer’s

prowess and image among the audience

o Folk music tackled social issues like the ethicality of the Vietnam War

and the fight for equal rights for African-Americans

o Some of the key musicians in the original folk boom were Woody

Gurthrie and Pete Seeger

o The Gas Light was an important New York coffee house to the folk

revival

o Folk music was NOT considered an American patriotic genre

o Ramblin’ Jack Elliot was happy that Bob Dylan tried to sound like him

o Folkniks preferred long playing LP records to singles

o Folk musicians were perceived to be at the level of, or below their

audience

o Folk music shared with early rock ‘n’ roll an “alternative” mindset that

preferred music not embraced by the mainstream

o Richie Havens was a popular folksinger in the 1960s

o The folk revival was initiated by the Kingston Trio in 1958

o The Kingston Trio DID NOT have a hit with a cover of Bob Dylan’s

“Blowin’ in the Wind”

o Two sides of the folk revival developed, that that was interested in

tradition and one that catered to the pop market

o The folk revival drew on African-American forms of music and not

Euro-American forms
 o Folk acts were enormously successful on the pop charts in the early

1960s

- Folk’s Division

o Folk was divided into two categories: pop-oriented and authentic

(also known as “The Real Thing”)

o As evident, there may have been more pop-oriented folk than

authentic

- Joan Baez

o Her intentions were not money, but rather making real folk music

o Likes to think of herself as no different from an everyday working-

class person

o She likes to sing what she lives

o Possesses natural music talent, lets the purity of her voice match

purity of her approach

 o Preferred not to dress fashionably for concerts

o She was considered the opposite of Kingston Trio for her authenticity

with folk

o She would only play for audiences who paid close attention to her

music, as opposed to lucrative clubs. Never wore make-up, literally

did her to the fullest

o Never studied voice or music, just went off what she knew

o She’s a “silk purse with no desire to become a sow’s ear”

o Was an indie artist and often participated in peace marches

- British Invasion of Rock

o In the mid-60’s, the Brits decided to rock and roll as well

- Britain Invades, America Fights Back

o A documentary about American vs. British rock in the 60’s, it stated

lots:

o Eric Clapton left the Yardbirds to join John Mayall’s Blues Breakers

because he wanted to focus purely on the blues, which he saw as a

more authentic form of music than commercial rock

o The Rolling Stones did not take their name from a Chuck Berry Song

o American blues influence can be seen in British bands by their

extensive use of slide guitar and harmonica, as well as the song forms

(simple, contrasting-verse, simple-chorus specifically)

o When white American bands in the 1950s covered black styles of

music they sanitized it for the mainstream market

 o Eric Clapton got the nickname “Slowhand” because he was such a slow

soloist

- British Rock In The 60’s

o In the late 1950s and early 1960s, the British music industry was

dominated by large companies and major labels

o “Rock Island Line” as recorded by Lonnie Donegan is an example of

skiffle

o The Beatles were formed in Liverpool, originally under the name “The

Quarrymen”. They often performed at Cavern Club in Liverpool

o “Beatlemania” was a frenzy created by fans at live performances

o The Beatles arrived in the United States in 1964

o The early songs in the Rolling Stones’ career were primarily blues-

inspired cover songs. They solidified their image as bad boys with the

song “Satisfaction”

o Improvisatory passages performed by the Yardbirds are “rave-ups”

o Mod culture only attended select clubs in London, were known for

driving Vespa scooters and listened primarily to American rhythm

and blues

o According to the text, “British Invasion” refers to British rockers who

came to America and had long hair

o From the perspective of American youth, the British invasion was

centered on non-musical issues such as a band’s image and its

members’ accents
 o Two types of British invasion rockers: Beatles-type and Stones-type

o Capitol Records felt the Beatles would not be successful in America

- Beatles-Type and Stones-Type

- Canadian Rock In The 60’s

o In the late 60’s, Canadian rock was practically nonexistent

o Paul Anka, Neil Young, and Ian & Sylvia and The Guess Who were all

Canadian (Guess who was originally Chad Allan and the Expressions)

o Radio programmers just played the American charts

o If a band wanted to make it, they’d have to move to America

o BTO tried to copy British rock as much as possible

o In the mid-1960s Canadian bands sought authenticity by adopting

British sounds and national identifiers

o People thought the Guess Who’s “Shakin All Over” was a British

invasion song and liked it

o People did not care about Canada. Write about America or some shit
 Chapter 4 – From Bob Dylan to Psychadelia

- Bob Dylan Goes Electric

o People were outraged that Bob Dylan moved into electric guitar.

People felt like he sold out, turned his back on the folk community,

and moved away from protest songs

o He was heavily influenced by Woody Guthrie as a folk artist

o His early songs focused on social injustices

o He first went electric at Newport Folk Festival, and on his album,

“Bringin’ It All Back Home”

o “Positively 4th Street” was a song directed at the critics for his straying

from folk music

o Tom Petty said Bob Dylan influenced all popular music after him

o Dylan’s influence was seen on socially conscious songs

o He rented an electric guitar after seeing The Beatles

o After he went electric, people called him Judas

o The first international number one folk-rock single was “Mr.

Tambourine Man”

- Bob Dylan’s Influence on Rock

-
- Psychedelic Rock

o Characteristics are experimentation, a sense of bohemianism and

streams of consciousness lyrics

o Musical attributes are improvisation, mixing idioms and dissonance

o Music enhances a drug trip and music is the trip – two forms

o Jefferson Airplane was considered psychedelic because of their use of

modal jazz, Indian surreal poetry, and extended instrumental solos

o Grateful Dead was considered psychedelic because of their association

to drugs, San Francisco and extended solos

o Jimi Hendrix was psychedelic because of his blues, lyrics and drugs

o Janis Joplin is psychedelic because of her “Blues in Technicolor” style

o The Beatles are psychedelic because they recorded on acid trips

- Guitar Hero

-
- Craft Vs. Art

- The Psychedelic Beatles

o “Tomorrow Never Knows” is a work of art because of its

incorporation of drone-like sounds, experimental tape-loop collages,

and lyrics based on Tibetian Book Of The Dead

o They were influenced by Bob Dylan’s music

o The lyrics for “Tomorrow Never Knows” are from Timothy Leary’s

“The Psychedelic Experience”, which is based on Tibetian Book

o “Tomorrow Never Knows” solves a musical problem in a novel way

- Postmodernism – Tomorrow Never Knows

o It is an example of postmodernism because there is a droning note

throughout the song

o It does not use standard rock instrumentation

o It has tape loops so has elements of sampling or mash-ups

o It is an example of postmodernism because it does not use a Wall of

Sound approach

o It is an example of postmodernism because it mixes genres

- Avant-Garde Techniques

o Avant-garde values notions such as autonomy, authenticity,

experimentation and innovation

o The six techniques are sound collage, aleatory, trompe-l’oreille,

musique concréte, plunderphonics and sound manipulation

- Rock’s Coming of Age: From Dylan To The Beatles

o The Beatles globalized the sound of rock

o Continued the idea that popular music should be considered as

seriously

o They inspired artists to move from craft to art

o They did not influence the development of avant-rock

o They pushed the limits of technological experimentation in the

recording

o They moved the focus of rock songs from singles to albums

o They influenced future bands to conceive of their albums as a single

thematic concept

o They focused more attention on the importance of rock lyrics

o They did not inspire the British Navy to paint their nuclear

submarines yellow
- Conclusion
 Lesson 5 – 1960’s Funk, Southern Soul & Motown

- Naming Genres

o R&B was a term coined in the 40’s, and soul was a term coined in the

60’s as a way of categorizing all the sub-genres of R&B

o Soul music was described as a feeling, something that, in essence,

comes from the soul

o Gospel singing is much more expressive than soul singing

o Gospel singing uses melismas or several notes per syllable, while soul

does not

o Soul singing is influenced by gospel singing

- Motown & Southern Soul – Artists and Their Labels

-
 o James Brown was in none of the above

- Differentiating Motown and Southern Soul

- The Sounds of Blackness

o “Please Mr. Postman” was the first notable Motown song in 1961

o Stax and Atlantic had a brief partnership at a point, which Motown

was not involved with

o Motown was briefly known as “Hitsville USA”

o Stax was known as “Soulsville USA”

o Ahmet Ertegun ran Atlantic Records, Berry Gordy ran Motown

 Berry Gordy was an African-American and produced black

o Stax built their studio in an old cinema

o Martha and the Vandellas released the hit “Heatwave” for Motown

o Wilson Pickett released the hit “In The Midnight Hour” for Atlantic

o Headquarters: Atlantic in NY, Stax in Memphis, Motown in Detroit

o Motown did not release material in Muscle Shoals, Alabama

 o The Supremes released the hit “Baby Love” for Motown

o The Temptations released the hit “My Girl” for Motown

-
-

- James Brown’s “Papa’s Got A Brand New Bag”

o Every instrument is a rhythmic device to accent the groove, even

Brown’s voice

o There are few back-up singers harmonizing behind Brown

o The horns play short shots or rhythmic stabs, instead of melodic lines

as in Southern soul

o Brown does not use melisma when he sings

o The electric guitar repeats a fast percussive pattern instead of

strumming or chopping chords

o The drums, while simpler than many funk songs, still have enough

groove to make you want to dance

o The bass stays on the downbeat

o The bass’s role is similar to the horns in this song: both sketch out a

bit of a melody that you might be able to hum after but largely they

provide accents to the groove

o James Brown’s dancing is integral to the visual appeal of the song

 o Because all these instruments accent different beats altogether they

form a polyrhythmic pattern. In other words, there are several

rhythms fitting together to form the song’s groove

o The lyrics to the song are NOT about religion

- Funk

o Represented black pride and black aesthetic music

o Came from the black church, like soul

-
- Conclusion

- Reading Quiz Answers

o Originally, Martha reeves was hired by Motown as a secretary

o Berry Gordy got his start writing for Jackie Wilson

o The main Stax studio band was called Booker T. and the MG’s

o According to Landau, Motown has been compared to black muzak

o All of the following are characteristics of Motown’s assimilation into

white culture except influences from gospel and blues

o Holland Dozier-Holland wrote hits for The Supremes

o James Brown has 2 drummers on stage (The Funky Drummers)

o Quality control meetings were held as a final test for each song

o “In The Midnight Hour” Featured a delayed backbeat

o James Brown made between 350-500k in a week’s time

o In Wesley’s article, James Brown danced in such a way that seemed

impossible for the human body

o The “Motown beat” has snare drums on beats 1, 2, 3 and 4

o Landau says there are 3 categories of “Negros in pop music”. Motown

is category 2

o One of the cofounders of Atlantic Record is Ahmet Ertegun

o Jim Stewart and Estelle Axton founded Stax Records

o According to Landau, only a few albums outside “Motown’s Greatest

Hits” album were listenable

o Wilson Pickett sang “In The Midnight Hour”

o All of the following are characteristics of Stax except tightly

harmonized backup vocals

o
 Lesson 6 – 1970’s Mainstream Rock

- What is Mainstream?

o Artist that was signed to a major record label

o Wrote songs in the currently popular music style

o Sought to work in the corporate business model

o Rock critics did not consider them to be authentic

o Southern rock, Prog Rock, and Hard Rock were considered

mainstream rock genres

o The Allman Brothers and Yes were considered mainstream artists,

while the Sex Pistols were not

o Rock began its conversion to mainstream music when corporate

companies who’d never been involved in music came into the

business, record labels focused on the ‘big album’, and record

companies wanted shorter songs to leave room for commercials on

radio

o Some rock critics argued that corporate control of rock was having a

negative effect on the musical substance of rock, causing a crises of

authenticity, and causing musicians to design their music for the

greatest popular appeal rather than sincere expression

o According to The ‘70s: Have a Nice Decade, Peter Frampton’s

songwriting changed to please the market after the release of

Frampton Comes Alive!?

 o According to Tom Petty in The ‘70s: Have a Nice Decade, corporate

music in the 1970s was not made for the right reasons

o According to The ‘70s: Have a Nice Decade, the corporatization of the

music industry meant that record companies were no longer

interested in fringe artists and record companies were now run from

accounting offices

- Guitar Heroes

o David Bowie’s 1972 album Ziggy Stardust is an example of glam rock

o “Black Magic Woman” is a song played by Santana

o According to the Guitar Heroes documentary, rock ‘n’ roll would not

have survived without the electric guitar

o The term serious wouldn’t be associated with glam rock

o According to Pete Townshend in the Guitar Heroes documentary, an

amplifier known as a Marshall Stack is central to understanding the

importance of the electric guitar to rock music

o Southern rock never took ideas and instrumentation from classical

music

o Prog rock expanded the sonic palette of rock in the 1970s

o Santana barely used analogue synthesizers such as the Moog

o The Who’s manager encouraged them to stray from blues music

structures for their rock opera Tommy

o Tommy was a parable about the superficiality of hippie spirituality

 o The word “heavy” in heavy metal or “hard” in hard rock referred to

the level of hardcoreness involved in performing this virtuosic form of

music

o Early heavy metal and hard rock were NOT based on speed and

multiple time or key changes

o Corporate rock in the 1970s was considered the least authentic form

of rock by music critics

o “Free Bird” is a song by LYNYRD SKYNYRD

o Aerosmith was often compared to the Rolling Stones

o Duane Allman began his musical career as a guitarist for a small band,

The Escorts

o The concept album Aqualung centers on the partial condemnation of

society’s treatment of the poor

o Pink Floyd’s music depended less on instrumental virtuosity and

more on interesting electronic timbres and compositional devices

o The Eagles, Fleetwood Mac and Peter Frampton were all commercial

darlings but critical flops

o Black Sabbath’s first record included a musical sound or symbol that

had a Satanic connotation

- The song “Black Sabbath” included the tritone—a musical interval of 3 whole

tones—that sounds dissonant. Because its sound does not fit the western

idea of beauty, the chord was historically thought to represent the devil and

has even been called the “devil’s chord” or “the devil in music”
- Led Zeppelin

o Which of the following ways does Led Zeppelin exemplify the hippie

aesthetic in the 1970s

 Their use of acoustic instruments demonstrates versatility

 Jimmy Page’s use of a violin bow for the guitar solo on “Dazed

and Confused” demonstrates his virtuosity

 The lyrics to “Stairway to Heaven” further the idea that music

should be a trip

- Mendelsohn’s Review of Led Zeppelin

o According to Mendelsohn, Led Zeppelin (the album) did not take

blues-based rock to a new level

o While the album had an obvious debt to the blues it did not rework it

in a refreshing way

o Jimmy Page was considered an unimaginative songwriter

o Mendelsohn feels the band is self-indulgent

o Based on this review, we could say that critics in the 1970s preferred

bands they thought were original

- Going Beyond the Mainstream

o Many argued that even though Zeppelin was a mainstream artist, their

musical depth put them beyond

o The way they were able to play the guitar and control the rhythm gave

them some authenticity, according to later critics

o Jimmy Page is considered an authentic musician because of his

natural talent and ability to play the guitar

o Non-Western influences of Kashmir include non-Western rhythmic

elements, non-Western vocalization, standard rock time signature

- CanCon

o Short for Canadian Content quota

o Mandated that every Canadian radio station must play at least 30%

Canadian content

o Radio stations were against any legislation that regulated airplay, and

thus were against CanCon

o Radio stations argued that there was no good Canadian music to play,

quotas are censorships (which is undemocratic), and consumers

should determine what broadcasters play, not governments

o Without legislation, radio programmers would never play Canadian

music when they could simply copy what was already popular in the

American charts (support argument for CanCon)

o Canadian television broadcasters have had to include 55% Canadian

content since 1961.

 o CanCon was spearheaded by the press

o To qualify as Canadian content, it must pass two of the following

criteria:

 Music is composed by a Canadian

 The music is performed by someone of Canadian nationality

 Recorded in Canada by a Canadian

 Lyrics are written entirely by a Canadian

- Canadian Rock in the 70’s

o Crowbar’s “Oh What a Feeling” was the first #1 Canadian hit

o “The Guess Who” were originally called Alan and the Silvertones

o The guy who played piano on “Ain’t Seen Nothin’ Yet” by BTO was the

pizza guy who showed up to the studio for delivery that day

o The first double #1 hit in both US and Canada was American Woman

o American Woman was written at a concert in a curling rink in

Waterloo

o In 1970, The Guess Who performed at the White House. They were

specifically asked not to play American Woman, for obvious reasons

-
 Lesson 7 – 1970’s Alt Rock

- What is Punk?

Punks have been described by scholars and journalists alike as a reactionary

subculture that sought to reject:

- Many of mainstream society’s values such as racism, classism or elitism of

any sort
- The over seriousness of rock music brought on by the hippie aesthetic
- Professionalization in favour of a do-it-yourself (DIY) attitude. This was
linked to the community aspect of punk that created its own self-published
zines, clothing stores and independent record labels.
- The corporate greed that they felt put profit above good musical taste
- Middle of the road (MOR) commercial radio playlists designed to appeal to
the greatest amount of listeners (this could also be maligned as “muzak”)

- Differences between Corporate Rock and Punk

o
 o Punk was often viewed as the anti-corporate rock

- Punk

o Short-lived but said to have an impact similar to Elvis and the Beatles

o Iggy and the Stooges, MC5, and Velvet Underground were influences

to the rise of punk music (Fleetwood Mac was NOT)

o The New York Dolls returned rock to the 3-minute song

o Richard Hell was part of CBGB era band “The Heartbreakers”

o Many British punk bands learned to play by playing along with The

Ramones’ records

o For Lenny Kaye of the Patti Smith Group, the most important element

of making a record was staying true to your ideals

o Johnny Rotten said he was discovered while wearing an insulting shirt

that said “I Hate Pink Floyd”

o Elvis Costello was first signed by an independent label

o Warner Records ran ads with Bugs Bunny saying “Don’t call it punk,

call it new wave”

o No record company wanted to touch punk bands after the demise of

The Sex Pistols

- New Wave

o New wave bands were simply bands that shared punk’s values but

were more radio friendly

o British new wave artists were NOT connected to the art-rock and

avant-garde music scenes

 o New wave was a quieter and less aggressive form of music than punk

o New wave embraced past styles of music and fashion in an ironic way

o While playing on Saturday Night Live, Elvis Costello disobeyed the

producer’s instructions not to play the controversial song “Radio

Radio”

- Lester Bangs – Last of the Great Rock Critics

o One of the more influential rock critics of the 1970’s. Was a big part of

the movement among rock critics that corporate rock was killing

rock-and-roll

o Often wrote from subjective point of view, from personal experiences

and ties to rock and roll

o Bangs tells us that Elvis “wasn’t exactly a Man of the People anymore”

because he showed contempt for his fans

o According to Bangs, Elvis releasing new albums of previously released

material demonstrated the greed and contempt of rock in the 70’s

o Bangs thought the Rolling Stones should split up because they are

indicative of the corporate and boring state of rock in the 1970s

o Bangs was waiting for Elvis to get wild again for two decades

o According to Bangs, if the 1960s music was about narcissism the

1970s music was about solipsism

o One of Bangs’ controversial thoughts is that rock was no longer

rebellious. Stars made it a point to not try their hardest and were

content with mediocrity

 o As rock’s rebellion phase transitioned out with corporate rock, punk

was seen as the new rebellion

- “Rebels Against The System” by Caroline Coon

o The word punk was NOT coined to describe British bands and the

sub-culture that grew up around them

o American punk bands dress in jeans, sneakers and T-shirts

o British punk bands stray from nostalgia

o American punk is more intellectual and closely connected to avant-

garde than its British counterpart

o The Sex Pistols got together in a shop called Sex

o The rock stars of the sixties had become adults

o The lead singer of the Sex Pistols is John Lydon

o A rock star’s job is to show that they are similar and relate to their

fans

o The Clash are NOT the personification of the emerging British punk

scene

o Punk rock sounds simple and callow

o Punk rockers play on cheap equipment

o Punk rock is characterized by its lack of guitar solos

o The Sex Pistol’s music is loud, raucous and beyond considerations of

taste and finesse

o Punk bands of the 1970s are compared to the early Beatles, Rolling

Stones, Kinks, Who and Them

 o The Beatles played in Hamburg with toilet seats around their necks

o Songs like the Rolling Stones’ “Let’s Spend the Night Together” united

their fans

o John Lennon did NOT sell out with the rest of the rock stars in the

1970s

o Progressive rock is justifiably acclaimed by critics and university

academics but is far beyond the average teenager

o Rock music needs to be stripped down to its bare bones again

o The Buzzcocks saw the Sex Pistols and changed their attitude toward

music

o There’s nothing more gratifying than the thought that you can start a

band that would sound better than the Sex Pistols

- How Punk Gets Back To Rock

o Song Form

 Corporate rock focused on more complex song forms, while

punk went back to simple verse and simple verse-chorus, much

like the 50’s days of Chuck and Elvis

o Instrumentation

 Just guitars, drums and microphones

o Production

 More simplified. Less over-production such as echoes and

sounds and mufflers, just the original sound for the most part

o Overall, was much more simplified. Which went over well with critics
- Punk and its Authenticity

o The punk DIY value system was a reaction to the over seriousness of

music in the 1970s

o Punk and new wave bands did not follow the hippie aesthetic

o Creating complex music-as-art was considered inauthentic in the

1970s

o Creating simple rock songs was considered authentic in the 1970s

o Punk and new wave bands designed their music for the least popular

appeal

o Punks rebelled against the strict professionalism of contemporary

rock stars

o Authenticity for punks meant being non-elitist, youthful, non-

corporate and anti-mainstream

o Unlike during the folk revival, punks felt it was more authentic to

dress the same way both on-stage and off-stage

- Wrapping Up

o New wave was radio-friendly punk, ironic, and used pre-hippie and

rock cultural symbols

o British punk was different from American punk because British bands

were often politically motivated

o The Clash and Sex Pistols were different because

 The Sex Pistols were hedonistic badboys of punks and the

Clash were their political alter-ego

  The Sex Pistols were fairly singular with their sound but the

Clash experimented with other genres

 The Sex Pistols were managed by Malcolm McLaren and the

Clash were managed by Bernard Rhodes

 The one thing that they shared in similarity is that they were

both British

o The band collecting monetary advances from three record labels prior

to releasing an album was a demonstration of the Sex Pistols’ conning

of the music industry

o CBGB OMFUG stands for Country Bluegrass Blues and Other Music For

Uplifting Gormandizers

o Members of The Clash were viewed as political protestors

o According to Caroline Coon, Mick Jagger was an elitist

o Covach and Flory says that American punk music was only united by

what it wasn't, which was corporate

o Covach and Flory called Velvet Underground “dark, not flower power”

o Iggy Pop and the Stooges were proto-punk because they played loud,

simple and repetitive music

o Velvet Underground influenced American punks because of:

 Their connection to avant-garde music

 Lyrics about drugs

 They confronted the idea that performance ability [is] a

barometer of quality
 Lesson 8 – Black Music Styles of The 70’s

- Rockism

o Black pop styles of the 70’s were largely omitted from rock histories,

ignored/maligned by most critics

o Black music styles, such as Philly soul and disco, were just seen as

commercial pap to rock fans and critics alike

o “Rockism” is the elitist attitude that rock fans and critics share against

other styles of music, claiming them to be inauthentic and not true art

o This mainly stems from how different it was considered to be from

rock, and therefore could not be accepted by their community

- Reggae – Black Sounds of Freedom

o Like most genres, reggae is really an umbrella term for several forms

of music

o Generally refers to the popular style of Jamaican music from 1968

onward

o Received its name in 1968 when Toots and the Maytals released a

song called “Do The Reggay!”

o Influenced by American R&B and Jamaican styles of mento, ska and

rocksteady

o Very popular in the Caribbean and Britain in the 1970’s, and inspired

British punk and new wave artists

 o Reggae lyrically and thematically shares common ground with funk

because they were both seen as the sonic expression and pride of

black culture

o Many black Jamaicans had harsh living conditions in the 70’s, and

reggae was a potent vehicle of social critique against the ongoing

legacies of colonialism

o Closely aligned with Rastafari, an Afro-Caribbean religion

o Artists like Bob Marley, Burning Spear and Black Uhuru—with their

album Black Sounds of Freedom—became known around the world

during this time for their fiery condemnations of Babylon (Rastafarian

speak for all oppressive systems of the world)

o Like punk, reggae was critically acclaimed in the 70’s but never got

the mainstream recognition by the American music industry

o And like punk, its sphere of influence in the decades since outweighed

its initial impact on global rock music during its heyday

- The Sounds of Reggae

o Musically, you can usually tell a reggae song by a few things: it’s

prominent bass ostinatos, its drumming, which often emphasizes the

3rd beat of the bar, and the offbeat rhythm played by the electric

guitar and organ

o The bass was fixed at a higher volume than the other instruments and

played a repeated melodic figure

 o When you go to a reggae show you should be able to hear the bass five

blocks away and when you leave you should be humming a bass line

o Bass is the main melodic instrument in reggae (also the case in funk

and SS)

o The drums emphasized beats 2 and 4 (backbeat), but in Bob Marley’s

“Trenchtown Rock” the snare drum hits on the 3rd beat

 This rhythm is known as the “one drop” because the drummer

drops the first beat of the bar

o Bass and drums are almost the only instruments constantly played

o Reggae is also typified by the way the keyboard and electric guitar

strike the offbeat

- Versioning

o Recording a new song using an existing backtrack

o Sometimes it entails a singer simply adding new lyrics and melody

over the backing tracks of another song

o But it also refers to the practice of rerecording an existing song and

reworking it somehow to form it into a new song

- Cut ‘N’ Mix

o According to Hebdige, critics of Afro-American and Caribbean music

say there is too much stress on repetition and not enough originality

o Hebdige says versioning is at the heart of all Afro-American and

Caribbean musics
 o “Every time a version is released, the original tune will be slighty

modified”

o According to Hebdige, a dub version is where the rhythm is shaken

out and played with

o By 1985, there were 239 versions of the song “Selng Teng”

o A reggae version is creating new songs out of old songs

o A riddim refers to a song’s instrumental backing track

o Since the Jamaican music industry was highly competitive, and since

copyright laws were pretty loose, a rival record producer could record

his or her own version of a hit riddim

- Dub – The Original Remix

o To dub a song is to deconstruct and rebuild it using studio technology,

thereby creating a completely new “dub version” of the song

o According to Williams, dub is found on the flip side of most reggae

singles

o According to Williams, dub is the nearest aural equivalent to a drug

experience

o All of the following were dub producers mentioned by Williams: Lee

Perry, Jack Ruby, King Tubby (Burning Spear was NOT)

o One of the major principles of dub is the denial of the right of the

musician to control their output

 o Dub was an innovation was called “the most interesting new abstract

concept to appear in modern music since Ornette Coleman

undermined the dictatorship of Western harmony”

o Hebdige says that it was normal for reggae to release 12-inch records

with an original cut, a dub version and a club mix

o Dub is where the rhythm is shaken out and played with

o Dub is described by vocals and instruments appearing and

disappearing, bewildering anarchy, and shrouded in echo or distorted

beyond recognition (being centered around the vocal melody is NOT)

o Marvin Gaye, Brian Eno and Miles Davis were all influenced by dub

music (Joni Mitchell was NOT)

o According to Williams, the album cover for King Tubby Meets the

Upsetter was missing humans

- Bob Marley

o Most legendary reggae musician of all time

o Was known as the King of Reggae

o Did everything he could, substantially more than others, to promote

reggae music and Rastafarianism

o Marley’s songs in the 1970s were written in the same way rock artists

wrote songs. Instead of the standard Jamaican versioning practice,

Marley wrote stand-alone songs

 o One reason he did this was that he was interested in reaching a global

audience and so consciously couched his messages in music that

would appeal to first rock audiences and later black soul audiences

o In doing so he made music that was markedly different from his

contemporaries

- Blackwell and Timothy White Interview

o Bluebeat was NOT the name Jamaicans used for American blues

o Bob Marley let Chris Blackwell put out his first single, “Judge Not”

o Catch a Fire was the first reggae record conceived of as an album

o Bob Marley’s first commercial breakthrough was 1976’s Rastaman

Vibration

o Chris Blackwell marketed early Jamaican music as ska in England

o Chris Blackwell remixed some tracks on Catch a Fire to add guitar

o Chris Blackwell did NOT successfully market reggae as a novelty

music to a rock audience

o Island Records was instrumental in the invention of the concept of

world music

o Island Records was the first label to apply the same artistic standards

to reggae as had been customary for rock

o Chris Blackwell rescued reggae from the ghetto

o People told Chris Blackwell that giving money to Bob Marley and the

Wailers would be a stupid business decision

o The main place Jamaicans heard local records was NOT on the radio
 o When Chris Blackwell first heard the tracks for the Catch a Fire record

he thought he had made a genius choice in backing Bob Marley

o Chris Blackwell worked on the first James Bond film, Doctor No

o Most reggae acts at the time were NOT cohesive bands like in rock

o Rastaman Vibration was a conscious attempt to sell records to black

America

o Bob Marley’s reggae was more influenced by rock than most reggae

- The Disco and Hip-Hop Connection

o Disco first began in black and gay communities

o New York is the city associated with the birth of disco

o Gloria Gaynor says whites had trouble dancing to sophisticated R&B

rhythms

o According to Gloria Gaynor, disco allowed whites to learn to dance

like blacks

o The Village People sang YMCA

o The song YMCA was about a place to meet young, gay men

o Saturday Night Fever broke disco on the national music scene

o If rock was listening music, disco was dancing music

o According to Covach and Flory, disco heralded the return of the

authority of producers

o KC and The Sunshine Band, George McCrae and Donna Summers were

all disco artists (John Travolta was NOT)

- The term DJ evolved from being radio producers who would play songs to

now scratching on the disc and remixing songs

- They now play hot club songs while occasionally putting their own twist on

them

- Tom Moulton

o Broke DJ’ing down into categories

o Continuous Mixes

o Extended Mixes

o Breaks

o Medley Discs

o 12-inch single

- Dub vs. Disco

o
- Backlash to Disco

o The Saturday Night Fever soundtrack was the biggest selling album to

date (30 million albums) and this polarized the music community

o Tom Petty’s reaction to disco was wanting to destroy it

o Disco being the opposite of the hippie aesethetic, according to Covach

and Flory, was behind the “disco sucks” attitude of rockers

o Most rockers didn’t understand the origins in gay clubs and veiled

references to homosexuality in disco culture, which is why the disco

rockism was probably not related to homophobia

o According to Gloria Gaynor, disco allowed white people to dance to a

simplified form of black music

- Importance of Disco

o Multiracial

 Sung, produced, listened to and danced to by both whites and

blacks

o Openly Gay

 First genre with an openly gay component

o Community-Building

 Disco inspires “energetic public action” such as dance parties,

which got people together to dance and shit

- Hip-Hop

o Hip-hop, like disco and reggae, was a culture built around vinyl

records and the concept of remixing. Early hip-hop DJs looped the
 instrumental “breaks” in songs, often keeping the same break going by

playing it back to back on two different turntables.

o It also extended the black musical aesthetic by not only emphasizing

rhythm over melody but, like reggae, at times it did away with melody

altogether: by the late 1970s many reggae and hip-hop tracks were

reduced to bass, drums and rapping/toasting. In this way we can trace

similarities between several forms of black music via the black

musical aesthetic: R&B, funk, reggae, disco, hip-hop. We can also make

connections between seemingly disparate African diasporic music

forms such as jazz, blues, reggae, disco and hip-hop by theorizing

using the versioning practice

-
- Reading Quiz Answers

o John Travolta was NOT a disco artist

o Curtis Mayfield became a cultural ambassador to the white

community in the 1970’s

o Jamaican popular music in the 1960’s was heavily inspired by New

Orleans R&B

o The TV show “Soul Train” had the theme song TSOP (Sounds of Philly)

o Motown gave Stevie Wonder complete artistic control over his

records for his 21st birthday

o Saturday Night Fever, the film broke disco on the national music scene

o Hebidge says versioning is at the heart of all Afro-American and

Caribbean music

o Disco first began in black and gay communities

o Eric Clapton covered “I Shot The Sheriff” in the 1970’s

o If rock was listening music, disco was dancing music

o Lionel Richie started as the lead singer for The Commodores

o Marvin Gaye’s “What’s Going On” is often cited as one of the most

important albums ever made

o The song YMCA was about a place to meet gay men

o The funk band that many white rock listeners would know best in the

1970’s was Average White Band

o Long before he starred in Pulp Fiction, John Travolta was the macho

disco dancer in Saturday Night Fever

 o Sly and The Family Stone had an influential top 10 hit with “Dance To

The Music” in 1968

o Films such as Shaft an Sweet Sweetback’s Baadassss Song were

known as Blaxploitation films

o According to Chris Blackwell, “sound systems” in Jamaica were like

travelling discotheques

o Burning Spear was NOT a dub producer mentioned by Williams

o Peter Tosh, Bunny Livingston and Bob Marley were part of a reggae

group known as The Wailers

Lesson 9 – 1980’s MTV and Video Stars

- The MTV Age

o Music technology expanded rapidly in this age

o Vinyls went obsolete, companies opted for cassettes and eventually

compact discs

- MTV Changing Rock

o Popular music has become more dance-oriented

o Popular music shifts focus to visual bands

o Shifts emphasis from musician to performer

o Shifts emphasis from the seriousness of the hippie aesthetic to

entertainment

o Scrapped the focus on live concerts as part of music videos

o With the advent of CGI, musicians always had to dance in their videos
 o Starting with artists like Michael Jackson music videos become mini

films that expand the artistic scope of a pop song

o MTV’s programming choices were NOT initially driven by stay-at-

home moms

- Up From The Underground

o The record company’s response to DEVO when the band wanted to

make a video for “Whip It” was “absolutely not”

o DEVO fits into new wave because their video for “Whip It” employed

irony and satire of corporate America

o The Go-Go’s was the all-girl band opened for the Police and beat them

in the charts

o MTV censor Culture Club’s “Do You Really Want to Hurt Me” video

because it had black people dressed as minstrels

o The Madonna video “Justify My Love” enraged MTV execs

o Brian Eno said that Madonna’s critics didn’t like the fact that music

was not the centre, but part of the Madonna package

 o Dave Stewart of the Eurythmics, said that the “Sweet Dreams (Are

Made of This)” video was inspired by Salvador Dali

o Phil Collins doesn’t think he could have made it in the music business

had he started in the MTV age because he was a chubby and balding

bloke

o Rock the Vote was the MTV initiative David Bowie said instigated

social change

o Ronald Reagan cited Bruce Springsteen in his patriotic speech

- Critical Rock: Breaking Barriers

o According to Covach and Flory, MTV was looking for less black

content when Michael Jackson released “Billie Jean”

o Quincy Jones says that “Billie Jean” could not get played on MTV

o According to Don Letts MTV did not want to play anything that looked

or sounded black

o Michael Jackson largely avoided the sorts of arguments directed at

Motown in the 1960s that suggested he was making a whiter form of

black music in order to cross over

o Michael Jackson’s Thriller sold well and outpaced Madonna’s Like a

Virgin

o MTV didn’t realize the Clash’s filmmaker, Don Letts, was black

o The MTV representative in the documentary says that MTV was

playing about the same number of videos from both white and black

artists
 o According to Public Enemy’s Chuck D, having Michael Jackson on MTV

in the 1980s came at the wrong time for black America

- Protest Songs

o Songs that initiate social change, or fire against the norms

- Madonna: Performing Femininity

o Madonna established the framework for a new feminine identity in

rock and roll with her sexually suggestive videos, songs, lyrics and

dances

o “Justify My Love” is influenced by sado-masochistic films

o “Justify My Love” is far more risqué than average American popular

culture

o American feminism is rife with puritan values

o Feminists do NOT envy masculinity

o Feminists have hated Madonna from the start

o Madonna has a profounder image of sex than most feminists

o MTV was right to ban “Justify My Love”

 o Neither art nor the artist has a moral responsibility to liberal social

causes

o Underneath the shock factor, Madonna’s music does NOT reveal

puritan values

o Feminism says “we are nothing but masks”, but Madonna does NOT

attempt to show us what is behind the mask

- New Traditionalists

o Neither new wave nor new traditionalism appropriated earlier styles

of rock ironically

o New traditionalism appropriated earlier styles of rock sincerely, not

ironically

o Tom Petty does NOT fit into the new wave category

o Bruce Springsteen fits into the new traditionalism category

o New traditionalism can also be described as new simplicity

o New traditionalism was NOT concerned with creating a pastiche of

earlier, pre-hippy styles

o Both new traditionalism and punk wanted to celebrate pre-1965

styles of rock

- Bruce Springsteen

o Bruce Springsteen was a traditional rocker in the 1980’s, an era of

dancing

o His album “Born In The USA” had seven top 10 hits and sold 15

million copies
o He was renowned for being a traditionalist in the 80’s

o Frith says that in the first week of his Live LP release, Springsteen

made $7.5 million

o According to Frith, a live record is cheaper to produce than a studio

record

o Springsteen’s Live LP became the ultimate object of capitalist fantasy

o Springsteen’s disdain for success is what makes him successful

o According to Frith, Springsteen’s Live LP, “the most successful pop

commodity of the moment,” stands for the principle that music should

not be a commodity

o If Bruce Springsteen didn’t exist, American rock critics would have

had to invent him

o At a time when rock is the soundtrack for TV commercials, tours

benefit from corporate sponsorship, and music videos have blurred

the lines between creativity and commerciality, Springsteen suggests

that rock music gives people a way to define themselves against

corporate logic

o According to rock critics, Springsteen is part of a musical legacy that

stretches back to Woody Guthrie

o In order to understand authenticity, it needs to be defined against

artifice

o To be authentic and to sound authentic in the rock context is the same

thing
 o The idea that art and commercialism are opposites starts in Europe

with a movement known as Romanticism

- Authentic vs. Inauthentic

o
 Lesson 10 – 1980’s Hip-Hop and Heavy Metal

- Hip Hop

o Hip-hop has two dominant characteristics – beats and rhythms

o The early hip-hop DJs in the Bronx in the 1970s began remixing songs

live by using turntables

o Influenced by the remix cultures of both reggae and disco but took the

idea of breaks or break-beats to a whole new level

o Hip-hop is responsible for several musical innovations, such as:

 Break spinning

 Sampling

 Scratching

 Elevating the turntable to an instrument

- Four DJ’s Who Made Hip-Hop

o Kool Herc

 Invented the break-beat

 Can extend one drum break indefinitely by looping

 This is an early form of sampling

o Afrika Bambaataa

 Said to have popularized sampling

 Bambaataa had a “genre-less concept of music” and sees this as

a fundamental building block of hip-hop, a music born of

remixes, break beats and samples

 o Grandmaster Flash

 Inventor of the quick-mix

 Flash’s method of DJing was to connect the musical fragments

into a cohesive seamless mix “so that listeners and dancers

would never know when one ended and the other started”

 Essentially perfected Kool Herc’s method, calling it the quick-

mix theory

o Grand Wizard Theodore

 Inventor of the scratch when he was 14, by accident

 He was making a record, his mom walked in and he stopped it

by placing his finger on the record. When he played it back, it

made a scratch sound that sounded cool

- Understanding Hip-Hop

o The first hip-hop single was “Rapper’s Delight”

o The rap record “Licensed to Ill” was the first to hit number one on the

pop chart

o All of the following were critiques about rap music EXCEPT the music

industry worried about it outselling rock records

o “Break spinning” is best described as mixing together highly rhythmic

instrumental passages using two turntables

o Public Enemy released the album Fear of a Black Planet

o Hip-hop culture includes rap, fashion, graffiti and breakdancing

o Public Enemy frequently sampled James Brown

 o The repeating of a drum break taken from the middle of a record is

called a break beat

o In rap, the role of the DJ is working the turntables

o Run-DMC performed in a video with Aerosmith

- The artists like Def Jam’s LL Cool J and RUN-DMC were not that far removed

from Motown’s cross-over formula

- Up From The Underground

o Quincy Jones said that rap had a problem with TV, and even black

radio

o In the video, KRS-One says, “the black community had nothing to

represent themselves. Everything was somebody else’s expression of

reality. We were forced to take that, mutilate it and give it back as our

expression.” Ideologically this statement demonstrates versioning

o DJ Jam Master Jay plays a repeated break beat on a turntable in the

background while RUN-DMC raps

o Grandmaster Flash describes his theory of the quick mix. It is

repeating the same section of a song using two turntables

o Besides DJing and rapping, two other elements of hip-hop culture are

graffiti and breakdancing

- Heavy Metal

o How to describe its heaviness, especially over and against hard rock of

the 1960s and 1970s

o Its performances of masculinity

 o Its connection to classical music

o The moral panic it instigated

- Classifications of Heavy Metal

- What’s So Heavy About Heavy Metal?

o Volume

 Being loud af

o Distortion

 Distortion is not a one-size fits all sound; it comes in endless

varieties and different genres of rock prefer different kinds of

distortion

o Power Chords

 When a guitarist plays a power chord, however, they only play

the root and fifth of the chord and double the root an octave

above

o Riffs
  Heavy metal has roots in the blues and blues guitarists play

lots of riffs. Heavy metal riffs are made heavier by doubling up

on the riff

o Compression

 Compression is a technology used in sound recording and

broadcasting to ensure that the songs on a CD or radio station,

for instance, are played at the same level and volume spikes

don’t break your speakers. But compression gives the sense of

loudness even at quieter levels

- In Metal: A Headbanger's Journey, Slipknot’s Joey Jordison says that metal is

one of the last bastions of masculinity

- Rock’s history is overwhelmingly guy-centric and whereas women were

often restricted in the kinds of gender performances they could enact, men

have had much more freedom of expression

- Jordison’s comments, then, made in 2009, seem to suggest that modern

society leaves few opportunities for men to perform hyper-masculinity and

metal fills that void. Like Madonna, who opened up the door for girls to

explore various aspects of femininity, metal provides opportunities for boys

to explore facets of masculinity that are otherwise hidden in society

- The documentary quotes Rush’s Getty Lee saying that the band’s early fans

were mostly male; sociologist Deena Weinstein connects metal with

traditional representations of masculinity like strength and manual labour

and explains that masculinity means freedom

- Metal: A Headbanger’s Journey

o Sociologist Deena Weinstein says that any way you cut it, metal’s

performance of masculinity is NOT sexist

o Sociologist Deena Weinstein equates the working class masculine

ethos of using tools effectively with metal musicians and their

instruments

o Sociologist Robert Walser describes the feminized fashion among hair

metal bands as being the most masculine thing you can do

o According to Sociologist Robert Walser the best way to rebel as a man

is NOT to get an even more severe suit than your dad

o Twisted Sister’s Dee Snider says that wearing lingerie did NOT make

him question his sexuality

o Mötley Crüe’s Vince Neil was for wearing feminized fashion like lace

and make-up

o Poison, an all-male band, told their photographer that they wanted to

look like the women on the cover of fashion magazines

o Black leather and studs fashion was introduced into metal by Rob

Halford and was based on gay club attire

o Black leather and studs fashion was NOT worn by heterosexual metal

fans to show their solidarity with the LGBTQ community

o Twisted Sister’s Dee Snider hoped by wearing lingerie he could freak

people out

- Classical Influence on Heavy Metal

o Covach and Flory write that metal “offered a direct continuation of the

musical ambition associated with the hippie aesthetic”

o It extended song forms, valued virtuosic musicianship, created

concept albums and took itself very seriously

o Some forms of metal also borrowed heavily from classical music; this

in itself is in keeping with the hippie aesthetic of bands such as the

Beatles and Led Zeppelin

o Heavy metal was also influenced heavily by classical music

o Robert Walser explains that many metal guitarists appropriated

composition and performance styles from Baroque composers Bach

and Vivaldi, and late Classical-early Romantic composer Paganini

o Rob Halford (Judas Priest) has said, “I don’t think playing heavy metal

is that far removed from classical music. To do either, you have to

spend many years developing your style and your art, whether you’re

a violinist or a guitarist, it still takes the same belief in your form of

music to achieve and create. It is very much a matter of dedication”

o These guitarists undertook methodical study of classical music forms

and their heavy metal in some ways was a classical/rock hybrid

borrowing chord progressions, phrasings and playing techniques

o Van Halen’s invention of the “tapping” technique meant that he could

play speedy arpeggios normally associated with classical music, not

rock. These are the kinds of “technological developments that helped

make Baroque models newly relevant to heavy metal guitar players”

- Metal: A Headbanger’s Journey

o According to sociologist Robert Walser, opera music influenced the

vocal styles of Bruce Dickenson (Iron Maiden) and Rob Halford (Judas

Priest)

o Wagner, the classical composer, would have been in Deep Purple had

he lived in the 1970s

o The deep bass sound of the Octobass is the aspect of Wagner’s

orchestral music that influenced metal

o Eddie Van Halen and Bach are compared because both are/were

improvisers

o The models of violin and organ become relevant to the guitar because

notes can be sustained using amplification and feedback

- Moral Panics

o Criticisms of metal also took into account its music—its simplicity,

volume and distorted tones—but like hip-hop critics were chiefly

concerned with its anti-social themes. Tipper Gore has summed these

up as “devil worship and the occult, sadistic sex, murder, rape and

suicide”

o Tipper Gore was the wife of U.S. senator Al Gore and a leader in the

movement called The Parent’s Music Resource Centre (PMRC)

o The PMRC grew out of what is often known as the “New Right” or

“New Religious Right” in American politics

o This was a network of conservative Christian and secular groups such

as Jerry Falwell’s Moral Majority and James Dobb’s Focus on the

family

o Currently FOX News would be an example of a secular group whose

values are aligned with the New Right

o They felt that rock music contained anti-social theme such as

rebellion, substance abuse, sexual promiscuity and perversion,

violence-nihilism, and the occult

o They pressured record companies, media and retail outlets to impose

a rating system on albums similar to the film industry and were

responsible for large retail chains like Wal-Mart dropping records by

Ozzy Osbourne and Mötley Crüe because of alleged satanic and

pornographic content

o The PMRC’s lobbying culminated in the 1985 U.S. Senate Commerce

Committee hearings on the influence of music

o This resulted in the Record Industry Association of America

voluntarily agreeing to introduce “Parental Advisory Explicit Lyrics”

label in 1993

o The parental advisory stickers made rock albums more desirable to

many listeners, resulting in the reverse effect to what was intended

o In some cases, the stickers were taken to a ridiculous conclusion:

Frank Zappa’s Jazz from Hell—a Grammy Award–winning album—

bore such a sticker even though the album was instrumental

  It did, however include song titles like “G-Spot Tornado

- Tipper Gore’s “The Cult of Violence”

o The technological revolution has created internet sites like YouTube

where youth can NOT view heavy metal for free

o High-powered and diverse media like videocassette recorders, cable

television, movie rental cassettes and satellite dishes are available to

young children and can spread new forms of graphic violence

o Heavy metal arose in England as a form of counter-cultural rebellion

o Defenders of heavy metal do NOT say that its themes are purely

fantasy

o W.A.S.P stands for “We Are Sexual Perverts"

o Heavy metal concerts are like vaudeville acts

o Heavy metal fans are NOT mostly men in their 30s and 40s

o Ozzy Osbourne bit the head off a live bat in concert

o W.A.S.P’s concerts did NOT feature simulated orgies with groupies

o According to Blackie Lawless, the best thing that can happen to any

rock ‘n’ roller is to get censored

o The idea that music has the power to shape society is traced back to

Greek philosopher Plato

o One of heavy metal’s central themes is hatred

o Teen violence has been linked to listening to heavy metal

o Heavy metal can become a religion for its fans

o Tipper Gore did NOT admit to having played metal in her teens
- Conclusion

o This genre of rock still has a large global fanbase even though it may

not show up in the music charts

o However, metal’s aggressive music combined with punk’s anti-

corporate ideological stance and helped spawn some of the biggest

bands of the 1990s in the grunge movement

- Reading Quiz Answers

o The deep sound of the Octobass was an aspect of Wagner’s orchestral

music that influenced metal

o Sociologist Robert Walser describes the feminized fashion among hair

metal bands as being feminine is the most masculine thing you can do

(TRUE)
o The debate over who gets to be called the first metal band divides

metal heads

o The “Filthy Fifteen” is 15 songs deemed offensive by the PMRC

o Even though critics hated metal, it became the most popular music in

the world by 1986 (TRUE)

o Black leather and studs fashion was both introduced into metal by

Rob Halford based on gay club attire and considered by fans to be as

masculine as it gets (BOTH A AND B)

o Eddie Van Halen and Bach are compared because both are

improvisers

o The Parent’s Music Resource Centre was responsible for convincing

the record industry to attach “Parental Advisory” stickers to albums

that could be considered indecent

o Bands like Black Sabbath, Dio, etc. were controversial because of their

use of Christian symbols and Satanism. Alice Cooper says that

Satanism in metal is a caricature like Halloween

o Wagner, the composer, would have been in Deep Purple had he been

around

o Sociologist Deena Weinstein equates the working class masculine

ethos of using tools effectively with metal musicians and their

instruments

o Dueling guitar solos is NOT a characteristic of metal provided by

Deena Weinstein in the film

o Black Sabbath contributed the sound of evil to metal

o Iron Maiden is described as part of new wave of British metal

o Black Sabbath is often cited as the first metal band

o The central question Sam Dunn hopes his documentary will answer is:

“Why has metal provided such strong reactions among people?”

o Two common Nordic forms of metal mentioned in the film are

Norwegian black metal and Swedish death metal

o The models of violin and organ become relevant to the guitar because

notes can be sustained using amplification and feedback

o The devil horn symbol is NOT attributed to Dee Snider in the film

(FALSE)

o Twisted Sister’s Dee Snider is seen testifying against the PMRC at a

Senate hearing in 1985

o Alice Cooper was the first to use the term “heavy metal” in 1972
 Lesson 11 – 1990’s Women’s Rise & Alt Rock

- The 1990’s

o All of the following are considered benefits of the compact disc format

EXCEPT the superior sound quality of analog recordings

o Lee Abrams sold album-oriented rock formats as prepackaged

products

o The concept of Pop-Up Video included featuring videos with little on-

screen factoids about music and artists

o “Tears in Heaven” was a hit song for Eric Clapton

o All of the following are true regarding roots rockers EXCEPT they

continued the punk attitude of going against the status quo

o All of the following are examples of jam bands EXCEPT Third Eye

Blind

o The music of Boyz II Men strongly featured harmonized vocal

arrangements

o Lou Pearlman managed The Backstreet Boys and ‘NSYNC

o P. Diddy began his career in the music industry as a songwriter at the

resurrected Motown

o Eminem began his career after winning a 1997 freestyle rap

competition in Los Angeles

 o All of the following were albums of the Beastie Boys EXCEPT The

Score

o “Detroit house” music is generally referred to as techno

o The year 1988 was referred to by some as the “second summer of

love” because rave parties fused trippy music and altered states of

consciousness

o All of the following bands blended rap into a heavy rock context

EXCEPT Audioslave

o Beck rereleased the song “Loser” on a major label

- Rise of Women In Rock

o Alanis Morissette (a Canadian!) had the top selling record in the world

and Whitney Houston, Shania Twain, Spice Girls, Celine Dion, The

Fugees (featuring Lauryn Hill), Sinéad O'Connor and Mariah Carey all

ranked in the top 20

o According to Covach and Flory, the most significant developments in

the 90’s for singer-songwriter styles because of women are:

 They added a feminine perspective to rock that was lacking

before

 This was part of the rise in visibility and power of female

artists in the industry when the focus was on more than just

women as sex symbols

 Women did not just top music charts, they also took a leading

role in changing the old guard of the industry

- Sinéad O’Connor

o Illustrate the challenges women still faced in the music industry in the

late 1980s and early 1990s, and the role that women like O’Connor

played in further freeing women to look, act and make the kind of

music they wanted to

o As one of the top female artists in the world at that time, O’Connor

was also one of the most controversial because of her outspoken

beliefs

o In 1991 she refused to let the American national anthem be played

before concerts on her American tour in protest of the Gulf War

o O’Connor was at the forefront of a shift in gender politics in popular

music in the 1990s and as such she is an example of an artist that

struggled to gain a place in a patriarchal industry on her own terms

o The song “You Oughta Know” references angry frustration after a

romantic breakup

o Tori Amos, a classically trained female singer-songwriter, reflects

those influences in her music

o Alanis Morissette co-wrote her hits with Glen Ballard, who had

previously written hits for Michael Jackson

o Before releasing her own albums Sheryl Crow worked as a backing

vocalist for Michael Jackson

o The music of female songwriters in the 1990s ranged from quiet and

contemplative to aggressive
 o One thing that was unique about the Indigo Girls that they were

openly gay

o “Crucify” is NOT by Nova Scotian songwriter Sarah McLachlan (by

Tori Amos)

o Kelly Clarkson won the first season of American Idol

o Pop stars Britney Spears, Justin Timberlake, and Christina Aguilera

started out on The New Mickey Mouse Club TV show (ALL OF THE

ABOVE)

o Liz Phair released a response to the Rolling Stones’ Exile on

Mainstream called Exile on Guyville

- GRRL Power

o The concept of Grrrl Power—or feminist rock—has its roots the punk

scene, specifically with bands like Bikini Kill and Bratmobile out of

Olympia, Washington

o Members of these bands started the Riot Grrrl fanzine, which was a

feminist activist publication designed to increase women’s

involvement in punk rock

- Indie Rock

o Indie referred to a record that was distributed by an independent

record label

o Characteristics of Indie music are:

 Music First

 DIY
  Anti-corporate

 Community-oriented

 Music on their own terms

- Alt Rock

o Alternative bands did NOT always play aggressive guitar-based rock

o Alternative bands sometimes signed to major labels

o Alternative is to indie what new wave was to punk

o Pearl Jam is an example of an alternative band

o The term alternative should be viewed as a marketing label rather

than a distinct musical style

o The term alternative was a marketing label that capitalized on the

indie ideology

o The term alternative was NOT simply the American equivalent of

indie

o The aesthetic of alternative bands is simplicity and directness of

expression

o Surfer Rosa and Doolittle were wildly successful albums in England

and became landmarks of the American indie scene in the late 1980s

for Pixies

o “Out of Time” is an R.E.M. album that reached number one on both

sides of the Atlantic

o Critics thought that indie rock offered a purer form of rock

o All of the following are bands from Seattle EXCEPT Sonic Youth
 o College radio stations were the main source for radio exposure of

indie rock in the 1990s

- Nirvana: Kings of Grunge

o Nirvana and their Seattle colleagues like Pearl Jam, Soundgarden and

Alice in Chains may sound much heavier than other alternative bands

of the era like R.E.M., but R.E.M.’s success in the 1980s paved the way

for the Seattle explosion

o Nirvana released their major label debut, Nevermind, in 1991 on

Geffen. When the record was released Geffen expected that it would

sell at least 50,000 copies and cautiously hoped it might move half a

million units. The response was unexpected: it went to #1 on the

Billboard charts and has sold over 30 million copies

- Smells Like Teen Spirit vs. Territorial Pissings

o
- Nirvana and Authenticity

o Nirvana wanted to adhere to the indie values system but struggled to

maintain their indie credibility in the face of worldwide fame

o They hired a producer that had an unswerving allegiance to the indie

value system and alternative sense of authenticity, but that ended up

causing problems when they themselves weren’t happy with the

overly indie sounding results

o Authenticity is a discourse that is created by fans, critics and the

musicians themselves

o Kurt Cobain, the lead singer, was a heavy user of drugs and shot

himself

o This was believed to be because he was unhappy with his own value

and Nirvana’s struggles with authenticity

- Conclusion

o
 Lesson 12 – 1990’s Britpop to Present Day

- Britpop

- Compare and Contrast: Wonderwall & Smells Like Teen Spirit

o Wonderwall does NOT have a rawer quality to the singer’s voice

 Liam Gallagher’s voice is significantly more polished than

Cobain’s

o Wonderwall uses an acoustic guitar

 Majority of grunge songs did

o Wonderwall does NOT have angrier lyric

 Oasis was far more optimistic than Nirvana

o Wonderwall has a busier and syncopated drumbeat

 The main drumbeat on “Smells Like Teen Spirit” is played

straight without syncopation

o You can hear the British accent in the singer’s voice in “Wonderwall”

 Britpop movement placed emphasis on “sounding English”

 o “Smells like Teen Spirit” has a heavier distorted guitar sound

 Nirvana’s is heavier, Oasis’ is smoother

o Smells Like Teen Spirit is NOT more pop-sounding

 While we looked at Nirvana as a grunge band that had pop

sensibilities, Oasis is far more poppy

- From Indie to Britpop

o Britpop was an outgrowth of the British indie rock movement of the

1980s in a few ways. First, Britpop bands like Blur and Oasis began as

indie bands, playing indie clubs and signed to indie labels; Blur was on

Food Records (which was distributed by Rough Trade), and Oasis was

on Creation Records.

o Second, you’ll remember that indie rock was, in part, a reaction to the

conservative Thatcherism that had gripped the U.K. It was considered

more authentic, then, for British rockers in the 1980s to downplay

mainstream success as their primary motivator. They saw success as a

“pollutant of artistic purity”

o But like grunge, Britpop made its peace with major labels and

mainstream success. The bands that made up the Britpop moment felt

that English culture had for too long been pushed aside by America’s

constant pop culture invasion. So when British indie bands started to

top the charts, there was a collective sigh of relief among many in the

indie scene

- From Antidote to Grunge

 o Britain had been inundated with American popular culture for

decades and they were getting a little tired of what they saw as

American cultural imperialism. By 1992 the latest American fad to hit

Britain was grunge

- Britpop Ripping Sounds

o They often ripped old British stuff and used it in Britpop

o Oasis’ “Live Forever” ripped The Rolling Stones’ “Shine A Light”

o The Verve’s “Bittersweet Symphony” ripped The Rolling Stones’ “The

Last Time”

o Elastica’s “Connection” ripped Wire’s “Three Girl Rhumba”

o Radiohead’s “The Creep” rips off The Hollies “Air that I Breathe”

o Oasis’s “Cigarettes and Alcohol” sounds a lot like T-Rex’s “Get it On”

o Oasis’s “Don’t Look Back in Anger” has a chord progression and

pulsing piano (in the intro) not unlike John Lennon’s “Imagine”

o Blur’s “M.O.R” sounds like David Bowie’s “Boys Keep Swinging”

- Plagiarism In The Name of Nationalism

o Besides issues of nationalism and plagiarism, Britpop offers a chance

to once more revisit the discourse of authenticity. Most Britpop bands

developed on the indie circuit and, as we saw above, were

ideologically influenced by the indie aesthetic

o Authenticity in the Britpop age had to do with:

 Having roots in the indie scene

 Not turning into a corporate rock star

 o Oasis had their own different idea of authenticity, since they became

famous and had poor upbringings; they felt like they’d earned their

superstar status. They made it their own way and that let them be

authentic despite having commercial success

- The 2000’s

o The most popular video game to incorporate rock music in the 2000’s

is Guitar Hero

o Two former female American Idol contestants who went on to success

in the music industry are Kelly Clarkson and Carrie Underwood

o Chris Martin is the singer for Coldplay

o Nickelback is a Canadian rock group explored more of a country

influence than a hip-hop influence

o All of the following are features of new country EXCEPT beat-based

drum tracks

o Kanye West emerged as a solo artist with the album The College

Dropout

o Cee Lo Green began his career in the music industry as a founding

member of The Goodie Mob

o Jack White is a guitarist and vocalist promoted the music of indie

bands through production efforts and his own Third Man record label

o As a drums and guitar duo, White Stripes’ sound includes a wealth of

sonic space to explore unconventional beat patterns and highlight

virtuoso blues guitar style

 o The growing length of guitar solos did NOT cause panic in the music

industry

o Kelly Clarkson won the first season of American Idol

o John Mayer was a student at Berklee College of Music before signing

with Columbia

o Merge Records, a 1990s indie label was poised for success in the

millennium when it signed Arcade Fire

o Emo music grew out of high-energy punk with the more popular

bands relishing a serious personal perspective and heartfelt lyrics

o Metallica was subject to public scorn for its lawsuits against Napster

- Digital Music, New Era

o An MP3 is NOT a digital file format that increases the size and

therefore fidelity of a music file (FALSE)

o Band leader John Philip Sousa thought that no one would make music

for themselves once machines could do it for them

o Billboard has stopped refusing to publish digital music download

charts

o Bob Dylan was in a commercial for Victoria’s Secret underwear

o Digital recording made it possible for almost any band to record an

album inexpensively

o File-sharing is technically unauthorized copying and distribution, not

theft
 o Outkast’s music video for “Hey Ya” is a parody of British Invasion era

television

o Spotify is NOT a satellite radio station

o The most important result of the Napster revolution was a large-scale

decline in sales of physical media

o The original iPod was designed to play MP3 files

A History Of Rock – The Timeline

A chronological timeline of each artist in order:

1. Les Paul

2. Muddy Waters

3. Bill Haley

4. Elvis Presley

5. Bob Dylan

6. The Beatles

7. The Supremes

8. Led Zeppelin

9. Grandmaster Flash

10. Madonna

11. Sinead O’Connor

12. Nirvana

13. Oasis

14. Outkast

15. Lady Gaga

 Rock Genres Timeline

1. Tin Pan Alley

2. Rockabilly

3. Rock ‘n Roll

4. Folk Revival

5. British Invasion

6. Motown Soul

7. Prog Rock

8. Philly Soul

9. New Wave

10. New Romantic

11. Indie

12. Alt Rock

13. Scrunge

14. Britpop

15. Jam Bands

- Extra Notes of Stuff

o George Clinton’s Funkadelics were NOT also known as Mothership

o Smoke On The Water and American Woman’s time signatures are both

4/4

o Smoke On The Water and American Woman can both be classified as

hard rock
o American Woman can be seen as a psychedelic song because of its

extended jam feel

o American Woman is classified as simple verse

o Smoke on The Water’s guitar solo lasts 20 bars, while American

Woman’s lasts 16 bars

o Kurt Cobain thought Nevermind sounded like a Motley Crue album

o Nirvana releasing a concept album did NOT contribute to their crisis of

authenticity

o Madonna did NOT embrace the shame of her sexuality, she rather

pushed it to the side

o The Monkees would be considered a craft, rather than an art band

o Big Joe Turner began to have success on the mainstream pop charts

because his music and persona was NOT family-friendly (FALSE)

o Muscle Shoals is the studio Aretha Franklin recorded with at with an

interracial house band for her early soul hits

o All of the following are ways Bob Marley's music differed from most

Jamaican reggae EXCEPT his use of the versioning practice

o In the 1970s many Motown artists turned towards socially conscious

lyrics and funk grooves

o Woofin’ refers to idle boasting

o James Brown thought of his entire band as a drumkit

- Authentic vs. Inauthentic Final Exam Chart
Hippie vs. Indie Aesthetic Final Exam Chart