Rockin_ in Time A Social History of Rock and Roll, Canadian Edition, 1st edition David P. Szatmary S

INSTRUCTOR’S MANUAL for

David P. Szatmary Lynsay Ripley

Rockin’ in Time: A Social History of Rock-and-Roll Canadian Edition prepared by

Lynsay Ripley Seneca College

Table of Contents CHAPTER 1

The Blues, Rock-and-Roll, and Racism ...................................................1

CHAPTER 2

Elvis and Rockabilly ................................................................................5

CHAPTER 3

The Teen Market: From Bandstand to Girl Groups .................................8

CHAPTER 4

Surfboards and Hot Rods: California, Here We Come ..........................11

CHAPTER 5

The New Frontier ...................................................................................13

CHAPTER 6

Motown: The Sound of Integration........................................................16

CHAPTER 7

The British Invasion of North America: The Beatles ............................18

CHAPTER 8

The British Blues Invasion and Garage Rock ........................................21

CHAPTER 9

Acid Rock ..............................................................................................24

CHAPTER 10 Fire from the Streets...............................................................................28 CHAPTER 11 Guitar Heroes and Heavy Metal Gods ...................................................31 CHAPTER 12 Escaping into the Seventies ...................................................................34 CHAPTER 13 The Era of Excess ..................................................................................38 CHAPTER 14 Punk Rock ..............................................................................................42 CHAPTER 15 I Want My MTV ....................................................................................46 CHAPTER 16 The Promise of Rock-and-Roll ..............................................................50 CHAPTER 17 Back to the Future: The Rave Revolution..............................................54 CHAPTER 18 The Generation X Blues.........................................................................57 CHAPTER 19 Post-Grunge Party ..................................................................................62 CHAPTER 20 The Hip-Hop Nation ..............................................................................64 CHAPTER 21 Metal Gumbo: Rockin’ in the Twenty-First Century ............................69 CHAPTER 22 Life in Wartime ......................................................................................72 CHAPTER 23 The Age of the Internet .........................................................................77

Chapter 1 The Blues, Rock-and-Roll, and Racism OVERVIEW This chapter looks at the roots of rock and roll in blues music, especially Chicago blues.

It begins with a description of African music and its importance to the blues, charts the development of country blues, and focuses on the Chicago blues of such artists as Muddy Waters. It looks at the emergence of electric blues and then the rock and roll of Little Richard and Chuck Berry during the first years of the Civil Rights movement and the racist backlash against early rock music, including the response of the music and publishing industries.

LEARNING OBJECTIVES • • • • • •

Understand the connection between the African-American based blues and rock and roll.

Evaluate the effects of the movement of African Americans from the American South to the American North on the emergence of rock and roll.

Pinpoint the reasons for the emergence of an electric Chicago blues music and its importance on the development of rock and roll.

Comprehend the importance of small, independent companies on the growth of electric blues and then rock and roll.

Interpret the reasons for the backlash against early African American rock and roll artists.

Evaluate the role of rock and roll in the early Civil Rights movement in North America.

DISCUSSION QUESTIONS 1. Evaluate the role of African Americans in the development of rock and roll. Why did African Americans take the lead in this music? In what other areas of life did African Americans become prominent during the same time period?

2. Connect the rise of the Civil Rights movement with the rise of rock and roll. How did the Civil Rights movement help rock and roll, and how did rock and roll further the Civil Rights of African Americans?

3. Compare and contrast the music of Muddy Waters and Chuck Berry. How was the music the same? How was it different?

4. Why did entrepreneurial independent record labels first record rock and roll? How did the major companies react, and in what ways? What does the rise of independents tell us about the growth of American business?

5. What social, economic and demographic trends enabled the growth of early rock and roll?

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

ASSIGNMENTS 1. Make a presentation to the class about Civil Rights and rock and roll during the mid- to-late 1950s. For the presentation, please detail the major Civil Rights activities during the period. Then, talk to an elder who was 20 years old (or older) during the time and ask about his/her impressions about the Civil Rights era and about Chuck Berry and Little Richard. Have his/her views changed over time?

How did he/she characterize the time? Did it affect him/her directly?

2. Write a paper about the emergence of rock and roll and the reaction of the major record companies to the new music. For the paper, read several old rock and roll magazines and outline whom they most often covered and what they said about the music. Also, find ten songs performed by African American artists that white artists from larger record labels covered. Compare and contrast the sounds of the original and the cover versions of the songs.

3. Make a presentation about violence in the lyrics of blues songs from the 1920s to the 1950s. In the presentation, identify at least five songs from the country blues and five songs from the electric blues that feature themes of violence. Did the images of violence change or diminish over time? Then, analyze the reasons for the violence in the lyrics.

LISTENING FROM MYLAB Click to listen to "The Life and Times of Muddy Waters" http://www.npr.org/templates/story/story.php?storyId=1151805 Click here to listen to "Chuck Berry in Perspective: A Rock History" http://www.npr.org/templates/story/story.php?storyId=90131654 Click here to listen to "Tracing Little Richard’s Later Years" http://www.npr.org/templates/story/story.php?storyId=4195063 Click to listen to "Pat Boone’s Passionate R&B" http://www.npr.org/templates/story/story.php?storyId=6352659

BIBLIOGRAPHY “B.B. King.” Living Blues (May/June 1988), pp. 10–22.

COHAN, LOU. “Bo Diddley: The Man with the Beat.” Thunder Road (June 1980), pp. 26– 29.

COHODAS, NADINE. Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records. New York: St. Martin’s, 2000.

CORRITORE, BOB, BILL FERRIS, and JIM O’NEAL. “Willie Dixon.” Living Blues (July/August 1988), pp. 16–25, and (September/October 1988), pp. 20–31.

DECURTIS, ANTHONY. “Living Legends.” Rolling Stone, September 21, 1989, pp. 89–100.

———.“Willie Dixon and the Wisdom of the Blues.” Rolling Stone, March 23, 1989, pp.

109–114.

DEZUTTER, HANK. “Willie Dixon.” TWA Ambassador (July 1980), pp. 39–41. .

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Chapter 1: The Blues, Rock-and-Roll, and Racism

ESCOTT, COLIN. “John Lee Hooker: King of the One-Chord Boogie.” Goldmine, March 20, 1992, pp. 10–12.

GILLETT, CHARLIE. Making Tracks. London: Sunrise/Dutton, 1974.

GOLKIN, PETE. “Blacks, Whites, and the Blues: The Story of Chess.” Living Blues (September/October 1989), pp. 22–30.

GURALNICK, PETER. Feel Like Going Home. London: Dutton, 1971.

———. Lost Highways. New York: Vintage, 1982.

“Howlin’ Wolf Interview.” Living Blues (Spring 1970), pp. 13–17.

“Intermission with Fats. ”Living Blues (November/December 1977), pp. 16–19.

JACKSON, JOHN. Big Beat Heat: Alan Freed and the Early Years of Rock ‘n’ Roll. New York: Schirmer, 1991.

LARNER, JEREMY. “What Do They Get from Rock-and-Roll?” Atlantic Monthly (August 1964), pp. 44–49.

O’NEAL, JAMES, and AMY, O’NEAL. “Eddie Boyd Interview.” Living Blues (November/December 1977), pp. 11–15.

———.“Jimmie Rogers Interview.” Living Blues (Autumn 1973), pp. 11–20.

———.“Jimmy Reed Interview.” Living Blues (May/June 1975), pp. 16–37.

———.“John Lee Hooker Interview.” Living Blues (Autumn 1979), pp. 14–22.

———. And Amy Van Singel, eds. The Voice of the Blues.(New York: Rutledge), 2002.

PALMER, ROBERT. Deep Blues. New York: Penguin, 1982.

———. “Muddy Waters: The Delta Son Never Sets.” Rolling Stone, October 5, 1968, pp.

15–17.

PENN, ROBERTA. “Bo Diddley.” The Rocket (September 1983), p. 19.

RESSNER, JEFFREY. “Pat Boone.” Rolling Stone, April 19, 1990, pp. 89–91.

ROESER, STEVE. “An Interview with Steve Allen.” Goldmine, December 11, 1992, pp.

24–32.

ROONEY, JAMES. Bossmen: Bill Monroe and Muddy Waters. New York: Dial, 1971.

ROWE, MIKE. Chicago Blues: The City and the Music. New York: Da Capo, 1981.

Scott, Frank and Gary Paulson. “Joe and Jules Bihari!” Blues Unlimited.(June and July, 1970). Pp. 9-12 SIDERS, HARVEY. “Talking with a King: B. B. King.” Downbeat, March 30, 1972, pp.

14–15.

STEARNS, MARSHALL. The Story of Jazz. New York: Mentor, 1958.

STUCKEY, FRED. “Chuck Berry: Exclusive.” Guitar Player (February 1971), pp. 20–23.

SUMLIN, HUBERT. “My Years with Wolf.” Living Blues (September/October 1989), pp.

10–18. .

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

———. “Top Ten.” Rolling Stone, February 13, 1986, p. 37.

———. “Turkish Tycoons: The Erteguns.” Time, July 28, 1967, p. 43.

UNTERBERGER, RICHIE. “Billy Boy Arnold Interview.” http://www.richieunterberger.com/arnold.html WELDING, PETE. “John Lee Hooker: Me and the Blues.” Downbeat, October 3, 1968, pp.

15–17.

———.“Muddy Waters—Last King of the South Side? ”Downbeat, October 8, 1964, pp.

18–19.

WHITE, CHARLES. The Life and Times of Little Richard. New York: Harmony, 1984.

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Chapter 2 Elvis and Rockabilly OVERVIEW This chapter charts the rise of Elvis Presley and rockabilly music. It highlights the lowerclass, Southern backgrounds of the artists and shows the merger of country music and the blues, a common theme throughout rock and roll. It also shows the importance of independent record labels, television, and national marketing in the emergence of the music, which swept the nation and can be considered the first rock and roll movement in North America and Europe.

LEARNING OBJECTIVES • • • • • • •

Show the close connection in background and social patterns between poor Southern whites and blacks in the South.

Demonstrate the consistent pattern in rock and roll of small entrepreneurial companies starting a musical movement, which then is overtaken by major labels.

Analyze the importance of race in the emergence of rock and roll as a national phenomenon.

Comprehend the importance of television in the creation of a national market and the ability to create music as a mass consumer product.

Connect the concept of rebellion with the emergence of rock and roll.

Demonstrate the change in music with the mass commodification of rock and roll.

Show how rock and roll combined various types of music (country, gospel, and R&B) for a new sound.

DISCUSSION QUESTIONS 1. Discuss the similarities and differences between Elvis and the rockabillies and Chicago blues artists.

2. Talk about the importance of technology in making rock and roll a national phenomenon.

3. Listen to and discuss the differences between the music of the early and later Elvis Presley. Identify some reasons why the music changed.

4. Discuss the importance of race in the emergence of rock and roll as the national music of youth.

5. Discuss the connection between rock and roll and the image of the rebel.

ASSIGNMENTS 1. Write a paper about the concept of juvenile delinquency during the 1950s. In the paper, identify the various social manifestations of the idea and link the emergence of rock and roll to it. Talk to some people who were teens during the era, asking .

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

them their recollections of it and its impact on them. Who, for example, did they consider a juvenile delinquent? And what did it mean? And how did Elvis fit into this notion?

2. Make a presentation about the history of television and its emergence as a popular medium during the 1950s. Find out the most popular television shows in 1956 and identify the importance of television to the emergence of Elvis Presley and other rockabillies. Find someone who personally saw Elvis on the Ed Sullivan Show and ask about the impact it had on him/her.

3. View three movies: The Wild One (Marlon Brando), Rebel without a Cause (James Dean) and Jailhouse Rock (Elvis). Then write a paper comparing and contrasting the view of youth that these three movies portray. Also, explain how all three movies helped in the emergence of rock and roll.

LISTENING FROM MYLAB Click to listen to "Carl Perkins: Rockabilly Pioneer” http://www.npr.org/templates/story/story.php?storyId=1382108 Click here to listen to "Hound Dog and Don’t Be Cruel" http://www.npr.org/2000/01/10/1068986/hound-dog-dont-be-cruel Click to listen to "Remembrances: Johnny Cash" http://www.npr.org/templates/story/story.php?storyId=1429232

BIBLIOGRAPHY BERTRAND, MICHAEL T. Race, Rock and Elvis. Chicago: University of Illinois, 2000.

“Beware Elvis Presley.” America, June 23, 1956, p. 295.

CLAYTON, ROSE, and DICK HEARD, eds. Elvis Up Close: In the Words of Those Who Knew Him Best. Atlanta: Turner, 1994.

CONDON, EDDIE “What Is an Elvis Presley?” Cosmopolitan (December 1956), pp. 54–61.

“A Craze Called Elvis.” Coronet (September 1956), pp. 153–157.

“Elvis: A Different Kind of Idol.” Life, August 27, 1956, pp. 101–109. “Elvis Presley: He Can’t Be But He Is.” Look, August 7, 1956, pp. 82–85.

ESCOTT, COLIN. “The Everly Brothers: Brothers in Arms.” Goldmine, June 25, 1993, pp.

14–42.

ESCOTT, COLIN, and MARTIN HAWKINS. Sun Records. New York: Quick Fox, 1975.

FLANAGAN, BILL. “Johnny Cash, American.” Musician (May 1988), pp. 97–111.

FRICKE, DAVID. “Ricky Nelson, 1940–85.” Rolling Stone, February 13, 1986, pp. 16–20.

GOLDBERG, MICHAEL. “The Wisdom of Solomon.” Rolling Stone, November 22, 1984, pp. 39–40.

GOLDROSEN, JOHN. Buddy Holly. New York: Putnam, 1979.

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Chapter 2: Elvis and Rockabilly

Goodall, Nigel. “Interview with Elvis Presley: The February 1970 Houston Astrodome Press Conference.” http://www.elvis.com.au/presley/interview_with_elvis_presley_ the_1970_press_conference “Great Elvis Presley Industry.” Look, November 13, 1956, pp. 98–100.

GURALNICK, PETER. Last Train to Memphis: The Rise of Elvis Presley. New York: Little, Brown & Co., 1994.

HILBURN, ROBERT. “Invincible Jerry Lee Lewis.” Reprinted in the Seattle Times, November 29, 1981, p. E14.

HOPKINS, JERRY. Elvis: A Biography. New York: Warner, 1971.

“Howling Hillbilly Success.” Life, April 30, 1956, p. 64.

ISLER, SCOTT. “The Everly Brothers in Arms.” Musician (July 1986), pp. 38–48.

KAYE, ELIZABETH. “Sam Phillips Interview.” Rolling Stone, February 13, 1986, pp. 53– 88.

“Lonely and All Shook Up.” Time, May 27, 1957, p. 101.

MABLEY, JACK.“ Radio and Video.” Downbeat, August 8, 1956.

MCGEE, DAVE. “Carl Perkins.” Rolling Stone, April 19, 1990, pp. 73–77.

MILLER, BILL. Cash: An American Man. New York: CMT, 2004.

PALMER, ROBERT. “Billy Burnette Rekindles the Family Magic.” Rolling Stone, November 27, 1980, pp. 16–17.

———. Jerry Lee Lewis Rocks. New York: Delilah, 1981.

PATOSKI, JOE. “Rock-‘n’-Roll’s Wizard of Oz.” Texas Monthly (February 1980), pp.

101–104.

PIERCE, PATRICIA JOBE. The Ultimate Elvis: Elvis Presley Day by Day. New York: Simon & Schuster, 1994.

POND, STEVE. “Roy Orbison, 1936–1988.” Rolling Stone, January 26, 1989, pp. 22–33.

———. “Presley Spells Profit.” Newsweek, February 18, 1957, p. 84.

———. “Rock-‘n’-Roll Battle.” Collier’s, October 26, 1957, p. 101.

———. “Rock-‘n’-Roll Riot.” Time, May 19, 1958, p. 50.

———. “Roll Britannia.” Time, February 25, 1957, p. 60.

SWENSON, JOHN. Bill Haley: The Daddy of Rock-and-Roll. New York: Stein and Day, 1984.

U.S. HOUSE OF REPRESENTATIVES, Congressional Record, 86th Congress, 1st session, March 3, 1959, Vol. 105, pt. 3, p. 3203.

WHITMER, PETER. The Inner Elvis: A Psychological Biography of Elvis Aaron Presley.

New York: Hyperion, 1996.

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Chapter 3 The Teen Market: From Bandstand to Girl Groups OVERVIEW This chapter chronicles the rise of the teen idols and girl groups during the late 1950s and early 1960s, attributing the popularity to a burgeoning teen population and good economic times. It first deals with the popularity of Dick Clark and American Bandstand and the spate of Italian pop stars such as Frankie Avalon who he cultivated. It then turns to the payola hearings and the fall of many prominent disc jockeys, including Alan Freed.

The chapter ends with an examination of the girl groups such as the Ronettes and their rise to prominence through such entrepreneurs as Don Kirshner and the Brill building songwriting teams.

LEARNING OBJECTIVES • • • • • •

Understand the role of innovative business managers in the growth of popular music during the late 1950s and early 1960s.

Evaluate the concept of race in North American media, especially television.

Analyze the role of gender in North America through popular music.

Understand the impact of financial prosperity and demographic trends on social change, especially rock and roll.

Evaluate the importance of rock and roll in the development of community among youth during this period.

Identify the emergence of a youth culture as a separate way of life.

DISCUSSION QUESTIONS 1. Describe the role of gender in rock music by comparing Dick Clark’s teen idols with the girl groups.

2. Explore the role and impact of entrepreneurs on rock and roll from the time of Elvis to the girl groups. What entrepreneurs helped shape rock music , and what backgrounds did they have? How and why did these people succeed in selling popular music to the masses of North American youths?

3. Discuss the emergence of a youth culture during the late 1950s and early 1960s,explaining how this culture differed from the culture of the rockabillies.

4. Evaluate the impact of race relations on shows like American Bandstand and the girl groups. How did the portrayal of blacks differ in this period from the Chicago blues?

5. Discuss the impact and importance of the intervention of the Federal government unto rock and roll during the Payola hearings. Why did the Federal government get involved and how did they view rock and roll? .

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

ASSIGNMENTS 1. Make a presentation to the class about the differences between the early rock and rollers and the teen idols. First, watch five early video clips of Elvis, Jerry Lee Lewis, Little Richard, Chuck Berry, and Johnny Cash, and then watch three late1950s segments of American Bandstand. After viewing the video clips, analyze the different views of race, economic class, and rebellion between the two types of music. Also, contrast the musical styles of the two genres of rock and roll. What do these differences tell us about mid-fifties versus and the late 1950s/early 1960s, and how would you explain the differences?

2. Read thirty to forty pages of the Congressional Record, which deals with the Payola Hearings, and write a paper about the perspective of the elected officials on rock and roll. In the process, explain some of the reasons for their intervention on rock and roll.

3. Write a paper explaining the way American Bandstand created a community of youth around the music. In your research, talk to five people who regularly watched the show as youths, and ask them for their reactions to it. Did they listen to the show with others? What did they do while they watched the show? With whom did they identify on the show? What did they think of Dick Clark? How did they view others who watched the show?

4. Write a short paper about the differences between the teen idols and the girl groups. What similarities existed between the two cultures, and what differences can you find? How did race relations surface in each group, and how did gender become a factor? What lyrical themes did the two cultures sing about?

5. Make a presentation about the rock dream as mythology, using the girl groups as an example. Why and how did the myth of rock and roll stardom first surface?

Who believed the myth? What other entertainment fields promulgate a similar myth? Does such a myth still exist? If so, where does it persist?

LISTENING FROM MYLAB Click to listen to "Dick Clark’s Memorabilia Up for Sale" http://www.npr.org/templates/story/story.php?storyId=6578598

BIBLIOGRAPHY ARONOWITZ, ALFRED. “The Dumb Sound.” Saturday Evening Post, October 5, 1963, pp.

91–95.

BUNZEL, PETER. “Music Biz Goes Round and Round.” Life, May 16, 1960, pp. 118–120.

“Challenging the Giants.” Newsweek, December 23, 1957, p. 70.

CLARK, DICK. Rocks, Rolls, and Remembers. New York: Popular, 1978.

COX, HERB. “The Heart and Soul of the Cleftones.” Goldmine, February 21, 1992, pp.

16–18.

DACHS, DAVID. Anything Goes: The World of Popular Music (Bobbs Merrill, New York, 1964( Girl Groups.(Film). Steven Alpert, director, MGM, 1983.

“Jockeys on a Rough Ride.” Newsweek, December 7, 1959, p. 98. .

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, 1st Canadian Edition

“Jukebox.” Time, July 27, 1959, p. 33.

“Payola Blues.” Newsweek, November 30, 1959, p. 94.

“Rock-‘n’-Roll Rolls On ‘n’ On.” Life, December 22, 1958, pp. 37–43.

SCHIPPER, HENRY. “Dick Clark.” Rolling Stone, April 19, 1990, pp. 67–70.

SPITZ, ROBERT. The Making of Superstars. New York: Doubleday, 1978.

“St. Joan of the Jukebox.” Time, March 15, 1963, p. 50.

“Tall, That’s All.” Time, April 14, 1958, p. 64.

U.S. SENATE, 85TH CONGRESS, 2ND SESSION. Hearings Before the Subcommittee on Communications of the Committee on Interstate and Foreign Commerce: Amendment to the Communications Act of 1934.

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Chapter 4 Surfboards and Hot Rods: California, Here We Come OVERVIEW This chapter outlines the importance of the California surf and car culture to rock and roll during the early 1960s. It first deals with the emergence of the surf sound with Dick Dale and then its introduction to the national market through the Beach Boys. It continues with the integration of the California car culture into rock and roll with Jan and Dean as well as the Beach Boys and other groups.

LEARNING OBJECTIVES • • • •

Comprehend the importance of regional culture on mainstream American culture.

Evaluate the prevalence of automobiles on all aspects of American culture during the mid and late 20th century Demonstrate how rock and roll helped promulgate American mythologies such as the myth of California as an American paradise.

Analyze the implications of the California subcultures on the concept of race in rock and roll.

DISCUSSION QUESTIONS 1. Discuss the reasons why surfing and surf music became a national phenomenon.

2. Explain the importance of the growing economy in California on rock and roll.

3. Discuss the role of regions and cities in the development of rock and roll from 1955 to 1963, paying special attention to Southern California, New York City, Chicago and the American South.

4. What role did females have in the rock and roll of the Beach Boys and Jan and Dean?

5. Compare and contrast the music of the Beach Boys with earlier rock and roll genres.

6. Discuss surf music in relation to race. What did the popularity of the Beach Boys during the early 1960s indicate about race relations in America and how did it differ from both early rock and rollers and the girl groups?

ASSIGNMENTS 1. Write a paper by comparing the social and economic backgrounds of one rockabilly star and the Beach Boys. How were they similar and how were they different?

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

2. Give a presentation about the connection between the automobile and rock and roll, starting with the early rock and rollers through Jan and Dean. Has the image of the automobile changed over time and how has it related to rock and roll?

3. Research and write a paper about the history of surfing, explaining why the sport became especially popular in Southern California and then spread to the rest of the U.S. during the early 1960s. Who initially surfed and who surfed during the 1960s in Southern California? What does this phenomenon show about the cohesiveness of American culture?

4. Write a paper about the surf culture, after watching two movies that starred Frankie Avalon and Annette Funicello. What were the major aspects of the surf culture?

How did it portray gender and race? What type of youth culture did it promulgate?

5. Research and write a paper about the demographic and ethnic diversity in California during the mid-1960s. Connect the results to the emergence of the Beach Boys.

LISTENING FROM MYLAB Click to listen to "Dick Dale and the Birth of Surf Rock" http://www.npr.org/templates/story/story.php?storyId=10438238

BIBLIOGRAPHY ALEXANDER, SHANA.“Love Songs to the Carburetor.” Life, November 6, 1964, p. 33.

BURT, ROB. Surf City, Drag City. New York: Blandford, 1986.

LEONARD, GEORGE. “California.” Look, September 25, 1962, pp. 27–31.

NICOLOSI, VINCE. “Jan and Dean Interview.” Trouser Press Collector’s Magazine (March/April 1980).

“The No. 1 State: Booming, Beautiful California.” Newsweek, September 10, 1962, pp.

28–38.

“Surf’s Up.” Time, August 9, 1963, p. 49.

“Two ‘Empire States’—How They Compare.” U.S. News and World Report, December 24, 1962, pp. 44–49.

WALTON, SAMUEL. “The Endless Summer of the Beach Boys.” Saturday Evening Post (October 1976), pp. 52–53.

“A Way of Life.” Life, September 1, 1961, pp. 47–53.

“What To Know and What To Look For.” Life, October 19, 1962, pp. 69–70.\ WHITE, TIMOTHY. The Nearest Faraway Place. New York: Holt, 1994.

Wolfe, Tom. The Kandy-Colored Tangerine Flake Streamline Baby. New York: Farrar, Straus & Giroux, 1966.

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Chapter 5 The New Frontier OVERVIEW This chapter focuses on the connection between folk rock and the Civil Rights movement during the early and mid-1960s. It traces the origins of socially relevant folk music with the International Workers of the World (IWW) and the Weavers and prominently features Bob Dylan as the spokesman of folk rock who lashed out against racial injustice as well as other social ills. The chapter also discusses the role of other folk-rock artists such as Joan Baez, Buffy Sainte-Marie, and Phil Ochs, as well as the electrified folk-rock of the Turtles, the Lovin’ Spoonful, the Byrds, and others who used Bob Dylan as a springboard for their music.

LEARNING OBJECTIVES • • • • • •

Analyze the close connection of rock music and the Civil Rights movement during this period.

Understand the role of music in social protest.

Comprehend the different types and formats of protest in rock and roll.

Analyze the changes in perspective in the baby boom generation as it aged.

Explain the importance of certain iconic events (e.g. the assassination of John Kennedy) to the social fabric of the country.

Connect the changes in political direction with changes in rock music.

DISCUSSION QUESTIONS 1. Talk about the connection between the civil rights movement and sixties folk music. Why did rock and roll become so political during this period? How and why did this differ from previous rock and roll?

2. Discuss the connection between rock and roll and national politics.

3. Explore the reasons for the change between Dylan’s early songs and his later ones (e.g. “Blowin’ in the Wind” vs. “Ballad of a Thin Man”).

4. Compare and contrast the different forms of rebellion in rock and roll up to 1964, paying special attention to the rockabillies and Bob Dylan folk rock.

5. Discuss the role of the early 1960s folk music revival on the emergence of Bob Dylan and the differences between the folk revival and Bob Dylan.

ASSIGNMENTS 1. Listen to the second and the third Bob Dylan albums. Then, write a paper about the different social themes that Dylan sings about.

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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition

2. Write a paper comparing the music, the popularity, and the interaction between Bob Dylan and Joan Baez. How did the two differ, and how were they the same?

What does the role of each tell us about gender in rock and roll?

3. Make a presentation about race and rock and roll, comparing and contrasting the rockabilly artists with the folk rockers. How did each racially integrate America and how did each of them accomplish the goal?

4. Write a paper about the social backgrounds of the rockabillies, the folk-rockers, and the Beach Boys. How did their backgrounds differ, and what similarities can you find? How were the differences and similarities in their backgrounds reflected in their music?

5. Write a paper explaining the differences and similarities between Dylan folk rock and the folk rock of such groups as the Turtles and the Lovin’ Spoonful. How did the music differ, and to what do you attribute the differences?

6. Write a paper explaining the role of the chansonnier in Quebec during the 1960s.

7. Find three people who remember the death of John Kennedy and get their reactions to it. How did it change their lives? And how did the assassination change the direction of rock and roll? Are there any such events that have happened in your lifetime?

LISTENING FROM MYLAB Click here to listen to "Like a Rolling Stone" http://www.npr.org/2000/11/09/1113686/like-a-rolling-stone Click here to listen to "Bob Dylan: A Conversation" http://www.npr.org/templates/story/story.php?storyId=4080202 Click to listen to "Bob Dylan Takes His Latest Look at “Life?” http://www.npr.org/templates/story/story.php?storyId=103811997

BIBLIOGRAPHY “Angry Young Folk Singer.” Life, April 10, 1964, pp. 109–116.

Bluestein, Gene. “Songs of the Silent Generation.” New Republic, March 13, 1961, pp.

21–22.

CARMEN WALT. “The Children of Bobby Dylan.” Life, November 5, 1965, pp. 43–50.

CHAPLIN, RALPH. I.W.W. Songs. (32d ed.). Chicago: Chaplin, 1968.

———.“The Faculty.” Time, June 16, 1961, p. 56.

———.“Folk Girls.” Time, June 1, 1962, pp. 39–40.

———.“The Folk and the Rock.” Newsweek, September 20, 1965, pp. 88–90.

———.“Folk Singers and Their Fans.” Look, August 27, 1963, pp. 49–59.

———.“Fourth Man Makes the Trio Tick.” Business Week, February 23, 1963, pp. 56– 58. .

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FRICKE, DAVID. “Roger McGuinn.” Rolling Stone, August 23, 1990, pp. 107–110.

GLEASON, RALPH. “The Times They Are A-‘Changin’.” Ramparts (April 1965), pp. 36– 48.

HAMPTON, HENRY, and STEVE FAYER. Voices of Freedom: An Oral History of the Civil Rights Movement. New York: Bantam, 1990.

HENTOFF, NAT. “Profiles.” New Yorker, October 24, 1964, pp. 64–90.

“Hoots and Hollers on the Campus.” Newsweek, November 27, 1961, pp. 84–85.

“It’s Folksy, It’s Delightful, It’s a Craze.” Newsweek, June 6, 1960, pp. 112–113.

“Just Playin’ Folks.” Saturday Evening Post, May 30, 1964, pp. 24–29.

LEONARD, GEORGE. “The Big Change in Teen Listening Habits.” Look, January 3, 1961, p. 60.

“Let Us Now Praise Little Men.” Time, May 31, 1964, p. 40.

“Like From Halls of Ivy.” Time, July 11, 1960, pp. 56–57.

LODER, KURT. “Bob Dylan Interview.” Rolling Stone, June 21, 1984, pp. 14–24.

O’CONNOR, RORY .“Albert Grossman’s Ghost.” Musician (June 1987), pp. 25–32.

“Real Long Hair.” Newsweek, July 9, 1962, p. 53.

RODINTZKY, JEROME. Minstrels of the Dawn. Chicago: Nelson-Hall, 1976.

RUHLMAN, WILLIAM. “Peter, Paul and Mary.” Goldmine, April 12, 1996, pp. 20–82.

SCADUTO, ANTHONY. Bob Dylan. New York: New American Library, 1979.

SHELTON, ROBERT. No Direction Home: The Life and Music of Bob Dylan. New York: Ballantine, 1986.

“Sybil With a Guitar.” Time, November 23, 1962, pp. 54–60.

“Take a Boy Like Me.” Time, March 29, 1963, p. 40.

Unterberger, Richie. Turn! Turn! Turn!: The ‘60s Rock Revolution. (San Francisco: Backbeat), 2002.

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Chapter 6 Motown: The Sound of Integration OVERVIEW This chapter shows the inextricable connection between Motown and the civil rights movement. It traces the origins of the record label - the first major record company headed by an African American – started by Berry Gordy who advocated Martin Luther King, Jr.’s dream of nonviolent integration. It then outlines the progress of racial civil rights in 1964 and 1965 and the international success of Gordy’s stable of African Americans who had been groomed by him for stardom.

LEARNING OBJECTIVES • • • • •

Analyze the concept of race through the groomed artists of Motown.

Show the success of African American artists in an African American company in the midst of civil rights progress.

Chart the importance of business marketing within the context of American popular culture.

Demonstrate the manner of racial integration in mainstream American culture.

Explore the concept of gender through the success of female Motown acts.

DISCUSSION QUESTIONS 1. Discuss the role of rock and roll in racial integration. How did Motown exemplify such integration?

2. Talk about the role Detroit had in the development of Motown. Why did the city have an impact? Provide the context for the development of the Motown sound.

3. Discuss the progress of racial equality in the U.S. in 1964 and 1965, showing how Motown shaped and reflected such progress.

4. Analyze the strategy that Berry Gordy used to create a constant string of hit singles. Where did he learn his strategy?

5. Explore how the female Motown acts compared to the girl groups of the early 1960s.

6. Discuss the reasons for the success of Motown at the same time the Beatles rose to prominence.

ASSIGNMENTS 1. Listen to the greatest hits of the Supremes and then listen to the first or second album by the Beatles. Then, make a presentation to the class about the similarities and differences between the music. How did both of these groups compare to the Rolling Stones?

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2. Write a paper on the regional nature of rock and roll, using Motown and Sun Records as examples. Why did a region deliver such a specific sound? How did a regional sound receive national exposure and acclaim?

3. Write a paper, comparing the socio-economic backgrounds of the rockabillies, the Motown artists, and the Rolling Stones. How did their backgrounds shape their music? Did the backgrounds of these three groups of artists reflect their backgrounds?

4. Identify four people who heard the music of Motown when it first was released.

Ask them how they heard about the music and what they thought about it. How do their perceptions relate to race? How did technology affect the way that they first heard the music? And how did the technology affect the music itself?

LISTENING FROM MYLAB Click here to listen to "Looking Back at 50 years of Motown" http://www.npr.org/templates/story/story.php?storyId=99214566 Click to listen to "Making Music in the Motor City" http://www.npr.org/templates/story/story.php?storyId=12257724 Click to hear "Motown, Not the Same Old Songs" http://www.npr.org/templates/story/story.php?storyId=6644331 Click to listen to "Holland, Dozier and Holland: Motown’s Writers" http://www.npr.org/templates/story/story.php?storyId=6666306

BIBLIOGRAPHY GEORGE, NELSON. Where Did Our Love Go? The Rise and Fall of the Motown Sound.

New York: St. Martin’s, 1985.

GOLDBERG, MICHAEL. “Berry Gordy.” Rolling Stone, August 23, 1990, pp. 67–77.

GORDY, BARRY. To Be Loved: The Music, the Magic, the Memories of Motown. New York: Warner, 1994.

“No Town Like Motown.” Newsweek, March 27, 1965, p. 92.

“Recorddom’s Berry Gordy.” Ebony (February 1966), pp. 33–39.

SMITH, SUZANNE. Dancing in the Street. Cambridge: Harvard, 2000.

“The Supremes Make It Big.” Ebony (June 1965), pp. 80–84.

TARABORRELLI, RANDY. Motown. New York: Doubleday, 1986.

WILSON, MARY. Dreamgirl: My Life as a Supreme. New York: St. Martin’s, 1986.

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Chapter 7 The British Invasion of North America: The Beatles OVERVIEW This chapter describes the emergence of the Beatles in Britain and then North America. It specifically ties the rise of the Beatles to national television, the growth of the baby-boom generation, and the business acumen of Brian Epstein who pushed forward an entire group of Mersey Beat acts to prominence. Finally, it places the Beatles in the context of British youths who formed the Rockers and the Mods – warring gangs that generated two different but intersecting cultures of rock and roll.

LEARNING OBJECTIVES • • • •

Show the importance of the baby boom to the growth of rock and roll Explain the emergence of the two youth subcultures in Britain – the mods and the rockers – who laid the groundwork for rock and roll in the mid-1960s Demonstrate the importance of television in the cross-Atlantic nature of rock and roll and the dominance of a certain rock and roll sound Show the role of the manager as an essential element of rock and roll success.

DISCUSSION QUESTIONS 1. What contributed to the unparalleled success of the Beatles?

2. Discuss the marketing of the Beatles, comparing it to the marketing of Elvis Presley.

3. Compare the early recordings of the Beatles to their latter recordings (e.g. “I Wanna Hold Your Hand” vs. “Magical Mystery Tour”). What differences and what similarities can you find? To what do you attribute the changes?

4. What similarities and what differences can you find with the Beatles and the Monkees? How did their managers contribute to both of their successes?

5. How did television help promote the sound of the Beatles and their followers?

6. Compare the mods and the rockers and discuss how the Beatles arose from the rocker culture.

ASSIGNMENTS 1. Listen to the Beatles, Elvis, and other 1960s acts on the Ed Sullivan Show and write a paper about the importance of the show to the emergence and growth of rock and roll.

2. Write a paper comparing the mod and rocker culture. Why did it emerge when it did, and how did the cultures differ? Why did these cultures emerge in Britain, and did their two subcultures have any correlates in North America? .

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3. Write a paper comparing the backgrounds of the rockabillies, the Beach Boys, Bob Dylan, and the Beatles. How did their backgrounds reflect the concept of class in rock and roll, and how did their backgrounds translate into their different styles of music?

4. Make a presentation to the class after talking to five people who saw the Beatles on the Ed Sullivan Show. What do they remember about the show? How did it affect them? Do they still listen to the Beatles? Did their reaction vary by their age or gender?

5. Make a class presentation after watching the movie A Hard Day’s Night (Beatles) and three segments of the Monkees TV show. How did the two vary, and what do they tell us about the marketing of rock and roll? How did these two videos reflect the times?

6. Prepare a presentation on the Mersey beat. Define it, and provide examples of British artists and the North American artists who were influenced by them.

LISTENING FROM MYLAB Click to hear "The Beatles” Rubber Soul? Bounces Back" http://www.npr.org/templates/story/story.php?storyId=4972054 Click to listen to "The Beatles in America" http://www.npr.org/templates/story/story.php?storyId=1648146

BIBLIOGRAPHY “Beatlemania.”Newsweek, November 18, 1963, p. 104.

BENJAMIN, KENT, KEN SHARP, and JOHN HELLIER. “The Story of the Small Faces in Their Own Words.” Goldmine, June 21, 1996, pp. 20–184.

Billboard, January 26, 1964.

———, February 15, 1964.

BOOTH, DAVE. “Chris Barber: The Original Sultan of Swing.” Goldmine, July 10, 1992, pp. 36–45.

BROWN, MICK. “A Conversation with George Harrison.” Rolling Stone, April 19, 1979, pp. 71–75.

“Building the Beatle Image.” Saturday Evening Post, March 21, 1964, p. 36.

Daily Express, May 19, 1964, p. 1.

Daily Mirror, May 18, 1964.

DAVIES, HUNTER. The Beatles. New York: McGraw-Hill, 1968.

“Evolution.” Time, February 17, 1967, p. 76.

GAMBACCINI, Paul. “A Conversation with Paul McCartney.” Rolling Stone, July 12, 1979, pp. 39–46.

GARBARINI, VINCE, and JOCK BAIRD. “Has Success Spoiled Paul McCartney?” Musician (February 1985), pp. 58–64. .

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“George, Paul, Ringo and John: The Beatles in the U.S.” Newsweek, February 24, 1964, pp. 54–57.

HEWITT, PAOLO, ed. The Sharper Word: A Mod Anthology. London: Helter Skelter, 2000.

“Interview with John Lennon and Yoko Ono.” Playboy (January 1981), pp. 75–106.

“Letters to the Editor.” Newsweek, September 13, 1965.

LEWIS, RICHARD WARREN. “When Four Nice Guys Go Ape.” Saturday Evening Post, January 28, 1967, pp. 24–27.

“Monkee Do.” Time, November 11, 1966, p. 84.

Murphy, Marty. “I Took Paul and Ringo to the Space Needle.” Seattle Times, February 12, 1984, pp. F1–4.

“New Madness: R & B Quartet Called the Beatles.” Time, November 13, 1963, p. 64.

The New York Times, February 17, 1964, p. 20.

“The Real John Lennon.” Newsweek, September 29, 1980, pp. 76–77.

SCHAFFNER, NICHOLAS. The British Invasion. New York: McGraw-Hill, 1983.

Washington Post. February 12, 1964.

WENNER, JANN. Lennon Remembers: The Rolling Stone Interviews. San Francisco: Rolling Stone, 1971.

ZIMMER, DAVE. Crosby, Stills and Nash: The Authorized Biography. New York: St. Martin’s, 1984.

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Chapter 8 The British Blues Invasion and Garage Rock OVERVIEW This chapter charts the rise of the Rolling Stones with an image opposite to that of the Beatles. It tries to understand the British fascination with the American blues, which they took back to America and popularized. It also shows the importance of the image of rebellion in rock and roll, developed by managers/entrepreneurs. The chapter also focuses on other British blues acts and their North American counterparts known collectively as garage rock.

LEARNING OBJECTIVES • • • • •

Show the importance of race in the dissemination of the blues and how American blues became popularized in North America by British youths.

Focus on the importance of the image of rebellion in the youth culture and in rock and roll.

Identify the importance of class and rebellion in British society.

Show the importance of culture to youths in Britain and North America.

Explore the international reach of culture through different media.

DISCUSSION QUESTIONS 1. Discuss gender and rock and roll, using the Rolling Stones as an example.

2. Why did British bands popularize Chicago blues in North America?

3. Explore the impact of economic class on the music of the Beatles and the Rolling Stones.

4. Discuss the impact and importance of entrepreneurial managers on rock and roll (e.g. Brian Epstein, Andrew Loog Oldham, Colonel Tom Parker, etc.).

ASSIGNMENTS 1. Listen to the first album of the Rolling Stones. Then, make a class presentation comparing the music of the Stones with that of Muddy Waters. To what do you attribute the differences? How are the two sounds similar, and what other influences do you hear in the Stones’ music?

2. Write a paper about the socio-economic backgrounds of the Rolling Stones and the Beatles. How did they differ, and how were they the same? How did their backgrounds reflect their popular images? What does this tell us about the concept of class in Britain?

3. How did the Rolling Stones differ from The Who? Write a paper about their socioeconomic backgrounds and the two subcultures that they embraced.

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4. Write a paper about the internationalization of music, specifically American blues.

How did the blues become popular in Britain during the early 1960s, and why did it become so popular? Why did it take British youths to make American blues popular in North America?

5. Talk to four older adults, two of whom liked the Beatles and two whom liked the Rolling Stones as youths. Then, write a paper comparing and contrasting why they liked the music and what it meant to them. Do they still like these two groups? Did they follow different paths as adults after listening to the music? What do their musical preferences say about image, popular culture, and youth rebellion in the 1960s?

LISTENING FROM MYLAB Click here to listen to "Remembering The Who's Keith Moon" http://www.npr.org/templates/story/story.php?storyId=1420254 Click to listen to "Garage Rock and FM Radio" http://www.npr.org/blogs/allsongs/2008/05/garage_rock_and_fm_radio.html

BIBLIOGRAPHY “Air Pollution.” Newsweek, August 16, 1965, p. 76.

BARNES, RICHARD. The Who: Maximum R & B. New York: St. Martin’s, 1982.

BURDON, ERIC. “An Animal Views America.” Ebony (December 1966), pp. 160–170.

BUSH. JAMES. Encyclopedia of Northwest Music. Seattle: Sasquatch, 1999.

COTT, JONATHAN. “Mick Jagger: The King Bee Talks.” Rolling Stone, June 29, 1978, p.

45.

DALTON, DAVID. The Rolling Stones: The First Twenty Years. New York: Knopf, 1981.

EHRBAR, JOE. “The Wailers: Leaders of the Pack.” The Rocket, December 2– December 16, 1998, pp. 23–5.

GILBERT, DAN. “The Wailers. ”Where Y’At: New Orleans’ Monthly Entertainment Magazine, May 2003. http://whereat.net/?id=175&issueselect=5-2004.

HEATLEY, MICHAEL.“ The Yardbirds. ”Goldmine, June 12, 1992, pp. 15–30.

HENKE, JAMES. “Eric Clapton.” Rolling Stone, October 17, 1991, pp. 42–49.

HOTCHNER, A. E. Blown Away: The Rolling Stones and the Death of the Sixties. New York: Simon & Schuster, 1990.

“Keith Richards Interview.” Playboy (October 1989), pp. 59–65.

LOEWENSTEIN, DORA and PHILIP, DODD, eds. According to the Rolling Stones. San Francisco: Chronicle, 2004.

“Mick Jagger and the Future of Rock.” , January 4, 1971, pp. 44–48.

OLDHAM, ANDREW LOOG. Stoned: A Memoir of London in the 1960s. New York: St. Martin’s, 2000. .

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“Pop’s Bad Boys.” Newsweek, November 29, 1965, p. 94.

“Rolling Again.” Newsweek, November 17, 1969, p. 137.

“Romp!Romp!”Newsweek, October 24, 1966, p. 102.

SANCHEZ, TONY. Up and Down with the Rolling Stones. New York: Morrow, 1979.

SCADUTO, TONY. Mick Jagger: Everybody’s Lucifer. New York: Berkeley, 1974.

“The Sonics. ”Three interviews. http://home.stubnet.dk/aerphax/Sonics/sonics2.htm THOMPSON, JAMES. “Detroit’s Play-it-Extra Loud Rock ‘n’ Roll Scene.” Goldmine, February 25, 2000, pp.26–32.

UNTERBERGER, RICHIE. Unknown Legends of Rock ‘n’ Roll. San Francisco: Miller Freeman, 1998.

———. Transcripts of Unknown Legends of Rock ‘n’ Roll Book: Dave Aguilar. http://www.richieunterberger.com/aguilar.html.

———. Transcripts of Unknown Legends of Rock ‘n’ Roll Book: Sean Bonniwell. http://www.richieunterberger.com/aguilar.html.

———. Transcripts of Unknown Legends of Rock ‘n’ Roll Book: James Lowe. http://www.richieunterberger.com/aguilar.html.

WENNER, JANN. “Jagger Remembers.” Rolling Stone, December 14, 1995, pp. 49–102.

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Chapter 10 Fire from the Streets OVERVIEW This chapter shows the violence that erupted against racial discrimination and the soul music, which provided its soundtrack. It first describes the riots that exploded in the ghettos during 1967 and 1968 as the promise of civil rights never materialized for many African Americans. The chapter considers soul music as a part of the black pride movement, which perfectly reflected the quest for black respect amid ongoing racial prejudice.

LEARNING OBJECTIVES • • • • •

Show the different types of protest against racial discrimination, both violent and nonviolent.

Place soul music in the context of black pride.

Demonstrate the gospel roots of soul music.

Explore the origins of funk music.

Analyze the reasons for the mainstream acceptance of black soul music among the North American mainstream.

DISCUSSION QUESTIONS 1. Discuss the various manifestations of black pride in the late 1960s and their meaning.

2. Why did black pride become prominent during the late 1960s?

3. Compare and contrast the approaches of Martin Luther King, Jr. and the Black Panthers. Which approach worked more effectively?

4. Contrast the early and later music of Aretha Franklin (“Rock-a-Bye Your Baby” vs. “Respect”). What does this change in musical styles tell us about the times?

5. Compare and contrast the soul music and the funk musical styles of James Brown.

Why do you think both styles emerged when they did? Examine the roots of both musical styles.

6. Why did African-American music become popular among mainstream America during this period?

ASSIGNMENTS 1. Write a paper about the decolonization movement in Africa during the 1950s and 1960s and connect these events to the emergence of soul music in North America.

2. Listen to the early music of James Brown and then his later funk period. Then, make a presentation to the class about the similarities and differences between the two musical styles. .

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3. Speak to four adults who witnessed the riots in 1967 and 1968. Write a paper about their perceptions of the riots and their ideas about the causes of the violence. Did their perceptions change over time? Did their race have an effect on their view of the riots? Did the gender of the adults give them a different view of the events?

4. Read Claude Brown’s Manchild in the Promised Land and Eldridge Cleaver’s Soul on Ice and compare and contrast the messages in the books to the lyrics of Aretha Franklin in 1967 and 1968.

5. Read the Autobiography of Malcolm X and compare it to the speeches of Martin Luther King, Jr. in a paper. How did the two approaches to civil rights differ and how were they the same?

6. Make a class presentation about the philosophy of the Black Panthers and show the connection of their ideals to soul music.

7. Read the autobiography of James Brown and compare Brown’s view of racial justice with that of the Black Panthers.

LISTENING FROM MYLAB Click to hear “Respect”? (Aretha Franklin) http://www.npr.org/2000/11/26/1114572/respect Click here to listen to "James Brown-Feeling Good" http://www.npr.org/templates/story/story.php?storyId=4475300 Click to listen to "Celebrating the Soul of Wilson Pickett" http://www.npr.org/templates/story/story.php?storyId=5164572 Click to hear "Widow of Otis Redding Reflects" http://www.npr.org/templates/story/story.php?storyId=17075938

BIBLIOGRAPHY “After the Riots.” Newsweek, August 21, 1967, pp. 18–19.

“An American Tragedy: 1967.” Newsweek, August 7, 1967, pp. 18–34.

Berkeley in the Sixties, transcript of film.

BROWN, JAMES. James Brown: The Godfather of Soul. New York: Macmillan, 1986.

“Cities.” Time, August 4, 1967, pp. 13–18.

CLEAVER, ELDRIDGE. Soul on Ice. New York: Delta, 1968.

ELLISON, MARY. The Black Experience. New York: Harper, 1974.

FLEXNER, STUART BERG. I Hear America Talking. New York: Van Nostrand, 1976.

GARLAND, PHYL. “Eclipsed Singer Gains New Heights.” Ebony (October 1967), pp. 47– 52.

GURALNICK, PETER. Sweet Soul Music. New York, Harper & Row, 1986.

HIRSHEY, GERRI. Nowhere to Run: The Story of Soul Music. New York: Times Books, 1984. .

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JONES, LEROI. Blues People. New York: Morrow, 1963.

“Lady Soul: Singing Like It Is.” Time, June 28, 1968, pp. 62–66.

LLORENS, DAVID. “Wilson Picket.” Ebony (October 1968), pp. 130–135.

“Pop Singers: James Brown.” Time, April 1, 1966, p. 75.

“The Races: Hot and Cool.” Newsweek, April 22, 1968, pp. 24–66.

“Rampage and Restraint.” Time, April 19, 1968, pp. 15–17.

Report of the National Advisory Commission on Civil Disorders. New York: Bantam, 1968.

SANDMEL, BEN. “Katie Webster.” Musician (April 1990), p. 16.

SANTORO, GENE. “James Brown.” Pulse (October 1986), pp. 27–31.

SHAW, ARNOLD. The World of Soul. New York: Coronet, 1971.

“Singers: Aretha Franklin.” Time, January 5, 1968, p. 48.

“Take Everything You Need Baby.” Newsweek, April 15, 1968, pp. 31–34.

VIORST, MILTON. Fire in the Streets: America in the 60s.New York: Touchstone, 1979.

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Chapter 11 Guitar Heroes and Heavy Metal Gods OVERVIEW This chapter traces the militancy of white college students, who revolted on the campuses in protest against the Vietnam War, and the heavy metal music, which captured the anger.

It starts with the campus riots and traces heavy metal in the psychedelic blues of Jimi Hendrix and Cream. The chapter then focuses on the metal of Black Sabbath and Led Zeppelin and ends with the festival at Woodstock and the killings at Kent State, which symbolized the end of an era.

LEARNING OBJECTIVES • • • • • • •

Connect the anger and frustration of college students during the late 1960s with the popularity of heavy metal.

Understand the origins and the flowering of heavy metal.

Analyze the importance of technological advances in the development of heavy metal.

Identify the end of the 1960s with Woodstock and the killings at Kent State University.

Understand the nature of the counterculture and the reasons for its demise.

Explain the link between the aging of the baby boom and the anti-war movement.

Understand the confluence of the civil rights movement, black pride and the antiwar movement.

DISCUSSION QUESTIONS 1. Compare the mood of college students in the Bob Dylan-era mid-sixties to the heavy-metal dominated late sixties. Why did the mood change and what reasons can you attribute for the change?

2. Why did youth abandon the notion of the counterculture at the end of the sixties?

3. What factors helped foster heavy metal?

4. Analyze the music at the Woodstock Festival. Does it best reflect the hippie ethos or the student radicals?

5. Discuss the importance of technology in the development of heavy metal.

ASSIGNMENTS 1. Make a presentation about rock concerts in the 1960s and today. In your research talk to some people who attended rock concerts during the 1960s and get their recollections of their experiences. How have rock concerts changed over time?

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2. Write a paper about the student riots in 1968 and 1969. Where did they occur and why? How has the climate changed from the late 1960s to your college campus experience today? To what factors do you attribute the difference?

3. If you play electric guitar, make a presentation to the class about the various technological innovations used by heavy metal artists. How did these inventions change the sound of the music? Demonstrate to the class some of the guitar effects used in heavy metal and contrast them with different eras of rock music.

4. Research and write a paper about the killings at Kent State University. What significance did the deaths have? Talk to some people who were college students at the time and ask them if they remember Kent State and if they would describe the impact of the event on them.

5. Pick a guitar hero from 1969 (e.g. Jimi Hendrix, Eric Clapton, etc.) and in a paper describe the impact of his/her music on the history of rock and roll. What musical influences did this artist have and how did he/she extend the music?

6. Make a class presentation about the connection of gender and heavy metal by interviewing four men and four women who were college students during the late 1960s and getting their impression of heavy metal. Have their perspectives changed over the years?

LISTENING FROM MYLAB Click to listen to "The Psychedelic Debut of Jimi Hendrix" http://www.npr.org/2006/11/18/6491823/the-psychedelic-debut-of-jimi-hendrix Click here to listen to "Eric Clapton Looks Back at His Blues Roots" http://www.npr.org/templates/story/story.php?storyId=15333469 Click to listen to "Singer Robert Plant" http://www.npr.org/templates/story/story.php?storyId=1611561

BIBLIOGRAPHY ALTHAM, KEITH. “Just Call Me Helium: The Final Interview of Jimi Hendrix.” Guitar World (September 2001), pp. 47–52.

“At War With War.” Time, May 18, 1970, pp. 6–14.

BOOTH, STANLEY. “Bring Billy Gibbons His Burden.” Musician (September 1988), pp.

70–79.

Clapton, Eric. Clapton: The Autobiography. New York: Broadway, 2007.

CLARK, RICK. “Wayne’s World: Wayne Kramer Talks About the MC5.” Goldmine, April 17, 1992, pp. 16–22.

“Class of ’69.” Newsweek, June 23, 1969, p. 63.

COX, BILLY. “Jimi Hendrix.” Guitar Player (May 1989), p. 47.

CROWE, CAMERON. “Jimmy Page and Robert Plant Talk.” Rolling Stone, March 13, 1975, pp. 33–37.

DI PERNA, ALAN. “Smokestack Lightning.” Guitar World (September 2002), pp. 80–94. .

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“A Dignified Protest.” Time, March 29, 1968, p. 56.

FELDER, ROB. “Black Sabbath.” Rolling Stone, October 19, 1978, p. 28.

GABRIEL, PAUL. “Sabbath, Bloody Sabbath: The Enduring Riff-Rock of Black Sabbath.”

Discoveries (June 1996), pp. 32–40.

HENDERSON, DAVID. Jimi Hendrix: Voodoo Child of the Aquarian Age. New York: Doubleday, 1978.

Lang, Michael. The Road to Woodstock.(New York: HarperCollins), 2009.

“Lean, Clean and Bluesy. John Fogerty.” Time, June 27, 1969, p. 58.

“Lifting a Siege.” Time, May 10, 1968, pp. 77–79.

MCDERMOTT, JOHN.“ Strange Brew.” Guitar World (November 1997), pp. 73–100.

“The Rebellion of the Campus.” Newsweek, May 18, 1970, pp. 28–33.

“Rebirth of the Blues.” Newsweek, May 26, 1969, pp. 82–85.

REDDING, NOEL. “Inside the Jimi Hendrix Experience.” Musician (August 1986), pp. 64– 78.

ROSENMAN, JOEL, JOHN ROBERTS, and ROBERT PILPEL. Young Men with Unlimited Capital. New York: Harcourt Brace Jovanovich, 1974.

“Rose Petals and Revolution.” Time, November 28, 1969, p. 90.

SHERIDAN, KEVIN, and PETER SHERIDAN. “T-Bone Walker: Father of the Blues.” Guitar Player (March 1977), pp. 22–56.

“Singing Is Better Than Any Dope.” Newsweek, October 19, 1970, p. 125.

STEINBLATT, HAROLD. “New Moon Rising.” Guitar World (July 1997), pp. 54–60.

———.“Proud John.” Guitar World (August 1998), pp. 73–195.

THOMPSON, DAVE. “Jeff Beck.” Goldmine, August 13, 1999, pp. 16–68.

“Voice of Experience: Jimi Hendrix.” Newsweek, October 9, 1967, pp. 90–92.

WEBB, MARTIN. “Just Steal From Everybody: Ritchie Blackmore. Guitar Player (Nov. 1973).

WELCH, CHRIS. Hendrix. New York: Flash, 1973.

“Woodstock Remembered.” Rolling Stone, August 24, 1989, pp. 61–92.

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Chapter 12 Escaping into the Seventies OVERVIEW This chapter starts by describing the CanCon regulations and goes on to outline the many types of rock and roll that appeared in the 1970s. Building upon the experimentation of the psychedelic era, rock and rollers integrated jazz, classical, country, and a very personal folk into their music. These types of music reflected the abandonment of politics by the baby boomers who became more introspective in the aftermath of Kent State.

LEARNING OBJECTIVES • • • • • • • • • •

Understand the reasons for and the importance of the CRTC and the CanCon regulations.

Understand the different types of influences in rock and roll.

Comprehend the connection between the somber mood of youth during the early and mid-1970s and rock and roll.

Define rock and roll as a hybrid of many types of music.

Pinpoint the role of gender in rock music with the singer songwriters.

Understand the changing nature of rebellion in rock and roll.

Explore the social implications for the re-emergence of a country-style rock in the early 1970s.

Compare and contrast the early country-rock and the rockabillies with later country rock.

Analyze such changing social trends as divorce within the context of rock music.

Understand the confluence of technological innovation and changes in rock and roll.

DISCUSSION QUESTIONS 1. Compare the music of the Brill Building era and the jazz rock and classical rock of the early 1970s. How did it differ and why did the change occur?

2. Compare the role of women in rock during the early 1960s with Dylanesque folk and early 1970s with the singer songwriters. What does this tell us about gender in rock and roll during these two time periods?

3. Explain the proliferation of styles in rock music during the early 1970s. Why did these styles arise and what does it tell us about the social history of the time?

4. Talk about the social factors that explain the themes embraced by singersongwriters during the 1970s.

5. Discuss the role of technology in the changes in rock and roll up to 1975.

6. Compare country rock in the 1970s with rockabilly. How did it change and why?

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7. Examine the concept of rebellion in country rock and show how it differed from heavy metal.

ASSIGNMENTS 1. Listen to the music of Joan Baez and then listen to an album by both of Carole King and Joni Mitchell. What were the similarities in the music and how did the two styles differ? Present your finds to class.

2. Look at the divorce rates in North America between 1956 and 1975. Then, write a paper examining the connection between your findings and the different epochs of rock and roll.

3. Write a paper about the importance of the role of the CRTC and of the creation of the Canadian content regulations. Explain their importance to rock music in the 1970s and now.

4. Make a presentation to class after listening to the first two albums by the Eagles and the first Elvis Presley album. Identify the differences and similarities between the two types of music.

5. Write a paper about the differences and similarities between the music of Bob Dylan during the 1963-1964 period and his country-based phase from 1969-1971.

Explain how Dylan’s music reflected the times during both eras.

6. Talk to four people who went to college from 1967 to 1970 and then interview four people who went to college from 1971 to 1974. In a paper, describe the differences in the college experiences and the types of music that they listened to at the time.

Do they still listen to the same styles of music?

7. Compare the origins of classical rock and jazz rock. In a paper, uncover the musical origins of both music and locate the origins geographically. What does this difference tell us about the transatlantic nature of rock and roll during the period?

8. Select a major singer songwriter of the 1970s and listen to all of their albums of the time. Make a class presentation about the themes contains in the lyrics and connect those themes to the social history of the 1970s.

9. Listen closely to the lyrics in Pink Floyd’s Dark Side of the Moon. Make a presentation to class about the connection between these lyrics and the social mood of the times.

LISTENING FROM MYLAB Click to hear "Britain’s Favorite Song: A Whiter Shade of Pale" http://www.npr.org/templates/story/story.php?storyId=103139415 Click here to listen to "The Who, King Crimson, Arctic Monkees" http://www.npr.org/templates/story/story.php?storyId=15960978 Click to listen to "Levon Helm: Making Music Again" http://www.npr.org/templates/story/story.php?storyId=5591685

BIBLIOGRAPHY BOOTH, PHILLIP. “Sketching the Perfect Circle.”Jazziz (December 1996), pp. 45–48. .

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CLARK, RICK. “LYNYRD SKYNYRD: DOWN SOUTH JUKIN’.” GOLDMINE, MAY 29, 1992, PP. 8-66.

DOGGETT, PETER. Are You Ready for the Country: Elvis, Dylan, Parsons and the Roots of Country Rock. New York: Penguin, 2001 “Down to Old Dixie and Back.” Time, January 12, 1970, pp. 42–46.

EDER, BRUCE. “The Moody Blues: Veteran Cosmic Rockers.” Goldmine, October 28, 1994, pp. 14–40.

EINARSON, JOHN. Desperados: The Roots of Country Rock. New York: Cooper Square, 2001.

“ELO: America Sees The Light.” Rolling Stone, August 24, 1978, p. 12.

FLANAGAN, BILL. “Songwriter Heaven.” Musician (November 1992), pp. 79–83.

GILMORE, MIKAL. “The Allman Brothers.” Rolling Stone, October 18, 1990, pp. 77–85.

“The Girls Letting Go.” Newsweek. July 14, 1969, pp. 68–71.

HALL, RUSSELL. “Welcome to the Show! Emerson, Lake and Palmer.” Goldmine, December 6, 1996, pp. 18–46.

HERBST, PETER. “James Taylor Interview.” Rolling Stone, September 6, 1979, pp. 38–43.

HERBST, PETER. “Linda Ronstadt Interview.” Rolling Stone, October 19, 1978, pp. 57–59.

“James Taylor: One Man’s Family of Rock.” Time, March 1, 1971, p. 45.

MILLER, CHUCK. “Gamble and Huff: The Hite Men.” Goldmine, October 23, 1998, pp.

22–36.

Paul, Alan. “Soul Brothers.” Guitar World (February 1998), pp. 59-66.

“Peter Gabriel, Talks.” ZigZag (May 1971).

“Return to Good-Times Rock.” Time, June 2, 1975, pp. 59–60.

ROBBLE, ANDREW, and DEBRA DESALVO. “Talkin’ Blues with the Midnight Rider: Gregg Allman.” Blues Revue(April/May 1996), pp. 22–28.

“Rock Goes to College.” Time, September 23, 1974, pp. 90–91.

“Rock-and-Roll’s Leading Lady: Joni Mitchell.” Time, December 16, 1974, pp. 63–66.

ROESER, STEVE. “Yes—Progressing Towards the New Millennium.” Goldmine, March 13, 1998, pp. 16–24.

ROWLAND, MARK. “Life’s Lessons: Jackson Browne and Bonnie Raitt.” Musician (August 1989), pp. 57–90.

RUHLMANN, WILLIAM.“Poco.”Goldmine, August 20, 1993, pp. 48–67.

Smith, Michael. “The Long Hard Ride of the Marshall Tucker Band.” Goldmine, April 24, 1998, pp. 22-30.

SOOCHER, STAN. “The Poco Reunion.” Musician (February 1990), pp. 94–98.

VALLELY, JEAN. “Linda Ronstadt Interview.” Playboy (April 1980), pp. 85–116. .

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WHITE, TIMOTHY. “Old Wounds, New Bandages: James Taylor on the Mend.” Musician (April 1988), pp. 70–80.

———.“Steely Dan.” Goldmine, January 22, 1993, pp. 10–20.

SHARP, KEN. “Roy Wood.” Goldmine, September 30, 1994, pp. 57–70.

“Timothy Leary.” MacLean’s, November 15, 1976, p. 4.

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Chapter 13 The Era of Excess OVERVIEW This chapter deals with the manifestation of the “me generation” in rock and roll, highlighting several styles of rock that mirrored the excessiveness of the time period. It starts with Elton John as a transitional figure and deals with theatrical heavy metal of David Bowie, Alice Cooper, and Kiss. It then examines the arena rock of such acts as Kansas and Triumph, outlines the glittery funk of George Clinton, and focuses on the apex of the “me generation,” disco. The chapter ends with an investigation of the growing size and the conglomeration of the music industry, which became larger than professional sports and the motion picture industry at the time.

LEARNING OBJECTIVES • • • • • • • • • •

Understand the connection between the gay rights movement and rock and roll.

Comprehend the origins and reasons for the “me generation” and its reflection in rock and roll.

Understand the connection of specific drugs with certain periods of rock and roll, and the reasons for the use of those drugs.

Analyze the connection between the “me generation,” rock and roll fashion, and gender during the mid to late 1970s.

Understand the various forms that rock and roll rebellion took in different time periods.

Explain the importance of dance in rock and roll.

Comprehend how the music changed with the increasing large venues, which served as the sites of rock concerts.

Analyze the notion of race during the era, paying special attention to funk and disco.

Understand the importance of rock fans versus performers in such genres as disco.

Understand the conglomeration of North American industry during the 1970s, using rock and roll as an example.

DISCUSSION QUESTIONS 1. Discuss the notion of gender in the context of glitter rock. What do the fashion, haircuts, and culture of the glitter rock acts tell us about gender at the time?

2. Discuss gay rights and rock and roll, showing the connection between the two during this period.

3. Talk about the notion of race in this era with disco and funk. How does the concept of race and rock and roll change over time (1956 to 1978)?

4. How does disco change the roles of the performer and the fans? Did this reversal take place in any other era of rock and roll? .

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5. Divide into groups and talk about the growth of the rock industry. From a business perspective, how did rock and roll begin, how did it evolve during the 1960s, and why did it become such a big business during the 1970s?

6. Discuss the different aspects of the “me generation” and the reasons for its existence during the mid and early 1970s.

7. Talk about the different drugs that became attached to certain eras of rock music.

Why did those drugs become part of the rock and roll culture during those periods?

8. Discuss the places that booked rock and roll acts, paying special attention to the venues that showcased it. How did the different venues change the music, and why did it evolve in the way it did?

9. What was the importance of dance in rock music during the 1970s? Compare the disco era with the dance in other eras of rock and roll.

10. What was the role of women in disco compared to their role in other periods in rock and roll?

11. Discuss the importance of outer space during the 1970s rock and roll and link it to events at the time (e.g. moon landing).

ASSIGNMENTS 1. Talk to some people who were in their 20s during the “me generation.” How do they remember it and why did they forsake political protest for consumerism?

What are the elements of the culture with which they identify? How does it affect them today?

2. Write a paper about the drug cocaine and link it to the rock and roll of the 1970s.

Why did it become prevalent during that time period? Why did it replace LSD and marijuana among the youth culture?

3. Find some old magazines and find pictures of David Bowie, the New York Dolls, Kiss, Lou Reed, and other glitter rockers as well as people in discos at the time.

Then, make a class presentation about the fashion of the era and its connection to gender relations.

4. Write a paper about the concept of sex in rock and roll during the disco era and during the 1960s. How do they compare and how do they differ? Why did the image of sex in rock and roll change over time?

5. Write a paper about the emergence of the gay rights movement in North America and show how it is reflected in rock and roll. Did rock and roll help integrate gays?

If so, how?

6. Write a paper about the notion of rebellion in rock and roll from 1956 to 1978.

How did the concept change over time and why did it change?

7. Make a presentation about the changes in the music industry from the time of Elvis to 1978. How much did the industry grow and why? How did the rock industry begin, evolve, and come to fruition by 1978?

LISTENING FROM MYLAB Click to hear "Westbound Records: The Sounds of Detroit" http://www.npr.org/templates/story/story.php?storyId=103775879 .

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Click here to listen to "Queen of Disco: Donna Summer" http://www.npr.org/2003/11/04/1491690/queen-of-disco-donna-summer

BIBLIOGRAPHY BERNSTEIN, PETER. “Growth Rocks the Record Industry.” Fortune, April 23, 1979, pp.

59–68.

BREWSTER, BILL and FRANK BROUGHTON. Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove, 1999.

CHRISTOPHER, RITA. “Every Night Fever.” MacLean’s, May 15, 1977, pp. 55–59.

CROWE, CAMERON. “David Bowie Interview.” Playboy (September 1976), pp. 57–72.

DI PERNA, ALAN. “Back from the Dawn of Funk: Billy Bass.” Musician (December 1993), pp. 69–73.

“Disco Takes Over.” Newsweek, April 2, 1979, pp. 56–64.

“Elton John Interview.” Playboy (January 1976), pp. 57–70.

FRICKE, DAVID. “George Clinton.” Rolling Stone, September 20, 1990, pp. 75–77.

GILMORE, MIKAL. “Stan Cornyn.” Rolling Stone, November 30, 1978, p. 40.

GOLDMAN, ALBERT. “The Disco Style: Love Thyself.” Esquire, June 20, 1978, pp. 76– 78.

“The Gorillas Are Coming.” Forbes, July 10, 1978, pp. 41–46.

GREENBERG, PETER S. “Rock and Big Bucks.” Playboy (January 1981), pp. 201–270.

GREENE, BOB. Billion Dollar Baby. New York: New American Library, 1974.

HARRIS, CARTER. “George Clinton.” Pulse (December 1993), pp. 57–66.

HEIBUTZKI, RALPH. “Sly and the Family Stone.” Goldmine, February 18, 1994, pp. 14– 33.

“Hotspots of the Urban Night.” Time, June 27, 1977, pp. 56–57.

ISLER, SCOTT. “Gregg Geller.” Rolling Stone, February 22, 1979, pp. 28–29.

“The Man Who Sells the Sizzle: Al Coury.” Time, December 25, 1978, pp. 48–49.

MCCARDELL, CHARLES . “Kraftwerk.”Trouser Press (November 1981), p. 14.

“Now, the Self-Centered Generation.” Time, September 23, 1974, pp. 84–85.

“Pop Records: Moguls, Money and Monsters.” Time, February 12, 1973, pp. 61–63.

POST, HENRY. “Sour Notes on the Hottest Disco.” Esquire, June 20, 1978, pp. 79–86.

RESSNER, JEFFREY. “Freddie Mercury: 1946–1991.” Rolling Stone, January 9, 1992, pp.

13–17.

“The Rockets Are Rolling in It.” Forbes, April 15, 1973, pp. 28–39.

ROSENBLUM, CONSTANCE. “Discomania.” Human Behavior (November 1978), p. 27. .

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SWENSON, JOHN. “15 Years of Making Kisstory.” Billboard, January 21, 1989, p. K5–25.

“Tyrannical King Coke.” Time, April 16, 1973, pp. 69–70.

“Vaudeville Rock.” Time, October 30, 1972, p. 81.

“Where Have the Flowers Gone?” Newsweek, September 5, 1977, pp. 24–30.

WOLFE, TOM. Mauve Gloves and Madmen, Clutter and Vine. New York: McGraw-Hill, 1976.

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Chapter 14 Punk Rock OVERVIEW This chapter deals with the two types of punk in the era: the New York punk and Canadian punk that had its roots largely in literature and the British punk that grew out of the dire economic situation of Great Britain during the late 1970s. Both genres of punk focused on a downtrodden fashion look, pogo dancing, and a do-it-yourself attitude. Not as arty as New York punk, British punk espoused a general anarchic, politically left philosophy and assaulted the right wing National Front in Britain, siding with Jamaican reggae. The chapter ends by charting the decline of punk, which splintered into the new wave and goth rock.

LEARNING OBJECTIVES • • • • • • •

Understand the direct consequences of economic decline and a rebellious music in Great Britain.

Comprehend the different types of rebellion, epitomized by the two types of punk rock.

Analyze the role of fashion and dance in the popularity of music, especially punk.

Show the do-it-yourself attitude in the rock and roll business with the growth of independent labels.

Understand how North American corporations can co-opt a rebellion movement, making it part of the mainstream.

Understand the dynamics of race in Great Britain and how punk and reggae highlighted the concept.

Comprehend the importance of political leaders in the economic fate of a nation and its subsequent manifestation in rock music.

DISCUSSION QUESTIONS 1. Discuss the role of fashion in punk. How does it compare to other eras of rock?

2. What was the role of independent record companies in the rise of punk? How did independents affect other eras of rock?

3. Compare race and rock in British and North American punk.

4. How did the Beats affect North American punk, and what importance did they have for other eras of rock and roll?

5. How did the art of British punk reflect their music? In general, how does the poster and album cover art of rock reflect the various styles of music?

6. How did North American corporations subsume punk rock, and did they do the same with other types of rock and roll?

7. Discuss the differences and similarities between New York and British punk. .

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ASSIGNMENTS 1. Write a paper about the do-it-yourself attitude in rock music with a special emphasis on punk. Compare this attitude to the era of heavy metal with Jimi Hendrix and Eric Clapton.

2. Make a class presentation about the elements of the punk culture, comparing New York and British punk in the mid and late 1970s. In your presentation, use photos from magazines, album covers, and songs to visually and aurally show the essential aspects of the two subcultures.

3. Compare and contrast the punk era with the era of excess of David Bowie and disco.How did the two types of music and subcultures differ? What did the two cultures tell us about the changing demography in North America and Britain?

4. Write a paper about the concept of race and punk rock, comparing the New York and British versions of the music. How did the concepts of race connect to other eras of rock and roll?

5. Make a presentation about gender in music, comparing the attitude of punk toward women with the attitude of the singer songwriters, the protest singers, and the disco era. Did rock and rollers of the various eras have different perspectives, and if so why?

6. Make a timeline of unemployment in North America and Britain and in a paper analyze the results in the context of the history of rock and roll. Did unemployment have an effect on rock music? If so, how?

7. Make a presentation in class about the differences between Patti Smith’s Horse and Television’s Marquee Moon with the Sex Pistols Never Mind the Bollocks. Identify the similarities and differences between the music.

LISTENING TO MYLAB Click to hear "I Wanna Be Sedated” (Ramones) http://www.npr.org/2000/12/04/1114972/i-wanna-be-sedated Click to listen to "CBGB’s Hilly Kristal Championed Punk Rock Spirit" http://www.npr.org/templates/story/story.php?storyId=14033127

BIBLIOGRAPHY “Anthems of the Blank Generation.” Time, July 11, 1977, pp. 46–47.

AZERRAD, MICHAEL. “Searching for the Cure.” Rolling Stone, September 7, 1989, pp.

47–50.

BURGESS, ANTHONY, and JOHN LOMBARDI. “Plastic Punks.” Psychology Today (November 1977), pp. 120–126.

CIOE, CRISPIN, and RAFI ZABOR. “The New Reggae.” Musician (November 1981), pp.

48–50.

“The Clash. ”Musician (May 1981), pp. 45–72.

“Commando Squad Attacks Musicians’ Coop.” In These Times, June 13–19, 1979, p. 20. .

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CONSIDINE, J. D. “The Police.” Musician (December 1981), pp. 59–65.

COWAN, ANDY. “Reggae Today.” In These Times, October 25–31, 1978, p. 23.

———.“Sham 69.”Q Special Edition: Here’s the True Story of Punk. (May 2002), p. 84.

———. “Tom Robinson Talks to ITT.” In These Times, May 16–22, 1979, p. 24.

DANCIS, BRUCE. “Artistic Control and Records Too.” In These Times, June 4–17, 1980, pp. 20–21.

DAVIS, JEROME. Talking Heads. New York: Vintage, 1986.

DAVIS, STEPHEN, and PETER SIMON. Reggae International. New York: R & B, 1982.

DI PERNA, ALAN. “The Loud Prayer.” Guitar World (February 1998), pp. 69–75.

———.“The Tall Cool One.” Guitar World (October 1997), pp. 33–37.

EGAN, SEAN. “Nothing’s Rotten with the Sex Pistols.” Goldmine, March 24, 2000, pp.

26–34.

FLANAGAN, BILL. “Frontman: John Lydon.” Musician (July 1994), p. 7.

GILMORE, MIKAL. “The Clash: Anger on the Left.” Rolling Stone, March 8, 1979, p. 22.

———.“The Talking Heads.” Rolling Stone, November 29, 1979, pp. 23–24.

GIMARC, GEORGE. Punk Diary: 1970–1979. New York: St. Martin’s, 1994.

GRAT, MARCUS. Last Gang in Town: The Story and Myth of the Clash. New York: Holt, 1996.

HALASA, MALV. “The English Beat Can’t Stop Dancing.” Rolling Stone, November 13, 1980, pp. 24–25.

HAMSHER, JANE. “Stiv Bator and the Dead Boys.” Damage (July 1980), p. 12.

HEY, JOHN DENIS. Britain in Context. Blackwell: Oxford, 1979.

HEYLIN, CLINTON. From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World. New York: Penguin, 1993.

HOPKINS, TOM.“Dada’s Boys.” MacLean’s, June 13, 1977, p. 42.

HUNT, CHRIS. “The Damned.” Q Special Edition: Here’s the True Story of Punk. (May 2002), p. 22.

ISLER, SCOTT. “Blondie.” Trouser Press (June 1981), pp. 19–23.

KOZAK, ROMAN. This Ain’t No Disco: The Story of CBGB. Boston: Faber & Faber, 1988.

LYDON, JOHN. Rotten: No Irish—No Blacks—No Dogs. New York: St. Martin’s, 1994.

MARCUS, GREIL.“Pete Townshend Interview.” Rolling Stone, June 26, 1980, pp. 34–39.

———. “Wake Up!” Rolling Stone, July 24, 1980, pp. 38–43.

MARSH, DAVE. “It Takes a Lot to Laugh: The Punks.” Rolling Stone, September 21, 1978, p. 21.

MCCORMICK, MOIRA. “Richard Hell.” Trouser Press (November 1982), p. 14. .

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MCNEIL, LEGS. “The Devil Finds Work for Idol Hands to Do.” Spin (September 1990), pp. 29– 32.

———. “We’re a Happy Family.” Spin (August 1986), pp. 66–71.

MCNEIL, LEGS, and GILLIAN MCCAIN. Please Kill Me: An Uncensored Oral History of Punk. New York: Grove, 1996.

PALMER, ROBERT. “Joy Division.” Musician (August 1988), pp. 85–88.

“Prep or Punk.” Mademoiselle (June 1980), pp. 182–184.

Reynolds, Simon. Totally Wired: Postpunk Interviews and Overviews.(New York: Soft Skull), 2009.

“Rock Bottom: Punk Fashions.” Newsweek, June 20, 1977, pp. 80–81.

“Rock on Right.” Billboard, August 22, 1981, p. 53.

Simker, Daniel, ed. We Owe You Nothing – Punk Planet: Collected Interviews. (New York: Akashic), 2001.

“The Sky Above, the Beat Below.” Time, April 7, 1980, p. 75.

SOMMER, TOM. “Adam Ant.” Trouser Press (July 1981), p. 13.

STEVENSON, RAY. Sex Pistols File. London: Omnibus, 1980.

STOKES, PAUL. “The Art of Noise.” Q Special Edition: Here’s the True Story of Punk.

(May 2002), p. 54.

STOKES, PAUL. “We Love UHU.” Q Special Edition: Here’s the True Story of Punk.

(May 2002), p. 107.

WATROUS, PETER. “Sting.” Musician (December 1987), pp. 60–74.

WILD, DAVID. “Elvis Costello Interview.” Rolling Stone, June 1, 1989, pp. 59–68.

WILKINSON, ROY.“Buzzcocks.”Q Special Edition: Here’s the True Story of Punk. (May 2002), p. 44.

WILSON, LOIS. “Tatty Threads.” Q Special Edition: Here’s the True Story of Punk. (May 2002), p. 57.

“X-Ray Spex.” Mojo, October, 2001, p. 92.

YOUNG, CHARLES M. “Visions of Patti.” Rolling Stone, July 27, 1978, pp. 51–54.

ZABOR, RAFI. “John Lydon’s PiL.”Musician (November 1984), pp. 42–48.

ZUCKERMAN, ED. “The Rise of Rock Against Racism.” Rolling Stone, December 14, 1978, pp. 40–41.

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Chapter 15 I Want My MTV OVERVIEW This chapter highlights the growth of MTV and its vital importance to rock and roll and the creation of other music stations like MuchMusic. With MTV, rock musicians needed to look good as well as play well. The importance of a video to receive airplay also moved rock and roll from a do-it-yourself attitude toward a corporate structure dominated by the major labels. The resulting rock and roll became very slick entertainment in a variety of styles such as the New Romantics and electro-pop, pop metal and an updated version of Motown headed by Michael Jackson who achieved massive success in the period.

LEARNING OBJECTIVES • • • • • • • •

Understand the importance of television in the promotion of music and the ways the medium changes rock and roll.

Comprehend rock and roll as entertainment.

Analyze the ebb and flow of rebellion in rock and roll and the reasons for the changes.

Identify the differences and similarities in fashion during the period.

Understand the implications of technology changes for the music business.

Explore the role of gender on television, especially on MTV. Comprehend implications of race on MTV. Connect the advent of new technologies such as the synthesize with changes in rock and roll.

DISCUSSION QUESTIONS 1. Talk about the role of television in the promotion of rock and roll. Compare and contrast MTV with the earlier use of television for rock and roll acts.

2. Discuss the importance of the mega-success of Michael Jackson and its implications for the concept of race in North America. Did Michael Jackson further civil rights in North America or did he signal a step backwards?

3. Divide into groups and discuss the role of rock and roll as entertainment versus a form of rebellion. How do the two concepts co-exist? Do they change over time?

4. Discuss the role of gender in rock and roll by comparing the image of females on music stations versus the image in punk rock.

5. Talk about the different subcultures that arose through MTV and discuss the similarities and differences in those cultures.

6. Why did Michael Jackson achieve the mega-success that he did with Thriller?

7. Discuss the differences between the outlook of 1980s Michael Jackson and Motown Records. .

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ASSIGNMENTS 1. Watch several hours of MTV or MuchMusic from the early to mid 1980s and several rock acts on the Ed Sullivan Show and other TV programs such as Shindig.

Then write a paper comparing the uses of television in rock and roll and its different effects on rock and roll from the 1950s to the 1980s. Did these music stations have the same effect on rock as the Ed Sullivan Show?

2. Write a paper about MTV and race, outlining its early treatment of African Americans and the subsequent success of Michael Jackson on the channel. Why did the station change its approach?

3. Make a class presentation about the role and image of females in punk rock and on music stations, showing the similarities and differences. If possible, show some video about the treatment of females in both eras.

4. Write a paper about the two MTV-supported subcultures of pop metal (e.g. Van Halen) and electro-pop (e.g. Duran Duran), showing the similarities and differences. How did MTV help in their development?

5. In a paper, show the connection between television and the business of rock and roll. How can the medium aid current business models and lead to others? Give specific examples from the 1950s to the 1980s.

6. Make a presentation about the importance of dance in music. Talk to older adults who grew up dancing to Dick Clark’s American Bandstand and then talk to others who grew up watching Michael Jackson on MTV. Finally, speak to adults who first danced to hardcore. Get their perspectives on the roles of dance of the time and show how they reflect the music.

7. Write a paper about the development and changes in rock music through technology, comparing early heavy metal with electro-pop and the New Romantic movement.

LISTENING TO MYLAB Click to hear "Michael Jackson’s Thriller turns 25" http://www.npr.org/templates/story/story.php?storyId=16782751

BIBLIOGRAPHY BAROL, BILL. “1989: MTV.” Newsweek, July 3, 1989, pp. 50–51.

CONNELLY, CHRISTOPHER. “Ratt: Lap Dogs of the Devil?” Rolling Stone, December 6, 1984, p. 50.

“The Copycats That Are Chasing Music Television.” Business Week, September 3, 1984, pp. 57–58.

DEMARTINO, DAVE.“Decalog.”Billboard, December 23, 1989, pp. D8–12.

DUTKA, ELAINE, and WILLIAM TYSON. “MTV Faces a Mid Life Crisis.” Time, June 29, 1987, p. 67. “The Eurythmics.”Trouser Press (October 1983), p. 13.

FARREN, MICK.“ Surface Noise.” Trouser Press (August 1982), p. 46.

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FLANAGAN, BILL. “We Three Kings: The Top Managers.” Musician (April 1991), pp. 52– 68.

FOLTZ, KIM. “Michael Jackson Inc.” Newsweek, February 27, 1984, pp. 66–67.

GREEN, JIM. “Culture Club Comes Clean.” Trouser Press (June 1983), pp. 16–18.

“His Highness of Haze: Prince.” Time, August 6, 1984, p. 62.

“Human League.” Trouser Press (August 1982), p. 35.

JAFFE, LARRY. “What Hath Video Wrought, Parts I & II.” Pulse (September 1986), pp.

32–35; (October 1986), pp. 57–59.

JEFFREY, DON. “Growth Levels Projected in Music Video.” Billboard, June 17, 1989, p.

4.

“JVC Celebrates Shipping 200 Million Units.” Billboard, January 14, 1989, p. 58.

KAPLAN, PETER. “MTV: 21st Century Box.” Esquire (March 1983), p. 222.

LEARNER, MICHAEL. “The Heavy Metal Frenzy.” Newsweek, August 10, 1987, p. 59.

LODER, KURT. “Dress Right.” Rolling Stone, June 23, 1981, pp. 14–19.

LUPO, JANE. “Spandau Ballet.” Trouser Press (September 1981), pp. 16–17.

MACKAY, GILLIAN. “The New Wizard of Pop.” MacLean’s, July 23, 1984, pp. 38–43.

MCDONALD, PATRICK. “Whitney Houston Rocks to the Top.” Seattle Times, October 4, 1987, p. L1.

MICHAEL, GEORGE, with TONY PARSONS. Bare. London: Michael Joseph, 1990.

MILANO, BRETT. “Def Leppard Roars Back.” Pulse (September 1987), pp. 46–51.

MILLER, JIM. “Britain Rocks America—Again.” Newsweek, January 23, 1984, pp. 50–57.

PERRY, STEVE. “Prince in the Purple Decade.” Musician (November 1988), pp. 83–99.

“The Peter Pan of Pop: Michael Jackson.” Newsweek, January 10, 1983, pp. 52–54.

PORTER, MARTIN, and STEVEN SCHWARTZ. “Madonna.” Seattle Times, April 7, 1985, p.

L1.

ROCKMAKER, DEIRDRE. “Def Leppard: The Heavy Metal Band You Can Bring Home to Your Mother.” Goldmine ,June 11, 1993, pp. 14–40.

ROWLAND, MARK. “Dreaming: Def Leppard.” Musician (April 1992), pp. 52–61.

SALEWICZ, CHRIS. “Kemp: A Revolt into Style.” The Face (October 1982), pp. 25–26.

“Sing a Song of Seeing.” Time, December 26, 1983, pp. 54–64.

SWAN, CHRISTOPHER. “Rock Video Quakes.” Reprinted in Seattle Times, June 2, 1985, p.

E1.

TANNENBAUM, ROB. “George Michael: Artist or Airhead?” Musician (January 1988), pp.

27–36.

“Top 100.”Rolling Stone, November 16, 1989, pp. 55–121. .

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“The Tour, the Money and the Magic,” Newsweek, July 16, 1984, pp. 64–70.

“Why He’s a Thriller.” Time, March 19, 1984, pp. 54–63.

YOUNG, CHARLES. “Def Leppard Pulls Out of the Fast Lane.” Musician (December 1987), pp. 76–82.

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Chapter 16 The Promise of Rock-and-Roll OVERVIEW This chapter deals with the social commentary delivered by rock and roll during the mid1980s amid an economic recession. It focuses on Bruce Springsteen who combined a variety of influences to create a full-sounding encapsulation of rock up to that point. His success led to a renewed interest in social issues and causes, which rock musicians supported through as a series of benefit concerts. The chapter continues with the introduction of the compact disc and its initial impact on rock and roll and ends by charting the growth of socially conscious country rock in the early 1990s.

LEARNING OBJECTIVES • • • • • • •

Understand the importance of social commentary on rock and roll.

Comprehend the fundamental changes in the music business caused by a new disruptive technology such as the compact disc.

Examine and be able to explain the impact of political and economic policies on rock music.

Connect the demography of the baby boom with the expansion of the music business.

Understand the connection between an aging youth population and popular music.

Comprehend the central role of county in rock and roll.

Connect the popularity of a style of rock and roll with the economic climate.

DISCUSSION QUESTIONS 1. Talk about the economic policies at the time and their direct impact on rock and roll.

2. Compare and contrast the social commentary of Bob Dylan and Bruce Springsteen.

How did they compare with one another?

3. Discuss the roll of the baby boom generation on the growth of the music business.

4. Discuss how technological advances have fostered the growth of rock and roll.

5. Discuss the roots of the music of Springsteen and REM. How did they differ and how were they similar?

6. Compare the business model used to promote punk to the business strategy used to market Bruce Springsteen.

7. Talk about the importance and implications of benefit concerts.

8. Compare country rock of the 1990s with the country rock of the 1970s as well as rockabilly.

9. Discuss the differences and similarities in the messages of Garth Brooks and Bruce Springsteen. .

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10. Why did the baby boom turn to country rock during the 1990s?

ASSIGNMENTS 1. Listen to the early music of Bob Dylan and Born in the USA by Bruce Springsteen.

How did the message differ and how was it similar? Make a presentation about your finds and include examples of songs.

2. Write a paper comparing the politics of the British punks and Bruce Springsteen.

How did it differ, if at all?

3. Write a paper about the “trickle down” theory of economics espoused by President Ronald Reagan and show its impact on rock and roll. What was meant by “trickle down” and did the policy work in practice? Does it still have implications for today?

4. Compare the music business in the 1950s and the 1980s. How did the business change and what were the similarities? Do you think small independent companies fostered more radical music?

5. Interview three people who have attended multiple Bruce Springsteen concerts and ask them their impressions of the concerts and the messages that they came away with. Then, interview three people who have been rabid fans of other artists and ask them the same questions. Compare and contrast the perceptions in a class presentation.

6. Research two of the problems that sparked rock benefit concerts. Are the problems still present? Do you think that the benefits helped? If so, in what ways?

7. Write a paper about the fashion of country rock in 1970s and 1990s and the rockabilly of the 1950s. How did the fashion change and what do the changes tell us about rock and roll during these periods?

8. Compare and contrast the messages of country rock from the 1950s to the 1990s.

How did it change and why?

9. Write a paper about rebellion in rock and roll, using country rock from 1956 to the early 1990s as examples. How did these styles reflect rebellion and how did the type of rebellion change? Why did rebellion take different forms in these eras?

10. In a class presentation, compare the backgrounds of Elvis Presley and Garth Brooks. What do the different backgrounds tell us about the time and rock and roll?

BIBLIOGRAPHY BAEZ, JOAN. “Tracy Chapman.” Interview (April 1992), p. 102.

COCKS, JAY. “Roll Them Bones.” Time, September 4, 1989, pp. 58–62.

COLEMAN, MARK. “The Revival of Conscience.” Rolling Stone, November 15, 1990, pp.

69–80.

“Compact Disc Players.” Consumer Reports (May 1987), pp. 283–284.

DECURTIS, ANTHONY. “Ropin’ the Wind.” Rolling Stone, April 1, 1993, pp. 31–35.

DIMARTINO, DAVE, and ED CHRISTMAN. “CD Edges Up on Cassette as Top Format.”

Billboard, June 23, 1990, p. 1. .

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FLIPPO, CHET. “Bruce Springsteen.” Musician (November 1984), pp. 53–58.

FORMAN, BILL. “Diminished But Unafraid, R.E.M. Talks About Passion.” Pulse (November 1998), pp. 33–41.

FRICKE, DAVID.“ All Star Line-Up for Band-Aid Shows.” Rolling Stone, July 18/August 1, 1985, p. 17.

———. “Lou Reed: Back on the Streets.” Rolling Stone, March 9, 1989, p. 26.

———. “Rage and Roll.” Rolling Stone, June 28, 1990, pp. 49–57.

GRAHAM, BILL. “U2 Give Themselves Away.” Musician (May 1987), pp. 79–90.

“Grateful Dead Aid Rain Forests.” Rolling Stone, November 3, 1988, p. 17.

GRIEST, STEPHANIE.“Kickin’ Up a Storm.” Seattle Post–Intelligencer, August 2, 1994, p.

C1–3.

HENKE, JAMES. “Springsteen.” Rolling Stone, August 6, 1992, pp. 38–44.

HILBURN, ROBERT. “Bruce Springsteen.” Oregonian, October 24, 1980, p. G1.

HIRSHBERG, CHARLES. “He’s Garth Brooks.” Life (July 1992), pp. 55–63.

HUNTER, NIGEL. “Key Global Markets Love That CD,” Billboard, March 11, 1989, p. 1.

HUTCHINSON, JOHN. “Luminous Times: U2.” Musician (October 1987), pp. 68–78.

LICHTMAN, IRV. “Music Shipments Hit New Mark.” Billboard, March 18, 1989, p. 1.

LIGHT, ALAN. “Forever Young.” Rolling Stone, January 21, 1993, pp. 36–37.

LODER, KURT. “Bruce Springsteen Interview.” Rolling Stone, December 6, 1984, pp. 19– 22.

MACDONALD, PATRICK. “Vinyl’s Final Days.” Seattle Times, January 21, 1990, p. L1.

“Making of a Rock Star.” Newsweek, October 27, 1975, pp. 57–63. MARSH, DAVE. Born to Run. New York: Dell, 1981.

MCBEE, SUSANNA. “Are Today’s Young a Disillusioned Generation?” U.S. News and World Report, January 23, 1984, pp. 40–42.

MEHLER, MARK. “Recorded Music Ranks Highest in Growth,” Billboard, December 10, 1988, p. 75.

NELSON, PAUL. “Springsteen Fever.” Rolling Stone, July 13, 1978, p. 13.

PAINTON, PRISCILLA. “Country Rocks the Boomers.” Time, March 30, 1992, pp. 62–68.

PUTERBAUGH, PARKE. “Gone But Not Forgotten.” Rolling Stone, October 29, 1992, p. 28.

RESSNER, JEFFREY. “Going, Going, Gone?” Rolling Stone, April 20, 1989, p. 15.

“Rock’s New Sensation.” Time, October 27, 1975, pp. 48–58.

SPAHR, WOLFGANG. “West German Record Industry.” Billboard, February 17, 1990, p. 3.

STOUT, GENE. “Rock Radio Drags On.” Seattle Post-Intelligencer, July 17, 1988, p. F1.

TANNENBAUM, ROB. “Country’s New Gold Rush.” Rolling Stone, April 16, 1992. .

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“Technology.” Time, January 1, 1990, p. 104.

THOMPSON, DAVID. “David Byrne.” Rolling Stone, April 21, 1988, pp. 42–52.

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Chapter 17 Back to the Future: The Rave Revolution OVERVIEW This chapter locates the origins of the British rave culture with Chicago house and Detroit techno. It then charts the beginning of rave in Ibiza and its spread to Great Britain with its early manifestations in such groups as the Happy Mondays. It also shows the close connection between the rave culture and the drug ecstasy. The chapter continues with the different styles of rave including the hardcore, ambient music for chill-out rooms, drum and bass and its rock manifestation with the band Prodigy.

LEARNING OBJECTIVES • • • • • • • •

Understand the interplay of American and British styles of music.

Comprehend the close connection between a specific drug and a rock subculture.

Analyze the changing nature of a rock subculture, focusing on the various aspects of the rave subculture.

Focus on the primacy of dance in many rock cultures.

Understand the centrality of the economic climate in the development of rock and roll.

Comprehend the notion of community in rock and roll.

Analyze the ways that fans promoted different types of rock and roll.

Pinpoint the increasing importance of technology in rock and roll.

DISCUSSION QUESTIONS 1. Discuss the importance of dance in many British rock subcultures, focusing on rave.

2. Talk about the changes in rave culture and the reasons for those changes.

3. What drug played a significant role in rave culture and why? Compare it to the use of drugs in other rock subcultures.

4. Discuss the interplay between American and British rock and roll.

5. Compare the hippie culture with that of rave.

6. Compare the reaction of punks and rave to the economic climate in Great Britain from 1975 to 1988.

7. Discuss the connection between disco and rave.

8. Talk about the ways that fans promoted their music and congregated together in raves. How were raves promoted? Compare the publicity surrounding raves with the ways that acid rock and Bruce Springsteen were publicized.

9. Discuss the importance and differences of a rock community in raves and among the fans of Bruce Springsteen.

10. Talk about the importance of technology in British rave music. .

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11. Compare the interest of British youth in American music, using the Rolling Stones and rave as examples.

12. How does fashion change with various styles of rock and roll, using the different types of rave subculture as examples.

13. Show the importance of disc jockeys in rock and roll from the 1950s to rave.

ASSIGNMENTS 1. Write a paper about the economic climate in Great Britain from 1975 to 1988, comparing the reactions of punks and ravers to the depressed economic conditions.

To what do you attribute the changes?

2. Write a paper about drugs and rock and roll, identifying the rock subcultures that championed specific drugs. Explain why the different groups choose different drugs.

3. Research the different elements of raves and compare them to rock concerts in the 1960s and arena rock during the 1970s. How did raves differ and how were they the same?

4. Examine the various rock styles of the rave culture and explain the reasons for the differences. Why did rave change when it did and how did rock music reflect the changes in social conditions?

5. Make a class presentation about the reaction of British authorities to raves. How did this reaction compare to the backlash against Elvis Presley, the Beatles and the hippies? Why did this backlash occur at all?

6. Talk to three people who attended multiple raves and then interview three people who attend several Grateful Dead concerts. What perceptions did they have of their experiences? How were they the same and how were they different?

7. Find five flyers for raves and then find pictures of five posters for the Fillmore Ballroom during the 1960s. Then, make a class presentation about how the poster art captured the spirit of both subcultures, paying special attention to the similarities and differences.

8. In a paper, compare and contrast the rave subculture with the New Romantic culture. Look at the music, fashion and other aspects of the cultures in your examination.

LISTENING TO MYLAB Click to hear "Ecstasy, The Peace Drug?" http://www.npr.org/templates/story/story.php?storyId=16614612

BIBLIOGRAPHY COLLIN, MATTHEW. Altered State: The Story of Ecstasy and Acid House. London: Serpent’s Tail, 1997.

DI PERNA, ALAN. “Rave New World.” Guitar World (June 1997), pp. 64–70.

FARLEY, CHRISTOPHER JOHN. “Who You Calling Techno?” Time, June 23, 1997, pp. 78– 81. .

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GREENE, JO-ANN. “The Prodigy: Welcome to the Sound of Tomorrow …” Goldmine, September 26, 1997, pp. 16–24.

HANSON, AMY. “Massive Attack.” Goldmine, August 14, 1998, pp. 23–27.

HOSKYNS, BARNEY. “Fatboy Slim Must Die.” Revolver (Winter 2000), pp. 61–65.

HORTON, SEAN. “Massive Attack.” aXis (October 1998), pp. 13–14.

REYNOLDS, SIMON. Generation Ecstasy: Into the World of Techno and Rave Culture.

Boston: Little Brown, 1998.

ROWLAND, MARK. “Don’t Sign Anyone Over 30.” Musician (April 1998), pp. 56–62.

SALAMON, JEFF. “God Save the Scene: The Chemical Brothers.” Details (November 1998), p. 66.

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Chapter 18 The Generation X Blues OVERVIEW This chapter reviews the music of Generation X that reflected the personal desperation and economic troubles of this new generation of rock and rollers. It begins by capturing the spirit of hardcore punk, showing its origins in California and the reasons for its violent spirit. The chapter continues with thrash metal, the churning, frantic music of British and North American youths. It also deals with death metal and grindcore, which heralded from sunny Florida, and the industrial sounds of Nine Inch Nails and other pounding, mechanical groups. The chapter ends with the most popular spawn of Generation X – grunge – which reared its head from gloomy Seattle to take over the world during the mid-1990s before degenerating into a haze of heroin and death.

LEARNING OBJECTIVES • • • • • • • •

Analyze the connection between social trends, such as single families, with rock and roll.

Identify the effects of a new generation on the development of rock and roll.

Understand the changing role of gender in rock and roll.

Demonstrate the importance of independent record labels on the growth of rock and roll.

Focus on the significance of regionalism on rock and roll and the ways a regional act attracts national attention.

Understand the different styles of rock that can reflect the same social reality during a time period.

Comprehend the process in which major corporations commoditize rock subcultures.

Analyze the different manifestations of a rock genre (e.g. heavy metal) and the reasons for those manifestations.

DISCUSSION QUESTIONS 1. Discuss the role and importance of regional hubs for rock and roll.

2. How does the subculture symbolized by Lamefest compare and contrast with the hippie subculture? Can you identify another rock subculture similar to that of grunge?

3. Explain the development of heavy metal from the 1960s to the 1990s. How did it evolve and why?

4. Explain how the use of different instruments allowed different types of rock and roll to develop, using industrial music as an example.

5. Compare the sounds of techno with industrial music. .

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6. Compare the sound and culture of death metal with Black Sabbath and other early metal acts.

7. Contrast the different cultures of the early 1990s (metal, industrial, grunge) and discuss how each subculture reflects the time and its musical genre.

8. Talk about the ways that independent record companies started many of the genres during the early 1990s and explain how and why major corporations took over some of these musical styles.

9. Discuss the role of gender in the various genres of the early 1990s. What images of women did the subcultures portray.

10. Compare British punk and hardcore music and subcultures.

ASSIGNMENTS 1. Research and write a paper about the similarities and differences between the poster art of the Fillmore during the 1960s and the grunge art of Frank Kozik. How were they similar and how were they different? Explain any differences.

2. Write a paper about heavy metal from 1969 to 1995 and explain the similarities and differences, paying special attention to the connection between heavy metal and rebellion.

3. Create a timeline about the increased divorce rate in North America from 1950 to 1995. Then, make a presentation for the class about the effect of divorce on the music, paying special attention to the sounds of the early 1990s.

4. Compare and contrast the use of drugs during various subcultures of rock and roll from 1965 to 1995. How did drugs reflect the rock subcultures? How did the drugs of grunge perfectly encapsulate the grunge attitude? Include your findings in a paper.

5. Write a paper about the socio-economic backgrounds of musicians in death metal, grunge, and the hippie movement. How did they differ and what does it tell us about the times?

6. Find photos of death metal, industrial music, and grunge fans and compare the dance, hairstyles, and clothing of the adherents to the various subcultures. Make a presentation, showing the connection between the subcultures and the music.

7. Listen to the Black Flag’s Damaged and James Taylor’s Sweet Baby James, comparing and contrasting the reaction of youth to dysfunctional relationships in a paper. To what do you attribute the differences in musical approach?

8. Write a paper about the history of dance in rock and roll from 1956 to 1985.

Identify the similarities and differences, and explain the reasons for the different types of dances.

9. Focusing on hardcore, identify the importance of independent record labels in the development of rock and roll. Write a paper about the effect of independents on the music versus large corporations.

10. Compare the do-it-yourself culture of hardcore to the culture of arena rock and disco during the late 1970s. Write a paper about the different ways the musical styles and their corresponding cultures were distributed and became national trends.

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LISTENING TO MYLAB Click to listen to "Grunge Pioneer Sub Pop Records Turns 20" http://www.npr.org/templates/story/story.php?storyId=92442916 Click to hear "Remembering Kurt Cobain, 10 years later" http://www.npr.org/templates/story/story.php?storyId=1812503 Click here to listen to "Pearl Jam, Still a Touring Force" http://www.npr.org/templates/story/story.php?storyId=1301462 Click here to listen to "Metallica’s James Hetfield on Rock and Therapy" http://www.npr.org/templates/story/story.php?storyId=4469978

BIBLIOGRAPHY ARNOLD, GINA. Route 666: On the Road to Nirvana. New York: St. Martin’s, 1993.

AZERRAD, MICHAEL. “Inside the Heart and Mind of Kurt Cobain.” Rolling Stone, April 16, 1992, pp. 37–41.

———. Come As You Are: The Story of Nirvana. New York: Doubleday, 1993.

———. Our Band Could Be Your Life. New York: Little Brown, 2001.

BIENSTOCK, RICHARD. “Thrash of the Titans.” Guitar World (August 2003), pp. 78-155.

BLUSH, STEVEN. American Hardcore: A Tribal History. Los Angeles: Feral, 2001.

BOOK, JOHN. “Seattle Heavy.” Goldmine, April 17, 1992, pp. 46–54.

BOSC, MICHAEL. “Street Gangs No Longer Just a Big City Problem.” U.S. News and World Report, July 16, 1984, pp. 108–109.

Blush, Steve and George Petros, eds. 45. Dangerous Minds: The Most Intensive Interviews from Seconds Magazine. New York: Creation, 2005.

DIMARTINO, DAVE. “A Seattle Slew.” Rolling Stone, September 20, 1990, pp. 23–24.

DI PERNA, ALAN. “The Defiant Ones.” Guitar World (October 2003), pp. 57-106.

DROZDOWSKI, TED. “Full Metal Justice.” Musician (January 1989), pp. 42–52.

———.“Heavy Mettle.”Musician (March 1997), pp. 32–40.

EHRLICH, DIMITRI. “Phat Cats and Punks.” Rolling Stone, August 19, 1993, p. 18.

FLIPSIDE, AL. “Core.” Trouser Press (August 1982), pp. 23–26.

FRICKE, DAVID. “Heavy Metal Justice.” Rolling Stone, January 12, 1989, pp. 42–49.

———. “Life After Death: Courtney Love.” Rolling Stone, December 15, 1994, pp. 59– 67.

GAAR, GILLIAN. “A Band Called Alice.” Goldmine, August 5, 1994, pp. 54–58.

———. “The Dark Side of Innocence: Nirvana and the Rise of the Seattle Sound.”

Goldmine, December 10, 1993, pp. 38–58.

GARCIA, GUY. “Heavy Metal Goes Platinum.” Time, October 14, 1991, p. 85. .

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GARDNER, ELYSA.“Watching the Detectives.” Musician (October 1994), pp. 28–33.

GITTER, MIKE. “Somber No More?” Pulse (September 1991), pp. 82–85.

GOLD, JONATHAN. “Trent Reznor of Nine Inch Nails.” Rolling Stone, September 8, 1994, pp. 50–54.

GOLDBERG, MICHAEL. “Punk Lives.” Rolling Stone, July 18/August 1, 1985, pp. 28–32.

———.“The Twisted Genius of Rock-and-Roll Poster Boy Frank Kozik.” Cover Story, 1997.

GRAD, DAVID. “Fade to Black.” Guitar World (July 1997), pp. 37–97.

———.“Rock Steady.” Guitar World. (August 1998), pp. 42–48.

GREENE, JO-ANN. “Pearl Jam: Intrigue and Incest and the Secret History of Seattle.”

Goldmine, August 20, 1993, pp. 14–43.

———. “Welcome to Paradise: The Story of Green Day.” Goldmine, September 15, 1995, pp. 22–38.

GRIFFIN, BRIAN. “AC/DC Classic Big Rock.” Pulse (August 1985), p. 34. HALBERSBERG, ELIANNE.“The Majors.” Billboard, May 6, 1989, pp. H3–25.

HOCHSWENDER, WOODY. “Slam Dancing.” Rolling Stone, May 14, 1981, pp. 29–32.

HUMPHREY, CLARK. Loser: The Real Seattle Music Story. Portland: Feral House, 1995.

ISLER, SCOTT. “Fear and Loathing on the West Coast.” Trouser Press (June 1980), pp.

20–23.

“Is Rock-and-Roll Dead?” Rolling Stone, December 13–27, 1990, p. 176.

KELLY, CHRISTINA.“D Generation.” Rolling Stone, February 9, 1995, pp. 19–20.

KITTS, JEFF, BRAD TOLINSKI, and HAROLD STEINBLATT, eds. Guitar World Presents Alternative Rock. Milwaukee: Hal Leonard, 1999.

KOEPP, STEPHEN. “Teenage Orphans of the Job Boom. ”Time, May 13, 1985, pp. 46–47.

LANHAM, TOM. “Generation Why?” Musician (September 1994), pp. 20–24.

MACNIE, JIM. “Soundgarden’s Full Punk Power Slide.” Musician (February 1990), pp.

30–38.

MOORE, JOHN. “Diamond Head: Living On Borrowed Time.” Goldmine, June 11, 1993, pp. 52–58.

MORRIS, CHRIS. “Bob Mould: Shaken, Stirred and Fueled.” Musician (October 1994), pp.

19–26.

———.“Nirvana.” Musician (January 1992), pp. 28–35.

MUNDY, CHRIS. “Nirvana.” Rolling Stone, January 23, 1992, pp. 39–41.

Murdrian, Albert. Choosing Death: The Improbably History of Death Metal and Grindcore Los Angeles: FeralHouse, 2004.

NEELY, KIM. “Into the Unknown.” Rolling Stone, June 16, 1994, pp. 46–52. .

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PARELES, JON. “Henry Rollins: The Loner.” Musician (April 1993), pp. 35–41.

PERRY, STEVE.“Achin’ to Be Understood.” Musician (February 1989), pp. 63–70.

PODHORETZ, JOHN. “Metallic Rock That’s Designed to Shock.” U.S. News and World Report, September 7, 1987, pp. 50–51.

POSTEL, ERIC. “Heavy Metal Thunder!” Pulse (September 1983), pp. 1–12.

Prato, Greg. Grunge Is Dead: The Oral History of Seattle Rock Music. (New York, ECW), 2009.

PUNK, DONNY. “The Dead Kennedys’ State of Confusion.” Spin (February 1986), pp. 47– 48.

RAMIREZ, MARC. “Bliss Out.” Pacific Magazine, Seattle Times/Seattle Post Intelligencer, April 26, 1992, pp. 7–29.

REID, LARRY. “Smells Like Prozac.” The Rocket, September 28/October 12, 1994, p. 29.

RHULMANN, WILLIAM. “X: They’re Still Desperate, But They’re Used to It.” Goldmine, February 4, 1994, pp. 52–99.

SINKER, DANIEL, ed., We Owe You Nothing—Punk Planet: The Collected Interviews.

New York: Akashic, 2001.

SOMMER, TOM. “Black Flag.” Trouser Press (June 1983), pp. 23–24.

SPITZ, MARC, and BRENDAN MULLEN. We Got the Neutron Bomb: The Untold Story of L.A. Punk. New York: Three Rivers, 2001.

STOUT, GENE. “Rockin’ and Rollin’ the Boat.” Seattle Post-Intelligencer, March 24, 1990, p. C1–2.

UCHITELLE, LOUIS. “America Isn’t Creating Enough Jobs, and No One Seems to Know Why.” The New York Times, September 6, 1992, Section 4, pp. 2–3.

UNTERBERGER, RICHIE. “Chip Kinman Interview. ”Transcript for the Unknown Legends of Rock ‘N’ Roll.

VALANIA, JONATHAN. “The Man Who Wasn’t There.” Magnet (August/September 2002), pp. 56–64.

WEIDENBAUM, MARC. “Flipside.” Pulse (September 1990), p. 132.

WHITE, RICHARD. “Sub Pop.” Pulse (Independent Special 1989), pp. 27–29.

WIEDERHORN, JON. “The Devil Inside. ”Guitar World (July 1998), pp. 61–67.

———. “Bathed in Blood: The Incredible Oral History of the Florida Death-Metal Revolution.” Revolver. (January 2009), pp. 53-60.

Yarm, Mark. Everybody Loves Our Town: An Oral History of Grunge. (New York: Crown), 2011.

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Chapter 19 Post-Grunge Party OVERVIEW This chapter outlines the reaction to the desperation of punk on both sides of the Atlantic.

It first details the anti-grunge of the snappy sounding Britpop of such groups as Oasis and Blur and continues with such alternative acts in Canada as the Tragically Hip and Alanis Morissette and such jam bands in the U.S. as Phish and the Dave Matthews Band.

Though the types of music differed significantly, they all stood in stark contrast to the music so prevalent a few years before.

LEARNING OBJECTIVES • • • • • • • • • •

Understand the reaction of one music style to its predecessor.

Demonstrate the close connection between the economy and the musical styles popular during a time period.

Connect different music in Britain and North America that reflected a similar social reality.

Comprehend the continuing tradition of some musical styles from the 1960s to a later period (e.g. the Grateful Dead and jam bands).

Identify the changing nature of gender in rock and roll.

Locate the notion of community in rock and roll.

Analyze the conscious portrayal of “Britishness” in Britpop music.

Outline the connection between rock and roll and social causes.

Outline the connection between a band’s region or nation and their music.

Understand the use of rock as an escapist form of entertainment.

DISCUSSION QUESTIONS 1. Discuss the connection between the hippies and the jam bands.

2. Explore the connections between the origins of Britpop and jam bands. How did they both look backwards to a past era of music?

3. How did the music reflect the economic climate, and how has the economic climate helped shape other eras of rock and roll?

4. How did Britpop reflect a “Britishness” in rock and roll, and compare that to the Beatles in 1964.

5. What does the mega-success of the Spice Girls and even Alanis Morissette tell us about gender during this period?

6. Talk about the musical influences of the jam bands and find a comparable situation in past rock history.

7. Discuss the notion of community in rock and roll.

8. How did Britpop, alternative groups, and jam bands reflect rebellion, if at all? .

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9. Paying particular attention to the alternative acts from Atlantic Canada, discuss the importance of regionalism in rock and roll.

10. Drawing on examples from Britpop and alternative bands, explain how music is a reflection of culture.

ASSIGNMENTS 1. Write a paper about the connection between jam bands and the hippies. How did the two subcultures strive for the same goals and how were they different?

2. Research the notion of “Britishness” in rock and roll, using Britpop and the Beatles as an example. Have there been other instances where popularity surged for a group of bands from a specific country? Explain your answer.

3. Write a report about the role of women in rock and roll from 1966 to 2000, focusing on the Spice Girls and their mega-success.

4. Make a timeline from 1950 to 2000 about unemployment and economic growth in Britain and North America. Then make a class presentation about when the economic climate directly reflected and helped shape rock and roll and when it did not.

5. In a class presentation, compare and contrast the differences and similarities between Britpop and the jam bands, making your argument through audio records.

6. Research and write a paper about the role of rock and roll in social causes. When did the trend begin and why?

7. Write a paper about the concept of community in rock and roll, focusing on the subcultures around the hippies, the jam bands, and Bruce Springsteen. How were they the same and how did they differ?

8. Write a paper about the role that regionalism plays in rock and roll.

BIBLIOGRAPHY ALEDORT, ANDY. “Phish Scales.” Guitar World (August 2000), pp. 87-92.

HALL, RUSSELL. “Widespread Panic.” Performing Songwriter (June 2002), pp. 72-75.

“Interview with Noel Gallagher.” Q (February 1996). http://www.oa515.com/interviews.htm.

LANHAM, TOM. “We Goth the Beat.” Pulse (November 1998), pp. 55–58.

PERRY, ANDREW. “Last Orders.” Mojo (April 2003), pp. 72–84.

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Chapter 20 The Hip-Hop Nation OVERVIEW This chapter details the importance and evolution of the hip-hop culture. It starts with hip- hop pioneers such as Kool Herc,Afrika Bambatta, and Grandmaster Flash. It progressed to the second wave of rap, epitomized by such acts as Run-D.M.C., gangsta rap, and the socially conscious hip hop of Public Enemy. It brings rap culture to the present with the New Jack Swing and R&B-tinged hip-hop and the return of gangsta rap with 50 Cent, Master P. and others. Throughout, it shows the development and longevity of rap through the last 20 years and shows the central role of African American culture in rock and roll.

LEARNING OBJECTIVES • • • • • •

Locate the central role of African American culture in rock and roll.

Understand the evolving nature of a rock genre, in this case hip-hop.

Analyze the role of race and civil rights in rock and roll.

Identify the changing subcultures within rap.

Comprehend the changes in rock and roll with advances in technology.

Understand the direct correlation between social trends and the development of popular music.

DISCUSSION QUESTIONS 1. Compare gangsta rap in the early and late 1990s.

2. How did gangsta rap help integrate North America racially?

3. Chart the rise of black record entrepreneurs throughout rock history with a special focus on hip hop.

4. Compare and contrast the different stages of hip-hop. Why did they occur when they did?

5. Discuss the socio-economic situation of African Americans during the 1980s and 1990s.

6. Compare and contrast the movement toward black pride in the late 1960s and the 1990s.

7. Discuss the various trends in hip-hop fashion and explain the changes.

8. How did technological changes impact rock and roll, and more specifically hiphop?

9. Discuss the images of women in the various hip-hop subcultures.

10. Did hip-hop symbolize rebellion? If so, rebellion against what?

11. Discuss the music and lyrics of N.W.A. and those of Public Enemy. How were they different and how were they the same? .

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ASSIGNMENTS 1. Write a paper about small business entrepreneurs in rock and roll with a special focus on black entrepreneurs.

2. Chart the importance of Civil Rights in rock and roll in a class presentation. Pay special attention to the role of hip-hop in the integration of North America during the discussion.

3. Write a paper about the role and image of women in hip-hop. How has it changed and what does it tell us about the role of women in African American culture in general?

4. Find photos of hip-hop artists during the various stages of the music to show how the fashion and culture has changed over time. Make a class presentation about your findings and explain why these changes occurred.

5. Research the socio-economic status of black Canadians and Americans from 1980 to 2000 and outline how the status has changed. Given your findings, has civil rights progressed much in North America lately?

6. In a class presentation, investigate the notion of rebellion in rock and roll, comparing the idea during the 1960s and in hip-hop. Please note the similarities and differences. Did youth rebel against the same issues?

7. Write a paper about the similarities between the blaxploitation culture and gangsta rap. In the process watch two blaxploitation films and listen to four gangsta rap albums. What are the differences and similarities between the two subcultures that have been portrayed in film and disc?

8. Find photos of African American activists during the mid to late 1960s and rappers during the last few years and the 1980s and the early 1990s. How did their clothing, hairstyles, and other cultural elements compare with one another? Make a class presentation on the results.

9. Write a paper about the importance of dance in rock and roll. Sample from the various time periods of rock and roll, but pay special attention to break dancing and its significance for hip-hop culture.

10. Research and write a paper about the gangsta rap artists of the 1990s and 2000s and compare them to the gangsters of the 1920s and 1930s such as Al Capone and John Dillinger. What similarities did they have and how did they differ?

LISTENING TO MYLAB Click here to listen to "Does Russell Simmons Serve Hip-Hop?" http://www.npr.org/templates/story/story.php?storyId=10706519 Click to hear "Hip-Hop under Fire: Part I" http://www.npr.org/templates/story/story.php?storyId=9938374 Click here to listen to "A Look at Hip-Hop Beyond the Beats and Rhymes" http://www.npr.org/templates/story/story.php?storyId=7498468 Click to listen to "Author Comes to Hip-Hop Music’s Defense" http://www.npr.org/templates/story/story.php?storyId=11829316

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Click to hear "Hip-Hop under Fire" http://www.npr.org/templates/story/story.php?storyId=9956458 Click to listen to "Break Dancing, Present at the Creation?" http://www.npr.org/templates/story/story.php?storyId=1151638 Click to hear "Ice-T Looks Back at ?New Jack City" http://www.npr.org/templates/story/story.php?storyId=4815101

BIBLIOGRAPHY AARON, CHARLES. “What the White Boy Means When He Says Yo.” Spin (November 1998), pp. 114–130.

AZERRAD, MICHAEL. “Public Enemy.” Rolling Stone, September 22, 1988, p. 32.

———.“When Things Get Heavy.” Rolling Stone, November 3, 1988, p. 112. “Bad Rap.” Time, September 1, 1986, p. 20.

BATEY, ANGUS. “Spin City.” Mojo (August 2003), pp. 56–62.

BERMAN, ERIC. “The Godfathers of Rap.” Rolling Stone, December 23, 1993/January 6, 1994, pp. 137–142.

BOZZA, ANTHONY. Whatever You Say I Am: The Life and Times of Eminem. New York: Crown, 2003.

CONALLY, MICHAEL. “Hip-Hopping to the Beat: The Reggae Rap Connection.”

Billboard, June 9, 1990, pp. R3–4.

CONSIDINE, JOHN.“2 Turntables and a Loud Guitar.” Guitar World (November 1997), pp.

43–48.

D, CHUCK, with YUFUF JAH. Fight the Power: Rap, Race and Reality. New York: Delacorte, 1997.

DEMOTT, JOHN. “Have Gang, Will Travel.” Time, December 9, 1985, p. 34.

ELISCU, JENNY. “50 Cent Goes Hollywood.” Rolling Stone, November 25, 2004, p. 18.

EX, KRIS. “Jay-Z.” Vibe (December 2000), p. 130.

FARLEY, CHRISTOPHER JOHN. “Songs in the Key of Lauryn Hill.” Time, September 7, 1998, pp. 70–72.

FERNANDO, S. H. The New Beats: Exploring the Music, Culture and Attitudes of HipHop. New York: Anchor, 1994.

FLANAGAN, BILL. “Black History: Speech Meets Curtis Mayfield.” Musician (June 1993), pp. 58–67.

FUCHS, LAWRENCE. The American Kaleidoscope. Hanover: University Press of New England, 1991.

George, Nelson, Sally Barnes, Susan Flinker, and Patty Romanowski. Fresh: Hip Hop Don’t Stop. New York: Random, 1985.

GOLD, JONATHAN. “The Day of the Dre.”Rolling Stone, September 30, 1993, pp. 39–43. .

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HAMILTON, TISH. “Rap It Up.” Rolling Stone, July 12–26, 1990, p. 109.

HEIBUTZKI, RALPH. “The Hip Hop Revolution.” Goldmine, May 24, 1996, pp. 20–69.

HENK, RONALD. “Kids Are Killing, Dying, Bleeding.” Fortune, August 10, 1992, pp. 62– 69.

HOCHMAN, STEVE. “NWA: Keeping Attitude Alive.” Musician (March 1991), pp. 59–61, LADOUCEUR, LISA. “The Revolution Will Not Be Colorized.” Pulse (November 1998), pp. 48–49.

LELAND, JOHN. “Rap and Race.” Newsweek, June 29, 1992, pp. 47–52.

LIGHT, ALAN. “Ice.” Rolling Stone, August 20, 1992, pp. 29–31.

———. “L.A. Rappers Speak Out.” Rolling Stone, June 25, 1992, pp. 15–21.

———. “Rappers Sounded Warning.” Rolling Stone, July 9/23, 1992, pp. 15–17.

MARTINEZ, GERALD, DIANA MARTINEZ and ANDRES CHAVEZ. What It Is… What It Was!:Black Film Explosion of the ‘70s in Words and Pictures. New York: Hyperion, 1998.

MCADAMS, JANINE. “A Message of Peace Outta Compton.” Billboard, May 5, 1990, p.

26.

MCFARLAND, MELANIE. “Revolution Flows from the Verses of the Last Poets.” Seattle Times/Post Intelligencer, April 30, 2000, pp. M1–3.

MITCHELL, SUSAN. “The Next Baby Boom.” American Demographics (October 1995).

NATHAN, DAVID. “Jungle Brothers Bear Civilized Message.” Billboard, March 3, 1990, p. 30.

———. “Next Big Miss Thang: Lauryn Hill.” Pulse (March 1999), pp. 29–31.

———.“Rap.” Billboard, December 24, 1988, pp. R1–80.

PARELES, JON. “How Rap Moves to Television’s Beat.” The New York Times, January 14, 1990, Section 2, pp. 1–2.

———.“Run-D.M.C.” Rolling Stone, July 18/August 1, 1985, p. 24.

PERKINS, WILLIAM ERIC, ed. Droppin’ Science: Critical Essays on Rap Music and Hip Hop Culture. Philadelphia: Temple University Press, 1996.

RO, RONIN. Gangsta: Merchandizing the Rhymes of Violence. New York: St. Martin’s, 1996. ROWLAND, MARK. “Crap Killer.” Musician (January 1993), pp. 37–40.

RULE, SHEILA. “Rappers’ Words Foretold Depth of Blacks’ Anger.” The New York Times, May 26, 1992, p. B1–2.

RUSSELL, LISA. “M.C. Hammer.” People, June 24, 1990, pp. 59–60.

SAMUELS, ALLISON. “From Raunch to Romance.” Newsweek, April 6, 1998, p. 68.

———.“Straight Outta Cleveland.” Newsweek, July 28, 1997, p. 68.

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———, N’GAICROAL and DAVID GATES. “Battle for the Soul of Hip Hop,” Newsweek, October 9, 2000, pp. 58–70.

SAMUELS, DAVID. “Yo! MTV Unwrapped.” Spin (September 1991), pp. 44–45.

SANNEH, KELEFA. “Gettin’ Paid: Jay-Z, Criminal Culture and the Rise of Corporate Rap.” New Yorker, August 20 & 27, 2001, pp. 60–76.

SHAW, WILLIAM. “A Bronx Tale.” Details (November 1998), pp. 177–195.

SPADEY, JAMES, CHARLES LEE and HESHAM SAMYALIM. Street Conscious Rap, Philadelphia: Loh, 1999.

STOUT, GENE. “L.L. Proves Cool.” Seattle Post-Intelligencer, May 17, 1991, What’s Happening, p. 5.

TEENAGE RESEARCH UNLIMITED.“ Teenagers Stirring a Melting Pot.” Press Release, 1998.

———. “Teens Spend $103 Billion in 1996.” Press Release, 1996.

TOOP, DAVID. Rap Attack 2: African Rap to Global Hip Hop. New York: Serpent’s Tail, 1991.

“Top Albums of the 90s.”Spin (September 1999), pp. 122–142.

WATSON, ALBERT. “Sugar Hill.” Details (November 1998), pp. 151–153.

WHITE, ARMOND. Rebel for the Hell of It: The Life of Tupac Shakur. New York: Thunder’s Mouth, 1997.

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Chapter 21 Metal Gumbo: Rockin’ in the Twenty-First Century OVERVIEW This chapter charts the resurrection of hard rock at the turn of the 20th century with a variety of styles and sounds in a style loosely called nu-metal. It begins with the merger of grunge and rap, continued with funk-rap and focuses on the rap metal explosion of bands such as Rage Against the Machine, Limp Bizkit, Kid Rock, and Linkin Park.

Tracing the popularity of the genre to a new generation that experienced economic difficulties and the 9/11 attack, the chapter ends with the triumph of a nu-metal that featured such acts as Nickelback and Disturbed.

LEARNING OBJECTIVES • • • •

Understand the various permutation of a rock genre, especially heavy metal.

Comprehend the hybrid nature of rock and roll.

Pinpoint the economic impact on the changes in rock and roll.

Focus on the impact of shifting demographics on rock and roll.

DISCUSSION QUESTIONS 1. Compare and contrast the many forms of metal during the 1990s.

2. Compare 1990s metal with the original heavy metal of the late 1960s.

3. Discuss the importance of economic and political events on the development of heavy metal during this period.

4. How did the changing U.S. demographics help promote nu-metal?

5. Talk about the business model for heavy metal during the 1990s compared to earlier examples of the genre.

6. Discuss the connection between heavy metal and youth rebellion, paying special attention to heavy metal during this time period.

7. Discuss the role of women in heavy metal.

ASSIGNMENTS 1. Research the history of heavy metal and place the nu-metal of the late 1990s and early 2000s in a historical context. How and why did heavy metal change during this period?

2. Make a presentation about rock and roll as a hybrid musical form. Give some early examples of rock as a combination of different styles and then discuss nu-metal in this context.

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3. Listen to albums by Rage Against the Machine, the Red Hot Chili Peppers, Nickelback, and Kid Rock. Write a paper comparing the sounds of the bands.

4. Research the economic and social climates of grunge and of nu-metal. How did the two differ, and how were they the same? Then, write a paper about your findings and explain why the two types of music merged during this period.

5. Research the ways that different types of heavy metal have been promoted and spread from 1969 to 2000. How have the marketing methods changed and why?

LISTENING TO MYLAB Click to listen to "’Flea’ Goes Back to School" http://www.npr.org/templates/story/story.php?storyId=95101406

BIBLIOGRAPHY BIENSTOCK, RICHARD. “True Believers.” Guitar World (November 2002), pp. 56–64.

DEROGATIS, JIM. “Deftones: Feed your Head.” Guitar World (September 2003), pp. 7482.

DIPERNA, ALAN. “Dirty Minds.” Guitar World (April 2002), pp. 49–52.

———.“Getting Better All the Time: Red Hot Chili Peppers.” Guitar World (August 2002), pp. 62–68.

“Faith No More.” Guitar Magazine (September 1992).

FLICK, LARRY. “Wind-Up’s Creed Has ‘Weathered’ Success.” Billboard, November 10, 2001, p. 1.

GABRIELLA “Interview with System of a Down.” New York Rock (November 2000).

———.“Interview with David Draiman of Disturbed.” New York Rock (July 2001).

GARBARINI, VIC. “60 Minutes with Slayer’s Kerry King.” Guitar World (February 2002), p. 40.

———. “60 Minutes with Marco Curiel.” Guitar World (September 2002), p. 42. GILL, CHRIS. “Got the Life.” Guitar World (April 1999), pp. 45–48.

———.“Raising Hell: Rob Zombie.” Guitar World (April 1999), pp. 56–62.

GRAFF, GARY. “Meet Kid Rock.” Guitar World (February 2002), pp. 57–64.

HEATH, CHRIS. “Creed’s Stairway to Heaven.” Rolling Stone, February 28, 2002.

KNIGHT, SIRONAand MICHAEL STARWYN. “Interview with Brandon Boyd of Incubus.”

Blue Sky, (http://www.dcsi.net/~bluesky/incub82.htm) “Mike Bordin.” Kerrang, October 20, 2001.

“The New Power Generation.” Guitar World (September 2001), pp. 65–74 NUGENT, BENJAMIN. “Rock at the Top.” Time, December 17, 2001, p. 78.

PAUL, ALAN. “Milk Money.” Guitar World (May 2002), pp. 49–52. .

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RESSNER, JEFFREY. “Thrashers Pay Tribute To Rap.” Rolling Stone, August 8, 1991, p.

21.

ROESNER, STEVE. “Anthrax: Spreading the Metal.” Goldmine, April 17, 1992, pp. 26–29.

SOGHOMONIAN, TALIA. “Interview with Corey Taylor of Slipknot.” New York Rock.

(March 2002).

THORGREN, KRISTEN. “Interview of Joey with Slipknot.” September 9, 1999.

WOLFORD, JASON. “Incubus.” Shoutweb, (April 2000).

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Chapter 22 Life in Wartime OVERVIEW This chapter pays special attention to the impact of such social trends as climate change and the war in Iraq on rock and roll. It starts with an outline of global warming and the seemingly endless U.S. involvement in Iraq and shows the reaction of rock musicians and fans of all types against George Bush during the 2004 Presidential election, based upon his policies in these two areas. With the re-election of Bush, the continued war in Iraq, and worsening climate change, rock fans favoured socially conscious singer songwriters like Ben Harper and rappers like Kanye West. This chapter goes on to describe the growth of country rock in the wake of a politically conservative movement in the U.S., symbolized by the so-called Tea Party.

LEARNING OBJECTIVES • • • • • • • • •

Understand the connection between trends such as climate change and rock and roll.

Comprehend the effect of the Iraq War on rock music.

Comprehend the impact of politics on rock and roll.

Pinpoint the different reactions of different age groups to the stress of social and climate change.

Identity the importance of rock and roll as a voice for social justice and change.

Understand the close connection to the economy, the social mood of the country, and the popularity of certain genres of rock and roll.

Show the continuing importance of country music in rock and roll.

Understand the changing role of rebellion in rock and roll.

Focus on the changing role of gender in rock history.

DISCUSSION QUESTIONS 1. Compare the singer songwriters of the early 2000s with those of the 1960s.

2. How have wars, especially the war in Iraq, affected rock music?

3. What influence does the economy, society, and the environment have on rock music?

4. How did the different age groups of youths respond differently to the same social upset?

5. How did the hip-hop of Kanye West compare with that of 50 Cent and how did it differ?

6. How and why did rock acts respond to politics from the 1970s to the 2000s?

7. Discuss the notion of rock and roll rebellion in the 1960s and compare it with that of rock and roll in 2010. .

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8. Describe the influence of country music on rock and roll, paying special attention to the country rock of the 1990s and 2000s.

9. Compare the lyrical content and messages of the 1970s country rocks with that of the country rock artists in 2010.

10. Compare the involvement of women in rock and roll during the 2010 country rock and late 1960s heavy metal.

ASSIGNMENTS 1. Write a paper about the U.S. involvement in Iraq and its impact on rock and roll.

Why did the U.S. enter the war, what effect did it have on the U.S. and the Middle East, how did it impact presidential politics and why did rock acts speak out against it?

2. Analyze the impact of global warming on the world, with a special emphasis on North America. After gathering the facts about global warming, why do you think many rock acts as well as their young fans were so worried about it? Were (and are) their fears founded on fact?

3. Make a presentation comparing the singer-songwriters of the 1970s with the singer- songwriters of the 2000s. What similarities and what differences did they exhibit? Compare their socio-economic backgrounds and their fan bases. Did they have the same motivations?

4. Compare and contrast the socially conscious hip-hop of Kanye West and that of Public Enemy. Make a class presentation about the differences and similarities between the two approaches and give reasons for any differences.

5. Write a paper about the prevalence of country music in rock and roll from the time of Elvis to today. Why has it been so prevalent and why does it ebb and resurface ovetime?

6. Make a class presentation about the role and image of women in rock and roll today.

7. Interview 30 people about their favourite artists and genres in rock today. What did you find and compare it to the latest Billboard charts. What do your findings tell us about the future of rock and roll?

8. Make a presentation about the three major generations since the inception of rock and roll. In 2010, what music did these groups listen to and give some reasons why at least some people in each generation listened to country rock. What does this tell us about rock and roll as a vehicle for youth rebellion?

BIBLIOGRAPHY BLAGG, CHRISTOPHER. “Protest Song is Back—with a Vengence.” Christian Science Monitor, June 4, 2004. http://www.csmonitor.com/2004/0604/p11s01-almp.html.

Bromley, Adrian. “Disturbing the Mainstream: Dani Filth.” Chronicles of Chaos. March 3, 2003. http://www.chroniclesofchaos.com Bureau of Labor Statistics. United States Department of Labor. “Local Area Unemployment Statistics: Alterative Measures of Labor Underutilization for States, 2010.” http://www.bls.gov/lau/stalt10q4.htm .

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CIRCLE STAFF. “Youth Voting in the 2004 Election.” The Center for Information and Research on Civic Learning and Engagement., November 8, 2004.

Crowley, Michael. “The Tea Party’s Triumph. Time. August 15, 2011, pp. 34-41.

Darden, Beville. “Blake Shelton.” The Boot. September 6, 2011. http://www.theboot.com/2011/09/06/blake-shelton-footloose/ DE SOLA, DAVID. “The Politics of Music.”CNN.com, August 29, 2004. http://www.cnn.com/2004/ALLPOLITICS/08/29/gop.music.

DeMain, Bill. “Ben Harper: Stardust Melodies.” Performing Songwriter (March/April, 2006), pp. 56-64.

DICKINSON, TIM. “The Youth Vote.” Rolling Stone, November 11, 2004, pp. 50–7.

Dunham, Nancy. “Trace Atkins Talks Tea Party.” The Boot. September 18, 2010. http://www.theboot.com/2010/09/18/trace=adkins-anderson-cooper FARHI, PAUL. “Party Music: Rock and the Blues.” Washington Post, September 2, 2004. http://www.wshingtonpost.com/wp-dyn/articles/A54835-2004Sep1.html.

FRICKE, DAVID. “Showdown in D.C.” Rolling Stone, November 11, 2004, pp. 19–22.

Grow, Kory. “Black Heart’s Procession.” CMJ feature, 2007. http://prod1.cmj.com/articles/display-article.php?.id+49547329.

“Hip-Hop Summit.” HSAN Homepage. http://www.hasan.org/Content/main. aspx?pageid=10.

“Irrelevant Pop Stars Unite Against Bush.” Onion Funnies, October 16, 2004.

KALET, HANK. “The Music of Politics.” Populist, 2004.http://www.populist. com/04.16.kalet.html.

MALERNEE, JAMIE. “Youth Vote Lost in Large Turnout During the 2004 Presidential Election.” South Florida Sun Sentinel, November 7, 2004 http://www. sun.sentinel.com/news/local/florida/sfl-cyouthvote MCEVOY, CHRIS. “Political Rock 2004.”National Review, August 9, 2004. http://www.nationalreview.com/script/printpage.asp?ref+/mcevoy/mcevoy200408090 832.

Morgan, David. “Most Americans say U.S. in Recession despite Data: Poll.” April 28, 2011. Thomson Reuters http://www.reuters.com/assets/print?aid+USTRE73R3WW20110428 MOVEON.ORG. Homepage. http://www.moveon.org/about/.

MTV/CBS Poll: Environment. “13 to 24 Year Olds” May 30 to June 9, 2006.

MUSIC FOR AMERICA. Homepage, October 15, 2003. http://www.musicforamerica. org/about. NEW YORK TIMES/CBS NEWS/MTV POLL “17 TO 29 YEAR OLDS,” JUNE 15-23, 2007.

NEAL, CHRIS. “BACK FROM BEDLAM.” PERFORMING SONGWRITER (NOVEMBER 2007), PP. 52-50. .

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NOONE, CARL, Jr. “Politics in Music.” Raves, 2004. http://www.raves.com/features/vote2004.htm.

PERCY, WILL. “Rock and Read: Will Percy Interviews Bruce Springsteen.” Double Take, 1995.http://www.doubletakemagazine.org/mag/html/backissues/12/steen.

Pew Research Publications. “Public Attitudes toward the War in Iraq: 2003-“, March 19, 2008. http://preresearch.org/pubs/770/iraq-war-five-year-anniversary.

PollingReport.com: Environment. “Americans 18 or older.” 2007.

PROZAK, SPINOZA RAY. “Interview: Quorthon.” Anus 2002. http://www.anus.com/metal/about/interviews/quorthon.

PUNKVOTER.Homepage and related pages. http://punkvoter.com/about/about.php.

Seattle Times, “Singer’s Rant on Obama Causes ESPN to Pull Intro. ”October 4, 20011, p. C1-C4.

SPRINGSTEEN, BRUCE. “Singing Out for Change.” Seattle Post Intelligencer, August 12, 2004, p. B7.

SMIGELSKI, JOSEPH. “Rockers are Urging Young People to Go Out and Vote Against George W. Bush.” Intervention, July 22, 2004. http://www.intervwentionmag.com.

Smit, Jackie. “Dimmu Borgir.” Chronicles of Chaos. May 8, 2007. http://www.chroniclesofchaos.com ———. “Lords of the Left Hand.” Chronicles of Chaos. September 9, 2007. http://www.chroniclesofchaos.com STOUT, GENE. “Politics Brings out the Passion in Patti Smith.” Seattle Post Intelligencer, August 13, 2004, entertainment weekly section. http://www.seattlepi.nwsource.com/pop/186036_pattismith13.html.

Schwartz, Paul. “An Extreme Rebel Conversation with Satyr.” Chronicles of Chaos.

April 3, 1999. http://www.chroniclesofchaos.com ———. “In Deep with the Deacons of the Dark Castle: Chats with Shagrath and Silenoz.” Chronicles of Chaos. April 29, 2004. . http://www.chroniclesofchaos.com THILL, SCOTT. AlterNet, September 17, 2004. http://www.alternet.org/mediaculture/19911/ “Time for Change.” Rolling Stone, October 14, 2004, pp. 65–70.

TOURE. “Eminem: The Rolling Stone Interview.” Rolling Stone, November 25, 2005, pp.

51–6.

Vallorani, Jared. “Aaron Lewis: The Tea Party’s New Poster Child.” The Patriot Update.

April 19, 2011. http://patriotupdate.com/articles/aaron-lewis-the-teaparty%E2%80%99s-new- poster-child WATKINS, CRAIG S. Hip Hop Matters. Boston: Beacon, 2005.

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Discovery of Global Warming, American Institute of Physics, 2006 http://www.aip.org/history/climate/Public.htm Webster, Tom. Edison Media Research. “National Country P1 Study.” Country Radio Seminar 38, Nashville. March 2007.

Wederhorn, John. “At War with Santa.” Revolver (January 2008), pp. 58-64.

WENNER, JANN. “We’ve Been Misled: Bruce Springsteen Interview.” Rolling Stone, October 14, 2004, pp. 73–6.

WEST, DARRELL, and JOHN ORMAN. Celebrity Politics: Real Politics in America. Upper Saddle River: Prentice Hall, 2003.

Wood, Mikael. “Jack Johnson.” Spin (February 2008), p. 40.

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Chapter 23 The Age of the Internet OVERVIEW This chapter shows how the Internet fundamentally changed rock and roll. It made different types of music more accessible to the general public and shifted the way that people learned about musical groups and styles. It also allowed people to download music rather than buy a physical product at a store, forever changing the business model that the musical industry had used since the beginning of rock and roll. The chapter outlines the growth of the Internet and the download mania of digital music files that ensued, resulting in the popularity of Indie bands. The chapter ends with the negative reactions of the music industry to these changes and reshaping of the business model that had been employed for decades.

LEARNING OBJECTIVES • •

Understand how technological innovations have fundamentally transformed rock and roll.

Comprehend the massive importance of the Internet to popular music by: ◦ Making different musical styles more readily available; ◦ Changing the promotional structure of rock by shifting from major music magazines and radio to Internet radio and peer-generated digital material such as blogs; ◦ Making music immediately available through downloads; ◦ Cutting the costs of music to the consumer, sometimes offering rock and roll for free; and ◦ Changing the distribution methods of music and fundamentally shifting the business model that had been in place for decades.

DISCUSSION QUESTIONS 1. Discuss the impact of the Internet on the music business.

2. How important was the Internet compared to other technology innovations for the history of rock and roll?

3. What new business models developed as a result of the digital format of music?

4. Discuss possible new business models for the music industry.

5. Talk about the change in radio during the past decade and its implications on rock and roll.

6. Pinpoint the different promotional techniques that became available to a band with the advent of the Internet. How have these promotional strategies impacted the music itself?

7. Discuss the styles of music that have become more popular with the Internet. .

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8. What have been the negative aspects of the Internet on rock and roll?

9. How has the Internet affected the cost of music to the consumer? Has the change been positive or negative?

10. How have the ways a rock and roll artist makes money changed with the Internet?

11. Discuss the impact of the iPod on rock.

ASSIGNMENTS 1. Read five past issues of Rolling Stone magazine and follow a rock and roll blog for two weeks. Make a presentation in class about the differences between the two promotional and informational media. What type of media do you prefer and why?

2. Write a paper about the history of radio and its connection to rock and roll. Pay special attention to the change in radio with the advent of the Internet. How has it changed and why? Who controlled radio from 1975 to the present?

3. Compare the business model for rock and roll in the 1950s, the mid 1970s, and today. How have the business models changed and why? What implications does the change in models have for the music?

4. Interview 30 young people about their musical tastes, asking them about their favourite artist and their favourite genre of music. Then, compare your results to the recent Billboard Top 200 album chart. Does your survey coincide with the Billboard chart? If not, why? What do the survey results tell us about musical preferences today?

5. Write a paper about the costs of pre-recorded music during the past 50 years. How has the music industry business model changed, and is it sustainable? How can an established and a new artist financially survive in the current business model?

6. Research and write a paper about the ethics of free digital downloads. Is it something people should pursue and why? How does this trend compare to the development of free classes on the Internet in such MOOC providers as Coursera and edX? 7. Identify a song by the early Rolling Stones and a song by Radiohead. Listen to the songs on a downloaded file from the Internet and then listen to the same music on a vinyl album and a cassette player. Make a class presentation about the similarities and differences in the sound.

8. Find a rock magazine from the 1950s, read several issues of Rolling Stone from the mid 1960s, read several punk fanzines for the late 1970s, and read a current rock blog. Make a presentation to the class about the changes on the printed rock and roll media.

LISTENING TO MYLAB Click to listen to "Exploring TV’s Takeoff on the Internet" http://www.npr.org/templates/story/story.php?storyId=10094272 Click to hear "The Rise and Fall of the Music Industry" http://www.npr.org/templates/story/story.php?storyId=99312293

BIBLIOGRAPHY .

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BBC NEWS. “U.K. Music Sees Record Album Sales.” November 26, 2004.

BBC NEWS. “Downloading ‘Myths’ Challenged.” July 27, 2005. http://news.bbc.co. uk/2/hi/technology/4718249.stm Brown, Lane. “Radiohead, Inc.” Spin (December 2007), pp. 35-6.

Boucher, Geoff and Chris Lee. “A New Record Price: $0.” Los Angeles Times, October 2, 2007.

“Business: A Change of Tune; The Music Industry.” The Economist, July 7, 2007, p. 69.

DEAN, KATIE. “Song-Swap Networks Still Humming.” Wired, October 25, 2004.http://www.wired.com/news/print/0,1294,65427,00.html CNET.com NEWS STAFF. “iTunes Hits 250 Million Downloads.” CNET News.com, January 24, 2005. http://news.com/2102-1027_3-5547939.html?tag=st.util.print Crosley, Hillary. “Ready for Duty.” Billboard, September 22, 2007, p. 70-2.

DALY, SEAN. “10 Million iPods, Previewing the CD’s End.” Washington Post, February 13, 2005, p. A01.

DeMain, Bil. “The Indie Power List.” Performing Songwriter (December 2007), pp. 328.

FEATHERLY, KEVIN. “Long-Time File-Swappers Buy More Music, Not Less.” Newsbytes, April 25, 2002, washingtonpost.com.

Grossman, Lev. “The Battle Over Music Piracy.” Time, May 24, 2007.

Hirschberg, Lynn. “The Music Man: Can Rick Rubin Dave the Record Business?” The New York Times Magazine. September 22007, pp. 24-50.

International Federation of the Phonographic Industry. “Global Music Sales Down 5% in 2001.”April 16, 2002, press release.

———. “Global Music Sales Fall by 7.6% - Some Positive Signs in 2004.” April 7, 2004.

———. “IFPI Digital Music Report 2011: Music at the Touch of a Button.” pp. 1-31.

“Ipsos-Reid: Downloading Music Still Popular in US.” NUA Internet Surveys, June 14, 2002. Kot, Greg. Ripped: How the Wired Generation Revolutionized Music. (New York: Scribner), 2009.

LENHART, Amanda, MARY MADDEN, and PAUL HITLIN. “Teens and Technology.” Pew Internet and American Life Project, July 27, 2005.

Lenhart, Amanda. “How Do They Even Do That? Myths and Facts about the Impact of Technology on the Lives of Teens.” Holtz Center for Science and Technology Studies, Pew Internet and American Life Project.April 2011. Madison Wisconsin. P. 1-57.

Lenhart, Amanda and Rich Ling, Scott Campbell and Kristen Purcell. “Teens and Mobile Phones.” Pew Internet and American Life Project. April 20, 2010. Pp. 1-18. http://www.pewinternet.org.Reports/2010/Teens-and-Mobile-Phones.aspx .

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Levy, Steven. “Pandora’s Music Box.” Newsweek, April 16, 2007, p. E07. “Music Downloads Growing Popular in US.” Ipsos-Reid, February 4, 2002.

NARINE, RYAN. “IFPI: Music Piracy Funding Organized Crime.” AT New York, July 10, 2003.http://www.atnewyork.com/news/print.php/2233501.

PALFINI, JEFF. Teenagers Do Their Talking Online,” The Industry Standard, June 21, 2001. “Pew Internet and American Life Project Findings.” May 2004.

Queenan, Joe. “Broken Record.” Barron’s. April 16, 2007, p. 44.

ROBERTS-WITT, SARAH. “The Internet Generation,” Interactive Week, November 5, 2000.

Seabrook, John. “The Price of the Ticket.” The New Yorker. August 10 & 17, 2009, pp. 34-40.

“Six Million US Net Users Download Music Daily.” Pew Internet and American Life, April 25, 2001.

SULLIVAN, ANDY. “US House Passes Bill Targeting New Song Swappers.” Reuters, September 28, 2004. http://www.reuters.com/printerFriendlyPopup.jhtml?type =topNews&storyID=6358345.

“Teens Prefer Internet to Telephone.” Cyber Atlas, January 31, 2002.

Zickuhr, Kathyrn. “Generations 2010.” Pew Internet Research Center, pp. 1-29. http://www.pewinternet.org/Reports/2010/Generations-2010.aspx.

GENERAL BIBLIOGRAPHY This bibliography consists of the material that I found most useful in the preparation of this book. It does not claim to be a comprehensive survey of the thousands of books and articles about rock-and-roll, but rather it offers the reader a concise guide to rock as a social history. The many quotes and statistics used in this book have been gleaned from these materials. See entries after each chapter.

BUSKIN, RICHARD. Inside Tracks. Avon: New York, 1999.

CHAPPLE, STEVE, and REEBEE GAROFALO. Rock ‘n’ Roll Is Here to Pay: The History and Politics of the Music Industry. Chicago: Nelson-Hall, 1977.

CORNYN, STAN. Exploding. New York: Harper, 2002.

CURTIS, JIM. Rock Eras: Interpretations of Music and Society. Bowling Green: Bowling Green State Press, 1987.

ERLEWINE, MICHAEL, et al., eds. All Music Guide to Rock. San Francisco: Miller Freeman, 1997.

FONG-TORRES, BEN, ed. The Rolling Stone Rock-and-Roll Reader. New York: Bantam, 1974.

———, ed. What’s That Sound? New York: Anchor, 1976.

FOX, TED. In the Groove: The People Behind the Music. New York: St. Martin’s, 1986.

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FRITH, SIMON. Sound Effects—Youth, Leisure and the Politics of Rock. New York: Pantheon, 1982.

GOODMAN, FRED. The Mansion on the Hill: Dylan, Young, Geffen, Springsteen and the Head- On Collision of Rock and Commerce. New York: 1997.

Guitar One Presents Legends of the Lead Guitar: The Best of the Interviews 1995–2000.

New York: Cherry Lane, 2001.

HENDLER, HERB. Year by Year in the Rock Era. Westport, CT: Greenwood, 1983.

“History of Rock-and-Roll.” ABC television series.

HOLT, SID. The Rolling Stone Interviews: The 1980s.New York: St. Martin’s, 1989.

JONES, LANDON. Great Expectations: America and the Baby Boom Generation. New York: Coward, McCann & Geohegan, 1980.

KIEFER, KIT, ed. They Called It Rock: The Goldmine Oral History of Rock ’N Roll, 1950– 1970. Iola: Krause, 1991.

KIERSH, EDWARD. Where Are You Now, Bo Diddley? New York: Dolphin, 1986. LAZELL, BARRY, ed. Rock Movers and Shakers. New York: Billboard, 1989.

LOGAN, NICK, and BOB WOFFINDEN. The Illustrated Encyclopedia of Rock. New York: Harmony, 1977.

MARSH, DAVE, and JOHN SWENSON, eds. The Rolling Stone Record Guide. New York: Random House, 1979.

MILKOWSKI, BILL. Rockers, Jazzbos and Visionaries. New York: Billboard, 1998.

MILLER, JIM, ed. The Rolling Stone Illustrated History of Rock-and-Roll. New York: Random House, 1976.

MOSELY, WILLE. Guitar People, Bismark: Vintage Guitar, 1997. NITE, NORM. Rock On. New York: Popular, 1974.

PARELES, JON, and PATRICIA ROMANOWSKI, eds. The Rolling Stone Encyclopedia of Rock-and- Roll. New York: Summit, 1983.

PEISCH, Jeffrey. “History of Rock-and-Roll.” Television series, 1995.

POLLACK, BRUCE. When the Music Mattered: Rock in the 1960s.New York: Holt, 1983.

RIVELLI, PAULINE, and ROBERT LEVIN, eds. Giants of Rock Music. New York: Da Capo, 1981.

ROBBINS, IRA, ed. The Trouser Press Guide to 90s Rock. New York: Simon & Schuster, 1997.

Rolling Stone, editors of. The Age of Paranoia: How the Sixties Ended. New York: Pocket, 1972.

———. The Rolling Stone Interviews. New York: Paperback, 1971.

———. The Rolling Stone Interviews. Vol. 2. New York: Warner, 1973.

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ROMANOWSKI, PATRICIA, and HOLLY GEORGE-WARREN, eds. The New Rolling Stone Encyclopedia of Rock-and-Roll. New York: Fireside, 1995.

ROXON, LILLIAN. Rock Encyclopedia. New York: Grosset & Dunlap, 1969. SHAW, ARNOLD. The Rock Revolution. London: Collier, 1969.

SMITH, JOE. Off the Record: An Oral History of Popular Music. New York: Warner, 1988.

STAMBLER, IRWIN. Encyclopedia of Pop, Rock and Soul. New York: St. Martin’s, 1977.

STRONG, MARTIN. The Great Rock Discography. 5th edition. Edinburgh: Mojo, 2001.

THORGERSON, STORM, and AUBREY POWELL. 100 Best Album Covers. New York: DK, 1999.

WARD, ED, GEOFFREY STOKES, and KEN TUCKER. Rock of Ages. Englewood Cliffs, N J: Prentice Hall, 1986.

WIENBERG, MAX. The Big Beat. Chicago: Contemporary, 1984.

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