P1S2: Modernism, 1963-1969

culture: how did the music transition during 1963-1967

experimentation and deeper tension b/w pop and art

• Beach Boys: "Surfin' USA" to "Pet Sounds"

• Beatles: "I want to hold you hand" to "sgt. pepper's lonely hearts club"

politics: role of AMFS (union) during the british invasion

AMFS = union; they wanted to protect American jobs, claimed that they could find the "Beatles" here in the U.S.

• blocked the Beatles from coming to the U.S.

culture: how did the audiences transition during the british invasion

audiences transitioning from younger "in-between" teenagers to high-education teenagers

people: explain the beatles 1.0 (when they were learning the trade)

1957-1962: a skiffle band (jug band w/ folky sound)

people: explain the beatles 2.0

1963-1966: went from national to international (launching themselves into the US market)

• decline from tours to begin experimental music

• recording through EMI + access to technology

• writing their own music

people: explain the beatles 3.0

1967-1970: from musicians to artists

• four- and eight-track recording

• studio = instrument

• LP = format

• orchestral arrangements

• the middle 8

technology: what was the significance of four-track recording (ref. beatles 3.0)

record separately at different times, re-record, splice; all the members of the beatles could record separately and modulate their sounds

music term: middle 8

eight bars in the middle that create contrast and bring the song back to the start

people: who inspired the bee-gees?

they learned their craft by copying the beatles and then (after 10 years) they dipped into African American culture

readings: how does authenticity operate according to Keightley

authenticity operates as a criterion of judgment in rock’s evaluation of music and musicians

• judgement = ideological (romanticism and modernism)

culture: describe the audience during bob dylan’s career (1963-1965)

the new “in-between”; semi-young adults — more people in college, can marry, can go to war, can drive, but can’t vote until 21

culture: why did people during 1963-1965 want to push away from the current jazz to older versions and folk music

the newer jazz during this time was too political (artists putting their sad, pent up, and angry feelings into their music - their instruments sounded like tortured souls)

people: who inspired bob dylan (especially in his early career; beta mode)

Woody Guthrie - he seemed real to Dylan (raspy and unpolished music)

people: who was bob dylan’s first producer?

john hammond

artistic mode: explain bob dylan’s 1.0 sound

his voice was the sound of activism and political efforts for white young adults

• “Freewheelin’ Bob Dylan” - 1963

• Newport Folk Festival, 1963

• March for civil rights - 1964

• freedom summer 1964

places: 1965 newport folk festival

bob dylan notoriously brough an electric guitar on stage; no political sentiments; lyrics were obscure; loud

people: who was bob dylan’s 2nd producer

Tom Wilson (huge impact in electrifying bob dylan)

genre: explain romanticism

the truth is something we left behind

genre: explain modernism

the truth is in us

technology: explain FM Radio

• 1964 FCC “non-duplication rule”

• free-form FM radio

• place of experimentation; no commercial pressure; no sponsors to object to what they were playing

technology: explain the mid-1960s mediascape

distribution of electronic capabilities to produce and disseminate information

culture/event: summer of love

massive migration to San Francisco; “public sphere” (a part of the mediascape)

culture: what did music come to represent during the “summer of love”

represented confusion, plurality (political and cultural radicals), and discourse

people: explain jefferson airplane

• “rejoyce” 1967

• allowed for the streaming of consciousness

music term: stream of consciousness

allowing your mind to go from place to place

people: who inspired janis joplin

Odetta and Bob Dylan (folk and blues); and Otis Redding

technology: how did jimi hendrix impact live performances

the wah-pedal

• moved modernism from the studio to the stage (use of tech gadgets

people: who was Roger Mayer to Hendrix

helped hendrix take technology and put it into little boxes for him to control on stage