Social History of Rock and Roll

Escrito de difusión que aborda la representación de la juventud y la rebeldía en el cine mainstream estadounidense de fines de los 50. El texto forma parte la publicación Suban el Volumen. 13 ensayos sobre cine y rock (2016), editado por Álvaro García, Iván Pinto y Ximena Vergara. Editorial Libros Calabaza del Diablo, Santiago.

The British Invasion revolutionized the genre of rock and roll, because it brought different music styles and instrumentation together, morphing into new and improved sounds. The Animals' version of " The House of the Rising Sun " set off their music career and opened doors, which incidentally took place during the British Invasion.

The album as an art form emerged in the mid-1960s, in part because rock musicians demanded greater studio autonomy from record companies. However, an underexplored factor contributing to the emergence of the art rock album is how record companies began to market their ‘stars’ as ‘artists’ as a means to sell more records. This article focuses upon how Capitol Records capitalized upon the artistry of the Beatles and the Beach Boys to change the norms of the industry, leading to the increased marketability of the album as a coherent work of art.

A few years ago I presented this paper at Deakin University's Go! Melbourne in the 60s Conference. This resulted in an invitation to present the paper again, this time to a pub crowd at the Cornish Arms in Brunswick (at the Dylan tribute night Bob's Birthday Bash) as well as to perform a few songs with my friend Clive Doak (Jokerman, Blind Wille MacTell, She Belongs to Me and another one I can't remember). It was great to read the paper under a single spotlight to such an appreciative crowd. The full paper is attached here as well as a link to a shorter version of the paper on my blog.

En el mundo occidental, no hay género musical que no sea producto de la mezcla de dos raíces musicales provenientes del profundo espíritu de antiguos humanos: la africana y la celta. Así como devino la historia de las culturas occidentales a lo largo de los últimos cuatro siglos, ambos espíritus estético-musicales se encontraron para convivir en una frenética vorágine de fascinación y horror mutuos. A pesar de ello, sin que se tenga consciente, la combinación de ritmos y sonidos, que han reflejado la visión de mundo de los pueblos africanos y celtas, desembocó también en la amalgama de las expresiones más esenciales de los pueblos: su religión, sus relaciones normativas sociales y políticas, trayendo como resultado una extraña y joven nación, admirada y despreciada, alabada y vilipendiada, Estados Unidos. Hoy más que nunca, cuando pareciera que la nación a quien se señala de ser el imperio de la actualidad se encuentra de nuevo en una fuerte crisis racial, en la que hay señalamientos de injusticias identitarias, es momento de tomar consciencia de que las penas, como la música, no tienen color, edad ni sexo.

From the second half of the twentieth century, in a society still shaken by post-World War II, we see music as a way of escape but also as an affirmation between the youth and the cultures they are involved in.
One of these musical genres that tends to emerge at this time is the so-called Rock'n''Roll, with uncertain origins but very linked to the black reality and the '' american way of life '' is being broadcast a little throughout the world, spreading from the United States to Europe, and evolving steadily in the following decades of the twentieth century and continuing to evolve today in the 21st century.
And it is in the middle of this century that this genre also arrives in Portugal, which despite its limitations and cultural delays is also evolving and becoming more and more identical, gaining an excellent uniqueness.

Disciplina optativa oferecida durante o segundo semestre de 2015 na graduação em História da UnB. Trata-se de discutir a participação política e a história contada por alguns artistas-dissidentes tchecos (o romancista Milan Kundera, os dramaturgos Tom Stoppard e Václav Havel e a banda de rock Plastic People of the Universe) no período que abrange a Primavera de Praga (1968) e a Revolução de Veludo (1989).

Creativity
What's happening
When a person is creative
What's the imagination
Where does it come from
How does it work
How do you evoke creativity
How do we develop situations
And atmosphere to make
These things happen more
How do we transfer
That same creativity
Caught by the ritual
That happens
When the musicians
Play
Or the poets
Read
How do we make it happen
How can we be in that deep place
In ourselves in the midst of all
The other things that are happening

¿Qué es un demonio popular y un pánico moral?,¿Cómo un adolescente que escucha rock and roll se convierte en un demonio popular capaz de desatar el pánico moral en una sociedad conservadora como la mexicana? El presente texto tiene como objetivo develar las respuestas a esas interrogantes, tomando como referente la propuesta teórica que diera el sociólogo Stanley Cohen, acerca de cómo los medios de comunicación propician la construcción de estas dos categorías a partir de la desmedida exacerbación de los hechos en los que se ven involucrados algunos jóvenes. Para el caso mexicano se analizará el proceso que siguió la construcción de los demonios populares y los pánicos morales en torno al rock and roll de los años sesenta, tomando como ejemplo de esta construcción, algunas notas de la revista de programación televisiva de la época Tele-guía, así como de otras publicaciones en donde se deja en claro que la construcción de demonios populares y pánicos morales alrededor del rock continúo aún décadas después.

The essays in this book explore the Nobel laureate’s masks, collectively reflecting upon their meaning through time, change, movement, and age. They are written by wonderful and diverse set of contributors, all here for his 80th birthday bash: celebrated Dylanologists like Michael Gray and Laura Tenschert; recording artists such as Robyn Hitchcock, Barb Jungr, Amy Rigby, and Emma Swift; and 'the professors’ who all like his looks: David Boucher, Anne Margaret Daniel, Ray Monk, Galen Strawson, and more. Read it on your toaster!

Foreword by Nana Mouskouri!

This chapter mines the literature to bring out the richness and heterogeneity of Chinese rock. The first part charts the geography of music as the intersection of situated material space and networked topology. Chinese rock thus assembles disparate elements from the two wests: the capitalist-west and, the western China of the silk roads. The second part addresses the live rock scenes that has mushroomed in cities, some as forces of dissenters, some as state-sanctioned role models, or, as a hybrid form of both.

"Taşlar Kimin İçin Yuvarlanıyor?" 20. yüzyıl sosyal tarihini ana caddelerden, meydanlardan ziyade sokak kültüründen yola çıkarak anlama çabasında olan bir metindir. 20. yüzyılın kaotik siyasi ve sosyal koşulları, Birinci Dünya Savaşı sonrasında başlayan ekonomik buhran modern dünya ideallerini sorgulayan bir kuşağı beraberinde getirmiştir. Dadacılar, gerçeküstücüler, varoluşçular bu koşullarda dikkat çeken bir başkaldırının timsali olmuşlardır. İkinci Dünya Savaşı ve onu takip eden Vietnam Savaşı süreci Birinci Dünya Savaşı'nın sonrasında oluşan bu karşı kültür mirasının sürdürülebilirliğine imkan sağlamıştır. Beat Kuşağı şiirleri ve metinleri, siyahi caz ve blues tınıları, hippi yaşam algısı üzerine Vietnam Savaşı sonrasında rock and roll kültürü yerleşmiş ve buradan beslenen heavy metal ve punk gibi marjinal kültürel yapılar, 20 yüzyılın sosyal koşullarını farklı yönden anlayabilmemiz açısından bizlere çeşitli argümanlar sunmuşlardır. Dönem hangi dönem olursa olsun toplumların bir parçası olan insanların ortaya koydukları sanatsal yaratılar (resim, heykel, mimarî, sahne sanatları, edebiyat ve müzik) o çağı anlamlandırabilmenin şifrelerini içerisinde saklar. "Taşlar Kimin İçin Yuvarlanıyor?"da 20. yüzyılın şifresi bu yüzyılın mahsulü olan bir müzik ve onun etrafında kümelenmiş altkültürel yapılarla deşifre edilmeye çalışılmıştır.
13. yüzyılın Dante’sinin ya da 18. yüzyılda yaşamış Goethe’nin söyledikleri, ya da 14. yüzyılın Giotto’sunun çizdiği dinî figürler nasıl kendi çağını yansıtıyorsa rock and roll’un da 20. yüzyılın ürünü olduğunu görebilmek elzemdir…

Journal of Communication Inquiry http://jci.sagepub.com/ Voices between the Tracks: Disk Jockeys, Radio, and Popular Music, 1955-60 Matthew A. Killmeier Journal of Communication Inquiry 2001 25: 353 DOI: 10.1177/0196859901025004003 The online version of this article ...

“‘This is our music’: Italian teen pop press and genres in the 1960s”, IASPM@Journal 4(2), 2014, pp. 24-43. ISSN: 2079-3871. doi: 10.5429/2079-3871(2014)v4i2.3en.


Popular music studies rarely consider genres as cultural concepts both historically and socially contingent. From a diachronic perspective, music journalistic discourse can be used to examine how music categories are created, named and negotiated between music industry, musicians, critics and fans, either for practical or aesthetic purposes. Italian teen pop magazines in the mid-1960s provide a valuable case study. This article will focus on two Italian teen publications, Ciao amici and Big, between 1964 and 1967, and will connect the rhetoric they used to the rise of youth community in the same period. The genre of musica nostra (music of our own) was introduced to describe the music teenagers were listening to, and suggested the pride of belonging to a community of peers. In the last section I will outline how such an ideology of youth community was connected to authenticity and to specific aesthetic values.

A very rare video of an O.C.D. song which was put down by WMG after 11M+ hits in U-tube, it was uploaded 10 years ago. Neil Young plays as an actor the character of his song, probably is one of the films which he has directed. It is quite sarcastic as is Neil Young's pure style in rock and films. In this video, which he directed himself, it is obvious what provoked him to write this particular song. Outside China, the square is best known for the Tiananmen Square protests of 1989, an armed suppression of a pro-democracy movement in June 1989 by the Chinese government.

Abbie Hoffman (1936-1989) fue un activista estadounidense, fundador del movimiento "yippie" (diminutivo de Youth International Party) y ardiente promotor del anarco/comunismo. En pleno Festival de Woodstock, el domingo 17 de agosto de 1969, alrededor de las cinco de la mañana, interrumpió el show de The Who, para exigir la libertad del manager de los MC5, encarcelado por convidar marihuana a unos agentes encubiertos. Pete Townshend, el guitarrista, lo obligó a bajarse del escenario, no sin antes insultarlo. La leyenda dice que también lo golpeó con la guitarra en la cabeza, pero no hay fotos ni videos, sólo un audio. "Nación Woodstock" llamaría Hoffman al festival que saboteó, consciente del gran negocio de instrumentalizar la mística "hippie". Para él era su público quien redimía al evento. Y durante el juicio por incitar los disturbios de Chicago el año anterior, dijo, muy serio, que ese país "no es un lugar, sino un estado mental; de la misma forma que los sioux llevan su nación consigo".

The Mexican neo-surf music scene, strongly tied to the 1990s resurgence of garage and surf in the United States, is located on a continuum between unintentional surrealism and plain fantasy. Band members and their followers wear floral print shirts and sandals, yet most of them live nowhere near a beach. Others delve into Wild West and frontier imagery even though the closest deserts and borders to their home in Mexico City are several hundred miles away. Others wear Elvis-like outfits or wrestling masks while never having been to Las Vegas or a wrestling arena. Iconographic transfers of this kind, from one culture to another, are nodal when it comes to define neo-surf and its microgenres.

While much historiography on U.S. radio and popular music of the postwar period portrays disk jockeys as having a large degree of freedom, this article challenges this rendition and argues that their autonomy was constrained by a number of institutional and industry pressures. Based on discourses in industry and lay publications, the author argues that disk jockeys were pressured by recording industry largess and station management, which constrained their autonomy and public representations and contradicted the democratic ideology articulated by the U.S. broadcasting industry. Rather than neutral arbiters of public tastes, disk jockeys were complicit in a concerted effort to endow undifferentiated commodities with symbolic capital.

"This is the story of a young woman's journey through the dark minefield of modernity, of a lost soul who searched in vain for joy before finding it in the place where it had awaited her all along. It is a conversion story, written with equal measures of frankness and delicacy. It is also a vivid snapshot of the world of American pop music at century's end. Whatever your faith--or lack of it--you will put down Sunday Will Never Be the Same filled with gratitude for having been given the opportunity to accompany Dawn Eden Goldstein on her pilgrimage from confusion to certainty." -- Terry Teachout, drama critic, The Wall Street Journal