Sidebar: Populuxe Pop historian Thomas Hine has coined the term populuxe to describe the period between 1955 to 1964. Also called the Atomic Age and the Push-button age, it was not only important that products were convenient; they also had to be modern and automatic. Cars had push-button transmissions and the atom logo was ubiquitous. Everything had to be new and disposable. Googie architecture style with its boomerang and tail fins motives are typical of the period. It has been pointed out that Disneyland is a good example of the aesthetics of the period. The division into four kingdoms; Frontierland, Adventureland, Fantasyland and Tomorrow-land, approximated the attitudes of the period. For instance, the neo-pioneer spirit translated to fads such as coon-skin caps, and interest in Daniel Boone and increased sales of early American furniture. Each of the kingdoms represented an aspect of the 1950's American dream; prosperity and affluence, hope for a better future, and Camelot. The effect on teenagers was that they treasured everything that was new; new records, new transistor radios, new dances, new and disposable music. The populuxe vision begins to fade in the early 1960's. The assassination of John F. Kennedy in 1963 was a sure sign that the optimism of populuxe had vanished. 1 Billboard US Chart August 1960 Title Performer Style It's Now or Never Elvis Presley Pop Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini Brian Hyland (16) Teen Idol I'm Sorry Brenda Lee (15) Pop Only The Lonely Roy Orbison Pop Ballad Walk-Don't Run Ventures Proto-Surf The Twist re-charts 1962 Chubby Checker (19) Dance Walkin' To New Orleans Fats Domino R &B cross-over Tell Laura I Love Her Ray Peterson Pop Volare Bobby Rydell Pop Alley-Oop Hollywood Argyles Pop novelty Everybody's Somebody's Fool Connie Francis Pop Billboard US Chart September 1963 Title Performer Style Blue Velvet Bobby Vinton Teen Idol My Boyfriend's Back Angels Girl Group Brill If I Had a Hammer Trini Lopez Folk Heat Wave Martha and the Vandellas Girl Group Motown Hello Mudduh, Hello Fadduh Allan Sherman Pop novelty Then He Kissed Me Crystals Girl Group Spector Sally, Go 'Round the Roses Jayettes Girl Group Surfer Girl Beach Boys Surf-Rock Be My Baby Ronettes Girl Group Spector Candy Girl Four Seasons Pop Brill Blowin' In The Wind Peter, Paul and Mary Folk 2 The 1960’s Dance Craze In 1944, the U.S, levied a 30% federal excise tax on "dancing" night clubs. The Jitterbug was a popular dance with early rock and rollers and prominent on American Bandstand. The Jitterbug (1944) The Loco-Motion (1962) The Madison (1959) The Frug 1963) The Twist (1960) The Hitchhike (1963) The Peppermint Twist (1961) The Monkey (1963) The Hully Gully (1960) The Swim (1964) The Pony (1961) The Jerk (1966) The Watusi (1962) Mashed Potato (1962) Early 1960’s Rock Centers n h ecrsar r n op a an anc ecrs Fae s r ck sce has aaa 3 The Chantels, “Maybe”, 1958 The hielles “Dedicated to the One I Love” 1959 The ill ildin 1958 through 1970’s) e rll Builn s locate at 1619 roaay n e York n te 1940’s it had housed composers from what was then known as Tin Pan lley Tn Pan lley coosers rote or fil roaay scals an te oe seet sc trae er rtn style ecae otate n the mid 1950’s. The changing music market brought difficult times for these songsmiths. Brill became more irrelevant as the 1950’s came to an en cross te street ro te rll Builn at 160 roaay as lon Msc Pulsers one y l ens an on Krsner ey ere eterne tat tey col retrn rll to a center or rtn an rocn ne o sc Wt ter ance rll ean collectn sonrters arraners an artsts an ean rocn sc or te eern rock an roll arket It as te srt o coetton an tn alls tat ele rll coosers an artsts roce lterally thousands of hits during this period. In the early 1960’s there were over 160 sc snesses locate n te rll ln rters lsers sc rnters an rooters. 4 The “Brill Building Sound” is an extension of the Tin an lle Songriting tradition Brill Building Song-riters err eier and ihael Stoller Hound Dog, Jailhouse Rock, Yakety Yak, Love Potion #9, Kansas City Stand By Me err offin and arole King Will You Still Love Me Tomorrow Take Good Care Of My Baby Up On The Roof Barr ann and nthia Weil You’ve Lost That Lovin’ Feeling, On Broadway ore Brill Building oosers llie reenih and eff Barr e ay hael Love o ah i iy, Leae o the a eil Sedaa alena il eaing s a To o Burt Baharah and al avid These agic oments Wishin and opin’, Blue on Blue 5 Song For B Optional introdution A=Verse usuall ars soeties ars A=Verse sae usial idea different lris BBridgehorusefrainiddle 8: ontrasting usial idea A=Verse first usial idea different lris nding fade endings oon Typial Stle Features: • Song for erseVerse-horus-Verse rather than the lues • aneale • Short songs inutes seonds • Wellrodued olished studio sound • Violins and other orhestral instruents • Sile rhing lris • Bau oals • nsignifiant a-eat • o lues or rhth and lues influene • o tang guitar sla ass or honing horns • o strong regional aents 6 hil Setor 1939 The “Tycoon of Teen,” Phil Spector is something of an enigma. At nineteen, e ace Bll Buln oue thirty, e ei-ee elue n eeen oe e e non one o e o ee, nnoative oue n e hiso o o uic e stae ol Stuo n o nele whee e oe, ne, n oue o u ou e l, e Blosso, Bo o n e Blueen, lene oe, n e Ronee e lo oue u o e eou Boe, ene Pney, e n Tn Tune, n onne Fran Phil Spector is best known for his “Wall of Sound” concept: doubling and ln nuen o e ene, oeate oun e euenl e addionl nuen u timn e lo mae e ue o eo n oe ouon enue The 1970’s found him working with the Beatles on the Let t e lu lo, Spector worked on George Harrison’s ll Things ust ass, John Lennon’s agine, n e Ramone En o the entu lu The Wrecking Crew ira otale eers inluded arole ae ass To Tedeso guitar al Blaine drus eon ussell iano and len aell guitar 7 Phil Spector: “Wall of Sound” oublin, and triplin instruents for a heay, saturated sound rchestrated, rittenout arraneents Beatles release Rubber Soul lbu (Dec 65 he albu is ore introspectie and uses non-roc instruents Brian Wilson, influenced by Spector’s production style, coposes Pet Sounds (1966) t ars the beinnin of lbu riented ock he Beatles: Sgt Pepper’s onely earts lub Band An eclectic concept albu t redefined the boundaries of Pop usic he Beatles: Let It Be (1970) he Beatles “swan song” produced by Phil Spector 8 Motown (1961 through Late ‘60’s) After establishing himself as a prominent etroit songwriter in the late 1950’s, Berry Gordy, Jr. borrowed eight hundred dollars from his sister to start his own recording studio in etroit which he named Hitsille .S.A. Gordy capitalied on the fact that etroit had a huge untapped black music market without a iable black recording label or record production facility. Aided by a great studio band, the unk Brothers, the studio released its recordings under the otown, Tamla, Soul, and Gordy record labels. Motown songs were mass-produced and designed to be hits. Motown groups deeloped highly polished stage routines and elaborate ocal harmony. Professional, in-house songwriting teams and choreographers produced groups in a start-to-finish product. By 197, otown was the largest black-owned business in America. err ordy r orrowe 00 ro hs sster to start a reorng stuo nae Hitse .S.A. By the late 1960’s it was the argest a owne usness n era he stuo was oen 22 hours a a etrot ha the ourth argest a ouaton n era wthout a ae ae to gaane the aret. Motown was the raa ntegraton o Po us n the 1960’s 9 Holland Dozier Holland’s Greatest Hits e We ee It s ein e You) Baby ee r Loving I Can’t Help Myself Reach Out, I’ll Be There Standin e Shadow e This er e ere Di Our e Bab e e ee e p e e e Bac s rs Again er A py You Can’t Hurry Love You eep e Hangin’ On tax Reords emhis, 1959-19 ta Reords, also alled oulsille, ..., was the birthlae of soul music in the 1960’s. Founded by brother and sister Jim STewart and arge Axton, tax atured the southern soul maret. nlie Motown’s writtendown arrangements, the ta house band, Booer T and the MG’s used head arrangements (seletal outlines with only hords and melody. eay use of the delayed ba-beat and honing horns beame a ST signature. 10 tis eddin a and Dae e ta Hose and as Booker T and the MG’s e reorded an instrentals Here’s one that we’ve all heard: reen Onons ta onwites 11 How s the Motown rodton stle derent ro ta? 1.Motown ses wrtten sored arraneents 2.Motown akes se o orhestral nstrents strns ltes et. 3.The Motown beat pattern often uses “straight-four” rhth 4.Motown ses horeorahed and hhl olshed stae ats ow is the Motown proution ste ifferent fro ta ta uses “head arrangements” or lead sheets There is er itte use of orhestra instruents The songs hae an iproise feel The rhth setion ephasies the eae ba-beat soun ig horn setions 12 It doesn’t look like much, but some of the biggest soul hits of the e cme out of this studio tists included Wilson Pickett, eth nklin, tis Redding, nd he llmn othes nd me elesed much of its ok unde the tlntic bel Fame tudos n usle hoals laama ur-Rock (Early ‘60’s) Poulied b the 1959 ilm idget, the lifoni sufing ce in the el 1960’s produced its own subculture: more surfing films, California surfboard manufacturers, “woodies,”(wood paneled cars) Pendleton shirts, and its own music Suf-rock became the first “life style” rock.