Rock and the Facts of Life (1970)
( 30 Rock and the Facts of Life (1970) Charles Hamm But let's remember the essence ofpopular music. A song comes on. What do you hear first? Words? Nah, you hear a beat, then a melody. Take 'My Sharona." Ifyou really liked the song, then you took the time to dig out the words, and they're pubescent, dumbo words, but they fit the song. -Billy Joel (Kohut and Kohut 1994, 49) Lyrics will hurt a song is they're too adult, too artistic, too correct. You should shy away .from anything too deep or too happy. -Brill Building songwriter Gerry Goffin (Szatmary 2009, 67) As Charles Hamm, historian of American music, observes in his 1995 introduction to this essay written in 1970, until recently the canon in academic music study largely excluded pop ular ("vernacular") music. In 1970 Hamm suggested that scholars should look outside their largely classical music canon, and take into account a// the various forms of music created and consumed in America. His suggestion met with some remarkably intemperate responses, reminiscent of the worst of '50s rock bashing. Hamm struck out on his own, nevertheless, and produced some of the most influential writing on American popular music. According to Hamm, mainstream commercial pop in the first half of the twentieth century spoke largely about one subject: romantic love between a man and a woman. The ten most popular songs in the week of May 8, 1954 were nearly uniform in this regard, to the exclusion of any other topic.The music was equally homogenous in style.Thus, popular music in the early '50s gave a narrow and distorted view: this music did not question life in America, nor, appar ently did those who listened to it.
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