Chapter 8 the 1970S: Rock Offshoots and Responses
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Chapter 8 The 1970s: Rock Offshoots and Responses 1. Rock offshoots and responses a. Rock culture gave the idea of the “rock star” a broad appeal b. Included a reaction to the excesses of corporate rock 2. Ancestors of punk (and new wave, industrial, hardcore, and alternative rock) a. Velvet Underground i. Not successful in commercial terms ii. Based in New York iii. Lyrics focused on sexual deviancy, drug addiction, violence, and social alienation iv. Lead by singer/guitarist Lou Reed and avant-garde violist John Cale v. Self-consciously experimental b. Stooges i. Not successful in commercial terms ii. Michigan-based band iii. Working class ancestors of punk rock iv. Lead by Iggy Stooge (a.k.a. Iggy Pop) v. Known for outrageous stage performances vi. Expressed sentiments of unemployed youth c. New York Dolls i. Not successful in commercial terms ii. Based in New York iii. Cross-dressing American glam rock band iv. Established core features of punk antifashion d. Patti Smith i. New York-based poet, journalist, and singer ii. First rock musician to regularly perform at CBGBs in New York iii. Redefined gender roles in rock culture iv. Often cited as an influence for women in rock 3. Punk rock a. Originated in New York in the mid-1970s b. “Golden age of punk” lasted from 1975 to 1978 c. Rebellion against perceived artifice and pretension of corporate rock d. Exerted a strong influence on alternative rock musicians e. Punk was as much a cultural style as musical genre f. Exploited rock ’n’ roll as a symbol of rebellion g. Opposed standards of traditional fashion but became a fashion system in its own right h. Offered an alternative to progressive rock and its artistic ambitions i. Often purposefully “nonmusical” j. Lyrics stressed dark and ironic subjects 4. Ramones a. The first bona-fide punk band b. Formed in 1974 in Queens, a borough of New York City c. Influenced English punk bands and Los Angeles hardcore bands d. Led by Joey Ramone (real name, “Joey Hyman”) e. Despite their stage names (all had the last name “Ramone”), they were not related f. Jeans and black leather evoked rebellious images of the 1950s g. Staged a British invasion in reverse in 1976 h. Known for short, fast songs with catchy hooks 5. Talking Heads a. Self-consciously artistic and exploratory b. Formed in 1974 by David Byrne, Chris Frantz, and Tina Weymouth in Rhode Island c. Attracted an audience of college students, artists, and music critics d. First album, Talking Heads: 77, achieved critical acclaim e. Influenced by minimalism (use of simple, repeated musical patterns) f. Projected an image of cerebral, nerdy college students g. David Byrne associated with worldbeat music in the ’80s and ’90s h. Along with bands like Blondie, were identified with the term new wave 6. “Psycho Killer” a. Features David Byrne’s trembling, high-pitched voice b. Lyrics delivered in a nervous, stream-of-consciousness manner c. Sung in French and English d. Includes an “inside” reference to the strangling of dancer and choreographer Isadora Duncan 7. The Sex Pistols a. Along with the Clash and the Damned, exemplified ’70s British punk music b. Originally consisted of Glen Matlock (bass), Paul Cook (drums), Steve Jones (guitar), and John Lydon (a.k.a. Johnny Rotten) c. Songs like “Anarchy for the U.K.” and “God Save the Queen (It’s a Fascist Regime) exemplified a nihilistic attitude 8. Reggae music a. Mix of Caribbean folk music and American rhythm & blues b. First rock style to originate in the so-called Third World c. Popularized by the film The Harder They Come starring Jimmy Cliff d. Heart of the music is the interlocking “riddims” of the bass, guitar, and drums 9. Rastafarian movement a. Drew heavily on the work of Marcus Mosiah Garvey b. Associated with a “back to Africa” movement among black Americans c. Ethiopian Emperor Haile Selassie seen as a religious figure d. Associated with special terminology, use of marijuana, and “dreadlocks” e. Often adopted by “Rude Boys,” a Jamaican social category including anyone against “the system” 10. Jimmy Cliff a. Star of the film The Harder They Come b. The first Jamaican musician to gain recognition in the United States c. 1972 recording “The Harder They Come” exemplifies the reggae spirit of individual struggle against oppression 11. Bob Marley a. Led the Wailers b. Reggae’s most effective international ambassador c. Songs are rooted in Rastafarian beliefs d. Appeal and popularity has grown since his death in 1981 12. Popularization of reggae in the United States a. Majority of Americans became conscious of reggae in the mid- to late 1970s b. Eric Clapton’s cover of Marley’s “I Shot the Sheriff” helped popularize the genre c. The Wailers started playing instruments in the 1970s, a nod to the expectations of rock audiences d. Marley’s albums began featuring elaborate covers and extended rock guitar solos 13. Funk music a. Represented a back-to-basics, dance-oriented approach b. Used as a label for popular music characterized by strong dance- oriented rhythms c. Gave expression to the idea of dancing as the social backbone of urban black life d. The term funk comes from a central African term meaning “healthy sweat” e. James Brown’s ’60s soul music was an inspiration for ’70s funk bands f. Reached a pop audience in 1973 with the success of crossover bands like Kool and the Gang, Wild Cherry, and Ohio Players g. Exemplified by bands led by George Clinton (Parliament and Funkadelic) 14. Funkadelic/Parliament a. Bands led by funk musician George Clinton b. Known for spectacular stage shows c. Expressed an alternative black sensibility that reconfigured racial stereotypes as a positive moral force d. Frequently sampled by rap and rock musicians in the 1990s 15. The rise of disco a. In the 1970s was seen as the opposite of rock b. “Disco era” was 1975–1980 c. The term disco emerged from discotheque, which referenced European dance clubs d. Associated with urban black and Latino communities and increasingly visible gay communities e. Popularized by films like Saturday Night Fever (1977) f. Reinstated notions of hierarchy and classiness g. Inspired strong reactions (for and against) h. Some connect the antidisco movement with homophobia 16. Origins of rap music a. Rap emerged in the 1970s as part of hip-hop culture b. Forged by African American, Puerto Rican, and Caribbean American youth in New York City (especially the Bronx) c. Part of a cultural movement seen as a response to the destruction of the traditional family and a way to “civilize” a hostile urban environment d. Features inside references to particular neighborhoods and networks e. Pioneered by local DJs including f. Inspired by a long tradition of semi-improvised stories called “toasts” popular in black communities .