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Home , Arena rock, Blue Yodel, College rock, Drive My Car, Hokum, Link Wray

MUS 307 HISTORY OF

UNIQUE NUMBER: 21095 through 21150 INSTRUCTOR: STEPHEN SLAWEK TEACHING ASSISTANTS: Kevin Parme, Carlos Davalos, JaYoung Joo TIME /PLACE: MWF 12 PM in FAC 21; discussion T or Th @ 5, 6, 7 or 8 OFFICE: MBE 3.202 OFFICE HOURS: W @ 2 – 4 PM or by appointment OFFICE PHONE: 471-0671

Rock and Roll is undoubtedly the most popular music ever to have existed. At first thought to be music for only the younger generation, the mixed-generation audiences that exist at rock concerts today and the existence of “” radio stations have proven its staying power. This course will survey the stylistic development of rock music from its beginnings to the present. It will also be concerned with the music and musicians who have created rock’s history and with the social, political and cultural forces that have been at work in that history, particularly with regard to how these have influenced the sound of rock music. The course will begin with a short overview of the fundamentals of musical style to equip students who are new to the academic study of music with the tools necessary to an understanding of stylistic influences in the development of a musical tradition. The course will include a great deal of LISTENING, and you will be expected to develop the ability to recognize various aspects of musical style such as rhythm, form, timbre, etc.

Course Objectives

Students who take MUS 307 will:

1. master a basic vocabulary of musical description, enabling them to describe the characteristics of melody, rhythm and instrumentation of the various styles of rock music; 2. gain an understanding of the important contributions of music in the creation of culture; 3. develop a basic understanding of major "musical styles" in rock music; 4. develop a more extensive knowledge of the people involved in rock music throughout its history; 5. develop a greater capacity for the aesthetic and intellectual appreciation of rock music; 6. develop the means of thinking deeply about the socio-cultural issues that arise within the milieu of rock music (particularly regarding the , race relations, class, gender and sexuality; but also politics, technology, altered states of mind, censorship, and deviance).

Course Requirements

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Required reading: What’s That Sound?: An Introduction to Rock and Its History (3rd edition), by John Covach and Andrew Flory; and The Pop, Rock, and Reader, by David Brackett. I recommend that you stay ahead of the game in reading the materials that are part of this course. While I suggest below the approximate areas of the course that relate to the reading selections, a one-to-one correspondence is not intended. What is most important is that you complete the readings that are assigned for each exam.

Required Listening: The syllabus contains listening assignments linked to practically every class. The great majority of the and other musical pieces in these lists are easily available on YouTube. In addition to YouTube, you can find links to some of the songs listed below in a number of “Playlists” that I will post on Canvas. These playlists are outdated remnants from a previous incarnation of the course, but might be of use to you.

Discussion: Your weekly meeting with one of the teaching assistants is an essential component of this course. This class is your opportunity to clear any questions you have from the primary lectures and to discuss the content of the course at greater length. The discussion section instructor might also introduce new material that doesn’t appear in the MWF lecture, and will also play several of the songs drawn from items in the syllabus that don’t make it into the FAC lectures.. There will be three quizzes administered in the discussion section and most of your participation grade will be based on your performance in this class.

Class time: We will use class time in a number of ways: straight-forward lecture, where I present material and you take copious notes; collective examination of analyses of recorded musical examples as we listen to those examples; viewing video materials (you should try to note main points); possible musical demonstrations; discussion of key issues found in assigned reading; quizzes; addressing any questions you might have regarding course content.

Examinations: The course will include three hourly exams during the regular semester. There will not be a comprehensive final examination during the final examination period. Anything presented in class or contained in the reading is relevant to this course and could appear on an exam. At least 10% of each exam will consist of questions pertaining to reading assignments. It is very likely that the contents of some of these assignments will never make it into the classroom, but it is your responsibility to understand what the main arguments are in the assigned readings. As this course emphasizes the development of intelligent listening practices and the understanding of music as a phenomenon of our sonic environment, each exam will include questions testing your abilities to recognize musical concepts, pieces, groups etc. as represented in their aural form. Because of the large size of the class, the exams will consist of multiple choice, true-false, matching and other types of objective questions and will be graded electronically. Grades will be posted on Blackboard within a few days of each quiz and exam.

Exams occur in FAC 21 on the following dates:

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First hourly exam: February 23, 2015 Second hourly exam: April 3, 2015 Third hourly exam: May 8, 2015

REMEMBER TO BRING A #2 PENCIL TO THE EXAMS

Concert Report: Everyone must attend one musical event featuring Rock music during the semester and write a report (maximum length = 4 pages) describing the nature of the event (concert in an arena/outdoors/club/fraternity party, etc.), the type of music that was performed (, , -based rock, heavy metal, punk, alternative, etc.), who performed the music (i.e., the and something about its members), and the audience (teenyboppers, college-aged crowd, mixed generation, etc.) and how it responded to the music (use of drugs?; danced; stood up throughout; sang along; played air guitar, booed; removed clothing, etc.). In preparing the report, you should also supplement your ideas with some research that will enable you to write more knowledgeably about the music performed. The report is to be turned in to your Teaching Assistant no later than at the beginning of class on Friday, May 1. Additional guidance for this assignment will be posted on Canvas.

Grading: Grades will be determined by a total of earned points. There are 100 points distributed in the following manner:

Exam 1 20% Exam 2 20% Exam 3 20% Participation 15% Quizzes 10% (February 10/12; March 10/12, April 21/23) Research Paper/ 15% Due May 1 (to your TA at the start of class) Concert Report TOTAL 100%

Course Web Site:

Web-based, password-protected class sites are available for all accredited courses taught at The University. Syllabi, handouts, assignments and other resources are types of information that may be available within these sites. Site activities could include exchanging e-mail, engaging in class discussions and chats, and exchanging files. In addition, class e-mail rosters will be a component of the sites. Students who do not want their names included in these electronic class rosters must restrict their directory information in the Office of the Registrar, Main Building, Room 1. For information on restricting directory information see:

SLAWEK: MUS 307 4 http://www.utexas.edu/student/registrar/catalogs/gi00-01/app/appc09.html

The web site for MUS 307 on Canvas will be a useful resource for you throughout the session. An electronic version of this syllabus will be available there, along with other useful materials that will be posted as the course progresses. You should try to visit the course site regularly throughout the semester.

GENERAL POLICIES

While I encourage a relaxed classroom atmosphere open to discussion, there are a few rules of protocol that I find useful to clarify at the outset:

1. Please be reminded of the UT Honor Code: The core values of the University of at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

2. Incompletes will be given only if extenuating circumstances prevent you from completing course requirements. In any case, if you wish that a grade of incomplete (X) be assigned for the final grade, you MUST discuss the matter with me in advance.

3. If you have a question in class pertaining to something in the course content, by all means ask it! If you feel your question might be too removed from the direction of the lecture, you can always e-mail me.

4. Many quiz and exam questions originate in material of class lectures that is not found in the readings. You are encouraged to TAKE THOROUGH NOTES in all classes and obtain notes for any classes you may miss.

5. Any student with a documented disability (physical or cognitive) who requires academic accommodations should contact the Services for Students with Disabilities Area of the Office of the Dean of Students at 471-6259 as soon as possible to request an official letter outlining authorized accommodations.

6. Please review the note on appropriate behavior below.

7. I am usually very prompt in replying to any communication, including e-mail. However, because the volume of e-mail can often get overly burdensome, I WILL NOT REPLY to questions whose answers are contained in this syllabus or in announcements or documents posted on the course web site (e.g., When is the second exam? Is there going to be an exam in the final examination period? How do I access the sound files?)

8. As rock music is not particularly associated with the seriousness of academic inquiry, some students inevitably enroll in this course with the mistaken notion that it will be an "easy A," or a "blow-off course." I can't prevent you from treating the course as a "blow-

SLAWEK: MUS 307 5 off," but I can assure you that doing so will have a disastrous impact on your grade. Rock music is an important part of American culture. It has become important in many other cultures, too. Understanding rock music from various perspectives is not an easy task and will require considerable effort on your part, even if you already know a lot about a large number of bands. Also, it is simply not possible to cover all of the history of rock in one semester, nor is it possible to give attention to all the bands that might deserve some attention. Please keep this in mind if we neglect to mention some of the bands that you consider to be among the great ones.

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Additional information pertinent to the course

Cultural Diversity in the United States Flag

This course carries the flag for Cultural Diversity in the United States. Cultural Diversity courses are designed to increase your familiarity with the variety and richness of the American cultural experience. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one U.S. cultural group that has experienced persistent marginalization.

Lectures Online

This class is using UT's Lecture Online system, which records all of the audio and presentation materials (what is projected on the screen in class) for review later. To access this material, you will need to log into Canvas and click the navigation menu labeled 'Pages' which will display a page with three buttons: Play videos, Help and Make Payment. To view the recordings, press the "Play videos" button and enter your EID information. To review our support page select the "Help" button.

These videos will be available for free until February 4. If you would like to access the material after that date, you will need to purchase access via the "Make Payment" button. This instructional material charge is used to cover the cost of running and maintaining the system.

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Students with a disability will find information regarding the services available to them at the following web page: www.utexas.edu/diversity/ddce/ssd/

* * * * * * * * * * The University provides the following recommendations regarding emergency evacuation from the Office of Campus Safety and Security, 512-471-5767, http://www.utexas.edu/safety/ :

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- Occupants of buildings on The University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated. Alarm activation or announcement requires exiting and assembling outside.

- Familiarize yourself with all exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not be the one you used when entering the building.

-Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class.

-In the event of an evacuation, follow the instruction of faculty or class instructors.

-Do not re-enter a building unless given instructions by the following: Austin Fire Department, The University of Texas at Austin Police Department, or Fire Prevention Services office.

-Behavior Concerns Advice Line (BCAL): 512-232-5050

-Link to information regarding emergency evacuation routes and emergency procedures can be found at: www.utexas.edu/emergency

A Word about Conduct in a College Classroom

To make our time together as valuable as possible, we all have to work hard at it. The following basic principles may give us come guidelines:

Every student has the right to learn as well as the responsibility not to deprive others of their right to learn.

Every student is accountable for his or her actions.

In order for you to get the most out of this class, please consider the following: a. Attend all scheduled classes and arrive . Late arrivals and early departures are very disruptive and violate the first basic principle listed above. b. Please do not schedule other engagements during this class time. You probably wouldn't appreciate it if I did! I will try to make class as interesting and informative as possible, but I can't learn the material for you. c. If you have trouble hearing the lecture or media presentation because of distractions around you, quietly ask those responsible for the distraction to stop. If the distraction

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continues, please let me know. It is often impossible for me to hear such things from my position in the classroom. d. Please let me know immediately if you have any problem that is preventing you from performing satisfactorily in this class.

COURSE OUTLINE

JANUARY 21 Introduction to the course; syllabus; rock out

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Assignment: read the syllabus NOTE: !!Discussion sections will begin on January 27!!

JANUARY 23 Approaches to music history and the anthropological study of music; Qualifying music and creating value: Can ROCK be SERIOUS? (I mean, seriously?)

Assignment: Create a diary over the weekend detailing the kinds of music you encounter, how you encounter it, and how you respond to it. Be prepared to discuss your results in your discussion class and hand in a written document of your diary.

JANUARY 26 Issues in the study of rock music: defining rock music (it’s the beat, the beat, the beat); music typology; popular music or mass music? Theodor Adorno and the Frankfurt School/Stuart Hall and the Birmingham School of Cultural Studies READ: Introduction, pp. 3-8 in What’s That Sound?

JANUARY 28 How to study musical sounds: formal structures in music: scales, rhythms, chords, forms, genres READ: Introduction, pp. 8-33 in What’s That Sound?

LISTEN: “Green Onions,” “Sh-Boom,” “Heartbreak Hotel,” “Great Balls of Fire,” “Can the Circle Be Unbroken,” “That’ll Be the Day”

JANUARY 30 The Roots of Rock: Minstrelsy as the first synthesis; Blackening White music and Whitening Black music; and LISTEN: “Old Joe Clark,” “Boatman’s Dance,” “Maple Leaf Rag”

FEBRUARY 2 The Six Streams of 1900-1950; and the birth of modern popular and the apparatus of the music industry in American music; The Blues and its itinerary through a variety of genres: early , Classic Blues, READ: Chapter 1, pp. 39-45 and 47-50 in What’s That Sound?, #1, 2, 3, 6, 7, 8 in Brackett

LISTEN: “Somewhere Over the Rainbow” sung by Judy Garland; King Oliver’s “Dippermouth Blues,” “Backwater Blues,” and “St. Louis Blues” sung by ; “Come on in My Kitchen,”

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FEBRUARY 4 Syncopated dance music, the emergence of Swing Bands and the crooners; Blues; Boogie Woogie READ: Chapter 1, pp. 50-56 in What’s That Sound?; #4 in Brackett

LISTEN: Fletcher Henderson’s “Copenhagen,” “Jumpin’ at the Woodside,” by Count Basie; Hokum Boys, “It’s Tight Like That,” Pine Top Smith, “Pine Top’s Boogie,” Joe Turner, “Roll’em, Pete”

FEBRUARY 6 Regional music in Country and Country & Western (You can take the folk out of the country, but you can’t take the country out of the folk); The Carter Family and Jimmie Rodgers; the Folk Stream READ: Chapter 1, pp. 45-47, 56-60, and 64-65 in What’s That Sound?; #13, 14, in Brackett

LISTEN: The Carter Family, “ Wildwood Flower,” Jimmie Rodgers, “Waiting for a Train” and “ No. 11”; Bob Will’s and His Texas Playboys, “ Rag”

FEBRUARY 9 Race Music becomes after WWII; The , Louie Jordan and the Tympany 5; Ruth Brown and Atlantic Records READ: Chapter 1, pp. 60-63 and 66-73 in What’s That Sound?; #9, 10, 11, 16, 18 in Brackett

LISTEN: Louie Jordan and the Tympany 5, “Choo Choo Ch’ Boogie”

Quiz 1 in Discussion Section this week

FEBRUARY 11 Rhythm and Blues, continued. Chicago and the emergence of ; Doo Wop in two styles READ: reread the sections of Chapter 1 that deal with the various types of the blues

LISTEN: Muddy Waters, “I’m Your Hootchie Cootchie Man”; John Lee Hooker, “Boogie Chillin’”; Bo Diddley, “Hey, Bo Diddley”

FEBRUARY 13 The Emergence of the Seventh Stream (“Some white boy called it rock and roll, and it stuck!”) Deejays, independent radio stations

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and the new apparatus for creating hits in the industry; Crossovers and Covers READ: Chapter 2, pp. 74-86 in What’s That Sound?; #19 in Brackett

LISTEN: Joe Turner, “Shake, Rattle and Roll”; Bill Haley and the Comets, “Shake, Rattle and Roll”; The Chords, “Sh-Boom” and The Crew Cuts, Sh-Boom”

FEBRUARY 16 The first artists of rock and roll: and Little Richard turn Boogie Woogie into Rock and Roll; Fats Domino provides a non-threatening side of Rhythm and Blues to white teens READ: Chapter 2, pp. 86-95 in What’s That Sound?; #20, 21 in Brackett

LISTEN: Chuck Berry, “Maybellene,” Roll Over, Beethoven,” and Johnny B Goode”; Little Richard, “Long, Tall Sally,” “Tutti Frutti”; Fats Domino, “Ain’t That a Shame”

FEBRUARY 18 Bill Haley and the Comets set the pace; Sun Records becomes the epicenter of rockabilly: Elvis Presley is crowned The King; Jerry Lee Lewis, aka The Killer; Carl Perkins wears “Blue Suede Shoes.” READ: Chapter 2, pp. 95-103 in What’s That Sound?; #22, 23 in Brackett

LISTEN: Bill Haley, Rock Around the Clock”; Elvis Presley, “That’s All Right, Mama,” “Mystery Train,” “Good Rockin’ Tonight,” “Hound Dog,” “Heartbreak Hotel”

FEBRUARY 20 Rockabilly goes West: Buddy Holly and the Crickets; introduce the rock ballad in close harmony; Ritchie Valens is rock and rolls first Chicano star. READ: Chapter 2, pp. 104-106 and Chapter 3 pp. 139-141 in What’s That Sound?

LISTEN: Buddy Holly and the Crickets “That’ll Be The Day,” “Not Fade Away,” “Well, Alright”; The Everly Brothers, “All I Have to Do is Dream”

FEBRUARY 23 FIRST HOURLY EXAM

FEBRUARY 25 The Empire Strikes Back: the establishment works to undermine rock and roll while also making money from it; schlock rock and

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other responses to rock and roll; the payola scandal; early commercial folk music; The decade of the 1960’s: rock and roll, and it’s generation, matures READ: Chapter 2, pp. 106-111 and Chapter 3, pp. 112-116 in What’s That Sound?; #24, 25 in Brackett

LISTEN: The Kingston Trio, “Tom Dooley,” “Where Have All the Flowers Gone”; Peter, Paul, and Mary, “Puff the Magic Dragon,” “If I Had a Hammer”; , “Blowin’ in the Wind,” Frankie Avalon, “Why?,” “Venus”

FEBRUARY 27 R & B in the early 1960s gets a new beat; the rise of the producer; Girl Groups come to the front of the stage; The Twist gives rock and roll a dance READ: Chapter 3, pp. 116-119, 126-138, and Chapter 6, pp. 222- 235 in What’s That Sound?; #26 in Brackett

LISTEN: The Shirelles, “Will You Love Me Tomorrow”; The Ronnettes, “Be My Baby”; The Supremes, “Baby Love,” “Come See About Me,” “Stop! In the Name of Love”; The Drifters, “Save the Last Dance for Me,” “On Broadway”; Chubby Checker, “The Twist”

MARCH 2 Roy Orbison updates rockabilly; The West Coast generates a new sound in Surf Rock; The Beach Boys become the model for up- and-coming rock bands. READ: Chapter 3, pp. 141-153 in What’s That Sound?; #27 in Brackett

LISTEN: Roy Orbison, “Oh, Pretty Woman”; and the Del-Tones, “Let’s Go Trippin’,” “Miserlou”; , “Wipeout”; , “”; , “Walk, Don’t Run,” “Out of Limits”; Link Wray, “”; The Beach Boys, “Surfin’ USA,” “I Get Around,” Don’t Worry Baby”

MARCH 4 and their impact on popular music READ: Chapter 4, pp. 154-166 in What’s That Sound?

LISTEN: Lonnie Donegan and his Skiffle Group, “Rock Island Line”; The Quarry Men, “That’ll be the Day”

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MARCH 6 The Beatles, phase 1 & 2: from Rock and Roll to , , and new directions READ: Chapter 4, pp. 166- 174 in What’s That Sound?; #36, 37 in Brackett

LISTEN: The Beatles, “Love Me Do,” “Please, Please Me,” “I Want To Hold Your Hand,” “She Loves You,” “Yesterday,” “Hard Day’s Night,” “HELP!,” “You’ve Got To Hide Your Love Away,” “Drive My Car,” “Norwegian Wood,” “,” “,” “Eleanor Rigby”

MARCH 9 The rest of the : Clones of The Beatles; Blues in Britain; early Rolling Stones READ: Chapter 4, pp. 175-191 in What’s That Sound?; #40 in Brackett

LISTEN: Gerry and the Pacemakers, “Don’t Let the Sun Catch You Crying”; Herman’s Hermits, “Mrs. Brown, You’ve Got a Lovely Daughter,” “Henry the VIII, I Am”; The Yardbirds, “Heart Full of Soul,” “The Shape of Things”; The Hollies, “Bus Stop”; The Animals,”She’ll Return It,” “Don’t Bring Me Down”; , “All Day and All Night,” “You Really Got Me”; , “She Said Yeah,” (I Can’t Get No) Satisfaction,” “Paint It Black,” “19th Nervous Breakdown,” “Let’s Spend the Night Together”

Quiz 2 in Discussion Section this week

MARCH 11 American Responses to the Brits: Folk Rock, Bob Dylan melds the social consciousness of the folk music movement with the youthful energy of rock music READ: Chapter 2, pp. 119-125, Chapter 5, pp. 192-202 in What’s That Sound?; #28 in Brackett

LISTEN: Bob Dylan, “Mr. Tambourine Man”; The Byrds, “Mr. Tambourine Man”; Bob Dylan, “Subterranean Homesick Blues,” “Highway 61 Revisited,” “Like a ,” “Positively 4th Street,” “Rainy Day Woman #12 and #35”

MARCH 13 Folk rock or Folk Pop? The Beach Boys enter the Trans-Atlantic Competition; and the rest of AM rock and roll in the mid-1960s READ: Chapter 5, pp. 202-221 in What’s That Sound?; # 29, 30 in Brackett

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LISTEN:; Barry McGuire, “Eve of Destruction”; The Turtles, “It Ain’t Me Babe,” “Happy Together””; The Mamas and Papas, “Monday, Monday”; The Beach Boys, “ Girls,” “Wouldn’t It Be Nice”; The Young Rascals, “Good Lovin’”; The Kingsmen, “Louie, Louie”

MARCH 16 – 21 SPRING BREAK

MARCH 23 Psychedelia and The New World; The Beatles glorify LSD- 25 with Sgt. Pepper’s Lonely Hearts Club Band; Brian Wilson freaks out READ: Chapter 7, pp. 254-265 in What’s That Sound?; #38 in Brackett

LISTEN: The Beatles, “Tomorrow Never Knows,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Within You, Without You,” “A Day in the Life”; The Beach Boys, “Good Vibrations”

MARCH 25 The Beatles, phase 3 & 4: Psychedelia and its Aftermath READ: as above

LISTEN: “,” “I Am the Walrus,” “Back in the USSR,” “Yer Blues,” “Helter Skelter,” “Because,” “Carry That Weight,” “Across the Universe,” “Free as a Bird”; The Rolling Stones, “In Another Land,” “2000 Light Years From Home”

MARCH 27 San Francisco: Haight-Ashbury becomes the epicenter of the Flower Power movement. 1967 is the Summer of Love; Flower Power takes root in San Francisco as the Human Be-In paves the way for Monterey Pop. READ: Chapter 7, pp. 265-273 in What’s That Sound?; #41, 42 in Brackett

LISTEN: Jefferson Airplane, “White Rabbit,” “Somebody to Love”; Country Joe and the Fish, “I-Feel-Like-I’m-Fixin’-to-Die Rag,” “Section 43”

MARCH 30 Cream emerges as the first of the super groups, Clapton is proclaimed a god; Alvin Lee and Jeff Beck round out performers READ: Chapter 7, pp. 273-280 in What’s That Sound?; #22, 23 in Brackett

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LISTEN: Cream, “Strange Brew,” “Crossroads,” “Sunshine of Your Love,” “Toad”; Ten Years After, “I’m Going Home”; Jeff Beck, “Shape of Things”

APRIL 1 Jimi Hendrix flies his freak flag high READ: Chapter 7, pp. 280-284 in What’s That Sound?; #43 in Brackett

LISTEN: Jimi Hendrix Experience, “Purple Haze,” “Foxey Lady,” “Voodoo Child (Slight Return)”

APRIL 3 SECOND HOURLY EXAM

APRIL 6 A Blues Revival in the U.S., and the American sound; READ: Chapter 8, pp. 307-312 and 336-341 in What’s That Sound?; #42 in Brackett

LISTEN: Janis Joplin and Big Brother and the Holding Company, “Ball and Chain”; Canned Heat, “”; The Band, “The Weight,” “I Shall Be Released,” “Chest Fever”; Credence Clearwater Revival, “,” “Up Around the Bend,” “Fortunate Son”

APRIL 8 Art Rock: the Hippy Aesthetic meets Mozart. , The Doors, The Velvet Underground, and The Mothers of Invention explore different paths to making artistic statements READ: Relevant sections of What’s That Sound? include pp. 284-285, 316, 322-326, and 390-392; #44 and 45 in Brackett are relevant.

LISTEN: The Who, “My Generation,” from , “Overture,” “Underture,” “The ,” “”; The Doors, “Break on Through (To the Other Side),” “Light My Fire,” “The End,” “Horse Latitudes,” “Spanish Caravan”; The Velvet Underground (and Nico), “I’m Waiting for the Man,” “Heroin,” “Venus in Furs,” “White Light/White Heat,” “Sister Ray”; The Mothers of Invention, “Hungry Freaks,” “Who Needs the Peace Corps?,”

APRIL 10 Continuation of art rock

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APRIL 13 emerges as a category. The end of a decade portends another sea change in popular music culture as Altamont rings the death knell of the counterculture READ: Chapter 8, pp. 317-322 in What’s That Sound?; #55 in Brackett

LISTEN: Jethro Tull, “Bouree,” “Living in the Past,” “Aqualung,” “Cross-Eyed Mary”; Pink Floyd, “Interstellar Overdrive, “Money,” “Another Brick in the Wall”

APRIL 15 Rock diffuses in the 1970s: mix blues-based and acoustic folk READ: Chapter 8, pp. 302-306 and 314-315 in What’s That Sound?; #52 and 53 in Brackett

LISTEN: Led Zeppelin, “Good Times, Bad Times,” “Communication Breakdown,” “Dazed and Confused,” “Black Dog,” “Battle of Evermore,” “”

APRIL 17 Early Heavy Metal emerges in the UK; the industry consolidates as the genre fragments READ: Chapter 8, pp. 306-307 in What’s That Sound? ; #52 in Brackett

LISTEN: Black Sabbath, “Paranoid,” “Sweet Leaf,” “Iron Man”; Deep Purple, “Highway Star,” “ Smoke on the Water”

APRIL 20 and expand rock to minority sexualities; encourages stage spectacles READ: Chapter 8, pp. 328-331 in What’s That Sound?; #54 in Brackett

LISTEN: David Bowie, “Space Oddity,” “Hang On To Yourself,” “Rebel, Rebel”

Quiz 3 in Discussion Section this week

APRIL 22 emerges from the garage band scene READ: Chapter 10, pp. 390-394 in What’s That Sound?; #58 in Brackett

LISTEN: The Stooges, “Search and Destroy”; Patti Smith, “Gloria”; The New York Dolls, “Personality Crisis”; The Ramones, “Blitzkrieg Bop,” “I Wanna Be Sedated”

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APRIL 24 The Sex Pistols bring anarchy to the UK READ: Chapter 10, pp. 394-398 in What’s That Sound?; #59 in Brackett

LISTEN: The Sex Pistols, “Anarchy in the UK,” “God Save the Queen,” The Clash, “White Riot”; The Buzzcocks, “Ever Fallen in Love with Someone You Shouldn’t’ve”; , “In the City,” “Start”; Siouxsie and the Banshees, “Helter Skelter,” “Dear Prudence”

APRIL 27 Rounding out the 1970s: rock, New Wave READ: Chapter 10, pp. 375-390 and pp. 398-409 in What’s That Sound?; #60 and 61 in Brackett

LISTEN: Fleetwood Mac, “Don’t Stop”; “Wings, “Band on the Run”; The Steve Miller Band, “The Joker”; Boston, “More Than a Feeling”; Foreigner, “Feels Like the First Time,” , from ROCKS (1976) “Back in the Saddle,” “Combination,” “Nobody’s Fault”; Talking Head, “Psycho Killer”; Elvis Costello and the Attractions, “Radio Radio”; , “Roxanne”; Blondie “Heart of Glass”; The , “My Best Friend’s Girl”

APRIL 29 Punk goes Hardcore in the ; New Wave of British Heavy Metal; Lite Metal Hair Bands come out of Los Angeles READ: Chapter 11, pp. 441-446, Chapter 12, pp. 453-463 in What’s That Sound? ; # 66, 67, 68, 69 in Brackett

LISTEN: The Dead Kennedys, “Stars and Stripes of Corruption”; Black Flag, “Rise Above”; Minor Threat, “Straight Edge”; Bad Brains, “Sailin’ On”; Hüsker Dü, “Obnoxious,” “Sunshine Superman”; The Replacements “Color Me Impressed”; Mötley Crüe, “Shout at the Devil”; Slayer, “Necrophilia”; Metallica, “One”

MAY 1 Alternative to what?: the punk vector fragments. comes from the Northwest; emerges from the underground college rock scene READ: Chapter 12, pp. 477- 487 in What’s That Sound?; #78, 79 in Brackett

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LISTEN: R.E.M., “It’s the End of the World as We Know It (and )”; Sonic Youth, “Teenage Riot,” “Tuff Gnarl,” Total Trash”; Nirvana, “Smells Like Teen Spirit,” “Serve the Servants,” “I Hate Myself and Want to Die”; Soundgarden, “Let Me Drown”; Foo Fighters “Monkey Wrench”

MAY 4 The rise of Classic Rock and the Rock Canon. Jam bands and : Phish and Radiohead reinvent themes from the late 1960s and early 1970s READ: Chapter 13, pp. 488-504, pp. 524-537 in What’s That Sound?

LISTEN: Radiohead, “Creep,” “Paranoid Android,” Karma Police,” “Everything in Its Right Place,” “Packt Like Sardines in A Crushd Tin Box,” “2+2=5 (The Lukewarm); “Videotape,” “Lotus Flower”; Phish, listen to any selection of A Live One

MAY 6 The New Millenium: Digital technology turns everything on its head. READ: Chapter 14, pp. 543-553, pp. 575-581 in What’s That Sound?; #88 in Brackett

MAY 8 THIRD HOURLY EXAM