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Seattle Central Community College CAMPUS SEMINAR COURSE Music 116 – History and Perspectives

Rock and roll—a rhythm and showing country influences (or other means of bridging previously-segregated styles and audiences)—was produced, thus, by (1) white performers who covered and, out of habit, country-westernized black material; by (2) black performers like Fats Domino and Sam Cooke whose music already showed pop influences and by (3) people like Little Richard and James Brown, whose music was distant enough from white experience to foster a sense of novelty or rebelliousness. Once it had been created, its characteristics were noted and imitated.

Nathan Rubin : Art and Anti Art

Copyright by James Cauter 2011 Course Description: Rock Music—History and Perspectives provides an overview of the styles, musicians, and musical influences that have shaped this art form. Through selected readings and recordings, the course examines rock music as a musical, social, cultural, economic and political force in our society. Course Objectives: . To recognize and distinguish between various styles of Rock music. . To view Rock music as an expression of our evolving society. . To begin to understand the African‐American experience, with its social, economic, and political challenges. . To develop an awareness and understanding of selected composers and representative styles of classical music from the 20th century. . To make connections between the musical past and the musical present. . To make connections between different styles of music, i.e., Classical and Rock Musics. . To broaden musical tastes and tolerances to include many types of music and art. . To become familiar with composers and performing artists representing the numerous styles of Rock music. . To develop a stronger knowledge and understanding of the basic elements of music. . To develop a deeper personal response to artistic expression and the creation of it through more perceptive listening. . To develop reading, writing, and listening skills as applied to a new subject area. . Critical, reflective thought, clearly communicated through verbal (in the Campus Seminar version only) and written expression.

Required Textbook and Listening Materials: Rock and Roll: A Social History Paul Friedlander Westview Press 2nd edition (2006) ISBN: 0813343062 College/University level courses such as Rock Music—History and Perspectives provide students with an insight into the musical characteristics defining a particular style/performing artist/composer/band, and the social and historical context shaping the development if the music itself. Paul Friedlander's Rock and Roll: A Social History provides a clear understanding of the history and scope of this multi‐faceted music and cultural experience. The book features a wealth of information, all presented in an easy‐to‐understand approach. No technical knowledge of music is required to understand the contents of this book.

All students enrolled in MUS 116 Rock Music—History and Perspectives are expected to listen to as much music as possible. Our required text will be an effective guide only if the reading is accompanied by extensive listening.

To begin this process, you will receive links to the MUSC 116 Listening guide. Each link contains the Listening Examples for our Lesson Assignments. There are numerous music examples representing the diverse stylistic spectrum encountered in our study of this wonderful and complex art form—rock and roll. It serves to assist students in responding to questions about stylistic developments, influences, performing artists, and related characteristics. The examples are organized in the same order as they occur in each of the four Lesson Summary Questions.

Overview of Assignments The course is divided into four lessons, each emphasizing different genres and respective performers. Each lesson requires reading, listening, and chapter summary questions to be answered by the student and submitted to the instructor. The summary questions will be either in short‐answer or small essay formats. Questions should be answered in short, concise sentences. No markdowns will be made for grammar, however college‐level writing is expected.

Grading Due Date Instructor will announce in your seminar meeting Lesson #1 15 points Lesson #2 15 points Lesson #3 15 points Lesson #4 15 points The One Song Presentation 10 points Seminar Attendance 10 points Participation in all 5 Final Assignment 20 points TOTAL 100 points

The table below shows the final grading scale: 100/99 4.0 77=2.2 98=3.9 76=2.1 96=3.8 75=2.0 94=3.7 74=1.9 92=3.6 73=1.8 90=3.5 72=1.7 89=3.4 71=1.6 88=3.3 70=1.5 87=3.2 69=1.4 86=3.1 68=1.3 85=3.0 67=1.2 84=2.9 66=1.1 83=2.8 65=1.0 82=2.7 64=0.9 81=2.6 63=0.8 80=2.5 62=0.7 79=2.4 61=0.6 78=2.3 60=0.5 Lesson 1 Africa to Afro-American, Spiritual, Gospel, Blues, Country, Rhythm and Blues, , The U.S. in the 1950's, Doo-Wop, & the . Reading: Rock and Roll: A Social History, Chapters 1, 2, 3, 4, 5, & 6 Listening: Listen to examples and obtain additional listening as indicated in the Lesson Summary Questions. Students are encouraged to repeat the listening to the examples as necessary. It would be counterproductive to listen to this great music only once. Lesson 1 - Summary Questions 1. The roots of rock and roll are clearly African-American in origin. Much of the indigenous music from West African cultures features musical characteristics that are prevalent in rock and roll. Listen for some of the following musical characteristics in the recording of Ba-Benjelle Pygmies from Central Sub-Saharan Africa. In the recording do you hear any of the following musical characteristics? a) ostinato a rhythm, phrase, or theme that is repeated over and over b) polyrhythms two or more rhythms that are played or sung simultaneously c) call and response a pattern in which one voice or instrument is answered by nother voice, instrument, or group. d) syncopation accenting of a note(s) or beat(s) at an unexpected time—as between two beats or on a weak beat. e) multiphonic or "raw vocal emotionalism" an individual singer who produces more than one pitch simultaneously— much sub-Saharan African singing can be very guttural, vibratoless, described at times as "raw" or "grainy" 2. Listen, compare, and contrast the following spirituals as found on your Listening Study Tape: a) Shout All Over God's Heaven - The Fisk Jubilee Singers b) Roll, Jordan Roll - The Fairfield Four How are they different? What do they seem to have in common? Do you hear any of the musical characteristics listed in the previous question? Please list the characteristics you recognize during the listening. 3. Listen to the W.C. Handy composition St. Louis Blues as performed by The Empress of the Blues, Bessie Smith. On this recording of the Classic Blues style, Bessie is accompanied by Louis Armstrong on Cornet and Fred Longshaw on the Reed Organ. The individual contributions of Bessie and Louis are matched only by the amazing call and response pattern that these two greats establish from the onset—an exchange that clearly demonstrates the expressive potential of call and response. 4. Listen to Traveling Riverside Blues, performed by the great Country or Rural Blues artist, Robert Johnson. On this recording notice how Robert Johnson typifies the extremely personal approach of the Country/Rural Blues artist as evidenced by his adding to (adding one extra beat), or deleting from (dropping one beat) the 4/4 time of each measure of music. He does not do this to all the measures, but rather to just a selected few purely as a means of communicating his art. Maintaining strict 4/4 time coupled with the twelve-bar harmonic progression of the blues are secondary to the personal expression of his voice and guitar. 5. Compare and contrast St. Louis Blues and Traveling Riverside Blues. How are they different? What do they seem to have in common? 6. Urban Blues is a post World War II musical development. As African-Americans migrated north, the basic Country/Rural blues style mixed with the jazz rhythm section of piano, bass, and drums. Additionally, the musicians "plugged in," as amplification of the , vocals, and the harmonica became standard. Listen to the following examples of Urban Blues: a) Baby How Long? - Howlin' Wolf b) I'm In The Mood - John Lee Hooker Notice how Hooker’s vocal timbre serves as a model for, and a direct influence on, Jimi Hendrix. c) Hard Loser - Muddy Waters d) When My Left Eye Jumps - Buddy Guy e) Wake Up Old Lady - Lightnin' Hopkins f) Sweet Sixteen - B.B. King In these recordings, list any of the musical characteristics (as presented in question #1) that you hear. 7. What is the given name, brand name and model of the specific electric guitar played by the great blues artist B.B. King? 8. List some of the characteristics of Blues music that have directly influenced or co-opted into rock and roll. 9. What instruments did Muddy Waters put together to form his Chicago-based blues band? What connection is there between this particular instrumentation and rock and roll music? 10. Prior to labeling it Rhythm and Blues in 1949, what was the categorical name used by the music industry for music recorded by African-American artists? 11. Beginning in the 1920's with Jimmie Rodgers' mix of yodeling, folk, blues, and "hillbilly" country; on into the 1930's with singer, songwriter, fiddler, band leader, publisher and Grand Ole Opry icon Roy Acuff; Country Music started to shift from small ensembles of instruments (string bands) and/or singers such as The Carter Family, to that of the "solo singer-with-band" set up. This resulted in the post-World War II "honky-tonk" style featuring one of the greatest country performers and composers of all time—Hank Williams. As Billie Holiday did so eloquently in Jazz, Hank also had the ability to communicate his art in a most personal manner. Both of these giants of music transcended the norm by singing with just the right balance of emotion and intensity—delivering it, as if each song were being sung just for you. Listen to the following selections recorded and composed by the great Hank Williams: a) Why Don't You Love Me b) I'm So Lonesome I Could Cry c) Your Cheatin' Heart d) Move It On Over

Hank Williams' songs have been covered by numerous artists representing many styles of music. He is, therefore, another major influence in the development of rock and roll. 12. The tremendous significance of rhythm and blues vocalist Big Joe Turner toward the development of rock and roll is indisputable. Listen to his 1954 rhythm and blues recording of: a) Shake, Rattle and Roll 13. What early rock and roll performer stated, "I felt that if I could take, say, a dixieland tune and drop the first & third beats, and accentuate the second and fourth, and add a beat that the listeners could clap to as well as dance, this could be what they were after"? 14. Bill Haley's musical style featured watered down rhythm and blues lyrics, country and western instrumental playing, and a stage routine designed to "grab" his audience. His "meteoric rise" to popularity, and hits like Rock Around The Clock all pointed toward a long career in rock and roll. Yet, as fast as his ascendancy was, "there were no more American hits after 1956." Provide reasons why this happened to Bill Haley. As you write your response, listen to his recording of the song: a) See You Later, Alligator 15. Coming from the same musical lineage as Bessie Smith, Ma Rainey, and Memphis Minnie before her, Willie Mae "Big Mama" Thornton is yet another example of how the Blues and the entire African-American experience is unquestionably fundamental to the art form we are studying in this course—rock and roll. Big Mama Thornton was the original artist to record (and claimed she was the composer of the song too) the classic tune called Hound Dog. A legal battle began, and the court sided with composers Lieber and Stoller, thereby keeping Big Mama Thornton from ever receiving any of the sizable royalties the song has accrued through numerous cover versions since her original version was recorded in 1952. Listen, compare, and contrast these two versions of the song Hound Dog. Which version do you prefer and why? a) Willie Mae "Big Mama" Thornton b) Elvis Presley 16. Elvis Presley—from "hillbilly ignorance to celebrity," was a most complex human being. List some of the influences that directly shaped (contributed to) his performance characteristics. After writing about what influenced Elvis, now list and comment on the product of those influences, Elvis Presley's own performance characteristics—which establish the "Elvis sound." To assist you with your response, listen to the following selections by "The King", Elvis Presley: a) I Want You, I Need You, I Love You b) (Let Me Be Your) Teddy Bear c) Heartbreak Hotel d) All Shook Up 17. What effect did African-American gospel revival meetings have on the music and performance style of Elvis Presley? 18. What are the primary differences between Elvis Presley's Sun Recordings, and his subsequent recordings for RCA? 19. Describe the political and social climate in the United States during the 1950's. Additionally, list some of the prevailing social attitudes among middle-class white adults during the 1950's. How did these "attitudes" effect their response to the sudden presence of rock and roll music in popular culture? 20. Name the "big three" major record companies who controlled the prevailing pop music industry in the early 1950's. 21. What are/were "indies"? List three "indies". 22. In what U.S. city was J & M Studios located? Describe the conditions present in J & M Studios. Why were studios such as J & M significant during this time period? 23. What music styles and socio/cultural characteristics influenced the music and sound of Fats Domino? 24. What is rockabilly? 25. According to Friedlander, what were some of the important familial, religious, and musical experiences that shaped the life and music of Jerry Lee Lewis? 26. Listen, compare, and contrast the following four examples of the "rockabilly" style as found on your Listening Study Tape: a) Folsom Prison Blues - Johnny Cash b) Suede Shoes - Carl Perkins c) Ooby Dooby - Roy Orbison d) Great Balls of Fire - Jerry Lee Lewis How are they different? What do they seem to have in common? 27. Listen to: a) Thirty Days b) Maybellene and c) Johnny B. Goode as classic examples of the "hybrid" stylings of the great guitarist and vocalist, Chuck Berry. Chuck grew up in St. Louis, Missouri. How did his experience in this particular location affect his musical development? Name three guitarists who were influential favorites of Chuck Berry. 28. Songs by the 1960's group The Beach Boys, such as Surfer Girl (and many others) owes its vocal harmonies to those of the 1950's pop vocal group, the Four Freshmen. As you listen to the three Beach Boys selections on your Listening Study Tape: a) Surfer Girl b) Surfin' U.S.A. c) Fun, Fun, Fun do you hear any evidence of other 1950's popular/rock and roll artist(s) coming through their music? Who or whom? 29. Who was Les Paul? Why is he significant to the history of rock and roll, and to music in general? 30. Name the Gibson electric guitar that the company introduced in 1952. 31. Name the Leo Fender electric guitar introduced as a response to the Gibson product in the following year (1953). 32. List some of the performing artists and respective styles that influenced young Buddy Holly. 33. What particular make (brand name) and model of electric guitar did Buddy Holly popularize during his career? 34. For whom did the husband and wife song writing team of Boudeleaux and Felice Bryant compose many hit songs for? 35. What were the two primary musical styles present in the formidable years of Phil and Don Everly, The Everly Brothers? 36. Describe the known as Doo-Wop. What are its musical roots? What particular species of warm-blooded vertebrae was exploited to the fullest in the numerous related names of the Doo-Wop groups? List three of these groups. Which Doo-Wop group featured a thirteen-year old lead vocalist fronting the group? Name him. Finally, what was the name of our author's (Friedlander) own Doo-Wop group? 37. Briefly list the contributions, trials, and tribulations of Alan Freed as related to the development of rock and roll. 38. What was world famous classical cellist Pablo Casals’ opinion of rock and roll music? 39. One long standing criticism of rock and roll music is that it uses very few chords for its harmony and is therefore inferior to music containing a richer harmonic structure. These critics claim that rock music's harmonic poverty renders it incapable of sustaining interest for any significant period of time. The truth is that the three chords (I, IV, and V) comprising much of rock/pop music actually triple the number of chords used by 20th century composer Karlheinz Stockhausen in Stimmung. Listen to the excerpt of Stimmung. The composition is unique in that there are only five pitches drawn from a single chord. The composition is scored for two sopranos, one mezzo soprano, one tenor, one baritone and one bass voice. The music was composed in 1968. Stimmung is divided into 51 sections, each one introduces a new overtone motive that is repeated several times. 40. What musical style was Little Richard heavily involved in during his youth? 41. Listen to the Little Richard classic, a) Tutti Frutti. (another "three chord" song) Recount the events that led to the eventual recording of the song. List some of the characteristics comprising Little Richard's "sound." What makes him unique? To further assist you with your response, listen to another selection by the infectious Little Richard: b) Long Tall Sally 42. What two major contributors to soul music of the 1960's were members of Little Richard's R & B band The Upsetters? 43. Name the three musicians who died together in a plane crash on the morning of February 3, 1959. According to Don McLean's timeless anthem American Pie, this tragic event was "the day the music died". Lesson 2 The Second Generation—The Early 1960's, The Beatles, Rolling Stones, Motown, Soul Music, Folk-Rock, Bob Dylan, San Francisco, the Dead, the Doors, , and Jimi Hendrix Reading: Rock and Roll: A Social History, Chapters 6, 7, 8, 9, 10, 11, 12, 13, & 14

Listening: Listen to examples and obtain additional listening as indicated in the Lesson Summary Questions. Students are encouraged to repeat the listening to the examples as necessary. It would be counterproductive to listen to this great music only once.

Lesson 2 - Summary Questions 1. Complete the following sentence from Friedlander, "The years between 1959 and 1963 were ..." 2. According to Friedlander, what were some of the reasons that "hastened the demise of fifties rock"? 3. Describe the music of the so-called "teen idols". Name two of these artists. What image did they present to the public? In what ways were they different from the classic rockers of the fifties? 4. Name the host of the popular ABC Television network weekday afternoon show, American Bandstand. 5. What is payola? 6. In what way did music of the sanctified church influence the music of Ray Charles? To help you with your response, listen to Ray's cover of Hank Snow's country song: a) I'm Movin' On 7. In the early years of the 20th century, many music publishers located in an area of New York City that became known as Tin Pan Alley. In the late fifties and early sixties, popular music composers also seemed to be centered in office buildings within a few blocks of each other. Name the streets, the office buildings, and companies involved in this modern "Tin Pan Alley". 8. In 1961, Ben E. King was playing with the words to an old spiritual called Lord, Stand By Me. His placement of secular lyrics into the spiritual created the pop classic, Stand By Me—a song that is considered to be one of the earliest examples of what would become known as Soul Music. Listen to the recording of Stand By Me, by Ben E. King on your Listening Study Tape. 9. Listen to the recorded selections by James Brown on your Listening Study Disc. As you listen to the amazing sounds of James Brown, list any of the characteristics you happen to hear (as detailed in Friedlander) song by song. 10. Briefly compare and contrast the careers and music of Ray Charles and James Brown. 11. Briefly describe the life and business philosophy of Motown founder Berry Gordy Jr.. What city was Motown based in? What was the name of the excellent Motown House Band that featured the great James Jamerson on Bass? Name two songs composed by Smokey Robinson. Name two songs composed by the song writing team of Holland, Dozier, & Holland (HDH). The corresponding songs from your Listening Study Disc CD-R will help you with your response: a) My Guy - Mary Wells b) Heat Wave - Martha and the Vandellas c) For Once In My Life - d) Where Did Our Love Go? - The Supremes e) My Girl - The Temptations f) Ain't Too Proud To Beg - The Temptations g) Cloud Nine - The Temptations About Cloud Nine —How was this song different than the majority of Motown's songs? 12. Providing an alternative to the polished sound of the Motown recording artists from , is the bass centered, rhythmically punchy sound out of Memphis by the Stax Records house band, Booker T. and the MG's. Briefly outline the origin, impact, and musical contributions of this great soul band. What was the racial make-up of the personnel in the band? Listen to the following example of this distinctive Stax/Atlantic Soul Music Sound: a) Soul Man - Sam & Dave 13. As you listen to the wonderful selections of Aretha Franklin provided for you on the Listening Study Disc CD-R, list the musical influences/characteristics you hear in her music. Do you notice anything about the "feel" of the rhythm section on her recordings? Briefly explain the relevance of Jerry Wexler and Atlantic Records to Aretha's career. a) Chain of Fools b) Think c) Respect 14. Listen to and reflect upon James Brown's: a) Say It Loud—I'm Black I'm Proud. Why and how does this song transcend the boundaries of a typical pop song? 15. What primary contributions has Phil Spector made to the history of rock and roll? Elaborate on his special recording technique. What name was given for this special recording technique? 16. Did the advent of the "girl groups" (The Crystals, the Chiffons, the Shangrilas, the Ronettes etc.) and the rise of individual female performers in popular music of the early sixties help to balance their artistic or financial status in the industry? 17. Among the composers writing hit songs in the sixties were the great Carole King and her husband Gerry Goffin. Several rock/pop classics were penned by the King/Goffin duo. List three of their song titles along with the respective performing artist who recorded the song. 18. For this writer, The Beatles were the greatest musical group to exist in the 20th century. Much has been written since their break up in 1969. This was expanded in the period following the assassination of John Lennon in December of 1980. The recent Beatles Anthology television production and subsequent compact disc recording packages have served to further the explorations of this amazing music group. According to Friedlander, what elements did the Beatles fuse together to develop their own sound? 19. Listen, compare, and contrast the following Beatle songs from our CD-R: a) Please, Please Me b) I'll Be Back c) Norwegian Wood d) Yesterday e) Taxman f) Tomorrow Never Knows How are they different? What (if anything) do they seem to have in common? Please list stylistic characteristics for each song. 20. Obtain a copy (purchase or borrow from a library or a friend) of one of the following Beatle : a) Rubber Soul the stretched photo seems to be made of Rubber; great songs that belie the December 1965 release date. b) Revolver check out the great collage artwork on the cover by the German artist, friend, and bassist, Klaus Voormann. Amazing variety of styles and influences! c) Sgt. Pepper's Lonely Hearts Club Band the entire work stands as one of the greatest albums in all of rock history. d) Magical Mystery Tour soundtrack recordings from the movie, plus additional music on side two. e) The Beatles commonly referred to as The White , is actually a double album. Very eclectic! f) Abbey Road their final work together as a band; a masterpiece. Listen for the flow of the songs. After obtaining your copy of one of the above listed Beatle albums, read and respond to the following: As we have discovered throughout this course, the varied art of music utilizes many different materials in its creation. Listen and describe the contents of each song on the album. Do all the songs sound the same (as if they are influenced by one specific genre of music)? Yes or no? Explain. After listening and responding to each song individually, look at the big picture. View the album as a whole musical experience as opposed to a series of single recordings. Do you notice anything about the programming of the album? Is there any evidence of a conscious consideration given to the order that the songs appear in? Or, is it structured in a random, John Cage-inspired approach? Explain. 21. As examples of music from what was labeled as "The British Invasion" listen to the following recordings featuring some great selections and fine individual talent within the respective bands: a) From Belfast, Northern Ireland a band called Them featuring perform the classic rock tune, Gloria. b) From Hertfordshire, England come featuring Rod Argent and the classic, She's Not There. c) From Manchester, England The Hollies featuring Graham Nash perform their 1965 hit Bus Stop. d) From , England The Kinks with brothers Ray and Dave Davies, perform All Day and All Of The Night. Are there any musical characteristics that these bands seem to have in common? Conversely, what characteristics do you notice that seem to distinguish each band from the other? 22. What style of music has most influenced the sound of The Rolling Stones? To assist you with your response, listen to the following Rolling Stones songs from your Listening Study Disc: a) It's All Over Now b) Under My Thumb c) Street Fighting Man d) Ruby Tuesday 23. Of what significance was Andrew Loog Oldham to the Rolling Stones? 24. Beyond its obvious humor, explain the relevance of the following newspaper headline: "WOULD YOU LET YOUR DAUGHTER GO WITH A ?" What sort of image does this present to the public? 25. According to Friedlander, describe 's vocal style and on-stage delivery behavior. 26. According to Friedlander, what four albums "insured the Rolling Stones would forever be considered one of rock and roll's greatest groups? 27. Who was Woody Guthrie? What were his contributions to music history? What were the topics he dealt with in his songs? In addition to the song I have provided for your listening pleasure, please list two other song titles composed by Woody. As you respond to this question listen to Woody's performance of his own classic: a) So Long, It's Been Good To Know You 28. Who is Pete Seeger? What impact has he had on the history of music? What function or purpose did the Pete Seeger-formed ensemble known as The Weavers dedicate themselves to? Listen to the following selections by the Weavers: a) Wimoweh b) I've Got A Home In That Rock c) Go Where I Send Thee d) Goodnight Irene - composed by Huddie Ledbetter ("Leadbelly") and John Lomax 29. Listen to California Dreamin' by The Mamas and the Papas. As you listen list any styles of music you happen to recognize as an important component(s) to the song. 30. Listen and list the musical characteristics present in the following two songs by The Lovin' Spoonful: a) Do You Believe In Magic? b) Summer In The City Principal member John Sebastian offered the following contributions to the groups sound: as composer, player of guitar, autoharp, harmonica, and as lead vocalist. 31. What famous musician was born as Robert Zimmerman? 32. Name the famous who helped many artists (including many African-Americans who were either being completely ignored or taken advantage of by other producers/labels) in jazz, blues, rhythm and blues, and in rock and roll with an opportunity to sign recording contracts that were equitable. Billie Holiday, Count Basie, Bob Dylan, and Bruce Springsteen are a few who were signed by him. 33. Who(m) were the early musical influences on the young Bob Dylan? 34. According to Friedlander, which Bob Dylan album depicted America full of people struggling against the tide of injustice? 35. What was the "musical surprise" that shocked many folk music fans on Dylan's 1965 release, Bringing It All Back Home ? 36. Listen and briefly list/describe the musical characteristics and lyric content (main focus/topic or "meaning" behind the words) you hear in these songs by Bob Dylan: a) The Times They Are A-Changin' b) Subterranean Homesick Blues c) Positively 4th Street d) Like A Rolling Stone Like A Rolling Stone from 1965 was most significant in that this record (with its duration of over six minutes) proved to break the standard for top forty AM radio stations' rule of nothing over three minutes The Columbia 45 rpm single used very small micro grooves in order to fit it all on one side. Like A Rolling Stone with its gradual build—the combination of the Dylan's voice increasing in both volume and intensity, raises the level to create one of the greatest finishes in all popular music history. Enjoy! 37. Describe the unique sound of the group known as The Byrds. Listen and describe the differences between Dylan's original version of Mr. Tambourine Man and their cover version of the classic song. Which version do you prefer? Why? 38. Listen to the song For What It's Worth by the Buffalo Springfield. Briefly list/describe the musical characteristics and lyric content of the song. What type of music is this? Buffalo Springfield featured Neil Young and Stephen Stills on guitars and vocals. Stills composed For What It's Worth. 39. According to Friedlander, what folk-rock band proved that essentially acoustic folk-rock could be effective, moving music? This group’s "mellifluous, celestial harmonies" became their stylistic trademark. 40. List the musical characteristics and different styles you hear in the following songs by Crosby, Stills, Nash, and Young: a) Carry On b) Teach Your Children c) Woodstock composed by the amazing singer/songwriter Joni Mitchell 41. According to Friedlander, what are some of the topics/subjects included in the songs of the wonderful vocalist, artist, and composer Joni Mitchell? 42. From Friedlander, "Paul Simon was one of the most consistent, high-quality songcrafters of the sixties and seventies, creating two generations of musically and lyrically sophisticated folk-rooted pop-rock music." As you listen to the examples of music by Simon and Garfunkel, explain/respond to this quote from Rock and Roll: Art and Anti-Art, by Nathan Rubin: "Simon and Garfunkel were not producing better rock and roll but, indeed, something other than rock and roll..." Listen and describe what happens in each of these songs: a) Scarborough Fair/Canticle b) A Simple Desultory Philippic c) 7 O'Clock News/Silent Night d) Homeward Bound 43. Describe the social and political history of the "city by the bay," San Francisco, CA. What kind of social environment was there in the San Francisco Bay Area of the 1960's? 44. From Friedlander's chapter about the San Francisco Bands and the San Francisco "sound"— what were some of the significant musical and cultural departures from the mainstream popular musics actively present in the music of the San Francisco Bands? Listening to the following recordings will greatly enhance your response: a) Combination of the Two - Big Brother & the Holding Company b) White Rabbit - Jefferson Airplane c) The Ballad of You & Me & Pooneil - Jefferson Airplane d) The Golden Road (to Unlimited Devotion) - The Grateful Dead e) It's No Secret - Jefferson Airplane Marty Balin vcls f) Somebody To Love - Jefferson Airplane Grace Slick vcls 45. What role did the use of psychoactive drugs play in the socio/musical culture of the San Francisco Bay Area in the 1960's? 46. As you listen to the music of Janis Joplin, describe her vocal style and list her musical influences: a) Summertime - Janis/Big Brother & the Holding Company b) Piece Of My Heart " " c) Ball and Chain (excerpt) " " 47. Scottish, Irish, and German folk music transculturated via the immigration and new life in the southern Appalachian mountains of the United States evolves into a post 1945 form of music known as Bluegrass. The standard instruments in Bluegrass music are the five-string banjo, fiddle (violin), mandolin, guitar, and string bass. Listen to some Bluegrass by the "founder" of the style— Bill Monroe: a) Why Did You Wander? - Bill Monroe and his Blue Grass Boys This recording from 1946 features: Lester Flatt - lead vocal & guitar Bill Monroe - tenor (high) vocal & mandolin Earl Scruggs - banjo Chubby Wise - fiddle Howard Watts - bass 48. As you listen to the following selections by The Grateful Dead, listen for what Rubin refers to as "the joyful Weavers-influenced bluegrass, blues and gospel mixture played by the Dead." Please list any styles and specific characteristics you hear in the following songs: a) St. Stephen b) Sugar Magnolia c) Truckin' (excerpt) d) One More Saturday Night While you are listening, list some of the unique, innovative qualities (musical, lyrical, technological, etc.) that characterize this amazing band. 49. Another strong contributor to the diverse musical array in San Francisco is the wonderful music of the great Mexican-born guitarist Carlos Santana. His music is truly among the finest contributions to this most varied art form of rock and roll. As you listen to the following music by Carlos and his band known as Santana: a) Shades Of Time b) Savor, highlight (List the main points) the detailed description of Carlos Santana's guitar playing and his music from Friedlander. Notice the latin percussion instruments—Timbales, Congas, Cow Bell, etc., coupled with the standard drum set. This combination gives the music a busy texture where several different rhythmic patterns are being played at the same time—polyrhythms. The great latin percussionists Mike Carrabello and Jose Chepito Areas are teamed with the solid Dave Brown on Bass, and the amazing Michael Shrieve on drum set. Above this is the penetrating sound of Gregg Rolie on the Hammond B-3 Organ, and the latin-jazz inspired, very lyrical, blues touched guitar work of Carlos Santana. The result is a most infectious latin-—one of the true listening pleasures in life. 50. Listen to what Nathan Rubin describes as "a racially and sexually-integrated band (in which a white played drums and a girl played trumpet) commingled James Brown's funk and gospel exhilaration with Haight-Ashbury counterculture to produce a music which might as well be called acid soul"—Sly and the Family Stone. a) Dance To The Music b) I Want To Take You Higher List the musical characteristics you notice in these selections. 51. In contrast to other bands, the music of The Doors provided listeners with a darker view of the 1960's. Listen to: a) Alabama Song b) Hello, I Love You c) Light My Fire Jim Morrison's influences include a strong talent for writing poetry. He even signed his name occasionally as Arthur Rimbaud, a 19th century French symbolist poet who wrote A Season in Hell, and was known for his belief that the poet needs to poison every sense (through excess, drugs, and alcohol) in order to see what lies hidden beyond the boundaries posed by them. According to Nathan Rubin, "to accomplish the same end without drugs, avant-garde composer John Cage simply eliminated the normal focuses of perception. By sitting in front of a piano, he allowed his audience to hear the sounds normally obscured by music"—his composition is called 4'33". What do you hear in these songs by The Doors? 52. Name the members of The Who and the instruments that the three instrumentalists played. What did The Who contribute to the development of rock and roll? 53. Is the following statement True or False? "The Who early on were recipients of critical acclaim and commercial success." 54. As you listen to the following selections by The Who: a) I Can't Explain b) My Generation c) In C by Terry Riley d) Baba O'Riley e) Anyway, Anyhow, Anywhere list the characteristics you hear in the music (especially any that are discussed in Friedlander). What relationship is there between In C by Terry Riley, and their own Baba O'Riley ? 55. Name the famous rock periodical magazine that was founded in San Francisco by Ralph J. Gleason and Jann Wenner in November 1967. 56. Borrow from a library, rent from a video store, or purchase a copy for your own collection of: The Monterey Pop Festival. This was an amazing concert featuring a superb lineup of talent. Write a response paper about the performances of Otis Redding, The Who, and Jimi Hendrix. This video has been out of print for the past few years and therefore may be hard to find. If you can't find a copy, you may skip this question. 57. At times Jimi Hendrix just toys with blues riffs and pentatonic scales, which by themselves are not earth-shattering. This is countered with sounds that are both diverse and unusual—like the opening of one of his compositions with speech distorted by tape speed, which he called "a sounding painting of heaven". However, there is something about Jimi's approach to those blues riffs and pentatonic scales (the secret is in his varied timbre) which elevates his music to another realm of expression. There are many recorded examples of Jimi's music displaying his ingenuity and extraordinary talent. The following three will give you a taste of his gift. a) Still Raining, Still Dreaming - from Electric Ladyland b) All Along The Watchtower - from Electric Ladyland c) The Star-Spangled Banner - from Woodstock. Viewing this performance of The Star-Spangled Banner (when you rent or borrow a copy of the Woodstock video) is preferred. List any characteristics or unique aspects present in these recordings. Please include information from Friedlander's extensive entry on Hendrix. The various timbres (colors of sound) Jimi produces from his guitar transform the instrument, allowing it to become just about anything from wails and groans to machinery and industrial noise. 58. Borrow from a library, rent from a video store, or purchase a copy for your own collection of: Woodstock (the film documentary of the 1969 concert/event). Take notes during the viewing of the film so you can better respond to this question: What was significant about this concert?— consider the music (the diversity of the participating artists and the styles of music they represented), and the social/political aspects embodying the event, etc. Indicate which performance you liked best. Name the artist or group and indicate why he, she, or they were your favorite.

Lesson 3 From Art Rock, Led Zeppelin, and Heavy Metal, to the Avant-Garde, Pink Floyd, the Velvet Underground, and Punk Rock.

Reading: Rock and Roll: A Social History, Chapters 16, 17, & 18 Listening: Listen to examples and obtain additional listening as indicated in the Lesson Summary Questions. Students are encouraged to repeat the listening to the examples as necessary. It would be counterproductive to listen to this great music only once. Lesson 3 - Summary Questions 1. Of what significance were The Yardbirds to the history of rock music? 2. As you listen to Eric Clapton play with the band called Cream (one many bands Eric has been a major contributor to), compare and contrast the following songs: a) Crossroads b) White Room Friedlander's discussion of the musical characteristics present in the famous Cream song, Sunshine of Your Love are common to many of their other songs as well. Listen and list those that you recognize in these two examples. 3. What is the connection between The Yardbirds and Led Zeppelin? 4. What does Friedlander have to say about the guitar playing of Jimmy Page? What future genre did his playing style help "lay the foundation" for? 5. As you listen to the following selections by Led Zeppelin: a) The Lemon Song b) Whole Lotta Love c) Communication Breakdown notice the tremendous influence of the blues in their music. The music is louder, more intense, at times, almost raw. This truly is "rock which had not been dissipated by a softening of its integral nature—of its Afro-American, blues centered character." Listen especially for the combination of Jimmy Page's blues guitar playing and Robert Plant's exceptional blues vocal stylings. There are moments when I directly hear Janis Joplin, and Big Mama Thornton in his vocal timbres. Friedlander states, "the music beyond the advent of Led Zeppelin fell into two categories—/heavy metal and art rock." About art rock—"Arguments that rock could be improved by the absorption of Brahmsian piano technique or entire pieces composed by Mussorgsky, misunderstood its archetypal role as a revolt against colonial mentality—as a purgative which, like Artaud's theater, had as its purpose the elimination of European chauvinism." (Rubin, 217) Rubin is correct. Rock did not "improve" thanks to groups such as The Moody Blues and Emerson, Lake, and Palmer (nor was that their purpose)—it branched out, taking the very music that represented "Western cultural superiority", and fused it with rock and roll. 6. Listen to on the internet or borrow from a library or a friend, one album by any of the following Art Rock or bands: a) The Moody Blues b) Emerson, Lake, and Palmer c) Nice d) Yes e) f) Procol Harum g) Jethro Tull h) i) Genesis j) King Crimson k) Frank Zappa l) Queen m) Rush n) Electric Light Orchestra Briefly describe the music. Do you hear any aspects on your particular recording that Friedlander outlined? If yes, please list. Also, please list any other characteristics you hear that are not outlined by him. 7. Nathan Rubin states, "To retain the intensity Presley had generated simply by sneering and singing the country blues, rock during the seventies was obliged to turn assaultiveness up to the max. The result was called Heavy Metal." List the characteristics (as detailed in Friedlander) of . To create the proper atmosphere for your response, listen to the following music by the powerful California band, Metallica: a) Battery 8. The staggering array of heavy metal (or metal inspired) bands, all contain heavy metal characteristics such as simple guitar riffs, shrieking vocals, and exploding guitar chords—yet many of the following metal bands have a distinctive sound all their own. Select two different artists/bands from the list below. Listen to on the internet or borrow from a library or a friend, one album by each of the two bands you select. BAND NAME ALBUM LISTENING SUGGESTIONS a) Black Sabboth Paranoid b) Deep Purple Machine Head and the single, Smoke On The Water c) Judas Priest Screaming for Vengeance d) Motorhead anything e) Kiss Hotter Than Hell or Destroyer f) The Number of the Beast Iron Maiden even had their own band mascot--a tall wild looking caricature of a rotting corpse named Eddie. g) High'n'Dry or Pyromania h) AC/DC Highway To Hell or Back In Black i) Blue Oyster Cult Agents of Fortune j) Motley Crue Theatre of Pain; or Dr. Feelgood k) Ingwie J. Malmsteen Rising Force or Odyssey l) Van Halen Van Halen; Van Halen II; Women and Children First; Fair Warning. m) Ozzy Osbourne Blizzard of Ozz; Diary of a Madman Speak of the Devil; Bark at the Moon n) Gun's N' Roses Appetite for Destruction o) Metallica Kill 'Em All; Whiplash; Master of Puppets; And Justice For All p) Queensryche Empire q) Grand Funk Railroad We're an American Band r) Iron Butterfly In-A-Gadda-Da-Vida s) Vincebus Eruptum; and Louder Than God:The Best of Blue Cheer After obtaining the two albums, briefly describe the music. Are there any musical characteristics that these two different artists/bands seem to have in common? Conversely, what characteristics do you notice that seem to distinguish each band from the other? Do you hear any aspects on your particular recordings that Friedlander outlined in his chapter? If yes, please list. Also, please list any other characteristics you hear that are not outlined by him. According to Friedlander, "many mainstream critics describe heavy metal music as artistically impoverished, vacant, and deviant." Do you agree or disagree? Why? 9. "We take objects with one function and give them another" Avant-Garde composer, John Cage took his ideas from Zen Buddhism, and from Henry Cowell who used clusters of pitches on the piano, playing it with his fists and/or forearm. He stroked the strings inside the piano, producing a ghost-like sound. Cage expanded Cowell's ideas by placing pieces of paper, rubber and metal between the piano strings to establish a whole new spectrum of timbres (in much the same way as Hendrix’s novel approach to the electric guitar). Of equal importance is Cage's belief in total acceptance—there could be neither right or wrong solutions in an art created totally by chance. Listen to the excerpt from his composition Indeterminacy. What did you think of it? What is your response? For this writer, listening to Cage always makes me consider the following question— What is music? Musique concrete is the process of taking ambient sound events (tires screeching, birds chirping, factory noise, a door closing, etc.) and using them as compositional materials in electronic music or used as effects in other musics. The English art rock band Pink Floyd took its name from blues guitarists Pink Anderson and Floyd Council, both from Georgia. Like The Grateful Dead, Pink Floyd was concerned with audio technology and introduced something known as the Azimuth—a specific type of sound system that rotated their sound in a 360 degree circle. This resulted in making their live concert music ambient. On their 1969 album titled, Ummagumma, each band member did a piece on their own. This music featured minor keyed or atonal music (music without a home key or tonal center) and included avant-garde devices such as Musique concrete—one hears footsteps, voices, and birds. 10. Listen to side one of Pink Floyd's classic 1972 album, Dark Side of the Moon—engineered by Alan Parsons and recorded at EMI Abbey Road Studios, London. What musical devices are prominent here? List them. a) Speak To Me - (Nick Mason) b) Breathe - (Roger Waters, David Gilmour, Richard Wright) c) On The Run - (Gilmour & Waters) d) Time - (Mason, Waters, Wright, Gilmour) e) The Great Gig In The Sky - (Wright) 11. "While (Jimmy) Page lit black candles in search of supernatural favors, other(s) found transcendence in more down-to-earth ways: they put on dresses." "The wearing of glitter makeup and girls' clothing by male rock stars (and the glitter/glam movement it produced) told the world it could discard gender roles that had been in place through the whole of civilization." Nathan Rubin Glitter/Glam taking its cue from artists as far back as "Little Richard, of course, had been producing it since puberty", the theatrics and music of Alice Cooper (Vincent Furnier), (Reginald Dwight), and David Bowie, (David Robert Jones) represent a leap beyond mere cross-dressing. As you listen to: a) Space Oddity b) Suffragette City compositions by the most theatrical, David Bowie, provide an overview of his career highlighting specific characteristics about him and his approach to this form of rock. 12. Elton John has a wonderful command of melody. His music coupled with 's lyrics ranks among some of the finest post-Beatles pop/rock to date. He is an accomplished pianist, vocalist, and showman. Known for wearing outrageous costumes during his excellent live shows, Elton never lets his audience go unsatisfied. His large and loyal following have provided him with a most prosperous career. The following is just a glimpse of his diverse talent: a) Your Song b) Levon c) Funeral For A Friend 13. "A critics' poll taken a decade and a half later named The Velvet Underground and Nico as the eighth best album in rock history." The New Rolling Stone Encyclopedia of Rock & Roll states that "in the age of flower power they (The Velvet Underground) spoke in no uncertain terms of social alienation, sexual deviancy, drug addiction, violence, and hopelessness—the songs evoked the exhilaration and destructiveness of modern urban life." (Romamowski/George-Warren/Pareles, 1044) Listen to the music of The Velvet Underground. Identify the characteristics you hear that "open the door (anticipate) to glitter, punk, and heavy metal." a) Heroin b) Venus In Furs 14. What instrument did The Velvet Underground's play? 15. Briefly list the contributions and influence of Lou Reed to the Velvet's sound. Notice the obvious influence of Bob Dylan in Reed's vocal approach. 16. Outline the way(s) that Iggy Stooge/Pop, the New York Dolls, Television, Patti Smith, and the Ramones serve as prototypes to punk. To provide the proper atmosphere for your response, listen to the following tunes by the Ramones: a) Teenage Lobotomy b) Do You Wanna Dance c) I Wanna Be Well 17. What external (non-musical) influences were combining to shape the advent and specific characteristics of Punk Rock music? 18. Look up and provide the definition of the word nihilism. How does this word and its meaning relate to the music of the seminal Punk Rock band The Sex Pistols? 19. Based on your reading in Friedlander and your own rapidly growing skills in musical analysis, listen, compare, and contrast the music of the Sex Pistols and The Clash: a) London Calling - The Clash b) God Save the Queen - The Sex Pistols c) Anarchy in the U.K. - The Sex Pistols 20. The Dead Kennedys, featuring vocalist Jello Biafra, were the major Punk Rock band from the United States. Their music dealt with topics ranging from U.S. imperialism, and fascism, to slams against the moral majority and suburbia. They were from San Francisco, CA. Listen to on the internet or borrow from a library or a friend, one of the following Dead Kennedys albums: a) Fresh Fruit For Rotting Vegetables b) In God We Trust, Inc. c) Plastic Surgery Disasters d) Frankenchrist e) Bedtime for Democracy f) Give Me Convenience or Give Me Death Listen and briefly describe the characteristics, influences, instruments, and vocal styles on the album you have selected. 21. Describe the ways that Punk Bands communicated with their audience. Be sure to include how the audience/musician barrier was severed. Lesson 4 Fusion, Reggae, MTV, Funk, Disco, New Wave, Hip-Hop, Rap, and Alternative.

Reading: Rock and Roll: A Social History, Chapters 16, 17, 18, & 19

Listening: Listen to examples and obtain additional listening as indicated in the Lesson Summary Questions. Students are encouraged to repeat the listening to the examples as necessary. It would be counterproductive to listen to this great music only once. Lesson 4 - Summary Questions 1. Jazz-Rock Fusion is a wonderful marriage of elements from both idioms. Believing that there was more to be done than just coast on their laurels, innovative jazz musicians began to use electronic keyboards, amplify acoustic instruments—adding distortion and echo effects as well. The pioneer in this genre is the trailblazer himself, Miles Davis. Jazz-Rock Fusion is captured in many fine recordings by Miles Davis, Chick Corea, , Return To Forever, the Mahavishnu Orchestra, and Stanley Clark. Listen to the following examples and list the style characteristics and instruments you happen to hear: a) Pharaoh's Dance - Miles Davis b) Vulcan Worlds - Return To Forever c) Birdland - Weather Report 2. As you listen to the music of Bob Marley & the Wailers a) No Woman, No Cry b) Them Belly Full (But We Hungry) c) Rebel Music (3 o'Clock Road Block) Write about the following: a) The development of Reggae music b) Bob Marley c) Rastafarians d) The musical characteristics of Reggae music 3. What is MTV and what was its impact on the rock/pop music industry? 4. When did CD's first appear on the market? How did they affect profits for the recording industry? 5. According to Friedlander, what is the relationship between Punk Rock music and the advent of New Wave? 6. Components of New Wave were reggae, minimalism (the repeated use of a short melodic or rhythmic motif that becomes the basis for an entire composition), the use of speech, use of synthesizers to create "a flat instrumental sound." Listen and describe the characteristics, influences, instruments, and vocal styles of the following songs: a) Cold War - Devo b) Too Much Information - The Police c) Don't Go - Yaz d) I Before E Except After C - Yaz e) Radio, Radio - Elvis Costello 7. Another band to emerge from the famous CBGB and survive beyond Punk into New Wave was originally known as the Stilettoes, then, Angel and the Snakes, and finally, Blondie—featuring compositions by Deborah Harry and Chris Stein. Obtain a copy (purchase, or borrow from a library or a friend) of one of the following Blondie albums: a) Blondie b) Plastic Letters c) Parallel Lines d) Autoamerican e) The Best of Blondie Listen and list prevalent characteristics, influences, instruments, and vocal styles in the Blondie recording you selected. 8. Borrow from a library, rent from a video store, or purchase a copy for your own collection of: Stop Making Sense by The Talking Heads. Write a one to two page response paper about this highly acclaimed concert movie featuring David Byrne and The Talking Heads. Be sure to identify and list all the aspects (musically and visually) of this type of art. 9. According to Friedlander, what connections are there between Bruce Springsteen's boyhood days and the eventual music he would compose and perform? 10. What was the basis for the so-called mega-event concerts of the 1980's? Name some of these and the artists who appeared. A wonderful book comprising several different articles relating to the social and political aspects of popular music: Rockin' the Boat: Mass Music & Mass Movements, Garofalo, Reebee ed. First Edition, Boston: South End Press, 1992 About Disco: Its primary purpose was to get people up from (or off) their seats and dance! Disco—the dance music of the Seventies was disseminated not by live performances of disco bands, but by DJ's operating turntables in clubs called discotheques. For a great look into the music, fashion, and performing artists of disco music get your hands on a copy (borrow from a library, rent from a video store) of the 1977 film, Saturday Night Fever. The film features music by several artists who were most important to this genre—KC and the Sunshine Band, Hues Corporation, Van McCoy, Kool and the Gang, Village People, Tavares, Donna Summer, and of course, the Bee Gees. Additionally, the film presents John Travolta fully clad in polyester, dancing the style quite well. 11. The amazing Jazz-Rock, Rhythm and Blues sound of Tower of Power is not to be missed. Listen and describe what you hear on the following selections: a) Down To The Nightclub b) You're Still A Young Man c) What Is Hip? Where is this band from? Who(m) have they worked with? Comment on the significance of their "horn section." 12. Obtain a copy (purchase, or borrow from a library or a friend) of one album by George Clinton's "P-Funk All Stars", a) Parliament or b) Funkadelic. What characteristics are present in this music? How would you classify this music? How does it compare or relate to disco? What impact has George Clinton made to this vast world of music and music culture? 13. Listen to the following recordings of music by Michael Jackson: a) ABC - The Jackson Five b) Billie Jean - Michael Jackson Read Friedlander's entry on Michael Jackson. Provide an overview of his music career, list stylistic characteristics, and indicate what you believe his role is in rock/popular music history.

14. About Rap: "Rap is yet another expression (like Spirituals; Blues; Gospel; Jazz; Rhythm and Blues; and Soul) of a people that have historically been disenfranchised by the mainstream—a culture that reaches far beyond the disillusionment of the inner city." From the liner notes to the album, The Best of Sugarhill Gang Shannita Williams-Alleyne, April 1996 The New Rolling Stone Encyclopedia of Rock & Roll cites that although "Rap" and "Hip-hop" are used interchangeably, "hip-hop is the cut-and-paste backing music for rap. It is a street derived, avant-garde art form. Additionally, Hip-hop is used to describe rap culture, i.e., graffiti, and breakdancing. Explain the connection between disco and rap music. 15. Using Friedlander's Rock Window format, listen and respond to these two seminal entries to the world of Rap: a) Rapper's Delight - Sugarhill Gang b) The Message - Grandmaster Flash & The Furious Five featuring Melle Mel and Duke Bootee Two excellent books about Rap and Hip-hop: 1) Black Noise: Rap Music and Black Culture in America, Rose, Tricia First Edition, Hanover, N.H.: Wesleyan University Press, 1994 2) It's Not About A Salary . . . Rap, Race and Resistance in Los Angeles, Brian Cross First Edition, London: Verso Publishers, 1993 16. Obtain a copy (purchase, or borrow from a library or a friend) of one album by any one of the following four (I-IV), Rap/Hip-hop artists: I. Run-D.M.C. - 1981, Hollis, Queens, New York Run (Joseph Simmons), D.M.C. (Darryl McDaniels), and Jam Master Jay (Jason Mizell). Brought hip-hop to a wider audience by introducing gold chains, hats, and untied athletic shoes to the youth of America. A unique aspect of their rap is their ability to finish each other's lines as opposed to simply trading the verses. Run's (Simmons) older brother Russell and the Caucasian Rick Rubin co- founded the important rap recording label, Def Jam Records. Furthering the momentum into pop culture, Run-D.M.C. hooked up with Aerosmith to do a combined version of the Aerosmith classic, Walk This Way. II. Public Enemy - 1982, Garden City, New York Chuck D, Flavor Flav, Terminator X, and Professor Griff. Calling themselves the "prophets of rage," they presented a tougher, intense sound that proved to be the change of direction for the art form. a) Yo! Bum Rush the Show b) It Takes a Nation of Millions To Hold Us Back c) Fear of a Black Planet d) Apocalypse 91 . . . The Enemy Strikes Black III. The Beastie Boys - 1981, New York City, New York MCA (Adam Yauch), Mike D(Michael Diamond), and Ad-Rock (Adam Horovitz). From to rap? Yes, th at's exactly what this band did, becoming the first white group to successfully enter the African-American genre. Their sound is very eclectic—there is funk, hardcore punk, psychedelia, and rap. a) Rock Hard b) Licensed to Ill c) Paul's Boutique d) Check Your Head e) Ill Communication IV. N.W.A. (Niggaz With Attitude) - 1986, Los Angeles, CA Ice Cube, M.C. Ren, Eazy-E, Dr. Dre, and DJ Yella. Preceded by Philadelphia rapper Schooly D's song PSK—What Does It Mean?, N.W.A. ushered in Gangsta Rap with their album, Straight Outta Compton. The album offers the perspective of looking out from the inside—vividly depicting the brutal environment of gangs etc. in South-Central Los Angeles. The use of musique concrete is most evident as sirens and gunshot sounds are used in the musical texture. a) Straight Outta Compton b) Efil4zaggin After obtaining the album by the group (I,II,III,or, IV) of your choice, briefly describe the music. List any aspects on your particular recording that Rubin outlined in his chapter. Also, please list any other characteristics you hear that are not outlined in Rubin. 17. Yet another dimension of Hip-hop culture (represented by bands such as Gang Starr, A Tribe Called Quest, Us3, Digable Planets, and Gang Starr member-Guru) is known as Jazz-Rap. Somewhat more even-tempered than their hard-core, inner-city colleagues, these groups express their culture by mixing in samples of Sonny Rollins, the Crusaders, Donald Byrd, and others. Listen to the following examples of this style: a) Jettin' - Digable Planets (Butterfly, Ladybug, and Doodlebug) b) Introduction - Guru c) Loungin' - Guru with Donald Byrd on Trumpet and Piano d) Transit Ride - Guru with Branford Marsalis on Alto and Soprano Saxophones. Always on the cutting edge of greatness fulfilled, the late Miles Davis, (1926-1991) didn't leave us until he fused his jazz-rock approach with hip-hop. His final album appropriately called Doo-Bop, was released posthumously in 1993. It is wonderful! 18. Is a record turntable a musical instrument? Yes or No? Why? 19. What is known as Alternative Music? Provide an overview of the kind of artists included in this category and select a recording by one of those artists to list characteristics, influences, instruments etc. Possible choices are: a) R.E.M. h) Fishbone b) Nirvana i) De La Soul c) j) Arrested Development d) Alice in Chains k) Soundgarden e) Ministry l) Sonic Youth f) Nine Inch Nails m) g) Red Hot Chili Peppers n) Pixies

For your consideration . . . An excellent book providing a penetrating look into the entire alternative scene is: Confusion Is Next: The Sonic Youth Story, Foege, Alec First Edition, New York: St. Martin's Press, 1994 20. From Friedlander—Select three specific components from each of his Rock Window categories that you believe are most important in that particular category, and state why you believe they are. The Rock Window categories are: a) Music b) Lyrics c) Performance d) Music Industry/Technology.