Tim Robinson

Rock and Roll English Teaching: Content-Based Cultural Workshops “As a rock star, I have two instincts, I want to have fun, and I want to change the world. I have a chance to do both.” —Bono, main vocalist of the rock band U2

uppose you are a passionate acquisition, increases intrinsic moti- language teacher brimming vation, and bridges cultural divides. I with confidence. You are proud will use a rock and roll workshop to Sof your English pedagogy know-how, introduce an organizational approach enthusiasm for culture and languages, with a primary emphasis on cultural and awareness of your students’ chal- awareness content and a secondary lenges and goals; however, as the years emphasis on language development. pass, the daily routine of teaching It is important to point out that even the same material day in and day out though rock and roll history is a main starts to diminish the passion that focus of this article, any cultural con- was once so prominent years earlier. tent of the teacher’s choosing may be So what do you do? You do what so substituted. many of us have done when times get Rationale for content-based dull: you recharge the batteries and workshops break the routine of daily instruction. A fun and interactive experience that The beauty of being a language combines an English instructor’s love instructor is that we are so much of cultural awareness with a student’s more than just dictionaries or gram- curiosity about cultural diversity is marians; we are the bridges of cul- the perfect way to fracture that circle tural divides, we are the delegates of of potential apathy. social communication, and above all, In this article, I will share with we are agents of social responsibility you a content-based English as a and change. Not only do language Second/Foreign Language (ESL/EFL) instructors guide learners down the workshop that strengthens language right path to achieve their acquisition

14 2 0 1 1 N u m b e r 4 | E n g l i s h T E a c h i n g F o r u m goals, but they also expose the speed bumps Rock history and social change in the of cultural miscommunication. Teaching United States about culture does not necessarily entail This rock and roll cultural workshop is behavioral change among students, but it a fun, four-hour interactive English seminar does help students recognize the cultural that sparks student interest about the intrigu- influences affecting their own and others’ ing social change that occurred during sev- behaviors (Tomalin and Stempleski 1993). eral periods of U.S. history. It begins with the In order for second language learners to birth of rock music and then moves into the acquire communicative competence, educa- popular explosion that led to distinct genres tors must rise above the few schemas and and social movements. Although no music scripts we use repeatedly in classes and theory is introduced, the workshop does focus introduce others that contain notably dif- on rock music’s influences on U.S. society, the ferent cultural content (Davies and Fraenkel variety of music styles, and influential artists 2003). It must be noted here that we are of the times. Students will see cultural changes only guides who encourage critical think- associated with the rock phenomenon and ing and cultural awareness in our students recognize the ensuing societal struggles that and not authorities of what is right and this type of musical expression exemplifies. wrong with the world. The idea is to rec- Three steps to create and deliver this content- ognize the differences in cultural ideals and based workshop are outlined below. stimulate intellectual curiosity about the target culture in order to build respect and Step 1: From novice to rock star— understanding. gathering knowledge on an unknown In content-based ESL/EFL instruction, topic the instructor’s primary objective is the infor- The first step to a successful content-based mation the learners will attain, while the workshop is to choose a topic of interest and language takes on a secondary function. The then become familiar with that topic. Learn- term content has a wide array of connotations ing about any new topic can be challenging, in language teaching, but it most commonly so I suggest choosing topics that interest you. refers to the subject material of the lesson that If the topic interests you deeply, you will find we communicate through language rather that the preparation phase of your workshop than putting emphasis on the language used will reward you with enjoyment. In addition, to express it (Harmer 2007). As Richards and if you convey a strong passion for the topic, Rodgers (2001) state, “people learn a second you can almost be assured that the same pas- language most successfully when the informa- sion will transfer to your audience. Although I tion they are acquiring is perceived as inter- chose rock and roll for my workshop, I do not esting, useful, and leading to a desired goal” consider myself an expert on the subject. But (209). Content-based workshops are a sure my fervor for the music was a strong motiva- way to achieve positive results because they tional inspiration that I was able to share. As encourage fulfilling, productive, and reward- it turned out, this workshop was not difficult ing language learning experiences in a context to arrange. And even if you do not have a lot where students find the material meaningful of extra time to prepare workshops, students to their lives. will surely appreciate the effort needed to cre- Regrettably, many ESL/EFL courses focus ate them as long as they are fun, interactive, on the structure of language while neglect- and informative. ing the importance of using the language Of course, you will need to take time to acquire information. One solution is to to sufficiently prepare. And while teaching supplement language courses with content- the history of rock and roll may seem like a based workshops and allow students to learn daunting task, it does not take a degree or by doing, an aspect that tends to be lost, or not any deep expertise to gather the knowledge even enforced during the regular class period. you need to have successful rock music tasks The rock and roll workshop presented in this and activities. The basics of rock history, article will provide more concise details to such as cultural movements and key musical follow when you are doing one on your own. contributors, can be learned in a short period

E n g l i s h T E a c h i n g F o r u m | N u m b e r 4 2 0 1 1 15 of time. With each passing day, we have more tain and Dahlberg 2009). Therefore, the rock access to world knowledge with a simple click and roll workshop was divided in three parts: of a mouse. An Internet search with the key 1. The beginning: Roots and influences words “rock and roll cultural movements and 2. The middle: Decades of change contributors,” or “history of rock and roll 3. The end: Rock and social distortion in and pioneering musicians” will link to many the United States helpful websites. Also, the Internet has an abundance of material you need in order to In the third part, I mention the social aspect familiarize yourself with rock’s genres and art- incorporated into the workshop, but I must ists (see the Appendix for some useful videos emphasize that cultural themes are mentioned and websites about the history of rock and throughout the workshop. roll). I was not an authority on the subject, Setting and participants but it did not take me much time to learn This content-based workshop can be given enough to share and create activities based on to a class of ten participants or to a very large what I learned. I spent a few hours a day for a audience consisting of the entire English week researching the subject and then another Department of a university, for example, or few weeks organizing the information and as an extracurricular English learning cul- tasks. This workshop did not complement tural activity to the ESL/EFL community. It any particular level or course, but during is important to have at least enough partici- this preparation time an instructor can adapt pants to form several groups of three or more activities for different language levels and and ample space for these groups to interact. incorporate specific class objectives and target Workshops are often most successful with a structures into the workshop tasks. large audience, but there needs to be ample Rock and roll is the topic of this work- space for groups to form semicircles. shop, but it should be noted that other cul- tural topics may be substituted and organized Accommodating language levels to suit your interests or pedagogical needs. Because content is the primary objec- The suggestions and activities presented here tive of this workshop, learners must have a are unique to rock music, but that does foundation of the language in order to better not mean they cannot be adapted to fit enhance the learning experience. Therefore, I your topical needs. Just as a teacher adapts recommend a level of English between inter- instructional texts for a class, the same can mediate and advanced. Due to the fact that be done for these workshops. Here are a few the workshop is open to a large audience, you other possible content-based cultural topics will have to assume the participants are at dif- to consider: ferent stages of their language abilities. And if • African American Musical Influences: there is a mix of levels, when you create tasks Blues, Jazz, Rhythm and Blues for these types of workshops, consider how to • American Communities: Truth and challenge high-level learners while not over- Lies of Stereotypes whelming low-level learners. For example, the • A Generational Day to Remember: use of group tasks is an ideal way to maximize Historical Events that Changed Lives participation for all levels. • Pop Culture: Pop Cultural Icons and Content-based workshops organized as an Their Impact on the World extracurricular activity for all levels at your school incorporate the same communicative Step 2: Behind the scenes—planning and teaching procedures used in your classroom, organizing but with the difference that there is not any After you have familiarized yourself with lead-up to the lesson. Also, the workshops the basics of your topic, it is time to start plan- give learners a chance to practice what they ning and creating tasks. It is in this stage that have learned from their regular course work, your pedagogical expertise comes into play. while sharing knowledge and experience with When creating a content-based cultural work- students outside their level or class. Harmer shop, I like to organize it as if I were writing a (2007) suggests that the one main advantage story with a beginning, middle, and end (Cur- to a large class is that comedy is funnier, per-

16 2 0 1 1 N u m b e r 4 | E n g l i s h T E a c h i n g F o r u m formance is more dramatic, and a good class is • A projector and PowerPoint to project warmer and more vivacious. So do not worry images and video from the computer: about the large audience of these workshops Using a projector eliminates the need because bigger is better, and the learners will for too many handouts. In the case of surprise you with their enthusiasm. an interactive workshop, a PowerPoint presentation becomes more than just a Linking workshops with language objectives visual; it becomes a learning text with It is also advantageous to complement the new information and tasks. Also, individual courses with small, single-level time is saved when the directions for an types of workshops. For instance, the teacher activity can be projected. can incorporate more specific course lan- • A list of songs and artists: Only a small guage goals; the teacher is more familiar with collection of songs is needed (e.g., see the students’ language strengths, weaknesses, Figure 1 for a list of protest songs and interests, goals, and expectations; and the musicians). workshops can span several class periods. • YouTube videos (an Internet connec- In addition, teachers of the same level or tion is not necessary if the videos are course can work collaboratively. Teaming up downloaded beforehand): Videos give with other teachers will lower the amount learners examples of authentic language of time each needs to spend organizing the use that has not been edited for second workshop while encouraging collaborative language learners. If used for educa- language teaching in the process. Neverthe- tional purposes and not for profit, less, I should reiterate that both types of these videos are perfectly fine to use in workshops—with a larger, mixed audience or an educational setting. Typing in key with a smaller, focused audience—incorporate words of your topic into the YouTube the same communicative teaching principles. search will give you a nice variety of videos. (See the Appendix for examples Materials of videos.) It is up to the presenter to decide how • Clear-sounding computer speakers many materials are needed, but the beauty with sufficient volume control: Back- of this rock and roll workshop is that it does ground sound needs to be isolated so not require any special materials for the that all participants hear the music participants. However, for the teacher, this clearly. workshop integrates a multiplicity of tech- • Portable music player: This allows the nological devices, so it is important to have teacher to use the computer for visuals access to them. I would recommend the use and videos, while using the player for of a computer, projector, and quality speakers the music. However, the computer can for the use of PowerPoint, videos, and music. manage all the media files without the The materials used for this workshop are use of this device. listed below. • A pen/pencil and a pad of paper for participants: Students will have to take “Get Up, Stand Up” – Bob Marley & the Wailers notes and do some writing during the “Allentown” – Billy Joel workshop. • Handouts: A few tasks require short “We’re Not Gonna Take It” – Twisted Sister reading passages, quotes, or timelines “Minority” – Green Day of events on strips of paper. (See the “Killing in the Name” – Rage Against the Machine Appendix for websites that provide the information to create these handouts.) “World Wide Suicide” – Pearl Jam • A computer (for PowerPoint, videos, “Gimme Shelter” – The Rolling Stones and music): The use of a computer “War” – Edwin Starr helps the teacher organize and guide the participants through the material “What’s Going On” – Marvin Gaye as well as incorporate videos and music with ease. Figure 1. Rock and roll protest songs

E n g l i s h T E a c h i n g F o r u m | N u m b e r 4 2 0 1 1 17 Engaging students with the material in groups, and the end This workshop makes it easy to introduce includes the instructor processing the answers a little fun competition to encourage more with everyone. None of these following tasks passion towards the subject. The theme is requires previous knowledge or extensive pre- structured around a “Battle of the Bands,” teaching of the material. (Note: If a task below which is a competition held among up-and- has the word challenge next to it, that means coming rock bands in the United States groups are awarded points for right answers.) and other countries to win prizes, notoriety, and possibly record contracts. At the start The Beginning: Roots and influences of the workshop, I form groups among the I begin the workshop with the early years participants. I like the participants to get that influenced what we know of as rock acquainted at this point so that a sense today. The early years spanned the time from of community is formed among the group the turn of the 20th century until the 1940s. members. According to Kagan (1994), group- 1. Introduction to the workshop—roots prepared participation is a great way to lower and influences language anxieties and promote academic • Present: For this task, the teacher achievement while simultaneously developing elicits the names of early forms of social and oral communication skills. These music that led to rock music’s birth. groups are transformed into rock bands and This is a way to get the participants are asked to choose a name and a logo for thinking about the era and topic their band. I provide examples from famous before we start. I write down their rock bands that they might recognize. I like responses on the board, erase the to also encourage the groups to assign roles for ones that are wrong, and add a each member—for example, the songwriter (a few that are not mentioned. The recorder), the lead singer (spokesperson), and earliest forms of rock include Afri- a band manager (group leader). The recorder can rhythm and drum, gospel, jazz, writes down the group’s answers during tasks, ragtime, folk, country, blues, and the spokesperson presents the answers, and European ballads. the manager watches the time and makes sure • Practice: I play snippets of each type everyone gets involved and speaks English. If of music. While participants listen, members of the group have a lower level of they match the music with its form English, being a recorder or spokesperson is a and then discuss their answers, not- great option for them. ing the ones they liked or disliked I organize several challenges and tasks that and whether or not these forms of do not require in-depth previous knowledge music are heard in their countries. on the subject, but because rock music is • Process: Members of the whole an international phenomenon, participants’ class discuss their thoughts and background knowledge will come in handy. feelings about what they heard. At The tasks for this workshop demand that this point, the teacher can add bits group members discuss opinions, feelings, of history to each form of music and ideas utilizing a free, unstructured format mentioned above. (See the Appen- to practice the language. It is advisable for the dix for websites on rock and roll instructor to visit each group and encourage history.) all the members to speak. 2. Early influential artists and songs (challenge) Step 3: Performing—tasks and activities • Present: This challenge begins after To begin the task, the instructor provides a each group is instructed to create a two- or three-minute mini-lecture of the new definition of rock music. We then information. The story method mentioned discuss each group’s definition. The earlier can be used for each task or activity as teacher adds what is left out. well; for example, the beginning part presents • Practice: Groups watch a video on the new material to the audience, the middle early musicians who contributed to has the learners practicing and negotiating what we know of rock music today

18 2 0 1 1 N u m b e r 4 | E n g l i s h T E a c h i n g F o r u m (see No. 11 in the Appendix for the song. There are only three differ- link). During this challenge, each ently constructed sentences: lines team listens and lists six influential one, two, and three. Line one is songs and artists mentioned during repeated three times, line three is the ten-minute video. As a bonus repeated two times, and line two is question, participants are asked to only used once. note the name of the musician and This particular song has a rhyme the date he or she made the earliest to it, but in a blues song, it is not recording of the words “rock and necessary to rhyme the lyrics. How- roll,” which is mentioned at the ever, it is necessary to encourage the end of the video. The groups share students to write about something answers and discuss thoughts and that gives them the blues—that is, feelings about what they saw and makes them feel sad. This task may heard. seem difficult, but if an example is • Process: The instructor leads a provided, students should have fun whole-class discussion on the video, creating one of their own. Once and points are awarded for right they finish, they need to choose a answers. A great question to ask is brave soul to sing or recite it to the whether or not participants were class. I give the alternative to recite aware of how old rock music is. because singing can be embarrassing 3. The blues (challenge) for some students. • Present: This challenge introduces • Process: The class votes on the best rock’s strongest influence: the blues. I song to determine the winner of the introduce this challenge with a short challenge, who is awarded points. blues song. The lyrics are provided The runners-up are also given while participants listen. We discuss points for trying. what the blues are and the themes of 4. The birth of rock and roll many songs. (See Nos. 8 and 9 in the • Present: Students are introduced Appendix for websites on the blues.) to the founders of rock music, • Practice: The groups proceed to such as Elvis Presley, Chuck Berry, create and perform a blues song on Buddy Holly, Ritchie Valens, Jerry their own. Before the participants Lee Lewis, and Johnny Cash, with create their song, it is helpful for the snippets of their songs. Participants instructor to provide an example. make their best guesses in matching Figure 2 is an example of a blues the artists with the songs. song that I created. Students can • Practice: Each group is given a create a simple blues song by fol- short reading passage on life dur- lowing the pattern to the left of the ing the 1950s. After a few minutes,

Line 1: Oh teacher! Too much homework is making me blue. Repeat line 1: Oh teacher! Too much homework is making me blue. Line 2: I’m not fibbing, teacher, this is very true. Repeat line 1: Oh teacher! Too much homework is making me blue.

Line 3: I need some free time to have fun with my crew. Repeat line 3: I need some free time to have fun with my crew. Repeat line 3: I need some free time to have fun with my crew. Repeat line 1: Oh teacher! Too much homework is making me blue.

Figure 2. Sample blues pattern and lyrics

E n g l i s h T E a c h i n g F o r u m | N u m b e r 4 2 0 1 1 19 the instructor collects the read- 2. The decades and their pioneering art- ings. Each group works together ists (challenge) to reconstruct what they have read. • Present: The instructor starts (See No. 5 in the Appendix for this challenge by naming various information on life in the 1950s.) decades and eliciting the most pop- • Process: Each group reads its recon- ular musicians for each one. It is structed version to the whole audi- fine if nobody can answer; the idea ence. The whole class briefly dis- is just to get people thinking about cusses early forms of this music and the topic. (Figure 3 lists a sampling the youth movements involved. of rock and roll artists by decade.) • Practice: This challenge incorpo- The Middle: Decades of change rates YouTube video music montag- The middle of the workshop deals with es of influential musicians from the the changes to rock music spanning from the 1950s to the 2000s. (See Nos. 12 1960s to the present. The goal is for students and 13 in the Appendix.) A list of to recognize the changes in music styles and musicians from one of the videos cultural youth movements in the United is presented to the audience. Before States. As in the previous tasks, this part the video, each group matches the incorporates explanations, videos, and music musicians with a decade. During listening challenges. A discussion of pop cul- the video, each group checks its tural changes among youth groups concludes guesses. After the video, group these challenges. members discuss which decade of The history of rock and roll is a vast music they enjoyed the most, and subject that contains a large number of why. This is not a challenge but a musicians, so in order to narrow down the fun way to keep participants inter- list, I chose those artists that I considered to ested in the topic. be at the forefront of each decade or genre • Process: After the video, the groups of music. share with the whole class whether 1. Rock genres or not their guesses were correct and • Present: The instructor introduces which decade was their favorite. Fur- the topic by eliciting generational ther points about each musician can differences between the participants be elaborated during a mini-lecture. and their parents, and then explains 3. Music and current events the definition of a certain music • Present: The instructor introduc- genre and how it is reflected in es the topic by naming a decade society. There are many genres and and eliciting important events that subgenres of rock music, including occurred during that decade in the punk rock, glam rock, heavy metal, students’ countries or around the grunge, surf rock, reggae, psyche- world. delic rock, rockabilly, blues rock, • Practice: Each group is given slips of and folk rock. paper representing a certain decade. • Practice: Each team reads and dis- Some slips contain lines of song cusses several sentences describing a lyrics and others contain historical specific decade, including the genres events. The groups do their best job of music popular during that time. matching the lyrics with the cor- • Process: After five minutes, each responding event. group reads its sentences to the class • Process: Each group presents its without mentioning the decade. answers. The instructor asks the After they read, the teacher plays whole class whether each group’s a snippet of a few songs from that answers are correct. The answers are decade. The instructor then elicits corrected, and more information is guesses as to what decade it might added about each event: Examples be. include “Say It Loud, I’m Black

20 2 0 1 1 N u m b e r 4 | E n g l i s h T E a c h i n g F o r u m The 1950s Elvis Presley, Buddy Holly, Johnny Cash, Chuck Berry, Little Richard, Ritchie Valens, Jerry Lee Lewis, Fats Domino The 1960s Jimi Hendrix, The Doors, The Rolling Stones, The Beach Boys, The Beatles, Bob Dylan, Creedence Clearwater Revival, Janice Joplin, Carlos Santana The 1970s Aerosmith, Led Zeppelin, Queen, The Ramones, AC/DC, The Clash, The Eagles, Lynyrd Skynyrd, Fleetwood Mac, Bob Marley, David Bowie The 1980s Ozzy Osbourne, Metallica, Guns & Roses, Bon Jovi, The Cure, The Smiths, Jane’s Addiction, Journey, U2, Def Leppard The 1990s Pearl Jam, Nirvana, The Offspring, Stone Temple Pilots, Sound Garden, Lenny Kravitz, Foo Fighters, Red Hot Chili Peppers, Green Day The 2000s Muse, The Black Keys, The White Stripes, Arcade Fire, Rage Against the Machine, Evanescence, Cold War Kids, Kings of Leon, Linkin Park

Figure 3. A sampling of rock and roll artists by decade

and I’m Proud” by James Brown • Practice: During this challenge, lyr- (the 1960s civil rights movement), ics of protest songs from different “Blowin’ in the Wind” by Bob time periods in rock history are Dylan (1960s antiwar movement), given to each team so that they “Intervention” by Arcade Fire (ter- can follow while listening. A wide rorism and U.S. foreign interven- range of songs can be found on the tion). (See No. 7 in the Appendix Internet by searching for the key for a website of song lyrics and Fig- words “influential protest songs.” ure 1 for additional protest songs.) After listening to the selected songs, the groups discuss what they feel The End: Rock and social distortion in the the meaning of the song is. For the United States challenge, the instructor presents The last part of the workshop includes chal- the meanings to the audience, and lenges that focus the learners’ attention on the participants match the song with its influence rock has had in U.S. society. I finish meaning. the workshop by awarding certificates that give • Process: The groups are awarded the participants rock-star status. The winners points for correct answers. The of the competition are given a small prize. instructor elicits the reasons for 1. Behind the musical lyrics (challenge) their answers. • Present: This challenge introduc- 2. A voice of a generation es learners to the power of lyr- • Present: The instructor presents a ics in songs and demonstrates that quote from a rock musician and many artists have become agents asks the class what the quote means. of change in opinion and thought. (See No. 6 in the Appendix for a The instructor elicits from students website of famous quotes.) songs that have influenced them in • Practice: The groups are given a some way or another. few other famous quotes from rock

E n g l i s h T E a c h i n g F o r u m | N u m b e r 4 2 0 1 1 21 musicians and discuss what the communication, and during these workshops speakers mean. students are shown how this tool can be used • Process: Each group reads its quotes to learn about the world or target culture. and explains what the quotes mean. The feedback from the participants fol- The instructor plays a snippet of a lowing this workshop reinforced the success song from each musician discussed. of these content-based activities; the majority Alternative tasks that reenergize of comments and whispered reactions revealed 1. Air band competition. Mimicking play- how students learned new things apart from ing a guitar while listening to a favorite just the language, shared experiences in a rock song is a common activity that group, and of course practiced English in a leads to enjoyable competitions. This new and interactive way. The quote by Bono challenge gets students out of their seats at the beginning of this article resonates well and laughing and is a good way to with me as an English language teacher; that recharge the batteries. During this chal- is, just replace “rock star” in the quote with lenge, each group assigns roles to the “teacher,” and you will find that you, as an band members: for example, the guitar- English teacher, are not so different from a ist, drummer, lead singer, and bassist. rock star. Groups choose a song already heard or from a list the teacher provides. The References groups then compete against one anoth- Curtain, H., and C. A. Dahlberg. 2010. Languages er for air band supremacy. At the end of and children—Making the match: Bringing new the competition, the audience votes for languages to young learners, grades K–8. 4th ed. the best air band. To incorporate a lan- New York: Pearson. http://helenacurtainswiki. guage component into the activity, the wikispaces.com instructor can give each group a song. Davies, P., and A. Fraenkel. 2003. The language in English teaching. Mexico City: Richmond. The group members read and discuss Harmer, J. 2007. How to teach English. 2nd ed. the meaning of the lyrics, and then, Harlow, UK: Pearson. before performing, they tell the audience Kagan, S. 1994. Cooperative learning. San Clem- what they believe the song is about. ente, CA: Kagan. http://edtech.kennesaw.edu/ 2. Twist dancing competition. This chal- intech/cooperativelearning.htm Richards, J. C., and T. S. Rodgers. 2001. Approaches lenge, like the air band competition, is and methods in language teaching. 2nd ed. Cam- a fun way to mix things up a little bit. bridge: Cambridge University Press. Laughing can help lower anxieties and Tomalin, B., and S. Stempleski. 1993. Cultural spark interest back into the workshop. awareness. Oxford: Oxford University Press.

Conclusion Content-based workshops offer a break in everyday instructional routines. They pro- Tim Robinson was an English Language vide learners practice in the target language, Fellow in Venezuela 2010–2011, where he cooperative learning strategies, and in-depth worked with pre- and in-service teachers at insights into culture. These workshops excite the Universidad Pedagógica Experimental while lowering language anxieties, but most Libertador. His core interest includes the importantly, learners become unaware of importance of empowerment to take practicing the language and more interested control of one’s own educational in the themes presented. Language is a tool for development.

22 2 0 1 1 N u m b e r 4 | E n g l i s h T E a c h i n g F o r u m Websites and YouTube Video Links Rock and Roll English Teaching: Content-Based Cultural Workshops • Tim Robinson

Useful Websites on Rock and Roll History 1. http://thehistoryofrockmusic.com 2. http://rockmusic.mu 3. www.scaruffi.com/history/index.html 4. www.history-of-rock.com 5. Life in the 50s: http://en.wikipedia.org/wiki/1950s 6. Quotes: www.brainyquote.com (search for “rock musician quotes”) 7. Song lyrics: www.songlyrics.com

Useful Websites on the Blues 8. www.history-of-rock.com/blues.htm 9. www.bluesforpeace.com/music.htm

Videos on Rock and Roll History 10. An incomplete History of Rock and Roll in a six-part series: www.youtube.com/watch?v=PevgPIhWk3k 11. Early Rock influences: www.youtube.com/watch?v=VAK19xrjYx&feature=related

Rock Montages: Influential Songs and Artists through the Decades 12. www.youtube.com/watch?v=VVNl74cB5Sc&feature=related 13. www.youtube.com/watch?v=zrCL3cqPbPI

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