Chapter 4 Like a Rolling Stone
OVERVIEW:
In the early 1960’s the initial baby boomers were approaching college age. To them, the election of John F. Kennedy marked a new, more idealistic era. The next three years would witness the Bay of Pigs Invasion, Cuban Missile Crisis, the Civil Rights movement and the Free Speech Movement.
To many teenagers, dance music seemed somehow shallow and trivial. College students began listening to dust-bowl era folksingers/balladeers such as Pete Seeger and developed an affinity with 1950’s Beat poets as a way of coming to terms with the turmoil and conflict in this new world. The new ideals were personal authenticity, individuality, and non-conformity.
1 Fidel Castro (1926-2016 ) John F. Kennedy (1917-1963) Becomes Prime Minister In 1960 he became the of Cuba in 1959 youngest person ever to be First Communist regime elected President of the in the Western hemisphere United States.
1961: The Bay of Pigs Invasion An unsuccessful invasion of Cuba and attempted overthrow of Fidel Castro. The failed invasion embarrassed the Kennedy administration and made Fidel Castro and the Soviet Union wary of future U.S. intervention.
2 Baby Boomers: First “Nuclear Threat” Generation 3 4 1955 “Kidde Ko oo ” fallout shelter for $3000
195 u a d o er drill
5 19 1 the started de lo i 15 i ter ediate ra e u lear issiles i ur e heir tar et he o iet io
ri s a shi at its orst u a issile risis to er 19 he ossi ilit of u lear ar 50 to 6 ill oard hart e te er 19 5 o erfor er t le elp Beatles British n asion o ere n y in e i e op nchaine elo y ighteo s Brothers o l he “In” row amsey ewis rio op nstr mental t Ain’t e Babe onny her British imitators ang n loopy c oys arage Ban alifornia irls Beach Boys rf oc atch s f o an a e lar i e British n asion Papa’s ot a Bran ew Bag ames Brown o l eart ll of o l ar bir s British n asion It’s he ame l ong o r ops otown e f estru tio arr uire ol o i e olli to e o la ol o
ree i h illa e Ground Zero for the r a lues e e olle e stude ts started fre ue ti offee houses
7 a p s s Revival (Early ‘60’s
In the late 1950’s to early 1960’s a number of clean t sp ta ps p p a i si P p ps s as in st n i i i t s an t ist inst s a t an an ia i a n st nts aware of the folk tradition. They soon discovered “real” folkies of the 1950’s such as Woody t i P t an a s A s t a s is Appa a ian s n s ass an t s n si p s s as tta spi it a i n (bluegrass), Muddy Waters (Chicago Blues), and John Lee Hooker (Southern “slide guitar” s int i st nts
In n n ti n it t is int st in si s s sp an p in t a an an is n i i a an attan an ni a A ast a it t s sin s i t a iti na an s as si In n t s sin s as a n an t p a t a iti na si n an t a inn s ta t it t pa a t a in t i t at p int n an t an p is n si st as t i a n is pa t a n t n an t a s a n n ati n p t st sin s s as an a t a i P i s an Pa t n
t a a t isti s
i it si p ita a pani nt ssa p t st s n s a in it t a t ts t at p ssi n a t is i t i ass ns ati a s i s an attitude are a reaction to the conservatism and repression of the 1950’s.
ree i h illa e
ashi to uare
8 oodro ilso “Woody” Guthrie 191 19
ust o l era alladeer rote o er 1000 so s a o the This Land is Your Land
o la tra eled to e or to see hi i the hos ital sufferi fro u ti to s disease
ete ee er other du t o er deer
ete ee er o rote
If I Had a Hammer
Where Have All the Flowers Gone? Turn, Turn, Turn
Guantanamera
We Shall Overcome
i rou he We er ere i ted duri the rthy e ri r
9 Gree i h i e u
W ylan played here when he first arrived in ew ork City G G of the ylan s favorite haunts, erformers were paid by passing around basket. . W G olksingers gathered here on Sunday afternoons . ylan lived here for a short while ylan played here in 19 5 with tti ith d i d iott
10 Gree i h i e o eehou e u
Wh o y i i e dri d eter u ry yed here in the 1960’s
G i ht e
n 19 1
Most influential American pop performer of the mid 1960’s. Quite often the center of controversy during the early to mid 1960’s, Bob Dylan bridged the gap bet een folk music and rock and roll. In 1965, amidst boos and heckles, he performed ith a rock back up band Paul Butterfield Blues Band at the Ne port Rhode Island Folk Festival, effectively starting the folk rock movement.
Dylan’s merging of social consciousness ith rock and roll started a trend that culminated ith Woodstock generation performers such as Crosby, Stills and Nash. Selected songs include “Times They Are A Changin’”, “Subterranean Homesick Blues”, “Maggie’s Farm”, “Like A Rolling Stone”, “Positively 4th Street”, “Rainy Day Women, Nos. 12 &35”, “I Want You”, “Lay Lady Lay”, and “ nockin’ On Heaven’s Door”.
11 he ee hee in’ Bob Dylan: he s e e se 196
The Freewheelin’ Bob Dylan A Hard Rain’s A-Gonna Fall
First performed September 22, 1962 Cuban Missile Crisis October 14–2 , 1962
“I didn’t kno ho many other songs I could rite during the Cuban thing.
very line in it is actually the start of a hole ne song … I thought I ouldn t have enough time alive to rite all those songs so I put all I could into this one.
12 B n o al on o a on ll yb o an oll o o a n a n ally n o o :
ol o
n o l
13 Da n o n o yl o
14 ol o al o n a o n y o
ds o ing i d os ti s nd s i o ng i o ison oo s g s n oni it s nd t ss iot s o son o n ind onst dt o ing oon i
15 ol Rock:The Byrds: L.A’s answer to the Beatles
The Byrds
ot s og inn g it o s id os g it o s
o d in t ds t i st s ss nd in nti o rock band. Their No. 1 Hit “Mr. Tambourine Man” with its distinctive 12 st ing t i g it so nd t t in di t o tition it t t s o o it in t ing t id 1960’s, the Beatles and t ds even sent each other their master tapes to “compare notes.” Some of their other hits include “Turn! Turn! Turn!”, “Eight Miles High”, and “So You Want To Be A Rock and Roll Star”.
16 B alo r n eld: ewey art n ess na e l o n R ch e ray te en t lls
Eve of Destruction Barry c re
The astern orld t s e lod n olence lar n llets load n yo re old eno h to k ll t not or ot n yo don t el e e n war what s that n yo re tot n and e en the ordan r er has od es loat n t yo tell e o er and o er and o er a a n y r end ah yo don t el e e we re on the e e o destr ct on.
17 Freak Out!, ne rank a a and the others o n ent on erha s T rst nder ro nd conce t al
rank a a – One of rock’s great innovators and satirists. e orrowed ro any s cal styles and la ooned estern c lt re the Rock nd stry and h sel . 18 rank a a
os Angeles composer guitarist singer. rank appa and his group The Mothers of Invention defined 1960’s intellectualized and e perimental rock. appa drew his material from a broad spectrum of musical interests a , electronics, classical music, and comic parod . Although he recorded more that albums and was highl influential throughout the 1960 1980’s (his album reak O t , in part, inspired the Beatles Sgt. epper album appa gained little chart success. Some of his important albums are r a , We’re Only In It For The Money, n l a , Ho Ra s, as ls Ri d y l s , B rn ni and i , and a ro H ll.
e 1960’s Garage ands
19 e gs e a e s er a s r ggs ( ud Martinez
a a e ea ers a e a a e ara s
Garage a s 196 196
ollo in the surf rock craze of the early 1960’s, thousands of teena ers started their o n surf roc bands Man of these bands used chea uitars and lo o ered am lifiers ver blo n s ea er cones created a ras distorted tone in ers of these bands rarel had their o n am lifiers s sin ers com eted ith uitar la ers for volume the often strained their voices and san e tremel close to the micro hone The result as amateurish and crude
In 196 a fe of these bands became o ular and this started a wave of garage band hits. The 1960’s garage band style is now frequently called “frat rock.” The style later evolved into s chedelic ara e bands then to etroit roto un
20 cid ock and sychedelic ock
iscovered by accident in 19 , lysergic acid diethylamide) or “acid” seemed to be a chemical extension of the cultural enlightenment of the early 1960’s. The eat oets e eri ented with hallucinogens such as ari uana, hashish, escaline and peyote. 1960’s acid experimentation began on Sunset Strip in L.A. and quickly oved to the aight shbury district in an rancisco. ovelist en esey One Fle O er The Cookoo’s e t) and his Merry Pranksters began throwing “Electric Kool id Acid Test” parties in San Francisco in 1965.
sychedelic is a ter frequently used in con unction with acid rock. sychedelic rock i itates how usic is erceived when under the influence of ind altering drugs. There is uch use of distortion and sound effects. or , rhyth , and ti e beco e dis ointed and distorted. ongs tend to have languid elodies, erratic ood swings, and use of “freak out” sequences. A “freak out” is a musical tangent: a long, dis unct a usually started and ended with dru cues. any of the sychedelic bands had absurd, nonsense grou na es such as trawberry lar lock, hocolate atchband, efferson ir lane, itty ritty irt and, and the lectric runes.
. . cid ock
. . acid rock was lightly sychedelic. yrics range fro so ber and intros ective to wild “freak out” sequences. The first popular L.A. acid inspired song was Mr. Ta bourine an by the yrds 196 . oon the others of nvention and the oors were roducing ins ired songs.
e a ra s e e
21 a re e er g e er a er a ga e e g s s re ea s e r a e
The eat Poets
During the mid to late 1950’s a group of American poets, disenchanted with the conser atism of the American status quo emerged. n an attempt to chastise the eats for what appeared to be their left leaning if not sub ersi e iewpoints, some members of the broadcast media referred to them as “Beatniks”; the term “nik” often being used during the period to imply communist leanings.
The literary effects of Beat novels such as Aldous Huxley’s Doors of Perception (1954) and Wm. S. Burroughs’ Naked Lunch (1959) on rock music were e ident throughout the mid 1960’s. Burroughs’ Naked Lunch, described the auditory impression of a mind altering drug experience as “heavy metal thunder”. The term was picked up by Beat enthusiasts and subsequently used in Steppenwolf’s 1965 song “Born To Be Wild.”
Huxley’s novelette oo s o o about mescaline was influential in the decision of im Morrison and ay Man arek to call themsel es the oors. n many ways eat literature had as important an impact on mid sixties American rock as the absorption of rhythm and blues had in the mid fifties rock and roll. The eat aesthetic combined with the social and political consciousness of the 1960’s baby boomers led to the e olution of the hippie counter culture. 22 In the 1960’s the ht sh st t n n s s n e the e n nte t e
the e se s s en s t h e h n e s n n ne e n e ts
n s n
n 19 19 t t e 19 0
23 n n s n 196 196
San rancisco was a musical cultural magnet in the mid 60’s. The San rancisco style is a loose knit combination of olk, Blues, a , Bluegrass, and Hard ock. The main venues for rock were the Avalon Ballroom and the illmore Auditorium, where performers frequently added visual effects to their performances; slide pro ections and experimental film. This trend led to the development of light shows and a shift from dance music to music for listening experiencing.
The first ma or San rancisco acid rock band was efferson Airplane. At acid rock’s height, there were about 500 acid rock bands in San rancisco.
Bill Graham’s Chet Helm’s illm re it ri m al Ballr m 24 i ht h at al Ballr m
The e erson Airplane
25 he Grate l ea a reat meri a am a
rate ul ead 65
riginal e bers err arcia, d. 5 guitar hil esh, bass ob eir, guitar, ill reut ann, drums, Ron “Pigpen” c ernan, ke boards.
One of the world’s loudest bands, the Grateful Dead was also one o the longest sur i ing rock acts An institution as well as a rock band, the rate ul ead had the ost lo al o all an clubs “family” or “Deadheads.” They were the best selling and most success ul li e band o all ti e. Their ew chart hits include “ k ’”, “ o ”, “C s o s” and “ o o ”. The biggest arket was in concert tapes there are e en audio eeds or a ee at the concerts.
26 The Grateful Dead’s “Wall of Sound” n net t o att a l f ers atts of o er
Deadhead o o ed o s on ert
• ar est ro fan ase • er on ert as d fferent and lar el ro sat onal • ans ere allo ed to re ord on ert •Deadheads had the r o n ode of honor
27 The Doors
eft to r ht orr son ohn Dens ore o e r e er a an are th lasses
The Doors
(d. 2013)
time mainly because of Morrison’s psychologically oriented “beat” lyrics, were banned from L.A.’s Whiskey a Go “The End” loosely based on the Sophocles’ Oedipus Rex.
Doors, named after Aldous Huxley’s Doors of Perception and/or William Blake’s “if the doors of perception were cleansed/All things would appear infinite”, led the way to theatre and shock rock. Important songs are “Light My Fire”, “People Are Strange”, “Hello, I Love You”, “Touch Me”, “Love Her Madly”, and “Riders On The Storm”.
28 Shock Rock
Shock Rock used outrageous stage routines and sexually explicit performances, designed to outrage and shock the audience. The Doors, The Who, and imi Hendrix all helped define the genre with their wild performances.
Later .Y. punks used shock extensively. The Plasmatics Wendy O. Williams, used a chain saw and sledgehammer to destroy stage props.
ulian Beck, The Living Theater
29 endr
e ers of the endr er en e endr u tar o al oel edd n ass t h t hell dru s
ea l nfluen ed the r t sh lues trad t on endr defined 1960’s guitar playing. Not so much a pattern player as a conceptualist, Jimi Hendrix was after a “sound,” and he ould use or n ent an te hn ue or de e that ould ro de t for h
lon with Pete Townshend, Hendrix popularized “sculptured sound/noise” in rock music. His guitar style became a model for the next generation’s guitar players. Greatest hits include “Hey Joe”, “Purple Haze”, “Foxy Lady”, “The Wind Cries Mary”, and “All Along The Watchtower”.
Jimi Hendrix and hicago lues guitarist uddy Guy
30 ames Marshall “Jimi” Hendrix and his father Allen “Al” Hendrix
imi and a very rough childhood. His parents struggled with financial and alcohol problems. His parents divorced when imi was .
Al Hendrix a a ana i hallen ed Jimi ind his n dis in s nd and s le
31 el eddin Jimi Hendrix i h i hell
Chuck Berry, 1960’s
32 h Mayall’s B ues re kers, 1966
a
33
34 A ds He as world’s the hi hes aid er rmer He as s sed la nda midni h as he l sin a ns ead he la ed am nda Hendrix la ed i h an em rar and –
s ns and ain s
Jimi Hendrix i ar ill x ass dd iles dr ms arr ee rh hm i ar n a la ers J ma l an and Jerr ele
35 h o t the er o t e ds
he e tles he oll to es he s he ho he ls he rd rds re lo d he e h o s r te e wol o l he rds he oors s o l e erso r l e he r te l e d es row he re es t s edd r e te e o der
here s s er st e e t o ross l e es d o tr ht o et t o o ro s
Here’s an unlikely example:
rumpe er iles a is i is se n i e e y a ry a is e y a mire imi an in r u e im iles Hen rix was supposed to play on Davis’ s l um u e i e e y as iles play s k ins ea
36 i i end i t o iles Davis u pet ony illia s D u s e upe oup t at neve was
end i Davis and ony illia s sent a tele a to a tney on t as in i to ut an al u aul was on va ation t is un nown i aul a tney ass o e e eived t e tele a
a a al y
37 e and o ypsies i i it illy in a le la ant e ene it on e t ept eople t ew bottles and eggs at the band for playing “white rock and roll”
a
38 i i endri and onika anne ann i i took bottle of Monika’s sleeping pills.
39 s al a s
40 s al a a a s e po olk l o lan e e eege es i al e po e e a l an Ma o e slan oan ae
yla s l a l s al
s al a a a s Mon e e ne e e son i plane ig o e an n e na ional e ol ing o. anis oplin op es i al a e l ea i i en i is Mon e e e ing e o a i anka
M y s al as s s al M s – al s y lay
41
l a on es i al e . olling ones e e son an an is o i plane ina ne l ing i o o e s
42 sle o ig g. i i en i e oo s es i al e o oni Mi ell nglis e son ake an al e annel l a il one Moo l es e o ll. sle o ig a ks e las pe o an es o Mo ison an en i
lo e po e as a o e iali a ion an a ke ing o ippie s l e. alla o ien e lo e po e elo ies a e e sing song . Tunes are “laid back:” no wild, screaming guitar work. The l i s en o e le pea e goo ill an ope l op i is .
43 nd o ha ter
44