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Decades Issue Spring 2017 Eric Charry’s Take on Midterm Project Assessment: CharryRace, A’s for All Rhyme, Rock & Roll: BIlly Joel, DTE and more . . . The 2017 Midterm Edition, Presented by MUSC-108 ’s Legacy: Pretty Woman The King of Surf: at #1 Dick Dale An Inside Look on the Moog Synth Rock Exposed: Revolutionary Guitar Its Beginnings and Developments Phenom as Explained by Will Hein Simon, Garfunkel, and The Age of Rebellion: War, Sex, and America “The Early Years of the Moog ” decades. From its humble, compared to earlier synthe- at the top of Billboard’s pop Queen famously used no syn- modular beginnings with sizer layouts. This was due in charts for 17 straight weeks thesizers on their albums in experimental artists, the Moog part to the Moog’s use of the in 1969, and ushered in a new the . Other groups start- synth was refined in 1970 with first ADSR envelope to shape era of synth use in popular ed the movement the release of the Minimoog, sounds, a system so intuitive music (Lichter-Marck). The as a reaction to the perceived an instrument that defined that it remains a standard fea- shift caused by this album was oversaturation of electron- Progressive rock in the 1970s ture of modern so dramatic that in 1970 Bill- ic sounds in popular music and remains a staple of mu- (Lichter-Marck). Moreover, board Magazine published an during the 1970s (Snowden). sic studios around the world the voltage controlled oscil- article on the new Minimoog, Even though these groups did today. lators (VCOs) that produced detailing the widespread use not use Moog’s synth, their While the Moog was the initial tones sounded great, of the Moog modular in recent choice to react against its the most iconic synthesizer of even without any manipula- pop albums and an upcom- ubiquity demonstrate the in- the century, it was not the first. tion. Together with its legend- ing demonstration of the new fluence the instrument already Experimental, avant-garde art- ary 904A low-pass filter, the instrument on the Ed Sullivan had on popular music within a ists had played with electron- Moog modular synthesizer Show (Dove). decade of its invention! ics to generate sound since the produced amazing sounds that The same year, Emerson, As much as the Moog synth 1920s (McCready). Examples to this day cannot be replicat- Minimoog Model D, 1972 shaped the development of included the radio-wave con- ed by lesser synths (“Moog young rock groups, the groups trolled , as well as Modular Synthesizers”; Mc- themselves used the instru- the homemade synthesizers of Cready). ment to shape new sounds and

Bob Moog & Herb Deutsch, circa 1964 experimental artists like John The Moog synth was not an a new sonic aesthetic for rock Cage (Lichter-Marck). These instant hit, however. The three music. The Moog sounds be- The Moog Synth and Rock: The Early Days original models of the Moog Lake, and Palmer became one came sonic symbols of coun- by Will Hein early synths were esoteric and limited in the range of sounds modular were cutting-edge of the first big rock bands to terculture, whose uses in turn rock, Dick Dale, relied on the The 1960s were a time they could produce, however. technology and thus sold for successfully use Moog’s mod- influenced both the sounds distorted, metallic timbre of of great change in the music Realizing the potential market between $2,800 and $6,200, ular synth with the release of and techniques of future gen- his Fender electric guitar and industry. The tin pan alley for a legitimate commercial making them prohibitively their first, self-titled LP. The erations of (Lichter- amplifiers (Huey). tunes of previous genera- synthesizer, expensive for the average success of this album inspired Marck). While these electron- tions had given way to the began working on his modular consumer (Lichter-Marck). other rock groups like Yes and ic musical innovations were more provocative, energetic units in 1964 and marketing Moreover, many remained Genesis to focus on electronic rooted in well-established “Moog Product Timeline” music that Billboard called them in 1967 (“Moog Modu- unconvinced that these elec- sounds, in turn leading to the acoustical instruments, how- “.” This lar Synthesizers”). tronic sounds had any place creation of Progressive Rock, ever, one of popular music’s energetic movement of early Moog’s first modular synth in contemporary popular whose sound became syn- most influential instruments rock n rollers demanded new, had a Walnut wood frame music - that is, until the re- onymous with Moog’s synth was still in the works: the more powerful sounds and containing different “mod- lease of Wendy Carlos’ album (Snowden). ’s Moog modular synthesizer. led to the rise of electronic ules” that could be connected Switched-On Bach in 1968 work on his 1977 LPs Low First built in 1964 by Cornell instruments in popular music. with patch cables to manip- (Snowden). The album used and Heroes further raised the doctoral student Bob Moog ’s 1965 hit “Like ulate an electric current and only sounds from the Moog profile of the Moog, and by with the help of a ” features the create sounds. This design modular to play Bach classics the late 1970s, the synthe- Herbert Deutsch, the mod- Hammond B3 electric organ provided multiple advantages and served as a showcase to sizer was firmly entrenched ular Moog pioneered the prevalently (“Hammond/Les- over earlier synths. The orig- demonstrate the range and in rock (Snowden). Not all market that it would come to lie Heritage”). The breakneck inal 900 series modules were power of Moog’s new instru- bands shared this enthusiasm dominate over the following melodies of the king of surf easy to understand and control ment. The album remained for synthetic sounds, however. Moog Modular, 1965 2 3 influenced by the percus- boy, did Fender answer. Fend- inches above their head. The sionist style with which he er had a special amplifier con- sound that is constantly re- had grown up. Additionally, structed that could withstand verberating throughout Dale’s Dale was of Lebanese descent the sheer volume and power music is completely repre- (Huey). He became interested of the chords and notes being sentative of the sound that is in Middle Eastern melodies played by Dale. With the pow- echoing around the interior of and sounds, and he listened er amp, Dale could truly shred the wave. to his uncle play a lot of these in the way he wanted, leading Some scholars have tunes until he became very to a unique and full-bodied even made the argument familiar with them (Huey). sound that began to captivate that Dale’s unique and icon- Dale’s progression the surfer crowd of Southern ic sound was at the genesis Dick Dale, playing guitar. from beachside guitarist to California. Eventually, Dale of another music movement man who lived for his guitar early rocker developed pretty was signed to a big record nearly two decades later: and nature. Dale refused to rapidly (Hutton). After the deal with Capitol Records. heavy metal. The loud and play outside of Southern Cal- sound of his nightly shows However, his career never abrasive sound that was ex- ifornia, instead enjoying time bounced around the streets reached the climax many had perimental in Dale’s style of spent on his ranch with the an- of Newport Beach and the thought it would because of music became the foundation imals, and his wife and kids. buzz became too big for the a number of issues, including of the heavy metal movement Oftentimes, because he was Dick Dale small venue of the Rendez- his health. Before that though, of the early . Addition- not the quintessential rockstar, vous Ballroom to handle, Dale a deeper dive back into the ally, the skate punk style of Dale’s inspirational ability is moved on to playing larger music will demonstrate what many bands in the Southern overlooked. However, any fan The King of the Surf Guitar: Dick Dale shows. However, the guitarist made Dick Dale the “King of California area, such as Rich of rock must understand and by Jack Ginsberg continually had one problem. Surf Guitar” between 1960- Kids on LSD (RKL), was appreciate the powerful effect As you hear the ringing rever- predilection for spending long He was shredding too hard. 1964. heavily influenced by Dale. Dale had on virtually all mu- berations of the wave’s tube days at the beach and in the Seriously. Dale was shredding There were a few key Listening to Blocked Out, one sic that came after the 1960s. being masterfully plucked on water, leading him to want to entire picks in the course of elements of Dick Dale of RKL’s biggest songs, one Like the ocean, Dick an electric guitar, one name merge his new lifestyle with one by playing his thick, that made them both iconic can immediately draw out the Dale’s career ebbed and comes to most surf rock afi- his music. heavy-gauge strings. Addi- and revolutionary. First, the clear influence between both flowed, and it was after a cionados minds: Dick Dale. Born in , Dale (origi- tionally, he kept blowing out undulating and throbbing the lead and rhythm guitars long dry period that he had a The surf rock legend pio- nally Richard Monsour) was speakers. His powerful, hol- guitar that played both the and the style of Dale. Even the chance encounter with film neered a style of music that captivated by the masterful low, and vibrating sound was rhythm and the lead served large British metal bands of director Quentin Tarantino coincided with the rapid rise drumming of and simply too much for the amps as the backbone (Fortnam). the 70’s and 80’s have a direct (Fortnam). That day led to of surf culture on the beaches percussionist Gene Krupa of the late ‘50s to handle. Additionally, the sheer pow- line of lineage to the king of Dale’s song Miserlou becom- of California, and Dale was (Huey). Dale played both Dale knew he had to solve this er and volume of the sound surf guitar. Listening to Ace of ing the theme song for Top 20 able to harness the sounds and drums and as a kid. problem, so he approached created a strange effect where Spades, arguably Motörhead’s all time movie Pulp Fiction. feelings of these explorers of Later, he became inspired by legendary guitar maker Leo the listener was envel- most popular song, one can This revitalized Dale’s career the wave to create a unique singer- Hank Wil- Fender (Fortnam). Dale and oped by the sound. However, hear the classic hollow sound and gave him the opportu- sound. Although Dale did not liams and eventually taught the guitar maestro had previ- this was exactly what Dale in the introduction which Dale nity to tour again in front of move to Los Angeles until he himself how to play the uku- ously collaborated on the orig- was aiming for. He wanted created. a new and diverse audience, was a 17-year-old senior in lele and guitar (Huey). When inal Stratocaster guitar, so the the listener to feel as if they Dale’s career was one all of whom had one thing in high school, he quickly be- Dale became involved with strong and well-maintained were in the middle of a wave, filled with many ups and common: an admiration and came enthralled with the surf the guitar, his sound, style, rapport between them allowed getting barreled by a pure and downs, and that accurately love for the “King of the Surf scene and developed a unique and rhythm were all heavily Dale to ask for a favor. And, smooth sheath of water just reflects the life of an eccentric Guitar.” 4 5 has promise. During a time of takeover he offers another sound and has hit the tops of charts in many countries. “Only the Lonely,” another single he released in 1959, displayed his epic range. The string chords in the background offer a unique sound, and combined with his voice, give us something we have never heard before. He is truly a brilliant artist, who thrives even among the competition. We don’t know where Roy will take us next, Roy Orbison or what other adventures he will take us on. Best believe it How Roy Orbinson And Pretty Woman Hit Number 1 will be memorable and some- thing that lasts. Roy Orbison by Julian Carraway Orbinson toured with of the likes of something that would attract advertisement With his second single, “Oh, Lee Lewis, Roy and the band unique talent allows him to and the Rolling Stones during people to his song. The song Pretty Woman,” Orbinson split up. And after a short time captivate listeners. Some say his peak and picked up many goes through a progression topped the charts in the both at Sun Records, Roy’s career that he is imitating Elvis, but things from these famous of seeing a girl on the street, the and the UK. took a turn for the better in there is still something dis- bands. At its peak, Pretty and as she walks by, the lyr- Written by Orbinson and Bill 1958. tinct about his style, and there Women was his most popular ics of the song try to win her Dee, the song speaks about Roy wrote a hit single is no doubt that he has tre- work. The repeated phrase is over. As she’s almost all the getting affection from a girl “Claudette” for The Everlys mendous talent in music writ- catchy, and people fall in love way down the street, she turns he is attracted to. The catchy in 1958, for RCA Victor. He ing and . His focus on with his voice. On a 7” vinyl, around and eventually he wins phrase ‘pretty woman’ is men- was an established writer in the precise diction of words the hit single has sold millions her over. It is sort of a love tioned 16 times in the song. the music industry by this and soft singing makes him a of copies in the first couple story, at first sight. He sees Orbinson started his ear- time and in 1959, he landed a reserved performer on stage. of months His contribution this magnificent pretty wom- ly career with his band “The contract with the independent His sweet voice can be rec- to rock has been invaluable, an, that he wants and likes, Teen Kings,” and bounced label, Monument Records. ognized instantaneously, and whether or not his songs hit and she’s almost out of his around various TV shows Roy began to make a string of that’s what is most impressive the charts, they are all crafty reach, but somehow he does before landing a contract with songs that climbed the charts about him. The great range pieces of art that people will get her. It is a positive ending the infamous Sam Phillips and allowed him to ascend to that he covers throughout his always remember. “Pretty in which confidence allows a and Sun Records in 1956. the top of the music industry, songs is incredible and cannot Woman, walking down the good outcome. Pretty Woman After The Teen Kings had a where he remained for about be replicated. street, Pretty Woman the kind is a hit that will live on forev- not-so-successful career tour- six years. We do not know where I like to meet, Pretty Woman.” er. Roy Orbinson will live on ing with the likes of Johnny With smooth shades, Orbinson’s career will take The relatability of meeting forever. Cash, Carl Perkins, and Jerry and slicked-back hair, Roy’s us, but we do know that he a pretty woman on the street paid content 6 7 Left: time communicating with talk about for younger people, wrong by many. However, this Right: each other, and therefore had music and film adapted to the would have fit right in with a hard time loving and under- new social climate. Sexual im- adolescent sentiments about standing each other. These are plications and even downright sexual freedom. As opinions words that were particularly descriptions of sex are men- of political and civil freedoms fitting in a time in which the tioned in many of Simon and became looser and more liber- Cold War and the Vietnam Garfunkel’s songs. For older al, so too did opinions of the War threatened the safety of generations alive at the time, human body. Embracing lib- United States citizens, and can this was horrifyingly inappro- eral sexual attitudes allowed be interpreted as critical of priate; however, it paralleled Simon and Garfunkel to gain the United States’ inability to the growing normality of sex. the support of counterculture stay out of conflict. In another “Baby Driver,” for example, teens. popular Simon and Garfunkel clearly uses a car and engines Simon and Garfunkel song entitled “America,” a as metaphors for the human remained popular long after couple set out on a road trip in body and sex when Paul the 1960s, and have become search of an America that they Left: Art Garfunkel one of the best-selling artists do not find. The song clearly Right: Paul Simon of all time. However, they has critical undertones, and did not stay the voice of the seems to suggest America was defiant teenager forever. The Simon, Garfunkel, and an Age of Rebellion no longer what it once had principal reason for their been, and that the American downfall in the eyes of their by Adam Siegel dream was a thing of the past. rebellious audience was that Art forms get increasingly of that decade? What made their lyrics: underlying sexual Both of these ideas would Simon states “I wonder how they were too normal. As psy- more vulgar as time goes on. their music embody the feel- connotations and themes of have resonated with rebellious your engines feel.” In “Cecil- chedelic rock artists like Jimi Youth today are used to slurs ings of a new generation of protest. youth during this time period. ia,” Simon mentions “making Hendrix came on the scene, and swears in entertainment, rebellious youth? At this time in history, For the first time in American love in the afternoon with many began to view Simon such as music, comedy, mov- Simon and Garfunkel met protest was popular. Partic- history, kids were beginning Cecilia,” and then describes and Garfunkel as a bit too pol- ies, and television. To kids of as children in Queens, New ularly in folk music, such as to question their place in soci- losing her, with no literary ished. Their clean-cut melo- the twenty first century, Simon York, and began a friendship that of Bob Dylan, anti-war ety, their individual freedom, façade at all. Simon and Gar- dies simply could not compete and Garfunkel would appear and musical collaboration. and anti-violence sentiments and their absolute loyalty to funkel even wrote the original with edgier artists that more as the least raunchy or vulgar After significant time apart were increasingly more com- their country. In addition, song “Mrs. Robinson” for the accurately mirrored an edgier music they could hear. No during college, the two reunit- mon among . although this is not the case film The Graduate, in which time period. slurs are present in their lyr- ed to be signed by Columbia Simon and Garfunkel, some now, rock and roll was the hip a recent college graduate is Left: Art Garfunkel ics, and no curses are uttered and release their first Stu- of the pioneers of folk rock, music of the time. Combining seduced by an older woman Right: Paul Simon in their choruses. Yet Simon dio album in 1964, entitled did not from this revolutionary undertones with before falling in love with her and Garfunkel were at the Wednesday Morning, 3 A.M. stereotype. One of the first popular music gave Simon daughter (Greene). Simon and center of an adolescent rev- (Greene). Although the al- hits, “Sound of Silence,” is and Garfunkel a steady audi- Garfunkel had no reservations olution during the middle to bum sold poorly, this was the not necessarily particularly ence of support among 1960s about implying or portraying late 1960s. Listening to their beginning of their careers as about the Vietnam war or adolescents. sexual encounters in their music now begs the question, controversial yet acclaimed about violence. However, it Sex was also a huge music, and this was something why were Simon and Garfun- artists. Their roles as coun- is about communication. The part of the cultural revolution that would have been viewed kel part of the counterculture terculture artists was due in song’s lyrics detail how peo- of this time period. As sex as taboo just a few years ear- part to two different aspects of ple and countries had a hard became more acceptable to lier, and was still viewed as 8 9 lewine). Liking what he heard fluence was more evident than are just kids. It is something past, and put forth a set of from Joel, he decided to sign that of early rock n’ roll and special to be able to make standards for the future. The him to the label, which would rhythm and blues. something that lasts as long foundation they lay provides give birth to the Joel that Joel’s influences in two as Joel’s music has, and it is the map for generations to many recognize today. It was of the most important genres even more remarkable to think come, and I believe few have with that of music came by way of the that it has not just remained done it quite as well as Billy Joel released the solo album likes of guys like Phil Specter, relevant, it has remained Joel. which would bring forth his Fats Domino, , extremely popular. With the most recognized song, “Piano and The Beatles, just to name way the music industry works Man.” The album, which bore a few. Their legacies greatly nowadays, the lifespan of art- the same name as the song, impacted the way Joel saw, ists grows shorter and shorter. garnered lukewarm sales, and listened to, and produced mu- Independent artists spring up the long-lasting impact of sic, and their lyrical structures out of nowhere, and even the that particular song would not and melodies contributed to big-wig label signees go just become apparent for years to the finished product which is as quickly as they come. They come. Billy Joel’s music. It didn’t say history repeats itself, and Billy Joel As Joel continued to just stop there either, as jazz produce more and more mu- and classical influences alike sic, he gathered an increasing found their way into his com- Joel amount of attention, not just positions as well. The finished by Dylan Millhouse for his singing and playing, product became Joel’s staple, but for his songwriting as and it actually became diffi- Arguably one of the most sional music scene at the age well. Joel “favored tight- cult to pin him down to one well-known, loved, and re- of just 16, playing as a part of ly-structured pop melodies genre of music in particular. spected musicians of all time, the band called The Echoes, and down-to-earth, unpreten- He claims in his biography Billy Joel will forever be ce- who contributed heavily to tious songwriting” (Tamar- on The Rock and Roll Hall mented in musical history as the “” covers kin), which accrued praise and of Fame website that he re- Billy Joel, “Piano Man” one of its greatest superstars. which were contemporary to sparked interest in those who ally wanted to create music There’s no denying that the the time. They began record- chose to listen to his music. that “meant something during I believe that holds especially natural talent he expressed as ing in 1965, and from there Drawing from his love of the the time in which I [Joel] true when it comes to mu- both a singer and songwriter released a series of demos and piano, and his prowess as a lived….and transcended that sic. The greatest artists today made him a shoo-in for the albums that saw Joel featur- player, Joel was able to encap- time” (“Billy Joel”), and he create things that others have Rock and Roll Hall of Fame, ing on the piano. Over the sulate the emotion of his life achieved just that. Joel’s work never done, they push the to which he was inducted in course of the next 5 years, experiences in the songs he still reigns today as some of limits and test the boundaries 1999. While Joel’s career saw Joel would leave and join a wrote, and truly added some- the most popular and influen- of the industry, but in spite of a whirl of chart-topping mega variety of groups culminating thing new to the stigmatized tial music of the late twentieth this, those who find long term hits drawing on a plethora of in his eventual signing as a perception surrounding what century. success do so by remembering styles and artistic influenc- solo artist with Family Pro- it meant to be a “rock star.” What makes Joel so and honoring those who came es, what is perhaps the most ductions. After some varying While he continued to both amazing today is that his fol- before them. For musicians important aspect of his career amounts of success with them, write and perform his music, lowing transcends those con- like Joel, their success neither is what happened in its very his music fell on the ears of it became quickly apparent temporary to the time where starts nor ends with the music beginning. Herb Gordon, an executive that Joel was influenced by a he was making music, and they themselves create. They Joel entered the profes- for Columbia Records (Er- variety of genres, and no in- some of his most loyal fans draw on the influences of the advertisement 10 11 profited off of it as a result of songs to create this image of ideals and aesthetics, which in est in the white, hipster demo- their race. himself. He did this to give turn continues to attract pre- graphic as well. This is ob- This is evident in the The Rolling Stones an edge dominantly white listeners, a vious as these same clothing Rolling Stone’s hit “No Ex- over other British rock bands, constant cycle that continues stores which advertise indie pectations,” which would such as The Beatles, who did to remain exclusive, whether rock bands sell go on to be covered by folk not include a dangerous and intentional or not, to one race and Rolling Stones t-shirts as artists such as Joan Baez. The more foreign style of singing of people. These systematic well. This is just one example song combines country and for their white audience. Iden- ideals that are ingrained in of how these same ideals and blues, with lyrics that evoke a tity and image are essential to white culture, especially of the white aesthetics of the past Mississippi delta blues style, the success of a band, and The middle and upper class, are remain and have been rein- with the lyrical image of the Rolling Stones happened to those that speak to privilege vented in modern white youth lonesome train ride. This is steal and reinvent a style and and free-spirit aesthetics. culture. not only an appropriation of image that was praised by a The proliferation of As seen by these sim- the musical style of Missis- white audience, which would these predominantly white ilar repetitions of history, it sippi delta blues artists such not have been had The Rolling ideals and appeal to white cul- is important for the listeners The Rolling Stones as Muddy Waters, John Lee Stones been black. ture is not only perpetuated by of contemporary music to be Racial Divides in Music of the Past and Present Hooker, and Jimmy Reed, but Although people may the white indie bands produc- aware of the roots and origins also a cultural appropriation write the obvious racism of ing these songs, or even just of the music that they listen by Zaynah Karem of the experience of a south- the music industry and of the listeners, but also by the to, as well as be aware as to The influence of blues and more successful than black ern, black blues singer. This consumers off as a product recording labels, music pub- why the music they listen to soul on rock and roll is un- artists of those decades as well group of teenagers from Liv- of the 1960s and 1970s, it lications, and even clothing may only attract white lis- deniable. Any person in the as the ones preceding it. One erpool had no idea or concep- is important to see the ways companies such as Urban Out- teners. The appropriation of modern age who has access of the notable of these white tion of the experience told in that the same racial issues fitters and Free People. These black music in history both in- to the internet, or to a Spotify rock bands is The Rolling “No Expectations” or other discussed above are not just stores aim to capture the very fluences and reflects the social account, is aware of this fact. Stones, one of the most suc- country-blues songs such as a thing of the past. They have essence of white, hipster issues pertaining to race and One cannot deny that bands cessful bands of all time, and “Moonlight Mile.” They were been reinvented and trans- youth culture, by selling vinyl has a greater influence than such as The Rolling Stones, often times seen as the poster appropriating an image, an formed into a more subtle, albums and band t-shirts of most people would like to Cream, Led Zeppelin, and nu- child for rock and roll. image that would be the im- though equally as problemat- these white bands. recognize. Just as indie rock is merous others of the 60s and The Rolling Stones petus behind their success and ic, expression of racism. One This is not surprising; it is not the modern day replacement 70s would never have been so have openly stated their admi- record sales. of these less overt signifiers news that certain images and for 1960s and 1970s music successful without their rein- ration for African-American The forefront of this of social racism is the modern aesthetics are the main force of white, hippie culture, indie vention and transformation of blues artists such as Muddy image that The Rolling Stones day rise of indie rock. Unlike behind an artist’s appeal and rock can have just an equal of the blues and soul music of Waters, , John possessed was Mick Jagger’s the popular music industry music sales. However, this is an impact on social thought the 1920s. Lee Hooker, and many oth- portrayal of voice and lan- of the 1960s, the indie rock very comparable to the appeal and mindsets surrounding The age old controver- ers. Although they may have guage. Mick Jagger became industry is not overtly racist. of rock bands of the 60s and race. Music may be one of the sy, however, lies in a question: helped these blues artists an international symbol for Rather, the whiteness of indie 70s, who stole and reinvented most subtle ways of prolong- did these rock stars reinvent reach greater commercial not only his dance moves, but rock is based primarily off the the style of African Ameri- ing racism; therefore, it is of and transform the blues, or success than they would have for his unique (among white difference in white and black can rhythm and blues music the utmost importance that the profit off of it with the advan- without The Rolling Stones, listeners) howling voice and ideals and lifestyles which at- and prospered off of it. Some younger generation of listen- tage of their race? The racial one cannot overlook the fact dialect. It was clear that Mick tract indie rock listeners. The examples of these 60s and 70s ers is aware of the role that divide in record sales is obvi- that The Rolling Stones open- Jagger affected his alternating fan base is overwhelmingly rock bands, like The Rolling race plays in music produc- ous, as any white rock artist ly stole and reinvented tradi- cockney and African Amer- white, which causes indie Stones and Led Zeppelin, tion. in the 60s and 70s was wildly tionally black blues music and ican accents in many of his artists to cater to these white have even had a revived inter- 12 13 Spencer Potter, Dario Highsmith, Justin Cabral Meet the ones age of music, especially rap diverse group of rappers and music, in which almost no line producers. The group is led by who think they’re is too far to be crossed. DTE Dario Highsmith. Highsmith Dario Highsmith changing the game. references drugs, guns, girls, is a young black man from and sex. Today we listen to Middletown, Connecticut this song and think nothing of who goes by the rap name it, having been indoctrinated “Freddie Raymond” and has into this kind of music by rap been coined “The New Age groups and rappers such as Kanye.” Backing Highsmith NWA speaking openly about are Plymouth, Massachu- crime, Biggie Smalls rapping setts natives Spencer Potter DTE about drugs, rap- and Justin Cabral. Potter and ping about women, and Nicki Cabral are two white males by Chase Pratt Minaj rapping about sex. In who cap off DTE’s trio of joy performances with white the midst of these explicit rappers. Spencer Potter goes people, a diverse group such lyrics, “Mama” seems quite by the rap name “Lil Potter” as DTE would never even be a tame. But, nonetheless, hear- or “LP.” Justin Cabral goes thought. ing these lyrics over the sam- by the rap name “Big Jut” in The beautiful aspect of ple of Ruth Brown’s 1950s hit accordance to his large, Rick DTE’s reincarnation of Ruth truly shows the listener how Ross-type frame. These two Brown’s twentieth century hit far the music industry has have been coined “The Pio- is that no common listener come. neers of Modern White Rap- is concerned with all of the DTE’s fresh take on Ruth The relationship of the beat example, when Muddy Wa- Aside from the musical pers,” in part because of their history behind it. Today, con- Brown’s classic “Mama He to the vocals also has distinct ters wrote “Hoochie Coochie perspective, this collaboration Plymouth background and due sumers listen to the music and Treats Your Daughter Mean” differences between Ruth’s Man,” which was years after displays a racial and cultural to their role in an otherwise enjoy the artist’s musical cre- bridges the gap between 1950s original and DTE’s “Mama,” Ruth Brown’s “Mama He progression in both music and African American dominated ation without criticizing black R&B/soul music and today’s as Ruth’s was Treats Your Daughter Mean,” society. During the 1950s, ra- industry. The man behind the people and white people col- rap takeover. Rappers Dario simply background music. he received scathing criti- cial segregation was still legal scenes producing the music is laborating on an album. And Highsmith, Spencer Potter, When listening to “Mama cism for the sexual innuendos and in full effect and the mu- Woanyen Mahn. Mahn is an- while many people do oppose and Justin Cabral sample Ruth He Treats Your Daughter the song entailed. And even sic industry reflected this. Not other young black male who the lyrics of rap music, as Brown’s bass boosted hit and Mean,” the listener focuses years after that, Little Rich- many, if any, musical groups comes from Canton, Massa- displayed by DTE and other add their own fresh lyrics in on Brown’s dominating voice. ard’s song “Peggy Sue” had had racial diversity, and Ruth chusetts. The musical genius rap groups, labels give artists the group’s new hit, “Mama.” But in DTE’s version, the beat to be rewritten in order to Brown was no exception. gets little recognition by the the freedom to release explic- The entire production of this is emphasized and the vocals have success because it was Ruth Brown was represent- public for his work on DTE’s it material, leaving it up to sample shows just how much coexist with the instrumental, considered too crude. And ed by Records which records but is widely respect- the public to make a decision music has changed since Ruth rather than letting the rapping perhaps most famously, Elvis was a predominantly African ed throughout the music in- about the lyrics. Thus, DTE’s Brown released the original dominate the piece. was considered inappropriate American label. In recordings dustry. Mahn worked with cover of the 1950s hit is not song. The first recognizable In addition to the in- for shaking his hips. In oth- of her performing the piece, DJ Khaled for years as an just a simple piece of music, difference can be physically strumental differences, there er words, artists had to keep she is always accompanied by understudy before leaving the but a reminder of how far both felt as the bass erupts out of is a clear difference in free- their work tame and stay away an all-black band. The musi- established producer’s shadow music and society have come the speakers, followed by a dom of expression. During from controversial ideas such cal group DTE, on the other to make a name for himself. in such a short span of time in modern hip hop set of drums, Ruth Brown’s era, there were as sex and drugs. DTE, on the hand, represents the diversity In a time when black people American history. claps, snares, kicks, and 808s. lines artists had to toe. For other hand, represents the new of modern music, flaunting a were not even allowed to en- 14 15 Hozier Back” consist of two instances more risqué ideas without Church,” “From Eden,” and Dominoes in “Have Mercy of one phrase repeating twice, being too blatantly sexual; “Foreigner’s God,” it’s hard Baby.” Clapping is seen both and then an alternate line, in a obvious sexual meaning in to deny a religious presence. in “” and aabaac form. music would have been high- That being said, all of these “Work Song.” It is particularly Another aspect of the ly frowned upon at the time. songs put a twist on religion. powerful in “Work Song” as blues is off-beat phrasing, Hidden meanings are scattered “Take Me to Church” refutes it functions as one of the only which is when the upbeat is throughout Hozier’s music, christianity, singing “every instruments. accented along with the down- particularly in “Take Me to Sunday’s getting more bleak.” Another aspect of the beat. This technique is used in Church.” The song is riddled He claims that true happiness blues that was taken from songs such as “Caldonia” by with sexual double entendres, is found with a lover. He also gospel was the concept of call Louis Jordan. Off-beat phras- such as when he sings “the repeatedly sings “amen” even and response, and at the sur- ing is found throughout Hozi- only heaven I’ll be sent to is though the song is anti-reli- face level, this is not found in er. In “Angel of Small Death when I’m alone with you.” gion. In “From Eden,” Hozier Hozier. Where Charley Patton and the Codeine Scene,” the His consistent use of double sings “I slithered here from literally answers himself in drums are used to both accent entendres furthers the extent Eden just to sit outside your “High Water Everywhere,” no the up and the downbeats to which his music reflects door,” suggesting that he distinct form of response is during the chorus. The drums found in any part of Hozier’s Is it a Work Song?: also accent the upbeats in album. That being said, he “Foreigner’s God.” uses the technique of echoing Hozier’s Relationship to the Blues In terms of title, “Work to function as his form of call by Emma Greenfield Song” jumps out as a clear and response. In “Angle of reference to blues music. Re- Small Death and the Codeine Andrew Hozier-Byrne, more such as John Lee Hooker as alistically, the song does not Scene,” background singers commonly known as Hozi- inspiration. Are these influ- function as a true work song, echo Hozier’s lyrics. This Hozier er, is a twenty-six-year-old ences actually reflected in his as it only mentions working echoing acts as a response. singer-songwriter who was music? in the beginning. That being the blues. embodies the serpent. “For- Not every song in Hozi- catapulted to fame by his His lyrics generally do said, it is relatively light on Other than the double eigner’s God” expresses the er mirrors blues music. In fact, song “Take Me to Church” in not fall under the category of the as a tradi- entendres, an aspect of the disconnect he feels with reli- arguably none of the songs are 2014. Born in Ireland, he was a twelve-bar blues. Typically, tional work song might be. blues that was controversial gion. While he is much more a perfect replica, but his con- surrounded by music through- a blues verse would consist Rather than singing about was the use of gospel music negative about religion in his sistent use of blues techniques out his childhood. His father of one line repeated twice, work, the lyrics primarily dis- styles in a non-religious con- music than former blues art- and aesthetics in his modern played in a blues band, and he and then one new line; this cuss love. In fact, love and re- text. Many blues musicians ists may have been, he contin- music helps to bring blues sang in various chorales. Cur- form is known as an aab form. lationships are the focus of the grew up in the church, so ues the theme of secularizing into the present day. “To Be rently, his only released album Often this form continues album, and these topics may that was where they found religious music. Alone” even takes a line from is Hozier. for the entirety of the song. reveal Hozier’s blues influ- much of their inspiration and Along with religious Junior Kimbrough’s song Hozier’s music is of- Hozier’s songs tend to be in ences. The blues has a strong musical training. Like many themes, he brings clapping “Feels So Good #1.” Hozier ten classified as blues, and he a pop form, with verses and focus on relatable topics, and blues artists, Hozier also has into a lot of his music. Clap- helps make blues more acces- outright claims, “whatever it choruses. That’s not to say one of the common choices a background in the church, ping was very popular in gos- sible to today’s youth. So yes, is, it’s not .” Given that he never repeats lines. In for artists to write about was performing in various choirs. pel music, and it was used as he can be considered a blues his dad’s musical background, “Someone New,” his chorus love. While he says he is not re- a way to foster participation artist, the title just means he clearly has some blues consists of just one line re- Along with the theme of ligious, Christianity plays a from the crowd. Many blues something a little different influences, and he cites artists peated four times. Also, some love, blues artists often used large role in his album. With artists used this technique than it did almost a century of his verses in “It Will Come double entendres to convey song titles like “Take Me to in their songs, such as The ago. 16 17 Left: , Right: the group six years to reach rock” and “reggae-rap-rock” Left: Josh Dun, Right: Tyler Joseph stardom with the hit song in many of their songs. Inter- “Heathens” of the also very estingly enough, Lambert’s hot album , which critique leads listeners like me debuted in May of 2015. This to be careful when deciding song has spent 28 weeks atop to label as Billboard’s Hot Rock Songs a band that focuses on one chart (as of March 4th, 2016), genre. Further, it seems that and at the time of the writing when Lambert uses genre la- of this article, “Heathens” bels, she categorizes individu- remains at No. 1 on that chart. al songs under a genre, instead Today, “Heathens” also sits of squeezing the band into one within the top 40 songs on or two genres. Billboard’s The Hot 100 (Bill- My hypothesis that board). twenty one pilots use many The world famous genres in their music to reflect American has clung an adolescent mind is best twenty one pilots: What Even Is It? to their wholly unique style of touched on by music critic by Collin Andrews what Caryn Ganz of the New Brenna Ehrlich. In her 2015 York Times refers to as “genre article, Twenty One Pilots y high school girlfriend producer Greg Welles, Vessel agnosticism.” I believe their are Playing the VMAS for M listening to twenty one pilots tude toward their music style, gave me a photo for Christ- helped the band expanded utilization of multiple genres the Blurryface in all of Us, in high school, Tyler’s lyrics “…someone who knows how mas. In it, two guys sit fully their initial, Midwest, ‘home- is a perfect reflection of the she writes, “…the character were not only applicable to to be themselves is someone clothed in an inflatable kiddie town’ fan base. Greg Welles adolescent mind, a message of Blurryface is basically a me, but resonated with com- who is just OK with being ig- pool. The background of the encouraged the band to begin they seek to convey. personification of insecuri- mon problems amongst my norant to what’s happening -- photo is a parking lot, and the an international tour, with the Each of the twenty one pi- ties.” Tyler and Josh speak to friends and even their friends. trying not to follow something guys are actually sitting in debut of Vessel. This helped lots’ songs consist of vocals the deep meaning behind the The wild mesh of so many but trying to create something water up to their belly but- other people reach twenty from Tyler Joseph, and drums lyrics of their band’s songs. genres is what I think is a that’s your own and it may tons. If the picture weren’t of one pilots’ music. Their fan performed by Josh Dun. Al- In the album, Vessel, for clear reflection of how some- not be cool to everyone, it Tyler Joseph and Josh Dun base was introduced to the though vocals and drums are instance, the duo explain that one’s mind functions when may not fit sometimes, but of the band, inadvertent implementations a staple in their music, twenty the meaning behind the song, they begin to be introduced to it’s still yours…” (Ehrlich). twenty one pilots, I would’ve of rap, reggae, screamo, and one pilots invites other genres “Guns For Hands” is how new experiences. Leading up to where twenty been very confused. As a even EDM (electronic dance into their music that some each kid has the opportunity Twenty one pilots ought one pilots is in their career twenty one pilots fan, I found music). To one not familiar bands wouldn’t dare, for the to take their own life, and the to give themselves a big pat today, it would be wrong to that the mismatched, unex- with the sound of twenty sake of attracting an audience. willpower of themselves and on the back for their journey say they changed their style in pected aesthetic of the photo one pilots, the utilization of The genres the two have bor- others is the only force that to the top. In the 2015 Video order to gain more popularity. my now ex-girlfriend gave four genres may sound unat- rowed from, and included in can convince them not to. On Music Awards, twenty one The band stuck to their origi- me also reflects the band’s tractive, and frankly, fright- their songs thus far are reggae, the lyrics of the song “Mi- pilots and A$AP Rocky were nal style of utilizing multiple unique style. In late 2009, ening! However, the friendly rap, screamo, and electronic graine,” Tyler Joseph said in a selected to play after one an- genres, and over time, mil- vocalist Tyler Joseph joined charm and high energy of the dance music (EDM). As mu- Spotify artist session, “it’s just other. In an interview before lions fell in love with what Josh Dun to form twenty one couple on stage began to make sic critic Molly Lambert puts a really cool feeling of I’m the performance, Tyler Joseph they had to say, rap, sing, pilots. With the aid of a mark on millions. It took it, the group embraces the not alone in what I’m going bastardized genres of “rap- through.” As an adolescent spoke of his and Josh’s atti- play, or even scream. 18 19 (4) Simon, Garfunkel, and an age of Lambert, Molly. “And Let Us Now Praise Rebellion by Adam Siegel -- Twenty One Pilots.” MTV News. MTV, 29 paid advertisement Greene, Andy. “Simon and Garfunkel: Sept. 2016. Web. 01 Mar. 2017. Bio.” Rolling Stone. Rolling Stone, n.d. “Music: Top 100 Songs | Billboard Hot Web. 01 Mar. 2017. 100 Chart.” Billboard. Billboard, n.d. (5) Joel by Dylan Millhouse -- Web. 01 Mar. 2017. Erlewine, Stephen Thomas. “Billy Joel “Twenty One Pilots’ ‘Heathens’ Breaks Biography. AllMusic. n.d. Web. December Record for Most Weeks at No. 1 on Hot 7, 2008. Rock Songs Chart.” Billboard. Billboard, Tamarkin, Jeff. “Joel, Billy.” Oxford Mu- n.d. Web. 01 Mar. 2017. sic Online [Oxford UP]. Oxford Universi- ty Press, n.d. Web. October 5, 2015. Images: “Billy Joel.” Rock & Roll Hall of Fame. Cohen, Rich. “The Rolling Stones’ Guide Rock & Roll Hall of Fame, n.d. Web. 28 to Business Success.” Street Feb. 2017. Journal. Dow Jones & Company, 06 May (6) Racial Divides in Music of the Past 2016. Web. 05 Mar. 2017. and Present by Zaynah Karem -- “King of the Surf Guitar – Dick Dale Sahim, Sarah. “The Unbearable White- Turns 78.” SHEA MAGAZINE RSS. N.p., ness of Indie”. Pitchfork, 15 March n.d. Web. 05 Mar. 2017. 2015, ! “Moog Product Timeline | Moog Music Maycock, James. “Music: White Men Inc.” Moog Product Timeline | Moog Mu- Sing the Blues”. The Indepdendent, 1999, sic Inc. N.p., n.d. Web. 05 Mar. 2017. paid advertisement !

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Next Semester’s Issue: Bowie, Blonde, and Barter 6: The Future of Blues and Rock & Roll

David Bowie