History or Rock Music Exam 2 Review

8/10/2019 History or Rock Music Exam 2 Review

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B. The Hamburg experience provided the opportunity to develop their musical skills

1. The performance routine was a grueling one

a. They played from 600 78 to '00 A8 with fifteen-minute breaks

b. They were under pressure to make a show for the "erman patrons

c. They had to learn as many songs as they could as fast as they could

'. The result of this kind of pressure on musicians is to either get great or get washed out

. The Beatles returned to 4iverpool as professional musicians

2. Their performance at a dance gig at 4itherland Town Hall was a sensational success

a. "reat audience reaction foreshadowed the type of atmosphere they would soon be

generating

b. They had refined their performance techni9ues such that they were now the best band in

the area

%. The musical influences on the Beatles as they develop their musicianship and creative talents

1. 4ennon and 8c%artney studied and imitated many successful writers# styles and performers# styles

'. These influences and fascination with American rock and roll are apparent in their early original

work

. Tapes of performances at Hamburg#s *tar %lub and early BB% radio performances show their

tastes

a. :lvis 7resley#s version of ;That#s All ,ight


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)4et The Beatles at a cavern cl'b in -iverpool

)record store mana"er

)o7ered to mana"e them in 8ovember ./9.

):pstein arranged a recording audition with )ecca in their 4ondon studios on +anuary 1! 1/'

$hat is Beatlemania(

)The British press coined term to describe the excitement generated by the band#s live performances in 1/

-Beatles were constantly topping the British charts

-)idn?t hit America until %apitol ,ecords realeased @ $ wanna Hold your Hand

S arrival, why were they so s'ccess+'l(

) There were a number of entertainment business aspects that combined to help trigger Beatlemania in America

1. %apitol ,ecords release of ;$ ant to Hold >our Hand; hit number one in +anuary'. The Band appeared on the :d *ullivan *how immediately after that

. Their C.*. debut albumMeet the Beatleswent D1 one week later and stayed there for three months

2. The C.*. release The Beatles' SecondAlbum replaced 8eet the Beatles as number one

E. The +uly 1/2 release of their full-length feature movieA Hard Day's Night

There was a flood of Beatles singles that were hits from that point forward1. Thirty in the C.*. top 20

-All subse9uent albums would go number 1

-orked furiously so they wouldn?t be a fad

5ow did the Beatles develop +rom cra+tsmen into artists(

hey began by imitating American artists

1. They combined some stylistic elements of 1E0s and early 1/0s American pop'. An example of this is ;$ ant to Hold >our Hand;

a. %huck Berry-like chords in the low register


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c. The Beatles were under pressure to produce product 9uickly and efficiently in the beginning

d. Their inexperience forced them to use this approach in case their popularity faded 9uickly

As they grew into more accomplished musicians and songwriters they began using other techni9ues

1. %lassical music composers never solve the same problem twice the same way

'. They continually explore new options that haven#t been tried so as to push the art form forward

. The Beatles evolved toward this approach as they became more comfortable in the studio

2. $n early 1// they began bold new experiments in production ofRevolver

a. Cse of studio effects

b. *tylistic uxtapositions

c. Few timbral elements

d. *tructural elements

E. This approach is exemplified in ;Tomorrow Fever &nows;

a. *imple verse form a single eight-measure structure played nine times with no chorus

b. 4yrics are from the Tibetan Book of the )eadGspiritual advice to those facing death

c. The adaptation of the text was from Timothy 4eary#s book The Psychedelic Experience

d. Accompanying music is a static single harmonic drone

e. Additional sounds in the recording are made from tape loops

f. Tape loops were often used by 1E0s and 1/0s avant-garde classical music composers

g. The song was mixed in real time! rendering a repeat of the mix impossible ou;

b. ;$ ant to Hold >our Hand;

c. ;A Hard )ay#s Fight;

'. $n 1/E lyrics move into new unexplored territory involving previously unexplored topics

a. 4ennon#s ;Help; discusses loss of self-confidence that had accompanied youthful naivetI

b. His ;Forwegian ood; discusses sexual frustration after a one-night stand

c. 8c%artney#s ;:leanor ,igby; focuses on existential alienation

d. A similar theme is present in his ;*he#s 4eaving Home; on Sgt. Pepper's onely Hearts !l"#

Band

e. A profound influence on their intentional development of lyrics is American folk music

f. The leader in that movement at the time was Bob )ylan! whom they#d met in 1/2


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. The Sgt. Pepperalbum cover features printed lyrics to the songs

a. A first for commercial music

b. This idea became very common after Sgt. Pepper

The development of greater stylistic range1. )ylan#s influence is apparent on 4ennon#s ;>ou#ve "ot to Hide >our 4ove Away; from ;Help$;

'. (n the same album! a classical-style string 9uartet accompaniment is used on 8c%artney#s ;>esterday;

. Harrison uses a sitar onR"##er So"l's;Forwegian ood;

2. ,evolver covers a wide range of styles

a. ;Tomorrow Fever &nows; demonstrates startling technological techni9ues with profound lyrics

b. ;>ellow *ubmarine; has the character of a children#s song

c. ;"ot to "et >ou into 8y 4ife; introduces horn arrangements

E. These trends indicate the gradual approach to the highly eclectic concepts on Sgt. Pepper

/. The Beatles made use of their creative freedom in the studio to become the model for others to follow

a. They moved from being craftsmen to artists

b. $nstilled a sense of seriousness and self-consciousness into rock musicians who followed their lead

$hy did they stop to'rin"(

+ohn 4ennon remarked in a C& interview that religion was in a state of declinea; He said that this was evident when a Beatles concert could outdraw a church serviceb; American ournalists took his comments out of contextc; They accused 4ennon of saying that the Beatles were bigger than +esusd; This triggered uproar in the south involving bonfires of Beatles productse; The Beatles were threatened by the &u &lux &lan

-Had last tour in 1//

-August '!1// in *an Jancisco?s %andlestick park

The Rolling Stones

a. 8ick +agger! vocalsb. &eith ,ichards! guitar

c. Brian +ones! guitar

d. Bill yman! bass

e. %harlie atts! drums

f. $an *tewart! piano


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They conveyed a more radical side of the British $nvasion concepta. Brash

b. Fonconformist

c. ,ebellious

Fot influenced by softer American pop music styles as were the Beatles and other Beatle-type bands

a. The ,olling *tones drew from the 1E0s %hicago electric blues tradition

b; Blues that featured slide guitar! harmonica! and vocal delivery styles similar to 8uddy aters

They were involved in the blues revival that was taking place in 4ondon in the early 1/0s

$hat was their ima"e and why was it important(

Their rebellious image wasn#t as well received as the cleaner image proected by Beatle-type groups :ventually their ;troublemaker; image began to be better received by teens in the Cnited *tates

a. This is what appealed to British teens

b; They needed to be perceived as an alternate choice to the cleaner groups in order to succeed

Other British Bands

The Yardbirds ) roots, rave)'ps, 6ric Clapton

,eplaced the ,olling *tones at the %rawdaddy %lub when they left :ven more dedicated to the blues than the *tones

a. &eith ,elf on vocalsb. 7aul *amwell-*mith on bass

c. +im 8c%arty on drums

d. %hris )rea and Tony Topham on guitar

e. Topham was replaced by lead guitarist :ric %lapton

f. %lapton was replaced by +eff Beck! who was subse9uently replaced by +immy 7age

They developed long! improvisatory sections at the end of songs displaying members# virtuosity These can be seen as a model for styles that appear later that focus on improvisation

4ittle chart success until they recorded "raham "ouldman#s ;Jor >our 4ove;


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a. 7roduced by *imon Fapier-Bell and bassist *amwell-*mith

b. *amwell-*mith left to work on producing bands

c. He was replaced by +immy 7age on bass

d. Jor a short while! both 7age and Beck were in the band at the same time

e. 7age and guitarist )rea switched roles and 7age became the other guitarist with Beck in 1//

Beck 9uit and 7age continued on with the band until they disbanded in 1/3a. 7age formed a new band! the Few >ardbirds! to finish out the >ardbirds# commitments

b. He changed the name of this new group to 4ed Leppelin

The nimals ) 5o'se o+ the ardbirds with hits in the C& and Cnited *tates

b. 4ead singer :ric Burton and known for their wild stage presence

c. 7layed in Hamburg#s *tar %lub

d. 8oved to 4ondon in 1/2

$mportant break came with a chance to play on a %huck Berry tour in the C&a. They played ;House of the ,ising *un!; a slow folk-blues number

b. $t was a contrast to all the other rock and roll songs on the show

c. They recorded the song and it was a hit in the C& and the Cnited *tates


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)what style o+ m'sic did the yo'n" teens pre+er(

a; )Teen idols with nonsexual songs about romance and dancing were directed at the younger teens

)what style o+ m'sic did the older teena"ers embrace(

a; )Jolk music with focus on social! political! and cultural issues was directed at the older audience

$hy did people like +olk m'sic(

Jolk music had been somewhat popular throughout the 120sa. oody "uthrie

b. 7ete *eeger

c. "uthrie and *eeger played together with the Almanac *ingers

- Jolk music and the artists singing it addressed issues that concerned less fortunate members of society

1. They openly advocated social change toward what was considered left-wing political ideals

a. They came under fire during 8c%arthy era anti-communist investigations

b. eavers were blacklisted because of their affiliations with the American %ommunist 7arty

'. )uring the 1E0s folk music withdrew from political causes

c. $t became popular with college-age audience

d. Jolk artists returned to political idealism centered on the civil rights movement

Jolk music had a noncommercial sound and character1. $t was music for regular people! performed by regular people

'. 7erformers seemed to represent the masses

a. $t was not pretentious

b. 5irtuosity and showmanship were avoided

c. 4yrics focused on social issues

d. That made lyrics more important than the performers# talents or appearance

e. This alone was a strong contrast to the teen idol music of the pop mainstream

. 8uch of the folk movement appeal was the break from middle-class ideals

2. Jolk music triggered an upsurge in sales of acoustic guitars in the early 1/0s

E. $t was simple music to sing and play

a. That made it appear that it was for the common person

b. This aspect also enhanced the importance of the lyrics


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%in"ston Trio

The &ingston Trio became one of the most successful acts in popular music1. Famed after the +amaican city because of Americans# fascination with calypso music

a. )ave "uard! Bob *hane! and Fick ,eynolds

'. ,ecorded a traditional folk song called ;Tom )ula;

. ,enamed it ;Tom )ooley; arrow

b. 7aul *tookey

c. 8ary Travers

*uccessful string of hit songs in the early 1/0sa. ;4emon Tree;


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c. ;7uff the 8agic )ragon;


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c. Both added electric guitars! electric bass! drums! and occasionally keyboards

2. The folk revival was based on guitar chords accompanying vocals

E. The Beatles were originally a guitar-based ensemble

a. The transition from acoustic to electric is easy

b. ould-be musicians bought electric guitars and began practicing in garages

/. The combination of imitation and adaptation of preexisting styles is best seen in folk rock

$ho were the !rst to record in the +olk)rock style(

)Bob Dylan

)The Byrds

Bob Dylan)m'sical contrib'tions, lyrics ?topics and @importanceA

Jolk rock begins with Bob )ylanA. Bob )ylan in 1/2

1. ell known in the folk music community

'. ,elatively unknown to the commercial pop mainstream audience

a. Jolk artists weren#t part of the ;singles; end of the music industry

b. They were known for their albums of folk songs

. At this time the folk music that had high exposure was by the pop-oriented folk artists

a. 7eter! 7aul! and 8ary

b. The &ingston Trio

2. )ylan#s recording success was based on album sales

E. His album sales were fueled by touring

a. :xtensive performances on college campuses

b. Jolk clubs

/. Built his style around that of oody "uthrie

a. Added new lyrics to familiar public domain folk songs

b. The new lyrics were about social inustice

c. The heroes of "uthrie songs were real people! not folklore

6. :arly )ylan songs dealt with social issues

a. ;Blowin# in the ind; addressed civil rights issues

b. ;8asters of ar; was about the newly erupting 5ietnam


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3. :ventually )ylan began addressing more personal ideas

a. He put his talent for crafting lyrics into these relationship-driven topics

b. These lyrics were far more poetic than Brill Building songs

. His second! third! and fourth albums were commercial successes in America and :ngland

a. The %ree&heelin' Bo# Dylan


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b. They subse9uently changed their name to the Band

3. )ylan spent several months recovering from a near-fatal motorcycle accident in +uly of 1//

a. His records inspired musicians to follow in his path

b. They used electric instruments to accompany lyrics about serious issues

. )ylan was gone for a while but folk rock was continued by other! more commercial artists

)8ewport Folk Festival ?what happened, a'dience reactionA

:lectric )ylan and the Fewport folk festival controversy1. )ylan appeared at Fewport in +uly of 1/E using electric instruments on some songs

'. Jolk purists accused him of selling out to the pop mainstream

The Byrds ) 4r; Tambo'rine 4an

The Byrds and the ingle angle of the electric 1'-string guitar

A. The first international folk rock hit was the Byrds# recording of )ylan#s ;8r. Tambourine 8an;


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2. They covered a 7ete *eeger song! ;T"rn T"rn T"rn;


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d. 8c"uinn had worked in the Brill Building as a songwriter for teen idol Bobby )arin

. 8c"uinn claims to have been inspired by a Bach chorale ;+esu! +oy of 8an#s )esiring;

a. He had been learning to play it on the electric 1'-string guitar

b. The electric 1'-string hook is melodically more similar to classical music than to rock!

folk! or blues

2. The use of a Beatles trademark sound in 1/2 is unmistakable

E. The song has been substantially reduced in length

a. $t is in contrasting verse-chorus form with uneven numbers of measures in the verses

b. )ylan had three verses in his original version

c. (nly one verse is used in the Byrds# cover

/. The song therefore takes on a ;universal; style by embracing many of the current or recent trends

a. Jolk music was the music of ;everyman;

b. ,ock music was for all of the youth

Moto#n

8otown records was an independent label founded in )etroit! 8ichigan

a. Had enormous commercial success that paralleled the Beatles# success timeline in the early 1/0sb. Built the sound of the records around styles that appealed to a white audience

c. That generated accusations that 8otown had ;sold out; for big profits

-ocation

)Detroit, 4ichi"an

4'sical Characteristics

"ordy formed 8otown ,ecords in 1E and patterned many songs after other successful recordsa. Jirst hit was in 1/0! Barrett *trong#s ;8oney


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'. That idea had been adopted by the Brill Building successfully so "ordy employed it in 8otown

. The original 8otown songwriter-producer team from 1/0 to 1/2 included

a. "ordy

b. illiam ;8ickey; *tevenson

c. illiam ;*mokey; ,obinson

$ho is Berry Gordy(

)Formed 4otown


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'. Jrom 1/6 to 160 Forman hitfield produced hits for the Temptations

. (ther important late 1/0s 8otown producers included

a. Jrank ilson

b. The team of 5alerie Ashford and Fick *impson

"ordy studied the successful models and used them in his own company1. The 4eiber and *toller idea of songwriters producing their songs had worked

'. That idea had been adopted by the Brill Building successfully so "ordy employed it in 8otown

. The original 8otown songwriter-producer team from 1/0 to 1/2 included

a. "ordy

b. illiam ;8ickey; *tevenson

c. illiam ;*mokey; ,obinson

ssembly -ine process(

Muality %ontrolG8otown style1. ,ecordings were produced in two adoining )etroit houses called ;Hitsville! C*A;

'. "ifted and experienced studio musicians helped producers craft their arrangements

a. *imilar to 7hil *pector#s ;wrecking crew;

b. 8usicians were talented aKK musicians! adept at improvising and spontaneous ;arranging;

c. Holland-)oKier-Holland sessions fre9uently began with only sparse musical directions

. A core group of musicians were at the center of the production process

rtistic Development +or the artists, what did this involve(

Artist development was incorporated into the label1. 7urpose was to teach low-income-bred artists how to behave in all possible social situations'. Jormer Broadway choreographer %holly Atkins was hired to teach dance and stage movements

a. )ance movements had to be refined and graceful

b. 8otown artists had to proect an image of class and sophistication

. "ordy hired a charm school teacher! 8axine 7owell! to teach proper manners and eti9uette

a. Artists learned how to speak and move with charm and grace

b. They were groomed to be able to appear at elegant performance venues

c. They were to be prepared to perform at the hite House or Buckingham 7alace

$ho are The F'nk Brothers(


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They played on most of the recordingsa. 7ianist :arl 5an )yke

b. )rummer Bennie Benamin

c. :lectric bassist +ames +amerson

They were the studio band! ;the Junk Brothers!; responsible for the mid-1/0s ;8otown sound;

$n '00 a documentary was produced about the Junk Brothersa. Standing in the Shado&s o) Moto&n

b. The film featured interviews with surviving members of the studio band

c. Attention was finally focused on the musicians who were so much a part of that style

$ho is 5)D)5 and why are they important(

The 7roducers1. Jrom 1/2 to 1/6 Brian Holland! 4amont )oKier! and :ddie Holland created many hits for groups

recording for the label

a. *upremes

b. Jour Tops

c. 8artha and the 5andellas

Holland-)oKier-Holland produced five consecutive number one hits

a. ;here )id (ur 4ove "o;


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d. :ddie &endricks

e. 7aul illiams ou )o the Thing >ou )o; ou got a smile so bright! you could#ve been a candle!; works with ,obinson#s cheerful music

d. Jeatures &endrick#s high tenor vocal

2. ,obinson went on to write and produce more Temptations hits

a. ;8y "irl;


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f. ;,eflections;


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a. ;Heat ave;


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1. His first hit was ;Jingertips! pt. '; at age 1

a. 4ive recording of an impromptu performance from a 8otown revue concert

b. *pontaneity made this one of 8otown#s biggest hits

'. onder had several hits through the late 1/0s ou ,eally 4oved 8e;


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c. ;"oodbye! Baby


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Fame St'dios, where is it located(

)4'scle Shoals, labama

)Atlantic also recorded artists at ,ick Hall#s Jame *tudios in 8uscle *hoals

-hen studio time was difficult to get at *tax! exler moved to Jame studios in 8uscle *hoals! Alabama

$ho is Booker T and the 4G>s(

Atlantic and *tax set up leasing agreements for many songs during the early 1/0sa. ;4ast Fight;


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$ilson Pickett,

ilson 7ickett1. Atlantic producer +erry exler discovered 7ickett through a demo recording he sang

'. exler and Bert Berns produced the song ;$f >ou Feed 8e; with singer *olomon Burke in 1/1

. The )ouble 4 label also released the demo version with 7ickett#s vocalGcompeting with Atlantic

2. hen 7ickett came to Atlantic! exler immediately signed him to the label

E. exler took 7ickett to 8emphis to record with *tax musicians in the *tax style

a. They recorded ;$n the 8idnight Hour; ork

'. )aughter of ,everend %. 4. Jranklin

a. ell-known Baptist preacher in )etroit

b. ,egularly broadcast his sermons

. (riginally signed with %olumbia in Few >ork


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a. )idn#t do well there

b. *inging in a soft pop mainstream style

2. *igned with Atlantic in 1//

E. +erry exler produced her first track in Jame *tudios in 8uscle *hoals

a. ;$ Fever 4oved a 8an ou=; ork

/. All subse9uent tracks were recorded in Few >ork

a. exler flew in the rhythm section from 8uscle *hoals

b. ,ick Hall didn#t know about it

c. ;,espect;

ou;


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'. Brown gained a reputation for his active stage performance

a. His performance emphasiKed athletic showmanship

b. A combination of singing and extremely energetic dancing

. He developed a trademark closing routine

a. ould collapse on the stage in exhaustion

b. ould be helped off the stage

c. Before he reached the side he would suddenly get energiKed and run back out and

continue

2. Brown and his manager! Ben Bart! released a live album in 1/

a. ive at the Apolloreached number two on the pop charts

b. "ood example of his energetic performance style

c. )emonstrated his stylistic range

E. Beginning in 1/2 Brown began to focus his songs on hard-driving rhythmic accompaniment

a. ;(ut of *ight;


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c. There is an eight-bar bridge over a static harmony that returns at the end as a coda

d. The rhythmic groove is created by the full ensemble

e. The arrangement differs from *tax arrangements because of the stops at the ends of the

verses

f. Fo backup vocalsGseparating him from 8otown and his earlier 1E0s doo-wop style

). Brown was a positive force behind the ;Black 7ride; movement of the late 1/0s and early 160s

1. He did not compromise his black culture in his music

a. 8otown and Atlantic purposely created music that would appeal to a white middle-class

audience

b. Brown#s turn to strong rhythmic focus in his music foreshadowed 160s funk

'. Brown#s contributions to funk make him one of the most important figures in 160s black pop

Brown in BostonA. $nstitutionaliKed racism in America had reached a dangerous level by the 1/0s

1. Black musicians formed a strong voice in response to the civil rights movement

'. )uring the 1E0s black performers spoke out in the fight for e9ual rights for black Americans

a. Harry Belafonte

b. 4ena Horne

c. 4ouis Armstrong

. :arly 1/0s black artists included clear political ideas in their music

a. *am %ooke#s ;A %hange $s "onna %ome!;

b. Fina *imone#s ;8ississippi "oddamn;

c. +oe Tex#s ;The 4ove >ou *ave;

d. %urtis 8ayfield#s vocal group the $mpressions ;7eople "et ,eady; and ;&eep (n

7ushing;

2. These and other black artists propelled the Black 7ride movement forward during the late 1/0s

B. +ames Brown single-handedly calmed rioting in several cities the night following the &ing assassination

1. Black Americans reacted violently to )r. 8artin 4uther &ing#s assassination on April 2! 1/3

'. The next night Brown gave a concert in Boston that was televised across the country

a. He started the show by asking the viewers to be calm and stay inGto not destroy theircommunity

b. He reminded black viewers about &ing#s dedication to peaceful change

c. Boston and several other cities were relatively 9uiet that night

. He went to ashington! ).%.! the next night and gave a speech on television that ended riots there


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2. +ames Brown proved that a black musician had the power to bring peace to violent eruption

E. He had always maintained! ;The music wasn#t a part of the revolution. The music was the

revolution.;

Development as a m'sician, per+ormance style, his band, civil ri"hts

5ow did he help brin" peace to a violent sit'ation a+ter Dr; 4artin -'ther %in" was

assassinated( $here did he help brin" peace(

$s%chedelic Rock

Geo"raphical centers ?city and nei"hborhoodA -ondon and San Francisco

The 4ondon psychedelic sceneA. The rise of the British Cnderground

1. $n +une 1/E beat poet Allen "insberg went to 4ondon to organiKe a poetry event

a. Held in Albert Hall

b. %alled ;7oets of the orldN7oets of (ur Time;

c. (ver E!000 people attended

d. 8any were under the influence of mariuana or 4*)

'. $n *eptember 1/E 8ichael Hollingshead opened the orld 7sychedelic %enter in 4ondon

a. Hollingshead had initially introduced Timothy 4eary to 4*)

b. orld 7sychedelic %enter became the center for psychedelic music and culture

B. )rugs had been around in :ngland for a while

1. Bob )ylan introduced the Beatles to mariuana at the end of their first C.*. tour in 1/2

'. Harrison and 4ennon had experienced 4*) in 1/E when a friend slipped it into their coffee

. $n :ngland a subculture similar to that of *an Jrancisco was forming around similar elements

a. )rugs

b. :astern philosophy

c. ,adical politics

d. :xperimental music

2. The 8ar9uee %lub was hosting multimedia events called the *pontaneous Cnderground

a. 7oetry

b. 8usic

c. ;%ome *ee about 8e;


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e. *maller version of &esey#s acid tests

E. $n Jebruary 1// Barry 8iles! +ohn )unbar! and 7eter Asher opened the $ndica bookstore and

gallery

a. 8iles had organiKed the ;7oets of the orldN7oets of (ur Time; event in 1/E

b. )unbar was 8arianne Jaithful#s husband

c. Asher was the brother of 7aul 8c%artney#s girlfriend

d. +ohn 4ennon found 4eary#s book The 7sychedelic :xperience in $ndica

/. The 4ondon Jree *chool opened in 8arch 1//

a. A ;countercultural night school; addressing a variety of social condition studies

b. Housing problems

c. ,ace relations

d. 8ental health

e. 4aw

%. The psychedelic scenes were developing independently in 4ondon and *an Jrancisco at the same time

1. Jew people had personally experienced the *an Jrancisco scene

'. There was no media information about it until 1/6

. 8uch was known simply through word of mouth

4ondon underground clubs and eventsA. By (ctober 1// the CJ( %lub had been established

1. 8ore of an organiKation than a place

'. (riginally met in a bar

. hen meeting in a bar became a problem the CJ( relocated

2. $t became the center of the psychedelic scene in 4ondon

B. The *aville Theater became a venue for psychedelic eventsR theater owned by Brian :pstein

$hat area o+ San Francisco was considered the center o+ the psychedelic scene(

:merging hippie culture and flower power in *an Jranciscoa. *cott 8c&enKie#s ;*an Jrancisco our Hair=;


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b. A bohemian scene celebrating the poetry of Allen "insberg and the prose of +ack

&erouac

c. "athered in the Forth Beach %ity 4ights Bookstore of 4awrence Jerlinghetti

d. "insberg! 8ichael 8c%lure! and "ary *nider mentored the hippie movement

e. 8any similarities between beats and hippies! notably their nonconformist stance

f. A difference was in musical taste beats liked aKK! hippies liked rock music

g. "insberg! 8c%lure! and *nider helped organiKe the Human Be-$n

'. The Human Be-$n was held in *an Jrancisco#s "olden "ate 7ark in +anuary 1/6

a. The event was advertised as a ;gathering of the tribes;

b. A day of poetry. spirituality! and music

c. 8usic was provided by local bands

d. The "rateful )ead and the +efferson Airplane were among the bands featured

. The Human Be-$n and the *an Jrancisco hippie movement drew national media attention

$hat did the movement stand +or(

-i+estyle elements ) dr'"s, politics, belie+s

Timothy -eary, %en %esey, cid Tests

The Beatles and psychedelic m'sic ?S"t; Pepper>s -onely 5earts Cl'b Band )

Si"ni!canceA

Gatherin" o+ the Tribes ) 5'man Be n, what was this all abo't(

Grate+'l Dead

e7erson irplane ) Grace Slick, First +emale rock star

Bi" Brother and The 5oldin" Company and anis oplin

Pink Floyd


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7ink Jloyd1. Famed after two American blues musicians! 7ink Anderson and Jloyd %ouncil

a. "uitarist *yd Barrett


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d. Beatles wore marching band costumes on the Sgt. Peppercover

e. (ccult wiKards conveyed the *tones more negative ;bad boy; image

. Two differing opinions on the significance of Their Satanic Ma3esties Re4"est

a. Jailed attempt to imitate the Beatles too closely

b. $nteresting


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/. %ream also had pop hits

a. ;$ Jeel Jree;


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b. Brought him to 4ondon in *eptember 1//

2. %handler helped Hendrix form the +imi Hendrix :xperience

a. Hendrix

b. )rummer 8itch 8itchell

c. Bassist Foel ,edding

E. The first two singles were hits in :ngland in 1/6

a. Jirst single! ;Hey +oe!; went to number six on the C& charts

b. ;7urple HaKe;


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a. Three minutes of instrumental playing

b. Fovel guitar sound effects

c. *ome counterculture narration

. ;13


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a. The song ;The :nd; explores (edipal desires

b. The first song on the album! ;Break on Through; mentions ;bad trip; experiences

2. Through all their albums lyrics focus on negative issues

a. Alienation and repression

b. 8orrison developed an on-stage persona to convey these concepts the ;4iKard &ing;

c. The 4iKard &ing was introduced in the third album! aiting for the *un


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c. 4ed Leppelin

Documents

History or Rock Music Exam 2 Review