Week 4 the foundations of rock & roll (pt 4)
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The development of an unprecedented youth culture acts one of the foundations of Rock & Roll.
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Week 4 the foundations of rock & roll (pt 4)
- 1. The History of Popular music “The Foundations of Rock & Roll (Pt 4)” Iain McPherson September 2011
- 2. Development of “Youth Culture” Tension and Expression
- 3. Overview
- 4. Overview • Today we understand ‘youth’ to mean something very different than what was thought of at turn of Century.
- 5. Overview • Today we understand ‘youth’ to mean something very different than what was thought of at turn of Century. • By 1950‘s:
- 6. Overview • Today we understand ‘youth’ to mean something very different than what was thought of at turn of Century. • By 1950‘s: • Growing tension between Adults and Youth.
- 7. Overview • Today we understand ‘youth’ to mean something very different than what was thought of at turn of Century. • By 1950‘s: • Growing tension between Adults and Youth. • Development of age-specific youth culture.
- 9. Historical Context • Ancient history:
- 10. Historical Context • Ancient history: • Society afforded no protection to its children,
- 11. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development,
- 12. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development, • Infanticide, child sacrifice and child slavery.
- 13. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development, • Infanticide, child sacrifice and child slavery. • Industrial Revolution > children considered:
- 14. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development, • Infanticide, child sacrifice and child slavery. • Industrial Revolution > children considered: • ‘property’ or
- 15. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development, • Infanticide, child sacrifice and child slavery. • Industrial Revolution > children considered: • ‘property’ or • ‘miniature adults’
- 16. Historical Context • Ancient history: • Society afforded no protection to its children, • Did not recognize “childhood” as a stage of human development, • Infanticide, child sacrifice and child slavery. • Industrial Revolution > children considered: • ‘property’ or • ‘miniature adults’ • Still ‘disposable’ > high infant mortality rate.
- 18. Historical Context: Industrial Revolution • Transformation of ‘rural agricultural’ society to ‘urban industrial’
- 19. Historical Context: Industrial Revolution • Transformation of ‘rural agricultural’ society to ‘urban industrial’
- 20. Historical Context: Industrial Revolution • Transformation of ‘rural agricultural’ society to ‘urban industrial’ • Flood of young people to cities and flood of immigrants to fuel new urban growth
- 21. Historical Context: Industrial Revolution • Transformation of ‘rural agricultural’ society to ‘urban industrial’ • Flood of young people to cities and flood of immigrants to fuel new urban growth • Scientific discovery esp in terms of psychology regarding child development and human growth, child rearing practices.
- 23. Historical Context: Industrial Revolution Public Private
- 24. Historical Context: Industrial Revolution State Family Public Private • ‘State’ and ‘Family’ constituted to represent ‘Public’ and ‘Private’ sphere
- 25. Historical Context: Industrial Revolution State Family Public Private • ‘State’ and ‘Family’ constituted to represent ‘Public’ and ‘Private’ sphere • Family lost status as economic unit that produced food, educator of its children
- 26. Historical Context: Industrial Revolution State Family Public Private • ‘State’ and ‘Family’ constituted to represent ‘Public’ and ‘Private’ sphere • Family lost status as economic unit that produced food, educator of its children • Instead took on the role of consumer, state educates > rise of the “nuclear” family
- 28. Historical Context: Industrial Revolution • Child labour and child welfare laws, health laws, compulsory school attendance and a separate juvenile justice system around idle and/or homeless youth.
- 29. Historical Context: Industrial Revolution • Child labour and child welfare laws, health laws, compulsory school attendance and a separate juvenile justice system around idle and/or homeless youth. • Result of 1) new thinking about young people but also of 2) anxieties around idle and/or homeless youth.
- 30. Result: Young people’s exclusion from adult work roles and subsequent confinement in a separate educational institution has cultivated a collective sense of marginality and distinctiveness.
- 31. 20th Century
- 32. 20th Century • Young people spending increasing amounts of time in the education system: interacted more or less exclusively with their peers.
- 33. 20th Century • Young people spending increasing amounts of time in the education system: interacted more or less exclusively with their peers. • Common age-specific experiences engenders collective self- consciousness of their distinct location in society.
- 34. 20th Century
- 35. 20th Century • As youth leisure time grew so too for the first time do goods and services marketed for them – music, clothes, magazines, movies.
- 36. 20th Century • As youth leisure time grew so too for the first time do goods and services marketed for them – music, clothes, magazines, movies. • Preoccupations of youth: New music, fashions, cars, fast food,...
- 37. 20th Century • As youth leisure time grew so too for the first time do goods and services marketed for them – music, clothes, magazines, movies. • Preoccupations of youth: New music, fashions, cars, fast food,... • Made many adults feel that “teenagers” became increasingly interchangeable with and indistinguishable from delinquency.
- 38. Moral Panic!
Editor's Notes
- Attendance\n\nToday: \n Continue with roots of Rock 'n' Roll\n\n
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- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- *** Class discussion: Discuss what each is & why each was so important\n\nPhonograph\n before had only been sheet music\n Only way to hear music was by live performance\n Piano was # 1 instrument in people’s houses\n\nJuke boxes\n\n
- Phonograph (1877) & Gramophone (1887)\nPrehistory\n•before 1877 had only been sheet music\n•Only way to hear music was by live performance\n•Piano was # 1 instrument in people’s houses\nPhonograph\n•1877 Edison conceives of something to play automated voice messages down the newly invented telephone.\n•Tinfoil cylinder with up & down impression (“hill & dale”) recording method.\n•Wax cylinders followed\nGramophone\n•Invented by Emile Berliner (also inventor of microphones and early version of helicopter!)\n•Audio etched onto discs rather than cylinders\n\n
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- Gramophone\n•Invented by Emile Berliner (also inventor of microphones and early version of helicopter!)\n•Audio etched onto discs rather than cylinders\n\n***These were archetypal invention - why? Changes in how people experienced music.\n\n*** “I am an Edison Phonograph” CLASS: Jot down advantages over the past PLAY RECORDING\n\nMass Production\nBy 1890’s companies had learned how to mass-produce discs - before were short runs - artists were re-recording sometimes 50 times per day!!!\nOne company was the Victor Talking Machine Company - produced both machines and discs to play on them.\nHere is their logo… one of the most classic logo’s of all time!!\n
- Gramophone\n•Invented by Emile Berliner (also inventor of microphones and early version of helicopter!)\n•Audio etched onto discs rather than cylinders\n\n***These were archetypal invention - why? Changes in how people experienced music.\n\n*** “I am an Edison Phonograph” CLASS: Jot down advantages over the past PLAY RECORDING\n\nMass Production\nBy 1890’s companies had learned how to mass-produce discs - before were short runs - artists were re-recording sometimes 50 times per day!!!\nOne company was the Victor Talking Machine Company - produced both machines and discs to play on them.\nHere is their logo… one of the most classic logo’s of all time!!\n
- Gramophone\n•Invented by Emile Berliner (also inventor of microphones and early version of helicopter!)\n•Audio etched onto discs rather than cylinders\n\n***These were archetypal invention - why? Changes in how people experienced music.\n\n*** “I am an Edison Phonograph” CLASS: Jot down advantages over the past PLAY RECORDING\n\nMass Production\nBy 1890’s companies had learned how to mass-produce discs - before were short runs - artists were re-recording sometimes 50 times per day!!!\nOne company was the Victor Talking Machine Company - produced both machines and discs to play on them.\nHere is their logo… one of the most classic logo’s of all time!!\n
- *** Name of dog?? \n\nLittle Nipper\n Title of painting “His Master’s Voice” \n *** WHY ? Reflects artists’ impression of the dog listening to owner’s voice. \n Original painting done by Francis Barraud using Edison phonograph\n Artist tried to sell to Edison but they weren’t interested\n Artist went to Gramophone store to borrow brass horn to replace black horn\n Manager offers to buy if artist agrees to replace phonograph with Gramophone\n Barraud does so and Manager makes it logo for the “Victor Talking Machine Company” \n Victor becomes RCA Victor. Adds line “His Master’s Voice”\n\n*** Anyone know what that company morphed into that we all know today? HMV.\n_______________________\nNot all could afford Gramophones or Phongraphs so… Gramophone Parlors developed.\n Could sit and record voice for 5¢\n These were precursors to rooms where could put money in machine and here music played back….\n
- Very early Juke Boxes dangerous: Edison machines had battery’s that were fragile - spill battery acid if dropped!\n\n
- If Juke boxes the only place for ‘race music” - what other avenue were black musicians being cut-off from? \n\nChitlin Circuit \n- collection of venues for black musicians and patrons in East and South\n- necessary because of segregation (Jim Crow laws)\n- name stems from soul food ‘chilltins’ \n- *** any idea what ‘Chitlins’ might be? A: Boiled pig intestines!\n- Notable theatres: Apollo Theatre in NYC (CC Chris Rock as Booey in “Down To Earth”)\n\nProblems of getting music out to public still perceived as problem today *** link to Chiltin Circuit .com\n\nRadio was new tech that, in addition to juke Boxes, was helping to spread music to populace….\n
- If Juke boxes the only place for ‘race music” - what other avenue were black musicians being cut-off from? \n\nChitlin Circuit \n- collection of venues for black musicians and patrons in East and South\n- necessary because of segregation (Jim Crow laws)\n- name stems from soul food ‘chilltins’ \n- *** any idea what ‘Chitlins’ might be? A: Boiled pig intestines!\n- Notable theatres: Apollo Theatre in NYC (CC Chris Rock as Booey in “Down To Earth”)\n\nProblems of getting music out to public still perceived as problem today *** link to Chiltin Circuit .com\n\nRadio was new tech that, in addition to juke Boxes, was helping to spread music to populace….\n
- If Juke boxes the only place for ‘race music” - what other avenue were black musicians being cut-off from? \n\nChitlin Circuit \n- collection of venues for black musicians and patrons in East and South\n- necessary because of segregation (Jim Crow laws)\n- name stems from soul food ‘chilltins’ \n- *** any idea what ‘Chitlins’ might be? A: Boiled pig intestines!\n- Notable theatres: Apollo Theatre in NYC (CC Chris Rock as Booey in “Down To Earth”)\n\nProblems of getting music out to public still perceived as problem today *** link to Chiltin Circuit .com\n\nRadio was new tech that, in addition to juke Boxes, was helping to spread music to populace….\n
- If Juke boxes the only place for ‘race music” - what other avenue were black musicians being cut-off from? \n\nChitlin Circuit \n- collection of venues for black musicians and patrons in East and South\n- necessary because of segregation (Jim Crow laws)\n- name stems from soul food ‘chilltins’ \n- *** any idea what ‘Chitlins’ might be? A: Boiled pig intestines!\n- Notable theatres: Apollo Theatre in NYC (CC Chris Rock as Booey in “Down To Earth”)\n\nProblems of getting music out to public still perceived as problem today *** link to Chiltin Circuit .com\n\nRadio was new tech that, in addition to juke Boxes, was helping to spread music to populace….\n
- Radio - invented by italian Guglielmo Marconi.\n
- 1901 - transmission picked up at “Signal Hill” in Newfoundland\n\nPatent battles (Marconi & others)\nBritish & American Marconi - monopolized ship-to-shore communications - wouldn’t communicate with non-Marconi radios!\n1912 - communications with Titanic helps bring radio into high prominence (ships then equipped)\n\nTransmissions become “broadcasts’ with development of omni-directional transmitters\n\n1933: Development of Frequency Modulation (FM) - better sound w. less electrical interference - better for music!\n\n
- Other potential area for music use & distribution\nWider distro than live theatre\nMajor Tin Pan Alley outlet\nOriginally silent with live musical accompaniment \n1927 The Jazz Singer the first ‘talkie’: really musical movie\nNote poster has him without blackface\n\n
- Other potential area for music use & distribution\nWider distro than live theatre\nMajor Tin Pan Alley outlet\nOriginally silent with live musical accompaniment \n1927 The Jazz Singer the first ‘talkie’: really musical movie\nNote poster has him without blackface - more politically correct than poster on the right.\n\n
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- See Additional Notes\n
- See Additional Notes\n
- See Additional Notes\n
- See Additional Notes\n
- See Additional Notes\n
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- Wasn’t always as it is today.\n
- Wasn’t always as it is today.\n
- Wasn’t always as it is today.\n
- Wasn’t always as it is today.\n
- Wasn’t always as it is today.\n
- Wasn’t always as it is today.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- Pre 1790 - no protection!\n5 major revisions of length of possible protection: once beyond term becomes public domain.\n
- See Additional Notes\n
- See Additional Notes\n
- See Additional Notes\n
- See Additional Notes\n
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- 2 Distinct Camps\nWhite: Country & Western\nBlack: Rhythm and Blues\n\nBoth come from diverse backgrounds with diverse influences\n\nCategorized separately and had distinctive flavours based upon their backgrounds\n\nEven though were distinct, practitioners were aware of the other styles - not developing in a vacuum.\nThis awareness - specifically awareness by white population of black’s R&B music - fostered by significant development in the Blues….\n\n
- This awareness fostered by significant development in the Blues: \nMamie Smith’s “Crazy Blues” sells 7,500 copies per week (1920)\nFirst time record by Black musician selling to Black audience in any size\nLabels see $$$$ to be made\n
- This awareness fostered by significant development in the Blues: \nMamie Smith’s “Crazy Blues” sells 7,500 copies per week (1920)\nFirst time record by Black musician selling to Black audience in any size\nLabels see $$$$ to be made\n
- This awareness fostered by significant development in the Blues: \nMamie Smith’s “Crazy Blues” sells 7,500 copies per week (1920)\nFirst time record by Black musician selling to Black audience in any size\nLabels see $$$$ to be made\n
- This awareness fostered by significant development in the Blues: \nMamie Smith’s “Crazy Blues” sells 7,500 copies per week (1920)\nFirst time record by Black musician selling to Black audience in any size\nLabels see $$$$ to be made\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- So,…\n\nDiverse sections of Blues and Country come together to create Rock & Roll\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- *** GET CLASS TO SUGGEST CHARACTERISTICS\n
- See Additional Lecture Notes\n
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