Rock Music History And Social Analysis Outline
Music 262.2—Rock Music: History and Social Analysis
Syllabus Fall 2013
Instructor: Brad Ard, Office, Kimbrough 241; Telephone: 335-7122; email: Bradley.ard@wsu.edu. Messages may also be left at the Music Program Office; Telephone: 335-8524 Office hours: by appointment.
Catalog Description: MUS 262 Rock Music: History and Social Analysis 3 Credits: History and analysis of rock music related to its African American origins, its societal role, and its diverse development and impact.
Meeting Schedule: M/W/F 10:10 AM – 11:00 AM Kimbrough Concert Hall. Angel access.
UCORE Designation: [ARTS] Inquiry in the Creative and Professional Arts
Learning Outcomes
University Learning Goals
At the end of this course students should …show more content…
be able to:
Course topics and dates that advance this learning goal:
This objective will be evaluated primarily through:
Critical and Creative Thinking
Students will be able to critically analyze, interpret and evaluate rock music performances (audio and video) including messages in the lyrics, including any social, political or diversity messages, basic musical characteristics, and the entertainment qualities of rock artists. These evaluations will be based on the historical and critical scholarship of rock music as presented in class and in the text. Also, students will understand rock music’s influence in shaping social and political views for the past 65 years.
Class lectures, class discussions, in class listening, and reading assignments in the text throughout the semester which will include the presentation of the historical and critical scholarship of rock music. Also through research by students for their Video Research Papers (see the description below) during the second half of the semester including the consultation of outside sources which may include, but are not limited to, WSU Library materials and internet sources including the viewing of videos on YouTube and other internet video sites.
In Class Writing Assignments (see the description below) and a Video Research Paper (see the description below). Also, see the sample In Class Writing Assignment and Guide to the Video Research Paper below.
Information Literacy
Students will be able to research rock music video performances. They will be able to critically analyze, interpret and evaluate these performances based on the historical and critical scholarship of rock music as presented in class and in the text. They will be proficient in the use of outside sources which are required for their video research projects. These sources may include, but are not limited to, WSU Library materials and internet sources, to learn more about the artists featured in the videos.
Discussion of rock music performances throughout the semester based on the historical and critical scholarship of rock music as presented in class and in the text, including analysis of the message of the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities of the artists, will prepare students to do their Video Research Papers. Also, throughout the first thirteen weeks of the semester, strategies for finding and evaluating appropriate sources for the Video Research Paper will be presented in class as will proper citation and bibliographic formatting (see the Guidelines for the Video Research Paper).
Students are required to complete a Video Research Paper which involves finding three video performances featuring one particular artist or band and then writing a paper critically analyzing, interpreting, evaluating, comparing and contrasting these performances based on the historical and critical scholarship of rock music as presented in class and in the text, including messages in the lyrics, including any social, political or diversity messages, basic musical qualities and the entertainment qualities exhibited in these videos. Additionally students will be required to consult outside sources beyond the videos for biographical information to include in their Video Research Papers (please see the Guidelines for the Video Research Paper).
Communication
Write and speak with understanding about the diverse genres and historical styles found in rock music and the music’s influence on shaping social and political views for the last 65 years
Class lectures, class discussions, class listening, readings in the text and independent research by students throughout the semester.
In Class Writing Assignments, the Video Research Paper, quizzes and exams (see the sample In Class Writing Assignment and Guide to the Video Research Paper).
Diversity
Rock music has its roots in African American musical ideas melded with white musical concepts and therefore necessarily includes discussions of race relations and diversity in the US.
The class will help students understand their cultural/social positioning including how the changing cultural/social positioning of the races in the US has affected the development of rock music.
The class will help students analyze how both culture/society and cultural differences are influenced by factors such as history, politics, power and privilege, communication styles, economics, institutionalized discrimination and inequality, or cultural values, beliefs, and practices including how the history of American diversity led to the creation of rock music (the paradox that without discrimination and oppression, there would be no rock music), how the music is catalyst for social and political change, how power and privilege influenced the direction of the music, how rock music is an alternate style of musical communication, how white musicians were favored economically at the expense of African-American innovators, how rock music has had a profound, positive impact on the level of discrimination and inequality in the US, and how rock music has impacted cultural values and …show more content…
beliefs.
The class will promote curiosity on the part of students to ask complex questions about other cultural groups, cultures, and societies, and to seek out answers that reflect multiple cultural perspectives.
Class lectures, class discussions and reading assignments regularly engage the topic of diversity throughout the semester.
Through quizzes and exams.
Required Text: The Rolling Stone Illustrated History of Rock & Roll, ed. by Anthony DeCurtis and James Henke with Holly George-Warren (1992). Third Edition. - ISBN#- 0-679-73728-6 Available at the Campus bookstore along with a copy of the Syllabus. Some materials will be posted periodically on Angel.
TA: Daniel Perez; daniel.perez@email.wsu.edu
Listening: All listening will be done in class. See Listening List for reference.
Class Requirements: There will be reading and assignments as outlined in the syllabus. Also there will be two, In Class writing assignments and one Video Research Paper.
In Class Writing Assignments: There are two, unannounced, In Class Writing Assignments in this class. For these assignments, two recordings are played in class and students provide their critical analysis, interpretation and evaluation of these two recordings based on the historical and critical scholarship of rock music as presented in lectures and in the text (roughly one page). Students are also asked to compare and contrast the recordings: for example, Hound Dog recorded by blues singer Big Mama Thornton vs. the version recorded by rock and roll legend Elvis Presley. These written assignments are then used as the basis for class discussion following the listening. After the discussion, the assignments are turned in, read and reviewed. Students receive 20 points for each completed assignment. See the sample In Class Writing Assignment below.
Video Research Paper: Students are required to write a short, research paper (approximately two pages), due at the end of the 14th week, in which they critically analyze, interpret, evaluate, compare and contrast three, video performances by a selected artist or band, based on the historical and critical scholarship of rock music as presented in class and in the text, emphasizing messages found in the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities exhibited in the videos. Students may select the artist or band in consultation with the instructor and may view the videos on YouTube or other suitable websites. The paper will also include brief biographical information about the artist or band. In addition to video sources, students are required to consult a minimum of three outside sources. Sources must be cited and students must include a list of Sources Cited and a list of Sources Consulted (bibliography). See the Guidelines for the Video Research Paper below.
Exams: There will be two historical quizzes, a historical midterm and historical final.
NOTE: The quizzes and exams will be “scan-a-tron” style – made up of true/false and multiple-choice questions. You will need a #2 pencil and a scan sheet to take the quizzes and exams. Scan sheets are available at the Bookie.
Evaluation: The two quizzes are worth 70 points each, the historical midterm and final exams are worth 130 points each, the two In Class writing assignments are worth 20 points each and the Video Research Paper is worth 60 points. Total points for the class are 500.
Grades: Grades are based on the number of points earned as listed below:
460-500 = A
450-459 = A-
440-449 = B+
410-439 = B
400-409 = B-
390-399 = C+
360-389 = C
350-359 = C-
340-349 = D+
300-339 = D less than 300 = F
Disclaimer: At times, this class will contain material that can be offensive to some (subject matter, lyrics, social behavior, etc.). If this bothers you, please do not take this class.
Attendance Policy: Due to the extremely large size of the class (250 students per section), attendance is not taken. Nonetheless, attending class is strongly recommended. Students who do not attend class regularly will not do well.
Students with Disabilities: Reasonable accommodations are available for students with a documented disability. If you have a disability and need accommodations to fully participate in this class, please either visit or call the Access Center (Washington Building 217; 509-335-3417) to schedule an appointment with an access advisor. All accommodations MUST be approved through the Access Center. For more information contact a Disability Specialist at 509-335-3417. http://accesscenter.wsu.edu Access.Center.wsu.edu
WSU Academic Integrity Statement: Academic integrity will be strongly enforced in this course. Any student caught cheating on any assignment will be given an F grade for the course and will be reported to the Office of Student Standards and Accountability. Cheating is defined in the Standards for Student conduct WAC 504-26-010 (3). It is strongly suggested that you read and understand these definitions.
Safety and Emergency Notification: Washington State University is committed to enhancing the safety of the students, faculty, staff, and visitors. It is highly recommended that you review the Campus Safety Plan (http://safetyplan.wsu.edu/) and visit the office of emergency management, and the health and welfare of the campus community.
Protecting Your Hearing Health:
An NASM – PAMA Student Information Sheet on Noise-Induced Hearing Loss
Hearing health is essential to your lifelong success as a musician. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). Such danger is constant. Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time. The closer you are to the source of a loud sound, the greater the risk of damage to your hearing mechanisms. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. Risk of hearing loss is based on a combination of sound or loudness intensity and duration.
Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows: o 85 dB (vacuum cleaner, MP3 player at 1/3 volume) – 8 hours o 90 dB (blender, hair dryer) – 2 hours o 94 dB (MP3 player at 1/2 volume) – 1 hour o 100 dB (MP3 player at full volume, lawnmower) – 15 minutes o 110 dB (rock concert, power tools) – 2 minutes o 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate. Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments, turning down the volume) reduce your risk of hearing loss. Be mindful of those MP3 earbuds. See chart above.
The use of earplugs and earmuffs helps to protect your hearing health. Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of school, you also need to learn more and take care of your own hearing health on a daily, even hourly basis. It is important to follow basic hearing health guidelines. It is also important to study this issue and learn more.
If you are concerned about your personal hearing health, talk with a medical professional. If you are concerned about your hearing health in relationship to your program of study, consult the appropriate contact person at your institution. This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM- PAMA hearing health documents, located on the NASM Web site at the URL linked below. http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health
Protecting Your Hearing Health: Student Information Sheet on Noise-Induced Hearing Loss NASM/PAMA: November 2011
MUS 262—Rock Music: History and Social Analysis
Sample In Class Writing Assignment
Two recordings will be played in class of Hound Dog composed by Jerry Leiber and Mike Stoller: the recording by Big Mama Thornton and the recording by Elvis Presley. As you listen to each recording, please critically analyze, interpret and evaluate the recorded performances. Base your evaluations on the historical and critical scholarship regarding rock music as presented in class by the instructor and your textbook. After hearing both selections, compare and contrast the recordings. Indicate which recording you feel is more successful based on the historical and critical tradition of rock music. Indicate which selection you prefer and why. Your assignment should be approximately one page in length and will be worth 20 points.
MUS 262—Rock Music: History and Social Analysis
Guidelines for the Video Research Paper
At the end of the 14th week, all students are required to submit a Video Research Paper. Students are required to find three, video performances by a selected artist or band. The video performances do not have to be of the same song. Students will critically analyze, interpret and evaluate these three video performances based on historical and critical scholarship regarding rock music as presented in class by the instructor and your textbook. Emphasize messages found in the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities exhibited in the videos.
Students may select the artist or band in consultation with the instructor. Some possible sources for locating these videos include, but are not limited to, the following:
• YouTube
• Vimeo
• Official and unofficial artist and band websites
• My Space artist and band websites
• Facebook artist and band pages
• Recording label websites
Students may also opt to compare video performances from DVDs or other video recordings.
The paper should also include brief biographical information about the artist or band. In addition to video sites, students are required to consult a minimum of three outside sources. Some possible sources for biographical information include, but are not limited to, the following:
• Books about specific artists or bands
• Books about rock and pop music history
• Articles, including interviews, in music related magazines and journals such as Rolling Stone, Variety, Billboard, Downbeat, or general newspapers and magazines, including online sites for these publications.
• Liner notes from recordings
• Official and unofficial artist and band websites
• Recording label websites
Wikipedia articles will not be accepted as source material for this paper.
Students will be required to cite sources used in their papers and to provide a list of Sources Cited and a list of Sources Consulted (bibliography).
The following information regarding the importance of citing sources is from the University of California Berkeley Libraries website: http://www.lib.berkeley.edu/instruct/guides/citations.html Why cite sources?
Whenever you quote or base your ideas on another person 's work, you must document the source you used. Even when you do not quote directly from another work, if reading that source contributed to the ideas presented in your paper, you must give the authors proper credit.
Citations allow readers to locate and further explore the sources you consulted, show the depth and scope of your research, and give credit to authors for their ideas. Citations provide evidence for your arguments and add credibility to your work by demonstrating that you have sought out and considered a variety of resources. In written academic work, citing sources is standard practice and shows that you are responding to this person, agreeing with that person, and adding something of your own. Think of documenting your sources as providing a trail for your reader to follow to see the research you performed and discover what led you to your original contribution.
Citations and lists of Sources Cited and Sources Consulted should be formatted using the Turabian Style Guide. Guidelines may be found at the following websites: http://www.press.uchicago.edu/books/turabian/turabian_citationguide.html http://www.uvu.edu/owl/infor/pdf/style_guides/Turabian.pdf
This paper is worth 60 points.
Weekly Schedule
Week 1: Rock Roots – Overview of pre-rock styles and influences.
The First Rock and Roll Record? – Is there one?
The Blues
Roots in work songs & field hollers Bessie Smith and the great "Classic Blues" women. Robert Johnson & the guitar based rural blues of the Mississippi delta. The 12-bar blues; electric/urban blues, Memphis and Chicago, Muddy Waters, Howlin ' Wolf and Chess Records.
Gospel styles, singers, groups
The Ink Spots/Mills Brothers
Early doo-wop.
Country & Western Styles
Western Swing – Bob Wills and His Texas Playboys
Bluegrass – Bill Monroe
Rhythm and Blues
Jazz, boogie-woogie and the Swing Era
Decline of the Big Bands and the splintering into sophisticated bebop and dance-oriented rhythm & blues.
Louis Jordan (the jump band)
Big Joe Turner / Big Mama Thornton (blues shouters)
Text Reading Assignment: pp.– 3 to 20
Weeks 2 & 3: The Dawn of Rock & Roll: The First Renegades of the 1950’s.
Crossovers & Covers: popular music in the 1950 's and R&B "crossover" hits.
Bill Haley and "Rock Around the Clock." Whitewashed cover versions of R&B hits Pat Boone: King of the Covers
The emergence of teenagers as a social and economic class.
Disc Jockeys and the airwaves as battleground.
Memphis: Sam Phillips and Sun Records
Elvis Presley
The Sun Records Years (1954-55)
Scotty Moore and Bill Black
Rockabilly style traits.
The move to RCA and Col. Tom Parker.
The Army & Hollywood, the 1968 comeback, Las Vegas and the final descent.
Text Reading Assignment: pp. – 21 to 36
Rockabilly
Guitar and vocal styles
Southern roots and borrowings from black music and style.
Carl Perkins – father of rockabilly
Jerry Lee Lewis – the living embodiment of rockabilly.
Other rockabilly artists: Gene Vincent, early Buddy Holly, Eddie Cochran
Text Reading Assignment: pp. – 67 to 79
New Orleans: Cosimo Matassa and J&M Recording Studio
The Cradle of Jazz – history of cultural & musical intermingling
Dave Bartholomew 's house band.
Text Reading Assignment: pp. – 37 to 47
Fats Domino and Little Richard.
Text Reading Assignment: pp. – 48 to 59
Chicago: Phil and Leonard Chess and Chess Records
Chuck Berry
First great rock poet
Archetypal rock guitarist.
Berry 's boogie-based rhythm & lead styles
Songwriting themes & rapid-fire words.
Text Reading Assignment: pp. – 60 to 66
Bo Diddley
The "Bo Diddley beat"
Rock as pure Rhythm & Sound
Week 4: The Emergence of Pop
(Quiz #1)
Rock Styles Expand: The Push Towards Pop
Ricky Nelson
The "L.A. Rockabilly” artist
The Adventures of Ozzie and Harriet (TV Sitcom)
Eddie Cochran
Rock anthems
Guitar "power chords" and influence on next generation
The Everly Brothers
Country-duo harmonies and influence
Teen ballads and "choir boy rockabilly."
Buddy Holly & the Crickets
Last of the fifties giants
Studio innovations
New fusion of pop and rock & roll
Crickets as proto-Beatle group archetype
“The Day the Music Died”
Text Reading Assignment: pp. – 80 to 91
Week 5: Doo-Wop and The Soul Pioneers
Vocal Groups And Doo-Wop
Vocal group rock & roll.
Lead & background vocal styles and arrangements
The Platters: the Ink Spots ' descendants on the Pop charts
Streetcorner styles
Frankie Lymon & the Teenagers
The long line of great "One-Shots"
Atlantic Records and Uptown R&B
Leiber & Stoller productions for the Coasters and the Drifters
Text Reading Assignment: pp. – 92 to 101
The Soul Pioneers – Gospel infusions & the push toward Soul.
Ray Charles
Leading pioneer of soul
Merging of gospel, R&B. pop and C&W styles
Sam Cooke
Smooth vocal style
Gospel years with the Soul Stirrers
Pop crossover w/"You Send Me”
Jackie Wilson
Early days w/Dominoes
Live and vocal gymnastics
Uneven recording career and tragic death
James Brown
The Godfather of Soul
Early stages of funk music
Text Reading Assignment: pp. – 130 to 142
Week 6: The Rise of Teen Idol Pop
Early Sixties Pop: The Teen Idols
The Taming of Rock & Roll
Exits of the Founding Fathers and the "Death of Rock & Roll."
The Payola Scandal
Dick Clark – American Bandstand and Philadelphia
Text Reading Assignment: pp. – 107 to 112 & 121 to 123
Brill Building Pop – Aldon Music 's great songwriting teams
Goffin & King
Sedaka & Greenfield
Leiber & Stoller
Text Reading Assignment: pp. – 143 to 152
The "Girl Groups"
The Chantels
The Shirelles
The Chiffons
The Marvelettes
The Angels
Phil Spector Records
The Wall of Sound and The Wrecking Crew
"Little Symphonies for the Kids"
The Crystals
Darlene Love
The Ronettes
The Righteous Brothers
Text Reading Assignment: pp. - 177 to 191
Week 7: The Rise of Pop on the West Coast
Early Sixties Pop: Surf music
Dick Dale and the Deltones (surf instrumentals)
The Ventures
The first garage bands (The Kingsmen – “Louie Louie”)
Early hits from the Beach Boys.
Text Reading Assignment: pp. - 124 to 129
The Beach Boys – California as the Promised Land
Chuck Berry 's mythic vision of teenage life transplanted to the beach
Brian Wilson 's influences (The Four Freshman, The Beatles and Phil Spector) Increasingly elaborate productions: Pet Sounds & "Good Vibrations"
The aborted Smile project and Brian 's descent.
Text Reading Assignment: pp. - 192 to 198
Week 8: Catch Up / Review
Mid-Term Exam
Week 9: British Invasion – The Beatles
The British Invasion – Rock’s Rebirth (The First Wave)
America reinvented and brought back home
British cover versions of American rock, pop, soul, blues and R&B
Overview of early styles of the Beatles and Rolling Stones
Text Reading Assignment: pp. - 199 to 208
The Beatles – A New Standard of Excellence for Rock/Pop Music & Songwriting.
The Early years
Skiffle Music
Beatlemania and a new fusion of rock & pop
Big beat & melody, songwriting & performing
The Transition years
Dylan influence
Introspective emerging style
Individuality emerges
The Studio Years
The band 's astonishing creative growth
The constantly evolving songwriting styles of Lennon & McCartney
The Beatles and George Martin in the studio
The influence of Brian Wilson – Pet Sounds
Rock becomes Art – Sgt. Pepper’s Lonely Hearts Club Band
Text Reading Assignment: pp. - 209 to 237
Week 10: The British Invasion Continues
The British Invasion: The Blues Groups
London 's blues "underground"
The Chicago Blues influence
John Mayall 's Bluesbreakers – The elder statesman of British Blues
Eric Burdon & the Animals
The Kinks and The Who: Power chords to rock operas
Them and Van Morrison
The Yardbirds – Guitar legacies of Eric Clapton, Jeff Beck and Jimmy Page
Text Reading Assignment: pp. - 391 to 411
The Rolling Stones
The World 's Greatest Rock & Roll Band
Early Stones blues and soul covers
Mick Jagger as ultimate Pop Star and frontman
Text Reading Assignment: pp. - 238 to 251
Week 11: Motown and Soul / Funk
Motown: "Hitsville USA" and the Sound of Young America
Berry Gordy and the founding of Motown
Holland-Dozier-Holland and Motown 's hit-making assembly line
The Motown Formula:
The songwriter/producers
The arrangers
The house band
The Incredible Motown Artist Roster:
Smokey Robinson and The Miracles
Mary Wells
Marvin Gaye
The Marvelettes
Four Tops
Temptations
Diana Ross and The Supremes
Jackson Five
Stevie Wonder
Rare Earth
Text Reading Assignment: pp. - 277 to 292
60’s Soul and the Emergence of Funk
Soul Masters of the 60’s
Solomon Burke
Wilson Pickett
Otis Redding
Text Reading Assignment: pp. - 272 to 276
Instrumental Soul – Memphis
Booker T. and the MG’s
Memphis Studio Musicians
Text Reading Assignment: pp. - 260 - 271
James Brown
The Godfather of Soul and the roots of funk, disco, rap
The “one”
Characteristics and Style
Text Reading Assignment: pp. - 163 to 170
Week 12 & 13: The Folk Music Boom – The Turbulent 60’s
The Dawn of Heavy Metal
(Quiz #2)
Bob Dylan – America’s first poet for the masses
Early years as a folk-protest singer
The dramatic expansion of rock 's lyrical and poetic possibilities
Bob Dylan, as a vehicle for true personal expression
The classic electric era
Dylan 's transition from "conscience of a generation" to rock & roll Bohemian and reclusive icon
Text Reading Assignment: pp. - 299 to 308
The emergence of Folk-Rock Music
Dylan Covers and Dylan-Influenced Lyrics
The New Range Of Expression and New Emphasis on Realism and Relevance
The Byrds – Ex-Folkies Turned Rockers
Text Reading Assignment: pp. - 309 to 318
The San Francisco Scene & Psychedelia
The Monterey Pop Festival and Haight-Ashbury
The 1967 Summer of Love and the emerging Counterculture
The Acid Tests
Rock concerts become Happenings and rock 's possibilities expand as the underground hits the mainstream in an unprecedented era of artistic freedom
Text Reading Assignment: pp. - 362 to 369
The San Francisco Groups
The Charlatons
The Grateful Dead
Jefferson Airplane
Country Joe & the Fish
Text Reading Assignment: pp. - 370 to 381
Janis Joplin – Rock’s first great diva
Text Reading Assignment: pp. - 382 to 387
Jimi Hendrix & the Blues Revival
The blues extended and the guitar redefined with a new virtuosity
Jimi Hendrix ' blues-based, sound-drenched psychedelic excursions
Hendrix at the dawn of rock 's Modern Era
Text Reading Assignment: pp. - 412 to 418
Led Zeppelin and the birth of Heavy Metal
Text Reading Assignment: pp. - 455 to 458
Week 14 – The Rise of Art Rock (The 70”)
Video Research Paper Due
L. A. rock
The Doors
Jim Morrison and Rock as dark Theater
Emphasizing individual expressions over band unity
Text Reading Assignment: pp. - 388 to 390
Progressive Rock in Los Angeles/New York
Frank Zappa & the Mothers of Invention
Progressive Rock & Art Rock in Britain
Away from Sgt. Pepper and into the seventies
Moody Blues
Pink Floyd
Jethro Tull
Emerson Lake and Palmer
Yes
Text Reading Assignment: pp. - 492 to 499
David Bowie – British Theatre Rock
Text Reading Assignment: pp. – 532 to 537
Week 15: The Rock Rebellion – Back to the Roots
Hard rock in America
The MC5 – proto-punk
Alice Cooper – shock-rock
Iggy Pop and the Stooges
Text Reading Assignment: pp. - 459 to 479
The Velvet Underground and the roots of punk.
Lou Reed
Andy Warhol
Text Reading Assignment: pp. - 348 to 356
Movement toward Punk
Return to the garage band style
Predecessor of Grunge
CBGB’s
Early Punk Bands
Patti Smith Group
Television
The Ramones
British Punk – Anarchy in the UK
Malcolm McLaren
The Sex Pistols
Text Reading Assignment: pp. - 594 to 608
Finals Week – Final Exam
Syllabus Fall 2013
Instructor: Brad Ard, Office, Kimbrough 241; Telephone: 335-7122; email: Bradley.ard@wsu.edu. Messages may also be left at the Music Program Office; Telephone: 335-8524 Office hours: by appointment.
Catalog Description: MUS 262 Rock Music: History and Social Analysis 3 Credits: History and analysis of rock music related to its African American origins, its societal role, and its diverse development and impact.
Meeting Schedule: M/W/F 10:10 AM – 11:00 AM Kimbrough Concert Hall. Angel access.
UCORE Designation: [ARTS] Inquiry in the Creative and Professional Arts
Learning Outcomes
University Learning Goals
At the end of this course students should …show more content…
be able to:
Course topics and dates that advance this learning goal:
This objective will be evaluated primarily through:
Critical and Creative Thinking
Students will be able to critically analyze, interpret and evaluate rock music performances (audio and video) including messages in the lyrics, including any social, political or diversity messages, basic musical characteristics, and the entertainment qualities of rock artists. These evaluations will be based on the historical and critical scholarship of rock music as presented in class and in the text. Also, students will understand rock music’s influence in shaping social and political views for the past 65 years.
Class lectures, class discussions, in class listening, and reading assignments in the text throughout the semester which will include the presentation of the historical and critical scholarship of rock music. Also through research by students for their Video Research Papers (see the description below) during the second half of the semester including the consultation of outside sources which may include, but are not limited to, WSU Library materials and internet sources including the viewing of videos on YouTube and other internet video sites.
In Class Writing Assignments (see the description below) and a Video Research Paper (see the description below). Also, see the sample In Class Writing Assignment and Guide to the Video Research Paper below.
Information Literacy
Students will be able to research rock music video performances. They will be able to critically analyze, interpret and evaluate these performances based on the historical and critical scholarship of rock music as presented in class and in the text. They will be proficient in the use of outside sources which are required for their video research projects. These sources may include, but are not limited to, WSU Library materials and internet sources, to learn more about the artists featured in the videos.
Discussion of rock music performances throughout the semester based on the historical and critical scholarship of rock music as presented in class and in the text, including analysis of the message of the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities of the artists, will prepare students to do their Video Research Papers. Also, throughout the first thirteen weeks of the semester, strategies for finding and evaluating appropriate sources for the Video Research Paper will be presented in class as will proper citation and bibliographic formatting (see the Guidelines for the Video Research Paper).
Students are required to complete a Video Research Paper which involves finding three video performances featuring one particular artist or band and then writing a paper critically analyzing, interpreting, evaluating, comparing and contrasting these performances based on the historical and critical scholarship of rock music as presented in class and in the text, including messages in the lyrics, including any social, political or diversity messages, basic musical qualities and the entertainment qualities exhibited in these videos. Additionally students will be required to consult outside sources beyond the videos for biographical information to include in their Video Research Papers (please see the Guidelines for the Video Research Paper).
Communication
Write and speak with understanding about the diverse genres and historical styles found in rock music and the music’s influence on shaping social and political views for the last 65 years
Class lectures, class discussions, class listening, readings in the text and independent research by students throughout the semester.
In Class Writing Assignments, the Video Research Paper, quizzes and exams (see the sample In Class Writing Assignment and Guide to the Video Research Paper).
Diversity
Rock music has its roots in African American musical ideas melded with white musical concepts and therefore necessarily includes discussions of race relations and diversity in the US.
The class will help students understand their cultural/social positioning including how the changing cultural/social positioning of the races in the US has affected the development of rock music.
The class will help students analyze how both culture/society and cultural differences are influenced by factors such as history, politics, power and privilege, communication styles, economics, institutionalized discrimination and inequality, or cultural values, beliefs, and practices including how the history of American diversity led to the creation of rock music (the paradox that without discrimination and oppression, there would be no rock music), how the music is catalyst for social and political change, how power and privilege influenced the direction of the music, how rock music is an alternate style of musical communication, how white musicians were favored economically at the expense of African-American innovators, how rock music has had a profound, positive impact on the level of discrimination and inequality in the US, and how rock music has impacted cultural values and …show more content…
beliefs.
The class will promote curiosity on the part of students to ask complex questions about other cultural groups, cultures, and societies, and to seek out answers that reflect multiple cultural perspectives.
Class lectures, class discussions and reading assignments regularly engage the topic of diversity throughout the semester.
Through quizzes and exams.
Required Text: The Rolling Stone Illustrated History of Rock & Roll, ed. by Anthony DeCurtis and James Henke with Holly George-Warren (1992). Third Edition. - ISBN#- 0-679-73728-6 Available at the Campus bookstore along with a copy of the Syllabus. Some materials will be posted periodically on Angel.
TA: Daniel Perez; daniel.perez@email.wsu.edu
Listening: All listening will be done in class. See Listening List for reference.
Class Requirements: There will be reading and assignments as outlined in the syllabus. Also there will be two, In Class writing assignments and one Video Research Paper.
In Class Writing Assignments: There are two, unannounced, In Class Writing Assignments in this class. For these assignments, two recordings are played in class and students provide their critical analysis, interpretation and evaluation of these two recordings based on the historical and critical scholarship of rock music as presented in lectures and in the text (roughly one page). Students are also asked to compare and contrast the recordings: for example, Hound Dog recorded by blues singer Big Mama Thornton vs. the version recorded by rock and roll legend Elvis Presley. These written assignments are then used as the basis for class discussion following the listening. After the discussion, the assignments are turned in, read and reviewed. Students receive 20 points for each completed assignment. See the sample In Class Writing Assignment below.
Video Research Paper: Students are required to write a short, research paper (approximately two pages), due at the end of the 14th week, in which they critically analyze, interpret, evaluate, compare and contrast three, video performances by a selected artist or band, based on the historical and critical scholarship of rock music as presented in class and in the text, emphasizing messages found in the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities exhibited in the videos. Students may select the artist or band in consultation with the instructor and may view the videos on YouTube or other suitable websites. The paper will also include brief biographical information about the artist or band. In addition to video sources, students are required to consult a minimum of three outside sources. Sources must be cited and students must include a list of Sources Cited and a list of Sources Consulted (bibliography). See the Guidelines for the Video Research Paper below.
Exams: There will be two historical quizzes, a historical midterm and historical final.
NOTE: The quizzes and exams will be “scan-a-tron” style – made up of true/false and multiple-choice questions. You will need a #2 pencil and a scan sheet to take the quizzes and exams. Scan sheets are available at the Bookie.
Evaluation: The two quizzes are worth 70 points each, the historical midterm and final exams are worth 130 points each, the two In Class writing assignments are worth 20 points each and the Video Research Paper is worth 60 points. Total points for the class are 500.
Grades: Grades are based on the number of points earned as listed below:
460-500 = A
450-459 = A-
440-449 = B+
410-439 = B
400-409 = B-
390-399 = C+
360-389 = C
350-359 = C-
340-349 = D+
300-339 = D less than 300 = F
Disclaimer: At times, this class will contain material that can be offensive to some (subject matter, lyrics, social behavior, etc.). If this bothers you, please do not take this class.
Attendance Policy: Due to the extremely large size of the class (250 students per section), attendance is not taken. Nonetheless, attending class is strongly recommended. Students who do not attend class regularly will not do well.
Students with Disabilities: Reasonable accommodations are available for students with a documented disability. If you have a disability and need accommodations to fully participate in this class, please either visit or call the Access Center (Washington Building 217; 509-335-3417) to schedule an appointment with an access advisor. All accommodations MUST be approved through the Access Center. For more information contact a Disability Specialist at 509-335-3417. http://accesscenter.wsu.edu Access.Center.wsu.edu
WSU Academic Integrity Statement: Academic integrity will be strongly enforced in this course. Any student caught cheating on any assignment will be given an F grade for the course and will be reported to the Office of Student Standards and Accountability. Cheating is defined in the Standards for Student conduct WAC 504-26-010 (3). It is strongly suggested that you read and understand these definitions.
Safety and Emergency Notification: Washington State University is committed to enhancing the safety of the students, faculty, staff, and visitors. It is highly recommended that you review the Campus Safety Plan (http://safetyplan.wsu.edu/) and visit the office of emergency management, and the health and welfare of the campus community.
Protecting Your Hearing Health:
An NASM – PAMA Student Information Sheet on Noise-Induced Hearing Loss
Hearing health is essential to your lifelong success as a musician. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). Such danger is constant. Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time. The closer you are to the source of a loud sound, the greater the risk of damage to your hearing mechanisms. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. Risk of hearing loss is based on a combination of sound or loudness intensity and duration.
Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows: o 85 dB (vacuum cleaner, MP3 player at 1/3 volume) – 8 hours o 90 dB (blender, hair dryer) – 2 hours o 94 dB (MP3 player at 1/2 volume) – 1 hour o 100 dB (MP3 player at full volume, lawnmower) – 15 minutes o 110 dB (rock concert, power tools) – 2 minutes o 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate. Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments, turning down the volume) reduce your risk of hearing loss. Be mindful of those MP3 earbuds. See chart above.
The use of earplugs and earmuffs helps to protect your hearing health. Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of school, you also need to learn more and take care of your own hearing health on a daily, even hourly basis. It is important to follow basic hearing health guidelines. It is also important to study this issue and learn more.
If you are concerned about your personal hearing health, talk with a medical professional. If you are concerned about your hearing health in relationship to your program of study, consult the appropriate contact person at your institution. This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM- PAMA hearing health documents, located on the NASM Web site at the URL linked below. http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health
Protecting Your Hearing Health: Student Information Sheet on Noise-Induced Hearing Loss NASM/PAMA: November 2011
MUS 262—Rock Music: History and Social Analysis
Sample In Class Writing Assignment
Two recordings will be played in class of Hound Dog composed by Jerry Leiber and Mike Stoller: the recording by Big Mama Thornton and the recording by Elvis Presley. As you listen to each recording, please critically analyze, interpret and evaluate the recorded performances. Base your evaluations on the historical and critical scholarship regarding rock music as presented in class by the instructor and your textbook. After hearing both selections, compare and contrast the recordings. Indicate which recording you feel is more successful based on the historical and critical tradition of rock music. Indicate which selection you prefer and why. Your assignment should be approximately one page in length and will be worth 20 points.
MUS 262—Rock Music: History and Social Analysis
Guidelines for the Video Research Paper
At the end of the 14th week, all students are required to submit a Video Research Paper. Students are required to find three, video performances by a selected artist or band. The video performances do not have to be of the same song. Students will critically analyze, interpret and evaluate these three video performances based on historical and critical scholarship regarding rock music as presented in class by the instructor and your textbook. Emphasize messages found in the lyrics, including any social, political or diversity messages, basic musical characteristics and entertainment qualities exhibited in the videos.
Students may select the artist or band in consultation with the instructor. Some possible sources for locating these videos include, but are not limited to, the following:
• YouTube
• Vimeo
• Official and unofficial artist and band websites
• My Space artist and band websites
• Facebook artist and band pages
• Recording label websites
Students may also opt to compare video performances from DVDs or other video recordings.
The paper should also include brief biographical information about the artist or band. In addition to video sites, students are required to consult a minimum of three outside sources. Some possible sources for biographical information include, but are not limited to, the following:
• Books about specific artists or bands
• Books about rock and pop music history
• Articles, including interviews, in music related magazines and journals such as Rolling Stone, Variety, Billboard, Downbeat, or general newspapers and magazines, including online sites for these publications.
• Liner notes from recordings
• Official and unofficial artist and band websites
• Recording label websites
Wikipedia articles will not be accepted as source material for this paper.
Students will be required to cite sources used in their papers and to provide a list of Sources Cited and a list of Sources Consulted (bibliography).
The following information regarding the importance of citing sources is from the University of California Berkeley Libraries website: http://www.lib.berkeley.edu/instruct/guides/citations.html Why cite sources?
Whenever you quote or base your ideas on another person 's work, you must document the source you used. Even when you do not quote directly from another work, if reading that source contributed to the ideas presented in your paper, you must give the authors proper credit.
Citations allow readers to locate and further explore the sources you consulted, show the depth and scope of your research, and give credit to authors for their ideas. Citations provide evidence for your arguments and add credibility to your work by demonstrating that you have sought out and considered a variety of resources. In written academic work, citing sources is standard practice and shows that you are responding to this person, agreeing with that person, and adding something of your own. Think of documenting your sources as providing a trail for your reader to follow to see the research you performed and discover what led you to your original contribution.
Citations and lists of Sources Cited and Sources Consulted should be formatted using the Turabian Style Guide. Guidelines may be found at the following websites: http://www.press.uchicago.edu/books/turabian/turabian_citationguide.html http://www.uvu.edu/owl/infor/pdf/style_guides/Turabian.pdf
This paper is worth 60 points.
Weekly Schedule
Week 1: Rock Roots – Overview of pre-rock styles and influences.
The First Rock and Roll Record? – Is there one?
The Blues
Roots in work songs & field hollers Bessie Smith and the great "Classic Blues" women. Robert Johnson & the guitar based rural blues of the Mississippi delta. The 12-bar blues; electric/urban blues, Memphis and Chicago, Muddy Waters, Howlin ' Wolf and Chess Records.
Gospel styles, singers, groups
The Ink Spots/Mills Brothers
Early doo-wop.
Country & Western Styles
Western Swing – Bob Wills and His Texas Playboys
Bluegrass – Bill Monroe
Rhythm and Blues
Jazz, boogie-woogie and the Swing Era
Decline of the Big Bands and the splintering into sophisticated bebop and dance-oriented rhythm & blues.
Louis Jordan (the jump band)
Big Joe Turner / Big Mama Thornton (blues shouters)
Text Reading Assignment: pp.– 3 to 20
Weeks 2 & 3: The Dawn of Rock & Roll: The First Renegades of the 1950’s.
Crossovers & Covers: popular music in the 1950 's and R&B "crossover" hits.
Bill Haley and "Rock Around the Clock." Whitewashed cover versions of R&B hits Pat Boone: King of the Covers
The emergence of teenagers as a social and economic class.
Disc Jockeys and the airwaves as battleground.
Memphis: Sam Phillips and Sun Records
Elvis Presley
The Sun Records Years (1954-55)
Scotty Moore and Bill Black
Rockabilly style traits.
The move to RCA and Col. Tom Parker.
The Army & Hollywood, the 1968 comeback, Las Vegas and the final descent.
Text Reading Assignment: pp. – 21 to 36
Rockabilly
Guitar and vocal styles
Southern roots and borrowings from black music and style.
Carl Perkins – father of rockabilly
Jerry Lee Lewis – the living embodiment of rockabilly.
Other rockabilly artists: Gene Vincent, early Buddy Holly, Eddie Cochran
Text Reading Assignment: pp. – 67 to 79
New Orleans: Cosimo Matassa and J&M Recording Studio
The Cradle of Jazz – history of cultural & musical intermingling
Dave Bartholomew 's house band.
Text Reading Assignment: pp. – 37 to 47
Fats Domino and Little Richard.
Text Reading Assignment: pp. – 48 to 59
Chicago: Phil and Leonard Chess and Chess Records
Chuck Berry
First great rock poet
Archetypal rock guitarist.
Berry 's boogie-based rhythm & lead styles
Songwriting themes & rapid-fire words.
Text Reading Assignment: pp. – 60 to 66
Bo Diddley
The "Bo Diddley beat"
Rock as pure Rhythm & Sound
Week 4: The Emergence of Pop
(Quiz #1)
Rock Styles Expand: The Push Towards Pop
Ricky Nelson
The "L.A. Rockabilly” artist
The Adventures of Ozzie and Harriet (TV Sitcom)
Eddie Cochran
Rock anthems
Guitar "power chords" and influence on next generation
The Everly Brothers
Country-duo harmonies and influence
Teen ballads and "choir boy rockabilly."
Buddy Holly & the Crickets
Last of the fifties giants
Studio innovations
New fusion of pop and rock & roll
Crickets as proto-Beatle group archetype
“The Day the Music Died”
Text Reading Assignment: pp. – 80 to 91
Week 5: Doo-Wop and The Soul Pioneers
Vocal Groups And Doo-Wop
Vocal group rock & roll.
Lead & background vocal styles and arrangements
The Platters: the Ink Spots ' descendants on the Pop charts
Streetcorner styles
Frankie Lymon & the Teenagers
The long line of great "One-Shots"
Atlantic Records and Uptown R&B
Leiber & Stoller productions for the Coasters and the Drifters
Text Reading Assignment: pp. – 92 to 101
The Soul Pioneers – Gospel infusions & the push toward Soul.
Ray Charles
Leading pioneer of soul
Merging of gospel, R&B. pop and C&W styles
Sam Cooke
Smooth vocal style
Gospel years with the Soul Stirrers
Pop crossover w/"You Send Me”
Jackie Wilson
Early days w/Dominoes
Live and vocal gymnastics
Uneven recording career and tragic death
James Brown
The Godfather of Soul
Early stages of funk music
Text Reading Assignment: pp. – 130 to 142
Week 6: The Rise of Teen Idol Pop
Early Sixties Pop: The Teen Idols
The Taming of Rock & Roll
Exits of the Founding Fathers and the "Death of Rock & Roll."
The Payola Scandal
Dick Clark – American Bandstand and Philadelphia
Text Reading Assignment: pp. – 107 to 112 & 121 to 123
Brill Building Pop – Aldon Music 's great songwriting teams
Goffin & King
Sedaka & Greenfield
Leiber & Stoller
Text Reading Assignment: pp. – 143 to 152
The "Girl Groups"
The Chantels
The Shirelles
The Chiffons
The Marvelettes
The Angels
Phil Spector Records
The Wall of Sound and The Wrecking Crew
"Little Symphonies for the Kids"
The Crystals
Darlene Love
The Ronettes
The Righteous Brothers
Text Reading Assignment: pp. - 177 to 191
Week 7: The Rise of Pop on the West Coast
Early Sixties Pop: Surf music
Dick Dale and the Deltones (surf instrumentals)
The Ventures
The first garage bands (The Kingsmen – “Louie Louie”)
Early hits from the Beach Boys.
Text Reading Assignment: pp. - 124 to 129
The Beach Boys – California as the Promised Land
Chuck Berry 's mythic vision of teenage life transplanted to the beach
Brian Wilson 's influences (The Four Freshman, The Beatles and Phil Spector) Increasingly elaborate productions: Pet Sounds & "Good Vibrations"
The aborted Smile project and Brian 's descent.
Text Reading Assignment: pp. - 192 to 198
Week 8: Catch Up / Review
Mid-Term Exam
Week 9: British Invasion – The Beatles
The British Invasion – Rock’s Rebirth (The First Wave)
America reinvented and brought back home
British cover versions of American rock, pop, soul, blues and R&B
Overview of early styles of the Beatles and Rolling Stones
Text Reading Assignment: pp. - 199 to 208
The Beatles – A New Standard of Excellence for Rock/Pop Music & Songwriting.
The Early years
Skiffle Music
Beatlemania and a new fusion of rock & pop
Big beat & melody, songwriting & performing
The Transition years
Dylan influence
Introspective emerging style
Individuality emerges
The Studio Years
The band 's astonishing creative growth
The constantly evolving songwriting styles of Lennon & McCartney
The Beatles and George Martin in the studio
The influence of Brian Wilson – Pet Sounds
Rock becomes Art – Sgt. Pepper’s Lonely Hearts Club Band
Text Reading Assignment: pp. - 209 to 237
Week 10: The British Invasion Continues
The British Invasion: The Blues Groups
London 's blues "underground"
The Chicago Blues influence
John Mayall 's Bluesbreakers – The elder statesman of British Blues
Eric Burdon & the Animals
The Kinks and The Who: Power chords to rock operas
Them and Van Morrison
The Yardbirds – Guitar legacies of Eric Clapton, Jeff Beck and Jimmy Page
Text Reading Assignment: pp. - 391 to 411
The Rolling Stones
The World 's Greatest Rock & Roll Band
Early Stones blues and soul covers
Mick Jagger as ultimate Pop Star and frontman
Text Reading Assignment: pp. - 238 to 251
Week 11: Motown and Soul / Funk
Motown: "Hitsville USA" and the Sound of Young America
Berry Gordy and the founding of Motown
Holland-Dozier-Holland and Motown 's hit-making assembly line
The Motown Formula:
The songwriter/producers
The arrangers
The house band
The Incredible Motown Artist Roster:
Smokey Robinson and The Miracles
Mary Wells
Marvin Gaye
The Marvelettes
Four Tops
Temptations
Diana Ross and The Supremes
Jackson Five
Stevie Wonder
Rare Earth
Text Reading Assignment: pp. - 277 to 292
60’s Soul and the Emergence of Funk
Soul Masters of the 60’s
Solomon Burke
Wilson Pickett
Otis Redding
Text Reading Assignment: pp. - 272 to 276
Instrumental Soul – Memphis
Booker T. and the MG’s
Memphis Studio Musicians
Text Reading Assignment: pp. - 260 - 271
James Brown
The Godfather of Soul and the roots of funk, disco, rap
The “one”
Characteristics and Style
Text Reading Assignment: pp. - 163 to 170
Week 12 & 13: The Folk Music Boom – The Turbulent 60’s
The Dawn of Heavy Metal
(Quiz #2)
Bob Dylan – America’s first poet for the masses
Early years as a folk-protest singer
The dramatic expansion of rock 's lyrical and poetic possibilities
Bob Dylan, as a vehicle for true personal expression
The classic electric era
Dylan 's transition from "conscience of a generation" to rock & roll Bohemian and reclusive icon
Text Reading Assignment: pp. - 299 to 308
The emergence of Folk-Rock Music
Dylan Covers and Dylan-Influenced Lyrics
The New Range Of Expression and New Emphasis on Realism and Relevance
The Byrds – Ex-Folkies Turned Rockers
Text Reading Assignment: pp. - 309 to 318
The San Francisco Scene & Psychedelia
The Monterey Pop Festival and Haight-Ashbury
The 1967 Summer of Love and the emerging Counterculture
The Acid Tests
Rock concerts become Happenings and rock 's possibilities expand as the underground hits the mainstream in an unprecedented era of artistic freedom
Text Reading Assignment: pp. - 362 to 369
The San Francisco Groups
The Charlatons
The Grateful Dead
Jefferson Airplane
Country Joe & the Fish
Text Reading Assignment: pp. - 370 to 381
Janis Joplin – Rock’s first great diva
Text Reading Assignment: pp. - 382 to 387
Jimi Hendrix & the Blues Revival
The blues extended and the guitar redefined with a new virtuosity
Jimi Hendrix ' blues-based, sound-drenched psychedelic excursions
Hendrix at the dawn of rock 's Modern Era
Text Reading Assignment: pp. - 412 to 418
Led Zeppelin and the birth of Heavy Metal
Text Reading Assignment: pp. - 455 to 458
Week 14 – The Rise of Art Rock (The 70”)
Video Research Paper Due
L. A. rock
The Doors
Jim Morrison and Rock as dark Theater
Emphasizing individual expressions over band unity
Text Reading Assignment: pp. - 388 to 390
Progressive Rock in Los Angeles/New York
Frank Zappa & the Mothers of Invention
Progressive Rock & Art Rock in Britain
Away from Sgt. Pepper and into the seventies
Moody Blues
Pink Floyd
Jethro Tull
Emerson Lake and Palmer
Yes
Text Reading Assignment: pp. - 492 to 499
David Bowie – British Theatre Rock
Text Reading Assignment: pp. – 532 to 537
Week 15: The Rock Rebellion – Back to the Roots
Hard rock in America
The MC5 – proto-punk
Alice Cooper – shock-rock
Iggy Pop and the Stooges
Text Reading Assignment: pp. - 459 to 479
The Velvet Underground and the roots of punk.
Lou Reed
Andy Warhol
Text Reading Assignment: pp. - 348 to 356
Movement toward Punk
Return to the garage band style
Predecessor of Grunge
CBGB’s
Early Punk Bands
Patti Smith Group
Television
The Ramones
British Punk – Anarchy in the UK
Malcolm McLaren
The Sex Pistols
Text Reading Assignment: pp. - 594 to 608
Finals Week – Final Exam