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Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time–even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.
For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood–in that order–becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.
Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.
Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and–finally–catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.
The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.
lesson:
Considering the Future of Rock and Roll
How is Rock and Roll's power, at least in part, a result of its being born on the margins of society?
lesson:
Intersectionality and Punk Music in the 2020s
What is intersectionality, and how do musicians in the Punk music scene navigate life at different intersections?
Video
video:
Literary
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
Music as a Way Out
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
Long Tall Sally
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
The British Invasion
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
Segregation in the South
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
DJ Smashing Rock and Roll Records
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
video:
The Towers
<p>Since the time of Seventies Fragmentation, Rock and Roll culture has continued to drift from the high point in the 1960s when a deep mixing between audiences allowed for racial and social crosscurrents that were unusual for any time. Though Hip Hop has become the most significant force in popular music of the last thirty years and regularly has a massive white audience, it has never been the bridge music that Soul was at one time--even if Hip Hop has done a tremendous amount as regards creating situations of racial mixing that far exceed the norm in this often racially-divided country. But Soul music's situation remains something toward which music can still aspire.</p> <p>For its part, Country has seen moments in which it crossed over as a major force in Pop, with acts like Garth Brooks, Faith Hill, and Carrie Underwood--in that order--becoming major crossover stars but also recording music that looks less and less like the Country that had, for so long, been associated with Nashville. Occasional movements to return-to-the-roots do come along, as they are presently in the Americana movement, but such phases have not had a big effect on mainstream Country.</p> <p>Rock itself has been witness to something that would have surprised, even shocked anyone who was paying attention to the music in the 1960s. The Rolling Stones, Paul McCartney, Ringo Starr, the Beach Boys, the Who, and many more acts from the Renaissance period of Rock and Roll, are still touring. In their sixties and even seventies, the members of these groups are often selling a remarkable number of tickets. For someone who complains of what has happened as television shows like American Idol generate the next class of big artists, it's often more "authentic" to see an act in their late sixties playing instruments and singing songs from the past than it is watching such programming. But there's no common agreement. One thing is for certain, though, Rock and Roll, in the hands of groups like the White Stripes and the Black Keys, and in the territory developed by Indie Rock and other more underground movements, the story carries on.</p> <p>Given the patterns of Rock and Roll, it's easy to say that the next significant thing to happen will happen somewhere "off camera," in some garage or basement or one-bedroom apartment, where something fresh, urgent, and strange begins to come together, building a small audience and--finally--catching the world by surprise. The next thing has never come from above, from where the executives are sitting. And the next thing is, really, anybody's guess. But Rock and Roll can promise it's happening now, somewhere out there, and the ones who love this music and need this music the most are going to find it.</p> <p>The lessons in this chapter consider some of today's musical centerpieces but recap much of what has been explored throughout this curriculum. If you've been doing your homework, the message should be clear: you have as much of a chance as the next person in creating the next great musical movement. It's only a matter of passion and a thirst to hear something that you just can't hear anywhere else . . . so you have to make it yourself.</p>
Print Journalism
article:
Long Live Rock: The Who
ARGUABLY THE MOST famous line The Who's Pete Townshend ever wrote was "Hope I die before I get old" on 1965's angry young anthem 'My Generation'. Today, at the ripely Beatle-esque age of 64, Townshend will – in his own words – "carry the flag for the boomer generation" during the half-time show at Super Bowl XLIV in Miami. The entertainment spotlight doesn't burn much brighter. It may even remind the world just how great the Who once were. The group have long had to settle for third place in the pantheon of '60s rock giants behind the Beatles and...
article:
The White Stripes: Detroit’s Rock Heroes Remembered
THERE WAS AN outpouring of grief this week when the White Stripes announced they were to split. Stevie Chick explains their magic while photographer Ewen Spencer talks about working with them Whether you're a fan or not, the massive outpouring of grief this week in response to the news that minimalist rock band the White Stripes were to split up might seem puzzling. In their exit statement on Thursday, the Detroit duo said they hoped the news would not be "met with sorrow by [our] fans", emphasising that the split was not due to health issues or artistic differences. Prolific singer/guitarist/songwriter Jack White...