Urban Folk Music in Urban Folk Music in the 1960s the 1960s

Urban Folk Music in the Urban Folk Music in the 1960s1960s

Folk music is usually defined as Folk music is usually defined as – the music of the common people andthe music of the common people and– expressing the feelings of the people of expressing the feelings of the people of

a particular region.a particular region. The lyrics hold more significance The lyrics hold more significance

than the music, although the than the music, although the melodies of some folk songs are very melodies of some folk songs are very beautiful. beautiful.

Urban Folk Music in the Urban Folk Music in the 1960s1960s

During the late 1950s and early 1960s, During the late 1950s and early 1960s, interest in folk music grew.interest in folk music grew.

Elvis and early rock ’n’ roll fans were Elvis and early rock ’n’ roll fans were maturing; rock was juvenile.maturing; rock was juvenile.

Folk music offered a more serious look at Folk music offered a more serious look at society and culture.society and culture.

Folk music encouraged group singing—a Folk music encouraged group singing—a new way to participate.new way to participate.

Protest folk songs offered lyrics relevant to Protest folk songs offered lyrics relevant to the newly discovered social and political the newly discovered social and political ideals of maturing rock ’n’ roll audiences. ideals of maturing rock ’n’ roll audiences.

Bob Dylan (b. 1941)Bob Dylan (b. 1941)

First poet of the mass mediaFirst poet of the mass media Born Robert Zimmerman in Duluth, Born Robert Zimmerman in Duluth,

MinnesotaMinnesota Took his stage name from his Took his stage name from his

favorite poet, Dylan Thomasfavorite poet, Dylan Thomas Traveled to New York in 1960; Traveled to New York in 1960;

settled into the coffeehouse folk settled into the coffeehouse folk music scene in Greenwich Villagemusic scene in Greenwich Village

Bob Dylan (b. 1941)Bob Dylan (b. 1941)

Dylan stood out from his contemporaries Dylan stood out from his contemporaries in folk music. in folk music. – The quality of his original songs was The quality of his original songs was

remarkable.remarkable. Imagery and metaphorImagery and metaphor Frequently searing intensity of feelingFrequently searing intensity of feeling Quirky sense of ironyQuirky sense of irony

Dylan’s style of performanceDylan’s style of performance– Rough-hewn, occasionally aggressive vocal, Rough-hewn, occasionally aggressive vocal,

guitar, and harmonica styleguitar, and harmonica style– Demonstrated strong affinities for rural models Demonstrated strong affinities for rural models

in blues and earlier country musicin blues and earlier country music

Listening: “Blowin’ in the Listening: “Blowin’ in the Wind”Wind”

Performed by Bob DylanPerformed by Bob Dylan Dylan’s vocal style was nasal, cutting, and Dylan’s vocal style was nasal, cutting, and

harshharsh The melody provides a simple, functional, The melody provides a simple, functional,

and immediately memorable setting for the and immediately memorable setting for the wordswords

Strophic formStrophic form His syncopation of the lyrics adds rhythmic His syncopation of the lyrics adds rhythmic

weight to the most pointed words in the weight to the most pointed words in the song. song.

Listening: “Blowin’ in the Listening: “Blowin’ in the Wind”Wind”

Performed by Peter, Paul, and Mary Performed by Peter, Paul, and Mary The folk trio performance has a sense of The folk trio performance has a sense of

touching serenity and simplicity.touching serenity and simplicity. The various questions posed by the lyrics The various questions posed by the lyrics

are sung by different numbers and are sung by different numbers and combinations of voices, at various levels of combinations of voices, at various levels of intensity, while the answer is always intensity, while the answer is always provided by Mary’s gentle solo sound. provided by Mary’s gentle solo sound.

Their performance lacks the syncopation Their performance lacks the syncopation and rhythmic angularity of Dylan’s and rhythmic angularity of Dylan’s recording. recording.

Bob Dylan (b. 1941)Bob Dylan (b. 1941) 1965 was the pivotal year in Bob Dylan’s career.1965 was the pivotal year in Bob Dylan’s career. Dylan’s song “Mr. Tambourine Man” was covered Dylan’s song “Mr. Tambourine Man” was covered

by the fledgling California rock group the Byrds.by the fledgling California rock group the Byrds. The Byrds’ truncated version of “Mr. Tambourine The Byrds’ truncated version of “Mr. Tambourine

Man” soared to Number One in June 1965, Man” soared to Number One in June 1965, becoming the first folk-rock hit. becoming the first folk-rock hit.

Dylan entered the recording studio with a rock Dylan entered the recording studio with a rock band to cut his own breakthrough single, “Like a band to cut his own breakthrough single, “Like a Rolling Stone.”Rolling Stone.”– Reached Number Two on the chartsReached Number Two on the charts

In July 1965, Dylan appeared at the famous In July 1965, Dylan appeared at the famous Newport Folk Festival with an electric band and Newport Folk Festival with an electric band and was booed off the stage by folk purists. was booed off the stage by folk purists.

Listening: “Like a Rolling Listening: “Like a Rolling Stone”Stone”

Composed and performed by Bob Dylan (1965) Composed and performed by Bob Dylan (1965) Unique timbre and sound for the timeUnique timbre and sound for the time

– Two keyboard instruments, the piano and organ, Two keyboard instruments, the piano and organ, dominate the texture, rather than guitars, bass, and dominate the texture, rather than guitars, bass, and drums. drums.

– Dylan’s vocal cuts aggressively through this thick Dylan’s vocal cuts aggressively through this thick instrumental texture like a knife. instrumental texture like a knife.

It effectively put an end to previous restrictions It effectively put an end to previous restrictions on length, subject matter, and poetic diction that on length, subject matter, and poetic diction that had been the controlling influence on pop had been the controlling influence on pop records. records.

After the huge acceptance of this song, nothing After the huge acceptance of this song, nothing was the same again. was the same again.

Listening: “Like a Rolling Listening: “Like a Rolling Stone”Stone”

Form Form – Strophic verse-chorus patternStrophic verse-chorus pattern– Strophes are extremely long, giving the song a Strophes are extremely long, giving the song a

sense of great intensity and expansion. sense of great intensity and expansion. – The verse portions of the song are forty bars The verse portions of the song are forty bars

long. The chorus varies in length (twenty bars long. The chorus varies in length (twenty bars in the first chorus and twenty-four in in the first chorus and twenty-four in successive choruses). successive choruses).

– At six minutes, the song was by far the longest At six minutes, the song was by far the longest 45 r.p.m. pop single ever released up to that 45 r.p.m. pop single ever released up to that time. time.

Simon and GarfunkelSimon and Garfunkel When folk rock hit the scene midyear and When folk rock hit the scene midyear and

Bob Dylan went electric, Simon and Bob Dylan went electric, Simon and Garfunkel’s producer, Tom Wilson, turned to Garfunkel’s producer, Tom Wilson, turned to one of Simon’s original compositions, “The one of Simon’s original compositions, “The Sound of Silence.” Sound of Silence.” – Overdubbed a rock band accompaniment of Overdubbed a rock band accompaniment of

electric guitars, bass, and drums onto the original electric guitars, bass, and drums onto the original recordingrecording

– Increased the tempo very slightlyIncreased the tempo very slightly– Changed the title to “The Sounds of Silence”Changed the title to “The Sounds of Silence”– Released it as a singleReleased it as a single– Did this all without Simon or Garfunkel’s prior Did this all without Simon or Garfunkel’s prior

knowledge or permissionknowledge or permission It became a Number One pop hit in 1966. It became a Number One pop hit in 1966.

The Counterculture and The Counterculture and Psychedelic RockPsychedelic Rock

The explosive entrance of folk rock into The explosive entrance of folk rock into American popular culture coincided with the American popular culture coincided with the development of innovative approaches to development of innovative approaches to rock ’n’ roll. rock ’n’ roll. – The maturation into early adulthood of the baby The maturation into early adulthood of the baby

boomer audienceboomer audience– The maturation of many of those actually The maturation of many of those actually

making the musicmaking the music This was also a period of increasing political This was also a period of increasing political

restlessness and ferment in the United restlessness and ferment in the United States. States.

Changing the World: The Changing the World: The BeatlesBeatles

Sgt. Pepper’s Lonely Hearts Club BandSgt. Pepper’s Lonely Hearts Club Band– Sold eight million copies and remained on Sold eight million copies and remained on

Billboard’Billboard’s album charts for more than three s album charts for more than three years.years.

– Redirected attention from the single-song Redirected attention from the single-song recording to the record album recording to the record album

– None of the songs on the album were released as None of the songs on the album were released as singles.singles.

– It was the first album to present itself to the It was the first album to present itself to the public as a complete and unifiedpublic as a complete and unified marketing marketing package, with a distinctive and interrelated package, with a distinctive and interrelated collection of parts.collection of parts.

San Francisco RockSan Francisco Rock

Jefferson Airplane, Janis Joplin, and the Grateful Jefferson Airplane, Janis Joplin, and the Grateful DeadDead

During the late 1960s, an “alternative” rock During the late 1960s, an “alternative” rock music scene established itself in San Francisco.music scene established itself in San Francisco.– ““Psychedelic rock” encompassed a variety of styles Psychedelic rock” encompassed a variety of styles

and musical influences, including folk rock, blues, and musical influences, including folk rock, blues, “hard rock,” Latin music, and Indian classical music.“hard rock,” Latin music, and Indian classical music.

San Francisco’s psychedelic music scene was San Francisco’s psychedelic music scene was focused on the Haight-Ashbury neighborhood, focused on the Haight-Ashbury neighborhood, the center of the hippie movement.the center of the hippie movement.

Jefferson AirplaneJefferson Airplane

Jefferson Airplane was the first Jefferson Airplane was the first nationally successful band to emerge nationally successful band to emerge out of the San Francisco psychedelic out of the San Francisco psychedelic scene. scene.

Founded in 1965, the Airplane was Founded in 1965, the Airplane was originally a semiacoustic folk-rock band, originally a semiacoustic folk-rock band, performing blues and songs by Bob performing blues and songs by Bob Dylan.Dylan.

Jefferson Airplane was one of the Jefferson Airplane was one of the original San Francisco “acid rock” original San Francisco “acid rock” bands.bands.

Jefferson AirplaneJefferson Airplane The biggest celebrity in the group was The biggest celebrity in the group was

vocalist Grace Slick (b. 1939), who—along vocalist Grace Slick (b. 1939), who—along with Janis Joplin—was one of the most with Janis Joplin—was one of the most important female musicians on the San important female musicians on the San Francisco scene.Francisco scene.

Jefferson Airplane were introduced to a Jefferson Airplane were introduced to a national audience by their recording of national audience by their recording of “Somebody to Love.” “Somebody to Love.” – Reached Number Five on the national pop charts Reached Number Five on the national pop charts

in 1967 in 1967 – Exemplifies the acid rock approachExemplifies the acid rock approach– Dense musical textureDense musical texture– Plenty of volume and lots of electronic distortionPlenty of volume and lots of electronic distortion

Janis Joplin (1943–70)Janis Joplin (1943–70)

The most successful white blues The most successful white blues singer of the 1960ssinger of the 1960s

Born in Port Arthur, TexasBorn in Port Arthur, Texas Came to San Francisco in the mid-Came to San Francisco in the mid-

1960s and joined a band called Big 1960s and joined a band called Big Brother and the Holding Company Brother and the Holding Company

Big Brother’s appearance at the Big Brother’s appearance at the Monterey Pop Festival in 1967 led to Monterey Pop Festival in 1967 led to a contract with Columbia Records.a contract with Columbia Records.

Janis Joplin (1943–70)Janis Joplin (1943–70) Big Brother’s 1968 album Big Brother’s 1968 album Cheap ThrillsCheap Thrills

– Number One on the pop charts Number One on the pop charts – Included a Number Twelve hit single, “Piece of My Heart,” Included a Number Twelve hit single, “Piece of My Heart,”

a cover version of a 1960s R&B hit by Erma Franklin. a cover version of a 1960s R&B hit by Erma Franklin. Joplin’s full-tilt singing style and directness of Joplin’s full-tilt singing style and directness of

expressionexpression– Inspired by blues singers such as Bessie Smith and by the Inspired by blues singers such as Bessie Smith and by the

R&B recordings of Big Mama ThorntonR&B recordings of Big Mama Thornton Pushed her voice unmercifullyPushed her voice unmercifully One of Joplin’s most moving performances is her One of Joplin’s most moving performances is her

rendition of the George and Ira Gershwin rendition of the George and Ira Gershwin composition “Summertime,” written in 1935 for composition “Summertime,” written in 1935 for the American folk opera the American folk opera Porgy and BessPorgy and Bess..

The Grateful DeadThe Grateful Dead

Career spanned more than three decadesCareer spanned more than three decades– “ “The Dead” grew out of a series of bands The Dead” grew out of a series of bands

involving Jerry Garcia (1942–95), a guitarist, involving Jerry Garcia (1942–95), a guitarist, banjoist, and singer who had played in various banjoist, and singer who had played in various urban folk groups during the early 1960s.urban folk groups during the early 1960s.

This shifting collective of musicians This shifting collective of musicians gradually took firmer shape and in 1967 gradually took firmer shape and in 1967 was christened the Grateful Dead (a was christened the Grateful Dead (a phrase Garcia liked from an ancient phrase Garcia liked from an ancient Egyptian prayer book). Egyptian prayer book).

The Grateful DeadThe Grateful Dead

The Dead helped pioneer the transition The Dead helped pioneer the transition from urban folk music to folk rock to acid from urban folk music to folk rock to acid rockrock

– Adopted electric instrumentsAdopted electric instruments– Lived communally in the Haight-Ashbury Lived communally in the Haight-Ashbury

districtdistrict– Participated in public LSD parties (“acid Participated in public LSD parties (“acid

tests”) before the drug was outlawedtests”) before the drug was outlawed The Dead were the quintessential “live” The Dead were the quintessential “live”

rock band, specializing in long jamsrock band, specializing in long jams

““Deadheads”Deadheads”

The devoted fans of the Grateful The devoted fans of the Grateful Dead; they were a social Dead; they were a social phenomenon unparalleled in the phenomenon unparalleled in the history of American popular music. history of American popular music.

The Grateful DeadThe Grateful Dead Jerry Garcia died in 1995, and the Jerry Garcia died in 1995, and the

remaining members of the band have gone remaining members of the band have gone their separate ways. their separate ways.

The band members periodically assemble to The band members periodically assemble to hit the road together, with their huge hit the road together, with their huge entourage in tow. entourage in tow. – In the span of more than three decades, the In the span of more than three decades, the

band placed only one single in the Top 40 band placed only one single in the Top 40 (“Touch of Gray,” a Number Nine pop hit in (“Touch of Gray,” a Number Nine pop hit in 1987).1987).

Their albums continue to sell hundreds of Their albums continue to sell hundreds of thousands of copies to their loyal fans.thousands of copies to their loyal fans.