In the past six weeks you have been introduced to multiple genres of American music. For this assignment you will explore the following:
- Why do you think music genres continue to change in American music?
- What is the impact to the business markets with constant changes to American music?
- How could businesses plan and continue to grow with such constant changes to the market?
This paper should be(3) pages in lengthalong with a title and reference page. You can use your textbook as a source along with (2) supporting outside sources. This paper should be done in APA format to include a cover page, and reference page. All written assignments will be submitted utilizing the Turn It In program and graded based on the rubric within Moodle.
020595748X.pdf Sixth Edition Rockin’ out Popular Music in the U.S.A. Reebee Garofalo University of Massachusetts Boston Steve Waksman Smith College Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editor in Chief: Ashley Dodge Editorial Assistant: Nicole Suddeth Editorial Project Manager: Reena Dalal Director of Marketing: Brandy Dawson Executive Marketing Manager: Kelly May Marketing Coordinator: Jessica Warren Managing Editor: Denise Forlow Project Manager: Kathy Sleys Senior Operations Supervisor: Mary Fischer Operations Specialist: Eileen Corallo Art Director: Jayne Conte Cover Designer: Bruce Kenselaar Cover Image: Left image- © PAUSAL/Alamy Right image - © Pictorial Press Ltd/Alamy Left - © PAUSAL/Alamy Director of Digital Media: Brian Hyland Digital Media Project Manager: Tina Gagliostro Full-Service Project Management and composition: Sudip Sinha/PreMedia Global, Inc. Printer/Binder/Cover Printer: Edwards Brothers/ Malloy Text Font: Bell MT Std 10/14 Photo credits: Alamy: pages 19, 25, 27, 36, 46, 49, 51, 52, 66, 69, 79, 90, 96, 113, 114, 116, 130, 136, 146, 151, 156, 168, 174, 188, 190, 205, 216, 220, 226, 230, 261, 262, 273, 277, 280, 290, 307, 311, 315, 320, 326, 362, 371, 380, 382, 388, 413, 434, 447, 453, and 456. Odile Noel/Alamy: page 102. Marka/Alamy: pages 163, 173, and 207. Don Leavitt/Alamy: page 215. a berti/Alamy: page 291. Kpa Tg/Alamy: page 297. Ray Tamarra/Alamy: page 334. Tony Bartolo/Alamy: page 366. Trinity Mirror/Alamy: page 404. Gregorio Binuya/Alamy: page 405. Kevin Sullivan/Alamy: page 407. Peter Brooker/Alamy: page 410. Jared Milgrim/Alamy: page 441. Ryan Rodrick Beile/Alamy: page 443. Steve Double/Alamy: page 459. Getty Images, Inc.: pages 30, 109, 131, 152, 160, 203, 233, 235, 245, 254, 255, 258, 269, 274, 302, 327, 330, 337, 340, 344, and 351. Gilles Petard/Getty Images, Inc.: page 85 James Kriegsmann/Getty Images, Inc.: page 105 Gilles Petard/Getty Images, Inc.: 135 Tom Copi/Getty Images, Inc.: pages: 182 and 195 Richard Creamer/Getty Images, Inc.: page 241 Raymond Boyd/Getty Images, Inc.: page 356 Sue Schneider/Getty Images, Inc.: pages 367, 385, and 391 Al Pereira/Getty Images, Inc.: pages 394 and 403 Tabatha Fireman/Getty Images, Inc.: pages 411 and 436 David Corio/Getty Images, Inc.: 440 Newscom: pages 72 and 419 Chine Nouvelle/Newscom: page 332 Edward Colver/Associated Press: page 270 Reebee Garofalo: page 425 Scott Goodwin Photography: page 430 Copyright © 2014, 2011, 2008 by Reebee Garofalo, Somerville , Massachussetts 02143 Copyright © 2005, 2000, 1997 by Pearson Education, Inc. All rights reserved. Printed in the United States of America. This publication is protected by Copyright and permis- sion should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, One Lake Street, Upper Saddle River, New Jersey 07458 or you may fax your request to 201-236-3290. Many of the designations by manufacturers and seller to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trademark claim, the designations have been printed in initial caps or all caps. Library of Congress Cataloging-in-Publication Data Garofalo, Reebee. Rockin’ out : popular music in the U.S.A. / Reebee Garofalo, Steve Waksman. — Sixth edition. pages cm ISBN-13: 978-0-205-95680-7 ISBN-10: 0-205-95680-7 1. Popular music—United States—History and criticism. I. Waksman, Steve. II. Title. III. Title: Rocking out. ML3477.G37 2013 781.640973—dc23 2013013403 10 9 8 7 6 5 4 3 2 1 ISBN 10: 0-205- 95680-7 ISBN 13: 978-0-205- 95680-7 Contents Preface x introduction: definitions, themes, and issues 1 Into the Twentieth Century: Popular Music and Mass Culture 2 Rock ‘n’ Roll: The Birth of a New Era 4 Marketing and the Politics of Race, Language, and Gender 8 No Hablamos Español: The Language Barrier 11 The Long, Hard Climb: Gender Discrimination 13 Regulating Popular Music 14 1 Constructing tin Pan Alley: From Minstrelsy to Mass Culture 16 Minstrelsy: The Making of Mainstream U.S. Culture 17 Sheet Music, Sound Recording, and the Sounds of Music 20 Tin Pan Alley Creates Musical Tradition 24 Incorporating Ragtime, Blues, and Jazz 25 Listening Guide 1: “Alexander’s Ragtime Band” 26 Dance Crazes, Latin Influences, Musical Theater, and Records 29 Commercial Broadcasting: A Very Private Enterprise 31 The Growth of Network Radio 32 The Advertisers versus the Programmers 33 Tin Pan Alley Goes Hollywood…and Latin 35 2 Blues, Jazz, and Country: the Segregation of Popular Music 39 Blues, Jazz, and Country: More Equal Than Separate 40 Race Music: The Popular Sounds of Black America 43 The Birth of the Blues 43 Listening Guide 2: “Crazy Blues” 45 All That Jazz 47 iii iv R O C K I N ’ O U T Hillbilly: The Music of the White Working Class 50 Listening Guide 3: “Blue Yodel #9 (Standin’ on the Corner)” 53 Disseminating Blues, Jazz, and Country: More Separate Than Equal 54 The Long Road Back for Records 56 3 “Good Rockin’ tonight”: the Rise of Rhythm and Blues 59 The Publishers and the Broadcasters: ASCAP versus BMI 60 Enter the Deejay: The Broadcasters versus the AFM 61 From Big Bands to Solo Singers 63 The Major Labels Reclaim Country Music 65 Listening Guide 4: “Hey, Good Lookin’” 67 The Independents Promote Rhythm and Blues 68 Listening Guide 5: “(Mama) He Treats Your Daughter Mean” 73 Mass Technology and Popular Taste 75 High Fidelity/Low Overhead 75 Television and the Suppression of FM Broadcasting 76 Independent Radio: Deejays in Your Face 77 4 Crossing Cultures: the Eruption of Rock ‘n’ Roll 81 Cultural Diversity: The Roots of Rock ‘n’ Roll 82 Structural Changes in the Music Industry 84 Sounds of the Cities 87 New Orleans: The Fertile Crescent of Rock ‘n’ Roll 87 Listening Guide 6: “Tutti Frutti” 91 Los Angeles: From Jump Blues to Chicano Rock 93 Chicago: The Blues Electrified 95 Listening Guide 7: “Rock and Roll Music” 97 Cincinnati: The Crossroads of Blues and Country 100 R&B Sanctified: The Gospel Connection 101 Doo Wop: The Intersection of Gospel, Jazz, and Pop 104 Listening Guide 8: “Sh’Boom” 107 Latin Music Rocks 111 Rockabilly: The Country Strain 113 Listening Guide 9: “Hound Dog” 119 C O N T E N T S v 5 the Empire Strikes Back: the Reaction to Rock ‘n’ Roll 124 The Established Powers Fight Back 126 Covering the Bases 127 Listening Guide 10: “Tutti Frutti” 129 Pop Diversions: From Kingston Town to the Kingston Trio 130 “Schlock Rock”: Enter the White Middle Class 132 Television’s Greatest Hits 135 The Brill Building: The New Tin Pan Alley 137 The War on Rock ‘n’ Roll 138 Surf ’s Up! 142 Listening Guide 11: “Surfin’ U.S.A.” 145 6 Popular Music and Political Culture: the Sixties 149 The Civil Rights Movement and Popular Music 150 Girl Groups, Male Producers, and Brill Building Pop 151 Selected Brill Building Girl Group Classics 154 Motown: The Integration of Pop 155 Folk Music: The Voice of Civil Rights 157 Listening Guide 12: “Stop! In the Name of Love” 158 Listening Guide 13: “The Times They Are A-Changin’” 161 The British Invasion Occupies the Pop Charts 163 Breaking the Sounds of Silence: New Voices in the Music 169 Folk Rock: Adding Substance to Form 169 Black (Music) Is Beautiful 171 Latino Rock ‘n’ Roll: From the Southwest to the Spanish Caribbean 175 Listening Guide 14: “(I Got You) I Feel Good” 176 Listening Guide 15: “Oye Como Va” 179 Rock and Revolution: The Counterculture 181 Blues on Acid: Psychedelic Rock 182 Commercializing the Counterculture: Sgt. Pepper and Monterey Pop 184 Listening Guide 16: “A Day in the Life” 186 Riding the Storm: Radicals, Riots, and Revolutions 190 Woodstock and Altamont: The Highs and the Lows 193 vi R O C K I N ’ O U T 7 Music Versus Markets: the Fragmentation of Pop 197 The Music Industry: A Sound Investment 198 Merger Mania 198 Expanding the Infrastructure: Counterculture as Commodity 200 Creativity and Commerce: Rock as Art 203 Listening Guide 17: “Roundabout” 208 Sweeter Soul Music 211 Listening Guide 18: “You Make Me Feel Brand New” 214 Singer/Songwriters, Soft Rock, and More 218 Listening Guide 19: “You’ve Got a Friend” 221 Women’s Music: The Feminist Alternative 225 From Country Rock to Southern Boogie 228 Mad with Power: Heavy Metal 234 Listening Guide 20: “Smoke on the Water” 238 All That Glitters Does Not Sell Gold 242 Listening Guide 21: “Changes” 244 8 Punk and disco: the Poles of Pop 247 Punk Versus Disco 249 Punk: Rock as (White) Noise 250 Born in the U.S.A. 251 Listening Guide 22: “I Don’t Wanna Be Learned, I Don’t Wanna Be Tamed” 256 Anarchy in the U.K. 259 Listening Guide 23: “Anarchy in the U.K.” 260 Flirtation with Fascism: The Underbelly of Punk 263 Rock Against Racism: Progressive Punk 265 Riding the New Wave 267 Disco: The Rhythm without the Blues 271 Proto-Disco: The Funk Connection 272 Up from the Disco Underground 275 Listening Guide 24: “Last Dance” 278 Mainstream Disco: The Bee Gees Boogie Down 279 The Hard Rock Reaction 282 C O N T E N T S vii 9 Are We the World? Music Videos, Superstars, and Mega-Events 285 Early