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rock and roll > midterm 1 > Flashcards

midterm 1 Flashcards

1
Q

pitch

A

relative highness or lowness of given note

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2
Q

register

A

relative lowness or highness of group of pitches
lower= heavier, threatening
higher= delicate, less threatening

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3
Q

melody

A
  • succession of pitches organized in coherent design such that it is understandable and accessible
  • recognized as ‘the sound’
  • one pitch unfolds at a time (horizontal element)
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4
Q

harmony

A

multiple pitches at once (vertical)

gives sense of depth

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5
Q

primary harmonies

A

=I, IV, V
most common harmonies in western music
Ex. Twist and shout, wild thing

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6
Q

major vs minor

A

TONALITIES
major= positive, upbeat, light, happy state
minor= sad, dreary, melancholic state

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7
Q

Tempo

A

how fast or slow a song is

most songs have an identifiable pulse/ pace of pulse

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8
Q

metre

A

how we organize the pulse

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9
Q

duple metre (quadruple)

A

pulse organized in twos or groups of twos (2/4, 4/4)

Ex. sweet dreams

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10
Q

triple metre

A

pulse organized in groups of three (3/4)

Ex. only love can break your heart

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11
Q

rhythm

A
  • how individual notes relate to pulse and metre
  • straight (square)= conform to pulse and reinforce, sense of rigidness Ex. sweet dreams
  • syncopated)= rhythm often accents off the pulse (space in-between), looser feel Ex. brick house
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12
Q

AABA form

A

coherent form, repetition(A) and contrast (B)
A is the hook
Ex. Spiderman theme song

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13
Q

verse-chorus form

A

versus= different (similar melody each time)
chorus= same lyrics every time (hook of song)
Ex. I love rock and roll

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14
Q

blues form/ 12 bar blues

A

I, IV, V harmony progression

A,A,B lyric arrangement (B is response to A)

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15
Q

timbre

A

tone quality/ color of given sound/ instrument

Ex. makes a piano sound like a piano

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16
Q

What is ‘the teenager’ and how did it emerge?

A

-baby boomers
-large youth market with disposable income
=social group against generation of their parents
-conservative time and teens felt pressure, rebellious tendency (led to rock and roll)

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17
Q

3 main pieces of technology in 1950s

A
  • radio in homes
  • juke box was new and in most public places
  • tv provided visuals of performances
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18
Q

what caused the rise of independent labels?

A
  • 4 major record labels that concentrated their efforts into small handful of artists they knew would sell due to rations during WWII
  • opened doors for small independent labels that could cater to other artists
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19
Q

rhythm and blues

A
  • cultivated by African American musicians (12-bar blues form with rhythm section
  • white artists would cover recordings by black rhythm and blues singers
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20
Q

Alan Freed

A
  • disc jockey that popularized rock and roll
  • integrated airways by playing black and white artists
  • public enemy; was targeted and eventually lost his job
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21
Q

Bill Haley (song)

A

-first identified rock and roll hit; with mega-label
=”Shake, rattle and roll” (cover of big joe turner)
-words were more family friendly, hook appeared sooner

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22
Q

Big Joe Tuner (song)

A

“Shake, rattle and roll”

  • recorded with Atlantic records (indie label)
  • hybrid/ multi form used, suggestive back beat (rhythm for sex)
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23
Q

Who was Elvis Presley?

A
  • discovered and signed to Sun Records (Memphis)
  • breathy voice
  • launched rock and roll
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24
Q

Sam Phillips

A

knew that Elvis would be popular because he was a white man with a black mans voice

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25
Q

“Hound Dog”

A
  • written by Lieber and Stroller
  • Originally sung by Big Mama Thornton
  • covered by Elvis (white artists cover songs=slower, more polite, less threatening)
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26
Q

Brown Vs. Board of Education

A

1954

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27
Q

Little Rock nine

A

1957- wanted to go to new high school but segregation was in effect; proved this wasn’t okay

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28
Q

Chuck Berry

A
  • made electric guitar iconic

- signed with Chess records (Chicago)

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29
Q

“Brown eyed Handsome man”

A
  • sung by Chuck Berry

- issues of racism and racial pride

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30
Q

“Roll over Beethoven”

A
  • sung by Chuck Berry

- issues of racism and racial pride

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31
Q

Muddy Waters

A

-signed to Chess records (Chicago)

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32
Q

“Mannish Boy”

A
  • by Muddy Waters
  • riff based song; built around repeating tone
  • boy= demeaning way of referring to African American man
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33
Q

Little Richard

A
  • kicked out of home for homosexual tendencies
  • high screams; coming from gospel music
  • sang at Dew drop Inn
  • pushed boundaries of performance masculinity
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34
Q

“Tuttie Fruttie”

A
  • by Little Richard

- lyrics slightly changed for original

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35
Q

Dew Drop Inn

A
  • New Orleans
  • broke segregation laws by allowing white and black performers, drag queens performed also
  • Little Richard performed regularly
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36
Q

Tin Pan Alley

A
  • publishers selling sheet music

- recording threatened this as rock and roll didn’t need sheet music

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37
Q

How did the music industry fight back against rock and rolls success?

A
  • decided to produce mainstream, safer versions
  • sold cover versions of rock and roll hits; sold better than original
  • created teen idols with safe image to take attention away from rock and roll stars like Elvis
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38
Q

Pat Boone

A

-recorded cover version of ‘tuttie fruttie’

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39
Q

Payola scandal

A
  • radio disc jockeys took bribes from record companies to play their record
  • legal way to go after rock and roll
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40
Q

The mann act

A
  • stated that couldn’t transport a minor across state lines

- Chuck Berry was arrested for violating

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41
Q

Brill building

A
  • New York city
  • where ‘clean’ rock and roll was recorded
  • songwriters, performers, producers
  • populated with young people who knew youth culture
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42
Q

Carole King & Gerry Goffin

A
  • teenage songwriters for the Brill building

- wrote songs for the Shirelles (1st time girl groups were popular), and other girl groups

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43
Q

“Will you still love me tomorrow”

A
  • By the Shirelles

- issues young people can relate to

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44
Q

Introduction of the Pill

A

1960

-idea of premarital sex now a reality without repercussions

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45
Q

Phil Spector

A
  • redefined role of producer into artist
  • one of 1st to use multi-track recording (layering sound)
  • Wall of sound production style
  • worked in Brill building, made records in LA
  • produced The Ronnettes and the crystals
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46
Q

“be my baby”

A
  • By the Ronnettes
  • baiaon beat (one, two, and three and four)
  • wall of sound style
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47
Q

The wrecking crew

A

Originally hired by Phil Spector to create Wall of sound in studio

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48
Q

Girl groups

A
  • females come to forefront
  • challenge prescribed gender roles for women
  • -fun teen pop that addressed serious issues
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49
Q

Dick Dale

A
  • the king of surf guitar
  • unconventional guitar player, left -handed, played upside down
  • connected surfing with music
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50
Q

Leo Fender

A
  • made electric guitar

- worked with Dick Dale and experimented with amplification

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51
Q

reverb

A
  • created by Dick Dale and Leo Fender
  • electronic effect that created reverberation with petals
  • hallmark of surf music sound
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52
Q

“Miserlou”

A
  • by Dick Dale (surf music)

- guitar riff

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53
Q

“Wipe out”

A
  • By the Surfaris (surf music)
  • instrumental indie hit with reverb
  • intro= sound of surf board breaking, 12-bar blues
  • ‘splashy’ cymbals
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54
Q

The Beach Boys

A
  • from middle class family in Hawthorn, Calfironia

- family group

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55
Q

Brian Wilson

A
  • primary force behind the beach boys, wrote their songs

- incorporated others into his sound (ex. Phil Spector) and used studio as creative tool

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56
Q

“Don’t worry baby”

A
  • Beach Boys (surf music)
  • Brian Wilson’s attempt to mimic feel of “be my baby” by the Ronnettes (produced by Phil Spector)
  • hired wrecking crew that Spector used
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57
Q

Pet Sounds (1965)

A
  • Album by The Beach Boys
  • first concept album
  • experimenting with variety of sounds
  • influenced by the Beatles
  • tried to create alternative paradise from real life
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58
Q

“Good Vibrations”

A
  • Single by the Beach Boys (surf music)

- Theremin sound= vibration/ wave sound

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59
Q

Woody Guthrie

A
  • homeless, travelled West writing songs

- folk music: traditional, simple, communal

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60
Q

Bob Dylan

A
  • modelled self off Woody Guthrie
  • travelled to New York (Greenwich Village)
  • protest singer with attitude, charisma (a lot to protest about)
  • poetic content influenced by Beat poets
  • performed in March on Washington led by MLK
  • noisily voice and guitar used to focus on lyrics
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61
Q

Greenwich Village

A
  • New York

- centre for thriving folk music scene

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62
Q

Beat Poets

A
  • located in San Francisco, influenced by African American culture
  • advocated use of drugs for creativity
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63
Q

“Oxford Town”

A
  • By Bob Dylan (folk music)
  • about how segregation still a problem in town where Mississippi University located
  • folk style, acoustic guitar
  • lyrics point at social problem
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64
Q

“Like a rolling stone”

A
  • By Bob Dylan (folk music)
  • 6min song, previously songs only 3min for radio
  • shifted FM radio to be more artistic
  • not just 1 interpretation of song (attacking those in power)
  • gets attention from serious adult news outlets
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65
Q

The Byrds

A
  • led by Roger McQuinn

- inspired by Bob Dylan; folk music and rock and roll

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66
Q

“Mr. Tambourine Man”

A
  • covered by the Byrds (originally by Bob Dylan)
  • hired wrecking crew to emulate the beach boys
  • inspired by Carnival; lowly thumbing noses at powerful and those who mindlessly conform
  • Folk music
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67
Q

Buffy St. Marie

A
  • Toronto (Yorkville)
  • social protest confronting real issues
  • affiliated with American Indian Movement (AIM), reputation for being troubled
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68
Q

Newport Folk Festival

A

1965

-Bob Dylan performed and booed off stage for performing folk-rock song

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69
Q

“Universal Soldier”

A
  • By Buffy St. Marie (folk music)

- addresses Vietnam war, calling out irrationality of war

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70
Q

Soul music

A
  • way to distance self from blues

- mainstream friendly way to market black music

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71
Q

Ray Charles

A
  • soul music

- first hit based on church song, converted to be about a women

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72
Q

Sam Cook

A
  • Falsetto (high, thinner range)
  • Started as part of the ‘Soul stirrers’ but later recorded under name Dale cook so wouldn’t be associated
  • Melismas= express something beyond words
  • soul music
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73
Q

Martin Luther King Junior

A

-integrationist strategy to equal rights (Motown followed)

74
Q

Malcom X

A

-black nationalist; believed must establish own institutions

75
Q

Motown

A
  • Northern soul
  • Detroit (Hitsville, USA)= main destination for great migration
  • founded by Berry Gordy
  • black company that became one of biggest independent labels
76
Q

Berry Gordy

A
  • Founded Motown
  • automotive assembly line applied to record production
  • strict idea of what would sell (hook upfront, strong beat, present tense lyrics, etc.)
  • tested songs through small car speaker to make sure sounded good through bad equipment
  • used variety of means to enhance sounds of songs
77
Q

Funk Brothers

A

-house band for Motown

78
Q

“Please Mr. Postman”

A
  • By The Marvelettes (Motown/ soul music)
  • upfront beat
  • Motown record label
79
Q

Maxine Powell

A

-led Motown finishing school, taught kids how to present selves as refined and sophisticated (more white-like)

80
Q

Cholly Atkins

A
  • worked along side Maxine Powell

- choreographer (made street dance style more elegant)

81
Q

“Stop, in the Name of Love”

A
  • By the Supremes (Motown/ Soul music)
  • 4 beats, gives urgency
  • grittier sound (moved from south to Detroit)
  • black group on white charts
82
Q

“Ain’t to proud to beg”

A
  • By the Temptations (Motown/ Soul music)
  • sang in low register
  • recorder multiple times before just right
83
Q

Stax Records

A
  • Memphis= Southern Soul

- grittier, unapologetically black (owned by white)

84
Q

Booker T. and the MGs

A
  • house band at Stax records

- grittier sound as apposed to polished

85
Q

Jerry Wexler

A
  • talent scout for Atlantic records
  • wrote for rhythm and blues for billboard magazine
  • thought a sound was needed to simulate ‘the jerk’ (dance craze)- delayed backbeat
86
Q

Wilson Pickett

A

-signed to Stax records

87
Q

delayed backbeat

A
  • emulate the jerk
  • created by Steve Cropper
  • Stax records famous for
88
Q

“In the Midnight hour”

A
  • By Wilson Pickett (soul music)

- not gospel anymore, about getting together with a women

89
Q

“These arms of mine”

A
  • By Ottis Redding (soul music)
  • 6/8 soul ballad/ compound meter (double and triple pulse heard)
  • AABA form
  • masterful vocal style
90
Q

“Respect”- original

A

By Ottis Redding

91
Q

“Respect” cover

A

By Arethra Franklin (soul music)

  • transformed song into feminist and black person anthem
  • added vocal backings, backing singer group= Sweet Inspirations”
92
Q

Arethra Franklin

A
  • gospel singer, father was preacher
  • signed to Columbia Records, tried to make lounge singer but flopped
  • Jerry Wexler sent her to FAME Studios where thrived
93
Q

“Soul Man”

A

By Sam and Dave

  • Stax records in Memphis
  • response to riots at the time where many businesses firebombed
  • not afraid to broadcast black characteristics
  • important to civil rights movement and history
94
Q

What was ‘the British Invasion’?

-who led?

A
  • acts from England have major success, this puts breaks on dominance of soul and Motown music
  • sound/ style rooted in African American music
  • led by the Beatles
95
Q

Cavern Club

-who played here?

A

-The Beatles, seen by Brian Epstein

96
Q

Reeperbahn

A
  • The Beatles played in red light district of Germany
  • long sets with many hours of cover songs
  • developed loud sound to prevent people from leaving
  • took speed to sustain selves throughout set
97
Q

Mach schau

A

-loud style of music developed by Beatles

98
Q

Record label the Beatles were signed to?

A

Parlophone

99
Q

George Martin

A

signed the Beatles to Parlophone records, referred to as the 5th Beatle

100
Q

Brian Epstein

A

-Manager for the Beatles

101
Q

The Beatles

-members and musical style

A
  • John Lennon, Paul McCartney, George Harrison, Ringo Star

- played underground black music (subversive but English made it posh

102
Q

“She loves you”

A
  • By the Beatles
  • advice song (like girl groups)
  • hook upfront, loose high-hat symbols
103
Q

Beatlemania

A

female fans went crazy at shows (screaming and crowding the Beatles)

104
Q

“I want to hold your hand”

A
  • By the Beatles
  • high range when sing the word hand, music tells us it is about more than jus holding hands
  • girl group beat/ clap behind vocals
105
Q

How did Bob Dylan influence the Beatles and their music?

A
  • Met him in hotel in New York, turned the Beatles onto marijuana (had new outlook on life)
  • challenged them to write something with an important message (serious adult themes that address social issues and problems)
106
Q

“you’ve got to hide your love away”

A
  • Song by The Beatles
  • influenced by Bob Dylan/ Folk music
  • acoustic guitar, tambourine, maraca, introspective lyrics
  • some people have to hide who they are due to discrimination
107
Q

“Son of a preacher man”

A
  • Song by Dusty Springfield (part of English invasion)
  • controversial as suggested racial mixing
  • recorded in Memphis, soul/ Motown music
  • sound like black women
108
Q

Most successful to come out of London blues scene?

A

The rolling stones

109
Q

crawdaddy club

A
  • focused on African American blues (specifically Chicago blues)
  • breading ground for successful artists in London blues scene
110
Q

members of the rolling stones and their background

A

-Keith Richards: went to art school
-Mick Jagger: went to economic school
-Brian Jones: loved Chicago blues
( PART OF BRITISH INVASION)

111
Q

Andrew Loo Oldham

A
  • manager of the rolling stones
  • realizes money is in song-writing and that Mick Jagger should be front man
  • cultivated bad boy image for the rolling stones (anti-beatles)
112
Q

“satisfaction”

A

first major hit for the rolling stones

riff based song- like rhythm and blues horn section

113
Q

“You really got me”

A
  • song by the Kinks (BRITISH INVASION)
  • riff based song
  • distorted guitar tone (“fuzz”) due to slashing amplifier
  • suggested 1st heavy metal song
  • demonstrated power cord (2 tones rathe than 3)
114
Q

The Kinks

A
  • brothers (Ray and Dave Davies)

- kicked out of US for causing crowd to riot

115
Q

power cord

A

2 tones instead of one

Ex. “You really got me” by the Kinks

116
Q

“My generation”

A
  • Song by the Who (British Invasion)

- song developed by Peter Townsen

117
Q

what was the mod scene?

A

sub culture in London that loved rhythm and blues, and soul music

  • specific look, did speed
  • rockers would riot the mods
  • influenced the who
118
Q

Peter Townsen

A

-wrote songs for The Who

119
Q

counter-culture

A
  • subculture of youth, opposite of establishment (baby boomers now in early 20s)
  • LSD popular
  • society based on love instead of individual greed
  • more participation from women in music
120
Q

Name the bookstores in London and San Fran, what did they support?

A

-London= Indica
-San Fran= City lights
-promoted work by beat poets (anti-government, against sexual oppression, encouraged drug experimentation)
promoted books on eastern religion and philosophy

121
Q

Timothy Leary

A

-did experimentations on LSD (hallucinogenic) and promoted it in San Francisco

122
Q

“Tomorrow never knows”

A
  • Song by the Beatles (psychedelic rock)
  • from the revolver album
  • based on Tibetan book of the dead
  • tambourine, drone sound (portray trance like state)
  • psychedelic lyrics
  • Stockhausen influenced- experimenting with tape loops (Musique concrete)
  • guitar played backwards
123
Q

Musique concrete

A

music style made from acousmatic sound

sound often modified

124
Q

Merry Prankster and Ken Kesey

A

turned people onto acid

125
Q

what were members of the counter culture called?

A
  • flower children
  • peace and love generation
  • hippies
  • the now generation
126
Q

Height/ Ashbury

A

community within San Francisco that consisted of communes, co-ops and many children

127
Q

Acid tests

A

rent venue, hand out acid, play music, strobe lights

128
Q

human be-ins

A

-same as acid tests but outside (back to nature)

129
Q

“white rabbit”

A
  • song by Jefferson Airplane (Grace Slick)
  • based on Alice and wonderland story (psychedelic ideal)
  • bass guitar and drum set alone with exotic Spanish rhythm (non-western rhythm)
130
Q

“the golden road”

A
  • song by the grateful dead

- dance orientated (commune, inclusive)

131
Q

Monterey pop festival

A

1967

  • back to nature music festival
  • The grateful dead, Janis Joplin, Jimi Hendrix played
132
Q

Year of the summer of love

A

1967

133
Q

Janis Joplin

A
  • moved to San Fran from Texas
  • deeply passionate blues singer (greatest white blues singer)
  • lived in the moment
134
Q

“maybe”

A

-song by Janis Joplin

135
Q

Jimi Hendrix

A
  • revolutionized the electric guitar
  • break rules in music
  • famous guitar solo at Woodstock (1969)
136
Q

“Purple Haze”

A

Jimi Hendrix first hit

-came to him in a dream, lyrics have stream of consciousness and about imagery

137
Q

“everyday people”

A

by Sly and the family stone

-preaching against discrimination, everyone belongs

138
Q

Altamount

A
  • event planned by Rolling Stone and seen as end of counterculture
  • moved at last minute
  • hired hells angels as security and paid in beer prior to show
  • stabbing occurred when crowd got out of hand
139
Q

“Gimme Shelter”

A
  • By the rolling stones

- dread as hope. love and peace fading; end of counterculture

140
Q

Art rock

A
  • white male centred genre
  • established rock as serious and important (rock ‘n’ roll seen as kids music/ outdated)
  • written about in rolling stone and creem magazine
  • FM radio becomes distinct from AM
  • high art seen on album covers
141
Q

The Beatles concept album

A
  • Sargent peppers lonely hearts club
  • printed lyrics on album sleeve (lyrics important and can stand on their own)
  • concert like experience
142
Q

“Eleanor Rigby”

A
  • Song by The Beatles (from Revolver album) art rock
  • string quartet
  • words written in poetic style
143
Q

“nights in white satin”

A
  • by the moody blues (art rock)
  • collaboration with London Orchestra for their concept album ‘Days of future pass’
  • poetry part of song
144
Q

“Fanfare for the common men”

A
  • biggest hit by Emerson, Lake and Palmer

- bring in classical sounds (art rock)

145
Q

Marvin Gaye

A
  • singer, songwriter, record producer
  • helped shape Motown, and later became solo artist
  • “Prince of Motown” “Prince of Soul”
  • concept album “what’s goin on”
146
Q

“what’s goin on”

A
  • concept album by Marin Gaye (art rock)
  • each song dealt with social issues
  • sounds form other elements (studio as creative element)
147
Q

Members of Pink Floyd

A

-David Gilmour and Roger Waters

148
Q

“The wall”

A
  • concept album by Pink Floyd (art rock)

- Waters wrote autobiographical; built wall to protect self from outside world

149
Q

“Comfortably Numb”

A
  • Song by Pink Floyd off the wall album (art rock)
  • transcendent guitar solo, dramatic shift from minor verses to major chorus
  • vocal timbre changes
150
Q

“Wuthering Heights”

A
  • song by Kate Bush (art rock)
  • based on classical literature, operatic voice (artsy)
  • interpretive dance
  • complicated song form
  • odd metre used (alternate between 5/4 and 7/4)
151
Q

Progressive rock

A

-technically advanced musician ship, odd metres, complexity, etc.

152
Q

odd metre

A

alternate between 5/4 and 7/4

153
Q

Rick Wakeman

A
  • part of Yes
  • projected identity of being wizard of synthesizers and organs
  • wore wizard capes
  • massive keyboard set up
154
Q

“Roundabout”

A
  • Song by Yes (Prog rock)
  • used studio for musical experimentation
  • piano played backwards, fades to acoustic guitar
  • whole ensemble plays complicated lines
  • instrumental interloods
  • sophisticated form
155
Q

“Spirit of Radio”

A
  • Song by Rush (Prog rock)
  • ensemble virtuality; all play weird instrumental passages
  • celebration of radio (free music in home)
  • critique of commercialization (fear of being seen as a sell out)
  • song was more radio friendly
156
Q

Singer-song writer genre

A
  • intimacy, small scale, authenticity
  • women have more success
  • singer also wrote the song based on personal life experiences
  • autobiographical genre
157
Q

Laural Canyon

A
  • In LA, retreat for hippies

- most singer-song writers were here

158
Q

“fire and rain”

A
  • Song by James Taylor (sing-song writer)
  • friend from rehab passed away
  • acoustic textures, personal story
  • vulnerability, confessional, direct (minimal music to not get in way of lyrics)
159
Q

“So far away”

A
  • song by Carole King when moved to LA (singer-songwriter)
  • album cover= intimate, inviting into home
  • advanced technology to make sound pure
160
Q

“A case of you”

A
  • Song by Joni Mitchell (singer-song writer w/ folk background)
  • unique sound, personal conversation, vulnerable tone, acoustic sound
  • handwritten notes on record, front is her drawing
161
Q

“Heart of gold”

A
  • song by Neil Young
  • intimate handwritten lyrics
  • image of authenticity
  • unmediated musical language (acoustic tambours, harmonica, stripped down)
  • gritty voice to make more sincere
  • multifaceted artist
162
Q

Funk music

A
  • pushed non-white artists off mainstream charts as different style of black music emerging (funk)
  • peaceful assimilation wasn’t working
163
Q

Black power movement sign

A

fist raised

164
Q

Black panthers

A
  • wanted to provide equal opportunities, against police violence
  • uniforms: raided and made strip to humiliate leaders
  • 10-point program
  • Olympians and Beyoncé pay tribute to black power movement
165
Q

Black power music

A
  • unapologetically black

- wear African influenced styles, colors and afros

166
Q

James Brown

A
  • most successful artist in establishing funk
  • leading voice in black community (positive influence)
  • just want opportunities not handouts
  • hardest working man in show business
  • impressive dancing
167
Q

“Papa’s got a brand new bag”

A
  • song by James Brown
  • Instrument turned into percussion instrument that normally a percussion instrument
  • Scratch guitar
  • rhythmic percussive vocals
  • reclaim 12-bar blues as African American idiom
168
Q

scratch guitar

A

-palm strings, rhythmically strum, hear rhythm not specific cords

169
Q

“say it loud, I’m black and I’m proud”

A
  • song by James Brown (funk )
  • anthem for black pride movement and civil rights movement
  • emphasize bass guitar
  • heavy baseline that emphasizes The One (heavy low note on down beat)
  • no cord change, all about rhythm
  • notion of badness
170
Q

Bootsey Collins

A

influential bass player

-played for James Brown

171
Q

The one

A

-heavy low note on down beat

172
Q

“super bad”

A
  • song by James Brown (funk)
  • reiteration of baaad man idea- but made funky
  • claim authority, got soul and super bad
173
Q

Stagerlee

A
  • baad man myth came from
  • kills man over a hat
  • so bad that demands respect form white establishment
  • Mississippi John Hart wrote song about
174
Q

Larry Graham

A

bass player for sly and the family stone

-developed style that defined funk bass playing= slap bass

175
Q

slap bass

A
  • defined funk bass playing
  • thumping, popping, slapping
  • percussive
  • developed by Larry Graham
176
Q

“thank you (Falettinme be mice elf agin)” “

A
  • song by Sly and the family stone (funk)
  • new style of bass playing
  • embracing stereotypes of African Americans and making it positive
  • start with police harassment scenario, at end even police cant subdue the ‘bad man’
  • improper grammar used to take control
177
Q

Blaxploitation film

A

new type of film that highlighted crime, poverty, influx of drugs that government turned blind eye to in black communities

178
Q

“theme from shaft”

A
  • song by Isaac Hayes (funk)
  • half sing and half speak= too cool to sing all
  • long instrumental introduction to demonstrate musical genius
179
Q

Isaac Hayes

A
  • sang theme form black shaft
  • album called black moses; positioned self as black leader
  • performed at Wattstax 1972
180
Q

Wattstax 1972

A

-benefit concert organized by Stax records to commemorate 1965 riots

rock and roll (2 decks)

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