The well-known riff of Deep Purple’s “Smoke on the Water” opens Andreas Dresen’s movie Changing Skins (Raus aus der Haut, 1997). The film opens in a crowded music club where young people are dancing ecstatically, turned on by pulsing rock and roll. This could be a trite depiction of youth culture if it were not located in a country that suppressed this kind of music: the German Democratic Republic (GDR). It is therefore worth reflecting on the social and political controversy in the former East Germany that, finally in the 1970s, permitted the performance of rock music and even imports from the capitalist part of the world. By the late 1970s, different kinds of rock music were not only an integral part of Western youth culture but also commonly heard but not always accepted in the GDR and the Eastern Bloc.
In terms of youth culture and rock music in the East, Kaspar Maase summarizes the 1960s as a “hot phase of conflict-ridden enforcement” (15). In 1965, the SED’s Eleventh Party Plenum banned the “escalation of the beat rhythms” along with nearly an entire year’s film production. Erich Honecker, later party leader and head of state, pointed out that rock music and the “decadent” lifestyle of the beatniks was not in accordance with the goals of the socialist worldview. Adolescents would be hopped up by the music and driven to an excessive way of life. The possibility for bands to perform in public was drastically constrained; young beatniks were forced to cut their hair. The situation escalated when in October 1965 the so-called “beat riot” took place in Leipzig against the stage ban of amateur music groups. The participants were beaten by police and arrested.
In the same year on the other hand, the first Beatles-LP was relea...
... middle of paper ...
...astern Bloc. As Mikhail Safonov claims: “It was [John] Lennon who murdered the Soviet Union” (LaFontana).
Works cited:
Dettmann, Lutz. Die Beatles in der DDR.
Faktor, Jan. "Knockin’ im Untergrund." Jungle World, July 16, 2003.
LaFontana, Dave. You say you want a Velvet Revolution? John Lennon and the Fall of the Soviet Union.
Maase, Kaspar. Körper, Konsum Genuss – Jugendkultur und mentaler Wandel. Bpb 45 (2003).
Ryback, Timothy. Rock around the Bloc: A History of Rock Music in Eastern Europe. New York: Oxford UP, 1990.
Unterberger, Richie. The Plastic People of the Universe
Yanosik, Joseph. The Plastic People of the Universe
A number of other genres, throughout the decade, maintained a significant following. One genre that was slow to start was Hip-Hop, while it emerged in the 1970’s it didn’t become significant until the late 1980’s. Although Classical music began to lose impetus, it gave way to a new generation of composers through invention and theoretical development. The decade was also distinguished for its assistance to electronic music, which rose in reco...
Edmunds, Neil. Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle. New York, NY: Routledge, 2009. Print.
Although its initial peak of success occurred in 1956, rock and roll had been developing since 1951. The introduction of the 45 rpm disc, transistor radio, and television; and finally, its lively, upbeat sound all contributed to the success of rock and roll(Peterson, 102- 104). The “baby boomer” generation after the Second World War, was a major influence on the success of rock and roll. Unlike their parents, this g...
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
The story of the birth of rock ‘n’ roll has a mythical quality to it. It speaks of racial barriers bridged through the fusion of Afro-American musical styles with white popular music in 1950s America. Not only did white record producers and radio disc jockeys market Afro-American artists, but white artists began to cover their songs, as well as incorporate Afro-American style into their own song writing. The musical style was so powerful that the white audience was infected by it, despite the social stigma that listening to “race music” possessed. The common view of teenagers’ participation in the creation of rock ‘n’ roll as an act of rebellion runs parallel with the music’s legendary origins. Through rock ‘n’ roll, the teenagers of the United States created a generational gap that angered their parents’ generation. Teenagers rejected kitchy Tin Pan Alley, “Sing Along with Mitch,” and the sleepy crooning of Perry Como in favour of sexually charged race music. Historians have taken different approaches to the question of teen rebellion. While some consider their love of rock ‘n’ roll revolutionary, others argue that the music cemented teenagers within the conformity and materialism of the 1950s; what cars were to adults, rock ‘n’ roll was to teens.[1]
The ‘60s were the age of youth, as millions of children’s from post World War II became teenagers and rebelled against the conservative fifties. Denying civil rights to African-Americans and liberation to teenagers in previous decades and Vietnam War, created a vortexes which lead to massive rebellion against the status qua. Music of the 1960s was characteristic of the revolution that was going on during the decade. It was a time of rebellion and counter-culture in which the teenagers and college students were critical of government, business, religious institution and other various aspects of life. Era marked by civil rights movement, Vietnam War, environment of drug abuse and sexual freedom formed new music like: folk rock, soul and psychedelic rock. These genres starkly contrast the teen idol music of ‘50s pop mainstream. Writes John Covach; “World was exploding, and rock musicians were listening more closely than ever.”(Covach, 152) Such stark contrast in pop music directly relay to changing social culture in America, which further echo’s the relationship between music and culture.
In the 1950s rock-n-roll established its own marks in history. It spread throughout the decade in a thrilling, substantial, and even livid to those Americans trying to get rid of all sorts of conflicts and challenges that occurred during this time period. As exciting as this music was, the novel “All Shook Up” portrays how rock-n-roll brought many changes to the American culture and later to the sixties. It expresses many concerns such as race relations, moral decays, and communism, but in ways that are partially true.
Acting as a catalytic reaction, the Beatnik Riot put in motion for a new modernized America. Greenwich Village’s Washington Square Park in Manhattan, New York was previously occupied by young protestors driven by anti-war and racial aspects. “In the spring of 1961, the Washington Square Association, a community group of homeowners around the square, appealed to New York City’s Department of Parks and Recreation to do something about the hundreds of ‘roving troubadours and their followers’ playing music around the square’s turned off fountain on Sunday afternoons “ (Straughsbaugh 1). “The parks commission began issuing permits to limit the number of musicians, allowing them to ‘sing and play from two until five as long as they had no drums,’ Van Ronk writes” ( Straughsbaugh 1). Permitting the number of musicians provoked the traditionalist to become active protestors. The community around the square complained about the ruckus caused by these hippies, racial mixture, cultured young folks. In Greenwich Village an old historical dilemma was of the racial ideas having this heritage people were not in favor of t...
Defined by a popular culture that manages to thrive even in today’s society, the 1960s is a decade that refuses to die. Bell-bottoms, free love, incense, and psychedelic rock is a style that, although at the time was labeled as corrupt, anarchistic, and radi...
1 Gass, Bryan "A History of Rock Music: The Rock and Roll Era" World Book. Ed. 6. 1994.
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
Music is an outlet to all aspects of life and culture is a significant way of forming people and the way they live. Although not always seen directly culture has an overbearing influence on the music that is produced and made popular. The political Climate of the early seventies was full of fire with issues such as Vietnam and constant protest throughout the county. Later in the 70’s the end of the Vietnamese conflict brought the rise of the Watergate scandal and Iran Contra. These issues swept headlines and ingrained people’s thoughts. Social issues also played a big role in the developing culture of the seventies. Protests and constant outbreaks about gay rights and women’s rights seemed to overtake the country in storm. Later in the Decade the social climate changed to a celebration of the Past and a can-do attitude. Political and Social climates had an overbearing influence on the attitude that was being developed throughout the seventies. This climate was also transparent in the music world of this decade. In the early 70’s music lyrics were being created that were representative of the popular method of protest and social change. Music is a common way of expression and during this time artist and groups took the most of their popular music by expressing viewpoints on present issues. In the mid to late seventies the birth of new styles that broke from the old seemed to dominate the music industry. These new types of music ranged from disco to television pop. The music of the decade represented the culture and was greatly influenced by events and beliefs of the 70’s. At this time in American history, music and life became closely nit. In the late 1970’s, national issues settl...
"All Nature is but Art: Woodstock Music and Art Fair." Vogue. December 1969:194-201. "Big Woodstock Rock Trip." Time. August 1969:14b-22. Ewen, David. All the Years of Popular Music. New Jersey: Prentice-Hall Inc.,1977. Fass, Don. "The Sixties." http://www.sixties.net (19 March 1999). Frike, David. "Minor Epiphanies and Momentary Bummers." Rolling Stone. August 1989:62-91. Grunwald, Henry. "Youth Trip." This Fabulous Century: 1960-1970. 1986 ed. Hertsgard, Mark. A Day in the Life: The Music and Artistry of the Beatles. New York: Dell Publishing Groups Inc.,1995. Huges, Rupert. Music Lover’s Encyclopedia. New York: Doubleday Inc.,1984. "Rock Audience Moves to Dusk-to-Dawn Rhythms." New York Times. 18 August 1969:25. "Tired Rock Fans Begin Exodus From Music Fair." New York Times. 20 August 1969:1-3. "What Happened in the Sixties?." http://www.bbhq.com/sixties2.htm (19 March 1999). "Woodstock: Dawn of the Bigtime." Economist. August 1989:75. "Woodstock Music and Art Fair." Newsweek. August 1969:88. "Woodstock: Peace Mecca." Billboard. August 1969:1,10.
The radio disc jockey leads in with, “And now, here’s a number from the Rolling Stones!” The drums throb, the guitars wail, and Mick Jagger belts out, “It 's only Rock and Roll, but I like it!” America liked it, too. From its roots in black gospel to its modern version, rock music has evolved along with and because of American societal changes. By the late 1940’s and early 1950’s, Americans were enjoying a prosperity that had not been seen since before the Great Depression of the 1930’s. This prosperity, along with other changes, helped to bring about a new American music as well. Since its beginnings in the 1950 's, rock music has been a reflection of and a catalyst for American social change.
Our entire lives have been shaped by the events happening around us. Along with us many factors in our day to day lives have evolved too, including musical genre. One such genre is rock. Rock is a genre for the youth, by the youth, it has evolved to stay with the times and stand up for what’s right. In this essay I will prove why rock is a good example to show how genre has been defined, maintained, constructed and negotiated through the past 60-70 years since the very first Proto Rock song came out.