RockStyles 2nd Block

MUNM 14000
ROCK STYLES SINCE 1955

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
G E T O U T A P I E C E O F PA P E R A N D W R I T E Y O U R N A M E O N I T
QUESTION #1: IDENTIFY THE SONG AND ARTIST (1/4 POINT EACH)
MUNM 14000
LISTENING QUIZ
QUESTION #2: YOULL HEAR AN EXCERPT FROM RAPPERS DELIGHT

BY THE SUGAR HILL GANG; IDENTIFY TWO FEATURES THAT THE
SONG SHARES WITH DISCO (1/4 POINT EACH)
MUNM 14000
LISTENING QUIZ
F O L D Y O U R PA P E R I N H A L F
AND HAND IT TO THE RIGHT
1977-1981
THE CLIMB OUT OF THE 1970S
MARGARET THATCHER & RONALD REAGAN

ELECTED 1979 / ELECTED 1980
1977-1981
RONALD REAGAN
1977-1981
AMERICAN ROCK
W A S S T I L L I N A P O S T- 1 9 6 0 S
P O L I T I C A L FA T I G U E
RONALD REAGAN
1977-1981
AMERICAN ROCK
ITS MODERNIZATION &
PROFESSIONALIZATION
B E C A M E VA L U E D A S S E X Y
RONALD REAGAN
1977-1981
AMERICAN ROCK
ITS MODERNIZATION &
PROFESSIONALIZATION
NEITHER SIDE WON
THE AUTHENTICITY WAR;
INSTEAD THERE WAS
STYLISTIC COMPROMISE
RONALD REAGAN
1977-1981
AMERICAN ROCK
ITS MODERNIZATION &
PROFESSIONALIZATION
NEITHER SIDE WON
THE AUTHENTICITY WAR;
INSTEAD THERE WAS
STYLISTIC COMPROMISE
RONALD REAGAN
ROCK DID NOT SURRENDER TO DISCO, BUT IT GOT HIGH-TECH

AND FUN (FOR THE FIRST TIME SINCE THE MID-60S).
MAINSTREAM ROCK TOOK PUNK, DISCO, & REGGAE IN STRIDE.
1977-1981
JOE WALSH - LIFES BEEN GOOD (1978)

S O U T H E R N R O C K F O L K R O C K R E G G A E S Y N T H / S PA C E R O C K
(ALL ARE POPULAR RADIO STYLES OF THE TIME)

1977-1981

LEVEL 1: BEING RICH IS GREAT

1977-1981

LEVEL 2: BEING RICH MAKES YOU A JERK
1977-1981

LEVEL 2: BEING RICH MAKES YOU A JERK
L E V E L 3 : ( B U T S E R I O U S LY, B E I N G R I C H I S G R E A T )
1977-1981
MARGARET THATCHER & RONALD REAGAN

ELECTED 1979 / ELECTED 1980
1977-1981
MARGARET THATCHER
S TA R T E D F A L K L A N D S W A R
CUT PUBLIC HOUSING 67%
INCREASED POLICE 53%
LIMITED IMMIGRATION
CUT UNIONS BY 3.5 MILLION MEMBERS
OPPOSED FORMATION OF THE E.U.
REFUSED NEGOTIATIONS WITH N. IRISH
POLITICAL PRISONERS, LETTING THEM
HUNGER STRIKE TO DEATH
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION
ROCK DID NOT LIKE HER
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION

THE NOT SENSIBLES:
IM IN LOVE WITH
MARGARET THATCHER
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION

THE LARKS:
MAGGIE MAGGIE MAGGIE
(OUT OUT OUT
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION

M O R R I S S E Y:
MARGARET ON THE
GUILLOTINE
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION

HEFNER:
THE DAY THAT
THATCHER DIES
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION

PETE WYLIE:
WHEN MARGARET
THATCHER DIES
1977-1981
MARGARET THATCHER
LIMITED IMMIGRATION
ARE MOST OF THESE EXAMPLES

MAINSTREAM ROCK?
1977-1981
PUNK WAS US & UK
BUT UK PUNK WAS MORE
D I R E C T LY P O L I T I C A L
MARGARET THATCHER
LIMITED IMMIGRATION
1977-1981
I N R E T R O S P E C T, T H E B I G M U S I C A L S T O R I E S A R E :
PUNK
HIP-HOP
1977-1981
I N R E T R O S P E C T, T H E B I G M U S I C A L S T O R I E S A R E :
PUNK
HIP-HOP
BOTH OF THESE GROUPSUNDERCLASS BRITISH AND AFRICAN AMERICAN

Y O U T H W E R E S Y S T E M I C A L LY I G N O R E D B Y T H E I R G O V E R N M E N T
1977-1981
THIS ERA SEES A WIDENING OF MAINSTREAM VS. UNDERGROUND
1977-1981
THIS ERA SEES A WIDENING OF MAINSTREAM VS. UNDERGROUND
1977-1981
T H I S I S N O T J U S T S U B C U LT U R A L , B U T D E M O G R A P H I C
1977-1981
THINK ABOUT HOW DIFFERENT PEOPLE LISTENED TO MUSIC
1977-1981
THINK ABOUT HOW DIFFERENT PEOPLE LISTENED TO MUSIC

M U S I C C O N N E C T S L I S T E N E R S T O T H E I R I M M E D I AT E E X P E R I E N C E
1977-1981
M U S I C C O N N E C T S L I S T E N E R S T O T H E I R I M M E D I AT E E X P E R I E N C E
1977-1981
S O C O N S I D E R H O W E A R LY H I P - H O P C O N N E C T S L I S T E N E R S T O
O T H E R P O P U L A R M U S I C S O F P U B L I C S PA C E S
1977-1981
J U S T A S R O C K M U S I C M I M I C S T H E P R I V A T E R A D I O E X P E R I E N C E O F T H E D A Y,
H I P - H O P M I M I C S T H E U R B A N C L U B / B L O C K PA R T Y E X P E R I E N C E
1977-1981
CHIC: GOOD TIMES
1977-1981
CHIC: GOOD TIMES
THE SUGAR HILL GANG:

RAPPERS DELIGHT
1977-1981
KRAFTWERK:
M E TA L O N M E TA L
1977-1981
KRAFTWERK:
M E TA L O N M E TA L
A F R I K A B A M B A A TA A :
PLANET ROCK
1977-1981
A TA S T E O F H O N E Y:
RESCUE ME
1977-1981
A TA S T E O F H O N E Y:
RESCUE ME
THE FUNKY FOUR + 1 MORE

THATS THE JOINT
1977-1981
1977-1981
(OF COURSE NOT ALL ROCK WAS EITHER CORPORATE OR PUNK)
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
PUNK
NEW YORK
LONDON
NEW YORK
NEW YORK DOLLS:
PERSONALITY CRISIS (1973)
NEW YORK
NEW YORK SCENE
NEW YORK
V I L L A G E / L . E . S . O F M A N H AT TA N
NEW YORK SCENE
NEW YORK
NEW YORK SCENE
YOUNG & POOR MIXED WITH

OLD, RICH ARTISTSANDY WARHOL,
LOU REED, WILLIAM BURROUGHS
NEW YORK
NEW YORK SCENE

DISAFFECTED & GLAMMY
NEW YORK
NEW YORK SCENE
DISAFFECTED & GLAMMY

MIXED WITH DISCO & RAP
NEW YORK
NEW YORK SCENE
PAT T I S M I T H T H E R A M O N E S B L O N D I E R I C H A R D H E L L TA L K I N G H E A D S
NEW YORK
NEW YORK SCENE
NEW YORK
NEW YORK SCENE
NEW YORK
NEW YORK SCENE
NEW YORK
LONDON
LONDON
LONDON
LOWER/WORKING-CLASS
LONDON
LOWER/WORKING-CLASS
VERY ANTI-AUTHORITY
LONDON
LOWER/WORKING-CLASS
VERY ANTI-AUTHORITY
INVESTED IN SHOCK
LONDON
LOWER/WORKING-CLASS
VERY ANTI-AUTHORITY
INVESTED IN SHOCK
ANTI-HIPPIE & ANTI-ROCK
LONDON
LOWER/WORKING-CLASS
VERY ANTI-AUTHORITY
INVESTED IN SHOCK

MIXED WITH FOLK & REGGAE
LONDON
LOWER/WORKING-CLASS
VERY ANTI-AUTHORITY
INVESTED IN SHOCK

MIXED WITH FOLK & REGGAE
B A S E D I N J U N K S H O P S & S Q U AT C L U B S
LONDON
SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES
LONDON
LONDON
LONDON
LONDON
LONDON
LONDON
PUNK
STYLE
B O R R O W S F R O M E A R L I E R S U B C U LT U R E S & M U S I C
S I M P L E C H O R D S , L O U D G U I TA R S , F A S T B E AT S , N O T H I N G F A N C Y
U S - A G A I N S T- T H E - W O R L D LY R I C S , B O T H H O P E F U L & D E S PA I R I N G
PUNK
STYLE
MOD
R O C K A B I L LY
GLAM
GARAGE ROCK
PUNK
STYLE
MOD
R O C K A B I L LY
GLAM
GARAGE ROCK
DISTORTION WITHOUT FX/DYNAMISM
SHOUTED, GRUNTED, WHINED VOCAL
NO SOLOS, NO KEYBOARDS
S H O R T S O N G S T O B E P L AY E D L I V E
PUNK
STYLE
MOD
R O C K A B I L LY
GLAM
GARAGE ROCK
DISTORTION WITHOUT FX/DYNAMISM
SHOUTED, GRUNTED, WHINED VOCAL
NO SOLOS, NO KEYBOARDS
S H O R T S O N G S T O B E P L AY E D L I V E
P E R S O N A L O R C O L L E C T I V E F R U S T R AT I O N
TA B O O T O P I C S J U S T C U Z
C E L E B R AT I O N O F T H E R E J E C T ( A S S E L F )
MOCKS LOVE & NORMAL THEMES
PUNK
IDEAS
ANTI:
AUTHORITY
INTELLECTUALISM
COMPROMISE
PA R E N T S
VIRTUOSITY
FINE ART
P O L I T E N E S S C O R P O R AT I O N
TRADITION
P R O W H AT ?
PUNK
IDEAS
P R O R E H A B I L I TAT I O N
PUNK
IDEAS
AESTHETICS EMBRACE THE REJECTED/DISCARDED

S T O L E N / S A LV A G E D C L O T H E S A N D E Q U I P M E N T
G L O R I F I C AT I O N O F T H E D R O P O U T A N D D E A D B E AT
F A S C I N AT I O N W I T H T R A S H A N D W E I R D N E S S
R E C L A M AT I O N O F A B A N D O N E D S PA C E S
PRO AUTONOMY
PUNK
IDEAS
D . I . Y.
MUSICIANSHIP CAN BE SELF-DEVELOPED
E C O N O M Y, P R E S S , A N D C O M M U N I T Y C A N B E S E L F - D E V E L O P E D
ETHICS CAN BE SELF-DEVELOPED
A N Y O N E C A N B E A R O C K S TA R
PUNK
LEGACY
PUNK (1976-1978)
N E W W AV E
(1979-1987)
POSTPUNK
(1978-1984)
HARDCORE
(1979-1991)
PUNK (1976-1978)
N E W W AV E
(1979-1987)
2 N D / 3 R D - WAV E S K A
(1980-2000)
SYNTHPOP
(1979-1989)
NEW ROMANTIC
(1981-1985)
COLLEGE ROCK
(1982-1993)
INDIE ROCK
(1987-)
HARDCORE
(1979-1991)
POSTPUNK
(1978-1984)
POWERPOP
(1984-1999)
DREAMPOP/
ETHEREAL
(1983-1997)
BRITPOP
(1992-2000)
A LT. C O U N T R Y
(1995-)
THRASH
(1980-1989)
GOTH
(1979-2005)
P U N K M E TA L
(1988-1997)
1 S T / 2 N D - WAV E E M O
(1984-2009)
G R U N G E / P O S TGRUNGE
(1991-2002)
RAP-ROCK
POP PUNK
(1997-2004)
(1994-2011)
PUNK (1976-1978)
THE 80S UNDERGROUND
PUNK (1976-1978)
THE 80S UNDERGROUND
THE 90S MAINSTREAM (GEN. X)
PUNK (1976-1978)
THE 80S UNDERGROUND
INDIE LABELS
PUNK (1976-1978)
THE 80S UNDERGROUND
INDIE LABELS
CROWDSOURCING
PUNK (1976-1978)
THE 80S UNDERGROUND
INDIE LABELS
CROWDSOURCING
ZINES
PUNK (1976-1978)
THE 80S UNDERGROUND
INDIE LABELS
CROWDSOURCING
ZINES
PA R T I C I PAT O R Y C U LT U R E
SHAM 69 - IF THE KIDS ARE UNITED (1978)
F I N A L LY, W H AT S O N G D O Y O U W A N T T O
DISCUSS IN DEPTH NEXT CLASS?
ABBA - DANCING QUEEN

BLONDIE - HEART OF GLASS
DONNA SUMMER - I FEEL LOVE
SUGARHILL GANG - RAPPER'S DELIGHT
THE CLASH - THE MAGNIFICENT SEVEN
A C - D C - H I G H W AY T O H E L L
HEART - BARRACUDA
R O D S T E W A R T - D O YA T H I N K I ' M S E X Y ?
RUSH - TOM SAWYER
WILLIE NELSON - ON THE ROAD AGAIN
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
QUESTION #2: YOULL HEAR AN EXCERPT FROM BEAT IT

BY MICHAEL JACKSON, A SONG THAT CROSSED OVER FROM URBAN
RADIO TO ROCK RADIO WITH SUCCESS IN 1983. IDENTIFY TWO
F E A T U R E S O F T H E S O N G T H A T C O N T R I B U T E D T O I T S R O C K P O P U L A R I T Y.
MUNM 14000
LISTENING QUIZ
1979-1985
SOCIOPOLITICAL HEADLINES
ECONOMIC PROSPERITY FOR UPPER-MIDDLE CLASSES
EASY ACCESS TO TECHNOLOGY
E X PA N D E D E N T R E P R E N E U R S H I P + H E D O N I S M
A F F I R M AT I O N O F T H E N U C L E A R F A M I LY A S C U LT U R A L U N I T
1979-1985
1979-1985
R O C K P L AY E D B O T H W I T H
AND AGAINST THESE IDEAS
1979-1985
SURVIVOR: EYE OF THE TIGER (1982)
1979-1985
D I O - H O LY D I V E R ( 1 9 8 3 )
1979-1985
HARD ROCK CHARACTERISTICS
C A R E F U L LY C R A F T E D T O I N C L U D E A C L E A R C H O R U S & R I F F
L O U D & F A S T, B U T R E F I N E D & S O N I C A L LY C L E A N T O O
HIGH-TECH (SMOOTH DISTORTION, KEYBOARDS, VOCAL HARMONY)
C E L E B R AT E S I N D I V I D U A L T R I U M P H O V E R A D V E R S I T Y
M O S T LY A C T S L I K E P U N K N E V E R H A P P E N E D
1979-1985
RUNNING WITH THE DEVIL (1978)
H E A R T H E T I G H T E N I N G O F VA N H A L E N ,
1978-1983
1979-1985
JUMP (1983)
H E A R T H E T I G H T E N I N G O F VA N H A L E N ,
1978-1983
1979-1985
W E L L TA L K M O R E A B O U T H A R D R O C K I N A C L A S S O R T H R E E
1979-1985
LAUNCHES AUGUST 1, 1981

MADE FOR ROCK MUSIC VIDEO
1979-1985

AMERICANS LOVE ROCK MUSIC
AMERICANS LOVE TV
SO WHAT COULD GO WRONG?
1979-1985

AMERICANS LOVE TV
UK & EUROPEAN BANDS HAD MADE MUSIC VIDEOS SINCE 1975
BUT NOT US BANDS
1979-1985

AMERICANS LOVE TV
UK & EUROPEAN BANDS HAD MADE MUSIC VIDEOS SINCE 1975
BUT NOT US BANDS
T H E R E W A S A B A C K L O G & C U LT U R E O F U K & E U R O M U S I C V I D E O S
BUT ANXIETY ABOUT VIDEO AMONG US MUSICIANS
A - H A - TA K E O N M E
1979-1985
MTV SUCCESS HAD MORE TO DO WITH A VIDEO THAN ITS SONG
T H E B U G G L E S - V I D E O K I L L E D T H E R A D I O S TA R
1979-1985
MTV SUCCESS HAD MORE TO DO WITH A VIDEO THAN ITS SONG

A U T H E N T I C U S R O C K AV O I D E D O P U L E N C E , C E D I N G M T V T O N E W W AV E
1979-1985
S O W H AT I S N E W W AV E ?
1979-1985
I N S H O R T,
N E W W AV E I S A C O R P O R AT I Z E D B L E N D O F P U N K A N D
S Y N T H - B A S E D P O P, C I R C A 1 9 7 8 - 1 9 8 6
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1976: SEX PISTOLS PLAY MANCHESTER UK
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1977: INSPIRED ATTENDEES FORM WARSAW
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1978-80: WARSAW + KEYBOARDS = JOY DIVISION
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1980: JOY DIVISION SINGER IAN CURTIS KILLS HIMSELF
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1981: SURVIVING MEMBERS FORM NEW ORDER
1979-1985
I N S H O R T,
AN ILLUSTRATION:
1 9 8 3 : N E W O R D E R G O E S F U L LY E L E C T R O N I C
1979-1985
I N S H O R T,
1975-1985: SYNTH PRICES DROP FROM $5000 TO $200
1979-1985
I N S H O R T,
1 9 7 9 - 1 9 8 1 : D I G I TA L S A M P L I N G B E C O M E S P O S S I B L E
1979-1985
I N S H O R T,
1983: FM SYNTHESIS BECOMES POSSIBLE
1979-1985
V I S A G E - FA D E T O G R E Y
I N S H O R T,
T H I S W O R K S T H E M A T I C A L LY W E L L S O M E T I M E S
V I S A G E - FA D E T O G R E Y
1979-1985
T H I S W O R K S T H E M A T I C A L LY W E L L S O M E T I M E S
1979-1985
O T H E R T I M E S I T S L E S S C E R TA I N
1979-1985
BOSTON
QUEEN
H O WA R D J O N E S D O E S N T H AV E T O T U R N U P T O H I S S H O W S ;
H E C A N J U S T S E N D T H E K E Y B O A R D A N D I T P L AY S I T S E L F !
-ROLLING STONE
1979-1985
N E W W AV E C H A R A C T E R I S T I C S
S O N G S T R U C T U R E S A R E V A R I E D N O T A L W AY S S TA N D A R D P O P
O F T E N L O U D A N D F A S T; N E A R LY A L W AY S M A D E F O R D A N C I N G
HIGH-TECH BUT LOW-BUDGET (I.E. IT USES HOME ELECTRONICS)
C E L E B R AT E S T H E Z A N Y, T H E H Y P E R A C T I V E , A N D T H E A W K W A R D
PUNK IS SQUARE ONE, BUT ITS ANGRY POLITICS ARE GONE
1979-1985
HARD ROCK CHARACTERISTICS
C A R E F U L LY C R A F T E D T O I N C L U D E A C L E A R C H O R U S & R I F F
L O U D & F A S T, B U T R E F I N E D & S O N I C A L LY C L E A N T O O
HIGH-TECH (SMOOTH DISTORTION, KEYBOARDS, VOCAL HARMONY)
C E L E B R AT E S I N D I V I D U A L T R I U M P H O V E R A D V E R S I T Y
M O S T LY A C T S L I K E P U N K N E V E R H A P P E N E D
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
STYLE
W R I T I N G AT T H E K E Y B O A R D
VS. A S A B A N D
STYLE
VS. A S A B A N D
IDEA #1
PUNK + THE NEW CENTRALITY OF THE KEYBOARD
O P E N E D T H E R O C K S TA R R O L E T O N E W
PERSONALITIES AND BACKGROUNDS
STYLE
VS. A S A B A N D
IDEA #1
PUNK + THE NEW CENTRALITY OF THE KEYBOARD
O P E N E D T H E R O C K S TA R R O L E T O N E W
PERSONALITIES AND BACKGROUNDS
COOLNESS IS NO LONGER MONOLITHIC IN THE 1980S
STYLE
VS. A S A B A N D
IDEA #2
A C R E AT I V E M E D I U M W I L L A L W AY S A F F E C T
( T H R O U G H C A PA B I L I T I E S A N D L I M I TAT I O N S )
THE ART PRODUCED WITH IT
STYLE
VS. A S A B A N D
IDEA #2
A C R E AT I V E M E D I U M W I L L A L W AY S A F F E C T
( T H R O U G H C A PA B I L I T I E S A N D L I M I TAT I O N S )
THE ART PRODUCED WITH IT
G U I TA R S & S Y N T H E S I Z E R S D O D I F F E R E N T T H I N G S
WHEN ROCK BANDS JAM

A F E W G E N E R A L I Z AT I O N S
G R AT E F U L D E A D , L I V E J A M I N 1 9 6 8
P L AY E R S D R A W O N B L U E S / F O L K / I M P R O V B A C K G R O U N D
T I M I N G I S L O O S E , T I M B R E I S VA R I E D A N D E X P R E S S I V E
P L AY E R S I M P R O V I S E O V E R A B A S I C S T R U C T U R E
R I F F S E M E R G E A N D R E P E AT
CHORD PROGRESSIONS ARE SIMPLE AND CYCLICAL
V O C A L S S I T AT O P ( B U T D O N T F I L L ) T H E S O N G
ONE INSTRUMENT OFTEN SEEMS TO LEAD OTHERS
WHEN ROCK BANDS JAM

LED ZEPPELIN - KASHMIR (1975)

P L AY E R S D R A W O N B L U E S / F O L K / I M P R O V B A C K G R O U N D
T I M I N G I S L O O S E , T I M B R E I S VA R I E D A N D E X P R E S S I V E
P L AY E R S I M P R O V I S E O V E R A B A S I C S T R U C T U R E
R I F F S E M E R G E A N D R E P E AT
CHORD PROGRESSIONS ARE SIMPLE AND CYCLICAL
V O C A L S S I T AT O P ( B U T D O N T F I L L ) T H E S O N G
ONE INSTRUMENT OFTEN SEEMS TO LEAD OTHERS
WHEN KEYBOARDISTS WRITE

P L AY E R D R A W S O N C L A S S I C A L B A C K G R O U N D
T I M I N G I S M E C H A N I C A L , T I M B R E C O M E S F R O M PAT C H E S
I M P R O V I S AT I O N ( I F A N Y ) I S C O N C R E T I Z E D O V E R PAT T E R N S
R I F F S ( I F A N Y ) A R E B U I LT I N T O PAT T E R N S
CHORD PROGRESSIONS ARE PIANISTIC & TRANSPOSABLE
VOCALS ARE OFTEN WRITTEN AS BASIS OF THE SONG
I N S T R U M E N T S ( PAT C H E S ) O F T E N W O R K I N TA N D E M

DONNA SUMMER - I FEEL LOVE (1977)

ORCHESTRAL MANOEUVRES IN THE DARK - MAID OF ORLEANS (1981)

#1 IN SPN/BLG/BDR/NL; #4 IN UK, #5 IRL

PET SHOP BOYS - ITS A SIN (1987)

#1 IN UK, #9 IN US

A L P H AV I L L E - C A R O L M A S T E R S ( 1 9 8 6 )
D - F L AT
C
A MINOR
G MINOR
C
A MINOR
A - F L AT
G
E - F L AT
G
!
[ G MINOR
A MINOR
F
G
D ]
( R E P E AT )
(THEN BACK TO THE TOP)
STYLE
VS. A S A B A N D
IDEA #3
THE POPULARITY OF ELECTRONIC POP IN THE
1 9 8 0 S M E A N T T H AT M A N Y O F I T S S T Y L E T R A I T S
C A R R I E D O V E R T O G U I TA R - B A S E D R O C K B A N D S
BY THE 90S
STYLE
VS. A S A B A N D
IDEA #3
THE POPULARITY OF ELECTRONIC POP IN THE
1 9 8 0 S M E A N T T H AT M A N Y O F I T S S T Y L E T R A I T S
C A R R I E D O V E R T O G U I TA R - B A S E D R O C K B A N D S
BY THE 90S
(SEE: BON JOVI, U2, GUNS N ROSES, RADIOHEAD, TOOL)
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MIDTERM
Name______________________________
ROCK STYLES SINCE 1955 MIDTERM EXAM

(15 grade points, calculated from 150 exam points)
1. Excerpts will be played from eight songs, all of which are part of our class playlists first seven weeks. Identify the artist
and song title. Then give the year of the song; answers within three years of the exact date will receive credit. (40 pts.)
Artist (2 pts.)
RUSH
BO DIDDLEY
JANIS JOPLIN
CAROLE KING
THE KINGSMEN
SEX PISTOLS
DAVID BOWIE
PETULA CLARK
Title (2 pts.)
TOM SAWYER
WHO DO YOU LOVE?
PIECE OF MY HEART
I FEEL THE EARTH MOVE
LOUIE LOUIE
ANARCHY IN THE U.K.
REBEL REBEL
DOWNTOWN
Year (1 pt.)
1981
1956
1968
1971
1963
1976
1974
1964
2. You will hear Penny Lane by the Beatles in its entirety twice. Based on your careful listening, our discussion of the
band, and our reading about them, answer the following questions. (20 pts.)
A. Is this song based on verses with a refrain ending or does it have a distinct chorus section? (4 pts.) CHORUS
B. Does this song stay consistently in one key? (4 pts.) NO
C. Name four instruments you hear in this song. (4 pts.)
PIANO, GUITAR, BASS, DRUMS, TRUMPET, FLUTE, ENGLISH HORN/OBOE, CONGAS, BELL
1. _______________
2. _______________
3. _______________
4. _______________
D. Imagine yourself as the producer/arranger; why might this song/lyric suggest its curious instrumentation? (4 pts.)
SONG IS SMALL-TOWN, THUS ARRANGEMENT RESEMBLES COMMUNITY BAND, or
SONG IS CELEBRATORY(-ISH), THUS ARRANGEMENT IS PARADE-LIKE, or
SONG KEEPS CHANGING KEY BUT IS REPETITIVE, SO VARIETY IS NEEDED etc.
E. Based on our knowledge lyrics, arrangement, and style in the Beatles early, mid-era, and late-era music,
approximate the year of this song. (4 pts. = exact, 3 pts. 1, 2 pts. 2, 1 pt. 3)
1967
3A. What simple word describes a beat whose subdivisions are uneven (long-short)? (5 pts.) SWING
3B. Does the Beatles song you just heard use this uneven subdivision? (5 pts.) YES
4A. What is the name given to Phil Spectors pop production style (as heard in many 1960s girl group recordings) in which
the timbres of large ensembles freely blended amid reverberation? (5 pts.) WALL OF SOUND
4B. What famous record label based in Detroit made consistent use of this production style? (5 pts.) MOTOWN
5. 1955 is often considered the breakthrough year of rock and roll. As discussed in class, which of the following contributed
toward this event? (Fill in the circle of all that apply.) (10 pts.)
(-1 PER WRONG, EITHER PRESENT OR ABSENT)
The popularity of stereo FM broadcasting
BMI's formation
Beatlemania
Patents granted to vinyl records
The invention of the transistor
Legalization of cocaine
US integration of public school
The death of Buddy Holly
The Australian Guitar Riots of 1954
The return of soldiers from war
6. Which of the following artists are associated with the American Folk Revival? (Fill in the circle of all that apply.) (10 pts.)
(-1 PER WRONG, EITHER PRESENT OR ABSENT)
Johnny Cash
The Kingston Trio
Elvis Presley
Jacob Dylan
Pete Seeger
Bob Dylan
Joan Baez
Peter, Paul, and Mary
Emerson, Lake, and Palmer
Kraftwerk
MIDTERM
7. Below are descriptions of styles discussed in class. Name them (3 pts.) and give each an artist example (2 pts.). (30 pts.)
guitar/bass/drums/vocal
mostly west-coast USA
very loud and poorly recorded
bands with limited output
mid 1960s
use of 1950s rocknroll styles

fascination with science fiction
influence from metal
androgynous and garishly opulent
early 1970s
GLAM BOWIE/ROXY/KISS etc.
GARAGE TROGGS/KINKS/SONICS etc.
simple three-chord structure

an important precursor to rock
usually solo performer, with guitar
primarily African American
first reported in 1903
BLUES R. JOHNSON/HANDY/LEADBELLY etc.
heavy distortion on guitars

riff-oriented, often doubled in bass
songs focal point = solo, not chorus
lyrics concern isolation
since the very late 1960s
METAL SABBATH/LED ZEP etc.
emphasis on downbeat
large and jubilant ensemble
improvisatory over rhythmic loops
chord changes are rare
late 1960s to late 1970s
FUNK J. BROWN/P-FUNK etc.
constantly changing sounds

dechronization of time, la LSD
immersively loud
uses new & non-western instruments
late 1960s to early 1970s
PSYCH HENDRIX/CREAM/FLOYD etc.
8A. List two styles for which an artists perceived authenticity is particularly important (4 pts.):
FOLK, SOUTHERN ROCK, BLUES, ROCK N ROLL, PUNK, COUNTRY
8B. List two styles for which an artists perceived authenticity is particularly unimportant (4 pts.):
GLAM, ART/PROG ROCK, DISCO, POP
9. Imagine you are a producer. A young band has a good song but it needs to sound more energetic. What are three ways you
can help make the recording really rock? (12 pts.)
(4 PER ANSWER; ALLOW PARTIAL CREDIT AS NEEDED)
MAKE THE SONG FASTER, or
USE [MORE/FEWER/WEIRDER] INSTRUMENTS, or
USE DISTORTION, or
SCREAM/PLAY LOUDER, or
GIVE SECTIONS MORE CONTRAST, or
COMPILE THE BEST PARTS OF MANY TAKES INTO ONE EDIT, or
PSYCH UP/SCARE/ANGER/EXERCISE/EXORCISE THE BAND, or
SPEED UP THE TAPE ON THE FINAL MIX, or
INSERT A SOLO/EXTRA CHORUS/ETC., or
PUT DRUMS HIGH IN THE MIX
HIP-HOP
1973-PRESENT
HIP-HOP
1973-PRESENT
1 . ) H I P - H O P B E G A N I N N Y C A S A C U LT U R A L P R A C T I C E , I N C L U D I N G :
D J ING M C ING G R A F F I T I B R E A K D A N C I N G
HIP-HOP
1973-PRESENT
2 . ) R A P P I N G C A M E F R O M I M P R O V I S AT O R Y S H O U T O U T S T O
DANCERS AND COMPETITIVE EXCHANGES BETWEEN MCS:
I T W A S O R I G I N A L LY A W AY T O F U E L A N D N A R R AT E A PA R T Y,
AND NOT A SONG-DRIVEN PRACTICE
HIP-HOP
1973-PRESENT
L I V E AT T H E A U D O B O N B A L L R O O M , 1 9 7 8 :
GRANDMASTER FLASH & THE FURIOUS 4 MCS (INCL. MELLE MEL)
MELLE MEL
GRANDMASTER FLASH
HIP-HOP
1973-PRESENT
3 . ) S Y LV I A R O B I N S O N F I R S T P R O P O S E D
PUTTING RAPPING ON RECORD IN 1979,
WAS FOUNDER/CEO OF THE FIRST RAP
LABEL (SUGAR HILL), AND CO-PRODUCED
RAPPERS DELIGHT AND THE MESSAGE,
CENTRALIZING RAPPING WITHIN HIP-HOP
A N D E S TA B L I S H I N G R A P A S A P O P G E N R E
HIP-HOP
1973-PRESENT
GRANDMASTER FLASH & THE FURIOUS FIVE: THE MESSAGE (1983)
HIP-HOP
1973-PRESENT
4 . ) B E AT S W E R E O R I G I N A L LY D I S C O T R A C K S , E I T H E R L O O P E D B Y A
D J O R P L AY E D B Y A B A N D ; B Y 1 9 8 3 , T H E Y U S E D D R U M M A C H I N E S ;
B Y 1 9 8 7 , T H E Y U S E D D I G I TA L S A M P L E S
HIP-HOP
1973-PRESENT
4 . ) B E AT S W E R E O R I G I N A L LY D I S C O T R A C K S , E I T H E R L O O P E D B Y A
D J O R P L AY E D B Y A B A N D ; B Y 1 9 8 3 , T H E Y U S E D D R U M M A C H I N E S ;
B Y 1 9 8 7 , T H E Y U S E D D I G I TA L S A M P L E S
5.) PRE-1984 HIP-HOP TRACKS WERE LONG (6-10 MINUTES),

T O P I C A L LY W A N D E R I N G , A N D U S U A L LY L A C K E D A C H O R U S
HIP-HOP
1973-PRESENT
D J K O O L H E R C : 1 S T M I X E R / S C R AT C H E R / M C
A F R I K A B A M B A ATA A :
1ST POLITICAL RAPPER/PRODUCER/DJ
S Y LV I A R O B I N S O N : 1 S T E X E C / P R O D U C E R
G R A N D M A S T E R F L A S H : 1 S T S TA R D J
HIP-HOP
1973-PRESENT
A D I R E C T I O N H I P - H O P C O U L D H A V E TA K E N ( B U T M O S T LY D I D N T )
A F R I K A B A M B A ATA A :
1ST POLITICAL RAPPER/PRODUCER/DJ
HIP-HOP
1973-PRESENT
A D I R E C T I O N H I P - H O P C O U L D H A V E TA K E N ( B U T M O S T LY D I D N T )
A F R I K A B A M B A ATA A & S O U L S O N I C F O R C E : P L A N E T R O C K ( 1 9 8 2 )
HIP-HOP
1973-PRESENT
T H E D I R E C T I O N H I P - H O P M O S T LY T O O K
RUN-D.M.C.: ROCK BOX (LIVE, 1984)
HIP-HOP
1973-PRESENT
1984-1988
V O C A L I S T H E C E N T E R O F T H E S O N G , N O T I T S D E C O R AT I O N
AGGRESSIVE, MASCULINE RAPPING STYLE
C O N S I S T E N T R H Y M E S C H E M E , R H Y M E S O N B E AT 4
L O U D , S PA R S E D R U M M A C H I N E B E AT
MEDIUM TEMPO (80-110 BPM)
RADIO/VIDEO-LENGTH SONGS (3-5 MINUTES)
DJ IS NOW A BACKUP MUSICIAN
THE ROCKIER THE MUSIC, THE WIDER THE AUDIENCE
VISUAL STYLE IS URBAN & REALIST
HIP-HOP
1973-PRESENT
1984-1988
V O C A L I S T H E C E N T E R O F T H E S O N G , N O T I T S D E C O R AT I O N
AGGRESSIVE, MASCULINE RAPPING STYLE
C O N S I S T E N T R H Y M E S C H E M E , R H Y M E S O N B E AT 4
L O U D , S PA R S E D R U M M A C H I N E B E AT
MEDIUM TEMPO (80-110 BPM)
RADIO/VIDEO-LENGTH SONGS (3-5 MINUTES)
DJ IS NOW A BACKUP MUSICIAN
THE ROCKIER THE MUSIC, THE WIDER THE AUDIENCE
VISUAL STYLE IS URBAN & REALIST
RUN-D.M.C.
LL COOL J
T H E F AT B O Y S
MANTRONIX
TOO $HORT
HIP-HOP
1973-PRESENT
B Y T H E L AT E 8 0 S , H I P H O P H A D T H R E E M A I N T R E N D S :
( P R O T O ) G A N G S TA R A P
N W A , I C E - T, E R I C B . & R A K I M
F U N K - B A S E D S A M P L E D B E AT S
NON-DOUBLED AND RELAXED VOCALS
R E A L H O O D S T O R I E S A N D AT T I T U D E S
HIP-HOP
1973-PRESENT
88
9
1
(
E
C
I
L
O
A P
H
T
CK
U
F
:
NWA
HIP-HOP
1973-PRESENT
CONSCIOUSNESS RAP
P U B L I C E N E M Y, X - C L A N , PA R I S
I N T E N S E LY C O L L A G E D S A M P L E S
AGGRESSIVE, LOW-PITCHED VOCALS
A F R O C E N T R I C P O L I T I C A L LY R I C S
HIP-HOP
1973-PRESENT
CONSCIOUSNESS RAP
PUBLIC
E N E M Y:
REBEL
WITHOU
T A PA U
SE (19
87)
HIP-HOP
1973-PRESENT
CONSCIOUSNESS RAP
P O P / PA R T Y R A P
FRESH PRINCE, MC HAMMER, YOUNG MC

F A S T & D A N C E A B L E M E L O D I C B E AT S
VA R I E D V O C A L S & S T O R Y L I K E S P E E C H
L O V E S O N G S , PA R T Y S O N G S , C O M E D Y
HIP-HOP
1973-PRESENT
CONSCIOUSNESS RAP
P O P / PA R T Y R A P
VE
O
M
A
T
S
U
C: B
YOUNG M
(1989)
FRESH PRINCE, MC HAMMER, YOUNG MC

F A S T & D A N C E A B L E M E L O D I C B E AT S
VA R I E D V O C A L S & S T O R Y L I K E S P E E C H
L O V E S O N G S , PA R T Y S O N G S , C O M E D Y
HIP-HOP
1973-PRESENT
1985-1991
ROCK ACTS DABBLE IN RAP
HIP-HOP
1973-PRESENT
1985-1991
RUSH: ROLL THE BONES (1991)
HIP-HOP
1973-PRESENT
1985-1991
RUSH: ROLL THE BONES (1991)

T H I S D I D N T G O O V E R V E RY W E L L
WITH ANYONE
HIP-HOP
1973-PRESENT
T H I S D I D N T G O O V E R V E RY W E L L
WITH ANYONE
HIP-HOP
1973-PRESENT
1989-1992:
THE GOLDEN AGE OF POLITICAL HIP-HOP
HIP-HOP
1973-PRESENT
1989-1992:
HIP-HOP
1973-PRESENT
1989-1992:
HIP-HOP
1973-PRESENT
1993-2003:
T H E G A N G S TA R A P E R A
8 MILLION COPIES SOLD
HIP-HOP
1973-PRESENT
SOME OF HIP-HOPS INFLUENCES ON ROCK

(BESIDES RUSH RAPPING)
HIP-HOP
1973-PRESENT
SOME OF HIP-HOPS INFLUENCES ON ROCK

(BESIDES RUSH RAPPING)
S E M I - R A P P E D V O C A L S ( E . G . R E D H O T C H I L I P E P P E R S , FA I T H N O M O R E )
C O N F L AT I O N O F U R B A N A E S T H E T I C S A N D PA R T Y M U S I C ( E . G . S U B L I M E )
R E I N V I G O R AT I O N O F R A C E A N D P O L I T I C S A S A T O P I C
(E.G. SINAD OCONNOR, PEARL JAM)
B I G S A M P L E D B E AT S ( E . G . T H E E N T I R E M A D C H E S T E R G E N R E )
NEW LEVELS OF SHOCK (E.G. GUNS N ROSES)
MUCH MORE AS TIME GOES ON
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
QUESTION #2: YOULL HEAR THE OPENING TO JUST LIKE HEAVEN BY THE CURE,
A S O N G D E S C R I B E D B Y T H E A L L M U S I C G U I D E A S I N S TA N T LY M E M O R A B L E ,
S PA R K L I N G W I T H R O U G H E N E R G Y A N U N D I S P U T E D 8 0 S C L A S S I C .
IN A SENTENCE OR TWO, DESCRIBE HOW THE BEGINNING OF THE SONG
CAPTURES A LISTENERS ATTENTION AND BUILDS TO THE VOCAL ENTRANCE.
( 1 / 2 P T. )
MUNM 14000
LISTENING QUIZ
1984-1989
MALLS IN 1960
1984-1989
MALLS IN 1989
1984-1989
PRINT APPEARANCES OF THE PHRASE SHOPPING MALL
1984-1989
L AV I S H C O N S U M P T I O N W A S C O O L
PRINT APPEARANCES OF THE PHRASE SHOPPING MALL
1984-1989
1984-1989
U S H O U S E H O L D S W I T H B A S I C C A B L E T V:
1984-1989
1970: 8%
1980: 23%
1989: 60%
1984-1989
1970: 8%
1980: 23%
1989: 60%
US HOUSEHOLDS WITH A VCR:
1984-1989
1970: 8%
1980: 23%
1989: 60%
US HOUSEHOLDS WITH A VCR:

1980: 1%
1989: 68%
1984-1989
M T V S TA R T S O F F S H O W I N G N E W - W A V E O D D I T I E S I N 1 9 8 1
1984-1989
BY 1986, A WHOLE NEW GENERATION OF VIDEO-SAVVY
ROCK ACTS ARE ON THE AIR, PUSHING NEW WAVE ASIDE
A G E N E R A L I Z AT I O N : T H I S I S T H E F I R S T N E W
GENERATION SINCE PUNK IN THE LATE 1970S,
WHICH ITSELF WAS THE FIRST SINCE THE LATESIXTIES PSYCHEDELIC MOVEMENT (WHICH
FOLLOWED THE BRITISH INVASION, WHICH
FOLLOWED THE ORIGINAL CLASS OF 1955)
1984-1989
RECALL THAT HARD ROCK ACTED LIKE PUNK NEVER

HAPPENED; THE MID AND LATE 1980S SAW YOUNG URBAN
HARD ROCKERS WHO THUS EMBRACED 1970S ROCK EXCESS
AND WHO UNDERSTOOD THE POWER OF VIDEO OPULENCE
1984-1989
RECALL THAT HARD ROCK ACTED LIKE PUNK NEVER

HAPPENED; THE MID AND LATE 1980S SAW YOUNG URBAN
HARD ROCKERS WHO THUS EMBRACED 1970S ROCK EXCESS
AND WHO UNDERSTOOD THE POWER OF VIDEO OPULENCE
THE MUSICAL STYLE OF 80S HARD ROCK IS A POLISHED,

TIGHTENED DESCENDANT OF 1970S ROCK, BUT IT SHARES
NEW WAVES PENCHANT FOR GLAMOR (DESPITE IGNORING
THE SCI-FI THEMATICS OF ORIGINAL 1970S GLAM)
1984-1989
POISON: EVERY ROSE HAS ITS THORN (1988)
1984-1989
1
2
4.5
6
5
7
7
5
3.5
8
1984-1989
C3
C2
C1
V2
V3
V1
OPTIMIZED EMOTIONAL ARC

CHORUS BEGINS AND ENDS ON SAME LINE (TITLE)
T O P I C : M A L E H E A R T B R E A K S E E K I N G F E M A L E S Y M PA T H Y
I M A G E R Y: R O S E S , C O W B O Y S , R A D I O
VIDEO: NAKED MAN = VULNERABLE BUT ALSO SEXAY
1984-1989
T H E P O W E R B A L L A D = A S L O W, S T E A D I LY B U I L D I N G L O V E S O N G
1984-1989
M A D E F O R S TA D I U M P E R F O R M A N C E
S L O W B E A T, L O T S O F E C H O , L O V E I S S H O W N A S E P I C
1984-1989
M A N D A T O R Y B I G D R U M S A N D G U I TA R S O L O
SOMETIMES PIANO, SOMETIMES ORCHESTRA
1984-1989
M A N D A T O R Y B I G D R U M S A N D G U I TA R S O L O
SOMETIMES PIANO, SOMETIMES ORCHESTRA
EVERY HARD ROCK ALBUM HAD 1-2 POWER BALLADS
1984-1989
THE POWER BALLAD = ONE OF MANY 70S FORMS

PERFECTED IN THE 80S
1984-1989
THE POWER BALLAD = ONE OF MANY 70S FORMS

PERFECTED IN THE 80S
BUT MOST 70S ARTISTS DID NOT REMAIN POPULAR IN THE 80S
( E X C E P T I O N S : A E R O S M I T H , A C D C , A L I C E C O O P E R , VA N H A L E N )
1984-1989
BUT MOST 70S ARTISTS DID NOT REMAIN POPULAR IN THE 80S
( E X C E P T I O N S : A E R O S M I T H , A C D C , A L I C E C O O P E R , VA N H A L E N )
1984-1989
TIME & CRITICS WERE UNKIND TO MOST OF THESE ARTISTS
1984-1989
NME:
1 . N E W O R D E R - B L U E M O N D AY
2 . J O Y D I V I S I O N - L O V E W I L L T E A R U S A PA R T
3. THE SMITHS - HOW SOON IS NOW?
4 . TA L K I N G H E A D S - O N C E I N A L I F E T I M E
5. THE SPECIALS - GHOST TOWN
6. PRINCE - WHEN DOVES CRY
7 . N E N E H C H E R R Y - B U F F A L O S TA N C E
8 . T H E C U R E - I N B E T W E E N D AY S
9. NEW ORDER - BIZARRE LOVE TRIANGLE
1 0 . E R I C B . & R A K I M - PA I D I N F U L L
ROLLING STONE:
1. THE CLASH - LONDON CALLING

2. GRANDMASTER FLASH - THE MESSAGE
4. MICHAEL JACKSON - BILLIE JEAN
5. BOB MARLEY - REDEMPTION SONG
6 . T H E P O L I C E - E V E R Y B R E AT H Y O U TA K E
7 . U 2 - S T I L L H A V E N ' T F O U N D W H AT I ' M L O O K I N G F O R
8. PRINCE - LITTLE RED CORVETTE
9. U2 - WITH OR WITHOUT YOU
10. PRINCE - PURPLE RAIN
S L A N T:

3. BLONDIE - CALL ME
7 . M A D O N N A - L I K E A P R AY E R
8. CYNDI LAUPER - TIME AFTER TIME
1 0 . M I C H A E L J A C K S O N - B E AT I T
VILLAGE VOICE:
2 . M A R V I N G AY E - S E X U A L H E A L I N G
4 . A R T I S T S U N I T E D A G A I N S T A PA R T H E I D - S U N C I T Y
6 . R U N - D . M . C . - W A L K T H I S W AY
8. THE PRETENDERS - BACK ON THE CHAIN GANG
9. BRUCE SPRINGSTEEN - DANCING IN THE DARK
10. PUBLIC ENEMY - FIGHT THE POWER
1984-1989
NME:
S L A N T:
7. NENEH CHERRY - 1
B .U FB
F AO
LO
NC
NS TA
JO
VEI - L I V I N ' O N A P R AY E R
. RD
9 . N E W O R D E R - B I Z2
AR
E LEOFV ELTE
R IP
A PA
N G LR
E D - P O U R S O M E S U G A R9 .O
NN
EW M
O RE
D E R - B L U E M O N D AY
1 0 . E R I C B . & R A K I M3 . D U R A N D U R A N - H U N G R Y L I K E T H 1
0
.
M
I
C
H
A
E
L
E W O L F J A C K S O N - B E AT I T
VH1:
!

VILLAGE VOICE:
5 . P R I N C E - W H E N D O V E S C RY
ROLLING STONE:
!
!
6
.
H
A
L
L
&
O
AT
E
S
I
C
A
N
'
T
G
O
F
O
R
T
H
AT
R VI IN
NE
G AY E - S E X U A L H E A L I N G
2 . G R A N D M A S T E R F L7
A S. H G
- T
E M
E OSES - SWEET CHILD 2
UHN
S E SNS A' GR
O. 'M AM
8
.
M
A
D
O
N
N
A
L
I
K
E
A
V
I
R
G
I
N
5 . B O B M A R L E Y - R E D9E.M PRTU
I ON
N -S D
O N. G
M . C . - W A L K T H I S W AY 5 . M I C H A E L J A C K S O N - B I L L I E J E A N
1
0
.
A
C
D
C
Y
O
U
S
H
O
O
K
M
E
A
L
L
N
I
G
H
7 . T H E P O LT
I C EL -OEN
V EG
R Y B R E AT H Y O U TA K E

1984-1989
NME:
S L A N T:
7. NENEH CHERRY - 1
B .U FB
F AO
LO
NC
NS TA
JO
VEI - L I V I N ' O N A P R AY E R
. RD
9 . N E W O R D E R - B I Z2
AR
E LEOFV ELTE
R IP
A PA
N G LR
E D - P O U R S O M E S U G A R9 .O
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1 0 . E R I C B . & R A K I M3 . D U R A N D U R A N - H U N G R Y L I K E T H 1
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!

VILLAGE VOICE:
5 . P R I N C E - W H E N D O V E S C RY
ROLLING STONE:
!
!
6
.
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&
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2 . G R A N D M A S T E R F L7
A S. H G
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UHN
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8
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M . C . - W A L K T H I S W AY 5 . M I C H A E L J A C K S O N - B I L L I E J E A N
1
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7 . T H E P O LT
I C EL -OEN
V EG
R Y B R E AT H Y O U TA K E


WELL GET INTO WHY SOON
NME:
1984-1989
ROLLING STONE:

S L A N T:

VILLAGE VOICE:
NME:
1984-1989

VILLAGE VOICE:
ROLLING STONE:
S L A N T:


WHOS LISTENING TO THIS?
NME:
1984-1989

VILLAGE VOICE:
ROLLING STONE:
S L A N T:


WHOS LISTENING TO THIS?
1984-1989
R.E.M. - ITS THE END OF THE WORLD AS WE KNOW IT (1987)

DOES THIS VIDEO TELL YOU TO BUY NEW STUFF?
D O E S T H I S S O N G T E L L Y O U T O PA Y A T T E N T I O N T O M A S S M E D I A ?
1984-1989
A LT E R N A T I V E R O C K
(COLLEGE ROCK)
SPLIT US/UK BANDS WITH A SUBTLE TENSION:

PUNK-ISH VS. ETHEREAL SOUNDS (WELL COME BACK TO THIS)
1984-1989
WHAT ABOUT GROWNUPS?
1984-1989
THE MID 1980S SAW NEW POPULARITY (& ROCK INFLUENCE) OF
JAZZ
BOBBY MCFERRIN, FUN BOY THREE, ETC.
1984-1989
JAZZ
FOLK
SUZANNE VEGA, TRACY CHAPMAN, ETC.
1984-1989
JAZZ
FOLK
WORLD
PA U L S I M O N , D A V I D B Y R N E , E N YA E T C .
1984-1989
JAZZ
FOLK
WORLD
PA U L S I M O N , D A V I D B Y R N E , E N YA E T C .
1984-1989
THERES A LOT MORE
B O N J O V I - L I V I N ' O N A P R AY E R
GUNS N' ROSES - WELCOME TO THE JUNGLE
M E TA L L I C A - F A D E T O B L A C K
MOTLEY CRUE - DR. FEELGOOD
RUN-D.M.C. - ROCK BOX
BOBBY MCFERRIN - DON'T WORRY BE HAPPY
PA U L S I M O N - D I A M O N D S O N T H E S O L E S O F H E R S H O E S
R.E.M. - IT'S THE END OF THE WORLD AS WE KNOW IT
T H E C U R E - J U S T L I K E H E AV E N
T R A C Y C H A P M A N - FA S T C A R
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
H E A V Y M E TA L
CIRCA
1968-PRESENT
H E A V Y M E TA L
CIRCA
1968-PRESENT
" T O M E TA L F A N S , H E A V Y M E TA L I S N O T J U S T A G E N R E O F
MUSIC TO LISTEN TO; IT IS ALSO AKIN TO A WAY OF LIFE,
ONE THAT PROVIDES A SENSE OF BELONGING AND
MEANING. FURTHERMORE, ENGAGING THE MUSIC FROM THE
P E R S P E C T I V E O F O N E O F M E TA L ' S S U B G E N R E S , S U C H A S
B L A C K M E TA L O R D E A T H M E TA L , I S A F U R T H E R F O R M O F
S E L F - E X P R E S S I O N I N W H I C H O N E I N D I C A T E S T H A T TA S T E
HAS BECOME A DIVIDING LINE EVEN TO SOME OTHERS IN
T H E M E TA L C O M M U N I T Y.
!
-WILLIAM PHILLIPS & BRIAN COGAN
H E A V Y M E TA L
CIRCA
1968-PRESENT
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
M A S S C U LT U R E
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
S U B C U LT U R E R E S I S T S
AND OFTEN SEEKS TO
ESCAPE FROM MASS
C U LT U R E , A L L W H I L E
N O N E T H E L E S S
E X I S T I N G I N A N D
PA R T I C I PA T I N G I N I T.
M
MA
AS
SS
S C
CU
U LT
LT U
UR
RE
E
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
AND OFTEN SEEKS TO
ESCAPE FROM MASS
S U B C U LT U R E G U A R D S
I T S B O R D E R S A N D
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
O F C U LT U R A L S I G N S
(E.G. CLOTHING/MUSIC/
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
H E A V Y M E TA L
CIRCA
1968-PRESENT
AND OFTEN SEEKS TO
ESCAPE FROM MASS
M
MA
AS
SS
S C
CU
U LT
LT U
UR
RE
E
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
S U B C U LT U R A L S I G N S
A R E O F T E N S A LV A G E D
F R O M T H O S E O F
M A S S C U LT U R E , B U T
THEIR MEANINGS ARE
RECONTEXTUALIZED;
U N D E R S TA N D I N G
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
H E A V Y M E TA L
CIRCA
1968-PRESENT
AND OFTEN SEEKS TO
ESCAPE FROM MASS
M
MA
AS
SS
S C
CU
U LT
LT U
UR
RE
E
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
THEIR MEANINGS ARE
RECONTEXTUALIZED;
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
S U B C U LT U R E S H A V E
VEXED RELATIONSHIPS
W I T H
T H E I R
O W N
POPULARIZATION AND
COMMERCIALIZATION;
THEY WANT COMMUNITY
AND OFTEN WELCOME
M E M B E R S , B U T U S U A L LY
DESPISE DILUTION AND
C O O P TA T I O N O F T H E I R
IDEALS AND SCENES.
M E TA L , P U N K , G O T H , H I P P I E , B E AT N I K ,
M O D , R AV E R , G A N G S TA , D R A G , E T C .
THEIR MEANINGS ARE
RECONTEXTUALIZED;
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
AND OFTEN SEEKS TO
ESCAPE FROM MASS
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
VEXED RELATIONSHIPS
W I T H
T H E I R
O W N
POPULARIZATION AND
COMMERCIALIZATION;
THEY WANT COMMUNITY
AND OFTEN WELCOME
IDEALS AND SCENES.
THEIR MEANINGS ARE
RECONTEXTUALIZED;
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
AND OFTEN SEEKS TO
ESCAPE FROM MASS
( I S M A S S C U LT U R E R E A L ? )
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
VEXED RELATIONSHIPS
W I T H
T H E I R
O W N
POPULARIZATION AND
COMMERCIALIZATION;
THEY WANT COMMUNITY
AND OFTEN WELCOME
IDEALS AND SCENES.
AND OFTEN SEEKS TO
ESCAPE FROM MASS
WHETHER OR
N O T M A S S C U LT U R E I S
MONOLOTHIC, AND WHETHER
O R N O T S U B C U LT U R E I S J U S T A
JUVENILE PHASE, IT CAN PROVIDE
I D E N T I T Y, F R I E N D S H I P, A N D V I TA L LY
A LT E R N AT I V E M O D E S O F B E I N G T O I T S
PA R T I C I PA N T S .
THEIR MEANINGS ARE
RECONTEXTUALIZED;
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
VEXED RELATIONSHIPS
W I T H
T H E I R
O W N
POPULARIZATION AND
COMMERCIALIZATION;
THEY WANT COMMUNITY
AND OFTEN WELCOME
IDEALS AND SCENES.
H E A V Y M E TA L
CIRCA
AND OFTEN SEEKS TO
ESCAPE FROM MASS
1968-PRESENT
WHETHER OR
N O T M A S S C U LT U R E I S
MONOLOTHIC, AND WHETHER
O R N O T S U B C U LT U R E I S J U S T A
JUVENILE PHASE, IT CAN PROVIDE
I D E N T I T Y, F R I E N D S H I P, A N D V I TA L LY
A LT E R N AT I V E M O D E S O F B E I N G T O I T S
PA R T I C I PA N T S .
THEIR MEANINGS ARE
RECONTEXTUALIZED;
THOSE MEANINGS IS
A BELLWETHER OF
BELONGING.
ASSESSES MEMBERSHIP
THROUGH DISPLAY AND
SHARED KNOWLEDGE
LANGUAGE), WHICH
ARE SHORTHAND FOR
SHARED BELIEFS.
S U B C U LT U R E
VEXED RELATIONSHIPS
W I T H
T H E I R
O W N
POPULARIZATION AND
COMMERCIALIZATION;
THEY WANT COMMUNITY
AND OFTEN WELCOME
IDEALS AND SCENES.
H E A V Y M E TA L
CIRCA
1968-PRESENT
" H E A V Y M E TA L : P I M P LY, P R O L E , P U T R I D , U N C H I C ,
U N S O P H I S T I C A T E D , A N T I - I N T E L L E C T U A L ( B U T I M P O S S I B LY
PRETENTIOUS), DISMAL, ABYSMAL, TERRIBLE, HORRIBLE, AND
S T U P I D M U S I C , B A R E LY M U S I C A T A L L ; D E A T H M U S I C , D E A D
MUSIC, THE BEATEN BOOGIE, THE DANCE OF DEFEAT AND
D E C A Y; T H E H U H ? S O U N D , T H E D U H S O U N D . . . M U S I C M A D E
B Y S L A C K - J A W E D , A L PA C A - H A I R E D , B U L B O U S - I N S E A M E D
IMBECILES IN JACKBOOTS AND LEATHER AND CHROME FOR
S L A C K - J A W E D , A L PA C A - H A I R E D , D O W N Y- M U S TA C H I O E D
I M B E C I L E S I N C H E A P, T O O - L A R G E T- S H I R T S W I T H P I C T U R E S
O F C O M I C - B O O K A R M A G E D D O N I R O N E D O N T H E F R O N T. "
!
- ROBERT DUNCAN, ROCK CRITIC
H E A V Y M E TA L
CIRCA
1968-PRESENT
M E TA L W A S H A T E D B Y T H E G U A R D I A N S O F
M A S S C U LT U R E , B U T T H I S W A S L E S S A
H AT R E D O F T H E M U S I C I T S E L F T H A N A
F E A R O F I T S S U B C U LT U R E .
H E A V Y M E TA L
CIRCA
1968-PRESENT
M E TA L W A S H A T E D B Y T H E G U A R D I A N S O F
M A S S C U LT U R E , B U T T H I S W A S L E S S A
H AT R E D O F T H E M U S I C I T S E L F T H A N A
F E A R O F I T S S U B C U LT U R E .
P M R C PA R E N T S M U S I C R E S O U R C E C E N T E R ( 1 9 8 5 )
H E A V Y M E TA L
CIRCA
1968-PRESENT
T H E P M R C F I LT H Y F I F T E E N
Artist
Prince
Sheena Easton
Judas Priest
Vanity
Mtley Cre
AC/DC
Twisted Sister
Madonna
W.A.S.P.
Def Leppard
Mercyful Fate
Black Sabbath
Mary Jane Girls
Venom
Cyndi Lauper
Song title
"Darling Nikki"
"Sugar Walls"
"Eat Me Alive"
"Strap On 'Robbie Baby'"
"Bastard"
"Let Me Put My Love Into You"
"We're Not Gonna Take It"
"Dress You Up"
"Animal (Fuck Like a Beast)"
"High 'n' Dry (Saturday Night)"
"Into the Coven"
"Trashed"
"In My House"
"Possessed"
"She Bop"
Lyrical content
Sex/Masturbation
Sex
Sex
Sex
Violence/Language
Sex
Violence
Sex
Sex/Language
Drug and alcohol use
Occult
Drug and alcohol use
Sex
Occult
Sex/Masturbation
H E A V Y M E TA L
CIRCA
1968-PRESENT
H E A V Y M E TA L
CIRCA
1968-PRESENT
H E A V Y M E TA L
CIRCA
1968-PRESENT
H E A V Y M E TA L
CIRCA
1968-PRESENT
DIE OR DEVIL
H E A V Y M E TA L
CIRCA
1968-PRESENT
DIE OR DEVIL
H E A V Y M E TA L
CIRCA
1968-PRESENT
DIE OR DEVIL
FORWARDS:
ANOTHER ONE BITES THE DUST
H E A V Y M E TA L
CIRCA
1968-PRESENT
DIE OR DEVIL
FORWARDS:
BACKWARDS:
ANOTHER ONE BITES THE DUST ITS FUN TO SMOKE MARIJUANA
H E A V Y M E TA L
CIRCA
1968-PRESENT
PMRC LOBBIED THE RIAA

(RECORDING INDUSTRY ASSOCIATION OF AMERICA)
TO REQUIRE THIS STICKER
H E A V Y M E TA L
CIRCA
1968-PRESENT
S ATA N I C PA N I C
( E A R LY 1 9 7 0 S - E A R LY 1 9 9 0 S , P E A K I N G M I D 1 9 8 0 S )
H E A V Y M E TA L
CIRCA
1986
1968-PRESENT
1981
H E A V Y M E TA L
CIRCA
1968-PRESENT
1981
1986
1986
H E A V Y M E TA L
CIRCA
1968-PRESENT
1981
1986
1986
W E N E E D T O TA K E M E TA L ( L I K E A L L M U S I C )
ON ITS OWN TERMS
H E A V Y M E TA L
CIRCA
1986
1968-PRESENT
1981
W E N E E D T O TA K E M E TA L ( L I K E A L L M U S I C )
ON ITS OWN TERMS
H E A V Y M E TA L
CIRCA
1968-PRESENT
1986
S U B C U LT U R E
1986
1981
H E A V Y M E TA L
CIRCA
1968-PRESENT
1986
S U B C U LT U R E
1981
1986
MUTUAL
A N TA G O N I S M
H E A V Y M E TA L
CIRCA
1968-PRESENT
A BRIEF NON-ALARMIST STYLISTIC TIMELINE
H E A V Y M E TA L
CIRCA
1960S-1970S
1968-PRESENT
H I G H D I S T O R T I O N , L O U D D R U M S , S TA N D A R D F O R M S
+ SOLOS + PSYCHEDELIC FREAKOUT SECTIONS;
STILL BLUES-DERIVED, BUT WITH DISSONANT
C H R O M A T I C I S M ; M O S T LY N O T S U B G E N R E F I E D
H E A V Y M E TA L
CIRCA
1960S-1970S
1968-PRESENT
I R O N B U T T E R F LY
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
H E A V Y M E TA L
CIRCA
1960S-1970S
1968-PRESENT
MC5
BLACK SABBATH
KISS
JUDAS PRIEST - THE RIPPER (1976)
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT
M A I N S T R E A M M E TA L ( P R O T O - H A I R M E TA L )
P R O G R E S S I V E M E TA L
U N D E R G R O U N D M E TA L
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
CLASSIC ROCK-INFLUENCED
SEEKS TIGHTNESS AND MASS APPEAL
VA L U E S B A N D S I M A G E & S O N G C R A F T
P O P U L I S T & C A P I TA L I S T V A L U E S
MTLEY CRE
RATT
TWISTED SISTER
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
M T L E Y C R E - L O O K S T H AT K I L L ( 1 9 8 3 )
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT
MC5
BLACK SABBATH
KISS
A R T- R O C K - & F A N TA S Y- I N F L U E N C E D , L E S S B L U E S Y
S E E K S N O V E LT Y & G R A N D I O S I T Y I N F O R M & T I M B R E
VA L U E S C L A S S I C A L V I R T U O S I T Y
O S T E N S I B LY A P O L I T I C A L
QUEENSRYCHE
C E LT I C F R O S T
DREAM THEATER
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
Q U E E N S RY C H E - R O A D S T O M A D N E S S ( 1 9 8 4 )
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
PUNK-INFLUENCED, LESS BLUESY

SEEKS EXTREMITY IN FORM & TIMBRE
VA L U E S I M M E D I A C Y & T H E V I S C E R A L
SOMETIMES BAD POLITICS
VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
QUEENSRYCHE
DREAM THEATER
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
QUEENSRYCHE
DREAM THEATER
V E N O M - B L A C K M E TA L ( 1 9 8 2 )
MTLEY CRE
RATT
TWISTED SISTER
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
T H E S E S U B G E N R E S A R E N E I T H E R C O M P L E T E N O R M U T U A L LY E X C L U S I V E ( E . G . C O N S I D E R M E TA L L I C A )
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
M E TA L L I C A - T H E F O U R H O R S E M E N ( 1 9 8 3 )
(NOTE BLUESY RHYTHMS, STRIPPED-DOWN & GARAGE-LIKE PRODUCTION, EPIC THEMES, AND POP APPEAL)
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT

VENOM
DEATH
SLAYER
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
!
1985-1991
E X T R E M E P O P U L A R I T Y O F M A I N S T R E A M M E TA L
EXTREME PROLIFERATION OF SUBGENRES
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
! GUNS N ROSES - NOVEMBER RAIN (1991)

1985-1991
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT

VENOM
DEATH
SLAYER
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
!
1985-1991
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT

VENOM
DEATH
SLAYER
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
!
1985-1991
[ S U B ] G E N R E S A R E [ S U B ] C U LT U R A L A S S E S S M E N T S O F S T Y L E
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985
1968-PRESENT

VENOM
DEATH
SLAYER
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
!
1985-1991
1992-
M A I N T S T R E A M M E TA L D E C L I N E S S H A R P LY, S O M E W H A T S U P P L A N T E D B Y A LT. M E TA L
SUBGENRES KEEP SPLINTERING
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
! A L I C E I N C H A I N S - A N G RY C H A I R ( 1 9 9 2 )
1985-1991
1992-
H E A V Y M E TA L
CIRCA
1960S-1970S
1980-1985

VENOM
DEATH
SLAYER
1968-PRESENT
MC5
BLACK SABBATH
KISS
LED ZEPPELIN
JUDAS PRIEST
VA N H A L E N
AC/DC
MTLEY CRE
RATT
TWISTED SISTER
QUEENSRYCHE
DREAM THEATER
T H E FA C E L E S S P L A N E!TA R Y D U A L I T Y I I ( A P R O P H E C I E S F R U I T I O N ) ( 2 0 0 8 )
1985-1991
1992-
H E A V Y M E TA L
CIRCA
1968-PRESENT
FINAL QUESTIONS
D O M E TA L A E S T H E T I C S W O R K L I K E O T H E R
AESTHETICS?
WHY DO WE SOMETIMES LIKE UGLINESS?
W H AT D O E S A S U B C U LT U R E D O W H E N I T
GETS OVEREXPOSED?
W H AT A B O U T T H O S E ( R A R E ) M E TA L B A N D S
W H O A R E A C T U A L LY E V I L ?
I F M E TA L R E M O V E S B L U E S I N F L U E N C E S ,
W H AT D O E S T H AT S AY A B O U T I T S R A C I A L
POLITICS? AND WHY SO FEW WOMEN?
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
Q U E S T I O N # 2 : T H E B A N D J A N E S A D D I C T I O N I S W I D E LY C O N S I D E R E D
A N I M P O R TA N T L I N K B E T W E E N L A T E - 8 0 S M E TA L , F U N K , A N D
E A R LY- 9 0 S A LT E R N A T I V E R O C K . L I S T E N T O A N E X C E R P T F R O M S T O P
A N D I D E N T I F Y ( F O R 1 / 4 P T. E A C H ) A . ) O N E C O M P O N E N T O F T H E
PIECE INDEBTED TO FUNK OR SOUL, AND B.) ONE COMPONENT
I N D E B T E D T O M E TA L
MUNM 14000
LISTENING QUIZ
1989-1992
1989-1992
MARKET CRASH OF 1987
1989-1992
MARKET CRASH OF 1987

S U R P R I S I N G LY L I T T L E P R A C T I C A L I M PA C T
1989-1992
T H A T FA C T I T S E L F W A S U P S E T T I N G
1989-1992
T H A T FA C T I T S E L F W A S U P S E T T I N G
1989-1992
ROCK ECONOMICS:
U . S . H A P P I N E S S A B O U T R E A G A N S C U LT U R E / E C O N O M I C S I S
I N L O C K S T E P W I T H U . S . H A P P I N E S S A B O U T H A I R M E TA L
1989-1992
M T V S 1 9 9 1 F O R M A T: B L O C K S
1989-1992
ROCK BLOCK
H A I R M E TA L & H A R D R O C K
1989-1992
ROCK BLOCK
RAP BLOCK
PA R T Y / P O P R A P
CONSCIOUSNESS RAP (A LITTLE)
A L M O S T N O G A N G S TA R A P ( N O T Y E T )
1989-1992
ROCK BLOCK
RAP BLOCK
CLUB BLOCK
DANCE POP
( E . G . M A D O N N A , PA U L A A D B U L , B O Y Z I I M E N )
HOUSE & EUROPOP
( E . G C & C M U S I C F A C T O R Y, K L F, S N A P ! )
1989-1992
ROCK BLOCK
RAP BLOCK
CLUB BLOCK
DANCE POP
( E . G . M A D O N N A , PA U L A A D B U L , B O Y Z I I M E N )
HOUSE & EUROPOP
( E . G C & C M U S I C F A C T O R Y, K L F, S N A P ! )
BUZZ BLOCK
A LT E R N A T I V E / U N C A T E G O R I Z A B L E M U S I C
1989-1992
BECOMES A BIG DEAL LEADING UP TO 1991
1989-1992
U2: ACHTUNG BABY (1991)

18 MILLION SALES
THE CURE: DISINTEGRATION (1989)

GREATEST ALBUM EVER!
- S O U T H PA R K
SONIC YOUTH: DAYDREAM NATION (1988)

#1 LP OF THE 80S - PITCHFORK
BECOMES A BIG DEAL LEADING UP TO 1991
1989-1992

18 MILLION SALES

- S O U T H PA R K

1 9 9 1 : G R A M M Y F O R A LT E R N A T I V E M U S I C
1989-1992

18 MILLION SALES

- S O U T H PA R K

R.E.M.: LOSING MY RELIGION (FROM OUT OF TIME) (1991)
1 9 9 1 : G R A M M Y F O R A LT E R N A T I V E M U S I C
1 9 9 1 : M T V M VA V I D E O O F T H E Y E A R
1989-1992
IS
A LT E R N AT I V E
A LOADED WORD?
1989-1992
IS
A LT E R N AT I V E
A LOADED WORD?
A LT E R N AT I V E T O W H A T ?
1989-1992
IS
A LT E R N AT I V E
A LOADED WORD?
ANTI-IMAGE
ANTI-CONSUMERIST
A N T I - PA R T Y C U LT U R E
1989-1992
IS
A LT E R N AT I V E
A LOADED WORD?
ANTI-IMAGE
ANTI-CONSUMERIST
PRO-CONTENT
PRO-GRASSROOTS
PRO-INTROSPECTION
1989-1992
IS
A LT E R N AT I V E
A LOADED WORD?
ANTI-IMAGE
ANTI-CONSUMERIST
PRO-CONTENT
PRO-GRASSROOTS
PRO-INTROSPECTION
I F C O R P O R A T E R O C K D O E S I T, W E L L D O T H E O P P O S I T E
1989-1992
TO GIVE JUST ONE

PRE-GRUNGE EXAMPLE
1989-1992
WHAT ROLE DID ELECTRONICS PLAY IN ROCK?
1989-1992
TECHNO-ROCK
BEATS & VOCALS INFLUENCED BY HIP-HOP
MIX OF REAL & ELECTRONIC DRUMS
G U I TA R S S E PA R A T E I T F R O M P O P, B U T
WITHOUT ALLEGIANCE TO ROCK
LISTEN FOR THE HARSH PIANO SOUND,
BORROWED FROM HOUSE MUSIC
FUN MUSIC MADE FOR DANCING
LOTS OF FORMER UK ROCK BANDS DID
THIS 1989-1992 E.G.: STONE ROSES)
JESUS JONES / EMF / INXS /

STEREO MCS / LOVE & ROCKETS
1989-1992
TECHNO-ROCK

E M F - U N B E L I E VA B L E ( 1 9 9 0 )
US #1, UK #3
1989-1992
TECHNO-ROCK
INDUSTRIAL ROCK
CYBERNETIC BLEND OF
HUMAN & MACHINE SOUNDS
D I S T O R T I O N N O T J U S T O N G U I TA R S ,
BUT DRUMS & VOCALS TOO
LY R I C S A R E A L W A Y S A B O U T
UNHAPPINESS, CHAOS, & POWER
NOT FUN BUT CATHARTIC

PURE INDUSTRIAL ROOTS = 70S EUROPE,

BUT INDUSTRIAL ROCK = MIDWEST US

NINE INCH NAILS / SKINNY PUPPY /

S TA B B I N G W E S T W A R D / M I N I S T R Y
1989-1992
INDUSTRIAL ROCK
CYBERNETIC BLEND OF

M I N I S T R Y - S T I G M A TA ( 1 9 8 8 )
1989-1992
INDUSTRIAL ROCK
CYBERNETIC BLEND OF

NINE INCH NAILS HEAD LIKE A HOLE (1989)
1989-1992
TECHNO-ROCK
INDUSTRIAL ROCK
CYBERNETIC BLEND OF




1989-1992
TECHNO-ROCK
INDUSTRIAL ROCK
CYBERNETIC BLEND OF




1989-1992
TECHNO-ROCK
INDUSTRIAL ROCK
IS
I SB Y AH I PM
B E A T S & V O C A L S I N FT
L UH
EN
CED
- H IOC
P R O C O S M CYBERNETIC BLEND OF




1989-1992
TECHNO-ROCK
INDUSTRIAL ROCK
IS
I SB Y AH I PM
B E A T S & V O C A L S I N FT
L UH
EN
CED
- H IOC
P R O C O S M CYBERNETIC BLEND OF
G U I TA R S S E PAU
RA
B ULT
T E R N AT I V E M U S I C
NT ET IITL F R1O9M9P2O ,P, A
W A S L A R G E LY S P L I T B E T W E E N
U K ( P O S T P U N K , G O T H , TUEN C
H AH
P PN
I NO
E S)S , C H A O S , & P O W E R
& U S ( S T O N E R , F O L K , P U N K)N O T F U N B U T C A T H A R T I C



1989-1992
LATE 1991 - GRUNGE ARRIVES
1989-1992
W H A T S T H E F A N TA S Y H E R E ?
1989-1992
B Y M I D - 1 9 9 2 , A LT E R N A T I V E I S
SYNONYMOUS WITH GRUNGE IN THE US
PEARL JAM: TEN (AUG. 1991)

13 MILLION SALES
N I R V A N A : N E V E R M I N D ( S E P T. 1 9 9 1 )
30 MILLION SALES
1989-1992
PEARL JAM: TEN (AUG. 1991)

13 MILLION SALES
N I R V A N A : N E V E R M I N D ( S E P T. 1 9 9 1 )
30 MILLION SALES
A X L R O S E , L I V E O N S TA G E , 1 9 9 2
1989-1992
A LT. F U N K / M E TA L
GOTH
FUNK/PUNK
INDUSTRIAL ROCK
G A N G S TA R A P
WEIRD
PUNK
1989-1992
A LT. F U N K / M E TA L
GOTH
FUNK/PUNK
INDUSTRIAL ROCK
G A N G S TA R A P
WEIRD
PUNK
A LT. F U N K / R O C K
I N D U S T R I A L M E TA L
G A N G S TA R A P
GRUNGE
GRUNGY DREAMPOP
GRUNGE
GRUNGY DREAMPOP
1989-1992
B Y 1 9 9 6 A LT E R N A T I V E W O U L D B E R O C K
( W H I C H I S N O T V E R Y A LT E R N A T I V E )
1989-1992
B Y 1 9 9 6 A LT E R N A T I V E W O U L D B E R O C K
( W H I C H I S N O T V E R Y A LT E R N A T I V E )
W E L L TA L K A B O U T M U S I C A L S T Y L E S O O N
FOR EIGHT GRADE POINTS, CHOOSE ONE OF THE TWO FOLLOWING PROJECTS
DUE APRIL 15
1.
Select a style from the following list, and then consult your textbook and other appropriate sources about it. From this
preliminary research, choose at least four albums to listen to in depth. They should all be recorded within three years
of one another, and they should be records with which you are not previously familiar. Having closely assessed the
four albums, select whichever you find to be the most interesting, illuminating, or compelling.
Write a review of the album. Use your ears and your understanding of musical styles (as gleaned from this class and
its materials); do not research the album further. This should not be a track-by-track description, nor a simple personal
assessment of whether you liked it. Instead, take up the following two tasks: 1.) using well-written prose, start by
familiarizing the reader with the album's overall sound, stylistic content, range, and topical matter, relating it to other
recordings, styles, or ideas as needed; and 2.) make a thesis-driven argument for how a listener might best understand
and appreciate this album (e.g. a brave but ultimately failed fusion of unlikely styles, an unjustly ignored peak of its
subgenre, a showcase for studio production, an argument for realism in addressing gender in pop, a study in
otherworldliness, etc.). In your writing, you may integrate these two tasks as much or as little as you deem appropriate.
The end result, regardless, should be a thoughtful and articulate essay that introduces a reader to an album, specifically
frames it within its style(s), and using hearable evidence from the music itself, makes a larger argument about what
lens we should hear it through.
500 typed words. Absolutely no plagiarism, obviously. Points will be given evenly for your stylistic assessment of the
album, the clarity of your argument, the persuasiveness of your evidence, and the quality of your writing.
Funk
Philly Soul
Doo-Wop
R&B
Chicago/Detroit House
Acid House
70s Pop
Thrash
Punk
New Jack Swing
Surf Rock
Rap-Rock
Goth
Dreampop
Progressive Metal
Hip-Hop
Art Rock
Chamber Pop
Southern Rock
Grunge
Singer/Songwriter
Jazz/Rock Fusion
Folktronica
Electro
Trip-Hop
Adult Contemporary
Disco
Emo
Blues
Worldbeat
Jungle
No Wave
Synthpop
Rockabilly
Alt. Country
Modern Country
OR
2.
Alone or with one partner from the class, perform and/or record (through any means) a song, either:
A.) an original composition, clearly rooted in an rock style that we have discussed, or
B.) a cover of an existing song, recast dramatically in a new (but clearly identifiable) rock style that we have
discussed
In either case, adhere specifically to the practices of the style you adopt. Submit a written brief (100-200 words)
that explains your process and how you specifically achieved the rock style that you did. You may not bring in a
song you've already written or recorded. Submit as an .mp3 or a live in-class performance. First-time musicians
will be given extra leeway.
Points will be awarded evenly for ambition, execution, creativity, and the quality of your writeup.
MUNM 14000

DR. ALEXANDER REED
99
1
X
,
D
N
N
O
I
A
AT
PL
R
U
E
O
GEN LAS C
UG
DO
M
&
OBS
J
ON
EY
N
O
AIR
O Z M O S I S :
THE INABILITY
OF ONE'S JOB
TO LIVE UP TO
ONE'S SELFIMAGE.
S A F E T Y N E T- I S M :
POOR
THE BELIEF THAT

T H E R E W I L L A LW A Y S
BE A FINANCIAL
AND EMOTIONAL
SAFETY NET TO
B U F F E R
L I F E ' S
H U R T S . U S U A L LY
PA R E N T S .
THE REALIZATION THAT

ONE WAS A BETTER
PERSON WHEN ONE
H A D L E S S M O N E Y.
B U O YA N C Y:
F A M I LY:
DESCRIBES THE
FALSE SENSE
OF COMMUNITY
EXPERIENCED
A M O N G
COWORKERS IN
A N
O F F I C E
E N V I R O N M E N T.
MCJOB:
A
L O W - PA Y,
LOW-PRESTIGE,
L O W - D I G N I T Y,
L O W - B E N E F I T,
NO-FUTURE JOB
IN THE SERVICE
S E C T O R .
F R E Q U E N T LY
CONSIDERED A
S A T I S F Y I N G
CAREER CHOICE
BY PEOPLE WHO
H A V E N E V E R
HELD ONE.
B R A Z I L I F I C AT I O N :
THE WIDENING GULF BETWEEN
THE RICH AND THE POOR AND THE
A C C O M PA N Y I N G D I S A P P E A R A N C E
OF THE MIDDLE CLASSES.
ON
W
O
R
G
:
S
P
U
BLEEDING
P O N Y TA I L :
A N E L D E R LY S O L D - O U T
BABY BOOMER WHO PINES
F O R H I P P I E O R P R E SELLOUT DAYS.
B O O M E R E N V Y:
H O M E O W N E R E N V Y:
E N V Y O F M A T E R I A L W E A LT H A N D
LONG-RANGE MATERIAL SECURITY
ACCRUED BY OLDER MEMBERS OF
THE BABY BOOM GENERATION BY
VIRTUE OF FORTUNATE BIRTHS.
F E E L I N G S
O F
J E A L O U S Y
GENERATED BY THE YOUNG AND
THE DISENFRANCHISED WHEN
FA C E D W I T H G R U E S O M E H O U S I N G
S TA T I S T I C S .
UNDERDOGGING:
CS
I
H
S:
T
C
E
I
ET
ON
H
T
ES
A
&
SURVIVULOUSNESS:
THE TENDENCY TO
VISUALIZE ONESELF
ENJOYING BEING THE
L A S T P E R S O N O N
EARTH.
T H E T E N D E N C Y T O
A L M O S T I N V A R I A B LY S I D E
WITH THE UNDERDOG IN
A GIVEN SITUATION.
K N E E - J E R K I R O N Y:
THE TENDENCY TO MAKE
F L I P PA N T
I R O N I C
C O M M E N T S
A S
A
REFLEXIVE MATTER OF
COURSE IN EVERYDAY
CONVERSATION.
ME-ISM:
BREAD & CIRCUITS:

THE ELECTRONIC ERA
TENDENCY TO VIEW
PA R T Y P O L I T I C S A S
CORNYNO LONGER
R E L E VA N T
O R
M E A N I N G F U L
O R
USEFUL TO MODERN
S O C I E TA L I S S U E S , A N D
I N
M A N Y
C A S E S
DANGEROUS.
M U S I C A
HAIRSPLITTING:
T H E
A C T
O F
CLASSIFYING MUSIC
AND MUSICIANS INTO
P A T H O L O G I C A L LY
PICAYUNE CATEGORIES:
"THE VIENNA FRANKS
ARE A GOOD EXAMPLE
OF URBAN WHITE ACID
F O L K R E V I VA L I S M
CROSSED WITH SKA."
A SEARCH BY AN INDIVIDUAL,
IN THE ABSENCE OF TRAINING
OR TRADITIONAL RELIGIOUS
TENETS, TO FORMULATE A
P E R S O N A L LY TA I L O R E D
R E L I G I O N B Y H I M S E L F. M O S T
F R E Q U E N T LY A M I S H M A S H O F
REINCARNATION, PERSONAL
D I A L O G U E
W I T H
A
N E B U L O U S LY D E F I N E D G O D
FIGURE, NATURALISM, AND
K A R M I C
E Y E - F O R - E Y E
ATTITUDES.
L,
A
T
:
TO
T
O
N
I
G
E
V
WE
A S E T O F AT T I T U D E S , T E N D E N C I E S , A N D B E L I E F S
HELD IN COMMON BY A GROUP OF PEOPLE
.
I D E O L O G Y:
.
I D E O L O G Y:
.
N O T A L W A Y S L O G I C A L LY C O N S I S T E N T
I D E O L O G Y:
.
TENETS NEED NOT BE UNIVERSAL WITHIN A GROUP
I D E O L O G Y:
.
B U T I T U N D E R L I E S E X P R E S S I V E A R T I FA C T S C R E A T E D
A M O N G & C O N S U M E D B Y C U LT U R E S & S U B C U LT U R E S
M
&
OBS
J
ON
EY
N
O
AIR
O Z M O S I S :
THE INABILITY
OF ONE'S JOB
TO LIVE UP TO
ONE'S SELFIMAGE.
POOR
THE BELIEF THAT

BE A FINANCIAL
AND EMOTIONAL
SAFETY NET TO
B U F F E R
L I F E ' S
PA R E N T S .

ONE WAS A BETTER
PERSON WHEN ONE
H A D L E S S M O N E Y.
B U O YA N C Y:
F A M I LY:
DESCRIBES THE
FALSE SENSE
OF COMMUNITY
EXPERIENCED
A M O N G
COWORKERS IN
A N
O F F I C E
MCJOB:
A
L O W - PA Y,
LOW-PRESTIGE,
NO-FUTURE JOB
IN THE SERVICE
S E C T O R .
F R E Q U E N T LY
CONSIDERED A
S A T I S F Y I N G
CAREER CHOICE
BY PEOPLE WHO
H A V E N E V E R
HELD ONE.
A C C O M PA N Y I N G D I S A P P E A R A N C E
OF THE MIDDLE CLASSES.
M
&
OBS
J
ON
EY
N
O
AIR
O Z M O S I S :
THE INABILITY
OF ONE'S JOB
TO LIVE UP TO
ONE'S SELFIMAGE.
POOR
B U O YA N C Y:
THE BELIEF THAT

BE A FINANCIAL
AND EMOTIONAL
SAFETY NET TO
B U F F E R L I F E ' S
PA R E N T S .

ONE WAS A BETTER
PERSON WHEN ONE
HAD LESS MONEY.
F A M I LY:
DESCRIBES THE
FALSE SENSE
OF COMMUNITY
EXPERIENCED
A
M
O
N
G
COWORKERS IN
A N
O F F I C E
MCJOB:
A
L O W - PA Y,
LOW-PRESTIGE,
NO-FUTURE JOB
IN THE SERVICE
S E C T O R .
F R E Q U E N T LY
CONSIDERED A
S A T I S F Y I N G
CAREER CHOICE
BY PEOPLE WHO
H A V E N E V E R
HELD ONE.
A C C O M PA N Y I N G D I S A P P E A R A N C E O F
THE MIDDLE CLASSES.
W O R K I S N O T A S O U R C E O F M O N E Y, H A P P I N E S S , I D E N T I T Y, O R
SOCIAL JUSTICE.
ON
W
O
R
G
:
S
P
U
BLEEDING
P O N Y TA I L :
E N V Y O F M A T E R I A L W E A LT H A N D
F E E L I N G S
O F
J E A L O U S Y
ON
W
O
R
G
:
S
P
U
BLEEDING
P O N Y TA I L :
(SELLING OUT WAS THE WORST SIN
A N E A R LY- 9 0 S G E N - X E R C O U L D C O M M I T )
E N V Y O F M AT E R I A L W E A LT H A N D
F E E L I N G S
O F
J E A L O U S Y
W E M I G H T E N V Y P E O P L E W I T H M O R E M O N E Y, B U T W E T H I N K
THEY ARE SOULLESS.
UNDERDOGGING:
CS
I
H
S:
T
C
E
I
ET
ON
H
T
ES
A
&
SURVIVULOUSNESS:
THE TENDENCY TO
VISUALIZE ONESELF
ENJOYING BEING THE
EARTH.
A GIVEN SITUATION.
F L I P PA N T
I R O N I C
C O M M E N T S
A S
A
REFLEXIVE MATTER OF
COURSE IN EVERYDAY
CONVERSATION.
ME-ISM:
BREAD & CIRCUITS:

THE ELECTRONIC ERA
TENDENCY TO VIEW
CORNYNO LONGER
R E L E VA N T
O R
M E A N I N G F U L
O R
USEFUL TO MODERN
I N
M A N Y
C A S E S
DANGEROUS.
M U S I C A
HAIRSPLITTING:
T H E
A C T
O F
CLASSIFYING MUSIC
AND MUSICIANS INTO
"THE VIENNA FRANKS
ARE A GOOD EXAMPLE
OF URBAN WHITE ACID
CROSSED WITH SKA."
D I A L O G U E
W I T H
A
K A R M I C
ATTITUDES.
UNDERDOGGING:
CS
I
H
S:
T
C
E
I
ET
ON
H
T
ES
A
&
SURVIVULOUSNESS:
THE TENDENCY TO
VISUALIZE ONESELF
ENJOYING BEING THE
EARTH.
A GIVEN SITUATION.
F L I P PA N T
I R O N I C
C O M M E N T S
A S
A
REFLEXIVE MATTER OF
COURSE IN EVERYDAY
CONVERSATION.
ME-ISM:
BREAD & CIRCUITS:

THE ELECTRONIC ERA
TENDENCY TO VIEW
CORNYNO LONGER
R E L E VA N T
O R
M E A N I N G F U L
O R
USEFUL TO MODERN
I N
M A N Y
C A S E S
DANGEROUS.
M U S I C A
HAIRSPLITTING:
T H E
A C T
O F
CLASSIFYING MUSIC
AND MUSICIANS INTO
"THE VIENNA FRANKS
ARE A GOOD EXAMPLE
OF URBAN WHITE ACID
CROSSED WITH SKA."
D I A L O G U E
W I T H
A
K A R M I C
ATTITUDES.
W E R E A L O N E A N D N E G L E C T E D , B U T W E P R E F E R I T T H AT W AY.
W O R K I S N O T A
S O U R C E O F M O N E Y,
H A P P I N E S S , I D E N T I T Y,
OR SOCIAL JUSTICE.
W E M I G H T E N V Y
PEOPLE WITH MORE
M O N E Y,
B U T
W E
T H I N K T H E Y A R E
SOULLESS.
WERE ALONE AND
NEGLECTED, BUT WE
P R E F E R I T T H AT W AY.
I D E O L O G Y:
.
W O R K I S N O T A
OR SOCIAL JUSTICE.
PEOPLE WITH MORE
M O N E Y,
B U T
W E
SOULLESS.
WERE ALONE AND
NEGLECTED, BUT WE
ONES IDENTITY IS
M O R E I M P O R TA N T
T H A N ( A N D I N
CONFLICT WITH)
W E A LT H
A N D
T R A D I T I O N
REGARDLESS OF
THE CONSEQUENT
I S O L AT I O N O R
FA I L U R E .
I D E O L O G Y:
.
W O R K I S N O T A
OR SOCIAL JUSTICE.
PEOPLE WITH MORE
M O N E Y,
B U T
W E
SOULLESS.
WERE ALONE AND
NEGLECTED, BUT WE
ONES IDENTITY IS
T H A N ( A N D I N
CONFLICT WITH)
W E A LT H
A N D
T R A D I T I O N
REGARDLESS OF
THE CONSEQUENT
FA I L U R E .
( T H I S I S M O R E
O F T E N F R A M E D
N E G A T I V E LY T H A N
A S P I R A T I O N A L LY. )
.
I D E O L O G Y:
.
W O R K I S N O T A
OR SOCIAL JUSTICE.
PEOPLE WITH MORE
M O N E Y,
B U T
W E
SOULLESS.
WERE ALONE AND
NEGLECTED, BUT WE
I D E O L O G Y:
ONES IDENTITY IS
T H A N ( A N D I N
CONFLICT WITH)
W E A LT H
A N D
T R A D I T I O N
REGARDLESS OF
THE CONSEQUENT
FA I L U R E .
. SEE WHY THIS
C U LT U R E W A S
B R A N D E D
A S
A LT E R N A T I V E ?
.
W O R K I S N O T A
OR SOCIAL JUSTICE.
PEOPLE WITH MORE
M O N E Y,
B U T
W E
SOULLESS.
ONES IDENTITY IS
T H A N ( A N D I N
CONFLICT WITH)
W E A LT H
A N D
T R A D I T I O N
REGARDLESS OF
THE CONSEQUENT
FA I L U R E .
DO IDEOLOGIES MANIFEST IN
WERE ALONE AND
P O P U L A R M NUESG LIECC T, E DA, N
IF
B UD
T W
E SO, HOW?
(AND IN THIS CASE, CAN WE HEAR
I D E O L O G Y:
. SEE WHY THIS
C U LT U R E W A S
B R A N D E D
A S
A LT E R N A ATLTI VE RENA-TN
E
S
S?)
IVE?
.
W O R K I S N O T A
OR SOCIAL JUSTICE.
PEOPLE WITH MORE
M O N E Y,
B U T
W E
SOULLESS.
ONES IDENTITY IS
T H A N ( A N D I N
CONFLICT WITH)
W E A LT H
A N D
T R A D I T I O N
REGARDLESS OF
THE CONSEQUENT
FA I L U R E .
DO IDEOLOGIES MANIFEST IN
WERE ALONE AND
P O P U L A R M NUESG LIECC T, E DA, N
IF
B UD
T W
E SO, HOW?
(AND IN THIS CASE, CAN WE HEAR
I D E O L O G Y:
. SEE WHY THIS
C U LT U R E W A S
B R A N D E D
A S
A LT E R N A ATLTI VE RENA-TN
E
S
S?)
IVE?
.
SOME QUESTIONS TO ASK WHEN LISTENING:
W H O S E S T O RY I S B E I N G T O L D ?
W H AT E X P E R I E N C E S & P E R S O N A L I T I E S A R E B E I N G P E R F O R M E D ?
W H AT K I N D O F E N V I R O N M E N T D O E S T H E S O U N D C O N N O T E ?
W H AT M U S I C A L S T Y L E S / A S S U M P T I O N S A R E H E E D E D O R I G N O R E D ?
S O W H AT S T H E U P S H O T ?
PEARL JAM JEREMY
PORNO FOR PYROSPETS
THE BREEDERS CANNONBALL
P R I M U S - J E R RY WA S
A RACECAR DRIVER
BECK - LOSER
PEARL JAM JEREMY
THE BREEDERS PORNO FOR PYROSC AYNN O

PE
J A M - J E R E M
PE
ATRS L
( 1N9B9A1L L)
A RACECAR DRIVER
BECK - LOSER
W H O S E S T O R! Y I S B E I N G T O L D ?
AT HOME DRAWING PICTURES

O F M O U N TA I N T O P S W I T H H I M O N T O P
LEMON YELLOW SUN, ARMS RAISED IN A V
AND THE DEAD LAY IN POOLS OF MAROON BELOW
!
YE
DS
IDN
T TN
EN
W H AT E X P E RDI AEDNDC
&' T PGEI VRE SAO
ATLI OI TN I E S A R E B E I N G P E R F O R M E D ?
O H , T O T H E FA C T T H A T M O M M Y D I D N ' T C A R E
KING JEREMY THE WICKED RULED HIS WORLD
JEREMY SPOKE IN CLASS TODAY
!
W H AT K I N D
C L E A R LY I R E M E M B E R P I C K I N ' O N T H E B O Y
S EFE MEEN
D V
A IHRAO
RM
ESE
S N
L I TTT LD
EO
F UECS
K THE SOUND CONNOTE?
O
NL M
BUT WE UNLEASHED A LION: GNASHED HIS TEETH
A N D B I T T H E R E C E S S L A D Y ' S B R E A S T, H O W C O U L D I F O R G E T ?
AND HE HIT ME WITH A SURPRISE LEFT
MY JAW LEFT HURTING, DROPPED WIDE OPEN
J U S T L I K E T H E D A Y, O H , L I K E T H E D A Y I H E A R D
W H AT M U S I C !A L S T Y L E S / A S S U M P T I O N S A R E H E E D E D O R I G N O R E D ?
DADDY DIDN'T GIVE AFFECTION, NO!
AND THE BOY WAS SOMETHING THAT MOMMY WOULDN'T WEAR
KING JEREMY THE WICKED RULED HIS WORLD
!
O FUOPR S
GH
E TOT T
H I?S ,
S O W H AT ST RTYHTE
TRY TO ERASE THIS

FROM THE BLACKBOARD
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
A U T H O R I TA T I V E
MASCULINITY
W R A C K E D B Y G U I LT
& CONFUSION
B R I G H T, N A T U R A L ,
W O O D Y: A H O U S E
MODERN FOLK
M U S I C ; N O G U I TA R
SOLO, BLEND OF
MAJOR & MINOR;
LY R I C S O B L I Q U E
T H E A D U LT W O R L D
C A N N O T A B S O LV E
ITSELF FROM THE
VIOLENCE IT HAS
N A T U R A L LY B R E D
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
PORNO FOR PYROS - PETS (1993)
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
W H AT
CHILDREN ARE INNOCENT

TEENAGERS ARE FUCKED UP IN THE HEAD
A D U LT S A R E E V E N M O R E F U C K E D U P
E X P E R I E NACNEDSE L&D EPRELR
SONALITIES ARE BEING
IES ARE LIKE CHILDREN
MASCULINITY
& CONFUSION
W H AT K I N D O F
PERFORMED?
!
WILL THERE BE ANOTHER RACE
T O C O M E A L O N G A N D TA K E O V E R F O R U S ?
MAYBE MARTIANS COULD DO
EENT V
NAM
OOENSE T H E S O U N D C O N N O T E ?
B
T EI R
RO
TH
N EWNET
' V ED D
!
WE'LL MAKE GREAT PETS
!
I ESN/D
E N
L IS
K EATRHEE H
D IENEOD
SA
W H AT M U S I C A L M
S TY YFLRE
A SS A
S YUSMWPET' RI O
E UDR SO R I G N O R E D ?
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
O N LY W E A R E D O I N G O U R S E LV E S I N
M U C H FA S T E R T H A N T H E Y E V E R D I D
!
ITSELF FROM THE
VIOLENCE IT HAS
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
MASCULINITY
& CONFUSION
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
ITSELF FROM THE
VIOLENCE IT HAS
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
C O M I C A L LY D O O M E D
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
M I S A N T H R O P I S T,
ANIMAL LOVER
WARM, OUTDOOR,
WOODY
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
N O B A C K B E A T, B U T
A JAZZY 70S SOFT
ROCK BASIS
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
V I B E PA I N T S T H E
MODERN WORLD AS A
B L A C K C O M E D Y; A
FA I L E D P R O J E C T
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
H U M ATNH
I TE
Y ABS R E E D E R S
- CANNONBALL (1993)
CHECK CHECK CHECK, ONE TWO
W H AT E X P E R I E N! C E S & P E R S O N A L I T I E S A R E B E I N G P E R F O R M E D ?
MASCULINITY
& CONFUSION
W H AT K I N D
SPITTING IN A WISHING WELL

AWKWARD CHILDLIKE
BLOWN TO HELL, CRASH
NARRATOR AS
I 'TM
T PHI SET, L A S T S P L A S H
MISAN
HRO
ANIMAL LOVER
I KNOW YOU LITTLE LIBERTINE

OF E
NNVOI W
R OY N
M' REENAT RD
OLECSU C
TK
HOEOS O U N D
I K
OU
EA
AUNT DTOYOO
W A R MW
, O
R, U C U C K O O C A N N O N B A L L
CONNOTE?
WOODY
IN THE SHADE, IN THE SHADE
!
I T
KN
WS Y/ O
I TM
T LPETLIIO
B ENRST I A
N ER E H E E D E D O R I G N O R E D ?
W H AT M U S I C A L S
YO
LE
A US SL U
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
I KNOW YOU'RE A CANNONBALL

WHATEVER YOU WANT
THIS REGGAE SONG
B SEO FYTO U R
A J A ZIZ' YL L
70S
R O C KTBH
AE
S I SB O N G I N
!
IN THE SHADE, IN THE SHADE
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
WARM, OUTDOOR,
WOODY
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
KID NEXT DOOR ON A
C O M I C A L LY D O O M E D D A Y O F F E E L I N G
PUMPED UP
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
NORMAL,
UNGODLIKE, BUT
WITH SNAZZY
ATTITUDE
WARM, OUTDOOR,
WOODY
PLAYED BY FRIENDS
IN A ROOM, MAYBE
AFTER SCHOOL
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
LEAD VOCAL IS
BURIED, PHRASES
ARE IRREGULAR;
GARAGE ROCK IS
THE NORM
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
P R I M U S - J E R RY WA S A R A C E C A R D R I V E R ( 1 9 9 1 )
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
!H U M A N I T Y
AS
KID NEXT DOOR ON A
C
O
M
I
C
A
L
LY
D
O
O
M
E
D
A YE O
LIN
J E R R Y W A S A R ADC
CFAFRE ED
R GI V E R
PUMPED UP
A N D H E D R O V E S O G O D D A M N E D FA S T
HE NEVER DID WIN NO CHECKERED FLAG
W H AT E X P E R IBEUN
CES & PERSONALITIES ARE BEING
T HE NEVER DID COME IN LAST
A
L ,R D R I V E R
JW
E KRWRAYR DWCAH ISL DAL I KRE ANCOER MCAA
MASCULINITY
NARRATOR AS
UNGODLIKE, BUT
H
E ' D S A Y " E L S OWBI T HNSUNM
BER ONE"
AZZY
WNII T
BEO
UTST I TSUTDIEC K E R O N H I S 4 4 2
& CONFUSION
A
MH
AL A
LOV
R CEPHA
HE'D LIGHT 'EM UP JUST FOR FUN
PERFORMED?
W H AT K I N D O! F E N V I R O N M E N T D O E S T H E S O U N D C O N N O T E ?
C
A P TA I N P I E R C EP LW
AS A FIREMAN
WARM, OUTDOOR,
AYED BY FRIENDS
R IOCOH
N AE R#O3O M , M A Y B E
W
D YM O N D E N G IIN
R SCHOOL
I ' L L B E A W E A LT AHFYT E M
AN WHEN I GET A DIME
F O R A L L T H E T H I N G S T H A T M A N TA U G H T T O M E
CL
A PSTA
I NL E
P ISE/RA
CS
E SW
S PATSI O
T RN
OS
N GA R
ME
A NH E E D E D O R I G N O R E D ?
W H AT M U S I C A
TY
UAM
STRONG AS ANY MAN ALIVE
MODERN FOLK
EAD VOCAL IS
N
B EKA T,I N
B UH
T I S LC
I TO SB ATCUK C
ADW
TRHA SAETS T H E Y
B U RRI E
, PH
A JAZZY 70S SOFT
SOLO, BLEND OF
U LEA RA
; GE OF 65
M
D BEA SHI SI M R E T I RAER EAI RTR ETGH
R OA
CK
MAJOR & MINOR;

GARAGE ROCK IS
THE NORM
JERRY WAS A RACECAR DRIVER

S O W H AT S 2T2 HY E
OT?
E AU
R SP S
OH
LD
SUMMERY GOODTIME NATURALISTIC SOUND
H A D T O O M A N Y OCF O
LD BEERS ONE NIGHT
KIDS PLAYING
EIR
OW
AON
SE
L FN RAORC KO, U N D A T E L E P H O N E P O L E
M
D EDR NW
WR
OA
R LP
D PAE
SD
A HT IHM
ITSELF FROM THE
VIOLENCE IT HAS
SPEAKING THEIR OWN

LANGUAGE
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
KID NEXT DOOR ON A
PUMPED UP
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
NORMAL,
UNGODLIKE, BUT
WITH SNAZZY
ATTITUDE
WARM, OUTDOOR,
WOODY
PLAYED BY FRIENDS
IN A ROOM, MAYBE
AFTER SCHOOL
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
LEAD VOCAL IS
BURIED, PHRASES
ARE IRREGULAR;
GARAGE ROCK IS
THE NORM
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
KID NEXT DOOR ON A
PUMPED UP
NOT A WINNER; A
FUNTIME RACER WHO
DIED DRIVING DRUNK
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
NORMAL,
UNGODLIKE, BUT
WITH SNAZZY
ATTITUDE
VOICE = WEIRD
BACKWOODS
STORYTELLER; AN
UNRELIABLE
NARRATOR
WARM, OUTDOOR,
WOODY
PLAYED BY FRIENDS
IN A ROOM, MAYBE
AFTER SCHOOL
B R I G H T, L O U D
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
LEAD VOCAL IS
BURIED, PHRASES
ARE IRREGULAR;
GARAGE ROCK IS
THE NORM
MISUSED BASS IS
M A I N I N S T R U M E N T,
G U I TA R S O L O I S
ATONAL;
FUNK >ROCK
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
O U T, A N D D E A T H I S
I N C I D E N TA L
PEARL JAM JEREMY
BECK - LOSER (1993)
THE BREEDERS P R I M U S - J E R RY WA S
PORNO FOR PYROSANNONBALL
A RACECAR DRIVER
P E T S I N T H E T I M E O F C HI C
M PA N Z E E S I W A S A M O N K E Y
BECK - LOSER
B U TA N E I N M Y V E I N S S O I ' M O U T T O C U T T H E J U N K I E
S P R A Y- PA I N T T H E V E G E TA B L E S
D O G F O O D S TA L L S W I T H T H E B E E F C A K E PA N T Y H O S E
L TAHSE H E A D L I GKHITDS N
AN
D TP U
T RI NONNE UAT R A
H U M A NKIITL Y
EX
DTOIO
NLE I T H E R A W I N N E R
STOCK CAR FLAMING' WITH A LOSER AND THE CRUISE CONTROL
NOR A LOSER; JUST A
B A B Y ' S I N R E N O W I T H T H E V I TA M I N D
PUMPED UP
DRIVER
GOT A COUPLE OF COUCHES, SLEEP ON THE LOVE SEAT
SOMEONE KEEPS SAYING' I'M INSANE TO COMPLAIN
A B O U T A S H O T G U N W E D D I N G A N D A S TA I N O N M Y S H I R T
DON'T BELIEVE EVERYTHING THAT YOU BREATHE
Y O U G E T A PA R K I N G V I O L A T I O N A N D A M A G G O T O N Y O U R S L E E V E
CAER =
ODS H
E RW
E ID
K WEIRD
A W K W AS R
CAHVI EL DY LOIUKRE F ANCO
MI TAHL ,S O M E M A C E I N TVHO
B
A
C
K
W
OD
S E T R A I L E R PA R K
OO
D DS LTA
WN
TH
N A R R A STAOVRI NAGS' A L L Y O U RUFNOG
I KMEP, SBAUNTD B U R N I N G ' D O O
I T. )
STORYTELLER; AN
M I S A N T( YHOR. OCPUITS T,
WITH SNAZZY
W H O S E S T O R Y I SW IBT HET IH N
E PG
L A S TT
I CO
E YL
E BD
A L?
LS,
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
MASCULINITY
& CONFUSION
ANIMAL LOVER
ATTITUDE
UNRELIABLE
SOY UN PERDEDOR
NARRATOR
I ' M A L O S E R B A B Y, S O W H Y D O N ' T Y O U K I L L M E ?
(DOUBLE-BARREL BUCKSHOT)
W H AT K I N D O F E!N V I R O N M E N T D O E S T H E S O U N D C O N N O T E ?
FORCES OF EVIL IN A BOZO NIGHTMARE
WARM, OUTDOOR,
PLAYED BY FRIENDS
BANNED ALL THE MUSIC WITH A PHONY GAS CHAMBER
W O O D Y' C U Z O N E ' S G O T AI N
A
R
O
O
M
,
M
A
Y
B
E
WEASEL AND THE OTHER'S GOT A FLAG
S EC H
OEOOL T H E R I N A B A G
O N E ' S O N T H E P O LAEF, TSEHRO V
TH
WITH THE RERUN SHOWS AND THE COCAINE NOSE-JOB
THE DAYTIME CRAP OF THE FOLKSINGER SLOP
H E H U N G H I M S E L F W I T H A G U I TA R S T R I N G
S L A P T H E T U R K E Y- N E C K A N D I T ' S H A N G I N G ' F R O M A P I G E O N W I N G
YOU CAN'T WRITE IF YOU CAN'T RELATE
AFL FI O
S R THE BOD
MYI SFUOSRE TDH E
B AHSAST EI S
T RKABDEEA T
CT
A S H FLOERA D
T HV
E OBC
EE
NO BAC
T,H EB U
ED
HARXA S E S
M YS O
T IFMTE I S A BPU
I ERCI E
O,F PW
A J A Z ZAY N7D0 S
F A L L I N G ' O N A T E RAM
S LCAHRO; K I N G ' O N
TH
E SRP LSIO
NL
TO
E R SI S
RIET EI RWRHEO
G'U
GU
I TA
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
ROCK BASIS
GARAGE ROCK IS
S O W H AT S T H E!( D RU
PSHOT?
I V E - B Y B O D Y- P I E R C E )
ITSELF FROM THE
VIOLENCE IT HAS
ATONAL;
S O Y U N P E R D E D O RT H E N O R M
FUNK >ROCK
I ' M A L O S E R B A B Y, S O W H Y D O N ' T Y O U K I L L M E ?
R IOND
GT II TM O
NO
AW
T UNR) A L I S T I C S O U N D
S U M M E R( YYO, GBO
E N D
(
I
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I
'
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O F KW
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(
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G
O
N
N
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C
H
A
NW
GE
I O
CA
THEIR O
N, R
CN
K ,F E E L
MODERN WORLD AS A
R EECDHY;E NA S I E D E U
TS
BG
A BTY H
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SP
EC
AHK,I N
B L A C K C( SOPM
(
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)
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
W
IT
) RONG WAYS OF
PLAYING, AND ROCKING
WITHOUT CARE OF WIN/
LOSE
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
KID NEXT DOOR ON A
PUMPED UP
NOT A WINNER; A
FUNTIME RACER WHO
DIED DRIVING DRUNK
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
NORMAL,
UNGODLIKE, BUT
WITH SNAZZY
ATTITUDE
VOICE = WEIRD
BACKWOODS
STORYTELLER; AN
UNRELIABLE
NARRATOR
WARM, OUTDOOR,
WOODY
PLAYED BY FRIENDS
IN A ROOM, MAYBE
AFTER SCHOOL
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
LEAD VOCAL IS
BURIED, PHRASES
ARE IRREGULAR;
GARAGE ROCK IS
THE NORM
MISUSED BASS IS
ATONAL;
FUNK >ROCK
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
PEARL JAM JEREMY
PORNO FOR PYROSPETS
A RACECAR DRIVER
BECK - LOSER
A CHILD WHO
COMMITS A SCHOOL
SHOOTING/SUICIDE
HUMANITY AS
KID NEXT DOOR ON A
PUMPED UP
NOT A WINNER; A
FUNTIME RACER WHO
DIED DRIVING DRUNK
A LOSER WITH
NOTHING MORE TO
LOSE
MASCULINITY
& CONFUSION
AWKWARD CHILDLIKE
NARRATOR AS
ANIMAL LOVER
NORMAL,
UNGODLIKE, BUT
WITH SNAZZY
ATTITUDE
VOICE = WEIRD
BACKWOODS
STORYTELLER; AN
UNRELIABLE
NARRATOR
A B J E C T,
NONSENSICAL
WEIRDO; A DRIFTER
WARM, OUTDOOR,
WOODY
PLAYED BY FRIENDS
IN A ROOM, MAYBE
AFTER SCHOOL
TOO CLOSE TO THAT

G U Y; M U F F L E D , L A I D
B A C K , S M E L LY
MODERN FOLK
SOLO, BLEND OF
MAJOR & MINOR;
A JAZZY 70S SOFT
ROCK BASIS
LEAD VOCAL IS
BURIED, PHRASES
ARE IRREGULAR;
GARAGE ROCK IS
THE NORM
MISUSED BASS IS
ATONAL;
FUNK >ROCK
F O L K A N D H I P - H O P,
MIXED LANGUAGE;
CONFUSION OVER
WHAT IS A GOOD
IDEA OR NOT
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
W E I R D N E S S I S O D D LY
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?
[GROWNUP] SOCIETY AND

I T S VA L U E S D O N T D E S E R V E
OUR ALLEGIANCE
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?

OUR ALLEGIANCE
WE CAN FIGURE OUT OUR OWN

PLEASURES & MAKE OUR OWN
M I S TA K E S , N O M A T T E R H O W
WEIRD THEY ARE
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?

OUR ALLEGIANCE

WEIRD THEY ARE
(EVEN IF WERE ALL DOOMED)
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?

OUR ALLEGIANCE

WEIRD THEY ARE
(EVEN IF WERE ALL DOOMED)
ITSELF FROM THE
VIOLENCE IT HAS
SUMMERY GOODTIME
MODERN WORLD AS A
NATURALISTIC SOUND
OF KIDS PLAYING
THEIR OWN ROCK,
SPEAKING THEIR OWN
LANGUAGE
THERE IS A PLEASURE
OF UNVOICED GENRES,
WRONG WAYS OF
PLAYING, ROCKING
I N C I D E N TA L
COMPELLING, AND
WHY NOT CELEBRATE
AMID THE THREAT
OF OBLIVION?
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
T H I S I S N T T H E O N LY M U S I C
A BRIEF HISTORY OF NONWESTERN MUSIC

IN WESTERN POP AND ROCK
L AT E 5 0 S - E A R LY 6 0 S
MARTIN DENNY - EXOTICA (1957)

L AT E 5 0 S - E A R LY 6 0 S
EXOTICA BECOMES A
WHOLE GENRE, LASTING
1957-1963

L AT E 5 0 S - E A R LY 6 0 S
EXOTICA BECOMES A
1957-1963
JAZZ & EASY LISTENING MUSICIANS
P L A Y I N G W H O L LY I N V E N T E D S T Y L E S
V E R Y L O O S E LY I N F L U E N C E D B Y A
MISHMASH OF NONWESTERN MUSICS
THAT LISTENERS HAD NO ACCESS TO

L AT E 5 0 S - E A R LY 6 0 S
EXOTICA BECOMES A
1957-1963
JAZZ & EASY LISTENING MUSICIANS
P L A Y I N G W H O L LY I N V E N T E D S T Y L E S
V E R Y L O O S E LY I N F L U E N C E D B Y A
MISHMASH OF NONWESTERN MUSICS
THAT LISTENERS HAD NO ACCESS TO
( W H AT W A S G O I N G I N R O C K
DURING THIS ERA?)

L AT E 5 0 S - E A R LY 6 0 S

L AT E 5 0 S - E A R LY 6 0 S
W H AT I S B E I N G S O L D H E R E ?

L AT E 5 0 S - E A R LY 6 0 S
(YOU MEAN ITS NOT ALL ABOUT THE MUSIC?!)

L AT E 5 0 S - E A R LY 6 0 S
A N AT T I T U D E & I D E N T I T Y I N W H I C H :
V A R I E T Y, O T H E R N E S S , & N O V E LT Y A R E S E X Y ( I T S E X O T I C A , N O T A F R I C A N O R PA C I F I C )
S O U N D S , S T Y L E S , W O M E N , A N D W H O L E C U LT U R E S A R E I N T E R C H A N G E A B L E
S O U N D S , S T Y L E S , W O M E N , A N D W H O L E C U LT U R E S A R E F O R O N E S P L E A S U R E
C O N S U M I N G E X O T I C A R E I N F O R C E S R A C I A L , C U LT U R A L , A N D G E N D E R H I E R A R C H I E S

L AT E 5 0 S - E A R LY 6 0 S
A N AT T I T U D E & I D E N T I T Y I N W H I C H :
V A R I E T Y, O T H E R N E S S , & N O V E LT Y A R E S E X Y ( I T S E X O T I C A , N O T A F R I C A N O R PA C I F I C )
S O U N D S , S T Y L E S , W O M E N , A N D W H O L E C U LT U R E S A R E I N T E R C H A N G E A B L E
S O U N D S , S T Y L E S , W O M E N , A N D W H O L E C U LT U R E S A R E F O R O N E S P L E A S U R E
C O N S U M I N G E X O T I C A R E I N F O R C E S R A C I A L , C U LT U R A L , A N D G E N D E R H I E R A R C H I E S
I N S H O R T, I T M A D E I T S A U D I E N C E F E E L
P O W E R F U L , E N T I T L E D , & C U LT U R E D

M I D 6 0 S - E A R LY 7 0 S
IN GENERAL, MUSICAL OTHERNESS

APPEALED TO PSYCHEDELIA
L E S S A S A P O W E R F A N TA S Y
A N D M O R E A S N E W W AY S O F B E I N G
(ALONG WITH COMMUNAL LIVING,
DRUGS, NEW-AGE BELIEFS, ETC.)

M I D 6 0 S - E A R LY 7 0 S
T H E B E AT L E S - W I T H I N Y O U W I T H O U T Y O U ( 1 9 6 7 )
IN GENERAL, MUSICAL OTHERNESS
APPEALED TO PSYCHEDELIA
L E S S A S A P O W E R F A N TA S Y
A N D M O R E A S N E W W AY S O F B E I N G
(ALONG WITH COMMUNAL LIVING,
DRUGS, NEW-AGE BELIEFS, ETC.)

M I D 6 0 S - E A R LY 7 0 S
M I L E S D AV I S - P H A R A O H S D A N C E ( 1 9 7 0 )
D O E S I T M AT T E R W H O
IS ADAPTING NONWESTERN GESTURES?

M I D 6 0 S - E A R LY 7 0 S
PA R L I A M E N T- F U N K A D E L I C
THE LAST POETS
AFRIKA
B A M B A ATA A
D O E S I T M AT T E R W H O
IS ADAPTING NONWESTERN GESTURES?

M I D 6 0 S - E A R LY 7 0 S
BURUNDI BLACK - BURUNDI BLACK (1971)

D O E S I T M AT T E R H O W N O N W E S T E R N G E S T U R E S
ARE ADAPTED?

M I D 6 0 S - E A R LY 7 0 S
MIKE STEIPHENSON (MICHEL BERNHOLC)
ARE ADAPTED?

M I D 6 0 S - E A R LY 7 0 S
= TOP 40=$$$
MIKE STEIPHENSON (MICHEL BERNHOLC)
ARE ADAPTED?

E A R LY 7 0 S - L AT E 7 0 S
1 9 7 0 S R O C K S F O C U S O N S TA R K R E A L I S M
M A D E W O R L D M U S I C C H I E F LY PA L ATA B L E A S
ACTUAL RECORDS BY NONWESTERN MUSICIANS
I.E. THE REAL STORY

E A R LY 7 0 S - L AT E 7 0 S
FELA KUTI - ZOMBIE (1976)

I.E. THE REAL STORY
N O N W E S T E R N P O P W A S N O T N E W, B U T I T S U S / U K P O P U L A R I T Y W A S

E A R LY 7 0 S - L AT E 7 0 S
CLANNAD - TEIDHIR ABHAILE RI (1975)

I.E. THE REAL STORY
N O N W E S T E R N P O P W A S N O T N E W, B U T I T S U S / U K P O P U L A R I T Y W A S

E A R LY 7 0 S - L AT E 7 0 S
THIS POPULARITY WAS LIMITED, TRUTH BE TOLD
WHY?

E A R LY 7 0 S - L AT E 7 0 S
WHY?
DID THIS MUSIC PLEASE POP-TRAINED EARS?
- D O A L L C U LT U R E S M A K E 3 - M I N U T E V E R S E / C H O R U S
LOVESONGS?
- D O W E S T E R N F A N S L I S T E N F O R M O M E N TA R Y S O U N D S ,
S T R U C T U R A L J O U R N E Y S , B R O A D S E N S I B I L I T I E S , O R S TAT U S ?

E A R LY 7 0 S - L AT E 7 0 S
WHY?
LOVESONGS?
DID ANY ONE STYLE REACH GENRE/SCENE MASS?

- I F T H E R E S O N LY O N E A R T I S T A V A I L A B L E I N A G I V E N S T Y L E ,
C A N F A N D O M D E B AT E , C O M PA R E , O R S U S TA I N I T S E L F ?
- CAN WE LEARN WHOLE STYLES FROM SINGLE ARTISTS?

E A R LY 7 0 S - L AT E 7 0 S
WHY?
LOVESONGS?

- I F T H E R E S O N LY O N E A R T I S T A V A I L A B L E I N A G I V E N S T Y L E ,
C A N F A N D O M D E B AT E , C O M PA R E , O R S U S TA I N I T S E L F ?
- CAN WE LEARN WHOLE STYLES FROM SINGLE ARTISTS?
W H AT K I N D O F D I S T R I B U T I O N W A S T H E R E ?
- COULD FOREIGN LABELS GET A FOOTHOLD IN THE U.S.?

- WOULD MAJOR LABELS SIGN A BUNCH OF WORLD ACTS?

E A R LY 7 0 S - L AT E 7 0 S
BOB MARLEY & THE WAILERS - STIR IT UP (1973 BBC2 PERFORMANCE)

E A R LY 7 0 S - L AT E 7 0 S
A U G U S T U S PA B L O - K I N G T U B B Y M E E T S R O C K E R S U P T O W N ( 1 9 7 4 )

E A R LY 7 0 S - L AT E 7 0 S
REGGAE/DUB/SKA
YES: BASED ON MAJOR/MINOR CHORDS, DUPLE METER,

RADIO-LENGTH SONGS, HIGHLIGHTS TECHNOLOGY

E A R LY 7 0 S - L AT E 7 0 S
REGGAE/DUB/SKA


Y E S : R E G G A E S G E O G R A P H I C & C U LT U R A L P R O X I M I T Y ( P L U S J A M A I C A
> N Y C / U K I M M I G R AT I O N ) P L U S I T S E A S I LY D I F F E R E N T I AT E D
SUBSTYLES ALLOWED GENRE COMMUNITIES TO FORM IN US/UK

E A R LY 7 0 S - L AT E 7 0 S
REGGAE/DUB/SKA


Y E S : R E G G A E S G E O G R A P H I C & C U LT U R A L P R O X I M I T Y ( P L U S J A M A I C A
> N Y C / U K I M M I G R AT I O N ) P L U S I T S E A S I LY D I F F E R E N T I AT E D
SUBSTYLES ALLOWED GENRE COMMUNITIES TO FORM IN US/UK
I N D E P E N D E N T L A B E L S T H AT I M P O R T E D , M A R K E T E D T O
I M M I G R A N T S , T H E N T O P U N K S , A N D E V E N T U A L LY, R A D I O

E A R LY 8 0 S - P R E S E N T
BRING OUT THE

FOSTER A
E S TA B L I S H I N D I E

BRING OUT THE

REGARDING WORLD MUSIC
FOSTER A
M O SDTI DI NA
GN
EN
UE
S LY,
PL
OES T-R7E0A
SC H G E N R E / S C E N E M A S S ?
Y UOON
STY
R O C K / P O P S E E K S W AY S T O :
.

BRING OUT THE

POP
GENERAL M.D. SHIRINDA

& THE GAZA SISTERS:
TEKADZOVO UNDZI BEBULA"

BRING OUT THE

POP
GENERAL M.D. SHIRINDA

& THE GAZA SISTERS:
TEKADZOVO UNDZI BEBULA"
PA U L S I M O N :
I KNOW WHAT I KNOW
( F E A T. M . D . S H I R I N D A
& THE GAZA SISTERS)

BRING OUT THE

POP
Y O T H U Y I N D I - D J PA N A ( L I V E 1 9 8 8 )

FOSTER A
SCENE

FOSTER A
SCENE
W O M A D 1 9 8 2 F LY E R

DISTRIBUTION

DISTRIBUTION

PUTUMAYO WORLD MUSIC
DISTRIBUTION


L AT E 5 0 S - E A R LY 6 0 S


I N M A N Y W AY S , T H I S W O R K E D
WORLD MUSIC BOOMED IN THE 1990S
L O R E E N A M C K E N N I T:
THE MUMMERS DANCE (1997)

I N M A N Y W AY S , T H I S W O R K E D
WORLD MUSIC BOOMED IN THE 1990S
PA R I S :
ESCAPE FROM BABYLON (1989)

BRING OUT THE

FOSTER A
M O SDTI DI NA
GN
EN
UE
S LY,
PL
OES T-R7E0A
Y UOON
S
TY
.

BRING OUT THE

FOSTER A
M O SDTI DI NA
GN
EN
UE
S LY,
PL
OES T-R7E0A
Y UOON
S
TY
.
BUT MORE OFTEN, ROCK/POP STILL USES WORLD

M U S I C F O R I T S S O U N D S C O N N O TAT I O N O F O T H E R N E S S
!
E I T H E R A S G L O R I O U S H A R M O N Y O R A S T H R E AT

BRING OUT THE

FOSTER A
M O SDTI DI NA
GN
EN
UE
S LY,
PL
OES T-R7E0A
Y UOON
S
TY
.

!
( I N S T R U M E N T S , S C A L E S , R H Y T H M I C PA T T E R N S )

BRING OUT THE

FOSTER A
M O SDTI DI NA
GN
EN
UE
S LY,
PL
OES T-R7E0A
Y UOON
S
TY
.

!

PETER GABRIEL: IN YOUR EYES (1986)

!

R U S T E D R O O T: S E N D M E O N M Y W A Y ( 1 9 9 4 )

!

KULA SHAKER: GOVINDA (1996)

!

ENIGMA - RETURN TO INNOCENCE (1994)

!

GODSMACK: VOODOO (1998)

!

M I S S Y E L L I O T T: G E T U R F R E A K O N ( 2 0 0 1 )

!

JIN:LEARN CHINESE (2003)

!

QUESTIONS WORTH ASKING

QUESTIONS WORTH ASKING

WHO BENEFITS FROM BORROWINGS & HOW?
IS BORROWING A RIGHT? A PRIVILEGE?
WHAT ABOUT INVENTED PSEUDO-WORLD MUSIC?
IS MUSICAL BORROWING A POSITIVE SIGN OF A
F R E E A N D C U LT U R A L LY A C C E P T I N G W O R L D ?
IS IT OKAY TO RIP OFF A SOUND THAT HAS NO
SINGLE AUTHOR? SHOULD YOU GIVE CREDIT?
H O W D O W E PA R S E O U T C U LT U R A L P O W E R ,
I M P E R I A L I S M , M O N E Y, L A W, A N D A R T ?
ARE NONWESTERN MUSICIANS FORCED EITHER
TO IGNORE OR EXOTICIZE THEIR BACKGROUND IF
THEY SEEK WESTERN POPULARITY?
IS THIS OVERTHINKING IT (LETS JUST ROCK OUT)?
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
IN DOING SO, YOU ARE PLEDGING TO ACADEMIC HONESTY
MUNM 14000
LISTENING QUIZ
QUESTION #2: COMMON PEOPLE BY PULP WAS CALLED BY THE
BBC THE GREATEST BRITPOP SONG OF ALL TIME AND RANKED AT
#2 IN PITCHFORKS TOP 200 SONGS OF THE 1990S. YOU WILL
HEAR ONE CLIP EACH FROM THE SONGS BEGINNING AND ITS
E N D . O B S E R V E T W O I M P O R TA N T M U S I C A L D I F F E R E N C E S A N D O N E
I M P O R TA N T S I M I L A R I T Y B E T W E E N T H E E X C E R P T S . ( 1 / 6 P T. A P I E C E )
!E X T R A C R E D I T: I N O N E S E N T E N C E , W H A T I S T H I S S O N G A B O U T ?
MUNM 14000
LISTENING QUIZ
QUESTION #2: COMMON PEOPLE BY PULP WAS CALLED BY THE
BBC THE GREATEST BRITPOP SONG OF ALL TIME AND RANKED AT
#2 IN PITCHFORKS TOP 200 SONGS OF THE 1990S. YOU WILL
HEAR ONE CLIP EACH FROM THE SONGS BEGINNING AND ITS
E N D . O B S E R V E T W O I M P O R TA N T M U S I C A L D I F F E R E N C E S A N D O N E
I M P O R TA N T S I M I L A R I T Y B E T W E E N T H E E X C E R P T S . ( 1 / 6 P T. A P I E C E )
!E X T R A C R E D I T: I N O N E S E N T E N C E , W H A T I S T H I S S O N G A B O U T ?
MUNM 14000
LISTENING QUIZ
M A S S A M U S E M E N T, E X C I T E M E N T, & PA N I C
T H AT T H E C U LT U R A L G A M E H A D C H A N G E D
SOME LEADUP:
U.S. ELECTORAL MAP: 1988
SOME LEADUP:
1990: GERMANY REUNIFIES

1991: SOVIET UNION COLLAPSES
1 9 9 0 - 9 1 : G U L F W A R E N D S I N 6 M O N T H S , L I B E R AT E S
K U W A I T ( F ATA L I T I E S : I R A Q 3 0 , 0 0 0 ; U S 1 4 6 )
SOME LEADUP:
1990: GERMANY REUNIFIES

1991: SOVIET UNION COLLAPSES
1 9 9 0 - 9 1 : G U L F W A R E N D S I N 6 M O N T H S , L I B E R AT E S
K U W A I T ( F ATA L I T I E S : I R A Q 3 0 , 0 0 0 ; U S 1 4 6 )
1991-2001: NO MAJOR CONFLICTS; NO COLD WAR
SOME LEADUP:
1992: NEVERMIND HITS #1 ON THE US ALBUM
C H A R T S I N J A N U A R Y, U N D E R S T O O D B Y A L L A S A
R E J E C T I O N O F M A I N S T R E A M C U LT U R E A N D R O C K
SOME LEADUP:
1992: MTV DEBUTS THE REAL WORLD, THE

FIRST MODERN REALITY TV SERIES. CAST OF 7,
AGE 19-26, DIFFERENT RACES AND SEXUALITIES
SOME LEADUP:

1993: PEARL JAMS EDDIE VEDDER GIVES OUT

H I S H O M E P H O N E N U M B E R I N A N I N T E R V I E W,
E N C O U R A G I N G D E P R E S S E D FA N S T O C A L L H I M
SOME LEADUP:


1 9 9 4 : A LT E R N AT I V E M U S I C M A G A Z I N E R AY G U N
PRINTS AN INTERVIEW WITH 70S ROCK VETERAN
B R YA N F E R R Y E N T I R E LY I N T H E S Y M B O L F O N T
SOME LEADUP:


1 9 9 4 : A LT E R N AT I V E M U S I C M A G A Z I N E R AY G U N
PRINTS AN INTERVIEW WITH 70S ROCK VETERAN
B R YA N F E R R Y E N T I R E LY I N T H E S Y M B O L F O N T
SOME LEADUP:


R E M E M B E R O U R G E N - X S U M M A R Y:
O N E S I D E N T I T Y I S M O R E I M P O R TA N T T H A N
( A N D I N C O N F L I C T W I T H ) W E A LT H A N D
TRADITIONREGARDLESS OF THE CONSEQUENT
I S O L AT I O N O R F A I L U R E .
SOME LEADUP:


R E M E M B E R O U R G E N - X S U M M A R Y:
O N E S I D E N T I T Y I S M O R E I M P O R TA N T T H A N
( A N D I N C O N F L I C T W I T H ) W E A LT H A N D
TRADITIONREGARDLESS OF THE CONSEQUENT
I S O L AT I O N O R F A I L U R E .
AND ALSO, COUPLANDS PHRASE:

K N E E - J E R K I R O N Y: T H E T E N D E N C Y T O M A K E F L I P PA N T I R O N I C
COMMENTS AS A REFLEXIVE MATTER OF COURSE IN EVERYDAY
CONVERSATION.
B I G C O R P O R AT I O N S & M A J O R L A B E L S
HAD NO IDEA HOW TO HANDLE THIS (BUT THEY TRIED)
1993: OK SODA
( T H E C O C A - C O L A C O M PA N Y )
1994
ABC
1985 SITCOM
T H E M E S O N G LY R I C S
(GOLDEN GIRLS)
I F Y O U T H R E W A PA R T Y
INVITED EVERYONE YOU KNEW
YOU WOULD SEE
THE BIGGEST GIFT WOULD BE FROM ME
A N D T H E C A R D AT TA C H E D W O U L D S AY
THANK YOU FOR BEING A FRIEND
1985 SITCOM
(GOLDEN GIRLS)
1994 SITCOM
(FRIENDS)
YOU WOULD SEE
SO NO ONE TOLD YOU

L I F E W A S G O N N A B E T H I S W AY
YOUR JOB'S A JOKE, YOU'RE BROKE
YOUR LOVE LIFE'S D.O.A.
I T ' S L I K E Y O U ' R E A L W AY S
STUCK IN SECOND GEAR
W H E N I T H A S N ' T B E E N Y O U R D AY
YOUR WEEK, YOUR MONTH
OR EVEN YOUR YEAR
BUT I'LL BE THERE FOR YOU
1985 SITCOM
(GOLDEN GIRLS)
1994 SITCOM
(FRIENDS)
YOU WOULD SEE
SO NO ONE TOLD YOU

L I F E W A S G O N N A B E T H I S W AY
YOUR JOB'S A JOKE, YOU'RE BROKE
YOUR LOVE LIFE'S D.O.A.
I T ' S L I K E Y O U ' R E A L W AY S
STUCK IN SECOND GEAR
W H E N I T H A S N ' T B E E N Y O U R D AY
YOUR WEEK, YOUR MONTH
OR EVEN YOUR YEAR
BUT I'LL BE THERE FOR YOU
FRIENDSHIP RELIES UPON

M AT E R I A L G A I N
FRIENDSHIP MOCKS
M AT E R I A L G A I N
1992-1998
R O C K G E T S VA R I E D & W E I R D
B E C A U S E E V E R Y O N E I S TA K I N G C H A N C E S :
MUSICIANS, LABELS, AND LISTENERS
ALL DISCARD ASSUMPTIONS
1992-1998
THESE WERE ALL MAJOR-LABEL HIT SINGLES:
T H E F L A M I N G L I P S : S H E D O N T U S E J E L LY ( 1 9 9 3 W A R N E R B R O S . )
#9 US MODERN ROCK
1992-1998
K I N G M I S S I L E : D E TA C H A B L E P E N I S ( 1 9 9 2 AT L A N T I C . )
#25 US MODERN ROCK
1992-1998
WEEN: PUSHIN THE DAISIES (1992 ELEKTRA/WARNER BROS.)

#18 AUS./#21 US MODERN ROCK
1992-1998
B U T S I L LY S T U F F A S I D E
!
WHILE GRUNGE REMAINED KING,

T O N S O F S T Y L E S W E R E G E N E R AT E D
AMID A PURSUIT OF NEWNESS, RISK,
RADICAL SELF-EXPRESSION, AND
S U B C U LT U R A L P R O L I F E R AT I O N
1992-1998
B J R K : H U M A N B E H AV I O R ( 1 9 9 3 E L E K T R A / WA R N E R B R O S . )
#36 UK./#2 US MODERN ROCK/#2 US DANCE; 5 MILLION SALES
1992-1998
1992-1998

A N Y T H I N G - G O E S I N S T R U M E N TAT I O N
( T Y M PA N I A S M A I N I N S T R U M E N T )
B I T O N A L I T Y ( V O C A L S I N D M , I N S T. I N A M )
LY R I C S S U N G F R O M A N O N - H U M A N P. O . V.
1992-1998
GARBAGE: QUEER (1995 ALMO/GEFFEN)

#13 UK./#12 US MODERN ROCK; 4 MILLION SALES
1992-1998

1992-1998

I N S T R U M E N TAT I O N B L E N D S R E T R O 7 0 S
WITH SLOW HIP-HOP AND ROCK
SIGNALS RISE OF TRIP HOP GENRE (SEE:
P O R T I S H E A D , M A S S I V E AT TA C K , T R I C K Y )
LY R I C S C E L E B R AT E I D I O S Y N C R AT I C S E X U A L I T Y,
F E M A L E P O W E R , A N D A M B I G U O U S LY C O N F L AT E
QUEER, STRANGE, COOL, AND LAME
1992-1998
BLUR: BOYS & GIRLS (1994 FOOD/EMI)

#5 UK./#4 US MODERN ROCK/#23 US DANCE
1992-1998

1992-1998

RETRO DISCO BASS, SYNTH, & DRUM MACHINE
M I X E D W I T H C H R O M AT I C G U I TA R R I F F S ,
THE STUFF OF BRITPOP
LY R I C S M O C K E U R O P E A N B O U R G E O I S ; C H O R U S
D O U B L E S A S A B L A S C E L E B R AT I O N O F S E X U A L I T Y

1992-1998

RETRO DISCO BASS, SYNTH, & DRUM MACHINE
M I X E D W I T H C H R O M AT I C G U I TA R R I F F S ,
THE STUFF OF BRITPOP
LY R I C S M O C K E U R O P E A N B O U R G E O I S ; C H O R U S
D O U B L E S A S A B L A S C E L E B R AT I O N O F S E X U A L I T Y

1992-1998
JAMIROQUAI: VIRTUAL INSANITY (1996 SONY)

#3 UK./#39 US SINGLES/GRAMMY/MTV VIDEO OF THE YEAR
1992-1998

1992-1998

S T R A I G H T- U P 1 0 0 % R E T R O S O U L / F U N K
D Y S T O P I A N LY R I C S A B O U T T E C H N O L O G Y

1992-1998

S T R A I G H T- U P 1 0 0 % R E T R O S O U L / F U N K
D Y S T O P I A N LY R I C S A B O U T T E C H N O L O G Y

1992-1998
N O T E T H AT T H E S E S O N G S A L L H A V E I N
COMMON:
1992-1998
COMMON:
FREE BLEND OF TRADITIONAL AND
ELECTRONIC INSTRUMENTS AND SAMPLING,
NEW AND OLD INFLUENCES
1992-1998
COMMON:
NOT ABOUT LOVE NOR SELFA G G R A N D I Z E M E N T B Y N O R M A L S TA N D A R D S
1992-1998
COMMON:
A P O S T- G R U N G E AT T I T U D E T O W A R D
A U T H E N T I C I T Y: M U S I C A L S T Y L E A N D
INDEED IDENTITY CAN BE MALLEABLE
1992-1998
EVERYONES
WELCOME
(EXCEPT OLD
PEOPLE)
COMMON:
1992-1998
EVERYONES
WELCOME
(EXCEPT OLD
PEOPLE)
COMMON:
T H I S H I S T O R I C A L M O M E N T I S T O TA L LY C H I L L A X E D
1992-1998
AND OTHER STUFF CONTINUED TOO
1992-1998
1994-1998: JAM BAND MUSIC PEAKS
U P B E AT, L O V E - B A S E D S O N G S , H E A V I LY F E AT U R I N G M A L E V O C A L S ,
ACOUSTIC INSTRUMENTS, AND NO ELECTRONICS
D A V E M AT T H E W S B A N D P H I S H H O O T I E & T H E B L O W F I S H M O E
B L U E S T R AV E L E R
1992-1998
1994-2005: POP PUNK BREAKS HUGE
F A S T P U N K B E AT S A N D D I S T O R T E D G U I TA R S , B U T W I T H U LT R A CLEAN PRODUCTION AND CLEAR VOCAL MELODIES AND
H A R M O N I E S ; U S U A L LY M A J O R - K E Y, LY R I C A L LY B R AT T Y A N D
S O M E T I M E S D O W N B E AT, B U T W E L L - I N T E N T I O N E D
G R E E N D AY O F F S P R I N G B A D R E L I G I O N N O F X B L I N K 1 8 2
1992-1998
1994-2005: POP PUNK BREAKS HUGE
F A S T P U N K B E AT S A N D D I S T O R T E D G U I TA R S , B U T W I T H U LT R A CLEAN PRODUCTION AND CLEAR VOCAL MELODIES AND
H A R M O N I E S ; U S U A L LY M A J O R - K E Y, LY R I C A L LY B R AT T Y A N D
S O M E T I M E S D O W N B E AT, B U T W E L L - I N T E N T I O N E D
G R E E N D AY O F F S P R I N G B A D R E L I G I O N N O F X B L I N K 1 8 2
1 9 9 2 - 2 0 0 4 : M E TA L TA K E S U P R A P & I N D U S T R I A L
G U I TA R A N D D R U M S B E C O M E M A C H I N E - L I K E I N S O U N D &
PRECISION, ANALOGUE SYNTH, DRUM MACHINE, AND SAMPLES
F R E E LY M I X E D ; V O C A L S P R O C E S S E D , S H O U T E D , W H I S P E R E D , F E W E R
G U I TA R S O L O S ; G O T H I C I N F L U E N C E S I N C O R P O R AT E D
R A G E A G A I N S T T H E M A C H I N E S TA B B I N G W E S T W A R D K O R N
L I M P B I Z K I T M A R I LY N M A N S O N
1992-1998
1 9 9 3 - 2 0 0 3 : H I P - H O P G O E S F R O M G A N G S TA T O G L I T T E R
G A N G S TA R A P P E A K S W I T H T U PA C & N O T O R I O U S B . I . G . F E U D ( E A S T
V S . W E S T ) ; E M P H A S I S G R O W S O N PA R T Y R H Y M E S W I T H I N S T R E E T
C O N T E X T, G I V I N G W AY T O W E A LT H - E M P H A S I Z I N G H I P - H O P
T U PA C N O T O R I O U S B . I . G . I C E C U B E P U F F D A D D Y N A S J AY- Z
1992-1998
1994-1997 GRUNGE KEEPS GRUNGING
KURT COBAIN COMMITS SUICIDE (APRIL 1994), BUT MIDTEMPO,
E M O T I O N A L R O C K R E M A I N E D T H E S TA P L E O F T H E E M E R G I N G
M O D E R N R O C K R A D I O F O R M AT. S O N G S W E R E S H O R T E N E D A N D
G I V E N C L E A N E R A N D M O R E E L A B O R AT E P R O D U C T I O N ( T I G H T E N E D " )
H O L E P E A R L J A M S T O N E T E M P L E P I L O T S B U S H M AT C H B O X 2 0
1992-1998
1994-1997 GRUNGE KEEPS GRUNGING
KURT COBAIN COMMITS SUICIDE (APRIL 1994), BUT MIDTEMPO,
E M O T I O N A L R O C K R E M A I N E D T H E S TA P L E O F T H E E M E R G I N G
M O D E R N R O C K R A D I O F O R M AT. S O N G S W E R E S H O R T E N E D A N D
G I V E N C L E A N E R A N D M O R E E L A B O R AT E P R O D U C T I O N ( T I G H T E N E D " )
H O L E P E A R L J A M S T O N E T E M P L E P I L O T S B U S H M AT C H B O X 2 0
1 9 9 4 - 1 9 9 9 : A LT E R N AT I V E R O C K S O L O W O M E N S O A R
DOWNTEMPO BLENDS OF ELECTRIC & ACOUSTIC INSTRUMENTS
P R O V I D E B A C K I N G S F O R LY R I C A L LY R I C H , P O E T I C , C E L E B R AT O R Y,
A N D A N G R Y V O I C E S , F A M O U S LY H I G H L I G H T E D AT T H E L I L I T H F A I R
SARAH MCLACHLAN TORI AMOS ALANIS MORISSETTE LISA LOEB
FIONA APPLE JOAN OSBORNE ANI DIFRANCO AIMEE MANN
A L A N I S M O R I S S E T T E - Y O U O U G H TA K N O W
COUNTING CROWS - ROUND HERE
D A V E M AT T H E W S B A N D - A N T S M A R C H I N G
G R E E N D AY - B A S K E T C A S E
NO DOUBT - DON'T SPEAK
B E C K - W H E R E I T ' S AT
B J R K - H U M A N B E H AV I O R
GARBAGE - WHEN I GROW UP
PORTISHEAD - GLORY BOX
PULP - COMMON PEOPLE
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
ELECTRONIC DANCE MUSIC
E D M H O U S E T E C H N O
R
A
B
J
H
A V E D U B S T E P T R A N C
C I D
H O U S E E L E C T R
E A T H A R D C O R E
A Z Z E L E C T R O G A B B
O P C H I L L O U T B A L E A R
G L I T C H A M B I E N T N
E J U N G L E D R U M & B A S S
O N I C A B I G
B E A T N E W
T W O - S T E P A C I D
E R B R E A K B E A T T R I P I C P S Y T R A N C E M I N I M A L
D I S C O I D M T E C H N O I D
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
PRECURSORS ABOUND, BUT EDM/HOUSE/TECHNO

S TA R T S W I T H T H E M I D - 8 0 S C O N V E R G E N C E O F
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W

D I S C O C U LT U R E
BREAKDANCING
CYBER-UTOPIANISM
HIP-HOP
POSTPUNK MUSIC(IANS) JAMAICAN DUB MUSIC
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W

D I S C O C U LT U R E
BREAKDANCING
CYBER-UTOPIANISM
HIP-HOP
POSTPUNK MUSIC(IANS) JAMAICAN DUB MUSIC
AND TECHNOLOGY
DRUM MACHINES/SYNTHS/SEQUENCERS/SAMPLERS
T U R N TA B L E S FA S T L O W - R U N R E C O R D M A N U FA C T U R I N G
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
GRANDMASTER FLASH & THE FURIOUS FIVE SCORPIO (1982)

E A R LY R A P G R O U P S E X P E R I M E N T E D W I T H T E C H N O L O G Y
ON TRACKS INTENDED FOR BREAKDANCING
THE VOCODER PROCESSING (ON VOCALS) EFFECTS A
ROBOTIC AESTHETIC
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W

ROBOTIC AESTHETIC
CYBOTRON - CLEAR (1982)

( J U A N AT K I N S , O N E O F T H E C R E AT O R S O F D E T R O I T T E C H N O )
I M M E D I A T E LY, E L E C T R O B E C O M E S I N D E P E N D E N T O F H I P - H O P
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W

ROBOTIC AESTHETIC
CYBOTRON - CLEAR (1982)

( J U A N AT K I N S , O N E O F T H E C R E AT O R S O F D E T R O I T T E C H N O )
I M M E D I A T E LY, E L E C T R O B E C O M E S I N D E P E N D E N T O F H I P - H O P
FRANKIE KNUCKLES - YOUR LOVE (1987)

( O N E O F T H E C R E AT O R S O F C H I C A G O H O U S E )
E L E C T R O G E T S S O U L F U L , F I N D I N G M U LT I R A C I A L /
M U LT I S E X U A L A U D I E N C E S
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
" T H E M U S I C ( T E C H N O ) I S J U S T L I K E D E T R O I T,
A C O M P L E T E M I S TA K E . I T S L I K E G E O R G E
CLINTON AND KRAFTWERK STUCK IN AN
E L E VAT O R . "
- D E R R I C K M AY (RHYTHIM IS RHYTHIM), 1988
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
8 0 8 S TAT E - PA C I F I C S TAT E ( 1 9 8 8 )
S I M U LTA N E O U S T R A N S AT L A N T I C I N T E R E S T I N E M E R G I N G
DANCE GENRES
SEQUENCERS ALLOW FOR SWING (FOR THE FIRST TIME);
S Y N T H E S I Z E R S O U N D B A N K S E X PA N D
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
DANCE GENRES
M D M A ( E C S T A S Y / M O L LY ) A R R I V E D I N T H E U K I N 1 9 8 7 / 8 8
- MANY THOUGHT MDMA IMPROVED DANCING/MUSIC HIGH
- MANY THOUGHT MUSIC/DANCING IMPROVED MDMA HIGH
- DANCE EVENTS WERE WHERE TO GET MDMA
- I T WA S I L L E G A L S O D A N C I N G G O E S C L A N D E S T I N E ( R AV E S )
- M A J O R C O O L N E S S I N G O I N G T O A N I L L E G A L R AV E
- TONS OF TECHNO MUSIC & IMAGERY GLORIFIED MDMA
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
DANCE GENRES
THE SHAMEN - SYNERGY (1989)

MDMA-ZING
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
DANCE GENRES
THE SHAMEN - SYNERGY (1989)

MDMA-ZING
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
S T Y L E S D I F F E R E N T I AT E
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
ALLEGIANCE
TO DISCO &
H I P - H O P, R & B
BRIGHT PIANOS,
STRINGS, DIVA
BIZARRE, INC. P L AY I N G W I T H
KNIVES (1991)
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
R A V E
BRIGHT PIANOS,
STRINGS, DIVA
NOISY SYNTHS,
F E W V O I C E S , FA S T
ALLEGIANCE
TO DISCO &
KNIVES (1991)
T E C H - H E A V Y,
D R U G G Y, &
DISSONANT
SECOND PHASE
( J O E Y B E LT R A M ) M E N TA S M ( 1 9 9 1 )
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
R A V E
TRANCE
BRIGHT PIANOS,
STRINGS, DIVA
NOISY SYNTHS,
SYNTH ARPEGGIOS
& LONG CHORDS
ALLEGIANCE
TO DISCO &
KNIVES (1991)
D R U G G Y, &
DISSONANT
SECOND PHASE
F O R L O S S
OF SELF &
E U P H O R I A
THE ORB LITTLE FLUFFY

CLOUDS (1990)
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
R A V E
TRANCE
BRIGHT PIANOS,
STRINGS, DIVA
NOISY SYNTHS,
SYNTH ARPEGGIOS
& LONG CHORDS
ALLEGIANCE
TO DISCO &
KNIVES (1991)
D R U G G Y, &
DISSONANT
SECOND PHASE
F O R L O S S
OF SELF &
E U P H O R I A

CLOUDS (1990)
STYLES ALSO MINGLE & POPULARIZE

MOBY - GO! (1991)
[ H O U S E B E AT & D I V A ; T R A N C E C H O R D S ]
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
R A V E
TRANCE
BRIGHT PIANOS,
STRINGS, DIVA
NOISY SYNTHS,
SYNTH ARPEGGIOS
& LONG CHORDS
ALLEGIANCE
TO DISCO &
KNIVES (1991)
D R U G G Y, &
DISSONANT
SECOND PHASE
F O R L O S S
OF SELF &
E U P H O R I A

CLOUDS (1990)

KLF - ITS GRIM UP NORTH (1991)
[ R AV E A G G R E S S I O N , T R A N C E A R P E G G I O S ]
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
1990-1992
HOUSE
R A V E
TRANCE
BRIGHT PIANOS,
STRINGS, DIVA
NOISY SYNTHS,
SYNTH ARPEGGIOS
& LONG CHORDS
ALLEGIANCE
TO DISCO &
KNIVES (1991)
D R U G G Y, &
DISSONANT
SECOND PHASE
F O R L O S S
OF SELF &
E U P H O R I A

CLOUDS (1990)

2 UNLIMITED - GET READY FOR THIS (1991)
[ H O U S E B E A T, R A V E R I F F S , T R A N C E - L I K E B - S E C T I O N ]
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
AN EXAMPLE
MESSIAH TEMPLE OF DREAMS (1992)
1. ORIGINAL MIX
2 . R AV E M I X
3. HARDCORE MIX
4. DESTROYER O.S. MIX
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
AN EXAMPLE
1. ORIGINAL MIX
2 . R AV E M I X
129 BPM
3. HARDCORE MIX
R
A
B
J
H
C I D
O N I C A B I G
B E A T N E W
AN EXAMPLE
1. ORIGINAL MIX
2 . R AV E M I X
3. HARDCORE MIX
129 BPM
138 BPM
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O N I C A B I G
B E A T N E W
AN EXAMPLE
1. ORIGINAL MIX
2 . R AV E M I X
3. HARDCORE MIX
129 BPM
138 BPM
147 BPM
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O N I C A B I G
B E A T N E W
AN EXAMPLE
1. ORIGINAL MIX
2 . R AV E M I X
3. HARDCORE MIX
129 BPM
138 BPM
147 BPM
148 BPM
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O N I C A B I G
B E A T N E W
W H AT I S I T L I K E T O
DANCE FOR THREE
H O U R S AT
148 BPM
?
T H E E T H O S I S O F C O M M U N I T Y,
ONENESS, EUPHORIA
P. L . U . R .
PEACELOVEUNITYRESPECT
NO DJS OR
PRODUCERS ADVERTISED
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O N I C A B I G
B E A T N E W
1993-1997
WITH MONEY TO BE MADE,
GO BIG OR GO UNDERGOUND
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O N I C A B I G
B E A T N E W
D U N E - A R E Y O U R E A D Y T O F LY ? ( 1 9 9 5 )
T E M P O & D R U M S O F H A R D C O R E R AV E B U T
H I G H - P I T C H E D V O C A L P O P C H O R U S ( N O T A D I VA )
& CHILDLIKE SYNTHS
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O N I C A B I G
B E A T N E W
CHEMICAL BROTHERS - SETTING SUN (1996)

FULL VOCAL CHORUS & VERSES; TECHNO
PRODUCTION TECHNIQUES WITH ROCK SOUNDS
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O N I C A B I G
B E A T N E W

( W H AT R O C K S O U N D S ? T H E F R E A K I N G B E AT L E S
TOMORROW NEVER KNOWS)
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O N I C A B I G
B E A T N E W

N O T P. L . U . R . , B U T A S L O W - T E M P O ,
B I G - B E AT P L AY F O R S TA R D O M
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O N I C A B I G
B E A T N E W
1 9 9 6 - 1 9 9 8 : B I G B E AT
TECHNO GOES ROCK:
NO MORE 1/4-NOTE KICK DRUM.
NO MORE TRANCELIKE SYNTHS.
NO MORE HOUSE PIANO.
BUT INSTEAD,
S A M P L E S O F S Y N C O PAT E D R E A L D R U M S & G U I TA R S ;
VOCALS (IF ANY) ARE ROUGH, NOT ETHEREAL.
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O N I C A B I G
B E A T N E W
1 9 9 6 - 1 9 9 8 : B I G B E AT
TECHNO GOES ROCK:
NO MORE 1/4-NOTE KICK DRUM.
NO MORE TRANCELIKE SYNTHS.
NO MORE HOUSE PIANO.
BUT INSTEAD,
S A M P L E S O F S Y N C O PAT E D R E A L D R U M S & G U I TA R S ;
VOCALS (IF ANY) ARE ROUGH, NOT ETHEREAL.
THE PRODIGY - SMACK MY BITCH UP (1996)
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O N I C A B I G
B E A T N E W
THE PRODIGY - SMACK MY BITCH UP (1996)

( W AT C H H O W T H I S I S M A D E )
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O N I C A B I G
B E A T N E W
A N O T H E R P O P U L A R I N N O VAT I O N :
T H E B R E A K D O W N , B U I L D U P, A N D D R O P
1 . B R E A K D O W N : S U D D E N R E M O VA L O F E L E M E N T S
2 . B U I L D U P : R E I N T R O D U C T I O N O N E - B Y- O N E ,
A C C E L E R AT I O N O F S P E E D , I N C R E A S E O F
V O L U M E , F I L T E R I N G O F F R E Q U E N C Y, A N D / O R
RAISING OF PITCH
3 . D R O P : C L I M A C T I C R E I N T R O D U C T I O N O F B E AT
A N E X A M P L E F R O M B I G B E A T:
T H E C R Y S TA L M E T H O D - B U S Y C H I L D ( 1 9 9 7 )
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O N I C A B I G
B E A T N E W
RAISING OF PITCH
AN EXAMPLE FROM TRANCE:

D E L E R I U M ( F E A T. S A R A H M C L A C H L A N ) SILENCE (TISTOS IN SEARCH OF
SUNRISE MIX) (1998)
R
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O N I C A B I G
B E A T N E W
RAISING OF PITCH

(HOW THE ORIGINAL SOUNDS)
R
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O N I C A B I G
B E A T N E W
RAISING OF PITCH

D E L E R I U M ( F E A T. S A R A H M C L A C H L A N ) SILENCE (TISTOS IN SEARCH OF
SUNRISE MIX) (1998)
R
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O N I C A B I G
B E A T N E W
1993-1997
WITH MONEY TO BE MADE,
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A
B
J
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O N I C A B I G
B E A T N E W
1993-1997
W I T H M O N E Y TS O
BE
OM
E MADE,
DEVELOPMENTS
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O N I C A B I G
B E A T N E W
JUNGLE/DRUM & BASS

1994-2000
F A S C I N A T I O N W I T H H I G H LY S Y N C O P A T E D
B E AT S S A M P L E D F R O M O L D S O U L R E C O R D S
THE WINSTONS AMEN, BROTHER (1969)
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O N I C A B I G
B E A T N E W
JUNGLE/DRUM & BASS

1994-2000
GOLDIE - INNER CITY LIFE (1997)
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O N I C A B I G
B E A T N E W
JUNGLE/DRUM & BASS

1994-2000
-ZIQ BRACE YOURSELF (REMIX) (1998)
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O N I C A B I G
B E A T N E W
JUNGLE/DRUM & BASS

1994-2000
XANOPTICON - INTO THE DARK (2003)
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O N I C A B I G
B E A T N E W
IDM (INTELLIGENT DANCE MUSIC)

1996-2004
E X P E R I M E N TAT I O N O N A L L F R O N T S , O F T E N
W I T H R H Y T H M I C D I S O R I E N TAT I O N
XANOPTICON - INTO THE DARK (2003)
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O N I C A B I G
B E A T N E W
IDM (INTELLIGENT DANCE MUSIC)

1996-2004
E X P E R I M E N TAT I O N O N A L L F R O N T S , O F T E N
W I T H R H Y T H M I C D I S O R I E N TAT I O N
AKUFEN - DECK THE HOUSE (2002)
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O N I C A B I G
B E A T N E W
GEEZ, PROFESSOR REED, CAN YOU

P L E A S E J U S T TA L K A B O U T D U B S T E P ?
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O N I C A B I G
B E A T N E W
DUBSTEP HAS ROOTS IN DUB REGGAE

( E C H O I N G , S L O W , C L A T T E R Y, B A S S - H E A V Y )
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O N I C A B I G
B E A T N E W

D U B B L E S T A N D A R ( F E A T. L E E S C R A T C H P E R R Y ) I R O N D E V I L ( S U B AT O M I C S O U N D S Y S T E M M I X )
(2008)
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O N I C A B I G
B E A T N E W

(2008)
BUT ITS MORE DIRECT ANCESTOR IS

TWO-STEP (A SUBSTYLE OF UK GARAGE)
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O N I C A B I G
B E A T N E W

(2008)
BUT ITS MORE DIRECT ANCESTOR IS

TWO-STEP (A SUBSTYLE OF UK GARAGE)
WOOKIE - DOWN ON ME (1999)
T R Y T O H E A R I T F I R S T AT 1 3 0 B P M , T H E N 6 5 B P M
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O N I C A B I G
B E A T N E W
PREVIOUS STYLES HAD VENTURED

I N T O T H I S T E R R I T O R Y, B U T I N C I D E N T A L
PREVIOUS OCCURRENCE ANCESTOR
DIE FORM - BONDAGE 1 (1986)
R
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O N I C A B I G
B E A T N E W
E A R LY D U B S T E P W A S A B O U T T H I S
D O U B L E N E S S O F T H E B E AT
(AND NOT ABOUT WUBWUBWUBWUB)
SKREAM - MIDNIGHT REQUEST LINE (2005)
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O N I C A B I G
B E A T N E W
BY 2009, DUBSTEP BECAME

INTERESTED IN HOW TO FILL THE
L O N G S PA C E S B E T W E E N I T S
( I N C R E A S I N G LY B I G ) B E A T S
T O R Q U X & T W I S T - H E AV Y R A I N ( 2 0 1 0 )
R
A
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O N I C A B I G
B E A T N E W
B Y E A R LY 2 0 1 1 , D U B S T E P, L I K E
PREVIOUS ELECTRONIC DANCE
GENRES, HAD MINGLED WITH POP
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O N I C A B I G
B E A T N E W
BRITNEY SPEARS - HOLD IT AGAINST ME (2011)
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O N I C A B I G
B E A T N E W
KORN - GET UP! (2011)
INTRODUCES INTO POP/ROCK:
NEW FORMS
NEW PRODUCTION TECHNIQUES
NEW SOUNDS
NEW RHYTHMS
M O R E VA R I E D L I N E A G E S
MORE ECONOMIC MODELS
T H I S I S S T I L L H A P P E N I N G N O W.
DUBSTEP DOES BREAKDOWN/BUILDUP/DROP
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
QUESTION #2: HEAR AN EXCERPT FROM SPIRITUALIZEDS 1997 MILLIONS E L L E R T O P - 5 , L A D I E S A N D G E N T L E M E N , W E A R E F L O A T I N G I N S PA C E .
A . ) H O W D O E S T H I S U S E T H E V O I C E D I F F E R E N T LY T H A N P R E V I O U S R O C K ?
B . ) H O W M A N Y B E A T S A R E I N E A C H M E A S U R E ? ( 1 / 4 P T. E A C H )
E X T R A C R E D I T: W H A T F A M O U S 1 9 6 1 R E C O R D I N G D O E S T H I S S O N G Q U O T E ?
MUNM 14000
LISTENING QUIZ
1996 - 2002
RAP ROCK HIGHLIGHTS
1986: RUN-D.M.C. & AEROSMITH W A L K T H I S W AY
1996 - 2002
RAP ROCK HIGHLIGHTS
1 9 8 9 : FA I T H N O M O R E - E P I C
1996 - 2002
RAP ROCK HIGHLIGHTS
1991: ANTHRAX & PUBLIC ENEMY BRING THE NOISE
1996 - 2002
RAP ROCK HIGHLIGHTS
1992: RAGE AGAINST THE MACHINE
1996 - 2002
RAP ROCK HIGHLIGHTS
1993: JUDGMENT NIGHT
SOUNDTRACK
1996 - 2002
RAP ROCK HIGHLIGHTS
SOUNDTRACK
1997: LIMP BIZKIT THREE DOLLAR BILL, YALL
1996 - 2002
RAP ROCK HIGHLIGHTS
SOUNDTRACK
1998: KID ROCK - DEVIL WITHOUT A CAUSE
1996 - 2002
RAP ROCK HIGHLIGHTS
SOUNDTRACK
2 0 0 0 : L I N K I N PA R K - H Y B R I D T H E O R Y
1996 - 2002
RAP ROCK HIGHLIGHTS
SOUNDTRACK
2 0 0 0 : L I N K I N PA R K - H Y B R I D T H E O R Y
2 0 0 1 : P. O . D . - Y O U T H O F T H E N AT I O N
1996 - 2002
RAP ROCK STYLE
RAPPED VERSES BASED AROUND SUNG CHORUS
AGGRESSIVE, SOMETIMES POLITICAL, SOMETIMES
P E R S O N A L , B U T A L W AY S W I T H AT T I T U D E
B A C K B E AT P L AY E D B Y B A N D , S O M E T I M E S W I T H S A M P L E S
A N D / O R S C R AT C H I N G
1996 - 2002
RAP ROCK STYLE
RAPPED VERSES BASED AROUND SUNG (SHOUTED) CHORUS
R A P P I N G S T Y L E I S V E R Y O N - T H E - B E AT, W I T H R H Y M E S O N
B E AT 4 U N L I K E M I L L E N N I U M - E R A M A I N S T R E A M H I P - H O P
1996 - 2002
RAP ROCK STYLE
B U S TA R H Y M E S - W O O - H A H ! ( 1 9 9 6 )
1996 - 2002
RAP ROCK STYLE
F A S H I O N I S M O S T LY G R U N G E - D E R I V E D
S C E N E I S M O S T LY W H I T E , Y O U N G , S U B U R B A N ;
E X T R E M E LY H E A V I LY M A L E
1996 - 2002
RAP ROCK STYLE
F A S H I O N I S M O S T LY G R U N G E - D E R I V E D
S C E N E I S M O S T LY W H I T E , Y O U N G , S U B U R B A N ;
E X T R E M E LY H E A V I LY M A L E
1996 - 2002
R E C A L L H O W E A R LY R O C K N R O L L W A S S O L D T O
A N D H E L P E D E S TA B L I S H T H E M A R K E T A N D
SOCIAL IDENTITY OF THE TEENAGER
1996 - 2002
R E C A L L H O W E A R LY R O C K N R O L L W A S S O L D T O
A N D H E L P E D E S TA B L I S H T H E M A R K E T A N D
SOCIAL IDENTITY OF THE TEENAGER
THE OXFORD ENGLISH DICTIONARY

ADDS THE WORD TWEEN IN 2003
H O W W A S T W E E N - N E S S C R E AT E D ?
1996 - 2002
B Y 1 9 9 9 , G E N - X W A S PA S T I T S T E E N S ,
S T I L L A N T I C O R P O R AT E , & H A R D T O S E L L T O
1996 - 2002
SO WHY WASTE EFFORT MARKETING TO THEM

W H E N C O M PA N I E S C O U L D S E L L M U C H M O R E
E A S I LY T O T H E I R 1 0 - 1 5 Y E A R - O L D S I B L I N G S , W H O
W E R E N T C U LT U R A L LY A L I E N AT E D ?
1996 - 2002
SO WHY WASTE EFFORT MARKETING TO THEM

W H E N C O M PA N I E S C O U L D S E L L M U C H M O R E
E A S I LY T O T H E I R 1 0 - 1 5 Y E A R - O L D S I B L I N G S , W H O
W E R E N T C U LT U R A L LY A L I E N AT E D ?
1996 - 2002
1966
1973
1986
T E E N P O P W A S N O T N E W, B U T
I T A L W AY S R E C E D E S D U R I N G E R A S O F C U LT U R A L & R O C K - R E L AT E D
T U R M O I L ( E . G . L AT E 1 9 6 0 S , P U N K E R A , E A R LY 1 9 9 0 S )
I N 1 9 9 8 - 2 0 0 2 , I T S E I Z E D U P O N 1 9 9 0 S R E S I S TA N C E A E S T H E T I C S ( E . G .
A LT F A S H I O N ) , C O R P O R AT E S T R E A M L I N I N G ( E . G . S O N G W R I T I N G /
P R O D U C T I O N T E A M S ) , & N E W T E C H N O L O G Y ( I N T E R N E T, A U T O - T U N E )
1996 - 2002
A V R I L L A V I G N E - C O M P L I C AT E D ( 2 0 0 2 )
1996 - 2002
A V R I L L A V I G N E - C O M P L I C AT E D ( 2 0 0 2 )
A LT E R N AT I V E F A S H I O N & LY R I C S B U T T H E M A L L I S K I N D A C O O L
A L M O S T N O D I S T O R T E D G U I TA R S
VOCAL HARMONY & AUTOTUNE
BUZZWORDS (CHILL OUT)
A I M E D AT U LT R A - W I D E A U D I E N C E
1996 - 2002
GOOD CHARLOTTE - LITTLE THINGS (2000)
1996 - 2002
GOOD CHARLOTTE - LITTLE THINGS (2000)

A LT E R N AT I V E F A S H I O N & LY R I C S B U T W E S T I L L L I K E B A S E B A L L
VERY MELODIC (SEE LED ZEPPELIN) VOCAL HARMONY & AUTOTUNE
BUZZWORDS (HIP-HOP ASIDES)
A I M E D AT T E E N S W H O F E E L A L O N E
1996 - 2002
TWEENS
TO
D
E
T
RKE
A
ITY)
S
M
S
S
E
THU
NEC
E
C
R
I
E
W
OM
N
O
C
N E
(AS A
1996 - 2002
TWEENS
TO
D
E
T
RKE
A
ITY)
S
M
S
S
E
THU
NEC
E
C
R
I
E
W
OM
N
O
C
N E
(AS A
&
CONG
REGA
WITH
TED
TECH
NOLO
GY
1996 - 2002
TWEENS
TO
D
E
T
RKE
A
ITY)
S
M
S
S
E
THU
NEC
E
C
R
I
E
W
OM
N
O
C
N E
(AS A
&
CONG
REGA
WITH
TED
TECH
NOLO
GY
(TO FIND SAF

E, LIKE-MIND
E D S PA C E S )
1996 - 2002
OTHER ROCK HEADLINES
S K A / P U N K & T H E S W I N G R E V I VA L
MELODIC POP/PUNK
U P B E AT & C H E E R Y
BUT WITH A REGGAE FEEL
AND HORNS!
(PEAKS CIRCA 1998/1999)
1996 - 2002
MELODIC POP/PUNK
AND HORNS!
T H E M I G H T Y M I G H T Y B O S S T O N E S - T H E I M P R E S S I O N T H AT I G E T ( 1 9 9 7 )
1996 - 2002
MELODIC POP/PUNK
AND HORNS!
M E L O D I C R O C K A B I L LY
U P B E AT & C H E E R Y ( E V E N W H E N I T S N O T )
BUT WITH AN OLDTIME JAZZ FEEL
AND HORNS!
1996 - 2002
MELODIC POP/PUNK
AND HORNS!
M E L O D I C R O C K A B I L LY
U P B E AT & C H E E R Y ( E V E N W H E N I T S N O T )
BUT WITH AN OLDTIME JAZZ FEEL
AND HORNS!
SQUIRREL NUT ZIPPERS - HELL (1996)
1996 - 2002
I N D I E S E PA R AT E S F R O M A LT E R N AT I V E , K I N D A
P O S T- G R U N G E
H E AV Y D I S T O R T I O N
DEEP-VOICED
TOPICS OF STRUGGLE
1996 - 2002
DEEP-VOICED
TOPICS OF STRUGGLE
CREED - HIGHER (1999)
20+ MILLION SALES
1996 - 2002
N O M E TA L I N F L U E N C E
J A N G LY G U I TA R S
LIGHTER, VULNERABLE SINGING
P R O N E T O E X P E R I M E N TAT I O N
RADIOHEAD - LET DOWN (1997)
DEEP-VOICED
TOPICS OF STRUGGLE
CREED - HIGHER (1999)
(CONSIDERED BY MANY
T H E G R E AT E S T A L B U M
OF THE 1990S)
8 MILLION SALES
20+ MILLION SALES
1996 - 2002
N O M E TA L I N F L U E N C E
J A N G LY G U I TA R S
LIGHTER, VULNERABLE SINGING
P R O N E T O E X P E R I M E N TAT I O N
RADIOHEAD - LET DOWN (1997)
(CONSIDERED BY MANY
T H E G R E AT E S T
ONE-TWO PUNCH
S I N C E T H E B E AT L E S ;
MORE ABOUT THIS
SOON)
1996 - 2002
9 / 1 1 S PA R K E D S O M E PAT R I O T I S M , S O M E
C E N S O R S H I P, & L O T S A N D L O T S O F S O N G S
1996 - 2002
ELECTROCLASH & THE BEGINNING OF

P O S T- 2 0 0 0 S H I P S T E R C U LT U R E
1996 - 2002

LOW-TECH LAPTOP ELECTRONICS
P U N K & P O S T- P U N K I N S P I R E D V O C A L S
T H E B E G I N N I N G O F T H E 1 9 8 0 S R E V I VA L
L E T I G R E - D E C E P TA C O N ( 1 9 9 9 )
1996 - 2002

LOW-TECH LAPTOP ELECTRONICS
P U N K & P O S T- P U N K I N S P I R E D V O C A L S
T H E B E G I N N I N G O F T H E 1 9 8 0 S R E V I VA L
L E T I G R E - D E C E P TA C O N ( 1 9 9 9 )
( W H O I S K AT H L E E N H A N N A ? G O L O O K U P R I O T G R R R L , 3 R D - W A V E F E M I N I S M ,
BIKINI KILL, AND SMELLS LIKE TEEN SPIRIT)
1996 - 2002
DO YOU REMEMBER
ANYTHING FROM
THIS ERA?
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
S T Y L I S T I C I N N O V AT I O N S
C A N C O M E O R G A N I C A L LY F R O M M U S I C I A N S
AND COMMUNITIES WITHOUT EVEN REALIZING IT
C A N C O M E I N T E N T I O N A L LY F R O M I N D I V I D U A L S
S E E K I N G T O C R E AT E S O M E T H I N G R A D I C A L & N E W
O R G A N I C S T Y L E C H A N G E S A R E M O R E L I K E LY T O
C AT C H O N , B U T A R E L E S S L I K E LY T O B E M A R K E D LY
DIFFERENT THAN PREVIOUS MUSIC
W E C R E AT E N E W S T Y L E S B E C A U S E S O M E T H I N G
A B O U T O U R E X P E R I E N C E S ( C O N S C I O U S LY O R N O T )
IS LEFT UNEXPRESSED BY CURRENT STYLES
W E C R E AT E N E W S T Y L E S B E C A U S E S O M E T H I N G
A B O U T O U R E X P E R I E N C E S ( C O N S C I O U S LY O R N O T )
IS LEFT UNEXPRESSED BY CURRENT STYLES
THE TEST OF WHETHER THEY ENDURE LIES IN THE
T R I A L - A N D - E R R O R O F W H E T H E R T H E Y R E S O N AT E
WITH LISTENERS OTHERWISE UNDEREXPRESSED
EXPERIENCES
MOST OFTEN COME FROM
N E W C O N TA C T B E T W E E N C U LT U R E S
NEW TECHNOLOGIES
NEW TECHNOLOGIES
BLENDS OF PREVIOUS STYLES
NEW TECHNOLOGIES
CHUMBAWUMBA: TUBTHUMPING (1997)

( R O C K , H I P - H O P, I R I S H F O L K M U S I C , B A R O Q U E T R U M P E T M U S I C )
NEW TECHNOLOGIES
P0$TMDRN15M
P0$TMDRN15M
P0$TMDRN15M
A R I S E S I N T H E 1 9 7 0 S A N D H A S B E E N V A R I O U S LY I N V O G U E S I N C E
P0$TMDRN15M
R E J E C T S T H E I D E A O F A N Y S I N G L E O V E R A R C H I N G E X P L A N AT I O N O F
REALITY
P0$TMDRN15M
REALITY
B E L I E V E S T H AT R E A L I T Y I S T H E P E R C E P T I O N O F R E A L I T Y, A N D T H E
WORLD IS THUS NOT OBJECTIVE, BUT IS INSTEAD A HUGE COLLAGE OF
I N D I V I D U A L S A N D G R O U P S P E R C E P T I O N S , VA L U E S , A N D A S S E R T I O N S
P0$TMDRN15M
REALITY
T O R E F L E C T T H I S , A R T A N D O T H E R F O R M S O F C U LT U R E C A N F R E E LY
S H I F T P E R S P E C T I V E S F R O M O N E H I S T O R I C A L / C U LT U R A L / P E R C E P T U A L
V I E W P O I N T T O A N O T H E R , O F T E N I N R A D I C A L J U X TA P O S I T I O N
P0$TMDRN15M
REALITY
P O S T M O D E R N A R T AT T E M P T S T O S H O W T H E A R B I T R A R I N E S S O F O U R
A S S U M P T I O N S A B O U T C U LT U R E , L A N G U A G E , E C O N O M I C S , R E L I G I O N ,
S T Y L E , H I S T O R Y, G E N R E , T E C H N O L O G Y, A N D J U S T A B O U T E V E R Y T H I N G
P0$TMDRN15M
REALITY
I T A S S U M E S C U LT U R A L S A V V Y, E M B R A C E S T H E O D D , A N D P O S I T I O N S
I T S E L F A S O V E R C U LT U R E , U S I N G C O L L A G E A N D M E TA R E F E R E N C E
P0$TMDRN15M
REALITY
S O M E T H I N K I T I S A P O W E R F U L P O L I T I C A L T O O L A N D A G E N E R AT O R
O F R E V O L U T I O N A R Y N E W A P P R O A C H E S I N A R T, M U S I C , A N D B U S I N E S S
P0$TMDRN15M
REALITY
SOME THINK IT IS IDIOTIC, BESPEAKING PRIVILEGE, PRETENTION,
NIHILISM, AND THE IGNORING OF REAL-WORLD PROBLEMS
P0$TMDRN15M
ARCHITECTURE BY FRANK GEHRY
A R T B Y M A C I E J R ATA J S K I
FA S H I O N B Y T H I E R R Y M U G L E R
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Y O U N G E I N S T E I N , D I R . YA H O O S E R I O U S ( 1 9 8 8 )
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HIGHLIGHTS IN POP & ROCK
1967
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1967
1975
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1967
1975
1977
P0$TMDRN15M
1967
1981
1975
1977
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1967
1975
1981
1985
1977
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1967
1975
1981
1985
1977
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1967
1975
1981
1985
1977
1986
P0$TMDRN15M
HIP-HOP
PUNK
BOTH GIVE NEW USES & MEANINGS TO

P R E V I O U S M U S I C , FA S H I O N , S Y M B O L S , E T C .
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B E C K : W H E R E I T S AT
(NOTE 1980S ELECTRO AND
M E TA R E F E R E N C E I N T H AT
WAS A GOOD DRUM BREAK)
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RUNNIN' HER HANDS THROUGH MY 'FRO

BOUNCIN' ON TWENTY FO'S
WHILE THEY SAYIN' ON THE RADIO:
"IT'S THE REMIX TO 'IGNITION'
HOT AND FRESH OUT THE KITCHEN."
R . K E L LY: I G N I T I O N - R E M I X
( N O T A C T U A L LY A R E M I X O F I G N I T I O N B U T A W H O L E N E W S O N G )
P0$TMDRN15M
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P0$TMDRN15M
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OZZY OSBOURNE + A-HA:

TA K E M E O N A C R A Z Y T R A I N
B Y M A D M I X M U S TA N G
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S

M G M T + D AV I D B O W I E :
S TA R D U S T K I D S
BY A PLUS D
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S

BY A PLUS D
E LT O N J O H N + S Y S T E M O F A D O W N :
CROCODILE CHOP
BY NEIL CICIEREGA
P0$TMDRN15M
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P0$TMDRN15M
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(LP MADE OF 372 SAMPLES)
DANGERMOUSE:
THE GREY ALBUM
( B E AT L E S W H I T E A L B U M
+ J AY- Z S B L A C K A L B U M )
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R E F E R E N C E S & Q U O TAT I O N S
A R E N O T A B O U T W H AT
THE ART IS REFERENCING &
QUOTING, THEN IS IT AN
I N S U LT B Y D I S M I S S A L O F T H E
R E F E R E N C E D A R T I FA C T S A N D
T H E P E O P L E & C U LT U R E S
W H O VA L U E T H E M ?
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I N S U LT B Y D I S M I S S A L O F T H E
R E F E R E N C E D A R T I FA C T S A N D
T H E P E O P L E & C U LT U R E S
W H O VA L U E T H E M ?
A N D D O E S T H AT M AT T E R ?
EXAMPLE: FEW (IF ANY) ARE UPSET BY SAMPLES OF AMERICAN POSTWAR

P O P C U LT U R E I N F R O N T I E R P S Y C H I AT R I S T, A N D F E W ( I F A N Y ) W O R R Y
T H AT Y O U N G E I N S T E I N C H E A P E N S T H E L E G A C Y O F E I T H E R A L B E R T
E I N S T E I N O R R O C K M U S I C , B U T TAY L O R S W I F T S A R G U A B LY P O S T M O D E R N
F L AT T E N I N G O F D I F F E R E N T D A N C E C U LT U R E S I N T H E S H A K E I T O F F
V I D E O S T R U C K A S O U R N O T E W I T H M A N Y
P0$TMDRN15M
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G O N N A B E A L R I G H T B E C A U S E B U T I K E E P C R U I S I N A N D H AT E R S
G O N N A H AT E .
W H Y M I G H T S O M E M E D I A ( W A S H I N G T O N P O S T, N E W Y O R K T I M E S , S A L O N )
A S K I F I T S D I F F E R E N T F O R S W I F T T O P O R T R AY T W E R K I N G T H A N B A L L E T ?
P0$TMDRN15M
( P L AY E R S G O N N A P L AY / H AT E R S G O N N A H AT E I S B O R R O W E D
W I T H O U T C R E D I T F R O M 3 L W S 2 0 0 0 S I N G L E P L AYA S G O N P L AY )
TAY L O R S W I F T S H O W S S H E I S I N E P T AT T H E S E D A N C E S T Y L E S , B U T I T S
G O N N A B E A L R I G H T B E C A U S E B U T I K E E P C R U I S I N A N D H AT E R S
G O N N A H AT E .
W H Y M I G H T S O M E M E D I A ( W A S H I N G T O N P O S T, N E W Y O R K T I M E S , S A L O N )
A S K I F I T S D I F F E R E N T F O R S W I F T T O P O R T R AY T W E R K I N G T H A N B A L L E T ?
P0$TMDRN15M
S H A K E I T O F F I S N O T R E A L LY A D A N C E V I D E O . O R P E R H A P S I T W O U L D B E M O R E A C C U R AT E
T O S AY T H AT I T I S A D A N C E V I D E O I N T H E C U R R E N T P O P S E N S E A V I D E O T H AT T R E AT S
D A N C E L E S S A S A N A R T I N I T S E L F T H A N A S A C U LT U R A L S I G N I F I E R .
I.E.POSTMODERN!
T H E J O K E I N E A C H C A S E I S T H AT M S . S W I F T D O E S N T F I T I N . O N LY I N T H E F I N A L S E C T I O N
DOES SHE BELONG: A ZONE WHERE NORMAL PEOPLE JUST DO THEIR OWN THING AND
S H A K E O F F O U T S I D E E X P E C TAT I O N S .
!
I.E. PEOPLE WHO ARE OVER NEEDING
- B R I A N S E I B E R T, N E W Y O R K T I M E S ( 8 / 1 9 / 1 4 )
MEANING FROM TRADITIONS!
P0$TMDRN15M
B U T I N T H E S E S C E N E S , A R E W E L A U G H I N G AT S W I F T S C O N T I N U E D A W K W A R D N E S S , O R AT
S O M E T H I N G L E S S I N N O C E N T ? S W I F T M AY N O T B E T W E R K I N G , B U T S H E I S PA R T I C I PAT I N G I N
RACIAL CROSSDRESSING, BLANKETED IN GOLD CHAINS AND SPORTING A TIGHT UPDO, A
W H I T E W O M A N D R E S S E D A S A C A R I C AT U R E O F A B L A C K W O M A N , L E A D I N G A T E A M O F B L A C K
B A C K U P D A N C E R S . T H E I M A G E I S J A R R I N G , A N D I S H A R D N O T T O W O N D E R I F T H I S I S W H AT
TAY L O R S W I F T T H I N K S I T M E A N S T O B E B L A C K , A N D I F S O , H O W T R O U B L I N G T H AT I S .
F U R T H E R I N G S W E AT S H I R T S F R U S T R AT I O N I S T H E N AT I O N A L T R A G E D Y U N F O L D I N G I N
FERGUSON, MISSOURI, WHICH HAS SHOWN HOW DEEP OUR COUNTRYS INSTITUTIONAL
R A C I S M R E A L LY I S .
- P R A C H I G U P TA , S A L O N . C O M ( 8 / 1 4 / 1 4 )
P0$TMDRN15M
I M E A N T T O W R I T E A B O U T TAY L O R S W I F T S C U LT U R A L A P P R O P R I AT I O N A N T I C S T H I S W E E K
B U T, H O N E S T LY, M O R E P R E S S I N G M AT T E R S I N F E R G U S O N D E M A N D E D M Y AT T E N T I O N .
SWIFT MIGHT WANT US TO BELIEVE SHE DOESNT FIT IN. SHE MIGHT WANT US TO BELIEVE
T H I S V I D E O I S A B O U T B E I N G S O C I A L LY A W K W A R D ( I N O N LY T H E W AY A M I L L I O N A I R E C A N B E ) .
B U T, T H E T R U T H I S , S H E P O S I T I O N E D H E R S E L F A N D H E R D A N C E R S I N S U C H A W AY A S T O
ELITIZE SOME DANCERS AND REDUCE OTHERS.
S H E C R A W L E D T H R O U G H T H E L E G S O F W O M E N O F C O L O R ( M O S T LY B L A C K W O M E N ) W I T H H E R
M O U T H A G A P E W H I L E R E S P E C T F U L LY G A Z I N G AT T H E B E A U T Y O F T H E W H I T E B A L L E R I N A S . S H E
W A S H E R S I L L I E S T, M O S T M O C K I N G , A N D V I S U A L LY R I D I C U L O U S S E L F I N S C E N E S W I T H P E O P L E
O F C O L O R . H E R B L A C K G I R L C O S T U M E W A S G A U D Y, O U T L A N D I S H , P O O R LY F I T T E D , A N D
OBTRUSIVE WHILE SHE LOOKED CUTE AS A BUTTON IN EVERY OTHER COSTUME PRESENTED.
A N D , H E R P S E U D O - B L A C K FA C E A N T I C S A R E Y E T A N O T H E R T O O L O F W H I T E P R I V I L E G E .
- J E N N M . J A C K S O N , W AT E R C O O L E R C O N V O S . C O M ( 8 / 2 2 / 1 4 )
P0$TMDRN15M
REALITY
P0$TMDRN15M
REALITY
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REALITY
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MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
QUESTION #2: HEAR AN EXCERPT FROM THE WHITE STRIPES SEVEN
N A T I O N A R M Y, W H I C H W O N A G R A M M Y F O R B E S T R O C K S O N G , A N D H A S
B E E N C O V E R E D B Y M E TA L L I C A , T H E F L A M I N G L I P S , K T T U N S TA L L , K E L LY
CLARKSON, AND AUDIOSLAVE. A.) JACK WHITES VOICE DOESNT SOUND
L I K E A F U L LY N A T U R A L , A C O U S T I C R E C O R D I N G ; W H A T I S B E I N G D O N E T O
I T ? B . ) T H E R E I S N O R E C U R R I N G C H O R U S LY R I C , S O W H A T A B O U T T H I S
SONG DROVE ITS MASSIVE POPULARITY AND MEMORABILITY? BE AS
SPECIFIC AS YOU CAN.
MUNM 14000
LISTENING QUIZ
A VISUAL COLLAGE OF
SOME OF THE COOLEST
ALBUMS OF THE
E A R LY / M I D 2 0 0 0 S
W H AT L I N E A G E A R E T H E S E
B A N D S TA P P I N G I N T O ?
W H AT L I N E A G E A R E T H E S E
B A N D S TA P P I N G I N T O ?
P O S T- P U N K / 8 0 S R E V I V A L
CIRCA 2001-2006
CIRCA 2001-2006
A N G U L A R , M I N I M A L I S T, C L E A N G U I TA R S
F A S T, C H O P P Y, U N S Y N C O PAT E D R H Y T H M S
B L E N D E D N E W WAV E , G A R A G E R O C K , D I S C O
M A N I C LY R I C S A B O U T A L I E N AT I O N
UNLIKE GRUNGE, THIS WAS ROCK FOR DANCING
S H A M E L E S S VA L U I N G O F S T Y L E & FA S H I O N
R E B O O T O F 8 0 S , A S I F H A I R M E TA L & G R U N G E
NEVER HAPPENED
CIRCA 2001-2006
NEVER HAPPENED
C O M PA R E
J O Y D I V I S I O N : L O V E W I L L T E A R U S A PA R T ( 1 9 8 0 )
CIRCA 2001-2006
NEVER HAPPENED
C O M PA R E
J O Y D I V I S I O N : L O V E W I L L T E A R U S A PA R T ( 1 9 8 0 )
I N T E R P O L : O B S TA C L E 1 ( 2 0 0 1 )
CIRCA 2001-2006
NEVER HAPPENED
B O T H L A U N C H E S M O D E R N H I P S T E R C U LT U R E &
INFLUENCES MAINSTREAM ROCK
CIRCA 2001-2006
CIRCA 2001-2006
C O M PA R E
T H E C U R E : T H E L O V E C AT S ( 1 9 8 3 )
CIRCA 2001-2006
C O M PA R E
!B L I N K 1 8 2 : I M I S S Y O U ( 2 0 0 3 )
( N O T E B R U S H E D D R U M PAT T E R N , B A S S E N T R A N C E , R E T R O G O T H
LY R I C S , V I D E O P O R T R AYA L O F J A Z Z C O M B O , C AT S )
CIRCA 2001-2006
T R A P T: H E A D S T R O N G ( 2 0 0 2 )
( N O T E T H E P O S T- P U N K B E AT A N D C L E A N N E S S
OF VERSE BEFORE HARD ROCK CHORUS)
CIRCA 2001-2006
R I H A N N A : U M B R E L L A ( F E AT. J AY- Z ) ( 2 0 0 7 )
(NOTE THE MEGA 80S-SOUNDING ANALOGUE SYNTHS,
I D E N T I C A L T O T H O S E U S E D B Y T H E FA I N T A N D O T H E R S )
CIRCA 2001-2006
[ T H E F A I N T: A G E N D A S U I C I D E ( 2 0 0 1 ) ]
CIRCA 2001-2006
[ T H E F A I N T: A G E N D A S U I C I D E ( 2 0 0 1 ) ] [ T H E K I L L E R S : J E N N Y ( 2 0 0 4 ) ]
CIRCA 2001-2006
W H Y R E A C H B A C K T O Y O U R PA S T ?
CIRCA 2001-2006
WHY REACH BACK TO THE 80S IN 2004?
CIRCA 2001-2006
NEAR-INFINITE MUSIC STORAGE (MP3S)
+ N E A R - I N F I N I T E AV A I L A B I L I T Y ( P I R A C Y )
CIRCA 2001-2006
= MORE MUSIC THAN YOU CAN LISTEN TO
E X C I T E M E N T, P O S S I B I L I T Y, F AT I G U E
D E S TA B I L I Z E S T V & R A D I O , A L B U M S , & M O D E R N I T Y
CIRCA 2001-2006
9 / 1 1 + L O N G , D I F F I C U LT,
& P O S S I B LY I L L - B E G O T T E N W A R
CIRCA 2001-2006
9 / 1 1 + L O N G , D I F F I C U LT,
& P O S S I B LY I L L - B E G O T T E N W A R
= WARINESS TOWARD NEW ERA

A N D F O R R O C K - A G E D 1 5 - 2 5 S E T,
W A R I N E S S T O W A R D A D U LT H O O D
EMO
RISES 80S/90S, PEAKS CIRCA 2002-2008
EMO
( S TA R T S I N D C H A R D C O R E P U N K ,
B U T H E R E A R E A F E W L AT E - 9 0 S
MAINSTREAM EXAMPLES)
EMO
WEEZER: TIRED OF SEX (1996)
EMO
J I M M Y E AT W O R L D : F O R M E T H I S I S H E A V E N ( 1 9 9 9 )
EMO
E M O I S T H E A N T I P O P. I T S H U N S A B S T R A C T I O N T O D R I V E H O M E A S I N G L E
P O I N T: W O E I S M E . [ D A S H B O A R D C O N F E S S I O N A L S ] C A R R A B B A W E N T
THROUGH AN AGONIZING BREAKUP AND PUT IT DOWN MORE OR LESS
U N F I LT E R E D I N H I S S O N G B O O K . " TA K E A LY R I C L I K E ' O O H I L O V E Y O U A N D
O N LY Y O U , ' " S AY S C A R R A B B A , C R E AT I N G A N E X A M P L E O F W H AT H E S E E S A S
TYPICAL POP EMPTINESS. "YEAH, IT'S A LOVE SONG, BUT WHERE DOES IT
TOUCH YOU?"
CARRABBA'S SONGS DON'T JUST TOUCH; THEY AIM TO THROTTLE.

SCREAMING INFIDELITIES, CARRABBA'S BREAKOUT HIT ABOUT BREAKING
U P, I N C L U D E S T H E L I N E S " I ' M C U D D L I N G C L O S E T O B L A N K E T S A N D S H E E T S /
YOU'RE NOT ALONE, YOU'RE NOT DISCREET/ YOU MAKE SURE I KNOW WHO'S
TA K I N G Y O U H O M E . " H I S G U I TA R I S M O U R N F U L , H I S V O I C E S T R A I N E D . T H E
S O N G I S N ' T A B O U T B E I N G C H E AT E D O N ; I T ' S A B O U T C A R R A B B A ' S B E I N G
C H E AT E D O N .
J O S H T Y R A N G I E L , T I M E , M AY 1 9 , 2 0 0 2
EMO
TOUCH YOU?"

C H E AT E D O N .
EMO
TOUCH YOU?"

C H E AT E D O N .
U LT R A - E X P R E S S I V E , T O TA L LY U N F I LT E R E D V O C A L
RADICAL SHIFTS FROM QUIET TO LOUD, SOFT TO HARD
LY R I C S A R E D I A R I S T I C , I M M E D I AT E , S H A M E S L E S S LY W A L L O W I N G
EMO
T H U R S D AY: U N D E R S TA N D I N G I N A C A R C R A S H ( 2 0 0 1 )
U LT R A - E X P R E S S I V E , T O TA L LY U N F I LT E R E D V O C A L
RADICAL SHIFTS FROM QUIET TO LOUD, SOFT TO HARD
LY R I C S A R E D I A R I S T I C , I M M E D I AT E , S H A M E S L E S S LY W A L L O W I N G
EMO
B O R R O W S F R O M W H AT E V E R S T Y L E I S M O S T E M O T I O N A L LY
I M M E D I AT E M O S T O F T E N F O L K , H A R D C O R E P U N K , & M E TA L
O F T E N I N V O LV E S M U LT I P L E S I N G E R S , S O M E T I M E S W I T H
DEVOTED SINGING/HARMONY/SPEAKING/SCREAMING ROLES
P O S T- 2 0 0 0 , R H Y T H M S B E C O M E F A S T E R A N D M O R E I N T R I C AT E
A S E M O TA K E S O N M AT H R O C K A N D P O S T- H A R D C O R E
E M O D E V E L O P S A N I D E N T I F I A B L E A E S T H E T I C T H AT I S
H I G H LY E X P R E S S I O N I S T I C A N D F R E E LY B O R R O W S V I S U A L S &
FA S H I O N F R O M G O T H , P U N K , R AV E , & V I S U A L K E I
A S M Y S PA C E & H O T T O P I C C A P I TA L I Z E , E M O S O R I G I N A L
P U N K F A N B A S E M O S T LY L E A V E S T H E G E N R E T O Y O U N G E R
FA N S
EMO
EMO
C R O S S E D O V E R I N I N T E R E S T I N G W AY S
BROKENCYDE: FREAXXX (2008)
EMO
L I V E S O N I N P O S T- H A R D C O R E
P I E R C E T H E V E I L - K I N G F O R A D AY ( 2 0 1 2 )
DASHBOARD CONFESSIONAL - SCREAMING INFIDELITIES

I N T E R P O L - O B S TA C L E 1
T H E S T R O K E S - S O M E D AY
T H E W H I T E S T R I P E S - S E V E N N AT I O N A R M Y
YEAH YEAH YEAHS - MAPS
J AY- Z - 9 9 P R O B L E M S
K E L LY C L A R K S O N - S I N C E U B E E N G O N E
MISSY ELLIOTT - GET UR FREAK ON
O U T K A S T - H E Y YA !
SYSTEM OF A DOWN - CHOP SUEY!
MUNM 14000

DR. ALEXANDER REED
MUNM 14000

DR. ALEXANDER REED
MUNM 14000
LISTENING QUIZ
MUNM 14000
LISTENING QUIZ
Q U E S T I O N # 2 : S E E A C L I P O F VA M P I R E W E E K E N D S V I D E O F O R
THEIR 2009 HIT CAPE COD KWASSA KWASSA, PLAYED TWICE.
A.) THE SONG USES A CONGOLESE KWASSA RHYTHM, BUT ITS
V I D E O I S S E T I N A 1 9 8 0 S A M E R I C A N Y U P P I E PA R A D I S E ; W H A T
M I G H T T H I S J U X TA P O S I T I O N S U G G E S T ? B . ) W H A T PA R T I C U L A R
LY R I C I N T H I S C L I P H E L P S C O N N E C T T H E S E T W O R E F E R E N C E S ?
MUNM 14000
LISTENING QUIZ
2005-2009
2005
2006
BILLBOARD YEAR-END CHARTS
2005-2009
2007
2008
2005-2009
2009
2005-2009
K E L LY C L A R K S O N
G R E E N D AY
LIFEHOUSE
THE KILLERS
WEEZER
DANIEL POWTER
JAMES BLUNT
T H E F R AY
PA N I C ! AT T H E D I S C O
PLAIN WHITE TS
MAROON 5
DAUGHTRY
C O L D P L AY
JASON MRAZ
ALL-AMERICAN REJECTS
KINGS OF LEON
W H Y I S I T H A R D T O TA L K A B O U T M U S I C S P O P U L A R I T Y A F T E R 2 0 0 5 ?
2005-2009
G R E E N D AY
LIFEHOUSE
THE KILLERS
WEEZER
DANIEL POWTER
JAMES BLUNT
T H E F R AY
PLAIN WHITE TS
MAROON 5
DAUGHTRY
C O L D P L AY
JASON MRAZ
KINGS OF LEON
NO FEAR OF POP
NO FEAR OF SELLING OUT
N AT I V E C O M F O R T W I T H T E C H N O L O G Y
O V E R T PA R T I S A N P O L I T I C S A R E R A R E
2005-2009
G R E E N D AY
LIFEHOUSE
THE KILLERS
WEEZER
DANIEL POWTER
JAMES BLUNT
T H E F R AY
PLAIN WHITE TS
MAROON 5
DAUGHTRY
C O L D P L AY
JASON MRAZ
KINGS OF LEON
NO FEAR OF POP
NO FEAR OF SELLING OUT
N AT I V E C O M F O R T W I T H T E C H N O L O G Y
O V E R T PA R T I S A N P O L I T I C S A R E R A R E
MGMT - ELECTRIC FEEL (2007)

D I S C O S O U N D O V E R D R I V E N D R U M M A C H I N E PA R T Y LY R I C S P O S T- A LT E R N AT I V E O D D N E S S
2005-2009
G R E E N D AY
LIFEHOUSE
THE KILLERS
WEEZER
DANIEL POWTER
JAMES BLUNT
T H E F R AY
PLAIN WHITE TS
MAROON 5
DAUGHTRY
C O L D P L AY
JASON MRAZ
KINGS OF LEON
W H AT M A K E S T H E S E R O C K A R T I S T S ?
I S R O C K D E F I N E D B Y G U I TA R S ?
I S R O C K D E F I N E D B Y R O C K FA N S ?
DO ROCK SONGS CHART BECAUSE THEY
A P P E A L D I F F U S E LY T O B R O A D TA S T E
O R B E C A U S E T H E Y A P P E A L I N T E N S E LY
T O N A R R O W TA S T E ?
MUST SOMETHING ROCK TO BE ROCK?
DOES IMPROVED RECORDING
TECHNOLOGY & INCREASED CONSUMER
ACCESS DIVERSIFY OR HOMOGENIZE
MUSIC?
2005-2009
2005-2009
2005-2009
2005-2009
2005-2009
2005-2009
M O D E L S O F A R T I S T I C S U R V I VA L
O L D W AY T O M A K E $ 5 0 K
$2 COST PER $15 CD
15% CUT OF REMAINING $13
4 BAND MEMBERS
2005-2009
$2 COST PER $15 CD
4 BAND MEMBERS
100,000+ SALES
(@ $0.49/SALE)
2005-2009
$2 COST PER $15 CD
4 BAND MEMBERS
100,000+ SALES
(@ $0.49/SALE)
N E W W AY T O M A K E $ 5 0 K
NO PHYSICAL MEDIA
75% CUT OF $10
N O B A N D M AT E S L A P T O P
2005-2009
$2 COST PER $15 CD
4 BAND MEMBERS
100,000+ SALES
(@ $0.49/SALE)
NO PHYSICAL MEDIA
75% CUT OF $10
6,700 SALES
(@ $7.50/SALE)
2005-2009
$2 COST PER $15 CD

4 BAND MEMBERS
100,000+ SALES
(@ $0.49/SALE)
OR
NO PHYSICAL MEDIA
75% CUT OF $10
6,700 SALES
(@ $7.50/SALE)
2005-2009
$2 COST PER $15 CD

4 BAND MEMBERS
100,000+ SALES
(@ $0.49/SALE)
NO PHYSICAL MEDIA
75% CUT OF $10
6,700 SALES
(@ $7.50/SALE)
OR
( I T S N O T A C T U A L LY T H I S S I M P L E , B U T Y O U G E T T H E I D E A )
2005-2009
W H AT S O R T S O F A R T I S T I C R I S K S A R E V I A B L E I F Y O U O N LY N E E D
6,700 SALES
(@ $7.50/SALE)
2005-2009
M I X TA P E D AY !
!
BEFORE NEXT CLASS: EMAIL ME A LINK
T O A P O S T- 2 0 0 5 S O N G W O R T H TA L K I N G A B O U T
MUNM 14000

DR. ALEXANDER REED

RockStyles 2nd Block

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MUNM 14000

ROCK STYLES SINCE 1955

QUESTION #2: YOULL HEAR AN EXCERPT FROM RAPPERS DELIGHT

MARGARET THATCHER & RONALD REAGAN

ROCK DID NOT SURRENDER TO DISCO, BUT IT GOT HIGH-TECH

JOE WALSH - LIFES BEEN GOOD (1978)

ROCK DID NOT SURRENDER TO DISCO, BUT IT GOT HIGH-TECH

JOE WALSH - LIFES BEEN GOOD (1978)

ROCK DID NOT SURRENDER TO DISCO, BUT IT GOT HIGH-TECH

JOE WALSH - LIFES BEEN GOOD (1978)

JOE WALSH - LIFES BEEN GOOD (1978)

MARGARET THATCHER & RONALD REAGAN

ROCK DID NOT LIKE HER

ROCK DID NOT LIKE HER

ROCK DID NOT LIKE HER

ROCK DID NOT LIKE HER

ROCK DID NOT LIKE HER

ROCK DID NOT LIKE HER

ARE MOST OF THESE EXAMPLES

BOTH OF THESE GROUPSUNDERCLASS BRITISH AND AFRICAN AMERICAN

THIS ERA SEES A WIDENING OF MAINSTREAM VS. UNDERGROUND

THIS ERA SEES A WIDENING OF MAINSTREAM VS. UNDERGROUND

THINK ABOUT HOW DIFFERENT PEOPLE LISTENED TO MUSIC

THINK ABOUT HOW DIFFERENT PEOPLE LISTENED TO MUSIC

CHIC: GOOD TIMES

CHIC: GOOD TIMES

THE SUGAR HILL GANG:

THE FUNKY FOUR + 1 MORE

ROCK STYLES SINCE 1955

ROCK STYLES SINCE 1955

NEW YORK SCENE

NEW YORK SCENE

YOUNG & POOR MIXED WITH

NEW YORK SCENE

YOUNG & POOR MIXED WITH

DISAFFECTED & GLAMMY

NEW YORK SCENE

DISAFFECTED & GLAMMY

YOUNG & POOR MIXED WITH

ANTI-HIPPIE & ANTI-ROCK

ANTI-HIPPIE & ANTI-ROCK

ANTI-HIPPIE & ANTI-ROCK

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

SEX PISTOLSTHE CLASHTHE DAMNEDSIOUXSIE & THE BANSHEES

DISTORTION WITHOUT FX/DYNAMISM

SHOUTED, GRUNTED, WHINED VOCAL

DISTORTION WITHOUT FX/DYNAMISM

SHOUTED, GRUNTED, WHINED VOCAL

MOCKS LOVE & NORMAL THEMES

AESTHETICS EMBRACE THE REJECTED/DISCARDED

SHAM 69 - IF THE KIDS ARE UNITED (1978)

ABBA - DANCING QUEEN

ROCK STYLES SINCE 1955

ROCK STYLES SINCE 1955

QUESTION #2: YOULL HEAR AN EXCERPT FROM BEAT IT

SURVIVOR: EYE OF THE TIGER (1982)

RUNNING WITH THE DEVIL (1978)

LAUNCHES AUGUST 1, 1981

LAUNCHES AUGUST 1, 1981

LAUNCHES AUGUST 1, 1981

LAUNCHES AUGUST 1, 1981

MTV SUCCESS HAD MORE TO DO WITH A VIDEO THAN ITS SONG