HI 280 History of Rock`n`Roll

Transcription

HI 280: SPECIAL TOPICS IN AMERICAN HISTORY
CM 561: SPECIAL TOPICS IN MASS COMMUNICATION
THEHISTORYOF
HI 280 / CM 561, Summer 2014
ROCK’N’ROLL
ELVIS PRESLEY was in some ways the
personification of the American Dream.
Professor
WILLIAM
McKEEN
Office
131 COM
Phone
353-3484
Email
wmckeen@ bu.edu
Office hours
Fridays, 10:30-noon
and by appointment
Home page
williammckeen.com
Twitter
@wmckeen
@outlawjourno
Facebook
@Boston University
Department of Journalism
About this course
This course examines the role
of popular music in American
culture.
It is not a music course, but
more of an examination of the
effects of recorded sound on
popular culture.
We will study the origin and
growth of the recording
industry in the United States,
but focus most of our energies
on tracing the threads of
mainstream music during the
20th century.
We will attempt to integrate the
general social and intellectual
1
history of the country into the
story of popular music.
There will be a special emphasis
on rock 'n' roll and its impact
on America in the last 40 years,
especially the 1954-1970 era.
Although this course is a lot of
fun, it is not easy. There is a lot
of work.
These are the required books
for the course:
✓
C HARLIE G ILLETT
The Sound of the City: The
Rise of Rock and Roll (Da
Capo Press, 1996; second
edition)
✓
G REIL M ARCUS
Mystery Train: Images of
America in Rock’n’Roll Music
(Plume, 2000; fifth edition)
✓
W ILLIAM M C K EEN
Rock and Roll is Here to Stay
(W.W. Norton, 2000).
My goal in selecting texts is to
require books that are so good
you won’t want to sell them
back. Hope that’s the case with
you.
Remember this quote from the
King of Rock’n’Roll, Elvis
Presley: “If this ceases to be
fun, we will cease to do it.”
HI 280 / CM 561, Summer 2014
Grading
and other issues
These are the major assignments in the course:
✓
✓
a research paper
two extensive multiple-choice
examinations.
A note on behavior: It should go without
saying that I expect you not to talk, dance or
make rude noises while I am trying to lecture.
Any sort of disruptive behavior will be
damaging to your grade.
We follow the standard grading scale for the
tests and the paper:
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93 and above A
90 to 92.99 A87 to 89.99 B+
83 to 86.99 B
80 to 82.99 B77 to 79.99 C+
73 to 76.99 C
70 to 72.99 C67 to 69.99 D+
60 to 66.99 D 0 to 59.99 F
Attendance
You will not be allowed to make up
any missed work unless the reason for
your absence is extremely grave (a
death in the family or perhaps the
contraction of some loathsome
disease), and you call me or email me
before the class period to be
missed.
I have strong feelings about attendance.
As Herman B (no period) Wells,
chancellor of Indiana University, once
said: "Education is the one thing people
pay for, then do not insist upon
receiving."
We cannot have a successful class without
you. Be here every day. If you don't show
up, the quality of class will be diminished.
Remember your John Donne (and, of
course, remove the gender bias from this
centuries old quote):
"No man is an island, entire of itself;
every man is a piece of the continent, a
part of the main; if a clod be washed
away by the sea, Europe is the less....
(A)ny man's death diminishes me,
because I am involved in mankind; and
therefore never send to know for whom
the bell tolls; it tolls for thee."
In short, don't be a clod. But do be
polite. There's no excuse for rudeness.
2
JANIS JOPLIN came from Port
Arthur, Texas, outside of
Houstin, but found her voice
as a singer in San Francisco,
becoming part of that cityʼs
vibrant music scene in the
later 1960s, during the socalled “Summer of Love.”
She died at 27, after years of
heavy drug and alcohol
abuse.
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Style. Consistency is what matters most to
me. Historical papers generally follow the
style outlined in A Manual for Writers of
Term Papers, Theses and Dissertations by Kate
Turabian. This is a recommended guide.
But as long as you are consistent and give
me bibliographical information, I will be
delighted.
•
Citations. Follow the simple practice of
indicating a citation with a superior
number. Then, put all your notes at the
end. I prefer that book citations follow the
format under the required-texts section of
this syllabus. Cite interviews with a
superior number and include all relevant
information in the endnote. Thus: 47.
Wanda Jackson, telephone interview, June 8,
2014.
•
Page Numbering. Some lunatics apparently
think if they don't number the pages I
won't notice that they did not make the
minimum length. I can count. But make it
easy on me. Don't include a lot of blank
paper to make your paper fatter. It will
make me think that your paper is flimsy.
It's a waste, too.
•
Title Page. Put this sort of stuff on the
cover: Title of paper, your name, course
number (HI 280 / CM 561 Hiatory of
Rock’n’Roll) and the date (Summer
Session I, 2014).
Writing your
paper
The research paper is on a topic of your
choosing. I strongly urge you to take one of
these two approaches:
Approach A: Write about a trend, a genre, or a
popular notion about music. Concern yourself
with cover versions of R&B songs. Or perhaps
you are interested in narrative songs.
Subcategories of popular music may interest you
acid rock, heavy metal, bubblegum, Philadelphia
Soul, or whatever.
That may be a bit amorphous for lots of you, so
I recommend the second approach.
Approach B: Your research paper may take the
form of a report on a single musician (or band).
Consider this the adopt-a-rock'n'roller plan.
Early in the semester, select a musician, living or
dead, and accumulate as much information as
you can on that artist. It must be an artist whose
career is (or was) of some duration. You will
prepare a written biographical/discographical
report and then briefly present your information
to the class.
I like this second approach because I think it will
be more meaningful to you and should make
class presentations more fun.
If you don't like either of these approaches,
then talk with me and we will figure out what to
do.
Here are answers to questions you might ask
about writing this research paper:
Continued on next page
HI 280 / CM 561, Summer 2014
Writing your paper continued
•
Errors. Errors of fact seriously damage
your grade. Spelling and grammar errors
also will hurt. Typographical errors will be
considered spelling errors. Edit carefully.
•
Revision. I may ask you to revise your paper.
This will not affect the grade. But I will
not record your grade -- give you credit for
the work -- unless you turn in a revision if
one is requested.
•
Report Covers. I hate those flimsy little
plastic things. I usually throw them away.
Paper covers and other fancy forms of
presentation are mere annoyances. Save
your money. Just staple or paper clip the
pages together. And don't come to class
the day that paper is to be turned in
expecting me to have a stapler. You think I
carry one in my back pocket? Get real.
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General Quality. One last, vital thing: Do
not think of this as "another boring term
paper." You are a student in a college of
communication. You are a writer. I will be
judging your paper as a piece of writing. It
must be interesting. It should read like a
good magazine article.
Hope you enjoy this assignment. I’m pretty sure
you will.
BOB DYLAN shielded from fans during his timultuous 1966 world tour with The Hawks.
Dylan unveiled his new rockʼnʼroll sound and fans showed up at his concerts to boo.
Course outline and reading assignments
We will attempt to stick to the outline below.
We might deviate from this list of lecture
topics, but it ought to give you some idea of
the material covered.
About the readings:
✓
Read Mystery Train by the midpoint of the
semester. It will be covered on the first
exam.
✓
Read The Sound of the City during the
second part of the course. It will be
covered on the second exam.
✓
Readings from Rock and Roll is Here to Stay
are listed with the class meetings in the
outline below.
✓
Suggested readings will be on reserve. As
you might surmise, these are not required,
but reading selections from these works
will deepen your understanding and
appreciation of the subject.
We will announce the dates of tests in class and
will present lectures in the order below:
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Introduction
Required reading:
 From Rock and Roll is Here to Stay:
Salman Rushdie, “A World Worthy of
Our Yearning”; Levon Helm, Martin
Scorsese and Robbie Robertson, “And
if it Dances” ; Nick Hornby, “Looter”
The Art of the Music Business
Suggested reading:
 Ken Emerson. Doo-Dah!: Stephen
Foster and the Rise of American Popular
Culture (Simon and Schuster, 1997)
 James Kaplan. Frank Sinatra: The
Voice (Doubleday, 2010)
The Ghost of Robert Johnson
Required reading:
Robert Johnson, “Me and the
Devil”; Bob Dylan, “Blind Willie
McTell”; James Miller, “King of
the Delta Blues”
Suggested reading:
 Alan Lomax. The Land Where the
Blues Began (Pantheon, 1993)
 Peter Guralnick. Searching for Robert
Johnson (Dutton, 1989)
 John Fahey. Charley Patton (Little
Hampton, 1970)
The Birthing of Rock’n’Roll
Required reading:
DonDeLillo, “Free of Old Saints
and Martyrs”; Richard Goldstein,
“Next Year in San Francisco”
Suggested reading:
 Ian

Whitcomb. After the Ball: Pop
Music from Rag to Rock (Penguin,
1974).
Richard Cohen, The Record Men
(WW Norton, 2005)
The Sound of the City, Part 1: New Orleans
Required reading:
Grace Lichtenstein and Laura
Dankner, “The Fat Man”; Greil
Marcus, “The Myth of Staggerlee”
Recommended reading:
 Alan Lomax. Mister Jelly Roll (Duell,
Sloan and Pearce, 1950)
 John Broven. Rhythm and Blues in
New Orleans (Pelican, 1978)
 Jeff Hannusch. I Hear You Knockin’:
The Sound of New Orleans Rhythm and
Blues (Swallow, 1985)
The Sound of the City, Part 2: Chicago
Required reading:
Robert Palmer, “From the Delta to
Chicago”; Charlie Gillett, “From
the introduction to The Sound of
the City”
Suggested reading:
 Charles Shaar Murray. Boogie Man:
The Adventures of John Lee Hooker in
the American 20 th Centur y (St.
Martin’s, 2000)
HI 280 / CM 561, Summer 2014
Course outline continued
BUDDY HOLLY in his
Greenwich Village apartment
a couple of weeks before his
death in the Feb. 3, 1959
plane crash. His last songs,
recorded bedside on a home
tape recorder, signaled a
change in direction for the
singer.
 James

Segrest and Mark Hoffman.
Moanin’ at Midnight: The Life and Times of
Howlin’ Wolf (Pantheon, 2004)
Willie Dixon, with Don Snowden. I
Am the Blues: The Willie Dixon Story
(DaCapo, 1990)
The Sound of the City, Part 3: Memphis
Required reading:
 From Rock and Roll is Here to Stay: Colin
Escott and Martin Hawkins,
“706
Union Avenue”
Suggested reading:
 Robert Gordon. It Came From Memphis
(Faber and Faber, 1992).
 Stanley Booth. Rythm [cq] Oil: A Journey
Through the Music of the American South
(Pantheon, 1992)
 James L. Dickerson. Goin' Back to
Memphis: A Century of Blues, Rock 'n' Roll,
and Glorious Soul (Schirmer, 1996)
Elvis, Part 1: The Hillbilly Cat
Required reading:
 From Rock and Roll is Here to Stay: Peter
Guralnick, “Elvis, Scotty and Bill”; Doc
Pomus, “Treatise on the Blues”
Suggested reading:
 Peter Guralnick. Last Train From
Memphis (Little, Brown, 1994)
 Dave Marsh. Elvis. (Warner Books,
1983)
 Colin Escott and Martin Hawkins. Good
Rockin' Tonight: Sun Records and the Birth of
Rock 'n' Roll (St. Martin's, 1991)
Elvis, Part 2: Lonely Street
The Day the Music Died
Required reading:
Required reading:
 From Rock and Roll is Here to Stay: Peter
Guralnick, “Return of the King”; Lester
Unknown, “The Plane Crash”
Bangs, “Where Were You When Elvis
Suggested reading:
Died?”
 Ellis Amburn. Buddy Holly (Sr. Martin’s,
Suggested reading:
1996)
 Peter Guralnick. Careless Love (Little,
Brown, 1997)
The Five Styles of Rock'n'Roll
Required reading:
Chuck Berry: Guitar Like Ringing a Bell
Required reading:
Charlie Gillett, “The Five Styles of
Rock’n’Roll”
 From Rock and Roll is Here to Stay: Chuck
Berry, “Got to Be Rock and Roll
Music”
Rock'n'Roll, Inc.: The Brill Building Sound
Suggested reading:
Required reading:
 Chuck Ber r y. The Autobiography
 From Rock and Roll is Here to Stay: Doc
(Harmony, 1989)
Pomus, “Treatise on the Blues”; Mae
Boren Axton, “Estimony in the Payola
After Chuck, the Deluge
Hearings”
Required reading:
Suggested reading:
 Ken Emerson. Always Magic in the Air
Bumps Blackwell, “Up Against the Wall
(Viking, 2005
with Little Richard”
Suggested reading:
The Wall of Sound, Part 1: Teen Symphonies
Required reading:
 G r a c e L i ch t e n s t e i n a n d L a u r a
Dankner,. Musical Gumbo (W.W. Norton,
 From Rock and Roll is Here to Stay: Phil
1995)
Spector, “Save the Last Dance for Me”;
Lucy O’Brien, “Girl Groups”
The Sun Also Rises
Suggested reading:
Required reading:
 Mick Brown. Tearing Down the Wall of
Sound (Knopf, 2007)
 From Rock and Roll is Here to Stay: Nick
Tosches, “Jerry Lee Lewis Sees the
Bright Lights of Memphis”
The Wall of Sound, Part 2: Spectacles
Suggested reading:
Required reading:
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
From Rock and Roll is Here to Stay:
Ronnie Spector, “Inflatable Phil”; Tina
Turner, “A Fool in Love”
Motown: Berry Gordy's Empire
Required reading:
Patricia Smith, “Life According to
Motown,” David Ritz, “What’s Going
On”
 Nelson George. Where Did Our Love
Go? (Sr. Martin’s, 1986)
Bob Dylan, Part 1: Gather 'Round People
Required reading:
 From Rock and Roll is Here to Stay: Bob
Dylan, “Bringing it All Back Home”
and Blind Willie McTell”
Suggested reading:
 Bob Dylan. Chronicles, Vol. 1 (Simon and
Schuster, 2006
The Beach Boys, Part 1: All-American Boys
Required reading:
 From Rock and Roll is Here to Stay: Brian
Wilson, “Do You Remember?”
Suggested reading:
 Steven Gaines. Heroes and Villains (New
American Library, 1986)
The Beach Boys, Part 2: All-American Boys
on Drugs
Required reading:
 From Rock and Roll is Here to Stay: Jules
Siegel, “A Teen-Age Hymn to God”
Suggested reading:
 Brian Wilson. Wouldn’t It Be Nice?
(HarperCollins, 1993)
HI 280 / CM 561, Summer 2014
Course outline continued
The British Invasion
Required reading:
 From Rock and Roll is Here to Stay: Patti
Smith, “Rise of the Sacred Monsters”
The Beatles, Part 1:
Moptops
Required reading:
Bob Dylan, Part 2: Going Electric
Required reading:
Philip Norman, “A Good Stomping
 From Rock and Roll is Here to Stay: Al
Band”
Kooper, “How Does it Feel?”; Jomn
Suggested reading:
Pareles, “Precious Oddball”
Suggested reading:
 Philip Norman. Shout (Simon and
Schuster, 1981)
 The Beatles. The Beatles Anthology
(Chronicle, 1996)
Turning Left at Greenland
The Godfather of Soul
Required reading:
Required reading:
 From Rock and Roll is Here to Stay: Tom
Wolfe, “Words to the Wild”
James Brown, “The TAMI Show”;
Suggested reading:
Nelson George, “The Godfather of
Soul”
 Bob Spitz. The Beatles (Little, Brown,
2005)
Suggested reading:
 James Sullivan. The Hardest Working
Man (Gotham, 2009)
More Popular Than Jesus
Required reading:
The Sound of the City, Part 4:
 From Rock and Roll is Here to Stay: Los Angeles and San Francisco
Maureen Cleave, “More Popular Than
Required reading:
Jesus”
 From Rock and Roll is Here to Stay: Joan
Suggested reading:
Didion, “Waiting for Morrison”
Suggested reading:
 Hunter Davies. The Beatles: The
Authorized Biography (revised, W.W.
 Barney Hoskyns. Waiting for the Sun(St.
Norton, 2010)
Martin’s, 1996)
Twilight of the Gods
Required reading:
 From Rock and Roll is Here to Stay: John
Lennon, “The Ballad of John and
Yoko”; Yoko Ono, “Statement to the
Press”
Suggested reading:
 The Beatles. The Beatles Anthology
(Chronicle, 1996)
The Guitar Gods
Required reading:
Anthony DeCurtis, “A Life at the
Crossroads”; Ellen Sander, “Inside
the Cages of the Zoo”; Pamela des
Barres, “Every Inch of My Life’; Peter
Townshend, “Meaty, Beaty, Big and
Bouncy”; Charles Shaar Murray,
“Hendrix in Black and White”
Suggested reading:
 Eric Clapton. The Autobiography
(Broadway, 2007)
Sweet Soul Music
Required reading:
Daniel Wolff, “Change is Gonna
Come”; Jon Landau, “Otis Redding,
King of Them All”; Jerry Wexler,
“Queen of Soul”
Suggested reading:
 Peter Guralnick Sweet Soul Music
(Harper and Row, 1986); Robert
Bowman, Soulsville USA (Schirmer,
2003)
The Sound of the City, Part 5:
Memphis (Again) and Muscle Shoals
Required reading:
Robert Gordon, “Dan and Spooner”
Suggested reading:
 Robert Gordon. It Came from Memphis
(Faber and Faber, 1995)
The World’s Greatest Rock’n’Roll Band
Required reading:
Terry Southern, “Riding the Lapping
Tongue”
Suggested reading:
 Keith Richards Life (Little, Brown,
2010)
The Good, the Bad and the Ugly
Required reading:
 From Rock and Roll is Here to Stay: Bill
Graham, “Woodstock Nation”; Lewis
Shiner, “Saving Jimi”; Stanley Booth,
“Altamont”
THE ROLLING STONES in 1965. From left, KEITH
RICHARD (he had not added the S to his last
name yet) MICK JAGGER, CHARLIE WATTS, BRIAN
JONES and BILL WYMAN. Only Mick, Keith and
Charlie are with the band today. Brian died in
1969 and Bill retired in 1994.
5
HI 280 / CM 561, Summer 2014
6
Rockʼnʼroll bibliography
Like all bibliographies, this is a work in progress.
• Aaseng, Nathan. Bob Dylan: Spellbinding
Songwriter. Minneapolis: Lerner Press,
1987.
• Aldridge, Alan, editor. The Beatles
Illustrated Lyrics. New York: Delacorte,
1969.
• _______, editor. The Beatles Illustrated
Lyrics, Vol. 2. New York: Delacorte,
1971.
• Alpert, Jane. Growing Up Underground.
New York: Morrow, 1981.
• Amburn, Ellis. Pearl: The Obsessions and
Passions of Janis Joplin. New York:
Warner Books, 1992.
• ______. Buddy Holly: A Biography. New
York: St. Martin's Press, 1995.
• Amendt, Gunter. Reunion Sundown: Bob
Dylan in Europa. Munich: Hobo Press,
1985.
• Anderson, Dennis. The Hollow Horn: Bob
Dylan's Reception in the United States and
Germany. Munich: Hobo Press, 1981.
• Anson, Robert Sam. Gone Crazy and
Back Again: The Story of Rolling Stone
Magazine. New York: Doubleday, 1981.
• Anthony, Gene. The Summer of Love.
Berkeley, California: Celestial Arts,
1980.
• Azerrad, Michael. Come as You Are: The
Story of Nirvana. New York: Doubleday,
1994.
• Bacon, David, and Norman Maslov.
The Beatles' England: There Are Places I'll
R e m e m b e r . N e w Yo r k : N i n e
HundredTen Press, 1982.
• Baez, Joan. Daybreak. New York: The
Dial Press, 1968.
• ______. And a Voice to Sing With. New
York: Summit Books, 1987.
• Baker, Glenn A. The Beatles Down Under:
The 1964 Australia and New Zealand Tour.
Ann Arbor, Michigan: Pierian, 1985.
• Bane, Michael. White Boy Singin' the
Blues. New York: Penguin Books, 1982.
• Bangs, Lester. Psychotic Reactions and
Carburetor Dung. Edited by Greil
Marcus. New York: Alfred A. Knopf,
1987.
• Barlow, William. Looking Up at Down:
The Emer gence of Blues Cultur e.
Philadelphia: Temple University Press,
1989.
• ______, and Cheryl Finley. From Swing
to Soul: An Illustrated History of African
ARETHA
FRANKLIN with
JERRY WEXLER
of Atlantic
Records. He
had the smarts
to take her to
Muscle Shoals,
Alabama in
1966 to record.
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American Pop Music, 1930-1960.
Washington, D.C.: Elliott and Clark,
1994.
Barnouw, Eric. The Golden Web: A
History of Broadcasting in the United States
from 1933 to 1953. New York: Oxford
University Press, 1968.
Bauldie, John. Bob Dylan and Desire.
Romford, England: Wanted Man Press,
1982.
______. Wanted Man: In Search of Bob
Dylan. London: Black Spring Press,
1990; New York: The Citadel Press,
1991.
Bedford, Carol. Waiting for The Beatles:
An Apple Scruffs Stor y. London:
Blanford Press, 1984.
Belz, Carl. The Story of Rock. New York:
Oxford University Press, 1969.
Benjaminson, Peter. The Story of
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Motown. New York: Grove Press, 1979.
Benson, Joe. The Beatles. Glendale,
California: Benson, 1986.
Berry, Chuck. The Autobiography. New
York: Harmony Books, 1987.
Berry, Jason, Jonathan Foose, and Tad
Jones. Up from the Cradle: New Orleans
Music Since World War II. Athens,
Georgia: University of Georgia Press,
1986.
Berry, Peter E. "...And the Hits Just Keep
on Comin'." Syracuse: Syracuse
Best, Peter, and Patrick Doncaster.
Beatle! The Pete Best Story. New York:
Dell, 1985.
Blake, John. All You Needed Was Love:
The Beatles After The Beatles. New York:
Perigee, 1981.
HI 280 / CM 561, Summer 2014
Bibliography continued
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Bockris, Victor. Uptight: The Velvet
Underground Story. London: Omnibus
Press, 1983.
______. Keith Richards: The Biography.
New York: Poseidon Press, 1993.
Boggs, Vernon W. Salsiology: Afro-Cuban
Music and the Evolution of Salsa in New
York City. New York: Excelsior Music
Publishing Company, 1992.
Bogle, Donald. Brown Sugar: Eight Years
of America's Black Female Superstars. New
Booth. Stanley. Dance With the Devil: The
Rolling Stones and Their Times. New York:
Random House, 1984.
_______. Rythm Oil: A Journey Through
the Music of the American South. New
York: Pantheon, 1991.
______. Keith: Standing in the Shadows.
New York: St. Martin's Press, 1995.
Bowden, Betsy. Performed Literature:
Words and Music by Bob Dylan.
Bloomington, Indiana: Indiana
Bronson, Fred. The Billboard Book of
Number One Hits. New York: Billboard
Publications, 1988.
Broven, Robert. Rhythm and Blues in
New Orleans. Gretna, Louisiana: Pelican,
1974.
Brown, James, and Ken Tucker. James
Brown: The Godfather of Soul. New York:
Macmillan, 1986. [Revised, with a new
introduction by Dave Marsh, 1990]
Brown, Peter, and Steven Gaines. The
Love You Make: An Insider's Story of The
Beatles. New York: McGrawHill, 1983.
Burke, John. The Beatles in a Hard Day's
Night. New York: Dell, 1964.
Burton, Jack. The Blue Book of Tin Pan
Alley. Watkins Glen, New York:
Century House, 1950.
Cable, Paul. Bob Dylan: His Unreleased
Recordings. New York: Schirmer Books,
1980.
Campbell, Colin and Allan Murphy.
Things We Said Today: The Complete Lyrics
and a Concordance to The Beatles' Songs,
19601970. Ann Arbor, Michigan:
Pierian, 1980.
Carpozi, George. John Lennon: Death of
a Dream. New York: Manor Books,
1980.
Carr, Patrick. The Illustrated History of
Country Music. New York: Doubleday,
1980.
Carr, Roy, and Tony Tyler. The Beatles:
An Illustrated Record. New York:
Harmony Books, 1975 (Revised 1981).
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Cartwright, Bert. The Bible in the Lyrics of
Bob Dylan. Romford, England: Wanted
Man Press, 1985.
Castleman, Harry and Walter J.
Podrazik. All Together Now: The First
Complete Beatles Discography, 19611975.
_______. The Beatles Again. Ann Arbor,
Michigan: Pierian, 1977.
_______. The End of The Beatles? Ann
Arbor, Michigan: Pierian, 1985.
Catone, Marc A. As I Write This Letter:
An American Generation Remembers The
Beatles. Ann Arbor, Michigan: Pierian,
1982.
Cepican, Bob, and Ali Waleed.
Yesterday . . . Came Suddenly. New York:
Arbor House, 1984.
Cerf, Christopher, editor. Help! New
York: Random House, 1965.
Chapple, Steve, and Rebee Garofalo.
Rock'n'Roll is Here to Pay: The History and
Politics of the Music Industry. Chicago:
Nelson-Hall, 1977.
Charles, Ray. and David Ritz. Brother
Ray: Ray Charles' Own Story. New York:
The Dial Press, 1978.
Charlton, Katherine. Rock Music Styles:
A History. Dubuque, Iowa: William C.
Brown, 1990.
Charters, Sam. The Country Blues. New
York: Rinehart, 1959.
Christgau, Robert. Any Old Way You
Choose It. Rock and Other Pop Music,
1967-1973. Baltimore: Penguin Books,
1973.
________. Rock Albums of the '70s: A
Critical Guide. New Haven: Ticknor and
Fields, 1981.
________. Christgau's Record Guide: The
'80s. New York: DaCapo Press, 1990.
Clarke, Donald, editor. The Penguin
Encyclopedia of Popular Music. New York:
Viking-Penguin, 1989.
Cohn, Nik. Rock from the Beginning. New
York: Stein and Day, 1969.
Coleman, Ray. John Winston Lennon.
London: Sidgwick and Jackson, 1984.
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______, editor. Stranded: Rock and Roll
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______. Lipstick Traces: The Secret
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______. Dead Elvis: Chronicle of a
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______. Ranters and Crowd Pleasers:
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______. The Dustbin of History.
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______, with Kevin Stein. The Book of
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______. Elvis. New York: Warner
Books, 1983.
______. Fortunate Son: Criticism and
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1985.
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______. The First Rock & Roll
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______. Glor y Days: The Bruce
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Pantheon, 1987.
______. The Heart of Rock & Soul: The
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______. Louie Louie: The History and
Mythology of the World's Most Famous
Rock'n'Roll Song; Including the Full Details
of Its Torture and Persecution at the Hands
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______, with James Bernard. The New
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_______. John Lennon: For the Record.
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_______. Mike Mac's White and Blacks
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_______, editor. Bob Dylan: The Early
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______. Bob Dylan: A BioBibliography.
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_______. A Darker Shade of Pale: A
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_______. Bob Dylan: In His Own Words.
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_______. Bob Dylan. London: Big O
Publishing Ltd., 1978.
_______. The Beatles in Their Own
Words. New York: Quick Fox, 1979.
_______. John Lennon in His Own
Words. New York: Delilah, 1979.
Middleton, Richard. Pop Music and the
Blues. London: Gollancz, 1972.
Millar, Bill. The Drifters. London: Studio
Vista, 1971.
_______. The Coasters. London: W. H.
Allen, 1975.
Miller, Jim, editor. The Rolling Stone
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Morgan, Thomas L., and William
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An Illustrated History of African American
P o p M u s i c Fr o m 1 8 9 8 - 1 9 3 0 .
Washington, D.C.: Elliott and Clark,
1992.
Morella, Joseph, and Patricia Barey.
Simon and Garfunkel: Old Friends. New
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Murray, Charles Shaar. Crosstown Traffic:
Jimi Hendrix and the Post-War Rock'n'Roll
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Revolution. New York: St. Martin's
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_______. The Beatles: A Study in Drugs,
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_______. The Legacy of John Lennon:
Charming or Harming a Generation?
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Their Generation. New York: Simon and
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_______. The Beatles: A Musical
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_______. The Compleat Beatles (2
volumes). New York: Delilah, 1981.
_______. Beatles Complete Easy Guitar.
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_______. Twenty Greatest Hits: The
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______. Songs and Saints: Vocal
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______, Max Harrison and William
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and Jazz. New York: W. W. Norton and
Company, 1980.
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Ono, Yoko. Grapefruit. Bellport, New
York: Wunternaum, 1964.
_______. This is Not Here. Syracuse,
New York: Everson Museum, 1971.
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______. A Tale of Two Cities: Memphis
Rock and New Orleans Roll. Brooklyn,
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______. Jerry Lee Lewis Rocks! New
York: Delilah / G. P. Putnam's Sons,
1981.
______. Deep Blues. New York: The
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______. The Rolling Stones. New York:
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_______. Paul McCartney and Wings.
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Pichaske, David R. Beowulf to Beatles:
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______. A Generation in Motion: Popular
Music and Culture in the Sixties. New
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Beatles. New York: Creative Editions,
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Reeves, Martha, and Mark Bego.
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Beatles Bootlegs and Novelty Records. Ann
Arbor, Michigan: Pierian, 1981.
_______. The Book of Beatles Lists. New
York: Contemporary Books, 1985.
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York: Congdon and Weed, 1988.
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FolkRock: The Bob Dylan Story. New
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Richards, Keith. Life. New York: Littl,
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______. Hard Rain: A Dylan
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Robbins, Ira A. The Trouser Press Guide
to New Wave Records. New York:
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Charles Scribner's Sons, 1983.
Roberts, John Storm. The Latin Tinge:
The Impact of Latin American Music on the
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Rolling Stone editors. The Rolling Stone
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______. Knockin' on Dylan's Door: On
the Road in '74. New York: Pocket
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_______. The Rolling Stone Interviews:
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Roques, Dominique. The Great White
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Rose, Tricia. Black Noise: Rap Music and
Black Culture in Contemporary America.
Hanover, New Hampshire: University
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_______. The Beatles on Record: A
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Salewicz, Chris. McCartney: The
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Martin's, 1986.
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Sanjek, Russell. American Popular Music
and Its Business: The First Four Hundred
Years. New York: Oxford University
Press, 1988.
Sarlin, Bob. Turn it Up! I Can't Hear the
Words. New York: Simon and Schuster,
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Saroyan, Aram. The Beatles. New York:
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Savage, Jon. England's Dreaming: Anarchy,
Sex Pistols, Punk Rock and Beyond. New
Scaduto, Anthony. Bob Dylan: An
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afterward by Steven Gaines, 1979].
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_______. The Boys From Liverpool. New
York: Methuen, 1980.
_______. Saucerful of Secrets: The Pink
Floyd Odyssey. New York: Harmony
Books, 1991.
Schaumberg, Ron. Growing Up With The
Beatles. New York: Pyramid Books,
1976.
Schiffman, Jack. Uptown: The Story of
Harlem's Apollo Theatre. New York:
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Schoenberg, Eric. Fingerpicking Beatles.
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Schultheiss, Tom, editor. A Day in the
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Schuster, Peter. Four Ever. Stuttgart,
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Selvin, Joel. Summer of Love: The Inside
Story of LSD, Rock & Roll, Free Love and
High Times in the Wild West. New York:
Dutton, 1994.
Shannon, Bob, and John Javna. Behind
the Hits: Inside Stories of Classic Pop and
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Shapiro, Harry. Waiting for the Man: The
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Shapiro, Nat, editor. Popular Music: An
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Press, 1973.
_______, and Nat Hentoff. Hear Me
Talkin' to Ya. New York: Dover, 1966.
Shatskin, Mike, Lyn Belanger, and Jo
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York: Proteus, 1981.
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Macmillan, 1977.
THE BEATLES. Left to right: GEORGE HARRISON, PAUL MCCARTNEY,
JOHN LENNON and RINGO STARR.
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Shelton, Robert. The Country Music Story.
Indianapolis: Bobbs-Merrill, 1965.
_______. No Direction Home: The Life
and Music of Bob Dylan. New York:
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Me. New York: Stein and Day, 1984.
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and Day, 1983.
Silvester, Peter J. A Left Hand Like God:
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Sloman, Larry. On the Road with Bob
Dylan: Rolling With the Thunder. New
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Smith, Joe. Off the Record: An Ora
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History of Popular Music. New York:
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_______, and John Tobler. Working
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15
Class Heroes. New York: Avon, 1984.
Stearns, Marshall W. The Story of Jazz.
New York: Oxford University Press,
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Plimpton. Edie: A Biography. New York:
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Inside the Business of Rock and Roll.
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_______. The Beatles. New York: Times
Books, 1980.
Sutton, Margaret. We Love You, Beatles.
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1971.
Swenson, John. The Beatles: Yesterday and
Today. New York: Zebra, 1977.
_______. The John Lennon Story. New
York: Leisure Books, 1981.
Taylor, Derek. As Time Goes By. San
Francisco: Straight Arrow Press, 1975.
_______. Fifty Years Adrift. Guilford,
England: Genesis Publishing, 1984.
_______. It Was Twenty Years Ago
Today. New York: Fireside, 1987.
Terry, Carol D. Here, There and
Everywhere: The First International Beatles
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Thompson, Dave. Space Daze: The
History and Mystery of Electronic Ambient
Rock. Los Angeles: Cleopatra, 1994.
Thompson, Toby. Positively Main Street:
An Unorthodox View of Bob Dylan. New
York: CowardMcCann, 1971; London:
New English Library, 1972.
Thomson, Elizabeth M., editor.
Conclusions on the Wall: New Essays on
Bob Dylan. Manchester, England: Thin
Man Press, 1980.
_______, and David Gutman, editors.
The Lennon Companion: 25 Years of
Comment. New York: Schirmer Books,
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______, editors. A Dylan Companion.
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Tobler, John. The Beatles. New York:
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_______, and Stuart Grundy. The
Record Producers. New York: St. Martin's
Press, 1982.
Tosches, Nick. Country: The Biggest
Music in America. New York: Stein and
Day, 1977.
_______. Hellfire: The Jerry Lee Lewis
Story.
_______. Unsung Heroes of Rock'n'Roll:
The Birth of Rock in the Wild Years Before
Elvis. New York: Harmony Books,
1984 [Revised, 1991].
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Townsend, Charles R. San Antonio Rose:
The Life and Music of Bob Wills. Urbana:
Vollmer, Jurgen. Rock 'n' Roll Times: The
Style and Spirit of the Early Beatles. New
York: Overlook Press, 1983.
von Schmidt, Eric, and Jim Rooney.
Baby Let Me Follow You Down: The
Illustrated Story of the Cambridge Folk
Years. New York: Anchor Books, 1979.
Wallgren, Mark. The Beatles on Record.
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Walser, Robert. Running With the Devil:
Power, Gender and Madness in Heavy Metal
Music. Hanover, New Hampshire:
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_______. What a Long, Strange Trip It's
Been: 20 Years of Rolling Stone. New
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Wexler, Jerry, and David Ritz. Rhythm
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______. The Billboard Book of Top 40
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______. The Billboard Book of Top 40
H i t s . N e w Yo r k : B i l l b o a r d
Publications, 1987.
______. Joel Whitburn's Top Pop Singles,
1955-1986. Menomonee Falls,
______. Joel Whitburn's Top R&B
______. Joel Whitburn's Top Country
Whitcomb, Ian. After the Ball: Pop Music
From Rag to Rock. New York: Simon
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and Schuster, 1973.
White, Charles. The Life and Times of
Little Richard: The Quasar of Rock and
Roll. New York: Harmony, 1984.
White, Timothy. Catch a Fire: The Life
of Bob Marley. New York: Holt,
Rinehart and Winston, 1983.
______. Rock Lives: Profiles and
Interviews. New York: Henry Holt and
Company, 1990.
______. The Nearest Faraway Place: Brian
Wilson, the Beach Boys and the Southern
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Holt and Company, 1994.
______. Wiener, Jon. Come Together:
John Lennon in His Time. New York:
Random House, 1984.
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Williams, Allan, and William Marshall.
The Man Who Gave The Beatles Away.
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San Francisco: Entwhistle Books,
1979.
______. Dylan: One Year Later. San
Francisco: (Privately published), 1980.
______. The Map: Rediscovering Rock and
Roll (a Journey). South Bend, Indiana:
And Books, 1988.
______. Performing Artist: The Music of
Bob Dylan, Volume 1, 19601973.
Novato, California: UnderwoodMiller,
1990.
______. Performing Artist: The Music of
Bob Dylan, Volume 2, 19741986.
Novato, California: UnderwoodMiller,
1992.
______. Rock and Roll: The Best 100
Singles. New York: Carroll and Graf,
1993.
Williams, Richard. Out of His Head: The
Sound of Phil Spector. New York:
Outerbridge and Lazard, 1972.
______. Dylan: A Man Called Alias.
New York: Henry Holt, 1992.
Willis, Ellen. Beginning to See the Light.
New York: Alfred A. Knopf, 1981.
Wilson, Brian, with Todd Gold.
Wouldn't It Be Nice: My Own Story. New
York: HarperCollins, 1991.
Wlaschek, Mathias. The Beatles: Here,
Ther e and Ever ywher e. Cologne,
Germany: Modern Music, 1983.
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IKE AND TINA TURNER during
their days on the Chitlinʼ
Circuit. After years of playing
to mostly black audiences,
they were introduced to the
mass audience by producer
PHIL SPECTOR, who
considered Tinaʼs voice the
most vital ingredient in his
Wall of Sound. The failure of
his masterpiece, “River
Deep,, Mountain High” sent
him into retirement at age 26.
Ike was one of the fathers of
rockʼnʼroll and the man
behind what many consider
the first true rock;n;roll
record, “Rocket 88.”
Woffinden, Bob. The Beatles Apart.
New York: Proteus, 1984.
Wolff, Daniel, with S. R. Crain,
Clifton White, and G. David
Tenenbaum You Send Me: The Life and
Times of Sam Cooke. New York:
Wolfe, Tom. The Kandy-Kolored
Tangerine-Flake Streamline Baby. New
York: Farrar, Straus and Giroux,
1965.
Wootton, Richard. John Lennon. New
Yablonsky, Lewis. The Hippie Trip.
New York: Pegasus, 1968.
Young, Paul. The Lennon Factor. New
York: Stein and Day, 1972.
Zappa, Frank, with Peter
Occhiogrosso. The Real Frank Zappa
Book. New York: Poseidon Press,
1989
collection of stories about
childhood in Florida by Carl
Hiaasen, Tom Petty, Zora Neale
Hurston,
Instructor
biography
Before I started teaching, I worked for
newspapers and magazines.
My first job, at the Courier-Tribune in
Bloomington, Ind., lasted until that fine
little newspaper went out of business. I
was at the Palm Beach Post briefly, joined The
American Spectator, then served two years at
The Saturday Evening Post. While at the Post,
I edited a couple of books.
Since I started teaching, I've taken several
short term jobs — sometimes in the
summers, sometimes night work on the
copy desk during the school year – on the
Norman (Okla.) Transcript, the CourierJournal (Louisville, Ky.), the St. Petersburg
Times and the Gainesville (Fla.) Sun.
I’ve written or edited a dozen books,
including these:
•
16
Homegrown in Florida (University
Press of Florida, 2012), a
•
Mile Marker Zero (Crown Books,
2011), about the writers, artists,
actors and musicians who found
their artistic identities in Key West.
•
Outlaw Journalist (W.W. Norton,
2008), my biography of Hunter S.
Thompson.
•
Highway 61 (W.W. Norton, 2003) a
memoir of a 6,000-mile road trip I
took with my eldest son, who
turned 19 on the road.
•
Rock and Roll is Here to Stay (W.W.
Norton, 2000), a mammoth
history of popular music in
America.
•
Literary Journalism: A Reader
(Wadsworth, 2000), a collection of
the finest journalism from the last
three decades of the 20th Century.
I’m married and have seven children —
Sarah, an architect / interior designer with
a Chicago architectural firm; Graham, the
environmental manager for Indiana
University; Mary, a nightlife impresario in
Chicago; Savannah, 16, 10th grader at
Cohasset High School; Jack, 11, and Travis,
9, and Charley, 8, all young scholars at
Deer Hill and Osgood schools in
Cohasset.
It goes without saying that my
wife, Nicole, is a saint. She is also a
midwife interning in the Philippines this
summer.
Before becoming professor and chairman
of the Boston University Department of
Journalism, I taught at Western Kentucky
University for five years, the University of
Oklahoma for four years, and the
University of Florida for 24 years, the last
dozen there as department chairman.
My bachelor’s degree is in history and my
master’s is in journalism. Both are from
Indiana University. My PhD is in
educational history and philosophy, from
the University of Oklahoma.
I sincerely hope you enjoy the course.

HI 280 History of Rock`n`Roll

Transcription

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