INSTRUCTOR’S MANUAL for
David P. Szatmary Lynsay Ripley
Rockin’ in Time: A Social History of Rock-and-Roll Canadian Edition prepared by
Lynsay Ripley Seneca College
Table of Contents CHAPTER 1
The Blues, Rock-and-Roll, and Racism ...................................................1
CHAPTER 2
Elvis and Rockabilly ................................................................................5
CHAPTER 3
The Teen Market: From Bandstand to Girl Groups .................................8
CHAPTER 4
Surfboards and Hot Rods: California, Here We Come ..........................11
CHAPTER 5
The New Frontier ...................................................................................13
CHAPTER 6
Motown: The Sound of Integration........................................................16
CHAPTER 7
The British Invasion of North America: The Beatles ............................18
CHAPTER 8
The British Blues Invasion and Garage Rock ........................................21
CHAPTER 9
Acid Rock ..............................................................................................24
CHAPTER 10 Fire from the Streets...............................................................................28 CHAPTER 11 Guitar Heroes and Heavy Metal Gods ...................................................31 CHAPTER 12 Escaping into the Seventies ...................................................................34 CHAPTER 13 The Era of Excess ..................................................................................38 CHAPTER 14 Punk Rock ..............................................................................................42 CHAPTER 15 I Want My MTV ....................................................................................46 CHAPTER 16 The Promise of Rock-and-Roll ..............................................................50 CHAPTER 17 Back to the Future: The Rave Revolution..............................................54 CHAPTER 18 The Generation X Blues.........................................................................57 CHAPTER 19 Post-Grunge Party ..................................................................................62 CHAPTER 20 The Hip-Hop Nation ..............................................................................64 CHAPTER 21 Metal Gumbo: Rockin’ in the Twenty-First Century ............................69 CHAPTER 22 Life in Wartime ......................................................................................72 CHAPTER 23 The Age of the Internet .........................................................................77
Chapter 1 The Blues, Rock-and-Roll, and Racism OVERVIEW This chapter looks at the roots of rock and roll in blues music, especially Chicago blues. It begins with a description of African music and its importance to the blues, charts the development of country blues, and focuses on the Chicago blues of such artists as Muddy Waters. It looks at the emergence of electric blues and then the rock and roll of Little Richard and Chuck Berry during the first years of the Civil Rights movement and the racist backlash against early rock music, including the response of the music and publishing industries.
LEARNING OBJECTIVES • • • • • •
Understand the connection between the African-American based blues and rock and roll. Evaluate the effects of the movement of African Americans from the American South to the American North on the emergence of rock and roll. Pinpoint the reasons for the emergence of an electric Chicago blues music and its importance on the development of rock and roll. Comprehend the importance of small, independent companies on the growth of electric blues and then rock and roll. Interpret the reasons for the backlash against early African American rock and roll artists. Evaluate the role of rock and roll in the early Civil Rights movement in North America.
DISCUSSION QUESTIONS 1. Evaluate the role of African Americans in the development of rock and roll. Why did African Americans take the lead in this music? In what other areas of life did African Americans become prominent during the same time period? 2. Connect the rise of the Civil Rights movement with the rise of rock and roll. How did the Civil Rights movement help rock and roll, and how did rock and roll further the Civil Rights of African Americans? 3. Compare and contrast the music of Muddy Waters and Chuck Berry. How was the music the same? How was it different? 4. Why did entrepreneurial independent record labels first record rock and roll? How did the major companies react, and in what ways? What does the rise of independents tell us about the growth of American business? 5. What social, economic and demographic trends enabled the growth of early rock and roll?
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Instructor’s Manual for Rockin’ in Time: A Social History of Rock-and-Roll, Canadian Edition
ASSIGNMENTS 1. Make a presentation to the class about Civil Rights and rock and roll during the mid- to-late 1950s. For the presentation, please detail the major Civil Rights activities during the period. Then, talk to an elder who was 20 years old (or older) during the time and ask about his/her impressions about the Civil Rights era and about Chuck Berry and Little Richard. Have his/her views changed over time? How did he/she characterize the time? Did it affect him/her directly? 2. Write a paper about the emergence of rock and roll and the reaction of the major record companies to the new music. For the paper, read several old rock and roll magazines and outline whom they most often covered and what they said about the music. Also, find ten songs performed by African American artists that white artists from larger record labels covered. Compare and contrast the sounds of the original and the cover versions of the songs. 3. Make a presentation about violence in the lyrics of blues songs from the 1920s to the 1950s. In the presentation, identify at least five songs from the country blues and five songs from the electric blues that feature themes of violence. Did the images of violence change or diminish over time? Then, analyze the reasons for the violence in the lyrics.
LISTENING FROM MYLAB Click to listen to "The Life and Times of Muddy Waters" http://www.npr.org/templates/story/story.php?storyId=1151805 Click here to listen to "Chuck Berry in Perspective: A Rock History" http://www.npr.org/templates/story/story.php?storyId=90131654 Click here to listen to "Tracing Little Richard’s Later Years" http://www.npr.org/templates/story/story.php?storyId=4195063 Click to listen to "Pat Boone’s Passionate R&B" http://www.npr.org/templates/story/story.php?storyId=6352659
BIBLIOGRAPHY “B.B. King.” Living Blues (May/June 1988), pp. 10–22. COHAN, LOU. “Bo Diddley: The Man with the Beat.” Thunder Road (June 1980), pp. 26– 29. COHODAS, NADINE. Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records. New York: St. Martin’s, 2000. CORRITORE, BOB, BILL FERRIS, and JIM O’NEAL. “Willie Dixon.” Living Blues (July/August 1988), pp. 16–25, and (September/October 1988), pp. 20–31. DECURTIS, ANTHONY. “Living Legends.” Rolling Stone, September 21, 1989, pp. 89–100. ———.“Willie Dixon and the Wisdom of the Blues.” Rolling Stone, March 23, 1989, pp. 109–114. DEZUTTER, HANK. “Willie Dixon.” TWA Ambassador (July 1980), pp. 39–41. . 2
Chapter 1: The Blues, Rock-and-Roll, and Racism
ESCOTT, COLIN. “John Lee Hooker: King of the One-Chord Boogie.” Goldmine, March 20, 1992, pp. 10–12. GILLETT, CHARLIE. Making Tracks. London: Sunrise/Dutton, 1974. GOLKIN, PETE. “Blacks, Whites, and the Blues: The Story of Chess.” Living Blues (September/October 1989), pp. 22–30. GURALNICK, PETER. Feel Like Going Home. London: Dutton, 1971. ———. Lost Highways. New York: Vintage, 1982. “Howlin’ Wolf Interview.” Living Blues (Spring 1970), pp. 13–17. “Intermission with Fats. ”Living Blues (November/December 1977), pp. 16–19. JACKSON, JOHN. Big Beat Heat: Alan Freed and the Early Years of Rock ‘n’ Roll. New York: Schirmer, 1991. LARNER, JEREMY. “What Do They Get from Rock-and-Roll?” Atlantic Monthly (August 1964), pp. 44–49. O’NEAL, JAMES, and AMY, O’NEAL. “Eddie Boyd Interview.” Living Blues (November/December 1977), pp. 11–15. ———.“Jimmie Rogers Interview.” Living Blues (Autumn 1973), pp. 11–20. ———.“Jimmy Reed Interview.” Living Blues (May/June 1975), pp. 16–37. ———.“John Lee Hooker Interview.” Living Blues (Autumn 1979), pp. 14–22. ———. And Amy Van Singel, eds. The Voice of the Blues.(New York: Rutledge), 2002. PALMER, ROBERT. Deep Blues. New York: Penguin, 1982. ———. “Muddy Waters: The Delta Son Never Sets.” Rolling Stone, October 5, 1968, pp. 15–17. PENN, ROBERTA. “Bo Diddley.” The Rocket (September 1983), p. 19. RESSNER, JEFFREY. “Pat Boone.” Rolling Stone, April 19, 1990, pp. 89–91. ROESER, STEVE. “An Interview with Steve Allen.” Goldmine, December 11, 1992, pp. 24–32. ROONEY, JAMES. Bossmen: Bill Monroe and Muddy Waters. New York: Dial, 1971. ROWE, MIKE. Chicago Blues: The City and the Music. New York: Da Capo, 1981. Scott, Frank and Gary Paulson. “Joe and Jules Bihari!” Blues Unlimited.(June and July, 1970). Pp. 9-12 SIDERS, HARVEY. “Talking with a King: B. B. King.” Downbeat, March 30, 1972, pp. 14–15. STEARNS, MARSHALL. The Story of Jazz. New York: Mentor, 1958. STUCKEY, FRED. “Chuck Berry: Exclusive.” Guitar Player (February 1971), pp. 20–23. SUMLIN, HUBERT. “My Years with Wolf.” Living Blues (September/October 1989), pp. 10–18. . 3