Judith L. DiGrazia
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1. David Pichaske.
A
Generation
in
Motion
, (N.Y. Schimer Books, 1979) p. xix.
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2. Gordon. “Images of America in the Rock Music of the 1960’s”, Peter (Senior essay, Department of History, Yale University, 1981) p.2
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3. Kenneth Kenniston. Youth and Dissent, (N.Y. Harcourt, Brace and Jovanoich, 1971), p. 6-9
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4. Ralph Gleason, “Rolling Stone Magazine” April 10, 1968, p. 10.
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5. Don J. Hibbard, Ph.D and Carol Kaleialoha,
The
Roll
of
Rock
(N.J. Prentice Hall, Inc., 1983), P. 15.
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6. Ibid., p. 30
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7. Griel, Marcus.
The Rolling Stone Illustrated History of Rock and Roll
, (N.Y. 1976), p. 174.
First Lesson Plan: To be taught in conjunction with the counter-culture
Purpose
To explore the feeling of alienation.
Objective
To examine some causes of alienation i.e. styles of dress, social conditions, personal choices, and be able to verbalize feelings about alienation.
Strategy
Begin by discussing and developing a definition for the word “alien”. Some responses might be: Someone from another place; a place much different from what we are accustomed to or perhaps another planet. Perhaps some of them have seen “The Alien”. Now you have one extreme view of what it might mean to be an alien.
Next expand the discussion to include “alienated” and “alienation”. To help them to develop and understanding of the relationship between alienated or alienation and “feeling cut off” or “feeling apart” ask questions such as:
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1. What kinds of things could happen to you that would make you feel left out or alienated from your friends?
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2. Is it important to you to have the newest styles of clothes, hair, etc.?
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3. What do you think of people who don’t dress or do the things you do?
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4. Would you date or have as your friend someone who everyone thought was “weird” because of their appearance?
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5. Can there ever be a reason for using you appearance to make a statement about your lifestyle?
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6. Look at these pictures (show greasers, hippies, punk rockers, collegiates, people from various religious sects, etc.) How does their appearance make a difference in how people act around them?
Some Follow-up Activities
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1. Split the class into the 50’s and 60’s. Have them act out and dress a role from their particular decade.
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2. Ask for volunteers to pick a style from the 60’s or 50’s and live it for a day, then report back people’s reactions to them.
Second Lesson Plan: To be taught in conjunction with the Anti-War Movement
Purpose
To examine songs as a form of social commentary.
Objective
Upon completing this lesson the students will be able to recognize the message that is being conveyed through a song and discuss its significance.
Strategy
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1. Have the students listen to the lyrics of:
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____
“The Universal Soldier” by Buffy Ste. Marie
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____
“Eve of Destruction” by Barry McGuire
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____
“Is there Anybody Here”? by Phil Ochs
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____
“Masters of War” by Bob Dylan
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____
“With God on Our Side” by Bob Dylan
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____
“I Ain’t Marching Anymore” by Phil Ochs
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and “The I Feel Like I’m Fixin’ to Die Rag”
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by Country Joe and the Fish.
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____
____
Discuss the words, tone and melody of the songs. Have the students discuss their feelings about what the songs were trying to say.
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2. Compare the tone and lyrics of these songs:
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“Man of Constant sorrows” by Peter, Paul, and Mary “Blowing in the Wind” by Peter, Paul, and Mary or Bob Dylan.
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____
“We Shall Overcome” by Buffy Ste Marie
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3. Ask the students to recall what events had occurred from the time the second set of songs was popular (early 60’s) to when the first set of songs was popular (mid 60’s).
Outcome
The students should be able to recognize that the songs from the second set have an optimistic, questioning tone; a quiet underlying hope for change in a non-violent way. The songs in the original set are all of a desperate foreboding nature. There is a great deal of pessimism and cynicism about war. The turning point can be illustrated by using the lyrics to Dylan’s “The Times they are a Changin’ ”
Third Lesson Plan: To be used in conjunction with the counterculture and drugs
Purpose
To illustrate the versatility of music as a means for creating a mood or tone.
Objective
To cultivate an awareness of the role each instrument (including the voice) has in creating a mood or setting the tone of a musical experience.
Strategy
Before playing any music, discuss with the class how music makes them feel. In this way you can find out how aware they are of the different moods music can evoke. Ask if any of them have ever felt fearful from listening to music. They will probably all say of course not. Tell them that today you are going to play different musical pieces and you want them to listen carefully and place them in a category that matches the way the music makes them feel.
You can either develop your own categories, let the students develop them or try these:
happy
,
sad
,
fearful
,
thoughtful
,
powerful
,
free
,
like I’m dreaming
.
They are to listen, decide and write the word(s) that best describe the way the music makes them feel next to the number of the selection you play. Don’t tell them the names of the selections in advance just play them.
Some suggested pieces are:
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1. The theme from “Jaws”
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2. The theme from “Happy Days”
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3. “Sometimes I Feel Like a Motherless Child”
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4. “Surf City”
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5. “Lucy in the Sky with Diamonds”
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6. “Purple Haze”
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7. “We Shall Overcome”
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8. “If I had a Hammer”
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9. “Magic Carpet Ride”
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10. “The Eve of Destruction”
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11. “I Can’t See You Anymore”
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12. The theme from “Rocky”
Go back over their feelings with them and try to have them identify what part(s) of the songs made them feel the way they did.
Optional additional activity to follow-up with: Use a darkened room, a strobe light and a black light. Play selections from the Cream’s “Disreali Gears”, Jefferson Airplane’s “Surrealistic Pillow” or Jim Hendrix’s; “Are You Experienced” albums. Discuss how the atmosphere and the music blended to create a psychedelic experience.
Movies to Illustrate the Times
Below are some movies which you may be able to rent very cheaply ($1.50-$3.00) from a Video shop. If you have or can gain access to a VCR they would give both you and your students a vivid picture of the attitudes and events of the times. This is not intended to be a complete list.
American Graffiti
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(50’s)
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Beach Blanket Bingo
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(50’s)
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Grease
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(50’s)
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Help!
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(Beatles)
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Yellow Submarine
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(Beatles—Drugs)
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The Graduate
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(60’s)
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Woodstock
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(The Festival)
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Gimme Shelter
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(Altamont)
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Coming Home
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(Vietnam)
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The Deer Hunter
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(Vietnam)
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Tommy
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(60’s Rock Opera)
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Blackboard Jungle
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(50’s)
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Jesus Christ, Superstar
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(60’s)
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Hair
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(60’s)
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The Roots of Rock Music: An Explanation of the Terms
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1. Pop—Music that was popular in the 40’s—“standards”, formula music that tranquilized the white audience it was popular with. Such artists such as Frank Sinatra, Bing Crosby, Dean Martin and Les Paul and Mary Ford. Some later artists were influenced by some of this music. Also the giant music labels such as Columbia, and RCA, and Capitol were part of this establishment.
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2. Blues/Gospel—Blues was music that was earthy, frank, unpretentious; songs told of life’s seamier side;lots of moaning etc. Some blues singers sing gospel and some gospel singers sing blues but gospel fans do not cross over. Gospel is spiritual moving music varying emotionally from great joy to unbearable sadness. Definitely an important influence on R & R as well as later true soul music.
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3. Country/Western—Music originating primarily in the South—white man’s blues without the irony found in black blues. Subject matter ranges from life’s problems to patriotism and religion. Very straight and sincere. . . Lyrics can be depressing. Definite influence on R & R especially the instrumental parts.
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4. Rhythm and Blues—Often called a mix of jump, jazz, and gospel with a bit of blues. This music is sometimes called the first rock and roll because of frantic beat, shouting singers, up front loud sax but the music itself was more complex and jazz oriented to be simple rock and roll.
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5. Early Rock Pioneers—Flamboyant music, wild shouting performances driving uncompromising beat, some frankly suggestive performances, drawing on R & B and Gospel.
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6. Rockabilly—White boys singing blues—revolutionary music—wild jived up country music. “All shook up”—Whole Lotta Shakin’ Going On”—This is what 50’s parents were against.
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7. Doo Wop: Streetcorner Soul—heavy harmonizing all vocal acapella singers—both black and white—heavy draw on gospel sound.
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8. Schlock Rock—Rock and roll parents approved of; toned down, formula music for manufactured teen idols.
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9. Folk—One of the oldest forms of protest—simple musically often played on an acoustic guitar. A combination of blues, gospel and talking stories. Under Dylan’s pen it was revived and utilized as a popular means of social commentary.
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10. California Myth—Surf music originating with Brian Wilson of the Beach Boys. Clean harmonies perpetuated the fantasy of endless summer;golden life in California.
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11. British Invasion—Music that drew heavily from American heritage of R & B, R & R etc. but updated and fresh sounding. Led by the Beatles; music that became revolutionary
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12. Folk Rock—The result of the Beatles influence on primarily folk artists like Dylan. This form allowed folk to express the changing mood of the mid—60’s more accurately.
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13. Early Soul—often thought of as black teen music of the 60’s and 70’s—its artists combine screaming, rapping, funk and jams. True Soul artists like James Brown never received large white audience appeal. Later this sound would become Motown, music formulated to cross over and appeal to all of young America.
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14. Hippie Music: Not meant for dancing—mental music—psychedelic—mind music. Utilizing past forms and expanding into bold new ones that often bombarded the listener with vivid sounds and images.
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15. Country-Natural Rock—Post drug era—idyllic optimistic blend—easier on the ear and mind. Woodstock and post Woodstock style music.