Wednesday, October 21, 2015

Save Rock & Roll: The Perils of Rock in 2015

Rock is dead. Long live rock 'n roll.

Those two dichotomies have existed since Chuck Berry and Jerry Lee Lewis but they're even truer now. A "generation lost in space", looking for the next rock n roll hero to lead us out of the recession and into happier times, times before parents' basements and tax returns and the unemployment seminar. We're looking, and we keep looking...

Artists like Nikki Sixx implore us to keep our ears open to new rock music, to give new generations a chance. Sixx straddles the line between old and new: as the bassist of Motley Crue since 1981, he knows what it means to live through changing rock trends. But it's clear to most Sixx fans that Nikki's heart lies with his newer band, Sixx A.M. - a band from a completely different sonicsphere than Motley. Sixx A.M. has more of a pop sensibility, a theatricality in tone, thoughtfulness in lyrics, in stark contrast to Motley's in-your-face brand of sex, drugs, and hedonism.

If a true rock star like Sixx can evolve, doesn't that speak to a promising future for rock 'n roll? In the words of Jake Barnes, "isn't it pretty to think so"?

Truth is, rappers are the new rock stars. The concept of a "rock star" has changed, even become laughable, in the era of anonymous, homogenized rock music. (See: Imagine Dragons, Mumford & Sons, anyone who is not Adam Levine in Maroon 5). The oversize egos and hedonistic excess of the past seem quaint today.

The disc jockeys who once threw records on of their own choosing, the "you-just-have-to-hear-this" urgency, the room for personal expression - all are relics of days gone by. Radio stations in 2015 resemble a computer: programmed with the same 30 songs across the country, the robot voice of Ryan Seacrest booming out across the land to announce the pre-selected Top 20 countdown.

It's undeniable that the ClearChannel/iHeartMedia conglomerate isn't exactly rock-friendly. Their beyond-clueless list of the songs they banned from radio play after September 11th, 2001 shows how tone-deaf they are to anything music related. (Seriously? "Bridge Over Troubled Water"? "American Pie"? "St. Elmo's Fire [Man In Motion]"???) With iHeartMedia owning thousands of radio stations nationwide, how is modern rock music supposed to find a toehold in 2015?

It might be better to turn to streaming chart data to see what rock music people are actually listening to - taking it to the people directly and examining what they listen to on their computers and mobile devices. The most recent Billboard Rock Digital Chart shows a compelling story. Eleven out of 50 songs could be found on vinyl before they were ever released digitally: "Sweet Child O'Mine", "Don't Stop Believin'", "Smells Like Teen Spirit". In 2015, nostalgia extends beyond the 1990's.

So this is the part of the piece where I'm supposed to conclude with a solution - proffer up an offering to our culture, pay lip service to the idea that we can form a grassroots movement to change the music industry, that we can take on all the monopoly conglomerates (see: Live Nation, Ticketmaster, iHeartMedia, Apple, Beats, Spotify) and win. I'm supposed to end on a high note. "The future of music is in our hands."

It's not that easy. The solution can't be found in 140 characters or blind fervor.

The good news is the void exists.

Now we need someone to fill it. And we'll continue to wait.

Thursday, April 2, 2015

David Cook Live at The Ridgefield Playhouse - Feb. 11, 2015

David Cook at The Ridgefield Playhouse - February 11, 2015

Ridgefield Playhouse is a small venue of just 500 seats, with the proverbial "not a bad seat in the house". It's the kind of place where things can get a bit sleepy; most shows are acoustic sets. Not the case at last night's show - Season 7 American Idol winner David Cook encouraged the crowd to stand and most of them stood through the whole show. 

American Idol is the place where David got his start in 2008, making history as the first Idol winner to play his guitar on the show. While the use of a guitar on Idol has devolved into a crutch for the contestants, Cook truly warranted the instruments - he is an excellent guitarist and pianist. He captured attention with slowed-down, haunting covers of "Billie Jean" and Lionel Richie's "Hello", but proved his versatility with hard rock covers of Beatles songs "Eleanor Rigby" and "Daytripper". He was saddled with one of the last true Idol coronation song hits "The Time Of My Life", which was lyrically cheesy yet respectable. 

Cook has only released 2 albums, 2008's eponymous album and 2011's This Loud Morning, but has released a pair of amazing singles ("Laying Me Low", "The Last Song I'll Write For You") in the past 2 years. He also has stayed true to his Idol roots by releasing a few cover tunes (his cover of "Don't You Forget About Me" by Simple Minds was the official American Idol exit credit song in 2011). 

David Cook is the rare rockstar who comes off as approachable yet untouchable in his talent. There is no artifice apparent in any moment of his show. He's an affable guy who humored the audience by responding to catcalls - it's the familiarity that such a small venue allows. He held the audience's attention from the front row to the balcony. 

His voice is captivating and just as strong as it sounds on the record. 

Cook's back catalog may only encompass 2 albums, but it's full of rich, gorgeous songs that would have translated well to the live stage. I would have loved to hear "The Last Song I'll Write For You" and "Eyes On You" rather than such a cover-heavy setlist. 4 covers in one concert is a lot by any standard, but especially for an artist with more than one album.

Cook makes it look effortless, a consummate performer and entertainer in an age of Auto-Tune and Dr. Luke.

Paper Heart
Heroes (w/Champagne Supernova)
Everybody Wants to Rule the World (Tears for Fears cover)
I Did It for You
The Last Goodbye
Laying Me Low
Fade Into Me
Wicked Game (Chris Isaak cover)
Kiss and Tell
Clocks (Coldplay cover)
I'm Gonna Love You
Come Back To Me
Billie Jean (Michael Jackson cover)
Light On
Wait For Me

Thursday, January 1, 2015

Year End Recap: The Best Of 2014

2014 was the year I went to 16 concerts and met one of my life-long heroes.

I  got my wish granted with a 3-disc "Super Deluxe Edition" of Bon Jovi's best album, 1988's New Jersey, featuring all the outtakes that would have been on the double-album "Sons of Beaches" if only for that damn record company. I cried hearing the songs I'd only ever heard in 96 kbps quality from MP3s I'd downloaded in 2001.

And hey, the music released this year didn't suck either.

10. Fall Out Boy - "Centuries"

Tailor made for an arena, with handclaps and a thundering chorus. Black and gold and a new found confidence in Pete Wentz's operatic lyrics. The slightest of snarls behind Patrick Stump's fovever youthful voice. Giving the mummified dreams of late 20-somethings a song to sink their teeth into.

The only reason I'm ranking this song at #10 is because it only found its way into my everyday playlist in the last month or so of 2014. Had it been released earlier in the years, we might have been talking about a Top 5 finish. The sample of "Tom's Diner" originally by Suzanne Vega (which hit big in 1990 with a remix - '90's nostalgia has been an undercurrent of popular music all year), but interestingly the band chose to re-record the sample with a new singer.

Mummified my teenage dreams
No, it's nothing wrong with me
The kids are all wrong
The story's all off
Heavy metal broke my heart

9. Maddie & Tae - "Girl In A Country Song"

A clever send-up of the bro-country trend that might have been the proverbial nail in the coffin for this young country duo. Much has been said about the difficulty that female country artists have breaking through in the industry these days, however these girls killed it with their debut single and garnered a lot of attention from the media for their fearlessness in confronting the female stereotypes in country music (see: Luke Bryan, Blake Shelton, Chris Young, and ESPECIALLY Florida-Georgia Line). Of course all these male country acts are popular for good reasons - they are great performers and entertainers, and their songs are catchy as hell. However, if I hear one more song that is only about beer, girls, and this point it just seems as though the party anthem centric lyrics of pop music (see: Kesha, Pitbull, Pitbull featuring Kesha) have simply moved over to country music. That's why this song is so refreshing and innovative at this point. Kudos to these girls for showing sass in their breakthrough and showing the boys how it's done.

8. Fifth Harmony - "Bo$$"

This song will be almost instantly outdated in a year or two, with its references to Michelle Obama, Oprah, the "nae nae", "bae", "thirstin'", Kanye West, and Ray J. We'll look back on this song fondly as part of the halycon days of 2014 (whatever that means). Just try to resist. You can't. I know.

7. Ed Sheeran - "Don't"

The kind of tongue-twisting, lyrically-specific acoustic-y hit that is one in a million. Supposedly inspired by Ellie Goulding cheating on Sheeran with Niall from One Direction, or a soap opera of hot young British singers.

6. Iggy Azelea & Charli XCX - "Fancy"

This song was everywhere in 2014, in no small part due to its clever video homage to Clueless. That perfectly played on our 90's nostalgia while firmly digging its toes into 2014. A monstrous hook courtesy of Charli XCX. Getting drunk on the minibar and playing Suck & Blow never sounded so good.

5. Miranda Lambert & Carrie Underwood - "Somethin' Bad"

Billed as one of the biggest country duets of the year. Miranda and Carrie are arguably the two most popular female singers in country music. I have to admit the first time I listened to this duet it didn't grab me. Until it did. And until it usurped songs I've had for years on my Top 25 Most Played list. A spitfire, rapid, rabid chorus and a stomp along beat.

4. Walk The Moon - "Shut Up And Dance"

One part The Killers, one part Neon Trees, with a sprinkling of Duran Duran and 80's new wave. This Free Song Of The Week on iTunes soon found a home on my Top 25 Most Played list.

3. Neon Trees - "Sleeping With A Friend"

Choosing to wait for the next train at the 90's nostalgia station, Neon Trees rejected the trend and went straight back to the 1980's. All day-glo optimism, new wave keyboards, synthesizers, keytars, and a cotton-candy chorus. Resistance is futile.

2. Sia - "Chandelier"

The proverbial breath of fresh air in a musical wasteland of Dr. Luke rejects. The brutal flip side of the party anthem, when the party goes on too long and the tears run hot with Everclear. The most unlikely pop hit of 2014. Under the blurry veneer, the pain of a thousand jagged knives runs through Sia's delivery.

1. Taylor Swift - "Style"

The best song, hands down, off Taylor's already-classic 1989 album. The album, in just about 2 months of release, overtook the Frozen soundtrack to be the best selling album of 2014. A slick, gorgeous, aching story between two people who know they're better off alone but can't resist. A speeding car with no headlights, driving to nowhere fast. The sound of Taylor Swift solidifying her place in music history.

[Note: For those of you under a rock, Taylor removed all her music from Spotify and YouTube except for her official Vevo channel, so below I've posted the link to a fabulous mashup of "Blank Space" and "Style" by Louisa Wendorff.]

I say I heard that you been out and about with some other girl
Some other girl
He says, what you've heard it's true
But I can't stop thinking about you and I
I said I've been there too a few times

Honorable Mentions
* Cold War Kids - "First"

* Taylor Swift - "Wildest Dreams"
* Jessie J, Ariana Grande, & Nicki Minaj - "Bang Bang"
* Meghan Trainor - "Lips Are Movin'"
* Echosmith - "Cool Kids"
* Enrique Iglesias - "Bailando"
* Jessica Meuse - "Blue Eyed Lie"

Monday, December 8, 2014

Seven Years Gone: Meeting Richie Sambora of Bon Jovi

I had a difficult time looking adults in the eye as a kid. They talked to my parents about it, thinking me suspicious or just painfully shy, as if that’s a crime. Over time, I guess, some people’s shyness fades as they grow up. I decided to bludgeon the shyness out of me around age 17, until there was nothing left of the person I had been born as. I would reinvent myself as fearless, outgoing, the kind of person who could walk into a room and hold it in her hand. But in my mind, the shyness flickers across my being, the part of me I couldn’t destroy.

When I meet celebrities, I’m drawn back to that elemental part – the one that can’t express myself beyond a few polite words, basic conversation, a shy smile, as long as I am prodded along, a toddler on shaky steps, needing a hand to hold.

I fell in love, the way only a 14 year old girl can, with Bon Jovi. It started with one song and ended in a thousand songs. A Greatest Hits record turned into every CD import single, every interview CD, every magazine, anything I could touch and hold in my hands. I spent $80 on a tourbook from the 1989 New Jersey tour. “The Brotherhood Tour” was scrawled in red font on the cover with a photo of the five members of the band sitting at a bar. I inhaled the scent of the 80’s, dust and Aqua Net, amongst those pages. I ached to live those moments in a way I would never be able to.

A $35/year fan club membership bought me four glossy magazines a year, guitar picks, bumper stickers, the feeling of belonging. My address featured on the pen pal page at age 16 found me with 3 new pen pals in Germany, Brazil, and Seattle. We stayed in touch until I went off to college, sending magazines, mix CDs with our favorite Bon Jovi songs, photos, and postcards all over the world. You can’t put a price on feeling like you belong at that age.

In high school, I kept my head down. I figured it the only way to survive, plowing my way through the ungroomed forest of the hallway, content to let the branches scrape me on my arms and sides as I rushed ahead, not wanting to fight and risk the scars across my face, my back, the places you can’t heal from. I wrote poetry on October benches, love poems that I can’t cringe on now, because they are so earnestly beautiful in their love.

I adopted another era as my own, more than content to find myself amongst people twice my age. I would always rather be the ingĂ©nue, the precocious one beyond her years. I remember adding a few years to my age when asked at some of the shows and still being told what a baby I was. I loved it. I reminded people in their mid-to-late 30’s and early 40’s of how old they had been when they had discovered Bon Jovi and rock music. Seeing it through my eyes reminded them of how they had once seen it. Together, we were the same, even if I hadn’t yet graduated high school and they had been in the working world for over a decade.

I’ve seen Bon Jovi in three states, I’ve seen sixteen concerts, I’ve been in two Bon Jovi videos. I have never sat in the nosebleeds. But never have I been close enough to touch one of the musicians for whom the words “changed my life forever” are insufficient.

Tuesday, July 22: I couldn’t find The Iridium Jazz Club despite having the exact address. I wandered around past au petit manager and the Winter Garden Theater, former home of CATS. Finally I spotted the sign, hidden beneath scaffolding. I was the last VIP to arrive and after a short wait, was escorted down a narrow staircase and to my seat. As a jazz club in the style of a comedy club, there’s a $20 minimum on drinks and concertgoers are seated at restaurant tables. I was dead center, with one chair between me and the stage. The man next to me had 3 Richie Sambora tattoos and was wearing a 1991 Stranger In This Town Tour t-shirt. I knew I was amongst people who bled the same blood.

Madison Square Garden seats 18,200. Giants Stadium had the capacity for 80,000. The Iridium seats 190 people.

The show was glorious. It was perfectly imperfect, electrifying, rock ‘n roll glory tangible in the air. The sound mix was off the entire night, and Richie joked that they had just gotten off a run of stadiums in Europe so the mix must have been calibrated for that. There was no “rock star” posturing, no pouts and struts for the crowd, no drum solo to fill time, no hollow words and pandering to the camera.

The show opened with “A Song For You”, originally sung by Leon Russell and made famous by Donny Hathaway. The excitement was so high once Richie appeared, I almost didn’t listen to the words, but Richie could not have chosen a better song to start the show with. Stripped of the artifice, the light show, the stadium screens, the music video airbrushing, all that was left was a band and the fans that would die for this man.

I've been so many places
In my life and time
I've sung a lot of songs
I've made some bad rhymes
I've acted out my life on stages
With 10,000 people watching
But we're alone now
And I'm singing this song to you

Richie’s 2012 solo album Aftermath of the Lowdown is light-years better than anything Bon Jovi has released in the past 7 years. Their last 2 albums (2009’s The Circle and 2013’s What About Now) revisit the same old tropes (going-to-live-while-I’m-alive, working-man-underpaid-or-unemployed, cars-on-the-highway, love-will-keep-us-alive). That said, check out “Thorn In My Side”, “Because We Can”, and “What’s Left Of Me” – the 3 standouts of these two records.

Richie’s album is blistering rock ‘n roll; it’s an infinitely more modern record than most 80’s rock acts could ever hope to make. He tore it up on stage with rock anthems like “Burn This Candle Down”, “Sugar Daddy”, and “Nowadays”. Classic Bon Jovi songs like “Lay Your Hands On Me” and “I’ll Be There For You” were a rare treat to hear Richie’s soulful voice bring a new meaning to these familiar songs. 

Fortunately, Richie left off the done-to-death songs like “You Give Love A Bad Name”, “It’s My Life”, and “Livin’ On A Prayer”. It’s understandable that at a stadium show, for $200 a ticket, Bon Jovi needs to play their biggest hits. Of course they do. But this was a Richie Sambora show, in honor of Les Paul, for his truest fans. We’ve heard those songs before. We’ll hear them again. No one complained about their exclusion.

The highlight of the show was “Seven Years Gone”. A gorgeous, painful song about the death of Richie’s father, Adam, in 2007. Listening from six feet away, the song burned through me, as if all the emotions I had balled in my fist and held tight to were obvious for him to see. He was singing to me. I cried, knowing.

Times are changed, times that went too fast
Tearing moments from the past
While today's singing yesterday's songs
You wake up, move on
The 7 years gone

After the show, I lined up with 30 other fans who had been lucky enough to purchase a VIP meet-and-greet pass to this show.

(Total cost for the concert ticket, autographed 11x14 poster, concert t-shirt, and meet and greet, including tax: $228.00.

Total 2014 cost of the Backstage with Jon Bon Jovi fan club membership, including autographed photo by Jon, a fan club letter from Jon, and a hoodie: $159.99.
What’s the better deal?)

I was dripping with emotion and sweat. The line was in the bowels of the Iridium, right near the kitchen, and was far from a VIP lounge. It was kind of perfect in a strange way. We waited for an hour, maybe. Time, which I let govern my life and my anxiety, meant absolutely nothing in this moment. I spoke to fans who had flown in from Sweden, Japan, New Zealand for this concert.

And finally, Richie stood in front of us. I was in the middle of the line, purposefully, wanting to gather my emotions before speaking. I would make eye contact. I would smile with everything I had. I would not be shy.

The first words I said to Richie were, “Can I give you a hug?” Hearing him talk only to me made me feel more alive than I thought I could. “Sure, darlin’,” he drawled. I told him how awesome the show was, and he admitted messing up the words on “Wanted Dead Or Alive”, singing the climax of the song a verse too early, then catching himself. I told him we loved it anyway. I had a CD single of “One Light Burning” (1991) I had bought at the Westport Library book sale in 2003 for a dollar or two; I held it out to him for his autographed and he laughed, holding it out to his band and crew to take a look. “Weren’t you a handsome devil?” One of them said.

I told him the highlight of the show for me was “Seven Years Gone”. I told him that my father took me to my first Bon Jovi concert - May 20th, 2001 in Albany, NY - that he died when I was 15, and how much that song meant to me. I told him that I cried when he played it that night. He paused, took a moment with me. He told me it made him cry too, how hard it was to lose his dad. I told Richie that his music saved me and he told me it saved him too.

We looked each other in the eyes.

We took our photo, smiling, sunglassed souls. I thanked him and hugged him again. I waited to the side, talking with more fans and waiting for my new friends to give me back my camera, which I had passed to them in the hopes that they could snap a few photos of me talking to Richie.

I could live a thousand lives and never be as lucky as I was in that moment. To be one of 190 in a room, to be one of 30 in a meet and greet line, to be one of 1. To let my guard down and open my heart to a man who had done the same to me through his music.

The next day I cried with beauty, because there are so many ways to be broken but only several ways to be beautiful.

I have spent so many years blatantly refusing to open up, preferring to skate through life with a constructed persona that soon outpaced me. I preferred to be surrounded and alone.

It doesn’t surprise me that rock ‘n roll is what broke me down and lifted me back up. It doesn’t surprise me that in that moment, I was my elemental self, at once both the 14 year old with innocence and a terrified heart, and the 28 year old who is learning to embrace who she really is.

I love you in a place where there’s no space or time
I love you for my life, you’re a friend of mine
And when my life is over, remember when we were together

We were alone and I was singing this song to you

There is no airdate scheduled as of yet I can find.  

The two people you see in this video are sitting across from me at the table. Yes, that's how close I was. You can't see me though!

Wednesday, October 1, 2014

The Effect of Rock ‘N Roll on the Collective Identity of the Youth of the 1960’s: PART 2

Photo: The Beach Boys perform on American Bandstand

Ever since its materialization, rock ‘n roll has been criticized as being detrimental to fundamental family values. In his book Fever: How Rock ‘N Roll Transformed Gender In America, Tim Riley argues against this common perception:

Contrary to the fears or parents, educators, and politicians over the past fifty years, what Elvis [Presley] and Tina [Turner] set in motion had an overwhelmingly positive impact on its listeners. Rock ‘n roll helped baby boomers and later generations become better parents, better partners, better friends – probably even better citizens. And it did this by addressing these themes directly in song.

Rock ‘n roll is subversive by nature; it seeks to challenge authority. One can not deny the impact rock ‘n roll has on its listeners, but seldom do people imagine that this impact can be a positive one. Few critics or authority figures deem rock ‘n roll to have shaped individuals for the better. Yet it was rock music that helped youth make sense of the chaotic and uncertain world around them in a time of political conflict and social change. Rock ‘n roll music helped youth find their place in the world. According to Glenn Altschuler in All Shook Up: How Rock ‘N Roll Changed America, “In helping young Americans construct social identities, [rock ‘n roll] did provide a discourse through which they could examine and contest the meanings adults ascribed to family, sexuality, and race.” The “rock ‘n roll generation” turned their shared love of the music into something positive, despite the objection of many.
Despite the adoration by some parents, rock ‘n roll music was inherently about youth culture. The material of early 60’s rock music focused on teenage issues, such as high school, going to the drive in or the soda shop, telephone calls, going steady, parties, and dancing. It was firmly entrenched in teenage philosophy. Take “Wake Up Little Susie” by The Everly Brothers from 1957: the song tells the story of two teenagers who fell asleep after “watching a movie” and find themselves in bed at 4 AM long past their curfews, a cheery urgency to waking up and facing the potential wrath of parents and the curious gossip of their friends. There is something very innocent in it now, but at the time it was banned on the radio stations in certain areas.

This song, and many others like it, were marketed directly to youth, who at this point had greater spending power and influence on their families’ purchases then ever before. “Teens spent $10 billion annually on cars, dogs, pimple cream, TV, lipstick, records, and phonographs. By 1963, adolescents were spending $22 billion annually,” explains Richard Aquila. The baby boomer generation had never experienced the same shortages as their parents who had lived through the Great Depression. Therefore, their attitudes towards spending and consumerism were quite different. Also influencing their spending was the fact that music and technology were advancing at a rate that was exciting for teenagers, who were very receptive to it. “Music became portable, which changed the way people related to music. The transistor radio was something that young people picked up on,” stated Professor Torres. Rock ‘n roll created a bond between the listeners and the musicians; both were young and experiencing similar feelings. “The most important change in American society during the sixties seemed to be the emergence of youth as a distinct political and cultural force,” according to David Farber. The culture of youth was finally considered relevant and even, in some cases, dominant.
            The youth that came of age during the 1960’s were shaped by the events, ideas, and values specific to that time period. These values were often expressed directly in the music. Richard Aquila wrote “teenagers, like adults, had to cope with international crises, new lifestyles, and rapid economic and social change. Their tensions and insecurities are evident in…records about loneliness, alienation, and oppression.” It is interesting how much changes around us, but yet the melted-down issues teenagers face, at their red-hot core, are the same. Steve Nagy stated, “Some things [the two generations] do not differ in, which is a remarkable thing.” He went on to say that there was a greater commonality than ever before between the two generations. He pointed to the fact that the youth of today are far more likely to be knowledgeable about technology; however “60’s people learned how to use computers and cell phones. They have that in common with this generation. 50’s people won’t [learn to use them].” Professor Jorge Torres agreed, “Maybe there is not much at all different. Socially we wind up seeing them as much different. Seeing it on one plane, we might say it was an innocent age.” He went on to say that there always will be challenges for kids coming of age. Certain events of the 60’s, like the Vietnam War and the assassination of JFK, took away the innocence of the youth much in the way that September 11th, 2001 and Hurricane Katrina did in the new millennium. He described the cycles that America seems to pass through every 40 years; it is believed that the previous generation came of age during a more innocent time. The 60’s, for example, are now regarded as a more innocent time compared to the 2000’s, yet the 1920’s were looked upon as such in certain ways when compared to the 60’s. The baby boomer generation could not escape being affected by the sometimes tragic, sometimes thrilling events of the 1960’s.
Rock ‘n roll music created a community for the youth of the 60’s. Taken from George Lipsitz’s essay, a man from San Francisco recalls:
We were held together by our own good vibrations and with the rise of the Sound, we were drawn together into a family. The Fillmore and Avalon [ballrooms] of 1966 radically changed our language, our interests, and our lives; from a goal-directed, school-directed way of living, we’d moved to a life-style directed way by our music and acid. Acid and the bands became the loci of our lives. Saturday night became the center around which the rest of the week was left to move; reminiscing about the last, planning for the next. All day Saturday spent in preparation, collecting lowers, buying new costumes, buying and selling dope, getting super stoned and listening to music. (Lipsitz 1994: 216)

These communities shaped the identity of the 60’s generation, especially in the often uncertain and constantly changing years of the decade. “I cared about the music, I cared about people, and all I ever wanted to do…was provide the kids with a safe place to be in a turbulent time,” said Bill Graham, the owner of the Fillmore Auditorium in San Francisco. Rock ‘n roll helped form connections between concert-going youth. Woodstock, the infamous music festival of the summer of 1969, was an example of a community that acted in a positive and peaceful manner. Woodstock allowed the youth of the 60’s to come together as one to simply enjoy the music they loved. “So widespread was the sense of community that people began to see themselves as the ‘Woodstock Nation’, suffused in peace and harmony,” wrote Mark Lytle. The festival was mostly peaceful, with no violent acts reported. The experience of Woodstock ’69 stands in stark contrast to Woodstock ’99, a festival characterized by violence, destruction, and chaos. 15 years later, Rock ‘n roll music did not bring together future generations the way it brought together the generation of the 60’s. This article, written in July 2014, from Rolling Stone sums it up in 19 bullet points. Woodstock 1969 has reached a mythic level in today’s discourse and the music made there still endures today, whereas Woodstock 1999 looks like an embarrassment. According to Alexander Bloom in his book Long Time Gone: Sixties America Then and Now, “Music seemed central to the entire 60’s experience, not the narrowly defined cultural role it plays today…The music embodied the same underlying themes, the same sense of creating something new and better, as did the political and social movements.” The communities that rock ‘n roll formed in the 60’s had a mostly positive impact on the generation and undoubtedly served to bond them together. 

The 1960’s continue to influence future generations, as does the music created then. The impact of the 60’s was certainly farther reaching than the length of the decade. According to Farber, “Even those who came of age long after the ‘sixties’ share the collective memories: the grainy film footage of John F. Kennedy shot down in Dallas, Neil Armstrong stepping on to the moon…In these memories and others lie much of the charge of the 1960’s: the possibilities, the grandeur, and always the tragedy.” These memories shaped not only a generation, but the entire country, in a way that was irrevocable and poignant. Today, these memories continue to resonate. Steve Nagy said, “The youth of today enjoy the music of the 60’s and 70’s more than their own music.” The popularity of the 1978 film “Animal House”, which was set in 1962, amongst college students today is a testament to the far-reaching influence of the 60’s. Its soundtrack is equally popular with songs such as “Shout” and “Louie Louie” that continue, decades later, to be staples of any social gathering. In 2007, a look at Lafayette’s Facebook page showed that the Beatles and Pink Floyd are ranked the 6th and 8th most popular bands respectively amongst students. The iconic image of the Beatles crossing Abbey Road or the Dark Side of The Moon album cover are still lovingly pressed against dorm room walls. The rock ‘n roll music of the 1960’s is still considered popular and influential even into the new millennium; it has been embraced by the generations that followed.

            The 60’s have not been forgotten by those who came of age during them. For some, there is a sense of distance and separation from the era. Some boomers felt they reached a point where they had to “grow up” and follow in the footsteps of their parents. “I’m one of the people who held onto the beliefs…I’m still proud we stopped a war. But you have to go with the flow. I grew up, had children; you have to support them. That’s not a contradiction. The contradictions are either dead or wandering the streets,” explained Stephen Biegel, born in 1950 and quoted by Michael Gross. Others are still caught up in the distinct culture of the 1960’s, as evidenced by the resurrection of the decade in the 1980’s in particular.  David Szatmary wrote in his book Rockin’ In Time: A Social History of Rock And Roll:

“The return to a 1960’s sensibility led to numerous benefit concerts, which revived the careers of some 1960’s rockers and revitalized the rock industry. From the mid 1980’s to the mid 1990’s, baby boomers embraced a 1960’s-inspired, cause-oriented rock that provided a stark contrast to the entertaining, glossy, sexy images on MTV. The return to 1960’s ideals occurred around mid-decade, when the economy started to decline and the social order became increasingly stratified.”

The 1960’s were certainly a memorable time, and remain to this day a fascinating era, which has been the subject of countless miniseries, documentaries, and feature films. The TV Show American Dreams ran from 2002-2005 on NBC and attracted nearly 10 million viewers at its peak. The show detailed the coming-of-age of a teenage girl who was chosen to dance on American Bandstand and her experiences with her family and friends. The show was unique in the way it took current popular musicians and filmed them performing as famous bands of the 1960’s. Examples include Kelly Clarkson as Brenda Lee, Third Eye Blind as The Kinks, Richie Sambora (of Bon Jovi) as Eric Clapton and the Yardbirds, and John Legend as Stevie Wonder. These interpretations of the 1960’s through the eyes of filmmakers and artists may not entirely capture the decade, but they are a testament to the popularity of the decade that continues into the new millennium.

            Rock ‘n roll music formed a collective identity and changed society in the process. While many events – some tragic, some exciting – contributed to form such an identity, the soundtrack of the decade was always playing throughout. According to Farber, “By the early 1960’s, the overwhelming majority of Americans could not help but share in a national set of experiences and an increasingly – if still very selective – shared knowledge about one another.” The baby boomer generation carries to this day shared memories of what happened in the 1960’s; many of these memories are told through song. Music is a powerful stimulant for memory, and it is this music that holds the memories of those who came of age in the 1960’s. The impact of rock ‘n roll on the baby boomers is a striking one. “Even more than drugs and sex, rock and roll entered the American cultural mainstream. Where rock had once defined the counterculture, historian Ken Tucker observed, ‘in the 1970s and on into the 1980s, this music was the culture,’” wrote Mark Lytle. The counterculture had been inextricably tied with rock ‘n roll music, but as rock gained more popularity, the counterculture became the mainstream. Rock ‘n roll “was also breaking down parochial tastes and promoting a national culture…the music opened people’s minds and help people appreciate ‘qualities which they could never see before,’”  said Altschuler. Rock ‘n roll music helped individuals feel connected to something larger than themselves. In this sense, rock ‘n roll was the catalyst for the construction of a generational collective identity, aided by social change. Altschuler explains, “The music played a crucial role, however, in fostering intra-generational identity. To a significant extent, a distinct teenage culture, with its own more and institutions, did develop during the decade….differentiation based on age became more pervasive and permanent in American culture and society.” Rock ‘n roll created a divide in the generations which served to create a more unified sense of memory amongst the baby boomers. Listening to the music today instantly brings back memories of the time.
In response to the question “what sort of impact did rock music have on you?” Professor Torres said, “I hang on to it. As you get older you get a flash of memory when you hear certain songs…It’s music you haven’t carried with you all your life, but it’s a trigger for something you want to hold on to. Music has that kind of a trigger. I know where I was when I first heard [a song], and what else was going on at the time.” The rock ‘n roll music of the 1960’s forged a common bond amongst the youth of the decade that influenced their collective identity and memories. This bond was created through the rhythm of the drums, the chords of the guitar, and the inflection in the singer’s voice: a combination too powerful to forget.

Now I think I understand
That it was Sergeant Pepper’s Band
That put the sixties into song
Where have all the heroes gone?
~ Joan Baez, “Sgt. Pepper’s Band” (1982)