soul music presentation

• Rhythm & Blues
• Traditional Gospel
• Gospel Group
• Gospel Choir
• Freedom Songs
• New Jack Swing
• Contemporary Gospel
• Smooth Jazz
• Punk & Alt-Rock

James Brown performing on the ABC Television program  Music Scene .

Key Attributes of Soul

• Economics/Poverty
• Civil Rights
• Black Power/Pride
• Political Issues/Activism
• Social Consciousness

Musical Features

• Improvisation
• Vocal Sounds
• Call and Response

Instruments

• Electric Guitar
• Electric Piano/Synthesizer

“I was raised in the church and was around blues and would hear all these musicians on the jukebox and then I would go to revival meetings on Sunday mornings. So, I would get both sides of music. Some people may have thought I was being sacrilegious, but all I was doing was singing the way I felt.” Ray Charles

Soul is a gospel-influenced African American popular music style that evolved out of rhythm and blues in urban areas beginning in the late 1950s. Its passionate vocalizing, powerful rhythms, and honest lyrics spoke directly to a generation of young African Americans, and soul music became synonymous with the social and political developments affecting them. Soul became popular as a distinctive style during the 1960s and peaked in popularity in the mid-1970s. Its rise paralleled that of the Civil Rights and the Black Power movements , acting as the “soundtrack” for the ascension of Black pride during these years—the music can’t be separated from the prevailing mood at the time, and vice versa.

Context and History

“I had been to a revival service and had seen a preacher who really had a lot of fire. He was screaming and yelling and stomping his foot and then he dropped to his knees. I’d go home and imitate them...” James Brown

“Crossing over from gospel to pop [R&B] wasn’t hard because it was just a matter of changing the words.” Lou Rawls

As the momentum of the 1950s Civil Rights movement continued to build in the 1960s, Black college students rejected the nonviolent and integrationist approach advocated by civil rights leaders. In 1966 as an alternative, they embraced the Black nationalist ideology of Malcolm X. Under the rubric of Black Power and led by Kwame Ture (A.K.A. Stokley Carmichael) proponents of this ideology promoted national Black unity, Black pride, and self-determination. Their activism grew into a political movement to which Black people assigned social and cultural meanings described as “soul.” The term became associated with a range of Black cultural productions such as music, dance, visual art, foodways, fashion, natural hairstyles, a nonverbal communication style, and a unique language style of inner-city street talk and slang. With its roots in gospel music and the broader Black church culture, soul music captured the spirit, emotions, and chaos of the 1960s civil unrest that continued into the early 1970s.

The soul sound began to take shape during the 1950s, the beginning of the modern Civil Rights movement. Pioneers Ray Charles and James Brown, followed by Brown, Sam Cooke, and Curtis Mayfield in the 1960s, tapped into the gospel music tradition to give a new voice to a people struggling for their rights as first-class citizens. They borrowed the rhythms, musical structures, vocal and instrumental style, and emotional delivery of gospel music and transformed rhythm and blues into soul. Ray Charles took this a step further by turning the spiritual song “This Little Light of Mine” into a soul song “This Little Girl of Mine” (1955). His reinterpretation of the 1952 rhythm and blues hit “Drown in My Own Tears”(1956), written as “I’ll Drown in My Tears” by Sonny Thompson and Lula Reed, introduced the gospel rhythms of the 12/8 meter, call-and-response structures, gospel harmonic progression, vocal phrasings, and improvisatory style.

James Brown favored an intense, percussive, and gospel-inflected vocal sound similar to that of Black preachers he had observed in his youth. Brown’s dynamic persona lent a tension and excitement to his music, evident in the midtempo ballad “Please, Please, Please” (1956) with its repetitive, drawn-out choruses.

In the mid-1960s, Sam Cooke introduced the silky smooth, laid-back, melismatic vocal style associated with the gospel quartet the Soul Stirrers. Cooke was featured as lead singer and grafted that style onto rhythm and blues when he left the group for a secular solo career. His early recording of “You Send Me” (1957) was a precursor of the soul sound. By the mid-1960s, Brown evolved a distinctive soul sound that earned him the title “The Godfather of Soul.” He increased the intensity of his performance by adding a polyrhythmic foundation and incorporating vocal screams and hollers into his singing. His album Live at the Apollo , recorded in 1962, gave listeners a taste of the frenetic excitement Brown could generate and his fans’ dramatic reactions; some consider it the greatest live album ever recorded by any artist. Brown’s hit single “I Got You (I Feel Good)” (1965) is also one of the most thrilling classic soul recordings. Brown’s impassioned musical sound paralleled the emergence of the Black Power movement that promoted self-sufficiency, community control, and economic and political empowerment. Its leaders inspired unity, racial pride, and identification with the motherland of Africa among African Americans. Soul embodied this spirit as well as its sense of urgency to achieve these goals. The combination of soul’s social and political messages with its sheer musical power encouraged various levels of activism among African Americans and the nation as a whole.

Musical Features/Performance Style

The soul sound encompasses many different vocal styles and timbres. It ranged from the more lyrical and tempered style of Curtis Mayfield and the Impressions, and Al Green, to the gospel-folk style of the Staple Singers to the percussive and shouting approach of James Brown, Otis Redding, Aretha Franklin, Wilson Pickett and Sam and Dave. Performances of soul music were similar to the preaching style and gospel singing heard in African American folk-styled churches. The singing was improvisatory and intensified the performance by repeating words and phrases, and punctuating with grunts, shouts, and moans. Timbres alternated between lyrical and percussive, shifted from high to low pitches, and incorporated bends, slides, melisma, and passing tones in the melody. Instrumentalists imitated these vocal sounds, using the technological devices of the day such as guitar wah-wah pedals and keyboard synthesizers to make their instruments “talk.”

Soul music performers promoted the ideology of Black Power through their lyrics, which advocated national Black unity, activism, and self-pride. Curtis Mayfield, songwriter and lead singer of the Impressions, set the stage with “Keep on Pushing” (1964), “People Get Ready” (1964), “We’re a Winner” (1967), and “This is My Country” (1968). These themes also resonate in the recordings of Sam & Dave’s “Soul Man” (1967) and the Staple Singers’ “You’ve Got to Earn It” and “Respect Yourself” (1971). James Brown stressed the need for racial pride in “Say It Loud—I’m Black and I’m Proud, Pt. 1” (1968) and he addressed social and political issues in “I Don’t Want Nobody To Give Me Nothing (Open Up The Door, I’ll Get It Myself)” (1969) and “Get Up, Get Into It, Get Involved” (1970). By the end of the turbulent 1960s, Motown artists began to address a range of social issues as heard in the Temptations’ “Cloud Nine” (1968) and “Ball of Confusion (That’s What the World Is Today)” (1970), Gladys Knight & The Pips’ “Friendship Train” (1969), Edwin Starr’s “War” (1970), and Stevie Wonder’s “Living for the City” (1973) and “Higher Ground” (1973).

Other prevalent themes in the lyrics of soul focused on unity and respect, not only among African Americans as a community but in personal relationships as well. Otis Redding spoke of committed personal relationships in “I’ve Been Loving You Too Long” (1965), “Respect” (1965), and “Try a Little Tenderness” (1966), as did Sam and Dave in “You Don’t Know Like I Know” (1965) and “When Something Is Wrong With My Baby” (1966), and Al Green in “Let’s Stay Together” (1971) and “I’m Still In Love With You” (1972). Joe Tex’s “A Sweet Woman Like You” (1965), Percy Sledge’s “When a Man Loves a Women” (1966), and Wilson Pickett’s “I Found a Love” (1967) acknowledged the importance of women in their lives. Aretha Franklin (known as the “Queen of Soul”) echoed related themes from the opposite perspective in “I Never Loved a Man (The Way I Love You)” (1967), “Do Right Woman—Do Right Man” (1967), and “I Can’t See Myself Leaving You” (1968), and Gladys Knight & The Pips in “If I Were Your Woman” (1970).

Soul music remained a major form of Black popular expression through the mid-1970s. The changes envisioned by African Americans, especially those living in the inner city, came at a much slower rate than anticipated. Musicians continued to speak on behalf of the community: The Isley Brothers expounded on the need for “Freedom” (1970) and the Chi-Lites reminded society that the critical mass of African Americans had not yet been empowered in “(For God’s Sake) Give More Power to the People” (1971). The O’Jays cautioned about “Backstabbers” (1972) and Marvin Gaye spoke of inner-city social problems in “What’s Going On” (1971) and “Inner City Blues” (1971), as did the O’Jays’ “Give the People What They Want” (1975). By the mid-1970s, the defining sound of soul had largely disappeared from the popular music landscape, replaced by funk and disco, and later, rap/hip-hop.

Bibliography

• Haralambos, Michael. Soul Music: The Birth of a Sound in Black America. 1974. Reprint, New York: Da Capo, 1985.
• Maultsby, Portia K. “Soul” in Burnim, Mellonee V. and Portia K. Maultsby, eds. African American Music: An Introduction. 2nd ed. New York: Routledge Press, 2015, p. 277-298.
• Werner, Craig. Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul. New York: Crown Publishers, 2004.

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Top 25 Music PowerPoint Templates To Uplift the Soul

Malvika Varma

“Where words leave off, music begins.” - Heinrich Heine

Who doesn’t love music? Every single person loves one music genre or the other. There’s nothing sweeter in the world like the sound of your dearest song. It just gets right into our heads and whisks us away to our happy place.

Music plays a significant role , even in our daily lives. Whether you go to any public area or on any public transport, people listening to music through their headphones is a familiar sight. Especially in this day and age, even a workout is just not complete without a playlist. We listen to melodies at all times and in all places. With faint memories of lullabies sung to us in our childhood to kick-starting our mornings with the chirping of birds, music is weaved in every fabric of mankind from the very beginning.

“Music acts like a magic key, to which the most tightly closed heart opens.” - Maria Augusta von Trapp

Music is a powerful tool to express emotions. It lifts our spirits even when we don’t feel like getting out of bed. There are plenty of people who swear that listening to music helps them to concentrate much better on what they are doing.

Coined as ‘Mozart Effect’ , research indicates that if one listens to the music of the famous composer, Wolfgang Amadeus Mozart, one might actually become smarter. Music enhances creativity, helps in expressing emotions, relaxes the mind, and boosts self-confidence. As music is a universal language that shatters all the barriers across cultural and linguistic boundaries, 21st June is celebrated as World Music Day . Since music is such a big part of our lives, we can’t ignore its significance.

SlideTeam professionals have designed these Top 25 Music PowerPoint templates. Download these customizable PowerPoint themes and enjoy the world of music.

So, play your favorite music and start exploring the templates below!

Top 25 Music PowerPoint Templates To Download

Music leaves a soothing effect on our minds. This attractive PowerPoint background can be used as an advertisement for guitar learning classes. Incorporate this visually appealing music PowerPoint template into your music classes to explain the basics to students. Music festivals can also employ this music PPT background to give out the details of the event. Guitar competition can also be promoted by this editable music PowerPoint presentation. Online music platforms can incorporate this striking PPT theme to attract more viewers.

This striking music PowerPoint template can be downloaded by DJs to illustrate the details of the upcoming events. Music teachers and enthusiasts can also download this music PowerPoint presentation for their coaching classes. Music festival organizers can incorporate this aesthetically appealing PPT background. This PPT background can also be used for music websites. Connect with your fans by giving details of the music festivals you are going to perform with this PPT background.

Temp late 3

Musicians can employ this completely editable music PowerPoint template to showcase the different instruments available. Details of a room to be rented for a music studio can be mentioned by utilizing this attention-grabbing music PowerPoint presentation. You can also use this amazingly designed music PowerPoint theme for school projects related to musical instruments.

Grow the fan base and spread your talent of music by downloading this awe-inspiring music PowerPoint template. Showcase your experience of performing for fans on stage with the help of this music PowerPoint theme. Schools and colleges can incorporate this music PPT theme for advertising their fests. This music PowerPoint background can be utilized by event management companies to highlight the services offered by them.

This comprehensively researched music PowerPoint proposal is a must to impress your client. With the help of this ready-made music PowerPoint complete deck, you can highlight the services you offer such as music recording, studio sessions, marketing & sales music, sound production, and others in a precise manner. You can also mention the terms & conditions in this pre-designed PowerPoint theme so the client gets a clear understanding before signing a deal.

This attractive music PowerPoint template can be employed by fest organizers for promotion purposes. Music students can also download this visually appealing PowerPoint theme for their projects. Children camps can introduce this music PPT background to give details of the event. Event organizers can incorporate our editable PowerPoint theme for their website. 

With the help of this versatile music PowerPoint template, you can promote your skills and expertise in the field of music. Highlight the music festivals and upcoming tours for your fans by downloading this striking PowerPoint layout for your website. Details of electronic music classes can be illustrated by utilizing this professionally designed music PPT background.

Music has a huge impact on the overall development in early childhood which can be effectively communicated with the help of this music PowerPoint template. Children’s care centers can employ this PowerPoint theme to elucidate the facilities available to them. Child care experts can effectively explain the significance of music for kids’ development by downloading this attention-grabbing music powerPoint layout.

Event management companies can download this versatile music PowerPoint theme for their websites and attract viewers. This editable music PowerPoint theme can be used for music fests and the details can be mentioned easily for the audience. The price of tickets, food kiosks, and other entertainment facilities available at the music festival can be illustrated impressively by utilizing this PPT background.  

Template 10

Indian classical music and its history can be elucidated to the audience by employing this ready-made music PowerPoint theme. Classical music concerts can be advertised by downloading this pre-designed music PowerPoint template. Learning musical instruments can be encouraged in students with the help of this PPT background.

Template 11

Music production enterprises can utilize this eye-catchy music PowerPoint template to highlight the various services they provide. Event managers can include this editable PPT theme to discuss the packages they offer and other relevant details to the clients. The career opportunity in the field of music can be discussed by career counselors by introducing this music PPT layout.

Template 12

Download this professionally designed music PowerPoint template and showcase the events you have performed to impress your customers. Music festivals can incorporate this attractive PowerPoint theme to give details such as venue, timings, tickets, etc. The pre-designed music PowerPoint background can be downloaded to explain the effects of music on enhancing creativity.

Template 13

Guitar classes can be promoted using this music PowerPoint template. The history of music and the therapeutic effects of music on patients can be discussed efficiently by incorporating this attractive PowerPoint theme. Music bands can download this PowerPoint background to acknowledge the members of bands after the performance.

Template 14

If you are an event planner and looking for a striking PowerPoint template, this theme is just for you. Employ this editable PPT background to showcase your awards and achievements effectively. Music companies can also download this professionally designed music PowerPoint background for their website and online platforms

Template 15

Music and singing competitions organizers can introduce this striking music PowerPoint template to give the details of the event. Students can incorporate this pre-designed music PPT theme for their presentation on music. Teachers can download this attractive PPT background to promote the classes.

Template 16

Kids can be encouraged to take music classes and pursue this field by employing this music PowerPoint template. The positive impact of music on the overall development of the child can be effectively discussed by child counselors with the help of this pre-designed music PPT theme. The various effects of music can be discussed efficiently by incorporating this music PowerPoint background. Music templates like these can be employed for encouraging people to learn about guitar.

Template 17

Download this comprehensively researched music PowerPoint proposal template and increase your clientele. With the help of this content-ready music PowerPoint background, you can showcase the services you offer and give relevant information to potential customers. You can state the terms and conditions of your service in this music PowerPoint presentation to avoid any legal confusion during the job engagement.

Template 18

This amazingly designed music PowerPoint template can be used for various music events. Musicians can incorporate this editable PowerPoint background to list out the details of the upcoming music shows. Musical events for kids can also download this eye-catching music Powerpoint background for promotion. 

Template 19

This awe-inspiring music PowerPoint template is the best fit for events like World Music Day. You can promote musical fests and attract the audience with this attention-grabbing music PowerPoint background. The benefits of listening to music can also be described with the help of our pre-designed PPT layout. Music templates can be utilized for concerts and events.

Template 20

Download this versatile music PowerPoint theme for various music icons. Just edit the details and you are good to go for any music-related project. By incorporating this music PowerPoint template, you can teach students about the basic symbols used in music and the significance of each of them. 

Template 21

Employ this aesthetically appealing music PowerPoint template to teach students about music and the significance of it in our lives. You can also discuss the positive impacts of listening to music by utilizing this attractive music PowerPoint background. The evolution of music across different cultures can be efficiently illustrated by incorporating this PPT theme.

Template 22

The history of music and the introduction of the piano can be effectively illustrated by downloading this editable music PowerPoint template. Teachers can employ this PPT background to teach students the sound of different keys in a piano. Music learning camps can utilize this pre-designed PowerPoint layout to advertise the services they offer. Music templates can be used for giving details about the upcoming music events.

Template 23

Download this music PowerPoint template for music websites and blogs to instantly grab attention. Music and singing competitions organizers can incorporate this PPT background to list out the eligibility criteria of participants. Music has a therapeutic effect on the mind which can be discussed with the audience with this striking PowerPoint theme.

Template 24

Kids’ activity institution can utilize this attention-grabbing music PowerPoint template to showcase the musical instruments learning session offered at the classes. This editable music PPT theme can be utilized to highlight the advantages of learning musical instruments from an early age. This striking PowerPoint layout can be downloaded by shopkeepers to mention the musical instruments available at their store. Music templates can be used to encourage kids to learn music from an early age.

Template 25

The versatility of this music icon PowerPoint template makes it easy to incorporate for several purposes. Music websites can utilize this attractive music PowerPoint background to showcase the latest playlist. Music is celebrated across the globe on events like World Music Day which can be depicted effectively with the help of this visually appealing music PPT theme.

Life without music can not be imagined. So, download these amazingly designed Top 25 Music PowerPoint templates and cherish the fascinating world of music.

Looking for fitness and exercise inspiring templates to motivate you, have a look at our blog !

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A Rational Conversation: Do We Need New Old Soul Music?

Eric Ducker

Leon Bridges' polished retro-soul aesthetic has earned him fans who appreciate his devotion, as well as critics who find his approach hollow. Erin Margaret Alison Rambo/Courtesy of the artist hide caption

Leon Bridges' polished retro-soul aesthetic has earned him fans who appreciate his devotion, as well as critics who find his approach hollow.

"A Rational Conversation" is a column by writer Eric Ducker in which he gets on instant messenger or the phone with a special guest to examine a music-related subject that's entered the pop-culture consciousness.

This summer, Leon Bridges released Coming Home, his debut album. Interest around the Texas singer continues to build, with most dates of his upcoming headlining tour of North America selling out and the recent announcement that he'll open for Pharrell Williams in London during the Apple Music Festival. While many obviously appreciate Bridges' devotion to the musical approach and personal style of soul artists from the 1950s and early '60s (most notably Sam Cooke ), others have found the approach hollow. Why listen to someone so intent on creating the sound of the past when so many crucial musical and political changes have pushed that sound forward?

To discuss the subject, Ducker spoke with Emily Lordi , an assistant professor in the English department of the University of Massachusetts at Amherst. She's written extensively about black music, including the book Black Resonance: Iconic Female Singers And African American Literature and the upcoming installment in the 33 1/3 series about Donny Hathaway's album Live . She is also presently working on a book about the literary and musical history of the concept of soul in black culture.

If someone you know says to you, "Hey, you should check out this new album I heard by this soul singer who sounds just like they are from the 1960s," does that sound appealing or not appealing to you?

That's not entirely appealing to me. The slightly longer answer to that question is that I would be curious to know whether this was a purely retro soul production or whether it was more of a neo-soul type of thing. The distinction there is that retro soul seems to be more about paying homage than innovating; it's more about the beautiful imitation. Whereas I see neo-soul as returning to that moment in order to build upon it and make something new that's both musically and politically resonant for the contemporary moment.

I'm in the same camp as you, but playing devil's advocate for a little bit, should we be more appreciative of the craftsmanship of retro soul? Is it impressive that they are able to re-create that sound so completely?

I try to think about it on a case-by-case basis. In an earlier email, you referenced Raphael Saadiq 's 2008 album The Way I See It , and I was definitely impressed with the craftsmanship of that on all levels — from the composition to the engineering to the production. There's a certain kind of energy to that album that impresses me, in part due to the variety of different kinds of soul music that he seems to be reviving and paying tribute to. We get Philly soul, we get Motown, we get the Muscle Shoals sound. There's the richness and diversity of the soul tradition. That's impressive. I find Sharon Jones and the Dap-Kings impressive in a similar way; it's kind of hard not to like somebody who sings like Mavis Staples and dances like James Brown and has this incredible story to go along with it. But again, there's also incredible craftsmanship that goes into the work of an artist like D'Angelo , who I think is not only paying homage to certain soul predecessors, but is also really building upon their work.

How do you feel about what Leon Bridges is doing?

I haven't listened to the whole album, but I have many thoughts. The thing about Leon Bridges that I have been thinking about is his investment in 1950s and 1960s soul music, the moment before soul music's radical political turn. There's this moment in the '60s where black musicians have to decide which side they're on: Are they going to stick with more conservative, seemingly apolitical love songs? Or are they going to go for the explicitly political, socially engaged type of productions? This is everybody from Aretha Franklin to Marvin Gaye to James Brown to Sly Stone to The Temptations to Marlena Shaw. They are turning out these really powerful political records. For me, hearing Leon Bridges, I wonder what it means when his vision of soul kind of turns the clock back on soul's more radically political moment.

I wanted to mention his video for the song "Coming Home." When I first saw that video, I just felt sad. There are no people in the video. There's him and there's the white lover and there's the barber, but it seems like the only way that his feel-good vintage nostalgia can work is by absenting all the people from this urban landscape of the Jim Crow South. The video literally absents the social component from the music by depopulating that landscape. Especially at a time where Selma is released and we're seeing our own version of this brutal, state-sanctioned anti-black violence, it's hard to see this image of a black man moving through the Jim Crow South without thinking of some of these other scenes of violence. Even the shot of him sitting at the lunch counter, it kind of evokes and erases the history of the sit-in. The history of anti-miscegenation laws are also there and not there at the same time with the white lover — they are in private, but they also come out into public spaces. You wonder, "Where are the people who might have been upset about that relationship?" Even the barbershop, which is a traditional space of black male camaraderie, we only see Leon Bridges there. His barber is white, for some reason. It's a very curious representation.

What that suggests to me is that the coolness of the video depends on divorcing soul from its actual social milieu. If you're interested in soul, that has historically meant some kind of racial struggle — a social struggle, consciousness-raising, a desire to say it loud, "I'm black and I'm proud." To rally young black people who are young, gifted and black. It's not that everybody has to be radical. It just makes me wonder, "What does soul mean without it?"

Right. The decision is especially jarring given current events. And in contrast, you have D'Angelo saying that he had to finally put out this album, which people had been waiting almost 20 years for, because of what's happening right now in the United States.

Exactly. It has this very radical critique of the moment. More generally, the interesting soul music seeks an interest in that moment. In some cases, it returns to the unfinished work of the Civil Rights and Black Power eras. In other cases, it's a desire for the vibe or the feel of the moment, but without the political work that it entails.

Neo-soul kind of fell out of favor in the first years of the new millennium, around the same time retro soul became cooler. A lot of people on neo-soul's forefront went off into their own worlds, and who was left were people who weren't necessarily the most innovative. Neo-soul kind of became corny and people started to just associate it with incense and silly hats.

It's interesting to think about it as a succession of sorts. When Questlove [of The Roots ] talks about that moment, he describes it in more personal terms. If part of the idea of neo-soul was to avoid the machinations of the music industry and return to these ideas of community, live instrumentation and the social and musical elements of this musical era, people weren't quite ready for the massive success and the industry demands that come with that. People like Lauryn Hill and Erykah Badu and D'Angelo — in Questlove's account — sort of freak out and leave or are driven off the scene. It's so interesting to think that something more imitative and less innovative comes in to fill that space.

You mentioned this decisive point in soul music in the 1960s where artists had to decide if they were going to be political or not. Were there artists who decided to stay apolitical after that moment that stayed relevant?

Sure, an example of a group that remains lyrically apolitical would be The Supremes, whose carefully stylized presentation — as Gayle Wald points out in her new book It's Been Beautiful: Soul! And Black Power Television -- nonetheless remained central to Motown's mission of black self-empowerment.

With what Leon Bridges is doing now and the context he exists in, do you see any potential for him to have a politically engaged or radicalized moment later in his career?

There is always that potential, as we've seen with an artist like John Legend . But for Bridges, such a turn would require a shift out of the nostalgic retro mode and into an engagement with the political, social and musical landscape of the present.

Do you think retro soul suffers because it often seems to pretend to be in a world where hip-hop doesn't exist?

I do, because what does that mean? That means turning back the clock and pretending that not only does the music not exist, but also that the social energy that hip-hop represents didn't happen.

I guess what this comes down to is, do we need new old soul music? There's something about this new music that seems so devoted to complete reproduction that just makes me want to hear the original stuff. It's almost a turn-off.

I know what you mean. I wouldn't say that it's specific to soul music. Every genre of American music has its eras of revivalism, or certain strains of revivalism, that continue across various time periods. It's a folk movement or a blues revival or traditional jazz or country and bluegrass. There are always people in every genre who are keeping that legacy alive, though there isn't always an audience for that. But in regards to soul, I think that soul signifies many things to many people, and sometimes it's that social/political component, and sometimes it speaks to more musical issues of black instrumentation (complex arrangements and virtuosic musicianship), and a premium put on emotional expressiveness. Those are all things to value for a music lover. But I don't know, I'm kind of with you. I don't want to listen to something that sounds like Marvin Gaye when I could just listen to Marvin Gaye.

It might partially come down to the fact that it's called "soul." The idea of trying to recapture "soul" is weird. I imagine the musicians are thinking, "This is the music that speaks to me, and I want to evoke that same feeling through the music I create." It's a unique sound, and I don't know if it ever can really be recaptured.

Soul was very much of its moment. It obviously drew from the past, and it drew from everybody's experience of growing up in church and singing gospel music. Soul artists brought that into the secular realm, that sense of these big vocals and performative energy in the live setting — the lay-it-all-on-the-floor drama and physical vigor of the performance. That kind of legacy, and the way that kind of legacy is made to speak for very particular moments in the '60s and '70s, is not possible to capture. Soul really does become a gathering place for black people.

The way that I think about it, in my work, is I read more about the music and the way that soul gets deployed in different situations: Who has soul? Who doesn't have soul? What does it mean to have soul? It consistently means something about having struggles and trying to make your way through a world where it's harder to be black than it is to be white. But that there's a certain payoff to that, and soul is what you get for having gone through the fire in that way. To divorce the crux of soul music — whether you're a black or white or whatever artist — from that real inventive, group-affirming work, there's something lost in that translation.

Could the benefit of retro soul artists be that they serve as a gateway for some listeners to discover the older artists that the music is referencing?

It seems to me that people who were raised on Sam Cooke are not going to be excited about Leon Bridges, but I do like the idea of him functioning as a gateway. Now, that's a gateway for listeners, but in terms of practitioners of the music, I also wonder — this is a slightly different issue — whether or not young artists have the same kinds of resources they need to really move the music forward. We often see in the history of the record business that the real innovation comes from musical networks, whether that's jazz or hip-hop or soul. It's Otis Redding working with the Stax house band, or Muscle Shoals backing Aretha [Franklin], or Earth, Wind & Fire (all the people within that band and all the people they collaborated with). The Soulquarians, D'Angelo and the Vanguard, and the Wondaland collective with Janelle Monáe are more contemporary examples. The public music education programs around the country are part of this conversation, too. What kind of public and other kinds of resources are around to young musicians today that make that kind of innovation possible?

How important is it that there be black audience members or black listeners for a soul artist? I read something about Leon Bridges on Vogue.com, and there was a part where he mentioned how his audiences are predominantly white and he says that when he performs his song "Brown Skin Girl," he'll ask, "Where my brown-skinned girls at?" and there will be hardly any of them in the crowd. It's kind of played as a joke in the article, but it's kind of weird, right?

Yeah, it definitely worth noting. It's tricky, because you don't want to get into these rigid notions of authenticity and suggest that he's not authentic just because he has a majority white fan base, but I think that is relevant. One thing again that the "Coming Home" video does is that it suggests a dream of integration that has already been realized, suggesting that there's no problem with him being with this white woman in the context of the totally depopulated world that exists in that music video. The dream of integration without the struggle would be more appealing to those who have been beneficiaries of the concept of the post-racial America. The soul-revival thing can swing either way. It can suggest that we really are in this era of post-racialism that Obama's election ushered in, or it can suggest a real rejection of that idea, and that we need to return this prior moment to figure out what that movement still has to teach us. I don't know enough about the audiences for Sharon Jones or other retro soul artists, but I do think the question of who this music is resonating with is definitely relevant.

We're making Leon Bridges carry the burden of a lot of stuff in this conversation, but how important should it be for artists who are interested in retro soul to try and establish a black following?

I don't know what kind of assumptions would go into that calculus. I do think there is a broad national base of interest in soul music. I just want to broaden the landscape to acknowledge the recent biopics on people like Ray Charles , James Brown, Nina Simone , and the weird Muscle Shoals documentary that I just learned Johnny Depp wants to turn into a TV series. Then there are all these recent albums inspired by soul artists, like Meshell Ndegeocello 's album of Nina Simone covers, Leela James has an album of Etta James covers, John Legend's Wake Up , even Lalah Hathaway , whose recent stage show was in some ways a tribute to her father Donny Hathaway 's Live album.

Soul is definitely an industry across racial lines — and inter-generationally, as well — but the issue of cultivating a black audience, specifically, is a tricky one. I think of it less as a personal issue and more in terms of structures or systems that are in place to allow people to do that. A Leon Bridges 40 years ago doesn't have a choice as to whether or not to engage black audiences — that's his bread and butter. It's either sink or swim, depending on their approval or lack thereof. Whereas now it's interesting to think he can be groomed as a soul artist. People like Questlove are important here, in that there is a certain kind of racially authenticating work that goes into having a stamp of approval, but that's different from going out and having to tour and have your work vetted by black DJs or black record-store owners.

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Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown

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Jeanette Bicknell, Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, The British Journal of Aesthetics , Volume 51, Issue 3, July 2011, Pages 338–340, https://doi.org/10.1093/aesthj/ayr008

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The idea that music can ‘heal the soul’ is a commonplace in many spiritual and cultural traditions, but what does it amount to? In Soul Music , Joel Rudinow examines a particular musical genre as a means of addressing some broad and difficult questions about the relationship between music and spiritual well-being. Rudinow's focus is ‘soul music’—American popular music of the mid-twentieth century that grew out of a merger between gospel music and various strains of popular secular music. The term ‘soul music’ replaced the label ‘rhythm and blues’, which in turn had replaced ‘race’ music. Deeply rooted in African-American traditions and performed mainly by African Americans, soul music became extremely popular among both blacks and whites. Rudinow argues that soul music holds a special place in the history of American popular music. It is widely understood to have been the ‘soundtrack’ to the American civil rights movement and its prominence during President Barack Obama's presidential inauguration in 2009 was not likely to have been a mere fluke or reflection of the new president's musical taste.

Rudinow maintains that, although the claim sounds extravagant, it can be said ‘in all seriousness’ that soul music has played an important part in healing America's troubled soul. The difficulty of what it means, exactly, to say this is one of the major questions at issue in the book. This question is closely related to another: namely how to explain the connections between soul music and spiritual dimensions of life, both individual and collective. These are difficult questions, to be sure; difficult to formulate clearly let alone to begin to answer. Rudinow tells us that writing this book was an exercise in ‘soul searching’ and that it was born out of his efforts to integrate crucial interests in music and philosophy. It is informed by a deep knowledge of and appreciation for music, and a real of sense of just how difficult philosophical questions about music can be. Rudinow warns us at the outset and throughout that philosophy requires patience, tenacity, and humility, and that engaging in philosophy requires a high tolerance for unanswered questions.

Metaphysical intricacies begin in the first chapter which brings together the soul and soul music. Rudinow discuses the difficulties in defining ‘soul music’ without falling into a rigid and ultimately arbitrary essentialist definition, and he understands the term broadly rather than narrowly. He never shrinks from metaphysical questions but addresses them squarely. Tricky as it is to write about music and the soul without either sounding precious or taking refuge in a crude materialism, Rudinow manages to avoid both extremes. He employs a minimalist conception of the soul, understanding it as a name for the locus of awareness and agent of voluntary action in any conscious or sentient being.

The next two chapters examine metaphysical issues inherent in two of the antecedents of soul music – blues and gospel. The relationship between blues and gospel, and between both of them and soul music, is very complex. Admirers and detractors alike have been puzzled that soul music draws on musical traditions, in particular on the blues and on spirituals and gospel, that are said to be by nature spiritually incompatible. How did it come to be that ‘devil's music’ contributed to the emergence of gospel as a musical form? Rudinow reminds us that early audiences, especially African Americans, were well aware of the influence of gospel in soul music and could be offended by the reminder of the sacred in music that was often unabashedly carnal. These chapters address the question of why the blues has been called the ‘devil's music’ and what we might make of the legend (recurring in different performance traditions) of instrumentalists selling their soul to the devil in exchange for technical mastery. Appropriately the legend surrounding bluesman Robert Johnson is taken to be paradigmatic.

Before the publication of this book Rudinow was widely known for his 1994 article, ‘Race, Ethnicity, Expressive Authenticity: Can White People Sing the Blues?’ published in the Journal of Aesthetics and Art Criticism . This ground-breaking article on performance and racial identity was widely read, discussed, and anthologized. It continues to read well today and is still a required text for anyone interested in these issues. In that article, Rudinow had argued that the authenticity of a blues performance turns not on the ethnicity of the performer, but on the degree of mastery of the idiom and the integrity of his/her use of the idiom in performance. In chapter 6 of Soul Music Rudinow revisits his earlier article and speaks with disarming and admirable frankness about what he has come to see as its shortcomings, and the deficiencies in his earlier replies to critics. He now sees the problem as less one of technical mastery than of personal and artistic integrity and authenticity in the face of culturally unfamiliar material. He has also come around to the view that the significance of performances in culturally identifiable idioms such as the blues may well have something to do with the ethnic identities of both performers and audiences.

Chapters 4, 5, and 7 deal, in different ways, with philosophical problems inherent in the interpretation of music. Chapter 4 uses ancient Greek understandings of tonality to expose some of the limitations of formalist approaches to music. The primary problem here is music's emotional power, or what Rudinow calls the ‘arousal and movement of emotional energy in the audience’ (88). In the last two hundred years or so this problem has been reformulated and is now expressed as the puzzle of music's emotional expression. The problem had thus shifted from the listener's experience of music to properties inherent in the music: in other words, what can we be legitimately taken to mean when we discuss music in emotional terms? This newer project is no less difficult than the older one, and just as recalcitrant to explanation. Formalist analysis has not been fruitfully applied to the understanding of the rhythmic concepts and phenomena so important in many genres of popular music. Chapter 5 focuses on rhythm and explores the promise of a pragmatist approach to understanding music's emotional power. We are taken from the work of John Dewey through Suzanne Langer to the ‘somaesthetics’ of contemporary pragmatist Richard Schusterman.

Rudinow offers a sophisticated and subtle reading of Plato on music and on censorship of the arts, paying careful attention to methodological hazards inherent in interpreting a thinker renowned for irony. Much of the scholarly discussion of Plato on the arts overlooks his irony. Rudinow starts (or restarts) an important discussion, and I would have been happy to see a more extended discussion here. Rudinow tells us that he grappled with the problem of Socratic irony before hearing the name ‘Leo Strauss’ with whom it is now widely linked. He finds a resonance between the idea of covert communication in the blues and Strauss's interpretive principles. Strauss argued that thinkers such as Maimonides, Spinoza, and Hobbes wrote under conditions of political and social oppression and shaped their texts with this in mind. Careful readers would note gaps and inconsistencies in their texts and look under the surface for a deeper meaning. Rudinow offers an even-handed presentation of Strauss's ideas that seeks to save him both from his detractors and from his neoconservative disciples. This is no mean feat, as even a cursory glance at the contemporary discussion of Strauss's ideas will reveal. Rudinow's chapter is valuable in itself for his presentation of Strauss's central ideas. I wish that the book had had more space for a more detailed application of these interpretive principles to the blues.

The final chapter, ‘Music as a Healing Art’, considers the metaphysics of music as a healing art. Rudinow argues that the current dominant explanatory models of music are psychopharmacological; that is, they treat music as a drug. While this model has some strengths, Rudinow contends that a more fruitful approach would be one informed by the physics of sound. Of course, the potential for quackery is high here, as Rudinow clearly realizes, and much of the chapter is devoted to a careful review of the scientific literature.

Soul Music is a very thoughtful work in which there is a lot going on. I learned many things in reading it, from episodes of blues history, to the social conditions of the piano players in New Orleans brothels, to the significance of the tritone. Although the focus is restricted to a particular musical genre, the implications of this book are more general and it should be relevant to anyone with a philosophical interest in music. Rudinow's style is clear and engaging, and he draws on his personal experience as a professional musician as well as on academic philosophy. My only serious criticism is that the book lacks a final section where all of the various philosophical insights are drawn together, their implications spelled out, and some final conclusions presented. Nonetheless, the book's clarity of thought and expression would work well in the classroom, even for students with little background in either philosophy or music. Each chapter is accompanied by suggestions for watching and listening, further adding to the book's usefulness as a teaching resource.

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1960’s SOUL MUSIC

Oct 14, 2014

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1960’s SOUL MUSICThe passing of Civil Rights legislation in 1964 & 1965 was only the beginning of the social and cultural revolutions of the 1960sThe Civil Rights Movement had a hard time getting laws to be passed but would endure an even harder struggle to have them implemented.Backlash against the new laws, especially among Southern White government officials who outright refused to enact the new laws will lead to police actions, riots, shootings, student protest, etc…On April 4, 1968 Martin Luther King Jr. was assassinated in Memphis at age 39.R&B music, which was mostly dominated by African American artist, would soon start to reflect a changes in the country from the sweet upbeat sounds of Motown to a more Dylan-esk approach of reflecting the African American community’s struggles in its sound.

1960’s SOUL MUSIC • Soul Music reflected the militant search for a new identity of African-Americans in a time of heightened violence towards them and supporters of the new civil rights laws. • The term “Soul” had been used & popularized in the 1950’s by Jazz Artist such as John Coltrane. • In the late 60’s the term reemerged in the African-American community in ghettos in Watts and Harlem. • They started to use the term to equate “soul” with the struggle to reassert African American dignity in the face of continued discrimination.

1960’s SOUL MUSIC • The term “Soul” was used not only to describe music but to emphasize other parts of African American culture, i.e. (Soul Food, Soul Brother, Soul Sister, etc… • Many new “Soul” Artist had their roots in the R&B of Motown or 1950’s era R&B such as that on Atlantic Records. • The new attitude of Soul Music spawned the re-emergence and sometimes even greater fame of established artist as well as spawning new chart topping artist as well.

JAMES BROWN • Had been involved with R&B long before the “Soul” music make over became known as “Soul Brother Number One” • Released his 1st record “Please, Please, Please” in 1956 with The Famous Flames. • By 1962, he had perfected his stunning high energy stage show, complete with legendary back up band and vocal group known as the James Brown Revue. • His 1962 album “Live At The Apollo” became legendary & reached #2 on the pop charts. • His live show consisted of incredible almost acrobatic dance moves, theatrics, jazz style improvisations, & pounding funk grooves of which he is said to be the originator. • He was also an innovator in his “raps” that would later be inspiration for Hip Hop groups decades later. • LISTENING JOURNAL – PAPAS GOT A BRAND NEW BAG

ATLANTIC & STAX RECORDS • Atlantic Records already had many R&B artist on their label from the 1950’s and early 1960’s before the new attitude of “Soul”. • Many of Atlantic’s artist enjoyed a resurgence of popularity in the “Soul” boom. • Atlantic also joined with a small label out of Memphis (Stax Records) in 1960. • Atlantic agreed to distribute Stax artist through their network of distributors. • Together, with existing artist such as Ray Charles and new artist playing the same gospel style R&B as Charles, Atlantic & Stax cornered the market on “Soul” music of the 60’s

ATLANTIC & STAX RECORDS • Stax gave their artist a distinctive sound by the use of their in house studio band BOOKER T AND THE MG’S • The band consisted of Booker T Jones – Keys, Al Jackson – Drums, Steve Cropper – guitar, and legendary bassist Donald “Duck” Dunn • The band, who in 1962 had an instrumental hit of their own, backed virtually every artist on the Stax label. • LISTENING JOURNAL • BOOKER T AND THE MGS “GREEN ONIONS”

WILSON PICKETT • Pickett's Atlantic career began with a self-produced single, "I'm Gonna Cry". • Looking to boost Pickett's chart chances, Atlantic next paired him with record producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, Pickett recorded "Come Home Baby," a duet with singer Tami Lynn, but this single failed to chart. • Pickett's breakthrough came at Stax Records' recording studio in Memphis, where he recorded his third Atlantic single, "In the Midnight Hour" (1965).[ This song became Pickett's first big hit. • LISTENING JOURNAL • IN THE MIDNIGHT HOUR

OTIS REDDING • Redding was born and raised in Georgia. • At age 15, he left school to support his family by working with Little Richard's backing band, The Upsetters. • In 1958, he joined Johnny Jenkins's band, The Pinetoppers, and toured the Southern United States while serving as driver and musician. • An unscheduled appearance on a session in Memphis led to a turning point in his career. • He signed a contract with Stax Records and released his first single. • Redding died just three days after recording Dock of the Bay in a plane crash while on tour. • "(Sittin' On) The Dock of the Bay" was released in January 1968 and became Redding's only number-one single on the Billboard Hot 100, and the first posthumous number-one single in US chart history. • LISTENING JOURNAL • (Sittin' On) The Dock of the Bay

SAM & DAVE • The soul duo from Miami was discovered by Atlantic president Jerry Wexler who agreed to let the duo record for Stax. • Nicknamed "Double Dynamite", "The Sultans of Sweat", and "The Dynamic Duo" for their gritty, gospel-infused performances, Sam & Dave are considered one of the best live acts of the 1960s & were an influence on many future musicians live shows. • Sam and Dave's biggest hit and best remembered song, "Soul Man” was released in August 1967. • It was the number #1 song in the US in Nov 1967 and won them a Grammy Award in 1967 for "Best Performance - Rhythm & Blues Group”. • In the 1980s, Soul Man was covered by The Blues Brothers (John Belushi, Dan Aykroyd) whose act & stage show had many similarities to Sam & Dave, helped create a resurgence of popularity for soul and R&B • LISTENING JOURNAL – SOUL MAN

CROSSOVER SOUL ARTIST • The inner-city explosions during the late 1960’s (i.e. riots in such inner city areas of Detroit, Los Angeles, Chicago, etc..) made many Americans, especially those raised during the civil right era, more aware and interested in African American culture. • African American Soul Artist were becoming very popular in inner city and African American culture in general and had taken over the R&B charts but few crossed over to the pop charts as Motown artist had done earlier. • Their were two artist in particular that were able to bridge the now smaller but still definite divide between R&B and Pop music • They would gain great notoriety not just among R&B fans and in African American culture but in white middle America as well.

ARETHA FRANKLIN • Born in 1942 to prominent Baptist minister and activist C. L. Franklin, she began her career singing in her father's church at the age of ten and started recording just four years later. • She was first signed to Columbia Records in 1960 and had some limited success but was dissatisfied with the label and was heavily in debt to them. • Jerry Wexler of Atlantic signed her when her contract expired in 1966 and thought with her gospel background Atlantic would be a better fit. • Within a few she recorded and album for Atlantic that included the single “Respect” which had been a minor hit for Otis Redding 2 years before. • With Franklin, a Detroit native, the song took on new meaning with riots raging in her hometown and also found new meaning with The Women Liberation Movement fighting for many feminist issues in the 60s.

ARETHA FRANKLIN • “Respect” became a huge hit selling more than a million copies in just 10 months and reaching #2 on billboard. • Aretha would continue her crossover success with a string of million selling singles and albums that included (You Make Me Feel Like A) Natural Women, Chain of Fools, Think, etc…. • From her early success she would be given the name QUEEN OF SOUL a title that stick for her entire career. • LISTENING JOURNAL • RESPECT

THE JACKSON 5 • Born and raised in Gary, Indiana, the Jackson brothers were guided early in their careers by their father Joseph Jackson, a steel mill crane operator and former musician, and their mother Katherine Jackson. • Joseph saw potential and in 1964 helped Jackie, Tito, and Jermaine form The Jackson Brothers, including hometown friends Muffy Jones and Milford Tonna. • By the end of the following year, the group's younger brothers Marlon and Michael joined the instrumental band. • Showing extraordinary talent at a very young age, young Michael began demonstrating his dance moves and singing ability at the age of five. • As the brothers grew older they began to replace their friends on instruments and also hire professionals to fill needed spots.

THE JACKSON 5 • Evelyn Lahaie, a local talent agent, suggested to Joe to rename the group the Jackson 5 • After a contest win in Gary, the group began playing professional gigs in Indiana, Chicago and across the U.S. • Many of their early performance venues include were in a string of black clubs and venues collectively known as the "chitlin' circuit” which included several strip clubs. • The group were signed to a small label from Gary and began to record. • Sam & Dave were early admirers of the groups early recordings and helped the group secure a spot in the famous Amateur Night competition at the Apollo Theater in Harlem. • From here they caught the attention of Motown Records and after some hesitation on Barry Gordy’s part to sign such a young group he eventually brought them aboard.

THE JACKSON 5 • They initial success would be fueled by • 1. A fascination of Americans at the bands great talent at such young ages especially Michael who was only 11 in 1969 when the group premiered for Motown. • 2. Motown’s biggest star Diana Ross continual promotion of the group in the media. The Jackson 5’s first album was entitled Diana Ross Presents The Jackson 5. • The albums first single “I Want You Back” would hit number along with the group’s next 3 singles. • The Jackson 5 would re-establish Motown as one of the leaders in R&B and Soul music in the late 60’s and early 70’s. • LISTENING JOURNAL • I WANT YOU BACK

ACID ROCK – The Long Strange Trip BeginsIn the wake of the British Invasion, thousands of middle class, college educated youths clustered around the San Francisco Bay Area to demonstrate to the country, and eventually to the world, that love could replace war, sharing could replace greed, and community could supersede the individual.They strove for nothing less than a total transformation of America and they demanded it happen immediately.“We want the world, and we want it now” – Jim MorrisonA new hybrid of rock reflected and help propagate the new sub-culture.Fueled and named after a strange new drug (LSD) acid rock broadcast the word of Hippiedom from its epicenter in San Francisco to the world.Members of the movement made a conscious effort to withdraw from the 9 to 5 workaholic society and create an alternative community built on love.The motto of the counterculture popularized by Timothy Leary in 1967 was "Turn on, tune in, drop out”

THE BEATS & HIPPIES • The social upheaval of Hippiedom had its origins with The Beats who had originated in NYC in the 1950’s • In 1951 Jack Kerouac, a Columbia University football star, became a writer & “bummed” around the country with poet Neal Cassady. • Their adventures were chronicled in the 1957 critically acclaimed book On The Road which became the handbook of the beatnik culture. • The Beats formulated a countercultural philosophy based on tenets of Eastern religions such as Zen Buddhism. • Beat culture migrated to San Francisco out of NYC’s Greenwich Village, and both became centers of congregation of the beat generation.

THE BEATS & HIPPIES • The Beats sought to replace bourgeois traditional values with a fundamental change through cultural relativism – “we dig it all” • The experimented with drugs and with non-traditional sexual relationships – “free love” • In the late 1950’s influential poets, writers, etc.. Were singled out in the Anti-communism wave that swept America. • Hard liner FBI director J. Edgar Hoover had many of the Beats investigated and the movement lost momentum and went mostly underground. • The Beat culture would resurface in the mid 1960’s in both Greenwich and San Francisco.

THE BEATS REEMERGENCE IN NYC • Some of the Beats reappeared on the cultural scene among the social upheaval of the mid 1960’s to parent the psychedelic movement. • In Greenwich Village a group of beat poets which included the editor of F**k You: A Magazine of the Arts started a group called The Fugs. • The idea was to combine their poetry with Rock Music. • Another group that who performed many times with The Fugs and drew inspiration from the same Beat sources was The Velvet Underground. • The group started after songwriter Lou Reed meet musical prodigy John Cale at a party. • They combine Reed’s lyrical poetry with the musical ideas of Cale, formed a band, and began playing at clubs in the village

THE BEATS REEMERGENCE IN NYC • Pop Art Innovator Andy Warhol helped them achieve notoriety. • Warhol agreed to manage the band, gave them their name after author Michael Leigh’s S&M novel, and would showcase them at his Factory club and other exhibits and created a buzz among NYC’s art crowd. • Many of the band’s songs were centered around Reed’s lyrics which often explored the down and out themes of Beat fiction including drug addition and sex. • LISTENING JOURNAL • THE VELVET UNDERGROUND – SWEET JANE

THE HAIGHT-ASHBURY SCENE • The Beats also resurfaced in San Francisco to inspire the hippies as the were termed by San Francisco Examiner writer Michael Fallon in 1965. • The first hippie gatherings were near Fisherman’s Wharf and were a hodgepodge of hand holding dancers, free form performers of all kinds, etc… and appearances by a long haired, bearded Allen Ginsberg. • Ginsberg, friend of Kerouac & Cassady of On The Road fame, was one of the original beat poets to migrate to San Francisco in the 50’s and one the first to organize public performances by Beat Generation poets, musicians, etc… • Ginsberg began to make appearances at hippie events just a benefit concert for a local avant-garde theater group managed by local promoter Bill Graham, in which he flew in his NYC friends THE FUGS to play.

THE HAIGHT-ASHBURY SCENE • In January of 1966 Beat writer Ken Kesey and his band of free spirits know as The Merry Pranksters hosted the Trips Festival to 6600 people. • They enlisted local groups such as The Grateful Dead and Big Brother and The Holding Company, set up movies screens to project colors and shapes, had a man in a spacesuit doing free form poetry along with many others in costume, and spiked the punch with a new and legal drug LSD (a practice that would become known as the Kool-Aid Acid Test) • Beat High Priest Neal Cassady even began to show up at hippie events and the hippie culture began to explode among college aged baby boomers in San Francisco. • As word of the new counterculture spread droves of middle class college aged baby boomers would flock to the Haight-Ashbury district to experience hippie culture and its music in person. • The movement was also fueled by Timothy Leary, ex-Harvard professor and founder of The League for Spiritual Discovery, who contended that the LSD experience resulted in altered, introspective states that expanded individual consciousness & spirituality

THE GRATEFUL DEAD • Like a lot of other acid rock groups The Dead grew out of the folk scene. • Band foundering guitarist Jerry Garcia and Bob Weir came up through the San Francisco coffeehouse folk scene & joined with blues enthusiast Ron “Pig Pen” McKernan (Keyboards), Bill Kreutzmann (Drums), and classically trained trumpeter turned bassist Phil Lesh. • They formed “The Warlocks” in 1965 but later that year changed the name to The Grateful Dead. • Their style combined elements of rock, folk, bluegrass, blues, reggae, country, & improvisational jazz. • They are well known as being one of the founding groups in the Haight-Ashbury Acid Rock scene & also know as the pioneering Godfathers of the jam band world. • They group also became well known for their fans some of whom followed the band from concert to concert for 30 years, They are known as "Deadheads" and are known for their dedication to the band's music • Youtube – CBS INTERVIEW

BIG BROTHER & THE HOLDING COMPANY • formed in San Francisco in 1965 as part of the psychedelic music scene • Best known as the band that featured Janis Joplin as their lead singer. • Their 1968 album Cheap Thrills is considered one of the masterpieces of the psychedelic sound of San Francisco; it reached number one on the Billboard charts. • The album was initially named Sex, Dope and Cheap Thrills, but Columbia asked them to change it to just Cheap Thrills • At the end of the summer of 1968, just after appearing at the Palace of Fine Arts Festival in San Francisco, Joplin announced that she was leaving Big Brother in the fall of that year. The official reason given was her desire to go solo and form a soul music band. • LISTENING JOURNAL • PIECE OF MY HEART

JEFFERSON AIRPLANE • formed in San Francisco during the summer of 1965, emerging from the San Francisco folk music boom • Pioneers of the psychedelic movement, They were the 1st band from San Francisco to achieve mainstream commercial and critical success. • The group's founder was 23-year-old vocalist Marty Balin, who had established a minor career as a pop singer in the early 1960s • One of the groups best known members GRACE SLICK was actually a replacement of original member Signe Anderson who quit after the birth of her daughter. • The band performed at the 3 most famous American rock festivals of the 1960s—Monterey (1967), Woodstock (1969) and Altamont (1969) • Their 1967 record Surrealistic Pillow is regarded as one of the key recordings of the so-called Summer of Love and brought the group international recognition. Two chart hits from the album, "Somebody to Love" and "White Rabbit” • LISTENING JOURNAL - WHITE RABBIT

THE DOORS • As acid rock groups from San Francisco began to spread their message all of the country and the world, psychedelic inspired groups would begin to spring up from all parts of the country and world. • Formed in 1965 in LA, w/ vocalist Jim Morrison, keyboardist Ray Manzarek, drummer John Densmore and guitarist Robby Krieger, The Doors took its name from Aldous Huxley’s book The Doors of Perception, ] the title of which was a reference to a William Blake quotation: "If the doors of perception were cleansed every thing would appear to man as it is, infinite. • They were among the most controversial rock acts of the 1960s, due mostly to Morrison's wild, poetic lyrics and charismatic but unpredictable stage persona. • They were signed to Elektra Records in 1966. The 1967 release of The Doors was the first in a series of top ten albums in the US.

THE DOORS • On September 17, 1967, The Doors gave a memorable performance of "Light My Fire" on The Ed Sullivan Show. • According to Ray Manzarek, network executives asked that the word "higher" be removed in favor of "better." • The group initially agreed to this, but nonetheless performed the song in its original form, either because they had never intended to comply with the request, or Jim Morrison was nervous and forgot to make the change (Manzarek has given conflicting accounts). • Either way, "higher" was sung out on national TV, and a furious Ed Sullivan canceled another six shows that had been planned. • After the show's producer told the band they would "never do the Ed Sullivan show again", Jim Morrison reportedly replied: "Hey man. We just did the Sullivan Show. • LISTENING JOURNAL – LIGHT MY FIRE

PSYCHEDELIC LONDON • Sgt. Peppers Lonely Hearts Club Band • Inspired by the music of Bob Dylan and the psychedelic bands John Lennon began to drive The Beatles into a new direction. • Disillusioned by their own overwhelming success The Beatles quitting touring and started to explore their own musical possibilities. • The explored eastern philiosphy traveling to India and began to experiment themselves with LSD and other mind altering drugs. • Having the new freedom of not having to reproduce any of their recorded music live they began to experiment with great imput from their producer and often times called 5th Beatle George Martin • They pushed the boundaries of songwriting & recording technology of the time. • The had success with the album Rubber Soul previously but Sgt. Pepper was a break through on many levels- and proved that experimental studio concept albums could also be commercially successful. • Youtube – THE MAKING OF SGT. PEPPER

PSYCHEDELIC LONDON • PINK FLOYD • Founded in 1965, the group originally consisted of university students Roger Waters, Nick Mason, Richard Wright and Syd Barrett. • They first gained popularity performing in London's underground music scene during the late 1960s, and under Barrett's creative leadership they released two charting singles and a successful début album. • David Gilmour joined as a fifth member in December 1967, and Barrett left the band in April 1968 due to his deteriorating mental health. • After Barrett's departure, Waters became their primary songwriter. • With Waters, Mason, Wright and Gilmour, Pink Floyd would later achieved critical and commercial success with the concept albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977) and The Wall (1979). • LISTENING JOURNAL – FLAMING (LIVE on French TV 1968)

PSYCHEDELIC BLUES • Radicalized by a war in Vietnam and social unrest in The States, a militant youth movement became interested in a hard-edged rock. • Rather than the folk based, airy, acid rock, they began listening to the angry, slashing, piercing blues of British and American blues guitar heroes. • Fuel by the counterculture of the hippies and beats the new psychedelic blues sound was unlike any blues that had come before and also more popular than ever before.

PSYCHEDELIC BLUES • JIMI HENDRIX & The Experience • Despite a limited mainstream exposure of four years, he is widely considered to have been the greatest electric guitarist in the history of popular music, and one of the most important musicians of the 20th century. • Born in Seattle in 1942 he received his 1st guitar at age 15. • He enlisted in the Army in 1961 and jammed with other servicemen in their downtime. • After he had served only one year, Private Hendrix was honourably discharged on the basis of unsuitability in 1962. • After leaving the Army he moved to Nashville and began playing guitar professionally. • Although being a somewhat successful side man for years with R&B stars such as Little Richard, Wilson Pickett, etc..he did not strike out on his own until the late 60’s.

PSYCHEDELIC BLUES • JIMI HENDRIX & The Experience • He formed his first group under the name Jimmy James and the Blue Flames in NYC in 1966. • They did not have much more than minor club success but Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to the Stones' manager. • Oldham passed but Chas Chandler, who was ending his tenure as bassist in the Animals and looking for talent to manage and produce. • Chandler then helped Hendrix form a new band, the Jimi Hendrix Experience, with guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell, both English musicians. • Hendrix 1st success was in the UK opening for Eric Clapton’s new band and then charting on the UK charts with The Experiences 1st album,Are You Experienced. • He would later achieve success in America and was propelled to fame by his headlining appearance at Woodstock in 1969. • LISTENING JOURNAL - PURPLE HAZE (Live at Woodstock)

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