American Popular Music (21:512:408.H3) Instructor: Matthew Friedman Email: [email protected] Office: Conklin 337 | Office Hours: Monday and Wednesday 3:00 pm – 4:00 pm Class Location and Time: Conklin Hall 346, Monday-Thursday 1:00 pm – 2:45 pm. This course will focus on the role of popular music in American history and its relevance to American society and culture from the late-19 to late-20th century. Students will critically discuss genres like the blues, jazz, country, musical theatre, rock and hip hop as historical text and marks of cultural and political identity. While the course will discuss the stylistic evolution of American popular music, the main focus will be on reading, or listening to, music as a historical text as a key to understanding the major themes of American history in the 20 th century. We will focus on a number of themes: popular music as a mode of dissent, the influence of mass media and technology and the emergence of the music industry, as well as race, class and gender. LEARNING GOALS You will develop an understanding of American cultural history by studying the significant trends, sounds, characteristics, and messages of its popular music. You will learn to interrogate music as a historical text through an analysis of the forms, styles, lyrical content and conditions of production of American popular music. As we analyze each work of popular music, we will consider its historical context, its conditions of production, audience reception, and its politics (what where the social, political, and economic investments of its producers and consumers). You will learn to be historians. In addition to musical analysis, we will read primary source documents and works of scholarship and historical analysis. Finally, you will apply these analytical skills in a work of original research examining the significance of a specific work, event, or genre of popular music to a notable event in American history. READINGS The textbook for this class is: David Brackett, The Pop, Rock, and Soul Reader: Histories and Debates, 3rd Edition (Oxford: Oxford University Press, 2014). Additional readings are available on Blackboard. MUSIC AND FILMS There is a Spotify playlist for each class. You are required to listen to all selections of these playlists before each class and keep a journal of their impressions, and reflections on how the music relates to the readings. You will be required to screen three films – Beach Blanket Bingo (1965), Woodstock (1970), and The Decline of Western Civilization (1981), and write a short (2 page) response paper relating the content of each of the films to the historical period they represent. ASSIGNMENTS AND GRADING Attendance: Attendance is mandatory. Students are expected to attend every class, arrive ontime and stay for the duration of the class. Students may be excused for illness, family emergency and similar extreme situations, and for religious observance Absences for work, job interviews and similar events will not be excused.

Students who miss four or more sessions through any combination of excused and unexcused absences will not earn credit in this class. Such students should withdraw from the course. Participation: Everyone is both expected and required to participate in class discussions. The participation grade will reflect the quality of your in-class participation. Journal: You will keep a journal relating the music selections to issues discussed in class and in the readings. Quizzes: A short quiz will be held at the end of every week. Final Paper: You will write a 10-page research paper which interrogates a work, event, or genre of American popular music as a text illustrating a significant moment in American history. You must submit a short research proposal identifying your text and offering a provisional thesis on 21 July 2014, followed by an annotated bibliography of no less than six sources (three of which must be primary sources) on 28 July 2014. The final paper is due on 11 August 2014. There is no final exam. Attendance ........................................................................................................................... 10% Class Participation ............................................................................................................... 10% Quizzes ................................................................................................................................ 10% Journal ................................................................................................................................. 20% Film Response Papers ........................................................................................................ 10% Paper Proposal ...................................................................................................................... 5% Annotated Bibliography ....................................................................................................... 10% Final Paper .......................................................................................................................... 25% TOTAL ............................................................................................................................... 100% POLICY ON ACADEMIC INTEGRITY Work that you submit must be your own, and quotations must be cited appropriately. See the Citation FAQ section of this syllabus for more information. Rutgers University takes plagiarism very seriously, and the consequences may include failure of the course, disciplinary probation, or expulsion from the university. All students must sign the honor code pledge. Every assignment must bear your signature under the following phrase: "On my honor, I have neither received nor given any unauthorized assistance on this assignment (or examination)." You may not use Wikipedia or any other Internet-only sources to complete your assignments. You will not receive credit for any assignment that uses such sources.

CLASS SCHEDULE Class 1 - 7 July - Origins Reebee Garofalo, “Introduction: Definitions, Themes, and Issues" Music: McIntosh County Shouters, "Wade the Water to my Knees," Odetta, “Another Man Done Gone,” Prisoners at the Ramsey and Retrieve Work Farm, “Let Your Hammer Ring,” Jean Ritchie, “West Virginia Mine Disaster,” Martin Carthy and Dave Swarbick, “John Barleycorn” Siramori Diabate, "Yassunkayi" Class 2 - 8 July - Minstrelsy, Tin Pan Alley, and Ragtime Brackett, pp. 1-8 Andrew Womack, " Ridicule and Wonder: The Beginnings of Minstrelsy and New York" Music: Stephen Foster, “Old Folks at Home,” American Quartet, "Down on the Mississippi," Del Monico Four, “After the Ball,” Scott Joplin, “Maple Leaf Rag,” Irving Berlin, “Alexander’s Ragtime Band,” Haywire Mac McClintock, “Long Haired Preachers” Class 3 - 9 July - Jazz and the Great Divide Brackett, pp. 9-20 Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" Music: Louis Armstrong and the Hot Seven, “Potato Head Blues,” Duke Ellington, “Cotton Tail,” Count Basie, “One O’Clock Jump,” Benny Goodman, “Sing, Sing, Sing,” George Gershwin, “Rhapsody in Blue” Class 4 - 10 July - Hellhound on my Trail: The Blues and Jim Crow Brackett, pp. 30-50 Fred T. Hay, “The Sacred/Profane Dialectic in Delta Blues: The Life and Lyrics of Sonny Boy Williamson” Music: Empire Jubilee Quartet, "Wade in the Water," Robert Johnson, “Hellhound on My Trail,” Bukka White, “Parchman Farm Blues,” Son House, “Walking Blues,” Bessie Smith, "A Good Man is Hard to Find," Alberta Hunter, "Second hand Man" QUIZ Class 5 - 14 July - I Got Rhythm: Broadway David Hirst, "The American Musical and the American Dream: from ‘Show Boat’ to Sondheim" Sean Griffin, "The Gang's All Here: Generic versus Racial Integration in the 1940s Musical" Music: From Naughty Marietta, "Italian Street Song," From Oklahoma, “Oh What a Beautiful Mornin’,” From The Cradle Will Rock, “The Nickel Under My Foot,” From Showboat, “Can’t Help Lovin’ Dat Mow boatan,” From Porgy and Bess, "Summertime" Class 6 - 15 July - Roll Along, Kentucky Moon: Down Home Country Brackett, pp. 25-31 Pamela Grundy, "We Always Tried to Be Good People": Respectability, Crazy Water Crystals, and Hillbilly Music on the Air, 1933-1935" Music: Jimmy Rodgers, “Roll Along, Kentucky Moon,” Maddox Brothers and Rose, “When I Lay My Burden Down,” McGee Brothers, “Cumberland Gap,” Bob Wills and His Texas Playboys, "San Antonio Rose," Hank Williams, “Your Cheatin’ Heart,” Patsy Cline, “Never No More” Class 7 - 16 July - Straight, no Chaser: Jazz as Art Ralph Ellison, “On Bird, Bird Waching, and Jazz,” Leroi Jones, “Miles Davis” Music: Charlie Parker, “Koko,” Thelonius Monk, “Straight, No Chaser,” John Coltrane, “My Favorite Things,” Miles Davis, “So What,” Bill Evans, "On Green Dolphin Street," Cecil Taylor, "Steps" Class 8 - 17 July - Come Fly With Me: Pop, Swing and the Construction of Whiteness Brackett, pp. 21-24

Nicholas Tawa, “Swing Time” Music: Frank Sinatra, “Come Fly With me,” Frankie Laine, “Dream a Little Dream of Me,” Glenn Miller, “String of Pearls,” Mel Tormé, "Careless Hands," The Andrews Sisters, " Don't Sit Under the Apple Tree ,"Rosemary Clooney, “Come On-a My House” QUIZ Class 9 - 21 July - What'd I Say? Race, Rhythm & Blues Brackett, pp.48-64, 74-99 Music: The Southern Tones, "It Must be Jesus," Ray Charles, “I Got a Woman” Wilson Pickett, “In the Midnight Hour,” Carla and Rufus Thomas, " Cause I Love You," Bo Diddley, “Bo Diddley,” Roy Brown, "Good Rockin' Tonight," Tiny Grimes, "Midnight Special" DEADLINE: Paper Proposal Class 10 - 22 July – Summertime Blues: Rock and Roll and Rebellion Brackett, pp. 100-122 Richard Peterson, "Why 1955?" Music: Elvis Presley, "That's Alright," “Good Rockin' Tonight” Jerry Lee Lewis, “Great Balls of Fire,” Eddy Cochran, “Summertime Blues,” Buddy Holly, “Not Fade Away” Class 11 - 23 July – Teenagers in Love: Teen Pop, Gender, and Conformity Brackett, pp. 123-144 Mary E. Rohlfing, "`Don't say nothin' bad about my baby': A re-evaluation of women's roles in the Brill Building era" Music: Paul Anka, "Diana," The Shirelles, "Will You Still Love me Tomorrow," The Ronettes, "Be my Baby," Dion and the Belmonts, "A Teenager in Love," Little Eva, "The Loco-Motion," The Beach Boys, "Help Me, Rhonda," The Surfaris, "Wipe Out" Film: Beach Blanket Bingo Class 12 - 24 July - Old, Weird America: The Folk Revival Brackett, 144-168 Greil Marcus, "The Old, Weird America" Music: The Kingston Trio, “Tom Dooley,” Peter Paul and Mary, “If I Had a Hammer,” Woody Guthrie, “Ludlow Massacre,” The Weavers, “This Land is Your Land,” Bob Dylan, “Blowin’ in the Wind,” Phil Ochs, "Going Down to Mississippi" DEADLINE: Beach Blanket Bingo Response Paper QUIZ Class 13 - 28 July - Back in the USA: Exporting America Brackett, pp. 200-212, 219-230 Graham Carr, “Diplomatic Notes” Music: Dizzy Gillespie, “A Night in Tunisia,” Dave Brubeck, “Take Five,” Stan getz and Joao Gilberto, "Corcovado," The Beatles, “Long Tall Sally,” Little Richard, “Long Tall Sally,” Graham Bond ORGANization, "Wade in the Water," The Rolling Stones, "I Wanna Be Your Man" DEADLINE: Annotated Bibliography Class 14 - 29 July - Psych! From the Garage to the Love-In Brackett, pp. 233-235 Paul Kauppila, "The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s" Fred Powledge, "Wicked Go the Doors: An Adult’s Education By The Kings of Acid Rock" Music: The Standells, "Dirty Water," The Chocolate Watch Band "Are You Gonna Be There (at the Love In?)," The Doors, “When the Music’s Over,” The Electric Prunes, "I Had Too Much to Dream (Last Night)," Jefferson Airplane, "White Rabbit"

Class 15 - 30 July - Say it Loud: Soul and Black Pride Brackett, pp. 169-199 Mark Anthony Neal, “Legislating Freedom, Commodifying Struggle: Civil Rights, Black Power and the Struggle for Black Musical Hegemony” in What the Music Said: Black Popular Music and Black Popular Culture Music: Otis Redding, "Try a Little Tenderness," Aretha Franklin, "Respect." James Brown, “Say it Loud, I’m Black and I’m Proud,” The Temptations, “Papa Was a Rolling Stone,” Diana Ross and the Supremes, “Love Child,” Jackson 5, "I Want You Back" Class 16 - 31 July - The Woodstock Nation Brackett, pp. 231-243 George Lipsitz, “Who’ll Stop the Rain? Youth Culture, Rock ‘n’ Roll and Social Crises” Music: Scott McKenzie, "San Francisco," Jimi Hendrix, "All Along the Watchtower," Crosby, Stills, Nash and Young, "Ohio," Big Brother and the Holding Company, "Piece of My Heart” Film: Woodstock QUIZ Class 17 - 4 August – We're an American Band: Consumer Culture and the Music Industry Brackett, pp. 261-269, 330-338 George M. Plasketes, “Taking Care of Business: The Commercialization of Rock Music” Music: Grand Funk, “We’re an American Band,” Eagles, “Desperado,” The Velvet Underground, “Rock & Roll,” Kiss, "Rock and Roll All Nite," Barry White and the Love Unlimited Orchestra, "Love's Theme," Gloria Gaynor, "I Will Survive" DEADLINE: Woodstock Response Paper Class 18 - 5 August - Blank Generation: Punk, Metal and the Politics of Diminished Returns Brackett, pp. 339-354 Time, "Anthems of the Blank Generation" Music: Richard Hell and Voidoids, “Blank Generation,” The Ramones, “Judy is a Punk,” Television, “Venus,” New York Dolls, “Personality Crisis,” Black Flag, "TV Party," Dead Kennedys, "Holiday in Cambodia," Mötley Crüe, "Live Wire" Film: The Decline of Western Civilization Class 19 - 6 August - Video Killed the Radio Star: Mediatized Music and Postmodernity Brackett, pp. 363-398, 405-414 Joe Gow, "Making Sense of Music Video: Research During the Inaugural Decade" Music: Madonna, “Material Girl,” Michael Jackson, "Thriller," Gloria Estefan and Miami Sound Machine, "Rhythm is Gonna Get You," Bruce Springsteen, "Born in the USA," Devo, “Whip It” Class 20 - 7 August - Planet Rock: Hiphop and Urban America Brackett, pp. 419-430. Tricia Rose, "'Fear of a Black Planet:' Rap Music and Black Cultural Politics in the 1990s" Music: Afrika Bambaata, “Planet Rock,” Grandmaster Flash and the Furious Five, “The Message,” Public Enemy, “Fight the Power,” Run-DMC, "Walk This Way," Queen Latifah, "Ladies First," Blondie, “Rapture” DEADLINE: The Decline of Western Civilization Response Paper QUIZ Class 21 - 11 August - Smells Like Teen Spirit: Grunge and the Alternatives Brackett, pp. 415-418, 467-494 Ryan Hibbert, "What is Indie Rock?" Music: Nirvana, “Smells Like Teen Spirit,” REM, “It’s the End of the World as we Know It (and I Feel Fine),” Bikinikill, "Rebel Girl," Sonic Youth, "Silver Rocket," Nine Inch Nails, "Head Like a Hole," My Life With the Thrill Kill Kult, "And This is What the Devil Does" DEADLINE: Final Paper

Class 22 - 12 August - Thug Life: Gender and Authenticity on the Dance Floor and in the Hood Brackett, pp. 539-466, 501-514 Annette J. Saddik, "Rap’s Unruly Body: The Postmodern Performance of Black Male Identity on the American Stage" Music: NWA, "Straight Outta Compton," Tupac Shakur, "California Love," 50 Cent, "What Up Gangsta," Eminem, "The Real Slim Shady," Kanye West and Jamie Foxx, "Gold Digger," Mos Def and Talib Kweli, "Definition," The Fugees, "Ready or Not" Class 23 - 13 August – Hit me Baby, One More Time: The Rebirth of Pop Brackett, pp. 515-560 Music: Beyonce, "Irreplaceable," Britney Spears, "Hit me Baby One More Time," NSYNC, "Pop," Christina Aguilera, "Dirty," Backstreet Boys, "Larger Than Life," Carrie Underwood, "Jesus Take the Wheel," Lady Gaga, "A Fine Romance" QUIZ

CITATION FAQ What do you need to cite? Any phrase, sentence or paragraph that you have taken from another source, even if it's a sentence fragment. For example, if you use the phrase "to be or not to be: that is the question," you must provide a citation to the relevant page in a published edition of William Shakespeare's play Hamlet. As a general rule, if you are using words that someone else wrote, you must cite. Failure to do so constitutes plagiarism. Any information that you found in another source (and isn't common knowledge), even if you paraphrase. For example, if you write something like "almost ten per cent of the adult males in the United States in 1924 were members of the Ku Klux Klan," you have to say where you got that information. If you don't, how do I know that you're not making it up? As a general rule, you don't have to provide citations for information that we covered in class. What happens if you don't cite? It depends. The highest grade that a term paper without citations will receive is C. If you quote substantially from another source and do not (a) indicate that it is a quote and (b) indicate where the quote came from, I will consider this plagiarism. You will receive a zero (0) on the paper and I will submit it to the Dean's office for review. If you don't know whether you should cite a passage, quote or information, err on the side of caution and cite it. What do you need? As a general rule, you will need a bibliography page, and footnotes or parenthetical notes in text for all of your references. Please use the University of Chicago/Turabian citation style, since this is what historians use. You might find it useful to acquire a copy of A Manual for Writers of Research Papers, Theses, and Dissertations, Eighth Edition: Chicago Style for Students and Researchers by Kate L. Turabian. SUBMISSION POLICY All assignments must be submitted in hard copy and to turnitin.com on Blackboard by the beginning of class. No assignments will be accepted after the deadline, except with prior arrangement. If you miss a class – and a deadline – due to illness or other excused absence, you must inform me, and submit the assignment to turnitin.com (to be followed with hard copy at the earliest opportunity). Assignments must be typed double-spaced in 12-point Times on white paper, stapled or bound in a cover. Handwritten submissions will not be accepted. PRIMARY AND SECONDARY SOURCES Historians refer to primary and secondary sources. A primary source is a document, speech, or other sort of evidence written, created or otherwise produced during the time under study, or by a participant. Primary sources offer an inside view of a particular event. A Rolling Stone magazine article contemporary to the period you are writing about is a primary source. Secondary sources provide interpretation and analysis of primary sources. Secondary sources are usually (though not always) written by professional historians, and music critics, and are one step removed from the original event. Many of the articles The Pop, Rock, and Soul Reader are primary sources. Graham Carr's essay "Diplomatic Notes" is a secondary source.

Citation Basics As a rule, historians cite sources according to the University of Chicago style. If you plan to pursue further studies in history, you will find it advisable to acquire A Manual for Writers of Research Papers, Theses, and Dissertations, Eighth Edition: Chicago Style for Students and Researchers by Kate L. Turabian. For the purposes of this course, you may use the simplified guide below. Book Bibliography: Lears, Jackson. Rebirth of a Nation: The Making of Modern America, 1877-1920. New York: Harper Perennial, 2009. Footnote First Reference: Jackson Lears, Rebirth of a Nation: The Making of Modern America, 1877-1920 (New York: Harper Perennial, 2009), 236. Footnote Subsequent References: Lears, 113. Lears, Rebirth of a Nation, 113. (If you cite more than one work by this author.) Parenthetical Reference: (Lears, 236) Parenthetical Reference (if you use more than one source by this author): (Lears 2009, 236) Periodical Article Bibliography: Rosenfeld, Sophia. "On Being Heard: A Case for Paying Attention to the Historical Ear." The American Historical Review 116 (April 2011): 316-334. Note that you include the volume number of the journal or publication following the title. Omit it if it is not known. Footnote First Reference: Sophia Rosenfeld, "On Being Heard: A Case for Paying Attention to the Historical Ear," The American Historical Review 116, April 2011, 317. Footnote Subsequent References: Rosenfeld, 318. Rosenfeld, "On Being Heard," 320. Parenthetical Reference: As with books. Recordings and Media Content Bibliography: NWA. "Straight Outta Compton," by Ice Cube and MC Ren. In Straight Outta Compton. Ruthless Records CDL57102. CD, 1988. Woodstock. Amazon Instant Video. Directed by Michael Wadleigh. Los Angeles: Warner Bros., 1970. Footnote First Reference: NWA, "Straight Outta Compton," by Ice Cube and MC Ren. In Straight Outta Compton (Ruthless Records CDL57102. CD, 1988). Woodstock, Directed by Michael Wadleigh (Los Angeles: Warner Bros., 1970). Footnote Subsequent References, and Parenthetical References: As above.