All right. I have a Staggering Number of powerpoint slides for this. Get your bets down now on whether i can get through them or not. I will even omit my customary lame professor humor, about the ncaa tournament, for example. Thats how serious this is. Lets think for a minute, though, about where were situated, what were working on here. In this last third of the course that we started last week, were dealing with the postrevolutionary era. Weve built this idea that something radical and transformative happened to music in the 1960s. Weve worked hard over the course of several weeks to establish those ideas. And we cant leave it, though, just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with then, though, is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Thats the cliche. We saw plenty of evidence for it. What weve been trying
Postrevolutionary era. Weve built this idea that something radicaand transformative happened to music in the 1960s. Weve worked hard over the course of several weeks to establish those ideas. And we cant leave it, though, just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Thats the cliche. We saw plenty of evidence for it. What weve been trying to do is to say ok. Maybe if we shift perspective, maybe if we dont simply buy the assumptions that went into the age of countercultural music, if we do that, we may well see music engaged in a different way. Weve started out is by saying isnt it the case that popular music in the u. S. In the 1970s was doing what popular music typically had done well before the 1960s . Which is to mediate relationships between men and women, to medi
Dr. Mcgerr good afternoon. Here we go. Hope you are doing well. This is almost too nice a day for education. I have a Staggering Number of powerpoint slides for this. Get your bets down now on whether i can get through them or not. Ill omit my customary professor humor, about the ncaa tournament, for example. Thats how serious this is. Lets think for a minute, though, about where were situated, what were working on here. In this last third of the course that we started last week, were dealing with the postrevolutionary era. Weve built this idea that something radical and transformative happened to music in the 1960s. Weve worked hard over the course of several weeks to establish those ideas. And we cant leave it, though, just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Th
I wanted to run away and join the circus. With your big talent, theyd grab you in a minute for the sideshow. I can just see your billing now. Ed the talking horse. Yeah, thatd put me with the freaks. Well, what do you wanna be with the circus . A trapeze artist. A trap. You . Whod catch you, an elephant . Wilbur. hiccups would you do me a favor . Please take me to see the circus. Oh, i cant do that. Itd be half price. Im under 12. Look, im going golfing with addison this afternoon. See, its his birthday, and i promised carol and kay that id, id get him out of the house while his presents being delivered. Its a big surprise id like to give old lemonpuss a gift. Wilbur you would . Yeah. A leaky skindiver outfit. Ed. You should try to like addison. After all, hes our neighbor. I would like him, wilbur, except for one thing. Ed, that is a very narrowminded attitude. ed hiccups you know, a lot of this could be in your own thinking. I feel that deep down inside, Roger Addison does not dislik
Just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Thats the cliche. We saw plenty of evidence for it. What weve been trying to do is to say ok. Maybe if we shift perspective, maybe if we dont simply buy the assumptions that went into the age of countercultural music, if we do that, we may well see music engaged in a different way. And the way i suggested, the way weve started out is by saying isnt it the case that popular music in the u. S. In the 1970s was doing what popular music typically had done well before the 1960s . Which is to mediate relationships between men and women, to mediate notions of gender, to rethink sexuality. And thats where we started last time, with ideas about masculinity. And the way in which theres a radical transformation of ideas about masculin