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i ll even omit my customary lame professor humor about the ncaa tournament, for example, that s how serious this is. let s think for a minute though about where we re situated, what we re working on here. in this last third of the course that we started last week, we re dealing with the post revolutionary era. we ve built this idea that something radical and transformative happens to music nick the 1960s. you worked hard over the course of several weeks to establish those ideas. and we can t leave without justice a kind of baby boomer nostalgia for the days that were. what we ve been trying to deal with is the sense of disappointment that the revolution somehow end nd the early 1970s, that popular music became a disappointment as thetically, politically. that s the cliche. we saw plenty of evidence for it. what we ve tried to do is say o kay, maybe if we shift perspective, if we don t simply buy the asumgtss thpgss that we the age of countercultural music i we do that, ....
house panel investigates racial disparities in the military justice system to be here for military legal officials and the president of protected offenders during this house armed services subcommittee hearing. [inaudible conversations] like to thank you for joining our remote hearing. in ott [inaudible] establishing and maintaining a quorum or dissipating in the proceedings and voting could members participating remotely must continue to use software platforms video function while attending the proceedings and other technical problems that render the member unable to fully participate on on camera today for members participating remotely experience as technical difficulties sees contact to the committee staff get assistance they will help you get reconnected them recognize video from a we participation will be broadcast in the room in via the television internet feed their members participate in remotely are asked to mute their microphones when they are not speaking. d ....
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. that s how serious this is. let s think for a minute, though, about where we re situated, what we re working on here. in this last third of the course that we started last week, we re dealing with the post-revolutionary era. we ve built this idea that something radical and transformative happened to music in the 1960 s. we ve worked hard over the course of several weeks to establish those ideas. and we can t leave it, though, just as a kind of baby boomer nostalgia for the days that were. what we ve been trying to deal with then, though, is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970 s. the popular music became a disappointment, aesthetically, politically. that s the cliche. we saw plenty of evidence ....
post-revolutionary era. we ve built this idea that something radicaand transformative happened to music in the 1960 s. we ve worked hard over the course of several weeks to establish those ideas. and we can t leave it, though, just as a kind of baby boomer nostalgia for the days that were. what we ve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970 s. the popular music became a disappointment, aesthetically, politically. that s the cliche. we saw plenty of evidence for it. what we ve been trying to do is to say ok. maybe if we shift perspective, maybe if we don t 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. we ve started out is by saying isn t it the case that popular music in the u.s. in the 1970 s was doing what popular music typically had done well before the 1960 s? which is to mediate relationships be ....
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. i ll omit my customary professor humor, about the ncaa tournament, for example. that s how serious this is. let s think for a minute, though, about where we re situated, what we re working on here. in this last third of the course that we started last week, we re dealing with the post-revolutionary era. we ve built this idea that something radical and transformative happened to music in the 1960 s. we ve worked hard over the course of several weeks to establish those ideas. and we can t leave it, though, just as a kind of baby boomer nostalgia for the days that were. what we ve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970 s. the popular music became a disappointment, ....