Folk Music in the Sixties
Folk music reached its zenith in the 1960s. This became known as the "American Folk-Music Revival." Contemporary folk music is of a type that includes fusion genres such as folk rock, folk metal, electric folk, and others.
Folk rock came onto the scene as a popular genre in the mid-sixties and much of it grew out of the protest movements against the Vietnam War. Lyrically, a lot of folk rock music contained protest messages. Bob Dylan became one of the most prominent song writers of the decade with many popular groups, such as Peter Paul and Mary and The Byrds, covering his songs successfully. However, it was Joan Baez, already a famous folk-singer, who gave Dylan his start, and who became his constant musical partner.
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Rock 'n' Roll is the music of a counterculture generation. The music of the Sixties had a magic about it; it spoke to our generation. But that's not all of it; not just the music, but the music plus the philosophy. Along with the dancing and the magic of the beat, our generation had something very important to say. Rock-n-Roll was its voice. It was about sharing ideas about our times; a medium to talk to each other in a tribal way. Rock-n-Roll was "the soundtrack of our lives."
Folk-rock and rock musicians served as singing prophets for the generation of the Sixties. Orpheus—bard, prophet, rhetorician, and musician ("singer of love-songs”)—is the archetype for musicians of the Sixties, who joined the prophetic ranks of the new singer songwriter, and created the music that defined the whole idea of the confessional songwriter, with his or her introspective style: "the sound of an introverted, troubled dreamer, with this sort of tremulous angelic voice."
It was as if the political theorist Herbert Marcuse became the prophet of what was to come in the late Sixties. (Marcuse advocated replacing the dominant reality-principle ruling sociopolitical relations with the values of the pleasure-principle—"play, enjoyment, sensuousness, beauty, contemplation, spiritual liberation." Thus, real political and spiritual transformation is inspired not exclusively by the spirit of Marx, but primarily by the archetype of Orpheus—"the image of joy and fulfillment; the voice which does not command but sings." And, therefore, who knows? maybe there's a role for the scholar (the itinerant, or "gypsy scholar") to be the warm-up act for the Rock singer (or band).
"Herbert Marcuse, while he lived, made these arguments and, as I say, looking back on them from this point in history—this point in time—it’s hard not to feel a little nostalgic for them. But I have a feeling that they’ll come back, along with tie dyes, Jimmie Hendrix, and the rest. And who knows, they may even have someone like me tour and denounce the System—as a warm-up act for Rock-n-Roll. I mean, who knows?" —Prof. Rick Roderick, 1993.
Yes, an Orphic Scholarship as a warm-up act for hot (fiery) Rock-n-Roll. Therefore, Re-Vision Radio's Essay-with-Soundtrack's mixing of philosophy & song (introspective "chords of inquiry") creates a Musekal Philosophy; that is, Philosophy synaesthetically heard/seen through the magic prism of Rock-n-Roll.
“As I discovered music, especially Rock 'n' Roll, new territory was opened to me. I was lured by the unbridled rhythm of its art form. It was like gasoline on the fire of my youthful spirit.” —Taylor Hanson
“There are many fans of hard rock music that have been wrongly pigeonholed as apathetic. This music is not music for the elitist coffeehouse culture in SoHo. It's rock 'n' roll music for kids across the land, and I think that makes it much more subversive in a way, in that it has the form and function of a powerful, populous music, but it can carry very incendiary messages.” —Tom Morello
“I love rock-n-roll. I think it's an exciting art form. It's revolutionary. Still revolutionary and change people. It changed their hearts. But yeah, even rock-n-roll has a lot of rubbish, really bad music.” —Nick Cave
“It's what's missing, I think, from most music—the rebellious part. That rebelliousness is part of great rock music or great literature or any great creative stuff.” —Glenn Danzig
“To me, rock music was never meant to be safe. I think there needs to be an element of intrigue, mystery, subversiveness. Your parents should hate it.” —Trent Reznor
“Rock 'n' roll is not red carpets and MySpace friends, rock 'n' roll is dangerous and should piss people off.”
―Gerard Way
“We imagined ourselves as the Sons of Liberty with a mission to preserve, protect, and project the revolutionary spirit of rock and roll. We feared that the music which had given us sustenance was in danger of spiritual starvation. We feared it losing its sense of purpose, we feared it falling into fattened hands, we feared it floundering in a mire of spectacle, finance, and vapid technical complexity.” ―Patti Smith
“The fact is that music and social change have always gone hand-in-hand in America. “These are singing movements. They have songbooks; Earth First, just like the Wobblies.” —Utah Phillips (Folk singer and activist.)
“Music has always gone along with great movements; there are no great movements that do not have music. Even as early as this song was, it was helping to create the music for a movement.” (Introduction to documentary, Strange Fruit)
“From LBJ to Nixon on, there was no shortage of material. The unreal and wild events of that period inspired the most amazing rock music ever, and we were there to provide it a much needed venue.” —John Gorman (Head of operations for WMMS-FM)
“I think that in times of great unrest music becomes a more important thing, you know.” —Charlie Hunter (Jazz musician.)
“Rock and Roll music is higher than rebellion.” —Peter Townshend (The Who)
“You start out defending a rock band and you end up bringing down a dictatorship—and who could have predicted it?” —The Plastic People of the Universe (Rock band of Czechoslovakian Velvet Revolution)
“Rock and roll music—the music of freedom—rightens people and unleashes all manner of conservative defense mechanisms.” —Salman Rushdie
“Some may find them merely diverting melodies. Others may find them incitements to Red revolution. And who will say if either or both is wrong? Not I.” —Pete Seeger
“I'm not saying I'm gonna change the world, but I guarantee that I will spark the brain that will change the world.” ―Tupac Shakur
“Whenever society gets too stifling and the rules get too complex, there’s some sort of musical explosion.” —Slash (Lead Guitarist, Guns ‘n Roses)
“If we are in a general way permitted to regard human activity in the realm of the beautiful as a liberation of the soul, as a release from constraint and restriction, in short to consider that art does actually alleviate the most overpowering and tragic catastrophes by means of the creations it offers to our contemplation and enjoyment, it is the art of music which conducts us to the final summit of that ascent to freedom.” ―Georg Wilhelm Friedrich Hegel
“Musical innovation is full of danger to the State, for when modes of music change, the fundamental laws of the State always change with them.” ―Plato, The Republic
“Music is more powerful than reason in the soul. That is also why Plato made music the very first step in his long educational curriculum: good music was to create the harmony of soul that would be a ripe field for the higher harmony of reason to take root in later. And that is also why he said that the decay of the ideal state would begin with a decay in music. In fact, one of your obscure modern scholars has shown that social and political revolutions have usually been preceded by musical revolutions, and why another sage said, ‘Let me write the songs of a nation and I care not who writes its laws’.” ― Peter Kreeft (Philosopher)
“This is an immersive experience, like being plunged back into the 70s. There is passion there. No matter how chaotic or bleary things get, no one is in any doubt that the music counts.” (Peter Bradshaw, The Guardian, 6/10/19)
“Music was a driving and defining force in the sixties. It actually had a part in altering the path of history. It was a phenomenal time, and we were doing phenomenal radio.” —Raechel Donahue (Wife of underground radio pioneer Tom Donahue and member at KMPX-fm and KSAN-fm)
“What excited me when I first came into it was the performing aspect and doing blues—oriented material, rock/blues oriented stuff, basic stuff, basic what they call rock 'n' roll.” —Van Morrison
“Like I said, basically I'm a rocker. That's about it. Things that I've done away from that-branches that I've gotten into off of that—are just other streams, other things that I can do.” —Van Morrison
“We might think that we're really intellectual and we're going to check out the library to research the meaning every time somebody puts out a new record. It's still primitive stuff. It's the same now as it was at the beginning. It's no different now. Rock 'n' roll is spirit music—it's just coming through people.” —Van Morrison
“It's the same thing as a primitive of Africans, Indians, nomads or whatever—when they start getting up and doing their ritual and doing the dance, it's just what's coming through. It's the spirit. Rock 'n' roll is still primitive.”
—Van Morrison
“[Rock 'n' roll] is still a primitive form and there's no way you can get away from that. It's one of the primitive art forms and that's why it's good and that's why it's lasted ... you know, it hasn't become sophisticated and it's not in the opera house.” —Van Morrison
“Rock is gut level and it just gets to people. I think there's far too much emphasis on intellectualization, especially in rock 'n' roll which is a primitive form.” —Van Morrison
“I can see more naturalness in basic blues, basic R & B, basic rock 'n' roll.” —Van Morrison
“If you want to put your rock 'n' roll into mythology, it’s from the Daddy Cool school.” —Van Morrison
“Rock ’n’ Roll came from the slaves singing gospel in the fields. Their lives were hell and they use music to lift out of it, to take them away. That's what rock 'n' roll should do—take you to a better place.” —Meat Loaf
“The way I see it, rock ’n’ roll is folk music.” —Robert Plant
“It was always my belief that rock and roll belonged in the hands of the people, not rock stars.” —Patti Smith
“And nobody conducting, it's all up to you. It's really jazz—that's the big secret. Rock and roll ain't nothing but jazz with a hard backbeat.” ―Keith Richards
“Rock and Roll” Music for the neck downwards.” —Keith Richards
“You see, rock and roll isn't a career or hobby—it’s a life force. It's something very essential.” —The Edge
“Music is a weapon against the enemy of life. That’s why rock and roll is the greatest thing in the world.”
—Lester Bangs
“Until I realized that rock music was my connection to the rest of the human race, I felt like I was dying, for some reason, and I didn't know why.” —Bruce Springsteen
“Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else.” —Bob Dylan
“Music is my religion.” —Jimi Hendrix
“Music is the emotional life of the most people.” —Leonard Cohen
“Rock ‘in’ Roll is the sound of angels telling the truth.” —Jim Morrison
“As I define it, rock and roll is dead. The attitude isn’t dead, but the music is no longer viable. It doesn't have the same meaning. The attitude, though, is still very much alive—and it still informs other kinds of music.” —David Byrne
“Rock and Roll has no beginning and no end, for it is the very pulse of life itself.” —Larry Williams
“There is nothing stable in the world; uproar's your only music.” ―John Keats
Socio-Cultural Impacts of Rock and Roll
Rock and roll has always been more than just music. It has been a powerful force for social and cultural change. Throughout history, rock and roll has been associated with rebellion, counterculture, and political movements. From the anti-establishment sentiments of the 1960s to the punk rock movement's critique of societal norms, rock and roll has served as a voice for the voiceless, challenging the status quo and inspiring generations to question authority.
Rock and roll's socio-cultural impacts are far-reaching and have left an indelible mark on society. It has not only shaped the music industry but has also influenced fashion, art, and even language. The rebellious and non-conformist attitudes associated with rock and roll have inspired individuals to express themselves freely and embrace their individuality.
Rock and Roll as a Political Force
One of the most notable socio-cultural impacts of rock and roll is its role as a political force. Artists have used their music and platforms to protest against war, advocate for civil rights, and shed light on social injustices. Bob Dylan's iconic protest songs, such as "Blowin' in the Wind" and "The Times They Are a-Changin'," became anthems for the civil rights and anti-war movements of the 1960s. Similarly, bands like Rage Against the Machine used their music to express their political beliefs and fight against systemic injustice.
Rock and roll's political influence extends beyond the lyrics of protest songs. The genre's rebellious spirit has inspired individuals to challenge authority and fight for change. It has given a voice to marginalized communities and provided a platform for artists to address important social issues. Through their music, rock and roll artists have sparked conversations, raised awareness, and mobilized people to take action.
Rock and roll is more than just a sound - it's a revolution. From its roots in the blues to the iconic figures who shaped the genre, rock and roll has evolved and influenced countless subgenres. Its socio-cultural impacts have challenged societal norms and inspired change. Whether it's through protest songs, rebellious attitudes, fashion trends, or artistic collaborations, rock and roll has left an indelible mark on society. So, turn up the volume, embrace the power of rock and roll, and join the revolution.
~ GGI Insights, July 11, 2024
During the fiery George Floyd protest in 2020, civil rights veteran, Bernard Lafayette, who had a companied Martin Luther King on his fateful trip to Memphis in 1968, mourned the disappearance of strong leadership and powerful protest music – both of which, he argued, are essential to sustain dissident movements.
“We need music, OK?” Lafayette declared in June 2020. "Once you get those artists singing songs about change and the movement, that helps to stimulate people and bring them together. There is nothing like music to bring people together"
Lennon agreed with this sentiment. "Why doesn't somebody write something for the people now?" John stated in the midst of the antiwar tumult. “That's what my job and our job is.”
~ Talbot and Talbot, By the Light of Burning Dreams: The Triumphs and Tragedies of the Second American Revolution
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“We need magic, and bliss, and power, myth, and celebration and religion in our lives, and music is a good way to encapsulate a lot of it.” —Jerry Garcia
“The real trouble with reality today is that there’s no background music.” — Anonymous
“Like so many of my generation, I can landmark my life with songs.” —Sting
“Music’s the soundtrack of my life and has been since I was a teenager. There’s always music. If I’m not playing it, I’m listening to it. With my writing ... sometimes it inspires a story, sometimes it highlights something I’m working on, sometimes it simply helps me stay in the narrative mood.” ―Charles de Lint
“Every life has a soundtrack. If you ask me, music is the language of memory.” ―Jodi Picoult, Sing You Home
“The beautiful thing is, music can be like a time machine. One song—the lyrics, the melody, the mood—can take you back to a moment in time like nothing else can.” —Lisa Schroeder
“Take me back, take me back, take me back / Take me way back, take me way back, take me way back … / And the music on the radio, and the music on the radio / Baby, has so much soul, has so much soul / And you listen in the night time / When it was still and quiet ... / In the golden afternoons when we sat and listened to Sonny Boy blow / In the golden afternoon / When we sat and let Sonny Boy blow, blow his harp ... / Ah, ah, take me back, take me back, take me back, take me back …” —Van Morrison, “Take Me Back”
The Psychedelic Sixties were a time of liberation, experimentation, and exploration of consciousness. Artists and musicians embraced the use of mind-altering substances to unlock new realms of creativity, resulting in mesmerizing works of art that still resonate today. From swirling kaleidoscopic patterns to hallucinatory landscapes, the artwork of this era was a feast for the eyes and a reflection of the counterculture's desire to break free from societal norms.
Beyond the arts, the Psychedelic Sixties witnessed significant social and political movements. The civil rights movement, anti-war protests, and calls for gender equality all gained momentum during this transformative period. Activists and visionaries united under the banner of peace, love, and understanding, striving to create a more inclusive and compassionate world.
Today, the influence of the Psychedelic Sixties can still be felt in contemporary art, fashion, music, and even spirituality. The bold and psychedelic aesthetic continues to inspire artists and designers, while the message of peace and love remains a rallying cry for those who seek a more free and harmonious society.
Music & Psychedelics Therapy Research
Table 1. Main Outcomes of Music Listening and the Use of Psychedelics
Music listening and psychedelics:
• the tendency to listen to music can be very strong but is essentially non-addictive
• music affects the body and the brain by triggering neuroendocrine reactions to the sound up to the production of endogenous opiates or related substances
• music may engage the hedonic systems of the brain, triggering pleasure, reward, and the experience of (positive) emotions
• music can facilitate peak experiences, sustained positive behavioral changes, personality adaptations, and positive clinical outcomes
• music listening can prompt visceral reactions, mood regulation, and motivation through dopaminergic activity within the reward circuit
• music can modulate physiological arousal and homeostatic regulation through mediation of the autonomic nervous system
• the musical experience may span the continuum from hedonic pleasure to eudaimonic enjoyment
• there are adaptive and maladaptive ways to cope with music
Use of psychedelics:
• psychedelics are inherently pathogenic, bypassing adaptive information processing systems with a danger of addiction
• psychedelics affect the body and the brain by triggering neurochemical and neuroendocrine release, which can affect higher cortical brain functioning
• psychedelics affect emotions, generating empathogenic sensations of care, love, and connection to others and the natural world
• psychedelics can have clinical benefits by stimulating emotional release and acceptance, inducing peak experiences, and facilitating autobiographical insight and connections with oneself and others
• psychedelics produce significant changes in perception, mood, and cognitive processes
• psychedelics may improve adaptation, relieve symptoms of mental disorders, and induce pleasure
• there are adaptive and maladaptive ways of using psychedelics
~ Mark Reybrouck and Edith Van Dyck, “Is music a drug? How music listening
may trigger neurochemical responses in the brain”
"The Land of Cockaigne" (Bassano, 1606)
The Gypsy Scholar's psychedelic version of a countercultural "Land of Cockaigne." This sixties hippie utopia was inspired by one of his professors of English Literature, who considered the countercultural hippies to be following the "outlawed and furtive social ideal known as the 'Land of the Cockaigne,' the fairyland where all desires can be instantly gratified."
"The Land of Cockaigne" (or Cokaygne): a mythical utopian paradise on earth full of pleasures and epic leisure, where desires are instantly gratified. "The Land of Cockaigne" (in French, "Le Fabliau de Cocagne;" literally "land of plenty") grew in popularity as an escape from the harsh realities of life in the Middle Ages. It was a land of perfect harmony, where no one was poor, where food was in abundance, and where there were rivers of milk and beer. This European utopian dreamland was part of the repressed desires of the lower classes for a better life, free from the servitude and enforced hierarchies of the ruling class. "The Land of Cockaigne" can be understood as situated within the larger (late medieval and premodern) conception of the "topsy-turvy world," which manifested, during the common peoples' communal festivals, as what social historians term "rituals of social inversion" or, more popularly, "the world turned upside-down," where the traditional social hierarchies were inverted and serfs became kings; kings became serfs. In terms of the "Land of Cockaigne," it was, for example, "Where Whoever Works the Least Earns the Most."
The Gypsy Scholar believes that the music of the Sixties—folk-rock and rock—was a neo-Romantic phenomenon; that is, the Sixties musicians represented an Orphic revival of the 19th-century poet-prophets of the "Romantic Movement" (Romanticism: "the spirit of an age") in Europe and America and, by extension, that the Romantics were the spiritual ancestors of a generation that came of age in the Sixties. Prof. Partrige seems to agree!
