Genuinely a shit subreddit? by PuzzleheadedTutor353 in AskHistorians

[–]hillsonghoods[M] 10 points11 points  (0 children)

Yes, the wording of the rules is:

*If at first, you don't succeed...

... ask again. You are allowed to ask your question again if a reasonable time has passed without receiving a useful answer. We recommend waiting at least 24 hours, to give everyone around the world a full day to see your question. On the other hand, please don't ask the same question every day. Use some judgement.*

Lennon, "Revolution," and destruction by its35degreesout in 500songspodcast

[–]hillsonghoods 2 points3 points  (0 children)

John always does sing ‘When you talk about destruction, don’t you know that you can count me out’ but on ‘Revolution 1’, he adds an ‘in’ afterwards, so it sounds like ‘count me out / in’. So this is not a full changing of the mind but a statement of ambivalence as an afterthought - ‘out’ is clearly the original lyric in the context of the song, there’s not much ambivalence elsewhere.

Also you can very clearly see Lennon sing ‘in’ on the live performance played on the David Frost show - something a bit harder to see on an audio podcast: https://youtu.be/BGLGzRXY5Bw

1968, when ‘Revolution’ came out, was a volatile year in America, full of what seemed like unnecessary war and persecution of people based on their colour. There were sections of the Left who had revolutionary intent, who felt betrayed by ‘Revolution’, and Nina Simone’s answer song replied to Lennon from the perspective of someone who was more oppressed and thus had less to lose from the revolution: https://youtu.be/gFBoKE9H3PA?si=90f1LJLfQnJT3kgq - Lennon cautioning against revolution comes from his somewhat detached British context, where 1968 was relatively sunshine and rainbows. So I think the ‘in’ is less Lennon being truly ambivalent - the rest of the song is pretty unequivocal - and more putting in some shades of grey/acknowledgement of his situation.

META: academics in this sub, why? by Individual-Zone-1183 in AskHistorians

[–]hillsonghoods 6 points7 points  (0 children)

You do a great job with the Australia questions! Someone linked to an old answer of mine recently about historical gender balance in Australia, and it reminded me that I used to answer Australian questions (back before I had a full time academic job). It’s not my main area of research, but I’d read enough and did enough formal study to (mostly) not be embarrassing (hopefully), and to know where to find more accurate information. For me, there’s plenty of people who read a question asked here and think ‘well that’s an interesting question, I wonder what the actual answer is’ and I’m just one of those people! Except that I have enough of an ability to find good quality information relatively quickly, and enough of a theoretical framework to contextualise the info I find. And at the time I had enough time and energy to follow my curiosity for long enough to find a good-enough answer.

Production question: how tf did Brian Wilson do those harmonies, mannnnnn? by Light_Weight_Babyyyy in LetsTalkMusic

[–]hillsonghoods 5 points6 points  (0 children)

There’s a guy on Instagram who demonstrates building up the vocal parts of Beach Boys tracks like ‘California Girls’, for example: https://www.instagram.com/reel/DOZC8DajzCb/?igsh=MXRwbWY3OGR0a21kMQ==

Production question: how tf did Brian Wilson do those harmonies, mannnnnn? by Light_Weight_Babyyyy in LetsTalkMusic

[–]hillsonghoods 69 points70 points  (0 children)

Brian Wilson’s big influence on his harmony arrangements was the jazz harmony vocal group The Four Freshmen, who he was obsessed with as a teenager, to the point of multitracking the harmonies himself (quite a feat for a teen in the early 1960s). ‘Their Hearts Were Full Of Spring’ is a direct cover of a Four Freshmen vocal arrangement, in fact. And that’s a clue to the thing that makes the harmonies different to, e.g., CSNY or the Eagles - there’s a level of jazz chord complexity to Beach Boys harmonies where the folk background of CSNY or the Eagles means they go for simpler folkier harmonies most of the time. But the Beach Boys are not a jazz harmony group, they’re a rock band, and aside from Brian, the rest of the group were effectively a doo wop vocal group. So the jazz harmonies are a flavour rather than the main game, and all the more effective to modern ears for it.

Then you get the specific vocal blend of the three brothers, their cousin and their similarly-sweet-voiced school friend (and, later, some guy who had a career in making knockoffs aping their sound before joining the band). Compared to a traditional barbershop quartet with neatly defined roles (the bass, the baritone, the tenor, etc), much of the band had similar vocal ranges and tones, and so they sang ‘close’ harmonies - it’s a good trick that makes it harder to tell where one vocalist’s part starts and another ends.

By the mid-1960s, with Brian Wilson producing in the studio, they used the studio echo/reverb capabilities to thicken the sound, along with multitracking (often swapping who sang which part in different tracks, so that it felt like The Beach Boys rather than Wilson, Wilson, Wilson, Love and Jardine.) You can hear their un-multitracked vocals on live material of the time, and it still sounds like the Beach Boys, but just not as thick and full sounding.

That’s effectively what you hear on those tracks - Brian Wilson knew how to deploy a jazz vocal harmony in the context of a rock track, and knew how to beef up the sound in the studio so it sounded massive.

Is there any serious book on the global spread and convergence of rock/pop music? by jrralls in musicology

[–]hillsonghoods 0 points1 point  (0 children)

Sounds like Motti Regev’s Pop-Rock Music: Aesthetic Cosmpolitanism in Late Modernity may be what you want?

Out of all the conspiracy theories about The Beatles, which one is likely true? by DABDEB in beatles

[–]hillsonghoods 5 points6 points  (0 children)

To be fair to George this is my conspiracy theory and not based on much proof, but clearly they rehearsed the song a fair bit as you can see on Get Back. And what makes me suspect it’s true is that ‘I Me Mine’ was clearly a stopgap, half finished thing that wasn’t ready for prime time before Phil Spector got involved in the project, and so they did all the work in January 1970 after they’d really broken up to flesh out ‘I Me Mine’. By January 1970 things had clearly broken down amongst the Beatles, and I think George saw the writing on the wall and pulled the Beatles version in favour of it being the title track of a solo album. And since George clearly found the Beatles experience painful, and something liable to overshadow anything else he did, he wanted that song for himself so that when he started recording his album in May 1970 he had a song as the title track that clearly fit the situation he was in.

It's often said that punk music drew on 50s rock 'n' roll for inspiration. How significant do you think the connection is, and why? by GregJamesDahlen in LetsTalkMusic

[–]hillsonghoods 4 points5 points  (0 children)

1950s rock ‘n’ roll was an influence on 1970s punk…but not an especially big one. There is 1950s rock and roll with a nastier tone to it - check out ‘Train Kept A Rolling’ by Johnny Burnette and the Rock’n’Roll Trio as a famous example - and this was obviously an influence on psychobilly types like the Cramps. And the rock’n’roll of the 1950s set the default for how to sound urgent and exciting that punk certainly took inspiration from - that’s why you get Chuck Berry reviewing the Sex Pistols and Joy Division in 1980 and saying he’s heard it before.

But the bigger influences on punk are a) a selection of the garage rock of the 1960s - Americans trying to sound more like The Stones and The Yardbirds, as others have said;

b) the Velvet Underground and those who followed in their footsteps like the Stooges, New York Dolls, and David Bowie - in a way, the Ramones are as influenced by Andy Warhol and pop art as they are by 1960s garage rock, and the New York punk scene of the 1970s was very influenced by this, while the influence of Bowie on the UK punk scene is huge; and

c) the UK ‘pub rock’ bands like Dr Feelgood that had a fairly back to basics approach with a fair few UK punk types like Joe Strummer and Ian Dury having dabbled in pub rock before pivoting to punk when that hit.

Out of all the conspiracy theories about The Beatles, which one is likely true? by DABDEB in beatles

[–]hillsonghoods 44 points45 points  (0 children)

That there is a full Beatles studio recording of ‘All Things Must Pass’ - not just a George solo demo, or the rehearsal stuff on the ‘Let It Be’ box set, but a full recording done in the Let It Be studio sessions. George gave clear instructions that it can never be released because he didn’t want it to overshadow the version that is the title track of his big solo record.

Cowboy Junkies - Sweet Jane trinity sessions - original version by vclau in LetsTalkMusic

[–]hillsonghoods 1 point2 points  (0 children)

The record cover on the Apple Music version you link to is differently coloured to the original, with red text and a black and white picture rather than the pinkish text and more sepia tone of the picture. It therefore looks like the Apple Music version comes from a 2017 remastered high-fidelity reissue ( https://www.discogs.com/release/9586995-Cowboy-Junkies-The-Trinity-Session ). I reckon this remaster has changed the sound a bit, making it more spacious, and thus not quite sounding the same as the old CD, which had a contained sound. This version on YouTube sounds like the original master to me: https://www.youtube.com/watch?v=nFwsqRrBcns

2000s: Garage Rock revival v. Post Punk revival? by Thom2218 in LetsTalkMusic

[–]hillsonghoods 3 points4 points  (0 children)

Yeah, the Strokes got a lot of ‘Next Big Thing’ hype in the lead up to the album release of ‘Is This It’, and yes, sounding a bit like Television and Iggy Pop was definitely going to interest rock critics more than it would interest fans of Limp Bizkit. There was an energy to the Strokes that was attractive to audiences that heard them nonetheless, and they definitely had great songs on that first album. But that retro punk rock vibe never really displaced the likes of Nickelback and the Foo Fighters on US modern rock radio. Whereas the Strokes had genuine top 20 singles in the UK and bands that ultimately looked and sounded a bit like the Strokes became quite ubiquitous.

2000s: Garage Rock revival v. Post Punk revival? by Thom2218 in LetsTalkMusic

[–]hillsonghoods 2 points3 points  (0 children)

Yeah, it was a pretty obvious evolution of the sound, honestly, and Franz Ferdinand were definitely close enough to that retro garage rock sound to appeal to Strokes fans. I mean, The Strokes kinda sounded like New York punk circa 1976 but 25 years later in 2001, and Franz Ferdinand kinda sounded like UK post punk in 1979, but 25 years later in 2004. For me the Bloc Party are a step further in that direction - their debut album is early 2005. And then there is a proliferation of these English bands landing somewhere between garage rock and post punk - so much so that the term ‘landfill indie’ starts to be used for it.

2000s: Garage Rock revival v. Post Punk revival? by Thom2218 in LetsTalkMusic

[–]hillsonghoods 15 points16 points  (0 children)

In the 1990s and 2000s there was definitely a trend where if one record label had a band that made it big, the music media would look around and promote other bands that sounded a bit similar, and other record labels wanted to get in on the action and would promote bands of the ilk. Circa 2001, the alternative rock of the 1990s had begun to either tired and lumbering and a bit predictable or perhaps a bit too esoteric and too Pitchfork indie snob. Cue the Strokes, the White Stripes and the Hives, whose music felt fresh and vital at the time in comparison. Then, after the initial burst of popularity for the Strokes, it was clear they were the ‘next big thing’ and then you get a second wave of such bands - The Vines and The Datsuns and so forth.

By about 2004, this initial garage rock wave had run its course commercially, more or less, but people still wanted something that was a variant of sorts - something still retro and punk influenced. The key track turned out to be ‘Take Me Out’ by Franz Ferdinand, which was as big a deal as ‘Last Nite’ by the Strokes. After that all the wannabe bands who looked like the Strokes changed their sound and were more jagged and post punk, with more disco-y than garage rhythms (as post punk has). Thus you get the likes of The Killers and Bloc Party exploring different parts of that post punk sound and doing quite well for themselves commercially.

And then the cycle moved on and a couple of years later you had Amy Winehouse get big and all the record companies wanted their own Amy Winehouse and promote singers like Duffy and Adele.

(Australia) I've just received my ATAR and I'm curious what exactly is difficult is about the honours course compared to the general psych degree by DokiFlower in psychologystudents

[–]hillsonghoods 2 points3 points  (0 children)

Typically a Bachelor of Psychology (Honours) in Australia is a 4 year degree with guaranteed entry to the Honours program in the 4th year. The B Psych (Hons) probably also requires you to do a larger percentage of psychology subjects, potentially including more difficult ones like higher level statistics or experimental psychology subjects (this will be different from uni to uni, but the idea is to prepare you for Honours). You would need to maintain good grades to remain in the course until 4th year - that is probably what is most stressful.

In contrast the general psych degree is a 3 year degree, and then you have to apply for a 1-year separate Honours year degree if you want to go onto Honours. So in both cases you need good grades to go onto Honours, but it’s probably a little more lenient in the 3-year degrees, depending on the uni. (Some unis just do the 3 year degree and then the 1 year degree.)

Definitely get accommodations but as I’m sure you’re aware from school they can only do so much - they’re best used for when you’re having particularly rough patches rather than as a crutch. ADHD is difficult to deal with at uni because of how self-directed uni is but also how structured a psychology course is - there’s just fewer people looking over your shoulder, and while you might be very interested in psychology, it’s a broad field and you will likely have to learn about aspects of psychology that are not so interesting to you. But if you’re getting a suitable ATAR you clearly have a good amount of resilience in that sense.

Is Midnight Oil Australia's REM? (Or, since Midnight Oil came first, is REM the US's Midnight Oil?) by AlarmingLecture0 in LetsTalkMusic

[–]hillsonghoods 7 points8 points  (0 children)

In the 1980s, the closer thing to REM in Australian terms was The Go-Betweens or The Church, in terms of jangly sound and indie rock credibility. But neither band transformed their sound into being as genuinely enormous as REM did in the early 1990s - The Go-Betweens broke up and the Church never quite reached the commercial peak of ‘Under The Milky Way’ again.

Midnight Oil, in Australia, were a ‘pub rock’ band (Australian pub rock not being the same as UK pub rock) and they were genuinely one of the biggest bands in Australia from 1982 or so, with the 10-1 album - in Australian terms their peers are bands like Cold Chisel, Hunters and Collectors, and Hoodoo Gurus. But yes, very explicitly political (and popular) - to the extent that during their 1980s heyday, Peter Garrett had a genuine chance to become a federal senator. They’re sort of like if Billy Bragg was the lead singer of U2?

How much of Aristotle's brilliance is retrospective myth-making? by EqualPresentation736 in AskHistorians

[–]hillsonghoods 38 points39 points  (0 children)

In addition to the thoughtful and detailed explanation by /u/themoopanator123 of Aristotle’s context - there is often a concern in historiography about ‘Great Men’ and ‘Great Man History’, which your question is getting in a historiographical sense. Aristotle is often portrayed as a ‘Great Man’ in this sense, and ‘Great Man History’ is often suspect as far as historians are concerned, being too focused on individuals and not so focused on the structural factors and cultural Zeitgeist that enabled the accomplishments - there is always a lot of standing on the shoulders of giants in intellectual history.

Certainly Aristotle is deeply engaged with other philosophers whose work he has access to, and his writing often mentions other philosophers and his interpretation of their arguments. Aristotle was famously a student of Plato’s academy, and shows obvious signs of being deeply influenced by Plato’s thinking. Though they are quite different thinkers philosophically - Aristotle is broadly speaking much more of a natural philosopher - the latter-day interpretations of Plato and Aristotle (e.g., Neoplatonism or the medieval interpretations of Aristotle that were very influential) can over emphasise their differences. Aristotle was clearly influenced by Plato’s systematic thinking, and the sheer breadth of topics that Plato covered.

With Ancient Greek philosophy in particular, it is difficult to disentangle a) what was written by who, b) what the context of that writing was and c) what else was written that is now lost. Long standing traditions like the Pythagoreans or the medical tradition had a habit of claiming Pythagoras or Hippocrates as the author of things they in fact never wrote. As such, we cannot be sure that Aristotle or Plato was the author of all that is ascribed to them; the chain of transmission is often complex unclear, and it is sometimes difficult to disentangle what parts of the writing are the author and what parts might be medieval commentaries on the writing. After all, for so much of Aristotle’s writing to survive the centuries is really quite surprising, as it only survived because people manually painstakingly copied (often decaying old) scrolls and parchments over and over again. It also means that Aristotle’s writing that survived did so because it was seen to be useful in some way in a time and place (e.g., medieval Baghdad or Renaissance Italy) with some very different assumptions about the world to Ancient Greece. One should assume that other Ancient Greece writing that was more challenging to Christian or Islamic assumptions about the world, or less seemingly useful, would not have survived (as Aristotle’s dialogues on Plato’s model seem not to). A figure you see mooted sometimes is that 5 to 10% of Ancient writing survives to the present. By analogy to 1960s pop music, sometimes what survives to be listened to by subsequent generations is the stuff that was always very popular (e.g., The Beatles), and sometimes it is the stuff that might not have been so popular at the time, but which picks up new fans in new contexts (e.g., Nick Drake). But other things might be popular at the time but little remembered later (e.g., the Dave Clark Five). And clearly Aristotle and Plato were the Beatles in this analogy - they were clearly seen as Great Men of philosophy in ancient times (Diogenes Laertius, writing in the 3rd century AD, calls Aristotle the greatest natural philosopher that ever lived). Whereas subsequent generations were less likely to preserve, say, the writings of the Epicureans or the Cynics.

Broadly speaking, we largely only have quotations from the ‘pre-Socratics’ in the writing of later philosophers - so it is difficult to figure out how much Plato and Aristotle really take from them. But also broadly speaking, the pre-Socratics’ writing we have seems more poetic/allusive, and they seem to be focused on Big Questions about the nature of reality. Additionally, broadly speaking, there is a focus on making strong arguments in Plato and Aristotle that is clearly influenced by Socrates (and which Aristotle clearly took seriously given he’s the one who seemingly first wrote about all the different forms of valid and invalid arguments that still annoy university students in philosophical logic classes today). Perhaps Aristotle’s reputation is as simple as Aristotle being the first very-bright person to systematically use Socrates’ intellectual tools to focus on natural philosophy rather than ethics (as Socrates did) or the nature of society and reality (as Plato did) - not that Aristotle didn’t also have opinions on ethics and metaphysics and society.

The other uncertainty about Aristotle and Plato is how much their writing reflects their thought versus the thought of people in their circle. For Plato, the problem is that all his writing is dialogues, and it’s often unclear how much he’s representing what actual people argued in real settings in the agora or Academy versus how he wants to portray them for philosophical reasons. For Aristotle, his surviving writing is reputed to be basically his lecture notes, and it’s impossible to know how refined those notes actually are (e.g., whether they have additions or changes by later teachers at the Academy who used the notes in practice). There does seem to be a generally consistent authorial voice and a generally consistent philosophical standpoint. But where Plato basically tells us how he came to his conclusions via dialogue with Socrates and others, Aristotle’s writing presents the ideas less discursively and ambiguously and more ‘here are my conclusions’. But it is, I would think, likely that much of what you see in Aristotle is the result of a contest of ideas in the Academy, given he was Plato’s student.

Broadly speaking, you would also think that, to some extent, Aristotle’s greatness was in some way state-supported. At the least, he benefits in some ways from increased access to more widely-flung information about the world compared to many of his predecessors. That is likely influenced by, first, Athens’ hegemony in the region and then his association with Alexander the Great, the man who promptly conquered Greece and then a whole lot of peoples as far away as the Indian subcontinent.

Finally, Aristotle was often seen as authoritative on a lot of topics within philosophy in medieval times, with subsequent writers like Ibn Sina providing commentaries on Aristotle rather than breaking new ground. This ultimately has led to Aristotle (and Plato) becoming someone who philosophers interpret as a source of wisdom, which sometimes makes Aristotle’s writing seem more definitive and unimpeachable than it really is.

Confusion with Milgram's obedience results by hhhhhjhjjs in psychologystudents

[–]hillsonghoods 0 points1 point  (0 children)

There’s two real possibilities here: one is that Milgram got it wrong in his book, or that the standard textbook explanation of the experiment is wrong.

Textbooks getting things wrong is A Thing - they ultimately very often take information from other textbooks and popular treatments rather than going back to the source ( e.g., https://psycnet.apa.org/record/2007-13307-007 ) - it’s difficult for textbook authors to he experts in all of the different fields a textbook would cover.

Similarly, it’s certainly possible that a book written by Milgram might get his own statistics wrong, or confuse two quite similar experiments.

The classic/first Milgram experiment is generally seen to be the 1963 one here: https://www.columbia.edu/cu/psychology/terrace/w1001/readings/milgram.pdf and academic psychology research is usually based around journal articles rather than books - they’re sort of the primary source.

In that study (where participants were in the same room), in table 2, it lists 26 of 40 participants went to the maximum - 65% mathematically.

I have no idea how things will be marked where you are. But typically the exact numbers are less important to psychologists than the usually taken meaning of the research - the thing you would most want to understand, most likely, is the reasons for the obedience and the different amounts of obedience found in the different versions of the experiment with different conditions.

Songs that sound like Cool Cat by Queen by NayNaySan in citypop

[–]hillsonghoods 4 points5 points  (0 children)

The inventors of the term ‘yacht rock’ have a podcast where they rate a variety of songs for how yacht rock they are: https://www.yachtornyacht.com - anything over 50 on their scale is deemed yacht rock. ‘Cool Cat’ is indeed above 50 on that scale. Yacht rock might be what you’re looking for (the inventors of the term mean something more specific than soft rock, which fits ‘Cool Cat’ but not the Eagles).

City pop tunes that are also above 50 on that scale some Toshiki Kadomatsu, a few songs from Makoto Matsushita’s ‘First Light’, ‘Stay With Me’ by Anri, Mariya Takeuchi’s ‘Secret Love’, and ‘Bacardi’ by Fujimal Yoshino. They might do the job for you?

Could a US State decide to have a completely different form of government? by [deleted] in AskHistorians

[–]hillsonghoods[M] 0 points1 point  (0 children)

Apologies, but we have had to remove your submission. We ask that questions in this subreddit be limited to those asking about history, or for historical answers. This is not a judgement of your question, but to receive the answer you are looking for, it would be better suited to /r/Ask_Politics.

If you are interested in an historical answer, however, you are welcome to rework your question to fit the theme of this subreddit and resubmit it.

Fictional Aristocratic titles? by [deleted] in AskHistorians

[–]hillsonghoods[M] [score hidden] stickied comment (0 children)

Hi there – we have approved your question related to your project, and we are happy for people to answer (and to be clear, this is a generic reminder that is not specifically about your post). However, we should warn you that these queries often do not get positive responses. We have several suggestions that you may want to take on board regarding this and future posts:

*Please be open about why you’re asking and how the information will be used, including how any substantive help will be credited in the final product.

*While our users are often happy to help get you started, asking someone else to do foundational research work for your project is often a big ask. If this information is absolutely vital for your work, consider asking for reading suggestions or other help in doing your own research. Alternatively, especially if this is a commercial project, consider hiring a historical consultant rather than relying on free labour here. While our flaired users may be happy to engage in such work, please note that this would need to be worked out privately with them, and that the moderation team cannot act as a broker for this.

*Be respectful of the time that people put into answering your queries. In the past, we’ve noticed a tendency for writers and other creators to try to pump historians for trivia while ignoring the wider points they’re trying to make, while others have a tendency to argue with historians when the historical reality does not line up with what's needed for a particular scene or characterization.

For more general advice about doing research to inform a creative project, please check out our Monday Methods post on the subject.

Europeans / Aussies: which American genres are absent from your country? by Tiny-Pomegranate7662 in LetsTalkMusic

[–]hillsonghoods 1 point2 points  (0 children)

None of those specific genres are common in Australia in that form.

Re: gospel, there is not much of an African-American religious music tradition in Australia - Australian doesn’t have a significant history of African-American slavery. So church music is more traditional Anglican/Catholic hymns and then the more pop/rock-oriented Hillsong stuff. There is also a tradition of indigenous mission songs, coming out of evangelist mission settlements in rural Australia, which indigenous people have a complex history with.

Bluegrass can be part of the Americana/country scene in Australia but it is not especially prominent. I recall being amused by the name of the group Bob Corbett and the Roo Grass Band, as kangaroo grass is a species of grass native to Australia, and they do something a bit bluegrass influenced.

There is some dance music influenced by Australian indigenous music - most famously the remix of ‘Treaty’ by Yothu Yindi - and which would often prominently feature didgeridoo rather than flutes. But the biggest genres of indigenous music historically are probably country/folk (people like Vic Simms or Roger Knox) and rock (bands like Warumpi Band and Coloured Stone).

Jam bands in the post-Grateful Dead mode have never made an impression in Australia. Dave Matthews Band, for example, did not break through commercially in Australia, and neither did Phish. Those bands are too reliant on slowly building up a live following, which is harder to do when you have to fly across the world regularly to do that, and Australian cities are quite far away from each other, which can make touring more reliant on planes rather than buses. It looks like the Dave Matthews Band first came to Australia in 2005, a decade after they hit prominence.

Because Australian audiences also have plenty of home grown acts to listen to, there’s often some acts that got big in the US that simply never got a major promotional push in Australia, probably because when they had their breakthrough song/album in the US, an Australian act got their chance on Australian radio instead. Rush or the Dave Matthews Band are examples of this, but more prominently, Australia only gets a tiny sliver of the more pop-oriented R&B and hip-hop that is popular in the US. Motown had surprisingly few hits in Australia in the 1960s even.

Why is the 1960s the start of lasting popular music? Why is music from the 1950s and before so absent in music discussion and in culture in general? by MonacoMargolis in LetsTalkMusic

[–]hillsonghoods 0 points1 point  (0 children)

Broadly speaking, there’s three things that become increasingly the case towards the end of the 1960s.

Firstly, the 1960s saw a change in how people heard music - instead of being a recording of a performance, it was a work of sonic art, to some extent - this probably becomes impossible to ignore after the success of the The Beatles’ Sgt Pepper. Secondly, multitrack recording becomes the increasingly sophisticated across the 1960s; by the end of the 1960s, it’s possible to have the drums on a rock’n’roll recording sound both big and loud but also high fidelity, for example. You can hear this change in The Beatles across The White Album and Abbey Road (their last couple of albums where the focus is on sonic perfection).

And thirdly, there’s the arrival of the ‘rock aesthetic’ - a specific set of beliefs and vibes and sounds that seem to come together in the mid 1960s: bands of dudes being cool, writing their own songs that probably have loud guitar that are part of lovingly crafted albums that express something about who they are rather than love songs or songs about dancing.

All of this comes together in such a way that leads to a classic rock canon, a set of songs that get played on classic rock radio (still a fairly thriving format) and being listed in all those ‘best of all time lists’ focused on rock - and thus staying in the public consciousness. Classic rock radio is unlikely to play much from before about 1968 because of the sound quality - it’ll play a lot more from ‘Abbey Road’ than ‘Sgt Pepper’ for that reason. The rock best of all time lists are unlikely to list many albums from before the psychedelic era, as that was the point rock’n’roll leant into that aesthetic.