Psychedelicsyllabus 11

COURSETITLE:
GroovyLittleTrip:
TheHistoryandLegacyofPsychedelicMusic,1960Present
INSTRUCTOR:
CaylaDelardi
crd303@nyu.edu

TABLEOFCONTENTS
ClassDescription
Rationale&LearningObjectives,andArrangement
Page2
Reading,Viewing&Discussion
Week1,Classes1and2
Page4
Week2,Classes3and4
Page6
Week3,Classes5and6
Page8
Week4,Classes7and8
Page10
Week5,Classes9and10
Page13
Week6,Classes11and12
Page15
Page17
Page19
Page21
Page21
ClassAssignments
Overview&GradingParameters
Page25
WeeklyBreakdownw/DueDates
Page26
WorkingBibliography
AlphabeticalbyAuthor
Page28
COURSETITLE
GroovyLittleTrip:TheHistoryandLegacyofPsychedelicMusic,1960Present
INSTRUCTORCONTACTINFORMATION
CaylaDelardi
crd303@nyu.edu
RATIONALEFORTHISCOURSE
Thiscoursetracesthehistoryofpsychedelicmusicandthelastingeffectithadon
cultureatlarge.Throughtheuseofnewrecordingtechniques,unusuallyrical
content,strikingalbumartworkandeccentricappearances,proponentsof
psychedeliacontinuallytestedthelimitsofcreativityinanattempttosonically
describeorreplicatethefeelingofbeingundertheinfluenceofmindalteringdrugs.
Theoftenhallucinatory,transcendentalnatureofthemusicwasadeparturefrom
thecontemporaneouspoliticallydrivenfolkmovement,whichdemandedthatits
listenersbeacutelyawareofsocialissuesandprovidedtoolstobothinspireand
affectchange.Psychedelicmusic,incontrast,wasameansoftemporaryescapefrom
thelistenerspresentrealitiesandencouragedselfexploration.Asidefromthemore
obviousradicalisminitsopenrelationshipwithdrugslikeLSD,thisuniqueformof
introspectioncanalsobeconsideredradicalbecauseofitspositionwithinaculture
thatishistoricallycharacterizedbyitsparticipationinlargescale,collectivized
activism.
AlthoughmanypsychedelicgroupslikeTheDoors,JeffersonAirplaneandJimi
Hendrixachievedgreatfameandcommercialsuccess,manyequallytalentedbands
fromallacrosstheworldremaininvirtualobscurity.Wewillonlybeabletocovera
fractionofthegenresoutputinthiscourse,butitisimportanttolearnaboutgroups
onbothendsofthepopularityspectrumandinallcornersoftheworldinorderto
getamoreaccuratesenseofitsdiversity,dissemination,andcontinuedinfluence.A
largecomponentofthecoursewillbetheartistcasestudies,whichhavebeen
carefullyselectedtohelpdemonstratetheclassthemesinamanageableway.Each
week,studentswillbeprovidedwithashortplaylistoftheseartistwhichwillnot
onlypreparethemforthereadings,inclassdiscussionsandmediaviewings,but
willalsogivethemanopportunitytomoreeasilyinvestigatethebands,themes,or
regionalscenesthattheyfindthemselvesparticularlydrawnto.
LEARNINGOBJECTIVESFORTHISCOURSE:
Bytheendofthecourse,studentswillbeabletounderstandthesocialand
2

historicalcircumstancesthatledtotheemergenceofpsychedelia.Theywillbeable
todescribethesonicandaestheticqualitiesofpsychedelicmusicmoregenerally,
whilealsorecognizingthedefiningcharacteristicsandindividualhistoriesofeach
bandthatwestudy.Inclassdiscussionsandassignmentswillalsoallowthemto
analyzevisual,sonic,andthematictrendsacrosslocationandtimeperiod,giving
themadeepercriticalframeworkthroughwhichtoviewthegenre.Finally,theywill
haveanunderstandingofthesignificanceofpsychedeliaoncultureatlarge,aswell
asitsinfluenceonmodernmusicandmajorfiguresinthecurrentneopsychedelic
revivalmovement.
ARRANGEMENTOFMATERIALFORTHISCOURSE
BLOCKA(week1):
ACulturalandMusicalPrehistoryofPsychedelia
BLOCKB(week2):
US
BLOCKC(week3):
UK
BLOCKD(week4):
Europe
BLOCKE(week5):
Asia
BLOCKF(week6:
LatinAmerica
BLOCKG(week7):
Australia&NewZealand
BLOCKH(week8):
Africa
BLOCKI(weeks9&10):
NeoPsychedelicRevivalsandContemporaryArtists

WEEKBYWEEKCLASSBREAKDOWNFORTHISCOURSE
WEEKONE,CLASS1:
ClassTitle
:TuneIn,TurnOn,DropOut:APrehistoryofPsychedelicMusicI
ClassType
:
History
ClassSummary:
ThisclasswilluseTonyJudts
Postwar
andSimonHalls
Peaceand
Freedom:TheCivilRightsandAntiwarMovementsinthe1960s
toprovideabrief
overviewofthesocialandpoliticalclimateofthedecade,includingtheVietnamwar,
thecivilrightsmovement,andstudentprotests.Beforeweareabletodelveintothe
specificartistsandsceneswithinthepsychedelicgenre,itisnecessaryto
understandtheparticularcircumstancesfromwhichitwasabletoarise.
RequiredReadings:
PartIIfrom
Judt,Tony.
Postwar:AHistoryofEuropesince1945
.7thed.New
York:ThePenguinPress,20Dec.2005.Print.
SelectionsfromHall,Simon.
PeaceandFreedom:TheCivilRightsandAntiwar
Movementsinthe1960s
.UnitedStates:UniversityofPennsylvaniaPress,16
Aug.2006.Print.
RecommendedReadings/Viewings:
PartI:The1950sfromCateforis,Theo.
TheRockHistoryReader
.N.p.:
Routledge,2007.Print.
ToView:
ABriefChronologyofEventsfromCarrickHill,Laban.
AmericaDreaming
.
N.p.:Little,1June2009.Print.
60IconicMomentsfromthe1960s
TheSixties:TheYearsThatShapedaGeneration
(documentary)
QuestionsforDiscussion:
Whatweresomeofthemajorhistoricaleventsthatcharacterizethe1960s?
Whatwasthepoliticalclimateofthe1960s?
WhatwerethecircumstancessurroundingtheVietnamWar?Howdid
civiliansfeelaboutit?
WhowerethemainfiguresintheAmericancivilrightsmovement?What
legislationsweretheyprotestingfor?Howweretheydoingso?
Whereweresomeofthemajorstudentuprisingsofthe1960stakingplace?
Whatweretheyprotestingfor?Howweretheydoingso?
Whatwastherelationshipbetweenstudentprotestersandcivilrights
protesters?Didtheircausesoverlap?
WEEKONE,CLASS2
ClassTitle
:TuneIn,TurnOn,DropOut:APreHistoryofPsychedelicMusicII
ClassType
:History
ClassSummary:
Inthisclass,wewillusetheworkofTimothyLearyandaselection
oftextsfrom
todiscussthedefiningculturalpracticesofthe
4

1960s
,
particularlyrockmusicanddrugculture,thathelpedcatalyzethe
psychedelicmovement.Morespecifically,wewillconsiderthewaysinwhich
hallucinogenicdrugslikeLSDbothinspiredandfacilitatedthecreationofmusic,
andhowthatmusicbegantomirrorthesocalledpsychedelicphysicaland
psychologicaleffectsofatrip.Thisoverviewwillbeimportantaswebegintolookat
theglobalsuccessofspecificpsychedelicartistsandtheconsequencesofsuchan
explicitrelationshipwithdruguseontheirreputations.
RequiredReadings:
TimothyLearyTurningontheWorldfrom
Various.
ThePortableSixties
Reader
.Ed.AnnCharters.NewYork:PenguinGroup(USA),14Jan.2003.
Print.
PhilSpectorandtheWallofSound,UnderstandingDylan,JamesBrown:
SoulBrotherNumber1,RockandtheCounterculture,TheElectric
KoolAidAcidTest,andWoodstockNationfromCateforis,Theo.
TheRock
HistoryReader
.N.p.:Routledge,2007.Print.
MusicandDrugInducedAlteredStatesofConsciousnessfromAldridge,
David,andJorgFachner,eds.
MusicandAlteredStates:Consciousness,
Transcendence,Therapy,andAddictions
.Philadelphia:Kingsley,Jessica
Publishers,23Dec.2005.Print.
Goldstein,Richard.
AnotherLittlePieceofMyHeart:MyLifeofRockand
Revolutioninthe60s
.14Apr.2015.Print.
Wolfe,Tom.
TheElectricKoolAidAcidTest
.NewYork:StMartinsPress,Aug.
2008.Print.
TheTrip
.Dir.RogerCorman.AmericanInternationalPictures,23Aug.1967.
Film.
PsychOut
.Dir.RichardRush.1968.Film.
AHistoryoftheIllegalWorldofPsychedelicLSDArt
MagicTrip:KenKeseysSearchforaKoolPlace(documentary)
BackgroundReadings:
Jackson,AndrewGrant.
1965:TheMostRevolutionaryYearinMusic
.United
States:StMartinsPress,16Feb.2015.Print.
ToView:
ElectricKoolAid:LSDandthe1960sPsychedelicRevolution
(documentary)
ToHear:
BobDylanMr.TambourineMan(LiveatNewportFolkFestival,1964)
DonovanCatchtheWind(Livein1965)
TheBeachBoysGoodVibrations
TheRonettesBeMyBaby(LiveonShindig!1965)
TheRollingStonesSatisfaction(Livein1965)
WhatarethephysicalandpsychologicaleffectsofLSD?Howcanwechartits
riseinpopularityintothe1960s?Whatwerethecausesofthis?
Howdidtheincreaseduseofpsychedelicdrugsimpactculture,politicsand
music?
5

Whatwerethemainmusicmovementsofthe1960s?Whoweretheirmost
notableartists?
Howwasfolkmusicusedasaplatformforsocialawarenessandpolitical
activism?
Whatarethedifferencesinthewaythatrockmusicwasreceivedand
consumedbyyoungpeopleversusolderpeople?Why?
WEEKTWO,CLASS3
ClassTitle
:USPsychI:HeavyHitters
ClassType
:History
ClassSummary:
Inthisclass,wewilllookat5Americanpsychedelicbandsthat
achievedwidespreadfameandsuccess(evenifitcamelateron).Uponhearingtheir
music,wewillbeabletodefinethemagainstoneanotherandcharacterizetheir
uniquesounds,aswellasbegintoformapictureofwhatkindsofsonicpatterns
formthegenreasawhole.Wewillalsolookatthevisualimageryofthesebands,
fromalbumarttoconcertposterstoliquidlightshowstobeginanalysing
psychedelicaesthetics.
RequiredReadings:
KickOuttheJamsfromGoddard,Michael,BenjaminHalligan,andNicola
Spelman.
Resonances:NoiseandContemporaryMusic
.NewYork:Bloomsbury,
1June2013.Print.
PsychedelicRockPosters:History,Ideas,andArtfromVarious.
The
PortableSixtiesReader
.Ed.AnnCharters.NewYork:PenguinGroup(USA),
14Jan.2003.Print.
TheFuzzfromHicks,Michael.
SixtiesRock:Garage,Psychedelic,andOther
Satisfactions
.UnitedStates:UniversityofIllinoisPress,1Aug.2000.Print.
Joynson,Vernon.
Fuzz,AcidandFlowers
.Jan.1994.Print.
BillHamLightsBio
ToView:
JimiHendrixatMontereyPop(GuitarSacrifice)
TheFillmorePostersSeries
JoshuaWhite&TheLiquidLightShow
TheJoshuaLightShowLiquidLoops(1969)
Musicvideos,albumartwork,andlyricsheetsfromsongsinthetohear
section(linked)
ToHear:
JeffersonAirplaneWhiteRabbit
TheDoorsLightMyFire
JimiHendrixPurpleHaze
TheGratefulDeadTerrapinStation
TheVelvetUndergroundVenusinFurs
6

CaseStudies:Whenandwheredideachofthisweeksbands(inthetohear
section)form?Whoaretheirmembers?Whatdotheysoundlike?Howdid
theirsoundevolveovertime?Aretheypurelypsychedelicordidtheydabble
inothergenres?Howmanyalbumsdidtheymake?Didtheyachieve
commercialsuccess?Ifso,how?
Whatkindsofexistingmusicalstylesdoespsychedeliadrawfrom?Howdoes
ittransformthoseelementsintosomethingnew?
WhatroledoesartplayinAmericanpsychedelicmusic?Howcanwe
characterizethestyleofthegigpostersandalbumcovers?Whatwasthe
significanceofliquidlightshowsatliveperformances?
Whatrolediddruguseplayinthesemoremainstreambandslivesand
musicaloutput?Whatwasthepublicreceptionoftheirexpression?Didthat
haveaneffectontheirimageorsuccess?
Whataresomeofthesimilaritiesbetweenthevisualsinthemusicvideo
examples?Whatdotheysayaboutpsychedelicaesthetictastes?
WEEKTWO,CLASS4
ClassTitle
:USPsychII:UndergroundSounds
ClassType
:History
ClassSummary:
Inthisclass,wewilllookat5moreAmericanpsychedelicbands
thatdidnothavethesameglobalreachorinfluenceasthoseinthelastclass,but
stilldefinedveryparticularregionalscenes.Specifically,wewilluseUltimate
SpinachtotakeaglimpseofpsychontheEastCoast,Love,QuicksilverMessenger
Service,andElectricPrunestounderstandpsychontheWestCoast,and13thFloor
ElevatorsasthepioneersoftheeverimportantAustinscene.Wewillconsiderhow
thesedifferentlocationsshapedtheexperiencesandviewpointsoftheartistsin
questions,andhowthosefactorscontributedtotheirdistinctmusicalstyles.
RequiredReadings:
SelectionsfromJoynson,Vernon.
Fuzz,AcidandFlowers
.Jan.1994.Print.
LovefromUnterberger,Richie.
UnknownLegendsofRockNRoll:
PsychedelicUnknowns,MadGeniuses,PunkPioneers,LoFiMavericks&More
.
SanFrancisco,CA:MillerFreeman,31July1998.Print.
UltimateSpinach13thFloorElevatorsandTheElectricPrunesfrom
Woodstra,Chris,StephenThomasErlewine,andVladimirBogdanov,eds.
All
MusicGuidetoRock:TheDefinitiveGuidetoRock,Pop,andSoul
.San
Francisco,CA:DistributedtothebooktradeintheU.S.byPublishersGroup
West,9May2002.Print.p.1172,360
.
Drummond,Paul.
EyeMind
.LosAngeles,CA:ProcessMedia,1Oct.2007.
Print.
ToView:
YoureGonnaMissMe(documentary)
EveryNoiseEverGenreMap:PsychedelicRock
Lyricsheetsfromsongsinthetohearsection
7

ToHear:
UltimateSpinachMindFlowers
LoveAloneAgainOr
The13thFloorElevatorsRollerCoaster
QuicksilverMessengerServiceMona
ElectricPrunesIHadTooMuchtoDream(LastNight)
Whatisthelyricalcontentofthesongsfromthisweek?Whatarethe
recurringthemessofar?
Whatdothelyricstellusaboutthemusiciansengagementwithculture,
literature,andpolitics?
Howdoeslivingandworkinginaparticularplaceshapethemusicthat
comesfromit?Howdoesmusicdefineculturalandspatialmomentsintime?
HowcanwecharacterizetheundergroundAmericanpsychedelicsound,
particularlyinrelationtothemorepopularAmericanbandsfromlastclass?
WEEKTHREE,CLASS5
ClassTitle
:UKPsychI:GlobalFamefromAcrossthePond
ClassType
:History
ClassSummary:
ThisclasswillbegintounveilthehistoryofBritishpsychedelic
musicthrough5oftheirmostwellknowngroups:TheBeatles,Cream,PinkFloyd,
ThePrettyThings,andSmallFaces.Wewillagainconsidertheirlocationasitis
reflectedintheirmusicalstyle,comparingeachbandtooneanotherintermsof
aestheticsandsonicqualities,aswellastotheirAmericancontemporaries.Finally,
wewilllookattheBeatlespsychedeliceratounderstandnotonlytheir
immeasurableimpactonmusicandculture,butalsotounderstandthephenomenon
ofbandsturningpsychedelicforaperiodoftime,andhowthataffectedtheir.
RequiredReadings:
PsychedelicTurn:TheirSatanicMajestiesRequestfromMalvinni,David.
ExperiencingtheRollingStones:AListenersCompanion
.N.p.:Rowman&
Littlefield,2016.Print.
SydBarrettfromUnterberger,Richie.
.
WithinandWithout:
Sgt.PeppersLonelyHeartsClubBand
andPsychedelic
InsightfromJulien,Olivier,ed.
Sgt.PepperandtheBeatles:ItWasForty
YearsAgoToday
.Aldershot,Hampshire,England:AshgatePublishing,1Aug.
2008.Print.
8

BBCRadio2:TheHistoryofPsychedelia
PinkFloyd:BetweenSyd&TheDarkSide(documentary)
Cream:StrangeBrew(documentary)
TheBeatlesTalkAboutLSD
BackgroundReadings/Viewings:
Britaininthe1950s(documentary)
ToView:
PsychedelicBritannia(BBCdocumentary)
ClipsfromTheBeatlesAnthologyEpisodes5&6
BandphotosandalbumcoversfromtheBeatlesandRollingStones
EveryNoiseEverGenreMap:PsychedelicRock
ToHear:
TheBeatlesTomorrowNeverKnows
CreamTalesofBraveUlysses
PinkFloydSeeEmilyPlay
ThePrettyThingsBraceletsofFingers
SmallFacesItchycooPark
TheRollingStonesShesARainbow
WhatwasBritainssocial,political,andeconomicclimateinthe1950s60s?
CaseStudies(exceptRollingStones):Whenandwheredideachofthisweeks
bands(inthetohearsection)form?Whoaretheirmembers?Whatdothey
soundlike?Howmanyalbumsdidtheymake?Didtheyachievecommercial
success?Ifso,how?
HowcanwecharacterizetheBritishpsychedelicsound?Howdoesit
comparetoAmericasatthistime(lyricallyandsonically)?
Whatistheconceptofturningpsychedelic?Whataretheimplicationsof
popularbandsliketheBeatlesandtheRollingStonesdoingso?Howdid
psychedelicphaseschangethepublicsperceptionofthesebands?
HowdidtheBeatlespsychedeliceramanifest?Whatweretheaesthetic
changesthattookplacewithit?Howdiditinfluencemusicingeneral?
HowdoesthisweeksRollingStonessongcomparetoSatisfaction,which
weheardinthefirstweekofclass?Whatwerethemusicalandaesthetic
changesthattookplacewiththereleaseof
TheirSatanicMajestiesRequest
?
Howcanweusethesecomparisonstounderstandtheirpsychedelicphase?
HowdoesitcomparewiththatoftheBeatles?
Howdothesebandspsychedelicerascomparetothegenremixingofsome
oftheAmericanbandswevestudied?
WEEKTHREE,CLASS6
ClassTitle
:UKPsychII:
ClassType
:History
9

ClassSummary:
MuchlikeinoursecondUSpsychclass,wewillnowturnto
specializedtextsonundergroundUKpsychaswellas5bandswithinthesceneto
helpcharacterizeitssound.
Thecontrastsbetweenthemoresuccessfulactsfrom
lastweekandtheseundergroundartistswillfacilitateacomplicateddiscussionon
thenatureofthemusicindustry.Thatis,ononehand,lessrecognitionoftengives
artistsmoreofanabilitytoexperimentandexpressthemselveswithoutcontractual
restrictions,butontheotherhand,someoftheacts,likeTomorrow,seemvery
muchinlinewiththesortofpoppsychthatwouldbeeasilydigestiblebythe
masses,butneverachievedthesameleveloffame.
RequiredReadings:
Selectionsfrom
Lundborg,Patrick.
TheAcidArchives
.2nded.N.p.:Lysergia,
28Sept.2010.Print.
SelectionsfromJoynson,Vernon.
TapestryofDelights:TheUltimateGuideto
UKRock&PopoftheBeat,R&B,PsychedelicandProgressiveEras19631976
.
2nded.N.p.:BorderlineProductions,10Dec.2014.Print.
JulyandLesFleurdeLysfromWoodstra,Chris,StephenThomas
Erlewine,andVladimirBogdanov,eds.
AllMusicGuidetoRock:TheDefinitive
GuidetoRock,Pop,andSoul
.SanFrancisco,CA:Distributedtothebooktrade
intheU.S.byPublishersGroupWest,9May2002.Print.p.607,416
.
BackgroundReadings/Viewings:
Britaininthe1950s(documentary)
ToView:
EveryNoiseEverGenreMap:Freakbeat
ToHear:
TomorrowRealLifePermanentDream
TheAttackColourofMyMind
JulyDandelionSeeds
WimpleWinchLollipopMinds
LesFleurdeLysCircles
section)form?Whoaretheirmembers?Whatdotheysoundlike?Howmany
albumsdidtheymake?Didtheyachievecommercialsuccess?Ifso,how?
Whataresomeofthesonicsimilaritiesanddifferencesbetweenthesebands?
Whataresomeofthelyricalsimilaritiesanddifferencesbetweenthese
bands?
HowcanwecharacterizetheundergroundBritishpsychedelicsound?How
doesitcomparetoAmericasatthistime?Howdoesitcomparetothemore
popularBritishbandsfromlastclass?
WEEKFOUR,CLASS7
ClassTitle
:EuropeanPsychI
ClassType
:History
10

ClassSummary:
Thisclasswillfocusonkrautrock,apsychedelic,space,and
electronicmusichybridfromGermany.AswewillseeinUnterbergersKrautrock
chapterandinourcasestudies,thiswasoneofthemostprominentpsychedelic
scenesinEuropeatthetime.Krautrocksoutputwassosonicallyandlyrically
diverseanditsbandstooksuchalargevarietyofapproachestocreatingmusicthat
itnecessitatesafullclasstoproperlydiscuss.Someofkrautrocksoriginating
circumstances,mostnotablythelackofauthenticGermancultureafterWWII,tie
heavilyintoquestionsoftherelationshipbetweenregion,nativetraditionand
sociopoliticalfactorsonpsychedelicmusic.Krautrockisalsoaparticularly
interestingcasewhenconsideringcrossculturalinfluences,becausewhilethese
artistshadaccesstoawealthofBritishandAmericanmusic,theircreationswere
oftenrejectionsoroppositionalreactionstowhattheywerehearingasthey
producedanewGermanmusicalcultureforthemselves.
RequiredReadings:
CanNeu!FaustandAmonDlfromCope,Julian.
Krautrocksampler:
OneHeadsGuidetotheGreatKosmischeMusic1968Onwards
.3rded.
London:HeadHeritage,Oct.1995.Print.
Krautrockfrom
Unterberger,Richie.
.
SelectionsfromStubbs,David.
FutureDays:KrautrockandtheBuildingof
ModernGermany
.UnitedKingdom:Faber&FaberRockMusic,7Aug.2014.
Print.
UndertheInfluence:Krautrock(documentary)
Can(documentary)
ToView:
Krautrock:TheRebirthofGermany(documentary)
EveryNoiseEverGenreMap:Krautrock
ToHear:
FaustKrautrock
CanPaperhouse
AmonDlMamaDlundihreSauerkrautbandSpieltauf
BrainticketOneMorning
Neu!Hallogallo
Whatiskrautrock?
Wheredidthetermoriginateandhowdiditsartistsfeelaboutit?
Whatwerethecircumstancessurroundingthecreationofkrautrock?What
wasitsideologyasaformofexpression?Whatwasthepersonalsignificance
forthemusiciansinvolved?ForGermanculture?Formusicatlarge?
Howdidkrautrockartistsfeelaboutthemusictheywerehearingfromthe
USandUK?
Whatartists,effectsorphenomenawerekrautrockmusiciansinspiredby?
Howdidtheytransformpsychedelictraditionsintoanovelsound?
11

Whatothergenresarepresentwithinkrautrock?
section)form?Whoaretheirmembers?Whatdotheysoundlike?Howmany
albumsdidtheymake?Didtheyachievecommercialsuccess?Ifso,how?
WhatlastinginfluencehaskrautrockhadonGermanculture?Howhasit
affectedmusiccultureingeneral?
WEEKFOUR,CLASS8
ClassTitle
:EuropeanPsychII
ClassType
:History
ClassSummary:
ThisclasswilluseshorttextsfromRisch,Halliwell,andRametand
5casestudiestounderstandthepsychedelicsoundinotherpartsofEurope,
includingtheDutch,Scandinavian,andEasternEuropeanscenes.Wewillconsider
theroleofCommunismandthepoliticalclimateoftheseregionsonthekindof
musictheycreated,aswellastheiraccesstoculturalexportsfromtheUS&UK.
RequiredReadings:
TheOutsiders
fromUnterberger,Richie.
.
HippiesandRockAcrosstheBlocfromRisch,WilliamJay,ed.
Youthand
RockintheSovietBloc:YouthCultures,Music,andtheStateinRussiaand
EasternEurope
.UnitedStates:LexingtonBooks,15Dec.2014.Print.
RockMusicandCounterculturefromRamet,SabrinaPetra.
SocialCurrents
inEasternEurope:TheSourcesandConsequencesoftheGreatTransformation
.
UnitedStates:DukeUniversityPress,1June1994.Print.
SocialCritiquefrom
Halliwell,Martin,andPaulHegarty.
Beyondandbefore:
ProgressiveRocksincethe1960s
.UnitedStates:ContinuumIntlPubGroup,1
Aug.2011.Print.
ToView:
DomKallarOssMods(documentary)
Lyricsheets,albumart,andliveperformancesfrombandsintohear
section
ToHear:
NiebieskoCzarni
LotnaWenus
Romulad&RomanBabos
LeaRidersGroupGotNoWoman
TheMascotsADifferentMind
TheOutsidersThinkingAboutToday
12

WhatwastheEasternEuropeanpsychedelicethos?Didpoliticsplayapartin
thecreationofmusicthere?Howdoesthiscomparetootherregionsthat
wevestudiedsofar?
Whatwasthepublicperceptionofrockandpsychedelicmusicinthe
Europeanstateswevestudiedtoday?
HowdidUK&USmusicandcountercultureinfluenceEuropeanpsychedelic
bands?
WEEKFIVE,CLASS9
ClassTitle
:AsianPsychI
ClassType
:History
ClassSummary:
Inthisclass,wewillutilizeJulianCopes
Japrocksampler
and
MiliotosPopularMusicinModernJapantodefineJapansGroupSoundseraand
familiarizeourselveswithitsmostnotable60scoverbands.Thiswillbegina
discussionoftherelationshipbetweenEasternandWesternmusicalinfluenceson
oneanotherthatwilldeepennextclass,whenwelookatpsychedeliainSouthAsia.
RequiredReadings:
Selectionsfrom
Cope,Julian.
Japrocksampler:HowthePostWarJapanese
BlewTheirMindsonRockNRoll
.UnitedKingdom:BloomsburyPublishing
PLC,3Sept.2007.Print.
PopularMusicinModernJapanfromMiliotoMatsue,Jennifer.
Focus:Music
inContemporaryJapan
.NewYork,NY:Routledge,2016.Print.P.4749.
ToView:
TheGroovyImitationBandsof1960sJapaneseRock
ToHear:
TheJacksMarianne
TheSpidersDayTripper(BeatlesCover)
TheMopsEleanorRigby(BeatlesCover)
TheMopsImJustAMops
WhatistheGroupSoundsera?
HowdidWesternmusiccultureinfluenceJapanesepsychedelicbands?
HowwereJapanesecoverbandsreceivedbythepublic?
Whatarethesonicqualitiesofbothkindsofbands(i.e.coverand
noncover)?Howdotheycomparetoartistsfrompreviousweeks?
Whatuniqueinstruments,effectsorsoundscanwehearinthisweeks
music?Whatdoesthatsayaboutthesebandshistoriesandmusicalpointsof
view?
13

WhatistherelationshipbetweenEasternandWesternmusicalinfluencein
psychedelia?Howareartistsborrowingandadoptingstylesfromone
another?
WEEKFIVE,CLASS10
ClassTitle
:AsianPsychII
ClassType
:History
ClassSummary:
ThisclasswillfocusonSouthAsianpsychedelia,specificallyin
CambodiaandIndia.Adoptinginstrumentalstylesandmusicaltechniquesfrom
otherscenesorculturaltraditionshasbeenarunningthemeinthecourse,butthis
phenomenonisnomoreapparentthaninthesitarmusicofmainstreambandslike
theBeatlesandRollingStones,whoweredirectlyinfluencedbyIndiansitarmaster
RaviShankar.WewillconsiderthepsychedelicelementsofShankarsmusicand
performancesaswellashisworkingrelationshipwiththeaforementionedbands.
Finally,wewillfurtherthediscussionoftheEastWestfusionbylookingatAnanda
Shankar,whoworkedwithandcoveredmanyAmericanandBritishpsychedelic
musiciansinatraditionalIndianstyle.
RequiredReadings:
Selectionsfrom
Douglas,Gavin.
MusicinMainlandSoutheastAsia:
ExperiencingMusic,ExpressingCulture
.UnitedStates:OxfordUniversity
Press,4Feb.2010.Print.
India:EastWestFusionfromEllingham,Mark.
WorldMusicVolume2Latin
andNorthAmericaCaribeanIndiaAsiaandPacifictheRoughGuide
.Ed.Simon
Broughton.UnitedKingdom:RoughGuides,19Oct.2000.Print.
GeorgeHarrison:TheInnerLightfromLavezzoli,Peter.
TheDawnofIndian
MusicintheWest
.UnitedKingdom:ContinuumInternationalPublishing
Group,1June2006.Print.
TheRoughGuidetoPsychedelicCambodia(compilationalbum)
CambodianSurfRockersWereAwesome,buttheKhmerRougeKilledThem
MindGardenandWestMeetsEastfromLavezzoli,Peter.
TheDawnof
IndianMusicintheWest
.UnitedKingdom:ContinuumInternational
PublishingGroup,1June2006.Print.
ToView:
TheDeathandUneasyRebirthofCambodiasPsychedelicRock
RaviShankarSitarLessonw/GeorgeHarrison
RaviShankaratMontereyPopFestival(1967)
ToHear:
AnandaShankarLightMyFire
SinnaSisamouthSattTheeThuy
RosSereysothea:Jam10KaiThei
PanRon=PaemNasSneha(LoveLikeHoney)
14

Whatuniqueinstrumentsorsoundscanwehearinthisweeksmusic?What
doesthatsayaboutthesebandshistoriesandmusicalpointsofview?
WhataffectdidtheKhmerRougeandCambodiaspoliticalsituationinthe
1960shaveontheprosperityofitspsychedelicscene?
Whateffectdoesculturalortraditionalvalueshaveonthelyricalcontentand
sonicqualitiesofpsychedelicmusic?
HowcanwedescribeRaviShankarsMontereyPopperformance?What
psychedelicqualitiesdoesithave?Howdotheydifferfrompreviousartists
wevestudied?
WhatwasRaviShankarsinfluenceontheBeatles?Howwasthesitarused
particularlyduringtheirpsychedelicperiod?
WhatisRaviShankarsviewofdrugs?Howdoesthisdifferfromother
psychedelicartists?
WhatistherelationshipbetweenEasternandWesternmusicalinfluencein
psychedelia?Howareartistsborrowingandadoptingstylesfromone
another?
WEEKSIX,CLASS11
ClassTitle
:LatinAmericanPsychI
ClassType
:History
ClassSummary:
ThisclasswillintroducetheLatinAmericanpsychedelic
movementafterusingLovemanschapterfromGuerrillaWarfareandBrandsarticle
togainafoundationalunderstandingoftheculturalandpoliticalclimateofthe
continentaroundthistime.Uponhearingaselectionofbandswhosesoundsand
varywithinthegenre,wewillbegintogetasenseofthecharacteristicsofthe
musicaloutput,majorplayers,andinternationalinfluencesfromcountrieslikePeru,
Portugal,andBrazil.
RequiredReadings:
OsMutantesfromWoodstra,Chris,StephenThomasErlewine,and
VladimirBogdanov,eds.
AllMusicGuidetoRock:TheDefinitiveGuidetoRock,
Pop,andSoul
.SanFrancisco,CA:DistributedtothebooktradeintheU.S.by
PublishersGroupWest,9May2002.Print.p.777778.
SelectionsfromHern,DeborahPacini,HectorFern,andezLHoeste.
Rockin
LasAmericas:TheGlobalPoliticsofRockinLatin/oAmerica
.Eds.Deborah
PaciniHernandez,HectorFernandezLHoeste,EricZolov,andezLHoeste.
UnitedStates:UniversityofPittsburghPress,May2004.Print
BackgroundReadings:
15

GuerrillaWarfare:RevolutionaryTheoryandRevolutionaryMovementsin
LatinAmerica,fromLoveman,Brian,andThomasMDavies.
Guerrilla
Warfare
.Lincoln:UniversityofNebraskaPress,1Dec.1985.Print.
Brands,Hal.ThirdWorldPoliticsinanAgeofGlobalTurmoil:TheLatin
AmericanChallengetoU.S.AndWesternHegemony,19651975*.
Diplomatic
History
32.1(20Jan.2008):105138.Web.
ToView:
FromtheVault:LatinRootsFromthe60sand70s
ToHear:
TrafficSoundThoseDaysHaveGone
OsMutantesAMinhaMenina
LosGatosFueradelaLey
FlashandtheDynamicsGuajiraSicodelica
CaetanoVelosoSuperbacana
WhatwasthepoliticalandeconomicclimateofLatinAmericainthe1960s?
Howdiditaffectthemusicthatwasproducedthere?
view?
WhatwereLatinpsychedelicmusiciansrelationshiptodrugs?Howdidthat
comparetootherpsychedelicscenesinternationally?
HowdidAmericanandBritishcountercultureinfluenceLatinAmerican
musicians?
WhatdoesthenarratoroftheNPRshowsayaboutthelyricalcontentof
psychsongsinthisregion?Howdoesthiscomparetopreviousbandsweve
studied?
WhydidmanyofthesebandssinginEnglishratherthanSpanish?
WEEKSIX,CLASS12
ClassTitle
:LatinAmericanPsychII
ClassType
:History
ClassSummary:
ThisclasswillbeacontinuationofourdiscussionaboutLatin
psychmusic,bringinginsomeofMexicosmostnotablegroups.Wewillcontinue
usingHernstextaswellasZolovs
RefriedElvis
toconsidertherelationship
betweenMexicospoliticalclimateandthemusicthatitproducedinthe1960sand
70s.
RequiredReadings:
16

LaOnda:MexicosCountercultureandtheStudentMovementof1968from
Zolov,Eric.
RefriedElvis:TheRiseoftheMexicanCounterculture
.United
States:UniversityofCaliforniaPress,5July1999.Print.
ContinuewithHernetal.
ToView:
Continue
FromtheVault:LatinRootsFromthe60sand70s
ToHear:
KaleidoscopeHangOut
LaVidaPeaceofMind
PaxGreenPaper
LosTexaoAlgunDia
SantanaSoulSacrifice
WhatwasthepoliticalandeconomicclimateofLatinAmericainthe1960s?
Howdiditaffectthemusicthatwasproducedthere?
view?
WhydidmanyofthesebandssinginEnglishratherthanSpanish?
WhatwereLatinpsychedelicmusiciansrelationshiptodrugs?Howdidthat
comparetootherpsychedelicscenesinternationally?
HowdidAmericanandBritishcountercultureinfluenceLatinAmerican
musicians?
WEEKSEVEN,CLASS13
ClassTitle
:AustralianPsychI
ClassType
:History
ClassSummary:
Inthisclasswewilllookat3Australianpsychbands,2ofwhich
remainedundergroundandonewhichbrokeoutandachievedwidespreadfame.
WewilluseMcIntyres
TomorrowisToday
and
WildAboutYou!
tobetterunderstand
Australiancultureatthistimeanditsplaceinpsychedelicmusichistory.
RequiredReadings:
IntroductionfromMcIntyre,Iain,andIanMarks,eds.
WildaboutYou!:The
SixtiesBeatExplosioninAustraliaandNewZealand
.UnitedStates:Verse
ChorusPress,U.S.,26May2011.Print.
SelectionsfromMcIntyre,Iain,ed.
TomorrowIsToday:Australiainthe
PsychedelicEra,19661970
.Australia:WakefieldPress,22Nov.2006.Print.
TheEasybeatsfromWoodstra,Chris,StephenThomasErlewine,and
VladimirBogdanov,eds.
AllMusicGuidetoRock:TheDefinitiveGuidetoRock,
17

Pop,andSoul
PublishersGroupWest,9May2002.Print.P
.
349350.
ToView:
section
ToHear:
BeeGeesDeeplyDeeplyMe
TheTwilightsOnceUponATwilight
TheEasybeatsFridayonMyMind
HowcanwecharacterizeAustralianpsychmusicusingthesecasestudies?
Howdoesitcomparetootherregionsthatwevestudiedsofar?
recurringthemes?
WEEKSEVEN,CLASS14
ClassTitle
:KiwiPsychI
ClassType
:History
ClassSummary:
InthisclasswewilllookataselectionofNewZealandpsych
bands,allofwhichremainedrelativelyunderground.Likelastclass,wewill
continueusingMcIntyres
TomorrowisToday
and
WildAboutYou!
tobetter
understandNewZealandcultureatthistimeanditsplaceinpsychedelicmusic
history.
RequiredReadings:
ContinuewithMcIntyreandMarksreadings.
LaDeDasfromWoodstra,Chris,StephenThomasErlewine,andVladimir
Bogdanov,eds.
AllMusicGuidetoRock:TheDefinitiveGuidetoRock,Pop,and
Soul
PublishersGroupWest,9May2002.Print.P.636
.
ToView:
section
ToHear:
TheLaDeDasHowstheAirUpThere?
TheHumanInstinctADayinMyMindsMind
TheAvengersFisherwoman
TheHouseofNimrodSlightlyDelic
18

HowcanwecharacterizeNewZealandpsychmusicusingthesecasestudies?
Howdoesitcomparetootherregionsthatwevestudiedsofar?
recurringthemes?
WEEKEIGHT,CLASS15
ClassTitle
:AfricanPsychI
ClassType
:History
ClassSummary:
InthisclasswewilllearnaboutaselectionofpopularAfrican
psychedelicgroupsfromacrossthecontinenttogainawellroundedpictureofthe
sceneinthe1960sand70s.Inadditiontotheplaylistandashortdocumentaryon
oneofthebands,wewillreadJohnCollinsSoultoSoultoilluminatethehistory
andcharacteristicsAfricanpsychedelicmusic.Wewillalsousetwocontemporary
Americanartists,theGrowlersandKurtVile,whohaveworkedwithand/orcovered
GrammywinningMalianbandTinariwentoconsidersomeofthewaysinwhich
musicianswithinandoutsideofthegenrecontinuetoborrowandtakeinspiration
fromoneanother.
RequiredReadings:
SoultoSoulfrom
Collins,John.
WestAfricanPopRoots
.Philadelphia:
TempleUniversityPress,U.S.,1June1992.Print.
YouthCultures,JuvenileDelinquency,andGenerationalConflictPalmberg,
Mai,andAnnemetteKirkegaard,eds.
PlayingwithIdentitiesinContemporary
MusicinAfrica
.Uppsala:NordiskaAfrikainstitutetincooperationwithThe
SibeliusMuseum/Dept.ofMusicology,boAkademiUniversity,Finland,8
Nov.2002.Print.
GhanaSoundzcompilation
TheRoughGuidetoPsychedelicAfrica(compilationalbum)
ToView:
AfricanPsychedelicRock
Tinariwen(minidocumentary)
CatchingUpWiththeGrowlers(InterviewTinariwenCoverMent.)
KurtVile:StepbySteptotheTopoftheWorld
ToHear:
RobFunkyRobWay
19

TheFunkeesPointofNoReturn
ThePsychedelicAliensHomowo
HoneyandtheBeesBandPsychedelicWoman
TinariwenAldhechenManini
TheGrowlersDrinkintheJuiceBlues
KurtVileWheelhouse
Whowasdrawntobothplayingandlisteningtopsychedelicmusicduring
thistime?Howisthissimilarordifferenttothebandswevereadaboutin
previousweeks?
Whoweretheseartistslookingtoforinspiration?
HowdidAfricanpsychedelicmusicianscombinetheirnativecultureand
perspectivewiththeWesternmusicandculturethatwasbeingimported?
Whataresomeofthewaysinwhichartistsinallpartsoftheworldare
borrowingandadoptingstylesfromoneanotherwithinthepsychedelic
genre?
WEEKEIGHT,CLASS16
ClassTitle
:AfricanPsychII
ClassType
:History
ClassSummary:
ThisclasswilldiscussZambiasZamrockmovement,which
primarilytookplaceinthe1970s,andwasacombinationofWesternpsychedelic
andfunkmusic.ThehistoryofZamrockhasunfortunatelybeenminimally
documentedinanywayotherthanbyitsartistsmusicandforthisreason,wemust
relyonoralhistoriesandinterviewswithsurvivingZamrockers.RedBullMusics
interviewwithJagariChandaofWITCH,oneofthemostwellknownZamrock
bands,willbecrucialingaininganunderstandingofthescenefromitsinceptionto
thepresent,andwillhelpfosteradiscussionaboutwhatexactlyislostwhena
vibrantpartofculturehasbeenallbutforgottenbyhistory.
RequiredReadings:
ContinuewithCollinsandPalmbergreadings
ToView:
Lecture:EmannuelJagariChanda
WereAZambianBand
ToHear:
WITCHToothFactory
AmanazKhalaMyFriend
RikkiIlilonga&MusiOTunyaSunshineLove
ChrissyZebbyTembo&NgoziFamilyMyAncestors
20

WhatisZamrock?Whendiditstartandhowlongdiditlast?Whatareits
primaryinfluences?
WhatdoesChandasayabouttheprocessofcreatingmusicinWITCH?Who
weretheylookingtoforinspiration?Howdidtheycombinetheirnative
cultureandperspectivewiththeWesternmusicthatwasbeingimported?
How,ifatall,hasZamrockshistorybeendocumented?
HowdoesZamrockraiselargerquestionsaboutsocial,economic,and
politicalissuesinAfrica?
Whataretheconsequencesofalackofdocumentationofamusical
movementinaparticularlocation?
WEEKNINE,CLASS17
ClassTitle
:Post1970RevivalsI
ClassType
:History
ClassSummary:
Thisclasswillcovertheneopsychedelicrevivalsofthe1970sand
80s,withafocusonManchestersscallydeliaandCaliforniasPaisley
Undergroundscenes.Wewilluseartistsfrombothofthesetounderstandthesonic
andideologicalattributesofthefirstrevivalintheirtwomainhubs,aswellastheir
relationshiptotheoriginalpsychedelicmovement.Throughtheselectedtracks,
readings,andviewings,wewillconsiderpsychedeliaasasortofsecondary
influencetopunkandgaragestylesinthiswaveandthefactorsthatfacilitatedthis
shift.
RequiredReadings:
Madchester,positivity,andtheravenrollcrossover198891from
Reynolds,Simon.
GenerationEcstasy:IntotheWorldofTechnoandRave
Culture
.Boston:Little,BrownandCompany,31July1998.Print.
Retrodelic:ThePsychedelicandGarageRevivalsfromDeRogatis,Jim.
Turn
onYourMind
.Milwaukee,WI:HalLeonard,31Aug.2008.Print.
Reynolds,Simon.
RipItupandStartAgain:Postpunk19781984
.2nded.New
York:PenguinGroup(USA),2006.Print.
ToView:
ThePaisleyUnderground
(documentary)
ThePaisleyUnderground:LosAngeless1980sPsychedelicExplosion
ASide:AreYourDreamsAtNight1985SizesTooBig?
(Spacemen3)
ToHear:
HappyMondaysLazyitis
21

TheStoneRosesByeByeBadman
TheDreamSyndicateJohnColtraneStereoBlues
TheRainParadeThisCantBeToday
PrinceRaspberryBeret
Spacemen3SoundofConfusion
EchoandtheBunnymenVilliersTerrace
Whatisthenatureofthe1970s80spsychedelicrevival?Weretheremany
purelypsychedelicbandsordidtheyonlydabbleinthegenre?
WhatwasthePaisleyUndergroundscene?Wherewasthephenomenon
located?
Whatisscallydelia?Wherewasthephenomenonlocated?Whoareitsmain
proponents?Whatareitslyrical,sonicandaestheticqualities?
WhatwastherelationshipbetweenManchestersscallydeliasceneand
drugs?
WhatwasPrincescontributiontopsychedeliainthe1980s?Howwasit
received?
Howdidpostpunkandpsychedelicmusicintersectinthe1980s?Whatare
thesonicqualitiesofthiscrossover?
HowdoSpacemen3andEcho&theBunnymenutilizesoundtoconveya
triplikeexperience?Isitchaoticandheavyorlightandfloaty?Asalistener,
howdoyoufeelwhenyouhearthesesongs?Howdoboththesoundsand
yourreactionstothemcomparetothoseofsomeotherexamplesweve
heardthroughoutthecourse?
Whatbandsfromourearlierclassesseemtohaveinfluencedtheselater
neopsychgroups?
Howdotheirmusicalstylesorlyricalcontentsdifferfromoriginalpsych
bands?Whatothercultural,social,ormusicalinfluencesdotheydrawfrom
thatdidntexistinthe1960s?
Whatisthegeneralperceptionofneopsychrevivalacts?Haveanyofthem
beenabletoachievethesameleveloffameassomeofthoseinthe1960s?
Whyorwhynot?
WEEKNINE,CLASS18
ClassTitle
:Post1970RevivalsII
ClassType
:History
ClassSummary:
Thisclasswillcovertheneopsychedelicrevivalsofthe1990sand
early2000s,particularlytheSanFranciscoandSouthernAmericanscenesthat
borrowedheavilyfromearlypsychedelicmusicaltraditions.Wewilllookat2
documentariestobetterunderstandtheorigin,soniccharacteristics,andmajor
playersofthesetwoscenes,andcharttheirdifferinglevelsofpopularityin
mainstreammedia.Wewillalsobeabletodirectlycomparethisrevivaltothatof
the70sand80s,whichwestudiedlastclass.
RequiredReadings:
22

PsychedelicRockLivesOnfromDeRogatis,Jim.
TurnonYourMind
.
Milwaukee,WI:HalLeonard,31Aug.2008.Print.
ToView:
Clipsfrom
Dig!(BJMandDandyWarholsdocumentary)
APlaceWeHaveBeento:Elephant6(documentary)
ToHear:
TheOrangeAlabasterMushroomCrazyMurray
TheBrianJonestownMassacreAnemone
TheDandyWarholsDick
ofMontrealThePastisaGrotesqueAnimal(Live)
OliviaTremorControlIHaveBeenFloated
FlamingLipsIntheMorningoftheMagicians
inothergenres?Howmanyalbumsdidtheymake?
Whatbandsfromourearlierclassesseemtohaveinfluencedtheselater
neopsychgroups?
Howdoestherevivalthatstartedinthe90sdifferfromthatofthe70sand
80s?
Howdotheirmusicalstylesorlyricalcontentsdifferfromoriginalpsych
bands?Whatothercultural,social,ormusicalinfluencesdotheydrawfrom
thatdidntexistinthe1960s?
Whatisthegeneralperceptionofneopsychrevivalacts?Haveanyofthem
beenabletoachievethesameleveloffameassomeofthoseinthe1960s?
Whyorwhynot?
WEEKTEN,CLASS19
ClassTitle
:CurrentStateoftheGenreI
ClassType
:History
ClassSummary:
Thisclassbeginsadiscussionofthecurrentstateofpsychedelic
musicacrosstheglobal,withspecialfocusonscenesintheUS(Austin,TX)and
SouthAmerica(Santiago,Chile).Thediversityofthemusicalcasestudieswillallow
ustogetasenseofthehistoricalinfluencesandmodernconditionsthathavehelped
toshapethecontemporarypsychedeliclandscape.
RequiredReadings:
Chapter32from
AGatheringofPromises:TheBattleforTexassPsychedelic
Music,fromthe13thFloorElevatorstotheBlackAngelsandbeyond
.n.d.Print.
SelectionsfromGassen,Timothy.
TheKnightsofFuzz:TheNewGarage&
PsychedelicMusicExplosion
.UnitedStates:PurpleCactusMediaProductions
(Pcmp),19Aug.2014.Print.
23

AnimalCollectivefromDi,Jakki.
NewWeirdAmerica:FreakFolk/Psych/
OutsiderMusic
.N.p.:Lulu,2015.Print.
APsychedelicTributetoTheDoors(compilationalbum)
Upstarts:BurgerRecords
(minidocumentary)
ToView:
AustinPsychFest2014Film
ThePsychedeliaofSantiago:SouthAmericasHotbedofRetroRock
EveryNoiseEverGenreMap:Neopsychedelic
Musicvideos&lyricsheetsfromsongsinthetohearsection(linked)
ToHear:
TameImpalaMindMischief
(AUS)
TemplesShelterSong
(UK)
AnimalCollectiveMyGirls
(US)
TOYMotoring
(UK)
TheBlackAngelsBadVibrations
(US)
Fllkazoid9
(Chile)
ElephantStoneTheSeaofYourMind
(CAN)
Wherearethemainhubsofcontemporaryneopsychedelia?
Whatbandsfromourearlierclassesseemtohaveinfluencedtodays
neopsychgroups?
Howcanwecharacterizetheimageryoftheabovemusicvideos?Howdothe
aestheticthemescomparetooneanother?Howdotheycomparetoearlier
examplesfromtheoriginalpsychedelicera?
Haveanycurrentpsychbandsbeenabletoachievethesameleveloffameas
someofthoseinthe1960s?Whyorwhynot?
WEEKTENCLASS20
ClassTitle
:CurrentStateoftheGenreII
ClassType
:History
ClassSummary:
Inthisclasswewillcontinueoursurveyofcontemporary
psychedelicmusicanditsmainhubs,withafocusonLiverpoolsannualPsychFest.
Thisweeksmusicalcasestudiesandvideofootagefromthe2013PsychFestwill
allowustoconsiderwherethegenreisheading,andservesastheendingofour
historicaltripthroughtheworldofpsychedelia.
RequiredReadings:
SelectionsfromGassen,Timothy.
TheKnightsofFuzz:TheNewGarage&
PsychedelicMusicExplosion
.UnitedStates:PurpleCactusMediaProductions
(Pcmp),19Aug.2014.Print.
24

Liverpool:TheGreatPsychedeliaCapitalofEurope
ConnanMockasinDoIMakeYouFeelShy?PsychedelicPop&Psychic
Gangsters
LiverpoolInternationalFestivalOfPsychedeliaPresentsPZYKVol.1
(compilationalbum)
ToView:
Musicvideosfromsongsinthetohearsection(linked)
ClipsfromJoeWells
LiverpoolInternationalFestivalofPsychedelia2013
EveryNoiseEverGenreMap:Neopsychedelic
MusicandthePsychedelicMind
(documentary)
ToHear:
TheMurlocsLoopholes
(AUS)
NightBeatsHBomb
(US)
KingGizzard&theLizardWizardHotWax
(AUS)
JaccoGardnerWatchingtheMoon
(UK)
ConnanMockasinPleaseTurnMeIntotheSnat
(NZ)
DungenSolenStigerUpp,Del1&Del2
(SWE)
LevitationRoomCrystalBall
(US)
Wherearethemainhubsofcontemporaryneopsychedelia?
Whatbandsfromourearlierclassesseemtohaveinfluencedtodays
neopsychgroups?
Howcanwecharacterizetheimageryoftheabovemusicvideos?Howdothe
aestheticthemescomparetooneanother?Howdotheycomparetoearlier
examplesfromtheoriginalpsychedelicera?
Haveanycurrentpsychbandsbeenabletoachievethesameleveloffameas
someofthoseinthe1960s?Whyorwhynot?
Accordingtothedocumentary,whatisthecurrentrelationshipbetween
psychedelicmusicanddrugculture,bothintermsoftheaudienceand
musiciansthemselves?Howdoesthiscomparetopreviousdecades?
CLASSASSIGNMENTS
ReadingResponses:
Throughoutthesemester,youwillberequiredtocomplete
3
shortresponsepapersof12pageseach.Thesepapersshouldnotonlydiscussyour
opinionofthepiecesandengagewiththeircontents,buttheyshouldalsosetoutto
answersomeofthediscussionquestionswhichwillbetterprepareyouforclass.
Youmayalsodrawfromthemusicalexamplesfromourclassplaylist,asthe
readingswilloftenspeakaboutparticularartistsorsongsdirectly.
25
PlaylistAssignment:
InadditiontotheweeklyplaylistsIhavecreatedasa
companiontothiscourse,wewillalsohaveasecondplaylistwhichwillbecompiled
throughoutthesemesterbyeveryoneintheclass.Eachweek,asmallnumberof
studentswillbeaskedtoindividuallyselectatleast
one
songfromtheappropriate
regionthatisnotalreadyonthesyllabusandwriteupashortblurbonthesonicand
lyricalqualitiesofthetrackandanyadditionalinformationaboutthebandwhen
accessible.
Onthefirstdayofclass,Iwillprovideahandoutwithlogininformationand
instructionsforpostingyourpicksonourclassblogandSpotifyaccount,aswellasa
listofinternetdatabases,books,andexistingcompilationswhichwillaidinyour
searchforsongsandinformation.Manyofthesesourcescanalsobefound
throughoutthesyllabusintherecommendedandrequiredreadings/viewings
sections.
FinalPaper:
Oneofthemainthreadsthatrunsthroughthiscourseisthefactthat
despiteeachhavinguniqueanddistinctivecharacteristics,psychedelicscenes
acrosstheglobeareofteninfluencedbyoneanotherintheirlyricalcontent,sonic
qualities,andvisualaesthetics.
Lyrically,theserecurringthemesincludesurrealistimagery,encouragementof
selfexplorationandinwardness,mindexpansion,fosteringcloserelationshipsto
thenaturalworld,andsometimessocialorpoliticalengagement.Culturally,they
includehallucinogenicdruguse,andvisually,thekindsofcolorfulswirlingshapes
andpatternsthatarereminiscentofthesedrugtakingexperiences.Musically,they
includetheuseoftraditional/nativeinstrumentsortechniques,orintersectionwith
otherparticulargenresorartists.
Forthisassignment,youarerequiredtochooseoneoftheabovethemes(oroneof
yourownwithpermission)anddoadeepcrossculturalanalysisincludingatleast
2
oftheregionalsceneswhosemusicwehavestudied.Youranalysisshouldinclude
somehistoricalandsocialcontextasitrelatetothemusicofyourchosenregions.
Youmustutilizeclassplaylistexamples,readings,andmediaviewingsinadditionto
yourownsourcedmaterials.
GradingParameters:
CLASSPARTICIPATIONANDATTENDANCE:5%
READINGRESPONSES:35%
PLAYLISTASSIGNMENT:10%
FINALPAPER:50%
WEEKLYASSIGNMENTBREAKDOWNWITHDUEDATES
Pleasedetailatleastfiveassignments,notingwhichweeksyouseethemoccurringfor
26

you.ItsacceptabletowritecontinuingworkingonAssignmentxovermultiple
classesorweeks,especially,whenyouaredealingwithlargeprojects.
WEEKONE
WeekTWO
ReadingResponse#1(GroupA),Playlist
WEEKTHREE
ReadingResponse#1(GroupB),Playlist
WEEKFOUR
WEEKFIVE
WEEKSIX
WEEKSEVEN
WEEKEIGHT
Playlist
WEEKNINE
Playlist
WEEKTEN
Playlist,FinalPaperDue
27
WORKINGBIBLIOGRAPHY(ALPHABETICALBYAUTHOR)
AGatheringofPromises:TheBattleforTexassPsychedelicMusic,fromthe13thFloor
ElevatorstotheBlackAngelsandbeyond
.n.d.Print.
Aldridge,David,andJorgFachner,eds.
MusicandAlteredStates:Consciousness,
Transcendence,Therapy,andAddictions
.Philadelphia:Kingsley,Jessica
Publishers,23Dec.2005.Print.
AssociateProfessorofHistoryEricZolov.
RefriedElvis:TheRiseoftheMexican
Counterculture
.UnitedStates:UniversityofCaliforniaPress,5July1999.
Print.
Brands,Hal.ThirdWorldPoliticsinanAgeofGlobalTurmoil:TheLatinAmerican
ChallengetoU.S.AndWesternHegemony,19651975*.
DiplomaticHistory
32.1(20Jan.2008):105138.Web.
CarrickHill,Laban.
AmericaDreaming
.N.p.:Little,1June2009.Print.
Cateforis,Theo.
.N.p.:Routledge,2007.Print.
Collins,John.
WestAfricanPopRoots
.Philadelphia:TempleUniversityPress,U.S.,1
June1992.Print.
Cope,Julian.
Krautrocksampler:OneHeadsGuidetotheGreatKosmischeMusic1968
Onwards
.3rded.London:HeadHeritage,Oct.1995.Print.
DeRogatis,Jim.
TurnonYourMind
.Milwaukee,WI:HalLeonard,31Aug.2008.Print.
Di,Jakki.
NewWeirdAmerica:FreakFolk/Psych/OutsiderMusic
.N.p.:Lulu,2015.
Print.
Douglas,Gavin.
MusicinMainlandSoutheastAsia:ExperiencingMusic,Expressing
Culture
.UnitedStates:OxfordUniversityPress,4Feb.2010.Print.
Drummond,Paul.
EyeMind
.LosAngeles,CA:ProcessMedia,1Oct.2007.Print.
Ellingham,Mark.
WorldMusicVolume2LatinandNorthAmericaCaribeanIndiaAsia
andPacifictheRoughGuide
.Ed.SimonBroughton.UnitedKingdom:Rough
Guides,19Oct.2000.Print.
Gassen,Timothy.
TheKnightsofFuzz:TheNewGarage&PsychedelicMusicExplosion
.
UnitedStates:PurpleCactusMediaProductions(Pcmp),19Aug.2014.Print.
Goddard,Michael,BenjaminHalligan,andNicolaSpelman.
Resonances:Noiseand
ContemporaryMusic
.NewYork:Bloomsbury,1June2013.Print.
Goldstein,Richard.
AnotherLittlePieceofMyHeart:MyLifeofRockandRevolutionin
the60s
.14Apr.2015.Print.
Hall,Simon.
PeaceandFreedom:TheCivilRightsandAntiwarMovementsinthe
1960s
.UnitedStates:UniversityofPennsylvaniaPress,16Aug.2006.Print.
Halliwell,Martin,andPaulHegarty.
Beyondandbefore:ProgressiveRocksincethe
1960s
.UnitedStates:ContinuumIntlPubGroup,1Aug.2011.Print.
Hern,DeborahPacini,HectorFern,andezLHoeste.
RockinLasAmericas:TheGlobal
PoliticsofRockinLatin/oAmerica
.Eds.DeborahPaciniHernandez,Hector
FernandezLHoeste,EricZolov,andezLHoeste.UnitedStates:Universityof
PittsburghPress,May2004.Print.
Hicks,Michael.
SixtiesRock:Garage,Psychedelic,andOtherSatisfactions
.United
States:UniversityofIllinoisPress,1Aug.2000.Print.
28

Jackson,AndrewGrant.
1965:TheMostRevolutionaryYearinMusic
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