Download Having Breakfast with Janis and Kurt “And those who were seen

Having Breakfast with Janis and Kurt
“And those who were seen dancing were thought to be insane by those who could not
hear the music” Friedrich Nietzsche. Music played a major role in both the 1960’s and the
1990’s. With each of these decades new trends have been developed along with conflict and
peace. Americans today choose whether to grow with this change or reminisce back to these lost,
but not forgotten decades in time. In this compare and contrast essay you will see the comparison
of two decades determined by war, yet molded by their music. The sixties had the cold war, and
by the nineties America was able to view it in their rear view mirrors. There are many
associations to be made from the sixties and the nineties. Music influenced both the sixties and
the nineties through musical integration, segregation, and sexual revolution’s.
To begin with Musical integration was a major stepping stone in both the 60’s and the
90’s. One of the most notorious of these was the British invaders of the sixties as well as a few in
the nineties. This is evident through the progression of British rock from the Elvis Presley
imitators, to The Beatles, The Who, The Rolling Stones, and all other British groups that ruled
the US record charts in 1964-1966 (“Perone, James”). Perone classifies the British invaders in
two different ways, the mods and the rockers. The rockers were associated with motorcycles,
black leather pants and their musical tastes ran to white American rock and rollers, such as Elvis
Presley, Gene Vincent, and Eddie Cochran (“Perone, James”). By contrast the mods made a
conscious attempt to appear new “modern”, with motor scooters and suits, musically they
favored modern jazz, Jamaican music, and African American R&B (Perone). The rockers of the
60’s included artist such as The Rolling Stones, The Doors and many more; while the mods
included artist such as The Beatles and Bob Dylan. Although economics and class played a role
in driving the young musicians who would become part of the British invasion of the united
states in 1964 and 1965, it was what these musicians inherited from American music and from
the British stars of the 1950’s, and especially how they took those resources and adapted them,
that ultimately made an impact in America (Perone). The British Invasion help integrate British
Rock and rollers, the mods and Rockers alike, and gave America a chance to experience culture
and diversity throughout their music, no matter what side you were on.
Furthermore British integration wasn’t as strongly recognized in the nineties. The mods
and rockers metaphor still describes the different genres of that time. The rockers of this decade
included artists like The Sex Pistols, Red Hot Chili Peppers, and Nirvana. The mods would have
been artist such as blind melon, Sublime, and Oasis. Bands like Sublime and The Beatles have a
lot of similarities even though they were from very different decades. One is deep roots in soul
and sixties hard rock, the connection is evident in the reaffirmation of the basic rock band; a
guitar or two, bass, and drums (Campbell). The Beatles music was timeless and seemingly an
overnight success story. Their music always seemed to have a direct message that hooked the
listeners and made loyal fans that would continue to appreciate songs to come. This was also true
for sublime in the 1990’s. Their music was influenced greatly by life experiences, making them
direct and memorable. One of the greatest achievements of the 60’s and 90’s was their ability to
integrate British Rock, R&B and Beach Music into attractive ageless masterpieces that would be
treasured for future decades.
As well as integration, Segregation would play a major role in both decades. The 60’s
were a time of turbulence; the civil rights movement would play a major role in their musical
influence as well as that of the 1990’s. Throughout the sixties, the changing phases of popular
music did coincide uncannily with changing political moods (Dudley). In 1959 Berry Gordon,
the founder of Motown conceived of a new black pop sound that would cross racial boundaries
and become as popular with whites as it was with blacks (Campbell). Motown included
performers such as the Supremes, Stevie wonder, Marvin Gaye, Gladys knight, and Jackson 5.
By 1964 Gordon had succeeded and made his dream a reality not only were the featured artist of
Motown accepted by all races, their songs were soaring to the top of the charts.
Also, in 1966 the National Organization for women (NOW) was formed. One of NOW’s
main purposes was the enforcement of the 1964 Civil Rights Act that banned discrimination
based on race and sex (Dudley). A younger generation of women-veterans of the civil rights and
antiwar movements of the sixties- formed a more radical “women’s liberation” movement
consisting of small groups rather than a national organization such as now. This in turn would
ultimately affect the music. Younger feminists protested directly through their music by making
bold statements, such as Janis Joplin’s song “Women is Losers” as well as Tina turner’s “A
Woman in a Man’s world”. Janis and Tina, the rocker and the R&B sensation, would each pave
the way for other female artist in following decades. In contrast, there would also be subtle
attempts to bridging these sexist gaps. The popular 1960’s Walt Disney movie Mary Poppins
also would reveal its own feministic twist. “We're clearly soldiers in petty coats, Dauntless
crusaders for women's votes, though we adore men individually, we agree that as a group they're
rather stupid” sings Julie Andrews, The cheeky new nanny at the Banks house. The sixties would
prove to be a time of protest and speaking up for women and blacks alike, by bridging the gaps
of segregation.
Moreover, the civil rights movements and feminist movements of the sixties significantly
changed the fate of the nineties. With each movement however you still have racial and gender
barriers, specifically in music. Although many African Americans became successful musical
artists, there were still the racial issues among certain people. For it comes directly out of the
long history of the racial oppression of Africans and African Americans in this country,
beginning with slavery, passing through the postbellum years of legal segregation and other racerestricting social codes, and continuing in the present forms of discrimination that still deny
millions of black people equal access to the promise of America (“Kallen”). In 1990 Melba
Moore would release a remake of the song “lift every voice and sing” the song would address the
topic of freedom amongst African Americans. Even though there were still issues dealing with
racial segregation, the nineties introduced cherished artists such as Michael Jackson, Whitney
Houston, and Genuwine.
As well as racial segregation, woman still had hurtles they would have to climb. For
decades female artist were viewed second to man. Record labels wouldn’t up play there
achievement’s in any way. Radio stations would not play two woman’s songs in a row, and many
had little faith in all girl festivals. Well, this theory would be put to the test in 1997. Sarah
McLachlan proved that woman rock shows could draw huge crowds (Kallen). It turns out, “Lilith
grossed 16 million in thirty-eight shows, nearly doubling the take of the male dominated
Lollapalooza” (Los Angeles Times, Robert Hilburn). Over the decades it’s apparent that the
sixties pushed the civil movements, making it possible for black and white, men and women to
thrive in the music business, but it is the musical innovators of each decade that keep it going.
Equally important, Music In the sixties was influenced greatly by “Free Love”. This
revolution would be best known as The Sexual Revolution. Youth that came of age in the 1960sespecially hippies and other adherents of the 1960s counterculture-were at the forefront of the
sexual revolution and its questioning of traditional sexual values (Terry H. Anderson). The
sexual revolution had a direct effect on the music of the sixties; it gave birth to not only new
social standards it made artist like Janis Joplin, The rolling stones and Jim Morrison possible.
Bacchantic rock stars like Janis Joplin sang with a raw, sexual urgency, and at a Miami concert
Jim Morrison of the Doors enticed female “groupies” by exposing himself (Dudley). This
revolution was all about sexual expression, brought on by the birth control pill. “Let’s spend a
night together” wailed the Rolling stones, while Janis Joplin advised her sisters to “get it while
you can” (Terry H. Anderson).
In retrospect, Young people of the sixties were constantly seeking a since of belonging,
they lived in constant fear of being drafted. The sexual revolution would help to make them feel
unified, and in control of at least one aspect of their life’s. This undeniable unity would be the
creation of one of the most historical events in musical history. Known by the slogan “Make
love, not war”, there was Woodstock. “There weren’t any posters or rallies; it all came out
through the music. Hundreds of thousands of draft-aged people facing a war that seemed endless.
The festival gave them hope” (Jason Laure). Most would say the sexual revolution was
corruption and the beginning of an era. However in all reality, it was the end, and Woodstock
would prove to be the musical artist and youth of the sixties biggest protest yet, Peace.
In comparison, the nineties did not have “Sexual Revolution” per say, they had an
“Alternative” movement. The nineties weren’t about free love or peace but they were about a
new form of unity. Alternative culture in this country began as an attempt to get the truth a
beauty beneath the polished surfaces of American mainstream thought and art (Kallen, Stuart).
The youth of this decade were greatly influenced by their music; they idolized rockers such as
Kurt Cobain of the notorious band Nirvana. Band members with piercings, tattoos, ripped jeans
and bad attitudes of the nineties would set the trend for future generations to come. Just like the
teenagers of the sixties they would rebel against the ways of the elders to make a statement,
Smells a lot like teen spirit.
Still, the nineties were the generation where the youth decided that everything was not as
good as it seemed. “The rise of Nirvana and the suicide of the bands leader, Kurt Cobain, was the
music story of the decade. Cobain’s antiestablishment attitude and complete rejection of
American society ironically made him and overnight success worth tens of millions of dollars.
Cobain attempted to kill his mental anguish with heroin, and when that no longer worked; he
killed himself with a shotgun” (Rolling Stones). The nineties were comparable to the sixties
because both were unified by their music and both would change history through their music.
However, it is hard to remain optimistic when discussing the nineties music. Unlike the sixties
ending in the peace and unity at Woodstock, the nineties would end in separation heartache
through the death of Kurt Cobain.
In summary, the music of these decades has affected Americans in so many ways, but in
turn the music was even more so affected by America. Our music throughout these decades is
proof of our ability as Americans to grow and flourish. It is also in some cases everlasting
evidence of our weaknesses as a whole. Segregation and integration are still issues today, despite
past struggles. Likewise, Artists like Kurt Cobain and Janis Joplin will always be known
throughout history as the musical trendsetters of the nineties and the sixties. There are many
differences in both decades, but with each there is love, unity, destruction and peace.