Moore
Final Project Essay
6/5/19
Music as a Way to Rebel in the 1920s and 1960s
Though the “roaring” ‘20s brought higher living standards for many, fears of losing the “traditional American lifestyle” created a dark underbelly in the 1920s and later the 1960s. America entered the 1960s feeling complacent and comfortable, but the decade was soon to become rocky as a result of heightened divisions between older and younger generations over morals, values, and behaviors. In both decades, a new, disillusioned youth culture emerged to rebel against the traditions and morals of their parents, largely through music. These eras included not only new genres of music but also new styles of dance and performance. Both eras of music grew out of a reaction to divisions between “old” and “new” America, with music in the 1920s lamenting social issues while 1960s music rebelled against tradition and became an impetus for social reform for African Americans by bringing them into the mainstream.
The 1920s and 1960s both saw the rise of new genres dubbed “Devil’s music” by traditionalists and which rebelled in their lyrics, performance, and composition. In the 1920s, the new genres included swing, blues, and most famously, jazz. Fletcher Henderson and his band, tired of playing polite dance music, combined orchestral arrangement with free improvisation, thus creating a style called swing (Smoak 2003). Jazz originally grew out of African American culture and like swing, rebelled against traditional classical music. “Jazz was different because it broke the rules... It featured improvisation over traditional structure, performer over composer” (“The Devil’s Music” 2001). Jazz was seen as less refined by traditionalists, some of whom hoped that “serious” American music could be developed from it. Composers like George Gershwin attempted to bring jazz into the concert hall as concert pieces. Despite being a uniquely American genre, there were attempts to make it more “appropriate” or to suppress it.
The 60s also saw the emergence of a number of new genres and styles, but instrumentals and more traditional music still ranked high on the charts. “The early '60s produced singers like Steve Lawrence… [who] sang No. 1 songs that appealed to parents as much as they did to their children. Instrumentals--the kind parents liked--were also big” (Chrisman 2011). However, as the youth counterculture rose, so did musical embodiments of it. Rock “captured the heated spirit of the era's political movements, opposing the Vietnam War and fighting for civil rights” with its often politically-charged lyrics (Bryan 2017). However, like jazz, rock as a genre and its performance were also a form of rebellion. One of the most famous rock artists of the time was Elvis Presley, whose music, and especially his dancing, shocked audiences. Though the lyrics weren’t political, his dancing sure was provocative (“Elvis Presley…” 2017). The promiscuity, reminiscent of 1920s flappers, challenged traditional notions of sexuality. Both the 1920s and 1960s saw the rise of new genres seeking to challenge the music and moral traditions.
Part of the traditional morality that music brought into question was racial discrimination against African Americans. Songs like “Black and Blue” discussed the reality of the racism of the time: “'Cause you're black, folks think you lack / They laugh at you, and scorn you too / What did I do to be so black and blue?” (“Fats Waller...” 2001). In some cases music--namely Tin Pan Alley--deepened the racial divide, but jazz was different. White jazz musicians like Paul Whiteman, often while working with black artists, helped bring jazz to prominence, while young rebels attempted to “revolt against the old-fashioned Victorian moral codes… of their parents” by turning to African American culture and music (Barlow 2017). The 60s saw the black experience entering mainstream through Motown. “Motown played an important role in the racial integration of popular music” (Motown Records 2018). A popular Motown group, The Supremes, rose to fame with songs like “Where Did Our Love Go.” As the genre began to take shape, more and more listeners began to pay attention to it.
As similar as the 1920s and 1960s music scene was, the 20s were more about lamenting social issues than they were about urging for social change. 1920s jazz didn’t shy away from issues like racism and poverty, but lyrics often described the situation rather than urge for people to address them. “Young Woman’s Blues” by Bessie Smith describes Smith’s desire for social and sexual freedom outside of marriage: “No time to marry, no time to settle down/ I’m a young woman and I ain’t done runnin’ round/” (“Bessie Smith…” 2001). However, although she states her own desire, she neglects to urge other women to do the same. 1960s music, on the other hand, usually involved a call to action. John Lennon and the Beatles were no exception with songs like “Revolution” and “Give Peace a Chance.” Though supportive of movements for social justice, the Beatles preached restraint in “Revolution”: “You say you want a revolution / Well, you know / We all want to change the world… You tell me it's the institution / Well, you know / You better free your mind instead / But if you go carrying pictures of Chairman Mao / You ain't going to make it with anyone anyhow” (“Revolution…” 2014). The Beatles argued that resulting to more destructive or radical forms of protest was ineffective. Both the 1920s and 1960s saw artists protesting, but 1960s music focused more on urging listeners to take action themselves.
Throughout the years, music has been and continues to be a vehicle for rebellion and protest. Both the 1920s and ‘60s saw the rise of more experimental styles of music and performance like jazz and rock that challenged music traditions and created a platform to showcase the black experience, and thus the need for racial reform, into pop culture. However, the 1920s were more about lamenting social issues than the 1960s, which focused on calling listeners to action. Regardless, both decades and their music reflected a cultural divide between new and old that became a creative outlet for self-expression and protest.
The 1920s and 1960s both saw the rise of new genres dubbed “Devil’s music” by traditionalists and which rebelled in their lyrics, performance, and composition. In the 1920s, the new genres included swing, blues, and most famously, jazz. Fletcher Henderson and his band, tired of playing polite dance music, combined orchestral arrangement with free improvisation, thus creating a style called swing (Smoak 2003). Jazz originally grew out of African American culture and like swing, rebelled against traditional classical music. “Jazz was different because it broke the rules... It featured improvisation over traditional structure, performer over composer” (“The Devil’s Music” 2001). Jazz was seen as less refined by traditionalists, some of whom hoped that “serious” American music could be developed from it. Composers like George Gershwin attempted to bring jazz into the concert hall as concert pieces. Despite being a uniquely American genre, there were attempts to make it more “appropriate” or to suppress it.
The 60s also saw the emergence of a number of new genres and styles, but instrumentals and more traditional music still ranked high on the charts. “The early '60s produced singers like Steve Lawrence… [who] sang No. 1 songs that appealed to parents as much as they did to their children. Instrumentals--the kind parents liked--were also big” (Chrisman 2011). However, as the youth counterculture rose, so did musical embodiments of it. Rock “captured the heated spirit of the era's political movements, opposing the Vietnam War and fighting for civil rights” with its often politically-charged lyrics (Bryan 2017). However, like jazz, rock as a genre and its performance were also a form of rebellion. One of the most famous rock artists of the time was Elvis Presley, whose music, and especially his dancing, shocked audiences. Though the lyrics weren’t political, his dancing sure was provocative (“Elvis Presley…” 2017). The promiscuity, reminiscent of 1920s flappers, challenged traditional notions of sexuality. Both the 1920s and 1960s saw the rise of new genres seeking to challenge the music and moral traditions.
Part of the traditional morality that music brought into question was racial discrimination against African Americans. Songs like “Black and Blue” discussed the reality of the racism of the time: “'Cause you're black, folks think you lack / They laugh at you, and scorn you too / What did I do to be so black and blue?” (“Fats Waller...” 2001). In some cases music--namely Tin Pan Alley--deepened the racial divide, but jazz was different. White jazz musicians like Paul Whiteman, often while working with black artists, helped bring jazz to prominence, while young rebels attempted to “revolt against the old-fashioned Victorian moral codes… of their parents” by turning to African American culture and music (Barlow 2017). The 60s saw the black experience entering mainstream through Motown. “Motown played an important role in the racial integration of popular music” (Motown Records 2018). A popular Motown group, The Supremes, rose to fame with songs like “Where Did Our Love Go.” As the genre began to take shape, more and more listeners began to pay attention to it.
As similar as the 1920s and 1960s music scene was, the 20s were more about lamenting social issues than they were about urging for social change. 1920s jazz didn’t shy away from issues like racism and poverty, but lyrics often described the situation rather than urge for people to address them. “Young Woman’s Blues” by Bessie Smith describes Smith’s desire for social and sexual freedom outside of marriage: “No time to marry, no time to settle down/ I’m a young woman and I ain’t done runnin’ round/” (“Bessie Smith…” 2001). However, although she states her own desire, she neglects to urge other women to do the same. 1960s music, on the other hand, usually involved a call to action. John Lennon and the Beatles were no exception with songs like “Revolution” and “Give Peace a Chance.” Though supportive of movements for social justice, the Beatles preached restraint in “Revolution”: “You say you want a revolution / Well, you know / We all want to change the world… You tell me it's the institution / Well, you know / You better free your mind instead / But if you go carrying pictures of Chairman Mao / You ain't going to make it with anyone anyhow” (“Revolution…” 2014). The Beatles argued that resulting to more destructive or radical forms of protest was ineffective. Both the 1920s and 1960s saw artists protesting, but 1960s music focused more on urging listeners to take action themselves.
Throughout the years, music has been and continues to be a vehicle for rebellion and protest. Both the 1920s and ‘60s saw the rise of more experimental styles of music and performance like jazz and rock that challenged music traditions and created a platform to showcase the black experience, and thus the need for racial reform, into pop culture. However, the 1920s were more about lamenting social issues than the 1960s, which focused on calling listeners to action. Regardless, both decades and their music reflected a cultural divide between new and old that became a creative outlet for self-expression and protest.
Works Cited
Barlow, William. “Black Music On Radio During the Jazz Age.” African American Review, vol.
50, no. 4, Winter 2017, p. 934. EBSCOhost, doi:10.1353/afa.2017.0148.
“Bessie Smith – Young Woman's Blues.” Genius, Genius Media Group, 1 Feb. 2001,
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Bryan, Kelly. “1960s Music: Artists & History.” Study.com, Apr. 2017.
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Chrisman, Ed. “The ’60s.” Billboard, vol. 123, no. 7, Feb. 2011, pp. 39–40. EBSCOhost,
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“Elvis Presley - The King.” The Vast World of Dance, Sites at Penn State, 27 Jan. 2017,
sites.psu.edu/mnshermanpassion/2017/01/27/elvis-presley-the-king/.
Kennedy. Conservatism And Cultural Diversity in the 1920's. Aug. 2011,
www.iss.k12.nc.us/cms/lib4/NC01000579/Centricity/Domain/2830/1920s%20Fast%
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www.iss.k12.nc.us/cms/lib4/NC01000579/Centricity/Domain/2830/1920s%20Fast%
20Track.pdf.
“Motown Records.” New World Encyclopedia, Oct. 2018,
www.newworldencyclopedia.org/entry/Motown_Records.
www.newworldencyclopedia.org/entry/Motown_Records.
Smoak, C. L. "All that Jazz." English Teaching Forum, Apr. 2003, pp. 46-56. SIRS Government
Reporter, https://sks.sirs.com.
“Top 10 Protest Songs from the 1960s.” CultureSonar, 27 Aug. 2018,
“Top 10 Protest Songs from the 1960s.” CultureSonar, 27 Aug. 2018,
www.culturesonar.com/protest-songs-1960s/
“The Beatles (Ft. Nicky Hopkins) – Revolution.” Genius, 21 Nov. 2014,
genius.com/The-beatles-revolution-lyrics
“The Devil's Music: 1920's Jazz.” PBS, Public Broadcasting Service, Feb. 2001,
www.pbs.org/wgbh/cultureshock/beyond/jazz.html.
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