The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s

Kauppila, Paul

doi:10.1080/03007760500105198

Cited by 4 publications

(1 citation statement)

References 12 publications

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“…Male fans instead expressed their admiration by growing their hair out like the group's and buying instruments to start their own band. As Paul Kauppila (2005) states, "Virtually all garage band musicians [in the US] were young men, and the hysterical reaction of young women to the music of the Beatles did not escape their notice" (391; 402). This assumed division of labor among Beatles fans mirrored heteronormative assumptions about how young men and women were "supposed to" respond, not just in the US, but presumably in any country where the group was popular.…”

Section: Girls With Guitars: From Beatlemaniacs To Beat Bandmatesmentioning

confidence: 98%

From Beatles Fans to Beat Groups

Feldman-Barrett

2013

Feminist Media Studies

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While much is written about the cultural influence of the vocalist-driven girl groups and female singers of the early-to-mid-1960s, an air of mystery continues to shroud this era's all-girl rock bands-in the UK, US, and worldwide-that performed, recorded, and often wrote their own material. Influenced by the Beatles and the British beat boom that followed, these bands are an important missing link in rock music history, as they epitomize a less overtly gendered, if shortlived, period of the genre. In an era between Betty Friedan's 1963 Feminine Mystique and the changes to come with 1970s second-wave feminism, a handful of musically minded young women were determined to transform their Beatles fandom in order to become co-creators of what was not yet a resolutely masculinist music scene.

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Section: Girls With Guitars: From Beatlemaniacs To Beat Bandmatesmentioning

confidence: 98%

From Beatles Fans to Beat Groups

Feldman-Barrett

2013

Feminist Media Studies

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From Psychotic to Psychedelic: The Garage Contribution to Psychedelia

Johnson¹,

Stax²

2006

Popular Music and Society

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This paper examines the influence, musical characteristics, and lyrical themes of garage psych songs recorded between 1965 and 1967. Through an examination of key garage psych songs, we determine that the musical and technological innovations of the late garage era resulted in the production of two types of psychedelic garage songs. These two types of song differ in how they frame the psychedelic experience for their listeners.Nineteen-sixty-seven roughly marks the transition point between garage rock and psychedelic or acid rock. The transition from garage rock to psychedelic rock was gradual and early psychedelic songs shared important elements with garage rock (Hicks 61; Joynson 3-7). The period of overlap between these two genres is the subject of this essay. Just as music historians and fans have traced the links between garage and punk, we examine the relationship between garage and psychedelic. Through an examination of key garage psych songs, broadly defined to include songs about and inspired by psychedelic experience, we determine that the musical and technological innovations of the late garage era resulted in the production of two types of psychedelic song. One of these types employs the available technology to create songs emphasizing the mystical and mind-expanding potential of psychedelic experience. This tradition was continued in the more popular psychedelic music of 1968 and beyond. The other type of song employs the available technology to suggest that the psychedelic experience is one of psychosis. This type of song saw less commercial success at the time, though it has received much attention from collectors and garage fans in the years since the 1960s.Some of the earliest garage band recordings about or influenced by LSD have not been readily available for study. Many garage bands were one-hit or no-hit wonders whose songs were released on singles by small independent record labels with limited local distribution. Consequently the large majority of these works have been known only to specialized record collectors. Since the end of the garage era, record collectors, disc jockeys, and re-issue labels have made many previously obscure songs available

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Latinos in the Garage: A Genealogical Examination of the Latino/a Presence and Influence in Garage Rock (and Rock and Pop Music)1

Avant-Mier¹

2008

Popular Music and Society

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The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s

Cited by 4 publications

References 12 publications

From Beatles Fans to Beat Groups

From Beatles Fans to Beat Groups

From Psychotic to Psychedelic: The Garage Contribution to Psychedelia

Latinos in the Garage: A Genealogical Examination of the Latino/a Presence and Influence in Garage Rock (and Rock and Pop Music)1

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