1 00:00:01,060 --> 00:00:07,640 You'll remember us talking about the big flap over Disco at the end of the 1970s. 2 00:00:07,640 --> 00:00:13,820 the disco sucks movement and the idea that so many rock and rollers just hated 3 00:00:13,820 --> 00:00:19,960 disco for, we've, we've surveyed a number of reasons why they might have hated it. 4 00:00:19,960 --> 00:00:22,410 I come down on the side of whatever some of 5 00:00:22,410 --> 00:00:25,060 the other, whatever roles some of the other elements might've played. 6 00:00:25,060 --> 00:00:26,220 I think that deep down most 7 00:00:26,220 --> 00:00:30,610 rock and rollers knew that disco ultimately threatened a 8 00:00:30,610 --> 00:00:34,280 lot of the aspects of the hippy aesthetic that 9 00:00:34,280 --> 00:00:36,030 had, had, were so central to the rock music 10 00:00:36,030 --> 00:00:38,360 that those rock bands, like they felt ]threatened by disco. 11 00:00:38,360 --> 00:00:40,690 And actually they felt really threatened because radio 12 00:00:40,690 --> 00:00:42,634 stations were changing format and that sort of thing. 13 00:00:42,634 --> 00:00:46,420 Well, the 70s the 70s turn into the 80s. 14 00:00:46,420 --> 00:00:51,530 As we go into the 80s, disco kind of falls, just the, the fad 15 00:00:51,530 --> 00:00:55,730 for disco sort of falls away. It gets absorbed into all kinds of things. 16 00:00:55,730 --> 00:00:58,510 We talk about Michael Jackson's music, and Madonna's music. 17 00:00:58,510 --> 00:01:00,940 The video starts to become about watching other people 18 00:01:00,940 --> 00:01:02,630 dance on these videos, and this kind of thing. 19 00:01:02,630 --> 00:01:10,440 But disco music, that is the idea of dancing music in a club that is you know, 20 00:01:10,440 --> 00:01:13,570 master minded or controlled by a dj who's, who's 21 00:01:13,570 --> 00:01:15,740 controlling what music is played, that doesn't go away. 22 00:01:15,740 --> 00:01:16,700 It goes off 23 00:01:16,700 --> 00:01:20,590 the mainstream it's no longer, you know, a styles, so to speak, but it's 24 00:01:20,590 --> 00:01:25,600 not, it, it, it continues to be a kind of a practice a musical practice. 25 00:01:25,600 --> 00:01:29,510 And so uh,you can if you, if, and we will in just a minute sort of 26 00:01:29,510 --> 00:01:34,110 look into how it is that disco continued, but continued as a kind of a club scene. 27 00:01:34,110 --> 00:01:36,670 In other words disco and some ways kind of went back 28 00:01:36,670 --> 00:01:41,940 underground after it emerged in the late 1970s and into the 1980s. 29 00:01:41,940 --> 00:01:47,760 Anyways some of the important scenes that we can talk about there, lead 30 00:01:47,760 --> 00:01:52,340 directly, to something that emerges in the 1990s called electronic dance music. 31 00:01:52,340 --> 00:01:55,780 Some, some aspects have electronic dance music, or sometimes called techno. 32 00:01:55,780 --> 00:01:59,260 And I could tell you back in the 90s, when I was teaching this course, 33 00:01:59,260 --> 00:02:03,350 a lot of people were telling me you know, techno is the next big thing. 34 00:02:03,350 --> 00:02:05,380 It's going to replace rock n' roll and rap. 35 00:02:05,380 --> 00:02:06,940 And it is the music of the future. 36 00:02:06,940 --> 00:02:11,260 This is the new rock n' roll. Didn't quite work out that way. 37 00:02:11,260 --> 00:02:14,160 Although it, the music, the music was quite successful. 38 00:02:14,160 --> 00:02:15,450 And the movement was quite successful. 39 00:02:15,450 --> 00:02:16,988 So let's talk a little bit about how all that. 40 00:02:16,988 --> 00:02:20,440 I'll play it out in a rather sort of a quick survey kind of way. 41 00:02:20,440 --> 00:02:22,890 The important thing to think about when you 42 00:02:22,890 --> 00:02:25,820 think about any kind of dance music is the 43 00:02:25,820 --> 00:02:32,080 job of making the dance music thing happen has to do with the DJ and like a band 44 00:02:32,080 --> 00:02:35,600 playing a live gig, playing a party or something, you've got one 45 00:02:35,600 --> 00:02:39,990 job and that job is to keep people on the dance floor dancing. 46 00:02:39,990 --> 00:02:44,300 While a band can reorganize the tune live and play different sections you 47 00:02:44,300 --> 00:02:46,850 know however they want to do depending on how they've got it worked out. 48 00:02:46,850 --> 00:02:49,880 A DJ is really a lot more restricted in a 49 00:02:49,880 --> 00:02:51,670 lot of kinds of ways because they have to depend 50 00:02:51,670 --> 00:02:54,650 on things that are already recorded or things they can 51 00:02:54,650 --> 00:02:57,240 produce in addition to the recording to keep the music going. 52 00:02:57,240 --> 00:02:58,440 So we've already talked about. 53 00:02:58,440 --> 00:03:02,010 When we're talking about the roots of hip hop, how DJs would often times 54 00:03:02,010 --> 00:03:06,520 take you know, a great sort of danceable part of a tune and have 55 00:03:06,520 --> 00:03:10,650 it on two different turntables, and just kind of use the same record on two 56 00:03:10,650 --> 00:03:14,650 turntables and just keep extending that by coming back and back and back to it. 57 00:03:14,650 --> 00:03:17,400 And now we've got the possibility that in the 90s 58 00:03:17,400 --> 00:03:21,973 people can do that digitally and so the possibilities are are 59 00:03:21,973 --> 00:03:24,020 great and multiply. 60 00:03:24,020 --> 00:03:26,810 But here, we've, we've gotta keep in mind that the DJ is the 61 00:03:26,810 --> 00:03:30,650 person who really kind of, if, if a DJ is a creative person that 62 00:03:30,650 --> 00:03:34,400 I believe they are, they're a person who takes this music and recombines 63 00:03:34,400 --> 00:03:37,460 it in interesting kinds of ways to see if, to keep the party going. 64 00:03:37,460 --> 00:03:40,170 You can be a bad DJ. That thing can fall apart. 65 00:03:40,170 --> 00:03:42,120 It can be not much fun to dance in your club. 66 00:03:42,120 --> 00:03:44,100 It takes some artistry to make it happen. 67 00:03:44,100 --> 00:03:45,960 It isn't just sitting back there and pushing the button. 68 00:03:45,960 --> 00:03:46,940 Anybody can do it. 69 00:03:46,940 --> 00:03:49,090 People think that but there's a lot of artistry involved. 70 00:03:49,090 --> 00:03:51,080 So let's take a look at some of the early 71 00:03:51,080 --> 00:03:55,520 scenes that developed at, in disco and continued along afterwards. 72 00:03:55,520 --> 00:03:57,470 Larry Levan in New York. 73 00:03:57,470 --> 00:04:02,240 was a top disco DJ at the Paradise Garage club. 74 00:04:02,240 --> 00:04:05,770 and the way that he put the music together is often 75 00:04:05,770 --> 00:04:09,570 called Garage Style coming out of the 70s and into the 1980s. 76 00:04:09,570 --> 00:04:12,570 If we go to Chicago, we get a guy by the name of Frankie Knuckles 77 00:04:12,570 --> 00:04:15,580 who worked with Larry Levan but moved to Chicago, and 78 00:04:15,580 --> 00:04:18,400 created a slightly different style, which he called House Style. 79 00:04:18,400 --> 00:04:23,690 And sometimes what he would do is not only you know, resplice the records 80 00:04:23,690 --> 00:04:28,200 together but he;d also get a drum machine and maybe a synth and add 81 00:04:28,200 --> 00:04:31,760 extra beats and stuff so that he would be able to sort of create 82 00:04:31,760 --> 00:04:35,790 ever fresh and ever new versions of tunes that had really already been recorded. 83 00:04:35,790 --> 00:04:38,850 So he would bring a lot of different kinds of things together. 84 00:04:38,850 --> 00:04:41,320 In other words, doing everything he could to take the best bits of the 85 00:04:41,320 --> 00:04:45,590 record, and extend them so that he could keep people dancing on the floor. 86 00:04:45,590 --> 00:04:49,800 In Detroit, a slightly different kind of approach developed, 87 00:04:49,800 --> 00:04:52,945 by three guys that were often called the Belleville Three. 88 00:04:52,945 --> 00:04:56,110 Belleville's actually a town in suburban Detroit area. 89 00:04:56,110 --> 00:04:59,460 Juan Atkins, Derrick May and Kevin Saunderson, they 90 00:04:59,460 --> 00:05:04,220 kind of blend together sort of p-funk kind of grooves with European 91 00:05:04,220 --> 00:05:07,100 synthesizer music like Kraftwerk and things like this. 92 00:05:07,100 --> 00:05:10,040 You get this, this kind of groovy sound but with all this 93 00:05:10,040 --> 00:05:15,570 kind of you know, futuristic, synth kind of thing going on. 94 00:05:15,570 --> 00:05:18,480 That's often thought of as the Detroit house style. 95 00:05:18,480 --> 00:05:22,140 But some people think that's really the sort of beginning of techno because 96 00:05:22,140 --> 00:05:27,280 of the emphasis on the sort of more atmospheric, synthesizer, kind of thing. 97 00:05:27,280 --> 00:05:29,320 So what starts to happen, 98 00:05:29,320 --> 00:05:34,250 in throughout the 1980s is these all night rave dance parties 99 00:05:34,250 --> 00:05:38,430 begin to develop, heavily fueled by use of the drug, Ecstasy. 100 00:05:38,430 --> 00:05:43,950 In fact in 1988 there is so much of this going on that is sometimes referred to by 101 00:05:43,950 --> 00:05:49,680 historians as the "second summer of love," a summer of raves, of Ecstasy, 102 00:05:49,680 --> 00:05:54,738 of dance music, and this whole scene throughout the 80s gets transplanted 103 00:05:54,738 --> 00:05:55,408 to the UK. 104 00:05:55,408 --> 00:05:59,040 Where UK DJs pick up on a lot of this kind of thing. 105 00:05:59,040 --> 00:06:00,580 They see what's happening in the US, they bring 106 00:06:00,580 --> 00:06:03,010 it back to their clubs, they create a scene there. 107 00:06:03,010 --> 00:06:06,040 And so it's actually in the UK that the first, you 108 00:06:06,040 --> 00:06:11,010 know, really important records start to emerge as as part of this. 109 00:06:11,010 --> 00:06:14,799 It's not just a live thing, but they're actually recordings you can purchase. 110 00:06:15,890 --> 00:06:20,080 the first U.K hit by groups like Orbital, Moby 111 00:06:20,080 --> 00:06:23,384 and Prodigy and this happens in the early 1970s or 112 00:06:23,384 --> 00:06:28,050 early 1990s I'm sorry what then happens is that the U.K. 113 00:06:28,050 --> 00:06:29,600 scene as these records start to have 114 00:06:29,600 --> 00:06:31,540 a little bit of commercial success over there. 115 00:06:31,540 --> 00:06:33,880 Sort of makes its way back to this country again. 116 00:06:33,880 --> 00:06:37,540 And we get this rave culture coming to the U.S. 117 00:06:37,540 --> 00:06:41,460 in places like New York, San Francisco, and Los Angeles. 118 00:06:41,460 --> 00:06:45,490 And we start to see by the end of the 90s hits in this country that 119 00:06:45,490 --> 00:06:50,790 are more in the electronic, dance music, techno slash techno kind of style. 120 00:06:50,790 --> 00:06:55,850 So we get for example in 1997 from The Chemical Brothers "We could Dig Your 121 00:06:55,850 --> 00:07:00,015 Own Head", number 14 on the pop charts, of course number one in the U.K. 122 00:07:00,015 --> 00:07:00,040 . 123 00:07:00,040 --> 00:07:02,585 From Prodigy we get Fat of the Land, in 124 00:07:02,585 --> 00:07:05,280 1997, number one on both sides of the Atlantic. 125 00:07:05,280 --> 00:07:10,288 And Moby's album from 1993 called Play, number one in the UK, 126 00:07:10,288 --> 00:07:12,440 number 38 in this country. 127 00:07:12,440 --> 00:07:16,450 So we really see a resurgence of Dance music. 128 00:07:16,450 --> 00:07:23,610 Dance but, but done in a way that's maybe a little less simplistic 129 00:07:23,610 --> 00:07:29,590 or pop minded than say The Twist or Saturday Night Fever, 130 00:07:29,590 --> 00:07:33,432 some of the other dance movements we've seen through the course of rock history. 131 00:07:33,432 --> 00:07:35,570 Here, these artists that I'm talking 132 00:07:35,570 --> 00:07:39,280 about, Chemical Brothers, Prodigy, Moby, they pride themselves on 133 00:07:39,280 --> 00:07:42,970 being sophisticated, not in sort of using a mechanical 134 00:07:42,970 --> 00:07:44,590 beat so that everybody can dance, but in creating 135 00:07:44,590 --> 00:07:47,660 a kind of hipper, more sophisticated kind of music. 136 00:07:47,660 --> 00:07:54,133 And so that's sort of the story, a very brief and, probably unfair 137 00:07:54,133 --> 00:07:54,150 [LAUGH] 138 00:07:54,150 --> 00:07:55,760 survey of electronic dance music. 139 00:07:55,760 --> 00:07:59,540 But it gives you some idea of other things that were going on in the 90s. 140 00:07:59,540 --> 00:08:01,600 Well, we come now to the, to the conclusion 141 00:08:01,600 --> 00:08:03,740 of the course, and the conclusion of not only part 142 00:08:03,740 --> 00:08:05,210 two but, for those of you who've been with 143 00:08:05,210 --> 00:08:08,780 me, through part one, the conclusion of the whole thing. 144 00:08:08,780 --> 00:08:11,610 And I want to leave you with a couple of parting thoughts. 145 00:08:11,610 --> 00:08:14,340 The first thing too that I want to share with you is 146 00:08:14,340 --> 00:08:21,420 the idea that, as time passes, our perception of the past changes. 147 00:08:21,420 --> 00:08:25,880 As historians, we try to be as objective and tell, tell you how things 148 00:08:25,880 --> 00:08:30,250 really were at the time, try not to be filtered by what we like now. 149 00:08:30,250 --> 00:08:34,140 so in other words, just picking out the things in the past that we like. 150 00:08:34,140 --> 00:08:37,550 we try not to be motivated by trying to change the history. 151 00:08:37,550 --> 00:08:40,980 So it reflects values that we hold now, in other words don't 152 00:08:40,980 --> 00:08:44,460 change the story because you want things in the present to change. 153 00:08:44,460 --> 00:08:46,690 We try to be as objective as we can. 154 00:08:46,690 --> 00:08:50,180 But even at that, histories change, and there are 155 00:08:50,180 --> 00:08:55,071 things called, there's an area of academic, inquiry called, 156 00:08:55,071 --> 00:09:00,020 reception, theory reception history which kind of tracks the way 157 00:09:00,020 --> 00:09:02,970 things change as the values of different societies change. 158 00:09:02,970 --> 00:09:09,130 So the story I'm telling you will probably change a bit as we move forward in time. 159 00:09:09,130 --> 00:09:11,796 Sometimes what may seem important at the 160 00:09:11,796 --> 00:09:15,048 time, that it's happening, for those of you who grew up in the 60s, 70s 161 00:09:15,048 --> 00:09:19,670 or 80s turns out to be less important than we thought it was at the time. 162 00:09:19,670 --> 00:09:23,000 And it can also turn out that things that didn't think were important at 163 00:09:23,000 --> 00:09:25,460 the time, end up being more important than we thought they were going to be. 164 00:09:25,460 --> 00:09:28,320 It takes times and historical distance for us to 165 00:09:28,320 --> 00:09:30,340 be able to figure those kinds of things out. 166 00:09:30,340 --> 00:09:33,460 History is, really does its best work when its able 167 00:09:33,460 --> 00:09:37,070 to distance itself from the actual events, and look back 168 00:09:37,070 --> 00:09:43,450 at them with with, kind of a disinterested objective kind of way. 169 00:09:43,450 --> 00:09:48,460 You can't read history pulling for the home team, pulling for your favorite band. 170 00:09:48,460 --> 00:09:51,050 You can't read history as a way of 171 00:09:51,050 --> 00:09:54,260 justifying or validating your own personal taste in music. 172 00:09:54,260 --> 00:09:56,310 You have to be objective about it. 173 00:09:56,310 --> 00:09:57,950 And so, when we talk about the 1990s, 174 00:09:57,950 --> 00:10:02,850 it's more difficult than any of the other lectures 175 00:10:02,850 --> 00:10:04,640 that we've had up to this point because 176 00:10:04,640 --> 00:10:09,020 the dust hasn't completely settled on the 1990s. 177 00:10:09,020 --> 00:10:12,230 we don't, we're not really sure whether the things 178 00:10:12,230 --> 00:10:13,980 we think are important now will end up sort of 179 00:10:13,980 --> 00:10:16,820 shaking out once we have a little bit more 180 00:10:16,820 --> 00:10:19,300 distance away from it as really being the important things. 181 00:10:19,300 --> 00:10:22,830 I think most of what what I'm telling you in 182 00:10:22,830 --> 00:10:26,280 these videos this week is probably going to remain pretty consistent. 183 00:10:26,280 --> 00:10:27,860 I have to say, I've been saying this 184 00:10:27,860 --> 00:10:31,020 for ten years, and it's easier now to talk about the 90s than it 185 00:10:31,020 --> 00:10:35,310 was ten years ago, when we're only a few years out of the 1990s. 186 00:10:35,310 --> 00:10:38,420 getting into the period after the year 2000. 187 00:10:38,420 --> 00:10:42,340 that's really all still happening so that's not really history and 188 00:10:42,340 --> 00:10:44,900 it's very difficult to tell how all that's going to shake out. 189 00:10:44,900 --> 00:10:47,520 At any rate I want to thank you 190 00:10:47,520 --> 00:10:50,580 for for sticking with me through the entire course. 191 00:10:50,580 --> 00:10:53,410 If you're just if you just been here with me 192 00:10:53,410 --> 00:10:56,630 through part two I thank you very much for your attention. 193 00:10:56,630 --> 00:10:58,580 and for being a part of the course in part two. 194 00:10:58,580 --> 00:11:01,635 If your somebody who started with me in part one and now your adding part 195 00:11:01,635 --> 00:11:04,020 two, thanks for the thanks, thanks for sticking 196 00:11:04,020 --> 00:11:05,780 with me with both parts of the course. 197 00:11:05,780 --> 00:11:12,268 For those of you who haven't had part one yet, that course will be offered again 198 00:11:12,268 --> 00:11:20,234 very shortly again on Coursera, 199 00:11:20,234 --> 00:11:25,136 thank you very much.