Politically Influential Music of the 1960s

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Summary

Folk Music

Origins

Causal Factors:

The 1960's were a time of significant change in America, a rebellion against the more traditional ways of the past--a rebellion that was uniquely reflected in and influenced by the emergent folk music of the decade. The resurgence of folk music popularity during the 1960's in this social context is both paradoxical and logical. While musicians strove to maintain a strong connection with traditional American musical structures, they also used their music as a tool to promote the revolutionary ideas that were being discussed among a generation of well-educated youth.
Some of the developments of the folk music movement can be traced back to the 1950's. With the threat of a nuclear war lurking in the back of American consciousness, the government was forced to present an image of unity in the face of Russian opposition, leading to "a dull brown fog of conformity that had hung over the Eisenhower years." [1] The events that occurred in 1960 set an ominous tone for the decade: the constant threat of nuclear annihilation posed by brinksmanship, the U2 incident, and the growing unresolved racial tensions. Such events indicated to some Americans that blind obedience and conformity to the government would not suffice to eliminate the chaos and turmoil of the age.
From this climate arose the folk music movement: a movement composed of "a left-leaning assemblage of mystic ramblers [and] freethinkers" seeking a rebellion with "its roots firmly planted in causes, from political and racial freedom to the freedom just to ramble." [2] Folk musicians became the intellectual literary leaders of their era and attempted to express their desperate idealism and frustration with authority through music.
The resurgence of folk music's popularity occurred from 1960 to 1963, a period that coincides almost perfectly with President Kennedy's term of office. The folk music movement followed the same trends set by Kennedy in his inauguration speech and his New Frontier: pursuit of democracy and freedom (ideally through peaceful means), protection of essential human rights, a turnover in power to a younger group of leaders, and a sense of entitlement that carried over to the newly empowered youth of the 1960's. Folk music became a highly influential form of intellectual expression-- "Never before, or since, has the common denominator of a popular art form been raised to such elitist levels." [3]

Chronology

  • 1958: Kingston Trio releases "Tom Dooley" [4]
  • 1961: Joan Baez releases "Joan Baez, Vol. 2" [5]
  • 1962: Bob Dylan releases "Bob Dylan" [6]
    Pete Seeger releases "The Bitter and The Sweet", which contains the folk anthem Where Have All the Flowers Gone? [7]
    Peter, Paul and Mary release "Peter, Paul and Mary" [8]
  • 1963: Bob Dylan releases "The Freewheelin' Bob Dylan" [9]
    Dylan refuses to appear on The Ed Sullivan Show when he was prohibited from performing "Talkin' John Birch Paranoid Blues" [10]
    Peter, Paul and Mary release "Moving" and "In the Wind" [11]
  • 1964: Bob Dylan releases "The Times They Are A'Changin'" and "Another Side of Bob Dylan" [12]
    During the week of April 4, The Beatles hold top five spots on Billboard's singles chart [13]
    Joan Baez releases "Joan Baez in San Francisco" [14]
    Simon and Garfunkel release "Wednesday Morning, 3 A.M." [15]
  • 1965: Bob Dylan releases "Bringing It All Back Home" [16], his first recording with electric instruments
    Joan Baez launches "Farewell, Angelina" [17]
    Pete Seeger hosts a television show, Rainbow Quest, devoted to showcasing folk music
    Bob Dylan releases "Highway 61 Revisited" [18]
    Peter, Paul and Mary release "A Song Will Rise" and "See What Tomorrow Brings" [19]
  • 1966: Simon and Garfunkel's single Sounds of Silence reaches number one on the pop charts [20]
    Simon and Garfunkel release "Sounds of Silence"
    Simon and Garfunkel release "Parsley, Sage, Rosemary and Thyme" [21]
    Bob Dylan Releases "Blonde on Blonde" [22]
  • 1967: Peter, Paul and Mary release "Album 1700" [23]
  • 1968: Simon and Garfunkel release the soundtrack to The Graduate
    Simon and Garfunkel release "Wednesday Morning, 3 A.M." [24]
  • 1969: Peter, Paul and Mary release "Peter, Paul and Mommy" [25]
  • 1970: Simon and Garfunkel release their last album as a duo, "Bridge Over Troubled Water" [26]
    Bob Dylan releases "New Morning" [27]

Significant People:

Bob Dylan

bob_dylan.jpg
You better start swimmin' or you'll sink like a stone,

For the times, they are a-changing [28]

http://www.youtube.com/watch?v=wgECKj9LSH4&feature=related

After a high-school stint in a rock & roll band in his home state of Minnesota, he grew fascinated with folk music and the coffeehouse protest scene. Dylan dreamt of going to Greenwich Village in New York, the "folkies' mecca" to follow in the footsteps of his idol, Woody Guthrie. [29] In 1961, after dropping out of college, Dylan arrived in New York City, where he lived with folk musician Dave Van Ronk and his wife, Terri, who landed him his first paid gig. [30] Dylan described his early repertoire as "hard-core folk songs backed by incessantly loud strumming [...] There were a lot of better singers and better musicians around these places but there wasn't anybody close in nature to what I was doing." [31] He was signed to Columbia records and released his first album in 1962. [32] Unfazed by the limited success of Bob Dylan, he recorded another album--one that marked his emergence as a writer. The Freewheelin' Bob Dylan provided the growing protest movement with a youthful anthem (Blowin' In The Wind), a pacifistic warning "against Eisenhower's military-industrial complex" (Masters of War) [33], a love song (Girl Of The North Country), a heartbroken tale of rejection (Don't Think Twice, It's All Right), and an eerie premonition (A Hard Rain's A-Gonna Fall). [34] The album marked the beginning of a new era in popular folk music: a liberation from formalized rigidity, while still maintaining a strong connection with tradition. The music appealed to rebellious liberal leftist intellectuals who were striving to make sense of the chaos that raged throughout their world at the time. For the youthful generation that was "questioning with unparalleled ferocity that supposed purity of their authority figures [...] Dylan became a role model, a mouthpiece, a poet laureate. Suddenly poetry became commercial" and captured the sympathy of a new, educated generation ready to break away from the established society. [35]

Simon and Garfunkel

SimonGarfunkelL.jpg
And the vision that was planted in my brain still remains,

Within the sound of silence [36]

http://www.youtube.com/watch?v=eZGWQauQOAQ

Paul Simon and Art Garfunkel first began their collaborative career as Tom and Jerry with the moderately successful single Hey, Schoolgirl in 1957, a track that brought the teenagers onto American Bandstand. [37] In the early 60's, however, Simon began composing songs that gravitated towards the sounds and messages of the burgeoning folk genre. The resultant album, Wednesday Morning, 3 A.M., contained three songs that "reeked of folk music": "Last Night I Had the Strangest Dreams", "You Can Tell the World", "He Was My Brother", and a cover of Bob Dylan's "The Times They Are a-Changin'". [38] The album highlighted the sentiments of the younger, restless, rebellious generation--idealistic pacifistic dreams that "the world had all agreed to put an end to war" [39] and frustration with the repression of those who "hated what was wrong [and] died so [their] brothers could be free". [40] Simon and Garfunkel grew more popular upon release of their album Sounds of Silence. The title track, along with various other songs on the album, captivated the youth striving to make sense of the world around them--the contradiction between the false facade of peace and conformity imposed during the 1950's and the political chaos and racial turmoil openly unfolding. The album dealt with the alienation of "most young white middle-class Americans at the turning point of the sixties" . [41] Simon and Garfunkel captured the growing sense of youthful dissatisfaction and rebellion against the silent mass conformity of the 1950's that "no one dared disturb." [42]

Peter, Paul and Mary

B000002LLM.01._SCLZZZZZZZ_.jpg
It's the hammer of Justice; it's the bell of Freedom

It's the song about Love between my brothers and sisters [43]

http://www.youtube.com/watch?v=hiMve1ggjnI
Though considered by some to be a "commercial folk act", Peter, Paul and Mary arguably became one of the most well-known folk-singing groups of the 1960's [44] The group was created and managed by Albert Grossman and began with a debut in Greenwich Village. [45] Throughout their albums, they maintained a consistent style: complex harmonies accompanying traditional finger-style folk guitar, with lyrics that emphasize love, respect, freedom, human rights, and unity. The bittersweet idealism of Peter, Paul and Mary corresponds with the messages propagated at the turn of the decade by President Kennedy.
Because all men are brothers wherever men may be/ One Union shall unite us forever proud and free/ No tyrant shall defeat us, no nation strike us down/ All men who toil shall greet us the whole wide world around. [46]
-Peter, Paul and Mary
Because All Men Are Brothers

Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, in order to assure the survival and the success of liberty. [47]
-John F. Kennedy

Pete Seeger

pete-seeger.jpg
Where have all the flowers gone? [48]
http://www.youtube.com/watch?v=RhlOJm9nkwM

Pete Seeger began influencing American folk music in the early 1950's. As a victim of the Hollywood Blacklist spurred by McCarthyism and Cold War national sentiments, his early career was hampered. However, at the turn of the decade, the shift in power to a younger group of leaders--exemplified by President Kennedy--and a growing rebellion against the strict conformity enforced in the 1950's enabled Seeger to re-emerge as a pioneer of protest folk music. Though often recorded by other artists, Seeger wrote many songs that have now become folk standards: If I Had a Hammer, Where Have All the Flowers Gone, Turn! Turn! Turn!, and On Top of Old Smoky. [49]










Joan Baez

dkramer_Bob%20Dylan%20and%20Joan%20Baez.jpg
Show me the country where the bombs had to fall

Show me the ruins of the buildings once so tall [50]

http://www.youtube.com/watch?v=tfKclOiR_9s

Before beginning her career as a folk singer, Joan Baez was a prominent figure in the civil rights movement and "a favorite of the intelligentsia stationed in Cambridge and Berkeley". He career was launched by her sister at the 1959 Newport Folk Festival. She became one of the first of a new generation of folksingers to wrest control of the folk genre and use to help achieve social and political goals. [51] Baez emerged at the forefront of the folk revival of the 1960's, and she used her fame to introduce the American public to Bob Dylan (with whom she eventually became romantically involved). Baez' performance at the 1969 Woodstock music festival gave her a substantial podium from which she could promote her humanitarian and social goals and her political agenda. [52] Like most other folk musicians of the decade, Baez was committed to astute social critique of America, a "country where the bombs had to fall" as well as spreading a message of racial peace (as evidenced by her song, We Shall Overcome) and political harmony. [53].

Outcomes/Long Term Effects on U.S. Culture:

As the 1960's dragged on and the promises made in the early years remained unfulfilled, the cultural and musical climate changed. The "hippie fringe got politicized, the black influence became profound and the streets seethed with incense and injustice". [54] The idealism and hope of the early 1960's eventually turned to frustration as the old goals were proven to be nothing more than pipe dreams. The hippies grew older and eventually became the mainstream. The war in Vietnam was lost; the war for total racial equality was lost; the heroic musicians crumbled under the influence of heavy drug. Folk music drained from the cultural scene and was replaced by rock music.

Rock and Roll

Origins and Goals

  • Social unrest due to Vietnam War
  • Need to challenge to the status quo enforced during the 1950's
  • Unfulfilled promises from the Kennedy Administration
  • Unstable foreign relations with left-over Cold War sentiments
  • Later in the era, experimentation in psychedelic drugs

Chronology:

  • 1962: The Beach Boys (initially named “The Pendletones”) form in California and release their first album, “Surfin’ Safari/ Surfin’ U.S.A.” [55]
  • 1963: The Beach Boys release “Little Deuce Coupe/ All Summer Long” and Surfer Girl/ Shut Down Vol. 2” [56]
  • 1964: The British Invasion begins in the U.S. with the entry of The Beatles [57], The Beatles released “A Hard Day’s Night”[58], The Beach Boys release “Summer Days (And Summer Nights” [59]
  • 1965: The Rolling Stones release their first album, “The Rolling Stones, Now!”[60], The Beatles released “Rubber Soul” and “Help!” [61], The Byrds release hit singles “Turn! Turn! Turn!” and “Mr. Tambourine Man” [62]
  • 1966: The Rolling Stones release their drug-induced psychedelic album, “Their Satanic Majesties Request”[63], The Beatles released an equally drug-influenced album, “Revolver” [64], The Beach Boys release “Pet Sounds”[65], The Who releases three albums: “A Quick One,” “My Generation: Deluxe Edition,” and “The Who Sings My Generation” [66], TV-invented band, The Monkees, release their first self-titled album. [67]
  • 1967: The Beatles release smash-hit albums “Sgt. Pepper’s Lonely Hearts Club Band” and “Magical Mystery Tour”[68], The Beach Boys release “Smiley Smile”[69], The Who releases “The Who Sells Out” [70], Jimi Hendrix releases his British Top 40 albums “Are You Experienced?” and “Axis: Bold As Love” [71], The Monkees release “More of the Monkees,” “Headquarters,” and “Pisces, Aquarius, Capricorn and Jones Ltd.”. [72]
  • 1968: The Beatles release “The White Album”[73], The Beach Boys release “Friends”[74], The Who releases “Magic Bus” [75], Hendrix releases “Electric Ladyland” [76]
  • 1969: The Beatles release “Abbey Road,” the album whose title shares that of the Beatles’ famed recording studio in England[77], The Beach Boys release an exceedingly unpopular album, “20/20”[78], The Who releases their wildly successful first rock opera, “Tommy” [79]
  • 1970: The Beatles release “Let It Be”[80], The Beach Boys release “Sunflower”, Badfinger, protégé of Apple Records and Beatle Paul McCartney, releases albums “Magic Christian Music” and “No Dice” [81], Hendrix releases “Band of Gypsys” [82]
  • 1971: The Beach Boys release “Surf’s Up”[83], The Who releases “Meaty Beaty Big And Bouncy” and “Who’s Next”[84]
  • 1972: The Rolling Stones release “Exile on Main St.”[85], The Eagles enter into the music scene, release their first self-titled album. [86]
  • 1973: The Who releases their second rock opera about the dispute between the English Mods and Rockers mixed with schizophrenia, “Quadrophenia”[87], The Eagles release “Desperado” [88]

Significant People:

The Beatles

George Harrison, John Lennon, Paul McCartney, and Ringo Starr became instant legends in the U.S. during the 1960’s era of British Invasion. The band could do no wrong, it seemed, churning out Billboard Top 40 albums regularly. [89] The Beatles indeed are a musical and social revolution unto themselves. Hundreds of thousands of teenaged girls both in the band’s home country of England and Stateside were infected with what was referred to as “Beatle Mania.” Appearing multiple times on American Television on the Ed Sullivan Show cemented the group’s place in American pop culture. [90] The reaction to the four boys from Liverpool was unprecedented, and psychologists even went as far as to analyze the symptoms and causes of “Beatle Mania.” [91] However, as the socio-political atmosphere of the United States changed during the tumultuous late 60’s, the Beatles’ music turned from clean-cut pop albums like “Hard Day’s Night” to the anti-war and drug-influenced later albums such as “Magical Mystery Tour.”

the-beatles.jpg
You say you want a revolution / Well you know / We all want to change the world
http://www.youtube.com/watch?v=87yq372R4Ts

The Rolling Stones

TheRollingStones_resize.jpg
War, children, it's just a shot away / It's just a shot away
http://www.youtube.com/watch?v=LJMnES7WoT4&feature=related


The Beach Boys

the_beach_boys-surfer_girl.jpg
If everybody had an ocean / Across the USA /

Then everybody'd be surfin' / Like Californ-i-a

http://www.youtube.com/watch?v=f8SmoESEgKg

The Who

TheWho2.jpg
And the world looks just the same

/ And history ain't changed / 'Cause the banners, they were all flown in the last war

http://www.youtube.com/watch?v=Rp6-wG5LLqE




Jimi Hendrix

Jimi-Hendrix-Axis-Bold-As-Love-421804.jpg
Purple haze all in my eyes, uhh / Don't know if its day or night

/ You got me blowin', blowin' my mind / Is it tomorrow, or just the end of time?

http://www.youtube.com/watch?v=cnFSaqFzSO8

Outcomes/Long Term Effects on U.S. Culture:

References:

  1. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 15.
  2. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 17.
  3. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 60.
  4. ↑ "The Kingston Trio". The Kingston Trio . 22 Aug. 2005. 1 Sept. 2008 <http://www.kingstontrio.com/content/the_trio1.htm>.
  5. ↑ "Joan Baez: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/joanbaez/discography>.
  6. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  7. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart and Winston, 1984.
  8. ↑ "Peter, Paul and Mary: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/peterpaulandmary/discography>.
  9. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  10. ↑ Simon, Ron. "The Ed Sullivan Show". The Museum of Broadcast Communications . 29 Nov. 2007. 2 Sept. 2008 <http://www.museum.tv/archives/etv/E/htmlE/edsullivans/edsullivans.htm>.
  11. ↑ "Peter, Paul and Mary: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/peterpaulandmary/discography>.
  12. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  13. ↑ "Worldwide Charts." The Beatles' Record Sales . 2005. 1 Sept. 2008 <http://www.spiritus-temporis.com/the-beatles-record-sales,-worldwide-charts/worldwide-charts.html>.
  14. ↑ "Joan Baez: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/joanbaez/discography>.
  15. ↑ "Simon and Garfunkel: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/simonandgarfunkel/discography>.
  16. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  17. ↑ "Joan Baez: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/joanbaez/discography>.
  18. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  19. ↑ "Peter, Paul and Mary: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/peterpaulandmary/discography>.
  20. ↑ "Number One Hits: 1966". The Menzies Era . 2 Sept. 2008. 2 Sept. 2008 <http://www.menziesera.com/number_1_hits/1966.shtml>.
  21. ↑ "Simon and Garfunkel: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/simonandgarfunkel/discography>.
  22. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  23. ↑ "Peter, Paul and Mary: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/peterpaulandmary/discography>.
  24. ↑ "Simon and Garfunkel: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/simonandgarfunkel/discography>.
  25. ↑ "Peter, Paul and Mary: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/peterpaulandmary/discography>.
  26. ↑ "Simon and Garfunkel: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/simonandgarfunkel/discography>.
  27. ↑ "Bob Dylan: Discography". Rolling Stone . 2008. 28 Aug. 2008 <http://www.rollingstone.com/artists/bobdylan/discography>.
  28. ↑ http://judithpordon.tripod.com/
  29. ↑ Pascall, Jeremy. The Illustrated History of Rock Music . New York: Galahad Books, 1978. 132.
  30. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart and Winston, 1984. 23.
  31. ↑ Dylan, Bob. Chronicles . New York: Simon and Schuster, 2004. 17.
  32. ↑ Pascall, Jeremy. The Illustrated History of Rock Music . New York: Galahad Books, 1978. 132.
  33. ↑ Gundersen, Edna. "Dylan is positively on top of his game." USA Today . 10 Sept. 2001. 28 Aug. 2008 <http://www.usatoday.com/life/music/2001-09-10-bob-dylan.htm#more>.
  34. ↑ Pascall, Jeremy. The Illustrated History of Rock Music . New York: Galahad Books, 1978. 133.
  35. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart and Winston, 1984. 25.
  36. ↑ http://www.esalen.org/artscenter/home.html
  37. ↑ "AB-87: Tom & Jerry (Paul Simon and Art Garfunkel)". American Bandstand . 2008. 28 Aug. 2008 <http://www.tv.com/american-bandstand/ab-87-tom-and-jerry-paul-simon-and-art-garfunkel/episode/93469/summary.html>.
  38. ↑ Pollock, Bruce. When The Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1984. 67.
  39. ↑ Simon and Garfunkel. Last Night I Had the Strangest Dreams . Rec. Mar. 1964. Tom Wilson, 1964.
  40. ↑ Simon and Garfunkel. He Was My Brother . Rec. Mar. 1964. Tom Wilson, 1964.
  41. ↑ Pollock, Bruce. When The Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1984. 70.
  42. ↑ Simon and Garfunkel. The Sounds of Silence . Rec. 10 Mar. 1964. Tom Wilson, 1964.
  43. ↑ www.amazon.com
  44. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 21.
  45. ↑ "Peter, Paul, and Mary." Folk Music Archives . 1 Sept. 2008 <http://folkmusicarchives.org/ppm.htm>.
  46. ↑ Peter, Paul and Mary. Because All Men Are Brothers . Rec. 1964. Albert Grossman, 1964.
  47. ↑ Kennedy, John F. "Inaugural Address." Presidential Inauguration. Washington, D.C. 20 Jan. 1961.
  48. ↑ http://www.moonbattery.com/
  49. ↑ "Pete Seeger". Rock and Roll Hall of Fame and Museum . 1996. 29 August 2008 <http://www.rockhall.com/inductee/pete-seeger>.
  50. ↑ http://www.barbaraarcher.com/
  51. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 55.
  52. ↑ "1969 Woodstock Festival and Concert". Woodstock . 1996. 30 Aug. 2008 <http://www.woodstock69.com/>.
  53. ↑ Baez, Joan. There But For Fortune . Rec. 1965. Mark Abramson, 1964.
  54. ↑ Pollock, Bruce. When the Music Mattered: Rock in the 1960's . New York: Holt, Rinehart, and Winston, 1983. 61.
  55. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  56. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  57. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  58. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  59. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  60. ↑ "The Rolling Stones: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/therollingstones/discography>.
  61. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  62. ↑ "The Byrds: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebyrds/discography>.
  63. ↑ "The Rolling Stones: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/therollingstones/discography>.
  64. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  65. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  66. ↑ "The Who: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  67. ↑ "The Monkees: Discography". The Monkees . 2008. 31 Aug. 2008 <http://monkees.com/read/discography/albums.lasso>.
  68. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  69. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  70. ↑ "The Who: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  71. ↑ "Jimi Hendrix: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/jimihendrix/discography>.
  72. ↑ "The Monkees: Discography". The Monkees . 2008. 31 Aug. 2008 <http://monkees.com/read/discography/albums.lasso>.
  73. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  74. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  75. ↑ "The Who: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  76. ↑ "Jimi Hendrix: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/jimihendrix/discography>.
  77. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  78. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  79. ↑ "The Who: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  80. ↑ "The Beatles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/thebeatles/discography>.
  81. ↑ "Badfinger: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/bandfinger/discography>.
  82. ↑ "Jimi Hendrix: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/jimihendrix/discography>.
  83. ↑ "The Beach Boys: Discography". Rolling Stone . 2008. 30 Aug. 2008 <http://www.rollingstone.com/artists/thebeachboys/discography>.
  84. ↑ "The Who: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  85. ↑ "The Rolling Stones: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/therollingstones/discography>.
  86. ↑ "The Eagles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/theeagles/discography>.
  87. ↑ "The Who: Discography". Rolling Stone . 2008. 29 Aug. 2008 <http://www.rollingstone.com/artists/thewho/discography>.
  88. ↑ "The Eagles: Discography". Rolling Stone . 2008. 31 Aug. 2008 <http://www.rollingstone.com/artists/theeagles/discography>.
  89. ↑ "The Beatles". Billboard . 2008. 1 Sept. 2008 <http://www.billboard.com/bbcom/bio/index.jsp?pid=4057>.
  90. ↑ The Ed Sullivan Show. 1 Sept. 2008 < http://www.tv.com/ed-sullivan-show/show/1156/summary.html>.
  91. ↑ Davies, Evan. “Psychological Characteristics of Beatle Mania.” Journal of the History of Ideas, Vol. 30, No. 2 (Apr. - Jun., 1969), pp. 273-280

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