Sixties and Oldies

[Paul Mackin]

In connection with VL, there has been a lot of questioning lately about 
whether the sixties changed anything. Well, they may not have changed
the fundamental Us/Them relation (You never really thought they would, 
did you? If anyone can figure out a way to tackle _that_, please
let me know.) But might there not have been other atleast mildly
political changes resulting somehow from that supposedly unique zeitgeist
we call the Sixties?

I have been thinking about this possility in connection with the pop
music of the sixties and ever after.  Seems to me there were
two important innovations--1) the political content of the commercial
songs we listen to, and 2) the concept of the "Oldy".

First, the oldy. Often, here on the P-list, reference is made to 
particular pieces of pop music originating at widely spaced points in 
time decades apart. To someone in _my_ age group (Big Band Era) this is 
slightly incredible. Younger listers may find it hard to believe, but this
dredging up of old pop music is a relatively new possibility for the
great majority of people. Before the sixties (and even into the early 
seventies), once a song was heard or a movie seen for a few weeks,
for all practical purposes that was pretty much it. The radio or movie 
theatres would never have thought of playing the old stuff again and
again as is done now. The assumption was nobody would want it. And as
far as content is concerned, this was almost understandable.  

Which brings us to the other change in music the sixties brought--political
content. Before, it was almost exclusively boy loves girl or novelty. Those
elements haven't been extinguished, but they are no longer so dominant. As I
was trying to get at above, it is now commonplace to quote a popular song
to make a political point. This surely is something permanent the sixties
gave us.

I hope I haven't been guilty too many glittering generalities. 
On the political front there were always Woody Guthrie type songs. And
the above emphasis on here today and gone tomorrow obviously doesn't 
apply to the Jazz World. Jazz players have always maintained their 
knowledge of standard pop tunes. And aficianados had their 78s they never 
got tired of listening to. There were of course big band recordings too, 
but it's my impression these didn't get played much after the initial 
bursts of popularity. I am thinking of the likes of Glenn Miller, the 
Dorseys, Harry James. I can say this: Until the Oldies radio programs 
started in the early Seventies, which changed everything, I never thought 
I would hear String of Pearls or Indian Love Call ever ever again. In 
fact their very existence had almost but not quite passed from consciousness.
I have heard both in the last 24 hours. And it was no novel experience. 

Does any of this make sense, and can the different elements be
tied together? I'm hoping some cultural historian (or whoever) out there 
who has paid closer attention to the music scene that I have will come to 
the rescue. One possibility is that the political content of music has 
made _interest_ in it more lasting than previously. The problem with _that_ 
hypothesis is that changing technology as usual is likely to swamp any 
other effects we would like to examine. There is ample reason to fill the 
airwaves with whatever can be found, old and new. The need for filler
between demands that we consume is inexhaustable.

Or would it be better to subject the whole thing to "Hosing-out" time?

					P.