A History of Rock Music in 500 Songs: Episode 177 – “Never Learn Not to Love” by the Beach Boys, Part One, Old Folks at Home

Release Date: November 19, 2024

In Episode 177 of Andrew Hickey's "A History of Rock Music in 500 Songs," titled “Never Learn Not to Love” by the Beach Boys, Part One, Old Folks at Home, Hickey delves deep into the intricate tapestry of rock music, intertwining its evolution with profound social and cultural undercurrents. This episode not only explores the Beach Boys' pivotal role but also examines the darker facets of the music industry's history, including racism and the infamous Manson murders.

1. Introduction and Contextual Disclaimer

Andrew Hickey begins the episode with a comprehensive disclaimer addressing the sensitive topics intertwined with the history of rock music, particularly the Manson murders. He emphasizes the necessity of discussing such events to provide a holistic view of rock's evolution, despite their unsettling nature.

Andrew Hickey [00:03]: "This series of episodes deals with the Manson murders... there will be discussions of all sorts of unpleasant topics... you should avoid these episodes if that is likely."

Hickey also addresses the challenges of narrative construction, cautioning against the pitfalls of conspiracy theories and emphasizing the importance of informational hygiene in recounting historical events.

2. The Origins of Racism in the Music Industry

Hickey asserts that the popular music industry is fundamentally rooted in racism, tracing its lineage back to Tin Pan Alley and the Blackface Minstrel Shows of the 19th century.

Andrew Hickey [05:41]: "The popular music industry is founded in racism. That much is clear."

He elaborates on how minstrelsy served as a vehicle for white performers to appropriate and distort African American musical styles, thereby embedding racist stereotypes within the industry's fabric. The discussion highlights key figures like Charles Matthews and Thomas Dartmouth Rice, who were instrumental in popularizing blackface performances that perpetuated derogatory caricatures of Black individuals.

Hickey underscores the structural similarities between minstrelsy and later musical forms, noting that despite using instruments like banjos associated with African American culture, many minstrel songs musically resemble Celtic folk music, reflecting the assimilationist motives of immigrant white ethnic groups.

Andrew Hickey [17:14]: "You will notice something about many of these tunes... they don't actually sound melodically like any of the forms of music we associate with black culture."

3. Stephen Foster: The Father of American Music

A significant portion of the episode is dedicated to Stephen Foster, hailed as arguably the first professional songwriter and a pivotal figure in American music.

Hickey discusses Foster's meteoric rise and tragic decline, emphasizing his prolific songwriting which laid the groundwork for American popular music. Despite his popularity, Foster faced rampant copyright infringement, leading to financial struggles that plagued him towards the end of his life.

Andrew Hickey [25:26]: "America's most popular songwriter ever... was living in a doss house in the Bowery and had only 38 cents to his name."

His collaboration with Edwin Christie and influence on groups like the New Christy Minstrels are highlighted, showcasing Foster's enduring legacy through songs like "Oh Susannah," "Camptown Races," and "Swanee River."

4. The Beach Boys: Transition and Turmoil

Transitioning to the 1960s, Hickey examines the Beach Boys' trajectory, particularly focusing on the album "Smiley Smile" and its critical reception.

Andrew Hickey [33:15]: "When we left the Beach Boys, they had just released the album Smiley Smile... the critical response was desultory at best."

He details the band's struggles with creative direction, internal dynamics, and management issues, notably the influence of Murray Wilson, Brian's father, whose involvement led to tensions within the band. The episode explores the impact of transcendental meditation and the Maharishi, highlighting how these spiritual pursuits intersected with the band's creative processes.

Hickey also delves into Brian Wilson's mental health challenges, illustrating his declining stability through anecdotes about his obsessive recording habits and unfulfilled musical experiments, such as his attempts to reinterpret Stephen Foster's "Old Folks at Home".

5. The Decline of the Beach Boys' Commercial Success

Despite critical acclaim for albums like "Friends," the Beach Boys faced a significant commercial downturn in the US. Hickey analyzes the factors contributing to this decline, including poor album sales and unsuccessful tours, which strained the band's finances and morale.

Andrew Hickey [39:01]: "Friends never got higher than number 126... the Beach Boys career was suddenly going so badly."

He also touches upon the formation of Brother Records, the band's attempt to gain greater control over their music, and the subsequent financial losses incurred from ill-fated tours, including a disastrous collaboration with the Maharishi.

6. Cultural Impact and Legacy

Throughout the episode, Hickey emphasizes the Sandwiched history of rock music, highlighting how elements like minstrelsy and Stephen Foster's compositions have indelibly shaped the genre. He posits that understanding these roots is essential to comprehending the broader narrative of rock music's evolution.

Andrew Hickey [60:18]: "Bringing together 117 years of American popular music, creating a continuum from the minstrel show to Tin Pan Alley and Broadway to the psychedelic rock scene."

The episode concludes by setting the stage for future discussions on the complex interplay between rock music, societal issues, and individual artists' lives, particularly as it pertains to Brian Wilson and the Beach Boys.

Notable Quotes

• Brian Wilson [05:11]:

  "Let us pause in life's pleasures and count its many tears... There's a song that will linger forever in our ears..."

• Brian Wilson [13:59]:

  "I was a goin down the road tired team in a Heavy load..."

• Brian Wilson [17:29]:

  "Sing for my children all the day Nanny was a lady..."

• Brian Wilson [25:05]:

  "There's a good time coming, boys... we may not live to see the day but earth shall glisten in the rain of the good time a coming."

• Brian Wilson [34:01]:

  "Though it's so hard all day long..."

• Brian Wilson [35:52]:

  "Never known as a non believer she laughs and stays in the forest she knew how to gather the forest When God reached softly and moved her back."

• Brian Wilson [43:54]:

  "Watch the stream Rolling down through the mountainside..."

• Brian Wilson [52:13]:

  "Each other on to the Good Things that life has to give."

• Brian Wilson [59:12]:

  "Old Man River. He must know something, he must. He don't sing nothing. He just keeps rolling. He keeps on rolling along."

• Brian Wilson [60:36]:

  "There they go cruising down that coastline looking for their favorite spot..."

Conclusion

Episode 177 of "A History of Rock Music in 500 Songs" offers a comprehensive exploration of the Beach Boys' music within the broader context of American musical history. Andrew Hickey adeptly intertwines the Beach Boys' narrative with critical discussions on racism, copyright law, and cultural shifts, providing listeners with a nuanced understanding of rock music's complexities. This episode serves as both a homage to the Beach Boys' enduring legacy and a critical examination of the sociocultural dynamics that have shaped the genre.

For more insights and detailed discussions, listeners are encouraged to tune into the full episode and explore additional resources available at 500underdogsongs.com.