Godina izdanja: Ostalo
ISBN: Ostalo
Jezik: Engleski
Oblast: Muzika
Autor: Strani

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Lillian Roxon`s ROCK ENCYCLOPEDIA
600+ pages, photos

Reference to contemporary popular music contains profiles of performers and writers as well as lists of top records from 1949 to 1968

Lillian Roxon (8 February 1932 – 10 August 1973) was an Australian music journalist and author, best known for Lillian Roxon`s Rock Encyclopedia (1969).[1][2]

Early life
Roxon was born Lillian Ropschitz in Alassio, Province of Savona, Italy. Her family, originally from Lwów in Ukraine, then Poland, moved to the coastal town of Alassio in Italy.[citation needed]

As the Ropschitz family were Jewish, they migrated to Australia in 1937 to escape the rise of fascism, and settled in Brisbane. Shortly after their arrival, the family anglicised their names; the surname Roxon was Lillian`s suggestion.[citation needed]

Roxon studied at the University of Queensland, where she met and had a brief affair with Zell Rabin, who gave Lillian her first job in the United States and who became a key associate of media magnate Rupert Murdoch in the early 1960s. She pursued further studies at the University of Sydney from 1949, where she developed an affinity for the cultural movement known as the Sydney Push, then congregating at the Lincoln Inn.[3]

In the process, Roxon attracted the attention of an Australian Security Intelligence Organisation (ASIO) operative and was identified in June 1951 as a communist sympathiser.[4] She began her career in newspapers in Sydney and for several years worked for the tabloid magazine Weekend, owned by newspaper magnate Sir Frank Packer and edited by journalist and author Donald Horne.

In 1959, Roxon moved permanently to New York City, becoming the first Australian female overseas correspondent and the first Australian journalist to establish a high profile in the U.S. From 1962 onward, she was the New York correspondent for The Sydney Morning Herald and over the next ten years she carved out a career reporting on arts, entertainment and women`s issues for the Australian, American and British press.[citation needed]

Career
In the mid-1960s, Roxon became fascinated by pop music and the rise of groups like the Beatles, the Byrds and the Rolling Stones and she began to write regular articles on the subject. In early 1967, she visited San Francisco and was one of the first mainstream journalists to write about the nascent hippie movement, filing a landmark story for The Herald on the subject. She also contributed to Oz magazine[5] along with the short lived Eye magazine in the late 1960s.[6]

During the late 1960s and early 1970s, Roxon became close friends with critic and rock manager Danny Fields, Village Voice journalist Blair Sabol, musician and writer Lenny Kaye (later the guitarist in Patti Smith`s band and compiler of the original Nuggets LP), music journalist Lisa Robinson, photographers Linda McCartney and Leee Black Childers and Australian academic, author and feminist Germaine Greer.[citation needed]

In 1965, Roxon was joined by The Sydney Morning Herald`s autocratic foreign correspondent Margaret Jones. It was a clash of two unbending personalities which her biographer Robert Milliken[7] described as `like two sopranos sharing the same stage`. Perhaps to keep these two apart, Margaret was posted to Washington the following year.

Linda McCartney (then Linda Eastman) was one of Roxon`s closest female friends and she did much to further Eastman`s career[citation needed], but the friendship ended abruptly in 1969 when Eastman moved to London, married Paul McCartney and cut all ties with her former friends, a move which wounded Roxon deeply.[citation needed]

Roxon eventually retaliated, four years later, with a scathing review of the McCartneys` first American television special. Published in the New York Sunday News on 22 April 1973, Roxon`s review panned the documentary and poured scorn on Linda, slamming her for being `catatonic with horror at having to mingle with ordinary people`, `disdainful if not downright bored ... her teeth relentlessly clamped in a Scarsdale lockjaw`, and `incredibly cold and arrogant`.[citation needed]

During 1968-69, Roxon was commissioned to write what became the world`s first rock encyclopaedia, published by Grosset & Dunlap in late 1969, and the work for which she is best remembered.[8]

Roxon appears briefly, as an interviewed member of the audience, in the film Celebration at Big Sur, filmed at the 1969 Big Sur Folk Festival.[citation needed]

1970s
In the early 1970s, Roxon`s profile expanded and she became more widely known for her feminist writing. She wrote a groundbreaking and highly personal report about the August 1970 women`s rights march in New York, which was published in The Sydney Morning Herald under the title `There is a tide in the affairs of women`. She wrote a regular column on sex and sexuality for Mademoiselle magazine (which continued after her death) and in 1971 she hosted a rock radio show that was syndicated to 250 stations.[1] In late 1972, Roxon met and became friends with David Bowie and his first wife Angie on Bowie`s Ziggy Stardust Tour, his first tour of the U.S., and was a major champion of Bowie`s music in the American press as he was trying to break into the U.S. market.[9]

Roxon`s health declined during the early 1970s. She made what would be her last visit to Australia in early 1973. While she was in Sydney in early February she was interviewed by Australian Broadcasting Corporation (ABC) journalists Jeune Pritchard and Gary Hyde for the ABC`s pop magazine program GTK. The shorter Jeune Pritchard interview[10] was included in a special on the current Australasian tour by The Rolling Stones, and showed Roxon looking unwell. In the longer Gary Hyde interview,[11] Roxon was questioned about the current state of rock music in general; in response to Hyde`s questions about up-and-coming acts, she cited the New York Dolls and the then-unknown Bette Midler as names to watch.

One of Roxon`s last print articles reported on Iggy Pop and the Stooges`s landmark concerts at Max`s Kansas City in New York and her final piece, filed in early August, was on rising British glam rock star Marc Bolan.[citation needed]

Roxon wrote a novel, loosely based on her years in Sydney, which was never published. This manuscript now resides in Sydney`s Mitchell Library, State Library of New South Wales, along with her large collection of letters and other papers, donated by her family and her close friend, the film producer, Margaret Fink.[citation needed]

Death
Roxon died at the age of 41 on 10 August 1973, after suffering a severe asthma attack in her New York apartment.[citation needed] She was survived by two brothers Jack and Milo. Both parents predeceased her and she never married or had children.[1]

Her niece, Nicola Roxon was the Attorney-General of Australia from 2012 to 2013.[12][13]

Roxon Place, in the Canberra suburb of Gilmore with a tradition of street names honouring journalists, is named in her honour.[14]

Legacy
In August 2002, a biography of Roxon was published in Australia by Black Inc.: Lillian Roxon, Mother of Rock,[7] written by the Sydney-based journalist and author Robert Milliken.

A documentary film entitled Mother of Rock: Lillian Roxon, written and directed by Paul Clarke, premiered at the 2010 Melbourne International Film Festival[15] and was partly financed by the Festival`s Premiere Fund.

In Lily Brett`s 2012 novel Lola Bensky, based on Brett`s own experience as a music journalist, Lola meets Lillian Roxon.[16]

In the 2017 miniseries Friday On My Mind, the Easybeats travel to New York in 1967 and meet Roxon, portrayed by Ella Scott Lynch.[17]

The 2019 film I Am Woman depicts Helen Reddy`s friendship with Lillian Roxon, portrayed by Tilda Cobham-Hervey and Danielle Macdonald respectively.[18]

The National Film and Sound Archive has a curated tribute to Roxon`s life and work.[19]

Rokenrol (engl. rock `n` roll, skraćeno od rock and roll), često samo rok (engl. rock), muzički je pravac i globalna potkultura. Rok se po prvi put pojavio u SAD pedesetih godina 20. veka.[1][2] Nastao je pod uticajem džeza i, prvenstveno, gitarskog bluza. Najpopularniji je muzički žanr sveta, posebno u Evropi i Severnoj Americi. Rokenrol se nekad koristi kao sinonim za širi pojam rok, ali češće rokenrol označava rane godine žanra tokom pedesetih i šezdesetih 20. veka, dok se kraći naziv rok upotrebljava za sve. Tipični rok sastav se sastoji od pevača, gitare, bas gitare i bubnjeva. Mnoge rok grupe koriste i druge instrumente poput klavijatura, daira, usne harmonike i sl. Izraz rokati (engl. rocking) prvi su upotrebili crkveni pevači na američkom jugu, a značio je „osetiti versko ushićenje”. Međutim, 1940-ih izraz je imao dvojako značenje: plesati, podrazumevajući snošaj. Dobar primer ovoga je pesma Roj Brauna Good Rocking Tonight (dosl. dobro rokanje noćas).

Rok muzika je imala ogroman društveni i kulturni uticaj na svet. Kao kulturni fenomen, rok muzika je na svet uticala kao nijedna druga. Popularna je širom sveta i razvila se u veliko mnoštvo vrlo različitih stilova. Sam pojam može da označava nekoliko različitih stvari. Ponekad se upotrebljava kao naziv za niz stilova zapadne popularne muzike, poput teškog metala, pop muzike, i hip hopa, a ponekad se upotrebljava kao naziv za poseban izvorni pokret pedesetih godina. Najčešće, pojam označava taj izvorni pokret i razne stilove koje su nastali direktno od njega (bez hip hopa, pop muzike, itd).

Karakteristike

Red hot čili pepers
Zvuk kamena je tradicionalno usmeren na električnoj gitari, koja se pojavila u svom modernom obliku 1950-ih uz popularizaciju rokenrola.[3] Zvuk električne gitare u rok muzici obično podržava električna bas gitara, koja je bila pionir u džez muzici istoga doba,[4] i udaraljke u kojima vladavaju bubnjevi, uz koje se ponekad pojavljuju i činele.[5] Ovaj trio instrumenata često se nadopunjava uključivanjem klavira, hemonda i sintisajzera.[6] Grupa muzičara koja interpretira rok muziku naziva se rok bend i sastoji se najčešće od dva do pet članova. Klasično, rok bend poprima oblik kvarteta čiji članovi pokrivaju jednu ili više uloga, uključujući i pevača, gitaristu, ritam gitaristu, bas gitaristu, bubnjara i često klavijaturistu ili drugog instrumentalistu.[7] Rok muzika tradicionalno je izgrađena na temeljima jednostavnih četverodobnih ritmova s udarcem bubnja - Backbeat.[8] Melodije su često izvedene iz starijih muzičkih načina kao Dorian mode ili miksolidijski, uglavnom tonalitetima violinskog ključa.[8] Instrumenti sviraju višeglasno, a harmonije su popunjene kvartama, kvintama i disonantnim harmonijskim progresijama.[8] Rok pesme iz sredine 1960-ih su često korištene u Verse-chorus strukturi, koja potiče iz bluza i folk muzike, ali došlo je do značajne razlike od ovog modela.[9] Kritičari su naglasili eklekticizam i stilsku raznovrsnost.[10] Zbog svoje složene istorije i sklonosti posuđivanja muzičkih elemenata iz drugih muzičkih i kulturnih obrazaca kritičari su tvrdili da je „nemoguće vezati rok muziku za kruto naznačenu muzičku definiciju“.[11]


Jednostavan 4/4 rok ritam za bubnjeve Playⓘ
Za razliku od mnogih ranijih stilova popularne muzike, teme rok pesama su vrlo širokog spektra. Tako se u tekstovima rok pesama nalaze društvo, neuzvraćena ljubav, seks, pobune protiv vlasti, sport, piće, droga, novac, socijalna pitanja i sl.[8] Neke od ovih tema rokeri su nasledili iz starijeg popa, džeza i bluza, a neke teme se prvi put pojavljuju u tekstovima pesama.[12] Robert Kristgau je rok muziku nazvao „hladnim medijom“ s jednostavnom dikcijom i ponavljanjem refrena, a tvrdi da se primarna funkcija roka odnosi na muziku, ili uopštenije šum.[13] Prevlast belih muškaraca i često muzičara srednje klase u rok muzici se često navodi i uvek je „vruće pitanje“ u medijima.[14] Ipak, i u roku su se kasnije probili i crni muzičari, osvajajući najčešće mladu belačku publiku.[15] Najčešće pevaju o mafiji, problemima siromaštva i neravnopravnosti.[16]

Razvoj rokenrola

Alan Frid

Elvis Presli 1956.

Bil Heli i Komete
Rokenrol se prvi put pojavljuje kao poseban stil u Americi tokom ranih pedesetih godina 20. veka, iako se delovi rokenrola mogu čuti u ritam i bluz izdanjima iz dvadesetih godina 20. veka. Rani rokenrol je uskladio delove bluza, bugi-vugija, džeza i RnBa, a takođe je imao elemente folklorne, crkvene i kantri muzike. Neki čak smatraju da je rokenrol utemeljen na muzici naselja Fajv Points u Njujorku, tokom sredine 20. veka. Stanovnici Fajv Pointsa su prvi spojili afričku i evropsku, naročito irsku, muziku.

Pesme ovog žanra puštane su samo na radio-stanicama posvećenim RnBu, a belci su vrlo retko čuli tu muziku na poznatim radio-stanicama. Godine 1951, klivlendski di-džej Alan Frid je počeo svirati tu vrstu muzike za belu publiku. Frid je prvi izumeo izraz `rock and roll` da opiše ovaj stil RnB muzike.

Rokenrol pravac se, za razliku od improvizacije bluza, džeza i soula, vratio klasičnom muzičkom obliku, ali sa mnogo tvrđim i energičnijim zvukom koji je vrlo brzo osvojio ceo svet. Jedna od prvih rokenrol pesama je Čak Berijeva Džoni Bi Gud (engl. Johnny B. Goode). Njega mnogi smatraju za rodonačelnika roka, ali pošto tadašnjoj muzičkoj industriji nije odgovarao kao crnac i stariji čovek, u prvi plan je izbačen Elvis Presli, koji je uskoro postao prva rok zvezda - kralj rokenrola (engl. The King).

Godine 1954, Elvis Presli snima lokalni hit `That`s All Right Mama` u Sem Filipsovom studiju San u Memfisu. Elvis je svirao fuziju roka i kantri muzike, poznate kao rokabili. Međutim, pravi uspon roka je započela pesma `Rock Around the Clock` sastava “Bill Haley & His Comets” iz sledeće godine.

Posle Elvisa, kada je već rok ritam zahvatio ceo svet, javljaju se bendovi kao što su Bitlsi, Rolingstons i ostali. U to vreme se javlja rok scena i na prostorima bivše Jugoslavije. Prvi bendovi kao što su Zlatni prsti ostvaruju velik uspeh, ali sve to postaje značajnije tek sa pojavom većih bendova kao što su Bijelo dugme, Smak, Ju grupa, itd. Međutim pravo širenje rokenrola i njegovo zlatno doba počinje sa dolaskom grupa poput Azre, Riblje čorbe, Zabranjenog Pušenja, EKV i drugih.

Rokenrol žanrovi
Muzički žanrovi koji su se razvili iz roka:

Progresivni rok (Progressive Rock)
Alternativni rok (Alternative Rock)
Hevi metal (Heavy Metal)
Pank rok (Punk Rock)
Podžanrovi roka
Detroitski rok
Garažni rok
Glam rok
Grandž rok
Hartlend rok
Instrumentalni rok
Južnjački rok
Soft rok
Post rok
Pab rok
Pustinjski rok
Psihodelični rok
Simfonijski rok
Surf muzika
Hard rok
Indi rok
Fuzijski žanrovi
Bluz rok
Kantri rok
Čelo rok
Flamenko rok
Folk rok
Džez rok
Raga rok
Samba rok
Starosedelački rok
Tango-rokero
Garažni rok
Glavni članak: Garažni rok
Garažni rok je bila sirova forma rok muzike, posebno prevalentna u Severnoj Americi sredinom 1960-ih. Tako je nazvana zbog percepcije da je bila uvežbana u prigradskoj porodičnoj garaži.[17][18] Pesme garažnog roka su se bavile traumama srednjoškolskog života, pri čemu su pesme o „devojkama koje lažu“ bile posebno česte.[19] Lirika i obrada su bile agresivnije od onog što je bilo uobičajeno u to vreme, često sa režećim ili derućim vokalom koji je utopljen u inkoherentno vrištanje.[17] Oni su se kretali od grube jednoakordne muzike (poput Sedsa) do muzičara skoro studijskog kvaliteta (uključujući Nikerbokers, Rimejns i Fift Istjet). Takođe su postojale regionalne varijacije u mnogim delovima zemlje sa prosperitetnim scenama posebno u Kaliforniji i Teksasu.[19] Države pacifičkog severozapada su verovatno imale najbolje definisani regionalni zvuk.[20]

Stil je evoluirao polazeći od regionalnih scena još od 1958. „„Tall Cool One““ (1959) grupe Vejleri i „Louie Louie“ (1963) grupe Kingsmen . su dobri primeri žanra u svojim formativnim fazama.[21] Do 1963, singlovi garažnih grupa su počeli da dosežu nacionalne liste u većem broju, uključujući Pol River end Rejders (Bojsi),[22]