1966

I'm teaching a class at Osher Life-Long Learning about the British Invasion, the music that hit America in 1964 with the arrival of The Beatles. My students are all over fifty, and most are over seventy. The class is six weeks, and I've been covering one year per week from 1964 to 1969. On October 7, I covered 1966. I play records and CDs, but mostly show videos from You Tube.

The people in the class loved the early Beatles, all the other boy groups in long hair and skinny suits, the glamour girls like Petula Clark and Dusty Springfield, and even the Rolling Stones, Mick Jagger too pretty by half, his pants tight enough to allow your imagination to wander.

Things changed in 1966. I started the class by telling them that the Beatles best music was on albums, and with the release of Rubber Soul at the end of 1965, the Beatles challenged their audience by not releasing any singles and not touring.

I played some songs from Rubber Soul in beautiful "Duophonic" stereo. Only the vocals, all in one channel, didn't come out clearly. This wasn't the first time I've had equipment problems at OLLI. I sang the six songs I played, from "Norwegian Wood" to "Wait."

I had the CD of Revolver, and the sound was fine for that. I played "Eleanor Rigby" and "Here, There and Everywhere." Pretty music. Then George Harrison sang "Love You To" in a classic Indian style with Indian instruments. I made the group sing along to  "Yellow Submarine." When it came to the end of the album and "Tomorrow Never Knows," with the guitar tracks played backwards, lots of unusual instruments and altered vocals, I was just grooving.

I noticed my crew wasn't with me. So I asked them "How many of you thought that was the best thing you've heard in this class so far?" No hands. "How many of you had no idea what that was about or just hated it?" Most of them raised their hands. I guess I was disappointed. I told people who couldn't come last week that they could listen to Rubber Soul and Revolver and watch a live performance of "Paint It, Black" on YouTube and they would get all they needed of 1966. Everything else was boring. Only my group liked the boring stuff. We saw videos from Herman's Hermits, Dusty Springfield, Petula Clark, and, yes, The Monkees. They loved it.

I remember 1966. I was a junior and senior in high school. Baltimore, my hometown, was still living in the fifties, for  a short time longer. Among my friends, some were horrified by The Beatles' turn to "arty" music, and the darkness of The Rolling Stones. I was on the line. I liked music I could dance to, so I was more likely to listen to Motown and other "soul" music than Brit rock. But I could see that change was coming, and maybe it's just my memory today, but I think I was ready for something different in life.

For many people who were already married in 1966, working their way through community college or back from 'Nam, the changes in music and the larger culture were frightening and unwelcome.

This was the beginning of the "culture wars," started by Roger Ailes for the Nixon-Agnew campaign in 1968, and continued by Ailes and his successor, Karl Rove. Blame "elites," college students in the late '60s, get the government to try to deport John Lennon, decry the obscenity of the Rolling Stones, all to get working class white people to turn against their own economic interests. Rove brilliantly brought up "gay marriage" after 1990 to rile religious people, particularly those in rural areas and dying towns where no self-respecting gay person would live. That emphasis has now come back to bite him with the Supreme Court's decision not to take a same-gender marriage case this term, leaving most states obligated to recognize same-gender marriages, including West Virginia, which has a few weeks to continue this futile battle.

I don't blame the folks in my class for not following me into the new music of the late '60s. Julie Andrews, Herman's Hermits on one side and The Beatles and Rolling Stones on the other were not looking to start a culture war. And taste in music has a lot to do with when one came of age. I was sixteen in 1965 and 1966, just coming into my own, and this music was my soundtrack. I find lots of today's music unlistenable, but that won't start a war between me and the young generation. And I don't take it personally that my class won't follow me through The Who and Cream, that they won't like "Sympathy For The Devil" or "Sunshine of Your Love." All I can do is put it out there and hope someone gets it.