“1971: The Year That Music Changed Everything” unveils the wreckage from the downfall of the optimistic music culture that the 1960’s sunshine and daisy filled “give peace a chance” movement created. The docuseries aims to discus how in 1971 music changed to mirror the social climate of that time, showing how musicians used their platforms and creativity to reflect and remark upon the world’s social state— personally at home, within sub-cultures, and politically. While the musician’s art was being inspired by these social, economical and political happenings, their perspectives and commentary were capable of influencing and shifting whole pockets of society.
The docuseries makes the statement that the music being popularized in 1971 was a result of all that happened a few years prior during the evolution of rock and pop music; which was heavily influenced by the “British Invasion” and the disruptions in society caused by the escalation of the Vietnam War, the growing use of hard drugs, and the progress of the civil-rights movement. Towards the end of the 1960’s popular music was fused with a sense of optimism, promoting passive resistance and non-violent action in the hopes of social and political change. “1971: The Year That Music Changed Everything” frames the musician’s separation from these themes, showing the steps towards more politically demanding tones, rawer social criticisms, and displays of vulnerability and theatrics in lyrics and performances. These changes in artistic choices would consequently alter societies connection with music, provide stage space for new artists, and open a gateway to new genres. This narrative unfolds as if the year 1970 poured gasoline overtop the flower power fields covering the 1960’s, setting them ablaze only for 1971 to use all of its musical resources to extinguish the flames to allow the future of music to flourish.
The Apple TV+ docuseries is based off of David Hepworth’s book “Never a Dull Moment: 1971 — The Year That Rock Exploded”. To attempt to prove its sentiment that 1971 is the time stamp for the change in music, the series’ visuals are strictly composed of archival footage from news reports, interviews, and performances from that year. Paired with these visuals is dialogue around the importance of the musical progression in 1971, presented through the commentary of well respected music journalists, musicians, artists and producers all who were active during that time.
The docuseries presents its case over eight episodes that are individually crafted as focused vignettes of cultural relevance in 1971. Previewing the episode’s targeted theme, or focused influential figures as subjects, are the unique episode titles.
Episode 1, “What’s Happening?” introduces artists who were taking stands through their music against the world’s socio-political climate. The episode discusses the day’s leading artist’s putting forward grand gestures of revolutionary actions to spread awareness of social issues occurring domestically and abroad. Their actions were straight forward, raw, demanding and intimidating. The episode highlights the works of George Harrison, who produced a benefit concert for Bangladesh at Madison Square Garden, John Lennon and Yoko Ono’s unwavering radical approach on activism, and Marvin Gaye’s “What’s Going On?” album which dove into topics that mainly impacted people of colour and those living in the inner city; he discussed police brutality, racial and economic discrimination, and of course, the Vietnam War.
The War on Drugs began in 1971, but the addiction to these substances by the top grossing artists of the 70’s started in the 60’s; episode 2 “End of the Acid Dream”, and episode 6 “Exile” take a look at those artists whose livelihood and music were most affected by addiction. Because the 60’s ideals of love and peace were declining, people seemingly turned to dissociative drugs or to God for a sense of escape and comfort. These episodes show how Jim Morrison’s inability to pull away from alcoholism led to his use of cocaine, which while using on stage pushed him to be confrontational with his audience, resulting in his publicized arrest. Similarly, we are shown Sly from Sly and the Family Stone become a reclusive as a symptom of his overuse of cocaine, he takes his band out of the music’s creative process and ends up creating revolutionary sounding music that has overarching traces of drug use and substance glorification. The Rolling Stones lose all of their money to addiction, heroine runs rapid through their scene and they are forced into a tax exile, only to return to America to create some of their most popular music. Out of fear for the path of the youth listening to rock music, government officials began to censor the glorification of drug use from radio stations. With a sense of urgency to belong, there was a rise in religious affiliations; the Manson Family’s cult was growing nation wide attention and the album “Jesus Christ Superstar” created a cult following of its own.
The breakup of The Beatles opened a space for new music to pour into the scene, in episode 3 “Changes” and episode 8 “Starman” the sexually charged liberation in the arts takes centre stage in music and in print. The episodes show the rise of “Glam Rock” in the UK, pioneered by Marc Bolan whose music was directed at the young teen girl who was entering her adolescence, the music and glitter filled icon behind the mic feeding their insecurities and restless nature. The Who began to introduce synth music into their music, and become the voice of the UK’s rebellion generation. Hyper electronic rock also makes a break through in with Kraftwerk. In The States, Alice Cooper became popular for their “shocking” avant-garde, over the top horror filled theatrics on stage; the bands sensationalizing approach to entice teens instilled fear into parent’s minds, especially where the Manson Family had just been arrested for mass murder. Following this trend of fear of the youth’s corruption, the episode shows the societal focus on the underground press in the UK over a magazine called “Oz”. The magazine attempted to give youth a voice, pushing to provide teens with the authority to speak about sex with liberty, this caused an uproar by the moral authority, and the magazine was put on trail for obscenity. Because of the shift in popular music, many artists were struggling to find an audience, among these musicians was David Bowie, who traveled to the states to promote their music, but was met with unconvinced and unimpressed audiences. He later returned to New York, and meets those leading the avant-garde scene and becomes influenced by Andy Warhol, Iggy Pop and Lou Reed. Though his rise to success doesn’t truly take off until 1972, the series frames Bowies’ experiences within these social settings in 1971 as the inspiration for the next chapter of his creative journey.
The series’ 4th episode “Our Time is Now” looks at the connection between Queer liberation and the feminist movement. The episode shows sexist boundaries being challenged by Joni Mitchell and Carole King as they produced chart topping albums that expressed their emotions and perspectives as women in raw and dark tones. This look into feminism continues through the discussion of the rising popularity of Germaine Greer’s book the “The Female Eunuch”, and The State’s fixation on the divorce of the parents in “The Loud Family” from their first reality TV show “An American Family”. The episode also celebrates Elton John’s refusal to remain in the heteronormative box, as well as Lou Reed’s fascination of Queer culture, and even takes a glance at the underground Queer art scene in New York.
Revolutionaries take over streets, news broadcasts and the music scene as the civil rights movement radicalizes in episodes 5 “The Revolution Will Not Be Televised”, and 7, “Respect”. The episodes discus the impact of Curtis Mayfield’s second studio album “Roots”, how his lyrics were directly placing blame on society for the mistreatment and repressions of those in the Black community. Gil Scott-Heron and fellow writer Brian Jackson are shown putting their talents and platform to use as they publicly portray what it is like to be a young black man in America on their album “Pieces of a Man”, where they leave nothing to interpretation in their straightforward and blunt lyrics. The Black liberation discourse continues throughout these episodes by introducing the works of Angela Davis, the mistreatment, brutalization and massacre of prisoners at the Attica Correctional Facility, and the FBI’s attack on Black revolutionary groups. In this revolution there is a push for equality for African American’s in the music industry, artists Ike and Tina Turner, Bill Withers and James Brown are shown breaking out as unique artists whose music and performances attract undeniable attention, their global success working to break through music industries racist barriers.
Though the series is visually captivating, rich in its history, and affective in its attempts to promote the hugely significant changes in the music industry in 1971, the year in music is as much an effect of the past as it is the pinnacle of change for the future. As thoroughly discussed throughout the eight episodes, music is a product of the society it is bred in, therefore every year holds a piece of never ending significance in the ever changing outpour of music. The docuseries’ bold title will appear as a challenging statement to swallow for most music heads, but this should not deter anyone from watching this neatly organized exhibition of 1971’s music era.
Score: (B)
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