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“I’d realized that a lot of what folk music is about is taking a tradition and reflecting your own
           time. I knew my folk music would take off if I put hip-hop beats behind it.”

                                         Written in 1993

                            Samples ‘I Walk On Gilded Splinters’
             Samples dialogue from the film by Kill The Moonlight by Steve Hanft
                       Mixes the genres blues, hip hop and folk music
Alternative Hip Hop / Alternative Rock

              Written in 1995
Samples album Sex For Teens: (Where It’s At)
Samples ‘Needle to the Groove’ by Mantronix
          References Gary Wilson
      Dresses like Captain Beefheart
Alternative Rock / Funk Rock / Dance-Pop

                  Written in 1999
             Video directed by Beck
Tribute to the film Mr. Freedom by William Klein
               Cameo of Jack Black
    Use of hyperreality throughout the video
Alternative Rock / Country Rock

                          Written in 2003
About a recent break up, but misinterpreted as death of a loved one
   Most prominent example of a style change between albums
           “Sea change” means “broad transformation”
Alternative Rock

                                   Written in 2005
                   Combines ‘chiptune’ with traditional instruments
                Another example of the style change between albums
Video directed by Motion Theory, incorporates postmodern elements (e.g. hyperreality)
Alternative Rock / Alternative Hip-Hop

                                       Written in 2006
                Combines rock and hip-hop by rapping over a bass guitar riff
                         Similar to ‘Chameleon’ by Herbie Hancock
Video directed by Michel Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind, etc.)
3. Doesn’t respect boundaries set by procedures of the past and present
                         7. Avoids totalizing forms
                  Changing styles drastically between albums
            Said he wanted each album to have it’s own unique identity



  8. Considers music to be relevant to cultural, social and political contexts
          Quoted as seeing folk music as reflecting the current social climate
“I’d realized that a lot of what folk music is about is taking a tradition and reflecting
your own time. I knew my folk music would take off if I put hip-hop beats behind it.”



  9. Include quotations/references to music of many traditions and cultures
        Heavy use of sampling of different media texts throughout his songs
          Constant combination and reference to different music genres
10. Considers technology as great for production, not just for distribution, etc.
    Often edits his songs to use samples from different media texts, not just music
     Occasionally uses technology in his songs (e.g. ‘Where It’s At’ – see below)



                 13. Includes fragmentations and discontinuities
                Use of completely varying styles within a single song
      e.g. ‘Where It’s At’ – sudden switch between hip-hop/rock and electronic



 16. Locates meaning in listeners, not just in its performance and composition
e.g. ‘Loser’ – an extension of the songs he sang in clubs where he’d make up ridiculous
             songs on the spot to see if the audience were actually listening
Beck - Postmodernism Presentation

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Beck - Postmodernism Presentation

  • 1.
  • 2. “I’d realized that a lot of what folk music is about is taking a tradition and reflecting your own time. I knew my folk music would take off if I put hip-hop beats behind it.” Written in 1993 Samples ‘I Walk On Gilded Splinters’ Samples dialogue from the film by Kill The Moonlight by Steve Hanft Mixes the genres blues, hip hop and folk music
  • 3. Alternative Hip Hop / Alternative Rock Written in 1995 Samples album Sex For Teens: (Where It’s At) Samples ‘Needle to the Groove’ by Mantronix References Gary Wilson Dresses like Captain Beefheart
  • 4. Alternative Rock / Funk Rock / Dance-Pop Written in 1999 Video directed by Beck Tribute to the film Mr. Freedom by William Klein Cameo of Jack Black Use of hyperreality throughout the video
  • 5. Alternative Rock / Country Rock Written in 2003 About a recent break up, but misinterpreted as death of a loved one Most prominent example of a style change between albums “Sea change” means “broad transformation”
  • 6. Alternative Rock Written in 2005 Combines ‘chiptune’ with traditional instruments Another example of the style change between albums Video directed by Motion Theory, incorporates postmodern elements (e.g. hyperreality)
  • 7. Alternative Rock / Alternative Hip-Hop Written in 2006 Combines rock and hip-hop by rapping over a bass guitar riff Similar to ‘Chameleon’ by Herbie Hancock Video directed by Michel Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind, etc.)
  • 8. 3. Doesn’t respect boundaries set by procedures of the past and present 7. Avoids totalizing forms Changing styles drastically between albums Said he wanted each album to have it’s own unique identity 8. Considers music to be relevant to cultural, social and political contexts Quoted as seeing folk music as reflecting the current social climate “I’d realized that a lot of what folk music is about is taking a tradition and reflecting your own time. I knew my folk music would take off if I put hip-hop beats behind it.” 9. Include quotations/references to music of many traditions and cultures Heavy use of sampling of different media texts throughout his songs Constant combination and reference to different music genres
  • 9. 10. Considers technology as great for production, not just for distribution, etc. Often edits his songs to use samples from different media texts, not just music Occasionally uses technology in his songs (e.g. ‘Where It’s At’ – see below) 13. Includes fragmentations and discontinuities Use of completely varying styles within a single song e.g. ‘Where It’s At’ – sudden switch between hip-hop/rock and electronic 16. Locates meaning in listeners, not just in its performance and composition e.g. ‘Loser’ – an extension of the songs he sang in clubs where he’d make up ridiculous songs on the spot to see if the audience were actually listening