Discuss how a course such as economics, government, philosophy, English, psychology, or other general education courses will affect your life as an engineer.
At the same time, another kind of music, still with its roots in the surfer culture of Southern California, was developing. Spearheaded by Brian Wilson, this sound-frequently referred to as surf pop or beach music-was of a more vocal style. Unlike Dale and other surf rockers who expressed the sounds and feelings of surfing through their instruments, bands like the Beach Boys and Jan and Dean "communicated what they felt about surfing-and Southern California's youth culture-by singing about it in lilting two, three or four part harmony" (Gault-Williams). These harmonies-often simple in nature, and usually catchy-played heavily into the styles of the numerous doo-wop, R&B, and vocal groups that were so successful at the time. Many of the bands' early songs also featured basic rock and roll instrumentation and rhythmical qualities, tak-ing on the only minimally the style of guitar playing made popular by Dale (the spring reverb sound was most prominent). Aided in part by the existing popularity of the styles that influenced it, this type of surf song garnered widespread popularity of its own despite the mostly localized content of its lyrics. The wide geographic exposure achieved by bands like the Beach Boys "al-lowed the local experience [of living in Southern California] to be vicariously shared by people in other areas of the country and overseas" (Blair, v). With the Beatles and other bands of the British invasion making strong inroads in the mid-sixties, however, the popularity of surf music proved to be short-lived, fading out almost as rapidly as it came into being. While the Beach Boys did manage to retain their popularity on the national stage for a time, their later songs largely moved away from the topic of surfing, many focusing on the new hot rod craze-a fad more accessible to a geographically diverse population than the coastally localized surfing fad. The surf guitar styles of Dick Dale and others like him also receded back to the coast, though resurfacing occasionally (most notably with Quentin Ta-rantino's use of Dick Dale's "Misirlou" in his film Pulp Fiction). Political factors-including the assassination of Kennedy and the onset of the Vietnam War-also contributed to a changing of tastes that accompanied surf music's demise. What follows here are highlights of the brief but shining era of surf music. Track 1 (2:10) "Mr. Moto" by the Bel-Airs Volcanic Action! [p] 2001 Sundazed Music Originally released in 1961, "Mr. Moto" was among the first so-called "surf songs" to be recorded. It reflects the traditional early surf music instrumentation-two guitars, bass, drums, saxophone, and piano, featuring the sax and piano more prominently than later surf bands would. While it lacks much of the reverb sound so definitive of surf music (as the Fender Reverb Unit was not invented until later that year), the surf sound is captured in the staccato picking (a fla-menco influenced intro), the rhythmic interplay of the two guitars, the "rocking" progression of the rhythm guitar (alternating high-low strums), occasional use of the tremolo arm to bend notes, and the "wet" sound of the saxophone. It is in roughly AABA structure and in 4/4 time, common of most surf instrumentals. The drum presence in the song, while not as prominent as some later surf pieces, provides the common back-beat sound, making heavy use of the ride cymbal and snare drum-common practice in surf music.>GET ANSWER