The Origins and Evolution of Underground Pop Music

Christian Caliandro concludes his series on underground pop music, reflecting on its origins and the pivotal transition from the 1960s to the 1970s. He references Francesco Pacifico's 'Lettera di Notte #1' (CheFare, February 2021), which describes how institutions and capital shifted from supporting cultural expansion to selecting sponsored artists as rock evolved into psychedelic and anarchic forms. The T.A.M.I. Show of 1964 exemplifies this simplification, moving from James Brown's complex soul to the Rolling Stones' more digestible pop. Miles Davis criticized the promotion of free jazz by white critics, which he saw as a way to sideline influential Black musicians like himself. Davis pursued his electric fusion with multi-track recordings and collaborator Teo Macero, facing critical backlash but persisting. Jim Morrison's trajectory illustrates the risks of underground pop: the rockstar archetype and ritualistic concerts can turn self-destructive. Claudio Todesco (Rolling Stone, July 2021) notes that today's algorithm-driven music prioritizes safety and instant gratification, contrasting with the adventurous, dangerous spirit of the Doors. Caliandro argues that art, including music, should be frightening and adventurous, not confined to pop's predictable conventions.