¹ Paul Williams, review of Revolver (Capitol, 1966) in Crawdaddy!, 5 (Sept. 1966), 3–5.

² Wolfe, Burton H., “The New Music and the New Scene,” in Eisen, Jonathan, ed., The Age of Rock: Sounds of the American Cultural Revolution (New York: Random House, 1969), 30–41, 31Google Scholar.

³ Adinolfi, Francesco, “Exoticism,” in Shepherd, John, Horn, David, Laing, Dave, Oliver, Paul and Wicke, Peter, eds., Continuum Encyclopedia of Popular Music of the World, Volume I, Media, Industry and Society (London: Continuum, 2003), 220–23Google Scholar.

⁴ Bellman, Jonathan, ed., The Exotic in Western Music (Boston: Northeastern University Press, 1998), 303Google Scholar.

⁵ Bellman, Jonathan, “Indian Resonances in the British Invasion, 1965–1968,” Journal of Musicology, 15, 1 (Winter 1997), 116–36, 117Google Scholar.

⁶ We do not mean to imply that British pop stars shared the same cultural, social, political and economic milieu as their counterparts in the United States: that is clearly not the case. However, audiences on both sides of the Atlantic did embrace their music: they connected with the lyrics, danced to the rhythms and sounds, and adopted the imagery. And when British musicians turned towards the East, Americans followed willingly.

⁷ Thus far no one has published a historical monograph about the Hippy Trail, although there have been numerous memoirs (mostly self-published), an oral history – Tomory's, David A Season in Heaven: True Tales from the Road to Kathmandu (London: Thorsons, 1996)Google Scholar – and MacLean's, Rory Magic Bus: On the Hippie Trail from Istanbul to India (Harmondsworth: Penguin, 2007)Google Scholar, which offers a spirited evocation of the trail.

⁸ Gillett, Charlie, The Sound of the City: The Rise of Rock and Roll (London: Souvenir, 1983), 257Google Scholar; Cohn, Nik, Awopbopaloobop Alopbamboom: Pop from the Beginning (London: Pimlico, 2004), 71Google Scholar.

⁹ See, for example, the Beatles’ Live! at the Star-Club in Hamburg, Germany; 1962 (Lingasong/Bellaphon, 1977).

¹⁰ MacDonald, Ian, Revolution in the Head: The Beatles’ Records and the Sixties (London: Random House, 1997), 293Google Scholar; Gillett, 263.

¹¹ Gillett, 268–69.

¹² A term used to explain the phenomenal success of bands such as the Beatles, the Rolling Stones, the Who, the Kinks and the Animals in the United States from around 1964 to 1967. Journalist David Kamp provides some statistics which illustrate the scale of this success: “Prior to 1964, only two British singles had ever topped Billboard’s Hot 100 chart – Acker Bilk's ‘Stranger on the Shore’ and the Tornadoes’ ‘Telstar,’ both instrumentals – and between them they held the No. 1 spot for a total of four weeks. In the 1964–65 period, by contrast, British acts were at No. 1 for an astounding 56 weeks combined. In 1963 a mere three singles by British artists cracked the American Top 40. In 1964, 65 did, and in 1965, a further 68 did.” David Kamp, “The British Invasion,” Vanity Fair, Nov. 2002, available at www.vanityfair.com/culture/2002/11/british-invasion-oral-history.

¹³ David Griffiths, “The Byrds: ‘That Criticism Is Fair!’,”Record Mirror, 21 Aug. 1965.

¹⁴ Crowe, Cameron, “Joe Walsh, Child of the Silent Majority: Ex-James Gangster Tends His Garden,” Rolling Stone, 181 (27 Feb. 1975)Google Scholar.

¹⁵ See Norman, Philip, John Lennon: The Life (London: HarperCollins, 2008), 480Google Scholar; and MacDonald, 214–15.

¹⁶ Collins, Marcus, “The Beatles’ Politics,” British Journal of Politics and International Relations, 16, 2 (May 2014), 291–309, 304CrossRefGoogle Scholar.

¹⁷ “California” on his Turning Point (1969) and “Laurel Canyon Home” on his Blues from Laurel Canyon (1968).

¹⁸ Griffiths.

¹⁹ Marwick, Arthur, “Introduction: Locating Key Texts amid the Distinctive Landscape of the Sixties,” in Aldgate, Anthony, Chapman, James, and Marwick, Arthur, eds., Windows on the Sixties: Exploring Key Texts of Media and Culture (London: I. B. Tauris, 2000), xi–xxi, xviiiGoogle Scholar.

²⁰ Villanueva, Francisco Márquez, Santiago: tragectoria de un mito (Barcelona: Bellaterra, 2004), 114–18Google Scholar.

²¹ Young, Rob, Electric Eden: Unearthing Britain's Visionary Music (London: Faber & Faber, 2010), 56–82Google Scholar; Burke, Peter, Cultural Hybridity (Cambridge: Polity Press, 2009), 23Google Scholar.

²² Philip Clark, “He Got Rhythm,” The Guardian, 7 Dec. 2012.

²³ Gillian A. M. Mitchell, “Reassessing ‘the Generation Gap’: Bill Haley's 1957 Tour of Britain, Inter-generational Relations and Attitudes to Rock'n‘Roll in the Late 1950s,” Twentieth Century British History, 24, 4 (Dec. 2013), 573–605.

²⁴ See Lund, Jens and Denisoff, R. Serge, “The Folk Music Revival and the Counter Culture: Contributions and Contradictions”, Journal of American Folklore, 84 (Oct.–Dec. 1971), 394–405CrossRefGoogle Scholar; and also Mitchell, Julia, “‘Farewell to ‘Cotia’: The English Folk Revival, the Pit Elegy, and the Nationalization of British Coal, 1947–70,” Twentieth Century British History, 25, 4 (Dec. 2014), 585–601CrossRefGoogle Scholar.

²⁵ Kerouac, Jack, On the Road (New York: Penguin, 1991; first published 1957), 259, 254Google Scholar.

²⁶ Thompson, Hunter S., Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream (New York: Vintage, 1998; first published 1971), 68Google Scholar.

²⁷ Cox, Harvey, Turning East: The Promise and Peril of the New Orientalism (London: Allen Lane, 1977), 9Google Scholar.

²⁸ Krishnalal Shridharani, quoted in Rubin, Rachel and Melnick, Jeffrey Paul, Immigration and American Popular Culture: An Introduction (New York: New York University Press, 2007), 146Google Scholar.

²⁹ See Takiki, Ronald, Strangers from a Different Shore: A History of Asian Americans (Boston: Little, Brown, 1989)Google Scholar; Duffield, Marcus, King Legion (New York: Cape, 1931)Google Scholar; and Prothero, Stephen, “Mother India's Scandalous Swamis,” in McDannell, Colleen, ed., Religions of the United States in Practice, Volume II (Princeton, NJ: Princeton University Press, 2001), 418–32Google Scholar.

³⁰ Quoted in Rubin and Melnick, 144–45.

³¹ In 1893, Vivekananda attended the World's Parliament of Religions in Chicago. He then went on a well-received lecture tour and in 1894 established the Vedanta Society, which became the largest Hindu organization in the United States at this time. See Prothero.

³² See Prothero, Stephen, “Hinduphilia and Hinduphobia in American Culture,” in Lannstrom, Anna, ed., The Stranger's Religion: Fascination and Fear (Notre Dame, IN: University of Notre Dame Press, 2004), 13–37Google Scholar; and Vonnegut, Kurt, “Yes, We Have No Nirvanas,” in Vonnegut, , Wampeters, Foma and Granfalloons (London: Grafton Books, 1988; first published 1976), 48–57Google Scholar.

³³ Engelhardt, Tom, The End of Victory Culture (New York: HarperCollins, 1995), 58Google Scholar.

³⁴ Arlen, Michael J., The Living Room War (New York: Viking, 1969)Google Scholar.

³⁵ Goldberg, Philip, American Veda: From Emerson and the Beatles to Yoga and Meditation: How Indian Spirituality the West (New York: Random House, 2010), 149Google Scholar.

³⁶ On the effects of Eastern-inspired pacifism on one black militant see Willis, Jan, Dreaming Me: Black, Baptist and Buddhist: One Woman's Spiritual Journey (Somerville: Wisdom Publications, 2008)Google Scholar.

³⁷ Warren Hinckle, “A Social History of the Hippies,” Ramparts, March 1967, 5–26, 17.

³⁸ Campbell, Neil and Kean, Alasdair, American Cultural Studies: An Introduction to American Culture, 2nd edn (London and New York: Routledge, 2006), 112Google Scholar.

³⁹ Fast, Susan, In the Houses of the Holy: Led Zeppelin and the Power of Rock Music (Oxford: Oxford University Press, 2005), 92Google Scholar.

⁴⁰ Thomas Hine, The Great Funk: Falling Apart and Coming Together (on a Shag Rug) in the Seventies (New York: Farrar, Straus & Giroux), 11.

⁴¹ Rubin and Melnick, Immigration and American Popular Culture, 132. For a more general survey see Campbell, Colin, “The Easternisation of the West: Or, How the West was Lost,” Asian Journal of Social Science, 38 (2010), 738–57Google Scholar.

⁴² Cox, Turning East, 10.

⁴³ Ibid., 93.

⁴⁴ Needleman, Jacob, The New Religions (New York: E. P. Dutton, 1977; first published 1970), 129Google Scholar.

⁴⁵ Michael Lydon, “Jim Morrison and the Doors,” New York Times, 3 Dec. 1968.

⁴⁶ Richard Hughes Seager, Buddhism in America: Columbia Contemporary American Religion (New York: Columbia University Press, 2012), 4.

⁴⁷ Roszak, Theodore, The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition (Berkeley, Los Angeles and London: University of California Press, 1995; first published 1969), 136Google Scholar.

⁴⁸ Said, Edward, Culture and Imperialism (New York: Vintage Books, 1994), 134Google Scholar.

⁴⁹ Bishop, Peter, The Myth of Shangri-La: Tibet, Travel Writing, and the Western Creation of Sacred Landscape (Berkeley and Los Angeles: University of California Press, 1989), 7Google Scholar.

⁵⁰ Said, Edward W., Orientalism (New York: Random House, 1978)Google Scholar. Said's analysis is, of course, much deeper and more nuanced than this short summary can relate. Said also argued, for example, that these attitudes were embedded in serious historical and academic writing, not just in popular literature.

⁵¹ Twain, Mark, Adventures of Huckleberry Finn (London: Chatto & Windus, 1884), chapter 3Google Scholar.

⁵² Jackson, Carl, “The Counterculture Looks East: Beat Writers and Asian Religion,” American Studies, 29, 1 (Spring 1988), 51–70Google Scholar. On the beatniks’ reception of Buddhism see also Alan W. Watts, “Beat Zen, Square Zen, and Zen,” Chicago Review, 12, 2 (Summer 1958), 1–11.

⁵³ Cox, Turning East, 149.

⁵⁴ Lott, Eric, “Love and Theft: The Racial Unconscious of Blackface Minstrelsy,” Representations, 39 (Summer 1992), 23–50CrossRefGoogle Scholar.

⁵⁵ Mailer, Norman, “The White Negro: Superficial Reflections on the Hipster,” Dissent, 4 (1957), 276–93Google Scholar. See also Lott, Eric, “White Like Me: Racial Cross-dressing and the Construction of American Whiteness,” in Kaplan, Amy and Pease, Donald, eds., Cultures of United States Imperialism (Durham, NC: Duke University Press, 1993), 474–98Google Scholar.

⁵⁶ As Ulrich Adelt notes perceptively, to “take everything but the burden from Black culture.” Adelt, Ulrich, Blues Music in the Sixties: A Story in Black and White (New Brunswick, NJ: Rutgers University Press, 2010), 59Google Scholar.

⁵⁷ Wepman, Dennis, Immigration (New York: Infobase, 2008), 311–13Google Scholar.

⁵⁸ Rubin and Melnick, Immigration and American Popular Culture, 131, 139.

⁵⁹ Wallrup, Erik, Being Musically Attuned: The Act of Listening to Music (Farnham: Ashgate, 2015), 236Google Scholar.

⁶⁰ Indian religious guru Swami Satchidananda also gave a spiritual blessing onstage on the opening day of the festival. See Evans, Mike and Kingsbury, Paul, Woodstock: Three Days That Rocked the World (New York: Sterling, 2009), 77Google Scholar.

⁶¹ Rubin and Melnick, 132.

⁶² Ibid., 152.

⁶³ Stuart Hall, “The Hippies: An American Moment” (1968), stencilled occasional paper, Sub and Popular Culture Series, 16, Centre for Contemporary Cultural Studies, University of Birmingham.

⁶⁴ Courtney, David, An American in Hyderabad: Life in India in the 1970s (Houston: Sur Sangeet Services, 2012), 8–9Google Scholar.

⁶⁵ Quoted in Peck, Abe, Uncovering the Sixties: The Life & Times of the Underground Press (New York: Pantheon, 1985), 108Google Scholar.

⁶⁶ Ibid., 166.

⁶⁷ Reck, David R., “Beatles Orientalis: Influences from Asia in a Popular Song Tradition,” Asian Music, 16, 1 (1985), 83–149, 90CrossRefGoogle Scholar.

⁶⁸ Ibid., 83–149, 99. Reck finds that some 20 Beatles’ songs show Asian influences: one can argue that their borrowings from Indian music were vital to their overall sound.

⁶⁹ Mike Bourne, “Another Turban in the Ring,” The Spectator, 13 Nov. 1967, 10.

⁷⁰ Lynch, Annette and Strauss, Mitchell D., eds., Ethnic Dress in the United States: A Cultural Encyclopedia (Lanham, MD.: Rowman & Littlefield, 2014), 210Google Scholar.

⁷¹ Nick Jones, “Beatle George and Where He's At,” Melody Maker, 16 Dec 1967.

⁷² Loraine Alterman, “The Beatles: Four Smiling, Tired Guys Talk about Their Music,” Detroit Free Press, 19 Aug 1966.

⁷³ Williams, review of Revolver, 3.

⁷⁴ “The Beatles Magical Mystery Tour, Part 1,” Arena, dir. Francis Hanly (BBC Arena/Apple Films, 2012), broadcast on BBC Four, 24 Oct. 2015.

⁷⁵ Don Speicher, “The New Music ’68,” Great Speckled Bird, 1, 4 (26 April–9 May 1968), 8.

⁷⁶ “The Way Out Is In,” International Times, 1, 13 (19 May 1967), 8–9.

⁷⁷ Lavezzoli, Peter, The Dawn of Indian Music in the West (New York and London: Continuum, 2006), 158Google Scholar.

⁷⁸ See Clements, Carl “John Coltrane and the Integration of Indian Concepts in Jazz Improvisation,” Jazz Research Journal, 2, 2 (2008), 155–75CrossRefGoogle Scholar; and Lavezzoli, 154.

⁷⁹ Lavezzoli, 158.

⁸⁰ Dominick Cavallo, A Fiction of the Past: The Sixties in American History (New York: St. Martin's), 160.

⁸¹ Rubin and Melnick, Immigration and American Popular Culture, 161.

⁸² See, for example, Reck, “Beatles Orientalis.”

⁸³ Goldberg, American Veda, 150.

⁸⁴ Norman, Philip, John Lennon: The Life (London: HarperCollins, 2008), 505Google Scholar.

⁸⁵ Loraine Alterman, “The Maharishi, the Beach Boys and the Heathens,” New York Magazine, 6 March 1968.

⁸⁶ Anon., “Ravi Shankar: My Music Not for Addicts,” KRLA Beat, 29 July 1967.

⁸⁷ “You Can't Even Say What It Was,” International Times, 1, 63 (29 Aug. 1969), 3, 5.

⁸⁸ For example, the music on his 1973 album Living in the Material World was influenced by his spiritual guru, Abhay Charanaravinda Bhaktivedanta Swami Prabhupada. Harrison invited Indian musician Zakir Hussain to play on the album, and the album sleeve artwork was “an exquisitely colorful painting of Lord Krishna driving a chariot in a scene from Bhagavad Gita.” See Lavezzoli, 9.

⁸⁹ These are “No Self Pity,” “Orange and Red Beams,” “All Is One,” “We Love You Lil” and “Monterey.”

⁹⁰ Jones, Roben, Memphis Boys: The Story of American Studios (Jackson: Mississippi University Press, 2010), 206CrossRefGoogle Scholar; Jarrett, Michael, Producing Country: The Inside Story of the Great Recordings (Middletown CT: Wesleyan University Press, 2014), 70Google Scholar.

⁹¹ Whiteley, Sheila, The Space between the Notes: Rock and the Counter-Culture (London and New York: Routledge, 2003), 97CrossRefGoogle Scholar.

⁹² Norman, Philip, The Stones (London: Elm Tree Books, 1984), 224Google Scholar. See also Jann Wenner, “Mick Jagger Remembers,” Rolling Stone, 723 (14 Dec. 1995), available at www.rollingstone.com/music/news/mick-jagger-remembers-19951214.

⁹³ Rob Hughes, “Revolution in the Head,” Classic Rock, 184 (June 2013), 68–71, 131.

⁹⁴ Bellman, The Exotic in Western Music, 303.

⁹⁵ Quoted in Hughes, “Revolution in the Head,” 70.

⁹⁶ Lavezzoli, 66. Hepworth, David, 1971: Never a Dull Moment (London: Bantam Press, 2016), 205–37Google Scholar.

⁹⁷ Richard Williams, “The Concert for Bangla Desh,” Melody Maker, 1 Jan 1972.

⁹⁸ See for example Fast, In the Houses of the Holy, 101–4.

⁹⁹ An explanation for this may be that the phrase “Hippy/Hippie Trail” was not widely used until around 1970. Before that, the trail was known by other names such as Road to Kathmandu and Overland to India. In their 1968 song “Sympathy for the Devil”, for example, the Rolling Stones refer to a journey to Bombay.

¹⁰⁰ Bellman, “Indian Resonances in the British Invasion,” 134–35.

¹⁰¹ Miller, Timothy, The Hippies and American Values (Knoxville: The University of Tennessee Press, 1991), 48Google Scholar.

¹⁰² Ira Robbins, “Pete Townshend: What Came Next: Pete Townshend Goes It Alone,” essay in the booklet to the Who, Who Came First (Rykodisc, 1992, CD release of 1972 vinyl abum).

¹⁰³ MacDonald, Revolution in the Head, 278–79.

¹⁰⁴ Huxley, Aldous, The Doors of Perception and Heaven and Hell (London: Flamingo, 1994; first published 1954), 5Google Scholar.

¹⁰⁵ Bromell, Nick, Tomorrow Never Knows: Rock and Psychedelics in the 1960s (Chicago and London: The University of Chicago Press, 2000), 62Google Scholar.

¹⁰⁶ Blumenthal, Seth E., “Nixon's Marijuana Problem: Youth Politics and ‘Law and Order’, 1968–1972,” The Sixties, 9, 1 (2016), 1–28CrossRefGoogle Scholar.

¹⁰⁷ “Alex Lifeson and Geddy Lee of Rush Choose 22 Songs That Inspired Them Most,” Guitar World, 28 Sept. 2014, at www.guitarworld.com/60-minutes-alex-lifeson-and-geddy-lee-rush?page=0,7, accessed 7 July 2015.

¹⁰⁸ Fast, In the Houses of the Holy, 102–3.

¹⁰⁹ See Price, Carol S. and Price, Robert M., Mystic Rhythms: The Philosophical Vision of Rush (Gillette NJ: Wildside, 1998), 78Google Scholar.

¹¹⁰ “Fast,” Classic Albums (BBC 4/VH1 and Eagle Rock Entertainment, 2010).

¹¹¹ Byrne, Alan, Thin Lizzy (London: SAF Publishing, 2006), 168–69Google Scholar.

¹¹² Rubin and Melnick, Immigration and American Popular Culture, 159–60.

¹¹³ Philo, Simon, British Invasion: The Crosscurrents of Musical Influence (Lanham, MD: Rowman & Littlefield, 2015), 149–50Google Scholar.

¹¹⁴ In Music and Capitalism: A History of the Present (Chicago and London: The University of Chicago Press, 2016)Google Scholar, Timothy D. Taylor identifies the following themes that Western modernity attributes to the mysterious “Other”: universality of cultural practices, making non-Western cultures available for use by Western artists; grouping different cultures into a homogeneous mass; and mythologizing the “Other” as being closer to nature or in a natural state of being compared to Westerners (102). Taylor explains also that a typical metaphor used by Western pop stars is that of the colonial explorer discovering a previously untouched or little known non-Western culture (99–100). In Modernity's Ear: Listening to Race and Gender in World Music (New York and London: New York University Press, 2015), 11Google Scholar, Roshanak Kheshti suggests that hybridity, appropriation and authenticity are familiar tropes deployed in the critical examination of world music.

¹¹⁵ Wall, Mick, When Giants Walked the Earth: A Biography of Led Zeppelin (London: Orion, 2009), 283Google Scholar.

¹¹⁶ Fast, 89. See also Bhatia, Sidharth, India Psychedelic: The Story of Rocking Generation (Noida: HarperCollins India, 2015)Google Scholar.

¹¹⁷ Fast, 89.

¹¹⁸ Ibid., 88.

¹¹⁹ Ibid., 94.

¹²⁰ Quoted in Waksman, Steve, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Cambridge, MA: Harvard University Press, 1999), 274–75Google Scholar.

¹²¹ Jim Anderson, “Somerset Maughan in Morocco,” OZ, 39 (Dec. 1971), 8–9, 8.

¹²² Jimmy Page, interview with Mark Blake, Classic Rock, 213 (Aug. 2015), 76–80, 80.

¹²³ Waksman, 268. More generally, see the sceptical notes in Stephens, Julie, Anti-disciplinary Protest: Sixties Radicalism and Postmodernism (Cambridge: Cambridge University Press, 1998), 48–72CrossRefGoogle Scholar.

¹²⁴ Fast, 86. This balancing between a creative “borrowing” of other musical tropes and an exploitative appropriation remains a serious dilemma today. For a stern warning concerning such practices see Ziauddin Sardar, “Postmodern(ising) Qawwali,” in Sardar, , Islam, Postmodernism and Other Futures: A Ziauddin Sardar Reader, ed. Inayatullah, Sohail and Boxwell, Gail (London: Pluto, 2003), 219–29Google Scholar.

¹²⁵ Akkerman, Gregg, Experiencing Led Zeppelin: A Listener's Companion (Lanham, MD: Rowman and Littlefield, 2014), 91Google Scholar.

¹²⁶ Jaan Uhelszki, review of Physical Graffiti, Creem, May 1975; Nick Kent, review of Physical Graffiti, New Musical Express, 7 Dec. 1974; Mick Houghton, “Led Zeppelin: Interview with Jimmy Page,” Sounds, 10 July 1976.

¹²⁷ See, for example, Jameson, Fredric, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981)Google Scholar.

¹²⁸ Lovesey, Oliver, “The ‘World’ before Globalisation: Moroccan Elements in the Incredible String Band's Music,” Popular Music, 30, 1 (Jan. 2011), 127–43, 128CrossRefGoogle Scholar. Lovesey also claims that for Led Zeppelin, “Arab influence signified doom, the barbarian invasion, or instant Valhalla.” Ibid., 138.

¹²⁹ Allen, Charles, The Buddha and the Saints: The Men Who Discovered India's Lost Religion (London: John Murray, 2002)Google Scholar.

¹³⁰ Pedersen, Poul, “Tibet, Theosophy, and the Psychologization of Buddhism,” in Dodin, Thierry and Räther, Heinz, eds., Imagining Tibet: Perceptions, Projections & Fantasies (Boston: Wisdom Publications, 2001), 151–66Google Scholar. Neuhaus, Tom, Dreamworld Tibet: Western Illusions (Trumbull, CT: Weatherhill, 2004)Google Scholar.

¹³¹ Todorov, Tzvetan, On Human Diversity: Nationalism, Racism and Exoticism in French Thought, trans. Porter, C. (Cambridge, MA: Harvard University Press, 1993), 265Google Scholar.

¹³² “The Beatles: Sgt. Pepper's Lonely Hearts Club Band,” Hit Parader, Nov. 1967.

¹³³ Mehta, Gita, Karma Cola: The Marketing of the Mystic East (London: Random House, 1998; first published 1979), 5, 33Google Scholar.

¹³⁴ MacDonald, Revolution in the Head, 243–44.

¹³⁵ On cultural translation see Burke, Peter, Cultural Hybridity (Cambridge: Polity Press, 2009)Google Scholar. Despite this work's title, Burke presents some convincing arguments for not using the term “hybridity.”

¹³⁶ Young, James O., Cultural Appropriation and the Arts (New York and Oxford: Wiley-Blackwell, 2010), 28Google Scholar.

¹³⁷ Lipsitz, George, Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place (London: Verso, 1994), 63Google Scholar.

¹³⁸ Kheshti, Roshanak, Modernity's Ear: Listening to Race and Gender in World Music (New York and London: New York University Press, 2015), 82–91Google Scholar.

¹³⁹ Andrew Bolton with Galliano, John, Geczy, Adam, Hearn, Maxwell K., King, Homay, Koda, Harold, Rado, Mei Mei and Wai, Wong Kar, China: Through the Looking Glass (New York: Metropolitan Museum of Art, 2015), 17Google Scholar.

¹⁴⁰ Ibid., 71. See also Homay King, Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier (Durham, NC: Duke University Press, 2010).

¹⁴¹ Fast, In the Houses of the Holy, 88.

¹⁴² See Covach, John, “Progressive Rock, ‘Close to the Edge,’ and the Boundaries of Style,” in Covach, John and Boone, Graeme M., eds., Understanding Rock: Essays in Musical Analysis (New York: Oxford University Press, 1997), 3–31Google Scholar.

¹⁴³ Mick Gold, “The Act You've Known for All These Years: The Beatles and Sgt. Pepper,” unpublished, 1974, at www.teachrock.org/resources/article/the-act-youve-known-for-all-these-years-the-beatles-and-sgt-pepper, accessed 5 Sept. 2016.

¹⁴⁴ Maclean, Rory, Magic Bus: On the Hippie Trail from Istanbul to India (London: Penguin, 2007)Google Scholar. Like the authors of this paper, Maclean was unable to resist using song titles as “signposts.”

¹⁴⁵ Maddick, Peter, Once Upon a Time in the Sixties (London: Bookline & Thinker, 2013)Google Scholar.