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Genre of popular music

Stone and roll
Stylistic origins
  • Rhythm and dejection
  • gospel
  • boogie-woogie
  • jazz
  • country
  • bound blues
  • Western swing
Cultural origins Late 1940s – early 1950s, United States
Derivative forms
  • Rock
  • beat out
  • pop
Regional scenes
  • Great britain
Other topics
  • Origins of rock and whorl

Rock and gyre (often written equally rock & roll, stone 'n' roll, or rock 'due north roll) is a genre of popular music that evolved in the United States during the tardily 1940s and early on 1950s.[one] [ii] [ page needed ] It originated from black American music such as gospel, jump blues, jazz, boogie woogie, rhythm and blues,[3] every bit well every bit country music.[four] While rock and roll's determinative elements can be heard in blues records from the 1920s[5] and in country records of the 1930s,[4] the genre did not acquire its name until 1954.[vi] [2]

Co-ordinate to announcer Greg Kot, "rock and roll" refers to a style of popular music originating in the United states of america in the 1950s. Past the mid-1960s, stone and curl had adult into "the more encompassing international style known every bit rock music, though the latter also continued to be known in many circles as rock and roll."[7] For the purpose of differentiation, this article deals with the beginning definition.

In the earliest rock and coil styles, either the pianoforte or saxophone was typically the pb musical instrument. These instruments were mostly replaced or supplemented past guitar in the middle to late 1950s.[eight] The beat is substantially a trip the light fantastic toe rhythm[9] with an accentuated backbeat, most always provided past a snare drum.[10] Classic rock and roll is commonly played with ane or ii electric guitars (one lead, one rhythm) and a double bass (string bass). After the mid-1950s, electric bass guitars ("Fender bass") and drum kits became popular in archetype rock.[8]

Rock and scroll had a polarizing influence on lifestyles, fashion, attitudes, and language. It is often depicted in movies, fan magazines, and on television. Rock and coil is believed by some to have had a positive influence on the ceremonious rights motion, because both Blackness American and White American teenagers enjoyed the music.[11]

Terminology [edit]

The term "rock and roll" is divers past Greg Kot in Encyclopædia Britannica as the music that originated in the mid-1950s and later developed "into the more encompassing international way known every bit rock music".[7] The term is sometimes likewise used as synonymous with "rock music" and is defined as such in some dictionaries.[12] [13]

The phrase "rocking and rolling" originally described the move of a send on the sea,[14] simply by the early 20th century was used both to describe the spiritual fervor of blackness church rituals[15] and equally a sexual analogy. A retired Welsh seaman named William Fender can be heard singing the phrase "rock and roll" when describing a sexual encounter in his performance of the traditional song "The Baffled Knight" to the folklorist James Madison Carpenter in the early 1930s, which he would have learned at ocean in the 1800s; the recording tin exist heard on the Vaughan Williams Memorial Library website.[16]

Diverse gospel, dejection and swing recordings used the phrase before it became widely pop; it was used in 1940s recordings and reviews of what became known equally "rhythm and blues" music aimed at a black audience.[15]

In 1934, the song "Stone and Coil" by the Boswell Sisters appeared in the moving picture Transatlantic Merry-Become-Round. In 1942, before the concept of rock and coil had been defined, Billboard magazine columnist Maurie Orodenker started to use the term to depict upbeat recordings such equally "Rock Me" by Sis Rosetta Tharpe; her mode on that recording was described as "rock-and-scroll spiritual singing".[17] [18] Past 1943, the "Stone and Scroll Inn" in Due south Merchantville, New Jersey, was established as a music venue.[nineteen] In 1951, Cleveland, Ohio, disc jockey Alan Freed began playing this music style, and referring to it as "rock and roll"[20] on his mainstream radio program, which popularized the phrase.[21]

Several sources advise that Freed found the term, used as a synonym for sexual intercourse, on the tape "Sixty Minute Man" by Billy Ward and his Dominoes.[22] [23] The lyrics include the line, "I rock 'em, roll 'em all night long".[24] Freed did not acknowledge the suggestion nearly that source in interviews, and explained the term as follows: "Stone 'n scroll is really swing with a modern name. It began on the levees and plantations, took in folk songs, and features blues and rhythm".[25]

In discussing Alan Freed's contribution to the genre, two meaning sources emphasized the importance of African-American rhythm and blues. Greg Harris, then the Executive Director of the Rock north Roll Hall of Fame, offered this comment to CNN: "Freed's role in breaking down racial barriers in U.S. pop civilisation in the 1950s, by leading white and black kids to listen to the aforementioned music, put the radio personality 'at the vanguard' and made him 'a really of import figure'".[26] Afterward Freed was honored with a star on the Hollywood Walk of Fame, the organization's Web site offered this annotate: "He became internationally known for promoting African-American rhythm and dejection music on the radio in the United States and Europe under the name of rock and roll".[27]

Not often acknowledged in the history of rock and roll, Todd Storz, the owner of radio station KOWH in Omaha, Nebraska, was the offset to adopt the Top 40 format (in 1953), playing simply the most popular records in rotation. His station, and the numerous others which adopted the concept, helped to promote the genre: by the mid 50s, the playlist included artists such as "Presley, Lewis, Haley, Berry and Domino".[28] [29]

Early on rock and roll [edit]

Origins [edit]

The origins of rock and roll have been fiercely debated by commentators and historians of music.[xxx] At that place is full general understanding that it arose in the Southern The states – a region that would produce most of the major early on rock and gyre acts – through the coming together of various influences that embodied a merging of the African musical tradition with European instrumentation.[31] The migration of many quondam slaves and their descendants to major urban centers such as St. Louis, Memphis, New York Metropolis, Detroit, Chicago, Cleveland, and Buffalo meant that black and white residents were living in close proximity in larger numbers than ever earlier, and as a outcome heard each other's music and even began to emulate each other's fashions.[32] [33] Radio stations that made white and black forms of music available to both groups, the evolution and spread of the gramophone record, and African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision".[34]

The immediate roots of stone and roll lay in the rhythm and blues, then called "race music",[35] in combination with either boogie-woogie and shouting gospel[36] or with country music of the 1940s and 1950s. Particularly significant influences were jazz, blues, gospel, state, and folk.[xxx] Commentators differ in their views of which of these forms were nigh of import and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market place, or a new hybrid of black and white forms.[37] [38] [39]

In the 1930s, jazz, and particularly swing, both in urban-based dance bands and dejection-influenced land swing (Jimmie Rodgers, Moon Mullican and other similar singers), were amongst the first music to present African-American sounds for a predominantly white audience.[38] [twoscore] One particularly noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson'southward 1939 single Roll 'Em Pete, which is regarded equally an important forerunner of rock and scroll.[41] [42] [43] The 1940s saw the increased use of blaring horns (including saxophones), shouted lyrics and boogie-woogie beats in jazz-based music. During and immediately later on Globe War II, with shortages of fuel and limitations on audiences and available personnel, big jazz bands were less economical and tended to exist replaced by smaller combos, using guitars, bass and drums.[30] [44] In the aforementioned period, particularly on the W Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many later developments.[thirty] In the documentary film Hail! Hail! Stone 'north' Roll, Keith Richards proposes that Chuck Drupe developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creating what is instantly recognizable every bit rock guitar. This proposal by Richards neglects the black guitarists who did the same thing before Drupe, such as Goree Carter,[45] Gatemouth Dark-brown,[46] and the originator of the style, T-Bone Walker.[47] Land boogie and Chicago electrical blues supplied many of the elements that would exist seen every bit characteristic of rock and roll.[thirty] Inspired past electric blues, Chuck Berry introduced an ambitious guitar sound to stone and roll, and established the electrical guitar as its centerpiece,[48] adapting his rock ring instrumentation from the basic blues band instrumentation of a lead guitar, 2d chord musical instrument, bass and drums.[49] In 2017, Robert Christgau alleged that "Chuck Berry did in fact invent rock 'n' roll", explaining that this artist "came the closest of any unmarried figure to being the i who put all the essential pieces together".[50]

Bill Haley and his Comets performing in the 1954 Universal International film Round Up of Rhythm

Stone and gyre arrived at a fourth dimension of considerable technological change, soon afterward the evolution of the electric guitar, amplifier and microphone, and the 45 rpm tape.[30] There were likewise changes in the record industry, with the rise of contained labels similar Atlantic, Sun and Chess servicing niche audiences and a similar rise of radio stations that played their music.[thirty] It was the realization that relatively flush white teenagers were listening to this music that led to the development of what was to be defined as rock and curl equally a singled-out genre.[30] Considering the development of stone and whorl was an evolutionary process, no single record can be identified as unambiguously "the first" rock and curlicue record.[ii] Contenders for the title of "first rock and roll tape" include Sister Rosetta Tharpe's "Foreign Things Happening Every Day" (1944),[51] "That's All Correct" past Arthur Crudup (1946), "Move It On Over" past Hank Williams (1947),[52] "The Fat Human being" by Fats Domino (1949),[2] Goree Carter'south "Stone Awhile" (1949),[53] Jimmy Preston's "Rock the Joint" (1949) (after covered by Bill Haley & His Comets in 1952),[54] "Rocket 88" by Jackie Brenston and his Delta Cats (Ike Turner and his band The Kings of Rhythm), recorded by Sam Phillips for Sun Records in March 1951.[55] In terms of its wide cultural impact across society in the US and elsewhere, Beak Haley's "Rock Around the Clock",[56] recorded in April 1954 but not a commercial success until the following year, is generally recognized every bit an important milestone, just it was preceded by many recordings from earlier decades in which elements of rock and roll can be conspicuously discerned.[ii] [57] [58]

Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis, and Factor Vincent.[55] Chuck Drupe's 1955 classic "Maybellene" in particular features a distorted electric guitar solo with warm overtones created by his pocket-size valve amplifier.[59] Nevertheless, the use of distortion was predated by electric blues guitarists such as Joe Loma Louis,[lx] Guitar Slim,[61] Willie Johnson of Howlin' Wolf's band,[62] and Pat Hare; the latter two also made apply of distorted power chords in the early 1950s.[63] Likewise in 1955, Bo Diddley introduced the "Bo Diddley crush" and a unique electric guitar style,[64] influenced by African and Afro-Cuban music and in turn influencing many later artists.[65] [66] [67]

Rhythm and blues [edit]

Stone and roll was strongly influenced past R&B, according to many sources, including an article in the Wall Street Journal in 1985 titled, "Rock! It's Nonetheless Rhythm and Blues". In fact, the author stated that the "2 terms were used interchangeably", until nigh 1957. The other sources quoted in the article said that stone and roll combined R&B with pop and country music.[68]

Fats Domino was 1 of the biggest stars of rock and roll in the early 1950s and he was not convinced that this was a new genre. In 1957, he said: "What they call stone 'north' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".[69] Co-ordinate to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, land born and city-bred, were fundamentally influenced by R&B, the blackness popular music of the late Forties and early on Fifties".[70] Further, Footling Richard built his ground-breaking sound of the aforementioned era with an uptempo blend of boogie-woogie, New Orleans rhythm and blues, and the soul and fervor of gospel music vocalization.[36]

Rockabilly [edit]

A black and white photograph of Elvis Presley standing between two sets of bars

"Rockabilly" usually (merely not exclusively) refers to the type of rock and scroll music which was played and recorded in the mid-1950s primarily past white singers such as Elvis Presley, Carl Perkins, Johnny Greenbacks, and Jerry Lee Lewis, who drew mainly on the country roots of the music.[71] [72] Presley was greatly influenced by and incorporated his style of music with that of some of the greatest African American musicians like BB Rex, Arthur Crudup and Fats Domino. His style of music combined with blackness influences created controversy during a turbulent fourth dimension in history.[72] Many other popular rock and curlicue singers of the time, such as Fats Domino and Little Richard,[73] came out of the blackness rhythm and blues tradition, making the music attractive to white audiences, and are non ordinarily classed as "rockabilly".

Presley popularized stone and roll on a wider scale than any other single performer and past 1956, he had emerged as the singing sensation of the nation.[74]

Neb Flagg who is a Connecticut resident, began referring to his mix of hillbilly and rock 'north' curlicue music as rockabilly around 1953.[75]

In July 1954, Presley recorded the regional hit "That's All Right" at Sam Phillips' Dominicus Studio in Memphis.[76] Iii months earlier, on April 12, 1954, Beak Haley & His Comets recorded "Rock Around the Clock". Although only a modest hit when outset released, when used in the opening sequence of the movie Blackboard Jungle a yr afterwards, it set the stone and roll blast in movement.[56] The song became one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a quantum for both the group and for all of rock and roll music. If everything that came before laid the groundwork, "Rock Around the Clock" introduced the music to a global audience.[77]

In 1956, the arrival of rockabilly was underlined by the success of songs like "Folsom Prison Blues" by Johnny Cash, "Bluish Suede Shoes" past Perkins, and the No. ane hit "Heartbreak Hotel" past Presley.[72] For a few years it became the most commercially successful class of rock and coil. Subsequently rockabilly acts, particularly performing songwriters similar Buddy Holly, would be a major influence on British Invasion acts and particularly on the song writing of the Beatles and through them on the nature of later stone music.[78]

Doo wop [edit]

Doo-wop was one of the most popular forms of 1950s rhythm and blues, ofttimes compared with stone and roll, with an emphasis on multi-role vocal harmonies and meaningless backing lyrics (from which the genre after gained its name), which were commonly supported with light instrumentation.[79] Its origins were in African-American vocal groups of the 1930s and 40s, such as the Ink Spots and the Mills Brothers, who had enjoyed considerable commercial success with arrangements based on close harmonies.[80] They were followed by 1940s R&B vocal acts such as the Orioles, the Ravens and the Clovers, who injected a strong element of traditional gospel and, increasingly, the energy of bound blues.[80] By 1954, as rock and whorl was outset to emerge, a number of similar acts began to cross over from the R&B charts to mainstream success, often with added honking brass and saxophone, with the Crows, the Penguins, the El Dorados and the Turbans all scoring major hits.[80] Despite the subsequent explosion in records from doo wop acts in the later on 1950s, many failed to chart or were one-hit wonders. Exceptions included the Platters, with songs including "The Peachy Pretender" (1955)[81] and the Coasters with humorous songs like "Yakety Yak" (1958),[82] both of which ranked amid the almost successful rock and curlicue acts of the era.[80] Towards the end of the decade there were increasing numbers of white, particularly Italian-American, singers taking upwardly doo wop, creating all-white groups like the Mystics and Dion and the Belmonts and racially integrated groups similar the Del-Vikings and the Impalas.[80] Doo-wop would be a major influence on song surf music, soul and early Merseybeat, including the Beatles.[80]

Cover versions [edit]

Many of the earliest white stone and ringlet hits were covers or partial re-writes of earlier black rhythm and dejection or dejection songs.[83] Through the tardily 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder way, with artists such as Fats Domino and Johnny Otis speeding upward the tempos and increasing the backbeat to great popularity on the juke joint circuit.[84] Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets, but artists and producers quickly recognized the potential of stone and whorl.[85] Some of Presley's early recordings were covers of blackness rhythm and blues or blues songs, such every bit "That's All Right" (a countrified organisation of a dejection number), "Babe Let's Play House", "Lawdy Miss Clawdy", and "Hound Dog".[86] The racial lines, yet, are rather more clouded by the fact that some of these R&B songs originally recorded by black artists had been written past white songwriters, such as the team of Jerry Leiber and Mike Stoller. Songwriting credits were often unreliable; many publishers, record executives, and fifty-fifty managers (both white and black) would insert their name equally a composer in gild to collect royalty checks.

Covers were customary in the music industry at the fourth dimension; it was made particularly like shooting fish in a barrel by the compulsory license provision of Usa copyright law (still in consequence).[87] One of the showtime relevant successful covers was Wynonie Harris's transformation of Roy Brown's 1947 original jump blues hitting "Good Rocking Tonight" into a more showy rocker[88] and the Louis Prima rocker "Oh Baby" in 1950, as well as Amos Milburn's encompass of what may have been the start white rock and roll record, Hardrock Gunter's "Birmingham Bounce" in 1949.[89] The virtually notable tendency, however, was white popular covers of black R&B numbers. The more familiar sound of these covers may have been more than palatable to white audiences, there may have been an element of prejudice, merely labels aimed at the white market also had much amend distribution networks and were mostly much more profitable.[xc] Famously, Pat Boone recorded sanitized versions of songs recorded by the likes of Fats Domino, Little Richard, the Flamingos and Ivory Joe Hunter. Afterwards, equally those songs became popular, the original artists' recordings received radio play as well.[91]

The cover versions were non necessarily straightforward imitations. For example, Neb Haley's incompletely bowdlerized cover of "Shake, Rattle and Whorl" transformed Big Joe Turner's humorous and racy tale of developed love into an energetic teen trip the light fantastic number,[83] [92] while Georgia Gibbs replaced Etta James'southward tough, sarcastic song in "Roll With Me, Henry" (covered equally "Dance With Me, Henry") with a perkier song more advisable for an audience unfamiliar with the vocal to which James's vocal was an answer, Hank Ballard's "Work With Me, Annie".[93] Presley's stone and curlicue version of "Hound Dog", taken mainly from a version recorded by the pop band Freddie Bell and the Bellboys, was very different from the blues shouter that Large Mama Thornton had recorded four years before.[94] [95] Other white artists who recorded cover versions of rhythm and blues songs included Gale Tempest (Smiley Lewis' "I Hear You Knockin'"), the Diamonds (The Gladiolas' "Piffling Darlin'" and Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love?"), the Crew Cuts (the Chords' "Sh-Blast" and Nappy Chocolate-brown's "Don't Be Aroused"), the Fountain Sisters (The Jewels' "Hearts of Stone") and the Maguire Sisters (The Moonglows' "Sincerely").

Decline [edit]

Some commentators have suggested a refuse of rock and curl in the late 1950s and early on 1960s.[96] [97] The retirement of Piffling Richard to get a preacher (Oct 1957), the departure of Presley for service in the United States Regular army (March 1958), the scandal surrounding Jerry Lee Lewis' marriage to his thirteen-year-old cousin (May 1958), the deaths of Buddy Holly, The Large Bopper and Ritchie Valens in a aeroplane crash (Feb 1959), the breaking of the Payola scandal implicating major figures, including Alan Freed, in bribery and corruption in promoting private acts or songs (November 1959), the arrest of Chuck Berry (Dec 1959), and the death of Eddie Cochran in a machine crash (Apr 1960) gave a sense that the initial stage of rock and roll had come up to an cease.[98]

During the late 1950s and early 1960s, the rawer sounds of Presley, Cistron Vincent, Jerry Lee Lewis and Buddy Holly were commercially superseded past a more polished, commercial style of rock and scroll. Marketing frequently emphasized the physical looks of the artist rather than the music, contributing to the successful careers of Ricky Nelson, Tommy Sands, Bobby Vee and the Philadelphia trio of Bobby Rydell, Frankie Avalon, Fabian, and Del Shannon, who all became "teen idols".[99]

Some music historians take also pointed to of import and innovative developments that congenital on rock and roll in this menses, including multitrack recording, developed past Les Paul, the electronic treatment of sound by such innovators every bit Joe Meek, and the "Wall of Audio" productions of Phil Spector,[100] continued desegregation of the charts, the rise of surf music, garage rock and the Twist dance craze.[38] Surf rock in item, noted for the apply of reverb-drenched guitars, became one of the virtually popular forms of American stone of the 1960s.[101]

British rock and scroll [edit]

Tommy Steele, one of the kickoff British rock and rollers, performing in Stockholm in 1957

In the 1950s, Uk was well placed to receive American rock and roll music and civilization.[102] It shared a common language, had been exposed to American culture through the stationing of troops in the country, and shared many social developments, including the emergence of singled-out youth sub-cultures, which in Britain included the Teddy Boys and the rockers.[103] Trad jazz became pop in the United kingdom, and many of its musicians were influenced by related American styles, including boogie woogie and the dejection.[104] The skiffle craze, led by Lonnie Donegan, utilised amateurish versions of American folk songs and encouraged many of the subsequent generation of rock and roll, folk, R&B and beat musicians to kickoff performing.[105] At the same time British audiences were first to see American rock and coil, initially through films including Blackboard Jungle (1955) and Rock Around the Clock (1956).[106] Both movies featured the Beak Haley & His Comets hit "Rock Around the Clock", which beginning entered the British charts in early on 1955 – 4 months earlier it reached the US pop charts – topped the British charts later on that year and again in 1956, and helped identify rock and roll with teenage delinquency.[107]

The initial response of the British music industry was to effort to produce copies of American records, recorded with session musicians and often fronted past teen idols.[102] More grassroots British rock and rollers shortly began to appear, including Wee Willie Harris and Tommy Steele.[102] During this period American Rock and Roll remained dominant; however, in 1958 Britain produced its offset "accurate" stone and ringlet song and star, when Cliff Richard reached number 2 in the charts with "Motility It".[108] At the same time, Telly shows such as Six-Five Special and Oh Boy! promoted the careers of British stone and rollers like Marty Wilde and Adam Faith.[102] Cliff Richard and his backing band, the Shadows, were the nigh successful home grown rock and roll based acts of the era.[109] Other leading acts included Billy Fury, Joe Brownish, and Johnny Kidd & the Pirates, whose 1960 hit song "Shakin' All Over" became a rock and roll standard.[102]

As interest in rock and roll was get-go to subside in America in the late 1950s and early 1960s, it was taken up past groups in major British urban centers like Liverpool, Manchester, Birmingham, and London.[110] About the same time, a British blues scene developed, initially led past purist blues followers such as Alexis Korner and Cyril Davies who were directly inspired past American musicians such as Robert Johnson, Dirty Waters and Howlin' Wolf.[111] Many groups moved towards the crush music of rock and roll and rhythm and dejection from skiffle, like the Quarrymen who became the Beatles, producing a class of stone and roll revivalism that carried them and many other groups to national success from nearly 1963 and to international success from 1964, known in America as the British Invasion.[112] Groups that followed the Beatles included the beat out-influenced Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits and the Dave Clark V.[113] Early British rhythm and dejection groups with more dejection influences include the Animals, the Rolling Stones, and the Yardbirds.[114]

Cultural influence [edit]

Rock and scroll influenced lifestyles, style, attitudes, and linguistic communication.[115] In improver, stone and curlicue may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music.[11]

Many early rock and curlicue songs dealt with problems of cars, school, dating, and vesture. The lyrics of rock and coil songs described events and conflicts to which nearly listeners could relate through personal experience. Topics such as sex activity that had generally been considered taboo began to announced in rock and roll lyrics. This new music tried to interruption boundaries and express emotions that people were actually feeling but had not discussed openly. An awakening began to take place in American youth civilization.[116]

Race [edit]

In the crossover of African-American "race music" to a growing white youth audience, the popularization of rock and roll involved both black performers reaching a white audience and white musicians performing African-American music.[117] Rock and roll appeared at a fourth dimension when racial tensions in the United States were entering a new phase, with the beginnings of the civil rights movement for desegregation, leading to the U.Due south. Supreme Court ruling that abolished the policy of "carve up but equal" in 1954, but leaving a policy which would be extremely difficult to enforce in parts of the United States.[118] The meeting of white youth audiences and blackness music in rock and whorl inevitably provoked strong white racist reactions within the U.s.a., with many whites condemning its breaking down of barriers based on color.[11] Many observers saw rock and scroll as heralding the way for desegregation, in creating a new grade of music that encouraged racial cooperation and shared experience.[119] Many authors take argued that early on rock and scroll was instrumental in the way both white and blackness teenagers identified themselves.[120]

Teen civilisation [edit]

"There's No Romance in Rock and Gyre" fabricated the embrace of Truthful Life Romance in 1956

Several rock historians have claimed that stone and roll was one of the first music genres to define an age group.[121] It gave teenagers a sense of belonging, even when they were lone.[121] Rock and curl is oft identified with the emergence of teen civilization among the first baby boomer generation, who had greater relative affluence and leisure fourth dimension and adopted rock and roll as part of a singled-out subculture.[122] This involved not just music, absorbed via radio, record buying, jukeboxes and Television programs like American Bandstand, just also extended to film, clothes, hair, cars and motorcycles, and distinctive language. The youth civilization exemplified by rock and roll was a recurring source of business for older generations, who worried about juvenile delinquency and social rebellion, particularly because, to a big extent, rock and roll culture was shared by different racial and social groups.[122]

In America, that business was conveyed even in youth cultural artifacts such every bit comic books. In "In that location's No Romance in Rock and Roll" from True Life Romance (1956), a defiant teen dates a rock and roll-loving boy but drops him for 1 who likes traditional adult music—to her parents' relief.[123] In Britain, where postwar prosperity was more than limited, stone and roll culture became attached to the pre-existing Teddy Boy motion, largely working class in origin, and eventually to the rockers.[103] "On the white side of the deeply segregated music market", rock and roll became marketed for teenagers, as in Dion and the Belmonts' "A Teenager in Love" (1959).[124]

Trip the light fantastic styles [edit]

From its early 1950s ancestry through the early 1960s, stone and roll spawned new dance crazes[125] including the twist. Teenagers found the syncopated backbeat rhythm especially suited to reviving Large Band-era jitterbug dancing. Sock hops, school and church gym dances, and dwelling house basement trip the light fantastic toe parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest trip the light fantastic and fashion styles.[126] From the mid-1960s on, as "stone and roll" was rebranded as "rock," later dance genres followed, leading to funk, disco, house, techno, and hip hop.[127]

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Sources [edit]

  • Bogdanov, V.; Woodstra, C.; Erlewine, S. T., eds. (2002). All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (3rd ed.). Milwaukee, WI: Backbeat Books. ISBN0-87930-653-Ten.
  • Rock and Roll: A Social History, by Paul Friedlander (1996), Westview Press (ISBN 0-8133-2725-three)
  • "The Rock Window: A Way of Agreement Stone Music" past Paul Friedlander, in Tracking: Popular Music Studies Archived September 23, 2006, at the Wayback Motorcar, Volume I, number 1, Leap, 1988
  • The Rolling Rock Encyclopedia of Rock & Gyre past Holly George-Warren, Patricia Romanowski, Jon Pareles (2001), Fireside Press (ISBN 0-7432-0120-v)
  • The Sound of the City: the Ascent of Rock and Curlicue, past Charlie Gillett (1970), E.P. Dutton
  • Gilliland, John (1969). "Hail, Hail, Rock 'n' Scroll: The rock revolution gets underway" (audio). Popular Chronicles. University of North Texas Libraries.
  • The Fifties past David Halberstam (1996), Random House (ISBN 0-517-15607-five)
  • The Rolling Rock Illustrated History of Rock and Roll : The Definitive History of the Most Of import Artists and Their Music past editors James Henke, Holly George-Warren, Anthony Decurtis, Jim Miller (1992), Random Business firm (ISBN 0-679-73728-6)

External links [edit]

  • Rock music at Curlie
  • The Camp Meeting Jubilee 1910 recording
  • The Smithsonian's history of the electric guitar
  • History of Rock
  • Youngtown Rock and Roll Museum – Omemee, Ontario

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Source: https://en.wikipedia.org/wiki/Rock_and_roll

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