Rock n Roll

Zappa- The Oracle has it all psyched out... reading packet

Society was very repressed, sexually Parents→ misinformed and sexually repressed-- when they noticed a growing interest among teens in matters pertaining to the pleasure-giving functions of the body, they felt threatened Mom & dad were sexually uninformed and inhibited & saw no reason why their kids should be raised differently Concerned teens would become morally loose Rock & roll celebrated sexuality→ influenced teens Not cerebral music→ body music, respond physically Sexual, rebellious, easy to identify with Theater→ rock music began playing in movie theaters Impact: teens able to feel the music, impact came from the increased volume (big speakers in theaters), became a sensory experience Teens were looking for something to identify with & didn't identify with their parents' generation→ could identify with rock Reason for parental objection to rock & roll→ performed by black people Danger that black music would become appealing to white people and that black & white people and cultures would mix together/white girls would be attracted to black performers through rock and roll "To deny rock music its place in the society was to deny sexuality" Embodied a total cultural change→ youth no longer followed their parents' path in terms of music, sex, rules Green visors New consumer market (adolescent teens) driven by black R&B and white independent labels Major labels (green visors) wanted to profit from this market, but didn't want to risk the danger of signing a black artist to their label Wanted a cookie-cutter, safe (white) artist to singe the same song in a much less threatening way. Their $$, marketing, advertising, and power allowed them to outsell the independent artists (Major Labels) reject everything new, but want to acquire it once it achieves massive success and becomes profitable

Chicago Defender (newspaper) Rock n Roll

White Citizen's council wanted to ban jukeboxes from-- will corrupt teens bc black music people trying to stop rock n roll from playing in jukeboxes and getting to their kids-- reflects fear of white conservative parents Business aspect: Restaurants/bars losing $ without the music NAACP references fear, popular culture, America changing Fear: america might be changing and black people coudl rise to promience

Analogy for evolution of rock: amoeba in action

amoeba→ major record companies, leading performers, commercial radio & TV stations Activity builds up among the independent labels until the amoeba notices→ seeks to engulf them and take control of the new trend until they make it mainstream Major record labels initially rebuke new sound/music trend until it grows in popularity among the independents→ once they realize its profitability, major labels consume the indie labels Things eventually settle down, the new "noise" becomes old and played out, albums sell but excitement wanes

"Screams Heard 'Round the World' article:

Beatles arrived in NYC in 1964 Marketing campaigns included radio and advertising Music & members had personality and confidence, Iconic* Context: 1960s Civil Rights, corporate pop & folk music 1963: JFK Assassinated (left a feeling of despair in nation, lost optimism) 1964: Beatles arrive (brought back optimism into American people) "Quarrymen" 1960-70 Ed Sullivan Show Feb 9th 1964 Inspiration/Influences: Buddy Holly, Little Richard Harmonizing similar to Everly Brothers (50s), Rockability Hamburg club in Germany Originally wanted to be like Elvis (slicked back hair, etc) Astrid Kirchner Art School: 2 years after high school instead of military European Art Aesthetic Lenon/McCarney, Harrison - work ethic The Team: Brian Epstein = Manager George Martin = Producer Capitol Records

BB: Elvis- Guralnick article

Brought "vernacular language"--> gospel music + blues + rural south→ sings all kinds of music and creates his own combinations Age 21→ became greatest entertainer in American history, came from poor Mississippi background Stardom eclipsed musical career→ people more interested in the escapades of his life rather than his music Bridged gaps between white/black, low/high class, generation barriers→ universality Top of every chart that's been divided→ embodied elements of all musical styles Knocked down musical & racial barriers Had electric presence

Presidential Proclamation and Rock and Roll

Building your own narrative, seeing things through a different lens Art disrupts and challenges us to see things differently Storytelling - underground to mainstream example: hip hop today, marginalized people growing into mainstream Identity: relates to your own narrative/identity Rock & Roll more than entertaining, can be a connecting force

Prologue (Marcus)

Commercial music (popular) vs art music (significant, makes connections, timelessness) Little Richard disses a Yale professor's book "What Is Art" and broke the rules, disrupted an era Delivered a "new version of America" wailing silently within us Music should never be harmless, should always have a certain element of danger, risk, disruption Book = collection of people who've found their voice American "to imagine a destiny rather than inherit one" Audiences = rock and roll community Relationship to audience: demands Losing oneself audience can sometimes destroy the creative life on an artist

Chuck Barry Rock Lives (interview)

Don't know an artist personally until you interact with them Can relate to an artist, don't know them until you meet them Writes about experiences (cars, school)

Chapt, 3- Classic Rockers- First Generation

Elements of Rock & Roll music Synthesis of R&B, blues, and gospel mixed with varying amounts of country music and pop Emotion-laden vocals Emphasis on the two and four beats of the measures Body driven music→ young people reacted emotionally Parents strove to belong and conform, rock music became catalyst for teens to form their own group identity rock & roll was expression of both rebellion against & growing uneasiness with the perceived rigidity & banality of an era dominated by conservative Republican politics Adult antagonism towards rock music-- saw it as immoral and sinful Parent generation→ grew up in conformist societal climate, socialized by training in the military Reflected inherent racism of the era Judged it "bestial" and "subhuman since it was fundamentally black in origin and nature Reflected fear of spontaneous and sensual reaction of children to rock music -- rock made them feel good Rock pioneers→ forged a fusion of styles, exposed to both black and white musical roots Fats Domino Collaboration b/w performer-composer Domino and bandleader-arranger-producer-composer Bartholomew is credited with more charter rock music hits than any classic rock artist except Elvis Pulsating piano and the beat of a forceful rhythm and blues band Boogie Woogie Came from humble beginnings in the South (New Orleans) Rich musical traditions of New Orleans provided him w/ variety of influences Piano style→ drew from boogie woogie players (Meade Lux Lewis) Wrote his own music-- atypical for most 50s rock & roll artists Team: Domino, Bartholomew, and the "Cosimo" sound (Cosimo Matassa-- producer) [1950s into the early 1960s] Co-composer Bartholomew→ skilled musical director and record producer Matassa→ studio and engineering blended with the "New Orleans sound" "Presented a relatively asexual, non-threatening vision for youth and parents. Fostered this safe image by remaining seated at the piano during his live performances" This conservatism appeased strict, conservative parents at the time Bill Haley Combined country music, blues, jazz, and R&B→ consciously created up-tempo, beat-driven dance music First white musician of the fifties to synthesize black and white musical styles and have a major impact on popular music Lacked charisma and sexual swagger to make him king of rock and roll Became the first white rock and roll star-- America looking for teen idol, but Haley didn't quite fit the bill Lost audience and contract, developed drinking problem and dies alone Chuck Berry Redefined rock & roll by approaching it differently Rhythm-guitar style→ created a forceful, driving foundation to Berry's material that continues to be used by modern rock guitarists (made guitar lead instrument) Guitar style influenced by regional black jazz and blues artists as well as country and western music Fused elements from the blues (repetition, choke, and bend) with country-derived speed and slides Great lyricist and performer-- "chronicled the fifties teenage experience w a literacy and musical creativity unmatched by his contemporaries" Developed a performance style that excited his audience (bent over in a crouch, bobbed and weaved his head around) Songs dealt with important adolescent concerns (romance, sex, work, school, cars, dancing, etc) instead of just boy-girl romance formula Created the most literate, stylistically innovative, and original music of the era Lead vocalist, composer, instrumentalist, and bandleader (revolutionary) Little Richard Unique stage presence and live performance style-- imitated by many of his contemporaries Outrageous, raw, black Mega-personality, appearance was outlandish Unique vocal style→ highly emotive singing, soaring falsetto, screams of praise (came from gospel background) Gospel background, lived turbulent life 1957-- gave up secular music to become a Baptist preacher-- later bounced back and forth between the two genres (classic rock and gospel) until the 80s His live performance style and emotive vocal style were major building blocks of 60s rock and roll Androgynous stage persona→ reflected in David Bowie, Prince, Jimi Hendrix etc. All the artists stayed closed to their black musical roots, maintaining the unrestrained, rebellious exhortation in their lyrics

Chapt. 4 - Classic Rockers-the Second Generation

Elvis, Jerry Lee Lewis, Buddy Holly, and the Everly Brothers→ country-rooted rock and roll (guitar-oriented string band, electric guitar instrumental solo, worldview focused on romance) Elvis Poor white kid from Mississippi who live the American dream-- humble beginnings Became the vehicle for the mass popularization of classic rock genre, became king of rock and roll Molded elements from roots of blues, R&B, gospel, and country→ created his own unique version of rock and roll When the prevailing racism of the day prohibited a black artist from appearing as the rock messiah, Elvis seized the chance & the moment Manager: Colonel Tom Parker→ negotiates contract for Elvis, mass markets him→ Elvis becomes the first mass marketed superstar RCA Records: moved Elvis into the mainstream so parents would approve Becomes exploited as a classic success who will make records & then go to make movies→ continues to sell his image Ascendance to stardom occurred in 2 stages: Sun Records Rockabilly era Sam Phillips record producer Elvis' rockabilly→ combined raw, emotive, and slurred vocal style and emphasis on rhythmic feeling from the blues with the string band and strummed rhythm guitar from country Live performances→ provided a major boost to his career Moved to the music-- influenced by his gospel experience/roots Exhibited a sensuality RCA Records-- mass commercial success Major label signed elvis, country-artist manager Colonel Tom Parker Created a sound that appealed to the broadest cross section of the rock audience Colonel Tom Parker promotion plan Media saturation→ appeared on TV multiple times Ed Sullivan Show Live, TV performances helped catapult his career Dominated charts→ stuck with a tried-and-true pop music formula (sang about romance) Movies→ starred in 4 before entering the army Entered the military for 2 years→ created image of Elvis as a patriot--appeal actually broadened to include some post-teens Solidified rock's permanence as a popular music form-- carried it to all corners of the US Early 1960s→ moved closer to nonrock mainstream, abandoning rock & roll's social and artistic role as interpreter for the world for teenage America No longer dominated the charts, simply became a major recording artist Lost his penchant for rebellion and bowed to the will of public performances 1970s→ became self-destructive and heavily abused drugs, died Jerry Lee Lewis Gospel influence, but chose to become a secular musician Sexuality, expressive Intense music playing (piano-- lead instrument)--> boogie woogie beat that drives rock & roll Mixture of country music and piano-oriented blues Involved in scandals and bad press (married his third cousin) -- negatively impacts his career which became short lived Internal struggle between his own rock & roll music and his church upbringing→ created great torment within him (rock & roll viewed as devil's music) Lewis embraced the secular choice-- form of rebellion Outrageous personality, reckless performer, raucous music Buddy Holly Synthesist and innovator, melding country & black music roots with rockabilly and early classic rock Image that is safe, closer to pop image Lacked the soaring leaps and slurred lyrics of his black contemporaries (religious upbringing) Interested in black music→ atypical for the area Combination of 3 styles: Country, r&b beat, freshness of rockabilly First classic rocker to popularize the Stratocaster→ became the guitar choice for many modern artists Electric guitar became the main focal point rather than the piano → change to approach to rock & roll Made a form future generations would follow→ lead guitar, rhythm guitar, bass, drums (influences Beatles) "Master scribe of clean teen romance" Technologically advanced for his time→ utilized recording studio as an instrument Spent considerable time acquainting himself with the studio Made records way beyond his time One of the most important songwriters of the 50s→ wrote his own lyrics (atypical for 50s artist) Producers would typically provide music for the artists Killed in plane crash-- end of what could have been an incredible legacy Everly Brothers Country influence (parents were country singers)--> white country twang Wholesome image Rockabilly artists (southern style) Focus: vocal harmony (2 part harmony), everything sund together→ huge impact on future artist, acoustic guitar-led string band "Wake Up Little Susie" Country, 2-beat rhythm Vocal harmony Suggestive lyrics→ age of innocence shows how censorship & conservative hold of the media affected what could be played/reflects conservatism in 50s Classic Rock at Decade's End The classic rock era, which began with a group of primarily black artists creating reconstituted blues and R&B, ended with white artists playing a mixture of rockabilly, early classic rock, and R&B First group→ presented a relatively uncensored view of life around them-- songs of a rebellious and of a sexual nature Fashioned the music, forging the music's crossover to the popular charts Second generation→ lacked rebellious and sexual edge of precursors in their songs, but their live performance styles (Elvis, Jerry Lee Lewis) were scandalous and provided their teen audience with projected rebellious gratification Reframed the musical form, capitalized on the progressions made by the first generation

Is Music the Key to Success, Why Should I Take this Class?, Don't Turn Away From the Art of Life

Enthusiasm for the humanities diminished within our society Data-driven culture and payoff from STEM fields (Science, technology, engineering, math) Humanities interrogate & challenge us leading to comparison and recognition Art brings news from the interior and and points to future knowledge Art, similar to clothing, is 'tried on' - encountered and personalized Literature does not take time, it gives time by expanding our resources of heart and mind

Chat 6-The Early 60s Folk, surf music, and pop, The Beach Boys

Indie Labels squeezed out Classic rock faded from the scene Many innovators of the 50s are no longer at the wheel because of deaths and mainstream takeover Major corporations move back in to take over after the Payola Scandal Paying off DJ's DJs were taking bribes for playing rock & roll, got caught-- allowed major corporations to move in & dominate the charts Moving towards pop vs rock and roll Work Model Assembly line where the producer is in charge, artist in ornament for the vision Separate entities: Producer Artist Cute, safe young men & women-- turn away from classic rock Songs Contained no beat, nonsexual, romantically safe messages Studio Musicians Not a rock band Corporations handled the songwriting, production, and reaped all the financial rewards Dick Clark: DJ From Philly Shorts TV show called "American Bandstand" to have music every afternoon for teenagers and their parents - always a white audience, never integrated Phil Spector: producer Female artist controlled by male producers (until late 60s: 67/68)-- had no vioce or rights "wall of sound" 60 piece orchestra + band layered on top creating wall of sound Layer production style→ "wall" of instrumentation Pop music with a beautiful, lush sound No distorted electric guitar to appeal to adults (contained & polite) "Be My Baby" $millions in sales Producer married the lead singer Ronnie Spector Ronnie sues b/c no royalties (only paid $14k in total) 37 years later lawsuit = $2.5 million in her favor 1960s context: Civil Rights War in Vietnam (by 1963) War on Poverty Gender Issues, women's rights Alternative Listening = folk music, greenwich village Bars in the area were dangerous and club owners needed to attract customers. Cheapest way was to hire Folk musicians to play for tips Lyrics were important in these folk songs Americana, acoustic guitar, purist HOW BOB DYLAN GOT STARTED! California Surf Music The Beach Boys led by Brian Wilson (musical genius) Vocal Harmony Capitol Records Rock beat Brian Wilson from the studio experimented with sounds to record when the group got back from tour Created #1 hit 1966 "Pet Sounds" and "Art Rock" "Good Vibrations" recorded over 6 weeks - 20 sessions, costing $50k to produce Way ahead of his time

From R&B: A Life in American Music (Jerry Wexler & David Ritz)

Jerry Wexler and his work with Wilson Pickett "Temperament was fire...mainlined american music with undiluted soul" Tried to use typical production technique on Pickett and Bert Berns-- didn't work for over a year Pickett was a powerhouse singer Had idea→ brought Pickett to Memphis and told him to create his own music with local genius Steve Cropper instead of having Wexler provide the material Came up with "In the Midnight Hour"--> powerhouse song, gospel fervor Incorporated new rhythm variation Encompasses the whole spirit of R&B, rock & roll-- deviating away from major corporation model and writing from soul Country Music into the mainstream country music covers become more popular ~1940s Hank Williams country music & sincerity Music industry fights against rock n roll Dick Clarke would bribe DJs to say things about or play his own music the most Created "teen pop" Rock n Roll meets popular press Articles about rock n roll condescending Behavior of followers give sense of belonging, related rock and roll to Hitler.... Evokes "inappropriate" physical reaction

Chapt 7-The Beatles

Members: all came from close to poverty, fostered a strong work ethic John Lennon (Guitar) Paul McCartney (Bass) George Harrison (Lead Guitar) Ringo Starr (Drums) Inspiration & Influence: Buddy Holly (name (The Crickets, instrumentation, production techniques, clean teen image), Little Richard (imitated certain style), Everly Brothers (harmony), rockabilly (2-beat emphasis) Returned to the roots that American record market abandoned/no longer seen as valuable Manager: Brian Epstein Took image and moved it into pop mainstream, but does not touch their music (different from Elvis & Colonel Tom Parker), manages through a European aesthetic Producer: George Martin Very taken by Beatles confidence and charisma Became the facilitator for the band, did not dictate their actions, collaborated with the group, did not dominate Capitol Records signed them after the Beatles got such great publicity→ very different mass success from Elvis Collaboration between McCartney and Lennon, Harrison later chimed in→ group wrote almost all their own songs (Elvis didn't) Worked very hard, did not phone in their success-- tried to advance themselves to make themselves better→ different from Elvis who had his creativity stifled and threw it away once he reached a certain level of success Early Phase (1960-64) Used to play in clubs, start to play at baseball games and similar Middle Phase (1964-67) Beatles met Bob Dylan who said "write about something" Beatles started to write about more powerful world views Songs: Nowhere Man, In my Life, Eleanor Rigby, Tomorrow Never Knows Wisdom of group came alive→ went from pop success & leading music into a mix of rock and roll→ both mainstream pop and counter culture at the same time Introduced counterculture into the mainstream Bob Dylan started to include more of an electric feel in his folk music Artistic choices→ progressive Music videos with art aesthetic dissimilar from american film (helicopter shots) Progressive, European aesthetic employed in all methods of their art Enhancing image because its artistic→ risky, progressive artistic choices instead of making music that's more pop/mainstream Heavily influenced by European, art aesthetic Sgt Peppers Collaborative & evolutionized process Recording studio way more advanced than live performances 1967: Epstein Dies (overdose)--> group starts to fall apart Later Phase (1967-1970) "Dissonance replaced Harmony" A lot of tension and friction between group Lawsuits to follow Beatles innovated and reshaped the record industry Both mainstream & introduced counterculture into the masses Used technology in new ways (Strawberry Fields Forever) & expanded rock's boundaries→ transformed the industry Brought sophistication to Rock n Roll —> Rock (seen alongside classical music) Expanded Rock's boundaries (industry from $600 million in 1960 —> $1.66 Billion in 1970) Wrote their own ticket and revamped the music industry→ people started to make $$ from their music instead of being taking advantage out of royalties Used new technologies Combination of integrity, Idealism, Spontaneity (integrity intact, Elvis shrouded-- very different legacies)

Robert Johnson, 1938

Mississippi "delta" blues artist ~1930s (died 1938 @ 27 years old) Different b/c speaks about failure/desolation in America, combines beauty and terror Context = Black man in the south in 1930s - lived in terror Wrote about his world, not the standard "American Dream" Wrote about the devil "helhound on my trail" "Set oneself free from the limits one is born to" - "Satisfaction out of struggle" "Lived for the moment and died for the past Crossroads Esu (devil) "the legend of Robert Johnson..." Based on mysticism, he got so good so fast... why? People considered "Esu" a trickster devil that would give you anything like skill or talent for your soul As the story goes, he sold his soul to become a legend Perpetuated when he wrote a song entitled "crossroads" "A Phantom of American (rock) Music"

Chapt 8 -the Rolling Stones British end, 3 Beatles phases, Stones and British Blues

Pop: Beatles, mainstream image + appeal - non threatening Blues/Rock: electric blues, chess records, muddy waters Rolling Stones: Risk, danger, thug... Friedlander: "5 switchblades about to unfold" Image not initially welcome in USA (counter to Beatles) Introduced dangerous image into mainstream, took a while for masses to like them British Invasion: Included Technological innovation - amps and feedback (bigger louder amplifiers)- Stones Americans asleep at the wheel - in interviews when the rolling stones referenced their inspiration in American folk music like Muddy Waters, we didn't recognize the names US culture shipped to the UK, which was popularized, reshaped, and reimaged, and sent back to the USA Elvis→ paid a lip service to black music, UK tried to make people aware of their roots and pay homage to the artists that influenced them

Rock Through the Ages- reading packet

Rock Through the Ages: The Glory of Disarray "Rock usually needs friction, struggle, institutional incomprehension & daring fans. In its golden ages, rock meets disdain with defiance." One golden age of rock per decade mid-1950s → birth of rock Post WWII→ new prosperity & mobility, races & classes mingling/integrating Musicians fused black and white styles, sang about themes/performed music that appealed to younger generation, reached out to fans through the radio (Chuck Berry, Little Richard, Elvis) Happened concurrently with the Civil Rights Movement (time of turbulent racial problems→ introducing/reinforcing idea of racial integration, sending this message to American audience (younger generation) Radio drives this revolution Late 1960s→ explosion of creativity More experimental, expanding in sound, use of psychedelic drugs widespread/influenced music The Beatles, Bob Dylan Late 1970s→ punk & hip-hop shakeup Early 1980's→ video pop bonanza 1991-1992→ triumph of punk alienation

Harmonica Frank

Sam Phillips (music producer from Alabama): "If I could find a white man with a negro voice/sound I could make a billion dollars" Solution = Elvis "looking for something different, that didn't fit" —> unique authentic artists, risk Disruption/Friction counteracting smoothness

One Saturday night mixed with Sunday morning - Ray Charles

Saturday night blues + Sunday church music = NEW FORM Caused disruption Wrote about aches and pleasures work spread throughout Black & White Audiences Disruption of gospel music→ criticized for blasphemy Expanded from blues/soul to country

Atlantic Records

Signed more rhythm & blues because it would sell better

BB: Little Richard, the First

"Unleashed a new, sexually charged form of rock and roll that transformed American culture" Influence can be felt in virtually every top rock act since 1955 Ex: Paul McCartney learned his "woo" through little Richard and utilized it in the Beatles (this is in Friedlander, not this article) "Beginning, originator" Dressed flamboyantly so people would focus on his music and hot have white people see him as a sexual threat Fear: white girls being attracted to black men through rock & roll Expressed angst about recognition and credit→ white artists would cover his music and got farther with his music→ felt cheated/ cheated out of royalties Product of the church like many other Southern black artists-- gospel heavily influenced his music Faced battle between gospel and rock & roll, which was considered music of the devil Eventually became a minister

Chapter 2- The Roots of Rock and Roll

Early Rock & Roll→ African-American music Syncopated rhythms, raw vocal emotionalism, work chant "call & response→ all part of african american musical heritage that became the building blocks of rock and roll Black Musical Roots (early & mid 20th century) Blues→ struggle, adversity, and sometimes celebration (very emotive) Classic blues: performed with a jazz band, achieved significant commercial success even with a white audience (Bessie Smith) Country (delta) blues: no other instruments except guitar, sang about hardships predominantly Blues began in the south with southern, rural blues Urban blues: Massive black migration during Great Depression & WWII years created numerous large African American communities in the country's northern urban centers by the war's end in '45 Newness & alienation of urban life→ helped create the context in which urban blues flourished Muddy Waters (rural blues artist from Mississippi→ formed Chicago based blues band) Introduced lead electric guitar as a solo instrument-- heightened its role Drums, string bass, electric rhythm guitar & piano made up basic rhythm section ^^became the model for modern rock band Maintained emotionality, slurred lyrics, bent notes of southern blues, while lyrical topics expanded to include urban landscapes/departure from solely depressing topics **major step toward the birth of rock and roll Gospel Focus on emotionality and a harmonically complex vocal style Had roots in the "invisible church" of the slave era Form that included hand clapping, call and response, rhythmic complexities, persistent beat, melodic improvisation, and percussive accompaniments →influenced components of r&b→ rock & roll Jump-band jazz (louis jordan) Small 5 or 6 piece ensemble and prominent saxophone solos Upbeat swing feeling & tenor saxophone instrumental solos→ carried over from jazz to r&b Blues + gospel + jump-band jazz→ r&b R&B's musical synthesis core blues band jazz's tenor saxophone soloist Gospel-generated emphasis on second and fourth beats of the measure, vocal virtuosity Blues→ Vocal emotion, slur, and blue notes Country & Folk Music Some forms of classic rock also had significant roots in white folk and country music Hank Williams-- the father of modern country Played w blues artists, learned guitar from a black street musician Song themes: lost love, sexual infidelity, hard drinking→ atypical of the song subjects then available to white audiences Powerful, emotive Elvis Presley-- created rockabilly (country/blues/R&B synthesis) Added "the beat" to authentic country music & the power and emotionality of R&B Rockabilly became a transitional genre for some white performers Formula for early rock & roll: Rural blues, urban blues, gospel, & jump-band jazz→ R&B (rock & roll's major musical foundation) White styles of folk & country (synthesis of black and white forms)--> Rockabilly→ mid-fifties white southern fusion of country, blues, gospel, and r&b→ provided the musical and emotional catalysts for many white musicians to move past boundaries of traditional country music The Fifties, Kids, and Rock and Roll Classic Rock & Roll Evolution of musical styles and their acceptance by the young American mainstream Growth of small independent record companies & their success in producing underground music R & B and early rock music saved radio from its seemingly inevitable destruction by the introduction of TV Rock Music→ adopted by a generation of teenagers who eventually came to question some tenets of the dominant culture New consumer market created (teenagers did not have to work to support their families for the first time, acquired allowances and had disposable income) U.S. business tried to market/appeal to this new consumer group Major record industry tried to appeal to new consumer group (adolescents), but music produced lacked identifiable reference to the everyday lives of teens Small black radio stations played r&b and classic rock-- appealed to new generation By 1955, young people were listening to and buying R&B in record numbers Major record companies, who controlled the prevailing pop music, were agitated by the growing young white interest in black music New styles were musically simplistic & overtly sexual in lyrics and performance→ bordered on immorality The major record labels didn't own the new sound/had no R&B artists on their label R&B, blues, and classic rock were left to small regional independent record companies→ by 1954, many had gone national (Chess Records with Muddy Waters, Imperial from LA with Fats Dominos) 1953-1955→ R&B record sales and radio airplay provoked major labels to "cover" R&B hits Paid royalties for the rights to songs, cleaned up lyrics, softened the music, released their own version performed by white artist under their label -- radio played these versions at first Small radio stations in urban areas with sizable black populations started to regularly play blues & R&B→ young white teens began to search for them in local record stores→ created a demand in white retail outlets for R&B and on radio stations where these stores advertised→ radio in competition with new technological advancement (TV)--> radio was forced to compromise in order to survive economically and started to regularly play R&B/blues 1955→ radio airplay of R&B and classic rock Music condemned by local PTAs, gov committees, church leaders, etc.--> American teens still gravitated towards the authentic, original music