AWA: Academic Writing at Auckland

Rock’n’roll was a shock to the system in the 1950s, analogous to the social changes in that period. First and foremost, Rock’n’roll was a new sound. The genre in itself was a fusion of two previously segregated and underground genres, these being the soulful and loud Rhythm and Blues and guitar-clad Country, both being characteristic of America’s deep south. The segregation of these musical genres was in part due to the racial segregation of the two communities that performed them, and the dissolving of such segregation laws in 1954 carried huge implications for both the music and social scenes at the time. Another dramatic social change in the 1950s was due to the economic benefit the US got from world war II, the new generation of youth were able to establish themselves as a market and a target audience, resulting in the evolution of the “teenager”. Rock’n’roll played an enormous role in the way teenagers acted and were seen by their elders, contributing to the way we see modern teenagers today. Rock’n’roll played an enormous part in the social history of the US, and the rest of the world as it was heard overseas and changed and developed to how we see it today.

Musically, Rock’n’roll was a fusion of two genres. The Hank Williams-esqe country music and the soulful and loud Rhythm and Blues. It was also a complete change from the ballads and safe pop songs that had previously dominated the mainstream charts, such as “(How much is that) Doggie in the Window?” by Patti Page. Noted by music critic John S. Wilson “The music industry had been going through a frantic search for what people call ‘new sounds’ in recent years” (Zak, 2010). That new sound came most dramatically in the form of Elvis Presley, who famously stated upon recording his new sound, “I don’t sound like nobody”. “That’s all right mama” was a song originally written by Arthur “Big Boy” Crudup, a blues artist, and was covered in Elvis’ early recording sessions with only an acoustic guitar and fast, strumming cords characteristic of country music. His upbringing was an important factor in how his sound developed, being born and raised in Tupelo, Mississippi where country music was commonly heard amongst the farming community, and later moving to Memphis, Tennessee where there was a large black community who were said to have played blues music on the street corners (Reid, 2016). He pulled the elements of rhythm and blues such as ad libs and fast drum beats and bass lines together with the guitar being at the forefront of the song, with fast strumming patterns rather than bluesy riffs. Elvis had produced a novel sound that was already starting to become common amongst other popular musicians such as Bill Haley, a country singer come rock n roller, and Chuck Berry, a guitarist from a blues background. This new emerging genre was incredibly significant, as it eroded away at the saccharine sounds of the late 1940s to early 1950s to create a new market for music that was to entertain and excite. As well as this, it brought the guitar to the forefront of popular music, setting the stage for further reprisals of Rock’n’roll over time through to the 60s, 70s and all the way to present times.

The US was still amid a vast period of racial segregation in the early 1950s. The racial divide was consistent with the differing genres of music they were producing, Rhythm and Blues was a “Black” genre, and country was “White”. There were segregated record stores, studios and even music charts (Altschuler, 2003). When civil rights were granted to Black Americans in 1954, Rock’n’roll played both a progressive and non-progressive role. “Black” styles and genres were now exposed to a mainstream audience as Black individuals were integrated into society. Black artists such as Little Richard and Chuck Berry were able to play for White audiences, and helped to give Black artists such as themselves greater economic opportunity (Altschulaer, 2003). However, this was at the mercy of the white mass market, which openly promoted White artists like Elvis Presley over artists like Big Joe Turner, who had to have his own lyrics edited for fear they would not match the white audience’s ideals. “Shake Rattle and Roll” was an enormously popular song amongst the integrated audience, however, Big Joe’s original lyrics “get out of that bed, go wash your face and hands” and “you’re the devil in nylon hose” had to be changed to a cleaner “get out in that kitchen and rattle those pots and pans” and “you wear those dresses, your hair done up so nice” in order to be played on live television (Reid, 2016). Although the segregation had been eliminated, the attitudes of the time had not yet completely faded and the black community, which Big Joe Turner was a product of, was still seen as “savagery”, and not appropriate for white ears until Elvis Presley covered the song with the original lyrics (Reid, 2016). Rock n roll was still an important tool for the social climate to allow a social integration between the Black and White communities in the US. Although some of the Black rock’n’roll lyrics were seen as too risqué, it did provide economic benefits to Black artists, and allowed for their style to be seen by a white audience. It did not necessarily facilitate the integration, but it did act as a way that Black and White audiences could relate in some way, making integration seem more acceptable to audiences.

Another cultural change almost synonymous with the birth of Rock’n’roll is the birth of the teenage audience. The economic boom of the post-world war II period resulted in more money for families, and thus a disposable income for young adults nearing the end of their high school education. With newly bought radios and cars, and without the need for a job, the teenage market came to life and consumed whatever was the most exciting thing they could get their hands on (Altschuler, 2003). Bill Haley’s “Rock around the clock” was one of the most popular songs of the period, with a fast guitar strumming beat and lyrics about dancing “until broad daylight”. Dancing was one of the more discouraged acts amongst conservative parents, and due to the fast paced music, energetically done with partners, and seen as a precursor to sexual activity by worried parents (Altschuler, 2003). Due to its fast pace, the song was also featured in the film “the Blackboard Jungle” a film in which a high school gets taken over by adolescents, and descends into anarchy. Despite Rock around the clock’s relatively peaceful lyrics, the song, and the entire rock’n’roll genre (not at all aided by the presence of black artists) became associated with juvenile delinquency, and a generational conflict between young people and their parents (Altschuler, 2003). This generational conflict since then birthed the existence of the modern teenager, and established the difference between “youth” and “adult”. Rock’n’roll was also the first mainstream musical genre that was marketed specifically to teenagers, with songs like Chuck Berry’s “School Days” and “Sweet Little Sixteen”. Ever since the time, this has been a highly important market for the music industry with further artists such as the Beatles, the Motown acts of the late 1950s and the punk rockers of the 1970s being specifically marketed and appealing towards young people. Thanks to 1950s rock n roll, music became a symbol of youthful rebellion, rather than “just for grown-ups”.

Rock’n’roll in the 1950s was truly a pivotal genre that aided in the construction of a new sound, bringing the guitar right to the forefront of popular music, and challenged the softer and slower sounds of the age. Rock’n’roll as a genre, although has fragmented into other genres and sounds, has continued to develop and gain popularity even in the present day. It also, although didn’t magically “solve racism” which is a problem still occurring even today, in the era it helped to facilitate the integration of Black and White individuals by introducing them to different styles and sounds of their respective cultures. It also helped Black artists gain economic benefit and respect in a time when they were at a great disadvantage. Rock’n’roll also helped develop the teenage audience and emphasise their generational conflict from their elders, and primed the younger generations to come as a primary market for the music industry. Rock’n’roll essentially helped develop modern society and music to what it is today in these respects, and therefore can be seen as a highly significant musical genre to all individuals, as with it carries the spirit of societal revolution.

Texts referenced

Altschuler, G. C. (2003). Pivotal Moments in American History : All Shook Up : How Rock 'n' Roll Changed America. Cary, US: Oxford University Press (US). Retrieved from http://www.ebrary.com

Reid, G. (n.d.). Elvis Presley, the cultural shock of rock'n'roll. Retrieved August 09, 2016, from http://www.elsewhere.co.nz/lectures/3169/144g-1a-elvis-presley-the-cultural-shock-of-rocknroll

Zak, A. (2010). Tracking Pop : I Don't Sound Like Nobody : Remaking Music in 1950s America. Ann Arbor, US: University of Michigan Press. Retrieved from http://www.ebrary.com

Songs referenced

Berry, C. (1957). “School Days”. After School Session. Chicago: Illinois, Universal Recording Studios.

Berry, C. (1958). “Sweet Little Sixteen”. One Dozen Berrys. Chicago: Illinois, Universal Recording Studios.

Crudup, A. (1954). “That’s All Right” [Recorded by Elvis Presley]. For LP Fans Only. Memphis, Tennessee: Sun Records.

Calhoun, C. E. (1954) “Shake, Rattle and Roll” [Recorded by Big Joe Turner] Shake, Rattle and Roll. New York: Atlantic Records.

Freedman, M. C., Myers, J. E. (1955). “Rock Around the Clock” [Recorded by Bill Haley and his Comets] Rock Around the Clock. New York: Pythian Temple Studios.

Merril, B. (1953). “(How Much is that) Doggie in the Window?” [Recorded by Patti Page “with barks by Joe and Mac”]. “The Doggie in the Window”/ “My Jealous Eyes” Mercury Records.