SOC 2700 Chapter Notes - Chapter 2: Alan Freed, Fats Domino, Big Band

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MUSC*2150
- Before 1955 rhythm and blues and country and western were still mostly outside the
mainstream of America popular music which was dominated by the major record labels
and the Tim Pan Alley Publishers
- When rhythm and blues broke into the mainstream in 1955 rock and roll was born
- ‘ok ad roll plaed a ruial role i hallegig Ti Pa Alles doiae of the usi
business and removing the division between the three industry markets: mainstream
pop, country and western and rhythm and blues
- But none of this could have happened without the middle class teenage audience which
was created a lucrative market for record companies, radio stations and others involved
in the pop music business
- White adult culture mostly viewed rock and roll as dangerous influence, leading to
juvenile delinquency or adoption of unacceptable attitudes and cultural practices
The Rise of Youth Culture in The 1950s
- While earlier generations had been expected to assimilate into adult culture as soon as
they left high school in the 1950s white, middle-class teens were allowed to avoid adult
responsibility longer than any group in history
- Parents in many cases recovering from the domestic disruption of the war now focused
increasingly on family life, devoting considerable attention and resources to the health,
education and overall happiness of their children
- To these kids, rhythm and blues available via local black radio seemed exotic, dangerous
and sexual in way that excited them
- Bill Hales Were goig to rok aroud the lok arked a iportat oet i the
emergence of rock and roll. Not only was it one of the top pop record of 1955 but its
inclusion in a film dealing with juvenile delinquency cemented the association of rock
music with teenage rebellion and rowdiness
Radio and Records
- Freed created a considerable buzz over rhythm and blues among white teenagers in one
of the outrs ajor arkets. He eteded his ioleet i rigig rok ad roll to
the masses by promoting concerts, producing films and eventually working in television,
capitalizing on the tremendous success of his radio show
Aggressive Marketing by Independent Labels
- to get a reord plaed it as eessar to deelop relatioships ith DJs ho could
influenced by gifts ranging from cash and merchandise to nights on the town and even
vacations
- rhythm and blues had ben largely ignored by the major corporate powers mostly because
these companies found that the profit generated by such music did not justify the effort
to develop, record and market it
Hit records and the Charts
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Document Summary

Before 1955 rhythm and blues and country and western were still mostly outside the mainstream of america popular music which was dominated by the major record labels and the tim pan alley publishers. When rhythm and blues broke into the mainstream in 1955 rock and roll was born. O(cid:272)k a(cid:374)d roll pla(cid:455)ed a (cid:272)ru(cid:272)ial role i(cid:374) (cid:272)halle(cid:374)gi(cid:374)g ti(cid:374) pa(cid:374) alle(cid:455)(cid:859)s do(cid:373)i(cid:374)a(cid:374)(cid:272)e of the (cid:373)usi(cid:272) business and removing the division between the three industry markets: mainstream pop, country and western and rhythm and blues. But none of this could have happened without the middle class teenage audience which was created a lucrative market for record companies, radio stations and others involved in the pop music business. White adult culture mostly viewed rock and roll as dangerous influence, leading to juvenile delinquency or adoption of unacceptable attitudes and cultural practices. The rise of youth culture in the 1950s.

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