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rock and roll progect |
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"Rock N Roll" is a musical genre whose golden age is usually recognized as the decades of the 1950s and 1960s. ... Radio disc jockeys began calling their music rock n roll ELVIS Elvis Presley is the undisputed King of Rock and Roll. He rose from humble circumstances to launch the rock and roll revolution with his commanding voice and charismatic stage presence. ... In July 1954 the trio worked up "Thats All Right" and "Blue Moon of Kentucky" - blues and country songs, respectively - in a crackling, uptempo style that stands as the blueprint for rock and roll. ... His historic string of hits in 1956 and ‘57 included "Dont Be Cruel," "Hound Dog," "Love Me Tender," "All Shook Up" and "Jailhouse Rock. ... Presleys standing as a rock and roller was rekindled with an electrifying TV special, simply titled Elvis and broadcast on December 3, 1968. ... If the Fifties were devoted to rock and roll and the Sixties to movies, the Seventies represent the performing chapter in Presleys career. ... July 5, 1954 Rock and roll history is made when Elvis Presley, Scotty Moore and Bill Black spontaneously perform bluesman Arthur "Big Boy" Cruddups "Thats All Right" in romping, uptempo style. ... "Heartbreak Hotel" establishes Elvis Presley and rock and roll itself as national phenomena. ... 1957 Leiber & Stoller are summoned to New York by Elviss Brill Building music publisher to write songs for the movie Jailhouse Rock. ... October 15, 1957 Jailhouse Rock (Elvis Presley) was a hit. ... December 3, 1968 NBC airs "Elvis," a television special that revitalizes Elvis career as a rock and roll performer. ... Clad in black leather, Elvis successfully pulls off the greatest comeback in rock and roll history. ... " January 23, 1986 Elvis Presley is inducted in the Rock and Roll Hall of Fame at the first induction dinner. ... Historiography and Approach The theme of teenage rebellion is prominent among early rock ‘n’ roll historians, who imposed the language and social consciousness of the late-1960s onto their interpretations. According to them, rock ‘n’ roll in the 1950s enabled teenagers to protest against the conformity of the era and also their parents’ music. ... [3] Carl Belz claimed rock ‘n’ roll was folk art that functioned as a voice of the people, namely teenagers. Like Shaw, Belz saw rock ‘n’ roll as a “protest art” against prevailing popular music. [4] Rock ‘n’ roll also displayed that it was folk art because its audience was drawn to it instinctively, rather than through sophisticated aesthetic standards for judging the music; the dance beat was more important than musical technicalities. [5] For these historians, listening to rock ‘n’ roll was an act of rebellion precisely because the adult audience and the press condemned the music. ... [6] This does not offer any sense of the social implications involved, nor does it signify exactly whether affluent white teens’ racial views changed through rock ‘n’ roll. ... Another historical approach dismisses the notion of the creation of teen rebels through rock ‘n’ roll. Instead, rock ‘n’ roll was a marketing construct designed to provide affluent teens with something to claim as their own on which to spend their money. ... Rock ‘n’ roll, like blue jeans or milkshakes, was marketed directly at teens. This view creates a passive role for teenagers in the formation of rock ‘n’ roll; they were simply subject to wider social conditions, namely the materialism of 1950s America. Nik Cohn, in Rock from the Beginning, reduced the legendary milestones in the birth of the music to creations of business. For example, the success of Bill Haley’s “Rock Around the Clock,” seen popularly as the point of fusion between Afro-American and white musical styles, is attributed to fluke marketing. ... ” [7] “Rock Around the Clock” did just that. ... Rock ‘n’ roll was manipulated from gritty race music into less offensive, smoother sounding songs, geared for the sensitive ears of the white American audience. Teen love-songs and novelty songs dominated the charts, along with country and folk songs, while rock ‘n’ roll showed up sporadically. ... Hence the paranoia about rock’n’roll, among other things, even as the USA was selling its own popular culture down the river. ... The racial element of rock ‘n’ roll was smoothed over by the music industry in order to remove the danger implicit in the sexuality and rawness that the Afro-American style brought with it. Other historians acknowledge both the camaraderie created through rebellion via rock ‘n’ roll and its role in social conformity. ... However, through rock ‘n’ roll, they did not dissent or protest against society. Rock ‘n’ roll was a socially acceptable vent and source of group identity for teens. ... [12] Richard Aquila, in That Old Time Rock and Roll” eliminates any element of rebellion from the music. He states “adherence to rock & roll music signifies their acceptance, not rejection, of society and culture during the 1950s and early 1960s. ... ” [13] Rock ‘n’ roll’s themes reflected traditional American values like marriage, family values, religion, car obsessions and patriotic sentiments. ... [14] While Aquila makes no reference to racial matters, it is clear that, through his interpretation, the racial element of rock ‘n’ roll is replaced by white middle-class norms. ... Miller and Marion Nowak, in The Fifties: The Way We Really Were, agree that rock ‘n’ roll served as cohesion for the teen generation. ... ” [16] Rebellion was rooted in something far deeper than rock ‘n’ roll. ... In fact, they state that rock ‘n’ roll could have been the perfect opiate had not adult and press reaction created the rebellion. [17] Historical accounts of the origin of rock ‘n’ roll most often pay tribute to the contributions Afro-American music has made to the formation of rock ‘n’ roll. ... The story is mythical in its own proportions: the sight of a mob of white kids buying R&B records inspired him to host an after school show entitled “Alan Freed’s Moon Dog Rock and Roll House Party. |
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Title: rock and roll progect
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