Lecture 10

The Ownership of Rock and Roll

Roots of Rock and Roll

• Originated in African American music genres:

  • Gospel

  • Blues

  • Boogie Woogie

  • Jazz

• By the 1950s, Rock and Roll gained popularity among teenagers.

Establishment's Response

• White America aimed to co-opt Rock and Roll due to its rising influence.

• Hijacking: African American artists used this term for the cover practice where white artists performed their songs.

• Notable example: Pat Boone, identified as one of the biggest hijackers of African American music.

Creating a White Equivalent: Rockabilly

• White equivalent of Rock and Roll emerged, characterized by:

  • Blending rhythm and blues with country style (Rockabilly).

• Sam Phillips of Sun Records sought a white artist to tap into the rhythm and blues market, eventually discovering Elvis Presley.

  • Dropped all African American artists from his label upon finding Elvis.

Rise of Teen Idols

• By the mid-1950s, recognized potential in creating and marketing teen idols.

  • Musical industry shifted from independent artists approaching labels to labels actively recruiting talent.

• Characters like Frankie Avalon exemplified the teen idol phenomenon:

  • Managed image of being a clean-cut, wholesome youth.

• Submission of the teen idol songs often involved:

  • Professional composers writing music, contrasting African American artists who typically wrote their own songs.

Philadelphia's Influence

• Philadelphia became a hub for manufacturing teen idols:

  • Multiple independent labels sought to produce clean-cut white boy and girl next door images.

• Example: Frankie Avalone's song "De Deena," discussed themes of car ownership symbolizing status.

• Enter Fabian Forte, presented as a handsome alternative despite lack of vocal talent and heavily marketed to audiences.

  • Promoters created a persona for him that overshadowed his singing ability.

Dick Clark and American Bandstand

• Dick Clark's American Bandstand played a crucial role in promoting teen idols.

  • Exhibited a wholesome image aligning with family values.

  • Held financial stakes in various music businesses, resulting in conflicts of interest but boosting the artists he backed.

• Contrast drawn between Clark's promotion of teen idols and Alan Freed, who championed African American music and faced scandals.

  • Freed's promotion of integrated audiences led to his downfall during the payola scandal, where he was scapegoated for purported wrongdoings.

The Brill Building Phenomenon

• The Brill Building became central to pop music production akin to Tin Pan Alley:

  • House of over 150 music businesses that manufactured pop music.

• Control shifted to producers and publishers rather than artists, marking a transition in the music industry:

  • Producing artists who were often devoid of original talent but had marketable images.

• Important figures included:

  • Don Kirshner, known for working with The Monkees and promoting competitive songwriting.

  • Carole King described the creative pressures and environment of the Brill Building.

Authentic Movements in Music

• While teen idols represented manufactured talent, authentic voices emerged:

  • Paul Anka had a genuine talent for songwriting and performance, contrasting with others in the same realm.

  • Anka's success demonstrated possible paths for original artists in the commercial landscape.

Surf Culture and Music

• Surfing culture became popular in the late 1950s:

  • California teens embraced surfing as a lifestyle, influencing music.

• Music became reflective of this culture through artists like Dick Dale, who blended surf sounds with musical influences from his Lebanese heritage.

• The Beach Boys emerged as a leading band, appealing to the surf culture with their sound:

  • Early hits like "Surfing USA" drew from Chuck Berry, acknowledging the influence of original African American artists.

  • "Good Vibrations" showed creative originality and unprecedented production quality, setting musical standards for the future.