Slang, youth subcultures and rock music (English WinWord) - (диплом)

In the resistance through rituals understanding of culture the members are always striving against dominant classes; older generations and against those who conform. They are always trying to find ways to disrupt the ideological and generational oppression in order to crease spaces for themselves. The resistance through personal expression is often contrasted against the conformity of the ‘normals’. In many writings youth are counterposed against adults - they hate and avoid adults and oppose them because they represent authority. A dichotomy was created between, for example: Goths and Normals where Goths avoid and hate adults, oppose adults who represent authority and are deemed to resist; while Normals relate well to adults, consult adults with problems and are deemed to conform. Linda Forrester in a web article speaks of youth generated culture where visual communication is predominant and language is subservient to visual means of communications. Visual cultures include: skateboarders; graffiti artists; street dancers and street machiners which communicate through movement or gesture. These are periphery groups empowered by the space that they have created through visual representation. Their cultural production is recognised by mainstream culture and in that recognition they are given power to speak. The process empowers them and provides identity. Group control is managed through the visual display of creative talent, ie, skaters out-skate each other, graffiti artists out-image each other; street machines out-car each other; street dancers fight each other through art. In mainstream culture discourse is primarily verbal but in youth generated culture discourse is primarily visual. It is through style that criticism of performance and image occurs and it is through criticism that higher forms of visual representation occur. C. A Rebellion Against the Dominant Culture Using Shock Tactics Young people in creating subcultures are setting out to shock. One of the key ways in which they shock is through the clothes they wear. Oppositional subcultures (ie. Punk and Hip-hop subcultures) are movements dedicated to rebellion against the dominant culture. D. A Construction of New Identities Based on Individualisation The new ideas in youth culture suggest a more positive view of the role of youth in society. Youth is viewed as an active category - a sociocultural view of youth is introduced where youth are involved in the development of society through their creations. Youth must be allowed to exercise the power to bring change - they do so in their cultural expressions all the time. Youth culture is about individualism - an expanding degree of separation of individuals from their traditional ties and restrictions. As people have 'broken free' they feel a need to look for fixing points - material with which to form a new social and cultural identity. The motivation behind participating in the activities of a subculture involves coping with suffering (the sense of loss at being cut off from the past and hence one’s identity), ie. alienation, loneliness, meaningless, etc. The motive is to be reinstated into responsive and responsible relationships. The individualisation has produced post-traditional communities - because they are focussed on the individual they are looser and more fluid than traditional communities but they are still settings in which youth find self-expression and identity. The subculture is an identity-related substitute for the lost collective world of modernism but with the disintegration of tradition, subcultures has lost their identity-creating potential. There is a now a pluralisation of needs and interests that result from the process of individualisation and culturalisation - so culture ruptures are normal. Not only do these ruptures affect all social classes, but the traditional generational gap is also blurred. Alongside individualisation there is a tendency towards self-organisation - probably the new communities will be organised around the needs of the individuals and their interests. Douglas Rushkoff, in Playing the Future, suggests that as the world has become increasingly complex the children have adapted to its demands, and they have the ability to navigate it's terrain - adults must learn from them! A whole new approach to the field of subculture theory is emerging. It is an approach that is critical of the subculture theory approach popular since the seventies. 3. The Increase of Youth Subcultures

A number of factors account for the increase in the number of subculture groups in society: A. The Size of the Society

Charles Kraft in Anthropology for Christian Witness says: "larger societies will also develop more subgroupings. These subgroupings are usually referred to as subcultures. " B. The Rate of Change in the Society

In societies with slow pace of social change the transition to adulthood goes smoothly and youth are similar to their parents. There is a unity and a solidarity between the coming generation and the generation of parents. In societies undergoing rapid social change a smooth transition to adulthood is no longer possible and there is a strong dissimilarity with parent generations. Here an individual cannot reply on their parents identity patterns as they no longer fit into the social context. Because youth realise that they cannot learn from past experiences, they search for new identities that are relevant. In fact, the greater the change in a society the more intense and stronger the subcultures as people identify more with their subculture in order to find identity and security. C. The Globalisation of the Society

The rate at which cultural objects and ideas are transmitted in large parts of the world today is a significant factor in the number of youth subculture groups that are identified. Where a society is connected to the global village through communication technology, they experience simultaneous pressures to unity and fragmentation. D. The Position of Youth in the Society

People who are marginalised or deprived make their sense of loss known as they resist to the dominant culture. Where youth are connected to the center of the dominant culture they do not need to rebel or form counter-cultural groups. E. The Generational Size in the Society

The size of a generation impacts on youth subcultures because the overall age structure within a society influences the social, economical and political make up of age groups. When the number of youth entering the market place drops, then youth as a portion of the total labour force also falls. This decline in youth as a market force, both as consumers and producers will significantly alter the social and political visibility of youth. 4. The Features of Youth Subcultures

Looking at various writings on youth culture the following features are noted (some of which may well overlap): style; language, music, class, rebellion, gender, art, rebellion, relationship to the dominant culture, degree of openness to outsiders, urban/rural living, etc. The following insights were gained from class interaction on youth subculture groups: A. Class and Youth Subcultures

It was found that within different socio-economic groups subculture groups take on different characteristics and are based on different factors. Within the working class communities youth tend to have more interaction with parents and therefore don’t seem to rebel as much against their parents as youth in middle to upper classes. Youth subcultures in working class communities will show a greater among of gang activity, with subculture groups being defined around gangs in some areas. In middle class areas youth seem to form their subcultures around interests, such as sports. B. Music and Youth Subcultures

Most subculture groups could be identified with a specific music genre and in some instances music was the defining characteristic around which the group was formed (such as with the following subcultures: Ravers, Metalheads, Homeboys, Ethno-hippies, Goths, Technos, Rastas and Punks). In other communities music is a key feature, but another factor would be the key characteristic, such as with Bladers, Bikers, Skaters, Surfers, etc. ). C. Family and Youth Subcultures

In working class families, we noted that families tend to have closer interaction and youth do not seem so intent on being different to their parents, whereas in other communities youth may deliberately choose a certain subculture group to reinforce their independence and even opposition to their parents. In upper-class communities (or among youth from upper-class homes) youth are given a lot more disposable income with which to engage in sports, computers, entertainment, etc. So they are able to engage in a greater diversity of pursuits - so there are possibly more subculture groups in middle to upper-class communities. D. Fashion and Youth Subcultures

It was noted that fashion plays a role in all subculture groups and that some are more strongly defined by their fashion, while others take the clothing that relates to the music or sport to define the subculture group. Working class youth tend to place greater emphasis on fashion as it is the one way in which they can show off what they own, whereas middle class youth have other things to show off, such as homes, smart cars, fancy sound systems, etc. 5. The Types of Youth Subcultures

Snejina Michailova, in Exploring Subcultural Specificity in Socialist and Postsocialist Organisations, presents the following understanding of the types of subcultures based on their internal logic of development: (a) Stable Subcultures - these are functional and hierarchical and age-based. (b) Developing Subcultures - here there are two types, those that are (i) climbing - their role is becoming more important, and those that are (ii) climbing-down - their significance is being reduced. (c) Counter Cultures - those that confront and contradict the official culture, also called oppositional subcultures. 6. The Variety of Youth Subcultures

Youth workers should, through research and observation, seek to identify the various subculture groups within the community in which the youth group operates, to ensure that the group is able to help to meet the needs of the different groups. In Britain in the 1980s the following groups of youth were identified: Casuals, Rastas, Sloans, Goths, Punks and Straights. In South Africa in the 1990s the following youth subculture groups were identified: Socialite, Striver, Traditionalist, Independent, Uninvolved, Careful and Acceptor. In 1995 a market research project discovered that within the Black youth culture there are three main subcultures: the Rappers, Pantsulas and the Italians. While within the White youth subculture only thirty percent of youth identify with a subculture and the subcultures are far more numerous: alternatives, Punks, Goths, Technoids, Metalheads, Homeboys, Yuppies, Hippies and Grunge. The following subculture groups were identified by students studying at the Baptist Theological College in South Africa: Achievers; Intellectuals; Belongers; Image-Conscious; Very Poor; Models; Heavy Metal Dudes; Rugby Boys; Metalheads; Hippies; Mainstream; Average Teenager; Fashion Fanatic; Intellectuals; Physical; Clubers; Family Centered; Workaholics; Pleasure Seekers; Hobby Fanatics; Religious Freaks; Head Banger; Punk; Home Boys; Skater; Gothics; Yuppies; Trendys; Rappers; Club-Hoppers; Metal Heads; Socialites; Independents; Uninvolved; Carefuls; Socialites - Pantsulas; Mapanga (Punks); Mapantsula; Strivers; Comrades; Preppy; Outrageous; Sexy; Sporty; Gothic/Satanists; Nerds; Intellectual Strivers; Socialites; Jokers; Gangsters; Independents; Traditionalists; Teenyboppers; Trendy Group; Arty Type; Alternative Group; Drug Culture; Gay Culture; Squatters/Vagrants Culture. In the movie, The Breakfast Club, five teenagers are sent to detention for eight hours on a Saturday at their school (Shermer High School, Illinois). They are: * Brian Johnson, a nerdy computer type, an intellectual who belongs to the Maths club * Clair Standish, a ‘princess' - wealthy kid who is a popular type * Andrew Clark - a sporty type who is in the school wrestling team * Carl - a ‘criminal' type who has had a hard upbringing, a kid with an attitude * Alison Reynolds - a strange girl, who is secretive, uncommunicative and dresses in black The teacher, Richard Vernon, says that they have to write an essay that explains who they are. During the day in detention, these five young people who would otherwise never together socially begin to find out about each other. They share about their home, their parents, the things that they are able to do, and why they are in detention (they even end up sharing a dagga joint). Very soon they are bonding together. Someone asks the questions about whether they will still be friends when they see each other on Monday. Some admit that they would be ashamed to greet the other person if they are with their friends. They get Brian to write the essay for the teacher. This is what he writes: Dear Mr Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention, what we did was wrong, but we think you're crazy to make us write an essay telling you who we think we are. You see us as you want to see us, in the simplest terms, in the most convenient definitions. But what we found is that each one of us is a brain, and an athlete, and a basket case, a princess and a criminal. Does that answer your question? Sincerely yours, The Breakfast Club. The movie starts and ends with this letter being read. During the opening sequence the following quote by David Bowie is written across the screen, while the song by Simple Minds, Don't You Forget About Me, plays in the background: "And these children that you spit on as they try to change their world are immune to your consultations. They're quite aware of what they're going through. " In the opening scene where the letter is narrated by Brian, the reading ends with: "That's how we saw ourselves at 7 o'clock this morning. We were brainwashed. " When social workers start to research a subculture group they often find that the members of the subculture group are less that helpful. Consider the following quotes: "It is highly unlikely that the members of any of the subcultures described in this book (Reggae, Hipsters, Beats, Teddy Boys, Mods, Skin Heads and Punks) would recognize themselves here. They are still less likely to welcome any efforts on our part to understand them. After all, we the sociologists and interested straights, threaten to kill with kindness the forms which we seek to elucidate.... we should hardly be surprised to find our 'sympathetic' readings of subordinate culture are regarded by members of a subculture with just as much indifference and contempt as the hostile labels imposed by the courts and the press. " From: Subculture: The Meaning of Style by Dick Hebdige, Routledge, 1967. A 16-year-old mod from South London said: "You'd really hate an adult to understand you. That's the only thing you've got over them - the fact that you can mystify and worry them. " From: Generation X by Hamblett and Deverson, Tandem, 1964.

    III. ROCK MUSIC
    Main Entry: 1rock
    Pronunciation: 'rдk
    Function: verb

Etymology: Middle English rokken, from Old English roccian; akin to Old High German rucken to cause to move Date: 12th century

    transitive senses

1 a : to move back and forth in or as if in a cradle b : to wash (placer gravel) in a cradle 2 a : to cause to sway back and forth b (1) : to cause to shake violently (2) : to daze with or as if with a vigorous blow (3) : to astonish or disturb greatly intransitive senses

1 : to become moved backward and forward under often violent impact; also : to move gently back and forth 2 : to move forward at a steady pace; also : to move forward at a high speed 3 : to sing, dance to, or play rock music

    synonym SHAKE

- rock the boat : to do something that disturbs the equilibrium of a situation Main Entry: 2rock

    Function: noun
    Usage: often attributive
    Date: 1823
    1 : a rocking movement

2 : popular music usually played on electronically amplified instruments and characterized by a persistent heavily accented beat, much repetition of simple phrases, and often country, folk, and blues elements Main Entry: rock and roll

    Function: noun
    Date: 1954
    : 2ROCK 2
    Source: Webster's Revised Unabridged Dictionary

ROCK, also called ROCK AND ROLL, ROCK ROLL, or ROCK 'N' ROLL form of popular music that emerged in the 1950s. It is certainly arguable that by the end of the 20th century rock was the world's dominant form of popular music. Originating in the United States in the 1950s, it spread to English-speaking countries and across Europe in the '60s, and by the '90s its impact was obvious globally (if in many different local guises). Rock's commercial importance was by then reflected in the organization of the multinational recording industry, in the sales racks of international record retailers, and in the playlist policies of music radio and television. If other kinds of music--classical, jazz, easy listening, country, folk, etc. --are marketed as minority interests, rock defines the musical mainstream. And so over the last half of the 20th century it became the most inclusive of musical labels--everything can be "rocked"--and in consequence the hardest to define. To answer the question What is rock? one first has to understand where it came from and what made it possible. And to understand rock's cultural significance one has to understand how it works socially as well as musically. 1. What is rock?

    The difficulty of definition

Dictionary definitions of rock are problematic, not least because the term has different resonance in its British and American usages (the latter is broader in compass). There is basic agreement that rock "is a form of music with a strong beat, " but it is difficult to be much more explicit. The Collins Cobuild English Dictionary, based on a vast database of British usage, suggests that "rock is a kind of music with simple tunes and a very strong beat that is played and sung, usually loudly, by a small group of people with electric guitars and drums, " but there are so many exceptions to this description that it is practically useless. Legislators seeking to define rock for regulatory purposes have not done much better. The Canadian government defined "rock and rock-oriented music" as "characterized by a strong beat, the use of blues forms and the presence of rock instruments such as electric guitar, electric bass, electric organ or electric piano. " This assumes that rock can be marked off from other sorts of music formally, according to its sounds. In practice, though, the distinctions that matter for rock fans and musicians have been ideological. Rock was developed as a term to distinguish certain music-making and listening practices from those associated with pop; what was at issue was less a sound than an attitude. In 1990 British legislators defined pop music as "all kinds of music characterized by a strong rhythmic element and a reliance on electronic amplification for their performance. " This led to strong objections from the music industry that such a definition failed to appreciate the clear sociological difference between pop ("instant singles-based music aimed at teenagers") and rock ("album-based music for adults"). In pursuit of definitional clarity, the lawmakers misunderstood what made rock music matter. Crucial rock musicians

For lexicographers and legislators alike, the purpose of definition is to grasp a meaning, to hold it in place, so that people can use a word correctly--for example, to assign a track to its proper radio outlet (rock, pop, country, jazz). The trouble is that the term rock describes an evolving musical practice informed by a variety of nonmusical arguments (about creativity, sincerity, commerce, and popularity). It makes more sense, then, to approach the definition of rock historically, with examples. The following musicians were crucial to rock's history. What do they have in common? Elvis Presley, from Memphis, Tennessee, personified a new form of American popular music in the mid-1950s. Rock and roll was a guitar-based sound with a strong (if loose) beat that drew equally on African-American and white traditions from the southern United States, on blues, church music, and country music. Presley's rapid rise to national stardom revealed the new cultural and economic power of both teenagers and teen-aimed media--records, radio, television, and motion pictures. The Beatles, from Liverpool, England (via Hamburg, Germany), personified a new form of British popular music in the 1960s. Mersey beat was a British take on the black and white musical mix of rock and roll: a basic lineup of lead guitar, rhythm guitar, bass guitar, and drums (with shared vocals) provided local live versions of American hit records of all sorts. The Beatles added to this an artistic self-consciousness, soon writing their own songs and using the recording studio to develop their own--rather than a commercial producer's--musical ideas. The group's unprecedented success in the United States ensured that rock would be an Anglo-American phenomenon. Bob Dylan, from Hibbing, Minnesota (via New York City), personified a new form of American music in the mid-1960s. Dylan brought together the amplified beat of rock and roll, the star imagery of pop, the historical and political sensibility of folk, and--through the wit, ambition, and obscurity of his lyrics--the arrogance of urban bohemia. He gave the emerging rock scene artistic weight (his was album, not Top 40, music) and a new account of youth as an ideological rather than a demographic category. Jimi Hendrix, from Seattle, Washington (via London), personified the emergence of rock as a specific musical genre in the late 1960s. Learning his trade as a guitarist in rhythm-and-blues bands and possessing a jazzman's commitment to collective improvisation, he came to fame leading a trio in London and exploring the possibilities of the amplifier as a musical instrument in the recording studio and on the concert stage. Hendrix established versatility and technical skill as a norm for rock musicianship and gave shape to a new kind of event: the outdoor festival and stadium concert, in which the noise of the audience became part of the logic of the music. Bob Marley from Kingston, Jamaica (via London), personified a new kind of global popular music in the 1970s. Marley and his group, the Wailers, combined sweet soul vocals inspired by Chicago groups such as the Impressions with rock guitar, a reggae beat, and Rastafarian mysticism. Marley's commercial success established Jamaica as a major source of international talent, leaving a reggae imprint not just on Western rock but also on local music makers in Africa, Asia, and Australia. Madonna, from suburban Detroit, Michigan (via New York City), personified a new sort of global teen idol in the 1980s. She combined the sounds and technical devices of the New York City disco-club scene New York City disco-club scene with the new sales and image-making opportunities offered by video promotion--primarily by Music Television (MTV), the music-based cable television service. As a star Madonna had it both ways: she was at once a knowing American feminist artist and a global sales icon for the likes of Pepsi-Cola. Public Enemy, from New York City, personified a new sort of African-American music in the late 1980s. Rap, the competitive use of rhyming lines spoken over an ever-more-challenging rhythmic base, had a long history in African-American culture; however, it came to musical prominence as part of the hip-hop movement. Public Enemy used new digital technology to sample (use excerpts from other recordings) and recast the urban soundscape from the perspective of African-American youth. This was music that was at once sharply attuned to local political conditions and resonant internationally. By the mid-1990s rap had become an expressive medium for minority social groups around the world. What does this version of rock's history--from Presley to Public Enemy--reveal? First, that rock is so broad a musical category that in practice people organize their tastes around more focused genre labels: the young Presley was a rockabilly, the Beatles a pop group, Dylan a folkie, Madonna a disco diva, Marley and the Wailers a reggae act, and Public Enemy rappers. Even Hendrix, the most straightforward rock star on this list, also has a place in the histories of rhythm and blues and jazz. In short, while all these musicians played a significant part in the development of rock, they did so by using different musical instruments and textures, different melodic and rhythmic principles, different approaches to song words and performing conventions. Musical eclecticism and the use of technology

Even from a musicological point of view, any account of rock has to start with its eclecticism. Beginning with the mix of country and blues that comprised rock and roll (rock's first incarnation), rock has been essentially a hybrid form. African-American musics were at the centre of this mix, but rock resulted from what white musicians, with their own folk histories and pop conventions, did with African-American music--and with issues of race and race relations. Rock's musical eclecticism reflects (and is reflected in) the geographic mobility of rock musicians, back and forth across the United States, over the Atlantic Ocean, and throughout Europe. Presley was unique as a rock star who did not move away from his roots; Hendrix was more typical in his restlessness. And if rock and roll had rural origins, the rock audience was from the start urban, an anonymous crowd seeking an idealized sense of community and sociability in dance halls and clubs, on radio stations, and in headphones. Rock's central appeal as a popular music has been its ability to provide globally an intense experience of belonging, whether to a local scene or a subculture. Rock history can thus be organized around both the sound of cities (Philadelphia and Detroit, New York City and San Francisco, Liverpool and Manchester) and the spread of youth cults (rock and roll, heavy metal, punk, and grunge). Rock is better defined, then, by its eclecticism than by reference to some musical essence, and it is better understood in terms of its general use of technology rather than by its use of particular instruments (such as the guitar). Early rock-and-roll stars such as Presley and Buddy Holly depended for their sound on engineers' trickery in the recording studio as much as they did on their own vocal skills, and the guitar became the central rock instrument because of its amplified rather than acoustic qualities. Rock's history is tied up with technological shifts in the storage, retrieval, and transmission of sounds: multitrack tape recording made possible an experimental composition process that turned the recording studio into an artist's studio; digital recording made possible a manipulation of sound that shifted the boundaries between music and noise. Rock musicians pushed against the technical limits of sound amplification and inspired the development of new electronic instruments, such as the drum machine. Even relatively primitive technologies, such as the double-deck turntable, were tools for new sorts of music making in the hands of the "scratch" deejay, and one way rock marked itself off from other popular musical forms was in its constant pursuit of new sounds and new sound devices. Rock and youth culture

This pursuit of the new can be linked to rock's central sociological characteristic, its association with youth. In the 1950s and early 1960s this was a simple market equation: rock and roll was played by young musicians for young audiences and addressed young people's interests (quick sex and puppy love). It was therefore dismissed by many in the music industry as a passing novelty, "bubblegum, " akin to the yo-yo or the hula hoop. But by the mid-1960s youth had become an ideological category that referred to a particular kind of hedonism, individualism, and modernism. Whereas youth once referred to high-school students, it came to include college students. Moreover, rock became multifunctional--dance and party music on the one hand, a matter of serious attention and intimate expression on the other. As rock spread globally this had different implications in different countries, but in general it allowed rock to continue to define itself as youthful even as its performers and listeners grew up and settled down. And it meant that rock's radical claim--the suggestion that the music remained somehow against the establishment even as it became part of it--was sustained by an adolescent irresponsibility, a commitment to the immediate thrills of sex 'n' drugs 'n' outrage and never mind the consequences. The politics of rock fun has its own power structure, and it is not, perhaps, surprising that Madonna was the first woman to make a significant splash in rock history. And she did so by focusing precisely on rock's sexual assumptions. Authenticity and commercialism

Madonna can be described as a rock star (and not just a disco performer or teen idol) because she articulated rock culture's defining paradox: the belief that this music--produced, promoted, and sold by extremely successful and sophisticated multinational corporations--is nonetheless somehow noncommercial. It is noncommercial not in its processes of production but in the motivations of its makers and listeners, in terms of what, in rock, makes a piece of music or a musician valuable. The defining term in rock ideology is authenticity. Rock is distinguished from pop as the authentic expression of a performer's or composer's feelings and the authentic representation of a social situation. Rock is at once the mainstream of commercial music and a romantic art form, a voice from the social margins. Presley's first album for RCA in 1956 was just as carefully packaged to present him as an authentic, street-credible musician (plucking an acoustic guitar on the album cover) as was Public Enemy's classic It Takes a Nation of Millions to Hold Us Back, issued by the CBS-backed Def JamDef Jam in 1988; Madonna was every bit as concerned with revealing her artifice as art in the 1980s as Dylan was in the '60s. Rock, in summary, is not just an eclectic form musically but also a contradictory form ideologically. In making sense of its contradictions, two terms are critical. The first is presence. The effect of rock's musical promiscuity, its use of technology, and its emphasis on the individual voice is a unique sonic presence. Rock has the remarkable power both to dominate the soundscape and to entice the listener into the performers' emotional lives. The second is do-it-yourself (DIY). The credibility of this commercial music's claim to be noncommercial depends on the belief that rock is pushed up from the bottom rather than imposed from the top--hence the importance in rock mythology of independent record companies, local hustlers, managers, and deejays, fanzines, and pirate radiopirate radio broadcasters. Even as a multimillion-dollar industry, rock is believed to be a music and a culture that people make for themselves. The historical question becomes, What were the circumstances that made such a belief possible? 2. Rock in the 1950s

    The development of the new vocal pop star

If rock music evolved from 1950s rock and roll, then rock and roll itself--which at the time seemed to spring from nowhere--evolved from developments in American popular music that followed the marketing of the new technologies of records, radio, motion pictures, and the electric microphone. By the 1930s their combined effect was an increasing demand for vocal rather than instrumental records and for singing stars such as Bing Crosby and Frank Sinatra. Increasingly, pop songs were written to display a singer's personality rather than a composer's skill; they had to work emotionally through the singer's expressiveness rather than formally as a result of the score (it was Sinatra's feelings that were heard in the songs he sang rather than their writers'). By the early 1950s it was clear that this new kind of vocal pop star needed simpler, more directly emotional songs than those provided by jazz or theatre-based composers, and the big publishers began to take note of the blues and country numbers issued on small record labels in the American South. While the major record companies tried to meet the needs of Hollywood, the national radio networks, and television, a system of independent record companiesindependent record companies (such as AtlanticAtlantic, SunSun, and ChessChess), local radio stations, and traveling deejayslocal radio stations, and traveling deejays emerged to serve the music markets the majors ignored: African-Americans, Southern whites, and, eventually, youth. Rural music in urban settings

Selling rural American musics (blues, folk, country, and gospel) had always been the business of small rather than corporate entrepreneurs, but World War II changed the markets for them--partly because of the hundreds of thousands of Southerners who migrated north for work, bringing their music with them, and partly because of the broadening cultural horizons that resulted from military service. Rural music in urban settings became, necessarily, louder and more aggressive (the same thing had happened to jazz in the early 1920s). Instruments, notably the guitar, had to be amplified to cut through the noise, and, as black dance bands got smaller (for straightforward economic reasons), guitar, bass, and miked-up voice replaced brass and wind sections, while keyboards and saxophone became rhythm instruments used to swell the beat punched out by the drums. Country dance bands, emerging from 1940s jazz-influenced western swing, made similar changes, amplifying guitars and bass, giving the piano a rhythmic role, and playing up the personality of the singer. Such music--rhythm and blues and honky tonk--was developed in live performance by traveling musicians who made their living by attracting dancers to bars, clubs, and halls. By the late 1940s it was being recorded by independent record companies, always on the lookout for cheap repertoire and aware of these musicians' local pulling power. As the records were played on local radio stations, the appeal of this music--its energy, humour, and suggestiveness--reached white suburban teenagers who otherwise knew nothing about it. Rhythm-and-blues record retailers, radio stations, and deejays (most famously Alan Freed) became aware of a new market--partying teenagers--while the relevant recording studios began to be visited by young white musicians who wanted to make such music for themselves. The result was rock and roll, the adoption of these rural-urban, black and white sounds by an emergent teenage culture that came to international attention with the success of the film Blackboard Jungle in 1956. Marketing rock and roll

Rock and roll's impact in the 1950s reflected the spending power of young people who, as a result of the '50s economic boom (and in contrast to the prewar Great Depression), had unprecedented disposable income. That income was of interest not just to record companies but to an ever-increasing range of advertisers keen to pay for time on teen-oriented, Top 40 radio stations and for the development of teen-aimed television showsteen-aimed television shows such as American BandstandAmerican Bandstand. For the major record companies, Presley's success marked less the appeal of do-it-yourself musical hybrids than the potential of teenage idols: singers with musical material and visual images that could be marketed on radio and television and in motion pictures and magazines. The appeal of live rock and roll (and its predominantly black performers) was subordinated to the manufacture of teenage pop stars (who were almost exclusively white). Creative attention thus swung from the performers to the record makers--that is, to the songwriters (such as those gathered in the Brill BuildingBrill Building in New York City) and producers (such as Phil Spector) who could guarantee the teen appeal of a record and ensure that it would stand out on a car radio. 3. Rock in the 1960s

    A black and white hybrid

Страницы: 1, 2, 3, 4