Doo-wop was one of the 밤알바 직업소개소 most popular forms of R&B in the 1950s, often on a par with rock and roll, with an emphasis on polyphonic harmonies and absurd accompanying lyrics (hence the genre’s later name), often supported by lighting equipment. A distinction began to emerge between the music now increasingly referred to as “rock” and the “rock and roll” of the 1950s and early 1960s, the former being more ambitious, more serious, and better suited to complex expressions. By the mid-1960s, cultural perceptions of music also began to change, with artists like the Beatles and Bob Dylan (who started out as a ballad singer but “missed” rock in 1965) more seriously treat it appropriately. An intellectual and respected institution who used to joke about music. In the early 1950s, a new form of music appeared on the scene, exciting a growing teenage audience, and surprising many who liked the music of Bing Crosby and Patti Page.
New sounds developed in the early 1950s were introduced to young audiences by various influential radio disc jockeys. Seasoned producers and visionary disc jockeys found new audiences – teenagers – and began to promote and develop a new style of music that appealed to today’s youth. It’s a new style that combines the best things that have been prepared over the years.
It was Elvis who pioneered the urban tribe of rockers who, in the United States and the United Kingdom, adopted a lifestyle and attitude influenced by the music and image of rock stars. As the Great Migration brought many African Americans to northern cities, the sounds of rhythm and blues drew suburban teenagers. Disc jockeys such as Alan Fried of Cleveland, Ohio, Dewey Phillips of Memphis, Tennessee, and William (“Hoss”) Allen of the WLAC of Nashville, Tennessee, announced this new sound, creating rock and roll radio playing hard records. rhythm and blues and vulgar blues that introduced suburban white teenagers to a culture that seemed more exotic, exciting, and illicit than anything they had ever known.
By then, as Elijah Wald pointed out in his recently revised pop history, How the Beatles Destroyed Rock and Roll, white artists and producers had stopped retrieving R&B pop songs and started imitating them. By 1954, the all-black WDIA had become a 50,000-watt station covering the entire South Central region. Record producers saw the potential in the market and began looking for white artists who could capture African-American voices.
There is no clear precedent in R&B for an artist like Chuck Berry, who more or less combined influences of hillbilly, blues and swing jazz, and wrote songs about adolescence and culture, black and White teens all find it equally attractive. Later rock artists, especially songwriters like Buddy Hawley, would have a major influence on the activities of the British Invasion, especially on the songwriting of the Beatles, and through them, on the character of later rock music . Another pioneer, Chuck Berry, is often credited by music historians as the musician who brought together all the essential elements of rock and roll and made it a medium for songwriting.
In collaboration with his producer and collaborator Dave Bartholomew, he created something that was neither real jazz nor real blues; it was a really new form of classic pop that was immediately fun and energetic, but at the same time still kind of rock and roll in a way. Keith Richards imagined that Chuck Berry developed his rock and roll style by taking the familiar two-note jump blues piano mainline directly to the electric guitar, creating what has been recognized as rock guitar. The string bass became popular and was used to create classic rock.
In the late 1950s, one way or another, all the first great heroes of music sacrificed themselves; Berry and Jerry Lee Lewis disappeared after sex scandals; Little Richard, unable to reconcile his Baptist upbringing with rock and roll (let alone sleeping with men), relapsed into religion; Elvis Presley joined the army. Some music historians also point to important and groundbreaking developments based on rock and roll during this period, including multi-track recording developed by Les Paul, electronic sound processing by innovators such as Joe Meek, and Wall of Sound productions by Phil Spector. continuous chart desegregation, the rise of surf music, garage rock and the twist dance craze. But debate aside, it is certain that the most important figures responsible for this kind of disclosure and consolidation were Big Joe Turner, Ruth Brown, Fats Domino, Muddy Waters, Bill Haley, Elvis Presley, Gene Vincent, Carl Perkins, Jerry Lee Lewis. , Litte Richard, Chuck Berry, Buddy Holly, Eddie Cochran and Bo Diddley.
One of the genres that will go down in history in the annals of music is rock. And nowadays, the term “rock” refers to the 1950s music genre discussed in this article, as well as to other genres derived from it. According to Greg Kot, “rock ‘n’ roll” refers to a style of popular music that originated in the United States in the 1950s before evolving into “the broader international style known as rock music” by the mid-1960s. although this latter also came to be known as rock and roll.
Rock and roll, also called rock and roll or rock and roll, is a style of popular music that originated in the United States in the mid-1950s and developed in the mid-1960s into the broader international style known as rock music, although the latter also continued to be called rock and roll. Rock and roll (often spelled rock and roll or rock and roll) is a genre of popular music that originated and developed in the United States in the late 1940s and early 1950s [1] [2] from African-American musical styles such as gospel, jump blues, jazz, boogie-woogie, and rhythm and blues [3], as well as country music. This website contains information about disc jockey Alan Freed, who popularized the term “rock and roll” to describe the music he played on his Moondog radio show in the early 1950s.
Sam Phillips, whose Sun Records first recorded Elvis, Jerry Lee Lewis, Carl Perkins, Johnny Cash and other top talent, believes the true importance of 1950s rock and roll has little to do with the music industry. .content, not to mention musical innovation. If Allen hadn’t popularized new music on his show, if Elvis hadn’t played live, if Chuck never mixed the blues on his electric guitar, if Richard hadn’t set the standard at all, if Ike hadn’t written rockets 88. If Rosetta Tharp hadn’t paired gospel lyrics with guitar, if Fats Domino never sold a million copies, and finally, if the beat of Bo Diddley never took off, we wouldn’t have any so-called rock and roll. For one, it’s the only form of pop music that’s specifically targeted and adapted to teens — there are adult records and children’s records, but for the growing baby boomer generation, it’s gone, sandwiched between childhood and adulthood.