What were the social developments that led to the

development of rock ‘n’ roll in America

and Britain in the 1950s?

Music, the Arts and Society

MUM707

Meredith White

Maria Busen-Smith

Kaewalin Prasertchang

MA in Music Education

K0733740

Deadline Date: 23 May 2008

1
What were the social developments that led to the development of rock ‘n’ roll in America and

Britain in the 1950s?

While popular music has changed significantly in the past few decades, the music itself would

not have developed without the involvement of societal influences. Throughout musical history there

has been a link between the wider historical context of musical styles and many factors, such as,

changes in the society, political and economic issues and culture. These factors are important as they

place an emphasis on beliefs, attitudes, and the living conditions of people in society, as well as

making an important contribution to developing the kinds of music.

The analysis of the development of Rock ‘n’ Roll

While some sociologists and historians suggest that there are two factors that had an impact on

the development of this genre, the first being the personal history of the artist and the second, societal

context (Moore, 1993). Indeed, when considering the development of rock ‘n’ roll music, Longhurst

notes that ‘the development of rock ‘n’ roll in the 1950s is often presented as a kind of liberation from

the dullness of American and British life of the period.’ (1996:115).

Therefore, in order to analyze music in a historical context, three important interactions that

have to be considered are the social, economic and technology (Wall, 2003). Thus, these factors will

be considered in the analysis of the development of rock ‘n’ roll music. Figure 1 describes the

relationships between them.

2
 Figure 1: A model of historical analysis

Wall, Tim, Studying Popular Music Culture: Studying the Media (London: Arnold, 2003:19)

Rock ‘n’ Roll in the United States of America

According to Cohen (1997), the term Rock ‘n’ roll was first used by Alan Freed, a disc jockey

from New York, in 1954 and became its biggest popularize in 1955. When studying on the history of

rock ‘n’ roll music, it can be seen that, in many ways, ‘Rock'n'roll was, therefore, an almost inevitable

synthesis of the USA civilization of the 1950s’ (Scaruffi, 2003:14). Scholars divide this into two

generations, the first being the time between 1953 and 1955, when most rock ‘n’ roll artists were

Black, and the second, the time from the 1956 onward, when most were White (Friedlander, 1996).

While most scholars state that rock ‘n’ roll music was an after-effect of change taking place

within American Society, and exploding in the mid-1950s (see Middleton, 1990; Bradley, 1992;

Friedlander, 1996; Yamasaki, 1996; Negus, 1996; Shuker, 2002), it is evident that from the mid-1940s

it contained musical elements from ‘African-American music’, such as the syncopated rhythms, raw

vocal emotionalism, and ‘call and response’ (Friedlander, 1996:16). These Black musical genres

contributed to rock ‘n’ roll music were the blues, gospel, and rhythm and blues (R&B).

Furthermore, during the years of slavery and the decades immediately after the First World

War, especially the 1930s and 1940s, through to the 1950s, there was an increasing population of

Black people in the United States. These communities existed in separation from the White

population, and throughout whole of that period musical change was relatively self-directed, with an

3
amount of borrowing and altering of White musical materials. Indeed, there was also borrowing,

exploitation and altering of Black music by the White communities throughout the period too

(Bradley, 1992).

Social development

In consequence, an important issue that has to be considered, when describing rock ‘n’ roll

music is the racism in the society, which is one of the biggest issues in the United States. There are

many definitions of racism declared by many sociologists. Wellman describes racism as ‘culturally

sanctioned beliefs, which, regardless of intentions involved, defend the advantages Whites have

because of the subordinated position of racial minorities, […]’ (1993: x). However, a ‘total racist

society’ can be representative of the characteristic of the United States because racism is used to

categorize every social institution (Feagin, 2000:16). Further, he states the clear definition that

demonstrates racism as an attitude of prejudice that exists apart from the organization of social

structure.

The demanding vision of the function that race and racism had played in rise of rock ‘n’ roll

was since 1950s. In that period, the local radio stations and record stores were reflecting the tastes of

the Black communities. Middleton (1972), as cited by Bradley (1992) affirms that the importance of

music in Black society has to be seen as one of culture which was different from White society. As

the result, there was increased racial integration between White and Black people, which allowed

White people to learn the more emotional life of Black people. As can be seen that today, as in the

past, racial oppression is not just a surface-level feature of the American society, but rather pervades,

and be integrated all major social groups, and institutions across the society (Potter, 1999).

Furthermore, as can be seen that rock ‘n’ roll music was made possible by the combination of

demographics and individual musical creativity changes which related to the increases of the ‘baby

boom’ generation (Cohen, 1997; Shuker, 2002). While the teenagers listened and were passionate

about this kind of music, most adults found it unapproachable. Nuzum (2001), as cited by Dollarhide

4
(2001) describes that in the 1950s the people believed that ‘Allowing White children to listen to Black

music will lead to the mongrelization of America’. Part of the reason adults were resistant to rock ‘n’

roll was because they saw the music, which was influenced by rhythm and blues, as a primarily of

American-African Black people, in both nature and origin (Friedlander, 1996).

From the turn of century to the present, there were a variety of changes in U.S. society, of

which the developments that were most important in the story of rock ‘n’ roll music will provide the

focus. One change in Western society that influenced music occurred at the end of the Second World

War. The young-working class became the driving force behind musical creation and production.

Therefore, in order to get information of depth about rock ‘n’ roll, study has to be made of the

progress of musical style and its influence on the young American teenager. Teenagers in the society

were the important factor relating to the development of rock ‘n’ roll, indeed Wall indicates that ‘Rock

‘n’ Roll is seen as the product of the birth of teenager’ (2003:37).

At this stage, when traced back to the advent of rock ‘n’ roll rock ‘n’ roll in 1950s, the

importance of popular music can be seen as an aspect of ‘youth culture’, during the period following

the end of Second World War. Additionally, it has been evident that ‘music plays a central role in the

process of identity construction of young people’ (Roe 1996:86). There was developed to the big

changes in society as rock ‘n’ roll music became known in America and eventually became a

revolutionary tool as young people began searching for an identity. Rock ‘n’ roll invented the notion

of a rebellious youth, as teenagers were historically major consumers of rock ‘n’ roll music. Mostly,

the music had primarily aimed at the youth markets (Scaruffi, 2003).

Referring to Yamasaki (1996), during the Second World War, the economy in the U.S. was

depressed and people lived with its consequences. This is the reason that, teenagers did not have a

chance to continue to study in higher education, and did not have freedom and the right to make their

own decisions because culture supported strong parental authority. Further in the 1950s, social and

economic conditions were totally different when compared to life before the Second World War.

Thus, teenagers had greater freedom and opportunity to do the things that they wanted without the

5
responsibilities of adulthood. Rock ‘n’ roll reinforced this ‘generation gap’, which is the

discrimination in the way of thinking between the younger generation and the older generation

(Bradley, 1992).

The many versions of youth culture, as already generally noted above, have their roots in

several things, for example, socio-economic and the technological development (Bennett, 2000).

Moreover, as can be seen from the argument that the culture of rock ‘n’ roll was ‘far exceeded any

political or cultural movement that had preceded it (Scaruffi: 2003). Rock ‘n’ roll influenced on the

teenager in many ways, for example, the fashion, language, attitude, or even the attitude toward the

political. The records of this kind of music can sell all around the world. As this result, the music that

had the meaning as the ‘Underground music’ at that time, changed the meaning to the ‘Popular music’

and still remain until present.

The Economic of the music industry

The music industry is one of the key drivers of rock ‘n’ roll music. With the purpose of

describing the economy of the music industry, it is necessary to trace back to the starting point. Since

the early and mid-1950s, there are a numbers of music industries, for example the independent

recording companies, publishing house, and radio stations, that had already existed in America

(Bradley, 1992). In addition, the numbers of radio stations increased significantly because the license

and regulation to broadcast had been allowed in the United States by the Federal Communications and

Commission (FCC) (See Longhurst, 1996; Shuker, 2002). Similarly, Middleton (1990) argues that the

music industry was developed in the United States and it might be divided into three periods as

follows:

Firstly, the development began during the late 18th century and early 19th century, which called

the ‘bourgeois revolution’ (Middleton, 1990:13). It was the time when commercialism controlled the

production of music. At that time, there was a marketing system starting to develop through musical

6
activities. The musical production was largely organized by the promoter, concert organizers, public

house manager and musical publisher.

Secondly, it was the time in the 1890s, when the ‘mass culture’ had been introduced to society.

Further, the new form of musical style, for example ragtime, jazz, Tin Pan Alley songs, and new dance

forms were contributed. Accordingly, at that time many independent recording companies were

established and took an important role in developing the music industry. Moreover, it is also about the

growth of small independent record companies (Friedlander, 1996). Negus (1992) assumes that there

are six companies that helped create the music industry, especially regarding popular music genres.

These companies are MCA, BMG group, Warner Music International, EMI Music, Polygram and

Sony Music Entertainment. Some suggest that the record companies being based in specific locations

were central to the development of rock ‘n’ roll (Longhurst, 1990).

Besides, there is the argument that the control of the American Society of Composers, Authors

and Publishers (ASCAP) is one of the causes of the development of rock music (Peterson, 1990). The

ASCAP was established to issue licenses and to control the production of music before it was

presented to the listener, or broadcasted on the radio. Since rock ‘n’ roll was introduced to society,

there have been numerous people who listen to this kind of music. One of the most important

elements that promote Black music is the rise of disc jockeys (DJ) that presenting it to the market of

youth white radio listeners and record buyers (Cohen, 1997). Therefore, as Bradley (1992) states, in

the 1950s there were increasing numbers of young White people, who listened to the music which

became known as rock ‘n’ roll. As a matter of fact, the music industry was concerned about this

matter and developed the market for Black music in a mostly White market. As can be seen that many

early 1950s rock ‘n’ roll songs were originally written or performed by Black artists, then it were later

re-recorded by popular White artists and made available to the audiences (Brunner, 2006) Moreover,

as can be seen in 1955 there was an establishment which applied for the private sector rules of mass

marketing for this new product, and sanctioned its existence from nothing against the forces of private

enterprise (Scaruffi, 2000).

7
 Finally, Middleton (1990) notes that the beginnings of rock ‘n’ roll music can be termed the

moment of ‘pop culture’, because at that time, there was the development of the world market and

also a change in technology. The invention of the technology was an important factor in introducing

rock ‘n’ roll to the people in society.

The Technology

After the Second World War, as is often the case after a war, the economy began to grow and

life began to get better. During the mid-1950s, there are a variety of significant elements in

technological innovation which had an impact on an increasing music industry (see Longhurst, 1996;

Negus, 1996). Middleton (1990) states that there were technological changes which based around the

electronic system for example, the development of television, which made it possible to deliver the

performers’ or artists’ images to the audiences, who stay at home. Further, there was the development

of the portable transistor radio, which was first manufactured by Sony Company in 1955, in order to

allow people to carry music with them all the time.

Moreover, new kinds of production were used in the music industry, for instance, magnetic

tape replaced the music score, the widespread transmission of the radio, and the widespread use of

juke-box. Another significant change was the use of the small seven-inch single vinyl record that

played at 45 RPM, developed by Radio Corporation of America (RCA) in the early 1950s (Shuker,

2002). From this time, various kinds of music were easier to introduce to the listener, including rock

‘n’ roll music. As a final point, all of these were the main factors that had an impact on the music

industry, in order to distribute the Rock ‘n’ roll music.

Rock ‘n’ Roll Music in Britain

On the other hand, as it were, the key change of the musical style in Britain was when rock ‘n’

roll was introduced to the society. While many scholars focus on the arrival of rock ‘n’ roll in Britain

during the 1950s, they faced the problem that at that time there is ‘no history of popular music in the

8
UK exists’ (Cloonan, 2007:8). Fortunately, Moore claims that it seems that rock ‘n’ roll from the

United States influenced on British popular music: ‘[…] rock in Britain is considered to have

developed as an import of styles established within the USA (i.e. rock ‘n’ roll and urban blues) […]

’ (1993:34). Moreover, there is the argument show that the British popular music was written and

performed in an ‘Americanized’ style (Bradley, 1992:88). Indeed, from the turn of the century to the

present, there are mixtures of changes in British society. The goal here is to draw attention to the

development that is most important in the story of rock ‘n’ roll music.

Cloonan (2007) notes that in the mid-1950s, it was the time of a post-war recover in Britain.

In that period, there was the occurrence of the teenager, between childhood and adulthood. Before

rock ‘n’ roll arrived in Britain, there were other subcultures and styles of music in British society, for

instance, the ‘Beats and Hipsters’ and the ‘Teddy boy’ that had already existed since early 1950s, and

the ‘Skiffle’ (e.g. Lonnie Donegan) that was the style taken from traditional American jazz band (See

Bready, 1992; Shuker, 2002). Furthermore, Bradley (1992) notes that during that time ‘Beat Music’

and ‘Dance Music’ were the main genre in British Society.

According to Moore (1993), the style of rock ‘n’ roll music from the United States was first

introduced to Britain by Muddy Waters in 1957. Since then, rock ‘n’ roll was increasingly accepted

by the middle class people in the society, largely among the teenagers. In addition, rock ‘n’ roll music

used mostly amplification electronic instruments, such as the electric guitar, electric bass, and drum

set. This was new things in the British society and had impact on the teenager audiences, as they

seem to like and accept this kind of music (Breadley, 1992). Additionally, since American rock ‘n’

Roll music had and impact to the world in 1950s, the most significant British musical band that

represented the rock ‘n’ roll music is ‘The Beatles’. After The Beatles formed the band in 1956, their

music made real impact on the music scene from 1962. Moreover, they were performing the music

that later call ‘British rock’. Everett (2001) notes that among the Beatles first releases were covers of

the rhythm and blues from the U.S., such as ‘Roll Over Beethoven’ of Chuck Berry.

9
 Referring to Moore (1993), the economic situation of record companies was the key driver of

rock ‘n’ roll in Britain in mid-1960s. After the Second World War, there was an impact from the

American entertainment industries enable to colonize the British working-class market. Bradley

(1992) claims that among those American products, the most successful in British market was the

music. For example, the ‘Bill Haley and the Comets’ that was successful in British music industry,

many of their music, such as ‘Rock Around the Clock’, and ‘Saints Rock and Roll’ were entered the

British ‘Top Twenty’ in 1955, 1956, and 1957. Bradley also states that ‘These records established a

first style, a preliminary definition and presence, of rock ‘n’ roll in Britain’ (1992:55).

Conclusion

In conclusion, when looking back to the history of rock ‘n’ roll music, one can see that it has

changed radically in the past decades and still develops as the basis of another genre, such as Rock,

Funk, and so on. Despite the changes in this world, rock ‘n’ roll music seems to remain as a stable

entity. Moreover, although other musical styles have overtaken it in popularity, rock ‘n’ roll is still

present in every decade. Rock ’n’ Roll is music of strong, loud, fast beats, popular among the

teenagers. Teenagers tend to have restless mind because they want to search themselves and the

society. In the 1950s, rock ‘n’ roll music can arouse their minds of insufficient concentration, and

enchant then easily with the sound and the rhythm As an influential musical style that is present to

people in society, Rock ‘n’ roll became the representative of many processes in the society, for

instance it became more than entertainment, language and message board. To come to the point, it is

evident that there are social revolutions with in the development of rock ‘n’ roll music.

Word Count: 3.036

10
Bibliography (by MHRA)

Books:

- Bennett, Andy, Popular Music and Youth Culture: Music, Identity and Place (New York:

Palgrave, 2000)

- Bradley, Dick, Understand Rock ‘n’ Roll: Popular Music in Britain 1955-1964 (Buckingham:

Open University Press, 1992)

- Cloonan, Martin, Popular Music and the State in the UK: Culture, Trade or Industry?

(Hampshire: Ashgate Publishing, 2007)

- Everett, Walter , The Beatles as Musicians : The Quarry Men through Rubber Soul (Oxford:

Oxford University Press, 2001)

- Feagin, Joe R., Racist America: Roots, Current Realities, and Future Reparations (New York:

Routledge, 2000)

- Friedlander, Paul, Rock and Roll: A Society History (Oxford: Westview Press: 1996)

- Longhurst, Brian, Popular music and Society (Cambridge: Polity Press, 1995)

- Middleton, Richard, Studying Popular Music (Milton Keynes: Open University Press, 1990)

- Negus, Keith, Popular Music in Theory: An Introduction (Cambridge: Polity Press, 1996)

- Potter, Russell A., ‘Race’ in Key Term in Popular Music and Culture Ed. by Bruce Horner and

Thomas Swiss (Oxford: Blackwell, 1999)

- Wall, Tim, Studying Popular Music Culture: Studying the Media (London: Arnold, 2003)

- Shuker, Roy, ‘Understanding Popular Music’ 2nd Edition (London: Routledge, 2002)

- Wellman, David T., Portraits of White Racism (New York: Cambridge University Press, 1993)

Article:

- Cohen, Ronald D., ‘The Delinquents: Censorship and Youth Culture in Recent U. S. History’,

History of Education Quarterly 37:3 (1997), 251-270

11
 - Peterson, R.A., ‘Why 1955? Explaining the Advent of Rock Music’ , Popular Music Journal

9:1 (1990), 97-116

- Roe, K., ‘Music and identity among European youth’, Music in Europe (European

Commission, 1996), 85–97

- Yamasaki, Mitch, ‘Using Rock 'N' Roll to Teach the History of Post-World War II America’,

The History Teacher 29:2 (Feb, 1996), 179-193

Dissertation

- Brunner, Ike, ‘Taken to the Extreme: Heavy Metal Cover Song – The Impact of Genre’.

(unpublished doctor’s dissertation, Graduate College of Bowling Green State University, 2006)

Internet Sources:

- Dollarhide, Maya, ‘Music censorship: the beating goes on’ (2001)

< http://www.freedomforum.org/templates/document.asp?documentID=13870>

[Accessed Date 12 March 2008]

- Scaruffi, Piero ‘Rock ‘n’ Roll 1951-57’ (2003)

<http://www.scaruffi.com/history/cpt11.html> [Accessed Date 20 February 2008]

- Scaruffi, Piero ‘History of Rock Music’ (2000)

< http://www.scaruffi.com/history/short.html> [Accessed Date 20 February 2008]

12