Introduction

Much of what we have studied up to this point has been leading to this: the birth of R&B and Rock and Roll.

Units 10, 11, and 12 of your textbook (unit 12 will be covered in the next module) are intricately linked. In unit 10, post-WWII social and economic circumstances for African Americans take swing music and earlier blues in increasingly energetic and innovative directions. Meanwhile, the emergence of doo-wop, a combination of gospel and pop song styles, further diversified the sound of black America. At no point in history had black American music been so diverse or widely heard (often by white kids in their bedroom). Cover version of songs by black artists removed the good stuff in order to repackage it for conservative white audiences. Change was coming, but it was slow, and the seeds of the Civil Rights Era were being sown. In many ways, popular music was closing the racial divide; in other ways, the industry was part of the problem.

The emergence of teenagers as a separate group to be marketed to began with the first era of Rock and Roll. After WWII, teenagers suddenly had money and a natural desire to differentiate themselves from the older generations; a new subculture was born.

This unique combination of circumstances – a young, hip, white audience craving the sounds coming out of black America – set the perfect stage for crowning the first star of rock and roll, Elvis Presley. Other icons would emerge, each with something exciting to bring to the table – Little Richard was an outrageous performer; Chuck Berry repackaged country music as faster, more fun, and became rock’s first major guitar hero; Buddy Holly’s look and his early explorations in rhythmic variety would be influential for years to come. But this first exciting era of rock was brought to an abrupt halt in 1959.

This time period also sees the rise of the producer. Previously, producers were often faceless men in the background; now, production – as much as the music making, possibly more – was becoming a calculated art form. Lieber and Stoller, Carole King and Gerry Goffin, Phil Spector, and Brian Wilson changed how records were made from conception, to songwriting, to recording techniques through to the final product. This is a particular focus in the films you will watch in this module.

Due to the lengthier nature of Module 6, including about 80 minutes of film, you will have slightly more time to complete the work. Please see your syllabus for details.

Learning Objectives

When you have finished this module, you should be able to do the following:

1. Explain the social and economic issues facing Black Americans and teenagers in the 1950s and how these issues influenced the development of R&B and Rock and Roll.
2. Explain the events of 1958 and 1959 that led to the end of the first era of Rock and Roll.
3. Differentiate the key genres.
4. Identify the key artists and their unique contributions to their genre.
5. Define all terminology.

Module Instructions

1. Please read Campbell units 10 and 11 (pages 160 to 195).
2. As you read your textbook, visit the Module 6: Music page to listen to the musical examples.
3. Watch the Module 6: Learning Material.
4. Optional: post a response to one of the challenges if you plan to blog as part of your course assignments (see syllabus for details).
5. Join the blog discussions if they interest you.
6. Once you have completed your module work for the week, please go into the Blackboard course tools and complete the weekly quiz prior to the deadline (see syllabus for details).

Key Terms, Concepts, and People

• Rhythm and Blues (R&B)
• Doo-Wop (early and late)
• Elvis Presley
• The Architects of R&R (Little Richard, Chuck Berry)
• Buddy Holly
• 1959/Day the Music Died
• Producers/Studio Production (Leiber and Stoller, Phil Spector, King and Goffin)
• The Shirelles/Girl Groups
• The Beach Boys/Brian Wilson

Continue to Module 6: Learning Material