Review the Five Specific Costs of Sex and the Examples Discussed in Class Course Hero

6.2 The Evolution of Popular Music

Learning Objectives

1. Assess the affect of 3 technologies that changed the face up of the music manufacture.
2. Make up one's mind the influences and characteristics of each genre of popular music.
3. Describe the evolution of pop music throughout the last century.

The first stirrings of popular or pop music—any genre of music that appeals to a wide audience or subculture—began in the late 19th century, with discoveries by Thomas Edison and Emile Berliner. In 1877, Edison discovered that sound could exist reproduced using a strip of tinfoil wrapped around a rotating metallic cylinder. Edison's phonograph provided ideas and inspiration for Berliner's gramophone, which used flat discs to record sound. The flat discs were cheaper and easier to produce than were the cylinders they replaced, enabling the mass production of sound recordings. This would have a huge impact on the popular music industry, enabling members of the centre grade to purchase engineering that was previously available just to an elite few. Berliner founded the Berliner Gramophone Company to industry his discs, and he encouraged pop operatic singers such as Enrico Caruso and Dame Nellie Melba to record their music using his organization. Opera singers were the stars of the 19th century, and their music generated most of the sheet music sales in the U.s.a.. Although the gramophone was an exciting new evolution, it would take 20 years for disc recordings to rival canvas music in commercial importance (Shepherd, 2003).

In the late 19th century, the lax copyright laws that existed in the United States at the start of the century were strengthened, providing an opportunity for composers, singers, and publishers to work together to earn money by producing equally much music as possible. Numerous publishers began to emerge in an area of New York that became known as Tin Pan Alley. Allegedly named because the cacophony of many pianos being played in the publishers' demo rooms sounded similar people pounding on tin pans, Tin Pan Alley shortly became a prolific source of popular music, with its publishers mass-producing sheet music to satisfy the demands of a growing middle class. Whereas classical artists were exalted for their individuality and expected to differ stylistically from other classical artists, popular artists were praised for conforming to the tastes of their intended audience. Popular genres expanded from opera to include vaudeville—a form of diverseness entertainment containing short acts featuring singers, dancers, magicians, and comedians that opened new doors for publishers to sell songs popularized by the live shows—and ragtime, a style of piano music characterized by a syncopated melody.

Figure 6.2

For about of the 20th century, gramophone records were the primary medium used for commercial music reproduction.

Science Museum London – EMG Mark Xb handmade gramophone, c 1934. – CC BY-SA 2.0.

The Tin can Pan Alley tradition of song publishing connected throughout the first half of the 20th century with the show tunes and soothing ballads of Irving Berlin, Cole Porter, and George Gershwin, and songwriting teams of the early 1950s, such every bit Jerry Leiber and Mike Stoller. By hiring songwriters to etch music based on public demand and mainstream tastes, the Can Pan Alley publishers introduced the concept of popular music as nosotros know it.

The Roaring 1920s: Radio versus Records

In the 1920s, Tin Pan Aisle's say-so of the popular music industry was threatened by two technological developments: the advent of electrical recording and the rapid growth of radio.

During the early days of its development, the gramophone was viewed as a scientific novelty that posed petty threat to canvass music because of its poor audio quality. Even so, every bit inventors improved various aspects of the device, the sales of gramophone records began to affect canvass music sales. The Copyright Human activity of 1911 had imposed a royalty on all records of copyrighted musical works to recoup for the loss in revenue to composers and authors. This loss became fifty-fifty more prominent during the mid-1920s, when improvements in electrical recording drastically increased sales of gramophones and gramophone records. The greater range and sensitivity of the electric broadcasting microphone revolutionized gramophone recording to such an extent that sheet music sales plummeted. From the very beginning, the record industry faced challenges from new technology.

Composers and publishers could deal with the losses caused past an increase in gramophone sales because of the provisions made in the Copyright Act. Nevertheless, when radio broadcasting emerged in the early 1920s, both gramophone sales and sheet-music sales began to endure. Radio was an affordable medium that enabled listeners to experience events as they took place. Amend yet, it offered a wide range of free music that required none of the musical skills, expensive instruments, or canvass music necessary for creating one's ain music in the home, nor the expense of purchasing records to play on the gramophone. This development was a threat to the entire recording industry, which began to entrada for, and was ultimately granted, the right to collect license fees from broadcasters. With the license fees in place, the recording manufacture eventually began to profit from the new technology.

Figure 6.3

Radio sales dramatically increased throughout the 1920s because radios were an affordable way to listen to free music and alive events.

The 1930s: The Rise of Jazz and Dejection

The ascendance of Tin can Pan Aisle coincided with the emergence of jazz in New Orleans. An improvisational form of music that was primarily instrumental, jazz incorporated a diverseness of styles, including African rhythms, gospel, and blues. Established by New Orleans musicians such as King Oliver and his protégé, Louis Armstrong, who is considered by many to be one of the greatest jazz soloists in history, jazz spread along the Mississippi River by the bands that traveled up and down the river playing on steamboats. During the Prohibition era in the 1920s and early 1930s, some jazz bands played in illegal speakeasies, which helped generate the genre's reputation for being immoral and for threatening the country'due south cultural values. However, jazz became a legitimate form of amusement during the 1930s, when White orchestras began to incorporate jazz style into their music. During this time, jazz music began to take on a big band style, combining elements of ragtime, Black spirituals, blues, and European music. Key figures in developing the big jazz band included bandleaders Duke Ellington, Coleman Hawkins, and Glenn Miller. These big ring orchestras used an arranger to limit improvisation by assigning parts of a piece of music to diverse band members. Although improvisation was allowed during solo performances, the format became more structured, resulting in the swing fashion of jazz that became pop in the 1930s. As the decade progressed, social attitudes toward racial segregation relaxed and large bands became more than racially integrated.

At the center of jazz, the blues was a creation of former Blackness slaves who adapted their African musical heritage to the American environment. Dealing with themes of personal adversity, overcoming hard luck, and other emotional turmoil, the blues is a 12-bar musical form with a phone call-and-response format between the singer and his guitar. Originating in the Mississippi Delta, simply upriver from New Orleans, blues music was exemplified in the work of W. C. Handy, Ma Rainey, Robert Johnson, and Lead Belly, among others. Different jazz, the blues did not spread significantly to the Northern states until the tardily 1930s and 1940s. Once Southern migrants introduced the blues to urban Northern cities, the music adult into distinctive regional styles, ranging from the jazz-oriented Kansas City blues to the swing-based West Coast blues. Chicago blues musicians such every bit Dingy Waters were the first to electrify the blues through the utilize of electric guitars and to blend urban mode with classic Southern blues. The electric guitar, start produced by Adolph Rickenbacker in 1931, changed music by intensifying the audio and creating a louder volume that could cut through noise in confined and nightclubs (Rickenbacker, 2010). By focusing less on shouting, singers could focus on conveying more emotion and intimacy in their performances. This electrified grade of blues provided the foundations of stone and roll.

Figure half dozen.iv

The Chicago dejection, characterized by the use of electric guitar and harmonica, provided the foundations of rock and roll. Muddy Waters was one of the most famous Chicago blues musicians.

Nesster – Muddy Waters at Newport 1960 – CC BY-SA 2.0.

The 1920s through the 1950s is considered the golden age of radio. During this time, the number of licensed radio stations in the United States exploded from five in 1921 to over 600 by 1925 (Salmon, 2010). The introduction of radio broadcasting provided a valuable link between urban metropolis centers and pocket-sized, rural towns. Able to transmit music nationwide, rural radio stations broadcasted local music genres that soon gained popularity across the land.

The 1940s: Engineering science Progresses

Technological advances during the 1940s made it fifty-fifty easier for people to listen to their favorite music and for artists to record information technology. The introduction of the reel-to-reel record recorder paved the way for several innovations that would transform the music industry. The first commercially available tape recorders were monophonic, meaning that they only had i rails on which to tape sound onto magnetic tape. This may seem limiting today, merely at the fourth dimension it allowed for exciting innovations. During the 1940s and 1950s, some musicians—near notably guitarist Les Paul, with his song "Lover (When You're Nigh Me)"—began to experiment with overdubbing, in which they played back a previously recorded tape through a mixer, blended it with a live operation, and recorded the composite indicate onto a 2d tape recorder. By the time four-track and 8-rail recorders became readily available in the 1960s, musicians no longer had to play together in the same room; they could record each of their private parts and combine them into a finished recording.

Effigy half-dozen.5

Reel-to-reel tape recorders and magnetic tape not only helped artists experiment with overdubbing, simply they also were a compact method for reproducing and preserving audio.

Stuart Blacklock – Leevers Rich series D2B – CC BY-ND 2.0.

While the reel-to-reel recorders were in the early stages of development, families listened to records on their gramophones. The 78 revolutions per minute (rpm) disc had been the accepted recording medium for many years despite the necessity of changing the disc every 5 minutes. In 1948, Columbia Records perfected the 12-inch 33 rpm long-playing (LP) disc, which could play up to 25 minutes per side and had a lower level of surface dissonance than the earlier (and highly breakable) shellac discs (Lomax, 2003). The 33 rpm discs became the standard form for full albums and would dominate the recorded music industry until the appearance of the compact disc (CD).

During the 1940s, a mutually beneficial alliance between sound recording and radio existed. Artists such every bit Frank Sinatra and Ella Fitzgerald profited from radio exposure. Until this time, music had primarily been recorded for adults, simply the popularity of Sinatra and his contemporaries revealed an entirely untapped market: teenagers. The postwar smash of the 1930s and early 1940s provided many teenagers spending money for records. Radio airplay helped to promote and sell records and the recording artists themselves, which in turn stabilized the recording industry. The about riots acquired by the appearance of New Bailiwick of jersey crooner Frank Sinatra in concert paved the fashion for mass hysteria amongst Elvis Presley and Beatles fans during the rock and roll era.

The 1950s: The Advent of Rock and Whorl

New technology continued to develop in the 1950s with the introduction of tv. The new medium spread rapidly, primarily because of cheaper mass-product costs and state of war-related improvements in technology. In 1948, only 1 percent of America's households endemic a television; past 1953 this effigy had risen to nearly 50 percent, and past 1978 nearly every dwelling house in the United States owned a television (Genova). The introduction of television into people's homes threatened the existence of the radio industry. The radio industry adapted by focusing on music, joining forces with the recording manufacture to survive. In an effort to do and then, it became somewhat of a promotional tool. Stations became more dependent on recorded music to make full airtime, and in 1955 the Top 40 format was built-in. Playlists for radio stations were based on popularity (usually the Billboard Top 40 singles chart), and a pop song might exist played as many equally 30 or 40 times a 24-hour interval. Radio stations began to influence tape sales, which resulted in increased competition for spots on the playlist. This ultimately resulted in payola—the illegal practice of receiving payment from a record visitor for dissemination a particular song on the radio. The payola scandal came to a head in the 1960s, when Cleveland, Ohio, DJ Alan Freed and eight other disc jockeys were defendant of taking money for airplay. Following Freed's trial, an antipayola statute was passed, making payola a misdemeanor crime.

Applied science wasn't the but revolution that took place during the 1950s. The urban Chicago blues typified past artists such as Muddy Waters, Howlin' Wolf, and B. B. Rex surged in popularity amid White and Black teenagers alike. Marketed under the proper name rhythm and blues, or R&B, the sexually suggestive lyrics in songs such every bit "Sexy Ways" and "Sixty Infinitesimal Man" and the electrified guitar and wailing harmonica sounds appealed to young listeners. At the time, R&B records were classified equally "race music" and their sales were segregated from the White music records tracked on the pop charts (Szatmary, 2010). Nonetheless, there was a considerable amount of crossover amongst audiences. In 1952, the Dolphin's of Hollywood tape store in Los Angeles, which specialized in R&B music, noted that twoscore pct of its sales were to White individuals (Szatmary, 2010).

Although banned from some stations, others embraced the popular new music. In 1951, Freed started a late-nighttime R&B evidence called The Moondog Rock & Roll Business firm Political party and began referring to the music he played every bit stone and whorl (History Of Rock). Taking its name from a blues slang term for sex, the music obtained instant notoriety, gaining widespread support among teenage music fans and widespread dislike amidst the older generation (History Of Rock). Corybantic showmen Little Richard and Chuck Berry were early pioneers of stone and roll, and their wild stage performances became characteristic of the genre. Every bit the integration of White and Black individuals progressed in the 1950s with the repeal of segregation laws and the initiation of the civil rights movement, aspects of Black culture, including music, became more than widely accustomed by many White individuals. However, it was the introduction of a White homo who sang songs written by Black musicians that helped rock and whorl really spread beyond land and racial lines. Elvis Presley, a vocalist and guitarist, the "King of Stone and Curlicue," further helped make music written by Blackness individuals acceptable to mainstream White audiences and too helped popularize rockabilly—a blend of rock and state music—with Black audiences during the mid-1950s. Heavily influenced by his rural Southern roots, Presley combined the R&B music of bluesmen B. B. Male monarch, John Lee Hooker, and Howlin' Wolf with the land-western tradition of Roy Acuff, Ernest Tubb, and Jimmie Rodgers, and added a impact of gospel (Elvis). The reaction Presley inspired amongst hordes of adolescent girls—screaming, crying, rioting—solidified his reputation as the first true rock and ringlet icon.

Figure 6.6

Elvis Presley brought the fashion of R&B bluesmen to mainstream audiences in the 1950s.

Wikimedia Commons – public domain.

The 1960s: Stone and Roll Branches Out From R&B

Prior to 1964, rock and roll was primarily an American export. Although U.S. artists often reached the elevation of the charts overseas, few European artists achieved success on this side of the Atlantic. This situation changed nearly overnight with the inflow of British pop miracle the Beatles. Combining elements of skiffle—a blazon of music played on rudimentary instruments, such as banjos, guitars, or homemade instruments—doo-wop, and soul, the iv mop-haired musicians from Liverpool, England, created a genre of music known as Merseybeat, named subsequently the River Mersey. The Beatles' genial personalities and catchy popular tunes made them an instant success in the United States, and their popularity was heightened by several appearances on The Ed Sullivan Show. When the Beatles arrived in New York in 1964, they were met by hundreds of reporters and constabulary officers and thousands of fans. Their appearance on The Ed Sullivan Show a few days later was the largest audience for an American idiot box plan, with approximately one in three Americans (74 million) tuning in (Gould, 2007). Beatlemania—the term coined to describe fans' wildly enthusiastic reaction to the band—extended to other British bands, and by the mid-1960s, the Kinks, the Zombies, the Animals, Herman'southward Hermits, and the Rolling Stones were all making appearances on the U.S. charts. The Rolling Stones' urban stone sound steered away from pop music and remained more than true to the bluesy, R&B roots of rock and whorl. During their first appearance on The Ed Sullivan Show, the Stones were lewd and vulgar, prompting host Ed Sullivan to denounce their beliefs (although he privately acknowledged that the band had received the near enthusiastic applause he had always seen) (Ed Sullivan). The British Invasion transformed rock and ringlet into the all-encompassing genre of stone, sending future performers in ii different directions: the melodic, poppy sounds of the Beatles, on the one manus, and the gritty, loftier-book power rock of the Stones on the other.

Figure 6.7

After the Rolling Stones' first appearance on The Ed Sullivan Show, host Ed Sullivan apologized to the viewing audition for the band'south lewd beliefs.

Wikimedia Commons – public domain.

The branching out of stone and roll continued in several other directions throughout the 1960s. Surf music, embodied by artists such every bit the Beach Boys, January and Dean, and Dick Dale, celebrated the aspects of youth civilization in California. With their twanging electric guitars and sleeky harmonies, the surf groups sang of girls, beaches, and convertible cars cruising along the West Declension. In Detroit, some Black performers were developing a sound that would accept crossover entreatment with both Black and White audiences. Combining R&B, pop, gospel, and blues into a genre known as soul, vocalists such as James Brown, Aretha Franklin, Otis Redding, and Wilson Pickett sang virtually the lives of Black Americans. Producer and songwriter Berry Gordy Jr. developed soul music through the creation of his Motown label, which would become i of the most successful businesses endemic by a Black private in American history (Notable Biographies). Capitalizing on the 1960s girl-group craze, Gordy produced hits by the Marvelettes, Martha and the Vandellas, and, near successfully, Diana Ross and the Supremes. For his bands, he created a slick, polished image designed to appeal to the American mainstream.

In the late 1960s, supporters of the civil rights movement—along with feminists, environmentalists, and Vietnam War protesters—were gravitating toward folk music, which would become the sound of social activism. Broadly referring to music that is passed downward orally through the generations, folk music retained an unpolished, amateur quality that inspired participation and social sensation. Carrying on the legacy of the 1930s labor activist Woody Guthrie, vocalizer-songwriters such as Joan Baez; Peter, Paul, and Mary; and Bob Dylan sang social protest songs well-nigh civil rights, discrimination against Black Americans, and the Cuban Missile Crisis. Having earned himself a reputation as a political spokesperson, Dylan was lambasted past traditional folk fans for playing an electric guitar at the 1965 Newport Folk Festival. However, his attempt to reach a broader crowd inspired the folk stone genre, pioneered past the Los Angeles band the Byrds (PBS). Fifty-fifty though many fans questioned his decision to go electrical, Dylan's poetic and politically charged lyrics were still influential, inspiring groups like the Beatles and the Animals. Protestation music in the 1960s was closely aligned with the hippie culture, in which some viewed taking drugs every bit a form of personal expression and free speech. Artists such as Jimi Hendrix, Jefferson Airplane, the Grateful Dead, and the Doors believed that the listening experience could be enhanced using mind-altering drugs (Rounds, 2007). This spirit of liberty and protestation culminated in the infamous Woodstock festival in the summer of 1969, although the subsequent deaths of many of its stars from drug overdoses cast a shadow over the psychedelic culture.

The 1970s: From Glam Stone to Punk

After the Vietnam War ended, higher students began to settle down and focus on careers and families. For some, selfish views took the place of business organization with social issues and political activism, causing writer Tom Wolfe to label the 1970s the "me" decade (Wolfe, 1976). Musically, this ideological shift resulted in the creation of glam stone, an extravagant, self-indulgent course of rock that incorporated flamboyant costumes, heavy makeup, and elements of hard rock and pop. A primarily British phenomenon, glam stone was popularized by acts such equally Slade, David Bowie, the Sweet, Elton John, and Gary Glitter. It proved to exist a precursor for the punk move in the late 1970s. Equally flamboyant, simply rising out of a more than electronic audio, disco also emerged in the 1970s. Popular disco artists included KC and the Sunshine Band, Gloria Gaynor, the Bee Gees, and Donna Summer, who helped to pioneer its electronic sound. Boosted by the success of 1977 film Saturday Night Fever, disco's popularity spread across the country. Records were created especially for discos, and tape companies churned out tunes that became huge hits on the dance floor.

Reacting confronting the capitalism of disco and corporate stone, punk artists created a minimalist, angry course of stone that returned to rock and roll basics: simple chord structures, catchy tunes, and politically motivated lyrics. Like the skiffle bands of the 1950s, the appeal of punk rock was that anyone with bones musical skills could participate. The punk stone movement emerged out of CBGB, a pocket-sized bar in New York Urban center that featured bands such as Boob tube, Blondie, and the Ramones. Never a huge commercial success in the United States, punk stone exploded in the Great britain, where high unemployment rates and form divisions had created angry, disenfranchised youths (BBC). The Sex activity Pistols, fronted by Johnny Rotten, developed an aggressive, pumping audio that appealed to a rebellious generation of listeners, although the band was disparaged by many critics at the time. In 1976, British music paper Tune Maker complained that "the Sex Pistols do equally much for music as Earth War Two did for the cause of peace (Gray, 2001)." Punk bands began to carelessness their sound in the tardily 1970s, when the punk manner became assimilated into the stone mainstream.

Figure 6.viii

Even though the Sexual activity Pistols were severely criticized in the 1970s, their music went on to inspire countless acts and helped develop the underground music scene in England and the United states.

nico7martin – Sex Pistols – CC BY ii.0.

The 1980s: The Hip-Hop Generation

Whereas many British youths expressed their displeasure through punk music, many disenfranchised Blackness American youths in the 1980s turned to hip-hop—a term for the urban culture that includes pause dancing, graffiti art, and the musical techniques of rapping, sampling, and scratching records. Reacting against the extravagance of disco, many poor urban rappers developed their new street culture by adopting a casual epitome consisting of T-shirts and sportswear, developing a language that reflected the everyday concerns of the people in low-income, urban areas, and by embracing the depression-budget visual art course of graffiti. They described their new culture as hip-hop, later a common phrase chanted at trip the light fantastic parties in New York'southward Bronx borough.

The hip-hop genre first became pop among Blackness youths in the late 1970s, when record spinners in the Bronx and Harlem started to play short fragments of songs rather than the entire track (known every bit sampling) (Demers, 2003). Early hip-hop artists sampled all types of music, like funk, soul, and jazz, later adding special effects to the samples and experimenting with techniques such every bit rotating or scratching records dorsum and forth to create a rhythmic pattern. For example, Kool Moe Dee'southward rail "How Ya Like Me Now" includes samples from James Chocolate-brown's classic funk vocal "Papa's Got a Brand New Pocketbook." The DJs would often add brusk raps to their music to let audiences know who was playing the records, a trend that grew more than elaborate over time to include entire spoken verses. Artists such equally Grandmaster Flash and the Furious Five added political and social commentary on the realities of life in low-income, high-crime areas—a trend that would keep with later on rappers such as Public Enemy and Ice-T.

Figure vi.9

Early hip-hop artists, like Run-D.M.C., opposed the clean-cut, polished world of soul and popular by embracing political lyrics that were inspired by everyday life.

SoulRider.222 – RUN DMC – CC BY-ND 2.0.

In the early 1980s, a second moving ridge of rap artists brought inner-city rap to American youths by mixing it with hard guitar rock. Pioneered by groups such as Run-D.Grand.C. and the Beastie Boys, the new music appealed to Black and White audiences alike. Another subgenre that emerged was gangsta rap, a controversial brand of hip-hop epitomized by Due west Declension rappers such equally Ice Cube and Tupac Shakur. Highlighting violence and gang warfare, gangsta rappers faced accusations that they created violence in inner cities—an argument that gained momentum with the East Coast–Due west Coast rivalry of the 1990s.

The 1990s: New Developments in Hip-Hop, Rock, and Pop

Hip-hop and gangsta rap maintained their popularity in the early on 1990s with artists such as Tupac Shakur, the Notorious B.I.1000., Dr. Dre, Eazy-E, Ice Cube, and Snoop Dogg at the top of the charts. West Declension rappers such as Tupac Shakur and Snoop Dogg favored gangsta rap, while E Coast rappers, like the Notorious B.I.G. and Sean Combs, stuck to a traditional hip-hop style. The rivalry culminated with the murders of Shakur in 1996 and B.I.One thousand. in 1997.

Figure 6.ten

The shooting deaths of gangsta rappers Tupac Shakur and the Notorious B.I.G. caused a shift in the hip-hop industry toward less trigger-happy music.

Tupac Amaru Shakur – Notorious BIG & 2Pac – CC BY-NC-ND two.0.

Along with hip-hop and gangsta rap, alternative rock came to the forefront in the 1990s with grunge. The grunge scene emerged in the mid-1980s in the Seattle area of Washington State. Inspired past hardcore punk and heavy metallic, this subgenre of rock was then-chosen because of its messy, sludgy, distorted guitar sound, the disheveled appearance of its pioneers, and the disaffected nature of the artists. Initially achieving limited success with Seattle band Soundgarden, Seattle independent label Sub Popular became more prominent when it signed some other local band, Nirvana. Fronted by vocalist and guitarist Kurt Cobain, Nirvana came to be identified with Generation X—the post–babe boom generation, many of whom came from cleaved families and experienced violence both on television and in real life. Nirvana's angst-filled lyrics spoke to many members of Generation 10, launching the ring into the mainstream. Ironically, Cobain was uncomfortable and miserable, and he would eventually commit suicide in 1994. Nirvana's success paved the way for other alternative stone bands, including Green Day, Pearl Jam, and 9 Inch Nails. More recently, culling rock has fragmented into fifty-fifty more specific subgenres.

Figure 6.11

Britney Spears was one of the driving forces backside the teen-pop miracle of the late 1990s, paving the fashion for pop stars Christina Aguilera and Pink.

Britney Spears – Britney Spears toxic (Bbspears) – CC By-SA ii.0.

By the end of the 1990s, mainstream tastes leaned toward pop music. A plethora of boy bands, girl bands, and pop starlets emerged, sometimes evolving from gospel choir groups, but more frequently than not created past talent scouts. The groups were aggressively marketed to teen audiences. Popular bands included the Backstreet Boys, 'N Sync, and the Spice Girls. Meanwhile, individual popular acts from the MTV generation such as Madonna, Michael Jackson, and Prince continued to generate hits.

The 2000s: Pop Stays Stiff every bit Hip-Hop Overtakes Rock in Popularity

The 2000s began right where the 1990s left off, with young singers such every bit Christina Aguilera and Destiny's Kid ruling the pop charts. Pop music stayed strong throughout the decade with Gwen Stefani, Mariah Carey, Beyoncé, Katy Perry, and Lady Gaga achieving mainstream success. Past the cease of the decade, country artists, similar Carrie Underwood and Taylor Swift, transitioned from land stars to bona fide pop stars. While rock music started the decade strong, by the terminate of the 2000s, stone's presence in mainstream music had waned, with a few exceptions such as Nickelback, Linkin Park, and Green Twenty-four hour period.

Effigy 6.12

Taylor Swift's 2008 album Fearless went multiplatinum, and hits like "Yous Belong to Me" and "Love Story" helped her become from country star to mainstream popular star.

VersusLiveQuizShow – Taylor Swift (2007) – CC Past-SA 2.0.

Unlike stone music, hip-hop maintained its popularity, with more commercial, polished artists such as Kanye West, Jay-Z, Lupe Fiasco, and OutKast achieving enormous success. While some gangsta rappers from the 1990s—similar Dr. Dre and Snoop Dogg—softened their images, other rappers—such as l Cent and Eminem—connected to projection a tough image and to use violent lyrics. An alternative fashion of hip-hop emerged in the 2000s that infused positive letters and an element of social conscience to the music that was missing from early hip-hop tracks. Artists such as Common, Mos Def, and the Blackness Eyed Peas found success even though they didn't stand for traditional stereotypes of hip-hop.

Key Takeaways

• Popular music as we know it originated out of the Can Pan Alley tradition that emerged at the beginning of the 20th century in which composers, singers, and publishers worked together to create hit songs. The main difference betwixt pop music and classical music is that, whereas classical artists were exalted for their individuality and expected to differ stylistically from other classical composers, popular artists were praised for conforming to the tastes of their intended audition.
• Technological developments played a vital office in bringing popular music to people's homes. The invention of the phonograph and gramophone in the late 19th century enabled the reproduction and mass distribution of audio recordings for the beginning time. The invention of the reel-to-reel tape recorder and the development of vinyl records in the 1940s drastically improved this process. The postwar prevalence of radio hugely impacted popular music, with radio airplay of popular songs promoting record sales.
• Throughout the last century, tastes in popular music have evolved to embrace a wide variety of styles. People who enjoyed opera at the turn of the 20th century saw the rise of vaudeville and ragtime in the Tin Pan Alley era. Jazz and blues emerged from New Orleans and the Mississippi Delta during the 1930s, and musical styles adjusted as people migrated to Northern urban areas. Rhythm and blues laid the groundwork for rock and gyre that shook up pop music in the 1950s. Popular music diversified in the 1960s to cover surf, folk, and soul music. In the 1970s, glam rock and disco became popular, and punk rockers revolted against the excesses of these styles. Hip-hop dominated the 1980s, and its popularity continued into the 1990s and 2000s. Pop was besides successful in the 1990s and 2000s, while mainstream interest in alternative rock waned at the terminate of the 2000s.

Practise

Choose a decade betwixt 1900 and 2010. Research a technological development that took identify during this time that influenced pop music—for example, the development of the electric guitar and its influence on rock and curlicue. Consider how this evolution influenced trends within the manufacture.

References

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Demers, Joanna. "Sampling the 1970s in Hip-Hop," Pop Music 21 (2003): 41–56.

Ed Sullivan, "The Rolling Stones," The Official Ed Sullivan Site, http://www.edsullivan.com/artists/the-rolling-stones.

Elvis, "Biography," Elvis Presley: Official Site of the King of Rock 'n' Roll, http://www.elvis.com/about-the-king/biography_.aspx.

Genova, Tom. "Number of Boob tube Households in America," Television History – The Offset 75 Years, http://www.tvhistory.tv/Annual_TV_Households_50-78.JPG.

Gould, Jonathan. Can't Buy Me Honey: The Beatles, Britain, and America (New York: Harmony Books, 2007), iii–4.

Grayness, Marcus. The Clash: Return of the Terminal Gang in Town (London: Helter Skelter, 2001), 147.

History of Rock, "Alan Freed" History-of-rock.com, http://www.history-of-rock.com/freed.htm.

Lomax, Alan. Alan Lomax: Selected Writings 1934–1997, ed. Ronald D. Cohen (New York: Routledge, 2003), 102.

Notable Biographies, "Berry Gordy Jr. Biography," Encyclopedia of Earth Biography, http://www.notablebiographies.com/Gi-He/Gordy-Jr-Berry.html.

PBS, "Bob Dylan," PBS.org: American Roots Music: The Songs & the Artists, http://www.pbs.org/americanrootsmusic/pbs_arm_saa_bobdylan.html.

Rickenbacker, "Early on Years: The Primeval Days of the Electrical Guitar," Rickenbacker International Corporation, June 22, 2010, http://www.rickenbacker.com/history_early.asp; Mary Bellis, "The History of Guitar and Electric Guitar," About.com Guide, http://inventors.about.com/od/gstartinventions/a/guitar_2.htm.

Rounds, Dwight. The Year the Music Died: 1964–1972: A Commentary on the Best Era of Pop Music, and an Irreverent Expect at the Musicians and Social Movements of the Time (Austin: Bridgeway Books, 2007), 292.

Salamon, Ed. Pittsburgh's Gold Age of Radio (Chicago: Arcadia, 2010), 8.

Shepherd, John. Continuum Encyclopedia of Popular Music of the World (New York: Continuum, 2003), 483.

Szatmary, David. Rockin' in Time: A Social History of Rock and Scroll (Upper Saddle River, NJ: Prentice Hall, 2010), sixteen.

Wolfe, Tom. "The 'Me' Decade and the 3rd Great Awakening," New York Magazine, Baronial 23, 1976, http://nymag.com/news/features/45938/.

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Source: https://open.lib.umn.edu/mediaandculture/chapter/6-2-the-evolution-of-popular-music/

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