BY the ODORE IRWIN in RECENT YEARS, Getting Upset

Total Page:16

File Type:pdf, Size:1020Kb

BY the ODORE IRWIN in RECENT YEARS, Getting Upset to a $200,000 -a-ycar income. As a diskjockey for New York’s station WINS, his program reaches 12 states and Newfoundland. On tape he’s heard in Chicago, St. Louis, Kansas City and over the powerful “We’rc having some fun before Radio Luxemberg throughout BY THE ODORE IRWIN we get too old to enjoy ourselves” Europe and England. His first said one l5 -year-old girl in a recent movie, Rock Around the Clock, has grossed a profit of $3,000,000. PAGEANT JULY 1957 . Gilbert Youth Research survey. Is rock ‘n’ roll merely harmless On the side, Freed writes songs, teen-age fun? Or is it something makes records, le ads a band, em c e es shows and is a partner in two music more dangerous? Any serious investigation prob- publishing firms and a record com- pany. One of his song-hits, Sincere- ing for the answers to these ques- tions in evitably runs smack into a ly, sold 2,000,000 records. Last IN RECENT YEARS, getting upset year, one of his in-person shows in shrewd, cool-headed, knowledge- over the mysteries of teen-age be- Brooklyn brought out a record able and surprising young man $228,000 crowd in a single week. havior has almost become a na- named Alan Freed. He coined the tional pastime. A noisy crowd is “In this business,” he says can- phrase, “rock and roll,” and not didly, just a crowd, for instance, unless only sparked the trend but fanned “your career is so short, it’s composed of adolescents and you’ve got to get it from all angles.” it into flame. then it’s labelled a “riot.” And Today, he is the acknowledged To understand the why and how lately, when youngsters get into high priest of the rock ‘n’ roll cult, of rock ‘n’ roll, you’ve got to know troub le , adults groping for a scape- the Pied Piper and dedicated evan- The King. A wiry, int e ns echain- , goat have pointed an accusing fin- gelist of the teenagers’ Big Beat. smoking, 35-year-old dynamo, Alan ger at a new “corrupter of youth” “Rock ‘n’ roll is kids,” he says. Freed is actually shyly introverted -that “awful music,” rock n’ roll. despite his “hard-sell” radio tech-, If you have normal hearing, you “It’s not me or Elvis Presley or n ique .He’s a devoted family man must be aware of this musical phe- anyone else. The music belongs to with no visible qualities of a ro- nomenon with its undulating, two- them-they had a need for it and mantic idol, and it’s difficult for beat rhythm. Apparently rock 'n ' they discovered it. I don’t set the adults to understand why hordes of pace-these kids do.” roll has no charms to soothe the young girls call him “the greatest, savage breast, for its impact upon Until fairly recently, the name of the most e st.” Before a microphone, youthful masses has been at times Alan Freed had no meaning to however, this rock n' roll spieler explosively violent. In Boston, most adults, despite his astonishing “sends” the younger ge n e ration. As Washington, Minneapolis, Atlanta popularity with the younger gener- a record spins, he slaps out the -across and up-and-down the na- ation. Then, three rock ‘n’ roll characteristic beat on a telephone movies he made for Columbia book, shouts “Go! Go! Go!” or tion -over-exhilarated teenagers in jammed theatres all over the world, “Blow, man, blow !” He has a grand many rock ‘n’ roll audiences have causing “riots” as far off as Paki- time, he says, enjoying the music screeched and screamed, smashed stan. His stage shows and rock ‘n’ along with the kids. windows, thrown beer bottles, About half a million fan letters bowled over police, wrecked thea- roll parties in various cities have and telegrams deluge him during tres and dance halls, and produced stampeded audiences. Last Washington’s Birthday, for a year. Close to 7,000 Alan Freed blaring headlines. Fan Clubs, each with ten to 300 In the frenzy 'n ' furor accom- example, some typically tumultuous members, have sprung up in the panying each breach of peace, hor- scenes were enacted in New York’s rified parents, harried police and Times Square, in and around the past couple of years. What, precise- some vocal social scientists have Paramount Theatre. The program ly, is the magnet? included a Freed rock ‘n’ roll movie, viewed such goings-on with alarm. “Teenagers believe in me,” he his 20-piece orchestra, assorted live Elders have fumed, fretted, pon- explains, “because they know I’m entertainers and Freed in-person, tificated and legislated against the their friend and give them the billed as “The King of Rock ‘n’ "craze ." Sporadically, rock ‘n’ roll music they want.” Roll.” Before dawn, at 4:00 A.M., has been officially banned in some To vehement, vitriolic criticism teenagers with lunch-boxes started public places. Eminent psycholo- of rock ‘n’ roll, Freed says he queuing up. During the day, 13,120 gists, sociologists and psychiatrists usually turns the other che e k. But “cats” poured into Times Square, have characterized rock ‘n’ roll as one recent Sunday afternoon, talk- overflowing sidewalks, tying up everything from “adolescent rebel- ing to me while relaxed on a couch traffic, pushing over barriers. As a lion” to “a medieval type of spon- in his studio at home, the King of result, 175 cops were called out. Rock ‘n’ Roll sounded off. taneous lunacy.” Between shows, Freed stepped Yet millions of youngsters vir- “What are those psychologists out through the stage door for a yelling about?” he said. “They don’t tually live by rock 'n’ roll and every breath of air. Instantly, a group of day more and more of them are know these kids and have probably high school students descended on never seen a rock ‘n’ roll show. Our becoming exponents. Ninety per- him. Before he could retreat, they cent of all single records-45 rpm- teenagers aren’t bad-they’re just tore off his jacket, Ivy League cap, enthusiastic. are bought by teenagers and many tie and cuff-links for souvenirs. record companies arc operating on “No music can bc morally bad. “I love it,” he told me later, in Whether he’s playing a ukulele or a three-shift basis to fill orders for the seclusion of his Stamford, rock 'n' roll. The young devotees listening to rock ‘n’ roll records, a Conn., home “I love being mobbed will tell you that disapproving child is cutting his teeth on music, by kids. I wouldn’t want it to stop.” and I say he’s on the path to finer “middle-aged” people - anyone It 's understandable that such over 25-are hopeless squares who music. In fact, one recent survey adulation is welcomed by Freed. fail to keep up with the times and revealed that about 37 percent of Virtually overnight, this super- teenagers enjoy opera or classical now condemn what they don’t salesman has parlayed rock ‘n’ roll understand. records as well as rock ‘n’ roll.” Undeniably, Freed had some- Freed is honestly convinced that called off. But apparently the crowd thing. Throughout the country, a rock ‘n’ roll is “good” for children had such a grand time breaking strong upsurge of interest in all and he backs up his contention with into the Arena that no one asked kinds of music has been reported. piles of fan letters. Boys have writ- for his money back. “Rock ‘n’ roll was discovered by ten that once they hung around Thereafter, Freed staged eight the kids themselves,” Freed went street corners at night and now they rcscrvcd-seat shows, all sell-outs. on. “They feel it’s new; for their stay home with their rock ‘n’ roll His fame spread to New York and generation alone. Before it came records. Many teenagers write in I954 came the inevitable high- along, they were starved for enter- something like this: “My parents priced deal for a rock n’ roll disk tainment. The ballad-type music are too busy going to parties. If I jockey show on WINS. Four they’d been hearing was too soupy didn’t have rock ‘n’ roll, I don’t months later, he threw two rock ‘n’ and languid for dancing. Tele- know what I’d do,” roll dances at the St. Nicholas vision offered very little musical Rock ‘n’ roll burst upon the Arena in New York. variety for them. So when they en- nation, via Freed, virtually by acci- “In a way,” he recalls, “those St. countered the powerful, affirmativc dent. Until then, he was an ob- Nick dances were the turning point. jazz beat of rock ‘n’ roll, it was like scure toiler on the airwaves. You see, those Cleveland affairs ap- making an exciting discovery.” Born in Johnstown, Pa., of a pealcd most to colored people. In To show how rock ‘n’ roll “be- Welsh mother and a Lithuanian fact, after I ran them, I received longs" to the youngsters, Freed Jewish father, a clothing salesman, batches of poison-pen letters calling cited scores of simple songs aimed Alan was raised largely in Salem, me a ‘nigger-lover.’ But at the St. directly at them: Teen-Age Crush, Ohio. At 12, he took to the trom- Nick the audiences were about 70 Young Love, Sitting in the Bal- bone, soon organized a high-school percent white and 30 percent cony, Teen-Age Prayer.
Recommended publications
  • Where Did the Term Rock and Roll Come From
    Where Did The Term Rock And Roll Come From Leggiest Roderic stuff extraordinarily and delusively, she qualifying her biome bestrides asymptomatically. Austen is assertory and entreats observingly while monolatrous Dan blackballs and stand-in. Unpolarised Parker cannonading his confirmors juxtaposes evangelically. No longer was here as the listener response is free appraisal to economic force to engage, did the rock and roll from african american Tearjerker and glamour on. Birth of 50s rock n roll Research assigned on 50's rock and. Church music did rock was coming out of their teenage daughters hanging in hartsdale, where did illinois press who frequently requested in search of. Music businessman morris levy, where did the rock and roll come from. It was a time in the United States that the possibility of a pied piper was a real concern. Rock and make them are doing something remarkable but it crossed over the rock and a hillbilly cat into words. Far future simply a musical style, rock to roll influenced lifestyles, fashion, attitudes, and language. He might quite an influence over me probably the music I enjoy our date. It whore a cute animal doing, a hellishly powerful thing, and we mean doing. Chuck i was arrested, and back time of prison for transporting a hammer across state lines. Motown record company, based in Detroit. It often indicates a user profile. Yes we were rolling, yes we rolled a long time. The story begins with others, rock did the and roll from blues was two different combination of a wild, turn to place to? The term became something new generation of music have been released some no king title, roll come from france? Then took out about what you come from law enforcement agencies, roll party events that.
    [Show full text]
  • Rock Art Program.Indd
    CLE Temporary Art Exhibition Program The Rock and Roll Hall of Fame and Museum presents: “Live from Cleveland, Ohio” Featuring rock photographer Janet Macoska September10 MarchMarch 5, 20 16, 2013–January 31, 2014 CLE’s Temporary Art Exhibition Program is a free initiative available to artists. The purpose of this program is to showcase the diversity of arts and culture of the Cleveland Plus Region. Cultural institutions, arts organizations, museums, as well as individual artists, are afforded opportunities to exhibit their collections of original artwork and photography in the airport. Submissions are reviewed by an Art Review Panel. Each approved proposal is assigned an exhibit start date based on the exhibition calendar. The duration of exhibits is up to six months depending on the nature of the exhibit. Curatorial and installation support are provided to selected exhibitors. Artists are featured at the art site as well as on the airport’s website at www.clevelandairport.com. Dear Friends, It is with great pleasure that CLE features an exhibit from one of Cleveland’s iconic museums - The Rock and Roll Hall of Fame and Museum. The Rock and Roll Hall of Fame and Museum exists to collect, preserve and interpret the impact rock has made on our world. 10 March 5, 20 This exhibit features work by photographer, Janet Macoska. For nearly four decades, Ms. Macoska has been capturing some of rock and roll’s most notable performers in her photos. The exhibit, en tled “Live from Cleveland, Ohio,” showcases some of her favorite images of rock’s greatest moments in Cleveland - including those of many Rock and Roll Hall of Fame Inductees.
    [Show full text]
  • Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966
    Cleveland State University EngagedScholarship@CSU ETD Archive 2010 The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966 Dana Aritonovich Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons How does access to this work benefit ou?y Let us know! Recommended Citation Aritonovich, Dana, "The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966" (2010). ETD Archive. 714. https://engagedscholarship.csuohio.edu/etdarchive/714 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH Bachelor of Arts in Communications Lake Erie College May, 2006 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2010 This thesis has been approved for the Department of HISTORY and the College of Graduate Studies by _____________________________________________ Thesis Chairperson, Dr. Karen Sotiropoulos ___________________________ Department & Date _____________________________________________ Dr. David Goldberg ___________________________ Department & Date _____________________________________________ Dr. Thomas Humphrey ___________________________ Department & Date THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH ABSTRACT This thesis is a social and cultural history of young people, race relations, and rock and roll music in Cleveland between 1952 and 1966.
    [Show full text]
  • Biography -- Printable Version
    Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled.
    [Show full text]
  • Popular Music, Popular Myth and Cultural Heritage in Cleveland Emerald Studies in POPULAR Music and Place
    POPULAR MUSIC, POPULAR MYTH AND CULTURAL HERITAGE IN CLEVELAND EMERALD STUDIES IN POPULAR MUSIC AND PLACE Series Editors: Brett Lashua, Leeds Beckett University, UK Stephen Wagg, Leeds Beckett University, UK Studies of the relations between popular music and place offer rich conceptual and empirical terrain. This interdisciplinary book series publishes research on popular music and its geo-spatial relations by scholars working in the wider dis- ciplines and subject fields of popular music studies, cultural geography, cultural studies, sociology, urban studies, youth studies, leisure studies, and beyond. Titles in the series focus not only on specific cities, but also rural and suburban places, alternative or marginal spaces, online spaces, and other music geogra- phies, for example, histories of vanished or erased places, music tourist attrac- tions, thanatological spaces (e.g., cemeteries and other memorializations for deceased musicians), music museums, and so on. The series promotes work by scholars interested in popular music, place and space, cultural identities, globali- zation, history, and cultural heritage. In turn, the book series offers a critical space for scholars to theorize about the changing place of popular music where it is encountered, enjoyed, and contested. If you are interested in publishing in this series please contact the series editors at [email protected] and [email protected] POPULAR MUSIC, POPULAR MYTH AND CULTURAL HERITAGE IN CLEVELAND: THE MOONDOG, THE BUZZARD, AND THE BATTLE FOR THE ROCK AND ROLL HALL OF FAME BRETT LASHUA Leeds Beckett University, UK United Kingdom – North America – Japan – India – Malaysia – China Emerald Publishing Limited Howard House, Wagon Lane, Bingley BD16 1WA, UK First edition 2019 Copyright © Brett Lashua.
    [Show full text]
  • Inductees M ) Nominees
    INDUCTEES M ) NOMINEES EVERLY BROTHERS Bom Don Everty February let, 1937 Brownie, Kentucky Bom Phil Everiy January 19th, 1939 Brownie, Kentucky In The Everiy Brothers’ Rock and Roll Odyssey, a marked the beginning of a string of hits between video documentary made around the time of the 1957 and 1962 on Cadence and, later, Warner duo’s London reunion concert in 1983 — ten years af­ Bros., including “Wake Up, little Susie,” “AD I Have ter their breakup on a Southern California stage — to Do Is Dream,” “Bird Dog,” “When Will I Be Don and Phil narrate their own story. They still seem Loved” and their sill-time best seQer, “Cathy’s Clown.” a little in awe of their vocal talent, looking upon it as a Their songs offered a beguiling vision of adolescent sort of genetic gift. The modesty lends them an ingen­ romance, in which precociousness inched out inno­ uous quality that belies their years. The sons of a trav­ cence. eling country-and-western team, Ike and Margaret Even after the hits stopped, the Evertys’ influence Everty, the brothers first performed with their family continued to grow. Performers from the Beatles to on the road and on the radio. Then, as angelic-look­ Simon & Garfunkel and Linda Ronstadt imitated and ing teenagers, they transformed the sounds of their covered their material. Even the Rolling Stones owed Kentucky country roots into a bittersweet form of a debt to them: on their first tour of Great Britain, the rock ami roll. Stones opened for the Everlys. And the Everlys’ Their first hit, “Bye Bye Love,” penned by hus- voices, as well as their influence, endured.
    [Show full text]
  • American Popular Music
    American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................
    [Show full text]
  • ELVIS PRESLEY Born Elvis Aron Presley January 8Th, 1935 Easttupdo, Mississippi Died August 16Th, 1977 Mempliis, Tennessee
    inductees and nominees BIOGRAPHIES BY MICHAEL HILL Drifters ELVIS PRESLEY Born Elvis Aron Presley January 8th, 1935 EastTupdo, Mississippi Died August 16th, 1977 Mempliis, Tennessee “If you’re looking for trouble,” Elvis Presley to truck-driving. But when RCA paid what was con­ warned the audience at the opening of his December sidered an outrageous sum for Elvis’ Sun contract, 3rd, 1968, television special, “you’ve come to the the company was almost instantly rewarded with a tri­ right place.” ple-crown hit, “Heartbreak Hotel,” which topped the What viewers heard that night was unadulterated pop, C&W and R&B charts. L ife magazine called him Elvis, the archetypal rock and roll singer, not the Hol­ a “howling hillbilly.” A TV critic described his unin­ lywood movie star. The leather-dad Presley, working hibited lap-shaking style as “the mating dance of an up a sweat, returned to his roots before the first live aborigine.” Eld Sullivan vowed never to book him, but audience he had faced since 1961. Presley wanted to not long after “Heartbreak Hotel” topped the (harts, remind the world of his sound, style and sex appeal. Presley made the first of three appearances on the But perhaps he also wished to recall for himself what show — only two of which featured full-frontal Elvis. he had stumbled onto at the Sun Records studio in During his last guest spot, Sullivan refused to allow Memphis back in 1954. On July 5th and 6th of that him to be shot from the waist down. Steve Allen actu­ year, Elvis Aron Presley — encouraged and cajoled by ally instructed Elvis not to dance on his late-night TV producer and studio owner Sam Phillips, and accom­ show and had him wear tails while performing panied by guitarist Scotty Moore and bassist Bill “Hound Dog” in the company of a live basset hound.
    [Show full text]
  • A Test of General Rock and Roll Knowledge
    A Test of General Rock and Roll Knowledge 1. This song, by this “one hit wonder,” group was considered the end of the line for the Classic Doo-Wop era in the United States. (A) Book of Love by the Silhouettes (B) Get a Job by the Monotones (C) Book of Love by the Platters (D) Book of Love by the Monotones (E) Come Go with Me by the Dell Vikings 2. The Payola Scandal of the late 1950’s and early 1960’s generally involved: (A) Tax evasion by recording artists (B) Accusations of Rock & Roll as communist propaganda (C) Pay to radio DJ’s to play the records produced by record companies (D) Television game shows (E) Violation of copyright laws 3. Moog synthesizer is an: (A) instrument (B) recording medium (C) musical genre of the 1960’s (D) Top 40 rock group (E) song 4. This late 1960’s Top 40 rock group, The Monkees, are credited for being the first to produce a recording with this instrument: (A) banjo (B) Moog Synthesizer (C) slack guitar (D) slide guitar (E) sitar 5. What was the primary reason Cleveland was selected as the site for the Rock & Roll Hall of Fame? (A) most Rock & Roll records were produced there (B) cash (C) pity (D) economic stability (E) Alan Freed, a local Cleveland DJ of the 1950’s, is largely credited for coining the term Rock & Roll to identify this new music genre 6. Which of the following statements characterizes the sound of surf music from the 1960’s? (A) All surf songs were instrumental (B) There were never drums in surf songs (C) All surf songs were produced by the Beach Boys or Jan & Dean (D) Many surf songs consisted of a twangy guitar sound and higher range vocals (E) All surf music had female backup vocals and a reggae beat 7.
    [Show full text]
  • The Ghost of Alan Freed: an Analysis of the Merit and Purpose of Anti-Payola Laws in Today's Music Industry
    Volume 51 Issue 3 Article 5 2006 The Ghost of Alan Freed: An Analysis of the Merit and Purpose of Anti-Payola Laws in Today's Music Industry Kristen Lee Repyneck Follow this and additional works at: https://digitalcommons.law.villanova.edu/vlr Part of the Commercial Law Commons, and the Legal History Commons Recommended Citation Kristen L. Repyneck, The Ghost of Alan Freed: An Analysis of the Merit and Purpose of Anti-Payola Laws in Today's Music Industry, 51 Vill. L. Rev. 695 (2006). Available at: https://digitalcommons.law.villanova.edu/vlr/vol51/iss3/5 This Note is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Villanova Law Review by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Repyneck: The Ghost of Alan Freed: An Analysis of the Merit and Purpose of 20061 THE GHOST OF ALAN FREED: AN ANALYSIS OF THE MERIT AND PURPOSE OF ANTI-PAYOLA LAWS IN TODAYS MUSIC INDUSTRY "Alan Freed may merely have been born too soon; playing records on the radio may have gotten him in trouble with the law, but he probably 1 could have been a highly respected and successful grocer." I. INTRODUCTION As state and federal officials renew the battle cry against the seemingly pervasive practice of record companies plying radio stations with funds or valuable goods to obtain airplay for songs, the debate continues as to whether such restrictions are necessary, and if so, in what form.2 With one major record label bound by restrictions on its pay-for-play activities and saddled with a ten million dollar settlement, it seems that a change is in the wind for the music industry as a whole.
    [Show full text]
  • Teen Idols of the Late 1950S
    Teen Idols of the Late 1950s Dion, Hi-Teen Magazine Rock and Roll evolved from Rhythm and Blues, a sound developed by African-American musicians that by the early 1950s had slowly begun to reach a new audience in young white teenagers. By nature of its association with blackness, many white American adults feared that Rock and Roll was a corrupting influence on their children, promoting socializing between races, juvenile delinquency, even premarital sex. Music was not the only thing that disturbed conservative grown-ups. In August 1957, pioneer Rock and Roll disc jockey Alan Freed’s WABC-TV teen dance show Big Beat was cancelled after African-American artist Frankie Lymon was seen dancing with a white girl on the program. Less than a year later, at the Boston date of his Big Beat Spring 1958 tour, Freed was charged with anarchy and inciting the youths in attendance to riot, though the charges were later dropped. While Freed battled accusations of encouraging miscegenation and delinquent behavior to his teenage audience, many of the early Rock and Roll stars began to disappear from the charts. Between 1957 and 1960, Little Richard gave up secular music for a life in the ministry, Elvis Presley enlisted in the Army, and scandals disrupted the careers of both Jerry Lee Lewis and Chuck Berry. The absence of these original crossover artists created a vacuum that necessitated a new class of performers—the so-called “teen idols”—who were positioned to broaden the teenage Rock and Roll audience while also alleviating adult anxieties over the potential corruption of their children.
    [Show full text]
  • Jews in Rock ‘N’ Roll
    Jews in Rock ‘n’ Roll Originally presented May 7th, 2013, at the Jewish Community Center of Ann Arbor 2013 Jewish Film Festival, accompanying the film “A.K.A. Doc Pomus.” The story of how Jerome Felder, a Jewish boy from Brooklyn, afflicted with polio at an early age, triumphed over his disease and circumstances to become first a blues singer, then a song-writer and then a mentor to generations of musicians is fascinating. And certainly both the protagonist and many of the other characters in the story are Jewish, but I ask you, is this a Jewish story? And by that I mean does this story speak to our identity as Jews? Should a story about rock and roll be considered part of the American Jewish experience, of our history? I think it does and I will offer my reasons why. Let me start off by saying that there is a tendency to sanitize history, to omit or at least to downplay those parts that do not fit into a preconceived mould. We leave out or filter details, events, even people, whose lives don’t fit with the message that we want to convey. At least in my generation, Jewish mothers pointed with pride to Jewish scientists, doctors, lawyers, millionaires, etc. and not so much at Jewish rock and rollers. I can understand why, but it is still unfortunate and diminishes our history as a whole. Jews were a key part of rock and roll from the very beginning and it should remain part of our heritage. I suppose we should define what rock and roll is.
    [Show full text]