- I can identify key developments in radio stations from the 40’s to today
- How did television drive the need for change at radio stations?
- How did age demographics affect what radio stations could play?
- I can differentiate between the different radio genres
- How did Orson Welles reading of H.G. Wells’s science fiction classic War of the Worlds show radio stations the effect that radio had on its listeners?
- How does culture influence music, and vice versa?
- I can explain how technology has impacted current audio listening trends
- How has technology changed the way that people can access music?
- Has technology changed the way artists are compensated for their music?
- Has technology changed the way that music is censored and regulated?
- I can understand the influences on pop culture music from the 40’s to today
- How has social networking allowed artists to spread their music?
- How has social networking changed the way that artists interact with their fans?
- Who benefited from the Copyright Act of 1911? Why?
- What role did culture play in the advent of Jazz?
- How did technology make listening to music easier?
- How did technology contribute to the advent of music like Rock and Roll?
- What impact did other countries have on American Rock and Roll?
- How did music like rap and punk evolve from Rock and Roll?
- I can identify the changes in how music is delivered to the masses starting with the record, and leading to the audio files
- Why did CD’s make tape cassettes obsolete?
- How did MP3 files change the quality and production of music?
- What was the legal issue with file sharing?
- How did some artists use file sharing to their advantage?
- How did digital music stores change the delivery and access to music?
- What kind of music benefited from the advent of digital music stores?
- I can trace the cultural impact that popular music has had in the United States starting with the 40’s to today
- How did migration affect music?
- How did music become part of the counterculture movement?
- How is music used for/against racial equality/inequality?
- How did artists like David Bowie use music to address the sexual revolution of the 60’s & 70’s?
- How are music airplay time and hijacking hits example of the racial struggle that artists deal with?
- What kind of moral issues did music deal with?
1.1 Evolution of Radio
|Top 40||Psychedelic Rock||Smooth Jazz|
|Pop Music||Contemporary||Listening Demographics|
In 1983, radio station WOXY’s new owners bought the station and changed its format from Top 40 to the up-and-coming alternative rock format, kicking off with U2’s “Sunday Bloody Sunday.”  Then located in the basement of a fast-food restaurant in Ohio, the station was a risk for its purchasers, a husband and wife team who took a chance by changing the format to a relatively new one. Their investment paid off with the success of their station. By 1990, WOXY had grown in prestige to become one of Rolling Stone magazine’s top 15 radio stations in the country, and had even been made famous by a reference in the 1988 film Rain Man. In 1998, the station launched a web cast and developed a national following, ranking 12th among Internet broadcasters for listenership in 2004. 
When the station’s owners decided to retire and sell the frequency allocation in 2004, they hoped to find investors to continue the online streaming version of the station. After several months of unsuccessful searching, however, the station went off the air entirely—only to find a last-minute investor willing to fund an Internet version of the station. 
The online version of the station struggled to make ends meet until it was purchased by the online music firm Lala. The now-defunct Lala sold WOXY to music company Future Sounds Inc., which moved the station and staff from Ohio to Austin, Texas. In March 2010, citing “current economic realities and the lack of ongoing funding,” WOXY.com went off the air with only a day’s notice. 
Taken in the context of the modern Internet revolution and the subsequent faltering of institutions such as newspapers and book publishers, the rise and fall of WOXY may seem to bode ill for the general fate of radio. However, taken in the larger context of radio’s history, this story of the Internet’s effect on radio could prove to be merely another leap in a long line of radio revolutions. From the shutting down of all broadcasts during World War I to the eclipse of radio by television during the 1950s, many arbiters of culture and business have prophesied the demise of radio for decades. Yet this chapter will show how the inherent flexibility and intimacy of the medium has allowed it to adapt to new market trends and to continue to have relevance as a form of mass communication.
The Evolution of Radio
Early radio network programming laid the groundwork for television’s format, with many different programs that appealed to a variety of people broadcast at different times of the day. As television’s popularity grew, however, radio could not compete, so it turned to fresh programming techniques. A new type of format-driven station became the norm. Propelled by the development of new types of music such as psychedelic rock and smooth jazz, the evolution of radio station formats took place. Since the beginning of this shift, different stations have tended to focus on the music that certain demographics preferred. For example, many people raised on Top 40 radio of the 1950s and 1960s did not necessarily want to hear modern pop hits, so stations playing older popular songs emerged to meet their needs.
Modern formats take into account aging generations, with certain stations specifically playing the pop hits of the 1950s and early 1960s, and others focusing on the pop hits of the late 1960s, 1970s, and 1980s. These formats have developed to target narrow, defined audiences with predictable tastes and habits. Ratings services such as Arbitron can identify the 10-year age demographic, the education level, and even the political leanings of listeners who prefer a particular format. Because advertisers want their commercials to reach an audience likely to buy their products, this kind of audience targeting is crucial for advertising revenue.
Top Radio Formats
The following top radio formats and their respective statistics were determined by an Arbitron survey that was released in 2010. The most popular formats and sub-formats cover a wide range of demographics, revealing radio’s wide appeal.
Country music as a format includes stations devoted both to older and newer country music. In 2010, the country music format stood as the most popular radio format, beating out even such prominent non-music formats as news and talk. The format commanded the greatest listener share and the second largest number of stations dedicated to the style. Favored in rural regions of the country, the country music format—featuring artists like Keith Urban, the Dixie Chicks, and Tim McGraw—appeals to both male and female listeners from a variety of income levels.
The news/talk/information format includes AM talk radio, public radio stations with talk programming, network news radio, sports radio, and personality talk radio. This format reached nearly 59 million listeners in 2010, appealing particularly to those aged 65 and older; over 70 percent of its listeners had attended college. These listeners also ranked the highest among formats in levels of home ownership.
Generally targeted toward individuals over 30, the adult contemporary (AC) format favors pop music from the last 15 to 20 years as opposed to current hits. Different sub-formats, such as hot AC and modern AC, target younger audiences by playing songs that are more current. In 2010, the majority of AC audience were affluent, married individuals divided roughly along the national average politically. Adult contemporary listeners ranked highest by format in at-work listening. Hot AC, a subformat of AC that plays more current hits, ranked seventh in the nation. Urban AC, a version of AC that focuses on older R&B hits, ranked eighth in the nation in 2010.
Pop Contemporary Hit Radio
Pop contemporary hit radio, or pop CHR, is a subformat of contemporary hit radio (CHR). Other sub-formats of CHR include dance CHR and rhythmic CHR. Branded in the 1980s, this format encompasses stations that have a Top 40 orientation but draw on a wide number of formats, such as country, rock, and urban. In 2010, pop CHR ranked first among teenaged listeners, with 65 percent of its overall listeners aged under 35. This music, ranging from popular artists like Taylor Swift and Kanye West to Shakira, was played in the car more than at home or work, and saw its largest listening times in the evenings. Rhythmic CHR, a subformat focusing on a mix of rhythmic pop, R&B, dance, and hip-hop hits, also ranked high in 2010.
Classic rock stations generally play rock singles from the 1970s and 1980s, like “Stairway to Heaven,” by Led Zeppelin, and “You Shook Me All Night Long,” by AC/DC. Another distinct, but similar format is album-oriented rock (AOR). This format focuses on songs that were not necessarily released as singles, also known as album cuts. In 2010, classic rock stations ranked fifth in listener figures. These individuals were overwhelmingly men (70 percent) between the ages of 35 and 54 (54 percent). Classic rock was most often listened to in the car and at work, with only 26 percent of its listeners tuning in at home.
The urban contemporary format plays modern hits from mainly Black artists—such as Lil Wayne, John Legend, and Ludacris—featuring a mix of soul, hip-hop, and R&B. In 2010, the format ranked eleventh in the nation. Urban contemporary focuses on listeners in the 18–34 age range.
The Mexican regional format is devoted to Spanish-language music, particularly Mexican and South American genres. In 2010, it ranked thirteenth in the nation and held the top spot in Los Angeles, a reflection of the rise in immigration from Mexico, Central America, and South America. Mexican regional’s listener base was over 96 percent Hispanic, and the format was most popular in the Western and Southwestern regions of the country. However, it was less popular in the Eastern regions of the country; in New England, for example, the format held a zero percent share of listening. The rise of the Mexican regional format illustrates the ways in which radio can change rapidly to meet new demographic trends.
An increasingly Spanish language–speaking population in the United States has also resulted in a number of distinct Spanish-language radio formats. These include Spanish oldies, Spanish adult hits, Spanish religious, Spanish tropical, and Spanish talk among others. Tejano, a type of music developed in Hispanic Texan communities, has also gained enough of an audience to become a dedicated format.
Other Popular Formats
Radio formats have become so specialized that ratings group Arbitron includes more than 50 designations. What was once simply called rock music has been divided into such sub-formats as alternative and modern rock. Alternative rock began as a format played on college stations during the 1980s (as student began rebelling against the excesses of the 80s), but developed as a mainstream format during the following decade, thanks in part to the popular grunge music of that era. As this music aged, stations began using the term modern rock to describe a format dedicated to new rock music. This format has also spawned the active rock format, which plays modern rock hits with older rock hits thrown in.
Radio station formats are an interesting way to look at popular culture in the United States. The evolution of nostalgia formats to include new decades nods to the size and tastes of the nation’s aging listeners. Hits of the 1980s are popular enough with their demographic to have entire stations dedicated to them, while other generations prefer stations with a mix of decades. The rise of the country format and the continued popularity of the classic rock format are potential indicators of cultural trends.
During the 1930s, radio’s impact and powerful social influence was perhaps most obvious in the aftermath of the Orson Welles’s notorious War of the Worlds broadcast. On Halloween night in 1938, radio producer Orson Welles told listeners of the Mercury Theatre on the Air that they would be treated to an original adaptation of H. G. Wells’s classic science fiction novel of alien invasion War of the Worlds. The adaptation started as if it were a normal music show that was interrupted by news reports of an alien invasion. Many listeners had tuned in late and did not hear the disclaimer, and so were caught up by the realism of the adaptation, believing it to be an actual news story.
According to some, an estimated 6 million people listened to the show, with an incredible 1.7 million believing it to be true. Some listeners called loved ones to say goodbye or ran into the street armed with weapons to fight off the invading Martians of the radio play. In Grovers Mill, New Jersey—where the supposed invasion began—some listeners reported nonexistent fires and fired gunshots at a water tower thought to be a Martian landing craft. One listener drove through his own garage door in a rush to escape the area. Two Princeton University professors spent the night searching for the meteorite that had supposedly preceded the invasion. As calls came in to local police stations, officers explained that they were equally concerned about the problem.
Although the story of the War of the Worlds broadcast may be funny in retrospect, the event traumatized those who believed the story. Individuals from every education level and walk of life had been taken in by the program, despite the producers’ warnings before, during the intermission, and after the program. This event revealed the unquestioning faith that many Americans had in radio. Radio’s intimate communication style was a powerful force during the 1930s and 1940s.
One of radio’s most enduring legacies is its impact on music. Before radio, most popular songs were distributed through piano sheet music and word of mouth. This necessarily limited the types of music that could gain national prominence. Although recording technology had also emerged several decades before radio, music played live over the radio sounded better than it did on a record played in the home. Live music performances thus became a staple of early radio. Many performance venues had their own radio transmitters to broadcast live shows—for example, Harlem’s Cotton Club broadcast performances that CBS picked up and broadcast nationwide.
Radio networks mainly played swing jazz, giving the bands and their leaders a widespread audience. Popular bandleaders including Duke Ellington, Benny Goodman, and Tommy Dorsey and their jazz bands became nationally famous through their radio performances, and a host of other jazz musicians flourished as radio made the genre nationally popular. National networks also played classical music. Often presented in an educational context, this programming had a different tenor than did dance-band programming. NBC promoted the genre through shows such as the Music Appreciation Hour, which sought to educate both young people and the general public on the nuances of classical music (Think of this as the classic rock of that time period and how you crazy Uncle Frank tries to “educate” you on the nuances of his favorite Rolling Stones songs). It created the NBC Symphony Orchestra, a 92-piece band under the direction of famed conductor Arturo Toscanini. The orchestra made its first performance in 1937 and was so popular that Toscanini stayed on as conductor for 17 years.
Regional Sounds Take Hold
The promotional power of radio also gave regional music an immense boost. Local stations often carried their own programs featuring the popular music of the area. Stations such as Nashville, Tennessee’s WSM played early country, blues, and folk artists. The history of this station illustrates the ways in which radio—and its wide range of broadcasting—created new perspectives on American culture. In 1927, WSM’s program Barn Dance, which featured early country music and blues, followed an hour-long program of classical music. George Hay, the host of Barn Dance, used the juxtaposition of classical and country genres to spontaneously rename the show: “For the past hour we have been listening to music taken largely from Grand Opera, but from now on we will present ‘The Grand Ole Opry.’” NBC picked up the program for national syndication in 1939, and it is currently one of the longest-running radio programs of all time.
Shreveport, Louisiana’s KWKH aired an Opry-type show called Louisiana Hayride. This program propelled stars such as Hank Williams into the national spotlight. Country music, formerly a mix of folk, blues, and mountain music, was made into a genre that was accessible by the nation through this show. Without programs that featured these country and blues artists, Elvis Presley and Johnny Cash would not have become national stars, and country music may not have risen to become a popular genre.
In the 1940s, other Southern stations also began playing rhythm and blues records recorded by Black artists. Artists such as Wynonie Harris, famous for his rendition of Roy Brown’s “Good Rockin’ Tonight,” were often played by White disc jockeys who tried to imitate Black Southerners. During the late 1940s, both Memphis, Tennessee’s WDIA and Atlanta, Georgia’s WERD were owned and operated by Black individuals. These disc jockeys often provided a measure of community leadership at a time when few Black individuals were in powerful positions.
Radio’s Lasting Influences
Radio technology changed the way that dance and popular music were performed. Because of the use of microphones, vocalists could be heard better over the band, allowing singers to use a greater vocal range and create more expressive styles, an innovation that led singers to become an important part of popular music’s image. The use of microphones similarly allowed individual performers to be featured playing solos and lead parts, features that were less encouraged before radio. The exposure of radio also led to more rapid turnover in popular music. Before radio, jazz bands played the same arrangement for several years without it getting old, but as radio broadcasts reached wide audiences, new arrangements and songs had to be produced at a more rapid pace to keep up with changing tastes.
The spotlight of radio allowed the personalities of artists to come to the forefront of popular music, giving them newfound notoriety. Phil Harris, the bandleader from the Jack Benny Show, became the star of his own program. Other famous musicians used radio talent shows to gain fame. Popular programs such as Major Bowes and His Original Amateur Hour featured unknown entertainers trying to gain fame through exposure to the show’s large audience. Major Bowes used a gong to usher bad performers offstage, often contemptuously dismissing them, but not all the performers struck out; such successful singers as Frank Sinatra debuted on the program.
Television, much like modern popular music, owes a significant debt to the Golden Age of Radio. Major radio networks such as NBC, ABC, and CBS became—and remain—major forces in television, and their programming decisions for radio formed the basis for television. Actors, writers, and directors, who worked in radio simply transferred their talents into the world of early television, using the successes of radio as their models.
Over the years, radio has had a considerable influence on the political landscape of the United States. In the past, government leaders relied on radio to convey messages to the public, such as President Franklin D. Roosevelt’s “fireside chats.” Radio was also used as a way to generate propaganda for World War II. The War Department established a Radio Division in its Bureau of Public Relations as early as 1941. Programs such as the Treasury Hour used radio drama to raise revenue through the sale of war bonds, but other government efforts took a decidedly political turn.
President Franklin D. Roosevelt’s Depression-era radio talks, or “fireside chats,” remain one of the most famous uses of radio in politics. While governor of New York, Roosevelt had used radio as a political tool, so he quickly adopted it to explain the unprecedented actions that his administration was taking to deal with the economic fallout of the Great Depression. His first speech took place only one week after being inaugurated. Roosevelt had closed all of the banks in the country for four days while the government dealt with a national banking crisis, and he used the radio to explain his actions directly to the American people.
Roosevelt’s first radio address set a distinct tone as he employed informal speech in the hopes of inspiring confidence in the American people and of helping them stave off the kind of panic that could have destroyed the entire banking system. Roosevelt understood both the intimacy of radio and its powerful outreach. He was thus able to balance a personal tone with a message that was meant for millions of people. This relaxed approach inspired a CBS executive to name the series the “fireside chats.”
Roosevelt delivered a total of 27 of these 15- to 30-minute-long addresses to estimated audiences of 30 million to 40 million people, then a quarter of the U.S. population. Roosevelt’s use of radio was both a testament to his own skills and savvy as a politician, and to the power and ubiquity of radio during this period. At the time, there was no other form of mass media that could have had the same effect.
Links to Resources
1.2 Radio’s Impact on American Culture
|HD Radio||Satellite Radio||Disc Jockey|
Although the future of radio has been doubted many times throughout its history, it is still in existence. The inherent portability of the medium gives it an advantage over other types of media that require an individual’s full attention, such as television or print. The simplicity of radio has lent itself to a variety of uses.
In recent years, new technologies have promised to expand the reach of radio and to expand the kinds of programming it offers. Satellite and HD radio have increased the amount and diversity of available programming by making more stations available. Internet radio has increased the accessibility of radio communication, and practically anyone who has access to a computer can create subscription podcasts to distribute around the world. These new technologies promise to make radio an enduring, innovative form of media.
In 1998, the FCC awarded licenses to two businesses interested in creating a radio version of cable television—without the cables. This act was the beginning of satellite radio, and the companies soon became XM and Sirius. These two networks sold special receivers that could pick up satellite transmissions broadcasting a wide range of formats on different channels to listeners who paid a monthly fee for the commercial-free programming.
Like cable television, satellite radio was not required to censor its disc jockeys or guests for profanity. This attracted somewhat controversial radio personalities known for their conflicts with the FCC, such as Howard Stern and Opie and Anthony. The networks also drew hosts such as NPR’s Bob Edwards and Bruce Springsteen’s guitarist “Little” Steven Van Zandt to create their own shows. Because listeners paid one price for access to all of the channels, disc jockeys experienced less pressure to adhere to the limited playlist style of programming that was the norm for terrestrial radio stations. In 2008, Sirius and XM merged to form Sirius XM.
Internet Radio and Podcasting
Broadcasting is both a strength and limitation of broadcasting. Although technological advances of the past 50 years, such as audio recorders and microphones, have made creating a radio program simple, finding a way to broadcast that program presents difficulties for the average person. The expansion of the Internet, however, has changed this limitation into a manageable hurdle for both businesses and individuals alike.
At its core, Internet radio is simply the streaming of audio programs through the medium of the Internet. As early as 1994, radio stations such as Chapel Hill, North Carolina’s WXYC were broadcasting their signal over the Internet, and so potentially gaining a worldwide audience. Soon, online-only radio stations were created to broadcast programs.
Another type of Internet radio service is Pandora radio. This radio website does not distribute existing programs, but rather allows users to create their own custom music radio stations. A listener creates a Pandora account and types in a song, composer, or artist, and the service creates a station that plays songs that are similar to the user’s selection. This analysis of music attempts to collect as many details about a song as possible, from lyrics to instrumentation to harmony, and then categorizes songs according to these attributes, making it possible for listeners to customize their own stations based on one or more of the cataloged attributes. The listener can delete unwanted songs from the playlist and create new stations as well. Pandora currently relies on on-screen advertising and has implemented audio advertisements as well. Other music services such as Yahoo! Music, AOL Radio, and Jango offer radio stations with multiple programmed genres.
Problems of Internet Broadcasting
Despite the rise of Internet radio over the past several years, its success has never been a sure thing. As the trend gained momentum, many inexperienced broadcasters confronted the issue of royalties, and many experienced broadcasters encountered new legal issues related to streaming. Stations that broadcast over the airwaves must pay publishing royalties to the musicians and songwriters behind the recordings. Rather than pay an individual musician or songwriter each time a recording is played, however, broadcasters—including radio station, coffee shops, and restaurants—pay for a blanket license that allows them to play any song. As Internet broadcasting grew, musicians and record labels began demanding royalties from Internet stations and specifying new licensing restrictions. For instance, Pandora radio’s license specifies that users can buy a song, but they can’t replay a song without purchasing it, nor can they skip more than six songs per hour.
1.3 Evolution of Popular Music
|Microblogging||Subculture||Copyright Act of 1911|
|Reel-to-reel Tape Recorder||LP vs. CD||Anti-Payola Statute|
In 2006, Californian vocalist Colbie Caillat was an aspiring singer-songwriter. Although her audio engineer father, Ken Caillat, co-produced one of the biggest selling albums of all time, Fleetwood Mac’s Rumours, Colbie had never considered booking a studio, much less campaigning for a record deal. She considered her music to be a hobby rather than a career choice. Fast-forward a year later and Caillat’s debut album, Coco, was at No. 5 on the Billboard 200 album chart, on its way to achieving platinum status. How did an unknown artist from Malibu, California, become a best-selling star in so little time? Caillat’s success can be attributed, in part, to the social networking website MySpace.
Hugely popular among teens and young adults in the mid-2000s, MySpace enabled people to set up a personal profile on which they could post original music for the public to listen to and comment on. One of Caillat’s friends thought that her music merited a wider audience and set up a page on which Caillat could post her tunes. Six months later, Caillat was the MySpace website’s top unsigned artist. The site enabled people to “friend” artists or performers whose music they enjoy. As Caillat’s friend count climbed to 100,000, music labels began to notice. In 2007, she signed with Universal Records and released her debut album, Coco. Boosted by the online success of the single “Bubbly,” Coco reached No. 5 on the Billboard chart and established Caillat as a bona fide pop star. She has since won a Grammy award for “Lucky,” her duet with Jason Mraz, toured with artists such as the Goo Goo Dolls and John Mayer, and in 2009, released a second successful album, Breakthrough. The combined sales of Caillat’s first two albums are upward of 4 million copies worldwide.
Caillat’s story highlights one area in which the Internet is changing the face of the music industry. Aspiring artists no longer need to rely on expensive publicists, recording studios, or contacts within the industry; they can connect directly with fans to sell their music. Social networking sites, like MySpace, and virtual worlds, like Second Life, make it easier for fans to search for new music and easier for artists to communicate with fans. In fact, MySpace was so influential that it teamed with several major labels to create the MySpace music website. Generating a buzz on social networking sites is sometimes enough to achieve fame and stardom. Of course, for every Colbie Caillat, there are thousands of unknown singers and bands trying to promote their music online with little or no success. Despite this, it’s clear that social networking sites have taken some control away from record labels and placed it in the hands of the artists themselves.
Artists are also using social networking sites to develop a more intimate relationship with fans. In the past couple of years, the Twitter social networking website has become hugely popular among musicians and fans alike. The microblogging service enables users to send a tweet message—a short post of 140 characters or less that is displayed on the author’s profile page and delivered to his or her subscribers. Musicians such as John Mayer, Alicia Keys, and Britney Spears regularly post on Twitter, providing their fans with real-time updates about their daily lives and promoting their musical endeavors.
Social networking sites are just the latest technological development in the music business. An in-depth look at the history and evolution of popular music throughout the last century will help explain some of the current processes and trends in the industry.
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 be reproduced using a strip of tinfoil wrapped around a rotating metal 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 middle class to purchase technology that was previously available only to an elite few. Berliner founded the Berliner Gramophone Company to manufacture his discs, and he encouraged popular operatic singers such as Enrico Caruso and Dame Nellie Melba to record their music using his system. Opera singers were the stars of the 19th century, and their music generated most of the sheet music sales in the United States. Although the gramophone was an exciting new development, it would take 20 years for disc recordings to rival sheet music in commercial importance.
The Roaring 1920s: Radio versus Records
In the 1920s, Tin Pan Alley’s dominance 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 little threat to sheet music because of its poor sound quality. However, as inventors improved various aspects of the device, the sales of gramophone records began to affect sheet music sales. The Copyright Act of 1911 had imposed a royalty on all records of copyrighted musical works to compensate for the loss in revenue to composers and authors. This loss became even 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 electrical 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 by an increase in gramophone sales because of the provisions made in the Copyright Act. However, when radio broadcasting emerged in the early 1920s, both gramophone sales and sheet-music sales began to suffer. Radio was an affordable medium that enabled listeners to experience events as they took place. Better yet, it offered a wide range of free music that required none of the musical skills, expensive instruments, or sheet music necessary for creating one’s own 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 campaign for, and was ultimately granted, the right to collect license fees from broadcasters. With the license fees in place, the recording industry eventually began to profit from the new technology.
The 1930s: The Rise of Jazz and Blues
The ascendance of radio coincided with the emergence of jazz in New Orleans. An improvisational form of music that was primarily instrumental, jazz incorporated a variety 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’s cultural values. People claiming to like jazz were often assumed to frequent speakeasies. However, jazz became a legitimate form of entertainment 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.
At the heart of jazz, the blues was a creation of former Black 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 call-and-response format between the singer and his guitar. Originating in the Mississippi Delta, just upriver from New Orleans, blues music was exemplified in the work of W. C. Handy, Ma Rainey, Robert Johnson, and Lead Belly, among others. Unlike jazz, the blues did not spread significantly to the Northern states until the late 1930s and 1940s. With the coming of WWII, southerners moved to the industrial North to help with the war effort in the factories, and introduced the blues to urban Northern cities. The music developed into distinctive regional styles, ranging from the jazz-oriented Kansas City blues to the swing-based West Coast blues. Chicago blues musicians such as Muddy Waters were the first to electrify the blues through the use of electric guitars and to blend urban style with classic Southern blues. The electric guitar, first produced by Adolph Rickenbacker in 1931, changed music by intensifying the sound and creating a louder volume that could cut through noise in bars and nightclubs. By focusing less on shouting over the crowd noise, singers could focus on conveying more emotion and intimacy in their performances. This electrified form of blues provided the foundations of rock and roll.
The introduction of radio broadcasting provided a valuable link between urban city centers and small, rural towns. Able to transmit music nationwide, rural radio stations broadcast local music genres that soon gained popularity across the country.
The 1940s: Technology Progresses
Technological advances during the 1940s made it even easier for people to listen to their favorite music and for artists to record it. The introduction of the reel-to-reel tape 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 one track on which to record sound onto magnetic tape. This may seem limiting today, but at the time it allowed for exciting innovations. During the 1940s and 1950s, some musicians, most notably guitarist Les Paul, with his song “Lover (When You’re Near Me)”, began to experiment with overdubbing, in which they played back a previously recorded tape through a mixer, blended it with a live performance, and recorded the composite signal onto a second tape recorder. By the time four-track and eight-track recorders became readily available in the 1960s, musicians no longer had to play together in the same room; they could record each of their individual parts and combine them into a finished recording.
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 noise than the earlier (and highly breakable) shellac discs. The 33 rpm discs became the standard form for full albums and would dominate the recorded music industry until the advent of the compact disc (CD).
During the 1940s, a mutually beneficial alliance between sound recording and radio existed. Artists such as Frank Sinatra and Ella Fitzgerald profited from radio exposure. Until this time, music had primarily been recorded for adults, but the popularity of Sinatra and his contemporaries revealed an entirely untapped market: teenagers. The postwar boom of the 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 near riots caused by the appearance of New Jersey crooner Frank Sinatra in concert paved the way for mass hysteria among Elvis Presley and Beatles fans during the rock and roll era.
The 1950s: The Advent of Rock and Roll
New technology continued to develop in the 1950s with the introduction of television. The new medium spread rapidly, primarily because of cheaper mass-production costs and war-related improvements in technology. In 1948, only 1 percent of America’s households owned a television; by 1953, this figure had risen to nearly 50 percent, and by 1978, nearly every home in the United States owned a television.  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 industry to survive. In an effort to do so, it became somewhat of a promotional tool. Stations became more dependent on recorded music to fill airtime, and in 1955, the Top 40 format was born. Playlists for radio stations were based on popularity (usually the Billboard Top 40 singles chart), and a popular song might be played as many as 30 or 40 times a day. Radio stations began to influence record 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 company for broadcasting 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 accused of taking money for airplay. Following Freed’s trial, an anti-payola statute was passed, making payola a misdemeanor crime.
Technology wasn’t the only revolution that took place during the 1950s. The urban Chicago blues typified by artists such as Muddy Waters, Howlin’ Wolf, and B. B. King surged in popularity among White and Black teenagers alike. Marketed under the name rhythm and blues, or R&B, the sexually suggestive lyrics in songs such as “Sexy Ways” and “Sixty Minute Man” and the electrified guitar and wailing harmonica sounds appealed to young listeners. At the time, R&B records were classified as “race music” and their sales were segregated from the White music records tracked on the pop charts. Nonetheless, there was a considerable amount of crossover among audiences. In 1952, the Dolphin’s of Hollywood record store in Los Angeles, which specialized in R&B music, noted that 40 percent of its sales were to White individuals.
Although banned from some stations, others embraced the popular new music. In 1951, Freed started a late-night R&B show called The Moondog Rock & Roll House Party and began referring to the music he played as rock and roll.  Taking its name from a blues slang term for sex, the music attained instant notoriety, gaining widespread support among teenage music fans and widespread dislike among the older generation. Frenetic showmen Little Richard and Chuck Berry were early pioneers of rock and roll, and their wild stage performances became characteristic of the genre. As 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 widely accepted by many White individuals. However, it was the introduction of a White man who sang songs written by Black musicians that helped rock and roll really spread across state and racial lines. Elvis Presley, a singer and guitarist, the “King of Rock and Roll,” further helped make music written by Black individuals acceptable to mainstream White audiences and also helped popularize rockabilly, a blend of rock and country 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. King, John Lee Hooker, and Howlin’ Wolf with the country-western tradition of Roy Acuff, Ernest Tubb, and Jimmie Rodgers, and added a touch of gospel. The reaction Presley inspired among hordes of adolescent girls—screaming, crying, rioting—solidified his reputation as the first true rock and roll icon.
The 1960s: Rock and Roll Branches Out From R&B
Prior to 1964, rock and roll was primarily an American export. Although U.S. artists frequently reached the top of the charts overseas, few European artists achieved success on this side of the Atlantic. This situation changed almost overnight with the arrival of British pop phenomenon the Beatles. Combining elements of skiffle—a type of music played on rudimentary instruments, such as banjos, guitars, or homemade instruments—doo-wop, and soul, the four mop-haired musicians from Liverpool, England, created a genre of music known as Merseybeat, named after the River Mersey. The Beatles’ genial personalities and catchy pop 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 police officers and thousands of fans. Their appearance on The Ed Sullivan Show a few days later was the largest audience for an American television program, with approximately one in three Americans (74 million) tuning in.  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’s Hermits, and the Rolling Stones were all making appearances on the U.S. charts. The Rolling Stones’ urban rock sound steered away from pop music and remained more true to the bluesy, R&B roots of rock and roll. During their first appearance on The Ed Sullivan Show, the Stones were lewd and vulgar, prompting host Ed Sullivan to denounce their behavior (although he privately acknowledged that the band had received the most enthusiastic applause he had ever seen). The British Invasion transformed rock and roll into the all-encompassing genre of rock, sending future performers in two different directions: the melodic, poppy sounds of the Beatles, on the one hand, and the gritty, high-volume power rock of the Stones on the other.
The branching out of rock and roll continued in several other directions throughout the 1960s. Surf music, embodied by artists such as the Beach Boys, Jan and Dean, and Dick Dale, celebrated the aspects of youth culture in California. With their twanging electric guitars and glossy harmonies, the surf groups sang of girls, beaches, and convertible cars cruising along the West Coast. In Detroit, some Black performers were developing a sound that would have crossover appeal 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 about the lives of Black Americans. Producer and songwriter Berry Gordy Jr. developed soul music through the creation of his Motown label, which would become one of the most successful businesses owned by a Black individual in American history.  Capitalizing on the 1960s girl-group craze, Gordy produced hits by the Marvelettes, Martha and the Vandellas, and, most 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 down orally through the generations, folk music retained an unpolished, amateur quality that inspired participation and social awareness. Carrying on the legacy of the 1930s labor activist Woody Guthrie, singer-songwriters such as Joan Baez; Peter, Paul, and Mary; and Bob Dylan sang social protest songs about civil rights, discrimination against Black Americans, and the Cuban Missile Crisis. Having earned himself a reputation as a political spokesperson, Dylan was lambasted by 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 rock genre, pioneered by the Los Angeles band The Byrds. Even though many fans questioned his decision to go electric, Dylan’s poetic and politically charged lyrics were still influential, inspiring groups like the Beatles and the Animals. Protest music in the 1960s was closely aligned with the hippie culture, in which some viewed taking drugs as 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. This spirit of freedom and protest 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 Rock to Punk
After the Vietnam War ended, college students began to settle down and focus on careers and families. For some, selfish views took the place of concern with social issues and political activism, causing writer Tom Wolfe to label the 1970s the “me” decade. Musically, this ideological shift resulted in the creation of glam rock, an extravagant, self-indulgent form of rock that incorporated flamboyant costumes, heavy makeup, and elements of hard rock and pop. A primarily British phenomenon, glam rock was popularized by acts such as Slade, David Bowie, the Sweet, Elton John, and Gary Glitter. It proved to be a precursor for the punk movement in the late 1970s. Equally flamboyant, but rising out of a more electronic sound, 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 record companies churned out tunes that became huge hits on the dance floor.
Reacting against the commercialism of disco and corporate rock, punk artists created a minimalist, angry form of rock 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 basic musical skills could participate. The punk rock movement emerged out of CBGB, a small bar in New York City that featured bands such as Television, Blondie, and the Ramones. Never a huge commercial success in the United States, punk rock exploded in the United Kingdom, where high unemployment rates and class divisions had created angry, disenfranchised youths. The Sex Pistols, fronted by Johnny Rotten, developed an aggressive, pumping sound that appealed to a rebellious generation of listeners, although the band was disparaged by many critics at the time. In 1976, British music paper Melody Maker complained that “the Sex Pistols do as much for music as World War II did for the cause of peace.”  Punk bands began to abandon their sound in the late 1970s, when the punk style became assimilated into the rock mainstream.
The 1980s: The Hip-Hop Generation
Whereas many British youths expressed their displeasure through punk music, many disenfranchised Black American youths in the 1980s turned to hip-hop—a term for the urban culture that includes break 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 image 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 low-budget visual art form of graffiti. They described their new culture as hip-hop, after a common phrase chanted at dance parties in New York’s Bronx borough.
The hip-hop genre first became popular among Black 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 as sampling). 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 as rotating or scratching records back and forth to create a rhythmic pattern. For example, Kool Moe Dee’s track “How Ya Like Me Now” includes samples from James Brown’s classic funk song “Papa’s Got a Brand New Bag.” The DJs would often add short raps to their music to let audiences know who was playing the records, a trend that grew more elaborate over time to include entire spoken verses. Artists such as 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 continue with later rappers such as Public Enemy and Ice-T.
In the early 1980s, a second wave of rap artists brought inner-city rap to American youths by mixing it with hard guitar rock. Pioneered by groups such as Run-D.M.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 West Coast rappers such as 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–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 1990s with artists such as Tupac Shakur, the Notorious B.I.G., Dr. Dre, Eazy-E, Ice Cube, and Snoop Dogg at the top of the charts. West Coast rappers such as Tupac Shakur and Snoop Dogg favored gangsta rap, while East 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.G. in 1997.
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 by hardcore punk and heavy metal, this subgenre of rock was so-called 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 Pop became more prominent when it signed another local band, Nirvana. Fronted by vocalist and guitarist Kurt Cobain, Nirvana came to be identified with Generation X—the post–baby boom generation, many of whom came from broken families and experienced violence both on television and in real life. Nirvana’s angst-filled lyrics spoke to many members of Generation X, launching the band 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 rock bands, including Green Day, Pearl Jam, and Nine Inch Nails. More recently, alternative rock has fragmented into even more specific subgenres.
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 often than not created by talent scouts. The groups were aggressively marketed to teen audiences. Popular bands included the Backstreet Boys, ’N Sync, and the Spice Girls. Meanwhile, individual pop acts from the MTV generation such as Madonna, Michael Jackson, and Prince continued to generate hits.
The 2000s: Pop Stays Strong as Hip-Hop Overtakes Rock in Popularity
The 2000s began right where the 1990s left off, with young singers such as Christina Aguilera and Destiny’s Child 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. By the end of the decade, country artists, like Carrie Underwood and Taylor Swift, transitioned from country stars to bona fide pop stars. While rock music started the decade strong, by the end of the 2000s, rock’s presence in mainstream music had waned, with a few exceptions such as Nickelback, Linkin Park, and Green Day.
Unlike rock 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—like Dr. Dre and Snoop Dogg—softened their images, other rappers—such as 50 Cent and Eminem—continued to project a tough image and to use violent lyrics. An alternative style of hip-hop emerged in the 2000s that infused positive messages 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 Black Eyed Peas found success even though they didn’t represent traditional stereotypes of hip-hop.
Links to Resources
1.4 Influence of New Technology
|Cassette Tape||MP3 File||Napster|
|P2P||Offshore Account||Copyright Act of 1976|
In the mid-1990s, CD sales were booming. Cassette tapes were all but obsolete, and record companies were reaping the benefits of sales to consumers who wanted their music collections in the latest technological format. This boom was a familiar step in the evolution of technology. In past decades, records seemed to have an ironclad lock on sales, but they were eventually passed by cassette sales. Cassettes, as previously mentioned, were then passed by CD sales. However, despite a few advantages in quality and convenience, there were several areas in which CDs were lacking. They were expensive for consumers to purchase, and consumers had to buy a full album even if they were only interested in listening to one or two songs on it because every album came as a complete package.
At the height of the CD revolution, new digital technology was being developed that would eliminate these disadvantages and revolutionize digital music storage. In 1989, German company Fraunhofer-Gesellshaft discovered how to compress digital audio to approximately one-tenth the size of the original audio with almost no discernible loss in quality to the average listener. Small enough to be transmitted over a modem, the so-called MP3 files (the MP stands for Moving Pictures Experts Group, which is the group that sets the standard for audio and video compression and transmission, and the 3 refers to the most popular layer or scheme with the standard) could be downloaded onto a website or FTP site in a relatively short amount of time. Initially done only by a tech-savvy elite, the process of downloading and sharing audio files was a painstaking process because MP3 files were not in one centralized location. Peer-to-peer file sharing—the process in which two or more computer systems are connected over the Internet for the purpose of sharing music or video files—became a worldwide phenomenon in 1999 with the development of centralized online file-sharing system Napster.
File Sharing: From Illegal Downloading to Digital Music Stores
In 1999, Northeastern University student Shawn Fanning dropped out of school to complete work on a software project that would simplify finding and downloading MP3 files on the Internet.  The result was a free downloadable Napster program that transformed PCs into servers for exchanging music files over the Internet. The program also sported a chat-room feature that served a community of music fans eager to discuss their favorite bands. Originally an experiment between Fanning and his friends, the program’s popularity spread through word of mouth. By the end of the first week, 15,000 people had downloaded the program. 
Although music fans were thrilled by their newfound ability to download free songs (albeit illegally), the record industry was not happy. In December 1999, all four major record labels, together with the Recording Industry Association of America (RIAA), launched a series of lawsuits against Fanning and his site for copyright infringement. Citing the nonpayment of royalties and the loss of revenue through lost CD sales, the RIAA also claimed that artists would be unwilling to create new songs now that they could be obtained for free. In response, Napster argued that it merely provided the software for people to share music files and no copyrighted material appeared on the site itself. In addition, Fanning claimed that the site encouraged people to go out and buy CDs based on the exposure artists received from Napster.
As the number of the Napster program users grew, the lawsuit began to garner publicity. Some Napster supporters, many of them college students, viewed the legal battle as a David versus Goliath situation and rooted for Fanning to beat the corporate music giants. Most recording artists sided with the record labels, with heavy metal rock group Metallica and rap artist Dr. Dre launching their own separate lawsuits against Napster in April 2000. However, some bands discovered a way to use the site to their advantage. Alternative rock group Radiohead promoted its album Kid A by secretly releasing the record to Napster, 3 weeks before its street release date, creating a wave of publicity that launched the album to the No. 1 spot on the Billboard 200 chart in October 2000. Reggae-rock band Dispatch poured free recordings onto the site, increasing its fan base to such an extent that it sold out multiple nights at Madison Square Garden in early 2007. Dispatch bassist Pete Heimbold said, “What we found was it really didn’t deter kids from coming to shows and buying CDs. In fact, I think it had the opposite effect—people heard songs off Napster and had a lot of merchandise and CDs.”
Despite the Napster program’s many advantages, including a built-in user base of 26.4 million people, the major record labels were unable to reach a deal with the site to create any form of fee-based service. In 2007, former EMI Executive Ted Cohen said, “The record labels had an opportunity to create a digital ecosystem and infrastructure to sell music online, but they kept looking at the small picture instead of the big one. They wouldn’t let go of CDs.”  A court injunction in 2000 ordered Napster to remove all copyrighted material from its servers, and within two days, the website was effectively shut down. Following a bankruptcy liquidation, the Napster program was reinvented as a paid subscription service in 2003. Under its new terms, users pay a fee to access music.
The Post-Napster Universe: Gnutella and Kazaa
Napster’s initial success resulted in a wave of similar sites emerging throughout 2000. The creators of these new services recognized that Napster’s legal problems were the result of maintaining a central file server. By keeping a list of all the users on the network, Napster was able to control its users’ activities by blocking illegal downloads. When the court ordered the service to halt illegal downloading, the absence of a central database destroyed the entire Napster network.
To avoid a similar fate, new peer-to-peer (P2P) systems adopted two different approaches. The Gnutella network, which serves clients such as LimeWire, BearShare, and WinMX, avoided maintaining a central database. Instead, it dispersed information about file locations across computer “nodes” around the world. Users were able to find each other, but the service could disclaim the ability to prevent copyright infringements. The lack of a centralized server and multiple client base meant that, unlike Napster, it would be impossible to shut down the entire Gnutella network through a simple court order. Courts would need to block all Gnutella network traffic at the Internet service provider (ISP) level of the Internet, a far trickier prospect than simply shutting down a central database.
In addition to a lack of a central database, some P2P providers set up in offshore locations to take advantage of less-restrictive copyright laws and weaker enforcement. Kazaa was initially based in the Pacific island nation of Vanuata and operated out of Australia. However, the company’s offshore location did not protect it from copyright infringement laws. After a series of legal wrangles, Kazaa was ordered to modify its software in Australia in 2005 and agreed to pay $100 million in damages to the record industry. In 2006, the site became a legal music download service.
Not content with pursuing providers of illegal music downloads, the RIAA also took legal action against the users of sites such as LimeWire and Kazaa. In 2003, the recording industry sued 261 American music fans for illegally sharing songs on P2P networks. Although fines under U.S. copyright law can rise to up to $150,000 per illegally downloaded track, most of the cases were settled for much less. As of 2008, the RIAA had sued or threatened to sue more than 30,000 individuals for copyright infringement.
Busted! Woman Fined $1.92 Million
In an ongoing legal battle with the RIAA, Minnesota woman Jammie Thomas was found guilty of copyright infringement for a second time in 2009 and fined $1.92 million for illegally downloading 24 songs on file-sharing Kazaa website. First fined $222,000 for using the Kazaa service, the 30-year-old single mother of four refused to settle with the recording industry out of court. Thomas claimed her innocence, maintaining that she was not the Kazaa service user whose files had been detected by RIAA investigators.
The case became the first of its kind to go before a jury in 2007, and Thomas faced fines ranging from $18,000 to $3.6 million under the Copyright Act of 1976. After deliberating for 5 hours, a jury found her guilty of copyright infringement and awarded the RIAA $222,000 in damages. The verdict was thrown out a year later when a federal judge declared a mistrial. However, jurors in Thomas’s second trial found her guilty again, upping the fine to $1.92 million. A federal judge later reduced the damages to $50,000. In January 2010, the RIAA offered to close the case for $25,000, but Thomas continued to refuse to pay. 
Thomas’s case has provoked strong reactions on both sides of the debate. RIAA spokeswoman Cara Duckwork said, “It is a shame that Ms. Thomas-Rasset continues to deny any responsibility for her actions rather than accept a reasonable settlement offer and put this case behind her.” Joe Sibley, one of Thomas’s lawyers, argued, “They want to use this case as a bogeyman to scare people into doing what they want, to pay exorbitant damages.” The RIAA is currently winding down its 6-year campaign against illegal downloaders, approximately 30,000 lawsuits in all. Instead the RIAA is focusing on creating a program with Internet providers to discontinue service to users who continue to break online copyright laws. 
The Advent of Digital Music Stores
With the closure of the Napster program and the crackdown on illegal downloading, a void in the music distribution market opened and was almost immediately filled by fee-based online music providers. This void helped to resurrect one company many feared was declining. Apple launched iTunes—a free application for the Mac computer that converts audio CDs into digital music files, organized digital music collections, and played Internet radio—and the iPod—a portable media player compatible with the iTunes software—in 2001, and both products have dominated the market ever since. In 2003, the company signed deals with all of the major record labels and launched the iTunes Store, a virtual store that enabled people to buy and download digital music on demand. Initially featuring 200,000 songs at a cost of $0.99 each to download, the store quickly revolutionized the digital music industry. Within a week, iTunes Store customers purchased 1 million songs. Six months later, Apple convinced the record labels to expand the service to Microsoft Windows operating system users, and by the following year, the iTunes Store had gone international. Within five years of its launch, the iTunes Store was the top music seller in the United States, and in February 2010, Apple celebrated its 10 billionth download. 
Several companies have attempted to cash in on the success of iTunes, with varying results. In 2007, Internet giant Amazon.com launched the Amazon MP3 digital music download store that initially offered more than 2 million songs priced between $0.89 and $0.99. Amazon’s major selling point was its lack of digital rights management (DRM) software, which enabled music downloads to be played on any hardware device. In contrast, songs downloaded through the iTunes appliance program could only be played on Apple products. Apple removed these restrictions in 2009 after negotiating an agreement with the major record labels. Despite its efforts to topple Apple from the top spot in the digital music arena, the Amazon MP3 service only commanded 8 percent of the digital music market in 2009, compared with Apple’s 69 percent of the market. Napster has also stayed in the game by releasing a new design plan in 2009 after being purchased by Best Buy. The plan requires users to pay a fee to access all the music in its catalog. This plan has kept Napster in business; however, the company only had 1 percent to 2 percent of the market share at the beginning of 2010. Other online music stores are operated by Wal-Mart, Rhapsody, and Yahoo! Music.
The Impact of Digital Music Technology
Once digital music technology was introduced to the world, its domination of the music industry was almost instantaneous. MP3 players have several key advantages over CD players. They are smaller and more portable, eliminating the necessity of lugging around bulky CD carrying cases. Whereas CDs can only hold a relatively small amount of data, MP3 players are able to compress thousands of songs onto a single device (this lack of packaging and manufacturing has caused disputes between artists and labels over royalties, which will be discussed later on). The lack of moving parts means MP3 players can be taken jogging or cycling without the risk of a song skipping every time the user hits a bumpy patch of road. Users are also no longer obligated to buy entire albums; instead, they can pick and choose their favorite songs from a catalog of online music.
Of the many brands of MP3 player currently available on the market, Apple’s iPod has been the dominant force in the digital music industry since its launch in 2001. Apple CEO Steve Jobs attributes the success of his product to its simple design. In a 2005 interview he said, “One of the biggest insights we have was that we decided not to try to manage your music library on the iPod, but to manage it in iTunes. Other companies tried to do everything on the device itself and made it so complicated that it was useless.” The iPod has also reaped the benefits of a successful marketing campaign and constant reinvention of its original format. Customers now have the choice of several different iPod models according to their need for storage space and desire for additional services such as Internet access and video-playing capability.
One effect that Apple iTunes and other online retailers have had on the music industry is to shake up the way that profits are divided among artists and record labels. Because of the unanticipated boom in digital record sales, recording artists and their publishers were unprepared for the possibility that they might need to renegotiate their contracts to include digital downloads. Many artists discovered to their cost that their contracts predated the digital download era, leaving them open to exploitative royalty rates for digital downloads of songs and ringtones.
The very definition of digital royalties is still under negotiation—should a download be classified as licensed use of an artist’s music (which nets the artist approximately 50 percent of the download fee in royalties), or should it be classified as a retail sale (which nets the artist approximately 12 percent of the download fee in royalties)?  The answer depends on the contractual agreement between artists and record labels. In 2009, rapper Eminem’s publishing company FBT Productions sued Universal Music Group for $1.6 million of unpaid royalties, arguing that the downloads should fall under the “licensing” agreements that cover physical releases such as CDs, rather than the “distribution” agreements put forth by Universal Music Group. A jury agreed that a song sold online is no different from a song bought in a store and ruled in favor of the record label.
Because online retailers such as Apple are responsible for the marketing, management, and delivery of downloaded music, record labels’ overheads are much lower. This new industry trend has prompted many artists and publishers to demand a bigger share of labels’ profits. As of 2010, a $0.99 download from the iTunes appliance program generates $0.30 for Apple and $0.70 for the record label, of which $0.09 goes to the songwriter and publisher as a standard mechanical royalty.
The burgeoning popularity of digital music has drastically reduced revenue brought in from CD sales since 2001. Although many people have switched from illegally downloading to purchasing music on digital stores, paid digital downloads have not yet begun to make up for the loss of revenue from CD sales, and illegal downloads remain a problem for the recording industry. According to online download tracker BigChampagne Media Measurement, unauthorized downloads still represent about 90 percent of the market. With album sales declining at a rate of 8 percent a year, music executives are trying to figure out how to stem the flow of money flooding out of the CD sales market. Former head of Yahoo! Music David Goldberg said, “The digital music business is a war of attrition that nobody seems to be winning. The CD is still disappearing, and nothing is replacing it in entirety as a revenue generator.”
To partially make up for lost sales, the music industry has been generating revenue through licensing fees, including fees for ringtones, music played on Internet radio stations such as MySpace Music and Pandora, and music videos on the YouTube video-sharing website that is owned by Google. In 2009, digital licensing revenue reached $84 million and continues to grow. Meanwhile, recording artists are focusing their attention on live performances and merchandise, which have become their main source of revenue. Demand for concert tickets rose at least 7 percent in 2008 to $4.2 billion, according to touring industry trade magazine Pollstar.
Utilizing the Internet: A New Level of Indie
Over the past few years, the Internet has begun to level the proverbial playing field between major and independent record labels. Exemplifying how smaller indie labels are able to latch onto trends more quickly than the Big Four, indies have embraced new technology, including blogging, online video sites, and online social networking sites, as a means of promoting their music, while the major labels have fallen behind the curve. With social networking sites enabling artists to communicate directly with their fans, the need for extensive financial backing or an industry middleman is all but eliminated. Now, artists can upload their music onto a social networking site for free and generate record sales purely through word of mouth.
Although a few indie artists have become household names entirely through the buzz generated on social networking sites, many others find that they need some guidance. The direct-to-fan business model has created opportunities for web-based companies such as Nimbit and ReverbNation, which provide software that enables independent artists and record labels to market their music online, keep track of sales, create demand for their music, and communicate with fans. The companies offer social networking applications that enable fans to purchase music directly from the artists rather than being redirected to a third-party website. Other advantages for bands include automatic updates to fans across a variety of networking sites, digital distribution through the iTunes appliance program and other stores, and real-time sales updates.
Many established artists have also embraced the direct-to-fan business model. In 2007, Nine Inch Nails frontman Trent Reznor announced that the band was splitting from its contractual obligations to Universal Music Group to distribute its next albums independently. Well known for his vocal distaste of major record labels and their profiteering, Reznor encouraged fans in Australia to steal his album Year Zero because he believed it was priced too highly there. Commenting on the state of the music industry in a 2007 interview he said, “I’ve got a battle where I’m trying to put out quality material that matters and I’ve got fans that feel it’s their right to steal it and I’ve got a company that’s so bureaucratic and clumsy and ignorant and behind the times they don’t know what to do, so they rip the people off.”
Following the band’s split with Universal, they released studio album The Slip as a free digital download in 2008. Reznor stated, “This one’s on me,” on his website, thanking fans for their loyalty. The album was downloaded 1.4 million times within the first 6 weeks of its release. A similar technique used by tech-savvy alternative band Radiohead reaped even higher rewards in 2007, when its retail release of In Rainbows entered the album chart at No. 1 even though the digital version had been offered online at a price of the customer’s choosing several months earlier. Much like the constant carpet, furniture and diamond radio commercials you hear about ‘cutting out the middle man,” the musician decided to cut out the middle man, which just happened to be the multi-billion dollar record industry.
The web-based direct release model allows bands such as Radiohead and Nine Inch Nails to obtain vital information about their fan bases—including e-mail addresses—that they can use for future “members-only” promotions. Whether or not the practice proves to be a passing fad, the traditional music industry model is shifting as new technology makes it easier for artists to communicate directly with their fans. Previously a song or two would be released for free on iTunes in an effort to jumpstart a new artist looking to build a fan base or a new album by an established star. Today, some bands are releasing entire albums at little to no cost as a thank you to their loyal fans, but also as a way to increase their exposure to new fans.
Today’s bands are very media savvy in ways the previous generation was not. They use the internet and latest social media to their advantage to help increase sales. Sometimes they may even sell fewer records, but by cutting out the record company, they are actually making a high profit at the end of the day as they are earning more per album sold. Historically, this is similar to the great industrialists of the 19th Century, except the average American is not hurt by the band’s profit motive. Instead the multi-billion dollar record labels take the economic hit which only leads to the band becoming more popular in a sort of Robin Hood “take from the rich and give to poor” type of business plan. As a result, loyal fans show up to cheer for and stand behind today’s biggest (and wealthiest) stars in a way they never would have with Robber Barons like Carnegie and Rockefeller.
How did the big companies respond? Some of them created talent shows shown weekly on prime-time television where the contestants build up a fanbase for months and are rewarded with an exclusive recording contract. By the way, the winners are legally required to sing with the record label associated with the TV contest. American Idol, The Voice, and America’s Got Talent are all examples of what have essentially become twelve-week marketing campaigns for their artists who are then required to sign a company-friendly recording contract and make millions for the record label. Big labels have started going after unknown artists as they don’t have the political leverage of the biggest bands and really don’t have any other way to get a foot in the door of the business. Sara Bareilles sang about this in “Love Song,” which was written metaphorically about her record label’s controlling tendencies (Is there any surprise that it was released as a free download on iTunes by her label just before her album was released as a whole?). This free song generated massive interest in her and her new album exploded onto the scene and has sold over 3 million copies, peaking at no. 1 just a few weeks later. Still, the heart of the matter the song was about her label pressuring her to write a love song that was radio friendly and could generate dollars for them. She rebelled and wrote a satirical love song and titled it “Love Song.” It was only after it became a huge hit that she told the true story of the song and brutal world of recording and the intense pressure artists were put under by the labels to churn out hit after hit. (Ironically, Bareilles recently served as a judge on another singing show that offered an exploitive recording contract to the winner, The Sing Off). Another example of why many artists were eliminating the record labels altogether and releasing their music in ways that the average consumer could access it. With the availability of home computers, internet, and iPods, consumers were able to bypass the label and get music directly from the artists themselves.
Links to Resources
1.5 The Intersection of Music and Culture
|Vaudeville||Delta Blues||Racial Integration|
|Juke Box||Androgynous||Hijacking Hits|
The Reciprocal Nature of Music and Culture
The tight knit relationship between music and culture is almost impossible to overstate. For example, policies on immigration, war, and the legal system can influence artists and the type of music they create and distribute. Music may then influence cultural perceptions about race, morality, and gender that can, in turn, influence the way people feel about those policies.
Cultural Influences on Music
The evolution of popular music in the United States in the 20th century was shaped by a myriad of cultural influences. Rapidly shifting demographics brought previously independent cultures into contact and also created new cultures and subcultures, and music evolved to reflect these changes. Among the most important cultural influences on music are migration, the evolution of youth culture, and racial integration.
One of the major cultural influences on the popular music industry over the past century is migration. In 1910, 89 percent of black Americans still lived in the South, most of them in rural farming areas.  Three years later, a series of disastrous events devastated the cotton industry. World cotton prices plummeted, a boll weevil beetle infestation destroyed large areas of crops; and in 1915, flooding destroyed many of the houses and crops of farmers along the Mississippi River. Already suffering from the restrictive “Jim Crow” laws that segregated schools, restaurants, hotels, and hospitals, black sharecroppers began to look to the North for a more prosperous lifestyle. Northern states were enjoying an economic boom as a result of an increased demand for industrial goods because of the war in Europe. They were also in need of labor because the war had slowed the rate of foreign immigration to Northern cities. Between 1915 and 1920, as many as 1 million black individuals moved to Northern cities in search of jobs, closely followed by another million throughout the following decade. The mass exodus of black farmers from the South became known as the Great Migration, and by 1960, 75 percent of all Black Americans lived in cities. The Great Migration had a huge impact on political, economic, and cultural life in the North, and popular music reflected this cultural change. During the Great Migration, the 12 states in blue had the largest population growth of black individuals, while the states in red had the 10 largest net losses. 
Some of the black individuals who moved to Northern cities came from the Mississippi Delta, home of the blues. The most popular destination was Chicago. Delta-born pianist Eddie Boyd later told Living Blues magazine, “I thought of coming to Chicago where I could get away from some of that racism and where I would have an opportunity to, well, do something with my talent…. It wasn’t peaches and cream, man, but it was a hell of a lot better than down there where I was born.”  At first, the migrants brought their style of country blues to the city. Characterized by the guitar and the harmonica, the Delta blues was identified by its rhythmic structure and strong vocals. Migrant musicians were heavily influenced by Delta blues musicians such as Charley Patton and legendary guitarist Robert Johnson. However, as the urban setting began to influence the migrants’ style, they started to record a hybrid of blues, vaudeville, and swing, including the boogie-woogie and rolling-bass piano. Mississippi-born guitarist Muddy Waters, who moved to Chicago in the early 1940s, revolutionized the blues by combining his Delta roots with an electric guitar and amplifier. He did so partly out of necessity, since he could barely make himself heard in crowded Chicago clubs with an acoustic guitar. Waters’s style was peppier and more buoyant than the sullen country blues. His plugged-in electric blues became the hallmark of the Chicago blues style, influencing countless other musicians and creating the underpinnings of rock and roll. Other migrant bluesmen helped to create regional variations of the blues all around the country, including John Lee Hooker in Detroit, Michigan, and T-Bone Walker in Los Angeles, California.
Prior to 1945, most music was created with adults in mind, and teenage musical tastes were barely a consideration. Young adults had few freedoms—most males were expected to join the military or get a job to support their fledgling families, while most females were expected to marry young and have children. Few young adults attended college, and personal freedom was limited. Following World War II, this situation changed drastically. A booming economy helped create an American middle class, which created an opening for a youth consumer culture. Unsavory memories of the war discouraged some parents from forcing their children into the military, and many emphasized enjoying life and having a good time. As a result, teenagers found they had a lot more freedom. This new liberalized culture allowed teenagers to make decisions for themselves, and, for the first time, many had the financial means to do so. Whereas many adults enjoyed the traditional sounds of Tin Pan Alley, teens were beginning to listen to rhythm and blues songs played by radio disc jockeys such as Alan Freed. Increased racial integration within the younger generation made them more accepting of black musicians and their music, which was considered “cool,” and provided a welcome escape from the daunting political and social tension caused by Cold War anxieties. The wide availability of radios, jukeboxes, and 45 rpm records exposed this new style of rock and roll music to a broad teenage audience.
The popularity of American Bandstand made host Dick Clark an influential tastemaker in pop music.
Once teenagers had the buying power to influence record sales, record companies began to notice. Between 1950 and 1959, record sales in the United States skyrocketed from $189 million to nearly $600 million. The 45 rpm vinyl records that were introduced in the late 1940s were an affordable option for teens with allowances. Dick Clark, a radio presenter in Philadelphia, soon tuned in to the new teenage tastes. Sensing an opportunity to tap into a potentially lucrative market, he acquired enough advertising support to turn local hit music telecast Bandstand into a national television phenomenon.
Teen heartthrob Fabian was molded to fit teenage musical tastes in order to maximize record sales.
The result was the launch of American Bandstand in 1957, a music television show that featured a group of teenagers dancing to current hit records. The show’s popularity prompted record producers to create a legion of rock and roll acts specifically designed to appeal to a teenage audience, including Fabian and Frankie Avalon. During its almost 40-year run, American Bandstand was a prominent influence on teenage fashions and musical tastes and, in turn, reflected the contemporary youth culture.
Following the Great Migration, racial tensions increased in Northern cities. Whereas many Northerners had previously been unconcerned with the issue of race relations in the South, they found themselves confronted with the very real issue of having to compete for jobs with black migrant workers. Black workers found themselves pushed into undesirable neighborhoods, often living in crowded, unsanitary slums where they were charged exorbitant rates by unscrupulous landlords. During the 1940s, racial tensions boiled over into race riots, most notably in Detroit. The city’s 1943 riot caused the deaths of 34 people, 25 of whom were black. 
Frustrated with inequalities in the legal system that distinguished black and white individuals, members of the civil rights movement pushed for racial equality. In 1948, an executive order granted by President Harry Truman integrated the military. The move toward equality gained further momentum in 1954, with the U.S. Supreme Court decision to end segregation in public schools in the landmark case Brown v. Board of Education. The civil rights movement escalated throughout the late 1950s and early 1960s, aided by highly publicized events such as Rosa Parks’s refusal to give up her seat on a bus to a white passenger in Montgomery, Alabama, in 1955. In 1964, Congress passed the most sweeping civil rights legislation since the Civil War, forbidding discrimination in public places and authorizing financial aid to enable school desegregation.
Although racist attitudes did not change overnight, the cultural changes brought on by the civil rights movement laid the groundwork for the creation of an integrated society. The Motown sound developed by Berry Gordy Jr. in the 1960s both reflected and furthered this change. Gordy believed that by coaching talented, but unpolished black artists, he could make them acceptable to mainstream culture. He hired a professional to head an in-house finishing school, teaching his acts how to move gracefully, speak politely, and use proper posture. Gordy’s commercial success with gospel-based pop acts such as the Supremes, the Temptations, the Four Tops, and Martha and the Vandellas reflected the extent of racial integration in the mainstream music industry. Gordy’s most successful act, the Supremes, achieved 12 No. 1 singles on the Billboard Hot 100chart.
Musical Influences on Culture
Even though pop music is frequently characterized as a negative influence on society, particularly with respect to youth culture, it also has positive effects on culture. Many artists in the 1950s and 1960s pushed the boundaries of socially acceptable behavior with sexually charged movements and androgynous appearances. Without these precedents, acts like the Rolling Stones or David Bowie may have never made the transition into mainstream success.
On the other hand, over the past 50 years, critics have blamed rock and roll for juvenile delinquency, heavy metal for increased teenage aggression, and gangsta rap for a rise in gang warfare among young urban males. One recent study claimed that youths who listen to music with sexually explicit lyrics were more likely to have sex at an early age, stating that exposure to lots of sexually degrading music gives teens “a specific message about sex.”  In addition to its effects on youth culture, popular music has contributed to shifting cultural values regarding race, morality, and gender.
As the music of Chuck Berry and Little Richard gained popularity among white teens in the United States during the 1950s, most of the new rock acts were signed to independent labels, and larger companies such as RCA were losing their share of the market.
To capitalize on the public’s enthusiasm for rock and roll and to prevent the loss of further potential profits, big record companies signed white artists to cover the songs of black artists. The songs were often censored for the mainstream market by the removal of any lyrics that referenced sex, alcohol, or drugs. Pat Boone was the most successful cover artist of the era, releasing songs originally sung by artists such as Fats Domino, the El Dorados, Little Richard, and Big Joe Turner. Releasing a cover of a black performer’s song by a white performer was known as hijacking a hit, and this practice usually left black artists signed to independent labels broke. Because large companies such as RCA could widely promote and distribute their records—six of Boone’s recordings reached the No. 1 spot on the Billboard chart—their records frequently outsold the original versions. Many white artists and producers would also take writing credit for the songs they covered and would buy the rights to songs from black writers without giving them royalties or songwriting credit. This practice fueled racism within the music industry. Independent record producer Danny Kessler of Okeh Records said, “The odds for a black record to crack through were slim. If the black record began to happen, the chances were that a white artist would cover—and the big stations would play the white records… There was a color line, and it wasn’t easy to cross.” 
Although cover artists profited from the work of black R&B singers, occasionally they also helped to promote the original recordings. Many teenagers who heard covers on mainstream radio stations sought out the original artists’ versions, increasing sales and prompting Little Richard to refer to Pat Boone as “the man who made me a millionaire.” Benefiting from covers also worked both ways. In 1962, soul singer Ray Charles covered Don Gibson’s hit “I Just Can’t Stop Loving You,” which became a hit on country and western charts and furthered mainstream acceptance of black musicians. Other black artists to cover hits by white performers included Otis Redding, who performed the Rolling Stones hit “Satisfaction,” and Jimi Hendrix, who covered Bob Dylan’s “All Along the Watchtower.”
Releasing cover versions of hit songs was fairly standard practice before the 1950s because it was advantageous for songwriters and producers to have as many artists as possible sing their records to maximize royalties. Several versions of the same song often appeared in the music charts at the same time. However, the practice acquired racial connotations during the 1950s when larger music labels hijacked R&B hits, using their financial strength to promote the cover version at the expense of the original recording, which often exploited black talent. As a result, many 1950s R&B artists lost out on royalties.
Two contemporary black performers who were victims of this practice were R&B singer LaVern Baker and blues singer Arthur “Big Boy” Crudup. Baker, who was signed with then small-time label Atlantic Records, had been promoted as a pop singer. Because her songs appealed to mainstream audiences, they were ideal for covering, and industry giant Mercury Records took full advantage of this. When Baker released her 1955 hit “Tweedle Dee,” Mercury immediately put out its own version, a note-for-note cover sung by white pop singer Georgia Gibbs. Atlantic could not match Mercury’s marketing budget, and Gibbs’ version outsold Baker’s recording, causing her to lose an estimated $15,000 in royalties.
Around the same time, Arthur Crudup was producing hits such as “So Glad You’re Mine,” “Who’s Been Foolin’ You,” “That’s All Right Mama,” and “My Baby Left Me,” which were subsequently released by performers such as Elvis Presley, Creedence Clearwater Revival, and Rod Stewart for huge financial gain. Crudup’s songs made everybody rich, except him. This realization caused him to quit playing altogether in the late 1950s. A later attempt to collect back royalties was unsuccessful. Baker filed a lawsuit in an attempt to revise the Copyright Act of 1909, making it illegal to copy an arrangement verbatim without permission. The lawsuit was unsuccessful, and Gibbs continued to cover Baker’s songs.
When Elvis Presley burst onto the rock and roll scene in the mid-1950s, many conservative parents of teenagers all over the United States were horrified. With his gyrating hips and sexually suggestive body movements, Presley was viewed as a threat to the moral well-being of young women. Television critics denounced his performances as vulgar, and on a 1956 appearance on The Ed Sullivan Show, cameras filmed him only from the waist up. One critic for the New York Daily News wrote that popular music “has reached its lowest depths in the ‘grunt and groin’ antics of one Elvis Presley.”  Despite the critics’ opinions, Presley immediately gained a fan base among teenage audiences, particularly adolescent girls, who frequently broke into hysterics at his concerts. Rather than tone down his act, Presley defended his movements as manifestations of the music’s rhythm and beat, and continued to gyrate on stage. Liberated from the constraints imposed by morality watchdogs, Presley set a precedent for future rock and roll performers and marked a major transition in popular culture.
In addition to decrying raunchy onstage performances by rock and roll artists, moralists in the conservative Eisenhower era objected to the sexually suggestive lyrics found in original rock and roll songs. Big Joe Turner’s version of “Shake, Rattle, and Roll” used sexual phrases and referred to the bedroom, while Little Richard’s original version of “Tutti Frutti” contained the phrase “tutti frutti, loose booty.”  Although many of these lyrics were sanitized for mainstream white audiences when they were rereleased as cover versions, the idea that rock and roll was a threat to morality had been firmly implanted in many people’s minds.
Ironically, many of the controversial key figures in the rock and roll era came from extremely religious backgrounds. Presley was a member of the evangelical First Assembly of God Church, where he acquired his love of gospel music. Similarly, Ray Charles soaked up gospel influences from his local Baptist church. Jerry Lee Lewis came from a strict Christian background and often struggled to reconcile his religious beliefs with the moral implications of the music he created. During a recording session in 1957, Lewis argued with manager Sam Phillips that the hit song “Great Balls of Fire” was too “sinful” for him to record. The religious backgrounds of the rock and roll pioneers both influenced and challenged moral norms. When Ray Charles recorded “I Got a Woman” in 1955, he reworded the gospel tune “Jesus Is All the World to Me,” drawing criticism that the song was sacrilegious. Despite the objections, Charles’s style caught on with other musicians, and his experimentation with merging gospel and R&B resulted in the birth of soul music.
While Presley was revolutionizing people’s notions of sexual freedom and expression, other performers were changing cultural norms regarding gender identity. Dressed in flamboyant clothing with a pompadour hairstyle and makeup, Little Richard was an exotic, androgynous performer who blurred traditional gender boundaries and shocked 1950s audiences with his blatant campiness. Between his wild onstage antics, bisexual tendencies, and love of post-concert orgies, the self-proclaimed “King and Queen of Rock and Roll” challenged many social conventions of the time. Little Richard’s flamboyant, gender-bending appearance was so outrageous that it was not taken seriously during the 1950s; he was considered an entertainer whose androgynous look bore no relevance to the real world. However, Richard paved the way for future entertainers to shift cultural perceptions of gender. Later musicians such as David Bowie, Prince, and Boy George adopted his outrageous style, frequently appearing on stage wearing glittery costumes and heavy makeup. The popularity of these 1970s and 1980s pop idols, along with other gender-bending performers such as Annie Lennox and Michael Jackson, helped make androgyny more acceptable in mainstream society.
Links to Resources
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