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Popular music in my view would not exist without a large amount of social and cultural rebelliousness. Music is what defines the majority of youth today and gives them a sense of belonging to a group or genre of music. ...
The first notable form of rebellion in music emerged in the 1950s when disk jockeys began playing rhythm and blues recordings to white youths. ... He then went on and coined the phrase "rock and roll" to describe the new and vibrant form of music that hit in the mid-1950s. ... It is possible to assume that Elvis’ record sales would not have been as high if not for the youth buying his music as a form of rebellion. Up until the 1950s there had not been a youth market for popular music, and the aptly titled rock’n’roll gave the teen market a vent for their rebelliousness. ... Rock music angered parents with its rebelliousness, sexual nature as well as its dispute of the church; to the older generation, rock music was nothing less than evil incarnate. Many considered it to be "race music" due to its black roots, though white teenagers during this time accepted it fully as their own; it was easy for them to identify with this rowdy music and appreciate its stark contrast to American life in the 1950s. ...
Although in terms of homology many of the early 1950s rock artists did not sing offensive lyrics but it was the fast tempo and loud noise of their music that portrayed their rebelliousness. Theory did not portray a level of rebelliousness among the youth but it was triggered regardless. The homology model of assessing this era is not useful as many of the rock’n’roll performers despite invoking rebellion were still of a clean cut appearance.
Approximate Word count = 1433
Approximate Pages = 5.7
(250 words per page double spaced)
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