The exact origin of rock ‘n’ roll’s name will never be known. But, it is certain that it became popular thanks to a disc jockey called Alan Freed. A “wild, greedy, dangerous man”, Freed was the “dominant nighttime personality” in New York City in mid- 1950s. Nearly half a century later, he changed the name his show to “Rock’n’ Rock Dance Party” and started to promote the music and artists of black rhythm and blues.
The rest is history. Not a minor blip on the pop cultural radar screen, but a major development in 20th-century American and, eventually, global history. So we have now, in Oxford University Press’ ongoing series called “Pivotal Moments in American History,” Glenn C. Altschuler’s account of rock ‘n’ roll’s formative year, the decade immediately subsequent to the Second World War. Its three predecessors are Brown v. Board of Education of the Supreme Court. They also cover the 1929 stock market crash, the Battle of Antietam and the Supreme Court’s Brown decision.
They have every reason to. Altschuler’s subtitle says it all: “How rock ‘n roll changed America”. It should be asked rather than stated as a statement. The exact nature of its influence can’t be determined but it is certain to rank alongside the movies and television as the most important developments of 20th-century America. Because this was the century where pop culture put aside the high culture and became the heartbeat America (to borrow a popular-cultural slogan), it needs to be viewed in an even wider context than historians usually allow.
If it can be proven (and it can), that Walter Elias Disney was America’s most influential American, then the Founding Mothers (alongside some Mothers) of Rock ‘n’ Roll must also be recognized.
Altschuler is trying to accomplish this with “All Shook Up.” He’s a less than riveting prose stylist. Although it’s unlikely that many readers are familiar enough with the music and literature associated with rock ‘n’ roll to find much here, the books in the series seem to be meant to be syntheses rather than ground-breakers. This Altschuler excels at his task. He also acknowledges the contributions of a few people. Some of these people made truly wonderful music and deserve to be recognized not only for their undeniable influence on the Beatles, Rolling Stones and other artists, but also for their intrinsic merit.
These people and their music were created by and performed in rhythm and Blues, as well its sub-genres. R&B emerged shortly after the war as a “distinctive musical genre, drawing from the rich musical traditions African-Americans. This included the blues’ narratives that depict turbulent emotions and the jubilation and steady beat of the gospel. It was generally ‘good-time music’ that featured a strong dance rhythm. Its most notable performers were and are still Chuck Berry and Fats Domino. However, there were numerous others.
R&B has been the key link between the blues. Jazz, swing, and all other forms that have developed since the 1950s. This was when whites began to “cover”, to borrow, duplicate, and often homogenize African music. Elvis Presley, Jerry Lee Lewis, Buddy Holly and other white musicians Bill Haley, Pat Boone, Ricky Nelson wouldn’t be able to achieve the same feats without the black foundation.
“The influence that rock ‘n’ roll had on sex was not always pivotal,” Altschuler said. Altschuler correctly notes that, although it had an effect on attitudes towards race and gender, the civil rights movement wouldn’t have taken place without it. Its influence was significant in other areas of 1950s America.
“A distinct teenage culture was developed, each with its own mores. It was the influence of rock ‘n’ roll that led the way. This encouraged girls and boys alike to resist authority and be more sexually active. They also learned from their peers what to watch, listen to and wear. As a result of the creation of a separate market specifically for teenagers, discrimination based on age became more widespread and permanent in American culture. Young people did not have the same values as their parents and they didn’t necessarily have all the same beliefs. These young people were refusing to be monitored or supported in any way. When the 1950s came to an end, most baby boomers hadn’t yet turned into teenagers. Rock & roll and America’s youth were backed by history (and demography).