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• W2564303908 abstract "IntroductionThe Blues Had a Baby and They Named it Rock & RollOn his Grammy winning album, Hard Again, McKinley Morganfield (a.k.a. Muddy Waters) sings his song The Blues Had a Baby and They Named it Rock & Roll.1 What are racial and social implications of this rebirth? In this study, I will argue that cultural context during birth of Rock & Roll was such that Blues music had to be reborn in order to enter into predominantly white mainstream. From perspective of a Blues musician, Morganfield's use of idea of rebirth is a subtle apology for Blues, preserving filiation and downplaying issue of racial division. However, a more critical analysis of situation questions aptitude of rebirth as a metaphor for process of change that was required of (Rhythm &) Blues music before it could be embraced as a mainstream art form. Contemporary scholarship suggests a range of terms as more accurate descriptors of this transformative process, including appropriation, assimilation, blanching, and subsumption.2 We can add terms like translation and renaming to this list, each bringing a slightly different perspective to issue.3 By attempting to recognize a convergence of unseen or scenes forces that cause this transformation to take place, current study seeks to demonstrate their consequences not simply with respect to development of popular music, but with respect to larger relationship between popular culture and race in latter half of twentieth century.Review of LiteratureThe study at hand seeks to discern an account of birth of Rock & Roll that is informed by multiple perspectives including social, economic, biographical, historical, and political ones. While such an approach will help us avoid pitfalls of more commonplace approaches to this subject, it also risks complexity. Part of strategy behind our study is therefore to rely on simple guiding threads that will work for cohesion. These include a theoretical perspective that is centralizing in nature as well as breakthrough of Elvis Presley that will serve as a sort of window through which we can take in various forces at work. A third thread-and one with which we will begin our survey of literature-is an appraisal of scholarship that uses race as a way to address birth of Rock & Roll. Among these are works by Glenn Altschuler, Nelson George, Margo Jefferson, and Eileen Southern that focus on white power structure disenfranchising black creators.4 Others by Paul Eichgrun and Ross Porter applaud function of all or part of corporate structure while a final group of studies is focused on few players of pre-civil rights era who crossed over color barrier.5 Authors of these studies include Robert Pielke, Reebee Garofalo, and Steve Perry.6Common to almost all of consulted literature are two interrelated discussions that address institutional process of transformation that turned black R&B into mainstream Rock & Roll. These issues are cover songs and development of persona of Elvis Presley. The importance of first issue includes its commentary on nature of creation in pop culture as well as fact that, in this particular instance, we find it acting as a vehicle by which musical compositions are reorganized and assimilated across racial borders. This is an essential context for locating main camps of critical interpretation that are organized around initial explosion of Presley as a nationally visible artist.Covers are songs that are initially released by one recording artist and then re-recorded and released again by another. Covering another artist's material is more common to artists in early stages of their careers, as younger artists depend on their influences as reference points to help them carve out a new artistic terrain. As Michael Bertrand indicates in his insightful Race, Rock, and Elvis, by end of 1954 the majors had pushed their new cover tactics to fruition and were successful in getting their own R&B type material into pop market. …" @default.
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• W2564303908 date "2012-01-01" @default.
• W2564303908 modified "2023-09-24" @default.
• W2564303908 title "Race, Hegemony, and the Birth of Rock & Roll" @default.
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• W2564303908 doi "https://doi.org/10.25101/12.2" @default.
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