ÿWPC¥  F¬Jmåe=û÷àKg]û?÷ Zì—Dt€UÕ¶’­¾À¢0‹¡øÆLÝ‹Ó°ãÑÀ@I–˜+ˆÀR\U呺 oŒT'~W”ÝØ)&.ÔÆß51sÛÂ,çµ 8YË´É=Ë(ñÖGÇg( xR/­xâŸKÎû1eÈ^.ð›<í{­–Û-)nõí.¨kÆ¥hBM½š5bZ£öàÓ`NР6£&µî@&t4.À¨ ™ÝJ~§2#î¿7Ý ò¥†Âªa=­„qzôæ ÷"3G”¿Ð8/Û]ª=““ÞXÈõäµ›>L´¹ø›¶™ÅA…#x`72"CôbÒÖõZ‡Š~ë¿_,Nœlò…^=¡îN:èN¡§ˆÅG ²F 2]~XòÂ;²$ñócÁÍÁÕ%”™ž·™}0¶pbœî®qÙ>-)Ê K]YYDjS5ƒÉ/±þ1Dën2§VÓ}bøÿÒ&ä‘F'¾ÝT³öÊò8jëuˆ¥k3³~1=±7—é›\,½á ‹Å¯ìäJ¶6½3%6­GOy¢'òhRi<Êî¶4ûÅË×*wÊS2‰B.ÉÔôëµD‡¥­S °{ŠŒìÎue±‹(U Z0 %Š$ 0O´n« 04¾òw@ò42F mH 0ˆ_U:çUN! 0DoÕ³³³³³³³³³³³³³³³³³³³³³³ Bˆ ' [  `BDutch Roman 12ptWP DeskTop FWX Ý ƒ¸O'ÝÓ  ÓÝ  Ý›ÒÜ°ÒÒÜ°ÒÓ  ÓDavid€N.€Townsendà@ˆˆˆìàòòRock€'n'€Roll€Culture€and€Ideologyóóˆà€àà|ü!àPage€Ú  Ú1Ú  ڈР° ÐÌChapter€2à@¨¨+ìàDRAFTˆÐ ˆØ ÐÌÌ('2¸O$§§Ý ƒ¤U!ÝÓ  ÓÝ  Ý#|p,«' [  `BDutch Roman 12ptWP DeskTop FWXÌp [  PŽwOXP( ¤U$¡¡Ó  Ó #[$¿%À&['U(¿)À*[+,Ë­nB#0Ôè‚X’‚ÿU‹ÿÀÀÀ(8(3¤‚$¤¤Ý ƒô5!ÝÒÜ°ÒÒÜ°ÒÝ  Ýà 4 àòòÚ  Ú0Ú  Úóó„†r‰AZ‹"Arial RegularxÖÃ9 Z‹6Times New Roman Regular(%Ã$òòÚ  Ú1Ú  Úóó ËÝ ƒ ¤‚$ÝÒÜ°ÒÒÜ°Òà 4 àòòÚ  Ú1Ú  ÚóóÝ  ݛԇôY¹õXXÔDisclaimer:€This€is€an€unpublished€manuscript,€made€available€to€the€public€for€your€interestÐ ° Ðand€reaction.€€It€may€not€be€reprinted,€copied,€or€distributed€in€any€manner,€without€express€permission€ofÏthe€author.€€I€neither€ask€nor€receive€any€financial€compensation€for€this€document.€€Hence,€although€I€useÏquotes€from€several€published€song€lyrics€without€having€obtained€formal€permission€from€the€copyrightÏowner,€there€is€no€violation€of€copyright,€since€this€document€is€not€ð ðpublishedðð€or€sold€in€any€meaningfulÏsense.Ô#†X¦dXõôY¹`#Ô dÝ ƒ¤U!ÝÓ  ÓÝ  Ý›Ó  ÓÓ  ÓÒÜ°ÒÒÜ°ÒÑÜ°ÑÖ€ÿÿÖÑ  ÑÑ  ÑDavid€N.€Townsendà€$$Cü!à6100€WordsˆÐ ° Ð17€Lawrence€Roadà€  5ü!àðð1997€David€N.€Townsendñ+ñÔ‡X¦dXXXÔ׃×Ý ƒ%ÃÝòòÚ  Ú1Ú  ÚóóÝ  Ý×  ×Ô#†X¦dXXX¦d#Ôñ+ñˆÐ œì ÐSwampscott,€MA€01907Ì(781)€477„9356Ì¢DNTownsend£@¢Prodigy.com£ÌÌÌà@~~$ìàñ#ññ"ñòòñ"ññ#ññ&ñò òñ&ññ%ñÔ‡¼ML»XX¦dÔñ%ññ$ñÔ‡¼y]»»¼MLÔñ$ñChanging€the€World:ˆÐ $ t Ðà@¦ ¦ ìàRock€'n'€Roll€Culture€and€Ideologyñ#ññ"ñóóñ"ññ#ññ$ñÔ#†¼ML»»¼y]q#Ôñ$ññ%ñÔ#†X¦dX»¼MLH#Ôñ%ññ&ñó óñ&ñˆÐ 8 ˆ Ðñ'ñÌÌñ'ñà@ŽŽ,ìàbyˆÌà@ÊÊ%ìàDavid€N.€TownsendˆÌÌà@¸¸(ìàñ*ñò òñ*ññ)ñÔ‡¼ML»XX¦dÔñ)ññ(ñÔ‡¼y]»»¼MLÔñ(ñChapter€2€ˆÐ è8  Ðà@zz(ìàBeginningsñ(ñÔ#†¼ML»»¼y]#Ôñ(ññ)ñÔ#†X¦dX»¼MLò#Ôñ)ññ*ñó óñ*ñˆÐ üL ÐÌà 4 àRock€'n'€roll€has€never€been€just€a€music.€€Heavy€Metal,€Rhythm€&€Blues,€ArtÏRock,€New€Wave,€and€the€rest€may€be€primarily€styles€or€genres,€but€as€subcategories€ofÏrock,€or€of€rock€'n'€roll,€they€do€not€cumulatively€add€up€to€the€whole.€€Rock€'n'€roll€is€aÏmovement,€a€lifestyle,€a€culture,€and€possibly€an€ideology.€€It€is€a€tradition,€in€some€ways€aÏfolklore,€in€many€ways€a€belief€system.€€And€all€that€rock€'n'€roll€is€today€it€owes€to€a€briefÏwindow€of€history:€two€years,€no€more€than€three,€when€the€fabric€of€American€popularÏculture€was€torn€apart€and€¢rewoven£,€and€a€new€era€explosively€began.€ÌÌà 4 àLooking€back€from€these€Classic€Rock€vantage€points,€it's€easy€to€visualize€theÏearly€rock€'n'€roll€days.€€By€now,€they've€been€relived€and€recreated€in€hun‚dreds€of€movies,Ïtelevision€programs,€magazine€articles,€biographies,€and€antholo‚gies.€€Those€were€theÏHappy€Days,€the€Fabulous€Fifties,€when€that€Old€Time€Rock€'n'€Roll€was€blasting€fromÏevery€jukebox,€and€Peggy€Sue€rode€in€her€boy‚friend's€'57€Chevy€to€the€Sock€Hop,€ready€toÏRock€Around€the€Clock.€€It€was€when€Elvis€was€King,€when€life€was€simpler,€when€theyÏplayed€all€those€wonderful€love€songs€that€touched€our€hearts€when€the€living€room€lightsÏwere€dimmed...€The€fifties€are€forever€frozen€in€American€memory€by€these€kinds€ofÏimages,€and€they€may€even€be€fairly€accurate,€for€all€we€know.€ÌÌà 4 àStill,€despite€the€nostalgia€crazes,€'¢50s£€rock€'n'€roll€hasn't€survived€as€a€"popular"Ïmusic€in€the€way€that€'¢60s£€rock€has.€€By€that€I€mean€that€'¢50s£€rock€'n'€roll€is€treated€almostÐ €&Ð!$o Ðuniversally€as€"oldie"€music,€more€of€a€nostalgic€curiosity,€whereas€rock€from€the€BeatlesÏto€the€present€still€has€a€"contemporary"€feel€to€it.€€Sixties€rock€hasn't€faded€from€popularÏ¢AOR£€radio€stationsð"ðDylan,€Stones,€Beatles,€Doors,€Hendrix,€and€others€remainedÏconnected€to€modern€rock€by€an€invisible€cultural€thread€throughout€the€¢1980s£ð"ðand€manyÏof€the€major€stars€and€comebacks€of€the€decadeð"ðSteve€¢Winwood£,€John€¢Fogerty£,€EricÏ¢Clapton£,€George€Harrison,€¢Motown£ð"ðwere€sixties€veterans.€€The€original€rock€'n'€rollers,Ïhowever,€enjoyed€no€such€longevity€in€the€post„Beatles€world.€€Elvis's€popularity€fromÏ1963€on€was€largely€confined€to€his€aging€original€fansð"ðhe€was€something€of€an€embarƒ¼rassment€to€the€younger€generation;€Chuck€Berry,€while€personally€very€resilient,€achievedÏhis€last€real€hit€with€the€novelty€"Ding„a„Ling"€in€1972,€and€otherwise€has€played€generallyÏto€the€oldies€audience;€Little€Richard,€Jerry€Lee€Lewis,€the€¢Everly£€Brothers,€Carl€PerkinsÏwere€all€basically€irrelevant€to€rock's€development€after€the€early€'¢60s£;€and€other€majorÏstars€of€that€initial€era€have€diminished€to€utter€obscurity.€ÌÌà 4 àThe€consequence€of€this€historic€dividing€line€is€that,€whereas€today's€teen‚agersÏborn€in€the€¢1970s£€can€recite€Beatles€and€Dylan€lyrics€from€memory,€the€great€original€rockÏ'n'€roll€tunes€are€only€vaguely€familiar€even€to€35„year„¢olds£€who€grew€up€immediately€inÏthe€wake€of€the€rock€'n'€roll€explosion.€€I€have€a€lot€of€"party€tapes"€containing€a€broad€mixÏof€songs€from€different€eras€including€the€fifties€that€I€will€presumptuously€install€in€theÏcassette€deck€at€a€gathering€or€on€a€long€car€ride.€€Invariably,€I€absorb€awkward€andÏdisappointed€stares€and€groans€when,€on€such€a€tape,€an€Elvis€Presley€or€Chuck€Berry€tuneÏfollows€a€more€"modern"€song;€someone€usually€insists€on€fast„forwarding€past€it.€ÌÌà 4 àThis€is€too€bad,€because€the€music€from€that€time,€especially€from€the€epochalÏyears€of€1956€and€1957,€is€truly€great€music.€€Sure,€it€lacks€any€overriding€social€orÏpolitical€themes,€there€are€no€screaming€guitar€solos€or€¢overdubbed£€synthesizers,€and€theÏrecordings€are€generally€poor€(and€pre„stereo).€€But€the€energy,€vitality,€and€originality€ofÏbreakthrough€rock€'n'€roll€is€unmatched€by€almost€anything€that€has€come€along€since,€andÏin€its€òòcontextóó,€the€ferocity€with€which€this€music€burst€upon€the€scene€was€nothing€short€ofÐ Ð$Ð Ðamazing.€€At€daybreak,€1955,€"rock€'n'€roll"€was€still€just€a€vague€notion,€an€alternativeÏterm€for€Rhythm€&€Blues,€and€popular€as€a€genre€only€among€that€clandestine€cadre€ofÏyouth€who€had€discovered€the€R&B€radio€stations.€€"¢Doo£„¢Wop£"€vocal€groups€such€as€theÏPenguins€had€penetrated€the€mainstream€with€songs€like€"Earth€Angel"€(1954),€and€thereÏwere€many€successful€white€covers,€but€this€was€all€very€restrained€compared€to€trueÏR&B,€about€which€the€majority€of€the€country€knew€next€to€nothing.€€By€daybreak,€1956,Ïhowever,€the€first€beachheads€had€been€established,€and€as€of€the€middle€of€that€year,€a€fullÏscale€invasion€was€underway€on€all€fronts.€And€like€the€allies€at€Normandy,€the€onslaughtÐ 0,0!$ Ðjust€kept€on€coming,€with€barely€time€for€its€teen€audience€to€catch€their€breath€fromÏdancing€to€one€hit€before€the€nextð"ðbigger,€faster,€more€enthrallingð"ðexploded€at€theirÏfeet.€ÌÌà 4 àIt€somehow€seems€that€post„'¢50s£€rock€fans€have€the€impression€that€the€rock€'n'€rollÏhits€of€that€era€occurred€over€a€long€span€of€time.€€To€understand€the€importance€of€thisÏwatershed€moment€in€modern€history,€however,€it€is€necessary€to€realize€that€it€òòwasóó€only€aÐ ˆˆ Ðmoment.€The€great€classic€rock€'n'€roll€songs€didn't€crawl€out€of€the€woodwork€one€at€aÏtime,€one€or€two€per€month;€they€fell€from€the€sky€almost€simultaneously.€€It€was,€IÏbelieve,€the€relentlessness€of€this€deluge€that,€in€the€end,€made€rock€'n'€roll€and€all€thatÏcame€after€it€so€enduring,€so€permanent.€ÌÌà 4 àFollowing€is€an€annotated€list€of€thirty€songs,€including€the€month€when€each€songÏwas€either€recorded€or€released.€€This€is€just€a€sampling€from€the€period,€albeit€many€of€theÏbiggest€hits;€there€were€countless€dozens€of€others€in€the€same€style€being€released€at€theÏsame€time.€€Try€to€imagine€(if€you€didn't€experience€it)€what€it€was€like€for€teenagers€onceÏrock€'n'€roll€first€shot€forward,€to€encounter€in€rapid€succession€each€of€these€overwhelm…¼ingly€potent€hits.€€Try€to€imagine€waking€up€every€morning€with€the€increasing€realizationÏthat€a€revolution€was€occurring€all€around€you,€that€the€next€wave€was€likely€to€hit€at€anyÏmoment,€that€you€were€a€part€of€this€accelerating€phenomenon€day€in€and€day€out,€and€allÏyour€friends€were€caught€up€in€it€too.€€About€once€a€week,€someone€would€arrive€atÏschool€or€at€the€soda€shop€to€announce,€"You've€got€to€hear€this€great€new€record!"€€AndÏindeed€it€was€great,€and€the€excitement€just€grew€and€grew,€until€it€was€bigger€thanÏanything€before:€it€was€a€way€of€life,€a€burning€passion€wanting€more€and€more€andÏproclaiming€with€religious€fervor€that€it€would€never€die€or€diminish,€but€would€grow€toÏengulf€the€world€with€its€message€of€euphoria€and€the€wonders€of€life€and€love€and€youth.€ÏAnd€so€it€has,€the€reasons€for€which€to€be€found€in€the€suddenness€and€the€intensity€of€theÏsongs€themselves€that€ignited€the€era.€ÌÌò ò1.€Bill€¢Haley£€and€His€Comets,€"Rock€Around€the€Clock".€ó óÐ ¼%¼ Ðà 4 àRecorded€and€released€in€1954,€this€song€languished€until€1955€when€suddenlyÏkids€across€America€and€then€in€England€discovered€the€idea€of€upbeat€dancing€("rock…¼ing"!)€nonstop,€for€the€fun€of€it.€€Where€no€similarly€fast„paced,€rocking€style€song€hadÏever€been€a€major€hit€before,€"Rock€Around€the€Clock"€became€a€smash,€the€best€sellingÏrecord€of€the€entire€year,€spawning€at€least€two€movies€that€featured€the€song€and€¢Haley£'sÏgroup.€€Purists€tend€to€discount€this€song,€despite€its€vital€role,€because€¢Haley£€was€white,Ïbecause€he€never€had€another€hit€of€the€same€magnitude,€and€because,€musically,€with€itsÐ 0,0!$ Ðbig€band/swing€overtones,€it€doesn't€quite€match€the€standard€"rock€'n'€roll"€formula.€ToÏassert€that€"Rock€Around€the€Clock"€is€òònotóó€the€seminal€rock€'n'€roll€song,€however,€is€likeÐ ì ì Ðasserting€that€Babe€Ruth€wasn't€the€greatest€baseball€player:€you'd€better€have€some€strongÏarguments,€because€the€facts€are€against€you.€ÌÌÔ& Ø Ôò ò2.€Bo€¢Diddley£,€"Bo€¢Diddley£".€€Released€early€1955.€ó óÐ œœ Ðà 4 àThis€is€the€purists'€preferred€choice.€€Although€Bo€¢Diddley£€himself€hasÔ'Øœ$Ô€remained€aÏrelatively€unknown€artifact€in€contrast€to€most€of€the€big€name€rock€'n'€rollers,€the€riffs€heÏpopularized€with€his€signature€tune€are€as€immortal€as€any€sound€in€popular€music.€€HeÏuses€his€guitar€as€a€rhythm€instrument,€strumming€basic€blues€progression€chords€with€aÏhalting€accent€on€the€upbeat€through€the€first€three€beats€of€the€bar,€then€adds€theÏdownbeat€on€the€fourth:€_/€_/€_/€/_.€€Some‚thing€like€that.€Younger€rock€'n'€roll€fans€willÏrecognize€this€syncopation€as€identical€to€that€in€the€oft„covered€"Not€Fade€Away".€€In€itsÏemphasis€on€the€upbeat,€"Bo€¢Diddley£"€also€crudely€foreshadows€basic€Reggae€rhythms.ÏMost€of€all,€this€was€a€catchy,€irresistibly€¢danceable£€number€that€undoubtedly€perked€upÏthe€ears€of€many€young€listeners,€and€not€a€few€aspiring€musicians.€ÌÌò ò3.€The€Platters,€"Only€You".€€Released€mid-1955.€ó óÐ ¬¬ Ðà 4 àA€smash€crossover€hit,€not€the€only€or€even€the€greatest€that€the€Platters€wouldÏachieve€with€their€smoothly€orchestrated€crooning€style€and€their€impecca‚ble€singingÏvoices.€€These€kinds€of€mellow€black€singing€groups€had€been€accepted€and€successful€forÏyears€by€1955,€and€the€Platters€were€merely€the€most€successful€of€them€all,€and€it€isÏlegitimate€to€ask€how€much€direct€relevance,€other€than€their€race,€they€had€to€the€rock€'n'Ïroll€explosion.€€I€can€think€of€two€answers€immedi‚ately.€€First,€lead€singer€Tony€Williams'sÏsinging€style,€exemplified€in€this€song,€really€stood€out€from€the€rest€of€the€music,€as€heÏtwisted€and€manipulated€his€vocal€cords€to€emulate€a€kind€of€imploring€stutter€followed€byÏa€long€croon:€"Uh„uh„oh„only€¢yoooou£..."€Elvis€Presley€soon€tried€the€same€trick,€and€gotÏsimilarly€impassioned€responses,€especially€from€females.€€Second,€it€is€a€mistake€to€everÏto€exclude€so„called€"mellow"€songs€from€the€panorama€of€rock€'n'€roll€music€(force‚fullyÏthough€some€would€try).€€From€the€very€beginning,€rock€'n'€roll€fans€have€demonstratedÏthat€a€solid€mix€of€loud,€hard€core,€fast€paced€dance€music€and€softer,€slower,€romanticÏmusic€is€preferable€to€a€one„dimensional€style€at€either€extreme.€€Teenagers€in€the€fiftiesÏbought€Platters€and€Presley€records€side€by€side€and€played€them€one€after€the€other,€andÏthat€tradition€hasn't€changed€in€thirty„odd€years;€almost€every€band,€in€fact,€except€theÏroughest€and€most€uncom‚promising,€tends€to€diverge€into€fits€of€¢mellowosity£€from€time€toÏtime.€€Witness€¢Aero‚smith£'s€"Dream€On,"€the€Stones'€"Angie,"€the€Clash's€"Broadway,",€notÏto€mention€"Stairway€to€Heaven,€and€countless€others.€€You€can€say€that€these€songsÐ 0,0!$ Ðaren't€true€"rock€'n'€roll"€songs,€but€some€kind€of€latter€day€Tin€Pan€Alley€infused€withinÏrock,€but€that€is€a€capricious€distinction.€€Mellow€is€a€part€of€rock,€a€component€of€theÏwhole,€if€only€to€provide€an€occasional€respite€from€sensory€overload€and€energy€release,Ïor€perhaps€to€fulfill€the€promise€of€rebellion,€the€object€of€angst:€peace,€romance,Ïtranquilityð"ðthe€rewards€for€fighting€so€hard.€The€mellow€songs,€after€all,€were€always€theÏones€played€at€the€end€of€the€dance.€ÌÌÔ& Ø Ôò ò4.€Chuck€Berry,€"¢Maybellene£".€€Recorded€May€1955.€ó óÐ tt Ðà 4 àStill,€this€is€the€stuff€we€really€came€to€hear.€€With€"¢Maybellene£,"€ChuckÔ'Øt^1Ô€BerryÏarrived,€and€so€did€the€Real€Thing.€€This€song€has€every€element€of€bona€fide€rock€'n'€roll:Ïa€fast€¢backbeat£,€blues„based€chords,€knockout€guitar€solos,€a€charismatic€lead€singerÏbelting€out€lyrics€about€fast€cars€and€unfaithful€women.€€That€this€tune€came€to€be€in€1955Ïindicates€how€rapidly€things€were€changing.€€"¢Maybellene£,"€because€of€its€sound€and€whoÏperformed€it,€was€the€no„turning„back€threshold€rock€'n'€roll€event.€€"Rock€Around€theÏClock"€may€have€set€the€table€and€whet€appetites,€but€it€was€Chuck€Berry€who€served€up€aÏmain€course€that€left€the€¢feasters£€insatiable.€ÌÌò ò5.€Little€Richard,€"¢Tutti£€¢Frutti£".€€Recorded€September€1955.€ó óÐ ¬¬ Ðà 4 àTo€kill€the€metaphor,€Little€Richard€might€have€been€dessert.€€Not€as€polished€norÏas€skilled,€nor€as€intelligible,€as€Chuck€Berry,€he€made€up€for€crudeness€with€raw€energy.€ÏA€badly€recorded€monophonic€relic€like€"¢Tutti£€¢Frutti£"€could€still€hold€its€own€against€theÏhardest€hitting€rock€of€any€era€when€it€comes€to€revving€up€an€audience.€€Richard'sÏpowerful,€flexible€shouting/singing€is€mirrored€by€nearly€out„of„control€backing€instruƒ¼mentals:€drums,€bass,€piano,€saxophones.€You€can€picture€the€band€bouncing€around€inÏecstasy,€and€the€teenagers€of€the€fifties,€just€discovering€this€amazing€new€sound,€doingÏthe€same.€A€lot€of€people,€we€can€guess,€must€have€begun€asking€themselves,€"what'sÏgoing€on€here?!"€ÌÌò ò6.€Carl€Perkins,€"Blue€Suede€Shoes".€€Recorded€December€1955.€ó óÐ Ð$Ð Ðà 4 àNow€you're€beginning€to€get€the€idea.€€These€are€songs€you're€familiar€with,€butÏthey€were€each€new€and€unexpected€to€that€original€audience.€Already€the€topic€ofÏdancingð"ðfast,€rhythmic,€boogie€dancingð"ðwas€being€celebrated€in€songs.€€SongwritersÏcould€feel€the€groundswell€as€much€as€anyone.€€What€Perkins€repre‚sented,€in€addition,€wasÏthe€same€thing€that€Elvis€was€about€to€epitomize:€the€wedding€of€R&B€with€Hillƒ¼billy/Country€and€Western,€Black€with€White€music.€€Chuck€Berry€fit€this€mold€as€well,€aÏblack€man€with€a€country€flair.€€Perkins€came€out€of€Sam€Phillips's€Sun€Records€whereÏElvis€had€produced€some€minor€hits€with€"That's€All€Right"€in€1954€and€"Baby€Let's€PlayÐ 0,0!$ ÐHouse"€in€1955.€Despite€his€eclipsing€career,€however,€Elvis€can't€lay€claim€to€this€firstÏand€perhaps€greatest€¢Rockabilly£€smash.€ÌÌÔ& È Ôò ò7,€8.€Elvis€Presley,€"Heartbreak€Hotel,"€"I€Want€You,€I€Need€You,€I€Love€You".Ð Ä Ä ÐRecorded€February€1956.ó ó€Ð °° Ðà 4 àTwo€more€items€for€the€"Can€you€believe€it?"€category:€Can€you€believeÔ'ÈÄ _;Ô€that€allÏthe€above€potent€rock€'n'€roll€was€recorded€and€popular€òòbeforeóó€Elvis€Presley€really€brokeÐ ŒŒ Ðon€the€scene?€€And€can€you€believe€that€Elvis's€first€two€monster€hits€were€so€utterlyÏmellow€as€these€two?€€You€should€believe€both,€because€it€helps€to€demonstrate€that€by€noÏmeans€did€Elvis€òòcreateóó€the€rock€'n'€roll€revolution€that€he€soon€came€to€rule.€€He€enteredÐ PP  Ðinto€the€middle€of€the€chaos€and€immediately€became€its€focus,€but€it€òòwouldóó€have€happenedÐ <<  Ðwithout€him:€it€already€had.€ÌÌà 4 àListening€to€these€songs€today,€their€most€remarkable€feature€is€Presley's€voiceÏitself.€€He€takes€the€Platters'€Tony€Williams's€techniques,€and€any€other€predecessor's,€toÏnew,€uncharted€pinnacles.€For€a€singer€who€was€only€just€encoun‚tering€widespreadÏpopularity,€his€singing€resonates€with€amazing€fortitude€and€confidence,€especially€onÏ"Heartbreak€Hotel,"€where€Presley€alternately€shouts€with€full€lungs€"Well€since€my€babyÏleft€me"€and€then€gulps€back€the€words€"they'll€make€you€so€lonely€baby"€as€if€underÏwater,€without€missing€a€beat.€€These€are€really€blues€songs,€nicely€arranged,€with€slow€butÏsteady€rhythms,€nondescript€except€for€these€astounding€vocals.€€That€Elvis€rose€soÏsuddenly€to€such€unprece‚dented€fame€on€the€strength€of€these€initial€hits,€and€of€those€thatÏcame€immedi‚ately€after,€is€proof€that€young€rock€'n'€roll€fans€were€in€fact€quite€discriminat…¼ing;€they€recognized€and€responded€to€his€exceptional€musical€gift.€€Marketing€strate‚giesÏand€shameless€manipulative€promotion€may€have€dominated€his€subsequent€RCA€career,Ïbut€Elvis€made€it€because€he€deserved€to.€€That€is,€he€was€not€merely€a€white€guy€whoÏsang€like€a€black,€but€a€magnificent€talent€who€was€somehow€keenly€attuned€to€theÏculture.€€I€would€assert€that€before€Elvis€òòbecameóó€the€movement,€he€sensed€it,€howeverÐ è#è Ðunconsciously,€and€moved€on€instinct€to€became€its€leader.€ÌÌò ò9.€Chuck€Berry,€"Roll€Over€Beethoven".€Recorded€February€1956.€ó óÐ ¬&¬ Ðà 4 àThere's€not€much€point€in€elaborating€on€Chuck€Berry's€genius€òòad€infinitumóó,€sinceÐ ˜'˜ Ðit's€been€done€so€much€recently.€€Everything€about€this€song,€from€the€lyrics€to€the€rhythmÏto€the€quintessential€Berry€guitar€licks,€is€the€most€vital€rock€'n'€roll,€the€definition€of€rockÏ'n'€roll,€which€is€exactly€what€the€song€tries€to€be.€€A€slick,€black,€country€R&B€singerÏannounces€with€unmitigated€audacity€that€a€new€musical€era€has€arrived,€and€in€soÏannouncing,€he€makes€it€come€true.€Ð 4,4!$ ЇÔ& Ø Ôò ò10.€Little€Richard,€"Long€Tall€Sally".€Recorded€February€1956.€ó óÐ   Ðà 4 àThis€was€a€good€month.€€Every€bit€as€energetic€and€motivating€as€"¢Tutti£Ô'Ø ”FÔ€¢Frutti£,"Ïthis€song€adds€slightly€more€comprehensible€lyrics,€and€compounds€the€theme€of€"¢havin£'Ïme€some€fun€tonight"€that€was€at€the€foundation€of€the€move‚ment.€€And,€with€theÏmessages€being€put€on€vinyl€during€this€epic€month,€a€movement€was€precisely€what€wasÏunderway.€€The€peak€was€yet€many€months€away€but€already€American€teenagers'Ïawareness€of€a€special€new€force€in€the€world€was€spreading€exponentially.€€Its€benignÏcredoð"ðthat€everyone€should€enthusi‚astically€celebrate€fun€and€romance€and€camarade…¼rieð"ðonly€partly€masked€the€evidence€that€rock€'n'€roll's€popularity€arose€on€a€platform€ofÏdiscontent.€€The€Blues€component€of€R&B,€and€of€rock€'n'€roll,€remained€hidden€within€theÏenjoyment,€translated€into€lost€love€or€sheer€musical€combustion,€but€in€a€way€to€haveÏ"fun"€itself€was€rebelliousð"ðto€have€this€much€fun,€anyway,€to€dance€about€wildly,Ïshouting€and€reeling€to€exhaustion.€€And€the€growing€adherence€to€rock€'n'€roll€as€aÏpurpose,€an€end€in€itself,€¢signalled£€that€this€was€more€to€kids€than€just€a€good€time.€ÌÌÔ& Ä Ôò ò11.€Roy€¢Orbison£,€"¢Ooby£€¢Dooby£".€€Recorded€April€1956.€Ð ÔÔ  Ð12.€Gene€Vincent,€"Be„Bop„a„¢Lula£".€€Released€June€1956.€ó óÐ ÀÀ Ðà 4 àThis€was€the€heyday€of€¢rockabilly£,€when€complete€unknowns€could€flex€theirÔ'ÄÔ~KÔÏproficient€vocal€cords€to€an€R&B€beat,€add€a€country€flair€such€as€a€washboard€or€stringÏbass,€and€take€over€the€nation€for€a€few€weeks.€These€tunes,€especially€Vincent's,€areÏunforgettable€variations€on€the€standard€¢rockabilly£€sound.€€Twenty„five€years€later,€theÏStray€Cats'€Brian€¢Setzer£€could€only€dream€of€replicating€its€authenticity.€€¢Orbison£,Ïmeanwhile,€achieved€an€immense€and€unlikely€comeback€with€his€participation€in€theÏoriginal€Traveling€¢Wilbury£'s,€before€his€untimely€death€in€1989.ÌÌò ò13.€Bill€¢Doggett£,€"¢Honky£€¢Tonk£".€€Released€June€1956.€ó óÐ  "  Ðà 4 àOne€of€the€first€big€instrumental€rock€'n'€roll€hits,€elevating€the€saxophone€to€topÏbilling,€and€proving€that€it€was€not€merely€the€singers'€words€or€images€that€inspired€rockÏ'n'€roll€fans,€but€the€style€itself.€€"¢Honky£€¢Tonk£"€reached€number€two€on€the€charts€on€theÏstrength€of€a€very€catchy€melody€and€an€unshak‚able€rhythm,€nothing€more.€€The€beat,Ïincidentally,€is€enhanced€by€clapping€hands€that€some‚how€bring€the€whole€recording€closerÏto€the€audience:€it's€hard€not€to€clap€along.€ÌÌÔ& Ø Ôò ò14.€Elvis€Presley,€"Don't€Be€Cruel".€€Recorded€July€1956.€ó óÐ l)l! Ðà 4 àThis€was€the€first€major€peak€in€the€rock€'n'€roll€explosion.€€"Don't€BeÔ'Øl)èPÔ€Cruel"Ïreached€number€one€simultaneously€on€Billboard's€pop,€R&B,€and€country€charts,€the€firstÏrecord€ever€to€do€so.€€The€symbolism€is€obvious:€blacks,€country€folk,€and€averageÐ 0,0!$ Ðsuburban€whites€were€all€enthralled€with€the€phenomenon€repre‚sented€by€Elvis.€€ToppingÏboth€the€pop€and€R&B€charts€at€once€was€actually€fairly€common€for€both€black€and€whiteÏartists€in€the€early€¢1950s£,€and€sporadically€thereafter;€it€was€bringing€in€the€country€fansÏthat€was€more€remarkable.€€Presley€would€do€the€trick€a€couple€of€more€times,€and€theÏ¢Everly£€Brothers€and€Jerry€Lee€Lewis€would€also€achieve€the€same€feat€in€the€next€twoÏyears,€but€country€music€listeners€soon€retreated€from€the€rock€'n'€roll€coalition,€and€recentÏdecades€have€seen€a€fairly€sharp€separation€between€country€music€and€rock€music,€withÏthe€pop€charts€tilting€back€and€forth€between€derivatives€of€each.€€Black€popular€music,€inÏparticular,€no€longer€displays€any€significant€relation€to€country,€and€vice€versa.€€For€aÏbrief€time,€however,€there€was€certifiable€unity€across€these€highly€diverse€audiences,Ïadding€to€the€legend€of€primeval€rock€'n'€roll.€ÌÌà 4 à"Don't€Be€Cruel"€is€certainly€a€worthy€recording€to€be€granted€this€honor:€upbeat,Ïwell„sung,€and€competently€arranged€and€recorded.€€In€its€context,€it€seems€merely€to€haveÏarrived€at€the€right€time,€when€teenagers€of€all€stripes€were€buying€records€in€droves€andÏwere€loony€over€the€King.€€Nor€did€it€hurt€that€the€flip€side€of€the€single€was€Elvis'sÏversion€of€"Hound€Dog,"€noticeably€louder€and€harder€than€Willie€Mae€Thornton's.€€WithÏthis€release,€if€not€before,€Elvis€achieved€a€"can€do€no€wrong"€status€with€his€fans,€andÏwith€a€broader€segment€of€the€American€public.€€Although€Establishment€critics€andÏunsuspecting€parents€either€dismissed€or€lambasted€him,€the€entertainment€industryÏcouldn't€ignore€Presley's€unprecedented€appeal,€and€income€potential.€He€began€appearingÏon€television€shows,€movie€contracts€were€drawn€up,€and€each€record€he€released€outsoldÏthe€last.€€It€is€sometimes€hard€to€remember,€I€think,€that€the€pitiful€shell€who€sedatedÏhimself€to€death€in€1977,€and€whose€spirit€is€shamelessly€retrieved€in€uncounted€¢sleazoid£Ïmagazines€on€a€weekly€basis,€was€actually€a€vibrant€20„year„old€godchild€in€1956,€whoseÏvery€newness€and€unbridled€pleasure€in€his€own€craft€sent€legions€of€youthful€fans€intoÏrecurrent€ecstasy.€€That€intense€a€reception€(which€of€course€is€what€keeps€his€name€andÏface€beside€the€checkout€counters)€has€been€replicated€only€once€in€the€interveningÏdecades,€with€the€arrival€of€the€Beatles€from€another€shore.€€No€¢Springsteen£,€GratefulÏDead,€Bon€¢Jovi£,€Madonna,€or€Michael€Jackson€can€claim€inheritance€of€Elvis's€throne,Ïregardless€of€how€many€records€they€sell€or€concert€hall€seats€they€fill.€€His€was€a€break…¼through€in€cultural€evolution€itself:€the€origin€of€the€Superstar.€€All€the€others€have€merelyÏfollowed€his€lead,€imperfectly€silhouetting€the€Elvis€Presley€idol.€€Until€a€new€phenomenonÏarrives€that€captures€the€world€as€only€he€and€the€Fab€Four€did,€all€subsequent€"pop€stars"Ïmust€be€counted€as€no€more€than€disciples.€Ìâ âÐ D+D # Ðò òñ,ñÔ& ° Ôâ âñ,ñ15.€Fats€Domino,€"Blueberry€Hill".€€Released€September€1956.€ó óÐ   Ðâ âà 4 àThat€this€record€was€as€popular€as€it€was€(#4,€#1€on€the€R&B€chart)€in€the€midst€ofÏthe€rock€'n'€roll€outburst€demonstrates€the€enduring€rhythm€and€blues€influence€among€theÏpopular€audience.ñ,ñÔ'° )^Ôñ,ñ€€This€is€a€mellow€New€Orleans€ballad,€far€removed€from€the€Elvis„¼Chuck€Berry€schoolð"ða€pleasant€change€of€pace€in€factð"ðand€it€works€largely€because€it€isÏso€òòauthenticóó.€€Of€course,€Fats's€jolly€public€image€worked€too,€again€in€contrast€to€the€sexÐ œœ Ðand€youth€appeal€of€the€major€teen€stars.€€To€be€different€and€real,€and€true€to€one's€roots,Ïhas€always€been€the€surest€success€formula€for€rock€'n'€roll€performers.€ÌÌò ò16.€Elvis€Presley,€"Too€Much".€€Released€January€1957.€ó óÐ LL  Ðà 4 àThere's€been€some€discussion€among€rock€'n'€roll€historians€that€the€movementÏnearly€died,€almost€as€suddenly€as€it€arrived,€in€late€1956.€The€hiatus€represented€here€forÏexample€(September€to€January),€seems€a€lifetime€compared€with€the€rapid„fire€releases€ofÏearly€and€mid-1956.€€I€don't€see€that€rock€'n'€roll€was€at€all€sickly,€however;€it€may€haveÏjust€needed€a€breather.€€Certainly€unless€talents€like€Elvis,€Berry,€Little€Richard,€et€al,€wereÏconcurrently€removed€from€the€scene€(q.v.€1959-60),€there€was€little€chance€that€theÏcreativity€and€the€energy€would€dry€up.€€And€once€inspired,€the€teenage€audience€wouldÏsurely€never€choose€to€abandon€its€discovery,€contrary€to€the€wishful€expectations€of€manyÏadults.€€In€any€event,€hindsight€proves€that€rather€than€fading,€rock€'n'€roll€was€in€for€aÏrenewed€thrust€in€1957€that€would€even€surpass€the€bedlam€of€the€previous€year.€€ElvisÏappropriately€opened€the€gates€with€this€hit,€which€reached€#1€despite€not€beingÌreleased€as€a€single.€ÌÌò ò17.€The€Coasters,€"Young€Blood".€€Recorded€February€1957.€ó óÐ 4 4 Ðà 4 àThe€first€of€many€Coasters€hits€(they€previously€charted€as€the€Robins€withÏ"Smokey€Joe's€Cafe"),€and€also€one€of€the€first€major€successes€for€songwriters€JerryÏ¢Lieber£€and€Mike€¢Stoller£,€two€of€the€hidden€heroes€of€rock€'n'€roll.€€In€addition€to€compos…¼ing€many€of€Elvis's€greatest€hits,€¢Lieber£€and€¢Stoller£€were€behind€dozens€of€songs€by€suchÏblack€performers€as€the€Coasters,€the€Drifters,€and€¢Lavern£€Baker.€€Here€was€a€more€subtleÏmarriage€of€black€R&B€with€white€music:€two€white€songwriters€creating€hit€material€forÏblack€singers,€and€reaching€the€top€of€the€R&B€charts€in€the€process.€€The€lines€betweenÏcultural€groups€were€that€blurred,€both€behind€the€studio€doors€and€in€the€ears€of€theÏlistening€audience.€€Compared€with€the€level€of€segregation€that€has€returned€lately€to€theÏrock€industry,€this€achievement,€less€than€three€years€after€òòBrown€v.€Board€of€Educationóó,Ð l)l! Ðand€well€before€the€Civil€Rights€movement€really€caught€hold,€is€doubly€impres‚sive.€€AsÏâ âwith€other€remnants€of€'¢50s£€rock€'n'€roll,€music€like€the€Coasters'€tends€to€be€ignored€orÐ D+D # Ðsneered€at€by€contemporary€listeners,€even€"nostalgic"€ones.€That€is€especially€unfortunate,Ïgiven€the€ideal€of€common€heritage€and€mutual€apprecia‚tion€they€symbolized.€Ìâ âÌò ò18.€Chuck€Berry,€"School€Days".€€Released€March€1957.€ó óÐ Ä Ä Ðà 4 àThis€is€another,€even€better€example€of€that€cross„racial€model.€€In€what€isÏarguably€Berry's€greatest€anthem,€his€combined€ballad€of€teenage€life€in€the€mid¢-1950s£€andÏsalute€to€the€triumph€of€rock€'n'€roll,€there€is€an€unmentioned€and€fascinating€incongruity.€ÏChuck€Berry,€a€¢thirtyish£€black€man€from€St.€Louis€by€way€of€Chicago,€is€describing€theÏlives€of€white€teenagers€in€the€suburbs€of€Milwaukee€and€Cleveland€and€Baltimore.€MoreÏto€the€point,€this€"¢negro£"€was€singing€about€classrooms€and€"juke€joints"€where€no€blacksÏattended.€€Intentional€segregation€was€still€dominant€throughout€America,€but€that€didn'tÏextend€to€the€records€that€kids€bought€and€listened€to.€€By€showing€his€intuitive€under…¼standing€of€his€aud‚ience's€youthful€restlessness,€and€providing€a€free€and€exhilarating€wayÏout,€Chuck€Berry€may€have€contributed€as€much€to€the€impending€shift€in€young€whites'Ïracial€attitudes€as€the€Supreme€Court€and€the€Southern€Christian€Leadership€Confer‚ence.€Ï"Deliver€me€from€the€days€of€old"€could€have€more€than€one€meaning.€ÌÌò ò19.€Elvis€Presley,€"All€Shook€Up".€€Released€March€1957.€ó óÐ ¬¬ Ðà 4 àConsidering€his€tremendous€popularity,€Presley€sure€can't€be€accused€of€resting€onÏhis€laurels,€going€through€the€motions.€€I'm€only€including€a€handful€of€his€1956-57€hits€onÏthis€list;€there€were€others€equally€memorable.€€Elvis's€songs€did€indeed€decline€to€aÏrelatively€mediocre€level€by€1959€when€he€entered€the€army,€but€for€three€or€four€years€heÏhad€an€astounding€series€of€not€only€success‚ful€but€original€and€quality€recordings.€ÌÌò ò20.€The€¢Everly£€Brothers,€"Bye€¢Bye£€Love".€€Released€April€1957.€ó óÐ  !  Ðà 4 àNow€things€really€start€to€heat€up,€as€the€second€wave€of€artists€and€recordingÏcompanies€arrives.€€The€¢Everlys£€also€emerged€from€the€country€and€western€school€toÏdiscover€a€new€rhythm€and€a€massive€audience.€€They€intro‚duced€white€vocal€harmoniesÏthat€would€inspire€the€Beatles,€the€Beach€Boys,€and€Simon€and€¢Garfunkel£,€and€yieldedÏ¢danceable£€music€that€relied€primarily€upon€acoustic€guitars.€€The€theme,€lost€love,€was€asÏold€as€they€come,€but€the€approach€was€altogether€new.ÌÌò ò21.€Jerry€Lee€Lewis,€"Whole€¢Lotta£€¢Shakin£'€¢Goin£'€On".€€Released€May€1957.€ó óÐ €(€  Ðà 4 àBelieve€it€or€not,€it€gets€even€better.€€Jerry€Lee€Lewis's€reputation€has€endured€forÏmore€than€thirty€years,€which€is€surprising€if€you€consider€that€he€only€had€three€real€hitÏrecords,€covering€less€than€two€years.€€A€big€part€of€the€reason,€of€course,€is€the€contro…¼versies€he€incited€with€his€raucous€antics€and€his€underage€bride;€Jerry€Lee€would€haveÐ 0,0!$ Ðbeen€prime€òòNational€Enquireróó€material.€€But€another,€perhaps€more€important€cause€of€hisÐ   Ðpersistence€is€the€records,€"Whole€¢Lotta£€¢Shakin£'"€premier€among€them.€€The€pounding,Ïsingle€chord€piano€solo€is€by€itself€both€Jerry€Lee's€trademark€and€a€rock€'n'€roll€institution.ÏMy€favorite€bit€is€his€soft„spoken€"Shake€it€baby,€you€can€shake€it€one€time€for€me."€JustÏthe€title€of€the€song€captures€everything€one€needs€to€hear€about€rock€'n'€roll's€incipientÏmean‚ingð"ð‚rhythm,€slang,€colloquialism,€and€pervasivenessð"ðonly€it€says€it€with€feelingÏinstead€of€pretentious€analytical€detachment.€ÌÌÔ& Ø Ôò ò22.€Buddy€Holly€and€the€Crickets,€"That'll€Be€the€Day".€Released€May€1957.€ó óÐ `` Ðà 4 àThe€general€consensus€seems€to€be€that,€had€he€lived,€Buddy€Holly€wasÔ'Ø`lxÔ€destined€toÏbecome€rock€'n'€roll's€greatest€champion,€eclipsing€even€Elvis€and€Chuck€Berry.€€Back€inÏ1957,€it€must€have€been€almost€too€much€to€take,€after€the€succession€of€great€performersÏand€songs€that€had€engulfed€the€nation€already,€including€the€above€new€entries€from€theÏ¢Everlys£€and€Jerry€Lee,€to€be€again€assaulted€by€still€another€new€singer,€whose€song€wasÏyet€one€more€notch€above€its€predecessors.€The€kids€must€have€been€exhausted€(listeningÏto€this€tape€is€exhaust‚ing!).€€Rock€'n'€roll€by€springtime€1957€was€like€an€opiate€or€a€strongÏdrink€that€just€kept€getting€stronger,€steeping€its€fans€in€loftier€euphoria€with€each€passingÏweek.€ÌÌò ò23.€Little€Richard,€"Lucille".€€Released€May€1957.€ó óÐ „„ Ðà 4 àPre„historic€Heavy€Metal:€the€louder€it€is€played,€the€more€exciting€it€sounds.€ÏWhite€Snake€has€nothing€on€Little€Richard.€ÌÌÔ& Ä Ôò ò24.€Huey€"Piano"€Smith€and€the€Clowns,€"¢Rockin£'€Pneumonia€and€the€BoogieÐ 4 4 ТWoogie£€Flu".€€Released€mid-1957.€ó óÐ  !  Ðà 4 àHow€come€there€has€been€so€much€attention€given€to€the€origins€of€theÔ'Ä4 ­|Ô€term€"rockÏ'n'€roll,"€but€no€one€asks€about€the€origins€of€"boogie€¢woogie£"?€€As€another€euphemism€forÏdancing€and/or€sex,€it€seems€almost€more€appropriate,€more€dirty.€€As€a€throw„away€NewÏOrleans€fun€song€from€1957,€this€little€gimmick€is€as€representative€as€any€of€the€atmo…¼sphere€that€year.€€It€stood€out€well€enough€that€fifteen€years€later€in€1972,€fellow€Louisƒ¼ianan€Johnny€Rivers€(of€"Secret€Agent€Man"€fame)€was€able€to€produce€a€number€six€hitÏwith€his€cover€version.€ÌÌò ò25.€Elvis€Presley,€"Loving€You".€€Released€June€1957.€ó óÐ l)l! Ðà 4 àPresley's€baritone€on€this,€the€ultimate€slow€dance€number,€is€almost€too€powerful:Ïhis€"don't€you€be€blue..."€virtually€rumbles€the€floor.€The€recording€could€probably€doÏwithout€the€silly€backing€chorus,€but€that€was€the€state€of€the€art€for€the€time.€€In€fact,€theÐ 0,0!$ Ðentire€song€would€be€unappealingly€syrupy€if€it€weren't€for€Elvis's€extraordinary€voice.€€ItÏwasn't€enough€that€he€whipped€young€girls€into€a€frenzy€with€his€gyrations€and€bop…¼pingð"ðthis€kind€of€record€had€them€swearing€off€any€other€lover,€devoting€their€lives€toÏElvis's€worship.€€Tommy€the€greaseball€down€the€street€never€sang€like€that.€ÌÌò ò26.€¢Everly£€Brothers,€"Wake€Up,€Little€Susie".€€Released€August,€1957.ó ó€Ð œœ Ðà 4 àAside€from€the€¢Everlys£'€musical€contributions,€particularly€their€pioneeringÏharmonies,€this€song€stands€out€from€its€time€as€startling€evidence€that€teenage€sex€wasÏnot,€in€fact,€an€invention€of€the€¢1960s£.€The€characters€in€the€song,€Susie€and€her€boyfriend,Ïare€about€to€get€in€trouble€because€they€fell€asleep€at€the€movies€on€a€date,€and€now€it'sÏfour€o'clock€in€the€morning.€€Their€"reputation€is€shot."€They€lament,€"what€are€we€gonnaÏtell€our€friends€when€they€say€'ooh€la€¢la£!'?"€In€other€words,€the€whole€world€is€going€toÏassume€that€they've€been€out€screwing!€€That€the€clean€cut€kids€in€the€song€are€actuallyÏinnocent€doesn't€change€the€fact€that€the€suspicions€must€be€founded€in€some€awareness€ofÏand€concern€about€teenagers€messing€aroundð"ði.e.,€it€must€have€happened€for€realÏsometimes.€€And€this€is€the€mainstream€white€culture€were€talking€about:€the€¢Everly£ÏBrothers€were€as€harmless€and€cute€a€duo€as€rock€'n'€roll€produced,€not€some€dubiousÏblack€blues€pickers€with€a€bottle€in€their€pocket€and€a€leer€in€their€eye.€€If€òòtheyóó€knew€whatÐ °° Ðsex€was,€and€thatð"ðooh€la€¢la£!ð"ðit€sometimes€happened€between€teenagers,€then€everyoneÏmust€have€known...€€So€much€for€the€innocence€of€the€era.€ÌÌÔ& Ø Ôò ò27.€Buddy€Holly,€"Peggy€Sue".€€Released€September€1957.€ó óÐ `` Ðà 4 àAnother€of€Holly's€legendary€offerings,€showcasing€his€acrobatic€vocal€cordsÔ'Ø`À‡Ô€andÏhis€innate€sense€of€rhythm.€For€me€it€doesn't€have€the€overwhelming€inspira‚tion€of€"That'llÏBe€the€Day,"€nor€is€it€in€a€league€with€his€less€familiar€"Rave€On,"€but€"Peggy€Sue"Ïsomehow€came€to€symbolize€for€many€people€the€whole€fifties€era.€€The€credit€for€that€liesÏlargely€in€the€name€Peggy€Sue€itself.€€They€don't€give€girls€names€like€that€any€more;€itÏretains€a€certain€pre„sixties€naivete€and€cuteness,€an€image€of€pig€tales,€bobby€socks,€longÏwool€skirts,€innocent€smiles,€high€school€proms.€€Whether€or€not€such€girls€ever€existed€isÏrather€irrelevant:€our€memory€of€the€era€can€be€solidified€by€such€icons€(reconstructed,€inÏthis€case,€thirty€years€later€by€Kathleen€Turner€in€the€film€"Peggy€Sue€Got€Married"),€justÏas€the€fleeting€image€of€Buddy€Holly€himself€somehow€captures€the€essence€of€that€timeÏand€preserves€it.€€Buddy€Holly€never€had€a€chance€to€get€old€and€alter€or€shatter€theÏworld's€impression€of€him;€Peggy€Sue€never€ages€either.€€Somewhere€in€teenage€fantasyÏheaven€he€is€still€courting€her€and€she€is€¢coyishly£€shying€away€from€his€advances.€€The€sunÏis€shining€on€their€suburban€town,€the€proverbial€'57€Chevy€convertible€is€parked€in€frontÏof€her€house,€and€good€times€rock€'n'€roll€is€thump‚ing€over€at€the€Malt€Shop,€down€theÐ 4,4!$ Ðstreet€from€the€school€field€where€the€football€team€is€practicing.€€Why€is€it€so€easy,€soÏautomatic,€to€conjure€up€these€visions?€€Similar€stereotype€pictures€of€other€eras€seem€lessÏclear,€more€ambigu‚ous.€€The€fifties€are€defined,€in€our€times,€by€their€simplicity;€complex…¼ity€is€what€came€later.€ÌÌà 4 àI€don't€have€any€answers,€other€than€a€suggestion€that€perhaps€lives€òòwereóó€simpler€inÐ œœ Ðthe€fifties,€at€least€for€a€couple€of€years.€€Rock€'n'€roll€was€not€really€disruptive€to€theÏAmerican€social€fabric,€despite€its€tremendous€and€sudden€impact€on€teenagers'€lives;€itÏactually€provided€a€structure€that€was€somewhat€lacking€before,€a€code€of€living€thatÏòòrequiredóó€the€car,€the€dance,€the€Friday€night€date,€the€entire€lifestyle€depicted€andÐ LL  Ðcelebrated€in€the€songs.€€Until€other€influences€splintered€and€diversified€the€audience,Ïmaybe€rock€'n'€roll,€for€all€its€rebellious€reputation,€inspired€conformism€more€thanÏanything€else.€ÌÌò ò28.€Danny€and€the€Juniors,€"At€the€Hop".€€Released€November€1957.€ó óÐ èè  Ðà 4 àCase€in€point:€the€Hop.€€This€song€is€as€much€a€commandð"ð"let's€go€to€theÏHop"ð"ðas€a€description€of€an€event.€€By€this€time,€with€rock€'n'€roll€intractably€establishedÏas€the€dominant€influence€in€teens'€lives,€the€music€often€spoke€directly€about€itself,€singingÏits€own€praises.€To€a€cynical€outsider,€this€could€have€seemed€like€brainwashing€propa…¼ganda;€to€the€insider€it€was€more€like€ritual€celebration.€€Either€way,€the€lifestyle€wasÏexponentially€reinforced.€€But€the€point€of€this€whole€¢discography£€is€that€it€was€allÏòòjustifiedóó,€because,€damn€it,€the€music€was€so€great!€€Inspiration€inspired€further€inspira…Ð \\ Ðtion,€and€the€young€American€(and€soon€European)€audience€was€gleefully€carried€alongÏon€the€wave.€€In€every€way,€this€wonderful€little€piece€of€propaganda€by€Danny€and€theÏJuniors€fits€that€qualifica‚tion.€ÌÌò ò29.€Jerry€Lee€Lewis,€"Great€Balls€of€Fire".€€Released€November€1957.ó ó€Ð ø"ø Ðà 4 àAnother€masterpiece€mixture€of€beat,€boogie€piano,€lyrical€tricks,€personali‚ty,Ïenergy,€sexiness.€€Another€exhibit€in€the€Hall€of€Fame,€another€Classic.€€In€1957,€justÏanother€button€on€the€juke€box.€ÌÌò ò30.€Chuck€Berry,€"Sweet€Little€Sixteen".€€Released€January€1958.€ó óÐ ˜'˜ Ðà 4 àThe€rock€'n'€roll€juggernaut€didn't€stop€in€1958,€but€it€slowed€down€a€bit€from€theÏbreakneck€pace€of€1956-57€that€I've€tried€to€portray€here.€To€close€out€the€period,€ChuckÏBerry€submits€another€quintessential€anthem.€€Among€its€many€merits,€this€song€intro…¼duced€the€idea€of€nationwide€unity€in€the€rock€'n'€roll€community,€ticking€off€a€handful€ofÏcities€that€span€the€continent,€where€"they're€really€¢rockin£'"€and€"all€the€cats€want€to€danceÐ 4,4!$ Ðwith€sweet€little€sixteen."€Other€songs€have€since€repeated€this€theme,€including€MarthaÏand€the€¢Vandellas£'€"¢Dancin£'€in€the€Streets"€and€Huey€Lewis's€"Heart€of€Rock€'n'€Roll."€ÏSuch€was€Berry's€brilliance,€and€such€was€the€magic€of€rock€'n'€roll,€that€it€made€kids€feelÏthat€they€belonged€to€something€big,€important,€and€widespread.€€There€is€nothingÏgratuitous€about€comparing€that€revolution€with€the€movements€inspired€by€written€words,Ïe.g.,€Thomas€Paine's,€in€other€eras.€ÌÌÌà 4 àThus€we€have€the€inception€of€the€Rock€era,€brought€about€by€a€confluence€ofÏideas€and€feelings€and€creative€experiments,€founded€on€the€restlessness€and€dispossessionÏgrowing€among€American€children€of€the€second€World€War.€€This€was€no€small€momentÏin€history,€for€the€effects€of€these€two€years'€echoes€continue€to€spread,€to€other€nations,Ïto€new€generations,€to€the€thrones€of€power€and€the€seats€of€wealth,€as€well€as€to€theÏdispossessed€and€restless€youth€of€a€new€era.€€Rock€'n'€roll€revival€is€only€partly€nostalgic:Ïit€also€signifies€a€yearning€for€rejuve‚nation,€for€the€kind€of€¢uncompromised£€exuberanceÏthat€those€star„crossed€kids€shared€over€thirty€years€ago.€€Although€the€movement€hasÏwandered€many€and€varied€paths€during€those€years,€it€has€retained€at€least€the€uncon…¼scious€memory€of€its€glorious€birth.€€And€in€many€respects€we€can€claim€that€the€entireÏdiverse€and€volatile€history€of€Rock,€both€the€music€and€the€movement,€boils€down€to€aÏsearch€for€its€own€roots,€for€Paradise€regained.€€That€Paradise€should€be€defined€inÏsimplistic,€youthful,€romantic,€communal,€òònonóó„ideological€termsð"ðall€traits€from€whichÐ pp Ðrock€has€so€often€deviated,€or€that€have€eluded€so€much€of€rock,€in€the€ensuing€de…¼cadesð"ðonly€reinforces€the€conviction€that€the€ideology€of€"Rock€Around€the€Clock,"Ï"Blue€Suede€Shoes,"€"Roll€Over€Beethoven,"€"Don't€Be€Cruel,"€"Whole€¢Lotta£€¢Shakin£',"Ï"Peggy€Sue,"€and€"Sweet€Little€Sixteen,"€is€the€only€rock€ideology€that€has€ever€reallyÏmattered.ÌÌà@**&ìàð"ðEND€CHAPTER€2ð"ð