From its raucous beginnings to the time of its mainstream acceptance, Rock and Roll was youth music. More exactly, it was the music of the teenager. Born of postwar affluence and the increased leisure time such affluence afforded young Americans, the teenager was a thing new to the American landscape. If for some they were an object of anxiety, this had everything to do with the fact that teenagers defined themselves in opposition to the parent generation.

 

Rebellion was a part of being a teenager... and Rock and Roll was an expression of that rebellion and of the growing gap between generations. From the teen surf culture celebrated in the music of the Beach Boys to the mini-melodramas of the Shangri-Las’ Girl Group sound and teen dances including the Twist, the Stroll, the Mashed Potato, and the Watusi, the world of the teenager was made larger and more powerful through the music itself. As 60s Soul and the British Invasion demonstrated, it would be the teenagers, inspired by their music, who would define American life moving forward.

 

The teenage culture of the fifties and early sixties was the seedbed for the youth-driven counterculture of the late sixties and early seventies. This shift toward a countercultural sensibility among young people was reflected in the music itself. If in the 50s Rock and Roll had been viewed primarily as a popular entertainment, in the period of “transformation” it would come to be viewed as - in its most elevated forms - an Art.

 

In the hands of Bob Dylan, the Rolling Stones, the Beatles, and others, music became a “serious” thing. As young people faced the troubling facts of a war that included them and a country that refused them the right to vote, music now offered, among other things, a megaphone through which their disillusionment could be voiced. As the nation saw the rise of the Civil Rights movement and the Black Power movement that followed, artists like Marvin Gaye, James Brown, and Stevie Wonder used music to express feelings of frustration about the racial divide and excitement around the possibility of change. And as the music addressed the world of which it was a part, the music grew more complex, more varied—but, importantly, that music was also changing the world in ways it hadn’t previously.

 

For a brief time, Rock and Roll seemed almost to be building its own utopia. In late sixties Rock and Roll culture in particular, the walls erected in the wider world - between the races, between men and women, between nations - seemed to collapse. The record collections of the young Rock and Roll audience often included R&B, Hard Rock, Blues, Pop, Jazz, Country, and more. Free Form FM radio mirrored this eclectic but inclusive approach to music by creating inventive playlists unbound by genre.

 

And, then, as the “Fragmentation” crept in, the old walls seemed to reassert themselves. Fan communities, radio formats, and, indeed, even personal record collections came to be defined by genre. Hard lines were drawn. Punks defined themselves in opposition to the fans of arena rock groups like Led Zeppelin. Grunge borrowed from Heavy Metal but, more adamantly still, refused the theater of Heavy Metal. Radio was again split down racial lines. If Rock and Roll culture, in the broad sense, had been connected with youth culture as a whole, and this brought different genres and traditions into dialogue with one another, now Rock and Roll culture grew increasingly fragmented. It wouldn’t mean the end of the music, but some of the promise of late sixties Rock and Roll was, for the moment, compromised.

 

Note:  The above overview came from the website Rock and Roll: An American Story.  This website is an excellent source for teaching the history of Rock and Roll, and includes multiple 'chapters' detailing rock and roll history, videos, lesson plans, student worksheets etc.  To access this website, click the button below.