Why 1950s rock and roll faded and what came next

The 1950s is often remembered as a period of remarkable prosperity, particularly in the United States, but it was also a time defined by rebellion and change driven by teenagers. These young people were labeled "Depression babies" in 1954, yet simultaneously called "The Luckiest Generation." An article from 1954, revisited in 2014 by journalist Ben Cosgrove, describes a time when jobs were plentiful and teenagers could even afford to buy their own cars. According to Cosgrove, "teenagers are not only driving new cars to school but in many cases are buying them out of their own earnings."

During the late 1940s and early 1950s, the music produced—primarily through Tin Pan Alley—targeted the entire family. There was no separate market for the younger generation. By the early 1950s, however, it became clear that teenagers represented a distinct demographic with disposable income. As Cosgrove noted, "Young people 16 to 20 are the beneficiaries of the very economic collapse that brought chaos almost a generation ago." This generation did not share the same worried or conservative attitudes of their parents, who had lived through the Great Depression.

Sagolla captures this tension well: "The 1950s was an era marked by simmering tensions born out of contradictions between traditional values of those in power and the new ideas of young innovators who were instigating changes in social relations, technology, business, the arts, and entertainment."

Out of these shifting attitudes, combined with economic growth and the rising teenage spending demographic, a new, rebellious, and controversial music genre exploded in popularity: rock and roll.

Many people think of the 1950s as a time of peaceful conformity. Sagolla, however, points out that although "the decade is commonly remembered as a quiet conformity period, that is largely because of the media's depictions of the happy fifties families," the reality was a constant push and pull between generations. "Underlying the optimism of the fifties youth was a constant struggle to move forward in an era when power was still largely in the hands of an older order." The younger generation had "little interest in the strict moral codes or otherwise conservative behavior of their parents."

The roots of 1950s rock and roll were deeply embedded in African American blues. As Sagolla explains, "There was an increased and potent impact of black culture on American life, notably in visual, dramatic, and musical arts." Given the racial tensions of the era, the older generation generally viewed this music negatively, as it was dominated by black artists like Fats Domino ("Blueberry Hill," "Ain't That a Shame"), Little Richard ("Long Tall Sally," "Tutti Frutti"), and Chuck Berry ("Johnny B. Goode," "Sweet Little Sixteen"). Sagolla notes, "Many adults violently objected to what they perceived as rock 'n' roll's vulgar qualities: its hard-driving beats; sexual innuendos in the song lyrics; its roots in African-American rhythm and blues, then referred to as 'race' music."

Because of this racial tension, there was a push for "safer" versions of popular black songs. As Sterling writes, "Increasingly, artists were recording softer versions of popular black songs." A prime example is Fats Domino's "Ain't That a Shame," which was covered by the white singer Pat Boone. While white rock and roll artists like Jerry Lee Lewis ("Whole Lotta Shakin' Goin' On," "Great Balls of Fire"), Buddy Holly ("Peggy Sue," "That'll Be the Day"), and Elvis Presley were emerging, they were still far from the ideal role models parents wanted for their children.

Sun Records, the major label of the era, signed both Jerry Lee Lewis and Elvis Presley. Founder Sam Phillips once famously remarked, "If I could find a white man who could sing like a black man, I would make a million dollars." As Bertrand explains, when Elvis finally auditioned, Phillips sought a "white boy who could sing the blues." Many agree Phillips found what he was looking for in Lewis and Presley. Both were famous for their superstar antics and the iconic "sex, drugs, and rock and roll" lifestyle. De Ladurantey states, "The bad-boy image worked for Eddie Cochran, Gene Vincent, and Jerry Lee Lewis. For Jerry Lee Lewis it had to work, as he threw himself under the bus by marrying his thirteen-year-old cousin."

Toward the end of the 1950s, a series of unfortunate events proved disastrous for rock and roll. In 1957, Elvis Presley was drafted into the army. Altschuler notes this wasn't necessarily damaging, as "movie releases, a backlog of RCA singles and albums, and publicity about the world's most popular private getting a GI haircut or completing basic training would keep him in the public eye." Meanwhile, other artists faced vilification. In 1958, Jerry Lee Lewis's career collapsed after marrying his 13-year-old cousin. Sam Phillips lost hope in Lewis, and as Bragg writes, "Sam would never again risk significant money on his prodigal son." Lewis "had committed not one offense but two, simultaneously: bigamy and cradle robbing. Marrying a cousin was also frowned on by most in the wider world."

Little Richard also struggled with inner moral conflict between his identity as a flamboyant, homosexual performer and his religious beliefs. According to White, "Despite the high life, or because of it, there were definite signs in Richard's behavior that the ever-present conflict between the delights of the flesh and the needs of his soul were coming to the surface." Little Richard set out to tour Europe, but the opening concert in London was only half full and plagued by poor equipment. "His English counterparts were not ready for him at all"—"Richard himself seemed like a being from another planet in his pixie-pink jumpsuit." Following this disastrous tour, Little Richard immersed himself in religious studies.

The most shocking event was the fatal plane crash that killed Buddy Holly, Ritchie Valens, and J.P. "The Big Bopper" Richardson. Altschuler notes, "Some saw the hand of God striking out against rock 'n' roll in the plane crash near Clear Lake, Iowa, on February 3, 1959." This event was later immortalized by Don McLean as "The Day the Music Died."

An argument can be made that 1950s rock and roll was doomed from the start. Society—especially the older generation—was not ready for this kind of self-expression, racial and sexual acceptance. The antics of these performers were simply too much for the conservative, older order to handle. This quiet period marked the rise of something deemed "safer" for the youth of the 1960s: the "teen idols."

Rock and roll had created chaos in the music industry, so agents and labels felt they needed to regain control. While a controversial artist could generate great publicity, they also carried significant risk, as seen with Jerry Lee Lewis. The teen idols became safe, sanitized versions of Elvis and his contemporaries. According to De Ladurantey, "Hollywood saw the potential for creating stars that had looks and marginal talent. They could always give someone singing lessons and groom their style."

The goal was to create sensible role models for young people. These teen idols included Bobby Vee, Frankie Avalon, Pat Boone, and Paul Anka—all portrayed as good-looking and "safe" boys for girls to "go steady with." De Ladurantey explains, "The polished images of performers like Pat Boone assured him a place in teen lore, but in a rather subdued manner. His background and white buck shoes set well with parents as an alternative to the somewhat rambunctious Elvis." These young talents "had to be just the right age. Anything younger than 20, no facial hair." The "sterling image" of these teen idols offered a welcome change from the wild antics of Jerry Lee Lewis and Little Richard.

Meanwhile, in 1960, Berry Gordy founded Motown Records. Altschuler describes it as "the biggest black-owned corporation in the United States, with African Americans filling virtually all creative positions." Within a short time, Gordy "had put in place the elements of the Motown empire: a studio, several labels, a publishing company, a management agency, and long-term contracts with a stable of immensely talented African American R&B, gospel and pop artists." From 1961 to 1966, Motown's roster included the Temptations, Martha and the Vandellas, Marvin Gaye, the Four Tops, the Miracles, the Supremes, and Stevie Wonder. "The 'Motown Sound' made brilliant use of studio technology to produce lively and danceable songs which were enormously popular among black as well as white consumers."

Motown offered a watered-down version of gospel and blues—"a sound of young America [that] aimed to please rather than provoke." Gordy was careful about his audience. As Altschuler notes, "Gordy was mindful of the audience he was trying to reach and countenanced nothing political, let alone militant." Gordy's larger plan involved longevity for African Americans in the music industry and a shift in public opinion about black people. "Gordy's goal, to be more precise, was fulfillment by blacks of the American Dream; the means was a demonstration by example that a nation enriched itself when it opened careers to talent, regardless of race."

Many argue that rock and roll died out because of the infamous 1959 plane crash. Yet there is a case to be made that it was already fading prematurely. The older generation of conservative parents still held significant influence and power, creating a struggle to move forward. Perhaps the ideas of racial integration and sexual freedom depicted in rock and roll were simply ahead of their time for the conservative older generation. When we examine what replaced 1950s rock and roll—teen idols and Motown's watered-down R&B and gospel—we see something deemed more palatable for the previous generation. With the introduction of Motown and the popularity of certain "crossover" artists, however, music was still moving forward in some positive ways.