How else can you describe the pop music in the 1950s, when call it “polished”? Table one: the huge Patti Page hit “(How much) Doggie in the Window” was added in 1952 and number one in 1953. There was no advantage for the music of this genre. It was nice and clean and … polished. The adults loved it. Other children were growing dissatisfaction with what they are offered. They wanted a music for himself. Since the mid-50s approached, one could say that they could hunger for music that they like. Enter the Rock and Roll and Rockabilly!
When I mentioned the “children” in the previous paragraph, I really qualified the word “white.” White children were hungry for something exciting in their music. In the meantime, on the black side of town and on black radio, the kids were more nervous about the music in the forms of the blues, bebop and blues Rhythm and blues (R & B) treated. These black musicians were busy musical forms that would eventually transform into rock and roll. But the music was largely through integration (white) audience unexplored.
This is where Elvis and ripped his rockin ‘country and take old R & B numbers through the fabric of pop polish. Elvis had drenched the fires of black R & B artist in a white body, which were in the country and gospel music. Her white skin makes him acceptable to the public radio and concert promoters. Suddenly the white children had to hear something more energetic and loving. Other artists rockabilly Elvis white suit and by the mid-1950s, rockabilly music was everywhere on the dial, across from pop to country and even R & B. Black dominates charts
The door opened in both directions well and it was not long, black artists began in the pop charts to break. Chuck Berry and Little Richard brought their brand of R & B for the general public, and soon they were part of the revolution of rock and roll. Black Voice “Doo Wop” groups have also begun to address the barrier of colors and bands like The Chords, Little Anthony and The Imperials, The Five Satins, the Penguins and made big waves in the pop charts to break.
It is ironic, as rockabilly, blues and black music, R & B for its existence, while at the same time, it was rockabilly, which helped pull start the substance of courtesy to white music business, so they opened the same black artists could with the success they deserve. Not that the business elite has given the white music easily. After all, Pat Boone was a success in the 50 and 60 by the “race” music (which is what made the industry calls the music of blacks) in the homogenization and do something that would be white adults find acceptable and safe. Boone took the fire out of these songs, smothered the flames and served warm, matte versions sold incredibly well.
But it was too late to turn back. Rockabilly had helped to tear the tissue and through the tears flowed all the repressed feelings of black musicians and very musical forms, which helped inspire the rockabilly in the first place!
