The Birth and First Flourishing of Rock and Roll

Chapter 2 - The Birth and First Flourishing of Rock and Roll (1955–1960) MULTIPLE CHOICE 1. Which 1950s movie featured Bill Haley’s “(We’re Gonna) Rock around the Clock”? a. Rebel without a Cause b. Leave It to Beaver c. Blackboard Jungle d. The Wild One ANS: C 2. Alan Freed began his career in: a. Cleveland b. New York City c. Memphis d. New Orleans ANS: A 3. The Rock and Roll Party was: a. a 1950s film displaying rebellious youth culture b. Dewey Phillip’s regional radio show in Memphis c. the first rock and roll song to become a pop hit d. Alan Freed’s radio show in New York ANS: D 4. The practice of payola included: a. independent labels creating manufacturing plants b. white artists covering songs originally performed by black artists c. creating business friendships with disc jockeys by offering gifts d. selling artist contracts to major record labels ANS: C 5. The country and western chart was originally called: a. sepia b. hillbilly c. pop d. southern ANS: B 6. A crossover song is: a. a white artist covering a song originally recorded by a black artist b. a song recorded by an artist who did not write the song c. a song or record appearing on multiple music charts d. an original song released by both independent and major record labels ANS: C 7. All of the following are examples of crossover artists except: a. Big Joe Turner b. Chuck Berry c. Fats Domino d. Little Richard ANS: A 8. As a song, “Roll Over Beethoven” celebrates: a. the beginning of rock and roll in 1955 b. teenagers listening to rhythm and blues c. the demise of a classical music audience d. the average day of an American teenager ANS: B 9. Little Richard’s aggressive piano playing and “wild man” image were a direct contrast to: a. Chuck Berry b. Elvis Presley c. Jerry Lee Lewis d. Fats Domino ANS: D 10. The “whitening” of rhythm and blues was marked by: a. music with slower tempos b. lyrics changed to dance references instead of sexual innuendos c. Elvis Presley’s rockabilly songs d. the increase of payola practices ANS: B 11. The success of crossover artists was significantly reduced by: a. the early career of Elvis Presley b. the practice of covering rhythm and blues songs c. the payola scandal d. black artists requesting back royalties ANS: B 12. Who started Sun Records in Memphis? a. Colonel Tom Parker b. Scotty Moore c. Sam Phillips d. Roscoe Gordon ANS: C 13. Early in his career Elvis was marketed as a: a. rhythm and blues artist b. rockabilly musician c. rock and roll singer d. country and western artist ANS: D 14. Elvis Presley’s contract was bought by: a. Columbia Records b. RCA Records c. Colonel Tom Parker d. Sun Records ANS: B 15. Elvis is often thought of as a song stylist because: a. he wrote songs similar in style to rhythm and blues b. he was influenced by pop singers c. he did not write his own songs but chose which material he would record d. he recorded numerous versions of the same song ANS: C 16. Which song was the first million-selling single for Sun Records? a. “Folsom Prison Blues” b. “Peggy Sue” c. “High School Confidential” d. “Blue Suede Shoes” ANS: D 17. All of the following were artists with Sun Records except: a. Johnny Cash b. Carl Perkins c. Buddy Holly d. Jerry Lee Lewis ANS: C 18. Gene Vincent and Eddie Cochran were particularly popular: a. with other rockabilly artists b. with audiences in England c. with adult audiences d. with major record labels ANS: B 19. Which Sun Records singer was dubbed the “female Elvis”? a. Brenda Lee b. Patti Page c. Ruth Brown d. Janis Martin ANS: D 20. “That’ll Be the Day” was the first hit for: a. Jerry Lee Lewis b. Chuck Berry c. Buddy Holly d. Carl Perkins ANS: C 21. All of the following events affected the first wave of rock and roll except: a. Little Richard became an ordained minister b. Elvis received his draft notice c. Buddy Holly died in a plane crash d. Pat Boone had his first rock and roll hit song ANS: D 22. Who did ASCAP represent during the payola scandal? a. independent labels b. traditional pop song writers c. the major record labels d. the disc jockeys ANS: B 23. What was the focus of the congressional hearings into the payola scandal? a. the influence of major record labels on the market b. the American stereotypes about rhythm and blues music c. the radio stations that played rock and roll d. the gifts received by disc jockeys ANS: C 24. Two high-profile individuals associated with the payola scandal were: a. Jerry Leiber and Mike Stoller b. Alan Freed and Dick Clark c. Sam Phillips and Ike Turner d. Dewey Phillips and Alan Freed ANS: B 25. As a result of the payola scandal, Alan Freed: a. started a new television show b. returned all the gifts and cash he received c. was run out of the music business d. created a new independent label ANS: C SHORT ANSWER 1. __________________________________ was a regional radio show in Memphis hosted by Dewey Phillips. ANS: Red, Hot, and Blue 2. Explain how payola was beneficial to indie record labels as well as independent radio stations. ANS: helped labels fit into recording industry, helped independent radio stations compete with local affiliates and national networks 3. What is the purpose of music-industry periodicals such as Cashbox and Billboard? ANS: to help industry professionals track the music business and help predict trends in music sales 4. _________________________________ often performed a trademark “duck walk” during guitar solos. ANS: Chuck Berry 5. Although he covered many rhythm and blues songs, _________________________ had a central role in establishing rock and roll in mainstream pop in the 1950s. ANS: Pat Boone 6. The song ____________________________________ helped launch Elvis Presley’s career at Sun Records. ANS: “That’s All Right (Mama)” 7. How was Elvis’s image and music used to appeal to a wider audience? ANS: his image as a patriotic soldier and his recording a broader range of musical styles 8. The “slapback echo” was a rockabilly feature pioneered by ______________________. ANS: Sam Phillips 9. How was Buddy Holly influential as a songwriter? ANS: Holly wrote in multiple song forms (12-bar blues, AABA, verse-chorus) and had a broader stylistic range than other rock and roll songwriters 10. Explain why the act of payola was not deemed an illegal activity. ANS: FCC rules require that gifts be acknowledged on air and any money received must be claimed on income tax forms, but do not restrict the exchange of money and gifts for air time MATCHING Match the item to the description below. a. crossover success for Jerry Lee Lewis b. radio show hosted by Alan Freed c. received coauthor credit for the song “Maybelline” d. the American Society of Composers, Artists, and Performers e. Chuck Berry’s first hit on Chess Records f. Elvis Presley’s manager g. trademark of Buddy Holly h. original marketing term for rhythm and blues i. female rockabilly singer j. song originally performed by Big Joe Turner 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ASCAP “Maybelline” Colonel Tom Parker vocal hiccup “race” records Brenda Lee The Moondog Show “Shake, Rattle, and Roll” Alan Freed “Whole Lotta Shakin’ Goin’ On” 1. ANS: D 2. ANS: E 3. ANS: F 4. ANS: G 5. ANS: H 6. ANS: I 7. ANS: B 8. ANS: J 9. ANS: C 10. ANS: A ESSAY 1. Taking into consideration the conservative social and cultural context of the United States in the 1950s, discuss how rock and roll developed as a musical style within this climate. How did musical styles change during this time? How did radio and television affect the way people consumed and reacted to the growth of rock and roll? ANS: answers vary 2. How did the music industry cope with the sudden growth of rock and roll in the 1950s? What steps were taken by both independent and major labels to ensure they remained viable in the changing musical climate? ANS: answers vary 3. Compare and contrast the musical output of the following musicians: Bill Haley, Chuck Berry, Elvis Presley, and Buddy Holly. How were their approaches to rock and roll similar and/or different? In your answer, consider their roles in 1950s rock and roll, their musical and performance style, and their influence on later musicians. ANS: answers vary 4. The year 1955 is pinpointed in the text as the year in which rock and roll became a viable music genre in the United States. Why is this date important in rock and roll history? Why is it difficult to name one particular year as the year rock and roll began? ANS: answers vary