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In fact, to the horror of the older generation, their children were twisting, thrusting, bumping, and grinding to the sounds of rock and roll. This generation of youth was much larger than any in recent memory, and the prosperity of the era gave them money to spend on records and phonographs. By the end of the decade, the phenomenon of rock and roll helped define the difference between youth and adulthood. The Roots of Rock
Disc jockey Alan Freed began a rhythm-and-blues show on a Cleveland radio station. Soon the audience grew and grew, and Freed coined the term "rock and roll." Early attempts by white artists to cover R&B songs resulted in weaker renditions that bled the heart and soul out of the originals. Record producers saw the market potential and began to search for a white artist who could capture the African American sound.
From Memphis, the sound spread to other cities, and demand for Elvis records skyrocketed. Within two years, Elvis was the most popular name in the entertainment business. After the door to rock and roll acceptance was opened, African American performers such as Chuck Berry, FATS DOMINO, and LITTLE RICHARD began to enjoy broad success, as well. White performers such as Buddy Holly and Jerry Lee Lewis also found artistic freedom and commercial success. Satan's Music
Because rock and roll originated among the lower classes and a segregated ethnic group, many middle-class whites thought it was tasteless. Rock and roll records were banned from many radio stations and hundreds of schools. But the masses spoke louder. When Elvis appeared on TV's The Ed Sullivan Show, the show's ratings soared.
The commercial possibilities were limitless. As a generation of young adults finished military service, bought houses in suburbia, and longed for stability and conformity, their children seemed to take comfort for granted. They wanted to release the tensions that bubbled beneath the smooth surface of postwar America. Above all, they wanted to shake, rattle, and roll.
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