journalism rock and roll bands started to released hot

journalism
throughout the birth of rock and roll in the 1950’s to the current rock and
roll culture. Rock and Roll documentary would usually stems from following the
day to day activities of rock and roll musical bands such as the fictitious
band Spinal Tap on music tours. Interviewers would try to understand the view
of the individual bands members by looking back to their past accomplishments
in old bands of the 1960’s that had more slowly and blues sounds.  This rock and roll culture is stemming
through with sexual references, alcohol, drugs, money, recognition, and
outrageous musical acts to drive audience viewership. However in some cases,
too many rock and rolls bands who tried to achieve this culture of success can
create musical fads that may not last long enough to be successful in which can
create internal drama, lack of inspirational drive, and musical prowess that
ultimately made them successful in the beginning. The history of music
journalism especially rock and roll wasn’t started when the first rock and roll
bands started to released hot hit-singles in the 1950’s in the form of rhythm
and blues. It started with the rise of jukebox culture that would play many
bands incorporating the jazz tunes, as it was predominated music market during
the 1930’s. During this era, charts with the top 50 jazz bands could be
frequently found alongside gossip columns in many music magazines publications.
At this time, musical journalism was limited to such magazines and did not
receive much attention until the mid-1950. This led to musical journalism to
expanding into art, music, and politics which gave adequate coverage for
popular music trends. As popular musical magazines, such as The Village Voice
began to popped out in the early 1950’s during the dawn of the rock and roll
scene, many print publications began shifting into online publications to
spread the public perception of growing musical scene. The shift from pop music
being exclusively display on pop culture magazines to artsy New York culture
critique magazines representing by the public changing views of only following
the pop culture to more being opened into moving into different music cultures
that fits their musical identity such as rock and roll.  Many researchers believe that the early rock
and roll history in the 1950’s and 1960’s were ridiculed and dispersing towards
the younger believers of rock and roll. They thought the lyrics would be all
kids’ stuff and directly towards at women with many early artists using the
lines “Oh, baby baby.” In this case this was not true, Paul Kaupilla, a
librarian at the Martin Luther King Jr. Public Library at San Jose State
University states that the band Link Wray’s single “Rumble” was banned in 1958,
despite not having any controversial language. He states that all the singing
throughout the song was heavily distorted because of Wray’s guitar and that it
was the music that drives the people wild to come in huge crowds. Kaupilla also
believes that the driving force behind musical journalism was his inspirational
hero Greg Shaw who pioneer what musical journalism is today. Shaw was type of
person who love merging his journalism and rock and roll when interviewing and
writing his favorite bands. He felt that he need to spread the world of his
work and created a fan service magazine called Mojo Navigator dedicated on
capturing the youth and subculture of these bands, but also their huge fan
base. Although this was short lived and not very known to the public at the
time, Mojo Navigator became a good focal point of influencing many giants in
musical journalism such as the Rolling Stone. This new breed of media coverage
help understand the social climate of the 1960’s, the youth culture of these
fads, and experimental tests of heavy-metal rock. A number of related factors
separated these musical magazines from other successors. Firstly, perhaps most
obviously, was the content being bought to the audience for their opinions.
Next issues such as youth culture were addressed in, like the Vietnam War, and
several other musical scenes were constantly changing trying to adapt this new
form of musical journalism.  Secondly,
the artists’ attitudes were another major element of promoting their magazine.
Early musical journalism would be disrespectful, profanity-lade, and subjective
to a reader who did not understand a certain music genre that was new and
upcoming such as rock and roll. This was not the correct way to attract an
audience, as more and more people were adapting to the new form of musical
journalism that include personalized greetings, and going through the heart and
mind of the artists can we understand what their true objective is in their
music they produced. Up to this point, the previous method of reviewing a piece
of music was based on the amount of records they sold with their singles,
finding comfort within their albums. Traditionally before the “British invasion”
into the U.S market, many artists would pour majority of their effort into
producing the perfect single as the main selling-point, while albums would be
seen as after thought of selling fodder squeezing a single here or there to
drive volume sales. However in the 1960’s, bands were increasingly adventurous
and began experimenting with their albums by adding more potential hit songs in
them. This led to the shift of albums becoming more important in musical
reviews by critics and becoming the dominant expression of critique in music
history. They tend to be highly slanted sections, basically a few paragraphs
that the writer is allowed to describe his views of what he gotten and what
sticks and what doesn’t. This principle continues to be the dominant expression
of critical analysis of popular music found in journalism, even today. Not long
after that, the music industry took noticed of this trend and began
commercializing these tactics of good album reviews equal good sales. In the
days before digital formatting, music was confined and recorded to vinyl
records, which were more expensive than compact discs and mp3 players. The
internet was not born at this time for easy access and consumer confidence for
these records were low, as they were hesitant to spend money. This all changed
when the industry began introducing 5 star reviews system and encourage people
to start buying records through this system.