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Pop rock (also typeset as pop/rock[4]) is a fusion genre characterized by a strong commercial appeal,[5] with more emphasis on 💶 professional songwriting and recording craft, and less emphasis on attitude than standard rock music.[6][7][1] Originating in the late 1950s as 💶 an alternative to normal rock and roll, early pop rock was influenced by the beat, arrangements, and original style of 💶 rock and roll (and sometimes doo-wop).[1] It may be viewed as a distinct genre field rather than music that overlaps 💶 with pop and rock.[4] The detractors of pop rock often deride it as a slick, commercial product and less authentic 💶 than rock music.[8]
Characteristics and etymology [ edit ]
Much pop and rock music has been very similar in sound, instrumentation and 💶 even lyrical content. The terms "pop rock" and "power pop" have been used to describe more commercially successful music that 💶 uses elements from, or the form of, rock music.[9] Writer Johan Fornas views pop/rock as "one single, continuous genre field", 💶 rather than distinct categories.[4] To the authors Larry Starr and Christopher Waterman, it is defined as an "upbeat variety of 💶 rock music" represented by artists and bands such as: Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton.[10]
Critic Philip 💶 Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He 💶 claims that in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in 💶 African-American music influenced by forms such as rock and roll. Auslander points out that the concept of pop rock, which 💶 blends pop and rock, is at odds with the typical conception of pop and rock as opposites. Auslander and several 💶 other scholars, such as Simon Frith and Grossberg, argue that pop music is often depicted as an inauthentic, cynical, "slickly 💶 commercial", and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form 💶 of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".[15]
Frith's analysis 💶 of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who 💶 argues that Frith and other scholars have overemphasized the role of rock in the history of popular music by naming 💶 every new genre using the "rock" suffix. Thus, when a folk-oriented style of music developed in the 1960s, Frith termed 💶 it "folk rock", and the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly 💶 puts rock at the apex and makes every other influence become an add-on to the central core of rock.[16]
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