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Really Rock
Rock Operas Dominate The Tony Awards
While composers like Sir Andrew Lloyd Webber still hold dominion over West End musicals in the public eye - particularly with televised cast auditions for shows like the Wizard of Oz providing a prime time advertising campaign for that traditional brand of musical - the more down-to-earth alternative of the classic rock opera is still a mainstay of the stage.
While it's unlikely you'll see rock operas attracting sell-out crowds at mainstream venues such as the London Palladium, this ever-popular brand of musical is still a firm favourite of audiences who know how to look beyond the glitz and find musicals that really rock. One place they can reliably turn is Broadway.
Indeed, all four 'best musical' nominees for this year's Tony Awards, the prestigious accolade of American theatre, are fundamentally rock operas, though with varying degrees of integrity and acceptance by traditional rock fans. The Green Day inspired American Idiot and the Afrobeat of Fela! are up against Memphis and Million Dollar Quartet, both of which look back to the golden age of rock and roll. It's a theatrical battle of the bands that is sending out a clear message to theatregoers and producers alike - the rock musical is far from dead.
While rock musicals have often faced criticism for failing to live up to the ideal of a traditional rock concert, the best don't simply aim to transfer the live music experience to the stage, but will involve an intriguing and electrifying plot that captures the spirit and attitude conveyed by the music, though this can be a challenge to pull off expertly.
Some overcome these teething problems by seeking creative ways to break down the barriers of the accepted musical form. One case in point is the classic rock opera Hair, now enjoying a new lease of life at London's Gielgud Theatre, which involves the audience directly and still has much of the anarchic energy that made it such a controversial hit during its original run.
Others are less successful in making the transition from best-selling album to stage, something that is arguably the case with American Idiot, which Green Day fans have argued was already 'complete' in its original CD form. By weaving a story through songs and lyrics, songwriters don't even require a stage to tell their musical stories, but can let it play out in the minds of their fans.
This may be one reason why so many fans of musicals seek to relive their audience experience soon after attending shows with the help of online music streaming, and it is the mark of an effective musical that the songs remain fresh and engaging even when the choreography and costumes are stripped away.
About the Author
Adam Singleton writes for a digital marketing agency. This article has been commissioned by a client of said agency. This article is not designed to promote, but should be considered professional content.
What are some really famous rock stars in the years 1950-1955?
I need some really famous rock stars in the years 1950-1955, other than Elvis.
THanks
55 to 56 had a dramatic change in the presents of new rock.
Wire and string gobbled up a big wad of pre 55
I could add Bill Haley and his Comets.
Louie Louie song by the Kingsmen just squeezes into that bracket.
Big Band and or Swing was pretty rock'n at that time, as well as the crooners. So what evolved with the younger artists was one arm of the evolution, that featured Bill Haley and his Comets.
Do Wop. let's look their.
I will see if I can dig some more up that I am not thinking about now.
edit:
Some of the singers imitated instruments while singing the nonsense syllables from which the name of the style is derived. The name was later extended to group harmony . An example of this includes "Count Every Star" by The Ravens (1950), which includes vocalizations imitating the "doomph", "doomph" plucking of a double bass. This vocal style created a template for later groups. Among the earliest popular African-American vocal groups to make an impact were the Ink Spots and the Mills Brothers. Later, The Orioles helped develop the doo-wop sound with their hits "It's Too Soon to Know" (1948) and "Crying in the Chapel" (1953). Doo-wop broke into the mainstream in 1951, with R&B chart hits such as "My Reverie" by The Larks, "Where Are You? by The Mello-Moods, "Glory of Love" by The Five Keys, "Shouldn't I Know" by The Cardinals, "I Will Wait" by the Four Buddies, and "Will You Be Mine" by The Swallows. Other important African American doo-wop groups included The Marcels, The Coasters, The Drifters, The Moonglows, Clovers, Little Anthony and the Imperials , The "5" Royales , The Flamingos , The Dells, The Cadillacs, The Midnighters, and The Platters.
When "doo-wop" was first being recorded in the late 30's and 40's, usually instruments were included for the recorded version. Listening to very early doo-wop from the 1940s, the very strong gospel influence is heard...so much in fact, that much of it can be mistaken for gospel music (with the influence of blues added). Most doo-wop of this era was slow music...and very bluesy. Some of this early doo-wop did not have a repeating chorus and repeating harmonies, but much of it did. In the early 1950s almost all doo-wop was uniform in its formula. Many songs were becoming mainstream, with songs like "Since You've Been Away" by The Swallows in 1951, and "The Glory of Love" by The Five Keys, also in 1951. By 1953, doo-wop was popular in pockets across the country among a broader audience, notably in Cleveland, Ohio, where disc jockey Alan Freed began introducing black groups' music to his white audiences. Groups included The Spaniels, The Coronets, The Moonglows, and The Flamingos, whose song "Golden Teardrops" is a classic of the genre.
In 1954, doo-wop groups played a significant role in ushering in the rock and roll era, when two big rhythm and blues hits by vocal harmony groups, "Gee" by The Crows and "Sh-Boom" by the The Chords crossed over onto the pop music charts. The success of these records was significant, and quickly other R&B vocal groups began entering the pop charts, particularly in 1955, the breakthrough year in the introduction of rock and roll. That year saw such cross-over doowop hits as "Sincerely" by The Moonglows, "Earth Angel" by the Penguins, and "Only You" by The Platters. The following year, the cross-over record by The Turbans, "When You Dance," became the first doo-wop hit that used the "doo-wop" vocal riff.
Doo-wop records were being made with faster beats, as often as with slower beats. This faster element was aimed at the younger, teenage audience. It was at this time in 1956, when doo-wop was about to become a national phenomenon. Until this time, although many doo-wop songs were heard on radio stations near urban areas like New York, much of the country did not hear the music yet. This, despite a number of hits that were placing high on the charts in '54 and '55, culminating with doo-wop's first number one pop chart hit in 1956, "The Great Pretender" by The Platters.
Bratz Girls Really Rock part 3