Crossover
Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor 'Bad Jazz,' calypso, beatniks and rock 'n' roll in 1950s teenpix
Bibliographic Data
| ID | 4305243 |
|---|---|
| Authors | Peter Stanfield (0000-0003-2982-4823, University of Kent, corresponding author) |
| Year | 2010 |
| Volume | 29 |
| Issue | 3 |
| Pages | 437-455 |
| Publication date | 2010-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0261143010000255 |
| OpenAlex | W2124891603 |
| Language | EN |
| References cited | 11 |
This essay challenges the received wisdom that teenpix of the 1950s were dominated by a soundtrack of rock 'n' roll. I argue that this cycle of film production was marked by a diversity of musical genres, styles and types. Not only rock 'n' roll, but rhythm 'n' blues, folk, rockabilly, swing, West Coast jazz, bebop, Latin music such as the mambo, the rhumba, the cha cha chá, and Caribbean calypsos were all heavily featured in these films. This study is carried out through a focus on the temporal arrangements - fads, cycles, trends - that govern serial production and consumption of movies and popular music. Following Philip Ennis' thesis that rock 'n' roll is best defined by its ability to 'crossover' musical boundaries - to move, for example, across the pop, country, and rhythm 'n' blues charts - I argue that the film industry chose not to overly limit the music it had on offer and instead provided a varied package, some of which, it expected, would crossover and appeal to diverse and capricious teenage tastes
Art · Art history · Blues · Jazz · Literature · Music education · Music industry · Musical · Popular music · Swing · Visual arts · Cinema and Media Studies · History · Media, Gender, and Advertising · Music History and Culture
| Highly cited | No |
|---|