Rock music

Rock music is a genre of popular music that entered the mainstream in the 1950s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."[1]

In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included new wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal.

A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist. Rock bands from some genres, particularly those related to rock's foundations in rock and roll, include a saxophone. More rarely, groups also utilize bowed stringed instruments such as violins or cellos, and brass instruments such as trumpets or trombones.

More recently the term rock has been used as a blanket term including forms such as pop music, reggae music, soul music, and sometimes even hip hop, with which it has often been contrasted through much of its history.[2]

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Contents
[hide]*1 Background (1950s-early 1960s)
 * 1.1 Rock and roll
 * 1.2 The "in-between years"
 * 1.3 Surf music
 * 2 Golden Age (1963-1974)
 * 2.1 The British Invasion
 * 2.2 Garage rock
 * 2.3 Pop rock
 * 2.4 Blues-rock
 * 2.5 Folk rock
 * 2.6 Psychedelic rock
 * 2.7 Roots rock
 * 2.8 Progressive rock
 * 2.9 Glam rock
 * 2.10 Soft rock, hard rock and early heavy metal
 * 2.11 Christian rock
 * 3 Punk and its aftermath (mid-1970s to the 1980s)
 * 3.1 Punk rock
 * 3.2 New wave
 * 3.3 Post-punk
 * 3.4 New waves and genres in heavy metal
 * 3.5 Heartland rock
 * 3.6 The emergence of alternative rock
 * 4 Alternative goes mainstream (the 1990s)
 * 4.1 Grunge
 * 4.2 Britpop
 * 4.3 Post-grunge
 * 4.4 Pop punk
 * 4.5 Indie rock
 * 4.6 Alternative metal, rap rock and nu metal
 * 4.7 Post-Britpop
 * 5 The new millennium (the 2000s)
 * 5.1 Emo
 * 5.2 Garage rock/Post-punk revival
 * 5.3 Metalcore and contemporary heavy metal
 * 5.4 Digital electronic rock
 * 6 Social impact
 * 7 See also
 * 8 Notes
 * 9 External links
 * }

edit] Rock and roll
Main article: Rock and rollEnlargeElvis PresleyThe foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; in addition to country and western.[3] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music.[4]

There is much debate as to what should be considered the first rock and roll record. One leading contender is "Rocket 88" by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band The Kings of Rhythm), recorded by Sam Phillips for Sun Records in 1951.[5] Four years later, Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.[6]

Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record.[7], but, at the same time, Big Joe Turner's "Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&amp;B charts. Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.[5] Soon rock and roll was the major force in American record sales and crooners, such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.[8]

Rock and roll has been seen as leading to a number of distinct sub-genres, including rockabilly, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley.[9] In contrast doo wop placed an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation and had its origins in 1930s and 40s African American vocal groups.[10] Acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period.[11] The era also saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore.[12]

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain.[13] Lonnie Donegan's 1955 hit "Rock Island Line" was a major influence and helped to develop the trend of skiffle music groups throughout the country, many of which, including John Lennon's The Quarrymen, moved on to play rock and roll.[14]

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, The Big Bopper and Richie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the initial rock and roll era had come to an end.[5]

edit] The "in-between years"
EnlargeChubby Checker in 2005The period of the later 1950s and early 1960s, between the end of the initial period of innovation and what became known in the USA as the "British Invasion", has traditionally been seen as an era of hiatus for rock and roll. More recently a number of authors have emphasised important innovations and trends in this period without which future developments would not have been possible.<sup class="reference" id="cite_ref-14">[15] <sup class="reference" id="cite_ref-Keightley2001_15-0">[16] While early rock and roll, particularly through the advent of rockabilly, saw the greatest commercial success for male and white performers, in this era the genre was dominated by black and female artists. Rock and roll had not disappeared at the end of the 1950s and some of its energy can be seen in the Twist dance craze of the early 60s, mainly benefiting the career of Chubby Checker.<sup class="reference" id="cite_ref-Keightley2001_15-1">[16] Having died down in the late 1950s, doo wop enjoyed a revival in the same period, with hits for acts like The Marcels, The Capris, Maurice Williams and Shep and the Limelights.<sup class="reference" id="cite_ref-Bogdanov2002DooWop_10-1">[11] The rise of girl groups like The Chantels, The Shirelles and The Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll.<sup class="reference" id="cite_ref-16">[17] Some of the most significant girl group hits were products of the Brill Building Sound, named after the block in New York where many songwriters were based, which included the #1 hit for the Shirelles "Will You Love Me Tomorrow" in 1960, penned by the partnership of Gerry Goffin and Carole King.<sup class="reference" id="cite_ref-Bogdanov2002Brill_17-0">[18]

Cliff Richard had the first British rock and roll hit with "Move It", effectively ushering in the sound of British rock.<sup class="reference" id="cite_ref-18">[19] At the start of the 1960s, his backing group The Shadows was the most successful of a number of groups recording instrumentals.<sup class="reference" id="cite_ref-19">[20] While rock 'n' roll was fading into lightweight pop and ballads, British rock groups at clubs and local dances, heavily influenced by blues-rock pioneers like Alexis Korner, were starting to play with an intensity and drive seldom found in white American acts.<sup class="reference" id="cite_ref-AllmusicBluesp700_20-0">[21]

Also significant was the advent of soul music as a major commercial force. Developing out of rhythm and blues with a re-injection of gospel music and pop, led by pioneers like Ray Charles and Sam Cooke from the mid-1950s, by the early 60s figures like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder were dominating the R&B charts and breaking through into the main pop charts, helping to accelerate their desegregation, while Motown and Stax/Volt Records were becoming major forces in the record industry.<sup class="reference" id="cite_ref-Bogdanov2002Soul_21-0">[22] All of these elements, including the close harmonies of doo wop and girl groups, the carefully crafted song-writing of the Brill Building Sound and the polished production values of soul, have been seen as influencing the Merseybeat sound, particularly the early work of The Beatles, and through them the form of later rock music.<sup class="reference" id="cite_ref-Bogdanov2002Mersey_22-0">[23] Some historians of music have also pointed to important and innovative technical developments that built on rock and roll in this period, including the electronic treatment of sound by such innovators as Joe Meek, and the elaborate production methods of the Wall of Sound pursued by Phil Spector.<sup class="reference" id="cite_ref-Keightley2001_15-2">[16]

edit] Surf music
Main article: Surf music

The instrumental rock and roll pioneered by performers such as Duane Eddy, Link Wray, and The Ventures was developed by Dick Dale who added distinctive "wet" reverb, rapid alternate picking, as well as Middle Eastern and Mexican influences, producing the regional hit "Let's Go Trippin'" in 1961 and launching the surf music craze. Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, the Challengers, and Eddie & the Showmen.<sup class="reference" id="cite_ref-23">[24] The Chantays scored a top ten national hit with "Pipeline" in 1963 and probably the single most famous surf tune hit was 1963's "Wipe Out", by the Surfaris, which hit #2 and #10 on the Billboard charts in 1965.<sup class="reference" id="cite_ref-24">[25] EnlargeThe growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts, from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a #4 hit with "Surfin Bird" in 1964 and The Rivieras from South Bend, Indiana, who reached #5 in 1964 with "California Sun".<sup class="reference" id="cite_ref-Bogdanov2002Surf_25-0">[26] The Atlantics, from Sydney, Australia, made a significant contribution to the genre, with their hit "Bombora" (1963).<sup class="reference" id="cite_ref-Bogdanov2002Surf_25-1">[26] European instrumental bands around this time generally focused more on the more rock and roll style played by The Shadows, but The Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer, gained some attention as surf musicians with "Cruel Sea" (1963), which was later covered by American instrumental surf bands, including The Ventures.<sup class="reference" id="cite_ref-26">[27]

Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen.<sup class="reference" id="cite_ref-Bogdanov2002Surf_25-2">[26] Their first chart hit, "Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music craze a national phenomenon.<sup class="reference" id="cite_ref-Bogdanov2002Beachboys_27-0">[28] From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence including cars and girl in songs like "Fun, Fun, Fun" (1964) and "California Girls" (1965).<sup class="reference" id="cite_ref-Bogdanov2002Beachboys_27-1">[28] Other vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with "G. T. O." (1964) and Rip Chords with "Hey Little Cobra", which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a #1 hit with "Surf City" (co-written with Brian Wilson) in 1963.<sup class="reference" id="cite_ref-Bogdanov2002Surf_25-3">[26] The surf music craze and the careers of almost all surf acts, was effectively ended by the arrival of the British Invasion from 1964.<sup class="reference" id="cite_ref-Bogdanov2002Surf_25-4">[26] Only the Beach Boys were able to sustain a creative career into the mid-1960s, producing a string of hit singles and albums, including the highly regarded Pet Sounds in 1966, which made them, arguably, the only American rock or pop act that could rival The Beatles.<sup class="reference" id="cite_ref-Bogdanov2002Beachboys_27-2">[28]

edit] The British Invasion
Main article: British InvasionEnlargeThe Beatles.By the end of 1962, the British rock scene had started with beat groups like The Beatles drawing on a wide range of American influences including soul music, rhythm and blues and surf music.<sup class="reference" id="cite_ref-Stakes2001_28-0">[29] Initially, they reinterpreted standard American tunes, playing for dancers doing the twist, for example. These groups eventually infused their original rock compositions with increasingly complex musical ideas and a distinctive sound. In mid-1962 The Rolling Stones started as one of a number of groups increasingly showing blues influence, along with bands like The Animals and The Yardbirds.<sup class="reference" id="cite_ref-allmusicBI_29-0">[30] During 1963, The Beatles and other beat groups, such as The Searchers and The Hollies, achieved great popularity and commercial success in Britain.

British rock broke through to mainstream popularity in the United States in January 1964 with the success of the Beatles. "I Want to Hold Your Hand" was the band's first #1 hit on the Billboard Hot 100 chart, starting the British Invasion of the American music charts.<sup class="reference" id="cite_ref-BritannicaBI_30-0">[31] The song entered the chart on January 18, 1964 at #45 before it became the #1 single for 7 weeks and went on to last a total of 15 weeks in the chart.<sup class="reference" id="cite_ref-31">[32] Their first appearance on the Ed Sullivan Show February 9 is considered a milestone in American pop culture. The broadcast drew an estimated 73 million viewers, at the time a record for an American television program. The Beatles went on to become the biggest selling rock band of all time and they were followed by numerous British bands.<sup class="reference" id="cite_ref-Bogdanov2002BI_32-0">[33]

During the next two years, Chad & Jeremy, Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan would have one or more #1 singles.<sup class="reference" id="cite_ref-BritannicaBI_30-1">[31] Other acts that were part of the invasion included The Kinks and The Dave Clark Five.<sup class="reference" id="cite_ref-BeatlesArrive_33-0">[34] British Invasion acts also dominated the music charts at home in the United Kingdom.<sup class="reference" id="cite_ref-allmusicBI_29-1">[30]

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.<sup class="reference" id="cite_ref-allmusicBritpop_34-0">[35] In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 60s.<sup class="reference" id="cite_ref-35">[36] It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis.<sup class="reference" id="cite_ref-36">[37] The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.<sup class="reference" id="cite_ref-37">[38]

edit] Garage rock
Main article: Garage rockGarage rock was a form of amateurish rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in a suburban family garage.<sup class="reference" id="cite_ref-Shuker2005_38-0">[39] <sup class="reference" id="cite_ref-39">[40] Garage rock songs revolved around the traumas of high school life, with songs about "lying girls" being particularly common.<sup class="reference" id="cite_ref-AllmusicGarage_40-0">[41] The lyrics and delivery were notably more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming.<sup class="reference" id="cite_ref-Shuker2005_38-1">[39] They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas.<sup class="reference" id="cite_ref-AllmusicGarage_40-1">[41] The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.<sup class="reference" id="cite_ref-41">[42] EnlargeThe Fifth Estate in 2008.The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by The Wailers and "Louie Louie" by The Kingsmen (1963) are mainstream examples of the genre in its formative stages.<sup class="reference" id="cite_ref-Scaruffi2003p29_42-0">[43] By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise),<sup class="reference" id="cite_ref-43">[44] the Trashmen (Minneapolis)<sup class="reference" id="cite_ref-44">[45] and the Rivieras (South Bend, Indiana).<sup class="reference" id="cite_ref-45">[46] Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100.<sup class="reference" id="cite_ref-46">[47] In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a sub-genre of garage rock.<sup class="reference" id="cite_ref-47">[48]

The British Invasion of 1964-66 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form.<sup class="reference" id="cite_ref-AllmusicGarage_40-2">[41] Thousands of garage bands were extant in the USA and Canada during the era and hundreds produced regional hits.<sup class="reference" id="cite_ref-AllmusicGarage_40-3">[41] Examples include: "I Just Don't Care" by New York City's The D-Men (1965), "The Witch" by Tacoma's The Sonics (1965), "Where You Gonna Go" by Detroit's Unrelated Segments (1967), "Girl I Got News for You" by Miami's Birdwatchers (1966) and "1-2-5" by Montreal's The Haunted. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.<sup class="reference" id="cite_ref-AllmusicGarage_40-4">[41] By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft.<sup class="reference" id="cite_ref-AllmusicGarage_40-5">[41] New styles had evolved to replace garage rock (including blues-rock, progressive rock and country rock).<sup class="reference" id="cite_ref-AllmusicGarage_40-6">[41] In Detroit garage rock stayed alive until the early 70s, with bands like the MC5 and The Stooges, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.<sup class="reference" id="cite_ref-G._Thompson.3B_2007.3B_134_48-0">[49]

edit] Pop rock
Main articles: Pop music, Pop rock, and Power popEnlargeThe Everly Brothers in 2006.The term pop has been used since the early twentieth century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.<sup class="reference" id="cite_ref-Firth2001_49-0">[50] <sup class="reference" id="cite_ref-AllMusicPR_50-0">[51] In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible.<sup class="reference" id="cite_ref-Warner2003_51-0">[52] In contrast rock music was seen as focusing on extended works, particularly albums, was often associated with particular sub-cultures (like the counter-culture), placed an emphasis on artistic values and "authenticity", stressed live performance and instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.<sup class="reference" id="cite_ref-Firth2001_49-1">[50] <sup class="reference" id="cite_ref-AllMusicPR_50-1">[51] <sup class="reference" id="cite_ref-Warner2003_51-1">[52] <sup class="reference" id="cite_ref-52">[53]

Nevertheless 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.<sup class="reference" id="cite_ref-53">[54] Pop-rock has been defined as an "upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, The Everly Brothers, Rod Stewart, Chicago, and Peter Frampton."<sup class="reference" id="cite_ref-54">[55] In contrast, music reviewer George Starostin defines it as a subgenre of pop music that uses catchy pop songs that are mostly guitar-based. Starostin argues that most of what is traditionally called "power pop" (a term coined by Pete Townshend of The Who in 1966, but not much used until it was applied to bands like Badfinger in the 1970s),<sup class="reference" id="cite_ref-55">[56] falls into the pop rock subgenre and that the lyrical content of pop rock is "normally secondary to the music."<sup class="reference" id="cite_ref-56">[57] Throughout its history there have been rock acts that have used elements of pop, and pop artists who have used rock music as a basis for their work, or striven for rock "authenticity".

edit] Blues-rock
Main article: Blues-rockAlthough the first impact of the British Invasion on American popular music was through beat and R&B based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones and the Yardbirds.<sup class="reference" id="cite_ref-57">[58] British blues musicians of the late 1950s and early 60s had been inspired by the acoustic playing of figures such as Lead Belly, who was a major influence on the Skiffle craze, and Robert Johnson.<sup class="reference" id="cite_ref-58">[59] Increasingly they adopted a loud amplified sound, often centred around the electric guitar, based on the Chicago blues, particularly after the tour of Britain by Muddy Waters in 1958, which prompted Cyril Davies and guitarist Alexis Korner to form the band Blues Incorporated.<sup class="reference" id="cite_ref-Allmusic_59-0">[60] The band involved and inspired many of the figures of the subsequent British blues boom, including members of the Rolling Stones and Cream, combining blues standards and forms with rock instrumentation and emphasis.<sup class="reference" id="cite_ref-Allmusic_59-1">[60] EnlargeEric Clapton performing in Barcelona, 1974.The other key focus for British blues was around John Mayall who formed the Bluesbreakers, whose members included Eric Clapton (after his departure from The Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States.<sup class="reference" id="cite_ref-60">[61] Eric Clapton went on to form supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that has been seminal in bringing blues-rock into the mainstream.<sup class="reference" id="cite_ref-Allmusic_59-2">[60] Green, along with the Bluesbreaker's rhythm section Mick Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, who enjoyed some of the greatest commercial success in the genre.<sup class="reference" id="cite_ref-Allmusic_59-3">[60] In the late '60s Jeff Beck, also an alumnus of the Yardbirds, moved blues-rock in the direction of heavy rock with his band, The Jeff Beck Group.<sup class="reference" id="cite_ref-Allmusic_59-4">[60] The last Yardbirds guitarist Jimmy Page went on to form The New Yardbirds which rapidly became Led Zeppelin, whose early work was largely based on adaptations of blues standards.<sup class="reference" id="cite_ref-Allmusic_59-5">[60] Many of the song on their first three albums and occasionally later in their careers, were expansions on traditional blues songs.<sup class="reference" id="cite_ref-Allmusic_59-6">[60]

In American blues-rock had been pioneered in the early 1960s by guitarist Lonnie Mack,<sup class="reference" id="cite_ref-61">[62] but the genre began to take off in the mid-60s as acts followed developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band and Jimi Hendrix with his power trios, The Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade.<sup class="reference" id="cite_ref-Allmusic_59-7">[60] Blues-rock bands like Allman Brothers Band, Lynyrd Skynyrd and eventually ZZ Top from the southern states, incorporated country elements into their style to produce distinctive Southern rock.<sup class="reference" id="cite_ref-Allmusicrock1333_62-0">[63]

Early blues-rock bands often emulated jazz, playing long, involved improvisations which would later be a major element of progressive rock. From about 1967 bands like Cream and The Jimi Hendrix Experience had begun to move away from purely blues-based music into psychedelia.<sup class="reference" id="cite_ref-amg_63-0">[64] By the 1970s blues-rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and Deep Purple, and the lines between blues-rock and hard rock "were barely visible",<sup class="reference" id="cite_ref-amg_63-1">[64] as bands began recording rock-style albums.<sup class="reference" id="cite_ref-amg_63-2">[64] The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,<sup class="reference" id="cite_ref-Allmusic_59-8">[60] but, particularly on the British scene (except perhaps for the advent of groups such as Status Quo and Foghat who moved towards a form of high energy and repetitive boogie rock), bands became focused on heavy metal innovation, and blues-rock began to slip out of the mainstream.<sup class="reference" id="cite_ref-64">[65]

edit] Folk rock
Main articles: Bob Dylan and Folk rockEnlargeJoan Baez & Bob Dylan.By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilising traditional music and new compositions in a traditional style, usually on acoustic instruments.<sup class="reference" id="cite_ref-Mitchell2007p95_65-0">[66] In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics.<sup class="reference" id="cite_ref-Mitchell2007p95_65-1">[66] In the early sixties figures such as Joan Baez and Bob Dylan had came to the fore in this movement as singer-songwriters.<sup class="reference" id="cite_ref-Mitchell2007p72_66-0">[67] Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public,<sup class="reference" id="cite_ref-67">[68] but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-0">[69]

Early attempts to combine elements of folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation<sup class="reference" id="cite_ref-marsh1001_69-0">[70] and the Beatles "I'm a Loser" (1965), arguably the first Beatles song to be influenced directly by Dylan.<sup class="reference" id="cite_ref-70">[71] The folk rock movement is usually thought to have taken off with The Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-1">[69] With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became an major element in the sound of the genre.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-2">[69] Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone" becoming a US hit single.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-3">[69] Folk rock particularly took off in California, where it led acts like The Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned performers including The Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" being remixed with rock instruments to be the first of many hits.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-4">[69]

These acts directly influenced British performers like Donovan and Fairport Convention.<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-5">[69] In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments.<sup class="reference" id="cite_ref-71">[72] This electric folk was taken up by bands including Pentangle, Steeleye Span and The Albion Band, which turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.<sup class="reference" id="cite_ref-72">[73]

Folk rock reached its peak of commercial popularity in the period 1967-8, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock.<sup class="reference" id="cite_ref-73">[74] However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song and concepts of "authenticity".<sup class="reference" id="cite_ref-Bogdanov2002FolkRock_68-6">[69] <sup class="reference" id="cite_ref-74">[75]

edit] Psychedelic rock
Main article: Psychedelic rockEnlargeJimi Hendrix performing on Dutch TV in 1967.Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues".<sup class="reference" id="cite_ref-Hicks2000_75-0">[76] The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.<sup class="reference" id="cite_ref-Hicks2000_75-1">[76] The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, with "I Feel Fine" using guitar feedback; in late 1965 the Rubber Soul album included the use of a sitar on "Norwegian Wood" and they employed backmasking on their 1966 single B-side "Rain" and other tracks that appeared on their Revolver album later that year.<sup class="reference" id="cite_ref-AllmusicPsych_76-0">[77]

Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965.<sup class="reference" id="cite_ref-AllmusicPsych_76-1">[77] The psychedelic life style had already developed in San Francisco and particularly prominent products of the scene were The Grateful Dead, Country Joe and the Fish, The Great Society and Jefferson Airplane.<sup class="reference" id="cite_ref-AllmusicPsych_76-2">[77] The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken to be a reference to drug use. In Britain arguably the most influential band in the genre were The Yardbirds,<sup class="reference" id="cite_ref-AllmusicPsych_76-3">[77] who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised "rave ups", Gregorian chant and world music influences to songs including "Still I'm Sad" (1965) and "Over Under Sideways Down" (1966).<sup class="reference" id="cite_ref-P._Buckley.2C_2003_77-0">[78] From 1966 the UK underground scene based in North London, supported new acts including Pink Floyd, Traffic and Soft Machine.<sup class="reference" id="cite_ref-78">[79] The same year saw Donovan's folk-influenced hit album Sunshine Superman, considered one of the first psychedelic pop records, as well as the débuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia.<sup class="reference" id="cite_ref-AllmusicPsych_76-4">[77]

Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in Sgt. Pepper's Lonely Hearts Club Band, including the controversial track "Lucy in the Sky with Diamonds" and the Rolling Stones responded later that year with Their Satanic Majesties Request.<sup class="reference" id="cite_ref-AllmusicPsych_76-5">[77] Pink Floyd produced what is usually seen as their best psychedelic work The Piper at the Gates of Dawn.<sup class="reference" id="cite_ref-AllmusicPsych_76-6">[77] In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the later helping to make major American stars of Jimi Hendrix and The Who, whose single "I Can See for Miles" delved into psychedelic territory.<sup class="reference" id="cite_ref-79">[80] Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors' Strange Days.<sup class="reference" id="cite_ref-80">[81] These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Jones of the Rolling Stones and Syd Barrett of Pink Floyd were early casualties, the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving acts, moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock.<sup class="reference" id="cite_ref-AllmusicPsych_76-7">[77]

edit] Roots rock
Main articles: Roots rock, Country rock, and Southern rockRoots rock is the term now used to describe a move away from the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of country rock and Southern rock.<sup class="reference" id="cite_ref-81">[82] In 1966 Bob Dylan spearheaded the movement when he went to Nashville to record the album Blonde on Blonde.<sup class="reference" id="cite_ref-Wolff2000_82-0">[83] This, and subsequent more clearly country-influenced albums, have been seen as creating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians.<sup class="reference" id="cite_ref-Wolff2000_82-1">[83] Other acts that followed the back-to-basics trend were the Canadian group The Band and the Californian-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s.<sup class="reference" id="cite_ref-83">[84] The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,<sup class="reference" id="cite_ref-84">[85] and influenced the work of established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970).<sup class="reference" id="cite_ref-AllmusicPsych_76-8">[77] EnlargeThe Eagles during their 2008-9 Long Road out of Eden Tour.In 1968 Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country-rock album.<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-0">[86] Later that year he joined the Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre.<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-1">[86] The Byrds continued in the same vein, but Parsons left to be joined by another ex-Byrds member Chris Hillman in forming The Flying Burrito Brothers who helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career.<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-2">[86] Country rock was particularly popular in the Californian music scene, where it was adopted by bands including Hearts and Flowers, Poco and Riders of the Purple Sage,<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-3">[86] the Beau Brummels<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-4">[86] and the Nitty Gritty Dirt Band.<sup class="reference" id="cite_ref-86">[87] A number of performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Rick Nelson who became the frontman for the Stone Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young.<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-5">[86] The Dillards were, unusually, a country act, who moved towards rock music.<sup class="reference" id="cite_ref-Bogdanov2002C-Rock_85-6">[86] The greatest commercial success for country rock came in the 1970s, with artist including the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the Burritos, Poco and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that included Hotel California (1976).<sup class="reference" id="cite_ref-Tawa2005_87-0">[88]

The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul, and country in the early 1970s.<sup class="reference" id="cite_ref-Bogdanov2002SouthernRock_88-0">[89] The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "Good ol' boy" image of the sub-genre and the general shape of 1970s guitar rock.<sup class="reference" id="cite_ref-Bogdanov2002SouthernRock_88-1">[89] Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and gospel) the Ozark Mountain Daredevils.<sup class="reference" id="cite_ref-Bogdanov2002SouthernRock_88-2">[89] After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like .38 Special, Molly Hatchet and The Marshall Tucker Band.<sup class="reference" id="cite_ref-Bogdanov2002SouthernRock_88-3">[89]

edit] Progressive rock
Main article: Progressive rockEnlargeProg-rock band Yes performing in concert in Indianapolis, 1977.Progressive rock, sometimes used interchangeably with art rock, was an attempt to move beyond established musical formulas by experimenting with different instruments, song types, and forms.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-0">[90] From the mid-1960s The Left Banke, The Beatles, The Rolling Stones and The Beach Boys, had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction.<sup class="reference" id="cite_ref-Harrington2003_90-0">[91] The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-1">[90] Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock format of guitars, bass and drums in subsequent progressive rock.<sup class="reference" id="cite_ref-91">[92]

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.<sup class="reference" id="cite_ref-92">[93] The Pretty Things' SF Sorrow (1968) and The Who's Tommy (1969) introduced the format of rock operas and opened the door to "concept albums, usually telling an epic story or tackling a grand overarching theme."<sup class="reference" id="cite_ref-93">[94] King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-2">[90]

The vibrant Canterbury scene saw a number of acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including Caravan, Hatfield and the North, Gong, and National Health.<sup class="reference" id="cite_ref-94">[95] Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time.<sup class="reference" id="cite_ref-95">[96] There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer were a supergroup who produced some of the genre's most technically demanding work.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-3">[90] Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.<sup class="reference" id="cite_ref-Brocken2003_96-0">[97] Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis and Jethro Tull, managed to produce top ten singles at home and break the American market.<sup class="reference" id="cite_ref-97">[98]

The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat and Tears,<sup class="reference" id="cite_ref-98">[99] to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-4">[90] These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, issuing in the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.<sup class="reference" id="cite_ref-99">[100]

The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre.<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-5">[90] Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to circumvent the language barrier.<sup class="reference" id="cite_ref-100">[101] Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock,<sup class="reference" id="cite_ref-Bogdanov2002Prog_89-6">[90] With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown.<sup class="reference" id="cite_ref-101">[102] <sup class="reference" id="cite_ref-102">[103] Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.<sup class="reference" id="cite_ref-G._Thompson.3B_2007.3B_134_48-1">[49] Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox and Simple Minds, showed the influence of prog, as well as their more usually recognized punk influences.<sup class="reference" id="cite_ref-ClassicRock_103-0">[104]

edit] Glam rock
Main article: Glam rockEnlargeRoxy Music live in Toronto, 1974.Glam rock emerged out of the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and reaction against, those trends.<sup class="reference" id="cite_ref-Shuker2005pp124-5_104-0">[105] Musically it was very diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music, and can be seen as much as a fashion as a musical sub-genre.<sup class="reference" id="cite_ref-Shuker2005pp124-5_104-1">[105] Visually it was a mesh of various styles, ranging from 1930s Hollywood glamor, through 1950s pin-up sex appeal, pre-war Cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots.<sup class="reference" id="cite_ref-105">[106] Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics.<sup class="reference" id="cite_ref-AllmusicGR_106-0">[107] It was prefigured by the showmanship and gender identity manipulation of American acts such as The Cockettes and Alice Cooper.<sup class="reference" id="cite_ref-107">[108]

The origins of glam rock are associated with Marc Bolan, who had renamed his folk duo to T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in December 1970 wearing glitter, to perform what would be his first #1 single "Ride a White Swan".<sup class="reference" id="cite_ref-108">[109] From 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.<sup class="reference" id="cite_ref-Auslander2006p72_109-0">[110] These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.<sup class="reference" id="cite_ref-Auslander2006p72_109-1">[110] While highly successful in the single charts in the UK, very few of these musicians were able to make a serious impact in the United States; Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts.<sup class="reference" id="cite_ref-Auslander2006p80_110-0">[111] In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976.<sup class="reference" id="cite_ref-Bogdanov2002Glitter_111-0">[112] A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, dominated the British single charts from about 1974 to 1976.<sup class="reference" id="cite_ref-Auslander2006p72_109-2">[110] Existing acts, some not usually not considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, even the Rolling Stones.<sup class="reference" id="cite_ref-Auslander2006p72_109-3">[110] It was also a direct influence on acts that rose to prominence later, including Kiss and Adam Ant, and less directly on the formation of gothic rock and glam metal as well as on punk rock, which helped end the fashion for glam from about 1976.<sup class="reference" id="cite_ref-Auslander2006p80_110-1">[111] Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens, The Darkness<sup class="reference" id="cite_ref-112">[113] and in R n' B crossover act Prince.<sup class="reference" id="cite_ref-113">[114]

edit] Soft rock, hard rock and early heavy metal
Main articles: Soft rock, Hard rock, and Heavy metal musicEnlargeLed Zeppelin live at Chicago Stadium, January 1975.From the late 1960s it became common to divide mainstream rock music into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies.<sup class="reference" id="cite_ref-Curtis1987_114-0">[115] Major artists included Carole King, Cat Stevens and James Taylor.<sup class="reference" id="cite_ref-Curtis1987_114-1">[115] It reached its commercial peak in the mid- to late- 70s with acts like Billy Joel, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best selling album of the decade.<sup class="reference" id="cite_ref-115">[116] In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity.<sup class="reference" id="cite_ref-AllMusicHard_116-0">[117] It often emphasised the electric guitar, both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument, and was more likely to be used with distortion and other effects.<sup class="reference" id="cite_ref-AllMusicHard_116-1">[117] Key acts included British Invasion bands like The Who and The Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and The Jeff Beck Group.<sup class="reference" id="cite_ref-AllMusicHard_116-2">[117] Hard rock bands that enjoyed international success in the later 1970s included Queen, Thin Lizzy, Aerosmith and AC/DC.<sup class="reference" id="cite_ref-AllMusicHard_116-3">[117]

From the late 1960s the term heavy metal began to be used to describe some hard rock played with even more volume and intensity, first as an adjective and by the early 1970s as a noun.<sup class="reference" id="cite_ref-117">[118] The term was first used in music in Steppenwolf's "Born to be Wild" (1967) and began to be associated with pioneer bands like Boston's Blue Cheer and Michigan's Grand Funk Railroad.<sup class="reference" id="cite_ref-118">[119] By 1970 three key British bands had developed the characteristic sounds and styles which would help shape the sub-genre. Led Zeppelin added elements of fantasy to their riff laden blues-rock, Deep Purple brought in symphonic and medieval interests from their progressive rock phrase and Black Sabbath introduced facets of the gothic and modal harmony, helping to produce a "darker" sound.<sup class="reference" id="cite_ref-Walser1993p10_119-0">[120] These elements were taken up by a "second generation" of heavy metal bands into the late 1970s, including: Judas Priest, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and UFO and Scorpions from Germany, all marking the expansion in popularity of the sub-genre.<sup class="reference" id="cite_ref-Walser1993p10_119-1">[120] Despite a lack of airplay and very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly among adolescent working-class males in North America and Europe.<sup class="reference" id="cite_ref-120">[121]

edit] Christian rock
Main article: Christian rockEnlargeStryper.Rock has been criticized by some Christian religious leaders, who have condemned it as immoral, anti-Christian and even demonic.<sup class="reference" id="cite_ref-121">[122] However, Christian rock began to develop in the late 1960s, particularly out of the Jesus movement beginning in Southern California, and emerged as a sub-genre in the 1970s with artists like Larry Norman, usually seen as the first major "star" of Christian rock.<sup class="reference" id="cite_ref-122">[123] The genre has been particularly popular in the United States.<sup class="reference" id="cite_ref-123">[124] Many Christian rock performers have ties to the contemporary Christian music scene, while other bands and artists are closely linked to independent music. Since the 1980s a number of Christian rock performers have gained mainstream success, including figures such as the American gospel-to-pop crossover artist Amy Grant and the British singer Cliff Richard.<sup class="reference" id="cite_ref-124">[125] From the 1990s there were increasing numbers of acts who attempted to avoid the Christian band label, preferring to be seen as groups who were also Christians, including P.O.D and Collective Soul.<sup class="reference" id="cite_ref-125">[126]

edit] Punk rock
Main article: Punk rockEnlargeThe Clash performing in 1980.Punk rock was developed between 1974 and 1976 in the United States and the United Kingdom. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock.<sup class="reference" id="cite_ref-BogdanovPunk_126-0">[127] They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.<sup class="reference" id="cite_ref-127">[128]

By late 1976, acts such as the Ramones and Patti Smith, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement.<sup class="reference" id="cite_ref-BogdanovPunk_126-1">[127] The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive clothing styles and a variety of anti-authoritarian ideologies.<sup class="reference" id="cite_ref-128">[129]

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock.<sup class="reference" id="cite_ref-129">[130] Since punk rock's initial popularity in the 1970s and the renewed interest created by the punk revival of the 1990s, punk rock continues to have a strong underground cult following.<sup class="reference" id="cite_ref-130">[131] This has resulted in several evolved strains of hardcore punk, such as D-beat (a distortion-heavy subgenre influenced by the UK band Discharge), anarcho-punk (such as Crass), grindcore (such as Napalm Death), and crust punk.<sup class="reference" id="cite_ref-131">[132] Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to new wave, post-punk and the alternative rock movement.<sup class="reference" id="cite_ref-BogdanovPunk_126-2">[127]

edit] New wave
Main article: New Wave musicEnlargeDeborah Harry from the band Blondie, performing at Maple Leaf Gardens, Toronto, in 1977.Although punk rock was a significant social and musical phenomenon, it achieved less in the way of record sales (being distributed by small specialty labels such as Stiff Records),<sup class="reference" id="cite_ref-132">[133] or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock).<sup class="reference" id="cite_ref-133">[134] Punk rock had attracted devotees from the art and collegiate world and soon bands sporting a more literate, arty approach, such as Talking Heads, and Devo began to infiltrate the punk scene; in some quarters the description new wave began to be used to differentiate these less overtly punk bands.<sup class="reference" id="cite_ref-134">[135] Record executives, who had been mostly mystified by the punk movement, recognized the potential of the more accessible new wave acts and began aggressively signing and marketing any band that could claim a remote connection to punk or new wave.<sup class="reference" id="cite_ref-135">[136] Many of these bands, such as The Cars, The Runaways and The Go-Go's can be seen as pop bands marketed as new wave;<sup class="reference" id="cite_ref-136">[137] other existing acts, including The Police, The Pretenders and Elvis Costello, used the new wave movement as the springboard for relatively long and critically successful careers,<sup class="reference" id="cite_ref-137">[138] while "skinny tie" bands exemplified by The Knack,<sup class="reference" id="cite_ref-138">[139] or the photogenic Blondie, began as punk acts and moved into more commercial territory.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-0">[140]

Between 1982 and 1985, influenced by Kraftwerk, David Bowie, and Gary Numan, British new wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments.<sup class="reference" id="cite_ref-Scaruffi2003_140-0">[141] This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synthpop, creating what has been characterised as a second British Invasion.<sup class="reference" id="cite_ref-Reynolds_141-0">[142] Some more traditional rock bands adapted to the video age and profited from MTV's airplay, most obviously Dire Straits', whose "Money for nothing" gently poked fun at the station, despite the fact that it had helped make them international stars,<sup class="reference" id="cite_ref-142">[143] but in general guitar-oriented rock was commercially eclipsed.<sup class="reference" id="cite_ref-143">[144]

edit] Post-punk
Main article: Post-punkEnlargeU2 in their early years: (left to right) Clayton, Mullen, Bono, Edge.If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the later 1970s and early 80s as its more artistic and challenging side. Major influences beside punk bands were the Velvet Underground, the Who, Frank Zappa and Captain Beefheart, and the New York based no wave scene which placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-1">[140] Early contributors to the genre included the US bands Pere Ubu, Devo, The Residents and Talking Heads.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-2">[140] The first wave of British post-punk included Gang of Four, Siouxsie and the Banshees and Joy Division, who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-3">[140] Bands like Siouxsie and the Banshees, Bauhaus, The Cure, and The Sisters of Mercy, moved increasingly in this direction to found Gothic rock, which had become the basis of a major sub-culture by the early 1980s.<sup class="reference" id="cite_ref-144">[145] Similar emotional territory was pursued by Australian acts like The Birthday Party and Nick Cave.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-4">[140] Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-5">[140]

The second generation of British post-punk bands that broke through in the early 1980s, including The Fall, The Pop Group, The Mekons, Echo and the Bunnymen and Teardrop Explodes, tended to move away from dark sonic landscapes.<sup class="reference" id="cite_ref-Bogdanov2002NewWave1337-8_139-6">[140] Arguably the most successful band to emerge from post-punk was Ireland's U2, who incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.<sup class="reference" id="cite_ref-145">[146] Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical other areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.<sup class="reference" id="cite_ref-146">[147]

edit] New waves and genres in heavy metal
Main articles: NWBHM, Glam Metal, and Extreme metalEnlargeIron Maiden, one of the central bands in the New Wave of British Heavy Metal.Although many established bands continued to perform and record, heavy metal suffered a hiatus in the face of the punk movement in the mid-1970s. Part of the reaction saw the popularity of bands like Motörhead, who had adopted a punk sensibility, and Judas Priest, who created a stripped down sound, largely removing the remaining elements of blues music, from their 1978 album Stained Class.<sup class="reference" id="cite_ref-Bogdanov2002JudasPriest_147-0">[148] This change of direction was compared to punk and in the late 1970s became known as the New Wave of British Heavy Metal (NWOBHM).<sup class="reference" id="cite_ref-148">[149] These bands were soon followed by acts including Iron Maiden, Vardis, Diamond Head, Saxon, Def Leppard and Venom, many of which began to enjoy considerable success in the USA.<sup class="reference" id="cite_ref-Walser2003_149-0">[150] In the same period Eddie Van Halen established himself as one of the leading metal guitar virtuosos of the era after his band's self-titled 1978 album.<sup class="reference" id="cite_ref-Christie2003_150-0">[151] Randy Rhoads and Yngwie Malmsteen also became established virtuosos, associated with what would be known as the neoclassical metal style.<sup class="reference" id="cite_ref-151">[152]

Inspired by NWOBHM and Van Halen's success, a metal scene began to develop in Southern California from the late 1970s, based on the clubs of L.A.'s Sunset Strip and including such bands as Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P., who, along with similarly styled acts such as New York's Twisted Sister, incorporated the theatrics (and sometimes makeup) of glam rock acts like Alice Cooper and Kiss.<sup class="reference" id="cite_ref-Christie2003_150-1">[151] The lyrics of these glam metal bands characteristically emphasized hedonism and wild behavior and musically were distinguished by rapid-fire shred guitar solos, anthemic choruses, and a relatively melodic, pop-oriented approach.<sup class="reference" id="cite_ref-Christie2003_150-2">[151] By the mid-1980s bands were beginning to emerge from the L.A. scene that pursued a less glam image and a rawer sound, particularly Guns N' Roses, breaking through with the chart-topping Appetite for Destruction (1987), and Jane's Addiction, who emerged with their major label debut, Nothing's Shocking the following year.<sup class="reference" id="cite_ref-152">[153]

In the late 1980s metal fragmented into a number of subgenres, including thrash metal, which developed in the US under the influence of hardcore punk, particularly the style known as speed metal, with low-register guitar riffs typically overlaid by shredding leads.<sup class="reference" id="cite_ref-Bogdanov2002heavyMetal_153-0">[154] Lyrics often expressed nihilistic views or deal with social issues using visceral, gory language. It was popularised by the "Big Four of Thrash": Metallica, Anthrax, Megadeth, and Slayer.<sup class="reference" id="cite_ref-Walser2003_149-1">[150] Death metal developed out of thrash, particularly influenced by the bands Venom and Slayer. Florida's Death and the Bay Area's Possessed emphasized lyrical elements of blasphemy, diabolism and millenarianism, with vocals usually delivered as guttural "death growls," high-pitched screaming, complemented by downtuned, highly distorted guitars and extremely fast double bass percussion.<sup class="reference" id="cite_ref-154">[155] Black metal, again influenced by Venom and pioneered by Denmark's Mercyful Fate, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory, had many similarities in sound to death metal, but was often intentionally lo-fi in production and placed greater emphasis on satanic and pagan themes.<sup class="reference" id="cite_ref-155">[156] <sup class="reference" id="cite_ref-156">[157] Bathory were particularly important in inspiring the further sub-genres of Viking metal and folk metal.<sup class="reference" id="cite_ref-Christie2003p270_157-0">[158] Power metal emerged in Europe in the late 1980s as a reaction to the harshness of death and black metal and was established by Germany's Helloween, who combined a melodic approach with thrash's speed and energy.<sup class="reference" id="cite_ref-158">[159] Bands like Sweden's HammerFall, England's DragonForce, and Florida's Iced Earth have a sound indebted to NWOBHM,<sup class="reference" id="cite_ref-159">[160] while acts such as Florida's Kamelot, Finland's Nightwish, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. In contrast to other sub-genres Doom metal, influenced by Gothic rock, slowed down the music, with bands like England's Pagan Altar and Witchfinder General and the United States' Pentagram, Saint Vitus and Trouble, emphasizing melody, down-tuned guitars, a 'thicker' or 'heavier' sound and a sepulchral mood.<sup class="reference" id="cite_ref-NYT1_160-0">[161] <sup class="reference" id="cite_ref-161">[162]

edit] Heartland rock
Main article: Heartland rockEnlargeBruce Springsteen performing in East Berlin in 1988.American working-class oriented heartland rock, characterized by a straightforward musical style, and a concern with the lives of ordinary, blue collar American people, developed in the second half of the 1970s. The term heartland rock was first used to describe Midwestern arena rock groups like Kansas, REO Speedwagon and Styx, but which came to be associated with a more socially concerned form of roots rock more directly influenced by folk, country and rock and roll.<sup class="reference" id="cite_ref-162">[163] It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South.<sup class="reference" id="cite_ref-163">[164] Led by figures who had initially been identified with punk and new wave, it was most strongly influenced by acts such as Bob Dylan, The Byrds, Creedence Clearwater Revival and Van Morrison, and the basic rock of 60s garage and the Rolling Stones.<sup class="reference" id="cite_ref-AllmusicHeartland_164-0">[165]

Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial urban decline in the East and Mid-West, often dwelling on issues of social disintegration and isolation, beside a form of good-time rock and roll revivalism.<sup class="reference" id="cite_ref-AllmusicHeartland_164-1">[165] The genre reached its commercial, artistic and influential peak in the mid-1980s, with Springsteen's Born in the USA (1984), topping the charts worldwide and spawning a series of top ten singles, together with the arrival of artists including John Mellencamp, Steve Earle and more gentle singer/songwriters as Bruce Hornsby.<sup class="reference" id="cite_ref-AllmusicHeartland_164-2">[165] It can also be heard as an influence on artists as diverse as Billy Joel<sup class="reference" id="cite_ref-165">[166] and Tracy Chapman.<sup class="reference" id="cite_ref-166">[167]

Heartland rock faded away as a recognized genre by the early 1990s, as rock music in general, and blue collar and white working class themes in particular, lost influence with younger audiences, and as heartland's artists turned to more personal works.<sup class="reference" id="cite_ref-AllmusicHeartland_164-3">[165] Many heartland rock artists continue to record today with critical and commercial success, most notably Bruce Springsteen, Tom Petty and John Mellencamp, although their works have become more personal and experimental and no longer fit easily into a single genre. Newer artists whose music would clearly have been labelled heartland rock had it been released in the 1970s or 1980s, such as Missouri's Bottle Rockets and Illinois' Uncle Tupelo, often find themselves these days labeled alt-country.<sup class="reference" id="cite_ref-167">[168]

edit] The emergence of alternative rock
Main article: Alternative rockEnlargeR.E.M. was a successful alternative rock band in the 1980s.The term alternative rock was coined in the early 1980s to describe rock artists who didn't fit into the mainstream genres of the time. Bands dubbed "alternative" had no unified style, but were all seen as distinct from mainstream music. Most alternative bands were linked by their collective debt to punk rock, through hardcore, new wave or the post-punk movements.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-0">[169] Important bands of the 1980s alternative movement in the US included R.E.M., Hüsker Dü, Jane's Addiction, Sonic Youth and the Pixies, and in the UK The Cure, New Order the Jesus and Mary Chain and The Smiths.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-1">[169] Artists were largely confined to independent record labels, building an extensive underground music scene based on college radio, fanzines, touring, and word-of-mouth.<sup class="reference" id="cite_ref-169">[170] Few of these bands, with the notable exceptions of R.E.M. and The Smiths, achieved mainstream success, but despite a lack of spectacular album sales, they exerted a considerable influence on the generation of musicians who came of age in the 80s and ended up breaking through to mainstream success in the 1990s. Notable styles of alternative rock in the U.S. during the 1980s included jangle pop, associated with the early recordings of R.E.M., which incorporated the ringing guitars of mid-1960s pop and rock, and college rock, used to describe alternative bands that began in the college circuit and college radio, including acts such as 10,000 Maniacs and The Feelies.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-2">[169] In the UK Gothic rock was dominant in the early 1980s, but by the end of the decade indie pop, and particularly the Madchester scene, produced such bands as Happy Mondays, the Inspiral Carpets, and Stone Roses.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-3">[169] <sup class="reference" id="cite_ref-170">[171] The next decade would see the success of grunge in the United States and Britpop in the United Kingdom, bringing alternative rock into the mainstream.

edit] Grunge
Main article: GrungeEnlargeThe grunge group Nirvana, performing live on MTV in 1992.By the early 1990s, rock was dominated by commercialized and highly produced pop, rock, and "hair metal" artists, while MTV had arrived and promoted a focus on image and style. Disaffected by this trend, in the mid-1980s, bands in Washington state (particularly in the Seattle area) formed a new style of rock which sharply contrasted with the mainstream music of the time.<sup class="reference" id="cite_ref-allmusic_grunge_171-0">[172] The developing genre came to be known as "grunge", a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians, who actively rebelled against the over-groomed images of popular artists.<sup class="reference" id="cite_ref-allmusic_grunge_171-1">[172] Grunge fused elements of hardcore punk and heavy metal into a single sound, and made heavy use of guitar distortion, fuzz and feedback.<sup class="reference" id="cite_ref-allmusic_grunge_171-2">[172] The lyrics were typically apathetic and angst-filled, and often concerned themes such as social alienation and entrapment, although it was also known for its dark humor and parodies of commercial rock.<sup class="reference" id="cite_ref-allmusic_grunge_171-3">[172]

Bands such as Green River, Soundgarden, the Melvins and Skin Yard pioneered the genre, with Mudhoney becoming the most successful by the end of the decade. However, grunge remained largely a local phenomenon until 1991, when Nirvana‘s Nevermind became a huge success thanks to the lead single "Smells Like Teen Spirit".<sup class="reference" id="cite_ref-172">[173] Nevermind was more melodic than its predecessors, but the band refused to employ traditional corporate promotion and marketing mechanisms. During 1991 and 1992, other grunge albums such as Pearl Jam's Ten, Soundgarden's Badmotorfinger and Alice in Chains' Dirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top selling albums.<sup class="reference" id="cite_ref-173">[174] The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool."<sup class="reference" id="cite_ref-success_NYT_174-0">[175] Major record labels signed most of the remaining grunge bands in Seattle, while a second influx of acts moved to the city in the hope of success.<sup class="reference" id="cite_ref-Azerrad419_175-0">[176] However, with the death of Kurt Cobain and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains' lead singer Layne Staley in 1996, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding post-grunge.<sup class="reference" id="cite_ref-allmusic_postgrunge_176-0">[177]

edit] Britpop
Main article: BritpopEnlargeOasis performing in 2005.Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-4">[169] The Smiths were a major influence, as were bands of the Madchester scene, which had dissolved in the early 1990s.<sup class="reference" id="cite_ref-allmusicBritpop_34-1">[35] The movement has been seen partly as a reaction against various U.S. based, musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon and as a reassertion of a British rock identity.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-5">[169] Britpop was varied in style, but often used catchy tunes and hooks, beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion, including the symbols of British identity previously utilised by the mods.<sup class="reference" id="cite_ref-177">[178] It was launched around 1992 with releases by groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp, Supergrass and Elastica, who produced a series of top ten albums and singles.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-6">[169] For a while the contest between Blur and Oasis was built by the popular press into "The Battle of Britpop", initially won by Blur, but with Oasis achieving greater long-term and international success, directly influencing a third generation of Britpop bands, including The Boo Radleys, Ocean Colour Scene and Cast.<sup class="reference" id="cite_ref-178">[179] Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia.<sup class="reference" id="cite_ref-179">[180] Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas, especially to the United States, the movement had largely fallen apart by the end of the decade.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-7">[169]

edit] Post-grunge
Main article: Post-grungeEnlargeFoo Fighters performing an acoustic show.The term post-grunge was coined for the generation of bands that followed the emergence into the mainstream, and subsequent hiatus, of the Seattle grunge bands. Post-grunge bands emulated their attitudes and music, but with a more radio-friendly commercially oriented sound.<sup class="reference" id="cite_ref-AllMusicPostgrunge_180-0">[181] Often they worked through the major labels and came to incorporate diverse influences from jangle pop, punk-pop, alternative metal or hard rock.<sup class="reference" id="cite_ref-AllMusicPostgrunge_180-1">[181] The term post-grunge was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement.<sup class="reference" id="cite_ref-Grierson_181-0">[182] From 1994, former Nirvana drummer Dave Grohl's new band, the Foo Fighters, helped popularize the genre and define its parameters.<sup class="reference" id="cite_ref-Bogdanov2002FooFighters_182-0">[183]

Some post-grunge bands, like Candlebox, were from Seattle, but the sub-genre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially viable sub-genres of the late 1990s.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-8">[169] <sup class="reference" id="cite_ref-AllMusicPostgrunge_180-2">[181] Although male bands predominated, female solo artist Alanis Morissette's 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit.<sup class="reference" id="cite_ref-Bogdanov2002Alanis_183-0">[184] Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by new acts including Shinedown, Seether and 3 Doors Down.<sup class="reference" id="cite_ref-Grierson_181-1">[182]

edit] Pop punk
Main article: Pop punkEnlargeGreen Day performing in 2009.The origins of 1990s punk pop can be seen in the more song-orientated bands of the 1970s punk movement like The Buzzcocks and The Clash, commercially successful new wave acts such as The Jam and The Undertones, and the more hardcore-influenced elements of alternative rock in the 1980s.<sup class="reference" id="cite_ref-LambPunkPop_184-0">[185] Pop-punk tends to use power-pop melodies and chord changes with speedy punk tempos and loud guitars.<sup class="reference" id="cite_ref-185">[186] Punk music provided the inspiration for a number of California-based bands on independent labels in the early 1990s, including Rancid, Pennywise, Weezer and Green Day.<sup class="reference" id="cite_ref-LambPunkPop_184-1">[185] In 1994 Green Day moved to a major label and produced the album Dookie, which found a new, largely teenage, audience and proved a surprise diamond-selling success, leading to a series of hit singles, including two number ones in the US.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-9">[169] They were soon followed by the eponymous début from Weezer, which spawned three top ten singles in the US.<sup class="reference" id="cite_ref-186">[187] This success opened the door for the multi-platinum sales of metallic punk band The Offspring with Smash (1994).<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-10">[169] This first wave of pop punk reached its commercial peak with Green Day's Nimrod (1997) and The Offspring's Americana (1998).<sup class="reference" id="cite_ref-Bogdanov2002GreenDay.26Offspring_187-0">[188]

A second wave of punk pop was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by bands such as Good Charlotte, Bowling for Soup and Sum 41, who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk.<sup class="reference" id="cite_ref-LambPunkPop_184-2">[185] More recent pop-punk bands, including Simple Plan, All-American Rejects and Fall Out Boy, have a sound that has been described as closer to 1980s hardcore, while still achieving considerable commercial success.<sup class="reference" id="cite_ref-LambPunkPop_184-3">[185]

edit] Indie rock
Main article: Indie rockEnlargeLo-fi indie rock band Pavement.In the 1980s the terms indie rock and alternative rock were used interchangeably.<sup class="reference" id="cite_ref-AllMusicIndie_188-0">[189] By the mid-1990s, as elements of the movement began to attract mainstream interest, particularly grunge and then Britpop, post-grunge and pop-punk, the term alternative began to lose its meaning.<sup class="reference" id="cite_ref-AllMusicIndie_188-1">[189] Those bands following the less commercial contours of the scene were increasingly referred to by the label indie.<sup class="reference" id="cite_ref-AllMusicIndie_188-2">[189] They characteristically attempted to retain control of their careers by releasing albums on their own or small independent labels, while relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion.<sup class="reference" id="cite_ref-AllMusicIndie_188-3">[189] Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge influenced bands like The Cranberries and Superchunk, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-11">[169] It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of feminist-informed Riot Grrrl music.<sup class="reference" id="cite_ref-189">[190] Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.<sup class="reference" id="cite_ref-190">[191]

By the end of the 1990s many recognisable sub-genres, most with their origins in the late 80s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement.<sup class="reference" id="cite_ref-Bogdanov2002Alternative_168-12">[169] The work of Talk Talk, Laughing Stock and Slint helped inspire both post rock, an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and taken up by acts such as Tortoise, Stereolab, and Laika,<sup class="reference" id="cite_ref-S._Taylor.2C_2006_pp._154-5_191-0">[192] <sup class="reference" id="cite_ref-S._Taylor.2C_2006_pp._154-5_191-1">[192] <sup class="reference" id="cite_ref-AMpostrock_192-0">[193] as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez.<sup class="reference" id="cite_ref-193">[194] Space rock looked back to progressive roots, with drone heavy and minimalist acts like Spaceman 3, the two bands created out of its split, Spectrum and Spiritualized, and more recent groups including Flying Saucer Attack, Godspeed You Black Emperor! and Quickspace.<sup class="reference" id="cite_ref-194">[195] In contrast, Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters,<sup class="reference" id="cite_ref-195">[196] while the revival of Baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Belle and Sebastian and Rufus Wainright.<sup class="reference" id="cite_ref-196">[197]

edit] Alternative metal, rap rock and nu metal
Main articles: Alternative metal, Rap rock, Rap metal, and Nu metalEnlargeLinkin Park performing in 2009.Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after grunge broke into the mainstream in the early 1990s.<sup class="reference" id="cite_ref-AllMusicAltMetal_197-0">[198] Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like Jane's Addiction and Primus utilizing prog-rock, Soundgarden and Corrosion of Conformity using garage punk, The Jesus Lizard and Helmet mixing noise-rock, Ministry and Nine Inch Nails influenced by industrial music, Monster Magnet moving into psychedelia, Pantera, Sepultura and White Zombie creating groove metal, while Biohazard and Faith No More turned to hip hop and rap.<sup class="reference" id="cite_ref-AllMusicAltMetal_197-1">[198]

Hip hop had gained attention from rock acts in the early 1980s, including The Clash with "The Magnificent Seven" (1981) and Blondie with "Rapture" (1981).<sup class="reference" id="cite_ref-198">[199] <sup class="reference" id="cite_ref-199">[200] Early crossover acts included Run DMC and the Beastie Boys.<sup class="reference" id="cite_ref-Sanneh_200-0">[201] <sup class="reference" id="cite_ref-201">[202] Detroit rapper Esham became known for his "acid rap" style, which fused rapping with a sound that was often based in rock and heavy metal.<sup class="reference" id="cite_ref-Keyes_202-0">[203] <sup class="reference" id="cite_ref-203">[204] Rappers who sampled rock songs included Ice-T, The Fat Boys, LL Cool J, Public Enemy and Whodini.<sup class="reference" id="cite_ref-Henderson_204-0">[205] The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy single "I'm the Man".<sup class="reference" id="cite_ref-AMRap-metal_205-0">[206]

In 1990, Faith No More broke into the mainstream with their single "Epic', often seen as the first truly successful combination of heavy metal with rap.<sup class="reference" id="cite_ref-Bogdanov2002FaithNoMore_206-0">[207] This paved the way for the success of existing bands like 24-7 Spyz and Living Colour, and new acts including Rage Against the Machine and Red Hot Chili Peppers, who all fused rock and hip hop among other influences.<sup class="reference" id="cite_ref-Grierson_181-2">[182] <sup class="reference" id="cite_ref-Henderson_204-1">[205] Among the first wave of performers to gain mainstream success as rap rock were 311,<sup class="reference" id="cite_ref-207">[208] Bloodhound Gang,<sup class="reference" id="cite_ref-208">[209] and Kid Rock.<sup class="reference" id="cite_ref-209">[210] A more hardcore sound was pursued by bands including Limp Bizkit, Korn and Slipknot.<sup class="reference" id="cite_ref-AMRap-metal_205-1">[206] Later in the decade this style, which contained a mix of grunge, punk, metal, rap and turntable scratching, spawned a wave of successful bands like Linkin Park, P.O.D. and Staind, who were often classified as rap metal or nu metal.<sup class="reference" id="cite_ref-210">[211]

In 2001 nu metal reached its peak with albums like Staind's Break the Cycle, P.O.D's Satellite, Slipknot's Iowa and Linkin Park's Hybrid Theory. New bands also emerged like Disturbed, post-grunge/hard rock band Godsmack and Papa Roach, whose major label début Infest became a platinum hit.<sup class="reference" id="cite_ref-211">[212] However, by 2002 there were signs that nu metal's mainstream popularity was weakening.<sup class="reference" id="cite_ref-Grierson_181-3">[182] Korn's long awaited fifth album Untouchables, and Papa Roach's second album Lovehatetragedy, did not sell as well as their previous releases, while nu metal bands were played more infrequently on rock radio stations and MTV began focusing on pop punk and Emo.<sup class="reference" id="cite_ref-DAngeloMTV_212-0">[213] Since then, many bands have changed to a more conventional hard rock or heavy metal music sound.<sup class="reference" id="cite_ref-DAngeloMTV_212-1">[213]

edit] Post-Britpop
Main article: Post-BritpopEnlargeColdplay in 2008.From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it.<sup class="reference" id="cite_ref-Harris2004_213-0">[214] <sup class="reference" id="cite_ref-214">[215] Many of these bands tended to mix elements of British traditional rock (or British trad rock),<sup class="reference" id="cite_ref-215">[216] particularly the Beatles, Rolling Stones and Small Faces,<sup class="reference" id="cite_ref-Patridis2004_216-0">[217] with American influences, including post-grunge.<sup class="reference" id="cite_ref-217">[218] <sup class="reference" id="cite_ref-AllMusicTravis_218-0">[219] Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centred on British, English and London life and more introspective than had been the case with Britpop at its height.<sup class="reference" id="cite_ref-219">[220] <sup class="reference" id="cite_ref-220">[221] <sup class="reference" id="cite_ref-221">[222] This, beside a greater willingness to engage with the American press and fans, may have helped a number of them in achieving international success.<sup class="reference" id="cite_ref-Dowling2005_222-0">[223]

Post-Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative.<sup class="reference" id="cite_ref-223">[224] Post-Britpop bands like The Verve with Urban Hymns (1997), Radiohead from OK Computer (1997), Travis from The Man Who (1999), Stereophonics from Performance and Cocktails (1999), Feeder from Echo Park (2001) and particularly Coldplay from their debut album Parachutes (2000), achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent garage rock or post-punk revival, which has also been seen as a reaction to their introspective brand of rock.<sup class="reference" id="cite_ref-AllMusicTravis_218-1">[219] <sup class="reference" id="cite_ref-224">[225] <sup class="reference" id="cite_ref-AllMusicStereophonics_225-0">[226] <sup class="reference" id="cite_ref-AllMusicColdplay_226-0">[227]

edit] Emo
Main article: EmoEnlargeFugazi performing in 2002.Emo emerged from the hardcore scene in 1980s Washington, D.C. initially as "emocore", used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style.<sup class="reference" id="cite_ref-AllMusicEmo_227-0">[228] The style was pioneered by bands Rites of Spring and Embrace, the last formed by Ian MacKaye, whose Dischord Records became a major centre for the emerging D.C. emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses and Fugazi.<sup class="reference" id="cite_ref-AllMusicEmo_227-1">[228] Fugazi emerged as the definitive early emo band, gaining a fanbase among alternative rock followers, not least for their overtly anti-commercial stance.<sup class="reference" id="cite_ref-AllMusicEmo_227-2">[228] The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels.<sup class="reference" id="cite_ref-AllMusicEmo_227-3">[228] The mid-90s sound of emo was defined by bands like Jawbreaker and Sunny Day Real Estate who incorporated elements of grunge and more melodic rock.<sup class="reference" id="cite_ref-228">[229] Only after the breakthrough of grunge and pop punk into the mainstream did emo come to wider attention with the success of Weezer's Pinkerton (1996) album, which utilised pop punk.<sup class="reference" id="cite_ref-AllMusicEmo_227-4">[228] Late 1990s bands drew on the work of Fugazi, SDRE, Jawbreaker and Weezer, including The Promise Ring, Get Up Kids, Braid, Texas Is the Reason, Joan of Arc, Jets to Brazil and most successfully Jimmy Eat World, and by the end of the millennium it was one of the more popular indie styles in the US.<sup class="reference" id="cite_ref-AllMusicEmo_227-5">[228]

Emo broke into mainstream culture in the early 2000s with the platinum-selling success of Jimmy Eat World's Bleed American (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003).<sup class="reference" id="cite_ref-DeRogatis2003_229-0">[230] The new emo had a far greater appeal amongst adolescents than its earlier incarnations.<sup class="reference" id="cite_ref-DeRogatis2003_229-1">[230] At the same time, use of the term emo expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.<sup class="reference" id="cite_ref-230">[231] In recent years the term emo has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy<sup class="reference" id="cite_ref-chartblog_231-0">[232] and My Chemical Romance<sup class="reference" id="cite_ref-232">[233] and disparate groups such as Paramore<sup class="reference" id="cite_ref-chartblog_231-1">[232] and Panic at the Disco,<sup class="reference" id="cite_ref-233">[234] even when they protest the label.

edit] Garage rock/Post-punk revival
Main articles: Garage rock revival and Post-punk revivalEnlargeThe Strokes performing in 2006.In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or new-wave revival.<sup class="reference" id="cite_ref-234">[235] <sup class="reference" id="cite_ref-235">[236] <sup class="reference" id="cite_ref-236">[237] <sup class="reference" id="cite_ref-237">[238] Because the bands came from across the globe, cited diverse influences (from traditional blues, through new wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.<sup class="reference" id="cite_ref-238">[239] There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.<sup class="reference" id="cite_ref-239">[240] The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The Detroit Cobras<sup class="reference" id="cite_ref-P._Buckley.2C_2003_77-1">[78] and that of New York Radio 4, Yeah Yeah Yeahs and The Rapture.<sup class="reference" id="cite_ref-240">[241] Elsewhere, other lesser-known acts such as Billy Childish and The Buff Medways from Britain,<sup class="reference" id="cite_ref-241">[242] The (International) Noise Conspiracy from Sweden,<sup class="reference" id="cite_ref-242">[243] The 5.6.7.8's from Japan,<sup class="reference" id="cite_ref-243">[244] and the Oblivians from Memphis enjoyed underground, regional or national success.<sup class="reference" id="cite_ref-244">[245]

The commercial breakthrough from these scenes was led by four bands: The Strokes, who emerged from the New York club scene with their début album Is This It (2001), The White Stripes, from Detroit, with their third album White Blood Cells (2001), The Hives from Sweden after their compilation album Your New Favourite Band (2001), and The Vines from Australia with Highly Evolved (2002).<sup class="reference" id="cite_ref-245">[246] They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.<sup class="reference" id="cite_ref-246">[247] A second wave of bands that managed to gain international recognition as a result of the movement included Black Rebel Motorcycle Club, The Killers, Interpol and Kings of Leon from the US,<sup class="reference" id="cite_ref-247">[248] The Libertines, Arctic Monkeys, Bloc Party, Editors and Franz Ferdinand from the UK,<sup class="reference" id="cite_ref-248">[249] Jet from Australia<sup class="reference" id="cite_ref-249">[250] and The Datsuns and The D4 from New Zealand.<sup class="reference" id="cite_ref-250">[251]

edit] Metalcore and contemporary heavy metal
Main articles: Metalcore and New Wave of American Heavy MetalEnlargeChildren of Bodom, performing at the 2007 Masters of Rock festival.Metalcore, originally an American hybrid of thrash metal and hardcore punk, emerged as a commercial force in the mid-2000s.<sup class="reference" id="cite_ref-251">[252] It was rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death and remained an underground phenomenon through the 1990s.<sup class="reference" id="cite_ref-252">[253] By 2004, melodic metalcore, influenced by melodic death metal, was sufficiently popular for Killswitch Engage's The End of Heartache and Shadows Fall's The War Within to debut at #21 and #20, respectively, on the Billboard album chart.<sup class="reference" id="cite_ref-253">[254] <sup class="reference" id="cite_ref-254">[255] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with Scream Aim Fire (2008).<sup class="reference" id="cite_ref-Keys_Notches_Fourth_Week_At_No._1_255-0">[256] In recent years, metalcore bands have received prominent slots at Ozzfest and the Download Festival.<sup class="reference" id="cite_ref-256">[257] Lamb of God, with a related blend of metal styles, hit the #2 spot on the Billboard charts in 2009 with Wrath.<sup class="reference" id="cite_ref-257">[258] The success of these bands and others such as Trivium, who have released both metalcore and straight-ahead thrash albums, and Mastodon, who played in a progressive/sludge style, inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".<sup class="reference" id="cite_ref-258">[259] <sup class="reference" id="cite_ref-259">[260] <sup class="reference" id="cite_ref-260">[261]

The term "retro-metal" has been applied to such bands as England's The Darkness<sup class="reference" id="cite_ref-DAMG_261-0">[262] and Australia's Wolfmother.<sup class="reference" id="cite_ref-WRS_262-0">[263] The Darkness's Permission to Land (2003), described as an "eerily realistic simulation of '80s metal and '70s glam",<sup class="reference" id="cite_ref-DAMG_261-1">[262] topped the UK charts, going quintuple platinum. One Way Ticket to Hell... and Back (2005) reached number 11.<sup class="reference" id="cite_ref-263">[264] Wolfmother's self-titled 2005 debut album combined elements of the sounds of Deep Purple and Led Zeppelin.<sup class="reference" id="cite_ref-WRS_262-1">[263]

In continental Europe, especially Germany and Scandinavia, metal continues to be broadly popular. Well-established British acts such as Judas Priest and Iron Maiden continue to have chart success on the continent, beside a range of local groups. In Germany, Western Europe's largest music market, several continental metal bands placed multiple albums in the top 20 of the charts between 2003 and 2008, including Finnish band Children of Bodom, Norwegian act Dimmu Borgir, and Germany's Blind Guardian and Sweden's HammerFall.<sup class="reference" id="cite_ref-GerChart_264-0">[265] The Swedish act In Flames took both Come Clarity (2006) and A Sense of Purpose (2008) to the top of the Swedish charts and number 6 in Germany.<sup class="reference" id="cite_ref-GerChart_264-1">[265] <sup class="reference" id="cite_ref-265">[266]

edit] Digital electronic rock
Main article: Electronic rockEnlargeGaspard Augé and Xavier de Rosnay of Justice.In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer.<sup class="reference" id="cite_ref-S._Emmerson.2C_2007_pp._80-1_266-0">[267] This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet,<sup class="reference" id="cite_ref-267">[268] and new forms of performance such as laptronica<sup class="reference" id="cite_ref-S._Emmerson.2C_2007_pp._80-1_266-1">[267] and live coding.<sup class="reference" id="cite_ref-268">[269] These techniques also began to be used by existing bands, as with industrial rock act Nine Inch Nails' album Year Zero (2007),<sup class="reference" id="cite_ref-AMG_review_269-0">[270] and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.

Indie electronic, which had begun in the early 90s with bands like Stereolab and Disco Inferno, took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, and Ratatat from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels.<sup class="reference" id="cite_ref-270">[271] <sup class="reference" id="cite_ref-msnbc_271-0">[272] The Electroclash sub-genre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track "Space Invaders Are Smoking Grass" (1998),<sup class="reference" id="cite_ref-272">[273] and pursued by artists including Felix da Housecat,<sup class="reference" id="cite_ref-273">[274] Peaches, Chicks on Speed,<sup class="reference" id="cite_ref-274">[275] and Ladytron.<sup class="reference" id="cite_ref-post_275-0">[276] It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre.<sup class="reference" id="cite_ref-276">[277] Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud.<sup class="reference" id="cite_ref-277">[278] In Britain the combination of indie with dance-punk was dubbed new rave in publicity for The Klaxons and the term was picked up and applied by the NME to a number of bands,<sup class="reference" id="cite_ref-rousing_rave_from_the_grave_278-0">[279] including Trash Fashion,<sup class="reference" id="cite_ref-Here_we_glo_again_279-0">[280] New Young Pony Club,<sup class="reference" id="cite_ref-new_rave.3F_old_rubbish_280-0">[281] Hadouken!, Late of the Pier, Test Icicles,<sup class="reference" id="cite_ref-Rave_on.2C_just_don.27t_call_it_.27new_rave.27_281-0">[282] and Shitdisco<sup class="reference" id="cite_ref-rousing_rave_from_the_grave_278-1">[279] forming a scene with a similar visual aesthetic to earlier rave music.<sup class="reference" id="cite_ref-rousing_rave_from_the_grave_278-2">[279] <sup class="reference" id="cite_ref-the_future.27s_bright..._282-0">[283]

edit] Social impact
Main article: Social effects of rock musicEnlargeThe 1969 Woodstock Festival was seen as a celebration of the a counter-cultural lifestyle.The worldwide popularity of rock music meant that it became a major influence on culture, fashion and social attitudes. Different sub-genres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rockers subcultures, which revolved around US rock and roll<sup class="reference" id="cite_ref-Brake.3B_1990.3B_73-9_283-0">[284] The counter-culture of the 1960s was closely associated with psychedelic rock.<sup class="reference" id="cite_ref-Brake.3B_1990.3B_73-9_283-1">[284] The mid-1970s punk subculture began in the US, but it was given a distinctive look by British designer Vivian Westwood, a look which spread worldwide.<sup class="reference" id="cite_ref-284">[285] Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles.<sup class="reference" id="cite_ref-285">[286]

When an international rock culture developed, it was able to supplant cinema as the major sources of fashion influence.<sup class="reference" id="cite_ref-Bruzzi_et_al.3B_2000.3B_260_286-0">[287] Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance.<sup class="reference" id="cite_ref-Bruzzi_et_al.3B_2000.3B_260_286-1">[287] Rock fashions have been seen as combining elements of different cultures and periods, as well as expressing divergent views on sexuality and gender, and rock music in general has been noted and criticised for facilitating greater sexual freedom.<sup class="reference" id="cite_ref-Bruzzi_et_al.3B_2000.3B_260_286-2">[287] <sup class="reference" id="cite_ref-287">[288] Rock has also been associated with various forms of drug use, including the stimulants taken by some mods in the early to mid-1960s, through the LSD linked with psychedelic rock in the late 1960s and early 1970s; and, in a number of eras, cannabis, cocaine and heroin, all of have all been eulogised in song.<sup class="reference" id="cite_ref-288">[289] <sup class="reference" id="cite_ref-289">[290]

Rock has been credited with changing attitudes to race by opening up African-American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that culture.<sup class="reference" id="cite_ref-290">[291] <sup class="reference" id="cite_ref-291">[292] While rock music has absorbed many influences and introduced Western audiences to different musical traditions,<sup class="reference" id="cite_ref-292">[293] the global spread of rock music has been interpreted as a form of cultural imperialism.<sup class="reference" id="cite_ref-293">[294] Rock music inherited the folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment.<sup class="reference" id="cite_ref-294">[295] Political activism reached a mainstream peak with the "Do They Know Its Christmas?" single (1984) and Live Aid concert for Ethiopia in 1985, which, while successfully raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.<sup class="reference" id="cite_ref-295">[296]

Since its early development rock music has been associated with rebellion against social and political norms, most obviously in early rock and roll's rejection of an adult-dominated culture, the counter-culture's rejection of consumerism and conformity and punk's rejection of all forms of social convention,<sup class="reference" id="cite_ref-296">[297] however, it can also be seen a providing a means of commercial exploitation of such ideas and of diverting youth away from political action.<sup class="reference" id="cite_ref-297">[298]