Pop rock

Pop rock
Stylistic origins	Pop music Rock music
Cultural origins	1960s, United Kingdom and United States
Typical instruments	Electric guitar, Bass guitar, drums, vocals, Keyboards, synthesizers
Subgenres
British Invasion - Bubblegum pop rock - New Wave - Pop metal - Pop punk - Power pop - Surf rock - Synthpop (complete list)
Other topics
Pop culture - Power pop

Pop rock is a mix of pop music and rock music utilizing a catchy pop style with light lyrics, and (typically) guitar-based songs. There are varying definitions of the term, ranging from a slower and mellower form of rock music to a subgenre of pop music. Scholars have noted that pop and rock are usually depicted as opposites; the detractors of pop often deride it as a slick, commercial product, less authentic than rock music.

Definitions

The textbook American Popular Music defines pop rock 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." 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' falls into the pop rock subgenre. He claims that the lyrical content of pop rock is "normally secondary to the music!"

Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American-influenced forms such as Rock and Roll. Auslander points out that the concept of pop rock, which blends pop and rock is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars such as Simon Frith and Grossberg argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial" and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".

Simon Frith's analysis of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and other scholars have over-emphasized the role of "rock" in the history of popular music by naming every new genre using the "rock" suffix. Thus when a folk-oriented style of music developed in the 1960s, Frith terms it "folk rock", and the pop-infused styles of the 1970s were called "pop rock." Moore-Gilbert claims that this approach unfairly puts rock at the apex, and makes every other influence become an add-on to the central core of rock.

Examples

As with many musical genres, what constitutes "pop rock" is subjective. As such, music critics and journalists have differing opinions on which category a band should be placed in. Billboard magazine provides one perspective on how to categorize "pop rock" groups from the 1970s to the 2000s. Other perspectives from other magazines and individual music journalists and critics are also provided.

1970s

Billboard magazine considers the pop rock performers or groups from this era to include The Jackson 5, Three Dog Night, Elton John, Diana Ross, Bee Gees, Fleetwood Mac, Donna Summer, Billy Joel, and Olivia Newton-John, among others. The Encyclopedia Britannica calls the Bee-Gees an "English-Australian pop-rock band that embodied the disco era of the late 1970s." A university course on the history of popular music claims that Three Dog Night were "one of the most popular bands of the late Sixties early Seventies; pop rock, singles-oriented sound with soul-influences".

1980s

From the perspective of Billboard magazine, the pop rock performers or groups from the early 1980s include Daryl Hall and John Oates, Stevie Wonder, Michael Jackson, Stevie Nicks and Phil Collins. In 1980, with the demise of disco, the "music industry floundered in 1980 looking for something to fill the void" and help to boost falling sales. For a period, "easy listening" pop was the top seller. Music critic Michael Gross called it "commercial Cotton candylovers": "Magic" by Olivia Newton-John; "Sailing" by Christopher Cross; "You've Lost That Lovin' Feeling" by Hall and Oates, and others. The "syrupy pop-rock of Air Supply" hits such as "All Out Of Love" "best exemplified the formula for chart success" during this period. For the later part of the 1980s, Billboard lists: Bryan Adams, Cher, Roxette, Billy Ocean, U2, Michael Jackson, and Def Leppard, among others, as significant pop rock performers of the decade. Madonna was notable in that she was a prominent pop rock artist during the entire decade.

1990s

In the 1990s a new genre emerged into the mainstream, combining elements of pop and with punk rock. This new style was termed pop punk, and was popularized by artists such as Blink 182 and Green Day. Billboard magazine considers the pop rock performers or groups from the 1990s to include Ace Of Base. For the later part of the decade, the magazine lists Robbie Williams, Alanis Morissette, Shakira, No Doubt, Hanson, Gin Blossoms, and dc Talk.

2000s

Billboard magazine considers the pop rock performers or groups from this era to include singers such as Maroon 5, Metro Station (band), Jonas Brothers, Mika, Tokio Hotel, 3OH!3, Forever The Sickest Kids, All Time Low, The Maine (band), A Rocket To The Moon, SR-71, Something Corporate, Cute Is What We Aim For, Avril Lavigne, The Feeling, Demi Lovato, McFLY, We The Kings, Nicolas, Paramore, Pink, Mêlée, Stellar Kart, The Veronicas, Weezer, Yellowcard, Every Avenue, and Boys Like Girls.

Further reading

• Birrer, F.A.J. "Definitions and research orientation: do we need a definition for popular music?" in D. Horn (ed). Popular Music Perspectives, 1985. Gothenburg. pg 99-105.
• Chambers ,I. Urban Rhythms, Pop Music and Popular Culture. 1985:OUP.
• Fiske, J.Understanding Popular Culture, - 1989 - Routledge
• Frith, S. The Sociology of Rock - 1978 - Constable
• Frith, S. Sound Effects: Youth, Leisure and the Politics of Rock'n'Roll - 1983 - Constable
• Hamm, C. Yesterdays: Popular Song in America - 1979 - New York
• Harker, D. One For the Money: Politics and Popular Song - 1980 - Hutchinson
• Harron, M. "Pop as Commodity," cited in S Frith - Facing The Music: Essays on Pop, Rock and Culture 1988, Mandarin. pg 173-220
• Hill, D. Designer Boys and Material Girls: Manufacturing the '80's Pop Dream. 1986 - Blandford Press
• Middleton, R. Studying Popular Music. - 1990 - OUP
• Moore, A.F. Rock: The Primary Text, - 1993 - OUP
• Shuker, R. Understanding Popular Music - 1994 - Routledge AB

External links

• Analysis of Pop & Rock