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CHAPTER 3 1959–1963, The Demise of Rock and the
Promise of Soul
1959–1963, The Demise of Rock and the Promise of Soul | 41
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CHAPTER 3: The Demise of Rock and the Promise of Soul
MULTIPLE CHOICE
1. Teen idols were marketed primarily as
a. bad boys. c. singer/songwriters.
b. ideal boyfriends. d. professional studio musicians.
2. Who was the first host of American Bandstand?
a. Dick Clark c. Chubby Checker
b. Neil Sedaka d. Bob Horn
3. The focus of American Bandstand was
a. provocative live performances.
b. resurrecting rhythm-and-blues songs.
c. teenagers dancing to pop music.
d. developing new songwriting talent.
4. Which folksinger was a member of the Weavers?
a. Pete Seeger c. Woody Guthrie
b. Bob Dylan d. Harry Belafonte
5. All of the following were populist characteristics of the folk song movement EXCEPT
a. that the folk tunes were familiar to the audience.
b. that almost anyone could play folk music.
c. the folk music singer’s prowess and image among the audience.
d. the importance of song lyrics.
6. Which song initiated the folk music revival in mainstream pop?
a. “Where Have All the Flowers Gone?”
b. “Tom Dooley”
c. “Wimoweh”
d. “If I Had a Hammer”
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7. Which folk music group had a hit song with a cover of Bob Dylan’s “Blowin’ in the Wind”?
a. the Kingston Trio c. the Highwaymen
b. the Weavers d. Peter, Paul, and Mary
8. The pop audience’s perception of the image and authenticity of folk music was the result of the
a. wide acceptance of the music by college-age audiences.
b. effort of the music industry to market the movement.
c. availability of long-playing albums.
d. homespun image of folk music singers.
9. The role of the A&R man was to
a. write and record songs.
b. develop trademark sounds on pop recordings.
c. organize and coordinate the professionals involved in recording.
d. find the right producer to record a hit song.
10. A playlet is a
a. short song telling a humorous story.
b. song that romanticizes teenage death.
c. song produced and performed by the same person.
d. song that combines rockabilly sounds with Brill Building recording techniques.
11. All of the following were professional songwriters at the Brill Building EXCEPT
a. Avalon and Vinton. c. Sedaka and Greenfield.
b. King and Goffin. d. Weil and Mann.
12. All of the following are examples of girl groups EXCEPT
a. the Ronettes. c. the Crystals.
b. the Drifters. d. the Dixie Cups.
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12. How were performances on American Bandstand usually featured?
13. How is pop success measured for folk artists?
14. At the end of the 1950s, how was rock and roll a threat to the old-guard music business?
15. Most of the girl groups in the early 1960s were comprised of which demographic?
MATCHING
Match the item to the description below.
a. King of the Surf Guitar
b. traditional performer of folk music
c. death-disk playlet
d. sang in falsetto
e. example of a playlet
f. cars, girls, and surfing
g. concept of folk music
h. songwriter with the Brill Building
i. part of the dance craze
j.
Ricky Nelson
1. Carole King
2. “The Twist”
3. Woody Guthrie
4. “for the people and by the people”
5. “Smokey Joe’s Cafe”
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6. Roy Orbison’s vocal trademark
7. rockabilly popster
8. surf music themes
9. Dick Dale
10. “Leader of the Pack”
ESSAY
1. Discuss how the music industry changed during the period 1959–1963. How did the structure of the
industry change with regard to how music was produced, and what was the role of the musician in the
production? Who were the important nonmusician figures associated with music production, and what
were their roles? How did the music itself change during this period?
2. Discuss the concept of “for the people and by the people” as it relates to the folk music
movement. How is this concept related to the music and the ideologies of the people within the
movement? Be sure to include the important figures associated with this movement.
ANS:
answers vary
PTS: 1 DIF: Moderate
