Jun 19 2009

How the Beatles Destroyed Rock ’n’ Roll: An Alternative History of American Popular Music by Elijah Wald

Devin McKinney

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How the Beatles Destroyed Rock n Roll:

An Alternative History of American Popular Music

by Elijah Wald

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Millions heard the sound of freedom in the Beatles’ music. Elijah Wald hears a death knell. In the songs of the Fab Four, he argues, pop music completed its decades-long transformation from a kingdom of democratic dance and authorless song to a lonesome land of private pleasures and isolated audiences. The result was segregation along lines of race as well as taste: In the late ’60s, as white rock sought introspection in albums and black pop chased good times on singles, an “increasing divide between rock and soul, listening music and dance music,” developed. Wald writes that the Beatles destroyed rock ’n’ roll by leading “their audience off the dance floor, separating rock from its rhythmic and cultural roots,” and “point[ing] the way toward a future in which there need be no unifying styles.”

How the Beatles Destroyed Rock ’n’ Roll is meticulously researched and dispassionately argued but only partly about rock ’n’ roll and the Beatles. More than half the book centers on jazz forms of the early twentieth century—ragtime, swing, romantic croon—with an analysis of later non-jazz genres such as hillbilly and Latin, and sociological sidebars on contemporaneous dance and clothing fads. Though Wald means to stress “the continuity and connections between pop eras,” his history lacks unity: Chapters are often linked only by Wald’s refusal of received wisdom. Sometimes this thread snaps midway: A promising chapter on girl-group records and female empowerment dissolves into tangents on protest folk and surf music.

If the book has an overall theme, it is that pop music was better before technology got involved. To Wald, phonograph records and radio shows weren’t innovations for music distribution so much as attempts to commodify the ineffable. He mourns a long-gone day when listeners discovered songs at social events like fairs and dances, instrumentalists weren’t limited to replicating solos familiar from recordings, and performers tended to be anonymous working stiffs. In his view, the decline began when pop music became tied to personalities who were seen to elevate its quality (’20s jazz maestro Paul Whiteman was the Beatles’ precursor in snob appeal) and records and radio unmoored music from its egalitarian foundations. Wald’s perfect pop world ended, we gather, around 1910.

What this book does best is convey how pop music was consumed before the advent of celebrity and technology. Although conventional music history has focused on the singer-star, audiences eighty years ago cared chiefly about songs, not performers: Sheet-music sales measured a tune’s popularity, and a fan’s enjoyment wasn’t bound to a particular singer’s rendition. So rather than judge the relative merits of artists and works, Wald excavates a sense of how each was absorbed by its time and resists a retroactive bias—the urge to fit the past into rigid categories and movements, with no significant advances occurring outside those classifications.

The history of pop music is varied enough to generate many conflicting narratives, each with its own supporting data—chart placements, contextual quotes, etc. As Wald writes, “There are no definitive histories because the past keeps looking different as the present changes.” More important than Wald’s data, which are solidly documented, is his failure to charge this chronicle with attitude, drama, and vivid language. Such things matter in a book like this: Revisionist history, if it means to topple shrines and blast platitudes, shouldn’t sound as potted and prosaic as that which it would subvert. Alternative history needs an alternative vision, a third eye to spot miracles on the peripheries. Wald has that eye. What he lacks, or represses, is a style alive with the momentum of change, the juice of rhetoric, or the melancholy of loss. So what if the Beatles destroyed rock ’n’ roll? Wald never gets angry about it. He never even seems sad. I want an alternative.

Devin McKinney is the author of Magic Circles: The Beatles in Dream and History (Harvard University Press, 2003) and is at work on a biography of Henry Fonda.

thomasb

June 19, 2009
3:52 pm

"So what if the Beatles destroyed rock ’n’ roll? Wald never gets angry about it. "

Which makes me ask: Was the title the publisher's idea? Something intended as provocative to draw more attention? It's not everyday you hear someone say "The Beatles suck!" and that's why I read the review.

Have to admit, judging from your take, the book doesn't sound that interesting, though it should be (That people weren't as concerned with artists as they were the actual songs is interesting.

The Beatles' impact certainly wasn't all good by any means, but they still constitute a miracle, to me at least. Strikes me as a somewhat provincial book, too.

Thanks!

Thomas Burchfield
http://www.redroom.com/member/thomas-burchfield

Jlstcui

April 16, 2013
11:35 am

I'm about 3/4 of the way through this fascinating book, and, much to my initial surprise, I've yet to get to anything concerning the Beatles.

But that's okay. Wald's reworking of pop music history makes a lot of sense, from a historical standpoint, but not so much, if viewed from the usual, breathlessly emotional, fan-driven style that often comes along with the territory.

Contrary to Mr. McKinney's take, the evenhanded tone actually adds to, rather than detracts from, the book's persuasiveness. Wald spends much of his book showing how technological developments, as well as the often resulting social ones, affected how the public bought, danced to, and generally responded to the music of its day.

Nowhere does he argue that Paul Whiteman's music is artistically golden, especially for current-day listeners, but he does show effectively why he was important in his day.

Also, as far as songs being more important than singers, back in the early 20th century, that didn't entirely disappear even as late as the 1950s and '60s. Often, what was seen by merchandisers (record companies, radio/TV, etc.) as saleable determined whose version of a song became popular. The entire story of "The Twist," and how Chubby Checker (given his Fats Domino-imitative stage name by Dick Clark's wife) is the one whose recording became the hit, is an intriguing window into the machinations of the industry at that time.

The book won't be for all readers, clearly. But for anyone who wants to get past the top-ten list method of glorifying each author's idols, and delve into some interesting social history, even if you don't agree with all of Wald's assertions, this book is certainly worth a read.

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