The 1950s was a very interesting time for the symphony industry. Changes were exhalation on that would shape the musical styles that we listen to even today. flavor at this from the musicians point of view, these changes were welcomed by some, disliked by some others, and compose others felt indifferent. Nonetheless, The Publics taste in music was changing, and record producers and DJs were scratch line to give them what they wanted to hear.
In terms of labeling the genre of music, this was a very confusing time. Many names were being propel around to label the types of new music that were becoming popular, from discolour, and round of golf and blues, to black music and guide music. Along with many other black artists at this time, B.B. King thought that songs were being denominate as oscillation and blues and race music besides because the artist who sang the song was black. King said, ?They classed things that Louis Jordan was doing as musical euphony and blues,? as well as ?Dinah Washington was considered rhythm and blues or race, but Dinah sang anything that anybody else sang.? (The Pop Rock and intelligence Reader p.59). Ruth Brown agreed with this. On varlet 64, she says that ?The rhythm and blues chart was another way in the late forties and early fifties to list race and black music as well as rhythm and blues records.
? The Billboard chart, the standard for determining popular music at the time, was made up of playlists from radio stations that were white- own and played predominately white music.
Early on, rhythm and blues was much or less listened to by strictly black audiences. Jerry Wexler, a producer at Atlantic Records, said that when he freshman started working at Atlantic, the idea of marketing and selling rhythm and blues albums...
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