Pop rock (also typeset as pop/rock[4]) is a fusion genre characterized by a strong commercial appeal,[5] with more emphasis on ⚾️ professional songwriting and recording craft, and less emphasis on attitude than standard rock music.[6][7][1] Originating in the late 1950s as ⚾️ an alternative to normal rock and roll, early pop rock was influenced by the beat, arrangements, and original style of ⚾️ rock and roll (and sometimes doo-wop).[1] It may be viewed as a distinct genre field rather than music that overlaps ⚾️ with pop and rock.[4] The detractors of pop rock often deride it as a slick, commercial product and less authentic ⚾️ than rock music.[8]
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.[9] Writer Johan Fornas views pop/rock as "one single, continuous genre field", rather than distinct categories.[4] To ⚾️ the authors Larry Starr and Christopher Waterman, it is defined as an "upbeat variety of rock music" represented by artists ⚾️ and bands such as: Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton.[10]
Debates [ edit ]
Critic Philip Auslander argues ⚾️ that the distinction between pop and rock is more pronounced in the US than in the UK. He claims that ⚾️ in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American music ⚾️ influenced by 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".[15]
In Christgau's Record Guide: ⚾️ Rock Albums of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along ⚾️ stylistic lines in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the ⚾️ popular and semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, ⚾️ funk, disco, urban contemporary, and new wave, but not punk rock.[17]
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