Book Review: All Shook Up

In All Shook Up: How Rock’n’Roll changed America, author Glenn C Altschuler reveals the complex inception and progression of rock n’ roll in American popular culture during the 1950’s. Altschuler identifies the economic, social and political aspects of American society that encouraged rock’n’roll to find its niche in youth culture, becoming the most radical and loved genre of music during the time. Rock’n’roll’s musical traditions are rooted in African American culture, and in a segregated post WWII America, this ignited controversy. The adult mainstream had varying responses: some loved it, most of them hated it, and some changed their opinion depending on who they were talking to. The controversy claimed to be a reaction against the “overt” sexuality of the music, however Altschuler argues that it is the underlying racial tensions that truly made rock’n’roll so threatening.

Many people declared rock’n’roll as the great racial equalizer. This was the first time that black musicians received some of the same kind of recognition and respect as white musicians. Altschuler examines this inaccurate claim and reveals the precarious situation of black musicians in white popular culture. Many black musicians such as Antoine “Fats” Domino, Chuck Berry, and Little Richard had to adapt and “sanitize” their music to reach white listeners. Many black musicians were exploited and misrepresented by their music producers, and there was a clear barrier between black and white musicians. In order to be accepted and appreciated by his audiences, Chuck Berry once said: “I stressed my diction so that it was harder and whiter…it was my intention to hold both the black and white clientele by voicing the different songs in their customary tongues” (52). Altschuler also points out that rock’n’roll did not campaign for racial equality and the public did relate it to race issues. Altschuler uses the example of nineteen-year old Virginia Lemon of Little Rock, Arkansas who loved listening to rock’n’roll but still chose to be photographed waving a confederate flag in Look Magazine (49). However, Altschuler does point out that with the rising popularity of black performers, white Americans proved that they were ready to idolize an African American. Also, if not anything else, it provided unprecedented opportunities for African American musicians.

In Altschuler’s concluding paragraph he says “in the half century since rock’n’roll got its name, the music has taken many forms…it continues to solidify youth consciousness and bring meaning and order to the lives of millions of people” (192). This suggests that Altschuler believes that rock’n’roll holds the same influence in contemporary society, where in truth, rock’n’roll today has changed and no longer has the same controversial power. The genre is dominated by white musicians, and other musical genres, such as hip hop and rap, that provoke discussion about race, class and gender issues. It would be interesting for Altschuler to comment on the identity of rock’n’roll in contemporary culture and how racial inequality still pervades this music genre.