Editing Rock music (section)

==Social impact==
{{Main|Social effects of rock music}}
[[File:Woodstock redmond hair.JPG|thumb|alt=A color photograph showing people from the 1969 Woodstock Festival sitting on grass, in the foreground a back and a white male look at each other|[[Woodstock]], a three-day [[music festival]] held in [[Bethel, New York]] in August 1969, was seen as a celebration of the [[counterculture|countercultural]] lifestyle.]]
Different subgenres of rock were adopted by, and became central to, the identity of a large number of [[sub-culture]]s. In the 1950s and 1960s, respectively, British youths adopted the [[Teddy Boys|Teddy Boy]] and [[Rocker (subculture)|Rocker]] subcultures, which revolved around US rock and roll.<ref name="Brake; 1990; 73-9"/> The [[counterculture of the 1960s]] was closely associated with [[psychedelic rock]].<ref name="Brake; 1990; 73-9">M. Brake, ''Comparative Youth Culture: the Sociology of Youth Cultures and Youth Subcultures in America, Britain, and Canada'' (Abingdon: Routledge, 1990), {{ISBN|0-415-05108-8}}, pp. 73–79, 90–100.</ref> The mid- to late 1970s, [[punk subculture]] began in the US, but it was given a distinctive look by British designer [[Vivienne Westwood]], a look which spread worldwide.<ref>P.A. Cunningham and S.V. Lab, ''Dress and Popular Culture'' (Madison, WI: Popular Press, 1991), {{ISBN|0-87972-507-9}}, p. 83.</ref> Out of the punk scene, the [[Goth subculture|Goth]] and [[Emo]] subcultures grew, both of which presented distinctive visual styles.<ref>{{cite book|editor1-last=Goodlad |editor1-first=Lauren M. E. |editor2-last=Bibby |editor2-first=Michael |title=Goth: Undead Subculture |year=2007 |publisher=Duke University Press |location=Durham, NC |isbn=978-0-8223-3921-2}}</ref>

When an international rock culture developed, it supplanted cinema as the major sources of fashion influence.<ref name="Bruzzi et al; 2000; 260">S. Bruzzi and P. C. Gibson, ''Fashion Cultures: Theories, Explorations, and Analysis'' (Abingdon: Routledge, 2000), {{ISBN|0-415-20685-5}}, p. 260.</ref> Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance.<ref name="Bruzzi et al; 2000; 260"/> Rock fashions have been seen as combining elements of different cultures and periods, as well as expressing divergent views on sexuality and gender, and rock music in general has been noted and criticised for facilitating greater sexual freedom.<ref name="Bruzzi et al; 2000; 260"/><ref>G. Lipsitz, ''Time Passages: Collective Memory and American Popular Culture'' (Minneapolis MN: University of Minnesota Press, 2001), {{ISBN|0-8166-3881-0}}, p. 123.</ref> Rock has also been associated with various forms of drug use, including the [[amphetamine]]s taken by mods in the early to mid-1960s, through the [[LSD]], [[mescaline]], [[hashish]] and other hallucinogenic drugs linked with [[psychedelic rock]] in the mid- to late 1960s and early 1970s; and sometimes to [[cannabis (drug)|cannabis]], [[cocaine]] and heroin, all of which have been eulogised in song.<ref>R. Coomber, ''The Control of Drugs and Drug Users: Reason or Reaction?'' (Amsterdam: CRC Press, 1998), {{ISBN|90-5702-188-9}}, p. 44.</ref><ref>P. Peet, ''Under the Influence: the Disinformation Guide to Drugs'' (New York: The Disinformation Company, 2004), {{ISBN|1-932857-00-1}}, p. 252.</ref>

Rock has been credited with changing attitudes to race by opening up [[African-American culture]] to white audiences; but at the same time, rock has been accused of [[Cultural appropriation|appropriating]] and exploiting that culture.<ref>{{cite book|last=Fisher |first=Marc |title=Something in the Air: Radio, Rock, and the Revolution that Shaped a Generation |year=2007 |publisher=Random House |location=New York, NY |isbn=978-0-375-50907-0 |page=53}}</ref><ref>M.T. Bertrand, ''Race, Rock, and Elvis'' (Chicago IL: University of Illinois Press, 2000), {{ISBN|0-252-02586-5}}, pp. 95–96.</ref> While rock music has absorbed many influences and introduced Western audiences to different musical traditions,<ref>J. Fairley, "The 'local' and 'global' in popular music" in S. Frith, W. Straw and J. Street, eds, ''The Cambridge Companion to Pop and Rock'' (Cambridge: Cambridge University Press, 2001), {{ISBN|0-521-55660-0}}, pp. 272–89.</ref> the global spread of rock music has been interpreted as a form of [[cultural imperialism]].<ref>R. Shuker, ''Understanding Popular Music'' (Abingdon: Routledge, 1994), {{ISBN|0-415-10723-7}}, p. 44.</ref> Rock music inherited the folk tradition of [[protest song]], making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment.<ref>T.E. Scheurer, ''American Popular Music: The Age of Rock'' (Madison, WI: Popular Press, 1989), {{ISBN|0-87972-468-4}}, pp. 119–20.</ref> Political activism reached a mainstream peak with the "[[Do They Know It's Christmas?]]" single (1984) and [[Live Aid]] concert for Ethiopia in 1985, which, while raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.<ref>D. Horn and D. Bucley, "Disasters and accidents", in J. Shepherd, ''Continuum Encyclopedia of Popular Music of the World: Media, Industry and Society'' (London: Continuum, 2003), {{ISBN|0-8264-6321-5}}, p. 209.</ref>

Since its early development, rock music has been associated with rebellion against social and political norms, most in early rock and roll's rejection of an adult-dominated culture, the counterculture's rejection of consumerism and conformity and punk's rejection of all forms of social convention;<ref>P. Wicke, ''Rock Music: Culture, Aesthetics and Sociology'' (Cambridge: Cambridge University Press, 2nd edn., 1995), {{ISBN|0-521-39914-9}}, pp. 91–114.</ref> however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.<ref>E.T. Yazicioglu and A.F. Firat, "Clocal rock festivals as mirrors into the futures of cultures", in R.W. Belk, ed., ''Consumer Culture Theory'' (Bingley: Emerald Group Publishing, 2007), {{ISBN|0-7623-1446-X}}, pp. 109–14.</ref><ref>{{cite book|last1=Yazicioglu |first1=E. T. |last2=Firat |first2=A. F. |contribution=Clocal Rock Festivals as Mirrors into the Futures of Cultures |date=7 June 2007 |editor1-last=Belk |editor1-first=Russell W. |editor2-last=Sherry |editor2-first=John F. |title=Consumer Culture Theory: Volume 11 |publisher=Emerald Group Publishing |location=Bingley |isbn=978-0-7623-1446-1 |pages=109–14}}</ref>

===Role of women===
{{Main|Women in music#Popular music}}
{{See also|Rock Against Sexism|Women in heavy metal}}
[[File:2023 Rock im Park - Halestorm - Lzzy Hale - by 2eight - ZSC1434.jpg|thumb|[[Lzzy Hale]], lead singer and guitarist of [[hard rock]] band [[Halestorm]], performing in June 2023]]
Professional women instrumentalists are uncommon in rock genres such as heavy metal although bands such as [[Within Temptation]] have featured women as lead singers with men playing instruments. According to Schaap and Berkers, "playing in a band is a male homosocial activity, that is, learning to play in a band is a peer-based ... experience, shaped by existing sex-segregated friendship networks.<ref>J. Schaap and P. Berkers, "Grunting Alone? Online Gender Inequality in Extreme Metal Music", ''IASPM Journal'', vol.4(1) (2014), pp. 101–02.</ref> They note that rock music "is often defined as a form of male rebellion vis-à-vis female bedroom culture."<ref name="SchaapandBerkers2014p102">J. Schaap and P. Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music", ''IASPM Journal'', Vol.4 (1), (2014), p. 102,</ref> (The theory of "bedroom culture" argues that society influences girls to not engage in crime and deviance by virtually trapping them in their bedroom; it was identified by a sociologist named [[Angela McRobbie]].) In popular music, there has been a gendered "distinction between public (male) and private (female) participation" in music.<ref name="SchaapandBerkers2014p102"/> "Several scholars have argued that men exclude women from bands or from the bands' rehearsals, recordings, performances, and other social activities".<ref name="SchaapandBerkers2014p104">J. Schaap and P. Berkers, "Grunting Alone? Online Gender Inequality in Extreme Metal Music", ''IASPM Journal'', Vol.4(1), (2014), p. 104.</ref> "Women are regarded as passive and private consumers of slick, prefabricated{{snd}}hence, inferior{{snd}}pop music ..., excluding them from participating as high status rock musicians".<ref name="SchaapandBerkers2014p104"/> One of the reasons that there are mixed gender bands is that "bands operate as tight-knit units in which homosocial solidarity{{snd}}social bonds between people of the same sex ... {{snd}}plays a crucial role".<ref name="SchaapandBerkers2014p104"/> In the 1960s rock music scene, "singing was sometimes an acceptable pastime for a girl, but playing an instrument ... simply wasn't done".<ref name="rebeatmag.com">{{cite web|first=Erika|last=White |url=http://www.rebeatmag.com/music-history-primer-3-pioneering-female-songwriters-of-the-60s/ |title=Music History Primer: 3 Pioneering Female Songwriters of the '60s &#124; REBEAT Magazine |publisher=Rebeatmag.com |date=28 January 2015 |access-date=20 January 2016}}</ref>

"The rebellion of rock music was a male rebellion; the women{{snd}}often, in the 1950s and '60s, girls in their teens{{snd}}in rock sang songs as personæ dependent on their macho boyfriends ...". Philip Auslander says that "Although there were many women in rock by the late 1960s, most performed only as singers, a feminine position in popular music". Though some women played instruments in American [[all-female bands|all-female garage rock bands]], none of these bands achieved more than regional success. So they "did not provide viable templates for women's on-going participation in rock".<ref name="Auslander2004">{{cite journal | last = Auslander | first = Philip | date = 28 January 2004 | title = I Wanna Be Your Man: Suzi Quatro's musical androgyny | journal = Popular Music | volume = 23 | issue = 1 | pages = 1–16 | location = United Kingdom | publisher = [[Cambridge University Press]] | doi = 10.1017/S0261143004000030 | s2cid = 191508078 | access-date = 25 April 2012 |url=http://lmc.gatech.edu/~auslander/publications/quatro.pdf | archive-url=https://web.archive.org/web/20130524032035/http://lmc.gatech.edu/~auslander/publications/quatro.pdf | url-status=dead | archive-date = 24 May 2013  | issn = 0261-1430}}</ref> In relation to the gender composition of [[Heavy metal music|heavy metal bands]], it has been said that "[h]eavy metal performers are almost exclusively male"<ref name="Brake 1990 87–91">{{cite book |last=Brake |first=Mike |editor1-last=Frith |editor1-first=Simon |editor2-last=Goodwin |editor2-first=Andrew |title=On Record: Rock, Pop and the Written Word |publisher=Routledge |date=1990 |pages=87–91 |chapter=Heavy Metal Culture, Masculinity and Iconography }}</ref> "...at least until the mid-1980s"<ref>{{cite book |last=Walser |first=Robert |date=1993 |title=Running with the Devil:Power, Gender and Madness in Heavy Metal Music |publisher=Wesleyan University Press |page=76 }}</ref> apart from "...exceptions such as [[Girlschool]]".<ref name="Brake 1990 87–91"/> However, "...now [in the 2010s] maybe more than ever–strong metal women have put up their dukes and got down to it",<ref>{{cite journal |last=Eddy |first=Chuck |date=1 July 2011 |title=Women of Metal |journal=[[Spin (magazine)|Spin]] |publisher=SpinMedia Group}}</ref> "carv[ing] out a considerable place for [them]selves."<ref>{{cite journal |last=Kelly |first=Kim |date=17 January 2013 |title=Queens of noise: heavy metal encourages heavy-hitting women |journal=The Telegraph}}</ref> When [[Suzi Quatro]] emerged in 1973, "no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader".<ref name="Auslander2004"/> According to Auslander, she was "kicking down the male door in rock and roll and proving that a female ''musician''&nbsp;... and this is a point I am extremely concerned about&nbsp;... could play as well if not better than the boys".<ref name="Auslander2004"/>
[[File:The Pleasure Seekers (band).jpg|thumb|[[The Pleasure Seekers (band)|The Pleasure Seekers]], one of the first all-female rock bands, featuring Suzi Quatro]]
An [[all-female band]] is a musical group in genres such as rock and blues which is composed of [[female musician]]s. This is distinct from a girl group, in which the female members are vocalists, though this terminology is not universally followed.<ref>For example, vocalists [[Girls Aloud]] are referred to as a "girl band" in [http://www.ok.co.uk/fashion/view/8555/Meet-the-duo-dressing-Girls-Aloud ''OK'' magazine] {{Webarchive|url=https://web.archive.org/web/20121101120717/http://www.ok.co.uk/fashion/view/8555/Meet-the-duo-dressing-Girls-Aloud |date=1 November 2012 }} and the [https://www.theguardian.com/music/2008/nov/09/girlsaloud-thexfactor ''Guardian''], while [[Girlschool]] are termed a "girl group" at the [https://www.imdb.com/name/nm0320918/bio ''imdb''] and [https://archive.today/20120728103723/http://www.belfasttelegraph.co.uk/entertainment/music/reviews/the-hedrons-13401497.html?startindex=-1 ''Belfast Telegraph''].</ref>