How useful is a production of culture perspective in understanding the birth of rock and roll?

Peterson’s production of culture perspective is useful in understanding the birth of Rock n Roll. It addresses 6 points which developed at the same point in time which consequently influenced its emergence. This approach is more realistic than the idea that the genre was born from its artists or that it was a result of the post war baby boom.
This approach tackles many of the factors which contributed to Rock n Roll’s emergence, however it’s hard to ignore that it doesn't account for a major factor which contributed to its birth, the music itself. It doesn't discuss the production or content of the music but rather its distribution. It doesn't pinpoint why it was this particular genre which emerged in 1955. Technologically it doesn't discuss the development of the microphone, amplification, recording and the electric guitar, all major aspects of Rock n Rolls unique sound. Lastly it doesn't address the connection and engagement between the genre and teenagers, the audience which had most control over its popularity. It is therefore plausible to suggest that if these factors were combined with the 6 points in the production of culture perspective that perhaps we would have a much more concise picture of why it actually was 1955. 

Is it reasonable to consider that rock music is gendered male?

It is noticeable that within rock music the ratio between men and women rock musicians is very unbalanced. Mavis Beyton suggests that the reason for women’s absence in rock music is entirely social, something which is installed in each generation, proof of this is how children are often assigned to a musical instrument depending on there gender, girls play pianos and boys play guitars. The guitar is a masculine object, so when a woman plays a guitar she must ensure that she is also sexually appealing. This takes the artists full attention away from playing in turn producing music which is not considered innovative. Charlotte Greig points out that for a woman to become a successful she must become ‘masculine’, it is then interesting how many male rock musicians often become successful through combining their masculinity with elements of femininity. It is therefore clear that from its artists right through to its links with technology which is considered masculine that overall rock music is gendered male. 

Can popular music ever really be unplugged?

The success of popular music is driven by electronic technology. Both the flawless production of the music and the easy access and consumption for its audiences depend on technology. It is therefore plausible to suggest that popular music can never be ‘unplugged’. The development of technology through the microphone, amplification, recording and the electric guitar enabled music to break free from the constraints of classical music, in turn leading to the birth of 1950s Rock N Roll which changed the way people thought about music. Setting aside the point that without being plugged in music festivals, large concerts and access to music at home would not be possible, it is also clear that the unique creativity of each song would be limited. Therefore no such thing as popular music would exist, all music would sound similar and therefore no music could stand individually presenting itself as exciting or innovative to its audiences. 

What is popular music?

There are many debates on how to define what popular music actually is. These debates question the primary aims of popular music often suggesting commercial recognition and profit over artistic and cultural creativity. As a result of this it is often referred to as a light form of music which lacks substance. Initially I would have linked popular music to the current music within the charts, sharing the view of theorist Adorno that popular music is commercially orientated, produced by the mass media with the only intention of profit in mind. However this view rejects music produced by artists such as The Who whose artistically intentional music invoked its popularity and profit. Therefore as defined by Shuker (1994) it is clear that popular music is a combination of artistic intentions and the commercial nature of the production and distribution bound together in order to create great significance for its consumers.