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 ]

Frith's analysis of the 💱 history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that 💱 Frith and other scholars have overemphasized the role of rock in the history of popular music by naming every new 💱 genre using the "rock" suffix. Thus, when a folk-oriented style of music developed in the 1960s, Frith termed it "folk 💱 rock", and the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock 💱 at the apex and makes every other influence become an add-on to the central core of rock.[16]