The Decline of Rock

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LORING, VA – So far I’ve tried to stay aloof from the
raging controversy over whether rock music is in decline. It’s
become a generational thing, pitting the Baby Boomers who came of
age in the Sixties against the kids of the Nineties.

In its silliness
and pettiness, the question reminds me of Dr. Samuel Johnson’s
answer when Boswell asked him which of two minor poets was superior:
“Sir, there is no settling the point of precedency between
a louse and a flea.”

But now I think
it’s time for me to jump into the fray. Both sides are missing
the real point.

I do not necessarily
claim to be “hip” – a vague notion at best, anyway.
But I know what I like: Fifties rock. It was a joyful sound, music
a Richard Nixon or a Joe McCarthy could snap his fingers to.

Rock was in
decline by the time the Beatles came along. Their music wasn’t
bad, but it showed how derivative rock had already become. Most
of the possibilities of the genre had already been explored by their
great predecessors: Elvis (Presley, to you “squares” out
there), Buddy Holly, Paul Anka, Jerry Lee Lewis, Chuck Berry, Ricky
Nelson, Frankie Avalon, Bobby Rydell, and the Everly Brothers. And
that’s the short list. Let’s not omit such great groups
as the Four Preps, the Crests, the Drifters, the Platters, and the
ones who started it all, Bill Haley and the Comets.

In time even
these giants, so alarming to our parents, would be dismissed as
square in their turn. But one name deserves special mention: Pat
Boone. Boone gave rock its cleanest sound ever. He was utterly wholesome;
he pronounced every syllable of the lyrics with the precision of
a college prep English teacher, and his flawlessly melodic baritone
made him rock’s answer to Crosby. He proved once and for all
that rock doesn’t have to be “funky” to be good;
it can be refined of all grosser elements. And it can be performed
perfectly well without suggestive gyrations of the hips.

There are those
of us who still consider Boone’s rendition of “Ain’t
That a Shame” superior to Fats Domino’s. People who think
of Fifties rock as tame have probably never heard Boone’s “Speedy
Gonzales,” a number that continues to defy today’s ethnic
hypersensitivities. Boone also recorded what I regard as the definitive

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Sobran (1946–2010), conservative turned libertarian, was one
of the most significant American writers. See his
and his
intellectual journey

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