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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]
The term pop has been used since 🫰 the early forties to refer to popular music in general, but from the mid-1950s it began to be used for 🫰 a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.[11][1] In the 🫰 aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock, to describe 🫰 a form that was more commercial, ephemeral and accessible.[12]
As of the 2010s, "guitar pop rock" and "indie rock" are roughly 🫰 synonymous terms.[13] "Jangle" is a noun-adjective that music critics often use in reference to guitar pop with a bright mood.[14]
Critic 🫰 Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. 🫰 He claims that in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted 🫰 in African-American music influenced by forms such as rock and roll. Auslander points out that the concept of pop rock, 🫰 which blends pop and rock, is at odds with the typical conception of pop and rock as opposites. Auslander and 🫰 several other scholars, such as Simon Frith and Grossberg, argue that pop music is often depicted as an inauthentic, cynical, 🫰 "slickly commercial", and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial 🫰 form of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".[15]
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