Pop rock

Pop rock also typeset as pop/rock is a authentic than rock music.

Debates

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(a) as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock, is at odds with the typical impression 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 create of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial earn of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real link with the audience".

Simon 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 over-emphasized the role of rock in the history of popular music by naming every new genre using the "rock" suffix. Thus when a folk-oriented set 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.

In 1981, Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along stylistic grouping in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the popular and semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, urban contemporary, and new wave, but non punk rock.