Here is the Rock music section
During the early 60s, two main styles of rock music developed in England. In London, young musicians were taught how to play R&B by older musicians in bands like Blues Incorporated and the Bluesbreakers. They taught the Rolling Stones' guitarist Keith Richards and Cream's Eric Clapton. They also taught Jimmy Page, who played lead guitar in the Yardbirds and then Led Zeppelin. The style these musicians developed was much closer to R&B than that of England's other new style, called "Merseybeat". This style combined rock and roll beats with catchy melodies and vocal harmonies. The Beatles success led to what's called the "British Invasion" when dozens of other British bands toured America, like the Who, the Kinks and the Rolling Stones. While British rock music was developing in the early 60s, a style called "surf music" was developing in Los Angeles. American-Lebanese guitarist Dick Dale was creating an exciting new style of instrumental rock by mixing Middle-Eastern music with rock and roll. He used reverb to create a guitar sound that was also used by the Beach Boys, surf music's most successful band. The Beach Boys sang complex vocal harmonies in melodic songs like Barbara Ann and California Girls, but their biggest hit was Good Vibrations, a psychedelic rock song they released in 1966. The expropriation of rock by British artists had a profound effect on rock music and rock fashion, as if, seen through the alien lens of another culture, rock music was revealed as at once more complex and more immediate to American musicians. Many of the British musicians—John Lennon, Pete Townshend, Keith Richards, to name a few—were the products of the English art school system and took influences from the world of art, especially the pop artists and their preoccupation with the language of advertising and their enthusiasm for obliterating the traditional demarcation between high and low art. Rock strove to make statements and be considered as serious art. Rock is a porous music; this is its value as a social glue and, like other essentially postmodern arts, also its weakness. It is wholly contingent on historical circumstance, not divorced from it, and with the end of the 1960s, rock would once again be in the position it had occupied in the early 1960s—a holding period until the next big thing came along.
The ecstatic communion of a Fillmore West concert (very similar to the ecstatic communion of the "holy rollers" who so influenced Elvis, Jerry Lee Lewis, and others) was a connection to rock's past, but rock music was fundamentally at odds with mainstream culture in a different way than in the 1950s. No longer was it a matter merely of social stigma or cultural chauvinism on the part of the dominant culture. "For performers like John Lennon, Bob Dylan, and Pete Townshend, Vegas and supper clubs, Hollywood movies and glittering television specials weren't a goal, they were a trap to avoid," wrote Marsh. "Very few of the post-Beatles performers courted the kind of respectability that Col. Tom Parker or Larry Parnes would have understood." For generational reasons and in large part because of the Vietnam War, which many rock performers viewed as symptomatic of a larger rot, the options that had satisfied previous generations of performers were no longer open to rock musicians. But as a music, rock was more dependent on the whole armature of consumer capitalism than any previous genre, and in the ensuing decade, these contradictions became glaringly apparent. During the late 1960s a new style called "hard rock" was developing. In the US city of Detroit, the Stooges and MC5 were creating some of the hardest, loudest and roughest rock music ever made, as were Neil Young & Crazy Horse in Los Angeles. These bands didn't sell many records, but they had a huge influence on the direction rock would take in the future.
My source for the text is English Club's page on Rock music and Encyclopedia.com's Rock Music page
