[Revolting cat!]

It's amazing when you think about it how American rock'n'roll in its best years roughly from the mid 50s to the mid 60s, was the creation of Jewish kids from New York or Baltimore (Leiber/Stoller) and Jewish record company owners (and a couple of Turks at Atlantic Records) writing and producing records by black and white Americans some more others less talented.

Note that the Southern current of rock'n'roll pretty much faded out after the initial years, or got absorbed into the New York-Philly-Chicago-LA main current, due to what I see as parochialism of its promoters such as Sam Philips or the Nashville studios and producers of the time. The best example of that was the Burnette brothers who preceeded Elvis in Memphis, and were in 1955 as good if not better than the EP & the Blue Moon Boys, ended up at the close of the 1950s in Hollywood writing tunes for none otrher than Ricky Nelson. And good ones too, but they should have made it on their own.

[gargoyle]

...I think they made, bottom line, money? They wrote the music and lyrics, could be, performed in public, for a fee...

...The fact is, it takes many people to produce recordings, and earn a profit. The argument is that those individuals that wrote, performed, advertized, and marketed their product were "screwed". They were not recognized or compensated for their work...

...They get my applause...