It’s tempting to interpret it as a generational rebellion against a buttoned-up, conservative domestic culture, but this is almost certainly a retrospective reading, created by looking at the period through the lens of the nineteen-sixties. Folk songs had a message, and some sixties rock songs had a message. Rock and roll did not have a message, unless it was: “Let’s party (and if you can’t find a partner, use a wooden chair).” Or maybe, at its most polemical, “Roll over, Beethoven.” But it was music intended for young people, and this was the distinctive thing.
In order for a music for young people to come into being, young people have to have a way to play it. The jukebox was one delivery mode: kids could listen to the music in a diner or an ice-cream shop, someplace outside the home and in the company of other kids. More significant, as Ennis points out, were several inventions. The 45-r.p.m. record—the single—was developed by RCA and marketed in 1949. Soon, RCA introduced a cheap plastic record player, which played only 45s and sold for twelve ninety-five. This meant that teen-agers could play “their” music out of their parents’ hearing. They did not have to listen in the living room on the family phonograph.