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National Tours: Rock of Ages (Drew), MDQ (JLL), and Boy Band Review. Regional: Hedwig, Miss Saigon, Kinky Boots. Lead singer/producer of Sugarmore. Check out his debut album, Rise! Thanks to Staz/Mullen clan, KMA, Collective, JZ Casting, and Shannon Stasiulis. @domscottrocks

An actor, singer/songwriter of chart busting music has an extensive performance resume; having appearances on television, screen and stages around the world, from the legendary Apollo Theatre and Carnegie Hall to the Umbria Jazz Festival. www.EricBTurner.com

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was a staff writer and editor at Night Beat Magazine and the editor of Rock Magazine. He has written over 200 published pieces on the rock and roll culture, including in the autobiography of Bruce Springsteen. His first published piece was an interview in The Village Voice with Alan Freed. He produced dozens of rock and roll concerts, including the series of 30 Original Rock & Roll Shows in partnership with CBS Broadcasting in NYC. Marshak has had six productions in Las Vegas, including the longest-running show in history, Love Potion #10. He was the house producer at the Sid Caesar Theater and produced the road shows for Golda, Laughter on the 23rd Floor, Play It Again Sam, Groucho, Forever Motown, The Golden Years of Music, Aaron Banks Wonderful World of Martial Arts, and The Golden Years of Comedy. He is the producer of the current touring version of Forever Motown and Lonesome Traveler and has managed The Drifters for forty years.

Dr. Steve Williams, associate professor of sociology, gives us an abridged history of rock 'n' roll and its association with social climates and social movements. The following, in his own words, covers the decades of the 1950s - 1960s. In part II we'll talk about the 1970s - 1990s.

There's been this association that music, whether it's jazz or rock 'n' roll, it has an element of danger, and a little bit of coolness that's associated with that danger, which has created moral panics.

Stanley Cohen, a sociologist and criminologist, coined the term "moral panics." He used it when he was talking about the mods and the rockers, (two youth subcultures) in England in the early 60s. They had rumbles with the rockers, the subculture that was into early American rock 'n' roll, whereas the mods were into more cutting edge R&B and the new British rock 'n' roll. They had fights, and the British media glommed onto that and probably made it scarier than it actually was. Stanley Cohen said this was an example of moral panic - where respectable adult society is freaked out by something new in culture. Usually that new thing in culture is associated with young people and perceived threats to its cultural identity.

For a while there were about 10-year cycles of moral panics. The first one was the mid to late 50s when rock 'n' roll was first sort of invented. Rock 'n' roll is not just an American invitation, but it's an African American invention. If you look at basic rock 'n' roll, the fundamental formula is basically African American blues with a little more speed and electricity. Then you add bass and drums, and suddenly you've got something new. It was originally done by black musicians, Chuck Berry, Little Richard, etc. It very quickly got co-opted by white musicians as well, and it became, and pretty much has been ever since, a white phenomenon - rock 'n' roll.

One of the moral panics associated with the first wave of rock 'n' roll was the fear of race mixing - that young black and white kids would get together over this music that had a rhythmic, primitive, sensuous beat. Suburban moms and dads are freaked out about their daughters hanging out with young black men listening to sexualized music. There's a long ugly history in America over the fear of race mixing and of lynching black men because of their perceived desire for white women. To have young, teenage white girls in America screaming to someone like Little Richard as he's singing "Good Golly Miss Molly, you sure like to ball. When you're rocking and rolling, can't hear your mama call." That was brand new in the American experience and it freaked a lot of people out. It was a moral panic about sexuality and race mixing.

Rock 'n' roll sort of calmed down at the end of the 50s. A lot of things happened sort of simultaneously. There was a terrible plane crash that killed Buddy Holly, the Big Bopper and Ritchie Valens. Elvis Presley went into the military for a while and wasn't making music. When he did come back, he was a little bit out of step and wasn't quite the same. Jerry Lee Lewis got in trouble for marrying his 13-year old cousin and was ostracized. His record company and radio stations weren't supporting his music any more. In 1959 or 1960, it seemed like rock 'n' roll almost disappeared. Mothers and fathers could breathe a sigh of relief as their kids listened to Brenda Lee and Neil Sedaka - "safe" white teen idols with glowing white teeth.

By the mid-60s, things started percolating, young people started to listen to folk music a bit more, people like Woody Guthrie and Joan Baez and later, Bob Dylan. Folk brought in greater lyrical content to rock 'n' roll. So now, instead of a basic two-minute love song, you could have songs about just about anything.

You had the British invasion in 1964. Young British kids were listening to American rock 'n' roll and R&B and are forming their own bands. In the 60s, you had all these amazing new British bands: The Beatles, Rolling Stones, The Kinks, The Who, etc. Now there's the idea of the self-contained band. Instead of having songs written for them, and using studio musicians, now they were writing their own lyrics and music. They played all their own instruments and toured as a group, which meant they controlled what they're expressing. Combine that with folk music expanding lyrical content and suddenly you have a whole new set of fears. Things were being expressed in ways they weren't before. Now, not only was there suggested sexuality of rock 'n' roll, there's an actual free love movement.

There was more talk of actual drugs, so instead of the suggestion that someone might be on pills or smoking pot, now they are very overtly making psychedelic music. The Beatles were admitting in interviews that they did LSD. A Harvard psychology professor, Timothy Leary told people to "tune in, turn on and drop out." You had Jefferson Airplane in 1967 singing about "feeding your head" and smoking caterpillars. Suddenly the drugs and sexuality were overt.

Music started to connect to other social movements, like the civil rights movement. This was also a time of the second wave of the women's movement, and you had music connecting to those ideas. You had music connecting to the general hippie counterculture - free love and rejecting materialism and adult "square" society.

It's always the students. When you look at social movements around the world, so many of them are led by university students. Students were given a sense of community by the music they thought was their music. Fifties music was their music but 60s music was even more so. They knew it was being made by the musicians, themselves, who weren't much older than them. Expressing ideas for the first time that had never been expressed in music before.

For the first time, a major museum exhibition examines the instruments of rock and roll. One of the most important artistic movements of the twentieth century, rock and roll's seismic influence was felt across culture and society. Early rock musicians were attracted to the wail of the electric guitar and the distortion of early amplifiers, a sound that became forever associated with rock music and its defining voice. Rock fans have long been fascinated with the instruments used by musicians. Many have sought out and acquired the exact models of instruments and equipment used by their idols, and spent countless hours trying to emulate their music and their look. The instruments used in rock and roll had a profound impact on this art form that forever changed music.

The exhibition is co-organized with the Rock & Roll Hall of Fame, and will present approximately 130 instruments alongside posters and costumes. Many of rock's most celebrated and recognized instruments are featured, representing artists across generations and subgenres. In addition to institutional and private collectors, many musicians are lending their performance and recording instruments.

The Play It Loud Primer sets the stage before you go. Check out some of the iconic instruments and watch interviews with legendary musicians, as well as new rock stars. Dive deeper with Spotify playlists and concert posters throughout the ages, and experience some of the defining moments of rock and roll. Get ready to rock!

Fabulous gifts for any rock fan, the Play It Loud exhibition catalogue and picture album celebrate the musical instruments that gave rock and roll its signature sound. Photographs and essays explore iconic guitars, pianos, and more, emphasizing the art and evolution of the instruments that made possible the songs we know and love.

At Rock and Roll Fantasy Camp, we pride ourselves on hosting a non-competitive and supportive environment, where rockers of all levels can fulfill their ROCK 'N' ROLL FANTASIES!

The Illinois Rock & Roll Museum on Route 66 is a public charity 501c3 nonprofit organization that exists to preserve the history of musicians and bands with ties to Illinois while educating visitors about our rich music history. Our mission will meet our goals through its operation of a world-class museum that collects, preserves and exhibits artifacts of artists who have reached national and international recognition, and by providing enlightening educational programs

Illinois has a rich musical heritage that has influenced other musical artists across the globe. Musicians from Rockford to Chicago, Champaign to downstate Illinois have played an integral part of the music scene for decades creating music that transcends many genres. e24fc04721