  Give it to him. He is busy lookin' for a needle in a hay stack- not easy:D  ...The innovation of rock and roll. The first step was set by some inventive members of what by now had become a prospering occupational category, the disk jockeys. The active search for rhythm and blues by a white minority meant the beginning of a trend that did not go by unnoticed. At that time, a couple of deejays witnessed this change in preferences and they succeeded in persuading the owners and directors of their stations to give them some air time for programming rhythm and blues music for white youth audiences â see for the names of the most influential deejays and of the radio stations where they made their programs: Gillett (1970: 38-39). Alan Freed has become the most well-known of them. He had his way in Cincinnati in 1951, where he organized a radio show filled with rhythm and blues music which he called Moondog's Rock and Roll Party. From 1952 onwards, Freed presented the same and other, mostly black, artists also in live shows that became very popular among young audiences. This made him ... the white champion of black pop ... (Ennis, 1992: 8). Examples of songs he and other deejays played are Sixty Minute Man (1951) by the Dominoes, Fool Fool Fool (1951) by the Clovers, Lawdy Miss Clawdy (1952) by Lloyd Price, Rocket 88 by Jackie Brenston and Willie Mae Big Mama Thornton's Hound Dog (1953). ... [b]The attempts of Alan Freed and other adventurous deejays to bring black pop to white audiences were important contributions to the social construction of rock and roll as a new format in popular music. First, Freed gave a selection of the existing rhythm and blues music â those songs of which the beat, the feeling, and the lyrics appealed to his young audience â a new name. This labeling of specific musical pieces as rock and roll allowed for marking these and similar pieces off from other forms of popular music and made it possible to treat them as a new musical entity. Second, these deejays brought this erstwhile segregated music to the attention of a wider circle of white youth. The effect was that more and more white listeners turned to programs of disk jockeys who played black music instead of the programs of the mainstream pop radio stations in which the original rhythm and blues records were ignored (Gillett, 1970: 38-39) By creating their own audiences, [b]these deejays brought the unknown black music into the mainstream of American popular music and gave young Americans a form of music they could enjoy, relate to, and identify with.[b] The eager reactions of white youngsters to this programmatic innovation played an essential role in the take-off of rock and roll. Their enthusiasm did not only put pressure on the â mostly conservative â owners of the radio stations, but initiated reactions of the juke box distributors and other people in the music industry as well. The former put more and more rock and roll records in their machines and thus ... provided a new channel of communication for white record buyers who did not yet tune in to black radio stations (Gillett, 1970: 14). The music industry, in its turn, increasingly crossed the boundary between the white and black pop music. More and more rhythm and blues songs reached the pop charts and an increasing number of rhythm and blues hits were covered. The result was that black artists and their music were introduced to a growing number of white youth next to those who already listened to deejays like Alan Freed. Together, the actions and reactions of white youth, deejays, juke box owners, and the music industry created the foundation on which rock and roll could develop in its own way and evolve into a separate stream â the seventh stream â in American popular music (Ennis, 1992). The elaboration of rock and roll. During the times rock and roll was being innovated as a new musical stream, the external conditions enticing producers and artists to experiment with new musical forms played the most important role. Making the step toward elaboration, the internal dynamics of the field itself more overtly come into play â and with it the role of individual contributions. This second step in the social construction of rock and roll involved the shaping of the music into a format in its own right, once its foundation was laid. This transformation was wrought by a specific segment of the music business in a specific region. In the South, artists, small record producers and independent record companies now were deliberately looking for ways to combine rhythm and blues with the musical traditions they grew up in themselves. They sensed that there was a market for pop music with a markedly black influx alongside the existing rhythm and blues music. Johnnie Ray's instant success â two millions copies were sold of his Cry (1951; for 11 weeks at number-one) and its flipside The Little White Cloud That Cried â was an indication that they could be right.  Whoever wrote this article is a moron. I bet they were Black. Or maybe it was Paul Simon:D Or did you just write it yourself? And where did Rhythm and Blues come from? The Blues. And where did the Blues come from? White Country and Folk music.