Rock and roll (often written as rock & roll or rock 'n' roll) is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s,^[1][2] primarily from a combination of African American blues, country, jazz,^[3] and gospel music.^[4] Though elements of rock and roll can be heard in country records of the 1930s,^[3] and in blues records from the 1920s,^[5] rock and roll did not acquire its name until the 1950s.^[6][7]

The term "rock and roll" now has at least two different meanings, both in common usage. The American Heritage Dictionary^[8] and the Merriam-Webster Dictionary^[9] both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and later developed "into the more encompassing international style known as rock music".^[10] For the purpose of differentiation, this article uses the second definition.

In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s.^[11] The beat is essentially a blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum.^[12] Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit.^[11]

Rock and roll began achieving wide popularity in the 1960s.^[13] The massive popularity and eventual worldwide view of rock and roll gave it a widespread social impact. Bobby Gillespie writes that "When Chuck Berry sang 'Hail, hail, rock and roll, deliver me from the days of old', that's exactly what the music was doing. Chuck Berry started the global psychic jailbreak that is rock'n'roll."^[14]

Far beyond simply a musical style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes, and language. It went on to spawn various sub-genres, often without the initially characteristic backbeat, that are now more commonly called simply "rock music" or "rock".

Origins[link]

Bill Haley and his Comets performing "Rock Around the Clock" on TV in 1955

The origins of rock and roll have been fiercely debated by commentators and historians of music.^[15] There is general agreement that it arose in the Southern United States – a region which would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.^[16] The migration of many former slaves and their descendants to major urban centers like Memphis and north to New York City, Detroit, Chicago, Cleveland and Buffalo meant that black and white residents were living in close proximity in larger numbers than ever before, and as a result heard each other's music and even began to emulate each other's fashions.^[17][18] Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, and African American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision".^[19]

The immediate roots of rock and roll lay in the rhythm and blues, then called "race music", and country music of the 1940s and 1950s.^[15] Particularly significant influences were jazz, blues, gospel, country, and folk.^[15] Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African American rhythm and blues for a white market, or a new hybrid of black and white forms.^[20][21][22]

In the 1930s jazz, and particularly swing, both in urban based dance bands and blues-influenced country swing, was among the first music to present African American sounds for a predominately white audience.^[21][23] The 1940s saw the increased use of blaring horns (including saxophones), shouted lyrics and boogie woogie beats in jazz based music. During and immediately after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars, bass and drums.^[15][24] In the same period, particularly on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many later developments.^[15] In the documentary film Hail! Hail! Rock 'n' Roll, Bruce Springsteen demonstrates a compelling explanation of how Chuck Berry developed his brand of rock and roll, by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creating what is instantly recognizable as rock guitar. Similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll.^[15]

Sign commemorating the role of Alan Freed and Cleveland, Ohio in the origins of rock and roll

Rock and roll arrived at a time of considerable technological change, soon after the development of the electric guitar, amplifier and microphone, and the 45 rpm record.^[15] There were also changes in the record industry, with the rise of independent labels like Atlantic, Sun and Chess servicing niche audiences and a similar rise of radio stations that played their music.^[15] It was the realization that relatively affluent white teenagers were listening to this music that led to the development of what was to be defined as rock and roll as a distinct genre.^[15]

The phrase "rocking and rolling" originally described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals^[25] and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience.^[25] By 1942, Billboard magazine columnist Maurie Orodenker had begun using the term "rock and roll" in descriptions of upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe.^[26] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it.^[27]

Because the development of rock and roll was an evolutionary process, no single record can be identified as unambiguously "the first" rock and roll record.^[28] One contender for "first rock and roll record" is "Rocket 88" by Jackie Brenston and his Delta Cats (actually an alias for Ike Turner and his band The Kings of Rhythm), recorded by Sam Phillips for Sun Records in March 1951.^[29] Other early contenders include Wynonie Harris' "Good Rockin' Tonight" (1947)^[30] and Jimmy Preston's "Rock the Joint" (1949), which was later covered by Bill Haley & His Comets in 1952.^[31] In terms of its wide cultural impact across society in the US and elsewhere, Bill Haley's "Rock Around the Clock", recorded in April 1954 but not a commercial success until the following year, is generally recognized as an important milestone, but it was preceded by many recordings from earlier decades in which elements of rock and roll can be clearly discerned.^[28][32][33] Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.^[29] Bo Diddley in particular introduced a new beat and unique guitar style that inspired many artists.^[34] His more insistent, driving rhythms, hard-edged electric guitar sound, African rhythms, and signature beat (a simple, five-accent rhythm), have remained cornerstones of rock and pop.^[35][36][37]

Early rock and roll[link]

Rockabilly[link]

Elvis Presley in a promotion shot for Jailhouse Rock in 1957

"Rockabilly" usually (but not exclusively) refers to the type of rock and roll music which was played and recorded in the mid 1950s by white singers such as Elvis Presley, Carl Perkins and Jerry Lee Lewis, who drew mainly on the country roots of the music.^[38] Many other popular rock and roll singers of the time, such as Fats Domino and Little Richard, came out of the black rhythm and blues tradition, making the music attractive to white audiences, and are not usually classed as "rockabilly".

In July 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun Studio in Memphis.^[39] Three months earlier, on April 12, 1954, Bill Haley & His Comets recorded "Rock Around the Clock". Although only a minor hit when first released, when used in the opening sequence of the movie Blackboard Jungle, a year later, it really set the rock and roll boom in motion. The song became one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. If everything that came before laid the groundwork, "Rock Around the Clock" introduced the music to a global audience.^[40]

In 1956 the arrival of rockabilly was underlined by the success of songs like "Folsom Prison Blues" by Johnny Cash, "Blue Suede Shoes" by Perkins and "Heartbreak Hotel" by Presley.^[38] For a few years it became the most commercially successful form of rock and roll. Later rockabilly acts, particularly performing songwriters like Buddy Holly, would be a major influence on British Invasion acts and particularly on the song writing of The Beatles and through them on the nature of later rock music.^[41]

Doo wop[link]

Doo wop was one of the most popular forms of 1950s rock and roll, with an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation.^[42] Its origins were in African American vocal groups of the 1930s and 40s, like the Ink Spots and the Mills Brothers, who had enjoyed considerable commercial success with arrangements based on close harmonies.^[43] They were followed by 1940s R&B vocal acts like The Orioles, The Ravens and The Clovers, who injected a strong element of traditional gospel and, increasingly, the energy of jump blues.^[43] By 1954, as rock and roll was beginning to emerge, a number of similar acts began to cross over from the R&B charts to mainstream success, often with added honking brass and saxophone, with The Crows, The Penguins, The El Dorados and The Turbans all scoring major hits.^[43] Despite the subsequent explosion in records from doo wop acts in the later 50s, many failed to chart or were one-hit wonders. Exceptions included The Platters, with songs including "The Great Pretender" (1955) and The Coasters with humorous songs like "Yakety Yak" (1958), both of which ranked among the most successful rock and roll acts of the era.^[43] Towards the end of the decade there were increasing numbers of white, particularly Italian American, singers taking up Doo Wop, creating all-white groups like The Mystics and Dion and the Belmonts and racially integrated groups like The Dell Vikings and The Impalas.^[43] Doo wop would be a major influence on vocal surf music, soul and early Merseybeat, including The Beatles.^[43]

Cover versions[link]

Many of the earliest white rock and roll hits were covers or partial re-writes of earlier black rhythm and blues or blues songs. Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit.^[44] Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets, but artists and producers quickly recognized the potential of rock and roll.^[45] Most of Presley's early hits were covers of black rhythm and blues or blues songs, like "That's All Right" (a countrified arrangement of a blues number), its flip side "Blue Moon of Kentucky", "Baby Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog".^[46]

Rock'n'roller Little Richard performing in 2007

Covers were customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law (still in effect).^[47] One of the first relevant successful covers was Wynonie Harris's transformation of Roy Brown's 1947 original jump blues hit "Good Rocking Tonight" into a more showy rocker^[48] and the Louis Prima rocker "Oh Babe" in 1950, as well as Amos Milburn's cover of what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce" in 1949.^[49] The most notable trend, however, was white pop covers of black R&B numbers. The more familiar sound of these covers may have been more palatable to white audiences, there may have been an element of prejudice, but labels aimed at the white market also had much better distribution networks and were generally much more profitable.^[50] Famously, Pat Boone recorded sanitized versions of Little Richard songs. Later, as those songs became popular, the original artists' recordings received radio play as well.^[51]

The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number,^[52] while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie".^[53] Elvis' rock and roll version of "Hound Dog" was very different from the blues shouter that Big Mama Thornton had recorded.^[54]

Decline[link]

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s.^[55][56] By 1959, the death of Buddy Holly, The Big Bopper and Ritchie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry, and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the initial rock and roll era had come to an end.^[29] There was also a process that has been described as the "feminisation" of rock and roll, with the charts beginning to be dominated by love ballads, often aimed at a female audience, and the rise of girl groups like The Shirelles and The Crystals.^[57] Some historians of music have pointed to important and innovative developments that built on rock and roll in this period, including multitrack recording, developed by Les Paul, the electronic treatment of sound by such innovators as Joe Meek, and the Wall of Sound productions of Phil Spector, continued desegregation of the charts, the rise of surf music, garage rock and the Twist dance craze.^[21]

British rock and roll[link]

Tommy Steele, one of the first British rock and rollers, performing in Stockholm in 1957

In the 1950s, Britain was well placed to receive American rock and roll music and culture.^[58] It shared a common language, had been exposed to American culture through the stationing of troops in the country, and shared many social developments, including the emergence of distinct youth sub-cultures, which in Britain included the Teddy Boys.^[59] Trad Jazz became popular, and many of its musicians were influenced by related American styles, including boogie woogie and the blues.^[60] The skiffle craze, led by Lonnie Donegan, utilised amateurish versions of American folk songs and encouraged many of the subsequent generation of rock and roll, folk, R&B and beat musicians to start performing.^[61] At the same time British audiences were beginning to encounter American rock and roll, initially through films including Blackboard Jungle (1955) and Rock Around the Clock (1955).^[62] Both movies contained the Bill Haley & His Comets hit "Rock Around the Clock", which first entered the British charts in early 1955 – four months before it reached the US pop charts – topped the British charts later that year and again in 1956, and helped identify rock and roll with teenage delinquency.^[63] American rock and roll acts such as Elvis Presley, Little Richard and Buddy Holly thereafter became major forces in the British charts.

The initial response of the British music industry was to attempt to produce copies of American records, recorded with session musicians and often fronted by teen idols.^[58] More grassroots British rock and rollers soon began to appear, including Wee Willie Harris and Tommy Steele.^[58] During this period American Rock and Roll remained dominant; however, in 1958 Britain produced its first "authentic" rock and roll song and star, when Cliff Richard reached number 2 in the charts with "Move It".^[64] At the same time, TV shows such as Six-Five Special and Oh Boy! promoted the careers of British rock and rollers like Marty Wilde and Adam Faith.^[58] Cliff Richard and his backing band, The Shadows, were the most successful home grown rock and roll based acts of the era.^[65] Other leading acts included Billy Fury, Joe Brown, and Johnny Kidd & The Pirates, whose 1960 hit song "Shakin' All Over" became a rock and roll standard.^[58]

As interest in rock and roll was beginning to subside in America in the late 1950s and early 1960s, it was taken up by groups in major British urban centres like Liverpool, Manchester, Birmingham, and London.^[66] About the same time, a British blues scene developed, initially led by purist blues followers such as Alexis Korner and Cyril Davies who were directly inspired by American musicians such as Robert Johnson, Muddy Waters and Howlin' Wolf.^[67] Many groups moved towards the beat music of rock and roll and rhythm and blues from skiffle, like the Quarrymen who became The Beatles, producing a form of rock and roll revivalism that carried them and many other groups to national success from about 1963 and to international success from 1964, known in America as the British Invasion.^[68] Groups that followed The Beatles included the beat-influenced Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits and the Dave Clark Five, and the more blues-influenced The Animals, The Kinks, The Rolling Stones, The Who and The Yardbirds.^[69] As the blues became an increasingly significant influence, leading to the creation of the blues-rock of groups like The Moody Blues, Small Faces, The Move, Traffic and Cream, and developing into rock music, the influence of early rock and roll began to subside.^[68]

Cultural impact[link]

Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language.^[70] In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the music.^[71]

Many early rock and roll songs dealt with issues of cars, school, dating, and clothing. The rock and roll songs described events and conflicts that most listeners could relate to from some point in their lives. Topics that were generally considered taboo, such as sex, began to be introduced in rock and roll music. This new music tried to break boundaries and express the real emotions that people were feeling, but didn't talk about. An awakening in the young American culture began to take place.^[13]

Race[link]

In the cross-over of African American "race music" to a growing white youth audience, the popularization of rock and roll involved both black performers reaching a white audience and white performers appropriating African American music.^[72] Rock and roll appeared at a time when racial tensions in the United States were entering a new phase, with the beginnings of the civil rights movement for desegregation, leading to the Supreme Court ruling that abolished the policy of "separate but equal" in 1954, but leaving a policy which would be extremely difficult to enforce in parts of the United States.^[73] The coming together of white youth audiences and black music in rock and roll, inevitably provoked strong white racist reactions within the US, with many whites condemning its breaking down of barriers based on color.^[71] Many observers saw rock and roll as heralding the way for desegregation, in creating a new form of music that encouraged racial cooperation and shared experience.^[74] Many authors have argued that early rock and roll was instrumental in the way both white and black teenagers identified themselves.^[75]

Teen culture[link]

"There's No Love in Rock and Roll" made the cover of True Life Romance in 1956

Several rock historians have claimed that rock and roll was one of the first music genres to define an age group.^[76] It gave teenagers a sense of belonging, even when they were alone.^[76] Rock and roll is often identified with the emergence of teen culture among the first baby boomer generation, who had both greater relative affluence, leisure and who adopted rock and roll as part of a distinct sub-culture.^[77] This involved not just music, absorbed via radio, record buying, jukeboxes and T.V. programs like American Bandstand, but it also extended to film, clothes, hair, cars and motorbikes, and distinctive language. The contrast between parental and youth culture exemplified by rock and roll was a recurring source of concern for older generations, who worried about juvenile delinquency and social rebellion, particularly as to a large extent rock and roll culture was shared by different racial and social groups.^[77] In America, that concern was conveyed even in youth cultural artifacts like comic books. In "There's No Love in Rock and Roll" from True Life Romance (1956), a defiant teen dates a rock and roll-loving boy but drops him for one who likes traditional adult music—to her parents' relief.^[78] In Britain, where post-war prosperity was more limited, rock and roll culture became attached pre-existing to the Teddy Boy movement, largely working class in origins, and eventually to the longer lasting rockers.^[59] Rock and roll has been seen as reorienting popular music towards a teen market, often celebrating teen fashions, as in Carl Perkins' "Blue Suede Shoes" (1956), or Dion and the Belmonts "A Teenager in Love" (1960).^[79]

Dance styles[link]

From its early-1950s beginning through the early 1960s, rock and roll music spawned new dance crazes.^[80] Teenagers found the irregular rhythm of the backbeat especially suited to reviving the jitterbug dancing of the big-band era. "Sock hops", gym dances, and home basement dance parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest dance and fashion styles.^[81] From the mid-1960s on, as "rock and roll" yielded gradually to "rock", later dance genres followed, starting with the twist, and leading up to funk, disco, house, techno, and hip hop.^[82]

See also[link]

Rock and Roll portal

Notes[link]

Further reading[link]

External links[link]

Wikiquote has a collection of quotations related to: Rock music

Wikimedia Commons has media related to: Rock music

• The Camp Meeting Jubilee 1910 recording
• The Smithsonian's history of the electric guitar
• History of Rock
• Youngtown Rock and Roll Museum – Omemee, Ontario

Avril Lavigne
Avril Lavigne during a performance in Italy, September 2011.
Background information
Birth name	Avril Ramona Lavigne
Born	(1984-09-27) 27 September 1984 (age 27) Belleville, Ontario, Canada
Origin	Napanee, Ontario, Canada
Genres	Pop rock, power pop, pop punk
Occupations	Singer-songwriter, Fashion Designer
Instruments	Vocals, guitar, piano, drums
Years active	2000–present
Labels	Epic, RCA, Arista
Associated acts	Evan Taubenfeld, Deryck Whibley
Website	www.avrillavigne.com
Notable instruments
Squier Signature Telecaster model guitar

Avril Ramona Lavigne (pronunciation: /ˈævrɨl ləˈviːn/; AV-ril lə-VEEN; born 27 September 1984) is a Canadian singer-songwriter. She was born in Belleville, Ontario, but spent most of her youth in the small town of Napanee. By the age of 15, she had appeared on stage with Shania Twain; by 16, she had signed a two-album recording contract with Arista Records worth more than $2 million. In 2002, when she was 17 years old, Lavigne broke onto the music scene with her debut album Let Go.

Let Go made Lavigne the youngest female soloist to reach No. 1 in the UK, and the album was certified four-times platinum by the Recording Industry Association of America. By 2009, over 16 million copies had been sold worldwide. Her breakthrough single, "Complicated", peaked at No. 1 in many countries around the world, as did the album Let Go. Her second album, Under My Skin, was released in 2004 and was her first album to peak at No. 1 on the U.S. Billboard 200, eventually selling more than 10 million copies worldwide. The Best Damn Thing, Lavigne’s third album, was released in 2007, becoming her third No. 1 album in the UK Albums Chart and featuring her first U.S. Billboard Hot 100 No. 1 single, "Girlfriend". Lavigne has scored six number-one singles worldwide, including "Complicated", "Sk8er Boi", "I'm with You", "My Happy Ending", "Nobody's Home", and "Girlfriend". With more than 30 million copies of her albums sold worldwide, Lavigne is one of the top-selling artists releasing albums in the U.S., with over 10.25 million copies certified by the RIAA. Her fourth studio album, Goodbye Lullaby, was released in March 2011. Goodbye Lullaby gave Lavigne her fourth top 10 album on the U.S. Billboard 200 and the UK Albums Chart and her third No. 1 album in both Japan and Australia. Three months after the release of Goodbye Lullaby, Lavigne began work on her fifth album, which will be released on Epic Records following her departure from RCA Records.

Lavigne branched out from recording music, pursuing careers in feature film acting and designing clothes and perfumes. She voiced a character in the animated film, Over the Hedge, in 2006. That same year, she made her on-screen feature film debut in Fast Food Nation. In 2008, Lavigne introduced her clothing line, Abbey Dawn, and in 2009, she released her first perfume, Black Star, which was followed by her second perfume, Forbidden Rose, in 2010 and her third perfume, Wild Rose, in 2011. In July 2006, Lavigne married her boyfriend of two years, Deryck Whibley, lead singer and guitarist for Sum 41. The marriage lasted a little over three years, and in October 2009, Lavigne filed for divorce. Whibley and Lavigne continued to work together, with Whibley producing her fourth album, as well as Lavigne's single, "Alice", written for Tim Burton's film Alice in Wonderland.

Early life[link]

Avril Ramona Lavigne was born in Belleville, Ontario. Her father, Jean-Claude Lavigne, named her "Avril" after the French word for the month of April. At the age of two, she began singing church songs with her mother,^[1] Judith-Rosanne "Judy" (née Loshaw). Judy recognized her two-year-old daughter's talents after hearing her sing "Jesus Loves Me" in church.^[2] Lavigne has an older brother, Matthew, and a younger sister, Michelle,^[3] both of whom teased her when she sang. "My brother used to knock on the wall because I used to sing myself to sleep and he thought it was really annoying."^[2]

When Lavigne was five years old, the family moved to Napanee, Ontario,^[1] a town with a population of approximately 5,000.^[4][5][6] Although she struggled to pay attention in school, sometimes being kicked out of class for misbehaving, her parents supported her singing. Her father bought her a microphone, a drum kit, a keyboard, and several guitars, and converted their basement into a studio. When Lavigne was 14, her parents would take her to karaoke sessions.^[7] Lavigne also performed at country fairs, singing songs by Garth Brooks, The Dixie Chicks, and Shania Twain. She also began writing her own songs. Her first song was called "Can't Stop Thinking About You", about a teenage crush, which she described as "cheesy cute".^[8]

In 1999,^[9] Lavigne won a radio contest to perform with fellow Canadian singer Shania Twain at the Corel Centre (now Scotiabank Place) in Ottawa, before an audience of 20,000 people.^[1][4] Twain and Lavigne sang "What Made You Say That",^[1] and Lavigne told Twain that she was going to be "a famous singer".^[4] During a performance with the Lennox Community Theatre, Lavigne was spotted by local folksinger Stephen Medd. He invited her to contribute vocals on his song, "Touch the Sky", for his 1999 album, Quinte Spirit. She later sang on "Temple of Life" and "Two Rivers" for his follow-up album, My Window to You, in 2000. In December 1999, Lavigne was discovered by her first professional manager, Cliff Fabri, while singing country covers at a Chapters bookstore in Kingston, Ontario.^[1][4] Fabri sent out VHS tapes of Lavigne's home performances to several industry prospects, and Lavigne was visited by several executives.^[10] Mark Jowett, co-founder of the Canadian management firm Nettwerk, received a copy of Lavigne's karaoke performances recorded in her parents' basement.^[11] Jowett arranged for Lavigne to work with Peter Zizzo during the summer of 2000 in New York, where she wrote the song "Why". Lavigne was noticed by Arista Records on a subsequent trip to New York.^[10]

Lavigne would go on to sell more than 30 million copies of her albums worldwide,^[12] becoming one of the top-selling artists releasing albums in the U.S., with over 10.25 million copies certified by the RIAA.^[13] In 2009, Billboard named Lavigne the No. 10 pop artist in the "Best of the 2000s" chart.^[14] She was listed as the 28th overall best act of the decade based on album and single chart performance in the U.S.^[15]

Music career[link]

[edit] 2000–03: Let Go

In November 2000,^[5] Ken Krongard, an A&R representative, invited Antonio "L.A." Reid, then head of Arista Records, to producer Peter Zizzo's Manhattan studio to hear Lavigne sing. Her 15-minute audition "so impressed" Reid that he immediately signed her to Arista with a deal worth $1.25 million for two albums and an extra $900,000 for a publishing advance.^[6][1] By this time, Lavigne had found that she fit in naturally with her hometown high school's skater clique, an image that carried through to her first album, but although she enjoyed skateboarding, school left her feeling insecure. Armed with a record deal, she dropped out to focus on her music career,^[5] but she still had to inform her parents of her decision. "I wasn't going to turn [the record deal] down. It's been my dream all my life. They knew how much I wanted this and how much I've put into it."^[16][8]

Reid gave A&R Joshua Sarubin the responsibility for overseeing Lavigne's development and the recording of her debut album.^[17] They spent several months in New York working with different co-writers trying to forge an individual sound for her. Sarubin told HitQuarters that for while they struggled finding her sound and although early collaborations with songwriter-producers including Sabelle Breer, Curt Frasca and Peter Zizzo resulted in some good songs, they didn't match her and her voice.^[17] It was only when Lavigne then went to Los Angeles in May 2001 and created two songs with The Matrix production team – including "Complicated" – that the record company felt she had made a major breakthrough.^[17] Lavigne then worked further with The Matrix and also with singer-songwriter Cliff Magness. Recording finished in January 2002.^[17]