Rock and rollâs impact in the 1950s reflected the spending power of young people who, as a result of the â50s economic boom (and in contrast to the prewar Great Depression), had unprecedented disposable income. That income was of interest not just to record companies but to an ever-increasing range of advertisers keen to pay for time on teen-oriented, Top 40 radio stations and for the development of teen-aimed television shows such as American Bandstand. For the major record companies, Presleyâs success marked less the appeal of do-it-yourself musical hybrids than the potential of teenage idols: singers with musical material and visual images that could be marketed on radio and television and in motion pictures and magazines. The appeal of live rock and roll (and its predominantly Black performers) was subordinated to the manufacture of teenage pop stars (who were almost exclusively white). Creative attention thus swung from the performers to the record makersâthat is, to the songwriters (such as those gathered in the Brill Building in New York City) and producers (such as Phil Spector) who could guarantee the teen appeal of a record and ensure that it would stand out on a car radio.