Classifier Instance:

Anchor text: Carl Perkins
Target Entity: Carl_Perkins
Preceding Context: Several rock historians have claimed that rock and roll was one of the first music genres to define an age group. It gave teenagers a sense of belonging, even when they were alone. 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. 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. 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. 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. Rock and roll has been seen as reorienting popular music towards a teen market, often celebrating teen fashions, as in
Succeeding Context: ' "Blue Suede Shoes" (1956), or Dion and the Belmonts "A Teenager in Love" (1960).
Paragraph Title: Teen culture
Source Page: Rock and roll

Ground Truth Types:

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