Trance, you seem to do this a lot, looking for other genres where something even slightly similar had taken place and saying that the rock precedent therefore doesn't matter.
I have never said anything about not mattering in rock music. I'm not sure what would even prompt you to say that, or you should have picked a better choice of words.
The point is, when you look at things from a popular music perspective, from a historical perspective, an African American history, US history, world history, and technological viewpoint, you get a clearer picture, a clearer assessment.
If you're only limited in scope of a particular field, you're bound to create some inaccuracies and distortions, especially when you try to apply them to a bigger context (ex: the society of a nation). If you want a greater view of rock music in general, you can't ignore the parallels going on, whether those are other musical, technological or socio-political factors, among others. You also cannot ignore the impact it has the world over.
Musical genres aren't apple and oranges when you apply them in a musical context. It's still relevant because it is being discussed in a musical setting, an entertainment setting. It's been done many times, through all sorts of print for centuries. African American music is no different. And a fundamental aspect of African American music history is the "shared experience" musically and culturally, which rock music is a part of. I cannot overstate the significance of how central this is.
A lot of rock music historians only focus on rock music with scant knowledge of other musical genres (and even within) and keep it to a Western sphere. This is where the problem arises. Recycling old myths such as "The Beatles were the group that made albums important" to "Elvis single-handedly brought rock and roll to the masses" to "everyone knows who The Beatles are" are prime examples of this. There is a world out there, where millions don't care for music, much less know who these artists are.
But jazz, again to a degree, wasn't always at the forefront of making mainstream hit records that had to appeal to a wider cultural demographic. The bigger the audience, the bigger chance for cultural predjudice to negatively impact it and the bigger the need to break that down.
You have to look at the factors in all of this, as I've mentioned earlier, whether that is socio-political or technological to give two.
Television, for one, managed to visualize and bring rock and roll to the masses (technological). Events and processes such as the desegregation of the armed forces by World War II's end to the monumental landmark of Jackie Robinson were catalysts for the civil rights movement in this country (socio-political).
Jazz in the first half of the century even had a tougher time than rock, and the fact that they broke through with a wealth of achievements, not only racial, and to rise as "America's classical music" is a much more impressive deal. It is important to acknowledge its contributions and trailblazing manner not only to black music but to black history.
Not only that, but the facts of Marian Anderson making her debut at the Metropolitan to Igor Stravinsky praising and incorporating jazz music to Jospehine Baker garnering the adulation from arts figures such as Ernest Hemingway and Pablo Picasso shows the remarkable strides blacks have come with in the mainstream world. That's a key central idea that Martin Luther King, Jr., expressed, the shared experience of blacks, and how music played a vital role in giving blacks that global opportunity. We cannot ignore these precedents.
This is true with almost anything in society.
therefore Domino's impact in this way can't possibly be understated, as you tried to do.
Music in general played a role in desegregation and other factors, but no single musical artist can be attributed with effectively ending segregation in this country, not even Fats Domino, that's what my issue was about. The idea of kids of different races being barred isn't shocking given the climate of the time. It's not like when rock broke through, the civil rights movement reached its apex.
You overstated Fats' contributions without looking at the other factors, thereby disrespecting blacks and black history. It's not like Fats came on the scene and then all of a sudden the Civil Rights Act of 1964 was passed. Now he does get credit as I've been saying from day one for integrating rock audiences, but not the exaggerated credit you bestow upon him.
Even in a rock context, Louis Jordan vastly appealed to whites and blacks. That is significant in itself, and significant enough to want Fats Domino to experience that same success and idolize him.
For Cynthia Robinson, though a smaller breakthrough societally, it was definitely important
Where did I say this wasn't important? I did mention "significant" in two posts, have I not?
Did I not make a tribute page to Sly & The Family Stone years ago?
Yes, there were other female musicians in rock before Cynthia, as I have stated. I'm not sure what you were trying to get at here.