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Page 4 of 4 pages
As for The Hunger Games - it's a complete rip-off of a Japanese movie of a decade or so ago called Blood Royale
His personal plot in the story is his effort to actually get up the gumption to DO something. Not exactly the kind of character you use to pander with.
Jolly - Thanks! It (the zeitgeist) got started much earlier; Hula Hoops were popular about 1957, if I remember right. Maybe earlier. The break point, to me, is when Chuck Berry figured out that you could take the blues, which is music of frustrated people who, no matter what they do, will still be black and in the South tomorrow morning, speed up the tempo some, and write lyrics so that it expresses the natural frustrations of teenagers, and suddenly quadruple your target demographic. There were other pioneer R&R guys at the time, but I think that this invention of Berry's is what most seriously defined what Rock and Roll was mostly going to end up sounding like. It's the frustration songs of teenagers. Done as simple pop, it expresses the frustrations of middle schoolers, which is why it's called "boy bands" when it does that. - Brock
The rise of rock 'n' roll provoked a well-known reaction at first from nearly every adult without a financial stake in its success, but within a few years it was accepted and marketed like Hula Hoops and Mickey Mantle.
Maybelline may well be a converted country song - I have no reason to doubt you.
Berry is hardly the only influence. Little Richard and Jerry Lee Lewis brought gospel into rock. Buddy Holly and the Crickets brought western music (as opposed to country, which was an early influence) in. Brenda Lee is, essentially, a teenaged Wanda Jackson, actually still in high school when she recorded most of her hits. Elvis Presley legitimized teenage sexuality, not just by selling tons of records fueled by his gyrations on stage, but by, in the middle of his career, accepting being drafted into the army (he could have gotten out, with his money and the odd exclusion options at the time), which meant that rock suddenly got much more adult acceptance.
I will still argue that the one guy who is most responsible for fusing the blues, crooning, C&W and all the rest of those influences into what became rock and roll is Berry
The rise of rock 'n' roll provoked a well-known reaction at first from nearly every adult without a financial stake in its success, but within a few years it was accepted and marketed like Hula Hoops and Mickey Mantle. I suppose you could call that "pandering", and strictly speaking it was, but in reality it was just a bunch of people figuring out a quick way to make a buck off on a generation whose numbers were exploding.
The laughing and giggling in this take was not because they were high on pot--or not just because they were high. McCartney is laughing at Lennon's precision knifing of Frank Sinatra, who had put the Beatles down in an interview, and who had also, incidentally referred to his male member as his "bird". Lennon took it from there with exquisite slyness. The infectious laughter was not containable. It's the current cultural generation kissing off an huffy older one--brilliantly. Also, some excellent twin lead guitar playing by Harrison and Lennon.
Did Sinatra refer to his "bird" according to Talese?
Well, I think Lennon's mind was capable of making connections among sources. He did it time and time again, taking a biographical bit here, a bit there, to make something resembling, but not entirely true, to either one (or any of them), for his own nefarious purposes.
Sinatra was known for opining that "Something" was the greatest love song of his lifetime, or words to that effect; so he admired George Harrison too.
(unfortunately he does not speak of "Bird"--that was for another day that never came maybe)
BTW, that's some good observations. How trends and developments come about is like a James Burke Connections episode. It's cumulative cultural evolution where one damn thing just leads to another, without long-range intentionality, until there's a new species.
Don't forget Big Joe Turner, who sang for Count Basie in the '30s and is arguably the bridge between swing and R&B/rock (thanks in part to the genius of Ahmet Ertegun). "Flip, Flop And Fly" isn't all that different from jump blues of the '40s.
not that there is no real R&B any more, but there's much more R&B influenced rock now than there is actual R&B, as far as I can tell
You woefully underestimate the opposition, which continues in force to this day. Overtly and in a passive-aggressive way that has people returning to Country or Tin Pan Alley standards as their music of choice.
Whoever said that the acceptance was unanimous? But how many Country or Tin Pin Alley oriented radio stations survive today?
I can't resist----here's Giselle McKenzie's hilarious cover of Elvis's "Heartbreak Hotel".
The "maybe" means had he lived and continued the interview maybe he would have talked about "Bird", maybe not, broomstick cowboy.
As soon as Elvis released his first big crossover hit, "Heartbreak Hotel," early in 1956, Bill Haley became yesterday's news to us hipsters. The main WDON DJ would give the (R&B) Rainbows' "Mary Lee" ten times as much air time as all of Bill Haley put together.
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