0:00:07 > 0:00:0860 years ago...
0:00:08 > 0:00:11FAINTLY: # Wop bop a loo bop a lop bam boom... #
0:00:11 > 0:00:13..America shook.
0:00:13 > 0:00:15# Four o'clock rock... #
0:00:15 > 0:00:16It was explosive.
0:00:16 > 0:00:18# Go, Johnny, go... #
0:00:18 > 0:00:20It sounded so different.
0:00:20 > 0:00:22# Great balls of fire... #
0:00:22 > 0:00:25It was free, it was wild.
0:00:25 > 0:00:27# Shake, rattle and roll... #
0:00:27 > 0:00:29These are some of the last witnesses
0:00:29 > 0:00:34to the birth of a music that changed...everything.
0:00:39 > 0:00:40HE CHUCKLES
0:00:40 > 0:00:42And they still feel it...
0:00:42 > 0:00:43Ooh...
0:00:43 > 0:00:45..like it was yesterday.
0:00:45 > 0:00:46I'll never forget that.
0:00:46 > 0:00:49Elvis, such a damn smash hit.
0:00:49 > 0:00:51The whole place exploded.
0:00:51 > 0:00:55GIRLS SCREAM We had sex appeal.
0:00:55 > 0:00:59I'm at the age if I make somebody mad by tellin' the truth, tough.
0:00:59 > 0:01:02# I'm a roadrunner, honey
0:01:02 > 0:01:05# And you can't keep up with me... #
0:01:05 > 0:01:08These are the innovators, the free-thinkers...
0:01:08 > 0:01:09Let it all hang out!
0:01:09 > 0:01:11..who shocked America.
0:01:11 > 0:01:13The vulgar performances of Elvis Presley.
0:01:13 > 0:01:15He should not be on television.
0:01:15 > 0:01:18The morals are dangerous. That's all I know. And you can't get away
0:01:18 > 0:01:21from it, you can't clean it up cos it's dirty to begin with.
0:01:21 > 0:01:24They followed their own path
0:01:24 > 0:01:26and transformed America.
0:01:26 > 0:01:29People were afraid of integration.
0:01:29 > 0:01:31Rock'n'roll is obviously nigger music.
0:01:31 > 0:01:35Integration is happening in our heads, through our ears.
0:01:35 > 0:01:37This is what we been waiting for.
0:01:37 > 0:01:40# I got to put you down... #
0:01:40 > 0:01:42We'll continue to charge on.
0:01:42 > 0:01:44# I'll see you someday
0:01:44 > 0:01:46# Baby, somewhere hangin' around... #
0:01:46 > 0:01:49A whole lot of shakin' goin' on.
0:01:59 > 0:02:03Today, a remarkable construction project is transforming
0:02:03 > 0:02:04the face of the countryside.
0:02:04 > 0:02:07The area below will, within the next two years,
0:02:07 > 0:02:10be the busy community of 70,000 people
0:02:10 > 0:02:13living in a city which was completely planned
0:02:13 > 0:02:15before the first house was built.
0:02:16 > 0:02:19America of the early '50s,
0:02:19 > 0:02:25where 11 out of 13 million new homes were built in a new suburbia.
0:02:25 > 0:02:28MAN: Hey, how about a couple of eggs this morning?
0:02:28 > 0:02:31OK, dear. Oh, but get a move on or you'll be late.
0:02:31 > 0:02:34'It's a great life, eh, Bob?'
0:02:34 > 0:02:39Communities built around a family unit, expanding in a baby boom
0:02:39 > 0:02:42created by returning World War II GIs.
0:02:42 > 0:02:44Life was perfect.
0:02:45 > 0:02:47The fathers and mothers in our home town
0:02:47 > 0:02:50are just plain, nice-living folks.
0:02:50 > 0:02:52The smoking of marijuana
0:02:52 > 0:02:54are tempting more and more
0:02:54 > 0:02:57teenage youngsters along dangerous paths.
0:02:57 > 0:03:00You know, main street folks who say, "Hello, nice morning,"
0:03:00 > 0:03:02even when it rains on Mondays.
0:03:02 > 0:03:04I'm getting sick and tired of being treated like a kid.
0:03:04 > 0:03:09Why be stuck with one expensive car when you can enjoy all the fun
0:03:09 > 0:03:12and freedom of two fine Fords?
0:03:12 > 0:03:15This is home, sweet home to us.
0:03:15 > 0:03:19We feel safe and are very proud of our friendly characters.
0:03:19 > 0:03:23When the coloured people came into the neighbourhood,
0:03:23 > 0:03:25I would become nauseous.
0:03:25 > 0:03:27We are proud of our excellent schools that provide
0:03:27 > 0:03:29for the education of our children.
0:03:29 > 0:03:32Proud of their part in preparing our youths to face the future.
0:03:33 > 0:03:37Atom bombs may some day be dropped on our cities,
0:03:37 > 0:03:39and let us prepare for survival.
0:03:40 > 0:03:44The air force itself has officially admitted that flying saucers exist.
0:03:44 > 0:03:48Space saboteurs seize control of earthmen's minds.
0:03:48 > 0:03:51Communism, in reality, is not a political party.
0:03:51 > 0:03:54It is a way of life, an evil and malignant way of life.
0:03:56 > 0:04:00But one thing that America could rely on in these times
0:04:00 > 0:04:01was the radio...
0:04:02 > 0:04:05..programmed with popular music of the day.
0:04:07 > 0:04:13# Do not forsake me, oh, my darling
0:04:14 > 0:04:20# On this, our wedding day
0:04:20 > 0:04:22# Wait alone... #
0:04:22 > 0:04:25But not of all of America was like this.
0:04:25 > 0:04:28Below the Mason-Dixon line,
0:04:28 > 0:04:30like a wayward cousin,
0:04:30 > 0:04:32lay America's buried past,
0:04:32 > 0:04:36where something was happening that would shake up not just the music
0:04:36 > 0:04:40but America's way of life... down south.
0:04:40 > 0:04:42Way down south.
0:04:49 > 0:04:50There are things in New Orleans
0:04:50 > 0:04:52that you wouldn't see anywhere in the world.
0:04:52 > 0:04:55Just about anything went.
0:04:55 > 0:05:00The gay entertainers who would dance with a boa constrictor.
0:05:00 > 0:05:04Storyville was where they used to have legalised prostitution.
0:05:04 > 0:05:07And that lasted for about 20 years.
0:05:07 > 0:05:12There were exotic dancers who could make their cleavage jump up and down
0:05:12 > 0:05:16- in different patterns. - HE LAUGHS
0:05:16 > 0:05:21Man, I remember the first place I ever really got loaded on whisky.
0:05:21 > 0:05:25I ain't never experienced anything like that in my life.
0:05:25 > 0:05:29And I never want to experience it again.
0:05:31 > 0:05:36New Orleans music was for dancing, for entertainment. Make people move.
0:05:36 > 0:05:40The dancers were going to be doing boom, bam, boom, bop. Boom!
0:05:40 > 0:05:43He may see a big fat woman with a big butt,
0:05:43 > 0:05:48and she right in tune with the bass drum - boom, boom, boom.
0:05:48 > 0:05:52If you ever listen to New Orleans' music, you're going to move.
0:05:54 > 0:05:56# I'm walkin'
0:05:56 > 0:05:58# Yes, indeed, I'm talkin'
0:05:58 > 0:06:00# 'Bout you and me, I'm hopin'
0:06:00 > 0:06:02# That you come back to me
0:06:03 > 0:06:05# I'm lonely as I can be
0:06:05 > 0:06:08# I'm waitin' for your company
0:06:08 > 0:06:11# I'm hopin' that you come back to me... #
0:06:12 > 0:06:16Well, it has certainly been a long time since I've been here.
0:06:18 > 0:06:20This is where it all took place, back here.
0:06:20 > 0:06:22All right. Great.
0:06:25 > 0:06:28It's a laundromat now but back in the day -
0:06:28 > 0:06:32and I mean the most beautiful days, in fact,
0:06:32 > 0:06:36the days that began putting us on the map - it was J&M Studio,
0:06:36 > 0:06:41Cosimo's Recording Studio, owned by Cosimo Matassa.
0:06:41 > 0:06:44And there was Cosimo back there, doing what he does.
0:06:44 > 0:06:48The musicians would be back in that area.
0:06:48 > 0:06:51Those bricks are probably the same bricks which witnessed
0:06:51 > 0:06:54all of that wonderful music.
0:06:54 > 0:06:58The whole call of the day was for most things to be done live.
0:06:58 > 0:07:01In fact, when it was time to make a fade, at the end of the recording,
0:07:01 > 0:07:05the musicians didn't want Cosimo to turn down the knob,
0:07:05 > 0:07:09they wanted to just play softer and make a natural fade
0:07:09 > 0:07:12cos they figured that that's a technical fade with the knob.
0:07:12 > 0:07:19And very importantly, Fats Domino's career started here and it was 1949,
0:07:19 > 0:07:21he recorded The Fat Man.
0:07:21 > 0:07:27And it clicked on a switch that lasts for decades and decades.
0:07:31 > 0:07:35Fats' debut hit is a contender for the very first rock'n'roll record,
0:07:35 > 0:07:38and its origins lay in a traditional song
0:07:38 > 0:07:40from the wild heart of New Orleans.
0:07:40 > 0:07:42It was a drug song.
0:07:42 > 0:07:43That lyric was,
0:07:43 > 0:07:48"They call, they call me a junker cos I'm loaded all the time."
0:07:48 > 0:07:52Dave Bartholomew, the producer, said, "We can't sing about junkies,
0:07:52 > 0:07:54"we're going to have to sing about the fat man."
0:07:54 > 0:07:58# They call They call me the fat man
0:07:58 > 0:08:02# Cos I weigh two hundred pounds
0:08:02 > 0:08:05# All the girls, they love me
0:08:05 > 0:08:08# Cos I know my way around... #
0:08:08 > 0:08:11Fats' rhythm proved innovative and irresistible,
0:08:11 > 0:08:14but not just to black audiences in the South.
0:08:14 > 0:08:18Now for the big finale. The guy you've all been waiting to hear...
0:08:18 > 0:08:22Through the '50s, he'd overcome the musical segregation of the time,
0:08:22 > 0:08:26crossing over from the black R&B chart to white audiences
0:08:26 > 0:08:28on the national pop chart.
0:08:28 > 0:08:31# You made me cry
0:08:31 > 0:08:33# When you said
0:08:33 > 0:08:34# Goodbye
0:08:34 > 0:08:38# Ain't that a shame?
0:08:38 > 0:08:42# My tears fell like rain... #
0:08:42 > 0:08:45And what was special about his rhythm that got the kids hooked
0:08:45 > 0:08:49was a piano triplet that underpinned Fats' biggest hits.
0:08:49 > 0:08:52This little simple beat - one, two, three, one, two, three -
0:08:52 > 0:08:53on his piano...
0:08:58 > 0:09:02A lot of great musicians around New Orleans didn't want to play
0:09:02 > 0:09:05behind Fats Domino cos they said his music was so simple.
0:09:07 > 0:09:09People kind of made fun of you when you just played
0:09:09 > 0:09:12dink-dink-dink-dink-dink, but that's what he did
0:09:12 > 0:09:14and it made people dance.
0:09:17 > 0:09:20Those simple lines, and he played it all the way through the song.
0:09:23 > 0:09:27And so, even in the Deep South, even in the segregated South,
0:09:27 > 0:09:29whites started showing up at his shows.
0:09:29 > 0:09:31# Oh, well
0:09:31 > 0:09:33# Goodbye
0:09:33 > 0:09:34# Although
0:09:34 > 0:09:36# I'll cry
0:09:36 > 0:09:38# Ain't that a shame?... #
0:09:38 > 0:09:40Black concerts were coming through Memphis
0:09:40 > 0:09:42and we'd go down and watch 'em.
0:09:42 > 0:09:43They made us sit upstairs,
0:09:43 > 0:09:45you know, it was kinda crazy,
0:09:45 > 0:09:48but we didn't care. And when those guys started rockin' on stage,
0:09:48 > 0:09:50the kids jumped up in the aisle and started dancing.
0:09:50 > 0:09:53And I said, "Uh-oh, something's happening here, big time."
0:09:53 > 0:09:57The whites started dancing, mixing with the blacks.
0:09:57 > 0:09:58One thing led to another.
0:09:58 > 0:10:00Herbert Hardesty, Fats' saxophone player,
0:10:00 > 0:10:03says there was a fight every night.
0:10:03 > 0:10:06And the reason why is because he was causing that integration.
0:10:10 > 0:10:12- MAN:- Fats, this rock'n'roll music seems to be under
0:10:12 > 0:10:16an awful heavy attack from all over the country. There's been riots,
0:10:16 > 0:10:19it's been banned in certain parts of this country and abroad.
0:10:19 > 0:10:21- You know of any reason for that? - Well...
0:10:21 > 0:10:25as far as I know, music makes people happy. I know it makes me happy.
0:10:25 > 0:10:27- You wouldn't blame it on rock'n'roll?- No indeed.
0:10:27 > 0:10:30Maybe you'll excuse me, I'd like to go back to my practice.
0:10:33 > 0:10:38I saw some protestors one time right in the midst of that era
0:10:38 > 0:10:43saying, "Send all the Negros back to the Congo, except Fats Domino."
0:10:49 > 0:10:52Fats wasn't alone in integrating audiences.
0:10:52 > 0:10:56Alan Freed, a DJ who popularised the term "rock'n'roll"...
0:10:56 > 0:10:58Hi, everybody. How y'all?
0:10:58 > 0:11:00This is yours truly, Alan Freed...
0:11:00 > 0:11:06..staged a Moondog Ball in Cleveland in 1952 for a mixed-race audience
0:11:06 > 0:11:07of 20,000.
0:11:07 > 0:11:11It was shut down by police for fears of a riot.
0:11:12 > 0:11:18But segregation was just part of a wider narrative in post-war America,
0:11:18 > 0:11:20as millions of black Americans
0:11:20 > 0:11:22migrated up the Mississippi corridor,
0:11:22 > 0:11:27bound for the industrial cities of the Northeast and Midwest.
0:11:29 > 0:11:33People in Mississippi, Louisiana - they worked their way
0:11:33 > 0:11:34to get to Memphis.
0:11:34 > 0:11:36And they go to St Louis...
0:11:36 > 0:11:39East St Louis - wasn't St Louis - East St Louis.
0:11:39 > 0:11:41Then he goes to Chicago.
0:11:41 > 0:11:45They were trying to get to Detroit, where the Ford plant was,
0:11:45 > 0:11:47and Chicago, where the steel mill was.
0:11:50 > 0:11:53Sometimes, it'd take you two months to get to Chicago.
0:11:58 > 0:12:01And with the people, the music migrated.
0:12:01 > 0:12:05This song, from 1951, Rocket 88 by Jackie Brenston,
0:12:05 > 0:12:08another contender for the first rock'n'roll record,
0:12:08 > 0:12:12was written in Clarksdale, recorded in Memphis,
0:12:12 > 0:12:14and released in Chicago on Chess Records,
0:12:14 > 0:12:19as the Blues moved upstream to the big cities of the Midwest.
0:12:19 > 0:12:24When you look at it, you've got Chicago, St Louis,
0:12:24 > 0:12:25Memphis, New Orleans
0:12:25 > 0:12:28all on a straight dotted line all the way down.
0:12:28 > 0:12:31And those are all pretty hip music towns all the way up.
0:12:31 > 0:12:34So there's something about being on this big ol' muddy river.
0:12:38 > 0:12:43By the early '50s, Chicago was the hub of an Electric Blues scene,
0:12:43 > 0:12:46rooted in a booming migrant black community.
0:12:48 > 0:12:51Jimmy Reed was a guy that I was in love with
0:12:51 > 0:12:53in Chicago playing the Blues.
0:12:53 > 0:12:55He's had songs like...
0:12:55 > 0:12:58HE PLAYS BLUES MUSIC
0:12:59 > 0:13:01# Oh, baby
0:13:02 > 0:13:05# You don't have to go
0:13:07 > 0:13:09# Whoa, baby
0:13:11 > 0:13:15# You don't have to go... #
0:13:15 > 0:13:18But by the mid-'50s, the Electric Blues stars like Jimmy Reed
0:13:18 > 0:13:22and Muddy Waters were nudging 30 and 40,
0:13:22 > 0:13:26and a younger generation in these cities craved a new sound
0:13:26 > 0:13:29that spoke of their experience.
0:13:29 > 0:13:31The Blues is always losin' the girl.
0:13:31 > 0:13:34# My baby done left me... #
0:13:34 > 0:13:39Doo-wop gave me the idea of fulfilling my dream
0:13:39 > 0:13:41by getting the girl.
0:13:41 > 0:13:44Blues writers were older people.
0:13:44 > 0:13:45They had been in the South,
0:13:45 > 0:13:48they had seen things that were very different,
0:13:48 > 0:13:52whereas the doo-wop writers were teenagers.
0:13:52 > 0:13:55# Oh, baby... #
0:13:55 > 0:13:58Hey, man! What you all doing, standing out here in the cold?
0:13:58 > 0:13:59I'm freezing!
0:13:59 > 0:14:01Oh, no!
0:14:01 > 0:14:03CHEERFUL GREETINGS
0:14:03 > 0:14:05Nice seeing you, though.
0:14:05 > 0:14:09In 1953, the Spaniels were a teenage street-corner group
0:14:09 > 0:14:13from the edge of Chicago, with a first single climbing the charts...
0:14:13 > 0:14:15We got street light...
0:14:15 > 0:14:19..and a follow-up that would become a classic of the new doo-wop style.
0:14:19 > 0:14:21# Doot-do-do, doot-do-do
0:14:21 > 0:14:23# Doot-do-do-do-do
0:14:23 > 0:14:25- ALL:- # Good night, sweetheart
0:14:25 > 0:14:28# Well, it's time to go
0:14:28 > 0:14:30# Doot-do-do-do-do
0:14:30 > 0:14:32- ALL:- # Good night, sweetheart
0:14:32 > 0:14:35# Well, it's time to go
0:14:35 > 0:14:38# Do-do do-do
0:14:38 > 0:14:43# I hate to leave you but I really must say
0:14:43 > 0:14:47- ALL:- # Good night, sweetheart
0:14:47 > 0:14:49# Good night
0:14:49 > 0:14:51# Doot-do-do, doot-do-do
0:14:51 > 0:14:53# Doot-do-do-do-do
0:14:53 > 0:14:55- ALL:- # Good night, sweetheart... #
0:14:55 > 0:14:57It is truly the sound of the city.
0:14:57 > 0:15:00It is truly the street-corner symphony.
0:15:00 > 0:15:05You could stand under a street lamp and just sing.
0:15:05 > 0:15:08# Do-do do-do... #
0:15:08 > 0:15:10We could imagine that we would be on stage
0:15:10 > 0:15:15and that lamp would actually brighten the whole corner
0:15:15 > 0:15:19and people could come and watch you and you could do your stuff.
0:15:19 > 0:15:21So we were on stage there.
0:15:21 > 0:15:24# It's three o'clock
0:15:24 > 0:15:26# In the morning
0:15:26 > 0:15:28# Do-do... #
0:15:28 > 0:15:31Through the music, you could court a girl.
0:15:31 > 0:15:34All you had to do was sing a song.
0:15:34 > 0:15:38I think that women like low voices,
0:15:38 > 0:15:42almost like a mating call of the bull walrus
0:15:42 > 0:15:44or something like that.
0:15:44 > 0:15:49- ALL:- # Because I love you so
0:15:49 > 0:15:50# Doot-do-do, doot-do-do
0:15:50 > 0:15:53# Do-do do-do
0:15:53 > 0:15:56- ALL:- # Good night, sweetheart... # - It was our music.
0:15:56 > 0:16:00The lyric spoke for the things that we felt
0:16:00 > 0:16:03and we couldn't express ourselves.
0:16:03 > 0:16:06And you only heard it all the way at the other end of the dial.
0:16:06 > 0:16:09The little black stations, 13-40.
0:16:09 > 0:16:13# I love that girly so... #
0:16:13 > 0:16:16- 14-10. - # Hello, hello again
0:16:16 > 0:16:18# Sh-boom and hopin' we'll meet again
0:16:18 > 0:16:20# Oh, life could be a dream... #
0:16:20 > 0:16:23You didn't hear it on the major 9-50s...
0:16:23 > 0:16:25# Rudolph, the red-nosed reindeer... #
0:16:25 > 0:16:27..or 5-60s...
0:16:27 > 0:16:30# How much is that doggy in the window? #
0:16:30 > 0:16:32..which were big, powerful radio AM stations,
0:16:32 > 0:16:35which are heard around the country, you see.
0:16:35 > 0:16:36RADIO STATIC
0:16:36 > 0:16:40- # Oh, oh... - Doo-doo-doo... #
0:16:40 > 0:16:42But while radio was still largely segregated,
0:16:42 > 0:16:45there was one technology that wasn't.
0:16:45 > 0:16:46# I love that girl
0:16:46 > 0:16:48# Love that girl... #
0:16:48 > 0:16:521950 saw the advent of the 45 RPM jukebox,
0:16:52 > 0:16:56and it was this invention that helped the growth of doo-wop,
0:16:56 > 0:16:58as record labels used the jukeboxes
0:16:58 > 0:17:01as testing grounds for new releases.
0:17:02 > 0:17:05Jukebox was very, very important
0:17:05 > 0:17:07because some of the great record labels said,
0:17:07 > 0:17:09"The black radio stations are playing it,
0:17:09 > 0:17:13"let's put it into the jukebox and see if kids recognise it."
0:17:17 > 0:17:21# My love must be a kind of blind love... #
0:17:21 > 0:17:23Doo-wop was the first pop music
0:17:23 > 0:17:25performed by teenagers for teenagers.
0:17:25 > 0:17:29# I can't see anyone but you... #
0:17:29 > 0:17:32And there were more teenagers than ever before,
0:17:32 > 0:17:36due to increases in the birth-rate around World War II.
0:17:36 > 0:17:39# Are the stars
0:17:39 > 0:17:42# Out tonight?... #
0:17:42 > 0:17:46And from the mid-'50s, America's older population began to feel
0:17:46 > 0:17:50overrun by a new adolescent attitude.
0:17:50 > 0:17:53And the song is Why Do Fools Fall In Love?
0:17:53 > 0:17:55AUDIENCE LAUGHS
0:17:55 > 0:17:57..Call themselves the Teenagers...
0:17:57 > 0:17:59- DEEP VOICE:- Come on, boys, let's sing our song.
0:18:00 > 0:18:03- That come out of you? - Yes, can we sing now?
0:18:03 > 0:18:04What's your hurry?
0:18:04 > 0:18:06Have to make my money before my voice changes.
0:18:06 > 0:18:08AUDIENCE LAUGHS
0:18:08 > 0:18:11# Mm-bop, mm-bop, mm-bop Doo-roo-roo
0:18:11 > 0:18:13ALL: # Ooh wah, ooh wah
0:18:13 > 0:18:16# Ooh wah, ooh wah
0:18:16 > 0:18:19# Ooh wah, ooh wah
0:18:19 > 0:18:21- BOTH:- # Why do fools fall in love?
0:18:21 > 0:18:25# Why do birds sing so gay?
0:18:25 > 0:18:27# And lovers await the break of day
0:18:27 > 0:18:29# Why do they fall in love? #
0:18:29 > 0:18:34Now there's a whole strata of young people that have some money
0:18:34 > 0:18:36and their own taste.
0:18:36 > 0:18:39They will go for things that maybe their parents don't like.
0:18:42 > 0:18:46Do you realise what time it is?
0:18:46 > 0:18:48Oh, Mother, don't be such an old fuddy-duddy.
0:18:48 > 0:18:51Our young people are getting out of hand everywhere.
0:18:51 > 0:18:53It changed the type of clothing they wore,
0:18:53 > 0:18:56it changed the type of movies they liked,
0:18:56 > 0:18:57it changed the way they talked.
0:18:57 > 0:18:59Rock'n'roll is cool, Daddy, and you know it!
0:18:59 > 0:19:02It's crazy music, man.
0:19:02 > 0:19:03Whoo!
0:19:03 > 0:19:07- What does that do for you? - It makes you feel good inside.
0:19:07 > 0:19:09The youth could see that they had power
0:19:09 > 0:19:11and through the music they were spreading messages.
0:19:11 > 0:19:13For me, it was a major shift.
0:19:18 > 0:19:21For a newly liberated youth, there was
0:19:21 > 0:19:23a new form of entertainment vying for their attention.
0:19:23 > 0:19:27Just look at this real big-screen Westinghouse set.
0:19:27 > 0:19:30Why, it's big enough so the whole family can watch
0:19:30 > 0:19:34your favourite entertainer without anybody having to block the view.
0:19:34 > 0:19:39But while TV was on the rise, it was limited to safe, family fodder.
0:19:39 > 0:19:42With money and time on their hands,
0:19:42 > 0:19:46teenagers look for their own entertainment and own hang-outs.
0:19:46 > 0:19:48And there was one location in every town
0:19:48 > 0:19:50that would increasingly become theirs.
0:19:52 > 0:19:56After 1950, television sales are going through the roof.
0:19:56 > 0:19:59Audiences in the cinemas are declining.
0:19:59 > 0:20:01And they're declining at an alarming rate.
0:20:01 > 0:20:05But teenagers, they don't want to sit at home and watch TV.
0:20:05 > 0:20:08The studios absolutely aimed for the teen market.
0:20:14 > 0:20:19And they're marketing a kind of cool, which is like rebellion,
0:20:19 > 0:20:22but at the same time a kind of emphasis on belonging,
0:20:22 > 0:20:23like belonging to your gang.
0:20:26 > 0:20:28The great example is Marlon Brando in The Wild One,
0:20:28 > 0:20:30where he's kind of an individual
0:20:30 > 0:20:33but he's dressed in a way that looks like he belongs to something.
0:20:33 > 0:20:35Hey, somebody tell me what that means - B-R-M-C.
0:20:35 > 0:20:38- What does it mean? - Black Rebels Motorcycle Club.
0:20:38 > 0:20:42Isn't that cute? Hey, Johnny, what are you rebelling against?
0:20:42 > 0:20:44What have you got?
0:20:44 > 0:20:46THEY LAUGH
0:20:46 > 0:20:49Hey, Cathy, aren't they wonderful?
0:20:49 > 0:20:51But whereas 1953's The Wild One
0:20:51 > 0:20:55featured a cast in their late 20s and a jazz swing soundtrack...
0:20:55 > 0:20:57I go, "What are you rebelling against, Johnny?"
0:20:57 > 0:21:01He says, "What have you got?" What have you got?!
0:21:01 > 0:21:05..1955 saw the release of Blackboard Jungle,
0:21:05 > 0:21:08set in an inner-city school
0:21:08 > 0:21:10and addressing the problems of teenage delinquents.
0:21:10 > 0:21:14- Excuse me, I believe I have an appointment with the principal.- Name?
0:21:14 > 0:21:16- Name?- Richard Dadier.
0:21:16 > 0:21:19My dad's character in the film, Richard Dadier,
0:21:19 > 0:21:23was a schoolteacher who was trying to get through to his students.
0:21:23 > 0:21:25Bring your paper up here.
0:21:26 > 0:21:29'And they were not wanting to be educated.'
0:21:30 > 0:21:34There was a lot of elements in the film that were quite shocking.
0:21:34 > 0:21:36There was an attempted rape in the library
0:21:36 > 0:21:41of one of the teachers by a kid who my father beat down.
0:21:43 > 0:21:45You know, you didn't see this in film.
0:21:46 > 0:21:51- What happened?- It's the first day of school, Teacher.
0:21:51 > 0:21:53'I believe I'm 16 years of age.
0:21:53 > 0:21:56'I said, "Wow, man, this cat, whoever produced this movie,
0:21:56 > 0:22:00' "got it down right the way it is in some of the neighbourhood ghettos." '
0:22:01 > 0:22:05We had a guy called Mr Mimilich. He was the biology guy.
0:22:05 > 0:22:07We'd throw things at him.
0:22:07 > 0:22:11Biology, he turned his head, we would throw things at him, spitballs...
0:22:11 > 0:22:13I mean, these things actually happened.
0:22:13 > 0:22:16'A lot of the bosses at MGM, they were quite concerned
0:22:16 > 0:22:21'about the film representing America in not so nice a way.'
0:22:21 > 0:22:24The fact that juvenile delinquents, they were being depicted as
0:22:24 > 0:22:27the youth of America - this was quite scandalous.
0:22:27 > 0:22:30Switchblade knives were very prominent at that time.
0:22:32 > 0:22:34This is going to be a showdown now.
0:22:34 > 0:22:36The gunfight at the end of the movie.
0:22:36 > 0:22:39As Richard Dadier starts to stalk him...
0:22:39 > 0:22:40Give me that knife.
0:22:40 > 0:22:42..the rest of the classroom is motionless.
0:22:42 > 0:22:46And you hear that clock... tick-tock, tick-tock.
0:22:46 > 0:22:49"Come on, boy. Come on."
0:22:50 > 0:22:51End of the line, boy.
0:22:54 > 0:22:57'The knife drops. Belazi picks up the knife.'
0:22:57 > 0:22:59- Belazi!- Shut up!
0:22:59 > 0:23:04And that's when my character, Santini, decides to take over.
0:23:04 > 0:23:08And he goes and grabs the American flag and he runs across the room
0:23:08 > 0:23:12and rams the eagle into Belazi's chest and he drops the knife.
0:23:14 > 0:23:17Unlike the bikers in The Wild One,
0:23:17 > 0:23:20these teenagers showed their generational difference
0:23:20 > 0:23:21with a hatred of jazz,
0:23:21 > 0:23:24smashing a teacher's collection of rare swing records.
0:23:24 > 0:23:27This is Cherokee. Anybody want to hear this record, huh?
0:23:27 > 0:23:30STUDENTS GRUMBLE
0:23:34 > 0:23:38Towards the end of production, the film's director, Richard Brooks,
0:23:38 > 0:23:41realised he needed one final element for his movie -
0:23:41 > 0:23:45a theme song that would speak to this generation of restless teens.
0:23:45 > 0:23:47And it couldn't be swing.
0:23:47 > 0:23:50Richard Brooks would come to our house,
0:23:50 > 0:23:54often at the end of the day on his way home, cos he lived up the street.
0:23:54 > 0:23:57And he was looking for a tune.
0:23:57 > 0:24:00I had a very big record collection for a young nine-year-old kid
0:24:00 > 0:24:04and I played a number of records for him in my collection
0:24:04 > 0:24:07cos Dad said I had all these unusual records.
0:24:07 > 0:24:10Glenn Ford's son was a Haley fan.
0:24:10 > 0:24:12You know, as a young kid.
0:24:12 > 0:24:16# There were thirteen women and only one man in town... #
0:24:16 > 0:24:18I had purchased this song called
0:24:18 > 0:24:20Thirteen Women And One Man In Town,
0:24:20 > 0:24:23which was supposed to be the A side on Decca.
0:24:23 > 0:24:26And I didn't like it and, like most kids did in those days,
0:24:26 > 0:24:28I turned the thing over and I really liked that one.
0:24:28 > 0:24:32The producer says, "That's a terrific song."
0:24:32 > 0:24:34It was by chance.
0:24:36 > 0:24:39I went to the premiere at the Encino Theatre,
0:24:39 > 0:24:41a few days before my tenth birthday.
0:24:41 > 0:24:44This song comes on - "One, two, three o'clock..."
0:24:44 > 0:24:47# One, two, three o'clock Four o'clock rock
0:24:47 > 0:24:48# Five, six, seven o'clock... #
0:24:48 > 0:24:52It was just thrilling. I mean, it was absolutely thrilling.
0:24:52 > 0:24:54# We're gonna rock around the clock tonight
0:24:54 > 0:24:56# Put your glad rags on... #
0:24:56 > 0:24:58The whole place exploded.
0:24:58 > 0:25:00The kids, when they heard that song,
0:25:00 > 0:25:03started jumping up and dancing in the aisles.
0:25:03 > 0:25:05And that never happened before.
0:25:05 > 0:25:10The kids got up and started doing the jitterbug up and down the aisle.
0:25:10 > 0:25:13Here it was, coming out loud,
0:25:13 > 0:25:16those big speakers in the movie theatre, it sounded good.
0:25:16 > 0:25:21A lot better than jukeboxes, cos the only way you heard it was 45 records.
0:25:21 > 0:25:24It was explosive. It just blew you right out of the...
0:25:24 > 0:25:27Obviously, it blew the kids out of their seat
0:25:27 > 0:25:28cos they were dancing in the aisle.
0:25:28 > 0:25:31Some theatres had to close down in the Midwest.
0:25:31 > 0:25:35They couldn't show the film because the kids were so taken with it.
0:25:35 > 0:25:40Many municipalities banned the movie altogether,
0:25:40 > 0:25:44or muted the music in that first scene.
0:25:44 > 0:25:48It sounded so different from anything else that was being played.
0:25:48 > 0:25:51Clearer. More crisp.
0:25:51 > 0:25:56Most of the records of that nature, before, were not recorded very well.
0:25:56 > 0:25:58# When the chimes ring five, six and seven
0:25:58 > 0:26:00# We'll be right
0:26:00 > 0:26:01# In seventh heaven... #
0:26:01 > 0:26:04They concentrated on the rhythm section.
0:26:04 > 0:26:07Ba-bow! This big echoey snare.
0:26:07 > 0:26:10# We're gonna rock, gonna rock around the clock tonight... #
0:26:10 > 0:26:14Each instrument had been miked, which hadn't been done before.
0:26:14 > 0:26:17So it was the sound of it that kids identified with.
0:26:17 > 0:26:19I certainly did at 15.
0:26:19 > 0:26:23# We're gonna rock, rock, rock till broad daylight... #
0:26:23 > 0:26:26That became the number one hit
0:26:26 > 0:26:30in the United States for eight weeks, which was never even heard of.
0:26:44 > 0:26:47Rock Around The Clock was the first rock'n'roll song to top
0:26:47 > 0:26:50the national pop charts in America,
0:26:50 > 0:26:53with the lyrics and title perfectly selling the idea
0:26:53 > 0:26:55of a new, wild dance music.
0:26:58 > 0:27:02But while Bill Haley might have hit on the perfect message,
0:27:02 > 0:27:06the ex-hillbilly singer was a reluctant messenger...
0:27:08 > 0:27:11..becoming increasingly nervous at rock'n'roll's association
0:27:11 > 0:27:13with juvenile delinquents.
0:27:19 > 0:27:22I think he would have preferred to have been a country star.
0:27:22 > 0:27:24I think, really, in his heart.
0:27:24 > 0:27:27That's what he really grew up with. He loved country music.
0:27:27 > 0:27:31He even tried another couple of recordings. They were OK.
0:27:31 > 0:27:34He didn't dress like a rock'n'roller.
0:27:34 > 0:27:37He was kind of chunky. He didn't look like a rock'n'roller
0:27:37 > 0:27:42and he went on to other and lesser things
0:27:42 > 0:27:44in a career that kind of petered out.
0:27:44 > 0:27:46He was in his 30s.
0:27:46 > 0:27:48Doesn't seem too old to me now
0:27:48 > 0:27:52but by rock'n'roll standards, trust no-one over 23.
0:27:56 > 0:28:00But what also made Bill an outsider was the fact
0:28:00 > 0:28:03he was based out of Chester, Pennsylvania,
0:28:03 > 0:28:05at a time when the Mississippi Delta,
0:28:05 > 0:28:08and in particular a segregated Memphis,
0:28:08 > 0:28:10was where it was all happening.
0:28:24 > 0:28:3060 years ago, there's a fine line between where black people could go
0:28:30 > 0:28:34and if you went one block left or right of here,
0:28:34 > 0:28:38there was no black people, other than people working.
0:28:38 > 0:28:40There wasn't no party.
0:28:40 > 0:28:42Party was right here, this is where the black people were.
0:28:42 > 0:28:45# The thrill has gone
0:28:46 > 0:28:50# The thrill has gone away... #
0:28:50 > 0:28:52We're going to stop by BBs.
0:28:54 > 0:28:56# The thrill has gone, baby... #
0:28:56 > 0:28:58Hey, baby. How you doin'?
0:28:58 > 0:29:02# The thrill has gone away... #
0:29:02 > 0:29:08When I was working here this was all 99% black clubs.
0:29:08 > 0:29:10These buildings wasn't here.
0:29:10 > 0:29:13It was what they called honky-tonks.
0:29:13 > 0:29:15Juke joints.
0:29:15 > 0:29:19Some in the back room was gamblin', shootin' dice and whatever.
0:29:19 > 0:29:23It was like the Las Vegas for the black peoples.
0:29:24 > 0:29:27This was the Chitlin' Circuit
0:29:27 > 0:29:31where all the black entertainers, all along here with myself,
0:29:31 > 0:29:35Rufus Thomas, BB King...
0:29:35 > 0:29:37was playin' on this street.
0:29:37 > 0:29:38This was Chitlin' Circuit.
0:29:38 > 0:29:41There's no more Chitlin' Circuit now, it's uptown.
0:29:49 > 0:29:51While segregation ruled back then,
0:29:51 > 0:29:56one man took steps to change attitudes to a wealth of black music
0:29:56 > 0:29:59in the South - Sam Phillips.
0:29:59 > 0:30:03Hailing from a poor cotton-farming background in Alabama,
0:30:03 > 0:30:07he quit his job as a local radio announcer to set up a unique
0:30:07 > 0:30:10recording studio in Memphis.
0:30:20 > 0:30:23One thing that I always admired about Sam was that he had
0:30:23 > 0:30:27a fantastic job, a job that anybody dreamed to have.
0:30:27 > 0:30:31And he quit it to record primarily black musicians during a time period
0:30:31 > 0:30:33where you couldn't even use the same bathroom.
0:30:39 > 0:30:42Sam grew up working in cotton fields.
0:30:42 > 0:30:45He never really looked at the colour of someone's skin.
0:30:45 > 0:30:49He just felt a connection with them and he felt a rhythm with them.
0:30:49 > 0:30:52He shared with me that he noticed the difference in the rhythm
0:30:52 > 0:30:55when they were picking cotton in the fields together.
0:30:55 > 0:30:57That's something that most people wouldn't notice.
0:30:58 > 0:31:00# Love my baby
0:31:00 > 0:31:04# Keeps her business to herself... #
0:31:07 > 0:31:10It was 1950 and my dad opened Memphis Recording Service here
0:31:10 > 0:31:13and he would let black people come in for free.
0:31:13 > 0:31:17He would tell them, "Play for me. Forget that I'm a white man.
0:31:17 > 0:31:21"Play for me. Give me what you would do if you were on your front porch."
0:31:24 > 0:31:28For four years Sam worked tirelessly...
0:31:29 > 0:31:32..driving the back roads of the South,
0:31:32 > 0:31:34distributing records on his own label,
0:31:34 > 0:31:37all the time chasing a hit sound.
0:31:39 > 0:31:42But back in his office at Sun Studios,
0:31:42 > 0:31:45he'd often talk about finding the unthinkable -
0:31:45 > 0:31:49a white singer with a black voice.
0:31:49 > 0:31:51Unbeknownst to Sam,
0:31:51 > 0:31:53he'd already recorded him.
0:31:53 > 0:31:55# Let's get together and... #
0:31:55 > 0:31:58When we think of Elvis, we think of the stud, the guy in
0:31:58 > 0:32:02the leather pants and he's confident and arrogant and rules the world.
0:32:02 > 0:32:06But at that time, Elvis didn't have his jet-black hair,
0:32:06 > 0:32:08he had light brown hair, acne.
0:32:08 > 0:32:10He wore a lot of pink and scarves
0:32:10 > 0:32:13and just really was alien almost to most people.
0:32:14 > 0:32:18# But it wouldn't be the same
0:32:18 > 0:32:21# Without you... #
0:32:21 > 0:32:26By the summer of '54, Elvis had cut three demo acetates at Sun,
0:32:26 > 0:32:29showing potential but yet to release a record.
0:32:29 > 0:32:33# Would just make me blue... #
0:32:33 > 0:32:38In July, Elvis came back to try his luck with another ballad of the day.
0:32:38 > 0:32:41But, again, failed to impress Sam.
0:32:42 > 0:32:44There's no air conditioning in there.
0:32:44 > 0:32:47We're talking about July, so it's steaming hot.
0:32:47 > 0:32:49And tube equipment gets pretty hot.
0:32:49 > 0:32:53So it's getting kind of aggravated and people are getting tired
0:32:53 > 0:32:56and he said he kind of called it for a while.
0:32:57 > 0:33:00And that's when Scotty said Elvis, in a bunch of nervous energy,
0:33:00 > 0:33:02picked up acoustic - and he didn't say he played it,
0:33:02 > 0:33:04he says every time he was beatin' on it -
0:33:04 > 0:33:07and he just kind of started doing That's All Right Mamma
0:33:07 > 0:33:08by Arthur "Big Boy" Crudup.
0:33:08 > 0:33:11# Well now, that's all right now, Mama
0:33:11 > 0:33:13# That's all right for you... #
0:33:13 > 0:33:16That night it was Bill Black here - in fact, there's a little hole
0:33:16 > 0:33:19in the floor where his spiker came out of his upright bass.
0:33:19 > 0:33:22Bill Black jumped up, not very seriously playing along,
0:33:22 > 0:33:25he was hootin' and hollerin' and slappin' the bass real silly.
0:33:26 > 0:33:31This X on the floor here's where Scotty Moore stood.
0:33:31 > 0:33:33Of course, Elvis was right here.
0:33:33 > 0:33:36# Well, that's all right now, Mamma
0:33:36 > 0:33:39# That's all right for you
0:33:39 > 0:33:41# That's all right now, Mamma
0:33:41 > 0:33:43# Just anyway you do
0:33:43 > 0:33:45# That's all right
0:33:45 > 0:33:47# That's all right... #
0:33:47 > 0:33:49Sam ran out there in front of that little door right there
0:33:49 > 0:33:51and just said, "What's going on here?
0:33:51 > 0:33:54"Keep doing it!" And he moved some mics and started the tape rolling.
0:33:54 > 0:33:57# Well, Mamma she done told me
0:33:57 > 0:33:59# Papa done told me too
0:33:59 > 0:34:01# Son, that gal you foolin' with
0:34:01 > 0:34:03# She ain't no good for you
0:34:03 > 0:34:05# But that's all right... #
0:34:05 > 0:34:08I think what happened was they felt they weren't recording
0:34:08 > 0:34:11and they finally loosened up and that's how it all really came out
0:34:11 > 0:34:13because, you know, my dad told me a lot of times,
0:34:13 > 0:34:16"Don't pay any attention to that microphone.
0:34:16 > 0:34:17"It'll scare you to death."
0:34:17 > 0:34:22Sam originally cut direct to disc and then he went to tape, but everything
0:34:22 > 0:34:26ended on disc, so he had... I've got the same model right over here.
0:34:26 > 0:34:29And so that night Sam made an acetate of it, which is a one-sided record,
0:34:29 > 0:34:32and took it straight to Dewey Phillips.
0:34:32 > 0:34:34Two days later he played it on the air.
0:34:34 > 0:34:36Everyone went crazy that night in Memphis.
0:34:36 > 0:34:39I think he played it 14 times in a row, they said.
0:34:39 > 0:34:42'Man, I got her one, I got Elvis's autograph.
0:34:42 > 0:34:45'I'm sayin', man, she's runnin' down Main Street...'
0:34:45 > 0:34:49You could not keep from turning the radio volume up.
0:34:49 > 0:34:52Right now I'm going to play the next record. Just flat drive you crazy.
0:34:52 > 0:34:54# I'm leavin' town now, baby
0:34:54 > 0:34:56# I'm leaving town for sure... #
0:34:56 > 0:34:58You're either in your car...
0:34:58 > 0:35:01We drive up and down Main Street, "dragging Main", as they called it,
0:35:01 > 0:35:04and looking for the pretty girls and what have you,
0:35:04 > 0:35:07and when That's All Right Mamma would come on the radio, we'd turn
0:35:07 > 0:35:10the volume up and you could hear it in just about every car that
0:35:10 > 0:35:11you would pass.
0:35:11 > 0:35:14# I got dee, dee... #
0:35:14 > 0:35:16People heard the voice
0:35:16 > 0:35:19and they couldn't quite figure out, was this voice black or white?
0:35:19 > 0:35:24And that song...that, like, wasn't a white person's song.
0:35:24 > 0:35:29He did a Blues song with a hint of Bluegrass.
0:35:29 > 0:35:30"He must be black."
0:35:30 > 0:35:33'We got one of the hottest cotton-pickin' shows
0:35:33 > 0:35:37'in the country - whoa, you're messin' up, partner...'
0:35:37 > 0:35:41What confused things further was local DJ Dewey Phillips'
0:35:41 > 0:35:43pioneering style of programming.
0:35:43 > 0:35:45'In Memphis, Tennessee, and it's Friday night,
0:35:45 > 0:35:48'tomorrow's payday and bathday, that's a good deal...'
0:35:48 > 0:35:52Dewey Phillips would play three black songs and two white guys.
0:35:52 > 0:35:54'Oh, yes, sir, that's octopus -
0:35:54 > 0:35:57'I mean, Opus Number 1 by the late, great Tommy Dorsey...'
0:35:57 > 0:36:00He would play Tommy Dorsey and follow that with Hank Williams.
0:36:00 > 0:36:04# I got a feeling called the Blues... #
0:36:04 > 0:36:07He would play Hank Williams, he would play Howlin' Wolf.
0:36:07 > 0:36:09# Yeah, they called me the rocker
0:36:09 > 0:36:12# I can rock you all night long... #
0:36:12 > 0:36:14So Elvis is at a movie theatre seeing a movie
0:36:14 > 0:36:16and they call Gladys and Vernon.
0:36:16 > 0:36:19Dewey said, "You gotta get your son, we gotta put him on the air
0:36:19 > 0:36:22"and do an interview." So they rip him out of the movie theatre,
0:36:22 > 0:36:24drive him down. He's terrified.
0:36:24 > 0:36:27And one of the first things he does on the programme is says,
0:36:27 > 0:36:29"What high school do you go to?"
0:36:29 > 0:36:33Because people in Memphis will know by what high school you go to
0:36:33 > 0:36:35whether you're black or white.
0:36:35 > 0:36:37And, shocking to people's ears,
0:36:37 > 0:36:40this white guy was playing a black style of music.
0:36:40 > 0:36:42And the phones lit up like mad.
0:36:42 > 0:36:46I mean, he was really capturing a zeitgeist of the moment.
0:36:46 > 0:36:49# Oh, give me land
0:36:49 > 0:36:51# Lots of land
0:36:51 > 0:36:54# Under starry skies above
0:36:54 > 0:36:57# Don't fence me in... #
0:36:57 > 0:37:00Back in those days, the white singers had no movement on stage.
0:37:00 > 0:37:03They would just come out and sing their ballads
0:37:03 > 0:37:05cos there weren't any rock'n'roll.
0:37:05 > 0:37:08The word was spreading pretty fast about this Presley kid.
0:37:08 > 0:37:10He was something else, "You gotta see this guy."
0:37:10 > 0:37:14# Well, that's because you think you're so pretty
0:37:14 > 0:37:17# And just because your mamma thinks you're hot... #
0:37:17 > 0:37:19I MC'd his first show in Memphis.
0:37:19 > 0:37:22# You think you've got something... #
0:37:22 > 0:37:26He was on the back of a flatbed truck, opening up a shopping centre
0:37:26 > 0:37:29in East Memphis, and they'd hired me to be the disc jockey.
0:37:29 > 0:37:32When I introduced him and he got on stage, he started moving around.
0:37:32 > 0:37:34# Hottest thing in town
0:37:34 > 0:37:36# Well, just because you think you got something... #
0:37:36 > 0:37:39When he came off, the kids said, "More, more!"
0:37:39 > 0:37:42And Elvis asked Sam Phillips, "Mr Phillips, why are they screaming?
0:37:42 > 0:37:44"Am I doing something wrong?"
0:37:44 > 0:37:46He said, "No, man, just keep on doing it, shaking your body,
0:37:46 > 0:37:49"shake your leg, man. Shake anything. They like it, they like it."
0:37:49 > 0:37:52- I liked him. - SHE CHUCKLES
0:37:53 > 0:37:56He was sexy. He was charming.
0:37:56 > 0:38:01But his moves, I think that's probably what made him
0:38:01 > 0:38:03to begin with.
0:38:06 > 0:38:10Scotty Moore says that Elvis was shaking his legs,
0:38:10 > 0:38:13his pants were loose, and people could see his privates
0:38:13 > 0:38:15jiggling inside.
0:38:15 > 0:38:18And that's why the girls were screaming.
0:38:22 > 0:38:25Elvis broke big.
0:38:27 > 0:38:28But only in the South...
0:38:28 > 0:38:31# You saw me standing alone... #
0:38:31 > 0:38:35..making it as far as the Louisiana Hayride by '55.
0:38:37 > 0:38:39The King was but a local prince.
0:38:39 > 0:38:43# Without a love of my own... #
0:38:43 > 0:38:46And there would be another pretender to the crown.
0:38:46 > 0:38:48Can I say something?
0:38:48 > 0:38:50Let it all hang out
0:38:50 > 0:38:54with the beautiful Little Richard from down in Macon, Georgia.
0:38:54 > 0:38:58I am the king of rock'n'roll. Ow, ow, ow! My, my, my, my,
0:38:58 > 0:39:01I just had to do that. Now I feel so much better I got it out.
0:39:02 > 0:39:04In the early '50s,
0:39:04 > 0:39:07Little Richard cut his teeth on the Chitlin' Circuit,
0:39:07 > 0:39:09first as a female impersonator
0:39:09 > 0:39:13and then as a singer with his hot band, The Upsetters.
0:39:13 > 0:39:17In '55 he sent a demo to producer "Bumps" Blackwell,
0:39:17 > 0:39:21who thought he could be the next Ray Charles...
0:39:22 > 0:39:25..and invited him to New Orleans' J&M Studios.
0:39:25 > 0:39:28# Every hour in the day... #
0:39:28 > 0:39:31After a frustrating morning session trying out slow ballads,
0:39:31 > 0:39:33they took a break...
0:39:33 > 0:39:35# Every hour... #
0:39:35 > 0:39:38..and headed to a nearby supper club.
0:39:38 > 0:39:41# Every hour in the day... #
0:39:41 > 0:39:46This is the legendary Dew Drop Inn.
0:39:46 > 0:39:50The desired location for the duration.
0:39:50 > 0:39:53This is where many a tear has to fall.
0:39:53 > 0:39:55HE LAUGHS
0:39:55 > 0:39:58This is where the legends were made.
0:39:58 > 0:40:02The stage would have been right about here.
0:40:02 > 0:40:05Little Richard walks in and got up to the piano,
0:40:05 > 0:40:07which about a'been right about here,
0:40:07 > 0:40:11and he started singing one of his popular songs that he did
0:40:11 > 0:40:13on his road show with The Upsetters.
0:40:13 > 0:40:17The lyrics were kind of suggestive and kind of risque.
0:40:17 > 0:40:20# A wop bop a loo bop a lop bam boom
0:40:20 > 0:40:23# Tutti frutti, good bootie
0:40:23 > 0:40:25# Tutti frutti, good bootie
0:40:25 > 0:40:28# Tutti frutti, good bootie
0:40:28 > 0:40:31# A wop bop a loo bop a lop bam boom. #
0:40:31 > 0:40:35And Bumps Blackwell heard the song and he said,
0:40:35 > 0:40:38"Man, this is what we've been waiting for!"
0:40:38 > 0:40:42Little Richard and Tutti Frutti!
0:40:42 > 0:40:45But the real original lyrics to Tutti Frutti
0:40:45 > 0:40:50is "Tutti Frutti, good bootie.
0:40:50 > 0:40:53"If it's tight, it's all right.
0:40:53 > 0:40:56"And if it's greasy, it make it easy."
0:40:56 > 0:40:59- Ooh! - HE LAUGHS
0:40:59 > 0:41:01# A wop bop a loo bop a lop bam boom
0:41:01 > 0:41:04# Tutti frutti, all rutti,
0:41:04 > 0:41:06# Tutti frutti, all rutti... #
0:41:06 > 0:41:09When they got back in the studio,
0:41:09 > 0:41:13Dorothy LaBostrie, another great songwriter, was in the studio
0:41:13 > 0:41:16and she suggested they use some hipster jargon
0:41:16 > 0:41:21that was really popular during the '50s and that was "All rutti."
0:41:21 > 0:41:22All right - all rutti.
0:41:22 > 0:41:25So she said, "Well, that rhymes with tutti frutti."
0:41:25 > 0:41:30"So it's tutti frutti, all rutti. Wop bop a loo bop..."
0:41:30 > 0:41:31# ..A lop bam boom
0:41:31 > 0:41:33# Got a girl named Daisy
0:41:33 > 0:41:36# She almost drives me crazy
0:41:36 > 0:41:38# Got a girl named Daisy... #
0:41:38 > 0:41:40The beauty of his delivery...
0:41:40 > 0:41:42it was free, it was wild.
0:41:42 > 0:41:44# Knows how to love me, yes indeed
0:41:44 > 0:41:47# Boy, you don't know... #
0:41:47 > 0:41:49It was not Patti Page. It was not Perry Como.
0:41:49 > 0:41:52You got a taste of black vernacular.
0:41:52 > 0:41:55# Tutti frutti, all rutti... #
0:41:55 > 0:41:59You realised this is a whole other language. And it was exciting.
0:41:59 > 0:42:01# Wop bop a loo bop
0:42:01 > 0:42:03# Ow... #
0:42:10 > 0:42:12This what you call doing your own thing time.
0:42:12 > 0:42:15- Do you always dress like that?- Every day. I go to the grocery store
0:42:15 > 0:42:18like this and people turn around. When I walked through the airport
0:42:18 > 0:42:21here in London today a man dropped his cup of coffee.
0:42:21 > 0:42:26In '56, Richard notched up multiple hits as young America was entranced
0:42:26 > 0:42:29by his extravagant performance and extraordinary appearance.
0:42:45 > 0:42:47He brought it out. He was the guy.
0:42:47 > 0:42:50Liberace didn't know nothing till you saw Little Richard.
0:42:50 > 0:42:53# Gonna tell Aunt Mary about Uncle John
0:42:53 > 0:42:55# He claims he has the music but he has a lot of fun
0:42:55 > 0:42:57# Oh, baby... #
0:42:57 > 0:43:00He looked so different with all that hair and everything like that,
0:43:00 > 0:43:03hair on his head and the pancake make-up.
0:43:03 > 0:43:06He had SOME make-up. About that thick.
0:43:06 > 0:43:09# Well, long tall Sally, she's built for speed, she got
0:43:09 > 0:43:11# Everything that Uncle John need
0:43:11 > 0:43:13# Oh, baby... #
0:43:13 > 0:43:17..supposed to wear make-up. Just like, "I put sugar in your coffee,"
0:43:17 > 0:43:19you're supposed to add a little touch to it.
0:43:19 > 0:43:21- I must remember that.- Yes, God.
0:43:21 > 0:43:24I met Little Richard. We were in East Point, Georgia,
0:43:24 > 0:43:26and he come on the stage, said,
0:43:26 > 0:43:29"Ladies and gentlemen, the prettiest two guys in the world..."
0:43:29 > 0:43:31He said, "Me and Bobby Rush."
0:43:31 > 0:43:34- HE LAUGHS - I'll never forget that.
0:43:36 > 0:43:38I wish he'd just said handsome.
0:43:38 > 0:43:41- HE LAUGHS - Oh, man!
0:43:41 > 0:43:43# Go, man, go
0:43:43 > 0:43:45# I got a girl that I love so, I'm ready... #
0:43:45 > 0:43:48But Little Richard kept them guessing,
0:43:48 > 0:43:51with a string of songs from The Girl Can't Help It
0:43:51 > 0:43:54to Ready Teddy, celebrating the women in his life.
0:43:54 > 0:43:56# Going to the corner Pick up my sweetie pie
0:43:56 > 0:43:59# She's my rock'n'roll baby She's the apple of my eye, I'm ready
0:43:59 > 0:44:02# Ready, ready, Ted, I'm ready
0:44:02 > 0:44:04# I'm ready, ready, Ted, I'm ready
0:44:04 > 0:44:07# Ready, ready, Ted, I'm ready Ready, ready to rock and roll
0:44:07 > 0:44:09# All the flattop cats and dungaree dolls
0:44:09 > 0:44:11# Are headed for the gym to the sock hop ball
0:44:11 > 0:44:14# The joint's really jumpin' The cats are goin' wild
0:44:14 > 0:44:17# The music really sends me, I dig that crazy style, I'm ready... #
0:44:17 > 0:44:19I was a disc jockey and I was playing his music.
0:44:19 > 0:44:22Tutti Frutti, all the big hits he had.
0:44:22 > 0:44:25And I didn't know he was gay.
0:44:25 > 0:44:28Oh, he was. Yeah, he is.
0:44:28 > 0:44:30He's gay as you can be.
0:44:31 > 0:44:32You know?
0:44:32 > 0:44:35He invited me but I said no, thank you.
0:44:36 > 0:44:39I said no, no, that's not for me.
0:44:40 > 0:44:43That was quite a time back there at the Paramount Theatre.
0:44:43 > 0:44:48All of us were working together and things were going on, man.
0:44:48 > 0:44:50We were all kids.
0:44:54 > 0:44:58# Directly
0:44:58 > 0:45:01# Directly from my heart to you... #
0:45:01 > 0:45:04Just as Fats Domino's innocent charm had won over a young, white audience
0:45:04 > 0:45:07in an era of segregation,
0:45:07 > 0:45:11Richard, from the early days, traded on his flamboyant personality
0:45:11 > 0:45:14to overcome the colour bar in the South.
0:45:14 > 0:45:18We would play white clubs and we had to dress like a bunch of gay guys
0:45:18 > 0:45:21so we wasn't a threat.
0:45:21 > 0:45:25The white promoters didn't want us to mess with the white girls down South.
0:45:25 > 0:45:28That's the strategy he used
0:45:28 > 0:45:32to introduce rock'n'roll to the Southern States.
0:45:32 > 0:45:35We're walkin' on stage switchin', you know, walkin' across the stage
0:45:35 > 0:45:39and a lot of people would say, "Here comes Richard and his sissies."
0:45:39 > 0:45:41HE LAUGHS Very smart.
0:45:41 > 0:45:45He knew how to get the audience to love him and stuff like that.
0:45:45 > 0:45:46# If she walks by
0:45:46 > 0:45:48# The men folks get engrossed
0:45:48 > 0:45:51# She can't help it The girl can't help it... #
0:45:51 > 0:45:54But Little Richard also stood out and caught the ear of young America
0:45:54 > 0:45:58by building his hits on a rhythm that deviated from the standard
0:45:58 > 0:46:02R&B swing beat that was the foundation of rock'n'roll.
0:46:02 > 0:46:04# The girl can't help it... #
0:46:04 > 0:46:06Little Richard's beats are...
0:46:06 > 0:46:07I would even say radically different
0:46:07 > 0:46:09from, like, Bill Haley and The Comets,
0:46:09 > 0:46:11which is a very swing beat.
0:46:11 > 0:46:14It's "Rock around the clock tonight,"
0:46:14 > 0:46:17that just, you know, the emphasis is on the two and the four -
0:46:17 > 0:46:19one, two, three, FOUR - like that.
0:46:19 > 0:46:24Whereas Lucille is... HE MIMICS FASTER BEAT
0:46:24 > 0:46:26..and it hits on the one and the three.
0:46:28 > 0:46:29It's just something you feel.
0:46:31 > 0:46:34It feels...exciting.
0:46:34 > 0:46:37# Lucille
0:46:37 > 0:46:39# You won't do your sister's will
0:46:41 > 0:46:43# Lucille
0:46:44 > 0:46:47# You won't do your sister's will... #
0:46:47 > 0:46:50I remember one day, Richy was lookin' at me
0:46:50 > 0:46:52and this guy got something in his mind.
0:46:52 > 0:46:55He said,
0:46:55 > 0:46:59"We goin' to the train station in Macon, Georgia, on Fifth Street.
0:46:59 > 0:47:01"We're going to follow this train
0:47:01 > 0:47:07"as it move along and we's going to listen to the sound of the train."
0:47:07 > 0:47:09I say, "OK."
0:47:09 > 0:47:11TRAIN WHISTLE BLOWS
0:47:11 > 0:47:15And the train picked up speed, so it went choo-choo-choo-choo,
0:47:15 > 0:47:16choo-choo-choo-choo.
0:47:16 > 0:47:18He say, "Joe?" I say, "What?"
0:47:18 > 0:47:20He say, "What kind of notes are those?"
0:47:22 > 0:47:24I say, "Richard, those are eighth notes."
0:47:25 > 0:47:28He says, "When we have rehearsal tomorrow at my house,
0:47:28 > 0:47:31"I want you to play that beat behind me
0:47:31 > 0:47:34"and I'm going to be playing the same thing on piano."
0:47:34 > 0:47:36I say, "OK."
0:47:36 > 0:47:39MUSIC SPEED MIMICS TRAIN
0:47:50 > 0:47:52Sound like a damn earthquake.
0:47:52 > 0:47:54HE CHUCKLES
0:47:55 > 0:47:57# Lucille
0:47:57 > 0:48:00# Please come back like you belong... #
0:48:00 > 0:48:03And of course the way they used to record, with one or two microphones
0:48:03 > 0:48:06up in the air, it just sounds like all one thing.
0:48:06 > 0:48:10And that just has a way of getting at ya.
0:48:10 > 0:48:13It sort of marks out the way that teenagers felt at the time.
0:48:13 > 0:48:16"What are you rebelling against?" "I don't know. Whaddaya got?"
0:48:16 > 0:48:18But we're going to do it and we're going to do it now.
0:48:24 > 0:48:26While trains inspired Little Richard,
0:48:26 > 0:48:29America in the '50s was a nation
0:48:29 > 0:48:31expanding its love affair with the car,
0:48:31 > 0:48:34the auto industry gaining power through government closure
0:48:34 > 0:48:40of public transport and a massive plan to extend America's highways.
0:48:40 > 0:48:43NARRATOR: This is the American dream -
0:48:43 > 0:48:45a freedom on wheels.
0:48:45 > 0:48:50An automotive age, travelling on time-saving superhighways.
0:48:51 > 0:48:55# Baby, baby Don't you need some... #
0:48:57 > 0:49:00Cars were like a major part of the culture - drag racing
0:49:00 > 0:49:02and teenagers going out in their own cars.
0:49:02 > 0:49:04This wasn't happening before.
0:49:04 > 0:49:06'Plenty of speed here...'
0:49:06 > 0:49:09The design of cars changed as well,
0:49:09 > 0:49:13with more powerful engines like the mass-produced V8 Ford,
0:49:13 > 0:49:15and styling taking on chrome plating,
0:49:15 > 0:49:19two-tone colours and rocket-age streamlining and fins.
0:49:21 > 0:49:25Sam Phillips recorded a record by Jackie Brenston called Rocket 88.
0:49:25 > 0:49:28# V8 motor in this modern design
0:49:28 > 0:49:32# Black convertible top and the girls don't mind
0:49:32 > 0:49:33# Sportin' with me... #
0:49:33 > 0:49:35Rocket 88 was a model
0:49:35 > 0:49:38of Oldsmobile car.
0:49:38 > 0:49:41It was the first American car that had two-tone colours.
0:49:41 > 0:49:45Blue - I remember a powder blue and a navy blue
0:49:45 > 0:49:50and that in the ghetto was hot stuff, like new Nikes would be today.
0:49:50 > 0:49:53The whole idea of a love song to the car - I'm going to pick you up
0:49:53 > 0:49:56for a date, we're going to be free to be ourselves,
0:49:56 > 0:49:58go wherever we want to go, do what we want to do,
0:49:58 > 0:50:00and no-one has to know.
0:50:00 > 0:50:03# Step in my Rocket and don't be late, baby
0:50:03 > 0:50:06# We're pullin' out about half past eight
0:50:06 > 0:50:07# Goin' round the corner... #
0:50:07 > 0:50:10The next car record to ride high in the charts
0:50:10 > 0:50:13came from an unlikely source -
0:50:13 > 0:50:17a 28-year-old ex-hairdresser with an ear for Blues and Country...
0:50:17 > 0:50:20going by the name of Chuck Berry...
0:50:22 > 0:50:26..who, in the summer of '55, motivated up the migrant corridor
0:50:26 > 0:50:29from St Louis to Chicago and Chess Records...
0:50:29 > 0:50:31# In the wee wee hours... #
0:50:31 > 0:50:34..with a Blues song called Wee Wee Hours.
0:50:34 > 0:50:37# That's when I think of you... #
0:50:37 > 0:50:40But what caught the ear of label head Leonard Chess
0:50:40 > 0:50:43was not Chuck's Blues but the other song on his demo...
0:50:43 > 0:50:46# Light in the parlour Fire in the grate... #
0:50:46 > 0:50:52..an adaptation of Bob Wills' western swing song, Ida Red.
0:50:52 > 0:50:54# Ida Red, I had a red
0:50:54 > 0:50:56# I'm a fool about Ida Red... #
0:50:56 > 0:51:00My family was always lookin' for what was new and cutting-edge.
0:51:00 > 0:51:03My father's nickname was the Foot Stomper - his foot started going...
0:51:03 > 0:51:05HE TAPS HIS FOOT
0:51:05 > 0:51:08At Chess Records, Chuck's song went through a rewrite,
0:51:08 > 0:51:10starting with its title.
0:51:10 > 0:51:12# Lamp on the table, a picture on the wall
0:51:12 > 0:51:14# There's a pretty sofa and that's not all... #
0:51:14 > 0:51:16# As I was motivatin' over the hill
0:51:16 > 0:51:18# I saw Maybellene in a Coup de Ville
0:51:18 > 0:51:20# A Cadillac a-rollin' on open road
0:51:20 > 0:51:22# Nothin'll outrun my V8 Ford... #
0:51:22 > 0:51:25The story goes that, in the studio, there was
0:51:25 > 0:51:27a Maybelline cosmetic package.
0:51:27 > 0:51:30They came up with the name Maybelline and they recorded it.
0:51:30 > 0:51:32# Maybellene
0:51:32 > 0:51:34# Why can't you be true?
0:51:34 > 0:51:36# Oh, Maybellene
0:51:36 > 0:51:38# Why can't you be true?
0:51:38 > 0:51:41# You've started back doin' the things you used to do... #
0:51:41 > 0:51:43Chuck Berry is the Shakespeare of rock'n'roll.
0:51:43 > 0:51:45# The Cadillac pulled up ahead of the Ford
0:51:45 > 0:51:47# The Ford got hot and wouldn't do no more... #
0:51:47 > 0:51:50Maybellene is about him chasing a beautiful woman who's in a Cadillac
0:51:50 > 0:51:51and he's trying to catch up with her.
0:51:51 > 0:51:53# Rainwater blowin' all under my hood
0:51:53 > 0:51:55# I knew that was doin' my motor good
0:51:55 > 0:51:56# Maybellene
0:51:56 > 0:51:58# Why can't you be true... #
0:51:58 > 0:52:01He was talkin' about the wind was comin' in, the rain was comin' down,
0:52:01 > 0:52:03but all that could be good for his motor. He was sayin', keep it cool,
0:52:03 > 0:52:05cos he's driving so fast, you know?
0:52:05 > 0:52:09Then he happened to look out his window and she was right there, too.
0:52:09 > 0:52:10# The motor cooled down, the heat went down
0:52:10 > 0:52:12# That's when I heard that highway sound... #
0:52:12 > 0:52:15What a story. What a man.
0:52:15 > 0:52:16# 110 a half a mile ahead
0:52:16 > 0:52:18# The Cadillac lookin' like it's sittin' still
0:52:18 > 0:52:21# And I caught Maybellene at the top of the hill... #
0:52:21 > 0:52:24There's a kind of ambiguity there because you don't know
0:52:24 > 0:52:27if she's a white girl or a black girl.
0:52:27 > 0:52:29Also, there's a class dimension.
0:52:29 > 0:52:33He's driving a V8 Ford and she's driving a Cadillac Coupe de Ville.
0:52:33 > 0:52:35That's a rich person's car!
0:52:35 > 0:52:38You know, that's dangerous. In 1955, that's really dangerous.
0:52:38 > 0:52:43Chuck Berry, I think, is the best rock'n'roll songwriter.
0:52:43 > 0:52:46I don't think there was anybody like him before.
0:52:46 > 0:52:49He came up with a different word for every note.
0:52:49 > 0:52:52There was a word...for each note.
0:52:52 > 0:52:56Which was not like Blues records. Chuck Berry doesn't repeat.
0:52:56 > 0:52:57It's like,
0:52:57 > 0:52:59# Deep down in Louisiana close to New Orleans
0:52:59 > 0:53:02# Way back up in the woods among the evergreens
0:53:02 > 0:53:04# There stood a log cabin made of earth and wood
0:53:04 > 0:53:07# Where lived a country boy name of Johnny B Goode
0:53:07 > 0:53:09# Who never ever learned to read or write so well
0:53:09 > 0:53:12# But he could play the guitar just like a-ringing a bell. #
0:53:12 > 0:53:15I mean, that's a whole story right there. And then,
0:53:15 > 0:53:17# Go, go, go, Johnny, go. #
0:53:17 > 0:53:22So that's when he comes into the chorus but every note is a word.
0:53:22 > 0:53:25# Deep down in Louisiana close to New Orleans
0:53:25 > 0:53:28# Way back up in the woods among the evergreens
0:53:28 > 0:53:31# There stood a log cabin made of earth and wood
0:53:31 > 0:53:33# Where lived a country boy named Johnny B Goode
0:53:33 > 0:53:36# Who never ever learned to read or write so well
0:53:36 > 0:53:39# But he could play a guitar just like a-ringing a bell
0:53:39 > 0:53:40# Go, go
0:53:40 > 0:53:43# Go, Johnny, go
0:53:43 > 0:53:44# Go, Johnny, go... #
0:53:44 > 0:53:47Before Chuck Berry, most everybody strummed their guitars
0:53:47 > 0:53:49in a delicate manner.
0:53:49 > 0:53:53And all of a sudden, here comes Chuck Berry and he's kicking butt.
0:53:53 > 0:53:55He's not strummin' - he's hittin' that baby.
0:53:55 > 0:53:57# Go, go... #
0:53:57 > 0:54:01You didn't have to play just one role as just being a music maker,
0:54:01 > 0:54:05it was a personality that he would play with.
0:54:05 > 0:54:09SOFT GUITAR DROWNS OUT SONG
0:54:09 > 0:54:11But Chuck was no spring chicken.
0:54:11 > 0:54:13He'd been round the block
0:54:13 > 0:54:16and cut an almost avuncular figure in this white teenage world.
0:54:20 > 0:54:23I was very young, I was 13 when Chuck Berry came to Chess.
0:54:23 > 0:54:26In my eyes he was extraordinarily eccentric.
0:54:26 > 0:54:27One day my dad said,
0:54:27 > 0:54:30"Take Chuck across the street, buy him some lunch."
0:54:30 > 0:54:33We sat down in the booth and he ordered strawberry shortcake
0:54:33 > 0:54:35as a starter.
0:54:35 > 0:54:40And the main course AFTER, you know? He was just a very unique individual.
0:54:40 > 0:54:41He had robbed a gas station,
0:54:41 > 0:54:44he had done jail time when he was a teenager.
0:54:44 > 0:54:46He knew the hard knocks of it.
0:54:46 > 0:54:51But as I grew older, I was fascinated how he knew what was happening
0:54:51 > 0:54:54with white teenagers riding around in an automobile.
0:54:54 > 0:54:58Black teenagers weren't driving cars in 1955.
0:54:58 > 0:55:00It was before civil rights.
0:55:00 > 0:55:04That's the thing about Chuck, he was very highly motivated to make it.
0:55:04 > 0:55:09Somehow, he was able to tap into what white teenagers were doing,
0:55:09 > 0:55:13their lifestyle, how much different they're living than the black kids.
0:55:13 > 0:55:15"That's the market. That's what I want to get into."
0:55:15 > 0:55:18Chuck was able to see the teenager experience
0:55:18 > 0:55:21and sing a song directly to your experience.
0:55:21 > 0:55:24Ladies and gentlemen, Chuck Berry! AUDIENCE SCREAMS AND CHEERS
0:55:24 > 0:55:27# Sweet little 16
0:55:27 > 0:55:30# She's got the grown-up blues
0:55:30 > 0:55:32# Tight dresses and lipstick
0:55:32 > 0:55:35# She's sportin' high-heel shoes
0:55:35 > 0:55:38# Oh, but tomorrow morning
0:55:38 > 0:55:41# She'll have to change her trend
0:55:41 > 0:55:43# And be sweet 16
0:55:43 > 0:55:45# And back in class again... #
0:55:45 > 0:55:48Chuck's songs were the first to explore the teen experience,
0:55:48 > 0:55:51catching the moment a young America walked a line
0:55:51 > 0:55:55between parental control and dolled-up, libidinous,
0:55:55 > 0:56:00four-on-the-floor freedom on a highway to who knows where?
0:56:00 > 0:56:03Despite being hatched in a divided country,
0:56:03 > 0:56:05the music, through stealth and accident,
0:56:05 > 0:56:08had stolen the soul of young America.
0:56:08 > 0:56:10# Cos they'll be rockin' on bandstands
0:56:10 > 0:56:12# In Philadelphia, PA... #
0:56:12 > 0:56:15Just as the song describes, rock'n'roll would spread like
0:56:15 > 0:56:19a gathering storm from the South to every corner of the US...
0:56:19 > 0:56:21# All over St Louis
0:56:21 > 0:56:23# Way down in New Orleans... #
0:56:23 > 0:56:25..providing the newborn teenager
0:56:25 > 0:56:27with their own fashions and language...
0:56:27 > 0:56:30It excites me, man, excites me. You've got to dig that music.
0:56:30 > 0:56:34..and their own culture and identity,
0:56:34 > 0:56:36and through rhythm and poetry
0:56:36 > 0:56:39held the promise of a very different America.
0:56:43 > 0:56:46But that isn't how the story ends.
0:56:49 > 0:56:52"Man, here we go. We're going to ruin America with this junk."
0:56:52 > 0:56:55# Wake up, little Susie... #
0:56:55 > 0:56:57The wonderful young Everly Brothers.
0:56:57 > 0:57:00Once the music hits it's like smokin' weed.
0:57:00 > 0:57:02Changes things.
0:57:02 > 0:57:05I think Pat Boone is old enough to be their grandfather.
0:57:05 > 0:57:06HE LAUGHS
0:57:06 > 0:57:08He didn't have the soul.
0:57:08 > 0:57:10A wop bop a loobop, a lop what?
0:57:10 > 0:57:11Jerry Lee Lewis!
0:57:11 > 0:57:15He's interesting. You might ring his neck sometimes.
0:57:15 > 0:57:18And don't ever say that to me again.
0:57:18 > 0:57:19Elvis Presley!
0:57:19 > 0:57:21'This vulgar, animalistic nigger...'
0:57:21 > 0:57:22'Presley records.'
0:57:24 > 0:57:26Electricity beyond comprehension.
0:57:26 > 0:57:28He should not be on television.
0:57:28 > 0:57:30Buddy Holly and The Crickets.
0:57:30 > 0:57:31That'll be the day.
0:57:31 > 0:57:33The parents called it the Devil's music.
0:57:33 > 0:57:36The rock'n'roll records must go.
0:57:36 > 0:57:38# Wake up, little Susie
0:57:38 > 0:57:42# Well, what are we gonna tell your mama?
0:57:42 > 0:57:44# What are we gonna tell your pa?
0:57:44 > 0:57:46# What are we gonna tell our friends
0:57:46 > 0:57:47# When they say
0:57:47 > 0:57:49# Ooh la la?
0:57:49 > 0:57:51# Wake up, Little Susie
0:57:51 > 0:57:53# Wake up, Little Susie
0:57:53 > 0:57:56# Wake up, Little Susie... #