0:00:04 > 0:00:07# Aw, let's go... #
0:00:07 > 0:00:10Unfurling from Fats Domino's left hand,
0:00:10 > 0:00:12Bill Haley stumbled upon it,
0:00:12 > 0:00:14Little Richard preached it
0:00:14 > 0:00:16and Chuck Berry defined it.
0:00:16 > 0:00:20Rock'n'roll spread from the deep south and shook up the USA.
0:00:23 > 0:00:25It twitched Elvis' hips,
0:00:25 > 0:00:26possessed Jerry Lee Lewis
0:00:26 > 0:00:28and inspired Buddy Holly.
0:00:31 > 0:00:34But in the late '50s, it would be repackaged as pop...
0:00:34 > 0:00:38It was like apple pie and rock'n'roll - it was all right.
0:00:38 > 0:00:41..and twisted into a craze.
0:00:41 > 0:00:44We were exploiting our sexuality while being fully dressed.
0:00:48 > 0:00:51It would be refined by girl groups...
0:00:51 > 0:00:53We had sex appeal.
0:00:53 > 0:00:55..reimagined by Motown...
0:00:55 > 0:00:57I said, "Man, this is a hit."
0:00:57 > 0:00:58I knew it was a hit.
0:00:58 > 0:01:02..and soundtrack the west coast dream.
0:01:02 > 0:01:04# Shake it, baby, shake it... #
0:01:04 > 0:01:07What was once crazy was getting smart and suburban.
0:01:07 > 0:01:10Rock'n'roll was spreading across America
0:01:10 > 0:01:13and being reshaped in the big cities of Philadelphia,
0:01:13 > 0:01:16New York, Detroit and LA.
0:01:21 > 0:01:23MUSIC: Rave On by Buddy Holly
0:01:23 > 0:01:25# Well, the little things you say and do
0:01:25 > 0:01:28# You make me want to be with you
0:01:28 > 0:01:31# Rave on, it's a crazy feeling... #
0:01:31 > 0:01:36By 1959, rock'n'roll's originators were missing in action.
0:01:36 > 0:01:37# I love you... #
0:01:37 > 0:01:41Private Elvis Presley was in the army in Germany,
0:01:41 > 0:01:45Jerry Lee Lewis was disgraced for marrying his 13-year-old cousin
0:01:45 > 0:01:48and Little Richard had turned to the Lord.
0:01:50 > 0:01:54Hope lay in the hands of a new generation.
0:01:54 > 0:01:56# When you say I love you
0:01:56 > 0:01:58# You rave on to me... #
0:02:02 > 0:02:03On a bitter winter night,
0:02:03 > 0:02:05just before one in the morning,
0:02:05 > 0:02:07Buddy Holly left Mason City Airport
0:02:07 > 0:02:10on the next leg of the Winter Dance Party Tour.
0:02:10 > 0:02:12# Well, rave on
0:02:12 > 0:02:14# It's a crazy feeling
0:02:14 > 0:02:16# And I know it's got me reeling... #
0:02:16 > 0:02:17Five minutes later,
0:02:17 > 0:02:20ground control lost radio contact.
0:02:20 > 0:02:23MUSIC FADES OUT
0:02:23 > 0:02:26Three young singers who soared to the heights of show business
0:02:26 > 0:02:28in the current rock'n'roll craze
0:02:28 > 0:02:30were killed today in the crash of a light plane
0:02:30 > 0:02:32in an Iowa snow flurry.
0:02:32 > 0:02:34The singers were identified as Richie Valens, 17,
0:02:34 > 0:02:36Buddy Holly, 22,
0:02:36 > 0:02:39and JP Richardson, known professionally as The Big Bopper.
0:02:44 > 0:02:48# I'll be all right
0:02:52 > 0:02:57# I'll be all right... #
0:02:57 > 0:03:01Buddy Holly had set out on tour reluctantly.
0:03:02 > 0:03:08# I'll be all right... #
0:03:08 > 0:03:10He faced legal problems and needed money
0:03:10 > 0:03:13having recently split with his band - The Crickets.
0:03:15 > 0:03:17The night Buddy got killed,
0:03:17 > 0:03:19it was a terrible feeling
0:03:19 > 0:03:21and it made me wish I'd have been there
0:03:21 > 0:03:24cos I think maybe I could have talked him out of getting on a plane
0:03:24 > 0:03:27at one o'clock in the morning in a snowstorm.
0:03:27 > 0:03:30So, there's a little guilt
0:03:30 > 0:03:32for not being there.
0:03:39 > 0:03:42He was a good friend, he was a friend of mine.
0:03:42 > 0:03:45One of the very few people you meet in this business
0:03:45 > 0:03:48that are friends, you know. That remain your friends.
0:03:50 > 0:03:55You don't meet many Buddy Hollys any more.
0:04:11 > 0:04:15The pioneers were absent and, without them,
0:04:15 > 0:04:19rock'n'roll was set to become something very different.
0:04:25 > 0:04:27The Boss With The Big Hot Sauce and ladies and gentlemen,
0:04:27 > 0:04:29when you go hang out with The Geator With The Heater.
0:04:29 > 0:04:32Where do you want to go when you're going to rock'n'roll
0:04:32 > 0:04:35with the Big Boss With The Big Hot Sauce?
0:04:37 > 0:04:39Where you going to go?
0:04:39 > 0:04:41# At the hop
0:04:41 > 0:04:43# Well, you can rock and you can roll it
0:04:43 > 0:04:45# You can stop and you can stroll it at the hop... #
0:04:45 > 0:04:48Philadelphia - the unlikely home for
0:04:48 > 0:04:51rock'n'roll's translation by television.
0:04:51 > 0:04:53# Do the dance sensations... #
0:04:53 > 0:04:55Television ownership exploded in America
0:04:55 > 0:04:58from 9% of homes in 1950
0:04:58 > 0:05:00to 87% by the end of the decade.
0:05:02 > 0:05:04- # Let's go to the hop - Oh, baby
0:05:04 > 0:05:05- # Let's go to the hop - Oh, baby... #
0:05:05 > 0:05:08In Philadelphia's newly built suburbia,
0:05:08 > 0:05:11teens were keen to tune in to rock'n'roll...
0:05:11 > 0:05:15but TV also had to please mum and dad.
0:05:17 > 0:05:19A local show found the winning formula.
0:05:21 > 0:05:23Welcome to American Bandstand.
0:05:23 > 0:05:25Once again, this is Dick Clark with 90 minutes
0:05:25 > 0:05:28of some fun and frolic we think you'll enjoy.
0:05:28 > 0:05:31I think parents generally saw the American Bandstand show
0:05:31 > 0:05:37partly because of who hosted it, Dick Clark, as OK.
0:05:37 > 0:05:43He was what America was looking for to make our music acceptable
0:05:43 > 0:05:45cos he was acceptable.
0:05:45 > 0:05:47OK, the song is by Fats Domino. It's fast.
0:05:47 > 0:05:48If you'll take that side,
0:05:48 > 0:05:50you folks take the middle,
0:05:50 > 0:05:51here's the Big Beat.
0:05:56 > 0:06:00# The big beat keep you rocking in your seat... #
0:06:00 > 0:06:02From 1957, American Bandstand
0:06:02 > 0:06:04was beamed from this tiny
0:06:04 > 0:06:05Philadelphia studio
0:06:05 > 0:06:07across the United States.
0:06:09 > 0:06:11From 3:30 to five o'clock in the afternoon,
0:06:11 > 0:06:15it goes nationwide from New York City to Los Angeles, California.
0:06:15 > 0:06:19And when Dick Clark plays a record, the whole country hears it.
0:06:19 > 0:06:20All right, we're ready for mic check.
0:06:22 > 0:06:25The kids would all line up coming home from school
0:06:25 > 0:06:26trying to get in there
0:06:26 > 0:06:29cos everyone wanted to just have their face seen on TV,
0:06:29 > 0:06:32and some of those kids became famous
0:06:32 > 0:06:34by being dancers on the show.
0:06:34 > 0:06:36# Come on, gang, let's swing and sway
0:06:36 > 0:06:39# The big beat make you act this way... #
0:06:39 > 0:06:42If you were the camera, you're shooting us now,
0:06:42 > 0:06:45and we would get this close to the cameras.
0:06:45 > 0:06:47You just stay still with the camera
0:06:47 > 0:06:49and we would be right up against the lens.
0:06:49 > 0:06:50THEY LAUGH
0:06:50 > 0:06:53But the boys were worse than the girls, I have to say that.
0:06:53 > 0:06:54The girl would be like this and,
0:06:54 > 0:06:56as soon as he saw the red light, he'd go...
0:06:56 > 0:06:57HE LAUGHS
0:06:57 > 0:06:59There would be his face, the boy...
0:06:59 > 0:07:01# Clap your hands and stomp your feet... #
0:07:01 > 0:07:03The American Bandstand show,
0:07:03 > 0:07:08it was like holding a mirror up to the teenagers of America.
0:07:08 > 0:07:11They were on the show, they were the dancers - it was their music
0:07:11 > 0:07:13and now they saw themselves.
0:07:13 > 0:07:15MUSIC: Runaround Sue by Dion
0:07:15 > 0:07:19- # Hey, hey - Whoa-oh-oh-oh-oh
0:07:19 > 0:07:21- # Hey, hey - Whoa-oh-oh-oh-oh
0:07:21 > 0:07:24- # Hey, hey - Whoa-oh-oh-oh-oh... #
0:07:26 > 0:07:29Dick Clark was very strict about our dances.
0:07:29 > 0:07:33He only preferred us to do the slow dance,
0:07:33 > 0:07:34the jitterbug and the cha-cha.
0:07:34 > 0:07:37And if you went on a weekend to a dance
0:07:37 > 0:07:41and there were some black kids dancing their dances,
0:07:41 > 0:07:42we would bring it to Bandstand and
0:07:42 > 0:07:45Dick Clark would not allow us to do it
0:07:45 > 0:07:47because it just wasn't clean enough.
0:07:47 > 0:07:51# I keep away from Runaround Sue... #
0:07:51 > 0:07:54There wasn't a lot of bumping and twerking.
0:07:54 > 0:07:58It was kids dancing in acceptable ways.
0:07:58 > 0:08:03It was like apple pie and rock'n'roll - it was all right.
0:08:03 > 0:08:08# They say the years
0:08:10 > 0:08:13# 'Twixt twelve and twenty... #
0:08:13 > 0:08:17Bandstand regular Pat Boone had kept parents happy
0:08:17 > 0:08:20with safe covers of rock'n'roll since the mid '50s.
0:08:21 > 0:08:24In 1959, he was married with four daughters,
0:08:24 > 0:08:28a 25-year-old shaking hands with Eisenhower
0:08:28 > 0:08:31and putting his English degree to good use.
0:08:31 > 0:08:34It was the number one non-fiction bestseller for two years
0:08:34 > 0:08:36called 'Twixt Twelve And Twenty.
0:08:37 > 0:08:41I wrote about things that were of interest to teens
0:08:41 > 0:08:44and that's why I wrote what's on the flyleaf here.
0:08:44 > 0:08:48"I'd like to talk with you about the whole list of challenges
0:08:48 > 0:08:49"you meet as a teenager,
0:08:49 > 0:08:52"altered relations with parents and friends,
0:08:52 > 0:08:56"dating, going steady, petting, earning money, planning a future,
0:08:56 > 0:08:59"getting an education and developing spiritually.
0:08:59 > 0:09:01"I think the better we understand
0:09:01 > 0:09:03"what makes our wheels turn during these years,
0:09:03 > 0:09:07"the more we can make of them and the more we can enjoy them.
0:09:07 > 0:09:10"Now, let's look at them together."
0:09:11 > 0:09:16MUSIC: Venus by Frankie Avalon
0:09:17 > 0:09:21The music business did not want to
0:09:21 > 0:09:23be dependent upon a genius.
0:09:23 > 0:09:26# Hey, Venus
0:09:26 > 0:09:28# Oh, Venus... #
0:09:29 > 0:09:33They wanted to go back to the '50s and cookie cut.
0:09:33 > 0:09:35If they liked the way Elvis looks,
0:09:35 > 0:09:38we'll get a guy who looks like Elvis and we'll do an Elvis song.
0:09:38 > 0:09:41# A girl who wants my kisses and my arms... #
0:09:41 > 0:09:44In Philadelphia, the original mavericks of rock'n'roll
0:09:44 > 0:09:46were being replaced.
0:09:46 > 0:09:49Promoters packaged local teens as wholesome heart-throbs.
0:09:51 > 0:09:54The one and only Bobby Rydell!
0:09:54 > 0:09:55GIRLS SCREAM
0:09:55 > 0:10:00# Whoa, wild one, I'm-a gonna tame you down?
0:10:00 > 0:10:01# Tame me down
0:10:01 > 0:10:06# Wild one, I'll get you yet
0:10:06 > 0:10:07# You bet... #
0:10:07 > 0:10:12Everything had a kind of, class, smooth sound to it.
0:10:12 > 0:10:14Where Chuck Berry was...
0:10:14 > 0:10:16HE MIMICS HEAVY GUITAR RIFF
0:10:16 > 0:10:18Ours was like...
0:10:18 > 0:10:21HE MIMICS CALM GUITAR RIFF
0:10:21 > 0:10:25# Oh, wild one, I'll make you settle down... #
0:10:25 > 0:10:28If you want to put it into a rock'n'roll genre,
0:10:28 > 0:10:32I would say Wild One was probably...
0:10:32 > 0:10:35my best attempt... HE LAUGHS
0:10:35 > 0:10:38..at rock'n'roll.
0:10:38 > 0:10:40# Come on, wild one
0:10:40 > 0:10:43# Be wild about me... #
0:10:43 > 0:10:46It was a great record, it had a nice beat,
0:10:46 > 0:10:49you could dance to it and the kids loved it,
0:10:49 > 0:10:51and it became my first million seller -
0:10:51 > 0:10:52but lyrically?
0:10:52 > 0:10:55Come on, I mean, we're not talking Gershwin here.
0:11:02 > 0:11:07Fabian Forte was another of Philadelphia's teen idols.
0:11:07 > 0:11:09Oh, hi there.
0:11:09 > 0:11:11You know, so many wonderful things have happened to me
0:11:11 > 0:11:14in a short space of time, thanks to you.
0:11:15 > 0:11:19He was spotted by his manager at just 14 years old,
0:11:19 > 0:11:22sitting outside on his doorstep.
0:11:22 > 0:11:25I guess he saw something in my face, my being,
0:11:25 > 0:11:28that he'd like that look for the rock'n'roll business.
0:11:31 > 0:11:35Fabian's dreamboat features were the perfect raw materials.
0:11:35 > 0:11:40He was greased, groomed and marketed as the ultimate teen idol.
0:11:40 > 0:11:43In the beginning, it was like puppets -
0:11:43 > 0:11:45I was like a puppet.
0:11:45 > 0:11:46In the press...
0:11:46 > 0:11:48"Fabian? Who is Fabian?
0:11:48 > 0:11:50"Fabian is coming.
0:11:50 > 0:11:51"What's a Fabian?"
0:11:51 > 0:11:54I mean, they did a fantastic job.
0:11:54 > 0:11:57I was a fantasy boyfriend and this is what
0:11:57 > 0:12:00that bullshit was all about.
0:12:00 > 0:12:02# Cuter than a baby walking down the street
0:12:02 > 0:12:04# When I look into your eyes, I wanna leap
0:12:04 > 0:12:09# I can't conceal that you make me feel like a tiger
0:12:09 > 0:12:12# Oooh, like a tiger
0:12:12 > 0:12:15# Oo-ooh, I see your smile and it drives me wild
0:12:15 > 0:12:18# I wanna growl, wow. #
0:12:18 > 0:12:20The girls screamed for Fabe,
0:12:20 > 0:12:22but the critics screamed at him to stop.
0:12:24 > 0:12:26Critics would say things like,
0:12:26 > 0:12:28"A rebel without a clue" -
0:12:28 > 0:12:31that was my favourite one.
0:12:31 > 0:12:32# Like a tiger
0:12:32 > 0:12:34# Oo-ooh like a tiger... #
0:12:34 > 0:12:37I don't know, I've blocked a lot of it out.
0:12:37 > 0:12:39Some of it was really hurtful.
0:12:39 > 0:12:41# I wanna growl, wow... #
0:12:41 > 0:12:45In spite of critics, Fabian recorded seven albums in three years,
0:12:45 > 0:12:47had three gold records,
0:12:47 > 0:12:49and found fame as a film star -
0:12:49 > 0:12:53but his manager's conduct led him to quit the rock'n'roll business.
0:12:53 > 0:12:56He was trying making advances on me
0:12:56 > 0:12:58and I'd have to...
0:12:58 > 0:13:01I'd wake up in the middle of the night and he'd be on me,
0:13:01 > 0:13:03so I sent him to the hospital.
0:13:03 > 0:13:05I went to my guardian and said,
0:13:05 > 0:13:08"I want out. What's it going to cost?"
0:13:08 > 0:13:10And I bought out my contract
0:13:10 > 0:13:11and never recorded again.
0:13:14 > 0:13:15Bolstered by American Bandstand,
0:13:15 > 0:13:18Philadelphia's cartel of local labels
0:13:18 > 0:13:20sold rock'n'roll to middle America as pop.
0:13:22 > 0:13:27In 1960, emerging from the whitewash came one black phenomenon.
0:13:29 > 0:13:30If you are ready...
0:13:30 > 0:13:32MUSIC: The Twist by Chubby Checker
0:13:32 > 0:13:35..I've got to tell you about the dance sensation called...
0:13:35 > 0:13:37# Come on, baby...
0:13:37 > 0:13:38What do you want to do, Chubby?
0:13:38 > 0:13:40# Let's do the twist... #
0:13:40 > 0:13:41What do you say you want to do?
0:13:41 > 0:13:44# Come on, baby, let's do the twist... #
0:13:44 > 0:13:46Let me see you shake your, oooh!
0:13:46 > 0:13:50# Take me by my little hand
0:13:50 > 0:13:53# And go like this... #
0:13:53 > 0:13:57Former chicken plucker Ernest Evans was rechristened Chubby Checker,
0:13:57 > 0:13:59in tribute to Fats Domino,
0:13:59 > 0:14:03and he started a craze on American Bandstand.
0:14:03 > 0:14:07We brought something along that this type of music
0:14:07 > 0:14:09didn't have before -
0:14:09 > 0:14:11rock'n'roll did not have a dance.
0:14:11 > 0:14:15They were swinging to Elvis, they were swinging to Chuck Berry,
0:14:15 > 0:14:17they were swinging to Jerry Lee
0:14:17 > 0:14:19and Little Richard and Fats Domino,
0:14:19 > 0:14:21and then the twist came along
0:14:21 > 0:14:23and the kids had their own dance.
0:14:25 > 0:14:27I'm looking at the girl,
0:14:27 > 0:14:28the girl's looking at me
0:14:28 > 0:14:31and we're exploiting our sexuality
0:14:31 > 0:14:33while being fully dressed.
0:14:33 > 0:14:36They wanted to be more sexy than the other one.
0:14:36 > 0:14:39You had to really move and get down.
0:14:41 > 0:14:45I don't think the twist was that sexy.
0:14:45 > 0:14:46It was a safe sexy.
0:14:46 > 0:14:51I mean, this and this is not this and this.
0:14:51 > 0:14:56How can it be sexy when you're five, six, seven feet apart, you know?
0:14:56 > 0:14:58This was sexy,
0:14:58 > 0:15:00when you hold a girl and you hold her in your arms,
0:15:00 > 0:15:03and you dip a little bit and kiss.
0:15:03 > 0:15:05Maybe on the neck,
0:15:05 > 0:15:07little something in the ear.
0:15:07 > 0:15:09# Come on, let's twist again
0:15:09 > 0:15:11# Like we did last summer... #
0:15:11 > 0:15:14The Twist was the first solo dance craze.
0:15:14 > 0:15:16It was catchy and clean
0:15:16 > 0:15:20and got adults dancing to rock'n'roll for the first time.
0:15:20 > 0:15:22The Twist, when it first came out, I mean,
0:15:22 > 0:15:24every head of state of every country
0:15:24 > 0:15:26was learning how to twist -
0:15:26 > 0:15:29Saudi Arabia, Italy - it was big.
0:15:31 > 0:15:34The Queen of England was trying to learn how to do the twist.
0:15:34 > 0:15:38I made that up, but I bet she was.
0:15:38 > 0:15:41It's still spreading, it's still here.
0:15:41 > 0:15:44How far has the telephone gone?
0:15:44 > 0:15:46How far has the electric light gone?
0:15:46 > 0:15:47I fall into that category.
0:15:48 > 0:15:52# Twisting time is here, bop bop. #
0:15:56 > 0:15:59Philadelphia tamed and domesticated rock'n'roll.
0:15:59 > 0:16:01It had America transfixed with television,
0:16:01 > 0:16:03mooning over teen idols
0:16:03 > 0:16:05and got the whole world twisting.
0:16:06 > 0:16:10In 1960, there were few rock'n'roll originals,
0:16:10 > 0:16:12but one man stood out from the crowd.
0:16:22 > 0:16:24I asked Elvis, I said,
0:16:24 > 0:16:25"Elvis, if you had to pick and choose
0:16:25 > 0:16:27"one of your favourite singers,
0:16:27 > 0:16:28"who would it be?"
0:16:28 > 0:16:30And he thought about it...
0:16:30 > 0:16:32He thought about it for a sec and he said,
0:16:32 > 0:16:35"Roy Orbison."
0:16:35 > 0:16:38# Only the lonely... #
0:16:38 > 0:16:41Just days before Elvis recorded Are You Lonesome Tonight,
0:16:41 > 0:16:44Roy cut Only The Lonely in the same Nashville studio.
0:16:47 > 0:16:51He turned teen heartbreak into pure tragedy.
0:16:51 > 0:16:54Roy came from a little town called Wink in West Texas.
0:16:54 > 0:16:58Have you ever been to West Texas?
0:16:58 > 0:17:00West Texas will influence you...
0:17:00 > 0:17:02Its wide open spaces.
0:17:02 > 0:17:04Miles and miles and miles.
0:17:04 > 0:17:07# They're gone forever... #
0:17:07 > 0:17:10Roy was physically not a movie star handsome.
0:17:12 > 0:17:14That was totally anti everything that was going -
0:17:14 > 0:17:17the Frankie Avalons and so on, you know.
0:17:18 > 0:17:21Fabians - the pretty boys.
0:17:21 > 0:17:24Of course, they couldn't sing like Roy.
0:17:24 > 0:17:28There was more to Roy than teen angst.
0:17:28 > 0:17:30# I was all right
0:17:32 > 0:17:35# For a while
0:17:35 > 0:17:39# I could smile for a while... #
0:17:40 > 0:17:46I had suggested changes and even made changes,
0:17:46 > 0:17:50some major, some minor, in every song we had done,
0:17:50 > 0:17:53until we got to Crying.
0:17:53 > 0:17:57He came in and he sang Crying for me with just a guitar.
0:17:58 > 0:18:03# That I'd been crying over you
0:18:06 > 0:18:10# Crying over you... #
0:18:12 > 0:18:15I said, "Wow! There's only one thing wrong with it, Roy."
0:18:15 > 0:18:17He said, "What?"
0:18:17 > 0:18:19"It's not out yet."
0:18:19 > 0:18:23He said, "You don't want to change anything?"
0:18:23 > 0:18:25I said "No, sir."
0:18:25 > 0:18:28And that's as perfect a song as I've ever heard.
0:18:30 > 0:18:34# Crying over you
0:18:35 > 0:18:39# Crying over you... #
0:18:41 > 0:18:43He then jumped around and ran around and
0:18:43 > 0:18:46did handstands and cartwheels,
0:18:46 > 0:18:49he just did it with that voice.
0:18:49 > 0:18:56# Crying over you... #
0:18:56 > 0:18:58I still miss him.
0:19:00 > 0:19:08HE HOLDS NOTE
0:19:17 > 0:19:23MUSIC: Why Do Fools Fall In Love by Frankie Lymon And The Teenagers
0:19:23 > 0:19:25Back on the east coast,
0:19:25 > 0:19:28rock'n'roll was also finding new voices
0:19:28 > 0:19:30in the Big Apple.
0:19:30 > 0:19:32# Why do fools fall in love?
0:19:32 > 0:19:36# Why do birds sing so gay?
0:19:36 > 0:19:39# And lovers await the break of day
0:19:39 > 0:19:42# Why do they fall in love? #
0:19:42 > 0:19:44Girls had been the subject matter,
0:19:44 > 0:19:47not the stars in rock'n'roll's first flush.
0:19:48 > 0:19:50But in the late '50s,
0:19:50 > 0:19:54inspired by Frankie Lymon's genderless doo-wop falsetto,
0:19:54 > 0:19:57New York girls began forming groups of their own.
0:19:58 > 0:19:59Well, back then,
0:19:59 > 0:20:02the public schools opened up at night
0:20:02 > 0:20:05for the teenagers, from seven to 11.
0:20:05 > 0:20:06Sometimes they had dances
0:20:06 > 0:20:09and sometimes the boys played basketball,
0:20:09 > 0:20:13but there was always a group of guys
0:20:13 > 0:20:16that would stand off in a corner and sing.
0:20:16 > 0:20:19All the girls, they would dress up fancy
0:20:19 > 0:20:21and go and just listen to them.
0:20:23 > 0:20:29When I started to think in terms of how I wanted to present,
0:20:29 > 0:20:32I was impressed with the male singers.
0:20:36 > 0:20:39Doo-wop harmonies prompted 13-year-old Arlene Smith
0:20:39 > 0:20:42to start her own group - The Chantels.
0:20:44 > 0:20:48The first show was right here at The Apollo.
0:20:48 > 0:20:50And, you know, when you're wearing all these crinolines
0:20:50 > 0:20:52and your little legs are hanging out,
0:20:52 > 0:20:55my knees started to tremble because
0:20:55 > 0:20:58I'm thinking in my head as I'm singing,
0:20:58 > 0:21:00"Ooh, they don't like us.
0:21:00 > 0:21:03"They're not saying anything, nobody's doing anything."
0:21:03 > 0:21:06It was so quiet and then they clapped.
0:21:06 > 0:21:08They were like, "Whoa."
0:21:10 > 0:21:17# Maybe if I pray every night
0:21:17 > 0:21:22# You'll come back to me
0:21:22 > 0:21:31# And maybe if I cry every day
0:21:31 > 0:21:36# You'll come back to stay
0:21:36 > 0:21:43# Oh, maybe... #
0:21:43 > 0:21:47There was nobody singing anything like that and, of course,
0:21:47 > 0:21:50being an adolescent you have a lot of feelings.
0:21:50 > 0:21:52Your sexual stuff is trying to surface.
0:21:52 > 0:21:56You don't know who you are, you're still talking orders from parents,
0:21:56 > 0:21:59you still have curfews, you know what I mean?
0:21:59 > 0:22:04So, there's a lot of things going into that intensity.
0:22:04 > 0:22:10# Only in my dreams...
0:22:10 > 0:22:13# Maybe if I cry... #
0:22:13 > 0:22:16We were innovators.
0:22:16 > 0:22:20We opened up the possibility
0:22:20 > 0:22:21and that's all you really need,
0:22:21 > 0:22:23and you have a whole bunch of people coming through.
0:22:23 > 0:22:29# And maybe if I cry every day
0:22:31 > 0:22:34# You'll come back to stay... #
0:22:34 > 0:22:37In downtown Manhattan, the Brill Building
0:22:37 > 0:22:39had long been home to Tin Pan Alley's
0:22:39 > 0:22:41music publishers and songwriters.
0:22:41 > 0:22:44But across the road, at 1650 Broadway,
0:22:44 > 0:22:47a new school of Jewish songsmiths started penning hits
0:22:47 > 0:22:50for black girl groups.
0:22:50 > 0:22:55It attracted young teenage writers for the teenage market.
0:22:55 > 0:22:59I brought my girlfriend Carole King up with Gerry Goffin
0:22:59 > 0:23:02and then Barry Mann and Cynthia Weil,
0:23:02 > 0:23:04and Ellie Greenwich and Geoff Barry,
0:23:04 > 0:23:07and we had little cubicles that we would write
0:23:07 > 0:23:10from ten in the morning till five in the afternoon five days a week.
0:23:10 > 0:23:15I was 18, I think Carole was about 17.
0:23:15 > 0:23:18It was the first time that teenage writers
0:23:18 > 0:23:21were writing for teenage audiences.
0:23:22 > 0:23:28# Tonight you're mine completely
0:23:29 > 0:23:34# You give your love so sweetly
0:23:36 > 0:23:41# Tonight the light of love is in your eyes
0:23:43 > 0:23:48# But will you love me tomorrow? #
0:23:49 > 0:23:51In the autumn of 1960,
0:23:51 > 0:23:54Gerry Goffin and Carole King had just one night to write a new hit
0:23:54 > 0:23:58for east coast girl group The Shirelles.
0:23:58 > 0:24:02Their song gave rock'n'roll a female voice.
0:24:02 > 0:24:05We were the very first black female vocal group
0:24:05 > 0:24:07to have a number one record.
0:24:07 > 0:24:12# I'd like to know that your love... #
0:24:13 > 0:24:17Gerry Goffin wrote the lyrics.
0:24:17 > 0:24:19Carole didn't write the lyrics, she wrote the music.
0:24:19 > 0:24:21I like that, yeah, but it's got to be harder.
0:24:21 > 0:24:24When we write the lyrics to it, it'll be different.
0:24:24 > 0:24:26And it's very much a young woman's,
0:24:26 > 0:24:31or any woman's, attitude towards having sex.
0:24:32 > 0:24:35I never thought of it in those ways at all.
0:24:36 > 0:24:39I still had the mind of a young person.
0:24:39 > 0:24:40I wasn't thinking in terms of,
0:24:40 > 0:24:43"Will you still respect me in the morning?"
0:24:43 > 0:24:45The fear of a woman,
0:24:45 > 0:24:47"Will you come back?
0:24:47 > 0:24:49"Is this one night only?
0:24:49 > 0:24:50"Will you love me tomorrow?"
0:24:50 > 0:24:52I thought it was a groundbreaker.
0:24:52 > 0:24:58# Will you still love me tomorrow? #
0:24:58 > 0:25:00New York writers brought fresh female perspective
0:25:00 > 0:25:03and a new sophistication to rock'n'roll.
0:25:03 > 0:25:05# Will you still love me tomorrow? #
0:25:05 > 0:25:09In the studio, veterans Jerry Leiber and Mike Stoller,
0:25:09 > 0:25:12who wrote Hound Dog, also expanded the sound.
0:25:16 > 0:25:19MUSIC: There Goes My Baby by The Drifters
0:25:21 > 0:25:24I started playing this figure...
0:25:24 > 0:25:27HE HUMS INTRO
0:25:28 > 0:25:31..it was, sort of, you know,
0:25:31 > 0:25:34Borodin or Rimsky-Korsakov.
0:25:34 > 0:25:37Anyway, Gerry heard what I was playing, he said,
0:25:37 > 0:25:38"Oh, that sounds like violins."
0:25:38 > 0:25:41I said, "Hey, why not? Let's try it."
0:25:44 > 0:25:47# There goes my baby
0:25:47 > 0:25:50# Moving on down the line... #
0:25:50 > 0:25:53Leiber and Stoller brought orchestral innovation
0:25:53 > 0:25:57to a standard R'n'B song written by Drifters frontman Ben E King.
0:25:57 > 0:26:00# I broke her heart... #
0:26:00 > 0:26:04We had violins, we had timpanis,
0:26:04 > 0:26:07we had trumpets,
0:26:07 > 0:26:09we had tenor saxophones -
0:26:09 > 0:26:12we had the whole gamut in that one Atlantic studio.
0:26:12 > 0:26:15# There goes my baby... #
0:26:15 > 0:26:17I wasn't aware of the fact that
0:26:17 > 0:26:19they were using instruments
0:26:19 > 0:26:21that had never been used on R'n'B songs before.
0:26:23 > 0:26:25# Did she really love me? #
0:26:25 > 0:26:28Atlantic Records boss Jerry Wexler
0:26:28 > 0:26:30was a little sceptical about the experimentations
0:26:30 > 0:26:33on There Goes My Baby.
0:26:33 > 0:26:35Jerry was eating lunch at his desk,
0:26:35 > 0:26:37a tuna fish sandwich,
0:26:37 > 0:26:40and we played him the new record.
0:26:40 > 0:26:42He went ballistic.
0:26:42 > 0:26:44He said, "I HATE this thing.
0:26:44 > 0:26:48"Where the hell did you find this? You've got kettle drums..."
0:26:48 > 0:26:51HE HESITATES
0:26:51 > 0:26:54The tuna fish was splattered over the wall.
0:26:54 > 0:26:57He said, "You're flushing our money down the toilet.
0:26:57 > 0:27:01"It sounds like three stations are playing at the same time."
0:27:01 > 0:27:05But eventually they released it on the back of something else,
0:27:05 > 0:27:09it became number one R'n'B, number one pop....
0:27:09 > 0:27:13Everyone then decided they're going to go strings and kettle drums
0:27:13 > 0:27:17and cellos, and all of these great instruments on their records.
0:27:19 > 0:27:24# There is a rose in Spanish Harlem... #
0:27:27 > 0:27:29Leiber and Stoller's widescreen production
0:27:29 > 0:27:33inspired one ambitious kid in LA.
0:27:33 > 0:27:36We sent him a ticket to come to New York
0:27:36 > 0:27:39and he, kind of, lived in our office.
0:27:39 > 0:27:42# It only comes out when the moon is on the run
0:27:42 > 0:27:45# And all the stars are gleaming. #
0:27:45 > 0:27:49Phil Spector co-wrote Ben E King's first solo hit,
0:27:49 > 0:27:52Spanish Harlem, with Leiber and Stoller.
0:27:52 > 0:27:57It was an irresistible taste of pop production and power.
0:27:57 > 0:27:59How would I describe him?
0:27:59 > 0:28:00Unpleasant.
0:28:00 > 0:28:02HE LAUGHS
0:28:02 > 0:28:05A little nasty, you know.
0:28:05 > 0:28:08Phil's ambition was to rule the world.
0:28:08 > 0:28:12SINISTER MUSIC PLAYS
0:28:12 > 0:28:15Spector imagined productions of Wagnerian proportions
0:28:15 > 0:28:18and used girl groups as his means to an end.
0:28:22 > 0:28:23He would always say,
0:28:23 > 0:28:26"These are my records. These are not your records.
0:28:26 > 0:28:28"You're just like one of the band members,
0:28:28 > 0:28:30"the horn player or whatever."
0:28:30 > 0:28:34# See the way he walks down the street
0:28:34 > 0:28:38# Watch the way he shuffles his feet
0:28:38 > 0:28:40# My, he holds his head up high
0:28:40 > 0:28:43# When he goes walking by
0:28:43 > 0:28:45# He's my guy... #
0:28:45 > 0:28:49He's A Rebel was a number one hit for Spector.
0:28:49 > 0:28:51Although credited to The Crystals,
0:28:51 > 0:28:52seen lip-syncing here,
0:28:52 > 0:28:57the voices on the record belonged to Darlene Love and The Blossoms.
0:28:57 > 0:29:00I knew at the time, when I got ready to record that song,
0:29:00 > 0:29:03that I was recording it for another group.
0:29:03 > 0:29:07# He's a rebel and he'll never be any good
0:29:07 > 0:29:11# He's a rebel cos he never, ever does what he should... #
0:29:11 > 0:29:13I thought I sounded good and the record was good,
0:29:13 > 0:29:16but I didn't think a record like that was going to sell.
0:29:16 > 0:29:20But then when it was a hit, then I wanted everyone to know it was me.
0:29:20 > 0:29:22SHE LAUGHS
0:29:22 > 0:29:24I have to have oohs behind it, OK?
0:29:24 > 0:29:25After the success of He's A Rebel,
0:29:25 > 0:29:27Darlene Love signed with Phil Spector.
0:29:28 > 0:29:32# Every evening when the sun goes down
0:29:32 > 0:29:35# Ooh-ooh, ooh-ooh-ooh-ooh-ooh... #
0:29:35 > 0:29:39She presumed it would be her name on their next recording -
0:29:39 > 0:29:42He's Sure The Boy I Love.
0:29:42 > 0:29:43I was driving home one day
0:29:43 > 0:29:48and I heard the record come on the radio as The Crystals.
0:29:48 > 0:29:51MUSIC: He's Sure The Boy I Love by The Crystals
0:29:51 > 0:29:54Not only was I mad, I was shocked.
0:29:54 > 0:29:55SHE LAUGHS
0:29:55 > 0:29:57# He's sure the boy I love... #
0:29:57 > 0:29:59How can somebody do that to you?
0:29:59 > 0:30:01What I didn't realise at the time,
0:30:01 > 0:30:05that Phil was trying to become a star too.
0:30:05 > 0:30:09He really wasn't interested in making his artists bigger stars -
0:30:09 > 0:30:13it was about making a name for his self.
0:30:13 > 0:30:15# Never be a big businessman... #
0:30:15 > 0:30:18Spector called his records "symphonies for the kids"
0:30:18 > 0:30:21and in 1963 he struck gold
0:30:21 > 0:30:23with a trio of dancing girls
0:30:23 > 0:30:25from New York's exclusive Peppermint Lounge.
0:30:27 > 0:30:30- We had sex appeal... - SHE LAUGHS
0:30:30 > 0:30:33..and no other girl group had the sex appeal that we had.
0:30:33 > 0:30:37When I saw girl groups, I didn't want to be anything like them.
0:30:37 > 0:30:38We went the other route.
0:30:38 > 0:30:42All the other girls were wearing the big flare dresses.
0:30:42 > 0:30:46I said, "No, we've got to wear tight dresses, slits up the side
0:30:46 > 0:30:50"so we can turn and shake. Hair up to here and eyes out to there.
0:30:50 > 0:30:53# He's sure the boy I love... #
0:30:53 > 0:30:55The Ronettes brought that missing ingredient
0:30:55 > 0:30:58to Spector's wall of sound production.
0:30:58 > 0:31:02They had to fly me to California to make Be My Baby,
0:31:02 > 0:31:04which I thought was scary.
0:31:04 > 0:31:06They had a booth for me
0:31:06 > 0:31:09and all these musicians - Hal Blaine, Earl Palmer, two drummers -
0:31:09 > 0:31:13all these people are playing behind me,
0:31:13 > 0:31:15so I get in my little booth and...
0:31:15 > 0:31:19SHE MIMICS DRUMS
0:31:19 > 0:31:23SHE HUMS INTRO
0:31:23 > 0:31:26# The night we met I knew I... #
0:31:26 > 0:31:28Bam!
0:31:28 > 0:31:33# The night we met I knew I needed you so
0:31:35 > 0:31:43# And if I had the chance I'd never let you go
0:31:43 > 0:31:46# So won't you say you love me...? #
0:31:46 > 0:31:49Be My Baby saw teen America fall in love with
0:31:49 > 0:31:51rock'n'roll's first bad girls.
0:31:51 > 0:31:55It was Spector's love letter to the girl he'd marry five years later
0:31:55 > 0:31:58and hide away in a Hollywood mansion.
0:31:58 > 0:32:00# Be my, be my baby
0:32:00 > 0:32:02# Be my little baby
0:32:02 > 0:32:05# My one and only baby
0:32:05 > 0:32:06# Say you'll be my darlin'
0:32:06 > 0:32:08# Be my, be my baby
0:32:08 > 0:32:10# Be my baby tonight... #
0:32:14 > 0:32:16The first couple of months after I was married,
0:32:16 > 0:32:18he'd take me to the studio,
0:32:18 > 0:32:20just to pacify me.
0:32:20 > 0:32:25But when I figured I wasn't making any records,
0:32:25 > 0:32:30it was like taking candy from a baby cos he knew I loved it.
0:32:30 > 0:32:32He was like, "Here, I'll give you a bit of the candy.
0:32:32 > 0:32:34"No, I'm taking it back, all of it."
0:32:35 > 0:32:38# I'll make you happy baby
0:32:38 > 0:32:40# Just wait and see
0:32:41 > 0:32:45# For every kiss you give me
0:32:45 > 0:32:48# I'll give you three... #
0:32:48 > 0:32:50MOTORBIKE REVS
0:32:50 > 0:32:52IN SYNC: By the way, where did you meet him?
0:32:52 > 0:32:54# I met him at the candy store... #
0:32:54 > 0:32:57They wore boots, they wore black, they wore white blouses,
0:32:57 > 0:33:00they wore black vests or black leather jackets.
0:33:00 > 0:33:01They were tough girls.
0:33:01 > 0:33:03# The leader of the pack... #
0:33:03 > 0:33:06MOTORBIKE REVS
0:33:06 > 0:33:08They were the girls who were going to pull your earrings out
0:33:08 > 0:33:10if you got in a fight with them.
0:33:14 > 0:33:16The Shangri Las were a rare exception
0:33:16 > 0:33:18to the mostly black girl groups
0:33:18 > 0:33:22and took the bad girl image to new heights of moody melodrama.
0:33:24 > 0:33:29They were vulnerable. They had that veneer of toughness,
0:33:29 > 0:33:31with that vulnerability,
0:33:31 > 0:33:34pure neediness
0:33:34 > 0:33:39in the voice of this terrific-looking young woman.
0:33:39 > 0:33:42# It's been two years or so
0:33:42 > 0:33:47# Since I saw my baby go
0:33:47 > 0:33:53# And then this letter came for me... #
0:33:53 > 0:33:56They gave us, as teenagers,
0:33:56 > 0:33:59another view of how a woman could behave.
0:34:02 > 0:34:06Producer Shadow Morton carefully scripted his heroine's heartache.
0:34:07 > 0:34:10He saw the whole thing.
0:34:10 > 0:34:12It was a story, it was a play.
0:34:12 > 0:34:13# Oh, no
0:34:13 > 0:34:16# Oh, no
0:34:16 > 0:34:19# Oh, no, no, no, no
0:34:19 > 0:34:20# Remember
0:34:20 > 0:34:22# Walking in the sand... #
0:34:24 > 0:34:28He created these little teenage dramas.
0:34:28 > 0:34:30They were soap operas...
0:34:32 > 0:34:34..for kids.
0:34:34 > 0:34:37# Whatever happened to
0:34:37 > 0:34:41# The boy that I once knew?
0:34:41 > 0:34:47# The boy who said he'd be true... #
0:34:49 > 0:34:52Girl groups were born on the east coast
0:34:52 > 0:34:55and gave rock'n'roll a sassy female voice.
0:34:59 > 0:35:01# Detroit City... #
0:35:01 > 0:35:02Meanwhile in Detroit,
0:35:02 > 0:35:04one black entrepreneur was shaping
0:35:04 > 0:35:08the raw materials of rock'n'roll into a production line.
0:35:08 > 0:35:11# Yeah, Detroit City... #
0:35:13 > 0:35:16One of the unique things about Detroit was the factories,
0:35:16 > 0:35:19so that means the people, no matter where you arrived in the north,
0:35:19 > 0:35:21seemed like you ended up coming to Detroit
0:35:21 > 0:35:23because that's where the jobs were.
0:35:23 > 0:35:26By the 1950s, Detroit was the beating heart
0:35:26 > 0:35:29of America's automobile industry.
0:35:30 > 0:35:33Its population had soared to almost two million
0:35:33 > 0:35:35as southern blacks flocked to a city
0:35:35 > 0:35:38that oozed potential for advancement.
0:35:39 > 0:35:42The whole black middle class has expanded -
0:35:42 > 0:35:45we get black elected officials coming into play.
0:35:45 > 0:35:49All these blacks are beginning to get a certain amount of power
0:35:49 > 0:35:51and all of this is inspirational.
0:35:55 > 0:35:59Berry Gordy Jr was a talented songwriter from a business family.
0:35:59 > 0:36:03He'd worked the line for 86 a week and, like Phil Spector,
0:36:03 > 0:36:06he wanted to turn rock'n'roll into mass production.
0:36:08 > 0:36:12Working in the factories gave him a lot of ideas
0:36:12 > 0:36:15because of the entrepreneurial zeal that he possessed,
0:36:15 > 0:36:19and then recognising all this energy and talent around him,
0:36:19 > 0:36:23and how you can bring it all together in an assembly line fashion
0:36:23 > 0:36:26based upon his work experience at Ford motor company and then,
0:36:26 > 0:36:28boom, there it is.
0:36:28 > 0:36:30The company comes into existence.
0:36:30 > 0:36:34Let me take you back to the very beginning, ladies and gentlemen,
0:36:34 > 0:36:36originally on the Anna label, a fellow by the name
0:36:36 > 0:36:41of Barrett Strong, THIS was the first HIT for Berry Gordy.
0:36:42 > 0:36:48In 1959, Gordy recorded Money at a house in West Grand Boulevard.
0:36:48 > 0:36:50He called it Hitsville USA.
0:36:52 > 0:36:55# The best things in life are free
0:36:55 > 0:36:58# But you can give them to the birds and bees
0:36:58 > 0:37:01# I need money
0:37:01 > 0:37:02# That's what I want
0:37:02 > 0:37:04# That's what I want
0:37:04 > 0:37:05# That's what I want... #
0:37:05 > 0:37:08I was just 14 years old.
0:37:08 > 0:37:09I was broke.
0:37:09 > 0:37:12I was a young guy and wanted to help my parents.
0:37:12 > 0:37:14My father was a hard working man.
0:37:14 > 0:37:18This man worked every day of his life at a rubber factory.
0:37:18 > 0:37:23I just need some money right now to help my parents get a nice house
0:37:23 > 0:37:25and help my father get out of the factory.
0:37:27 > 0:37:29# That's what I want
0:37:29 > 0:37:31# That's what I want
0:37:31 > 0:37:32# That's what I want
0:37:32 > 0:37:34# That's what I want... #
0:37:34 > 0:37:36And therefore Money came up,
0:37:36 > 0:37:38he was an engineer, he said...
0:37:40 > 0:37:44"Berry, come up and hear what he's doing. It sounds great."
0:37:46 > 0:37:49Berry said, "I like that. I like that, let's cut it."
0:37:52 > 0:37:56Yeah, it was great, it was rocking and he said, "This is a hit."
0:37:56 > 0:37:57I knew it was a hit.
0:37:57 > 0:38:01# Money don't get everything, it's true
0:38:01 > 0:38:04# But what it don't get, I can't use
0:38:04 > 0:38:06# I need money... #
0:38:06 > 0:38:07It was his first hit in a studio.
0:38:09 > 0:38:12I guess he was looking for the same thing I was looking for - money.
0:38:12 > 0:38:16That record helped him get some money to advance himself.
0:38:20 > 0:38:23Gordy fuelled his hit factory with R'n'B and
0:38:23 > 0:38:25took Detroit's moniker for his record label.
0:38:27 > 0:38:31In 1961, five girls from the Inkster suburb
0:38:31 > 0:38:34gave him his first billboard number one.
0:38:34 > 0:38:38# Oh, yes, wait a minute, Mr Postman
0:38:38 > 0:38:43# Wait, Mr Postman... #
0:38:43 > 0:38:46It brings back a lot of old memories
0:38:46 > 0:38:48because we were only 16 years old.
0:38:48 > 0:38:52# Please, Mr Postman
0:38:52 > 0:38:57# Whoa, yeah... #
0:38:57 > 0:39:01Who played the drums for us on Please, Mr Postman?
0:39:02 > 0:39:04Marvin, I think.
0:39:04 > 0:39:05Marvin Gaye?
0:39:05 > 0:39:07- I think so.- Was that Marvin Gaye?
0:39:09 > 0:39:11I believe it was Marvin Gaye.
0:39:11 > 0:39:14I think he played the drums on Please, Mr Postman
0:39:14 > 0:39:17if I'm not mistaken.
0:39:17 > 0:39:21# I've been standing here waiting, Mr Postman
0:39:21 > 0:39:24# So patiently
0:39:24 > 0:39:28# For just a card, for just a letter
0:39:28 > 0:39:30# Saying he's returning home to me
0:39:30 > 0:39:34# Please, Mr Postman... #
0:39:34 > 0:39:38Please, Mr Postman was the first record I promoted at Motown Records.
0:39:38 > 0:39:41The interesting thing about that song is
0:39:41 > 0:39:43all the kids knew one line -
0:39:43 > 0:39:46"Deliver de letter, de sooner, de better."
0:39:46 > 0:39:50# Deliver de letter, de sooner, de better... #
0:39:50 > 0:39:54So, when I met Berry Gordy, I said,
0:39:54 > 0:39:57"It's interesting about that song, Berry,
0:39:57 > 0:39:58"that all the kids know that one line."
0:39:58 > 0:40:02He said, "Russ, remember these words -
0:40:02 > 0:40:05"that's the HOOK in that song.
0:40:05 > 0:40:07"It reaches out and grabs you."
0:40:08 > 0:40:13# So many days, you've passed me by... #
0:40:13 > 0:40:15I think Please, Mr Postman set the stage.
0:40:15 > 0:40:20- Well, Please, Mr Postman started it off for everybody.- Yes.
0:40:20 > 0:40:25For The Temptations, The Supremes - it started the ball rolling.
0:40:27 > 0:40:29Please, Mr Postman topped the charts at a time
0:40:29 > 0:40:32when The Civil Rights movement was gaining momentum
0:40:32 > 0:40:36in America's segregated south,
0:40:36 > 0:40:40but Gordy was more interested in popularity than protest.
0:40:40 > 0:40:43Berry Gordy made music for the masses -
0:40:43 > 0:40:46he didn't care whether they were white, black or polka dot -
0:40:46 > 0:40:49he just made music that he thought would sell.
0:40:49 > 0:40:52His favourite word was "commercial."
0:40:52 > 0:40:53Berry was open.
0:40:53 > 0:40:55He had big ears,
0:40:55 > 0:40:57so he was interested in all these different dynamics
0:40:57 > 0:41:01and how they began to appeal to each one of those audiences out there,
0:41:01 > 0:41:04and make something that could be marketable
0:41:04 > 0:41:07and purchasable across the globe.
0:41:11 > 0:41:15Gordy rolled out the records like Model T Fords.
0:41:15 > 0:41:16Motown's black-owned business
0:41:16 > 0:41:19re-imagined rock'n'roll and presented
0:41:19 > 0:41:22the new aspirational face of black music -
0:41:22 > 0:41:24the sound of young America.
0:41:29 > 0:41:32Meanwhile, on the west coast,
0:41:32 > 0:41:34rock'n'roll was finding a place in the sun.
0:41:36 > 0:41:38SURF ROCK PLAYS
0:41:43 > 0:41:45A bunch of aspiring amateurs from Tacoma
0:41:45 > 0:41:47stumbled upon a soundtrack for America's
0:41:47 > 0:41:50emerging west coast lifestyle.
0:41:50 > 0:41:52My partner and I, Bob Bogle,
0:41:52 > 0:41:56we bought two guitars in a pawn shop in 1958.
0:41:57 > 0:41:59He had an album
0:41:59 > 0:42:02called Hi-fi In Focus
0:42:02 > 0:42:07by Chet Atkins and it had a song in there called Walk, Don't Run...
0:42:07 > 0:42:12MUSIC: Walk, Don't Run by Chet Atkins
0:42:12 > 0:42:14..and he played it finger-style,
0:42:14 > 0:42:20jazzy - we couldn't do that. We just learned how to play,
0:42:20 > 0:42:25so we had to learn how to do it in our own style, which we did.
0:42:25 > 0:42:30MUSIC: Walk, Don't Run by The Ventures
0:42:37 > 0:42:41The record came out, I think, at some time in July -
0:42:41 > 0:42:44which was good time - summertime, beach time.
0:42:46 > 0:42:49But for an instrumental, we got to number two
0:42:49 > 0:42:52and stayed there for about three months.
0:42:57 > 0:43:01In 1960, The Ventures' DIY approach on Walk, Don't Run
0:43:01 > 0:43:05inadvertently created a new rock'n'roll genre.
0:43:05 > 0:43:07When we first started with Walk, Don't Run,
0:43:07 > 0:43:10there was no such thing as surf music.
0:43:10 > 0:43:12The Ventures, I don't think were aware of
0:43:12 > 0:43:14being a surf band.
0:43:14 > 0:43:17They were just an instrumental band - a really good one.
0:43:23 > 0:43:26We all went to the school auditorium on Friday and Saturday nights
0:43:26 > 0:43:29to see these spectacular surfing movies.
0:43:29 > 0:43:31MUSIC: Pipeline by The Ventures
0:43:31 > 0:43:33There was no narration or anything,
0:43:33 > 0:43:35so we used the Ventures as background music
0:43:35 > 0:43:37for the surfing movies.
0:43:37 > 0:43:40They became a surf band, unbeknownst to them.
0:43:43 > 0:43:46It was about a lifestyle - freedom, liberation.
0:43:46 > 0:43:48These people lived at the beach,
0:43:48 > 0:43:50they smoked some sort of mysterious substance,
0:43:50 > 0:43:53they gathered around a fire like tribal people
0:43:53 > 0:43:55that you read in Lord Of The Flies
0:43:55 > 0:43:57and, for sport, they went in on a board
0:43:57 > 0:44:01and surfed the waves - it was free power.
0:44:01 > 0:44:07MUSIC: Misirlou by Dick Dale
0:44:09 > 0:44:12Instrumental rock'n'roll and California culture
0:44:12 > 0:44:16birthed a guitar shaman, who defined the surf sound.
0:44:30 > 0:44:33First of all, Dick Dale played like this - backwards.
0:44:35 > 0:44:39He actually brought in that double-picking style, like...
0:44:39 > 0:44:45HE PLAYS MISIRLOU
0:44:48 > 0:44:52Well, the excitement of watching someone on a big wave,
0:44:52 > 0:44:54on a board, going through that curl
0:44:54 > 0:44:57with waves breaking over his head, he has to duck down and,
0:44:57 > 0:44:58"Oh, no, he's wiped out!"
0:44:58 > 0:45:02And he shoots out through the foam and he's OK, and it's just exciting.
0:45:02 > 0:45:06There's all kind of suspense and the music was going right along with it.
0:45:09 > 0:45:13This glistening west coast utopia was co-opted by Hollywood,
0:45:13 > 0:45:15burnt onto celluloid
0:45:15 > 0:45:17and projected into the minds of young America.
0:45:19 > 0:45:21Disneyland is just opening up,
0:45:21 > 0:45:24there's the wonderful world of Disney on television,
0:45:24 > 0:45:26and these images of California
0:45:26 > 0:45:28and the lovely bright sunshine
0:45:28 > 0:45:30are saturating TV and...
0:45:30 > 0:45:35surf culture was happening right under the nose of Hollywood.
0:45:35 > 0:45:37# Gidget is the one for me... #
0:45:39 > 0:45:44That movie Gidget probably had more impact than anything
0:45:44 > 0:45:46and that really is what brought surfing
0:45:46 > 0:45:48into the mainstream consciousness.
0:45:48 > 0:45:51'This is the story of Gidget -
0:45:51 > 0:45:53'a cuddling, befuddling teen,
0:45:53 > 0:45:56'who set out one summer morning on the beach at Malibu
0:45:56 > 0:45:59'to find herself a man of her own
0:45:59 > 0:46:00'and found seven.'
0:46:01 > 0:46:03Gidget's success spawned a wave of
0:46:03 > 0:46:08bubble gum beach flicks in the early '60s.
0:46:08 > 0:46:11What's going on with Gidget, Beach Blanket Bingo -
0:46:11 > 0:46:16those films are actually quite, what you'd call, sort of clean teen pics.
0:46:18 > 0:46:20The parents aren't there,
0:46:20 > 0:46:24but they're not doing anything their parents wouldn't want them to do.
0:46:24 > 0:46:27You don't get all your kicks from surfing, do you?
0:46:27 > 0:46:32# Two girls for every boy... #
0:46:32 > 0:46:34If you lived in New York
0:46:34 > 0:46:36and you saw those Gidget movies,
0:46:36 > 0:46:38you wanted to go surfing too.
0:46:38 > 0:46:40Life was about a surfboard,
0:46:40 > 0:46:42life was about a bikini,
0:46:42 > 0:46:44life was about doing the frug.
0:46:44 > 0:46:49There's no tall buildings, there's no ugliness - there's just sun.
0:46:51 > 0:46:53It was all going to go Southern California -
0:46:53 > 0:46:55car, culture, ocean.
0:46:55 > 0:46:57Good-looking women, two to one,
0:46:57 > 0:46:59come out here and have some fun.
0:46:59 > 0:47:03And they came, they came by the millions and millions, and millions.
0:47:03 > 0:47:05# You know we're going to surf city
0:47:05 > 0:47:07# Gonna have some fun... #
0:47:07 > 0:47:10Surf city was the teenage American dream
0:47:10 > 0:47:14and five beach-bum school kids turned the fantasy
0:47:14 > 0:47:17into pristine California pop.
0:47:17 > 0:47:19# Little deuce coupe, you don't know
0:47:19 > 0:47:21# You don't know what I got... #
0:47:21 > 0:47:24Hey, let's go for a ride with the Beach Boys.
0:47:24 > 0:47:27# Well, I'm not bragging babe so don't put me down
0:47:27 > 0:47:30# But I've got the fastest set of wheels in town... #
0:47:30 > 0:47:34The Beach Boys sang about hot rods, girls and surfing,
0:47:34 > 0:47:38and combined rock'n'roll rhythms with barbershop vocals.
0:47:38 > 0:47:40# She's my little deuce coupe
0:47:40 > 0:47:44# You don't know what I've got... #
0:47:44 > 0:47:46Brian took a music class in high school
0:47:46 > 0:47:48and he started listening to The Four Freshmen
0:47:48 > 0:47:49and doing vocal arrangements.
0:47:49 > 0:47:56# We'll remember always
0:47:56 > 0:48:01# Graduation day... #
0:48:01 > 0:48:04Carl and I both got guitars around the same time.
0:48:04 > 0:48:07I was ten years old, Carl was around 12.
0:48:07 > 0:48:09Brian kind of liked the sound of those electric guitars,
0:48:09 > 0:48:13so we started playing with him and he incorporated that, like,
0:48:13 > 0:48:16surf guitar instrumental sound
0:48:16 > 0:48:19in with his Four Freshmen vocals.
0:48:19 > 0:48:23That was the first time, I think, those types of vocal harmonies
0:48:23 > 0:48:25were used in rock'n'roll.
0:48:25 > 0:48:27# She's my little deuce coupe
0:48:27 > 0:48:29# You don't know what I got... #
0:48:29 > 0:48:32The Beach Boys took high-school harmonies,
0:48:32 > 0:48:34mixed them with a Chuck Berry classic
0:48:34 > 0:48:37and, in 1963, wrote America's surf anthem.
0:48:39 > 0:48:41The record Surfin' USA
0:48:41 > 0:48:44was originally a record by Chuck Berry
0:48:44 > 0:48:46called Sweet Little 16.
0:48:46 > 0:48:50It was on his album Chuck Berry's On Top, which we really loved.
0:48:50 > 0:48:52# They're really rocking in Boston
0:48:52 > 0:48:55# And Pittsburgh, PA... #
0:48:55 > 0:48:57Brian just adapted that song
0:48:57 > 0:48:59to put the words to Surfin' USA.
0:48:59 > 0:49:01Both versions named all the cities and everything,
0:49:01 > 0:49:03so we thought that would be clever.
0:49:05 > 0:49:11# If everybody had an ocean across the USA
0:49:11 > 0:49:14# Then everybody'd be surfin, like Californ-I-A... #
0:49:14 > 0:49:19Chuck Berry wasn't really happy with that version of his song
0:49:19 > 0:49:21because, first of all, I believe that his name
0:49:21 > 0:49:23wasn't on the record...
0:49:23 > 0:49:25# You'd catch them surfin' at Del Mar
0:49:25 > 0:49:27# Inside, outside, USA... #
0:49:27 > 0:49:29I know it was eventually resolved,
0:49:29 > 0:49:33but I believe Chuck was pissed about that - rightfully so.
0:49:34 > 0:49:36# All over Manhattan
0:49:36 > 0:49:38# Inside, outside, USA... #
0:49:38 > 0:49:41I remember sitting down next to him in a doughnut shop in Boston
0:49:41 > 0:49:44next to the Jazz Workshop and I introduced myself,
0:49:44 > 0:49:46told him who I was and everything,
0:49:46 > 0:49:48and he didn't look up from his doughnut or say a word -
0:49:48 > 0:49:49he just walked out.
0:49:49 > 0:49:51# Inside, outside, USA
0:49:51 > 0:49:52# Pacific Palisades
0:49:52 > 0:49:54# Inside, outside, USA
0:49:54 > 0:49:56# San Onofre and Sunset
0:49:56 > 0:49:57# Inside, outside, USA
0:49:57 > 0:49:59# Redondo Beach, LA...
0:49:59 > 0:50:00# Inside, outside, USA
0:50:00 > 0:50:01# All over La Jolla
0:50:01 > 0:50:03# Inside, outside, USA
0:50:03 > 0:50:04# And Waimea Bay... #
0:50:04 > 0:50:07I think the rock'n'roll music from the south and the Midwest,
0:50:07 > 0:50:10it kind of worked its way west somehow
0:50:10 > 0:50:14and when the surf-influenced bands started playing that style of music,
0:50:14 > 0:50:16it turned into its own genre.
0:50:16 > 0:50:19I think that's where rock'n'roll met the west coast,
0:50:19 > 0:50:21that's where it met the ocean.
0:50:27 > 0:50:32By 1963, rock'n'roll had spread so far it was in the sea.
0:50:35 > 0:50:37The Beach Boys, Motown,
0:50:37 > 0:50:40Phil Spector and Roy Orbison
0:50:40 > 0:50:43had only begun their musical journeys,
0:50:43 > 0:50:44but teens were going steady
0:50:44 > 0:50:47and most of American pop now seemed prematurely old.
0:50:49 > 0:50:50# I love you
0:50:51 > 0:50:56# No use to pretend... #
0:50:56 > 0:50:58When that's all the fare that you have,
0:50:58 > 0:51:01you'll eat shit muffins and say they're good,
0:51:01 > 0:51:02if that's all you've got.
0:51:03 > 0:51:09In January 1964, Bobby Vinton was at number one crooning this song,
0:51:09 > 0:51:12which had previously topped the charts way back in 1945.
0:51:14 > 0:51:19# There I said it again... #
0:51:20 > 0:51:24But in February, aliens from across the ocean
0:51:24 > 0:51:26replaced Bobby at the top of the charts
0:51:26 > 0:51:29and reignited the kids in America.
0:51:32 > 0:51:34# Well, shake it up, baby, now
0:51:34 > 0:51:36# Shake it up, baby
0:51:36 > 0:51:38# Twist and shout
0:51:38 > 0:51:39# Twist and shout
0:51:39 > 0:51:42# Come on, come on, come on, baby... #
0:51:51 > 0:51:53# You know you look so good...
0:51:53 > 0:51:55# Look so good...
0:51:58 > 0:52:00# Just like I knew you would
0:52:00 > 0:52:02# Like I knew you would... #
0:52:03 > 0:52:05I was in a friend of mine's office,
0:52:05 > 0:52:07he showed me this picture of The Beatles and said,
0:52:07 > 0:52:10"This is a new thing coming out of London.
0:52:10 > 0:52:11"They're going to be a smash."
0:52:11 > 0:52:13I said, "Who?"
0:52:13 > 0:52:16# The best things in life are free
0:52:16 > 0:52:19# But you can keep them for the birds and bees
0:52:19 > 0:52:21# Now give me money
0:52:21 > 0:52:23# That's what I want... #
0:52:23 > 0:52:25Then I heard them sing and I said, "Man, these guys are...
0:52:25 > 0:52:28"They look one way and sing another." I said, "They're great."
0:52:28 > 0:52:31# That's what I want
0:52:31 > 0:52:32# That's what I want... #
0:52:35 > 0:52:38# Oh, yes, wait a minute, Mr Postman... #
0:52:38 > 0:52:41- I can tell you what impact they had on the girls.- Yes.
0:52:41 > 0:52:46- Deary.- Oh, the girls went crazy over The Beatles.- Right.
0:52:50 > 0:52:54The Beatles landed in America long-haired, at ease, unique
0:52:54 > 0:52:55and self-assured.
0:52:55 > 0:52:58They think your haircuts are un-American.
0:52:58 > 0:53:02Well, that's very observant of them, cos we aren't American, actually.
0:53:02 > 0:53:06# Oh, yeah, I'll tell you something... #
0:53:06 > 0:53:08They covered Motown and R'n'B,
0:53:08 > 0:53:11but it was their string of self-penned hits
0:53:11 > 0:53:15that transformed rock'n'roll into Beatlemania.
0:53:15 > 0:53:17In its most extreme form, of course,
0:53:17 > 0:53:20it's a, kind of, out of control, teenage excitement -
0:53:20 > 0:53:23a group worship of idols who are different,
0:53:23 > 0:53:26non-conforming and who have a lot of musical appeal,
0:53:26 > 0:53:29a lot of sex appeal. And, of course, there are four of them,
0:53:29 > 0:53:32which makes them four times better than any other teenage idol
0:53:32 > 0:53:33we've had in the past.
0:53:53 > 0:53:55Did it hurt us? Yeah, absolutely.
0:53:55 > 0:53:58Every radio station in the world was playing everybody
0:53:58 > 0:54:00who was coming from Britain at that time.
0:54:02 > 0:54:05Suited and booted, British bands arrived en masse.
0:54:05 > 0:54:08Rock'n'roll was suddenly tribal.
0:54:08 > 0:54:10It was about being young, cheeky and in a gang.
0:54:12 > 0:54:14Herman's Hermits, The Beatles,
0:54:14 > 0:54:17Dave Clark Five, Manfred Mann.
0:54:17 > 0:54:23All of a sudden, very few American artists are getting the play.
0:54:25 > 0:54:27# I said the joint was rockin'... #
0:54:27 > 0:54:29In June 1964,
0:54:29 > 0:54:31with Chuck Berry records in hand,
0:54:31 > 0:54:34The Rolling Stones went to the source
0:54:34 > 0:54:36and recorded at Chess Records.
0:54:36 > 0:54:41They came and recorded in Chicago, and that blew me away.
0:54:41 > 0:54:44It was the first long-haired guys that was really around.
0:54:44 > 0:54:48It was the first guy that I saw drink whisky out of a bottle, you know.
0:54:48 > 0:54:50# Well, it sounds so sweet
0:54:50 > 0:54:53# I had to take me a chance... #
0:54:53 > 0:54:56And I drove Brian Jones back to the hotel
0:54:56 > 0:55:00and people were screaming "homo" cos he had the long hair.
0:55:00 > 0:55:03In Chicago that was, like, weird. I remember, at a red light.
0:55:03 > 0:55:07SCREAMS DROWN OUT MUSIC
0:55:07 > 0:55:09# Yeah, reeling and a rocking
0:55:09 > 0:55:12# What a crazy crowd
0:55:12 > 0:55:14# And they never stopped rocking
0:55:14 > 0:55:18# Till the moon went down... #
0:55:18 > 0:55:21Sometimes they'd be sloppy, they'd be horrible,
0:55:21 > 0:55:23stoned, not showing up.
0:55:23 > 0:55:25Some nights they'd become one.
0:55:26 > 0:55:29When I want to enjoy some black music,
0:55:29 > 0:55:31I just turn The Stones on
0:55:31 > 0:55:35because they do us better than most people do us.
0:55:35 > 0:55:38And then he's singing, "I can't get...",
0:55:38 > 0:55:40with his big lips out like some black guy.
0:55:40 > 0:55:43# Can't get no satisfaction
0:55:43 > 0:55:46# And I try and I try... #
0:55:46 > 0:55:48All he's doing is a black guy.
0:55:48 > 0:55:50# And you never stop rocking
0:55:50 > 0:55:52# Till the moon went down... #
0:55:54 > 0:55:57They discovered the blues and Chess, and early rock...
0:55:57 > 0:55:59They were like the fire.
0:55:59 > 0:56:02I think they discovered it stronger than American kids.
0:56:05 > 0:56:08The Stones weren't the only Brits to remind America
0:56:08 > 0:56:10of rock'n'roll's roots.
0:56:10 > 0:56:13Five Geordies, The Animals,
0:56:13 > 0:56:15growled the tale of a Storyville brothel
0:56:15 > 0:56:18and looked south to where it all began.
0:56:18 > 0:56:22# There is a house in New Orleans
0:56:24 > 0:56:28# They called the Rising Sun
0:56:29 > 0:56:36# And it's been the ruin of many old boy
0:56:36 > 0:56:40# And God, I know, I'm one... #
0:56:40 > 0:56:43Well, the guys who said,
0:56:43 > 0:56:47"I'm going to rock you, baby, rock you all night long",
0:56:47 > 0:56:51they weren't talking about a child in a crib.
0:56:51 > 0:56:53"I'm going to rock you, baby..."
0:56:53 > 0:56:56No, it was sexuality. It was sex!
0:56:57 > 0:57:02# My father was a gambling man
0:57:03 > 0:57:07# Down in New Orleans... #
0:57:07 > 0:57:10Their best music, their culture was lying around.
0:57:10 > 0:57:15We put our hands into the collective garbage bin in America
0:57:15 > 0:57:19and pulled out this thing called rock'n'roll.
0:57:22 > 0:57:24I mean, we were preaching it -
0:57:24 > 0:57:26preaching rock'n'roll.
0:57:26 > 0:57:29It became our new religion in a way.
0:57:29 > 0:57:34# There is a house in New Orleans
0:57:34 > 0:57:38# They call it Rising Sun... #
0:57:38 > 0:57:41Rock'n'roll's shape had shifted
0:57:41 > 0:57:43and its attitude was reborn.
0:57:43 > 0:57:46Suddenly the kids were screaming again.
0:57:46 > 0:57:49# And God, I know I'm one... #
0:57:51 > 0:57:54The morals are dangerous, that's all I know.
0:57:54 > 0:57:55You can't get away from it,
0:57:55 > 0:57:58you can't clean it up, cos it's dirty to begin with.
0:58:05 > 0:58:07And for those who gave it life,
0:58:07 > 0:58:11rock'n'roll will never die.
0:58:11 > 0:58:14The boy has gone, but the man is still here...
0:58:17 > 0:58:22..and will continue to charge on.
0:58:23 > 0:58:26A whole lot of shaking going on.
0:58:35 > 0:58:37# Let's go, one time
0:58:37 > 0:58:40# Shake it, baby, shake it
0:58:40 > 0:58:42# Shake it, baby, shake it
0:58:42 > 0:58:45# Ooh, shake it, baby
0:58:45 > 0:58:46# Come on, baby
0:58:46 > 0:58:49# And then shake, baby, shake
0:58:49 > 0:58:51# Come on over
0:58:51 > 0:58:53# A whole lotta shakin' goin' on... #