Some stories just cry out to be told. This one cries out in anguish, but still...Aren't you writers supposed to be on strike?
Some stories just cry out to be told. This one cries out in anguish, but still...Aren't you writers supposed to be on strike?
Of course, I'm not saying that only one or two people were responsible for the injustices to Black artists in the day. Sure, Pat was given his start by an individual who could easily fall into the category, but even after Pat hit the big time, he continued the pattern by ripping off material from Black writers and artists, giving them no residuals let alone credit.Blame Randy Wood. Blame America in 1955 and 1956 for being so scared of Black music (as opposed to pop music recorded by artists who were Black) that we wouldn't put it on major radio stations.
Thanks, Kelly.Of course, I'm not saying that only one or two people were responsible for the injustices to Black artists in the day. Sure, Pat was given his start by an individual who could easily fall into the category, but even after Pat hit the big time, he continued the pattern by ripping off material from Black writers and artists, giving them no residuals let alone credit.
If your insomnia continues, I invite you to watch the PBS documentary about Little Richard that I'd linked prior. You probably won't be surprised, but it brings to light some details that you may have missed.
Blame Randy Wood. Blame America in 1955 and 1956 for being so scared of Black music (as opposed to pop music recorded by artists who were Black) that we wouldn't put it on major radio stations.
The songs weren't much nicer when sung by a nice looking white boy. But I guess people felt better about it.
Here's where prejudice came in---Mom and Dad could convince themselves that Tutti Fruitti was just nonsense if that nice young Pat Boone was singing it.
Little Richard? That was SEX.
By that point, teens were no longer salable and CHRs had moved their focus to 18-34.
The significance of the Baby Boom to media was that it was the first generation of teenagers large enough and with time and money (an affluent post-war society that didn't look down on leisure time, allowances and after-school/summer jobs) to pitch products to.
McDonald's isn’t on the radio like it was before the Great Recession.
I wondered why on some awards show or variety show when Cheap Trick did a hard rock version, he said he liked it.I didn't get up at 4 this morning intending to defend Landtuna and Pat Boone, and yet here I am.
I think the first mistake everyone who wasn't there at the time makes is thinking of Pat Boone as the overly earnest but slightly smug grown man telling us to all drink milk.
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Next, Randy had Pat cut a cover of Fats Domino's "Ain't It A Shame" (the actual title of Fats' version), called "Ain't That A Shame". Fats got to #10 with his. Pat was #1.
No one has mentioned his album of heavy metal.And it was off to the races from there, because of course Randy said "let's make more!"
A dispassionate look, though, shows it wasn't long and it wasn't huge---Pat only managed #7 with The Eldorados "At My Front Door" (they got to #17). The Five Keys actually beat Pat with "Gee Whittakers"---they made it to #14, Pat only got as far as #19.
And it went on with some hits and some near-misses for most of 1956, after which white American teens were figuring it out and demanding the real deal. Also, the original artists were having some fun with Pat. Little Richard famously wrote "Long Tall Sally" at such a tempo and with so many words just to make it hard for Pat Boone to sing---knowing there'd be a cover version.
I liked that song! Even the LeAnn Rimes version.And yeah, Pat profited, turned into a pop culture joke and fathered Debby Boone, which inflicted "You Light Up My Life" on an unsuspecting world.
That was actually a response to one of your posts.Good Lord, do you even read other posts, or do your observations just come flowing out untethered to anything being discussed?
I wondered why on some awards show or variety show when Cheap Trick did a hard rock version, he said he liked it.
No one has mentioned his album of heavy metal.
I liked that song! Even the LeAnn Rimes version.
Fossilization implies death/dead. Music of virtually all kinds is not dead but the size of the popularity largely depends upon age, culture and prior experience.I like Johnny Mathis and Nat King Cole just fine, but if I can learn about new music from "the kids today," then maybe I can stave off the inevitable fossilization of my listening habits.
I watched that show part of the first season but, having once lived in NYC, could not stand several of the characters. I never watched the spin-off. I doubt my former opinion came from anywhere else as it's one I've had since rap came on scene.Why is it when I read lines like this, I hear them being spoken in Archie Bunker's voice?
I know of nobody who would consider me a racist. I've had a decent number of multicultural friends over the years. My first wife's maiden name was Lopez. I don't think the thoughts and don't walk the walk. Unless someone, of any persuasion pokes me I live and let live. It is the same with music. I like what I like and vice versa. I don't listen to specific music because of the race or behavior of the writer/performer.Landtuna is not a racist. I'd dare say that if he, Kelly and I grabbed a drink and talked politics, we'd be agreeing a hell of a lot.
You nailed it. Very perceptive.So let's just knock off the "is it because they're black" loaded questions, okay?
Not because that's never valid, but because you're talking to a guy who (doing the math here) is 78 years old, whose musical tastes were formed, as ours all were, by a combination of the radio of the time and the geography of where he grew up. And who, if he were the hippest guy on the block and hung in there with the pop cultural moment until he was 40, would have lost the thread in 1985.
It was late at night and I couldn't think of the proper word. I meant 'downbeat' as "negative" and not in a musical sense.What the &*$%! is wrong with a "definite downbeat"?
I am not qualified to say that as I hit the pre-set milliseconds after recognizing rap. However, everything I hear, from others and through the car windows, is exactly that. I assume there might be some good stuff out there but I am not inclined to look for it as the last spoken word 'song' I thought worthwhile was from Walter Brennan.Tuna, not ALL rap is a hate message.
I should have connected those two words with "or"."Beautiful" and "meaningful" do not always intersect ("Things art and journalism have in common for a hundred, Alex.").
I honestly have never heard that definition before and have never used it that way. "Thugs" are just overall bad people who diss on everyone else or the world in general.Despite the disclaimer, you're never too old to learn some critical things, Tuna. "Thug" is an extremely loaded term and a racist dog whistle and you really should avoid it.
Are residuals paid by the label or the actual performer?Of course, I'm not saying that only one or two people were responsible for the injustices to Black artists in the day. Sure, Pat was given his start by an individual who could easily fall into the category, but even after Pat hit the big time, he continued the pattern by ripping off material from Black writers and artists, giving them no residuals let alone credit.
Of course it was. As with Elvis, Little Richard and others look at their physical performances. Pat Boone showed up in church clothes.Here's where prejudice came in---Mom and Dad could convince themselves that Tutti Fruitti was just nonsense if that nice young Pat Boone was singing it.
Little Richard? That was SEX.
The label. Which during the day, were white-run.Are residuals paid by the label or the actual performer?
But artists like Janis Joplin, The Beatles, and to an extent; Elvis, went out of their way to give Black artists and writers credit, in spite of being discouraged by doing so from record labels. Pat Boone could have too, but instead he essentially white-washed the facts.Aren't labels responsible for placing credits on their products?
So in other words; you can't possibly be racist, because you know a lot of Black people and your first wife was Hispanic? As Michael said; calling music that is written and performed by African American artists 'Thugs', or thuggery is sending the opposite message.I know of nobody who would consider me a racist. I've had a decent number of multicultural friends over the years. My first wife's maiden name was Lopez. I don't think the thoughts and don't walk the walk. Unless someone, of any persuasion pokes me I live and let live. It is the same with music. I like what I like and vice versa. I don't listen to specific music because of the race or behavior of the writer/performer.
Nobody is recommending you must listen to popular music today, nor is anyone forcing yourself to like it. I don't like country music personally, but would never come on here and make the claim nobody else should because it's trash. Nor would I claim that anyone who enjoys country is a hick, because saying so would be simply untrue and intolerant.I am not qualified to say that as I hit the pre-set milliseconds after recognizing rap. However, everything I hear, from others and through the car windows, is exactly that. I assume there might be some good stuff out there but I am not inclined to look for it as the last spoken word 'song' I thought worthwhile was from Walter Brennan.
And you don't see how the term can be interpreted?I honestly have never heard that definition before and have never used it that way. "Thugs" are just overall bad people who diss on everyone else or the world in general.