ÿWPCð jbGý¼2m%á´»££ %Ñ´ôô¥P7ŸvW’œé~¸ÛÎõU’iâeó¶I üœ]w£3‰STÚÚ€jâJM1èÙÚ.T/Ç1 W®¿ ü‚¢7¥ÞB!+#ÐJ,Ë4…ð±ÏÄâþ GhSñÚd!-bv õ®=üyª/¦_`cÈZZY&ZJÊÅɲZ®ôÕajU×Ç zôSuAš»•ÜØj¿¤ï¢ìˆ„—-\¡€ðÀŠ¢O-˜ù…­ÍüR/µ›4“Ÿ§¯“X2Óž]›Kð¿B ãÅ»<»¬ßäYÙÚ¯8ÿÿ€ÿÖš:;˜v‚çhG÷i­{ï„f_u¸w—aã11 }1ÊàÛ{ÞѺ63² ÝeÅÛÙH0H$3â-FÛN;Ò¢'™²Tb©Øeµ B 4¥›{í'µ:j(Dñv.9ÿ‹úUkZ5›ÏQ$'‡_ØÖ&@ûÄ ‹C+‚záŠÛÈ $œW*NÑŸêmÞ‹F½ïÞÕr?$>i<ÒMÉôzŽ1t½Ã~&²û¢îÇÔ“H£ý›Õfö(ƒÖ•$è{j¹|à©iyH/(NØa:2ýþð Gž¿!Ÿ]^ç¯? ç Ò“ÍŠH—÷ èÏUZÄ %$ 0O?Žn«ž 04I}w@}4½Ñ mÓ ê' [  `BDutch Roman 12ptWP DeskTop FWX Ý ƒ¸O'ÝÓ  ÓÝ  Ý›ÒÜ°ÒÒÜ°ÒÓ  ÓTownsendà@ˆˆˆìàòòRock€'n'€Roll€Culture€and€Ideologyóóˆà€àààü!àPage€Ú  Ú1Ú  ڈР° ÐÌChapter€4à@¨¨+ìàDRAFTˆÐ ˆØ ÐÌÌ('2¸O$§§Ý ƒ¤U!ÝÓ  ÓÝ  Ý#|p&«' [  `BDutch Roman 12ptWP DeskTop FWXÌp [  PŽwOXP( ¤U$¡¡Ó  Ó UU !"#U$U%U&U­nB#]ICD£„ ÿU‹ÿÀÀÀHÝ ƒ¤U!ÝÓ  ÓÝ  Ý›Ó  ÓÓ  ÓÒÜ°ÒÒÜ°ÒÑÜ°ÑÖ€ÿÿÖÑ  ÑÑ  ÑDavid€N.€Townsendà€LLCü!à3400€wordsˆÐ ° Ð17€Lawrence€Roadà€((5ü!àðð€199ññ1ññññ7ññññÔ% € Ôññ€David€N.€TownsendˆÐ œì ÐSwampscott,€MA€01907Ì(781)€4ñ ñ77ñ ññ ñ92ñ ñ„ññ9356ññññ7823ññÌññ¢DNTownsend£@¢Prodigy.com£ññññññ,ññSS#€031„50„5757ññÓÓÌÌÌà@®®$ìàòòChanging€the€World:ˆÐ è 8  Ðà@ˆˆìàRock€'n'€Roll€Culture€and€IdeologyóóˆÐ À  Ðà@ŽŽ,ìàbyˆÌà@ÊÊ%ìàDavid€N.€TownsendˆÌÌà@dd)ìàChapter€4ˆÌà@^^&ìàUnrest€OverseasˆÌññÓÓññÌà 4 àMeanwhile,€back€in€the€'¢60s£,€there€was€this€place€called€England.€€Most€AmericansÏhadn't€thought€much€about€Great€Britain€since€the€end€of€World€War€II;€from€the€stand…¼point€of€the€American€music€market,€the€"British€Invasion"€began€literally€overnight€inÏ1964,€but€on€the€other€side€of€the€ocean€an€American€Invasion€had€been€under‚way€forÏmany€years.€€It€is€interesting€to€explore€the€reasons€why€America€found€immediateÏfascination€with€anything€British,€but€it€may€be€even€more€worthwhile€to€ask€why€theÏBritish€so€wholeheartedly€embraced€an€indigenous€American€tradition.€€After€all,€inÏbringing€their€version€of€rock€'n'€roll€to€our€shores,€English€bands€were€merely€trying€toÏemulate€a€style€that€was€already€familiar€to€us;€but€rock€'n'€roll€(and€before€it€Blues€andÏJazz)€had€no€inherent€base€in€Britain€to€encourage€its€adoption,€no€comparable€slaveÏdescen‚dent€or€country€or€Western€frontier€musical€and€cultural€traditions.€€To€the€extentÏBritain€was€a€pluralistic€society€like€America,€its€minorities€were€generally€vestiges€of€theÏEmpire's€former€coloniesð"ðIndians,€Arabs,€islandersð"ðhaving€little€historical€affinity€withÏthe€African€American€minority€that€spearheaded€all€twentieth€century€musical€innovationÏon€this€continent.€€Yet€rather€than€develop€their€own€native€¢musics£€for€the€post„warÏperiod,€the€older€English€generation€largely€fell€back€on€a€fading€culture€of€folk€songs€andÏshow€tunes,€while€the€younger€generation€hungrily€grabbed€American€black€music€andÏrock€'n'€roll€to€satisfy€its€appetite.ÌññÐ T,¤'+ Ðññà 4 àThe€revolution€was€slower€to€arrive€in€England€than€in€America,€perhaps€becauseÏthe€shock€of€war€remained€more€immediate€for€the€population€at€large,€and€economic€andÏpsychological€recovery€took€longer.€€As€a€result,€however,€the€disaffection€that€set€inÏamong€young€people€of€the€post„war€generation€was€probably€deeper,€and€in€a€moreÏhierarchical€society€whose€class€system€was€still€largely€intact€by€the€arrival€of€the€¢1960s£,Ïthe€basic€frustration€of€teenage€life€in€a€working€class€community€when€economic€timesÏwere€less€than€prosperous€pro‚duced€a€bubbling€caldron€of€unrest€that€was€ideally€designedÏto€welcome€the€symbols€and€images€of€rock€'n'€roll's€first€rebellions.ÌññÌññà 4 àInitially€the€musical€influence€of€rock€'n'€roll€in€England€was€fairly€benign,€mostlyÏbecause€it€was€taken€on€by€imitators€who€did€not€well€empathize€with€the€energetic€sourceÏof€the€music€in€the€States.€€These€British€pseudo„¢Elvises£€tended€to€combine€some€of€theÏfeel€and€style€of€rock€'n'€roll€with€the€lighter,€dance€hall€sound€of€standard€English€popularÏsongs.€€Performers€such€as€¢Lonnie£€¢Donegan£€("Rock€Island€Line,"€1954),€Tommy€SteeleÏ("Rock€with€the€Caveman,"€1956),€and€Billy€Fury€("Halfway€to€Paradise,"€1961)€pio…¼neered€as€pop€stars€within€England€and€to€some€extent€on€the€Continent,€but€their€stylesÏwere€only€vaguely€rock€'n'€roll€as€America€came€to€know€it.€€The€term€"Skiffle"€wasÏinvented€to€describe€the€hybrid€popularized€by€¢Donegan£€and€other€contemporaries.€€ForÏthe€most€part€these€musicians€remained€well€within€the€social€norms€of€inoffensiveÏentertain‚ment;€the€thirst€of€British€youth€(and€the€hostility€of€British€elders)€was€reservedÏfor€the€imports€from€America€of€the€true€originals,€on€vinyl,€in€films,€and€in€person.€ÏPerhaps€the€two€most€authentic€early€progenitors€of€a€legitimate€British€adaptation€of€rockÏ'n'€roll€were€Cliff€Richard€(and€the€Shadows)€and€Screaming€Lord€¢Sutch£€(and€the€Sav…¼ages).€€Both€bands,€behind€their€agitated€leaders,€exhib‚ited€a€daring€and€ostentatious€flairÏthat€appealed€to€and€played€off€of€youthful€tensions,€rather€than€deflected€them.€€TheyÏcame€to€prominence€in€the€1960„61€time€frameð"ðCliff€Richard€in€particular€was€a€big€star,Ïwith€several€British€Number€One€hits€through€1963€("¢Livin£'€Doll,"€1959€was€the€first€andÏpossibly€biggest,€even€reaching€Number€30€in€the€U.S.)ð"ða€time€when€young€English€menÏwere€exerting€increasing€independence€and€rebellious‚ness,€and€developing€a€sense€ofÏidentity€as€a€group€similar€to€American€rock€'n'€rollers€in€the€mid„fifties.€€ÌññÌññà 4 àSoon€this€youth€subculture€emerged€into€full€public€view,€in€the€form€of€a€varietyÏof€widespread€and€opposing€clans€of€teenagers€known€as€teddy„boys,€mods,€and€rockers.€ÏFor€some€reason€British€teens€have€since€these€early€times€always€exhibited€a€greaterÏobsession€with€the€visual€requisites€of€the€social€trend€of€the€moment,€whether€it€be€theÏnarrow€tie€and€impeccable€suit€of€the€mid¢„60s£€mods,€or€the€yellow€tomahawk€hairdo€andÏsafety€pin€of€the€post„punk€era;€American€per‚formers€and€fans€have€tended€to€be€theÐ 0,0!$ Ðfollowers€in€this€area€of€rock€culture,€and€generally€less€meticulous€in€sustaining€any€givenÏstyle€of€dress.€€In€the€smol‚dering€years€of€the€early€¢1960s£,€rivalry€in€dress€and€attitudeÏfrequently€spilled€over€into€rioting€in€the€streets,€and€Britain€experienced€a€version€of€teenÏrebellion€that€even€Americans€had€not€witnessed.€€This€disorder€was€spurred€by€the€music,Ïby€the€cultural€anemia€of€post„war€England,€by€class€conflict,€and€by€amphetamines,€theÏdrug€of€choice€for€a€huge€segment€of€British€youth.ÌññÌññà 4 àOut€of€such€conditions€rose€a€new€generation€of€British€musicians,€schooled€onÏAmerican€R&B€and€rock€'n'€roll,€and€personally€familiar€with€the€daily€lives€of€theirÏaudience,€because€they€shared€the€same€experiences.€€They€thus€produced€music€that€wasÏin€its€world€an€authentic€recreation€of€the€original€American€style,€spawned€by€similarÏconditions.€€And€to€certify€their€validity,€young€British€fans€suddenly€flocked€to€theirÏcountrymen's€records€with€an€exuberance€that€rivaled€American€kids'€adoption€of€Elvis€andÏChuck€Berry€and€the€rest.ññÌññÌà 4 àThe€Beatles,€of€course,€founded€the€movement€and€built€the€mold€(see€nextÏchapter).€€But€although€the€Beatles€unilaterally€blazed€the€trail€both€within€England€andÏacross€the€ocean€for€a€new€generation€of€rock€'n'€roll€creative€expres‚sion€and€new€heightsÏof€popularity€and€commercial€opportunity,€the€most€deeply€rooted€sentiments€of€theÏBritish€youth€audience€were€in€fact€better€reflect‚ed€in€the€music€of€the€less€polished,€moreÏstreetwise€groups€whose€national€and€inter‚national€fame€followed€immediately€in€theÏBeatles'€wake.€€Not€that€the€Beatles€circumvented€the€experiences€of€average€English€kids:Ïthey€drew€their€own€inspir‚ation€directly€from€that€same€world,€which€they€inhabited€too;Ïbut€in€the€sudden‚ness€and€dizziness€of€their€ascent€they€quickly€left€much€of€that€worldÏbehind,€to€conquer€new€ones.€€Among€the€others€who€filled€the€void,€three€bands€andÏthree€songs€stand€out€as€both€definitive€of€the€moment€and€the€place,€and€timeless€in€theirÏmusical€potency.ññÌññÌà 4 àThe€first€and€greatest€needs€no€introduction€but€its€own.€€After€more€than€twenty„¼five€years,€its€opening€notes€are€still€the€most€exhilarating€guitar€riff€ever€to€announce€theÏarrival€of€a€song.€€A€get„up„out„of„your„chair€jolt,€an€"All€Right!"€€Hold€the€conversationÏfor€a€moment,€grab€the€nearest€dance€partner,€and€get€into€òòthisóó:Ð ”'” ÐññÓÓññÌà0 4 àà0Œ 4ü!4ü!àI€can't€get€noÐ Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àSat„is„fac„¢tion£Ð Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àI€can't€get€noÐ Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àSat„is„fac„¢tion£Ð0,0!$Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!à'Cause€I€try,€and€I€try,Ð Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àand€I€try,€and€I€try€.€.€.Ð Œ ü!Œ ü! ÐÌà0 4 àà0Œ 4ü!4ü!àI€can't€GET€NO€.€.€.Ð Œ ü!Œ ü! ÐÓÓÌññÓÓññà 4 àIt's€interesting€that€the€Rolling€Stones,€easily€the€most€enduringly€popular€andÏprolific€rock€band€of€all,€are€still€essentially€defined€by€their€first€major€hit€(#1€in€the€U.S.Ïfor€4€weeks€in€the€summer€of€1965;€"Time€is€On€My€Side"€had€reached€Number€Six€inÏ1964).€€They've€hadð"ðhow€many?ð"ðforty,€fifty€albums,€scores€of€hit€singles,€and€evenÏthough€their€legend€has€grown€out€of€sight,€they€have€never€really€improved€upon€theirÏinitial€masterpiece,€"Satisfaction".€€(You€know,€it's€the€record€companies€that€insist€onÏelaborating€on€song€titles€with€¢parentheticals£€like€"(I€Can't€Get€No)€Satisfaction"€and€"¢Doo£Ï¢Doo£€¢Doo£€¢Doo£€¢Doo£€(Heartbreaker)".€€They€think€record€buyers€are€too€clueless€to€learnÏthe€names€of€songs€if€they€aren't€articulately€repeated€two€dozen€times€in€the€chorus.€ÏJagger€and€Richard€didn't€name€it€"¢Doo£€¢Doo£€¢Doo£€¢Doo£€¢Doo£,"€they€just€sang€it€that€way;Ïthe€title€was€"Heartbreaker,"€but€the€¢execs£€figured€that€fans€might€confuse€it€with€GrandÏFunk's€or€Led€Zeppelin's€"Heartbreaker"s,€so€they€said,€"Why€don't€we€put€that€¢doo£„¢doo£Ïstuff€in€the€title€so€the€kids€will€know€which€one€they're€buying?"€€Do€you€suppose€RobertÏLouis€Stevenson's€publishers€tried€to€retitle€"The€Charge€of€the€Light€Brigade"€somethingÏlike€"Half€a€League€Onward€(The€Charge€of€the€Light€Brigade)"?)ÌññÌññà 4 àThere€are€certainly€many€other€artists€who€have€either€never€moved€beyond€theirÏfirst€big€success€or€have€relied€on€an€old€standard€as€a€perpetual€show„stopper,€but€noneÏhas€the€all„encompassing€history€of€the€Stones.€€The€truth€is€that€the€durability€is€justified.€Ï"Satisfaction"€absolutely€flattens€all€comparisons€with€other€debut€hits€and€encoreÏnumbers,€as€well€as€with€other€Stones€records,€especially€if€you€consider€the€context.€€ThisÏsong€sounds€brand€new€and€original€even€today;€in€1965€it€was€revolutionary.€€The€leadÏguitar€intro,€demanding€to€be€played€at€extra€high€volume,€violently€contrasted€withÏprevailing€light„handed,€melodic€styles.€€The€driving€beat€eclipsed€anything€coming€out€ofÏthe€pre„fab€studios€of€New€York's€Brill€Building,€or€the€¢Motown£€hit€factory.€€You€had€toÏharken€back€to€the€originalsð"ðChuck€Berry,€Jerry€Lee€Lewis,€Little€Richardð"ðto€find€thatÏkind€of€energy€in€a€song€from€the€first€chord€on.€€Even€more€important€was€the€disgruntledÏtheme,€the€cynicism€in€Jagger's€voice€and€words:ÌññÓÓññÌà0 4 àà0Œ 4ü!4ü!à.€.€.€and€he's€¢tellin£'€me€more€and€moreÐ Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àabout€some€useless€informationÐ0,0!$Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àsupposed€to€fry€my€imaginationÐ Œ ü!Œ ü! Ðà0 4 àà0Œ 4ü!4ü!àI€can't€GET€NO€.€.€.Ð Œ ü!Œ ü! ÐÓÓÌññÓÓññà 4 àHere€was€a€link€to€the€indignation€of€Dylan,€only€it€echoed€from€the€walls€of€danceÏclubs€and€the€speakers€of€juke€boxes€instead€of€hiding€in€Greenwich€Village€cafes€or€atÏfolk€festivals.€€These€words€were€heard€from€the€beginning€by€the€massesð"ðthe€masses€ofÏkids€anyway.€€The€sense€of€rebelliousness€personified€in€the€fifties€by€James€Dean€wasÏreincarnated€in€the€character€of€Mick€Jagger,€only€the€new€rebel€had€a€bit€more€of€a€cause.€ÏIt€still€wasn't€War€or€Poverty€or€Injus‚tice,€not€yet;€it€was€the€less€tangible€but€just€as€realÏsense€of€Hypocrisy€and€Phoniness€and€Pretentiousness.ÌññÌññà 4 àThe€Rolling€Stones€embodied€this€rebellion€in€their€appearance,€attitude,€andÏmusic.€€Theirs€was€a€direct€assault€on€genteel€aristocratic€sensibilities,€threat‚ening€yetÏbemused.€€The€Kinks€were€more€subtle.€€They€dressed€more€neatly,€avoided€publicÏconfrontations,€and€kept€their€music€on€the€restrained,€if€loud,€side.€€But€what€theyÏavoided€in€overt€animosity€they€made€up€for€with€stinging€sarcasm€in€"A€Well€RespectedÏMan"€(1965):ÌœññÓÓññ›Ìà 4 àà Œ à'Cause€he€gets€up€every€morningÌà 4 àà Œ àAnd€he€goes€to€work€at€nineÌà 4 àà Œ àAnd€he€comes€back€home€at€five€thirtyÌà 4 àà Œ àGets€the€same€train€every€timeÌà 4 àà Œ à'Cause€his€world€is€built€on€punctualityÌà 4 àà Œ àIt€never€fails.ÌÓÓÌñ ñÓÓñ ñà 4 àAs€with€"Satisfaction,"€this€was€not€a€challenging€of€policies€or€ideas,€it€was€aÏchallenging€of€values.€€"Punctuality,"€a€seemingly€benign€and€laudable€habit,€becomes€anÏobject€of€scorn€the€way€Ray€Davies€pronounces€it.€€Soon€to€follow€were€neatness,Ïgrooming,€manners,€formality€and€convention€of€any€kind,€all€the€traits€for€which€EnglishÏsociety€had€always€prided€itself.€€Indeed,€English€gentry's€self„congratulatory€claim€toÏsome€right€of€colonial€dominion€in€the€third€world€always€rested€on€the€belief€that€theyÏwere,€after€all,€more€òòcivilizedóó€than€the€natives.€€Here€their€own€children€were€turning€onÐ l)l! Ðthem,€flaunting€and€laughing€at€their€stuffy€pomposity.€€This€was€the€beginning€of€aÏmomentous€shift€in€perspective€among€young€fans,€one€that€followed€the€British€bands€toÏAmerica€(where€Dylan's€followers€were€already€sowing€the€same€seeds).€€Rejection€ofÐ 0,0!$ Ðparental€authority€was€one€thing;€kids€will€stay€out€late,€drink,€try€drugs€and€sex,€andÏchallenge€the€law€regardless€of€the€era€(or€the€music).€€It€is€altogether€different€to€rejectÏsimple€fundamental€elements€of€a€social€order€such€as€personal€appearance€and€courtesy.€ÏOnly€twice€in€the€rock€era€have€such€extremes€of€alienation€been€visible,€the€mid„to„lateÏsixties€emerging€Hippie€culture,€and€the€late€seventies€Punk€movement.€€If€anything,€theÏformer€may€have€been€more€revolutionary,€in€part€because€it€was€unprecedented:Ìœñ ñÓÓñ ñ›Ìà 4 àà Œ àAnd€he's€oh€so€goodÌà 4 àà Œ àAnd€he's€oh€so€fineÌà 4 àà Œ àAnd€he's€oh€so€healthyÌà 4 àà Œ àIn€his€body€and€his€mindÌà 4 àà Œ àHe's€a€well€respected€man€about€townÌà 4 àà Œ àDoing€the€best€things€so€conservatively.ÌÓÓÌñ!ñÓÓñ!ñà 4 àHow€quickly€did€it€happen?€€The€tremendous€cultural€leap€from€Bobby€¢Vee£Ï¢cleancutness£€to€utterly€defiant€sloppiness€came€about€so€suddenly€it€had€to€be€frighteningÏto€the€outside€world.€€Of€course,€to€the€inside€world,€those€joining€the€cause,€it€wasÏexhilarating,€but€sudden€nonetheless.€€The€first€wave€of€"long"€hair,€started€by€the€BeatleÏmop„tops,€began€no€earlier€than€1964€in€America.€€By€1967,€three€fleeting€years€later,Ïmale€hair€as€òòshortóó€as€the€original€Beatles€or€Stones€was€almost€laughable€within€theÐ pp Ðprevailing€hip€culture.€€Lavish,€ostentatious€clothing€just€as€quickly€gave€way€to€worn,€old,Ïtattered€jeans€and€jackets€and€t„shirts.€€For€a€long€time,€any€outfit€that€was€too€neat€orÏshiny€or€excessively€adorned€was€a€clear€signal€of€uncool€unhip€attitudes€(with€the€sort„ofÏexception€of€the€temporary€fascination€with€psychedelic€fashions€that€surfaced€in€theÏpublic€consumption€media€through€Hollywood€and€well€intentioned€but€relatively€cluelessÏTV€outlets€like€"Rowan€and€Martin's€Laugh„In").€€This€was€true€not€only€among€the€rockÏper‚formers,€but€among€the€audience,€the€youth€culture€as€a€whole.€€From€the€mid„sixtiesÏstraight€to€this€day,€the€dominant€fashion€for€a€large€body€of€teenage€schoolchildren€is€theÏextremely€casual€look.€€Blue€jeans,€which€have€formed€a€massive€international€tradeÏmarket,€are€practically€the€universal€high€school€dress€code€in€many€parts€of€America.€ÏPrior€to€the€sixties€invasions,€it€was€considered€unthinkable€to€allow€your€kids€to€attendÏschool€in€anything€less€than€dress€clothes;€many€schools€had€real,€strictly€enforced€dressÏcodes,€most€of€which€have€long€since€fallen€to€the€pressures€of€change.€€This€change€wasÏrooted€firmly€in€the€cynicisms,€the€profound€hostility€toward€the€established€order,€thatÏâ âgrew€up€in€the€sixties.Ð D+D # Ðà 4 àBy€1966,€with€the€invasion€nearly€complete,€the€Who€tossed€out€the€last€semblanceÏâ âof€conformity,€and€threw€down€the€gauntlet:Ìœñ!ñÓÓñ!ñ›Ìà 4 àà Œ àPeople€try€to€put€us€d„d„downÌà 4 àà Œ à€€€Talkin'€'bout€my€generationÌà 4 àà Œ àJust€because€we€g„g„get€aroundÌà 4 àà Œ à€€€Talkin'€'bout€my€generationÌÓÓÌñ"ñÓÓñ"ñà 4 àNow€the€challenge€was€fully€revealed,€as€it€was€in€many€other€songs€and€bands€ofÏthe€moment.€€Full€scale,€defiant,€òòunifiedóó€rebellion.€€The€movement€gained€steam,€and€evenÐ 88  Ðif€its€focus€remained€non„specific€(well,€Vietnam€somewhat,€but€that€was€more€of€anÏAmerican€issue,€and€hadn't€quite€matured€by€'66,€and€the€rest€of€the€popular€topics,€civilÏrights,€women's€rights,€environmentalism,€were€all€just€as€vague€as€anti„establishmentarƒ¼ianism€and€inter„generational€conflict),€the€commitment€of€its€partisans€was€solid.Ìñ#ñÌñ#ñà 4 àIt's€so€hard€to€isolate€that€era€and€not€apply€knowledge€of€what€followed,€not€onlyÏthrough€the€rest€of€the€sixties,€but€right€up€to€the€present.€€Were€they€just€naive€kids,Ïfinding€a€newer€and€louder€way€to€flex€their€muscles?€€Were€they€the€founding€members€ofÏa€powerful€youth€movement€that€would€change€the€fabric€of€America?€€Would€theyÏeventually€wind€up€as€securities€analysts€and€electronics€salesmen?€€Where€would€it€allÏlead?Ìñ$ñÌñ$ñà 4 àThe€slogan€coined€by€the€Who€was€bitterly€final:€"Hope€I€die€before€I€get€old."€ÏPatrick€("Give€me€liberty€or€give€me€death")€Henry€wasn't€even€that€ex‚treme.€€Well€PeteÏTownshend€and€Roger€Daltry€have€made€it€considerably€past€forty€now,€and€doubtlessÏ"old"€has€become€more€a€state€of€mind€than€an€age;€nor€was€it€fortuitous€that€Keith€MoonÏdied€young.€€One€thing€is€certain€here€in€the€distant€future:€it€is€a€lot€more€difficult€forÏtoday's€youth€to€despise€and€distrust€the€entire€older€generationð"ðmany€of€them€came€upÏwith€the€idea€in€the€first€place.€€The€most€rebellious€sixties€Hippies€have€kids€of€their€ownÏnow,€listening€to€their€own€music€(or€perhaps€their€parents').€€Meanwhile,€the€Establish…¼ment€has€ab‚sorbed€countless€former€rebels,€who€now€populate€the€offices€of€oil€companiesÏand€corporate€law€departments.€€The€Who's€generation,€in€fact,€pretty€much€runs€theÏworld,€with€the€exception€of€the€few€older€fogeys€who€retain€some€of€the€highest€powerÏpositions.€€It's€a€lot€harder€for€faithful€veterans€to€know€whom€to€oppose€any€moreð"ðandÏthat€may€be€the€real€problem.€€It€was€easy€to€tell€the€good€guys€from€the€bad€guys€whenÏthe€bad€guys€consisted€of€anyone€over€thirty.€€Today€some€of€the€worst€offenders€(violentÐ 0,0!$ Ðracists,€Wall€Street€thieves,€reactionary€demagogues)€are€òòunderóó€thirty,€and€the€older€crowdÐ   Ðis€increasingly€heterogeneous.€€And€you€can't€go€by€dress€code€either;€two€suit„and„tieÏshort€hairs€standing€side€by€side€on€the€subway€might€harbor€polar€opposite€politicalÏbeliefs,€social€values,€and€musical€tastes.ÌÌà 4 àIf€it€all€makes€you€wonder€whether€there€ever€was€a€point,€then€perhaps€the€sixtiesÏare€more€dead€than€we€thought.€€The€point€was,€in€fact,€rebellion€for€its€own€sake.€€It€wasÏThomas€Jefferson,€not€Abbie€Hoffman,€who€said€"A€little€revo‚lution€now€and€then€is€aÏgood€thing."€€The€British€Invasion€of€American€culture€and€music€in€1964€helped€instigateÏa€revolution€that€may€not€have€over‚thrown€the€established€order,€but€that€shook€it€upÏmightily,€and€that€was€indeed€a€good€thing.€€Still,€despite€the€images€of€political€conflictÏand€violence€that€linger€from€that€era,€it€was€not€an€armed€insurrection€that€the€BritsÏbrought€with€them€to€America.€€Theirs€were€more€devious€weapons:€cheekiness,€playful…¼ness,€bemused€disrespect,€sarcasm.€€Many€of€the€most€memorable€scenes€from€early€sixtiesÏ"¢rockumentaries£"€are€those€where€young€stars€like€Jagger€and€Richard,€Lennon€andÏ¢McCartney£,€or€¢Townshend£€and€¢Daltry£€are€interviewed€by€the€basically€straight€members€ofÏthe€British€or€American€press€about€their€newfound€fame.€€They€delighted€in€belittlingÏthemselves,€making€fun€of€the€reporter's€questions€(often€without€him€realizing€it),€andÏgenerally€goofing€off€in€a€situation€that,€for€most€people,€would€have€seemed€to€be€aÏtremendously€important,€career„make„or„break€situation.€€This€type€of€irrev‚erence,€whichÏwas€institutionalized€by€Monty€Python's€Flying€Circus€in€the€¢1970s£€and€David€LettermanÏin€the€¢1980s£,€made€a€telling€point€that€was€not€lost€on€the€audience:€òòfun€óóis€what€it's€about,Ð \\ Ðabove€all€else,€whatever€the€circumstances€or€surroundings,€and€people€who€can't€dealÏwith€that€idea€are€losers,€no€matter€how€"important"€or€"successful"€they€may€be.€€FunÏitself€was€rebellious.€€Where€the€fun€evolved€into€hostility,€that€hostility€was€directed€atÏthose€who€didn't€understand,€and€actively€worked€to€impede,€the€fun.Ìñ%ñÌñ%ñà 4 àNot€that€Fun€was€a€new€idea€in€England€or€America,€or€in€rock€'n'€roll.€€It€wasÏprecisely€the€same€idea€that€had€propelled€the€music€forward€in€the€first€place.€€By€1955Ïthe€U.S.€was€becoming€a€decidedly€un„fun€place€for€teenagers,€and€the€same€was€the€caseÏin€England€by€1960;€rock€'n'€roll€offered€an€incredibly€fresh€opportunity€to€rediscover€funÏin€each€case.€€And€by€the€time€the€British€version€washed€up€on€American€shores€in€1964,Ïthere€was€a€desperate€new€outbreak€of€non„fun€in€abundance,€owing€to€the€shock€waveÏgenerated€when€President€Kennedy€was€assassinated€in€November€1963.€€A€dose€ofÏmadcap€British€lunacy€was€precisely€what€the€doctor€ordered€for€a€younger€generationÏwho€hadn't€even€been€around€to€taste€the€fifties'€hopeful€elixir.€Ìñ&ñÐ 0,0!$ Ðñ&ñà 4 àMost€of€the€invading€hordes€of€uniformed,€mop„headed€Limeys€pouring€up€fromÏthe€beaches€in€1964€immediately€after€the€Beatles'€sneak€attack€fit€that€prescriptionÏperfectly.€€Besides€the€aforementioned€Big€Acts,€there€were€countless€footsoldiers€whomÏthe€suddenly€Anglophile€American€youth€embraced€with€undiscriminating€glee:€the€DaveÏClark€5€("Glad€All€Over"),€the€Searchers€("Nee‚dles€and€Pins"),€Gerry€and€the€PacemakersÏ("Don't€Let€the€Sun€Catch€You€Crying"),€Manfred€Mann€("Doo€Wah€Diddy€Diddy"),ÏHerman's€Hermits€("I'm€Henry€VIII,€I€Am"),€and€so€many€others,€arriving€in€a€seeminglyÏendless€blitzkrieg€(Why€is€that€only€military€metaphors€seem€to€apply€to€this€moment€ofÏhistory?€€Do€we€secretly€still€fear€the€Redcoats?)€that€obliterated€the€entire€foundation€ofÏthe€existing€rock€'n'€roll,€indeed€the€whole€entertainment,€industry.€€Consider:€British€actsÏwere€virtually€non„existent€on€the€U.S.€charts€in€1963€and€preceding€years.€€In€1964,€noÏfewer€than€òòthirtyóó€releases€by€British€acts€reached€the€U.S.€òòTop€Tenóó,€with€nine€rising€toÐ $$  ÐNumber€One,€and€dozens€more€lower€on€the€charts.€€Napoleon€never€dreamed€of€suchÏconquest.ÌÌà 4 àOf€course,€Napoleon€never€had€an€advance€team€like€the€Beatles€to€lead€theÏcharge.ÌÌà@®®&ìà„END€CHAPTER€4„