November 26, 2006
Audrey Hepburn, one of the great, classic actresses of Hollywood of the '50s and '60s, may have died in 1993, but she's alive and well in American pop culture. Her name, and the 1961 film with which her face is most associated, "Breakfast at Tiffany's," came up in conversation a couple of weeks ago, and coincidentally, a TV series' plot later that week involved three women dressed as Hepburn's character from "Tiffany's," Holly Golightly, robbing a bank with her trademark sunglasses hiding their identity.
This week, The Gap began airing a pretty cool TV commercial that takes a Hepburn dance sequence from her 1957 musical co-starring Fred Astaire, "Funny Face," and sets her moves to AC-DC's "Back in Black." The commercial is pushing the retailer's new line of skinny black pants. Hepburn's character, a Greenwich Village beatnik who becomes a Paris model, is wearing hip skinny black pants in the dance scene.
I grew up – like all baby boomers – during an era of radio when the Top 40 format was perfected during the first two decade of rock and roll, and genres didn’t divide up into separate formats. An entire generation of pop music fans pretty much grew up listening to a wild mix of rock, soul, country – white and black – with a lot of novelty songs thrown in for good measure.
This was true through the 1960s, certainly and also up through the mid-‘70s. But two things happened to radio between, say 1969 and 1974. First, the FM progressive or freeform format that had emerged in 1967 began attracting the older rock music fans, and for the first time, after 1969, there was a defined generation gap. If you were in college and protesting the Vietnam war, chances were the Archies’ “Sugar Sugar†wasn’t as relevant to you as, say, Ten Years After’s “I’d Love to Change the World.†For me, being just 11 during the summer of 1969, bubblegum rock was a sweet and welcome part of my musical diet.
There was a lot of crossover between FM and AM, especially during the early ‘70s. For instance songs like Crosby, Stills, Nash and Young’s “Ohio†was a hit on AM as well as FM stations.
I finally saw Peter Jackson's 2005 remake of "King Kong," and I'm afraid I was underwhelmed. It was corny, and overly long and not engaging, even when the excitement factor revved up for the final third of the film. It reminded me that although Hollywood has been making monster movies since the original 1933 "King Kong," the monster with the most staying power and screen incarnations -- over two dozen movies -- didn't come out of California, but from Tokyo.
I'm watching "JFK: Breaking the News," a documentary on WNET, one of the New York area's PBS stations, about the media coverage of the November, 1963 assassination of president John F. Kennedy. It's fascinating because in analyzing the way both print and broadcast journalists scrambled in Dallas after the shooting, the program shows how it was a bellwether event in the history of media. It marked the passing of the "breaking news" mantle from newspapers to television.
