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Blues in the Archway Road | author = Ben Covington | section = | previous = ../|Contents of..."

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{{header
| title = [[../|ANARCHY 51 (Vol 5 No 5) MAY 1965]] Blues in the Archway Road
| author = Ben Covington
| section =
| previous = [[../|Contents of No. 51]]
| next = '''[[../What have they done to the folk?|What have they done to the folk?]]'''
| notes =
}}

<div style="max-width:500px; margin:auto;">{{p|129}}

'''Blues in the Archway Road'''

'''[[Author:Ben Covington|BEN COVINGTON]]'''

<div style="text-align:justify;">{{sc|Looking at the posters that litter the side streets}} of central and suburban {{w|London}}, one might be forgiven for assuming that the {{w|Blues}} was created by a post-{{w|Aldermaston|Aldermaston_Marches}} generation of art students rather than by the afflicted {{w|negro|African_Americans}} population of the {{w|American|United_States}} {{w|Deep South|Deep_South}}. The posters advertise {{sc|authentic {{w|Rhythm ’n’ blues|Rhythm_and_blues}}}} by groups which play a variety of music{{dash}}some {{w|Pop|Pop_music}}-oriented, some {{w|Folk|Folk_music}}-oriented, some {{w|Jazz}}-oriented but largely derived from the music of the more sensational {{w|coloured|Person_of_color}} entertainers of the {{w|USA|United_States}}, like {{w|Chuck Berry|Chuck_Berry}}, {{w|Bo Diddley|Bo_Diddley}}, {{w|James Brown|James_Brown}} and {{w|T-Bone Walker|T-Bone_Walker}}. Of the 2,000 or more groups working the multitude of large and small {{w|clubs|Nightclub}}, no more than two dozen are in any way original, even in pop-music terms, and even these are rootless shadows of the singers on whose material they draw. The difference between the blues of modern America and the {{qq|blues}} of modern {{w|United Kingdom|Britain}} is the difference between music which is an authentic racial expression and music which is an expression of no more than a liking for the authentic form.

{{tab}}The origins of {{w|British {{qq|blues}}|British_blues}} are far from clear. Their seminal genius may have been {{w|Muddy Waters|Muddy_Waters}} who toured Britain in 1958 but it was not until March, 1962, when the harmonica player {{w|Cyril Davies|Cyril_Davies}} and the guitarist {{w|Alexis Korner|Alexis_Korner}} opened the first of the clubs{{dash|next door to the {{w|ABC Teashop|Aerated_Bread_Company}} off {{w|Ealing Broadway|Ealing}}}}that the {{qq|boom}} really had its beginnings. Korner and Davies played mainly {{popup|pre-war|The United States formally joined World War II in December 1941.}} blues of the negro night clubs of urban America. Once they had their own stage the {{qq|boom}} gathered in {{w|Central London|Central_London}}, attracting a young audience in reaction against a particularly enfeebled pop music{{dash}}this was the hey-day of {{w|Cliff Richard|Cliff_Richard}}. The Band{{dash|known as {{w|Alexis Korner{{s}} Blues Incorporated|Alex_Korner's_Blues_Incorporated}}}}had the now familiar line-up of harmonica, guitars and drums and if it was unexiting compared with its {{w|Chicago|Chicago_blues}} parent it had, at least, a rhythmic earthiness and an emotional directness which had been completely absent from pop music since the demise of {{w|rock ’n’ roll|Rock_and_roll}} in the late ’50s.

{{tab}}By the end of 1962 the {{w|Beatles|The_Beatles}} had had their first small hit, ''{{w|Love Me Do|Love_Me_Do}}'', featuring the magical combination of harmonica, guitars and drums, and the {{w|Rolling Stones|The_Rolling_Stones}} were making their early public appearances at Ealing and elsewhere. In January, 1963 the Stones appeared for the first time at the ''{{w|Marquee|Marquee_Club}}''. The {{w|bill|Billing_(performing_arts)}} was topped by {{p|130}}{{l|{{popup|Brian Knight|British guitarist, 1939–2001}}{{s}}|https://www.theguardian.com/news/2001/dec/06/guardianobituaries}} Blues-by-six and the Stones earned £2 each as the fill-in group. By March the Stones had moved on{{dash|to the fringe of pop success}}and their place was taken by another group from Ealing, the Mann-Hugg Blues Brothers, later to be re-named {{w|Manfred Mann|Manfred_Mann}}. By the time the Stones had their first small hit, ''{{w|Come On|Come_On_(Chuck_Berry_song)}}'', in the summer of 1963 (only enough to earn them 83rd position in the 1963 ''{{w|New Musical Express|NME}}'' {{w|Points Table|Record_chart}}, equal with {{w|Sammy Davis|Sammy_Davis_Jr.}}, {{w|Frank Sinatra|Frank_Sinatra}}, {{w|Ken Dodd|Ken_Dodd}} and Chuck Berry) r ’n’ b was freely tipped as the next pop craze.

{{tab}}It seems to have happened for much the same reason as rock ’n’ roll ten years earlier: a teenage reaction to the sickly gutlessness of orthodox pop. Its success has led to extraordinary results. The Cliff Richard pop image of tidy, boy-next-door {{w|Christianity|Religion_in_the_United_Kingdom#Christianity}}, has been replaced by a stylised image of rough-living{{dash}}beards, long hair, defiant nonchalance and an incoherent, unarticulated curse against conformity. The new image may be as unreal as the old but it is a great deal more tolerable. It is a cliché to observe that pop music is a major field for the exploitation and manipulation of young people, generating respect for false values and poor standards, exploiting dissatisfaction to turn young people in on themselves rather than out on society, serving the function ascribed by {{w|Marx|Karl_Marx}} to religion, that of an {{qq|opiate of the people}}. It would be unrealistic to claim that r ’n’ b has altered this deeply engrained pop-cultural pattern but it may have dented it. Since the success of the Beatles{{dash|recorded not because they might be made into stars but because they ''already were'' local stars}}teenagers have shown a gradually increasing independence of the will of record companies. {{w|Merseybeat|Beat_music}} and r ’n’ b{{dash|or at any rate the local variant on the American theme}}were created by teenagers for themselves and although the companies have exploited this music, they have had their urual role, that of ''creating'' stars, stolen from them by teenagers. This has been a tendency rather than a decisive trend but it may represent the first steps of teenagers to free themselves of the parasites who live off them and their enthusiasms. It is not just that the quality of the music is better, although I believe it is (compare the Beatle{{s|r}} ''{{w|I{{m}} a Loser|I'm_a_Loser}}'' or Manfred Mann{{s}} ''{{w|I{{m}} Your Kingpin|The_Five_Faces_of_Manfred_Mann}}'' with {{w|Adam Faith|Adam_Faith}}{{s}} {{w|''What Do You Want''?|What_Do_You_Want?_(Adam_Faith_song)}} or Cliff Richard{{s}} ''{{w|The Young Ones|The_Young_Ones_(song)}}'') but that the relationships between stars and audiences have changed. The new stars are ''of'' their public, neither patronising nor stupid. They are irreverent, they smoke, they drink, they behave with a naturalness which would have earned them nothing but abuse ten years ago and they are articulate spokesmen for the teenage thing as well as for their music. The new stars are not held in awe except by the very young. The glub-goer knows that records are poor imitations of club performances, that record success leads to nothing so much as the dilution of a group{{s}} {{qq|sound}} in an endeavour to court general popularity. It is, in short, doubtful whether the companies have ever held so little sway over the {{w|avant garde|Avant-garde}} {{qq|popnik}}. Most young people listen to nothing but pop music and within this context the infusion of some blues-form into pop music is extremely welcome. Even in the hands of white singers it has introduced into a sadly ailing pop culture some elements of an infinitely richer ''folk'' culture {{p|131}}and some elements of a less corrupted ''pop'' culture{{dash}}the music of Bo Diddley, Chuck Berry and James Brown still expresses something of the agony of negro life as well as the enormous surging vitality and new optimism of the {{w|Northern|Northern_United_States}} {{w|ghettoes|American_ghettos}}. British blues is primarily a {{w|dance music|Dance_music}} and if it is impure it has, at least, an enthusiasm which is positively damning to inhibition. In the clubs there is a new vigour.
</div></div>

{{DEFAULTSORT:Blues in the archway road}}
[[Category:Music]]
[[Category:Articles]]

@@ Line 28: / Line 28: @@
 {{tab}}If the new music is dif&shy;fer&shy;ent, so are the new stars. Many of them are strange pop idols. {{w|Keith Relf|Keith_Relf}}, leader of the {{w|Yard&shy;birds|The_Yardbirds|The Yardbirds}}, was a {{w|Beat|Beatnik|Beatnik}} before he made a liv&shy;ing by sing&shy;ing and so was {{w|Rod the Mod Stewart|Rod_Stewart|Rod Stewart}}, pos&shy;sibly the best vo&shy;cal&shy;ist to emerge from the {{qq|boom}}. (Rod Stewart was also an In&shy;ter&shy;na&shy;tional Am&shy;a&shy;teur {{w|foot&shy;baller|Association_football|Association football}}.) Many groups ''look'' Beat; tired, worn and weary with the bum{{s}} slouch&shy;ing walk. In&shy;deed the myth&shy;o&shy;logy of the r&nbsp;{{a}}n{{a}}&nbsp;b clubs is the myth&shy;o&shy;logy of the angry, dishev&shy;elled re&shy;ject of ortho&shy;doxy, the pro&shy;test&shy;ing bum. The {{w|Pretty Things|Pretty_Things|Pretty Things}}, the most beat{{h}}look&shy;ing of all, sing: {{qq|I{{m}} on my own, just wanna roam/<wbr>I{{ll}} tell you man, don{{t}} wanna home/<wbr>I wander roun{{a}} feet off the groun{{a}}/<wbr>Dig&shy;ging sounds from town to town/<wbr>I say I think this life is grand/<wbr>I say, I dig it man, don{{t}} bring me down, man/<wbr>{{w|Don{{t}} bring me down|Don't_Bring_Me_Down_(The_Pretty_Things_song)|Don{{a}}t Bring Me Down}} {{tab}}I met this chick the other day/<wbr>Then to me she said she{{ll}} stay/<wbr>I got this pad just like a cave/<wbr>And then we have a little rave/<wbr>And now I{{m}} lying on ground/<wbr>My head is spin&shy;ning round, don{{t}} bring me down man/don{{t}} bring<!-- 'bringe'' in original --> me down}}.
-{{tab}}Other sing&shy;ers too have strange pasts. {{w|John Mayall|John_Mayall}}, leader of one of the most vigor&shy;ous groups, the {{w|Blues&shy;break&shy;ers|John_Mayall_&_the_Bluesbreakers|John Mayall & the Bluesbreakers}}, lived in a {{w|tree top house|Tree_house|Tree house}}. {{w|Manfred Mann (sin&shy;gu&shy;lar)|Manfred_Mann_(musician)|Manfred Mann (musician)}} was {{w|clas&shy;sic&shy;ally trained|Classical_music|Classical music}} at {{w|Juilliard<!-- 'Juillard' in original -->|Juilliard_School|Juilliard School}} in the USA and is, even now, more than a little odd by pop stand&shy;ards. The whole Mann group took one man{{s}} name but in&shy;sist that they have no leader, that lead&shy;er&shy;ship is re&shy;dund&shy;ant and re&shy;spons&shy;ib&shy;il&shy;ity shared and equal. It may have some&shy;thing to do with the fact that their vo&shy;cal&shy;ist {{w|Paul Jones|Paul_Jones_(singer)}} was once a mem&shy;ber of the {{w|Oxford|University_of_Oxford|University of Oxford}} {{w|Com&shy;mit&shy;tee of 100|Committee_of_100_(United_Kingdom)}} and is, ap&shy;par&shy;ently, still a ''{{w|Tribune|Tribune_(magazine)|Tribune (magazine)}}'' con&shy;trib&shy;utor. The {{w|Anim&shy;als|The_Animals|The Animals}}, prob&shy;ably the best pop{{h}}r&nbsp;{{a}}n{{a}}&nbsp;b group, emerged from the strange {{w|North East|North_East_England|North East England}} phe&shy;nomenon of {{qq|anim&shy;als}}, young people who spent the week&shy;ends away from their bour&shy;geois homes, on cheap trans&shy;port, living {{qq|rough}}. (In the {{w|South|Southern_England|Southern England}} they might have earned the de&shy;ris&shy;ive epi&shy;thet {{qq|week&shy;end ravers}}.)
+{{tab}}Other sing&shy;ers too have strange pasts. {{w|John Mayall|John_Mayall}}, leader of one of the most vigor&shy;ous groups, the {{w|Blues&shy;break&shy;ers|John_Mayall_&_the_Bluesbreakers|John Mayall & the Bluesbreakers}}, lived in a {{w|tree top house|Tree_house|Tree house}}. {{w|Manfred Mann (sin&shy;gu&shy;lar)|Manfred_Mann_(musician)|Manfred Mann (musician)}} was {{w|clas&shy;sic&shy;ally trained|Classical_music|Classical music}} at {{w|Juilliard<!-- 'Juillard' in original -->|Juilliard_School|Juilliard School}} in the USA and is, even now, more than a little odd by pop stand&shy;ards. The whole Mann group took one man{{s}} name but in&shy;sist that they have no leader, that lead&shy;er&shy;ship is re&shy;dund&shy;ant and re&shy;spons&shy;ib&shy;il&shy;ity shared and equal. It may have some&shy;thing to do with the fact that their vo&shy;cal&shy;ist {{w|Paul Jones|Paul_Jones_(singer)}} was once a mem&shy;ber of the {{w|Oxford|University_of_Oxford|University of Oxford}} {{w|Com&shy;mit&shy;tee of 100|Committee_of_100_(United_Kingdom)}} and is, ap&shy;par&shy;ently, still a ''{{w|Tribune|Tribune_(magazine)|Tribune (magazine)}}'' con&shy;trib&shy;utor. The {{w|Anim&shy;als|The_Animals|The Animals}}, prob&shy;ably the best pop{{h}}r&nbsp;{{a}}n{{a}}&nbsp;b group, emerged from the strange {{w|North East|North_East_England|North East England}} phe&shy;nomenon of {{qq|anim&shy;als}}, young people who spent the week&shy;ends away from their {{p|132}}bour&shy;geois homes, on cheap trans&shy;port, living {{qq|rough}}. (In the {{w|South|Southern_England|Southern England}} they might have earned the de&shy;ris&shy;ive epi&shy;thet {{qq|week&shy;end ravers}}.)
 {{tab}}Most of the r&nbsp;{{a}}n{{a}}&nbsp;b groups who have had hits have done so with num&shy;bers which were not r&nbsp;{{a}}n{{a}}&nbsp;b num&shy;bers. The Stones made a brave at&shy;tempt with the slow blues, ''{{w|Little Red Rooster|Little_Red_Rooster}}'', but most of their hits were white pop in origin—''{{w|Not Fade Away|Not_Fade_Away_(song)}}'', a {{w|Buddy Holly|Buddy_Holly}} num&shy;ber, ''{{w|It{{s}} All Over Now|It's_All_Over_Now}}'', ori&shy;gin&shy;ally re&shy;corded by the {{w|C & C Boys|Clarence_Carter|Clarence Carter}} in Amer&shy;ica, a {{w|country{{h}}and{{h}}western|Country_music|Country music}} type num&shy;ber, ''{{w|I Wanna Be Your Man|I_Wanna_Be_Your_Man}}'' was by {{w|Lennon|John_Lennon|John Lennon}} and {{w|McCartney|Paul_McCartney|Paul McCartney}} and ''{{w|The Last Time|The_Last_Time_(Rolling_Stones_song)}}'' was writ&shy;ten by them&shy;selves al&shy;though it is re&shy;min&shy;is&shy;cent of the {{w|Staple Singers|The_Staple_Singers|The Staple Singers}}{{a}} ''This May Be My<!-- 'the' in original --> Last Time''. Manfred Mann re&shy;corded pop num&shy;bers, {{w|non&shy;sense songs|Nonsense_song|Nonsense song}} and a {{w|ballad|Sentimental_ballad|Sentimental ballad}}. Georgie Fame had a big hit with ''{{w|Yeh, Yeh|Yeh,_Yeh}}'', a soph&shy;ist&shy;ic&shy;ated {{w|Lam&shy;bert|Dave_Lambert_(American_jazz_vocalist)|Dave Lambert}}{{h}}{{w|Hend&shy;ricks|Jon_Hendricks|Jon Hendricks}}{{h}}{{w|Bavan|Yolande_Bavan|Yolande Bavan}} {{w|{{qq|cool}} jazz|Cool_jazz|Cool jazz}} vocal with little blues con&shy;tent. (Sig&shy;ni&shy;fic&shy;antly his fol&shy;low up ''In the Mean&shy;time'', in the same vein, did not do so well, dash&shy;ing the hopes of those who thought Fame rep&shy;res&shy;ented some sort of com&shy;mer&shy;cial break&shy;through for {{w|soul{{h}}jazz|Soul_jazz|Soul jazz}}.) The Anim&shy;al{{s|r}} big hit, {{w|House of the Ris&shy;ing Sun|The_House_of_the_Rising_Sun|The House of the Rising Sun}}, was a folk song. Other groups have either re&shy;corded and wrecked blues clas&shy;sics or con&shy;cen&shy;trated on mono&shy;ton&shy;ously con&shy;trived and un&shy;vary&shy;ingly dis&shy;mal ver&shy;sions of Chuck Berry and Bo Diddley num&shy;bers, the staple diet of the un&shy;in&shy;vent&shy;ive. With their own ma&shy;ter&shy;ial they are rarely con&shy;vin&shy;cing; au&shy;then&shy;tic ma&shy;ter&shy;ial they wreck by an ap&shy;par&shy;ent in&shy;com&shy;pre&shy;hen&shy;sion of what they sing. In the clubs they are usu&shy;ally bet&shy;ter and to hear British r&nbsp;{{a}}n{{a}}&nbsp;b, with all its un&shy;deni&shy;able ex&shy;cite&shy;ment and all its un&shy;deni&shy;able, over&shy;all me&shy;diocrity, it is ne&shy;ces&shy;sary to visit the clubs.

@@ Line 20: / Line 20: @@
 {{tab}}The ori&shy;gins of {{w|British {{qq|blues}}|British_blues|British blues}} are far from clear. Their sem&shy;inal genius may have been {{w|Muddy Waters|Muddy_Waters}} who toured Britain in 1958 but it was not until March, 1962, when the har&shy;mon&shy;ica player {{w|Cyril Davies|Cyril_Davies}} and the guitar&shy;ist {{w|Alexis Korner|Alexis_Korner}} opened the first of the clubs—next door to the {{w|ABC Teashop|Aerated_Bread_Company|Aerated Bread Company}} off {{w|Ealing Broad&shy;way|Ealing|Ealing}}—that the {{qq|boom}} really had its be&shy;gin&shy;nings. Korner and Davies played mainly {{popup|pre-war|The United States formally joined World War II in December 1941.}} blues of the negro night clubs of urban Amer&shy;ica. Once they had their own stage the {{qq|boom}} gathered in {{w|Cent&shy;ral London|Central_London|Central London}}, at&shy;tract&shy;ing a young audi&shy;ence in re&shy;ac&shy;tion against a par&shy;tic&shy;u&shy;larly en&shy;feebled pop music—this was the hey{{h}}day of {{w|Cliff Rich&shy;ard|Cliff_Richard}}. The Band—known as {{w|Alexis Korner{{s}} Blues In&shy;cor&shy;por&shy;ated|Alex_Korner's_Blues_Incorporated}}—had the now fa&shy;mil&shy;iar line{{h}}up of har&shy;mon&shy;ica, gui&shy;tars and drums and if it was un&shy;ex&shy;it&shy;ing com&shy;pared with its {{w|Chicago|Chicago_blues|Chicago blues}} par&shy;ent it had, at least, a rhythmic earthi&shy;ness and an emo&shy;tional di&shy;rect&shy;ness which had been com&shy;pletely ab&shy;sent from pop music since the de&shy;mise of {{w|rock &rsquo;n&rsquo; roll|Rock_and_roll|Rock and roll}} in the late &rsquo;50s.
-{{tab}}By the end of 1962 the {{w|Beatles|The_Beatles|The Beatles}} had had their first small hit, ''{{w|Love Me Do|Love_Me_Do}}'', fea&shy;tur&shy;ing the ma&shy;gical com&shy;bin&shy;a&shy;tion of har&shy;mon&shy;ica, gui&shy;tars and drums, and the {{w|Roll&shy;ing Stones|The_Rolling_Stones|The Rolling Stones}} were mak&shy;ing their early pub&shy;lic ap&shy;pear&shy;ances at Ealing and else&shy;where. In Janu&shy;ary, 1963 the Stones ap&shy;peared for the first time at the ''{{w|Marquee|Marquee_Club|Marquee Club}}''. The {{w|bill|Billing_(performing_arts)|Billing}} was topped by {{p|130}}{{l|Brian Knight|https://www.theguardian.com/news/2001/dec/06/guardianobituaries|British guitarist, 1939–2001&#010;link: obituary in The Guardian}}{{s}} Blues{{h}}by{{h}}six and the Stones earned &pound;2 each as the fill{{h}}in group. By March the Stones had moved on—to the fringe of pop suc&shy;cess—and their place was taken by another group from Ealing, the Mann-Hugg Blues Brothers, later to be re{{h}}named {{w|Manfred Mann|Manfred_Mann}}. By the time the Stones had their first small hit, ''{{w|Come On|Come_On_(Chuck_Berry_song)}}'', in the summer of 1963 (only enough to earn them 83rd pos&shy;i&shy;tion in the 1963 ''{{w|New Mu&shy;sical Ex&shy;press|NME|NME}}'' {{w|Points Table|Record_chart|Record chart}}, equal with {{w|Sammy Davis|Sammy_Davis_Jr.|Sammy Davis Jr.}}, {{w|Frank Sinatra|Frank_Sinatra}}, {{w|Ken Dodd|Ken_Dodd}} and Chuck Berry) r&nbsp;{{a}}n{{a}}&nbsp;b was freely tipped as the next pop craze.
+{{tab}}By the end of 1962 the {{w|Beatles|The_Beatles|The Beatles}} had had their first small hit, ''{{w|Love Me Do|Love_Me_Do}}'', fea&shy;tur&shy;ing the ma&shy;gical com&shy;bin&shy;a&shy;tion of har&shy;mon&shy;ica, gui&shy;tars and drums, and the {{w|Roll&shy;ing Stones|The_Rolling_Stones|The Rolling Stones}} were mak&shy;ing their early pub&shy;lic ap&shy;pear&shy;ances at Ealing and else&shy;where. In Janu&shy;ary, 1963 the Stones ap&shy;peared for the first time at the ''{{w|Marquee|Marquee_Club|Marquee Club}}''. The {{w|bill|Billing_(performing_arts)|Billing}} was topped by {{p|130}}{{l|Brian Knight|https://www.theguardian.com/news/2001/dec/06/guardianobituaries|British guitarist, 1939–2001&#010;link: obituary in The Guardian}}{{s}} Blues{{h}}by{{h}}six and the Stones earned &pound;2 each as the fill{{h}}in group. By March the Stones had moved on—to the fringe of pop suc&shy;cess—and their place was taken by another group from Ealing, the Mann-Hugg Blues Brothers, later to be re{{h}}named {{w|Manfred Mann|Manfred_Mann}}. By the time the Stones had their first small hit, ''{{w|Come On|Come_On_(Chuck_Berry_song)}}'', in the summer of 1963 (only enough to earn them 83rd pos&shy;i&shy;tion in the 1963 ''{{w|New Mu&shy;sical Ex&shy;press|NME|NME}}'' {{w|Points Table|Record_chart|Record chart}}, equal with {{w|Sammy Davis|Sammy_Davis_Jr.|Sammy Davis Jr.}}, {{w|Frank Sinatra|Frank_Sinatra}}, {{w|Ken Dodd|Ken_Dodd}} and Chuck Berry) r&nbsp;{{a}}n{{a}}&nbsp;b was freely tipped as the next pop craze.<br />
 {{tab}}It seems to have hap&shy;pened for much the same reason as rock &rsquo;n&rsquo; roll ten years earlier: a teen&shy;age re&shy;ac&shy;tion to the sickly gut&shy;less&shy;ness of ortho&shy;dox pop. Its suc&shy;cess has led to ex&shy;traordin&shy;ary re&shy;sults. The Cliff Rich&shy;ard pop image of tidy, boy{{h}}next{{h}}door {{w|Chris&shy;tian&shy;ity|Religion_in_the_United_Kingdom#Christianity|Religion in the United Kingdom: Christianity}}, has been re&shy;placed by a styl&shy;ised image of rough{{h}}living—beards, long hair, defi&shy;ant non&shy;chal&shy;ance and an in&shy;co&shy;her&shy;ent, un&shy;ar&shy;tic&shy;u&shy;lated curse against con&shy;form&shy;ity. The new image may be as un&shy;real as the old but it is a great deal more toler&shy;able. It is a clich&eacute; to ob&shy;serve that pop music is a ma&shy;jor field for the ex&shy;ploit&shy;a&shy;tion and ma&shy;nip&shy;u&shy;la&shy;tion of young people, gener&shy;at&shy;ing re&shy;spect for false values and poor stand&shy;ards, ex&shy;ploit&shy;ing dis&shy;satis&shy;fac&shy;tion to turn young people in on them&shy;selves rather than out on so&shy;ci&shy;ety, serving the func&shy;tion ascribed by {{w|Marx|Karl_Marx|Karl Marx}} to re&shy;li&shy;gion, that of an {{qq|opi&shy;ate of the people}}. It would be un&shy;real&shy;istic to claim that r&nbsp;&rsquo;n&rsquo;&nbsp;b has altered this deeply en&shy;grained pop{{h}}cul&shy;tural pat&shy;tern but it may have dented it. Since the suc&shy;cess of the Beatles—re&shy;corded not be&shy;cause they might be made into stars but be&shy;cause they ''already were'' local stars—teen&shy;agers have shown a gradu&shy;ally in&shy;creas&shy;ing in&shy;de&shy;pend&shy;ence of the will of re&shy;cord com&shy;pan&shy;ies. {{w|Mersey&shy;beat|Beat_music|Beat music}} and r&nbsp;&rsquo;n&rsquo;&nbsp;b—or at any rate the {{w|local vari&shy;ant|British_rhythm_and_blues|British rhythm and blues}} on the Amer&shy;ican theme—were cre&shy;ated by teen&shy;agers for them&shy;selves and al&shy;though the com&shy;pan&shy;ies have ex&shy;ploited this music, they have had their urual role, that of ''cre&shy;ating'' stars, stolen from them by teen&shy;agers. This has been a tend&shy;ency rather than a de&shy;cis&shy;ive trend but it may rep&shy;res&shy;ent the first steps of teen&shy;agers to free them&shy;selves of the para&shy;sites who live off them and their en&shy;thu&shy;si&shy;asms. It is not just that the qual&shy;ity of the music is bet&shy;ter, al&shy;though I be&shy;lieve it is (com&shy;pare the Beatle{{s|r}} ''{{w|I{{m}} a Loser|I'm_a_Loser}}'' or Manfred Mann{{s}} ''{{w|I{{m}} Your King&shy;pin|The_Five_Faces_of_Manfred_Mann|The Five Faces of Manfred Mann}}'' with {{w|Adam Faith|Adam_Faith}}{{s}} {{w|''What Do You Want''?|What_Do_You_Want?_(Adam_Faith_song)|What Do You Want?}} or Cliff Rich&shy;ard{{s}} ''{{w|The Young Ones|The_Young_Ones_(song)}}'') but that the re&shy;la&shy;tion&shy;ships be&shy;tween stars and audi&shy;ences have changed. The new stars are ''of'' their pub&shy;lic, neither pat&shy;ron&shy;ising nor stu&shy;pid. They are ir&shy;rev&shy;er&shy;ent, they smoke, they drink, they be&shy;have with a nat&shy;ur&shy;al&shy;ness which would have earned them noth&shy;ing but abuse ten years ago and they are ar&shy;tic&shy;u&shy;late spokes&shy;men for the teen&shy;age thing as well as for their music. The new stars are not held in awe ex&shy;cept by the very young. The club{{h}}goer knows that re&shy;cords are poor im&shy;it&shy;a&shy;tions of club per&shy;form&shy;ances, that re&shy;cord suc&shy;cess leads to noth&shy;ing so much as the di&shy;lu&shy;tion of a group{{s}} {{qq|sound}} in an en&shy;deav&shy;our to court gen&shy;eral pop&shy;ular&shy;ity. It is, in short, doubt&shy;ful whether the com&shy;pan&shy;ies have ever held so little sway over the {{w|avant garde|Avant-garde|Avant-garde}} {{qq|popnik}}. Most young people listen to noth&shy;ing but pop music and within this con&shy;text the in&shy;fu&shy;sion of some blues{{h}}form into pop music is ex&shy;tremely wel&shy;come. Even in the hands of white sing&shy;ers it has in&shy;tro&shy;duced into a sadly ail&shy;ing pop cul&shy;ture some ele&shy;ments of an in&shy;fin&shy;itely richer ''folk'' cul&shy;ture {{p|131}}and some ele&shy;ments of a less cor&shy;rupted ''pop'' cul&shy;ture—the music of Bo Diddley, Chuck Berry and James Brown still ex&shy;presses some&shy;thing of the agony of negro life as well as the enorm&shy;ous sur&shy;ging vi&shy;tal&shy;ity and new op&shy;tim&shy;ism of the {{w|Northern|Northern_United_States|Northern United States}} {{w|ghet&shy;toes|American_ghettos|American ghettos}}. British blues is primar&shy;ily a {{w|dance music|Dance_music|Dance music}} and if it is im&shy;pure it has, at least, an en&shy;thu&shy;si&shy;asm which is pos&shy;it&shy;ively damning to in&shy;hib&shy;i&shy;tion. In the clubs there is a new vigour.

@@ Line 28: / Line 28: @@
 {{tab}}If the new music is dif&shy;fer&shy;ent, so are the new stars. Many of them are strange pop idols. {{w|Keith Relf|Keith_Relf}}, leader of the {{w|Yard&shy;birds|The_Yardbirds}}, was a {{w|Beat|Beatnik}} before he made a liv&shy;ing by sing&shy;ing and so was {{w|Rod the Mod Stewart|Rod_Stewart}}, pos&shy;sibly the best vo&shy;cal&shy;ist to emerge from the {{qq|boom}}. (Rod Stewart was also an In&shy;ter&shy;na&shy;tional Am&shy;a&shy;teur {{w|foot&shy;baller|Association_football}}.) Many groups ''look'' Beat; tired, worn and weary with the bum{{s}} slouch&shy;ing walk. In&shy;deed the myth&shy;o&shy;logy of the r&nbsp;{{a}}n{{a}}&nbsp;b clubs is the myth&shy;o&shy;logy of the angry, dishev&shy;elled re&shy;ject of ortho&shy;doxy, the pro&shy;test&shy;ing bum. The {{w|Pretty Things|Pretty_Things}}, the most beat{{h}}look&shy;ing of all, sing: {{qq|I{{m}} on my own, just wanna roam/<wbr>I{{ll}} tell you man, don{{t}} wanna home/<wbr>I wander roun{{a}} feet off the groun{{a}}/<wbr>Dig&shy;ging sounds from town to town/<wbr>I say I think this life is grand/<wbr>I say, I dig it man, don{{t}} bring me down, man/<wbr>{{w|Don{{t}} bring me down|Don't_Bring_Me_Down_(The_Pretty_Things_song)}} {{tab}}I met this chick the other day/<wbr>Then to me she said she{{ll}} stay/<wbr>I got this pad just like a cave/<wbr>And then we have a little rave/<wbr>And now I{{m}} lying on ground/<wbr>My head is spin&shy;ning round, don{{t}} bring me down man/don{{t}} bring<!-- 'bringe'' in original --> me down}}.
-{{tab}}Other sing&shy;ers too have strange pasts. {{w|John Mayall|John_Mayall}}, leader of one of the most vigor&shy;ous groups, the {{w|Blues&shy;break&shy;ers|John_Mayall_&_the_Bluesbreakers}}, lived in a {{w|tree top house|Tree_house}}. {{w|Manfred Mann (sin&shy;gu&shy;lar)|Manfred_Mann_(musician)}} was {{w|clas&shy;sic&shy;ally trained|Classical_music}} at {{w|Juilliard<!-- 'Juillard' in original -->|Juilliard School}} in the USA and is, even now, more than a little odd by pop stand&shy;ards. The whole Mann group took one man{{s}} name but in&shy;sist that they have no leader, that lead&shy;er&shy;ship is re&shy;dund&shy;ant and re&shy;spons&shy;ib&shy;il&shy;ity shared and equal. It may have some&shy;thing to do with the fact that their vo&shy;cal&shy;ist {{w|Paul Jones|Paul_Jones_(singer)}} was once a mem&shy;ber of the {{w|Oxford|University_of_Oxford}} {{w|Com&shy;mit&shy;tee of 100|Committee_of_100_(United_Kingdom)}} and is, ap&shy;par&shy;ently, still a ''{{w|Tribune|Tribune_(magazine)}}'' con&shy;trib&shy;utor. The {{w|Anim&shy;als|The_Animals}}, prob&shy;ably the best pop{{h}}r&nbsp;{{a}}n{{a}}&nbsp;b group, emerged from the strange {{w|North East|North_East_England}} phe&shy;nomenon of {{qq|anim&shy;als}}, young people who spent the week&shy;ends away from their bour&shy;geois homes, on cheap trans&shy;port, living {{qq|rough}}. (In the {{w|South|Southern_England}} they might have earned the de&shy;ris&shy;ive epi&shy;thet {{qq|week&shy;end ravers}}.)
+{{tab}}Other sing&shy;ers too have strange pasts. {{w|John Mayall|John_Mayall}}, leader of one of the most vigor&shy;ous groups, the {{w|Blues&shy;break&shy;ers|John_Mayall_&_the_Bluesbreakers}}, lived in a {{w|tree top house|Tree_house}}. {{w|Manfred Mann (sin&shy;gu&shy;lar)|Manfred_Mann_(musician)}} was {{w|clas&shy;sic&shy;ally trained|Classical_music}} at {{w|Juilliard<!-- 'Juillard' in original -->|Juilliard_School}} in the USA and is, even now, more than a little odd by pop stand&shy;ards. The whole Mann group took one man{{s}} name but in&shy;sist that they have no leader, that lead&shy;er&shy;ship is re&shy;dund&shy;ant and re&shy;spons&shy;ib&shy;il&shy;ity shared and equal. It may have some&shy;thing to do with the fact that their vo&shy;cal&shy;ist {{w|Paul Jones|Paul_Jones_(singer)}} was once a mem&shy;ber of the {{w|Oxford|University_of_Oxford}} {{w|Com&shy;mit&shy;tee of 100|Committee_of_100_(United_Kingdom)}} and is, ap&shy;par&shy;ently, still a ''{{w|Tribune|Tribune_(magazine)}}'' con&shy;trib&shy;utor. The {{w|Anim&shy;als|The_Animals}}, prob&shy;ably the best pop{{h}}r&nbsp;{{a}}n{{a}}&nbsp;b group, emerged from the strange {{w|North East|North_East_England}} phe&shy;nomenon of {{qq|anim&shy;als}}, young people who spent the week&shy;ends away from their bour&shy;geois homes, on cheap trans&shy;port, living {{qq|rough}}. (In the {{w|South|Southern_England}} they might have earned the de&shy;ris&shy;ive epi&shy;thet {{qq|week&shy;end ravers}}.)
 {{tab}}Most of the r&nbsp;{{a}}n{{a}}&nbsp;b groups who have had hits have done so with num&shy;bers which were not r&nbsp;{{a}}n{{a}}&nbsp;b num&shy;bers. The Stones made a brave at&shy;tempt with the slow blues, ''{{w|Little Red Rooster|Little_Red_Rooster}}'', but most of their hits were white pop in origin{{dash}}''{{w|Not Fade Away|Not_Fade_Away_(song)}}'', a {{w|Buddy Holly|Buddy_Holly}} num&shy;ber, ''{{w|It{{s}} All Over Now|It's_All_Over_Now}}'', ori&shy;gin&shy;ally re&shy;corded by the {{w|C & C Boys|Clarence_Carter}} in Amer&shy;ica, a {{w|country{{h}}and{{h}}western|Country_music}} type num&shy;ber, ''{{w|I Wanna Be Your Man|I_Wanna_Be_Your_Man}}'' was by {{w|Lennon|John_Lennon}} and {{w|McCartney|Paul_McCartney}} and ''{{w|The Last Time|The_Last_Time_(Rolling_Stones_song)}}'' was writ&shy;ten by them&shy;selves al&shy;though it is re&shy;min&shy;is&shy;cent of the {{w|Staple Singers|The_Staple_Singers}}{{a}} ''This May Be My<!-- 'the' in original --> Last Time''. Manfred Mann re&shy;corded pop num&shy;bers, {{w|non&shy;sense songs|Nonsense_song}} and a {{w|ballad|Sentimental_ballad}}. Georgie Fame had a big hit with ''{{w|Yeh, Yeh|Yeh,_Yeh}}'', a soph&shy;ist&shy;ic&shy;ated {{w|Lam&shy;bert|Dave_Lambert_(American_jazz_vocalist)}}{{h}}{{w|Hend&shy;ricks|Jon_Hendricks}}{{h}}{{w|Bavan|Yolande_Bavan}} {{w|{{qq|cool}} jazz|Cool_jazz}} vocal with little blues con&shy;tent. (Sig&shy;ni&shy;fic&shy;antly his fol&shy;low up ''In the Mean&shy;time'', in the same vein, did not do so well, dash&shy;ing the hopes of those who thought Fame rep&shy;res&shy;ented some sort of com&shy;mer&shy;cial break&shy;through for {{w|soul{{h}}jazz|Soul_jazz}}.) The Anim&shy;al{{s|r}} big hit, {{w|House of the Ris&shy;ing Sun|The_House_of_the_Rising_Sun}}, was a folk song. Other groups have either re&shy;corded and wrecked blues clas&shy;sics or con&shy;cen&shy;trated on mono&shy;ton&shy;ously con&shy;trived and un&shy;vary&shy;ingly dis&shy;mal ver&shy;sions of Chuck Berry and Bo Diddley num&shy;bers, the staple diet of the un&shy;in&shy;vent&shy;ive. With their own ma&shy;ter&shy;ial they are rarely con&shy;vin&shy;cing; au&shy;then&shy;tic ma&shy;ter&shy;ial they wreck by an ap&shy;par&shy;ent in&shy;com&shy;pre&shy;hen&shy;sion of what they sing. In the clubs they are usu&shy;ally bet&shy;ter and to hear British r&nbsp;{{a}}n{{a}}&nbsp;b, with all its un&shy;deni&shy;able ex&shy;cite&shy;ment and all its un&shy;deni&shy;able, over&shy;all me&shy;diocrity, it is ne&shy;ces&shy;sary to visit the clubs.

@@ Line 16: / Line 16: @@
-<div style="text-align:justify;">{{sc|Look&shy;ing at the post&shy;ers that lit&shy;ter the side streets}} of cent&shy;ral and sub&shy;urban {{w|London}}, one might be for&shy;given for as&shy;sum&shy;ing that the {{w|Blues}} was cre&shy;ated by a post-<wbr>{{w|Al&shy;der&shy;mas&shy;ton|Aldermaston_Marches}} gen&shy;er&shy;a&shy;tion of art stu&shy;dents rather than by the af&shy;flic&shy;ted {{w|negro|African_Americans}} pop&shy;u&shy;la&shy;tion of the {{w|American|United_States}} {{w|Deep South|Deep_South}}. The post&shy;ers ad&shy;vert&shy;ise {{sc|au&shy;then&shy;tic {{w|Rhythm &rsquo;n&rsquo; blues|Rhythm_and_blues}}}} by groups which play a vari&shy;ety of music{{dash}}some {{w|Pop|Pop_music}}-<wbr>ori&shy;ented, some {{w|Folk|Folk_music}}-<wbr>ori&shy;ented, some {{w|Jazz}}-<wbr>ori&shy;ented but largely de&shy;rived from the music of the more sen&shy;sa&shy;tional {{w|col&shy;oured|Person_of_color}} en&shy;ter&shy;tain&shy;ers of the {{w|USA|United_States}}, like {{w|Chuck Berry|Chuck_Berry}}, {{w|Bo Diddley|Bo_Diddley}}, {{w|James Brown|James_Brown}} and {{w|T-Bone Walker|T-Bone_Walker}}. Of the 2,000 or more groups work&shy;ing the mul&shy;ti&shy;tude of large and small {{w|clubs|Nightclub}}, no more than two dozen are in any way ori&shy;ginal, even in pop-<wbr>music terms, and even these are root&shy;less shad&shy;ows of the sing&shy;ers on whose ma&shy;ter&shy;ial they draw. The dif&shy;fer&shy;ence be&shy;tween the blues of mod&shy;ern Amer&shy;ica and the {{qq|blues}} of mod&shy;ern {{w|United Kingdom|Britain}} is the dif&shy;fer&shy;ence be&shy;tween music which is an au&shy;then&shy;tic ra&shy;cial ex&shy;pres&shy;sion and music which is an ex&shy;pres&shy;sion of no more than a lik&shy;ing for the au&shy;then&shy;tic form.
+<div style="text-align:justify;">{{sc|Look&shy;ing at the post&shy;ers that lit&shy;ter the side streets}} of cent&shy;ral and sub&shy;urban {{w|London}}, one might be for&shy;given for as&shy;sum&shy;ing that the {{w|Blues}} was cre&shy;ated by a post{{h}}{{w|Al&shy;der&shy;mas&shy;ton|Aldermaston_Marches}} gen&shy;er&shy;a&shy;tion of art stu&shy;dents rather than by the af&shy;flic&shy;ted {{w|negro|African_Americans}} pop&shy;u&shy;la&shy;tion of the {{w|American|United_States}} {{w|Deep South|Deep_South}}. The post&shy;ers ad&shy;vert&shy;ise {{sc|au&shy;then&shy;tic {{w|Rhythm &rsquo;n&rsquo; blues|Rhythm_and_blues}}}} by groups which play a vari&shy;ety of music{{dash}}some {{w|Pop|Pop_music}}{{h}}ori&shy;ented, some {{w|Folk|Folk_music}}{{h}}ori&shy;ented, some {{w|Jazz}}{{h}}ori&shy;ented but largely de&shy;rived from the music of the more sen&shy;sa&shy;tional {{w|col&shy;oured|Person_of_color}} en&shy;ter&shy;tain&shy;ers of the {{w|USA|United_States}}, like {{w|Chuck Berry|Chuck_Berry}}, {{w|Bo Diddley|Bo_Diddley}}, {{w|James Brown|James_Brown}} and {{w|T-Bone Walker|T-Bone_Walker}}. Of the 2,000 or more groups work&shy;ing the mul&shy;ti&shy;tude of large and small {{w|clubs|Nightclub}}, no more than two dozen are in any way ori&shy;ginal, even in pop{{h}}music terms, and even these are root&shy;less shad&shy;ows of the sing&shy;ers on whose ma&shy;ter&shy;ial they draw. The dif&shy;fer&shy;ence be&shy;tween the blues of mod&shy;ern Amer&shy;ica and the {{qq|blues}} of mod&shy;ern {{w|United Kingdom|Britain}} is the dif&shy;fer&shy;ence be&shy;tween music which is an au&shy;then&shy;tic ra&shy;cial ex&shy;pres&shy;sion and music which is an ex&shy;pres&shy;sion of no more than a lik&shy;ing for the au&shy;then&shy;tic form.
-{{tab}}The ori&shy;gins of {{w|British {{qq|blues}}|British_blues}} are far from clear. Their sem&shy;inal genius may have been {{w|Muddy Waters|Muddy_Waters}} who toured Britain in 1958 but it was not until March, 1962, when the har&shy;mon&shy;ica player {{w|Cyril Davies|Cyril_Davies}} and the guitar&shy;ist {{w|Alexis Korner|Alexis_Korner}} opened the first of the clubs{{dash|next door to the {{w|ABC Teashop|Aerated_Bread_Company}} off {{w|Ealing Broad&shy;way|Ealing}}}}that the {{qq|boom}} really had its be&shy;gin&shy;nings. Korner and Davies played mainly {{popup|pre-war|The United States formally joined World War II in December 1941.}} blues of the negro night clubs of urban Amer&shy;ica. Once they had their own stage the {{qq|boom}} gathered in {{w|Cent&shy;ral London|Central_London}}, at&shy;tract&shy;ing a young audi&shy;ence in re&shy;ac&shy;tion against a par&shy;tic&shy;u&shy;larly en&shy;feebled pop music{{dash}}this was the hey-<wbr>day of {{w|Cliff Rich&shy;ard|Cliff_Richard}}. The Band{{dash|known as {{w|Alexis Korner{{s}} Blues In&shy;cor&shy;por&shy;ated|Alex_Korner's_Blues_Incorporated}}}}had the now fa&shy;mil&shy;iar line-<wbr>up of har&shy;mon&shy;ica, gui&shy;tars and drums and if it was un&shy;ex&shy;it&shy;ing com&shy;pared with its {{w|Chicago|Chicago_blues}} par&shy;ent it had, at least, a rhythmic earthi&shy;ness and an emo&shy;tional di&shy;rect&shy;ness which had been com&shy;pletely ab&shy;sent from pop music since the de&shy;mise of {{w|rock &rsquo;n&rsquo; roll|Rock_and_roll}} in the late &rsquo;50s.
+{{tab}}The ori&shy;gins of {{w|British {{qq|blues}}|British_blues}} are far from clear. Their sem&shy;inal genius may have been {{w|Muddy Waters|Muddy_Waters}} who toured Britain in 1958 but it was not until March, 1962, when the har&shy;mon&shy;ica player {{w|Cyril Davies|Cyril_Davies}} and the guitar&shy;ist {{w|Alexis Korner|Alexis_Korner}} opened the first of the clubs{{dash|next door to the {{w|ABC Teashop|Aerated_Bread_Company}} off {{w|Ealing Broad&shy;way|Ealing}}}}that the {{qq|boom}} really had its be&shy;gin&shy;nings. Korner and Davies played mainly {{popup|pre-war|The United States formally joined World War II in December 1941.}} blues of the negro night clubs of urban Amer&shy;ica. Once they had their own stage the {{qq|boom}} gathered in {{w|Cent&shy;ral London|Central_London}}, at&shy;tract&shy;ing a young audi&shy;ence in re&shy;ac&shy;tion against a par&shy;tic&shy;u&shy;larly en&shy;feebled pop music{{dash}}this was the hey{{h}}day of {{w|Cliff Rich&shy;ard|Cliff_Richard}}. The Band{{dash|known as {{w|Alexis Korner{{s}} Blues In&shy;cor&shy;por&shy;ated|Alex_Korner's_Blues_Incorporated}}}}had the now fa&shy;mil&shy;iar line{{h}}up of har&shy;mon&shy;ica, gui&shy;tars and drums and if it was un&shy;ex&shy;it&shy;ing com&shy;pared with its {{w|Chicago|Chicago_blues}} par&shy;ent it had, at least, a rhythmic earthi&shy;ness and an emo&shy;tional di&shy;rect&shy;ness which had been com&shy;pletely ab&shy;sent from pop music since the de&shy;mise of {{w|rock &rsquo;n&rsquo; roll|Rock_and_roll}} in the late &rsquo;50s.
-{{tab}}By the end of 1962 the {{w|Beatles|The_Beatles}} had had their first small hit, ''{{w|Love Me Do|Love_Me_Do}}'', fea&shy;tur&shy;ing the ma&shy;gical com&shy;bin&shy;a&shy;tion of har&shy;mon&shy;ica, gui&shy;tars and drums, and the {{w|Roll&shy;ing Stones|The_Rolling_Stones}} were mak&shy;ing their early pub&shy;lic ap&shy;pear&shy;ances at Ealing and else&shy;where. In Janu&shy;ary, 1963 the Stones ap&shy;peared for the first time at the ''{{w|Marquee|Marquee_Club}}''. The {{w|bill|Billing_(performing_arts)}} was topped by {{p|130}}{{l|{{popup|Brian Knight|British guitarist, 1939–2001}}{{s}}|https://www.theguardian.com/news/2001/dec/06/guardianobituaries}} Blues-<wbr>by-<wbr>six and the Stones earned &pound;2 each as the fill-<wbr>in group. By March the Stones had moved on{{dash|to the fringe of pop suc&shy;cess}}and their place was taken by another group from Ealing, the Mann-Hugg Blues Brothers, later to be re-<wbr>named {{w|Manfred Mann|Manfred_Mann}}. By the time the Stones had their first small hit, ''{{w|Come On|Come_On_(Chuck_Berry_song)}}'', in the summer of 1963 (only enough to earn them 83rd pos&shy;i&shy;tion in the 1963 ''{{w|New Mu&shy;sical Ex&shy;press|NME}}'' {{w|Points Table|Record_chart}}, equal with {{w|Sammy Davis|Sammy_Davis_Jr.}}, {{w|Frank Sinatra|Frank_Sinatra}}, {{w|Ken Dodd|Ken_Dodd}} and Chuck Berry) r&nbsp;&rsquo;n&rsquo;&nbsp;b was freely tipped as the next pop craze.
+{{tab}}By the end of 1962 the {{w|Beatles|The_Beatles}} had had their first small hit, ''{{w|Love Me Do|Love_Me_Do}}'', fea&shy;tur&shy;ing the ma&shy;gical com&shy;bin&shy;a&shy;tion of har&shy;mon&shy;ica, gui&shy;tars and drums, and the {{w|Roll&shy;ing Stones|The_Rolling_Stones}} were mak&shy;ing their early pub&shy;lic ap&shy;pear&shy;ances at Ealing and else&shy;where. In Janu&shy;ary, 1963 the Stones ap&shy;peared for the first time at the ''{{w|Marquee|Marquee_Club}}''. The {{w|bill|Billing_(performing_arts)}} was topped by {{p|130}}{{l|{{popup|Brian Knight|British guitarist, 1939–2001}}{{s}}|https://www.theguardian.com/news/2001/dec/06/guardianobituaries}} Blues{{h}}by{{h}}six and the Stones earned &pound;2 each as the fill{{h}}in group. By March the Stones had moved on{{dash|to the fringe of pop suc&shy;cess}}and their place was taken by another group from Ealing, the Mann-Hugg Blues Brothers, later to be re{{h}}named {{w|Manfred Mann|Manfred_Mann}}. By the time the Stones had their first small hit, ''{{w|Come On|Come_On_(Chuck_Berry_song)}}'', in the summer of 1963 (only enough to earn them 83rd pos&shy;i&shy;tion in the 1963 ''{{w|New Mu&shy;sical Ex&shy;press|NME}}'' {{w|Points Table|Record_chart}}, equal with {{w|Sammy Davis|Sammy_Davis_Jr.}}, {{w|Frank Sinatra|Frank_Sinatra}}, {{w|Ken Dodd|Ken_Dodd}} and Chuck Berry) r&nbsp;&rsquo;n&rsquo;&nbsp;b was freely tipped as the next pop craze.
-{{tab}}It seems to have hap&shy;pened for much the same reason as rock &rsquo;n&rsquo; roll ten years earlier: a teen&shy;age re&shy;ac&shy;tion to the sickly gut&shy;less&shy;ness of ortho&shy;dox pop. Its suc&shy;cess has led to ex&shy;traordin&shy;ary re&shy;sults. The Cliff Rich&shy;ard pop image of tidy, boy-<wbr>next-<wbr>door {{w|Chris&shy;tian&shy;ity|Religion_in_the_United_Kingdom#Christianity}}, has been re&shy;placed by a styl&shy;ised image of rough-<wbr>living{{dash}}beards, long hair, defi&shy;ant non&shy;chal&shy;ance and an in&shy;co&shy;her&shy;ent, un&shy;ar&shy;tic&shy;u&shy;lated curse against con&shy;form&shy;ity. The new image may be as un&shy;real as the old but it is a great deal more toler&shy;able. It is a clich&eacute; to ob&shy;serve that pop music is a ma&shy;jor field for the ex&shy;ploit&shy;a&shy;tion and ma&shy;nip&shy;u&shy;la&shy;tion of young people, gener&shy;at&shy;ing re&shy;spect for false values and poor stand&shy;ards, ex&shy;ploit&shy;ing dis&shy;satis&shy;fac&shy;tion to turn young people in on them&shy;selves rather than out on so&shy;ci&shy;ety, serving the func&shy;tion ascribed by {{w|Marx|Karl_Marx}} to re&shy;li&shy;gion, that of an {{qq|opi&shy;ate of the people}}. It would be un&shy;real&shy;istic to claim that r&nbsp;&rsquo;n&rsquo;&nbsp;b has altered this deeply en&shy;grained pop-<wbr>cul&shy;tural pat&shy;tern but it may have dented it. Since the suc&shy;cess of the Beatles{{dash|re&shy;corded not be&shy;cause they might be made into stars but be&shy;cause they ''already were'' local stars}}teen&shy;agers have shown a gradu&shy;ally in&shy;creas&shy;ing in&shy;de&shy;pend&shy;ence of the will of re&shy;cord com&shy;pan&shy;ies. {{w|Mersey&shy;beat|Beat_music}} and r&nbsp;&rsquo;n&rsquo;&nbsp;b{{dash|or at any rate the local vari&shy;ant on the Amer&shy;ican theme}}were cre&shy;ated by teen&shy;agers for them&shy;selves and al&shy;though the com&shy;pan&shy;ies have ex&shy;ploited this music, they have had their urual role, that of ''cre&shy;ating'' stars, stolen from them by teen&shy;agers. This has been a tend&shy;ency rather than a de&shy;cis&shy;ive trend but it may rep&shy;res&shy;ent the first steps of teen&shy;agers to free them&shy;selves of the para&shy;sites who live off them and their en&shy;thu&shy;si&shy;asms. It is not just that the qual&shy;ity of the music is bet&shy;ter, al&shy;though I be&shy;lieve it is (com&shy;pare the Beatle{{s|r}} ''{{w|I{{m}} a Loser|I'm_a_Loser}}'' or Manfred Mann{{s}} ''{{w|I{{m}} Your King&shy;pin|The_Five_Faces_of_Manfred_Mann}}'' with {{w|Adam Faith|Adam_Faith}}{{s}} {{w|''What Do You Want''?|What_Do_You_Want?_(Adam_Faith_song)}} or Cliff Rich&shy;ard{{s}} ''{{w|The Young Ones|The_Young_Ones_(song)}}'') but that the re&shy;la&shy;tion&shy;ships be&shy;tween stars and audi&shy;ences have changed. The new stars are ''of'' their pub&shy;lic, neither pat&shy;ron&shy;ising nor stu&shy;pid. They are ir&shy;rev&shy;er&shy;ent, they smoke, they drink, they be&shy;have with a nat&shy;ur&shy;al&shy;ness which would have earned them noth&shy;ing but abuse ten years ago and they are ar&shy;tic&shy;u&shy;late spokes&shy;men for the teen&shy;age thing as well as for their music. The new stars are not held in awe ex&shy;cept by the very young. The glub-<wbr>goer knows that re&shy;cords are poor im&shy;it&shy;a&shy;tions of club per&shy;form&shy;ances, that re&shy;cord suc&shy;cess leads to noth&shy;ing so much as the di&shy;lu&shy;tion of a group{{s}} {{qq|sound}} in an en&shy;deav&shy;our to court gen&shy;eral pop&shy;ular&shy;ity. It is, in short, doubt&shy;ful whether the com&shy;pan&shy;ies have ever held so little sway over the {{w|avant garde|Avant-garde}} {{qq|popnik}}. Most young people listen to noth&shy;ing but pop music and within this con&shy;text the in&shy;fu&shy;sion of some blues-<wbr>form into pop music is ex&shy;tremely wel&shy;come. Even in the hands of white sing&shy;ers it has in&shy;tro&shy;duced into a sadly ail&shy;ing pop cul&shy;ture some ele&shy;ments of an in&shy;fin&shy;itely richer ''folk'' cul&shy;ture {{p|131}}and some ele&shy;ments of a less cor&shy;rupted ''pop'' cul&shy;ture{{dash}}the music of Bo Diddley, Chuck Berry and James Brown still ex&shy;presses some&shy;thing of the agony of negro life as well as the enorm&shy;ous sur&shy;ging vi&shy;tal&shy;ity and new op&shy;tim&shy;ism of the {{w|Northern|Northern_United_States}} {{w|ghet&shy;toes|American_ghettos}}. British blues is primar&shy;ily a {{w|dance music|Dance_music}} and if it is im&shy;pure it has, at least, an en&shy;thu&shy;si&shy;asm which is pos&shy;it&shy;ively damning to in&shy;hib&shy;i&shy;tion. In the clubs there is a new vigour.
+{{tab}}It seems to have hap&shy;pened for much the same reason as rock &rsquo;n&rsquo; roll ten years earlier: a teen&shy;age re&shy;ac&shy;tion to the sickly gut&shy;less&shy;ness of ortho&shy;dox pop. Its suc&shy;cess has led to ex&shy;traordin&shy;ary re&shy;sults. The Cliff Rich&shy;ard pop image of tidy, boy{{h}}next{{h}}door {{w|Chris&shy;tian&shy;ity|Religion_in_the_United_Kingdom#Christianity}}, has been re&shy;placed by a styl&shy;ised image of rough{{h}}living{{dash}}beards, long hair, defi&shy;ant non&shy;chal&shy;ance and an in&shy;co&shy;her&shy;ent, un&shy;ar&shy;tic&shy;u&shy;lated curse against con&shy;form&shy;ity. The new image may be as un&shy;real as the old but it is a great deal more toler&shy;able. It is a clich&eacute; to ob&shy;serve that pop music is a ma&shy;jor field for the ex&shy;ploit&shy;a&shy;tion and ma&shy;nip&shy;u&shy;la&shy;tion of young people, gener&shy;at&shy;ing re&shy;spect for false values and poor stand&shy;ards, ex&shy;ploit&shy;ing dis&shy;satis&shy;fac&shy;tion to turn young people in on them&shy;selves rather than out on so&shy;ci&shy;ety, serving the func&shy;tion ascribed by {{w|Marx|Karl_Marx}} to re&shy;li&shy;gion, that of an {{qq|opi&shy;ate of the people}}. It would be un&shy;real&shy;istic to claim that r&nbsp;&rsquo;n&rsquo;&nbsp;b has altered this deeply en&shy;grained pop{{h}}cul&shy;tural pat&shy;tern but it may have dented it. Since the suc&shy;cess of the Beatles{{dash|re&shy;corded not be&shy;cause they might be made into stars but be&shy;cause they ''already were'' local stars}}teen&shy;agers have shown a gradu&shy;ally in&shy;creas&shy;ing in&shy;de&shy;pend&shy;ence of the will of re&shy;cord com&shy;pan&shy;ies. {{w|Mersey&shy;beat|Beat_music}} and r&nbsp;&rsquo;n&rsquo;&nbsp;b{{dash|or at any rate the local vari&shy;ant on the Amer&shy;ican theme}}were cre&shy;ated by teen&shy;agers for them&shy;selves and al&shy;though the com&shy;pan&shy;ies have ex&shy;ploited this music, they have had their urual role, that of ''cre&shy;ating'' stars, stolen from them by teen&shy;agers. This has been a tend&shy;ency rather than a de&shy;cis&shy;ive trend but it may rep&shy;res&shy;ent the first steps of teen&shy;agers to free them&shy;selves of the para&shy;sites who live off them and their en&shy;thu&shy;si&shy;asms. It is not just that the qual&shy;ity of the music is bet&shy;ter, al&shy;though I be&shy;lieve it is (com&shy;pare the Beatle{{s|r}} ''{{w|I{{m}} a Loser|I'm_a_Loser}}'' or Manfred Mann{{s}} ''{{w|I{{m}} Your King&shy;pin|The_Five_Faces_of_Manfred_Mann}}'' with {{w|Adam Faith|Adam_Faith}}{{s}} {{w|''What Do You Want''?|What_Do_You_Want?_(Adam_Faith_song)}} or Cliff Rich&shy;ard{{s}} ''{{w|The Young Ones|The_Young_Ones_(song)}}'') but that the re&shy;la&shy;tion&shy;ships be&shy;tween stars and audi&shy;ences have changed. The new stars are ''of'' their pub&shy;lic, neither pat&shy;ron&shy;ising nor stu&shy;pid. They are ir&shy;rev&shy;er&shy;ent, they smoke, they drink, they be&shy;have with a nat&shy;ur&shy;al&shy;ness which would have earned them noth&shy;ing but abuse ten years ago and they are ar&shy;tic&shy;u&shy;late spokes&shy;men for the teen&shy;age thing as well as for their music. The new stars are not held in awe ex&shy;cept by the very young. The club{{h}}goer knows that re&shy;cords are poor im&shy;it&shy;a&shy;tions of club per&shy;form&shy;ances, that re&shy;cord suc&shy;cess leads to noth&shy;ing so much as the di&shy;lu&shy;tion of a group{{s}} {{qq|sound}} in an en&shy;deav&shy;our to court gen&shy;eral pop&shy;ular&shy;ity. It is, in short, doubt&shy;ful whether the com&shy;pan&shy;ies have ever held so little sway over the {{w|avant garde|Avant-garde}} {{qq|popnik}}. Most young people listen to noth&shy;ing but pop music and within this con&shy;text the in&shy;fu&shy;sion of some blues{{h}}form into pop music is ex&shy;tremely wel&shy;come. Even in the hands of white sing&shy;ers it has in&shy;tro&shy;duced into a sadly ail&shy;ing pop cul&shy;ture some ele&shy;ments of an in&shy;fin&shy;itely richer ''folk'' cul&shy;ture {{p|131}}and some ele&shy;ments of a less cor&shy;rupted ''pop'' cul&shy;ture{{dash}}the music of Bo Diddley, Chuck Berry and James Brown still ex&shy;presses some&shy;thing of the agony of negro life as well as the enorm&shy;ous sur&shy;ging vi&shy;tal&shy;ity and new op&shy;tim&shy;ism of the {{w|Northern|Northern_United_States}} {{w|ghet&shy;toes|American_ghettos}}. British blues is primar&shy;ily a {{w|dance music|Dance_music}} and if it is im&shy;pure it has, at least, an en&shy;thu&shy;si&shy;asm which is pos&shy;it&shy;ively damning to in&shy;hib&shy;i&shy;tion. In the clubs there is a new vigour.
 </div></div>

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 {{DEFAULTSORT:Blues in the archway road}}
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   | previous   = [[../|Contents of No. 51]]
-  | next       = '''[[../What have they done to the folk?|What have they done to the folk?]]'''
+  | next       = [[../What have they done to the folk?|What have they done to the folk?]]
   | notes      =
 }}

Anarchy 51/Blues in the Archway Road - Revision history

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172.69.22.222: Created page with "{{header | title = ANARCHY 51 (Vol 5 No 5) MAY 1965Blues in the Archway Road | author = Ben Covington | section = | previous = ../|Contents of..."

172.69.22.222: Created page with "{{header | title = ANARCHY 51 (Vol 5 No 5) MAY 1965
Blues in the Archway Road | author = Ben Covington | section = | previous = ../|Contents of..."