Screamin Lisas and Other Tales

One of Sinatra's publicists described how fans "squealed, howled, kissed his pictures with their lipsticked lips and kept him prisoner in his dressing room. It was wild, crazy, completely out of control. So girls screamed at Sinatra, they screamed at Elvis, they even screamed at Cliff Richard. What made Beatlemania a fan frenzy of a different order?

Of course, as with Liszt, the band's talent, charisma and showmanship were key, but two crucial extrinsic factors were timing and television. The baby boom meant there were more teenagers than there had been for Elvis or Sinatra, with more money in their pockets, filled with a powerful sense that society was changing. To love the Beatles in was to embrace modernity.

The critic Jon Savage, a year-old fan at the time, recently wrote in Mojo: It wasn't just entertainment. If you were a girl, especially one on the cusp of adolescence, Beatles fandom possessed an additional frisson. The critic Barbara Ehrenreich noted in a essay that while mainstream culture was increasingly sexualised paging Philip Larkin , teenage girls were still expected to be paragons of purity. Londoner Bridget Kelly remembers her first Beatles concert, at the Finsbury Park Astoria on Boxing Day , as the most important day of her young life.

I would never dream of being cheeky to my parents so that was our little outlet. To younger teenagers, the Beatles' cheerful, faintly androgynous sexuality was more approachable than Elvis's alpha-male heat: Best of all, there were four of them, each with his distinct appeal, so you could choose which one reflected your own preferences and desires.

George seemed a bit nothing. John seemed off-limits, too intimidating. We weren't at the age yet when we were permitted to date. We liked boys but boys were still a bit less mature than girls. These were young men but they seemed very attainable in some way. They were adorable, they were different, they were irreverent and our parents didn't approve of them, which made it even better.

Boys tended not to like them as much. I think they were intimidated by the fact the girls were so attracted to these young men. Reading this on mobile? Click here to watch video. Thanks to television, fans knew in advance exactly what was expected of them.

For American fans, the Beatles' appearance on The Ed Sullivan Show in February , to an audience of 73 million already primed by press hype, was an advertisement for Beatlemania as much as for the band. It was the noise that mademost impression on contemporary observers, who called the fans "screamers" and wondered why anyone would want to drown out their favourite band's music.

And it was the noise, eventually, that prompted the Beatles to retire from live performance in They also came to see one another. When Paul Johnson wrote, "The teenager comes not to hear but to participate in a ritual," he meant it as an insult but it certainly was a ritual. Although stereotyped as brainwashed consumers, the fans were far from passive.

They loved the music, of course, but they'd heard these songs a thousand times.

Interview: K.C. Grifant on California Screamin’ and the Horror Genre

When they screamed they were also celebrating themselves, their freedom, their youth, their power. Screaming didn't drown out the performance: We could barely hear the music because the sound systems weren't very good back then. There were police everywhere, trying to keep fans from jumping on to the field. Why are readers so drawn to the things that scare us? Horror is usually considered a catharsis. But realistic hostage or serial killer stories freak me out. The appeal of horror seems especially prominent right now, probably due to two factors: People needing a break from our current environment of unrelenting, distressing news and often negative hive-mind social media chatter, and a resurgence of high-quality shows and books to provide that release.

Have you come across any barriers being a woman in the field of literature, or working in the horror genre? Personally I have not, which I am grateful for. I am also fortunate to be a member of the H. However, I will say that the horror genre in general has some way to go in terms of equal representation. Occasionally people will name Mary Shelley but will be hard pressed to think of another woman in horror. Hopefully the great work being produced by many women writers, editors and publishers will gain more recognition not only inside the genre but outside as well.

Can you tell us a little bit about the book? This is a really exciting endeavor featuring work from local chapters of the Horror Writers Association H. Though this is not an H. Are you able to share a bit about your entry in the publication? As one initiate learns, members of the cult receive enhanced talents—for a price of course. Congratulations on the publication. When you sit down to write a story, what is your process? I am still trying to figure out an ideal process. Coe's musical style derives from blues , rock, and country music traditions.

Coe's lyrics frequently include references to alcohol and drug use, and are often boisterous and cocky. Coe's first country album, The Mysterious Rhinestone Cowboy , has been described as alt-country , " pre-punk " and "a hillbilly version of Marc Bolan 's glitz and glitter. Coe's albums Nothing Sacred and Underground Album contained profane, sexually explicit material, including songs making reference to an orgy in Nashville's Centennial Park, sex with pornographic film star Linda Lovelace , and insults directed at Jimmy Buffett and Anita Bryant. In his early career, Coe was known for his unpredictable live performances, in which he would ride a Harley-Davidson motorcycle onto the stage and curse at his audience.

From Wikipedia, the free encyclopedia.

Country blues rock [1] [2] country metal. David Allan Coe discography. All Music Guide to Country. Retrieved August 21, Retrieved September 6, Barts and Montserrat ". The Man from Margaritaville Revealed.