1968 steppenwolf hit featured in easy rider crossword

#1968 steppenwolf hit featured in easy rider crossword driver

In the mid-'80s, when someone referred to him as MTV's daddy, he asked for a paternity test.īut whether or not 'A Hard Day's Night' can be credited or blamed for MTV, it directly led to the idea for 'The Monkees' a television sitcom that started out as four musicians-turned-actors portraying musicians in a struggling rock band.

The 'Can't Buy Me Love' sequence is an obvious precursor of MTV-style music videos, which led to some suggesting that Lester is the father of MTV. The 'Can't Buy Me Love' segment in the film borrowed stylistically from Lester's 11-minute short film from 1959, 'The Running Jumping & Standing Still Film,' which pioneered the now common technique of cutting the images to the beat of the music. In the '60s, Richard Lester's 'A Hard Day's Night' changed the game by presenting 36 fictional hours in the lives of the Beatles, with a soundtrack peppered with their music (including instrumental versions performed by 'the George Martin Orchestra,' which consisted of the Beatles' producer and classical sidemen). We were in too much of a hurry to get out of that hotel room.' 'I can't say that the songs were overworked,' Stoller told Australian writer Ken Sharp in 2020. Aberbach blocked the door with a chair and took a nap, telling the writers they couldn't come out until they'd fulfilled their contract.įour hours later, Leiber and Stoller emerged, having written 'Treat Me Nice,' '(You're So Square) Baby I Don't Care' and 'Jailhouse Rock.' They'd write one more song for Presley to sing in the film - 'I Want to Be Free.' Rock 'n' roll must have been pretty easy. When they confessed they hadn't yet started writing the songs, Leiber and Stoller were sequestered in a hotel suite by Jean Aberbach, director of Hill & Range music publishing company. Finally they were called to a meeting in New York in April 1957, three weeks before the film was to start shooting. The songwriting team of Jerry Leiber and Mike Stoller were commissioned to write the songs for 'Jailhouse Rock,' but - the story goes - didn't do any work on the project for months.

Youthsploitation films included 1955's 'Blackboard Jungle,' which famously propelled Bill Haley's 'Rock Around the Rock' (three different versions of which were used in the film) up the pop charts 1956's 'The Girl Can't Help It,' and the 1957 Elvis Presley vehicle 'Jailhouse Rock.' While music was a part of the movies from the beginning - with in-theater pianists or organist providing the score, until the 1960s - almost all music heard in the movies was specifically recorded for that particular movie.Īfter World War II, the Hollywood musical enjoyed a golden age, and in the 1950s, the invention of the teenager as a marketing demographic gave rise to the youthsploitation film, a subgenre of which was the rock 'n' roll movie. The use of pop music in movies is ubiquitous today, which makes it difficult to imagine that it wasn't always so.

#1968 steppenwolf hit featured in easy rider crossword driver

The Maels' latest project is the rock opera 'Annette,' a collaboration with French director Leos Carax that stars Adam Driver and Marion Cotillard in singing roles. Edgar Wright - whose most recent project is the documentary 'The Sparks Brothers,' about brothers Ron and Russell Mael and their 50 years as the core members of the avant-garde band Sparks - also makes feature films ('Baby Driver,' 'Scott Pilgrim vs. Wes Anderson and Quentin Tarantino are similarly choosy about their soundtracks.

Gunn isn't the only film director known to obsess over the songs heard in his movies. Additionally, on 'The Suicide Squad,' he worked with film composer John Murphy on scored music cues before shooting of the film began, in order that the actors could hear these cues as they shot their scenes. Gunn famously writes the songs he wants to use into his scripts and often plays the music on-set while filming the scenes he intends to use them over. That's not surprising given that Gunn is known for his soundtrack choices, especially in the 'Guardians of the Galaxy' movies he made while he was affiliated with the Marvel Cinematic Universe.ĭrafted to craft a similar (though darker, edgier, sexier) product for the DC universe, he manages to go the radio-ready '70s rock of 'Guardians' one better, with a curated soundtrack that balances the familiar (Johnny Cash, the Pixies) with the surprising (Louis Prima, San Francisco punk band Culture Abuse) to underscore the emotional content of a scene or to provide an ironic counterpoint. One of the chief pleasures of James Gunn's 'The Suicide Squad' is the pop music on the soundtrack.