Soon after, in the 1960s, rock and roll would morph into Pop and Top 40, and it would no longer be the exclusive domain of the young. The adult world could finally got a grip on it. Elvis had been sent overseas. Chuck Berry was sent to prison for sexual misconduct. Congress held "payola" hearings to ruin DJs like Alan Freed, who broadcast his last live radio show in November 1957. Now, rock and roll would become commercialized and forget its roots. This would continue to happen to rock every decade or so. But is about the beginning, when rock and roll was still pure, still naked, still dangerous, and America was still terrified of it.
But the song also tells us that Kenickie doesn’t really know much about drag racing or about customizing cars. A true drag racing enthusiast knows that the accessories Kenickie dreams of don’t all make sense together. For example, the "four-barrel quads" refers to a carburetor, but a car with fuel injection (as in his "fuel injection cut-off") doesn’t have a carburetor – those two things would not be on the same car. And no one would chrome-plate connecting rods; chrome-plating was just for show and nobody can see connecting rods on a car. And though palomino leather was popular for car interiors, no one would put palomino leather on a dashboard. Finally, a kid in 1959 would make his car look good go fast; no kid had the money to do both (although you could argue that this just a fantasy). In fact, a drag car that looked good was the sure sign of a driver who wasn’t really serious about racing. It’s safe to assume that Kenickie probably knows very little about cars or drag racing, which gives this lyric far more complexity, humor, and character detail than it seems.
gender roles as Elvis was a safe, dream-like ..
A conspiracy theorist's wet dream semi-disguised as fiction, attempts, with painful sincerity, to suggest that Lee Harvey Oswald was a pawn of right-wing American industrial tycoons who wanted John F.
ElvisBlog | By Phil Arnold — Original Elvis Blogmeister
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The life of Elvis: Bob Dylan to Bono sound off on the …
Exactly like the teen market they were targeting, teen exploitation films were full of sex and sin and booze and cars, but many of them also had a sanctimonious "moral" laid out explicitly, at the beginning or end of the film, often by a nameless authority figure behind a desk or podium, sometimes by a "survivor" of the "tragedy." These fake morals gave the raunchy stories the patina of respectability to placate parents and would-be censors. But for the kids, these movies mirrored the real world, in which teenagers were discovering they had a certain kind of power, a kind of power that just might be able to challenge the power of their parents. And the teen rebel was born. In 1954, just a year before the kids would start high school, Elvis Presley burst upon the American scene with his first hit, forever changing notions of gender and sexuality, rebelling against the "strong, silent type" model of previous generations of men like John Wayne and Gary Cooper, in favor of a remarkably sexual, nakedly emotional new model of maleness embodied by the likes of Marlon Brando and James Dean. John Waters documented this cultural shift in his film , set just a few years before