Bringing it All Back Home
After the first wave of rock ’n’ roll, for a few years popular music was dominated by folk. Prizing its resistance to corporate capital and US imperialism, the music was broadly cognate with developments in documentary filmmaking, whose technological developments made possible an unprecedented informality in the relation between filmmaker and subject: cinema vérité or Direct Cinema. Around the same time and continuing with the popularity of British music in the United States, independently produced concert documentary films replaced the Hollywood jukebox musicals as the dominant form of rock ’n’ roll cinema: Jazz on a Summer’s Day (1960), The T.A.M.I. Show (1964), and The Big T.N.T. Show (Larry Peerce, 1966). Of these, Steve Binder’s T.A.M.I. Show recorded spellbinding performances by James Brown and the Rolling Stones, creating beautiful images of a black/white, US/UK musical commonality.
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