Dance baby boom8/18/2023 ![]() "Breaker's Revenge," his contribution toīeat Street, splices a whoop from "Girls Just Want to Have Fun" and a lyric from "Perfect Beat" with the drum program from his production of Face to Face's "Under the Gun." He even makes a joke of his thievery on the latest Baker-Robie rap single credited to Guru, it's called "Who You Stealing From?" But what's yanked Baker out of the rap pack and made him a big-biz force to reckon with is his work remixing club versions of hit singles for Cyndi Lauper, Bruce Springsteen, David Bowie, Hall & Oates, and Diana Ross. Baker isn't exactly a musician - on the Bambaataa tracks, it seems clear that he manipulates the beatboxes and studio hardware while his collaborator, John Robie, invents the sinister keyboard melodies - so as a solo act, he frequently adopts the au courant technique of quotation. I'm talking about the masters here, specifically Arthur Baker, the Roland Barthes of the beatbox.īaker first made his name producing 12-inch dance singles for Tommy Boy and Streetwise Records, most notably Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat." Since then, he's produced tracks for theīeat Street soundtrack, his wife Tina B's debut, and the latest Hall & Oates (aptly calledīig Bam Boom), and he just signed with Epic as an artist. Looking for the perfect beat, these guys facetiously overplay dance rhythms, mess around with the mechanical pulse like a sadistic heart doc, and in general treat the beat as an overfamiliar text to be deconstructed. But whereas high-tech disco hit a dead end by concentrating too much on the BPM, the drum machine has created a new kind of artistry in the hands of producer-programmers who want something more than an automatic pilot. Even powerhouse drummers like Benny Benjamin, Hal Blaine, and Charlie Watts couldn't compete with the punishing BLAM-puck-puck-puck-BLAM that splinters radio speakers on my block nowadays. By now Linn drums, syndrums, the Fairlight, and the Synclavier have increased the efficiency of the beat by relieving its dependency on human limbs. It had such a good beat, you had to dance to it, or else. The beat never got brutal - certainly not during the Beat era, when you kept it by snapping your fingers, nor even during the Beatle era - until mid-'70s disco, when thump-thump-thump-thump was all you got. Apres la big bomb, le baby boom, whose number grew up with the knowledge of a new beat. If you wanted to dance to a Jitterbug, Rumba, or Waltz, you could always find p opular music to dance to.Because rock and roll was a bastard child, its birthdate is a matter of dispute, but one theory says it was August 5, 1945. ![]() Regardless, partner dancing was where it was at. ![]() It could be Chuck Berry getting us all riled up with “Johnny B Goode”, Elvis crooning “ It’s Now or Never“, or Patti Page doing “ The Tennessee Waltz“. The good thing about the 1950s is that, when it came to music, there was something for everyone. What is it about the music that makes the Baby Boomers love to dance? 1950s Let’s take a look at what was happening with the music during those years. Of course! Those were the years they grew up in. However, as I thought about it, I remembered that Baby Boomers love, love, love to dress up and act crazy at the parties with themes that were the 1950s, 1960s, and 1970s. ![]() Maybe it’s because they grew up with some of the greatest music of all time.Īt first, I had in mind to do a post on ballroom dance theme parties. One thing is for sure, whether they’re 50 or 70, Baby Boomers love to dance. Although some do embrace their golden years, many refuse to accept them. As a whole, this is a very resilient group of people with little desire to ‘act their age’. They were born after WWII between 1946-1964 and now are in their fifties to seventies. Baby Boomers make up a large portion of our population.
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