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Also like , is about , the watchword of that first rock and roll generation. Teen sexuality has been an issue in America since the invention of the rumble seat, always moving forward like a freight train, forever going faster and farther; and is a snapshot of America right before teen sexuality exploded, examining the early cracks in the armor of middle-class "respectability" and repression, the fantasy American Dream that never was but that came beaming into Americans’ homes over the television airwaves. Movie star Sandra Dee becomes ‘s overarching metaphor for the artificiality of adult American life, a symbol that needed piercing. Sandra Dee was a big star at this point, and just in the two years that spans, she released (1958), (1958), (1959), (1959), (1959), (1959), and (1959), jumping back and forth between empty-headed teen comedies and stark melodrama. Today, it may be hard to understand what Sandra Dee represented, but she was the poster girl for the big studios’ attempts to make teen movies, a genre which was up until that point the exclusive territory of small, low-budget producers like the ubiquitous Roger Corman (, and others). But the studios’ teen flicks were inevitably artificial in the extreme, creating a freakish – and clueless – adult imitation of the teen world, a kind of cultural Frankenstein, that teens could see right through. To savvy teenagers, Sandra Dee was a teen sellout, and in a world where authenticity was the goal, there was nothing worse. She was a fake – in her life, in her acting style, and in her onscreen emotions. Teen audiences didn’t want that; they wanted and . But adults loved Sandra Dee; she reassured them that teen was a "good girl."
But this song also works on a second level, as a cultural commentary on the power of drive-in movies in teen culture in the 50s. Cars had been changing sex since the 1920s, but by the 50s, more teenagers had access to cars than ever before, giving them the privacy they craved on a regular basis. Drive-in movies had been created as family entertainment, and between 1943 and 1953, more than 2,900 drive-in theatres opened in America, the total reaching nearly 5,000 by 1958. And once television stole the family audience, drive-in owners targeted their marketing exclusively at teens, while small, low-budget studios started cranking out material specifically for this new niche market, creating "teen exploitation" films that drastically changed and radicalized teenagers’ perception of themselves and each other. Drive-ins became a place to cruise for girls, hang with the "wrong crowd," get drunk and get laid (awkwardly, in the back seat). These films opened teenaged eyes to sex, violence, and other various vices like never before, inadvertently creating a new, more sophisticated, more cynical teen market. The fake movie dialogue in the scene leading up to "Alone at the Drive-In Movie" lampoons the two most prevalent genres of drive-in films: horror movies (a comic mix of and those paranoid 1950s "science run amok" flicks, like 1954’s ) and drag racing movies. Strangely enough, television had also come close to killing radio, in ratings and advertising revenue, until radio did what the drive-ins did by targeting teenagers.
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Many of these elements were put to the test during the Cuban Missile Crisis, when a series of misperceptions, miscalculations, and command-and-control problems almost started an accidental nuclear war—despite the determination of both John F. Kennedy and Nikita Khrushchev to avoid one. In perhaps the most dangerous incident, the captain of a Soviet submarine mistakenly believed that his vessel was under attack by U.S. warships and ordered the firing of a torpedo armed with a nuclear warhead. His order was blocked by a fellow officer. Had the torpedo been fired, the United States would have retaliated with nuclear weapons. At the height of the crisis, while leaving the White House on a beautiful fall evening, McNamara had a strong feeling of dread—and for good reason: “I feared I might never live to see another Saturday night.”
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When using quoted speech, don't let a voice talk for very long in your essay; it will take over and start to sound weird. Only the greatest writers can handle speech effectively over a long period of time. Keep the speech elements brief which is how speech is in real life, after all. We're not allowed to say much before we're interrupted by others or by something else going on. Also, don't try to duplicate the speech of real life, the way people really talk. Tape record a dinner conversation some evening, when people don't know you're doing it, and you'll probably hear something quite unpleasant, something that should never be written down. Use conventional spelling, and don't leave out letters or try to recreate in spelling what you hear people say (He dozn't do nuthin'!); your readers will become more aware of your clever spelling than they are of what's going on in your essay.
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The fact that Doody plays the guitar is very significant. The guitar was symbol of rock and roll, and by extension, of teenage rebellion. An electric guitar was a (just watch how rock Chuck Berry physically used his guitar). The guitar represented freedom, teen culture, emotion, romance, angst – and quite often, The guitar instilled ! That also explains Johnny Casino and the Gamblers in ’s prom scene – boy wanted to be a rock and roll star. 1959 was a pivotal moment for rock and roll. Up to that time, rock and roll addressed teen angst and misfired romance; but once the sixties arrived, rock songs would tackle war, injustice, sexual oppression, drugs, hypocrisy and authority, religion, and politics. The songs in straddle those two worlds, posing as the simpler songs of the fifties while subtextually delivering potent social commentary and satire.
World War Three, by Mistake | The New Yorker
Every technology embodies the values of the age in which it was created. When the atomic bomb was being developed in the mid-nineteen-forties, the destruction of cities and the deliberate targeting of civilians was just another military tactic. It was championed as a means to victory. The Geneva Conventions later classified those practices as war crimes—and yet nuclear weapons have no other real use. They threaten and endanger noncombatants for the sake of deterrence. Conventional weapons can now be employed to destroy every kind of military target, and twenty-first-century warfare puts an emphasis on precision strikes, cyberweapons, and minimizing civilian casualties. As a technology, nuclear weapons have become obsolete. What worries me most isn’t the possibility of a cyberattack, a technical glitch, or a misunderstanding starting a nuclear war sometime next week. My greatest concern is the lack of public awareness about this existential threat, the absence of a vigorous public debate about the nuclear-war plans of Russia and the United States, the silent consent to the roughly fifteen thousand nuclear weapons in the world. These machines have been carefully and ingeniously designed to kill us. Complacency increases the odds that, some day, they will. The “Titanic Effect” is a term used by software designers to explain how things can quietly go wrong in a complex technological system: the safer you assume the system to be, the more dangerous it is becoming.
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