Changes in Hollywood/pop music due to the decree, television and Aretha Franklin

United States v. Paramount Pictures, Inc. is a 1948 decree that changed Hollywood.

Due to this decree, film studios started divesting themselves of their theatre chains, indie producers and directors won freedom and films in the indie, foreign and alternative genres sprang up.

After the Second World War, television emerged in popularity as cinema's main rival.

Television's popularity led to a decline in movie theatre attendance, but also led Hollywood to develop larger-than-life, innovative and creative experiences that television could not match.

Some of the noted film innovations, including widescreen and stereophonic sound, were not enough to prevent television's popularity, but did successfully change the Hollywood film industry.

With innovations, such as widescreen and stereo sound, Hollywood successfully made a pivot towards blockbusters and high-end visual experiences, but also made a surge in colour production.

Hollywood also started to target a younger demographic wanting to leave the house (pivoting from the older demographic who stayed home with television).

CinemaScope has anamorphic lenses to squeeze a wide picture onto standard film, making widescreen affordable for film theatres around the world.

VistaVision is a widescreen film format for higher resolution and clarity.

Panavision is a company that develops superior lenses to counter visual distortions in close-ups.

Technicolour is a process to counter early television's monochrome.

Eastmancolour is a cheaper alternative to the expensive three-strip Technicolour process, which allows more films to be shot in colour than monochrome.

Marilyn Monroe serves as the defining cinematic icon of the post-decree and television era.

Just before the 1950's, films were made for general audiences.

In addition, the main exhibition venue for general films in the pre-1950's era was a downtown-based movie theatre chain owned by film studios, featuring a lavish look.

Plus, the core themes for general films in the pre-1950's era were escapism, romance, patriotism and traditional values.

Besides, general films in the pre-1950's era used orchestral scores and homogenized pop music.

The post-Paramount decree/television era, particularly the 1950's, meant that films were being created exclusively for teens and young adults.

Furthermore, the main exhibition venue for youth-targeted cinema in this post-1950's era was an indie theatre chain based in neighbourhoods and drive-in theatres based in outskirts.

In addition, the core themes for youth-targeted cinema in the post-1950's era were rebellion, romantic angst, alienation and anti-authority sentiment.

Youth-targeted cinema in the post-1950's period also used modern rhythm & blues and rock music.

Both the 1948 Paramount decree and television's early popularity are signs signalling the end of a rigid period for Hollywood, and a fresh and new generation of stars arrived.

Furthermore, both the Paramount decree and television's early popularity also led Hollywood to end its philosophy, which was "something for everyone."

With both the Paramount decree and the early popularity of television, American cinema underwent its transformation from a general entertainment habit into a targeted, youth-driven subculture.

Riffs, runs and melisma are vocal techniques being laden with soft and breathy whispers, vocal fry and choked-back tears/sobs, all belonging to female singers with soul.

Aspirate offsets have a breathy sigh at the end of each lyric.

In addition, soft and breathy whispers are used by female singers to provide a intimate feel.

Choked-back tears/sobs, vocal fry and cracks/flips also go to singing girls/women, in order to utilize a soulful, a sexy and an emotional effect.

Ad-libs, frequently featured in pop, rhythm & blues, soul and hip-hop, are improvised and spontaneous vocal additions that enhance the emotional delivery and energy of a music performance.

Plus, the trend for multi-layered vocals is also used by female singers with soulful voices.

Harmonies and belting also add to female singers with soulful voices

Besides, call-and-response backing vocals, chords and moans, all coming from gospel, are also used in mainstream pop/soul music.

Standard ad-libs being utilized in the pop/rhythm & blues/soul music lyrics include "Yeah," "Oh/Ooh," "Whoa/Woah," "Mmm/hmm," "Uh/Huh," "Ah/Ahh," "Hey!," "Ow!" and "Woo!"

Meanwhile, the romantic/emotional ad-libs in the pop music lyrics include "Baby," "Oh, baby," "Baby, baby," "Oh, baby, baby," "Baby, baby, baby," "Ooh, baby" and "Ooh, baby, baby."

Plus, the negative/distressed ad-libs are "No," "No, no," "Oh, no" and "No, baby."

Besides, the hype/command ad-libs include "Come on," "Let's go," "Get it," "Listen" and "Tell me."

Ad-libs surrounding sexuality are "That's hot," "I'm hot," "I'm sexy," "Get sexy" and "Make it sexy."

Variant ad-libs in the pop music lyrics include "Hey, yeah," "Oh, whoa-oh, baby," "Oh, whoa-oh, hey, yeah," "Yeah, yeah, yeah," "Yeah, baby," "Whoa-oh, yeah" and "Oh, whoa-ooh, hey, yeah."

Furthermore, the other variant ad-libs are  "Mmm, yeah" and "Woah, yeah, uh-huh."

Plus, in pop music, melismatic styles, specifically vocal riffs and runs, are common ad-libs.

Incidentally, female singers in pop music utilize riffs, runs, melisma and aspirate gradual/abrupt offsets with ad-libs, all with a soulful, emotional and sexy rhythm & blues-like delivery.

Modern pop tunes also feature spoken parts, sometimes with a telephone effect, to offer female music artists a sexy, yet emotional effect.

Girls/women use wet hair in either music videos seen on/made à la MTV or live performances through actual water (rain/splashing, sweat from intense performances or styling gel/products.

Wet hair for girls/women creates sexiness, raw emotion and intense energy.

The wet hair look for girls/women in music videos or live concerts is the visual answer to the soulful, emotional and sexy vocal riffs, runs, melisma, belting, aspirate offsets and ad-libs.

Using wet hair for girls/women (either in music videos or in live performances) translates the physical effort of a soulful performance into a visual language of sweat, rain and raw intensity.

Incidentally, for female music artists, this wet hair and ad-lib combo could turn them into visceral/real performers leaving behind the polished star image.

For female singers, they utilize their voices to offer the intimacy (ad-libs, whispers and sighs) and their styling to provide the intensity (wet hair, rain and sweat) in either music videos or live events.

As a matter of fact, females look, sound and feel hot and sexy with soulful singing voices and wet hair.

Riffs, runs, melisma, aspirate offsets and trembling notes are for singing girls using a deep and soulful texture, a gusty and raw delivery and a thick and resonant tone, all overflowing with emotion.

To make a long story short, soulful singing girls are like stormy weather.

Both Marilyn Monroe and Aretha Franklin are iconic and world-famous female figures who influence girls/women doing the same feat.

Whereas Marilyn Monroe has a soft and breathy tone, Aretha Franklin is emotive and sob-choked.

Combining Marilyn Monroe's soft breathiness with Aretha Franklin's sobs/cries, whether they are being used in riffs, runs and melisma, creates a paradox.

I Never Loved a Man the Way I Loved You is Aretha Franklin's 9th studio album, doubling as her first released through Atlantic Records; it reached number 2 on the Billboard Hot 100.

Just prior to her I Never Loved a Man the Way I Loved You album, Aretha Franklin's 8 studio albums were released under Columbia Records, all of which used jazz, yet flopped.

However, Aretha Franklin's I Never Loved a Man the Way I Loved You album is her breakout album.

The title track of the I Never Loved a Man the Way I Loved You album serves as Aretha Franklin's first major success, peaking at number 9 on the Billboard Hot 100.

On the other side of the border, Aretha Franklin's I Never Loved a Man the Way I Loved You peaked at number 5 on the Canadian pop music charts, marking her first major Canadian success.

Respect is Aretha Franklin's signature tune, but also a music landmark, having been covered by female musicians with soul.

Whereas the original Respect version focuses on a plea from a working man, Aretha Franklin's version focuses on confidence and fierce independence for girls/women.

Using the letter-by-letter spelling "R-E-S-P-E-C-T" and the playful refrain "Sock it to me," this Aretha Franklin version of Respect is an anthem for both civil rights and second-wave feminism.

The Aretha Franklin version of Respect topped the Billboard Hot 100 and rhythm & blues charts.

Meanwhile, on the other side of the border, Aretha Franklin's Respect version reached number 3 on the Canadian pop music charts.

Beyond its North American success, the Aretha Franklin iteration of Respect also won success in other parts of the world, notably Europe and the Asia-Pacific region.

Aretha Franklin's iconic iteration of Respect reached number 10 in Britain, number 14 in Australia and number 7 in the Netherlands, establishing her as a global music icon.

Plus, Aretha Franklin's Respect version won 2 Grammy Awards; it was also inducted into the Grammy Hall of Fame and the National Recording Registry.

For Aretha Franklin's version of Respect, it is one of the best, greatest most famous songs ever.

Whereas Aretha Franklin's I Never Loved a Man the Way I Loved You tune achieves success in North America (but not worldwide), Respect earns truly successful global dominance.

Incidentally, Aretha Franklin's version of Respect is her worldwide breakthrough.

During the pre-Aretha Franklin era, female vocals in mainstream pop music comprised girl groups or smooth and conversational pop.

The worldwide success of the Aretha Franklin version of Respect proves that female music singers in mainstream pop music could use powerful, soulful and emotional gospel techniques.

Girls/women sing the Aretha Franklin version of Respect while doing everyday tasks, such as taking a shower.

Fritz Pfleumer, an Austrian-German engineer, invented magnetic tape in the late-1920's.

Magnetic tape, which was the best-known innovation by Fritz Pfleumer, later became the basis for the equally-innovative Magnetophon, developed in the 1930's by AEG.

During the Second World War, magnetic tape was kept secret, but when the Allied forces, including the United States, emerged victorious in this war, they acquired recording equipment from Germany.

With an Allied victory in World War II, many Americans, such as John T. Mullin, John Herbert Orr and Richard H. Ranger, took magnetic tape from Germany and perfected this trend.

The Ampex Model 200A, an improved American version of the innovative Magnetophon, which was based on Fritz Pfleumer's magnetic tape invention, was introduced in 1948.

For the Ampex Model 200A, it revolutionized both the broadcasting and the recording industries.

With the Ampex Model 200A, pre-recorded radio programs provide more schedule flexibility, but also attract established and emerging artists untied to live broadcasts.

Neumann has its first post-war microphone.

Ross S. Snyder developed the Sel-Sync at Ampex, the first ever machine to have multitrack recording techniques, with Les Paul as its first customer.

Using magnetic tape - and later, Ampex multitrack recorders - coupled with Neumann's first post-war microphone, girls/women a Marilyn Monroe and Aretha Franklin can sing by themselves.