this is "through the decades," a unique hour-long time capsule. today we look back at the musical milestones that defined their times.. from the voice that set a new standard in cool. "social scientists study the amazing effect of sinatra's romantic crooning on his audience," to four young men who sparked a full-on invasion. "an epidemic called beatlemania has seized the teenage population, especially female." even the album that shattered records and crowned a new king. "i create right from the heart. there's no chemistry that i know of, i just project what i feel." those stories and more in the next hour, part of a different

experience, where we relive, remember and relate to the events that are cemented in history i'm ellee pai hong. and i'm kerry sayers. and i'm your host, bill kurtis. this is "through the decades." longfellow called it the universal language. plato said it gives wings to the mind and hendrix insisted it never lied. what they and so many were describing is music. it has the power to connect and define the decades. so today we are looking back at some morable milestones in music from a sound that would define detroit to t dawn of disco and the legacy of the incomp fraarable sinatra. but we begin with the for of nature known as beatlemania. the fab four sparked the hysteria in 1964 when they

another level when they landed on the west coast ready for their first u.s. concert ur. stepping off the plane the day before tir first concert tour began in san fran, the beatles were welcomed by 50,000 delirious fans. "andthis is beatleland formerly known as britain, where an epidemic called beatlemania has population, especially female. some of the girls can write and they belong to the beatle fan club the beatles sound like iect life but it's spelled b.e.a.t. beat. and these four boys from liverpool, with their dish- mopped hairstyles are britain's latest musical and, in fact, sociological phenomenon." "they have intruced what their press agents called the mersey sound after the river mersey on which liverpool stands

is no different than anyther rock-n-roll, except maybe louder, it has carried the beatles to the top of the heap." reporters were still skeptical. "what has occurred to you as to why you've succeeded?" "i don't know really. y know, as you say the haircuts?e didn't think they were a gimmick but everyone else said ho ho, what a gimmick." "do you have any fears that your public eventually will get tired of you and go on to a new favorite?" "well they probably will ..." "do you ever think about it? " ... but it depends how long it takes for them to get tired, don't it?" "it's stupid to worry about things like that." "it's not worth losing your sleep for." "it could end tomorrow or we could have quite a run. we just hope we'll have quite a run." uh, you might say they did. by the time the mop tops made their first foray over to the u.s. in february of 1964, they

"there've been huge crowds of teenage girls outside complaining that they don't want to mob you they just want to speak to you. what do you think about this? do you wanna lk to them?" "have you ever tried talking to about 200 people at once?" "we'd love to. if we wave, someone says 'stop that waving. you're inciting them!'" they showed off their sense of humor "who came up with the name beatles and what does it really mean?" "john thout up the name beatles and he'll tell you about it now." "it means beats, that's just a name like shoe." "the shoes! see we could have been called 'the shoes' for all you know." "the beatles effect on american culture was extraordinary because they changed our lifestyle. the length of hair that wgrew was only a small ramification." in 1999, dick clark explained why americans fell in love with the fab four. "everybody says the beatles were huge because of their music. probably true in the

initially because they oked different. they acted different. they had a great rsona especially on television; big, big image. people loved their personalities." thtour would criss cross the country with 32 shows in 24 citieslasting over a month. later that month, they'd hold a laid back press conference in new york. "what difference is the line here in this country and abroad?" "there's just more people over here." "the quality is not different in any way?" "it's a little bit wilder because there are more people." "how do you account for the type of reception that you get?" "we can't account for it." "well, it's been going on for quite a few months now. you must have some idea why people like you." "we don't. you know, really no idea. we can't tell." "what did you say ringo?"

first and we come after." "you think that's more important than your personalities?" "people heard us playing on records before thay saw us. you see us after we made the records." "and anyway if we made very bad records and i'm just saying that because you probably think there bad anyway." "no." "well, if we made very bad records, we'd definitely be finished." that first concert tour had changed how the industry thought about the money involved in this was an era when stars like frank sinatra could expect 10 to 15-grand for an appearance fee the beatles asked for and got as much as 40-grand plus a cut of theate. all told. those 33 days in 1964 would forever solidify the beatles place as a musical phenomenon. the beatles weren't the only act to invade america in '64.

another group of brits was about to put the raunch back in rock. we turn now to when the rolling stones rolled onto our shores and took america by storm. " it's not about looking back. it's not about rking decades or anything like that. it's all about that moment; that's the moment you're in in causeou gotta live...you are living in that moment...because you have to react very quickly if something goes wrong or something goes really right, you want to push it. you that's what you are living for. it's not a question of looking back on it." and what a ment it was. the band that made parents uneasy played up their role as delinquents. the stones hit new york to begin their first u.s. concert tour. all hell broke loose when mick, keith, brian, bill and charlie arrived in the big apple atteing a press conference and making their u.s.

and then it was on to san bernadino, their first u.s. concert and then on the tv show, the hollywood palace. . in between tour dates, they stopped in at chicago's chess studios meeting their idols like buddy guy. muddy waters, willie dixon and chuck berry. inspired, they recorded 14 tracks in just two days. "there is the odd moment of ec where this is a strange life." when our look at music milestones "through the decades" continues, we look back at when we all first learned what it meant to "hit the billboard" and the timeless legacy of ole blue eyes. "everybody in the whole world heard his music, and they all fell in love. everybody in the world fell in love to frank

queen and gave pop a new king. we're even looking at how music changed the way we look at an entire city. "once we came over to motown and you could just feel the magic. the special kind of difference motown had in comparison to thether labels in and around detroit." this is "through the decades."

the billboard music chart is a weekly ranking of the top recorded songs listened to across the country. but it wasn't until july 27, 1940 that it published its very firstpopularity list. for decades, we've kept up-to- date with the most popular music in the u.s. with the help of billboard charts. from the billboard 200 and the hot 100 to lists made for the billboard magazine's been around since the late 1800's. but it wasn't until 1940, that any song really "hit the charts." on july 27, 1940, billboard published the "national list of best selling retail records." it was the magazines firstpoll based on record sales across the country. fore 1940, the magazine created a number of lists like "records most popular on music

most radio plugs." none of them really had nationwide backing until july 27, 1940. the magazine included retailers from department stores to typical record stores. number one on that inaugural top ten list was tommy dorsey's "i'll ner smile again." followed by jimmy dorsey with "the breeze and i." more "charts" would come. the billboard 200 was released in march of 1958. the billboard 200 was released in march of 1958. magazine started showcasing the billboard hot 100 which would become the music industry's standard record chart for singles and it's where ro stations find the top 40. he was calle"the entertainer of the century." so as look back at milestones in music, tod we pay tribute to the larger-than- legend frank sinatra.

"social scientists study the amazing effect of sinatra's romantic crooning on his audience and most of them report, 'youth is still the same as ever!'" from the idol of the bobby- soxers to "the chairman of the board" ... "i thought you went home!" frank sinatra lived many lives, and lived them all grand, full and large. born ci on december 12, 1915, hgot his start with tommy dorsey's big band and quickly became the twentieth century's first superstar. at his peak, he was hollywood royalty, an oscar winner married to the most beautiful woman in the world. "at a midnight film preview, frank sinatra heads a list of celebrities, including his new wife, ava gardner and robert q. lewis. the showing of universal

stars, is attended by milton berle, who gets in a little fast work with the new bride." he also ruled las vegas as the head of the rat pack and when television debuted sinatra was ready to stake his claim. "well, here we are, the three of us! man, i feel like kookoo the bird girl up here. and they said it couldn't be done! now come on, now watch it, this is a big moment in my life. now come on, now watch it, this is a big moment in my life. now this is really a fine occasion for me! yeah, it's kinda like the meeting at the summit. i don't suppose there'll be anything bigger till elvis back and runs into ricky and fabian." (laughter) but above everything else eclipsing the comedy, movies, the marriages was that voice. "i long to kiss you" "it's him, it's everything, it's the way he says -- the way

he really crawls into the lyric, you know, he's telling that story, and he does it not only just with the lyric but musically, he's -- from a school of the great singers that were influenced by, really the greatest jazz musicians alive, and he phrases like a jazz musician. and so when you put a story that you're really committed to and have that kind story that you're really committed to and have that kind of delivery and phrase sits in that pocket with the artistry that's where the magic comes from." frank sinatra left us in 1998. but he also left us a legac one of the most cherished in music history. "everybody in the whole world heard his music, and they all fell in love." "everybody in the world fell in love to frank sinatra's music."

he's got it. " fellow rat pack member dean martin once said, "it's frank world. we just live in it." it still is and we still do. as we continue our look back at milestones in music, we'll look at some of the albums that would define their time. including a rock epic from a group that changed the heights the album that break records and catapult a star into another realm of fame. "i create right from the heart. there's no chemistry that i know of, i just project what i feel. i was ... the biggest influence for me was the '60s - the motown, the beatles, and the carpenters." plus, when we learned th rock had a new boss.

decade defining sound.

our look at musicalilestones "through the decades" turns now to disco. donna summer was the "queen of disco" and she claimed her crow on november 11, 1978, as her first number-one hit the charts.

music scene with six studio albums and dozens of hits on november 11, summer's song, billboard hot 100.topped the it was her first number-one hit and the beginning of the queen of disco's reign. (singing) "long after the curtain falls. it's you i hear." "long after the curtain falls. it's you i hear." donna summer gained national fame in 1975 when she released "love to love you baby." the 17-minute track was so provocative that some radio stations refused to play it. but it was a hit in clubs because it epitomized a growing movement of sexual, psychedelic dancing and partying that became known as disco.

from undergrounday clubs in new york city. it put sex, drugs and dancing out in the open. the counterculture of the '60s had faded and the united states was in recession. the vietnam war was nearing its end and young americans were searching for a way to express themselves and they found it in disco. "i think the music was happy. it was up. tt got inside of you. it was a part of you." "it was about that beat. it about that rhythm. it was about positive lyrics that made you feel good about yourself and that's what the whole time was about just, you ow, we wanted to have a good time." soon places like "the loft" and "12 west" were the hottest spots to escape reality and dance the night away. still, disco didn't truly reach the mainstream until 1977 when john travolta walked onto

disco had now left the club and moved into the white middle class. it took over radio stations, movies and fashion. platform shoes, bell-bottoms and mirror balls were everywhere. a futuristic, sophisticated form of free expression. by the time summer came out with "macarthur park" in 1978, disco was at its peak. summer would go on to have more number-one hits - "bad girls," "hot stuff" and "no more tears." the map and marked the height of the disco era. as fast at it swept through america, disco disappeared. the open sexual expression and drug use ran smack into the aids epidemic and disco was constantly criticized by rock-and-roll enthusiasts.

stones and the beatles made famous, disco put the audience on center stage and the music in the background. to some people, it made disco inaccessible. "the fact that it was sort of intimidating. i mean you had to look a certain way you had to be able to move a certain way and all of a sudden you couldn't get into your local bar without 400-dollar shoes on and i think a lot of people were intimidated by it." love it or hate it, disco's influence on american culture ' music danceable and fun. and for that, disco's influence has lasted long after the it faded into history. in music, there is sound and then there are those distinc defining sounds. today we're looking back at the invention that gave rock it's life blood

it's soul. even the song that would change

would you say no to a lot more money? [excited scream] you just won a million dollars! no thanks. nice balloons, though! or no to more vacation days? janet, i'm giving you an extra week's vacation! oh, ah... nooo. what? no way. who says no to more? time warner cable's all about giving you more. like the most free hd channels and virtually unlimited movies and shows on demand, so you can binge all day. call now. and don't forget the free tv app. get ultra-fast internet with secure home wifi to connect all your devices. saving on mobile data fees, helps big time. switch to time warner cable. for $89.99 a month you'll get free hd channels, 30 meg internet and unlimited caing to half the world. we can call aunt rose as much as we want now. switching is easy. get our exclusive 1-hour arrival window, a money-back guarantee with no contract to sign. plus get free installation, tv equiment and epix included.

honest...no. say yes to more. call now. on august 25, 1975, a 24-year old songwriter named bruce springsteen showed music fans who's the boss when he released his third album , "born to run."

best rock albums ever recorded. "bruce! bruce!" new jersey native bruce springsteen is americana. but in 1973, despite the critical acclaim after the release of his first two albums, the boss wasn't quite yet a household name. but that all changed after august 25, 1975 when his third album, "born to run" was released. album, "born to run" was released. "born to run" was a smashg success rolling stone wrote, "it is what rock and roll is supposed to sound like." in the same week in october 1975, bruce was featured on the cover of both time and newsweek magazine, the first rock and roll star to get that honor. the album's theme about teenagers trying to get out of new jersey in search of lives was praised for its

springsteen talked about the process. "usually the records never end up being what i thought they were going to be, they're always different." "you know, you have a general idea and then they kind of take on a life of their own very quickly so you have a certain amount of control over what you do and what you write, but a lot of it, like the 'nebraska' recd. i didn't think that record was gonna be like that at all." "and the 'born in the u.s.a.' record, i really thought that was gonna be a different type of record, you know?" "so, it's really you just try to tap into something and see what comes out." years later, he'd reveal the truth. "if you manage to put some real characters in there and some real living in there, they hold up, you know, in their own way." after born to run, bruce became a bona-fide rock and roll star. "i try to entertain myself mostly." "cause i know if i'm doing that, i figure i am

probably entertaining everyone else." his three hour plus concerts became legendary. "i can do a three and a half hour show but i probably couldn't like run around the block a couple of times, you know. it would tire me out. it's something when you get on stage, you have the motivation." "you're pride is involved and you know, you want to perform well and kind of just give people their money's worth." today we've looked at music that are forever etched in our collective memory but one sound is stitched into the fabric of an american city. it started when a young songwriter named berry gordy created motown records. part jazz, part gospel, part soul, it was music with a

motown. and though created by an african american man, for african american talent, motown spoke to everybody. "i wanted to tell the story of what motown was all about. i wanted to tell the story of how it felt, you know, the wins and the losses and triumphs and the disasters that happened along the way and how it was that i happened to come up with it." at a press conference for the london production of motown the musical, motown founder berry gordy revealed how his empire was created with just 800- dollars. a talented songwriter from detroit, gordy, who worked in an automobile factory, took that cash and created tamla records on january 12, 1959. later, it would be known as motown records.

it the motor city sound- the detroit sound." "the '60s were a very turbulent time especially with the war going on and people needed something to make them happy." "he used to call it the music of young america. it became the music of the world." music would never be the same. in 1960, berry set up motown's headquarters, buying a two story house on 2648 west grand boulevard calling it hitsville, usa. boulevard calling it hitsville, usa. "i mean our job at hitsville, usa at motown was to bring out the potential. my feeling's always been that less than one percent of the people in the world reach their full potential because there's not someone in the world to tell them what they got and believe in them and what i did was, when i believed in an artist, i made them believe in themselves." by 1960 motown, with gordy as a co-writer had its first hit with "money, that's what i want" &

"shop around" by smokey robinson and the miracles become the first motown record to sell one million copies. singers like little stevie wonder, diana ross and the supremes, the tempations and the four tops were just a few of the artists who would arrive at hitsville - talented but sometimes unpolished - and emerge a motown superstar. "you love 'em and they've been such a big part of your lives, the tempatations." otis williams of the the temptations says his group joined motown after a chance meeting with gordy in the men's room. "once we came over to motown and you could just feel the magic. the special kind of difference that motown had in comparison to the other labels in and around detroit." "it was just wonderful being there." "i think motown was subtely a force for social change but not

they just made great music. an awful lot of people didn't know they were black. berry gordy was smart enough at that stage of his life, cause we lived in a segregated society, to put white people on the covers of the albums and put the black music inside. suddenly people said, 'oh they're black and they're from detroit.' very, very, very clever marketing." by 1975, motown industries was the largest black owned corporation in the world. "it was a genre of music that was requested by all sorts of everybody liked motown. you didn't have to be one type of person. everybody loved motown music." the company would produce hit after hit after hit. "motown is an institution. it's really probably the first institution that was really run by black people where they decided to do it for themselves and they became ... they empowered themselves and they stuck their neck out and made

hollywood walk of fame ceremony, diana ross who would emerge as one of gordy's star pupils- first as a supreme, then as a solo act, then later as a movie star and even mother of his child credited gordy for fostering the motown talent. "there is only one berry gordy. a man with a vision that really took so many young talent out of detroit and showed them the world, gave us an opportunity to learn and to embrace world, gave us an opportunity to learn and to embrace that we would do naturally - to sing and to be able to perform." smokey robinson, one of gordy's best friends echoed the sentiment in his tribute to him. "berry gordy, as far as i'm concerned has many stars on hollywood boulevard already. he has the jackson 5, the

gladys knight, the supremes. he has diana ross. he has michael jackson. he has me." "and inside all those stars should be a 'b.g.' on there for berry gordy because without him, i don't think any of us would have been here because we're a part of his dream." "people always say, 'what is the motown sound? to me the motown sound is a big musical stew and people and who contributed to it but the main ingredient of that stew is berry gordy." "we honor one of hollywood's most remarkable talents. a man who's mix of ideas, ambition and perseverance has created one of the most extraordinary musical careers in our lifetime." "the history of motown is not only a part of african american

american history." our history is as layered as our music. the songs we listen to don't exist in a vaccum and mutliple movements can be unfolding at the same time. we've already seen how disco and springsteen were both going strong in the '70s. at the same time, art rock was reaching new heights. same time, art rock was reaching new heights. dazzling, elaborate concept albums fused rock-and-roll conventions with lofty, ambitious themes. on november 30, 1979, pink floyd, a band known for its psychedelic sound and singular vision, released the album that would come to define the genre. a rock opera called, "the wall." by 1979, pink floyd was already one of the world's most successful bands. their

them a huge international following. in fact it was the group's almost suffocating success that gave bassi roger waters the idea for "the wall." "in terms of growth and development, for me personally, the band really had fulfilled most of it by the end of "dark side of the moon." but that was like, when we became, when that record was that successful, we then clung together for a number of years with the wealth, in philosophically and politically we were diverging and we were going off on separate paths in separate directions. we stayed together for a long time because it was safe, you know, that's a very safe umbrella, a brand name like that." the album's songs tell the life and career of a musician named pink, based on waters, whose fame allows him to isolate himself, to brick himself up

its release was followed by an elaborately staged concert tour and in 1982, "the wall" was made into an equally visually arresting movie. the camera angles. the way they moved the camera, just everything. fantastic. i never saw anything like it before." "it's full of everything. it has everything. i really can't put it down in words. you have to see it." "the schoolchildren singing on 'another br2, know, there was a big kind of a emotional hook in there for people. i think with lots of big single records there's some small thing there and lots of people thought, think, that 'the wall' was an attack on the education system, and so on, and of course it wasn't at all, that was one of the, uh -- i mean there's always that irony, that if 30 million people buy a record, maybe only five million of them will actually cop the whole thing all necessarily."

understood or not, "the wall" went platinum in just four months. it was the last of rock's colossal concept albums. they'd been bulding in scope and ambition, from the beatles' "sergeant pepper" to the who's "quadrophenia" to pink floyd's own "dark side of the moon." after "the wall," the stripped-down era of new wave and punk rock started taking over. still "the wall" stands as one of those albums that has earned its spot in rock history. of those albums that has earned its spot in rock history. when our look at music milestones "through the decades" continues, we look back on the songs, the videos and the album that took michael jackson to new heights and when a rocker recruited h daughter to give us a whole new

playing. louder. it seems that's one element of music that's remained a constant since the beginning of time and certainly a factor in the creation of the electric guitar. on august 10, 1937, the first patent for the electric guitar was awarded but it was something that had been in the works since the end of the nineteenth century. the problem was becoming

it was a struggle to hear an acoustic guitar among the other louder instruments like the horns and drums. jazz , big band and even country musicians were calling for louder and stronger guitars. some musicians tried placing transmitters inside their guitars to amplify the sound to no avail. in 1931, texan inventor george beauchamp ( ) along with adolph rickenbacker, an engineer and paul rt electromagnetic pickup device which amplified the guitar's strings vibrations. then they created the guitar's body, the "frying pan" as it was nicknamed - a lap held, solid bodied, steel bodied hawaiian guitar named for its unique shape. they called the guitars 'rickenbackers.' competitors tried improving on beechum's design. it took until 1937 before the patent for the "frying pan" or

was awarded. in time, the more versatile spanish style electric guitars would emerge but without this first electric guitar, which revolutionized jazz, blues and country music, there would be no rock n' roll. michael jackson's first brush with fame came as a 5-year old in gary, indiana. he was 11 when he and his brothers debuted on the ed sullivan show. the '70s saw him go solo but the '80s saw him hit a level of fame that started with an album called "thriller." at the dawn of the 1980's michael jackson was already a pop star. his prior album "off the wall" sold 20-million copies. and michael reveled in the attention. "those years we could hang out. we could go to things together

broadway -- he liked stephanie mills in the wiz -- and watch the kids come up to him, and all wanted the autographs, and i would say "why don't you just sign, you know, mj instead of michael jackson?' just the way andy warhol always signs everything aw. and he says 'oh no i could never do that. these are my fans, these people make me.' and he was so darling and sincere and sweet in those years." for michael's much-anci again with renownwed music producer quincy jones. the two poured over hundreds of songs before comng up with the final nine for the album four of which were written by michael. the album was "thriller" and its release was met with immediate praise and meteoric sales. "i don't think at all, i feel it. i create right from the heart. there's no chemistry that i know of, i just project

biggest influence for me was the '60s -- the motown and the beatles and the carpenters." within three months of its release "thriller" reached the top of the billboard chartsnd would stay there for an unprecedented 37 weeks. the success of "thriller" tapped into another exploding cultural force of the '80s, music videos which turned out to be a perfect vehicle s jackson's showmanship and dance moves. and the popularity of jackson's music videos would also break a preconceived color barrier at m-tv, and open the way for many other black artists to reach mainstream audiences. "...and we were breaking barriers. it was very hard to get someone who wasn't white on the cover of magazines, or even m-tv."

brothers appeared on a live nbc broadcast honoring the 25th anniversary of the motown record label. - it was there that 47 million tv viewers saw what would become his defining dance move, the "moonwalk". michael's motown performance drew comparisons to the michael's motown performance drew comparisons to the beatles' sullivan show and catapulted him to new and singular heights of stardom. everywhere he went he was greeted by throngs of adoring fans. "i saw him for many years, i saw the 'off the wall' success and the 'thriller' success -- the super success -- before that we had other, going places, we had other records and parties at studio 54, but with 'thriller' every barrier was broken. stadiums all over the world were sold out. it became the biggest record of all time."

but michael jackson, and "thriller", weren't finished breaking barriers. in december of 1983, one year after the release of the album, michael debuted the tour de force music video named for the album's title track. the "thriller" video was really a 14-minute short film featuring a big name dirtor and state of the art production values. "thriller" would go on to eight grammy awards, including album of the year and best male performance for both pop and rock and its sales would break all rerds, topping 100 million units according to some estimates. the "thriller" music veo would also be recognized as a of congress.asure by the library for michael jackson himself, "thriller" secured his place in music history and made him one of the most recognizable and

the songs we listen to have a way of leaving the radio behind and becoming a part of our daily lives. when we continue - the song, the stereotype, and the pop culture phenomenon that took off in the '80s. culture phenomenon that took off in the '80s. john, we're giving you a raise. that's fantastic! but i'm gonna pass. are you ok?

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our look at musical milestones brings us to the summer of '82 the rage. frank zappa wrote the hit song which basically made fun of the spoiled rich kids from the san fernando valley and the way they talked. as if?! zappa got his 14 year old daughter moon unit to collaborate with him on it and the rest is like valley girl history. "he just woke me up one night and said come on down to the studio and let's try to get you

things - bondage, my toenails." "i wrote a straightforward, journalistic kinds of a song about people in a certain part of the country who had a certain kind of values and said that they're airheads and i really didn't care for them too much and then i had my daughter do a monologue to demonstrate how they talk and what do you think happened? because this is a perfect world, millions of people wanted to talk like that and dress like that. so you exploting who here?" as much as the absurdity of it all made frank zappa wanna gag himself with a spoon. his daughter moon saw it differently saying it wasn't just a song, it was a way of life. "he doesn't really understand that this has taken off and vals are out there everywhere loving it." but it wasn't just the vals "long ago, an authority said

synonomous with rigor mortis and so our language changes. it becomes richer. it becomes poorer and now as terry drinkwater reports, there is a new outbreak of americanisms and it may be spreading." "oh my god. i'm sure. gag me with a spoon. totally." "it's like, i mean, like totally. like, my teacher's like gag me with a spoon. it's like totally. disgust." moon zappa attempted to explain the valley girl phenomenom. "it's almost as if they have this and it's an underbite and frantic hair flipping, very often." while the valley girl trend may have started in southern california , soon it went global. it was teenage trend having to do with how one looked, how they spent their time and of course social status but it was mostly about the way they talked. "gag me with a spoon-means makes me wanna throw up. and if

either be dirty or disgusting to the extent that you love it to death.tubular. a wave could be tubular. the curl of a wave and how something grows and it starts out to to be okay and it grows and becomes more and more awesome as it goes along." valley girls knew exactly who they were "a valley girl is someone that knows how to be a val and handle herself in such a way that from the valley'." tracy nelson who played jennifer deluccio, the valley girl wanna be in 1982's "square pegs," says her character was the original valley girl before anyone ever heard the zappas' song. "when my dad mentiond it, i got very upset when that album came out . he mentiod that it could almost like be construed as a promotion for it, which is

developed two months before valley girls came out. she's not an airhead. she's much more. she's a snob really but she has that same kind of looseness." but tracy didn't seem sold on the idea of a valley girl "well you know, she talks like this. she's very cool. it's very silly." but don't ever tell that to a valley girl. "i mean, get serious. barf out. oh my god!" barf out. oh my god!" [ boomer ] imagine what you wear every day actually making your body feel better... making your whole day better. hi, everybody. i'm boomer esiason. and that's exactly what tommie copper do for me. now, they call it "wearable wellness" and they have infused it into everything they do. slves that help support aching elbows and knees. tops that can help ease your overworked, sore back and shoulders.

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that'll do it for us today. i'm bi kurtis. as we leave, one last look back at musical milestones, "through

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