Frank Sinatra was spiritual but not religious before it was cool And then it was time for the final act. Dark eyes ringed with eye shadow, Beale Street suit, and slicked-back hair that would fall down over his eyes, Elvis Presley looked like nothing that had come before him that night, or ever in American television. Then he began to sing. Shaking, swinging, moving his hips, he had a sexuality and energy to his performance — a medley of Shake, Rattle, and Roll and Flip, Flop, and Fly, followed by I Got a Woman — that was shocking, and the girls in the audience began to scream. They would keep screaming for the next year, as Elvis's star exploded and the American teenage girl swooned at his feet. But why? Swooning, screaming, crying, hiding in dumpsters and climbing through windows and fighting police officers: For decades, young women have done all of the above and more, in pursuit of their teen heartthrobs. Franz Liszt, the 19th-century piano composer whose performances drove women to hysterics, struck the match, but the great teen idols of the 20th century, with their flashing teeth, vulnerable eyes, and crooning music, really fanned the flames of frenzied fandom that characterized midcentury pop music. Elvis Presley's early career is a textbook example of the phenomenon of screaming teenage girls that still seems to perplex adults and critics.
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