Streaming has yielded bounties in numerous areas, but nowhere more than in the field of music documentaries catering to Baby Boomers. Those projects have also been enriched not just by nostalgia for great acts but by weaving their soundtracks into the evolution of the culture through tumultuous times in the 1960s and ‘70s.
流媒体在多个领域都产生了巨大影响，但在为婴儿潮一代服务的音乐纪录片领域尤为显著。这些项目不仅通过怀念伟大表演而得到丰富，还通过将它们的配乐编织进通过20世纪60年代和70年代动荡时期的文化演变中。
Add two more projects to that tally this week: “The Beach Boys,” an ode to the band that gave the world the surf sound and whose members, among other things, crossed paths with the Manson family; and “Stax: Soulsville USA,” HBO’s multi-part look at the Memphis music label that championed such artists as Otis Redding and Isaac Hayes.
本周再添两个项目：“海滩男孩”，这支乐队为世界带来了冲浪音乐，其成员还与其他人一起与曼森家族有交集;以及“斯塔克斯：美国灵魂城”，这是HBO对孟菲斯音乐标签的多部分探讨，该标签曾力捧奥蒂斯·雷丁和艾萨克·海斯等艺术家。
These productions have caught a different kind of wave, following “The Beatles: Get Back” and Peter Jackson’s more recent restoration of the Fab Four’s “Let It Be” on Disney+; “Paul Simon: In Restless Dreams” (MGM+); Netflix’s “The Greatest Night in Pop,” about the recording of “We Are the World” in 1985; “Thank You, Good Night – The Bon Jovi Story” (Hulu), and many more, among them an upcoming Cyndi Lauper documentary, “Let the Canary Sing,” on Paramount+.
这些作品抓住了不同类型的浪潮，继《披头士：回归》和彼得·杰克逊最近在迪士尼+上修复的披头士的《顺其自然》之后;还有《保罗·西蒙：在不安的梦中》(MGM+);Netflix的《流行乐界的伟大夜晚》，关于1985年录制《我们同属一个世界》的纪录片;《谢谢你，晚安——邦·乔维的故事》(Hulu)，以及更多作品，其中包括即将在派拉蒙+上映的辛迪·劳帕纪录片《让金丝雀歌唱》。
Despite advertisers’ historic emphasis on reaching younger viewers, streaming services also rely on subscriptions, and Baby Boomers’ money is as green as everybody else’s. Beyond appealing to that demo, the documentaries create the opportunity to introduce these acts and their music to newer generations, while providing fresh insights for those weaned on them.
尽管广告商历来强调吸引年轻观众，但流媒体服务也依赖订阅用户，而婴儿潮一代的钱和其他人一样也是绿色的。除了吸引该年龄段的人外，这些纪录片还为新一代人介绍这些表演和他们的音乐，同时为那些受这些表演和音乐影响的人提供新的见解。
