{ "id": "epkfkaa6ce", "slug": "hail-hail-rock-n-roll", "title": "Hail! Hail! Rock 'n' Roll", "updated": "2026-11-01", "topic_path": [ { "id": "culture", "label": "Arts and culture", "api_url": "https://www.edgepedia.org/api/v1/topics/culture" }, { "id": "culture.performance", "label": "Screen and stage", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance" }, { "id": "culture.performance.screen", "label": "Film and television", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen" }, { "id": "culture.performance.screen.films", "label": "Films and standalone screen works", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films" }, { "id": "culture.performance.screen.films.films.genre-form", "label": "Films by genre, form, and subject", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.genre-form" }, { "id": "culture.performance.screen.films.films.genre-form.documentary", "label": "Documentary and biographical films", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.genre-form.documentary" }, { "id": "culture.performance.screen.films.films.genre-form.documentary.documentary-by-subject-arts-music-place", "label": "Documentary films by subject: arts, music, sports, and place", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.genre-form.documentary.documentary-by-subject-arts-music-place" } ], "geo": [ { "id": "geo.us.t1946.culture.performance.screen.films.films.genre-form.documentary", "label": "United States · 1946 to 2000: Documentary and biographical films", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance.screen.films.films.genre-form.documentary", "path": [ { "id": "geo.us", "label": "United States", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us" }, { "id": "geo.us.t1946", "label": "United States · 1946 to 2000", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946" }, { "id": "geo.us.t1946.culture", "label": "Arts and culture", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture" }, { "id": "geo.us.t1946.culture.performance", "label": "Screen and stage", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance" }, { "id": "geo.us.t1946.culture.performance.screen", "label": "Film and television", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance.screen" }, { "id": "geo.us.t1946.culture.performance.screen.films", "label": "Films and standalone screen works", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance.screen.films" }, { "id": "geo.us.t1946.culture.performance.screen.films.films.genre-form", "label": "Films by genre, form, and subject", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance.screen.films.films.genre-form" }, { "id": "geo.us.t1946.culture.performance.screen.films.films.genre-form.documentary", "label": "Documentary and biographical films", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.us.t1946.culture.performance.screen.films.films.genre-form.documentary" } ] } ], "excerpt": "Hail! Hail! Rock 'n' Roll, also called Chuck Berry: Hail! Hail! Rock 'n' Roll, is Taylor Hackford's 1987 documentary of Keith Richards's 60th-birthday tribute concerts for Berry at St. Louis's Fox Theatre.", "snippet": "Hail! Hail! Rock 'n' Roll, also called Chuck Berry: Hail! Hail! Rock 'n' Roll, is Taylor Hackford's 1987 documentary of Keith Richards's 60th-birthday tribute concerts for Berry at St. Louis's Fox Theatre.", "node": "culture.performance.screen.films.films.genre-form.documentary.documentary-by-subject-arts-music-place", "markdown": "# Hail! Hail! Rock 'n' Roll\n\n**Hail! Hail! Rock 'n' Roll** is a 1987 American documentary and concert film directed by [Taylor Hackford](https://www.edgepedia.org/taylor-hackford) that chronicles two 60th-birthday tribute concerts for rock and roll pioneer [Chuck Berry](https://www.edgepedia.org/chuck-berry), held at the Fox Theatre in his hometown of St. Louis, Missouri, in October 1986. [Keith Richards](https://www.edgepedia.org/keith-richards) of the Rolling Stones served as musical director, assembling a backing band and recruiting guests including Eric Clapton, Robert Cray, Linda Ronstadt, Etta James, and Julian Lennon.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) • [2](https://www.allmusic.com/album/r1740)\n\n| Key fact | Detail |\n|---|---|\n| Release | October 9, 1987 (United States), distributed by Universal Pictures; 120 minutes, rated PG[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) |\n| Director / producers | Taylor Hackford; produced by Stephanie Bennett and Chuck Berry for Delilah Films[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) |\n| Origin | The idea arose on 23 January 1986 in New York City, when Berry was inducted into the new Rock and Roll Hall of Fame; producer Stephanie Bennett and Keith Richards sat at his table[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) |\n| The concert | Two shows filmed on 16 October 1986 at the Fox Theatre for a $2.5 million documentary; technical problems delayed both, and Berry finally left the stage at 2:30 a.m.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) |\n| The band | Led by Keith Richards, with Johnnie Johnson (piano), Chuck Leavell (organ), Bobby Keys (sax), Joey Spampinato (bass), and Steve Jordan (drums)[2](https://www.allmusic.com/album/r1740) |\n| Reception | 89% on the Rotten Tomatoes Tomatometer (18 reviews) and 95% on the Popcornmeter; winner of the 1987 National Board of Review Award for Best Documentary[3](https://www.rottentomatoes.com/m/chuck_berry_hail_hail_rock_n_roll) • [4](https://www.tvguide.com/movies/chuck-berry-hail-hail-rock-n-roll/2030345523/) |\n| Box office | $719,323 domestic gross on a wide release beginning October 9, 1987[5](https://www.the-numbers.com/movie/Hail-Hail-Rock-n-Roll) |\n\n## Spoilers\n\n### Plot\n\nThe idea was born in 1986, when Berry was inducted into the brand-new [Rock and Roll Hall of Fame](https://www.edgepedia.org/rock-and-roll-hall-of-fame) in New York. Producer Stephanie Bennett wanted to film him in concert at St. Louis's Fox Theatre for his 60th birthday, and Berry signed on as a producer himself, with Universal backing the project[10](https://catalog.afi.com/Catalog/MovieDetailsPrintView/57632). Richards, who had inducted Berry with a speech about how every riff he ever played contained two Berry licks, took the job of musical director and assembled a powerhouse band in matching outfits: [Eric Clapton](https://www.edgepedia.org/eric-clapton) and [Robert Cray](https://www.edgepedia.org/robert-cray) on guitars, Berry's longtime pianist Johnnie Johnson, Chuck Leavell on organ, Steve Jordan on drums, and Joey Spampinato of NRBQ on bass[11](https://www.upi.com/Archives/1987/09/24/Movie-review-Chuck-Berry-Hail-Hail-Rock-N-Roll/1883559454400/) • [12](https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/chuckberryhailhailrocknrollpgharrington_a0aa6d.htm).\n\nThe film opens on the problem every rock musician knows: Berry will not rehearse. Richards and Spampinato try to pin down arrangements while Berry waves the questions away, counts off, and simply expects the band to follow. In one scene Richards and Berry argue over a single lick, two strong egos and strong talents butting heads, until they resolve it by playing it[13](https://www.csmonitor.com/1987/1002/lfl02.html). Berry changes keys mid-tune to see whether the band can find him; Richards visibly realizes that the bandleader he worshipped will run the show his way or not at all. Around this, Hackford weaves interviews: Richards holding forth on why Berry's rhythm playing changed everything, testimonials from [Bo Diddley](https://www.edgepedia.org/bo-diddley), Little Richard, Roy Orbison, the Everly Brothers, and [Willie Dixon](https://www.edgepedia.org/willie-dixon) filmed at Hackford's Hollywood house, and Berry at Berry Park in Wentzville, Missouri, talking about his childhood, his music, and movingly, his experiences with segregation and discrimination[10](https://catalog.afi.com/Catalog/MovieDetailsPrintView/57632) • [13](https://www.csmonitor.com/1987/1002/lfl02.html).\n\n**The centerpiece is the two shows at the Fox Theatre itself, the house where young Chuck had been turned away from a screening of A Tale of Two Cities because of his race, now sold out in his honor.** The concert, roughly the last 70 minutes of the film, opens with technical problems that delay both shows, and Berry, his voice hoarse and ragged, plays on until he finally leaves the stage at 2:30 in the morning[10](https://catalog.afi.com/Catalog/MovieDetailsPrintView/57632). He works through \"Roll Over Beethoven,\" \"Nadine,\" \"Memphis,\" and \"Johnny B. Goode,\" calling audibles mid-song while Richards, Johnson, and Spampinato follow by listening harder than they rehearsed[14](https://www.dvdtalk.com/reviews/review/74128). The guests rotate through: [Linda Ronstadt](https://www.edgepedia.org/linda-ronstadt) delivers a blazing \"Back in the U.S.A.,\" Robert Cray anchors \"Roll Over Beethoven\" and \"Brown Eyed Handsome Man,\" Eric Clapton plays with the deference of a man who learned every note from these records, and [Julian Lennon](https://www.edgepedia.org/julian-lennon) joins for \"Johnny B. Goode,\" a generational handoff from the man whose songs the Beatles grew up on. The high point is [Etta James](https://www.edgepedia.org/etta-james) teaming with Berry on \"Rock and Roll Music,\" a performance so rousing that Berry, sincerely impressed, exclaims \"Wow!\"[14](https://www.dvdtalk.com/reviews/review/74128) • [15](http://www.media-party.com/discland/2006/08/chuck-berry-hail-hail-rock-n-roll.html). The film ends with Berry sitting in a dark, quiet room singing \"A Cottage For Sale,\" as Johnnie Johnson accompanies him on piano.\n\n### Characters\n\n**Chuck Berry** is the film's subject, producer, and its most difficult customer: a self-taught original, prickly and brilliant, who built rock and roll's vocabulary and intends to keep the keys. He is shown revising his own history, dodging rehearsals, and then detonating on stage with the duck walk and the double-stops every rock guitarist since has inherited.\n\n**Keith Richards (himself)** serves as musical director and the film's second lead. He reveres Berry, organizes the band, dresses it in matching outfits, and gives Berry the most focused and sympathetic backing he had had in decades, all while absorbing testy on-camera arguments over musical points[11](https://www.upi.com/Archives/1987/09/24/Movie-review-Chuck-Berry-Hail-Hail-Rock-N-Roll/1883559454400/) • [12](https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/chuckberryhailhailrocknrollpgharrington_a0aa6d.htm).\n\n**Eric Clapton (himself)** and **Robert Cray (himself)** hold down the guest guitar slots, Cray supplying a blues foundation beneath the nostalgia. **Etta James (herself)** steals the guest vocal honors, **Linda Ronstadt (herself)** powers \"Back in the U.S.A.,\" and **Julian Lennon (himself)** closes the loop to the next generation. **Johnnie Johnson (himself)**, Berry's pianist and the partner behind many of the classic recordings, sits at the center of the band.\n\n### Interpretations and controversies\n\nBerry's behavior during production became part of the film's legend. Universal had already paid him $500,000 for the rights to his music, yet on the first day of shooting he refused to participate unless the producer physically delivered more money, which arrived in a brown paper bag[16](https://www.rollingstone.com/music/music-news/hail-hail-rock-n-roll-director-remembers-diabolical-chuck-berry-108640/). Critics have also noted that Hackford treats Berry's legal troubles gently, a softness that reads differently decades later; the UPI review described the film's portrait as \"a bitter, enigmatic genius intent on revising his own history\"[11](https://www.upi.com/Archives/1987/09/24/Movie-review-Chuck-Berry-Hail-Hail-Rock-N-Roll/1883559454400/).\n\n## Origin and production\n\nThe project began with Berry's induction into the Rock and Roll Hall of Fame on 23 January 1986. Stephanie Bennett, who became the film's producer, and Keith Richards were seated at Berry's table that night, and Richards went on to organize the birthday concert itself.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL)\n\n[Principal photography](https://www.edgepedia.org/principal-photography) began on 29 September 1986 in Hackford's Hollywood house, where he filmed interviews with Bo Diddley, Little Richard, Roy Orbison, the Everly Brothers, and Willie Dixon. He officially finished the project at the end of the 16 October 1986 birthday concert at the Fox Theatre at 527 N. Grand Avenue in St. Louis, later adding an interview with [Jerry Lee Lewis](https://www.edgepedia.org/jerry-lee-lewis) at the Pantages Theatre in Hollywood on 31 December 1986. Other locations included Berry Park, Berry's private preserve in Wentzville, Missouri, and the Cosmo Club in [East St. Louis, Illinois](https://www.edgepedia.org/east-st-louis-illinois), which the production reopened to stage a show for local residents after years of inactivity.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL)\n\nThe Fox Theatre concert, the film's showpiece, was shot with nine 35mm cameras placed around the theater and one Super-16 camera capturing backstage interactions, supplemented by a [Steadicam](https://www.edgepedia.org/steadicam) and a Louma crane. According to a Los Angeles Times report, two concerts were filmed that night for the $2.5 million documentary; \"technical problems\" delayed both shows, and Berry finally left the stage at 2:30 a.m.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) Oliver Stapleton was the cinematographer and Lisa Day the editor.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL)\n\n## The concert and the band\n\nRichards, a longtime Berry admirer, had been disturbed by the sloppy pickup bands Berry typically toured with, so he signed on as musical director, assembled a powerhouse band in matching outfits, and gave Berry what the Washington Post's Richard Harrington called the most focused and sympathetic backing he had had in decades.[6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/) The band included Berry's regular pianist Johnnie Johnson, brought out of retirement for the occasion, along with Richards's own pianist Chuck Leavell, Rolling Stones saxophonist Bobby Keys, NRBQ bassist Joey Spampinato, and drummer Steve Jordan.[2](https://www.allmusic.com/album/r1740)\n\nThe film does not hide the friction between star and musical director. Berry, who had not rehearsed in 25 years, resisted the process, and even after rehearsals he tried to change keys and arrangements on stage. Richards's summary, quoted at the film's end: \"He gives me more headaches than Mick Jagger, but I still can't complain. I love him, and I've done what I wanted to do for him. Now I'm going to sleep for a month.\"[6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/)\n\n**Performances.** The set list drew on Berry's catalog: \"Maybellene,\" \"Roll Over Beethoven,\" \"No Money Down,\" \"Nadine,\" \"Sweet Little Sixteen,\" \"Too Much Monkey Business,\" and others. Guest spots included Robert Cray on \"Brown-Eyed Handsome Man,\" Eric Clapton's guitar solo on \"Wee Wee Hours,\" Linda Ronstadt on \"Back in the U.S.A.,\" Etta James singing \"Rock 'N' Roll Music,\" and Julian Lennon on \"Johnny B. Goode,\" after which Berry remarked, \"Say hello to your papa.\"[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) • [6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/) A soundtrack album was released in 1987; AllMusic's William Ruhlmann called it an enjoyable souvenir of the film, while noting that Berry's original recordings remain the best way to hear the music.[2](https://www.allmusic.com/album/r1740)\n\n## Interviews and portrait\n\nBeyond the concert, the film mixes rehearsal footage, interviews with Berry, and testimonials from contemporaries and heirs. Jerry Lee Lewis objects that his own mother considered Berry the real King of Rock 'n' Roll; Little Richard confesses that \"his rhythm is the only one I can sing my songs to\"; Bruce Springsteen explains how Berry's influence surfaced when he wanted to write the way people talk, then hums lines from \"Nadine.\"[6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/) Interviews with Berry's contemporaries, including pianist and former partner Johnnie Johnson, Little Richard, and Bo Diddley, stress his originality, and family members fill in personal background; Time Out praised the film's unusual emphasis on the development of Berry's guitar sound and his diverse influences.[7](https://www.timeout.com/movies/hail-hail-rocknroll)\n\nThe portrait is not uncritical. Berry talks mostly about money, confirming that for him rock 'n' roll was about commerce rather than art.[6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/) The New York Times's Janet Maslin found the portrait downbeat and in some ways incomplete, though revealing in its own way; Jonathan Rosenbaum of the Chicago Reader missed glimpses of the earlier Berry, writing that too much of the film shows him at half-throttle.[3](https://www.rottentomatoes.com/m/chuck_berry_hail_hail_rock_n_roll) The Los Angeles Times called it one of the saltiest, most stirring rock documents ever, a terrific show and a labor of love, while noting that Hackford took his cue from Martin Scorsese's \"The Last Waltz\" from a slightly tougher, less poetic viewpoint.[8](https://www.latimes.com/archives/la-xpm-1987-10-08-ca-12700-story.html)\n\n## Release and legacy\n\nThe film premiered at the Toronto Festival of Festivals on 18 September 1987, screened at the New York Film Festival on 3 October, and opened in Los Angeles on 9 October 1987.[1](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL) Its domestic theatrical gross was $719,323.[5](https://www.the-numbers.com/movie/Hail-Hail-Rock-n-Roll) It won the National Board of Review's 1987 award for Best Documentary.[4](https://www.tvguide.com/movies/chuck-berry-hail-hail-rock-n-roll/2030345523/)\n\nA four-disc DVD edition released in 2006 by Image Entertainment added a new introduction by Hackford, rehearsal footage, the documentaries \"The Reluctant Movie Star\" and \"Witnesses to History, Parts 1 and 2,\" a feature called \"Chuckisms,\" \"The Burnt Scrapbook,\" and liner notes by Michael Lydon.[9](https://catalog.rockhall.com/rrhof-ais/Details/fullCatalogue/200000965) The film remains available digitally, and critics continue to treat it as a central document of Berry's career; Harrington's 1987 verdict that it is probably the most revealing look audiences will ever get of its subject has been echoed in later assessments.[6](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/) • [3](https://www.rottentomatoes.com/m/chuck_berry_hail_hail_rock_n_roll)\n\n## References\n\n1. [Hail! Hail! Rock 'n' Roll (1987), AFI Catalog of Feature Films](https://catalog.afi.com/Film/57632-HAIL%21-HAIL%21-ROCK-%27N%27-ROLL)\n2. [Hail! Hail! Rock 'n' Roll Review by William Ruhlmann, AllMusic](https://www.allmusic.com/album/r1740)\n3. [Chuck Berry Hail! Hail! Rock 'n' Roll, Rotten Tomatoes](https://www.rottentomatoes.com/m/chuck_berry_hail_hail_rock_n_roll)\n4. [Chuck Berry: Hail! Hail! Rock 'n' Roll, TV Guide](https://www.tvguide.com/movies/chuck-berry-hail-hail-rock-n-roll/2030345523/)\n5. [Hail! Hail! Rock'n'Roll (1987), The Numbers](https://www.the-numbers.com/movie/Hail-Hail-Rock-n-Roll)\n6. [Richard Harrington, \"'Hail! Hail!' Goode Times with Berry,\" The Washington Post, October 8, 1987](https://www.washingtonpost.com/archive/lifestyle/1987/10/09/hail-hail-goode-times-with-berry/51348405-d706-48b7-b14b-29e51e12ce79/)\n7. [Hail! Hail! Rock'n'Roll review, Time Out](https://www.timeout.com/movies/hail-hail-rocknroll)\n8. [\"Star and His Music Are Hale 'n' Hearty in 'Hail! Hail!',\" Los Angeles Times, October 8, 1987](https://www.latimes.com/archives/la-xpm-1987-10-08-ca-12700-story.html)\n9. [Hail! Hail! Rock 'n' Roll DVD details, Rock & Roll Hall of Fame catalog](https://catalog.rockhall.com/rrhof-ais/Details/fullCatalogue/200000965)\n10. [https://catalog.afi.com/Catalog/MovieDetailsPrintView/57632](https://catalog.afi.com/Catalog/MovieDetailsPrintView/57632)\n11. [https://www.upi.com/Archives/1987/09/24/Movie-review-Chuck-Berry-Hail-Hail-Rock-N-Roll/1883559454400/](https://www.upi.com/Archives/1987/09/24/Movie-review-Chuck-Berry-Hail-Hail-Rock-N-Roll/1883559454400/)\n12. [https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/chuckberryhailhailrocknrollpgharrington_a0aa6d.htm](https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/chuckberryhailhailrocknrollpgharrington_a0aa6d.htm)\n13. [https://www.csmonitor.com/1987/1002/lfl02.html](https://www.csmonitor.com/1987/1002/lfl02.html)\n14. [https://www.dvdtalk.com/reviews/review/74128](https://www.dvdtalk.com/reviews/review/74128)\n15. [http://www.media-party.com/discland/2006/08/chuck-berry-hail-hail-rock-n-roll.html](http://www.media-party.com/discland/2006/08/chuck-berry-hail-hail-rock-n-roll.html)\n16. [https://www.rollingstone.com/music/music-news/hail-hail-rock-n-roll-director-remembers-diabolical-chuck-berry-108640/](https://www.rollingstone.com/music/music-news/hail-hail-rock-n-roll-director-remembers-diabolical-chuck-berry-108640/)\n\n---\n*Topic: Encyclopedia › Arts and culture › Screen and stage › Film and television › Films and standalone screen works › Films by genre, form, and subject › Documentary and biographical films › Documentary films by subject: arts, music, sports, and place*\n\n*Initially written Oct 3, 2026 · Reviewed: Oct 25, 2026 · Edited: Oct 12, 2026; Oct 15, 2026; Oct 25, 2026; Nov 1, 2026 · Last review: Oct 25, 2026*\n\n*Copyright 2026 EdgeChat AI, a subsidiary of Biostate AI.*\n\nLicense: Edgepedia Community License 1.0, https://www.edgepedia.org/edgepedia/license\n", "same_as": [], "url": "https://www.edgepedia.org/hail-hail-rock-n-roll", "markdown_url": "https://www.edgepedia.org/hail-hail-rock-n-roll.md", "license": { "name": "Edgepedia Community License 1.0", "url": "https://www.edgepedia.org/edgepedia/license", "summary": "Free with credit, commercial use included. AI training is open to everyone. For other uses, organizations over USD 100M in revenue or 100M monthly users license separately.", "spdx": "LicenseRef-Edgepedia-Community-1.0" }, "credit": "\"Hail! Hail! Rock 'n' Roll\", Edgepedia (EdgeChat), https://www.edgepedia.org/hail-hail-rock-n-roll. Edgepedia Community License 1.0.", "credit_md": "\"[Hail! Hail! Rock 'n' Roll](https://www.edgepedia.org/hail-hail-rock-n-roll)\", Edgepedia (EdgeChat), [https://www.edgepedia.org/hail-hail-rock-n-roll](https://www.edgepedia.org/hail-hail-rock-n-roll). [Edgepedia Community License 1.0](https://www.edgepedia.org/edgepedia/license).", "credit_html": "\"Hail! Hail! Rock 'n' Roll\", Edgepedia (EdgeChat), https://www.edgepedia.org/hail-hail-rock-n-roll. Edgepedia Community License 1.0.", "speakable": "Hail! Hail! Rock 'n' Roll, also called Chuck Berry: Hail! Hail! Rock 'n' Roll, is Taylor Hackford's 1987 documentary of Keith Richards's 60th-birthday tribute concerts for Berry at St." }