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"Beatles Influence."
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My Private Lennon
My Private Lennon: Explorations from a Fan Who Never Screamed offers a new point of view from which to consider the Beatles' impact on society and on the individual. In a series of linked autobiographical essays that explore the musical, cultural, and personal aspects of intense music fandom, Sibbie O'Sullivan dismantles the grand narrative of.
eBook
Dreaming the Beatles : the love story of one band and the whole world
\"John, Paul, George, and Ringo remain the world's favorite thing. Yet every theory ever devised to explain why has failed. It wasn't their timing. It wasn't drugs. It wasn't that they were the voice of a generation. The vast majority of Beatles fans today weren't born when the records came out-- yet the allure of the music keeps on growing, nearly fifty years after the band split. The world keeps dreaming the Beatles, long after the Beatles themselves figured the dream was over. Our Beatles have outlasted theirs.\"-- Book jacket.
Book
Revolution to Dissolution: ‘the White Album's’ techniques, packaging, and songwriting as a reflection of The Beatles and their influence
“The BEATLES” a.k.a., the “White Album,” released in November 1968, has sold 24 times Platinum (U.S.) and continues to garner fans and analysis. The following examines the album as reflection of the band, its legacy, song writing, recording and production techniques, and packaging. The White Album reveals individual development and outside influence, as the core faded and different interests led to dissolution. The multi-genre album shows group and solo efforts, along with the politics, maturity, drug and religious inspiration, technology, social norms, and pop culture of tumultuous 1968; an account of how and why is justified.
Journal Article
The Beatles are here! : 50 years after the band arrived in America, writers and other fans remember
Presents an exploration of the Fab Four's arrival in the U.S. featuring essays and interviews from writers, musicians, and fans on how they were inspired and changed by the Beatles.
Book
The Beatles
The Beatles: Image and the Mediacharts the transformation of the Beatles from teen idols to leaders of the youth movement and powerful cultural agents. Drawing upon American mainstream print media, broadcasts, albums, films, and videos, the study covers the band's career in the United States. Michael R. Frontani explores how the Beatles' media image evolved and how this transformation related to cultural and historical events.
Upon their arrival in the U.S., the Beatles wore sharply tailored suits and cast themselves as adorable, accessible teen heartthrobs. By the end of the decade, they had absorbed the fashion and consciousness of the burgeoning counterculture and were using their interviews, media events, and music to comment on issues such as the Vietnam War, drug culture, and civil rights. Frontani traces the steps that led to this change and comments on how the band's mantra of essential optimism never wavered despite the evolution of its media profile.
Michael R. Frontani is associate professor of communications at Elon University. His work has appeared inAmerican Journalism,Journal of American Culture,Journalism History, andAfrican Studies Review.
eBook
That was me : Paul McCartney's career and the legacy of the Beatles
\"This book examines the cultural significance of the Beatles and the solo career of Paul McCartney re-emerging from, re-connecting with, and ultimately representing the Beatles legacy\"-- Provided by publisher.
Book
Beat sound, Beat vision
This book reveals the ideas behind the Beat vision which influenced the Beat sound of the songwriters who followed on from them. Having explored the thinking of Alan Watts, who coined the term ‘Beat Zen’, and who influenced the counterculture which emerged out of the Beat movement, it celebrates Jack Kerouac as a writer in pursuit of a ‘beatific’ vision. On this basis, the book goes on to explain the relevance of Kerouac and his friends Allen Ginsberg and Gary Snyder to songwriters who emerged in the 1960s. Not only are new, detailed readings of the lyrics of the Beatles and of Dylan given, but the range and depth of the Beat legacy within popular song is indicated by way of an overview of some important innovators: Jim Morrison, Joni Mitchell, Leonard Cohen, Donovan, the Incredible String Band, Van Morrison and Nick Drake.
eBook
She Told Me What to Say: The Beatles and Girl-Group Discourse
The Beatles' admiration for the US girl-groups of the late 1950s and early 1960s has generally been taken to imply an \"androgynous\" positioning on their part, particularly in their covers of girl-group songs. However, a comparison of the discourses of girl-group and early Beatles love songs shows a clear distinction between active and passive expressions of desire, with the Beatles predominantly using the active \"I love you\" form. Girl-group songs, by contrast, tend to use the passive \"You-me\" form, as in the Ronettes' \"So won't you say you love me?\" From this point of view, the Beatles' frequent assertions of \"I love you\" can be seen as a direct response to the repeated questions and requests for men to voice these words, by the Shirelles and other groups. This is the first sense in which the girl-groups can be said to have \"told (
the Beatles
) what to say.\"
However, girl-group songs were also distinctive in developing an active discourse of desire where girls talked to each other about their love for a third person, addressed as \"him.\" The paper examines the emergence of this discourse historically in relation to the composition of the Beatles' first five hits. The song \"She Loves You\" represents the reporting (to a male \"you\") of this discourse of active female desire, by means of the go-between, the singer of the song. In this exchange, \"She said she loves you\" is the trans-position of the direct speech, \"She said, 'I love him'.\" The third term (\"him\") is what has enabled the female subject to escape the \"you-me\" binary and speak her desire. This structural layering of girl talk and female desire within male discourse of the \"exchange of women\" provided a place from which the female audience could, and did, publicly voice that desire. But it also made the Beatles themselves into go-betweens, or vehicles of female discourse. In this sense too, then, the Beatles can be said to enact the line of the song \"She told me what to say.\"
Journal Article