title: Under the Dome (novel)

text: The paperback edition of "Just After Sunset", released on September 29, 2009, included an excerpt from the novel. A 4,000-word excerpt was published in the November 6, 2009 issue (#1074) of "Entertainment Weekly".


title: Under the Dome (novel)

text: The preliminary dust jacket cover art was released to online retailers like Amazon.com and Barnes & Noble with the words "cover to be unveiled". In late August 2009, it was revealed that the real cover would be unveiled on October 5, 2009, with parts of it being shown on September 21, 25 and 28. The cover art design for "Under the Dome" is said to be a departure from King's previous illustrated covers, using a combination of illustration, photographs, and 3D renderings. The final jacket design was released in two variations: with white lettering; and with the less common dark gray lettering.


title: Under the Dome (novel)

text: On December 16, 2009, Stephen King held a book signing at the Magic Lantern movie theater in Bridgton, Maine, the town that the fictitious Chester's Mill is modeled after. He also made several TV appearances discussing the similarity between the real town and the fictional one. "I live 18 miles out of town and I've lived there for a long time," said King. "I looked at the police station, that's the police station in the book. I just used the geography, the lake; everything is there." King was a Bridgton resident for nearly five years. Bridgton also serves as the setting in "The Mist" (1980). On the day of the release, Stephen King was in New York City at The TimesCenter to promote the book.


title: Under the Dome (novel)

text: In mid-October, "Under the Dome" became one of the highly discounted book preorders on Amazon.com, Wal-Mart, and Target, sparking a "price war" between the retailers. The price for "Under the Dome" and several other high-profile hardcover books to be released in November 2009, typically around US$25, was set at just US$9 (a discount of nearly 75 percent off on a new hardcover). Later, Wal-Mart lowered the price to US$8.98 and included free shipping. Target's price was set at US$8.99.


title: Under the Dome (novel)

text: A number of viral marketing websites for popular locations referenced in "Under the Dome" were created to publicize the book, including Big Jim Rennie's Used Cars, the Sweet Briar Rose Diner, the Chester's Mill Democrat Newspaper, and others. A site was created for the Town of Chester's Mill, which provides links to all points of interest. An alternate reality game also took place utilizing all of these sites, beginning at the blog of Scarecrow Joe, one of the characters in the novel.


title: Under the Dome (novel)

text: A Collector's Edition (limited to 25,000 copies) and a Signed Edition (limited to 1,500 copies) were published by Scribner concurrently with the regular trade edition. These editions feature a dust jacket without any lettering, a removable band with author name and title, printed endpapers with the map of the town in color (regular edition contains a black and white map in the book's front matter), 27 illustrations by "The New Yorker" cartoonist Matthew Diffee, a ribbon marker, and also contain a deck of cards with the Diffee illustrations. These editions are printed on specialty paper with different binding.


title: Under the Dome (novel)

text: A signed and numbered UK edition, published by Hodder & Stoughton, sold exclusively by both Hatchard's Bookshop and Waterstones, was limited to 500 copies. It included the 4-color endpapers, the 27 trading cards illustrated by cartoonist, Matthew Diffee, and was packaged in a slipcase.


title: Under the Dome (novel)

text: The author Dan Simmons, to whom Stephen King sent the manuscript for "Under the Dome" as a gift, commented on it on May 5, 2009, calling the novel "huge, generous, sprawling, infinitely energetic [...], absolutely enjoyable and impressive." "Publishers Weekly" reviewed the novel on September 11, 2009, calling it "formidably complex and irresistibly compelling." The review said the book contains "themes and images from King's earlier fiction, and while this novel doesn't have the moral weight of, say, "The Stand", nevertheless, it's a nonstop thrill ride as well as a disturbing, moving meditation on our capacity for good and evil". In a review for "The Plain Dealer", Daniel Dyer calls "Under the Dome" "a massive cautionary novel", saying it is "busy, ambitious, overlong but addictively munchable, [and] fundamentally a novel about human cruelty, animated by our desires for power, pleasure and sex." "USA Today" called the novel "propulsively intriguing", "staggeringly addictive", and stated that "Readers can wallow in this glorious novel's metaphoric and oh-so au courant messages about U.S. domination, freedom of the press, torture and environmental abuse, but they also can come to this novel just for the story." The "Los Angeles Times" called "Under the Dome" "impressive", containing "lucid prose and chilling precision." Janet Maslin's review for "The New York Times" said that "Under the Dome" "has the scope and flavor of literary Americana." Maslin says, "Hard as this thing is to hoist, it's even harder to put down." Ted Anthony of the Associated Press states that ""Under the Dome" is one of those works of fiction that manages to be both pulp and high art, that successfully—and very improbably—captures the national zeitgeist at this particularly strange and breathless period in American history." On November 9, 2009, the author Neil Gaiman in his blog stated that ""Under the Dome" was one of [his] favourite books of the year so far."


title: Under the Dome (novel)

text: James Parker of the "New York Times" noted in his review of "Under the Dome" that the novel contains lines that are "stinkers", which made him feel "the clutch of sorrow." Regarding King's "pulp speed" output, James Parker noted: "We shouldn't be too squeamish about the odd half-baked simile or lapse into B-movie dialogue." The review in the "New York Post" states that "Under the Dome" "shares some of "The Stand"'s faults, like a left-field disaster [...] that works almost as a Diabolus Ex Machina, randomly wiping out half the cast. In both novels, the climactic "battle"—if you can really call it that—pales to the buildup. King is better at characters and situations than causes and reasons. But at least "The Stand" feels like a saga [...]. I won't reveal the secret of the Dome, except to say that the payoff is more "" (original series) than epic." John Dugdale, in a review for "The Sunday Times" wrote: "King's inability to raise his game—to relinquish the methods of his more straightforward tales of the paranormal—prevents you taking his socio-political vision seriously. The simple division of characters into goodies and baddies, the use of magic, the homespun style, the sentimental ending, the vital role played by a dog in defeating the forces of evil—all of these belong in fiction for older children, not the grown-up novels he's bent on emulating."


title: Under the Dome (novel)

text: Shortly after the release of the book, it was announced that Steven Spielberg's DreamWorks Television would be developing a cable miniseries based on the novel. Spielberg and King were announced as executive producers. Brian K. Vaughan was hired to adapt the book. Vaughan wrote the first episode, which was directed by Niels Arden Oplev. It premiered on June 24, 2013, and was an instant success for CBS; the premiere in June 2013 broke the record as the most-watched summer drama premiere on any television network since 1992, with the "Pilot" episode reaching over 13 million views. The show ran for three seasons and concluded on September 10, 2015.


title: Jack Jones (American singer)

text: Jones is primarily a straight-pop singer (even when he recorded contemporary material) whose forays into jazz are mostly of the big-band/swing variety. He has won two Grammy Awards.


title: Jack Jones (American singer)

text: Jones continues to perform concerts around the world and remains popular in Las Vegas. He is perhaps most widely known for his recordings of "Lollipops and Roses" (1962 Grammy Award, Best Pop Male Performance), "Wives and Lovers" (1964 Grammy Award, Best Pop Male Performance), "The Race Is On", "The Impossible Dream", "Call Me Irresponsible", and "The Love Boat Theme". He also sang the opening theme tune for the 1968 film "Anzio" ("This World Is Yours").


title: Jack Jones (American singer)

text: Jones was born in Hollywood on the night his father Allan Jones recorded his signature song "The Donkey Serenade", resulting in the younger Jones' assertion that he was "practically born in a trunk." He attended University High School in West Los Angeles and studied drama and singing.


title: Jack Jones (American singer)

text: His first professional break was with his father, who was performing at the Thunderbird Hotel and Casino in Las Vegas. He recorded several demos for songwriter Don Raye, attracting attention from the music industry. In 1959 Jones was signed to Capitol Records and released the album "This Love of Mine" and a few singles. One track from that album was titled, prophetically, "This Could Be the Start of Something Big".


title: Jack Jones (American singer)

text: While performing at a San Francisco nightclub, Jones was heard by Pete King, a producer and artist for Kapp Records, who quickly signed him to the label. In August 1961, he recorded the ballad "Lollipops and Roses", which became a hit the following year. Jones' biggest pop hit was "Wives and Lovers", written by Burt Bacharach and Hal David.


title: Jack Jones (American singer)

text: During the Kapp years, Jones recorded nearly twenty albums, including "Shall We Dance", "This Was My Love", "She Loves Me", "Call Me Irresponsible", "Bewitched", "Wives and Lovers", "Dear Heart", "Where Love Has Gone", "The Jack Jones Christmas Album", "My Kind of Town", "The Impossible Dream", "The In Crowd", "Jack Jones Sings", "Lady", "Our Song", and "I've Got a Lot of Living to Do!"


title: Jack Jones (American singer)

text: Jones was an anomaly in the 1960s pop scene, eschewing rock-and-roll trends and opting for the big band sound, lush romantic ballads, and the Great American Songbook, although sometimes he recorded something more pop-, country-, or bossa nova-oriented.


title: Jack Jones (American singer)

text: For example, one of his biggest hits was "The Race Is On" by country musician George Jones (no relation). Besides the choice of material, he worked with such arrangers as Billy May, Nelson Riddle, Marty Paich, Shorty Rogers, Jack Elliott, Ralph Carmichael, Bob Florence, and Don Costa.


title: Jack Jones (American singer)

text: Jones moved from Kapp (London Records in the UK) to RCA Victor in 1967. His first album for the label was "Without Her". The following releases "If You Ever Leave Me", "L.A. Break Down", and "Where Is Love" were in roughly the same style of the Kapp records, but with a somewhat more contemporary vocal styling. After "A Jack Jones Christmas", he changed his musical direction and appearance from the smooth club entertainer of the 1960s Las Vegas scene to the long-haired singer of the early 1970s.


title: Jack Jones (American singer)

text: "A Time for Us" (1970) was one of the albums which marked his transition toward a more middle-of-the-road sound. He began recording more contemporary material, including covers of such well-known songwriters as Randy Newman, Harry Nilsson, Carole King, Paul Williams, Richard Carpenter, Gordon Lightfoot, and Gilbert O'Sullivan.


title: Jack Jones (American singer)

text: The album "Bread Winners" (1972) was a tribute to the band Bread, with eight songs written by David Gates and two by Jimmy Griffin and Robb Royer. Two more albums from this period were dedicated to two French songwriters: "Jack Jones Sings Michel Legrand" (to Michel Legrand, 1971) and "Write Me a Love Song, Charlie", featuring songs by Charles Aznavour (1974).


title: Jack Jones (American singer)

text: "The Full Life" (1977) was produced by Jones and Bruce Johnston of The Beach Boys; on this album, Jones recorded the Beach Boys classics "God Only Knows" and "Disney Girls". His last LP for RCA was "With One More Look at You" (1977), which includes a rendition of the Little Feat hit "Dixie Chicken"; this performance later resurfaced on "Golden Throats 2: More Celebrity Rock Oddities". In 1979 he moved to MGM Records, recording the album "Nobody Does It Better", which featured a disco version of "The Love Boat", the opening theme from the TV series of the same name, and his Grammy winner "Wives and Lovers". His second (and, due to its subsequent closure, his last) MGM album, "Don't Stop Now", featured duets with Maureen McGovern.


title: Jack Jones (American singer)

text: Since 1980 he has recorded few albums and now performs in various concert arenas and occasionally appears on the supper-club circuit. He released the album "Live at the London Palladium" in 1995, recorded in London on the Emporio label. Jones has received recognition in Japan, where many of his earlier records were released on CD. In 1982 he recorded an album for Applause Records, covering songs by The Beatles, Billy Joel, and Eagles.


title: Jack Jones (American singer)

text: Jones released "I Am a Singer" in 1987 for USA Records, and in 1992 he recorded "The Gershwin Album" for Sony Music, with songs written by George Gershwin and Ira Gershwin. In 1997 came "New Jack Swing" (Honest Entertainment), with big-band treatments of old standards and assorted pop/rock songs. 1999 saw the release of "Jack Jones Paints a Tribute to Tony Bennett" (Honest Entertainment), which was nominated for Grammy Awards for Best Traditional Pop Vocal Performance and Record of the Year. In March 2008 Jones celebrated his 70th birthday and a half-century in show business with a concert at the McCallum Theatre in Palm Springs. Guests included Patti Austin, Alan Bergman, and Marilyn Bergman. In 2010 he recorded an album focusing on the Bergmans' work called "Love Makes the Changes". He also released an album featuring new recordings of some of his original hits, titled "Love Ballad". In 2015 Jones released "Seriously Frank (Celebrating the 100th Birthday of Frank Sinatra)", with an orchestra arranged and conducted by Patrick Williams, with Dave Grusin on piano. The release was followed by a tour with dates in Los Angeles and the United Kingdom in 2016. Jones commenced his 80th Birthday Celebration Tour in 2018.


title: Jack Jones (American singer)

text: Jones made his film debut in "Juke Box Rhythm" (1959) playing Riff Manton, a young singer who is involved romantically with a princess (Jo Morrow). He sings three songs in the film. Jones acted in such minor films as "The Comeback" (1978), "Condominium" (1980), and "Cruise of the Gods" (2002). He had a humorous cameo in the film parody "" (1982); as Robert Hays' character avoids searchlights while escaping captivity, the beams become a spotlight on Jones, performing a verse from "The Love Boat" theme.


title: Jack Jones (American singer)

text: He became a staple on 1960s and 1970s variety shows, performing on "The Dinah Shore Chevy Show", "The Ed Sullivan Show", "The Andy Williams Show", "The Dick Cavett Show", "The Hollywood Palace", "The Smothers Brothers Comedy Hour", "The Carol Burnett Show", "The Jerry Lewis Show", "American Bandstand", "This is Tom Jones", "The Dean Martin Show", "The Judy Garland Show", "Playboy After Dark", "The Jack Benny Program", "The Steve Allen Show", and "The Morecambe and Wise Show" in Britain. He twice hosted NBC's top-rated rock and roll series "Hullabaloo", and was featured in two prime-time specials, "Jack Jones on the Move" (1966) and "The Jack Jones Special" (1974). He also appeared on the "Password (American game show)" TV game show with Carol Lynley in 1964 and multiple times with Joan Fontaine in 1967.


title: Jack Jones (American singer)

text: He provided the vocals to the theme song of "Funny Face", ""The Kind of Girl She Is"". When the show returned as "The Sandy Duncan Show", he was replaced by a chorus of unknown men and women. He also guest-starred in the 1960s series "The Rat Patrol" (season 2, episode 8, "The Do-Re-Mi Raid", where he performed "That Tiny World" in the role of PFC Roberts, a POW being held by the Germans), "Police Woman", "McMillan & Wife", "The Hardy Boys/Nancy Drew Mysteries", "$weepstake$", "Match Game", and "Night Court". He played himself in the episode "The Vegas Show" of "It's a Living". Jones sang the opening theme for the television series "The Love Boat" from 1977 through 1985, and also made several guest appearances on the show, including one with his father Allan.


title: Jack Jones (American singer)

text: He promoted the Chrysler New Yorker automobile in the mid-1970s with the "It's the Talk of the Town" ad campaign. On 30th October, 1972 he appeared as a guest singer at the London Palladium in front of Her Majesty Queen Elizabeth the Queen Mother.


title: Jack Jones (American singer)

text: In 1990, Jones recorded "Three Coins in the Fountain", which was used in the film "Coins in the Fountain" that year. He also appeared in the Chris Elliot television show "Get a Life" on Fox.


title: Jack Jones (American singer)

text: In the 2000s-2010s, Jones has been active in musical theater, appearing in "Guys and Dolls", "South Pacific", and others. During this period he embarked upon a critically acclaimed national tour performing Don Quixote in "Man of La Mancha". He also performed a song in an episode of "Phineas and Ferb".


title: Jack Jones (American singer)

text: In 2013, he appeared as himself as the nightclub singer in the film "American Hustle". In 2014, he provided the voice of the frog, and sang several of the songs, including the theme song, for the Cartoon Network miniseries "Over the Garden Wall".


title: Jack Jones (American singer)

text: Jones is the son of actor and singer Allan Jones and actress Irene Hervey. He has been married six times. In the second half of the 1960s, Jones had a well-publicized relationship with actress Jill St. John, and the two were briefly married. In the early 1970s, Jones married Gretchen Roberts. Subsequently, he was linked romantically to Susan George. From 1976 to 1982, he was married to Kathy Simmons. From 1982 to 2005, he was married to British-born Kim Ely, and they had a daughter, Nicole (born in 1991). Jones has another daughter, Crystal Thomas, from a former marriage to Lee Fuller. He lives with wife Eleonora in Indian Wells, California.


title: The Windsors

text: The Windsors is a British sitcom and parody of the British royal family, the House of Windsor. It was first broadcast on Channel 4 in April 2016 and stars Harry Enfield, Haydn Gwynne, Hugh Skinner, Louise Ford, Richard Goulding, Tom Durant-Pritchard, Kathryn Drysdale, Morgana Robinson, Ellie White, and Celeste Dring.


title: The Windsors

text: Written by the co-creators of "Star Stories", Bert Tyler-Moore and George Jeffrie, "The Windsors" is a satirical portrayal of the British royal family.


title: The Windsors

text: "The Windsors" tells the story of the British royal family but re-imagined as a soap opera. Although the stories are completely fictional, they are inspired by real events.


title: The Windsors

text: Channel 4 described the show, in a statement: "The series is a wry take on what the soap opera of their lives (and loves) might just be like. Delving behind the headlines and gossip columns, "The Windsors" lets our imaginations run riot in this ludicrous parody. Imagine, who really controls the sceptre in Charles and Camilla's marriage? What do the Royals really think of Kate? Does Wills really want to be king? Will Harry ever take Pippa up the aisle or will they end on a bum note? And what do Beatrice and Eugenie actually do for a living?" C4's head of comedy Phil Clarke added: "In "The Windsors", our much-loved Royal family is re-imagined through the lens of a soap opera, and although the stories are completely fictional, some are inspired by real events. As a result, writers Bert and George have outdone even the funniest, most ludicrous issue of "Hello!" magazine ever."


title: The Windsors

text: Channel 4 stated that a third series of The Windsors would premiere early in 2020. The production aims to address recent topical stories about the Royal Family, including the apparent feud between Wills and Kate and Harry and Meghan. Tom Durant-Pritchard took over the role of Prince Harry from Richard Goulding. The six-episode series began broadcasting on 25 February 2020.


title: The Windsors

text: On 9 June 2021, it was announced that a stage play called "The Windsors: Endgame" will open at the Prince of Wales Theatre in London's West End from 2 August to 9 October 2021. It will be written by Jeffrie and Tyler-Moore, directed by Michael Fentiman and feature members of the cast from the TV show including Harry Enfield as Charles, Matthew Cottle as Edward, Tom Durant-Pritchard as Harry and Tim Wallers as Andrew.


title: The Windsors

text: "The Guardian" was favourable when it said "High-brow humour this is not. But, despite a number of cast and crew comparing the show to "Spitting Image", "The Windsors" doesn't feel like satire: more a comic drama that makes the odd comment about monarchy."


title: The Windsors

text: "The Daily Telegraph" wrote: ""The Windsors" was low-budget, crude and rude. But it was all done with such cacophonous relish that resistance was useless. There's not much of this kind of punk comedy around on television at the moment, where deep, mordant, "The Office"-style irony has long been the dominant mode. But who doesn't like a little mischief? You can be a fan of Beethoven and the Buzzcocks too."


title: The Windsors

text: In his review for "The List", Brian Donaldson wrote: "A pitiful 'parody' of life down Buck House way!. If you were writing a sitcom about the Royal Family, would you have Harry coming over as a bit thick, Fergie being rather attention-seeking and Camilla as a cartoon villain? Of course you wouldn't, as that would be way too obvious; though maybe you could go down that road and put a spin on it somehow? Not Jeffrie and Tyler-Moore as they do the obvious and a whole lot less, such as making Edward out to be a lost soul with an empty diary, having William as a square-jawed helicopter hero and Pippa enjoying people constantly gazing at her 'fantastic arse'. And most incredibly of all, the Duke of Edinburgh is, wait for it, a little bit racist. It's certainly gratifying to see some upcoming Fringe comedy acts landing parts, such as Ellie White and Celeste Dring as the all-too predictably shallow Beatrice and Eugenie while Katy Wix has a blast as their tragically pitiable mum. But, sadly, all the talent on show are let down by a woefully predictable and utterly laugh-free script. Off with their heads!"


title: The Windsors

text: Season 2 of "The Windsors" was described by "The Guardian" as 'riotous hilarity', while "The Telegraph" called it a "right royal romp".


title: The Windsors

text: Sam Wollaston, writing for "The Guardian", said of the Royal Wedding Special, "I worried an hour might be a stretch, but I needn't have", and suggested that the characters of Beatrice and Eugenie should have their own spin-off series.


title: Eric Prydz

text: Eric Sheridan Prydz (, ; born 19 July 1976), also known by his many aliases including Pryda () and Cirez D (), is a Swedish DJ and music producer. He rose to fame with his 2004 hit single "Call on Me", and saw continued chart success with "Proper Education" in 2007, "Pjanoo" in 2008, and "Opus" in 2015. In 2016, he released his debut studio album, "Opus".


title: Eric Prydz

text: In 2017, he won DJ of the Year at the Electronic Music Awards and was also nominated for Live Act of the Year.


title: Eric Prydz

text: Prydz is perhaps best known for his 2004 hit single "Call on Me". It topped the UK singles chart for five weeks and was number one on the German Top 100 for six consecutive weeks. Although this track made him immensely popular, Prydz has stopped playing it in his shows in an attempt to distance himself from it. In some respects he has succeeded, and with his newer songs, Prydz has gained recognition from both underground and mainstream fans. In 2006, he released a remixed version of Pink Floyd's "Another Brick in the Wall, Part 2", titled "Proper Education", with a video.


title: Eric Prydz

text: Together with Axwell, Sebastian Ingrosso and Steve Angello, Prydz formed a group of DJs that informally referred to themselves as the Swedish House Mafia. When the group with the same name officially formed in late 2008, Prydz decided not to join his friends. He has collaborated with Axwell under the name Axer and with Angello as A&P Project.


title: Eric Prydz

text: In 2009, Prydz released "Miami to Atlanta", where the "Pryda snare" was first used. The Pryda snare is a popular technique in house and trance music consisting of using a compressed and sustained snare sample at the end of a bar. Commonly used to mark progressions in a song structure, it has been widely sampled in the electronic dance music world, notably by producers such as Martin Garrix, Dimitri Vegas & Like Mike, and W&W.


title: Eric Prydz

text: On 21 May 2012, Prydz released his debut artist album, "Eric Prydz Presents Pryda", as a 3-disc album on Virgin Records (Astralwerks in the USA). Disc 1 is made up of new unreleased Pryda productions, which some fans may have heard as works in progress (including Shadows, Agag, Mighty Love, Allein and the intro edit of Pjanoo). Discs 2 and 3 bring together many of the classic tracks from the Pryda catalogue, sequenced and continuously mixed by the man himself, including some of his special re-edits.


title: Eric Prydz

text: The Ministry of Sound club in London hosted the launch of "Eric Prydz Presents Pryda" on 14 April 2012, where Prydz played some of the tracks from the album. Inserting the CD in a computer and visiting Prydz's Facebook page provides access to a download of 'Tijuana', a track previously known as 'Space Miami ID' in .WAV format.


title: Eric Prydz

text: 2014 was the 10th year of Prydz's label Pryda Recordings, and as a result, on 9 January 2014, Prydz announced a special upcoming artist album which was initially due for release later that year. On 4 May 2015, Prydz announced PR(10)DA, a collection of unreleased tracks from January 2004 to December 2014. PR(10)DA was released over three EPs, leading up to an album release in February 2016.


title: Eric Prydz

text: On 19 May 2014, Prydz announced via social media the third installment of his concert, Eric Prydz in Concert, titled EPIC 3.0. Promising the 'world's largest indoor hologram', new music, and new visuals, the show was to be held at Madison Square Garden during the Fall. Prydz performed his EPIC 3.0 show on 27 September 2014, playing a large range of new and unreleased material. The show incorporated a 20m, 4K hologram, and 32 lasers.


title: Eric Prydz

text: On 4 July 2015, Prydz was the first DJ with a set featured as a "One Mix" on Beats 1, the worldwide radio station on Apple Music.


title: Eric Prydz

text: On 5 February 2016, Prydz released his debut studio album "Opus". In October 2015, Kieran Hebden released a remix of the title track under his pseudonym, Four Tet.


title: Eric Prydz

text: On 28 June 2016, Prydz collaborated with Luke Versalko from Mashable to produce a short documentary that details the making of his Epic 4.0 show. In June 2016, he also appeared on Insomniacs Night Owl Radio.


title: Eric Prydz

text: To celebrate the 15th anniversary of the Prydz' Pryda alias, on 10 April 2019 he announced the release of "PR(15)DA", a collection of 27 songs.


title: Eric Prydz

text: On 19 July 2019, Prydz announced EPIC 6.0. This instalment of his EPIC series involved a multi-story eight-meter-wide transparent LED holosphere, which surrounded Prydz during his performance at Tomorrowland festival. The sphere was made up of seventy-two interlocking handmade panels, which contained over 2.4 million LEDs to illuminate with galaxies, darts of electricity, and alien planets.


title: Eric Prydz

text: Aside from producing music, Prydz also runs the record labels Pryda, Pryda Friends, Pryda Presents and Mouseville, which release most of his own music. On Pryda, he releases music as Pryda. On Mouseville Records, started in 2002, he releases techno tracks as Cirez D. Prydz has a fear of flying, which means he mainly tours on a bus. He moved from London to Los Angeles in 2012, where he lived until his return to Sweden in 2021 after getting divorced from his former wife Sofie, with whom he has two children.


title: Abortifacient

text: An abortifacient ("that which will cause a miscarriage" from Latin: "abortus" "miscarriage" and "faciens" "making") is a substance that induces abortion. This is a nonspecific term which may refer to any number of substances or medications, ranging from herbs to prescription medications.


title: Abortifacient

text: Common abortifacients used in performing medical abortions include mifepristone, which is typically used in conjunction with misoprostol in a two-step approach. Synthetic oxytocin, which is routinely used safely during term labor, is also commonly used to induce abortion in the second or third trimester.


title: Abortifacient

text: For thousands of years writers in many parts of the world have described and recommended herbal abortifacients to women who seek to terminate a pregnancy, although their use may carry risks to the health of the woman.


title: Abortifacient

text: Because "abortifacient" is a broad term used to describe a substance's effects on pregnancy, there is a wide range of drugs that can be described as abortifacients or as having abortifacient properties.


title: Abortifacient

text: The most commonly recommended medication regimen for intentionally inducing abortion involves the use of mifepristone followed by misoprostol 1–2 days later. The use of these medications for the purpose of ending a pregnancy has been extensively studied, and has been shown to be both effective and safe with fewer than 0.4% of patients needing hospitalization to treat an infection or to receive a blood transfusion. This combination is approved for use up to 10 weeks' gestation (70 days after the start of the last menstrual period).


title: Abortifacient

text: Other drugs with abortifacient properties can have multiple uses. Both synthetic oxytocin (Pitocin) and dinoprostone (Cervidil, Prepidil) are routinely used during healthy, term labor. Pitocin is used to induce and strengthen contractions, and Cervidil is used to prepare the cervix for labor by inducing softening and widening of this opening to the uterus. When used this way, neither medication is considered an abortifacient. However, the same drugs can be used to induce an abortion, particularly after 12 weeks of pregnancy. Misoprostol (discussed above) is also used to treat peptic ulcers in patients who have had gastric or intestinal damage from use of NSAIDs. Because its use in treatment of ulcers makes it easier to access, misoprostol alone is sometimes used for self-induced abortion in countries or regions where legal abortion is not available or readily accessible.


title: Abortifacient

text: Not all abortifacient agents are taken with the intention to end a pregnancy. Methotrexate, a drug often used for management of rheumatoid arthritis, can induce abortion. For this reason contraception is often advised while using methotrexate for management of a chronic condition.


title: Abortifacient

text: Sometimes herbal medicines are used in an attempt to induce abortion. In general, a dose sufficient to be effective poses a risk to the mother because of potential liver and kidney damage; failed attempts may require a follow-up clinical abortion because the uterus did not evacuate completely.


title: Abortifacient

text: The medical literature of classical antiquity often refers to pharmacological means of abortion; abortifacients are mentioned, and sometimes described in detail, in the works of Aristotle, Caelius Aurelianus, Celsus, Dioscorides, Galen, Hippocrates, Oribasius, Paul of Aegina, Pliny, Theodorus Priscianus, Soranus of Ephesus, and others.


title: Abortifacient

text: In ancient Babylonian texts, scholars have described multiple written prescriptions or instructions for ending pregnancies. Some of these instructions were explicitly for ingesting ingredients to end a pregnancy, whereas other cuneiform texts discuss the ingestion of ingredients to return a missed menstrual period (which is used repeatedly throughout history as a coded reference to abortion).


title: Abortifacient

text: The ancient Greek colony of Cyrene at one time had an economy based almost entirely on the production and export of the plant silphium, which had uses ranging from food to a salve for feral dog bites. It was also considered a powerful abortifacient used to "purge the uterus". Silphium figured so prominently in the wealth of Cyrene that the plant appeared on coins minted there.


title: Abortifacient

text: In the Bible, Biblical scholars and learned Biblical commentators view the ordeal of the bitter water (prescribed for a "sotah", or a wife whose husband suspects that she was unfaithful to him) as referring to the use of abortifacients to terminate her pregnancy. The wife drinks "water of bitterness," which, if she is guilty, causes the abortion or miscarriage of a pregnancy she may be carrying. The Biblical scholar Tikva Frymer-Kensky has disputed the interpretation that the ordeal of the bitter water referred to the use of abortifacients.


title: Abortifacient

text: The medieval Islamic physician Ibn Sina documented various birth control practices, including the use of rue as an abortifacient. Similarly, 11th-century physician Constantine the African described multiple abortifacient herbs, which he classified by order of their intensity, starting with abortifacients that had weaker effects on the body and ending with the most potent substances.


title: Abortifacient

text: Carl Linnaeus, known as the "father of botany", listed five abortifacients in his 1749 "Materia medica". According to the historian of science Londa Schiebinger, in the 17th and 18th centuries "many sources taken together – herbals, midwifery manuals, trial records, "Pharmacopoeia", and "Materia medica" – reveal that physicians, midwives, and women themselves had an extensive knowledge of herbs that could induce abortion." Schiebinger further writes that "European exploration in the West Indies yielded about a dozen known abortifacients."


title: Abortifacient

text: For Aboriginal people in Australia, plants such as giant boat-lip orchid ("Cymbidium madidum"), quinine bush ("Petalostigma pubescens"), or blue-leaved mallee ("Eucalyptus gamophylla") were ingested, inserted into the body, or were smoked with Cooktown ironwood ("Erythrophleum chlorostachys").


title: Abortifacient

text: Historically, the First Nations people of eastern Canada used "Sanguinaria canadensis" (bloodwort) and "Juniperus virginiana" to induce abortions.


title: Abortifacient

text: According to Virgil Vogel, a historian of the indigenous societies of North America, the Ojibwe used blue cohosh ("Caulophyllum thalictroides") as an abortifacient, and the Quinault used thistle for the same purpose. The appendix to Vogel's book lists red cedar ("Juniperus virginiana"), American pennyroyal ("Hedeoma pulegioides"), tansy, Canada wild ginger ("Asarum canadense"), and several other herbs as abortifacients used by various North American Indian tribes. The anthropologist Daniel Moerman wrote that calamus ("Acorus calamus"), which was one of the ten most common medicinal drugs of Native American societies, was used as an abortifacient by the Lenape, Cree, Mohegan, Sioux, and other tribes; and he listed more than one hundred substances used as abortifacients by Native Americans.


title: Abortifacient

text: Following a tradition among European and English authors, colonial Americans were advised by Benjamin Franklin to use careful measurements in his recipe for an abortifacient that he used as an example in a book he published to teach mathematics and many useful skills.


title: Abortifacient

text: For much of history, ending a pregnancy prior to "quickening" (the moment when a pregnant woman first feels fetal movement) did not have the type of legal or political restrictions and taboos found in the 21st century. Early medieval laws did not discuss abortion prior to quickening. The early Catholic church held that human life began at "ensoulment" (at the time of quickening), a continuation of Roman norms and positions on the use of abortifacients prior to quickening.


title: Abortifacient

text: In English law, abortion did not become illegal until 1803. "Women who took drugs before that time [quickening] would describe their actions as 'restoring the menses' or 'bringing on a period'."


title: Abortifacient

text: At that time, abortion after quickening became subject to the death penalty. In 1837, the significance of quickening was removed, but the death penalty was also abandoned.


title: Abortifacient

text: The historian Angus McLaren, writing about Canadian women between 1870 and 1920, states that "A woman would first seek to 'put herself right' by drinking an infusion of one of the traditional abortifacients, such as tansy, quinine, pennyroyal, rue, black hellebore, ergot of rye, sabin, or cotton root."


title: Abortifacient

text: During the American slavery period, 18th and 19th centuries, cotton root bark was used in folk remedies to induce a miscarriage.


title: Abortifacient

text: In the 19th century Madame Restell provided mail-order abortifacients and surgical abortion to pregnant clients in New York.


title: Abortifacient

text: Early 20th-century newspaper advertisements included coded advertisements for abortifacient substances which would solve menstrual "irregularities." Between 1919 and 1934 the U.S. Department of Agriculture issued legal restraints against fifty-seven "feminine hygiene products" including "Blair's Female Tablets" and "Madame LeRoy's Regulative Pills."


title: Cultural impact of the Beatles

text: The English rock band the Beatles are commonly regarded as the foremost and most influential band in popular music history. With a line-up comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they sparked the "Beatlemania" phenomenon in 1963, gained international superstardom in 1964, and remained active until their break-up in 1970. Over the latter half of the decade, they were often viewed as orchestrators of society's developments. Their recognition concerns their effect on the era's youth and counterculture, British identity, popular music's evolution into an art form, and their unprecedented following.


title: Cultural impact of the Beatles

text: Many cultural movements of the 1960s were assisted or inspired by the Beatles. In Britain, their rise to national prominence signalled the youth-driven changes in postwar society, with respect to social mobility, teenagers' commercial influence, and informality. They spearheaded the shift from American artists' global dominance of rock and roll to British acts (known in the US as the British Invasion) and inspired many young people to pursue music careers. From 1964 to 1970, the group had the top-selling US single one out of every six weeks, and the top-selling US album one out of every three weeks. In 1965, they were awarded MBEs, the first time such an honour was bestowed on a British pop act. A year later, Lennon controversially remarked that the band were "more popular than Jesus now".


title: Cultural impact of the Beatles

text: The Beatles often incorporated classical elements, traditional pop forms and unconventional recording techniques in innovative ways, especially with the albums "Rubber Soul" (1965), "Revolver" (1966) and "Sgt. Pepper's Lonely Hearts Club Band" (1967). Many of their advances in production, writing, and artistic presentation were soon widespread. Other cultural changes initiated by the group include the elevation of the album to become the dominant form of record consumption over singles, a wider interest in psychedelic drugs and Eastern spirituality, and several fashion trends. The band also pioneered with their record sleeves and music videos, as well as informed music styles such as jangle, folk rock, power pop, psychedelia, progressive rock and heavy metal. By the end of the decade, the group were seen as an embodiment of the era's sociocultural movements, exemplified by the sentiment of their 1967 song "All You Need Is Love".


title: Cultural impact of the Beatles

text: Over the 1960s as a whole, the Beatles were the dominant youth-centred pop act on the sales charts. They broke numerous sales and attendance records, many of which they have or had maintained for decades, and continue to enjoy a canonised status unprecedented for popular musicians. Their songs are among the most recorded in history, with cover versions of "Yesterday" exceeding thousands. As of 2009, they were the best-selling band in history, with estimated sales of over 600 million records worldwide.<ref name="RooneySmith/CNN"></ref> "Time" included them in .


title: Cultural impact of the Beatles

text: The Beatles formed in Liverpool in 1960; as a foursome comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they gained international stardom in 1964, and remained active until their break-up in 1970. Throughout the band's career, they expanded collective notions regarding the limits of commercial and artistic achievement. In "Rolling Stone" magazine's "Encyclopedia of Rock & Roll" (2001), the editors define their "incalculable" influence as encompassing "all of Western culture". The writers state that the group's discography held the precedent for "virtually every rock experiment ... Although many of their sales and attendance records have since been surpassed, no group has so radically transformed the sound and significance of rock & roll." Writing for AllMusic, critic Richie Unterberger recognises the Beatles as both "the greatest and most influential act of the rock era" and a group that "introduced more innovations into popular music than any other rock band of the 20th century". He adds:


title: Cultural impact of the Beatles

text: Many contemporary listeners viewed the Beatles as orchestrators of society's developments over the second half of the 1960s. Musicologist Allan F. Moore states that there have been occasions when "audiences gravitate towards a centre" of pop music culture, the most prominent of which was in the early to mid 1960s, a period in which it "seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles". Music critic Greil Marcus described the Beatles' impact as the second "pop explosion", after Elvis Presley's emergence in the 1950s, and defined the term as "an irresistible cultural explosion that cuts across lines of class and race, and, most crucially, divides society itself by age". In such a phenomenon, he continued, "The surface of daily life (walk, talk, dress, symbolism, heroes, family affairs) is affected with such force that deep and substantive changes in the way large numbers of people think and act take place." According to author and film-maker Hanif Kureishi, the Beatles are "the only mere pop group you could remove from history and suggest that culturally, without them, things would have been significantly different".<ref name="Kureishi/Guardian"></ref>


title: Cultural impact of the Beatles

text: Detractors of the Beatles' legacy argue that the band are overrated and are often credited for innovations that other acts were the first to achieve. Music historian Bill Martin cites such notions as part of modern culture's inability to fully "understand them as a force", and says that although rock music has been defined by "synthesis and transmutation" since it began, "what was original about the Beatles is that they synthesized and transmuted more or less "everything", they did this in a way that reflected their time, they reflected their time in a way that spoke to a great part of humanity, and they did all of this really, really well." Ian MacDonald states that the band were keen observers who discovered trends in their infancy and were adept at mirroring the era's "social and psychological changes". He said that their connection with the times was such that the Beatles "did far more mind-liberating" than Bob Dylan, through their greater record sales and "because they worked in simpler, less essentially sceptical ways".


title: Cultural impact of the Beatles

text: Over the 1960s as a whole, the Beatles were the dominant youth-centred pop act on the sales charts. "She Loves You", the band's second number-one single on the "Record Retailer" chart (subsequently adopted as the UK Singles Chart), became the best-selling single in UK chart history, a position it retained until 1978. The band's first two albums, "Please Please Me" and "With the Beatles", each topped "Record Retailer"s LPs chart, for a combined run of 51 consecutive weeks. Beginning with "From Me to You" in 1963, the Beatles had a four-year run of eleven consecutive chart-topping singles in "Record Retailer", ending when the double A-side single "Strawberry Fields Forever" / "Penny Lane" peaked at number two.


title: Cultural impact of the Beatles

text: On 4 April 1964, the Beatles occupied the top five US chart positions – with "Can't Buy Me Love", "Twist and Shout", "She Loves You", "I Want to Hold Your Hand" and "Please Please Me" – as well as 11 other positions on the "Billboard" Hot 100. For nine consecutive weeks, they held the top two places on the "Billboard" Top LPs chart (subsequently the "Billboard" 200) with reconfigured versions of their first two albums. Until 2018, they were the only act to have filled the top five of the "Billboard" Hot 100. They also broke 11 other chart records on "Billboard"s singles and albums charts at that time.<ref name="Caulfield/BB"></ref> Their chart domination was commonplace in countries around the world during 1964. In Australia, in late March, the band's songs filled the top six chart positions; during one week, they held nine positions in Canada's top ten.


title: Cultural impact of the Beatles

text: On 15 August 1965, the Beatles became the first entertainment act to stage a concert in a sports stadium when they performed at Shea Stadium in New York City before an audience of 55,600. The event set records for attendance and revenue generation, with takings of $304,000 (equivalent to $ in ). The band's record run of six consecutive number-ones on the "Billboard" Hot 100 from January 1965 to January 1966 – with the songs "I Feel Fine", "Eight Days a Week", "Ticket to Ride", "Help!", "Yesterday" and "We Can Work It Out" – remained unbeaten until Whitney Houston achieved a seventh in 1988.


title: Cultural impact of the Beatles

text: "Sgt. Pepper's Lonely Hearts Club Band" (1967) was the top-selling album of the 1960s in the UK, and on four occasions they had the best-selling album of the year there. As of 2019, with certified sales of 5.1 million copies in the UK, "Sgt. Pepper" is the all-time third best-selling album there and the best-selling studio album. The 1968 double LP "The Beatles" (also known as the "White Album") became the fastest-selling album in history; Capitol Records reported advance orders of 2 million in the US, with many stores selling their entire stock in one day.


title: Cultural impact of the Beatles

text: In the UK, the Beatles are beaten only by Presley for their amount of number-one singles and combined weeks at number one. As of December 2018, the Beatles held the record for the most Christmas number-one hits there, with four, of which three were achieved in successive years between 1963 and 1965. In the list of the UK's top sellers for the decade, the band's albums filled the top ten, apart from the soundtracks to "The Sound of Music", "South Pacific" and "West Side Story". The Beatles took the next three positions, meaning that all ten of their UK number-one albums were among the thirteen best-selling albums of the 1960s.<ref name="Mawer/OCC"></ref> In the case of US sales for the 1960s, the Beatles were the top artist, ahead of Presley, in both singles and albums. Between February 1964 and July 1970, the band maintained the number-one single on the "Billboard" Hot 100 for a total of 59 weeks and topped "Billboard"s LPs chart for 116 weeks. In other words, they had the top-selling single one out of every six weeks, and the top-selling album one out of every three weeks.


title: Cultural impact of the Beatles

text: As the Beatles rose in popularity in 1963, the terms "Mersey sound" and "Merseybeat" were applied to bands and singers from Liverpool, making it the first time in British pop music that a sound and a location were linked together. The city had the cultural advantages of being the UK's main transatlantic port and having an ethnically diverse population; local musicians were able to access records by American musicians through the Cunard Yanks working on the shipping routes. Like many Liverpool bands, the Beatles formed their sound from skiffle and a combination of American influences, especially rhythm and blues and girl groups, and honed their live act through seasons performing in the red-light district of Hamburg in West Germany. The music was performed with an emphasis on beat and guitars, at the expense of saxophones or other instruments commonly heard on the American records. Under pressure from Liverpool venues such as the Cavern, manager Brian Epstein persuaded the Beatles to swap their favoured look of black leather jackets and pants for more presentable stage suits. The group's emergence as leaders of the Liverpool beat scene represented a departure from the London-focused tradition of the UK music industry.


title: Cultural impact of the Beatles

text: Released in October 1962, "Love Me Do", the band's debut single as EMI recording artists, contrasted with the polished style of contemporary UK hit songs. According to author Peter Doggett, the January 1963 follow-up, "Please Please Me", represented "the real birth of the new" as, aided by Lennon's impassioned vocal, the song was "more driven than any previous British pop record". As musicians and songwriters, the Beatles established working-class authenticity and informality as key aspects in British rock 'n' roll. Doggett adds that "Most of all, the Beatles sounded like a gang: forceful, persuasive and sexually potent."


title: Cultural impact of the Beatles

text: Starting in 1963, according to music historian David Simonelli, the Beatles initiated the "original golden age" of British rock 'n' roll and reversed a tradition whereby domestic acts were a "pale imitation" of the original American purveyors of the style. During the first half of that year, the band usurped American acts including Roy Orbison to become the headline performers on their joint UK tours, something no previous British act accomplished while touring with artists from the US. Their initial success opened the way for many other Liverpool groups to achieve national success and encouraged the country's four main, London-based record companies to seek out talent in other areas of northern England. As a result, the Beatles and other British acts dominated the charts in 1963 at the expense of American artists.


title: Cultural impact of the Beatles

text: The Beatles' emergence overlapped with the decline in British conservatism. In the description of author and musician Bob Stanley, their domestic breakthrough represented "a final liberation for Britain's teenagers" and, by coinciding with the end of National Service, the group "effectively signaled the end of World War II in Britain". For sociologists, the band typified new developments in postwar Britain such as social mobility, teenagers' commercial influence, and informality in society. In their 1965 book "Generation X", Charles Hamblett and Jane Deverson said the Beatles had supplied British youth culture with a unifying and liberating influence that departed from the usual American-inspired model and, together with other groups from outside London, had fostered a sense of celebration of provincial England. The authors commented that resistance to the Beatles' progressive social influence from establishment figures was because the band were "knocking the stuffing – and the stuffiness – out of the neo-Victorians".


title: Cultural impact of the Beatles

text: The band's appeal registered with members of the royal family when the Beatles played a toned-down selection of songs at the Royal Variety Performance on 4 November 1963. The show was watched by a television audience of 26 million, around half the population of the UK, and helped establish the group as one of the first "spectacles" of the 1960s. Reluctant to play at such a formal event, Lennon told Epstein that he planned to sabotage the occasion. He instead charmed the theatre audience with his final comment: "For our last number ['Twist and Shout'], I'd like to ask your help. The people in the cheaper seats, clap your hands. And the rest of you, if you'd just rattle your jewellery."


title: Cultural impact of the Beatles

text: The Beatles' international success created an export market for British pop for the first time and provided a boon to the UK government's balance of payments deficit. This unexpected development led to approval from politicians and an eagerness on their part to be associated with the band. In the run-up to the 1964 general election, the Beatles became a political football for the two major political parties; the "New Statesman" reported that Conservative candidates were told to "mention the Beatles whenever possible in their speeches", while a cartoon in the "Daily Express" showed the Conservative prime minister, Alec Douglas-Home, and Labour's leader of the opposition, Harold Wilson, consulting the Beatles over the Profumo affair. During the election campaign, both parties accused the other of trying to use the band's popularity for political gain. In March 1964, Wilson, who was contesting the outer Liverpool seat of Huyton, engineered a photo opportunity with the group as they received their Variety Club "Show Business Personality of the Year" awards. The association endured in the public's mind, securing Wilson the youth vote and aiding in his election win.<ref name="Harris/PollPosition"></ref>


title: Cultural impact of the Beatles

text: The Beatles' international success also benefited the country's tourism and fashion industries, and entertainment generally. In early 1965, "Melody Maker" initiated a campaign for the Beatles to be awarded MBEs, a move that Wilson supported and set in motion. When the band received their MBEs from Queen Elizabeth II in October, it was unprecedented recognition for pop musicians, anticipating the honours (including knighthoods) that were regularly bestowed on the country's entertainers in subsequent decades. The award was in acknowledgement of the Beatles' contribution to the national economy and reflected the value of their popularity to the Labour government. Wilson's Cabinet minister Tony Benn, who opposed the award, thought it was equally indicative of the royal family's wish to appeal to the masses in the new era of egalitarianism and meritocracy.


title: Cultural impact of the Beatles

text: In his book on the 1960s, social historian Arthur Marwick identifies the Beatles' US breakthrough as the "single critical event" that established "the hegemony of youth-inspired British popular culture". With other countries succumbing to the Beatles' influence, according to Simonelli, the band "virtually redefined what it meant to be British", and British culture became "the most exciting culture on earth" for the first time since the start of the industrial age. The surge in exports revenue extended to film and other commercial artistic pursuits, and recognition of London as the "Swinging City" of international culture.


title: Cultural impact of the Beatles

text: With the Beatles having moved to London in 1963, in Simonelli's description, they served as the "maypole" at the centre of the city's cultural influence throughout the 1960s. Marwick says they represented the popular image of a phenomenon in which "hitherto invisible swathes of British society became visible and assertive" and their 1966 single "Paperback Writer" was the song that best conveyed "the new class-defying tide of individualistic enterprise". Liverpool poet Roger McGough credited the Beatles with establishing the "mythology of Liverpool" through their 1967 songs "Strawberry Fields Forever" and "Penny Lane", in the manner that American rock 'n' roll songs had traditionally done for US cities and roads.


title: Cultural impact of the Beatles

text: In late 1963, the British press coined the term "Beatlemania" to describe the phenomenal and increasingly hysterical interest in the Beatles. The word was first widely used following the band's 13 October appearance on "Sunday Night at the London Palladium"; amid reports of wild crowd scenes outside the venue, and after 15 million viewers watched the broadcast, Britain was said to be "in the grip of Beatlemania". The "yeah, yeah, yeah!" refrain of "She Loves You" was a signature hook for their European audiences. Its falsetto "ooh!"s elicited further fan delirium when accompanied by McCartney and Harrison's exaggerated shaking of their moptop hair. Once it became an international phenomenon in 1964, Beatlemania surpassed in its intensity and reach any previous examples of fan worship, including those afforded to Presley and Frank Sinatra.


title: Cultural impact of the Beatles

text: Displays of mania were repeated wherever the band played. When the group toured Australia in June 1964, the population afforded the visit the status of a national event. A crowd of 300,000 – the largest recorded gathering of Australians in one place – welcomed the Beatles to Adelaide. Sid Bernstein, the US promoter who arranged the band's Shea Stadium concerts, said that only Adolf Hitler had had such power over the masses. Bernstein was sure that the group "could sway a presidential election if they wanted to". Around 4,000 fans gathered outside Buckingham Palace in central London when the Beatles received their MBEs from the Queen. As the crowd chanted "God save the Beatles" and "Yeah, yeah, yeah!", some fans jostled with police officers and scaled the palace gates. Referring to this spectacle, journalist Robert Sandall later commented that "Never had a ruling monarch been so thoroughly upstaged by a group of her subjects as was Elizabeth II on [26 October 1965]."<ref name="Sandall/JointHonours">Sandall, Robert. "Joint Honours". In: .</ref>


title: Cultural impact of the Beatles

text: The Beatles became bored with all aspects of touring – including fans offering themselves sexually to the band, and the high-pitched screaming that rendered their performances inaudible. Beatlemania continued on a reduced scale after the band retired from touring, and after the members became solo artists. In their book "Encyclopedia of Classic Rock", David Luhrssen and Michael Larson write that while boy bands such as One Direction have continued to attract audiences of screaming girls, no act has "moved pop culture forward or achieved the breadth and depth of the Beatles' fandom".


title: Cultural impact of the Beatles

text: Most Americans were introduced to the Beatles' music with the single "I Want to Hold Your Hand" backed with "I Saw Her Standing There", rising to the top of US charts on 1 February 1964. Both songs featured a harder-edged guitar sound that stood out as a revival of the "rebellious" spirit absent from newer rock and roll acts and as a rejection of the regular assortment of novelty songs, teen idols, folk singers and girl groups that occupied US charts in the weeks and months previous. MacDonald wrote: "every American artist, black or white, asked about 'I Want to Hold Your Hand' has said much the same: it altered everything, ushering in a new era and changing their lives."


title: Cultural impact of the Beatles

text: On 9 February, the Beatles gave their first live US television performance on "The Ed Sullivan Show", watched by approximately 73 million viewers in over 23 million households, or 34 per cent of the US population. The Nielsen rating service reported that it was the largest audience number ever recorded for an American television . Music journalist Neil McCormick, writing in 2015, described the Beatles' debut on the show as pop music's "big bang moment", while Stanley calls it "arguably the most significant postwar cultural event in America", adding that "Their rise, the scale of it and their impact on society, was completely unprecedented." Their second appearance on "The Ed Sullivan Show", on 16 February, was watched by around 70 million viewers.


title: Cultural impact of the Beatles

text: Eleven weeks before the Beatles' arrival in the US, President John F. Kennedy was assassinated, a source of profound national mourning that American commentators at the time linked to young people's embrace of the Beatles and their music. For many Americans, particularly young baby boomers, the Beatles' visit reignited the sense of excitement and possibility that had been taken by Kennedy's assassination. A teenage New Yorker in early 1964, author Nicholas Schaffner later wrote that the Kennedy link was "an exaggeration, perhaps", but the Beatles "more than filled the energy gap" left by the demise of 1950s rock 'n' roll for an audience accustomed to the "vacuous" music that had replaced it.


title: Cultural impact of the Beatles

text: For decades, the US had dominated popular entertainment culture throughout much of the world, via Hollywood films, jazz, and the music of Broadway and Tin Pan Alley. In early 1964, "Life" magazine declared: "In [1776] England lost her American colonies. Last week the Beatles took them back." The Beatles subsequently sparked the British Invasion of the US and became a globally influential phenomenon. Recalling the Beatles' sudden popularity, Brian Wilson of the Beach Boys felt that the Beatles had "eclipsed ... the whole music world". Bob Dylan recalled that, by April 1964, "a definite line was being drawn. This was something that had never happened before ... I knew they were pointing the direction of where music had to go."


title: Cultural impact of the Beatles

text: The Beatles' success in the US established the popularity of British groups and affected the musical style of American bands. In doing so, however, the Beatles inadvertently caused a sharp decrease in sales for black artists and the decline of many of the girl groups they admired. By mid 1964, several more UK acts arrived in the US, including the Dave Clark Five, the Rolling Stones, Billy J. Kramer and Gerry & the Pacemakers. Confirming the British Invasion of the US pop market, one-third of all top ten hits there in 1964 were performed by British acts. The depth of the Beatles' US impact was also reflected in a wave of easy listening adaptations of their songs, aimed at the adult market. This trend was led by the Boston Pops Orchestra recording "I Want to Hold Your Hand" and the Hollyridge Strings covering "All My Loving", after which the latter orchestra released the 1964 album "The Beatles Song Book".


title: Cultural impact of the Beatles

text: The extent of the Beatles' impact on American music was disputed in a 2015 study conducted by the Queen Mary University of London and Imperial College London. By analysing shifts in chord progressions, beats, lyrics and vocals, the study indicated that American music was moving away from mellow sounds like doo-wop and into more energetic rock styles since the beginning of the 1960s. Professor Armand Leroi, who led the study on behalf of Imperial College, said: "They didn't make a revolution or spark a revolution, they joined one. The trend is already emerging and they rode that wave, which accounts for their incredible success." Beatles historian Mark Lewisohn said in response: "anyone who was a young person in the US when the Beatles arrived ... will tell you that the Beatles revolutionised everything." McCormick dismissed the study as "sensationalist".


title: Cultural impact of the Beatles

text: In the description of "Rolling Stone"s editors, the Beatles "defined and incarnated Sixties style: smart, idealistic, playful, irreverent, eclectic". They helped popularise Northern English accents on British radio and television, reversing the preference for BBC English, and their humour and irreverence combined to mock social conventions. Writer Sean O'Hagan recalled in 2016: "Everything about them – the clothes they wore, the way they spoke, the songs they created with an effortlessness that seemed almost alchemical – suggested new ways of being. More than any of their contemporaries, they challenged the tired conventions that defined class-bound, insular, early-60s Britain." According to author Jonathan Gould, in conveying "Youthfulness, stylishness, unpretentiousness, and nonchalance", their early image defied the widely held stereotype of Britishness, and through their presentation as Liverpudlians, "the Beatles personified an iconoclastic version of their national character that proved to be as compelling to the youth of North America, Europe, Australia and parts of Asia as it was to their British fans."


title: Cultural impact of the Beatles

text: In his book "Revolution in the Head", MacDonald describes the band members as "perfect McLuhanites" who ""felt" their way through life". He says of the group's initial impact:


title: Cultural impact of the Beatles

text: Unlike previous pop stars – programmed to recite their future itineraries and favourite colours – The Beatles replied to the press in facetious ad-libs provoked by whatever was going on in the immediate present ... Before them, pop acts had been neatly presented as soloists or well-drilled units each with its clearly identified leader. With their uncanny clone-like similarity and by all talking chattily at once, The Beatles introduced to the cultural lexicon several key Sixties motifs in one go: "mass"-ness, "working class" informality, cheery street scepticism, and – most challenging to the status quo – a "simultaneity" which subverted conventions of precedence in every way.


title: Cultural impact of the Beatles

text: Lou Christie recalled that the Beatles' emergence underlined the staidness of the US music scene, saying: "We were, in many respects, just these goofy white boys. We weren't allowed to be seen with a cigarette in our hands ... [The Beatles] were more aggressive, they were funny and they were articulate. The minute they came to America, they literally put a halt to everything that was previously happening."


title: Cultural impact of the Beatles

text: The Beatles' emergence coincided with a new consideration for the concept of male beauty and its elevation in importance beside feminine attractiveness. According to Marwick, the group's appearance and Kennedy's provided "the two great points of reference in this respect". The Beatles were dubbed "moptops" by some British tabloids in reference to their haircut, a mid-length hairstyle that was widely mocked by adults. It was unusually long for the era and became an emblem of rebellion to the burgeoning youth culture.


title: Cultural impact of the Beatles

text: In their 1986 book "Re-making Love: The Feminization of Sex", authors Barbara Ehrenreich, Elizabeth Hess and Gloria Jacobs said that the Beatles' haircuts signalled androgyny and thus presented a less threatening version of male sexuality to teenage girls, while their presentable suits meant they seemed less "sleazy" than Presley to middle-class whites.<ref name="Ehrenreich/Hess/Jacobs"></ref> Russian historian Mikhail Safonov wrote in 2003 that in the Brezhnev-era Soviet Union, mimicking the Beatles' hairstyle was seen as highly rebellious. Young people were called "hairies" by their elders, and were arrested and forced to have their hair cut in police stations. As a result of the Beatles, the traditional American male look of crewcuts or combed-back hair was replaced by a preference for long hair.


title: Cultural impact of the Beatles

text: Clothing styles were similarly influenced, firstly by the band's Pierre Cardin suits and Cuban-heeled Beatle boots, and later by the Carnaby Street mod fashions they wore. Along with the Rolling Stones, Dylan and the Who, the Beatles inspired thousands of young men to wear pop art-themed designs. In the late 1960s, the band's adoption of Nehru jackets and other Indian-style clothing was highly influential on Western fashion. In his 1970 "Lennon Remembers" interview, Lennon complained: "When we got here [to the US], you were all walking around in fuckin' Bermuda shorts with Boston crew cuts and stuff on your teeth ... The chicks looked like 1940's horses. There was no conception of dress or any of that jazz." Writing in 2002, music journalist David Fricke said Lennon was "right" in his withering assessment of American youth, adding that Americans were "psychologically stuck in the surface white-bread calm of the 1950s" and "ripe for blindsiding".<ref name="Fricke/MojoSpecial"></ref>


title: Cultural impact of the Beatles

text: The Beatles differed from previous musical acts in their presentation as a group in which each of the individual personalities was seen as indispensable to the whole, and each member attracted fanatical devotion. According to cultural commentator Steven D. Stark, their lack of a designated leader aligned with a more typically feminine approach to collaboration, an aspect that increased their resonance among the female audience and subsequently influenced men's self-perception and cultural views on masculinity. The intensity of the Beatles' appeal as live performers was such that they were often presented with people who were physically impaired, in the assumption that the band had healing powers. When the band assumed a mystical image in the late 1960s, fans increasingly identified them as the four elements, in which each member presented a complementary and essential contribution to the alchemical whole.


title: Cultural impact of the Beatles

text: In 1964, the Beatles starred in the film "A Hard Day's Night" as fictionalised versions of themselves, which created a lasting impression of their individual personas. Lennon became known as "the smart one", McCartney "the cute one", Harrison "the quiet one", and Starr "the lucky one". Starr's personality as the band's affable, self-deprecating drummer proved especially popular with fans and the press in the US. In 1964, as coverage of the Beatles matched that of the Johnson–Goldwater presidential race, Starr was the subject of bumper stickers proclaiming "Ringo for President", as well as several tribute songs.


title: Cultural impact of the Beatles

text: Their "Hard Day's Night" characterisations were adopted again for the children's cartoon series "The Beatles", which was made by King Features and broadcast weekly on ABC in the US from September 1965 to April 1969. It was the first animated TV series to depict living people and featured the Beatles (voiced by actors) having adventures while touring the world. The series was highly successful, although its focus on the pre-1967 era ensured that audiences were presented with an increasingly outdated image of the band.


title: Cultural impact of the Beatles

text: Towards the end of 1966, by which point the Beatles' artistic maturity had left many younger listeners yearning for their innocent, "mop-top" image, the Monkees were assembled by a pair of Hollywood-based television executives as a four-piece band in the Beatles' mould. An immediate commercial success, the Monkees' self-titled television show evoked the Beatles' personalities from Dick Lester's feature films "A Hard Day's Night" and "Help!", with the characters of the individual Monkees developed to reflect those of the Beatles. In Marwick's view, the Monkees' creation represented "the most remarkable sign of direct British influence" on American pop culture during the 1960s. At this time, the Beatles grew moustaches, a look that defied pop convention by implying maturation and artistry over youthfulness. Their appearance was the source of confusion for some of their young fans.<ref name="Wawzenek/UCR"></ref> A "Daily Mail" writer complained that after emerging as "heroes of a social revolution" in 1963 and "the boys whom everybody could identify with", the Beatles had become austere and exclusive.


title: Cultural impact of the Beatles

text: The producers of the 1967 Disney animated film "The Jungle Book" hoped to include the Beatles in a scene featuring four vultures with mop-top hairstyles singing "That's What Friends Are For". After the band declined to take part, the scene was voiced by actors adopting Liverpudlian accents and the song was given a barbershop quartet arrangement.


title: Cultural impact of the Beatles

text: Along with Beatles-themed wallpaper and jewellery, "Beatles wigs" were popular and widely available in UK stores from 1963. In the US, their merchandise was extensive, and marketed through Seltaeb, a local subsidiary of a company owned by Epstein's NEMS Enterprises. Among what Schaffner estimated to be "several hundred" items authorised by Seltaeb were toys, clothing, stationery, alarm clocks, pillowcases, bath products, junk food and lunchboxes, while Beatles wigs "became the best-selling novelty since yo-yo's". Beatles-brand chewing gum alone netted millions of dollars in the US. Beatle boots were also sanctioned as official merchandise by NEMS.


title: Cultural impact of the Beatles

text: According to Doggett, while Presley's image had similarly been exploited, "the onslaught of ephemeral artefacts aimed at Beatles fans between 1963 and 1969 dwarfed every previous campaign." The commercial exploitation extended to novelty records such as "The Chipmunks Sing the Beatles Hits" and an early version of a Beatles karaoke disc. King Features' "The Beatles" led to a range of cartoon-style products and marketing by companies such as Nestlé, with their "Beatles' Yeah Yeah Yeah" confectionery, and Lux soap. A major merchandising campaign accompanied the release of the band's 1968 animated film "Yellow Submarine", containing products that captured their psychedelic look.


title: Cultural impact of the Beatles

text: According to Gould, the Beatles served as the "archetype" of a rock band, in contrast to the vocal and harmony groups with which listeners were most familiar in 1964. In the US, thousands of bands sought to imitate the Beatles, some adopting English-sounding names to capitalise on the British Invasion. While the country already had a vibrant garage rock scene, the movement surged following the Beatles' first appearance on "The Ed Sullivan Show". Commentator Bill Dean writes that the exact figures are impossible to determine, but "the anecdotal evidence suggests thousands – if not hundreds of thousands or even more – young musicians across the country" responded by forming bands. This was sometimes to the chagrin of their parents and other adults.


title: Cultural impact of the Beatles

text: Tom Petty, who joined the Sundowners in Gainesville, Florida, after seeing the Beatles' US television debut, recalled: "Within weeks of that, you could drive through literally any neighborhood in Gainesville and you would hear the strains of garage bands playing ... I mean everywhere. And I'd say by a year from that time, Gainesville probably had 50 bands." The Byrds and Creedence Clearwater Revival are among the American groups said to have formed as a result of the show. Accompanying this phenomenon, the musicians typically abandoned their crewcut look and allowed their hair to grow. Joe Walsh, Nancy Wilson and Billy Joel also credited the show as the impetus for them to pursue musical careers.


title: Cultural impact of the Beatles

text: The proliferation of new groups was evident in many other countries. In Spain, Los Estudiantes and Los Brincos modelled themselves on the Beatles, as did the Uruguayan band Los Shakers, who were one of many groups around the world that formed as a result of "A Hard Day's Night". Following the Beatles' concerts there on the 1964 world tour, new bands sprung up in Australia, New Zealand and Hong Kong, while some existing acts, such as the Bee Gees, instantly changed their style to match the Beatles'.


title: Cultural impact of the Beatles

text: The "Daily Express" reported in 1965 that a band known as the Candid Lads had started in the Soviet Union, with a sound and look identical to the Beatles'. Bands there were forced to play in secret due to the communist authorities' ban on rock music, and Beatles records had to be smuggled into the country.<ref name="Walsh/NYDailyNews"></ref> Russian musician Sasha Lipnitsky later recalled: "The Beatles brought us the idea of democracy ... For many of us, it was the first hole in the Iron Curtain." In Japan, the Beatles influenced what was dubbed the "Group Sounds" era, before which Japanese bands were mainly imitations of acts such as Presley and Pat Boone. According to music-industry executive Aki Tanaka, the Beatles' 1966 concerts in Tokyo inspired "the birth of a real Japanese rock music scene", in which local artists wrote their material rather than merely covering Western rock songs.


title: Cultural impact of the Beatles

text: Through the Beatles' early success, the Lennon–McCartney partnership revolutionised songwriting in Britain by usurping the Denmark Street tradition of in-house songwriters. In the US, they similarly inspired changes to the music industry, as did the British Invasion songwriters they influenced, by combining the roles of writer and performer. This trend threatened the Brill Building writers and other professional songwriters that dominated the American music industry. According to "Rolling Stone"s editors, the Beatles thereby "inaugurated the era of self-contained bands and forever centralized pop". Lennon and McCartney also supplied hit songs for several other artists up to 1966, including Cilla Black, Billy J. Kramer, the Fourmost and the Rolling Stones, and they opened up opportunities in the US that were previously unavailable for non-performing British songwriters, such as Tony Hatch. Direct collaboration between Lennon and McCartney was limited from 1964, but their songs continued to be credited to the partnership.


title: Cultural impact of the Beatles

text: From 1963 to 1967, the Beatles increasingly broke with established rock and pop conventions. Adding to their sophistication as composers was the application of modal mixture, wider chord palettes, and extended form. One of the hallmarks of the Beatles' experimental period is their use of the flattened subtonic chord (VII). Although it was already a staple of rock 'n' roll, the Beatles further developed and popularised the chord's function in popular music. Another is their subversions of pop's standard AABA form. Few electric beat artists wrote songs with bridge sections until the group's breakthrough, after which the practice became ubiquitous.


title: Cultural impact of the Beatles

text: MacDonald describes Lennon and McCartney's growing articulacy and ambition from 1962 to 1967 as "quite vertiginous" and says that, with Harrison and Starr's collaboration in the recording studio, they "led a revolution in the very ethos of songwriting which consisted in seeing the song as a part of something larger: the record". Luhrssen and Larson describe the pair's songwriting as "more melodically and harmonically unpredictable than that of their peers", and say that the Beatles' sound "struck many ears as outrageous, especially the falsetto leaps in songs such as 'She Loves You,' which might have been inspired by Little Richard but sounded unprecedented".


title: Cultural impact of the Beatles

text: "A Hard Day's Night", written primarily by Lennon, begins with a ringing chord most commonly identified as G7sus4. The specifics of its harmonic construction are often scrutinised, with many writers offering different interpretations of the chord. In 2001, "Rolling Stone" referred to the "Hard Day's Night" chord as the most famous in rock history. Another chord described as among the "most famous" in history is the sustained E major heard at the end of "A Day in the Life" from "Sgt. Pepper".


title: Cultural impact of the Beatles

text: Principally through McCartney's melody writing, the Beatles created many songs that became the most widely recorded of all time, including "And I Love Her", "Yesterday", "Michelle", "Eleanor Rigby", "Here, There and Everywhere", "The Fool on the Hill", "Hey Jude", "Blackbird", "Let It Be" and "The Long and Winding Road". According to Doggett, these mainly McCartney-written songs provided contemporary relevance for "light orchestras and crooners" in the easy listening category, persuaded adults that the new generation's musical tastes had merit, and "ensured that Lennon and McCartney would become the highest-earning composers in history". Harrison's songwriting widened the Beatles' range further, although his level of contribution remained limited by Lennon and McCartney's dominance throughout the band's career. His song "Something" was also widely covered, and earned rare praise from Sinatra, who described it as "the greatest love song of the past fifty years".


title: Cultural impact of the Beatles

text: Before the mid-1960s, competition between popular recording artists was typically measured by popularity and record sales, with artistic rivalries usually only occurring between jazz or classical musicians. Comparing its effect on 1960s popular music to Charlie Chaplin's on 1920s filmmaking, Gould credits the Beatles' increasing ambition "to write better songs" with inspiring "intense creative rivalries" between themselves and other acts who "felt a need to validate their success by experimenting with songwriting and record-making in ways that would have seemed unimaginable only a few years before." Author Robert Rodriguez writes that "The Beatles, Dylan, and the Rolling Stones have long been viewed as the Holy Trinity of 1960s rock, from whom every important development and innovation flowed." Author Carys Wyn Jones states that the "competition, interaction, and influence" between those acts (plus the Beach Boys) became "central to histories of rock". The Byrds also figured highly in their importance, to the extent that they were widely celebrated as the American answer to the Beatles.


title: Cultural impact of the Beatles

text: Bob Dylan and the Rolling Stones were symbolic of the nascent youth revolt against institutional authority, something that was not immediately recognisable within the Beatles until 1966. The Beatles' initial clean-cut personas contrasted with the Rolling Stones' "bad boy" image, and so the music press forged a rivalry between the two acts. From 1964 onwards, the Beatles and Dylan partook in a mutual dialogue and exchange of ideas. Their engagement is referred to by Chris Smith, author of "101 Albums That Changed Popular Music", as the "single phenomenon that defined the tone of 1960s popular music and the future of music in America".


title: Cultural impact of the Beatles

text: In August 1964, at the Delmonico Hotel in New York City, the Beatles met Dylan in person and were introduced to cannabis. Many commentators have referenced this meeting as a cultural turning point. Gould explains that, before then, the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' – kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists." He writes that within a year of the Beatles' first meeting with Dylan, "the distinctions between the folk and rock audiences would have nearly evaporated", as the Beatles' fanbase began to grow in sophistication and Dylan's audience re-engaged with adolescent concerns presented in the "newly energized and autonomous pop culture".


title: Cultural impact of the Beatles

text: In July 1966, Dylan suffered a motorcycle accident and spent a period in convalescence, and principally for McCartney, Brian Wilson of the Beach Boys subsequently took his place as the Beatles' chief artistic rival. The two bands inspired and endeavoured to top each other with their artistry and recording techniques, but the Beach Boys failed to maintain their career momentum after 1967. According to Jones, the interplay between the two bands during the "Pet Sounds" era remains one of the most noteworthy episodes in rock history.


title: Cultural impact of the Beatles

text: In Britain, music journalists started including pop and rock music in serious discussion as a direct consequence of the Beatles' 1964 breakthrough. Pop gained its first exposure in the arts section of one of the country's broadsheet newspapers when William Mann, "The Times"s classical music critic, wrote an appreciation of the Beatles in December 1963. In the United States, the Beatles were the main beneficiaries of a new widespread appreciation for pop and rock over 1966–67 among journalists and intellectuals, coinciding with the emergence there of a dedicated rock press and serious coverage of the genre in the cultural mainstream. Music critic Tim Riley identifies the Beatles as pop music's "first recording "artists"", whose body of work represents "very intricate art". Luhrssen and Larson say the Beatles "[made] it mandatory that serious rock bands aspire to be artists, not merely entertainers".


title: Cultural impact of the Beatles

text: With "A Hard Day's Night" in July 1964, the band became the first pop act since Buddy Holly to issue an album consisting entirely of original compositions. The accompanying feature film endeared the Beatles to intellectuals in Britain. Lennon's artistic standing was furthered by the critical and commercial success of his book of prose "In His Own Write" and its 1965 sequel, "A Spaniard in the Works". Now feted by London society, Lennon and McCartney found inspiration among a network of non-mainstream writers, poets, comedians, film-makers and other arts-related individuals. According to Doggett, their social milieu in 1964 represented "new territory for pop" and a challenge to British class delineation as the Beatles introduced an "arty middle-class" sensibility to pop music. The albums "Beatles for Sale" and "Help!" (issued in December 1964 and August 1965, respectively) each marked a progression in the band's development, in terms of lyrical content and recording sophistication. With "Help!", the Beatles became the first rock group to be nominated for a Grammy Award for Album of the Year.


title: Cultural impact of the Beatles

text: Recording for "Rubber Soul" took place over a four-week period uninterrupted by touring, filming or radio engagements, making its creation highly unusual for the time. By the time of the album's release in December 1965, according to author Michael Frontani, each new Beatles record was received as "an expansion of the parameters of popular music, and the [group's] image reflected and promoted notions of the Beatles' artistry and importance". Simonelli describes "Rubber Soul" as "the first serious effort by a rock and roll act to produce an LP as an artistic statement", while author Christopher Bray deems it "the first long-playing pop record to really merit the term 'album'" and the LP that "turned pop music into high art". The standard of its all-original compositions was also responsible for a widespread shift in focus from singles to creating albums without the usual filler tracks.


title: Cultural impact of the Beatles

text: The Beatles incorporated influences from the English counterculture (or London underground) more readily than any of their pop rivals. Led by McCartney's absorption in the London arts scene and interest in the work of Stockhausen and Bach, this resulted in what musicologist Walter Everett terms a "revolution in the expressive capacity of mainstream rock music". The band's August 1966 album "Revolver" was viewed as avant-garde and, in MacDonald's description, "initiated a second pop revolution ... galvanising their existing rivals and inspiring many new ones". According to music historian Simon Philo, "Revolver" announced "underground London"'s arrival in pop, supplanting the sound associated with Swinging London.


title: Cultural impact of the Beatles

text: Released in May 1967, "Sgt. Pepper's Lonely Hearts Club Band" is described by Doggett as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980. The album was a major critical and commercial success; through the level of attention it received from the rock press and more culturally elite publications, "Sgt. Pepper" achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Its win in the Album of the Year category at the 1968 Grammys Awards marked the first time that a rock LP had received this award. According to author Doyle Greene, the album provided "a crucial locus in the assemblage of popular music and avant-garde/experimental music – and popular culture and modernism". Chris Smith highlights "Sgt. Pepper" as one of the most "obvious" choices for inclusion in "101 Albums That Changed Popular Music", due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music".


title: Cultural impact of the Beatles

text: "The Beatles" represented a diverse collection of musical styles that one critic likened to a history of Western music, and its November 1968 release was viewed as a major cultural event. The album failed to inspire the level of creative writing that "Sgt. Pepper" had introduced to rock criticism, as reviewers were unable to locate it within the Beatles' canon. Music critic John Harris wrote of the White Album: "it was these 30 songs that decisively opened the way for musicians to extend their horizons beyond the standard LP format."


title: Cultural impact of the Beatles

text: From 1963, the Beatles provided one of the first opportunities for female teenagers to exhibit spending power and publicly express sexual desire, while the group's image suggested a disregard for adults' opinions and parents' ideas of morality. Simonelli writes of the Beatles' emergence and its impact on 1960s youth: "British young people experimented with music, art, politics, sexual morality, fashion and the like, and the rest of the Western world watched, absorbed the changes and contributed to the process." The band's sociocultural impact in the US began with their February 1964 visit, which served as a key moment in the development of generational awareness.<ref name="Gilmore/RS/60s"></ref><ref name="Leopold/CNN"></ref> Writing that same month, American sociologist David Riesman said the Beatles' success was "a form of protest against the adult world"; later in 1964, "The New York Times Magazine" described Beatlemania as a "religion of teenage culture" that was indicative of how American youth now looked to their own age group for social values and role models. According to historian Michael James Roberts, even though their early songs avoided such issues, the band represented "cultural change and the oppositional stance of the youth culture against the establishment".


title: Cultural impact of the Beatles

text: The group's popularity subsequently grew into what was seen as an embodiment of sociocultural movements of the decade, and their artistic maturation reflected the era's social developments. They were widely viewed as leaders of the youth culture and such a sentiment was echoed by the mainstream press. Their 1966 songs "Paperback Writer", "Rain", "Taxman" and "Eleanor Rigby" provided social commentary, with the lyrics of "Rain" making explicit the delineation between the socially aware and those who were not. By contrast, "Sgt. Pepper" achieved a cross-generational appeal; in "She's Leaving Home", McCartney and Lennon sang of a real-life teenage runaway but gave an unusually sympathetic perspective on the parents' sense of loss.


title: Cultural impact of the Beatles

text: According to Stark, the social unity conveyed by the Beatles from the start of their career inspired the framework for the collectivist thinking that distinguished the 1960s and the emergence of the counterculture movement. He sees their English sense of humour as a defining trait of the counterculture and an inspiration for Yippie activists Abbie Hoffman and Jerry Rubin. Gould similarly writes that, from the band's arrival in the US, teenagers were aware of the "social dimension" implicit in the group's camaraderie, matching clothes and hair, and ensemble playing. In Gould's view, as icons of the 1960s counterculture, the band became a catalyst for bohemianism and activism in various social and political arenas, fuelling movements such as women's liberation, gay liberation and environmentalism.


title: Cultural impact of the Beatles

text: According to documentary filmmaker Leslie Woodhead, a former Cold War spy, the Beatles' music helped persuade young Russians to defy communist ideology and begin the process that led to the fall of communism throughout Eastern Europe. He said the extent of the band's influence became apparent in the 1990s when local rock musicians told him that "not only were the Beatles colossal from the Berlin Wall to Vladivostok but that they'd played a really significant part in helping to wash away totalitarianism ... They liberated a certain spiritual energy so that two generations of Soviet kids simply gave up on building socialism and started to realise that the Cold War enemy, instead of being a threat, made wonderful music."<ref name="Keal/DailyRecord"></ref> Many young Russians learnt to speak English through the Beatles' lyrics, and the band's songs helped spread the English language throughout Europe and the rest of the world.


title: Cultural impact of the Beatles

text: Marwick writes that while American folk singers Dylan and Joan Baez were more identifiable with civil rights issues, in Beatles songs, "it was a case of music and lyrics together constructing – constantly changing – moods which never failed, it seemed, to evoke responses in large numbers of listeners of the day." Roberts highlights the significance of their US breakthrough occurring in the same year that the Civil Rights Act was passed, and also that their first US LP, "Introducing ... The Beatles", was released by the African-American–owned label Vee-Jay Records. Through the album's preponderance of cover versions of recordings by black R&B artists, Roberts continues, the Beatles introduced this music to a new audience of white Americans and helped to "relegitimate" an aspect of African-American musical history.


title: Cultural impact of the Beatles

text: During the Beatles' US tour in August–September 1964, the group spoke out against racial segregation in the country at the time, particularly in the South. When informed that the venue for their 11 September concert, the Gator Bowl in Jacksonville, Florida, was segregated, the Beatles said they would refuse to perform unless the audience was integrated. City officials relented and agreed to allow an integrated show.<ref name="Runtagh/RS/EightDays"></ref> Although the group held their press conference there before the concert, they cancelled their reservations at the whites-only Hotel George Washington in Jacksonville.<ref name="Mirkin/Greenlining"></ref> According to music journalist Bill DeMain, the Beatles' stand "gave pop music a new-found social conscience"; American singer Brian Hyland recalled of the episode: "They were really the first group to have the power to do that. They used that platform really well ... It took a lot of courage."<ref name="DeMain/MojoSpecial"></ref> During the tour, the band repeatedly voiced their admiration of Little Richard, Chuck Berry and Fats Domino, and particularly soul artists such as the Miracles, Marvin Gaye and Chuck Jackson. Miracles leader Smokey Robinson said he was especially grateful for the Beatles' championing of Motown music and their choosing to cover songs by Motown artists. He added that they "were the first white artists to ever admit that they grew up and honed themselves on black music. I loved the fact that they did that, that they were honest".


title: Cultural impact of the Beatles

text: The Beatles subsequently invited Mary Wells to be their support act on a UK tour and in 1965 arranged for Esther Phillips to give her first performances outside the US. According to Lewisohn, documents reveal that for their tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated. In 1966, McCartney said they had avoided performing in South Africa "or any places where blacks would be separated", adding, "It wasn't out of any goody-goody thing; we just thought, 'Why should you separate black people from white?'" According to Moore, the Beatles and the British Invasion bands that followed them to the US initiated the process whereby Americans "gradually encountered and accepted the return of their black heritage".


title: Cultural impact of the Beatles

text: The Beatles were widely condemned by conservative elements of society, as Presley and other symbols of rock and roll had been during the 1950s. Israel refused to let the band perform there in early 1964, wary of "attacks of mass hysteria" being inflicted on the country's youth. In August 1965, the Indonesian government burned the group's records in order to "preserve the national identity in the field of culture" as part of that country's twentieth anniversary celebrations of independence. In East Germany, the Beatles were blamed for a "cultural crisis" that saw artists and intellectuals pushing for more leniency from the state; by April 1966, however, the government were supportive of the Beatles and instead targeted the Rolling Stones.