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Every major news source last week carried news of Andy White’s death at 85. The Guardian’s “Early Beatles Drummer Andy White Dies at 85” represents a typical article title intended to attract readers albeit with misinformation that suggests that a particular two-minute-and-twenty-second episode from his life should be why we remember him.

The post Not a Beatle: Andy White appeared first on OUPblog.

By Gordon R. Thompson

As a regional businessman and a fledgling band manager, Brian Epstein presumed that the Beatles’ record company (EMI’s Parlophone) and Lennon and McCartney’s publisher (Ardmore and Beechwood) would support the record. This presumption would prove false, however, and Epstein would need to draw on all of the resources he could spare if he were to make the disc a success. He began with what he knew from the retail end of the industry and commenced rallying Liverpudlians to write letters to both Radio Luxembourg and the BBC asking them to play “Love Me Do.”

Just as the stations XERF (in Ciudad Acuña, Mexico) and CKLW (in Windsor, Ontario, Canada) were able to broadcast deep into the United States with transmitters many times more powerful than FCC-regulated American stations, a station in the Grand Duchy of Luxembourg carpeted most of Western Europe.  Perhaps surprisingly, Radio Luxembourg (broadcast in the Medium Wave band) was British-owned and its English-language service became a primary outlet for UK businesses whose advertising the BBC declined. (The BBC refused to broadcast anything that suggested product promotion.) Radio Luxembourg suffered its sometimes-scratchy signal; but British listeners tuned in every night to embrace the pop music that Aunty Beeb would not play.

Expo 1958 Radio Luxembourg by Wouter Hagens. Creative Commons License.

British corporations like EMI and London music publishers like Essex Music directly controlled much of the station’s airtime by buying broadcast blocks during which they played pre-recorded programs. Indeed, on Monday 8 October 1962, the Beatles taped an interview at EMI’s headquarters in London, which Radio Luxembourg broadcast along with their recording of “Love Me Do” on Friday 12 October. (George Harrison later recalled the thrill of first hearing himself on that radio broadcast.) The Liverpool letters solicited by Epstein that arrived in Luxembourg eventually arrived at EMI in London where the manager hoped they would catch corporate attention and result in better domestic support for the Beatles and their releases.

Tony Barrow, whom Epstein had originally contacted at Decca Records in his quest to get the Beatles a recording contract, began work for NEMS (North End Music Stores) as the Beatles’ publicist. (He could hardly have imagined how his job description would evolve from soliciting the press’s attention to holding them at arm’s length.) As a reviewer and a liner-note writer, Barrow had often worked from press materials prepared by agents and managers. These releases could vary significantly in kind and quality, but among them, Barrow thought that the press kits from Leslie Perrin’s office (which had represented London’s infamous Raymond’s Revue Bar, among others) were particularly effective. Notably, a color-coded press kit walked readers through a client’s story, which made a reviewer’s tasks easier. Barrow appropriated this format in his preparations for promoting the Beatles.

The role of the press agent involved finding the right people to contact and, for that, Barrow needed names, addresses, and phone numbers. Coincidentally, he knew someone who had recently left Decca’s press office. The Beatles’ new agent presumed that the individual would have taken a copy of the company’s mailing list and, after a casual meal, they reached a mutually beneficial agreement. Brian Epstein’s new part-time press manager walked away with a cache of contacts.

Barrow began by introducing the Beatles to London’s music press, escorting the Liverpudlians from the Denmark Street offices of New Musical Express to Fleet Street’s Melody Maker. They were willing to go almost anywhere to meet anyone with access to print or broadcast media. For example, on 9 October 1962 (the day after taping the Radio Luxembourg program), they visited the offices of Record Mirror so that writers there could see how different they were from other entertainers and to hopefully experience some of the charm that had swayed George Martin.

The mixed results both encouraged the band and its manager, and disappointed them. Alan Smith, writing in the New Musical Express (26 October 1962), briefly introduced the band, highlighting how Lennon and McCartney had written their “hit.” However, if you were the Beatles searching the papers for even the briefest mention (which they did weekly), you found little.

Brian Epstein in a 1967 interview would justifiably take credit for some of the band’s early success, citing his diligence and perseverance. The slow climb of “Love Me Do” up the charts would be his vindication. By December 1962, despite setbacks, the single increased sales and nudged into the top twenty on the most respected (if selectively read) chart. They were poised for something and they were sure ‘twas for success.

Gordon Thompson is Professor of Music at Skidmore College. His book, Please Please Me: Sixties British Pop, Inside Out, offers an insider’s view of the British pop-music recording industry. Check out Gordon Thompson’s posts on The Beatles and other music here.

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The post Selling the Beatles, 1962 appeared first on OUPblog.

By Gordon Thompson

On a cold winter’s day in early 1962, Brian Epstein and the Beatles huddled together contemplating their failed bid for a Decca recording contract and the bitter aftertaste of rejection that left emptiness in their stomachs. But hunger can feed ambition. Disappointments would ensue, but almost immediately Epstein would be the proverbial right man in the right place at the right time and meet a string of people who were looking for something not-quite-exactly unlike the Beatles.

The first full week of February 1962 would prove to be one of the most remarkable in the Beatles story. On Monday, 5 February, the Beatles’ drummer Pete Best — whom they had still not informed of Decca’s decision — called in sick and his band mates recruited an old friend from a rival band. Ringo Starr appeared that night with Lennon, McCartney, and Harrison in Southport, a city just north of Liverpool where perhaps his dry humor helped ease the pain, just as his personality would help anchor the band two years later as America exploded around them.

Although Decca artist-and-repertoire managers Dick Rowe and Mike Smith had turned them down, Epstein returned to London to argue for reconsideration. Over lunch in London on Tuesday, 6 February, Epstein sat politely arguing with Rowe and Sidney Arthur Beecher-Stevens, Decca’s sales manager, in an attempt to change their corporate mind. Rowe notoriously and with great self-confidence recommended that the manager return to record retailing in Liverpool. They were the experts. They knew these things.

Epstein did win a small “concession” from them: Rowe offered to arrange for ex-Shadow drummer Tony Meehan to produce the Beatles at Decca if the manager agreed to cover the expenses of about £100. Epstein kept his options open and made an appointment for Wednesday, 7 February to meet with Meehan whose squeaky-clean reputation and pop credentials the manager would have found appealing. Still, little about the meeting satisfied the manager. Meehan arrived late (Epstein’s bête noire) and his condescending comments about the Beatles’ audition only added salt to the wound. An interesting moment of musical potential slipped into history; but, the planets were still moving and, on Thursday, the orbs began coming into alignment.

With the addresses of other record companies in London and a copy of the Decca audition tape, Epstein employed this magnetic artifact in his quest to win a contract for his “boys.” Nevertheless, a quickly arranged meeting at Pye Records, the third largest label in Britain, also ended in disappointment. Executives at EMI, the largest music corporation in Britain, had already declined Epstein’s request for an audition even before Decca had accepted. His options narrowed.

Exterior of HMV, 363 Oxford Street, London in the 1960s. Copyright HMV.

What transpires on Thursday, 8 February arguably shifts the course of musical history. Combining a social visit with the need to t

Norah Jones has the kind of timeless voice that I never tire of hearing. Her mellow, rich melodies envelope like a warm, fuzzy blanket and carry the listener away to a calm and slower paced world. Every time I listen to one of her albums I have the urge to grab a cup of coffee, sit in a comfy chair and observe the world as time passes by. The talented singer shows off her musical versatility in her newest album, ...Featuring Norah Jones. The album released last week on November 16th and is a collection of various collaborations with well known artists including the Foo Fighters, Ray Charles and Dolly Parton.

The 18 songs on the album were recorded over the last decade and showcase a wide range of musical styles. Some of my favorites include the "Virginia Moon" (with Foo Fighters) with it's jazzy, bossanova beat and "Ruler of My Heart" (with Dirty Dozen Brass Band), a bluesy song sung with attitude and heart. And, of course, November is the ideal time to listen to Norah's version of "Baby It's Cold Outside" (with Willie Nelson). The two banter back and forth together so perfectly, they could have wrote the spicy song. Another favorite toward the end of the album is a cover of an 80s song originally sung by Roxy Music, "More Than This" (with Charlie Hunter). Norah's sultry, jazzy style gives the song a whole new life. If you're a Norah Jones fan, make sure to add this album to your Christmas list.

And make sure to check out the interactive widget below. It is probably one of the coolest widgets I've come across. You can click on the names to hear snippets of the songs and watch videos of Norah discussing the various collaborations on the album.

Nick gets it right (seeing a major uptick in ad gains just as the channel presents a new programming slate to advertisers including teen-targed "Victorious" [star Victoria Justice pictured here] Also Yo! Gabba Gabba kicks off a third season of... Read the rest of this post

Pepsi teams with Foursquare (to fund youth mentoring program CampInteractive. Also new research confirms tweens and teens flock to the iPod Touch, drawn in by games and access to social networks. Plus, at the University of Michigan students learn... Read the rest of this post

 

I'm now taking registration for the next session of my online class: Writing Children's Nonfiction Books for the Educational Market.  In this class, you will learn about the educational market and how it differs from the trade market. You will learn how to put together an introductory packet to send to publishers. We'll work on the various components of that packet so that by the end of the month, you have packets ready to pop in the mail. You'll also learn how to deal with some of the practical issues of educational writers: research, dealing with editors, finding expert consultants, etc. Then, once the class is over, you can join (if you like) the "post-grad" blog community The Guppy Pond (members only), where you can continue to chat and get feedback from other writers hoping to or starting to write for the educational market.

My first session, back in January, filled up and had a waiting list. This session is partially filled already with people from that waiting list, but there are still some spots open.

This online class will run from March 10 - April 4, with new material and homework daily, Monday through Friday. You can read complete class info here, and you can read feedback from students in the first session here. Then, if you think this class is a good fit for you, you can register here. 

Hope to work with some of you!

Anastasia Suen has the Nonfiction Monday wrap-up.