By: Lizzie Furey,
on 7/21/2016
The documentary Twenty Feet from Stardom (2013) gave us a glimpse of how backing singers—performers who provide vocal harmonies and responses for featured artists—have contributed to twentieth-century American popular music.
The post A voice in the background: remembering Margo Quantrell appeared first on OUPblog.
By: Catherine Foley,
on 7/14/2015
Fifty years ago, at the height of the British Invasion, The Yardbirds released "Heart Full of Soul" (28 May 1965) and The Kinks, "See My Friends" (30 July 1965). Both attempted to evoke something exotic, mysterious, and distinctly different from the flood of productions competing for consumer attention that summer. Drawing on Britain’s long fascination with “The Orient,” these recordings started sixties British pop down a path that proved both rewarding and problematic.
The post The British Invasion, orientalism, and the summer of 1965 appeared first on OUPblog.
By: Taylor Coe,
on 3/6/2014
Sunday, 9 February 2014 marked the 50th anniversary of the American television broadcast of the Beatles on the Ed Sullivan Show. For many writers on pop music, the appearance on the Sullivan show not only marked the debut of the Beatles in the United States, but also launched their career as international pop music superstars. The mass exposure to millions of television viewers rocketed the Fab Four to national prominence in the United States, and created a chain reaction for stardom in the entire world.
The Beatles, Stockholm, 1963
While the charisma and quality of the Beatles’ music drew great popularity in 1964, the group’s success was assisted by the entrepreneurial skills of American television, notably by the expertise of Ed Sullivan. However, several other television broadcasts predated the Sullivan show appearance, and laid the groundwork for the Beatles’ stardom in the United States. In particular, two news stories about the Beatles were aired in November 1963, four full months before the Sullivan appearance. This, plus another taped appearance by the group by another entrepreneur, NBC’s Jack Paar, paved the way for the Beatles’ stardom in the United States.
The Ed Sullivan Show
Ed Sullivan began his career as a journalist throughout the 1920s and worked his way into the position as theater columnist for the New York Daily News when Walter Winchell left the paper in the early 1930s. Sullivan was also a host for Vaudeville theaters, serving as master of ceremonies for a number of shows during World War II. He broke into television as host of telecasts of New York’s Harvest Moon Ball on CBS, and was asked to host a weekly variety show called Toast of the Town in 1948. The show would be renamed The Ed Sullivan Show in 1955.
With his journalistic experience, Sullivan was able to use his contacts to attract a wide range of celebrities on the show. He attracted comedians such as Dean Martin and Jerry Lewis, Broadway stars like Julie Andrews, jazz greats like Dizzy Gillespie and Ella Fitzgerald, and even opera singers like Maria Callas and Robert Merrill. However, Sullivan may be best known for bringing rock‘n’roll to the small screen. He had Elvis Presley on the show on 6 January 1957, and many rockers such as Buddy Holly, Fats Domino, Bo Diddley, and many others thereafter.
Sullivan’s embrace (or at least tolerance) for rock music paved the way for the Beatles. Sullivan reportedly heard (or heard of) the Beatles during a trip to London and decided to put them on his show. He offered the band $10,000 to appear, a figure that, adjusted for inflation, would be a somewhat modest $75,000 in today’s dollars.
As the show opened on that historic night in 1964, Sullivan reported that Elvis Presley and his manager, Colonel Tom Parker, had sent a telegram to the Beatles wishing them luck. In his introduction, Sullivan also used the increased viewership to plug some of his other acts on previous shows, notably Topo Gigio (the Italian/Spanish mouse puppet created by Maria Perego), Van Heflin, Ella Fitzgerald, and Sammy Davis, Jr. But the tension to hear the Beatles was palpable, and he segued into a commercial quickly, promising the Beatles after the break.
Click here to view the embedded video.
The appearance by the Beatles almost didn’t happen. George Harrison reportedly had a sore throat the week before, but by broadcast, was better. So, the Beatles went live with their full line-up, performing five songs that night: “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want To Hold Your Hand.”
Click here to view the embedded video.
News stories
While the Ed Sullivan appearance marked the first live US TV appearance of the Beatles, the groundwork had already been laid to introduce the band to the United States a few months earlier. NBC News did a four-minute story on the Beatles that was broadcast on The Huntley-Brinkley Report on 16 November 1963, three full months before the Sullivan show. The feature was narrated by reporter Edwin Newman, who would later anchor the NBC News.
Click here to view the embedded video.
Not to be “scooped” by NBC, CBS News also produced a five-minute piece on the Fab Four, which aired on 21 November, the eve of the fateful day on which President John F. Kennedy was assassinated.
Click here to view the embedded video.
Alexander Kendrick, CBS’s London Bureau Chief taped the story, which showed footage of the Beatles performing in England, and the story ended with Kendrick ruminating on the social significance of the group, representing England’s youth, or at least England’s youth as they “wanted to be.”
The Jack Paar Program
Also predating the Sullivan Show, the first prime time film footage of the Beatles actually aired on 3 January 1964. The person responsible was another entrepreneur—NBC’s Jack Paar. Like Ed Sullivan, Paar was not a TV celebrity “natural” and came to television as a master of ceremonies. After World War II, Paar made some appearances in a few low-budget films, and made his way to television as a game show host. He was chosen as the regular replacement for Steve Allen as the host of NBC’s Tonight Show in 1957. Paar did not have Allen’s musical talent, nor his talent for sketch comedy or practical jokes, but was able to surround himself with unusual talent to market his show. While not as “wooden” on stage as Sullivan, Paar tended to be low-key and conversational, rather than charismatic and presentational. Like Sullivan, Paar also had a flair for discovering unique talent and is often credited for discovering, or at least popularizing, such off-beat characters as comedians Jonathan Winters, Bill Cosby, and Bob Newhart. Paar left the Tonight Show (ushering in the Johnny Carson era) in 1962, but went on to host a weekly variety show called The Jack Paar Program, that aired on Friday nights on NBC. It was on this program that he introduced the Beatles to the United States.
Like Sullivan, Paar had heard of the Beatles while in London and decided to show some film footage of the band as a joke. “I thought it was funny,” he quipped later on a television retrospective. He admitted that he had no idea that the band would change the course of music history. On the 1963 broadcast, after showing the footage, he quipped: “Nice to know that England has risen to our [American] cultural level.”
The episode with the footage was taped on 16 November 1963, the same date as the NBC news story (undoubtedly the story was fed to Paar from the network news bureau), but was not aired until 3 January 1964, undoubtedly delayed by the Kennedy assassination. Paar’s film clip still predates the Sullivan appearance by more than a month.
Would the Beatles have made it as superstars without the entrepreneurial efforts of Ed Sullivan and Jack Paar to give them TV coverage? The answer is undoubtedly yes. But the mass exposure they receive through American TV broadcasts by Sullivan and Paar (as well as NBC and CBS news) laid the groundwork for the Beatles success by presenting the group to millions of television viewers in the United States, and the world.
Ron Rodman is Professor of Music at Carleton College, where he teaches courses in the music and cinema and media studies departments. He has published numerous articles on tonal music theory, film music, and music in new media. He is author of Tuning In: American Narrative Television Music.
Subscribe to the OUPblog via email or RSS.
Subscribe to only music articles on the OUPblog via email or RSS.
Image: The Beatles i Hötorgscity 1963, Public Domain via Wikimedia Commons.
The post Beyond Ed Sullivan: The Beatles on American television appeared first on OUPblog.
By: Rebecca,
on 2/8/2010
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. In the post below he looks at February of 1965. Check out Thompson’s other posts here.
Forty-five years ago in February 1965, British pop music rattled recording sales charts with a second wave of performers who followed in the footsteps of the 
Beatles, the Dave Clark Five, the Rolling Stones, the Kinks, the Animals, and more. Among the many new sounds broadcast either by the BBC or by the growing number of pirate radio stations that winter were recordings by the Who, Herman’s Hermits, and the Ivy League. Such was the nature of the British music and recording industries that a convenient myth emphasized the authenticity and self-sufficiency of these bands; however, reality held something rather more complicated.
Among the many that flocked to London to join the music revolution came two youngsters by bus from Birmingham who hoped to make their living as songwriters. To support themselves while they established publishing reputations, they found a niche as performers and session musicians in the booming recording industry. Terry Kennedy of the music publisher Southern Music renamed the young John Shakespeare and Ken Hawker as John Carter and Ken Lewis and eventually added Perry Ford (née Bryan Pugh) to create a song-writing and performing trio.
February saw the Who’s first single, “I Can’t Explain” slowly rise in the charts in a crisp Shel Talmy production (see last month’s blog); but the American artist-and-repertoire manager had needed to maximize the constraints of the three-track recording facilities at Pye Records. With limited ability to overdub vocals and the desire to keep the sound clean, he brought in Carter, Lewis, and Ford as backup singers so that guitarist-composer Pete Townsend could focus on his playing. Their high-falsetto, Beach-Boys-like vocals helped the Who and Shel Talmy create a touchstone of sixties-British-pop records.
Talmy represented only one of a growing number of independent artist-and-repertoire managers, a new echelon that financed, made, and sold their own recordings rather than take salaries from a record company. Mickie Most had established his importance the previous year with the Animals’ “House of the Rising Sun” and he now saw possibilities in the toothy grin and nasal voice of the young Peter Noone, renamed “Herman” in imitation of an American cartoon character. The recording reality of Herman’s Hermits found session musicians like Vic Flick (the guitarist whose distinctive sound appears in the early James Bond films) playing on their s
