Beatlemania

Refreshing and insightful, Beatlemania offers a deeper understanding the days of the Fab Four and the band's long-term effects on the business and culture of pop music.

When The Beatles arrived in postwar America, Beatlemania swept the nation as hysterical girls flocked to the band and young men grew out their hair. In this book Andrew Hunt explores this wildly enthusiastic fandom from the bottom-up. Showcasing oral histories, fan magazines, club newsletters, newspapers and personal memoirs, he uncovers The Beatles' fan culture from the perspective of Beatlemaniacs, Beatlephobes and ordinary Americans to understand the impact it had on society at large. Offering a cultural history from below, Beatlemania in America highlights previously neglected voices of fans, critics, parents, teachers and politicians. It contextualises the Beatles fandom against a wider, global perspective of changing cultures and shows how this band was part of a wider shift of social change. It delves into who Beatles fans were and shows how their collective voice gave them power. Exploring themes of gender and race in this turbulent and tumultuous era of American history, it highlights the social issues and debates provoked by this subculture which foreshadowed the arrival of an increasingly polarized society.

By the spring of 1964, Toronto had the largest and most organized Beatles fan base in North America. The Beatles in Canada: The Origins of Beatlemania! finally tells the true story of how The Beatles’ music and popularity began in Canada a full year before they landed in the U.S.A. Piers Hemmingsen provides a concise look at how radio stations, newspapers and television networks in Canada covered the phenomenon that was Beatlemania, and this digital edition is packed with full-colour images of the band, their travels, those they inspired, and an immense hoard of memorabilia gathered along the way. ’After all these years, I still cannot comprehend where Piers gets his energy supply from. He has written four previous books about The Beatles and discovered an appreciative readership for all of them. However, to me this book, the one you are holding, is his breakthrough. Where it could have been an easy exercise with new information about the Fab Four, Piers has taken one large step forward. He is also able to incorporate the beginnings of the Canadian music industry. Through mainly focusing on one record company he has been able to capture the excitement of a young industry finding its way, competing with the giants in the United States. – Paul White, Capitol Records of Canada, 1957-1978

(Piano/Vocal/Guitar Artist Songbook). 56 of the Beatles biggest songs from 1963-1966, including: All My Loving * Day Tripper * Eleanor Rigby * Help! * Nowhere Man * Yesterday * and many more.

In the mid-1960s, when so much was happening in the world and the volume everywhere seemed dialed up to 11, the Beatles were the biggest thing on the planet. Their fans screamed from the fences as the Fab Four walked across the airport tarmac or into a vast stadium. They wanted to touch the Beatles. They wanted to know the Beatles. Who might help them? One photographer was inside. The young Australian Robert Whitaker had been noticed by Beatles manager Brian Epstein, who then hired him. When Beatlemania exploded, Whitaker was along for the wild ride. He was backstage, he was in the studio, he went to the boys' homes, he became their friend and confidante (He grew particularly close to John). Robert Whitaker fashioned many of the iconic Beatles images, and all his pictures of the band were taken in the period that Beatles fans most like to remember: when they were fab, when they changed our culture. Bob Whitaker-a great photographer, after all-was a friend of LIFE's and made contributions to earlier books on John Lennon and George Harrison. In the months before his death in September 2011, he was collaborating with us on this book, his Beatles magnum opus. In these pages are rarely or never seen photographs and his personal reflections, which add resonance to the images. For those who once wanted to touch the Beatles, wanted to know them, this is an essential document. It is full of vitality. Beatlemania was a crazy, crazy place to be, and it is captured here in all its nutty glory. Then, too, there are the famous Whitaker album covers, including the early drafts of the notorious-and banned-Yesterday and Today jacket. It is LIFE's good fortune, and it will be our readers', that Bob Whitaker talked about all this with us and others through the years. His testimony is that of a proverbial fifth Beatle: He was there, part of the scene. He saw it all, he recorded much of it on film, and he remembered even more. Here, then, is Bob Whitaker's final word on the Beatles-all his best photographs, all his reminiscences. LIFE is proud to bring forth this book. It does what we always try to do-present great photography-and it also pays tribute to a bygone time, a bygone band that we all loved, and a man who was a dear friend.

Driven by the frenzy of fan clubs, Beatles concerts, and endless dreams and meeting schemes, Diary of a Beatlemaniac: A Fab Insider’s Look at the Beatles Era romps through the heady, roller-coaster days of Beatlemania as seen through the eyes of one Philadelphia schoolgirl and her band of “Beatle Buddies.” Compiled from the author’s own diary and extensive scrapbooking, and featuring a wealth of original photographs and exclusive interviews with Victor Spinetti and Hy Lit, this extraordinary slice of life peeks into the heart of an inner-city teen at the forefront of Beatlemania. For Beatlemaniacs of any age, this memoir offers a unique glimpse into the groovy days of the Swingin’ Sixties and the chance to relive the magic of the pop-culture phenomenon called the Beatles.

The Rock History Reader is an eclectic compilation of readings that tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. The readings range from the vivid autobiographical accounts of such rock icons as Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Chuck Klosterman. It also includes a variety of selections from media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie rock. Each entry includes headnotes, which place it in its historical context. This second edition includes new readings on the early years of rhythm & blues and rock ‘n’ roll, as well as entries on payola, mods, the rise of FM rock, progressive rock and the PMRC congressional hearings. In addition, there is a wealth of new material on the 2000s that explores such relatively recent developments as emo, mash ups, the explosion of internet culture and new media, and iconic figures like Radiohead and Lady Gaga. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.

Despite the enormous amount of writing devoted to the Beatles during the last few decades, the band's abiding intellectual and cultural significance has received scant attention. Using various modes of literary, musicological, and cultural criticism, the essays in Reading the Beatles firmly establish the Beatles as a locus of serious academic and cultural study. Exploring the group's resounding impact on how we think about gender, popular culture, and the formal and poetic qualities of music, the contributors trace not only the literary and musicological qualities of selected Beatles songs but also the development of the Beatles' artistry in their films and the ways in which the band has functioned as a cultural, historical, and economic product. In a poignant afterword, Jane Tompkins offers an autobiographical account of the ways in which the Beatles afforded her with the self-actualizing means to become less alienated from popular culture, gender expectations, and even herself during the early 1960s.