The Beatles: Image and the Media

Index

Abbey Road (album), 213–14; reviews of, 214 “Act Naturally,” 117 Adorno, Theodor: and culture industries , 9, 28, 234, 238n5; and Dialectic of Enlightenment, 9; on popular music, 9–10; referenced in New York Times regarding Beatles, 35–36 Allison, Jerry, 239n6 “All I’ve Got to Do,” 53 “All My Loving,” 31, 53, 232 “All You Need Is Love” (broadcast), 148, 229 “All You Need Is Love”/“Baby, You’re a Rich Man,” 139 Alpert, Richard, 245n24 America, postwar culture: and baby boomers, 9; and consumerism, 9, 10; and 1960s, 12–13; and religion , 14–15, 101–5; and teenage threat, 46–47 American Bandstand, and reaction to “new look” Beatles, 134 American myth of success, definition of, 7, 58–59, 228 American Myth of Success, The, 58 American Tour with Ed Rudy, The, 57–58 Anderson, Lindsey, 73–74 “And I Love Her,” 81 “And I Love Her”/“If I Fell,” 78 “And Your Bird Can Sing,” 117, 118 Anger, Kenneth: and Fireworks (1947), 164, 165; and trance films, 247n11 “angry young men,” 242n1 “Anna (Go to Him),” 55 Apple Corps, 166–67; as oppositional apparatus, 166–69 Arnold, Martin, 64 articulation: Grossberg on, 6; Negus on, 6 art school, and British pop stars, 136–37, 243n8, 246n5 “Ask Me Why,” 55 “Aunt Jessie’s Dream,” 164–65 avant-garde, defined, 167–69, 247n14, 247n15 “Baby It’s You,” 55 “Baby’s in Black,” 113, 114 “Bad Boy,” 114 Barnes, Clive, 239n5 index 275 276 index Barthes, Roland, 7, 238n3 Baudrillard, Jean, 7 Beach Boys, 113, 189–90; with Maharishi Mahesh Yogi, 198 Beatlemania, 91, 237n1(Preface); explanations of, 35–39; as female rebellion , 38; as temporary hysteria , 38–39 “Beatlepeople,” 248n1 Beatles: and Anthology, 253n14; and attempts to commercialize catalogue, 225; awarded M.B.E., 84–85, 243n5; Capitol’s refusal to promote, 21–23; career compared to Elvis Presley’s, 107–11; chart domination, 56–58, 112–13, 245n23; and criticism by religious conservatives, 95–96; and drugs, LSD, 120–21, 140, 197; and drugs, marijuana, 115, 120–21, 194–95, 252n8; influence of American music on, 55–56; as leaders of counterculture, 17–19, 192–93; as leaders of youth culture, 110–11, 123–24; musical experimentation of, 116; and pastiche, 141–42; and popularity in 21st century, 224; press coverage, 23–24; as reflection of youth culture, 193; and refusal to lead counterculture, 193; television appearances, 24–26, 30, 31, 33, 134–35, 196; on Transcendental Meditation, 249n11; and views of Western religions, 99–100; working class identification of, 238n3 Beatles, image: and American myth of success, oppositional reading , 3, 7, 228–29; and American myth of success, positive reading , 3, 7, 225–26; and apathy to politics, 232; and artistry and artistic supremacy, 15, 116, 122, 150–51, 188; and authenticity, 11, 16, 127–28; as avant-gardiste, 159–60, 167–69, 170; as “beautiful people,” xii; and Britishness, 41, 225; and Capitol rearrangement of British releases for American market, 53–55; and Capitol reliance on Lennon and McCartney compositions, 54–55; as countercultural ideal, 17–19, 178–79, 184, 193–94, 207; and critical acceptance , 5; and drugs, 25, 39–40, 194–95; and hair, 25, 39–40, 41; and “hard work,” 61–63; and humor , 25, 30; and humor’s relaxing of constraints on expression, 43, 225; and intellectuals, 149, 152–54; and irreverence, 41–42; and Jack Paar Program, 24–26; as leaders of youth culture, 157–59; and legitimization of counterculture , 154–57; and legitimization of rock music as art, 15; and loss of credibility with New Left, 204–6, 230; and “luck,” 30, 35– 36, 61–63; and mania, 30, 35– 36; and maturation, 227–28; and M.B.E., 85; and The Monkees, 128–29; and “more popular than Jesus” controversy, 15, 99–106, 225, 244n16, 244n19; and “new look,” 133; 1965 American summer tour, 90–91; 1964 American summer index 277 tour, 82–84; 1966 American summer tour, 97–99; 1966 world tour, 97; and radio promotion, 65–67; as oppositional, 12, 210, 228, 230; and perceptions of progress, 135– 36; and “ordinariness,” 59–61; as product of culture industries, 10– 11, 27–28; and promotional clips, 132–33; promotion of, 4; publicity and, 4; and reception, worldwide, 94; and reinvention in Anthology, 235–36; and “Revolution,” 203; as “safe,” 43, 45; and scandal, 4, 11; and scandal, Philippines...