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The Beatles have seemingly never been just a band; they’ve been a brand, a history, an institution, a genre, a generational soundtrack, a merchandising empire, and so much more—possessed of the kind of cultural importance that makes it impossible to think of them as only musicians. Their “narrative arc,”, from Beatlemania to their current enshrinement and everything in-between, “is irresistible. Serial Number Making History Ii. ” But the story of the Beatles as we typically understand it, Ewing writes, does their music a disservice, setting it apart from “the rest of the pop world” and “making newcomers as resentful as curious.” For all the deification (which John Lennon scandalously summed up in his “bigger than Jesus” quip), the band began as nothing particularly out of the ordinary. “Britain in the early 1960s swarmed with rock’n’roll bands,” and though the Beatles excelled early on, they mostly followed trends, they didn’t invent them. Their sound was so of the time that Decca’s A&R executive Dick Rowe passed on them in 1962, telling Brian Epstein, “guitar groups are on their way out.” Little could he have known, however: “guitar groups” came roaring back because of the band’s first album, Please, Please Me, and the especially savvy marketing skills of Epstein, who helped land them that fateful Ed Sullivan Show appearance. Millions of people saw them play their single “I Want to Hold Your Hand” and the world changed forever, so the story goes. In so many ways that’s so.
The Ed Sullivan gig launched a thousand bands, and remains at top of the list of nearly every baby boomer musician’s most influential moments. But as the sixties wore on, and Beatlemania assumed the various forms of lunchboxes, fan clubs, and a with badly impersonated voices, their act seemed like it might run its course as a passing pop-culture fad. They were, in effect, a very talented boy band, subject to the fate of boy bands everywhere.