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We Love Them, Yeah Yeah Yeah: 7 Ways the Beatles Changed American Culture. American television host Ed Sullivan smiles while standing with British rock group the Beatles on the set of his television variety series, New York, February 9, 1. Left to right: Ringo Starr, George Harrison, Sullivan, John Lennon, Paul Mc.

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Cartney. That all changed 5. British musicians landed at John F. Kennedy International Airport in New York and detonated a cultural explosion that would reverberate for many years afterward.

I refer, of course, to the thrilling arrival in America of that one- of- a- kind band that we have all come to know and love, that amazing band that transformed American music forever: The Bachelors! Yes, I jest. The Bachelors are a wonderful group (they had a big hit here in January of 1. Beatles. No other group could be, and no other group ever will be. It was the Beatles who landed in America in February of 1. Like certain other key individuals in the history of American pop, such as Benny Goodman, Frank Sinatra, and Elvis Presley, they caused an initial fervor, a “mania” period when teenagers expressed their excitement en masse at their concerts and public appearances. But the Beatles, like their predecessors (but even more so), progressed beyond this stage and became a cultural force, their compositions and attitudes transforming the way pop music was experienced by large numbers of people. Coinciding with one of the most socially tumultuous periods in the history of America, the Beatles’ music reflected its era but also transcended it, so that even now their music remains fresh to each successive generation that discovers it.

Today, in honor of the anniversary of the Beatles’ arrival on these shores, we take a lighthearted look at the impact they had on the American cultural landscape. Here are seven ways in which the Beatles changed America forever. The Beatles raised the bar for teen idol quality. Before the Beatles arrived in America, the pop scene squeaked along on the charms of a handful of clean- cut, pearly- toothed fellows, mostly from Philadelphia, whose music was as manufactured as their boy- next- door images.

These fellows were nice enough, and in some cases even had some talent, but their careers were directed by producers and industry men who turned the gears of the hit- making machine that pop music had become by the early 6. No more the wild ravings of a Little Richard or a Jerry Lee Lewis; rock’n’roll was now represented by more manageable song slingers like Fabian, Frankie Avalon, and Bobby Rydell.

Watch Paul Mc. Cartney's mini bio: Questioning the taste of America’s youth is a pointless endeavor (it’s a matter of record that in the 5. Pat Boone rivaled and occasionally exceeded Elvis Presley in teen popularity polls), but certainly the Beatles were a blast of cool air into a somewhat arid teen idol landscape. Not only were they intriguingly exotic with their Liverpudlian accents and unusual looks, but they were also like four teen idols wrapped up in one gleaming package. There was Paul, the cute and adorable one; John, the smart and slightly dangerous one; George, the quiet and shy one; and Ringo, the fun and goofy one. There was something for all teen tastes, made all the more enticing by the “all- for- one, one- for- all, lads” uniformity of their presentation: the matching moptops, collarless button- down suits, and Cuban- heeled ankle boots. One important difference between the Beatles and their teen idol competition, though, was that the Beatles controlled their presentation. With their manager Brian Epstein, they chose their wardrobe, much of it derived from fashionable friends they made in their early days in Hamburg.

More significantly, the Beatles also controlled their music, which was based on rhythm and blues and Motown models, not Patti Page or Mitch Miller. When they weren’t covering rock’ n’ roll chestnuts of their own choosing, they were composing their own songs, something that few teen idols were allowed to do, even when they were capable. This made all the difference.

In addition to being cute and charismatic, the Beatles had substance, and they were intent on proving it. The Beatles made irreverence hip in mainstream culture. Although there is a long tradition of irreverent, anti- authoritative behavior in American culture, the Beatles appeared at a moment in time when this type of attitude was still largely sub- cultural. In fact, performers like comedian Lenny Bruce, who was persecuted for his rule- breaking, were dismissed by mainstream America as troublemakers. American entertainment strived to be an industry that people would respect, delivering safe performers just as Detroit delivered safe cars.

Watch full movie By Love Reclaimed: The Untold Story Of Jean Harlow And Paul Bern in english with english subtitles 1440p. Watch John Lennon's mini bio: The Beatles were more self- aware than their previous pop sweepstakes aspirants. They recognized a certain absurdity to the pop game and seemed determined to go their own way.

This attitude was always apparent in their dealings with the press. During such encounters, they would good- naturedly turn questions back to reporters or answer them with nonsense.

The Beatles made it clear that they were independent thinkers who were going to do what they wanted to do, whether the world approved of them or not. Teens had cottoned on to the rebellious stance of James Dean and Elvis Presley a few years earlier; the Beatles adopted this stance, but they conveyed it in a more sophisticated and subtle way. Never as docile as Elvis, who was unfailingly polite to all adults no matter how crass they were, the Beatles’ quips during their press conferences could have genuine bite to them. It was one of many ways that they showed their awareness of the showbiz apparatus that they operated in and how deserving it was of lampooning. The resultant anarchy was confusing and charming to adults in equal measure. Occasionally the group would push their irreverence a bit too far; a John Lennon remark that they were “bigger than Jesus” resulted in record album bonfires in certain parts of the country and a temporary downturn in their sales in 1. But most pop music fans (and if you were a fan of pop music in the 6.

Beatles) appreciated the group’s honesty and trusted them. This trust would only strengthen as the Beatles continued to grow and move into more esoteric areas musically and politically. Young people viewed the Beatles as their cultural representatives, and they followed the group’s lead.

It wouldn’t be long before irreverence would turn national, and, after a time, become a permanent feature of American youth culture (some might say all of American culture). The Beatles, a self- contained unit with a damn- the- consequences attitude, had as much to do with this transformation as anyone. They also opened the door for any number of bands who could express this attitude more freely once the barrier had been pushed. The Beatles made long hair for men acceptable, even desirable. It seems ridiculous now, but before the Beatles came to America, “longhair” was a term applied to a very small group of people, mostly artists. Long hair was seen as part and parcel of an eccentric artistic temperament, perhaps with a special exemption for religious men from exotic climes who grew their hair and beards devotionally. Watch Ringo Starr's mini bio: Then the Beatles showed up with their “moptops.” Most early press coverage of the group obsesses over hairstyles we would now consider rather neat and tidy.

In one instance, a reporter asking “Where did you get those hair- dos. Once established, the hairstyle took on a life of its own as Beatle wigs were manufactured and comedians on television variety shows donned the look for easy laughs. Not above profiting from such mindlessness, the Beatles saw their bank accounts grow, although it wasn’t long before the moptop was topped. As time went on and other groups followed the Beatles’ example, hair grew longer and longer. By 1. 96. 6, the Beatles were sporting facial hair. The full- blown “hippie” look was around the corner, and the Beatles spearheaded the trend. By the end of the 6.

Beatle George among the hairiest). Long hair became a signifier, a badge of disdain for societal norms; consequently, most establishment figures hated the hippie look, and attacks on hippies were not unheard of even into the early 7.

Eventually, though, even politicians had hair growing over their ears and collars, and the revolution was won. Wearing long hair was no longer a provocative act as it was when the Beatles first did it. It simply became another choice. The Beatles psychedelicized us. Although there were early rumblings on the west coast of the U. S., and Donovan was beginning to sing about sunshine supermen and “taking trips” in the U.

K., the Beatles were among the first and certainly the most far- reaching of the pop bands of the 6. America with the psychedelic virus. LSD was still a legal drug in America when the Beatles started to sing about “turning off your mind,” but in a couple of years it would be outlawed, in large part because of its raised profile. Watch George Harrison's mini bio: The first indication that the Beatles had entered a new phase of exploration was the last song on their 1. Revolver. The lyrics to the song “Tomorrow Never Knows” were cribbed from a book called The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead, co- written by LSD advocate Dr.

Timothy Leary, guru Ram Dass, and academic Ralph Metzner. Like the language of the book, “Tomorrow Never Knows” featured abstract lyrics infused with a spiritual undercurrent, and the music matched their tone—an Indian music drone weaved through a hypnotic, unceasing drum pattern that seemed about to trip itself with every repetition, and various reoccurring backwards tape effects created an otherworldly scramble. John Lennon’s vocal was processed so that it sounded swirling and distant.

Paul Mc. Cartney’s laughter was looped and played backwards to produce a flock of crying seagulls.