Riddle Me This, Riddle Me That: Clue Three
The third and final clue in Gordon Thompson’s riddle.
The third and final clue in Gordon Thompson’s riddle.
Gordon Thompson provides clue number two.
Gordon Thompson’s first riddle clue.
Will you be able to solve Gordon Thompson’s riddle?
Gordon Thompson looks at The Beatles.
Gordon Thompson looks at the Beatles in January 1959 and January 1969.
Gordon Thompson looks at the White Album.
Gordon Thompson looks at the end of 60’s British Pop music.
Gordon Thompson looks at a unique revolution.
Today is my last day editing the OUPblog. Back in January 2012, I took over as blog editor without so much as a handover (an early maternity leave prevented one). I promptly screwed up multiple things in the first few weeks, causing great annoyance to my colleagues. Then I gradually began steering the blog on a different course.
By Gordon R. Thompson
When Pan Am flight 101, the “Jet Clipper Defiance,” touched down at the recently renamed John F. Kennedy Airport on 7 February 1964, the grieving angst that had gripped the Western world lifted, if just a little. What emerged from the darkness of the Boeing 707’s doorway was something so joyful, so deliciously irreverent that we forgot for a moment the tensions of the Berlin wall, the Cuban missile crisis, and the assassination of a young president. The sigh that North America released felt so deep that it sounded as one big exuberant scream of delight.
By Gordon R. Thompson
After the success of the single “Please Please Me” and the release of the album Please Please Me, British fans and the press eagerly anticipated “From Me to You.” Fans had pre-ordered so many copies of the disk that when Parlophone did release R 5015 on 11 April 1963, the single immediately appeared in pop charts where it would stay for an amazing 21 weeks.
By Gordon R. Thompson
Although “Love Me Do” had been the Beatles’ induction into Britain’s recording industry, “Please Please Me” would bring them prominently into the nation’s consciousness. The songwriters, the band, the producer, and the manager all thought that they had finally found a winning formula. An advertisement in the New Musical Express proclaimed that the disc would be the “record of the year,” even as it raised a chuckle among industry insiders; but the hyperbole would prove prophetic.
By Alice Northover
One of the great advantages of being OUPblog editor is that I read practically everything that was published on the blog in 2012: the 1,088 articles, Q&As, quizzes, slideshows, podcasts, videos, and more from the smartest minds in the scholarly world. When I first attempted the list, I had 30 articles bookmarked and I’d only made it six months back. I’m sure I’ll hate myself for missing a piece tomorrow.
By Gordon R. Thompson
As a regional businessman and a fledgling band manager, Brian Epstein presumed that the Beatles’ record company (EMI’s Parlophone) and Lennon and McCartney’s publisher (Ardmore and Beechwood) would support the record. This presumption would prove false, however, and Epstein would need to draw on all of the resources he could spare if he were to make the disc a success.
By Gordon R. Thompson
Fifty years ago, the Beatles entered EMI’s recording studios on Abbey Road for their first official recording session. Their June visit had gained them a recording contract, but had cost Pete Best his position when artist-and-repertoire manager George Martin winced at the drummer’s timing. With little ceremony, Lennon, McCartney, and especially Harrison recruited the best drummer in Liverpool — a mate who sometimes subbed for Best — and left the firing of Best to manager Brian Epstein. Thus, Ringo Starr ascended to the drummer’s throne.