Forty years ago this Friday, a vacationing Ed
Sullivan happened to witness The Beatles returning from a
European tour to 15,000 hysterical teens at the London
airport. Astonished by the mayhem, Sullivan instantly booked
the band on his weekly variety show. He expected to unveil a
novelty act, not set the stage for a pop-culture revolution.
The Ed Sullivan Shows Featuring The Beatles, a two-disc
DVD released today on Sofa Home Entertainment ($29.95),
rescues the pivotal period in four digitally restored
episodes, starting with the band's seismic debut on Feb. 9,
1964, before a record TV audience of 73 million. Executive
producer Andrew Solt packaged the really big shews at full
length, with introductions, auxiliary acts and commercials
for Lux soap and Chef Boyardee pizzas (one Beatles tune
segues into an Anacin ad depicting a man with a raging
headache).
At the core are 20 live renditions of 15 songs. Nine
occasionally surfaced during the past 40 years; 11 haven't
been seen unedited since the original broadcast. The shows
predate home video recorders and were never syndicated.
''Even the most hard-core fans were unaware of the extent of
the treasure-trove buried in those vaults,'' says the DVD's
associate producer, Martin Lewis, a Beatles historian. ''I
was staggered to discover there's a full hour of Beatles
bits,'' including banter with Sullivan and the reading of a
telegram from Elvis Presley.
The shows are historically significant on many levels:
* As the jewels of a small cache of live tapes. Few
British TV appearances survived because tapes routinely were
recycled. The 1965 show was the band's last live TV studio
performance anywhere in the world.
* As a snapshot of the British Invasion catalyst. The
quartet's U.S. arrival heralded a phenomenon that sparked
the rock import explosion. The Sullivan booking --
headlining status on three back-to-back shows (a coup even
Elvis couldn't wangle) -- helped persuade Capitol Records to
sign the moptops after rejecting them four times. The
Beatles' exuberant noise swept the rest of the bill into
mothballs. Mitzi Gaynor's It's Too Darn Hot? No longer cool.
Cab Calloway's Old Man River? Geezer territory.
* As a time capsule. The variety of ads and acts provide
a cultural snapshot of mid-'60s America. Future Monkee Davy
Jones appears with the cast of Oliver. Boxers Sonny Liston
and Joe Louis take bows. Soupy Sales gets silly. More
important, the shows hint at a nation's euphoric emergence
from the trauma of the Kennedy assassination.
''The Sullivan shows were black-and-white, with everyone
cast in sober Eisenhower gray,'' Lewis says. ''The Beatles,
so full of vim and vigor and optimism, come on like 3-D
Technicolor.''
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Inc
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