Popular Music (2020) Volume 39/3-4. © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/ licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited, pp. 401–419 10.1017/S0261143020000458 ‘I say high, you say low’: the Beatles and cultural hierarchies in 1960s and 1970s Britain MARCUS COLLINS Loughborough University, Social Sciences and Humanities, Loughborough, LE11 3TU E-mail:
[email protected] Abstract The debate over the cultural value of the Beatles was as vehement as it was significant in 1960s and early 1970s Britain. Lennon and McCartney’s early compositions received some early critical plau- dits, Sgt. Pepper sought to blur distinctions between high and low culture and the band members’ side projects forged links with the avant garde. To accept the Beatles as artists, however, required critics to rethink how art was created, disseminated and evaluated and how it interacted with con- temporary social, economic and technological change. This article makes extensive use of contemporary journalism, scholarship and fan literature, much of it unstudied, to demonstrate that the rethinking process was contested and protracted. No consensus emerged. Claims made for their artistry, which contributed to a wider discourse elevating ‘rock’ over ‘pop’, were countered by cultural conservatives who defended their own status as artists and intellectuals by exposing the Beatles as kitsch. Were the Beatles artists? The question first received sustained attention in an article by the Times’ music critic William Mann in December 1963.