Editing Strawberry Fields Forever (section)

===Psychedelia, recording and music videos===
The song was influential on [[psychedelic rock]]{{sfn|DeRogatis|2003|p=49}} and, in Chris Ingham's description, it established "the standard and style for the entire [[psychedelic pop]] movement that would follow".{{sfn|Ingham|2006|p=194}} Ian MacDonald recognises the track as having "extended the range of studio techniques developed on ''Revolver'', opening up possibilities for pop which, given sufficient invention, could result in unprecedented sound images".{{sfn|MacDonald|2005|p=219}} He views it as having launched both the "English pop-pastoral mood" typified by bands such as [[Pink Floyd]], [[Family (band)|Family]], [[Traffic (band)|Traffic]] and [[Fairport Convention]], and English psychedelia's LSD-inspired preoccupation with "nostalgia for the innocent vision of a child".{{sfn|MacDonald|2005|p=216}} Among other music historians, Simon Philo describes much of Pink Floyd's first album, ''[[The Piper at the Gates of Dawn]]'' (1967), as being in the style of the "patented British psychedelia" introduced by "Strawberry Fields Forever".{{sfn|Philo|2015|p=126}} David Howard says the production was a "direct touchstone" for Pink Floyd, [[the Move]], [[the Smoke]] and other bands in London's upcoming psychedelic scene.{{sfn|Howard|2004|p=28}}

Although the Mellotron had been a feature of [[Manfred Mann]]'s late 1966 hit single "[[Semi-Detached, Suburban Mr. James|Semi-Detached Suburban Mr James]]",{{sfn|Cunningham|1998|pp=126–27}} its appearance on "Strawberry Fields Forever" remains the most celebrated use of the instrument on a pop or rock recording.{{sfn|Brend|2005|p=57}}{{sfn|Prendergast|2003|p=83}} Mike Pinder, whose band the Moody Blues went on to make extensive use of Mellotron and swarmandal in their work,{{sfn|Everett|1999|p=67}} said he was "in bliss" when he heard the keyboard's flute sound on the Beatles' single.<ref name="MikePinder" /> Together with the resonant tone of Starr's drums, the cello arrangement on "Strawberry Fields Forever", as with "[[I Am the Walrus]]", was much admired by other musicians and producers, and proved highly influential on 1970s bands such as [[Electric Light Orchestra]] and [[Wizzard]].{{sfn|MacDonald|2005|p=219}}

Walter Everett identifies the song's ending as an example of the Beatles' continued pioneering of the "fade-out–fade-in coda", further to their use of this device on the 1966 B-side "Rain". He cites "[[Helter Skelter (song)|Helter Skelter]]" as a later example, as well as [[Led Zeppelin]]'s 1969 track "[[Thank You (Led Zeppelin song)|Thank You]]" and, as a direct response to the Beatles' lead, both sides of [[the Rolling Stones]]' August 1967 single, "[[We Love You]]" and "[[Dandelion (Rolling Stones song)|Dandelion]]".{{sfn|Everett|2009|p=154}} According to historian David Simonelli, further to "Tomorrow Never Knows" in 1966, "Strawberry Fields Forever" and "Penny Lane" "establish[ed] the Beatles as the most avant-garde [pop] composers of the postwar era". He also says that the single heralded the group's brand of [[Romanticism]] as a central tenet of psychedelic rock, which ensured that "The Beatles' vision dominated the entire rock music world."{{sfn|Simonelli|2013|p=106}} In his contribution to the book ''[[In Their Lives: Great Writers on Great Beatles Songs]]'', [[Adam Gopnik]] describes the single as the 1960s' most important work of art and "the one that articulated the era's hopes for a crossover of pop art and high intricacy".<ref>{{cite news|first=Anthony|last=Quinn|title=In Their Lives: Great Writers on Great Beatles Songs review – musical madeleines|url=https://www.theguardian.com/books/2017/jul/06/in-their-lives-great-writers-great-beatles-songs-review|newspaper=[[The Guardian]]|date=6 July 2017|access-date=7 March 2019}}</ref>

Further to the band's pioneering use of promotional films since 1965, the clip for the song served as an early example of what became known as a [[music video]].{{sfn|Austerlitz|2007|pp=17–18, 19}}{{sfn|Frontani|2007|pp=132–33}} In 1985, the "Strawberry Fields Forever" and "Penny Lane" clips were the oldest selections included in the New York [[Museum of Modern Art]] (MoMA)'s exhibition of the most influential music videos.<ref>{{cite magazine|url=https://books.google.com/books?id=yCQEAAAAMBAJ&q=Strawberry+Fields+Forever&pg=PT109 |author=New York staff|title=Clips Receive an Artful Showcase|magazine=[[Billboard (magazine)|Billboard]]|date=31 August 1985|access-date=15 December 2017|page=51}}</ref> The two films occupied a similar place in MoMA's 2003 "Golden Oldies of Music Video" exhibition, where they were presented by avant-garde artist [[Laurie Anderson]].<ref>{{cite web|url=https://www.moma.org/exhibitions/film/2003/oldies.html |title=Film Exhibitions: Golden Oldies of Music Video|publisher=[[Museum of Modern Art]]|year=2003 |archive-url=https://web.archive.org/web/20070718040116/http://www.moma.org/exhibitions/film/2003/oldies.html |archive-date=18 July 2007|access-date=15 December 2017}}</ref>{{refn|group=nb|In his book on the history of the music video, Saul Austerlitz recognises the two 1967 clips as superior to efforts by the Beatles' contemporaries and a development on the band's work with director [[Michael Lindsay-Hogg]] in 1966.{{sfn|Austerlitz|2007|p=18}} He also says they lack a satisfactory resolution to the concepts and innovative ideas they introduce, however, and concludes: "The Beatles' videos laid the table for future music-video experiments in symbolism, but their own symbols were, for the most part, muddled and unclear."{{sfn|Austerlitz|2007|pp=18–19}}}} The "Strawberry Fields Forever" clip also provided the inspiration for the start of the fan [[vidding]] phenomenon in 1975.{{sfn|Brode|Brode|2015|p=170}} [[Kandy Fong]], influenced by the Beatles not attempting to perform the music,<ref>{{cite journal|url=https://journal.transformativeworks.org/index.php/twc/article/view/44/64 |first=Francesca|last=Coppa|title=Women, ''Star Trek'', and the early development of fannish vidding|journal=[[Transformative Works and Cultures]]|date=July 2008|volume=1|number=1|doi=10.3983/twc.2008.044|access-date=15 December 2017|doi-access=free}}</ref> set images from the ''[[Star Trek]]'' TV series to an apparently unrelated musical soundtrack.<ref>{{cite web|url=https://www.npr.org/templates/story/story.php?storyId=101154811 |first=Neda|last=Ulaby|title=Vidders Talk Back to Their Pop-Culture Muses|publisher=[[NPR]]|date=25 February 2009|access-date=15 December 2017}}</ref>