Editing The Beatles (album) (section)

===Popular music and postmodernism===
Sociologists Michael Katovich and Wesley Longhofer write that the album's release created "a collective appreciation of it as a 'state-of-the-art' rendition of the current pop, rock, and folk-rock sounds".{{sfn|Katovich|Longhofer|2009|p = 401}} The majority of historians categorise ''The Beatles'' as [[Postmodern music|postmodern]], emphasising aesthetic and stylistic features of the album;{{sfn|Womack|2008|pp=210–11}}{{efn|According to author and music critic [[Kenneth Womack]], the list of critical works referring to the White Album as postmodernist includes Henry W. Sullivan's ''The Beatles with Lacan: Rock 'n' Roll as Requiem for the Modern Age'' (1995), Ed Whitley's "The Postmodern White Album" (2000), [[David Quantick]]'s ''Revolution: The Making of the Beatles' White Album'' (2002), Devin McKinney's ''Magic Circles: The Beatles in Dream and History'' (2003), and Jeffrey Roessner's "We All Want to Change the World: Postmodern Politics and the Beatles' White Album" (2006).{{sfn|Womack|2008|pp=210–11}}}} Inglis, for example, lists [[bricolage]], fragmentation, pastiche, parody, [[Reflexivity (social theory)|reflexivity]], [[Pluralism (political theory)|plurality]], irony, exaggeration, anti-representation and "meta-art", and says that it "has been designated as popular music's first postmodern album".{{sfn|Inglis|2009|pp=120–21}} Authors such as [[Fredric Jameson]], Andrew Goodwin and [[Kenneth Womack]] instead situate all of the Beatles' work within a [[musical modernism|modernist]] stance, based either on their "artificiality"{{sfn|Goodwin|2006|p=442}} or their ideological stance of progress through love and peace.{{sfn|Womack|2008|p=212}} Scapelliti cites ''The Beatles'' as the source of "the freeform nihilism echoed … in the [[punk rock|punk]] and [[Alternative rock|alternative music]] genres".{{sfn|Graff|Durchholz|1999|p=88}} In his introduction to ''Rolling Stone''{{'}}s list of the "100 Greatest Beatles Songs", [[Elvis Costello]] comments on the band's pervasive influence into the 21st century and concludes: "The scope and license of the White Album has permitted everyone from [[OutKast]] to [[Radiohead]] to [[Green Day]] to [[Joanna Newsom]] to roll their picture out on a broader, bolder canvas."<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-lists/100-greatest-beatles-songs-154008/back-in-the-ussr-162967/|author=Rolling Stone staff|title=100 Greatest Beatles Songs|magazine=[[Rolling Stone|rollingstone.com]]|date=19 September 2011|access-date=14 March 2019}}</ref>

In early 2013, the Recess Gallery in New York City's [[SoHo, Manhattan|SoHo]] neighbourhood presented ''We Buy White Albums'', an [[installation art|installation]] by artist [[Rutherford Chang]]. The piece was in the form of a record store in which nothing but original pressings of the LP was on display.<ref>{{cite news|url=https://www.nytimes.com/2013/02/23/arts/design/artists-obsession-with-beatles-white-album-on-display.html|title=A Plain White Square, and Yet So Fascinating|first=Allan|last=Kozinn|work=The New York Times|date=22 February 2013|access-date=14 July 2014}}</ref> Chang created a recording in which the sounds of one hundred copies of side one of the first LP were overlaid.<ref>{{cite journal|url=http://www.slate.com/blogs/browbeat/2013/11/21/white_album_x_100_listen_to_beatles_project_we_buy_white_albums_by_rutherford.html|title=What It Sounds Like If You Play 100 Vinyl Copies of 'The White Album' at Once|journal=Slate|date=21 November 2013|access-date=14 July 2014|last1=Haglund|first1=David}}</ref>