Mama Mia! The Swedish Group ABBA Has Made a Lot of Money, Money Money!

Much has been written about the Swedish super group called ABBA. After all, the group has more than proven its endurance to a global audience.

The group's iconic logo was/is also a registered trademark

Songwriters and musicians Björn Ulaeus and Benny Andersson first met in 1966, and in 1969, the seeds of the soon-to-be Swedish supergroup were planted when Björn met his fiancée, Agnetha Fältskog, and Benny met his fiancée, Anni-Frid (known as Frida) Lyngstad, and the group formed in Stockholm in 1972. Ulvaeus and Andersson knew how to write contagious pop hits, but Fältskog's and Lyngstad's beautiful harmonies were integral to the global chart-topping ABBA sound. The group's name is an acronym from the first letter in each of their names. In 1974, ABBA was the contestant for Sweden in the Eurovision Song Contest, the pan-European music festival. Sweden (and ABBA) took home the prize as the winner of the Eurovision contest that year with their performance of the song "Waterloo".

Although relatively unknown outside of Scandinavia at the time, ABBA used the Eurovision song contest as a launching pad to become a global pop music sensation. While Sweden has long been one of the world's largest cultural exporters (books, music, film, television programming, etc.), likely because in Swedish public schools, the population is taught English in as a core subject (along with Swedish and mathematics) staring in grade school between the ages 7 and 9, depending on the school attended. Indeed, most Scandinavians are praised for having both fluency in English and language competency in addition to their own native tongues, hence Swedes successfully export to the broader English-speaking world.

Anyway, in 1974, in spite of competing against the likes of Olivia Newton-John who represented the UK in Eurovision that year (unfortunately, she sang a boring song entitled "Long Live Love" that year, and her outfit was similarly conservative), ABBA grabbed the top prize.  A video of the group's winning performance in the 1974 Eurovision contest can be seen below, or by visiting HERE.



Not only was the ABBA song "Waterloo" understood across Europe, but the band also wore what were considered pretty daring costumes that year, too. Their costumes were certainly eye-catching: shiny, satin, all-in-one outfits and even shinier knee-length hot-boots. The costumes were explained largely as a way to exploit a Swedish tax law. As long as their outfits were so outrageous that they could not be worn on the street, the band could claim the cost of the outfits were tax-deductible.

ABBA band member Björn Ulvaeus recalled: "In my honest opinion, we looked like nuts in those years. Nobody can have been as badly dressed on stage as we were." Björn added: "We figured with our clothes, people would remember us even if we finished ninth." Frida noted: "We chose clothes we felt comfortable in. My favorite was a body stocking with a little dress cut diagonally. I thought I was elegant and sexy in it."

But the costumes fit right into the disco era which was just emerging around the world at the time, and people remembered the band who wore such colorful (if garish) outfits. It didn't hurt that their music was universal, and the harmonies of the women's voices in the group sounded great. They took their knack for memorable (if ugly) costumes, along with catchy lyrics and danceable pop melodies and became a global superstar group whose success is in many ways, unparalleled. All told, ABBA released eight studio albums over their original 10 years together. Perhaps their most iconic single was their 1976 hit "Dancing Queen" which can be listened to below, or by visiting https://youtu.be/xFrGuyw1V8s?si=HojD4RRc6NKTZylr.

"Dancing Queen" was ABBA's biggest hit in the United States (going to number one), and it also topped the charts in Australia, the Netherlands, Belgium, Ireland, Mexico, New Zealand, Norway, South Africa, Spain, Sweden, the UK, Germany and Zimbabwe. "Dancing Queen" also reached the top five in many other countries.

At their commercial zenith in the late 1970's, ABBA were reputedly second only to Volvo in their contribution to Sweden's exports. While figures vary, industry watchers agree that ABBA has sold at least 200 million albums and singles worldwide (some unconfirmed estimates put the figure closer to 400 million, behind only The Beatles but ahead of Led Zeppelin, Pink Floyd and Queen), and certainly comparable to the Rolling Stones. Collectively, estimates are that ABBA has earned more than $2 billion in album and singles sales during its career.

The 1974 Eurovision-winning band was actually made up of two couples — Agnetha Fältskog and  Björn Ulvaeus, and Benny Andersson and Anni-Frid (Frida) Lyngstad. Both couples would later split as the band became most successful, and ABBA broke up as a group in 1982. ABBA was always bigger in terms of studio recordings, but decidedly less so when it came to touring and live performances. Despite some disagreements among the quartet, the four largely remained in touch and they seem fairly united in decision-making that has perpetuated their fame and fortune. The original ABBA team have proven themselves VERY adept at continuing the nurture their money-machine by carefully licensing their songs to bands and singers who have kept their songs continually playing (and selling).

For example, in 1992, they wisely licensed several of their songs to the UK pop duo Erasure (Vince Clarke and Andy Bell) which released an EP of four of ABBA's best-known hits. That EP revived ABBA's songs for a generation of young adults who grew up listening to the original ABBA songs on the radio, and was also Erasure's first and only #1 on the UK Singles Chart for the single "Take A Chance on Me", plus it got significant airplay in the U.S., Canada, Australia and New Zealand.

ABBA later licensed its songs to live theater productions of the show "Mama Mia" which opened in London and remained a best-seller there, replicating that successful run in New York, Toronto, Sydney and elsewhere. The stage version's worldwide gross from 49 productions exceeded $2 billion in 2015, having been seen by 500 million people. The 14-year Broadway run alone grossed more than $600 million, according to the trade group Broadway League.

In 2014, the ABBA band-members released a video they called "The Last Video" which can be seen below, or by visiting https://youtu.be/8L6T6Yj5u4k which is indicative of the continued creative work from the group members.

ABBA's West-End/Broadway success with "Mama Mia", in-turn, lead to the Hollywood movie version of "Mama Mia" that starred Meryl Streep. The "Mamma Mia" movie version of the all-ABBA musical was released by Universal and earned the band another $600 million at the box office, while the sequel (whose story was panned) still quietly earned another $280 million during just its first four weeks without even factoring in DVD and streaming sales, licensing to cable television, etc. ABBA also released (or was it really a re-release of their biggest hits?) "ABBA Gold: Greatest Hits", which has been called one of the most influential compilation albums ever released, and sparked a strong revival of ABBA's music that has endured well into the 21st century.

In 2018, one guest-star of "Mama Mia 2", herself a seventies pop icon Cher, released a whole new album of ABBA covers following her appearance in the sequel movie. She announced one of the singles "Gimme! Gimme! Gimme!" via her active Twitter account.

🎂time pic.twitter.com/222E1D3m2B

— Cher (@cher) August 8, 2018

Cher told the press (see HERE): "I've always liked ABBA and saw the original Mamma Mia musical on Broadway three times. After filming "Mamma Mia! 2: Here We Go Again", I was reminded again of what great and timeless songs they wrote and started thinking 'why not do an album of their music?' The songs were harder to sing than I imagined but I'm so happy with how the music came out. I'm really excited for people to hear it. It's a perfect time."

Meanwhile, back in Stockholm, Sweden, the ABBA The Museum is a Swedish interactive exhibition about the pop band ABBA that opened in Stockholm, Sweden in May 2013. ABBA's collected works are showcased in a contemporary, interactive setting at Djurgården, Stockholm.

ABBA also announced that the Swedish foursome had recorded several brand new songs during 2018, its first in 35 years, which will be released in early 2019. The original band members are all now in their seventies, so studio recordings are one thing, but the group has said they have no intention of doing any live performances. But there ARE plans for a TV special, and a separate digital project to recreate the four members performing as what they're branding their 'ABBAtars' using the experience gained from the ABBA Museum to further their commercial success on a global basis.

Just how much longer ABBA can perpetuate its "Money, Money, Money" tree remains to be seen. But they've proven themselves perhaps the most successful at merchandising their music in a way that few other bands have yet to replicate -- it doesn't just happen, it takes a degree of talent, intellect and work -- but perhaps could pave the way for future artists in the 21st century?

Donna Summer's Colorful Life the Basis for New Broadway Musical

Born on December 31, 1948 and raised as LaDonna Adrian Gaines, the disco and pop diva known as Donna Summer grew up as one of seven children.  She was a native of Boston, specifically the Mission Hill area which is located between the much larger neighborhoods of Jamaica Plain and Roxbury Crossing.

Sadly, she passed away at age 63 at her home in Naples, Florida on May 17, 2012.  The official cause of death was lung cancer, although her family made a point to tell the press that Ms. Summer was never even a smoker.  But Donna Summer's legacy looms very large in the music business, and now its on Broadway.  NPR had a relevant clip on her passing, which can be listened to below, or by visiting https://n.pr/JCSTGW:

Playbill from the Broadway musical "Summer" 

After a trial run at San Diego's La Jolla Playhouse, now "Summer: The Donna Summer Musical", which is a jukebox musical featuring her songs, has opened at Broadway's Lunt-Fontanne Theater.  Three different actresses play Ms. Summer at various points in her life, depicting her Boston upbringing, her burgeoning success with the producer Giorgio Moroder and her later years.  Similar autobiographical subjects for musical shows have followed a similar pattern.  Summer has received mixed reviews so far, although that will not necessarily limit its success (or failure).

Donna Summer began her music career back in the late 1960's, when she left home and joined a blues/rock band.  Although the band was commercially unsuccessful, her time with the band took her to New York where she made a name for herself with her vocal talents (notably, record labels did not want the band she was in, but several expressed interest in her talent as a solo singer).  Ms. Summer found work singing as a backup singer for 1970's trio Three Dog Night.

While in New York, Donna Summer auditioned for a role in the counterculture musical "Hair" (a movie version would later be released co-starring a young Beverly D'Angelo who is perhaps best known for her role as Ellen Griswold in several "Vacation" movies).  Donna Summer landed the part of Sheila in "Hair", and she agreed to take the role in the Munich production of the show, moving to Germany.

Move to Europe Changes Donna Summer's Career Trajectory

She spent several years living, acting, and singing in Europe (and she learned to speak German while there).  In 1973, she met her first husband, Austrian actor Helmut Sommer, and she gave birth to their daughter (Mimi) Natalia Pia Melanie Sommer.  During her time in Europe, she also first met European music producers Giorgio Moroder and Pete Bellotte, who would later loom large in her career as a singer as her fellow songwriters, producers, arrangers and managers.  Her married surname of Sommer was supposed to be the name used on her recordings, but a typo at her first record label dubbed her as Donna Summer, which is the stage name that stuck.

State's "Hit Parade" podcast had an excellent overview entitled "The Queen of Disco" worth listening to in its entirety below, or by visiting http://www.slate.com/articles/podcasts/hit_parade/2017/11/donna_summer_s_three_decade_chart_reign.html.



Following her successful stage role in the musical "Hair" playing in Europe, she would later land a record label contract as a solo singer.  In 1975, the record-label known as Casablanca Records signed the then-new solo artist Donna Summer and the following year, released her album entitled "Love to Love You Baby" which was certified gold.  Casablanca enjoyed a brief period of big-time success in the mid-to-late-1970's, and Donna Summer was big part of that.  The Casablanca label also featured Kiss, Cher (for a time, anyway), Player, Lipps Inc., Tony Orlando, Dusty Springfield (for a time), and Captain & Tennille (see my blog post on that duo at https://goo.gl/9WdWG5 for more), The Village People and many other hit artists during the record label's initial heyday.

Donna Summer's breakout hit song "Love to Love You Baby" was over 17 minutes long, and Casablanca released the song in its entirety as a single (a much shorter version was promoted to radio stations).  In releasing the 17-minute version as a single, Casablanca would help popularize a format that would become known as the 12-inch (the diameter of the vinyl record that contained the extended-play song).  The single became a big disco success during the era when clubs like Studio 54 dominated the time in which younger Baby Boomers' were becoming young adults, and fueling the nightlife and disco era (by going out to boogie on weekends) perhaps best typified by the 1977 hit movie (and corresponding hit movie soundtrack) "Saturday Night Fever".

22 Orgasms in the Single Love to Love You Baby

As noted, the single "Love to Love You Baby" was written by Donna Summer herself, as well as her collaborators Giorgio Moroder and Pete Bellotte.  That song featured Ms. Summer seductively moaning and groaning (as if she was having sex), and that caused the single to be banned by some American and European radio stations.  According to one tally by Time magazine, Ms. Summer could be heard having 22 orgasms in this track (the BBC's own censors reportedly counted 23, but hey, what's one more orgasm?), although she later told Rolling Stone magazine and other media outlets that those sound effects were simply acting.  We know that lines of recordings can be played repeatedly in singles as a refrain, although that mainly applies to lyrics, so its unclear exactly what an orgasmic moan qualifies as in a recorded song.  That can be listened to below or by visiting https://youtu.be/4C4j6q6PQc0.


But, as it turns out, efforts to try and ban the song for being too sexually explicit actually had the opposite effect, and helped to make it a smash hit.  The single went to #2 on the U.S. Hot 100.  Not surprisingly, around the same time, pornography was also going mainstream, with a 1973 movie release named "Deep Throat" gaining a reputation as a "must-see" movie, eventually earning more money than any film had previously (and so far, since) -- I blogged about the mainstreaming of porn at https://goo.gl/9FG5K for more on that topic.

Ms. Summer would quickly release an impressive sting of other chart-topping disco hits in the next few years including "I Feel Love", "Last Dance", "MacArthur Park", "Heaven Knows", "Hot Stuff", "Bad Girls", "Dim All the Lights", and "On the Radio".  Ms. Summer would also record a hit duet with Barbra Streisand.

All told, Donna Summer earned a total of 32 hit singles on the U.S. Billboard Hot 100 chart in her lifetime, with 14 reaching the top ten.  She claimed a top 40 hit every year between 1975 and 1984, and from her first top ten hit in 1976, to the end of 1982, she had 12 top ten hits (10 were top five hits), more than any other act during that time period.  She returned to the Hot 100's top five in 1983, and claimed her final top ten hit in 1989 with "This Time I Know It's for Real".

Casablanca Records: Hit-Machine During Disco Era, Known for Excess

Her first record label Casablanca Records was best known for excess.  The Los Angeles-based record label was bringing in millions of dollars from a string of radio hits (including those by Donna Summer).  Casablanca Records' fall began when the 1980's began. The label was known to spend lavish amounts of money on parties, events, and promotion. There were even rumors of free-flowing cocaine at its parties and headquarters.  As a result, profit margins suffered due to the carefree spending by the label. Casablanca also spent lavish amounts of money on promoting its releases, which made its artists very happy, but not necessarily PolyGram, which later owned a 50% stake in the label.  It would eventually suffer from "accounting irregularities" leading to its eventual sale to the much bigger PolyGram record label which distributed its records anyway.  When Casablanca's lavish spending habits were realized by PolyGram, it quickly made an offer to purchase the other half of Casablanca it did not already own in 1980, but the "good old days" at Casablanca Records were effectively over.

Summer's Move to Geffen Records, And Later, to Atlantic Records

Donna Summer herself left Casablanca Records in 1980 when she signed with another startup known as Geffen Records, then a new record label started by David Geffen.  But she still released the hit single "She Works Hard For The Money" under her old contract with Casablanca.  But because Ms. Summer wanted to go into a different direction with her music; while Casablanca wanted her to keep recording disco and nothing else, she decided to find a different record label, and David Geffen made her an offer she could not refuse.  Ms. Summer also filed a 10-million-dollar suit against Casablanca; but the label counter-sued. In the end, although Ms. Summer did not receive any money, she did win the rights to her own lucrative song publishing.  Her decision to change record labels and focus away from disco proved to be a good move.  With Geffen, she would release the hit single "The Wanderer" although it was still more disco than she wanted.  By that time, she was growing tired of constant recording, touring, etc. so she was ready when to take a break from music.  She would re-emerge in at the end of the decade with a single "This Time I Know It's for Real" (which went to #3 on the U.S. Hot 100) in 1989 which was released on Atlantic Records, then a division of Warner Bros. Records.

Ms. Summer also did some minor acting roles on TV in the mid-to-late 1990's in sitcom "Family Matters" playing the role of Aunt Oona Urkel in two episodes.  However, she will likely always be remembered for her huge role in the popular disco era, with incredibly danceable tracks that were popular in their day.

Although there is no guarantee it will remain available, the Viacom-owned cable network's series "Behind the Music" ran an interesting bio of Donna Summer, which seems particularly relevant in the years since her death.  That can be viewed (for the moment) by visiting https://youtu.be/ZrXepibp22Y.

There was also an interesting interview with Donna Summer done by BBC Radio.  Although BBC Radio no longer has the interview online, another blog/ website has retained it which can be listened to below, or by visiting http://www.musiclikedirt.com/2012/05/18/donna-summer48-12/: