Answer the question at the end by quoting:

Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
The following year, ATV lost its London franchise to what would become London Weekend Television (LWT); at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon-McCartney song catalogue. Foreign sales remained strong for a time (valued at $30 million in 1970) and the ACC received the Queen's Awards for Export in both 1967 and 1969. Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title Best Variety Series. Neither action shows The Protectors (1972-74) and The Persuaders! (1971-72), nor the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77) were notably successful. After Space: 1999, Gerry Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982. In the mid-1970s Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest TV project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (from 1969). CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming. After watching one of Henson's pilots and recalling a special made in one of his studios Grade allowed Henson to realise his project in Britain (the series was recorded at ATV's Elstree Studios) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success. Grade's other accomplishments in TV included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli was announced in August 1974. Grade promoted "quality" productions on ATV as a challenge to the BBC -- for example, dedicating a whole evening to a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.

Did they produce anything else

action shows The Protectors (1972-74) and The Persuaders! (1971-72),

Answer the question at the end by quoting:

The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.
In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".

Why was this so crazy
the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The