in bars and nightclubs in the US, at a cost of $3500 apiece. This, in turn, required production of new Scopitone films for the American audience, many of which were produced on contract with Debbie Reynolds's production company. Several well-known acts of the 1960s appear in Scopitone films, ranging from the earlier part of the decade The Exciters ("Tell Him") and Neil Sedaka ("Calendar Girl") to Bobby Vee ("The Night Has a Thousand Eyes" and "Baby Face") and later 1960s acts such as Gary Lewis ("Little Miss Go-Go") Jody Miller ("The Race Is On" and her biggest hit "Queen of the House") and Procol Harum ("A Whiter Shade of Pale"). In one Scopitone recording, Dionne Warwick lay on a white shag rug with an offstage fan urging her to sing "Walk On By". Another had Nancy Sinatra and a troupe of go-go girls shimmy to "These Boots Are Made for Walkin'". Inspired by burlesque, blonde bombshell Joi Lansing performed "Web of Love" and "The Silencer", and Julie London sang "Daddy" against a backdrop of strippers. Mary "Dee Dee" Phelps of Dick and Dee Dee recalled in 2006 being asked to record a Scopitone for one of their more obscure records and not their biggest hit; when she saw the finished product, she was appalled by its disjointed appearance. The artifice of such scenes led Susan Sontag to identify Scopitone films as "part of the canon of Camp" in her 1964 essay "Notes on 'Camp'". The medium's focus on adult audiences, and the resulting avoidance of or inability to lure the superstar American or British Invasion acts of the era, was a factor in its demise; for example, when The Beatles decided to enter the music video business in 1965, they opted to bypass the Scopitone and distribute their promotional films via television. Other factors included the declining taste and poor quality of the productions (particularly those made in the United States), changing taste toward psychedelic rock and a late 1960s sting that revealed that the Scopitone business had deep ties to the Sicilian Mafia. Even though the popularity of the Scopitone had faded away by the end of the 1960s,the same concept was still in limited use throughout the 1970s by acts such as the Carpenters and ABBA, both of whose early productions were shot on 16mm film before transitioning to videotape. Toward the late 1960s, films produced for the