The Effect of the Beatles on Society
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John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
PK 2 Hamburg Beatles History.Pdf (253.4
MEDIA INFORMATION NO HAMBURG, NO BEATLES: THE HISTORY OF THE FAB FOUR IN HAMBURG From the evolution of the Hamburg Sound to today’s club scene On 17 August 1960, John Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe and Pete Best played their first gig at the Indra Club in the legendary St Pauli district of Hamburg. Mark Lewisohn, the acclaimed Beatles author, aptly commented “No Hamburg, no Beatles”. The Beatles, some of whom were still minors in the beginning, spent two years in Hamburg, with only a few breaks in between. Here, they laid the foundations for their global career. Following their debut in 1960, the Beatles played in Hamburg more often than anywhere else in the world – with 300 concerts, five contracts with four different music clubs, and about 1,200 hours spent on Hamburg stages. John Lennon once said “I grew up in Liverpool but I came of age in Hamburg”, and this is arguably the story of the Beatles in Hamburg in a nutshell. It all began with a shock. When The Beatles got their first engagement in Hamburg on the 17th of August 1960, they where full of anticipation. The Hanseatic City was considered to be the perfect place to make good money by giging. And the Reeperbahn was the incarnation of adventure for those naive from Liverpool. Where nowadays countless cutting-edge music clubs line the neon bright streets, back in the day, the audience craved for all night entertainment – especially for exciting music, such as Rock‘n‘Roll and it‘s British exports. -
University of Pardubice Faculty of Arts and Philosophy 1960´S in Britain
University of Pardubice Faculty of Arts and Philosophy 1960´s in Britain and The Beatles Kateřina Milatová Bachelor Thesis 2020 Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Beru na vědomí, že v souladu s § 47b zákona č. 111/1998 Sb., o vysokých školách a o změně a doplnění dalších zákonů (zákon o vysokých školách), ve znění pozdějších předpisů, a směrnicí Univerzity Pardubice č. 7/2019 Pravidla pro odevzdávání, zveřejňování a formální úpravu závěrečných prací, ve znění pozdějších dodatků, bude práce zveřejněna prostřednictvím Digitální knihovny Univerzity Pardubice. V Pardubicích dne 19. 4. 2020 Kateřina Milatová ACKNOWLEDGEMENTS I would like to express my gratitude to Mgr. Olga Roebuck, Ph.D., M.Litt. for her help and guidance while I was writing the thesis. Many thanks go to my friends and my wonderful family for their permanent love, support and patience. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
PK 4 Timeline Beatles in Hamburg.Pdf (258.9
MEDIA INFORMATION THE BEATLES IN HAMBURG: TIMELINE 1960–1966 1960 Aug 17 August: First gig at the Indra music club. 2 October: Last gig at the Indra, following 41 performances. 4 October: First gig at the Kaiserkeller music club, taking turns with Rory Oct Storm & The Hurricanes – with Ringo Starr playing the drums. 15 October: First private recording session with John, Paul, George and Ringo as well as Lu Walters of the Hurricanes (“Summertime”), taking Nov place in the Hamburg Akustik Studio opposite the central train station. Early November: First photo shooting with Astrid Kirchherr. 30 November: Last gig at the Kaiserkeller, following 50 performances. 1961 1 April: First gig at the Top Ten Club. Apr April: Photo shooting with Jürgen Vollmer in the Jägerpassage courtyard (“Rock’n’Roll”). 22/23 June: At Friedrich-Ebert-Halle in the district of Harburg, Bert Jun Kämpfert produces the very first Beatles single. Under the Polydor label, The Beatles are initially marketed as a Tony Sheridan support band. By October 1961, the single by “Tony Sheridan & The Beat Brothers” has reached number 32 in the German music charts. Jul 1 July: Last gig at the Top Ten Club, following 92 consecutive nights on stage. 1 of 2 1962 10 April: Aged 21, Stuart Sutcliffe, founding member of The Beatles, passes away in Hamburg due to a brain haemorrhage. Apr 13 April: The Beatles perform at the opening night of the Star Club, marking what would become a 7-week engagement. Oct 5 October: The Beatles’ first single, “Love Me Do”, is released in the UK. -
From Cavern to Star-Club
InfoMail Nr. 993: BEATLES-Buch mit Single FROM CAVERN TO STAR-CLUB Hallo M.B.M., hallo BEATLES-Fan, bei uns noch erhältlich: August 1997: BUCH & EP THE BEATLES FROM CAVERN TO STAR-CLUB - THE ILLUSTRATED CHRONICLE, DISCOGRAPHY & PRICE GUIDE 1957 - 1962. 45,00 € Autor: HANS OLOF GOTTFRIDSSON. Verlag: Premium Publishing, Stockholm, Schweden. 30,2 x 21,8 cm, Gebundene Ausgabe; Format: 13,5 cm x 21 cm; 482 Seiten, sehr viele Schwarzweiß-Fotos und -Abbildungen, englischsprachig. EP HAMBURG TWIST. Polydor. Titel auf EP: Sweet Georgia Brown; My Bonnie (Mein Herz ist bei dir nur). / Swanee River; My Bonnie. Übersetzung des Promotion-Textes vom Verlag Premium Publishing: THE BEATLES - FROM CAVERN TO STAR-CLUB ist die peinlich genau erforschte Chronologie und Diskografie der BEATLES-Aufnahmen von 1957 bis 1962. HANS OLOF GOTTFRIDSSON hat unveröffentlichte Bänder und Dokumente erforscht und Interviews mit Zeitzeugen dieser legendären Zeit der BEATLES- Karriere geführt. Zum allerersten Mal wurden alle wichtigen Daten und Aufnahmen erkundet, von dem Zeitpunkt an, als JOHN und PAUL sich auf der WOOLTON GARDEN FETE 1957 getroffen haben bis zu den letzten STAR-CLUB-Aufnahmen in Hamburg vom Dezember 1962. Das Buch beinhaltet eine komplette Übersicht über alle Veröffentlichungen der Aufnahmen aus dieser Zeit in Deutschland, England, Frankreich, Schweden und den USA und alle Wiederveröffentlichungen bis einschließlich 1970. Alle Singles, EPs and LPs sind abgebildet. Jede Veröffentlichung ist mit dem jetzigen Wert für Sammler und ihrem Sammler-Status vermerkt. Der Autor hat die Original-POLYDOR-Aufnahmeprotokolle wiederentdeckt - von denen man glaubte, sie gäbe es nicht mehr. Diese Aufnahmeprotokolle belegen eindeutig, dass die BEATLES Swanee River aufgenommen haben. -
Here Information Was Modified Due to One of the Error Types Noted Above
The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum The Beatles Recording Reference Manual Volume 1 My Bonnie through Beatles For Sale (1961-1964) Corrigendum Jerry Hammack Edited by Gillian G. Gaar The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum Copyright © 2021 Jerry Hammack All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the author, except by reviewers, who may quote brief passages in a review. Library of Congress Control Number: 2017909370 CreateSpace Independent Publishing Platform, North Charleston, SC Hammack, Jerry, 1961- The Beatles Recording Reference Manual: Volume 1: My Bonnie through Beatles For Sale (1961-1964) Corrigendum Gearfab Books, Ltd. Toronto, Ontario, Canada The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum iii The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum About this Corrigendum ____________________________________________________________________________________________________________ It’s clear, I’m not perfect. In researching, writing, editing and producing The Beatles Recording Reference Manuals, I made some errors. Some of these errors were of omission, some were of misinterpretations of information that I was challenged on and found my conclusions wanting, and others were bothersome copy/paste issues that were not caught in the proofing stage of book production. Regardless of their type or nature, I take responsibility for them all. I know these books are not cheap to own, and I also know that Beatles fans interested in this material are some of the most detail-oriented fans in the world. -
The Beatles Destination Hamburg - Review of Documentary About the Be
The Beatles Destination Hamburg - review of documentary about The Be... http://classicrock.about.com/od/artistsaf/fr/beatles_hamburg.htm Classic Rock The Beatles - Destination Hamburg DVD Release Date: February 19, 2008 About.com Rating By Dave White, About.com I've always been intrigued by the portion of Beatles history covering their three "tours" of Hamburg, Germany in the early '60s. Accordingly, I was anxious to screen the DVD documentary, The Beatles - Destination Hamburg. To say that I was disappointed would be putting it kindly. Mistaken Identity The title suggests something that the film doesn't deliver. Oh, there is a segment on the band's three trips to Hamburg alright, but it is buried amid what tries to be a history of the band, with emphasis on the birth and death of Beatlemania. There is some stock footage of Hamburg and the exteriors of a couple of the clubs the band played, but nothing that conveys what the band was doing musically. The DVD's front cover prominently promises "never before seen" footage, which is an apparent reference to the two interviews with former Beatles associates that are excerpted. Courtesy MVDvisual At least there is no attempt at outright deception. Disclaimers on the back cover make it clear that "[t]his program contains no Beatles music" and that it has not been sanctioned by The Beatles or anybody associated with them. Odds and More Odds Instead of Beatles music, then, we get "the musical recordings of Tony Sheridan, an early collaborator of The Beatles." The recordings, which are inexplicably prominent in some very odd places, are of non-Beatles songs that The Beatles covered in their early years. -
170312 Sermon-Final-170312 Sermon
170312 Sermon – Page 1 of 4 “Ladies and gentlemen, the Beatles!” With those words, spoken 53 years, one month, and three days ago, Ed Sullivan introduced John, Paul, George, and Ringo to a TV audience of 73 million gathered in front their TV sets to see The Beatles’ first live performance in the United States. Sixty percent of the television sets in America were tuned in to witness the birth of Beatlemania as the girls in the audience screamed, and Paul sang, “Close your eyes and I’ll kiss you, tomorrow I’ll miss you…” They played five songs that night, and by the end of the show they owned the hearts of millions of American youth of all ages. Never before had so many viewers tuned in to a live television program; what they saw would change rock and roll – and the world – forever. The energy, the innocence, the enthusiasm, the matching black suits with black ties, the mop-top haircuts, the smiles, the irreverent banter… The Beatles exploded onto the pop-culture scene, and we were ready to follow them wherever and however they went. In a matter of months Beatles fan clubs were formed across the country, and every imaginable knick-knack had the pictures of the band on it. There were Fab Four lunch boxes, dolls, serving trays, trading cards, coloring books, coin holders, shot glasses, mop-top wigs, and even Beatle-branded talcum powder and nylon stockings! To say the Beatles wrote the musical score for the movie that was my formative years would be a huge understatement. -
History 207 Winter Term 2020
“There’s one line in ‘Hey Jude’ that sort of sums up what the period was about: ‘Take a sad song and make it better.’” - Paul Krassner (editor, activist, writer, and Yippie) History 207 Winter Term 2020 Hagey Hall 134 Phone: (519) 888-4567, ext. 32767 Email: [email protected] or [email protected] Office Hours for Winter Term: Mondays, 2:30 to 3:30 p.m. • Wednesdays, 11:30 a.m. to 12:30 p.m. • Or by appointment (I’m often around at other times not listed here, so feel free to knock on my door, or fire me off a quick email to make sure I’m on campus.) Teaching Assistants: Charan Mandur, Krenare Recaj, Julianne Scott, Duncan Smith. Course Meeting Time and Location: 1:00-2:20 p.m., MW, QNC 1502 “If you want to know about the Sixties,” wrote beloved American composer Aaron Copland, “play the music of The Beatles.” This isn’t just another Beatles Course. It’s bigger: It is a history course on The Beatles and their times, with an eye on the sweeping, panoramic history of the social, cultural and political transformations that occurred in the 1960s. In the 20th Century, no other band loomed as large as the four British lads from Liverpool. To call them “seminal” fails to do justice. They revolutionized music and the way people listen to it. To study The Beatles – their lives, songs, albums, films, how they’re remembered, and their impact on the world – offers a unique chance to explore the turbulent era of the Sixties, through a prism that is colourful, engaging and epic in scope. -
Beatles History – Part One: 1956–1964
BEATLES HISTORY – PART ONE: 1956–1964 January 1956–June 1957: The ‘Skiffle Craze’ In January 1956, Lonnie Donegan’s recording of “Rock Island Line” stormed into the British hit parade and started what would become known as the ‘skiffle craze’ in Great Britain (vgl. McDevitt 1997: 3). Skiffle was originally an amateur jazz style comprising elements of blues, gospel, and work songs. The instrumentation resembled New Or- leans street bands called ‘spasms,’ which relied on home-made instru- ments. Before skiffle was first professionally recorded by American jazz musicians in the 1920s and 1930s, it had been performed at ‘rent parties’ in North American cities like Chicago and Kansas City. Many African- American migrant workers organized rent parties in order to raise money for their monthly payments (vgl. Garry 1997: 87). Skiffle provided the musical entertainment at these parties, as everybody was able to partici- pate in the band, which usually consisted of home-made acoustic guitars or a piano backed by a rhythm section of household instruments, such as a washboard, a washtub bass, and a jug (vgl. McDevitt 1997:16). Jazz trumpeter and guitarist Ken Colyer pioneered the skiffle scene in Great Britain. In 1949, he formed the Crane River Jazz Band in Cran- ford, Middlesex, together with Ben Marshall (guitar), Pat Hawes (wash- board), and Julian Davies (bass). Their repertoire included skiffle songs “to illustrate aspects of the roots of jazz and to add variety to a pro- gramme” (Dewe 1998: 4). After leaving the group in 1951, Colyer mi- grated to the United States to work with jazz musicians in New Orleans. -
By Brian Welsh
BEATS BY BRIAN WELSH SYNOPSIS 1994, a small town in central Scotland. Best mates Johnno and Spanner share a deep bond. Now on the cusp of adulthood, life is destined to take them in different directions – Johnno’s family are moving him to a new town and a better life, leaving Spanner behind to face a precarious future. But this summer is going to be different for them, and for the country. The explosion of the free party scene and the largest counter-cultural youth movement in recent history is happening across the UK. In pursuit of adventure and escape, the boys head out on one last night together to an illegal rave. Stealing cash from Spanner’s older brother, under the hazy stewardship of pirate radio DJ D-Man, the boys journey into an underworld of anarchy, freedom and a full-on collision with the forces of law and order. A universal coming of age story, set to a soundtrack as eclectic and electrifying as the scene it gave birth to, BEATS is a story for our time – of friendship, rebellion and the irresistible power of gathered youth. DIRECTOR: Brian Welsh PRODUCER: Camilla Bray EXEC. PRODUCER: Steven Soderbergh SCREENPLAY: Kieran Hurley, Brian Welsh MUSIC: JD Twitch (Optimo) CAST: Cristian Ortega, Lorn Macdonald, Laura Fraser Q&A WITH BRIAN WELSH How did you come to be involved with BEATS, which is based on Kieran Hurley’s 2012 play of the same name? A friend said, “You have to see this show playing at the Bush Theatre in London – it’s about you growing up.” When I read the synopsis of BEATS – this story about a 15-year-old boy going to a rave at the time the Criminal Justice Act was introduced – I grabbed a ticket and went along.