Group 5: American Rock and Roll Imagine Your Group Is Helping One of the Beatles Write His Autobiography. You Will Work in Small

Group 5: American Rock and Roll Imagine your group is helping one of the Beatles write his autobiography. You will work in small groups and use your knowledge of history to help your Beatle enrich his book. Here are the guidelines: • Below you will see your assigned historical term. Each group has a different term from a different period in their subject’s life. • You also have received sources related to that term. • Use this information to write a paragraph of 3-5 sentences for your Beatle’s autobiography. • Your sentences should connect his life to the term and use the first person. For example, “I remember watching the ships come in to the Liverpool docks.” • Write your paragraph on the board or on a piece of paper large enough for the whole class to read. • Share it with the class. • As the other groups share their paragraphs, copy the story in your “Autobiography of a Beatle” handout. Term: Cunard Yanks The “Cunard Yanks” were merchant seamen who traveled between New York City and Liverpool, bringing American fashion and music to Liverpool. (Cunard is a British-American shipping company that still operates today.) Some claim the Beatles got their American Rock and Roll records from these merchants before this music was discovered by the rest of Great Britain. The Beatles were heavily influenced by new sounds from American musicians such as Elvis Presley, Chuck Berry, and Little Richard. The Cunard Yanks are a symbol of cultural diffusion. Source 1: The Cunard Ship the Carinthia in Liverpool Harbor Source: Liverpoolships.org Source 2: “Cunard Yanks,” Postwar Merchant Seamen Source: Cunardyanks.org Source 3: Video excerpt from The Cunard Yanks Source 4: Video of Liverpool-born Gerry Marsden of the band Gerry and the Pacemakers discussing American music in Liverpool .

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Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip.
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Psaudio Copper
Issue 128 JANUARY 11TH, 2021 Things change with time, as my very close friend likes to say. Here’s my New Year’s wish: that things change for the better in 2021. A new year brings new possibilities. We’re saddened by the loss of Gerry Marsden (78) of British Invasion legends Gerry and the Pacemakers. Their first single, “How Do You Do It,” hit number one on the British charts in 1963 – before the Beatles ever accomplished that feat – and they went on to have other smash records like “Don’t Let the Sun Catch You Crying,” You’ll Never Walk Alone,” “I Like It” and “Ferry Cross the Mersey.” These songs are woven not just into the fabric of the 1960s, but our lives. In this issue: Anne E. Johnson covers the career of John Legend and rediscovers 17th century composer Marc-Antoine Charpentier. Larry Schenbeck gets soul and takes on “what if?” Ken Sander goes Stateside with The Stranglers. J.I. Agnew locks in his lockdown music system. Tom Gibbs looks at new releases from Kraftwerk, Julia Stone and Max Richter. Adrian Wu continues his series on testing in audio. John Seetoo mines a mind-boggling mic collection. Jay Jay French remembers Mountain’s Leslie West. Dan Schwartz contemplates his streaming royalties. Steven Bryan Bieler ponders the new year. Ray Chelstowski notes that January’s a slow month for concerts – with a few monumental exceptions. Stuart Marvin examines how musicians and their audiences are adapting to the pandemic. I reminisce about hanging out with Les Paul. We round out the issue with single-minded listening, the world’s coolest multi-room audio system, mixed media, and a girl on a mission.
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Minutes Template
LIVERPOOL CITY REGION COMBINED AUTHORITY PUBLICATION: 22 JANUARY 2021 DEADLINE FOR CALL-IN: 29 JANUARY 2021 FOLLOWING THE CALL-IN PERIOD, DECISIONS INCLUDED IN THESE MINUTES MAY THEN BE IMPLEMENTED WHERE THEY HAVE NOT BEEN SUBJECT TO A CALL-IN. * DENOTES KEY DECISION At a meeting of the Liverpool City Region Combined Authority held remotely on Friday, 22nd January, 2021 the following Members were P r e s e n t: Metro Mayor S Rotheram Chairperson of the Combined Authority (in the Chair) Members of the LCR Combined Authority Councillor D Baines, Portfolio Holder: Digital Connectivity and Inclusion Mr A Hamid MBE, Portfolio Holder: Business and Brexit Councillor I Maher, Portfolio Holder: Culture, Tourism and the Voluntary Sector Councillor W Simon, Portfolio Holder: Education, Employment and Skills Councillor R Polhill, Portfolio Holder: Low Carbon and Energy Renewables Councillor J Williamson, Portfolio Holder: Inclusive Economy and Third Sector Co-opted Members Councillor L Robinson, Portfolio Holder: Transport and Air Quality Jane Kennedy, Merseyside Police and Crime Commissioner Associate Member Councillor C Mitchell, Warrington Borough Council (Substitute for Councillor R Bowden) Deputy Portfolio Holders Councillor K Groucutt, Inclusive Economy and Third Sector Councillor P Sinnott, Education, Employment and Skills Councillor G Wood, Low Carbon and Energy Renewables Councillor C Thomas, Policy, Resources and Reform 92. MINUTES SILENCE Prior to the commencement of the meeting, the Metro Mayor reported with great sadness on the passing of Gerry Marsden MBE. He explained how Gerry, who was the lead singer of the band Gerry and the Pacemakers, was the first band, to have their first three records reach number one in the UK Charts.
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The Merseyside Digital Roadmap Driving a Digital Future - the Merseyside Digital Roadmap Page 3 Contents 1
2016 - 2021 Panoramic 34 is set 300 feet above sea level on the 34th floor of the West Tower in Liverpool City Centre and is one of the UK’s highest restaurants. This celebrated fine dining restaurant is encapsulated by ceiling to floor windows offering breathtaking 360° views of the iconic River Mersey, city and region beyond. Liverpool’s Big Wheel is positioned on the piazza directly outside the ECHO Arena on Liverpool’s historic waterfront. It includes 42 fully enclosed and air-conditioned capsules and offers riders spectacular views of the city including the River Mersey, the Welsh mountains and World Heritage Site waterfront. Liverpool ECHO Arena opened in 2008 as part of the European Capital of Culture and is now one of Liverpool’s premier entertainment venues hosting live music events and international sporting events. Albert Dock is a complex of dock buildings and warehouses in Liverpool. Designed by Jesse Hartley and Philip Hardwick, it was opened in 1846, and was the first structure The River Mersey is the lifeblood in Britain to be built from cast iron, of Liverpool, shaping not just the brick and stone, with no structural waterfront contours but the very soul wood. As a result, it was the first of the city. It stretches for 70 miles non-combustible warehouse system from Stockport to Liverpool Bay and in the world. It is now home to for centuries marked the boundary museums, galleries and a huge between the historic counties of range of venues to eat and drink. Lancashire and Cheshire. It gave its name to Merseybeat, the sound of Liverpool bands in the 1960s, and hit single Ferry Cross the Mersey by Gerry and the Pacemakers.
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American Rock and Roll Imagine Your Group Is Helping One of the Beatles Write His Autobiography. You Will Work in Small
Group 5: American Rock and Roll Imagine your group is helping one of the Beatles write his autobiography. You will work in small groups and use your knowledge of history to help your Beatle enrich his book. Here are the guidelines: • Below you will see your assigned historical term. Each group has a different term from a different period in their subject’s life. • You also have received sources related to that term. • Use this information to write a paragraph of 3-5 sentences for your Beatle’s autobiography. • Your sentences should connect his life to the term and use the first person. For example, “I remember watching the ships come in to the Liverpool docks.” • Write your paragraph on the board or on a piece of paper large enough for the whole class to read. • Share it with the class. • As the other groups share their paragraphs, copy the story in your “Autobiography of a Beatle” handout. Term: Cunard Yanks The “Cunard Yanks” were merchant seamen who traveled between New York City and Liverpool, bringing American fashion and music to Liverpool. (Cunard is a British-American shipping company that still operates today.) Some claim the Beatles got their American Rock and Roll records from these merchants before this music was discovered by the rest of Great Britain. The Beatles were heavily influenced by new sounds from American musicians such as Elvis Presley, Chuck Berry, and Little Richard. The Cunard Yanks are a symbol of cultural diffusion. Source 1: The Cunard Ship the Carinthia in Liverpool Harbor Source: Liverpoolships.org WWW.TEACHROCK.ORG Source 2: “Cunard Yanks,” Postwar Merchant Seamen Source: Cunardyanks.org Source 3: Video excerpt from The Cunard Yanks Source 4: Video of Liverpool-born Gerry Marsden of the band Gerry and the Pacemakers discussing American music in Liverpool WWW.TEACHROCK.ORG.
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2014 Summer Program Brochure
Raynham Park & Recreation Dept. 2014 Summer Program Summer Playground registration forms Brochure are available in the Park & Recreation Office or you can register online at www.raynhamrec.com Summer Playground Programs SESSION DATES REGISTRATION DEADLINE* Session 1 June 30 - July 18 June 20 Session 2 July 21 - August 15 July 12 Children will participate in exciting and fun-filled activities ... including arts & crafts, sports, outdoor games, field trips and entertainers ... all based on weekly themes. * $25 late fee for registrations received after the deadline. HALF DAY PROGRAM FULL DAY PROGRAM Ages: Grades 1-8 Ages: Grades 1-8 Location: Raynham Middle School Location: Raynham Middle School Time: 8:00 am - 12:00 noon (Program will extend Time: 8:00 am - 5:30 pm beyond 12 noon on field trip days) Cost: $160 per week Cost**: $85 per week $155 for each additional child $80 for each additional child Full payment is due at time of registration. Full payment is due at time of registration. Children in the Full Day Program will participate in the morning The Half Day Program schedule includes various activities and program, including all field trips. The program participants will field trips. Program participants are required to bring a daily be required to bring a lunch and a snack; lunch is not included snack. Field trips are scheduled on Wednesdays unless other- in the program. The Full Day Program includes additional field wise noted. Children must wear their program t-shirts on field trips for a recreational swim. trip days. Field trips will return to the school after 12 noon.
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Beatles History – Part One: 1956–1964
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EVERLYPEDIA (Formerly the Everly Brothers Index – TEBI) Coordinated by Robin Dunn & Chrissie Van Varik
EVERLYPEDIA (formerly The Everly Brothers Index – TEBI) Coordinated by Robin Dunn & Chrissie van Varik EVERLYPEDIA PART 2 E to J Contact us re any omissions, corrections, amendments and/or additional information at: [email protected] E______________________________________________ EARL MAY SEED COMPANY - see: MAY SEED COMPANY, EARL and also KMA EASTWOOD, CLINT – Born 31st May 1930. There is a huge quantity of information about Clint Eastwood his life and career on numerous websites, books etc. We focus mainly on his connection to The Everly Brothers and in particular to Phil Everly plus brief overview of his career. American film actor, director, producer, composer and politician. Eastwood first came to prominence as a supporting cast member in the TV series Rawhide (1959–1965). He rose to fame for playing the Man with No Name in Sergio Leone’s Dollars trilogy of spaghetti westerns (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly) during the 1960s, and as San Francisco Police Department Inspector Harry Callahan in the Dirty Harry films (Dirty Harry, Magnum Force, The Enforcer, Sudden Impact and The Dead Pool) during the 1970s and 1980s. These roles, along with several others in which he plays tough-talking no-nonsense police officers, have made him an enduring cultural icon of masculinity. Eastwood won Academy Awards for Best Director and Producer of the Best Picture, as well as receiving nominations for Best Actor, for his work in the films Unforgiven (1992) and Million Dollar Baby (2004). These films in particular, as well as others including Play Misty for Me (1971), The Outlaw Josey Wales (1976), Pale Rider (1985), In the Line of Fire (1993), The Bridges of Madison County (1995) and Gran Torino (2008), have all received commercial success and critical acclaim.
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The Beatles.Pdf
KOCK HOD ROIL 1 HALL OL LAME The Beatles istorically s p e a k i n g , t h e b i r t h o f t h e Be a t l e s h a s b e e n group to the paper: "Many people ask what are Beades? Why, Beades? Ugh, traced time and again to Saturday afternoon, July 6th, 1957, at the Beades, how did the name arrive? So we will tell you. It came in a vision - a S t Peter’s parish garden fete in Woolton, a Liverpool suburb. Sev- man appeared on a flaming pie and said tinto diem, 'From this day on you are enteen-year-old John Lennon was performing there with a group of Beades.’ 'Thank you, Mister Man,’ they said, thanking him.” school chums who called themselves the Quarrymen. They were a T he Beades also caught the eye o f influential locals like the D J Bob Wooler, product of the skiffle craze - a fad inspired by the primitive wash who convinced Ray McFall, owner of die Cavern dub, to book die combo. In board-band sound of Lonnie Donegan’s hit "Rock Island Line” — but theyJuly 1961 the Beades, reduced to a four-piece when Sutcliffe returned to Ham displayedH a pronounced rock and roll bent. Watching the Quarrymen was burg to paint and be with his girlfriend, commenced their legendary lunch-time fifteen-year-old guitarist Paul McCartney, who was introduced to the band cpccinns at the Cavern. That’s where a curious Brian Epstein, a record mer afterward.
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Nme-1967-06-03-S-Ocr
moNKEE NewR DA *HOLLILES*SUPREMES PETERI Great P Break-up 6° When he was very poor SMASH HIT ! P. P. ARNOLD Musical MUSIC TO 1 4tril POPWORD MICKIE MOST'S New s gles by Express hit -making secrets SMALL FACES WhIC,11,9,11,Sm!i CLIFF RICHARD on CBS 2675 K P.M., 21 DENMARK STREET, W.C.2 No. 1064 Week ending June 3,1967 TEM 3856 WORLD'S LARGEST CIRCULATION OF ANY MUSIC PAPER .4zoluem46 New Parlophone LPonsalenow Parlophone PMC 7027(m) PCS 7027(s) E.M.I. Records (The Gramophone Co. Ltd.) E.M.I. House. 20 Manchester Sq. London W.1 [1.1111 DR.14.10111111 MI WOAD vit. iv..osAjoivras. saiar itiw7J On sale Friday, week ending June 3, 1967 Hit -maker MICKIE gets MOST from the stars MICKIE MOST owns a £45,000 house, a £42,000 yacht moored at Cannes, and an elegant £3,500 Rolls-Royce. "Money is for spending," he says. "I'd spend the last penny I had." Four years ago he was selling parts of his record collection to By Alan scrapetogether theprice ofa meal. Then he got a singing job Smith ina Newcastle club, heard the Animals, recorded them with a number called "Baby Let Me Take You Home" and started himselfso in touch with the pop scene he on a trail of hit discs stretchingcan virtually predict the highest posi- around the charts of the world. tion discs will reach. Today you'll find the name Mickie He is la blaze of energy: attacking Most on hits by Lulu ("The Boata meal of fish and chips, arms waving ThatIRow"), Jeff Beck ("Hi Hotoexpress a point, talking rapidly Silver Lining"), Herman ("There's Aabout anything and everything-from KindOfHush"),theYardbirdspoverty in India to why Lulu missed ("Little Games"),andDonovanhit records for a while.
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The Perth Sound in the 1960S—
(This is a combined version of two articles: ‘‘Do You Want To Know A Secret?’: Popular Music in Perth in the Early 1960s’ online in Illumina: An Academic Journal for Performance, Visual Arts, Communication & Interactive Multimedia, 2007, available at: http://illumina.scca.ecu.edu.au/data/tmp/stratton%20j%20%20illumina%20p roof%20final.pdf and ‘Brian Poole and the Tremeloes or the Yardbirds: Comparing Popular Music in Perth and Adelaide in the Early 1960s’ in Perfect Beat: The Pacific Journal for Research into Contemporary Music and Popular Culture, vol 9, no 1, 2008, pp. 60-77). Brian Poole and the Tremeloes or the Yardbirds: Comparing Popular Music in Perth and Adelaide in the Early 1960s In this article I want to think about the differences in the popular music preferred in Perth and Adelaide in the early 1960s—that is, the years before and after the Beatles’ tour of Australia and New Zealand, in June 1964. The Beatles played in Sydney, Melbourne, Brisbane and Adelaide but not in Perth. In spite of this, the Beatles’ songs were just as popular in Perth as in the other major cities. Through late 1963 and 1964 ‘I Want to Hold Your Hand,’ ‘I Saw Her Standing There,’ ‘Roll Over Beethoven’ and the ‘All My Loving’ EP all reached the number one position in the Perth chart as they did nationally.1 In this article, though, I am not so much interested in the Beatles per se but rather in their indexical signalling of a transformation in popular music tastes. As Lawrence Zion writes in an important and surprisingly neglected article on ‘The impact of the Beatles on pop music in Australia: 1963-1966:’ ‘For young Australians in the early 1960s America was the icon of pop music and fashion.’2 One of the reasons Zion gives for this is the series of Big Shows put on by American entrepreneur Lee Gordon through the second half of the 1950s.
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The British Invasion: Finding Traction in America by Piacentino Vona A
The British Invasion: Finding Traction in America by Piacentino Vona A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2018 © Piacentino Vona 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract As a period of American History, the 1960s has provided historians and academics with a wealth of material for research and scholarship. Presidents John F. Kennedy, Lyndon B. Johnson and Richard Nixon, the Vietnam War, the hippie era, and the Civil Rights Movement, among other topics have received thorough historical discussion and debate. Music was another key aspect in understanding the social history of the 1960s. But unlike the people and events mentioned above, historians have devoted less attention to music in the historical landscape. The British Invasion was one such key event that impacted America in the 1960s. Bands such as the Beatles, the Rolling Stones, and the Who found their way into the United States and majorly impacted American society. Using secondary sources, newspaper articles, interviews and documentaries on these bands, this thesis explores the British Invasion and its influence in the context of 1960s America. This thesis explores multiple bands that came in the initial wave. It follows these bands from 1964-1969, and argues that the Beatles, the Rolling Stones, and the Who shared common multiple factors that allowed them to attain the traction to succeed and to maintain that success in the United States.
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