The Walrus Was Paul!
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Personal Branding from the Beatles
s esson in per h l so g na au l sb b n r a a n n e r d a i n k g & f r r r a o p m n a t l h a e m b o e r f a p t l l e e h s e l w t i t t i h l a I AmInf o the Walrus1/18 Side One 1. I Me Mine (Harrison) 2. I Am The Walrus (Lennon-McCartney) 3. Don’t Let Me Down (Lennon-McCartney) 4. The Continuing Story of Bungalow Bill (Lennon-McCartney) 5. Your Mother Should Know (Lennon-McCartney) Side Two 6. She Came In Through the Bathroom Window (Lennon-McCartney) 7. The Long and Winding Road (Lennon-McCartney) 8. Lucy In The Sky With Diamonds (Lennon-McCartney) 9. Everybody’s Got Something To Hide Except For Me and My Monkey (Lennon-McCartney) 10. Hello Goodbye (Lennon-McCartney) On Parrlophone 33 1/3 RPM Info 2/18 Side One | Track 1 I Me Mine Consider what you have to offer (and what you don’t). “We are CEOs of our own companies: Me Inc. To be in business today, our most important job is to be head marketer for the brand called You.” Tom Peters succinctly labeled and called attention to the concept of a personal brand in the August 1997 issue of Fast Company Magazine. The Beatles had that figured out well before 1997 and built a reputation, musically and personally, that stretched from Liverpool to every corner of the planet. -
The Beatles Record Review
WRITING ASSIGNMENT Record Review You are going to write a record review of an album that is deemed significant in Rock Music. A list of groups/artists can be accessed by clicking on link below http://www.rollingstone.com/ news/story/5938174/the_rs_500_greatest_albums_of_all_time Criteria: Title Page Name, word count, course number, section number, etc. Introduction: Write a biography of the group you're critiquing. This should include the year the group/artist began recording, a list of and year of recordings, billboard chart positions, and any awards, Grammys, etc. www.allmusic.com is a great source for biographical information. Section 1 You will need to include all of the specifics of the recording, record label, producer(s), year, and dates of recording. Listen to the album several times as if you were a record critic and write an overview of the album, i.e. style of music, mood, highlights, lowlights, etc. Here are some things to consider: Is there a unifying theme throughout the album? Are there contrasting themes? If so, what are they? Is there enough variety musically in your opinion? What is it about this album in particular that makes it stand out? Section 2 Pick four songs and discuss them in more detail. Discuss your likes and dislikes as we have in relation to the journal entries in class but you will need to go into more detail. Discuss any other elements you find compelling, i.e., imagery from the lyrics or lack thereof, the use of and/or role of instrumentation, tempos, solos, vocals, etc. Section 3 Summarize your experience. -
Gender Role Construction in the Beatles' Lyrics
“SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles.................................................................................................. -
To View Project
Start page displays most visited websites Interface streamlined to only most needed Reading view extracts text content and and new items from user’s favorite websites functions. displays it into a readable format 11:55 PM 11:55 PM 11:55Notices PM 11:55 PM Search or Type URL… Conventional W… Read Conventional W… Back Most Visited The New York Times AARP Youtube Medicare.gov Recent Updates Bob Dylan’s Secret Archive www.nytimes.com Foods to Avoid Before Bed www.aarp.org How to Make Applesauce www.youtube.com Back Tabs More Less frequent settings tucked away Simple and quick acess to tabs 11:55Notices PM 11:55 PM 11:55Notices PM 11:55 PM The New York Times Read The New York Times Read Tabs Ta b Back Back The New York Times Forward Refresh History www.nytimes.com Share this page AARP - Bringing Real… Bookmark this page www.aarp.org Add to homescreen Medicare.gov www.medicare.gov Advanced Settings Back Tabs Close Back Close More Combines modern functionality with Complete removal of scientific functions. Operators changes color on tap. traditional layout. 11:55 PM 11:55 PM 11:55 PM 1,234 1,517.5 1,234 567 / 2 + 1,234 567 / 2 + 1,234 = 1517.5 567 / 2 + 1,234 ce + - % ans ce + - % ans ce + - % ans 7 8 9 / 7 8 9 / 7 8 9 / 4 5 6 x 4 5 6 x 4 5 6 x 1 2 3 - 1 2 3 - 1 2 3 - 0 . = + 0 . = + 0 . = + Operators changes color on tap. Maintain similar color scheme to the Braun ET 66 Calculator. -
The Beatles and the Crisis of Self-Identity
Sosland Journal 77 THE BEATLES AND THE CRISIS OF SELF-IDENTITY Jared Gutzmer “Ringo- a lovely performer. George- a mystical unre- alized talent. But John and Paul, Saints John and Paul, were, and made, and aureoled and beatifi ed and eternalized the concept that shall always be known, remembered and deeply loved as The Beatles” -Leonard Bernstein The Beatles are one of the most popular bands of all time. This is an undisputed fact no matter the location. They were so popular that in America, they had to stop touring due to the screaming fans which caused the band not to be able to hear themselves. Never before was there a group that was so incredibly popular in history. This popularity and other fac- tors led the members of the Beatles to change as individuals and as a group as they matured musically and mentally. Their identity shifted from a group identity to a self-identity. From the Beatles fi rst album, Please Please Me, to their last, Let It Be, the shift in their identity can be seen through their music and the appearances that led to individualism and eventually their downfall. 78 Sosland Journal The Music “It would not seem quite so likely that the accompany- ing fever known as Beatlemania will also be success- fully exported. On this side of the Atlantic it is dazed stuff.” -Jack Gould, New York Times television critic The Beatles music and lyrics changed drastically from their fi rst to last album due to adapting to a changing soci- ety, musical maturity, and their increased popularity. -
I AM the WALRUS the BEATLES – John Lennon & Paul Mccartney
”MAGICAL MYSTERY TOUR” - 1967 I AM THE WALRUS THE BEATLES – John Lennon & Paul McCartney C-DUR (4/4) F. ....(Förspel : Mellotron, Orgel . ).... B ,B–A,G-F ....(7 takter – 4/4-takt .... ).... E ,E7 ,D ,D7 1. I am he as you are he as A –A7 You are me and we are all together C-–D-E,A –A7 See how they run like pigs from a gun C See how they fly, I'm crying D ,A R1. Sitting on a cornflake A –A7 Waiting for the van to come D –Fmaj7-G,A-A7 Corporation T-shirt, stupid bloody Tuesday F Man you been a naughty boy you let your face grow long B ,B -- I am the eggman oh, they are the eggmen oh C ,D –D7 I am the walrus, Goo goo g'joob E 2. Mister city policeman sitting A –A7 Pretty little policemen in a row C--D-E,A –A7 See how they fly like Lucy in the Sky C See how they run, I'm crying, D ,A I'm crying . Dsus4 ,Dsus4 I'm crying, I'm crying . A ,E ,D-D7 R2. Yellow matter custard A –A7 Dripping from a dead dog's eye D –Fmaj7-G,A-A7 Crabalocker fishwife, pornographic priestess F Boy you been a naughty girl you let your knickers down B ,B -- I am the eggman oh, they are the eggmen oh C ,D –D7 I am the walrus, Goo goo g'joob E ,E . B –A ,G –F ,E M. Sitting in an English garden waiting for the sun B –A ,G –F If the sun don't come, you get a tan E –F ,B7 From standing in the English rain B7 I am the eggman oh, they are the eggmen oh C ,D –D7 I am the walrus, Goo goo g'joob, G'goo goo g'joob E ,D 3. -
As You Like It Song List Directed by Daryl Cloran Music Direction by Ben Elliott
As You Like It Song List Directed by Daryl Cloran Music Direction by Ben Elliott Pre-Show Yellow Submarine Written by John Lennon/Paul McCartney* Act I We Can Work It Out Written by John Lennon/Paul McCartney * She Loves You Written by John Lennon/Paul McCartney** I Want To Hold Your Hand Written by John Lennon/Paul McCartney *** Help Written by John Lennon/Paul McCartney* I Saw Her Standing There Written by John Lennon/Paul McCartney** While My Guitar Gently Weeps Written by George Harrison **** I Am The Walrus Written by John Lennon/Paul McCartney* The Fool On The Hill Written by John Lennon/Paul McCartney* Let It Be Written by John Lennon/Paul McCartney* Do You Want To Know A Secret Written by John Lennon/Paul McCartney* Eight Days A Week Written by John Lennon/Paul McCartney* Good Day Sunshine Written by John Lennon/Paul McCartney* And I Love Her Written by John Lennon/Paul McCartney* Act II When I’m 64 Written by John Lennon/Paul McCartney* You’ve Got To Hide Your Love Away Written by John Lennon/Paul McCartney* Love Me Do Written by John Lennon/Paul McCartney***** Something Written by George Harrison **** Can’t Buy Me Love Written by John Lennon/Paul McCartney* Here Comes the Sun Written by George Harrison **** Helter Skelter Written by John Lennon/Paul McCartney* Got To Get You Into My Life Written by John Lennon/Paul McCartney* Ob-La-Di Ob-La-Da Written by John Lennon/Paul McCartney* Across The Universe Written by John Lennon/Paul McCartney* All You Need Is Love Written by John Lennon/Paul McCartney* *Courtesy of Sony/ATV Tunes LLC (ASCAP) ** Courtesy of Round Hill Music, LP *** Courtesy of Universal Music Publishing Canada and Songs of Universal, Inc. -
John Lennon, “Revolution,” and the Politics of Musical Reception John Platoff Trinity College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Trinity College Trinity College Trinity College Digital Repository Faculty Scholarship Spring 2005 John Lennon, “Revolution,” and the Politics of Musical Reception John Platoff Trinity College, [email protected] Follow this and additional works at: http://digitalrepository.trincoll.edu/facpub Part of the Music Commons JOM.Platoff_pp241-267 6/2/05 9:20 AM Page 241 John Lennon, “Revolution,” and the Politics of Musical Reception JOHN PLATOFF A lmost everything about the 1968 Beatles song “Revolution” is complicated. The most controversial and overtly political song the Beatles had produced so far, it was created by John Lennon at a time of profound turmoil in his personal life, and in a year that was the turning point in the social and political upheavals of the 1960s. Lennon’s own ambivalence about his message, and conflicts about the song within the group, resulted in the release of two quite 241 different versions of the song. And public response to “Revolution” was highly politicized, which is not surprising considering its message and the timing of its release. In fact, an argument can be made that the re- ception of this song permanently changed the relationship between the band and much of its public. As we will see, the reception of “Revolution” reflected a tendency to focus on the words alone, without sufficient attention to their musical setting. Moreover, response to “Revolution” had much to do not just with the song itself but with public perceptions of the Beatles. -
Strategic Intertextuality in Three of John Lennon╎s Late Beatles Songs
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 11 July 2009 Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs Mark Spicer Hunter College and City University of New York., [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Spicer, Mark (2009) "Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 11. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/11 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. STRATEGIC INTERTEXTUALITY IN THREE OF JOHN LENNON’S LATE BEATLES SONGS* MARK SPICER his article will focus on an aspect of the Beatles’ compositional practice that I believe T merits further attention, one that helps to define their late style (that is, from the ground- breaking album Revolver [1966] onwards) and which has had a profound influence on all subsequent composers of popular music: namely, their method of drawing on the resources of pre-existing music (or lyrics, or both) when writing and recording new songs. -
KLOS BWTB Jan. 19Th 2014
1 PLAYLIST JANUARY 19TH 2014 BROADCAST LIVE FROM THE KOBE STEAKHOUSE SEAL BEACH, CA 1 2 9AM The Beatles - Magical Mystery Tour - Magical Mystery Tour (EP) (Lennon-McCartney) Lead vocals: Paul and John When Paul McCartney was in the U.S. in early April 1967 he came up with the idea for a Beatles television film about a mystery tour on a bus. During the April 11 flight back home he began writing lyrics for the title song and sketching out some ideas for the film. Upon his arrival in London, Paul pitched his idea to Brian Epstein who happily approved. Paul then met with John to go over the details and the two began work on the film’s title track. The title track was written primarily by Paul but was not finished when McCartney brought the song in to be recorded on April 25, 1967. John helped with 2 3 the missing pieces during the session. The Beatles - The Fool On The Hill - Magical Mystery Tour (EP) (Lennon-McCartney) Lead vocal: Paul Sitting alone at the piano, Paul McCartney recorded a mono two-track demo of “The Fool On the Hill” on September 6, 1967. A more proper recording would take place September 25. On the 25th three takes of the basic rhythm track were recorded, including harmonicas played by John and George. Paul first brought the song to John’s attention in mid-March while the two were working on the lyrics for “With A Little Help From My Friends.” John said to write down the lyrics so he wouldn’t forget them. -
Ingesting Text
Ingesting text This is from Section 15.3 of the Modern Data Science with R book. Using rvest Take a look at the Wikipedia List of songs recorded by the Beatles. In the book the second list of Other songs is used. I have used the Main Songs list. A great reference for regex (commands like gsub) is the r4ds book, see Chapter 14 about strings library(rvest) ## Loading required package: xml2 library(tidyr) library(methods) library(mdsr) ## Loading required package: dplyr ## ## Attaching package: 'dplyr' ## The following objects are masked from 'package:stats': ## ## filter, lag ## The following objects are masked from 'package:base': ## ## intersect, setdiff, setequal, union ## Loading required package: lattice ## Loading required package: ggformula ## Loading required package: ggplot2 ## Loading required package: ggstance ## ## Attaching package: 'ggstance' ## The following objects are masked from 'package:ggplot2': ## ## geom_errorbarh, GeomErrorbarh ## ## New to ggformula? Try the tutorials: ## learnr::run_tutorial("introduction", package = "ggformula") ## learnr::run_tutorial("refining", package = "ggformula") ## Loading required package: mosaicData ## Loading required package: Matrix ## ## Attaching package: 'Matrix' 1 ## The following object is masked from 'package:tidyr': ## ## expand ## ## The 'mosaic' package masks several functions from core packages in order to add ## additional features. The original behavior of these functions should not be affected by this. ## ## Note: If you use the Matrix package, be sure to load it BEFORE -
Hallo M.B.M., Hallo BEATLES-Fan! Die Originalen ANTHOLOGY-Cds
Angebot gilt meistens längere Zeit aber nicht auf Dauer. Die InfoMails archivieren wir auf Dauer auf unserer Internetseite. Dienstag, 7. Januar 2014 Hallo M.B.M., hallo BEATLES-Fan! Die originalen ANTHOLOGY-CDs November 1995: THE BEATLES: Stereo-Doppel-CD ANTHOLOGY 1. EMI Apple 7243 8 34445 2 6, Europa. 29,90 € Free As A Bird; We were four guys ... that’s all; That’ll Be The Day; In Spite Of All The Danger; Sometimes I’d borrow ... those still exist; Hallelujah I Love Her So; You’re Be Mine; Cayenne; First of all ... it didn’t do a thing here; My Bonnie; Ain’t She Sweet; Cry For A Shadow; Brian was A Beautiful Guy ... He Presented Us Well; I secured them ... a Beatle drink even then; Searchin’; Three Cool Cats; Sheik Of Araby; Like Dreamers Do; Hello Little Girl; Well the recording test ... by my Artists; Besame Mucho; Love Me Do; How Do You Do It?; Please Please Me; The One After 909; The One After 909; Lend Me Your Comb; I’ll Get You; We were performers ... in Britain; I Saw Her Standing There; From Me To You; Money (That’s What I Want); You Really Got A Hold On Me; Roll Over Beethoven; She Loves You; Till There Was You; For our last number ..; Twist And Shout; This Boy; I Want To Hold Your Hand; Boys what I was thinking ...; Moonlight Bay; Can’t Buy Me Love; All My Loving; You Can’t Do That; And I Love Her; A Hard Day’s Night; I Wanna Be Your Man; Long Tall Sally; Boys; Shout; theme music; I’ll Be Back; I’ll Be Back; You Know What To Do; No Reply; Mister Moonlight; Leave My Kitten Alone; No Reply; Eight Days A Week; Eight Days A Week; Kansas City - Hey Hey Hey Hey.