BWTB Playlist- Oct. 9Th, 2016- Lennon
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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. -
Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
John Lennon – Człowiek I Artysta Niespełniony?
Tom 12/2020, ss. 43-72 ISSN 0860-5637 e-ISSN 2657-7704 DOI: 10.19251/rtnp/2020.12(3) www.rtnp.mazowiecka.edu.pl Andrzej Dorobek Mazowiecka Uczelnia Publiczna w Płocku ORCID: 0000-0002-5102-5182 JOHN LENNON – CZŁOWIEK I ARTYSTA NIESPEŁNIONY? JOHN LENNON: A MAN AND ARTIST UNFULFIILLED? Streszczenie: Niniejszy esej jest próbą syntetycznego, poniekąd psychoanalitycznego, ujęcia biografii Johna Lennona, zarówno jako ewidentnie zagubionego geniu- sza muzyki popularnej, jak i ofiary chłopięcego kompleksu zaniedbania przez uwielbianą matkę – później wysublimowanego w kompleks kobiecej dominacji i przeniesionego na Yoko Ono, jego drugą żonę i awangardową „muzę.” W re- zultacie ich związek, w znacznym stopniu wyidealizowany przez media, został ukazany w kontekście relacji Lennona z innymi kobietami (na przykład z ciotką Mimi), sprzecznych cech jego osobowości oraz ewolucji światopoglądowej i ar- tystycznej, która doprowadziła najpierw do dramatycznego rozdarcia między popowym supergwiazdorstwem a awangardowym artystostwem, ostatecznie zaś – do faktycznej niemocy twórczej w ciągu ostatnich pięciu lat życia. Per- John Lennon – człowiek i artysta niespełniony? spektywę komparatystyczną dla tych rozważań wyznaczać będą biografie Elvisa Presleya i Micka Jaggera. Słowa kluczowe: kompleks, trauma, dominacja, „krzyk pierwotny”, gwiaz- dorstwo, artyzm, niespełnienie Summary: In this essay, the author attempts at a synthetic insight into the biography of John Lennon, both as a confused genius of popular music and a victim of the childhood complex of motherly neglect: later transformed into the one of female domination and transferred onto Yoko Ono, his second wife and avant-garde “muse.” Consequently, their marriage, largely idealized by media, is shown here in the context of Lennon’s relations with other women (mainly his mother and aunt Mimi), his contradictory psychological traits and artistic/ ideological evolution that resulted in being torn between pop superstardom, avant-garde artistry and, in last five years, virtual creative impotence. -
BWTB Revolver @ 50 2016
1 PLAYLIST AUG. 7th 2016 Part 1 of our Revolver @ 50 Special~ We will dedicate to early versions of songs…plus the single that preceded the release of REVOLVER…Lets start with the first song recorded for the album it was called Mark 1 in April of 1966…good morning hipsters 2 9AM The Beatles - Tomorrow Never Knows – Revolver TK1 (Lennon-McCartney) Lead vocal: John The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. A bit of….The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul 3 The Beatles - Here, There And Everywhere / TK’s 7 & 13 - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966. -
A Study of the Representation of Marriage and the Family in the Film Muriel's Wedding
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2003 A study of the representation of marriage and the family in the film Muriel's wedding Zoe Chambers Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Family, Life Course, and Society Commons Recommended Citation Chambers, Z. (2003). A study of the representation of marriage and the family in the film Muriel's wedding. https://ro.ecu.edu.au/theses/1298 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1298 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
『Powers of Two 二人で一人の天才』注釈(Pdf)
『POWERS OF TWO 二人で一人の天才』 注釈 序曲 ・ピクサーのスタジオ Keith Sawyer, “Group Genius at Pixar,” Creativity & Innovation (blog),September 12, 2008, ・世界に存在する誰か http://keithsawyer.wordpress.com/2008/09/12/group-genius-at-pixar/. キース・ソーヤー『凡才の集 Martin Buber,“To Hallow This Life: An Anthology” (New York: Harper, 1958) 団は孤高の天才に勝る―「グループ・ジーニアス」が生み出すものすごいアイデア』(金子宣子訳,ダイ ヤモンド社,2009年)も参照. ・演 劇が 生まれる トニー・クシュナー『エンジェルス・イン・アメリカ』第 2 部「ペレストロイカ」(New York: Theatre ・手頃な物語 Communications Group, 1993).クシュナー自身が力強い言葉で生き生きと伝え,人生と仕事で実践してい ここで言う「物語」は,第一に孤高の英雄が奮起するストーリーを指す.英雄の物語は基本的に,始まりと終 るが ,本 人によるとマルクスの 考えだという.正 確な引 用は「 マルクスの 言うとおりだ.それ以 上は分 割できな わりは主人公が 1 人だけになる.ジョセフ・キャンベルが提唱したこのルールは,脚本家のバイブルとされるク い人間の最小単位は 2 人.1人ではない」. リストファー・ボグラー『神話の法則―ライターズ・ジャーニー 夢を語る技術』(岡田勲ほか訳,ストーリ アーツ&サイエンス研究所,2002 年)でも説明されている.三文小説や文学的な回想録,CM,テレビゲー ・1967 年 3 月 29 日 ムなどあらゆる物語に通じる神聖なルールだ.「物語」の 2 つめの意味は,複雑な現象を理解しやすくする単 ハンター・デイヴィス『ビートルズ』(小笠原豊樹,中田耕治訳,河出書房新社,2010 年)は「3 月半ば」 位としてだ.これについてジョーン・ディディオンは,「私たちは生きるために,自分に物語を語る」と述べてい に行われたセッションとしているが,前後の文脈から,マーク・ルイソン『ザ・ビートルズ レコーディング・セッ る(Joan Didion,“We Tell Ourselves Stories in Order to Live: Collected Nonfiction”[New York: ションズ完全版』(内田久美子訳,シンコーミュージック,2009 年)に 3 月 29 日とある「ウィズ・ア・リトル・ Random House, 2006]).筋書きがなければ私たちの心をすり抜けていたかもしれない環境を物語の舞台に ヘルプ・フロム・マイ・フレンズ」 の最初のセッションと同じ夜と考えられる.デイヴィスに確認したところ,「い 選び,解釈して,筋書きを押しつけるところから現実が生まれる. つものように私よりマーク・L を信頼してほしい」と 2014 年 1 月 31 日に返信があった.この章のほかの詳細 はデイヴィス『ビートルズ』より. ・ウッズ に つ いてから 5 年 間 Connell Barrett,“Tiger's Caddie Steve Williams Tells All,” Golf Magazine, February 22, 2009. ・詩の順番を入れ替え http://www.golf.com/tour-and-news/tigers-caddie-steve-williams-tells-all -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
SOME TIME in NEW YORK CITY JOHN LENNON 'S TOWN Hinckley, David
Document 1 of 1 SOME TIME IN NEW YORK CITY JOHN LENNON 'S TOWN Hinckley, David. New York Daily News [New York, N.Y] 09 Mar 2005: 30. Abstract Nonetheless, all four, particularly [JOHN LENNON] and [Paul McCartney], took a liking to the town. Being that one of their major quests during their first years was to convince the world their music and messages could inspire more than teenage shrieking, New York was a good place to find validation. Both McCartney and Lennon enjoyed more than somewhat the attention of sophisticated and avant-garde artists. His next musical direction was somewhere else altogether. By 1971 he and [Yoko Ono] were keeping company with radical activists like Jerry Rubin and Abbie Hoffman, who were, of course, delighted to have Lennon's aura behind them. On Dec. 17 of that year, the Lennons made a rare live appearance, at an Apollo Theatre benefit for the wives of people killed in the Attica prison uprising. IN MARCH, around the time the FBI was telling Richard Nixon that Lennon might be part of a plot to disrupt the 1972 Republican convention, Lennon was handed a deportation order, citing a 1968 conviction for marijuana possession. Full Text CONSIDERING THAT both his first and final moments in the city drew saturation worldwide media coverage, it is mildly ironic that the reason John Lennon really loved New York was that he could walk around without anyone paying him any mind. Lennon arrived here at the well-documented moment of 1:20 p.m. on Feb. 7, 1964, aboard Pan American Flight 101. -
Infomail Nr. 730: JOHN LENNON Lps Und Cds: ORIGINAL MASTER RECORDING
InfoMail Nr. 730: JOHN LENNON LPs und CDs: ORIGINAL MASTER RECORDING Donnerstag, 29. November 2007 (Datum dieser InfoMail) Hallo M.B.M., hallo BEATLES Fan, heute informieren wir Dich ueber JOHN LENNON-Alben, die als ORIGINAL MASTER RECORDING-LPs und CDs erschienen sind: ORIGINAL MASTER RECORDING LP LIVE PEACE IN TORONTO. MFSL 1-283 Stereo, EMI. 37,90 Euro ORIGINAL MASTER RECORDING CD LIVE PEACE IN TORONTO. UDCD 763 Stereo, EMI. 34,90 Euro 13. SEPTEMBER 1969: VARSITY STADIUM, TORONTO, CANADA: THE PLASTIC ONO BAND: Blue Suede Shoes (live); Money (That's What I Want) (live); Dizzy Miss Lizzie (live); Yer Blues (live); Cold Turkey (live); Give Peace A Chance (live). / Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow) (live); John John (Let's Hope For Peace) (live). ORIGINAL MASTER RECORDING LP JOHN LENNON – PLASTIC ONO BAND. MFSL 1-280 Stereo, EMI. 37,90 Euro ORIGINAL MASTER RECORDING CD JOHN LENNON – PLASTIC ONO BAND. UDCD 760 Stereo, EMI. 34,90 Euro Mother; Hold On (John); I Foud Out; Working Class Hero; Isolation (2:48). / Remember (4:29); Love (3:17); Well Well Well (5:52); Look At Me (2:49); God (4:04); My Mummy's Dead (0:48); Power To The People; Do The Oz. ORIGINAL MASTER RECORDING LP IMAGINE. MFSL 1-277 Stereo, EMI. 37,90 Euro ORIGINAL MASTER RECORDING CD IMAGINE. UDCD 759 Stereo, EMI. 34,90 Euro Imagine; Crippled Inside; Jealous Guy; It’s So Hard; I Don’t Want To Be A Soldier. / Give Me Some Truth; Oh My Love; How Do You Sleep?; How ?; Oh Yoko. -
Inhaltsverzeichnis
INHALTSVERZEICHNIS John Winston Lennon 7 Rock 'n' Roll in G.D.R. 11 Rock Island Line 12 Hello Little Girl 16 My Bonnie 21 Please, Mr. Postman 29 Love Me Do 36 Please Please Me 42 She Loves You 46 Twist And Shout 53 John F. Kennedy 57 With The Beatles 62 I Want To Hold Your Hand 63 Meet The Beatles 68 Fever 73 Can't Buy Me Love 75 A Hard Day's Night 85 Hollywood Bowl Concert 87 Beatles For Säle 95 Money 100 Help • 106 Back In The U.S.A. 112 HerMajesty 117 Rubber Soul 120 Yeah, Yeah, Yeah in DDR 124 Paperback Writer 126 Run For Your Life 133 Revolver 136 I'm Only Sleeping 139 How I Won The War 142 Bad Boy 145 Strawberry Fields Forever 150 A Whiter Shade Of Pale 153 Sgt. Pepper's Lonely Hearts Club Band 158 All You Need Is Love 164 The Show Must Go On 168 Magical Mystery Tour 172 The Inner Light 177 Martin Luther King 183 Two Virgins 186 Revolution 189 Unfinished 194 Atlantis 201 The Beatles 203 Bibliografische Informationen digitalisiert durch http://d-nb.info/990791262 Rock And Roll Circus 203 LetltBe 211 The Ballad Of John And Yoko 214 Give Peace A Chance 220 Woodstock 223 Live Peace In Toronto 228 AbbeyRoad 231 ColdTurkey 235 War Is Over 239 Instant Karma 243 The Long And Winding Road 247 All Things Must Pass 251 John Lennon - Plastic Ono Band 256 Power To The Peopte 259 Concert For Bangla Desh 265 Imagine 271 John Sinclair 276 LuckOfThelrish 281 Angela 287 Sometime In New York City 289 Live In New York City 293 Living In The Material World 297 Mind Games 303 Walls And Bridges 310 Rock'n'Roll 318 Venus And Mars 322 Victory 328 Shaved Fish 333 The Last Waltz 308 Mull Of Kintyre 338 Back To The Egg 341 Coming Up 351 Double Fantasy 354 Literaturverzeichnis 358 Register Alben, LPs.