I Want to Hold Your Hand Sam Heaps
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The Beatles on Sullivan by Tim Riley
On February 9, 1964, alongside the Broadway cast of Oliver!, comedian Frank Gorshin, and Olympian Terry THE McDermott, the Beatles played five numbers, start- ing with “All My Loving,” “Till There Was You,” and their first U.S. number one, “I Want to Hold Your Hand.” For BEATLES viewers, time froze: it had been seven years since Elvis Presley had graced this same stage, but it must have felt like forever for fans of rock and roll. With “She Loves You” ON and “I Saw Her Standing There” especially, rock and roll cracked open again— the music sounded bigger, more provocative, and more pressing than ever. In their Sullivan debut, the Beatles reframed all of rock and roll history up to SULLIVAN that point, and hinted at a thousand enticing new directions. The overpowering immediacy of the Beatles’ impact by Tim Riley was a key part of their appeal, and largely ironic. What seemed fresh and spontaneous to Americans was actually a polished act of songs and quips refined throughout 1963. By early 1964, Beatlemania had seduced Britain and Stories of Britain’s peculiar Beatlemania phenomenon had Europe, but American success was still elusive. Capitol trickled in via Jack Paar and Walter C ronkite— the Beatles Records had rejected “Please Please Me,” “From Me were news fluff (“ mop- tops” with “screaming girls”) even to You,” and “She Loves You,” and was about to snub “I before their songs began playing on Top 40 radio over Want to Hold Your Hand,” when manager Brian Epstein Christmas and the New Year. intervened. -
My Song Analysis: I Want to Hold Your Hand
My Song Analysis: I Want to Hold Your Hand Artist: By: M. Mejia Music Appreciation Tempo of the Song • The TEMPO is FAST In music Fast tempo is called ALLEGRO Meter of the Song • The METER is 4 beats In music, a 4-beat pattern means that the song has a 4/4 time signature MOOD of the Song The MOOD of this song is rather HAPPY. The artist is communicating this by choosing a bright melody and fast tempo. The lyrics also support this feeling. • A happy mood usually means that the song is in a MAJOR KEY or scale (in fact the song is written in E major) Instrumentation of the Song and Texture • The instrumentation I heard is: 2 guitars, 1 drumset (percussion), 1 bass line, and the voices. The song also had clapping. • The texture is HOMOPHONIC because there is only one main melody or tune that is being accompanied by all other instruments and voices. The FORM of the song • The parts I discovered were: Introduction, A-B-A’-B-C-A’’-B- A’’ ending where: A is the main verse (A’= vs2, A’’ = vs3) B is the Refrain or chorus C is the bridge Form analysis I WANT TO HOLD YOUR HAND - Verse 3 = Part A’’ The BEATLES Yeah you, got that something I think you'll understand Verse 1 = Part A When I say that something Oh yeah, I'll tell you something I wanna hold your hand I think you'll understand When I say that something Refrain= Part B I wanna hold your hand I wanna hold your hand I wanna hold your hand Refrain = Part B I wanna hold your hand (2x) Bridge = Part C And when I touch you I feel happy, inside Verse 2 = Part A’ It's such a feeling Oh, please, say -
Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
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. -
Music History Grades 4 and 5
Music History Grades 4 and 5 The Beatles was a very popular group of musicians from England. The band was together for 10 years (1960-70), but in those 10 years, they became extremely popular. Their music had a lasting impact on the music of the 60s, 70s and 80s and still does today. Here is their history: - The band formed in Liverpool, England in 1960 - Members: - John Lennon (1940-1980) Electric guitar, vocals, main composer. - Paul McCartney (1942- ) Electric Bass, vocals, main composer. - George Harrison (1943-2001) Electric guitar, vocals, composer. - Ringo Starr (1940- ) Drum set, vocals, composer. - Liverpool was a port city. Many people from across the world came there on boats and brought records with them. Because of them, the members of the Beatles listened to many records from around the world and started composing music that was influenced by what they heard. - They were VERY creative - especially John Lennon and Paul McCartney. - Also called the “Fab Four” - Beatlemania was the term used to describe how absolutely crazy fans became when they saw The Beatles. Sometimes at concerts, the Beatles couldn’t even hear themselves play because the fans were screaming so loudly! Sometimes fans went so wild that they would even faint! - Best selling band in history: They sold over 800 million albums all over the world. - They also hold the record for the most number one hits ever in England and in the United States. - Abbey Road Studio is a famous recording studio in London where the Beatles recorded most of their albums. This equally famous picture comes from near Abbey Road Studio: - British Invasion: In the 60s and 70s, Rock and Roll became very popular. -
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. -
Hire SFCM Musicians Brass Quintet Song List
Hire SFCM Musicians Brass Quintet Song List Ceremonial Pieces Popular Classics Air (Water Music) HANDEL A Western Fanfare EWAZEN Alleluia, Alleluia BYRD Album for the Young TCHAIKOVSKY Almand & Gaillard BRADE Basse-Dance (Capriol Suite) WARLOCK Antiphonal SWEELINCK Carmen Duet BIZET Ave Maria RACHMANINOV Champagne Polka J. STRAUSS Ave Verum MOZART Dance of the Buffoons R.-KORSAKOV Bridal Chorus (Lohengrin) WAGNER Gnosienne for Brass Quintet SATIE Canzona per Sonare No.2, N0.4 GABRIELI Golliwogg’s Cake Walk DEBUSSY Canzona I, II, III SCHEIDT Gymnopedie No. 1 SATIE Canzona Prima 5 GABRIELI Humoresque Op. 10, #2 TCHAIKOVSKY Contrapunctus I, II, V, IX BACH Il Vecchio Castello MUSSORGSKY Die Bankelsangerlieder ANONYMOUS Jupiter (The Planets) HOLST Elsa’s Processional (Lohengrin) WAGNER Pavane FAURÉ English Folk Song Melody SNELL Pizzicato Polka J. STRAUSS Fanfare (La Peri) DUKAS Promenade (Pictures) MUSSORGSKY Galliarda SCHEIDT Quintet No. 1, Op.5 EWALD Galliarda Battaglia SCHEIDT Radetzky March J. STRAUSS Gaudeamus Igitur COLLEGIUM Russian Sailor’s Dance GLIERE Girl with the Flaxen Hair DEBUSSY Sheep May Safely Graze J. S. BACH Gloria (Nelson Mass) HAYDN Sonata for Two Trumpets PURCELL God Save the Queen TRADITIONAL Spring (Four Seasons) VIVALDI Grand March (Aida) VERDI Toreador (Carmen) BIZET Hallelujah, Amen HANDEL Hosanna to the Son of David GIBBONS Jerusalem PARRY O Canada LAVALLÉE Prince of Denmark’s March CLARKE Rondeau MOURET Suite (Water Music) HANDEL The Earle of Oxford’s Marche BYRD The Lord Bless and Keep You LUTKIN Triumphal March -
The Beatles; Paul Mccartney Is Favorite Band Member January 15-19, 2014
CBS NEWS POLL For release: Sunday, February 2, 2014 9:00 am ET Three in Four Americans Like The Beatles; Paul McCartney is Favorite Band Member January 15-19, 2014 Fifty years after the Beatles landed on U.S. soil and appeared on the Ed Sullivan Show, Beatlemania appears to be alive and well in America. 75% of Americans say they like the Beatles (at least a little), including almost four in 10 who like them a lot. Only 15% of Americans say they dislike the Beatles. Those ages 55 to 64 are especially fond of the Beatles -- they are liked by nine in 10 Americans in this age group (including 56% who like them a lot). People in this age group would have been children or young teens when the Beatles came to America in 1964. Still, the band from Liverpool is liked by adults of all ages. Views of The Beatles Total 18-34 35-44 45-54 55-64 65+ Like 75% 70% 75% 82% 90% 66% Like a lot 39% 29% 35% 48% 56% 36% Like a little 36 41 40 34 34 30 Dislike 15 17 15 12 7 19 Dislike a lot 7 8 6 7 5 8 Dislike a little 8 9 9 5 2 11 Paul McCartney ranks as Americans’ favorite Beatle. 35% pick McCartney, followed by John Lennon (29%), Ringo Starr (11%), and then George Harrison (8%). There is a gender gap: Men pick John as their favorite band member, while women choose Paul. Also, younger Americans (those under age 35) say John is their favorite Beatle, while those who are older pick Paul. -
'Octopus's Garden'
ACCESS ALL AREAS... octopus’s garden APPEARS IN ROCK & POP 2018 Released: 1969 Album: Abbey Road Label: Inertia, Monkey Puzzle, RCA Records ABOUT THE SONG ‘Octopus’s Garden’ is one of two Beatles songs written by drummer Ringo Starr, and featured on I’D ASK MY FRIENDS TO COME AND SEE The Beatles’ 11th album, Abbey Road. Starr had the idea for the song while on holiday with his family in AN OCTOPUS’S GARDEN WITH ME Sardinia in 1968. After lunch on a boat, the captain told him a story about how octopuses pick up stones I’D LIKE TO BE UNDER THE SEA and objects from the sea bed to build gardens with. He wrote the song in Sardinia, and George Harrison “IN AN OCTOPUS’S GARDEN later helped with developing the chord changes. Starr said it was also inspired by his desire to hide from growing tension in the band: ‘at the time I just wanted to be under the sea, too.’ IN THE SHADE RECORDING AND PRODUCTION Recorded at EMI Studios (now known as Abbey Road Studios) in ‘OCTOPUS’S GARDEN’ IS RINGO’S April 1969, the backing track of ‘Octopus’s Garden’ took 32 takes before The Beatles were happy with it and Starr was able to record SONG. IT’S ONLY THE SECOND his final vocals. Produced by the band in the absence ofAbbey Road SONG RINGO HAS EVER WRITTEN producer George Martin, the backing vocals of band members Paul MIND YOU, AND IT’S LOVELY...’ McCartney and George Harrison were put through compressors and ” limiters to create a gurgling sound, and the sound of bubbles being GEORGE HARRISON blown with a straw in a closely-miked glass was added. -
The Beatles Story Learning Resource Pack
THE BEATLES STORY LEARNING RESOURCE PACK A Comprehensive Guide for Key Stage 1 and 2 www.beatlesstory.com Britannia Vaults, Albert Dock, Liverpool L3 4AD Tel: +44 (0)151 709 1963 Fax: +44 (0)151 708 0039 E-mail: [email protected] CONTENTS 1 Introduction 2 Booking your visit 3 Learning Aims, Objectives and Outcomes 4 History at Key Stage 2 6 Art at Key Stage 2 7 Discovery Zone Curriculum Links at KS2 11 Political, Economic and Social Influences 1940 – 1950 13 Political, Economic and Social Influences 1950 – 1960 15 Influences on Popular Music of the 1960’s 17 Beatles Time Line 18 John Lennon Fact Sheet 19 Paul McCartney Fact Sheet 20 George Harrison Fact Sheet 21 Ringo Starr Fact Sheet 22 Suggested Classroom Activities - Ideas for History 23 Suggested Classroom Activities - Ideas for Music 24 Suggested Classroom Activities - Ideas for Literacy 25 Suggested Classroom Activities - Ideas for Art 26 Worksheets A-D 37 Geography: River Walk Map KS1 and KS2 40 Pre-Visit Quiz 41 Post-Visit Quiz 42 The Beatles’ Discography 1962 - 1970 tel:0151 709 1963 www.beatlesstory.com INTRODUCTION Located within Liverpool’s historic Albert Dock, We have linked the story of the Beatles, their the Beatles Story is a unique visitor attraction early lives, their fame and combined creativity that transports you on an enlightening and to selected areas of the National Curriculum: atmospheric journey into the life, times, culture history, literacy, art and music to actively and music of the Beatles. encourage and involve children in their own learning. Since opening in 1990, the Beatles Story has continued to develop our learning resources to Whether your school follows established create a fun and educational experience for all. -
Beatles 2015
BEATLES UKULELE JAM PACKET FOR Cynthia Lin and Ukulenny’s fabulous ukulele jam January 31, 2015 Pa’iNa Restaurant & Lounge, San Francisco, CA Compiled by Mary L. Cryns (with a little help from my friends and the Beatles!) From Me To You .................................................. 1 Sgt. Pepper Lonely Heart Club Band Reprise .... 32 Love Me Do ........................................................... 2 A Day in the Life .................................................. 33 I Want to Hold Your Hand .................................. 3 No Reply ............................................................. 26 She Loves You ...................................................... 4 Don’t Let Me Down ............................................. 27 All My Loving ......................................................... 5 Wait ..................................................................... 28 I Saw Her Standing There .................................. 6 If I Needed Someone (G. Harrison) .................... 29 PS I Love You ....................................................... 7 Being for the Benefit of Mr. Kite .......................... 34 I Don’t Want to Spoil the Party .............................. 8 When I’m 64 ........................................................ 35 Good Day Sunshine .............................................. 9 With a Little Help From My Friends ..................... 36 Eight Days A Week ............................................. 10 I Am the Walrus ................................................. -
THE BEATLES IMAGE: MASS MARKETING 1960S BRITISH and AMERICAN MUSIC and CULTURE, OR BEING a SHORT THESIS on the DUBIOUS PACKAGE of the BEATLES
THE BEATLES IMAGE: MASS MARKETING 1960s BRITISH AND AMERICAN MUSIC AND CULTURE, OR BEING A SHORT THESIS ON THE DUBIOUS PACKAGE OF THE BEATLES by Richard D Driver, Bachelor of Arts A Thesis In HISTORY Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Aliza S Wong Randy McBee John Borrelli Dean of the Graduate School May, 2007 Copyright 2007, Richard Driver Texas Tech University, Richard D Driver, May 2007 ACKNOWLEDGMENTS This work could not have been possible without the encouragement and guidance of a number of individuals, as well as countless persons who pulled books, worked through interlibrary loans, and simply listened to me talk about it. Without the guidance, tolerance, insight, time, and encouragement of my committee, Aliza S Wong and Randy McBee, this thesis would have remained nothing more than a passing thought. Aliza, more than any other professor has been there for me since this project truly began over two years ago. It was her initial push for me to write about something I loved that drove me to attend Graduate school and then build upon what I had done previously with The Beatles “image.” Dr. McBee provided excellent guidance into understanding many of the post-war American facets of this work, not simply those related to The Beatles or music in general. Additional thanks are reserved for Dr. Julie Willett for her class on sexuality and gender where new methods and modes of historical thought were founded in this work. Finally, this thesis would have been impossible had I not been accepted into and granted a teaching position in the History Department at Texas Tech University, and it is to the entire department that I owe my greatest thanks.