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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. -
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. -
Level ≥ Advanced Style ≥ Individual Or Group Activities Before Reading
News based English language activities from the global newspaper Page June 2008 Level ≥ Advanced Style ≥ Individual or group activities Welcome to the Guardian Weekly’s special news-based materials to support learners and teachers of English. Each month, the Guardian Weekly newspaper selects topical news articles that can be used to practise English language skills. The materials are graded for two levels: Advanced and Lower Intermediate. These worksheets can be downloaded free from guardianweekly.co.uk/learningenglish/. You can also find more advice for teachers and learners on the site Materials prepared by Janet Hardy-Gould Fan who gatecrashed Lennon Bed-In sells lyrical gift Before reading 1 Look at the photo. Then find words in the headline and caption to complete the paragraph below. In (a) John Lennon and (b) staged a protest by staying in (c) for a week in hotel in the Canadian city of (d) . This famous event was called a (e) . At this time, Lennon gave a gift to a young Gail Renard, left, in bed with John Lennon and Yoko Ono in Montreal, 1969 (f) called a lyrics b memento (g) . c memorabilia d recording 2 Work in small groups. Discuss the questions e review below. Make notes and report your ideas back to the class. 1 a report in a magazine which gives opinions about a a What do you know about the life of John Lennon? film/concert etc b Have you heard of the event in the photo? If yes, 2 the process of making a record/CD etc what do you know about it? 3 the words to a song c What gift do you think Lennon gave to the girl in the 4 things people collect because they once belonged to photo? a famous person 5 a thing you give to someone to remind them of a per- 3 Nouns from the article. -
Social Consciousness, Metaphysical Contents and Aesthetics in Select Anglophone African Factions
SOCIAL CONSCIOUSNESS, METAPHYSICAL CONTENTS AND AESTHETICS IN SELECT ANGLOPHONE AFRICAN FACTIONS By Abidemi Olufemi ADEBAYO (Matric No.104957) A Thesis in the Department of English, Submitted to the Faculty of Arts in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN SEPTEMBER, 2014 CERTIFICATION I certify that this research was carried out by Abidemi Olufemi ADEBAYO in the Department of English, University of Ibadan, under my supervision. Professor Nelson O. Fashina Date Department of English University of Ibadan ii DEDICATION To all men of goodwill in Africa. iii ACKNOWLEDGEMENTS I acknowledge God for the gift of life. I thank my supervisor, Professor Nelson Fashina, for the sound tutelage I received from him all through the different stages of my academic career in the Department of English, University of Ibadan. He sowed the seed of thorough academic scholarship in me in my undergraduate days, nurtured it during my Master‘s degree programme and fortified same in the supervision of this research. I thank the professor profoundly. The impact of his mentoring on me is indelible. I also thank all the lecturers in the Department for constant encouragement and advice. Specific mention is made of Professor Lekan Oyeleye, Professor Remi Raji-Oyelade, Professor Tunde Omobowale, Professor Ayo Kehinde, Professor Obododinma Oha, Dr. Remy Oriaku, Dr. M. T. Lamidi, Dr. Toyin Jegede, Dr. Nike Akinjobi, Dr. Ayo Osisanwo, Dr. Ayo Ogunsiji and Dr. Adesina Sunday. I benefited from their wealth of knowledge. They guided me in the course of writing my thesis. It is important to me to appreciate the suggestion that Yinka Akintola made on how to procure books for the research. -
Breakfast)W/)The)Beatles) .)PLAYLIST).) Sunday'dec.'9Th'2012' Remembering John
Breakfast)w/)the)Beatles) .)PLAYLIST).) Sunday'Dec.'9th'2012' Remembering John 1 Remembering'John' John Lennon – (Just Like) Starting Over – Double Fantasy NBC NEWS BULLETIN 2 The Beatles – A Day In The Life - Sgt. Peppers Lonely Hearts Club Band Recorded Jan & Feb 1967 Quite possibly the finest Lennon/McCartney collaboration of their song-writing career. Vin Scelsa WNEW FM New York Dec.8th 1980 Paul McCartney – Here Today - Tug of War ‘82 This was Paul’s elegy for John – it was a highlight of the album, and as was the entire album, produced by George Martin. This continues to be part of Paul’s repertoire for his live shows. George Harrison – All Those Years Ago This particular track is a puzzle still somewhat unsolved. Originally written for Ringo with different lyrics, (which Ringo didn’t think was right for him), the lyrics were rewritten after John Lennon’s murder. Although Ringo did provide drums, there is a dispute as to whether Paul, Linda and Denny did backing vocals at Friar Park, or in their own studio – hence phoning it in. But Paul insists that he had asked George to play on his own track, Wanderlust, for the Tug Of War album. Having arrived at George’s Friar Park estate, they instead focused on backing vocals for All Those Years Ago. It became George’s biggest hit in 8 years, just missing the top spot on the charts. 3 2.12 BREAK/OPEN Start with songs John liked…. The Beatles – In My Life - Rubber Soul Recorded Oct.18th 1965 Of all the Lennon/McCartney collaborations only 2 songs have really been disputed by John & Paul themselves one being “Eleanor Rigby” and the other is “In My Life”. -
Innovators: Songwriters
NBER WORKING PAPER SERIES INNOVATORS: SONGWRITERS David Galenson Working Paper 15511 http://www.nber.org/papers/w15511 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 November 2009 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2009 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Songwriters David Galenson NBER Working Paper No. 15511 November 2009 JEL No. N00 ABSTRACT Irving Berlin and Cole Porter were two of the great experimental songwriters of the Golden Era. They aimed to create songs that were clear and universal. Their ability to do this improved throughout much of their careers, as their skill in using language to create simple and poignant images improved with experience, and their greatest achievements came in their 40s and 50s. During the 1960s, Bob Dylan and the team of John Lennon and Paul McCartney created a conceptual revolution in popular music. Their goal was to express their own ideas and emotions in novel ways. Their creativity declined with age, as increasing experience produced habits of thought that destroyed their ability to formulate radical new departures from existing practices, so their most innovative contributions appeared early in their careers. -
At the Addison, Yoko Ono Invites You to Look and Please Touch February 4, 2021 Murray Whyte
At the Addison, Yoko Ono invites you to look and please touch February 4, 2021 Murray Whyte Gallery-goer Sarah Arcotta worked with the broken bits of "Mend Piece."JONATHAN WIGGS/GLOBE STAFF NORTH ANDOVER — It takes no great insight to grasp the intentions of Yoko Ono’s “Mend Piece,” by now a chestnut of conceptual participatory performance (which sounds complicated, but it’s not). That it was first made in the 1960s, the last time the country fell apart so completely, has special resonance here and now, given the mess we’re in. “Mend Piece” is, literally and metaphorically, exactly what it says it is: Things break; what can we do but put them back together? Inevitably, they won’t be as they were. That’s not all bad, but it takes some work. And it’s the work itself, not the results, that matters. Those acquainted with Ono mostly as a Beatle-breaker — the villain of the piece, pulling John away from Paul, George, and Ringo — might need some introduction: Before she and Lennon were camping out in a Montreal hotel-room bed for days on end or proselytizing the virtues of bagism (literally, placing one’s self in a bag to be free of prejudice), Ono aligned herself with the Fluxus group of conceptual artists who, in the 1960s and ’70s, were busy transforming art from a thing you made into a thing you did. (If you want to blame anyone for performance art, it’s them.) Fluxus, a loose, trans-global affiliation of artists, poets, and musicians — the Minimal music of John Cage was a powerful influence — was intentionally slippery and under-defined. -
The Last Days of John Lennon
Copyright © 2020 by James Patterson Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/littlebrown facebook.com/littlebrownandcompany First ebook edition: December 2020 Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-42907-8 Library of Congress Control Number: 2020945289 E3-111020-DA-ORI Table of Contents Cover Title Page Copyright Dedication Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 — Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 — Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 -
John and Yoko Suite Hilton Amsterdam
John & Yoko Suite On March 24 1969, just before midnight, a white Rolls Royce pulled up in front of the Hilton Amsterdam, John Lennon and Yoko Ono stepped out. A crowd of admirers welcomed them at the entrance with white tulips. They booked suite 702 and lounge 704 and, shortly afterwards, all the furniture, except the bed, was removed. That was the start of the world famous “Bed-in” for peace, live in front of the worlds press they spent a week in bed protesting against the Vietnam War. Today the John & Yoko Suite is one of the most famous bridal suite in the world. Since 24th March 1990 the suite is known as the John & Yoko Suite. It has been recreated as it was with the bed on the same spot, but with a few concessions to the more luxurious environment expected by today’s guests. The style of the decoration was approved and advised by Yoko Ono herself and the bagism concept plays an important role. Bagism is communication by bag (you cannot see what is inside the bag, therefore you do not have prejudice). The room is simply decorated and all materials are natural. Wood, stone and glass are the main materials used and all these material are symbolic of purity. The ceiling is an enlargement of the cover of the Album ‘the Plastic Ono Band/Live Peace in Toronto 1969’ and displays the first five bars of ‘All you need is love’. The Bag One motif surrounds the whole room. As of 1st November 1996 the City Borough of Amsterdam has designated the Hilton Amsterdam and the John & Yoko Suite as an official location where wedding ceremonies can be performed 24 hours a day by appointment. -
The Ballad of John & Yoko
THE BALLAD OF JOHN & YOKO Written by Luken Tonjes SincerelyLuken.com ACT 1 1 EXT. NEW YORK CITY. MUSEUM OF MODERN ART. AFTERNOON 1 We see a 1966 JOHN LENNON. He is wearing an English cap, signature sunglasses, and a scarf. JOHN is standing outside of the Museum of modern art, the sound of the city bombards him, the head liner is “YOKO ONO” he is curious so he walks in. R INT. MUSEUM OF MODERN ART. AFTERNOON. It is now quiet. He takes off his cap and sunglasses and proceeds down the hall. There is a picture of YOKO as he is walking in. JOHN sees a ladder in the middle of the room with a magnifying glass hanging from the ceiling, and a canvas attached to the wall. He decides to climb it, he picks up the magnifying glass and takes a look at the canvas. It reads “yes” JOHN is in awe and takes a look to his right, there stands YOKO ONO. She is talking to someone and is laughing. JOHN gives a faint smile. CUT TO: INT. NEW YORK CITY. MUSEUM OF MODERN ART. AFTERNOON.- LATER It is towards the end of the show, there are men taking down some of the pieces. YOKO is directing them and she has a clipboards in her hand. JOHN walks up to YOKO in confidence and taps her on the shoulder. She turns quickly. JOHN Hi, I just wanted to introduce myself, I loved the show. Especially the one piece- YOKO And you are? JOHN is shot down JOHN Sorry? 2.