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HISTORY OF ROCK MUSIC- BEATLES 5 • Video: “Compleat Beatles” / Read 152 - 185 (Beatles/British Invasion) VIDEO QUESTIONS The Beatles came from what town in England? ________________________. _______________was a traditional folk style popular in England. After he received a guitar, John formed a group called the ____________________________. John met Paul in the summer of 1957, at a local church festival. Paul joined John’s band. Allan Williams was the Beatles’ 1st manager. George Harrison and Stu Sutcliffe soon joined the Quarrymen. Name changes: Johnny and the Moondogs, the Silver ______________, and finally the Beatles. Pete ___________ became the Beatles drummer as they were sent over to _________________, Germany to perform. Brian _______________ became the Beatles’ manager after he discovered them at the ________________, a Liverpool club. Stu Sutcliffe had been suffering headaches ever since the Beatles had been jumped and beaten by a gang of hoods. He died of a brain hemorrhage the day they started their 3rd Hamburg tour. ________________ _________________ became the Beatles’ producer. The Beatles changed drummers before the recording session. ___________ ___________ became the new drummer. “Love Me Do,“ their first single, landed them on the charts. Then, ____________ ___________ ______” became the groups’ first # 1 single in England, “I Want To Hold Your Hand” became #1 in the US before the Beatles arrived in February, 1964, to appear on the Ed Sullivan show. 1st movie: _____ _________ _____________ _____________. 2nd movie: ______________ New album: Rubber ___________. George introduced a new instrument on that album: the ___Sitar_______ Last live performance: _______________ __________ in San Francisco. Next album: Revolver. Breakthrough album: ___________ ____________________ Next album: Magical Mystery Tour. Next album: The White Album. Beatles biggest single hit: “Hey ____________. The Let It Be sessions. John’s new companion: ____________ _________ Final album: Abbey ________. Allen Klein became the new business manager for the Beatles. _________ ________________ was hired to oversee the production of the earlier “Let It Be” recordings. MUSIC JOURNAL ENTRIES 34. Hard Days Night/Beatles 37. A Day In The Life/Beatles 35. Norwegian Wood/Beatles 38. Here Comes The Sun/Beatles 36. In My Life/Beatles 39. Golden Slumbers - Carry That Weight/The End/Beatles HISTORY OF ROCK MUSIC- BEATLES EXTRA CREDIT! In the above Beatle Concert photo, I am in the audience! If you can ﬁnd me, you get extra credit!.

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George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they
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The Jacaranda Club, Slater Street, Liverpool, United Kingdom
“This Is Our Home: The Jacaranda Club 1958-2018” The Jacaranda Club, Slater Street, Liverpool, United Kingdom. Friday 24th - Sunday 26th August,! 2018.! “[The Beatles] were a photographer’s dream, ! ! they were my dream” - Astrid Kirchherr.! “There is a popular notion that the photographer is by nature a voyeur. ! The last one invited to the party. But I’m not crashing; this is my party. ! ! This is my family, my history” - Nan Goldin.! A new exhibition to celebrate the 60th anniversary of Liverpool’s iconic Jacaranda Club opens Friday 24! August during a celebratory weekend of events. “This is Our Home”: The Jacaranda Club 1958-2018 is! an exhibition of photographs, advertisements, posters, and ephemera relating to the past and present! !history of the iconic Slater Street club, curated by Marlie Centawer, and runs 24-26 August 2018.! As one of the ﬁrst coffee bars in post-war Britain, The Jacaranda Club - affectionately known as “The Jac”! - was opened by Allan Williams in 1958, featuring a record shop upstairs and live music in its basement.! One of these groups was The Silver Beetles, featuring art students John Lennon and Stuart Sutcliffe, who! !Williams employed to paint the walls and a mural in the basement.! “This is Our Home”: The Jacaranda Club 1958-2018 features artefacts and ephemera from the Jac’s legacy and history; then and now. The exhibition is curated by Liverpool-based Marlie Centawer, a writer, musician and photographer, as well as an adjunct lecturer with the Centre for Studies in Arts and Culture !at Brock University, Canada <http://www.marliecentawer.com> ! Much of the exhibition has been donated from original attendees, some loaned from galleries and collectors, and other images extracted from Beatle books and documentaries, including members-only cards used for entry to the club in the 1960s, advertisements in local Liverpool music newspapers, and !images of the venues’ interiors and layouts over the years.
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The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
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Infomail Nr. 791: Die Originale Buchausgabe the FOOL on the HILL Freitag, 22
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The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008
Repositorium für die Medienwissenschaft Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008 https://doi.org/10.25969/mediarep/1299 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Reiter, Roland: The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons. Bielefeld: transcript 2008. DOI: https://doi.org/10.25969/mediarep/1299. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.14361/9783839408858 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 3.0 Attribution - Non Commercial - No Derivatives 3.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0 Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien.
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The History of International Beatleweek International Beatleweek celebrates the most famous band in the world in the city where it was born – attracting thousands of Fab Four fans and dozens of bands to Liverpool each year. The history of Beatleweek goes back to 1977 when Liverpool’s first Beatles Convention was held at Mr Pickwick’s club in Fraser Street, off London Road. The two-day event, staged in October, was organised by legendary Cavern Club DJ Bob Wooler and Allan Williams, entrepreneur and The Beatles’ early manager, and it included live music, guest speakers and special screenings. In 1981, Liz and Jim Hughes – the pioneering couple behind Liverpool’s pioneering Beatles attraction, Cavern Mecca – took up the baton and arranged the First Annual Mersey Beatle Extravaganza at the Adelphi Hotel. It was a one-day event on Saturday, August 29 and the special guests were Beatles authors Philip Norman, Brian Southall and Tony Tyler. In 1984 the Mersey Beatle event moved to St George’s Hall where guests included former Cavern Club owner Ray McFall, Beatles’ press officer Tony Barrow, John Lennon’s uncle Charles Lennon and ‘Father’ Tom McKenzie. Cavern Mecca closed in 1984, and after the city council stepped in for a year to keep the event running, in 1986 Cavern City Tours was asked to take over the Mersey Beatle Convention. It has organised the annual event ever since. International bands started to make an appearance in the late 1980s, with two of the earliest groups to make the journey to Liverpool being Girl from the USA and the USSR’s Beatle Club.
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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
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Die Beatles-Geschichte
Die Beatles Die vier Bandmitglieder der Gruppe – oft als „Fab Four“ (wegen ihrer Frisur in den Anfangs- jahren auch scherzhaft als „Pilzköpfe“) bezeichnet – waren: • John Lennon (John Winston Lennon, später John Winston Ono Lennon, * 9. Oktober 1940 in Liverpool), Gesang, Rhythmusgitarre, Keyboards und Mundharmonika. Am † 8. Dezember 1980 wurde John Lennon von dem geistig verwirrten Attentäter Mark David Chapman in New York vor dem Dakota Building, in dem Lennon mit seiner Frau ein Apartment bewohn- te, erschossen. • Paul McCartney, (James Paul McCartney, * 18. Juni 1942 in Liverpool), Gesang, Bass- Gitarre, Gitarre und Keyboards • George Harrison (* 25. Februar 1943 in Liverpool, † 29. November 2001 in Los Angeles an Krebs), Gesang, Leadgitarre und Sitar • Ringo Starr (Richard Starkey, * 7. Juli 1940 in Liverpool), Schlagzeug und Gesang ab Au- gust 1962 - auf Anraten des Produzenten George Martin - an Stelle von Pete Best Zeitweilig wirkten in der Gruppe mit: • Stuart („Stu“) Sutcliffe, Bass bis 1960 (* 23. Juni 1940 in Edinburgh, † 10. April 1962 in Hamburg an einem Blutgerinnsel im Gehirn) • Randolph Peter („Pete“) Best, Schlagzeug bis 1962 (* 24. November 1941 in Madras) John Lennon und Paul McCartney waren die musikalischen Köpfe der Beatles. Sie kompo- nierten die meisten Lieder der Band, darunter zahlreiche Hits wie Yesterday, Let It Be, I Want To Hold Your Hand, A Hard Day's Night, She Loves You, Help!, Michelle, Yellow Submari- ne, Lucy in the Sky with Diamonds (das nach einem selbstgemalten Bild von John Lennons Sohn Julian, der sagte, das sei seine Schulkameradin Lucy am Himmel mit Diamanten, be- nannt wurde), Hey Jude und I am the Walrus.
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The Beatles Destination Hamburg - Review of Documentary About the Be
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Beatles Answers
1. John Lennon 2. Paul McCartney 3. George Harrison 4. Ringo Starr 5. Pete Best 6. Brian Epstein 7. Stu Sutcliffe 8. Billy Preston 9. George Martin 10. Astrid Kirshner 11. Meet the Beatles 12. A Hard Day’s Night 13. Let It Be 14. Revolver 15. The Beatles (1/2 point for “The White Album”) 16. I Saw Her Standing There 17. Lovely Rita 18. Day Tripper 19. Hey Jude 20. Good Day Sunshine 21. Sgt. Pepper’s Lonely Hearts Club Band (NOT “A Little Help from my Friends”) 22. Eleanor Rigby 23. Get Back 24. Ob-La-Di Ob-La-Da 25. Rocky Raccoon 26. Salvation Army house near John’s childhood home 27. A street near John’s childhood home in Liverpool 28. A street in the Hollywood Hills where George rented a house in 1967 29. A Day in the Life 30. Being for the Benefit of Mr. Kite 31. The Quarrymen 32. Rory Storm and the Hurricanes 33. Can’t Buy Me Love 34. Twist and Shout 35. She Loves You 36. I Want to Hold Your Hand 37. Please Please Me 38. I Want to Hold Your Hand 39. The Long and Winding Road 40. “1” (in the year 2000) 41. Peter & Gordon 42. “A World Without Love” 43. On the set of the movie “A Hard Day’s Night” (she was an extra) 44. Eric Clapton 45. John Lennon’s mother, Julia 46. Revolution #9 47. Strawberry Fields Forever 48. Glass Onion 49. She’s Leaving Home 50. I’m So Tired 51.
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Für Sonntag, 21
InfoMail 27.10.14: BEATLES-Buch THE FAB ONE HUNDRED AND FOUR mit Signaturen /// NEUERSCHEINUNGEN /// MANY YEARS AGO Angebot gilt meistens längere Zeit aber nicht auf Dauer. Die InfoMails archivieren wir auf Dauer auf unserer Internetseite. Montag, 27. Oktober 2014 InfoMails abbestellen oder umsteigen (täglich, wöchentlich oder monatlich): Nur kurze Email schicken. Alter Markt 12, 06108 Halle (Saale); Telefon / phone: 0345-2903900, Fax: 0345-2903900; Email: [email protected]; Internet: www.BeatlesMuseum.net Geöffnet: dienstags bis sonntags und an Feiertagen (außer Weihnachten und Jahreswechsel) jeweils 10.00 bis 18.00 Uhr (nach Absprache auch später - oder morgens früher) Zusätzliche Öffnungszeiten für Gruppen und Schulklassen auf Anfrage; auch abends. Geschlossen: Heiligabend/Weihnachten und Silvester/Neujahr. Hallo M.B.M.! Hallo BEATLES-Fan! BEATLES-Buch von David Bedford signiert von Autor oder signiert von ROD DAVIS und Autor Weitere Info und/oder bestellen: Einfach Abbildung anklicken Auch Abbildungen in pdf-Datei anklickbar. Freitag, 13. Dezember 2013: BEATLES-Buch THE FAB ONE HUNDRED AND FOUR (author signed edition) . 59,90 € Abbildungen unter dem Buch von links: Signaturen von Autor David Bedford und ROD DAVIS (THE QUARRYMEN) Freitag, 13. Dezember 2013: BEATLES-Buch THE FAB ONE HUNDRED AND FOUR (QUARRYMEN ROD DAVIS & author signed edition). 69,90 € Autor: David Bedford. Verlag: Dalton Watson Fine Books, USA; Gebundenes Buch; 25,4 cm x 24,8; 400 Seiten; über 570 Fotos (auch bisher unveröffentlichte). Inhalt: Foreword by BILL HARRY. Über 100 Kapitel über "BEATLES"-Personen mit vielen Fotos. Pressetext: We are proud to announce the new hard-back Limited Edition version of The Fab one hundred and Four.
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Beatles History – Part One: 1956–1964
BEATLES HISTORY – PART ONE: 1956–1964 January 1956–June 1957: The ‘Skiffle Craze’ In January 1956, Lonnie Donegan’s recording of “Rock Island Line” stormed into the British hit parade and started what would become known as the ‘skiffle craze’ in Great Britain (vgl. McDevitt 1997: 3). Skiffle was originally an amateur jazz style comprising elements of blues, gospel, and work songs. The instrumentation resembled New Or- leans street bands called ‘spasms,’ which relied on home-made instru- ments. Before skiffle was first professionally recorded by American jazz musicians in the 1920s and 1930s, it had been performed at ‘rent parties’ in North American cities like Chicago and Kansas City. Many African- American migrant workers organized rent parties in order to raise money for their monthly payments (vgl. Garry 1997: 87). Skiffle provided the musical entertainment at these parties, as everybody was able to partici- pate in the band, which usually consisted of home-made acoustic guitars or a piano backed by a rhythm section of household instruments, such as a washboard, a washtub bass, and a jug (vgl. McDevitt 1997:16). Jazz trumpeter and guitarist Ken Colyer pioneered the skiffle scene in Great Britain. In 1949, he formed the Crane River Jazz Band in Cran- ford, Middlesex, together with Ben Marshall (guitar), Pat Hawes (wash- board), and Julian Davies (bass). Their repertoire included skiffle songs “to illustrate aspects of the roots of jazz and to add variety to a pro- gramme” (Dewe 1998: 4). After leaving the group in 1951, Colyer mi- grated to the United States to work with jazz musicians in New Orleans.
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