Who Influenced the Beatles in Their Era?
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The Effect of the Beatles on Society
The Effect of the Beatles on Society Written by: Larry Coffey Date: 26 March 1981 The Effect of the Beatles on Society In June of 1956, John Lennon met Paul McCartney for the first time. Nobody ever dreamed that John and Paul would have the success that they had. John Lennon and Paul McCartney along with George Harrison and Richard Starkey (Ringo Starr) became known as the greatest and the most influential rock musicians in the world. The Beatles, whose music has been played by prestigious symphonies around the world and has been sung by renowned singers such as Frank Sinatra and Tony Bennett, were a vibrant moving force of the 1960’s; they permanently changed the course of music and soundly influenced the lives of future generations. To get an idea of how much the Beatles helped shape the following generations’ lifestyles, one must look at the lifestyle and the music before the Beatles. The music the Beatles played, “Rock and Roll,” had already established itself as a popular form of music to American teenagers. Derived from the black’s “Rhythm and Blues,” rock and roll was made popular by performers such as Chuck Berry, Elvis Presley, and Bill Haley. Though rock and roll had been around for about ten years before the Beatles became famous, it was still a relatively new form of music that had plenty of potential. The Beatles were elevated from obscurity by utilizing the music’s potential. The lifestyle of the fifties was slowly changing. The American public was beginning to accept the possibility of a “working class hero”. -
University of Pardubice Faculty of Arts and Philosophy 1960´S in Britain
University of Pardubice Faculty of Arts and Philosophy 1960´s in Britain and The Beatles Kateřina Milatová Bachelor Thesis 2020 Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Beru na vědomí, že v souladu s § 47b zákona č. 111/1998 Sb., o vysokých školách a o změně a doplnění dalších zákonů (zákon o vysokých školách), ve znění pozdějších předpisů, a směrnicí Univerzity Pardubice č. 7/2019 Pravidla pro odevzdávání, zveřejňování a formální úpravu závěrečných prací, ve znění pozdějších dodatků, bude práce zveřejněna prostřednictvím Digitální knihovny Univerzity Pardubice. V Pardubicích dne 19. 4. 2020 Kateřina Milatová ACKNOWLEDGEMENTS I would like to express my gratitude to Mgr. Olga Roebuck, Ph.D., M.Litt. for her help and guidance while I was writing the thesis. Many thanks go to my friends and my wonderful family for their permanent love, support and patience. -
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 -
Here Information Was Modified Due to One of the Error Types Noted Above
The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum The Beatles Recording Reference Manual Volume 1 My Bonnie through Beatles For Sale (1961-1964) Corrigendum Jerry Hammack Edited by Gillian G. Gaar The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum Copyright © 2021 Jerry Hammack All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the author, except by reviewers, who may quote brief passages in a review. Library of Congress Control Number: 2017909370 CreateSpace Independent Publishing Platform, North Charleston, SC Hammack, Jerry, 1961- The Beatles Recording Reference Manual: Volume 1: My Bonnie through Beatles For Sale (1961-1964) Corrigendum Gearfab Books, Ltd. Toronto, Ontario, Canada The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum iii The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum About this Corrigendum ____________________________________________________________________________________________________________ It’s clear, I’m not perfect. In researching, writing, editing and producing The Beatles Recording Reference Manuals, I made some errors. Some of these errors were of omission, some were of misinterpretations of information that I was challenged on and found my conclusions wanting, and others were bothersome copy/paste issues that were not caught in the proofing stage of book production. Regardless of their type or nature, I take responsibility for them all. I know these books are not cheap to own, and I also know that Beatles fans interested in this material are some of the most detail-oriented fans in the world. -
170312 Sermon-Final-170312 Sermon
170312 Sermon – Page 1 of 4 “Ladies and gentlemen, the Beatles!” With those words, spoken 53 years, one month, and three days ago, Ed Sullivan introduced John, Paul, George, and Ringo to a TV audience of 73 million gathered in front their TV sets to see The Beatles’ first live performance in the United States. Sixty percent of the television sets in America were tuned in to witness the birth of Beatlemania as the girls in the audience screamed, and Paul sang, “Close your eyes and I’ll kiss you, tomorrow I’ll miss you…” They played five songs that night, and by the end of the show they owned the hearts of millions of American youth of all ages. Never before had so many viewers tuned in to a live television program; what they saw would change rock and roll – and the world – forever. The energy, the innocence, the enthusiasm, the matching black suits with black ties, the mop-top haircuts, the smiles, the irreverent banter… The Beatles exploded onto the pop-culture scene, and we were ready to follow them wherever and however they went. In a matter of months Beatles fan clubs were formed across the country, and every imaginable knick-knack had the pictures of the band on it. There were Fab Four lunch boxes, dolls, serving trays, trading cards, coloring books, coin holders, shot glasses, mop-top wigs, and even Beatle-branded talcum powder and nylon stockings! To say the Beatles wrote the musical score for the movie that was my formative years would be a huge understatement. -
History 207 Winter Term 2020
“There’s one line in ‘Hey Jude’ that sort of sums up what the period was about: ‘Take a sad song and make it better.’” - Paul Krassner (editor, activist, writer, and Yippie) History 207 Winter Term 2020 Hagey Hall 134 Phone: (519) 888-4567, ext. 32767 Email: [email protected] or [email protected] Office Hours for Winter Term: Mondays, 2:30 to 3:30 p.m. • Wednesdays, 11:30 a.m. to 12:30 p.m. • Or by appointment (I’m often around at other times not listed here, so feel free to knock on my door, or fire me off a quick email to make sure I’m on campus.) Teaching Assistants: Charan Mandur, Krenare Recaj, Julianne Scott, Duncan Smith. Course Meeting Time and Location: 1:00-2:20 p.m., MW, QNC 1502 “If you want to know about the Sixties,” wrote beloved American composer Aaron Copland, “play the music of The Beatles.” This isn’t just another Beatles Course. It’s bigger: It is a history course on The Beatles and their times, with an eye on the sweeping, panoramic history of the social, cultural and political transformations that occurred in the 1960s. In the 20th Century, no other band loomed as large as the four British lads from Liverpool. To call them “seminal” fails to do justice. They revolutionized music and the way people listen to it. To study The Beatles – their lives, songs, albums, films, how they’re remembered, and their impact on the world – offers a unique chance to explore the turbulent era of the Sixties, through a prism that is colourful, engaging and epic in scope. -
George Harrison Visit 12/13/74” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 40, folder “Ford, John - Events - George Harrison Visit 12/13/74” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Some items in this folder were not digitized because it contains copyrighted materials. Please contact the Gerald R. Ford Presidential Library for access to these materials. Digitized from Box 40 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library ROGERS & COWAN1 INC. 598 MADISON AVENUE NEW YORK, N. Y. 10022 PUBLIC RELATIONS (212) 759-6272 CABLE ADDRESS ROCOPUB NEW YORK ,NEW YORK December 20, 1974 Ms. Sheila Widenfeld East Wing Press Off ice The White House Washington, D.c. 20500 Dear Sheila: Once again I extend many thanks for your assistance regarding George Harrison's visit to the White House. It was a superb day. Best regards, terling ._.."l.r..,...,...iainment Division , MS/aes 250 NORTH CANON DRIVE, BEVERLY HILLS, CALIFORNIA 90210 CRESTVIEW 5-4581 CABLE ADDRESS: ROCOPUB BEVERLY HILLS, CALIFORNIA -- I . -
John & Yoko's Year of Peace 1969 by Gregory Mansur Enmeshed in the Ca
Pre-Post Modernism: The War is Over, if you want it. John and Yoko’s Year of Peace 1969 p1 PRE-POST MODERNISM: THE WAR IS OVER, if you want it: John & Yoko’s Year of Peace 1969 by Gregory Mansur Enmeshed in the canons of art history’s epistemology is the act of looking back for historical perspective. Encoded in this act is the hope of discovering a fresh perception of either an artists work or of a ‘period’ of production, and of returning to Plato’s Cave with a greater clarity: a new perspective, a richer appreciation. Such a case can be made for returning to the year of 1969 and revisiting John Lennon and Yoko Ono’s art project “Bed-IN” In doing so the post-modern philosophies of Jean Baudrillard and Walter Bejamin resonate in the hyperbola of technological culture like a Times Square Jenny Holzer electronic menu board at noon “mainlining the dominant arteries and electronic organs of the mass communications apparatus with postmodern ironies and heady, linguistic estrangements. 1” John Lennon, popular to Western culture as a musician, and Yoko Ono, as an avant garde artist from New York, decided to use the media appeal that John was receiving from his years with the Beatles towards the promotion of global peace and love. To understand this praxis of sociological and phenomenological semiotics, is to understand the context of their times. 1969 was a time of social and political unrest: student uprisings in the US, France, and Germany; wars were being fought in Israel, Vietnam, Algeria, etc.; and the constant fear of nuclear annihilation by the then Soviet Union kept the cold war alive. -
STALKING the BEATLES by Maureen Brady Johnson
STALKING THE BEATLES By Maureen Brady Johnson Copyright © 2016 by Maureen Brady Johnson, All rights reserved. ISBN: 978-1-60003-892-1 Caution: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. Reservation of Rights: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, information and storage retrieval systems and photocopying, and the rights of translation. Modifications: There shall be no deletions, alterations, or changes of any kind made to this Work or title of this Work, unless directly authorized by the publisher or otherwise allowed in the Work’s “Production Notes.” This includes changing of character gender, cutting or adding of dialogue, or alteration of language. Royalties: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Royalty fees are subject to change without notice and will be set based upon your application in accordance with your producing circumstances. -
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. -
John Lennon 1940–1980
Name _____________________________ Class _________________ Date __________________ A Time of Social Change Biography John Lennon 1940–1980 WHY HE MADE HISTORY John Lennon was a member of the Beatles, one of the most popular rock groups of the 1960s, and became a vocal antiwar activist. As you read the biography below, consider how John Lennon’s life reflected the times in which he lived. How was his life influenced by the changes in the world around him? Getty Images Images Getty John Lennon was born in Liverpool, England, in 1940. While he was in high school, Lennon met another teen named Paul McCartney who shared his love of American rhythm and blues music. Lennon and McCartney played together in a band and later, with the addition of guitarist George Harrison and drummer Ringo Starr, became known as the Beatles. In 1963, the Beatles released their first single, “Love Me Do,” in England. Theirs was a new sound that mixed rock and roll with rhythm and blues. In an era when trios and quartets crooned soft melodies, Lennon screamed and shouted in “I Want to Hold Your Hand.” The January 1964 release of the album Meet the Beatles in the United States brought instant fame. Approximately 73 million people watched the band’s performance on the Ed Sullivan Show the next month. By March 1964, the Beatles held the top five spots on the Billboard singles chart. The Beatles’ music brought not only a new sound but a new sensibility. They sang about love and loss, but also questioned materialism in “Can’t Buy Me Love,” and wrote of empty lives in “Eleanor Rigby” and “Nowhere Man.” With each successive album, the songs written by Lennon and McCartney music incorporated more influences and sounds. -
Early Beatles History: 1940-1964 Birth of the Beatles
MOVIES ABOUT THE BEATLES Early Beatles History: 1940-1964 Birth of The Beatles In 1978, Elvis – The Movie premiered on American television. The pro- duction was a dramatization of Elvis Presley’s life, featuring Kurt Rus- sell as Elvis. His unexpected death the year before had revived the public interest in ‘The King,’ and countless biographies invaded the market. The movie spawned several fictional and/or biographical films about po- pular culture icons, such as Buddy Holly (The Buddy Holly Story, 1978) and The Beatles (Birth of The Beatles, 1979). In the 1980s and 1990s, only a handful of pop biographies were successful at the box office, i. e. Luis Valdez’ La Bamba (1987) about Richie Valens, Oliver Stone’s The Doors (1991) and Iain Softley’s Backbeat (1993). More recently, Holly- wood has produced a string of highly successful TV and cinema biogra- phies of musical heroes. The most notable films and series are The Rat Pack (1998) about the lives and times of Frank Sinatra, Dean Martin, and Sammy Davis Jr., Ray (2004) about Ray Charles, Stoned (2005) about The Rolling Stones’ Brian Jones, and – again – Elvis (2005). Starting with Birth of The Beatles, The Beatles’ history has been dramatized in various forms for television as well as for the cinema. While The Beat- les’ early group history has been dealt with in Birth of The Beatles (1979), Backbeat (1993), and In His Life: The John Lennon Story (2000), John Lennon’s private life was explored in John and Yoko: A Love Story (1985) and The Hours and Times (1991).