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Download: The Beatles: Paperback Writer: 40 Years of Classic Writing PDF Free [557.Book] Download The Beatles: Paperback Writer: 40 Years of Classic Writing PDF From Plexus Publishing Ltd. The Beatles: Paperback Writer: 40 Years of Classic Writing you can download free book and read The Beatles: Paperback Writer: 40 Years of Classic Writing for free here. Do you want to search free download The Beatles: Paperback Writer: 40 Years of Classic Writing or free read online? If yes you visit a website that really true. If you want to download this ebook, i provide downloads as a pdf, kindle, word, txt, ppt, rar and zip. Download pdf #The Beatles: Paperback Writer: 40 Years of Classic Writing | #1414774 in eBooks | 2014-07-01 | 2014-07-01 | File type: PDF | |1 of 6 people found the following review helpful.| Great reading | By P. Boudreaux |If you like reading about the Beatles and the music and culture of the sixties you'll find a lot to love here. |1 of 1 people found the following review helpful.| ... my guitar to the Fab Four Now she screams like a teenager in 1964 She can't read enough of ... | By LewReader |My 30 year old fianc&eacu | | 'Excellent, revealing and amusing. An invaluable collection which will be enjoyed by all.' —Hunter Davies (Official Beatles Biographer)| The Beatles: Paperback Writer is a unique volume containing over 40 years of interviews, articles, reviews and essays, on subjects ranging from the Fab Four's Liverpudlian origins, to their influence on the counterculture of the late 1960s, and beyond to the post-Beatle paths followed by John Lennon, Paul McCartney, George Harrison, and Ringo Starr. This collection is a compelling and utterly essential guide to the Beatles' story [805.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing PDF [223.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing From Plexus Publishing Ltd. Epub [451.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing From Plexus Publishing Ltd. Ebook [697.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing From Plexus Publishing Ltd. Rar [355.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing From Plexus Publishing Ltd. Zip [363.Book] The Beatles: Paperback Writer: 40 Years of Classic Writing From Plexus Publishing Ltd. Read Online Free Download: The Beatles: Paperback Writer: 40 Years of Classic Writing pdf.

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KLOS Aug.5Th
1 PLAYLIST AUG. 5TH 2012 Special Guests WINGS Denny Seiwell – Denny Laine – Laurence Juber 1 2 9AM The Beatles - Rain - Non-LP B-side (Lennon-McCartney) Lead vocal: John Recorded on April 14 and 16, 1966. The track is notable for the backwards vocal from John Lennon at the end of the song. The section is John singing part of the first verse but the tape is superimposed backwards in the mix. The song contains slowed down instruments, guitar distortion, and vocals recorded and played back at variable speed. Aside from Paul McCartney’s dominant bass part, the song features a striking drum performance from Ringo, who has called “Rain” his favorite Beatles song. The B-side of “Paperback Writer.” Issued in America on May 23, 1966 and the UK on June 10, 1966, several months in advance of the “Revolver” album. On U.S. album: Hey Jude - Capitol LP (1970) 2 3 The Beatles - Paperback Writer - A Collection Of Beatles Oldies (Lennon-McCartney) Lead vocal: Paul The Beatles’ twelfth single release for EMI’s Parlophone label. Recorded on April 13 and 14, 1966. The track is notable for Paul McCartney’s furious bass line. The bass is so prominent in the mix that sound engineers at EMI worried it could cause the stylus of a record player tone arm (the needle thing on record players) to jump when fans played the 45 RPM single at home. Thankfully, no such calamity occurred. For this heavy bass sound Paul’s chose to replace his usual Hofner bass with a Rickenbacker 4001S bass.
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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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Beatles Mexican Singles, Identification Guide
Mexican Single Releases Identification Guide Revised: 28 My 16 Musart Singles Since Mexico is part of North America, Capitol Records USA (whose role it was to oversee Beatles releases in North America) was able to dictate how their records were marketed in Mexico. However, prior to 1965, Capitol had no record company offices in Mexico and therefore licensed its releases to the Musart label, a prominent Mexican record label. All Mexican singles on the Musart label are somewhat scarce; consequently, this list is incomplete. The Beatles' Musart singles are particularly hard to find in VG+ or better condition. singles originally released on this label style Catalog Number "She Loves You"/"I Saw Her Standing There" 3576 "Can't Buy Me Love"/"You Can't Do That" 3595 "From Me to You"/"This Boy" 3596 "I Want to Hold Your Hand"/"I'll Get You" 3605 "Roll Over Beethoven"/"All My Loving" 3611 "Twist and Shout"/"Do You Want to Know a Secret" 3615 "Hard Day's Night"/"Things We Said Today" 3669 "I Should Have Known Better"/"Anytime at All" 3721 "I'll Be Back"/"Love Me Do" 3722 "And I Love Her"/"Tell Me Why" 3761 "I Feel Fine"/"She's a Woman" 3764 "Eight Days a Week"/"I Don't Want to Spoil the Party" 3821 "Rock and Roll Music"/"Baby's in Black" 3823 NOTE 1: Musart promotional singles have orange backgrounds with the words "PROHIBIDA SU VENDA" and "PROMOCION" on the label. Capitol Singles Capitol Records established a factory and offices in Mexico in May, 1965.
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Gender Role Construction in the Beatles' Lyrics
“SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles..................................................................................................
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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.
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Apple Label Discography
Apple Label Discography 100-800 series (Capitol numbering series) Apple Records was formed by John Lennon, Paul McCartney, George Harrison and Ringo Starr in 1968. The Apple label was intended as a vehicle for the Beatles, their individual recordings and the talent they discovered. A great deal of what appeared on Apple was pretty self indulgent and experimental but they did discover a few good singers and groups. James Taylor recorded his first album on the label. Doris Troy recorded a good soul album and there are 2 albums by John Lewis and the Modern Jazz Quartet. The Beatlesque group Badfinger also issued several albums on the label, the best of which was “Straight Up”. Apple Records fell apart in management chaos in 1974 and 1975 and a bitter split between the Beatles over the management of the company. Once the lawyers got involved everybody was suing everybody else over the collapse. The parody of the Beatles rise and the disintegration of Apple is captured hilariously in the satire “All You Need Is Cash: the story of the Rutles”. The Apple label on side 1 is black with a picture of a green apple on it, black printing. The label on side 2 is a picture of ½ an apple. From November 1968 until early 1970 at the bottom of the label was “MFD. BY CAPITOL RECORDS, INC. A SUBSIDIARY OF CAPITOL INDUSTRIES INC. USA”. From Early 1970 to late 1974, at the bottom of the label is “MFD. BY APPLE RECORDS” From late 1974 through 1975, there was a notation under the “MFD.
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Apple Epem-10457 - a Day in the Life - I Am the Walrus / Strawberry Fields Forever - Come Together
APPLE EPEM-10457 - A DAY IN THE LIFE - I AM THE WALRUS / STRAWBERRY FIELDS FOREVER - COME TOGETHER Marcas Registradas printed on bottom Trade Marks Capitol Marca Registrada printed on bottom APPLE EPEM-10458 - I WANT YOU (SHE'S SO HEAVY) - DON'T LET ME DOWN / REVOLUTION - YER BLUES APPLE EPEM-10459 - LUCY IN THE SKY WITH DIAMONDS - ALL YOU NEED IS LOVE/ ACROSS THE UNIVERSE - BALLAD OF JOHN & YOKO APPLE EPEM-10503 - I'M HAPPY JUST TO DANCE WITH YOU - DO YOU WANT TO KNOW A SECRET / CHAINS - DEVIL IN HER HEART APPLE EPEM-10504 - HONEY DON'T - MATCHBOX / LITTLE CHILD / I WANNA BE YOUR MAN APPLE EPEM-10505 - YELLOW SUBMARINE - OCTOPUS'S GARDEN / WITH A LITTLE HELP FROM MY FRIENDS - GOODNIGHT APPLE EPEM-10536 - DON'T BOTHER ME - TAXMAN / IF I NEEDED SOMEONE - THINK FOR YOURSELF APPLE EPEM-10537 - HERE COMES THE SUN - FOR YOU BLUE / WHILE MY GUITAR GENTLY WEEPS - PIGGIES Wording to left and right of Apple stem APPLE EPEM-10538 - BOYS - WHAT GOES ON / ACT NATURALLY - DON'T PASS ME BY Print The Beatles with spacing between letters Print The Beatles without spacing between letters, two EPEM- Print The Beatles without spacing between letters, two EPEM- numbers on B-Side aligned numbers on B-Side not aligned APPLE EPEM-10539 - I NEED YOU - YOU LIKE ME TOO MUCH / IT'S ONLY A NORTHERN SONG - IT'S ALL TOO MUCH APPLE EPEM-10540 - SAVOY TRUFFLE - OLD BROWN SHOE / BLUE JAY WAY - LONG, LONG, LONG With print La Radiodiffusion... on top of B-Side Without print La Radiodiffusion..
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Beatles on Apple 68-75
1 The Beatles On Apple Vol.15 Playlist May 15th 2016 OPEN/9AM The Beatles - Hey Jude - Non-LP Track (Lennon-McCartney) Lead vocal: Paul 2 The Beatles’ eighteenth single release for EMI, the first on the Apple Records label. Paul McCartney’s masterpiece. The 7 minute, 11 second track was the longest released by the Beatles up until that time, and the song broke wide open the usual two to three minute mold that had long been the standard for pop singles. Paul got the idea for the song while driving to visit Cynthia and Julian Lennon. He wrote the lyrics as a message of encouragement to young Julian while his parents were in the throes of a very public separation. Paul wanted to stay friends, so he planned a visit. Cynthia was still living in John’s Kenwood estate, and since Paul usually wrote songs on the way there to collaborate with his writing partner, he fell into the same routine. Paul: “I started with the idea ‘Hey Jules,’ which was Julian, don’t make it bad, take a sad song and make it better. Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorce. The Beatles - Revolution - Non-LP Track (Lennon-McCartney) Lead vocal: John The Beatles’ eighteenth single release for EMI, their first on the Apple Records label. John Lennon lobbied hard to get his magnificent rocker on the A-side of the band’s summer 1968 single, but by any standard, Paul’s “Hey Jude” was an unbeatable choice for the A-side.
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A Guide to Australian Beatles Singles
Australian Beatles Singles Updated: 05 Mr 14 Purple (or Lilac) Parlophone Label In Australia, the earliest Beatles singles, from "Please Please Me" through "She Loves You," were available on a lilac colored (purple) label style. "Love Me Do" was not issued in Australia until 1964 and therefore was not issued on the purple label. Those singles which were originally issued on the purple label are as follows: Value in Catalog Number Titles NM Condition A‐8080 "Please Please Me"/"Ask Me Why" $125 A‐8083 "From Me to You"/"Thank You Girl" $90 A‐8093 "She Loves You"/"I'll Get You" $75 Black/Silver Parlophone In late 1963, Australian Parlophone made the decision to change the label style to black. This new black label was to serve as the original label style for every other Australian Parlophone Beatles album released before the advent of Apple in 1968. Those singles which were issued on this label style are as follows: Value in Catalog Number Titles NM Condition A‐8103 "I Want to Hold Your Hand"/"This Boy" $25 A‐8105 "Love Me, Do"/"I Saw Her Standing There" (title has comma) $40 A‐8105 "Love Me Do"/"I Saw Her Standing There" $20 A‐8107 "Roll Over Beethoven"/"Hold Me Tight" $20 A‐8113 "Can't Buy Me Love"/"You Can't Do That" $20 A‐8117 "Komm, Gib Mir Deine Hand"/"Sie Liebt Dich" $50 A‐8123 "A Hard Day's Night"/"Things We Said Today" $20 A‐8125 "I Should Have Known Better"/"If I Fell" $20 A‐8133 "I Feel Fine"/"She's a Woman" $20 A‐8143 "Rock and Roll Music"/"Honey Don't" $20 A‐8153 "Ticket to Ride"/"Yes It Is" $20 A‐8163 "Help!"/"I'm Down" $20
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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.
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1 Hey Jude the Beatles 1968 2 Stairway to Heaven Led Zeppelin
1 Hey Jude The Beatles 1968 2 Stairway To Heaven Led Zeppelin 1971 3 Keep On Loving You REO Speedwagon 1981 4 (I Can't Get No) Satisfaction Rolling Stones 1965 5 Yesterday The Beatles 1965 6 Woman John Lennon 1981 7 Jailhouse Rock Elvis Presley 1957 8 Help! The Beatles 1965 9 Too Much Time On My Hands Styx 1981 10 Imagine John Lennon 1971 11 Take It On The Run REO Speedwagon 1981 12 Back In Black AC/DC 1981 13 (We're Gonna) Rock Around The Clock Bill Haley & His Comets 1955 14 American Pie Don McLean 1972 15 Time For Me To Fly REO Speedwagon 1978 16 You Better You Bet The Who 1981 17 The Best Of Times Styx 1981 18 Ride Like The Wind Christopher Cross 1980 19 I Want To Hold Your Hand The Beatles 1964 20 Another Brick In The Wall (Part 2) Pink Floyd 1980 21 Dirty Deeds Done Dirt Cheap AC/DC 1976 22 Watching The Wheels John Lennon 1981 23 Let It Be The Beatles 1970 24 You Shook Me All Night Long AC/DC 1980 25 Mack The Knife Bobby Darin 1959 26 Roll With The Changes REO Speedwagon 1978 27 Don't Stand So Close To Me The Police 1981 28 Hotel California The Eagles 1977 29 Free Bird Lynyrd Skynyrd 1975 30 I Love You Climax Blues Band 1981 31 Born To Run Bruce Springsteen 1975 32 She Loves You The Beatles 1964 33 (Just Like) Starting Over John Lennon 1980 34 Love Me Tender Elvis Presley 1956 35 Michelle The Beatles 1965 36 Light My Fire The Doors 1967 37 It's Still Rock And Roll To Me Billy Joel 1980 38 Nights In White Satin Moody Blues 1972 39 Bridge Over Troubled Water Simon & Garfunkel 1970 40 Rhiannon (Will You Ever Win) Fleetwood Mac 1976 41 Louie Louie The Kingsmen 1964 42 Babe Styx 1979 43 Johnny B.
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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.
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