The Beatles Were Titaniced in 1966!!
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Premiere Props • Hollyw Ood a Uction Extra Vaganza VII • Sep Tember 1 5
Premiere Props • Hollywood Auction Extravaganza VII • September 15-16, 2012 • Hollywood Live Auctions Welcome to the Hollywood Live Auction Extravaganza weekend. We have assembled a vast collection of incredible movie props and costumes from Hollywood classics to contemporary favorites. From an exclusive Elvis Presley museum collection featured at the Mississippi Music Hall Of Fame, an amazing Harry Potter prop collection featuring Harry Potter’s training broom and Golden Snitch, to a entire Michael Jackson collection featuring his stage worn black shoes, fedoras and personally signed items. Plus costumes and props from Back To The Future, a life size custom Robby The Robot, Jim Carrey’s iconic mask from The Mask, plus hundreds of the most detailed props and costumes from the Underworld franchise! We are very excited to bring you over 1,000 items of some of the most rare and valuable memorabilia to add to your collection. Be sure to see the original WOPR computer from MGM’s War Games, a collection of Star Wars life size figures from Lucas Film and Master Replicas and custom designed costumes from Bette Midler, Kate Winslet, Lily Tomlin, and Billy Joel. If you are new to our live auction events and would like to participate, please register online at HollywoodLiveAuctions.com to watch and bid live. If you would prefer to be a phone bidder and be assisted by one of our staff members, please call us to register at (866) 761-7767. We hope you enjoy the Hollywood Live Auction Extravaganza V II live event and we look forward to seeing you on October 13-14 for Fangoria’s Annual Horror Movie Prop Live Auction. -
BWTB Nov. 13Th Dukes 2016
1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, Yoko Ono. Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53. -
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. -
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 -
LSUG Feb. 17Th 2013
PLAYLIST FEB. 17TH 2013 HOUR I The Beatles - The Ballad Of John And Yoko – Past Masters Recorded April 14, 1969 by John 7 Paul only. Released as a single in UK April 11, 1969 And in the USA May 5th 1969. Released less than a month after Get Back (John needed an A- Side) First STEREO single in the UK. Banned by the BBC and some US stations as well. It was actually recorded during the beginning of the Abbey Road sessions. The Beatles – Birthday - The Beatles Recorded Sept. 18th 1968 Recorded after watching the movie The Girl Can Help It at Paul’s house. The 1956 film starred Jayne Mansfield and featured performances by Fats domino, the Platters, Gene Vincent and Little Richard. Lennon: “it was a piece a garbage”. Features backing vox by Pattie and Yoko. McCartney .7 Lennon .3 2.04 BREAK The Beatles - You Really Got A Hold On Me – With The Beatles (Robinson) Lead vocal: John Recorded June 18, 1963, Paul McCartney’s 21st birthday. Originally recorded by the Miracles and released as a single by Motown Records in November 1962. The single was a crossover smash, topping the Billboard R&B chart and reaching #8 on the Billboard pop chart. Miracles’ lead singer William “Smokey” Robinson is the credited songwriter. It is one of three Motown songs covered by The Beatles on their second LP. On U.S. album: The Beatles’ Second Album - Capitol LP The Beatles - Please Mister Postman – With The Beatles (Dobbins-Garrett-Brianbert) Lead vocal: John Beatlemania was not only a boon for record shops and merchants selling any number of licensed Beatles products (Beatle wigs, Beatles boots, paperback books, magazines, board games, buttons and other novelties), it also gave a significant financial boost to songwriters and music publishers of the non-original songs the group covered on its early albums. -
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”. -
MUSC 422 Beatles Syllabus
The Beatles: Their Music and Their Times Fall 2019 Course no. MUSC 422 Section no. 47220 Units: 4 Time: MW 4 – 5:50 pm Room: THH 202 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: MW 9 – 9:45 am, 12 – 1 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] Teaching assistants: Adam Ratner [email protected] Danny Leo [email protected] Introduction and Purpose The purpose of this course is to familiarize the student with the music, lyrics, recordings, personal and public lives, production techniques, career strategy, social ramifications, and technological impact of the musical group known as The Beatles. The goal is to imbue the student with an appreciation for the music itself, a basic understanding of the primitive technology available at the time (both recording and playing back), and a broader comprehension of the social, economic, political, and cultural upheavals that gave rise to the musical trends of the Sixties. Instructional Strategy Each week the professor will present a lecture which will include musical examples, lyrics, and pertinent background information on the four Beatles, their personal and professional dealings, their approach to live performance and studio recording, and the activities of their managerial and production staff. There will also be a section devoted to the viewing of films, pertinent film clips, documentaries, and discussion of the texts led by the teaching assistants. Typically lectures will be on Mondays and the discussions on Wednesdays. Examinations and Grades There will be three examinations: two midterms and a final. Each exam will consist of 50 multiple-choice questions on Scantron answer sheets. -
Was Original Whom He Liked, Though He's Not Too Keen on Originally As Nobody Ever Asked Me to Play Live
HARRY NILSSON r.,I3 ej ictor "We thought it had a sense of humour. I don't know... things that the studio has to offer which you can't do in I guess I'm just bitter about it. I think that sense of g a live situation. I did some TV shows in America a long humour is the single most lacking thing in popular time ago -the Johnny Carson show, the Mike Douglas music. It's also the single most lacking quality in the show -with just me and a piano. people that present popular music to the public. It hurts, "I was once advised to do live shows and appear on TV. because that's what rock'n'roll is all about -fun. I agreed to the TV. 'Everybody's Talkin" had just come out and "'Acting lilce a man on a fuzzy tree. .'It's humour. How serious can you it was a hit, so I went on this TV show. I didn't have a suit to wear so I get about'your baby, my baby'?Lots of musicians take it too seriously and borrowed my manager's suit, which didn't fit. As soon as it was over it's dull and boring, and that's what's killing pop music. I like humour and I realised I was making a mistake and stopped doing it. My reputation I like songs that have humour. That's why I'm arguing with RCA. is now unscathed. "They don't get the joke aboutGod's Greatest Hits.I asked them whether "I've talked about it with the band that I use on the albums but I don't they'd have turned downJesus Christ Superstarfor the same reason. -
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 -
KLOS Harrisongs B'day 2015
1 Three hours of GEORGE HARRISONGS – With and without the Beatles to celebrate his birth which took place this week 72 years ago. PLAYLIST Feb.22nd 2015 2 OPEN/9am George Harrison – Apple Scruffs - All Things Must Pass ‘70 This was a salute to the girls (and sometimes boys) who stood vigil at Apple, Abbey Road and anyplace a Fab was to likely to be. Upon recording the tune, George invited the “Apple Scruffs,” into the studio to have a listen. The Beatles - I Want To Tell You - Revolver (Harrison) Lead vocal: George The backing track was recorded in five takes on June 2, 1966. George Harrison's third song on “Revolver,” was, he later said, "about the avalanche of thoughts that are so hard to write down or say or transmit." Once again Harrison had no idea what to call his composition. The band briefly kicked around random ideas, and the song was recorded under the working title “Laxton's Superb,” a type of apple. It later became known as “I Don't Know,” which was George’s answer when producer George Martin asked whether Harrison had come up with a title. By the day of the final mix (June 6, 1966), Harrison had settled on the title “I Want To Tell You.” Contains the first bass overdub on a Beatles record. Paul had his bass recorded on a different track really allowed for more options when it came time to mix the song. On U.S. album: Revolver - Capitol LP 3 The Beatles - Blue Jay Way - Magical Mystery Tour (EP) (Harrison) Lead vocal: George Written by George Harrison on August 1, 1967 while vacationing in a rented house in the Hollywood Hills above Los Angeles. -
STEALING DYLAN from WOODSTOCK When the World Came to the Isle of Wight Volume One: Stealing Dylan from Woodstock
When the World Came to the Isle of Wight VOLUME ONE STEALING DYLAN FROM WOODSTOCK When the World Came to the Isle of Wight Volume One: Stealing Dylan from Woodstock Published by Medina Publishing Ltd. 310 Ewell Road Surbiton Surrey KT6 7AL medinapublishing.com © Ray Foulk 2015 Designed by Kitty Carruthers ISBN Hardback: 978-1-909339-50-7 Paperback: 978-1-909339-49-1 Printed and bound by Toppan Leefung Printing Ltd CIP Data: A catalogue record of this book is available from the British Library Ray Foulk asserts his moral right to be identified as the author of this work. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owners. When the World Came to the Isle of Wight VOLUME ONE STEALING DYLAN FROM WOODSTOCK A personal account by Festival organiser RAY FOULK written & compiled with Caroline Foulk To Mother Dear CONTENTS Acknowledgements vi Dramatis Personæ x Prologue xiii 1 Alfred Lord Tennyson 1 2 Prospecting 11 3 I Whisper 21 4 To Hell and Back 39 5 How About Bob Dylan? 53 6 Bob Wants to Meet You 61 7 Seven-and-a-Half Years 91 8 Help Bob Dylan Sink the Isle of Wight 115 9 We Cannot Control the Morals of 100,000 People 151 10 Serving the Master Well 179 11 Great To Be Here, Sure Is 211 12 Self Portrait 247 13 The Backlash 265 Epilogue: Electric Ladyland 271 Book Quotations & Song Titles 277 Picture Credits 278 Bibliography 281 Index 283 ACKNOWLEDGEMENTS Just get me an electric lawnmower he great joy of compiling this personal and socio-cultural history has been in rekindling so many past associations and friendships.