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By Posted on 1 15

A piece of Beatles memorabilia is going up for sale for $375,000 — lyrics handwritten by Paul McCartney for the 1968 classic “Hey Jude” at a recording session.
The same lyrics are seen being used by John Lennon in a videotaped recording, hung from a mike stand. The song is credited to Lennon and McCartney and adapted from a ballad McCartney wrote for Lennon’s son Julian, originally called “Hey Jules.”
Moments in Time dealer Gary Zimet, who is selling the item, said, “This rare lyric sheet was seen being used by Lennon in a filmed recording session and is written all in McCartney’s hand.”


By Posted on 0 17

Scott Freiman, delivers a live, multimedia presentation on how the Fab Four created the best-selling album of the ’60s in “Deconstructing The Beatles: The White Album” at Danbury’s Palace Theatre on April 20.

What was it like for the Beatles when they were creating the best-selling double album known for such tunes as “Blackbird” and “Dear Prudence”? Scott Freiman, one of the world’s foremost Beatles scholars, answers this question in his live multimedia presentation, “Deconstructing The Beatles: The White Album.”

A composer and producer, Freiman will present his show at Danbury’s Palace Theatre on Friday, April 20. He will share rare insights, anecdotes, film clips and recordings, as he takes audience members on a journey that’s like being transported to the Abby Road Studio along with the Fab Four.

“Deconstructing the Beatles” allows viewers to see and hear the evolution of groundbreaking songs and understand their influence on music. The White Album came out Nov. 22, 1968, making this year the 50th anniversary of its release. Freiman focuses on tunes that have the most interesting backstories, and that best demonstrate the way the band’s members were writing and producing their music at that time. Aside from “Blackbird,” he highlights such classics as “Revolution” and “While My Guitar Gently Weeps.” Thousands attend “Deconstructing The Beatles” lectures annually at such venues as the Jacob Burns Film Center in New York and the Cleveland Museum of Art. In 2012, Freiman taught a 13-part course called “The Beatles in the Studio” at Yale University.



By Posted on 0 3

Remembering Astrid Kirchherr, the Woman Who First Photographed the Beatles—and Gave Them Their Moptops
The Beatles will forever be known as the original boy band, a status they achieved only a few years after forming in Liverpool in 1960, when fangirls started fawning over John Lennon, Paul McCartney, George Harrison, and Ringo Starr.

But before Starr joined the group in 1962, when Stuart Sutcliffe and Pete Best were still around, the men—or, rather, boys—owed a major part of their success to a woman: Astrid Kirchherr, a German photographer who first stumbled upon them when she heard music coming from a club in her hometown of Hamburg. After flattering them with a request to photograph the group, leading to a trip to a local fairground that would produce their first-ever group photo, she became intimately close to its members: She was, for example, the one to first cut their hair into their iconic mop tops, which were initially favored by the local German boys Kirchherr grew up around.


Her photos of The Beatles, which are now collected in a new book , Astrid Kirchherr with the Beatles, though, lamentably end too early: As the group found more and more fame, Kirchherr began to resent being known as “the Beatles’ photographer” and consistently having her other work dismissed, in part because she was a rare woman in the field.

Decades later, though, it’s finally getting recognition, along with her influence on the band’s image, from how her relationship with Sutcliffe, the so-called “Fifth Beatle,” led to him wearing her clothes, to how she styled their first professional photo shoot.





By Posted on 0 16

SOFA Entertainment/UMe are set to release new, high-definition DVDs of legendary performances by Elvis Presley, The Beatles, The Supremes and The Temptations from US television’s The Ed Sullivan Show on 25 May.

From 1948 to 1971, US TV’s longest-running prime time variety program, CBS’ The Ed Sullivan Show, beamed the world’s biggest stars into the homes of nearly every American household live every Sunday evening. For musicians of all stripes, performing on the show was the pinnacle of television opportunities, with singular star-making potential. Among the artists vaulted to new heights of stardom via history-making appearances were The Beatles, Elvis Presley, The Temptations, and The Supremes, all of whom returned to The Ed Sullivan Show several times after electrifying debut performances on the program.

DVD collections: The Complete Ed Sullivan Shows Starring The Beatles, The Best Of The Supremes On The Ed Sullivan Show, and The Best Of The Temptations On The Ed Sullivan Show have been digitally upgraded from standard definition to high definition video for release on 25 May.

The 4 Complete Ed Sullivan Shows Starring The Beatles collects the four entire episodes of The Ed Sullivan Show with history-making performances by The Beatles on two DVDs. On February 9, 1964, The Beatles stepped onto Ed Sullivan’s stage to make their U.S. TV debut. 73 million Americans tuned in and “Beatlemania” exploded. In these unforgettable live shows from 1964 and 1965, The Beatles performed 20 songs, including the Number One hits ‘She Loves You,’ ‘I Want To Hold Your Hand,’ ‘Ticket To Ride,’ ‘Yesterday,’ ‘Help!,’ ‘I Saw Her Standing There,’ and ‘All My Loving.’


By Posted on 0 , 13

Spring is here and Leeds play Chelsea tomorrow and Ringo and George and John and Paul are alive and well and full of hope. The world is still spinning and so are we and so are you. When the spinning stops – that’ll be the time to worry. Not before.” So ran the press release that announced the end of the Beatles on 11 April 1970, some time after they had actually broken up. It was written by Derek Taylor, a loquacious native of the Wirral who had served as their press officer in 1964, and again from 1968 until the end, when he headed the press department of Apple, their record company and doomed experiment in “western communism” .

Alongside their manager Brian Epstein and producer George Martin, Taylor – who was born in 1932 and died in 1997 – was one of the group’s inner circle whose comparatively advanced years and very English urbanity added to the sense that, however exotic their outward appearance, the Beatles kept one collective foot in a world of tea, biscuits and impeccable manners. He was working for the Daily Express when he and his wife Joan first saw the band, on a UK tour shared with Roy Orbison in 1963. “Though maybe at the ‘wrong’ end of that generation,” he later wrote, “we were nevertheless open thereafter to the possibilities of being truly young in heart.”

John Lennon honoured him with a mention in his pacifist anthem “Give Peace a Chance” (“Everybody’s talking ’bout … Derek Taylor, Norman Mailer, Allen Ginsberg, Hare Krishna”). In Philip Norman’s Beatles biography Shout! he is portrayed as a man in the heart of the storm who nonetheless managed to maintain a plentiful supply of decorum and basic humanity: “He was “amiable, sympathetic, polite to a degree which would ultimately seem miraculous.”

Unlike most of the hotshots who were then establishing what we now know as the global PR industry, Taylor had one big advantage: he could write. And in the late 60s and early 70s, he snatched time to record opinions that would not quite cohere into a memoir, but still evoke his dazzling working life and the era in which it happened. In his sparse, lyrical prose style, there are echoes of Joan Didion, another writer born before the so-called Love Generation, but who wrote about its rise and fall with authority.

As Time Goes By was first published in 1973, and has now been bolstered by an illuminating introduction written by the pop culture chronicler Jon Savage. Its narrative begins in 1964 and ends six years later. Along the way, Taylor relocates to Los Angeles (where he handled the media for the Byrds and the Beach Boys) before returning to participate in the Apple project. Of the endless procession of people who came to the press office, he writes: “No one left without something having been stuck into their mouth, be it tea, whisky, cigarette, joint or clenched fist.” Some waifs and strays stuck around: “Stocky McMullen was with us for about half a year, he sat mostly on top of a filing cabinet and drew fantasy pictures of penises eating each other.”

Inevitably, such fun would not last, and some of the best parts of the book are about the entry into the Beatles’ world of the notorious New York manager Allen Klein, brought in to stop Apple haemorrhaging money, in a move opposed by Paul McCartney but supported by his three colleagues – a schism that hastened the band’s demise. “Klein said he wouldn’t upset anything,” Taylor writes. “He would just rearrange it. So I wasn’t frightened because I thought that if it was going to be a rearrangement then that would leave me unmarked since I was always rearranging myself anyway. What I didn’t want to be was upset. Who needs upset? Then the firings began.”

There had already been auguries of these bad vibes, most notably in October 1968, when Lennon and Yoko Ono were busted for possession of marijuana by a gang of police officers overseen by Sgt Norman Pilcher, who was later jailed for corruption. The descriptions of these episodes are grimly fascinating: Lennon telling one of his closest confidants about what had happened with the bracing words “imagine your worst paranoia, because it’s here”; and McCartney cracking “the sort of jokes with which the best uncles seek to soften the horrors of the worst funeral”. Then “The evening papers arrived. ‘Lennon and Yoko’ was the main story. Not John any more. ‘Lennon’.”

The straight world was getting its revenge, but somehow Taylor maintained the hopeful, open disposition that defined everything he wrote. He had, after all, been at the heart of something so great that it was beyond imagination. “Did it all happen, all of it, or was it a dream?” he says at one point. “Like, was John once married to a girl from Hoylake, Cheshire? Did George actually sit in the Whisky A Go Go with the other three and Jayne Mansfield … throwing a whisky over Mamie Van Doren, or was it Coca-Cola? You must be joking. None of it ever happened.”



source:The Guardian


By Posted on 0 14

The Beatles’ animated film Yellow Submarine will return to theaters in the U.S. and Canada this summer for the 50th anniversary of the film’s original release. (The original Jan. 15 announcement only mentioned the U.K. and Ireland for a July 8 showing in “glorious surround sound” and “stunningly remastered” 4k.)
The Fab Four today (April 3) announced the film “is surfacing in theaters across North America in July 2018.”

It notes the “big-screen revival will give generations of audiences the golden opportunity to revisit Pepperland.”
Tickets are on sale soon, though no details are given yet on specific theaters, how to purchase, or whether the title will also be screened in other countries.
The film was originally released on July 18, 1968. It had its world premiere in London’s Piccadilly Circus the night before, with all four Beatles in attendance.
The one-day theatrical release will undoubtedly mean that the remastered title will also be released on DVD and Blu-ray.
From the Jan. 15 announcement: “Directed by George Dunning, and written by Lee Minoff, Al Brodax, Jack Mendelsohn and Erich Segal, Yellow Submarine began its voyage to the screen when Brodax, who had previously produced nearly 40 episodes of ABC-TV’s animated Beatles TV series, approached The Beatles’ manager Brian Epstein with a unique vision for a full-length animated feature.
“Yellow Submarine, based upon a song by John Lennon and Paul McCartney, is a fantastic tale brimming with peace, love, and hope, propelled by Beatles songs, including “Eleanor Rigby,” “When I’m Sixty-Four,” “Lucy in the Sky With Diamonds,” “All You Need Is Love,” and “It’s All Too Much.” When the film debuted in 1968, it was instantly recognised as a landmark achievement, revolutionising a genre by integrating the freestyle approach of the era with innovative animation techniques.

“Inspired by the generation’s new trends in art, the film resides with the dazzling Pop Art styles of Andy Warhol, Martin Sharp, Alan Aldridge and Peter Blake. With art direction and production design by Heinz Edelmann, Yellow Submarine is a classic of animated cinema, featuring the creative work of animation directors Robert Balser and Jack Stokes with a team of animators and technical artists.”
“I thought from the very beginning that the film should be a series of interconnected shorts” remembers Edelmann. “The style should vary every five minutes or so to keep the interest going until the end.” These styles included melding live-action photography with animation, 3-dimensional sequences and kaleidoscopic “rotoscoping” where film is traced frame by frame into drawings. The entire process took nearly two years, 14 different scripts, 40 animators and 140 technical artists, ultimately producing a groundbreaking triumph of animation.