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THE BEATLES ANNOUNCE 50th ANNIVERSARY ‘YELLOW SUBMARINE’ COMIC BOOK IN 2018

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‘The Beatles: Yellow Submarine’ Coming to Comics in 2018

The Apple Corporation has, in celebration of the groundbreaking film’s upcoming 50th anniversary, announced a comic book adaptation of Yellow Submarine. The comic book, which will be distributed by Titan Comics, is slated for release in 2018.
“We’re thrilled to be publishing The Beatles: Yellow Submarine for the 50th anniversary of this fantastic movie,” Titan publishing director Chris Teather told “We can’t wait for Beatles fans to experience this official adaptation.”

 
Bill Morrison, the incoming editor of MAD Magazine, wrote and illustrated The Beatles: Yellow Submarine. The comic book, like the film, will follow the Fab Four as they battle the Blue Meanies while journeying in the titular vessel.

In time for the 50th anniversary of the Beatles’ beloved animated movie Yellow Submarine, Titan Comics will release an all-new comic book adaptation of the feature.
The movie, originally released in July 1968, saw animated versions of Paul, John, George and Ringo led to Pepperland by Captain Fred in an attempt to rescue it from the menace of the music-hating Blue Meanies. A mix of psychedelia and straight-forward animation that featured unreleased Beatles tracks and a cameo from the live-action band themselves, Yellow Submarine went on to become both critically acclaimed — it received a New York Film Critics Circle Special Award in 1968 — and warmly embraced by fans.
One of those fans is responsible for next year’s comics edition. Bill Morrison, the longtime Bongo Comics creator and newly announced incoming editor of MAD Magazine, will write and illustrate the special edition, fulfilling a decades-held dream in the process. (Some pages from Morrison can be seen below.)
“We’re thrilled to be publishing The Beatles: Yellow Submarine for the 50th Anniversary of this fantastic movie,” Chris Teather, publishing director at Titan Comics, said about the new book. “We can’t wait for Beatles fans to experience this official adaptation.”
The deal between Apple Corps Ltd. and Titan Comics was negotiated by Bravado International, which handles licensing for the Beatles in North America. In addition to the Yellow Submarine comic adaptation, Titan’s collectibles arm Titan Merchandise will also be releasing a line of Titans vinyl collectibles based on the movie. The “All Together Now” collection features two versions of the band, as well as Blue Meanies, the Apple Bonker and the Four-Headed Bulldog, and will hit stores later this month.
 
 


THE BEATLES ARE ON TOP OF THE BEST SELLING VINYL LIST OF 2017

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In the first half of 2017, vinyl continued to be the only format of music where sales rose, though a quick look at the titles that are performing the best shows that the wax record buyer isn’t necessarily the same person who is watching the chart and keeping up on the biggest hit singles.
The bestselling vinyl album in the first six months of 2017 is: The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. The legendary title, widely regarded as one of the best albums ever recorded, is 50 years old this year, and yet the public simply can’t get enough of it. To celebrate half a century, the British band released a remastered, remixed version of one of its most successful full-lengths, and that new item helped Sgt. Pepper’s rise on charts all around the world, Sgt. Pepper’s Lonely Hearts Club Band hit No. 1 on the U.K. albums tally and it broke into the top five yet in United States. Many true Beatles lovers opted to pick up a copy of the newly-updated collection on vinyl, as the record has sold 39,000 copies in the U.S.

The jazzy La La Land soundtrack comes in a close second place, just a few thousand units behind The Beatles. Guardians of the Galaxy: Awesome Mix Vol. 1 is in third place.Catalog records make up the rest of the top five, as Bob Marley’s best of collection Legend and Amy Winehouse’s breakout blockbuster Back To Black sit comfortably at Nos. 4 and 5, respectively.

The Beatles are the only act that appears twice on this listing, as Abbey Road comes in seventh place, right behind Ed Sheeran’s Divide, which is the bestselling album of 2017 so far (when all formats are taken into consideration), though not the bestselling vinyl album.


GEORGE: THE TRIP TO INDIA

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When George took a trip to India he returned with experience, insight and a bunch of fish-eye selfies

In 1966 George took a trip to India, and what resulted was an array of picturesque fish-eye selfies that perfectly capture that eastern tangent to The Beatles’ discography.
Besides the fact that there is actually a compilation of George Harrison selfies in existence, it’s the shots themselves that that are so remarkable.

Using naught but lens, angle and exposure without effects, editing or adjusting, George Harrison’s 1966 selfies have a natural psychedelic feel.

The trip itself acted as major inspiration to The Beatles sound, ultimately transforming music forever, with the introduction and popularising of the sitar amongst pop music, thanks to the legendary Ravi Shankar.

The perfectly serene, scenic backdrops are bursting with life, showing a raw documentation of what inspired Harrison’s music to transform.

A couple of things we can take away from this is that these photographs are the very evidence of Harrison documenting his revolutionary journey of both musical and self discovery


ON THIS DAY IN BEATLES HISTORY

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1963
Number 5 Studio, BBC Maida Vale Studios, London. 6.30-9.30pm. Recording for BBC’s ‘Pop Go The Beatles’: ‘Pop Go The Beatles’; ‘That’s Alright Mama’; ‘There’s A Place’; ‘Carol’; ‘Soldier Of Love (Lay Down Your Arms)’; ‘Lend Me Your Comb’; ‘Clarabella’; ‘Pop Go The Beatles’; ‘Three Cool Cats’; ‘Sweet Little Sixteen’; ‘Ask Me Why’.
Only BBC take of ‘That’s Alright Mama’.

Dezo Hoffmann’s ‘A Day In The Life Of The Beatles’ sessions: 1) Room 114, Hotel President; 2) Reception area, Hotel President; 3) Guildford Street, walking towards Russell Square; 4) Russell Square Gardens; 5) Rupert Street (buying bananas at a stall on the corner at 5-7 Brewer Street); 6) Dougie A. Millings and Son, tailors; 7) Delicatessen Shop; 8) Shirtmaker Mr A Maknyick’s shop; 9) Rupert Court; 10) Buying ice cream at Kontact cafe; 11) 27 Wardour Street, in front of the Garner’s restaurant; 12) Dezo Hoffmann’s studio (to take portraits of John and George).

1965
Arrival in Madrid. Concert at the Plaza de Toros de Las Ventas, Madrid, with the Pekenikes as support act.

1966

The Beatles performed their last two shows at the Nippon Budokan Hall in Tokyo, Japan.They performed five times in total at the venue over three days.
Each of the shows was seen by 10,000 fans.The Beatles performed an 11-song set, the same one used throughout their 1966 tour: Rock And Roll Music, She’s A Woman, If I Needed Someone, Day Tripper, Baby’s In Black, I Feel Fine, Yesterday, I Wanna Be Your Man, Nowhere Man, Paperback Writer and I’m Down. From Japan, The Beatles send a telegram to EMI with their final decision concerning next LP’s title: ‘Revolver’. ”Yesterday’… And Today’, 2nd week in the Top 30 (Billboard).

Brian signs Lomax Alliance to Nemperor Artists.

The Beatles on stage at Tokyo´s Budokan Hall, from left to right Paul McCartney, George Harrison and John Lennon, Japan. July 1st 1966. (Photo by Robert Whitaker/Getty Images)

1967
Brian’s two-house Sunday presentation at the Saville Theatre, featuring Cream, Jeff Beck and his group, and John Mayall’s Bluesbreakers. 3rd and last concert of the Monkees at the Empire Pool, Wembley, presented by NEMS Enterprises.

1968
Studio 2. 6.00pm-12.15am. Recording: ‘Good Night’ (overdub onto take 5, takes 6-15). Producer: George Martin; Engineer: Peter Bown; 2nd Engineer: Richard Lush. Lazard Brothers & Co., merchant bankers, London. Paul and Sir Joseph Lockwood lunch in the dining-room with Lord Poole of Lazard’s, discussing Apple matters.

1969
Studio 2. 3.00-9.30pm. Recording: ‘Her Majesty’ (takes 1-3); ‘Golden Slumbers’ (working title of ‘Golden Slumbers’/’Carry That Weight’) (takes 1-15). Producer: George Martin; Engineer: Phil McDonald; 2nd Engineer: Chris Blair. The Official Beatles Fan Club runs several clubs derived from the main one.
Cynthia takes Julian from the hospital and takes him to Greece.

1996
10.45pm Eastern Standard Time, USA. Premiere of restored version of ‘Help!’ on AMC (American Movie Classics)


WHY THE BEATLES’ “SGT.PEPPER” HASN’T SHOWN SIGNS OF AGING

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The Beatles’ illustrious eighth album, “Sgt. Pepper’s Lonely Hearts Club Band,” lends itself to anniversary celebrations. The central conceit of the album is that of a twentieth-anniversary concert by a once famous musical group that has returned from the oblivion of pop history to “raise a smile” on the faces of its aging, nostalgic fans. At the time John Lennon and Paul McCartney wrote that opening number, twenty years must have seemed like an eternity to them: more than enough time for a pop sensation like the Beatles, say, to fade from living memory.

As the recent media blitz of tributes surrounding the fiftieth anniversary of “Sgt. Pepper” illustrates, the Beatles and their alter egos in the Pepper Band are still very much with us––not least because “Sgt. Pepper,” more than any other single work, was responsible for generating the aura of artistic legitimacy that would institutionalize the presence of rock music in the mainstream of modern culture. The album inspired an unprecedented outpouring of reviews, cover stories, and sober cultural commentaries in newspapers, mass-circulation magazines, and highbrow literary journals, many of which had never covered rock as an artistic phenomenon before. “The Beatles are good even though everyone already knows that they’re good,” the composer Ned Rorem declared in The New York Review of Books, at the end of 1967, slyly acknowledging the way the group had transcended the limits of both condescension and connoisseurship. Rorem had already told Time magazine that “She’s Leaving Home,” the mock-Victorian parlor ballad on the first side of “Sgt. Pepper,” was “equal to any song that Schubert ever wrote.” Portentously titled “The Messengers,” Time’s cover story went on to enlist a chorus of well-known conductors and composers, such as Leonard Bernstein and Luciano Berio, in singing the praises of the Beatles’ music. The New Yorker greeted “Sgt. Pepper” with a “Talk of the Town” piece written by its editor, William Shawn, who posed as a “professorial-looking” Times Square record-store patron named “Lawrence LeFevre,” to extoll the album as “a musical event comparable to a notable new opera or symphonic work.”

Predictably, the acclaim that was heaped on “Sgt. Pepper” in the summer and fall of 1967 inspired a critical backlash. Richard Goldstein’s tone-deaf dismissal of the record as “an album of special effects, dazzling but ultimately fraudulent,” in the Times, inspired a firestorm of angry letters to the editor, which the paper published for weeks on end. But the most prescient criticism came from the British critic Nik Cohn, who agreed that “Sgt. Pepper” “was genuinely a breakthrough,” but complained that “it wasn’t much like pop. It wasn’t fast, flash, sexual, loud, vulgar, monstrous, or violent.” Cohn’s words presaged the rise of punk, which emerged, a decade later, as a corrective to the rock-as-art pretensions that “Sgt. Pepper” represented. “The Beatles make good music, they really do,” Cohn concluded, “but since when was pop anything to do with good music?”

It is now possible to see “Sgt. Pepper” as the hallmark of an era, which reached from the mid-nineteen-sixties to the mid-nineteen-seventies, when pop had a lot to do with good music––when some of the most profound and provocative music being made was also some of the most popular and commercially successful. This ten-year apotheosis of rock and soul was the result of a unique convergence of culture, commerce, and technology, in which the interplay of African-American and Anglo-American talent that had shaped the sound of popular music in the U.S. and Britain since the mid-nineteenth century was supercharged by the advent of multitrack recording, which turned studios into compositional laboratories and allowed musical artists to exert an auteur-like sovereignty over their work. At the same time, the advent of stereo records and FM broadcasting gave these artists the medium they needed by turning long-playing albums, rather than three-minute singles, into the commercial basis of pop.

Though “Sgt. Pepper” was hailed as a marvel of technical innovation upon its release, multitrack recording was still in its infancy in 1967, and the album was made using a jerry-rigged system of patched-together tape decks that required each layer of instruments and voices to be premixed and rerecorded in order to make room for additional overdubs. In the process of these so-called “reduction mixes,” the presence and clarity of the basic tracks were significantly compromised. Stereo records were still an anomaly in Britain at the time—so much so that the Beatles themselves did not bother to participate in the stereo mixes of the album, which were done mainly for the American market. Minor improvements were made when “Sgt. Pepper” was remastered by the Beatles’ producer George Martin in the nineteen-eighties, for release as a CD. But, for the past half century, “the act you’ve known for all these years” has come to us in a rather crude stereo format that placed the voices and instruments on one side or the other with precious little in between.

George Martin died in 2016, but his son Giles had worked with him for the last decade of his career, during which he assimilated a great deal of his father’s expertise, ingenuity, and impeccable musical taste. In preparing the silver-anniversary edition of “Sgt. Pepper,” Giles, with the full consent of the surviving Beatles, drew on the archives of EMI’s Abbey Road Studios to exhume the original, unreduced tapes, which were recorded during the marathon sessions that ran through the winter and spring of 1967. He digitized these tracks, fed them through a modern mixing board, and then, using the Beatles-approved mono mix as a guide, recast the album in true stereo. For Beatles enthusiasts who can’t get enough, the new reissue of “Sgt. Pepper” is also available in a deluxe package that includes a generous selection of outtakes, which provides a fascinating glimpse of the empirical process by which the Beatles went about their work.

On the occasion of the album’s fiftieth anniversary, how does this refurbished version of “Sgt. Pepper” hold up? The famous cover photograph, staged by the Pop painter Peter Blake, now looks as dated as the Edwardian-era portraiture it was meant to satirize. Yet, for all its identification with Swinging London, the Haight-Ashbury, and the Summer of Love, the album effortlessly transcends the bounds of its historical moment. As Ned Rorem might have said, “Sgt. Pepper” is a masterpiece even though everyone already knows that it’s a masterpiece. The giddy, glad-handing promise of pop (“We’d love to take you home with us!”) still exerts its seductive power over the popular imagination. And the world is still full of girls like the ethereal “Lucy in the Sky” and the earthy “Lovely Rita,” desperate daredevils like Mr. Kite, and cheerfully reformed domestic tyrants like the one in “Getting Better.” The experience of immersing oneself, as a listener, in the rich stylistic swirl of satire, sentiment, and sensation of the Pepper Show, only to be torn from it, at the very end, by the sublime majesty of “A Day in the Life,” on which the Beatles abandon the gaudy self-assertion of their Pepper Band personae to expose the deep well of alienation and vulnerability that lies behind the mask of the crowd-pleasing entertainer––none of this has lost its power to astonish, enlighten, and delight.

source:newyorker


LIVERPOOL’s BEST-KNOW LAWYER REX MAKIN PASSES AWAY

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Rex Makin – one of Liverpool’s best-known personalities – has died. The 91-year-old lawyer passed away in the last 24 hours. Mr Makin, who was known for his philanthropy, had been increasingly frail in recent years. Confirming the news on Twitter, Liverpool Mayor Joe Anderson said today: “Sorry to hear of the death of colourful character and Freeman of the City, Rex Makin. “The flags will at half mast.”
This morning staff at his office in Whitechapel declined to comment.
A source close to Mr Makin said everybody who knew the solicitor was “devastated” by his death. Robin Makin, his son and a lawyer at his dad’s firm, said he was unable to comment. Mr Makin, whose first name was actually Elkan, for many years wrote a weekly column for the ECHO. He practised law for more than 60 years and was involved with the Beatles’ early career and also the Hillsborough and Heysel disasters.

Rex Makin making a statement to the press outside the home of Epstein following his death,Belgravia,London, August 28th 1967

Mr Makin was the family solicitor to Brian Epstein, who in 1963 sought his advice on setting up a perpetually binding contract between himself and the Beatles. He was also credited with creating the term Beatlemania.

He was also involved in the Knowsley Hall murder case – in which Lady Derby was shot – the Walton sextuplets, and successfully appealing the conviction of George Kelly, a young Liverpool labourer hung at Walton jail in 1950.

Mr Main also provided legal advice to a variety of celebrities and sports personalities including John Lennon, Gerry Marsden, Bill Shankly, Anne Robinson, Ken Dodd and Carla Lane.
In 2003 he was appointed a Freeman of the City of Liverpool, the first solicitor to receive that honour.
At that time, he said: “The ordinary people of Liverpool and I have had a long love affair. I’ve been there in all their disasters and most of their triumphs.”