- I think life is whatever you make of it
- I'm a jack of all trades, master of none
- I make a lot of friends, and I like to keep up those friendships - my social life can get crazy sometimes
- I prefer to just get along and avoid conflict if I can
- I love to party and have a good time
- People find me easy to be around
- I'm fairly practical and down-to-earth
- I have a hard time saying "no"
- I enjoy the simple things, because I make them fun
- I have a natural charisma, and people find me very approachable
- I'm very appreciative and grateful - I'm lucky just to be here
- I think I'm just a "regular" person, and that's ok with me
- I do a steady and consistent job - which means I often get overlooked and don't get the credit I should
- I don't get stressed out very easily, because I don't take things too seriously
- People sometimes see me as flippant, but I don't think I am
- I'm a funny person, but my "safe" sense of humor doesn't offend people
- I appreciate the stability of family life
- In my romantic life, I often tend to choose good looks over substance
- I'm an affectionate person
- I can sometimes be a pushover, but I do have my limits
- I might cheat on my partner for a one-night "fling" to have a little fun, but never at the risk of hurting someone
- I'm very consistent in who I am and what I do
- I don't always take the initiative or go above and beyond the call of duty - I like moderation
- I enjoy the good life, but I don't live beyond my means - money can't buy me fun
- I thrive on communication and camaraderie
- I can't change the world, so I'd prefer to work on myself
- I like to see the results of my actions and choices
- I'm highly tolerant of other people, and I'm content to let them live how they want
- I am content with what I have, as long as I have the three F's: friends, family, and fun
- You can search for cosmic meaning if you want - I'll be at the bar, having a drink
- I like bad movies and greasy food
- I think I'm cute - not necessarily "hot," but I'm ok with that
- I don't mind being trendy, if I can afford it
- I can enjoy just about anything - any book, any movie, any music, I see the value in all of it
- I really do get by with a little help from my friends
- I can get into an expensive wine if that's what you're offering, but cheap beer is fine, too - let's go shoot some pool
- I might have a bit of an inferiority complex - I hope you won't stand up and walk out on me if I sing out of tune
- Sometimes the choices that we make will break our hearts, but there are no mistakes
- My philosophy of life is simple: get along with people, keep the peace, show lots of love
- You ask "why?", but I ask "why not?"
Wednesday, August 18, 2010
Beatleology: The "Ringo" Profile
Beatleology: The "George" Profile
- I like to think before I speak
- I show different sides of my personality, depending on who I'm with
- I like having deep, intimate conversations
- I'd rather read a book than go to a movie
- I like to have a lot of control over my life
- You can do what you want, I don't mind - as long as it doesn't impact me negatively
- I am a hard worker, but I do have my limits
- I'm pretty easy-going, but I can assert myself if I need to (which isn't often)
- I'm very perceptive, and I can quickly see people for who they are at their core, underneath the masks they wear
- I like to have a plan and I like stay on schedule
- I need order and predictability in my life - spontaneity is fun once in a while, but shouldn't be the norm
- I don't like to take risks, I prefer a safe and sure thing
- I'm not always self-confident or secure - it takes time to get to know me
- People see me as the voice of reason and a good listener
- I am very analytical, and can easily break down complex things into their smaller, component parts
- I have a cynical and sarcastic sense of humor, but I keep a lot of it to myself (unless you know me well)
- I prefer to have things done my way, but I won't usually insist on it
- I am highly creative, but I might not show you my work if I'm not sure you'll like it
- I'm very insightful, but I'll probably keep my opinion quiet until I'm asked
- It's important to be diplomatic and not rock the boat
- The world is a strange place, and I see a lot of absurdity and irony in it
- I prefer good wine or "classy" liquor over cheap beer
- I would like to be recognized for my work, but I'd rather you point it out than draw attention to it myself
- I prefer to be indirect and passive-aggressive
- I like to project an image of independence and having things under control, and it's hard for me to ask for help or admit that I'm struggling
- I can easily step back from a situation and view it objectively
- I hate trends and the unoriginality of the "mainstream"
- I'm very dependable and stable in a romantic relationship
- I like to express my love in romantic ways (I said "romantic," not "over the top")
- I need stability in life, and I find that stability in my love life and my family life
- I often need a few moments alone to recollect and re-charge
- I like to work ahead of schedule if I can, so I don't have to worry and can just relax
- I can get dark and moody sometimes, and when I do, "leave me alone, don't bother me"
- I like to be efficient, but for some reason, I sometimes over-complicate things
- I like intelligent humor, especially if it gets a bit abstract and surreal
- I'm introspective and always on a self-improvement journey - it's all within yourself, no one else can make you change
- There are some people standing around who'll screw you in the ground
- Sometimes I feel hung up, and I don't know why - but I don't mind too much, because all things must pass
- With every mistake, we must surely be learning
- All the world is birthday cake, so take a piece - but not too much
Beatleology: The "Paul" Profile
- I am generally very optimistic about everything
- I enjoy being part of the next trend and fad
- I like to be fashionable
- I love being the center of attention
- It is important to me that I express myself
- I am aggressive, and I know how to assert myself
- I can sometimes be too critical of other people
- My professional/public image is not necessarily who I really am in private
- I am very vocal about things
- I have a lot of energy
- It really want to be successful and reach the top
- I am fairly competitive
- In general, I'm quite confident in myself
- How does it feel to be one of the beautiful people? It feels great!
- I have a highly developed sense of intuition
- I have perfectionist tendencies - I don't mind re-doing something over and over until it's right
- I'm sentimental
- What you think is "corny," I think is "cute"
- I know I'm looking good, and I don't mind using that to my advantage when I need to
- I like to repeat funny jokes I've heard
- I prefer to keep things light
- To lead a better life, I need my love to be here
- I feel incomplete in some ways if I'm not romantically involved with someone
- Believe in love at first sight? I'm certain that it happens all the time!
- "Happy ever after" is not only the ideal, it's entirely possible
- I believe in the traditional family and traditional roles
- I love consistency
- I need love and affirmation on a regular basis
- I need to show my partner love and sentimental feelings on a regular basis
- I might be a bit domineering once in a while, but I only have the best of intentions
- My work is important work, and I work hard at it - and I will remind you of that repeatedly
- I am enthusiastic about my job
- I have an opinion on just about everything, and I don't mind telling you what it is
- I feel best about myself when I'm accomplishing something
- Everything is going to be alright - it will all work out in the end
- There is such a thing as right and wrong, and right will win out eventually
- I've got to admit, it's getting better all the time
- I'm in love, and it's a sunny day!
- If you try to see it my way, I'm sure we can work it out
Beatleology: The "John" Profile
- I'm very creative
- I'm a deep thinker
- I like to push the boundaries
- I have a hard time being criticized
- I think the world is unfair and full of hypocrisy
- I think the world is going to hell in a handbasket, but I think (I hope) I can change that
- I like to be the center of attention
- I sometimes hide behind humor
- People find me very engaging
- I hate trends and fads
- I have a great capacity for empathy
- I feel misunderstood a lot
- I can be very tender and sensitive
- I can get angry quite easily
- I sometimes feel restless and have a hard time sleeping
- The very existence of stupid people offends me
- I love dark and cynical humor, but sometimes people find my humor is too biting
- I like to challenge people
- I love making people laugh
- I feel a bit insecure
- I like to be noticed
- I can sometimes be co-dependent
- When I fall in love, that relationship dominates my attention and nothing else matters
- If I don't care about something, I don't hesitate to show my apathy
- I am highly affectionate and I like physical contact
- I don't confide in my friends, I confide in my family
- I use my home as a sanctuary from the world, but sometimes my home and family can be too suffocating for me
- I hate feeling tied down
- I can sometimes be very inflexible
- I take my work very seriously and I work hard
- I can tend to be moody
- People think I have a superiority or Messiah complex
- I'm very intelligent (maybe even a genius)
- I want a romantic partner who will challenge me
- I don't like "traditional" roles in a relationship
- Love really is all you need
- Nothing is real, and certainly nothing to hung about
- Life was so much easier when I was young
- You might say I'm a pessimist - I say I'm just being realistic
Wednesday, July 28, 2010
Beatles Survey
Monday, July 19, 2010
I Don't Know Why You Say Goodbye
On April 10, 1970, the Daily Mirror contained a news article that would shock its readers; the opening sentence of the article simply said, “Paul McCartney has quit The Beatles.” After ten years, “the biggest, most successful act the world had ever known was breaking up.” (Miles, 1997, p. 574). What were the causes behind the break-up? Why would four young men who were arguably at the peak of their fame, their creativity, and their success choose to go their separate ways? In the immediate wake of the news, the idea become quite popular, championed as it was by the Beatles' own biographer, Hunter Davies, that Yoko Ono (John Lennon's second wife, whom he married in early 1969) was responsible for the break-down of the band. As is the case in any break-up, however, we are dealing with the dissolution of a relationship (or, in this case, relationships), and rarely can such an emotional unraveling be neatly categorized and blamed on one person. The Beatles broke up for several reasons: because their founder and leader, John Lennon, lost interest in the group; because John Lennon, having lost interest in the band, became wholly preoccupied with Yoko Ono; because Paul McCartney stepped in as the “de facto leader of the group” (Miles, 1997, p. 563), and his over-bearing, dominant personality irritated the others; because their manager died, and they fought bitterly over the appointment of a new manager who was brought in to handle their business affairs; because each of the Beatles individually had grown apart and found their own interests outside of the group. We will consider each of these causes in their turn.
Brian Epstein had been the manager for the Beatles from the beginning of their rise to fame in Britain, and can be given a great deal of credit for shaping their image and giving them the extra edge that they needed in order to become famous. On August 27, 1967, Epstein died from a drug overdose, and many Beatles historians pin-point this event as the moment when the group began to come apart. Ray Coleman, biographer for both Paul McCartney and John Lennon, writes, “things had begun to go awry for the Beatles after the accidental death, at thirty-two, of their manager, Brian Epstein” (Coleman, 1996, p. 96). Barry Miles concurs, stating that John Lennon's “dissatisfaction with the group seemed to go as far back as the death of Brian Epstein,” after which, Lennon “lapsed into a state of lethargy ... sitting around watching television, reading the papers, smoking pot or tripping” (Miles, 1997, p. 562). Part of Lennon's “lethargy” may have been the result of McCartney's blossoming creativity and natural leadership skills. Just prior to Epstein's death, the group had released their iconic “summer of love” album, Sgt. Pepper's Lonely Hearts Club Band, an effort which one author describes as “essentially McCartney's idea”, even going so far as to say, “it is surprising in many ways that Pepper does sound like a Beatles album, rather than a McCartney solo project” (Egan, 2009, p. 141). Of this period in the group's history, Lennon said, “Only when I became self-conscious and inhibited ... did Paul start dominating the group a little too much for my liking” (Sheff, 2000, p. 175). Already, then, the key components of the break-up were coming to the forefront by 1967: the Beatles lacked a manager, McCartney was beginning to dominate the group's creative efforts, and Lennon was losing interest in being a contributor.
In 1969, the Beatles finally made an effort to fill the void left by Epstein's death, but this too became a point of contention. Lennon wanted to hire the hard-ball-playing, brash American businessman Allen Klein to manage his personal business affairs, and George Harrison and Ringo Starr were content to let Klein manage the Beatles as a group as well. McCartney, however, “was familiar with Klein's reputation and wanted no part of it” (Spitz, 2005, p. 820). Paul had already been alerted to “the case pending against Klein by the American tax authorities, which did not inspire confidence” (Miles, 1997, p. 544). Complicating matters was the fact that McCartney had become involved with a young woman named Linda Eastman, whose father, Lee Eastman, was a successful and well-known lawyer. McCartney wanted Lee Eastman to manage the group, but because of the apparent conflict of interests, Lennon “suspected that the Eastmans would give Paul an unfair advantage over him” (Spitz, 2005, p. 804), and would not agree to McCartney's proposal. Lennon biographer Philip Norman says of the conflict, “John would not back down, and Paul could not” (Norman, 2008, p. 590), adding that “this first-ever real quarrel between them was to prove fatal” (Norman, 2008, p. 591). In many ways, it was fatal. The other three Beatles out-voted McCartney, and Klein was made the new manager; McCartney simply stopped showing up at the Beatles-owned Apple business offices for work.
It would be a mistake, however, to place too much emphasis on the internal conflicts over business affairs and management. Already by the time Klein was hired to manage the Beatles, there was a tangible rift in the group. Ringo Starr had already walked out on the group during the recording sessions for the popularly-titled White Album, but the other three convinced him to return after a few weeks; George Harrison, too, had made a dramatic exit during the filming and recording of the Let it Be album, “tired of the uncomfortable conditions and, as he saw it, being bossed and bullied by Paul” (Norman, 2008, p. 583). McCartney's tendency to be over-controlling in the studio was becoming too much for Harrison, who “felt he absorbed more than the others what an insufferable dictator Paul had become, instructing him exactly what to play, as well as how and when to play it” (Spitz, 2005, p. 808). There are two sides to every story, of course, and McCartney has since admitted to these faults, but with subtle shades of justification: “Yes, okay, in the studio I could be overbearing ... I wanted to get it right!” (Miles, 1997, p. 579) Rather than sacrifice musical quality, McCartney pushed the group hard in the studio, even at the risk of appearing domineering: “Looking back on it, I think, Okay. Well, it was bossy, but it was also ballsy of me, because I could have bowed to the pressure” (Miles, 1997, p. 467). To be fair, however, McCartney's driving perfectionism was only one component that caused tension in the studio. Egan writes of the Let it Be sessions, “It has long been the assumption that Harrison ... walked because of what he felt to be McCartney's insufferable bossiness but more recent suggestions have been made that in fact George was infuriated by the fact that Lennon seemed more interested in his wife than the band” (Egan, 2009, p. 188).
It wasn't only Lennon who was losing interest in the band, however. With the launch of their new Apple recording label, both McCartney and Harrison were getting involved with other recording artists, helping to produce albums and sitting in with other groups as session musicians. They were finding out what it was like to collaborate with artists other than the Beatles, and they were enjoying it. Lennon was beginning to branch out into new avant-garde recording projects with Yoko. Ringo “had been building a solo career in films and getting a taste for a life where he was his own man” (Miles, 1997, p. 537). Reflecting on this state of affairs, Linda McCartney said, “Everybody was obviously growing up and growing away a bit. The Beatles was Paul's job; he and John were a creative team, but John was with Yoko. Paul never had any time alone with John” (Miles, 1997, p. 513).
Yoko's part in the break-up of the Beatles has been exaggerated, perhaps, but it cannot be denied that her appearance in Lennon's life did have significant negative ramifications for the unity of the group. Her impact, however, must be understood in the context of Lennon's own growing apathy and dissatisfaction with the band. Spitz sums it up quite neatly when he says that Lennon's “collaboration with Paul was over … The Beatles' music no longer intrigued him. Yoko offered John a way out” (Spitz, 2005, p. 797). Lennon's childhood friend, Pete Shotton, recalls John's simultaneous enthusiasm for Yoko and lack of interest in anything that was not Yoko after spending just one night with his new muse: “Pete, this is what I've been waiting for. All. My. Life. I don't give a fuck about the Beatles ... I don't give a fuck about anything. I'm going to go and live with Yoko, even if it means living in a tent with her, I'm going” (Spitz, 2005, p. 765). Lennon was obviously already unhappy being “Beatle John” by the time he met Yoko, but he credits her with giving him the extra push that he needed to separate himself from the group: “Yoko … gave me the inner strength to look more closely at my other marriage. My real marriage. To the Beatles, which was more stifling than my domestic life” (Miles, 1997, p. 562). George Harrison would later reflect, “I don't think [John] wanted much to be hanging out with us ... and I think Yoko was pushing him out of the band” (Spitz, 2005, p. 813).
For Lennon, it was a question of loyalty. He had found the love of his life in Yoko, and he felt it was time to grow up and leave his youthful “boy's club” behind. In an interview with Playboy magazine, Lennon famously opined, “When I met Yoko is when you meet your first woman and you leave the guys at the bar and you don't go play football anymore and you don't go play snooker and billiards ... The old gang of mine was over the moment I met [Yoko]” (Sheff, 2000, p. 48). It was a simple as that, for John; he was done being a Beatle, and he was ready to give his new love interest his full and undivided attention. The transition between these two phases of Lennon's life became the context for the most traumatic conflicts within the group. Yoko never left John's side, which meant that for a time, until the Beatles dis-banded, she effectively became an honorary Beatle (much to the irritation of the other three). In the recording studio, Yoko sat next to John, “ordering Mal Evans to fetch her food and drinks and, worst of all, adding her unasked-for comments and musical suggestions” (Miles, 1997, p. 491-492). Spitz paints an even more incredible picture: “There wasn't anywhere he went that she didn't follow. If John entered the control room to speak with George Martin, Yoko accompanied him. If he huddled with Paul regarding a song or arrangement, Yoko joined the discussion ... Studio grunts watched in amazement as she followed John into the bathroom” (Spitz, 2005, p. 778). During the recording session for what would prove to be the Beatles last album, Abbey Road, Yoko had been injured in a car accident and had been ordered by her doctors to stay in bed. This posed no problem in terms of her presence at the recording sessions, however, because “a huge double bed was delivered to the studio by Harrods and Yoko [was] installed in it with a microphone suspended above her face in case she had any comments to make” (Miles, 1997, p. 552). How did the other Beatles react to this unprecedented situation? Spitz pulls no punches in his assessment, saying, “No matter what they said over the years as a show of unity or to soothe injured feelings, Paul, George, and Ringo absolutely hated Yoko's intrusion” (Spitz, 2005, p. 784). McCartney in particular remembered, with some hint of aggravation still present in his tone, that when Yoko “referred to the Beatles, she called them 'Beatles': 'Beatles will do this. Beatles will do that.' We said, 'The Beatles, actually, love.' ... I mean, she even took our personal pronoun off us, you know?” (Miles, 1997, p. 492)
They were fighting over management; they were becoming resentful of each others' personality traits; they were becoming interested in individual ventures; they were growing apart and going in different directions; even in the studio, their formerly impenetrable and private sanctuary, they could not get along. It was obvious that the group was headed for an irreparable splintering, and on September 20, 1969, “Lennon amazed his colleagues at an Apple board meeting by telling them he was leaving The Beatles” (Egan, 2009, p. 199). Because they had just signed a contract extension, the Beatles kept quiet about the break-up for many months. McCartney went to work on a solo album, and when he released review copies of the project in April of 1970, he included promotional notes in the form of a “self-interview” which effectively let the cat out of the bag. Citing “personal differences, business differences, musical differences” and “most of all because I have a better time with my family”, McCartney announced to the world that the Beatles were no longer a group entity, and would not be working together again. This led to the perception, as indicated in the Daily Mirror quote found at the beginning of this essay, that it was McCartney who had broken up the Fab Four, when in fact, it was Lennon who had pulled the plug, as McCartney himself would later admit: “It was John that broke the Beatles up” (Miles, 1997, p. 566). Lennon readily concurred, stating, “I started the band. I disbanded it. It's as simple as that” (Miles, 1997, p. 562).
In the end, why did the Beatles break up? They broke up because the man who had founded the group and been their leader since the late 1950s no longer wanted to be a part of the band. John Lennon lost interest in the enterprise known as the Beatles, and without John Lennon, the Beatles could no longer exist. When John disconnected himself emotionally from the group, he found a ready-made escape route in Yoko Ono, which left a creative void that Paul McCartney naturally filled, but with too much micro-management and perceived “bossiness” that turned the others off. When it finally came time to hire a new manager to run the group's affairs, they found the hill on which they would eventually die, the “straw that broke the camel's back,” so to speak. The Beatles broke up because they grew apart. The Beatles broke up because they grew up. The Beatles broke up, finally, because they ceased to be a united entity internally, and a house divided can never stand for very long.
References
Coleman, R. (1996). McCartney Yesterday ... and today. Los Angeles: Dove Books.
Egan, S. (Ed.). (2009). The mammoth book of the Beatles. Philadelphia: Running Press Book
Publishers.
Miles, B. (1997). Paul McCartney: many years from now. New York: Henry Holt and Company.
Norman, P. (2008). John Lennon: the life. New York: HarperCollins Publishers.
Sheff, D. (2000). All we are saying: the last major interview with John Lennon and Yoko Ono.
New York: St. Martin's Griffin.
Spitz, B. (2005). The Beatles: the biography. New York: Bay Back Books.
Magical History Tour: July 19, 1968
Friday, July 9, 2010
Magical History Tour: July 9, 1969
Wednesday, July 7, 2010
Magical History Tour: July 7, 1940
Tuesday, July 6, 2010
Beatleology in Love
Magical History Tour: July 6, 1964
Thursday, July 1, 2010
We Can't Work it Out: 10 Keys to a Non-Productive Argument
Tuesday, June 22, 2010
Yeah, I Need Love
Never Forget ...
Saturday, June 19, 2010
A Message from the Master and Commander
McBoaty wanted me to tell you "good morning," and to remind you that it's usually best if you just keep to the lake. As a follow-up word of wisdom, McBoaty would like to add that you will need to have a berth if you want to get to sea. Oh, and Uncle Albert, if you're out there reading this, McBoaty wanted you to know that we are still sorry, especially about that nasty incident with the kettle.
Friday, June 18, 2010
Indicate Precisely
Happy Birthday, Sir Paul McCartney
Magical History Tour: June 18, 1942
Friday, June 11, 2010
The Beatles, "Musicologically": New York Times, Feb. 10, 1964
Thursday, June 10, 2010
May I Interest You in an Earworm?
Just try to get this out of your head after listening to it.
PS: Ringo's facial expression at approximately 1:43 into the song basically sums up my feelings about this song.
PPS: Ok, not really. The song gently hints at the story of The Beatles and their rise to fame, so it's somewhat endearing to me. Plus, it's a catchy tune, by which I mean that you will never, ever get it dislodged from your head, no matter how hard you beg the gods for mercy. Enjoy!
Update: Paul's added commentary makes the tune even more tolerable.
Friday, June 4, 2010
Oh, Look, A Box of Beatles!
Alan Clayson is the only author I am aware of who has attempted to write a biography of Ringo Starr, and from what I have read so far of his work, he's made a very good job of it (considering that he didn't get to work directly with Ringo, who, for whatever reason, won't consent to publish an "official" biography). It's been a very different sort of experience for me, since, like most Beatle-related bio-work, it begins by covering the pre-Mania years, but unlike most Beatle bios, it does so from Ringo's perspective. Remember, of course, that Ringo didn't join the band until they were well on their way to having a recording contract; in other words, where I had been used to reading stories of famous meetings at Woolton fêtes, jam sessions on double-decker buses, Quarry Men, Silver Beetles, and Hamburg trips, I found myself reading about Ringo's (mostly hospitalized) childhood, his start as a skiffle drummer, Rory Storm and the Hurricanes, and so on. This little biography (and by "little", I mean, "over 400 freaking pages") rounds out the history of The Beatles and completes the picture, and Clayson does a good job of incorporating actual quotes from Ringo wherever he can.
Fortunately for those of us who can't get enough of The Beatles in paperback, you can now purchase the Ringo biography as part of a four-pack set of biographies, each one focusing on the life of one of the Liverpool Lads. The volume on George's life is also 400 pages, and promises to be a more "in-depth" story than George's own sparse and scattered recollections in I Me Mine (a book which makes up for its paucity of information by being written in George's own inimitable style). I'm looking forward to cracking this one open after I've finished reading Ringo.
The McCartney and Lennon volumes are much slimmer than the Harrison and Starr volumes, but I can only assume that this is because so much has already been written about the Len-Mac duo by other authors, and so perhaps Clayson decided to give their lives a more cursory treatment in favor of focusing on George and Ringo.
It's a handsome set of books, that much is certain. You might want to add it to your bookshelf sooner than later.
Shoulda Been There - But You Can Read About It!
Magical History Tour: June 4, 1962
Friday, May 28, 2010
Magical History Tour: May 28, 1969
Magical History Tour: May 28, 1967
Thursday, May 27, 2010
It Doesn't Really Matter What Chords They Play
George? Paul? Anybody?
This is one of the funniest clips in the Anthology DVD series. You'll find it on Part 7, within the first 10 minutes or so. Here they are, The Beatles, attempting to recall whether or not "All You Need is Love" was written specially for the Our World television program.
George: I don't know if the song was written before that, because, we were making an album at the time, so there was kind of, lots of songs in circulation. Paul may know more about that ... over to you, Paul!
Wednesday, May 26, 2010
I Saw the Photograph - May 26, 2010
Magical History Tour: May 26, 1966
Friday, May 21, 2010
Magical History Tour: May 21, 1964
Thursday, May 20, 2010
Martin Scorsese, George Harrison, and Cannes
CANNES -- Martin Scorsese swept into the Cap d'Antibes Beach Hotel down the coast from Cannes on Saturday afternoon with George Harrison's widow, Olivia. The two have been collaborating on a documentary about the famous songwriter for the past three years and are finally nearing the end of a long and winding road.
Titled "Living in the Material World: George Harrison," the documentary will take on the whole of the Beatles guitarist's life before, during and after his time in the world's most popular and successful band. Producer Nigel Sinclair of Exclusive Media Group, home of the Spitfire Pictures label that will release the doc, was also on hand to provide background and perspective on the forthcoming project.
Read the whole story here.
Wednesday, May 19, 2010
It's Only a Southern Show
Magical History Tour: May 19, 1966
Monday, May 17, 2010
You Don't Really Want to Miss the Show!
A "Fifth" Beatle
God help and breed us all.
Magical History Tour: May 17, 1967
Come Together
Sunday, May 16, 2010
Sonic Signatures: With the Beatles