'Where You Once Belonged' Class, Race and Liverpool Roots of Lennon and McCartney's Songs

While Lennon and McCartney’s class affiliations are ambiguous to degrees that should remain debatable, the depth and the detail in which working-class life defines their work have been overlooked, thus misrepresenting The Beatles’ cultural significance. Initial New Left criticisms of The Beatles—almost exclusively in response to one composition, ‘Revolution’ (1968)—have recently been adapted by commentators eager to portray The Beatles as a culturally and politically conservative force. I argue that early left-wing and recent right-wing criticisms of The Beatles’ legacy are misleading, because both overlook Lennon and McCartney’s different relationships to working-class culture. I also emphasize an importantly related, even more marginalized aspect of The Beatles’ history: the significance of black musical and cultural influences from Liverpool. The article seeks to offer new interpretations of songs including ‘Norwegian Wood’, ‘A Day In The Life’, ‘Revolution’, ‘Ob-la-di, Ob-la-da’ and ‘Working Class Hero’. KEYWORDS: : avant-garde; The Beatles; left wing; Liverpool; race; working clas

Beatles fans mark 40 years of Abbey Road. How the UK daily newspapers online commented the event

Un breve attraversamento pedonale, sei scatti fotografici, la copertina per quella che fu l’ultima uscita discografica dei Beatles, il gruppo musicale britannico che negli anni Sessanta “sconvolse il mondo” e divenne l’icona della “Swinging London” prima e della “Pop Music” poi, trasformando quella strada ordinaria di Londra in un sito meta di un vero e proprio pellegrinaggio musicale. La celebrazione del 40.o anniversario della foto dei Beatles sulle strisce pedonali di Abbey Road, proprio di fronte agli studi della EMI dove erano soliti registrare i loro pezzi, è stata organizzata e promossa da Richard Porter, animatore dei Beatles tour londinesi, giornalista, ed ha avuto ampia eco mondiale grazie al lavoro mediatico: annunci promozionali, agenzie stampa, giornalisti, quotidiani, televisioni. La ricerca qui proposta analizza l’innovativa dinamica dei quotidiani online applicata alle cronache del quarantesimo anniversario dell’attraversamento delle strisce pedonali di Abbey Road, a Londra, l’8 agosto 1969 da parte dei Beatles.A short zebra crossing, 6 photo shots, a cover for a record that was the last cut by the Beatles, the british pop band that in the Siexties “shoot the world”, and that became to icon of the Swinging London before and of the Pop Music after, turning that ordinary London street into a musical pilgrimage site. The celebration of the 40.th Anniversary of the shot of the Beatles crossing the zebra stripes of Abbey Road (in front of the EMI Studio where they used to register their music), was organized and promoted from Richard Porter, a Beatles tour guide and journalist, and had a world wide result thanks to the work of the media: ad, press agencies, journalists, daily newspapers, televisions. The following research analyzes the innovative dynamic of the online daily newspapers applied to the chronicles of the fortieth anniversary of the zebra crossing of Abbey Road, London, by the Beatles the 8.th of August 1969

Bringing Swirly Music to Life: Why Copyright Law Should Adopt Patent Law Standards for Joint Authorship of Sound Engineers

Geoff Emerick, acclaimed sound engineer for The Beatles, passed away in October of 2018. Emerick helped shape The Beatles’ sound and worked to create many of their most recognized songs, yet, under the current joint authorship standards he likely would not be considered an author of these songs. This Note details the work carried out by sound engineers in the music industry and describes how current joint authorship standards affect them. It then proposes a reinterpretation of joint authorship in the copyright to statute to ease these standards by borrowing from another area of intellectual property law

The Beatles

Tekst jest wierszem metafizycznym na temat śmierci Johna Lennona (poezja).The text is a metaphysical verse on John Lennon's death (poetry

Absence and Presence: Top of the Pops and the demand for music videos in the 1960s

The file attached to this record is the author's final peer reviewed version.Whilst there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen’s video for ‘Bohemian Rhapsody’, few scholars have pursued Mundy’s (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC’s Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. The argument follows that this format created a demand for the top British artists’ regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. This frequent absence then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of artists’ appearance. Drawing on records held at the BBC’s Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV’s demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television’s requirement to cover for an artist’s studio absence

A STDUY ON MESSAGE IN BEATLES SONG “ HEY JUDE”

In this study, the writer of this thesis focuses on The Beatles song lyric “Hey Jude”. He interested in this song lyric, because it is easy and has important messages in human life, especially for children and parents. The purposes of this study are to know the meaning, both general and detail, and to know the message of the song lyric. This study applies descriptive research design. The approach used in this analysis is expressive approach, because expressive approach defines poem as an expression, or overflow or utterance of feelings, or adequacy to the poet’s individual vision or state of mind. The general meaning of song lyric “Hey Jude” is about the concern of the poet to the child who really hopes the touch of love from parents. He knows that the child just feel a little love from parents for a moment and he should be strong when he feel the pain, and face his life by himself. The detail meaning of song lyric “Hey Jude” in the form of stanza is as follow, the first stanza is the poet wants to remind to child for not making the condition worse, and singing can entertain him to make the condition better. The second stanza, mentions that the poet’s suggestion to child not to be afraid to face his life challenge because he was born to face his problems of life. The third stanza mentions about the foolness of the child to think all of the problems of his parents, and he must be strong to face his life. The fourth stanza the poet does not want to feel sad because of child’s desperation. The fifth stanza is the poets ask to the child to start a new life without any help because only he can change his life and everything depends on him self. The messages of song lyric “Hey Jude” are: make our life more better without doubt and sadness, we must be strong to face life’s problems, we live with others people, so we have to share with them, we should remember mother’s love, the poet gives an advice that everyone should try and not be desperat

Network structure of phonographic market with characteristic similarities between musicians

We investigate relations between best selling artists in last decade on phonographic market and from perspective of listeners by using the Social Network Analyzes. Starting network is obtained from the matrix of correlations between the world's best selling artists by considering the synchronous time evolution of weekly record sales. This method reveals the structure of phonographic market, but we claim that it has no impact on people who see relationship between artists and music genres. We compare 'sale' (based on correlation of record sales) or 'popularity' (based on data mining of the record charts) networks with 'similarity' (obtained mainly from survey within music experts opinion) and find no significant relations. We postulate that non-laminar phenomena on this specific market introduce turbulence to how people view relations of artists.Comment: 15