Okay, so for English we had to do a powerpoint about four poems, and we had to be original. So for my ‘Personal Comment’, I did video interpretations of the four poems.
And here they are (remember I can’t draw)
And what are people’s thoughts on the kirby picture at the end? Good? Bad? Your thoughts?
Duration : 0:2:35
The Beatles “Baby’s in Black” 45 rpm vinyl — live version from the Hollywood Bowl, recorded Aug 1965 – issued as the B-side to “Real Love”, March 1996.
This is my first “vinyl video” clip where I actually make a video, not just point the camera at the turntable and you get to watch a record spinning on a turntable — I suspect that can be only so interesting even to most die-hard vinyl record fans. Plus, the audio is sourced directly from the vinyl single.
So in this video, I included images that pertain to both this Beatles track and their Hollywood Bowl performance. “Baby’s in Black” did not appear on the 1977 album release “The Beatles at the Hollywood Bowl”, nor did it appear on any of the Anthology albums. But just for fun, I decided to put some “Hollywood Bowl’ pics (that album has yet to appear on CD, so many might have not heard it if they do not have the original LP, or know what the cover artwork looks like, or the essay George Martin wrote for the back cover, which I included here).
“Baby’s in Black” composed by John Lennon & Paul McCartney. Originally appeared on the ‘Beatles for Sale’ UK album, and the ‘Beatles ‘65′ US album, both issued Dec 1964.
Duration : 0:3:1
“Something” is a song released by The Beatles in 1969. It was featured on the album Abbey Road, and was also the first song written by George Harrison to appear on the A-side of a Beatles single.
It was one of the first Beatles singles to contain tracks already available on a long playing (LP) album, with both “Something” and “Come Together” having appeared on Abbey Road.
“Something” was the only Harrison composition to top the American charts while he was in The Beatles.
John Lennon and Paul McCartney—the two principal songwriting members of the band—both praised “Something” as among the best songs Harrison had written.
As well as critical acclaim, the single achieved commercial success, topping the Billboard charts in the United States, and entering the top 10 in the United Kingdom.
The song has been covered by over 150 artists including Elvis Presley, Shirley Bassey, Frank Sinatra, Tony Bennett, James Brown, Julio Iglesias, Smokey Robinson, Eric Clapton and Joe Cocker, and is the second-most covered Beatles song after “Yesterday”.
During the 1968 recording sessions for The Beatles (also referred to as the White Album), Harrison began working on a song that eventually became known as “Something”. The song’s first lyrics were adapted from the title of an unrelated song by fellow Apple artist James Taylor called “Something In The Way She Moves” and used as filler while the melody was being developed.
The song’s second line, “Attracts me like no other lover,” was the last to be written; during early recording sessions for “Something”, Harrison alternated between two placeholder lyrics: “Attracts me like a cauliflower” and “Attracts me like a pomegranate.”
Harrison later said that “I had a break while Paul was doing some overdubbing so I went into an empty studio and began to write. That’s really all there is to it, except the middle took some time to sort out. It didn’t go on the White Album because we’d already finished all the tracks.”
A demo recording of the song by Harrison from this period appears on the Beatles Anthology 3 collection, released in 1996.
Many believe that Harrison’s inspiration for “Something” was his wife at the time, Pattie Boyd. Boyd also claimed that inspiration in her 2007 autobiography, Wonderful Tonight, where she wrote: “He told me, in a matter-of-fact way, that he had written it for me.”
However, Harrison has cited other sources of inspiration to the contrary. In a 1996 interview he responded to the question of whether the song was about Pattie: “Well no, I didn’t [write it about her]. I just wrote it, and then somebody put together a video. And what they did was they went out and got some footage of me and Pattie, Paul and Linda, Ringo and Maureen, it was at that time, and John and Yoko and they just made up a little video to go with it. So then, everybody presumed I wrote it about Pattie, but actually, when I wrote it, I was thinking of Ray Charles.”
The original intention had been for Harrison to offer the song to Jackie Lomax, as had been done with the previous Harrison composition, “Sour Milk Sea.” When this fell through, the song was given to Joe Cocker (who had previously covered The Beatles’ “With a Little Help from My Friends”); his version came out two months before that of The Beatles.
During the Get Back recording sessions for what eventually became Let It Be, Harrison considered using “Something,” but eventually decided against it due to his fear that insufficient care would be taken in its recording; his earlier suggestion of “Old Brown Shoe” had not gone down well with the band. It was only during the recording sessions for Abbey Road that The Beatles began seriously working on “Something.”
Duration : 0:3:1
℗ 1995 The Copyright in this compilation is owned by Apple Corps Ltd./EMI Records Ltd.
© 1995 Apple Corps Ltd. Under exclusive license to EMI Records Ltd.
Manufactured by Capitol Records, Inc.
Printed in the U.S.A.
All rights reserved
Unauthorized Duplication is a Violation of Applicable Laws.
Duration : 0:2:32
Poetry Flash Presents The Wind Shifts: New Latino Poetry. An anthology reading with the editor, Francisco Aragón, and contributing poets Venessa Fuentes, Adela Najarro, Paul Martínez Pompa, and John Olivares Espinoza.
This reading celebrates The Wind Shifts, the anthology edited by Francisco Aragón with a Foreword by Juan Felipe Herrera, and published by the University of Arizona Press.
John Olivares Espinoza’s first full-length book of poetry is The Date Fruit Elegies; he’s appeared in many journals and anthologies, most recently in The Bear Flag Republic: Prose Poems from California.
Duration : 0:9:52
℗ 1995 The Copyright in this compilation is owned by Apple Corps Ltd./EMI Records Ltd.
© 1995 Apple Corps Ltd. Under exclusive license to EMI Records Ltd.
Manufactured by Capitol Records, Inc.
Printed in the U.S.A.
All rights reserved
Unauthorized Duplication is a Violation of Applicable Laws.
Duration : 0:2:11
Matt Kinzler and Ted Rosedale playin John Lennon doing 50’s music
Duration : 0:2:11
Heres a virtual movie of John Masefield reading his celebrated poem “Sea Fever” the sound recording comes from a broadcast by him in 1941.The poem comes from his anthology Saltwater Ballads.
John Edward Masefield, OM, (1 June 1878 — 12 May 1967) was an English poet and writer, and Poet Laureate from 1930 until his death in 1967. He is remembered as the author of the classic children’s novels The Midnight Folk and The Box of Delights, two novels “Captain Margaret” and “Multitude and Solitude” and a great deal of memorable poetry, including “The Everlasting Mercy”, and “Sea-Fever”, from his anthology Saltwater Ballads.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2008
“Sea-Fever”
I must down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel’s kick and the wind’s song and the white sail’s shaking,
And a grey mist on the sea’s face, and a grey dawn breaking.
I must down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.
I must down to the seas again, to the vagrant gypsy life,
To the gull’s way and the whale’s way where the wind’s like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover
And quiet sleep and a sweet dream when the long trick’s over.
Duration : 0:1:9
All sound recording and images are copyrighted by their respective copyright owners.
Copyright: Apple Corps Ltd., EMI Records Ltd., Parlophone (UK), Capitol Records (USA)
Members: John Lennon, Paul McCartney, George Harrison, Ringo Starr
Writer: Lennon/McCartney
Producer: George Martin
Original Album Released: October 28, 1996
The Beatles Official Web Page: http://www.thebeatles.com/
EMI Music: http://www.emimusic.com/
Parlophone Records: http://www.parlophone.co.uk/
Capitol Records: http://www.capitolrecords.com/
“Because” is a ballad written by John Lennon (credited to Lennon/McCartney) and performed by The Beatles. It features a 3-part harmony vocal performance between Lennon, McCartney and George Harrison, overdubbed three times to make nine voices in all. The results of this have been compared in sound to the Beach Boys.[citation needed] It appeared on the 1969 album Abbey Road, and is the song that precedes the extended medley that formed side two of the original LP record.
Composition:
The song begins with electric harpsichord played by George Martin and then joined by Lennon’s guitar doubling the harpsichord and played through a Leslie speaker. Vocals and bass guitar enter in what Alan Pollack calls the “mini-bridge.”
The song was one of the few Beatles songs to include an analogue synthesizer arrangement (although analog keyboards such as the Mellotron had been used often by The Beatles, few songs featured the use of a traditional analog synthesizer with voltage-controlled oscillators). The Beatles at the time of Abbey Road were among the first contemporary rock bands to experiment with the Moog synthesizer (the first, or at least the first to chart on the top 40, had been The Monkees).
According to Lennon, “Because” was inspired by Ludwig van Beethoven’s “Moonlight Sonata”. “Yoko was playing Beethoven’s ‘Moonlight Sonata’ on the piano … I said, ‘Can you play those chords backwards?’, and wrote ‘Because’ around them. The lyrics speak for themselves … No imagery, no obscure references.”
Recording:
The main recording session for “Because” was on 1 August 1969, with vocal overdubs on 4 August, and a Moog synthesizer overdub by George Harrison on 5 August.[5] As a result, this was the last song on the album to be committed to tape, although there were still overdubs for other incomplete songs.
A vocals-only version of the song can be found on Anthology 3 and Love and is an example of three part harmony from Lennon, McCartney, and Harrison, although the latter is slowed down and includes quiet nature sound effects. Both versions include the ‘Ahh’ at the beginning.
Album:
Anthology 3 is a compilation album by The Beatles released in October 1996 by Apple Records as part of The Beatles Anthology series. The album includes rarities and alternative tracks from the final two years of the band’s career, ranging from the initial sessions for The Beatles (also known as The White Album) to the last sessions for Let It Be and Abbey Road in later 1969 and early 1970.
Following “Free as a Bird” in Anthology 1 and “Real Love” in Anthology 2, a third John Lennon solo demo entitled “Now and Then” was to be reworked by the three surviving members of The Beatles for Anthology 3. However, it was decided against due to complications and sound quality issues involving Lennon’s recording. In its place is “A Beginning,” an orchestral instrumental track initially intended for The White Album.
Similar to the previous Anthology albums, the cover image painted by Klaus Voorman features a collage of The Beatles-related imagery designed to appear as a wall of peeling posters and album covers. An updated picture of Voorman can be seen in George Harrison’s hair in a segment of the Revolver album cover.
This was the group’s third double album in a row to go to #1 on the American charts, equaling a record set by Donna Summer back in the 1970s.
Duration : 0:2:24
All sound recording and images are copyrighted by their respective copyright owners.
Copyright: Apple Corps Ltd., EMI Records Ltd., Parlophone (UK), Capitol Records (USA)
Members: John Lennon, Paul McCartney, George Harrison, Ringo Starr
Writer: Lennon/McCartney
Producer: George Martin, Jeff Lynne, John Lennon, Paul McCartney, George Harrison, Ringo Starr (”Real Love”)
Original Album Released: March 18, 1996
The Beatles Official Web Page: http://www.thebeatles.com/
EMI Music: http://www.emimusic.com/
Parlophone Records: http://www.parlophone.co.uk/
Capitol Records: http://www.capitolrecords.com/
“Eleanor Rigby” is a song by The Beatles, simultaneously released on the 1966 album Revolver and on a 45rpm single. The song was written by Paul McCartney and John Lennon. With a double string quartet arrangement by George Martin, and striking lyrics about loneliness, the song continued the transformation of the group from a mainly pop-oriented act to a more serious and experimental studio band.
Inspiration:
http://en.wikipedia.org/wiki/Eleanor_Rigby#Inspiration
Historical artefacts:
n the 1980s, a grave of an Eleanor Rigby was discovered in the graveyard of St. Peter’s Parish Church in Woolton, Liverpool, and a few yards away from that, another tombstone with the last name McKenzie scrawled across it. During their teenage years, McCartney and Lennon spent time “sunbathing” there, within earshot of where the two had met for the first time during a fete in 1957. Many years later McCartney stated that the strange coincidence between reality and lyric could be a product of his subconscious, rather than being a meaningless fluke. The actual Eleanor Rigby was born in 1895 and lived in Liverpool, possibly in the suburb of Woolton, where she married a man named Thomas Woods. She died on 10 October 1939 at age 44. Whether this Eleanor was the inspiration for the song or not, her tombstone has become a landmark to Beatles fans visiting Liverpool. A digitised version was added to the 1995 music video for the Beatles’ reunion song “Free as a Bird”.
http://en.wikipedia.org/wiki/Eleanor_Rigby#Historical_artefacts
Album:
Anthology 2 is a compilation album by The Beatles, released on Apple Records in March of 1996. It is the second of a three-volume collection, all of which tie-in with the televised special The Beatles Anthology, and contains “Real Love”, the second of the two recordings that reunited the Beatles by means of magnetic tape. Like its predecessor it topped the Billboard 200 album chart, and has been certified 2× Platinum by the RIAA.
Content:
Anthology 2 features outtakes, rarities, and alternative performances from the 1965 sessions for Help! to sessions just prior to their trip to India in February of 1968. It starts off with the second new Beatles track, “Real Love”, as with “Free As A Bird” again based on a demo made by John Lennon and given to Paul McCartney by Lennon’s widow, Yoko Ono. The three surviving Beatles added guitars, bass, drums, percussion, and backing vocals, but unlike with the previous song, did not re-work either lyric or music. “Real Love” remained solely credited to Lennon, becoming the only Beatle song to have Lennon by himself in the writing credit.
Disc one contains three unreleased compositions, one being an instrumental entitled “12-Bar Original” recorded for Rubber Soul but subsequently unused. Two other songs recorded for Help!, “If You’ve Got Trouble” and “That Means a Lot”, were abandoned and never returned to again by the band. The former was originally slated to be the usual vocal spot for Ringo Starr on Help!, and the latter was eventually given to singer P.J. Proby. The version of “Everybody’s Trying to Be My Baby” from the group’s famed August of 1965 show at Shea Stadium but left off the documentary appears here for the first time. “Norwegian Wood (This Bird Has Flown)” and “I’m Looking Through You” appear in early versions before they were remade in the forms known from their release on Rubber Soul.
Disc two contains work-in-progress versions of tracks from Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour. “Your Mother Should Know” also appears in an early version different from the known release, and tracks one and 15 are demo recordings respectively by Lennon and McCartney. The take of “Strawberry Fields Forever” that made up the first minute of the released record appears in its entirety on track three. Although recorded or started during this period, “Only a Northern Song”, “You Know My Name (Look Up the Number)” and “Across the Universe” would not see release until years later, in 1969 and 1970.
One track that remains officially unreleased from this time, “Carnival of Light”, was vetoed off this set by George Harrison.
Reception:
http://en.wikipedia.org/wiki/Anthology_2#Reception
Duration : 0:2:8