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The Beatles biography
Founded in Liverpool, UK in 1958 (initially as a trio) - Starr joined in 1962 - Disbanded in 1970
It goes without saying that the Beatles were one of the most important, influential and progressive bands in the history of rock and pop music. There are many places on the Internet where a full biography may be found, and their history has been covered so many times that here we consider only their place as a progressive band.
The music of the Beatles was notable mainly for the songwriting partnership of Lennon/McCartney, which bucked the trend of bands going to songwriting houses for their material and helped to convince other bands to write their own songs. On their earliest albums, it was the quality of the Lennon/McCartney songs that stands out from the covers that were also included.
The other aspect of the Beatles music that remained a constant throughout their carreer as a band is the wide range of influences and styles that they assimilated into their own. Their hunger for experimentation in style and sound was to last and expand right up to their swansong album, "Abbey Road".
A frequent speculation is that it was the Beatles who finally swayed Bob Dylan in 1964/5 to use electric instruments, and in so doing brought about the fusion of folk and rock that would lead to the development of psychedelia, via the Byrd's "Eight Miles High" and the San Francisco music scene, "Swinging London" and other movements. In fact, many other factors led to the rise of those cultures, but the importance of the Beatles' music should not be overlooked.
The influences were mutual; The Beatles and the Byrds particularly not only exchanged a number of ideas, but also met several times - including one notable occasion which included Bob Dylan and Peter Fonda that resulted in the song "She said, she said" ("Revolver"). It was Roger McGuinn of the Byrds who turned George Harrison onto the sound of the sitar and led George to have lessons from Ravi Shankar.
Harrison also adapted the riff from The Byrds' "Bells of Rhymney" to write the song "If I Needed Someone", dedicating the song to Roger McGuinn who wrote it, and used the sitar in "Norwegian Wood", both songs appearing on the "Rubber Soul" album, an album that contains so many song writing styles that it can be difficult to believe that it's all the same band. "The Word" particularly seems to herald the off-beat musical and rhythmic style that would be prevalent in psychedelia, and...Founded in Liverpool, UK in 1958 (initially as a trio) - Starr joined in 1962 - Disbanded in 1970
Harrison also adapted the riff from The Byrds' "Bells of Rhymney" to write the song "If I Needed Someone", dedicating the song to Roger McGuinn who wrote it, and used the sitar in "Norwegian Wood", both songs appearing on the "Rubber Soul" album, an album that contains so many song writing styles that it can be difficult to believe that it's all the same band. "The Word" particularly seems to herald the off-beat musical and rhythmic style that would be prevalent in psychedelia, and the wider-ranging folk-like feeling and more introspective lyrics in many songs reflects the impact of their meeting with Bob Dylan and the Folk scene in general.
From the simple beat band "The Quarrymen" through the Buddy Holly tribute "The Silver Beetles" to the final incarnation marketed so effectively by Brian Epstein and produced and orchestrated by George Martin, The Beatles were almost forced to focus on creativity by the confinement induced by the combination of the pressures of Beatlemania, intense touring and John Lennon's unfortunate comment "We're more popular than Jesus now" in 1966 comparing the sales of Beatles records with the sales of Bibles.
1966 saw the release of "Revolver", and the single "Paperback Writer/Rain" both of which which were a quantuum leap from "Rubber Soul" in terms of lyrics, songwriting and experimentation both in the studio and with new sounds. The lyrics were no longer the boy/girl relationship stuff of previous albums, but more focussed on deeper and more universal themes, an aspect that could be again credited to Dylan.
The songwriting was more varied, incorporated more styles than ever before and the instrumentation was deeply experimental, from the string octet that accompanies "Eleanor Rigby", to the backwards guitar and vocal effects on "I'm only Sleeping", to the deeply Indian feel of "Love You To" with the prominent Sitar and Indian Tabla drums, to the hi-tech sample and overdub techniques used in "Tomorrow Never Knows". Even "Yellow Submarine" features an overlaid brass band.
The Beatles made their last tour that year, and from then on concentrated on writing music in the studio without the worries of how that music would be reproduced live. The marked change from "Revolver" (1966) to "Sergeant Pepper's Lonely Hearts Club Band" (1967) epitomises this new, freer approach; This album is widely held to be the first album ever to use the studio itself as an instrument - although this claim is dubious, and it would probably be more accurate to say that the Beatles were the first rock band to use it in this manner.
The first known use of the studio in this way was by the likes of Karlheinz Stockhausen and the other avante-garde electronic music composers of the late 1940s onwards. McCartney became switched-on to Stockhausen's work around 1966, and introduced it to Lennon. Such was McCartney's admiration for Stockhausen's work, that Epstein wrote to the composer on the band's behalf, asking for permission to include his image on the cover of "Sgt Pepper...".
"Sgt Pepper..." was the Beatles' reaction to "Pet Sounds", by Brian Wilson's Beach Boys, while "Pet Sounds" itself came about largely because of Wilson's desire to produce something better than "Rubber Soul". The two albums (Pet Sounds and Pepper) are often compared to each other, yet Pet Sounds was recorded in a makeshift home studio using everyday objects to create sounds while "Sgt. Pepper..." was created in one of the world's most techincally advanced recording studios using every technical trick in the book.
"Sgt Pepper.." is innovative in many other aspects, including the use of orchestration in an integral rather than a background manner (largely the work of George Martin, a graduate of the Guildhall School of Music, who was also responsible for the orchestration of "Eleanor Rigby" and "Strawberry Fields Forever"), a very wide range of songwriting and instrumentation styles and of course, the overall concept that not only covered the music, but the packaging and publicity too: The Beatles were fond of starting rumours about themselves, to add legs to an already highly mobile publicity machine, and it was from this album that the notorious "Paul Is Dead" rumour sprang - and continued until after the release of "Abbey Road".
The Pink Floyd and The Moody Blues also used the Abbey Road recording studios at the same time as the Beatles were recording "Sgt. Pepper.", and some sources say that John Lennon frequented the rooms in which "Piper at the Gates of Dawn" was being recorded. It is also rumoured that Paul McCartney went to see the Pink Floyd and the Soft Machine at the International Times launch party at the Roundhouse, dressed as an Arab to preserve his anonymity - and both bands would have been more than aware of each other's work.
The experimentation on "The Beatles" (The White Album) (1968) is but a taster of some of the more exotic music that John Lennon would compose/improvise on the trio of albums he recorded with Yoko Ono while he was still with the Beatles; "Two Virgins", "Life With The Lions" and "Wedding Album". It is interesting to note that the inspiration for the famous "Revolution #9" came from Karlheinz Stockhausen's "Hymnen" (1967).
"Abbey Road" is a fitting final album for the Beatles that allows the legend to live on; From the extensive use of the Moog in many of the tracks and other electronic instruments such as the Hammond, Lowry Organ and an Electric Harpsichord, to the use of sound effects to bind together the medlies that provide a form of concept to the second half of the album (in a similar style that Pink Floyd would later use on "Dark Side of the Moon"), to George Martin's orchestrations in "Something", this album continues the Beatles experimentation in sounds and usage of the recording studio.
"Abbey Road" continues the Beatles tradition of reaching out to every corner of popular music and using colourful aspects of it in their own music; the influences of Country and Western are unmistakable in "Octopus's Garden", Harrison used parts of the Cream song "Badge" (which he co-wrote with Eric Clapton) in "Here Comes the Sun" and Lennon used a lyric line and riff from Chuck Berry's "You Can't Catch Me" in the song "Come Together" - for which he was later sued by record company exec. Morris Levy.
"The End" contains a solo from each of the Beatles, including Ringo's one and only recorded drum solo, and that the track "Her Majesty" could be seen as the world's first "hidden track", as it was not listed on the cover or label of the earliest releases and followed 14 seconds of silence. This song was originally intended to be a part of second medley - indeed, the "cut and paste" job is obvious from the jarring sound of the final part of the last chord of "Mean Mr Mustard" which preceeds "Her Majesty", and the cut-off at the end of the song, which remains at the start of "Polythene Pam".
The Beatles' influence is still apparent in much modern rock and pop music, whether directly or in a reactionary sense, and one has only to hear some of the earliest recordings by Progressive Rock artists of the 1970s and later to realise how prevalent their influence was; for example, Yes' first album contains covers of Beatles songs and Geoff Mann/Twelfth Night recorded their own version of "Eleanor Rigby" as a single. read more
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THE BEATLES discography
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THE BEATLES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
4.34 | 1027 ratings
Sgt. Pepper's Lonely Hearts Club Band
The Beatles [Aka: The White Album]
Let It Be - Naked
THE BEATLES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
2.86 | 39 ratings
The Beatles at the Hollywood Bowl
The Beatles Live! at the Star Club in Hamburg, Germany; 1962
2.11 | 9 ratings
Last Night In Hamburg
On Air - Live at the BBC Volume 2
THE BEATLES Videos (DVD, Blu-ray, VHS etc)
The Beatles At The Shea Stadium
Ready Steady Go! The Beatles Live
The First U.S Visit
A Long And Winding Road
In Washington D.C, Feb. 11th, 1964
The Beatles With Tony Sheridan - The Beginnings In Hamburg
Destination Hamburg
Turn Left At Greenland
The Tomorrow Show With Tom Snyder
The Beatles At The Budokan
THE BEATLES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
Introducing The Beatles
Meet the Beatles
The Beatles' Story
Beatles '65
The Beatles' Second Album
A Hard Day's Night (US version)
The Beatles' First
Rubber Soul (US)
Help (US version)
The Early Beatles
Beatles VI
A Collection Of Beatles Oldies (But Goldies !)
Revolver (US)
Rock 'n' Roll Music
The Beatles Tapes (From The David Wigg Interviews)
The Beatles Album Collections
The Beatles Ballads
The Beatles Box
Rarities (US version)
E.P. Collections
Hear The Beatles Tell All
The Beatles Talk Downunder (1964)
The Beatles Singles Collections
The Complete Silver Beatles
First Movement
The Beatles Mono Collection
The Beatles Original Mono-Record Box
The Beatles On Compact Disc - Help / Rubber Soul / Revolver
The Early Tapes of The Beatles
Past Masters Volume 1
The Conversation Disc Series
Talk Downunder Vol. II
The Silver Beatles - Original Decca Tapes and Cavern Club Rehearsals 1962
Words Of Love
Yellow Submarine Songtrack
Magical And Mystical Words
The Beatles '1'
Big Beat Box
Capitol Albums Vol 1
The Beatles - 1967-69 - Acoustic Submarine
The Beatles In Mono Box Set
The Beatles Stereo Box Set
Past Masters (Remastered)
The Beatles 1962-1970
Anthology Highlights
Bootleg Recordings 1963
The U.S. Albums
Meet the Beatles! [also known as: The Japan Box]
THE BEATLES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
My Bonnie
I Want To Hold Your Hand
The Beatles Christmas Record
The Beatles Hits
The Beatles No. 1
Extracts From The Film A Hard Day's Night
Extracts From The Album A Hard Day's Night
Souvenir of Their Visit to America
Four By The Beatles
Can't Buy Me Love
I Feel Fine
If I Fell
Another Beatles Christmas Record
The Beatles Third Christmas Record
4 By The Beatles
The Beatles Million Sellers
Pantomime: Everywhere It's Christmas
Hello Goodbye
Christmas Time (Is Here Again)
Magical Mystery Tour (UK Version)
The Beatles Sixth Christmas Record
Ballad Of John And Yoko
The Beatles Seventh Christmas Record
The Beatles Christmas Album
From Then To You
Sgt. Peppers Lonely Hearts Club Band/With A Little Help From My Friends
Movie Medley
Baby It's You
Free As A Bird
Yellow Submarine Songtrack Sampler
Within You Without You / Tomorrow Never Knows (promo)
Love (promo)
Help! (7 Song Radio Sampler)
THE BEATLES Reviews
Showing last 10 reviews only
Studio Album, 1967
The Beatles Proto-Prog
Review by jamesbaldwin
Great album although created by a double EP to which were added three singles, the last five songs. It doesn't have a compact, linear sequence of songs, like a real album. Even the first six pieces, featured in the film of the same name, are very heterogeneous and don't flow to perfection as in other Beatles LPs, where they managed to create a sequence that works while combining completely different tracks (both Revolver with Love You To-Here, There ...-Yellow Submarine, both Sgt Pepper with Being... ' Within you... ' When I am 64).
In MMT, for example, the sequence from the third to the fifth song is not fluid, and features weak pieces, which make up the least successful part of the album. In practice, the middle part of the first side is weak, similar to the middle part of Sgt. Pepper's second side. Note that in the double Ep the sequence of the 6 tracks of the film is different, and more appropriate. As with Sgt Pepper, it's McCartney who has taken over the reins of the group and in fact of the six songs of the film, three are his own (MMT, The Fool On The Hill, Your Mother Should Know), one is written by the whole group (Flying), one by Lennon (I Am The Walrus) and one by Harrison (Blue Jay Way).
In no other album Macca's dominance over Lennon is so overwhelming. On side B, Lennon partially rebalances the situation as three of the five singles added are his.
The first two songs work and try to replicate the beginning of Sgt Pepper: a free-range song that serves as the beginning of a variety show (the Magical Mystery Tour) and a melodic song that follows to perfection and with excellent results. Then, as mentioned, the sequence of the three weakest songs, and then the first absolute masterpiece, "I Am The Walrus".
Very orchestrated album, winds and violins are decisive in all the major songs, and very psychedelic album, with electronic elements. After the single "Hello Goodbye" came the A and B sides of the two 1967 singles. "Strawberry" is Lennon's other absolute masterpiece always with the help of George Martin. But if we add "Penny Lane" and "The Fool On The Hill" it turns out that on this album there are 4 masterpieces, two each for John and Paul (John's are greater for the sophisticated and avant-garde arrangement).
Two good songs remain, one each, the anthem "All You Need Is Love" and "Hello Goodbye". For the rest, there's a more than decent Harrison song and a Paul vaudeville of the same quality. There are also two songs under tone: "Flying" and "Baby You Are A Rich Man": they don't hold, at the quality level, with the rest of the album.
In detail: 1) Magical Mystery Tour (7+). Song with winds that seems like a landing, a bit repetitive, the structure that imposes that frenetic rhythm leaves little space for digressions, more than anything is the singing that tries to fit in. Refined piano tail.
2) The Fool on The Hill (8.5). McCartney's melodic masterpiece, original arrangement, ocarina and rhythm that looks like a train to support a delicious singing and melody.
3) Flying (6+). Almost instrumental song, it is the third gear in a row, if you consider the rhythmic part of The Fool. The voices are the background, creating a goliardic chorus. Unnecessarily long and eager ending, considering the brevity of the song.
4) Blue Jay Way (7.5). Slow psychedelic, hypnotic, atmospheric song, which makes in music the expectation of which is spoken in the text. It's a kind of psychedelic folk, with violin in evidence. Ending too long and repetitive.
5) Your Mother Should Know (7+). It's the first easy, catchy, vaudeville song with a nice piano turn, which replaces the chorus. McCartney lightens the gloomy atmosphere of the previous two songs.
6) I Am The Walruss (9.5). Electronic start with string accompaniment, treated voice; Delirious ending with disjointed voices worthy of a horror movie where walking zombies rise up. Absolute masterpiece by Lennon and masterpiece of production by George Martin. Song almost electronic but with an arrangement of violins (and winds at times) fantastic that will inspire Jeff Lynne's ELO. Beautiful, filtered singing.
7) Hello Goodbye (7.5/8). Folk song with very original arrangement, repetitive text, great work on drums and violin, interspersed with sour guitars. Very exuberant tail with Polynesian rhythm. Overall, a song with a too easy melody that is ennobled by the finds of the arrangement.
8) Strawberry Fields Forever (9+). Lennon-Martin's second absolute masterpiece. Start in muted, orchestral arrangement that develops with continuous sound finds, where both the strings and the winds alternate decorating Lennon's voice of very changing and expressive sounds. The final progression of the drums looks like that of a train that increases speed and then fades with the guitar solo. The fade has a psychedelic tail where the train seems to return, transfigured. Great song.
9) Penny Lane (8.5) McCartney's melodic melodic pop masterpiece. Beautiful text, beautiful music, beautiful instrumental pieces with trumpet.
10) Baby You're a Rich Man (6.5). It's a weak piece that's a big hit on the album because of the different sound compared to the other songs. It is a song with a rather strange and unsuccessful arrangement: vocals in the background, intrusive and confusing percussion that cover the melody drawn by the clavioline, the precursor instrument of the synthesizer. Missed opportunity. One of the few Beatles songs ruined by the production. Nice chorus (by McCartney, while the verses are by Lennon).
11) All You Need Is Love (7.5/8). Orchestral pop song in which Lennon's meditative lyrics sung in the verses, with beautiful string melody, strides with the emphasis of the winds in the chorus, very catchy. Anthem piece, detached from rock, a bit rhetorical. Brilliant final queue in which the Beatles take liberties within a song a little cast.
Medium Quality of the songs: 7.82. Rating: 9. Little Masterpiece. Five Stars.
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Posted Friday, July 12, 2019 | Review this album | Report (Review #2237839)
Review by patrickq
The Beatles recorded plenty of cover songs, but I think of With the Beatles as their "covers album." In terms of original compositions, it's one of their weakest; John Lennon's "It Won't Be Long" and Paul McCartney's "All My Loving" are OK, but there was nothing like a "She Loves You" or "I Want to Hold Your Hand" here. But what is here is pretty great, including some superb Motown re-makes sung by Lennon: the Marvelettes' "Please Mr. Postman," Barrett Strong's "Money (That's What I Want)," and the Miracles' "You Really Got a Hold on Me," on which he duets with George Harrison. Among the three other cover songs, Harrison turns in a nice performance of Chuck Berry's "Roll Over Beethoven."
In terms of performance, With the Beatles is one of Lennon's strongest outings, and as much as any LP, this one could have been billed as "John & the Beatles." This is also true of the group's original compositions; it's clear that by the end of 1963, John Lennon was doing most of the proverbial heavy lifting in the songwriting department. It's true that at this early date, both he and McCartney were still contributing to many songs credited to "Lennon-McCartney;" for example, Lennon was apparently not the sole writer of "It Won't Be Long." It's also true that Harrison wrote "Don't Bother Me," meaning that just seven of the fourteen tunes here were written by Lennon and/or McCartney. Nonetheless we can hear the dynamic shifting in Lennon's favor on With the Beatles.
Compared to Please Please Me, With the Beatles also represents an upgrade in sound quality. Although the two LPs were recorded during the same year (the former on February 11, the latter between July and October), With the Beatles has better sound separation (for what it's worth, I'm comparing the 2009 EMI remaster of Please Please Me with the 1987 issue of With the Beatles). There are also more overdubs (e.g., Lennon's harmonica on "Little Child"), signaling a departure, however slight, from the "live" sound of their prior LP.
The group's second album, With the Beatles was released just six months after their promising debut. It's a better album in many respects, but the Beatles' songwriting here fails to match that of Please Please Me. Nonetheless, another good LP.
Please Please Me opens with one of the two best pre-1965 Beatles songs, 'I Saw Her Standing There' (the other is 'She Loves You,' by the way). 'I Saw Her Standing There' was written by Paul McCartney, and two of his other tunes here, 'Love Me Do' and 'P.S. I Love You' - - which together constituted the group's first UK single - - are pretty good. Nonetheless, the Beatles' debut LP was the last time McCartney's compositions would challenge John Lennon's status as the group's key songwriter until their sixth album.
Lennon's contributions to Please Please Me include the title track and 'Do You Want to Know a Secret,' sung here by George Harrison. Lennon also belts out the Medley/Russell-penned Isley Brothers classic 'Twist and Shout,' which is one of six cover songs here.
Please Please Me was recorded by a veteran stage act in three 3-hour sessions, all on one day, and it shows. As it stands, the best available recording technology - - a two-track tape machine - - essentially required a live performance with vocals laid down on one track and instruments on the other. On the other hand, the album is not the product of weeks of careful studio work. Although vocal overdubs would have been possible, only 'A Taste of Honey' includes one. The instrumental balance of each song is whatever producer George Martin could come up with. Of course, the relatively low fidelity and lack of polish has been viewed for half a century as an asset on this album, because, after all, it is the Beatles. But to be fair, the fact that Please Please Me sounds as good as it does is a testament to Martin's skills, both technical and musical.
In short, Please Please Me is a good album, but the Beatles were only getting started.
Singles/EPs/Fan Club/Promo, 1967
This is another case where Paul McCartney's song would up on the a-side, and John Lennon's on the reverse. As a business decision this almost certainly the right move insofar as 'Hello Goodbye' was a worldwide #1 song; artistically, though, 'I Am the Walrus' is easily the superior song - - and I say this as someone who ordinarily prefers McCartney's work.
'Hello, Goodbye'
That the b-side is better, however, says little about 'Hello, Goodbye,' which is a nice pop song itself, though not quite a Beatles classic in my opinion. Lyrically it's a little thin; both the verses and the chorus are little more than a repetition of 'you say x, I say not x.' Its lack of a real bridge (I'm not counting the 'why-why-why... do you say goodbye' part) requires a third verse, and winds up being more structurally repetitive than we're used to for a McCartney a-side.
The chorus contains the interesting music, both in terms of melody and chord progression, but for me, this isn't enough to counter the d'j' vu of the verse-chorus-verse-chorus pattern. To be fair, the coda is nearly perfect.
'I Am the Walrus'
With 'Ticket to Ride,' 'Come Together,' and possibly one or two others, 'I Am the Walrus' is one of the very best songs John Lennon ever wrote. While the lyrics to his more straightforward songs - - 'In My Life,' for example, or '(Just Like) Starting Over' or 'Imagine' - - are as good as the average for a pop or rock song, I've always preferred the disjointed impressionism of 'Tomorrow Never Knows,' 'Come Together,' and 'I Am the Walrus.'
Lennon is foremost a great rock-and-roller, and often a good poet. I have no idea, no clue what 'I Am the Walrus' is about, or whether it was ever about anything. But if we assume that it has no meaning beyond an LSD-trip-fractured take on a passage of a poem from Through the Looking Glass, then it's about as deep as 'She Loves You' Or 'I Want to Hold Your Hand.' But even then it provides so many potential tangents - - 'Semolina pilchard,' anyone, 'climbing up the Eiffel Tower?' Or 'yellow matter custard,' perhaps? If it's all crazy, all drug induced, what more fitting chorus than the refrain of 'I am the Walrus?'
In the hands of another band, the words and music of 'I Am the Walrus' would've made for an amusing single for one of the new psychedelic-rock groups popping up in the late 1960s. Maybe it would've been memorable; maybe not. But in the event, Lennon and producer George Martin ensured the song's enduring renown with an arrangement as surreal as the composition itself. The icing, so to speak, was Martin's use of the Mike Sammes Singers.
In the US, this single was rendered inessential a week after its release, when both sides became available on the Magical Mystery Tour album. In the UK, 'Hello Goodbye' was a non-album single. Nonetheless, given the high quality of both sides, this is a three- star single.
Posted Friday, July 5, 2019 | Review this album | Report (Review #2235784)
The a-side, written and sung by Paul McCartney, is among the three or four most recognizable songs the Beatles ever recorded. The b-side, written and sung by John Lennon, was less of a hit, but represents a key moment in the group's transformation from a tight band of four entertainers to a loose confederation of individual rock superstars.
"Hey Jude"
McCartney's 'Hey Jude' can be viewed as a reflection, and a major upgrade, of Lennon's 'All You Need is Love.' The narrow debt should be acknowledged, most notably the omniscient commentator reciting global truths about love, the accessible-yet-complex composition, and the sing-along chorus fade. And it seems fair to say that McCartney's songwriting in general owes much to Lennon. But by the summer of 1968, the pupil was surpassing the teacher on a regular basis. I could excuse Lennon for being chagrined at McCartney having a massive hit with this polished, commercialized, boy-meets-girl twist on Lennon's work, especially since his own 'Revolution,' which he felt was equal to 'Hey Jude,' was relegated to the flip side. Nonetheless, Lennon praised the song for the rest of his life.
The differences between 'Hey Jude' and 'All You Need is Love' are as important as the similarities. The message of the former is more focused (i.e., directed at just one person throughout), the vocal melody more sophisticated and more classical, the delivery more plaintive. With these qualities, the hopefulness of 'Hey Jude' rings truer than that of 'All You Need is Love,' whose semantic wordplay (e.g., 'nothing you can sing that can't be sung'), insistence that 'it's easy,' and jokey (though amusing) coda present a confusing message.
"Revolution"
Of course, it can be argued that Lennon intended to confuse the listener, the metanarrative being that 'All You Need is Love' is actually a satire of flower-power oversimplification. While that's not borne out, as far as I know, in Lennon's subsequent statements, we know that Lennon was capable of embodying skepticism in his music, with 'Revolution' being a case in point. Composed by Lennon about a year after 'All You Need is Love,' 'Revolution' must've struck some listeners as a bit of a reversal of position. 'All You Need is Love' was written and performed expressly for a television program promoting world peace, and the song is accordingly inclusive and straightforward. The listener is led gradually into the song, on which the group is accompanied by a small orchestra. It's a gentle tune we can all sing along to.
Conversely 'Revolution' opens with a burst of maximally distorted electric guitar and a scream, and the first verse begins almost immediately. And even if its counterculture-questioning lyrics were perfectly transparent, the message of 'Revolution' appears to be at odds with the Beatles' public stances. Famously, though, Lennon's lyric isn't transparent, especially when delivered with a sneer. For example, I always took lines like 'if you go carrying pictures of Chairman Mao / you ain't gonna make it with anyone anyhow' as sarcasm spoken in a voice in opposition to the speaker of lines like 'but when you talk about destruction / don't you know that you can count me out?' And the refrain, 'you know, it's gonna be alright,' doesn't clear anything up. How is it going to be alright? But lyrically, 'Revolution' isn't as confusing or inconsistent as it is ambiguous and thorny- - which is a good thing.
The song itself is catchy, accessible, and appropriately rough, and it would be a gem in the discography of nearly any other musical act; as a Beatles song, it's appropriately placed as a b-side.
In the U.S., 'Hey Jude'/'Revolution' was a certifiable smash and the Beatles' biggest hit, the a-side spending nine weeks at #1 on the Billboard Hot 100, and the b-side hitting #12 on that same chart. The single was certified quadruple-platinum in 1999. It was also a chart-topper in the UK and at least sixteen other countries. And in Australia, Canada, the UK, and the US, it was the #1 song of the year. Massive hits aren't always massively successful works of art, but in this case the commercial attainments were well deserved, especially in the case of 'Hey Jude.'
I'm reluctant to assign more than three stars to a single when, for example, both sides are available on a retrospective compilation (like 1967-1970 or Past Masters, vol. 2). But given the quality of the songs and the fact that 'Hey Jude'/'Revolution' was a non-album single, this one's an exception.
'Penny Lane'/'Strawberry Fields Forever' is probably the best 7" 45 RPM single ever. 'I Get Around'/'Don't Worry Baby' is close and 'When Doves Cry'/'17 Days' isn't far behind - - and there are plenty of others. But this one's the best. 'Strawberry Fields' is a great song, but in my opinion 'Penny Lane' is in an entirely different league.
'Strawberry Fields Forever'
To my ears, in mid-2019, 'Strawberry Fields Forever' sounds like an old record. It's evident in retrospect that the Beatles were attempting something for which they didn't possess the technology. But on the other hand it's amazing that this record was made by splicing two different takes, each of which was made using only a four-track tape recorder. It's equally amazing that these takes were recorded in different keys at different speeds. We usually remember to credit Beatles producer George Martin for the group's successes - - and rightfully so. But here engineer/technician Geoff Emerick is also responsible for some studio magic that most would've thought was impossible in December 1966.
If there's a 'proto-prog' side of this single, it's 'Strawberry Fields.' While 'Penny Lane' has some progressive lyrical, structural, and sonic elements, 'Strawberry Fields' is archetypal British psychedelic rock. In terms of sound, it has it all, from instrumentation like backwards percussion, the Mellotron and a swarmandal (I had to look that up; it's an Indian harp-like instrument used to mark the transitions into the verses) to sound effects like phased vocals and tape loops. The lyrics are also classic psychedelia. Especially with the knowledge that Strawberry Fields was a place songwriter and singer John Lennon enjoyed as a youngster, the song exemplifies the balance of nostalgia: the happiness of remembering a past which, sadly, can never return. Even without this knowledge, the three words of the title speak volumes. There are also more than a few turns of phrase suggesting that the singer is tripping, which only adds to the psychedelic feel.
In my opinion, the major weakness of 'Strawberry Fields' is the repetition of the tedious transition from chorus to verse. At the end of each of the first three choruses, after Lennon sings the song's title, the song moves from melodic and rhythmic to dreary and static. While this makes a lot of sense artistically, it already sounds monotonous the second time, never mind the third. The Beatles were early adopters of the bridge in pop-music structure; here's a song that would've benefited immensely from such a device. On the other hand, 'Strawberry Fields' reflects Lennon's attempts to bring a very specific vision to sonic fruition. Lennon was famous for being what we'd now call 'technologically challenged' (a rare similarity between him and Nixon) and thus relied on Martin to realize his vision. It seems that, during the creation of this song, adherence to Lennon's ideal took precedence over other concerns. Creating a bridge or having a constant beat would have made the song more radio-friendly, but as it stands, 'Strawberry Fields' would've fit perfectly on Sgt. Pepper's Lonely Hearts Club Band, for which it was initially intended. Despite the group's decision not to prioritize commerciality in the creation of 'Strawberry Fields,' it reached the top ten of the Billboard Hot 100 and hit #2 in the UK as part of this double a-side single
'Penny Lane'
I'm sure that there have been thousands of musings on the ways in which 'Strawberry Fields Forever' and 'Penny Lane' are polar opposites. To begin with, Lennon and 'Penny Lane' writer and singer Paul McCartney have themselves long been viewed as opposites, and each of these songs seems to exemplify the contrasting qualities of its originator.
Compared to Lennon, McCartney is seen as more down-to-earth, organized, commercial, and comprehensible, and these same contrasts exist between the sides of 'Penny Lane'/'Strawberry Fields Forever.' For example, the nostalgia of 'Penny Lane' is less pronounced, yet clearer. The literal nostalgia in 'Strawberry Fields' (i.e., that which is not inferred by the listener knowledgeable about the Strawberry Fields of Lennon's youth) is in the introspective verses in which Lennon is intentionally unclear. In 'Penny Lane,' McCartney's chronology is circular; the punctuated transition 'and meanwhile back' occurs three times to remind the listener that while time does pass in Penny Lane, Penny Lane never really changes. McCartney expertly creates the impression that the scenes are being viewed by youth, and we interpret these remembrances as McCartney's own. Thus, when McCartney says that 'Penny Lane is in my ears and in my eyes / there beneath the blue suburban skies,' we understand that McCartney is reminiscing.
In the final seconds of the song, McCartney's last recitation of 'Penny Lane' is followed by something like a terminal fermata, perhaps invoking a sense of suspension in accordance with the song's nostalgia. While some songs end with a stop, and other fade, 'Penny Lane' somehow does both.
But generally, musical symbolism doesn't get in the way of the commerciality of 'Penny Lane.' Yes, a bell is played to remind us of the fireman and his engine. Some might regard this as so literal as to be childish; if so, it's all the more symbolic because the scene is a childhood memory. A toe-tapping beat throughout helps ensure radio friendliness.
Summary As someone who prefers McCartney to Lennon, I (unsurprisingly) prefer 'Penny Lane' to 'Strawberry Fields Forever.' I do enjoy Lennon's experimental, progressive, and psychedelic music, beginning with 'Tomorrow Never Knows,' which was among the most important landmarks in Beatles history. And as good as 'Strawberry Fields' is, two of Lennon's other 1967 songs, 'Lucy in the Sky with Diamonds,' and especially 'I Am the Walrus,' are just as psychedelic, but are, in my opinion, better compositions and better recordings.
On the other hand, McCartney never surpassed 'Penny Lane,' before or after. He's perhaps the greatest pop songwriter, and - - again, in my opinion - - this is his masterpiece.
To me, even the best singles shouldn't qualify for five stars on the Prog Archives scale, simply because singles and albums are on equal footing otherwise. But, as the clich' goes, there's an exception to every rule. If that's true, the exception in this case has to be 'Penny Lane'/'Strawberry Fields Forever.'
Posted Thursday, June 13, 2019 | Review this album | Report (Review #2220548)
Review by Kaelka
Let there be no doubt about it : the white is very high in my musical pantheon and if I were to spend a few years on the ever proverbial desert island it'd probably be there with me alongside Red or Rock Bottom. Which means I'm going to give it five stars ? Not so simple. I've always had my doubts about the filing of the Beatles in the prog drawer. For sure, 'Sergeant Pepper" is invariably listed among the first prog albums (the excellent BBC4 series "Prog Rock Britannia" has the whole movement launched by it and Procol Harum's "A Whiter Shade Of Pale", both in 67), which has never really satisfied me. "Sergeant Pepper" is certainly a masterpiece, but apart from "A Day In The Life" (and the pack of the two first tracks and the final reprise which honestly don't deserve the name of 'concept album' sometimes given to the album), there's not a lot of prog to be heard in it. Nor is there, I should add, in "Magical Mystery Tour". In '67, The Nice, Soft Machine, Procol Harum, The Moody Blues or Pink Floyd were already on the road, and the true roots of prog are with them. If I were pushed to choose a true prog album among the Beatles' output, "Abbey Road" would certainly be the one, although of course it doesn't sound at all like any of the well-established prog releases of '69 and remains, to the core, a true Beatles' album.
And thus I'm ready to concede, with no small amount of reluctance however, that the Beatles are welcome on these pages.
The problem is : not the white !
The white is, in my extremely humble opinion, the most "unprog" album of the whole post-"Rubber Soul" Beatles output. It contains the germs of almost everything that will be done in English pop for the following 30 years, but it has no prog. It's a pure pop album, it might even be the greatest pop album of all times, but it has no prog : no classical, baroque or jazzy influences, no long and well-developped pieces of music, no weird chords or time signatures, no "noodling" or virtuoso improvisation. Only pop songs, verse, chorus, bridge if there's enough time for it, verse, final chorus. And even if some of those pop songs are weird or can be considered avant-garde ("Wild Honey Pie" or "Why Don't We Do It In The Road" come to mind), they're still nothing but pop songs (sometimes several pop songs glued together like "Happiness Is A Warm Gun").
If you're familiar with those pages, you know that another alien dwells here : the captain Van Vliet. Well, there's much more in common between the white and "Trout Mask Replica" than with any other band or album listed on PA. And their first common point is this : they're pop albums, not prog.
I've would have very much liked to close this review without giving any stars, but it doesn't seem to be an option. So I'll give five after all, but I'll edit the ratings guide line : ESSENTIAL : A MASTERPIECE OF POP MUSIC.
The astute reader will have noticed that I haven't written a word about Yoko and John's "Revolution 9". I'll keep it that way.
Posted Monday, May 27, 2019 | Review this album | Report (Review #2216164)
Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams
It's certainly mind-blowing in the 21st century, an age when artists take several years to craft the next album, that in the 1960s artists would crank out new products at an astonishing speed and no other act more than THE BEATLES displayed not only how prolific they were with a seemingly endless supply of infectious melodic pop rock tunes feeding a ravenous music scene but in how they crafted one of rock music's most inventive canon's of product within the span of a mere decade. It was only 1963 when Beatlemania captured North America when the band instantly took the world by storm and found itself as the top dog of complete pop rock domination so it's utterly amazing to ponder the fact that within only a short two year run, the band that caused utter hysteria for the female fanbase with banal tracks such as "She Loves You" and "I Want To Hold Your Hand" was proving by 1965 that the Fab Four had a much deeper and more profound nature to their genius that was not allowed to express itself in the beginning.
The early years of THE BEATLES is a true headache for databases with different albums emerging on each side of the Atlantic that included different track listings, some the same, some completely different but by the time Beatlemania began to subside from its initial impact, the band was maturing into more sophisticated musical expressions and at last a convergence of marketing strategies that allowed the same album to be released everywhere was allowed. RUBBER SOUL was the beginning of the next step of THE BEATLES' musical reign that dominated until the band's ultimate demise in 1970. The only difference between the UK and US versions is that the former opened the album with the more suitable "Drive My Car" whereas the American versions for some reason started the album with "I've Just Seen A Face" which appeared on the UK version of "Help." This review is about the only true RUBBER SOUL album in my book, the UK version of course.
While later albums such as "Sgt. Pepper's Lonely Hearts Club Band" often get credit for the innovative experimentation that allowed catchy pop hooks to insert themselves into bouts of psychedelia, folk music, R&B and rock music, the trend actually began on RUBBER SOUL. The title was a play on on the term "plastic soul" which alluded to the tongue-in-cheek admission by the band that their music was devoid of soul compared to the African-American music of the era. RUBBER SOUL along with the following album "Revolver" were sort of the second phase of the band that were transitional albums between the Beatlemania years that preceded and the full-blown mind bending experimental albums that followed. Despite "Sgt. Pepper's" and "Magic Mystery Tour" finding the band at the peak of their creative free-for-all experimentalism, RUBBER SOUL initiated the process by augmenting the mostly folk inspired feel of the album to incorporate various new guitar tones, musical ideas such as ska syncopation as well as new instruments such as harmonium, sitar and fuzz bass.
The experimental touches proved to be a gateway drug for the band to continue this approach until the climactic thunderous roar of "Sgt. Pepper's" but at this stage the band kept the pop infused tracks less cluttered with experiments since they were still touring and performing the songs to live audiences. Despite the inchoate experimental touches, RUBBER SOUL successfully managed to display another batch of 14 instantly infectious pop tracks that found the songwriting triumvirate prowess of John Lennon, Paul McCartney and George Harrison ratcheting up a few notches in sophistication and while Harrison's contributions had been extremely limited up until this point, on RUBBER SOUL his two contributions "Think For Yourself" and "If I Needed Someone" showed his songwriting techniques to be on par and (in my opinion) even better than the powerhouse team of Lennon-McCartney penned tracks. At this point, it was practically a tradition to include on lighthearted tension breaking track by Ringo Starr who cowrote and sings on "What Goes On"
RUBBER SOUL was also the first BEATLES album to shift the focus away from singles and focus the attention of a complete album experience was has been cited as one of the most innovative moves in all of pop music. Of course singles were still a big part of THE BEATLES experience but this was the first time non-album singles were released, a trait that THE BEATLES would continue for much of their remaining years, therefore while the non-album double single "Day Tripper" / "We Can Work It Out" was hitting #1 on the singles charts, the album RUBBER SOUL was set apart from it in terms of musical experiences thus creating a newly uncharted duality that more serious rock bands would adopt. Of course RUBBER SOUL itself hit #1 and contained 14 well crafted pop tunes that were all worthy of singles consideration in their own right and both "Michelle" and "Girl" were ultimately released as such. While the whole idea of a concept album hadn't gelled yet, RUBBER SOUL took the first steps in that direction with an overarching cohesiveness to the album even if not in lyrical content.
RUBBER SOUL may get buried beneath the phenomenal leaps of musical maturity that follow but if accepted on its own merits, that being a well crafted folk music inspired pop rock album, then it's hard to find any flaws in this album whatsoever. It was clear by this point that THE BEATLES were no one trick pony and had the musical chops to reinvent themselves as the musical sophistication reached new heights. By taking the crab walk approach of gradually transitioning into the proto-progressive and psychedelically infused albums that followed, RUBBER SOUL was more than an extraordinarily strong album of ingenious pop hooks supplied by inventive instrumental interplay and soulful harmonic interactions but also served as an invitation into a much richer musical universe that even THE BEATLES themselves were not sure as to where it would lead. The remarkable success of RUBBER SOUL that outsold all the albums before was an affirmation that the public was ready to follow anywhere THE BEATLES were willing to go and as such RUBBER SOUL was that musical portal that gave permission to the entire explorative nature of all the creativity that followed to blossom like a million flowers in spring time and therefore RUBBER SOUL should never be forgotten for this amazingly underappreciated significance.
4.5 but i'm rounding this sucka UP!
Posted Sunday, May 26, 2019 | Review this album | Report (Review #2215997)
REVIEW n. 100! Background noises and rumors of a variety show, drums and rock guitar, McCartney's gritty voice and begins the intro, a kind of acronym for an entertainment program, of the most famous album in the History of rock. Never the sound of the Beatles had been so hard rock, with distorted guitars, high-amplification drums, vocals almost shouted. Yet the piece is not only a rock, there are the horns (French horns), the applause and laughter of the audience, the choirs of Lennon: It is a magnificent mix of rock, symphonic pop, vocal piece, small town band's track. The words of Macca, on behalf of Sergeant Pepper's Lonely Hearts Club Band, close the song by introducing the singer of the next piece: Billy Shears (Rating 8).
And Ringo arrives, singing a track written specifically for him by Paul and John. A simple piece, marked by drums and bass, with repartee between the voice of Ringo, who sings very well, and the choirs, in which one hears above all the voice of John. It Is a pleasant song, whose melody follows the good feelings that evokes the text (Rating 7,5/8). Lucy ITSWD is a strange song in the production of the Beatles, with beautiful beginning with psychedelic piano, voice-treated, bass in evidence, background with Indian sounds, chorus made by the only words of the title, conceived by McCartney, who helped Lennon. The song is simple, but with great atmospheric effect and engaging chorus (Rating 8+).
Getting Better is another collaboration between Paul and John, sung in large part by both; It is a song exuberant from the rhythm of percussion, and a little repetitive in the chorus, which makes it pounding. The most beautiful and original pieces in the arrangements are those of the verses, highlighting a great work by Ringo and George to create an Indian atmosphere (Rating 7,5/8).
After a very percussive song comes the melodic Fixing a Hole: It is a beautiful ballad written by Paul, with Martin playing the harpsichord, voice in the foreground together with the electric guitar of George that finally performs the first solo of the album, in fact until now there was been no instrumental part. The song is perfect in its progression, the sound is clear, and continues the happy mood and smoothness that emanates from the songs and their sequence that so far is perfect.
But comes an interlocutory moment with She's Leaving Home, which sees Paul for the third time in a row at the main singing. It is a very refined song, symphonic, with harp and string quartet. The rhythm expands, the singing has long pauses on the high notes, creating an atmosphere of expectation where much weight has the text, written in collaboration with Lennon, a text of protest, of rebellion towards the family, but it has for sound context a music Neoclassical. The song can, depending on the mood of the listener, delight or appear a bit ' too sliced and long. Remains a symphonic break from the psychedelic pop listened until this moment (Rating 7,5).
The first side is closed by an absolute masterpiece of production by George Martin, which molds a phenomenal circus arrangement to a surreal text of Lennon, inserted in a pop rhythmic all fireworks. We are at the maximum height of originality (Rating 9). Thus closes a first side of 10/10 score, due not only to the quality of the songs but to their variety and smoothness, which together create a synerloptic effect.
The first song of the second side is one of the most ambitious of the Lp, wishing to join Indian music and Western classical music. They play two orchestras: an Indian orchestra and the London Philharmonica. Once again the contribution of George Martin is essential in the central instrumental piece where the sitar dialogue with the strings, of which he wrote the notes. The piece, 5 minutes, without a refrain, is challenging, it may soundsy at times heavy or monotonous because it requires a listen from classical music but has delicious sound peaks both in the singing and, above all, in the instrumental part (Rating 8+). His tail ends with laughter that then fade into the swing clarinet of When I'm Sixty-four, piece by Macca style Thirties or Forty, with flawless execution, accelerated speed so that the voice sounds more acute i.e. childish (Rating 7+).
Another masterpiece of arrangement and another record of originality: a swing after an ethnic Indian song. The listener is so continually amazed, but begins to wonder what happened to the psychedelic pop of the first side, because these first two songs are: the first a mix of Indian sounds and classical music, the other a song of pre-war music.
Arrives so Lovely Rita, with Paul once again starring (he is the conductor of the disc, and the author of most of the music). The piece, however cheerful and rhythmic, is rather weak, simple in arrangement than those of the first side, and does not boast a great melody. It refers, however, with the instrumental parts: the Incipit, the piano solo, and the ending with completely original noises (Rating 7).
Another questionable piece follows: Good Morning (twice), by Lennon, at the rate of goliardic marching, with distorted trumpets and sounds from the hen house in the ending (Rating 7). Overall, these last two songs disorient a bit ' the listener because they appear a bit ' unsheathe, over the line, too vaudeville or exaggerated in tones, while in the first side all the pieces were very measured and refined. In fact, the three central songs of the second side, however cute, are considerably inferior, for quality and arrangement, to those of the first side.
When the reprise of Sgt Pepper arrives, with a good solution of continuity between cluck and electric guitars, it seems that the musicians are pulling the bridle of horses that have now dispersed in infinite directions: the song seems to tighten the files, a pull to collect the music that was a bit too frayed, until you get to the chaotic noisy ending of Good Morning. The reprise is good, it succeeds to be different from the intro, and to bring the sound on the rock, which it was missing in the second side, and that moreover it ends immediately because the mix of SGT (Rating 7,5). Pepper Reprise and A Day In The Life takes place under the banner of the acoustic guitar of Lennon, which makes its way between Pepper's rock that fades.
The atmosphere of the last song is different from the rest of the album. The voice of Lennon is of those that pierce, the accompaniment of drums, almost jazz, is a complete novelty, then there are the piano touches, until the threatening tone of the piece takes an orchestral escalation, desired by Macca, and transcribed by George Martin, with a crescendo of strings (cacophonic) that plays the highest notes, until the deafening ends suddenly and it plays an alarm clock on piano background, on the sound of the drums and of the voice of Paul, free-range as the rhythm. But this piece ends soon and part then a spectacular instrumental passage, marked by Ah-ah-ah-ah sung by Lennon, with a mood epic and classic, which arrives at the climax ending in a crescendo of violins that brings back to the original theme music. We're at very high music levels. The song ends by repeating the orchestral crescendo, ending with a percussion of three pianos that hold the note for a long time, with the reverb (Rating 9,5/10). Masterpiece of avantgarde-pop.
Sgt Pepper is definitely a masterpiece of the Sixties pop, for creativity and arrangements. However It is not a masterpiece of the actual rock, because there is very little rock music in Sgt Pepper: the Lp is a condensed of the musical styles of light music of the time: pop, rock, vaudeville, melodic songs, symphonic songs, swing, world music. Indian music, avant-garde. It is a seminal album, because it contains all the seeds and the genres of progressive rock; andi it is a false concept album because the songs are not connected by a musical or textual motif, but by an opening, then, shooting song: Sgt Pepper, which presents them as the beginning of a show, and then the conclusion of the same.
In conclusion, we are faced with a historical album, with a first perfect side, from 10/10 score, and a second from 9/10 thanks to the first and last track, because in the middle the second side shows a drop in creativity and inspiration. The album is representative of an era, it shows an impressive variety of musical genres, which in the first side run very well, in songs as inspired as those originals. In the second side, while witnessing a passage of ambitious opening, which requires a listening from classical music, with the march we lose a bit ' that thread of art- psychedelic-rock that even in the midst of so much variety constituted the backbone of the record. However, before they degenerate into more and more confusing songs, Pepper's reprise brings the second side to the initial mood and prepares it for the final track, A Day in The Life, which mixes pop and avant-garde music, reaches one of the absolute peaks of contemporary pop-rock music.
Average quality of the songs: 7,94. Rating album: 9,5. Five Stars.
Posted Wednesday, April 10, 2019 | Review this album | Report (Review #2182360)
Boxset/Compilation, 2006
Love is a far cry from the "Beatles Movie Medley." What we have here is mash-ups of well-known and not-so-well-known Beatles songs. And even among the most familiar tunes, some of the source material evidently comes from alternate takes, I assume from the same font from which the Anthology albums were drawn.
I expected more outcry when this came out: messing with history, etc. Maybe George Martin's presence softened the blow. At any rate, I've never been able to see how products like this 'destroy' the original works - - assuming that the originals are still easily available (this is very different from what George Lucas tried to do wit the first Star Wars movie: replace the original with an altered version, and restrict access to the original). But you know what? If the Beatles were at their height today (i.e., during the mashup/remix era), they'd probably release something like this themselves.
Of course, that doesn't mean it would be great.
And Love isn't great. While some projects like this are intended as dance-remix albums, Love apparently exists because part of the Apple Corps contract with Cirque du Soleil required the delivery of a unique soundtrack for the show. As long as the work was being created, why not put it on sale? (Indeed, in the US alone, it has sold more than two million units and hit #4 on the album chart.)
Maybe the music is incomplete without the Cirque du Soleil visuals, but for whatever reason, it strikes me as no more than a pleasant curiosity. I would recommend it for fans only - - and probably remix fans as much as Beatles fans.
Posted Saturday, March 2, 2019 | Review this album | Report (Review #2151386)
Thanks to Certif1ed for the artist addition. and to Quinino for the last updates


Elijah: This seems like a good example of Saïd refers to as 'othering' – setting oneself apart from the rest of the world.
Jules: C'mon! It's just a poem about squids. Why the friggin' exegesis?
Soo: Some of my best friends are squids.
Andrei: Aren't not most politicians in zhat genus?
Philyra: Yep. Utterly spineless – but adept at squirting ink.
we create our own monsters . . . there are plenty of squids inside us.
we also lose something of ourselves.
Vidhya: Why don't more people notice that?


Titled Keys to Parenting Twins in its first edition, this book has been expanded with advice and information of special interest to parents of triplets and other multiple births. The authors present guidelines for nurturing multiples from pregnancy through adolescence. Advice includes questions Moms should ask the obstetrician, making family adjustments to accommodate the new arrivals, infant feeding, individuality issues as they grow, and much more. Books in Barron's easy-to-read series of Parenting Keys contain advice and information on a wide range of child-related subjects, written by experts in psychology, physical health, education, and social and personal development. Parenting Keys help parents raise healthy, happy, productive, and well-adjusted children in the demanding contemporary environment.
Characteristics: vi, 218 p. ;,21 cm.
Additional Contributors: Hurlburt, Mary C.


The scene looks set more and more that a showdown between top American fighters Gervonta Davis and Tevin Farmer will take place in 2019.
Efforts have been made by Farmer's promoter to make the fight that have proved unsuccessful thus far but as we all know, anything can happen in boxing and fan power is at an all time high in terms of influencing fights getting made on social media.
And these two chaps have made no secret that they are not fond of one another on social media.
The tensions between the two and bitter exchange of words continued after Farmer's recent win this past weekend in Madison Square Garden — a unanimous points decision over Francisco Fonseca.
Farmer has also been linked with a fight against Jono Carroll in the new year while Davis has been linked with big name fights against the likes of Lomachenko and Abner Mares.
While a fight between Farmer and Davis might be next up — expect it at some point in 2019.


text:
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OtherPeoplesPixels Interviews Lisa Vinebaum
New Demands? (Chicago)
Performance, Chicago
Photos: Kenny Smilovitch
Interdisciplinary artist, writer and educator LISA VINEBAUM uses the visual language of protest placards to commemorate historical struggles for workers' rights. In New Demands?, her ongoing series of walking performances, she calls attention to the present-day erosion of these rights by reinscribing slogans back into historically significant sites of the labor movement. Lisa holds a PhD in Art and an MA in Textiles from Goldsmiths, University of London and a BFA in Fibers from Concordia University in Montreal. In her critical writings, she explores the social histories of textiles and the performance of labor in the work of contemporary artists. She will co-chair the panel "Crafting Community: Textiles, Collaboration, and Social Space" at the annual College Art Association conference (February 2014) and co-edit a special issue of "Textile: The Journal of Cloth and Culture" with Dr. Kirsty Robertson. Lisa lives and works in Chicago, Illinois.
OtherPeoplesPixels: How are your placard performances like one-person protests? How are they not protests?
Lisa Vinebaum: The performances draw on the form, rhetorics and histories of protest, but they aren't protests. Protest is fundamentally about social change, making demands and proposing concrete alternatives. I'm concerned with raising awareness about specific issues and with commemoration, history and memory. I'm interested in performance as a vehicle for social interaction. I do understand how the performances can be read as one-person protests, but they also draw on street performance, performance art, memory studies, social practice and dialogical art, as well as discourse in gender, feminist and postcolonial studies.
I alter slogans adopted from historical protests and strikes to make them more universal. The placards reference specific events from the history of labor activism, but the work is about inscribing these histories into urban sites today, drawing connections between past and present struggles. I rely on ambiguity to allow the work to transcend protest. The slogans "On Strike for Fair Wages" or "The Right To Collective Bargaining" are easily associated with protest but not necessarily any specific one. The slogans resonate across time and are still relevant today.
Not a self-hating jew
Performance, Montreal, Quebec
OPP: Do you initiate conversation with viewers while you are performing? Which slogan elicited the most engagement and response from viewers?
LV: I wait for viewers to engage with me. I want to leave any interaction up to them. I get the most responses when I use a Yiddish language slogan. So many people stop me to ask what language it is and what the placard says. I also get a lot of Jewish viewers who want to talk to me. They all recognize the language even if they don't speak Yiddish. Many of them also had parents or grandparents who worked in the garment industry. These placards also attract interaction from Hasidic Jews, who tend to be more insular and not have a great deal of interaction outside of their own community. The Not a self-hating jew performance got a hugely positive response, which I wasn't expecting.
OPP: Your 2011 performance Radical Jewish Emplacement was censored by campus security despite being part of an official Concordia University conference event. I love the look on your face—both irritated and amused—in the image on your website that documents the moment of confrontation with the security guard. What were you feeling at that moment?
LV: My reaction was, "You have GOT to be kidding me!" It was so ironic. I was having a heated discussion about Israel and Palestine at the site of so much censorship on the issue—this was the exact goal of the performance—and along came Mr. Security Guard to censor it. I couldn't believe it. The conference organizers tried to intervene, but the security guard threatened my job—I was part-time faculty at the time—if I didn't stop the performance. I later learned that the guard lied about why the performance was stopped. The incident reinforced my views about the need for more discussion and debate on what's going on in Palestine. There has been a lot of censorship regarding Israeli government policies and the treatment of Palestinians, not only in Montreal but also Toronto and New York and on many university campuses. It's incredibly counterproductive.
OPP: Do you have a planned strategy for dealing with the shutdown of discourse?
LV: It's up to me to decide when to walk away from viewers who want to talk to me. Fortunately, I haven't had many hostile responses. Most people are very receptive and engaging. There was one instance in Montreal when a man, who clearly had some mental health issues, became enraged by a slogan on my placard and threw a garbage can. That was the only time I felt threatened and unsafe. Generally, I'm vigilant and always do a site visit or practice run in advance. Also I'm very aware that I might be stopped by the police or other authorities, in which case I'd be non-confrontational and stop the performance if needed.
OPP: Your ongoing series New Demands? "[connects] the current crisis in timed labor to historical struggles for workers' rights." What do you mean by the "crisis in timed labor"?
LV: I mean a general assault on workers' rights and the massive decline in pay and benefits for workers. Ever since Ronald Reagan fired the striking air traffic controllers in 1981, there has been a concerted attempt to curtail rights—the right to unionize, to paid vacations, to health benefits, to earn overtime—that workers won during the first half of the 20th century. Working conditions have been on the decline for the past 30 years, and today companies tend to employ large numbers of part-time workers so as not to pay health benefits or contribute to retirement savings. The minimum wage has not kept pace with inflation—it should be almost $30/hour. There have been a plethora of laws and corporate policies that make it harder to join a union or maintain collective bargaining rights. In 2012, unionization rates were at their lowest in 97 years in the US. There's also globalization, which has led to the loss of tens of thousands of good American jobs and to the creation of dangerous, low paid jobs across the developing world. Overall, there have been dramatic losses for workers while there's been an exponential rise in the accumulation of wealth by executives.
OPP: You've performed New Demands? in the U.S. and in Canada. Is there a different history of protest in Canada than in the U.S. that affects the reception of the work?
LV: I'm not that well versed in the history of protest in Canada. In general, people in Canada are more passive than here in the U.S. There's a certain "Canadian reserve" that probably comes from having been a British colony for so long. One exception is Québec (where I grew up), which was mainly colonized by France and is a predominantly French-speaking province. As in France, demonstrations and protests happen all the time. People are adamant about defending certain rights and taking to the streets to do so.
When I performed New Demands? in Montreal in 2012, there was a province-wide student strike against higher tuition fees. There were tens of thousands of people out in the streets for over two months, and it brought down the provincial government. You don't see that happening in the rest of Canada. Also, unions are extremely powerful in Québec. McDonald's and Walmart workers unionized there for the first time ever. Since you don't see the same kinds of cutbacks to worker's rights in Québec as here in the U.S., people generally take the right to unionize for granted. That difference was reflected in the responses to my 2012 performance in Montreal. Many viewers didn't consider the slogans on my placards to be as relevant today.
I think the response has less to do with national borders and more to do with specific, local contexts. For example, there are differences in how viewers respond to the performances in various neighborhoods within Chicago. I recently performed in New York, and no one talked to me. That was a first. In Montreal and Chicago, lots of people talk to me when I perform. Chicago has a really rich history of labor struggles. There are many more artists who explore labor issues in Chicago than there were in Montreal. I don't think people there relate to the messages in my performances in the same way; they don't see that labor rights and working conditions are under attack. It's not that one city is necessarily better or worse than the other in terms of audience. Viewers in Montreal are still very interested in the histories and strikes that I seek to commemorate in the work.
New Demands?
Performance, Montreal, Québec
Photo: Vincent Lafrance
OPP: Could you talk about your recent performances in Chicago that deal with artistic labor?
LV: For the last two iterations of New Demands?, I held a bright yellow placard that read, "Art work IS Work." The point, which may seem obvious to those of us who are practicing artists, is to recognize art work as work. Statistically, very few practicing artists are actually paid for their labor—only the most commercially successful artists can live off making art. Most artists must work as educators, studio assistants, arts administrators, graphic designers, web designers. . . and many, many artists work in the service industry.
The terrible working conditions for part-time and adjunct faculty is an area that I've begun to explore in my performance work. There are large numbers of artists with MFAs and substantially fewer full-time positions. Part-time teachers aren't paid very well and receive no health benefits, summer pay, or employer pension/retirement contributions. So working conditions for artists are incredibly precarious, especially so when you consider the general lack of respect for the arts in our society—the arts are seen as a luxury or as frivolous. So the issue of timed labor is very connected to issues of artistic labor. These performances pay tribute to the many attempts by artists to organize and unionize, including the Artist's Union and the American Artists' Congress of the New Deal era, the Art Workers' Coalition of the late 1960s and early '70s, and W.A.G.E. (Working Artists and the Greater Economy) and Occupy Museums today.
OPP: What new performances are you planning now?
LV: As part of the Performance Studies International (PSi19) conference in June 2013, I'll be doing two performances at Stanford University commemorating recent strikes on the campus and exploring working conditions for part-time faculty.
I'm also hoping to do a performance in London in the near future. It will explore connections between the recent fires and building collapses in the garment industry in Bangladesh and domestic sweatshop conditions for Bangladeshi immigrants in East London. This neighborhood, where I lived for five years, is a historical site of domestic textile labor by immigrant workers: French Huguenot weavers, Eastern European Jewish tailors and seamstresses, Caribbean garment workers and now large numbers of Bangladeshi women doing piecework in their homes. I'm in the initial stages of research toward a series of public performances: I want to stage larger processions using banners and possibly costumes to commemorate the strikes and actions I've been referencing as a solo performer.
To see more of Lisa's work, please visit lisavinebaum.com.
Featured Artist Interviews are conducted by Chicago-based interdisciplinary artist Stacia Yeapanis. When she's not writing for OPP, Stacia explores the emotional and existential significance of participating in mass media culture in her cross-stitch embroideries, remix video and collage installations. She is an instructor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006, and is currently a 2012-2013 Mentor-in-Residence at BOLT Residency in Chicago. Her work is on view through September 2013 in Abstracting the Seam (Hyde Park Art Center, Chicago) and she will mount a solo show titled I Still Haven't Found What I'm Looking For (Heaven Gallery, Chicago) in January 2014.
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Description CAB eBooks provides a unique opportunity to access CABI's prestigious titles in an easy-to-use format. Books are indexed and retrievable as chapters, ensuring that a search of available titles will render the most relevant results. CABI publish ebooks in Agriculture, Animal and veterinary sciences, Environmental sciences, Human health food and nutrition, Leisure and tourism, and Plant sciences.


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Het Corps of Royal Engineers of kortweg Royal Engineers is een van de korpsen van het British Army. De Royal Engineers verschaffen genisten en andere technische ondersteuning aan de British Armed Forces. De leden zelf worden ook vaak sappeurs genoemd. Het Corps of Royal Engineers wordt geleid door de Chief Royal Engineer.

Het Corps of Royal Engineers is onderverdeeld in verschillende regimenten verspreid over het Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland en Duitsland. Zowel het hoofdkwartier van de regimenten als de Royal School of Military Engineering bevinden zich in Chatham (graafschap Kent).

Externe links
Website van de Royal Engineers

Britse landmacht
Britse militaire eenheid

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James J. McMonagle
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University Hospitals of Cleveland
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Owens Corning engages in the development, manufacture, and marketing of insulation, roofing, and fiberglass composites. It operates through the following segments: Composites, Insulation, and Roofing. The Composites segment manufactures, fabricates, and sells glass reinforcements in the form of fiber, and also includes vertically integrated downstream activities. The Insulation segment provides insulating products which help customers conserve energy; provide improved acoustical performance; and offer convenience of installation and use. The Roofing segment offers laminate and strip asphalt roofing shingles and other products including oxidized asphalt and roofing accessories. The company was founded on October 31, 1938 and is headquartered in Toledo, OH.
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Young & Young Attorneys at Law emphasizes Personal Injury, Auto Accident, Workers' Compensation.
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Aj Deng came to give me the character postcards which we ordered together. We checked out my post office box together and received this postcard. I let him see the postcard first and did not notice the sender. I thought it is a postcrossing postcard in the beginning and was a little bit pissed off. I really needed a reason why the sender chose this, even a joke is fine. After I turned to the back and found it is from my fellow Taiwanese, there is no need of a explanation. This is the kind of humour among the same community group.


text:
Home > Business > Ferry tragedy casts shadow on Korean economy
Ferry tragedy casts shadow on Korean economy
A relative, center, of a passenger aboard the sunken Sewol ferry is consoled by police officers as the wait gets longer at a port in Jindo, South Korea, Wednesday, April 30, 2014. (Yonhap)
By Kim Tae-jong
The Sewol tragedy will have a longer and larger negative impact on the domestic economy than previous disasters, experts said Thursday.
"The shock from the Sewol disaster will last longer and have a bigger negative impact on the economy, different from previous accidents," Bae Sang-kun, vice president of the Korea Economic Research Institute (KERI), said.
"Most of victims are young students and it is unclear when the salvage operation will be completed, which makes the mourning period last longer and leads people to spend less."
Recent data show that the two-week-old tragedy has affected private consumption.
According to information from credit card firms, combined sales dropped by about 4 percent to 2.97 trillion won during the week between April 16 and 22, compared to 3.09 trillion won recorded in the same period last year.
Market insiders believe the accident has made people refrain from purchasing goods, participating in entertainment events or going on trips.
Reflecting weaker-than-expected first-quarter consumption and the negative impact of the Sewol disaster, Nomura Global Economics has cut the 2014 annual private consumption forecast to 2.2 percent from 2.9 percent and the import growth forecast to 4.4 percent from 6.1 percent.
The company noted that private consumption was not severely affected in the past major disasters, as other factors such as income growth, asset prices and financial conditions dominated consumer behavior.
"Following the Daegu City subway arson in February 2003, retail sales declined, but this was largely a result of the 2003 credit card crisis, which constrained consumer financing activities substantially," Kwon Young-sun, a research analyst at Nomura, said in a recent report.
Private consumption was not severely affected in other disasters that claimed more than 100 people such as the Sampoong Department Store collapse in 1995 and the Seohae Ferry sinking in 1993, he said.
But following the Sewol disaster, the private consumption decline in April, most of which is directly related to school trips or festivals, is unlikely to be recovered in the coming months as Korean parents are anxious about safety, Kwon said.
Oxford Analytica, a global analysis and advisory firm, also said in its recent report that the Sewol catastrophe will have an extensive and negative impact on local retail sectors from tourism to food services.
In this regard, analysts said the gross domestic product (GDP) growth could be lower than the Bank of Korea's (BOK) initial projection of 3.9 percent if the Sewol disaster continues to have a negative impact on consumption.
"Corporate investment and export will not be affected by the tragic event," Bae of KERI said. "In fact, the nation's exports have surged, widening the trade surplus. But the drop in private consumption will have a negative impact on the nation's economic recovery."
With growing concerns about the impact of the ill-fated vessel on the economy, BOK Governor Lee Ju-yeol has also said he was closely monitoring economic conditions amid the uncertainty.
But government officials said they are being careful about introducing simulative policies, as the nation is in mourning for the victims of the disaster.
It is also true that economic issues have been set aside, although the government had pushed various policies to boost the economy, such as deregulation.
But other economists said the impact will be short-lived, as people's consumption sentiment will soon be normalized after bottoming out right after the accident.
"The Sewol disaster is more pressure on already low private consumption," Kim Sung-tae, an economist at the Korea Development Institute, said. "But it will be a temporary factor, and people will spend more in May or June with their saved purchasing power."
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The parser delivers a dictionary. The keys are the HL7 terser expressions, and the value are the values in the message designed by the terser. Example : Patient Identifier is accessible by a simple access like hl7dict["PID-3-1"] if hl7dict is the result of the parsing.