John Lennon photographed by George Harrison, presumably on a flight during The Beatles’ World Tour, 1964; screen capped from Living in the Material World
“I know with John Lennon, John Lennon’s an amazing person who is brilliant, is brilliant. There is no question about it. John Lennon is a saint and he is heavy duty and he is great and I love him. But, at the same time, he is such a bastard. But that’s the great thing about him.” - George Harrison, 1975
“I think probably so much has been said about [John] already. But occasionally, you know, you miss him, because it would be fun to hang out with him. But at the same time, what I’ve got to be believe in over the years is the spiritual thing, that death is only like changing your suit. So now you’re in your physical body, and you’re in your astral body…” - George Harrison on John Lennon, 1987
“[John] was great, he was brilliant, and he was a great soul. Still is.” - George Harrison, Guitar World, April 1988
This brief documentary gives an insight into the work of the legendary artist, including his house and studio, which meld the International Style with Japanese and American Craft influences. (Image: Cereal Magazine)
“Well, he never shut up. George had a lot to say. Boy, did he have a lot to say. That’s hysterical to me, you know, that he was known as the quiet one. I assume he got that name because the other ones were so much louder. I mean, they were very loud people. [laughs] One time he told me, ‘Me and Olivia had Paul and Linda over the other night, and you would have thought there was a hundred people in the house, it was so loud.’” - Tom Petty, Rolling Stone, 17 January 2002 [x]
“Thinking of you all with love. Keep your spirits high. Nice to have you back home again soon. God bless. Love, George and Olivia.”
- An international telegram sent to Paul and Linda McCartney at the Okura Hotel, Tokyo, from George and Olivia Harrison, on 21 January 1980 [x]
“There’s always a place in my heart for Paul… and Linda.” - George Harrison, Musician, March 1990 [x]
“Linda will be missed not only by Paul, her children and brother John, but by all of us who knew and loved her. She was a dear person with a passionate love of nature and its creatures and, in her passing, has earned the peace she sought in life. May God bless her.”
- George Harrison’s statement in tribute of Linda McCartney, April 1998 [x]
Elwood Engel moved from Ford to Chrysler in late 1961. At Ford, Engel and his team were responsible for the 1961 Lincoln Continental. Lincoln was in danger of being dropped like Edsel, but the success of the new Continental saved the marque.
Although Engel modified designs of previous Chrysler Corporation cars, the 1964 Imperial was the first car Engel completely redesigned for the company. Even though the 1964 Imperials look completely different from the 1963 models, they share the same body on frame structure and power train. Imperial was a separate Marque of the Chrysler Corporation from model years 1955-1975. In 1960, Chrysler, DeSoto, Dodge and Plymouth all switched to uni-body construction. Imperial continued using body on frame structure to the end of the 1966 model year. From 1964-1966 Imperial was available in two models Crown & LeBaron. 1963 was the last year for the lower level Custom model.
1964 & 1965 Imperials came standard with a 413 CI (6.8 L) V8 with a 4 bbl Carb. In 1966, the bore was increased to become the 440 CI (7.2 L).
Crown Imperial was the designation for ultra exclusive Ghia built limousine during this time period. The Ghia Limousine, assembled in Turin, Italy, cost more than 3 times the other Imperials, often less than a dozen were delivered in any year.
Provoke: Between Protest and Performance - Photography in Japan 1960-1975
Shomei Tomatsu, Takuma Nakahira, Editor, 1964.
東松照明, 「編集者 中平卓馬」
The short-lived Japanese magazine Provoke, founded in 1968, is
nowadays recognized as a major contribution to postwar photography in
Japan, featuring the country’s finest representatives of protest
photography, vanguard fine art and critical theory in only three issues
overall. The magazine’s goal was to mirror the complexities of Japanese
society and its art world of the 1960s, a decade shaped by the country’s
first large-scale student protests. The movement yielded a wave of new
books featuring innovative graphic design combined with photography:
serialized imagery, gripping text-image combinations, dynamic cropping
and the use of provocatively “poor” materials. The writings and images
by Provoke’s members-critic Koji Taki, poet Takahiko Okada,
photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama-were
suffused with the tactics developed by Japanese protest photographers
such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at
and criticized the mythologies of modern life. Provoke
accompanies the first exhibition ever to be held on the magazine and its
creators. Illuminating the various uses of photography in Japan at the
time, the catalogue focuses on selected projects undertaken between 1960
and 1975 that offer a strongly interpretative account of currents in
Japanese art and society at a moment of historical collapse and renewal.
The Peugeot 404 saloon might lack a bit of glamour but it was actually styled by Pininfarina in Italy. It rolled of the French Sochaux Plant line from 1960 to 1975. The bodies
of the later convertibles and coupés were built by the coachbuilder in Turin, recognizable by the logos of Pininfarina between the door and the rear