Four young students, one a policeman’s daughter would you believe, were responsible for the heinous crime. The quartet told the press their names were Sue, Roger, Richard and Bob.
They said: “We dropped the flour and ran for it. We did it to prove security and the hall was a farce.” [They also claimed] they watched The Beatles’ 1963 performances from the same vantage point.
[The Beatles’ love affair with Bristol’s Colston Hall, Craig Jones, Bristol Post, 20th March 2017]
Newspaper clippings from The Beatles Colston Hall, Bristol gig on 10th November 1964, where they have bags of flour dropped on them from 50 feet during the show. (Look at John laughing in the top one!)
George and Jennifer met in 1954 on a vacation with their families. They remained “sweethearts correspondence”(Excuse me, not much is known of this relationship)
It was George bride when she was 12 and he 14 years, in 1957. Together they enjoyed watching television holding hands. George always considered as his first girlfriend. According to Louise, sister of George, they were inseparable until he knew the music. They ended in 1958.Shortly after the break, Paul and she were couple
Ruth Morrison :
Ruth was a girl from Liverpool who in 1958 caught the attention of George. He and Ruth began a romance that was to hold hands and kiss, never went beyond that. It was partly thanks to Ruth George finally got to play a proper gig with the band of John Lennon and the Beatles got their gigs at the newly opened Casbah Club, Ruth and his gang of friends were helping Best family decorating. At that time George was giving concerts with his friend Ken Brown, who recalls: “One night, the three were sitting in Lowlands Club, drinking coffee, moaning about the fact not that we where playing when Ruth suggested we saw Mrs. Best in the Casbah Club ”. Ken was a close friend of Ruth and recalls how she was crazy about George, but he was so interested in his music that did not have much time for girls. “In those days, Paul was not interested in girls. It took one or two photos, but that was it. He was in love with music. With George was the same. Ruth was crazy about him, but he did not I was very concerned about it. ” After his romance with George ended it was decided by the nursing career and moved to Birmingham
Pauline was a young woman from Liverpool who lived in the area of Hunts Cross, she worked as a secretary at the Construction Cooperative Society and loved music. At first his main love was jazz, but after seeing Paul McCartney performing the song “Lend Me Your Comb” in the Casbah Club, was completely crazy about rock and roll and The Beatles. John attracted initially, but eventually became the bride of George in 1960 when the Beatles went to Germany, Pauline still wanted to go out and enjoy the music. It was at one of its outputs met Gerry Marsden (who would be part of the group Gerry and the Pacemakers). They left a couple of times as friends because she had made it clear that she had a boyfriend. When George returned from Hamburg called so that they look. Gerry George confessed to being in love with Pauline but neither took it seriously, but their relationship faltered since Gerry Pauline looked much while George was not. George asked him to take a decision, whether between him and Gerry. She chose to Gerry but remained a close friend of George. The October 11, 1965, Gerry Pauline married in St Mary’s Church, Woolton Liverpool.
In the photo:George,Pauline and Gerry
When The Beatles played at the Indra Club, she saw there and became one of his first followers in Hamburg. As she was quite good English, a friend asked him to ask the band something for her - that was how she became familiar with the Beatles. At first, she stuck to Stu, until he and Astrid became inseparable. Being of the same age as George, the two struck up a platonic friendship.
Here are some memories Monika translated the book “Mach Schau!”
“George was incredibly funny and open and we had a lot of fun. But it was completely platonic.”
Her parents asked him to invite the band for a meal at the home of his family and when it was time to leave, “said politely goodbye with a handshake and bowed. That was very nice. And as a thank you, John le my mother played a song: I stood up in the living room with a guitar and sang some half in English and half in German ”
Ann Marie Guirron:
She worked as a model and went briefly with George in 1962 when The Beatles moved to London (Excuse me for not finding more information)
Bernadette was a young hairdresser who lived in Childwall. She first saw the Beatles early in 1961, when he became a frequent guest at the Cavern Club became his devoted fan. Two years later, when she was 17, George, who lived close to her, asked her out a note through the door. When the fame of George started away from her more often, the couple decided to break up amicably and Bernadette never had any resentment about his decision to leave and continue his career.
Bernadette and George
The Ronettes met John, George and Ringo at a party in January 1964 in England. As they danced, it became clear John was attracted to Ronnie and George by Estelle. They were paired in bedrooms, Ronnie said nothing happened apart from kissing. She and Estelle were still young and inexperienced, and sweethearts in the United States. Ronnie and Estelle had double dates with John and George and they asked them about the rock and roll in America. They ceased to be when The Beatles went to Paris and The Ronettes they returned to America. They met again when the Beatles came to America in February 1964.
Estelle with George
George and Pattie met in 1964 on the set of the film “A Hard Day’s Night”. After several proposals from George and Pattie rejections, they ended up dating. They were married on January 21, 1966, same time she wrote a column for the magazine “16”. In early 1970, the relationship is complicated. George’s and Pattie’s
infidelities, coupled with excessive interest him in their religious explorations, made the marriage came to an end in 1974, officially divorced 9 June 1977. Despite that, they continued to have a cordial relationship
Joey went out with George for about six months while he was dating Joey in 1964. Pattie met George at a charity ball in New York and then followed a long-distance relationship with him by phone. In 1965, things did not work and ended, which depressed George.
It was rumored that the song “I Need You” by The Beatles was written for her and not for Pattie.
The March 20, 1964, after being out for a week with Pattie, George accompanied the actress Hayley Mills and his mother to the projected benefit concert of “Charade” at the Regal Cinema. Hayley’s mother was the winner of a charity auction to win a date with George, which would share with her daughter. They went out for a month.
Charlotte was a French model who dated Eric Clapton and Jimmy Page later married.
After separation of Eric Clapton, Charlotte briefly lived with Pattie Boyd and George Harrison in his bungalow Kinfauns in January 1969, before returning to Paris to continue working modeling. Charlotte had an affair with George, which devastated Pattie Charlotte because he considered a friend. Pattie left the house and returned when George called him telling him that Charlotte was gone
She was the wife of Ronnie Wood. Krissy and George fled to a villa in Portugal in 1973.
George and Maureen had an affair after Pattie and her sister Jenny were a weekend to visit his mother in Devon. George gave Maureen wearing a necklace against Pattie. Then Patt found them locked in a room of Friar Park, knocked on the door telling George to open, I knew that Maureen was there, George opened and said he was tired and Maureen had leaned a little.
One day, George, Chris O'Dell and Pattie went to the house where Ringo and Maureen George, before all, said he was in love with Maureen.
Chris O'Dell said Maureen explains that only they were having a ‘spiritual matter “and that she felt much connected at that level. Maureen sometimes arrived late at night at Friar Park, the Harrison estate. She spent several nights with Harrison. Pattie Ringo then phoned every night to tell where his wife was.
She worked as a model, appearing in "Top Of The Pops” and in 1968 played the role of Samson in “The Touchables”. In 1974 at age 24 he began dating George. Convinced that their relationship would develop into something deep and meaningful, even to see George as his true love, she moved in with him in a small village near the bay of St. George in Granada. They spent several happy weeks together before George out to Los Angeles to plan his first solo concert tour. As George flew to Los Angeles alone, leaving Kathy heartbroken, it became clear that the matter was merely a casual adventure for George
In 1974 Olivia met George at the offices of the company A & M Records and then met again at a party. They started talking on the phone and realized they had much in common, that’s when George invited her to join him on tour in America, where officially began their relationship. Shortly after the tour, they moved to George mansion, Friar Park in Henley-on-Thames, England. The couple decided to marry as soon as possible, had to wait for the divorce from Pattie was concluded with George, which took place in June 1977. Some time later, Olivia discovered she was pregnant, so the decision was made to conduct the wedding. Unfortunately, this did not happen as planned because George’s father died in May 1978. On August 1, 1978 was born the first and only child of the couple, Dhani, and George and Olivia were married on September 2, 1978.
Brian was not working totally blind. Early on, he enlisted the help of Joe Flannery, a fellow member of Liverpool’s clandestine gay community with whom, some years earlier, he’d had an atypically happy, stable relationship.
Flannery already managed a band, Lee Curtis and the All Stars, fronted by his younger brother. ‘I met up with Brian only about a week after he’d started managing the Beatles,’ he remembers. ‘It was at the Iron Door club [the Cavern’s main rival, in Temple Street].
My brother’s group needed to borrow a bass amp, so I asked Paul for a loan of his. But he just nodded at John and said, “Ask the boss.”’
After late gigs, the Beatles would often crash out at Flannery’s comfortable flat in Gardner Road. ‘When they’d sleep in my sitting-room, I noticed there was a pecking-order. John always had the couch while Paul made do with two armchairs pushed together.
John, Paul, and Jim McCartney: “—and in the end he chose me.” (a supplemental timeline)
[Paul] liked it with daddy and the brother… and obviously missed his mother. And his dad was the whole thing. Just simple things: he wouldn’t go against his dad and wear drainpipe trousers. And his dad was always trying to get me out of the group behind me back, I found out later. He’d say to George: “Why don’t you get rid of John, he’s just a lot of trouble. Cut your hair nice and wear baggy trousers,” like I was the bad influence because I was the eldest, so I had all the gear first usually.
So Paul was always like that. And I was always saying, “Face up to your dad, tell him to fuck off. He can’t hit you. You can kill him [laughs], he’s an old man.” I used to say, “Don’t take that shit off him.” Because I was always brought up by a woman, so maybe it was different. But I wouldn’t let the old man treat me like that. He treated Paul like a child all the time, cut his hair and telling him what to wear, at seventeen, eighteen.
But Paul would always give in to his dad. His dad told him to get a job, he fucking dropped the group and started working on the fucking lorries, saying, “I need a steady career.” We couldn’t believe it. So I said to him—my Aunt Mimi reminded me of this the other night—he rang up and said he’d got this job and couldn’t come to the group. So I told him on the phone, “Either come or you’re out.” So he had to make a decision between me and his dad then, and in the end he chose me. But it was a long trip.
— John Lennon, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)
(Note: I originally posted this on Livejournal some months ago, and figured it would be of reasonable interest and relevance here. The circumstances leading up to John’s implicit “Jim or me” ultimatum are as they have been presented in Mark Lewisohn’s The Beatles: All These Years – Tune In (2013), and I have included supplemental quotes from the same. The arguably fannish editorial focus and general contextual embroidery is mine.)
“They are intelligent enough to write their own numbers, they are musical enough to play the right chords and in tune too, and they’re adult enough not to take the whole screaming affair too seriously.
“My jazz friends will kill me for this…but I do like The Beatles.”
[Roger Bennett, jazz aficionado and reviewer for The Bristol Post, reviewing the Beatles concert at Colston Hall, Bristol on 15th November, 1963]
The Beatles at Colston Hall, Bristol (but pic is the March or November 1964 gig).
Part of opposing
contemporary pop music’s artificiality is the way that “rock” and other musics
present themselves as live and “raw.” Because of modern recording technology,
pop music usually erases mistakes. Vocals can be tuned digitally, wrong notes
can be re-recorded, and parts played out of rhythm can be adjusted. Many rock and
folk artists, however, leave these “mistakes” in their recordings to create an atmosphere
of authenticity or to subtly remind audiences that “real humans” are playing
the instruments. One Direction has included moments like this in their music as
well, seemingly as another way to combat the perception of boy bands as
simplest way for bands to create the illusion of a live performance is with a
count-off. Typically in a live setting, bands will use a count-off (either
vocal or with drum sticks) so that everyone starts together at the same tempo.
But in a studio with multi-tracking, click tracks, and editing, count-offs are
unnecessary. Famously, The Beatles’ first album Please Please Me begins with a count-off for “I Saw Her Standing
There.” Ian MacDonald explains,
Hoping to capture some of the
excitement of [a live performance], [producer] George Martin considered
recording Please Please Me in front
of the group’s home audience, and it was probably this unfulfilled plan which
prompted him to retain McCartney’s introductory count-off, so evocative of The
Beatles’ gigs at The Cavern and The Casbah.
explains that the count-off is actually from a different take than the rest of
the recording, and Paul McCartney remembers keeping that take because it
sounded “especially spirited.”
Though these kinds
of count-offs were normally edited out even in the 1960s, The Beatles were recording “live,” without many
overdubs or splices. For One Direction, however, this is not the case. Count-offs
occur in “Midnight Memories” (vocals and drum sticks count-off “One, Two,
Three,” while muted guitar strings strum on all four beats before the song begins),
“She’s Not Afraid” (as the guitar begins to play the main riff, party sounds of
people talking fill up the background; Louis then screams “One, Two, Three,
Four” before Harry’s vocals begin the first verse), and “Act My Age” (acoustic
guitars strum muted strings in rhythm as the vocal calls out “One, Two, Three,
Four”). In “Happily,” the count-off comes before the chorus. On Made In The A.M., “If I Could Fly,”
a simple piano ballad, starts with the piano’s damper pedal audibly being
pressed down, emphasizing the fact that the song was recorded on an acoustic, rather
than digital, piano. On Beatles-esque “Olivia,” studio chatter is included at
the beginning of the track, and you can hear a producer explaining the form of
the song to a musician. Most of the words are hard to distinguish, but you can
clearly hear, “then you rest for four bars.” At the end of the track, you can hear people in the studio clapping and talking to each other. The inclusion of these count-offs
or “unnecessary” studio sounds remind us of
the “authentic” process of music making.
Direction has also included what we might call “mistakes” in some of their
recordings as another marker of authenticity. “Through The Dark” begins with an
acoustic guitar note unrelated to the ensuing music. In the background, a light
hit of a tambourine is heard and then the song-proper begins. The moment only
lasts one second, but its inclusion offers an insight into the studio. It
sounds like an outtake, or as if the engineer began recording while the
guitarist was warming up. Before we can get a full sense of what is going on,
though, the song begins. It’s clear that the moment does not add anything
significant musically to “Through The Dark.” Rather, it functions as a
signifier of authenticity in the same way that the count-offs evoked live
“Fireproof” is led
by a single electric guitar, which leaves the arrangement sounding empty and
unbalanced, almost like a demo version. A second guitar is added only for a
solo in the second half of the second verse. While this shouldn’t be
characterized as a “mistake” in the same way as the false start of “Through The
Dark,” it is an unusual sonic choice for a pop song. The introduction features
only this guitar, and without the drums and bass joining in, one can hear
amplifier buzz underneath the playing. More explicitly, the song ends with the
guitar alone again. After the final part is played, the guitarist drops their
fingers off the string, creating an audible slide noise and the sound of open
strings ringing out with the delayed effect placed on the guitar. Again, this
is something that could have—and by pop standards should have—been removed from the final recording, but its
inclusion is a reminder that the guitar was played by a human. The mistakes
 Ironically, most live performances of “Happily” uploaded by fans to YouTube
reveal that the band does not include
“But I’m In A Cool Boy Band”: Anxiety and Masculinity in the Music of One Direction
by Scott Interrante
In partial fulfillment of the requirements for the degree of Master of Arts in Musicology.
Better late than never! Look, guys. Pk went a bit off the grid last week, so no new show was recorded for this past Monday. But, we never forgot. We’re still here, guys. Just getting back in the groove is all! TONIGHT we record The Fifth Beatle: The Brian Epstein Story for this week’s show!
“The Fifth Beatle is the untold true story of Brian Epstein, the visionary manager who discovered and guided the Beatles—from their gigs in a tiny cellar in Liverpool to unprecedented international stardom. Yet more than merely the story of "The Man Who Made The Beatles,” The Fifth Beatle is an uplifting, tragic, and ultimately inspirational human story about the struggle to overcome seemingly insurmountable odds. Brian Epstein was homosexual when it was a felony to be so in the United Kingdom, Jewish at a time of anti-Semitism, and from Liverpool when it was considered just a dingy port town. He helped spread the Beatles’ message of love to the entire world, yet died painfully lonely at the young age of thirty-two, consumed by staggering ambition and the endless struggles that came with it.“
Yes, TONIGHT. Was it supposed to be recorded last night? Maybe! But Dale is a little slower to ease back into the real world than most people. He is still back on Utopia with his old pal Red, hooting and hollering and maybe having fun like the way society should be. Slim will be back tonight, too. He was on vacation, too. Cooped up in some house with his child and 2 other children that belonged to Dale and hoooo boy 7 days. 3 kids. 1 Beach house. He’s probably still not completely recovered sorry Slim about that. Jonesy will be there. Probably plopping around on one healthy foot pretending everything is okay while tweeting from Paperkeg’s main account. "Doc says I’ll be fine” he says. First it is his foot and then next thing you know he’s peeing out of some cord attached to his body like our boy Tom Cruise in one of the movies we would potentially record for an unnamed Tom Cruise podcast LOL it’s a passion project what can we say?!
Tonight guys. You know the drill. SocialMedia. Links to youtube. Refresh those feeds tonight/tomorrow and then probably see you Thursday to get back on track! <33333 XOXO.
A story from Paul Walters, who was 15 and a budding guitar player when the Beatles played at the ABC Cinema in Exeter, on 28th October 1964. Paul’s father, Ken was a hairdresser in the sixties and one of his father’s customers was Bob Parker, boss of the ABC, who was looking for people to police the second Beatles gig at the city centre venue. Paul volunteered.
“The Beatles were late to the gig because they were watching a Liverpool FC game on telly at the Rougemont Hotel; they were in high spirits following a victory.
"As part of the job I ended up getting them supper.”
When getting fish and chips from a takeaway on Heavitree Road, opposite Pyramids, he told the woman behind the counter "she would not believe who they were for.”
On his return he managed to stick around back stage with his guitar, which he had recently began to learn how to play.
And, to the envy of millions, Paul and John even taught him how to playing the closing chords of Can’t Buy Me Love.
“I asked him if he could teach me the opening of the song, and what he said is a life lesson that has stuck with me ever since.
"John Lennon looked at me square in the eyes and said: "It is not how you start, it is how you finish that is important.”
Breaking the mood, Ringo Starr then chimed in during the guitar lesson – telling him “Being a drummer is far more interesting. You get more girls.”
Playing with Velvet Touch, [Paul’s group] Paul would go on to meet many of the great and good of 60s and 70s rock and pop, but he firmly believes The Beatles were some of the nicest people he has ever met in his life. Following the 1964 gig, ABC owner Bob popped back into his dad’s hairdressers with a signed autograph to give to him, as many were sent to music halls where they had played.
[Paul Walters talking to Alex Richards, Exeter Express and Echo, 22nd Nov 2016]
Pics: Paul’s autographed picture from The Beatles and a picture of Paul Walters, with Cilla, from around the same time.
The Washington Coliseum, where the Beatles played their first gig stateside, has seen better days. After 10 years as a transfer station for Waste Management, it’s now used as a parking garage. The building’s exterior shows signs of nature returning despite being in a rapidly changing D.C. neighborhood.
The Cities Project is back with some stories about nature encroaching on our urban environment. We notice it when there’s a hurricane, but it happens in small ways, too.
We want your photos and stories of nature reclaiming space in your community, in ways big or small. It could be in an empty lot gone to seed, a vacant house full of bats or a flower pushing its way up through a crack in your balcony or sidewalk. Plant or animal stories welcome. Tag your image with #nprcities – we may share your contribution on the radio and NPR.org.