Friday, 31 October 2014
Paul performed before a packed house at the Greensboro Coliseum on Thursday, Oct. 30, 2014 in Greensboro, N.C
The Greensboro Coliseum Complex called it a "historic event" when they announced Paul had added Greensboro to his "Out There" world tour earlier this year.
The sold-out show that included extra promotion and amenities for the British rock legend and his fans became the highest-grossing for the Greensboro Coliseum Complex, and generated plenty of buzz before the boy from Liverpool took the stage Thursday night.
That included a near-Paul strolling Elm Street in the days leading up to the show, massive banners and billboards welcoming Sir Paul to town and the last-hour release of extra tickets for the show.
Magical Mystery Tour
All My Loving
Listen to What the Man Said
Let Me Roll It
Nineteen Hundred and Eighty-Five
The Long and Winding Road
Maybe I'm Amazed
I've Just Seen a Face
We Can Work It Out
And I Love Her
All Together Now
Everybody Out There
Being for the Benefit of Mr. Kite!
Band on the Run
Back in the U.S.S.R.
Let It Be
Live and Let Die
I Saw Her Standing There
- Encore 2:
- Golden Slumbers
Carry That Weight
Paul arrives at Greensboro Coliseum
Fans lined up to see PaulM arrive at the Greensboro Coliseum for his performance last night.The show was sold out and is the highest grossing one day show ever in the history of the Coliseum.
Yoko Ono has her mother to thank for armoring her against what the world threw her way when she dared to marry a Beatle.
As a child in Japan during World War II, the artist and musician was evacuated to the countryside, where her parents would visit her. Ms. Ono believes her mother sensed that her daughter “was going to go through some strange things. I remember her saying, ‘Yoko, you’re a very good writer, why don’t you write about this experience and think about whatever you encounter as material for your book?’ ”
For the past 60-plus years, Ms. Ono has followed that advice, channeling her experiences and encounters into conceptual art—first with the avant-garde Fluxus movement in New York, then with her own much-misunderstood “instruction” paintings, often bearing a single word, which invited the viewer to interpret and take figurative ownership of the artworks. Later, with John Lennon, she attracted notoriety—and animosity—when they staged their “Bed-in for Peace” protests in 1969.
That large body of work has now been compiled in a lavish, limited-edition book, “Infinite Universe at Dawn” (£325; genesis-publications.com ). Its contents—abstract and conceptual art, poetry, text works, photography—not only remind us how pioneering and fearless Ms. Ono has been in her life, but also represent a defiant riposte to those who insist that her career amounts to little more than a few slogans and a fortuitous marriage. But the warmth of her welcome at the English seaside two months ago, when she dotted the streets, shop windows and public buildings of Folkestone with text works and installations during the town’s triennial (until Nov. 2; folkestonetriennial.org.uk ), confirm that such doubters are now very much in the minority.
We recently caught up with Ms. Ono, who has gone through some very “strange things” indeed—and used all of them as material for her artwork. Her mother would be proud.
Artists should adhere to what we are, instead of being sidetracked by other desires. We’re supposed to have that independence. But many artists today are, you know, going with this gallery, with that museum, and thinking too much about monetary success, which means they can’t be free. A life of not being challenged and only hearing what you want to hear is being dead.
I do sometimes think, “Am I always going to be in New York?” In a way, it’s destiny, in that even if I try to find somewhere else to move, I just can’t. But, of course, it’s not destiny—it’s my mind that is blocking that.
When John and I were about to go to Japan to see my parents for the first time, he said, “I bet they live in a hole or something.” And I thought, “Just you wait.” Isn’t that funny?
Everybody is creative. These days, I think that’s truer than ever. There were very few activists in our day, when we were doing “Bed-in” and things like that, but now probably 90% of the people in the world are activists.
The main criticism I got for the instruction paintings was about how arrogant I was, telling people what to do. Can you imagine? Instead of saying, “Thank you.” It typified the image they were giving me: this arrogant woman. Or they just thought, “Oh, she’s one of those kooks.”
I never think of things as being a long time ago. Everything is getting more one-dimensional now. The other day, I was just pulling a chair over to the wall so that I could clear a space, and I thought, “I did this when I was 2½.” Experience repeats itself. There is that belief that just before you die, you go through everything you’ve done in your life. Now, I really believe it. I remember very interesting details about the smallest things. You turn a corner and think, “I turned a corner in exactly this way in Italy that time.” It just all comes back.
I always thought that I was dealing in the future—creating the future and the unknown, which is far more interesting and exciting.
When I titled one of my works “Surrender to Peace” and sent it to the New York Times many years ago, the criticism I got was that it wasn’t grammatical, that you can’t surrender to something abstract. And that was them being annoyed about the fact that I was being political. But it just showed their thinking, you know, “She’s an Asian. We’ll intimidate her.”
John was so intelligent, so quick. I didn’t have to explain, and we didn’t have to talk about what had happened. We just immediately knew that we understood each other.
Folkestone reminded me of the first time I went to Iceland. I was really upset that the world seemed to be only into centralization, globalization…. I thought that the way to go was to localize things, to give energy to all these communities and make a difference that way. So I went there thinking, “This is great. This is a place that is never talked about. I’m going to go there and revive them.” And, in fact, they gave me far more than I was giving them.
Women have come a long way. We should be proud of that. We jumped and hopped and came to this point instead of just walking.
— Edited from an interview with Dan Cairns
It was 50 years ago today that the fab four played the Odeon in Birmingham. Danny Friar takes a look back
|The Beatles in November 1963 signing autographs for Birmingham policemen, who helped sneak the band into the back of the Hippodrome|
Fresh from their record-breaking tour of the States, The Beatles were on the second stop of their fifth UK tour when they came to Birmingham in October 1964.
They had first come to the city a year earlier – playing the Ritz Ballroom in York Road in February 1963 and later returned in November that year, playing at the Birmingham Hippodrome. On that occasion they arrived at the venue in a police van wearing police helmets over their long locks.
They also popped here in October 1963 to record an episode of ABC’s Television show Thank Your Lucky Stars at Alpha Studios in Aston. The Beatles’ Birmingham fan club secretary, Jane Blewitt, was lucky enough to meet the Fab Four on that occasion.
Fans camped out overnight at the Odeon box office to buy tickets for the October 11, 1964 show.
The Beatles were the biggest group in the world at the time. They had played in Leicester the night before but had travelled to London for the night. The next morning, their new chauffeur Alf Bicknell drove them from London to Birmingham in their famous Austin Princess.
When they arrived in Birmingham on Sunday afternoon they didn’t go directly to the Odeon Cinema in New Street but instead they made their way to Digbeth Police Station.
They were then taken into the back of a police van which drove them the wrong way up a one way street, almost knocking an unsuspecting motorcyclist from his bike. The van dropped them off at the Exchange pub in Stephenson Place. They then walked down a long passage, through the cellar and over a wall.
|Beatles members Paul, Ringo and George, with the band's Birmingham fan club secretary Jane Blewitt at the Alpha Studios in Aston in October 1963. They were doing rehearsals for their appearance on 60s pop show Thank Your Lucky Stars, made at the studios by ABC Television, which shared the facilities with ATV|
This was the only way they could avoid the crowd of 2,000 fans. The fans had been waiting outside in the pouring rain all afternoon, singing Beatles songs and screaming at any vehicle that just might contain four loveable moptops.
The first of two shows, promoted by Arthur Howes and The Beatles’ manager Brian Epstein, began at 5pm, earlier than the usual 6.15pm. Tickets, depending on where you sat (or stood), cost between 10s 6d and 5s 6d.
For that, pop fans would not only get to see The Beatles but Motown star Mary Wells. The Queen Of Motown, as she was known, had just had an international hit with My Guy.
|Crowds in Birmingham where the Beatles were recording a performance for Thank Your Lucky Stars on October 20,1963|
The other support acts were all managed by Brian Epstein’s company NEMS. They were Sounds Incorporated, The Remo Four, Michael Haslam and The Rustiks. Tommy Quickly was another of the support acts but he was absent that day. The compère for the evening was comedian Bob Bain.
The show started quietly and it was hard to believe that this was a Beatles concert at all. Then, four lads from Liverpool stepped onto the stage and there was a massive explosion of screams.
The teenagers, both girls and boys, leapt from their seats and rushed to the front of the stage.
|In Birmingham on Sunday,Oct 11,1964,for two concerts at the Odeon,Birmingham as part of their 1964 Autumn UK Tour|
The Beatles played for half an hour, performing ten songs in total. They began with two rocking covers, Twist And Shout and Money (That’s What I Want). They then played Can’t Buy Me Love, Things We Said Today, I’m Happy Just To Dance With You, I Should Have Known Better and If I Fell, all of which came from their latest LP and first movie, A Hard Day’s Night.
For their next song Ringo took the mike and sang I Wanna Be Your Man before the group finished off with their latest chart-topper, A Hard Day’s Night and the Little Richard number Long Tall Sally.
|Ringo mobbed by female fans as the band film their final appearance on Thank Your Lucky Stars at Alpha Television Studios in Aston, Birmingham, on March 28, 1965|
The boys played a second show at 7.45pm, an hour earlier than the rest of the tour. After playing Long Tall Sally the curtain went down and the National Anthem was played. Most fans were expecting an encore but when the curtains opened again only guitars were on the stage. The Beatles had already left the cinema and were on their way back to the police station. They were paid £850 (the equivalent of £13,000 today) for their appearance in Birmingham that night.
The Beatles returned to the city to film their final appearance on Thank Your Lucky Stars at Alpha Studios in Aston in March 1965 and performed on one other occasion at the Odeon Cinema in December 1965, one of their last performances in the UK. After that George Harrison made a rare appearance at Birmingham Town Hall in December 1969 while backing American duo Delaney and Bonnie.
Wednesday, 29 October 2014
Slater Street venue, home of the Beatles' first ever gig, will open its doors on 6 November after a two-year closure
Liverpool’s iconic Jacaranda has announced its re-launch night, with its famous doors finally open again on November 6 to unleash a new generation of Merseyside musicians.
It all kicks off with a live music night, sure to return Merseysiders to the days when the Beatles used to play at the venue as ‘Long John and the Silver Beatles’.
Joe Maryanji, part of the team responsible for bringing the Jac back, told the ECHO: “I’ve been a musician in the city since I was 11, and I was playing gigs here from 12.
“It’s a real labour of love for me. The only thing I want to do, and the whole team too, is get the music scene back on track in Liverpool, because live music has died here, like it has everywhere else.
It’s not about reinventing it, but showing people just how fantastic live music can be. People don’t often go to gigs anymore, but there’s nothing quite like it.
“We’ve got some incredible acts playing on Thursday (Nov 6) and it’s going to show everyone just what the Jac is about.”
“One of the biggest thing people missed about the absence of the Jacaranda was the famous Open Mic sessions that used to be in the basement. I’m please to say that upon our reopening, this is exactly how we are restarting it.”
In keeping with their nurturing of local musical talent, the basement will be available as a free rehearsal studio for budding musicians.
Graham Stanley, managing director of the Jacaranda said he hopes to strike a balance between keeping the history alive and bringing it into the 21st century.
He added: “The venue has evolved and changed over the years since its opening as a coffee shop in ’58, each new generation experiencing the Jacaranda in a different way to the last.”
The mural painted by John Lennon and Stuart Sutcliffe has been restored to its former glory, and the jukebox was considered so important that they’ve bought an additional one for the basement.
Stanley admitted the club “lost its way” back in 2011 when it closed due to a period of poor trading, and said it was “one of the hardest decisions we’d ever made.”
Now Mr Stanley and his team are hoping for a repeat of the success of the 60s, bringing the Jacaranda to a whole new generation.
Hosted by Liverpool musician Thom Morecroft, ‘The Thursday Underground sessions’ will see the revival of an open mic that many great artists have been apart of.
The artists confirmed so far are: Robert Vincent, Hannah Kewn, David John Jaggs, Esme Bridie, Dominic Brooks, TIPI and Dave O’Grady.
The first night at the Jacaranda will kick off at 8pm on November 6.
Every Friday and Saturday there will be three bands playing from 9pm- a mixture of bands who have used the basement as a rehearsal studio and any other local talents looking for gigs.
Lauren Laverne had the worldwide premiere of 'Letting Go [Extended Version]' on BBC 6Music this morning! This is an exclusive track only available through Paul's website. Download it for free HERE: http://
Radio 2 also had the world's first radio play of Paul's track 'Hope' taken from the new 'Destiny' game! Listen back to the play at the below link and let us know what you think!
Listen HERE: http://www.bbc.co.uk/
Paul played the YUM Center on Tuesday October 2, 2014 in Louisville, Ky.
Read more here: http://www.kentucky.com/2014/10/28/3506888/paul-mccartney-rocks-louisville.html#storylink=cpy
Paul was making his first trip to Louisville since The Beatles made their American debut 50 years ago, and his wound-up fans wanted him to know how patient they've been. One held up a sign that caught his eye, reading "We Have Waited 50 years 4 U Paul," to which the always-understated McCartney replied, "Well, I finally made it."
Tuesday night at the KFC Yum! Center, Paul's "Out There" tour exceeded expectations by a wide margin.
Halfway through a three-hour show, for example, Paul tossed off a run of "The Long and Winding Road," "Maybe I'm Amazed," "I've Just Seen a Face" and "We Can Work It Out." A bit later, he upped the ante with, in order, "Eleanor Rigby," "Being for the Benefit of Mr. Kite!," "Something," "Ob-La-Di, Ob-La-Da" and "Band on the Run."
Rusty Anderson, Brian Ray, Paul Wickens and drummer Abe Laboriel, Jr. rocks with "Back in the U.S.S.R.," "Get Back," "Helter Skelter" and, most notably version of "Birthday."(to Beatrice McCartney!)
In all, a packed house got 39 songs, including 26 from The Beatles catalog, and more energy from a 72-year-old man than seems plausible. It was a pretty impressive way to spend a Tuesday night.
Paul McCartney is greeted by his fans as he steps out onto the stage at the KFC Yum! Center.
Paul alternated between piano, guitar, ukulele and the same Hofner bass he's used since "Let It Be" recording sessions. His voice was sometimes supple and expressive, especially on "Yesterday" and "Blackbird," but is understandably rough around its edges. He has, after all, been unleashing those Little Richard screams since playing German dive bars for eight hours a night in the early 1960s.
"Eight Days a Week"
"All My Loving"
"Listen To What The Man Said"
"Let Me Roll It"
"Nineteen Hundred and Eighty-Five"
"The Long and Winding Road"
"Maybe I'm Amazed"
"I've Just Seen a Face"
"We Can Work It Out"
"And I Love Her"
"All Together Now"
"Everybody Out There"
"Being For the Benefit of Mr. Kite!"
"Band on the Run"
"Back in the U.S.S.R."
"Let It Be"
"Live and Let Die"
"Carry That Weight"
Tuesday, 28 October 2014
HAPPY BIRTHDAY BEATRICE !
Beatrice Milly McCartney born in 2003 , 8:45 PM in London.
Daughter of Paul and Heather Mills, born by Caesarean section, weighing 7 lbs. She is the fifth child of Paul, who has three children and a step-daughter from his first marriage.
Beatrice was delivered by emergency Caesarean section at the Hospital of St John and St Elizabeth in London, close to Abbey Road studios.
Beatrice arrived three weeks before her due date.
Dhani Harrison, recently sparked conversation regarding his father’s guitar playing while rehearsing his song “Let It Down.”
The discussion began when one of Harrison’s band members overheard him playing his father’s solo, telling him he was playing the notes wrong.
Harrison said he was “doing my own solo, not the one in the song, and he couldn’t take it.” In a playful manner, Harrison decided to go back and figure out what was missing.
George’s guitar playing, within both the Beatles and his solo career, are nigh impossible to recreate. Dhani said because of this, in his early life, he tried not to learn his father’s songs.
Today, Dhani has moved past this defiance. Currently, his efforts to preserve and protect his father’s legacy are widely known.
If one ever hopes to encapsulate the guitar playing George once presented, your second-best window to his talents lives within Dhani.
“My father said to me, ‘I play the notes you never hear,’” Dhani said. George focused on touch and control, being sure he would not blow a solo due to hitting off notes or buzzing strings.
George’s lead guitar was never actually “leading,” in a sense. It was usually paired perfectly with background harmonies or a distant orchestra. His solos exhibited qualities of both lead and foreground tunes simultaneously.
Today in Beatles Music History for Oct. 28:
1961 A customer (Raymond Jones) walked into Brian Epstein's record store in Liverpool, England,and asked for a copy of "My Bonnie" by "Tony Sheridan and the Beat Brothers." "The Beat Brothers" were actually "The Beatles," and had recorded the song with Sheridan in Hamburg,West Germany.The request prompted Epstein to check out the group for himself and he was surprised to discover that "The Beatles" were not German but one of the most popular bands in Liverpool. Within a month,he became their manager.
1995 Paul said in a London Daily Mail interview that he was bitter about living in the shadow of John Lennon. Paul said he was more avant-garde and innovative than John, who was shot to death in 1980. John has been regarded as the most creative "Beatle", Paul said he was the driving force of the group.
With the lack of true rarities found on the recent George Harrison box set, The Apple Years: 1968-75, fans were pleasantly surprised when Olivia Harrison took time out to air a song never heard before on British radio. On Monday (October 20th), Olivia appeared on good friend Jools Holland’s BBC Radio 2 show and premiered a demo of Harrison singing a tune called “Fear Of Flying” by an obscure female singer/songwriter Charlie Dore, which he recorded when Dore visited the Harrison's in 1979 or 1980.
Around the time of the 2012 documentary, Living In The Material World, Olivia first spoke of the recording, telling The Chicago-Tribune, that she had originally wanted the movie’s soundtrack, Early Takes Vol. 1, to be far more inclusive than it came to be: “Initially I thought it could be a two-disc thing, but some things don’t go together. He sang a lot of songs during this time, some very obscure, by people like Nina Simone and this local girl Charlie Dore. But they didn’t really mesh, didn’t fit. We didn’t want a nine-CD set. We settled on these very intimate songs, that were so important to him at the beginning of his solo career, his emergence as a solo artist. That’s what we’re trying to present here, that particular period of his life.”
George felt that he was best serving his audience by constantly changing and refining his recorded output: "Not just 'George Harrison,' but I think most people change all the time. If you listen to me in '65, it's different in '67, it's different in '69, and then through my solo albums. I did the big one at the beginning with all the string players, the choirs, the 10 drummers and Phil Spector. And after I did that one, I just presumed -- I like to give the public the benefit of having some sort of sense; thinking, 'Well just 'cause I've done that, everything shouldn't have to be like that.' So they know I can do that, this one I'd like to do with pianos, bass, drums (and) guitars."
As of now, there seems to be no plans to release George's version of "Fear Of Flying" but the one minute-three second clip is HERE:
Check this out on Chirbit
Monday, 27 October 2014
A letter John wrote to New York-based television host Joe Franklin sold for more than $28,000 Thursday night at the Boston-based RR Auction. In the letter, written on Apple Records stationary in 1971 right after Yoko Ono released her album Fly, Lennon raves about his wife's musical talents and asks Franklin to give her latest LP a listen.
For something rather more 'straight,' a track called 'Mrs. Lennon' on Fly is an example of her more conservative side," John writes.
"She was trained as a classical musician, and took music composition in Sarah Lawrence College as her major. It's far out, but don't let it frighten you."
The John letter to Franklin was just one of the many Beatles-related items that sold at the October 24 auction.
A batch of stock transfer sheets from 1969 signed by each Beatle individually sold for over $16,000, since any documents bearing the Fab Four's signatures from 1969 are extremely rare.