Wednesday, 27 July 2016


Pattie Boyd is in Liverpool to visit her exhibition of candid photos at The Beatles Story.
George, Eric and Me, on show at the attraction’s Pier Head venue, is a collection of intimate images taken of the 72-year-old’s former husbands George and Eric Clapton.
The photographs, some taken on Boyd’s Nikon but others snapped with a Polaroid camera, also feature some of their closest friends including the Beatles, Rolling Stones and Clapton’s Cream bandmates Jack Bruce and Ginger Baker.
Speaking at the exhibition, Pattie Boyd said: “I think it looks fabulous.

“What I really like is the natural light coming in and I love the way all the photographs have been put in different areas. I always leave it to the gallery owners to put the images where they think they should go.”
Boyd was a teenage model when she was cast in the Beatles’ first film, A Hard Day’s Night, catching the eye of the young George Harrison.
They married in 1966, but went their separate ways in the 1970s and divorced in 1977. Two years later Boyd married Harrison’s close friend Eric Clapton.
The exhibition, which features a total of 57 images, also includes a selection of the 60s style icon’s vintage dresses.
Boyd, who is meeting fans and talking to them about the show this afternoon and tomorrow morning, will be back in Liverpool next month to make a return appearance at International Beatle Week.
Meanwhile she took time out from viewing her exhibition to talk about some of the photographs and the stories behind them.


Olivia Harrison has raised the possibility she will will finish some of the Beatles unreleased songs with her son Dhani.
Olivia said she talked to her 37-year-old son about working on the tracks: 'There are a lot of songs that are unfinished,' she explained. 'I think there's a project there. I just need time to get to it'. 
She was speaking at the the tenth anniversary of The Beatles Love by Cirque du Soleil at the Mirage Hotel in Las Vegas, attended by Paul, Ringo and Yoko Ono.
Olivia, 68, revealed she is working on around 10 songs that will make up a new album of previously unreleased work.
She had hoped it would have been released by now, but fell ill with the flu and was hospitalised in February, which she said had 'derailed the whole situation.'
'Everything in my body is OK now, except I have a problem walking,' Olivia explained.

Tuesday, 26 July 2016


A Ron Howard Beatles documentary highlights Hulu’s original fall programming. Streaming service Hulu has released its fall schedule of original programming in hopes of enticing cable and broadcast subscribers to come on down and give it a try.

Hulu hopes to begin competing with Netflix on the original programming front. In the recent Emmy nominations, Netflix earned 54 total nominations -- No. 3 behind HBO (94) and FX (56).

• The Beatles: Eight Days a Week -- The Touring Years, Sept. 17. Directed and produced by Ron Howard, the documentary will cover the early years of The Beatles' career.
Looking back, it's hard to believe that The Beatles only lasted a decade (1960-70) and only toured for a few years. The film will focus on the period from the days of The Cavern Club in Liverpool to their last concert at Candlestick Park in San Francisco on Aug. 29, 1966.
Howard will explore how John Lennon, Paul McCartney, George Harrison and Ringo Starr came together to become such a phenomenon.
Hulu says, "It will explore their inner workings -- how they made decisions, created their music and built their collective career together -- all the while, exploring The Beatles' extraordinary and unique musical gifts and their remarkable, complementary personalities."


The 1956 Austin Princess that was the personal property of John Lennon and featured in the 1972 film Imagine which is due to sold in September.
The late Beatles star bought the 1956 Austin Princess limousine in August 1971. He used it the following year in a film to promote his album Imagine. The footage featured Lennon alongside his wife Yoko Ono.

The 1956 Austin Princess that was the personal property of John and featured in the 1972 film Imagine which is due to sold in September.

The car still features five aeroplane seats that were added by the musician.
The buyer will also receive the original vehicle registration and title document, complete with Lennon’s signature from the original purchase.
The vintage motor was donated to the Austin Rock and Roll Car Museum in Texas in 2008 by previous owner Milton Verret. It is now being sold to to raise money for charity and will be included in an upcoming auction held by RM Sotheby’s .
Some of the proceeds from the sale - at Battersea Evolution, south west London, on September 7 - will be donated to Unicef and Make A Wish America.

The auction house estimates the car will fetch a minimum price of £190,000 and a maximum of £265,000.
A guitar stolen from Lennon in the 1960s sold at auction for £1.6 million last year.

Monday, 25 July 2016


Paul touched down in Liverpool today for the annual LIPA graduation and was met by a diehard fan from 50-years-ago.
Paul took to the stage to congratulate the institute’s new graduates, and one fan travelled from America to catch a glimpse of the LIPA co-founder.
Bonni Granato from Ohio was waiting for Sir Paul outside the ECHO arena, holding a sign which said: “Paul - I touched your boot 50 years ago, can I touch it again?”.
She said: “I have come from Ohio to see Paul come in today. I saw the Beatles in ‘66 and I touched his boot 50 years ago and I want to touch his boot again. Love you, Paul.”
The Walton-born musician helped to co-found LIPA in 1996 to forge a new approach to performing arts training.
He also dropped by the institute at the start of May, when he was rumoured to have taught a songwriting class.


Opening with a sharp swipe at Harold Wilson’s supertax rate for big earners, it ends half an hour later in a revolutionary mystical soundscape sculpted from LSD and dope, and drenched in technical wizardry the like of which had never been heard before. In between, a dozen of the finest pop songs ever written – including Eleanor Rigby, Good Day Sunshine and Here, There and Everywhere – all wrapped up in a piece of artwork as unexpected and intricate as the music it was created to contain.

Half a century after the release of Revolver, the Beatles album hailed not only as the group’s creative summit but arguably pop’s greatest achievement, the artist who designed the record’s monochrome sleeve – itself acclaimed as one of the finest pop artworks – has revealed how he did it: on a kitchen table in an attic flat, for £50.
Klaus Voormann – veteran Beatles confidant, inventor of the mop-top haircut, and member of the group’s inner circle of friends since their formative years playing Hamburg bars and strip joints – has decided to tell the story of his relationship with the Fab Four not in words, but in pictures. Voormann’s graphic novel, Birth of an Icon: Revolver 50, opens with his first encounter with the group one night in 1960 in a Hamburg bar, the Kaiserkeller, and traces their metamorphosis in five years from leather-clad rockers to multimillionaire psychedelic potentates, the greatest band in the world.

Revolver, the Beatles’ seventh album, was released in the UK on 5 August 1966. England had just won the World Cup and London was swinging. “Things stay in my memory because people keep on asking me about that time,” Voormann, now 78 and based in his native Germany, told the Observer. “I remember, where I created the Revolver cover. It was on the third floor of a house, in a little attic apartment, it was in the kitchen. Parliament Hill, Hampstead. I was staying there. I went back there recently, the building is exactly the same.”
A trained artist and musician, Voormann and his girlfriend, the photographer Astrid Kirchherr, were quintessential continental beatniks when they befriended the Beatles – sporting black clothes and a moody face beneath a low fringe. The look, especially the hair, heavily influenced the band’s early image. Voormann went on to spend much of the 60s and 70s alternating stints on the pop and rock circuit, playing bass with Manfred Mann, George Harrison and John Lennon – including on Lennon’s Imagine – with his work in graphic design and fine art.

“1966 was the time when the Beatles were really, really busy,” Voormann recalls. “They were doing one album after another. They were just happy by then that they were spending more time in the studio, in the control room, messing around with sounds, than they ever did before. They had a German tour coming up, and also a Japan tour. They had just a few more weeks available to work on their new LP, the one which would be called Revolver, and then suddenly they were off on tour. I came to Abbey Road Studios to listen to the tracks for that album as they were recording them.”
The commission for the album cover design was unexpected, but, for the Beatles, characteristically spontaneous and left-field. “I got a phone call from John. He just said: ‘Got any ideas for our new album cover?’ I thought: ‘Shit! Doing a cover for the most famous band in the world!’ At moments like that you could suddenly forget that they had once been scruffy little Liverpool boys. I thought, ‘My God, I can’t do that!’”
As a freelance graphic designer in the early 60s, Voormann had created artworks for vintage jazz albums issued by Deutsche Grammophon. But to come up with ideas for a groundbreaking Beatles record, he needed to hear the new music.
“So the band all asked me to come down to Abbey Road Studios. This was when they had recorded about two-thirds of the tracks for that album. When I heard the music, I was just shocked, it was so great. So amazing. But it was frightening because the last song that they played to me was Tomorrow Never Knows.”
The album’s climax, a sonic collage heavily influenced by hallucinogens and hash, and held together with a hypnotic drum pattern, baffled many fans and disorientated critics, but fed into the thinking for a design for the album’s cover. “Tomorrow Never Knows was so far away from the early Beatles stuff that even I myself thought, well, the normal kind of Beatles fan won’t want to buy this record,” says Voormann. “But they did.”
Voormann chose to work in pen and black ink, dotted with cut-out portions of photographs of the band members and forming a “waterfall” of imagery.
He says: “When I had finished my work for the cover, [Beatles manager] Brian Epstein was really moved by my design. He said to me: ‘Klaus, what you did is what we really needed. I was scared that the band’s new material wasn’t going to be accepted by their audience, but your cover built that bridge.’”
Voormann adds: “It took me about three weeks to create the cover, but in terms of concentrated work, about a week.” Much of that time was spent with scissors, scalpel and glue, selecting and arranging fragments of photographs within line drawings of the band members.

“In choosing to work in black and white, I wanted not only to shock, but I wanted also for the work to stand out in a muddle of colour. But a psychedelic influence in the Revolver cover? Well, what is psychedelic? Look at Bruegel, or Hieronymus Bosch. Those guys were far out! I don’t know if they ate mushrooms, or whatever. But I know that whatever is inside of you doesn’t have to come out through drugs.”
Creating one of the most recognised and acclaimed covers for one of the greatest pop albums brought Voormann scant reward in the material world. “I got £50, or £40, for it. I would have done it for nothing – and I didn’t feel I was in a position to make it hard for them, by saying, ‘You have to pay me this or that much.’ They [EMI] said £50 is the absolute limit for a record sleeve. That’s what I got. Of course, I could have thought, ‘Well, Brian, if you think that cover is so good, come up [in money].’ Brian just left it to EMI, and EMI paid me £50, or £40.”
Following the success of Revolver and its cover – which won Voormann a Grammy award for artwork in 1966 – the Beatles looked to Peter Blake and Jann Haworth, leading figures of the British pop art movement, for their next cover, Sergeant Pepper’s Lonely Hearts Club Band, for which the couple were paid £200. Next, the group approached another British pop artist, Richard Hamilton, who came up with the white minimalist cover for the 1968 double album, The Beatles – each one an individual artwork thanks to its unique number embossed on the cover. But for many, Revolver stands out as not only the best Beatles cover, but also one of the great works of 20th-century graphic design.
“What was captured in the Revolver artwork was almost the first revolt against the San Francisco, west coast scene, whose look was all about super, hyper colour,” says Professor Lawrence Zeegen, dean of design at Ravensbourne College, London. “Voormann was brave … he kept things very stark. It fits the sound of the album – this very British version of what was happening with psychedelic music was important to capture visually.”


Paul was back in Liverpool today for the annual LIPA graduation ceremony. LIPA awards Companionships for outstanding achievement and practical contribution to students’ learning.


Olivia Harrison and Selma Fonseca - interview for Billboard in Las Vegas

Olivia Harrison said Billboard Magazine that she and Dhani are looking to put out more unreleased tracks by George: “There are a lot of songs. I think there is a project there. I just need time to get to it” according to the 30 July print issue published 22 July.


Emerging Pictures has set an October 7 launch for “The Lennon Report,” which re-creates the aftermath of the 1980 murder of John Lennon.
The film will open in 10 markets — New York City, Los Angeles, Chicago, Dallas, Seattle, Tampa, San Francisco, Denver, Atlanta and Cleveland — and then expand into nationwide distribution on October 14.

The film, produced by Gabriel and Rafael Francisco, is directed by Jeremy Profe from a script he co-wrote with Walter Vincent. “The Lennon Report” focuses on the efforts of police officers, nurses and emergency doctors racing to save Lennon’s life at New York’s Roosevelt Hospital.
The film stars Richard Kind as Dr. Stephan Lynn, Evan Jonigkeit as Dr. David Halleran and Walter Vincent as Alan B. Weiss, the ABC news producer who broke the news about Lennon.  Adrienne C. Moore (“Orange is the New Black”), David Zayas, Stephen Spinella and Devin Ratray (“Blue Ruin”) also star.
“The Lennon Report” premiered in April as the opener of the Beverly Hills Film Festival.
Spotlight Pictures is handling foreign sales. Francisco Productions is represented by Alexander Murphy Jr.

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