Looking back on his life as a Beatle Paul said at a certain age you start to think “Wow, I have to get serious. I can’t just be a playboy all of my life.” It is true that the Beatles wrote a lot about girls!!!!!!
The Beatles – I Want To Hold your Hand [HD]
Although the Beatles started off in the early 1960’s wanting to hold a girl’s hand it shifted later in their albums to something more advanced than that.
The Beatles- Why Don’t We Do It In The Road
The Beatles – Twist and Shout [live]
THE BEATLES – I Need You – 1965
THE BEATLES – I Need You – 1965
Beatles 1966 Last interview
Paul McCartney (1/9) – Wingspan
At 5:18 mark Paul says At a a certain age you start to think “Wow, I have to get serious. I can’t just be a playboy all of my life.” HERE PAUL IS SHOWING HOW EMPTY HE FOUND THE PLAYBOY EXPERIENCE AND HOW HE WANTED SOMETHING MORE MEANINGFUL!!!!!!!!!
(When Starr turns to ‘stare’ and versa-vice)
Wow! Barbi looks younger than 20…
Even so, her invisible chains are no match for the laser blue eyes of Ringo Starr. She’s already melted…and Hefner is still “starrstruck” about rubbing elbows with a Beatle…
Hardly. Somewhere, I remember Paul(?) claiming “we learned two things from Ringo immediately: Scotch and Coke…and, always light two ciggies”.
the making of sgt. pepper’s lonely hearts club band
compiled video of The making of sgt. peppers lonely hearts club band from maccalennon.
Paul McCartney said at the 16:45 mark in the above video concerning the cover of Sgt. Pepper’s:
Everything about the album will be imagined from the perspective of these people. It doesn’t have to be us. It doesn’t have to be the kind of song you want to write. It can be the kind of song they would like to write.
What Paul was saying is very simple. There was a calculated effort to put people on the cover of Sgt. Pepper’s Lonely Hearts Club Band Album for certain reasons and they wanted to address their concerns in the music. Paul also asserted, “The mood of the album was in the spirit of the age, because we ourselves were fitting into the mood of the time…I maintain The Beatles weren’t the leaders of the generation, but the spokesmen. We were only doing what the kids in the art schools were all doing. It was a wild time, and it feels to me like a time warp – there we were in a magical wizard-land with velvet patchwork clothes and burning joss sticks, and here we are now soberly dressed.”
Jann Haworth, wife of cover designer Peter Blake noted, “To be perfectly honest, Peter and I chose about 60 percent of what’s there because they didn’t come up with enough. So we’re to blame for some of the inequalities that were there. But having said that, the Beatles chose no women. The only women chosen were by Peter and I.”
The decade of the 1960’s was when the sexual revolution took place and that is why in my view Haworth and Blake put the sex symbols on the cover (Mae West, Marilyn Monroe, Marlene Dietrich and Diana Dors). In the article, “46 Years Ago: Beatles Pose for ‘Sgt. Pepper’ Cover Photo, on March 30, 2013 , asserted, “Mae West initially balked at the idea of being associated with a ‘Lonely Hearts Club,’ but relented after all four Beatles wrote her letters to implore her to change her mind.” This demonstrates to me that although the Beatles did not pick out all of the people on the cover they did have to approve those picks. Here we see they wanted Mae West bad enough to take time to write her personal letters to ask her to reconsider her initial decision not to be on the cover of Sgt. Pepper’s Lonely Hearts Club Band Album.
The interesting fact was that Marilyn Monroe had committed suicide even though she was the top sex symbol of all-time just a few years earlier. I see a lot of similarities between the search for meaning in the area of sex between Marilyn Monroe and the wisest king who ever ruled in Israel. More on that later in this post. In the article, “50 Ways Marilyn Monroe Has Been Kept Alive for 50 Years,” August 3, 2012, wrote:
And, of course, Monroe is dead center on one of the most famous album covers of all time, the Beatles’“Sgt. Peppers Lonely Hearts Club Band” (#26) – she’s right above Ringo, and surrounded by writers Edgar Allan Poe and William S. Burroughs, British comedian Tommy Handley and explorer Dr. David Livingstone.
Diana Dors pictured in the gold dress below:
Diana Dors and Richard Dawson.
Widely considered to be one of the most beautiful women to ever grace the silver screen, Dietrich was virtually unmatched as a leading lady during the Great Depression era. In 1999, the American Film Institute voted her the ninth greatest female star of all-time.
The Beatles were searching for a lasting meaning for their lives and they wanted to see if the Sexual Revolution of the 1960’s was a piece of the puzzle that was missing for them. It reminds me of Solomon’s search in this area in the Book of Ecclesiastes.
‘King Solomon and the Iron Worker’ by Christian Schussele, 1863
I have written on the Book of Ecclesiastes and the subject of the meaning of our lives on several occasions on this blog. In this series on Ecclesiastes I hope to show how secular humanist man can not hope to find a lasting meaning to his life in a closed system without bringing God back into the picture. This is the same exact case with Solomon in the Book of Ecclesiastes. Three thousand years ago, Solomon took a look at life “under the sun” in his book of Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.”
HERE BELOW IS SOLOMON’S SEARCH IN THE AREA OF THE 6 “L” WORDS. He looked into learning (1:16-18), laughter, ladies, luxuries, and liquor (2:1-3, 8, 10, 11), and labor (2:4-6, 18-20). TODAY WE WANT TO LOOK AT SOLOMON’S SEARCH INTO THE WORD “LADIES.”
Ecclesiastes 2:8-10The Message (MSG)
I piled up silver and gold,
loot from kings and kingdoms.
I gathered a chorus of singers to entertain me with song,
and—most exquisite of all pleasures—
voluptuous maidens for my bed.
9-10 Oh, how I prospered! I left all my predecessors in Jerusalem far behind, left them behind in the dust. What’s more, I kept a clear head through it all. Everything I wanted I took—I never said no to myself. I gave in to every impulse, held back nothing. I sucked the marrow of pleasure out of every task—my reward to myself for a hard day’s work!
1 Kings 11:1-3 English Standard Version (ESV)
11 Now King Solomon loved many foreign women, along with the daughter of Pharaoh: Moabite, Ammonite, Edomite, Sidonian, and Hittite women, 2 from the nations concerning which the Lord had said to the people of Israel, “You shall not enter into marriage with them, neither shall they with you, for surely they will turn away your heart after their gods.” Solomon clung to these in love. 3 He had 700 wives, who were princesses, and 300 concubines. And his wives turned away his heart.
Francis Schaeffer observed concerning Solomon, “You can not know woman but knowing 1000 women.”
King Solomon in Ecclesiastes 2:11 sums up his search for meaning in the area of the Sexual Revolution with these words, “…behold, all was vanity and a striving after wind, and there was nothing to be gained under the sun.”
How about today’s most well known playboy Hugh Hefner? Schaeffer said that Hefner’s goal with the “playboy mentality is just to smash the puritanical ethnic.” My pastor, Adrian Rogers of Bellevue Baptist Church in Memphis, Tennessee noticed an article where Hugh Hefner said he would be willing to trade all of his riches for the experience of just falling in love with one girl of his dreams and getting married. Rogers went on to say that the playboy lifestyle was bankrupt of lasting satisfaction and that God’s plan of marriage was best. In fact, the Book of Ecclesiastes shows that Solomon came to the conclusion that nothing in life gives true satisfaction without God including knowledge (1:16-18), ladies and liquor (2:1-3, 8, 10, 11), and great building projects (2:4-6, 18-20). You can only find a lasting meaning to your life by looking above the sun and bring God back into the picture.
Solomon’s experiment was a search for meaning to life “under the sun.” Then in last few words in the Book of Ecclesiastes he looks above the sun and brings God back into the picture: “The conclusion, when all has been heard, is: Fear God and keep His commandments, because this applies to every person. For God will bring every act to judgment, everything which is hidden, whether it is good or evil.”
The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted.
Off the internet I found these words from a sermon, “Ecclesiastes 2 — The Quest For Meaning,” dated January 20, 2013:
Of course we have seen this pursuit of finding meaning in pleasure continue full steam in the latter half of the 20th century. Hugh Hefner built his Playboy Empire. Drugs and Alcohol have proliferated in pursuit of a pleasure that allows one to drop out from this reality. Multiple Marriages combined with Multiple divorces have characterized our culture’s mad pursuit of pleasure. The gaming industry which is a multi-billion dollar industry is pursued in the name of pleasure. Our obsession with sports and entertainment outlets to the neglect of all other considerations reveals that 21st century man is still characterized as one who seeks to find his or her meaning of life in the pursuit of pleasure.
Now, pleasure, in and of itself, is not evil, as it is practiced consistent with God’s Law-Word, but pleasure will not give meaning if it is pursued as an end in itself as the Teacher tells us.
And yet we continue to embrace pleasure as a way to find meaning.
Ravi Zacharias says something that we here in this wealthy nation should take special note of:
“I am absolutely convinced that meaninglessness does not come from being weary of pain; meaninglessness comes from being weary of pleasure.”
Having both read the book of Ecclesiastes and contemplated many instances of
wasted potential in terms of various Christians’ gifts and economically unviable
desire to work full-time in Christian ministry, I’m inclined to agree that
I’m surprised. Ecclesiastes is a scathing and self-deprecating attack on
hedonism and secular humanism by a man who had obviously deeply considered if
not tried both as a way of life. The constant refrain “under the sun” expresses
the context and perspective from which the writer wishes his words to be
understood. In other words “if one takes the view that nothing exists beyond the
world we experience through our five senses” then all is meaningless, or vanity
or a chasing after the wind. Meaning, as opposed to value, only arises in a
wider and eternal context.
If all we had was this brief life, and if we had a true grasp of that fact, then
every second would be exquisitely, painfully, horrendously valuable to us, each
one gone never to return; but if we are born only to die, indeed if the universe
was born in a Big Bang only to die in a Big Crunch or the whimpering stillness
of an ever-expanding, dark, cold, void then, ultimately, everything in between
is completely meaningless.
Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s.
After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950) drew attention. By 1952 she had her first leading role in Don’t Bother to Knock and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her ‘dumb blonde‘ persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globenomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe’s last completed film was The Misfits (1961), co-starring Clark Gable, with a screenplay written by her then-husband,Arthur Miller.
The final years of Monroe’s life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. Ever since Monroe’s death from an overdose of barbiturates on August 5 1962, the exact circumstances have been subject to conjecture. Though officially classified as a “probable suicide”, the possibilities of an accidental overdose or a homicide have not been ruled out. In 1999, Monroe was ranked as the sixth-greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol. In 2009, TV Guide Network named her No. 1 in Film’s Sexiest Women of All Time.
Marilyn Monroe – The Last Interview HBO special 1/2
1992 Documentary with rare Marilyn footage and audio clips of marilyn’s last interview july 1962
By JOHN J. O’CONNOR
Published: July 20, 1992
There’s no getting enough of Marilyn Monroe. At least Home Box Office thinks so. Just when viewers might understandably think that there isn’t another sliver of new material to be teased out of the actress’s life story, along comes “Marilyn: The Last Interview,” a half-hour essay on HBO at 9:30 tonight. The twist: this particular interview was recorded entirely on audiotape.
Richard Meryman, a writer for Life magazine, spent about eight hours with Monroe at her somewhat shabby house in Brentwood, Calif., recording her rambling comments, which were frequently punctuated with what he describes as “a wild laugh, coming out at odd moments.” Monroe demanded that questions be submitted in advance and that she have approval of the final story. The Life article appeared on Aug. 3, 1962, two days before she died at the age of 36.
Of all this century’s pop icons, so many of them trapped in scripts of self-destruction, Monroe ranks at the very top, along with James Dean and Elvis Presley who, arguably, also had their best years in the 1950’s. And they remain formidable forces in popular culture. This year’s hottest heartthrob for teen-age audiences, Luke Perry of “Beverly Hills 90210,” is a Dean clone. Elvis is being milked not just by the United States Postal Service but also by the Democratic Party’s baby-boomer contenders for President. Monroe lives on in every Barbie doll ever made.
“The Last Interview,” produced by Edward Hersh, confronts the problem of having only audiotapes for a television special by supplementing clips from those tapes with home movies, billed as never having been seen before, as well as rare newsreel clips and photographs. There is also film that has been seen hundreds of times before, most notably of the occasion when Monroe sang, in what has to be the sultriest version ever, “Happy Birthday” to President John F. Kennedy before a huge gathering at Madison Square Garden.
The unseen Mr. Meryman recalls that during his interview session, Monroe “looked great but was clearly troubled.” There was a great deal of anger and sadness. He did not, however, detect any hint of a possible suicide, which later became the official cause of her death.
What does come across is the impression of a troubled woman who would always remain a lonely child, even after discovering that with growing fame, “suddenly the world became friendly and opened up to me.” During the interview, she begins drinking Champagne and becomes more candid about her bitterness. Upset with a comment about “cranking out” silly movies, she protests against the studios, saying that “we’re not machines, no matter how much they say we are.”
Much of the audio material is not dramatically enlightening. Monroe demands visuals. And the material here, from playful moments in Amagansett, L.I., to painful sequences in hospital emergency rooms, does full justice to the extraordinary Monroe phenomenon, something that has mesmerized everybody from Norman Mailer to the producers of second-rate television movies. When Mr. Meryman finally leaves her Brentwood house, she says, “I hope you got something here,” adding quickly, “but please don’t make me look like a joke.” In the 1962 article and in this television essay, he respects that wish. Marilyn The Last Interview
HBO Tonight (In New York at 9:30) Andrew Finkelstein, editor; produced by Edward Hersh for HBO; Peter Kunhardt, executive producer.
Photo: Marilyn Monroe
Marilyn Monroe – The Last Interview HBO special 2/2
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 1
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 2
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In his autobiography Timebends, Arthur Miller tells of his marriage to Marilyn Monroe. During the filming of The Misfits Miller watched Marilyn descend into the depths of depression and despair. He was fearing for her life as he watched their growing estrangement, her paranoia, and her dependence on barbiturates.
One evening, after a doctor had been persuaded to give Marilyn yet another shot and she was sleeping, Miller stood watching her. “I found myself straining to imagine miracles,” he writes. “What if she were to wake and I were able to say, ‘God loves you, darling,’ and she were able to believe it! How I wished I still had my religion and she hers.”
William Willimon from a sermon entitled The Teacher; submitted by Van Morris, Mount Washington, Kentucky
Marilyn Monroe, Joe DiMaggio seen below:
Marilyn Monroe – Life After Death (Documentary 1994 – Full HQ)
Marilyn Monroe and Marlon Brando Changed her escort below:
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 3
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 4
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 5
William Buckley Interviews Hugh Hefner on Firing Line (1966) Part 6
Ask Hef anything…”As you look back on your life…”
teaches a room of school boys in “My Little Chickadee” 1940
The widely reported story of how she initially refused to be on the cover (stating that she would never be in any Lonely Hearts Club) and her subsequent change of mind after a personal plea suggests that her inclusion was important to the Beatles. The fact that she gave in to Beatley sweet talk is not surprising, but the biggest hurdle might have been getting her to allow her likeness to be in the same photograph as W.C. Fields.Although the one movie they made together “My Little Chickadee” was a big hit, they apparently hated each other so much that they refused to film scenes together. Another person in that back row was Edgar Allan Poe, but the only connection I could find between Mae West and Poe is that Mae’s California house was in a place called Ravenswood.Most people think of Mae West as a movie actress although that career was pretty much over long before Sgt. Pepper when she only had 10 movies under her bra, I mean belt. She was ahead of her time as a writer of some risqué plays such as “Sex” and “The Wicked Age.” Her most controversial work as a writer was a well known play about homosexuality called “The Drag.” Mae had some progressive ideas about sex, but her views on homosexuality are not generally embraced as politically correct by today’s standards. Still you have to wonder if her sympathy regarding homosexuality had anything to do with her inclusion on the cover. Back in 1967, there was a significant amount of talk that Paul, the only unmarried Beatle at the time of Sgt. Pepper was homosexual. This was not a completely unreasonable conclusion when you look at some of the people that Paul was hanging out with in the mid-sixties. Aside from having many individuals who died young, violently or suspiciously, the Sgt. Pepper cover also has several individuals who were believed to be homosexual or portrayed characters who were (e.g. Tony Curtis in Spartacus).Despite the fact that Mae West was no longer a big movie star/sex symbol by the 1960s, there are some interesting Beatles connections that occurred after that. She did a cover of the Beatles tune “Day Tripper” during her minor recording career.
In 1970 she played Leticia Van Allen in her eleventh movie, “Myra Breckinridge.” The film starred Raquel Welch who had just appeared in “The Magic Christian.” Rex Reed, one of John Lennon’s neighbors at the Dakota was also in the film.Her last film was “Sextette,” released in 1978 when Mae was still strutting her stuff at age 85. It was surreal seeing an octogenarian stealing lines from films she made a half century earlier such as when she asked a gangster portrayed by George Hamilton, “Is that a gun in your pocket or are you happy to see me?” The film featured a small part by Ringo Starr as movie director Laslo Karolny. Another important role in the film was played by Tony Curtis who was with her on the cover of Sgt. Pepper, just below W.C. Fields. The music in the film includes Lennon-McCartney song “Honey Pie” along with McCartney favorites “After You’ve Gone” and “Baby Face.”Six years after her death, Paul McCartney immortalized her in the song “Move Over Busker” from his “Press To Play” album.Well I Was Hanging Around For A Miracle,
Struggling With A Rhyme,
When I Saw Mae West In A Sweaty Vest,
And I Said I’ll Come Up And See You Sometime.
She Said Move Over Busker, Don’t Bang Your Drum
Move Over Busker, Your Time Will Come. – From “Move Over Busker” by Paul McCartney”Sweaty vest” was an interesting choice for that struggled rhyme. Wiki states, During World War II, Allied soldiers called their yellow inflatable, vest-like life preserver jackets “Mae Wests” partly from Cockney rhyming slang for “life vest” and partly because of the resemblance to her curvaceous torso.So what is the Beatles fascination with Mae West? I wonder if it has anything to do with the stage role that she kept returning throughout her career based on her 1928 play. She was so popular in the role that many people would refer to her by its name: DIAMOND LIL
#100) My Little Chickadee (1940)
-Mae West :
Mae West – Interview with Dick Cavett
Interview with Dick Cavett
The Layla Story
By Elvis Costello
My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
‘Ticket to Ride’
Recorded: February 15, 1965
Released: April 19, 1965
11 weeks; no. 1
Lennon once claimed that “Ticket to Ride” — the first track the Beatles recorded for the soundtrack to their second feature film, Help!, on February 15th, 1965 — was “one of the earliest heavy-metal records.”
“It was [a] slightly new sound at the time, because it was pretty fuckin’ heavy for then,” Lennon told Rolling Stone in 1970. “If you go and look in the charts for what other music people were making, and you hear it now, it doesn’t sound too bad. It’s all happening, it’s a heavy record. And the drums are heavy, too. That’s why I like it.”
After playing mostly acoustic guitar on A Hard Day’s Night and Beatles for Sale, Lennon had picked up his electric guitar for “Ticket to Ride.” A chiming 12-string riff kicks off the song with a jangly psychedelic flourish, and the guitars strut and crunch through the verses over Starr’s grinding groove. The sound was probably inspired by bands such as the Rolling Stones, the Who and the Kinks, who were all exploding out of Great Britain at the time. But the Beatles were still ahead of the competition.
“Ticket to Ride” was the first Beatles recording to break the three-minute mark, and Lennon packed the track with wild mood swings. His singing and lyrics teeter between ambivalence and despair in the verses. The bridge is a powerful double-time burst of indignation (“She oughta think right/She oughta do right/By me”). Another surprise came in the fade, an entirely different melody and rhythm with the repeated line “My baby don’t care,” sung by Lennon at the upper, stressed top of his range. “We almost invented the idea of a new bit of a song on the fade-out,” said McCartney, who also played the spiraling lead-guitar part in the coda. “It was quite radical at the time.”
The Beatles now saw making records as a goal in itself — rather than just a document of a song — and were changing their approach to recording as they got more comfortable with the possibilities of the studio. Instead of taping songs as they would play them live, picking the best take and then overdubbing harmonies or solos, the band now usually began with a rhythm track and slowly built an arrangement around it. Considering that, “Ticket to Ride” took almost no time to record: The entire track, including the overdubs, was finished in just over three hours. “It was pretty much a work job that turned out quite well,” said McCartney. “Ticket to Ride” effectively became their new theme song: The title of their final BBC radio special was changed to “The Beatles (Invite You to Take a Ticket to Ride).”
Lennon always maintained that McCartney’s role in writing the song was minimal — “Paul’s contribution was the way Ringo played the drums” — while McCartney contended that “we sat down and wrote it together” in a three-hour session at Lennon’s Weybridge home. That might account for the different stories on where the title came from: An obvious explanation is that it refers to a train ticket. (When the Beatles belatedly filmed a promotional clip for the song in November 1965, they lip-synced the song against a backdrop of gigantic transportation passes). But Don Short, a British newspaper journalist who traveled with the Beatles, claimed that it dated back to the band’s days in the red-light district of Hamburg, Germany. “The girls who worked the streets in Hamburg had to have a clean bill of health, and so the medical authorities would give them a card saying that they didn’t have a dose of anything,” he said. “John told me he coined the phrase ‘a ticket to ride’ to describe those cards.” McCartney had a more innocent explanation: He said that it was a play on the name of the town of Ryde on the Isle of Wight. One other possibility: On the day the Beatles recorded “Ticket to Ride,” Lennon passed his driver’s test.
Appears On: Help!
‘I Saw Her Standing There’
Main Writer: McCartney
Recorded: February 11, 1963
Released: December 26, 1963
11 weeks; no. 14 (B side)
When McCartney began hashing out the song that became “I Saw Her Standing There” on a drive to his Liverpool home one night in 1962, the first couplet he came up with was “She was just 17/She’d never been a beauty queen.” But when he played the song for Lennon the next day, “We stopped there and both of us cringed at that and said, ‘No, no, no, “beauty queen” is out,'” McCartney recalled. “We went through the alphabet: between, clean, lean, mean. . . .” Eventually, they settled on “you know what I mean,” which was good, he said, “because you don’t know what I mean.”
Though Lennon’s exact contribution is unclear (“I helped with a couple of the lyrics,” he said), “I Saw Her Standing There” is one of the songs that further cemented the Lennon-McCartney songwriting partnership. A September 1962 photo by McCartney’s brother Mike shows the pair in the front room of Paul’s house, working face to face with acoustic guitars, Lennon wearing the glasses he hated, scratching out lyrics in a Liverpool Institute notebook. McCartney wrote the song on his Zenith acoustic guitar, the first guitar he ever owned.
The original inspiration for the song was a girlfriend of McCartney’s at the time, dancer Iris Caldwell, who was in fact 17 when he first saw her doing the Twist — in fishnet stockings — at the Tower Ballroom in New Brighton in December 1961. “Paul and I dated for a couple of years,” said Caldwell. “It was never that serious. We never pretended to be true to each other. I went out with lots of people. I was working away in different theaters at the time, but if I was back home we would go out. There were never any promises made or love declared.” Caldwell’s brother was Liverpool rocker Rory Storm, leader of the Hurricanes — whose drummer, Ringo Starr, would leave them to join the Beatles in August 1962. Caldwell said that McCartney intended to give “I Saw Her Standing There” to Storm, but Brian Epstein talked him out of it.
Under the title “Seventeen,” the song became part of the Beatles’ live act in 1962. Onstage, the tune would sometimes run for 10 minutes, with multiple guitar solos. McCartney borrowed the hard-charging bass line from Chuck Berry’s 1961 single “I’m Talking About You,” a staple of the band’s concerts. “I played the exact same notes as he did, and it fitted our number perfectly,” McCartney said.
When it came time for the Beatles to record their first album, Please Please Me, George Martin considered taping them live, possibly in front of the group’s home audience at the Cavern Club. Though he decided instead to set them up at EMI’s studios on Abbey Road, they chose a song list representative of the band’s live show. To set the mood, the album begins with McCartney’s blazing “one-two-three-faw!” count-off on “I Saw Her Standing There.” The Beatles outfitted the song, a veritable celebration of youth itself, with hand claps and the buoyant ooohs that would later show up on singles like “She Loves You.” The song, which also features Harrison’s first guitar solo on a Beatles record, was chosen as the B side for the “I Want to Hold Your Hand” single that topped the charts in America. It would also be one of the five songs that the Beatles performed on February 9th, 1964, on The Ed Sullivan Show before a television audience of 73 million people.
Lennon described “I Saw Her Standing There” as “Paul doing his usual good job of producing what George Martin would call a ‘potboiler,'” but the song would assume a greater meaning in his later life. In 1974, Lennon and Elton John made a bet that if Lennon’s “Whatever Gets You Thru the Night,” which featured John on harmony vocals and piano, made it to Number One, Lennon would join him onstage. When the song became Lennon’s first solo song to top the charts, he made good and appeared with John at his November 28th show at Madison Square Garden in New York.
Before the final song, Lennon said, “We thought we’d do a number of an old estranged fiance of mine called Paul,” and they closed the night with a rollicking version of “I Saw Her Standing There.” “I just wanted to have some fun and play some rock & roll,” Lennon said afterward. It would be the last song John Lennon ever performed in concert.
Appears On: Please Please Me
Main Writer: Lennon
Recorded: April 13, 1965
Released: July 19, 1965
13 weeks; no. 1
“Help!” was written to be the title track to the Fab Four’s second movie — a madcap action comedy originally conceived for Peter Sellers. But the note of desperation in the song was real. “I meant it,” Lennon told Rolling Stone in 1970 (particularly lines like “And now my life has changed in oh-so-many ways/My independence seems to vanish in the haze”). “The whole Beatle thing was just beyond comprehension.”
By 1965, Lennon was exhausted from the Beatles’ nonstop touring, recording and filming schedule. Off the road, Lennon felt trapped at his estate outside London with his wife, Cynthia, and young son, Julian. “Cynthia wanted to settle John down, pipe and slippers,” said McCartney. “The minute she said that to me, I thought, ‘Kiss of death.’ I know my mate, and that is not what he wants.” Lennon also was feeling “paranoid,” according to Harrison, about how he looked. “It was my Fat Elvis period,” Lennon said. “I was eating and drinking like a pig. I was depressed, and I was crying out for help.”
McCartney, in contrast, was taking full advantage of Swinging London, dating Jane Asher — a beautiful young actress from a prominent family who introduced him to high society — and seeing other girls on the side. John “was well jealous of [me] because he couldn’t do that,” said McCartney years later. “There were cracks appearing [in Lennon’s life with Cynthia], but he could only paste them over by staying at home and getting wrecked.”
Lennon wrote most of “Help!” by himself at his estate and then summoned McCartney to help him complete it, which they did in a couple of hours at one of their regular songwriting sessions in Lennon’s upstairs music room. Lennon originally wrote “Help!” as a midtempo ballad, but the Beatles decided to amp up the arrangement in the studio, with Harrison’s surf-guitar licks, Starr’s thundering tom-toms and the reverse call-and-response vocals that would become the song’s trademark. “I don’t like the recording that much,” Lennon confessed. “We did it too fast trying to be commercial.”
Making movies wasn’t as fun as it used to be either. “The movie was out of our control,” Lennon told Playboy. “With A Hard Day’s Night, we had a lot of input, and it was semirealistic. But with Help! [director] Dick Lester didn’t tell us what it was all about.”
The Beatles all admitted that it probably wasn’t the director’s fault that the band had so little input. “A hell of a lot of pot was being smoked while we were making the film,” Starr said. “If you look at pictures of us, you can see a lot of red-eyed shots; they were red from the dope we were smoking.”
“We were smoking marijuana for breakfast during that period,” Lennon said. “Nobody could communicate with us. It was all glazed eyes and giggling all the time. In our own world.”
Appears On: Help!
‘She Loves You’
Recorded: July 1, 1963
Released: September 16, 1963
15 weeks; no. 1
On the afternoon of July 1st, 1963, the Beatles were about to record “She Loves You” at EMI studios when all hell broke loose. As Geoff Emerick — then an assistant at Abbey Road, later the Beatles’ engineer — recalled, “The huge crowd of girls that had gathered outside broke through the front door. . . . Scores of hysterical, screaming girls [were] racing down the corridors, being chased by a handful of out-of-breath, beleaguered London bobbies.” The disruption may have been a blessing in disguise for the Beatles, who promptly banged out one of the most exuberant pop singles of all time. “[The chaos] helped spark a new level of energy in the group’s playing,” Emerick wrote.
Lennon and McCartney began writing “She Loves You” in a tour van, then did the bulk of the work in the Turk’s Hotel in Newcastle, sitting on twin beds with acoustic guitars. The breakthrough in the lyrics was the introduction of a third person, shaking up the typical I-love-you formula. The variation was inspired by Bobby Rydell’s “Forget Him,” a hit in the U.K. “It was someone bringing a message,” said McCartney. “It wasn’t us anymore. There’s a little distance we managed to put in it, which was quite interesting.”
Still, something was missing. “We’d written the song and we needed more,” Lennon said, “so we had ‘yeah, yeah, yeah’ and it caught on. I don’t exactly know where we got it — Lonnie Donegan always did it. Elvis did that in ‘All Shook Up.'”
They completed “She Loves You” in McCartney’s house back in Liverpool. When his father heard the song, he said, “Son, there’s enough Americanisms around. Couldn’t you sing, ‘Yes, yes, yes,’ just for once?” McCartney said, “You don’t understand, Dad. It wouldn’t work.”
For all the raw immediacy of its sound, the song also signaled a new level of sophistication for the band as songwriters and arrangers. “She Loves You” opens with the chorus instead of the first verse for extra punch — a George Martin suggestion. The final touch was the distinctive chord that ends the chorus — Harrison’s idea — which sounded “corny” to Martin. “He thought we were joking,” said McCartney. “But it didn’t work without it, so we kept it in and eventually [he] was convinced.”
The appearance by the Beatles on ITV’s Sunday Night at the London Palladium on October 13th, 1963, culminating in the band’s performance of “She Loves You,” is often considered the tipping point of Beatlemania. The Beatles would go on to triumph after triumph as the 1960s went on, but in Great Britain, “She Loves You” remained the bestselling single of the decade.
Appears On: Past Masters
I have included the 27 minute episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”
How Should We then Live Episode 7 small (Age of Nonreason)
Marilyn Monroe – Life After Death (Documentary 1994 – Full HQ)
At the 37 min mark in the above video Peter Max comments on Marilyn Monroe.
Featured artist today is Pauline Boty:
Pauline Boty in Ken Russell’s film Pop Goes the Easel
This entry was posted on December 11, 2013.
Following our fabulous lunch with Peter Blake at the weekend and our latest exhibition review, ‘Pauline Boty: Pop Artist and Woman’, the leading figures of the British Pop Art movement have been at the forefront of our minds.
‘Pop Goes the Easel’ was Ken Russell’s first full-length documentary for the BBC’s art series Monitor. His cutting edge 1962 documentary is a portrait of Peter Blake and Pauline Boty, as well as artists Peter Philips and Derek Boshier. This beautiful little film captures the excitement and energy of the pioneering young Pop artists.
In the film, a 29-year old Peter Blake explores his passion for pop icons, such as Brigitte Bardot. Don’t miss his magnificent bedspread embroidered with British military patches and flags – reminiscent of his work ‘Found Art: 24 Flags’. Pauline Boty, Britain’s great female pop art painter who was to die only four years later, performs in a short dramatic dream piece. She also features discussing her imaginative collages with Peter in her wonderfully vintage bedsit.
(Monitor) Pop Goes The Easel – Ken Russell 1962
(Monitor) Pop Goes The Easel – Ken Russell 1962
This beautiful glimpse into a bygone era reminds us how pioneering these artists really were and how their art captured the lives and loves of a generation. It is a must watch for any Peter Blake fan who can spot his reoccurring themes; circus, celebrity and popular ephemera.
Printed postcard illustrating a painting by Pauline Boty entitled “Sheba”.
Pauline Boty i pop-art
Detail from The Only Blonde in the World by Pauline Boty
TateShots: Michael Bracewell on Pauline Boty
Michael Bracewell discusses Pauline Boty’s portrait of Marilyn Monroe, titled “The Only Blonde In The World”.
Boty died from cancer in 1966 at the age of just 28, and her work was stored away in a barn and largely forgotten. In the last decade her paintings have begun to be shown again, and in 1999 Tate bought The Only Blonde in the World. Here Michael Bracewell discusses the life and work of Britain’s first female Pop artist.
Pauline Boty was a leading figure in the Pop Art movement of the 1960s until her untimely death aged just 28. A friend and contemporary of Peter Blake, Derek Boshier and David Hockney, Pauline Boty was one of the few female artists associated with the movement yet her work, which explores themes of female sexuality, gender, race and politics, has been largely overshadowed by her male Pop Art counterparts.
One look at the photos of Pauline Boty and you are confronted with a woman, a painter, who stylistically embodied the boundary busting ethos of swinging Sixties London. According to fellow painter Peter Blake she was the first woman in London to wear men’s 501s – “I used to say, ‘Pauline, your flies are undone.’ It was a reasonably funny thing to say to a woman in 1961.”
The photographic images of Pauline Boty convey a sense of freedom but feminist artist and Release activist Caroline Coon declares that Boty was “a woman in agony, the victim of male oppression” who had come through an art school system where women artists were loudly excluded.
In 1966 her career was about to take off. She was taken on by Mateusz Garbowski, an agent with an eye for up and coming artists. She was receiving commissions. She was appearing on chat-shows. She’d met Bob Dylan. She was pregnant with her first child. Tragically, during her pregnancy she discovered she was suffering from leukaemia and survived for only a few weeks after the birth of her daughter. It sent a shock wave throughout London’s creative community.
Thanks to the Wolverhampton Art Gallery this show at the Pallant House Gallery in Chichester is the first public exhibition to survey Pauline Boty’s career as a whole, reinstating her at the forefront of British Pop Art. It features paintings and collages which are essentially brightly coloured scrapbooks of public and pop figures in ironic juxtaposition – Jean-Paul Belmondo, Johnny Hallyday, Profumo, Lenin, Lennon, Cassius Clay – along with ephemera from public and private collections. The exhibition includes rarely seen pieces that have not been seen for 40 years.
(Pauline Boty Big Jim Colosimo, c. 1963 Oil on canvas 31 1/2 x 25 5/8 inches Collection of Bridget Boty, Kent)
While we can only speculate where her artistic journey would have taken her, and I’ll leaving the last word to Caroline Coon she views Pauline Boy’s work as “A generous, extrovert use of talent combined with a Gothic delicacy.”
So, if you’re feeling bold and fancy a day out… head off to Chichester to experience Pauline Boty: Pop Artist and Woman: 30 November 2013 – 9 February 2014.
“Come in boat number 65 you time is up” Ever remember those boats you took out and went pointlessly round and round a little boating lake and then the man would call your number? Well Pauline Boty’s life was a bit like that, she still had loads to do but the man came out of the boating hut and called time on her, just when she was really starting to enjoy herself.But her life was far from pointless, it was crammed with meaning.Pauline Boty was born in Carshalton, Surrey in 1938.As war brewed in England Carshalton went on being Carshalton as ever before but a person had been born who , like many artists ,be more of a sensation after physical life than in it.She got a scholarship to the Wimbledon School of Art where she went despite her father’s disapproval Boty earned an Intermediate diploma in lithography (1956) and a National Diploma in Design in stained glass (1958).British writerHer schoolmates called her “The Wimbledon Bardot” on account of her resemblance to the
F art school in 1954. Mama Boty was Pauline’s biggest cheerleader and encouraged her baby girl to do whatever she felt. Ironically, Pauline’s mother was a frustrated artist who’s own education in art was denied by the Slade School of Fine Art who had accepted Pauline. Guess why. She had kids.The year she died was the year she might have become the Tracy Emin of her times.She was 28. Both her work as an artist and her personal life were going well. She had broken off a scalding relationship with a married man and had got married herself. She was painting big, bold canvases. She had been taken on by Mateusz Garbowski, an agent with an eye for up and coming artists. She was receiving commissions. She was appearing on chat-shows. She’d met Bob Dylan. It was 1966, the year she died
The sixties were an invention in part with the idea that things had changed that things had moved on , that things were swinging. The truth was that people were still working for wages that were well below any possibility of buying a home or having a reasonable life and also the fact that the government had sold out the workers with invitations to foreign workers to swamp the work market in the United Kingdom thus making conditions even worse than they were for ordinary people.The sixties could have paid back to the war generation but it didn’t.
Even more importantly going against any idea that socialism was now raising its head for a fairer society.(one of the worst offenders was the Labour party and London transport. But people are left with memories of how they wanted things to be and not how they were.Much of the sixties were horrendous housing estates that were sabotaged by neo lib supposed left wing councils when they stopped vetting possible aspirants for homes . After this the whole idea floundered and is still with us today.
Peter Blake said: ‘It was as though everything was being invented. It was only a little more than 10 years after the war, and everything was new – television was young, theatre was exciting, cinema was exciting. But workers slaved over Victorian wages and Victorian London was still pretty much all around. The swinging sixties were in the words of one worker, the swinging ponces.Cinema in reality wasn’t great , there was an huge amount of dross especially as regards the angry young men type of films but some were fun and some were even realistic but hardly any. Not all camps were the same, writing had become interesting with new writers and art had tried to create new areas of research.One can understand that among the young that the old Edwardian dictate was beginning to dissolve. Capitalists would eventually find a new way of condemning the workers to perpetual ignorance but the sixties looked like their hold on things was beginning to fade. In the film Alfie, stunning blonde actress Pauline Boty played one of Michael Caine’s girlfriends. But within months, she would be dead and her family plunged into tragedy.Today, as cinema-goers flock to see a remake of the film – this time starring Jude Law
It’s a Man’s World I (1964) juxtaposes images of The Beatles, Albert Einstein, Lenin,Muhammed Ali, Marcel Proust, and other men, suggesting that despite male domination in Western society, the notion of masculinity itself might be fracturing.
And what about Boty? Did her work deserve recognition? Would the panoply of pop art have been different had she lived? What we have to go on is largely the output of someone who was still learning, but she was certainly doing interesting things. Coon, who was given Boty’s paints by Goodwin, was struck by the colours of herpalette: ‘Cobalt Violet and Lemon Deep Yellow. If, like me, you went to pre-diploma in Northampton with a very classical training, where you were only allowed a palette of four colours including Burnt Sienna, coming across these vibrant colours was quite startling.’
With those colours Boty made big, loud images: ‘A generous, extrovert use of talent combined with a Gothic delicacy,’ says Coon. Mellor believes her originality lies in her painted collages – ‘that way of integrating ideas from collage while trying to stay with figurative painting’. Many of her pictures are brightly coloured scrapbooks of public and pop figures in ironic juxtaposition – Jean-Paul Belmondo, Johnny Hallyday, Profumo, Lenin, Lennon, Cassius Clay. In Scandal ’63 (now lost; it was commissioned anonymously), a painted representation of Lewis Morley’s photograph of Christine Keeler is mounted on male mug shots. In Cuba Si, a dark-haired girl with Boty’s face (interesting that even she objectfied herself) is surrounded by maps, Hispanic decorative fragments, images of Cuban insurgency. ‘It’s about thinking about history,’ says Mellor, ‘the dreamer meditating on images of dissent.’
Boty was also experimenting with images of women – ‘using women,’ says Blake, ‘in a way women hadn’t used women before’.(But as said Blake just lent one of her paintings to a mate, would he have done that with a Van gogh) It’s a Man’s World I and II is a diptych: I a jigsaw of male figures against an 18th-century landscape; a pin-up swirl of naked female flesh. In the unfinished piece, Tom’s Dream, she was in the process of painting a woman, with pink painted nails, pulling a candy-floss chiffon nightie over her head; the shape of her crossed, upraised arms against the window frame behind her makes her look as though she were on a crucifix. ‘It was a new voice,’ says Mellor, ‘a new way of imagining. They’re pictures by someone wrestling with her own sexuality. It’s that that makes them so extraordinary. ‘Who’s to say how good she might have been? It reminds me of that Norman Mailer essay. Two nights after Kennedy was shot, someone at a party said to him: ‘The terrible thing is he was a great President.’ But Mailer said: ‘No. The terrible thing is we’ll never know.’We do know in my opinion that Boty would have been a great artist because she already was and Kennedy would not have been as regards his involvement in many underhand things like the Bay of Pigs .
Her illness took hold as her pregnancy progressed, but it wasn’t until after the baby was born in early 1966 that she became very ill. She had managed to look after the child to begin with – Nell Dunn remembers the baby in a basket at the end of the bed – but in her last dreadful months, her parents took over as she was shifted constantly between her house – a vast flat in the Cromwell Road – and the Royal Marsden. She became increasingly frail and was often in great pain. Despite this, many of her friends remained unaware of the seriousness of her illness until it was too late.
‘It was almost as if they covered it up,’ says a fellow student, Geoffrey Reeve, ‘as if the less they admitted it to themselves, the happier she was.’ The cancer was always hopeless, but a close friend, Natalie Gibson, remembers huge stacks of medical books in the bedroom and talk that the illness might take 10 years off her life. Others remember her despair. Massot, who visited every day, says: ‘At one point she asked me to bring her some pills, because she couldn’t stand it any longer. But I told Clive and he said no.’
Even in these last dreadful months, though, Boty continued to spar with life, spirited even under physical siege.
‘What shall I bring?’ asked Jane Percival, paralysed by a sense of inadequacy. ‘Bring that delicious cheese-cake,’ said Boty, even though she was too ill to eat it. She asked Natalie Gibson to bring veal and ham pie; others smuggled in ‘great big joints’.
Roger Smith remembers her exasperation at his diffidence. ‘She lost her temper; ‘For fuck’s sake, tell me what you’ve been doing,’ she shouted.’
Another time, painfully thin, she laughed and told him what a change it was to be slim: ‘It was typical of her, still managing to find something new in the experience,’ he says. The last time Jane Percival saw her, she was propped up in bed, which they’d brought down to the sitting-room, with a drawing-board on her knee, doing a sketch of the Rolling Stones.
A lot of people were in love with Pauline Boty. A lot remember her with fondness and nostalgia. She probably had many irritating habits, but they have been ironed out by the intervening years. She was an interesting artist, who led a legendary sort of life and died a tragic death. Her only fault, says Peter Blake, ‘was that she didn’t love me back.’
Pauline was put in her place from the very beginning. She was the youngest of four. She and her mother were the only girls in the home. Her stern father made sure she was well aware of her gender. He even disapproved of Pauline attending the Wimbledon School of Art
She lived for only a few weeks after the birth of her daughter. Her friends were devastated; many are muddled even now as to the nature of her illness. The death of a young, talented person is always horrifying, but in those pre-Aids days, the art world wasn’t used to it. The poet and translator Christopher Logue, who was a friend, remembers how ‘shocked and depressed’ he was by her death; it ‘made me cognisant with the fact that everyone has a death to face; which I would say is a fair step on from understanding your own position vis-a-vis this forthcoming event.’
Another friend, Penny Massot, says: ‘People just didn’t die.’ Even now, 27 years later, grown men with grey hair in dark houses in Notting Hill Gate cry at the sound of Pauline Boty’s name.
Pauline was Britain’s only notable female Pop art painter. Boty’s paintings and collages often demonstrated a joy in self-assured femininity and female sexuality, and expressed overt or implicit criticism of the “man’s world” in which she lived.
Her rebellious art, combined with her free-spirited lifestyle, has made Boty a herald of 1970s feminism.Boty had been born in suburban south London in 1938 into a middle-class with intellectual aspirations and also a Catholic fear of God but had turned the tables on this ordin ary life and had lived her life as much as she could . It was a life of creativity, honesty and mistakes but above all a life of courage and decency. Boty’s painting became more experimental. Her work showed an interest inpopular culture early on In 1957 one of her pieces was shown at the Young Contemporaries exhibition alongside work by Robyn Denny, Richard Smith and Bridget Riley.
The daughter, who refuses to talk about her mother, shares her looks. And Pauline Boty was extremely attractive. ‘She was the kind of person people followed,’ says Massot. Friends say she resembled Brigitte Bardot – though some, with possessive annoyance, disagree and say Simone Signoret. ‘She had that marvellous strawberry ice-cream smile and leonine hair’ . . . ‘There was this great laugh – her face would completely distort, her top lip would spread right across’ . . . ‘She was very voluptuous . . . quite a big girl, very tall, with lovely skin and hair and teeth – a lovely-shaped head’. And, according to Brian Newman, a fellow student, she had ‘something of Marilyn Monroe’s ability to engender sympathy’.
- 1965 “The Edgar Wallace Mystery Theatre” (Episode: Strangler’s Web) … Nell Pretty
- 1965 BBC TV, The Londoners – A Day Out for Lucy … Patsy
- 1965 “Contract to Kill” (BBC TV mini-series) … the seductive Maria Galen
- 1965 “The Day of Ragnarok”
- 1964 Ken Russell’s Béla Bartók (BBC Monitor Series) …. Prostitute
- 1964 BBC, Short Circuit-The Park … Pauline
- 1964 “Espionage” (Episode: The Frantick Rebel) … Mistress Fleay
- 1963 “Ready, Steady, Go!” … Dancer
- 1963 “Don’t Say a Word” (game show) … herself
- 1963 BBC, Maigret: Peter the Lett … Josie
- 1962 BBC, The Face They See … Rona
- 1962 ITV Armchair Theatre (Episodes: North City Traffic Straight Ahead and North by North West) … Anna
- 1962 Ken Russell’s Pop Goes the Easel (BBC Monitor Series) … Herself
He had said the capitalist power works by possessing and manipulating the desires inside your own mind. But no-one ever explained how you distinguished between the two kinds of dreams inside your head – the ones that were planted there by evil capitalist fantasy-machines, and the genuine dreams of a new and better future. And if your dreams of a better future failed, and the world didn’t change – then maybe they too were just part of the manipulation?