New york times meet the beatles again

Meet The Beatles . . . Again! | Scholastic | Parents

new york times meet the beatles again

Dave Foster, a New York City–based musician who plays in a Beatles tribute band music that is always fresh and new, even if you've heard it , times. ”. George Harrison, John Lennon, Paul McCartney, Ringo Starr, The Beatles I read the very first review of this record that appeared; it was in the New York Times. should deliver the message to those we have so far been able to reach. “Back in the USSR,” this album's first track, is, of course, a perfect example of all this. Sep 3, Ever since the Beatles' albums first appeared on CD, in , fans has been remastered at least three times since its original release. Ariana GrandeBillboard's 13th Annual Women in Music, Show, Pier 36, New York.

The SW catalogue number appears on the label of later pressings that bear the title Hey Jude on the label. Klein authorised the release of the album as a sales buffer during post-production of the delayed Let It Be album.

In Neil Aspinall claimed that the back cover was supposed to be the front cover and vice versa but that Klein had reversed them in error.

The front and back cover pictures were taken at the last-ever Beatles photo session, on 22 Augustat John Lennon 's home Tittenhurst Park. The matrix numbers were identical to those on the UK "export" issue. Until the release of — inHey Jude was the only way to own the extremely popular " Hey Jude " single on LP or in a stereo mix. The songs " Rain ", " Lady Madonna " and " Revolution " were also first mixed for stereo specifically for this album.

Prior to the release of the "Get Back" single in the spring ofall Beatles singles were issued in mono in the US. Several other countries adopted the original The Beatles Again title. Of these, the Spanish release omitted " The Ballad of John and Yoko ", due to that song having been deemed offensive. The press materials accompanying the book include an interview in which Spitz boasts of handing in a first draft at 2, pages, as if warning Robert A. In Spitz's mind he has spent the past eight years writing what he sincerely believes to be "the" Beatles book, a biography-as-black-hole that consumes all that attempts to come near it.

new york times meet the beatles again

If "definitive" means producing a work as clumsy as it is ambitious, as flat is it is evocative, as stultifying as it is entertaining, then without question Spitz has succeeded. Spitz has said that for a model he looked to David McCullough, who takes a historical novelist's approach to writing historical nonfiction.

new york times meet the beatles again

McCullough is a master at fusing heroic bouts of research with a knack for storytelling, creating rollicking, Dickensian biographies that teem with eccentric personalities and lush descriptions of a pre-televised world. Inspired by this technique, Spitz sets out to deliver the Beatles as historical epic rather than pop cultural phenomenon. He prefaces John Lennon's birth, for instance, with an eye-glazing microhistory of Liverpool's shipping industry, as if the immaculate conception of the Beatle were somehow part of the city's industrial evolution.

The result is often as cumbersome and hyperbolic as it is informative. But the real issue with applying the McCullough method to the Beatles is far simpler: This isn't to diminish the accomplishments of the Beatles just because they didn't, between songwriting and touring, create the framework for an entire nation.

Meet The Beatles Again: DENNY and KEN SHARP SOMACH: Books

But unlike the Founding Fathers, the Beatles have been documented ad nauseam in movies, documentaries, interviews, concert footage, recorded recording sessions -- forces that conspire to render the biographer's florid incantations of the past superfluous. It says something that while Kane's "Lennon Revealed" is an unreadable, bottom-feeding study in journalistic desperation, the DVD it comes packaged with -- an uncut interview Kane conducted with John and Paul from -- is a fascinating glimpse into the tense chemistry between the two frontmen shortly before they went their separate ways.

Maybe the image we have of the Beatles is mythologized spin -- they are, after all, a rock band -- but nonetheless it's anything but blurry. To be able to cut through the mediated glare and introduce the boys as something fresh requires a level of skill that appears to be just out of Spitz's reach.

Spitz is a perfectly capable writer; the trouble is that he has habit of posing as a great one. And so what could be said in one page is said in 20, often in clichi-speckled language that's meant to enhance the narrative but instead buries it under the sort of prose that turns writing teachers into alcoholics. His concert scenes are soporific showcases in which the audience "didn't know what hit them" and, afterward, "nothing was ever the same.

A contributor to the New York Times Magazine, Spitz approaches the book as if it were one biblically long magazine article, treating the reader to countless anonymous quotes from "former acquaintances" and "classmates" that ultimately tell you nothing except the fact that Bob Spitz tracked down a great many people with dim Beatles recollections and zero interest in seeing their names in print.

It's one thing to be a fastidious researcher, but you can't expect a reader to trudge through nearly a thousand pages if you don't use that research to deftly re-create moments with a sense of immediacy.

There's no question that Spitz has produced an indispensable reference for Beatles obsessives -- the book touches on everything from John's losing his virginity to his dabbling with heroin, from their early days in Hamburg, Germany, to their final sessions at Abbey Road -- though even the most loyal fan may find himself longing, at various intervals, for the PowerPoint version.

Which is a shame.

  • Meet the Beatles (again)
  • Meet The Beatles . . . Again!

Every now and then you get glimpses of a streamlined, better structured, more precisely written book hiding somewhere between the covers and waiting to be coaxed into life. Take Spitz's portrait of the Beatles' first arrival in America and their press conference at Kennedy airport: We also may use or combine information that we collect from the Services with information provided by third parties, including demographic information and other attributes, and organizational affiliations.

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