Tallie Cochrane Un Official Fan Site Tribute

Tallie Cochrane : This Is An Un Official Fan Site Tribute
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Movie Title Year Distributor Notes Rev Formats All About '_' 1972 Arrow Productions BJOnly 1 All Night Long 1975 Essex Video / Electric Hollywood NonSex DO California Connection 1973 4-Play Video DRO Changes 1970 Something Weird Video BJOnly DRO Devil's Ecstasy 1974 VCX NonSex 2 DRO Diamond Sexcapades 1974 Something Weird Video LezOnly Fugitive Girls 1974 Something Weird Video LezOnly D Hot Connections 1972 Something Weird Video NonSex Sexual Practices In Sweden 1970 Unknown Time to Love 1971 Video-X-Pix NonSex 2 DRO Wendy's Palace 1970 Vinegar Syndrome NonSex DO Wham Bam Thank You Spaceman 1972 Something Weird Video NonSex had made in a March interview with British reporter Maureen Cleave.[173] "Christianity will go", Lennon had said. "It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right ... Jesus was alright but his disciples were thick and ordinary. It's them twisting it that ruins it for me."[174] His comments went virtually unnoticed in England, but when US teenage fan magazine Datebook printed them five months later, it sparked a controversy with Christians in America's conservative Bible Belt region.[173] The Vatican issued a protest, and bans on Beatles' records were imposed by Spanish and Dutch stations and South Africa's national broadcasting service.[175] Epstein accused Datebook of having taken Lennon's words out of context. At a press conference Lennon pointed out, "If I'd said television was more popular than Jesus, I might have got away with it."[176] He claimed that he was referring to how other people viewed their success, but at the prompting of reporters, he concluded: "If you want me to apologise, if that will make you happy, then okay, I'm sorry."[176]
"Eleanor Rigby" MENU0:00 Sample of "Eleanor Rigby" from Revolver (1966). The album involves innovative compositional approaches, arrangements and recording techniques. This song, primarily written by McCartney, prominently features classical strings in a novel fusion of musical styles. Problems playing this file? See media help. Released in August, a week before the Beatles' final tour, Revolver marked another artistic step forward for the group.[177] The album featured sophisticated songwriting, studio experimentation, and a greatly expanded repertoire of musical styles, ranging from innovative classical string arrangements to psychedelic rock.[177] Abandoning the customary group photograph, its Aubrey Beardsley-inspired cover – designed by Klaus Voormann, a friend of the band since their Hamburg days – was a monochrome collage and line drawing caricature of the group.[177] The album was preceded by the single "Paperback Writer", backed by "Rain".[178] Short promotional films were made for both songs; described by cultural historian Saul Austerlitz as "among the first true music videos",[179] they aired on The Ed Sullivan Show and Top of the Pops in June.[180]

Among the experimental songs that Revolver featured was "Tomorrow Never Knows", the lyrics for which Lennon drew from Timothy Leary's The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead. Its creation involved eight tape decks distributed about the EMI building, each staffed by an engineer or band member, who randomly varied the movement of a tape loop while Martin created a composite recording by sampling the incoming data.[181] McCartney's "Eleanor Rigby" made prominent use of a string octet; Gould describes it as "a true hybrid, conforming to no recognisable style or genre of song".[182] Harrison was developing as a songwriter, and three of his compositions earned a place on the record.[183] In 2003, Rolling Stone ranked Revolver as the third greatest album of all time.[161] San Francisco's Candlestick Park in the 1960s San Francisco's Candlestick Park (pictured in the early 1960s) was the venue for the Beatles' final concert before a paying audience. As preparations were made for a tour of the US, the Beatles knew that their music would hardly be heard. Having originally used Vox AC30 amplifiers, they later acquired more powerful 100-watt amplifiers, specially designed by Vox for them as they moved into larger venues in 1964, but these were still inadequate. Struggling to compete with the volume of sound generated by screaming fans, the band had grown increasingly bored with the routine of performing live.[184] Recognising that their shows were no longer about the music, they decided to make the August tour their last.[185] The band performed none of their new songs on the tour.[186] In Chris Ingham's description, they were very much "studio creations ... and there was no way a four-piece rock 'n' roll group could do them justice, particularly through the desensitising wall of the fans' screams. 'Live Beatles' and 'Studio Beatles' had become entirely different beasts."[187] The band's concert at San Francisco's Candlestick Park on 29 August was their last commercial concert.[188] It marked the end of four years dominated by almost nonstop touring that included over 1,400 concert appearances internationally.[189] 1966–1970: Studio years Sgt. Pepper's Lonely Hearts Club Band The album artwork of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band Front cover of Sgt. Pepper's Lonely Hearts Club Band, "the most famous cover of any music album, and one of the most imitated images in the world"[190] Freed from the burden of touring, the Beatles embraced an increasingly experimental approach as they recorded Sgt. Pepper's Lonely Hearts Club Band, beginning in late November 1966.[191] According to engineer Geoff Emerick, the album's recording took over 700 hours.[192] He recalled the band's insistence "that everything on Sgt. Pepper had to be different. We had microphones right down in the bells of brass instruments and headphones turned into microphones attached to violins. We used giant primitive oscillators to vary the speed of instruments and vocals and we had tapes chopped to pieces and stuck together upside down and the wrong way around."[193] Parts of "A Day in the Life" featured a 40-piece orchestra.[193] The sessions initially yielded the non-album double A-side single "Strawberry Fields Forever"/"Penny Lane" in February 1967;[194] the Sgt. Pepper LP followed with a rush-release in May.[195] The musical complexity of the records, created using relatively primitive four-track recording technology, astounded contemporary artists.[190] Among music critics, acclaim for the album was virtually universal.[196] Gould writes: The overwhelming consensus is that the Beatles had created a popular masterpiece: a rich, sustained, and overflowing work of collaborative genius whose bold ambition and startling originality dramatically enlarged the possibilities and raised the expectations of what the experience of listening to popular music on record could be. On the basis of this perception, Sgt. Pepper became the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionise both the aesthetics and the economics of the record business in ways that far outstripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963.[197] In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries".[3] The album was the first major pop/rock LP to include its complete lyrics, which appeared on the back cover.[198][199] Those lyrics were the subject of critical analysis; for instance, in late 1967 the album was the subject of a scholarly inquiry by American literary critic and professor of English Richard Poirier, who observed that his students were "listening to the group's music with a degree of engagement that he, as a teacher of literature, could only envy".[200][nb 7] The elaborate cover also attracted considerable interest and study.[201] A collage designed by pop artists Peter Blake and Jann Haworth, it depicted the group as the fictional band referred to in the album's title track[202] standing in front of a crowd of famous people.[203] The heavy moustaches worn by the group reflected the growing influence of hippie style,[204] while cultural historian Jonathan Harris describes their "brightly coloured parodies of military uniforms" as a knowingly "anti-authoritarian and anti-establishment" display.[205] Sgt. Pepper topped the UK charts for 23 consecutive weeks, with a further four weeks at number one in the period through to February 1968.[206] With 2.5 million copies sold within three months of its release,[207] Sgt. Pepper's initial commercial success exceeded that of all previous Beatles albums.[208] It sustained its immense popularity into the 21st century while breaking numerous sales records.[209] In 2003, Rolling Stone ranked Sgt. Pepper foremost on its list of the greatest albums of all time.[161] Magical Mystery Tour and Yellow Submarine The Beatles filming a sequence for the Magical Mystery Tour film The Beatles filming their "I Am the Walrus" sequence for the Magical Mystery Tour film Two Beatles film projects were conceived within weeks of completing Sgt. Pepper: Magical Mystery Tour, a one-hour television film, and Yellow Submarine, an animated feature-length film produced by United Artists.[210] The group began recording music for the former in late April 1967, but the project then lay dormant as they focused on recording songs for the latter.[211] On 25 June, the Beatles performed their forthcoming single "All You Need Is Love" to an estimated 350 million viewers on Our World, the first live global television link.[212] Released a week later, during the Summer of Love, the song was adopted as a flower power anthem.[213] The Beatles' use of psychedelic drugs was

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