Lyric in John Lennon's Hand Auctioned at Christie's

Lot notes from Christies on John Lennon lyric, 'Give Peace A Chance'
A rare and important set of lyrics in John Lennon's hand for Give Peace A Chance, 1969, the lyrics penned by Lennon in Suite 1742 at the Queen Elizabeth Hotel, Montreal, Canada, during John and Yoko's historic Bed-In for Peace, 26 May - 2 June, 1969; this large set written by Lennon in black felt pen on a piece of white card was initially intended to be the lyric sheet for those taking part in the recording of the song in John and Yoko's hotel suite on the evening of Sunday 1 June, 1969, however an hour or so before the recording Lennon instead asked the vendor, Gail Renard, to rewrite these lyrics again in even larger format, so that the crowd in the room could see them as clearly as possible; this set, written by John in 'chant' form, with eleven lines in four verses set out in four columns preceded by the opening line: Everybodies (sic) talking bout.. followed by the chorus: All we are saying is Give peace a chance. embellished throughout by Lennon's idiosyncratic spelling and wordplay, omits a few minor variations seen in the final recorded version which occurred during the session when Lennon ad-libbed a few repeated words, added the phrase Let me tell you now before the 3rd verse and Rosemary's name after that of her partner Timothy Leary in the final verse; dimensions -- 22¼x14¼in. (56.5x36.25cm.)

General Notes
Give Peace A Chance, the first solo hit to be written by an individual Beatle before the band dissolved, has been described by Mark Lewisohn as: The world's most endurable peace anthem and slogan... This song held particular significance for John Lennon himself, according to Paul Du Noyer some years after writing this anthem in an interview Lennon revealed: In my secret heart I wanted to write something that would take over 'We Shall Overcome'.... He also commented that he liked the song "....for what it was..." and that he was "...always proud of it..." When his song was taken up by almost half a million anti-Vietnam protestors outside the White House in November 1969, Lennon, who'd watched the event on TV at home in England confessed that he considered it to be "..one of the biggest moments of my life..."

The recording of Give Peace A Chance represented the climax and highlight of the Montreal Bed-In for Peace. The newly married Lennnons had been keen to build on the phenomenal success of their honeymoon Bed-In at the Amsterdam Hilton two months earlier, by holding a second Bed-In event in New York city. They were however denied access to the States due to John's earlier drug conviction in 1968 so opted instead to use Montreal, Canada due to its close proximity to the US border, as a base for bringing their peace campaign to North America. The Bed-In lasted eight days and throughout that time the couple, accompanied by Kyoko, Yoko's five-year-old daughter from her previous marriage, sat up in bed in their nightclothes and opened their doors to the worlds' media speaking to as many radio and tv journalists and political figures as they could. Peter Doggett in his biography of Lennon states ...Lennon unveiled the basic chorus, with its simple message - "All we are saying is give peace a chance" - during an interview in Toronto on May 25, then, throughout the week, during breaks between interviews in his Montreal hotel suite, John jotted down ideas he had for his peace anthem and planned the recording.

The Roman Catholic Church extends an ecumenical olive branch to the late John Lennon;
troubling Beatle/Papal schism possibly on the mend . . .

source : prefixmag.com
originally published on November 24, 2008 1:35 p.m.
by Ethan Stanislawski


This week reports have been coming in that the Vatican has forgiven John Lennon, which, you know, may have been more appropriate before he, like, died 28 years ago.

Lennon’s 1966 remark that the Beatles were “more popular than Jesus” was regarded by certain religious folks as "the ultimate blasphemy."

Beatles records were burned! Sensational headlines ran in the papers!

Everyone overreacted.

Now however, "with semi-official Vatican newspaper L’Osservatore Romano using the 40th anniversary of The White Album to expunge Lennon of his sins," it seems all has been forgiven.

In a time when the world's economy is crumbling, where political upheaval has tested the faith of the world, and people are looking to God for help, the world's largest religious institution has come up with a crucial statement to guide people through these tough times:

The Catholic Church is totally cool with John Lennon and The Beatles now.

L'Osservatore Romano, a Vatican newspaper, published an editorial forgiving John Lennon for his controversial 1966 statement that The Beatles were bigger than Jesus.

The weirdest part of it is that the editorial basically uses the "he was from a poor family" argument [ one that would have come as horrifying news to John's gratefully departed Aunt Mimi, the upright/uptight respectable and class conscious woman in whose Liverpool home he was raised ] in Lennon's defense :

The article said that Lennon's comments had been "showing off, bragging by a young English working-class musician who had grown up in the age of Elvis Presley and rock and roll and had enjoyed unexpected success".

The article is purportedly in honor of the 40th anniversary of The White Album, but since there basically isn't a year left anymore where it's not some sort of Beatles anniversary, the timing does seem weird nonetheless.

This strange announcement raises multiple questions, and not just "Why now?"

Would John Lennon have wanted the Church's forgiveness? By announcing their forgiveness, is the Church actually subverting Lennon's beliefs against organized religion? Does it really take the Church that long to forgive people? What impact does the church want or expect this to have, if any?

Either way, it's an important note for Beatlemaniacs, but bizarre for just about everyone else.

Where do they get off "forgiving" people, Lennon might have asked -- forgiveness and condemnation is their business and they long had the market cornered. These days it is largely the domain of the pop-psychotherapeutics/political correctness cartel.

Funny thing is that it was American Southern Baptists who made the big stink back in 1966 -- have they ever made nice with the Beatles?

By Ian Youngs
source : BBC News


Paul McCartney has said he wants The Beatles' catalogue to appear on Apple's iTunes store, but that negotiations have currently "stalled".

"We'd like to do it," Sir Paul told BBC News. "We are very for it, we've been pushing it. But there are a couple of sticking points, I understand." McCartney said "heavy negotiations" were going on with their former record label EMI.

"EMI want something we're not prepared to give 'em. It's between EMI and The Beatles I think - what else is new?"

EMI, which owns the Beatles recordings, must agree a deal with Apple Corps, the company set up by the band to look after their classic catalogue.

"Last word I got back was it's stalled at the moment," Sir Paul said. "But I really hope it will happen because I think it should."

An EMI spokesperson said: "We have been working hard to secure agreement with Apple Corps to make the Beatles' legendary recording catalogue available to fans in digital form. "Unfortunately the various parties involved have been unable to reach agreement but we really hope everyone can make progress soon."

Sir Paul was speaking as he launched a new album under the name The Fireman, his collaboration with producer Youth

The album, Electric Arguments, has seen the former Beatle take an experimental twist and has garnered glowing reviews.

It was released on Monday and, along with solo work by all four members of the legendary British band, is available to buy on iTunes.

The vast majority of major acts have now signed up to sell their songs on iTunes, with only AC/DC, Kid Rock and Garth Brooks also holding out. There were hopes that Beatles songs would become available after Apple Inc - which owns the download store - ended a trademark dispute with Apple Corps last year. The Beatles' music is not currently available for authorized downloads. In March of this year, announcements were made that the Beatles and iTunes had come to an agreement.


source : BBC News
The Beatles and iTunes: A question of money?

Paul McCartney has confirmed that a 14-minute long Beatles track many thought was a myth does indeed exist - and says he wants the public to hear it.

Paul McCartney says he still owns the master tapes of a 14-minute long Beatles track many thought was a myth but that does indeed exist, adding that he suspects "the time has come for it to get its moment."

Macca told BBC Radio 4's Front Row the track - called Carnival of Light - was not released because the other Beatles thought it was too "adventurous".

The track was created for The Million Volt Light and Sound Rave, an event held at the Roundhouse Theatre on January 28 and February 4, 1967. Some reports have indicated that it is around fourteen minutes long -- Paul McCartney has said it is around fifteen minutes. In The Complete Beatles Chronicle it's listed as lasting 13 minutes and 48 seconds

The genesis of the track came in December 1966 from designer David Vaughan (part of the designer trio Binder, Edwards & Vaughan), who had recently painted a psychedelic design on a piano owned by Paul McCartney. About the same time as he delivered the piano to McCartney's Cavendish Avenue address, he asked if McCartney would contribute a musical piece for the upcoming The Million Volt Light and Sound Rave (sometimes referred to as The Carnival of Light Rave), an art festival organized by Binder, Edwards & Vaughan as a showcase for electronic music and light shows.

To Vaughan’s surprise McCartney agreed to his request to make a contribution.

The festival was held at the Chalk Farm Road Roundhouse Theatre and featured on the bill not only a public playing of 'Carnival of Light' but performances by Unit Delta Plus, whose members included early electronic music pioneers Delia Derbyshire, Brian Hodgson from the BBC Radiophonic Workshop and fellow electronic artist Peter Zinovieff.

McCartney reportas that he asked the other band members to be "indulgent" for 10 minutes at London's Abbey Road studios before giving them vague directions.

Beatles expert Mark Lewisohn, who listened to the song in 1987 while compiling his book The Complete Beatles Recording Sessions, says the song included "distorted, hypnotic drum and organ sounds, a distorted lead guitar, the sound of a church organ, various effects (water gargling was one) and, perhaps most intimidating of all, John Lennon and McCartney screaming dementedly and bawling aloud random phrases.

Barry Miles, the official McCartney biographer, wrote in Paul McCartney: Many Years from Now that the song had "no rhythm, although a beat is sometimes established for a few bars by the percussion or a rhythmic pounding piano. There is no melody, although snatches of a tune sometimes threaten to break through."

"I said all I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn't need to make any sense," said McCartney in November 2008.

The basic bed track of an organ playing bass notes and drums was recorded at a slow speed, giving them a deeper sound. There is also a huge amount of reverb used on the instruments and on Lennon's and McCartney's vocals (the only two voices on the track); Lennon and McCartney also recorded Native American war cries, whistling, close-miked gasping, genuine coughing and fragments of studio conversation. Other overdubs to the song include bursts of guitar feedback, schmaltzy cinema organ, snatches of jangling pub piano and electronic feedback with Lennon shouting 'Electricity!'. The track concludes with McCartney asking the studio engineer in an echo-soaked voice, "Can we hear it back now?"

Also, according to Barry Miles, musically it "resembles "The Return of the Son of Monster Magnet" from Frank Zappa 's Freak Out! album, except there is no rhythm and the music ... is more fragmented, abstract and serious."

Dudley Edwards (one of the organizers of The Million Volt Light and Sound Rave and friend of McCartney's) said that an early take of "Fixing a Hole" (from Sgt. Pepper's) with a piano appeared during the song. It is unlikely that a sample of an early take was heard since the recording of "Fixing a Hole" did not commence until five days after the last The Million Volt Light and Sound Rave, but it is not impossible that McCartney played a few bars of the song on the track.

Sir Paul explained: "I said all I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn't need to make any sense. Hit a drum then wander on to the piano, hit a few notes, just wander around.

"So that's what we did and then put a bit of an echo on it. It's very free."

The track was played just once, at the festival, and is said to include distorted guitar, organ sounds, gargling and band members shouting.

Sir Paul said he was fond of the track, which was inspired by experimental composers John Cage and Karlheinz Stockhausen: "I like it because it's The Beatles free, going off piste."

"Carnival of Light" has not yet appeared on any release, either official or a bootleg recording. McCartney had wanted to include the track on the Beatles' Anthology compilations in the mid-1990s, but the rest of the band vetoed the idea. George Harrison was particularly unkeen to the track. According to McCartney, the reason being was that "he didn't like avant garde music.” George Harrison had also created avant-garde music as a solo composer. In 1969 Harrison released an experimental album using the then new Moog synthesizer called ‘Electronic Sound’, and clearly dabbled in the avant-garde with more than a few of his Beatles compositions -- all indicating that in 1996 it could only have become an acquired distaste.

McCartney had wanted it on Anthology, "it would be great to put this on because it would show we were working with really avant-garde stuff." and now enthuses that "the time has come for it to get its moment.” But he added that Ringo Starr and John Lennon's and George Harrison's estates would have to agree to a release. McCartney would need the consent of Lennon's widow, Yoko Ono, and George Harrison's widow, Olivia Harrison, as well as Ringo Starr to release the track.

The full interview will be broadcast on BBC Radio 4's Front Row on Thursday 20 November at 1915 GMT.

The most ambitious biography yet of a man who created an era

Source :

Review by Michel Faber


Over the years Lennon fans have been whiplashed by biographies that alternately demonize and canonize the Beatles' front man. Philip Norman does both, and in doing so gets closer than anyone else to capturing the man. No novelist would have dared to invent the improbable story of a motherless little boy from a dreary British backwater who grew up to become the Pied Piper of global pop culture. Boozing, bedding and brawling, preaching universal love while nursing a bottomless inner well of loneliness, Lennon scaled the heights of fame almost in spite of himself. He only experienced the peace he sang about in his last years, before an act of insane violence silenced him forever.

This review originally appeared in the Guardian on Saturday October 11 2008 on p9 of the Features & reviews section. It was last updated on October 11 2008.
Excerpt : Chapter 1 : War Baby (PDF format)

Fifty-odd years ago today, at a Liverpool church fête, right after a display of police dog-handling, a myopic youngster in a check shirt sang "Be-Bop-A-Lula" amid "the competitive clamour of craft- and homemade cake-stalls, games of hoop-la, quoits and shilling-in-a-bucket, children's cries, indifferent adult conversation, and birdsong".

It was the day John Lennon met Paul McCartney, and you've read about it before, but possibly not with this richness of background scenery.

Philip Norman recognizes only two "full-scale" Lennon studies before his: Albert Goldman's "risibly ignorant" hatchet-job, and Ray Coleman's "honorable attempt" which "never quite brought John alive on the page". The term "full-scale" is tricky, of course: Lennon's story has been retold in countless books. At 853 pages, Norman's tome is the most ambitious yet. His mind - and therefore his prose - is more sophisticated than Coleman's; where Coleman delivered banalities like "beneath that abrasive exterior beat a heart of pure gold"; Norman shows perspicacity and literary flair. Books about pop musicians often read like strung-together magazine articles; The Life is a proper biography.

Even so, Norman's doorstopper cannot hope to be as definitive as its title implies. The Beatles' significance far exceeds the scope of any one book. They epitomized - and to a remarkable degree created - the 1960s, an era which still eludes full understanding. Norman's coverage of the Beatlemania years is patchy, perhaps because he felt he'd said it all before in Shout, his 1981 biography of the group, or more likely because he knows he can provide only a précis of a phenomenon that fills whole libraries. His dissection of Apple is nicely concise but lacks the period atmosphere of memoirs such as Richard DiLello's The Longest Cocktail Party. Anyone seeking understanding of Lennon's radical politics and peacenik escapades might be better served by Peter Doggett's There's a Riot Going On or Anthony Fawcett's One Day at a Time. Little attempt is made to analyze the music, as though Norman knows he can't compete with Ian MacDonald's masterful Revolution in the Head. Visually, The Life is weak. John Lennon's journey through a rapidly transmogrifying century was documented by thousands of images. Norman's book reproduces a mere 27 snaps, not all of them well-chosen. In this respect, at least, Coleman's generously illustrated offering was far superior.

Despite its scholarly bulk, The Life does not cite sources. This conceals how few of Norman's own interviews underpin the important parts of the tale, and disguises the overwhelming extent to which The Life is a blend of previous writers' efforts. With Lennon and those who raised him all dead, his siblings, close friends and associates all authors in their own right, and the choicest bystanders interviewed multiple times, the only unexhausted territory is the distant margins. Norman combs these with great dedication, but is it really worth tracking down the life model at John's art school for an inconsequential chat? Reminiscences by casual girlfriends ("John was the best kisser I ever met") and erstwhile drinking pals ("Betty would give John a blow-job behind the bar-counter") are little more than gossip, and the speculation that John may have "fantasized" about gay sex with Paul is typical of the sort of tabloid food dye that gets injected into even the most nutritious biographical fare nowadays.

Quibbles aside, The Life pulls together the essential material and organizes it in smoothly readable fashion - a colossal task that Norman tackles without visible strain. The book is strongest on Lennon's childhood and adolescence, bringing postwar Liverpool to life and patiently nuancing John's muddled middle-class/working-class background.

Norman synthesizes the accounts of various family members who've challenged John's self-pitying conviction that he wasn't wanted; in truth, a small crowd of would-be parents wanted the boy.

Spurred by John's pep-phrase "To the toppermost of the poppermost!” the Beatles ascended to surreal heights of fame. Relentless mass hysteria made them quit the concert circuit in the mid-60s, but by then their arena was inside people's hearts and minds.

The foursome set about transforming the world musically and socially, at a speed that still beggars belief. And, no sooner had the magical mystery tour passed through Pepperland than John invited the public on an even more exotic trip: his avant-garde adventures with Yoko Ono.

As the best-loved music group in history grew estranged, John and his Japanese soulmate embarked on a long, ingenious campaign for peace. Lennon proved a surprisingly eloquent, focused politician, and quixotic though the mission was, its symbolic potency has endured.

By contrast, Lennon's American years, from 1972 onwards, encompassed much that defies sympathetic spin. (Norman aims for a non-judgmental tone, a legacy, perhaps, of his early hopes - squashed at the 11th hour - that Ono might endorse the book.) John's best potentials seemed to go awol, leaving too few compensations for drunken boorishness, narcissism, craven insecurity and sloth. The Life devotes many pages to the intricate legal strategies of Lennon's fight against deportation, never daring to suggest that John's artistic and spiritual health might have improved if he'd been booted out. When May Pang, John's mistress and PA, began to inhibit his incessant womanizing, he moaned: "I don't know how to get rid of her 'cause she's my phone book."

It would be difficult to pack more unpleasant qualities into one remark or imagine an attitude more at odds with the sentiments of "Imagine", but few public figures betrayed the ideals of the 60s more flagrantly than John and Yoko while pretending to uphold them. By the late 70s, a heroin-addicted Ono was working nine to five at a gold-inlaid desk to increase the working class hero's fortune. Renoirs, Egyptian tomb treasures, prize dairy cows and refrigerated storerooms full of fur coats were just a few of the empire's spoils. One day, when an old friend from Liverpool commented "Imagine no possessions, John", Lennon retorted: "It's only a bloody song."

All through his childhood and early life, John declared that he would be a millionaire and must never, ever work. In this sense, his final half-decade of artistic inactivity, much of it spent dozing in front of a giant TV in a luxury penthouse staffed by servants including "one man whose sole job was keeping the brass doorknobs bright", was his dream come true. But, to give him credit, he was an enthusiastic father to his second son, lavishing on Sean all the love and nurture he'd found so difficult to bestow on others. (Norman ignores reports that John's "house- husband" image was a sham and that most of the hands-on parenting was done by nannies.) The book's concluding chapter is a sweet, fuzzy interview with Sean, thus relieving Norman of any obligation to sum up or evaluate "the life". Indeed, the last half-dozen chapters are thin on insight, and leave much that's been written about the Dakota years unexamined. Whatever investigative zeal motivated him to interview every obscure Liverpudlian and Hamburger who had the slightest recollection of John, it’s long gone by the end. But never mind, some future chronicler will no doubt fill in the holes. Keep your eyes peeled for John Winston Ono Lennon: The True Complete Definitive Life Redux.


John Lennon: The Life, by Philip Norman | Ecco (Random House) | (864p) | ISBN_978-0-68-804774-0 | UK publication date: 1 Sep 2008 | U.S. publication date: 9 Sep 2008
Excerpt : Chapter 1 : War Baby (PDF format)

MTV Networks is licensing Beatles songs for a new version of Rock Band.

Every few months, rumors swirl about Beatles music finally going on sale in online music stores. We've largely trained ourselves to ignore these rumors, because nothing ever seems to materialize. By the time Paul McCartney, Ringo Starr, Olivia Harrison, Yoko Ono Lennon and company get around to selling Beatles music on iTunes, a decent percentage of music customers may have no idea who they are.

And though Ringo Starr may have alienated some by telling fans to f*%$#& off with mail and requests for autographs, there is no indication that people have given up listening to the music that made Ringo and gang famous in the first place. Which is why MTV Networks is licensing Beatles songs for a new version of Rock Band.

In the intense and expensive competition between Rock Band and Guitar Hero to sign popular groups, the Beatles are a behemoth and a tremendous score for Rock Band. As The Wall Street Journal notes, the Fab Four are the biggest act to be signed to date by either game. Rock Band may have captured the castle.

This partnership marks the first time that Apple Corps, along with EMI Music, Harrisongs Ltd, and Sony/ATV Music Publishing, has agreed to present The Beatles music in an interactive video game format. Published by MTV Games and developed by Harmonix, the game will be an experiential progression through the music and artistry of The Beatles. The game was creatively conceived with input from Sir Paul McCartney and Ringo Starr, along with Yoko Ono Lennon and Olivia Harrison, and enjoys their full blessing. In addition, Giles Martin, co-producer of The Beatles LOVE project, will provide his expertise and serve as Music Producer.

“The project is a fun idea which broadens the appeal of The Beatles and their music. I like people having the opportunity to get to know the music from the inside out,” Sir Paul McCartney said.

“It gives me great pleasure to be part of the partnership,” said Ringo Starr. “The Beatles continue to evolve with the passing of time and how wonderful that The Beatles’ legacy will find its natural progression into the 21st century through the computerized world we live in. Let the games commence.”

“It’s cool. I love it and hope it will keep inspiring and encouraging the young generation for many decades,” said Yoko Ono Lennon.

“People are having so much fun playing Rock Band. Combined with The Beatles tracks, it is a great way to either listen or participate,” said Olivia Harrison. “If you like the music, it doesn’t take much persuasion to get you to play.”

“Introducing the genius of The Beatles to a whole new generation of music lovers through original and inspired ways is extremely exciting to us at Apple Corps,” stated Jeff Jones, CEO, Apple Corps. “We are truly pleased to be working with the innovative forces at MTV and Harmonix as they embody our mutual passions for music and creativity.”

“Many of us have been part of a generation that has long enjoyed an enduring love affair with The Beatles and now we’re looking to extend that love affair for future generations to enjoy,” said Van Toffler.” “Our inspiration for this project comes from a keen sense of history and a place of utmost reverence and respect for the band, their music and their heritage.”

“The impact of The Beatles is forever ingrained in the hearts, minds and souls of millions the world over,” said Judy McGrath, Chairman and CEO of MTV Networks. “The Beatles are the reason many of us are WHERE we are, and some of us are WHO we are.”

“We are honored to be part of this new way for people to discover the timeless music and art of The Beatles - the most creatively and commercially successful, critically acclaimed, and influential band in the history of popular music,” stated Paul DeGooyer, MTV’s Senior Vice President of Electronic Games & Music.

“By presenting their music and artistry through the creative filter of a groundbreaking video game, we are giving legions of fans and music lovers all over the world a profound, new way to experience The Beatles,” said Alex Rigopulos, CEO and Co-Founder, Harmonix. “This game will be a celebration of the Beatles undeniable legacy.”


Note: Harmonix has gone on record and confirmed that this is NOT a new game in the ROCK BAND series, but it WILL be compatible with ROCK BAND instruments.

Credits :
WIRED
contentinople.com
monstersandcritics.com

source : AP

by NEKESA MUMBI MOODY

originally published 9/22/08

NEW YORK (AP) — The director of a new documentary that chronicles the creation of the Beatles and Cirque du Soilel's "Love" show calls his film an "emotional journey" that manages to reveal something new about music's most documented band. "All Together Now," which will be released on DVD Oct. 21, features the surviving Beatles, Paul McCartney and Ringo Starr, as well as the widows of John Lennon and George Harrison, Yoko Ono and Olivia Harrison, as they worked together to oversee the development of "Love."

"We got to talk to all these people not just about creating the show but about the Beatles," director Adrian Wills said in a recent interview. "Because they were in an emotional frame of an experience, they were really candid with us."

"Love," a Las Vegas theatrical spectacle that made its debut two years ago, features the reworked music of the Fab Four for the psychedelic show. The idea for "Love" came about through a friendship between Harrison and Cirque du Soilel founder Guy Laliberte, but Harrison died before their plans could be realized.

McCartney, Starr and the widows then banded together to realize Harrison's vision.

That helped make the creative process more poignant, said Wills.

"The film was kind of like looking at the Beatles as a family, and there were all these kind of family members who (while) they might have been estranged from each other at times, and had gone through, like any other family, hard times and good times together, but now they were coming back together because one of their loved ones had fallen," he said.

The films also captures McCartney and Starr as they reminisce with George Martin, the legendary Beatles producer who helped reimagine the Beatles' music for the show with son Giles.

"You not only get a real glimpse into the creative process of how this show was made, but you get a real glimpse into who these people are," said Wills.

Though the DVD is being sold exclusively at Best Buy and at the "Love" show, the film will be shown at select theaters nationwide Oct. 20.


Elsewhere on the web :

beatles.com

cirquedusoleil.com