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Este libro es una guía práctica y accesible para saber más sobre los Beatles, que le aportará la información esencial y le permitirá ganar tiempo. En tan solo 50 minutos, usted podrá: •Entender el contexto de la década de 1960, que ve la llegada de la sociedad de consumo y el estallido de la guerra de Vietnam, que impulsará el nacimiento del movimiento hippie en los Estados Unidos y marcará profundamente la música de los Beatles •Conocer la biografía de John Lennon, George Harrison, Paul McCartney y Ringo Starr, unos jóvenes de Liverpool que comienzan tocando en pequeños clubes y acaban convertidos en un fenómeno de masas •Analizar las evolución de su música y las repercusiones de su innovadora y revolucionaria obra en el panorama sociocultural de la época y en el actual SOBRE 50MINUTOS.ES | Historia 50MINUTOS.ES le ofrece las claves para entender rápidamente los principales acontecimientos históricos que cambiaron el mundo.Nuestras obras narran de forma rápida y eficaz una gran variedad de acontecimientos históricos clave de distintas épocas, desde la Antigua Grecia hasta la caída del muro de Berlín. ¡Descubra en un tiempo récord la historia que ha marcado el rumbo del mundo!

My Private Lennon: Explorations from a Fan Who Never Screamed  offers a new point of view from which to consider the Beatles' impact on society and on the individual. In a series of linked autobiographical essays that explore the musical, cultural, and personal aspects of intense music fandom, Sibbie O'Sullivan dismantles the grand narrative of.

This article is a commentary on \"Are The Beatles Different? A Computerized Psychological Analysis of Their Music,\" by North and Krause (2023), in which they analyze features extracted from the Spotify API and ultimately claim that The Beatles' music is statistically \"innovative\" compared to other music. In this commentary, I explore potential methodological issues with some of their analyses. Chiefly, I show that applying their analysis to other artists results in similar results in most cases. I conclude that The Beatles' innovativeness, whether real or imaginary, cannot be statistically determined from Spotify's acoustically derived features.

The Beatles' sixth studio album, Rubber Soul, was a game changer. By December 1965, when the album was released, the Beatles had played the first arena rock show at Shea Stadium for 55 000 delirious fans, been awarded MBE (Member of British Empire) medals, and were indisputably the greatest musical phenomenon since Elvis Presley. With their first film, A Hard Day's Night, John, Paul, George, and Ringo laid down the blueprint for everyone who ever wanted to form a group. The movie, entertaining as it was, became an instruction manual for aspiring pop stars of the day on how to play, dress, and act. Richard Lester's 1964 comedy turned out to be the touchstone for every music video that followed. Then, with the release of Rubber Soul, the Beatles created an artistic benchmark to which their peers measured their craft and creativity. Touring the world over two years, the band had grown up fast. Both musically and lyrically their new album represented a major leap. Upon hearing Rubber Soul, Bob Dylan allegedly remarked, \"I get it, you're not cute anymore.\" Newsweek hailed the Beatles as \"the Bards of Pop \" while critic Greil Marcus claimed Rubber Soul was \"the best album they would ever make.\" For Traffic's Steve Winwood, the album \"broke everything open. It crossed music into a whole new dimension and was responsible for kicking off the sixties rock era.\" In This Bird Has Flown, John Kruth not only analyzes the songs and making of Rubber Soul, putting the album in context of the turbulent times in which it was created, but captures the spirit of musical innovation and poetry that makes the record a standout in the Beatle's canon.

This book reveals the ideas behind the Beat vision which influenced the Beat sound of the songwriters who followed on from them. Having explored the thinking of Alan Watts, who coined the term ‘Beat Zen’, and who influenced the counterculture which emerged out of the Beat movement, it celebrates Jack Kerouac as a writer in pursuit of a ‘beatific’ vision. On this basis, the book goes on to explain the relevance of Kerouac and his friends Allen Ginsberg and Gary Snyder to songwriters who emerged in the 1960s. Not only are new, detailed readings of the lyrics of the Beatles and of Dylan given, but the range and depth of the Beat legacy within popular song is indicated by way of an overview of some important innovators: Jim Morrison, Joni Mitchell, Leonard Cohen, Donovan, the Incredible String Band, Van Morrison and Nick Drake.

This article examines The Beatles’ classic animated film, Yellow Submarine (dir. George Dunning, 1968) in terms of its appeal to multi-demographic audiences. While it has become de rigueur to argue in favour of Yellow Submarine as an artefact of the late-1960s counter-culture, its status as a children’s film has largely been overlooked. This article will argue that Yellow Submarine invites, and is able to sus- tain, a range of interpretations, particularly regarding its dual status as a quintessential film for children and family audiences, and as a much more adult-oriented production that captures the revolutionary spirit of the period. While Yellow Submarine embodies aspects of late-1960s British and North American culture, the author argues that the narrative transcends national cultural specificities and at- tempts to appeal to universal human desires and emotion- al states through its balancing of utopian consensus and cultural diversity, and through the galvanizing presence of The Beatles.

Na década de 1960, o rock esteve profundamente ligado à contracultura, permitindo que músicos explorassem novas formas sonoras e visuais em um ambiente aberto à experimentação. Nesse contexto, muitas bandas dialogaram com a pop art, tanto na Inglaterra quanto nos Estados Unidos. Este artigo analisa essas interações a partir das obras dos Beatles e de David Bowie, artistas que emergiram do underground e se conectaram com a estética pop em diferentes momentos. Destacamos a singularidade da pop art inglesa nas colagens presentes na produção dos Beatles entre 1967 e 1969, e o minimalismo da vertente norteamericana nas obras de Bowie durante a década de 1970. Haja vista que essas vertentes são comumente entendidas como sendo unívocas, buscamos contribuir para um debate mais amplo a respeito dos aspectos de produção da arte e do rock dos anos 1960-70, ressaltando as possibilidades inauguradas a partir do diálogo entres tais mídias.

The article stems from the acknowledgment of the popularity of The Beatles’ faces within popular music and popular culture altogether. Unlike some contemporary and successive male rockstars, the band focused their aesthetic appeal entirely on the faces (and on clothing), omitting other body parts, and therefore keeping astray from a “sex symbol” status in a conventional, eroticized sense. The article analyses the cultural role of The Beatles’ faces in terms of aesthetic features (the face as a whole as well as face parts), face expressions (display of emotions such as anger, sadness and others), face performances (movements/activities of the face), and extensions/prostheses (glasses, makeup…). These parameters are applied to the chronological development of the face looks adopted by The Beatles during their activity and to the case study of those album covers featuring face close-ups of the band. Additional notes are presented in the area of face representation within the band’s musical repertoire.

W 1966 r. Beatlesi podjęli odważną decyzję: będąc u szczytu popularności, postanowili skończyć z koncertami na żywo. Po pożegnalnym koncercie wzięli kilkumiesięczny urlop nie tylko od występów, ale też nagrań i w ogóle wspólnych działań. Publika spekulowała, czy to koniec zespołu, czy zawiniły kłótnie czy też wypalenie muzyków. Jednakże w 1967 r. Beatlesi wrócili do studia i nagrali „najważniejszy album w historii rocka” – Sgt. Pepper’s Lonely Hearts Club Band. Giżycki pisze o historii powstania albumu, jego charakterze, okładce, wpływie na popkulturę, a przede wszystkim o tym, w jaki sposób przyczynił się do powstania filmu Yellow Submarine, animowanego arcydzieła reżysera George’a Dunninga i rysownika Heinza Edelmanna.

This essay examines songs from the Beatles' eponymous double album (the White Album) covered by Czechoslovak musicians between the Soviet invasion in August 1968 that thwarted the culturally and politically progressive “Prague Spring,” and 1972, during which normalization was instituted. The selection of these White Album songs—free of political themes underlying others like “Revolution 1”—parallels encroaching governmental reductions in artistic expression, and connotes a reversal from more progressive Beatles covers released immediately prior to the invasion. Rewritten lyrics and musical arrangements used in these White Album covers also reflect “permitted” styles after the suppression of the Prague Spring.