BBC Radio’s Front Row podcast has revealed what’s said to be the earliest known full recording of a live concert in the UK by The Beatles, who were just shy of their complete break into ultimate fandom at the time.
The burgeoning boy band, who just released their debut album Please Please Me only two weeks before, performed at the all-boys Stowe boarding school on April 4th, 1963. While the blaring and relentless screams of adoring female fans had yet to fully constitute Beatlemania, they still garnered an outpouring of excitement from the adolescent boys who watched them.
The recording was made by then 15-year-old Stowe student John Bloomfield, a growing and self-professed tech nerd experimenting with reel-to-reel tape recording. “I would say I grew up at that very instant,” Bloomfield told Front Row, with whom he first shared the tape. “It sounds a bit of an exaggeration, but...
The burgeoning boy band, who just released their debut album Please Please Me only two weeks before, performed at the all-boys Stowe boarding school on April 4th, 1963. While the blaring and relentless screams of adoring female fans had yet to fully constitute Beatlemania, they still garnered an outpouring of excitement from the adolescent boys who watched them.
The recording was made by then 15-year-old Stowe student John Bloomfield, a growing and self-professed tech nerd experimenting with reel-to-reel tape recording. “I would say I grew up at that very instant,” Bloomfield told Front Row, with whom he first shared the tape. “It sounds a bit of an exaggeration, but...
- 4/6/2023
- by Cervanté Pope
- Consequence - Music
There have been many albums released by the Beatles, from classic LPs to reissued box sets, full of never-before-heard tracks. Some fans might think they’ve heard it all. But a new live recording of a 1963 Beatles performance just surfaced, making it the earliest known from the group.
Before ‘Beatlemania’ hit, the Beatles were just another band trying to make it big A group shot of the Beatles, Ringo Starr (in the background), George Harrison (1943 – 2001), Paul McCartney and John Lennon (1940 – 1980), pictured during a performance on Granada TV’s Late Scene Extra television show filmed in Manchester, England on November 25, 1963. | Fox Photos/Getty Images
The Beatles were, and continue to be, one of the biggest bands in the world. They started releasing music in the early 60s and quickly became worldwide sensations. A new word “Beatlemania,” came about to describe the impact they had on young people.
However, they were not...
Before ‘Beatlemania’ hit, the Beatles were just another band trying to make it big A group shot of the Beatles, Ringo Starr (in the background), George Harrison (1943 – 2001), Paul McCartney and John Lennon (1940 – 1980), pictured during a performance on Granada TV’s Late Scene Extra television show filmed in Manchester, England on November 25, 1963. | Fox Photos/Getty Images
The Beatles were, and continue to be, one of the biggest bands in the world. They started releasing music in the early 60s and quickly became worldwide sensations. A new word “Beatlemania,” came about to describe the impact they had on young people.
However, they were not...
- 4/6/2023
- by India McCarty
- Showbiz Cheat Sheet
On April 4, 1963, a schoolboy had no idea he was recording something important in music history. All he knew was that a band called The Beatles was performing at his school. All he cared about was using his new tape recorder. He managed to get the earliest known full-length recording of The Beatles live in concert.
The Beatles in concert | Mirrorpix/Getty Images A schoolboy wrote to Brian Epstein to ask if the band could perform at his school
Just as The Beatles were teetering on the cusp of international fame, their manager, Brian Epstein, received a letter from a schoolboy named David Moores (per BBC News).
The manager recognized that the Moores were just as well-known a family as his own. Epstein’s family owned a record store called Nems (North End Music Stores), which started as a furniture store. The Moores family owned Littlewoods, a retail and football betting company.
The Beatles in concert | Mirrorpix/Getty Images A schoolboy wrote to Brian Epstein to ask if the band could perform at his school
Just as The Beatles were teetering on the cusp of international fame, their manager, Brian Epstein, received a letter from a schoolboy named David Moores (per BBC News).
The manager recognized that the Moores were just as well-known a family as his own. Epstein’s family owned a record store called Nems (North End Music Stores), which started as a furniture store. The Moores family owned Littlewoods, a retail and football betting company.
- 4/4/2023
- by Hannah Wigandt
- Showbiz Cheat Sheet
One of the perceptions about Academic Conferences is that they are dry dusty affairs with about as much excitement as ball of coughed up cat hair. However within the last decade, the perception is frankly untrue. More and more professors and academics are looking toward popular culture to study and talk about and horror is no exception. In fact, horror may be one of the biggest areas of study within the academy these days. Films, game, and sequential art studies are “popping” all over campuses. (I know guy here at Texas Tech University who is doing his dissertation on narrative structure within the Friday The 13th movie series. So for all you Fangoria readers, there do seem to be niches within the academy that is growing and growing.
Just a few weeks back, The Southwest Texas Popular Culture and American Culture Association met for its 30th meeting in Albuquerque New Mexico.
Just a few weeks back, The Southwest Texas Popular Culture and American Culture Association met for its 30th meeting in Albuquerque New Mexico.
- 4/29/2009
- Fangoria
TORONTO -- The bon mots fly fast and furious in A Good Woman, which transplants Oscar Wilde's Lady Windermere's Fan to a new place and time.
But while screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.
The tone trouble and problematic casting (more about that later) prevent the adaptation from being considered truly Oscar-worthy -- that's referring both to the statuette and Mr. Wilde -- though the delicious dialogue and opulent backdrops still make for a reasonably pleasant viewing experience.
Reverting to Wilde's original title for his play, A Good Woman has been moved up to the 1930s and relocated to the decidedly airier Amalfi coast in Italy.
Several of the characters, meanwhile, now have become Americans.
That would include Robert (Mark Umbers) and Meg (Scarlett Johansson) Windermere, a young newlywed couple in good standing who have left New York's sticky summer behind for some sensible vacationing on the Italian Riviera.
Having the same idea is Mrs. Stella Erlynne (Helen Hunt), a woman of a certain age with a certain reputation to match, who has seemingly exhausted her supply of the wealthy, married New York men who served as her meal ticket.
It doesn't take long before the penniless vamp appears to have landed Robert as her latest conquest, and their frequent sightings together have set the tongues of the sunbathing aristocracy a-flapping.
Meg's discovery that Robert has been issuing a number of checks to Mrs. Erlynne would seem to confirm those rampant rumors, and she receives little solace in the enamored attention paid to her by eligible Lord Darlington (Stephen Campbell Moore).
Of course, things, as it turns out, aren't quite as they appear.
Director Barker (1999's Best Laid Plans), along with cinematographer Ben Seresin, production designer Ben Scott and costume designer John Bloomfield, get the look and feel of the picture up to Merchant Ivory snuff, but there's a prevailing wistfulness hanging over the entire enterprise that has the effect of signaling that weightier third-act twist earlier than necessary.
As for the cast, while Johansson seems to have a natural affinity for period dress, Hunt fares less successfully in the role of the calculating seductress.
She effectively conveys Mrs. Erlynne's vulnerability and pain later on, but Hunt never seems entirely comfortable in her character's skin when she's required to play the shameless vamp with a knack for insinuating herself into the beds and checkbook registers of men who should know better.
As her quite willing next victim, the very wealthy but lonely Tuppy (Tom Wilkinson) nails the required tragicomic pitch with a great deal of self-effacing charm.
A Good Woman
Beyond Films
Credits:
Director: Mike Barker
Screenwriter: Howard Himelstein
Based on the play Lady Windermere's Fan by: Oscar Wilde
Producers: Alan Greenspan, Jonathan English, Steven Siebert, Howard Himelstein
Executive producers: John Evangelides, Mikael Borglund, Hilary Davis, Jimmy De Brabant, Michael Dounaev, Liam Badger, Duncan Hopper, Rupert Preston
Director of photography: Ben Seresin
Production designer: Ben Scott
Editor: Neil Farrell
Costume designer: John Bloomfield
Music: Richard G. Mitchell
Cast:
Mrs. Erlynne: Helen Hunt
Meg Windermere: Scarlett Johansson
Tuppy: Tom Wilkinson
Lord Darlington: Stephen Campbell Moore
Robert Windermere: Mark Umbers
Contessa Lucchino: Milena Vukotic
No MPAA rating
Running time -- 93 minutes...
But while screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.
The tone trouble and problematic casting (more about that later) prevent the adaptation from being considered truly Oscar-worthy -- that's referring both to the statuette and Mr. Wilde -- though the delicious dialogue and opulent backdrops still make for a reasonably pleasant viewing experience.
Reverting to Wilde's original title for his play, A Good Woman has been moved up to the 1930s and relocated to the decidedly airier Amalfi coast in Italy.
Several of the characters, meanwhile, now have become Americans.
That would include Robert (Mark Umbers) and Meg (Scarlett Johansson) Windermere, a young newlywed couple in good standing who have left New York's sticky summer behind for some sensible vacationing on the Italian Riviera.
Having the same idea is Mrs. Stella Erlynne (Helen Hunt), a woman of a certain age with a certain reputation to match, who has seemingly exhausted her supply of the wealthy, married New York men who served as her meal ticket.
It doesn't take long before the penniless vamp appears to have landed Robert as her latest conquest, and their frequent sightings together have set the tongues of the sunbathing aristocracy a-flapping.
Meg's discovery that Robert has been issuing a number of checks to Mrs. Erlynne would seem to confirm those rampant rumors, and she receives little solace in the enamored attention paid to her by eligible Lord Darlington (Stephen Campbell Moore).
Of course, things, as it turns out, aren't quite as they appear.
Director Barker (1999's Best Laid Plans), along with cinematographer Ben Seresin, production designer Ben Scott and costume designer John Bloomfield, get the look and feel of the picture up to Merchant Ivory snuff, but there's a prevailing wistfulness hanging over the entire enterprise that has the effect of signaling that weightier third-act twist earlier than necessary.
As for the cast, while Johansson seems to have a natural affinity for period dress, Hunt fares less successfully in the role of the calculating seductress.
She effectively conveys Mrs. Erlynne's vulnerability and pain later on, but Hunt never seems entirely comfortable in her character's skin when she's required to play the shameless vamp with a knack for insinuating herself into the beds and checkbook registers of men who should know better.
As her quite willing next victim, the very wealthy but lonely Tuppy (Tom Wilkinson) nails the required tragicomic pitch with a great deal of self-effacing charm.
A Good Woman
Beyond Films
Credits:
Director: Mike Barker
Screenwriter: Howard Himelstein
Based on the play Lady Windermere's Fan by: Oscar Wilde
Producers: Alan Greenspan, Jonathan English, Steven Siebert, Howard Himelstein
Executive producers: John Evangelides, Mikael Borglund, Hilary Davis, Jimmy De Brabant, Michael Dounaev, Liam Badger, Duncan Hopper, Rupert Preston
Director of photography: Ben Seresin
Production designer: Ben Scott
Editor: Neil Farrell
Costume designer: John Bloomfield
Music: Richard G. Mitchell
Cast:
Mrs. Erlynne: Helen Hunt
Meg Windermere: Scarlett Johansson
Tuppy: Tom Wilkinson
Lord Darlington: Stephen Campbell Moore
Robert Windermere: Mark Umbers
Contessa Lucchino: Milena Vukotic
No MPAA rating
Running time -- 93 minutes...
- 9/27/2004
- The Hollywood Reporter - Movie News
Kevin Reynolds' Easter Island epic "Rapa Nui" works hard to dazzle one with its vision of a crumbling 17th-century Polynesian society cut off from the world. And like "The Last of the Mohicans", the Warner Bros. release successfully mixes ultra-romantic situations with detailed storytelling and rock-'em/sock-'em action sequences.
The exciting, unique film has sex appeal (lots of bare flesh), beautiful imagery and relevant messages about humankind's folly, but with no major stars, the film will be searching for an audience. Viewer reaction should be mixed, with the positive heralds prevailing. Getting the word out to twenty- and thirtysomethings is the secret to marketing this island adventure.
Produced by Kevin Costner and Jim Wilson, the sumptuously mounted "Rapa Nui" (the native islanders' name for Easter Island) imagines a Stone Age people self-destructing through environmental mismanagement and festering social inequity.
Discovered by Europeans in 1722, the complete story of Easter Island and the inhabitants who built the hundreds of striking "moai" stone statues has remained a tantalizing mystery ever since.
Reynolds, who wanted to make a film about the subject since childhood, and co-writer Tim Rose Price stick with the prevailing winds and make the island inhabitants long-lost Polynesian seafarers divided between the ruling-class Long Ears and working-class Short Ears.
Ostensibly ruled by an aging figurehead and opportunistic priest, the Long Ears order the carving and moving of relatively huge stone statues, but leave the grunt work to the Short Ears.
The multi-track plot concerns the rivalry between a fun-loving Long Ear Jason Scott Lee) and a smoldering Short Ear (Esai Morales), both of whom love a gorgeous Short Ear maid (Sandrine Holt). The longtime friends quickly become adversaries when Morales' character strikes a deal to enter the annual ritual race that decides who will rule the island. Meanwhile, the desperate creation of more "moai" continues to deforest the island and signal a looming disaster.
Cecil B. De Mille would have been proud of spectacular scenes showing the hauling and eventual toppling of the "moai." The dangerous race over volcanic cliffs and shark-infested waters that climaxes the film is a great payoff, while the concluding strife is grim and apocalyptic.
Lee and Morales are perfectly cast and equal to the considerable physical demands of their roles. Most of the major supporting roles are filled by Maori pros. Eru Potaka-Dewes ("The Piano") plays the island's aging patriarch as a near-senile dreamer. George Henare is also a solid presence as the smug priest.
Filmed on Easter Island locations, "Rapa Nui" is excellently lensed in wide-screen by Stephen F. Window and boasts huge outdoor sets from production designer George Liddle.
The film is frequently propelled (and almost overwhelmed) by Stewart Copeland's wall-to-wall score. Costumer John Bloomfield, with the help of makeup supervisor Peter Frampton and key hairstylist Paul D. Pattison, contributes the believable costumes, tattoos and elongated ears.
RAPA NUI
Warner Bros.
A TIG Productions/Majestic Films production
In association with RCS
A Film by Kevin Reynolds
Director Kevin Reynolds
Producers Kevin Costner, Jim Wilson
Screenplay Tim Rose Price, Kevin Reynolds
Executive producers Barrie M. Osborne, Guy East
Director of photography Stephen F. Window
Production designer George Liddle
Editor Peter Boyle
Music Stewart Copeland
Costume designer John Bloomfield
Casting Elisabeth Leustig
Color/Stereo
Cast:
Noro Jason Scott Lee
Make Esai Morales
Ramana Sandrine Holt
Tupa George Henare
Grandfather Eru Potaka-Dewes
Haoa Zac Wallace
Heke Faenza Reuben
Running time -- 107 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
The exciting, unique film has sex appeal (lots of bare flesh), beautiful imagery and relevant messages about humankind's folly, but with no major stars, the film will be searching for an audience. Viewer reaction should be mixed, with the positive heralds prevailing. Getting the word out to twenty- and thirtysomethings is the secret to marketing this island adventure.
Produced by Kevin Costner and Jim Wilson, the sumptuously mounted "Rapa Nui" (the native islanders' name for Easter Island) imagines a Stone Age people self-destructing through environmental mismanagement and festering social inequity.
Discovered by Europeans in 1722, the complete story of Easter Island and the inhabitants who built the hundreds of striking "moai" stone statues has remained a tantalizing mystery ever since.
Reynolds, who wanted to make a film about the subject since childhood, and co-writer Tim Rose Price stick with the prevailing winds and make the island inhabitants long-lost Polynesian seafarers divided between the ruling-class Long Ears and working-class Short Ears.
Ostensibly ruled by an aging figurehead and opportunistic priest, the Long Ears order the carving and moving of relatively huge stone statues, but leave the grunt work to the Short Ears.
The multi-track plot concerns the rivalry between a fun-loving Long Ear Jason Scott Lee) and a smoldering Short Ear (Esai Morales), both of whom love a gorgeous Short Ear maid (Sandrine Holt). The longtime friends quickly become adversaries when Morales' character strikes a deal to enter the annual ritual race that decides who will rule the island. Meanwhile, the desperate creation of more "moai" continues to deforest the island and signal a looming disaster.
Cecil B. De Mille would have been proud of spectacular scenes showing the hauling and eventual toppling of the "moai." The dangerous race over volcanic cliffs and shark-infested waters that climaxes the film is a great payoff, while the concluding strife is grim and apocalyptic.
Lee and Morales are perfectly cast and equal to the considerable physical demands of their roles. Most of the major supporting roles are filled by Maori pros. Eru Potaka-Dewes ("The Piano") plays the island's aging patriarch as a near-senile dreamer. George Henare is also a solid presence as the smug priest.
Filmed on Easter Island locations, "Rapa Nui" is excellently lensed in wide-screen by Stephen F. Window and boasts huge outdoor sets from production designer George Liddle.
The film is frequently propelled (and almost overwhelmed) by Stewart Copeland's wall-to-wall score. Costumer John Bloomfield, with the help of makeup supervisor Peter Frampton and key hairstylist Paul D. Pattison, contributes the believable costumes, tattoos and elongated ears.
RAPA NUI
Warner Bros.
A TIG Productions/Majestic Films production
In association with RCS
A Film by Kevin Reynolds
Director Kevin Reynolds
Producers Kevin Costner, Jim Wilson
Screenplay Tim Rose Price, Kevin Reynolds
Executive producers Barrie M. Osborne, Guy East
Director of photography Stephen F. Window
Production designer George Liddle
Editor Peter Boyle
Music Stewart Copeland
Costume designer John Bloomfield
Casting Elisabeth Leustig
Color/Stereo
Cast:
Noro Jason Scott Lee
Make Esai Morales
Ramana Sandrine Holt
Tupa George Henare
Grandfather Eru Potaka-Dewes
Haoa Zac Wallace
Heke Faenza Reuben
Running time -- 107 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.