programme & book of abstracts · half a century after the beatles’ break -up (1970) and forty...

PROGRAMME &BOOK OF ABSTRACTS"It Was Fifty Years Ago Today": An Academic Tribute to The BeatlesInternational Conference

Lisbon, PortugalCETAPS & NOVA University of Lisbon16-18 April 2020

Half a century after the Beatles’ break-up (1970) and forty years since John Lennon’s murder in New York (Dec. 1980), the ‘Fab Four’s popularity remains a global phenomenon, bridging up generations across spatial, linguistic, social and cultural boundaries. However, with a few notable exceptions, Academia as a whole has hitherto failed to pay critical attention to the Liverpool band and its manifold contributions to contemporary pop music (both then and now), and the “ways of life” emerging in Britain, Europe and the United States since the 1950s. This International Conference seeks to fill in this academic gap, by approaching, reassessing and reframing John, Paul, George and Ringo through a broad range of disciplines, themes and topics.

https://beatlesinlisbon.wordpress.com

https://beatlesinlisbon.wordpress.com/

09:00 – 09:30 Registration

09:30 – 10:00ROOM: A14

Opening SessionCarlos Ceia and Miguel Alarcão

10:00 – 11:00ROOM: A14

1 - Kenneth Womack Chair: Miguel Alarcão(Keynote speaker)"Sir George Martin and the Beatles’ Abbey Road Medley”

11:00 – 11:30 coffee break

11:30 – 13:00ROOM: A14

Panel 1 Chair: Zulmira Castanheira

• 2 - Miguel Alarcão - Things they said yesterday• 3 - Joshua A. Dieterich - Beatlemania, Vatican II, Reaching the Culture of 1962-1965• 4 - Bogdan Balita & Roxana Rogobete - Farewell to Britain through Beatles: Beats of Brexit

13:00 – 14:30 Lunch

14:30 – 16:00ROOM: A14

Panel 2 Chair: Rogério Miguel Puga

• 5 - Paul Jenkins and Hugh Jenkins - The Beatles on the Terraces: The world’s Most popular Band and the World’s most popular sport

• 6 - Ana Martins & Paula Guerra - Let it be: expansão e influência dos Beatles em Portugal• 7 - Juan Ignacio Guijarro González - “Qué noches la de aquellos dias!


16:30 – 18:00

Panel 3 Chair: Conceição Castel-Branco [ROOM: A14]

• 8 - Mark Goodall - Me and My Monkey: The White Album and Eclecticism

• 9 - Matthias Heyman - A “wall of illusion”: Bringing “Within You Without You” to the stage

• 10 - Jouni Koskimäki - The essence of the music of the Beatles: Variation

Panel 4 Chair: Gabriela Gândara Terenas [ROOM: A224]

• 11 - Aaron Krerowicz - Beneath the waves: The melodic Development of Paul McCartney’s Bass playing

• 12 - Kathryn B. Cox - “Give me love”: Physical and Divine Love in the songs of George Harrison

• 13 - Kevin Concannon - Imagine peace: John and Yoko’s Paths Connect

18:00 – 19:00ROOM: A14

• 14 - João Nogueira - As minhas canções dos Beatles / My Beatles’ songs (with live performance) Chair: Carlos Ceia

"It Was Fifty Years Ago Today": An Academic Tribute to The Beatles - International Conference – Day 1 - 16 April 2020 (Thursday)

The Programme

"It Was Fifty Years Ago Today": An Academic Tribute to The Beatles - International Conference – Day 2 - 17 April 2020 (FRIDAY)

The Programme

09:00 - 10:00ROOM: A14

15 - Michael Brocken Chair: Rogério Miguel Puga(Keynote Speaker)

'The sad demise of the world's only Beatles-related Masters degree: a tale of institutional incompetence and musicological backsliding'

10:00 – 11:30ROOM: A14


• 16 - Vladan Devedzic - Data Storytelling with The Beatles• 17 - Cevin Soling - What is it about the greatest artists that sets them apart? • 18 - Rogério Miguel Puga - Transposing Beatlemania into Children’s Literature


12:00 – 13:30ROOM: A14

Panel 6 Chair: João Paulo Silva

• 19 - Tomm Roland - The Beatles in the classroom• 20 - Kathrin Engelskircher - The Beatles’ legacy as cultural translation: Performance…• 21 - Terry Bloxham - Gimme some truth: the politics of John Lennon

13:30 – 15:00 Lunch

15:00 – 16:30

Panel 7Chair: João Paulo Silva [ROOM: A14]

• 22 - Christopher Doll -“Hey Jude” as a classic• 23 - Aaron Krerowicz - The quiet Beatle: George Harrison’s

Compositional Development• 24 - Tamara Rose - The Monkees and the Beatles:

Influences and Influencers• 25 – Madalena Lobo Antunes: Imagine All the Utopias:

Inclusive utopias and imagined communities in John Lennon and Yoko Ono’s ‘Imagine’

Panel 8 Chair: Iolanda Ramos [ROOM: A224]

• 26 - Richard Mills -Their Most Iconic Album cover? Abbey Road…

• 27 - Rodney Nevitt - The Beatles album covers in the History of Pop Art

• 28 - Mirian Tavares - Yellow Submarine – uma imersão na Pop Art

• 29 - Iolanda Ramos: For the Benefit of The Beatles: Controversies over Artworks and Showmen


17:00 – 18:00

Panel 9 Chair: Karen Bennett [ROOM: A14]

• 30 - Rick Holland - Revolver and The White Album: Shared Connections”

• 31 - Beth Easton - Beatlemania 2018: A consideration of fandom, mythology and representation”

Panel 10 Chair: Ana Matos [ROOM: A224]

• 32 - Allison Bumsted - Expectations of a solo-Beatle: The Popular Music Press, Rock Aesthetics, and The Pop/Rock Divide

• 33 - Emília Ferreira: ‘I wanna hold your hand’. How fourboys from Liverpool taught the world that men could also befrom Venus

"It Was Fifty Years Ago Today": An Academic Tribute to The Beatles - International Conference – Day 3 - 18 April 2020 (SATURDAY)

The Programme

9:00 - 10:00ROOM: A14

34 - Kenneth Townsend Chair: Carlos Ceia(Keynote Speaker)

My Abbey Road Story

10:00 - 10:30ROOM: A14


• 35 - Isabel Campelo: The Beatles in Portugal and Brasil: sonic models and language use within some popular musicbands


11:00 - 12:30ROOM: A14

Round-table “The Beatles in Portugal”. Chair: Isabel Campelo

• Abel Rosa (writer, Beatles collector)• João Só (musician)• Álvaro Azevedo (musician)• António Avelar de Pinho (musician, editor, composer, and TV productor)• João Carlos Callixto (researcher and radio broadcaster)

12:30 - 13:30 Concert by The Peakles: Tribute to the Beatles (with the Lisbon Film Orchestra)

All rooms are at Colégio Almada Negreiros:

Auditorium A14: Floor -1Auditorium A224: Floor 2

Colégio Almada Negreiros, Main Campus, NOVA University, Campolide, Lisbon

At the airport you can catch the Aero Bus line 2 (between 7 am and 11 pm): you should stop at Av José Malhoa. UNDERGROUND (Metro) from the airport choose the red line and leave at the final stop: S.

SEBASTIÃO, this is the closest Metro (Underground) station.

Sir George Martin and the Beatles’ Abbey Road Medley

My purpose is to illustrate, through videos available in YouTube, how some issues, features and feelings, whether personal or social, of today’s world --- indifference, insensibility, alienation, exclusion, isolation, loneliness, frustration, suffering, grief and pain, etc. --- were musically and verbally translated by the Beatles in their songs, which we will be using as primary sources. After all, as Kenneth

Womack and Todd F. Davis remind us, “(…) their [The Beatles’] songs (…) concern themselves with the human condition and the dilemas (…) regarding the interpersonal relationships that mark our lives.” (2006: 2)

1Kenneth Womack (Wayne D. McMurray School of Humanities and Social Sciences at Monmouth University, USA)

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2 Things they said yesterday…Miguel Alarcão (FCSH, NOVA University of Lisbon, Portugal)

IT WAS FIFTY YEARS AGO TODAY – An Academic Tribute to The Beatles16-18 April 2020CETAPS - NOVA University of Lisbon -

In this multimedia, interactive presentation, Womack will trace the story of George Martin's production of the Abbey Road medley, the brilliant symphonic suite that brought the Beatles’ career to a close. Through rare clips and video, Dr. Womack will demonstrate the ways in which Martin and the band assembled the component parts of the spectacular song cycle that concluded the group's artistic fusion.

Kenneth Womack is Dean of the Wayne D. McMurray School of Humanities and Social Sciences at Monmouth University, where he also serves as Professor of English. In addition to his work as novelist, Womack is the author and editor of several books devoted to the Beatles, including Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four (2006; with Todd F. Davis), Long and Winding Roads: The Evolving Artistry of the Beatles (2007), The Cambridge Companion to the Beatles (2009) and The Beatles Encyclopedia: Everything Fab Four (2014) and its revised paperback edition (2016). In 2017 he released the first volume in his full-length biography of Beatles producer Sir George Martin, Maximum Volume: The Life of Beatles Producer George Martin (The Early Years: 1926-1966), and the second volume, Sound Pictures: The Life of Beatles Producer George Martin (The Later Years: 1966-2016), in 2018.

https://en.wikipedia.org/wiki/Cambridge_Companions_to_Music

https://en.wikipedia.org/wiki/Sir_George_Martin

Beatlemania, Vatican II, Reaching the Culture of 1962-1965

While there are a tremendous number of events that occurred in western culture in the early 1960’s which altered society forever, two of the most significant were the early “Beatlemania” days of the Beatles, as well as the calling and experience of the Catholic Church’s Second Vatican Council.

These two events, though vastly different in substance, both aimed to accomplish the same goal: to speak to a culture and generation that had begun to change drastically in their thinking and desires, as well as the way they were expressing these things through the humanities. This is especially the case when compared to the immediately-preceding generation that had been shaped so much by their experience of childhood during the Great Depression and of coming into adulthood during World War II.

This paper will look at the common themes in the music and interviews of the Beatles themselves from 1962-1965, along with those of their fans and commenters, and offer a comparison and

contrast to the Documents of the 2nd

Vatican Council and the reflections of those influenced and affected by the Council during the same time period, in an academic study and presentation of how they both strove to speak to a rapidly-changing world and culture.

Fifty years after Beatles’ break-up, one of the most iconic and influential British bands, the entire world is waiting to see the result of the Brexit debates. The connection between Beatles and Brexit is not random and will be discussed in the present paper. Beginning with the 50s and 60s, Great Britain launches one of the great turns both in cultural, social and political sciences. Becoming the most open society, a multicultural melting pot of immigration waves and promoting rights and freedoms, UK brings a societal shift: the individual does not belong to the state anymore, but vice versa. Beatles is the first British band which brings social topics in music and, at the same time, creates a music for “common people” (to quote another British band, Pulp). The ‘Fab Four’ cluster New Orleans’ blues, Memphis’ rock’n’roll, America’s folk (through Bob Dylan) and fuse all these influences into a simple music which doesn’t look for heroes or exceptional characters anymore. Beatles’ output stands up against the British conservative society (where high classes prevail) and emphasize instead the ordinary: “the blue suburban skies” of Penny Lane are not only those of Liverpool, but of each and everyone of us. Their songs become the mirror carried along the road, in a resurrection of

realism in pop music, 100 years after this aesthetic mode and Stendhal’s dictum were famous. Bridging up with the US, Beatles becomes also a pop culture export to both America and Eastern Europe. Without having such major influence in the former communist block like Pink Floyd, or a powerful and marked political message, the band still foregrounds freedom of expression, democracy, globalization – key aspects which will be constantly renewed in cultural studies. However, it appears that Britain doesn’t “imagine there’s no countries” anymore: today’s Brexit shows that Britain is against melting in the EU “as one”, trying to keep a national identity and territory, to separate from its own children and heritage. But, somehow, “there will be an answer”.

3Joshua A. Dieterich (St. Mary’s Visitation Parish in Elm Grove, WI, USA)

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4 Farewell to Britain through Beatles: Beats of BrexitBogdan Balița & Roxana Rogobete (West University of Timișoara, Romania)


The Beatles on the Terraces: The world’s Most popular Band and the World’s most popular sport

The Beatles exhibited about as much enthusiasm for organized sport as they did for formal education, which is to say almost none at all. They did give a place to the Liverpool footballer Albert Stubbins on the cover of Sergeant Pepper, referred to another football personality once in a song (“Matt Busby” on “Dig It”), and famously had their first greatest hits disks pressed in red and blue, the colors of their hometown football clubs Liverpool and Everton. For proud sons of one of the greatest footballing cities in England or even the world, this seems scant attention. Still, just as the formal educational system they disdained has come to embrace them, so too has football, the world’s most popular sport, come to embrace the world’s most popular band. We look first at the direct influence of Beatles’ songs in the footballing cheers and chants across England, Europe, and the world. But the Beatles’ influence on sport and culture extended far beyond their music, and the second half of our presentation looks at

the career of George Best, football’s celebrated “fifth Beatle.” Best was given that title by the Portuguese press after his almost single-handed destruction of the Lisbon club Benfica in the European Cup of 1966, and it followed him the rest of his career. In addition to sporting long hair, Best brought the Beatles-esquequalities of youthful flamboyance, innovation, and most of all fun to a game that like pop music in the early 1960s had gone stale and gray. Later in his career he was part of a second “British Invasion”—the introduction of the world game to the United States by the North American Soccer League, a sporting revolution that now seems as successful and almost as important as the broader cultural one the Beatles led in the early 1960s.

O surgimento e expansão massificada alcançada pelos Beatles é um fenómeno incontornável nesta era de modernidade tardia, trazendo transformações não só culturais, mas também sociais e económicas: “Devido à sua popularidade e ao assassinato de John Lennon em 1980, a história dos Beatles tornou-se uma história ou narrativa cultural” global (Petrie & Pennebaker, 2008: 197). A sua influência não só se limitou aos territórios do Reino Unido e Estados Unidos, mas penetrou um pouco por todo mundo, através da difusão da cultura popular ocidental (Kruse, 2005) e pela canonização do pop rock em termos estéticos e simbólicos (Regev, 2013).

Neste sentido, Portugal não foi exceção e o poder da Beatlemania também irrompeu no nosso país de forma gradual, transformando modos de vida e lazer e introduzindo novos hábitos e costumes na vida social. “Os Beatles demoraram um ano e tal a chegar cá e os discos vinham já precedidos das notícias, da histeria das fãs, dos cabelos compridos (...)” (Almeida & Lage, 2002: 153). Foi, então, com o embalo desta agitação internacional, que muitos músicos portugueses profissionais e amadores começaram a escutar as músicas dos Fab Foure a vê-las como referências musicais. Entre

esses, o destaque vai para aqueles que estavam a iniciar as suas carreiras na época, como foi o caso de Tozé Brito (Pop Five Music Incorporated; Quarteto 1111), Lena d’Água (Beatnicks; Salada de Frutas), João Grande (Taxi), Carlos Mendes (Sheiks), Sérgio Castro (Arte & Ofício; Trabalhadores do Comércio), ou António Garcez (Pentágono; Psico; Arte & Ofício; Roxigénio).

Este artigo pretende, desta forma, fazer uma reflexão acerca da importância dos Beatles no nosso país, nomeadamente para os músicos que se encontravam a iniciar os seus percursos na década de sessenta. Para tal, a metodologia utilizada assenta numa análise documental (e consequente análise de conteúdo categorial) detalhada de diversos suportes e autores, baseada numa recolha de informação secundária e primária - análise de entrevistas realizadas em primeira mão.

5Paul O. and Hugh Jenkins (University Librarian at Franklin Pierce University & Union College in Schenectady, NY, USA)

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6 Let it be: expansão e influência dos Beatles em PortugalAna Martins & Paula Guerra (Faculty of Arts and Humanities of the University of Porto, Portugal


’¡Qué noches la de aquellos días!’:The Beatles’ concerts in Spain and theirreception in the national media

Rather surprisingly, in the Summer of1965, The Beatles gave two concerts in the Spain of the Francoist dictatorship: first in Madrid on July 2 and thenBarcelona on July 3. Given that mostcritical approaches to The Beatles usuallytend to have a strong Anglo-centricperspective which ignores what happensin non-English speaking territories, theaim of this paper is to explore thereception given to these two major social and cultural events in the national pressof the time, when a rigid censorshipsystem prevailed all over the country. The study will focus mostly on two of themost influential Spanish newspapers ofthose days: ABC in Madrid, and La Vanguardia in Barcelona. Several otheradditional sources will be used as well, including audiovisual material, both from1965 and from later days when, with thereturn of democracy to Spain, the country made a special effort in order to try tocope with the reality of daily life duringthe dictatorhip. Hopefully, consultingthese different sources will reveal, on theone hand, the real impact that the visit ofthe most popular pop band in the world

had on a country which, for many years, had been isolated from outside influencesand, on the other, whether The Beatles were met with hostility by influentialmedia.

This paper examines The Beatles’ 1968 LP (‘The Beatles’, AKA ‘The White Album’) and the musical and cultural eclecticism at the heart of the recording. ‘The White Album’ was one of the first rock double albums and I will place the LP in the context of late 1960s popular music production and consumption. I will then discuss the range of musical styles on the LP and the variety of themes explored by each of the four writers on the recording (and across the output of the group as a whole). The eclecticism evident in the ‘White Album’ is for some, problematic, as it dilutes the power of the single long player dynamic. For others (myself included) it is the ‘untidy’ aspect of the record that makes it so special and unique. Eclecticism can have negative connotations, the sense that a composer is drawing on a variety of styles because they lack imagination and individual creativity (clearly not the case with The Beatles). If we utilise Schnittke’spostmodern concept of ‘polystylism’ (Ivashkin, 2002) however, we are able to view eclecticism more positively.

I will also explore the parallel process of creating my own book on the ‘White Album’, published to coincide with the 50th anniversary

of the issue of the LP. The intention behind the book was to mirror the variety of approaches taken by the group on the 1968 LP and I will conclude by reflecting on how successful or not this has been.

7Juan Ignacio Guijarro González (University of Seville, Spain)

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8 Me and My Monkey: The white album and EcleticismMark Goodall (University of Bradford, UK)


A “wall of illusion”: Bringing “Within You Without You” to the stage

The past century has seen the gradual rise of an interest in the historical recreation of Western classical music. Music specialists have been performing music from the Baroque and earlier eras in what was believed to be its “correct” historic context, a practice known as historically informed performance (HIP). In the last decades, HIP was adopted to more recent musical styles, including 20th century “jazzy” compositions such as Gershwin’s Rhapsody in Blue (1924), but in popular music, it is not (yet) an established practice. There is a host of tribute acts dedicated to rock’s canonical repertoire, but bands that attempt to fully recreate a historical performance are scarce.

Worldwide, there are over 600 (semi-) professional Beatles tribute bands, but most focus on a core repertoire that is easily reproducible on stage (Inglis 121). Therefore, many key Beatles compositions are never performed live, in particular those of the post-1966 albums. This is not surprising given that the complex combination of instrumentation, orchestration, and arrangement, often painstakingly constructed track by track in the studio over several weeks’ time, is

unattainable to reconstruct live for most tributes.

“Within You Without You,” a Harrison composition from Sgt. Pepper (1967) is an excellent case in point. Due to its rhythmic complexities and its hybrid instrumentation, including various Indian instruments and an 11-part string section, it is rarely covered by Beatles tributes. Yet, The Bootleg Beatles, The Fab Faux, and The Analogues, three top-tier tribute acts, have performed this song in concert. In this presentation, I undertake an in-depth auditory comparison of these three bands’ versions, not to favour one over the other but to reveal the similarities and differences in their recreations of this particularly challenging work. In the process, I discuss their respective approaches, illustrating the potential that historical recreation has for The Beatles’ music.

With the help of accurate transcriptions you can find the essence of the music of the Beatles: variation. The members of the Beatles have often announced that their key principle was trying to make every record different. Here is one quotation by Paul McCartney: “We always tried to make every song different because we figured, why write something like the last one? We’ve done that” (Miles: Many Years From Now, 1997). In my previous studies (e.g. Dissertation ‘Happiness Is… a Good Transcription’, 2006) I have shown that this approach “making every song different” is also analogous to variations within one song.Variation is a question of life and death in music. This is evident in many textbooks on arranging & orchestration. One quotation from Sten Ingelf, says it’s: “It is very important to have variation in an arrangement. This creates alteration and keeps the listener’s interest alive” (Ingelf: Visarrangering, 1988). The Beatles were masters of using variation in the highest level. In the study of variation, the phenome is found in three levels: 1) deep level (the entire song), 2) intermediate level (the sections of the song, e.g. A, B etc. 3) surface level (e.g. motifs and phrases).During my studies I developed a method for very accurate transcriptions – I named it

‘Simultranscribe’ – the basic idea of Simultranscribe is simultaneously listen the record and notation software. Some surface level variations (e.g. in ‘Cry Baby Cry’) are so minor that they are hardly or not at all perceivable by listening: you can notice them only with accurate transcription. In my paper I present some of my newest findings how the Beatles used variation with very creative and imaginative way – I think this rich use of musical variations is one of the main reason why Beatles music is so popular.

9Matthias Heyman (University of Antwerp, Belgium)

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10 The Essence of the music of the Beatles: VariationJouni Koskimäki (University of Jyväskylä, Finland)


Beneath the waves: The melodic Development of Paul McCartney’s Bass playing

Paul McCartney helped elevate the social

status of the lowly bass to match the

guitar's rock star persona. But he did not

start his career as bass master. In his

early playing, Paul relied heavily on the

root and fifth of any given chord,

occasionally supplemented by passing

tones and neighbor notes, such as heard

on 'She Loves You’.

But over time, his bass lines progressed

into inventive and wide-ranging

melodies, often incorporating

chromaticism, such as heard on 'Rain'.

Indeed by the late sixties, in songs like

'With a Little Help From My Friends'

and 'Come Together', the bass line is

actually more melodic than the sung

melody. This presentation will trace

Paul's development as a bassist, with

emphasis on his mellifluous playing on

Sgt. Pepper and Abbey Road.

11Aaron Krerowicz (Ball State University (Muncie, Indiana, USA)

10IT WAS FIFTY YEARS AGO TODAY – An Academic Tribute to The Beatles16-18 April 2020CETAPS - NOVA University of Lisbon -

“Give me love”: Physical and Divine Love in the songs of George Harrison

“Peace and Love” was one of the rallying cries of the Summer of Love in 1967. For the Counterculture, this ethos encompassed both the physicality of free love and the spirituality of an overarching divine love. As a leading figure of the counterculture, George Harrison explored in great depth the complexities of this affectual dichotomy through his own compositions. This is reflected in the lyrical shift from erotic love in 1966’s “Love You To” to lyrics about a spiritual, all-encompassing love in 1967’s “Within You, Without You,” as Harrison began using his songs as a platform for non-Western philosophies he had encountered in his studies with Hindustani classical sitarist, Ravi Shankar. This presentation explores George Harrison’s engagement with the concept of love in his songs with the Beatles and in his later solo works, and traces the influence of Vedic philosophies and Indian music—specifically the influence of bhajans, Hindu devotional songs—on Harrison’s own compositions. By drawing from studies on music and emotion from musicology (Ben Green, 2018), from concepts of love in yogic philosophy

(Vivekananda, 1956; Yogananda, 1946), and from scholarship on the Counterculture (Zimmerman, 2008), this presentation demonstrates how Harrison moved from representing love as an escapist Countercultural desire that often turned toward exoticism to later understanding love as a nuanced, multi-valent emotion, leading to the frequent meshing erotic love with divine love during his solo career, such as in “Don’t Let Me Wait Too Long” (1973), “Dear One” (1976), “Your Love Is Forever” (1979), “You Are the One” (1981), and “Unknown Delight” (1982), among others.

In 1969, following their wedding in Gibraltar, John and Yoko embarked on a Bed-In for Peace for their honeymoon in Amsterdam, repeating the event a few months later in Montreal. For Christmas 1969, they launched a worldwide advertising campaign for peace, War Is Over, and released Live Peace in Toronto 1969 with a YEAR ONE A.P (After Peace) calendar inserted. In this paper I will argue that John and Yoko’s artistic backgrounds led them to this moment, presenting documentation not only of Lennon’s pacifist leanings, but of Ono’s as well.

The presentation includes a short clip of Ono performing Flower Event with second husband Tony Cox in Tokyo in 1964 (a year before Alan Ginsberg would coin the term flower power.) Promotional materials for Ono’s notorious Bottoms (1966) film and information gleaned from interviews with Ono (whose work is my primary research topic) over the years will be presented. The presentation picks up from my 2018 paper in Monmouth on the couple’s very first joint exhibition at London’s Arts Lab in May/June 1968.

12Kathryn B. Cox (Lake Forest College, Illinois, USA)

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13 Imagine peace: John and Yoko’s Paths ConnectKevin Concannon (Virginia Tech, USA)


As minhas canções dos Beatles / My Beatles’ songs (with live performance)

Desde tenra idade (nasci em 1960) que me lembro de ouvir falar dos Beatles.

Na rádio, em casa, e na televisão, no café da terra, escutei algumas das canções e ficaram-me memórias vagas, mas permanentes. Nos meus 14 anos, aprendi os primeiros acordes no violão, mas, como não cantava, os Beatles não abundavam no meu repertório. No conjunto de baile “Selecçāo” (Matacães, Torres Vedras), onde eu era o viola baixo em 1977, acho que tocávamos o “Something” ou o “Yesterday”. Só quando em meados dos anos 90 encontrei um “fakebook” com quase todas as canções dos Beatles, as comecei a cantar e a tocar com os acordes correctos. O objectivo desta comunicação é descrever o processo de construção de selecção das canções que foram ficando, das que fui conhecendo por acaso e das que procurei intencionalmente para o concerto. O concerto terá essas canções em versões de voz e violão, com a cantora Margarida Soeiro, e permitirá que o público cante connosco.

• João Nogueira (guitar)• Margarida Soeiro (vocals)

In January 2020 the last few graduates from the Beatles, Popular Music & Society Masters programme at Liverpool Hope University (the world’s only such MA) received their degrees, departed the Liverpool Metropolitan Cathedral, and drew to a close one of the most successful popular music studies Masters programmes ever launched in the UK. In the ten years since its inception, well over 100 ‘cherry-picked’ students had graduated with MAs or PG Diplomas, vital educational and business-related links had been made with Liverpool’s tourist industry (specifically The Beatles Story), and several students had gone on to even greater academic success, studying for and achieving Doctorates. This ‘one man’ MA had brought in well over £1m in fees to the university, despite the programme being one of the ‘best kept secrets’ in Liverpool. Arguably with intelligent marketing (actually any marketing!) and the introduction of a distance learning option, it may have achieved even greater success. In the 2015 REF another vast amount of money came to the university via Brocken and Davis’ Annotated Beatles Bibliography – also the first in the world.

However in February 2019 Director of the programme Dr Mike Brocken felt compelled to resign his senior lectureship at Liverpool Hope. This was a consequence of shifting attitudes at the university towards popular

music studies, the ever-revolving door of indifferent academic staff at the Department of Music, and the growing disapproval by the university hierarchy of the Dept of Music’s apparent departure from the classical music canon – ‘the popular’ was yet again under attack from elitists.

Brocken and his popular music colleagues realised that in 2018/19 popular music studies had been effectively ‘rejected’ by Liverpool Hope University for the sake of a recidivist classical music-based education programme and that such reversals were actually concurrent with similar policies at several other UK universities also wishing to negate all popular music research-based studies. This keynote speech will talk through the highs and lows of the ‘Beatles MA’ programme, but in doing so will also suggest that the current regressive attitudes within British higher education music departments towards popular music studies are so deep-seated that our very discipline may soon all-but disappear from many HE music departments –predominantly those training future music teachers.

Intake was limited each academic year to a maximum of 12; following re-validation in 2015 the MA also received an interregnum so that Dr Brocken could research and new lecture materials.

14João Nogueira (FCSH, NOVA University of Lisbon, Portugal)

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15Michael Brocken (Popular music historian, UK)


The sad demise of the world's only Beatles-related Masters degree: a tale of institutional incompetence and musicological backsliding

Michael Brocken holds one of the world's very first doctorates in Popular Music Studies (Institute of Popular Music, University of Liverpool). He is a popular musichistorian and semiotician, presenter (BBC Radio Merseyside's Folkscene), lecturer atWirral 3Ls, Honorary Chair of Minerva Arts Charitable Trust, and Senior Fellow ofthe Higher Education Academy.

Data Storytelling with The Beatles

To what extent the music legacy, thecultural importance and the entirephenomenon of The Beatles can bethought-provoking and reflection-sparking for young people today?

One way to find out about it is to teachabout The Beatles in class. Of course, onecannot generalize here immediately, because many obvious factors affect theteaching objectives – the targetedstudents, their backgrounds, their age, cultural differences, the course(s) beingtaught, and so on. A great deal ofpedagogical skills, instructional design and motivational incentives should beapplied if a teacher wants to make a difference when conceptualizing and running such classes.

On the other hand, narrowing thequestion put above can create a goodcontext for building case studies fromwhich some forms of generalization can emerge. This paper reports about onesuch a case study, where the students are university students in their early twenties, the study program they are enrolled in isthat of Information systems and technologies, run at a school of business

administration, and the course in whichthe case has been built and run is aboutArtificial intelligence (AI). Differentaspects of The Beatles phenomenon are used consistently, throughout the course, in providing examples and illustrations ofimportant AI concepts.

The study has spanned three generationsof students so far, and is still going on. Animportant finding from the study is thatonce data storytelling is applied in teaching such a course, the students getincreasingly motivated to learn more notonly about AI, but also about The Beatles and all numerous implications their opus has had on the cultural history of the last50 years.

What is it about the greatest artists that sets them apart? One window into understanding what made the Beatles exceptional is to view their career as a manifestation of the death drive. The concept was first posited by Sabina Spielrein, who envisioned the death drive to be a creative force necessary for producing the psychological changes required for self-preservation. Freud famously developed this concept in Beyond the Pleasure Principle by framing it as a destructive impulse that seeks two distinct deaths – literal and symbolic. The emergence of the image of the Beatles as “lovable mop tops,” spurred a consciously willed effort by Lennon and McCartney to

destroy this image (i.e., the symbolic representation of the band) and replace it with something “real” and therefore undefinable and unfixed and at the same time avert stagnation. The progression of each of the Beatles’ albums does not simply display the advancement of an art form, but a willed movement towards the goal of the symbolic and literal death of the band. While early albums represent efforts by the band to sabotage their image, this process extends to a kind of ego-death where the band exerts a self-conscious assault on their selves, their cultural context, and their music.

16Vladan Devedzic (University of Belgrade, Serbia)

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17Cevin Soling (Harvard Kennedy School of Government, USA)


What is it about the greatest artists thatsets them apart?

Yellow Submarines in Abbey Road: Transposing Beatlemania into Children’s Literature

Biographies for children about adult idols and stars are not a new (popular) cultural phenomenon in the English-speaking world. The lyrics, lives and success of the four members of The Beatles have been (re)written and fictionalized many times, from books and films to videogames, and more recently those topics and narratives have also been adapted for the children’s literature profitable market. Focusing on

the production, circulation and consumption of celebrity, stardom and collective memories, this paper analyses the representation and development of Beatlemania in children’s literature through the written and visual themes, images and symbols associated to the fab four.

Approximately four years ago I developed a course at the University of Nebraska at Omaha on The Beatles. While I am aware of courses at a few other American universities I felt that there was not a course out there that focused on the MUSIC. Just this year I authored a textbook as a companion to the course.

While the sociological, anthropological, and cultural impact of the group is of course

important-the heart of what they did was often pushed to the side. The course is designed for non-musicians, which presented some pedagogical challenges. My presentation will discuss the purpose behind my course, how I structured the course to cover the active history of the group while keeping the focus on the music, and how that informed the textbook.

18Rogério Miguel Puga (FCSH, NOVA University of Lisbon, Portugal)

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19Tomm Roland (University of Nebraska, Omaha, USA)


The Beatles in the classroom

The Beatles’ legacy as cultural translation: Performance, postmodern play and pop-cultural appropriation by The Recalls

Translational processes as phenomena accompanying and shaping culture are an integral part of cultural practice. These include not only concrete translations in the definition of translation proper ( Jakobson) and its accompanying products, but also cultural translation phenomena which take place primarily through performative acts, which are transmitted between cultures,and articulate themselves as specifically (consciously or unconsciously) appropriated and further developed lifestyles, eating habits, specific rituals, fashion, music, etc. in globalized everyday life. The application of the concept of cultural translation can thus broaden the perspective in the context of an analysis of very different cultural phenomena in an extremely fruitful way.This methodical approach opens up new cognitive potential especially with regard to an investigation of the Beatles’ legacy. My analysis deals with this legacy as it is unfolded performatively in the case of the Spanish-Chilean band The Recalls. I do not only examine the musical influences

of the “Mop Tops” on the group’s own work, but also take a look at theiconographic level, their self-portrayal in public via social media as a staging strategy, and investigate, furthermore, their fashion and attitude. All these aspects I analyse as a postmodernplay using intertextuality, reference and quotation (a strategy already used by the Beatles themselves), which on the one hand is to be seen as a homage to the Fab Four, but on the other hand also reveals a very specific approach and (pop-cultural) appropriation by the band members.The example of The Recalls extends the horizon of translational investigation beyond the mentioned by the (possible) influence of an “intermediary culture”: the phenomenon of cultural translation here does not only concern the British “source culture” of the Beatles as well as thealready subdivided Spanish-Latin American “target culture” of the band members, but is, furthermore, broadened by the aspect of their common adopted home in Germany.

In August 1968 Apple released The Beatles’ single 'Revolution’. This was version two of John Lennon’s reflection on anti-war and anti-capitalism demonstrations in England and on the Continent; the first version was held back for the White Album release in November. It was this second version of ‘Revolution’ that earned Lennon a backlash from radical elements on both sides of the Atlantic; specifically, for his line “don’t you know you can count me out” in answer to the call for revolution. An open letter from John Hoyland to Lennon in the October issue of the political newspaper Black Dwarf heavily criticised Lennon for not participating in the revolutionary movement. Lennon seems not to have been aware of this letter until early December when a student from Keele University presented it to him and asked for his comments. Outraged, Lennon wrote a retort which was published the following January in Black Dwarf. Thus began his relationship with radical elements in the British New Left, in particular with Tariq Ali who was on the editorial team of Black Dwarf.

Through Ali’s tutelage, Lennon started to involve himself in social and political issues. This change of heart and his increasing awareness of the ills facing British society carried on after he moved to the United States in August 1971. Here, John Lennon connected with members of the Yippies, with SDS and with the radical counterculture.

This paper will examine the relationships, and the results of those relationships, John Lennon, along with Yoko One, formed in Britain and in the United States with radical and counterculture people and organisations.

20Kathrin Engelskircher (University of Mainz, Germany)

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21Terry Bloxham (Victoria & Albert Museum)


Gimme some truth: the politics of John Lennon

“Hey Jude” as a classic

By 1967, the Beatles’ music, in the words of critic Wilfred Mellers, “stopped being ritual dance music and became music to be listened to.” Moreover, as noted by historian Richard Taruskin, rock music in general, and the Beatles’ work in particular, “became a transforming force affecting all other musics, even as it aspired on its own to usurp their status.” Rock’s aspirations of usurpation were primarily aimed at what is commonly known as Western “classical” music—the canon of masterworks beginning with the choral polyphony of Josquin and Palestrina and continuing through to the then-contemporary avant-gardism of Stockhausen (who is pictured on the Sgt.Pepper cover, and who was a major influence on the orchestral noise of “A Day in the Life”). Rock’s intellectual ambitions manifested themselves primarily in the complexification of its sounds, specifically in regard to texture and timbre (enabled by ever more sophisticated multitracking techniques) as well as in the more traditional, or “classical,” parameters of pitch and form.

But then came “Hey Jude.” The Beatles’ longest-running number 1 on the

Billboard Hot 100 (at 9 weeks), “Jude” is a straightforward verse-bridge structure with minimal textural layering, its only progressive feature being its famous four-minute fadeout. One might thus argue that “Jude” is simply the Beatles in retreat, a result of the same simplifying impulse that brought us Get Back/Let It Be. My paper argues the opposite: “Jude” is in fact built on melodic and harmonic bits from John Ireland’s 1907 polyphonic choral work Te Deum (as already suggested by Everett 1999), in combination with “galant schemata”— specifically the “Pastorella” and “Prinner”—that populated the works of Bach, Mozart, and other giants of “classical” music. In other words, our view of “Jude” as “classic” is reinforced by our recognition of McCartney’s sophisticated mimicking of highbrow pitch precedents.

George Harrison's two songs on Abbey Road, 'Here Comes The Sun' and 'Something', mark the pinnacle of his career as a songwriter. And his compositional abilities can be seen through how he handles music's two component parts: pitch and rhythm.

'Something' shows Harrison's songwriting sophistication in terms of pitch because the opening motive is a pitch retrograde of the opening of the verses' melody: The first note of the melody (C) is the same as the last note of the motive; the second note of the melody (B) is the same as the second-to-last note of the motive; the third note (Bb) is the same as the third-to-last; and the last two notes of the melody (A and C) correspond to the first two notes of the motive.

Here is a level of pitch unification absent from hisearlier work.

On the other hand, 'Here Comes The Sun' showsHarrison's abilities in terms of rhythm through theconstantly changing meters.

Here is a degree of rhythmic complexity missing from his previous songs. But how did George get to this peak? A seminal but often overlooked step was 'Within You Without You', from Sgt. Pepper. This presentation will illustrate the importance of 'Within You Without You' in George Harrison's compositional development by showing how it foreshadowed 'Something' and 'Here Comes The Sun' in both pitch and rhythmic sophistication.

22Christopher Doll (Rutgers, The State University of New Jersey, USA)

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23Aaron Krerowicz (Ball State University (Muncie, Indiana, USA)


The quiet Beatle: George Harrison’s Compositional Development

The Monkees and the Beatles: Influences and Influencers

The existence of the Monkees TV Show (1966-1968) was a direct result of Beatlemania. The concept of 4 musicians struggling to make it as a rock band for TV had been proposed prior to the British Invasion, but not until 1965 was the series given the go-ahead and proved to be a sure fire moneymaker. The Monkees band has been named the “PreFab Four” and have often been unfairly dismissed as mere copycats.However, there is a lot of evidence of respect and positive influences between the two groups.

Lennon called them The Marx Brothers. Nesmith was invited to the recording of “Day in the Life”, Dolenz wrote a song mentioning the “four kings of EMI”. Harrison invited Tork to play on his Wonderwall album. The Monkees pilot literally has a character taking a shot at a photo of the Beatles, in the final episode the Beatles’ song “Good Morning” appeared-which was an unusual precedent for any Beatles song to be used in an American sitcom. Visual gags, camera shots and photos echoed the style of Richard Lester and Hard Day’s Night.

But the long and winding road of evolution would led each band down different paths. The Beatles capitalized on their musical success by appearing in films as themselves. The Monkees were created and developed as a TV Show before the music came into play, and in the series they were hard working unknowns who could never catch a break-as if they were acting out the undocumented years of the Beatles in Hamburg.

The presentation will compare and contrast both groups, dispelling some myths, and hopefully introducing new questions about influence, both then and now.

There is undoubtably an element of the band that stands out from The Beatles as a collective: that element is John Lennon. Lennon’s relationship with the collective came to an end (1969), but he kept his status as a musical and, later, political icon. After leaving the Beatles, John Lennon, with his partner Yoko One, authored some of the strongest political anthems of the seventies: “Working Class Hero” (1970) and the most popular “Imagine” (1971) (which reached number one on the Billboard Charts on October 30th, 1971). Both songs marked a turning point in popular music becoming politicized and a tool for political change. In his last interview for Rolling Stone, John Lennon claimed precisely that, that it was his intention to transmit a specific social perspective: «We’re not the first to say “Imagine No Countries” or “Give Peace a Chance,” but we’re carrying that torch, like the Olympic torch, passing it hand to hand, to each other, to each country, to each generation . . . and that’s our job.» (“John Lennon: The Last interview”, 1980). Lennon and Ono touched upon several themes that serve as

imperatives of the contemporary social experience. With this paper I intend to examine “Imagine’s” lyrics as a proposal for a different social order based on the premise of the questioning of the status quo. Lennon and Ono ask us to imagine «no religions», «no countries», a different world altogether. However, their words also propose a coming together, a new community. This paper, then, will consider “Imagine” as a plan for a different “Imagined Community” (Anderson 1983), to use Benedict Anderson’s term, which he famously applies to the idea of nation in nationalist discourse. A “new” community with “no nations”, as if territorial frontiers were precisely the limiting factor in our ability to coexist.

24Tamara Rose ( )

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Imagine All the Utopias: Inclusive utopias and imagined communities in John Lennon and YokoOno’s ‘Imagine’Madalena Lobo Antunes (NOVA FCSH, Portugal)

The Abbey Road cover is the most enduring and famous in the Beatle canon because it is a famous London landmark that is easy to visit and it gives fans the opportunity to recreate the cover (traffic permitting) without much difficulty. My paper will discuss Cultural Tourism and Beatles Fandom with reference to the Abbey Road Studios. Beatles fans are now attracted to tourist destinations, and as Urry and Larson argue ‘The “gaze” despite being largely “performed” through architectural theming and representations, is “never predetermined and fully predictable”.

Fans have a very different experience of Beatles cultural heritage depending on their age. Womack contends that Beatles cultural tourism and Beatles conventions, such as Liverpool’s Beatleweek are too nostalgic, and need to change to attract millennial Beatles fans, ‘Kids today want to be involved. They don’t want to sit on the side-lines. They want to have discussions; they want to have activities. I totally get that. I do too’ (Womack 2018). Museums, conventions and walks need to be participatory.

By experiencing the Beatles Story Museum

in Liverpool or taking one of Richard Porter’s walks to Abbey Road, Beatles fandom is melding physical space and cyber space to create a new interactive forum for fans. Booth calls this ‘demediation and ‘Playing Fans’ where ‘where technology exists seamlessly with audience production’ and ‘generating affective play, and reorganising the spatial and temporal location of fandom’ (Booth 2015: 217).

Abbey Road can be a site of ‘progressive nostalgia’ where ‘objects become animated by way of patrons’ memories and the affect generated’ (Baker 2016: 79). In this manner, popular music museums, Beatles walks and the National Trust are places where, ‘People bring their own memories and project their own emotions onto the content and come away with something far richer than anything that’s inherent to the empirical quality of the object. So we are keepers of memories but we are also triggers of memories that people bring along and I think it’s very different from an exhibition about ceramics’ (Baker 2016: 79).

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27Richard Mills (St Marys University, London, UK)


Their Most Iconic Album cover? Abbey Road…

My paper will summarize the principal arguments of my book project, The Beatles and the Album as Object: Pop Music in the Era of Pop Art. I want to move beyond the well-known stories of the album covers, and understand them in the art-historical context of Pop Art.

The Beatles’ connection with Pop Art began not with Sgt. Pepper, but with Robert Freeman’s five album designs in 1963-1965, which can be related to the early Pop Art concepts of the Independent Group at the Institute of Contemporary Arts in London, with which Freeman was associated. (My insights into Freeman’s work have been enriched by extensive interviews I conducted with him during the past several years). Freeman, however, was also a professional photographer at home in the world of advertising, and the transition to Klaus Voormann’s Revolver, Peter Blake’s and Jann Haworth’s Sgt. Pepper (a different version of Pop Art characteristic of the Royal College of Art), and Richard Hamilton’s White Album represented, for the Beatles, a move away from purely photographic covers into the sphere of a somewhat

more self-consciously ‘fine art’ (or ‘pop fine art’, to use Hamilton’s term). Iain Macmillan’s Abbey Road cover, in turn, went back to the look of their early albums: a more straightforward photograph of the band and the visual equivalent of the discourse about their music in 1968-69, which revolved around the idea of a return to the origins of pop music. It is so straightforward, in fact, that it is perhaps no longer Pop Art so much as, simply, popular visual culture. At this moment, in 1969, there was much talk that Pop Art as a movement, was dead—its end coming with the end of the Beatles themselves as a band.

Rodney Nevitt (University of Houston, Houston, Texas, USA)

The Beatles album covers in the History of Pop Art

Os anos 60 do século XX são marcados por revoluções de diversa ordem: sociais, políticas, éticas e estéticas. A Cultura de Massas criara raízes e contrapunha-se ao elitismo da chamada Alta Cultura que, durante os anos 50, se viu representada nas artes plásticas pelo Expressionismo Abstrato. Em meados dessa década, surge em Inglaterra um movimento que promoverá a ligação entre os ícones das Belas Artes e a Cultura de Massas, através da criação de obras irónicas e provocadoras. Com raízes no dadaísmo de Marcel Duchamp, a Pop Arttoma forma durante a década de 50, quando, após estudar os símbolos e produtos dos media, alguns artistas passaram a transformá-los em temas das suas obras. Representavam, assim, os componentes mais ostensivos da cultura popular, de poderosa influência na vida quotidiana na segunda metade do século XX. Ao mesmo tempo, no universo da música, emergiam

novos grupos e cantores cuja adoração dos fãs os elevaria à categoria de ícones pop: foi o caso dos Beatles, surgidos em 1960, em plena efervescência do universo da Pop Art. Os artistas deste movimento vão ser influenciados pelo clima do Swinging London e vão também influenciar a produção visual desta cultura juvenil, que se reflete na moda, na música e num estilo que deixou marcas profundas na segunda metade do século XX. Quando, em 1968, é lançado o filme YellowSubmarine, são evidentes as ligações entre a visualidade da Pop Art e a música da banda, que se fundem numa obra, hoje clássica e que teve, na altura, uma receção bastante positiva. Neste trabalho, farei uma análise do filme, tendo como pano de fundo a sua relação direta com o universo plástico dos artistas da Pop Art, bem como com o clima geral do Swinging London e o seu legado para a Cultura Ocidental.

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28Mirian Tavares (University of Algarve, Portugal)


Yellow Submarine – uma imersão na Pop Art

For the Benefit of The Beatles: Controversies over Artworks and Showmen

The purpose of this paper is to address two controversies surrounding the 1967 album Sgt. Pepper's Lonely Hearts Club Band. First, the paper looks at the album cover designed by the pop artists Peter Blake and his then wife Jann Haworth so as to examine the iconic representation of 65 celebrities and, drawing on Haworth's interpretation, expose the historical bias regarding women's achievements in one of the most famous arworks of the 20th century. Second, the paper focuses on the track "Being for the Benefit of Mr. Kite!" in order to discuss the story behind its intriguing lyrics. Although the song was

banned by the BBC for the drug-related interpretation at the time, it was inspired by the 1843 poster for the Circus Royal — the travelling circus that belonged to Pablo Fanque, who in 1841 became the first Black circus owner in Britain — and the benefit performance held for a retiring fellow performer called Mr. Kite. Thus, this paper aims to point to the Beatles' engagement in some (in)visible controversies over the arts and the outcome of entertainment that are relevant both to their time and ours.

29Iolanda Ramos (Nova University of Lisbon, Portugal)


Revolver and The White Album: Shared Connections

Myths and legends have formed a large part of humans’ lives for centuries and have often been regarded as explanations of the worlds origin. But what constitutes myths to our lives now has altered somewhat. This paper intends to explore the creation of mythology through representation of the Beatles and in particular Paul McCartney. This paper aims to explore the link between representation and mythology and focuses in on those fans who followed Paul McCartney’s recent tirade of events in 2018 in the build up to his new album Egypt Station. It looks to include analysis of these

events including Paul’s visit to the National Trust property in James Cordan’s Carpool Karaoke and the reception that surrounded this. Through use of my own personal experience of events such as this the analysis will pose questions as to how fans have formed their own mythology around McCartney and how audience reception may have altered from the early days of the Beatles. It then aims to explore how the representation of the Beatles has altered or indeed whether much has remained the same.

30Rick Holland (New York, USA)

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31Beth Easton (PhD Student at Liverpool Hope University, UK)


Beatlemania 2018: A consideration of fandom, mythology and representation

We Beatles fans and scholars, and even the Beatles themselves, are naturals at creating pairs.• John & Paul: McCartney's "in-born lyrical optimism" vs Lennon's "grudging cynicism" [ John Robertson], and "flip sides of the same coin" [Robert Rodriguez]• A-sides & B-sides• "We've only made two; one was black and white, and one was colour"• "You say yes, I say no; you say stop, and I say go"

Nor can we help pairing albums:• Red & Blue• Rock 'n' Roll Music & Love Songs (yes, I'm second-gen fan) and, more critically:• The hopeful brightness of the A Hard Day's Night soundtrack vs. the world-weary melancholy of Beatles For Sale• The folky 'dope' Rubber Soul album and the electrified 'acid' Revolver LP• The dazzling psychedelia of Sgt Pepper's Lonely Hearts Club Band vs the stripped-down starkness of The Beatles

It is those last two comparisons that I will question.I posit instead that The Beatles, "the White Album," is Revolver, Mark II.

So unique and uncategorizable are their combined 44 tracks that only five (11%) could be sampled on theaforementioned Red and Blue collections. It’s not that there’s any shortage of great tracks on Revolver and The Beatles – indeed, among the traits these LPs share is the difficulty in removing individual tracks from the context of their albums as wholes.Clearly these 44 tracks are all Beatles songs, but none is a typical Beatles song. In this presentation, I will further explore the links, connections, and similarities that Revolver and The Beatles share.

Continuing research taken from past MA and current Ph.D. dissertation research with the working title of: Which side are you on McCartney? A reassessment of rock criticism, the rock-pop divide, and Wings within the popular music press.In the spring of 2013 both Wings’ film Rock Show and album, Wings Over America , were re-released and seemed to receive many rave reviews from the press via internet or tabloid. In the midst of the positive press, this writer decided to consider original various Wings’ press from the 1970s. After examining the newly reevaluated and original texts written during Wings’ existence, there seems to be a differing of opinion and use of language from the 1970s to the present regarding the rock music press’ reception of Wings.Serious evaluations of Wings are scarce, but rather existing texts only provide historical narratives with a shortage of theory and analysis, thus using Wings as a case study would appear to be of value. Moreover, the 1970s rock critics seem to compare Wings or Paul McCartney and Wings to the Beatles in the majority of reviews or commentary. The critics deem Wings as a meaningless pop band, while questioning McCartney's apparent auteurship established through the

Beatles. On the other hand, Harrison, Starr, and Lennon are receiving more praise with less scrutiny.This presentation will consider the Beatles solo careers, with a focus on Wings presented in the early 1970s press. Wings reviews suggest a contrast or divide between rock and pop during a time of rising nostalgia, thus, raising many questions over the use of language, authenticity, genre, and meaning in the 1960s and 1970s rock press. An analysis of the reviews of and responses to Wings and/or Paul McCartney and Wings and the ex-Beatles in the popular music press of the 1970s is necessary to reassess how the press received Wings.

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33Expectations of a solo-Beatle: The Popular MusicPress, Rock Aesthetics, and The Pop/Rock DivideAllison Bumsted (Ph.D. student at Liverpool Hope University, UK)


Emília Ferreira (Director of the National Museum of Contemporary Art, Portugal)

‘I wanna hold your hand’. How four boys fromLiverpool taught the world that men could also befrom Venus

Love was always a central theme in songs. However, lyrics in several popular music traditions showed men as conquerors and women either as preys or as deceiving creatures. As for the specter of feelings described as experienced by the male character, senses of persistence, conquest, vanity and honor were central to a narrative that was focused on a social image, rather than on an intimate and personal reflection of one’s soul. Focusing on private experiences, the Beatles’ lyrics, especially those by Lennon & McCartney, opened up a whole new range of testimonies of a deeper and

richer inner life that mirrored feelings of insecurity, fear, hope, longing, loving —in its many ways. In my paper, I will approach the way they managed to inaugurate an era of a feminization of culture, a new gender role revolution.

My Abbey Road Story

Ken who spent his entire working life at EMI began on November 1st 1950 as a Design and Development trainee at Hayes working mostlyon New Recording Equipment. In 1954 hemoved to EMI Recording Studios at Abbey Road as a Recording Engineer. The Presentation begins with a reminder of the earlydays of The Gramophone Company and thenthe Merger with Columbia to form EMI and the Official opening of the Worlds FirstCustom built Studio in 1931 by Sir Edward Elgar. Ken worked on several thousandrecording sessions in the Studio and onMobiles both in the UK and Abroad before 6th June 1962 when he worked in a technical role on the Beatles Artist Test. The story continues of how The Beatles changed the conventional

way of Pop recording. Many of Kens inventionssuch as ADT were instrumental in the creationof new sounds. He worked on a High %age ofBeatles Recordings until they split up in 1970. The individual Beatles continued to make manyof their recordings at the Studio. Ken waspromoted to Manager Recording Operations in 1970 and became General Manager in 1974. He officially renamed the Studio "Abbey Road Studios" in 1976 and introduced Music for Films in 1980. All these aspects are covered in the Presentation. He retired in 1995 and hasagreed to come out of retirement to give thistalk and will be assisted by one of hisGrandaughters Megan Savage who is currentlyin her Final Year at Loughborough University.

34Kenneth Townsend (Abbey Road Studios)


35Isabel Campelo (The Institute of Etnomusicology - Centro de Estudos em Música e Dança (INET-md), Lisbon, Portugal)


The Beatles’s global influence is an undeniable fact, transversal to different countries and music cultures in the Western world. In Portugal, where a political dictatorship was in power during this group’s emergence in the early 60s, their influence was noticeable in some Portuguese pop groups as a sign of “modernity”. This “modernity” was absorbed in linguistic, musical and sonic terms: the use of the English language (and later of Portuguese following the English lyric model), the compositional models (trying to follow Lennon and McCartney’s efficiency) and the production sound of the records (in a country where there was very little experience in recording pop-rock).

Following the Portuguese diaspora on the other side of the Atlantic, Brasil was also under a political dictatorship around the 60s. In this country, the influence of the Fab’ Four was important in the construction of the Tropicália cultural movement, where a change in the institutionalized cultural patterns was aimed. However, unlike Portugal, this influence did not involve the systematic use of the English language, but rather the adaptation of certain elements (like new

musical instruments and sounds) to underline a more daring and innovative musical attitude. This option for the Portuguese language remained throughout the years, even in further adaptations of songs from the Beatles.

This paper wishes to address the different ways in which Portugal and Brasil’s musical practices embodied the Beatles’s musical and cultural influence. My research is based on ethnographic interviews with Portuguese musicians as well as bibliographical works on language use and translation.

The Beatles in Portugal and Brasil: sonic models and language use within some popular music bands

Round-table: “The Beatles in Portugal” Chair: Isabel Campelo

IT WAS FIFTY YEARS AGO TODAY – An Academic Tribute to The BeatlesCETAPS - NOVA University of Lisbon - 16-18 April 2020

• Abel Rosa (writer, Beatles collector)

• João Só (musician)

• Álvaro Azevedo (musician)

• António Avelar de Pinho (musician, editor, composer, and TV productor)

• João Carlos Callixto (researcher and radio broadcaster)

Concert by The Peakles: Tribute to the Beatles (with the Lisbon Film Orchestra)

https://pt-pt.facebook.com/ThePeakles.TheBeatlesTribute

https://pt-pt.facebook.com/ThePeakles.TheBeatlesTribute

Organizing Committee:

• Carlos Ceia

• Isabel Campelo

• Maria Zulmira Castanheira

• Miguel Alarcão

• Rogério Puga

Secretary:

• Cristina Carinhas

https://beatlesinlisbon.wordpress.com