Artificial Paradise: The Dark Side of the Beatles' Utopian by Kevin Courrier

By Kevin Courrier

There is an epigram during this ebook from the Phil Ochs music, "Crucifixion", concerning the Kennedy assassination, that states: I worry to think about that underneath the best love, lies a storm of hate. On February eleventh 1963, the Beatles recorded "There's a Place", a blinding, unheralded track which was once integrated on their electrifying debut album, Please Please Me. This track firmly laid the basis on which a massive utopian dream of the sixties will be equipped. inside that dream, even if, additionally lay the seeds of a darker imaginative and prescient that might emerge out of the very counterculture that the Beatles and their track helped create. therefore, at the same time their tune attracted adoring fanatics, it additionally enticed the murderous targets of Charles Manson; and even though the Beatles could have encouraged others to shape bands, their very own failed hopes finally ended in their breakup.

The disillusionment with the sixties, and the hopes linked to the crowd, may decades later culminate within the assassination of John Lennon and the tried slaying of George Harrison by means of deranged and obsessive lovers. during this incisive exam, writer Kevin Courrier (<i>Dangerous Kitchen: the Subversive global of Zappa, Randy Newman's American DreamS&Lt;/i>) examines how the Fab 4, via their incredible track and comically rebellious personalities, created the promise of an inclusive tradition equipped at the rules of delight and success. by way of taking us via their richly artistic catalogue, Courrier illustrates how the Beatles' startling effect on pop culture equipped a bond with audiences that was once so powerful, buyers proceed to both dangle nostalgically to it, or fight — and infrequently fight violently — to flee its influence.

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Additional info for Artificial Paradise: The Dark Side of the Beatles' Utopian Dream

Sample text

After finally rendering himself defenseless, McCartney began to launch into his musical past. First, he began rubbing the top of a series of empty wine glasses with his fingers, recording a drone effect, before performing ‘‘Band on the Run’’ as a rousing sea shanty. Later he transformed ‘‘Lady Madonna’’ from its original barrelhouse tribute to Fats Domino into a blues dirge. He danced as lightly as Fred Astaire through Eddie Cochran’s turns of phrase in ‘‘Twenty Flight Rock,’’ the cover song that got him into Lennon’s group.

At the beginning of the project, I knew that no one would ever hear my mistakes as we’d been secretly shut away,’’ Giles Martin recalled. ’’13 Besides the kindred spirit between the two songs, the melodies converge as if part of a portable mobile where every disparate piece connects. As the song fades with whooping trills, like that of seagulls flying overhead, the tentative sound of a harpsichord comes out of the mix as if the player were still trying to find the melody. The track begins to establish itself as ‘‘Lucy in the Sky with Diamonds,’’ and the harpsichord sets up a blanket of shimmering stars in the sky.

Mother’’ opened the album with the peeling of funeral bells, as Lennon ranted angrily at the father who abandoned him as a boy and at the mother who was killed soon after. ‘‘I Found Out’’ expressed his angry contempt for religion and the pop culture the Beatles helped inspire. ‘‘Working Class Hero,’’ a mournful old-fashioned folk ballad, despaired of an authoritarian society that stripped its citizens of their souls. Culture critic Albert Goldman, in his controversial biography The Lives of John Lennon, aptly compared the theme of Plastic Ono Band to the Who’s rock opera Tommy.

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