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Most recent 20 results returned for keyword: Beatle (Search this on MAP) Tom Siebert :  Tom Siebert: Beatles attacks show difference between US and UK There is a life-and-death difference...
 Tom Siebert: Beatles attacks show difference between US and UK

There is a life-and-death difference between our gun-crazed country and countries that strictly regulate access to firearms. For instance, on Dec. 8, 1980, former Beatle John Lennon was shot six times in his back by a deranged fan outside his apartment building in New York City. On Dec. 31, 1999, John's ex-bandmate George Harrison was stabbed in the chest by an insane intruder in his Oxfordshire, England, mansion. George survived his attack. John did not.
7 hours ago - Via Reshared Post - View - lost all hope : ~ +1 тнιѕ ρσѕт ιƒ уσυ αяє αcтινє ~ 🇳🇪🇼 🇵🇮🇳🇳🇪🇩 🇵🇴🇸🇹 「уσυ ∂σи'т киσω нσω ℓσνєℓу уσυ αяє...

~ +1 тнιѕ ρσѕт ιƒ уσυ αяє αcтινє ~

🇳🇪🇼 🇵🇮🇳🇳🇪🇩 🇵🇴🇸🇹

  「уσυ ∂σи'т киσω нσω ℓσνєℓу уσυ αяє.♡」

    ☆゚. * ・ 。゚welcome . * ・ 。゚☆゚

│ │ │ │ │
│ │ │ │ ✦
│ │ │ ✧
│ │ ✦ ✨lost all hope
│ ✧

Welcome to lost all hopes Page!

❝ Who honors those we love with the very life we live? Who sends monsters to kill us, and at the same time sings that we'll never die? Who teaches us what's real, and how to laugh at lies? Who decides why we live, and what we'll die to defend? Who chains us, and who holds the key that can set us free? It's you. You are the only one who can save yourself in the end. Now, get up and be your own hero. ❞

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

~Salutations, everyone!~ Welcome to my page! My name is lost all hope and I am the owner of this page. If you've happened to stumble by this through that mysterious rabbit hole, I suggest you brace yourself because everyone is absolutely mad here, including yourself~! Otherwise, you wouldn't have came here to begin with~

• +,,.●••*•🌹*• +,,.•*••*●🌹*• +,,.●*••*●🌹*•+,,●*••*●🌹

ˡᵒᵃᵈᶤᶰᵍˑ ˡᵒᵃᵈᶤᶰᵍˑˑ ˡᵒᵃᵈᶤᶰᵍˑˑˑ

Load complete.

Opeɴ Adмιɴ.eхe ?

➤ Yᙓᔕ

Adмιɴ.eхe ѕυceѕѕғυlly opeɴed.

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

♥♡ Nαмe: lost all hope

♥♡ Oтħeя Nαмeš: My real name is classified, but you can call me lost I have other names such as: wolf, bear,Emo ,hope or lion. You can call me any of these names or you can just choose an entirely different alias for me. I don't mind.

♥♡ Geиđeя:classified

♥♡ Aɢε: 18

♥♡ Bıятħđαч: November 13,1997

♥♡ Zøđıα¢: Scorpio

♥♡ Tαłeитš: making people feel better,great at video games,i listen to a lot of bands

♥♡ Lıκeš: Anime,video games, listening to music until I fall asleep, socializing with people online, eating food, ect.

♥♡ Dıšłıκeš: Emo haters,Trolls who tell people to kys and making people feel bad,bullies,anyone who uses me and takes advantage of my good heart, people who take someone else's struggles as a joke and laughs about it.

♥♡ Rα¢e: im Caucasian but also im German Irish dutch french Chinese and native american(Cherokee)

♥♡ Lαиgυαge(š): English

♥♡ Seχυαłıтч: Straight

♥♡ Rełαтıøиšħıρ Sтαтυš: in a relationship the best(were two months I want to be with her forever :3)

♥♡ Peяšøиαłıтч: im Emo i care and look out for everyone who needs cheering up or can't stand up for themselfs im the most laid back person you will ever meet im loyal to my girlfriend shes my forever <3

♥♡ Rαиđøм Fα¢т: I drink monster everyday no big deal.

ωαииα gєт тσ киσω мє?? нαиgσυтѕ мє. ι'м αℓωαуѕ σρєи тσ ¢нαт. ιf ι ∂σи'т яєρℓу ιтѕ вє¢αυѕє ι ¢συℓ∂и'т σя ι ωσυℓ∂и'т. :3

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

Opeɴ Fαɴdoмѕ.eхe ?

➤ Yᙓᔕ

Fαɴdoмѕ.eхe ѕυceѕѕғυlly opeɴed.

I am a huge fan of:

🌺 Rick and Morty
🌺 Batman
🌺 Anime
🌺 OpTic Gaming
🌺 Ali A
🌺 Markiplier
🌺 Vanoss Gaming
🌺 MrCreepyPasta
🌺 peediepie
🌺 Me!Me!Me!
🌺 Slipknot
🌺 Deadpool

If some of you don't like this stuff, I apologize. However, I'm going to be myself on this profile and I'm going to love what I have always loved on this profile. We are all human beings and we have the right to be interested in what we want to be interested in, not what society tells us to be interested in.

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

💐 Iтεмƨ чσυ шıʟʟ ғıпɔ σп мч ραɢε: 💐
➳ Funny Posts
➳ Relatable Posts
➳ A little bit of polls
➳ Various quotes, gifs, and pictures
➳ Positive Posts
➳ Cute Things
➳ Posts about Depression
➳ Posts about my girlfriend <3 shes mine so back off
➳ Anime
➳ A little bit of vents here and there
➳ Quotes in general

ღ .:*・゚♡゚・*:.ღ .♡.ღ .:*・゚♡゚・*:.ღ .♡

💐 Iтεмƨ чσυ шıʟʟ пσт ғıпɔ σп мч ραɢε: 💐
➳ Homophobic Posts
➳ Racists Posts
➳ Hate Speech

ღ .:*・゚♡゚・*:.ღ .♡.ღ .:*・゚♡゚・*:.ღ .♡

🌷 Pяσƨ σғ ғσʟʟσшıпɢ мε: 🌷
✧ I'm nice to everyone, unless they're rude to me.

✧ I'm a highly tolerable person. I rarely get mad. However, I do get annoyed by purpose displays of ignorance and/or stupidity.

✧ Tough situation or not, I'm always willing to help any one of my followers in need.

✧"Roasting" and "Trolling" is not something you'll find here.

ღ .:*・゚♡゚・*:.ღ .♡.ღ .:*・゚♡゚・*:.ღ .♡

🌷 Cσпƨ σғ ғσʟʟσшıпɢ мε: 🌷
✧ I'll post something for about a week, and then I'll grow inactive for a day or two. ((I have a life outside of social media, just like any other human being who owns a social media account.))

ღ .:*・゚♡゚・*:.ღ .♡.ღ .:*・゚♡゚・*:.ღ .♡

メ Eαƨıεƨт шαчƨ тσ ɢεт вʟσcκεɔ: メ

✕ Being a disrespectful asshole to me, my friends, and my followers.

メ Coming onto my page just to troll me because I may look like what some people consider a "cringeworthy weeaboo*

メ Stealing my gif(s) and/or edits.

メ Sending me photographs of your genetalia and/or asking sexual favors of me.

メ Copying me and/or my account

メ уєѕ, ι αм тαкєи αи∂ ℓσνє му gιяℓℓfяιєи∂ νєяу мυ¢н. ѕσ тσ αиуσиє ωнσ мιgнт нανє α ¢яυѕн σи мє..ι'м νєяу ѕσяяу αℓѕσ ρℓєαѕє ∂σи'т fℓιят ωιтн мє. ιf уσυ ∂σ αи∂ ¢σитιиυє тσ αfтєя ι αѕк уσυ тσ ѕтσρ, ι ωιℓℓ вℓσ¢к уσυ.

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉


✎ 𝓦𝓻𝓲𝓽𝓲𝓷𝓰 𝓘𝓷𝒇𝓸𝓻𝓶𝓪𝓽𝓲𝓸𝓷
➤ Open
➤ Closed

~🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

〖 ᔕᕼOᑌTOᑌTᔕ 〗

«✧♡ Don't Forget To Add All Of These Beautiful People ♡✧»

✯♚Favorite Pages♚✯:

+izamar Strope​​
+Death Organizer​​
+Princess Darkness​​
+lovelybabe 120​​
+Alone & a Stray​​
+Raincore Is dead​​
+Craig Gast​​t​
+NativeWolf Girl​​
+Jillian Mhoon- Biersack​​
+Lιℓιтн ємø​​
+Haley nightmares​​
+Haley Bender​​
+Jeff the killer​​
+yandere chan​​
+Yukki Inuzuka​​
+Rose The Kitten​​
+Rebecca Kitty Cat​​
+Ce-ce Jackson​​
+The fallen angel​​
✯ -+Courtney -reber​--​-
-✯ --+Slender Man​--​-
-✯ --+Creepypasta Girl J.​--​-
-✯ --+Imperfect Perfection​--​-
-✯ --+Jane The Nightmare​--​-
-✯ --+JANE THE KILLER​--​-
-✯ --+Linny The Poo​--​-
-✯ --+Ticci Toby​--​-
-✯ --+Mlp neon lightsTM​--​-
-✯ --+Ice The Emo Queen​--​-
-✯ --+xXRєяєρℓαуѕ ʍɕXx​--​-
-✯ --+XxX The Fallen Angel XxX​--​-
-✯ --+Thug Pug​--​-
-✯ --+Heartless Dragon​--​-
-✯ --+Melanie Arnett​--​-

✯❅to my babe

-❅ --+izamar Strope​--​-
♥♥ Oh God, where do I begin? First of all, she's the kind of person who doesn't even have to necessarily do anything and you'll still laugh and smile for no reason. I fell for her too hard, but I don't regret a thing. sHe's just.... Paradise on a silver platter in my eyes. If a single rose petal defined every time my heart skips a beat when I'm with her, I'd have a mile-long, never ending rose garden. I don't know if I love her too much so dont flirt with her

~ 🌸 💕 🌸 ✨ 💕 ✨ 🌸 🌺 🍉 💕 🍒 🌸 🍥 ✨ 🍥 🍧 ✨ 🌺 ~

❝You don't want to be judged? You won't be. You don't think you're strong enough? You are. You're afraid. Don't be. You have all the weapons you need. Now fight. ❞

ⓗⓔⓡⓔ'ⓢ ⓜⓨ ⓢⓣⓞⓡⓨ ⓘⓣⓢ ⓐⓛⓢⓞ ⓐ ⓡⓐⓝⓣ

Ugh, I fucking hate my family and everything about them. I'm sure that most of my life problems stem from them. They're the reason why everything's wrong with me and I honestly don't know what the fuck I did to deserve them because they're all two-timing, gossipy, arrogant, ignorant, judgmental pieces of shit who deserve the worst of it all. The sad things is, though, that they like to believe that they're a good family. Wanna' know why? Well, that's because they always put on that fucking charade! Nope, don't get me wrong; my parents have never gotten divorced; no one in my family is a hardcore drug addict (most of them are frequent drunks, though (especially at certain occasions and get-togethers)); I've never been sexually abused, even though I did get hit a lot as a kid. however, they like to believe that they're perfect, that they're the fucking Brady Bunch-type of family, but no, they're actually the fucking opposite.

All they ever care about is looking perfect, so they all put this charade for each other and act like they're your typical good family. Yes, all they care about is looking good for the entire world to see (and in our community too) because, you see, we came from this stupid, retarded piece of shit culture in which even if life is eating you on the inside, you still need to suck it up, put a big fat smile on your face and act like you're some successful, happy teddy bear that loves everyone. But behind this warm charade lies a family full of back-stabbing, condescending, lying, hypocritical, unworthy, worthless scumbags and I hope to God that, one day, I can finally break away from this hellhole and never have to see the face of any of these parasites again anymore. It makes me sick that I happen to share the same gene pool with them.

They don't accept me for who I am; in fact, they judge me on everything just because I'm not a loud, social, obnoxious attention-seeking trail of slime like my dad. I'm the quiet one and they use that against me and make fun of me, calling me a depressed loser and an antisocial freak. I have been severely depressed for quite some time and no one in this family takes it seriously. They have a hard time believing that any one can be unhappy in our BRADY BUNCH LA-DEE-FUCKING-DA FAMILY. I'm sick of no one taking me seriously because I'm not some prisoner of war. I have confided in my older cousin back when I was naive enough to trust him and when we would get into fights he would use it against me, totally shattering my self-esteem. I called my best friend who was living in the states at the time and told her about how depressed I was feeling and truly confided and her, I told her everything. A few months later whens he returns home, she tells them everything i told them and they just used it against me some more! I asked her why and she makes fun of me for it telling me to stop being such a baby.

I went to the doctor and she prescribed me anti-depressants. I didn't tell my mom or trust her at first, but I was unsure of taking them, so once again, like a fool, i decided to confide in my mom and ask her what they think of me taking them. And once again, they didn't take me seriously, they told me my problems were stupid and that I'm depressed for no reason. They told me anti-depressants weren't the problem and that i just had to "suck it up and stop being weak." 

As a kid, my cousin insulted me on how I look all the time. Now i have extreme social anxiety and hate the way I look. My mom gets frustrated with me when I tell her how i feel. This family is a fucking curse. My cousin was always trying to compete with me as a kid, and always tried to destroy my self esteem. He always tells people we look alike like he's fucking proud, yet destroyed my self esteem as a kid and constantly calls me ugly!!! What type of game is that to play on some one? 

My mother completely disregards how I'm feeling. All she cares about is how i act around guests and how she doesn't want me to embarrass her around company. When I'm depressed, she says, "don't embarrass me around _ now, don't be all pissy now."

BTW, whenever my birthday comes, they have the fucking decency to use it as an excuse, so when we had the actual birthday celebration at my house, it was a total mess and their selfish problems ruined it. Everyone was in a pissy mood all because my brother decided not to partake in much of my birthday, when I didn't give a shit about it in the first place, seeing as how we hated each other (he decided to hang out with his friends most of the time instead). They were mad because of their own selfish reasons and used me as an excuse. My birthday ended up being a total awkward piece of shit, but that's not the end of it.

When my cousins fifteenth birthday party was going on at our house (I was twelve at that time), I didn't want to partake in it. And my mom storms into my room and insists I come downstairs. I say "I don't want to." She says, "if you don't come downstairs, don't ever call me mother again" and things of that nature, so naturally, I had to come downstairs, act like everything was fucking okay and smile, but when it was my birthday, everyone had a right to act as uncomfortable as they felt. Completely unfair.

When my mom gets mad at my brother or sister, she doesn't DARE explode at them, she reasons and bargains with them. But she takes it all out on me. I'm her fucking punching bag. She still fucking hits me when she's angry, but not them...

I am really fed up with our family, and they always guilt trip me into thinking that i have things so easy. They don't see their faults. These negative feelings don't come from no where. Being severely depressed doesn't come from no where. Yet they think I make everything up. I hate my life, and my family is a disease.

-🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸 -

This is to all the anti Emos and emo haters

all anti Emos and Emo haters deserve the following diseases and mental illnesses: Achondroplasia Acne AIDS Albinism Alcoholic hepatitis Allergy Alopecia Alzheimer's disease Amblyopia Amebiasis Anemia Aneurdu Anorexia Anosmia Anotia Anthrax Appendicitis Apraxia Argyria Arthritis Aseptic meningitis Asthenia Asthma Astigmatism Atherosclerosis Athetosis Atrophy Autism Bacterial meningitis Barack Obama syndrome Beriberi Black Death Botulism Breast cancer Bronchitis Brucellosis Bubonic plague Bunion Bella killer Calculi Campylobacter infection Cancer Candidiasis Carbon monoxide poisoning Celiacs disease Cerebral palsy Chagas disease Chalazion Chancroid Chavia Cherubism Chickenpox Child elongated penis syndrome Chlamydia Chlamydia trachomatis Cholera Chordoma Chorea Chronic fatigue syndrome Circadian rhythm sleep disorder Coccidioidomycosis Colitis Common cold Condyloma Congestive heart disease Coronary heart disease Cowpox Cretinism Crohn's Disease Dengue Diabetes Diphtheria Dehydration Ear infection Ebola Encephalitis Emphysema Epilepsy Erectile dysfunction Foodborne illness Gangrene Gastroenteritis Genital herpes GERD Goitre Gonorrhea Heart disease Hepatitis A Hepatitis B Hepatitis C Hepatitis D Hepatitis E Hepatitis F (Childhood Herpes) Histiocytosis (Childhood Cancer) HIV Human papillomavirus Huntington's disease Hypermetropia Hyperopia Hyperthyroidism Hypothermia Hypothyroid Hypotonia Impetigo Infertility Influenza Interstitial cystitis Iritis Iron-deficiencyanemia Irritable bowel syndrome Ignious Syndrome Jaundice Keloids Kuru Kwashiorkor Laryngitis Lead poisoning Leaking scrotum syndrome Legionellosis Leishmaniasis Leprosy Leptospirosis Listeriosis Leukemia Lice Loiasis Lung cancer Lupus erythematosus Lyme disease Lymphogranulomavenereum Lymphoma Malaria Marburg fever Measles Melanoma Melioidosis Metastatic cancer Ménière's disease Meningitis Migraine Mononucleosis Multiple myeloma Multiple sclerosis Mumps Muscular dystrophy Myasthenia gravis Myelitis Myoclonus Myopia Myxedema Morquio Syndrome Mattticular syndrome Neoplasm Niggeritis Non-gonococcal urethritis Necrotizing Fasciitis Night blindness Obesity Osteoarthritis Osteoporosis Otitis Palindromic rheumatism Paratyphoid fever Parkinson's disease Pelvic inflammatory disease Peritonitis Periodontal disease Pertussis Phenylketonuria Plague Poliomyelitis Porphyria Progeria Prostatitis Psittacosis Psoriasis PTSD Pubic lice Pulmonary embolism Pilia Q fever Ques fever Rabies Repetitive strain injury Rheumatic fever Rheumatic heart Rheumatism Rheumatoid arthritis Rickets Rift Valley fever Rocky Mountain spotted fever Rubella Salmonellosis Sandy vagina Scabies Scarlet fever Sciatica Scleroderma Scrapie Scurvy Sepsis Septicemia SARS Shigellosis Shin splints Shingles Sickle-cell anemia Siderosis SIDS Silicosis Smallpox Stevens-Johnsonsyndrome Stomach flu Stomach ulcers Strabismus Strep throat Streptococcal infection Swag Synovitis Syphilis Swine influenza Schizophrenia Taeniasis Tay-Sachs disease Tennis elbow Teratoma Tetanus Thalassaemia Thrush Thymoma Tinnitus Tonsillitis Tooth decay Toxic shock syndrome Trichinosis Trichomoniasis Trisomy Tuberculosis Tularemia Tungiasis Typhoid fever Typhus Tumor Ulcerative colitis Ulcers Uremia Urticaria Uveitis Vaginal warts Varicella Varicose veins Vasovagal syncope Vitiligo Von Hippel-Lindau disease Viral fever Viral meningitis Warkany syndrome Warts Watkins Yellow fever Yersiniosis Zygamantis

-w̲̅a̲̅r̲̅n̲̅i̲̅n̲̅g̲̅ t̲̅h̲̅e̲̅i̲̅r̲̅ i̲̅s̲̅ a̲̅ v̲̅e̲̅r̲̅y̲̅ l̲̅o̲̅n̲̅g̲̅ r̲̅a̲̅n̲̅t̲̅ a̲̅b̲̅o̲̅u̲̅t̲̅ t̲̅h̲̅e̲̅ b̲̅e̲̅a̲̅t̲̅l̲̅e̲̅s̲̅ i̲̅ w̲̅r̲̅o̲̅t̲̅e̲̅ d̲̅o̲̅w̲̅n̲̅ b̲̅e̲̅l̲̅o̲̅w̲̅ i̲̅ b̲̅e̲̅t̲̅ y̲̅o̲̅u̲̅ c̲̅a̲̅n̲̅'t̲̅ r̲̅e̲̅a̲̅d̲̅ i̲̅t̲̅ a̲̅l̲̅l̲̅ t̲̅h̲̅e̲̅ w̲̅a̲̅y̲̅ t̲̅h̲̅r̲̅o̲̅u̲̅g̲̅h̲̅. t̲̅o̲̅ t̲̅h̲̅e̲̅ e̲̅n̲̅d̲̅ l̲̅o̲̅l̲̅. -

-⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇ -

The fact that so many books still name the Beatles “the greatest or most significant or most influential” rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all times are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics are still blinded by commercial success: the Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers. No wonder they will think that the Beatles did anything worth of being saved.
In a sense the Beatles are emblematic of the status of rock criticism as a whole: too much attention to commercial phenomena (be it grunge or U2) and too little attention to the merits of real musicians. If somebody composes the most divine music but no major label picks him up and sells him around the world, a lot of rock critics will ignore him. If a major label picks up a musician who is as stereotyped as one can be but launches her or him worldwide, your average critic will waste rivers of ink on her or him. This is the sad status of rock criticism: rock critics are basically publicists working for free for major labels, distributors and record stores. They simply publicize what the music business wants to make money with.
Hopefully, one not-too-distant day, there will be a clear demarcation between a great musician like Tim Buckley, who never sold much, and commercial products like the Beatles. And rock critics will study more of rock history and realize who invented what and who simply exploited it commercially.
Beatles’ “aryan” music removed any trace of black music from rock and roll: it replaced syncopated african rhythm with linear western melody, and lusty negro attitudes with cute white-kid smiles.
Contemporary musicians never spoke highly of the Beatles, and for a good reason. They could not figure out why the Beatles’ songs should be regarded more highly than their own. They knew that the Beatles were simply lucky to become a folk phenomenon (thanks to “Beatlemania”, which had nothing to do with their musical merits).
That phenomenon kept alive interest in their (mediocre) musical endeavours to this day. Nothing else grants the Beatles more attention than, say, the Kinks or the Rolling Stones. There was nothing intrinsically better in the Beatles’ music. Ray Davies of the Kinks was certainly a far better songwriter than Lennon & McCartney. The Stones were certainly much more skilled musicians than the ‘Fab Fours’. And Pete Townshend was a far more accomplished composer, capable of “Tommy” and “Quadrophenia”. Not to mention later and far greater British musicians. Not to mention the American musicians who created what the Beatles later sold to the masses.
The Beatles sold a lot of records not because they were the greatest musicians but simply because their music was easy to sell to the masses: it had no difficult content, it had no technical innovations, it had no creative depth. They wrote a bunch of catchy 3-minute ditties and they were photogenic. If somebody had not invented “Beatlemania” in 1963, you would not have wasted five minutes of your time to read a page about such a trivial band.
Note of 2010. The Beatles were not a terribly interesting band, but their fans were and still are an interesting phenomenon. I can only name religious fundamentalists as annoying (and as threatening) as Beatles fans and as persevering in sabotaging anyone who dares express an alternative opinion on their faith. They have turned me into some kind of Internet celebrity not because of the 6,000 bios that i have written, not because of the 800-page book that i published, not because of 30 years of cultural events that i organized, but simply because i downplayed the artistic merits of the Beatles, an action that they seem to consider as disgraceful as the 2001 terrorist attacks.
Jakub Krawczynski sent me this comment in 2010:
I find it quite amusing that almost all of the Beatles songs have their own entries on wikipedia (nothing wrong with that in itself, actually), even if they are not singles, and each of them is meticulously dissected as if there were transcendental suites exceeding human comprehension, yet bands like Faust or Red Krayola, etc. have biographies even shorter than just one article about any random Beatles song. Needless to say, none of their songs have any articles on them, yet I’m sure there would be a lot more to talk about. Moreover, if you had put any bad review of their album on the site with the intention to show the broader scope of opinions, you’d risk your “life” there, since such fanatics don’t accept any single sign of trying to be objective. You are seen as public enemy number 1 to them. It’s like your article is one giant cognitive dissonance to them and vandalizing your bio was the only way to reduce this dissonance. (Italian text translated by Ornella C. Grannis)
The Beatles most certainly belong to the history of the 60s, but their musical merits are at best dubious.
The Beatles came to be at the height of the reaction against rock and roll, when the innocuous “teen idols”, rigorously white, were replacing the wild black rockers who had shocked the radio stations and the conscience of half of America. Their arrival represented a lifesaver for a white middle class terrorized by the idea that within rock and roll lay a true revolution of customs. The Beatles tranquilized that vast section of people and conquered the hearts of all those (first and foremost the females) who wanted to rebel without violating the societal status quo.
The contorted and lascivious faces of the black rock and rollers were substituted by the innocent smiles of the Beatles; the unleashed rhythms of the first were substituted by the catchy tunes of the latter. Rock and roll could finally be included in the pop charts. The Beatles represented the quintessential reaction to a musical revolution in the making, and for a few years they managed to run its enthusiasm into the ground.
Furthermore, the Beatles represented the reaction against a social and political revolution. They arrived at the time of the student protests, of Bob Dylan, of the Hippies, and they replaced the image of angry kids with their fists in the air, with their cordial faces and their amiable declarations. They came to replace the accusatory words of militant musicians with overindulgent nursery rhymes. In this fashion as well the Beatles served as middle-class tranquilizers, as if to prove the new generation was not made up exclusively of rebels, misfits and sexual maniacs.
For most of their career the Beatles were four mediocre musicians who sang melodic three-minute tunes at a time when rock music was trying to push itself beyond that format (a format originally confined by the technical limitations of 78 rpm record). They were the quintessence of “mainstream”, assimilating the innovations proposed by rock music, within the format of the melodic song.
The Beatles belonged, like the Beach Boys (whom they emulated for most of their career), to the era of the vocal band. In such a band the technique of the instrument was not as important as the chorus.
Undoubtedly skilled at composing choruses, they availed themselves of producer George Martin (head of the Parlophone since 1956), to embellish those choruses with arrangements more and more eccentric.
Thanks to a careful publicity campaign they became the most celebrated entertainers of the era, and are still the darlings of magazines and tabloids, much like Princess Grace of Monaco and Lady Di.
The convergence between Western polyphony (melody, several parts of vocal harmony and instrumental arrangements) and African percussion – the leitmotif of American music from its inception – was legitimized in Europe by the huge success of the Merseybeat, in particular by its best sellers, Gerry and the Pacemakers and the Beatles, both produced by George Martin and managed by Brian Epstein. To the bands of the Merseybeat goes the credit of having validated rock music for a vast audience, a virtually endless audience.
They were able to interpret the spirit and the technique of rock and roll, while separating it from its social circumstances, thus defusing potential explosions. In such fashion, they rendered it accessible not only to the young rebels, but to all. Mediocre musicians and even more mediocre intellectuals, bands like the Beatles had the intuition of the circus performer who knows how to amuse the peasants after a hard day’s work, an intuition applied to the era of mass distribution of consumer goods.
Every one of their songs and every one of their albums followed much more striking songs and albums by others, but instead of simply imitating those songs, the Beatles adapted them to a bourgeois, conformist and orthodox dimension. The same process was applied to the philosophy of the time, from the protest on college campuses to Dylan’s pacifism, from drugs to the Orient. Their vehicle was melody, a universal code of sorts, that declared their music innocuous. Naturally others performed the same operation, and many (from the Kinks to the Hollies, from the Beach Boys to the Mamas and Papas) produced melodies even more memorable, yet the Beatles arrived at the right moment and theirs would remain the trademark of the melodic song of the second half of the twentieth century.
Their ascent was branded as “Beatlemania”, a phenomenon of mass hysteria launched in 1963 that marked the height of the “teen idol” mode, a extension of the myths of Frank Sinatra and Elvis Presley. From that moment on, no matter what they put together, the Beatles remained the center of the media’s attention.
Musically, for what it’s worth, the Beatles were the product of an era that had been prepared by vocal groups such as the Everly Brothers and by rockers such as Buddy Holly; an era that also expressed itself through the girl-groups, the Tamla bands and surf music. What the Beatles have in common with them, aside from almost identical melodies, is a general concept of song: an exuberant, optimistic and cadenced melody.
The Beatles were the quintessence of instrumental mediocrity. George Harrison was a pathetic guitarist, compared with the London guitarists of those days (Townshend of the Who, Richards of the Rolling Stones, Davies of the Kinks, Clapton and Beck and Page of the Yardbirds, and many others who were less famous but no less original). The Beatles had completely missed the revolution of rock music (founded on a prominent use of the guitar) and were still trapped in the stereotypes of the easy-listening orchestras. Paul McCartney was a singer from the 1950s, who could not have possibly sounded more conventional. As a bassist, he was not worth the last of the rhythm and blues bassists (even though within the world of Merseybeat his style was indeed revolutionary). Ringo Starr played drums the way any kid of that time played it in his garage (even though he may ultimately be the only one of the four who had a bit of technical competence). Overall, the technique of the “fab four” was the same of many other easy-listening groups: sub-standard.
Theirs were records of traditional songs crafted as they had been crafted for centuries, yet they served an immense audience, far greater than the audience of those who wanted to change the world, the hippies and protesters. Their fans ignored or abhorred the many rockers of the time who were experimenting with the suite format, who were composing long free-form tracks, who were using dissonance, who were radically changing the concept of the musical piece. The Beatles’ fans thought, and some still think, that using trumpets in a rock song was a revolutionary event, that using background noises (although barely noticeable) was an even more revolutionary event, and that only great musical geniuses could vary so many styles in one album, precisely what many rock musicians were doing all over the world, employing much more sophisticated stylistic excursions.
While the Velvet Underground, Frank Zappa, the Doors, Pink Floyd and many others were composing long and daring suites worthy of avant garde music, thus elevating rock music to art, the Beatles continued to yield three minute songs built around a chorus. Beatlemania and its myth notwithstanding, Beatles fans went crazy for twenty seconds of trumpet, while the Velvet Underground were composing suites of chaos twenty minutes long. Actually, between noise and a trumpet, between twenty seconds and twenty minutes, there was an artistic difference of several degrees of magnitude. They were, musically, sociologically, politically, artistically, and ideologically, on different planets.
Beatlemania created a comical temporal distortion. Many Beatles fans were convinced that rock and roll was born around the early 60s, that psychedelic rock and the hippies were a 1967 phenomenon, that student protests began in 1969, that peace marches erupted at the end of the 60s, and so on. Beatles fans believed that the Beatles were first in everything, while in reality they were last in almost everything. The case of the Beatles is a textbook example of how myths can distort history.
The Beatles had the historical function to delay the impact of the innovations of the 60’s . Between 1966 and 1969, while suites, jams, and long free form tracks (which the Beatles also tried but only toward the end of their career) became the fashion, while the world was full of guitarists, bassist, singers and drummers who played solos and experimented with counterpoint, the Beatles limited themselves to keeping the tempo and following the melody. Their historic function was also to prepare the more conservative audience for those innovations. Their strength was perhaps being the epitome of mediocrity: never a flash of genius, never a revolutionary thought, never a step away from what was standard, accepting innovations only after they had been accepted by the establishment. And maybe it was that chronic mediocrity that made their fortune: whereas other bands tried to surpass their audiences, to keep two steps ahead of the myopia of their fans, traveling the hard and rocky road, the Beatles took their fans by the hand and walked them along a straight path devoid of curves and slopes.
Beatles fans can change the meaning of the word “artistic” to suit themselves, but the truth is that the artistic value of the Beatles work is very low. The Beatles made only songs, often unpretentious songs, with melodies no more catchy than those of many other pop singers.
The artistic value of those songs is the artistic value of one song: however well done (and one can argue over the number of songs well done vs. the number of overly publicized songs by the band of the moment), it remains a song, precisely as toothpaste remains toothpaste. It doesn’t become a work of art just because it has been overly publicized.
The Beatles are justly judged for the beautiful melodies they have written. But those melodies were “beautiful” only when compared to the melodies of those who were not trying to write melodies; in other words to the musicians who were trying to rewrite the concept of popular music by implementing suites, jams and noise. Many contemporaries of Beethoven wrote better minuets than Beethoven ever wrote, but only because Beethoven was writing something else. In fact, he was trying to write music that went beyond the banality of minuets.
The melodies of the Beatles were perhaps inferior to many composers of pop music who still compete with the Beatles with regard to quality, those who were less famous and thus less played.
The songs of the Beatles were equipped with fairly vapid lyrics at a time when hordes of singer songwriters and bands were trying to say something intelligent. The Beatles’ lyrics were tied to the tradition of pop music, while rock music found space, rightly or wrongly, for psychological narration, anti-establishment satire, political denunciation, drugs, sex and death.
The most artistic and innovative aspect of the Beatles’ music, in the end, proved to be George Martin’s arrangements. Perhaps aware of Beatles’ limitations, Martin used the studio and studio musicians in a creative fashion, at times venturing beyond the demands of tradition to embellish the songs. Moreover, Martin undoubtedly had a taste for unusual sounds. At the beginning of his career he had produced Rolf Harris’ Tie Me Kangaroo with the didjeridoo. At the time nobody knew what it was. Between 1959 and 1962 Martin had produced several tracks of British humor with heavy experimentation, inspired by the Californian Stan Freiberg, the first to use the recording studio as an instrument.
As popular icons, as celebrities, the Beatles certainly influenced their times, although much less than their fans suppose. Even Richard Nixon, the American president of the Vietnam war and Watergate influenced his times and the generations that followed, but that doesn’t make him a great musician.
Today Beatles songs are played mostly in supermarkets. But their myth, like that of Rudolph Valentino and Frank Sinatra before them, will live as long as the fans who believed in it will be alive. Through the years their fame has been artificially kept alive by marketing, a colossal advertising effort, a campaign without equal in the history of entertainment.
Their history begins at the end of the 50s. Buddy Holly’s Crickets had invented the modern concept of the rock band. Indirectly they had also started the fashion of naming a band with a plural noun, like the doo-wop ensembles before them, but a noun that was funny instead of serious. Almost immediately bands like “the Crickets” began to pop up everywhere, most of them bearing plural nouns. Insects were fashionable. The Beatles were the most famous.
Assembled to bring to Europe the free spirit, the simple melodies and the vocal harmonies of the Beach Boys (the novelty of the moment) more than for any specific reason, the Beatles became, despite their limitations, the most successful recording artists of their time. While acknowledging that neither the Beatles nor the Beach Boys were music greats, it must be noted that both were influential in conferring commercial credibility to rock music, and both inspired thousands of youngsters around the world to form rock bands. The same had happened with Elvis Presley. Although far from being a great musician, he too had inspired thousands of white kids, among them both the Beatles and the Beach Boys, to become rockers.
The “swinging London” of the 60s was a mix of renewal, mediocrity, conformity, non-commitment, cultural rebirth, tourist attraction and excitement, a locus of rebellion drowned in shining billboards, of young men with long hair and girls in mini skirts, of wealth and hypocrisy about wealth, a city of indifference. La dolce vita, English style. The Beatles were the best selling product of that London, a city full of ambiguity and contradictions.
The Beatles’ birthplace was Liverpool. John Lennon was a rhythm guitar player with a skiffle group called the Quarrymen, founded in 1955, before forming the Beatles in 1960 with Paul McCartney. George Harrison, hired when he was still a minor, played lead guitar, with a formidable style inspired by the rockabilly of James Burton and Carl Perkins. They rose through the ranks playing rock and roll covers in Hamburg, Germany, then made their debut at The Cavern, in Liverpool, on February 21, 1961. Shortly after, Ringo Starr was called to replace the drummer Pete Best, and McCartney switched to the bass.
In 1962 two phenomena exploded in America: the Beach Boys and the Four Seasons. Both truly sang, in vocal harmony derived from 50s doo-wop, which they introduced to white audiences, with arrangements imitating the Crickets.
That was the year the Beatles began the transition from covers to original, melodic, vocal harmonies. One of the first recordings of the Beach Boys had been a revision of one of Chuck Berry’s songs, one of the first recordings of the Beatles had to be a revision of one of Chuck Berry’s songs. Brian Wilson played the bass for the Beach Boys, Paul McCartney would play bass for the Beatles.
Brian Epstein was the man who scouted them and secured their contract with EMI in November 1961, and also the man who created their image,their clothes, their hairdos (similar to tv comedian Ish Kabibble’s). George Martin was the man who created their sound.
1962 was the year of Bob Dylan, of peace demonstrations, of songs of protest. Precisely in 1962, far removed, diametrically opposed really, to the events that dominated American society, the Beatles debuted with a 45, Love Me Do, recorded in September 1962, a jovial rhythm and blues led by the harmonica in the style of Delbert McClinton. By the end of the year the song had made the charts. In February 1963, the band reached #2 with Please Please Me. In the space of few months, a diligent marketing strategy, ingeniously managed by Brian Epstein, unleashed mass hysteria. Records sold out before the recording sessions actually began, mass-media detailed step by step chronicles of the four heroes, the world of fashion imposed a new hairdo. Epstein had created “Beatlemania”.
The overflow of fanaticism around them demanded refinement of their style. They began to utilize new instruments. The more they dissociated themselves from their rhythm and blues roots, the faster their style became more melodious. Through From Me To You, the rowdy She Loves You (accessorized with the first “yeah-yeah-yeahs”), and I Want To Hold Your Hand (a heavier rhythm enhanced by clapping), all number one on the charts of 1963, they fused centuries of vocal styles – sacred hymn, Elizabethan song, music hall, folk ballad, gospel and voodoo – in a harmonious and crystal-clear format for happy chorus. A variant of the same process had been adopted in the United States by the Shirelles. For the most part it was Buddy Holly’s jovial, childish, catchy style that was copied, speeding the tempo to accommodate the demands of the “twist”. The twist was the dance craze of the moment: fast beat, suggestive moves and catchy tunes.
The Beatles sensed that it was the right formula.
In the USA nobody had caught on yet, and only mangled versions of Please Please Me (March 1963) and With The Beatles (November 1963) had been released. In January 1964 EMI decided to invest significantly and I Want To Hold Your Hand reached the top of the charts together with the Beatles’ first American album Meet The Beatles (Capitol, 1964). In the States, cleansed at last of the perverted and amoral rock and roll scum of the 50s, the charming and polite Merseybeat of the Beatles delighted the media. After their first tour in February 1964, and their appearance on the “Ed Sullivan Show”, their 45s were solidly on top of the American charts. In April 1964 they occupied the first five positions. After all, their sound was drenched in American music: their vocal style was either that of the hard rockers like Little Richard, or the gentler call-and-response of the Drifters (echoing one another, stretching a word for several beats, screaming coarse “yeah-yeah”, shrieking in falsetto), the choruses were Buddy Holly’s, the harmonies were the Beach Boys’ and the instrumental parts were remakes of twist combos.
The secret of the Beatles’ success, in the USA as in the UK, was the simplicity of their arrangements. Whereas the idols of the time were backed by complex, almost classic arrangements, at times even by studio effects, the Beatles employed the elementary technique of surf music, completely devoid of orchestral support and surreal effects. At a time when singers had become studios subordinates, the Beatles managed to reestablish the supremacy of the singer. American youths recognized themselves in a style that was much more direct than the manufactured one of their “teen idols”, and by default recognized themselves in the Beatles, precisely as they had recognized themselves in Elvis Presley after having become accustomed to the artificiality of pop music in the 50’s.
The Mersey sound was designed to tone down rock and roll. Under the direction of producer George Martin and manager Brian Epstein, the sound of the Beatles also became softer.The captivating style of the Beatles had already been pioneered by Gerry & The Pacemakers (formed in 1959, also managed by Epstein). They reached the charts with their first three 45s (How Do You Do It, March 1963, I Like It, May 1963, You`ll Never Walk Alone, October 1963): very melodic versions of rock and roll with sugar coated versions of rock’s rebel text. Practically speaking, the Pacemaker formula brought rock and roll into pop music. They replaced the rough and crude beat of the blues with the light and tidy rhythms of European pop songs; they exchanged the slanted melodies of the blues with the catchy tunes of the British operetta; they substituted the provocative lyrics of Chuck Berry with the romantic rhymes of the “teen idols.” Epstein and Martin simply continued that format with the Beatles. The only difference was in the authorship of practically their entire cache. All the Beatles songs were signed Lennon-McCartney. (This was only for contractual reasons. In reality they were not necessarily co-written.)
The first student protests took place in Berkeley, California in 1964. Young people were protesting against the establishment in general, and against the war in Vietnam in particular. The rebellion that had been seething through the 50s had finally found its intellectual vehicle. The Beatles knew nothing of this when they recorded Can’t Buy Me Love, a swinging rockabilly a la Bill Haley, the first to reach #1 simultaneously in the States and in Britain, A Hard Day’s Night and I Feel Fine, using the feedback that had been pioneered in the 1950s by guitarists such as Johnny Watson and used in Britain by the Yardbirds.
All three are ever so exuberant songs carrying ever so catchy refrains, that reached the top on both sides of the Atlantic. With these songs and with their public behavior the Beatles showed a whimsical and provoking way to be young. The Beatles were still a brand new phenomenon when A Hard Day’s Night – the first surreal documentary about their daily lives was released, and their two first biographies were published. In the USA the marketing was intense: EMI was inundated by contracts to solicit the sales of Beatles wigs, Beatles attire, Beatles dolls, cartoons inspired by the Beatles. America was saturated with images of four smiling boys, the creation of a brand new myth that served to exorcise the demons of Vietnam, of the peace marches, of the civil disorders, of the student protests, of the racial disturbances, of the murder of JFK, of Bob Dylan, of rock and roll, of all the tragedies, real or presumed, that troubled the American Dream. In the end, it might have all been a form of shock therapy.
Sure enough, hidden behind those smiling faces were four mediocre musicians, and also four multimillionaire snobs in the proudest British tradition. Far from being symbols of rebellion, they were reactionism personified. The Beatles, optimistic and effervescent, represented an escape from reality. People, kids in particular, had a desperate need to believe in something that had nothing to do with bombs and upheaval. The Beatles put to music the enthusiasm of the masses and in return, in a cycle that bordered on perpetual motion, were enthusiastically acclaimed by the same masses.
The best of their cliches is summarized in a famous anecdote. Interviewed during their American tour, to the question, “How did you find America?”, Lennon answered, “We turned left at Greenland!”. Beneath this sense of humor, anarchic and surreal, lays the greatest merit of the band.
From 1965 the LP, in the preceding years not as important as the 45, became the new unit of measure of their work. The American releases had 12 cuts including the hits, the British versions had 14 cuts and generally none of the hits. A Hard Day’s Night (1964) was the first release to contain material exclusively co-written by Lennon and McCartney. For Sale, released immediately after, contained six covers (but also Eight Days A Week, and the melancholy I Don’t Want To Spoil The Party). Help (August 1965), with The Night Before and Ticket To Ride, marked the transition from the Merseybeat to a sound oriented more toward folk and country, though some of the songs bring Buddy Holly to mind. The Beatles of these days showed a formidable talent for the melancholy ballad, such as You’ve Got To Hide Your Love Away, and most of all Yesterday, the slow song par excellence written by Paul McCartney, to which Martin added a string quartet. However, their best work is to be found in more aggressive songs, such as Help, a gospel full of life adapted to their surreal style.
Rubber Soul (December 1965) completed the transition from the 45 to the 33, and also from Merseybeat to folk-rock. Following their U.S. tour, the influence of the Byrds is very strong. The rock and roll beat in Drive My Car and Run For Your Life, the exotic mood of Norwegian Wood (a David Crosby-ian litany accompanied with the sitar, already utilized by the Yardbirds, possibly based on what the Kinks had done a few months earlier with See My Friends), and the timid psychedelia of Nowhere Man and Rain (with backward vocals, but inspired by Eight Miles High, that had charted just weeks before) cover a vast repertoire of harmonies for their standards. In spite of the fact that the Beatles sought success within rock and roll, it was evident that their best work was expressed through melodic songs. The tender ballads Girl and Michelle (a classic for acoustic guitar, melodic bass and chorus, in the style of 1950s vocal groups) are truly excellent songs in their genre, but because they lack both rhythm and volume, they were considered “minor” at the time.
1965 was the year of the San Francisco hippies, of psychedelic music, of Indian gurus and experimental LSD. It all seemed to go unnoticed by the Beatles, who recorded another melodic masterpiece, We Can Work It Out, ground out on barrel organ and accordion, inspired by French folk music. They pursued the mirage of the “rave-up” with the hard riff of Day Tripper (borrowed from Watch Your Step of bluesman Bobby Parker), a pathetic response to Satisfaction by the Stones and You Really Got Me by the Kinks. Both songs, hard rockers, had shocked the charts that same year.
The Beatles finally freed themselves from the obsession of emulating others in 1966, with Revolver, an album entirely dedicated to sophisticated songs. The album, extremely polished, seems the lighter version of Rubber Soul. The psychedelic Tomorrow Never Knows (sitar, backward guitar, organ drones), the vaguely oriental Love You To, the classic Eleanor Rigby, the Vaudevillian operetta Good Day Sunshine, the rhythm and blues of Got To Get You Into My Life and Dr. Robert, are all mitigated by an ever more languid and romantic attitude. The few jolts of rhythm are kept at bay by a tender effusion in I’m Only Sleeping (with a timid solo of backward guitar), There And Everywhere and For No One. With this album the Beatles left behind rock and roll to get closer to pop music, the pop music of the Brill Building, that is, a genre of pop that sees Revolver as its masterpiece. (At the time melodic songs all over the world were inspired by the Brill Building). Of course Revolver was a thousand years late. That same year Dylan had released Blonde On Blonde, a double album with compositions fifteen minutes long, and Frank Zappa had released Freak Out, also a double album, in collage format. Rock music was experimenting with free form jams as in Virgin Forest by the Fugs, Up In Her Room by the Seeds, Going Home by the Rolling Stones. The songs of the Beatles truly belonged to another century.
The formal perfection of their melodies reached the sublime in 1967 with two 45s: the baroque/electronic Penny Lane/Strawberry Fields Forever, released in February, an absolute masterpiece that never reached the top of the charts, the hard rocking Paperback Writer, and the childish Yellow Submarine, a mosaic full of sound gags and barroom choruses. Penny Lane represents the apex of the Manneristic style: Vaudevillian rhythm, hypnotic melody, Renaissance trumpets, folkloristic flutes and triangles. Strawberry Fields Forever is a densely-arranged psychedelic experiment (backward vocals, mellotron, harp, timpani, bongos, trumpet, cello).
Perhaps, the experiments could have continued in a more serious direction, as the intriguing idea of the 14-minute Carnival of Light leads to believe, a piece recorded at the beginning of 1967 and never completed nor released.
1967 was the year that FM radio began to play long instrumentals. In Great Britain, it was the year of psychedelia, of the Technicolor Dream, of the UFO Club. The psychedelic singles of Pink Floyd were generating an uproar. Inevitably, the Beatles recorded Sgt. Pepper’s Lonely Hearts Club Band.
This quasi-concept album was released while the Monterey Festival was consecrating the sanctifiable, the big names of the times. Unlike most of the revolutionary records of those days, often recorded in haste and with a low budget, Sgt. Pepper cost a fortune and took four months to put together. The Beatles soar in the ethereal refrain of Lucy In The Sky With Diamonds, utilizing the sitar, distorted keyboard sounds and Indian inspired vocals; they indulge in Vaudevillian tunes such as Lovely Rita and When I’m Sixty Four (a vintage ragtime worthy of the Bonzo Band), and they showcase their odd melodic sense in With A Little Help From My Friends. They scatter studio effects here and there, pretending to be avant garde musicians, in Fixing A Hole and Being For The Benefit Of Mr Kite, but in reality these are tunes inspired by the music halls, the circuses and small town bands. A Day In The Life is the culmination of the relationship between technique and philosophy. It represents the happy marriage between Martin’s sense of harmony, employing a 40 piece orchestra in which everybody plays every note, and Lennon’s hippie existentialism, that dissects the alienation of the bourgeoisie.
Everything was running smoothly in the name of quality music, now entrusted to high fidelity arrangements and adventurous variations of style, from folk ballads to sidewalk Vaudeville, from soul to marching bands, from the Orient to swing, from chamber music to psychedelia, from tap dance to little bands in the park. Everything had been fused into a steady flow of variety show skits.
Rather than an album of psychedelic music (compared to which it actually sounds retro), Sgt. Pepper was the Beatles’ answer to the sophistication of Pet Sounds, the masterpiece by their rivals, the Beach Boys, released a year and three months before. The Beatles had always been obsessed by the Beach Boys. They had copied their multi-part harmonies, their melodic style and their carefree attitude. Through their entire career, from 1963 to 1968, the Beatles actually followed the Beach Boys within a year or two, including the formation of Apple Records, which came almost exactly one year after the birth of Brother Records. Pet Sounds had caused an uproar because it delivered the simple melodies of surf music through the artistic sophistication of the studio. So, following the example of Pet Sounds, the Beatles recorded, from February to May 1967, Sgt. Pepper, disregarding two important factors: first that Pet Sounds had been arranged, mixed and produced by Brian Wilson and not by an external producer like George Martin, and second that, as always, they were late. They began assembling Sgt. Pepper a year after Pet Sounds had hit the charts, and after dozens of records had already been influenced by it.
Legend has it that it took 700 hours of studio recording to finish the album. One can only imagine what many other less fortunate bands could have accomplished in a recording studio with 700 hours at their disposal. Although Sgt. Pepper was assembled with the intent to create a revolutionary work of art, if one dares take away the hundreds of hours spent refining the product, not much remains that cannot be heard on Revolver: Oriental touches here and there, some psychedelic extravaganzas, a couple of arrangements in classical style. Were one to skim off a few layers of studio production, only pop melodies would remain, melodies not much different from those that had climbed the charts ten years before. Yet it was the first Beatles album to be released in long playing version all over the world. None of its songs were released as singles.
The truth is that although it was declared an “experimental” work, even Sgt. Pepper managed to remain a pop album. The Beatles of 1967 were still producing three-minute ditties, while Red Crayolas and Pink Floyd, to name two psychedelic bands of the era, were playing long free form suites – at times cacophonous, often strictly instrumental – that bordered on avant garde. In 1967, the band that had never recorded a song that hadn’t been built around a refrain began to feel outdated. They tried to keep up, but they never pushed themselves beyond the jingles, most likely because they couldn’t, just as Marilyn Monroe could not have recited Shakespeare.
Sgt. Pepper is the album of a band that sensed change in the making, and was adapting its style to the taste of the hippies. It came in last (in June), after Velvet Underground & Nico (January), The Doors (also January), the Byrds’ Younger Than Yesterday (february), and the Jefferson Airplane’s Surrealistic Pillow (February) to signal the end of an era, after others had forever changed the history of rock music. (Several technical “innovations” on Sgt Pepper were copied from Younger Than Yesterday, whose tapes the Beatles had heard from David Crosby at the end of 1966). The uproar generated by Sgt. Pepper transferred those innovations from the American underground to the living rooms and the supermarkets of half the world.
With Sgt. Pepper, the sociology course in melodic rock and roll that Lennon and McCartney had introduced in 1963 came to an end. The music of the Beatles was an antidote to the uneasiness of those times, to the troubling events that scared and perplexed people. The course had the virtue of deflecting the impact of those events, the causes of political upheaval and moral revolution. The Beatles reassured the middle class at a time when almost nothing could reassure the middle class.
Every arrangement of that period – the harpsichords and the flutes, the prerecorded tracks and the electronic effects – was the result of George Martin’s careful production. Martin was a lay musician, a former member of a marching band that occasionally had played in St. James Park. He knew that avant garde musicians made music by manipulating tracks, that instruments with unusual timbre existed, that rock bands were dissecting classic harmonies. His background, not to mention his intellectual ability, was of the circus, the carnival, the operetta, the marching band, London’s second-rate theaters. He took all he could from that folkloristic patrimony, every unortodox technique. The results might not have been particularly impressive – after all he was neither Beethoven nor Von Karajan – but they were most certainly interesting. He was the true genius behind the music of the Beatles. Martin transformed their snobbish disposition, their childish insolence, their fleeting enthusiasm into musical ideas. He converted their second hand melodies into monumental arrangements. He even played some of the instruments that helped those songs make history. From Rubber Soul on, Martin’s involvement got progressively more evident. Especially with Sgt. Pepper, Martin demonstrated his knowledge and his intuition. The idea to connect all the songs in a continuous flow, however, is McCartney’s. It’s the operetta syndrome, the everlasting obsession of British musicians of the music halls. The Beatles filled newspapers and magazines with their declarations about drugs and Indian mysticism, and how they converted those elements into music, but it was Martin who was doing the conversion, who was transforming their fanciful artistic ambitions into music.
Around the time of Sgt. Pepper’s release, Brian Epstein died. (His death was attributed to drugs and alcohol.) He was the man who had given fame to the Beatles, the fundamental presence in their development, the man who had invented their myth. The Beatles were four immature kids who for years had played the involuntary leading roles in an immensely successful soap opera, a part that paid them with imprisonment. For years they didn’t dare step outside their hotel rooms or their limousines. As Epstein’s control began to lessen they began to look around, to take notice of the drugs, the social disorder, the ideals of peace, the student protests, the Oriental philosophies. It was a world completely unknown to them, full of issues they had never mentioned in their songs. The revelation was traumatic. Epstein’s absence generated chaos, exposing problems with revenue, representation and public relations that eventually caused the demise of the group, but it also gave them the chance to grow up.
Sgt Pepper represents a breaking point in their career on several levels. It’s a very autobiographical conceptual take on self-awareness. It’s a concept album about the discovery of being able to put together a concept album.
Two projects realized with unusual wit also belong to the same period, a period that bridged two eras: the television movie Magical Mystery Tour and the cartoon Yellow Submarine. In both works can be found some of the most ingenious ideas of the quartet. The grotesque schizoid nightmare I Am The Walrus and the kaleidoscopic trip It’s All Too Much are exercises of surrealism and psychedelia applied to the Merseybeat. Magical Mystery Tour also includes the bucolic ballad The Fool On The Hill, the psychedelic Blue Jay Way, and the mantra Baby You`re A Rich Man.
Meanwhile the shower of hits influenced by the experimental climate continued: Magical Mystery Tour, the movie soundtrack, with trumpets, jazz piano, changes in tempo, and a circus huckster-style presentation, Your Mother Should Know another vaudeville classic, the anthem All You Need Is Love, Hello Goodbye, a catchy melody distorted by psychedelic effects, Lady Madonna, the boogie inspired by Fats Domino. But the Beatles still belonged to the era of pop music: unlike Cream they didn’t pull off solos, unlike Hendrix they strummed their guitars without real know-how, unlike Pink Floyd they didn’t dare dissect harmony. They were not just retro, they simply belonged elsewhere.
Hey Jude (august 1968), a long (for the Beatles) jam of psychedelic blues-rock, in reality another historic slow song by McCartney, came out after Traffic’s Dear Mr. Fantasy and also after Cream’s lengthy live jams had reached peak popularity. Paradoxically, Hey Jude established a new sales record; it was #1 on the charts for nine weeks and sold six million copies.
Having established the melodic standard of the decade, the quartet implemented it in every harmonic recipe that arose from time to time. By applying the industrial law of constant revision, they Beatles managed to keep themselves on top. So much variety of arrangements resulted in mere mannerism, meticulous attention to detail and ornament. The albums of the third period fluctuate in fact between collages of miniatures and melodic fantasies, but always skillfully keeping a harmonic cohesion between one song and the other, in the step with – consciously or unconsciously – the structure of the operetta.
By the time of their next LP release they were leading separate lives, each indifferent to the ideas of the others, and their album reflected the situation. It was clear that this new batch of recorded songs was not the effort of a band, but the work of four artists profoundly different from one another.
The double album The Beatles (November 1968), very similar in spirit to the Byrds’ Notorious Byrd Brothers (June 1968), is a disorganized heap of incongruous ideas. No other Beatles album had ever been so varied and eclectic. Their new “progressive” libido found an outlet in blues-rock (Rocky Raccoon, Why Don’t We Do It In The Road), and especially the giddy hyper-boogies (Birthday and Helter Skelter). As a consequence of this fragmented inspiration, the record includes a cornucopia of genres: classical (Piggies, a rare moment of genius from Harrison, a baroque sonata performed with the sarcastic humour of the Bonzo Dog Doo Dah Band, with a melody borrowed from Stephane Grappelli’s Eveline), acoustic folk (Blackbird), the campfire sing-a-long (Bungalow Bill), ballads (Cry Baby Cry – one of their best piano progressions), the usual vaudeville-style parade (Don’t Pass Me By, Martha My Dear, Obladi Oblada), and melodic rock (While My Guitar Gently Weeps, the jewel of their tunefulness). The album wraps up with a long jam, more or less avant garde, (Revolution No. 9, co-written by John Lennon and Yoko Ono) two years after everybody else, and three years after the eleven minutes of Goin’ Home, by the Stones.
The so called White Album sampled the mood change of rock music toward a simpler and more traditional way to make music. It was released three months after Sweetheart Of The Rodeo by the Byrds, which in turn had followed Dylan’s John Wesley Harding. It’s also an album that reflects the passing of Brian Epstein.
In 1968 Great Britain became infected by the concept album/rock opera bug, mostly realized by Beatles contemporaries: Tommy by the Who, The Village Green Preservation Society by the Kinks, Ogden’s Nut Gone Flake by the Small Faces, Odyssey and Oracle by the Zombies, etc (albums that in turn owed something to the loosely-connected song cycles of pop albums such as Frank Sinatra’s In The Wee Small Hours (1955), the Byrds’ Fifth Dimension, the Beach Boys’ Pet Sounds and the Beatles’ Sgt Pepper). So, with the usual delay, a year later the Beatles gave it a try. Abbey Road (1969), is a vaudeville-style operetta that combines every genre in a steady stream of melodies and structurally perfect arrangements. It’s the summa encyclopaedica of their career. It’s a series of self-mocking vignettes, mimicking now the circus worker (Maxwell’s Silver Hammer), now the crooner (Oh Darling, a parody a la Bonzo Band), now the baby-sitter (Octopus’s Garden, in the silly vein of Yellow Submarine), culminating in the overwhelming suite of side B. Starting with the primitive exuberance of You Never Give Me Your Money (a mini rock opera worthy of early Zappa) and Mean Mr Mustard, the suite comes in thick and fast with Polytheme Pam and She Came In Thru The Bathroom Window, and dies melancholically with yet another goliardic chorus, Carry That Weight (that reprises the motifs of Money and I Want You). It’s the apotheosis of the belated music hall entertainer in Paul McCartney. And it is, above all, a masterpiece of production, of sound, of sonic puzzles.
As was the case with their contemporaries – Who, Kinks, Small Faces and Zombies – this late album/thesis runs the risks going down in history as the Beatles’ masterpiece. Obviously it doesn’t even come close to the creative standards of the time (1969), but it scores well. The result is formally impeccable melodic songwriting, although it must be noted that the best songs, both written by George Harrison, are also the most modest. Abbey Road is their last studio album, again produced by George Martin.
All efforts at cohesion notwithstanding, their personalities truly became too divergent. The modest hippie George Harrison became attracted to Oriental spiritualism. (Something and Here Comes The Sun are his melancholy ballads). Paul McCartney, the smiling bourgeois, became progressively more involved with pop music (every nursery-rhyme, Get Back and Let It Be included, are his). John Lennon, the thoughtful intellectual became absorbed in self-examination and political involvement. His was a much harder and/or psychedelic sound (Revolution, Come Together, the dreamy and Indian-like Across The Universe). They were songs ever more meaningless and anonymous. After all, the break-up had begun with Revolver (Lennon wrote Tomorrow Never Knows, Harrison Love You To, McCartney Eleanor Rigby), and had been camouflaged in successive records by Martin’s painstakingly arrangements.
The Beatles adapted their music to suit the styles in fashion: doo-wop, garage-rock, psychedelia, country-rock. Very few bands changed style so drastically from year to year. Perhaps they began to feel obsolete listening to Cream. Cream concerts were the first musical phenomenon in Great Britain to rival Beatlemania. Cream did all they could to make the Merseybeat sound terribly old, precisely what the Beatles had done to the sound of Elvis Presley. In 1969, Led Zeppelin changed completely the importance of radio and charts. [Led Zeppelin is the first enormously successful band whose album didn’t get any air play on AM radio (only FM) and whose songs didn’t make the singles charts. The change they brought about was significant because it shifted the importance of the charts from singles to albums. Translator’s Note] Since they used melody as a lever, the Beatles had a relatively easy time in following every shift in fashion (psychedelia included), until hard-rock – the antithesis of Beatlemania – came about. Suddenly the idol was no longer the singer but the instrument, the excitement was generated by the riff and not by the refrain, concerts were attended by multitudes of long-haired men on drugs who gathered on the street, not by hysterical teenage girls who assembled in theaters. Hard-rock negated their simple melodies. It is not by coincidence that the arrival of hard-rock marked the end of the Beatles.
In 1970 the Beatles broke up and every member began a solo career. John Lennon (murdered in December 1980 by a deranged fan) didn’t do much worthy of the great singer songwriters of the time. Had it not been for his personal and political involvement, and his past as a Beatle, he would not have made it by his music alone. His solo career fluctuated ambiguously between hard-rock and ballads, the utopia of peace and love and domestic romanticism. His solo career actually began with Two Virgins (Apple, 1968), an album he made when he was still a Beatle, in collaboration with his famous second wife. Yoko Ono was the heiress to a dynasty of Japanese bankers, she held a degree in philosophy, had been a United States resident since 1953, was a member of the avant garde movement Fluxus, and a world renowned performance artist throughout the 60s. The album was followed by the more experimental Life With The Lions (Apple, 1969) and Wedding Album (Apple, 1969), and also a live album with Give Peace A Chance (a street chorus a la David Peel). Perhaps the best of Lennon can be found in the autobiographical album John Lennon/ Plastic Ono Band (Capitol, 1970), with a vibrant production by Phil Spector. The imprint of Spector’s sound can also be heard in the single Instant Karma. Lennon found much more commercial success with the album that followed, Imagine (1971), which contains Imagine, his most famous song, besides Power to The People and Happy Christmas. Peace activism and involvement in humanitarian causes gave the couple more prominence than music ever did. Lennon scored a #1 hit with the duet with Elton John, Whatever Gets You Thru The Night (1974). An embarrassing string of mediocre albums ended with Double Fantasy (Geffen, 1980), released a couple of months before his death. It contains the hits Starting Over and Woman. (it also contains the famous sentence “Life is what happens to you while you’re busy making other plans” but that’s plagiarized from “Life is what happens to us while we are making other plans” by Allen Saunders, at least 23 years old).
McCartney managed a few albums worthy of the Beatles (as chance would have it produced by George Martin), except they were not called “The Beatles”. As a testament to rock consumerism and all the worst the genre embodies, McCartney’s songs (solo or in the company of Wings ) regularly bounced to the top of the charts. Between boring lullabies (Maybe I’m Amazed, 1970, Another Day, 1971, Uncle Albert, 1971, My Love, 1973, Band On The Run, 1973, Listen To What The Man Said, 1975, Silly Love Songs, 1976, With A Little Luck, 1978; Coming Up, 1980, No More Lonely Nights, 1984, Spies Like Us, 1985), and duets with other singers (Say Say Say, 1983, with Michael Jackson, Ebony And Ivory, 1982, with Stevie Wonder), McCartney holds the record for #1 songs on the Billboard charts. Band On The Run (Capitol, 1973) is perhaps least mediocre of his albums. Mull of Kintyre, (1977) is the first British single that sold more that two million copies. Very few pop singers have been able to release songs so predictable. Each “return to form” album of the 1980s and 1990s was worse than the previous one until Chaos and Creation in the Backyard (Capitol, 2005), produced by Nigel Godrich but mostly played by McCartney himself on all instruments. On the day of its release, Memory Almost Full (2007) was played all day in all Starbucks of the world, widely viewed a divine punishment for its customers.
While a trivial guitarist and vocalist, George Harrison (who died of cancer in November 2001) was perhaps the only one who made songs worthy of notice. First the experimental Wonderwall (Zapple, 1968) and Electronic Sounds (Zapple, 1969), with help from Bernie Krause (Under The Mersey Wall e No Time Or Space), then the three-record box set All Things Must Pass (Apple, 1970), produced by Phil Spector, a reprise of the raga-psychedelic theme. Set in a bucolic-folk context, the album continues the discourse that Donovan had began in 1967 (What Is Life, Isn’t It A Pity, Let It Down, Apple Scruffs, Art Of Dying, My Sweet Lord). This record has nothing in common with the music of the Beatles. A dedicated follower of Hare Krishna, among other platitudes of the 60s, Harrison organized the first grand concert to benefit a nation, Bangladesh, in 1972. In 1973 he recorded Living In The Material World with Give Me Love. Dark Horse (1974) and You (1975) also had a couple of hits. After a series of unfortunate albums, Harrison hit the charts in 1987, with I’ve Got My Mind Set On You, an old soul song by Rudy Clark. The following year he joined Dylan, Petty and Orbison to become one of the Traveling Wilburys.
Throughout the 90s McCartney and a few discographers desperately tried to keep the Beatles myth alive by launching new commercial enterprises geared toward nostalgia. These ventures were followed with interest by the same tabloids that followed Lady Di and Princess Grace of Monaco.
After the breakup, the role of George Martin became evident. We’ll never know what the Beatles would have been had they not encountered Martin, but we do know who Martin was before he met the Beatles. Even without the Beatles, George Martin would have been himself, a successful producer who reached the top of the charts with a collection of catchy tunes. And we also know what the Beatles were without Martin:four mediocre singer songwriters. Their solo records tell us how good they were without Martin.
The Beatles made history for their melodies and their arrangements. Beatlemania was created, justifiably, in response to the exuberant rock and roll they played in 1963 with electrical instruments and drums, that managed to revitalize a genre drowned in sugar coated orchestrations supporting teen idols. Revolver must definitely be credited with having created a new sophisticated living room pop art. However, Sgt. Pepper, their most famous album, is nothing more than a hypocritically commercial album, a collection of traditional pop songs masked as psychedelic avant garde music. It nevertheless served as a prelude to the baroque suite Abbey Road, the apex of their formality. Similar parallels can be found in almost every band of those times, but few listeners know the records of those bands.
Even at their best the Beatles didn’t represent the spirit of their generation. When they tried they were late, or even against the mainstream. At best they expressed the values of the generation that preceded theirs, the 40s. Those values were moral, musical, and social order, and respect, the very values attacked in the 50s by rock and roll. Thus the fact that the songs of the Beatles were similar in lyrics, music and arrangements to those of Tin Pan Alley shouldn’t surprise anyone. Some of those songs will forever be listed in the annals of melodic music: Love Me Do, Hard Day’s Night, I Feel Fine, We Can Work It Out, Penny Lane, Hello Goodbye, A Little Help From My Friends, Lucy In The Sky With Diamonds. For what it’s worth, the everlasting refrains of those songs took rock and roll all the way down to a level of silliness and childish humor, separating it from its violent rebellious roots.
With out a shadow of a doubt, the Beatles were great melodists, but at a time when melody was considered a reductive factor. As a matter of fact their melodies marked a regression to the 50s, to the type of singer the recording industry was desperately trying to push on the audience and against whom rock sought to rebel.
The Beatles tried every fashion exported by the US: Chuck Berry’s rock and roll, the vocal harmonies of the Beach Boys, the romantic melody of Tin Pan Alley, the baroque sound of Pet Sounds (Beach Boys), the rock opera Absolutely Free (Frank Zappa), the psychedelic arrangements of the Electric Prunes and the like, the hard riffs of the blues-rock jams (Cream), the synthesis of folk-rock (launched by Dylan and the Dead), and so forth. Yet the audience credited these innovations – brought about by others – to the Beatles. All things considered, their success is one of greatest paradoxes of the century. They Beatles understood absolutely nothing of what was happening around them, but the success of anything they copied was guaranteed. By buying their records, one bought a shortcut to the music of those times.
The influence of the Beatles cannot be considered musical. Music, especially in those days, was something else: experimental, instrumental, improvised, political. The Beatles played pop ditties until the end. Rock musicians of the time played everything but pop ditties, because rock was conceived as an alternative to ditties. FM radio was created to play rock music, not pop ditties. Music magazines were born to review rock music, not pop songs. Evidently, to the kids who listened to the Beatles (mostly girls attracted by their looks), rock music had nothing to say that they were willing to listen to.
They were influential, yes, but on the customs – in the strictest sense of the word. Their influence, for better or for worse, on the great phenomena of the 60s doesn’t amount to much. Unlike Bob Dylan, they didn’t stir social revolts; unlike the Jefferson Airplane and the Grateful Dead they didn’t foster the hippie movement; unlike Jim Morrison and Jimi Hendrix they didn’t further the myth of LSD; unlike Jagger and Zappa they had no impact on the sexual revolution. Indeed the Beatles were icons of the customs that embodied the opposite: the desire to contain all that was happening. In their songs there is no Vietnam, there is no politics, there are no kids rioting in the streets, there is no sexual promiscuity, there are no drugs, there is no violence. In the world of the Beatles the social order of the 40s and the 50s still reigns. At best they were influential on the secret dreams of young girls, and on the haircuts of young nerdy boys.
The Beatles had the historical function to serve as champions of the reaction. Their smiles and their choruses hid the revolution: they concealed the restlessness of an underground movement ready to explode, for a bourgeoisie who wanted to hear nothing about it.
They had nothing to say and that’s why they didn’t say it.

Pɪɴɴᴇᴅ Pᴏsᴛ Created : Thursday, June 29, 2016
нєяє'ѕ α вυи¢н σf тєχт fα¢єѕ, ѕумвσℓѕ, αи∂ ємσʝιѕ

('ε’)|°з°|͡° ͜ʖ ͡°ಠ_ಠ(҂-̀_́)(•ิ_•ิ)?(C_C)(’’)(͡° ͜ʖ ͡°)(`ε´)(-゚ロ゚)「(゚ペ)(¬_¬)ノ(TεT)(°◇°;)(´ο`)⊙ω⊙| `Д´|(´ε`)( ̄^ ̄)(⊙_⊙)(`Д´--)(´・ω・`)( ´△`)(•ᴗ•)❤( ・ω・)ノ((´д`))(^・ェ・)ノ(σ`д・´)(●__●)(-- ̄з ̄)(-_-) zzz(◎ー◎)( ̄ー ̄)(」゚ロ゚)」( ˘ ³˘)♥(`∀´)Ψo(´^`)o|( ̄3 ̄)|( ≧Д≦)(Ω_Ω)( ̄ω ̄;)( ̄m ̄)( ̄ェ ̄;)(´∀`)♡(○´3`)ノ(o´ω`o)ノ()´д`()(//・_・//)~(^з^)♡(´_`)\(`O´θ/♡´・ᴗ・`♡(≧m≦-)(´・v・)o(`д´ 。)(°o°;)ψ(`∇´)ψ(♥ω♥)(。・ω・)ノ゙(ノ´д`)o(`ω´-)o(⌒▽⌒)☆( ̄∠  ̄ )ノ(ц`ω´ц*)(●♡∀♡)( ・◇・)?(`・ω・´)~(>_<。)\(。♥‿♥。)(゜◇゜)(・◇・)ミ●﹏☉ミ( ̄へ ̄)(; ̄Д ̄)p(´⌒`。q)(_´ω`)ψ(`ー´)ψ)乂❤‿❤乂(゜▼゜*)(〝▼皿▼)( ̄(エ) ̄)ゞ( ̄~ ̄;)(=`~´=)(・`ω´・)[○・`Д´・○]ヾ(´・ ・`。)ノ(▼へ▼メ)♥(✿ฺ´∀`✿ฺ)ノく(^_・)ゝヽ(゜Q。)ノ?(○゜ε^○)☆~(ゝ。∂)。゜(`Д´)゜。s(・`ヘ´・;)ゞლ(|||⌒εー|||)ლ(∪。∪)。。。zzz(/•ิ_•ิ)/(/ω\)(╯3╰)Σ(゜゜)\( ・_・)(ノ*゚ー゚)ノヾ( ' - ')ƪ(˘ᴗ˘)┐O| ̄|_ ( ˘ ³˘)❤(`へ´*)ノ(シ_ )シƪ(‾.‾“)┐┌|°з°|┘(´ε` )♡(ノ><)ノ└|°ε°|┐(ノ゚0゚)ノ~(~‾∇‾)~w(°o°)wヽ(゚Д゚)ノ(--°∀°)=3(ノ^o^)ノ└(^o^)┐\(^o^)/('∀'●)♡∑( ̄□ ̄)(#`д´)ノヘ( ̄  ̄;ヘ)ヽ( `0´)ノ┐(゚д゚┐)└(゚д゚)┐\(^ω^\)ヽ(;^o^ヽ)(#`ε´#ゞヽ(`◇´)/\( ̄O ̄)(ノ ̄д ̄)ノヽ(--゚ー゚--)ノo (>‿<✿)\(>o<)/(。^・)ノ(⌒.−)=★<(⇀‸↼‶)>凸(`0´)凸ヘ('◇'、)/ヾ(゚∀゚ゞ)Σ(゜ロ゜;)ヾ(☆▽☆)(」゚ペ)」ヽ(°◇° )ノヽ(--´з`_--)ノ(。-ω)zzz\(°o°;)┏(`ー´)┛o(;△;)o(__ ̄O ̄)ノ<(。_。)>(〜^∇^)〜└(=^‥^=)┐( ゜ρ゜)ノ┗(^0^)┓(_/∇\*)(ヾ(´・ω・`)ヾ(´▽`;)ゝ(づ ̄ ³ ̄)づΣ(▼□▼メ)\(@O@)/(´~`--) zzz\(^▽^@)ノ(っ˘̩╭╮˘̩)っщ(゜ロ゜щ)ヾ( ̄□ ̄;)ノヘ( ̄ω ̄ヘ)(〜 ̄△ ̄)〜ヽ(●-`Д´-)ノ(」゜ロ゜)」☆ミ(o*・ω・)ノヽ(o`皿′o)ノ∩( ・ω・)∩ヾ(。 ̄□ ̄)ツヘ(´o`)ヘ[(--)]zzzヘ(。□°)ヘヾ(@^∇^@)ノ└|゜ε゜|┐└(★o★)┐(^_-)≡★(*^3^)/~♡ヾ(@⌒ー⌒@)ノヽ(●゚´Д`゚●)ノ゚( ・ω・)✄╰ひ╯ˏ₍•ɞ•₎ˎˎ₍•ʚ•₎ˏ(•∋•)(^(I)^)(`Θ´)(ó㉨ò)◎▼◎(`・Θ・´)(^(エ)^)꜀( ˊ̠˂˃ˋ̠ )꜆(=^‥^=)(=^・^=)(◉Θ◉)( ´(00)`)(๏ᆺ๏υ)(。・ω・。)(´(エ)`)(✪㉨✪)(/(エ)\)(/(エ)\)(´(00)`)’(゚∈゚)(`(エ)´)ノ(=^・ェ・^=)(--’(OO)’--)( ̄(エ) ̄)( ̄(エ) ̄)ノ“(`(エ)´)ノ@(--^ェ^)@(,,๏ ㅅ ๏,,)(ㅇㅅㅇ❀)/(^ x ^)\(・θ・)(* ̄(エ) ̄*)(`・Θ・´ )(●∈∋●)=’①。①’=/(・ × ・)\(・Θ・)ヾ(´(エ)`ノ゙(=xェx=)@(o・ェ・)@(;゚(OO)゚)/(=∵=)\(@◇@)( =①ω①=)/(=´x`=)\/(^ x ^=)\⊂(^(工)^)⊃( ̄(oo) ̄)ノ⁝⁞⁝⁞ʕु•̫͡•ʔु☂⁞⁝⁝ヽ(--’(OO)’)ノヽ( ̄(エ) ̄)ノ@(o・ェ・o)@/(≧ x ≦)\(♥ó㉨ò)ノ♡(・Θ・∞)ლ(́◉౪◉‵ლ)ヾ(T(エ)Tヽ)⊂( ̄(エ) ̄)⊃(/ ̄(エ) ̄)/(● ̄(エ) ̄●)q( ̄(oo) ̄)p(●`・(エ)・´●)└@(・ェ・)@┐⌒(=๏ x ๏=)⌒\(・`(ェ)・)/⊂( ̄(工) ̄)⊃⊂(・(ェ)・)⊃⊂(◎(工)◎)⊃@(/o・ェ・o)@/ヽ(=^・ω・^=)丿⊂(ο・㉨・ο)⊃/(=✪ x ✪=)\《/( ̄(エ) ̄)ゞ》:(*_*)`д´-ಥ_ಥ(>-<)(+_+)( p_q)(T^T)(T_T)(~_~;)(´・_・`)(ToT)(´Д`)<(_ _)>(゜-゜)(××;)⊙︿⊙⊙﹏⊙(#++)(;*△*;)╥﹏╥(个_个)(╥_╥)(T_T)(ㄒoㄒ)(メ`ロ´)/m(._.)m('๏_๏')(◎_◎;)(`´)ゞo(>< )o(┳Д┳)m(_ _)m(⊙...⊙ )ヾ(×× ) ツ(︶︹︺)(┳◇┳)(T▽T)(╯︵╰,)( ̄◇ ̄;)ヽ( ´¬`)ノヽ(#`Д´)ノ(`ー´){{p´Д`q}}\(;´□`)/(>д<)o(╥﹏╥)o(^~^)(;≧皿≦)(。┰ω┰。)╮(─▽─)╭┐( ̄ヮ ̄)┌\(_______;)/ヽ(´ー`)┌\(〇_o)/:):):-D:-P(^.^)(^_-)(^_^)(^_^;)(´∀`)(^~^)(^o^)/(^^)/(^ _ ^)/(#^.^#)(^〇^)(^_−)☆(-ノ▽ノ)(∩_∩)。^‿^。(°∀°)b(´∀`)(^‿^✿)(≧σ≦)(/^▽^)/(´ェ`--)( ゚▽゚)/(^▽^)(⌒_⌒;)(ノ^∇^)(☆´3`)(≧0≦)(^∇^)(^▽^)(^~^;)ゞ( ´ ▽ ` )ノo(^▽^)o(´ω`★)(゜▽゜;)(≧∇≦)/(≧▽≦)(ღ˘ω˘ღ)(☆^ー^☆(^ Q ^)/゛~(^◇^)/(☆^O^☆)(★^O^★)~(^з^)☆(ΦωΦ)(ノ´∀`-)ノ(^_^)ヽ(^。^)丿Ψ(´▽`)Ψ(☆^ー^☆)ヽ(‘ ∇‘ )ノヾ(^∇^)( ̄▽ ̄)ノ( ^∇^)“ψ(`∇´)ψ(^ω^)ヽ(^Д^)ノ(o⌒.⌒o)(^v^)(●´∀`●)(*^3^)(●´∀`●)(⌒▽⌒ゞ(・∀・)(>y<)(⌒▽⌒)(^▽^)/(。'▽'。)♡(´▽`*)*(´∀`)☆~ヾ(^∇^)(≧▼≦;)o((^▽^))oヽ(≧ω≦)ノ(-^〇^-)(。・ω・。)ノ♡╮(╯▽╰)╭O(≧∇≦)O(●⌒∇⌒●)O(≧▽≦)Oヽ(*⌒∇⌒)ノ⊂((・▽・))⊃ヾ(@^▽^@)ノ♡o。.(✿ฺ。 ✿ฺ)(v^_^)vo(〃^▽^〃)oヾ(@゜▽゜@)ノ♪(*^^)o∀*∀o(^^--)♪😁😂😃😄😅😆😉😊😋😍😘😚☺😏😣😥😪😫😌😜😝😒😓😔😖😷😲😞😤😢😭😨😩😰😱😳😵😡😠👿👹👺💀👻👽👾💩😺😸😹😻😻😼😽🙀😿😾🙈🙉🙊👂👃👣👀👅👄💋👃❤💓💔💕💖💗💙💚💛💜💝💞💟❣💤💢👦👧👨👩👴👵👶👮👷👸💂🎅👼👯💆💇👰🙍🙎🙅🙆💁🙋🙇👤🚶🏃💃👫💏💑👪🙌🙏💪👈👉👆👇✌✊✋👊👌👍👎👋👏👐✍💅🐵🐒🐶🐩🐺🐱🐯🐴🐎🐮🐷🐗🐽🐑🐫🐘🐭🐹🐰🐻🐨🐼🐾🐔🐣🐤🐥🐦🐧🐸🐢🐍🐲🐳🐬🐟🐠🐡🐙🐚🐌🐛🐜🐝🐞💐🌸💮🌹🌺🌻🌼🌷🌱🌴🌵🌾🌿🍀🍁🍂🍃🍇🍈🍉🍊🍌🍍🍎🍏🍑🍒🍓🍅🍆🌽🍄🌰🍞🍖🍗🍔🍟🍕🍲🍱🍘🍙🍚🍛🍜🍝🍠🍢🍣🍤🍥🍡🍦🍧🍨🍩🍪🎂🍰🍫🍬🍭🍮🍯🍵🍶🍷🍸🍹🍺🍻🍴🍳🌏🌋🗻🏠🏡⛪🏢🏣🏥🏦🏨🏩🏪🏫🏬🏭🏯🏰💒🗼🗽🗾⛲⛺🌁🌃🌄🌅🌆🌇🌉♨🌌🎠🎡🎢💈🚅🎭🎨🎰🚃🚄🚅🚇🚉🚌🚏🚑🚒🚓🚕🚗🚙🚚🚲⛽🚨🚥🚧⚓⛵🚤🚢✈💺🚀🚪🚽🛀⌛⏳⌚⏰🕛🕐🕑🕒🕓🕔🕕🕖🕗🕘🕙🕚🌑🌓🌔🌕🌙🌛☀⭐🌟🌠☁⛅🌀🌈🌂⚡❄⛄🔥💧🌊🎃🎄🎆🎇✨🎈🎉🎊🎋🎌🎍🎎🎏🎐🎑🎀🎁🎫⚽⚾🏀🏈🎾🎱🎳⛳🎣🎽🎿🏂🏄🏊🏆🎯🎮🎲♠♥♦♣🃏🀄🎴💌💣💥💦💨💫💬👓👔👕👖👗👘👙👚👛👜👝🎒👞👟👠👡👢👑👒🎩🎓💄💍💎🔊📢📣🔔🎼🎵🎶🎤🎧🎷🎸🎹🎺🎻📻📱📲☎📞📟📠🔋🔌💻💽💾💿📀🎥🎬📺📷📹📼🔍🔎📡💡🔦🏮📔📕📖📗📘📙📚📓📒📃📜📄📰📑🔖💰💴💵💸💳💹✉📧📨📩📤📥📦📫📪📮✏✒📝💼📁📂📅📆📇📈📉📊📋📌🔓📎📏📐✂🔒🔓🔏🔐🔑🔨🔧🔩🔗💉💊🔪🔫🚬🗿🔮🏁🚩🏧♿🚹🚺🚻🚼🚾⚠⛔🚫🚭⬆↗➡↘⬇↙⬅↖↕↔↩↪⤴⤵🔃🔙🔚🔛🔜🔝✡✝🔯♻📛🔰🔱⭕✅✔✖❌❎➕➖➗➰➿〽✳✴❇💱💲‼⁉❓❔❕❗〰©®™♈♉♊♋♌♍♎♏♐♑♒♓⛎▶⏩◀⏪🔼⏫🔽⏬🎦📶📳📴🔟💯🔞🔠🔡🔢🔣🔤🅰🆎🅱🆑🆒🆓ℹ🆔Ⓜ🆕🆖🅾🆗🅿🆘🆙🆚🈁🈂🈷🈶🈯🉐🈹🈚🈲🉑🈴🈳㊗㊙🈺🈵▪▫◻◼◽◾⬛⬜🔶🔷🔸🔹🔺🔻💠🔘🔲🔳⚪⚫🔴🔵🇨🇳🇩🇪🇪🇸🇫🇷🇬🇧🇮🇹🇨🇳🇩🇪🇪🇸🇫🇷🇬🇧🇮🇹🇯🇵🇰🇷🇷🇺🇺🇸🇯🇵🇰🇷🇷🇺🇺🇸1234567890@#$%&-+()"':;!? _/,. ~`|•√π÷׶∆£¢€¥^°={}\©®™℅[], <>.

hϵrϵ's thϵ αlϼhαbϵt tϒϼϵδ ῖͷ ϻαͷϒ δῖffϵrϵͷt fϴͷts.


(αиувσ∂у тнαт яєα∂ѕ тнιѕ яι∂ι¢υℓσυѕℓу ℓσиg ριииє∂ ρσѕт fяσм ѕтαят тσ fιиιѕн ∂єѕєяνєѕ α ѕнσυтσυт 😊😆😂)

Pɪɴɴᴇᴅ Pᴏsᴛ Cʀᴇᴀᴛᴇᴅ﹕Wensday, June 29, 2016
[ Please do not steal either. ]

💝иσω тнιѕ ιѕ тнє єи∂ σf му ριииє∂ ρσѕт. ρℓєαѕє єиנσу му ραgє ^^💝

█║▌│█│║▌║ ║▌║││█ © 2016 lost all hope

9 hours ago - Via Google+ - View - Cesar Orihuela : Watch the new Beatles' 'While My Guitar Gently Weeps' Video Watch the Beatles' ...
Watch the new Beatles' 'While My Guitar Gently Weeps' Video Watch the Beatles' Hypnotic 'While My Guitar Gently Weeps' Video Clip adapts 10th anniversary re-staging of track for 'LOVE,' Cirque du Soleil's theatrical Las Vegas production By Ryan Reed June 29, 2016 George Harrison's elegant Beatle...
Watch the new Beatles' 'While My Guitar Gently Weeps' Video Watch the Beatles' Hypnotic 'While My Guitar Gently Weeps' Video Clip adapts 10th anniversary re-staging of track for 'LOVE,' Cirque du Soleil's theatrical Las Vegas production By Ryan Reed June 29, 2016 ...
13 hours ago - Via Google+ - View - Beatle Boy (Macaron Master) : When you see da Rose botti
When you see da Rose botti
17 hours ago - Via Reshared Post - View - Caroline Chiasson : On June 28th 1975, David Bowie's "Fame" was released. It would go on to become Bowie's first No.1 hit...
On June 28th 1975, David Bowie's "Fame" was released.

It would go on to become Bowie's first No.1 hit in the America and featured legendary Beatle John Lennon on backing vocals.

#music   #history   #onthisday   #davidbowie   #johnlennon   #fame   #record
22 hours ago - Via Google+ - View - Rikin Trivedi : #RikinTrivedi - #n9 - Updated: iOS 10 release date, news and features: iOS 10 release date, news, features...
#RikinTrivedi - #n9 - Updated: iOS 10 release date, news and features: iOS 10 release date, news, features and beta Update: The iOS 10 release date for public beta testers is just days away. We added new info on new Apple privacy protections and, most importantly, news about 72 additional emojis. Super happy face. Apple's iOS 10 update for iPhone and iPad lives up to its milestone software version number, with the first official details announced at WWDC 2016 in San Francisco earlier this month. It's filled with major changes for your daily phone and tablet routine, but don't worry, all of the new iOS 10 features are for the best - and absolutely free to download. YouTube : The Cupertino company laid out all of its mobile operating system specs in an all-too-appropriate ten segments. We break it down even further. Here's what we learned about iOS 10. iOS 10 release date Apple is once again planning a staggered iOS 10 release date among app developers, public beta testers and then everyone else who wants to wait for the final version. Technically, iOS 10 is out right now, launching the same day as WWDC in beta form to developers. It's not ready for average iPhone and iPad users who aren't making apps just yet. Don't worry, you won't have to wait too long to test out iOS 10 on your own. Apple is planning an iOS 10 public beta in July, and it'll help squash bugs two months before the official release date. That's good news. Last year's public beta was a success for Apple judging from the smoother sailing of iOS 9, and it continued that streak with new iOS 9.3 features that also went through a three-month beta. If you decide to wait for the final version of iOS 10, it'll take a while longer due to additional bug testing. A stable version of iOS 10 should launch alongside the new iPhone 7 and iPhone 7 Plus in September. * For developers: How to download iOS 10 beta right now iOS 10 compatibility iOS 10 is coming to your iPhone, iPad or iPod touch, unless of course you have an age-old phone or tablet that still uses the 30-pin dock connector or is an older iPod touch. That's where Apple draws the new line in the sand for 2016. Its forthcoming mobile operating system update won't support for iPhone 4S, iPad 2 and iPod touch 5th gen. It's not a big surprise. In addition to their non-lightning connections, these devices include 512MB of RAM and stuck around for iOS 9 when we thought they'd be axed from that update last year. iOS 10 raise to wake Apple redesigned the iPhone and iPad lockscreen, giving us the biggest revision since the first iPhone nine years ago. Slide to unlock is gone and replaced with simple instructions: "Press Home to open." What's been added is the ability to raise your iPhone to wake it, fixing the all-too-common issue of blowing past lockscreen notifications when you hit the fast TouchID home button. This is a great solution that we have seen on a select number of Android phones, like the Google Nexus 6P and Nexus 5X, and it almost reminds me of flicking my wrist to light up the Apple Watch. This is the sleeper hit of iOS 10 that is going to change your daily iPhone routine. Rich lockscreen notifications You'll see that notifications are broken up into bubbles now and use 3D Touch to show hidden menu actions - just hard press on a calendar invite alert and you'll be able to accept or decline it. 3D Touch-enabled iOS 10 notifications work even better for Messages. You can immediately respond to messages as soon as you pick up your phone, without ever leaving the lockscreen. It's all done inline. No more digging around the home screen and layers of app menus to check vital information. If you have a doorbell camera notification, you can see who's at the front door, use the intercom or unlock the door. This "peeking at apps" capability via the lockscreen isn't limited to Apple's first-party apps. Uber is just one third-party app maker that allows you to hard press on notifications. You'll get live updates on where your driver is on a map - usually headed in the other direction. Clear all notifications button What may be the best change to iOS 10 notifications is the ability to clear all of your old notifications with 3D Touch. Swiping them away one by one or dismissing them in groups is a time-consuming mess in iOS 9. Just hard press that little "x" icon within the redesigned (and now dedicated) notifications pulldown menu and tap the "clear all" box that pops up. Tap it once to just dismiss the group of notifications. It's super easy to clear away expired alerts with iOS 10 and it will please everyone inflicted with phone notification-clearing OCD. Control Center is decluttered The swipe-up-from-the-bottom Control Center overlay menu has a brand new look that helps declutters the layout in iOS 10, and it's something Apple users have been asking for. It once again features four app shortcuts along the bottom (flashlight, stopwatch, calculator and camera app) and moves the fifth Beatle, Night Shift, to a new, bigger spot above the quartet. That fixes an issue where people said having five app shortcuts in that bottom row, a short-lived idea that came about when Night Shift debuted in iOS 9.3, made the buttons a tad too small. Bigger AirPlay and AirDrop buttons appear above Night Shift, too, while toggles for Airplane mode, WiFi, Bluetooth, Do Not Disturb and Orientation lock are unchanged (except for their new blue hue when on). But what happened to the music controls? Slide right on the Control Center, and there's a dedicated pane for the volume, playback and device output controls, and even music album cover art. Lockscreen camera and 'widgets' It's easier than ever to flip on the camera with iOS 10 because sliding the lockscreen right (when Control Center isn't open) automatically transitions to the camera app. This is a camera app shortcut we've seen on several Android phones and it beats reaching for the bottom right corner, where the camera shortcut remains in iOS 9. You use the camera app everyday, why not make it easier to access? What happens when you swipe to the left on the lockscreen? Glad you asked a second question. It reveals a new spot for Apple's Today menu "widgets." It's not as customizable as Android widgets, but it's new location a big improvement. Graphical 3D Touch shortcuts Within the home screen, 3D Touching app tiles like Activity gives you a more graphical account of your fitness goals. You'll know faster than ever that you have to close those daily activity rings. ESPN had even richer shortcut information within its 3D Touch menu. It runs scores and there's a button to easily add a widget. It's even more graphical, throwing up a drawn out play-by-play interface and video of in-progress games you're following. All of this peeking at apps can be done without leaving the home screen, and it means that 3D Touch is becoming a little more relevant in iOS 10. Talk to Siri normally Two billion requests a week go through Siri, and it's now going to do "so much more," according to Apple. With that, they announced that iOS 10 will open up Siri to third-party developers. Now you'll be able to ask Siri things like, "Send a WeChat to Nancy saying I'll be five minutes late.'" It can be said variety of ways and still understood by the now-smarter Siri. In (very literal) other words, Siri also works just fine if you say it like "Tell Nancy I'll be five minutes late with WeChat," and even "Siri, can you shoot a message on WeChat and say I'll be five minutes late?" Siri for iOS 10, all of a sudden, is going to be a whole lot less "Sorry..." for miscues. This is thanks to what Apple calls an "intense API," which even functions in this new way in its multiple languages. Siri third-party apps Besides WeChat, Siri is ready for other chat apps, like WhatsApps and Slack, and ride hailing services like Uber, Lyft and Didi in China (which Apple invested in recently). Searching photos through apps like Shutterfly and Pinterest can be done with your voice thanks to Siri, and you can start, pause and stop fitness workouts with MapMyRun, Runtastic and RunKeeper. Siri can also help you send money to friends with Number26, Square and Alipay, or start a VoIP call to tell your friend why you're not paying them on time via Cisco Spark, Vonage and Skype. This makes Siri much more useful now that Apple's personal assistant has broken free of pre-loaded apps, and makes driving a tiny bit safer thanks to messaging and VoIP integration for Apple CarPlay. Siri-influenced QuickType keyboard Apple's on-screen QuickType keyboard can intelligently tell the difference between what you're saying and what computers usually think you're saying (but not) thanks to more advanced Siri intelligence. Using deep learning kept locally, or what Apple calls "differential privacy," iOS 10 understands the wider context of what you're typing, influencing the words in the suggestion bar above the keyboard. It has better context by taking into account the whole sentence, not just spitting out the next guess based on the previous word. This will be completely opt-in, masked and stored on the device, according to Apple. That's different from Google's data-harvesting using its online servers. QuickType is also adding a handy button for your current location whenever someone asks "Where are you?" or requests someone else's contact information. That Contacts app will go further unused. Locally, Siri uses deep learning to analyze a conversation and is able to pick up on you and a friend talking about food, a proposed time and resturant address, and then pre-fill in Calendar event when you go to add it to the Calendar app. "Look at that, it's already halfway filled in," you'll say. Rounding out the QuickType iOS 10 features is the ability to paste a recent address you looked up without having to copy it to the clipboard, do the same for movies and restaurants you've searched and adjust to your multilingual typing. It's Apple new "easy button" for iOS 10, and it's all about shortcuts to everyday activities. Photos with advanced computer vision iOS 10 is going to make use of deep learning so that it'll be easier to organize photos with what it calls "advanced computer vision." This is how Apple plans to rival Google Photos. Again, stressing that it's done locally, Apple touts the Photos app's ability to create albums based on face recognition, and can do the same for object and scene recognition thanks to 11 billion computations. It also serves up a way to see photos overlaid on a map based on where they were taken. Apple plans to take Photos to the next level with Memories, which are supposed to remind you of events in life by clustering together photos into trips, people and topics. It seems to have a nice magazine-style interface I can get behind. iOS 10 will also let you assemble your captured photos and videos of a particular memory with a special movie that's cut automatically. It's customizable, with a number of mood choices and three length options, just in case you don't want to fine tune it yourself. Despite the AI-infused deep search and facial recognition capabilities, Apple promises privacy protection. Apple Maps is way better iOS 10 fixes my biggest complaint about Apple Maps - its inability to scroll ahead on a route. Right now, Maps annoyingly springs you back to your current location whenever you try to look anywhere else. You'll be free to pan and zoom around the map with the new Apple Maps update and the navigation software is also dynamically zooming in and out of long stretches and complex interchanges. Maps for iOS 10 is adding traffic on route to better compete with Google Maps and expanding its Nearby functionality with more points of interest that you can find along your route. Vehicles that supports Apple CarPlay not only get suggested alternate routes based on traffic conditions, Maps' turn-by-turn directions can pop up on the instrument (if they have a screen next to the odometer). Apple is weaving iOS 10 information from other apps into Maps, like if it knows you go to work at a certain time, it'll make a suggestion for the route, or make one based on a calendar event address. That's just the start. It's also opening up Maps to third-party developers, so Uber riders can call, follow and pay for their ride without ever leaving Apple's app. It's getting there. Apple Music Apple Music with iOS 10 is being redesigned for its 15 million paid subscribers, and it "allows the music to be the hero," according to Apple. It lets the cover art stand out. It looks to be a much cleaner design, highlighting cover art properly and suggesting music that you'll like in a more logical fashion. But it's not going to excite you for iOS 10 if you're not a paid subscriber. The Apple Music refresh does add some more depth by way of lyrics (though it doesn't seem to follow along with the words like other apps do, like SoundHound do). The For You tab is does a better job at curating your personal playlists and it absorbs the Connect tab that we previously heard was getting a diminished role. Likewise, the 'New' tab has become 'Browse.' Apple News Apple News is reaching 60 million people every month with 2,000 publications and it's in for a redesign, too. The For You tab now breaks news into personalized topics and hand-picked stories by editors. News for iOS 10 will also introduce subscriptions so that you can see every issue of National Geographic or read the Wall Street Journal, periodicals usually behind a paywall. Breaking news notifications have been added to this pre-loaded app so that big stories appear right on the iOS 10 lockscreen. Home app Apple's developer-focused HomeKit is coming to end-users with iOS 10 (and also Apple Watch), and the new app appears right on the homescreen unsurprisingly called "Home." It'll tie all of your home-based IoT gadgets together into a simple interface and include Scenes to change the mood of rooms in a pinch, no matter who makes your home's previously fragmented smart tech. Siri acts as a shortcut to interact with your home accessories, and Control Center does too. Two swipes to the right in the Control Center menu brings up a grid of home accessory toggles. Also from the lockscreen, you can peek at home notifications, say, if you get a doorbell alert. Peek into the notification by hard pressing on the bubble and a video doorbell like Ring will give you a live camera view. Phone Hate listening to voicemails? Never actually check them? Me too. That's why I'm excited that the rumored voicemail transcription idea made it into iOS 10. It'll let you know what a voicemail message says via more convenient text right within the visual voicemail. Apple is also partnering with Tencent in China to alert iPhone owners there that an incoming call might be spam. VoIP is no longer going to take a backseat, as a WhatsApp call, for example, can be answered right from the lockscreen, just like a normal incoming call. They'll also be part of your recent and favorites lists. Messages Messages is introducing rich links within a conversation and a live camera view as soon as you press the camera button. Like emoji's? You're going to love iOS 10. Apple is making bigger emojis that are now three times as large as before, and the keyboard can now identify words you can easily replace with emojis via a single tap on each word. There's also a chance that the final version of iOS 10 launches, likely in September, Apple will include the 72 new emojis developed by the Unicode Consortium. They're already in the company's emoji style and Android N is set to debut them too. Hop (kangaroo) to it, Apple (apple fruit). Expressions don't stop there. There'll be bubble effects so you can "say it loud" with a bursting bunch of text, or say something "gently" with slow-to-exist texts. You can also use "Invisible Ink" that requires the message receiver to slide their finger over a text or photo. It'll either be a nice surprise, or horrific shock to your friends. Apple showed off an Invisible Ink demo in which a blurry photo turned out to be a bride-to-be's hand with a wedding ring on it. I'm pretty sure there are going to be a lot of appendages sent using Invisible Ink. You can react to individual messages with expression-driven Tapbacks (reminds me of Facebook reactions) and write out meaningful messages with handwritten "digital ink." With club disco lights, big emoji and full-screen fireworks for iOS 10, Messages is one crazy app. But it'll get even more insane in the future because Apple is opening up Messages to developers with an SDK. So far, Apple has shown off integration for licensed Disney stickers, food ordering services and bitmoji-like expressions provided by JibJab. More to come from iOS 10 Rounding up iOS 10, Apple quickly mentioned Notes with multiple users editing a document, the ability to edit Live Photos without annoyingly relegating them to stills and a new conversation view for Mail. On the iPad, Split View support for two Safari windows has been added, finally letting you open up dual Safari windows at once on your tablet, you multitasker, you. Apple said that despite the deep learning capabilities of iOS 10, it'll keep that to the silicon on your device and not invade your private data thanks to "differential privacy." We'll have more on iOS 10, as the developer beta prepares us for the iOS 10 public beta. When that launches in a few days in July, we'll certainly discover additional features to talk about. Watch this space: Apple Watch 2 and watchOS 3 iOS 10 rumors that we wanted to come true Apple's iOS 10 update for iPhone and iPad is the milestone upgrade that's almost certainly going to launch today at WWDC 2016. Downloading the iOS 10 beta on June 13 and the final release three months later is now so routine, it's no longer a big scheduling surprise. But where Apple takes the mobile operating system is still a mystery. We're just now reporting on the first iOS 10 update rumors, including new interface and app features that haven't been pushed out to your iPhone 6S and iPad Pro 12.9 as part of iOS 9.3. Apple is preparing the redesigned iPhone 7 and iPhone 7 Plus, according to the latest leaks, and that means the interface may take on a few surprises. Here's what we've heard in the news. iOS 10 release date Apple is testing iOS 10 right now, meaning it's on track for another June release date at the company's Worldwide Developers Conference event, WWDC 2016. Siri let us know that the keynote date is today, Monday, June 13. It's when official iOS 10 announcement will happen with an introduction by Craig Federighi, Apple's senior vice president of software engineering. The iOS 10 beta should be available to developers immediately, while a public beta is likely to launch in July, just as it did with iOS 9. After all, last year's public beta was a big success for Apple judging from the smoother sailing of iOS 9, and it continues to be a surprise with new iOS 9.3 features. If you decide to wait for the final version of iOS 10, it'll take a while longer due to additional bug testing by developers and faithful Apple fans trying out the beta. A stable version of iOS 10 should launch alongside the new iPhone 7 and iPhone 7 Plus in September. iOS 10 beta The iOS 10 beta should be back given the initial rousing success of the iOS 9 beta to squash software glitches. That means you can anticipate three ways to download the operating system update once iOS 10 becomes available. Apple Developer Program members will be the first to install iOS 10, likely in mid-June. That requires enrolling in the official developer program and paying a fee of $100 (about £69, AU$140). Since everyone wants everything for free these days, you can wait a few weeks, typically in July, to test out iOS 10 early via the public beta. It requires jumping through some hoops on Apple's website, but registration takes no more than a few minutes of your time. The iOS 9 beta program was more unfinished than it was buggy. I counted just a few missing features, not glitches, so it wasn't a hassle to download a year ago. And it was free and an over-the-air update, so it's a friendly middle ground if you want to try iOS 10 before almost most everyone else. iOS 10 compatibility Amazingly, iOS 9 didn't cut anyone out of the mix when the update rolled out to devices in September. The iPhone 4S and iPad 2 still work with the latest operating system update. That may not happen again given the simple fact that iOS 10 may require more than 512MB of RAM. We really thought both of these devices would be axed when the iOS 9 update became available. Because these Apple gadgets are going to be five years old by the time iOS 10 comes out, we think it's time to put the still-clinging-to-life 30-pin dock-equipped phone and tablet to rest. Expect the iPhone 6S, iPhone 6, iPhone 5S, iPhone 5, iPhone 5C, and the bigger iPhone 6S Plus and iPhone 6 Plus to handle iOS 10 without a hitch. Add the newer iPhone SE to the phone roster, too. Same goes for the iPad Pro 9.7 and 12.9, iPad Air 2, iPad Air, iPad mini 4, iPad mini 3, iPad mini 2 and maybe even the original iPad mini. Also, not to be forgotten, the iPod Touch 6th gen should be fine. Siri and voicemails When it comes to iOS 10 features, we fully expect Apple to improve Siri simply because this happens every year. This time, Siri may become your true personal assistant by handling your voicemails. The became the first big iOS 10 rumor: Siri can tell a caller why you can't pick up the phone and even transcribe voicemail messages so you can read them on the go or in loud venues. The Siri voicemail service is reportedly part of something called iCloud Voicemail, and it's supposed to be an enhancement of the standard digital audio recorder. Apple isn't launching a mobile network of its own like Google's Project Fi, at least not yet. However, this feature, if it's a part of iOS 10, means that the company is one step closer to doing just that. Siri third-party apps That's not everything we may see from Siri. Apple's personal assistant for iOS users is likely to become entrenched in your home as a competitor to Amazon Echo and forthcoming Google Home speakers. To do this, however, the normally-closed-off company needs to open up Siri so that more third-party apps will be able to use the capabilities. Amazon's Alexa assistant can easily call up an Uber, for example. The latest rumors indicate that there's a Siri SDK that will debut at Apple's WWDC keynote on June 13, and there's a chance it could come with new speaker hardware (though that's less certain). That's certainly going to impact iOS 10, as an enhanced Siri used by third-party apps will jumpstart the amount of things Apple users can do after saying "Hey Siri." Peer-to-peer Apple Pay payments Apple Pay is continuing to expand to new countries, but what's missing from your iPhone's digital wallet is the ability to directly send people payments. So far it's just between you and an NFC cash registers. You can't treat Apple Pay as if it were PayPal just yet, but that may change with the new iOS 10 update, according to the longest-running rumors about the operating system. Apple is said to be challenging the popular Venmo mobile payments app with the same ability: to send money between iOS devices. You may have to pay your Android friends back with real money, though. That's still good news for iOS users who want Apple Pay to become more useful. Samsung Pay is poised to encroach on the Cupertino company's territory, and new features is the best way counteract that. Apple HomeKit Your home is about to become smarter thanks to all of your household tech coming together to live under one roof: your iOS 10 device. Apple's Home app will transform for iPhone, iPad and Apple TV into remotes for smart bulbs, door locks, thermostats, door bells and all sorts of gadgets that fall into the Internet of Things classification. Right now, this smart home technology is extremely scattered. It's going to take a company like Apple to bring it together. You may recall that the developer-focused HomeKit is a year-and-a-half old, but iOS 10 is expected to make it into a front-facing feature for users with a new Apple Home app. Apple Music redesign Apple Music will celebrate its one-year anniversary at WWDC 2016 with a sudden aging-rockstar facelift. Yes, the new streaming service is already in for a retooling of its user interface. It's no surprise. There's a confusing rift between Apple Music streaming and iTunes music downloading, and that clunky design was cited as the main issue in our review. Just don't anticipate Apple Music Connect to play a prominent role. The underutilized tab, meant to let artists share photos, videos and demo tracks with fans, didn't live up to its "connect" label, is in for a demotion. Make 3D touch relevant 3D Touch made its debut with the new iPhone 6S and iPhone 6S Plus, and at first it was a little underwhelming. More apps now use it, but it could still stand to have a better reason to exist. Control Center is exactly where this Force Touch-like technology should head next. Pressing the Wi-Fi or Bluetooth on-screen button should pop up the respective settings menus in a overlay window. Apple has done such a good job over the years by sliding opaque menus into view without requiring you to exit apps. These Control Center buttons should follow the very same principle. There are also rumors that Apple may get rid of the home button with an on-screen button (sort of like on some Androids) that uses 3D Touch. It's not a popular theory among all, but it may happen one day. Customizable Control Center While 3D Touch would go nicely with Control Center, it'd also be clever to have the entire menu overlay become customizable. Right now, everything's set in stone by Apple. Instead of forcing everyone to have the Clock icon be a shortcut to the time, why can't I make that go to the stopwatch? Why can't the calculator icon be swapped out for a Photos shortcut? These are some of the requests we've been hearing from Apple users since Control Center made its debut in iOS 7 back in 2013. It's about time Apple put them into action. Apple News in the forefront There's nothing necessarily wrong with Apple News. The Flipboard-like app works well and has some of my favorite publications, but the app is too far removed. I hardly ever tap into it. A better move would be to expand its presence in the leftmost menu. Yes, this is something that Samsung has done with its phone and tablets with Flipboard, but I've come to appreciate it. Otherwise, tucking the entire Apple News interface into its own app silos it from the rest of the operating system without the pizzaz it really deserves. Volume controls There's nothing more annoying than turning down the volume, tapping on a YouTube video during the middle of the night and hearing it still blare out my iPhone's mono speaker. Media controls are different from notification controls, it turns out, and there's no easy way to turn down the volume on a video without starting it up first. That's annoying. Many Android phone manufacturers have cleverly split up the volume control into two or three groups, and it doesn't look messy with a dropdown for more options beyond the main volume. With iOS 10, Apple needs to catch up with the times on volume controls, as the iPhone and iPad rocker doesn't exactly rock with limited and often confusing options. Cache and orientation bugs There are bugs and limitations to the iPhone and iPad that could be resolved with the iOS 10 update. Namely, caching and orientation flaws trip me up on a daily basis. I'd like to be able to minimize an app without having it reset (read: Instagram) when I open it back up later on after having opened a couple of other apps in the interm. Memory seems to be the issue. I'd also like iOS 10 to address the flaw in which screen orientation flips too easily into landscape mode when unlocking the phone. It seems to be a bigger problem on my iPhone 6S. Its size is already unwieldy enough, and oddly, this doesn't happen on the smaller iPhone 6. Multi-user support Apple did a really nice job upgrading iOS 9 for its iPad line. Split Screen multitasking and better Bluetooth keyboard support made a big difference. However, Apple still hasn't given its fanbase multi-user support. This is something that Android tablets have had for a while and it's sorely missing on Apple devices. iOS 10 could be the time to do it. In fact, the infrastructure for multi-user login support has launched ahead of iOS 10. It turns out that iOS 9.3 includes new education features for multiple student-logins for classrooms. That's a good sign. Given that iPad Pro just came out in the last few months, and it's way more than a personal device, a lot of businesses and artist-filled studios might buy into the supersized idea if this could happen. Apple did introduce multi-user support for students in iOS 9.3 thanks to a new set of education features. It could easily expand the idea with iOS 10 at WWDC. iOS 10 Touch ID Touch ID works really well. It's faster than ever on the iPhone 6S and iPhone 6S Plus, and it's really accurate. Maybe not as fast at the Nexus 5X and Nexus 6P, but is it still too quick for its own good? That's what I've been hearing from users of Apple's new smartphones. They habitually light up their phones with the home button, only to have their notifications vanish. iOS 9 made notifications easier to view in the pulldown menu by sorting them in chronological order (not by group), but an easier way to wake the phone may be in order. LG and HTC use an ingenious double tap the screen to wake method that makes the entire display a big button. That would solve this problem for Apple, and we're looking for hints of that in iOS 10 in advance of the iPhone 7 launch. More iOS 10 updates to come This isn't the last word on the iOS 10 update. Apple's still until Monday to unveil the software, and three months after that to finalize everything. What we've heard so far is just rumors. That gives us a little more time to hunt down official news and slightly less official leaks about the iPhone and iPad mobile operating system update. The iOS 10 release date seems like the easy part: likely today, June 13 for the developer beta, July for the public beta and September with the iPhone 7 for the final launch. iOS 10 features, on the other hand, remain a mystery with the exception of the solid-sounding Siri voicemail lead. There's definitely more to come during today's WWDC 2016 keynote at 10:00am Pacific time. * Top competitor: Google's Android N update - @Rikins #Rikin #SimplyRik
Watch the video: iOS 10: Everything you need to know in under 2 minutes
iOS 10 was just announced during Apple's WWDC keynote. Here are the new features coming to your iPhone and iPad, and information on the staggered iOS 10 rele...
1 day ago - Via - View - beatle girl :
1 day ago - Via Google+ - View - florcita pro palomino : Wonderfully hilarious. I don't miss Benny Hill as much after watching this... Pinging +Mark Barrus​...
Wonderfully hilarious. I don't miss Benny Hill as much after watching this...

Pinging +Mark Barrus​, +Sean Cowen​ and anyone else who wants to learn cooking from a Beatle.
Paul McCartney making mashed potatoes
Oleg Moskalensky shared a video
1 day ago - Via Reshared Post - View - Ken Harbit (Pogi) :

The sad story of Jimmie Nicol: The guy who replaced Ringo Star and lived as a Beatle for two weeks ... ...
There is a guy that is best known for replacing Ringo Star for 13 days. This is is the story of Jimmie Nicol and it’s…
1 day ago - Via Google+ - View - Beatle Boy (Macaron Master) : Quite possibly the weirdest drawing I've ever made
Quite possibly the weirdest drawing I've ever made
1 day ago - Via Google+ - View - DENIO VALE : Paul McCartney was ‘so confused’ on Brexit that he couldn’t vote By Geoff Edgers June 28 - The Washington...
Paul McCartney was ‘so confused’ on Brexit that he couldn’t vote
By Geoff Edgers June 28 - The Washington Post
The legendary former Beatle said that, in the end, he couldn’t decide whether the United Kingdom should stay or go.
Paul McCartney was ‘so confused’ on Brexit that he couldn’t vote
The legendary former Beatle said that, in the end, he couldn’t decide whether the United Kingdom should stay or go.
1 day ago - Via Google+ - View - Gayatri Ramakrishnan : I mistaken people who wear Beatle t shirts to be Beatlemaniacs
I mistaken people who wear Beatle t shirts to be Beatlemaniacs
1 day ago - Via Google+ - View - written by Beatle :

Watch the video: tolakong1 1

2 days ago - Via - View - its BAMBAM : Favorite Beatle? And for those who don't know them please listen to their music. Ringo played Drums...
Favorite Beatle? And for those who don't know them please listen to their music.

Ringo played Drums
George played Lead guitar
John played rhythm guitar
Paul played bass
2 days ago - Via Community - View - TheWolfjr : [Published on May 21, 2012] Stuart Sutcliffe The 5th Beatle - Video Production NYC
[Published on May 21, 2012] Stuart Sutcliffe The 5th Beatle - Video Production NYC
Watch the video: Stuart Sutcliffe The 5th Beatle - Video Production NYC - (844) 783-7763
Video Production NYC - QUE Productions - Documentary Videos have always been and remain an effective way of communicating with ...
2 days ago - Via Google+ - View - Ashley Shepherd : "I spend a day with John Lennon" (my own changes on the song N W) I once was with John, or should I...
"I spend a day with John Lennon" (my own changes on the song N W)

I once was with John, or should I say, he once was with me
He showed me his studio, isn't it good, Abbey Road Studios?

He asked me to stay and he told me to sit anywhere
So I looked around and I noticed there wasn't a chair

I sat on the rug, biding my time, drinking his coffe
We talked until two and then he said, "It's time for practice songs"

He told me he worked almost all the day and started to laugh
I told him I didn't and crawled off to sleep in the couch

And when I awoke I was alone, this Beatle has gone
So I started to think, isn't it good, Abbey Road studios?
2 days ago - Via Google+ - View - Maury Swoveland : Green Heron (Juvenile or 1st Summer), and a Young Scrub Jay eating a June Beatle.
Green Heron (Juvenile or 1st Summer), and a Young Scrub Jay eating a June Beatle. 
2 days ago - Via Community - View - Jassy Gail : ♩ Sir. Paul Is ^Acquiescing^Thinking This Is The ^One millionth^ Time I've Been Asked: So How Do You...
Sir. Paul Is ^Acquiescing^Thinking This Is The ^One millionth^ Time I've Been Asked: So How Do You Like Being A Beatle Answering- It's CHEEKY
2 days ago - Via Reshared Post - View - John Gonzalez : Hopefully this haircut will grow to be a Silver Beatle haircut.
Hopefully this haircut will grow to be a Silver Beatle haircut.
2 days ago - Via Google+ - View -