Vick,
I did ok with it a few years ago. I don't know how accessible it is now.
Sharon and Pearl
-----Original Message-----
From: ourplace-bounce@xxxxxxxxxxxxx [mailto:ourplace-bounce@xxxxxxxxxxxxx] On ;
Behalf Of Victor Lawrence
Sent: Tuesday, September 13, 2016 5:39 PM
To: ourplace@xxxxxxxxxxxxx
Subject: [ourplace] Re: 'Eight Days a Week' embraces The Beatles as a live
sensation
I need to sign up for Hulu if it's accessible.
Vic
On 9/12/16, Rosemarie Chavarria <knitqueen2007@xxxxxxxxx> wrote:
Hi, Vicky,You are subscribed to Ourplace (
If this is coming out on Hulu, I think I'll be able to watch it.
Rosie
'l
On 9/11/2016 2:37 PM, Vickie wrote:
Blank
'Eight Days a Week' embraces The Beatles as a live sensation Kim
Willis , USA TODAY LAS VEGAS To hear Paul McCartney and Ringo Starr
tell it, The Beatles wrote the most beloved songs in rock history to
avoid being upstaged by rival cover bands. "The band before you could
do your whole act,"
McCartney says
of the Fab Four's earliest days as live performers. "It wasn't like
this great muse came down it was the only way out of this situation.
We'd better write
a few because then they can't do them before we go on. The two
surviving Beatles are seated chummily, side by side, on an enormous
white sectional in a plush villa at The Mirage to talk about Eight
Days a Week: The Touring Years. The documentary (in theaters Sept.
16, on Hulu Sept. 17), directed by Ron Howard, tracks the group in
concert from the beginnings of Beatlemania through their last trek in
1966 using fan-sourced clips and new and archival interviews.
The project follows a narrative arc that asks, "How on earth did they
stay sane and stay together through this tidal wave of fame, fortune,
glitz and people yelling at them, and not have their souls
expropriated? producer Nigel Sinclair says. Howard's idea was to look
at "this moment of this kind of explosion through the point where it
wasn't really sustainable and make an adventure story out of it,"
says the director, who watched John Lennon, George Harrison,
McCartney and Starr burst into American consciousness in 1964 on The
Ed Sullivan Show. Three weeks later, when he turned 10, "I wanted a
Beatle wig. And that's what I wore all around for my birthday. In the
film, The Beatles are seen performing sets that play like pantomime,
unable to hear themselves over the deafening shrieks and nearly being
crushed by surging fans. "It's about us dealing with the life we had
to lead in those days," says Starr, 76. Still, "we were never full of
fear. In Wales, some kid grabbed me by the hair, which in those days
was a lot longer, and would not let go. I was a little sore there for
a while. But that was the most that ever happened. The Beatles
performing at the Cavern Club in Liverpool on Aug. 22, 1962, days
after Ringo Starr replaced Pete Best as the band's drummer. "I played
with three different bands (one night), because two drummers didn't
show up,"
Starr says. "And
I knew the whole act of everybody, because we were all playing the
same songs. (Photo: Apple Corps Ltd.) The chaotic 1965 Shea Stadium
show, the beginning of the big-venue rock era, proved both momentous
and manic. "We could either be very angry and annoyed in front of
56,000 people or get hysterics, which is what kicked in," says
McCartney, 74. "And so there's John doing his solo on I'm Down," he
says, running his elbow up and down an imaginary
keyboard:
"'Rrrr, rrrr, rrrr. We're just 'Ha, ha, ha. It just went to
hysterics, which was often the safety valve. New to most fans is the
revelation that The Beatles flatly refused to play to a segregated
audience in Jacksonville and insisted on integrating the Gator Bowl.
"It wasn't the kind of thing we wanted to boast about, to say, 'Yeah,
you know what? We're anti-segregation. We just were," McCartney says.
"Are they crazy? You can't go to the gig? It was like a foreign
thought," Starr adds. The boys banter with the press on Feb. 11,
1964, as they travel by train from New York to Washington for their
first U.S. concert.
When they went to the British ambassador's house there for a
reception, a guest snipped off a piece of Ringo Starr's hair for a
souvenir. "We thought it would be quite a cool crowd, but they
weren't cool at all," Paul McCartney says. (Photo: Apple Corps Ltd.)
What fascinated Sinclair was how the eventual decision to quit
touring illustrated The Beatles' process as a collective. "If all
four of them agreed, that was their universe. They created this
center of power and gravity," he says. "Our aim was to show you that
they had to decide to end, the butterfly emerging from the chrysalis"
to focus the second half of The Beatles' career in the studio. But
they feel good about those years on the road. "We get in a band, and,
you know, the band gets good. It's just this whole miracle of these
four little guys from Liverpool coming together," McCartney marvels.
England had just stopped military conscription, "and we all would
have had to go into the Army the next year. "I always think of it
like God opening the waters for Moses: 'Well, OK, you don't have to
go in the Army. You can be The Beatles.'
