Garry Potter And The Same Old Nonsense by David Backhim (my miracle luna book free read .txt) đ
Download in Format:
- Author: David Backhim
Book online «Garry Potter And The Same Old Nonsense by David Backhim (my miracle luna book free read .txt) đ». Author David Backhim
at least he has quite clearly got a personality, unlike many of the other sporting robots who perform their heroics on auto-pilot and are then curiously short-listed for sports âpersonalityâ of the year.
It is my humble estimation that a new awards channel should be established so that all those wretched ceremonies where the great and the good congregate in their finest attire, eat a slap-up meal, drink themselves silly, and pay ghastly tributes to their fellow luvvies, can be shunted off to an exclusive pay-per-view channel. A typical dayâs broadcasting schedule for an awards channel would look something like this:
00.00-02.00: Cat Burglar of the Year awards
02.00-04.00: National Insomniac awards for 2008
04.00-06.00: The Milkman of the Year review
06.00-08.00: Breakfast Television awards, sponsored by Kelloggâs
08.00-10.00: Wife-beater of the year awards, presented by Jerry Springer
10.00-12.00: Daytime televisionâs television awards, presented by Kay Adams
12.00-14.00: Spoilsports personality of the year awards
14.00-16.00: Award ceremony of the year awards
16.00-18.00: Richard And Judyâs Celebrity Book of the Year awards
18.00 20.00: Reality TV awards, presented by very special guest, Davina McCall
20.00-22.00: Prime-time tacky TV awards, presented by Graham Norton
22.00-00.00: Comedy (or farcical) awards, presented by Johnathan Woss
GERALD WILEY
The supremely gifted Two Ronnies, like many entertainers, were ably assisted by various comedy scriptwriters, including Terry Jones and Michael Palin of Monty Python fame. One such contributor who made a favourable impression was the writer, Mr. Gerald Wiley. In fact, one of Ronnie Barkerâs bosses at the BBC was so fascinated by the material from the reclusive Mr. Wiley that he urged Ronnie Barker to introduce this Gerald Wiley. As a consequence, Ronnie Barker and his superior went out for a meal during which it had been arranged that Mr.Wiley would join them. As the dinner started in the absence of Mr. Wiley, Ronnie Barker was asked what had happened to this missing Wiley character, when the late great bespectacled one confessed to his dining partner, âwell, actually, Iâm Gerald Wiley!â
THE BEATLES: THE END OF THE DREAM
By 1966, even three long years after the phenomenon of Beatlemania, the Fab Four could still seemingly do no wrong. The Beatles had been awarded MBEs and showered with critical acclaim, not to mention riches accumulated from albums and singles that unerringly ascended to the top of their respective charts. However it could be argued that the growing disharmony that characterised the groupâs later years could be traced back to 1966.
True, John Lennon cried for âHelpâ in 1965 which maybe was a revelation that being a successful Moptop was not all that it was cracked up to be, but it was the following year when the unsinkable Beatles started struggling to keep afloat, though not financially. Instead, 1966 was a turbulent year that persuaded Liverpoolâs finest to kick tours and concert appearances into touch â and with good reason. A bad experience in the Philippines where the four cheeky chappies had the âaudacityâ to snub President Marcos and his shoe fetish wife led to the Beatles fleeing almost in fear for their lives. Worse was to follow in the United States.
Hailed as conquering heroes in February 1964, the Beatles now incurred the wrath of the âBible Beltâ after John Lennon tactlessly, though perhaps accurately, was revealed to have stated in a newspaper interview that âweâre more popular than Jesusâ. Those apparent Jesus-followers, the Ku Klux Klan were incensed, while public burnings of Beatles merchandise prompted the Fab Four to decide that their concert at Candlestick Park in San Francisco at the end of August would be their final gig. By a curious coincidence, another questionably fab four, the Sex Pistols, would also play their last concert in San Francisco in January 1978 before a brief reunion occurred two decades later.
John Lennon later confessed that âthis was the end really, but I was too scared to walk away.â Having known nothing else but performing and composing music for almost a decade, the Beatles soldiered on, on the understanding that they would devote their energies to the recording studio whilst also fulfilling their contracted film-making obligations. After John returned from his film role in âHow I Won The Warâ and George Harrison returned from India, the Beatles in mid-winter set about the difficult task of finding a suitable follow-up to their âRevolverâ album. The result was âSergeant Pepperâs Lonely Hearts Club Bandâ.
Released in June 1967 and following in the footsteps of the outstanding double A-side of Strawberry Fields Forever coupled with Penny Lane, the Beatles were scaling new peaks. With their new single, âAll You Need Is Loveâ broadcast via the âOur Worldâ television project to a massive global audience, the Liverpool quartetâs plans for world domination had apparently paid off handsomely. However, just as the end of touring had curtailed the groupâs functions, they soon found themselves manager-less as their mentor Brian Epstein, recently marginalised by the decision to stop touring, was found dead from an overdose in August. It was a terrible end to a colourful âflower powerâ summer of love.
The Beatles then made the grave error of persevering without a manager for almost eighteen months, choosing to run their own business affairs. The trouble was that their Apple project that included a boutique as well as signing new artists to their new record label proved that the ensemble were as talented at losing money as they were at accumulating it. The tempestuous year of 1967 also ended on a low note, arising out of a perfectly understandable public reaction to the television broadcast of the short Magical Mystery Tour film. All I will say is that while the accompanying music remained of the highest quality, the movie itself left an awful lot to be desired. It ought to have been ample evidence that the group were not film-makers, but it did not deter them from filming the recording sessions for the âLet It Beâ album in early 1969 for a project initially entitled âGet Backâ.
This particular movie was a courageous if foolish attempt at cinema verite, in which the artists were to be screened warts and all. The problem was that relations had deteriorated to such an extent that the recording sessions were miserable, and even placid George Harrison was moved to tell a domineering Paul McCartney âIâll play whatever you want me to play. Or Iâll not play at all, if you donât want me to. Whatever it is that will please you, I will do it.â
Bickering in the recording studios is commonplace in every band, but the sight and news of the loveable Moptops quarrelling was hard for their adoring public to digest. Even easy-going Ringo Starr had cause to walk out on the group during the recording sessions for the âWhite Albumâ back in September 1968. Not even enlightenment from their new guru, the Maharishi Mahesh Yogi, nor the continued success of their latest releases could bring a smile to their faces.
In an act of desperation at their state of misery, the group made a final impromptu public performance on the top of the Apple building in central London, causing the city centre traffic to come to a standstill, while work halted in nearby buildings, as the Beatlesâ January 1969 concert reminded the public of their magic. It culminated of course in John stating that âI hope we passed the audition.â They did, but John and Paul failed two different auditions â namely their relationships with Cynthia Lennon and Jane Asher. Not only did the song-writing partners fall out of love almost simultaneously, but remarkably they both got married in quick succession in March 1969, thus providing the lyrics to their next chart-topper, âThe Ballad Of John And Yokoâ.
It was their marriages more than anything that spelt the end of the dream. Such was the intensity of their new passions that it would impact upon the tightly-knit group dynamic. In the case of Paul, he was strongly in favour of Lee Eastman, his wife Lindaâs father, taking over the reins as the new group manager, but he was over-ruled by the rest of the band who elected the Rolling Stonesâ hard-boiled manager Allen Klein. This decision did nothing for Paulâs affection for the other three. Worse than this, John alienated himself from the others by insisting that his new partner, Yoko Ono, be allowed to trespass the holy of all holies â Beatles recording sessions. Yokoâs presence at the construction of the excellent âWhite Albumâ, followed by âLet It Beâ and finally âAbbey Roadâ antagonised the others whose collective policy of no wives or girlfriends in the recording studio had been violated.
The cracks were well and truly starting to emerge, yet for all the increased tension, the group continued to enjoy chart-topping success. In fact, it wasnât until the release of George Harrisonâs supremely beautiful âSomethingâ in the autumn of 1969 that the group ironically failed to reach the top three in the British singles chart for the first time in a staggering seven years. The song was issued to support their new album âAbbey Roadâ, which with the assistance of George Martin saw the group bury their differences and complete their swansong in August 1969 without the acrimony that had upset recent recording projects.
Nevertheless, when Paul suggested several weeks later that the group start touring again, John was having none of it. âI think youâre daftâ, he reportedly replied. âI want a divorceâ, he said, only for Allen Klein and Paul to talk him out of any public announcement. Paul, realising he could no longer cajole an unwilling group, set about recording his debut solo album, and when Ringo was despatched the following spring to urge Paul not to release his solo debut simultaneous to the belated outing of âLet It Beâ, Paul apparently threw Ringo out of his house. The inevitable happened, though in unforeseen circumstances, when Paul announced the break-up of the Beatles which was all the more ironic since he was least in favour of a split. An incensed John retorted that âPaul hasnât left the Beatles. Iâve sacked him.â By the end of 1970, Paul felt the need to take his old buddies to the High Court to dissolve the partnership. John in his track called âGodâ subsequently sang âthe dream is over.â
THE STROLLING RUINS IN 1967
1967 was a pivotal year in the evolution of the youth generationâs counter-culture. It incorporated the Monterey pop festival, the hippy pilgrimages to Haight-Ashbury in San Francisco, the âsummer of loveâ, âflower powerâ, the emergence of a new guitar hero called Jimi Hendrix, and the explosion of psychedelic music and fashion, while Sergeant Pepper first saw the light of day and The Beatles reminded a worried world that âAll You Need Is
It is my humble estimation that a new awards channel should be established so that all those wretched ceremonies where the great and the good congregate in their finest attire, eat a slap-up meal, drink themselves silly, and pay ghastly tributes to their fellow luvvies, can be shunted off to an exclusive pay-per-view channel. A typical dayâs broadcasting schedule for an awards channel would look something like this:
00.00-02.00: Cat Burglar of the Year awards
02.00-04.00: National Insomniac awards for 2008
04.00-06.00: The Milkman of the Year review
06.00-08.00: Breakfast Television awards, sponsored by Kelloggâs
08.00-10.00: Wife-beater of the year awards, presented by Jerry Springer
10.00-12.00: Daytime televisionâs television awards, presented by Kay Adams
12.00-14.00: Spoilsports personality of the year awards
14.00-16.00: Award ceremony of the year awards
16.00-18.00: Richard And Judyâs Celebrity Book of the Year awards
18.00 20.00: Reality TV awards, presented by very special guest, Davina McCall
20.00-22.00: Prime-time tacky TV awards, presented by Graham Norton
22.00-00.00: Comedy (or farcical) awards, presented by Johnathan Woss
GERALD WILEY
The supremely gifted Two Ronnies, like many entertainers, were ably assisted by various comedy scriptwriters, including Terry Jones and Michael Palin of Monty Python fame. One such contributor who made a favourable impression was the writer, Mr. Gerald Wiley. In fact, one of Ronnie Barkerâs bosses at the BBC was so fascinated by the material from the reclusive Mr. Wiley that he urged Ronnie Barker to introduce this Gerald Wiley. As a consequence, Ronnie Barker and his superior went out for a meal during which it had been arranged that Mr.Wiley would join them. As the dinner started in the absence of Mr. Wiley, Ronnie Barker was asked what had happened to this missing Wiley character, when the late great bespectacled one confessed to his dining partner, âwell, actually, Iâm Gerald Wiley!â
THE BEATLES: THE END OF THE DREAM
By 1966, even three long years after the phenomenon of Beatlemania, the Fab Four could still seemingly do no wrong. The Beatles had been awarded MBEs and showered with critical acclaim, not to mention riches accumulated from albums and singles that unerringly ascended to the top of their respective charts. However it could be argued that the growing disharmony that characterised the groupâs later years could be traced back to 1966.
True, John Lennon cried for âHelpâ in 1965 which maybe was a revelation that being a successful Moptop was not all that it was cracked up to be, but it was the following year when the unsinkable Beatles started struggling to keep afloat, though not financially. Instead, 1966 was a turbulent year that persuaded Liverpoolâs finest to kick tours and concert appearances into touch â and with good reason. A bad experience in the Philippines where the four cheeky chappies had the âaudacityâ to snub President Marcos and his shoe fetish wife led to the Beatles fleeing almost in fear for their lives. Worse was to follow in the United States.
Hailed as conquering heroes in February 1964, the Beatles now incurred the wrath of the âBible Beltâ after John Lennon tactlessly, though perhaps accurately, was revealed to have stated in a newspaper interview that âweâre more popular than Jesusâ. Those apparent Jesus-followers, the Ku Klux Klan were incensed, while public burnings of Beatles merchandise prompted the Fab Four to decide that their concert at Candlestick Park in San Francisco at the end of August would be their final gig. By a curious coincidence, another questionably fab four, the Sex Pistols, would also play their last concert in San Francisco in January 1978 before a brief reunion occurred two decades later.
John Lennon later confessed that âthis was the end really, but I was too scared to walk away.â Having known nothing else but performing and composing music for almost a decade, the Beatles soldiered on, on the understanding that they would devote their energies to the recording studio whilst also fulfilling their contracted film-making obligations. After John returned from his film role in âHow I Won The Warâ and George Harrison returned from India, the Beatles in mid-winter set about the difficult task of finding a suitable follow-up to their âRevolverâ album. The result was âSergeant Pepperâs Lonely Hearts Club Bandâ.
Released in June 1967 and following in the footsteps of the outstanding double A-side of Strawberry Fields Forever coupled with Penny Lane, the Beatles were scaling new peaks. With their new single, âAll You Need Is Loveâ broadcast via the âOur Worldâ television project to a massive global audience, the Liverpool quartetâs plans for world domination had apparently paid off handsomely. However, just as the end of touring had curtailed the groupâs functions, they soon found themselves manager-less as their mentor Brian Epstein, recently marginalised by the decision to stop touring, was found dead from an overdose in August. It was a terrible end to a colourful âflower powerâ summer of love.
The Beatles then made the grave error of persevering without a manager for almost eighteen months, choosing to run their own business affairs. The trouble was that their Apple project that included a boutique as well as signing new artists to their new record label proved that the ensemble were as talented at losing money as they were at accumulating it. The tempestuous year of 1967 also ended on a low note, arising out of a perfectly understandable public reaction to the television broadcast of the short Magical Mystery Tour film. All I will say is that while the accompanying music remained of the highest quality, the movie itself left an awful lot to be desired. It ought to have been ample evidence that the group were not film-makers, but it did not deter them from filming the recording sessions for the âLet It Beâ album in early 1969 for a project initially entitled âGet Backâ.
This particular movie was a courageous if foolish attempt at cinema verite, in which the artists were to be screened warts and all. The problem was that relations had deteriorated to such an extent that the recording sessions were miserable, and even placid George Harrison was moved to tell a domineering Paul McCartney âIâll play whatever you want me to play. Or Iâll not play at all, if you donât want me to. Whatever it is that will please you, I will do it.â
Bickering in the recording studios is commonplace in every band, but the sight and news of the loveable Moptops quarrelling was hard for their adoring public to digest. Even easy-going Ringo Starr had cause to walk out on the group during the recording sessions for the âWhite Albumâ back in September 1968. Not even enlightenment from their new guru, the Maharishi Mahesh Yogi, nor the continued success of their latest releases could bring a smile to their faces.
In an act of desperation at their state of misery, the group made a final impromptu public performance on the top of the Apple building in central London, causing the city centre traffic to come to a standstill, while work halted in nearby buildings, as the Beatlesâ January 1969 concert reminded the public of their magic. It culminated of course in John stating that âI hope we passed the audition.â They did, but John and Paul failed two different auditions â namely their relationships with Cynthia Lennon and Jane Asher. Not only did the song-writing partners fall out of love almost simultaneously, but remarkably they both got married in quick succession in March 1969, thus providing the lyrics to their next chart-topper, âThe Ballad Of John And Yokoâ.
It was their marriages more than anything that spelt the end of the dream. Such was the intensity of their new passions that it would impact upon the tightly-knit group dynamic. In the case of Paul, he was strongly in favour of Lee Eastman, his wife Lindaâs father, taking over the reins as the new group manager, but he was over-ruled by the rest of the band who elected the Rolling Stonesâ hard-boiled manager Allen Klein. This decision did nothing for Paulâs affection for the other three. Worse than this, John alienated himself from the others by insisting that his new partner, Yoko Ono, be allowed to trespass the holy of all holies â Beatles recording sessions. Yokoâs presence at the construction of the excellent âWhite Albumâ, followed by âLet It Beâ and finally âAbbey Roadâ antagonised the others whose collective policy of no wives or girlfriends in the recording studio had been violated.
The cracks were well and truly starting to emerge, yet for all the increased tension, the group continued to enjoy chart-topping success. In fact, it wasnât until the release of George Harrisonâs supremely beautiful âSomethingâ in the autumn of 1969 that the group ironically failed to reach the top three in the British singles chart for the first time in a staggering seven years. The song was issued to support their new album âAbbey Roadâ, which with the assistance of George Martin saw the group bury their differences and complete their swansong in August 1969 without the acrimony that had upset recent recording projects.
Nevertheless, when Paul suggested several weeks later that the group start touring again, John was having none of it. âI think youâre daftâ, he reportedly replied. âI want a divorceâ, he said, only for Allen Klein and Paul to talk him out of any public announcement. Paul, realising he could no longer cajole an unwilling group, set about recording his debut solo album, and when Ringo was despatched the following spring to urge Paul not to release his solo debut simultaneous to the belated outing of âLet It Beâ, Paul apparently threw Ringo out of his house. The inevitable happened, though in unforeseen circumstances, when Paul announced the break-up of the Beatles which was all the more ironic since he was least in favour of a split. An incensed John retorted that âPaul hasnât left the Beatles. Iâve sacked him.â By the end of 1970, Paul felt the need to take his old buddies to the High Court to dissolve the partnership. John in his track called âGodâ subsequently sang âthe dream is over.â
THE STROLLING RUINS IN 1967
1967 was a pivotal year in the evolution of the youth generationâs counter-culture. It incorporated the Monterey pop festival, the hippy pilgrimages to Haight-Ashbury in San Francisco, the âsummer of loveâ, âflower powerâ, the emergence of a new guitar hero called Jimi Hendrix, and the explosion of psychedelic music and fashion, while Sergeant Pepper first saw the light of day and The Beatles reminded a worried world that âAll You Need Is
Free ebook «Garry Potter And The Same Old Nonsense by David Backhim (my miracle luna book free read .txt) đ» - read online now
Similar e-books:
Comments (0)