The Washington Post
The Washington Post is a major American daily newspaper published in Washington, D. C. with a particular emphasis on national politics and the federal government. It has the largest circulation in the Washington metropolitan area, its slogan "Democracy Dies in Darkness" began appearing on its masthead in 2017. Daily broadsheet editions are printed for the District of Columbia and Virginia; the newspaper has won 47 Pulitzer Prizes. This includes six separate Pulitzers awarded in 2008, second only to The New York Times' seven awards in 2002 for the highest number awarded to a single newspaper in one year. Post journalists have received 18 Nieman Fellowships and 368 White House News Photographers Association awards. In the early 1970s, in the best-known episode in the newspaper's history, reporters Bob Woodward and Carl Bernstein led the American press' investigation into what became known as the Watergate scandal, their reporting in The Washington Post contributed to the resignation of President Richard Nixon.
In years since, the Post's investigations have led to increased review of the Walter Reed Army Medical Center. In October 2013, the paper's longtime controlling family, the Graham family, sold the newspaper to Nash Holdings, a holding company established by Jeff Bezos, for $250 million in cash; the Washington Post is regarded as one of the leading daily American newspapers, along with The New York Times, the Los Angeles Times, The Wall Street Journal. The Post has distinguished itself through its political reporting on the workings of the White House and other aspects of the U. S. government. Unlike The New York Times and The Wall Street Journal, The Washington Post does not print an edition for distribution away from the East Coast. In 2009, the newspaper ceased publication of its National Weekly Edition, which combined stories from the week's print editions, due to shrinking circulation; the majority of its newsprint readership is in the District of Columbia and its suburbs in Maryland and Northern Virginia.
The newspaper is one of a few U. S. newspapers with foreign bureaus, located in Beirut, Beijing, Bogotá, Hong Kong, Jerusalem, London, Mexico City, Nairobi, New Delhi and Tokyo. In November 2009, it announced the closure of its U. S. regional bureaus—Chicago, Los Angeles and New York—as part of an increased focus on "political stories and local news coverage in Washington." The newspaper has local bureaus in Virginia. As of May 2013, its average weekday circulation was 474,767, according to the Audit Bureau of Circulations, making it the seventh largest newspaper in the country by circulation, behind USA Today, The Wall Street Journal, The New York Times, the Los Angeles Times, the Daily News, the New York Post. While its circulation has been slipping, it has one of the highest market-penetration rates of any metropolitan news daily. For many decades, the Post had its main office at 1150 15th Street NW; this real estate remained with Graham Holdings when the newspaper was sold to Jeff Bezos' Nash Holdings in 2013.
Graham Holdings sold 1150 15th Street for US$159 million in November 2013. The Washington Post continued to lease space at 1150 L Street NW. In May 2014, The Washington Post leased the west tower of One Franklin Square, a high-rise building at 1301 K Street NW in Washington, D. C; the newspaper moved into their new offices December 14, 2015. The Post has its own exclusive zip code, 20071. Arc Publishing is a department of the Post, which provides the publishing system, software for news organizations such as the Chicago Tribune and the Los Angeles Times; the newspaper was founded in 1877 by Stilson Hutchins and in 1880 added a Sunday edition, becoming the city's first newspaper to publish seven days a week. In 1889, Hutchins sold the newspaper to Frank Hatton, a former Postmaster General, Beriah Wilkins, a former Democratic congressman from Ohio. To promote the newspaper, the new owners requested the leader of the United States Marine Band, John Philip Sousa, to compose a march for the newspaper's essay contest awards ceremony.
Sousa composed "The Washington Post". It became the standard music to accompany the two-step, a late 19th-century dance craze, remains one of Sousa's best-known works. In 1893, the newspaper moved to a building at 14th and E streets NW, where it would remain until 1950; this building combined all functions of the newspaper into one headquarters – newsroom, advertising and printing – that ran 24 hours per day. In 1898, during the Spanish–American War, the Post printed Clifford K. Berryman's classic illustration Remember the Maine, which became the battle-cry for American sailors during the War. In 1902, Berryman published another famous cartoon in the Post—Drawing the Line in Mississippi; this cartoon depicts President Theodore Roosevelt showing compassion for a small bear cub and inspired New York store owner Morris Michtom to create the teddy bear. Wilkins acquired Hatton's share of the newspaper in 1894 at Hatton's death. After Wilkins' death in 1903, his sons John and Robert ran the Post for two years before selling it in 1905 to John Roll McLean, owner of the Cincinnati Enquirer.
During the Wilson presidency, the Post was credited with the "most famous newspaper typo" in D. C. history according to Reason magazine. When John McLean died in 1916, he put the newspap
16 mm film
16 mm film is a popular and economical gauge of film. 16 mm refers to the width of the film. It is used for non-theatrical film-making, or for low-budget motion pictures, it existed as a popular amateur or home movie-making format for several decades, alongside 8 mm film and Super 8 film. Eastman Kodak released the first 16 mm "outfit" in 1923, consisting of a camera, tripod and splicer, for $335. RCA-Victor introduced a 16 mm sound movie projector in 1932, developed an optical sound-on-film 16 mm camera, released in 1935. Eastman Kodak introduced 16 mm film in 1923, as a less expensive alternative to 35 mm film for amateurs. During the 1920s, the format was referred to as sub-standard by the professional industry. Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16 mm'Kodascope Library'. In addition to making home movies, people could buy or rent films from the library, a key selling aspect of the format. Intended for amateur use, 16 mm film was one of the first formats to use acetate safety film as a film base.
Kodak never used nitrate film for the format. 35 mm nitrate was discontinued in 1952. The silent 16 mm format was aimed at the home enthusiast, but by the 1930s it had begun to make inroads into the educational market; the addition of optical sound tracks and, most notably, Kodachrome in 1935, gave an enormous boost to its popularity. The format was used extensively during World War II, there was a huge expansion of 16 mm professional filmmaking in the post-war years. Films for government, business and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the 1950s and 1960s; the advent of television production enhanced the use of 16 mm film for its advantage of cost and portability over 35 mm. At first used as a news-gathering format, the 16 mm format was used to create television programming shot outside the confines of the more rigid television studio production sets; the home movie market switched to the less expensive 8 mm and Super 8 mm film formats.
16 mm, using light cameras, was extensively used for television production in many countries before portable video cameras appeared. In Britain, the BBC's Ealing-based film department made significant use of 16mm film and, during its peak, employed over 50 film crews. Throughout much of the 1960s-1990s period, these crews made use of cameras such as the Arriflex SP and Eclair NPR in combination with quarter-inch sound recorders, such as the Nagra III. Using these tools, film department crews would work on some of the most significant programmes produced by the BBC, including Man Alive and Chronicle. Made up of five people, these small crews were able to work efficiently and in hostile environments, were able to shoot an entire programme with a filming ratio of less than 5:1. Replacing analog video devices, digital video has made significant inroads in television production use. 16 mm is still in use in its Super 16 ratio for low-cost productions. Two perforation pitches are available for 16 mm film.
One specification, known as "long pitch", has a spacing of 0.3000 inch and is used for print and reversal film stocks. Negative and intermediate film stocks have perforations spaced 0.2994 in. Known as "short pitch"; these differences allow for the sharpest and smoothest possible image when making prints using a contact printer. Film stocks are available in either'single-perf' or'double-perf', meaning the film is perforated on either one or both edges. A perforation for 16 mm film is 0.0720 in wide by 0.05 in tall with a radius curve on all four corners of 0.0101 in. Tolerances are ±0.0004 in.. The picture-taking area of standard 16 mm is 10.26 mm by 7.49 mm, an aspect ratio of 1.37:1, the standard pre-widescreen Academy ratio for 35 mm. The "nominal" picture projection area is 0.380 in by 0.284 in, the maximum picture projection area is 0.384 in by 0.286 in, each implying an aspect ratio of 1.34:1. Double-perf 16 mm film, the original format, has a perforation at both sides of every frame line.
Single-perf is perforated at one side only, making room for an optical or magnetic soundtrack along the other side. The variant called Super 16 mm, Super 16, or 16 mm Type W is an adaptation of the 1.66 aspect ratio of the'Paramount format' to 16 mm film. It was developed by Swedish cinematographer Rune Ericson in 1969, using single-sprocket film and taking advantage of the extra room for an expanded picture area of 7.41 mm by 12.52 mm. Super 16 cameras are 16 mm cameras that have had the film gate and ground glass in the viewfinder modified for the wider frame, since this process widens the frame by affecting only one side of the film, the various cameras' front mounting plate or turret areas must be re-machined to shift and re-center the mounts for any taking lenses used; because the resulting, Super 16 aspect-ratio takes up the space reserved for the 16mm soundtrack, films shot in this format must be enlarged by optical printing to 35 mm for sound-projection, and, in order to preserve the proper 1.66:1, or 1.85:1 theatrical aspect ratios which this format was designed to provide.
And, with the recent development of digital intermediate workflows, it is now possible to digitally enlarge to a 35 mm sound print with no quality loss, or alternatively to use high-quality video equipment f
Yellow Submarine (film)
Yellow Submarine is a 1968 British animated musical Fantasy film inspired by the music of the Beatles, directed by animation producer George Dunning, produced by United Artists and King Features Syndicate. Initial press reports stated; the film received widespread acclaim from critics and audiences alike, in contrast to some of the Beatles' previous film ventures. Pixar co-founder and former chief creative officer John Lasseter has credited the film with bringing more interest in animation as a serious art form. Time commented that it "turned into a smash hit, delighting adolescents and aesthetes alike". Half a century after its release, it is still regarded as a landmark of animation. Pepperland is a cheerful, music-loving paradise under the sea, protected by Sgt. Pepper's Lonely Hearts Club Band; the titular Yellow Submarine rests on an Aztec-like pyramid on a hill. At the edge of the land is a range of high blue mountains; the land falls under a surprise attack from the music-hating Blue Meanies, who live beyond the blue mountains.
The attack starts with a music-proof blue glass globe. With the band sealed in the globe, the Blue Meanies fire magical projectiles from big artillery stationed in the blue mountains and render the Pepperlanders immobile as statues by shooting arrows or dropping giant green apples upon them, drain the entire countryside of colour. In the last minutes before his capture, Pepperland's elderly Lord Mayor sends Old Fred, an aging sailor, to get help. Fred takes off in it. Old Fred travels to Liverpool, where he follows a depressed Ringo and persuades him to return to Pepperland with him. Ringo collects his "mates" John and Paul in The Pier, a house-like building on the top of a hill; the five journey back to Pepperland in the yellow submarine. As they start learning to operate the submarine, they sing "All Together Now", after which they pass through several regions on their way to Pepperland: Sea of Time – where time flows both forwards and backwards to the tune of "When I'm Sixty-Four". At one point, the submarine passes itself.
Sea of Science – where they sing "Only a Northern Song". Just before the song finishes, they pick up a monster. Sea of Monsters – The monster is ejected into a sea inhabited by other weird monsters. Ringo presses the panic button on the submarine, ejecting him into the sea, he is seen riding one of the monsters, who tosses him around, with the threat of Native American-like creatures, resulting in John pressing another button on the submarine, sending the US Cavalry to defeat the creatures and rescue Ringo. It is where the sinister "vacuum cleaner monster" swallows up all loose objects, the entire landscape, swallows itself, dislodging the submarine into an empty void. Sea of Nothing – This blank region is where they meet Jeremy Hillary Boob Ph. D. a short pudgy creature with a painted clown face and rabbit-like cotton tail, but a studious and helpful ally to the Beatles, who sing "Nowhere Man" in reference to him. As they leave, Ringo feels sorry for the lonely "Nowhere Man" and invites him to join them aboard the submarine.
Foothills of the Headlands – Thanks to Jeremy, this is where he and the Beatles are separated from both the Submarine and where John sings "Lucy in the Sky with Diamonds". Pepper causes the beings in the Headlands to sneeze, blowing the Beatles and Jeremy into the Sea of Holes. Sea of Holes – Here, Jeremy is kidnapped by one of the Blue Meanies patrolling the outskirts of Pepperland. Ringo investigates one of the endless number of holes and puts it into his pocket. While searching for Jeremy, Ringo jumps onto a green hole which turns the Sea of Holes into the Sea of Green. From here, the group arrives in Pepperland, followed by Old Fred in the Submarine. Reunited with Old Fred, they look upon the landscape: a sorry sight; the beautiful flowers have become thorns, the once-happy landscape now a grey, barren wasteland. Everyone is immobilized and made miserable by the evil Blue Meanies, only able to move when permitted; the Beatles, camouflaged as Pepperlandian cutouts, dress up as Sergeant Pepper's Lonely Hearts Club Band and reacquire some instruments from the Grand Bandstand where the Meanies impounded "everything that maketh music".
The four are discovered at the last second and a clown sounds the alarm, causing the Beatles to flee hastily from the Meanies' vicious multi-headed dog. Once in the clear, after defeating some apple-bonkers, the four rally the land to rebellion, singing "Sgt. Pepper's Lonely Hearts Club Band" forcing the Blue Meanies to retreat; the Chief Blue Meanie retaliates, sending out his main enforcer, the Dreadful Flying Glove, but John defeats it by singing "All You Need is Love". Pepperland is restored to colour and its flowers re-bloom, as the residents, empowered by the Beatles' music, rise up and take up arms against the Meanies, who are fleeing headlong back to the blue border mountains where they came from; the original Sgt. Pepper's Lonely Hearts Club
I Wanna Be Your Man
"I Wanna Be Your Man" is a Lennon–McCartney-penned song recorded and released as a single by the Rolling Stones, recorded by the Beatles. The song was written by Paul McCartney, finished by Lennon and McCartney in the corner of a room while Mick Jagger and Keith Richards were talking. Released as their second single on 1 November 1963, the Stones' version was an early hit, peaking at number 12 on the British chart, their rendition features Brian Jones' distinctive slide guitar and Bill Wyman's driving bass playing. It is one of the few Rolling Stones songs to feature only Brian Jones on backing vocals. In the US, the song was released as London 45-LON 9641 without any success and was soon after re-released on 6 March 1964 as the B-side to "Not Fade Away". According to various accounts, either the Rolling Stones' manager/producer Andrew Loog Oldham or the Rolling Stones themselves ran into Lennon and McCartney on the street as the two were returning from an awards luncheon. Hearing that the band were in need of material for a single, Lennon and McCartney went to their session at De Lane Lea Studio and finished off the song – whose verse they had been working on – in the corner of the room while the impressed Rolling Stones watched.
Mick Jagger recalled the song in 1968: We knew by and we were rehearsing and Andrew brought Paul and John down to the rehearsal. They said they had this tune, they were hustlers then. I mean the way they used to hustle tunes was great:'Hey Mick, we've got this great song.' So they played it and we thought it sounded pretty commercial, what we were looking for, so we did it like Elmore James or something. I haven't heard it for ages but it must be pretty freaky'cause nobody produced it, it was crackers, but it was a hit and sounded great onstage. McCartney stated in 2016: We were friends with them, I just thought "I Wanna Be Your Man" would be good for them. I knew, and they made a good job of it. John Lennon refuted Mick Jagger's version in "The Beatles Anthology" but just a check of the recording dates shows that The Beatles had recorded their version and suggested to The Rolling Stones that they record the song as there was no chance they would release the song as a single. Bill Wyman noted how the Rolling Stones adapted the song to their style: We kind of learned it pretty quickly'cause there wasn't that much to learn.
Brian got his slide out, his steel out and dadaw... dadaw... and we said,'Yeah, that's better, dirty it up a bit and bash it out', we kind of turned the song around and made it much more tough, Stones- and Elmore James-like. Released only as a single, the Rolling Stones' rendition did not appear on a studio album; the song was released in the UK on the 1972 Decca compilation album Milestones and on the UK compilation album Rolled Gold: The Very Best of the Rolling Stones in 1975. In 1989, it was issued on the US compilation album Singles Collection: The London Years, it is included on the four CD version of the 2012 GRRR! compilation. The B-side of the second single was "Stoned", a "Green Onions" influenced instrumental composed by Nanker/Phelge, the early collective pseudonym for the group. Additionally, it included the'Sixth Stone' pianist Ian Stewart, making it the first released self-penned composition, with added spoken asides by Mick Jagger; some original 1963 copies were issued with the misprinted title as "Stones", making it doubly collectable as a rarity.
A promotional video featuring the song was the first song performed on the Top of the Pops TV program in the UK. A performance of the song on The Arthur Haynes Show recorded on 7 February 1964 appears as part of the bonus material on the 2012 documentary film Crossfire Hurricane. Mick Jagger – lead vocals Brian Jones – lead guitar, backing vocals Keith Richards – rhythm guitar Bill Wyman – bass Charlie Watts – drums The Beatles' version was sung by Ringo Starr and appeared on the group's second UK album, With the Beatles, released 22 November 1963 and on the US release Meet the Beatles!, released on 20 January 1964. It was driven by a tremoloed, open E-chord on a guitar played through a Vox AC30 amplifier. John Lennon was dismissive of the song in 1980, saying: It was a throwaway; the only two versions of the song were the Rolling Stones. That shows how much importance we put on it: We weren't going to give them anything great, right? The Beatles recorded two versions of the song for the BBC.
One version was for the Saturday Club, recorded on 7 January 1964 and first broadcast on 15 February. The second version was released on the Live at the BBC collection from the From Us to You show, it was broadcast on 30 March. The Beatles recorded a version for the Around The Beatles TV show, recorded on 19 April 1964; this version was released on the Anthology 1 collection in 1995. Bob Dylan recorded a song for Blonde on Blonde called "I Wanna Be Your Lover" as a "tip of the hat" to the Lennon/McCartney song, it was left off the final album, but was released on the compilation boxed set Biograph. The song features a heavy Bo Diddley beat. Bo Diddley himself acknowledged this in the song "London Stomp", he sings "Hey, we got the London Stomp" over a "I Wan na Be Your Man" background. Ringo Starr – double-tracked lead vocals, maracas, handclaps John Lennon – backing vocal, tremolo electric rhythm guitar, handclaps Paul McCartney – backing vocal, screaming, handclaps George Harrison – electric lead guitar, handclaps George Martin – Hammond organPersonnel per Ian MacDonald Ringo Starr & His All-Starr Band have performed the so
A Day in the Life
"A Day in the Life" is a song by the English rock band the Beatles, released as the final track of their 1967 album Sgt. Pepper's Lonely Hearts Club Band. Credited to Lennon–McCartney, the verses were written by John Lennon, with Paul McCartney contributing the song's middle section. Lennon's lyrics were inspired by contemporary newspaper articles, including a report on the death of Guinness heir Tara Browne; the recording includes two passages of orchestral glissandos that were improvised in the avant-garde style. As with the sustained piano chord that closes the song, the orchestral passages were added after the Beatles had recorded the main rhythm track. A reputed drug reference in the line "I'd love to turn you on" resulted in the song being banned from broadcast by the BBC. Since its release on Sgt. Pepper, "A Day in the Life" has been issued as a B-side and on various compilation albums. Jeff Beck, Barry Gibb, the Fall and Phish are among the artists who have covered the song. Since 2008, McCartney has included the song in his live performances.
It was ranked the 28th greatest song of all time by Rolling Stone. In another list, the magazine ranked it as the greatest Beatles song. John Lennon wrote the melody and most of the lyrics to the verses of "A Day in the Life" in mid January 1967. Soon afterwards, he presented the song to Paul McCartney. In a 1970 interview, Lennon discussed their collaboration on the song: Paul and I were working together on "A Day in the Life"... The way we wrote a lot of the time: you'd write the good bit, the part, easy, like "I read the news today" or whatever it was when you got stuck or whenever it got hard, instead of carrying on, you just drop it, he was a bit shy about it because I think he thought it's a good song... So we were doing it in his room with the piano, he said "Should we do this?" "Yeah, let's do that." According to author Ian MacDonald, "A Day in the Life" was informed by Lennon's LSD-inspired revelations, in that the song "concerned'reality' only to the extent that this had been revealed by LSD to be in the eye of the beholder".
Having long resisted Lennon and George Harrison's insistence that he join them and Ringo Starr in trying LSD, McCartney took the drug for the first time in late 1966. This experience contributed to the Beatles' willingness to experiment on Sgt. Pepper and to Lennon and McCartney returning to a level of collaboration, absent for several years. According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his Lotus Elan on 18 December 1966 in Redcliffe Gardens, Earl's Court. Browne had been a friend of Lennon and McCartney, had instigated McCartney's first experience with LSD. Lennon adapted the song's verse lyrics from a story in the 17 January 1967 edition of the Daily Mail, which reported the ruling on a custody action over Browne's two young children. During a writing session at McCartney's house in north London, Lennon and McCartney fine-tuned the lyrics, using an approach that author Howard Sounes likens to the cut-up technique popularised by William Burroughs.
"I didn't copy the accident," Lennon said. "Tara didn't blow his mind out. The details of the accident in the song – not noticing traffic lights and a crowd forming at the scene – were part of the fiction." McCartney expounded on the subject: "The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don't believe is the case as we were writing it, I was not attributing it to Tara in my head. In John's head it might have been. In my head I was imagining a politician bombed out on drugs who'd stopped at some traffic lights and didn't notice that the lights had changed. The'blew his mind' was purely a drugs reference, nothing to do with a car crash." Lennon wrote the song's final verse inspired by a Far & Near news brief, in the same 17 January edition of the Daily Mail that had inspired the first two verses. Under the headline "The holes in our roads", the brief stated: "There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey.
If Blackburn is typical, there are two million holes in Britain's roads and 300,000 in London." The story had been sold to the Daily Mail in Manchester by Ron Kennedy of the Star News agency in Blackburn. Kennedy had noticed a Lancashire Evening Telegraph story about road excavations and in a telephone call to the Borough Engineer's department had checked the annual number of holes in the road. Lennon had a problem with the words of the final verse, not being able to think of how to connect "Now they know how many holes it takes to" and "the Albert Hall", his friend Terry Doran suggested that the holes would "fill" the Albert Hall, the lyric was used. McCartney said about the line "I'd love to turn you on", which concludes both verse sections: "This was the time of Tim Leary's'Turn on, tune in, drop out' and we wrote,'I'd love to turn you on.' John and I gave each other a knowing look:'Uh-huh, it's a drug song. You know that, don't you?'" George Martin, the Beatles' producer, commented that he had always suspected that the line "found my way upstairs and had a smoke" was a drug reference, recalling how the Beatles would "disappear and have a little puff" of marijuana, but not in front of him.
"When was doing his TV programme on Pepper", McCartney recalled "he asked me
Murray the K
Murray Kaufman, professionally known as Murray the K, was an influential rock and roll impresario and disc jockey of the 1950s,'60s and'70s. During the early days of Beatlemania, he referred to himself as the fifth Beatle. Murray Kaufman came from a show business family: his mother, played piano in vaudeville and wrote music and his aunt was a character actress on the stage and in film, he was a child actor—an extra—in several 1930s Hollywood films. He attended a military boarding school, was inducted into the United States Army where he arranged entertainment for the troops. Following the war, he put together shows in the Catskills' "Borscht Belt" doing warm-ups for the headline performers. In the late 1940s and early 1950s, he worked in public relations and as a song plugger, helping to promote tunes like Bob Merrill's "How Much Is That Doggie In The Window." From there, he worked as a radio producer and co-host at WMCA, working with personalities such as Laraine Day on the late night interview program Day at Night and with Eva Gabor.
At the same time, he was doing promotion for several baseball players, including Mickey Mantle and Willie Mays, his radio beginnings may be attributable to his connection with the New York Giants, whose manager, Leo Durocher, was the husband of Laraine Day. His work on those shows earned him his own late-night show that featured his wife as co-host, as was popular at the time. For a while in the 1950s he was president of the National Conference of Disk Jockeys. Kaufman's big break came in 1958 after he moved to WINS/1010 to do the all-night show, which he titled The Swingin' Soiree. Shortly after his arrival, WINS's high energy star disk jockey, Alan Freed, was indicted for tax evasion and forced off the air. Though Freed's spot was occupied by Bruce Morrow, who became known as Cousin Brucie on WABC, Murray was soon moved into the 7–11 pm time period and remained there for the next seven years, always opening his show with Sinatra and making radio history with his innovative segues, sound effects and frenetic, creative programming.
Jeff Rice, writing in M/C Journal, says that Tom Wolfe calls Murray "the original hysterical disk jockey". Murray the K reached his peak of popularity in the mid-1960s when, as the top-rated radio host in New York City, he became an early and ardent supporter and friend of The Beatles; when the Beatles came to New York on February 7, 1964, Murray was the first DJ they welcomed into their circle, having heard about him and his Brooklyn Fox shows from American groups such as the Ronettes. The Ronettes met the Beatles in mid January 1964, just a few weeks before, when the Harlem-born trio first toured England; the Beatles and Decca Records jointly threw the Ronettes a welcome party in London. When the band arrived in New York, Murray was invited by Brian Epstein to spend time with the group, Murray persuaded his radio station to let him broadcast his prime time show from the Beatles' Plaza Hotel suite, he subsequently accompanied the band to Washington, D. C. for their first U. S. concert, was backstage at their The Ed Sullivan Show premiere, roomed with Beatles guitarist George Harrison in Miami, broadcasting his nightly radio shows from his hotel room there.
He came to be referred to as the "Fifth Beatle", a moniker he said he was given by Harrison during the train ride to the Beatles' first concert in Washington, D. C. or by Ringo Starr at a press conference before that concert.. His radio station WINS picked up on the name and billed him as the Fifth Beatle, a moniker he came to regret, he was invited to the set of A Hard Day's Night in England and made several treks to England during 1964, giving WINS listeners more Beatle exclusives. By the end of 1964, Murray found out that WINS was going to change to an all news format the following year, he resigned on the air in December 1964 and did his last show on February 27 prior to the format change that occurred in April 1965. A year in 1966, the Federal Communications Commission ruled that AM and FM radio stations could no longer simultaneously broadcast the same content, opening the door for Murray to become program director and primetime DJ on WNEW-FM, 102.7—one of the first FM rock stations, soon airing such DJs as Rosko and Scott Muni in the new FM format.
Murray played long album cuts rather than singles playing groups of songs by one artist, or thematically linked songs, uninterrupted by commercials. He combined live in-studio interviews with folk-rock—he called it "attitude music"—and all forms of popular music in a free-form format, he played artists like Bob Dylan and Janis Ian, the long album versions of their songs that came to be known as the "FM cuts". Al Aronowitz quotes Murray as saying about this formula, "You didn't have to hype the record any more; the music was speaking for itself." During that time Murray was a champion of the much-maligned electric Bob Dylan. He introduced him to boos at a huge Forest Hills Tennis Stadium concert in August 1965, saying "It's not rock, it's not folk, it's a new thing called Dylan."He defended Dylan on a WABC-TV panel: Even in his months of seclusion after the motorcycle accident, WABC-TV dedicated a television show to a discussion of what Bob Dylan was like. When one me
The Beatles at Shea Stadium
The Beatles at Shea Stadium is a fifty-minute-long documentary of the Beatles' 15 August 1965, concert at Shea Stadium in New York City, the highlight of the group's 1965 tour. The documentary was directed and produced by Bob Precht, NEMS Enterprises, the Beatles company Subafilms; the project, placed under the direction of manager of production operations M. Clay Adams, was filmed by a large crew led by cinematographer Andrew Laszlo. Fourteen cameras were used to capture the euphoria and mass hysteria, Beatlemania in America in 1965; the documentary first aired on BBC1 on 1 March 1966. In West Germany, it aired on 2 August that year, it aired in the United States on ABC on 10 January 1967. The film captures not only the concert, the attendance of, 55,600, the largest Beatles concert up to that time, but the events leading up to the concert, including the Beatles' helicopter ride from Manhattan to Flushing Meadows, their preparation in the dressing room at Shea Stadium, clips from the show's other acts, including Motown singer Brenda Holloway, King Curtis, Sounds Incorporated, Killer Joe Piro and The Discothèque Dancers, managed by Jerry Weintraub.
Murray the K, Neil Aspinall, Nat Weiss, with his step-son Shaun Weiss, Mal Evans, Brian Epstein, announcer Cousin Brucie Morrow are featured. Mick Jagger and Keith Richards were in attendance. Marvin Gaye did not perform; the Young Rascals and Cannibal & the Headhunters performed but were not featured in the documentary. The concert had been presented by promoter Sid Bernstein. Television host Ed Sullivan introduced the band when they took the stage: "Now and gentlemen, honored by their country, decorated by their Queen, loved here in America, here are The Beatles!" The film is not a accurate representation of the actual concert performance. The songs "She's a Woman" and "Everybody's Trying to Be My Baby" are omitted from the film due to time and camera reel change issues; the audio for the songs that remained went through a heavy post-production process as well. Some songs were treated with overdubs, or re-recorded by the Beatles at London's CTS Studios on 5 January 1966, to cover audio problems throughout the concert recording.
In addition, the audio for "Twist and Shout" comes from a show at the Hollywood Bowl on the same tour, the audio for "Act Naturally" was replaced by the studio version of the song, speeded up and poorly edited to sync up to the film. The Beatles at Shea Stadium was shown in cinemas in the United States; the band's friend from their years in Hamburg, Klaus Voormann, designed the advertisements used to promote the film. Although the film has not been available on DVD or VHS, it has been available on the bootleg circuit for decades, including in a "raw audio" form that restores the original Shea Stadium audio track. A thirty-minute reissue of the footage of the concert was remastered and issued with the release of the Ron Howard film The Beatles: Eight Days a Week on 15 September 2016. All songs written except where noted. "Twist and Shout" "She's a Woman" "I Feel Fine" "Dizzy Miss Lizzy" "Ticket to Ride" "Everybody's Trying to Be My Baby" "Can't Buy Me Love" "Baby's in Black" "Act Naturally" "A Hard Day's Night" "Help!"
"I'm Down" The concert itself was a milestone in popular musical history as the first major stadium concert. The documentary was a highlight of the 1995 Beatles Anthology series, which featured extensive clips from the film. Ringo Starr described the concert in The Beatles Anthology: "What I remember most about the concert was that we were so far away from the audience.... And screaming had become the thing to do.... Everybody screamed. If you look at the footage, you can see, it was big and strange." In 1970, John Lennon recalled the show as a career highlight: "At Shea Stadium, I saw the top of the mountain." In 2008, Paul McCartney played the last concert at Shea Stadium with Billy Joel before the stadium was closed. The concert was documented in the film The Last Play at Shea; the Beatles, The Beatles Anthology. Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography, p. 317. Mark Lewisohn, The Complete Beatles Chronicles, pp. 199–200. Miles, Barry; the Beatles Diary Volume 1: The Beatles Years.
London: Omnibus Press. ISBN 0-7119-8308-9. Schwensen, Dave; the Beatles at Shea: The Story Behind Their Greatest Concert. Bob Spitz, The Beatles: The Biography; the Beatles at Shea Stadium on Beatles.com. The Beatles Concert at Shea Stadium 1965. Veoh.com