FLIP SIDE BEATLES: presentations, books, musical analysis
  • Beatles Minute
  • Pop Goes the Theory
  • Calendar
    • Upcoming Events
    • Past Events
    • Newsletter Sign-Up
  • Blogs
    • Beatles Blog
    • Pop Music Blog
    • Star Wars Blog
    • Origami Blog
    • Shakespeare Blog
  • Contact

The History of "Strawberry Fields Forever", Part 1: Background

2/28/2013

0 Comments

 
On 29 August 1966 at Candlestick Park in San Francisco, California, the Beatles played the final concert of what would be their very last performance tour. Many people thought the end of touring would be the demise of the band. John Lennon was one of them. "But I was really too scared to walk away. I was thinking, well this is like the end really. There's no more touring" (Anthology, Episode 6).

With touring no longer a concern, all four Beatles found themselves with a great deal of time on their hands. So, Paul undertook the project of writing music for the film The Family Way; George vacationed to India to take sitar lessons from Ravi Shankar; Ringo stayed at home – something the Beatles rarely did due to their grueling schedule – so he could spend time with his wife and their 1-year-old son, Zak; and John flew to Spain to act a minor role in Richard Lester's film How I Won the War. "I said yes to Dick Lester that I would make this movie with him and I went to Almería Spain for six weeks just because I didn't know what to do. What do you do when you don't tour? There's no life" (Anthology, Episode 6).

The film is a black comedy about an inept and fictional regiment during World War II. It was intended as an anti-war protest - something that would dominate Lennon's own actions in the subsequent years - due to the escalating conflict in Vietnam. Lennon plays the role of Musketeer Gripeweed. The appearance of a Beatles has ensured its historical survival, but it seems otherwise forgettable. (It's available via instant streaming on Netflix as of February 2013.)

Having acted in both A Hard Day's Night and Help! (both of which were also directed by Richard Lester), Lennon knew roughly what to expect. However, acting as an individual in a film is very different from acting as a band in a film and Lennon, notoriously impatient, quickly found himself quite bored. So he kept a guitar nearby to help pass the time between takes. It was in Spain, during the filming, that he began work on the song that would eventually become "Strawberry Fields Forever", originally titled “It's Not Too Bad”.


CITATIONS
Beatles. The Beatles Anthology. DVD. Apple Corps Limited, 2003.
0 Comments

Formal Structure in Beatles Music: [57] "I've Just Seen a Face"

2/27/2013

0 Comments

 
Formal structure of [57] "I've Just Seen a Face":
          Intro (ind)   0:00-0:11
          Verse 1         0:11-0:23
          Verse 2        0:23-0:35
          Chorus         0:35-0:44
          Verse 3        0:44-0:55
          Chorus        0:55-1:03
          Solo              1:03-1:15
          Chorus        1:15-1:23
          Verse 4       1:23-1:35
          Chorus        1:35-1:43
          Chorus        1:43-1:51
          Chorus/Coda (verse)  1:51-2:05

Comments: I debated long and hard about calling the contrasting section a middle 8 or a chorus. Clearly it does contrast the verse (the primary characteristic of a middle 8), but it's not unheard of to substitute the chorus as the contrasting section. Middle 8s also frequently employ a harmonic shift (different or unusual chords) to emphasize their contrasting nature. In this case, I do not find a sufficient degree of harmonic contrast to justify calling this section a middle 8. Moreover, the section is used so frequently that the term chorus seems better suited to its structural function (middle 8s are generally heard twice per song - not six times, as is the case in this one).

0 Comments

The Development of [46] "I'll Follow the Sun"

2/26/2013

0 Comments

 
Like [166] "One After 909" and [94] "When I'm Sixty-Four", [46] "I'll Follow the Sun" was written well before the Beatles rise to fame. In a home session from 1960, the Quarrymen (they weren't the Beatles yet) recorded the tune, with McCartney singing lead, backed by a few guitars, some sort of percussion, and possibly a bass guitar. This version can be heard here: http://www.youtube.com/watch?v=cgluqHpapIk.

The song wouldn't be released, however, until more than four years later in December 1964 with the release of Beatles for Sale. This later version can be heard here: http://www.youtube.com/watch?v=06RnXuZplyY.

By the time of its commercial relase, the song - while still recognizable - sounded nothing like what it did in 1960. The 1960 version exudes bouncy, youthful enthusiasm, while the 1964 version features a more delicate, mature, and slightly weary sound. Structurally, the two featured completely different Middle 8s, with the former lyrics "Well, don't leave me alone, my dear, have courage and follow me my dear[?]"; and the latter lyrics "And now the time has come, and so my love I must go. And thought I lose a friend, in the end you will know." 

In no other single song is the Beatles development and progress more clearly heard than in "I'll Follow the Sun".
0 Comments

Formal Structure in Beatles Music: [56c] “Bad Boy”

2/25/2013

0 Comments

 
Formal structure of [56c] "Bad Boy":
          Intro (ind)  0:00-0:07
          Verse 1        0:07-0:42
          Verse 2       0:42-1:17
          Solo             1:17-1:39
          Verse 3       1:39-2:14
          Coda            2:14-2:20

Comments: Each section except the intro is a 12 bar blues pattern.

Perhaps the shortest coda of any Beatles song: a single chord.
0 Comments

An Overview of The Beatles in Hamburg

2/24/2013

0 Comments

 
The Beatles made a total of five trips to Hamburg between 1960-1962, and it would be difficult to over-estimate the impact of those trips. John Lennon once said, “I grew up in Hamburg, not Liverpool” (Anthology, page 45), and sure enough, all five boys – who ranged in age from 17 to 22 – did a lot of growing up during those visits.

The band as a whole grew, as well. As a result of the sheer quantity of time spent performing (they played for 6, 7, 8 hours a night, 7 days a week), the Beatles greatly improved their stage presence. "That's where we found our style," said George Harrison in the first espisode of The Beatles Anthology film. "We developed our style because of this fellow there - he used to say, "You've got to make a show for the people" and he used to come up every night yelling "Mach schau!". So we used to mach schau, and John used to dance around like a gorilla and we would all dance around and knock our heads together, and things like that".

Also as a result of their grueling performance schedule, Hamburg was the Beatles introduced to drugs, specifically an amphetamine called Preludin. "The waiters always had Preludin (and various other pills, but I remember Preludin because it was a big trip) and they were all taking these pills to keep themselves awake, to work these incredible hours in this all-night place. And so the waiters, when they'd see the musicians falling over with tiredness or with drink, they'd give you the pill. You'd take the pill, you'd be talking, you'd sober up, you could work almost endlessly - until the pill wore off, then you'd have to have another" (Anthology, page 50).

Similarly, the inevitable and frequent repetition of songs over the countless hours performing functioned as practice time, and all five musicians' technical facility on their instruments dramatically increased as a result. “I couldn't believe how much they'd changed since I'd last heard them play,” said Lennon's wife Cynthia after the Beatles returned from first Hamburg stint, “After so many hours of performing in Germany, they'd improved beyond all recognition. They'd gone from good to fantastic and the fans screamed with delight” (Lennon, page 62). But one bandmember lagged behind the others. While not a bad bass player, Stuart Sutcliffe never had the ability nor the determination to be a professional musician. He much preferred painting, at which he was exceptionally talented. As the other four Beatles improved by leaps and bounds, Stu realized it was time to call it quits, symbolically handing over his bass to Paul, who would forever more be the Beatles bassist.

Stuart Sutcliffe, of course, wasn't the only bandmember change. Though Ringo Starr wouldn't join the band permanently for another few years, it was in Hamburg that he befriended John Lennon, Paul McCartney, and George Harrison. At the time, Ringo was the drummer in the band Rory Storm and the Hurricanes, who coincidentally had a similar job playing clubs in Hamburg. Though all four men were born and raised in Liverpool and knew of each other, it wasn't until their simultaneously gigs in Germany that the four bonded as companions. When this happened, Pete Best's days as a Beatle were numbered.

Hamburg was also the location of the Beatles' first commercial recordings. The famed German record producer Bert Kaempfert attended one of their shows and was sufficiently impressed to invite the band to record as the backing group for singer Tony Sheridan. The Beatles ecstatically accepted the offer and recorded rock versions of "My Bonnie Lies Over the Ocean" and "When the Saints Go Marching In".
The single “My Bonnie”/“The Saints” was released in Germany, but the Beatles were not credited. Beatles sounds awfully similar to the word 'peedles', which is German schoolyard slang for male genitalia. Thus, the very first commercially released Beatles recording is actually credited to Tony Sheridan and the Beat Brothers.

Lastly, it was in Hamburg when the Beatles finally got their own recording break: an audition for George Martin of Parlophone Records, a division of Electric and Music Industries Ltd (EMI). On 9 May 1962, the band's manager, Brian Epstein, cabled the Beatles with the good news: “Congratulations boys. EMI request recording session. Please rehearse new material” (Spitz 312).


CITATIONS
Beatles. The Beatles Anthology. Chronicle Books, San Francisco, CA, 2000.

Beatles. The Beatles Anthology. DVD. Apple Corps Limited, 2003.

Lennon, Cynthia. John. Crown Publishers, New York, NY, 2005.

Spitz, Bob. The Beatles: The Biography. Little, Brown and Company, Time Warner Book Group, New York, NY 2005.
0 Comments

Formal Structure in Beatles Music: [56b] "Dizzy Miss Lizzy"

2/23/2013

0 Comments

 
Formal structure of "Dizzy Miss Lizzy"
          Intro (verse)    0:00-0:22
          Verse 1               0:22-0:43
          Verse 2              0:43-1:04
          Solo/Break      1:04-1:25*
          Verse 3             1:25-1:47
          Solo/Break      1:47-2:08*
          Verse 4             2:08-2:29
          Verse 5            2:29-2:57

Comments: Two solos. The only other Beatles recordings to date to use multiple solos are [29b] "Long Tall Sally", [38] "I'm a Loser", [46b] "Everybody's Trying to be My Baby", and [46e] "Honey Don't".
0 Comments

The Real Star of Yellow Submarine

2/22/2013

0 Comments

 
With all four Beatles preferring to do their own thing rather than work together, the last thing they wanted to do was another film. But they were under contract to complete three feature films (Magical Mystery Tour didn't count), and so when the notion of a cartoon was proposed – in which they wouldn’t have to act, or shoot scenes, or even record dialogue (actors were hired to provide the Beatles' voices) – they pounced. Of course, they still had to provide a soundtrack, and that generated no more enthusiasm than the film itself did. So they cobbled together a collection of previously released songs, rejects from other albums, and tunes thrown together in the studio. “It'll do for the film” John Lennon would say after a session they all knew was sub-par (Norman, page 326).

The Beatles' 6 tracks on the Yellow Submarine soundtrack constituted the A-side of the album. But the real star of Yellow Submarine is only heard on the B-side, which feature orchestral tracks written George Martin.
One track heard in the film, but not released until the Beatles Anthology shares striking similarities with the French composer Maurice Ravel's 1912 ballet Daphnis et Chloe. Here's the Ravel original (pay close attention to around 1:30).
By writing this material, Martin is drawing a parallel between late 19th and early 20th century French Impressionism and 1960's pop psychedelia – both of which thrive on color.

Take, for example, a Monet canvas.
Picture
That same image in black and white loses a substantial amount of significance.
Picture
(Lack of color is partially what doomed the premiere broadcast of Magical Mystery Tour, which likewise needs color to make any sense out of the surreal and psychedelic imagery.)

In writing this music and making that connection, then, George Martin - and not the Beatles - is the real star of Yellow Submarine.


CITATIONS
Norman, Philip. Shout! The Beatles in their Generation. Simon and Schuster, New York, NY, 1981.
0 Comments

Formal Structure in Beatles Music: [56] "Help!"

2/21/2013

0 Comments

 
Formal structure of [56] "Help!":
          Intro (chorus/ind)    0:00-0:11*
          Verse 1                   0:11-0:31
          Chorus                   0:31-0:51
          Verse 2                  0:51-1:11
          Chorus                   1:11-1:32
          Verse 3                  1:32-1:52
          Chorus                   1:52-2:10
          Coda (chorus/ind)  2:10-2:20*

Comments: Very clear structure - no ambiguity.

Introduction is partly based on chorus and partly independent: It shares the same chord progression (reduced in duration by 50%), but the words are independent (not found anywhere else in the song).

Coda functions as an extension of the chorus, but with unrelated musical components.
0 Comments

A Change in Direction Between the Beatles' First Two Albums

2/20/2013

0 Comments

 
The Beatles' debut album Please Please Me functioned as a recording of a live show – its purpose to recreate what the Beatles did on stage, but in the comfort a listener's own home. Of course, as the band grew, they would develop into a studio band, and the beginnings of that evolution are first discernible in their sophomore album, With the Beatles.

Overdubbing is the process of recording different parts of the same song at different times. It would make absolutely no sense at all in a concert setting to have, say, Paul play his bassline to “Roll Over Beethoven” as a solo, then when he was done George could sing his lead vocals by himself, then when he done Ringo could play his drums alone, followed by John's rhythm guitar chords. It'd be the equivalent of eating a piece of cake but on the first bite you taste only flour, and on the next only eggs, and the next just sugar. Of course that wouldn't work – whether in music or baking, all of the ingredients must be combined to render the final product. But in the studio, you can do that because the tapes can be combined through overdubbing, the layering of these various components into the final product. While a few minor tracks were overdubbed on Please Please Me, on With The Beatles it was quite heavily. For example, the piano solo in “Not a Second Time” was overdubbed. The Beatles recorded the guitar, bass, and drums, leaving a space for a solo because they weren't sure what that solo would be. Overdubbing allowed the band to come back to the song later and add a solo, in this case played by George Martin.

Another recording tactic used frequently on With the Beatles was double-tracking, which is a particular kind of overdubbing in which the exact same thing is recorded twice, then layering on top of each other so they are heard simultaneously. The Beatles used this trick almost exclusively for lead vocals because the technique supplies reinforcement to whatever was double tracked, and lead vocals need to be strong. Obviously a singer can't sing his lines twice at the same time during a live show, but in the recording studio you can, and double-tracking is how that is accomplished. For example, Paul's singing on “All My Loving” is double tracked. You can tell because there are slight differences between takes – even though he's singing the same lyrics and notes. This is most noticeable on the word “I'll” as in “tomorrow I'll miss you”. The Beatles used double-tracking on 8 of the 14 tracks on With the Beatles ("It Won't Be Long", "All My Loving", "Don't Bother Me", "Little Child", "Please Mister Postman", "Roll Over Beethoven", "I Wanna Be Your Man", and "Not a Second Time")
and would continue to do so throughout the remainder of their recording career.

Additionally, the covers of the two albums showcase this change. Please Please Me's cover shows the four Beatles in a rather creative though quite "standard pop cover shot" pose.
Picture
The With The Beatles cover, by contrast, is much more stark and artistic - and heavily inspired by the photographs taken by Astrid Kirchherr in Germany several years earlier.
Picture
It's very subtle, but With the Beatles does show a significant change in direction from Please Please Me – a change that would eventually lead to the technical sophistication that so characterized the later Beatles albums.
0 Comments

Formal Structure in Beatles Music: [55] "You're Going to Lose That Girl"

2/19/2013

1 Comment

 
Formal structure of [55] "You're Going to Lose That Girl":
          Chorus       0:00-0:09*   E Major
          Verse 1      0:09-0:23      E Major
          Chorus       0:23-0:30      E Major
          Verse 2      0:30-0:45      E Major
          Chorus       0:45-0:56      E Major
          Middle 8   0:56-1:10*     G Major
          Solo            1:10-1:25        E Major
          Chorus       1:25-1:36       E Major
          Middle 8   1:36-1:49*     G Major
          Verse 3     1:49-2:03       E Major
          Chorus      2:03-2:12       E Major
          Coda          2:12-2:20       E Major

Comments: Begins with chorus instead of an introduction (like [12] "She Loves You", [14] "It Won't Be Long", [23] "Can't Buy Me Love", [34] "Any Time at All", [36] "When I Get Home", and [48] "Another Girl"), though in this case sans drum set (but with hand percussion).

Also like "Another Girl" is the Middle 8 - in which both songs modulate to the lowered submediant (A Major to C Major in "Another Girl"; E Major to G Major in "You're Going to Lose That Girl"). This is the same modulation that the Beatles often use, and will culminate in the Abbey Road Medley (which uses that particular modulation extensively).

1 Comment
<<Previous

    Beatles Blog

    This blog is a workshop for developing my analyses of The Beatles' music.

    Categories

    All
    12 Bar Blues
    Abbey Road
    Abbey-road-medley
    Ab Road Bootlegs
    Across The Universe
    Act Naturally
    A Day In The Life
    A-hard-days-night-album
    A Hard Days Night Film
    A Hard Days Night Song
    All Ive Got To Do
    All My Loving
    All Together Now
    All You Need Is Love
    And I Love Her
    And Your Bird Can Sing
    Anna Go To Him
    Another Girl
    Any Time At All
    Ask Me Why
    Astrid Kirchherr
    A Taste Of Honey
    Avant Garde
    Baby Its You
    Babys In Black
    Baby Youre A Rich Man
    Bach
    Back In The USSR
    Bad Boy
    Bad To Me
    Ball State University
    Barry Miles
    Beatlemania
    Beatles
    Beatles For Sale
    Because
    Beethoven
    Being For The Benefit Of Mr Kite
    Billy J Kramer
    Birthday
    Blackbird
    Blue Jay Way
    Bootlegs
    Boys
    Buddy-holly
    Cadences
    Cant Buy Me Love
    Carl Perkins
    Carry That Weight
    Catcall
    Chains
    Chuck Berry
    Collage
    Come Together
    Come-together
    Cry Baby Cry
    Cynthia Lennon
    Day Tripper
    Dear Prudence
    Devil In Her Heart
    Dig A Pony
    Dig It
    Dizzy Miss Lizzy
    Doctor Robert
    Dominant Chord
    Dont Bother Me
    Dont Let Me Down
    Dont Pass Me By
    Do You Want To Know A Secret
    Drive My Car
    Eddie-cochran
    Eight Days A Week
    Eleanor Rigby
    Electronic Music
    Electronic Sound Harrison Album7660042653
    Elvis-presley
    Everly Brothers
    Everybodys Got Something To Hide Except For Me And My Monkey
    Everybodys Trying To Be My Baby
    Every Little Thing
    Fixing A Hole
    Flying
    Formal Structure
    Formal-structure
    For No One
    For You Blue
    From A Window
    From Me To You
    George Harrison
    George-harrison
    George Martin
    Get Back
    Getting Better
    Girl
    Giveaways
    Glass Onion
    Golden Slumbers
    Goodbye
    Good Day Sunshine
    Good Morning Good Morning
    Good Night
    Good Vibrations
    Got To Get You Into My Life
    Hamburg
    Happiness Is A Warm Gun
    Harmonic Analysis
    Hello Goodbye
    Hello Little Girl
    Help-album
    Help Movie
    Help Song
    Helter Skelter
    Here Comes The Sun
    Here-comes-the-sun
    Here There And Everywhere
    Her Majesty
    Hey Bulldog
    Hey Jude
    Hold Me Tight
    Honey Dont
    Honey Pie
    How I Won The War
    I Am The Walrus
    I Call Your Name
    I Dont Want To See You Again
    I Dont Want To Spoil The Party
    I Feel Fine
    If I Fell
    If I Needed Someone
    Ill Be Back
    Ill Be On My Way
    Ill Cry Instead
    Ill Follow The Sun
    Ill Get You
    Ill Keep You Satisfied
    Im A Loser
    Im Down
    I Me Mine
    Im Happy Just To Dance With You
    Im In Love
    Im Looking Through You
    Im Only Sleeping
    Im So Tired
    Indian Songs
    Indica Gallery
    I Need You
    In My Life
    In-spite-of-all-the-danger
    I Saw Her Standing There
    I-saw-her-standing-there
    I Should Have Known Better
    Its All Too Much
    Its For You
    Its Only Love
    It Wont Be Long
    Ive Got A Feeling
    Ive Just Seen A Face
    I Wanna Be Your Man
    I Want To Hold Your Hand
    I Want To Tell You
    I Want You Shes So Heavy
    I Will
    Jane Asher
    Jerry-lee-lewis
    John Lennon
    Julia
    Kansas City Hey Hey Hey Hey
    Lady Madonna
    Lecture-tours
    Let It Be Album
    Let It Be Song
    Like Dreamers Do
    Little Child
    Little-richard
    Long Long Long
    Long Tall Sally
    Lonnie Donegan
    Love
    Lovely Rita
    Love Me Do
    Love-me-do
    Love Of The Loved
    Love You To
    Lucy In The Sky With Diamonds
    Maggie Mae
    Magical-mystery-tour-album
    Magical Mystery Tour Song
    Mahler
    Martha My Dear
    Matchbox
    Maxwells Silver Hammer
    Maxwells-silver-hammer
    Mean Mr Mustard
    Michelle
    Misery
    Modulations
    Money Thats What I Want
    Moog Synthesizer
    Mother Natures Son
    Mr Moonlight
    Nobody I Know
    No Reply
    Norwegian Wood
    Not A Second Time
    Nowhere Man
    Numbering System
    Obladi Oblada
    Octopuss Garden
    Oh Darling
    Old Brown Shoe
    One After 909
    One And One Is Two
    Only A Northern Song
    Otis Redding
    Panning
    Paperback Writer
    Paul Mccartney
    Paul Mccartneys Bass Playing
    Penny Lane
    Peter Asher
    Piggies
    Pinky And The Brain
    Please Mister Postman
    Please Please Me Album
    Please Please Me Song
    Polythene Pam
    Power Puff Girls
    P S I Love You
    Quarrymen
    Rain
    Raindrops Keep Falling On My Head
    Revolution
    Revolution 1
    Revolution 9
    Revolver
    Ringo
    Rock And Roll Music
    Rocky Raccoon
    Roll Over Beethoven
    Rubber-soul
    Run For Your Life
    Savoy Truffle
    Sexy Sadie
    Sgt Peppers Lonely Hearts Club Band Album
    Sgt Peppers Lonely Hearts Club Band Reprise
    Sgt Peppers Lonely Hearts Club Band Song
    She Came In Through The Bathroom Window
    She Loves You
    She Said She Said
    Shes A Woman
    Shes Leaving Home
    Slow Down
    Snow White
    Solos
    Something
    Song-structure
    Sour-milk-sea
    Step-inside-love
    Stereo Panning
    Strawberry Fields Forever
    Sun King
    Taxman
    Tell Me What You See
    Tell Me Why
    Thank You Girl
    That Means A Lot
    The Ballad Of John And Yoko
    The Beatles Album
    The Continuing Story Of Bungalow Bill
    The-continuing-story-of-bungalow-bill
    The End
    The Fool On The Hill
    The Inner Light
    The Long And Winding Road
    The Night Before
    The One After 909
    Theres A Place
    The Word
    Things We Said Today
    Thingumybob
    Think For Yourself
    This Boy
    Ticket To Ride
    Till There Was You
    Timeline
    Tip Of My Tongue
    Tomorrow Never Knows
    Tonality
    Twist And Shout
    Two Of Us
    Wait
    We Can Work It Out
    What Goes On
    What Youre Doing
    When I Get Home
    When Im Sixtyfour
    While My Guitar Gently Weeps
    White Album
    Why Dont We Do It In The Road
    Wild Honey Pie
    With A Little Help From My Friends
    Within You Without You
    With The Beatles
    Woman
    Words Of Love
    World Without Love
    Yellow Submarine Album
    Yellow-submarine-album
    Yellow Submarine Film
    Yellow Submarine Song
    Yer Blues
    Yes It Is
    Yesterday
    Yoko Ono
    You Cant Do That
    You Know My Name Look Up The Number
    You Like Me Too Much
    You Never Give Me Your Money
    You Really Got A Hold On Me
    Youre Going To Lose That Girl
    Your Mother Should Know
    Youve Got To Hide Your Love Away
    You Wont See Me

    Archives

    May 2019
    January 2019
    November 2018
    August 2018
    July 2018
    June 2018
    March 2018
    February 2018
    October 2017
    September 2017
    June 2017
    May 2017
    April 2017
    March 2017
    February 2017
    January 2017
    December 2016
    November 2016
    October 2016
    September 2016
    August 2016
    July 2016
    June 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    November 2015
    October 2015
    September 2015
    August 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012

    RSS Feed

Powered by Create your own unique website with customizable templates.
  • Beatles Minute
  • Pop Goes the Theory
  • Calendar
    • Upcoming Events
    • Past Events
    • Newsletter Sign-Up
  • Blogs
    • Beatles Blog
    • Pop Music Blog
    • Star Wars Blog
    • Origami Blog
    • Shakespeare Blog
  • Contact