A few weeks back I wrote a review of Brian Hebert's new book Blue Notes and Sad Chords: Color Coded Harmony in The Beatles 27 Number 1 Hits.
Shortly thereafter I asked Brian if he'd be interested in a brief interview to help promote the book. That conversation is below.
Aaron: Hi Brian! Thanks for taking the time to discuss your new book!
Brian: Thanks Aaron for the opportunity to answer questions about the book.
Is this your first book?
It’s actually my second book, the first one is a technical book about Data Profiling, but that’s neither here no there for this chat.
You're a first-generation fan, who grew up listening to Beatles music. Do you have a particular memory or pivotal moment from your formative years that The Beatles helped articulate?
Yes, I have dozens of memories about the Beatles and the time period. The first is of course Ed Sullivan’s show, but after that, I’d have to say seeing A Hard Day’s Night at a local drive-in, hearing their first US album Introducing the Beatles, learning the riff to I Feel Fine on my canary yellow Epiphone Cornet - my first electric guitar - and many other memories that are described in the book.
What's your musical background? I understand you're a performing musician, as well as an analytic one and an author? You're also an expert on Celtic music. How does that expertise inform or influence your understanding of The Beatles? Is there any cross-over between those styles?
I’ve played the guitar since I was 8 years old, so that’s quite a while ago. I’ve also played lots of other instruments and musical styles, blues guitar and harmonica, Appalachian fiddle and clawhammer banjo, classical guitar, keyboards - obsessions with Couperin and Satie - Strumstick, and a whole lot of Irish Session tunes, on fiddle, bouzouki, and tenor banjo, and most recently, acoustic and electric tenor guitar, with arrangements for cello thrown in. And I’ve learned the chords to many a Beatle song, so it’s all mixed in together, and many years of playing music does really help you appreciate how very special the Beatles were. One thing I enjoy doing that brings it all together is arranging what I call ‘morphs’, which are instrumental renditions of Beatles and other rock/pop music, in a Celtic or Americana style, and often with changes in time signature. I’ve put a few CDs of these types of things out over the past 10 years.
What did you find most surprising/enlightening/rewarding as you worked on this book?
I was always so taken with the Beatles’ vocal harmonies – I think combined with their special energy it’s such a defining characteristic of their music – so the book started as totally focused on that, but after a few years, the whole idea of Blue Notes and Sad Chords, the mixing of genres within the same song, and particularly bluesy rock n roll with emotional pop, really became so much clearer. It was always something you’re sort of aware of in the background, but after detailed study, it really stands out. You can hear this style mixing very definitely in early hits like 'Can’t Buy Me Love', 'A Hard Day’s Night', and 'I Feel Fine'. And then it just feels so good to feel like you’ve answered such a basic question – namely What makes the Beatles’ music so incredibly popular and lasting? This contrast between parts of the same song has also been pointed out by Beatles musicologists like O’Grady, but maybe not given a specific name, as I’ve done in the book.
You told me music is your hobby and passion, but not your profession. What's your day job? How does that professional experience inform your musical experiences?
I’m a computer programmer, databases and GIS (computer mapping), by day, with lots of visualization thrown in. It involves a lot of abstract thinking that doesn’t map perfectly to the world of music, but I’m sure I’m influenced by some of those things, in both directions.
It’s also why I really tried to balance the highly simplified color-coded music theory in the book with lots of nostalgic, memory-laden passages – like what else was charting at the time, and my Proustian boyhood memories of being a young guitar player, or for example, recalling my boyhood idol, a rhythm guitar player for a great local band, who had this incredibly beautiful yellow-to-red sunburst Rickenbacker guitar, and lots of things like that.
This book just came out a few months ago. What's next for you? Any more books under construction?
I’m working on a late 60’s coming of age novel – it will be far less filtered then my reminiscing in the Beatles book, but similar in tone, except in third person – with plenty of sex, drugs, and rock n roll – it certainly won’t be allowed on high school reading lists - lots of song descriptions of the Beatles’ music, but also lots of other artists, and it will have many more pages, to describe growing up in those crazy times. I went to high school in a college town, Northampton, Mass., and there was a lot going on in the 1968-70 time period. That book won’t be done for a couple more years. I’ll keep the title under wraps for the time being.
Where can people buy the book?
It’s up on Amazon and Barnes and Noble, and quite a few other websites.
Great! I hope the book goes platinum!
Thanks again Aaron and hats off to you for all your great work.
Round 6 took place last night in Newton, MA, with fellow Beatles experts Candy Leonard and Dan D'Addio. Here are the results.
The 15 songs voted in:
The 15 voted out:
That brings the cumulative totals to...
6 of 6 votes: eight songs
5 of 6 votes: two songs
4 of 6 votes: four songs
3 of 6 votes: one song
2 of 6 votes: six songs
1 of 6 votes: one song
0 of 6 votes: eight songs
After conducting this "White Album Voting" several times, I started noticing how different individual preferences were compared to the "majority rules" group voting results. With that in mind, a few days ago I created a survey for individuals to submit their personal selections. That poll can be found here:
So far, four people (including myself) have submitted votes. And here are the initial tallys:
4 of 4 votes: four songs
3 of 4 votes: seven songs
2 of 4 votes: ten songs
1 of 4 votes: three songs
0 of 4 votes: six songs
The individual survey will continue at least into November (Nov 22, 2018 is the 50th anniversary of The White Album's release), and the next group vote will take place in Lake Zurich, IL next month:
Wednesday, 8 August 2018, 7:00-8:30 p.m.
Ela Area Public Library, 275 Mohawk Trail, Lake Zurich, IL
Carte Blanche: The Beatles' White Album
The Beatles' only double-album, The Beatles (a.k.a. The White Album) is the band's most individualized and stylistically diverse work. Many people argue that The White Album should have been released as a single-album, but no two people seem to agree on which half should be kept and which half should be discarded. In this 90-minute program, two Beatles experts (Richard Mills and Aaron Krerowicz) will make the case for why all thirty tracks should be kept, then the audience will vote on which fifteen should be kept and which fifteen should be discarded in order to distill the double-album down to a single disc.
I delivered "Carte Blanche: The Beatles' White Album" again last night in Princeton, NJ with Ken Womack. We each discussed 15 of the album's 30 tracks, then the audience voted on which songs to keep and which to discard. Here are the results.
The 15 winners:
That means these were the 15 losers:
Last night being the fifth time I've done this program, here are the updated cumulative voting totals.
5 of 5 votes: eight songs
4 of 5 votes: two songs
3 of 5 votes: five songs
2 of 5 votes: five songs
1 of 5 votes: two songs
0 of 5 votes: eight songs
Round 6 will take place on Monday:
Monday, 16 July 2018, 6:30-8:30 p.m.
Newton Free Library, 330 Homer St, Newton, MA
Carte Blanche: The Beatles' White Album
The Beatles' only double-album, The Beatles (a.k.a. The White Album) is the band's most individualized and stylistically diverse work. Many people argue that The White Album should have been released as a single-album, but no two people seem to agree on which half should be kept and which half should be discarded. In this 2-hour program, three Beatles experts (Candy Leonard, Aaron Krerowicz, and Daniel D'Addio) will make the case for why all 30 tracks should be kept, then the audience will have to discuss and debate the merits of each song in order to distill the double-album down to a single disc.
Here are the 15 keepers:
Which means here are the 15 voted off the island:
This brings the cumulative totals to:
4 of 4 votes: 9 songs
3 of 4 votes: 3 songs
2 of 4 votes: 6 songs
1 of 4 votes: 3 songs
0 of 4 votes: 9 songs
While this concludes the White Album presentations for June, I have two more non-White-album events next week:
Monday, 25 June 2018, 6:30-7:30 p.m.
Kokomo-Howard County Public Library, 1755 E Center Rd, Kokomo, IN
The Beatles & The Rolling Stones
Ask anybody to name two English rock bands from the 1960s and the response will likely be, "The Beatles and The Rolling Stones." This 60-minute multimedia presentation will compare and contrast the two through musical examples and interviews with the band members.
Wednesday, 27 June 2018, 6:00-7:30 p.m.
Tippecanoe County Public Library, 627 South St, Lafayette, IN
The Influence of American Rock 'n' Roll on the Beatles
Before the Beatles ever wrote their own songs or performed on stage, they were inspired to do so by American rock 'n' roll records. This 90-minute multimedia program illustrates the influence of Carl Perkins, Elvis Presley, Chuck Berry, Little Richard, and other American recording artists from the 1950's on the Beatles through side-by-side comparisons and musical analysis of Beatles covers and original recordings.
I delivered Carte Blanche: The Beatles' White Album last night in Zionsville, IN to an audience of 28. That means a minimum of 15 votes were required to establish a majority when voting which songs to keep and which to disregard.
Here are the 15 tracks that obtained that majority of at least 15 votes:
That means these 15 didn't make the grade:
With these updated votes, here is our running tally:
3 or 3 votes: 9 songs
2 of 3 votes: 7 songs
1 of 3 votes: 4 songs
0 of 3 votes: 10 songs
Round 4, the final round of June, will take place tonight:
Wednesday, 20 June 2018, 6:00-8:00 p.m.
Westfield Washington Public Library, 333 W Hoover St, Westfield, IN
Carte Blanche: The Beatles' White Album
Yesterday I delivered a presentation on The White Album at the Eckhart Public Library in Auburn, IN. Afterwards, we discussed and voted which songs should be kept and which should be discarded as we whittled the double album down to a single disc.
Yesterday's 15 keepers:
That means these 15 were eliminated:
So here are the cumulative totals after round two:
2 of 2 votes: 12 songs
1 of 2 votes: 6 songs
0 of 2 votes: 12 songs
Rounds three and four will take place later this week:
Tuesday, 19 June 2018, 6:00-8:00 p.m. (NOTE THE START TIME CHANGE FROM 6:30 TO 6:00!)
Hussey-Mayfield Memorial Library, 250 N 5th St, Zionsville, IN
Carte Blanche: The Beatles' White Album
Wednesday, 20 June 2018, 6:00-8:00 p.m.
Westfield Washington Public Library, 333 W Hoover St, Westfield, IN
Carte Blanche: The Beatles' White Album
Though I've presented on The White Album several times, I had never done so collaboratively before yesterday. With its 30 stylistically diverse tracks, it is particularly well-suited to multiple interpretations and perspectives. And last night at the Arthur J. Miller library in Warren, MI, I paired up with Beatles expert Bob Koski to discuss and debate the merits of all 30 songs, before letting the audience decide by vote which half to keep and which half to discard.
When it was all said and done, here are the 15 tracks the audience voted to keep:
That means they threw out these 15:
After the final tally, one audience member said, "I think I'd prefer the album of rejects!" And indeed, that's one of the points of the exercise: In forcing ourselves to throw out half of the music, we come to better understand that The White Album genuinely needs to be a double album - you can't get rid of half the music without fundamentally altering the nature of the album!
Since 2018 is the 50th anniversary of The While Album, I'll be delivering this program several more times this summer. I plan to keep track of each vote, and after the final presentation I'll total up the tallies to see which tracks are the most and least popular.
Meanwhile, however, I'll be presenting a relatively new program tonight in Ortonville...
Wednesday, 6 June 2018, 6:30-8:00 p.m.
Brandon Township Public Library, 8636 304 South St, Ortonville, MI
The History of Popular Music in America
As the United States developed into an international superpower in the mid-Twentieth Century, so too America's music grew into an international force. This 90-minute multimedia presentation will trace the development of popular music in America from the conclusion of World War II to the present. Artists discussed will include Elvis Presley, The Beatles, Michael Jackson, and Eminem, among others.
... and returning to an old favorite I've done a couple hundred times on Saturday in Caro:
Saturday, 9 June 2018, 2:00-3:00 p.m.
Caro Area District Library, 840 W Frank St, Caro, MI
The Beatles: Band of the Sixties
Explore the music of the Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members.
Anybody who has read Days in the Life knows I have a love/hate relationship with academia. As I wrote in that book: “I love its intellectual rigor and depth of research; I hate its politics, egos, and restrictive formal structure. … John Adams (the composer, not the second or sixth US presidents) once described himself as 'a minimalist who is bored with minimalism.' If I may paraphrase his words, I'm an academic who is bored with academia.”
On one hand, my undergraduate study at Butler University was the best four years of my life. I learned so much so quickly, I grew tremendously as a musician and as a person, and I forged lifelong relationships with peers (including my now wife) and faculty. That period is the only time in my life I'd “go back” to, if time travel were possible.
But at the same time, anyone with experience in academia can tell horror stories, and I'm no exception. I found out first hand how inane higher education can be when I submitted my master's thesis. It was rejected because my page numbers were 1.5 inches from the top of the page. Apparently that violated the rule that “page numbers must be no less than 1 inch from the top of the page.” When I pointed out that 1.5 is not less than 1, he replied, “well, that's your interpretation.” UNBELIEVABLE! To this day, I can hardly believe that he actually said that! And that's just one example – there are many, many more.
At some point I realized that my strength as a musician was as a theorist and educator, not as a composer – as an anlyzer and explainer, rather than a creator. And so I quit the composition doctorate I began at the University of Hartford, downgrading instead to a Graduate Artist Diploma (essentially a second master's).
After a few years away from school, I decided to give academia another try by applying for a theory doctorate. I found a professor (who I'll keep anonymous) whose work I respect infinitely, and applied for fall 2014 matriculation to study with him. That prof emailed me on 26 February 2014, saying that to be accepted, “you need more evidence of theory courses such as might be taken during a Master's degree--tonal and atonal analysis, history of theory, pedagogy of theory, and a run of grad history courses. The [music theory] dept recommends an applicant pursue a Masters before applying for the PhD.”
Now, of course a doctoral applicant should complete a master's before applying. And yes, of course that applicant should be well-versed in tonal analysis, atonal analysis, history of music theory, pedagogy, and music history. But the fact is that I had not one but TWO master's, and I had already taken four grad-level tonal analysis courses, four grad-level atonal analysis courses, one session of grad-level history of music theory, one grad-level pedagogy class, and six sessions of grad-level music history. It would've been perfectly understandable to decline my application if I had none of the above; but to turn me down when I have the degree in question, and when I've taken all of the courses mentioned (most of them multiple times) is utter absurdity! I will never know the REAL reason why he turned me down.
Giving up on academia, I decided to go my own way. In June 2015, I upped my Beatles scholarship to a full-time profession. I've done dozens of lecture tours through the US, England, and Canada, delivered over 500 presentations, visited 37 states, and published six books. I basically did the same style of analysis I would have done had I gone back to school, but presented my findings in much more accessible ways (ie with fewer academic buzzwords and technical jargon). And I loved it. It was a ridiculous amount of work, but it was also a lot of fun.
Fast forward to Monday, 14 August 2017. I'm eating breakfast with Beatles author and Monmouth University dean Ken Womack in Chicago following the annual Fest for Beatles Fans. I complained more than a little about how I was struggling to sell books because most potential buyers reward gaudy marketing rather than quality scholarship. I've known that for years, of course, but it always becomes most apparent (and depressing) at large conventions, like The Fest. “I don't understand why you're not pursuing an academic career,” he told me. “Based on your style of work, I'd strongly encourage you to go back to school next fall.”
I had considered the notion many times, but always decided against it. At Ken's encouragement, I started researching my options. I knew I didn't want to move across the country yet again, so that limited me to schools in central Indiana. IU was the obvious choice – it's the biggest music school in the country – but I ruled it out after a conversation with their theory department head, who advised me not to study pop music there.
That left only one option: Ball State University in Muncie. I set up a phone interview with BSU's department head, Dr. Eleanor Trawick. My first question was whether I should apply for a doctorate or a master's. I half expected her to say master's, since that was the answer I got the last time I applied for a doctorate. But instead she said exactly what I wanted to hear: “Why on earth would you do a third master's?” Since she passed that test, I decided to visit the campus in person.
I arranged to sit in on a pop music class taught by Dr. Brett Clement, who has analyzed and written on various rock musicians from Frank Zappa to Yes. Dr. Clement provided me with a copy of the course syllabus, including a large bibliography of books and articles. I had read a few of them, and decided to read more. It took a while to get used to that style of writing, but once I got the hang of it, I found the analysis deeply enlightening.
Cautiously optimistic, I went ahead and applied. And yesterday I received an acceptance letter offering a full scholarship with teaching opportunities for both written theory and ear training, plus an annual stipend. I proudly accepted.
I will continue my lecture tours through the summer (Indiana through May, Abbey Road on the River over Memorial Day weekend, Michigan in June, New England in July, and the Chicago Beatles Fest in August), then recant my status as a “full-time professional Beatles scholar” on August 20, when classes begin.
I try to keep my blogging professional. These posts are supposed to be about analyzing great music, not about my personal problems. Every once in a while, however, something so extraordinary happens that I feel the need to blog about it – even if it's not musical, and even if it's only to make me feel better. Last week, I experienced such an incident: the second car accident of my life.
Now, I'm an extremely safe driver. Some people, including my wife, say I'm overly cautious. When we're travelling together, she's typically behind the wheel because my snail's pace drives her crazy. And yeah, I see her point. But when you drive as much as I do (I drove 24,000 miles in 2016 – and that was just for business), and since accidents are potentially physically and financially devastating, I'm not sure it's possible to be overly cautious when operating a vehicle.
There's a scene in Jurassic Park 3 that comes to mind. Amanda Kirby (actress Tea Leoni) discusses their missing son with her ex-husband Paul Kirby (William H. Macy):
PAUL: It was just a crazy accident. The exact same thing could have happened if he was with me. You can't go beating yourself up about it.
AMANDA: This wouldn't happen if he was with you. I mean, you drive five miles below the speed limit.
And that's how I drive! My trusty Nissan versa gets 50mpg when I drive 55mph. So I'll often drive 55mph, even when the limit is 60. If the limit is 70, I might increase to 60, but sometimes I still go 55. Sometimes I've even turned on my hazard blinkers to warn other drivers when that's the case. (The other drivers are usually a lot less grouchy when I have those lights on.)
So given my uber-conservative driving style, I wasn't surprised when my first-ever accident happened when a guy backed into me in a parking lot. If you have to be in a car accident, that one to be in. I was on my way out of the lot while he was backing out of a space. Rather than wait for me to pass, he pulled out and his rear left bumper collided with my right rear bumper. He claimed he never saw me, but I suspect he never even looked cuz I was RIGHT THERE. Plus, I was driving my parents' minivan – a vehicle about twice the size of my little versa. How do you miss a minivan that's only a few feet directly behind you? Anyway, we settled the matter privately with him paying for the repairs.
Then last Thursday, I was in a very similar – but much more costly - incident. I was driving north on Highway 137 (aka Sheridan Rd), one of the main roads in Beach Park, IL. The guy in front of me, Thomas, missed his turn and so stopped in the middle of the highway. Being behind him, I stopped, too. Then, instead of turning around, Thomas threw his truck in reverse. Seeing the impending accident, I laid into my horn. When he kept coming, I tried to quickly reverse, but I wasn't fast enough and he plowed into the front of my poor versa, totaling the car.
When officers arrived and asked for our stories of what happened, Thomas claimed that he had been stationary and I rear-ended him. I'll never know if he sincerely believed that, or if he was just trying to get out of having to pay my repair expenses. Either way, it worked. The officers issued me a $120 citation for “FAILURE TO REDUCE SPEED”, even though I was stationary at the time of impact.
I called the insurance company seeking advice and an agent suggested there might be witnesses or security cameras that could have filmed the whole thing. “The police have to pursue that,” she told me. “It's not the responsibility of insurance – we go by whatever's in the police report.”
So I walked over to the officer and pointed out that the car dealership across the street had several cameras. Plus, I laid into my horn for several seconds before impact. It's likely that the noise attracted attention, so there might be witnesses. But he refused to look into it. “That,” he told me, obviously annoyed by my suggestion, “is the responsibility of the insurance company – not law enforcement.” He informed me I had six weeks to pay the ticket, then went on his way.
Stuck between two authorities' advice, and with nothing to lose, I walked over to the dealership and asked if they had any witnesses or video. “Yeah, I saw the whole thing as it happened,” said one employee. “I don't know what that guy was thinking - he just backed right into you. Let's go check if our cameras caught it.” We walked to the security room, he pulled up the footage, and we watched as I unmistakably came to a complete stop, then Thomas backed into me. It was about as clear as it could be. I made a brief video of the footage, holding my phone up to the monitor.
Thank goodness the camera caught it, or I'd be on the hook even though I did nothing wrong! Even my mother, who worked as an insurance adjuster before I was born, admitted, "If I had to surmise what happened without that video, I'd say that you rear-ended him. It's just too unbelievable that someone would back up on a highway like that." And yet that's exactly what happened...
Now I have to submit the footage to the insurance company for subrogation, and to the Lake County Sheriff to contest the ticket. Argh! This is not how I wanted to spend my week.
I met Scott Freiman, the man behind Deconstructing The Beatles, at Abbey Road on the River earlier this year. I asked if he would be interested in a blog interview to promote his work, to which he readily agreed.
The Beatles are perhaps the most famous and popular rock band ever. Why, in your estimation?
The Beatles’ music has become part of popular music’s DNA, much like the American Songbook and composers like Porter and Berlin. The Beatles’ songs were full of joy that preached love over hate. They employed unusual chord changes to keep listeners engaged and production techniques that set the stage for much of the music that followed. They had a lasting influence on songwriting, cinema, fashion, and culture.
Why have you chosen to study The Beatles so extensively, as opposed to other artists?
The Beatles are the one band that a 5-year old, a 55-year old, and a 95-year old can all listen to and enjoy. I wanted to find out why. Everything I do is an attempt to get closer to their creative process and share that with my audience. I benefit greatly from the vast amount of research that has been done on The Beatles and the large amount of outtakes and bootlegs. This wealth of material does not exist for any other artist.
What is your personal background and how did you come to The Beatles, both as a fan and as an analyst?
I was first introduced to The Beatles by my hippie uncle when I was eleven years old. I was instantly intrigued by their music. I became an avid fan, reading books on The Beatles and searching out the “official” British LPs rather than their American counterparts. When I became a full time composer and producer, I cracked open some of the more technical Beatles books that I owned and started to reexamine some of their production techniques. I was excited to share what I learned with other musician friends, and Deconstructing The Beatles was born.
You call your series “Deconstructing The Beatles”. Why did you choose that title, and what exactly does “deconstructing” mean?
I like the idea of taking apart The Beatles music — or “deconstructing” it - to see what makes it tick. How do the melody and harmony function in their music? How are the songs arranged? What influences did their music draw on? What production techniques were used to record the music? When you take apart and examine the elements of a song, I think you gain a greater appreciation for the “whole”. My Deconstructing the Beatles lectures take a look at the Beatles’ creative process by examining the components of their songs and how they worked together.
I understand you have recorded several of your presentations, which are now available for purchase. How many different presentations will be released, and what time frame do you expect for those releases?
Over the last year, we have released four films — Deconstructing Rubber Soul, Deconstructing Revolver, Deconstructing Sgt. Pepper, and Deconstructing the White Album - all of which are available for purchase at deconstructingthebeatles.com. Right out the gate, we had an enthusiastic audience that allowed me to reach thousands of people who were never able to see one of my live lectures. Last summer, we filmed three more presentations — Deconstructing the Birth of the Beatles, Deconstructing the 1963 Beatles, and Deconstructing Magical Mystery Tour. All three of these new films will be released in 2018. And in 2019, I hope to release several more films, including one on Abbey Road.
There must be massive legal complications in recording and re-producing Beatles music. Did you have to get permission from Paul, Ringo, Yoko, and Olivia?
Because my lectures and films are educational in nature, we have been able to use the music of The Beatles under Fair Use. We work with the top Fair Use attorneys in the country who approve every frame of film before it is released. We even get their approval for trailers and other marketing material.
Do you speak on topics other than The Beatles?
In the past, I have taught online courses on a variety of music and technology topics. I have also lectured about film music. But right now, I’m all Beatles, all the time!
You're also collaborating with Ken Womack on a graphic novel about The White Album. How did this come about, and what is the goal of the book?
Ken is one of the best authors of Beatles books (as well as non-Beatles books) and an all-around great guy. We first started talking about a book on the White Album last year. That evolved into the idea for a graphic novel. We hope that the book will introduce graphic novel lovers to the magic of The Beatles and Beatles lovers to graphic novels.
Any plans for more books, Beatles-oriented or otherwise?
Believe it or not, all of these Beatles-related activities are just my hobby. I have a “real” job as the CEO of Qwire, a software company that is changing the way music is licensed, composed, and reported for film and television. Nevertheless, I’m squeezing in some time for a few new Beatles ventures. Later this year, I will be releasing an online course entitled Songwriting Secrets of The Beatles through MacProVideo.com. (Your books have been a huge help in preparing the course, by the way!) I have a more advanced Beatles-related songwriting course planned for next year. In addition to those courses, the graphic novel, the new films, and the films planned for 2019 and 2020, I hope to continue to give live presentations around the world.
For more information and to buy DVDs or stream Scott’s Deconstructing the Beatles films, visit Scott’s website at www.DeconstrurctingTheBeatles.com.
This blog is a workshop for developing my analyses of The Beatles' music.