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Letter From The Editor Opinion

In Autumn, Meanwhile Back

When the stars align, usually on a rainy Sunday in late autumn or early winter when he’s still a little punch drunk from the end of Daylight Saving Time and the end-of-year blurring of the calendar, the editor sleeps in.

After a Saturday spent writing and then helping a friend move, he sleeps in on Sunday. After tumbling out of bed and stumbling to the kitchen, he sets coffee brewing, opens the blinds, and watches as the rain dimples the surface of the creek next door. He and his fiancée sit and watch their cats watching the birds sitting on still-leafy branches, their feathers fluffed against the rain.

Later, the couple bundle themselves against the late-autumn cold and leave the house. After realizing that the Memphis weather is being Memphis weather again — it feels more like April than December — they clomp back inside and shed a layer.

The editor drives, and the two go out on the town for a day of Christmas shopping. They don’t often have days off together, so it’s An Event.

At a local bookstore, they buy a book about bees, a stack of car magazines, a sweater, and the fourth and final book (translated from French) of a fantasy series. The editor sees an old friend, and she says nice things about the newspaper. He says he hopes her sister is well. They recognize each other despite wearing masks and, in her case, big sunglasses.

After a brief diversion — stopping at a grocery store for dinner ingredients, dropping said supplies off at home — they go to a plant store and nursery. The editor picks out more gifts, and his fiancée coos over the shop’s resident cat, Bunny. More businesses should have a cat, the editor thinks. They pile their gifts-to-be on the counter and pay for them, chatting with the friendly clerk about science-fiction films and cats. The clerk’s cats, it turns out, are named after characters from sci-fi films.

Their last stop for the day is an antiques store on Summer Avenue. The editor’s father is planning on moving back to Memphis early next year. The father will need some furniture, and the editor believes in practical gifts. The editor’s not worried about including that in his column because his father, for the moment at least, lives outside the newspaper’s circulation radius. The editor, for the time being at least, could include an itemized list of gifts, and his father would be none the wiser. The father doesn’t use the internet and still owns a flip-phone, so the editor figures there’s no chance of the surprise being ruined via social media either. It’s the perfect crime.

In the antiques store, the fiancée finds some gifts, along with a burnt-orange sweater and a wooden desk tray, the kind one might use to hold correspondence. She’s a fiend for fall colors; she’s mad about organization. She also finds a corner shelf, the exact kind the editor has been on the hunt for, to be a new home for some houseplants. They must be kept out of his cats’ reach. They murder houseplants with extreme prejudice.

The editor dusts off the corner shelf, examines it from every angle, and checks the price tag. They’re here to buy gifts, not furniture for themselves, he reasons. As he’s vetting the shelf, the editor sees someone he recognizes — above the face mask, that is. He’s a local musician, drummer for a half-dozen Bluff City bands. They say hello. The editor invites the drummer to examine the shelf, which the drummer judges to be a fine shelf indeed. The editor caves. He buys the shelf. He finds his fiancée and helps her carry her purchases to the car.

Back home, the editor wraps presents while his fiancée cooks soup. Usually soup is a meal they prepare together, but they don’t mind slight variations in their habits. Most days, they wake early; today they slept in. The editor puts on a playlist of tunes by The Beatles. He’s been on a Fab Four kick, courtesy of the Peter Jackson documentary Get Back.

If he were Paul McCartney, he thinks, he could turn today into a little third-person story song. “Penny Lane, the barber shaves another customer,” he sings to himself. “On Summer Ave., the salesman sells another antique shelf.”

It’s no “Yesterday,” he thinks, but it’s a nice song to live.

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Film Features Film/TV

The Beatles: Get Back

I was 15 the first time I played with a real rock-and-roll band. The first song we learned was “Get Back” from The Beatles’ final released album Let It Be. We started with that one because it was easy — or at least it sounded easy. That’s when I learned that great rock music is deceptively simple. It wasn’t hard to hit the notes. What was hard was hitting them at exactly the right time, with exactly the right feel. We must have jammed on “Get Back” for an hour trying to get it to sound right, which of course we never did. 

I went on to play in rock bands for 30 years. In college, I played a lot of gigs and made a lot of money. After college, I played cooler shows, made good records, and didn’t make much money. I’m still doing it — my last album was released in 2020, got good reviews, and even turned a modest profit.

Maybe that’s why, in the new Beatles documentary Get Back, when we see Paul McCartney, frustrated because his bandmate John Lennon is late for rehearsal, plop down on a chair in the corner of a soundstage and pound out “Get Back” off the top of his head, it’s kind of like watching a tape of yourself being conceived: profound, moving, and also a little icky. Paul, it turns out, was just a band geek like the rest of us.

Let It Be was recorded in January 1969. Having spent 1966-1968 revolutionizing studio recording, the plan was to get back to their bar band roots by writing a new album’s worth of songs and premiering them with their first live concert in three years. Crucially, they were going to do it all in front of director Michael Lindsay-Hogg’s cameras, in a soundstage at Twickenham Studios, where A Hard Day’s Night and Help! had been filmed. That meant they had essentially three weeks to write 14 songs, whip them into shape, and record them in front of an audience. This was difficult, but not out of the question for the band who had changed pop music in one day with the 10-song session that produced Please Please Me. Legend has it that the sessions ended in acrimony, with George Harrison briefly quitting, and the band trying to salvage the project with an impromptu live show on the roof of their Apple records studio. The album was shelved, and the band returned to the studio for Abbey Road. After they broke up in early 1970, Let It Be was finally released, and Lindsay-Hogg’s feature documentary became notorious for capturing the “breakup of The Beatles.”

A few years ago, Lord of the Rings director Peter Jackson acquired the rights to the Let It Be sessions footage, which encompassed more than 60 hours of film and more than 180 hours of audio. He spent four years editing the chaotic mess down to a “crucial” 468 minutes.

If your first reaction is, maybe he could have gotten a little more crucial than eight hours, you’re right. This is not a film with a punchy narrative; in part three, Lindsay-Hogg complains that he has lots of footage, but no story. This is the ultimate hangout picture, because you get to hang out with The Beatles. That’s what’s so compelling — you’re watching some of the greatest artists of the last century at work.

For a seasoned show dog, it’s fascinating to watch the greatest of all time systematically violate the rock band rules. First, the rehearsal space is sacred. Don’t record the writing process, or the frank discussions that take place there. Second, no significant others in the studio. This is known as the “Yoko Rule,” which Get Back shows is unfair. Yoko Ono is omnipresent and clingy, sitting next to John in the early going, before getting bored and leaving as the sessions drag on. She’s a non-factor in the lads’ conflict, which largely stems from trying to do the delicate mental work of composing songs while under the camera’s gaze.

The Beatle who is up to the challenge of working in the spotlight is Paul. In one stunning moment, while John is meeting with Lindsay-Hogg to plan the ill-fated concert, Paul is in the background, noodling around on the piano, and “Let It Be” emerges. When he takes it to the group, and The Beatles’ eyes light up, it’s like watching Leonardo da Vinci sketching The Last Supper. Get Back shows that The Beatles, often reduced to cartoon characters, were human after all — and that makes their art even more extraordinary.

The Beatles: Get Back is now streaming on Disney+.

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Film/TV Film/TV/Etc. Blog

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In

Bob Marley plays the December 1976 Smile Jamaica concert in the documentary Marley.

Five months into the pandemic, the Malco Summer Quartet Drive-In is one of the few places in America where you can see a movie with an audience. This weekend’s mixture of new releases and legacy titles looks to be the best crop of films at the drive-in since the beginning of the theater shutdowns in March.

Robert Nesta Marley would have been 75 last February, had he not died in 1981 at the age of 36. The Marley estate commissioned a new documentary series on the reggae artist’s impact for YouTube, and has re-released the 2012 documentary Marley to drive-ins this month. Marley is as close to a definitive biography of the artist as is possible to take in in one sitting. The portrait it paints of Marley is of an imperfect man elevated to the status of a world leader by the dint of his musical genius.

Marley’s crossover into the political realm births one of the most remarkable scenes in the documentary. In 1976, Marley became embroiled in a bitter presidential election in his native Jamaica. Two days before he was scheduled to play at the Smile Jamaica concert, a hit squad attempted to assassinate Marley in his home. His wife and manager were seriously wounded, and Marley was hit in the arm and chest. The day of the show, after Marley announced he had enough strength for one song, 80,000 people showed up in a park in Kingston. Marley came out, showed his wounds to the crowd, and played an incendiary, 90-minute set.

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (7)

Marley is paired in a double feature with a different kind of music film. Yellow Submarine is a landmark 1968 animated feature that set original compositions by The Beatles to some of the grooviest images psychedelia ever produced. In addition to the famous theme song, the soundtrack features some quality post-Pepper jams like George Harrison’s ethereal “All Too Much” and John Lennon’s stomper “Hey Bulldog.” It’s the most artistically important of the three films the Beatles starred in during their decade in the spotlight, and just plain fun to boot.

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (2)

Over on screen three, a double feature of recent blockbusters will scratch your itch for big summer movie fun. Star Wars: The Force Awakens was the first installment in the sequel trilogy. Beginning the saga of Rey, the novice Jedi, and ending the story of Han Solo, it’s also the best film J.J. Abrams ever made. The 2015 trailer is an all-time classic teaser that set the franchise reopener on track to gross over $2 billion.

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (3)

TFA is paired with Jumanji: The Next Level, the 2019 sequel to the surprisingly watchable Jack Black/Karen Gillian vehicle that also starred some guy named Dwayne “The Rock” Johnson. I feel like that guy could go far.

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (4)

On screen four, the highest grossing movie of 2020, Bad Boys For Life, continues its improbable afterlife. As I said in my review from the long-ago days of January, “The thing you need to know about Bad Boys For Life is that Michael Bay didn’t direct it.”

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (6)

Paired with Will and Martin is the latest grindhouse horror revival from IFC, which has released a string of low-budget horror titles to what passes for success in the movie business this year. The Rental is billed as the first AirBnB horror film, and it looks like some sleazy fun.

Bob Marley, The Beatles, and The Force Awakens This Weekend at the Drive-In (5)

You can buy tickets to the Malco Summer Quartet Drive-In double feature specials on the Malco website

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Music Music Blog

Revolve-Her: Booker T. Tribute Band The MD’s Re-imagine Beatles History

The MD’s

Whether it’s The Man in the High Castle or the upcoming For All Mankind, alternative histories are capturing something deep in our psyche right now. “If only a few things had been different, how might history have unfolded?” But the logic of such re-imaginings has thus far not been applied to music much — until now. Leave it to the MD’s, Memphis’ own combo featuring the music of Booker T. and the MG’s, to go there.

In a multimedia tour de force that the band has been honing for months, they’ll set out this Friday to imagine just what it might have sounded like if the Stax house band, who famously re-interpreted The Beatles’ Abbey Road on their album McLemore Avenue, had somehow given that treatment to Revolver four years earlier. 

I spoke with MD’s bassist and arranger Landon Moore to get an inkling of what the audience might expect, and found it will be a lot more than I could have imagined.

Memphis Flyer: What was the genesis of this idea?

Landon Moore: I guess it started when we decided to do McLemore Avenue as a show. It was a fun record to learn, and it definitely gave us insight into how they approached arranging things: where they took liberties, how they chose to do the medleys, and songs they decided to leave off. For a long time the MD’s have wanted to do something ‘original.’ So we thought, you know, McLemore Avenue went over well, so let’s just do Revolver. And there really was a chance that Revolver could have been recorded in Memphis. It’s been documented: Brian Epstein was here in March 1st of 1966. He was staying out east and toured Stax with Steve Cropper and Jim Stewart.

So in covering Revolver, we’re essentially going to do it the same way McLemore Avenue was done. We took liberties, there’re medleys and stand-alones. But predicting what the MG’s would have done is difficult. When listening to the version of “Eleanor Rigby” that they actually did … Well, if I was asked to come up with something I thought they would have done, I never would have come up with that. I never would have thought of it. So we took everything that they were doing from 1966-68 and said, ‘Let’s pull rhythmic elements and tones from these songs, and let’s force this square peg of Beatles songs into this triangle that is Booker T. and the MG’s.’ What we got was something very interesting. We’d say, ‘This is the groove, this is the bass line, and you have to make this into “And Your Bird Can Sing.”‘ Then you’re left with, ‘Whoa! That’s interesting!’ I would study little sections where it’s just All Jackson, Jr. playing and say, ‘I’m going to force “Tic Tac Toe,” off the MG’s second record, to be “Tomorrow Never Knows.”‘

So there were a lot of surprises. What was the biggest?

The most interesting thing that came out of the whole process was, we didn’t want to just have it be music. So what we’ll have Friday is an interactive documentary about ‘what happened in Memphis when the Beatles recorded Revolver at Stax.’ It’s this Ken Burns-style documentary that follows Brian Epstein’s trip, which turns out to be very successful!

The Beatles actually come here for chunks of time, culminating at the end of July 1966, right before they’re about to release Revolver. It imagines what the Beatles did in Memphis, how they interacted with the MG’s. Why Booker T. and the MG’s, in 1966, decided to record Revolver, an instrumental version to be released on Stax. And how the biggest band in Memphis and the biggest band in the world both mingled and clashed. So we will be performing the role of Booker T. and the MGs, as they arrange this record. Which they decide to call Revolve-Her.

So that is what October 4th is all about. And of course, through it, we’ll be paying tribute to the band that we’ve been paying tribute to this entire time.

It sounds like you’ll be alternating between live performance segments and portions of this documentary.

Yes, it will be back and forth. There’ll be a segment up front that sets everything up. And the audience will be surprised at some of the photos featured, let’s just leave it at that. The Beatles are unaware that the MG’s are arranging a version of the record they are currently writing in Studio A of Stax. Booker T. and the MG’s are doing this in secret, in the back, in the demo studio at Stax, while the Beatles are recording. And there’s this whole elaborate plan that Cropper comes up with, of ways to get these chords. He’s essentially watching Lennon and Harrison’s hands, and then delivering that information to the demo studio. But then Al Jackson, Jr. books a secret show at Club Paradise, under the name the MD’s. John Lennon finds out about it, and makes someone take them to Club Paradise. And that’s where the first medley happens … 

Just imagine this ‘letter from George Harrison’ about the Fabs recording at Stax in 1966

Hear the MD’s perform their interpretations of Revolver live, mixed with their faux-documentary, at the Kemmons Wilson Family Stage at Crosstown Theater, Friday, October 4th. Doors at 7:30 p.m., show at 8 p.m. $20

Categories
Film Features Film/TV

Yesterday

There is a video that occasionally pops up online, but usually gets taken down quickly. It’s an August 3, 1983, benefit concert at First Avenue for the Minnestoa Dance Theater — the night Prince debuted his new band, The Revolution, and played “Purple Rain” for the first time.

Every other time Prince plays “Purple Rain” from that moment until his tragic death in 2016, the opening chords are met with ecstatic cheers, and the audience sings along to the “woo woo-woo wooooo” of the coda. But not that night. When the anonymous First Avenue videographers who captured the moment pan across the crowd, most of them are half-ignoring Prince. Who cares about some new song that doesn’t sound anything like “1999”?

Himesh Patel in Yesterday

But for some of them, there is a growing recognition that something wonderful is happening. When Prince plays the climactic guitar solo like he’s calling the angels down from heaven, a girl in the front row clasps her hands and bows her head as if in prayer. The guy beside her turns to his friend and, slack-jawed, jabs a thumb at the band. “Are you hearing this?”

That feeling of being there at the creation, when it suddenly felt like the world was new, is what Yesterday is all about. Jack (Himesh Patel) is a singer/songwriter from a sleepy English coastal resort town who splits his time between his music and working part-time at a Tesco-like warehouse superstore. Ellie (Lily James), his friend since childhood, is his “manager” and biggest fan. She comes to all of his gigs, which range from busking on the street to being ignored at children’s birthday parties. Finally, she gets him a spot at the Latitude Festival in nearby Suffolk. He’s excited. This could be his big break! But since it turns out to be in the locals tent, he once again plays to no one.

Terminally frustrated, he decides to hang up his guitar for good and return to teaching. But when he’s riding his bike home after a row with Ellie, a mysterious worldwide blackout happens. In the darkness and chaos, Jack is hit by a bus. When he awakens in the hospital, he’s missing a couple of front teeth. But the world, he soon finds out, is missing something more significant: The Beatles. No one but Jack can remember John, Paul, George, and Ringo. When he searches for them, Google asks, “Did you mean: beetles?”

So what does a singer/songwriter do when he’s slipped into an alternate universe where no one has heard “Yesterday”? He struggles to remember the chords and lyrics, then passes the song off as his own. Jack’s own personal First Avenue moment comes when he plays “Let It Be” for his indifferent parents. But slowly, word gets out about this kid who had a head injury and then starting writing incredible songs, and Jack is on his way to fame and fortune.

There are a lot of fascinating “what ifs?” along these lines, moments when a subtle twist here or there would forever change history. What if Elvis hadn’t made a big impression on Sun Records’ Marion Keisker and she never told Sam Phillips about him? What if DJ Kool Herc’s family never migrated from Jamaica to the Bronx? What if Mark David Chapman’s wife called the cops before he murdered John Lennon? But the real question is, would any of those scenarios make a better light comedy by Trainspotting director Danny Boyle and Love, Actually writer Richard Curtis?

Yesterday has its moments. Patel, a veteran British comedy actor, is charming and charismatic. He’s no Sir Paul, but he can actually sing okay. English songster Ed Sheeran appears as himself, and he can actually act okay. The film finds some teeth when Kate McKinnon shows up as Jack’s agent and starts dripping venom on the music industry.

But there’s not enough of that. Like most music nerds, I’m a fan of the Fab Four. But I understand how folks are turned off by the hype from the Beatle Industrial Complex. The film treats it as a given that the world would be unrecognizable if no one had ever heard “I Saw Her Standing There” and that “Help” would be a hit in 2019 if you just punked it up a bit. Yesterday plays it safe and provides pleasant entertainment. But The Beatles took big chances and never took their own press too seriously. That attitude would have made for a more interesting — and funnier — film.

Yesterday
Now playing at Cineplanet 16

Opens Friday at multiple locations

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Film/TV Film/TV/Etc. Blog

This Week At The Cinema: Soccer and Sundance

With the World Cup and the Thai soccer team rescue in the headlines, it’s a good time for a soccer doc.

The Workers Cup

Migrant African workers in Qatar are currently building facilities for the 2022 World Cup. It’s a hellish existence that borders on slavery. The worker’s only outlet is a soccer tournament, held on the very fields they’re constructing. The Workers Cup is by director Adam Sobel and producers Ramsey Haddad and Rosie Garthwaithe, and it’s screening at Malco Ridgeway tonight at 7 PM. You can get tickets on the Indie Memphis website.

This Week At The Cinema: Soccer and Sundance

Tonight is also the 50th Anniversary screening of The Beatles’ only excursion into animation, Yellow Submarine at the Paradiso.

This Week At The Cinema: Soccer and Sundance (5)

On Wednesday, Indie Memphis Microcinema presents an encore of the 2018 Sundance short films at Crosstown Arts.

This Week At The Cinema: Soccer and Sundance (2)

Friday night will be busy, with two very different possibilities to fulfill your entertainment needs. At the Orpheum Theatre, the summer goes into small gear with Joe Johnston’s debut special-effects romp, Honey, I Shrunk The Kids.

This Week At The Cinema: Soccer and Sundance (4)

Then Mike McCarthy’s Midnight at the Studio continues with Alejandro Jodorowski’s groundbreaking psychedelic western El Topo.

This Week At The Cinema: Soccer and Sundance (3)

On Sunday at the Paradiso, Turner Classic Movies hosts the 30th anniversary of the film that made Tom Hanks a superstar, Big. Directed by Penny Marshall, it was the first film directed by a woman to gross more than $100 million.

This Week At The Cinema: Soccer and Sundance (6)

See you at the movies! 

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Film/TV Film/TV/Etc. Blog

Eight Days A Week

Here’s my big takeaway from Eight Days A Week: The Beatles were a great band.

The Beatles play Washington D.C during their 1964 tour of America in Eight Days A Week.

I mean, yeah, big whoop, right? The Beatles were a great band. Stop the presses. But I think The Beatles have been swallowed by their own legend. In the hip hop era, extolling the virtues of The Beatles will get the kids’ eyes rolling. They are the quintessential Baby Boomer phenomenon, and this documentary is directed by another Baby Boomer phenomenon: Ron Howard, a guy whose showbiz career started in 1959. Lately, the Apollo 13 director has devoted his time to low-impact adaptations of DaVinci Code books, and this movie is another softball. Nobody ever went broke selling The Beatles to Baby Boomers.

There are some parts of this production that seem phoned-in. The sound design, which you would expect to be perfect in a project like this, is occasionally haphazard. It’s not exactly briskly paced. There are a few colorized segments that look head-scratchingly tacky. As an obsessive fan of the band and of music in general, I didn’t really learn anything significant about The Beatles from this film.

But wow, they were a great band. And they’re still great. A couple of years ago, my wife and I paid a bunch of money to see Paul McCartney at the FedEx Forum. Our expectations were tempered by the fact that Sir Paul was 70 years old, but we figured if we just got to watch Paul Freakin’ McCartney’s muscle memory fire for an hour or so, it would be worth it. The man is living history. But the show wasn’t like that at all. Paul killed it. He played for more than two hours, alternating between bass, guitar, piano, and ukulele, never leaving the stage. The only clue that he exerted himself at all was that he took his jacket off after a few tunes. If nothing else, the man is a good argument for vegetarianism.

Before the show, we were talking about how it would be preferable to see Sir Paul in a small room instead of the Forum. But during the show, he casually dropped an anecdote about his last tour where he played to a crowd of 300,000 in Ukraine, and we realized that for him, the Forum was a small room.

The Beatles at Shea Stadium, 1966

Eight Days A Week makes it clear that Paul and the lads pretty much invented the modern arena concert—or rather, it was invented because of them. Thanks to a ten-camera film setup, the first mega-show The Beatles played, Shea Stadium in New York, provides the documentary’s most compelling footage. They perform out on the baseball diamond, with the stage about where second base would be. The isolation from the 50,000-strong throng of their rabid fans provides a prefab visual metaphor for what it was like to be one of the Fab Four in 1965. There is no huge sound system visible, like there would be at a modern arena concert, because they simply hadn’t been invented yet. A good system for getting amplified music out to a crowd that big wouldn’t be assembled for years, when The Grateful Dead’s sound crew finally cracked the problem. At Shea, The Beatles played through the stadium’s built-in PA, a primitive system only designed for at-bat announcements and the organ player. Even more unfathomable from a modern musician’s perspective, they played without monitors. They couldn’t hear themselves. And yet, they played in tune, in rhythm, and sang harmonies more complex than just about anything you hear on the radio today. The show, which is appended in full to the version of Eight Days A Week now showing at Studio on the Square, is a dazzling display of virtuosity and stage smarts under difficult conditions that had no real precedent.
Like I said, The Beatles were a great band—not just a collection of genius songwriters and visionary artists, a great band. When Howard trots out 1963 footage of John leading the band through an Earth-shaking rendition of “Twist and Shout”, I thought, the young Beatles would kill at Gonerfest, the annual garage punk festival occurring in Memphis next weekend. Eight Days A Week confirms that every young group of miscreants who have picked up guitars and drums in the last fifty years have been playing in The Beatles sandbox.

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Music Music Features

Ron Campbell’s Colorful World

If you’re into the Beatles or you’ve enjoyed watching cartoons at any point over the past 50 years, chances are you are already a fan of Ron Campbell’s work. The Australian animator has worked on memorable cartoons like The Jetsons, Rugrats, Scooby-Doo, The Flintstones, and The Smurfs, in addition to directing the wildy-popular The Beatles Saturday morning cartoon show that aired in the 1960s. After moving to the United States, Campbell was asked to contribute to the Beatles film Yellow Submarine, a job that would define his work as an animator. I caught up with Campbell to find out about his life in the cartoon business and to learn more about his upcoming art show this weekend at Art Village Gallery.

Ron Campbell

Flyer: What was your first paying gig as a television animator?

Ron Campbell: I got a job at a small animation studio in Sydney, Australia, after college. Television came to Australia in 1956, and I graduated art college in 1958. There was only one animation studio in Sydney, so I knocked on the door and I said, “You have to hire me.” They said they didn’t have enough work, so I waited about four days and came back and said, “I need to work here, and you have to hire me.” I did that about half a dozen times before they finally had enough work and hired me.

I sat at a handmade animation desk, and my job was to work on commercials for bug spray. I had the only real scene in the commercial, and it was of a spray can coming out and spraying a 100-leg centipede. I had to do 100 drawings each, and I remember sitting there as a young man thinking, I would pay them to let me do this, but I better not tell them that.

Did The Beatles television show you directed just lead into your doing the animation for Yellow Submarine?

The Beatles television show became a huge success and enabled me to get job offers in Hollywood, so I moved to America with my wife and first child and started working for Bill Hanna of Hanna-Barbera. I left there after a while and started working on my shows, like Scooby-Doo and George of the Jungle, when I got a call from London asking me to help out on the production and animation of Yellow Submarine. The movie had a huge budget problem, and they were having issues with the animation, so I agreed to help out with about 12 minutes of animation of the submarine and the scenes with the big Blue Meanies. I would draw something up and then send my pencil drawings back to London. The scenes were sent to me, and I would bring them to life with animation. But with The Beatles TV show, I was responsible for directing and hiring people. The work I did for Yellow Submarine accounts for 12 minutes of the film, but it took eight months to complete.

With so many cartoon illustration jobs under your belt, which ones were your favorites? Which jobs stick out as unique?

The show that I produced in the ’70s called Big Blue Marble is probably the one I’m the most proud of. It was an international show, and we sent it to over 100 countries. It featured a lot of live action, but my studio produced all the animation. We won a Peabody and an Emmy for that show, and you might be able to find some of it on the Internet. I don’t see any show as a favorite, though. I love them all. How can you choose between Smurfette and Angelica from Rugrats? I love Scooby-Doo, Fred Flintstone, George Jetson. I love them all.

Ron Campbell

Campbell’s work on Yellow Submarine totals 12 minutes of animation.

Now that you are retired, how often are you able to travel for art shows?

I guess I do an art show or two every month, sometimes less and sometimes they jam up together. I obviously need to spend a lot of time at home painting, but one of the pleasures that I get out of doing a show is meeting the audience. When I was working in animation, all the audience to us was a ratings number on the page. Now, people will come up to me and say, “You represented a lot of my childhood.” The memories that stay with the audience for the rest of their lives really surprise me. Popular culture is enormously powerful, and that’s something I’ve learned since I retired and started meeting my audience.

Being in the industry for 50 years, what kind of changes did you see?

I didn’t really experience any major changes, but I saw them coming. The first computer-generated animation I ever saw was in 1968. Computer technology was used in feature films while I was primarily working on television, but now it’s become the only way to make animation. I did my part, I worked in a different era, and the world rotated on its axis, and time went by. Young people are doing everything on a computer now, and I’m the dinosaur holding a pencil. I saw the technology come, but no doubt in 50 years young people will see another major change because that’s just how the world works.

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Film Features Film/TV

Indie Memphis screens A Hard Day’s Night

Richard Lester’s noisy, jumpy, compulsively ironic A Hard Day’s Night has played an important part in the Fab Four’s creation myth since its London premiere on July 6, 1964. Like the Beatles themselves, the film is strangely resistant to negative criticism. It has never really gone out of fashion, which is partly why Indie Memphis is screening a great-looking 50th anniversary restoration on Wednesday, July 9th, at Studio on the Square.

This meticulously scripted yet seemingly improvised piece of fanboy and fangirl propaganda seduced critics immediately. The Village Voice‘s Andrew Sarris proclaimed that “A Hard Day’s Night has turned out to be the Citizen Kane of jukebox musicals, the brilliant crystallization of such diverse cultural particles as the pop movie, rock n’ roll, cinéma vérité, the nouvelle vague, free cinema, the affectedly hand-held camera, frenzied cutting, the cult of the sexless subadolescent, the semidocumentary, and studied spontaneity.”

In enthusiastic prose that suggests Sarris was momentarily infected by the same hysteria propelling Night‘s hordes of screaming teenage girls, Sarris also wrote, “My critical theories and preconceptions are all shook up, and I am profoundly grateful to the Beatles for such a pleasurable softening of hardening aesthetic arteries.”

Nearly 40 years later, Roger Ebert’s “Great Movies” essay echoed Sarris’ sentiments while highlighting the film’s continuing influence on pop-culture consumption. “Today,” he wrote, “when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day’s Night.” Although countless reality shows and endless infotainment programming have rendered the expressive possibilities of Lester’s sound-image syntheses commonplace clichés, it’s hard to argue with Ebert’s assessment.

Along with Rob Reiner’s This is Spinal Tap, A Hard Day’s Night is the definitive movie about being in a rock-and-roll band — which doesn’t necessarily make it truthful or authentic. In a new essay for the Criterion Collection’s DVD release, Howard Hampton praises the film as a truthful-looking act of calculated image manipulation: “Collective and individual identities — the John-Paul-George-Ringo lunch box and merchandise concession — are worked out and woven through a treadmill environment where the hamsters play satiric havoc with the business of light entertainment and teen merchandising.” However, no amount of cynicism or satire can deflate the first “Can’t Buy Me Love” interlude, where the Beatles jump, scuffle, dance, and collide with each other in an open field like overheated molecules.

Disharmonious voices about the film were seldom heard. They did exist, though; in his 1966 essay “Day of The Lesteroids,” Manny Farber wrote “Lester’s trademark is a kind of thickness of texture which he gets purely with technique, like the blurred, flattened, anonymous, engineering sounds which replace actors’ voices, plus the piling up of finicky details, as in the scene of the Beatle shaving his friend’s image in the mirror.” And remember the guy who once sang “I don’t believe in Beatles,” too. But I don’t want them to spoil the party.

A Hard Day’s Night screens at Malco’s Studio on the Square Wednesday, July 9th, at 7 p.m. and 9 p.m. Tickets are $8.

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Millenium Madness

It’s not often a publication gets to celebrate the end of a century. And by “not often,” we mean only every 100 years.

The Flyer was all of 11 years old at the turn of this century, and boy did we celebrate Millenial madness. We dedicated the entire December 30, 1999, issue to the Millenium. There was a lot of “humor,” including a number of articles themed around “the best of the past 1,000 years.”

“The Worst Fashion Mistakes of the Past 1,000 Years,” for example. Codpieces was one of the punchlines, as was the “cone­-shaped bra.” We also featured an “interview” with a 101­-year-­old man. When he was asked about the Millenium, he replied, “Isn’t that the stuff Reynolds puts in boxes?” No, the interviewer (former staffer Jim Hanas) replied. “You’re thinking of aluminum.”

Hey, it was 1999. We’ve gotten funnier since then.

Actually, one article was pretty funny. It was Michael Finger’s story called “The 10 Greatest Pickup Lines of the Last Millenium.” Read it in its entirety and laugh your socks off:

“The past 1,000 years have been packed with triumph and tragedy, war and peace, laughter and tears. Through it all, mankind has sought true love, or at least the occasional one­-nighter, with varying degrees of success. As a public service, the Flyer has gathered in one place the wisdom of the ages, namely … The 10 Greatest Pickup Lines of the Last Millennium.”

* “I’ve got something that glows in the dark. Wanna see?” — Madame Curie

(success rate with this line: 25 percent).

* “You know, your eyes sparkle like the rubies and gold that I intend to pillage in the New World. Wanna come along for the ride?” — Balboa, or maybe it was Cortez. No, it was Magellan, pretty sure. (success rate: 47 percent).

* “Oh, I’ll bet you’d be terrific as the Queen of Spain.” — El Cid (success rate: 34 percent).

* “One night with me, my lady, and I promise you will lose your head entirely.” — Henry VIII (success rate: 45 percent).

* “Want to turn on?” — Thomas Edison (success rate: 12 percent).

* “Oh, come on, let’s give it a shot.” — John Wilkes Booth (success rate: never determined).

* “My dear, my monument is far larger than that Jefferson guy’s.” — George Washington (success rate: 65 percent).

* “Why do you think they call me Old Hickory?” — Andrew Jackson (success rate: 59 percent).

* “I wanna hold your hand. For starters.” — John, Paul, George, or Ringo (success rate: 80 percent for John, Paul, and George; 23 percent for Ringo).

* “If you don’t do me, you’ll get stuck with Ringo.” — John, Paul, or George (success rate: 95 percent).

* “I’ll give you one billion dollars to sleep with me. Cash.” — Bill Gates (success rate: 100 percent).