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"I immediately gravitated toward the concept of an all-AI video," he tells Billboard of the visual.

“We are all just characters in each other’s lives,” Corey Feldman sings in his new song “Characters,” which arrived June 22. And in his new music video for the track, which Billboard is premiering on the actor-singer’s birthday on Wednesday (July 16), the former child star takes viewers through various characters he’s portrayed throughout his decades-long career.

“This new music video … serves as a creative time capsule that highlights many of the most memorable characters I’ve played in my over 50-year career in both film and music,” Feldman, who directed the visual, tells Billboard.

The video begins with a young boy resembling Feldman walking to the center of a stage to sit down on a stool highlighted by a stage light. As he begins singing, the little boy morphs, and his appearance changes from some of the actor’s younger roles (the cherubic blond child from his first acting gig in a McDonald’s ad, to little Regi with his baseball cap in Bad News Bears) to his famous tween and teen parts (The Goonies, Stand By Me, The Lost Boys) and roles in his adult years (Queeny in Corbin Nash and channeling late friend Michael Jackson in his own music video for “The Joke”).

The star shares that when he was first conceptualizing the idea for the “Characters” visual, his first thought was, “I could never afford it!” And then it hit him that he could do it. “Rather than trying to film myself in different costumes and makeup, I immediately gravitated toward the concept of an all-AI video. I loved the artistic statement in that contrast between old and new,” he explains. “I also thought about starting the video with the imagery of myself as a kid, like in that McDonald’s commercial from way back.”

Source: billboard.com/Anna Chan

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If you grew up as a teenager or young adult in the 1960s, you had the privilege of experiencing a band that changed the course of popular music more than any other. It was, of course, The Beatles.

In this article, we're ranking The Beatles' songs based on how they redefined music through experimentation and innovation, and how each song broke new ground technically, artistically, or culturally, including "Strawberry Fields Forever" and many other revolutionary hits.
Understanding Musical Innovation in The Beatles' Era

In the early 1960s, studios primarily served as venues to capture live performances on film. The Beatles, however, took a completely different approach from other artists. With their first album, Please Please Me (1963), they set out to replicate their energetic live nightclub performance and went on to record the full release in under 12 hours.

They were at a turning point when recording studios became creative laboratories, where, thanks to multitrack recording technology, musicians could now add, remove, and manipulate musical elements. The Beatles, alongside producer George Martin and engineers such as Geoff Emerick, took full advantage of this and transformed Abbey Road Studios into a place destined to create masterpieces.

From songwriting to microphone placement, they innovated at every step, making writing original material a creative expectation, not an exception. As a result of their innovations and unique music style, the band held the No. 1 single on the Billboard Hot 100 for a total of 59 weeks.

Source: wmgk.com/Rob Baird

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As astronomically successful and unique as John Lennon’s short life was, tragedy and hardship punctuated his 40 short years, from the death of his mother on July 15, 1958, to his own fateful end in December 1980. The latter event would impact the entire world, not to mention his former bandmates. But the former tragedy was equally influential, deeply affecting Lennon, his band, and the music they created.

Without Julia Lennon, John might not have grown into a musician. Perhaps he would have settled for a blue-collar job or the bohemian life of a visual artist. Fortunately for John (and the rest of the world), Julia happily passed down her love of music to her son. 

Considering her son’s global cultural influence, it should come as no surprise that Julia Lennon (née Stanley) was as every bit as charismatic, daring, and rebellious as her son, John Lennon, would come to be. If there were ever a problem child in the Stanley family, they would likely give Julia the title. She danced, sang, joked, and played instruments without any care for lady-likeness or societal (and familial) expectations that might be looming over her.

Julia married Alf Lennon in 1938, much to the chagrin of her family, who didn’t believe the Merchant Navy steward had the proper means to support the family. Nevertheless, the marriage persisted, and eventually, Julia and Alf became pregnant with their first and only son, John Lennon. Alf and Julia’s marriage fell apart shortly thereafter, and John’s life didn’t get much easier after that. Julia’s sister, Mimi Smith, insisted that John live with her instead of Julia. Various accounts dispute the reasoning behind this arrangement, but it went into effect nonetheless. John moved into a small bedroom in his aunt’s house in 1945.

Source: americansongwriter.com/Melanie Davis

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The iconic boy group, with John Lennon, Paul McCartney, Ringo Starr, and George Harrison, stole the hearts of many with their loving voices and looks. George temporarily left The Beatles in January 1969 due to creative differences and the band's internal dynamics. He rejoined the group days later and helped create a fan favorite song from their most iconic album, Abbey Road.

While George studied Indian music when working with Ravi Shanker, which he incorporates into the mix, along with other sounds, in the middle of the song, the Beatles member made one tiny error.

George was stuck when it came to the final verse and did not know if it should have been “it seems like years” or “it feels like years”. He went a different route and sang a mixture, combining the two, "it seels like years”. The singer was known for his powerful lyrics.

Their lyrics have also made headlines for being controversial.

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The band's song I Am the Walrus released in November 1967, written by John and credited to John-Paul (the songwriting partnership between the two). The track was released on the B-side to the single Hello, Goodbye and on the Magical Mystery Tour EP and album. It also appeared on the Beatles' 1967 television film Magical Mystery Tour.

Source: Jailene Cuevas/themirror.com

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When The Traveling Wilburys first appeared on the scene, they spread joyous vibes across the music world. Here were five legends putting aside any ego, to the point that they even used fake names, to deliver effortlessly rootsy music that charmed and enthralled listeners.

But when they returned for their second album a few years later, a bit of gloominess hung around the edges. One of the Wilburys had passed away in the interim, leaving a gaping hole that the four remaining members knew they couldn’t even try to fill.
The Wilburys Rise

The common story about the creation of the Traveling Wilburys is that it was a spontaneous thing. But that’s not quite the case. As he was making his 1987 album Cloud Nine, George Harrison expressed to Jeff Lynne that he wanted to one day put together a band featuring all his favorite artists. He mentioned Roy Orbison and Bob Dylan as ideal members.

That dream became a reality when Harrison, needing to make a B-side for a single, assembled Lynne, Dylan, Orbison, and Tom Petty. Harrison’s record company reverberated with excitement when they heard the finished product, “Handle With Care”. They asked if the collaboration could be more than a one-time thing.

In a two-week period in the spring of 1988, the five men put together enough material for an album. The band name evolved from Harrison’s term for when a studio recording sounded funny for unknown reasons. With all five men taking aliases, Traveling Wilburys Vol. 1 arrived in October 1988. It became an immediate sensation, both critically loved and commercially successful.

Source: americansongwriter.com/Jim Beviglia

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The Beatles have a complicated history. Their time together was plagued by turmoil, which dampened their legacy. However, there are tender moments in the band’s collective history that remind us that they were once kids who forged a friendship with music as the groundwork. One such moment is Paul McCartney‘s “Little Willow.” 

Several decades after the Beatles broke up, McCartney decided to pen a song in honor of Ringo Starr’s late wife, Maureen Starkey. Attempting to comfort her children, “Little Willow” is a sonic explanation of life’s unpreparable changes. Wind’s going to blow you hard and cold tonight / Life, as it happens / Nobody warns you, willow, hold on tight, the lyrics read.

Though the band had been broken up (and ended on a sour note), McCartney thought a lot of Starkey and didn’t think twice about honoring her in this way.

“I wanted to somehow convey how much I thought of her,” McCartney once said. “For her and her kids…It certainly is heartfelt, and I hope it will help a bit.”

Even though Starkey inspired this song, McCartney did what he does best and “conjured” up a larger-than-life story to help him tell this emotional tale.

“I was very affected by Maureen’s death, and I remember just going into a room and putting those sentiments into that song,” he added elsewhere. “The sort of fragility of life is in that song. But it wasn’t called ‘Maureen,’ it was called ‘Little Willow.’ I always prefer to conjure up some story or tale or some bit of imagination around something, because then I can get my emotions out, but it’s not quite as raw.”

Source: americansongwriter.com/Alex Hopper

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Starr, who celebrated his 85th birthday on Monday, July 7, was in a reflective mood as he looked back on his 37 years of sobriety.

The former Beatle was speaking to reporters at his annual “Peace & Love” birthday celebration in Beverly Hills when he made the announcement and shared how his life changed after giving up alcohol.

Surrounded by his musician friends, including Jackson Browne, John Desmond of The Doors and Colin Hay (Men At Work), Starr shared his sobriety journey.

“Well, I ended up in a rehab because I was not treating myself or anyone around me with any respect,” he said, as reported in People magazine.

“It was all about me, and I came out, and I haven’t had a drink since. Thank the Lord.”

In 1986 both he and his second wife, former Bond girl and actress Barbara Bach, entered treatment together to deal with their substance and alcohol addictions.

Starr has previously discussed his difficulties with addiction before, and in 2015 told the Times of London, he could not remember much of the 1970s or 1980s.

“I look in the mirror and I’m 24. I never got older than 24.”

The Liverpool-born drummer continues to keep a tour schedule that would exhaust musicians half his age and will take his live act, Ringo Starr and His All-Starr Band, on tour through the United States later this year.

Source: startsat60.com/Nicole Keramos

Yoko Ono was not a factor in the break-up of The Beatles despite being blamed for decades, a ­historian claims. Martin Lewis points to Apple TV’s recent Get Back series as evidence her presence in the Beatles studio did not cause the tension between John Lennon and his ­bandmates many insist was behind the demise.

Yoko being at the 1969 Let it Be album recordings has gone down in music folklore as the beginning of the end for the Fab Four. But Martin, who has worked with both her and Paul McCartney in recent years, said: “The fans wanted a villain. The media likes a villain. We all do. That’s natural, but not reality.”

‌Speaking about the Apple TV series, he added: “They are in the studio. Yoko’s there, which was unusual. They didn’t normally have wives or girlfriends in the studio. Who does John relate to through the whole eight hours? He looks at Yoko once in a blue moon. His eyes are on Paul. He’s with his buddy of the last 13 years. It’s all about John and Paul.

‌“Yoko was there, she wants to be there. He’s not rude. He’s just not interested. He’s working with his mate and having fun. The whole film gives the lie to that nonsense. It’s John and Paul, but bonding, writing, having fun, reminiscing. He’s polite to Yoko.

"She didn’t break up the Beatles. John and Paul have been together since July 57, when they were 17 and 16 respectively. They were nearly 30. That’s a long time. So they were growing apart. She’s not the villain.”  ‌

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Martin also claimed racism played its part in the treatment of Yoko and her public perception. Speaking at the LA Jewish Film Festival’s opening night film Midas Man, about Beatles manager Brian Epstein, he said: “A lot of it was racist because John was dumping his English rose wife and going off with a Japanese and an Asian woman. John made a very interesting point… up until Yoko, he was [called in the media] John.

Source: mirror.co.uk/Tom Bryant

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I never really was familiar with the original Beatles US album releases. I just knew they were different. I had seen some of the covers and just assumed they were some weird compilation albums.

I started getting into music as a teen from junior high through college 1979-1989 and my first Beatles pruchases were the so called red and blue compilation albums. A great introduction that covered the big hits across their entire history. Later I got 1 and Past Masters and Anthology even later. But I never bothered with the original albums much.

Then I got streaming and just assumed the albums as presented on apple music was what everyone knew. It was only later that I found out that those were the UK versions of those albums (with the exception of Magical Mystery Tour). But anyway I learned what their catalogue was from those albums.

So this is kind of a shock to me to see graphically how those albums were compiled and I did a deep dive into some of why.

I'l follow up with more but basically:
- the Beatles first couple of singles flopped in the US and EMI licensed away the Beatles rights to the songs on their first UK record to Vee-Jay records which was struggling financially, faced bankruptcy and had their own internal fraud to deal with. Thus the first album never got released in mid 1963 like it was supposed to.
- instead following a surprising hit in December of 1963 Vee-Jay decided to rush out the album in January despite legal proceedings and restraints from EMI for their breech of contract.
- what resulted (not show here) was Introducing... the Beatles which had most of those tracks from the UK Please Please Me release. It had various packaging from different pressings as Vee-Jay rushed to get out any product they could so there are many versions with different audio quality and back covers (one blank, one with ads for other Vee-Jay records, and one with the track listing). Between injunctions they would print anything they could and rush it out.
- but the Beatles were about to release their second UK album called With The Beatles and EMI the parent company of Parlaphone who had the UK rights retained the rights to everything else and their US division Capitol records released Meet The Beatles 10 days later with most of the songs from this second album. This album went to #1 for 11 straight weeks and the Vee-Jay record was #2 for 9 of those weeks.

Source: texags.com

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The Beatles' vast back catalogue of songs came together in many different ways. The vast majority were written by Paul McCartney and John Lennon and in the early days they would sit together at Paul's childhood home on Forthlin Road in Allerton and write in tandem.

However, as artistic differences within the band emerged in the later years, John and Paul would increasingly do their own thing - writing alone before bringing a piece of work to the other for tweaks and changes. Every song the two wrote for the band had a joint writing composition credit - even through sometimes they were completely independent efforts.

‌And in some cases, the two would write their own full sections and combine them into one song. This was the case with 'A Day in the Life', which featured on the seminal 1967 album 'Sgt Pepper's Lonely Hearts Club Band'.

‌John wrote the first half of the track in January 1967, inspired by a number of articles he had read in newspapers. He then played Paul the song and Paul then added the middle-eight section, which drew on his Liverpool upbringing.

Lyrically, John drew on the news of the death of the Guinness brewery heir Tara Brown and a Daily Mail report about potholes in Blackburn. Paul's section sees the narrator waking up, having a smoke and running for the bus - said to be inspired by taking the 82 bus to school from Speke.

A similar writing approach from Paul and John resulted in the song 'Baby, You're a Rich Man' - also released in 1967. The track was the B-side to the non-album single 'All You Need Is Love', which hit shelves on July 7, 1967.

Source: liverpoolecho.co.uk/Dan Haygarth

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