Jean-Marie Périer was at the heart of the pop explosion of the 1960s, capturing homegrown stars such as Jacques Dutronc and Johnny Hallyday – along with The Beatles, the Rolling Stones, Bob Dylan and Miles Davis – for the French magazine Salut les Copains.
The Beatles, Paris, 1964
Périer left the magazine Salut les Copains in 1974, and largely gave up photography to pursue a career in filmmaking.
Now a humble parking lot, the Washington Coliseum has seen a lot in its days. Malcolm X once spoke there, circus lions jumped through hoops there — and on 11 February, 1964, The Beatles played their first-ever U.S. concert there.
Photographer Mike Mitchell was photographing that day.
He was 18 years old, he recalls in an interview with NPR’s Scott Simon, and couldn’t afford a flash for his camera.
He took concert photos using only the available light.
“I had to take my cues from what the light was doing,” Mitchell said. “And the light was very kind.”In the 50 years since that day, a lot has changed.
The building fell into disrepair after being sold, and for 10 years was a transfer station for Waste Management”.
The Coliseum for a very long time was a vacant shambles compared to its former glory. (NPR).
Still, on any given day, beautiful shafts of light can been seen spilling through the circular windows in the vaulted ceilings onto the abandoned clusters of stadium seating lurking in dark corners along the walls.
A COLLECTION OF COMIC BOOK APPEARANCES: Is a book featuring a collection of some two hundred cartoon strips dedicated to the Beatles, many of which are extremely rare and now inaccessible.
Many years after their break up, the Beatles still remain the biggest phenomenon of music and mass culture in the world of entertainment
The book for the first time investigates and documents the interest that cartoonists, publishers, and enthusiasts have shown in their special relationship with the universe of comic strips:a rich and variegated relationship with thousands of publications, in every part of the world, and a production that continues to the present day.
In some stories the Beatles are the protagonists, in others they make cameo appearances, while others feature their lyrics transformed into comic strips.
John Lennon (left) and Paul McCartney, pictured here circa 1960, met as teenagers in July 1957. Image Credit: Keystone/Getty Images
Sixty years ago, two young musicians happened upon each other in Liverpool, England, in a meeting that would change the course of popular music forever.
It was 6 July, 1957. John Lennon, then 16, was playing with his skiffle group The Quarrymen at a church garden party in the midst of a stultifying heat wave. Paul McCartney, 15, was in the crowd, wearing a white sports jacket with a pink carnation.
In the documentary The Beatles Anthology, McCartney remembers the spectacle of Lennon strutting around in a checked shirt, “and sort of blondish kind of hair, little bit curly, [sideburns], looking pretty cool. And he was playing one of these guitars — guaranteed not to crack, not a very good one — but he was making a very good job of it.”
The Quarrymen performed “Come Go With Me” by The Del-Vikings, and though Lennon clearly didn’t know the words, he adapted lyrics from blues songs instead. That ingenuity impressed McCartney, who met Lennon after the set.
Backstage, McCartney played Eddie Cochran’s “Twenty Flight Rock,” which in turn impressed Lennon — perhaps in part because McCartney actually knew all the lyrics.
Later, Lennon remembered being uncertain about partnering with such a strong musician, who might challenge his leadership in the group.
But that hesitation was short-lived. “I turned around right then on first meeting and said, ‘Do you want to join the group?’ And I think he said yes the next day,” Lennon said, as quoted in The Beatles Anthology.
On 4 November, 1963, at the outset of another marathon British tour, the Beatles were the main attraction at a Royal Command Performance in London.
With the Queen Mother and Princess Margaret looking on, John Lennon famously asked for the crowd’s help: “The people in the cheaper seats, clap your hands, and the rest of you, If you’d just rattle your jewelry.” (He’d actually threatened to say, “rattle your f**king jewelry.”)
With that, the band launched into their closing number, a blistering version of “Twist and Shout. “
The next day, British newspapers were beside themselves. The show was broadcast in Britain on November 10, bringing the Beatles to yet another enormous television audience.
In America, the news media took notice. “Thousands of Britons ‘Riot’ – Liverpool Sound Stirs up Frenzy,” headlined the Washington Post.
Time magazine described Beatlemania in vivid detail in an article headlined “The New Madness.” That same week, NBC and CBS dispatched crews to cover the Beatles performing on Saturday 16 November at the Winter Gardens Theater in Bournemouth.
NBC was the first on the air the following Monday with its report by Edwin Newman. CBS aired a story on its morning show later that week (with a script by correspondent Alexander Kendrick that was suspiciously similar to Edwin Newman’s).
It went on: Variety ran a story headlined “Beatle Bug Bites Britain.” The New York Times Magazine weighed in with “Britons Succumb to Beatlemania.” (“Their music is basically rock ‘n’ roll, but less formalized, slightly more inventive.”) Life magazine ran a photo of the Beatles meeting Prince Margaret.
And on 10 December, more than three weeks after NBC, the CBS Evening News ran its Beatles story.
It should be said that all this American news coverage, including NBC’s, took the same bemused, patronizing approach – dismissing the Beatles as a passing fad perpetuated by throngs of hyperactive teenage girls.
The focus was on haircuts, noise and frenzy, while little attention was paid to the music itself. The mainstream media (circa 1963) knew something was happening, to paraphrase Bob Dylan, but it didn’t really know what it was.
It wasn’t until later that most people were able to see this moment clearly as the beginning of a huge generational shift and a sea change in popular culture.
What the news coverage DID do was raise awareness of the Beatles, and that fed the growing appetite for their music among American record-buyers.
Up until then, their hits in Britain had tanked here. But things had changed, and the assassination of President Kennedy, just four days after NBC’s report, left Americans hungry for something to feel good about.
And so the spark of Beatlemania jumped the Atlantic and set fire to a huge American audience.
The Beatles’ next single – “I Want To Hold Your Hand” – was promised for American release in January. But demand was so great that it was pushed up to 26 December.
The song exploded onto U.S. airwaves, charting for 15 weeks, including a phenomenal seven weeks at Number One.
On 7 February, 1964, when John, Paul, George and Ringo landed at New York’s newly renamed John F. Kennedy Airport, the Beatles were at the top of the charts – just where they said they would be.