The Beatles’ ambitious classic clocks five revolutionary decade, as futuristic as ever.
Sean Lennon has inherited his mother and father’s sense of art and agitation
The re-staging of George Harrison’s iconic Beatles song for the 10th anniversary of The Beatles LOVE by Cirque du Soleil.
The director of Cocoon blossoms into a Fab Four aficionado.
Still taking a sad song and making it better.
“It was created from original drawings by John Lennon and a soundtrack that I also edited together, consisting of snatches of conversation between John and Yoko and song excerpts.”
As the dust of the 20th century the Beatles dominated depixelates into memory, Lennon is quietly hacking their legacies to create lasting multimedia of his own.
“My dad’s soundtracks were always psychedelic.”
Dhani Harrison’s dread zeppelin is led through a puzzling digital dreamscape in thenewno2‘s new video.
One man’s crap made-for-TV movie becomes another fan’s Pythonesque art trip, and the popular tastes of the ensuing decades makes up the difference. Who’s your Walrus now?
It was only a matter of time before someone dropped a sample from The Prisoner.
Even The Beatles, who were descending into bitter dissolution and didn’t even record their voices for the film, were ultimately swayed by its animated ambition. And they weren’t alone.
Beatles geeks, Occupy populists and postmodern fiction nerds should merge sweetly, and sourly, in Norwegian Wood, director Tran Anh Hung’s adaptation of Haruki Murakami’s 1987 novel.
“I’m all about trying to reduce my level of ADD.”
How’s this for postmodern circularity?
Living in the Material World explores the so-called quiet Beatle‘s storied career using previously unseen archival materials and movies, as well as revealing interviews with Paul McCartney, Terry Gilliam, Eric Clapton and more.
“I decided to treat John Lennon as a god.”
The first part of my two-part Wired interview with the Beatles’ legend, solo dynamo and postmodern knight.
Paul McCartney is working on a new project utilizing vintage gear he once used to make tape loops for The Beatles’ landmark track “Tomorrow Never Knows.”
South By Southwest Festival stuffs a killer load of coders, filmmakers, musicians and more into the otherwise lame state of Texas.
Unable to shoulder the burden, reality splintered and began to virally replicate the assassination and its effects across media, slowly replacing that reality along the way.
Because he is unfairly lost to us now, all we have are mounting media replications to inform and console us.
By the time The Beatles got to their last proper album, 1969′s Abbey Road, they stripped themselves entirely of simulations and presented four friends parting at the road responsible for pop music’s most memorable sonics.
Forty years ago, Let It Be closed out a decade of The Beatles’ artistic and technological influence.