VW-1462 3 4in.
FR3 / France 3
1966 The Beatles Candlestick Park
PREMIUM RATE FOOTAGE - THIRTY SECONDS MINIMUM - The Beatles' final live concert on 29 August 1966 at Candlestick Park in San Francisco, California. Rare color footage, shot from the stands The Beatles and their security walk up to the stage, the band plays, cut to the end of the show and The Beatles walk off stage leaving their roadie Mal Evans - with guitar in hand - to start breaking down the equipment The band get into an armored security truck which drives them out of the stadium. John Lennon, Paul McCartney, George Harrison and Ringo Starr
Signs S.F. Airport, Beatlesville, Welcome Beatles - Beatles Forever. Various teenagers at the airport sitting on the ground, some MSs. Sign Welcome Beatles to San Francisco - The Beatlelettes. Various shots and MSs the surging crowds, a girl fainted carried away. A TV announcer holding a microphone talking with the police contained crowd in background
B/W 1964 low angle the Beatles wearing sunglasses standing on steps of airplane / San Francisco
B/W 1964 low angle the Beatles wearing sunglasses standing on steps of airplane / San Francisco
BEATLES DAY (10/6/2000)
SAN FRANCISCO'S HAIGHT ASBURY DISTRICT: SHOP WINDOW DISPLAYS, LOCALS TALK HEADS NEIGHBORHOOD WATCH VOLUNTEER & STREET MUSICIAN DX/NX FS Mom's Body Shop Tattoo & Piercing neon signs. FS Positively Haight Street head shop. CU Haight/Asbury collage art in window; DX Mom's Body Shop neon. FS Arabian-style Blue Front Cafe. FS All You Knead restaurant. FS All You Knead neon sign DX CU weird guy gives himself rabbit ears, DX CU famous Haight & Ashbury street signs. CU tie-dyed Haight & Ashbury T-shirt w/p-out to Haight/Ashbury corner store; DX EST beauty salon/hairstylists': Nice Cuts. VAR entrance & windows of head/smoke shop eight ball, South Park toy neoN signs; NX VAR same smoke/head shop: neon signs PIPES, ATM, AMERICAN SPIRIT CIGARETTES. DX VAR musical instruments in shop window; dX VAR instruments in window: pan flute bongo drum etc, saxophones, guitars. VAR gift wrapped cylinders or hat boxes?; DX TILT-U Japanese figure onT-shirt neon sign DHARMA TILT-D. P-OUT RAD neighborhood patrol walk down sidewalk; DX P-IN tiny stupas on side of bldg, P-OUT Indian restaurant below w/attractive wrought iron gate; DX MS talk head man w/neon yellow baseball cap & yellow shirt re: RAD neighborhood patrol on problems violence heroin; DX FS sign: AUB ZAM ZAM COCKTAILS. VAR cocktail bar sign & decorative stupas. EST BALAZO Mexican food restaurant neon BURRITOS; DX MS top of theater. FS homeless man w/cart. TILT-D neon BUY SELL TRADE in store window, mannequin in vintage? clothing store; DUSK VAR window displays of clothing stores. FS tiki style Haight Ashbury T-shirt; DUSK/NX VAR Red Vic Victorian Movie House marquee revival movie theater: the Life and Times of Allen Ginsberg; DUSK P-OUT neon in shape of cocktail w/olive over neon MURIO'S Liquor to go, next to neon MEXICAN FOOD w/neon woman w/dress & hat; DUSK FS previous liquor store sign. VAR neon signs AMOEBA MUSIC the best used & new record store ever- great selection; DUSK FS neon amoebas & musical notes in record store window. VAR neon signs outside liquor store & Mexican restaurant; NX letters on wall: Murio's Trophy Room, lit by red spotlight. DUSK P-IN street musician w/guitar sings sad song; (Bye Bye Love) DUSK VAR street musician & friend talk to camera, good to see them cheerful after sad song. FS sign w/arrow: CHA CHA CHA; NX MS street musician looks like bum talk head: story of martini bar w/particular bar tender- won't serve anything but martinis; DX FS men's clothing store display bowling shirt: Lady Killer. CU blonde woman sitting in martini glass pattern on tie; INT? PAN-L items in display window: tie, book/magazine cover: SWING!: the new retro renaissance. FS window w/neon TUXEDOS shop ;NX FS neon sign Escape From NY PIZZA. MS window w/neon reflections & sign: Hot Slices. PAN-L line outside Red Vic movie theater; NX TILT-U painted sign Mexican Food. INT FS JeRry Garcia doll w/guitar. VAR stuff in store window: Beatles, Grateful Dead poster; INT MS red lava lamp next to brass statue Buddha. NX VAR shoe store window display shoes w/wings. VAR sun glasses store display; NX FS sign CITY OPTIX sunglasses shop. VAR window display expensive/chic posters shop. VAR Fillmore Posters Marilyn Manson; INT VAR posters obscure & famous rock groups. FS T-shirt w/peace symbol. P-IN peace symbol on poster. FS neon? Pizza sign ;NX FS sign health food store: Haight St Natural Foods. TILT-U store window inflatable chair w/happy faces, cardboard astronaut; INT MS zebra striped dresses on headless mannequins. MS novelty items on display, lava lamp, Andy Warhol's Marilyn Monroe; INT FS pink & blue dresses in display window. FS window lined w/white Xmas lights bright room full figurines; INT VAR figurines in store: Indian looking woman w/wings, Chinese dragon. DX FS sign LIQUID EXPERIENCE w/wine & liquor bottles; NX EST bar, sign: The Gold Cane, neon in windows Draught Guinness FS neon sign in window: GOLD CANE over martini glass; INT VAR specialty magazine display: Sleaze nation, Bizarre...fashion lifestyle entertainment magazines, giant yellow hand chair; INT FS futuristic tv set in red sphere. TILT-U robot, mannequin. TILT-U motorcycle, mannequin. FS MS T-shirt w/FREAKS from movie; NX FS sign: Aub Zam Zam Cocktails. VAR narrow window w/iron bars word Restaurant. VAR previous sign; NX VAR doors to Indian restaurant/bar w/round porthole windows. MS sign No Person Under 21 Allowed. FS doors w/iron gate before; INT? VAR Indian style paintings patterns w/flowers, deer, like Persian rug. VAR signs Aub Zam Zam Cocktails & entrance; NX LS Haight? Ashbury? street sidewalk
INTERVIEW CONTINUES: Pete Fornatale 1:03:42 Pete Fornatale back with you on mixed bag radio with my guest today. Peter Frampton. Peter, you mentioned earlier that that Steve Marriott was the prolific one and that you sometimes have difficulty pulling songs out. But there was one particular day where prolific was not a problem for Peter Frampton. You know what I'm talking about? Tell that. Peter Frampton 1:04:06 Yeah, there was I went down to I had basically three weeks to write the album that was in going to end up being called just Frampton. The one where the cover is actually me wearing playing live wearing Steve Merritt t shirt. And so by this time, this was 74. The Humble Pie had become rich and famous. Not me. But and they bought some houses down in the Bahamas, in Nassau. And so Steve lent me his his little cottage on the beach. It was literally eight feet from the water, you know, and you had a piano down there, and an amp and I brought an acoustic and I went down there for three weeks and And for the first two weeks, I, you know, I, I've been on the road so I was like, the adrenaline was still going, I hadn't relaxed at all, you know, so I was getting panic stricken that I everything I wrote sounded like I you know, I've done that before that's awful, horrible, horrible. And then one day I, I woke up and about I guess, lunchtime ish or just just before lunch I think I went out and so I'll just have a swim, whatever. And then I came back and I picked up the guitar. And I, I started with this open tuning playing what was started and was going to be showing me the way and wrote very quickly, lyrically, one verse and a chorus, because I thought, I'll finish the rest later. I'm on to something here. This isn't bad, you know. So. So I was very excited. Now the adrenaline is definitely flowing in the right way. And so I went out, had a bite to eat I know everything because I've relived that day so many times trying to recreate it. And so after lunch, came back, nothing nothing nothing went for a walk came back as the sun was setting. I wrote baby I love you way. If there was a theme to the day, the way series I call it, I do say that I'm in you used to be called I'm in your way. But I it was the trilogy. But But and then that evening I picked up one of Steve's electrics and plugged it in to his amp there and started blasting and no one could hear you I was in no way for miles. And I started playing the opening chords to no where is too far, which was known as too far from my baby, which ended up being a third track on so I, I sort of had a good start on it. And I in eight days I wrote the rest, Pete Fornatale 1:07:12 you know, not a bad days where no at all? No and not one like it since? Peter Frampton 1:07:18 Unfortunately not No. So you know, that you cherish those days? I mean, any day that a song comes is a great day, you know, I mean, I'm not. I don't like writing things that sound like my last song. I can't do that. I can't repeat myself song wise, at all. At least for me, a style will will be the same. And people will say oh, well I can tell that it's a Frampton song, or that's a Frampton solo or whatever. But as far as I'm concerned, it has to be completely new ground. Pete Fornatale 1:07:51 Alright, Peter, it's time to talk about the monster. Oh, okay, it's time to ask you some questions that you've probably been asked 1000s of times before. But all of a sudden, comes this live recording done in San Francisco in the mid 70s, the biggest selling live album in rock'n'roll history. And is it 16 million to date? Is that the latest figure Peter Frampton 1:08:22 There's a few of the early figures that we're still trying to get because they weren't computers. So because the company's a&m was bought and sold so many times we we think it's more than that. But I'm saying yeah, it's pretty much we know it's more than that. Pete Fornatale 1:08:39 So the herd is one level of success for Peter Frampton. Humble Pie is another level of success for Peter Frampton. But then comes this phenomenon. What was it like to be in the eye of the hurricane? And, Bob, if you want to join in on this, please do. Bob Mayo 1:08:59 Well what did you mentioned Cameron's comment Peter Frampton 1:09:01 Oh, yeah. Cameron. After the case, Cameron said this wonderful thing that they that he did for an interview thing for me, which was great. He said because he was there. He wrote the liner notes. You know, he was the first person apart from us to hear it. You know, he was the first critic or writer we ever played it to. And he was like, you know, it was very difficult not to get be affected by instantly. I don't know what and I don't know what that is. So he he basically, you know, I've lost the drift of what I was saying. Feed me what you just said, well, oh, I know. I know that you can edit that right? Sorry. Yeah, I'm a little tired. So basically, Cameron saw the whole thing happen, and we were very good friends and we went on when I had breaks we go on vacation together without respect. Ladies. And so when it came to sum it up, I think he put it the right way that it was like I was strapped to the nose cone of a rocket. And I went where no man had been before. And when I got there, there was nobody else to talk to. Wow. You know, and that's paraphrasing what he said very closely what, and it's so true, because I just looked to everybody else for advice, when the only person I should have been asking advice from was myself. And my gut instinct at that point was to go away. And, you know, do the comes a lot, do the tour, that was booked already. And to take advantage of that year, go round the world, and then pull back and just do nothing for a while because it was so big. And this country is so big, where it first started to take off, and then the world that it got to the point where people heard it too much, and they got sick of it, you know? And that that was not good. overexposure. Absolutely. And then the normal the old rules are, which I listened to everybody are to where you got to hype this now, because it's so big. That's the last thing we needed to do, you know, was hype, or do every interview that was asked of me, which I did. You know, because, you know, it's hard to say no, when no one wants to talk to you all these years, really, except radio was my friend, you know, and all of a sudden, everybody wants to talk to me, why should I do that one? Can I do this one? Oh, Rolling Stone. Yeah, you know, so. And then the ones that I shouldn't have done, you know, like, Women's Wear Daily and cooking weekly, I did everything. Popular Mechanics. There was no way you could turn without seeing me, you know, so that was wrong. And I felt it was wrong. But I couldn't be sure that it was wrong. I didn't know. But it was very soon. I was made to realize that I was very evident that you know, we've gone too far. Pete Fornatale 1:12:17 Bob, what was your experience Bob Mayo 1:12:19 I specifically remember, it taken off in January of 76. And the first break we had on that tour was in July. It was the first time I had gotten home and gotten back in touch with some friends. And I thought, frankly, that we were pretty much on top of the world. And they set me straight. They said, We're already sick of this thing. We've already heard it so much. It's everywhere. We don't need to hear it anymore. It Peter Frampton 1:12:50 It was it was it was overkill. Bob Mayo 1:12:51 Yeah. And the and the other part of the story was that we were constantly working. We were either on the road, or we were in the studio. And that lasted nearly five years. Yeah, that period of time. So you know, so it was definitely a grind. Peter Frampton 1:13:07 There's no period there to pull back and think about what's just Bob Mayo 1:13:12 charged, there was no time to recharge, no time to reassess, or to just give yourself some room to come up with some different ideas. Peter Frampton 1:13:20 Exactly. And because we were just caught up in it, there was no reality at that point. We were just like, Bob Mayo 1:13:26 now we're gonna start Shea Stadium experience every day. Yeah, sometimes twice a day, Peter Frampton 1:13:31 and then being told how great you are by management. You know, just to feed your ego I go on. Yeah, exactly. I'm tired. I want to go home. Yes, but we got to play another Shea Stadium and another Shea Stadium. Let's go around the world. All right, then. You know, so it's it's very hard. You know, when you waited all that time, and you've never, you've not got a clue that this could ever possibly happen. And we became Rubik's Cube. Everybody had us. And then no one wants to play with us anymore. Pete Fornatale 1:14:00 Wow. Yeah, that must have given you what do they call it? Whiplash? Yeah. Bob Mayo 1:14:05 Well, you know, stadium gig in the early afternoon in Cleveland and then a stadium gig that evening somewhere in Arizona. Peter Frampton 1:14:10 Yeah, we've done that, too. So we did that. Yes, we did. Pete Fornatale 1:14:17 success success at that level has assets and liabilities can be one of each off the top of your head. Peter Frampton 1:14:27 Oh obviously, I got out of debt. Pete Fornatale 1:14:31 That's good. That's an asset. Peter Frampton 1:14:32 That's definitely an asset but I mean, an emotional asset, which is more important is that it's sort of you've got the pat on the back from the world, which is hard to come to terms with and it's it's an it's a very great feeling Pete Fornatale 1:14:50 As you said few people get it at that at that level. How about the downside? Peter Frampton 1:14:57 The downside? I think for me per originally was, the perception of me before that record came out by the loyal, hardened fans that were there ever since I left humble pie was that Pete was this guitar player who happened to sing and write a few songs. And that's the way I've always perceived myself. And now I became a front cover of a magazine basically, and became this personality, as, as opposed to a musician. And because of the way I looked, it was I was in a really easy sell for people wanting me on the cover their magazines, because it sold magazines, then, you know, Rolling Stone, they both times I was on the cover. Well, the first two times I was on the cover, it was they were the biggest, you know, circulations they'd ever had. So, obviously, you know, people are going to want that. And it's very hard to turn it down. But that was the downside that, then it gets the point where I got to, I came out of a gig once in the 80s, early 80s, just just before I got got off the road, and this girl just came up to me and said, You know, I didn't know you play guitar as well. You know, which was that was the worst day of my, that was it. That was the bottom? Sure. You know, excuse me. You know, why didn't you do a new? Why did you cut your hair? You know? So, anyway, Pete Fornatale 1:16:38 if you could wipe the slate clean, and redo the year or two, after Frampton comes alive? What would you do differently? Peter Frampton 1:16:49 Well, I mean, I'm not moaning I'm not whining. It sounds like I'm whining here. But I'm really not because I'm, I've had a wonderful career, and I've had some ups and downs. But, you know, I'm still doing what I love to do so but I think what I would, what I would do differently is I would have taken we'd have done the one that year, we'd have toured 76, we'd have probably gone to Europe, and Japan and Australia, as we did, right. But a little later, we did done that in 77. But I'm in New wouldn't have come out until 1980. You know, I mean, I would have tried to if I could have, if I knew now. Now, if I knew then what I know now, I would have become I would just sort of thought the same way as the Eagles. We the Eagles have had very few albums out, but they've just all been incredibly large records and great records, you know, everyone's a masterpiece, you know, and I think that there was no chance of me coming up with anything to compete with comes alive within the next 18 months to two years. Pete Fornatale 1:18:03 The business was so different than as you pointed out. I mean, that was an era where the Beatles would put out two records a year with Dylan put out bringing it all back home and highway 61 Revisited. In the same year. The Beach Boys contract with capital was for three albums a year. You wonder how anybody could come through that alive and or sane. Nowadays, or as things progressed, it obviously changed Billy Joel put out a record every three or four years, Bruce Springsteen every three or four years? I think you're absolutely right, you would have profited from that lesser pace than what was demanded of you. Peter Frampton 1:18:48 The argument made was that the longer you wait, the harder it will be. And I see I don't see that at all. That was that one that started me thinking, oh, you know, so maybe I should go in and do another one now. But I remember when I finished I'm in you. And there's some good tracks on there. I mean, great playing from the band. But I remember coming in to the management office and taking the two, Side A and Side B throwing them on the couch and saying that's as good as I can do right now. I'm going to bed that's it, you know, and I wasn't pleased with it at all, but it was there was so much pressure to get it out there you know? Pete Fornatale 1:19:33 Yeah, yep, yep. When you've grabbed the brass ring in some way, are you always chasing it after that? Or do you come to terms with it, then not chase it anymore? Peter Frampton 1:19:50 You've come to terms with it and you don't chase it because you realize it's like the book catch 22 It's like we've said I've said it before a Rubik's Cube. It's like, thriller. It's like tapestry for Carole King. It, it's never gonna happen again, like that, you know, you can't expect that to happen. That is a phenomenon, you know. And as a solo artist, I sometimes think if it had been, if I'd have been a band, and not singled out, and I chose that I chose to be a solo artist. But if it had been humble pie that had done that, there would have been, it would have been a committee and someone would have said, No, we shouldn't do this, like the Beatles. Exactly, yeah. And argue with management. Whereas in the record company, whereas I'm looking for advice, because I'm scared stiff of this next record, obviously, at that point, I'm thinking this is great. Now I have to do another one, you know, so yes. Pete Fornatale 1:21:04 Do you remember where and when you made your peace with all of that? Peter Frampton 1:21:13 Oh it was sometime in the 80s I took time off the first time I actually came off the road was 82 and 82 to 85 was when I started to come to terms with that and that's when having a family having a family having my my first two children that that brings reality right back you know, because now you're responsible for to other human beings and your wife you know, obviously, but these people these new people on this planet depend on you and it completely changes the way you think. Obviously, it did for me and then then one's priorities change and I didn't really feel like I wanted to I didn't have to do luckily I haven't hadn't been ripped off of all my money. And I didn't have to tour and I didn't really want to I wanted to spend some time with my children and see them grow up. And I think that was really the biggest thing that helped me come to terms with everything that had happened Pete Fornatale 1:22:33 Let's play one of the non obvious tracks from comes alive. The one that actually was given life on the Frampton album and then taken into the next project as well. You picked it tell me Peter Frampton 1:22:48 I'll give you money and that's what I give a lot of people oh, you should have been called you take my money but yeah, it's that was in we're clear well castle we were on location with Ronnie lanes mobile recording truck and John CYO Miss was in fact I wrote that song at the ice rink in Central Park Wow at a soundcheck and there were a few people of the audience that were there and we just did this sort of jam of that riff you know.....that's what we had you know, from the soundcheck and so I took that and turned it into I'll give you money and finished it and then I just remember having John Sam is in this huge huge room wood stone fireplace like a castle It was what was the cost play well castle, and that's what they call them Pete and and he does that does that wonderful intro and you can hear the wooden stone, it's just we would do in a Led Zeppelin, you know, let's face it. Everybody wanted to do that sound you know. And that's it. That's the opening of it. Pete Fornatale 1:24:15 Here it is in all its glory on mixed bag radio.
B/W 1966 high angle wide shot Beatles entering stage on baseball field at concert / Candlestick Park, San Francisco
The company that made bottled mineral water chic is voluntarily recalling its entire inventory of Perrier from store shelves throughout the United States after tests showed the presence of the chemical benzene in a small sample of bottles. The impurity was discovered in North Carolina by county officials who so prized the purity of Perrier that they used it as a standard in tests of other water supplies. The Food and Drug Administration said it is testing supplies in California and other states. In a written statement issued last night, Ronald V. Davis, president of the Perrier Group of America Inc., said there was no significant health risk to the public. But the statement did not go into the details of the recall, how it would work, the number of bottles to be recalled and the impact on a company that has built its success on its product's image of purity and stylishness. William M. Grigg, a spokesman for the Food and Drug Administration, said his agency's Hazard Evaluation Board had collected samples of Perrier and found no immediate risk to the public from the benzene in the water. ''At these levels there is no immediate hazard,'' he said. ''The hazard would be that over many years, if you consumed about 16 fluid ounces a day, your lifetime risk of cancer might increase by one in a million, which we consider a negligible risk. You don't have to be concerned if you just had a bottle of Perrier.'' Mr. Grigg said the authorities had not determined the source of the benzene contamination, ''but North Carolina thinks this is a new problem.'' The North Carolina Health Department found the traces in bottles of Perrier in the last few days. After the state department notified the F.D.A., the Federal agency tested bottles in North Carolina and Georgia and confirmed the state's findings. Mr. Grigg said tests found that the amount of benzene contamination ranged from 12.3 to 19.9 parts per billion. The Federal Environmental Protection Agency has established a maximum contamination level of 5 parts per billion of benzene for public drinking water supplies. Dr. Ronald H. Levine, the state health director in North Carolina, said in a telephone interview from Raleigh that the benzene was first detected in Charlotte by the Mecklenburg County Environmental Health Department. ''They use Perrier water as their standard in their lab for testing other water,'' he said. He added that health officials started having trouble in the laboratory and specialists there concluded the problem was with the standard. The county authorities notified state officials, who confirmed the presence of benzene. Bottled in 1989 ''It was in a number of different lots that were bottled in 1989,'' Dr. Levine said. State officials reported their findings to the F.D.A. and the company, and issued a statement suggesting that the public not consume the product. Perrier water, sold in little pear-shaped green bottles, is drawn from a natural underground mineral spring in Vergeze, France, and is bottled only at the source. The company's statement said the French Ministry of Health had certified that there was no contamination at the spring. The company said the search for the source of contamination is focusing on the packaging and distribution process. Perrier is conducting an extensive internal investigation and is cooperating with Federal and state officials, the statement said. Cancer in Animals Benzene, a natural component of crude oil, has been shown to cause cancer in laboratory animals and is believed to do the same in humans. Reporters' telephone calls last night to the Perrier company and to Mr. Davis's home were not answered. The statement said Perrier had scheduled a news conference in Old Greenwich, Conn., today to discuss the recall. What impact the recall will have on user patterns and on Perrier itself was unclear last night. Told of Perrier's action, Sirio Maccioni, owner of Le Cirque restaurant in Manhattan, said: ''Oh, my God. Oh, my God.'' Then, after a pause, he added, ''Well, we have a lot of other water, the Saratoga, the San Pellegrino.'' 'Maybe We'll Sell Some Wine' Another restaurant owner, Andre Soltner, of Lutece in Manhattan, said, ''Oh, my God.'' Then he paused and added, ''Maybe we'll sell some wine now.'' Mr. Soltner said Perrier consumption was up twentyfold in his restaurant over the last five years. At Washington Square Bar and Grill in San Francisco, a bartender, Alan Sharf, said he had not heard that Perrier was being recalled, but he did not think a recall would affect business there.. ''It is pretty popular,'' said Mr. Sharf, ''but this being California, we have our local water, so it won't affect our business. It's pretty easily replaced.'' A bartender at Pierre au Tunnel, a French restaurant in midtown Manhattan, said: ''People think it's prestigious; it's an 'in' thing. We sell a lot of it.'' ''To me I think it's the biggest hype since the Beatles,'' said the bartender, who would give only his first name, Alan. A man who answered the telephone at the D'Agostino Supermarket at 74th Street and Broadway in Manhattan early this morning said that he had not heard of the recall and that Perrier was selling well. ''People buy it by the case,'' he said. Jesse Meyers, publisher of Beverage Digest, a newsletter for the soft drink industry, said, ''Perrier is the largest mineral water producer in the world and has for many years set worldwide standards in quality and production levels.''
VW-BEA-1 3 4in.
Tubes & Co: With Can’t Take My Eyes Off You, is Frankie Valli the last crooner?
Radio France: filmed programmes
Beatlemania - fans waiting
MS of fans sitting on the ground waiting; WS of stage behind small fence and crowd already gathered; CU of two young boys on fence; montage of shots of fans sitting around; MS of banner that reads Welcome Beatles to San Francisco
USA - A Pan Am promotional film about travel in the USA in the 1970s. Narration is in Portuguese. New York City - traffic, bridge, aerial of Madison Square Garden, Statue of Liberty, UN Building, TGI Friday's restaurant, Benihana Palace, hibachi, wine, fine dining, Times Square, Broadway, Theater District, New York City Ballet, Jack Dempsey's Bar, Victoria movie theater The Beatles Let It Be on marquee, Hair the musical marquee, street food vendors, Lincoln Center New England - fisherman sets lobster trap, barbecue with lobsters, clams, and corn, carnival, cotton candy, Ferris wheel, carousel, merry-go-round Washington DC - Washington Monument, Lincoln Memorial, Jefferson Memorial, drive by of White House, Capitol Dome, National Gallery of Art various driving shots - George Washington Bridge, Palisades Parkway, rural mountain highway Farming footage - harvesting wheat Aerial of Miami, driving through Miami, Aerial of St. Louis, St. Louis Arch, Huck Finn river boat traveling down Mississippi River, New Orleans, horse drawn carriage in French Quarter, Native Americans dancing in tribal dress at Grand Canyon, re-enactment of an old west shootout - great CUs of gun in holster, eyes staring each other down, boots walking, rodeo, Triangle X Horse Ranch, horseback riding, Spanish style mission in the southwest, cactus in canyon country, Grand Canyon, people riding donkeys through Grand Canyon including excellent POV shots, Colorado River, Old Faithful, Yellowstone, Mount Rushmore, fly fishing, boats on lake at sunset, young people cooking hamburgers over fire by lake side, camping, camp fire,aerial of signal road through canyons, highway sign - Baseline Rd Right Lane, highway sign - Interstate 10 EAST Tucson, driving along west coast roads, rocky west coast shoreline, redwood forest, Redwood Burl informational sign, quick cutting shots of California highway signs and traffic, Golden Gate Bridge, San Francisco, POV driving over Golden Gate Bridge, Malibu, Compilation of stores - Rory's Rig, Lady Osgood's Body, The Dead Cow, The Drinking Gourd, Fabulous Things, The Ben Jonson Restaurant, No. 19 The Handblocked Shop, cable car, POV driving down the crooked winding Lombard Street, driving through San Francisco, people walking around San Francisco, Taco Bell restaurant, Miyako Hotel Disneyland - monorail, spinning tea cup ride, flying Dumbo ride, various park b-roll, Snow White and Seven Dwarfs walking down street, Captain Hook and Smee walking down street California - surfing, sun bathing, people playing in beach, bikini, couple driving a dune buggy down beach, go cart race, Chinatown
8 pm: [show on 01 September 2017]
A2 / France 2
B/W 1964 zoom in the Beatles wearing sunglasses exit airplane / Paul taking photos / San Francisco
B/W 1964 zoom in the Beatles wearing sunglasses exit airplane / Paul taking photos / San Francisco
0/00/00 A0006410 AVS REEL BEATLES # 2
HD-194 Beta SP; DN-LB-574 Beta SP (Vol. 37, Rel. 21 only)
HD-193 Beta SP
Interviews re: Fashion and Rock and Roll with various Rock personalities - b roll of hippies, Alan Ginsberg, Roy Obison, disco, punks and others.
01:03:51 - 01:30:40>>>DAVID BOWIE INTERVIEW (excerpts - full interview available from 1983 - multi camera shoot) 01:03:51 - 01:04:24>>>David Bowie It's all about clothes 01:04:38 - 01:05:18>>>David Bowie Talking about the fashions and rock bands bringing sex back into 01:06:18 - 01:06:42>>>David Bowie talking about the party spirit of the old days Something exciting happening again in rock and roll. 01:07:33 - 01:08:10>>>David Bowie talking about the French clubs in England and that they were better because they were French. People would go to these clubs to figure out what to where. Again is all comes back to the clothes. All they played in the club was R&B/Soul & James Brown 01:08:13 - 01:08:29>>>David Bowie talking about some dancers in a club and 2 tone mohair. 01:21:52 - 01:22:36>>>David Bowie talking about people who tried to imitate their look and how funny it was when they did it badly. 01:25:35 - 01:26:05>>>David Bowie talking about dumpster diving as a way to get great clothes from the back of clothing stores 01:26:12 - 01:26:50>>>David Bowie talking about the rolling stones and pink Floyd being an inspiration to them. Get out of that denim, put that denim to rest. 01:30:32 - 01:30:40>>>David Bowie talking about the Ramones and the (Sex?) Pistols. Funhouse has hit the streets. 05:07:46 - 05:36:55>>>CYNDI LAUPER INTERVIEW (excerpts - full interview available from 1983 - multi camera shoot) 05:07:46 - 05:08:28>>>Cyndi Lauper talking about the biggest thing being able to wear makeup (Twiggy's makeup). Mentions making her own clothes in home etc 05:08:32 - 05:09:07>>>Cyndi Lauper talking about the mod & pop era of clothes from the late 80's 05:18:48 - 05:20:50>>>Cyndi Lauper talking about the way she came about doing her clothes through poverty and getting inspired from the old music and then went to the vintage clothes. Talks about how she came to work for Laura 05:34:31 - 05:35:35>>>Cyndi Lauper talks about Twisted Sister and a couple of bands and how they evolved what they were wearing. Talks about being behind everyone else 05:35:44 - 05:36:55>>>Cyndi Lauper I thought that punk was expressive behavior , 04:09:07 - 04:17:16>>>TINA TURNER (excerpts - full interview available from 1983 - multi camera shoot) 04:09:07 - 04:09:45>>>Tina Turner Talks about how the look comes second to her. Likes stylized performers because it adds to the over all show. You don't need to be stylized to put on a good show. 04:10:24 - 04:11:09>>>Tina Turner talks about always tearing her dresses in the early days and that lead to her look of short skirts and ragged dresses. 04:12:30 - 04:13:00>>>Tina Turner talks about the freedom that she has now to dress the way that she wants to 04:15:09 - 04:16:08>>>Tina Turner talking about London leading the way in fashion and how the whole area was inspiring and she wanted to be a part if that. 04:16:36 -04:17:16>>>Tina Turner talks about the freedom to dance with the shorter skirts and no one had ever seen it before. 10:30:50 - 10:31:12>>>hippies in a field with flowers, dancing, clapping 08:49:46 - 08:50:29>>>different shots of the American flag on t-shirts, helmets, cars, pants, etc 10:23:15 - 10:23:47>>>a couple kissing and then walking hand in hand through the woods 09:11:54 - 09:13:54>>>B&W Alan Ginsberg talking to a bunch of people in a park and singing. Good shots of hippies 07:25:26 - 07:25:53>>>B&W Motorcyclist dancing and having a party. People holding a trophy 16:03:30 - 16:32:25>>BIG FUNK OF THE FUNKADELICS (excerpts - full interview available from 1983 - multi camera shoot) 16:03:30 - 16:04:32>>>Funkadelics talks about how they didn't fit into Motown so they change in fashion helped them, 16:07:30 - 16:08:15>>>Funkadelics talks about how rock changed when the Beatles came along with Sergeant Pepper. 16:15:28 - 16:16:01>>>Funkadelics talks about how style doesn't really mean anything 16:24:20 - 16:25:23>>>Funkadelics talks about the first time that he had heard Prince and about how the industry creates new artists 16:32:16 - 16:32:25>>>Funkadelics nothing kids like better than messing with the older generation. It's nothing disrespectful or malicious, just human nature. 07:01:34 - 07:44:09>>>Grace Slick (Jefferson Airplane)(excerpts - full interview available from 1983 - multi camera shoot) 07:01:34 - 07:02:21>>>Grace Slick - remember the way that people's jaw dropped at the way they were dressed. And recounting the punk look in London in the 70s 07:04:14 - 07:04:49>>>Grace Slick talking about the first time she saw the Beatles she didn't like them, but the first time she saw a Rolling Stones album she loved it. Mick Jagger was a big influence on her because she can't sing either. It's 50% singing and 50% attitude. 07:07:04 - 07:07:45>>>Grace Slick talks about the misconceptions that happened in San Francisco and sees how people can get mislead by what they read in the paper. 07:21:31 - 07:22:52>>>Grace Slick talks about when the guys started wearing make-up. Doesn't matter what they have on so long as they are comfortable in it and that it works for them 07:23:21 - 07:24:56>>>Grace Slick likes the style and fashion of going over the top. Likes the idea of dressing as you feel. Mentions David Bowie and Bruce Springsteen 07:25:08 - 07:26:36>>>Grace Slick talking about how what might look good on Bono won't look good on you. You have to look in the mirror. It's about who the artist is not who they are trying to imitate 07:28:01 - 07:28:24>>>Grace Slick - the arts are generally more about different types of people getting along with each other 07:45:34 - 07:46:09>>>Grace Slick - something very different about the style and music at Studio 54. And about the drugs 07:46:57 - 07:47:24>>>Grace Slick - the first punks that she saw 01:43:44 - 01:44:09>>>Grace Slick - first time she saw Elvis ( You ain't nothin' but a hound dog) and she didn't really get it. 01:05:36 - 01:06:09>>>COLOR Roy Orbison in a recording studio MOS 03:08:36 - 03:09:02>>>Roy Orbison look alike dressed in vintage clothes standing infront of a vintage car 00:00:00 - 00:00:00>>>Crosby Stills & Nash performing on stage in the early days 06:23:11 - 06:23:29>>>Lou Reed talking about no being part of the glam thing, but never sure what his part in the whole thing. maybe because he did an album with David Bowie 06:24:02 - 06:24:38>>>Lou Reed talks about taking things from other people amd the way that you put it together is what makes it your own 08:01:56 - 08:02:54>>>David Byrne interview - hippies are everywhere. and was envious of them 08:09:23 - 08:10:22>>>David Byrne talks about not having an image so just trying to dress average and being labeled preppy. 08:10:56 - 08:13:09>>>David Byrne reacting against what was going on around them when they first started performing. And dressing down to not really have any image. Might be more honest not to where normal clothes in stage because you are not normal, you're a rock star 09:10:19 - 09:10:43>>>Robbie Robertson talks about clothes just being another way to rebel. 09:44:15 - 09:44:58>>>Robbie Robertson punk brought something to the party. It was a good change and good to shake things up. Not sure how timeless the Clash or the Sex Pistols are going to be but that they were certainly neccesary. 10:34:34 - 10:35:28>>>very large audience crowd (hippies) sitting in a field a la Woodstock 01:14:15 - 01:14:30>>>people disco dancing in club 01:07:27 - 01:08:43>>>Punk, 80's youth, Boy George look a likes, Madonna (80s) look a likes walking around - Mohawk hairdos
Pop & Pepper 4, That Year, 1967
Radio France: filmed programmes