John Lennon Sends Multiple Singles Back To The Charts, Joining The Beatles
While The Beatles can almost always be found on at least one or two charts in the United Kingdom, the same can't be said for the group's individual members, though the four musicians — Paul McCartney, Ringo Starr, George Harrison, and John Lennon — do manage to return from time to time. McCartney and Starr sometimes score new wins with brand new material, while Harrison and Lennon bounce back thanks to catalogs filled with successful albums and beloved singles.
Lennon returns this time around with a pair of tracks as he blasts back onto multiple rankings in his home nation.
This week in the U.K., Lennon's biggest hit is 'Power to the People.' The track is credited to John and Yoko as a duo, with their last names left off. Also featured is the Plastic Ono Band, as 'Power to the People' is a collaborative affair.
That tune reenters a pair of rosters across the Atlantic. It blasts back onto the Official Vinyl Singles chart at No. 24, while simultaneously reappearing on the Official Physical Singles list at No. 27.
At the same time, Lennon's solo cut 'Mind Games' also finds space once more on the Official Physical Singles chart. This time around, it appears at No. 78.
'Mind Games' and 'Power to the People' have experienced similar trajectories on these tallies. Both tunes have not yet reached double-digit frames on either ranking, and the two have peaked inside the top 10, but never reached No. 1.
The Beatles are also doing well on the U.K. charts at the moment, but there's only a limited amount of crossover between the group's success and Lennon's, as the band and its member only share one tally this frame. The rock troupe doubles up on the Official Albums chart, as the compilation 1962–1966 joins a climbing 1967–1970. The band fills two spots on the Official Physical Singles list, as 'From Us to You' and 'I Want to Hold Your Hand' reenter that ranking at Nos. 53 and 74, respectively.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
40 minutes ago
- Yahoo
Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert
The Beatles are one of the 20th century's most exhaustively documented bands, from television series like 'The Beatles Anthology' and feature films like Richard Lester's 'A Hard Day's Night' to documentaries by Albert and David Maysles, Ron Howard, and Peter Jackson, among others. One would think there was little left to explore, but the miracle of the Disney+ documentary 'Beatles '64' is that it manages to feel completely fresh and new — largely by giving the viewer the visceral experience of what it was like to experience The Beatles' first visit to America via the recollections of people who were there. One person who vividly remembers what it was like to first hear The Beatles' music is Martin Scorsese, who produced 'Beatles '64' in the hope that it would convey the exuberance that the band's first visit to America inspired. 'You have to understand, it was the end of the origins of rock and roll,' Scorsese told IndieWire. 'You had Motown, you had Phil Spector and the Wall of Sound — which influenced me a great deal in 'Mean Streets' and other films — you had the girl groups and Smokey Robinson and there was still a lot going on, but [rock and roll] needed something fresh. And America needed something fresh too.' More from IndieWire 'In Your Dreams' Teaser: The Search for the Sandman Powers Netflix's New Animated Sibling Fantasy Gold List TV Honors 'Squid Game,' 'Deli Boys,' 'The Studio,' and More That's because the country was, when The Beatles arrived on American shores in February 1964, still reeling from the assassination of President John F. Kennedy, a tragedy that 'Beatles '64' uses as a structuring device in order to give the band's visit context. 'The devastation was unlike anything anyone had experienced in our generation,' Scorsese said. 'The country was ready for something new.' Yet as Scorsese points out, and the documentary demonstrates, The Beatles were initially met with skepticism. 'They were touted as kind of an oddity because they had hair that was long, and the press couldn't wait to attack them,' Scorsese said. 'We didn't take them that seriously. There was an attitude we all had of, 'Yeah, show us.'' Scorsese followed the press coverage of The Beatles' arrival and assumed they were just a 'nonsense novelty' act — until he heard 'I Wanna Hold Your Hand' on the radio for the first time while getting ready to go to class at NYU film school. 'I heard the first few beats, and I just stood there. I was late for class,' Scorsese said. 'I listened and I admitted to myself, 'That's really good,' and as soon as I got to NYU I was telling everybody, 'This is not some ripoff — this is for real.' There was something joyous about it, and I don't think we can ever really describe the uplifting effect of not only their musical ability, but the writing and the lyrics. An extraordinary change occurred in the youth of the country after the disaster of the assassination.' Scorsese, frequent producing partner Margaret Bodde, and director David Tedeschi had access to extraordinary archival footage shot by Albert and David Maysles that enabled them to give the audience a sense of the immediate impact The Beatles had. Most of the Maysles' footage has barely been seen since it was shot, partly due to clearance issues and partly because United Artists didn't want the material in general release where it could dilute the appeal of 'A Hard Day's Night.' Thanks to restoration work by Peter Jackson's Park Road Post Production, most of the footage looks and sounds like it was shot yesterday. For Tedeschi, the key to utilizing the Maysles' footage was taking advantage of their talent as interviewers. As great as all the backstage and concert footage of the band itself is, what really conveys the magic of the moment is Tedeschi's use of interviews the Maysles did with the group's fans. 'I was lucky enough to work with Al Maysles on [Scorsese's Rolling Stones concert film] 'Shine a Light,'' Tedeschi told IndieWire. 'Marty hired him to shoot behind-the-scenes stuff. You'd see him disarm whoever he was with.' Tedeschi feels that the Maysles' talent for making interviewees feel at ease is what really makes the footage 'Beatles '64' had to work with special. 'It's not surprising to me that they were able to capture The Beatles,' Tedeschi said. 'What's surprising to me is how a 15-year-old girl on the street who has had no media training is somehow calm and able to project themselves and has great charisma.' Scorsese was able to witness the Maysles at work back in the 1960s when he was at NYU and looking for a job. 'They were making a changeover from black and white to color, and they always used available light,' Scorsese said. 'But you couldn't do that with color at the time, so my job was to hold the lamp. Now, the problem is that they're directing without telling you anything, so you have to anticipate where Al's going with the camera to give him a little bit of light. In a sense, it was an extraordinary master class in visual interpretation, in creating narrative when nothing is staged.' 'Beatles '64' contains not only the Maysles material and other archival footage, but new interviews conducted by Bodde, Scorsese, and Tedeschi with subjects from the two surviving Beatles (Paul McCartney and Ringo Starr) to fans who saw their first concerts — including director David Lynch in one of his final filmed interviews before he passed away earlier this year. The filmmakers were stunned to learn that, as a young art student, David Lynch attended The Beatles' first ever American concert at the Washington Coliseum — and that he had another connection to the narrative they were telling. 'One thing he said that didn't make the film was pretty fascinating,' Tedeschi said. 'As a Boy Scout, he had been an usher at Kennedy's inauguration. When it came down to it, it was extraordinary how many people were at the New York Carnegie Hall show, at the Washington Coliseum, and in Miami — many people who went on to do great things.' Interviewing McCartney and Starr was a challenge for Scorsese and Tedeschi, who didn't want to repeat old stories — no easy feat with celebrities as extensively interviewed as The Beatles. Luckily, Tedeschi was able to talk with McCartney as the rock and roller was curating a photographic exhibit dedicated to The Beatles in 1964. 'The photographs jogged his memory and created a way to have a conversation more than just an interview,' Tedeschi said. In the case of Starr, the filmmakers got him to open up by going through all of the old clothes he kept from the time. Another way that 'Beatles '64' makes enthusiasm for The Beatles infectious is through the way in which Starr himself seems not to have aged — as he goes through his old clothes and displays his old drum set, he demonstrates a youthful energy not dissimilar from the much younger man we see in the archival footage. In the brief moments Scorsese shares with Starr on camera, he seems to get younger, too — as though he's getting back in touch with that NYU film student who first fell in love with the band. 'It's almost as if you can't quite believe this amount of time has passed,' Scorsese said of his experience interviewing Starr. 'I would have been a different interviewer 30, 40 years ago. But following them and other great artists, from the Stones to Dylan to The Band to Van Morrison, you go along for this whole period of people taking these long artistic journeys, and you change. And somehow you tap into that original excitement about the joy of music, and what that music means as an observation of the life we're leading or trying to lead.' Scorsese and Tedeschi, who have worked together in various capacities for around 20 years now, are still not only passionate about music but energized by the challenge of finding a cinematic language with which to express their feelings. 'The problem is how to say it, in other words, the visual narrative,' Scorsese said, noting that he and Tedeschi are struggling with that very problem right now on their upcoming Robbie Robertson documentary. 'We shot the memorial concert, and Dave is now assembling it,' Scorsese said. 'We're smack in the middle of figuring out what this is. We know it's a concert, but there's got to be something that takes us on a trip, or gives us an experience where we can appreciate more where the music came from and how it affects people today.' According to Tedeschi, the challenge is finding a way to get the feelings he witnessed in the artists at the tribute concert onto the screen in a way that's clear. 'We shot the tribute concert along with the rehearsals, and there were tremendous artists,' Tedeschi said. 'Eric Clapton, Van Morrison, Allison Russell…and it's very interesting to see The Band's music and Robbie's music played by different artists, all of whom have been really touched by The Band and affected by it. We're working to take that excitement and the musicality and beauty of that and turn it into something more like a movie.' 'Beatles '64' is currently streaming on Disney+. Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'
New York Post
3 hours ago
- New York Post
Pat McAfee has predictable response to ‘bulls–t' Adam Schefter ban report
It was all 'bulls–t,' according to Pat McAfee. The Athletic's Andrew Marchand reported Thursday that McAfee had 'essentially banned' Adam Schefter from McAfee's self-titled program after the ESPN NFL insider was unavailable for a free agency show in March. Well, the rumors were cleared up later on Thursday when Schefter made his first appearance on 'The Pat McAfee Show' in three months. Advertisement 3 Pat McAfee responded Thursday to reports that he banned Adam Schefter from his show. The Pat McAfee Show 'I learned a lot about my business this morning in another article,' McAfee said on air. 'Seems like that happens all the time. I don't know if it's just normal, par for the course, I guess it's just life these days. There's so many of them it's hard to keep track of, but when that rat writes something, it is nice to just be like: 'Well that's bullsh-t,' immediately.' McAfee's frustrations with the report led to the perfect introduction for Schefter to the show. Advertisement 'Joining us now: a banned man,' McAfee welcomed him. Schefter was clearly unconcerned with the report. 'Pat, as I was saying when I was so rudely interrupted three months ago,' he joked just after being welcomed on air. 'Aaron Rodgers is gonna sign with the Pittsburgh Steelers.' Advertisement 3 Pat McAfee reacts to Adam Schefter's humorous entrance to the show. The Pat McAfee Show 3 Pat McAfee and Adam Schefter had a laugh after rumors swirled that the latter was banned from The Pat McAfee Show. The Pat McAfee Show It was a humorous entrance for the NFL insider, but it did put into perspective how long ago it had been since Schefter, typically a frequent guest on the show, had made an appearance. His last appearance was at the beginning of NFL free agency. Advertisement Now, Rodgers has finally signed after he waited about as long as he possibly could to sign with the Steelers. In Schefter's time away from the show, McAfee welcomed NFL Network's insider Ian Rapoport numerous times, which aided in the swirling of the rumors that McAfee was upset with Schefter. In response to The Athletic's report about the alleged drama, ESPN president of content Burke Magnus said that 'Pat and his show are thriving on ESPN,' and 'We've continuously seen those out there that are seemingly obsessed with wanting to see Pat fail on ESPN. This rumor is just the latest example of that.'
Los Angeles Times
6 hours ago
- Los Angeles Times
L.A. Times Releases Guide to 101 Best Restaurants in California
The Los Angeles Times today released the inaugural 101 Best Restaurants in California guide, a companion to the annual list of L.A.'s best dining establishments. The new guide, curated by The Times' James Beard Award-winning Restaurant Critic Bill Addison, features a list of restaurants across the state, with a range of cuisines at every price point. 'A year of driving up and down the California coast — steering inland and back, watching winter mountains bloom green and then fade to brown again by late spring — unfolded in a blur of taquerias, tasting menus, strip malls, remote highways, tostadas, dumplings, nigiri, falafel, pho, kebabs,' wrote Addison in the introduction. The list aims to reflect the flavors of California and features restaurants from Sacramento to San Diego, and from the Central Coast to desert cities. 'It's one glimpse into our cultures and diversities — into cuisines that uphold traditions, or disrupt with originality, or inhabit some fruitful middle ground,' wrote Addison. 'Any endeavor like this is an invitation to savor and to debate. I crisscrossed plenty of California. It still feels like a beginning.' The 101 Best Restaurants in California guide stemmed from The Times' annual 101 Best Restaurants in L.A. project, which continues to be a hallmark of The Times Food section. The 13th edition of the iconic guide will be released in December. The digital edition of the 101 Best Restaurants in California is available exclusively to Times subscribers beginning today, June 12. The print edition of the guide will be delivered to Times Sunday subscribers on June 15 and will be available for purchase via The Times online store. For more information, visit
