Sad news in Beatledom. Even if there was a falling-out between him and the boys particularly John, we cannot deny his contribution to the rise of The Fabs. So long…
Too sad Glenn Frey was not there as he passed away early this year.
It’s not hard to like this adaptation. Adapting a novel into a series is better than into film. Voluminous novels like War & Peace, Les Miserables, Count of Monte Cristo and Atlas Shrugged would leave a lot to be desired. The novel will always be better
When the residents of an affluent London street receive a strange note they dismiss it as a marketing campaign, until things begin to escalate. (Source: http://www.imdb.com/title/tt4594334/?ref_=ttfc_fc_tt)
Wiki: Critical reception: Reviewing the first episode in UK newspaper The Guardian, Sam Wollaston began by asking “How much of a city of 8.5 million can you get into one south London street? Capital (BBC1), adapted from John Lanchester’s novel, manages a lot”. He added that “[…] Lanchester – and in turn Peter Bowker and Euros Lyn, who have adapted and directed so excellently – have managed to squeeze an incredible amount into one street, one book, and then further squeeze into three hours of television. A lot of the important stuff, as well as what is most wonderful and most terrible about the place”. Wollaston found the episode’s evocation of life in a London street to be “instantly recognizable” and concluded, “It’s not just a brilliant allegorical portrait of London. There are stories to tell, the postcards keep coming […] We’re heading for a crash, big bang, meltdown”.
In The Daily Telegraph, Ben Lawrence gave the opening episode four out of five stars. He began his review by noting that he had found the novel on which it is based “[…] a disappointment. This was no Dickensian bird’s-eye view, but an overly schematic tangle of under-developed plotlines populated by underwritten characters”. By contrast, he thought the television adaptation showed “an eternal London, riven by inequality and quickened by diversity”. He was particularly impressed by the cast, writing “[…] it’s the acting that makes this production sing. There was not a bad performance among the large ensemble cast and each brought something very different”. He praised Toby Jones’ “fine line in quiet desperation” as banker Roger Yount, and Rachael Stirling’s portrayal of his wife Arabella, but judged that “The standout performances came from Gemma Jones, as pensioner Petunia Howe, a working-class Londoner who had become an accidental millionaire by sitting steadily in her Edwardian terraced house and Wunmi Mosaku as Quentina Mkfesi, a Zimbabwean asylum seeker working illegally as a traffic warden and facing deportation. Both actresses ably captured the loneliness of London life”.
Writing in The Independent, Daisy Wyatt decided that, “Fans of John Lanchester’s best-selling novel Capital will be pleased with the BBC adaptation starring Toby Jones and Lesley Sharp. Not only does the three-part drama revisit such brilliantly painted characters, it does so with admirable faithfulness”. However, she felt that “[…] for viewers unfamiliar with the book, it may not have quite enough intrigue to keep them coming back for more”, but concluded overall, “That said, the drama is a pleasing adaptation that brings life to lovable characters, with strong performances from the ensemble cast”.
Ben Dowell, writing in Radio Times described Capital as a “sparkling and hugely relevant new drama”. He found that, “This is for the most part a very believable London (except for the summery trees bedecked with leaves during a scene purporting to be Christmas). It shows Londoners trying to work out very real problems. It’s a world where people who think they lead very separate lives are shown to be very connected – often without wanting it” before concluding that, “[…] as you expect from Bowker (writer of the Bafta-winning Marvellous), there is a fierce intelligence at work here, a script which asks some very interesting and important questions but doesn’t force the answers down your throat”.
In November 2016, Capital won the best TV movie/mini series award at the 44th International Emmy Awards.
As 2016 leaves us and 2017 steps in. Peace and love always
The stories behind each song are worth my time. Two types of songs that characterize these songs: Christmas and sad songs.
10. The Christmas Song – Bob Wells & Mel Torme (Nat King Cole), 12.5 million pounds in royalties for songwriter/s
09. Pretty Woman – Roy Orbison & Bill Dees (Roy Orbison), 13 million pounds
08. Every Breath You Take – Sting (The Police), 13.5 million pounds
07 Santa Is Coming To Town – John Fredericks Coots & Haven Gillespie (Eddie Cantor 1934), 16.5 million pounds
06. Stand By Me – Ben E. King & Jerry Lieber and Mike Stoller (Ben E. King), 17.5 million pounds
05. Unchained Melody – Alex North & Hy Zaret (Todd Duncan for the soundtrack of the film Unchained but the most popular version was that of the Righteous Brothers in 1965), 18 million pounds
04. Yesterday – Lennon & McCartney (The Beatles), 19.5 million pounds
- Many people thought that The Beatles music was dangerously modern, so in this sense this was a song for people who didn’t like The Beatles
- This is one song that only Paul wrote and no other Beatle played in it. This song could be the song that broke up The Beatles
03. You’ve Lost That Loving Feelin’ – Barry Mann & Cynthia Weil (The Righteous Brothers), 20.5 million pounds
02. White Christmas – Irving Berlin (Bing Crosby), 24 million pounds
01. Happy Birthday To You – Patti & Mildred J. Hill, 30 million pounds
Help! period: before and after. This radio program is turning out to be the most definitive of The Beatles that I heard over 20 years.
Narrative 1 deals with their ’64 committed gigs, the beginning of the recording of the soundtrack for the Help! film, Ringo talks of his wedding with Maureen, and Ringo reveals he can’t swim, which was demanded of the role, the single from the upcoming album, which is also track no. 7, Ticket To Ride. John proudly claims this was the first heavy metal song.
Narrative 2: Yes It Is, the b-side of TTR, which showcases the vocal harmonization prowess of the boys.
Narrative 3: Don’t miss out on Vic Spinetti’s account of the four separate visits from JPGR, which characterize the boys. John the realist and Ringo the fantasist, to say the least.
Plus the MBE. In His Own Write John gave an interview. And finally Help! John crying out from for helpand Paul’s great flip side I’m Down.
Narrative 4: Film premiere and Help! Album release and its North American version.
Narrative 5: John doing Dylan with You’ve Got To Hide Your Love Away.
Narrative 6: George having two songs in the album.
Narrative 7 to 10: Introduced the succeedings songs from the album – Another Girl, You’re Gonna Lose That Girl, Act Naturally with Ringo on lead vocals, It’s Only Love.
Narrative 11 to 13: George with You Love Me Too Much, Tell Me What You See, I’ve Just Seen A Face
Narrative 14: Yesterday, the 4th richest song on earth in terms of royalties.
Narrative 15 introduces Dizzy Miss Lizzie. and the rest of the narratives touched on the Beatles ’65 tour, highlighted by the Shea Stadium performance before a 56,000 crowd.