miércoles, 7 de diciembre de 2016

Paul McCartney Earn Grammy Nominations

Image result for grammy award paul mccartney


ultimateclassicrock.com
Paul McCartney, Bob Dylan, Iggy Pop and David Bowie Earn Grammy Nominations
By Nick DeRiso 
December 6, 2016

Kevin Winter / Neilson Barnard / Steve Jennings / Jo Hale, Getty Images
Kevin Winter / Neilson Barnard / Steve Jennings / Jo Hale, Getty Images

Paul McCartney, Bob Dylan and David Bowie received multiple mentions when the nominations for the 59th annual Grammy Awards were announced this morning. A complete list of classic rock’s honorees is below.

In all, Bowie – who died in January after a battle with cancer – was given five nods, though notably not for Album of the Year. His top nomination was in the Best Alternative Music Album category, a honor shared by former collaborator Iggy Pop. Post Pop Depression, recorded with Josh Homme of Queens of the Stone Age, was recognized after becoming Pop’s highest-ever charting U.S. album.

Metallica‘s advance single “Hardwired” joined the Best Rock Song nominees, but the band released its new album too late for consideration in this round of Grammy awards. Disturbed were recognized for their cover of “The Sound of Silence,” even though Simon & Garfunkel never won a Grammy for their original chart-topping version in 1965.

McCartney earned two nods – for Best Boxed or Special Limited Edition Package (Tug Of War: Deluxe Edition) and for Best Remixed Recording (Wings‘ “Nineteen Hundred Eighty-Five,” by Timo Maas and James Teej). Eight Days a Week: The Touring Years, Ron Howard‘s documentary on the Beatles, was nominated for Best Music Film.

Dylan was recognized in the Best Traditional Pop Vocal Album category for his second collection of songbook tunes, Fallen Angels. The Cutting Edge 1965-1966, the 12th edition in Dylan’s Bootleg Series, was also nominated for Best Historical Album.

NOMINEES FOR THE 59TH ANNUAL GRAMMY AWARDS

Best Traditional Pop Vocal Album
Bob Dylan, Fallen Angels

Best Rock Performance
David Bowie, “Blackstar”
Disturbed, “The Sound of Silence”

Best Metal Performance
Megadeth, Dystopia

Best Rock Song
David Bowie, “Blackstar”
James Hetfield and Lars Ulrich, “Hardwired”

Best Alternative Music Album
David Bowie, Blackstar
Iggy Pop, Post Pop Depression

Best American Roots Song
Jack White, “City Lights”

Best Spoken Word Album
Patti Smith, M Train
Elvis Costello, Unfaithful Music & Disappearing Ink

Best Song Written for Visual Media
Peter Gabriel, “The Veil”

Best Recording Package
David Bowie, Blackstar (Jonathan Barnbrook)

Best Boxed or Special Limited Edition Package
Paul McCartney, Tug Of War (Deluxe Edition)

Best Historical Album
Bob Dylan, The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12 (Collector’s Edition)

Best Engineered Album, Non-Classical
David Bowie, Blackstar

Best Remixed Recording
Paul McCartney and Wings, “Nineteen Hundred Eighty-Five” (Timo Maas & James Teej Remix)

Best Surround Sound Album
Primus, And the Chocolate Factory (5.1 Surround Sound Edition)

Best Music Film
The Beatles, Eight Days a Week: The Touring Years (Ron Howard)


Image result for grammy award paul mccartney



martes, 6 de diciembre de 2016

Get into the Beatles’ studio with The Masters of Sgt. Pepper: a conversation with Geoff Emerick and Richard Lush




hhhhappy.com
Get into the Beatles’ studio with The Masters of Sgt. Pepper: a conversation with Geoff Emerick and Richard Lush
By Molly Ulm


On the 50th anniversary of the iconic album, the engineers of Sgt. Pepper’s Lonely Hearts Club Band, Geoff Emerick and Richard Lush will be fixing a hole in the hearts of Beatles fans everywhere with a once in a lifetime Q&A event and exhibition named The Masters of Sgt. Pepper.
Presented by Planetshakers in Southbank, not only will the event dish the untold deets about the iconic album from a producer’s perspective, it will also be celebrated with performances by Leo Sayer and Davey Lane from You Am I.

The masters of sgt. pepper
A must-see for any true fan of The Beatles, The Masters of Sgt. Pepper will provide unprecedented access into the studio where the Fab Four made their magic.


The event promises a panel of Beatles royalty disclosing all the behind the scenes details as well as a limited edition merch sale.
Lush has been immersed in London’s music scene ever since starting his recording career at EMI’s Abbey Road Studios in the 1960’s. He learnt from masters of the music industry Sir George Martin, Phil Spector, Phil Ramone and Mickie Most before recording some of the world’s biggest artists: The Beatles, Cliff Richard, Paul McCartney & Wings, John Lennon and The London Symphony Orchestra.
For the Beatles, Lush was a significant backbone to their musical success, working on more than a hundred sessions.
After joining EMI as a junior assistant at 15, Emerick went on to be a prolific audio engineer, majorly contributing to Sgt. Pepper’s Lonely Hearts Club Band, Revolver, The Beatles and Abbey Road.
All the finer details you’ll need are on the Facebook event, but the basics are below:

The Masters of Sgt. Pepper – Friday February 24 – Planetshakers Centre, Victoria 

The Masters Of Sgt. Pepper



Related image
Beatles Engineer Geoff Emerick with the Late George Martin

lunes, 5 de diciembre de 2016

Holiday Reflections on Sweets and the Beatles

Image result for george harrison savoy truffle



George Harrison wrote the Beatles song "Savoy Truffle" about Eric Clapton's chocolate addiction. "Savoy Truffle" is a song on The Beatles' "White Album." The song mentions a variety of different chocolate candies that Eric Clapton loved eating, and, subsequently caused Clapton to get a lot of cavities.(www.sploofus.com)


www.popmatters.com
George Harrison's "Savoy Truffle"
Holiday Reflections on Sweets and the Beatles
BY MEGAN VOLPERT
5 December 2016


TRUFFLES PHOTO FROM HEALTHSEEKERSKITCHEN.COM

If you ask those who know me pretty well, they will tell you my favorite Beatle was John Lennon. This is incorrect. My wife will tell you true: it’s George Harrison. Lennon is widely credited as the band’s conscience in the face of Paul McCartney’s more instinctively capitalist pop music impulses, and this is just one more way that Harrison’s songwriting contributions have been disregarded over the years. His post-Beatlemania solo work was often criticized for its preachiness, but if one goes back to his Beatles material, Harrison never pretended to be more pop star than preacher.

There was a great tribute paid to his entire body of work in 2014, the George Fest charity concert organized by his son, Dhani Harrison. A standout track toward the end of the first disc is “Savoy Truffle”, which I confess to not having heard before. It’s one of the deeper cuts from the Beatles catalogue, not completely obscure but hardly Top 40 material. As the holiday spirit takes over and I begin to devote many minutes to consideration of pies, eggnogs and sweets generally, I feel myself turning toward “Savoy Truffle” as the best possible type of wintry instruction.


Harrison wrote the song as a cautionary reminder to his pal, Eric Clapton. Clapton apparently has a massive sweet tooth. The refrain, focused on tooth decay, is “you’ll have to have them all pulled out / after the Savoy truffle”. But for Harrison, as a burgeoning practitioner of Eastern spirituality assembled a la carte, tooth decay was unquestionably a symptom of a deeper moral decay.

The chorus is an examination of the cumulative effects of candy consumption, which highlights a clearly incrementalist approach to indulgence that wards off hedonism. One piece of candy doesn’t do much damage, and the benefit seems to outweigh the cost. At some point, however, one gives in to eating the whole box. At that point, satisfaction is minimal, reaching for the next candy is a compulsive behavior, and a stack of tiny decisions has accumulated into an ultimate lack of judgment that now has to be managed as a painful crisis. Any holiday dieting listicle with tips on how to manage your winter weight will tell you as much, that one bite is happier than 40 bites and you’ve got to take life one bite at a time.

“You know that what you eat you are”, reminds Harrison at the beginning of the second to last verse. He actually consumes most of the candy in the box one line at a time. This is a very specific candy: the Good News box from Mackintosh. Alas, it’s not available anymore, except in song. In the course of the first two verses, Harrison drew heavily from the titles and descriptions of the specific candies in this box. “Creme tangerine and Montelimar / A ginger sling with a pineapple heart / A coffee dessert” and “Cool cherry cream, nice apple tart / […] Coconut fudge”. It’s worth noting that Montelimar also rhymes with the apple tart. Instead of building a couplet out of that, however, Harrison used this as the end of the first line in two different verses. This calls attention to the fact that rhymes of the first two verses are entirely interchangeable: Montelimar / heart / news and tart / apart / blues.

That’s not simple cleverness; it makes the same argument that’s made by the surrealism of the listing of candies. Namely, that all candy is candy—there’s no specialness, no “there” there. Does one really have strong opinions about the merits of one flavor over another? Only the second verse contains an I-statement, and that’s a clue to the matter: “I feel your taste all the time we’re apart”. There’s much to unpack here, including the one use of first person. Harrison has shifted from criticizing a generic other inspired by Clapton to addressing his subject in a way that could be construed as either a love song or a devotional; he was prone to sliding back and forth between the idea of his wife and his god. So this introduces an element of the spiritual and a longing for the divine, in contrast to the earthbound, gluttonous delights in the chocolate box.

The line also contains an element of synesthesia, to “feel” a “taste”. Could one reasonably feel the taste of the chocolates, besides the tastes of the lover or the divinity? I think most people do indeed have taste-specific sense memories, of their grandmother’s chicken soup, or their dad’s marinara sauce, and yes, even a favorite candy associated with some holiday or other. Harrison was a staunch practitioner of meditation, which surely included some mindfulness toward his food. In the exercise of eating a piece of chocolate, you can think about many things: the origins of the cocoa, the places that grow sugarcane, what it smells like when it’s all cooking, the people and machines that made the candy, the flavor and texture of the candy itself, the words and colors in the design of the packaging, the aftertaste. There’s a lot of work that can be done in one bite, and this is a large part of why Harrison need not reach for another piece of candy to feel satisfied.

Then there’s the matter of “all the time we’re apart”. A favorite holiday candy is a reason to look forward to that holiday. We need not delve into pumpkin spice’s vast network of philosophical underpinnings; to simply invoke the two words “pumpkin spice” is somehow enough. So food is also associative, whether it’s attached to your grandmother or to Thanksgiving, or whatever else. In the time and space that get between us and our food, there’s a sense of longing. In verse three, he cautions, “You might not know it now / When the pain cuts through / You’re going to know and how”. Harrison obviously recommends some effort at detachment from this longing, as it’s the longing that transforms into our desire to consume even more of the candy once we have bridged time and space to get to it.

More explicitly, “What is sweet now turns to sour” in the second to last stanza, and finally, his exhortation: “We all know Ob-la-di-bla-da / But can you show me where you are?” The first half is a direct and pointed dismissal of the Beatles’ song “Ob-la-di, Ob-la-da”, which was one of Paul McCartney’s contributions to the White Album. Lennon and Harrison both despised the song, and “Savoy Truffle” was written during the same 1968 recording sessions when the clash was quite fresh and ongoing. Harrison appears to have deliberately, flippantly skewed the title of the song in his reference, and then there’s that “but” of objection right after it. McCartney and Harrison were in a very different place from one another by then, and within two years’ time, the Beatles would be over.

They had all just come back from studying Transcendental Meditation in India, and Harrison felt that McCartney’s ability to channel these new influences into their work was extremely weak. Comparatively, Harrison had spent the last two years or so working on the sitar with Ravi Shankar and had only just returned to the guitar as his main instrument. Yet the pop nonsense of “Ob-la-di, Ob-la-da” went to number one on the charts in several countries, while the comparatively complex composition of “Savoy Truffle” was buried in all its E-minor glory on side four of the double album and never charted at all, though many critics praised it. When we think of Harrison’s contributions to the White Album today, “Savoy Truffle” remains in the long shadow of “While My Guitar Gently Weeps”.

One thing has always bothered me about “Savoy Truffle”, and that’s the title itself. What’s so special about the Savoy truffle, compared to the rest of what’s in the box? Why save that one for the title? Mackintosh’s candy box was titled “Good News”. To likewise title the song as such would have been very much in keeping with Harrison’s sense of irony, as the lyrics warn of the consequences of tooth decay and scary dentist visits. He did work “good news” into the verses almost like a pun, which is mildly clever, but Harrison usually offered song titles that were like subject headings, straight punches to his themes, and the obliqueness of “Savoy Truffle” at first glance doesn’t sit well in that category. As I sought in vain for a box of the long ago discontinued Good News, and then for any oldsters amongst my British friends who might recall the taste of its ingredients, it finally occurred to me that I was in some ways indulging in precisely the obsession Harrison was cautioning against.

I learned a lot about the house of Savoy, founded in the 11th Century and becoming the oldest reigning monarchy in Europe by the 18th century. I looked at a lot of pictures of the Alps and the southeast of France. I acquired numerous recipes for coconut fudge or something like a homemade Almond Joy, and shopped around looking for the right kind of brandy. All this, in search of one moment of concrete, authentic connection with the Savoy truffle itself that might have satiated me. But as Harrison knew, all that’s down in the rabbit hole is more rabbit hole. So I have not tasted the Savoy truffle, but I have felt its taste in Harrison’s song. During the holidays, I’ll try to bear this in mind.


Megan Volpert is the author of seven books on communication and popular culture, including two Lambda Literary Award finalists. Her most recent work is 1976 (Sibling Rivalry Press, 2016). She has been teaching high school English in Atlanta for a decade and was 2014 Teacher of the Year. She edited the American Library Association-honored anthology This Assignment Is so Gay: LGBTIQ Poets on the Art of Teaching.





domingo, 4 de diciembre de 2016

McCartney keen to team up with Liverpool FC for behind the scenes photo project

www.liverpoolecho.co.uk
McCartney keen to team up with Liverpool FC for behind the scenes photo project
Photographer Mary is the daughter of Sir Paul McCartney
BY LORNA HUGHES


Sir Paul McCartney and Mary McCartney at the Gagosian Gallery Opening of Linda McCartney Mary McCartney: Mother Daughter in New York, on 20/11/15

Photographer Mary McCartney revealed she wants to team up with Liverpool FC – but she is still trying to persuade the club.

Mary, the daughter of Beatles superstar Sir Paul McCartney , said she is fascinated by the rituals of footballers.

Her first solo exhibition was a photographic study behind the scenes of the Royal Ballet and she said she would like to do something similar with Liverpool.


Mary McCartney and Stella McCartney at the Stella McCartney Spring 2016 Resort Presentation in New York, on 08/06/15

She said: “I really want to go and get embedded with a football team, I really want to go to Liverpool but they won’t let me.

“Like I did with the Royal Ballet, I’ve been writing to Liverpool FC but they are not having me yet but I’m going to keep trying.

“It’s a difficult thing to agree to allow someone in, they have to focus and you can’t just go in. I understand why they are reluctant but I think they should just let me do it.

“It’s the devotion and the commitment, it’s the physicality and dedicating a bit portion of your life to something.”

If she does not succeed with the Reds she said she would be willing to look elsewhere, possibly in the direction of Everton, Sir Paul’s preferred team.


Mary McCartney at the 14th annual British Independent Film Awards at Old Billingsgate, London, on 04/12/11.

She said: “I think I would try another team, I would have to think about it. My husband is a Liverpool fan but my dad’s family are Everton.

“Maybe we will have to go there next but maybe they won’t be happy if they know I asked Liverpool first!”

“It is a hard thing, it’s a private space and it would be nerve-wracking, I would find it quite daunting the challenge of showing the less seen aspects of what goes on behind the scenes.

“Also football is quite superstitious so if I went and did a game and they lost then I think they would never want me back but if I did it and they won they might allow me back.”

She has just produced a book of photographs from a night she spent backstage at an all-male production of Twelfth Night starring Mark Rylance in 2013 where she again examines the rituals of a performance.


Photographer Mary McCartney and actor Mark Rylance sign copies of her new book Twelfth Night
Photographer Mary McCartney and actor Mark Rylance sign copies of her new book Twelfth Night
(Evening Mail)



sábado, 3 de diciembre de 2016

Photo Insight with Harry Borden: Sir Paul McCartney

www.amateurphotographer.co.uk
Photo Insight with Harry Borden: Sir Paul McCartney
David Clark 
December 3, 2016

Harry Borden looks back on a memorable shoot with the iconic solo musician and former Beatle, and recalls how he nearly turned the job down

Harry Borden Paul McCartney with headphones
Paul McCartney listening to the playback through headphones, while surrounded by Abbey Road sound engineers and technicians Credit: Harry Borden

The invitation to photograph Sir Paul McCartney came out of the blue. It was a Thursday afternoon in March 2006 and I was on a train, heading back home to Devon after a shoot in London. The sun was shining and I was daydreaming. The train had just pulled out of Reading when my mobile rang.

It was Paul McCartney’s agent, asking if I would like to photograph him the following morning at Abbey Road Studios in London. He was recording his classical album Ecce Cor Meum (Behold My Heart) and wanted some reportage-style shots of the recording process for the album artwork.

As someone primarily known as a portrait photographer, I was surprised to get the call. I’d recently photographed Heather Mills, to whom McCartney was married at the time, so I assumed there may have been a connection between the two shoots.

However, at the moment the offer came, I’d just completed a tiring shoot in London and was looking forward to a long weekend at home. I thanked the publicist for the offer but said, ‘I think I’ll pass on this one.’

While on the journey, I phoned my agent and mentioned that I’d turned down the offer to photograph Paul McCartney. He said, ‘Are you mad? Phone him back now and tell him you’ll do it!’

I realised I’d made a mistake, so I rang McCartney’s agent and said, ‘I don’t know what I was thinking: it’s a great opportunity and I’d love to photograph him.’ Then I went home, had dinner and travelled 200 miles back up the track to London. I stayed overnight and then went to Abbey Road [Studios] the next morning.

When I arrived, the publicist made it clear that McCartney wanted me to photograph only what was happening and not to interact with anyone or give any direction. Although this was completely different to the way I normally worked, it meant I was free for the whole morning to roam around the studio, photographing McCartney, the choir and the orchestra.

In the studio

It really was a pleasure and a privilege to be there. McCartney’s importance in musical history is unquestionable, and it was brilliant listening to a full orchestra and classically trained singers performing. To be in such a unique position and to actually be paid for being there was amazing.

My favourite picture from the shoot shows McCartney listening to the playback on headphones, surrounded by Abbey Road sound engineers and technicians. I just happened to go into the studio at that moment and quickly grabbed the shot. It was a genuine moment and I don’t think McCartney was even aware I was taking it.


Harry Borden Paul McCartney and Pete Doherty
Harry photographed Paul once again some months later, this time in the company of musician Pete Doherty

I had just started using a Canon EOS-1Ds Mark II and shot it with a 35mm lens. I only used available light, which was tricky because the studio was quite dark and only lit with spotlights. Luckily, the light wasn’t unflattering on McCartney’s face, and, as I always do in these situations, I exposed for the highlights. The settings for this shot were 1/30sec at f/5 and ISO 1,000, and I was handholding the camera. The image is quite sharp, so I must have rested the camera on a mixing desk or chair for added stability.

By coincidence, I photographed McCartney a second time about 18 months later, in a shoot for the Observer Music Monthly. He was to be interviewed by Pete Doherty, the singer and musician best known as the frontman for the Libertines. Doherty had been allowed out of rehab to interview him, so it was a great opportunity to photograph the two of them together, even though they made an incongruous pair.

The second encounter

I had plenty of time to shoot a series of pictures of Doherty on his own, but when McCartney arrived, the photographs of them both were done very quickly. I set up a grey background and took some shots, both as a record of their meeting and as a prelude to the interview. It was a brief but convivial shoot. McCartney was very courteous and professional, as well as being very gracious, considering the number of times he has been photographed.

The photo of McCartney at Abbey Road remains in my portfolio today. The fact that I wasn’t allowed to give any direction for the shoot pushed me out of my comfort zone and forced me to do things in a different way, and I really like the result. Sometimes as a photographer you’re thrown some possibilities and your success rests on you recognising and grabbing the opportunities as they arise.

The three questions I ask myself when deciding to do a job are: 1. Is it someone I want to photograph? 2. What’s the eventual usage? And 3. Is it well paid? Photographing McCartney making an album definitely ticked all three of those boxes. Looking back on it now, I can’t believe I even for a second contemplated turning it down.


Harry Borden is one of the UK’s finest portrait photographers and his work has been widely published. He has won prizes at the World Press Photo awards (1997 and 1999) and in 2014 he was awarded an Honorary Fellowship by the Royal Photographic Society. The National Portrait Gallery collection holds over 100 of his images.



If Paul McCartney were to cover one of Dylan’s songs




www.PaulMcCartney.com

NOV
29
2016

‘You Gave Me The Answer’ – Guillem from Catalonia asks…

‘You Gave Me The Answer’ – Guillem from Catalonia asks…
Last month Paul dominated the desert with two star-studded performances at the 'Desert Trip' music festival in Indio, California.
Along with Paul, the stage was shared across the three nights by The Rolling Stones, Bob Dylan, Neil Young, Roger Waters and The Who. Paul also treated the crowd to duets with Neil Young and Rihanna! We’re sure you’ll agree that a festival line up like this is a magical mix of rock 'n' roll royalty and one of those gigs people will be talking about for many years to come. 
With Paul sharing the stage with such luminaries, we thought it would be an appropriate time to ask him the following question from Guillem in Catalonia: 
Guillem asked: “Bob Dylan recently took part in a tribute album featuring your songs. If you were to cover one of Dylan’s songs, which would you choose?”


We caught up with Paul just before he headed out to 'Desert Trip' to find out:

“Thank you Guillem. That’s a very difficult question to answer, as there are so many great songs. I mean, ‘Mr. Tambourine Man’ just comes to mind because it’s something you could cover. Singing Dylan songs can be difficult because something like ‘Like A Rolling Stone’, it’s so Dylan that it would be hard to get the spirit that he puts on it. ‘A Hard Rain’s A-Gonna Fall’ is another good one, you know. I’d put that on a list as well.”





We’re huge fans of Bob Dylan here at PaulMcCartney.com and would love to hear which of Dylan's songs you’d like to hear Paul cover and why! Let us know in the comments below…


viernes, 2 de diciembre de 2016

Beatles — not beetles — helped make animator Ron Campbell's career

www.latimes.com
Beatles — not beetles — helped make animator Ron Campbell's career
Kathleen Luppi
Contact Reporter
DECENBER 2 2016

Artist Ron Campbell, who painted animations for the Beatles’ “Yellow Submarine” film and the group's television cartoon series, will make a special appearance at Forest & Ocean Gallery in Laguna Beach Dec. 5 through Dec. 7. (Courtesy of Rob Shanahan)

Animator Ron Campbell was asleep at his home in Australia when he was awakened by a phone call.

A colleague on the other end of the line shared with him a new television show that he said needed Campbell's directorial skills.

The name of the show?

"The Beatles."

It was the 1960s, and Beatlemania was gripping the planet — or at least most parts of it.

"They'd make terrible characters. They're ugly ... they're insects!" Campbell told the caller, unaware that the reference wasn't about crawly things at all.

No, the colleague answered. The Beatles are the biggest rock 'n' roll group of the time, he explained.

"I liked classical music and I wasn't listening much to popular music," Campbell, 77, said recently by phone from his home north of Phoenix, Ariz. "But once I became familiar with the Beatles, I very much admired their music."

That job inquiry started Campbell's 50-year career in animation. He's best known for his work on the "The Beatles" animated television series, which ran on ABC from 1965 to 1969, as well as the animated feature film "Yellow Submarine."

Image result for Ron Campbell  beatles

Success of the TV program led Campbell to work on a variety of animated television series, including "The Jetsons," "The Flintstones," "Scooby-Doo," "Rugrats" and "The Smurfs."

Now retired, the septuagenarian grandfather creates watercolor pop-art paintings based on the cartoons that framed his career. A particular emphasis is on the Beatles.

Campbell travels with his work to various U.S. cities and will be making an appearance at the Forest & Ocean Gallery in Laguna Beach this week. His work will be on display there and available for purchase from Monday to Wednesday.

While at the gallery, he will also create new paintings and talk to guests about his work and career.


Ron Campbell’s artwork of the Beatles will be on display at Forest & Ocean Gallery in Laguna Beach Dec. 5-7. Campbell will make a special appearance. (Courtesy of Ron Campbell)

Long before Campbell would direct the Beatles television cartoon series, which remained No. 1 in the ratings for its four-year run, he was a youth in Seymore, a small town in the Australian state of Victoria.

At age 6, Campbell would go with his friends to the movies to watch cartoons. These were the days before television.

ron-campbell-pop-up

The characters became like distant gods to him, he said, and each time he'd watch "Tom and Jerry," he'd try to figure out how they moved on the screen.

The picture looked so real that he figured the characters were a real cat and mouse.

He shared this assessment with his grandmother, and she explained that he was looking at a drawing.

The answer hit him like a epiphany.

Campbell soon became obsessed with painting and sketching, and during his teenage years, he enrolled in art school. It was hard to make money while working as an artist, but once television arrived in his country, Campbell learned he could make a living.

He soon worked on "Beetle Bailey," "Krazy Kat" and "Cool McCool" — and eventually "The Beatles" cartoon series.

The design for the series was done in London, but he and his team in Australia did the storyboards.

Campbell later moved to the U.S. and wrote and produced cartoons for "Sesame Street" and did animation for the original "George of the Jungle" and "Tom Slick" television shows. He founded Ron Campbell Films Inc. and produced and directed the animation for the "Big Blue Marble," earning him an Emmy for Best Children's Show of the Year.

He ventured to Disney TV animation and was eventually nominated for an Emmy for a storyboard for "Aaahh! Real Monsters" and another for "Rugrats."

Now Campbell has a new creative outlet — though his cartoon pop art isn't far removed from that 50-year career.

He plans to display 40 to 50 recent works of art, which he paints in his studio in Arizona. Prices range from $295 to $8,000.

The most expensive piece is a 3-by-5-foot framed work of the Beatles dressed in their "Sgt. Pepper Lonely Hearts Club Band" outfits. The artwork, he said, is "wildly colorful and impressive."

"It may sound odd, but people like to buy my paintings," Campbell said with a laugh. "There comes a point in one's life where retirement stares at you in the face and you ask yourself, 'What the devil do I do?' I decided to paint, and you know, my retirement is keeping me alive so far."

*

IF YOU GO

What: Ron Campbell's "Beatles Cartoon Art Show"

When: 5 to 8 p.m. Monday and 11 a.m. to 8 p.m. Tuesday and Wednesday

Where: Forest & Ocean Gallery, 480 Ocean Ave., Laguna Beach

Cost: Free admission; his paintings are for sale

Information: (949) 371-3313; forestoceangallery.com

kathleen.luppi@latimes.com

Twitter: @KathleenLuppi


Copyright © 2016, Daily Pilot


Image result for Ron Campbell  beatles