Jer asked:


Do you have any specific sites to buy from?
I’ve tried the authentic Beatles website store,
but a little too pricey.

So do you have a place online where i can buy cheap Beatles clothes?

Pearl

Star182 asked:


My husband is in love with the beatles and wants to name our daughter prudence but I am not to sure I like it. What are some other names that are related to the beatles that I could mention to him?

Jerry

cool guy asked:


I think it’s stupid. the beatles wrote them not Michael Jackson. Why does he need to own something that has nothing to do with him? kinda like his best hit “thriller” which isnt even written by him. Michael Jackson doesnt compare to the beatles or else he wouldnt need to own the rights to their songs.

Juan

Helen Klus asked:


There are two types of forgeries: reproduction and imitation. Reproduction means copying a painting exactly and then passing it off as an original and imitation means copying the style of an artist and then claiming that it is a lost piece of theirs. Traditionally forgeries are not given the same artistic merit as the originals they copy even if there is no visible difference between them. If we are to claim that the original is aesthetically better then this implies that there is something other than the paint that makes up the aesthetics of a painting.

In ‘Languages of Art’ (1976) Goodman argues that our knowledge of an artwork’s history affects the way we look at it and so even a hypothetical perfect forgery would be different from the original copy. Goodman states that forgeries are not aesthetically equivalent to the originals because even if you cannot see a difference, you could learn to.

Dutton (1979) agrees, claiming that the aesthetic properties of a painting are defined as both the sum of its parts and the place in art-history that it takes up. This is because each piece represents a performance by the artist and so a forgery is a misrepresentation of this performance, this translates into an aesthetic difference even if both paintings are physically identical.

Lessing (1965) proposed that forgery does not occur in the performing arts because it requires faking originality and in the performing arts originality is not required. Lessing argues that context only shows who is a better artist, not which piece of art is aesthetically better. Lessing claims that to prefer one over another on aesthetic grounds is simply snobbery, a perfect forgery is a moral and perhaps historic concern but not an aesthetic one.

Lessing’s argument explains why reruns of plays are not seen as forgeries, although this only applies to reproduction. Goodman argues that an exact copy is not counted as a forgery, because a painting is autographic whereas mass-produced art such as music and literature is non autographic or allographic.

An interesting example is Andy Warhol’s mass produced art, even though it was mass produced, similar to the way that CDs are, it is still autographic since each factory produced piece is individual. If I copied his work using my own screen printing machine it would not be a Warhol, whereas if I copy a CD or write a poem by someone else then it is still that of the original artists. Allographic art is abstract whereas autographic art is more tangible. Imitative forgeries rarely happen in music, perhaps for financial reasons, although it is possible that in 50 years time a ‘lost’ Beatles song will emerge much in the way of the ‘lost’ Vermeer paintings forged by Van Meegeren did.  

References

Dutton, D. (1979) ‘Artistic Crimes: The problem of forgery in the arts’, The British Journal of Aesthetics, vol. 19, pp.302-341.

Goodman, N. (1976) ‘Languages of Art: An Approach to a Theory of Symbols’, Hackett, Indianapolis.

 Lessing, A. (1965) ‘What is wrong with a forgery?’, Journal of Aesthetics and Art Criticism, vol. 23, pp.461-471.

http://www.thestargarden.co.uk/perfect%20forgeries.html



Ricky

Bill Dollar asked:


/>Any real Beatle fan knows that Stu Sutcliffe was the original bass player,who died of a brain embolism before the Beatles became famous. But what if it hadn’t been Stu with the deadly weakness, but rather…?



There is very little time left now. The meeting will take place in a matter of hours: an event so significant for future generations that nothing can be allowed to change it in any way. I have found the boy: a cheerful soul with wide eyes that question the world with amusement. He does not yet know the path that is set for him, or the tiny thing inside his brain that brings me here through the oceans of time. We agreed that it is a task that must be done for the peace of souls everywhere. From my place of concealment across the square I wait for him to appear on this cloudy day. In the skies I see a vortex that promises more storms but the people around me, simple people with low reception levels they do not understand, pass by in their life patterns. Once the boy is in sight, my timing will allow me to meet him at the shop window where he pauses without exception every day to stand and admire. I am programed with every trace of memory from the projection undertaken by the finest minds in our universe. There are no randoms not accounted for: no variations not calculated to the infinite degree. I see him now. The boy comes around the corner whistling a tune of his own making, with eyebrows high in delight as the activity in the square greets his vision. For a moment he slows as he passes the shop they call the baker, but then resumes his journey across the square directly towards me where I stand close to the shop that intrigues him so. Every step he takes is more important than he can ever know, but his cheerful smile shows none of this as he reaches the window of the store that sells instruments of music and stops with hands in pockets to stare in familiar routine. If he were to look at me, he would see only another boy his own age, but his attention is unwavering and complete on one of the items in the window. He leans forward until nose touches glass. Hofner…he says out loud to nobody. Loovely, he says and his focus is so complete that I take three swift steps towards him, swirl the cloak of transformation over him and the deed is done. I turn away from the shop window and resume my journey. In my mind are random thoughts of how to get enough money for the music instrument, with bursts of spontaneous melodies in the background. A part of my mind sees images of playing a guitar sitting on a bed in a small but friendly room. I walk on. It is 30 minutes later and I have come to an open field which a small festival has filled with music, banners and the chatter and laughter of two hundred people. I have only just reached the first stall when someone calls my name and I turn to see my friend Ivan smiling at me while the activity of the fair flows around him. Come over here, he says, I’ve got someone you should meet. I follow him deeper into the fairground to stop in front of a small and rickety stage barely three feet off the ground. Sitting at the corner with legs dangling over the edge is a skinny youth in a black shirt and jeans with hair combed back in extravagant sculpture and a cigarette dangling from the corner of his thin-lipped mouth. His left hand is adjusting the tone of the strings of the guitar he cradles on his legs while his eyes measure me with care. Hey, Johnny…Ivan says with a measure of casual excitement to the skinny figure…got someone you should meet… he’s a guitar player too… Johnny squints through the smoke of the cigarette at me. Oh yeah?…he says. Yeah…says Ivan and throws his arm around my shoulders. Johnny…says Ivan…meet Paul McCartney…



Copyright - Bill Dollar 200



Neil