A letter written by John Lennon complaining about his rock star friends Keith Moon and Harry Nilsson fetched $84,000 (£53,000) at auction in London. The former Beatles star wrote the letter titled 'A matter of pee' to producer Phil Spector, complaining that he was being held responsible for a series of bizarre incidents after the musicians were threatened with eviction from the recording studio. He admits that it was Moon and Nilsson who urinated on the mixing console.
The note, which dates from Lennon's 'Lost Weekend' between 1973 and 1975 when he separated form Yoko Ono, was later given to guitarist Jesse Ed Davis who worked with the Beatles star.
It was expected to fetch between $6,400 (£4,000) and $9,600 (£6,000) at the auction but sold for seven times that estimate when a private buyer snapped it up for $84,000 last week (ends22Mar14).
Louise Cooper, from Cooper Owen Music Media Auctions, says, "This price reflects the fact that it has never been on the market before and refers to so many famous people of the time."
A note written by John Lennon complaining about his rock star pals Keith Moon and Harry Nilsson is set to go under the hammer on Friday (21Mar14) Lennon was working with a group of musicians during recording sessions for his 1975 covers album Rock 'n' Roll but the antics of Nilsson and The Who drummer Moon infuriated bosses at A&M Studios in Los Angeles.
The former Beatles star wrote a letter titled 'A matter of pee' to producer Phil Spector, complaining that he was being held responsible for a series of bizarre incidents after the musicians were threatened with eviction.
Lennon writes, "Phil - Should you not yet know it was Harry and Keith who p**sed on the (mixing) console. Jerry (Moss, A&M boss) now wants to evict us or that's what Capitol tells us. Anyway tell him to bill Capitol for the damage if any. I can't be expected to mind adult rock stars nor can May (Pang - Lennon's girlfriend and assistant) besides she works for me not A+M . I'm about to p**s off to (rival studio) Record Plant because of this c**p."
The note, which dates from Lennon's 'Lost Weekend' between 1973 and 1975 when he separated form Yoko Ono, was later given to guitarist Jesse Ed Davis who worked with the Beatles star. It is expected to fetch between $6,400 (£4,000) and $9,600 (£6,000).
Louise Cooper, of Cooper Owen Music Media Auctions in London, tells Britain's Daily Telegraph newspaper, "This is a rare note in that it mentions so many well-known figures from that era... The note will be of huge interest to Lennon and Beatles fans around the world. And the provenance is excellent, coming as it does from Lennon's session guitarist Jesse Ed Davis."
A 1962 Rickenbacker guitar played by both George Harrison and John Lennon is to be auctioned off in New York in May (14). The instrument will be among the highlight items going under the hammer at the Julien's Auctions Music Icons event at the Hard Rock Cafe in Times Square on 16 and 17 May.
Harrison bought the Rickenbacker 425 guitar in 1963 in Mount Vernon, Illinois while visiting his sister Louise. He asked the owner of Fenton's Music store to revamp the axe so it looked just like Lennon's Rickenbacker.
The guitarist played his prized possession when the Beatles first performed on TV show Ready Steady Go! in October, 1963, and again during an appearance on Thank Your Lucky Stars the following December.
A spokesman for Julien's Auction picks up the story: "He also used it during a week-long tour in Sweden. Harrison was photographed with the guitar extensively and the entire band has been photographed posing with the guitar.
"George Harrison played the 1962 Rickenbacker in the Abbey Road studios when the Beatles recorded I Want to Hold Your Hand - the song that gave the band their now infamous big break in the United States."
Lennon played the guitar backstage before a Beatles performance in Glasgow, Scotland on 5 October, 1963. A photograph published in an August 1964 issue of Beat Monthly magazine shows the Fab Four frontman with the guitar.
Harrison gifted the instrument to pal George Peckham, after he asked to borrow one of the Beatles star's guitars for an appearance on British music show Top of the Pops with his band The Fourmost.
The Julien's Auction spokesman tells WENN, "Peckham kept the guitar on the condition it would never be modified."
Even the guitar's case has a history - Slade singer Noddy Holder reportedly bought it for Peckham when he spotted the guitarist carrying the instrument around.
The source adds, "Holder saw Peckham walking around with the guitar without a case and could not personally bear to see a Beatles guitar carried around without one."
The Rickenbacker 425 guitar is accompanied by two letters from Harrison's office, which confirm he gave the guitar to Peckham - one from Harrison's wife Olivia and the other from Caroline Foxwell, Harrison's assistant.
Other highlights included in the collection of Beatles memorabilia up for sale in New York include a Paul McCartney-used Hofner Bass guitar with mother-of-pearl pick guard, which was often rented by McCartney from Harris Hire in Beckenham, England, and a rare, signed Beatles '65 album.
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.