meta-scriptA Day In Our Lives | GRAMMY.com

news

A Day In Our Lives

A decade following Sept. 11, 2001, the power of music continues to help us remember and heal

GRAMMYs/Dec 3, 2014 - 05:06 am

Sept. 11, 2001.

Not since the '60s has a series of events left Americans so rattled. The cunning, audacity and ferocity of the attacks on Sept. 11 shattered America's collective psyche like few events before it.

Now, on the 10th anniversary of the Sept. 11 attacks, Americans are turning to music to commemorate that fateful day in 2001, just as they did in the tragedy's immediate aftermath. Among the tributes planned is a TV documentary chronicling Sir Paul McCartney's experiences in New York immediately after the attacks. Premiering Sept. 10 on Showtime, The Love We Make features footage of McCartney organizing and rehearsing for the Concert For New York City, along with clips of McCartney talking with New Yorkers on the city streets.

According to directors Albert Maysles and Bradley Kaplan, the film documents the involvement of some of the world's most popular entertainers, including David Bowie, Mick Jagger and Pete Townshend, among others.

"Many of the performers in this film are Brits and love America," says Kaplan. "They feel a kinship with New York City as the cultural and emotional capital of the world. The concert was a coming together of friends and colleagues to raise the spirits and raise money for those who are in greatest need."

"The mood backstage was very positive," recalls Maysles. "Everybody knew they were doing the right thing."

McCartney's documentary is just one of many music-related Sept. 11 commemorative events.

On Sept. 10 opera star soprano Renée Fleming will perform a free concert with the Lyric Opera in Millennium Park in Chicago. The New York Philharmonic is conducting a special memorial concert at Avery Fisher Hall that will be broadcast live on radio and projected on a screen in Lincoln Center's plaza. The concert will actually take place Sept. 10, and will be rebroadcast on PBS the following evening.

On Sept. 11 the Beach Boys will join the Colorado Symphony to perform a free commemorative concert at Denver's Civic Center Park, while country star Alan Jackson, R&B icon Patti LaBelle and mezzo soprano Denyce Graves will co-headline A Concert For Hope at the Washington National Cathedral in the nation's capital.

The Kennedy Center and The New Republic magazine are hosting a private "evening of remembrance and reflection" for relatives of Sept. 11 victims, first responders and members of the military. The event, titled 9/11: 10 Years Later, will feature jazz musician Wynton Marsalis, Graves, folk/country singer Emmylou Harris, and the National Symphony Orchestra.

"As it has done after other tragedies and challenges in our nation, 10 years later music continues to play an important role in the healing process, post 9/11," says Jay S. Winuk, vice president and co-founder of MyGoodDeed, a nonprofit organization that leads the Sept. 11 National Day of Service and Remembrance observance. "I surely rely on music as a great source of strength for my own loss on 9/11."

From the start, music has played a major role in commemorating and dealing with Sept. 11. In 2001 Jackson topped the country singles chart with his compassionate GRAMMY-winning ballad "Where Were You (When The World Stopped Turning)." Bruce Springsteen captured three GRAMMYs in 2003 for his rousing Sept. 11-inspired album, 2002's The Rising, while Neil Young recorded "Let's Roll," a hard-rocking tribute to the passengers of United Airlines' ill-fated Flight 93.

If the attacks were partly intended to discourage world trade and globalization, they failed. In the immediate wake of the tragedy, condolences for the United States poured in from other nations sympathetic to America's core values of freedom and democracy. America: A Tribute To Heroes, a benefit concert/telethon on Sept. 21, 2001, featured a plethora of international superstars, including those from Britain (U2, Sting), Canada (Celine Dion) and Australia (Natalie Imbruglia).

Then there was one of the grandest neighborly gestures of all — an Englishman, namely McCartney, organizing the all-star Concert For New York City. Featuring fellow Brit-rockers the Who, Bowie, Clapton, Jagger and bandmate Keith Richards, along with American superstars such as Melissa Etheridge, Jay-Z and Bon Jovi, the concert found McCartney once again proving that music, humanity and positive action can go a long way in times of trouble.

Maysles has a gift for being present during some of rock's most historic moments. He co-directed Gimme Shelter, the acclaimed 1970 documentary chronicling the Rolling Stones' controversial Altamont concert in 1969. Maysles' creative partnership with McCartney dates back to 1964, when the director filmed the acclaimed historical documentary The Beatles: The First U.S. Visit.

The decades-long friendship came full circle in October 2001, when McCartney phoned Maysles to ask him to chronicle the Concert For New York City.

"Paul said, 'Let's start filming the way we did it [in] '64, in black and white using 16 mm film,'" says Maysles.

The 2001 footage sat unedited for nearly a decade. "Last year, Paul sent Albert a beautiful handwritten note," Kaplan recalls. "It said, 'Have you looked at the footage we shot in 2001? Do you think there's a film there? If so, do you think we should finish it?'"

Maysles believes The Love We Make underscores the unique and immediate power of music to help heal during periods of crisis.

"In a way, only music can satisfy that desire to express the kind of love that is seen and heard in this film," says Maysles. "That concert and this film are permeated with love."

(Bruce Britt is an award-winning journalist and essayist whose work has appeared in The Washington Post, USA Today, San Francisco Chronicle, Billboard and other publications. He lives in Los Angeles.)

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams
(L-R) boygenius, Taylor Swift and Jack Antonoff at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy

news

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

The 66th Annual GRAMMY Awards wrote another monumental chapter in music history with returns from legends like Celine Dion and wins by a promising new generation of artists like Victoria Monét.

GRAMMYs/Feb 5, 2024 - 08:35 pm

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'

U2 Performs "Atomic City" & Transports The 2024 GRAMMYs To Las Vegas
The Sphere in Las Vegas

Photo: Tayfun Coskun/Anadolu Agency via Getty Images

news

U2 Performs "Atomic City" & Transports The 2024 GRAMMYs To Las Vegas

Bono and co.’s long-distance return to the 2024 GRAMMYs marks the Sphere, a state-of-the-art Sin City structure. The 22-time GRAMMY winners performed a jaunty take on "Atomic City" among incredible visuals.

GRAMMYs/Feb 5, 2024 - 02:51 am

U2 transported Music's Biggest Night from the Crytpo.com Arena in Los Angeles to Las Vegas on Sunday night, performing their song "Atomic City" live from the Sphere. 

"Guitar, she pulls the strings et cetera/ Sinatra swings, a choir sings/ Love is God and God is love/ And if your dreams don’t scare you, they’re not big enough," Bono wailed as the cameras took in the majesty and awe of the futuristic venue just off the Vegas Strip.

Following the performance, the live segment also featured a special presentation of Best Pop Vocal Album Award to Taylor Swift for 2022’s Midnights — with the superstar using her acceptance speech to announce the April 19 release date for her 11th studio album, The Tortured Poets Department.

Bono and co.’s long-distance return to the GRAMMYs (where they last performed at the 2018 GRAMMYs) marks the first live broadcast from the state-of-the-art Sin City structure, which the 22-time GRAMMY winners are currently breaking in as a performance venue with their residency U2:UV Achtung Baby Live at Sphere.

Launched in September, U2’s inaugural run of 40 shows at the Sphere will wrap on March 2. After the Dublin rockers’ final concert highlighting their 1991 GRAMMY-winning album Achtung Baby, Dead & Company will take over the venue for their own residency with an assist from John Mayer.

2024 GRAMMYs: See The Full Nominees And Winners List

U2 Will Make GRAMMY History At The 2024 GRAMMYs With The First-Ever Broadcast Performance From Sphere In Las Vegas
U2

Image courtesy of the Recording Academy

news

U2 Will Make GRAMMY History At The 2024 GRAMMYs With The First-Ever Broadcast Performance From Sphere In Las Vegas

GRAMMY winners U2 have been announced as performers at the 2024 GRAMMYs where they will deliver the first-ever broadcast performance from Sphere in Las Vegas. The event will also feature a special awards presentation.

GRAMMYs/Jan 26, 2024 - 07:59 pm

The globally influential, 22-time GRAMMY-winning legends U2 have been announced as performers at the 2024 GRAMMYs where they will deliver a special, history-making performance from Sphere in Las Vegas. The event will also feature a special awards presentation.

The news, announced today on social media, expands on U2's pioneering, record-setting run of their "U2:UV Achtung Baby Live At Sphere" residency, which has ushered in a new era of live entertainment innovation since launching last year. The performance at the 2024 GRAMMYs will mark the first-ever broadcast performance from Sphere, a first-of-its-kind, technologically groundbreaking venue.

U2 now join a stacked lineup of 2024 GRAMMYs performers, which includes Burna Boy, Billie Eilish, Billy Joel, Dua Lipa, Luke Combs, Olivia Rodrigo, and Travis Scott. Additional performers will be announced in the coming days and weeks. See the full list of performers and host at the 2024 GRAMMYs to date.

Learn More: 2024 GRAMMY Nominations: See The Full Nominees List

2024 GRAMMYs: Explore More & Meet The Nominees

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.^ Prior to the Telecast, the GRAMMY Awards Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com. On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com.

Trevor Noah, the two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host, returns to host the 2024 GRAMMYs for the fourth consecutive year; he is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for his 2022 Netflix comedy special, I Wish You Would.

The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.

^Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More

'Meet The Beatles!' Turns 60: Inside The Album That Launched Beatlemania In America
The Beatles in 1964

Photo: Mark and Colleen Hayward / Redferns / Getty Images 

news

'Meet The Beatles!' Turns 60: Inside The Album That Launched Beatlemania In America

A month before the Beatles played "The Ed Sullivan Show," they released their second American studio album — the one most people heard first. Here's a track-by-track breakdown of this magnitudinous slab of wax by the Fab Four.

GRAMMYs/Jan 19, 2024 - 06:48 pm

For many in America, Meet the Beatles! marked their first introduction to the legendary Fab Four — and their lives would be forever altered.

Released on Jan. 20, 1964 by Capitol Records, the Beatles' second American studio album topped the Billboard 200 within a month and stayed there for 11 weeks — only to be ousted by their next U.S. album release, The Beatles' Second Album.

It's almost impossible to put into words the impact of Meet
the Beatles! on an entire generation of the listening public. But Billy Corgan, of the Smashing Pumpkins, gave it a shot as an early fan of the Beatles in a series of LiveJournal remembrances — in this case, of himself at five years old, in 1972.

"I am totally overwhelmed by the collective sound of the greatest band ever blasting in mono thru a tin needle into a tiny speaker," he wrote. "I associate this sound forever with electricity, for it sends bolts thru my body and leaves me breathless. I can not stand still as I listen, so I must spin… I spin until I am ready to pass out, and then I spin some more."

So many other artists remember that eureka moment. "They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid," Bob Dylan said of the opening track, "I Want to Hold Your Hand." "I knew they were pointing the direction of where music had to go." Everyone from Ozzy Osbourne to Sting and Questlove agreed.

From Meet the Beatles!, the Fabs would have the most astonishing five-or-six-year run in music. And so much of their songwriting and production innovation can be found within its grooves; truly, the world had no idea what it was in for. In celebration of the 60th anniversary of Meet the Beatles!, here's a quick track-by-track breakdown.

"I Want to Hold Your Hand"

The Fabs' first American No. 1 hit may have been about the chastest of romantic gestures. Still, there's nothing heavier than "I Want to Hold Your Hand," because it's clamor and fraternity. That seemingly saccharine package also contained everything they'd ever do in concentrate — hints of the foreboding of "Ticket to Ride," the galactic final chord of "A Day in the Life," and beyond.

"I Saw Her Standing There"

A few too many awards show tributes have threatened to do in "I Saw Her Standing There," but they've failed. As the opening shot of their first UK album, Please Please Me, it's perfect, but as the second track on Meet the Beatles!, it just adds to the magnitude. What a one-two punch.

"This Boy"

Songwriting-wise, "This Boy" drags a little; it becomes a little hazy who "this boy" or "that boy"  are. But it's not only a killer Smokey Robinson rip; John Lennon's double-tracked vocal solo still punches straight through your chest. (Where applicable, go for the 2020s Giles Martin remix, which carries maximum clarity, definition and punch — said solo is incredible in this context.)

"It Won't Be Long"


Half a dozen other songs here have overshadowed "It Won't Be Long," but it's still one of the early Beatles' most ruthless kamikaze missions, an assault of flying "yeahs" that knocks you sideways.

"All I've Got to Do"

Lennon shrugged off "All I've Got to Do" as "trying to do Smokey Robinson again," and that's more or less what it is. One interesting detail is the conceit of calling a girlfriend on the phone, which was firmly alien to British youth: "I have never called a girl on the 'phone in my life!"he said later in an interview. "Because 'phones weren't part of the English child's life."

"All My Loving"

"All My Loving" was the first song the Beatles played on the American airwaves: when Lennon was pronounced dead, eyewitnesses attest the song came over the speakers. It's a grim trajectory for this most inventive and charismatic of early Beatles singles, with Lennon's tumbling rhythm guitar spilling the composition forth. (About that unorthodox strumming pattern: it seems easy until you try it. And Lennon did it effortlessly.)

"Don't Bother Me"

As Dreaming the Beatles author Rob Sheffield put it, "'Don't Bother Me,' his first real song, began the 'George is in a bad mood' phase of his songwriting, which never ended." Harrison wouldn't pick up the sitar for another year or two, but the song still carries a vaguely dreamy, exotic air.

"Little Child"

"I'm so sad and lonely/ Baby, take a chance with me." For a tortured, creative kid like Corgan, from a rough background — and, likely, a million similar young folks — Lennon's childlike plea must have sounded like salvation.

"Till There Was You"

McCartney's infatuation with the postwar sounds of his youth never ended, and it arguably began on record with this Music Man tune. As usual, McCartney dances right on the edge of overly chipper and apple-cheeked. But here, George Martin's immersive, soft-focused arrangement makes it all work.

"Hold Me Tight"

Like "Little Child," "Hold Me Tight" is a tad Fabs-by-numbers, showing how they occasionally painted themselves into a corner as per their formula. Their rapid evolution from here would leave trifles like "Hold Me Tight" in the rearview.

"I Wanna Be Your Man"

Tellingly, Lennon and McCartney tossed this half-written composition to the Stones — and to Ringo Starr. Mick Jagger's typically lusty performance works, but Starr's is even better — the funny-nosed drummer throws his whole chest into this vocal workout.

"Not A Second Time"

Meet the Beatles! concludes with this likable Lennon tune about heartbreak — maybe C-tier by his standards, but it slouches toward his evolutionary step that would be A Hard Day's Night

Soon, these puppy-dog emotions ("And now you've changed your mind/ I see no reason to change mine/ I cry") would curdle and ferment in astonishing ways — in "Ticket to Ride," in "Girl," in "Strawberry Fields Forever." And it all began with Meet the Beatles! — a shot heard around the world.

1962 Was The Final Year We Didn't Know The Beatles. What Kind Of World Did They Land In?