WEBVTT 00:06.340 --> 00:09.933 >>> DOES ALL THAT HAIR HELP YOU 00:09.944 --> 00:10.760 >>> DOES ALL THAT HAIR HELP YOU 00:10.762 --> 00:10.994 SING? 00:10.995 --> 00:12.224 >> DEFINITELY, YEAH. 00:12.235 --> 00:14.390 >> HE FEEL LIKE SAMPSON IF YOU 00:14.425 --> 00:16.093 LOST YOUR HAIR, YOU’D LOSE WHAT 00:16.104 --> 00:16.710 YOU HAVE? 00:16.744 --> 00:17.743 >> I DON’T KNOW. 00:17.744 --> 00:18.272 I DON’T KNOW. 00:18.283 --> 00:19.893 I DON’T KNOW. 00:19.904 --> 00:23.240 >> I DON’T THINK SO. 00:23.251 --> 00:26.180 >> HOW MANY ARE BALD, THAT YOU 00:26.215 --> 00:29.060 HAVE TO WEAR THOSE WIGS? 00:29.071 --> 00:30.635 >> DEAF AND DUMB, TOO. 00:30.670 --> 00:32.781 >> THEY HAD A QUESTION ABOUT -- 00:32.792 --> 00:34.800 >> THAT WAS A LOOK -- 00:34.834 --> 00:35.475 >> GEORGE’S HAIR. 00:35.486 --> 00:37.470 >> CUTE. 00:37.481 --> 00:40.582 >> YOU SHOULD HAVE SEEN IT 00:40.617 --> 00:40.819 YESTERDAY. 00:40.830 --> 00:41.791 I SAID, WHEN ARE YOU GOING TO 00:41.802 --> 00:42.266 CUT YOUR HAIR? 00:42.301 --> 00:43.734 >> THAT WAS THE FIRST LOOK AT 00:43.735 --> 00:44.983 THE BEATLES FIRST PRESS 00:44.994 --> 00:48.110 CONFERENCE ON AMERICAN SOIL IN 00:48.121 --> 00:50.024 FEBRUARY OF 1964 DURING THEIR 00:50.035 --> 00:51.272 METEORIC RISE. 00:51.306 --> 00:53.372 THE FAB FOUR’S EVERY MOVEMENT 00:53.383 --> 00:55.662 WAS DOCUMENTED BY THE PRESS. 00:55.696 --> 00:57.918 BUT NOW THANKS TO A NEW MUSEUM 00:57.929 --> 00:59.522 EXHIBIT, THE PUBLIC CAN RE-LIVE 00:59.533 --> 01:01.888 THOSE EARLY DAYS OF THE BEATLES 01:01.923 --> 01:05.480 THROUGH THE LENS OF ONE OF ITS 01:05.491 --> 01:07.192 OWN MEMBERS. 01:07.193 --> 01:09.031 PAUL McCARTNEY PHOTOGRAPHS 01:09.033 --> 01:12.417 1963-64 EYES OF THE STORM OPENS 01:12.428 --> 01:15.187 AT THE BROOKLYN MUSEUM THIS 01:15.222 --> 01:17.498 FRIDAY AND WAS CO-CURATED BY SIR 01:17.499 --> 01:18.789 PAUL HIMSELF. 01:18.791 --> 01:20.966 IT INCLUDES 250 PHOTOGRAPHS 01:20.977 --> 01:25.263 TAKEN BY THE MUSIC LEGEND FROM 01:25.274 --> 01:28.461 THE 12-WEEK STRETCH IN LATE 1963 01:28.463 --> 01:30.909 AND EARLY 1964 WHEN BEATLEMANIA 01:30.920 --> 01:34.326 FIRST TOOK THE WORLD BY STORM. 01:34.327 --> 01:36.895 >> LET’S BRING IN THE EXHIBIT’S 01:36.906 --> 01:39.084 CO-CURATOR, SARAH BROWN, THE 01:39.118 --> 01:41.831 PHOTOGRAPHIC CURATOR OF 01:41.842 --> 01:42.866 McCARTNEY PRODUCTIONS LIMITED. 01:42.877 --> 01:45.615 >> HOW COOL IS THIS? 01:45.626 --> 01:48.056 >> IT IS BEYOND COOL, SARAH. 01:48.090 --> 01:50.957 WHAT IS SO COOL, ONE OF THE MANY 01:50.968 --> 01:53.593 THINGS ABOUT IT IS SIR PAUL 01:53.604 --> 01:54.621 THOUGHT THESE PICTURES WERE 01:54.622 --> 01:55.274 LOST. 01:55.309 --> 01:59.369 AS HE SAYS IN THE QUOTE, IT WAS 01:59.380 --> 02:00.150 THE ’60s. 02:00.184 --> 02:01.593 DOORS WERE LEFT OPEN. 02:01.604 --> 02:02.904 FANS CAME IN AND OUT. 02:02.938 --> 02:04.459 WHO WOULD HAVE GUESSED? 02:04.470 --> 02:06.249 MY GOD, WHAT HISTORICAL GOLD 02:06.250 --> 02:06.955 MINE. 02:06.966 --> 02:08.215 TALK ABOUT FINDING THESE 02:08.249 --> 02:10.960 PICTURES AT THE PEAK OF 02:10.962 --> 02:11.937 BEATLEMANIA. 02:11.948 --> 02:13.290 >> ABSOLUTELY. 02:13.292 --> 02:15.623 SO, PAUL WAS VERY PLEASANTLY 02:15.634 --> 02:18.250 SURPRISED TO FIND THAT THEY WERE 02:18.261 --> 02:20.708 ALL STILL IN GREAT CONDITION AND 02:20.719 --> 02:21.984 THAT THERE WAS AROUND 1,000 02:21.995 --> 02:22.624 PHOTOGRAPHS FROM THIS 02:22.625 --> 02:24.628 THREE-MONTH PERIOD THAT YOU 02:24.629 --> 02:25.186 MENTIONED. 02:25.197 --> 02:28.210 AND HE WORKED REALLY CLOSELY 02:28.245 --> 02:30.417 WITH MYSELF AND THE NATIONAL 02:30.428 --> 02:33.201 PORTRAIT GALLERY IN LONDON TO 02:33.203 --> 02:35.158 NARROW DOWN 1,000 PICTURES TO 02:35.193 --> 02:36.970 250 YOU CAN SEE ON SHOW AT THE 02:36.981 --> 02:37.431 MUSEUM. 02:37.432 --> 02:39.276 >> YOU KNOW, WHAT’S SO 02:39.287 --> 02:41.314 EXTRAORDINARY ALSO ABOUT THESE 02:41.325 --> 02:44.705 PHOTOS THAT WERE FOUND, IT 02:44.740 --> 02:48.328 REALLY WAS AT THE EXPLOSION OF 02:48.339 --> 02:50.035 BEATLEMANIA, ’63, ’64, COMING TO 02:50.036 --> 02:50.488 AMERICA. 02:50.522 --> 02:52.672 AND HE TALKS ABOUT IT BEING LIKE 02:52.683 --> 02:54.395 A ROLLER COASTER RIDE, AND YOU 02:54.406 --> 02:56.664 ARE GETTING AT THE TOP AND YOU 02:56.675 --> 02:57.817 ARE WAITING FOR IT TO CRASH 02:57.818 --> 02:58.408 DOWN. 02:58.442 --> 03:01.470 THERE IS THIS AMAZING PICTURE HE 03:01.471 --> 03:03.818 TOOK, AND I CAN’T BELIEVE IT. IT’S ON 58th. 03:03.819 --> 03:04.552 IT’S ON 58th.N 58th 03:17.099 --> 03:18.456 >> ABSOLUTELY. 03:18.467 --> 03:19.070 >> ABSOLUTELY. 03:19.104 --> 03:22.726 IT REALLY SUMS UP THAT JOURNEY 03:22.727 --> 03:25.620 FOR THEM AT THAT MOMENT IN TIME. 03:25.631 --> 03:28.139 PAUL TALKS ABOUT HOW THAT MADE 03:28.173 --> 03:30.029 HIM FEEL LIKE A MOVIE STAR IN A 03:30.030 --> 03:30.549 FILM. 03:30.560 --> 03:33.259 HE SAID THIS IS WHAT THEIR YEARS 03:33.260 --> 03:36.193 OF HARD WORK HAD BEEN BUILDING 03:36.204 --> 03:38.806 UP TO, AND THE REASON HE TOOK 03:38.807 --> 03:42.893 PICTURES WAS BECAUSE HE WAS SO 03:42.904 --> 03:45.783 IN AWE OF WHAT WAS GOING ON 03:45.817 --> 03:46.997 AROUND HIM. 03:46.998 --> 03:50.596 AS WE KNOW, THAT BAND JUST WENT 03:50.607 --> 03:53.489 BIGGERD AND BIGGER AND UP AND U 03:53.500 --> 03:55.592 THIS IS A REALLY SPECIAL 03:55.626 --> 03:58.591 TREASURE TROVE OF A THREE-MONTH 03:58.593 --> 04:03.598 PERIOD IN HISTORY THAT REALLY 04:03.609 --> 04:10.107 CHANGED MUSIC, POPULAR CULTURE 04:10.141 --> 04:10.917 FOREVER 04:10.928 --> 04:12.183 FOREVER. 04:12.194 --> 04:16.499 >> THERE’S A PICTURE OF THE 04:16.500 --> 04:20.950 BEATLES LANDING AT AN AIRPORT.N 04:20.985 --> 04:24.131 I NEVER SAW WOMEN IN BIKINIS AT 04:24.142 --> 04:24.754 JFK. 04:24.765 --> 04:27.147 THEN I REALIZED IT WAS MIAMI. 04:27.182 --> 04:29.721 IT WAS LIKE A SUMMER HOLIDAY FOR 04:29.732 --> 04:31.295 THESE YOUNG GUYS TO GET DOWN TO 04:31.296 --> 04:32.404 MIAMI. 04:32.406 --> 04:35.243 TALK ABOUT THIS AND ESPECIALLY 04:35.254 --> 04:37.435 THE MIAMI TRIP AS IT PLAYS INTO 04:37.469 --> 04:38.307 THIS EXHIBIT. 04:38.318 --> 04:40.586 >> BY THE TIME YOU GET TO MIAMI 04:40.597 --> 04:43.879 AND THE EXHIBIT, THEY HAVE BEEN 04:43.880 --> 04:46.598 ON THE ROAD SINCE DECEMBER ’63. 04:46.632 --> 04:48.728 THEY’D BARELY HAD ANY DAYS OFF. 04:48.739 --> 04:51.042 THIS IS A MOMENT WHERE THEY’VE 04:51.043 --> 04:53.483 GONE TO PERFORM ON THE ED 04:53.484 --> 04:55.514 SULLIVAN SHOW, A PERFORMANCE 04:55.525 --> 04:58.603 THAT BROKE RECORDS WITH 73 04:58.605 --> 05:01.319 MILLION PEOPLE WATCHING IT. 05:01.330 --> 05:06.163 IN MIAMI, WE HAD THREE BEAUTY 05:06.197 --> 05:08.842 QUEENS WEARING BEATLES BANS, BUT 05:08.853 --> 05:12.243 THERE WAS ALSO SOMEONE DRESSED 05:12.277 --> 05:18.913 IN HEAD TO TOE LEOPARD PRINT AND 05:18.914 --> 05:22.572 HOLDING A WHICH I AM PANCHIMPANZ 05:22.583 --> 05:27.457 IT KIND OF SUMS UP THE FUN OF 05:27.468 --> 05:30.051 THE ’60s AND WHAT THEY WERE 05:30.052 --> 05:30.795 EXPERIENCING. 05:30.806 --> 05:34.406 >> THIS MIAMI TIME, IT’S ALMOST 05:34.440 --> 05:37.908 LIKE A SCENE IN "THE WIZARD OF 05:37.919 --> 05:40.514 OZ" WHERE EVERYTHING HAD BEEN IN 05:40.548 --> 05:43.614 BLACK AND WHITE, AND THEN SIR 05:43.615 --> 05:46.940 PAUL SWITCHES OUT HIS CAMERA AND 05:46.951 --> 05:48.975 HE GOES COLOR. 05:48.986 --> 05:53.003 I’VE SEEN SOME PHOTOS IN MIAMI 05:53.014 --> 05:55.940 OTHER THAN THE FAMOUS CASSIUS 05:55.975 --> 05:57.539 CLAY PICTURE.TU 05:57.540 --> 06:00.979 GEORGE, IT SEEMS, ENJOYED MIAMI 06:00.980 --> 06:04.192 MORE THAN ANY OTHER BEATLE. 06:04.203 --> 06:07.937 HERE IS GEORGE LOUNGING BY THE 06:07.972 --> 06:09.882 POOL T HERE. 06:09.883 --> 06:13.098 AGAIN, JUST AN INCREDIBLE PHOTO. 06:13.109 --> 06:15.747 >> PAUL SUMMARIZED THIS ONE AS 06:15.781 --> 06:17.864 THEM LIVING THE GOOD LIFE. 06:17.875 --> 06:20.066 THIS IS THEM AT THE END OF THIS 06:20.100 --> 06:22.481 REALLY INTENSE PERIOD WHERE THEY 06:22.492 --> 06:26.273 HAD BEEN PERFORMING IN PARIS 06:26.284 --> 06:29.666 THREE SHOWS ADAY DAY, THEY FINAL 06:29.701 --> 06:31.394 HAD A DAY OFF. 06:31.405 --> 06:33.502 THREE OF THEM HAD NEVER BEEN TO 06:33.513 --> 06:34.814 THE U.S. BEFORE. 06:34.848 --> 06:36.940 THEY WERE IN THEIR ABSOLUTE 06:36.951 --> 06:40.376 ELEMENT LIVING, AS PAUL SAID, 06:40.378 --> 06:41.947 THE GOOD LIFE. 06:41.958 --> 06:44.413 IN THE EXHIBITION THERE’S A 06:44.415 --> 06:47.771 PHOTOGRAPH OF GEORGE PUTTING ON 06:47.806 --> 06:50.128 HIS SUNTAN LOTION. 06:50.139 --> 06:52.503 IT’S INTIMATE MOMENTS THAT NO 06:52.505 --> 06:53.848 OTHER PRESS PHOTOGRAPHER WOULD 06:53.882 --> 06:56.942 HAVE GOT. 06:56.953 --> 07:01.958 THAT’S WHAT MAKES THE EXHIBITION 07:01.959 --> 07:03.173 SO SPECIAL. 07:03.208 --> 07:05.625 >> THIS IS WHAT THE "WASHINGTON 07:05.626 --> 07:07.319 POST" T WROTE. 07:07.330 --> 07:10.441 McCARTNEY’SE. PHOTOGRAPHS ARE MO 07:10.452 --> 07:14.073 INTIMATE THAN ANYTHING IN THE 07:14.084 --> 07:16.698 BEATLES "GET BACK." 07:16.733 --> 07:19.335 McCARTNEY LIVING WITH HIS 07:19.346 --> 07:21.955 SUBJECTS EVERY MINUTE IN THE 07:21.966 --> 07:23.899 APARTMENT AND BACKSTAGE, HE 07:23.910 --> 07:26.274 COULD PEER UNDERNEATH THE 07:26.308 --> 07:30.378 BLANKET WHEREVER HE WANTED TO. WHAT MAKES THIS SO SPECIAL IS 07:30.389 --> 07:34.216 WHAT MAKES THIS SO SPECIAL IS 07:34.227 --> 07:41.893 THAT HEALN WASN’T TRAINED AS A 07:41.904 --> 07:45.468 PHOTOGRAPHER, YET HE HAD THIS 07:45.502 --> 07:47.054 EXTRAORDINARY EYEHI FOR 07:47.065 --> 07:49.460 COMPOSITION AND THE DRAMATIC. 07:49.471 --> 07:52.477 THE PARALLELS OF HIM AS AN 07:52.488 --> 07:55.212 ARTIST, AS A MUSICIAN WITHOUT 07:55.247 --> 07:57.836 ANY FORMAL TRAINING, AND YET HE 07:57.838 --> 08:00.660 CAN SAIL ABOVE EVERYBODY ELSE, 08:00.671 --> 08:02.716 BECAUSE IT JUST COMES NATURALLY. 08:02.727 --> 08:04.319 ART COMES NATURALLY TO HIM. 08:04.353 --> 08:06.500 >> ITS DOES. 08:06.511 --> 08:10.627 I THINK THIS EXHIBITION REALLY 08:10.661 --> 08:14.541 SHOWS THAT HE HAS A TRUE 08:14.552 --> 08:15.651 ARTISTIC EYE. 08:15.652 --> 08:18.910 NONE OF THE PHOTOGRAPHS IN THE 08:18.921 --> 08:20.887 EXHIBITION ARE CROPPED. 08:20.898 --> 08:23.234 HE WAS COMPOSING THE SHOTS IN 08:23.269 --> 08:25.032 THE BLINK OF AN EYE. 08:25.033 --> 08:27.287 HE WAS MOVING IN A CAR, IN A 08:27.298 --> 08:29.450 TRAIN, BUT HE STILL MANAGED TO 08:29.461 --> 08:32.032 GET THESE BEAUTIFULLY COMPOSED 08:32.066 --> 08:34.530 SHOTS WITH AMAZING LIGHTING. 08:34.541 --> 08:36.827 HE DOES TALK ABOUT THE 08:36.838 --> 08:38.758 PHOTOGRAPHERS WHO INSPIRED HIM 08:38.769 --> 08:41.552 AND THAT HE WAS LUCKY TO BE 08:41.563 --> 08:42.895 SURROUNDED BY ARTISTS THROUGHOUT 08:42.896 --> 08:44.879 THIS PERIOD OF TIME. 08:44.881 --> 08:48.309 >> TALK TO US ABOUT SOME OF THE 08:48.310 --> 08:49.762 BROADER THEMES YOU FIND. 08:49.773 --> 08:54.164 WHAT ARE SOME OF THE TAKE-AWAYS 08:54.175 --> 08:58.071 WHEN SOMEONE GOES AND SEES THAT? 08:58.105 --> 09:00.979 >> LOOKING AT IT AS A REALLY 09:00.990 --> 09:02.966 JOLLY MOMENT FOR THEM. 09:03.001 --> 09:05.402 PEOPLE KNOW THE BAND AND ARE 09:05.413 --> 09:07.927 STILL FAMILIAR WITH THEM, BUT 09:07.928 --> 09:11.656 GOING TO THE SHOW YOU MAY WALK AWAY SEEING SOMETHING DIFFERENT. 09:11.690 --> 09:13.436 AWAY SEEING SOMETHING DIFFERENT. 09:13.447 --> 09:17.826 JOHN WEARING HIS CHUNKY GLASSES. 09:17.837 --> 09:21.287 THE EVERYDAY OF BEING BORED 09:21.321 --> 09:23.367 BACKSTAGE, WAITING AROUND, THIS 09:23.369 --> 09:25.235 IDEA OF LIFE ON THE ROAD. 09:25.246 --> 09:27.010 >> I LOVE IT. 09:27.021 --> 09:31.597 YOU CAN SEE THE NEW EXHIBIT EX 09:31.598 --> 09:33.942 "PAUL McCARTNEY PHOTOGRAPHS 09:33.953 --> 09:36.439 1963-64 EYES OF THE STORM" 09:36.440 --> 09:39.959 FRIDAY MAY 3rd THROUGH AUGUST 09:39.961 --> 09:42.988 18th AT THE BROOKLYN MUSEUM.