Bal Harbour

yes of the Storm," an exhibition of Paul McCartney's photo- graphs that opens at Norfolk, Virginia's, Chrysler Museum this December, depicts with candid clarity the meteoric rise of the Beatles during the few weeks in which they found themselves transformed from local celebrities into international Pop stars. From secretive shots of George Harrison asleep on a plane to hurried snaps of backstage warm-ups, the 250 never-before-seen photos were taken by McCartney on his Pentax 35mm film camera. There's an innocent excitement— and sometimes palpable exhaustion—in McCartney's images, which chronicle the band's whirlwind transatlantic tour between December 1963 and February 1964 that saw them make their Stateside debut. Here, Lloyd DeWitt, senior curator of the Chrysler Museum, shares a preview of the show. Part of the museum's curatorial mission is to present diverse histories of photography. What do you think the candid and amateur photos of a young rock star lend to that history of photography? That's a question we definitely considered. If we're an art institution, do we really want to be showing the personal photographs of Pop stars? But for me, that was exactly why we should do it—because of this unique point of view. And this is somebody who has indelibly shaped culture, and who has been in dialogue with art and culture for his whole career. These photos represent a critical part of that career. What artistic and photographic influences does McCartney claim? He was very influenced by the photographers around him, who were all journalists for the most part, so there is a documentary bent to his work. He really wanted to be precise and understand how best to use the technology of the camera. He didn't always have his own light meter, so he'd have to ask the press photogra- phers in the crowds what settings they were using, which helped him learn. And you can even see the development of his skill across these photos—those taken at the start of the tour are different from those taken at the end. The camera technology of the 1960s also saw the advent of snapshot-style photography, right? Oh yes, and McCartney is definitely interested in that. These are all very unstyled, on-the-go photos. They really capture the sense of what it was like for the band on tour—the craziness and excitement, and the overwhelm—and they feel very intimate for that reason. Despite the global renown of the Beatles, they are still regarded as "hometown heroes" within the UK. Do you think certain parts of the show will speak to a US audience differently than to a UK audience? There's an underdog quality to the Beatles story that resonates across both cultures. These were just your average boys from Liverpool who made it big—they didn't go to Eton, they didn't have a predetermined leg up. These photos capture the moment of that big break. But it's also such a specific historical moment within the US, too—the country's Post-War influence was at an all-time high, President Kennedy had just been assassinated, the Civil Rights Movement was underway. McCartney speaks openly about the culture shock they experienced upon arrival in the US—the segregation, the police presence. But this was also a time of breaking down social barriers and new freedoms of expression, and the Beatles were at the center of it in 1964. What photos/groups of photos within the show really surprised you, and why? The quality of the photos is really stunning. These have only existed as negatives and contact sheets since the 1960s, so they're being developed now with modern technology, which means they are of a higher quality than if they had been developed then, and they are in pristine condition. And I think the Miami photos are brilliant—these are the only ones for which he used color film. But it's the goofiness you see coming through, not the colors. The sense of decompression after the tour, the lightness. It's kids having fun in the sun. Let's say someone isn't a Beatles fan. What would be your argument to entice them to see the show anyway? For the haters—and there are some, there are generational tensions around the Beatles— this is just a look at something that's a really important part of musical and cultural history. Regardless of how you feel about their music or their celebrity, it's primary source material for a major historical moment, and that is a rare find. E '' George looking young, handsome and relaxed. Living the life. Miami Beach, February 1964. Photo by Paul McCartney Exhibition curated by Paul McCartney with Sarah Brown on behalf of MPL Communications Limited and Rosie Broadley for the National Portrait Gallery, London, and presented by the Chrysler Museum of Art. This exhibition is supported by the Horace W. Goldsmith Special Exhibitions Endowment. P H OTO G R A P H ©196 4 PAU L M CC A R T N E Y BAL HARBOUR 125

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