Bright-starr

ok which one of you beatles rpfers is working for advertising at old national bank

“McCartney has worked so hard at seeming an ordinary bloke that it is easy to miss the least ordinary and least bloke-ish thing about him: the magnitude of his melodic gift. A genius for melody is a strange, surprisingly isolated talent, and doesn’t have much to do with a broader musical gift for composition; Mozart certainly had it, Beethoven not so much. Irving Berlin could barely play the piano and when he did it was only in a single key (F-sharp major: all the black keys), and yet he wrote hundreds of haunting tunes; André Previn, who could do anything musically as a pianist and a conductor, wrote scarcely a single memorable melody, although he did write several shows and many songs. McCartney, as Norman reminds us, had the gift in absurd abundance. Before he was twenty, he had written three standard songs—“I’ll Follow the Sun,” “When I’m Sixty-Four,” and what became “Michelle.” By the time he was thirty, he had written so many that he now seems to lose track sometimes, reviving old tunes in concert that he has half forgotten.

Someone could get a Ph.D. thesis out of studying the major-minor shifts in his Beatles songs: sometimes the change is from verse to chorus, to mark a change from affirmation to melancholy, as in “The Fool on the Hill”; sometimes it’s in the middle of a phrase, as in “Penny Lane,” to capture a mood of mixed sun and showers. These are things that trained composers do by rote; McCartney did them by feel—like Irving Berlin writing for Fred Astaire, he was a rare thing, a naturally sophisticated intuitive. Lennon’s tragic martyrdom, and McCartney’s fall from critical favor, made it seem as though one had been regarded as a more consequential figure than the other. In truth, throughout the nineteen-sixties Paul’s musical primacy was largely taken for granted. In 1966, the critic Kenneth Tynan, a hard man to please, proposed doing a profile of Paul, in preference to John, because he was ‘by far the most interesting of the Beatles and certainly the musical genius of the group.’“

This specific genre of photos of them

July 1967 Interview between Paul, George and two American Schoolgirls

Found out about this interview when reading a comment section. The interview itself is adorable all-round with both Paul and George being very sweet and open to the girls (Paul even shows them his kittens!). The girls too are so obviously teenagers and so sweet and earnest in their excitement.

Lots of interesting little insights in this one like George’s uncomfortable relationship with fame and Paul not thinking that the Beatles could ever stop being the Beatles. Quite tellingly, he also goes on a brief tangent about parents giving children liberties when one of the girls tells him that her mother is going to be angry at her sneaking off. His tangent ends up with him saying he wanted to present a ‘’view of the people that don’t want to be spanked anymore, thank you, Daddy.’’ The girls fathers had not been mentioned. 😬

Nothing I Love More than Old Beatles Sites

Live long, my angels.

…[John and Paul] are so totally in sync that they carry that through to a natural break, and you see John glancing to his side with this look of just fantastic joy, like they’ve just done something together that they never could have done on their own. - Joshua Wolf Shenk

GEORGE HARRISON The Beatles: Get Back (2021) dir. Peter Jackson + bonus (success !)

John Lennon & George Harrison (1964)

this is so fcking funny lmao 

All You Need is Love broadcasted on this day in 1967. A total of 400 million people in 26 countries watched the live broadcast.