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#Get Back sessions
thecoleopterawithana · 6 months
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Even though John is under-powered in this period we still see what made him so magnetic to Paul and to others around him. There is a scene early in Part Two that I find riveting. It takes place a couple of days after George has left. The status of everything - the project, the band - remains uncertain, but they are ploughing on for now. John, Yoko, Ringo, Paul and some of the crew are sitting in a semi-circle. Paul looks pensive. Ringo looks tired. John is speaking only in deadpan comic riffs, to which Paul responds now and again. Peter Sellers comes in and sits down, looks ill-at-ease, and leaves having barely said a word, unable to penetrate the Beatle bubble. At some point they’re joined by Lindsay-Hogg, and the conversation dribbles on. John mentions that he had to leave an interview that morning in order to throw up (he and Yoko had taken heroin the night before). Paul, looking into space rather than addressing anyone in particular, attempts to turn the conversation towards what they’re meant to be doing:
Paul: See, what we need is a serious program of work. Not an endless rambling among the canyons of your mind.
John: Take me on that trip upon that golden ship of shores… We’re all together, boy.
Paul: To wander aimlessly is very unswinging. Unhip.
John: And when I touch you, I feel happy inside. I can’t hide, I can’t hide. [pause] Ask me why, I’ll say I love you.
Paul: What we need is a schedule.
John: A garden schedule.
I mean first of all, who is writing this incredible dialogue? Samuel Beckett?
Let’s break it down a little. The first thing to note is that John and Paul are talking to each other without talking to each other. This is partly because they’re aware of the cameras and also because they’re just not sure how to communicate with each other at the moment. John’s contributions are oblique, gnomic, riddling, comprised only of songs and jokes, like the Fool in King Lear. Take me on that trip upon that golden ship of shores sounds like a Lennonised version of a line from Dylan’s Tambourine Man (“take me on a trip upon your magic swirling ship”). “We’re altogether, boy”? I have no idea. Does Paul? I think John expects Paul to understand him because he has such faith in what they used to call their “heightened awareness”, a dreamlike, automatic connection to each other’s minds. But right now, Paul is not much in the mood for it. His speech is more direct, though he too adopts a quasi-poetic mode (“canyons of your mind” is borrowed from a song by the Bonzo Dog Doo Dah Band) and he can’t bring himself to make eye contact. “To wander aimlessly is very unswinging,” he says (another great line, I will pin it above my writing desk). Then John does something amazing: he starts talking in Beatle, dropping in lyrics from the early years of the band, I Want To Hold Your Hand and Ask Me Why. (To appreciate John’s response to Paul’s mention of a schedule, American readers may need reminding that English people pronounce it “shed - dule”.)
What’s going on throughout this exchange? Maybe Lennon is just filling dead air, or playing to the gallery, but I think he is (also) attempting to communicate to Paul in their shared code - something like he loves him, he loves The Beatles, they’re still in this together. Of course, we can’t know. I can’t hide, John says, hiding behind his wordplay.
— Ian Leslie, "The Banality of Genius: Notes on Peter Jackson's Get Back" (January 26, 2022).
[I was curious to read more of Ian Leslie's approach to the Beatles in general and Lennon-McCartney in particular, since he's currently writing a book about John and Paul's relationship: “John and Paul: A Love Story in Songs". He's also the author of that New York Times opinion piece that came out today.]
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kinsfaun · 1 year
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George was so mardy. It's hilarious.
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get-back-homeward · 1 year
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Anyone interested in comparing Get Back vs the Nagra reels (audio of the sessions) day by day this month?
I’m starting with January 2, 1969 tapes today. There’s 96 clips, but each one ranges from 4 seconds to 11 minutes in runtime.
I’m listening primarily to see whether the overall tenor of the day matches with the way Peter Jackson’s editing captures it. But I’m also curious about any worthwhile details missing from Get Back (especially those days @amoralto never got to) that may shed light on the group dynamics at this time.
I’m planning to post my findings by day, even if I only get through a handful. But as much as I may try to avoid them, I have my own biases, as we all do. So it’d be neat to compare across several listeners and see where consensus lies.
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i-am-the-oyster · 2 years
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Not John and Paul singing Bye Bye Love while George plays the bass line of Two of Us 😭
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midchelle · 9 months
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The subtitle delay lined up perfectly to make it seem like John's 'are you' is in response to Paul singing 'imagine I'm in love with you'. i think the illegal video hosting website where I'm watching get back part 2 is a mclennon shipper.
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ludmilachaibemachado · 9 months
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A ‘Get Back' filming-recording session attended by Linda's six-year-old daughter Heather🧡
Classic moment: when Heather starts caterwauling, John exclaims, "Yoko!"🌹
credit : rock music world🍁
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itmustbehighorlow · 2 years
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So for better or for worse, I find myself listening through the Nagra tapes, and trying to make sense of some exchanges. Get Back has allowed me to have a general idea of visuals and set ups, but I know it’s not always a reliable document matching audio with appropriate video. That said, on January 14th, just before Peter Sellers arrives, Yoko and John tell everyone about a gay couple that they met, and I’m really dying to know exactly how people responded. It’s surrounded by long stretches of fidgety sounding silence before and after. In my rough transcription:
YOKO: We met this guy who’s married for eight years, and, uh, shall we tell his story?
JOHN: I wouldn’t mention his name.
YOKO: No, no, I wouldn’t mention his name, and his wife happens to be a man, you know, that thing-
JOHN: But he’s very happy, you know.
YOKO: VERY happy, the most healthy marriage that you can think of, you know, the most beautiful relationship. And we got very, sort of, you know…we got an incentive from it. It’s really beautiful. But the way he was talking first thing about his eight years marriage and how wonderful it is, you know, naturally you assume it’s a “she” instead of… I was talking like, “is she Greek?” and he said “no, it’s a he, you know.”
JOHN (joking): That’s when I got up and left the table...
YOKO (giggling, continuing the joke):  …being from Weybridge
And then it trails off. I’m just interested in why Yoko (and John) chose to tell this story then. Just filling time? They seem to be speaking into awkward or disinterested silence. John sounds as supportive of the story as Yoko does, and I think I just really want to know if Paul was looking at the floor and biting his fingernails throughout this story or what, and if John/Yoko were looking for a particular response. I shouldn’t look for a motive in everything, but were they looking for a reaction?
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The Beatles - Get Back Sessions UNCUT unreleased tracks
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heartorbit · 5 months
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a fool and a sinner
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heybiji · 2 months
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"It's almost like that dark is following me."
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thecoleopterawithana · 6 months
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Lennon may not be at his most dynamic in Get Back but he’s still compelling, partly because he’s not the character we expected to meet. At least, he’s not who I expected. Having ingested many books about the Beatles I thought he was going to be fiery, caustic, domineering, and - in this period - bitterly scornful of McCartney. Yet the Lennon we see here is for the most part a rather gentle presence who acts as a calming mediator between Paul and George. He grins at Paul, laughs heartily at his jokes, listens patiently to him. There is something quite childlike about John, particularly when his face opens up into a smile as the band hits a groove, or when he’s sitting patiently on the floor with a guitar and Yoko, waiting for another take. When Ringo starts playing Octopus’s Garden with George, John says “What am I doing, Ritchie?” and gets on the drums. There is bravado, of course - as when, following George’s departure, he immediately suggests they get Clapton in and split George’s guitars. But there is tenderness, too: after George leaves, it is John who brings the three remaining Beatles together into a hug.
We are used to thinking of Lennon as the visionary and Paul as the pragmatist. Yet here it’s Paul who throws up wildly impractical ideas - a news show that ends in an announcement of The Beatles’ split, a TV spectacular, an album full of songs they haven’t written yet, by next week - and John who suggests, mildly and sympathetically, that they consider what’s actually possible.
— Ian Leslie, "The Banality of Genius: Notes on Peter Jackson's Get Back" (January 26, 2022).
[I was curious to read more of Ian Leslie's approach to the Beatles in general and Lennon-McCartney in particular, since he's currently writing a book about John and Paul's relationship: “John and Paul: A Love Story in Songs". He's also the author of that New York Times opinion piece that came out today.]
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tavolgisvist · 2 months
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John starts singing,
I won't cry, I won't cry No I won't shed a tear Just as long as you stand by me
Paul joins,
Stand by me
And they're singing together and have some fun and laugh.
But Paul sings,
Stand by me,
Darling Johnny
And John starts singing,
Where you've been, when I was feeling blue?
And that's all
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snackugaki · 2 years
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boys from the bay(verse)
it’s nap time, you little shit
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i-am-the-oyster · 8 months
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In this rehearsal of Don't Let Me Down John repeatedly improvises
Oh keep your hands off my baby
Possibly a reference to this song:
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I don't know if the link will go directly to the track. If not, you want to select the circle 14 from the end and go to the track Don't Let Me Down 29.09
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javelinbk · 4 months
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The Beatles performing You Really Got A Hold On Me, 26th January 1969
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ludmilachaibemachado · 10 months
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Paul and Linda during the Get Back Sessions, January 1969🌼🎸🌼🎸🌼
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