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EXPECTATIONS
Today's Document
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@paul-mccartneys-eyelashes
pick an uncanny valley moment from the now and then music video
computer generated slow nod john lennon profile with sunset paul
glowy smoothed george
the ghost of john lennon directs an orchestra
old paul is tormemted by his younger self and a stripping george
ringo + ringo drum sesh, no mirror reflection
Beatlemania 2023 edition
The Beatles - Now And Then (Official Music Video)
Beatles fandom, how are we doing?
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Between takes on A Hard Day’s Night
The First U.S. Visit outtakes (1964)
“Think about it: every time you write a hit, the pressure builds for the next song. And YOU know there’s no magic behind it, just a lot of work; and YOU know your own weaknesses. Your partner saves your ass over and over again, in public, and you save his. Add to this their common background, the time they spent together when they were young, all the shared experiences, and the fact that even George and Ringo couldn’t really relate to what they were going through/what was expected of them, and the fact that they really loved each other’s work[.] I have no doubt that they were in love with each other. If “being in love” doesn’t describe how John Lennon felt about Paul McCartney and vice-versa, it’s so limited a phrase as to be useless.”
— Michael Gerber, Hey Dullblog (via ladyjaneasher)
The Beatles at Abbey Road
can we talk about how Brian Epstein was in the absolute minority of society, facing anti-semitism and homophobia on a daily basis, and still had it in him to be a gentle and caring person that gave his all to lead the most influential rock band to the top of the world - can we?
On May 15, 1967, Paul McCartney was out on the town.
PAUL: The night I met Linda I was in the Bag O'Nails [nightclub] watching Georgie Fame and the Blue Flames play a great set. Speedy was banging away. She was there with the Animals, who she knew from photographing them in New York. They were sitting a couple of alcoves down, near the stage. The band had finished and they got up to either leave or go for a drink or a pee or something, and she passed our table. I was near the edge and stood up just as she was passing, blocking her exit. And so I said, ‘Oh, sorry. Hi. How are you? How’re you doing?’ I introduced myself, and said, ‘We’re going on to another club after this, would you like to join us?‘
That was my big pulling line! Well, I’d never used it before, of course, but it worked this time! It was a fairly slim chance but it worked. She said, 'Yes, okay, we’ll go on. How shall we do it?’ I forget how we did it, 'You come in our car’ or whatever, and we all went on, the people I was with, and the Animals, we went on to the Speakeasy.
It was the first evening any of us had ever heard a record called 'A Whiter Shade of Pale’ with words about feeling seasick. The lyrics were all very strange and poetic and the theme was a famous Bach theme but we didn’t know that. We just thought, God, what an incredible record! It was a sort of marker record. It was a benchmark. And we were all trying to guess who it was. So we had to go to the booth and ask, 'What was that one you just played?’ and he said, 'Oh yes, “Whiter Shade of Pale” by Procol Harum.’ 'Procol what? Is it Latin or something?’ And there were rumors went around about what that meant. So all the mystery of the evening.
LINDA: I first met Paul at the Bag O'Nails. The Animals were old friends because I’d photographed them so much in New York, so when I came to London they took me out; and we went to see Georgie Fame at the Bag O'Nails. And that’s where Paul and I met. We flirted a bit, and then it was time for me to go back with them and Paul said, 'Well, we’re going to another club. You want to come?’ I remember everybody at the table heard 'A Whiter Shade of Pale’ that night for the first time and we all thought, Who is that? Stevie Winwood? We all said Stevie. The minute that record came out, you just knew you loved it. That’s when we actually met. Then we went back to his house. We were in the Mini with I think Lulu and Dudley Edwards, who painted Paul’s piano; Paul was giving him a lift home. I was impressed to see his Magrittes.
They met again four days later at the launch party for Sgt. Pepper’s Lonely Hearts Club Band, an exclusive affair for a dozen journalists and a dozen photographers held at manager Brian Epstein’s house at 24 Chapel Street, Belgravia. Linda Eastman was in London to take photographs for a book called Rock and Other Four Letter Words on which she was collaborating with the journalist J. Marks.
LINDA: So we were in London to take pictures for this book. I’d always wanted to photograph Stevie Winwood because I loved Spencer Davis, I loved Stevie Winwood, and the Beatles. I’d pretty much photographed everybody else. But it was up to me, it’s not like Marks rang up people and said, 'I’m with Bantam Books. We want to take your picture.’ Nothing was organised, so I had to do it. I took my portfolio around to NEMS at Hille House, and Peter Brown looked at it. I’d met Peter when he and Brian Epstein came to New York, we had mutual friends. So I took my portfolio and asked him to show it to Brian. Brian liked it a lot and wanted to buy some of the pictures, which I loved. I gave them to him in the end. He said, 'Yes, you can photograph the Beatles.’ So I got to go to this press conference at Brian’s house for Sgt. Pepper. I got one good photo that I liked, which is that thumbs-up one. The rest are just like everyone else’s photographs, but for that one I said, 'Oh, come on, guys! You know?’ and that shows at least they were relating, because if you believe the press you’d never think John and Paul ever related.
(Quotes from Barry Miles’ Many Years From Now). The above photo was taken at the launch party by a press agency photographer and is the very first photo of Paul, then 24, and Linda, 25, together. They would not reconnect until a year later in America (in May 1968) and four months after that, would move in together. They married on March 12, 1969 and remained so until Linda’s untimely death from breast cancer on April 17, 1998.
Four children and 30 years of marriage - and it all started 50 years ago at 9 Kingly Street.
Paul “the NUT has taken over” McCartney
ON MAY 16th 1980, ‘McCARTNEY II’ IS RELEASED.
GENRE: new wave, synth-pop, electronica
LENGTH: 38:36
SIDE ONE: 1. Coming Up 2. Temporary Secretary 3. On the Way 4. Waterfalls 5. Nobody Knows
SIDE TWO: 1. Front Parlour 2. Summer’s Day Song 3. Frozen Jap 4. Bogey Music 5. Darkroom 6. One of These Days
additional tracks: Check My Machine, Secret Friend
‘McCartney II’ was originally conceived as a double album but in the end, only 11 songs made it to the finished product. Many of the album outtakes were restored in the 2011 reissue.
The album peaked at number 3 in the US, while in the UK it topped the album charts.
PAUL: After we had done the last Wings album, Back To The Egg, I was fed up with the idea of making albums, you know, just churning them out. So I hired a 16-track machine and got an engineer friend, Eddie, to fix me up a thing where I just took one microphone into the back of the machine direct and I put it into the front parlour of my old farmhouse… We didn’t use a big console. It’s very difficult if you’re trying to work on your own with a big console, so we bypassed it. People said McCartney II was McCartney fiddling the knobs and twiddling, but it wasn’t in my mind. It was me experimenting. It was me getting into synths and me seeing what I could do. I wanted to have some private fun and I thought I’d produce a cassette we could play in the car. I was in total control. I had no echo chambers, no drum machines. I’d play the snare drum in the tiled kitchen to get an echo or fiddle with the machine and guess what interval was needed on my voice to do the effect. I made everything up, except for one song. I’d go along on my bike and a song might spring out of what I had seen on TV the night before. It was like being a sculptor, chopping and changing as I went along… […] It was definitely an experiment. It was me at home, multi-tracking, like McCartney had been. But I’m glad I did that… I started it down in Sussex, then during the summer I went up to Scotland so I just carried on doing it up there.
I really just was fascinated with these things called synthesizers which had appeared on the scene – particularly with sequencers, I loved them. It was new technology and I just wanted to see what it was all about, and have a go, and see what I could do with it. Because the nice thing for me is, you do an album like that and it informs other stuff. It keeps your brain fresh so that when you go and do something else, a tour or something, you may not be playing that stuff but you’ve got the feeling of being someone who’s not finished yet. I’m still experimenting, you know?
Deepest condolences to Astrid Kirchherr’s family and friends.
Devastating. Astrid’s invaluable images and memories will be featured later on this year, and I’ve spent much of the last days translating, not realizing what news was to come. What a photographer, what an artist, what an extraordinary person, and what an indelible influence. Thank you, Astrid, for everything. Vielen herzlichen Dank, Astrid, für die Fotos, den Stil, die künstlerische Leichtigkeit; für die Fürsorge, Liebe und Freundschaft die zwischen Hamburg and Liverpool bestand.
Pictured: a self-portrait, early 1960s; with Stuart; with lifelong friend George in 1977; and in more recent times, photo © Kai-Uwe Franz.
“Astrid was the one, really, who influenced our image more than anybody.” - George Harrison, The Beatles Anthology
“[Stuart Sutcliffe] was my happiness, my life, my lover.” - Astrid Kirchherr, translated from Spiegel, 2/1994
“[George] took care of me all my life. Whenever I was really in trouble I just had to call him. And he was there then.” - Astrid Kirchherr, translated from 1/4NACH5, May 2003
“I had the strongest friendship with George. He was one of my best friends. We saw each other often, and he always looked after me, got in touch constantly to ask if I was healthy and if I have everything. Today […] I still meet up with his wife Olivia and his son Dhani. […] [F]rom George I learned a lot about religion, self-realization and reincarnation.” - Astrid Kirchherr, translated from Hörzu, 2005
“I remember we had a little walk in his park [Friar Park], and I was so full of love and joy to be with him that I cried. He said, ‘You must not cry, I will always look after you.’ He had no fear. No fear whatsoever. I miss his presence, but I’ve got the feeling he’s still around me.” - Astrid Kirchherr, The Age, 2 Jun 2005
“George was always my favorite, his kindness and his wit. He was just a wonderful person and whenever I was in trouble, like with money and things, he was always looking after me and he invited me a couple of times to London and later on to Henley. I just miss him terribly because he was like a little guardian angel for me, I feel like I am in a way lost without him.” - Astrid Kirchherr, Astrid Kirchherr: A Retrospective [see post on Instagram]
Rest In Peace to the beautiful Astrid Kirchherr
I read the news today, oh boy.....
Rest in peace, Astrid Kirchherr. Thank you for giving us lots of memorable pictures of the boys and being a wonderful friend to them 😥
