Category Archives: Extra

TMBP Extra: The quiet man

Unlike a few weeks later, when none of the Beatles would show up to accept their Oscar for best film score, at the 13th Grammy Awards — held March 16, 1971 — there was indeed a member of the Fab Four in the house. Way in the back of the house.

Presenting the award for Best Original Score Written for a Motion Picture or a Television Special was none other than a not necessarily sober John Wayne (who was pretty funny with Andy Williams in the intro to the award). Safe to say there was no Beatles connection.

In fact, the award wasn’t given to the Beatles at all, but to the individual composers.

How the other three Beatles — who lost the case Paul brought against them to formally split up the band four days earlier — reacted to the McCartneys taking their awards for an album he was so dismissive of would have been interesting to see, to put it mildly.

Paul kept his thanks as brief as they could be with a “thank you, good night.”

The awards show itself seemed like a fun watch.

Here’s a rundown, via Film Threat by way of the Internet Archive (update January 2018: It doesn’t look like this link works anymore, but it did back in 2012 when I first saw this).

Speaking of acceptance speeches, no one said anything beyond a mere thanks. Even the most dramatic audience response of the night, which accompanied the surprise appearance of Paul McCartney (with his wife Linda) to accept the Best Original Score Written for a Motion Picture or Television Special Award, was capped by McCartney saying a mere “Thank you!” before disappearing from the show. (Herb Alpert, a guest presenter, deviated from the script to offer a sincere word of praise for McCartney’s attendance at the broadcast.)

But for the rest of the show, “The 13th Annual Grammy Awards” was fascinating for its sheer strangeness. Some of the presenters were having a seriously off-night: Lynn Anderson was sporting a large chin brace (she never explained why, only joking that she was trying “to keep my chin up), Nancy Sinatra boasted of having the flu, John Wayne (who announced the award McCartney accepted) appeared to have indulged in a few too many drinks and was visibly bobbing and weaving, Brook Benton and Glen Campbell could not see the distant TelePrompter during their respective podium turns and needed Williams to help read the nominations out loud, and Zsa Zsa Gabor (introduced by Williams as being “beautiful and talented”) flustered co-presenter Bob Newhart (for the comedy recording award) by the ad-libbed suggestion he was fathering children out of wedlock.

Further, here’s another account of the night, via Ottawa Beatles Site

The following is an excerpt from the “Variety” book entitled “The Grammy’s”  by Thomas O’Neil….

“Bridge [may have] swept the top honours”, wrote the L.A. Times, “but it was ex-Beatle Paul McCartney, in a rare public appearance, who created the most excitement” at the ceremony. “Though the event was strictly black tie, McCartney strolled in wearing a blue suit, red flower shirt and open at the neck, and white tennis shoes.”

Like Simon & Garfunkel, the Beatles broke up in 1970 but still had a bounty of nominations (six) for their farewell LP, Let It Be. They won only one award — for Best Original Score written for a Motion Picture or TV Special – after losing Record and Song of the Year nods (in a close contest, according to the Washington Post) to “Bridge.” But “there were shrieks of surprise” from the audience when the winner of the best film score was announced, the Times reported. “With Linda at his side, McCartney raced up to the podium to accept the award from actor John Wayne, saying only, ‘Thank you.'”

Variety columnist Army Archerd added, “Paul McCartney kept his word, returned to the press tent after the awards — and, as expected, had to plough his way thru a mob to reach his car with (expectant) wife Linda. McCartney, informally attired (would you believe sneakers?), admitted, ‘I didn’t know whether they’d let me in.'”

Interesting side note: During the presentation, Wayne said the nominees were John, Paul and George — and he in fact handed Paul three awards.  But as history tells, Ringo should have also received some hardware.

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TMBP Extra: Oscar night

Not initially intended as a feature film, Let It Be was indeed eventually released in theaters in May 1970, more than a year and three months since the end of the Get Back sessions. Paul became the final member to quit the band a month earlier, and famously, none of the Beatles attended the premiere.

By the time the subsequent Oscars rolled around, on April 15, 1971, the Beatles were, well, really broken up. George and Paul each had No. 1 hits in either the US the UK or both (All Things Must Pass LP and “My Sweet Lord” single for the former, McCartney LP for the latter), John would have his first later in the year (Imagine LP and single) and Ringo had just released his biggest hit to date, “It Don’t Come Easy.”

Also, everyone was suing each other.

But ancient history was relevant to the Academy,  who gave The Beatles — whatever that was anymore — the award for Best Music, Original Song Score over the soundtracks to The Baby Maker, A Boy Named Charlie Brown (one of this author’s chidhood favorites), Darling Lili and Scrooge.

Of course, the Beatles wouldn’t be at the ceremony to pick up what would be their lone Academy Award (A Hard Day’s Night had two nominations in 1964, lost both). That honor would go to Quincy Jones, who had already produced a track on Ringo’s Sentimental Journey and would more than 10 years later work with Paul. (Decades later still, the two would be in the news together again).

Paul’s absence, apparently, wasn’t for lack of trying by Jones, who said he visited Macca —  while he was recording RAM in New York — and tried to convince him to come out for the ceremony.

Paul would later get two nominations as a solo artist for best song (“Live and Let Die” in 1973 and “Vanilla Sky” in 2002), but he went 0-for-2.

And with that, John, Paul, George and Ringo’s trophy cases only had the lone Oscar for Let It Be — provided Quincy Jones gave it to them.

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TMBP Extra: Twickenham to close

Interrupting the 1969 timeline for some news from 2012.

Twickenham film studios to close (guardian.co.uk)

Twickenham Film Studios, which have been used for films as diverse as Roman Polanski’s Repulsion, Ridley Scott’s Blade Runner and current Oscars hopeful My Week with Marilyn, are to be closed just one year ahead of the facility’s centennial anniversary.

Administrator Gerald Krasner said the business was losing money and would be wound down between now and June, with half of its 17 employees having already left. It was unlikely to be maintained as a film studio by new owners, he said. “We are selling it on,” Mr Krasner told the BBC News website. “Everyone will then be paid in full.”

Twickenham opened in 1913 as St Margaret’s Studios and was given its current moniker in 1929 by one of its most famous owners, British film magnate Julius Hagen. Built on the site of a former ice rink, it was the largest studio in the country during the era and is still considered one of the UK’s pre-eminent film-making facilities alongside Pinewood and Shepperton studios.

The Beatles’ “Revolution” promo, filmed Sept. 1968

It’s also, of course, where the Beatles filmed parts of A Hard Day’s Night, Help!, the “Hey Jude” and “Revolution” promos and the first half of Let it Be.

It’s back to the timeline next time around, when we pick up where we left off on Jan. 3, 1969.

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TMBP Extra: Not Fade Away

Three years before the Beatles breathed life into music was the day the music died: Feb. 3, 1959, when Buddy Holly, Ritchie Valens and the Big Bopper were killed in a plane crash, along with pilot Roger Peterson.

The influence of Buddy Holly & the Crickets on the Beatles can’t be understated; from their sound to their name and even their look in some ways (John felt OK to wear glasses), they were true inspirations.

The Quarrymen recorded “That’ll Be the Day” as their first acetate, and later the Beatles would tackle “Words of Love” for Beatles for Sale. “Crying, Waiting, Hoping,” was also done for the BBC. Paul, famously, went on to buy the rights to Buddy Holly’s songs in 1975, and both he and John Lennon — likewise, a major admirer — covered his songs during their solo careers.

And of course, Holly would be covered during the Get Back sessions.  So as we remember Buddy Holly, enjoy the Beatles remembering him, through his music. Worth noting, perhaps, that unlike so many of the other covers they’d touch on during the sessions, they often completed the Holly covers, or at least offer more than a few-seconds snippet.


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TMBP Extra: Rooftopaversary

I need to make one more interruption before returning to the day-by-day tapes breakdown to recognize the 43nd anniversary of the rooftop concert atop 3 Savile Row that just about concluded the Get Back sessions and wrapped the Beatles’ career as a live act. More on this iconic event as I eventually reach it in the Nagra tapes timeline down the road.

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