Tag Archives: Get Back film

Jan. 13: The Lunchroom Tape (Pt. 1)

I’ve previously dipped in and out of the lunchroom tapes in recounting the events of the weekend of January 11-12, 1969. Now that our timeline here has finally reached the afternoon of January 13, you’ll see some facts and points repeated from earlier, but now in its original canteen context.

It comes a little less than three hours into the Get Back docuseries (counting credits), about a third of the way into the entire series, and it’s a shocking and quite unnerving moment — as it should be. This could be the most unique sequence of the Beatles recorded on tape and one that most fans, even the self-proclaimed die-hards, probably didn’t know existed before November 2021.

Director Peter Jackson used the Beatles’ January 13, 1969, lunchroom tape to great effect. The chyron says it all, in clear, yellow type:

John arrives at lunchtime.

He and Paul go to the cafeteria for a private conversation.

They are unaware that the film-makers have planted a hidden microphone in a flowerpot.

Behold true flower power: A planter with a bug designed to capture a colony of Beatles. This is also where a real problem begins for viewers and, importantly, the historic record.

First, there’s the “who,” and this is the most important misrepresentation of all.

Paul McCartney and John Lennon did have a “private conversation,” insomuch as it wasn’t at a public venue but at the Twickenham Film Studios cafeteria.  But Ringo Starr, Yoko Ono, Linda Eastman and Mal Evans were there, too, and probably Neil Aspinall as well, all equal parties to the discussion.

At least one of that group knew a hidden microphone was in Michael Lindsay-Hogg’s arsenal. Ringo and George Harrison found that out the previous week; they just didn’t know where or when their hired documentarian would deploy it.

“This is the bugging device, so we can surreptitiously bug your showbiz conversations,” Michael openly boasted on January 9, the day before George quit.

On separate occasions, both George and Ringo asked if “that” was the tape on which they were being secretly recorded.  A day later, on January 10, Michael suggested to the same pair that he could color the microphone to make it look like one of the director’s signature vices.

“Do you think if I paint this brown and put red on top it’ll look like a cigar?”

“You wouldn’t see the red, just the ash,” George replied.

At this moment on January 13, George was most certainly seeing red, dining away from the office that Monday. Ringo, among the quieter figures on the full lunchroom tape, never indicated any suspicion this showbiz conversation was being surreptitiously bugged.

For something so esoteric, we’re left with two distinct experiences: The Get Back version of the lunchroom, and the Nagra tape reality, which cut off suddenly after nearly 29 minutes but was recorded in a true, linear sequence — an actual conversation.

The Get Back docuseries’ timeline of events leading up to lunch was accurate: The group gathered upon John’s arrival on January 13. Paul wondered aloud where George was.

This wasn’t the first spoken moment on the lunchroom Nagra tapes – instead, that’s John, in medias res defending his relationship to Yoko in the context of his recently dissolved marriage to Cynthia.

(When John said “I would sacrifice you all for her” as the lunchroom Nagra recordings begin, a segment also transcribed in the 2021 Get Back book, any kneejerk reaction that it was about the Beatles’ current situation vis-à-vis Yoko should be tempered; on the tapes he already mentioned it was as “a husband.”)

Paul essentially began the lunchroom discussion – “So where’s George?” — with a bit of cheek. In the TV edit, John replied, “Well, he doesn’t want to be here,” per the subtitles, although it’s not entirely clear that’s what he’s really saying if you listen closely, and it’s difficult to even find that line on the Nagras.

Without going line-by-line – and I can, would you like me to? — that is the main takeaway on the televised representation of this lunch: It’s different.

On the tapes – omitted from the discussion in Get Back – Ringo quickly replied with a punchline: “It smells like George is here.”

So the evidence is clear from the absolute beginning: The Get Back lunchroom sequence and the full Nagra lunchroom tape are completely different representations of a specific, important moment in time. I don’t think the TV series was at all edited maliciously, but to dramatically distill a 29-minute sequence to six and deliver a specific narrative. I’d watch 29 minutes of this stuff, but maybe that’s why my filmmaking career never got off the ground.

Intent aside, however, it’s still an inauthentic experience. Only with this understanding can we even try to parse anything.

How scattered is the Get Back edit? Here’s a look at me and my notes.

It should go without saying, but I’ll say it anyway at the outset (and yes, more than 800 words into this post, this is only the outset): The work Peter Jackson’s crew performed to clean up the audio of the lunchroom tape is nothing short of remarkable. Listen to 10 seconds of the bootleg tapes and then 10 seconds of the audio in Get Back; the technological advances are staggering.

Michael — who later misremembered the recording as capturing George’s departure of the Beatles days earlier — considered the tape unusable, writing in his 2011 autobiography Luck & Circumstance:

My bug had only picked up the sounds of cutlery banging on china plates, obscuring what the muffled voices had said.

At times, the Get Back AI is a little too good, and the voices can sound almost processed and nearly garbled. Listen to the televised sequence on headphones, you’ll hear what I mean.

The chyron subtitles aren’t completely accurate, either. This could be a case of my ears vs. their ears, and my eyes vs. their claims. But, I think my eyes and ears are pretty OK.

A great example comes more than 2 1/2 minutes into the Get Back scene. In a complaint about Paul’s unwillingness accept criticism, so to speak, John  — per the subtitles — sort of mockingly says “I’m Paul McCartney” in a soundbite that took me completely by surprise when I first saw it. That’s because it’s not in the tapes.

Instead, I think John clearly says “four in a bar,” as in the rhythm. That absolutely fits the context that line was originally in, with John saying he and George would just surrender to Paul’s musical decisions to finish a song. (We’ll get to that plotline later.)

Here’s that line on the Nagra tapes in its original context:

And the “four in the bar” line, slowed down a tick:

It seems clear he does not say “I’m Paul McCartney.”

In other words: We have to proceed with genuine caution consuming this sequence.

Paul was drinking Dos Equis, and John enjoyed a glass of wine. While this has long been called the lunchroom tape, we don’t actually hear anyone dining; the clatter of cutlery is from the staff working in the cafeteria. They may not have been recorded having a feast, but plenty was eating away at the Beatles.

We don’t know what John and Yoko were doing at home besides leaving their phone off the hook, but Paul — especially — and Ringo had already spent hours speaking relatively candidly about the group’s inner relationships, not only in the context of George’s departure, but quite deeply regarding the Lennon-McCartney partnership. The day must have completely exhausted and gutted Paul even beyond the depictions we now can see in Get Back.

This is a dramatic oversimplification, but the 29-minute conversation covers several overarching and highly overlapping points, including:

  • John and Paul’s relationship with and treatment of George, and the latter’s future as a Beatle
  • The concept of being a Beatle – and also an independent individual (and tangentially, a solo musician)
  • Leadership – and bossiness
  • The Beatles’ working relationship – as in, how they made music

The conversation is scattered – like any other normal discussion between actual humans under stress and a little bit of influence. They weave in and out of each of these broad points. This isn’t a meeting with a printed agenda and action items.

John and Paul are at the center of this dialogue, but across the discussion, Linda, Yoko and Ringo participate. Mal’s engagement comes across as a servant only. If Neil is there, he’s quiet. Only the impenetrability of the tapes makes his presence a question, but he was at Twickenham prior to the lunch and part of the day’s earlier discussions, so it would make sense the ultimate insider would join any important conversation.

It can’t be repeated enough, though: Paul and John are just two of the people in this conversation. To not mention Ringo most specifically as a party to this discussion is to sideline and discount one-quarter of the Beatles, a self-proclaimed democracy of four. Much as this conversation presented John and Paul at their most unfiltered, the presence of  Linda and Yoko doubtless clouds a bit of their candor. Still, they speak in a fashion that we hardly hear through the duration of the month otherwise — especially John, who displays little in the way of wit and humor but plenty of self-refection and doubt.

But it has to be repeated: The portrayal of this discussion as a one-on-one conversation between only John and Paul is a very unfortunate failing of the excellent Get Back.

We’ve established John, Paul and Ringo are all there …

So where’s George?

His absence isn’t the only thing that makes this conversation interesting, but it jump-starts the discussion, and like an odor, it permeates the meeting. The Beatles’ problems ran deeper than George’s resignation, but without it, would this lunch have even been recorded?

Given how the tapes begin, we can establish this is close to the start of the conversation.

“It’s a festering wound,” John said of what he thought George must have been feeling, early in the discussion—as documented on the Nagras and edited into Get Back. “And yesterday (at the meeting at Ringo’s house), we allowed it to go even deeper. But we didn’t give him any bandages.”

John blamed the indifference on Beatle egos. He said he tried to “smother” his ego at the two meetings he had with George over the previous weekend – the first meeting really more an ambush. John used the same phrase – smothering his ego — to describe how he made it possible to “carry on” working with Paul. We’ll get back to that dynamic later.

On multiple occasions on the tapes — not in Get Back, since it’s not acknowledged that she’s even there — Yoko not only steers the conversation to ask about George but also remarks the ease of which they can bring George back. But …

“Do I want him back, Paul? I’m just asking, do I want it back, whatever it is? The myth.”

John’s indecision of how he wanted to approach his and the band’s near-term future overlapped an admission that George had “been on such a good ride.”  But at the same time, he said – agreeing with something Paul had previously remarked – that George was “some other part.”

I mentioned this in a previous post: George was viewed as an other. Though never explicitly described as such, it was clear George was both musically and socially separate from John and Paul. (And this was said without an apparent realization he was temporarily estranged from his wife.) Further, the rough-edged John blamed his own management style on his upbringing, saying he knew he’s treated people “this way” since primary school.

Get Back doesn’t pull in this part of the conversation. Instead, it implies George’s absence was a direct result of Paul’s – and to a lesser extent, John’s – in-studio musical enforcement. Not necessarily “musical differences,” but exhaustion from day-to-day life as the implied Beatles session guitarist.

That may have been the case, but there’s a lot more to it.

Get Back follows up less than a minute into the sequence with this exchange, which actually happens in Minute 27 of the original tapes:

Paul: The thing is, that’s what I was trying to say to George, you know. Whereas, previously I would have said, “Take it there, with diddle-derddl-diddler-der.” But I was trying, last week, to say, “Now take it there, anything you like. Put whatever you …”

John: You see, the point is now, we both do that to George this time, and because of the buildup to it.

Paul may not have given instructions to play a guitar part verbatim, but there were several moments where he was very specific with how he wanted something to sound. It was enough that it drove George to tell Paul whatever it was that would please him, he’d do it, after all.

Was that enough to drive George out of the band, though? The Get Back portrayal of the lunchroom tapes implies his absence is the final statement of this intimate discussion, and not only is it John and Paul’s decision if George should even be a part of the band, but that this could well be the end of the Beatles as we know it, for now.

John: If we want him, if we do want him, I can go along with that because the policy has kept us together.

Paul: Well, I don’t know, you know. See I’m just assuming he’s coming back.

John: Well do you want …

Paul:  If he isn’t, then he isn’t, then it’s a new problem. And probably when we’re all very old, we’ll all agree with each other and we’ll all sing together.

The last bit of conversation on the Get Back portrayal is a … complicated edit job, pulling in lines from various moments in the first half of the Nagras.

There’s more to the above quotes — in their original context — and I’ll get to that. This post is only “Pt. 1” after all.

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Jan. 13: And then there were two

The Beatles’ work ethic stood peerless, regardless of situations and obstacles placed in their way, even if they were responsible for those very obstacles.

Morning roundtable at January 13, 1969 at Twickenham. (Photo by Ethan Russell from the 2021 Get Back book)

“It’s good you sort of said to come to work,” said Ringo Starr on January 13, 1969, in response to a conversation he had with Paul McCartney the night before. That exchange happened after Paul showed up, nearly an hour after Ringo arrived to rehearsals, despite the assurances of the remaining Beatles to show up around the same time that Monday morning.

As it stood, Neil Aspinall didn’t expect anyone to show, according to director Michael Lindsay-Hogg.

George Harrison remained AWOL. He walked out on the Beatles twice in three days — January 10, 1969, from a rehearsal, and 48 hours later from a meeting — no small feat.

John Lennon was missing to start the day, too, but he never announced he was leaving the band. John was always last to the sessions, anyway.

Twickenham Film Studios served as the Beatles’ office for seven working days. January 13 was different than the others in so many ways. Paul didn’t start the morning alone at the piano. George didn’t present a last-night song. There was no music at all for hours after the first members arrived.

More than 50 years after film and audio captured its events, January 13, 1969, served a significant role in opening Part 2 of the 2021 Get Back docuseries, occupying 18 drama-fueled minutes, perhaps the entire program’s emotional core.

We know more than we did before, the visuals adding unimaginable depth to moments previously available only by audio, but the show’s presentation opens more questions.

The initial sequence in the Day 8 segment in Get Back — that is, the first 9 of those 18 minutes, prior to John’s arrival for lunch — in reality accounted for more than two hours of audio on the Nagra tapes.

Thanks to the series, we can see the extent to which Ringo looks completely cooked. It’s enough that he has an 18-month-old at home and a significant movie role weighing on him, but this is a different man from the week before.  Michael appears defeated. Paul seems anxious and affected. This is a dispirited crew and the body language in this sequence is critical viewing — fidgeting, hair- (and beard-)pulling, face-rubbing.

January 13, 1969, should have been a day of at least mild celebration. The Yellow Submarine LP — a compilation of songs from the film (released in November 1968), previously unreleased tracks and George Martin’s orchestral score — was released in the United States that day, with the record arriving at stores in the U.K. later in the week.

The Beatles were “All Together Now” on record only; today’s cut was “All together, when?”

Glyn, Mal, Michael, Ringo and Kevin, early on January 13.

For the near-hour Ringo was the lone Beatle on site, idle talk dominated. Conversations with Michael,  Tony Richmond, Glyn Johns, Mal Evans and Kevin Harrington spanned the arts, including film (Wonderwall and the new Cinecenta theater), television (What’s the Matter With Baby Jane?), books (Pinktoes, Candy) and music (Simon & Garfunkel, Little Richard, Tiny Tim and James Brown, among the dozens of other names mentioned that morning).

Of highest importance when it came to television and music, they discussed their own production still in progress, too. When questioned, Michael told Ringo that he had enough material to this point for a good documentary, with one caveat.

MLH: It depends on what we’re allowed to use, if you know what I mean. It depends on how liquid the situation is. .. In other words, if we tell it like it is … then we’ve got a very good documentary. But if …

Ringo: We’re hiding …

MLH: If we’re hiding — the word I was fishing for but not be brave enough to say — but if we’re hiding, then we don’t have much of a documentary. A couple of days and things didn’t work out, that’s it. I’ll have an apple rind … as opposed to an apple core.

Ringo: An apple pip.

The Beatles’ gradual reassembly continued with Paul’s arrival, along with girlfriend Linda Eastman. While John’s attendance was in question, but Paul was saying he still expected him, Michael quickly changed the subject to a Lennon-McCartney composition and started playing Arthur Conley’s cover of “Ob-La-Di, Ob-La-Da” on a record player.

“[Molly is a singer] on a band? .. What’s wrong with him?” Paul asked, unimpressed with the recording. “I think I like the Bedrocks‘ [cover], if anything.”

The conversation soon turned to other contemporary pop/soul acts: Love Affair, The Equals — Paul sings a bit of their 1968 hit “Baby Come Back,” in particular — and the Foundations.

The multi-ethnic British combo presently owned the No. 2 hit on the UK charts. “Build Me Up, Buttercup” finished the previous week wedged between the chart-topping “Lily The Pink” by Mike McGear’s Scaffold and Marmalade’s own version of “Ob-La-Di, Ob-La-Da.” (Writing that song was like printing money for Northern Songs.)

Assuredly, Paul was predisposed to the No. 1 song, co-written by his brother, and No. 3, which he himself shared the writing credit.

As for No. 2? “I love it, yeah,” Paul said of “Build Me Up, Buttercup.”

It took nearly an hour and a half on the tapes — and about 30 minutes after Paul arrived at Twickenham — for the Beatles’ rhythm section to even address how they would approach the new day, which would at best still be missing one member. It’s a relatively level-headed discussion on tape.

Paul: I just thought I’d [write] a few words for the songs we haven’t got words for and stuff, just rehearse them a bit more.

Ringo: For what?

Paul: I dunno. It doesn’t matter, though. If we do an extra week and then we decide to chuck it, it’s just with the decision that near, and then we really just split and then just see you in a year’s time.

Ringo: It’s good you sort of said to come to work [last night]. Gives you another week here together. Cause it would have been, I’d have been there, you’d have been down there.

Paul: That’s what I thought. I just thought, what am I going to do tomorrow?

Ringo: I was going to lay in, actually and do the garden. [laughter]

Linda: Paint the ceiling.

Even here it’s acknowledged any split would be temporary, even if it lasts a year. That’s a long time, but not a lifetime.

A few seconds later, all we hear is Paul singing the chorus to “Build Me Up, Buttercup.” (He actually sang it a few minutes earlier as well, in a less memorable, more upbeat moment. We hear it on the Nagra tapes again, on the last day of the Get Back sessions, too.)

Thanks to the Get Back docuseries, we now know just how emotional Paul felt, even if that moment in the series isn’t presented in its actual sequence. It was shoehorned into a later discussion (which we’ll get to below).

“Why don’t you build me up?” (From Get Back)

Instead in real-time, Linda jump-started the conversation by suggesting the Beatles solve their issues by meeting, just the four of them alone (read about this part of the conversation at length here).

The morning of January 13, two Beatles remained absent, but in the wake of Sunday’s meeting at Ringo’s, only one of them — and the relationship with his girlfriend — was the key issue. Sparking off the above discussion, Paul shared several feelings on the Lennon/McCartney songwriting partnership within a physical space shared by Lennon/McCartney/Ono.

“I’d rather write without Yoko, thank you. That’s the way I write,” Paul said. “I’d go off to the bathroom to write a song and come back when it was done to show it to you, and sort of say, ‘What do you think, and let’s do a couple more words now.’

“But it’s difficult starting right from scratch with Yoko there … cause I start off on a Yoko beam. I start off writing songs about white walls [said to laughter] just cause I think John and Yoko would like that. And they wouldn’t. I mean, I give them too much credit for what I think they’d like. … They’re very straight, you know.”

A short time later, Paul elaborated on the songwriting process and the overall issue of Yoko’s proximity — which Paul seems to almost guiltily take the blame for acknowledging.

“It’s a bit embarrassing cause I do think of it,” Paul said. “I start examining my emotions with Yoko there. And it’s probably silly because Yoko’s not what we’re also thinking she is.”

“The only one time we’ve done it, she was great. She really is all right. It’s the thought of her being there, and then you don’t talk to John. So then he doesn’t talk to you. And it’s like, you can screw it up just as much because she’s there as John relying on her because she’s there. … We were trying to get the last verse to ‘I Will,’ and eventually I just ended up doing it (myself), because we couldn’t actually do it. But Yoko really tried to stay out of it.”

(For his part, Paul made no mention of this incident in either the 1997 authorized biography Many Years From Now or his 2021 memoir The Lyrics, when discussing writing the words to “I Will.” We can get into any deeper meanings of the lyric “And when at last I find you, your song will fill the air” some other time.)

Back to the songwriting discussion:

Paul: They’re going overboard about it, but John always does. Yoko probably always does. So that’s their scene. You can’t go saying don’t go overboard about this thing, be sensible about it and don’t bring it to meetings. It’s his decision. None of our business interfering in that, Even when it comes into our business. Still can’t really say much unless, except, look I don’t like it, John. Then he can say “screw you” or “I like it” or “well, I won’t do it” or blah, blah.

MLH: Have you done that already?

Paul: I told him I didn’t like writing songs with him and Yoko.

Time to fire Michael as interviewer. He never asked the most obvious, slam-dunk follow-up question there could be: “How did John respond to that?”

The Beatles at the George V Hotel in Paris, 1964. (Photo by Harry Benson)

Instead, he asked Paul if the songwriting partnership had slowed down before Yoko entered John’s life. (A fair question, but not the one he should have followed up with).

“We cooled it [already] because not playing together, ever since we didn’t play together [on stage],” Paul said. “We lived together when we played together. We were in the same hotel, up at the same time every morning. Doing this, all day. It doesn’t matter what you do, as long as you’re this close all day, something grows. And then when you’re not this close, physically, something goes.”

Attempts to reach John by phone continued, unsuccessfully. Throughout, Paul, along with Linda and Ringo, recapped the Sunday meeting for the others. Linda shared her regret at attending at all, and openly bemoaned Yoko’s domineering presence. (This was covered in a previous post.)

Paul again worked to make it crystal clear that the John-Yoko relationship was sacrosanct and completely their own concern. The Beatles plus Yoko, while not an ideal conclusion, is superior to the alternative of no Beatles at all.

Over the course of 20 seconds Paul repeats the phrase “it’s not that bad.” He also applied his custom of suggesting a binary choice, something that continued throughout the day.

“There’s only two answers. One is to fight it, and fight her and try to get the Beatles back to four people without Yoko, and sort of ask Yoko sit down at board meetings. Or else the other thing is to just realize she’s there and he’s not going to split with her just for our sakes.

“Then it’s not even so much of an obstacle then, as long as we’re not trying to surmount it. While we’re still trying to get over it, it’s an obstacle. But it isn’t really. It’s not that bad. They want to stay together those two.”

Striking a sincere tone, Paul resumed: “So it’s all right, let the young lovers stay together. It shouldn’t be [changes voice to tone of serious business] ‘Can’t operate under these conditions, boy. We’re coming out.’ It’s like we’re striking! That’s what it is, it’s like a strike cause work conditions aren’t right. [laughter]. It’s not that bad.”

“We’ve done a lot of Beatles now, we’ve had a lot of Beatles, and we’ve got a lot out of Beatles. So I think John’s saying now if it came to a push between Yoko and the Beatles, it’s Yoko (who’d stay…)”

It’s here the tear-jerking “Build Me Up, Buttercup” moment is interjected in the film.

As the Nagra tapes rolled, we hear that neither Paul nor Linda suspected John would ever come to making that choice. Likewise Michael, who said John told him “he really did not want not to be a Beatle.”

Body language, January 13, 1969.

To be clear, Linda wasn’t being viewed as the same sort of interloper Yoko was accused of being.

“I’m know I’m talking to Paul [now], I’m not talking to Linda,” said Neil. “But when you’re talking to John, these days, I know you tend to think you’re talking to Yoko more than you’re talking to John.”

This is a struggle — it’s not what we see in Get Back, and it’s not entirely what we hear on the tapes. When the Beatles make music, Yoko doesn’t appear to intervene. She may be painting or reading the newspaper and distracting the others by her mere presence — a problem in itself — but it’s not as if she’s tugging on John’s shirt while he plays.  The greatest issue appears to be behind the scenes when the cameras and tapes aren’t rolling.

“Actually, musically, we can play better than we’ve ever been able to play,” Paul said. “I really think that. We’re all right on that. It’s just that being together thing. And like I said yesterday, underestimating each other. And talking down to each other a bit. And playing safe.”

Paul’s solution was actually what the band was in the process of doing. To him, the broken sessions at Twickenham had in fact been conducted appropriately.

“We should just work a lot, really get back into the slog. A job. Where almost 9 to 5, and then weekends off, so that there really are weekends. Then back on the slog. Cursing it, the drags and the ups and the downs. But [also] the achievements.”

Work was a good thing, at least that was what everyone said, And given the group’s workaholic nature, it’s no surprise.

“John was saying the fact that you do work inspires you,” said Michael.

“I remember when they were doing the (White) Album, George was saying that it’s so great working again,” Linda recalled.

Earlier Ringo, speaking of taking the time out to film Candy, told Michael he found the time for that role “because I have to do something.”

There was just one problem, and it wasn’t the Beatles’ work ethic.

“I understand Yoko coming, and doing all that,” Neil said. “But I don’t see why she has to sit on your amp.”

Paul and Neil, January 13, 1969.

While Paul agreed, he also said the group’s attitude needed to mature as its members did.

“I don’t see why she has to sit on the amp. And if we were in a Northern band, [affecting a Scouse accent] I’d put my foot down to that. But we’ve grown out of all that. And we really can’t go to John, ‘Look John, the union thinks that you can’t have this woman.’

“We can go on talking like this forever but I think for them to be able to compromise, I have to be able to compromise first. Then they’ll be able to, or else they have to be able to compromise first. But its silly, neither of us compromising.”

While it’s possible Paul is speaking for the others in the group, he made clear “I have to compromise,” not “we” (ie., Ringo and George as well). With Ringo sitting a few feet away from him, it probably is just himself he’s speaking for, either relinquishing the others of the need to compromise as well, or simply acknowledging it’s not important if they do.

Isn’t compromise a mutual exercise, though? Is Paul compromising or is he conceding?

“We thought that the only alternative would be for John just to say, ‘OK, well, see you then.’ And we’d not wanted that to happen. We hustle each other like mad, you know. We probably do need really sort of a central daddy figure to say, “Nine o’clock, none of the girls. Leave the girls at home, lads.’”

That is, they really needed Brian Epstein more than they even did a week earlier, when they said much of the same thing.

Neil dismissed that idea, saying it wouldn’t work. With truly incredible prescience and awareness of the group’s legacy, Paul simply replied:

It’s going to be such an incredible, comical thing in 50 years time. They broke up because Yoko sat on an amp.

‘What?’

You see, John kept bringing this girl along. It’s not as though there’s any sort of earth-splitting row. There’s nothing wrong.

Everyone enjoyed a good laugh.

Having pitched a breakup show — covered at length here — and almost as an afterthought coming more than 90 minutes after the day’s recordings began, Michael asked about George, and Paul revealed he walked out of Sunday’s meeting.

If it wasn’t already clear enough, George’s exit was an issue, but the lesser one. Paul continued his defense of John and Yoko without any further discussion of George’s own problems, perhaps taking advantage of the stage while the couple remained absent.

George’s abrupt departure feeds the dramatic arc of the Get Back story as the conflict of the first act. It’s the dynamic of Paul-John-Yoko that’s the actual conflict of this period.

“They’re trying to be as near together as they can,” Paul said of John and Yoko. “So If she sits over here, it’s just slightly less good than if she sits very near to him. If she’s touching him then that’s even better. …”

“And it’s right, in a way. If that’s how you see it, and you can see that it can be a drag for people to sort of say, ‘Look, come to the meeting without her.’ Cause then it starts separating again from her.

“It’s very ideological.”

It’s worth noting — and perhaps Paul himself did too, even if it went unspoken — that the need for John to be near Yoko didn’t mean he can’t be near Paul, too. Just like having Yoko in the room when writing a song doesn’t mean Paul shouldn’t be there either.

Michael repeated his view that the onus was on John and Yoko to be conscious of the effect their behavior is having on the rest of the group and for them to adjust. Paul — again — acted as a contrarian, seeing it through John’s eyes, as perhaps few others had the ability to. He was no mere devil’s advocate. Paul trusted John, and even if he didn’t deep down, it’s what he wanted the others to believe.

“See, they’d say that the other way was true. If we do what we’d want to do it might screw it up for them. [Now speaking softly] And they don’t want to be screwed up.”

Another attempt to reach John failed. “Telephone’s engaged.” Ringo joked they should send a telegram.

After an extended silence, and several audible sighs on the Nagra tapes, Paul uttered five of the most memorable words in all of the Get Back docuseries.

And then there were two.

The moment is gut-wrenching. An uncomfortably long 31 seconds in Get Back. That’s five seconds longer than the entirety of “Her Majesty.” We should celebrate Peter Jackson for the scene’s dramatic effect, and likewise be grateful to Michael Lindsay-Hogg and his crew for capturing this moment in real time.

While it’s arguably the most poignant moment of the Beatles on film, it’s not exactly the same on tape.

Roll the Nagras and you hear:

Paul: And then there were two. [said to laughter and no pause]

Ringo: Tom & Jerry.

Michael: Simon & Garfunkel

Ringo: I know, I said it because you told me. … Simon & Garfunkel used to be Tom & Jerry.

Linda: Oh I know, “Hey Schoolgirl.” (she begins to sing)

Paul: That’s what they used to call themselves?

I’m not suggesting the tears in Get Back were CGI. Compressing more than two hours of dialogue into nine minutes for a TV series seems like a near-impossible task, and to make it compelling while still retaining the integrity of the moment even more so.

“And then there were two” is the emotional heart of Get Back, just as “I’ll play, you know, whatever you want me to play” serves that role for Let It Be.  While both lines have become something of catchphrases for their respective films, it’s important to remember the original context surrounding each one as they are amplified, lest these moments get oversimplified.

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TMBP Extra: A conversation with Peter Jackson

In the days leading up to the premiere of Get Back on Disney+, I had the tremendous opportunity to spend more than three hours speaking with director Peter Jackson as part of Robert Rodriguez’s Something About the Beatles podcast. We go deep into the weeds — or is it the California grass? — on the film, on the group and the period.  

Please enjoy this unexpected party presented, appropriately, in three parts, wherever you listen to podcasts. Links in the tweets below! (I’ll update this post with all three parts as they’re released). 

PART 1:

PART 2:

An extract from Part 2, on the February 1969 “mystery session”:

PART 3

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TMBP Extra: Make it better

A quick word: As someone who’s dug increasingly deeper into the Beatles’ January 1969 Get Back sessions for the past decade, it’s with obvious jubilation I welcome Peter Jackson’s new Get Back docuseries on Disney+. The story I’ve been telling here is now matched on the big(ger) screen. It’s very exciting in every way.

I plan to give any posts that need any tweaks for content and significant audio-visual upgrades a scrubbing when I can. At some more distant point I was planning on rewriting my earliest posts anyway. 

I’ve spoken to a few outlets about Get Back/Let It Be in recent days and have a few more appearances on tap, and I’m looking forward to sharing them here. 

Please follow me on Twitter @theymaybeparted for constant chatter and on Facebook for a little bit less chatter.

Enjoy the show!

Update!
Tune your internet dials to Geoff Lloyd’s two-hour Get Back special that first aired Thursday on Union JACK Radio, in which I’m part of a packed, varied guest list. I’m on around the 1 hour, 37 minute mark, the “odd voice in the wilderness for a long time.” 

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