{"title":"关于 Get Back","authors":"Lorrie Moore","doi":"10.1353/sew.2024.a926965","DOIUrl":null,"url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\n<p> <ul> <li><!-- html_title --> On <em>Get Back</em> <!-- /html_title --></li> <li> Lorrie Moore (bio) </li> </ul> <em>The Beatles: Get Back</em> directed by Peter Jackson (2021) <em>The Lyrics: 1956 to the Present</em> by Paul McCartney, edited by Paul Muldoon (2021) (consulted: <em>Lennon Remembers</em> by Jann S. Wenner; <em>All We Are Saying</em> by David Sheff; <em>Love And Let Die</em> by John Higgs; <em>George Harrison: The Reluctant Beatle</em> by Philip Norman; <em>George Harrison: Living in the Material World</em> directed by Martin Scorsese) <p><strong>E</strong>arly Beatles songs, when one gives thought to them, are often rockabilly numbers: “Love Me Do” (their first hit) or “I Saw Her Standing There.” While often considered baby boomers, John Lennon and Paul McCartney were of course born earlier than that (part of the mysteriously named “Silent Generation”) and came of age in the 1950s. Their influences were Chuck Berry, Carl Perkins, Little Richard, Jerry Lee Lewis. (According to Jann Wenner, Lennon sometimes claimed that no <strong>[End Page 295]</strong> song by anyone ever surpassed “Whole Lotta Shakin’ Goin’ On.”) This inspiration is seen repeatedly in the long, amusing breaks John and Paul take in Peter Jackson’s extraordinary 2021 documentary, <em>The Beatles: Get Back</em>, as Lennon and McCartney appear to seek refuge from composing their own material on a brutal deadline (in the winter of 1969 they had less than four weeks to finish a dozen songs for a TV special) and instead begin to horse around, launching merrily into “Blue Suede Shoes,” “Roll Over, Beethoven,” or even “The Harry Lime Theme” from <em>The Third Man</em>.</p> <p>Yet two of the Beatles’ most haunting ballads (a year before the composition of “Yesterday”) were released together early in 1964: “And I Love Her” and “If I Fell.” The former is widely attributed to McCartney (Lennon referred to it as McCartney’s first “Yesterday”) and the latter belongs to Lennon who sings the main melody. (On YouTube one can find a group of mourners at Central Park’s Strawberry Fields all singing “If I Fell” in grieving chorus around Lennon’s memorial.) Listening to the two ballads, one might be forgiven for assuming that they both had the same singularly brilliant composer. Which, in a way, they did. Credited as Lennon-McCartney compositions, as most of the Beatles’ songs were, the sound was indisputably theirs. Both pieces have beautiful switches into open minor chords and a subtle cha-cha meter underneath. They were released on a single forty-five but neither was really a B side, though the B side was dealt to Lennon, the Beatles’ usual practice; McCartney typically had the A side. (George Harrison had the A side once, with “Something,” on a double A release with Lennon-McCartney’s “Come Together,” the latter eventually the target of a lawsuit from Chuck Berry. “Everybody was nicking from everybody else,” says McCartney to Paul Muldoon in the recent edition of <em>The Lyrics</em>, a huge two-volume beauty, which, although it leaves out “Come Together,” still does not quite fit on a coffee table.) <strong>[End Page 296]</strong></p> <p>In later years, however, McCartney and Lennon lightly squabbled over who in 1964 had contributed what to “And I Love Her” and “If I Fell”—the bridges (the middle eight) seemed most in contention. “We both had our fingers in each other’s pies,” Lennon said after they had broken up. McCartney later acknowledged that Harrison—who received no attribution at all at the time—had contributed the stirring four-note opening to “And I Love Her”—a bit of flamenco Harrison cooked up on the spot. Despite John and Paul’s intense collaboration, rooted in their early closeness as creative adolescents who had both lost their mothers—were Lennon and McCartney “hurt” into songwriting? Muldoon, in <em>The Lyrics</em>, believes so—the group was destined for rupture. (Ringo, then George, were the first ones to walk away from the band, later returning: Ringo to a roomful of flowers from George, George to a contrite Paul and John.) Rumors of the Beatles’ difficult and financially risky breakup began early. Among Beatles fans there was much discussion of Lennon and McCartney’s ostensible alienation from each other (Yoko Ono was sometimes blamed; sometimes the Maharishi). There was even, briefly, a conspiracy theory that Paul had died. Was...</p> </p>","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"30 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"On Get Back\",\"authors\":\"Lorrie Moore\",\"doi\":\"10.1353/sew.2024.a926965\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\\n<p> <ul> <li><!-- html_title --> On <em>Get Back</em> <!-- /html_title --></li> <li> Lorrie Moore (bio) </li> </ul> <em>The Beatles: Get Back</em> directed by Peter Jackson (2021) <em>The Lyrics: 1956 to the Present</em> by Paul McCartney, edited by Paul Muldoon (2021) (consulted: <em>Lennon Remembers</em> by Jann S. Wenner; <em>All We Are Saying</em> by David Sheff; <em>Love And Let Die</em> by John Higgs; <em>George Harrison: The Reluctant Beatle</em> by Philip Norman; <em>George Harrison: Living in the Material World</em> directed by Martin Scorsese) <p><strong>E</strong>arly Beatles songs, when one gives thought to them, are often rockabilly numbers: “Love Me Do” (their first hit) or “I Saw Her Standing There.” While often considered baby boomers, John Lennon and Paul McCartney were of course born earlier than that (part of the mysteriously named “Silent Generation”) and came of age in the 1950s. Their influences were Chuck Berry, Carl Perkins, Little Richard, Jerry Lee Lewis. (According to Jann Wenner, Lennon sometimes claimed that no <strong>[End Page 295]</strong> song by anyone ever surpassed “Whole Lotta Shakin’ Goin’ On.”) This inspiration is seen repeatedly in the long, amusing breaks John and Paul take in Peter Jackson’s extraordinary 2021 documentary, <em>The Beatles: Get Back</em>, as Lennon and McCartney appear to seek refuge from composing their own material on a brutal deadline (in the winter of 1969 they had less than four weeks to finish a dozen songs for a TV special) and instead begin to horse around, launching merrily into “Blue Suede Shoes,” “Roll Over, Beethoven,” or even “The Harry Lime Theme” from <em>The Third Man</em>.</p> <p>Yet two of the Beatles’ most haunting ballads (a year before the composition of “Yesterday”) were released together early in 1964: “And I Love Her” and “If I Fell.” The former is widely attributed to McCartney (Lennon referred to it as McCartney’s first “Yesterday”) and the latter belongs to Lennon who sings the main melody. (On YouTube one can find a group of mourners at Central Park’s Strawberry Fields all singing “If I Fell” in grieving chorus around Lennon’s memorial.) Listening to the two ballads, one might be forgiven for assuming that they both had the same singularly brilliant composer. Which, in a way, they did. Credited as Lennon-McCartney compositions, as most of the Beatles’ songs were, the sound was indisputably theirs. Both pieces have beautiful switches into open minor chords and a subtle cha-cha meter underneath. They were released on a single forty-five but neither was really a B side, though the B side was dealt to Lennon, the Beatles’ usual practice; McCartney typically had the A side. (George Harrison had the A side once, with “Something,” on a double A release with Lennon-McCartney’s “Come Together,” the latter eventually the target of a lawsuit from Chuck Berry. “Everybody was nicking from everybody else,” says McCartney to Paul Muldoon in the recent edition of <em>The Lyrics</em>, a huge two-volume beauty, which, although it leaves out “Come Together,” still does not quite fit on a coffee table.) <strong>[End Page 296]</strong></p> <p>In later years, however, McCartney and Lennon lightly squabbled over who in 1964 had contributed what to “And I Love Her” and “If I Fell”—the bridges (the middle eight) seemed most in contention. “We both had our fingers in each other’s pies,” Lennon said after they had broken up. McCartney later acknowledged that Harrison—who received no attribution at all at the time—had contributed the stirring four-note opening to “And I Love Her”—a bit of flamenco Harrison cooked up on the spot. Despite John and Paul’s intense collaboration, rooted in their early closeness as creative adolescents who had both lost their mothers—were Lennon and McCartney “hurt” into songwriting? Muldoon, in <em>The Lyrics</em>, believes so—the group was destined for rupture. (Ringo, then George, were the first ones to walk away from the band, later returning: Ringo to a roomful of flowers from George, George to a contrite Paul and John.) Rumors of the Beatles’ difficult and financially risky breakup began early. Among Beatles fans there was much discussion of Lennon and McCartney’s ostensible alienation from each other (Yoko Ono was sometimes blamed; sometimes the Maharishi). There was even, briefly, a conspiracy theory that Paul had died. 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引用次数: 0
摘要
以下是内容的简要摘录,以代替摘要: On Get Back Lorrie Moore (bio) The Beatles:The Lyrics:保罗-麦卡特尼(Paul McCartney)著,保罗-马尔敦(Paul Muldoon)编辑(2021 年)(参考:Lennon Remembers》,Jann S. Wenner 著;《All We Are Saying》,David Sheff 著;《Love And Let Die》,John Higgs 著;《George Harrison:The Reluctant Beatle by Philip Norman;George Harrison:早期甲壳虫乐队的歌曲,如果仔细琢磨,往往都是些摇滚歌曲:"Love Me Do》(他们的第一首主打歌)或《I Saw Her Standing There》。虽然约翰-列侬和保罗-麦卡特尼通常被认为是婴儿潮一代,但他们当然比婴儿潮一代出生得更早(属于神秘的 "沉默的一代"),在 20 世纪 50 年代就已经成年。他们受到查克-贝里(Chuck Berry)、卡尔-帕金斯(Carl Perkins)、小理查德(Little Richard)和杰里-李-刘易斯(Jerry Lee Lewis)的影响。(根据詹恩-温纳(Jann Wenner)的说法,列侬有时声称没有人的 [End Page 295] 歌曲能超越《Whole Lotta Shakin' Goin' On》)。在彼得-杰克逊(Peter Jackson)于 2021 年拍摄的非凡纪录片《甲壳虫乐队》(The Beatles)中,约翰和保罗在长时间、有趣的休息中反复出现这种灵感:列侬和麦卡特尼在残酷的最后期限内(1969 年冬天,他们只有不到四周的时间完成电视特辑的十几首歌曲),似乎在为自己的音乐创作寻求庇护,转而开始骑马,欢快地演奏《蓝色麂皮鞋》、《翻滚吧,贝多芬》,甚至是《第三个人》中的《哈利-莱姆主题曲》。然而,披头士最动人的两首民谣(比《昨天》的创作早一年)是在 1964 年初一起发行的:"And I Love Her》和《If I Fell》。前者被广泛认为是麦卡特尼的作品(列侬称其为麦卡特尼的第一首 "昨天"),而后者则是列侬的作品,由他演唱主旋律。(在 YouTube 上,人们可以看到在中央公园的草莓园,一群哀悼者围着列侬的纪念碑悲痛地合唱《如果我坠落》)。聆听这两首民谣,人们可能会认为它们是由同一位才华横溢的作曲家创作的。从某种程度上说,的确如此。就像披头士乐队的大多数歌曲一样,这两首民谣也被认为是列侬-麦卡特尼的作品,但它们的音色毫无疑问是他们自己的。这两首曲子都有优美的开小调和弦转换和微妙的恰恰音阶。这两首歌都以单曲 45 发行,但都不是真正意义上的 B 面,尽管 B 面被分给了列侬,这是披头士的惯例;麦卡特尼通常拥有 A 面(乔治-哈里森拥有 A 面)。(乔治-哈里森(George Harrison)曾与列侬-麦卡特尼(Lennon-McCartney)的 "Come Together "一起发行过一张双 A 唱片,其中的 "Something "是 A 面,后者最终成为查克-贝瑞(Chuck Berry)的诉讼目标。"麦卡特尼在最近出版的《歌词》(The Lyrics)中对保罗-马尔敦(Paul Muldoon)说:"每个人都在剽窃别人的歌词。[然而,麦卡特尼和列侬在后来的岁月里,却为 1964 年谁为《我爱她》和《如果我坠落》做出了什么贡献而争论不休--桥段(中间八段)似乎是争论的焦点。"列侬在他们分手后说:"我们都在对方的馅饼里插了手指。麦卡特尼后来承认,"And I Love Her "开头那动人心弦的四个音符--哈里森当场创作的弗拉明戈小调--是哈里森的功劳,但他当时根本没有得到任何归功。尽管约翰和保罗的合作十分紧密,但这源于他们早年的亲密关系,因为他们都是失去母亲的创作型青少年--列侬和麦卡特尼是被 "伤害 "才开始创作歌曲的吗?穆尔顿在《歌词》一书中这样认为,他们的组合注定要破裂。(林戈(Ringo)和乔治(George)是最早离开乐队的人,后来又回来了:林戈收到了乔治送的一屋子鲜花,乔治则回到了悔恨的保罗和约翰身边)。关于披头士解散困难重重、经济风险巨大的传言很早就开始了。在甲壳虫乐队的歌迷中,人们对列侬和麦卡特尼表面上的疏远有很多讨论(小野洋子有时受到指责,有时则归咎于马哈希)。甚至一度出现了 "保罗已死 "的阴谋论。是...
In lieu of an abstract, here is a brief excerpt of the content:
On Get Back
Lorrie Moore (bio)
The Beatles: Get Back directed by Peter Jackson (2021) The Lyrics: 1956 to the Present by Paul McCartney, edited by Paul Muldoon (2021) (consulted: Lennon Remembers by Jann S. Wenner; All We Are Saying by David Sheff; Love And Let Die by John Higgs; George Harrison: The Reluctant Beatle by Philip Norman; George Harrison: Living in the Material World directed by Martin Scorsese)
Early Beatles songs, when one gives thought to them, are often rockabilly numbers: “Love Me Do” (their first hit) or “I Saw Her Standing There.” While often considered baby boomers, John Lennon and Paul McCartney were of course born earlier than that (part of the mysteriously named “Silent Generation”) and came of age in the 1950s. Their influences were Chuck Berry, Carl Perkins, Little Richard, Jerry Lee Lewis. (According to Jann Wenner, Lennon sometimes claimed that no [End Page 295] song by anyone ever surpassed “Whole Lotta Shakin’ Goin’ On.”) This inspiration is seen repeatedly in the long, amusing breaks John and Paul take in Peter Jackson’s extraordinary 2021 documentary, The Beatles: Get Back, as Lennon and McCartney appear to seek refuge from composing their own material on a brutal deadline (in the winter of 1969 they had less than four weeks to finish a dozen songs for a TV special) and instead begin to horse around, launching merrily into “Blue Suede Shoes,” “Roll Over, Beethoven,” or even “The Harry Lime Theme” from The Third Man.
Yet two of the Beatles’ most haunting ballads (a year before the composition of “Yesterday”) were released together early in 1964: “And I Love Her” and “If I Fell.” The former is widely attributed to McCartney (Lennon referred to it as McCartney’s first “Yesterday”) and the latter belongs to Lennon who sings the main melody. (On YouTube one can find a group of mourners at Central Park’s Strawberry Fields all singing “If I Fell” in grieving chorus around Lennon’s memorial.) Listening to the two ballads, one might be forgiven for assuming that they both had the same singularly brilliant composer. Which, in a way, they did. Credited as Lennon-McCartney compositions, as most of the Beatles’ songs were, the sound was indisputably theirs. Both pieces have beautiful switches into open minor chords and a subtle cha-cha meter underneath. They were released on a single forty-five but neither was really a B side, though the B side was dealt to Lennon, the Beatles’ usual practice; McCartney typically had the A side. (George Harrison had the A side once, with “Something,” on a double A release with Lennon-McCartney’s “Come Together,” the latter eventually the target of a lawsuit from Chuck Berry. “Everybody was nicking from everybody else,” says McCartney to Paul Muldoon in the recent edition of The Lyrics, a huge two-volume beauty, which, although it leaves out “Come Together,” still does not quite fit on a coffee table.) [End Page 296]
In later years, however, McCartney and Lennon lightly squabbled over who in 1964 had contributed what to “And I Love Her” and “If I Fell”—the bridges (the middle eight) seemed most in contention. “We both had our fingers in each other’s pies,” Lennon said after they had broken up. McCartney later acknowledged that Harrison—who received no attribution at all at the time—had contributed the stirring four-note opening to “And I Love Her”—a bit of flamenco Harrison cooked up on the spot. Despite John and Paul’s intense collaboration, rooted in their early closeness as creative adolescents who had both lost their mothers—were Lennon and McCartney “hurt” into songwriting? Muldoon, in The Lyrics, believes so—the group was destined for rupture. (Ringo, then George, were the first ones to walk away from the band, later returning: Ringo to a roomful of flowers from George, George to a contrite Paul and John.) Rumors of the Beatles’ difficult and financially risky breakup began early. Among Beatles fans there was much discussion of Lennon and McCartney’s ostensible alienation from each other (Yoko Ono was sometimes blamed; sometimes the Maharishi). There was even, briefly, a conspiracy theory that Paul had died. Was...
期刊介绍:
Having never missed an issue in 115 years, the Sewanee Review is the oldest continuously published literary quarterly in the country. Begun in 1892 at the University of the South, it has stood as guardian and steward for the enduring voices of American, British, and Irish literature. Published quarterly, the Review is unique in the field of letters for its rich tradition of literary excellence in general nonfiction, poetry, and fiction, and for its dedication to unvarnished no-nonsense literary criticism. Each volume is a mix of short reviews, omnibus reviews, memoirs, essays in reminiscence and criticism, poetry, and fiction.