WEBVTT - Hey Jude

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<v Speaker 1>Pushkin. Hi, everyone, it's Paul Moldoin. Before we get to

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<v Speaker 1>this episode, I wanted to let you know that you

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<v Speaker 1>can binge all twelve episodes of McCartney A Life and

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<v Speaker 1>Lyrics right now, add free by becoming a Pushkin Plus subscriber.

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<v Speaker 1>Find Pushkin Plus on the McCartney A Life and Lyrics

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<v Speaker 1>show page in Apple Podcasts, or at pushkin dot Fm

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<v Speaker 1>slash Plus.

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<v Speaker 2>I remember one time when I was a kid and

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<v Speaker 2>me and my friend Ian James, we were at a

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<v Speaker 2>fair ground in our flecked jackets and I had a

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<v Speaker 2>little flap on my breast pocket. I've really fancied myself.

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<v Speaker 2>And we came back from this fairground ex tradition, and

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<v Speaker 2>I had a major headache. So I sat down and

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<v Speaker 2>we put on Elvis record All Shook Up, Love Amar

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<v Speaker 2>Shook Up Yay, And by the end of that record,

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<v Speaker 2>my headache had gods. So you know, the healing power

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<v Speaker 2>of music is undeniable.

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<v Speaker 3>Love Amara Shook Up.

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<v Speaker 1>And Paul will do for a number of years. I've

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<v Speaker 1>been fortunate to spend time with one of the greatest

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<v Speaker 1>songwriters of the era.

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<v Speaker 2>And will you look at me, I'm going on to

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<v Speaker 2>I'm actually a performer, that.

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<v Speaker 1>Is Sir Paul McCartney. We worked together on a book

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<v Speaker 1>looking at the lyrics of more than one hundred and

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<v Speaker 1>fifty of his songs, and we recorded many hours of

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<v Speaker 1>our conversations.

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<v Speaker 2>It was like going back to an old snapshot album

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<v Speaker 2>looking back on work I hadn't ever analyzed.

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<v Speaker 1>This is McCartney, a life in lyrics, a masterclass, a memoir,

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<v Speaker 1>and an improvised journey with one of the most iconic

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<v Speaker 1>figures in popular music in this episode, hey hey hey, Jude, Hey,

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<v Speaker 1>Hey hey Hey. In the spring of nineteen sixty eight,

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<v Speaker 1>John and Cynthia Lennon's marriage fell apart. He had been

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<v Speaker 1>having a secret affair with the artist Yoko Ono and

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<v Speaker 1>decided to leave his wife and five year old son, Julian.

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<v Speaker 1>Paul McCartney had known Cynthia Lennon since the early days

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<v Speaker 1>in Liverpool and he was like an uncle to Julian.

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<v Speaker 2>I was traveling Monday to see Julian Lenon, yes his

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<v Speaker 2>mother Cynthia, and I used to call him Jewels. So

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<v Speaker 2>the song started off when I was in the car

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<v Speaker 2>driving out, which was a forty five minute drive out

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<v Speaker 2>of central London, and people had sort of suggested, Oh,

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<v Speaker 2>you know, I fancy Cynthia was going to Well, people

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<v Speaker 2>can suggest anything like but I didn't. I was just

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<v Speaker 2>going out just as a friend, just sort of see them.

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<v Speaker 2>And so in my mind, Hey, Jules, what's so don't

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<v Speaker 2>make it bad? You know, I know this is tough

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<v Speaker 2>for you. But take a sad song and make it better.

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<v Speaker 4>Remember do letter and deal.

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<v Speaker 5>Then you can start do make it better.

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<v Speaker 2>Your dad's just left you, so it was like trying

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<v Speaker 2>to be encouraging, so it was an encouraging song. Remember

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<v Speaker 2>to let anything to your heart, remember to let love

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<v Speaker 2>into your heart. If make it better.

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<v Speaker 1>This is often the case with McCartney's songwriting. He started

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<v Speaker 1>with a specific inspiration, then followed the story of the

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<v Speaker 1>song where it led him.

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<v Speaker 2>What often happened for my songs is it starts off

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<v Speaker 2>with someone being worried about something in life, a specific

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<v Speaker 2>thing like a divorce. But then I start to just

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<v Speaker 2>morph it because I still get it fed up with

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<v Speaker 2>the theme and I like to just move away from

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<v Speaker 2>because nobody knows what this is about. So I'm just

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<v Speaker 2>saying make it better. And to somebody called Jude, I

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<v Speaker 2>don't have a clutch and called jud.

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<v Speaker 1>Yes, because people would not have known at the time.

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<v Speaker 1>M that in after years discuss.

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<v Speaker 2>Yes, So then I start moving. You were made to

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<v Speaker 2>go out and get her. Now there's a woman arrival

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<v Speaker 2>on the scene. So now he's said about a breakup something.

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<v Speaker 2>So remember now to let her under your skin, and

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<v Speaker 2>then you begin to make it better. And anytime you

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<v Speaker 2>feel the pain, now it's mixed. It could be about

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<v Speaker 2>Julian or it could be about this new woman relationship.

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<v Speaker 5>Hey, dude, don't be afraid.

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<v Speaker 4>You were made to God and get her.

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<v Speaker 6>The minute you let her under your skin, then you

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<v Speaker 6>begin to make it better.

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<v Speaker 2>And it's anyone. I like my songs to be every

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<v Speaker 2>man or every woman because I know people are going

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<v Speaker 2>to listen to them, and I like the fact that

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<v Speaker 2>they put their own interpretations on them. And I'm glad

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<v Speaker 2>when the lyrics get up bit screwed up they mishear

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<v Speaker 2>them because it's yours. Now you know, I've let it

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<v Speaker 2>go and so now you should make of it what

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<v Speaker 2>you will.

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<v Speaker 1>McCartney himself had been struggling. It was a stressful time.

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<v Speaker 1>The Beatles were beginning to drift apart, even as they

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<v Speaker 1>were finding their own record label, Apple Core. McCartney had

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<v Speaker 1>just separated from his fiance, the actress Jane Asher, and

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<v Speaker 1>was falling in love with the photographer Linda Eastman. As

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<v Speaker 1>much as he was writing words of consolation for little Julian,

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<v Speaker 1>he himself may have been in need of encouragement.

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<v Speaker 2>So anytime you feel the pain, did you refrain? Don't

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<v Speaker 2>carry the world on your shoulder.

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<v Speaker 4>And any time you feel the pain of fame, don't

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<v Speaker 4>care the world your shoulder.

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<v Speaker 3>Well, you know that is a.

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<v Speaker 7>Food ming is world on its golder.

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<v Speaker 2>That's something that I'm quite keen on. That idea that

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<v Speaker 2>to be cool you've got to betray yourself. Oh yeah,

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<v Speaker 2>what the fucky man? I'm sorry, Tod jeezuz if nothing

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<v Speaker 2>gets to me baby, hey wow, how col is? And

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<v Speaker 2>to me it's always well, no, it's not because we

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<v Speaker 2>can see through it.

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<v Speaker 5>Cool.

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<v Speaker 2>It's actually great if you can be it for real.

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<v Speaker 2>But that's sort of faking. If you just try and

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<v Speaker 2>play it cool, then it's not happening. You'll be making

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<v Speaker 2>you well a little colder, and that's not a good idea.

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<v Speaker 2>So it's a good of advice.

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<v Speaker 4>When I was a robber in Boston place, you gathered

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<v Speaker 4>round me.

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<v Speaker 2>With your fun, embrace Hey Dude.

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<v Speaker 1>In the studio, the Beatles always preferred being playful to playing.

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<v Speaker 1>At Cole they did a few takes of Hey Jude,

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<v Speaker 1>but Paul McCartney remembers knowing in the moment which one

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<v Speaker 1>they would use.

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<v Speaker 5>Hey Dude, don't make it bad, Take a sad song

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<v Speaker 5>and make it beatter.

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<v Speaker 1>He had accidentally begun the song while Ringo was out

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<v Speaker 1>of the room, but Ringo managed to return from the

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<v Speaker 1>toilet at just the right moment, hitting his drum entrance perfectly.

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<v Speaker 4>At any time you feel a pain of hajo.

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<v Speaker 1>It was the most spirited take, though not without mistakes.

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<v Speaker 1>If you listen really carefully, you may hear one of

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<v Speaker 1>the band members swearing. When Paul flubs the piano part.

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<v Speaker 5>Remem to and ask him then you make.

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<v Speaker 7>To making bed.

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<v Speaker 1>Just as the subject of the song shifted for the writer,

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<v Speaker 1>the meaning transformed for those who heard it. When Paul

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<v Speaker 1>McCartney played a draft of Hey Jude for John Lennon

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<v Speaker 1>and Yoko Ono, John thought the song was addressed to

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<v Speaker 1>him instead up to his son. From Lennon's point of view,

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<v Speaker 1>Paul McCartney was encouraging his friend to stop waiting for

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<v Speaker 1>someone to perform with and to go out and get her.

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<v Speaker 6>So let it out, let it in.

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<v Speaker 7>Hey, you wait.

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<v Speaker 2>To I like singing that, don't you know?

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<v Speaker 7>That is just you?

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<v Speaker 2>Don't you know this's you? Hey, Jude, you do Junie,

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<v Speaker 2>He is on your shoulder. The movement you need is

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<v Speaker 2>on your shoulder. Now, I thought that was me just

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<v Speaker 2>blocking in. And when I played it to John and

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<v Speaker 2>Yoko in my music room on my psychedelic piano, I'm

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<v Speaker 2>sitting facing this way, a little standing behind me, almost

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<v Speaker 2>on my shoulder, and they're listening and answer pleasing myself.

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<v Speaker 2>I'm playing this new song and I turn around Toton

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<v Speaker 2>you need is on your shoulder, and turn around to

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<v Speaker 2>Jona said don't worry, I'll change that, and he looked

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<v Speaker 2>at me, said you want you know it's the best

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<v Speaker 2>line in it.

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<v Speaker 1>John Lennon wasn't the only one who heard something deeply

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<v Speaker 1>personal in the song who would feel as if Paul

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<v Speaker 1>was singing directly to him. The song became a call

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<v Speaker 1>to anyone who had gone through difficult times and needed

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<v Speaker 1>cheering up.

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<v Speaker 2>Well, you know, I just think that everyone goes through

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<v Speaker 2>periods in their life when things are going wrong, you know,

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<v Speaker 2>they're losing people, their children are ill or whatever, and

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<v Speaker 2>it's just so much pain. In regard to all of that,

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<v Speaker 2>I'm empathizing and trying to encourage someone who is going

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<v Speaker 2>through a really bad time, because I know when I've

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<v Speaker 2>been going through bad times. I don't know, like Linda's

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<v Speaker 2>illness and consequent death and the breakup of the Beatles,

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<v Speaker 2>all these sort of things, these moments in your life.

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<v Speaker 2>I know, you really feel that you've got a pit

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<v Speaker 2>in your stomach all the time. So to me, the

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<v Speaker 2>idea sometimes behind songs is to try and reach that

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<v Speaker 2>person and say, look, you know, how about this thought.

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<v Speaker 2>So I'm always trying to do that. I notice. I

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<v Speaker 2>notice I'm always trying to say, look, it's going to

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<v Speaker 2>be okay, you know it will be all right. I'm

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<v Speaker 2>trying to be the voice of encouragement.

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<v Speaker 4>Hey, you don't make it bad, make it.

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<v Speaker 1>Manna Hate Jude is a song that's able to shift

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<v Speaker 1>and take on new meaning with each rendition. What started

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<v Speaker 1>as a song for Julian Lennon took on new resonance

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<v Speaker 1>for each listener who could apply it to whatever struggle

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<v Speaker 1>they were facing in their own lives. It also struck

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<v Speaker 1>a chord with other musicians who covered the song and

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<v Speaker 1>gave it their own spin. This included the man whose

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<v Speaker 1>song cured Paul's headache all those years ago, Elvis Presley.

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<v Speaker 3>Hate You No Let Me Down, make a sad song

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<v Speaker 3>and making manner.

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<v Speaker 6>No many you let her into your heart?

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<v Speaker 3>There you can stop you.

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<v Speaker 2>Make each time you sing it?

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<v Speaker 1>Are you singing it for the first time?

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<v Speaker 2>It's a bit that. Yeah, I'm singing a twenty something

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<v Speaker 2>composers lyrics and I'm evaluating them, listening to see how

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<v Speaker 2>he does. And I'm marking myself and I must say

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<v Speaker 2>generally good marks and generally approve because I'm going, oh,

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<v Speaker 2>just little things like for well, you know, instead of

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<v Speaker 2>for you know, well, it's just for well, you know,

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<v Speaker 2>it's just going I did that. I often have to

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<v Speaker 2>stop myself doing that because there's ninety thousand people here

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<v Speaker 2>and you're supposed to be relating to them when you're

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<v Speaker 2>actually awful.

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<v Speaker 7>Ooh that good.

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<v Speaker 1>The spirit of Hey Jude is present in its lyrics,

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<v Speaker 1>but it's equally present in Paul McCartney's vocal perform ormance

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<v Speaker 1>of the song. What begins as a song for a

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<v Speaker 1>child in pen becomes an act of self compassion. In

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<v Speaker 1>the words of the music critic Tim Riley, McCartney begins

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<v Speaker 1>by singing to comfort someone else, finds himself weighing his

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<v Speaker 1>own feelings in the process, and finally, in the repeated

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<v Speaker 1>refrains that nurture his own approbation, he comes to believe

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<v Speaker 1>in himself.

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<v Speaker 7>Age you.

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<v Speaker 1>As McCartney's original sense has carried across generations, Hey Jude

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<v Speaker 1>itself has also maintained its intergenerational appeal. The idea of

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<v Speaker 1>taking a sad song and making it better is something

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<v Speaker 1>pretty much everybody can get behind, just as we can

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<v Speaker 1>all sing along with the songs rising by Crow.

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<v Speaker 2>I mean, you know, when I do concerts, I have

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<v Speaker 2>people in the audience from every generation older than my generation,

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<v Speaker 2>people of my generation, people of my children's generation, and

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<v Speaker 2>people of their children's generation. And it always surprises me

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<v Speaker 2>because I think in rock and roll we all expected

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<v Speaker 2>that it wouldn't last very long. So I do find

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<v Speaker 2>it incredible that I can see a five year old

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<v Speaker 2>who knows the words as well, sometimes even better than

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<v Speaker 2>I do, and then I can see their parents enjoying it,

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<v Speaker 2>and possibly they've come to it through their parents. As

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<v Speaker 2>you go on to the eldest generation. You know, people

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<v Speaker 2>who are a few years ahead of me. They all

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<v Speaker 2>lived through this time, through the sixties, and through the

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<v Speaker 2>excitement and the freedom, So we all are experiencing this

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<v Speaker 2>thing together. No matter what age we are, the feeling

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<v Speaker 2>is still the same and it never ceases to amaze me.

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<v Speaker 1>Hey Jude was the first single from the Beatles' own

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<v Speaker 1>record company, Apple Core, and at over seven minutes, it

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<v Speaker 1>was the longest single to ever hit number one. The

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<v Speaker 1>Beatles released Hey Dude in nineteen sixty eight. In the

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<v Speaker 1>next episode.

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<v Speaker 3>To Lead a Metal Life, My Need My.

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<v Speaker 1>McCartney's favorite McCartney song, Here, There and everywhere. That's next

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<v Speaker 1>time on McCartney A Life in Lyrics. McCartney A Life

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<v Speaker 1>in Lyrics is a co production between iHeartMedia, NPL and

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<v Speaker 1>Pushkin Industries.