WEBVTT - The End

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<v Speaker 1>Pushkin.

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<v Speaker 2>Hi, everyone, it's Paul Molldoin. Before we get to this episode,

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<v Speaker 2>I wanted to let you know that you can binge

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<v Speaker 2>all twelve episodes of McCartney A Life and Lyrics right now,

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<v Speaker 2>add free by becoming a Pushkin Plus subscriber. Find Pushkin

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<v Speaker 2>Plus on the McCartney A Life and Lyrics Show, pedge

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<v Speaker 2>in Apple Podcasts, or at pushkin dot fm slash Plushy.

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<v Speaker 3>It was like an operatic undertaking.

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<v Speaker 4>We had this little bit and that little bit of

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<v Speaker 4>the song King Politine Pam.

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<v Speaker 3>All these little bathroom window, all these little things.

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<v Speaker 4>John I always would tend to finish the frightening into

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<v Speaker 4>a full song, but at this point we kind of

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<v Speaker 4>had enough songs for the album. We had these fragments,

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<v Speaker 4>so we hit upon this idea to put the fragments

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<v Speaker 4>together into a madly and then it would have its

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<v Speaker 4>own foldness.

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<v Speaker 5>How was that?

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<v Speaker 4>And then I wanted an end, and I just happened

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<v Speaker 4>to think of this little couplet, which in school I

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<v Speaker 4>had learned that was often how Shakespeare ended with a

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<v Speaker 4>rhyming couple. And I always thought that was pretty cool

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<v Speaker 4>that it told his audience at the time, that's it.

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<v Speaker 1>Folks, I'm Paul muld don.

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<v Speaker 2>For a while now, I've been fortunate to spend time

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<v Speaker 2>with one of the greatest songwriters of the era, and.

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<v Speaker 5>Will you look at me, I'm going on to it.

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<v Speaker 6>I'm actually a performer.

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<v Speaker 2>That is, Sir Paul McCartney. We worked together on a

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<v Speaker 2>book looking at the lyrics of more than one hundred

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<v Speaker 2>and fifty of his songs, and we recorded many hours

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<v Speaker 2>of our conversations.

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<v Speaker 4>It was like going back to an old snapshot album

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<v Speaker 4>looking back on work I hadn't ever analyzed.

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<v Speaker 2>This is McCartney, a life in lyrics, a masterclass, a memoir,

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<v Speaker 2>and an improvised journey with one of the most conic

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<v Speaker 2>figures in popular music. In this episode, the entire Abbey

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<v Speaker 2>Road Medley Golden Slumbers, carry that with and the end.

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<v Speaker 2>As a poet, I tend to approach song lyrics as

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<v Speaker 2>if they were indeed poetry. Sometimes these readings are a stretch,

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<v Speaker 2>but Paul McCartney takes pride in his literary background. In fact,

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<v Speaker 2>he says that had his music career not taken off,

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<v Speaker 2>he may well have been an English teacher.

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<v Speaker 6>And the.

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<v Speaker 2>BASTI McCartney's choice to conclude Abbey Road with a rhyming couplet.

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<v Speaker 2>Hearkens back to a long tradition of endings.

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<v Speaker 7>For never was a story of more woe than this

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<v Speaker 7>of Juliet and her Robeo.

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<v Speaker 2>Shakespeare often marked the end of a scene with a

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<v Speaker 2>rhyming couplet, which signals to the audience some degree of finality.

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<v Speaker 2>The couplet indicates the completion of a thought.

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<v Speaker 7>So long as men can breathe or eyes can see,

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<v Speaker 7>so long lives this, and this gives life to thee.

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<v Speaker 2>If the two lines and Paul McCartney's the end function

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<v Speaker 2>as a concluding couplet, I have come to understand the

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<v Speaker 2>entire Abbey Road medley golden slumbers. Carry that with and

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<v Speaker 2>then the end as a sort of figurative sonnet. It's

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<v Speaker 2>not that Paul McCartney ended Abbey Road with fourteen perfect

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<v Speaker 2>lines in iambic pentameter. There aren't three quatrains following a

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<v Speaker 2>rigid rhyme scheme leading into the couplet at the end.

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<v Speaker 2>This is rock and roll, after all. But when we

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<v Speaker 2>zoom out, a sonnet is often a poem that wrestles

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<v Speaker 2>with a particular claim, approaches it from several angles, indivisible

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<v Speaker 2>sections before coming to a sort of synthesizing conclusion. It's

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<v Speaker 2>a rhetorical argument. The poet plays out on the page,

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<v Speaker 2>and the couplet at the end serves as a resolution.

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<v Speaker 2>As McCartney put it, the ending says that's it, folks.

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<v Speaker 2>In other words, these two lines, the only lyrics in

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<v Speaker 2>the song, are deceptively simple to understand them. Let's return

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<v Speaker 2>to the first song of the medley, the first stanza,

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<v Speaker 2>if you will golden slumbers.

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<v Speaker 8>Once there was away to get back on.

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<v Speaker 2>Paul McCartney was raised towards the end of the golden

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<v Speaker 2>edge of piano music. Yes, in the mid twentieth century,

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<v Speaker 2>records were ubiquitous, but it was still not uncommon for

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<v Speaker 2>families or party guests to gather around the piano in

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<v Speaker 2>the living room.

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<v Speaker 4>You read about Gershwin and it says, you know, in

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<v Speaker 4>New York at that time, every apartment, every building had

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<v Speaker 4>a piano. That was the one thing they all had.

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<v Speaker 4>So I do think a lot of Golden era music

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<v Speaker 4>came out of that fact. That was the thing that

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<v Speaker 4>many houses had a piano. So yeah, there were lots

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<v Speaker 4>of pianists. My dad was our warm his friend at

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<v Speaker 4>the cotton exchange. Freddie Rimmer was another one for his family,

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<v Speaker 4>so there was always someone who could sort of.

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<v Speaker 5>Play the piano.

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<v Speaker 4>And then I think when records came in, then that's

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<v Speaker 4>how people started to play their music.

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<v Speaker 5>Except you know, whenever there was.

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<v Speaker 4>A gathering the New Year's Eve do in our case,

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<v Speaker 4>the boo and the piano were wheeled out, you.

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<v Speaker 8>Know, once there was a way to get back.

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<v Speaker 4>Home, and the piano would be belting out these old

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<v Speaker 4>songs that everyone knew like everyone knew them, particularly the Aunties.

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<v Speaker 4>The Aunties had them down and knew all the verses.

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<v Speaker 4>But the camaraderie of people all standing around in a

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<v Speaker 4>room getting drunk singing these songs were something very special.

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<v Speaker 8>Once there was a way to get back home.

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<v Speaker 4>And I always thought my family was just an ordinary family,

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<v Speaker 4>But I realize now how lucky I was to have

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<v Speaker 4>that kind of a family where people were decent, good,

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<v Speaker 4>friendly people, not rich, nobody had any money, but that

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<v Speaker 4>was almost an advantage because they had to do things themselves.

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<v Speaker 8>Once those away.

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<v Speaker 9>To get back on, once those away.

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<v Speaker 10>To get back home, sleep really darn do not cry,

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<v Speaker 10>and I will sing another bye.

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<v Speaker 2>In the final days of the Beatles, McCartney took a

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<v Speaker 2>trip back home to Liverpool. He was visiting his father,

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<v Speaker 2>who had remarried and was living with his wife, Angela

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<v Speaker 2>and her daughter Ruth. Even though Paul McCartney didn't know

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<v Speaker 2>how to read sheet music, he went riffling through his

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<v Speaker 2>stepsister's piano bench to see what he could find.

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<v Speaker 4>I always look in a piano seat because people always

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<v Speaker 4>have sheet they always used to. Definitely now sometimes it

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<v Speaker 4>can be empty, but I always look to see. And

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<v Speaker 4>this time I think either in the pianosy door it

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<v Speaker 4>might have been up on the music stap. Was this song,

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<v Speaker 4>Golden Slumbers.

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<v Speaker 2>The sheet music here, performed by the Cambridge Singers, was

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<v Speaker 2>a Victorian piano melody accompanying a seventeenth century poem called

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<v Speaker 2>Cradle Song. The poem came from a play Patient Griselle,

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<v Speaker 2>which was written by the Elizabethan dramatists Thomas Dekker, Henry

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<v Speaker 2>Chettle and William Houghton.

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<v Speaker 4>Golden Slumbers, fill your I smiled awake when you're a

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<v Speaker 4>sleeping I do not cry, And I was in a lullaby.

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<v Speaker 4>That chorus that I've used the course literally is the

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<v Speaker 4>lyrics to an old Victorian.

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<v Speaker 5>Song is isn't we called sampling? Well, it's called stealing.

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<v Speaker 4>But because I don't read music, I didn't know what

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<v Speaker 4>the melody that went with this was.

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<v Speaker 5>So I put my own melody to.

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<v Speaker 4>It and just took these words. It's turned out to

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<v Speaker 4>be quite soulful. I think that's what attracted me to

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<v Speaker 4>those lyrics in the first place. It's like, you know,

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<v Speaker 4>that sort of consoling the baby or reading kids bedtimes story.

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<v Speaker 4>I find that something very deep in that, I mean,

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<v Speaker 4>very human and international.

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<v Speaker 5>It strikes a chord with me.

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<v Speaker 11>Sleep very dark, do not Cry, and I will sing

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<v Speaker 11>another of DIY.

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<v Speaker 4>When I saw those lyrics golden slumbers fill your eyes,

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<v Speaker 4>it just seemed like a beautiful way to say, go

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<v Speaker 4>to sleep, my dear smiles, awake you when you rise.

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<v Speaker 4>I like that too, that's nice and very optimistic.

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<v Speaker 10>You wear last, Sleep very dark, do not cry.

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<v Speaker 5>And then I did the other bit.

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<v Speaker 4>Once there was a way to get back home, because

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<v Speaker 4>I think at that point.

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<v Speaker 5>I hadn't been home for a.

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<v Speaker 4>Long time to get back and here I was at

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<v Speaker 4>my dad's house. Now this wasn't quite home because it

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<v Speaker 4>was a house I'd bought him.

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<v Speaker 3>You know.

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<v Speaker 4>When I got some money. So it wasn't quite home,

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<v Speaker 4>but it was Liverpool and it was homewood.

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<v Speaker 6>It was his home once those.

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<v Speaker 9>Away to get back home.

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<v Speaker 10>Sleep really darn, do not cry, and.

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<v Speaker 8>I will sing.

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<v Speaker 4>So you know, here I was seeing this lovely lullaby

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<v Speaker 4>lyric and thinking of all things warm and wonderful. And

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<v Speaker 4>you know what's really nice about is talking about this

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<v Speaker 4>touching a nerve in the human psyche. One of the

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<v Speaker 4>things I love about writing songs is you'll be watching

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<v Speaker 4>a film or listen to the radio or something and

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<v Speaker 4>it'll reappear. It'll appear with someone else singing it, and

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<v Speaker 4>I just love that it's touched their nerve so much

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<v Speaker 4>so that they think this would be a good song

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<v Speaker 4>for this film.

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<v Speaker 2>One of the times golden Slumbers reappeared was in the

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<v Speaker 2>twenty sixteen children's film Sing, where the song was covered

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<v Speaker 2>by Jennifer Hudson portraying a glamorous and vocally talented animated sheep.

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<v Speaker 4>They use golden slumbers to open the thing and it's

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<v Speaker 4>very powerful, and then right at the end we've had

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<v Speaker 4>the whole story and everything's worked out, they use it again.

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<v Speaker 4>So you know, people have said to me, do you

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<v Speaker 4>remind people doing versions of your song do you think

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<v Speaker 4>they're distortions of your original meaning? And I say no, no, no,

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<v Speaker 4>far from it. I'd love to hear another interpretation of

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<v Speaker 4>one of my songs is a compliment that they thought

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<v Speaker 4>enough of it to cover it. So what's great about

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<v Speaker 4>it is the next generation who are watching a kid's

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<v Speaker 4>animation thing now know Golden Slumbers for the same reason exactly.

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<v Speaker 4>They now know Blackbird. So I'm not surprised when people

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<v Speaker 4>come up to me or Little Tommy's favorite song is Blackbird.

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<v Speaker 6>What was Blackbird used in recently?

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<v Speaker 4>I was used in boss Baby, which is another animation.

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<v Speaker 5>Yeah, I haven't seen that either.

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<v Speaker 4>Another gap in your cultural picture. It is.

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<v Speaker 2>Okay now, I would be too much to say that

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<v Speaker 2>this is a kind of lumbaby for the Beatles.

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<v Speaker 4>I think that's too much to say, right, but you

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<v Speaker 4>know it. We've been written around that time, and who knows,

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<v Speaker 4>you know that I could have been feeling.

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<v Speaker 5>Down.

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<v Speaker 4>I actually can't tell you whether this is true or not,

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<v Speaker 4>but it's very possible that I was feeling down in

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<v Speaker 4>London went back up to see my dad. I'm feeling

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<v Speaker 4>better now I'm in Liverpool and thinking of the troubles

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<v Speaker 4>down south and thinking, you know, wouldn't it be nice

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<v Speaker 4>to get home, wouldn't it be nice to have that

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<v Speaker 4>comfortable feeling again once.

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<v Speaker 8>There was away to get.

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<v Speaker 9>Back, once there was away.

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<v Speaker 5>To get back.

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<v Speaker 2>There were, indeed, as bon McCartney said, troubles south of

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<v Speaker 2>Liverpool about which to feel bad. Down in London, the

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<v Speaker 2>Beatles were hashing out their business matters and the very

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<v Speaker 2>future of the band. This was the end of the

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<v Speaker 2>nineteen sixties. The Beatles were the most famous music in

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<v Speaker 2>the world, but the tensions brewing in the group were

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<v Speaker 2>impossible to ignore.

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<v Speaker 8>You never give me.

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<v Speaker 2>John, George and Ringo wanted to sign a deal with

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<v Speaker 2>the businessman Alan Klein, but Paul was convinced they would

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<v Speaker 2>come to regret that decision. The dispute was tearing the

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<v Speaker 2>band apart. It was becoming a heavy burden to bear.

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<v Speaker 4>So that was a heavy that was heavy the business

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<v Speaker 4>meeting should go in. They were just soul destroying. The

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<v Speaker 4>would sit around and it was a place you didn't

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<v Speaker 4>want to be with people you didn't want to be with.

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<v Speaker 4>And I could just see that this guy was calling

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<v Speaker 4>to steal everything we put in the bank or invested

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<v Speaker 4>in Scottish farms or whatever it was was going and

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<v Speaker 4>this guy was going to have it like he had

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<v Speaker 4>Sam Cook and he had the Stones.

0:20:27.224 --> 0:20:29.944
<v Speaker 3>And I remember asking Mick Jacket for a new one,

0:20:30.064 --> 0:20:31.424
<v Speaker 3>said what is this kind like?

0:20:31.864 --> 0:20:34.464
<v Speaker 4>Because I could see the others were very enamored up

0:20:35.584 --> 0:20:36.744
<v Speaker 4>for various reasons.

0:20:37.424 --> 0:20:40.304
<v Speaker 3>He was was doing a great flannel job on them.

0:20:40.344 --> 0:20:48.984
<v Speaker 8>You know, I gave you man, I only seen you man.

0:20:52.664 --> 0:20:58.464
<v Speaker 11>And in the middle of the sabres.

0:20:57.704 --> 0:21:09.184
<v Speaker 12>I break down.

0:21:09.264 --> 0:21:14.584
<v Speaker 2>The band's breakup was so agonizing that McCartney even started

0:21:14.624 --> 0:21:18.944
<v Speaker 2>to see it as divine punishment. With the paradise of

0:21:19.024 --> 0:21:23.544
<v Speaker 2>the Beatles success crumbling before him, he wondered if Man's

0:21:23.744 --> 0:21:26.024
<v Speaker 2>Original Sin could be the blame.

0:21:26.464 --> 0:21:30.304
<v Speaker 4>That whole period a year, a couple of years, was

0:21:30.624 --> 0:21:35.944
<v Speaker 4>very sort of heavy, and it seemed to me, you know,

0:21:36.384 --> 0:21:43.024
<v Speaker 4>this all tied in very unfortunately with stuff that was

0:21:43.064 --> 0:21:48.984
<v Speaker 4>out there already, like original Sin, even though my mom, crystalmcathley,

0:21:49.064 --> 0:21:51.664
<v Speaker 4>we weren't brought up as I thought, it was very

0:21:51.704 --> 0:21:57.264
<v Speaker 4>depressive to think that you were born a loser.

0:21:57.584 --> 0:22:01.784
<v Speaker 3>Fuck, what chance have you got? You know, freak out

0:22:01.944 --> 0:22:03.704
<v Speaker 3>is you're a sinner?

0:22:03.944 --> 0:22:08.944
<v Speaker 13>No lot, I'm a very nice person, I'm a bias

0:22:09.184 --> 0:22:12.584
<v Speaker 13>idea that because you said, or because some priests or

0:22:12.624 --> 0:22:15.024
<v Speaker 13>some vicar sets loving.

0:22:14.704 --> 0:22:18.504
<v Speaker 2>That, and if contemplating the fall of man wasn't enough,

0:22:19.024 --> 0:22:22.624
<v Speaker 2>the psychedelic trips at the end of the sixties didn't

0:22:22.664 --> 0:22:25.864
<v Speaker 2>make these existential questions any easier.

0:22:26.264 --> 0:22:28.744
<v Speaker 4>You know, we'd started off smoking part right, and it

0:22:28.784 --> 0:22:29.544
<v Speaker 4>was just giggles.

0:22:30.184 --> 0:22:31.224
<v Speaker 3>It was such fun.

0:22:31.344 --> 0:22:34.064
<v Speaker 4>We loved it and it was great and the worst

0:22:34.064 --> 0:22:37.264
<v Speaker 4>we've happened is you'd fall asleep, and that was fine.

0:22:38.544 --> 0:22:42.824
<v Speaker 4>But once it got into sort of more serious stuff,

0:22:43.424 --> 0:22:46.784
<v Speaker 4>you know, lest staying up all night wishing it had

0:22:46.824 --> 0:22:47.584
<v Speaker 4>were off.

0:22:47.864 --> 0:22:51.864
<v Speaker 3>And it wouldn't. It was a bit we were heavy.

0:22:52.864 --> 0:22:55.344
<v Speaker 4>Then you were just sort of doing it and there

0:22:55.464 --> 0:22:56.744
<v Speaker 4>wasn't a slight relief.

0:22:57.464 --> 0:22:58.064
<v Speaker 3>It was heavy.

0:22:58.384 --> 0:23:00.704
<v Speaker 4>So you know, this idea, boy, you're going to carry

0:23:00.744 --> 0:23:02.864
<v Speaker 4>that weight was sort of.

0:23:04.504 --> 0:23:08.464
<v Speaker 3>Yeah, you know, life's not all joyous. There's a weight

0:23:08.584 --> 0:23:12.104
<v Speaker 3>to it and you're going to have to carry it.

0:23:26.904 --> 0:23:32.304
<v Speaker 2>When taken as two Stanzas in conversation, Golden slumbers and

0:23:32.584 --> 0:23:36.184
<v Speaker 2>carry that wet seem to be a reckoning with the

0:23:36.224 --> 0:23:42.144
<v Speaker 2>tenderness and gravity of adulthood. There's a gentle lullaby and

0:23:42.184 --> 0:23:46.624
<v Speaker 2>then the burden of conflict, longing for the way things

0:23:46.744 --> 0:23:51.784
<v Speaker 2>used to be, and knowing you can never truly return home.

0:23:58.984 --> 0:24:02.864
<v Speaker 2>The beginning of the end is a cycle of two

0:24:02.904 --> 0:24:08.504
<v Speaker 2>bar guitar solos traded off between John George and Paul.

0:24:14.064 --> 0:24:18.544
<v Speaker 2>Jeff Emeric, the Beatles studio engineer, observed that during the

0:24:18.624 --> 0:24:23.144
<v Speaker 2>recording session for the End, Paul and George looked like

0:24:23.264 --> 0:24:27.064
<v Speaker 2>they had gone back in time, like they were kids again,

0:24:27.624 --> 0:24:32.224
<v Speaker 2>determined to outdo one another. Yet there was no animosity,

0:24:32.464 --> 0:24:36.544
<v Speaker 2>no tension at all. You could tell they were simply

0:24:36.584 --> 0:24:57.624
<v Speaker 2>having fun. After the wistfulness of golden slumbers and the

0:24:57.704 --> 0:25:01.864
<v Speaker 2>heaviness of carry that wet, we come to what in

0:25:01.904 --> 0:25:06.744
<v Speaker 2>a sonnet would be called a volta, a turn. In

0:25:06.784 --> 0:25:10.904
<v Speaker 2>this case, the turn of the song leaves behind the

0:25:11.024 --> 0:25:16.464
<v Speaker 2>longing and the burden and brings us back to love.

0:25:17.904 --> 0:25:22.184
<v Speaker 1>And love.

0:25:34.184 --> 0:25:36.424
<v Speaker 4>That was the end, And in the end, the love

0:25:36.504 --> 0:25:39.904
<v Speaker 4>you tip is equal to the love you make, which

0:25:39.944 --> 0:25:41.304
<v Speaker 4>is a nice way to end my show.

0:25:41.464 --> 0:25:45.064
<v Speaker 3>Now that's how I end my concerts, and it feels

0:25:45.184 --> 0:25:46.544
<v Speaker 3>very complease.

0:25:47.984 --> 0:25:50.544
<v Speaker 4>Yeah, so I'm kind of proud that it is a

0:25:50.664 --> 0:25:55.184
<v Speaker 4>rhyming couplet, just as I was taught all those years

0:25:55.184 --> 0:25:57.864
<v Speaker 4>ago on my little literature teacher.

0:26:00.224 --> 0:26:02.664
<v Speaker 5>But you know the thing is, you know, I never

0:26:02.744 --> 0:26:03.464
<v Speaker 5>went on.

0:26:04.504 --> 0:26:06.624
<v Speaker 4>To study because I was in the band and the

0:26:06.664 --> 0:26:10.384
<v Speaker 4>band took over. But that was the path I thought

0:26:10.664 --> 0:26:14.624
<v Speaker 4>I was headed for with my eye level in literature.

0:26:24.064 --> 0:26:27.584
<v Speaker 2>Was this medley a lullaby for the Beatles? Was it

0:26:27.704 --> 0:26:32.224
<v Speaker 2>meant to capture the sweet, nostalgia, heavy, wet and grand

0:26:32.264 --> 0:26:36.424
<v Speaker 2>finale of the group. The End is believed to be

0:26:36.504 --> 0:26:40.824
<v Speaker 2>the last song John Lennon, George Harrison, Ringo Starr and

0:26:40.904 --> 0:27:02.544
<v Speaker 2>Paul McCartney ever recorded. All together. They had grown from

0:27:02.744 --> 0:27:07.824
<v Speaker 2>boys writing songs in their Liverpool parlor rooms, too, arguably

0:27:08.144 --> 0:27:13.064
<v Speaker 2>the most eventual musicians of the twentieth century, and while

0:27:13.064 --> 0:27:16.064
<v Speaker 2>this may have been the end of the group, all

0:27:16.224 --> 0:27:20.264
<v Speaker 2>for members continued to share their music with the world.

0:27:21.064 --> 0:27:23.424
<v Speaker 4>When you think about it, it is just a little

0:27:23.624 --> 0:27:30.824
<v Speaker 4>combination of vibrations and it shouldn't affect our heart strings,

0:27:32.024 --> 0:27:36.344
<v Speaker 4>but boy it does. And music can make you cry,

0:27:37.184 --> 0:27:42.704
<v Speaker 4>it can make you laugh, and it shouldn't. It's nothing

0:27:42.744 --> 0:27:51.184
<v Speaker 4>more than just vibrations with some words attached. And how

0:27:51.224 --> 0:27:55.144
<v Speaker 4>that happens, I'm not sure, but I know it happens.

0:27:55.184 --> 0:27:55.864
<v Speaker 5>I know it happens.

0:27:55.864 --> 0:27:58.344
<v Speaker 4>To me. I know it happens to other people, and

0:27:59.464 --> 0:28:03.544
<v Speaker 4>I'm just proud that my music can do that.

0:28:04.944 --> 0:28:09.624
<v Speaker 6>I'm not quite sure how, but it can. I don't

0:28:09.664 --> 0:28:17.784
<v Speaker 6>mind it being a mystery.

0:28:27.304 --> 0:28:32.504
<v Speaker 2>The end from the Beatles nineteen sixty nine album Abbey

0:28:32.544 --> 0:28:38.024
<v Speaker 2>wrote McCartney. A Life in Lyrics is a co production

0:28:38.184 --> 0:28:42.784
<v Speaker 2>between iHeartMedia NPL and Pushkin Industries