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Letter From The Editor Opinion

In Autumn, Meanwhile Back

When the stars align, usually on a rainy Sunday in late autumn or early winter when he’s still a little punch drunk from the end of Daylight Saving Time and the end-of-year blurring of the calendar, the editor sleeps in.

After a Saturday spent writing and then helping a friend move, he sleeps in on Sunday. After tumbling out of bed and stumbling to the kitchen, he sets coffee brewing, opens the blinds, and watches as the rain dimples the surface of the creek next door. He and his fiancée sit and watch their cats watching the birds sitting on still-leafy branches, their feathers fluffed against the rain.

Later, the couple bundle themselves against the late-autumn cold and leave the house. After realizing that the Memphis weather is being Memphis weather again — it feels more like April than December — they clomp back inside and shed a layer.

The editor drives, and the two go out on the town for a day of Christmas shopping. They don’t often have days off together, so it’s An Event.

At a local bookstore, they buy a book about bees, a stack of car magazines, a sweater, and the fourth and final book (translated from French) of a fantasy series. The editor sees an old friend, and she says nice things about the newspaper. He says he hopes her sister is well. They recognize each other despite wearing masks and, in her case, big sunglasses.

After a brief diversion — stopping at a grocery store for dinner ingredients, dropping said supplies off at home — they go to a plant store and nursery. The editor picks out more gifts, and his fiancée coos over the shop’s resident cat, Bunny. More businesses should have a cat, the editor thinks. They pile their gifts-to-be on the counter and pay for them, chatting with the friendly clerk about science-fiction films and cats. The clerk’s cats, it turns out, are named after characters from sci-fi films.

Their last stop for the day is an antiques store on Summer Avenue. The editor’s father is planning on moving back to Memphis early next year. The father will need some furniture, and the editor believes in practical gifts. The editor’s not worried about including that in his column because his father, for the moment at least, lives outside the newspaper’s circulation radius. The editor, for the time being at least, could include an itemized list of gifts, and his father would be none the wiser. The father doesn’t use the internet and still owns a flip-phone, so the editor figures there’s no chance of the surprise being ruined via social media either. It’s the perfect crime.

In the antiques store, the fiancée finds some gifts, along with a burnt-orange sweater and a wooden desk tray, the kind one might use to hold correspondence. She’s a fiend for fall colors; she’s mad about organization. She also finds a corner shelf, the exact kind the editor has been on the hunt for, to be a new home for some houseplants. They must be kept out of his cats’ reach. They murder houseplants with extreme prejudice.

The editor dusts off the corner shelf, examines it from every angle, and checks the price tag. They’re here to buy gifts, not furniture for themselves, he reasons. As he’s vetting the shelf, the editor sees someone he recognizes — above the face mask, that is. He’s a local musician, drummer for a half-dozen Bluff City bands. They say hello. The editor invites the drummer to examine the shelf, which the drummer judges to be a fine shelf indeed. The editor caves. He buys the shelf. He finds his fiancée and helps her carry her purchases to the car.

Back home, the editor wraps presents while his fiancée cooks soup. Usually soup is a meal they prepare together, but they don’t mind slight variations in their habits. Most days, they wake early; today they slept in. The editor puts on a playlist of tunes by The Beatles. He’s been on a Fab Four kick, courtesy of the Peter Jackson documentary Get Back.

If he were Paul McCartney, he thinks, he could turn today into a little third-person story song. “Penny Lane, the barber shaves another customer,” he sings to himself. “On Summer Ave., the salesman sells another antique shelf.”

It’s no “Yesterday,” he thinks, but it’s a nice song to live.

Categories
Film Features Film/TV

The Beatles: Get Back

I was 15 the first time I played with a real rock-and-roll band. The first song we learned was “Get Back” from The Beatles’ final released album Let It Be. We started with that one because it was easy — or at least it sounded easy. That’s when I learned that great rock music is deceptively simple. It wasn’t hard to hit the notes. What was hard was hitting them at exactly the right time, with exactly the right feel. We must have jammed on “Get Back” for an hour trying to get it to sound right, which of course we never did. 

I went on to play in rock bands for 30 years. In college, I played a lot of gigs and made a lot of money. After college, I played cooler shows, made good records, and didn’t make much money. I’m still doing it — my last album was released in 2020, got good reviews, and even turned a modest profit.

Maybe that’s why, in the new Beatles documentary Get Back, when we see Paul McCartney, frustrated because his bandmate John Lennon is late for rehearsal, plop down on a chair in the corner of a soundstage and pound out “Get Back” off the top of his head, it’s kind of like watching a tape of yourself being conceived: profound, moving, and also a little icky. Paul, it turns out, was just a band geek like the rest of us.

Let It Be was recorded in January 1969. Having spent 1966-1968 revolutionizing studio recording, the plan was to get back to their bar band roots by writing a new album’s worth of songs and premiering them with their first live concert in three years. Crucially, they were going to do it all in front of director Michael Lindsay-Hogg’s cameras, in a soundstage at Twickenham Studios, where A Hard Day’s Night and Help! had been filmed. That meant they had essentially three weeks to write 14 songs, whip them into shape, and record them in front of an audience. This was difficult, but not out of the question for the band who had changed pop music in one day with the 10-song session that produced Please Please Me. Legend has it that the sessions ended in acrimony, with George Harrison briefly quitting, and the band trying to salvage the project with an impromptu live show on the roof of their Apple records studio. The album was shelved, and the band returned to the studio for Abbey Road. After they broke up in early 1970, Let It Be was finally released, and Lindsay-Hogg’s feature documentary became notorious for capturing the “breakup of The Beatles.”

A few years ago, Lord of the Rings director Peter Jackson acquired the rights to the Let It Be sessions footage, which encompassed more than 60 hours of film and more than 180 hours of audio. He spent four years editing the chaotic mess down to a “crucial” 468 minutes.

If your first reaction is, maybe he could have gotten a little more crucial than eight hours, you’re right. This is not a film with a punchy narrative; in part three, Lindsay-Hogg complains that he has lots of footage, but no story. This is the ultimate hangout picture, because you get to hang out with The Beatles. That’s what’s so compelling — you’re watching some of the greatest artists of the last century at work.

For a seasoned show dog, it’s fascinating to watch the greatest of all time systematically violate the rock band rules. First, the rehearsal space is sacred. Don’t record the writing process, or the frank discussions that take place there. Second, no significant others in the studio. This is known as the “Yoko Rule,” which Get Back shows is unfair. Yoko Ono is omnipresent and clingy, sitting next to John in the early going, before getting bored and leaving as the sessions drag on. She’s a non-factor in the lads’ conflict, which largely stems from trying to do the delicate mental work of composing songs while under the camera’s gaze.

The Beatle who is up to the challenge of working in the spotlight is Paul. In one stunning moment, while John is meeting with Lindsay-Hogg to plan the ill-fated concert, Paul is in the background, noodling around on the piano, and “Let It Be” emerges. When he takes it to the group, and The Beatles’ eyes light up, it’s like watching Leonardo da Vinci sketching The Last Supper. Get Back shows that The Beatles, often reduced to cartoon characters, were human after all — and that makes their art even more extraordinary.

The Beatles: Get Back is now streaming on Disney+.