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In The Beatles, we’d always had this running joke: “What are we going to do when the bubble bursts?” Then it did burst and I went up to my farm in Scotland, wondering what the hell I was going to do next. I seriously thought about giving up music altogether.
(Paul McCartney, July 2004, interview with Jon Wilde for UNCUT)
PLAYBOY: But in the last ten years you’ve never wondered if it [music] might not come as easily, as naturally again as it once did? LENNON: Sure I have. I thought, Maybe that’s it. Maybe music’s over. I mean, I was preparing not to make any music again…
(John Lennon, 1980, All We Are Saying, David Sheff)
gay beatles slash fanfiction has existed since beatlemania, unsurprisingly. so here's some stuff on that topic
"The most visible rock based BandFic community during this era is The Beatles. On August 18, 1960, The Beatles started playing under that name for the first time at an event in Hamburg, Germany. (Whelan) It would be four more long years before the band would make their American debut, an event that occurred on February 7, 1964 when they arrived in New York City for their first American tour. (Whelan) According to Barbara Ehrenreich, Elizabeth Hess, and Gloria Jacobs in their essay "Beatlemania: Girls Just Want to Have Fun," this event marked "the first mass outburst of the sixties to feature women – in this case girls, who would not reach full adulthood until the seventies and the emergence of a genuinely political movement for women’s liberation." This group, composed primarily of middle class, white teenagers, would form one of the core groups in the nascent bandfic community. In their adulation of the band, they would create many of their own fan related products including stories, zines and art. The fannish oral tradition that is alive today is implicit in the existence and circulation of fictional stories about band members during the early years of the band's history. Because the audience was young and not connected into a professional or underground movement, much of the material created by this group of fan girls never was published. The production, in most cases, likely consisted of one to five copies of a story being circulated only among the fan’s immediate peer group. The emergence of The Beatles, their popularity and their fans dedication to creating fan works was helped because of the era in which they appeared. The Beatles were at the forefront for many white, middle class teenage girls in helping them redefine their own definition of sexuality and their own definitions of what it meant to be female. (Ehrenreich) This was taking place in an era where there was that increased debate on subjects like "birth, a woman's obligation to society, and conception, bringing with it all of the bitterness and acrimony that have long surrounded these issues, beginning with perhaps the most obvious one of them all -- Sexism." (Rowland) Legal gender differences between men and women were beginning to fall. (Rowland) For young, white, middle class female Beatles fans, writing stories about the band was an opportunity to challenge their parents, to revel in the new ideas regarding male sexuality, to explore their own and more. They could write about marrying Ringo or having children with Paul McCartney. They could write about being noticed by the George Harrison at a concert and all that followed afterward. Most fans knew that none of those scenarios were likely to happen. Some deeply resented the idea of a member of the band becoming involved with any woman because it destroyed their own fantasies. They did not want to see that happen. It is highly probable, that given this and the fact that they were writing fictional stories featuring the Beatles, that some of the Beatles were written as homosexual if only as a way to ensure that the object of the fan's lust, since they could not be hers, would never belong to another female fan. The idea of writing male on male pairings to cut out other female fans is one that would reappear again and again during the next forty years as new bands were discovered and attracted new groups of young female fans." (X)
The Beatles interviewed for East at Six Ten, ahead of their concert at the Regal Cinema in Cambridge, 26th November 1963
Paul and Ringo on Larry King Live, June 2007
Beatles Archive
This blog was made to archive information on the beatles.
Which includes; interviews, quotes, book pages, art, videos and audios.
-MaksMøllPol
Photo by Richard Young.
“My dad was constantly reevaluating his thinking. He was always saying, ‘The most important thing is, “Who am I? What am I doing? Where am I going? Why am I going anywhere?’ And to even ask those questions — some people haven’t even begun. So a lot of the music is just posing questions — maybe to himself, yeah. Or maybe’s he’s posing the questions in his music because he’s already found the answer for himself. You know, I read a letter from him to his mother that he wrote when he was 24. He was on tour [with the Beatles], or someplace, when he wrote it. And it basically says, ‘I want to be self-realized. I want to find God. I’m not interested in material things, this world, fame. I’m going for the real goal. And I hope you don’t worry about me, mum!’ [laughs] And he wrote that when he was 24! And that was basically the philosophy that he had up until the day he died. He was just going for it right from an early age — the big goal.” - Dhani Harrison, Guitar World, January 2003
what if I just jump off a bridge
On the cover of Tan magazine, September 1965. (Featuring a photo of The Beatles with Mary Wells in October 1964.)
“I’d never really heard Marvin Gaye, The Miracles and all that until George played me the records up in their flat [on London’s Green Street] and they absolutely blew me away. I then went on a sort of crusade for Motown!” - Tony Hall, The Beatles: The BBC Archives
Cathy McGowan: “What records do you like, other than your own?” George Harrison: “All the Motown Tamla records, Mary Wells, Miracles, Marvin Gaye, Impressions, all that crowd.” - Ready, Steady, Go!, March 20, 1964
“[The music] that we play at home — like Mary Wells, Miracles and not to mention Marvin Gaye.” - George Harrison, BBC’s Public Ear, January 12, 1964
“Tamla Motown artists are our favorites. The Miracles, The Impressions, Marvin Gaye, Mary Wells, The Exciters.” - George Harrison, The Beatles’ Detroit press conference, September 6, 1964
“That boy George — he’s very quiet, but he’s cute.” - Mary Wells, Melody Maker, November 7, 1964
“Labeling the various members of the Beatles, Mary [Wells] recalled that Paul McCartney is the ‘real life of any party; Ringo Starr is a complete clown; George Harrison is kind of on the quiet side; and John Lennon is more of a businessman than the other three and he’s the toughest one to get to know.’” - Tan, September 1965
“The Beatles — who were always among Mary’s very early fans — are now her own favorites. She thinks they are very adorable and feels dreadfully sorry for them. ‘You have no idea how surrounded they are. There’s always someone wanting them. Their lives are certainly not their own. You know sometimes Paul or George will come into my dressing room and play a couple of records and then leave again.’” - Disc, October 31, 1964 (x)
In real life do you have anything in common with your character?
Yeah. We’re both tall. I’m just kidding. A little bit. I’m sort of maybe socially I’m a little bit more extroverted than Sam, but I’m very much - I’m very sort of logical with my reasoning, like instead of Dean like “The hell with it. Let’s go shoot it.” I’m very much more “Why?” And it’s funny because I had a tough time just being in Vancouver and being away. And I actually broke down to Jensen one day. I was like “Man, I miss my girlfriend. I miss my house. I miss like going home and sleeping in my own bed. Like why are we doing this? What’s going on? Why? Why?” And Jensen was like “Well, this is just the way it’s going down right now” and I remember thinking “Wow. That’s really like Sam and that was really like a Dean answer.” And so we just sort of like laughed it off and went back to work. I just really had a tough time and I was like - and the nature of filming. We like are working long hard hours and we’re working - we don’t really have like stages that we go to all the time. We do, but we’re like two days out of eight and then we’ll be here or we’ll be there or it’s an hour away and it’s raining and it’s miserable. You’re like “I just want to go somewhere sunny and take my shirt off and jump in the pool or something.” But it’s just like cold and damp and your bones are cold. And I remember sort of struggling with it and Jensen being like “That’s what we’ve got to do.”
Do you know your fans by name?
I don’t know if I know their names but I do know - I definitely know them. I’ll be like I signed like 19 pictures for you. You can’t possibly need any more.
You auditioned for the part of Clark Kent in Superman Returns and you didn’t get it. Did you regret it?
You know what? I regret it in the sense that it’s a character that I would have loved to have played but I thought that Brandon Routh who got the job did a great job. I’ve thought he did a great job. I thought he was the right man for the job. I thought it was a lot of fun to watch and it was a lot of fun to watch him because I really liked what he did with the character. It’s a tough character. It’s been played so many times by so many people in so many different genres and mediums that it would be tough to really decide what to do. That’s why it would have been exciting for me. It would have been another fun challenge, another fun character to explore but Brandon certainly was the right man for the job. On the flipside, when I tested for Superman it was going to be directed by a man named McG who ended up not doing Superman but he ended up producing a show the next year called Supernatural. So my meeting - in my head I think, “Well, that’s the reason I tried out for Superman was to meet McG and then get Supernatural”. I think the world has a funny way of working things out. I think that’s the way it worked out.
LJ: Ackles & Padalecki, Interview Transcript #02
I look right in the camera and I’m like what am I doing? What exactly - it is three in the morning on a Friday night and here we are, you know, dealing with fairies. What in the world? This is not a profession. This is a circus.
EWAN MCGREGOR | Vanity Fair | 2024
An interview of Mocca and Tmu at Radio Mega, the local station in Oulu. The interview is in Finnish only. Includes an acoustic live version of No Future.
Radio coverage
Mokka will be on air in Radio Mega, the local station of Oulu on 11th of August! Tune in at http://www.radiomega.fi/ they have a streaming option also. We will inform about the airing times as soon as we know them.
And don't forget, next weekend it's time to go to Alhonkaturock, Kemi! We will play there among other bands such as Morley, Blue Frequency and G-Odd!!! Happy time will follow!!! Alhonkaturock takes place on 7th of August. The very next day we're going to throw a gig at 45 Special in Oulu (8th of August that is!)
-teemu
brian may talking about freddie mercury during the early days of queen ❣️
Freddie Mercury gives a radio interview after their show in Detroit, January* Boston, February 1977.
It's so lovely oh my god 🥰 He's so toughtful and soft-spoken, chuckling to himself saying "oh dear, oh dear"! Also, the mic must be so close to him! I listened to it with headphones and it was like he was speaking directly into my ear.
~~~
Some interesting bits (time stamps approximate):
6:10 - talking about being business savy and learning from Smile's experience getting ripped off
14:40 - Freddie got the idea of playing the entirety of BoRhap live while rehearsing for the tour in Boston
18:30 - Roger has books about the Marx brothers and Freddie sees some parallels between their and Queen's approach to their art (meticulous)
23:15 - "That's the whole fucking point of doing it!"
23:50 - they weren't confident initially to play the lighter stuff (Freddie at the piano etc.) on stage when they were just starting out, focusing on the hard rock aspect instead
24:45 - Freddie is being served tea
26:30 - They want to do Long Away live and have rehearsed it, but don't feel it's quite right yet [spoiler: they're never going to play it live *cries* I wonder who'd have sung it, Freddie or Brian...]
27:40 - Somebody to Love is 'nerve-wrecking' and 'a killer': "The first time we ever did it we did it so fast - we just wanted to get it over with."
27:36 - "You want some tea?"
29:10 - Freddie munching on a biscuit?
36:30 - How to keep an accurate picture of yourself with all the things written in the press. Lovely bit.
40 - How they write their songs and approach album recording.
43:15 - They are quite rudely cut off because Roger and John are sitting outside waiting for their turn (Brian already had his turn)
Also, this is the interview where Freddie forgets the name of Brian's 'vaudeville' contribution to ANATO (Good Company) and tries to remember it for a whole blessed minute (forgot to note the time stamp).
(Yes, the others' interviews are also on Youtube, and I'll spend the rest of my day listening to them 😊)
~~~
*It seems the date and place on the vid is wrong, since Brian implies in his interview that they're in Boston.
Interview with Brian
Interview with Roger
Interview with John
A World-Renowned Art Dealer’s Private Collection
“We know when I’m addicted to smack, and we pick me up. George is dramatically depressed—we rally around him. One of us had a baby—so we had a baby, and when the baby is backstage, the greenroom is like a crèche. There’s a ‘Wizard of Oz’ element to us. One of us needs a heart, one of us needs a brain, one of us needs this other thing, and we’re all on the road together.”
— Matty Healy to Jia Tolentino for The New Yorker's Who Is Matty Healy (May 29 2023)
