sweet bird of paradox 𓅪

Well now Blackpool 48 23 48 Blackpool That's the place for me Blackpool 23 48 23 Blackpool That's the place for me I like 'em heavy and tall Don't like 'em skinny and small I like 'em heavy and tall Don't like 'em skinny and small Southport 28 33 28 Southport That's the place for me

Adhesiveness -- David Hockney (1960)

(John Lennon, 1972, interview for Hit Parader)

Q: 'When I’m Sixty-Four'? A: Paul’s completely. I would never even dream of writing a song like that. There’s some things I never think about, and that’s one of them.

(John Lennon, 1980, All We Are Saying by David Sheff)

A pert clarinet chimes in as Paul sings “go for a ride,” and then fills out the lead voice with harmony during the last verse. The verse climbs from worldly-wise homey virtues and promises to the humble title question: “Will you still need me/Will you still feed me/When I’m sixty-four?” The bridge has a more expectant beat and shifts to minor, but the final line of the stanza always resolves whatever troubles may lie ahead—all worries are ironed out, all doubt laid to rest. Before returning to the main verse, a chime of happiness is duly rung.

(Tell Me Why by Tim Riley, 1998/2002)

JOHN: … But when I was singing and writing this and working with her [Yoko], I was visualizing all the people of my age group, from the sixties, being in their thirties and forties now, just like me. And having wives and children, and having gone through everything together…I’m singin’ to them. I hope the young kids like it as well, but I’m really talking to the people who grew up with me. And saying, ‘Here I am now. How are you? How’s your relationship goin’? Did you get through it all? Wasn’t the seventies a drag, you know? Here we are, well let’s try to make the eighties good, you know?’ ‘Cause it’s still up to us to make what we can of it. It’s not out of our control. I still believe in love, peace; I still believe in positive thinking – when I can do it. I’m not always positive, but when I am I try to project it.” <…> …we…we were the hip ones in the sixties, but the world is not like the sixties. The whole map’s changed. And we’re goin’ into an unknown future, but we’re still all here. We still…while there’s life there’s hope.” Kaye: “So it seems like instead of the ‘down’ litany of the early seventies where all the things you don’t believe in, now it’s…” JOHN: “Exactly! And that’s why I put the ‘ting, ting, ting’ on the beginning of (Just Like) Starting Over. And I hoped somebody would catch on, but it’s easier if I explain it. ‘Cause I like to be mysterious. A little part of me still…But, in actual fact, on the beginning of Mother, the Plastic Ono album, you hear this litany [makes sounds of bell] Bong! You know, very slow church bell. Which was like a death knell. ‘I don’t believe in, I don’t believe in’ and the Freudian things about mother and father, and that was a kind of negative/positive. I was tryin’ to make a positive out of a negative, but it was heavy-going. And the reason this one [(Just Like) Starting Over, to start Double Fantasy] goes, ‘ting, ting, ting’ is to show that I’ve come through. And whoever’s listening must’ve come through, or they wouldn’t be here. And that’s the…because I always considered my work one piece, whether it be with Beatles, David Bowie, Elton John, Yoko Ono… So, to me it’s one part of one whole piece of work from the time I became public ‘till now. And that’s the connecting point between that, and you [Kaye] hit it right on the head. And the eighties is like we got a new chance, you know?”

60 Years of Revolver by The Beatles!

prod. George Martin, released 5th August 1966