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“Jack on Film” sample

September 29th, 2022 · Kerouac and The Beats, Movies

Here’s a little taste . . .

My “script” notes for the first dramatic portrayal of Jack . . .


Pull My Daisy (released Nov. 1959) One of the Big Five to focus on


Filmed in their prime . . . . Kerouac’s best 28 mins on tape . . . . . Amram’s score to enhance it . . . . . lensed by Robert Frank . . . . . shot in an artist’s loft in Greenwich Village . . . . . a collaboration, not one man’s work.

The Grove Press [Barney Rosset] Pull My Daisy book says it was filmed intermittently from January 2nd through April 1959.

Premiered at the Museum of Modern Art — May 12th, 1959

Jonas Mekas reviewed it for The Village Voice — saying it was “a signpost of purity, innocence, humor, truth and simplicity.”

Esquire even reviewed it — saying Kerouac’s narration “kept things rolling along on a tide of laughter and poetry, showing an unexpected virtuosity at the Great American Art of kidding.”

Peter Bogdanovich called it “brilliant.” according to Dennis McNally.

IMDb and The Illustrated Beats Chronology by Robert Niemi both say it was “released” on Nov 11th, 1959. But what does this mean? No distribution.

San Francisco Film Festival Nov 17th — according to both Charters & McNally Jack attended the screening but was so drunk he fell off the stage.

Gregory Corso in the Jack role

Allen as Allen

Peter as Peter

Larry Rivers as Milo — in the Neal role

French actress Delphine Say-rig as Milo’s wife — Carolyn Cassady

her film debut — she went on to have 60 film & TV credits over the next 30 years, primarily in France — including The Day of The Jackal — was directed by Truffaut & Bunuel — became a prominent outspoken feminist.

David Amram as Mezz McGillicuddy

Bishop — Richard Bellamy — billed as “Mooney Pebbles”

Bishop’s mother — Alice Neel from Richard Modiano — a major American portrait artist, had solo exhibitions at the Met and Whitney in New York, the Philadelphia Museum of Art, the de Young in S.F., and shows in London, Sweden, Germany.

Bishop’s sister — Sally Gross — also from Richard M — an important modern dance choreographer from 1960 – 2015, subject of a dozen documentaries.

Robert Frank’s son Pablo is the child — sort of the role of one of the Cassady kids

Anita Ellis sang the opening song.

Act 3 from Jack’s play The Beat Generation — which Jack had read into a tape recorder doing all the voices.

Robert Frank heard it and said, “THAT’s what we should film.”

Shot with Robert’s single 16mm camera that had no sound — as those hand-helds didn’t have until D.A. Pennebaker and the Maysles brothers figured out ways to connect portable recording units a few years later — which completely revolutionized documentary filmmaking and cinema verite.

And speaking of Pennebaker & the Maysles — think how Pull My Daisy presaged Don’t Look Back or anything by the Maysles.

There was ostensibly a “script” — but everybody was just winging it and goofing and being themselves in their friend’s loft.

Based on real events at the Cassady house, Los Gatos, summer of 1955 Carolyn writes about it in Off The Road (pp 264–266).

Bishop Romano — Swiss — ordained at the Liberal Catholic Church

he did indeed bring his mother and aunt with him;

and they did indeed sit side-by-side on the couch, and never spoke;

and Allen did go squeeze in between them — all as portrayed in the movie.

Allen & Peter were there.

as was a guy named “Pat” — converted in the play/movie to “Pat ‘Mezz’ McGillicuddy” played by Amram.

According to Carolyn he was a guy Neal had sent round in hopes she’d have an affair with him, and she’d at least be distracted so he could spend more time with Natalie Jackson.

Gregory was not there in Los Gatos — so he’s in the role of Jack here.

Jack sat on floor next to the Bishop — as Gregory’s shown in the movie.

As I said yesterday and is in The Rolling Stone Book of The Beats

“It was co-produced by a PAINTER Alfred Leslie — and shot in his canvas-filled loft — featuring PAINTER Larry Rivers in the role of Neal — with ART DEALER Richard Bellamy as the Bishop — and it was financed by libertine PAINTER Walter Gutman — so it’s a film made by painters — about poets — narrated by a novelist.”

Selected for preservation by the National Film Registry at the Library of Congress in 1996.

Clip “Here’s a minute of Gregory playing Jack — which corresponds to Carolyn’s memory of the evening.”

If Dave Amram is there — invite him up after the clip.



Here’s the event page for the show on Facebook.

Here’s a story about “The Making of ‘Jack on Film’

Here’s The Beat Movie Guide that covers all the Beat dramatizations ever made.

Here’s a tale of the opening of the Kerouac centennial year back in Lowell in March for his birthday.



by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —


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The Making of “Jack on Film”

August 28th, 2022 · Kerouac and The Beats, Movies

The Making of “Jack on Film”



Believe it or not this whole thing started when I got a call on January 12th, 2021 — six days after the Capitol insurrection (!) and still deep in the pandemic lockdown daze.  A musician friend I’ve known since 1976, Will Hodgson, was home with his kids during the day and had “The View” on in the background, and he heard, to his jaw-dropped surprise, John McCain’s daughter Meghan quoting Kerouac!

“Trump also said he takes no responsibility for what happened at the Capitol, and that he doesn’t believe any of his language or anything he said incited anything.  And honestly, the first thing I thought of was a Jack Kerouac quote (!)  —  ‘There’s no end to this madness and American sadness, American madness and sadness.’  It’s absolute lunacy.”

And the extra double doozy is — it’s a pretty obscure line — from The Scroll version of On The Road no less (p. 206) — Somebody had tipped the American continent like a pinball machine and all the goofballs had come rolling to LA in the southwest corner.  I cried for all of us.  There was no end to the American sadness and the American madness.”

The whole thing was so bizarre I knew I had to notify some West Coast Beats who could still catch it with the 3-hour time change.  I emailed Jerry Cimino at The Beat Museum, and John Cassady, then thought I’d give ol’ S.A. Griffin a call in L.A. since he’s also one who loves when the Beats show up in weird places in American culture where you’d least expect it.

We got to jammin all sortsa things, as always, including a deep dive into movies, which I’d been studying the hell out of for the last year, and we wove around to discussing the different portrayals of Jack on the big screen.

After we hung up, the conversation kept echoing in my head, and it hit me we could do a great show on this!  —  sort of a Siskel & Ebert in the balcony, where we’d play a clip of the movie, and the two cinephiles would jam back and forth on it.

On The Road 50th anniversary Los Angeles S.A. Griffin Brian Hassett

I called him back and bounced the show off him and he thought it would be fun.  We’ve shared stages on and off over the years starting with the 50th anniversary of Jack writing On The Road in 2001 (above), through doing a Kesey–Cassady–Kerouac show at Beyond Baroque in Venice Beach in 2019.

Brian Hassett George Walker S.A. Griffin Beyond Baroque Venice Beach

The idea started to take off, so I wrote up a proposal for it, and pitched it to Lowell Celebrates Kerouac (LCK) — the obvious place to do it.  And I even knew the timeslot — 7:00 on Sunday night.  They’d screened the Loving Vincent movie there on a Sunday and it really seemed to be the perfect programming.  After four days of nonstop high-paced madness, kickin’ back and watchin a movie on Sunday night was the exact thing people wanted to do.

In pretty quick order the show got accepted for that October, and I began sketching out the basic framework, including a list of all the movies we’d discuss, and notes about angles and themes.

I also started asking around to people who’ve spent 40 years or more immersed in all-things-Jack-&-Beat and nobody had ever heard of a show like this ever being done anywhere.

But by the late summer for 2021, Covid was still raging, and airplane travel was cited as a source of transmission, and with S.A. being in his 60s, the idea of flying from L.A., and all the people he’d have to be in close contact with in so many different places, he was having a hard time coming to a full commitment.  Then the Delta variant starting surging, and that was that.

So we cancelled out of doing it in 2021 — but the seed had been planted and the timeslot seemed ideal.  LCK eventually decided to hold a scaled back festival that year with all the events taking place outdoors — which wouldn’t have worked for our show anyway.

After the 2021 fest played out, I had a debriefing with LCK board member Dan Bacon and he still loved the idea and said the others did, too, and that it was the perfect event for Sunday night, and assuming 2021 was a transition year back to normal, we should be rockin it for Jack’s centennial in 2022.

I knew I needed video tech help to create the clips to play during the show.  I remembered this young guy who’d come to LCK a couple years earlier and made his own Jack on Film documentary about it.  Through the wonders of Facebook, I was able to make a pretty good educated guess as to who that kid was — Julian Ortman — and I sent him a message:  “Hey man!  You’re the film guy, aren’t you?  You made a doc at LCK one year, right?”

And he wrote right back, “That’s me!  Absolutely.  How can I be of service?

And the kindness of that answer changed my life.

If we all answered more often, “How can I be of service?” what a wonderful world it would be.  😉

Suddenly I had a collaborator who could do the techie video editing stuff that I couldn’t.  He does this for a living, and I know he loves Jack cuz he travelled to Lowell to celebrate him and make a movie about him, and when we did our first video-chat two minutes later, behind his beaming smiling “gets-it” face was a Grateful Dead poster hanging on the wall!  And I’m thinkin, “Weir gonna get along juuust fine.”  🙂

So, now I had a tech guy who knew how grab a clip out of a movie and put things together on the video front.  I already had the basic list of films — Pull My Daisy, The Subterraneans, and knew I wanted to touch on Route 66, and then there’s Heart Beat and Naked Lunch and Beat Angel and The Last Time I Committed Suicide and that other Neal Cassady movie, and then there’s The Big Three from 2013 — On The Road, Kill Your Darlings and Big Sur — and thus began the process of watching all those movies again and isolating the scenes that best showcased the portrayal of Jack.

As this was really starting to take shape, I knew I had to have all the production exactly right.  Unfortunately, just as the tumbler rolled over into 2022, m’main-man at LCK, Dan Bacon, decided to take a leave of absence from the never-ending planning of these festivals, and suddenly my pointman was pointedly popped!  Fortunately I’d also bonded with the unofficial Official Ambassador of The Worthen, Cliff Whalen, and he grabbed the baton and kept the flame alive.

The historic 1834 Worthen House in Lowell is actually on the National Register of Historic Places!  It’s the oldest bar in town, so of course ol’ Jack himself had tipped back a few there, and it has this cool pulley-driven fan system hanging from the ceiling — one of only four still in existence in America, and the only one in its original location.  The ol’ Worthan’s been Camp Kerouac’s Clubhouse since Jacksters began gathering in the ’80s, filling its huge main floor, plus there’s a big second floor performance room, and a well-used Reality Alley outdoor space.  It was key that I had everything running smoothly in this nearly 200-year-old building doing a high-tech show that’s never been done before.

The Merry Pranksters meet Jack Kerouac at Ye Old Worthen House in Lowell, Mass.

As everything began to take shape in early 2022, I got back in touch with ol’ S.A. in L.A., and got an unexpected call from him one day saying, “Y’know, Brian, you’ve got a vision for this thing, and you should just run with it.”  He wanted to do more of a broad Beats-in-culture type show.  But this was not only a Jack festival — it was the old boy’s 100th birthday year.  This was the time and place to celebrate “Jack on Film.”  Maybe next year we could do a “Beats in Culture” show — but on Ti Jean’s centennial … in Lowell … we really oughta do the homeboy right.

So, ol’ S.A. bowed out.  Maybe we’ll do something down The Road, but I was bummed cuz he knows more about film than just about anybody I know, and our two-person two-hour phone jams would make most engaging theater.  But we didn’t share the same vision — and neither of us wanted to spend the next six months arguing over what this would be.  I told him, if this goes well, I can be the Siskel to his Ebert if he wants to do a “Beats in Culture” show in the future.  He has nearly a hundred screen credits, taught at the American Film Institute, and we both crack each other up, so we’d make a great stage duo, but you gotta play a song you can both harmonize on.

I was scared my tech master Julian, who’d already put in a hundred hours on this thing, might cool his interest, but in keeping with his initial, “How can I be of service?” he wrote me, “It is your vision!  Whatever I can do to help get it from your head to on-screen, I’m here for it and along for the ride.”  (!)  Whadda guy!  That’s the kind of creative partner you wanna have in life!

LCK was still cool with it cuz they’d seen me pack the rooms and knock it outta the park for five years, and as brother Cliff said, “We’ve been talking about making Sunday night ‘Movie Night’ for a while — and you’re taking it to the next level!”

Without a stage partner to banter with, I came up with the idea to make the audience my co-host — that I can lead the conversation, but I know there’s gonna be a ton of smart Jack & film people in the room — so, how fun would it be to let other people jam in?!

Then I had another idea.  I have an actor friend who has a line to one of the actors who portrayed Jack in one of the films.  What if we could Zoom him into the room?  One email later, I was on the phone with the guy and we hit it off like peas and carrots!  Boom!  Done!

Then another great stalwart at LCK, Mike Flynn, put on a summer show upstairs at the Worthen where he used a giant projection screen, and the lightbulb went on in ol’ Cliff’s head.  Ah-ha!  Mike Flynn needs to be Brian’s in-house tech guy to make this happen.  And Jack’s-your-uncle, suddenly Mike and I were locked in on the video staging front.

Then once again The Good ol’ Grateful Dead rode in to add another dimension to the surreality!  The great Phil Lesh, my favorite living musician, who only ever does shows at the Capitol Theater outside New York or somewhere close to his homebase of San Francisco, was suddenly doing a half-dozen one-off non-coastal shows this 2022 summer for the first time in ten years.  And one of them was going to be at an apple orchard?!?!  . . .  in the Finger Lakes no less, not too far from me!  And to go even Furthur — my good friends the Magic Genie and her camera-eyed partner Rick live right near there and offered to have me over and throw a party and put on some shows at their Wonderland estate on the side of a lake!  Besides being a whole mess-o-fun — it also gave me a chance to do a test run of something we needed to have right for “Jack on Film” — a live-stream on YouTube.

And one thing that show taught me was — you can’t rely on wifi for uploading longform live video.  You’ve got to be hard-wired in.  So when Mike, Cliff and I did a FaceTime video walk-through of the venue, we confirmed they have an ethernet connection in the room, so I bought a splitter switch box that we can turn into two hard-wires — one for the live-stream and one for the Zoom call.

The tech side of things were really starting to come together.

Julian, meanwhile, had been editing the various clips from the notes I’d been sending him, like — “At 1:15:37 — gradual fade in so the first clear visual is Jack saying, “Well, what do you suggest? . . . then fade out just after Burroughs says, “First time I ever heard of it.”

I was targeting up to four of the best Jack scenes in each film, with the idea that if we had the best three or four clips, once we started to run through the show, we could go with whichever one, two or three would best represent the performance.

So, all the clips were coming together, and then as I continued my deep dive into these cinematic treasures, I uncovered some film & TV gems that 99% of Jack fans probably don’t even know exist, and even if they’ve heard of them, they’ve almost certainly never seen them.  I’m not going to mention ’em here cuz they’re gonna make for some great mid-show surprises.  😉

Then the next cool thing was — there was a 2007 movie called Neal Cassady with Tate Donovan as Neal and a guy named Glenn Fitzgerald playing Jack.  The thing about this movie is — it’s never been released in any form on home video.  So, you can’t buy a copy, and consequently nobody’s ever bootlegged it to one of the many underground movie sites.  I’m pretty savvy about finding rare films in secret places — and so’s my 26-year-old wiz-kid partner Julian — and neither of us could find this anywhere.

"Neal Cassady" Tate Donovan movie poster

As karmic luck would have it, many years ago when I still had the Sundance Channel, they aired it one day, and wisely I popped in a VHS tape and recorded it!  So I bought a VHS-to-digi converter and was able to grab the best scene to include in the show — the Prankster party in New York in ’64 where Jack & Neal saw each other for the last time — the only time it was ever dramatized on film.

And then when I FB posted about this development, a film-biz brother I met at George Walker’s 80th birthday weekend in Sebastopol California, Aslan Davis, chimed in that he could A.I. 4K upscale some of this, including Beat Angel, which has never seen the light of hi-def!  😉 

And THEN as I was writing these words you just read, it hit me — we need to have a poster for this thing!  And within hours the brilliant visual artist and lifelong Jackster and Deadhead, Sunny Days, was on the case!

Today is six weeks till showtime — and things are comin together!  💖



Here’s a Facebook event page for the “Jack on Film” show on October 9th.

Here’s a definitive story of Lowell Celebrates Kerouac that’s been performed live all over the continent.

Here’s the tale of my first LCK in 2015 with Michael McClure, Tony Sampas & the Kansas Kid.

Here’s the story of Jack’s 100th birthday party in Lowell, March, 2022.

And if you like movies and the Beats — here’s The Beat Movie Guide.

Or here’s a helluva great Jack Adventure Tale about the time “more of us were together than had ever been in one place at one time before,” according to John Clellon Holmes.

The cover of The Hitchhiker's Guide to Jack Kerouac by Brian Hassett

Or here’s a book where you can read more about Jack, Lowell, the Merry Pranksters and Phil Lesh.

Jack Kerouac, Ken Kesey, George Walker – The Beats and the Merry Pranksters



by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —

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First Live Shows After the Pandemic Lockdown

July 31st, 2022 · Brian on YouTube etc., Kerouac and The Beats, Poetry

The Magic Genie’s Happy Place   Saturday July 9th, 2022


The matinee show (4PM) stemmed from a massive reorganization of all my performance pieces — many dating back to New York in the 1980s and ’90s.  A bunch of them still held up — and since nobody’s heard me do them in 20 or more years, I thought it would be fun to bring them back to life.

I noticed a theme in some written in my 20s or early 30s that dealt with growing old — which seemed so odd that I was writing about that so often when so young.

Here’s the opening of the show and the first four poems —

Very Soon Today
Under These Same Elms
Riding on Page 599
Gotta Get a New One

The next three were about — how we can be too hard on ourselves;  deciding whether to get into a new relationship or not;  and a comedic poem about praying.

The Marksman
Window Shopping
Answered Prayers

Then I did the rallying cry piece I used to perform often after Giuliani was elected in New York;  plus a couple short Kerouac pieces as a teaser for the evening show.

New York Wins Another Round
Kerouac’s “List of Essentials”
“Hearing Shearing” from On The Road

I ended the show with a classic I first wrote in 1985 and continued to customize for different shows for the next 15 or more years.

Another Pious Frenzy


Or here’s all four clips in a playlist so you can watch the whole show in one click.  🙂



The 7:30PM evening show  —

The Prankster Address
Ode to Lowell Celebrates Kerouac
Jerry Garcia on hearing Jack Kerouac
Appreciation of Edie Kerouac-Parker

Part 2 — the climax of the New Hampshire Democratic primary in 2020 — after the final Bernie Sanders rally in an arena — for the first time all primary I felt Kerouac’s presence in the New England winter night.  A bunch of the college students went out on an outdoor skating rink and a special moment happened.

Part 3 — With Tricia Eileen Murphy on guitar, I took the audience to the On The Road scroll auction at Christie’s in New York in 2001.

Part 4 — the climax of the show — “Floating Universities: The Power of the Collective” from The Rolling Stone Book of The Beats.

Plus the Ode to Jack.


Or here’s all four clips in a playlist so you can watch the whole show in one click.  🙂



Here’s a cool book with lots of Beat and Prankster content, including some poetry and lots of poetic prose  —  The Hitchhiker’s Guide to Jack Kerouac  . . .

The cover of The Hitchhiker's Guide to Jack Kerouac by Brian Hassett


And here’s another one with lots of Beats and Pranksters and Adventure Tales  —  How The Beats Begat the Pranksters  . . .

Jack Kerouac, Ken Kesey, George Walker – The Beats and the Merry Pranksters


by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —

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Vote Blue No Matter Who

June 30th, 2022 · Blissfully Ravaged in Democracy, Politics

With the recent stacking of the Supreme Court and overturning of Roe vs. Wade and gun protections in New York, I was reminded that these events all happened because just enough people of the left spent the 2016 general election campaign trashing Hillary Clinton and either not voting or voting third party that an amoral monster was able to actually become the president of the United States.

Here are some paragraphs from the “2020” chapter of my book Blissfully Ravaged in Democracy that the world would be a better place if more people had internalized in 2016.


Vote  Blue  No  Matter  Who

What beautiful poetry to start the year.  Some put it — “Any blue will do,” . . . or “Vote blue, do not renew” — but however you wanna rhyme it, it’s music to our years.

For me, picking a candidate during the primary is like choosing something on a menu at a great restaurant.  You’re gonna like whatever you order.  And there’s no sense in getting upset about a tablemate making a different choice.

Of the 26 candidates who ran for the Democratic nomination, I initially went for Elizabeth Warren.  Forgetting about playing pundit and trying to game out who could slay the Trumpenstein monster — when I just closed my eyes and pictured who I’d most like to see behind the Resolute desk in the Oval Office cleaning up this mess, it was Gets Thing Done Warren.  She’s articulate and energetic and smart and I’ve loved her in every interview I’d ever seen her do over many years, going back long before she ran for the Senate.  She took on the predatory lending of the big banks, which I think is the worst mass crime committed in America in my lifetime — these soulless unregulated profiteer banks conning poor people into mortgages they knew they couldn’t maintain just so they could take their homes for their own profit and ruin millions of families lives and dreams forever.   I wanted all those bastards in jail for life — and so did this feisty kick-ass woman.


It’s so much easier to learn so much more about every candidate and every issue in 2020 than it ever has been in history — and you don’t even have to crack a book.  But I’m glad you did this one.  🙂  No candidate is perfect just like no human is perfect.  The history books paint beautiful portraits of JFK and Lincoln and Jefferson . . . but that was before every news article and opinion piece ever printed about them was instantly accessible on a screen in your hand.

People talk about how Facebook and Twitter are such big factors in the election, but I find myself using YouTube more.  You can type in any candidate’s name, and with its Filter / Upload Date option, see what they’ve been up to in the “Last hour” or “Today” or “This week” or whatever.  You can see them actually talking a few minutes ago, not just some meme or 280 character postcard or some basement blogger’s rant.


If we on the left continue to factionalize and fight within our family rather than uniting and accepting that there can be Catholics and atheists within the same collective, Bernie supporters and Biden supporters, Michael Bloombergs and Tulsi Gabbards, DNC loyalists and independents — if we don’t see ourselves as all part of the same expansive open inclusive assemblage of left-leaning Americans, we are doomed to a future, both immediate and long-term, of an extremist right-wing minority dominating the laws imposed upon us all.

If you think trump’s good for the country, and the 2016 election results were just fine, and the senate impeachment trial was handled responsibly, and Brett Kavanaugh is the kind of person you want to see on the Supreme Court, then by all means keep tearing down anyone on the left that you disagree with.  But if you’d like to change the sinking Titanic direction of this great country, it might be an idea to remember where the problem lies and who your teammates are, no matter the specific shade of blue of the jersey they’re wearing.

We need as many people rowing towards the future as we can get.


You can order a copy of Blissfully Ravaged In Democracy here.

You can check reviews and performances from the book here.

Or here’s The Beat Museum’s Jerry Cimino’s introduction in the book.

Or here’s a complete list of political and other Adventures that appear in my various books.


by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —

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Kerouac in Billy Joel’s “We Didn’t Start The Fire” Podcast

May 31st, 2022 · Interviews, Kerouac and The Beats

Billy Joel Interview Story



I was contacted by this Since The World’s Been Turning podcast production out of New Zealand to talk about Kerouac.

Ever since Peter Jackson’s masterful recreation of The Beatles: Get Back, and watching a thousand interviews with him with his New Zealand accent and sensibilities, I developed a real fondness for that place.  So, when somebody from there contacted me about talking about Jack for their series exploring every reference Billy Joel makes in his great song We Didn’t Start The Fire, I responded to the intercontinental handshake.

I loved the song when it first came out in ’89 — and went to #1 in America, and Top 10 all over the world — especially including because he name-checks Kerouac, of course.

“Little Rock, Pasternak, 
Mickey Mantle, Kerouac”

We did the interview by Zoom.  I was in the middle of a bunch of other pressing projects at the time, but knew I had to stop what I was doing and really lay down something special for Jack.  It’s just one live improvised take.  You can’t go back and edit it like you can a manuscript — it had to be “one and done” — no overdubs or re-dos or second takes.

I’ve done a lot of interviews going back to the mid-’90s with my Temp book and sometimes you do them and wonder afterwards if what you laid down was any good.  So, I came up with the idea of recording them on my end so I could hear how it went afterwards.  I don’t always remember to do this, but thank goodness I did this time.  The riff fairly kills.

You can check out the whole Since The World’s Been Turning podcast series here —

My Kerouac episode is here.

Drop me a line if you want to hear the whole interview.




Here’s a page with a whole bunch of other interviews and stuff.

And here’s one with a whole bunch of live videos and performances and such.

Or here’s a ton of other posts about music.


by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —


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The Chad Allan Story

April 30th, 2022 · Music, Poetry, Real-life Adventure Tales

The Chad Allan Story


When I was in grade 7 at St. John’s Ravenscourt school, a teacher, Bernie Beare, told me I could write well.  I didn’t know what-the-hell good that was gonna be, but apparently it was something I could do.

So I started to focus on it, and pay attention in English classes, and take the writing assignments seriously.  Sometimes we’d be told to write a poem, and in grade 10 at Kelvin High School I wrote one that the teacher raved about.

It felt good to be keeping alive the creative forces that were laid down at the school a decade earlier by my favorite former student, Neil Young.

What was unusual about the narrative storytelling poem was that it was written by a 15-year-old about life many years down the road – about being married and having a job, losing the job, infidelity, and drug addiction.  Where and how I came up with it I have no idea.  But I was reading a lot.  In those days, that was kind of all you had.  They wouldn’t let kids into mature movies, and not much played on the seven TV channels we got.

My Mom was good friends with Bob McMullin who wrote the arrangements for and conducted the orchestra at Rainbow Stage, the big outdoor musical theater in Winnipeg.  He was longtime friends with and had produced Chad Allan, who was the guy who formed the biggest band in Winnipeg’s history, The Guess Who.  Chad was the lead singer and bandleader behind their first big hit, a cover of Johnny Kidd & The Pirates’ Shakin’ All Over.  The song was only a hit in England in 1960 and never crossed the pond, but Chad had a friend who would get tapes of the hit parade in the U.K.  As Randy Bachman describes it in his great memoir Vinyl Tap Stories, “That song just leapt off the tape at us.”

Funny side-story:  the group was actually called Chad Allan and The Expressions, which was the entire original Guess Who lineup with Chad, Randy Bachman, Jim Kale on bass, and Garry Peterson on drums.  The keyboard player, Bob Ashley, would quit the band in late ’65 because he didn’t like touring, and was replaced by a 17-year-old Burton Cummings.  The pre-Burton lineup recorded Shakin’ live into a single microphone late one night in December 1964, and their record company loved it.  When they rushed it out as a single in January ’65, they just put Guess Who? where the artist’s name went to create some mystery around its origin – including because it sounded so much like the British Invasion music, they thought DJs might think it was some secret all-star collective out of England.  It became the #1 song in Canada, and went Top 30 in the U.S. and lots of other countries, making them the first band from Winnipeg to ever have an international hit.  Since DJs kept calling them “Guess Who” the band just changed that to their name.



My Mom and Bob McMullin hatched this idea to have Chad come to our house and see about turning the poem into a song.  And that’s exactly what happened.

He came over on . . . 

. . . 1977. 

My parents wanted to meet with him before they let us go off together.  Their protected innocent (ha-ha) only child (like Chad was) was about to be put in private confines with a “rock star” – so you can understand their concern.


Chad Allan in Brave Belt days

Chad Allan circa 1974

I vividly remember that evening in the big still-sunny living room of our River Heights house filled with classic ’60s furniture.  It was almost like a job interview for Chad, and he knew he had to win them over.  I think the premise was a bit funny for him.  He sure as hell wasn’t like the long-haired makeup-dripping freak in the Alice Cooper posters on my walls.  He was very straight, polite, unassuming, mild-mannered, with kind-of thick glasses — the polar opposite of the ’70s rock stars who would make the news for all the wrong reasons.  He was definitely more mid–’70s John Denver than John Lennon.


Brian as Alice Cooper, Halloween, 1975

After some gentile tea & cookies conversation, apparently he “passed the audition” and he & I went down to my poster-covered purple-walled rock n roll den in the basement where I had a ’70s tuner with a built-in cassette deck and microphone jack.

We got to talk straight-up once the parental units were out of the picture, and the couple of things I remember was that after I’d say something, he’d quite often respond with “Hey?”  I don’t know if it was our age difference – he was 34 and I was 15 – and maybe the things I was saying sounded sorta outta-left-field or something, or maybe it was a regular quirk of his discourse, although I don’t remember him doing it upstairs.  Anyway, we got along great and had rollicking conversations, but I remember a lot of his responses began with “Hey?”

The other thing was – I’d ask him if he knew some song, which, when I’d ask my friends that, it meant, had they heard it?  But he took it as – did he know how to play it?  I can’t remember which songs I asked him if he knew, but his response would often be, “Oh, yeah …” and he’d start playing it on his acoustic guitar.

We spent the entire time in front of the stereo where we were gonna record.  We spread out the typed pages on the top of the tuner, and he sat on the padded piano bench my mother had just bought at auction when Winnipeg’s regal Royal Alex Hotel went under.

I recently uncovered the original poem I’d handed in in class that we worked from, and I gotta say, he sure improved it.  It got 9½ out of 10 from the English teacher …

… but it was graded for a 15-year-old.  He really did pull out the best lines and left the rest behind.  He found the essence in a much longer piece, distilled it down to four verses, and spotted a chorus within it.  Kind of amazing.

After we got it, he ran through it top-to-bottom a time or two, then we recorded a take, and he said he wanted to do another one, so we did, and that’s the one that survives.  (The master tape got lost in a terrible accident in Greenwich Village in the mid-’80s, but at least I’d made a couple copies of the final take of the song.)  We recorded it with the rinky-dink microphone that probably came with the rinky-dink cassette deck/tuner.  The one feature it had was a record volume knob, so I could gradually turn it down for the fade-out.  I guess I also get engineering credit on this.

After we were done, we went back upstairs to share it with my parents, and he sat on the wine-colored couch in the living room, put the poem pages on the glass-topped wooden coffee table in front, and played the song to its first audience.  It was a pretty cool moment.  The lines their son wrote for a grade 10 English class were suddenly being sung to them in their living room by a rock star.

Chad Allan on CBC from the Paddlewheel restaurant in the Hudson Bay in Winnipeg

Chad on CBC during the Shakin’ All Over reunion, 1987

I saw as he riffed how glowingly effervescent he was – a sparkling leprechaun’s twinkle with a magician’s magnetism holding all sorts of tricks up his sleeve.

I’d never spent serious time around a professional artist before.  He had a serenity – a sense of not having to prove anything – something my teenage peers certainly didn’t have.  Nor for that matter some of my parents’ friends who presented themselves as big-shots and were boastful and overplaying their hands, often with liquor behind them, which people drank way too much of back in those ’60s & ’70s cocktail parties.

Chad just was.

It was like that line in Death of A Salesman when Willy can’t believe the neighbor’s son Bernard didn’t boast that he was arguing a case before the Supreme Court.  Willy says to the dad, “He didn’t even mention it!”  And the dad responds, “He don’t have to – he’s doing it.”

That was the biggest lesson I learned from my day with Chad Allan.  That you don’t have to boast about what you’ve done or will do – you just have to do it.  And once you’ve done it – the work speaks for itself.

In this case, he came over to my house, pulled the essence out of a long rambling poem by a 15-year-old, crafted a song out of thin air, laid it down, and walked off into the Winnipeg night having not only created art that didn’t exist before, but having taught a young person what being an artist really was.

My creative productive life was born in those few hours on that spring evening of life with somebody who really knew how to Get Things Done.



"If You Could Only Change Your Way"



For an even more epic Real-Life Adventure Tale — check out The Hitchhiker’s Guide to Jack Kerouac.

The cover of The Hitchhiker's Guide to Jack Kerouac by Brian Hassett

Or there’s a ton of them in Blissfully Ravaged in Democracy  –  Adventures in Politics  –  1980–2020.

Or Holy Cats! Dream-Catching at Woodstock features Bob Dylan, The Band, Crosby, Stills & Nash, Traffic, the Neville Brothers, Peter Gabriel, Jimmy Cliff and lotsa others.

The cover of Holy Cats! Dream-Catching at Woodstock by Brian Hassett

Or there’s How The Beats Begat The Pranksters about how the counterculture of the ’50s begat the 1960s.

Jack Kerouac, Ken Kesey, George Walker – The Beats and the Merry Pranksters



by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —

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Kerouac’s 100th birthday celebration in Lowell

March 20th, 2022 · Kerouac and The Beats, Real-life Adventure Tales

Jack Kerouac by lamppost in New York


Everybody’s known for ages that Jack Kerouac’s 100th birthday was coming up on March 12th, 2022, but it was still the dark Covid times, and I hadn’t been On The Road in over two years — not since the New Hampshire Democratic primaries in February 2020 — plus I was really in no mood to drive ten hours to Lowell for the ten-thousandth time.  But then the-powers-that-be decreed that as of March 1st we didn’t need the $200 PCR tests to cross the border, and masks were no longer required in every building in America.  Then an even higher power, Holly George-Warren, hipped me to a Toronto filmmaker cat, Mike Downie, who was makin the trip, and I could be the writer Jack to his driver Neal.

Suddenly we were On The Road, first time outta the house since Bernie Sanders & Pete Buttigieg were fightin over first place, and the first joint we hit was Movieman Mike’s son’s Animal House frat house in Kingston.  The place was like a clown car with a never-ending stream of college dudes appearing out of rooms, and all of them … shaking my hand!  What is this?!  I hadn’t been pattin’ paws with strangers since we all learned more about germ transmission than we ever wanted to, and suddenly I was slapping flesh with John Belushi!

By the time we got to Lowell on Friday . . . 

Lowell Celebrates Kerouac sign

Photo by Thomas Kauertz

the “100 Blues & Haikus for Jack” event at the Pollard Library was just wrapping up and the party just starting.  There was Jim Sampas and Sylvia Cunha from the Kerouac estate — and Steve Edington, Bill Walsh & Mike Wurm from Lowell Celebrates Kerouac (LCK) — and oodles of my bestest Beat buddies from all over — Thomas Kauertz all the way from Germany, Professor Brett Sigurdson from Minnesota, Professor Kurt Hemmer from Chicago, teacher-artist Roxanne from New Jersey, born Prankster Roadster Guylaine Knupp from Quebec, Beat brother Philip “Z” Thomas from Indy, and my eternal homie Dan Bacon from every LCK past.

And Boom — right off the bat I’m talkin to Jim & Sylvia about all the 100th birthday plans, including priority #1 — acquiring the long-vacant and ever-beautiful St. Jean Baptiste Church to turn into the Jack Museum and performance space.  This 1890s architectural gem was where Jack started life as an altar boy and ended it with his funeral — and where god-and-checks-willing new voices will rise and new psalms will be sung.

The free milk & cookies library buzz pretty quickly ran its course and the thirst for some adult beverages brewed, so we all wandered a couple hundred feet south to the LCK clubhouse — The Old Worthen, the oldest bar in Lowell.  This joint’s been every Jackster’s hangout since hangouts began, and every LCK in October in the railroad earth we have the run of the place.  But this being the early days after the daze and malaise of the Covid doldrums, every burly thick-accented Lowellian descended on their favorite tap room, and this worthy Worthen was certainly one.

Fortunately Kurt Hemmer, Brett Sigurdson, Jim Dunn and some other pioneering Beats had planted the flag on a long banquet table just inside the front door, and we had our home-away-from-home, everyone ordering Kerouac burgers (seriously) and sharing the latest tales of poetry, parties and progress.  Kurt was telling me how he’s working to expand the Beat Studies clique to be more inclusive.  Brett told me how he’s including me in his dissertation about how I’m the modern day personification of Jack in that I both live adventures and write books about them which almost nobody actually does anymore.  And there was some sax player regaling us with tales of playing with eccentric Beat raconteur Willie Alexander, who was gonna be closing Saturday night’s festivities.

But what was so freaky was how everyone was maskless and carrying on like — pandemic?  What pandemic?  We were crammed in tight on small bar chairs having to talk loud over the horrible attic bands blasting away upstairs, and people were hootin’ and hollerin’ and high-fiving and hugging like it was 1999.  I hadn’t stood within six feet of a soul in six-hundred days — and suddenly I was in a beer-drinking subway car at rush hour!  There wasn’t a mask in the joint — except on ol’ Thomas who had to test negative to fly back to Germany in a couple days — and Covid protocols were apparently now last-thought, worst-thought.  But somehow we survived it.  It’s now a week later and there’s been nary a positive case in the whole barrel o’ Beats.


Kerouac 100th birthday banners on lampposts in Lowell

Photo by Thomas Kauertz

Saturday was the big day.  Jack’s 100th birth day anniversary.  People from far and wide, young and old, black and white were filling Lowell streets under banners on light poles with Jack quotes flapping his life-lessons for all to live by.

There was a late-winter New England cold snap and some midday wind and rain that tested our mettle but never broke our spirit.  We started the day at the (Sal) Paradise Diner with omelettes and coffee and complementary souvenir mugs to go, then Steve Edington gave us a tour of the Ben Woitena-designed granite monoliths with Jack’s quotes in Kerouac Park, including the new marker for the great Roger Brunelle, the legendary French-Canadian Kerouac aficionado, who, among many other things, led colorful bilingual tours of local Jack haunts for decades.

Kerouac 100th birthday celebration in Lowell

Then, like the band of Merry Pranksters we are, we all jumped on a school bus and took this trip furthur!

Small town LCK regularly features bus trips as part of their festivities — but do they rent a regular plush big-window tour bus?  Of course not!  They use the town school bus! with its tiny old square windows that pull down and seats with leg room for 10-year-olds!

What made this trip particularly special, besides being Jack’s centennial, was that it was freezing cold and raining out, so only real intrepid travelers braved the arctic conditions to assemble in a park in the middle of nowhere in a gale storm that would sink a battleship.  It was like being hunkered down in a cabin in a monsoon with 33 strangers braving the elements because they knew there was a rainbow and pot o’ gold ahead.  And to add to the comedy of crazy, with 33 people breathing in the moist air, all the windows immediately fogged up!  So here we were on a bus to see Lowell — and we couldn’t see out the windows, and couldn’t get off the bus cuz of the freezing rain!

After navigating this big yellow ocean-liner through the narrow streets of old-world Lowell that are barely wide enough for a car, we wove our way to 9 Lupine Road where Jack was born on the second floor at 5:00 in the afternoon.  Then one of the first of many beautiful in-synch moments happened just as LCK president Steve Edington finished his biographical background and town tour stalwart Bill Walsh read Jack’s description of his birth day from Dr. Sax — the rain stopped!  Whatever gods or Saints named Jack or karma-coupon cash-ins were at play, somebody or sumpthin was looking out for us!

Suddenly we all became actors in a Magical Mystery Tour comedy as all these tourists poured off this giant bus, cameras in hand, filling the front lawns and sidewalks of this nondescript residential neighborhood frantically taking pictures of some house that looked no different than any other.  The town, in its wisdom, finally put a plaque on the front of the house, but it’s a two-unit rental, and from the looks of the faces peaking out from behind the curtains they didn’t know why the hell this plain place would attract anyone to take a picture of it!

Kerouac's birthplace, 9 Lupine Rd., Lowell

Crouchin down with Movieman Mike so I’m below the sign

Then we drove back over the Merrimack River from Centralville to the beautiful St. Jean Baptiste church that the estate is trying to turn into The Jack Museum, then over to the Pollard Library.  The tour guides were trying to stick to a schedule to hit all the spots we could, but I wanted my out-of-towner friends to see the Jack Kerouac Corner inside that they’d dedicated to the local kid who used to skip school … to come to the library to read!  I was just gonna run Toronto Mike and German Tom in to show them, but I ended up Pied Pipering the whole damn bus inside!

Kerouac Corner during 100th birthday celebrations

Photo by Mike Downie

Then it was off to Edson Cemetery to the same place Allen Ginsberg Pied Pipered Bob Dylan, Sam Shepard & photographer Ken Regan while on the Rolling Thunder tour in 1975.

Ginsberg and Ginsberg Kerouac's 100th birthday celebration

Photo by Ken Regan

The ocean-liner of a bus couldn’t fit through the ornate old-world gate, so we all had to power-walk in the freezing temperatures of the east to Lincoln and Seventh Avenue.  At least with the recent giant headstone that John Sampas put in it’s easier to find than the old flat marker in the ground.  There were surprisingly fewer bottles and memorial flotsam left behind than you’d normally find in October — although somebody did leave a thoughtful 100th birthday candle.

Kerouac's gravesite Lowell 100th birthday celebrations

German Tom and Canadian Brian with American Jack

And then things really got interesting . . .

We zipped over to the new Middlesex Community College Academic Arts Center that’s just been built inside the preserved brick facade of an 1876 building whose external walls had been standing intact for years with nothing but steel beams holding them up.  It’s a rare happy story in America that a cool exterior is preserved at all — and a bonus that the place wasn’t turned into a bank or a Gap!

historic Boston & Maine Building, Central Street Depot, Lowell, 1876

former Boston & Maine Building – Central Street Depot – Lowell

The new building is so pristine and fresh it still has that new-car smell.  They put in a 190-seat proscenium theater on the main floor, and a 100-seat lecture hall space on the second with nice raked seats which would host the biographers panel with Dennis McNally and Holly George-Warren, moderated by UMass’ Todd Tietchen, who edited Jack’s The Haunted Life, The Unknown Kerouac and a Jack Library of America collection.

Inside the empty pre-show lobby, there’s Sylvia Cunha at the merch table with all the cool Schae Koteles-designed t-shirts and bags and posters and such.  I have a strict policy of never buying t-shirts anymore because I have 50 million of them I never wear — but the 3-face “Kerouac @ 100” shirt was just too impossible to not bring home.

Schae Koteles's Jack Kerouac t-shirt for 100th birthday

Just then, in from the blustery cold, Holly, Dennis and Todd came swooshing in.  One of the weird things about the 2½ year break from Lowell, was how so many people had changed so much physically.  You don’t notice it when you see everyone once a year, but 2½ years including a locked-down pandemic rendered some almost unrecognizable!  And ol’ Todd Tietchen I hadn’t seen since the Michael McClure show in 2015!  He really took a minute for the gears to process.  And boy Holly’s sure kicked herself up into swashbuckling rockstar poise, rocking a Janis-like fur hat atop an all-black punk-chic getup!

We all had a nice little lobby reunion hug-a-thon before they went up to the green room to prepare to blow our minds.  Then the very next person through the door was the great Oliver Trager who for some reason I had no trouble recognizing even hidden behind a mask and the fact we hadn’t seen each other in 15 years!  Oliver’s the greatest Lord Buckley impersonator / channel on the planet, although he says he’s tied for second.

In their wisdom, LCK’s booked him to bring the good Lord into the house for the festival this fall, and right away he and I started jammin performance tips.  We’ve shared many bills many times back in the New York daze, and much to my surprise he’s been watching a bunch of the shows I’ve posted online over the years.  You put the stuff out there — and ya always wonder if anybody ever sees it — but Oliver was the first of several people over the weekend who’d tell me they’d been watching me from afar.

It was great to talk the performing arts with an experienced cat who does something very similar to what I do — namely, solo on stage at a microphone for an hour — and I was happy to hear him extolling the value of rehearing.  Some performers hate doing it, but I love getting better with each run-through.  I also loved to learn he’d been collaborating with the great New York multi-instrumentalist John Kruth, who I’d just seen in L.A. one of the last times I was outta the house.  It seemed like a lot of circles were coming together on this magic weekend for Jack.

Then, while we’re talking, who comes walking up but the one-&-only David Stanford, the editor of all the Kerouac books that came out in the ’90s once the estate passed on from Stella.  David was a fixture at all those Jack and Beat events in the ’90s when everything exploded.  He was always such a nice and smart guy — and was Kesey and Babbs and Garry Trudeau’s editor to boot — so it was such a happy surprise to see him again after 20 years.  This party was gettin started!

Upstairs in the performance space / lecture hall was the first time the full cast of the birthday weekend’s Kerouac Company assembled.  There was everybody I’ve already mentioned, plus Lowell’s own leading man actor Jerry Bisantz, Town & The City festival promoter Chris Porter, and poets Anne Waldman and Scarlett Sabet before their evening show.  I thought it was weird they were putting Holly & Dennis in this small-ish 100-seat room, and my great notion was confirmed as every seat filled and people began lining the stairs and holding up the walls.

Before the show started, I went exploring the new theater and stumbled across the glassed-in green room with Holly, Dennis, Todd and event producer Chris Porter.  I remembered Jack’s 5PM birth time, and knew these guys were gonna be on stage at the exact 100th moment, and I did the bold thing you never should do — I opened the dressing room door to their pre-show ritual and got some momentarily aghast faces as I invaded their space, but blurted out into their sanctuary — “Remember — Jack was born at 5:00,” and I saw Dennis look at his watch.  “You guys are gonna be on stage at that exact moment.  Don’t fuck it up,” and they all laughed as I closed the door as fast as I opened it.

Back in the theater, I got a few minutes catch-up with David.  He was always appreciative of my writing, and I didn’t know if he knew about my recent five books in five years, and when I dropped some reference to them, he said, “Yes, I’ve read them all except the most recent political one.  I’m one of your customers,” he let me know with a twinkly-eyed smile over his mask.  Then we got talkin’ Pranksters and it turned out he’s seen a bunch of my show videos with George Walker!  Couldn’t believe it.  This internet thing really seems to be working!

The show itself was a joy-jammin blast.  One thing I appreciated — the two biographers gave author-length answers to the questions, and moderator Todd Tietchen let them riff.  I hate it in interviews where the subjects are expected to answer in 30-second soundbites, and if they don’t, the interviewer interrupts with another question.  At least on this stage in this moment it was accepted that adults exist on this planet and can follow a train of thought that lasts more than a minute.

Kerouac Lowell birthday celebrations, biographers panel, Dennis McNally and Holly-George-Warren

Photo by Jim Dunn

Another beautiful takeaway was — Holly and Dennis really like and respect each other.  It was great to experience their playful repartee.  Think Mike Nichols and Elaine May.  Or what people observed about George Walker & I on stage — where there’s a similar age difference, and not only mutual respect, but love, and with that — playfulness.  I hope these two team up again — and if they do, I hope everyone reading this gets to experience it.

Oh, another cool thing they riffed on — when Dennis started his research back in 1972, he had access to all the people who were still living who knew Jack, who, at that time, were still in their primetime 40s and 50s.  But he had no way of accessing all the notebooks and letters and unpublished manuscripts that were in Jack’s filing cabinets behind Stella’s iron walls.  By contrast, Holly now has access to the entire gold mine of secret scatological doodlings but can talk to very few who knew Jack, and if she can, they’re in their 80s or 90s.

And this led into the whole subject of historiography, which, to be completely confessional, I’d never really paid much attention to until it came up re: that other great collective of Beats — The Beatles.  Historiography is the study of how history is recorded — which may sound like just more academic wankery, but it’s fascinating and valid and worth knowing about.

Dennis & Holly riffed on this, the latter even dropping the key code word “Rashomon” — namely that multiple people can witness the same event and each relate a completely different account.  Which then gets into the fallibility of primary sources — which Dennis had to rely on.  But as history rolls out and more facts come to light, firsthand accounts can be clarified.  In fact, primary source accounts can change as those very people themselves reflect further on events they previously described in one manner, but then came to realize their first impressions may not have been accurate.  We can all think of events in our own lives that we interpreted one way in the moment, but upon further reflection, saw differently.  These are the realities historiography deals with.

Dennis’ Desolate Angel, Ann Charters’ Kerouac, Barry Gifford & Lawrence Lee’s Jack’s Book, Bruce Cook’s The Beat Generation, John Tytell’s Naked Angels and Charles Jarvis’ Visions of Kerouac were the first generation of biographies in the ’70s, the first draft of history, as it were.  They’re all invaluable — but in the decades since, all kinds of new facts have come to light, and the truth of what actually happened changes.  This reality is something anyone interested in any form of history should be well aware of.  For a riveting conversation on the subject of historiography, check out Matt Williamson and Erin Weber’s conversation on the great YouTube show Pop Goes The Sixties.

I was so happy to hear Holly cite Dobie Gillis and the beatnik character Maynard G. Krebs as a positive influence on her as a young girl.  I’m so sick of the holier-than-thou jerk-offs in Beatlandia who think it makes them superior to shit on every reference to Jack or the Beats that doesn’t come from some academic or primary source.  It’s these alternative out-of-the-library manifestations of the Beats that expands their reach and turns new people onto the whole canon — whether that’s a Dior fashion show in Paris, or the Harry Potter actor playing Allen in a movie.  They should make a gawdamn Kerouac chocolate bar!  The Beats were always inclusive, expansive and playful — the opposite of exclusionary, restrictive and judgmental.

In other news — we learned that Lucien Carr became a lifelong father figure to Dennis after he first interviewed him back in ’73, and that, as Dennis tells it, years later when he introduced Lucien to Garcia, it was the only time he ever saw Jerry nervous to meet anyone.

I was so glad that the stand-up-and-sizzle Dan Bacon asked the first audience question out of the gate about CTE and the brain injuries Jack experienced on the football field and in some drunken beatings, and was happy to hear Holly is planning to explore this in her new biography.

I loved that Kurt Hemmer brought up the improvisational approach of the Method Actors and how that connected to Jackson Pollock, Charlie Parker and Jack’s approach; and Dennis reminded us he has a section exploring this in his seminal biography.  Kurt also said something I hadn’t quite put my finger on before — that James Dean, Montgomery Clift and the new Method Actors of the ’50s — the theater/film wing of the Beat Generation — could cry and be vulnerable on screen — the opposite of the established prevailing John Wayne macho bullshit — just as the Beats were the opposite of Hemingway.

Also, it was brought up again how the regular (Beat-hating) New York Times book reviewer (nicknamed “Prissy”) happened to be on vacation when On The Road was released, and cool Gilbert Millstein (who had solicited Holmes’ 1952 Beat Generation article) snagged the review copy.  How history would have been different.  To me, that’s on the order of Brian Epstein happening to catch The Beatles one lunch hour.  But as Dennis joked, none of this also would have happened if Leo had not met Gabrielle.

When the panel wrapped, Dennis jumped up and said — “100 years and 25 minutes ago today this whole thing started!” and all three on stage looked, laughed and pointed at me.

At 7:00, it was the big Saturday night poetry reading in the big room, featuring Anne Waldman, Scarlett Sabet, and Lowell native Paul Marion.  This, like the Dennis–Holly talk was put on by the Kerouac Center at UMass Lowell.  And for those keeping score at home, of the six performers on stage at the two main birthday shows, three were women and three were men.

And before I forget — one interesting thing about the whole birthday weekend — whatever funds the “Kerouac @ 100” committee raised, they utilized them in part to make sure all the events were free to the public, which was nice.  There was no feeling among birthday celebrants that anyone was trying to profiteer off of this sacred anniversary.

Paul Marion opened the night appropriately with some poems that captured Lowell old and new in words and rhythm.  Scarlett Sabet, who did not bring her boyfriend who may have caused a distraction, opened with her touching rocking loving For Jack poem.

Scarlett Sabet with Anne Waldman Lowell Kerouac 110

She’s British, she’s 32, she has four books of poetry out — and she’s creating new art inspired by and in the spirit of Jack Kerouac.  This is what I’m talkin about.

Plentiful on the earlier bus tour and in the theater seats tonight were young people of both genders that Jack was still speaking to, who had travelled long distances to be here, and were animated and excited every time I looked into their faces.  Jack’s been dead for longer than he was alive, and theaters were overflowing with people as young as teenagers still inspired by how he strung words together.

And I’m happy to report 76-year-old Anne Waldman has not lost a step!  She was fiery, punchy, rhythmic and rockin.  She opened with two passages from Jack’s linguistic gem Old Angel Midnight, including the part that climaxes with the touchingly beautiful “it might as well be gettin late  Friday afternoon  where we start  so’s old Sound can come home  when worksa done  & drink his beer  & tweak his children’s eyes” which I’ve performed live myself.  Knowing it’s such a beautiful piece that so many aren’t familiar with, I let out a healthy whoop after that final word to cue the crowd, and it worked, sparking an explosion of applause.

Anne Waldman Scarlett Sabet Middlesex Arts Center Kerouac 100

Photo by Jim Dunn

Something else I like about Anne’s performances that only experienced performers can pull off is to be able to riff in between pieces with the same fast-paced poetic dialog as the words carefully crafted on the page.  She jammed a seamless flow — almost chorus and verse — between the improvisational riffs and the written poetry.

She mentioned her recent Penguin book, Trickster Feminism, which I hadn’t heard of, and boy what a title!  Don’t try to tell me the Pranksters and the Beats aren’t woven together through-and-through!

After the reading, all the day’s performers hung around on the stage, and you could see the demographics of the festival play out.  Young women poets rushed to Scarlett;  older Beats sidled up to Anne Waldman;  active Jack history-shapers buttonholed Holly;  and Deadheads surrounded Dennis McNally.  And you can count me among the latter.

I hadn’t seen ol’ Dennis in ages and wanted to thank him for one of the definitive books about Jack.  Back when I first got into all this stuff there were very few texts on the subject, but Dennis’ was and still is the best at putting what was happening in the Beats’ and Jack’s life into a larger historical context.  I love that shit.

In 1984, my first job out of NYU was at Ren Grevatt’s office – the revered music business publicist.  Dennis was just taking over as the Grateful Dead’s press guy (after he’d already been tapped by Garcia to be their official biographer), with his only claim to fame at that point being his book Desolate Angel published five years earlier and which wasn’t exactly a #1 bestseller.  But in my mind it was.  So when he called Ren’s office in Manhattan that first time, I asked if he was the Dennis McNally.  There was this funny moment of silence as I could hear him thinking, “Why would somebody at a music publicist’s office in New York think I’m the Dennis McNally?  Maybe there’s another….”  It was a classic moment, and after I waxed rhapsodically about his brilliant book, we became friendly for life.

There was one pending question I wanted to resolve.  A well-known Kerouac biographer and I had a lengthy difference of opinion about when Dennis first became friends with Jerry Garcia.  I knew from conversations and interviews with Dennis that it was during the band’s 15th anniversary shows in 1980 that it began, which he confirmed, but he also shared an interesting anecdote, that they had met once before in 1973 after an Old And In The Way show at the Capitol Theater in New Jersey.  The legendary New York Post music writer Al Aronowitz, who’s famous for, among other things, introducing Bob Dylan and marijuana to The Beatles, invited Dennis to accompany him to an interview with Jerry to get him to talk about Neal Cassady.  Boy — Garcia, Al & Dennis together in a Gramercy Park Hotel suite in 1973 is one get-together I’d love to have been at!

He also shared the detail that the Jack photo at the top of this story first appeared on the cover of the first edition of his Desolate Angel.  They knew of the Jerome Yulsman color photos in front of the red Kettle of Fish BAR sign, but wondered if he had any others.  His editor found Yulsman’s name in the phone book, called, and he said he had one roll he’d never developed (!)  On it were the beautiful blue-shirted color photos around the old lampposts in Sheridan Square in the West Village that we’ve all been enjoying for the last 40 years.

While Dennis and I were jamming, the great David Stanford came and joined us.  They’ve of course known each other forever and on many more professional levels than I knew either, so I happily laid back and played brushes on the skins while those two riffed on Ken Babbs’ new book and his recent recovery from surgery and other insider baseball.

Editor David Stanford and publicist Dennis McNally at Kerouac 100 in Lowell

Photo by Mike Downie

After we’ve lost so many in recent years from the Beat, Prankster and Dead worlds — in this moment I certainly appreciated that these two giant facilitators were still with us, still smiling, and still loving each other.

And speaking of love between Beat brothers, after the post-show groove-down ended, my German compadre Thomas Kauertz had lined up a video-chat with fellow Canadian Beat Dave Olson who’s now living in Japan following in the Gary Snyder tradition, and unlike back in the Beat-old-days, we were able to talk live on screen in that real Star Trek world we find ourselves — and let’s never forget how frickin wild this all is.  Within seconds, we’ve got Dave on the screen in our hands, 14 hours into tomorrow on the other side of the world, as we shared live the visual buzz of Jack’s birthday back-and-forth in real time.  Beat that!

Dave’s built a crazy directional sign post in his front yard for all wandering Japanese to stop and wonder about.  He only puts cool locations on it, and the next day he sent a picture of his next addition . . .

Destination signpost for Lowell Kerouac 100 birthday


Of course the night appropriately climaxed with rock n roll in a bar full of crazies goin crazy.  The joint’s called the Warp and Weft (named for the looming process that was the foundation of Lowell’s early economy) and featured local hero Willie “Loco” Alexander who wrote one of the first songs to namecheck Jack (in 1975!) — simply called Kerouac — and here he was weaving into the night his avant-garde songwriting magic with just him on keys and a sax player.  You don’t often hear a duet with that combo.  And the other positive was it wasn’t a full overwhelming rock band blowing off the ears of these quiet literary types.

It’s one of those clubs with the stage right in front of the front sidewalk windows, and it’s a double-wide establishment that went way back, so there was tons of room for everybody from the bus tour, the Dennis–Holly talk, the Anne–Scarlett show, and every other beatnik ne’er-do-well who’d pilgrimaged to Lowell for Saint Jack’s centenary.

After the Dennis-David hang and the Dave video-call, we arrived at a party in full swing.  Brother Cliff Whalen, our unofficial LCK bouncer, was sitting at his post just inside the door keeping out the local riffraff.  Cliff’s a former wrestler, and I don’t mean the TV kind, I mean the Kesey kind, and he’s still got the body to show for it.  With all the little toothpick poets in our coterie, it’s a blessing we’ve got one guy who can referee any disputes without them being disputed.

All the hard parts were over — concentrating on poetic imagery, absorbing erudite biographers’ insights, soaking in local tour guides’ rich details — and suddenly it was the all-star encore jam — and everybody was wailin’!

There’s Holly and the two promoter/organizers Chris Porter and Sylvia Cunha jamming plans for the future.  There’s the two Pranksters Dan Bacon and Thomas Kauertz at a table with a pile of Jack bobbleheads between them plotting future magic.  There’s documentarian Mike Downie workin the room soaking in stories like any good storyteller does.  There’s the new Kerouac art designer Schae Koteles internalizing the chaotic spirit to later manifest in art.  There’s Jim Dunn holding court at the end of a table with an enwrapped audience he’s conversationally conducting.  There’s the voice of Lowell Mike Flynn beaming away in person after years of us jamming on radio.  There’s Anne Waldman who shows up even later than we did and manages to have a good time without attracting a scene.  There’s Joshua Tarquinio who looks so young but is furiously recording astute observations in the nicest hardcover road notebook I’ve ever seen.  And there’s Professor Brett Sigurdson doing his never-ending research with his never-ending smile and curiosity.

Brett Sigurdson, Dan Bacon, Warp and Weft, Kerouac 100 celebration, Lowell, Mass

Brian, Brett Sigurdson & Dan Bacon
Photo by Joshua Tarquinio

It was table-hopping through the universe — Holly and I ear-to-ear finally catching up on everything that’s happened since she got officially tapped as the official biographer.  There’s Jim Sampas getting some quality time with Anne Waldman, as he knows to get to know those who may be next to go.  There’s Willie Alexander improvising lyrics in the spirit of Jack, all while having the author’s favorite instrument accompany him.  “There’s fireworks, calliopes and clowns.”  There’s the guy who’s been drunk since this afternoon and thinks he’s now good enough looking to take off his shirt.  There’s the middle-aged former babe who starts shedding her clothes in a last minute bid for companionship.

This was a Jack night, alright — benevolent hustling — kind chaos — intellectual pursuits in inspirational cahoots — saxophones wailing over barstool sailing — riffs through the mind to grooves one-of-a-kind — tippin’ back jams with local hams — slippin’ out for a smoke with the packin’ folk — soakin’ in tales that’ll later be wailed.

We did it right in good ol’ Lowell.  Jack wasn’t there in body but he was in soul.  His Spirit was in every twinkle and glance, and nobody left the dance without a hundred years of his blood dyeing our own with colors for real, not fade away.


Kerouac "Something good will come of all things yet."




Here’s a great Adventure Tale of the biggest celebration of Jack that ever happened — Boulder ’82 — The Hitchhiker’s Guide to Jack Kerouac.  As John Clellon Holmes put it — “We had come from all over the country, from all periods of Kerouac’s life, and more of us were together than had ever been in one place at one time before.”

The cover of The Hitchhiker's Guide to Jack Kerouac by Brian Hassett


Or here’s a whole bunch of tales of going On The Road with Cassadys.

On The Road with Cassadys – Carolyn Cassady, John Cassady, Neal Cassady


Or here’s a bunch of Kerouac Adventures that blend Jack, the Beats and the Merry Pranksters . . .

Jack Kerouac, Ken Kesey, George Walker – The Beats and the Merry Pranksters


Or here’s a great new April 2022 interview with The Beat Soundtrack‘s Simon Warner that riffs on Jack, the Beatles, the Dead, the writing process, befriending your heroes, “zapping an audience from the stage with electric words,” and how we’re all still writing new verses in the epic song that the Beats first started jamming a while ago and has never stopped being written.

Or here’s a great ode to the annual October Kerouac festival in Lowell — Lowell Celebrates Kerouac!

And here’s the kind of fun we have at LCK — jamming The Hitchhiker’s Guide to Jack with David Amram and Kevin Twigg . . .


Or here’s a great riff that clarifies the whole “Beat” versus “beatnik” thing.

Peace, Pranks and Progress!


by Brian Hassett   —

Or here’s my Facebook page if you wanna join in there —

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The Marvelous Mrs. Maisel – The Greatest Show in Television History

February 28th, 2022 · Weird Things About Me

The Marvelous Mrs. Maisel – The Greatest Show in Television History



I know I’m a few years late on this, but —
season one — 8 episodes
two — 10 episodes
√ three — 8 episodes
√. four — 8 episodes

34 total episodes

20 Emmy wins — 32 other nominations

Brilliant unique song choices to close each episode.

Season one — first aired March 17th, 2017

Season 1 – episode 1 — “Pilot”
Brilliant writing!!
Gilbert Gottfried!  Introduces Lenny Bruce!
Opens with their wedding day — the skips to four years later.
And casting!
Rachel Brosnahan – so perfect as the title character.
Alex Borstein is fuckin hilarious — she’s got so many funny lines, and fuckin slays (she’s lived in Barcelona for the last 5 years) — won TWO Emmys for her performance
27:20 — Allen Ginsberg reference — “That looks like Allen Ginsberg.”
Tony Shalhoub as Midge’s father Abe (won Emmy for it)
Kevin Pollock is Joel’s father, and Caroline Aaron as his mother Shirley Maisel.
The Joel actor, Michael Zegen, sure looks like a young Al Pacino.
Lenny Bruce — recurring character, plus Mort Saul, Allen Ginsberg & Redd Foxx all discussed.
33 mins in — Joel leaves Midge.  He’s having an affair with his secretary.
41 mins — Midge goes to Gaslight after Joel leaves her — her first time at a mic.
Recording of it, as seen in ep. 6, is dated Sept 23, 1958.
She gets arrested and thrown in the cop car with Lenny Bruce.
Note in her notebook is dated 9/19/58.
Episode ends will Midge asking Lenny Bruce if he loves doing standup.
He answers with a dramatic shrug — but an impish grin.
Midge:  “Yeah — he loves it.”  🙂 

Incredible production design.
Great editing . . . and pacing . . . and costumes.
Scenes at the Gaslight, Kettle of Fish & Village Vanguard.

episodes 2 thru 8 dropped online Nov 29, 2017

Season 1 — episode 2 — “Ya Shivu v Bolshom Dome Na Kholme”
Incredible steady-cam tracking shot at the clothing factory!
My gawd is Susie / Alex funny!!
45 mins — Midge goes to the Gaslight for the second time, gets arrested for 2nd time

Season 1 — episode 3 — “Because You Left”
Lenny Bruce bails Midge out after 2nd arrest
Max Casella – great as the lawyer, also in Vinyl and Blue Jasmine, The Sopranos
30 mins — Lenny Bruce playing at the Vanguard — he’s still a huge character. The actor Luke Kirby does him GREAT!!!
32 mins – SPECTACULAR SEQUENCE!  Smoking joints with Lenny Bruce and the black jazz musicians!  Her big breakthrough on stage comes when she gets stoned!
David Paymer!!!
Lots of location shooting in Manhattan

Season 1 — episode 4 — “The Disappointment of the Dionne Quintuplets”
Midge buys a Redd Foxx album from eccentric guys in basement of the Music Inn in the Village
25 mins – amazing Washington Square Park steady-cam “oner” scene
Midge addresses crowd at Washington Square Arch
Susie takes Midge on tour of Village comedy clubs
shit-hole comedy club — ventriloquist who’s puppet has committed suicide.
Incredible one-shot to open the Copa scene!!  Sheesh!!
Susie (Alex Borstein) has all the best comic lines.
Red Skelton portrayed playing at the Copa
they have a new year’s eve party — 1955 —> 1956

Season 1 — episode 5 — “Doink”
This is SO well written and edited.
God this is brilliantly made stylistically!
THIS is filmmaking!!
Cinematography is to die for!
It’s a meditation on the study and practice of comedy.|
B. Altman store begins.  Midge applies for job.
13m mins — Midge at the Gaslight – does set – booms
Wallace Shawn!
I can so see why this has won 20 Emmys!
This is SO New York!
I LOVE the apartments!

Season 1 — episode 6 — “Mrs. X at the Gaslight”
show date written on tape box 9/23/58
Midge meets guy at party she can riff with.
great jokes written for the characters.
I am jaw-dropped watching this — literally so many moments I catch myself watching with my jaw hanging open.
smart story arc
the costumes!
the editing!
the location shooting.
gawd, this is just frickin brilliant!
they write the recording date of Midge’s bad set at the Gaslight at Sept. 23, 1958.

Season 1 — episode 7 — “Put That on your Plate”
Midge creates a tight 10 minutes
David Paymer again
15 mins – the great Jane Lynch playing Queen’s comic Sophie Lennon.
44 mins — Midge on stage at the Gaslight — blows it talking about Sophie
Ted Joans name on a poster on back of stage

Season 1 — episode 8 — “Thank You and Good Night”
Lenny Bruce shows up again!
Ted Joans on the Gaslight posters again!!
And Robert Creeley! Who I’m quite sure never performed at the Gaslight (like Ted did). But they do put his name on a poster!
50:30 — the Lenny – Midge Gaslight show
Midge beats back hecklers
Then Joel takes him on on the street.
OMG — at 55:22, behind the top of the Christmas tree, you can see a yellow and grey poster with — Allen Ginsberg, Gregory Corso, Lucien Carr & Herbert Huncke!!
I had to freeze it with a pause and use a magnifying glass on my television — but there it is!

SEASON TWO — takes place one year later — all episodes went online Dec. 5, 2018

Season 2 – episode 1 (episode nine) “Simone”
Midge is a switchboard operator (she got fired from makeup cuz Penny called her a tramp)
the mother went to Paris
AMAZING NEW YORK TO PARIS FLIP — Empire State Building to Eiffel Tower
10 mins in Midge & father are in Paris
GOD this scriptwriting is un-fucking-believable!
Mother: “I missed me, too.”
I can NOT believe I’m watching a show with Lenny Bruce as a character!!
And the guy won an Emmy for it! He really has his mannerisms and speech pattern down.
Susie/Borstein gets kidnapped by mobsters

Season 2 — episode 2 (ten) “Mid-way to Mid-town”
Paris — Abe takes to it
INCREDIBLE CONTINUOUS TRACKING SHOT in garment factor around 13:45–15:15 mins in
amazing cinematography and production design
Midge’s bad gig in Midtown, insults male comics

Season 2 – episode 3 (eleven) “The Punishment Room”

Season 2 – episode 4 (twelve) “We’re Going to the Catskills”
image appears saying “Summer 1959”
these costume are blowing my mind episode after episode.
the peak of the Catskills era — it started to go downhill in the early ’60s
with all the ethnic capturing and long tracking shots this is Scorsese-like.
28:09 – 28:50 then again 28:51 – 31:25 ! — incredible long continuous tracking shot for the dance scene.
un-fuckin-believeable! That is one of the most mind-blowing cinematic scenes I’ve ever scene. It’s up there with Altman, Scorsese & Welles’ tracking shots.
This might be the greatest 3 1/2 minutes of a TV show I’ve ever seen staged.
This is a continuous tracking shot with 100 actors. and multiple paces and tones.
38 mins — the overhead hula hoop shot with Susie/Alex!!!  un-fuckin real.

Season 2 episode 5 — (thirteen) “Midnight at The Concord”
Catskills — Midge returns to B. Altman —
she & doctor boyfriend go to a Broadway play The Legend of Lizzie (Borden)
25 mins – GREAT Lenny Bruce scene!!!!! God this writing is amazing!! And so’s the actor Luke Kirby.
Lenny does part of a set . . . then great scene with Midge at table.
Great scene at the Stage Deli — Midge tells doctor she’s a comedian.
GREAT writing and pacing.
45 mins – Midge preforms at the Catskills, KILLS, father in audience
Un-fucking believable episode.
This is the greatest TV ever made
Veep was great. Seinfeld was great. But this is the greatest.
Holy mother of god.

Season 2 – episode 6 (fourteen) “Let’s Face The Music and Dance”
Great family breakfast at big round table.
Then big father–daughter scene on porch.
8:45 lysergic acid mentioned!
the editing, the pacing, the storytelling, the cinematography.
Midge’s brother Noah is an undercover security operative (CIA).
ie; both the kids have a secret life.
Kevin Pollak is f’n great.  So glad he’s in this.
GREAT episode!

* Season 2 – episode 7 (fifteen) “Look, She Made A Hat”
The art / artist episode!
The dialog is fucking brilliant!
They go to the Cedar Tavern!!!
of course they stage it as a nice bar. But I don’t complain. WHAT a set!!!
8 mins – the drunk eccentric artist Declan Howell — his first line is “Fuck Burroughs!  I’m done with writers!”  (!)
The actor, Rufus Sewell, was nominated for an Emmy for Outstanding Guest Actor in a Comedy Series – and lost to Luke Kirby as Lenny!
Artist shows Midge his magic famous secret painting.
He lets the doctor buy a painting. “Tell him to pick out any painting he wants and leave a cheque on the table.”
26 mins – Amazing artist studio scene!!!
Midge’s attempted reveal to the family about her comedy career.  Amazing scene.  Brilliant writing and execution!
Story marks one year anniversary.
boy — I sure see why this has won 20 Emmys in 3 seasons!!
the second season may be better than the first!
43 mins — oh my god the dinner comedy performing reveal scene is fucking brilliantly written and edited!!!
holy f’n christ!!

Season 2 – episode 8 (sixteen) “Someday …”
they go on the road to Washington, Philly — disastrous tour.
Midge & Susie are bickering all the time.
Midge does return gig at club in Midtown.
Didn’t love this episode.

Season 2 – episode 9 (seventeen) “Vote For Kennedy, Vote For Kennedy”
Father Abe loses it in front a students.
12 mins – telethon.
Shy Baldwin – Nat King Cole character on telethon.
Columbia U. asks Abe to leave.
23 mins – arthritis & rheumatism telethon broadcast, 1959.  Great period TV set and dance.
30 mins – Jane Lynch as Sophie Lennon comes back (in the telethon).
35 mins – Shy Baldwin sings for first time.
40 mins – great mirror shot.
Susie storms into Sophie Lennon’s dressing room.  Alex Borstein vs. Jane Lynch.
44 mins – Midge’s set to close show at 11:55PM.  Midge improvises answering the phones.
Midge does killer end set.
48 mins – Rose: “So this is really happening?” 🙂

Wow! fight between Midge & Susie!  Sad to see.

Season 2 – episode 10 (eighteen) “All Alone”
costumes, production design, cinematography, casting, the scriptwriting
Midge in blond hair??? — flashback to courting in college.
The dancing in the street scene crane shot scene like old musicals.
The doctor wants to marry Miriam.  He interviews with Abe.
20 mins — amazing baseball hitting scene in Riverside Park – one continuous shot!
Abe gets fired from Bell Labs.
Midge talks about pregancy and gets thrown off stage.
* * it’s like the early Seinfeld episodes in that the comedian talks about the storylines in the episode.
So brilliant and karmically right to cast Alex Borstein.
32 mins — Dublin House!
Lenny Bruce! – having doubts about career
36 mins — Alex B at Jane Lynch’s house — Jane Lynch KILLS!!!!
Elia Kazan namedrop!!
Sophie Lennon asks Alex to be her manager!
Her butler is GREAT casting!!
Incredible script and comedy.
The Nat King Cole character!! (Shy Baldwin) — asks her to go on the road with him — 6 months – 3 in America, 3 in Europe.
watching jaw-dropped once again
Abe is leaving Bell Labs and Columbia University
48 mins – Lenny on The Steve Allen Show!
GREAT Steve Allen actor
No way!! they do All Alone  — WOW!!
Cafe Reggio scene — on location!  Abe meets with lawyer.
“I’m going to be all alone for the rest of my life.” That’s MY life choice!
And that’s what Midge realizing she will be all alone.
THIS is what makes me say this is the greatest TV series ever made.

SEASON THREE — all episodes dropped online Dec. 6, 2019

Season 3 – episode 1 (nineteen) “Strike Up The Band”
Midge at USO troop rally!  ENORMOUS cast of extras and performers!
UN-BE-LIEVABLE set — old airplanes!
SO amazing that Amazon bought/funded this — and not any network — THIS is proof of how conventional Hollywood/entertainment just doesn’t get it — and how streaming services do.
Funny recurring joke about Alex being perceived as a dude 🙂
I love how Midge walks with the mic.
Nat King Cole character back — lots of footage of him performing.
Once again the cinematography and editing is fucking brilliant!
Joel leases a club in Chinatown.
She’s now not marrying the doctor.  🙁
38:30 — Kerouac conversation
Rose: “I’m sure your beatnik hero Jack Crack-o-wack must be just rife with syphilis.”
Abe: “Do you mean Jack Kerouac?”
Midge: “Who?”
Abe: “Jack Kerouac. On The Road. For God’s sake you should know him, you’re young. How a daughter of mine developed absolutely no intellectual or social curiosity or sense of responsibility is beyond me.”
Lenny Bruce routine — holds up Playboy centerfold — gets busted again — Abe comes and “gets it’ — stands up to cops busting Lenny.  Gets arrested with Lenny.
A second dancing oner shot!
Alex/Susie tells Midge she’s gonna manager Sophie (Jane Lynch).
The Mrs. Maisel character has really reinvigorated my love of improv!

Season 3 – episode 2 — (twenty) “It’s The Sixties, Man!”
Mentions the White Horse tavern.
Talking about putting out a revolution magazine.
House filled with beatniks.
8:30 — they go to Providence Oklahoma!
12 mins — New York apartment FULL of beatniks.
Rose’s parents made a fortune on oil wells.
Sad — but there’s a lot of stress and people not getting along — Midge & Susie, the Nat King Cole (Shy Baldwin) manager and Susie, Joel and the new landlords, Rose and her family, the beatniks and the maid, the family going broke.
Not loving this like I have in the past — but still amazing cinematography.

Season 3 – episode 3 – (twenty-one) “Panty Pose”
more conflict — Susie and Sophie’s manager.
This went from fun comedic harmony from constant strife.
Jane Lynch again.
Production design & costumes are still beautiful — but I’m no longer liking the story
They go to Las Vegas — again, AMAZING production design!!
I feel like i’ve lost interest in this.
Shy is nice to Midge — first time I’ve seen anyone be nice to anyone else in an hour and a half.
Midge’s parents move out of their nice apt — more sad.
Female bass player — like that LA Wrecking Crew chick — Carol Kaye

Season 3 – episode 4 – (twenty-two) “Hands!”
Okay — things get sorta pleasant again.
Car racing scene a la Rebel Without a Cause.
Susie pitching Sophie/Jane Lynch to Broadway.
Abe working with Village radicals.
Joel & Midge get married in Vegas.

Season 3 – episode 5 – (twenty-three) “It’s Comedy or Cabbage”
Again — INCREDIBLE wardrobe and locations.
Midge is successful now — in Miami, at Fonteaintleu Hotel.
Jane Lynch — but complaining and bitching — terrible character — don’t like her, not funny.
Abe still meeting with beatnik counterculture newspaper people.
This has definitely lost its appeal to me by mid third season.
Carol Kaye bass character again — she’s even called Carol!
Lenny shows up!!! — he’s about the only part of this show I love at this point.
I wonder what Jerry Seinfeld thinks of this? Google search revealed nothing.
38 mins — Lenny Bruce again — this is the best part of the show.
Wow — he’s on a Playboy After Dark type show!
Amazing scene!
What BALLS to write Lenny Bruce as a character!!!
She doesn’t go to bed with Lenny! How fucked!

Season 3 – episode 6 – (twenty-four) “Kind of Bleau”
Schooner scene! — Shy & Midge on the waves.
Alex Borstein is fuckin great!
Midge cites the year as 1960.
Alex/Susie about Midge’s mother Rose —”She’s John Huston in underwire.” 🙂
There’s too much stress and arguing in this for me now.
It used to about harmony — now it’s about discord.
38 mins — Jason Alexander shows up. Blacklisting theme.
Midge & Nat King Cole — reveals he’s gay — after he’s been beat up by gay lover.
Episodic TV, no matter how good, is a soap opera.
Close credits song is John Lennon’s I Found Out from the first solo album — thematically linked to Midge finding out about Shy.  Writer/director/creator Amy Sherman-Palladino is also the music supervisor.

Season 3 – episode 7 – (twenty-five) “Marvelous Radio”
Back in NY — Midge doing advertising voiceovers.
Production design and cinematography and editing is still BRILLIANT.
Great music — but the scriptwriting has really collapsed.
Veanne Cox (lawyer from Erin Brockovich) small part.
Midge doesn’t read live on air for Phyllis Shafley — show gets political.
Jane Lynch goes off-script and loses it.
Alex Borstein and Jane (Susie & Sophie) have it out in front of the theater.

Season 3 – episode 8 – (twenty-six) “A Jewish Girl Walks Into The Apollo”
Joel and Midge fight over which school to send their kids (who cares?).
Joel’s opens club — resumes relationship with Chinese girl.
Midge takes the stage impromptu.
Midge wants to buy her old apt. — says her manager is holding all her money.
Then Susie loses huge bet — Alex Borstein big crying scene.
Veanne Cox (tough woman lawyer from Erin Brockovich) appears again.
Midge & blond Imogene walking down Morningside Heights park stairs.
Susie asks Joel to handle the money going forward.
Doctor Benjamin shows up to confront Midge.
50 mins: Midge plays the Apollo opening for Shy Baldwin.
At least Shy & Midge love each other.  [oops!  Not for long!  🙂 ]
Wanda Sykes as Moms Mabley!
Susie’s mom dies, they burn down her house.
Susie’s inheritance will pay for Midge’s money she lost.
I’m crying in joy for Midge’s performance and the happy ending.
Midge returns to her original apartment.
Abe gets hired to be the Village Voice theater critic.
Midge gets fired from tour cuz of Apollo set revealing too much about Shy (that he’s gay).

SEASON FOUR — dropped Feb 18 – March 11th, 2022

Season 4 – episode 1 – (twenty-seven) “Rumble on the Wonder Wheel”
Midge back at the Gaslight.
Midge takes off clothes – in her underwear on side of road.
Washington Square Park!!! at daybreak.
Stupid storyline about Joel’s Chinese club.
Insurance knows they burned down the house – not giving money.
Gets surreal — magic tricks, hallucinations, surreal.
Families go to Coney Island.
Can’t stand the storylines involving the families — don’t give a shit about them.
Too much whining.
The script has really become a problem.
38 mins roller coaster stage — good script writing.
Caroline Aaron as mother Maisel is GREAT casting.
They talk about Midge riffing and improvising as her strength.
Commits to what’s on her mind — will only do shows where she can speak what she wants.
49:15 “Then let’s change the business.”
49:20 — killer closing Gaslight set.
“You can’t do anything if you keep your mouth shut.”
This is powerful stuff.
Closing song Being Good (Isn’t Good Enough)

Season 4 – episode 2 – (twenty-eight) “Billy Jones and The Orgy Lamps”
Midge moves back into the old family apt. — and brings parents with her.
Abe goes to work for the Village Voice.
Abe again cites loving The Twilight Zone.
Susie (Alex) goes to see Sophie (Jane Lynch) in mental institution.
David Paymer and Alex in Central Park around the Lake.
Midge goes on stage, performs as a man — gets arrested again.
“I’m in for daring to say words.”

Season 4 – episode 3 – (twenty-nine) “Everything is Bellmore”
Midge plays a strip club.
Midge is selling Tupperware at her house.
Once again, I’m bored by the soap opera-ness and all the non-entertainment biz family bullshit.  I’ve lost interest.
But brilliant cinematography and design as always.
This is so stupid.  The writing is nowhere what it was.  Lost interest.
It’s so stupid that the house manager at a Village club would have no one at his funeral.
This really fell apart.
42 mins — Lenny Bruce shows up, challenges Midge, throws things at her on stage.

Season 4 – episode 4 – (thirty) “Interesting People on Christopher Street”
Midge still at the strip club — this is so stupid.
I’ve stopped caring about this at all.
Midge dates some shitty doctor.
Now Midge & Susie are talking about relationships. This isn’t what I signed up for and started watching in the first couple seasons.
The Jason Alexander character and performance is horrible.
Amazing cinematography but an unwatchable Jewish soap opera.
19 mins John Waters brief cameo!!
I started fast forwarding thru bullshit scenes — meaning, all non Mrs. Maisel scenes.
Susie gets her own apt via the mob guys.
Great Greenwich Village location shooting.
They go to a lesbian bar.  Is Susie supposed to be gay?
Susie and Midge in conflict again.  Again, this is not what I fell in love with.
33 mins – Midge does routine at strip club.
FBI investigation into some old incidence into Jason Alexander & Abe. Stupid.
I’d read comments that the show died in the 4th season, and they were right. (although I might argue the third season)
44 mins – Jane Lynch shows up again, her character has had a career collapse.
Unsettling height difference between Jane Lynch and Alex Borstein.
This thing completely fell apart in the forth season.
This strip club stuff is so stupid.

Season 4 – episode 5 – (thirty-one) “How to Chew Quietly and Influence People”
I’ve completely lost interest and am skipping ahead thru every non Midge scene.
If this was the first episodes / season — I never would have watched any of this.
Neurotic magician.
More Rose matchmaking storylines — she wants Midge to stop working at the strip club.
Harry Belafonte character sings at Shy Baldwin’s wedding.
Shy and Midge re-meet / hash out her getting fired, replay the Harlem show.
Midge turns down $12,000 (in 1960) to not talk about Shy being gay. Stupid.
Susie takes Sophie (Jane Lynch) to TV interview show.
Episode ends with a cliff-hanger when Midge jumps out of a cab

Season 4 – episode 6 – (thirty-two) “Maisel vs. Lennon: The Cut Contest”
Jane Lynch is Sophie Lennon.
Lenny Bruce wakes up at the Midge’s apartment — but he’s an asshole.
Sophie becomes a TV game show host — she becomes a huge rich star, and broke Susie won’t accept a Cadillac as a gift.  Stupid. And unrealistic.
Midge changes the strip club to something nice for women.
Midge confronts Daily News columnist who’s been trashing Midge, turns out to be a woman.
Sophie offers Midge the job as warm-up at her TV show.
At least this was back to a showbiz episode.
Stupid Alfie neurotic magician storyline.
Susie is broke and Sophie’s one of the biggest stars in the country, and Susie is rejecting her, but going crazy to book an insane magician.
These storylines are stupid.
Funny continuing refrain of everybody thinking Susie/Alex is a guy.
Mother Rose is confronted at being a matchmaker.
Sophie and Midge bounce off each other before the studio audience — fighting with each other. I hate this fighting all the time. “The Cut Contest”

Season 4 – episode 7 – (thirty-three) “Ethan … Esther… Chaim”
Midge meets doctor in Central Park. Romantic storyline.
Crazy ladies trying to stop Rose’s matchmaking again.
Magician does show at the Cherry Lane Theater.
Rose gets hypnotized and does Midge’s act on stage.
Rose wants to quit matchmaking — Midge tells her not to.
Midge plays JFK fundraiser to a ladies club — she tells a story about cheating on a husband and it goes badly — causes Jackie Kennedy to cry.
Kevin Pollak is great! — he has a heart attack or something at end of episode.

Season 4 – final episode 8 – (thirty-four) “How Do You Get To Carnegie Hall?”
Opens with Kevin Pollak in the hospital after the heart attack.
Abe mentions The Twilight Zone again.
Midge and Mae confront each other.
Still AMAZING production design!  Stripper has a Rear Window set!
“Ask here which part is the setup and which part is the joke again?” 🙂
24 mins — Lenny Bruce shows up — he grovels to make up with Midge.
Strip club gets raided!  WHAT a scene!!
26:45 — AMAZING tracking shot begins! — theater —> running thru backstage.
27:02 — new shot continues till 28:04
These are better continuous tracking shots than the best masters (Welles, Scorsese, Altman) ever constructed.
Lenny: “Believe me, honey, if there’s a hell, I’m the headliner.” 🙂
Lenny plays big role in final episode.
Amazing courting scene between Midge & Lenny!
Lenny: “I will be laughing through the entire thing, I promise.” 🙂
Amazing soundtrack choices throughout entire series.
Abe writing Moshe’s obituary.
So many stories are not gonna wrap up. Mae (Joel’s Chinese girlfriend) being dangerous.
Midge turns down opening for Tony Bennett at sold-out run at the Copa. Once again, this is so stupid.
Thousands of loose ends not wrapped up.
More stupid soap opera bullshit about the matchmaker subplot.
The big storyline becomes Rose won’t stop being a matchmaker. Who the fuck cares?
48 mins — Lenny Bruce goes on at Carnegie Hall — makes joke about black or white women, Lena Horn — is this a real Lenny bit?
Lenny’s a major part of climax / climactic show.
Lenny walks Midge out to the Carnegie Hall stage!
Lenny confronts her about turning down Tony Bennett gig.
Amazing Lenny Bruce climax on Carnegie stage. The theme of the series.
Lenny: “Don’t plan. Work. Just work and keeping working. There’s a moment in this business, window’s open, if you miss it, it closes.”
Midge on stage in empty Carnegie Hall.


by Brian Hassett   —

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Beatles post Get Back Lessons and Reflections

January 30th, 2022 · Movies, Music

Four psychedelic images of each of the Beatles

Some reflections on The Beatles post Peter Jackson’s masterpiece, and some fun facts picked up along the way . . .

It was so much the blending of the four compatible yet different personalities that was key to their creativity and longevity.

And that there were four different individuals for people to identify with and faces to gravitate to.  Movie stars and rock stars are just one person.  Even The Rolling Stones were mostly one.  Led Zeppelin were mostly two.  The Beatles were always four presented more-or-less equally in front of the cameras.

John Lennon, Paul McCartney, George Harrison, Ringo Starr full photo Rubber Soul album cover


I know variations on the following have been said before, but it was something that was reinforced for me over these last few months, including watching countless documentaries on the band’s story from the earliest days, but a big part of their creative success was that there were two master songwriters in the same band who were in an unspoken competition with each other.  When one would write a masterpiece, the other was prompted to top it.  For years.

This was not the case in the writing partnership of Jagger/Richards or Page/Plant.  And there have been bands with multiple songwriters — The Band, CSNY, The Eagles — but none of those had a Lennon or a McCartney, let alone both.  And my understanding of each of these other bands is the songs were largely written by one person and then brought to the group.  As we see clearly throughout Get Back, everybody is pitching in ideas on every song.

Their outsider status of being from looked-down-upon Liverpool was why they were detached from and able to goof with the big city London (and world) press.  Career-long Liverpudlian Beatles team member Peter Brown wrote a great piece on this for Time magazine back in 2006.

That no less than the Maysles brothers would document their first arrival and first concert dates in America.  Albert & David Maysles are arguably the most important and influential documentary filmmakers in the history of cinema, and they were only a few years into their journey in February 1964.  The quirk of karma/luck/fate that would put these two creative collectives together is of a piece with the four Beatles themselves first meeting, and then joining with Brian Epstein, George Martin and Billy Preston.  Somehow the exact masters needed would manifest at the exact moment they were needed.

The Maysles brothers filming “What’s Happening! The Beatles in the U.S.A,”

David and Albert Maysles in action

And it’s not lost on this lover of the visual arts and musical language that the Maysles / Beatles connection echoes the prior decade’s collaboration between the best author and best photographer when Robert Frank teamed up with Jack Kerouac and the Beats-no-les.  The Maysles took the same shots of the American underclass that Frank did, but strung them together at 24 frames per second.  And the Beatles captured the same romantic and later exploratory approach to their art that Kerouac did, but they put musical instruments behind the musical language.

Something I’ve never heard anyone mention, but — starting in 1964, think about how many record stores in the world were kept afloat because of the sales of Beatles records.  And not only the millions of Beatles units sold, but how the band made young people love music in general, and then buy whatever else struck their fancy.  These dispensaries of music that changed the lives of every person reading this were largely able to exist because of The Beatles.

Although many cite Dylan’s Subterranean Homesick Blues as the first music video, filmed in 1965, it wasn’t released until Don’t Look Back came out in 1967.  More than a year earlier, The Beatles invented the music video, including that it was created for the very reason videos were later made for MTV etc. — as promotion for record sales.  The band realized they couldn’t appear on every TV show that wanted them in Europe and America — so they hit on the idea to make a short film of them “performing” that could then be sent to TV shows all over the world and the band could avoid the travel and the screaming mayhem they caused everywhere they went.

Here’s their first, Day Tripper, filmed in November 1965 at Twickenham Studios (where they also filmed on the same day three different takes on the B-side, We Can Work It Out, and a trio of “oldies” – Help, I Feel Fine and Ticket To Ride) —


The Beatles were also the first rock group to go on world tours;
the first to be so popular they’d have to play sports stadiums;
and the first to make cool movies (as opposed to the embarrassing dreck Elvis & others made), and that their first ground-breaking film A Hard Day’s Night prompted young musicians as diverse as Jerry Garcia and Alice Cooper to form rock bands.

Tomorrow Never Knows changed what was possible for a song to sound like — and Sgt. Pepper changed what an album could be.

Malcolm Gladwell calculated that the band had played 1,200 shows together before they recorded their first album — and added — “A lot of bands don’t play 1,200 gigs in their entire career!”

Fun fact:  Elvis Costello was a member of the official Beatles Fan Club and got all the mailings.

Fun quote:  “When the girls wanted guys with long hair, it was all over.”  😄  Tommy Hilfiger

A lifelong musician friend, Will Hodgson, who knows how to play probably every song you love, said something to me one time about playing Beatles music that I’ve never forgotten — “Playing a song can be emotional, energizing, empowering . . . but playing Beatles’ songs is Fun with a capital F.  I don’t think it’s quite the same if someone’s playing it by themselves.  There’s something about the team spirit Beatles music creates.  Like a well-choreographed stage scene, or a well-executed football play, where everyone has a part to play and it’s FUN!”

And on a related note — here you can hear no less than The Grateful Dead play some choice versions of a dozen different Beatles songs. 😉


In the 1977 documentary Mighty Good: The Beatles, Derek Taylor, who was getting a bit tired of always being asked about the band, said, “They’re the longest running story since the second world war.”  😄

It was George Harrison who suggested to John that he use Eric Clapton for the Live Peace in Toronto show.  You can hear him talk about it at 14:15 in this great cued-up honest and revealing late ’69 interview —


Maybe this is already obvious, but it’s my conclusion after a couple of months on this deep dive that there’s never been as influential an artist in any medium than The Beatles.  They completely changed popular music, which is probably the most popular of all the artforms, but they also changed fashion . . . and film . . . and proved the power of the new medium of television, from Ed Sullivan to All You Need Is Love.

If you put “Beatles” in the search bar under Books on Amazon, it says there are over 20,000 of them!

They’re the only band in The Rock n Roll Hall of Fame to have every single member also inducted as a solo artist.

And they’re the only band to ever have the top five most popular songs in the country at the same time.

And that’s just for starters.  😲


The Beatles top 5 songs in America on the Billboard chart Aporil 1964



For the most detailed breakdown you’ll find anywhere of Peter Jackson’s masterpiece The Beatles: Get Back check this time-coded annotation of the entire 7½ hours including lots of conversation transcriptions.

Or here’s the amazing story behind George Harrison seeing the Beat play “The Beard” and his talking about it to Paul McCartney during the Get Back sessions.

Or here’s a fun piece on Seinfeld, The Beatles and The Beats.  😁

Or here’s a great rock n roll book I wrote that has lots of John Lennon woven all through it.

The cover of Holy Cats! Dream-Catching at Woodstock by Brian Hassett

Or here’s another about the Beats that begat the Beatles.  😉

The cover of The Hitchhiker's Guide to Jack Kerouac by Brian Hassett



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The Beatles: Get Back — Time-Coded and Annotated

December 28th, 2021 · Movies, Music

The Beatles: Get Back

Time-Coded and Annotated

Beatles Get Back John Lennon rooftop guitar raised


Some of the characters beyond the Fab Five:
(And yes, it’s five — because in this doc The Beatles become a quintet.  😉)

Peter Jackson — the cinematic master behind this entire production

Jabez Olssen — Peter Jackson’s super-skilled right-hand-man editor – never seen on screen, but is a part of every second of footage

George Martin — The Beatles’ Music Producer, one of a handful cited as being “the fifth Beatle,” dapper, suave, smart and cool

Michael Lindsay-Hogg — original 1969 Director – directed The Rolling Stones Rock n Roll Circus the month before, and The Beatles’ Hey Jude and Revolution videos at Twickenham four months earlier – hereinafter referred to as MLH

Tony Richmond — original 1969 Director of Photography – also the D.P. on The Rolling Stones Rock n Roll Circus the month before – with the mustache, looks like Freddie Prinze

Glyn Johns — Recording Engineer & Co-Producer – looks like Nicky Hopkins – dresses like Austin Powers (as Peter Jackson joked).  The New York Times even did a funny–cool piece about it.

Alan Parsons — credited as Tape Operator (was only at Savile Row, not Twickenham).  Seven years after the events of this movie he would go on to write & produce one of the great albums of all time, Tales of Mystery and Imagination (Edgar Allen Poe) which you can hear in its entirety here.

Denis O’Dell — Apple Films Producer – associate producer of A Hard Day’s Night, producer of Magical Mystery Tour, and was producing The Magic Christian with Peter Sellers and Ringo as Get Back gets started — looks like Milos Forman

Mal Evans — beloved Road Manager & Assistant to The Beatles – been with them since the Cavern days

Kevin Harrington — Beatles Roadie – the ginger-haired kid – looks like Ed Sheeran

Neil Aspinall — Producer / Apple Corps Managing Director – childhood friend of Paul & George, started out as the band’s van driver back in the Pete Best days

Peter Brown — the band’s quasi manager after Brian Epstein died – started as a salesman at Epstein’s NEMS music store in Liverpool

Derek Taylor — The Beatles’ Publicist – originally a journalist, Epstein hired him to work for the band full-time in early 1964

Ethan Russell — 23-year-old still photographer in the sessions – had shot the Stones’ Rock n Roll Circus the month before – his band portraits of the band members are on the Let It Be album cover – cool short 2020 interview with him here.

Chris O’Dell — American-born Apple employee, roof concert guest, rock n roll adventurer, author of a great memoir, and a YouTube storyteller.  (No relation to Denis)

Robert Fraser — nicknamed “Groovy Bob” by Terry Southern, he was a leading “Swinging London” art dealer and all ’round bon vivant who put on John’s first Yoko-inspired avant garde art show “You Are Here” at his gallery in July of ’68.

Les Parrott — Camera Operator

Peter Sutton — Sound Recordist  🙂

Paul Bond — Clapper Boy and Additional Camera

Dave Harries — Apple Sound Engineer

Sally Burgess — from the Apple Press Office, short red-ish haired woman with the big glasses at Savile Row

Debbie Wellum — Apple Receptionist and unsung hero for delaying the cops in the lobby

Jimmy Clark — Dapper Doorman

Bob Smeaton — thanked in credits — Anthology & Festival Express director


The must-see nearly 4-hour Peter Jackson interview:


The songs that seem to be directly (or subconsciously) about where the band is at and where they’re heading —

All Things Must Pass (January 3rd)

Two Of Us (On Our Way Home) (January 6th)

Get Back (January 7th)

Carry That Weight (a long time) (January 9th)

Let It Be (January 9th)

Bye Bye Love (Everly Brothers song) (January 25th)


The credits run 6½ minutes at the end of each episode.  In episode 3, they run concurrent with footage.  But in episodes 1 & 2 they run with a black screen — so you can knock 13 minutes off the total run time of 468 minutes = 455 minutes = a 7½ hour documentary.



EPISODE ONE  —  Days 1 thru 7  —  January 2nd thru 10th, 1969

2 hours & 30 mins (plus 6:50 minutes of credits)

Writing / Rehearsals at Twickenham

The opening title cards that appear before each episode:

“The ‘Get Back’ project in January 1969 produced over 60 hours of film footage and more than 150 hours of audio recordings.”

“Numerous editorial choices had to be made during the production of these films.”

“Scenes that contain audio-only material have been supplemented with representative pictures.”

“At all times, the film-makers have attempted to present an accurate portrait of the events depicted and the people involved.”

0:40 – 11:00 — starts with an 11-minute recap of their career.

Opens with audio of The Quarrymen singing the early McCartney/Harrison original In Spite of All The Danger — set to historical footage of Liverpool in the late 1950s.

Other than the minor date / age errors, this is a good basic quick Beatles history narrative set-up to how we got to the sessions and film we’re about to see.

Peter Jackson is a *great* cinematic storyteller.

11:00 — DAY ONE — Thursday, January 2nd, 1969

Of note — the band was last in the recording studio October 17th, 1968 — only 2½ months earlier — finishing recording The White Album.

Great use of the calendar to show the days — a smart / easy-to-follow story structure.

Love that Mal Evans is the first person we meet as the January journey begins.

11:30 — On The Road To Marrakesh/Child of Nature (later to be Jealous Guy) — John’s singing voice begins the story, just as it did the band.

It’s so cool to see the Twickenham soundstage completely empty, then begin to get filled in.

Boy — is the editing ever good right outta the gate!!  Gawd — this is GREAT filmmaking!

And the pictures are so sharp!  Wow.

12:05 — George correctly asks, “Where’s the console?  The mixer and the 8-tracks and all them.”  🙂

12:15 — John leading George & Ringo through a part of Everybody’s Got Soul – a Lennon song that never got finished.

Peter Jackson’s doing a *great* job with the title cards explaining what’s happening and why.  The band must write, perform and record 14 new songs in the next two weeks.  (!)

12:35 — Don’t Let Me Down — new John song — first early run-thru.

13:15 — George correctly points out “I don’t think this is a very acoustically good place.”

13:35 — Co-producers of the album Glyn Johns & George Martin first appear.

13:55 — MLH asks the band to turn down their amps because it’s drowning out their conversations, and George asks, “Are you recording our conversations?”  😄

14:20 — I’ve Got A Feeling — Paul teaching it to the band.
John & Paul sitting side by side and having fun.
Great camerawork and editing!

16:20 — the first meeting off to the side.  Paul is the only bandmember in it!  George Martin mentions how Twickenham is not good acoustically.  He wants to do something with a PA, like doing a live performance, because it will “trigger” something.  Film Producer Denis O’Dell is in on the conversation, explaining how he’s leased Twickenham until the end of May to film The Magic Christian (with Peter Sellers & Ringo Starr).  MLH wants a “spectacular” venue for the performance climax.

17:25 — Johnny B. Goode  bit
17:35 — Quinn the Eskimo  bit
17:44 — I Shall Be Released  bit

18:00 — Yoko in the shiny black (satin?) body suit.

18:30 — Don’t Let Me DownPaul helping John write it — they’re obviously a team … and writing together.

19:40 — Paul, Glyn, MLH discussing where to play a concert.  MLH pushing for the amphitheater in Libya — but Ringo “put his foot down” that he’s not traveling.

Paul to MLH: “I think you’ll find we’re not going abroad.”  😆

21:25 — Two of Us (On Our Way Home) — Paul teaching it to the band, working out lyrics.

23:30 — DAY TWO — Friday, January 3rd

23:35 — Paul on grand piano, Ringo tap dancing.

23:40 — Great shot of the colored lights being turned on, creating the beautiful wash on the floor-to-ceiling scrim behind the band.

23:47 — George reading the latest Beatle fanzine — including about Paul visiting official Beatles biographer Hunter Davies in Portugal.

24:30 — George talking about all the songs he’s written – “and they’re all slowish.”

24:45 — Taking a Trip to Carolina — by Ringo!  Then he sings it while playing the grand piano.

25:50 — Paul & George talking about getting 8-track recording equipment and how EMI should be taking care of it.

26:30 — Paul says there are about 100 songs John & he wrote together in the early days that they never recorded.

26:40 — Just Fun  (Lennon/McCartney)

26:55 — Because I Know You Love Me So  (Lennon/McCartney)

27:40 — Thinking of Linking  (Lennon/McCartney)

27:55 — Won’t You Please Say Goodbye  (Lennon/McCartney)

28:15 — One After 909  (Lennon/McCartney) – old song that they loved – laughing and having a great time

Cool early B&W photos and young John & Paul playing together.

30:00 — goofing on Ob-La-Di Ob-La-Da. (Lennon/McCartney)

30:20 — Midnight Special (traditional, Leadbelly)

30:35 — What Do You Want To Make Those Eyes At Me For?  (written by Howard Johnson, James V. Monaco, and Joseph McCarthy in 1916, a hit for Emile Ford & the Checkmates in 1959)

30:50 — The Harry Lime Theme  aka  The Third Man Theme (instrumental, by Anton Karas, 1949 film score)

31:45 — George gets shocked by microphone.

32:30 — working on I’ve Got A Feeling – writing the lyrics / coming up with arrangement.

34:00 — Mal keeping track of the lyrics with pen and paper.  💖

34:45 — They ask Mal to time Don’t Let Me Down cuz John thinks “it’s only about ‘alf a minute long”  🙂 — turns out to be 3 minutes 40 seconds!  😁

34:55 — Don’t Let Me Down – partial

35:35 — Gimme Some Truth !! — jointly composed by John & Paul; would later appear on Imagine as a John song.

37:05 — Lowrey organ carried in.

37:30 — All Things Must Pass — first time playing for band – John on Lowrey organ.
Like Paul’s Get Back — another song that seems subconsciously (or consciously) about where the band is at and going.
They are all jointly composing/arranging the song.
Really shows yet again their collaborative process.

40:00 — Somebody asks if they want pale ales.
Paul gets a pale ale.
George — white wine.
John — “I’ll have a beer.”
Ringo nothing.

40:00 — George advocates for their live recording approach as opposed to the overdubs of The White Album etc.
He also talks about maybe including “some oldies but goldies” in the TV show so the audience can recognize something – but then says it would be okay if the show aired a week after the album was released.  So funny how they just take as a fact of life that their fans would know the songs a week after their album was released.  😮

Paul looks high.  😎

41:25 — George recommends bringing back Every Little Thing (Lennon/McCartney) from their 1964 Beatles For Sale album.

41:55 — George talking favorably about Clapton’s leads and improvising, and how George isn’t as good at that.

42:25 — Paul: “It’s jazz, man.”

42:45 — George mentions Ray Charles and Billy Preston!  “The best jazz band I saw was Ray Charles’ band.  That jazz really moves me in a fantastic way.  Billy Preston is too much!  I’m sure you’ll dig it when you see it.  Billy plays piano with the band.  Then he does his own spot where he sings and dances and plays organ solo.  Then Ray Charles comes on.  He’s better than Ray Charles, really, because he’s, like, too much!  Because he plays organ so great.  Ray Charles doesn’t bother with the organ now.  He’s just, ‘I’ll leave it to the young guy.'”

The show he’s referring to having seen was the Saturday Sept. 21st 1968 Ray Charles show at the Royal Festival Hall in London, three months prior, which he says in the Anthology book (p. 318) that he attended with Eric Clapton.  It has mistakenly entered Beatles lore that George saw Ray (and Billy) during the week he left the band later this month (and then invited Billy to the studio), but that’s not accurate.  He saw them in Sept. ’68.  And he’s talking about having seen them on January 3rd, before he took his break from the band a week later.

43:22 — I’m So Tired — Paul has red eyes like he just stepped out for a spliff.  🤪
Great eye-rubbing “tired” footage.  👍  This is the end of their second day back working together after 2½ months.

Of most interesting note:  also on this day but not included in the doc was a conversation where George tells Paul about seeing Beat poet Michael McClure’s play The Beard, prompting me to explore that beatific Beat–Beatles confluence and uncover a ton of cool new stuff about that connection that you can read here.  😉

44:30 — DAY 3 — Monday, January 6th

44:30 — Glyn & Paul talking about getting George’s and EMI’s recording equipment into Twickenham.  (MLH & Tony Richmond also present.)
Glyn stressing that this filmed show be approached as a live performance.

45:00 — Ringo arrives hungover hazy.  “I won’t lie.  I’m not too good.”  😁

45:10 — MLH pestering that they should be thinking about the show.  Paul responds, “But we are thinking about the show.”   😁  And John goes, “We never stop thinking about it.”  😁
The band are just waking up, just coming to, and again MLH goes on about it — “Wouldn’t it be nice if we did this show with a big audience?”
George responds: “I think we should forget the whole idea of the show.”  😆
Paul goes: “Yeah, okay, I’ll go along with that.  We’re back to square one.”
MLH is SO painfully out of synch with the band (and Glyn).

45:35 — George’s 8-track arrives.

45:55 — Great edit — George H asks, “Is [Magic] Alex going to plug all that up?”  And Peter Jackson cuts to George Martin, who gives a classy knowing “Yeah, right” smirk.  😄  Then George M goes on to say that Alex rang him up yesterday and said the band didn’t need an 8-track because Alex was going to build one.  (!)
I only know George Martin from various interviews over the decades, but I gotta imagine the lads could read instantly how seriously George Martin took Magic Alex.  🙂

46:00 — Magic Alex footage — he first met John — who made the mistake of trusting/believing in him — like he would soon do with Allen Klein and Phil Spector.   😥

46:50 — You Wear Your Women Out  (writing credit to all four)

47:05 — My Imagination — also credited as group-composed – short high-energy jam – nice surreal camerawork / editing.

47:25–56:00 — group writing Don’t Let Me Down

47:25 — Paul, John & George working on the lyrics / arrangement.

48:25 — They start talking about needing a piano player.  John: “We need a guy that plays piano all the time.”  Paul: “Somebody like Nicky Hopkins.”

49:00 — John mentions “watching that pop show on BBC2.  The Move were on.”  (Roy Wood’s band)  He mentions how their voices were different and “they never joined into a group.”

Paul is very much leading the working out of the arrangement.

50:56 — Hare Krishna guys in Twickenham.

52:35 — Love to see the boys using pens on paper writing the lyrics.  🥰

It’s very much the three of them — Paul, John & George — who are more or less equally batting around ideas.

53:25 — producer Glyn Johns sits among them also throwing in ideas.
This is something about The Beatles — that from the very beginning they were open to collaborating — from following Brian Epstein’s advice, to embracing George Martin, to the carte blanche they gave Richard Lester, and all down the line through photographers and tailors and art designers — they were very open to incorporating other artists’ input.  😉

54:24 — Paul counts in John’s song — like John later counts in Paul’s.

55:05 — George says that what they’ve come up with is corny.  “I think it’s awful . . . If you had a tape recorder now and recorded that and played it back you’d throw that out straightaway.”  😆

Even though they’re not solidifying the magic at the moment — it’s clear they are three equals working together.  (With, of course, Ringo laying down exactly the right backing for what the three frontmen come up with.)

56:15–1:02:14 — group writing Two Of Us

Again, it’s the three of them bouncing off each other.  Paul is definitely in a bit of a quasi-leadership role.

57:30 — The beginning of the “I’ll play whatever pleases you” scene
Seeing the full lead-in and lead-out from that, unlike in MLH’s Let It Be — you now see it in context.

57:48 — Paul gets up and takes his guitar off.  “I can’t do this on camera.”

58:00 — Paul: “I’m scared of me being the boss.  And I have been for, like, a couple of years.”  Paul to George: “I always feel as though I’m trying to put you down and stop you playing.  But I’m not.  I’m trying to stop us all playing until we know what we’re playing.”

58:10 — George: “But you’ve got to play in order to find which fits and which doesn’t.  That’s all we can do.”

58:40 — Paul: “But doesn’t everyone agree that it’s confused at the moment.  So, all I’m trying to say is we’ve only got 12 more days, so we’ve really got to do this methodically.”
George: “I’ll wait until you get all your bits and then work my part out if you like.  It’s a matter of working it out with you while you’re working your bit out.  You know, have you got your bass bit?”

Paul gets defensive or is frustrated.  “I’m not trying to get to you.  I really am trying to just say, ‘Look lads, the band, shall we try it like this, you know?’  It’s funny though how it only occurs when the — it’s like, ‘Shall we play guitar all through Hey Jude?’  Well, I don’t think we should.”
George: “Yeah, okay, well, I don’t mind.  I’ll play, you know, whatever you want me to play.  Or I won’t play at all if you don’t want me to play.  Now, whatever it is that will please you, I’ll do it.  (pause all around)  But I don’t think you really know what that one is.”

And that’s the whole thing . . . that has been twisted out of context and blown out of proportion for all these decades.

George is being totally cool and is not annoyed.  They’re just working it out.
It’s almost exactly like the conversation they were having minutes earlier about Don’t Let Me Down.
This is a TOTALLY normal conversation between guys in a band sitting around jamming ideas on a song.
Even right after this mistaken-for-tense moment, they’re all just carrying on a normal conversation between bandmates.

Even Two Of Us (On Our Way Home) is like a song written to and about the band.  (I know it was inspired by he & Linda — but art is filled with creators tapping one vein that echoes another.  😉)

All Things Must Pass . . . On Our Way Home . . . Get Back . . . all songs addressing where they are as a band and where they’d like to be heading — subconsciously or consciously.  Wild.

1:02:30 — DAY 4 — Tuesday, January 7th

1:02:35 — Paul, joking: “Lennon’s late again.  Thinking of getting rid of him.”  😁

1:02:48 — George, joking: “You’re playing that bass again,” referring to Paul strapping on his classic Hofner.

1:02:55 — Paul & George asking soundman Peter for better mics.

* * 1:03:10–1:06:40 — Paul starts writing Get Back * * — in a way the song is a hymnal entreaty to the band “to get back to where they once belonged.”
Ringo listening intently.
George starts playing along — Ringo starts clapping a beat, then singing harmony!
1:06:15 — Ringo moves to the drums.
1:06:40 — suddenly Lennon’s there on guitar.

1:06:55 — four bandmates & MLH & Glyn Johns talking about the show / concert.
MLH says Denis O’Dell suggested doing it there at Twickenham, but MLH wants to do it somewhere better.  “Because you are The Beatles.” . . .
Paul: “The only thing about that is, we don’t want to go away.”
Then MLH goes on about it AGAIN!  “Think of the lights on the water.  Torch-lit.  2,000 Arabs.  Visually it’s fantastic.”  🙂
Paul says again: “But we’re not going away.”
Then MLH goes at it AGAIN: “I will every day say Tripoli.”
Then Paul says: “We should do the show in a place where we’re not allowed to do it.  You know, like, we should trespass, go in, set up, and then get moved, and that should be the show.”
1:07:46 — Then he jokes about playing in the main gallery at the Houses of Parliament “and getting forcibly ejected, still trying to play numbers, and the police lifting you,” then mimics getting dragged away singing She Came In Through The Bathroom Window.  🤣

Then MLH becomes a full-on Monty Python character saying, “What about a hospital?  But I don’t mean for really sick kids.  I mean for kids with broken legs. . . .  Or maybe an orphan’s home.  What about an orphanage?  How does that grab you guys?”  😳

Some say John seems detached.  Maybe he’s high, but I see him as simply listening and thinking.

1:09:23 — John: “I’ve decided the whole point of it is communication.  And to be on TV is communication.  We’ve got a chance to smile at people, like All You Need Is Love.  So that’s my incentive for doing it.”
John: “The worst that we have is a documentary of us making an LP.”

The break-up conversation:

Paul: “But we haven’t played together, you see.  That’s the fucking thing.  But when we do come together to play together, we all just sort of talk about the fucking past!  We’re like old age pensioners.  ‘Remember the days when we used to rock?’  😅  But we’re here now, and we can do it, you know?  But all I want to see is enthusiasm.  See, the thing is also – I get to a bit where I just sort of push all my ideas.”
George: “A lot will come out of it if we could get the enthusiasm.”
Paul: “I mean, why are you here?  I’m here because I wanna do a show.  But I really don’t feel an awful lot of support.”
George: “We keep coming up against that one, and I keep saying, ‘Yeah well, I’d like to do this, this and that.’  And we end up doing something again that nobody really wants to do.”
* 1:10:35 — Paul: “If this one turns into that, it should definitely be the last for all of us.”  (!)  “Because there just isn’t any point.  It’s stupid.  It’s just stupid.  The people who are being stupid are the four of us.”
* 1:11:00 — George: “We need to be creative, instead of being in the doldrums, which it always is.  The Beatles have been in the doldrums for at least a year.  Ever since Mr. Epstein passed away, it’s never been the same.”
[As confirmed in this doc, and also from doing a deep dive into other sources, it was really the unfortunate death of “Mr. Epstein” that started an inevitable domino tumble towards dissolution.]
Paul: “We’ve been very negative since Mr. Epstein passed away.  And that’s why all of us, in turn, have been sick of the group.  It’s discipline we lack.  We’ve never had discipline.  We had a sort of slight, symbolic discipline.  Like Mr. Epstein.  You know, and he sort of said, ‘Get suits on,’ and we did.  We were always fighting that discipline a bit. (everybody laughs)  There really is no one now to say, ‘Do it,’ whereas there always used to be.  Daddy’s gone away now, and we’re on our own at the holiday camp.  And I think we either go home or we do it.  I think we’ve got a bit shy of certain things.  I think I’ve gotten a bit shy of certain things.  Cuz you know how often, like, on albums we sometimes blow one of your songs [to John] cuz we come in in the wrong mood.  And you say, ‘This is how it goes.  I’ll be back.’  And we’re all just, ‘Oh, well you … (scat sings)’  So it’s like, if we’re doing the show, then we’re gonna have to work hard.  And that means by the time a week from now comes all these songs we’ve got, we gotta know perfectly.”
George: “I don’t wanna do any of my songs on the show (!) because they’ll just turn out shitty.”
Paul: “No, but — thinking it’s not gonna come out great won’t help.  If we cancel the show now, we’ll be throwing it away.”
MLH: “But equally, at the moment we haven’t got a show, and so none of us really want to do it.”
* 1:12:35 Paul: I’ll do it.  I’m not interested in spending my fucking days farting around here while everyone makes up their minds whether they want to do it or not.  It’s like Mal said last night, ‘If you’re gonna do the show here, you’ve gotta decide today.’  And as far as I can see, there’s only two ways — we’re gonna do it, or we’re not gonna do it.  And I want a decision!
* 1:12:57 — George: “Maybe we should have a divorce.”
Paul: “I said that at the last meeting.  But it’s getting nearer, you know.
John: “Who’d have the children?”  🤣  the guy who adds levity to the heavy.
Paul: “Dick James.”  😥  (the guy who’s ripping them off for their royalties)

MLH: “We all need you.  And if you can’t get it together, that’s really very sad.  I think what we should do now is let you play a little.”
All agree.

1:13:50–1:17:30Maxwell’s Silver Hammer — Paul on grand piano, very upbeat, teaching the song to and working it up with band.
George on the Fender Bass VI.
Whistling – and tongue clucking.
They’re all very chipper and goofing shortly after their heavy conversation about the band breaking up.

1:15:00 — band goes to lunch (in the Twickenham cafeteria)
Paul says as he’s walking out: “Mal – we should get a hammer.  . . . And an anvil.”  😂
Mal looks around, like “Huh? . . . Me? . . . . . .  An anvil?  . . .”  😄

1:15:20 — Mal on the anvil (!)  HUGE smile on his face  😍
1:15:35 — full band whistling  😀
Full run-thru of song.

1:17:30–1:20:05 — Across the Universe – playing John’s recording (apparently on an acetate lp!) to teach the band — then the band plays it.
Apple’s Peter Brown seen in background.

1:18:01 — band starts to play Across The Universe

* 1:20:05 — Rock and Roll Music by Chuck Berry — Peter Jackson incorporates live Beatles 1966 concert footage — blending with the Twickenham performance! — incredible editing!!!
This is a hit video single from the movie.  😉

1:22:00 — DAY 5 – Wednesday, January 8th

1:22:10 — George talks about what he watched on BBC2 last night (Out of The Unknown) and then the show Europa that then inspired him to write I Me Mine.
Great find by Peter Jackson of the printed TV listings for that night.

1:23:30 — I Me Mine — “Do you want to hear the song I wrote last night”  🙂 — George plays it solo on guitar.
1:25:00 — John’s unfortunate: “We’ll see you later.  We’re a rock n roll band, you know?”  😥

1:25:45 — Paul face-to-face with John: “Have you written anything else?”
John: “No.”
Paul: “We’re gonna be up against a crisis.”
John: “When I’m up against the wall, Paul, you’ll find I’m at my best.”
Paul: “Yeah, I know, John, but I wish you’d come up with the goods.”
John: “Look, I think I’ve got Sunday off.”
Paul: “Well, I hope you can deliver.”
John: “I’m hoping for a little rock n roller.”

1:26:20 — MLH & band & George Martin discussing show ideas — whether to do it at Twickenham a la Hey Jude or somewhere else.
1:27:04 — George Harrison: “I don’t know of anywhere.  That’s why we came here.”
George Martin: “I think you might as well do it right here.”
Paul: “But acoustically it’s not very good here, is it?”
George Martin: “It’s not as good as it could be elsewhere.”
1:27:24 — John sings his answer: “I’d like to say that I like the intimate idea, rather than the large one, simply because we should concentrate on the sound.”

1:27:45 — Two Of Us – Paul singing as Elvis impersonation, John & Paul dancing together!

1:28:07 — Don’t Let Me Down  snippet
1:28:18 — I’ve Got A Feeling  snippet
1:28:40 — Stand By Me – snippet – Paul lead vocal

1:28:58 — George: “Legalize pot.”  😊

1:29:10 — Maxwell’s Silver Hammer

1:29:15 — George’s Les Paul falls over — hadn’t anyone invented guitar stands by 1969?

1:29:30 — You Win Again by Hank Williams – (a song the Dead also covered!) – John vocal, on grand piano, Paul on drums, George on the Fender Bass VI electric bass – an instrument we’ll see frequently in the doc, played at different times by George, John and Billy Preston!

1:30:14 — I Me Mine — John & Yoko waltzing while the other three guys play the song.

1:31:00 — George plays flamenco music, John does a Spanish dance.

1:31:10 — the interminably intolerable MLH wanking on about “staging” each song until John finally tells him to “Just sod off!” and everybody laughs.  😂

1:31:28 — MLH & Denis O’Dell (head of Apple Films, producer of Magical Mystery Tour and The Magic Christian) discussing staging a TV special at Twickenham.
1:31:40 — they show possible staging sketches to Paul — it’s compared to Around the Beatles, their April 1964 ITV hour-long TV special where they played in-the-round.
You can see the whole show complete with sixties go-go dancers, a young Long John Baldry (Got My Mojo Working), Beatles sister Cilla Black, The Beatles’ only ever live performance of Shout (by the Isley Brothers), and the band playing *to* Ringo instead of him behind them, on YouTube . . .

1:31:55 — Paul tells Denis O’Dell — “Show it to John.  John & Yoko know about that.  They’re artists.”  (!)
John: “It’s – Around The Beatles ’69.”  🙂
They talk about putting plastic transparencies in front of the band.  You can hear Paul playing Let It Be in the background.

1:32:35 — MLH talking to Ringo: “Think of a helicopter shot over the amphitheater …”
Ringo: “Yes, but that’s the only argument you’re giving me is the helicopter shot, and you’ll see the sea and you’ll be in the theater.  And that is for one, two minutes, say, of that shot — and that isn’t worth me going out there, when I really prefer to do it here.”  🙂

1:32:55 — John talking about putting in “blocks of plastic in any shape we wanted.  We could move the audience round.”

1:33:10 — back to MLH hectoring Ringo.  🙂  He goes into some weird tangent — “It’s like four years ago.  And there’s nothing wrong with four years ago, except we’re all 28 now …”  Ringo literally laughs at him.  “Well, yes, we are.”  This guy’s nutty as a fruitcake, as my mother used to say.  🙂

1:33:35 — back to John & Denis O’Dell, who riffs on John’s plastic box idea, “Like Kubrick would do.”  (!)  Denis had actually set up a meeting the year before with Kubrick, John & Paul to discuss them making a version of Lord of The Rings.  United Artists had approved the idea, John & Paul were all for it, but Kubrick thought it was unfilmable, and Denis said years later that realistically the band could never have devoted the time to it that it would have taken.  And now here’s the band and producer 50 years later in a movie directed by the guy who finally got Lord of The Rings made!  — and won Best Director and Best Picture Academy Awards for the third installment. 

1:34:00 — MLH — “If it is going to be your last TV show ….” (!)
Ringo responds: “Yeah, but you’re only surmising that.  Just cuz we got a bit grumpy.  We’ve been getting grumpy for the last 18 months.”
MLH: “But I don’t want you to be unhappy cuz, like, I love you like I love your three colleagues.”
I reckon the only reason they didn’t just fire this guy who was clearly so out of his league and out of place was because they were already under such pressure to write the new album in two weeks they didn’t want to also deal with finding a new director and getting him up to speed.
It has certainly crossed my mind more than once — what if they’d asked any number of the very happening late-’60s directors to do this like D.A. Pennebaker, Mike Nichols or Francois Truffaut?

1:34:14 — John with pen in hand drawing a stage plan on the back of the original sheets.  (Boy, these’d bring a pretty penny today!)

Ringo to MLH: “See, I’d watch an hour of him just playing the piano.”  Then he smiles, like, “Sod off with your kooky ideas.”  😄
Then MLH does make the valid observation that he doesn’t want to do it “here on a stage with tubular scaffolding around it.”

Funny / cool editing by Peter Jackson, cutting back & forth between Denis O’Dell talking up the Twickenham shoot, and MLH trying to convince Ringo not to do it there.  🙂

MLH to Ringo, interminably: “If you will take the veto off . . . ” and Ringo just smiles and shrugs, like, “Fat chance.”  😂

1:35:15 — MLH & Tony Richmond join John & Denis.
MLH argues to them that doing it in a studio isn’t the “one in a million” setting he’s going for.  (he’s right about this)  Then he goes back into his “Can’t you see this at night, torch-lit in the desert” routine.  😮

1:35:27 — Denis asks MLH: “What’s George’s latest reaction to all this?”
MLH: “I don’t know.”
Denis: “Well, you’ve left out a quarter!”  🙂
MLH admits “the documentary is running out of gas.”
Denis responds “It’s really why I’m letting you go on shooting stock — cuz I knew you’d come on the third day and say, ‘What else is there?'”
* People give MLH credit for the original footage — but it was an Apple decision and production and funding.

1:35:50 — MLH to John: “Paul and you are not getting on as well as you did.  It’s not as easy.  What do you feel about that?  It [this show] might make it better again – whatever the wound is.”
John: “Yeah.  That’s what I was thinking.”  (!)

1:36:20 — Everybody moves to a group meeting around the grand piano.
Paul: “An outdoor scene has to be in England.”
Denis: “It’s too bloody cold.”
Paul mentions the super-ornate & gorgeous Tower Ballroom in London.  [click on this link and see this room!  😉]
George suggests them doing it as “a nightclub act.  Just the smoochy low lights and about ten people.”  [they ended up with a seated audience of four on the roof!]
MLH keeps stressing the audience “really ought to be the whole world.”
Denis says they’re now circling back to the Sabratha amphitheater in Libya.
MLH: “I don’t think anything is going to beat a perfect acoustic place by the water out of doors.”
Denis begins advocating for the amphitheater.
1:38:35 — John arrives and joins conversation.
MLH: “We’re off to Africa.”
Paul: “No we’re not.”  🤣
George: “What is the point of doing it abroad?  I’d much rather do it here, and then go away.”
John seems to like the outdoor amphitheater idea: “It’s like having the most fantastic set on earth.”
Ringo: “But how many are going to be looking at the set besides us and him?”
John mentions how “Every time we’ve done an album, we’ve said, ‘Why are we stuck in EMI?’  We could be doing it in L.A.  We could be in France.  And here we are again, building another bloody castle around us.”
Paul: “Well said, John.  Well said!”
John: “And this time we do it there.  I’d be thrilled to do it — timing it so as the sun came up just on the middle eight.”
John: “Just give me one reason to stay here.”
Ringo: “For the people!”
John: “The people?  That’s the only reason.  Alright, so we take ’em with us.”
Paul: “Look, we were gonna give tickets away at this door here.  We’d give out those tickets, but they include a boat ride as well.”
MLH: “We take them with us, and that’s the show.”
George: “It’s just impractical to try and get all these —”
Paul: “But it’s not, you see —”
George: ” — lug all them people there, and try and get all that equipment …”
John: “That’s not our problem.”
George: “Of course it’s our problem.”  [good for George!]

1:40:15 — WHAT is with MLH and these stupid code names for the bandmembers?  NOBODY uses them but him.  The guy is so infantile and so off-base so often!  For the life of him, he can’t play in the key of the song being played around him.

Paul: “So, like, I’ll come in with you, as long as you can get a couple of boats, like the QE2.”

George: “And then we’re stuck with a bloody big boatload of people for two weeks.  😄  At least you can go home from here.  You can get away from it all.  I think the idea of the boat is completely insane.  It’s very expensive and insane.  Who’s gonna cough up for that?  They haven’t even made back the money it cost to buy the film for Magical Mystery Tour.”  (!)  Boy, it sure comes across in the many hours of this doc how absolutely essential George was to this magical alchemy.

John: “We should be able to get the boat for the publicity they get from it.”

George: “They won’t even give us a free Fender amp!”  😂

Denis: “You’d love the place.”

George: “I may love the place, but I’d rather do the show here, and then go and love the place.”  😂

Ringo rightly asks: “How are you going to get a ship in a couple of days?”
John: “We got the American Navy for How I Won The War.”
Shows footage from the 1967 Richard Lester film.
Ringo: “I was there.  Yes, I know.  But they were passing by and you only used them for a few hours.”

It ends with MLH trying to get them to agree to the Libya idea, and bandleader John lays it down – “We’ll mull it over tonight.  Leave it in the air and just think about it.  We can all say yes now and somebody can decide no tomorrow.”  [see, also: tomorrow]  🤣

1:42:15 — DAY SIX — Thursday, January 9th

1:42:20 — Paul brings Linda to Twickenham

1:43:12 — Another Day by Paul & Linda — Paul solo on grand piano

1:43:40 — The Long And Winding RoadPaul running thru it solo on the grand.

1:43:55 — Ringo to MLH: “I went off the boat, actually.”
MLH keeps arguing for the show being for “the world.”
Ringo says: “The biggest part of our world is America and England.”

1:44:50 — Paul and Mal discuss locations for the show.
Paul suggests doing it on a farm in Scotland. (where he bought a farm in 1966 and would retreat later this year as the band dissolved)

1:45:20 — Mal asks Paul if he ever saw The Wizard of Oz  🙂  and Paul says No!!

1:45:52 — Mal helping Paul write the lyrics to Long & Winding Road!

1:46:25 — MLH & Linda praising Ringo.  Linda: “I feel the most relaxed around Ring.”

1:47:35 — Golden Slumbers — early take – Paul solo on grand piano – with Ringo sitting at his side.

1:47:42 — Linda taking pictures.  And Peter Jackson incorporating them!  Wow!  😉

1:48:58— George arrives.

1:49:40 — Carry That Weight — Paul’s song for Ringo to sing!
George and Ringo gather around the piano and sing it with Paul.
Another song about what they were all going through to add to All Things Must Pass, On Our Way Home, Get Back, & Let It Be.

1:50:53 — the beautiful (Grateful Dead-like) The Castle of the King of the Birds  (!)  (writing credit to all four Beatles) – George on drums!  😮

1:51:25 — For You Blue — George song, on acoustic guitar.  Paul on grand piano.

1:53:00 — Get Back again — the version condemning white nationalism.

1:55:00 — Commonwealth  (Lennon/McCartney) — the commentary song on British racism — Yoko dancing in her seat!  John & Paul laughing together.

1:58:30 — She Came in Through The Bathroom Window — great
John on grand piano.
Fantastic film editing!

2:01:05 — Mal mentions it was Elvis’s 34th birthday yesterday.
John salutes “God bless our gracious king.”  😁

2:01:20 — George talking about locations for the show.
George: “Shall we do some other people’s tunes as well?  That’d be nice.”
John: “I don’t know any.  I can only just bear doing your lot’s songs.”  🤣
George: “Some other people’s songs are much better than ours.”
John: “That’s why I don’t learn them.”  😂
[Sure wish George would have mentioned some songwriters or songs he admired!]

2:01:50 — Honey Hush by Big Joe Turner for ten seconds

2:02:05 — For You Blue for a few seconds

2:02:35 — Suzy Parker – Beatles original, composition credited to all four – John lead vocal

2:03:05 — House of the Rising Son for a few seconds

2:03:33 — Mama, You’ve Been On My Mind — 30 touching seconds of George on acoustic guitar singing Dylan

2:04:00 — Across The Universe — goofing version

2:04:25 — Shakin’ In The Sixties — goofing riff

2:04:55 — Let It Be — serious Paul solo on piano run-thru — great version.
Linda taking pictures.
2:06:10 — Linda & Yoko talking.
John playing the Fender Bass VI.
Glyn definitely helping with the arrangement (again).
More great visual editing by Peter Jackson.

2:08:05 — Let It Be take two — vocal harmonies
2:08:40 — Yoko & Linda talking again.

2:09:40 — DAY 7 — Friday, January 10th

2:09:45 — weird awkward scene with music publisher Dick James – reviewing the Northern Songs catalog.  Paul doesn’t seem to like/trust him.
2:12:50 — Ringo to George: “Would you like to see what you have half a percent of?”  😢

2:13:20 — George: “Neil [Aspinall] would like us to have a meeting.  He was very excited.”
John: “Was he?  Good news?”
George: “Yes, very.”
John: “Oh, alright, I’ll come for good news.”  😁

2:14:13 — Get Back – rockin crazy high-energy version

2:14:30 — Hi-Heel Sneakers (by Tommy Tucker) – John lead vocal

2:15:00–2:21:05 — Get Back
2:15:10 — shots of Glyn Johns’ makeshift recording console room.
John & Paul face-to-face, happy, working out the chords.
Jamming it / rocking it out / having fun.
It’s a beautiful thing to see them collectively working together.
Paul writing / working out the arrangement with the band; and then the lyrics.
Paul is being critical of George’s contributions.  😥

2:21:05 — Two Of Us — cool film editing.

2:22:20 — George leaves band — when they break for lunch — ie; early in the day
George to John: “I think I’ll be leaving the band now”
John: “When?”
George: “Now.”

George: “Get a replacement.  Write into NME and get a few people.”
Mal: “I’ll ask George Martin to see about residuals.”

2:22:57 — Film shows George’s diary!!  Is this real?!?  It presents it as real.

Friday January 10th, 1969:
“Got up, went to Twickenham, rehearsed until lunchtime – left the Beatles – went home.”

2:23:40 — I’ve Got A Feeling / Don’t Let Me Down — just the trio — almost primal scream therapy versions.
2:24:30 — Yoko “singing”
2:25:25 — Paul on drums
2:25:30 — Ringo’s funny faux radio report – “The big sound of 1969.”  😁

2:25:49 — Maxwell’s Silver Hammer

2:25:51 — Paul playing on scaffolding like a monkey-gym.

2:26:06 — MLH still pimping his show while the band is breaking up in front of him (!) I don’t know if I hate this guy or just strongly dislike him.
MLH: “Maybe for the show you could just say George was sick.”  😮
John: “No.  I mean, if he leaves, he leaves.”

2:26:18 — John: “If he doesn’t come back by Tuesday, we get Clapton.”
Yoko at the microphone singing “John John John” (!?)

2:26:45 — Maureen Starkey’s first appearance!  (aka Mo)  Soon to be a hero of the story.  💓
and Neil Aspinall — Apple Corps Managing Director – two people who were there from the Cavern onwards
— both appear on the scene — undoubtably because of the new band crisis — sitting in the chair circle on the soundstage.

2:26:53 — Neil: “Really, the box that George is in, it’s him versus John & Paul, when it comes to what they’re gonna do and what they’re gonna play.  You try doing that for a few months, you’re gonna end up pissed off.”

2:27:08 — George Martin: “They’re our songwriting team, and he’s his own team.  And if he’s not working on his own song …”
MLH: “Yes but, John & Paul aren’t writing together much anymore, are they, really?”
George Martin: “Nevertheless, they’re still a team.”

2:27:20 — Paul jokes to Maureen — “A-7 … D-7 … G-7 — get ’em off over the weekend and you’re in.”  🤣
I love the love between Paul and Mo.  ❤️‍🩹

2:27:27 — band meeting in chairs on the soundstage – also with George Martin, Neil Aspinall, MLH & Glyn Johns.
John approaches — “So, cats and kittens, what we gonna do?”  🙂

2:27:41 — MLH talks about being an actor and working with Orson Welles.  (There was an unsubstantiated rumor MLH was Welles’s son.)  He talks about Welles quitting a production — but he came back an hour later.

They sure don’t seem worried about George leaving.

2:28:05 — Paul: “The Mersey Beat Award for Best Couple of The Year goes to John & Yoko.”  🙂

2:28:20 — Paul: “I think we should do the show in The Cavern.”  (!)
George Martin: “Location isn’t really a main problem at the moment.”

2:28:35 — George’s song Isn’t It a Pity starts playing over somber-looking faces.

* 2:29:10 — John, Paul & Ringo all huddle and embrace with coats on by the scaffolding.

Title card:
“John, Paul & Ringo decide to meet with George, hoping to convince him to rejoin the band.”

2:29:29 — Image of Ringo’s beautiful house.
Title card:
“On Sunday [Jan. 12th], the four Beatles, along with Yoko & Linda, meet at Ringo’s house.”

. . .  fade to black  . . .

“The meeting does not go well.”

2:29:50 — Credits start — they’re 6 mins 50 secs long.
The song credits are unique to each episode, and songs are listed in the order they appeared in the episode.

Recording of Isn’t It A Pity by George plays over closing footage and credits.

Then The Castle of the King of the Birds  (!)  (like the Grateful Dead’s Fire on The Mountain)


Re: George leaving the band:

Peter Jackson said in that must-see 4-hour discussion about the film (in the YouTube link at the top of this page) that at the time George left the band he was also having a domestic crisis at home, which Jackson didn’t include in the doc, in part because there was probably no audio or video of it, and also he didn’t want to get into those kinds of personal side stories.  But Pattie Boyd writes about it in her memoir Wonderful Tonight that at this exact time in early January ’69, George was having an affair with a 20-year-old French girl (Charlotte Martin), and Pattie actually left him over it.  Plus his mother was seriously ill up in Liverpool (necessitating George’s trip there mentioned in episode two), so there were serious external pressures in his life besides whatever was going on with the band.


Some Post-Episode-One Observations, written and posted online before Episode Two was released:

In interviews, Peter Jackson tells the story of how, back in 2017, 29 seconds of silent unseen Beatles footage was uncovered from when they were filming Help — and how it became a news story all over the world.  😮 Even if you subtract the original film’s entire 81 minutes from this 455 — that still leaves well over six hours of footage of unseen footage!  You can catch the 29 seconds here.

GREAT sound editing — including inserting the sound of pages turning when they’re flipping through a magazine (or birds chirping with the photo of Ringo’s house in the next episode) and other such subtleties that help bring the images more to life.

And the film editing is just f’ing BRILLIANT.

Upon second viewing I’m choked up / crying in joy.  This is SO well made!

I find my mouth hanging open so often when I’m watching this.  🙂  I’m literally jaw-dropped.  😮

This is the greatest movie ever made!  🙂  or so I think right now.  😄

Glyn Jones is really the album’s producer — George Martin isn’t there very much at Twickenham.

Phil Lesh was a trumpet player — then was enlisted as the bass player.
Paul McCartney was a guitarist — then morphed into being the bass player.

“Liverpool is the capitol of Ireland.”  Paul in McCartney 3,2,1.

I know Peter Jackson praises Michael Lindsay-Hogg, but Hogg f’ed up.
He missed the joy; and he misrepresented what happened.
He was as misguided in his documentary choices as he was in his insistence of the show being in Libya.

I don’t know how songwriting royalties work on streaming services — but a LOT of songwriters (or their estates or whatever) are gonna get nice paycheques from this.

John & Paul are really a creative partnership, no matter who comes up with the song first.

This has clearly joined Don’t Look Back, Woodstock and The Last Waltz as one of the greatest rock docs ever made — it’s just whatever order ya wanna rank ’em.  😉




EPISODE TWO — Days 8 thru 16 — January 13th thru 25th, 1969

2 hours & 47 mins  (plus 6½minutes of credits)

Rehearsing / Recording at Savile Row

0:55 Day 8 — Monday, January 13th, 1969 — still in Twickenham

2:05 — Ringo, Mal, MLH, Tony Richmond & Kevin Harrington talking about the band meeting yesterday with George.
Ringo: “It started out fine, then it all sort of fell apart in the end.”

2:35 — MLH on the state of the documentary.

2:57 — Flowers arrive “for Mr. Harrison.”  (from the Hare Krishna people)
MLH: “Harry who?”  😂  

3:40 — Paul & Linda arrive.

4:30 — Neil Aspinall (Apple’s Managing Director) — frizzy hair — joins.  Then Glyn Johns also joins.

4:35 — Sitting in a circle of chairs in Twickenham:
Paul, Linda, Ringo, Tony Richmond, Glyn Johns, MLH, Kevin Harrington, Neil Aspinall.

4:50 — Linda saying that at the George meeting yesterday Yoko was speaking for John and she doesn’t think he (John) “believes any of that.”  (!)
Paul says George walked out, saying, “I’ll see ya.”

5:10 — Long riff by Paul about John & Yoko — defends them as a couple.  He REALLY doesn’t mind her being there.
5:20 — Paul: “If it came to a push between Yoko and the Beatles, it’s Yoko, you know.”

5:40 — MLH: “When John and I were talking the other day, John said he really didn’t want to not be a Beatle.”

5:50 — MLH asks about Paul & John writing together.
Paul: “We’ve cooled it because we’re not playing together.” … “We used to live together, in the same hotels, get up at the same time every morning …”
Paul: “Musically we can play better than we ever have before.”
Paul: “It’s difficult starting out from scratch with Yoko there.  I start writing about white walls cuz I think John & Yoko would like that, but they wouldn’t.”

6:30 — Paul: “She’s great.  She really is alright.”
Paul: — “It’s silly for anybody to say, No you can’t do that.”

7:09 — Paul: “For them to be able to compromise, I have to be able to compromise first.”

7:18 — Paul: “We probably do need a central daddy figure to say, you know, ‘Nine o’clock, leave your girls at home, lads.'”

7:30 — Paul: “It’s gonna be such an incredible sort of comical thing, like, in 50 years time  (!)  ‘They broke up cuz Yoko sat on an amp.'”

Paul & Ringo start bringing their girlfriends/wives to the studios after John brought Yoko.  This is a great thing breaking the old-school world of women being second class citizens, and as reflected in John’s song on Sometime In New York City

8:25 — MLH and Paul talking about short-term plans.

9:00 — Paul’s news bulletin show idea — and the final bulletin would be “The Beatles have broken up.”  (!)

9:35 — “And then there were two.”  Paul says, looking sad, teary eyed.  [And, ironically, it’s the two who are the only two still living in 2021.]

10:20 — Linda — “We looked at Help the other night, and Hard Day’s Night, and that was them playing …”

10:35 — MLH to Linda — “I’m a bigger fan than you are.”  (!)  What an incredible jerk this guy is.

11:15 — MLH: “I thought the other day I might leave, but then I thought, they won’t even notice.”  That’s one thing he’s got right.  😁

11:40–16:00 — The John & Paul cafeteria scene with the mic in the flowerpot talking about the George problem.  SO cool.
If you think it’s hard to understand now — you should hear the original on bootleg!

John:  It’s like George said — he didn’t get enough satisfaction anymore, because of the compromise he had to make to be together.  It’s a festering wound that we’ve allowed to … and yesterday we allowed it to go even deeper, and we didn’t give him any bandages.  And when he is that far in, we have egos.

Paul:  The thing is, that’s what I was trying to say to George, you know.  Whereas previously I would have said, ‘Take it there with diddle-derddl-diddle-der.’  But I was trying last week to say, ‘Now take it there.  Anything you like.  Put whatever you…’

John:  You see, the point is now, we both do that to George this time, and because of the buildup to it.

Paul:  Yeah, we treat him a bit like that.  See, cuz he knows what we’re on about.  But I do think that he’s right.  That’s why I think we’ve got the problem now, you know, the four of us.  You go one way, George one way, and me another.  But I know it’ll apply to all of us, if one day you can all be singing like you sing.  George can be really playing, I mean, like he plays, not like I keep trying to make him play.

John:  Yeah, okay, because you’re afraid that how he’ll play won’t be like you want him to play, and that’s what we do, and that’s what you do to me.  And I’m not gonna tell you what to play.

Paul:  See, that … that seems to be the trouble, is that if you’d have been able to say that on the occasion, just even to say, ‘Look, I’m not gonna say anything about the song because it’s very difficult, I’m gonna really try and now…’

John:  You know, I’ve always done the numbers like that.  Now, the only regret about the past numbers is when, because I’ve been so frightened, I’ve allowed you to take it somewhere where I didn’t want.  And then, that my only chance was to let George take over, or interest George in it.  If you give me your suggestions, let me reject them and pinch the ones I like… is where my writing side is.  Same goes for the arranging.  I don’t want it to… I don’t know.

Paul:  I know.  I do know.  I know what you mean, yeah.

John:  ’Cause there was a period where none of us could actually say anything about your arrangements ’cause you would reject it all.  I’d have to tell George and I would just say, you know, like you do about me.  You know, ‘I’m Paul McCartney’, and a lot of the times you were right, and a lot of the times you were wrong. Same as we always are.  But I can’t see the answer to that, because you’ve suddenly got it all, you see.

Paul:  I really don’t want you…

John:  Well, all right.  I’m just telling you what I think.  I don’t The Beatles revolve around the four people.

Paul:  You know, but I tell you what.  I tell you one thing, what I think.  The main thing is this: you have always been boss.  Now I’ve been, sort of, secondary boss.

John:  Not always.

Paul:  No, listen.  Listen.  No, always!  Really, I mean, it is gonna be much better if we can actually just stick together and say, ‘Look George, on I’ve Got A Feeling I want you to do it exactly like I play it.’  And he’ll say, ‘I’m not you, and I can’t do it exactly like you do it.’

John:  But this year, what you’ve been doing, and what everybody’s been doing, I’ve not only felt guilty about the way we’re all guilty about our relationship to each other, cuz we could do more.  And look, I’m not putting any blame on you.  I’ve suddenly realized this, because that was my game, you know, but goals, they’re still the same.  Self-preservation, you know. I know what I like, I’ve let you do what you want and George too, you know.

Paul:  Yeah, I know

John:  If we want him, if we do want him, I can go along with that, because the policy has kept us together.

Paul:  Well, I don’t know, you know. See, I’m just assuming he’s coming back.  If he isn’t, then he isn’t, then it’s a new problem.  And probably when we’re all very old, we’ll all agree with each other, and we’ll all sing together.

16:20 — Loading George’s 8-track recording equipment back into the truck.

16:25 — Ringo: “George has gone to Liverpool.  He’s due back Wednesday.”  [George’s mother is sick; she would pass away 18 months later.  Ringo’s saying this on Monday – so George is not in London for 3 of the 7 days he “quit.”]

16:40 — The three start rehearsing again.

16:55 — Get Back — Mel handwriting the lyrics.
John & Paul writing / trading lyric ideas.

18:35 — Paul citing the use of “Tucson Arizona” because that’s where they make the High Chaparral TV show on NBC.  🙂
[Chris O’Dell, from Tucson, was given the job of typing up these lyrics, and she got a pang of fear that they were telling her to leave — to get back to where she once belonged!  🙂 ]

18:40 — taking a crack at Get Back.

19:45 — more show planning with MLH & Paul.

20:25 — Paul shows setlist still taped to his bass from the last U.S. concert tour!

20:30 — DAY 9 — Tuesday January 14th

20:35 — Paul telling Paul Bond (clapper guy / second camera) how all the music ever written is on the piano.

21:15 — Martha My Dear — Paul solo on grand piano.

22:10 — Ringo shows up – Paul: “Good morning, Rich!”
Ringo & Paul’s joyous animated duet on grand piano.
It’s SO great cameras were rolling for this!

Glyn Johns sure seems cool.

23:20 — Paul singing Woman on grand piano — early Beatles song.

25:00 — The Back Seat of My Car — Paul song — on grand piano.

25:20 — Song Of Love — Lennon/McCartney song — goofing in Elvis impersonation.
Ringo operating the film camera.

26:25 — sets for The Magic Christian coming onto the soundstage.

26:34 — Paul taking about making a scripted movie.  Funny group goofing on roles for different people.
Paul: “Do you want to be a goody then, Glyn?”
Ringo: “The roughneck who changes.”
Glyn: “With a bit of sentimentality.”
Paul: “The hard drug-dealing yob.”
Ringo: “With a good heart.”
Paul: “Who turned to religion.”
Paul: “Ringo’s the schoolteacher who goes to see him.”
Ringo: “Mal’s the policeman who’s gone wrong.”
Mal: “They’ll never get anything out of me unless they use a pump.”
Paul: “Tony [Richmond] is in it.  He’s the fence — where Glyn gets rid of the drugs.”
MLH: “Can I be in it?”
Ringo: “You can be a traffic sign.”  🤣  🤣  🤣

27:45 — Paul goes up on chain pulley into the scaffolding.

28:20 — John, Paul & Ringo sitting in chairs goofing — classic Beatles humor — something both Brian Epstein & George Martin cited as an important reason they first wanted to work with these nobodys.
Glyn and Mal sitting behind.
John: “A lot of us started with Rosy.”  🤣

29:00 — John: “I see you’ve given up smoking, Richie.”  😁

29:25 — Peter Sellers shows up.  The Beatles were fans of his from The Goon Show days in the late ’50s.
Sadly he doesn’t do much but smile.
John goofing and being funny.  “You’re talking to the ninth-best-dressed pop singer in the world, you know? . . . Look out Tom Jones, I say.”  🤣
31:30 — Peter Sellers leaves.

31:40 — Talking about the documentary and scheduling.

32:10 — John: “I was up late, sorta stoned and high and watching films.”

32:54 — Paul: “We can’t carry on like this indefinitely.”
Paul: “What we need is a serious program of work.”
Paul: “To wander endlessly is very un-swinging.  Un-hip.”
Paul: “What we need is a schedule.  Achieve something every day.”  (!)  <— that’s MY working practice in life!  💖
Paul’s drinking white wine pretty early in the day!

33:50 — George Martin shows up and sits with them.
John goofing with camera and scat riffing.
John on masturbating — “You don’t go blind … but very short-sighted,” he says, squinting through his thick glasses.   🤣

35:40 — Mean Mr. Mustard — John song — audio only, no footage.

* 36:20 — Madmen – unreleased John song – on electric piano!

36:52 — Discussing immediate band plans in the absence of George.
37:01 — Paul: “I think we stop filming now — as a matter of policy.  That’s a wrap for you, lads.”
37:08 — audio only — Paul: “George is in Liverpool now [Tuesday], and he’s supposed to come back tomorrow.”
John: “So we should go and see him, you think?”

Title cards:
“Rehearsals are cancelled for tomorrow.”
“John Paul and Ringo will meet with George again.”  [at Ringo’s House – “Brookfields” – a 16th century mansion in Elstead, Surrey, that he bought from Peter Sellers]
“The meeting [on Wed. Jan. 15th] is positive and productive.”
“The live TV Special is abandoned.”
“They will relocate to their new Apple Studio, and record the songs there.”

37:55 — Nice Savile Row footage.

38:15 — DAY 10 — Thursday, January 16th

Packing up at Twickenham.

38:40 — Glyn Johns in his little temporary control room at Twickenham.

38:50 — Oh! Darling – Paul solo on grand piano.

39:05 — Twickenham band gear being broken down and carried out by Mal & Kevin.  (Mal in a suit!?!?)

40:20 — George Harrison seen showing up at Twickenham.  (?)

George Harrison & Glyn go to Apple and find the studio unacceptable. (no footage)

41:08 — Shot of the Abbey Road Studio doorway when it was still called EMI Recording Studios.

Friday January 17th / Saturday the 18th / Sunday the 19th — the Abbey Road (EMI) team installs new equipment into the Savile Row basement — creating the Apple Studio.

Title cards:
“An 8-track recording desk is created by lashing together two portable 4-track mixing consoles.”
“The sound is then fed into George Harrison’s 8-track recorder.”

41:55 — DAY 11 — Monday, January 20th  —  Apple Studio 

42:00 — More great Savile Row area footage.  Rosemary’s Baby on an Evening Standard poster with the headline: “The Weird Mia Farrow Film That Has The Censor Anxious”  😁

42:20 — Title card:
“On Monday morning Apple Studio is not quite ready.  The Beatles will continue to rehearse, and start recording on Tuesday.  For this first day at Apple, cameras are not allowed inside.”

42:30 — The documentary film crew interviews two girls out front — “Apple Scruffs” Eileen Kensley & Sue Ahearne — who can be seen again on the street during the rooftop concert in episode 3 at 1:53:25 standing behind the hood of the silver car.
John & Yoko arrive in white Rolls Royce.
It looks like it’s DP Tony Richmond who’s interviewing the girls, and he asks them about John & Yoko — who wonderfully answer, “It’s his choice, isn’t it.  It’s got nothing to do with anybody else really.”
Tony asks them — “You’ve obviously read in the papers about the possible split of the Beatles.”  (!)
“What would you like to see the Beatles do now?”
The girls answer — “A show.  A live show.  Any show.”
. . . . then the camera pans up to the roof.  🙂  This is great freakin filmmaking.

44:05 — DAY 12 – Tuesday, January 21st
Savile Row studio recording — green (apple) carpet, white walls, small-ish room.

44:47 — George Martin sashays in like a gunslinger who owns this town.

45:43 — The band seems to be happily reunited.  George: “Good vibes, man.”  🥰

46:00 — Ringo complements Glyn on his sound and the acetates he’s making and the sequencing of songs

46:30 — Yoko asks George Martin where to buy classic piano music scores.

47:30 — News story about Beatles punching each other.  “It wasn’t the first time they traded a few punches.”

48:00 — Derek Taylor — being asked about the bad press, and about suing the writer. John & George mock punching each other.

John is totally together and into it — showered, hair combed.

48:30 — You Are my Sunshine – a Ray Charles #1 hit in 1962 – John singing.

49:00 — MLH asks John to do intro for Rolling Stones Circus.

So good to see all four back together and smiling again.
Especially including George!

The Beatles Get Back all the band smiling and happy

51:00 — John reading from the newspaper – funny – band jamming on it.

52:00 — Mal arrives with crazy Magic Alex bass/regular guitar with spinning neck.  🤣

53:10 — New Orleans (originally by Gary U.S. Bonds) – all three on vocals

53:20 — Queen of the Hop (by Bobby Darin) – Paul & John trading lead vocals

George looking through a stack of new albums.

Glyn & company moving in PA speakers, setting up recording consoles.

53:46 — Gilly Gilly Ossenfeffer Katzenellen Bogen By The Sea – a 1954 hit in the U.S. by a group called The Four Lads  (!)  — and in England by Max Bygraves.  Lead vocal by John.

54:15 — Thirty Days by Chuck Berry – but was a hit for both Ronnie Hawkins & The Hawks and Cliff Richard & The Shadows who both called it & and sang it as Forty Days.  John lead vocal.

54:42 — Too Bad About Sorrow – Lennon/McCartney original ­– Paul & John sharing lead vocal

56:00 — Dig A Pony – new John song

56:54 — Glyn Johns: “I keep telling you not to, and you won’t listen to what I say.”
Paul: “You’re right.”  😁
This back-and-forth reflects the cool joking banter that the Beatles themselves exchange — and that George Martin and others have cited as a difference between the three Beatles and Pete Best.
MLH is the Pete Best of this collective.  Glyn Johns is Ringo.  😉

56:58 — unboxing the Leslie speaker.

57:55 — My Baby Left Me – by Arthur ‘Big Boy’ Crudup – rockin’ out, John on vocal, Paul on drums.

58:16 — Hi-Heel Sneakers – by Tommy Tucker – John vocal, Paul on drums.
Yoko actually seat dancing!

58:40 — Hallelujah I Love Her So – by Ray Charles – John vocals

58:56 — George looking at Beggar’s Banquet album.

59:09 — Article appears — “The End of a Beautiful Friendship” — ie; The Beatles breaking up is WAY in the air.
59:36 — Paul reading from the fucked-up article.  John & George play to it — a spoken-word and music improvised collaboration.  😍
Denis O’Dell shows up in Apple Studio.

1:01:00 — Good Rockin’ Tonight – John singing Elvis Presley’s hit — with Paul reading the newspaper article in the background.

1:03:30 — Dig A Pony – great full band run-through

Peter Jackson said the move to Savile Row was when you saw John resume control of the band.  And he’s right.  (of course)

1:05:15 — Shout “Shag”  🙂  by the Isley Brothers (the song they climaxed the Around The Beatles TV show with)

1:05:40 — John and Ringo walk out of studio arm-in-arm.

1:05:50 — They go in control room to listen to playback of recording.

1:06:20 — They’re totally goofing and having so much fun.  😍

1:07:08 — Dig A Pony – serious take for Glyn

1:07:50 — John writing Dig A Pony lyrics – blue pen on paper.

1:08:20 — Dig A Pony – next take
John suggesting to Ringo drum patterns for the song.

1:09:40 — Madmen – John’s song bit again

1:09:50 — I’ve Got A Feeling / Don’t Let Me Down
great editing of images together

*  1:11:07 — John: “We need somebody else.  Probably be like a guy that plays piano all the time — that one that plays with the Stones.”
Paul: “Nicky Hopkins.”
John: “Yeah.”

1:11:50 — Don’t Let Me Down – crazy playful goofing version 

1:13:00 — She Came In Through Bathroom Window — John on electric Fender piano, Paul teaching song to band.
Incredible visual editing by Peter Jackson.

1:15:40 — GREAT John & Paul talking, eye to eye, about vocal harmonies and getting the riffs right.

1:16:10 — DAY 13 – Wednesday, January 22nd

1:16:17 — John & George reading more newspaper accounts of the band.

Ethan Russell photographer
Derek Taylor in studio

The boys are getting along GREAT.

1:18:35 — The studio walls seem to be equipped with folding panels that can switch from metallic reflectors to padded absorbers. (!)  (?)

1:18:40 — Paul & MLH discuss Primrose Hill show idea.

1:19:40 — John: “Did you see Fleetwood Mac on Late Night Live last night?  They were so sweet, man.  Their lead singer [Peter Green] is great, looks great.  And he sings very quiet as well.  He’s not a shouter.”  Then John mimics the sound, as George leans in, riveted.
Paul: “It’s a bit like Canned Heat.”
John: “Yeah, but better than Canned Heat.”
George: “There was only four of them last night, weren’t there?”
John: “Yeah.  They’re really good, though.  It’s just that sweeter, just the guitar hanging.”

1:20:10 — Going Up The Country (Canned Heat) — Paul vocal

1:20:45 — Dig A Pony – full band take (short)

1:21:40 — I’ve Got a Feeling – rough working out

They’re having SO MUCH fun!

1:23:15 — new goofing take on I’ve Got a Feeling

1:24:15 — John talking about MLK and “I had a dream.”!!  “Like a big poem it was.”  How he was like a poet – “like Tennyson, he was.”

George – “We should make a collage of our gold records on the wall.”
John – “If you can get them off Mimi’s wall.”

1:26:30 — Billy Preston arrives — doesn’t know they need a keyboard player
[the exact half-way point of the episode, to the second!]
He’s in London to do a couple of TV appearances.  According to both Tony Bramwell and Chris O’Dell, Billy’s UK agent Larry Curzon was at William Morris next door to Apple and was always coming by their building.  When it became known that Billy was in town, Chris called Larry to arrange a time for him to come by.

Big smiles and happy greetings all around.

1:26:50 — John gives Billy the lay of the land — how they’re playing everything live.  “Every number’s got a piano part.  And normally we overdub it.  But this time we want to do it live.  I mean just live to ourselves.  Straight off, one number after the other.  And that means having somebody in on it.  If you’d like to do that, you’re welcome.”

1:27:05 — Billy — big laugh / smile — “Sure.  Beautiful!  Ha!  Are you’re kidding?!?!” and he giddily laughs again.

The Beatles and Billy Preston at Apple Studio 3 Savile Row

John is the leader who asks him to play with them.
Nobody else in the band could have done that.

1:27:25 & :31 & :34 — George Martin seen smiling bigger than I’ve ever seen him.  🥰

1:28:23 — kick-ass “I’ve Got a Feeling” — Billy on electric piano – BEAMING away!  🙂
I reckon this is the first song he played with them.  And of course he’s locked right in.
1:28:34 — euphoric Paul smiling at what’s happening — ten seconds into the song!!
Fantastic camera work & editing throughout all this!
1:29:00 — Yoko seen smiling at the music being played.
1:29:28 — song ends
John: “You’re in the group.”  😍  🤣

And just like that  —  The Beatles are a quintet!!!   🤩

In these 3 minutes, the entire storyline changes.

Imagine when Billy got back to wherever he was staying that night and phoned whoever he was closest to at the time.  “You’re not gonna believe this, but . . . ”   🤩   🥰

1:29:45 — Don’t Let Me Down – short

1:30:01 — John: “You’re givin us a lift, Bill.” 🙂

Wow — they’re really starting to gel!

Billy is just BEAMING ear-to-ear

1:30:15 — Don’t Let Me Down – couple more takes
1:31:15 – Billy takes a rockin’ solo

1:32:10 — Save The Last Dance For Me – the 1960 #1 hit for The Drifters with Ben E. King on lead vocals

1:33:05 — Dig A Pony with Billy

1:34:20 — the band goes to the control room to listen to playback

1:34:40 — Don’t Let Me Down – John flamenco guitar

1:35:35 — MLH again talking about concert plans

* 1:36:10 — John tells MLH how they *have* the documentary —  “It’ll be fantastic.  With this whole buildup from bits of paper in Twickenham, all that scene, and it’ll be a movie, not a TV show.  It’ll be the third Beatles movie.  It’s good enough now.”

1:36:40 — Peter Brown Apple exec shows up — talk about Allen Klein  😥

Brian dying and Klein comin in were a one-two death knell to the band.

1:37:30 — DAY 14 — Thursday January 23rd

1:38:00 — Freakout Jam — Yoko screaming — Paul on drums.
Band members filmed from 2nd floor window arriving at 3 Savile Row.

1:38:55 — MLH in a full suit & tie, John, Ringo & George Martin plotting out the recording and show schedule.
1:39:05 — George Martin: “You’re working so well together right now [John “Yes”] let’s keep it going.”
1:39:14 — MLH: “I think we’ll aim for next Thursday.” [which turned out to be the day they indeed did it.]
They plan to work thru the weekend — for once!  🙂

1:39:45 — Twenty Flight Rock by Eddie Cochran — Billy dances into studio.  🥰
This is the song Paul played for John (and impressed him) the first day they met (July 6, 1957).

1:40:20 — Paul cites great names of the ’50s – Eddie Cochran, Gene Burks.

1:41:30 — Oh! Darling

1:43:06 — first time we see George playing his custom-made Rosewood Telecaster that he’d later play on the roof concert.
Sometime in the next year he gave the guitar to Delaney Bramlett, who ended up lending it to Jerry Garcia to play during an Ian & Sylvia jam in the Festival Express documentary about the infamous 1970 train trip across Canada, finally released in 2003, and directed by Beatles Anthology director Bob Smeaton.

Jerry Garcia playing George Harrison's Rosewood Telecaster on stage with Ian & Sylvia in the Festival Express documentary

1:43:30 — Get Back — major working out of arrangement, several versions

John even counts in the Paul songs.

Boy, they’re having fun!

* 1:54:00 — Hilarious goofing version of Help.  Paul loses it laughing.  🥰

Then Please Please Me

* 1:55:00 —  Peter Jackson’s hit single video edit of the namesake song of this documentary Get Back — maybe the peak video collage of the film so far — including a rockin’ Billy solo.

1:56:37 — George in the control room during playback saying to John: “It would be nice to put it out as a single.  Just do a single of it now.”
John:  “Okay — let’s knock it off as a single.”  😉

And again for anybody who wonders who the bandleader is in The Beatles in January 1969 — it’s John Lennon who puts a new guy in the group, and John Lennon who’s asked to make the decision about the band’s next single.  😉

The Beatles become a quintet with Billy Preston

1:57:50 — DAY 15 — Friday January 24th 

Billy’s not there in the studio — he’s rehearsing for the Lulu show — which aired tomorrow the 25th.

1:57:50 — John to Paul: “Did you hear about the book idea?”
Paul: “Yeah”
John: “I think the photos are great, man.  Really great. . . . They can have the book and the film out simultaneously.”

1:58:55 — John: “We’ve got Billy a contract.  We got him off Capitol.  (!)  George [Harrison] will produce him.”

1:59:15 — George: “The main thing, Billy is just really so knocked out, so thrilled doing it.  And also he sees it’s his great opportunity. . . . We’ll have to decide about paying him.  [John: “Yes, right.”]  Cuz if we were having Nicky Hopkins we’d have to pay him session musician rates.”
George really does seem like Billy’s ear and representative within the band.

1:59:45 — John: “I mean, I’d just like him in our band, actually.”  George enthusiastically nodding yes.  “I’d like a fifth Beatle.”  (!)

1:59:50 — John: “At Twickenham, suddenly there was three, now there’s four of us, then there’s five!”  🙂
George: “We can do that as well.”  [It’s SO too bad they didn’t!]
George: “If I asked Dylan to join the Beatles, and he would, you know.  And we get ’em all in here.”  🙂
John: “We’ll call it The Beatles & Co.  That’ll be our band.”  (!)  – like The Dead & Company!
George with a smile: “I mean, it’s Sgt. Pepper’s Lonely Hearts Club Band, innit?  We could get ’em all.”
Paul: “I just don’t kniw, because it’s bad enough with four.”  🙂  [at least they all laugh]

2:01:00 — John sings – I’m On The Road to Marrakesh (which became Jealous Guy)

2:02:00 — Hail, Hail Rock n Roll by Chuck Berry – (brief) – Mal on tambourine.  💖

2:02:20 — Stand By Me – Ben E. King – (brief)

2:02:44 — John: “We seem to be at a loss without Billy.”

2:03:00 — Two Of Us
2:03:34 — John & Paul on acoustic guitars

2:04:25 — Two of Us – playful
John & Paul eye-locked again.

2:05:50 — their comical ordering of lunch — John: “Sparrow on toast.”  🙂  Paul: “Boiled testicle.”  🙂

23-year-old photographer Ethan Russell very present and taking tons of what turned out to be great pics.

2:06:10 — Paul noticing the connections between the songs — Get Back and Two of Us (on our way home)  “So there’s a story.  And there’s another one — Don’t Let Me Down —> Oh! Darling.”

2:06:30 — George gets his bowties.  🙂

2:07:00 — Two of Us – killer partial take

2:07:30 — control room hang n talk

2:08:30 — Polythene Pam – John singing and on acoustic guitar

2:09:17 — Mal opens the case for the lap steel they call “the Hawaiian”

2:09:37 — Her Majesty – brief – George on the Hawaiian

2:10:01 — Teddy Boy — McCartney song written in India last year.  According to Mark Lewisohn this was the first time the song was presented to the band.

2:11:15 — Maggie Mae (traditional) — John & Paul both on acoustics.  According to Lewisohn, this was a “traditional Liverpool song about an infamous local lady of the night.”

2:12:00 — Fancy My Chance With You – early Lennon/McCartney song written when they were teenagers.

2:12:45 — Paul to Billy – “Nobody’s asked if you’d mind coming in every day.”
Bill: “Oh no, it’s a groove.  I had nothing else on.”

2:12:53 — Paul mentions him getting paid.

2:12:55 — Dig It! – John on the Hawaiian

2:13:13 — Pattie Boyd (Harrison) makes her only appearance

2:13:40 — Ringo showing off his Sony home video camera  🙂

2:13:50 — I Feel Fine

2:14:00 — George H asks George Martin about how his studio is going.  I think this is AIR Montserrat that became a major studio, recording the Stones, Elton, McCartney, Michael Jackson and scores of others until it was tragicly destroyed by Hurricane Hugo in 1989.

2:14:30 — DAY 16 — Saturday January 25th – no Billy Preston

2:14:30 — Footage from Maharishi’s in India –  while Dehra Dun by George Harrison plays

2:14:50 — John mentions to Ringo that he looked at his clothes from India last night “next to me Pepper suit”  😁

2:15:03 — Peter Jackson shows more Maharishi footage set to George’s song Within You, Without You

2:15:20 — Paul talks about watching the footage from India last night.  “I’ve got all the film of it.”
He raves about the opening, and then they show it, with images of Cynthia Lennon, Pattie, Jane Asher (!), Donovan and their whole traveling krewe.

Lots more footage of India.

2:17:10 — Paul describes the long shot of John walking with the Maharishi, “And it’s just not you, you know?”  😄

They talk about John going up in the helicopter — and how he thought the Maharishi might just slip him the answer.  😆

2:19:00 — Why Don’t We Do It In The Road – to two monkeys humping  🙂

2:19:34 — John in India looking for all the world like John Sebastian!

2:19:55 — George talking about the whole purpose of them going was to find themselves.  “And if you were really yourself, you wouldn’t be any of who we are now.”  (!)

2:20:10 — John says “All Act Naturally now, then plays the 1963 Buck Owens hit and Ringo staple on acoustic guitar.

2:20:23 — Glyn: “Is Billy coming today?”
George: “No, he’s doing a TV show all day.”  Again, it’s George who knows what Billy is doing.

2:20:30 — Bye Bye Love — John singing the Everly Brothers hit on acoustic guitar, Paul harmonizing.
I don’t want to be accused of reading too much into things, but once again this is a song about saying “bye bye happiness” as the band seems to be winding to a close.

Yoko making a calligraphic painting — black Japanese characters on white paper.

2:21:30 — Two of Us – great – playing with it – funny – many variations

2:22:55 — first appearance of Alan Parsons — with title card — close-up, in his orange shirt, although according to Mark Lewisohn he started two days earlier, on Jan. 23rd.

2:23:30 — John does Two Of Us in a Dylan inflection  🙂
George with his funky-cool slipper-boots.  🙂
They’re all smiling and laughing and enjoying each other’s company.
Then they do the song reggae style.  🙂

2:25:25 — Glyn with the practical advice to get one number down (duh!) . . . and then get another one finished.

2:25:30 — George: “Have we got to have this album recorded by Tuesday then?”  (!)
Glyn now says he’s not going to leave until Thursday.

2:25:55 — George asks “Are we still doing the show?”
Paul: “I don’t know, really.”

2:26:15 — George wants the piano to sound like a bad honky-tonk piano.

2:26:20 — George Martin putting newspapers on the grand’s strings so it won’t sound so grand.

2:27:00 — For You Blue — George’s “honky-tonk” song.
John playing the lap steel.
According to Mark Lewisohn, this song was arranged, rehearsed, recorded, and in-the-can in one day!

2:27:48 — Chris O’Dell with the short blond hair holding clipboard and pen next to Mal.

Chris O'Dell at Apple Studio 3 Savile Row

2:28:15 — While George is running through For You Blue, John tells everyone, “Just don’t talk when he’s playing, gang.”  — once again looking out for his younger brother.

2:28:30 — take 2 of For You Blue

2:28:50 — 20-year-old Alan Parsons in orange shirt & black tie in control room.

Alan Parsons in Apple Studio in Peter Jackson documentary

2:29:05 — Then John requests they do For You Blue once more so George “can get the guitar like he wants it.”

2:29:10 — they start another take — which becomes the take that appears on the Let It Be album.

John on the lap steel.

2:29:52 — George during group playback in the control room — “I think we’re getting a good sound in Apple Studios.”

2:30:16 — John has an idea about the mixing, and Paul says, “That’s a good idea.”
John: “Yeah, I’m full of ideas like that.  I’m famous for ’em.  Literary Beatle, you know.”  😁
George: “Hail to the captain.”

Title card:
“The Primrose Hill concert is no longer possible.”

2:30:53 — show/concert talk:
MLH points out they don’t have a show planned.
John: “I would dig to play onstage, you know?”
Paul: “Yeah.”
John: “I mean, if everything was alright, and there was no messing around, and we just play on a stage.  That’s why I said yes to the TV show.  I didn’t want the hell of doing it, but nobody else wants to go on the stage or do a TV show.  Nobody wants to get out there, you know?

The band loves being in the Apple studio.

2:31:45 — George: “The things that have worked out best ever for us haven’t really been planned any more than this has. . . . You know, whatever it’s going to be, it becomes that, you know?”
John talks about how this started out as Paul’s “number” — “but now it’s turned into our number.”
2:32:50 — John asks George “What do you think?” — nice.  But George doesn’t answer in the moment.
John is really leading the discussion to come up with what they’re going to do.
George on the Apple Studio: “I think this is the nicest place I’ve been in a long time, this studio.  Also, this is the most I’ve ever played, by playing every day.  I can feel my fingers getting loose.  I just wanna play.”
John: “That’s what it was about.”

2:34:50 — Paul on the difference between 16mm and 35mm.  (The film has all been shot on 16mm so far, but one or two 35mm cameras are seen on the roof.)

Show planning talk that really reveals they all have it in their minds that this is the end.

2:34:57 — John: “Just the still photos would make a UA movie with a soundtrack on it.”  [and fulfill the third film requirement of their 1964 3-picture deal with United Artists]

2:35:03 — George: “I think we should blow it up to 35 and if they don’t take it they’re fucking fools because they aren’t going to get anything else, are they?” — again, more group acceptance that there isn’t any more coming for this band.  This documentary really makes clear over and over that they knew the band was wrapping up.

2:35:15 — Paul says (correctly) that blowing up 16 to 35 “is a mess.”
MLH claims this will blow up alright — but of course the finished product as seen in theaters and on other formats proved it didn’t.

2:35:30 — Glyn: “It just seems like the last two days have gone so ridiculously well.”
John: “He’s right, you know.”

2:35:55 — Paul talking about the final show being “the end of it.”
Paul: “I want to go and have fun with it, rather than just finish off exactly as we started.  I’d like to do a (phoosh — grand arm spreading flourish) for the finish.” — again, it’s all talk about this being the end.
Paul: “I mean, just get out in the open, a change of scene, and go and do it somewhere else, do a live show, do it on a stage.  You know, I’d like to light a rocket to really sort of take off for the end of it.”  (!)

2:36:07 — the first time we see George with his psychedelic Stratocaster that he hand-painted himself in DayGlo colors that could be seen exactly a year earlier, January 1968, in color, on the Magical Mystery Tour TV broadcast.  😍

2:36:50 — I Lost My Little Girl — Paul song sung by John

Title cards:
“Arranging an alternative concert location within the next couple of days is not possible.”

“However, Michael and Glyn have a suggestion that might give Paul the payoff he’s hoping for.”

“They could stage a performance at a much more convenient location . . .”    😎

* 2:37:35 — GREAT footage of roof scouting  —  Paul & Ringo & Glyn & MLH & Mal & Kevin & Ethan the photographer, and obviously a cameraman, probably Tony Richmond.

2:39:02 — Paul & George Martin planning logistics including time for getting the other cameras in to shoot on Thursday.

The lads drinking red wine — and getting pretty loose and goofy.

2:39:17 — Ringo opens the box with his new music stand.  🙂

2:40:00 — Let It Be — many takes
George with his psychedelic painted Stratocaster.

2:40:45 — John playing the Fender Bass VI.

2:42:00 — “Groovy Bob” – Robert Fraser the art dealer shows up  🥳

2:45:19 — George Martin lying on floor reading newspaper.  😁

2:46:35 — Title cards:
“The Beatles decide to stage their rooftop performance on Wednesday.”

“Four days from now.”

2:46:50 — Credits start.  They’re 6 mins 25 secs long — again, song credits are unique to each episode, listed in order of appearance.

Cool Billy Preston-led “Blues Jam” plays over the credits.  This is likely the recording Mark Lewisohn cites as coming from the January 23rd sessions.

The Walk – a 1958 R&B hit by Jimmy McCrackin with Paul on lead vocals, recorded at Savile Row January 27th.

Without A Song — cool song from 1929 (!) by Vincent Youmans — Billy singing, and sounds like he’s on the grand piano.

Love Me Do — jamming version with Billy wailing on the electric piano.


Some observations after 2 episodes / 5½ hours, and just before the climactic episode drops at 3AM (Eastern) . . .

I’m SO glad — as Peter Jackson said, when they were given the 6-hour window by Disney, Peter & his editor very quickly decided, and I quote, “Let’s just make the movie we want,” he said, rubbing his hands together.  😍  And he said he included everything a Beatles fan would want to see, because (something like) “If we don’t put it in, it’s just going to go back in a vault for another 50 years.”

The fur coat John wears on the roof and is always referred to as Yoko’s was in fact the coat John always wears and carries with him.  And according to Deep Beatles aficionado Jan Fennick, the coat was actually his wife Cynthia’s mother’s!

My 33-year-old neighbor told me how she’s been watching it with her daughter, who has become a huge Beatles fan.  I’ve read similar comments online about how people are experiencing this intergenerationally.  This is a beautiful thing.  How many other rock bands / pop artists would evoke such a response?

John & Paul are really a creative partnership.  I was as guilty as many who thought they’d pretty much gone their separate ways even by The White Album the year before.  But you can see them here looking into each other’s eyes and working up these songs in tandem.

It was so great to see Paul so strongly defending John bringing Yoko to the rehearsals.  I had bought into the easy story that she had caused a fissure — but it’s clear none of his three bandmates are bothered by her at all.

It’s so nice to see John really on top of it and in control by the time they moved to the Savile Row studio.  I love how it’s John who asks Billy Preston to join the band, and that we get to see Billy’s ear-to-ear beaming reaction and blurting out “Are you’re kidding?!?!”  🥰

Peter Jackson has done a masterful job showing the real-life drama that was going on — the pressure of the pending live concert deadline, the near breakup of the band, the desperate need for a keyboard player — and then one just shows up!  Whadda story!!

I love how the band becomes a quintet — for both the sound and the energy.  John says at one point, “I’d like a fifth Beatle.”  To which Paul jokes, “It’s bad enough with four.”  ?

And I love how Paul is the big-picture structuralist, noticing the connections between the songs and mapping out a sequence — how Get Back and Two of Us (on our way home) are connected — and Don’t Let Me Down reflects Oh! Darling.

I know it’s been 5½ hours and will soon be nearly 8 — but this is the most intimate portrait ever made of the most influential band ever formed.

They knew the end was coming.  In Part One there was talk of a “divorce” and in Part Two they’re talking about going out with a bang.

It’s SO bizarre that guitar stands and music stands were not staples of major studios and bands’ gear in January 1969.  This is the biggest money-making group in the history of the world . . . and a Les Paul falls over at Twickenham cuz there’s no guitar stand in the joint!  Then when they get to Apple, there’s not a one, and they’re always picking them up lying on the ground!  Ringo is seen opening the packaging of the cheapest kind of music stand that exists … and he’s got a kid–on–Christmas–morning smile on his face like this is some treasured gift!  How the hell does EMI or Apple not have tons of great music stands?!?!

And now, the entire rooftop concert — which no layperson has ever seen, ever — is about to be streamed on this blessed Beatles day, minutes away.


EPISODE THREE — Days 17 thru 22 — January 26th thru 31st, 1969

2 hours & 18 mins

Recording, Rehearsing & Rooftop Concert at Savile Row

Title cards:

“The Beatles have been rehearsing for 16 days for a live album …
and possibly to stage some kind of a show.
They have to be finished by the end of the month.”

“The latest plan is to perform on the rooftop of their own building.
Three days from now . . .”

1:24 — Beautiful shot of bobbies on horseback riding past 3 Savile Row.

DAY 17 — Sunday, January 26th 

1:30 — Octopus’s Garden – Ringo singing his new song on the grand piano — only the second song he’s ever written (!) according to George.  Yay Ringo!

1:55 — George Harrison helps him writing it.  So nice.
3:28 — George Martin comes over and listens and mouths harmony.
4:03 — John calls Ringo Richie  🙂
4:25 — John plays drums for Ringo on his song.

Red wine or sherry or scotch or something in bottles on table.

4:29 — Paul is the last to arrive — with Linda and Heather.

4:45 — Heather funny kitten / cat talk – John goofs with her about eating them.  😁

5:35 — Let It Be — Billy back in the studio on piano.
6:12 — George Martin on electric piano.
6:42 — Heather on Ringo’s hi-hat.
7:03 — Paul instructing Ringo on lightening up on the drums.  At least according to the film editing, Ringo seems none too pleased with the suggestions.  😄

7:48 — Band jamming on something they called I Told You Before (Get Out Of The Door) — songwriting credited to all four — Paul on drums — Billy on the organ — George on guitar — John on the Fender Bass VI — and Yoko on atonal screeching, which 6-year-old Heather starts imitating.  Two versions of this song appeared on bootlegs, a 21-minute jam, and this is from the 8-minute version.

8:50 — John merging Twist and Shout and Dig It  (!)  — part of this performance is on the Let It Be album.  Paul on grand piano, Billy on organ.
9:34 — George Martin playing a shaker!
Lots of Heather footage.  🙂
9:39 — Mal dancing with Heather.  Mal’s got moves!  🙂

10:13 — Photographer Linda and band photographer Ethan Russell seen sitting together.

11:07 — Blue Suede Shoes – the Carl Perkins-penned song was first a hit for Perkins, then for Elvis.  John lead vocal.
Paul on the grand, Billy on the organ.

11:50 — Shake Rattle & Roll – the Big Joe Turner hit, also a hit for Bill Haley & the Comets.  John & Paul share lead vocals.

12:30 — The Long & Winding Road — several varying takes, Paul giving instructions.
John playing the Fender Bass VI.

13:07 — Linda taking photos

13:30 & 14:06 — Chris O’Dell seen sitting on the floor with Linda & Heather lying down.  She has a haircut like Goldie Hawn had around this time, but she tells me it was not intentional and was cut by Linda Cavendish in London.

Chris O'Dell in Peter Jackson's Beatles Get Back documentary

J&B scotch bottle in background.

14:33 — George Martin working with George Harrison on acoustic guitar.

15:00 — Paul coaching John on Long & Winding Road.

15:34 — Mal & Glyn trying to fix George’s guitar.

16:40 — the Long & Winding Road that appears on the album.

Funny–cool to see George Martin sitting on the floor in the studio.

17:20 — great long scene in the control room talking about the arrangement of Long and Winding Road.
18:15 — Paul: “The only way I’ve ever heard it in my head is like Ray Charles’ band.”
Billy Preston listening in.
That looks like Maureen Starkey in the green dress sitting on the floor.

19:30 — DAY 18 — Monday, January 27th

19:30 — Shake, Rattle & Roll again – band rockin out — Paul wailing on the grand.

20:18 — Kansas City (George lead vocal) / Miss Ann (Little Richard song – John lead vocal) / Blue Suede Shoes  (John lead vocal) 

20:19 — John seen jumping around, crunched down, t-shirt over knees.  🙂

Alan Parsons in pinstriped suit jacket in control room.

21:10 — John & Paul dancing together in control room  🙂

21:35 — George wrote a new song – it’s “happy and a rocker”  🙂
Talks about John’s advice “I keep hearing your advice from 10 years ago saying ‘finish ’em straight away, as soon as you start ’em, finish ’em.”

22:35 — Old Brown Shoe — new great George song – plays on grand piano for band – works out song in real time.

22:50 — Paul dancing to it.

23:30 — Hammond organ brought in — to go with the Leslie speaker (which George puts his guitar through, including on the Let It Be single).

23:35 — Paul on drums – using brushes.
23:40 — George on grand piano.
24:00 — Ringo on Fender Rhodes piano.
24:05 — Billy Preston on electric Fender Bass VI!

25:10 — Let It Be
Billy on electric piano.

26:37 — The Long & Winding Road

28:25 — Trying to get the PA and mics right.

30:20 — Oh! Darling
Glass of white wine on Billy’s piano — but at 38:30 you see Paul drinking from it.  😉
30:50 — John says, “Just heard that Yoko’s divorce has just gone through.”

31:30 — Don’t Let Me Down

31:55 — John handwriting lyrics on the top of the grand piano.
32:24 — Great Billy electric piano part — John: “Oh, Little Willie! Yeah!”

33:10 — The film & studio guys goof around on the instruments — Alan Parsons on Billy’s electric piano.

33:30 — The band going over the proposed book layout — and reading newspaper reports about themselves and laughing and goofing on them.
34:01 & 34:23 — Newspaper headline: “John Lennon loves Yoko.”

34:00 — Strawberry Fields Forever!  Paul singing (!) on grand piano.

34:35 — MLH planning the shots for the roof concert.

35:05 — Get Back — multiple takes

36:02 — 20-year-old Alan Parsons seen in control room – then again at 37:20, 38:26, 39:55, 42:30, 42:42, 42:56, 1:04:40.

37:00 — Take These Chains From My Heart – Hank Williams hit (although he didn’t write it) – Paul singing

37:35 — George Martin: “You were very good, Bill.”

High energy in the studio as the concert approaches.

38:00 — another Get Back – several takes – lively.
George in his flower slippers  😁

40:00 — Get Back — more different versions, including the one from the album.

40:14 — great shot of George & Billy smiling and grooving together in the control room.

40:31 — Ringo gives Yoko a stick of Doublemint Gum – cute scene of her tearing it in two and giving half to John.

41:25 — I’ve Got A Feeling — John’s voice ragged (a la Twist & Shout)

44:00 — Ringo rockin out at the end.  🙂

The short red-ish haired woman with the big glasses is Sally Burgess from the Apple Press Office.

45:15 — Paul: “John’s got something [a meeting] at 1:30, and so do I.”

45:50 — George Martin: “Good night, Rich” to Ringo.

46:00 — DAY 19 — Tuesday, January 28th — two days before rooftop concert

Title card:
“A bad weather forecast delays the rooftop concert by 24 hours.” (pushing it to Thursday)

46:35 — Writing down list of songs they can do on the roof.

47:20 — John: “I’m trying to get us to do one of George’s in the first batch.”  💝

47:55 — Kevin opening wine bottles.  😄

48:00 — Something by George
48:01 — Fleetwood Mac’s single Need Your Love So Bad seen on top of Billy’s electric piano.
48:03 (and 1:00:40) — roadie Kevin adjusting some weird instrument

Kevin Harrington adjusting weird instrument in Apple Studio in Get Back

48:15 — George trying to figure out the lyrics for Something, asks Paul & John.
John: “Just say whatever comes into your head each time.  ‘Attracts me like a cauliflower,’ until you get the word, you know?”

49:45 — Love Me Do — their very first single! — but the first time done as a quintet!

50:15 — Paul leaves to go to a meeting (!)  It’s never revealed what it is.

50:25 — I’ve Got A Feeling — just the three of them plus Billy — several takes.
George with his psychedelic hand-painted Stratocaster.

50:45 — John asks Glyn to fix his mic cuz “it keeps falling down” – requires a screwdriver.

50:48 — image of typed lyrics to I’ve Got A Feeling

51:35 — fans looking in the basement window — again around 53:30, 1:00:35 and 1:04:30.

52:35 — Kevin opening white wine bottles, then pouring glasses.

53:00 — John mentions meeting with Allen Klein, then starts raving about him.  😓  “I just think he’s fantastic.”  “He knows everything about everything.  Very interesting guy.  I was there till 2 in the morning.”  😥
John didn’t want to bring it up in passing like this.
John to George: “He knows me as much as you do!”
John says the Stones get much more in royalties than the Beatles do.
Images from the Stones’ Rock n Roll Circus show.

55:25 — Old Brown Shoe — George on grand piano, then standing delivering vocal sans instrument.
Billy on the Fender Bass VI, and then on piano as George sings.

55:35 — George wants some black leather shoes, size 8.  😄

56:50 — First John, then Ringo, then Billy playing the weird handheld electronic instrument — a Stylophone — a stylus-operated keyboard invented by Brian Jarvis in 1967, first put into production in 1968.  Bowie used one on Space Oddity.

58:10 — Paul back in studio.

58:25 — Don’t Let Me Down

59:00 — John to George Martin: “I’ve had some wine you know.”  🤪

59:20 — Don’t Let Me Down — the version released as the B-side of Get Back.

1:00:00 — I Want You (She’s So Heavy) (Lennon/McCartney)
Paul on giant shaker.

1:00:20 — Half A Pound of Greasepaint (Lennon/McCartney) — goofing song

Lots of full white wine glasses being passed around.

1:00:51 — Ringo playing a bell tree in his leprechaun-green suit matching the Apple carpeting.  😁

1:01:15 — Control room playback footage.  Derek Taylor’s there.

1:01:30 — John: “Allen Klein’s here.”

Title card:
“The Beatles head upstairs for their first meeting with Allen Klein.”  😰

1:01:50 — DAY 20 — Wednesday, January 29th — the day before the rooftop concert

1:01:55 — Ringo tells MLH they’ll have “about six” numbers to do on the roof tomorrow.  (They end up doing five different ones.)

1:02:15 — John & Glyn talking about Allen Klein.  John says how they met last night till 12 or 12:30.  “Went through everything.” … “He’s fantastic.”  😥  Glyn thinks Klein’s “strange, very strange,” rude and dismissive of others.
1:02:35 — John: “We’re all hustlers.”
Ringo: “A conman who’s on our side for a change.”

1:03:10 — MLH talking about 9 cameras for the roof concert.  He certainly does get cameras in the right places to capture the climax.

1:03:12 — Paul: “The best bit of us, always has been and always will be, is when we’ve got our backs against the wall, and we’ve been rehearsing, rehearsing, rehearsing.  And he [John] knows it’s a take on the dub.  And he does it great.”

MLH talking about the need for some kind of an audience.

1:03:45 — Ringo’s “I farted.”  😮

1:03:55 — Tony Richmond: “Paul, what’s the problem?  We’ve got everything set for tomorrow.”
Paul: “The roof is, like, too far out.”  😲

1:04:30 — John & Paul tight face-to-face conversation.  Glyn sitting right next to them.  (Alan Parsons sitting a few feet away – looks stoned  😎)
John: “I can’t wait to work it, you know?”
Deep conversation about their aim and goals.
Paul saying it’s just an album that they’re doing.  John says “albums is what we do.”
John sort of looks a bit old and weary.
But I love the way he really does focus right in on Paul’s face — very intently.  These are two guys who’ve sat face-to-face and had heavy life-changing conversations for 10 years.

1:05:00 — Paul mentions how George doesn’t want to do films.
Paul: “For who is tomorrow the day?  It’s not for me.”
Paul wants to do the end of the movie *in* the studio.  What an idiot.  😮  He embraces it once it happens — but how does not see its potential?!

1:07:10 — John: “I think we’d be daft to not do it.”  [the rooftop concert]
1:07:15 — George joins the conversation.
1:08:00 — Ringo joins.
Ultimately it’s — John, Paul, George, Ringo, George Martin, Glyn Johns, MLH & Tony Richmond.

1:08:20 — John: “We’ve only got to seven [songs].  Let’s do seven.”
Paul pauses and sort of reluctantly says “Yeah.”

1:08:38 — Paul: “The only people who have to agree to what we’re doing is the four of us — and we’re the only ones who haven’t even talked about it.  We had the meeting before all this and said ‘TV show.’  That’s what I have to get in my head.  [But] It’s an album.”

1:08:50 — George: “All that footage of film could make about half a dozen films.”

1:09:15 — Paul: “This TV show was supposed to be a TV show of the last album.  But when we came to do it we said we’ll write new songs.”

1:09:23 — John walks away briefly from the Paul–Glyn conversation.

1:10:05 — George Martin says the songs are “at a stage where it’s a dress rehearsal stage, where if you did a performance, it would probably be it.”  Sounds like he’s advocating for the performance on the roof.

1:10:20 — John talks about the physical strain of doing Don’t Let Me Down and all the rest.

MLH keeps stressing how “we don’t have an ending.”  But what’s the rooftop concert if not a climactic ending?

1:12:00 — Paul: “Get it together now [record the songs properly] instead of talking about the show.  Get it so we’ve got the 14 songs.  We’re talking about this abstract thing we hope to get, and by talking about it we’re not getting it.”

1:12:55 — George: “I’ll do it if we’ve got to go on the roof.  But I don’t want to go on the roof.”

Paul & George don’t want to do the rooftop concert – Ringo & John want to.  As do the film crew, and seemingly George Martin.

* 1:13:05 —  BOOM!  When George & Paul are poo-pooing it  —
Ringo says, “I would like to go on the roof” — and that really seems to change the equation.
Paul to Ringo: “You would like to?”  Ringo nods in the affirmative.
John: “Yes, I’d like to go on the roof.”

1:13:20 — Paul: “Have we got a list of the songs we’ve done?”
And George Martin cooly pulls one out of his jacket pocket.  😍
They go through all the song titles of everything they’ve been working on.

1:14:30 — Dig It — very high energy / crazy.
John cross-legged on chair — sings the song list like it’s lyrics.  🙂
Paul McCartney’s brother Mike seen playing the grand piano.

1:16:15 — George H. to John: “I’ve got my quota of tunes for the next ten years, or albums.”
Discusses the idea to do albums solo but also preserving the Beatles.
Yoko: “It’s great.  That’s a good idea.”
It’s so sad they couldn’t have just taken a break and done solo projects.  The Grateful Dead members used to put out solo albums that various bandmates would play on — but they didn’t disband the group.
Ringo album had all four Beatles contributing in 1973.
Paul said after this conversation came to light via Peter Jackson that he wished he knew about this idea back then.
How music history might have been different!

1:17:30 — I Want You – great wild jamming.
* Billy singing his own improvised “I had a dream” riff.  Great!  Joyous.  Cool.  Free-form fun.  Great highlight segment.
Paul on lap steel (the “Hawaiian”).
Billy moves to the Hammond organ — then the Fender Rhodes.
Great high-energy fun jam to climax the in-studio playing before the rooftop show.

1:17:52 — As mentioned above — it’s so bizarre they don’t have guitar stands.  You can see George’s just leaning up against the wall.  (!)

1:19:40 — Two Of Us – funny – with clenched teeth.  🙂

THIS is a FUN band.  Like Brian Epstein said how their sense of humor was part of what attracted him to them.  And it reminds me of what Jerry Garcia’s bandmates shared about him in recent years, that Jerry’s motivation was always, “Will it be fun?” and if the answer was Yes, he’d do it.  🙂

1:21:38 — Looking at the set list and order.  John: “That’s the existing cacophony.”  😅

1:21:42 — John: “Put the ones we know in a hat, then shuffle them out to see which order we do them in.”  🙂

John puts on the fur coat.

Note:  On this day, according to Lewisohn, the band also played Not Fade Away during their workouts.  Geez — sure wish Peter Jackson included that somehow!  They also played a more obscure Buddy Holly song — Mailman Bring Me No More Blues, also not in the film.  We live in hope for the DVD/Blu-Ray extras.  😘

= = = = = = = = = = = = = = = = = = = = = = =

Something cool about the rooftop concert I wasn’t expecting is that we as viewers now know so many of the characters who are on the roof!  Michael Lindsay-Hogg, Tony Richmond the DP, Mal Evans, Kevin the red-headed roadie, Maureen Starkey, Peter Brown of Apple … there’s a richness of character development that I wasn’t expecting.

Michael Lindsay-Hogg and Tony Richmond do deserve top props for their short timeframe preparation and their camera work.

1:22:55  —  DAY 21  —  ROOFTOP CONCERT  —  Thursday, January 30th

10 cameras total — five on the roof, three on street, one on the roof across the street, one hidden in the lobby.  💖

I assume when the DVD/Blu-Ray is finally released, there will be the option to watch the entire rooftop concert without any street cutaways. 😉

DP Tony Richmond in a later-to-be Johnny Depp hat.  😄

Footage of George Martin & Glyn Johns entering Apple on this climactic day.
Then both seen down in the basement control room.
1:24:25 — Alan Parsons seen loading tape in downstairs studio, and later working on roof.

Debbie Wellum — Apple receptionist
Jimmy Clark — dapper doorman

1:25:22 — Paul (in a 3-piece suit) comes out of the stairwell first, followed by Ringo & Maureen, then Billy.

1:25:59 — Love the fans seen on the roof across the street leaning against a chimney!  Paul waves to them, and they yell, “What’s going on?”  🙂  How fun & cool it must have been to be those guys!!  They’re like me — up on the roof.  🙂

1:26:09 — There’s a quick closeup shot of Paul with the St. James church spire and Big Ben just beyond him. 😉

Peter Jackson's Beatles Get Back documentary rooftop Paul McCartney

1:26:18 — Ringo: “Mal?!  You nailed me down in the wrong place.”

1:26:20 — Chris O’Dell seen sitting in the end seat on the stage left side.

1:26:24 — George arrives on the roof.
1:26:28 — John arrives on roof.

1:26:31 — Chris O’Dell seen again, talking to Maureen in their seats.
Those are chairs from downstairs that they’re sitting on.  I always wondered.

1:26:48 — Alan Parsons on the roof helping set up Ringo’s drums. (orange shirt, suit jacket)  He’s later seen (1:30:50) standing on stage right with the sound/recording crew.

Great cinematic storytelling by Peter Jackson.

1:27:30–1:27:59 — Get Back – 30-second soundcheck / tech test.

1:27:55 — Great shot of the four (and only four!) guests / audience — Yoko, Maureen, Ken Mansfield in the white coat (Apple Records U.S. Manager) and Chris O’Dell.

1)  1:28:25 – 1:31:29 — Get Back for real.  George counts it in (!)  😉  3-minute songs, man!  Wow.
Peter Jackson does split screens!
Then triptychs!!!
1:28:47 — great camera pan of the London skyline — you can see Westminster & Big Ben in the nearby distance, and St. James’s Church spire close by.

view from Beatles rooftop with Big Ben and Westminster Peter Jackson documentary

1:28:55 — Kevin Harrington can be seen rocking out in joy on stage left.  💓

1:29:25 — great split-screen edit — 4 guys waving from a rooftop, and Paul seeming to see them and get a kick out of it — maybe in part because they looked so much like the four bobbies on the wall in last year’s Magical Mystery Tour.

Peter Jackson Beatles Get Back documentary Paul McCartney and fans

1:29:33 — John blows on his fingers mid-song to warm them up!
It looks like Apple’s Peter Brown behind the stairwell window.

Ringo’s crackin . . . and Billy’s wailin. 😉

1:30:58 — There’s a nice shot from behind the band, and you can see Mo (Maureen Starkey) rockin out.  🙂

1:31:10 — Nice capture in upper right of Mal & Kevin groovin in joy.

1:31:22 — The cameraman in the beige trench coat in back of the band with wooden tripod shooting people on other roofs has a 35mm film magazine.

End of the song John is holding his hands together trying to warm up his fingers.

There’s talk about getting more vocals in the monitors.  (there’s always talk about getting more vocals in the monitors!!  😄)

Street commentary.  Funny typical Londoners circa January 1969.  🙂

2)  1:32:25 – 1:35:29 — Get Back – take two — again, three minutes

More wonderful triptychs!  Very cool choices and collages by Peter Jackson.

1:33:27 — the classic man with pipe & hat walking out onto the roof.

1:33:30 — Great closeup of Mo rockin out again.  🥰
Gawd bless ‘er . . . and see below.  😉

Billy’s wailing.  🙂  He loves this song.  😍

More great triptychs by Peter Jackson!

1:34:40 — Tony Richmond, sans hat, seen hastily carrying the 35mm camera from behind the band to in front of them, with the guy in the long beige trench coat trailing.

1:34:57 — Tony laying down on wooden floor in front of John & George with the 35mm.  Then he scooches up right underneath John.

1:35:25 to 1:36:06 — Numerous clear shots of Tony Richmond with the 35mm on his shoulder sitting on floor looking up at John and George.

Yoko is so sadly unresponsive and stoney-faced throughout the entire concert.  😢

Think about the 50 or 100 people (tops) on the various rooftops who were watching.  What an experience for them!  And they’re all just employees of neighboring stores on Savile Row.

It’s kind of amazing there’s such a clear audio recording of the vocals and different instruments, including in these windy conditions.  Gawd bless George Martin, Glyn Johns & company.  💖

Peter Jackson is really into telling and merging the stories of the multiple experiences — from the band, to the crew people, to the spouses, to those on the rooftops, to those on the street.  He’s a natural storyteller. 😉

3)  1:35:47 – 1:39:04 — Don’t Let Me Down – take one – 3:17 long.
Great triptychs!  If this was eligible for an Oscar, this chit would win him and Jabez Olssen Best Editing.  😉
There is a Best Editing category in the Primetime Creative Arts Emmys — so maybe there.
Great sound!
John wailing!

* 1:36:07 — great shot from across the street of the whole “set.”

3 Savile Row from across the street in Peter Jackson Get Back documentary

Funny plays with street-level reactions.
Great band camerawork!
1:37:34 — Tony Richmond seen lying on his back shooting up at George. 

1:38:18 — Cops first show up on the street – 10 minutes after the band started — noise complaints – “disturbing the peace.”

4)  1:39:05 – 1:42:33 — I’ve Got A Feeling — the version deservedly on the album
The band is really getting into a joyous groove.
I disagree with some of Peter Jackson’s choices here with so much focus on things other than the band’s historic performance on the roof.
But great two- and four-camera screen splits!

Paul and the band are really getting into it.  Loosened up — and rockin. 😉

Paul McCartney cute and smiling on Apple rooftop in Beatles final concert

Cops enter Apple lobby.
Hidden camera in lobby is hilarious and brilliant.
They just leave the cops standing in the lobby.  🤣

Receptionist Debbie mentions Derek Taylor — who has been oddly absent from most-all the doc footage!

Great visual storytelling by Peter Jackson.

1:40:58 — the 35mm is now on the shoulder of the beige trench coat cameraman pointed across the street.  It seems to be used mostly to get distance shots.

1:41:22 — Nice (but sadly rare) Billy footage in the 2-shot with him on the right screen.

As soon as the song ends, John holds his fingers together again to warm them up.

1:42:45 — John then George then Ringo walk over and look over the roof edge at the people below.  🙂

The street comments are both hilarious and cool.
1:43:25 — the goofy rosy-cheeked young guy who doesn’t like them because, “Not now.  They’ve changed completely.”  😅

1:43:40 — Bitchy old lady — “It just can’t see that it makes sense.  It woke me up from my sleep and I don’t like it.”  😁
It’s funny — you can see a middle-aged guy in a suit leaning against a wall kind of laughing at her.  🙂

5)  1:43:59 – 1:46:43 — One After 909 — the version that’s on the album — again a 2¾ min song!
GREAT triptychs!
Billy Preston — great contributions!
1:45:13 — George Martin & Peter Brown seen in the roof doorway.

1:45:38 — The super-valuable cameraman who caught such great shots from the top of the structure next to the roof entrance is seen in a brief shot on the left screen.  He’s holding a 35mm.  It’s either the same one we’ve seen on the deck that’s been passed up to him, or after the discussion 5 days earlier, MLH & Tony Richmond brought in a couple higher resolution cameras for the London skyline panorama distance shots.  We never see well enough the camera on the roof across the street to tell what he’s using.

1:45:59 and on & off thru the end of the song — Mo is boppin her head and REALLY into it — just as she would be in the control room playback later.  Maybe she remembers them playing it back in the Cavern days.
She sure seems like the coolest and most fun of the significant others at this point.

She’s also the link — The Cavern regular who just loved their music … and Ringo most of all.
Along with Mal, she’s the only one who was in the Cavern cellar AND the Apple rooftop when the basement lads had grown to be the biggest band in the world.

1:46:10 — Here begins several great shots of the band, the stage, the assembled listeners, and the immediate neighborhood by the cameraman on top of the stairway entrance.
And in the middle, there’s another real nice establishing shot of the building and block from across the street.

Their hands are cold.  John’s holding his fingers together trying to warm them.

1:47:22 — Post song: Mal to the cops in the lobby – “I’m The Beatles’ Road Manager.”  Says he’ll turn off the PA . . . and then doesn’t.  😂
Noodling of Dig A Pony heard in the background.

Poor Debbie in the lobby holds off the cops but never gets to see the show of the band she’s working for.

Johnny Depp-like Tony Richmond doing the clapper. 

6)  1:49:30 ­– 1:53:15 — Dig A Pony — the version on the album.
John counts in the song.
Ginger Kevin holding the lyrics for John.

More great triptychs!

Cop: “Surely something can be done.”  🤣

Mal bullshits cops he’s turned off the PA and is now going down to the studio, and the cops say, “Okay.”  🙂

1:50:15 — John’s absolutely loving this live performance experience!  🙂

1:53:16 — John, post song — “Me hands are getting too cold to play a chord now.”

1:53:25 — The two “Apple Scruffs” – Eileen Kensley & Sue Ahearne – who we met in episode two can be seen standing behind the hood of the silver car.

1:53:53 — Great street comments.  Funny cool chicks.  “They get around don’t they.”  😊
1:54:18 and 1:55:08 — and old man in hat.  Wants his daughter to marry a Beatle “because they’ve got money.”  😆

1:55:17 — Funny cool jam on God Save The Queen  🙂  According to Mark Lewisohn this was the band filling in time as new tape rolls were loaded downstairs.

7)  1:55:45 – 1:59:18 — I’ve Got A Feelingtake two – great 3½ min. version
Street comments about their sons liking the music.
Ringo has never used the music stand he unwrapped and has next to him.  😅
Billy P great again!
Ringo’s kickin ass!

1:57:34 — White coat Ken moves to stand on the side next to Kevin the roadie — and Yoko, Maureen & Chris O’Dell are now sitting side-by-side.  💝
1:57:51 — nice to see photographer Ethan Russell rockin it & directing cinematic traffic on the roof.

1:58:20–58:32 — Six screen split!!  Incredible!!  — the five cameras on the roof, plus the one on the roof across the street.

* 1:58:56–59:10 — beautiful, incredible triptych of Ringo absolutely powering the band!!

* 1:59:12 — the great Ringo final cymbal crash end to the song  😍
Do not miss!  🎁

8)  1:59:40 – 2:02:58 — Don’t Let Me Down — take two — 3:18 – great performance
1:59:37 — Mal ushers the cops onto the roof.
1:59:48 — you can see the legs of the cameraman & somebody else on the higher roof structure where they’re getting those shots from.  😉
1:59:56 — Tony Richmond physically moves a cameraman into place.
2:00:00 — Paul looks back and sees the cops – smiles and lets out a big happy “Wooo!”  😍
2:00:24 — Ringo notices them shortly thereafter.
2:00:42 — John’s the last to notice cuz he’s at the mic singing.
Mal’s holding the cops off.
* John’s rockin!!  🤩

John Lennon pointing on Apple rooftop

Billy’s cookin’ again.  The lads love him.  😉
2:01:37 — doorman Jimmy Clark seen arriving in door on roof
2:01:39 — Senior Sargent cop shows up on the street, then in lobby, then goes up to the roof.
2:02:33 — some actual Billy footage!

9)  2:02:58 – 2:06:00 — George kicks them right into a rocking Get Back — take three


2:03:08 — Mal turns off George’s amp (as per the police)
2:03:21 — then Mal turns off John’s amp
John & George both turn to Mal.  “What?”
*  Ringo, Paul & Billy keep wailing.  *

*  2:03:34 — George turns his amp back on!  😍

Beatles rooftop concert best moment George Harrison turning his amp back on

We always think (correctly) of John being the rebel leader in the band.  But in this moment it’s George.

2:03:40then Mal turns John’s amp back on.

Ringo, Paul & Billy keep playing and don’t lose the song — gawd bless ’em.

It was GEORGE’s act of subversion that makes the grand finale happen.  In that moment he’s the bandleader calling the tune!  He deserves huge props for that.

2:04:25 — funny Monty Pythonesque shot of Sgt Cop in his comical helmet scowling in the back while Paul is singing.  🙂

2:05:17 — cops leave down stairway.

Billy’s WAILING.

Peter Jackson’s choice to includ the final Savile Row guy’s complaint in the middle of this last song is my only real editorial beef with his 7½ hours.

2:06:04 — Paul: “Thanks, Mo,” with a big smile to Ringo’s wife.

I’m a stage performer, and I’m sure you’ve heard this before, cuz it’s true — you often perform to one person in the audience.  If you can make them love it, maybe everyone else will, too.  John Fogerty tells the story about CCR’s performance at Woodstock, and how one guy yelled out a line of support, and John says he played the whole show to that one guy.  Well, on the Apple roof, the performers were playing to no one but a film crew and four guests.  THAT’s why Paul thanked her.  At least one person was getting it.  And I know as a performer, that’s all you need.  . . . and how horrible this performance might have been for the performers if there wasn’t one person who was responding.  Unassuming relatively unknown Maureen Starkey deserves the highest praise for the joyous vibe of The Beatles’ last performance.

2:06:06 — John: “I’d like to say thank you on behalf of the group and myself, and I hope we passed the audition.”

2:06:13 — rooftop performance over.

In this doc the performance runs — 1:28:25 to 2:06:13 — roughly 37 minutes and 50 seconds.

From Paul walking out on the roof until the end of the rooftop footage is 41:30.

9 songs.  5 different.

Get Back — 3 times
Don’t Let Me Down — 2 times
I’ve Got A Feeling — 2 times
One After 909 — 1 time
Dig A Pony — 1 time

The performances that made it onto the Let It Be album:

I’ve Got A Feeling
One After 909
Dig A Pony

Great wrap-up shots.

2:06:47 — MLH: “As soon as you’ve got that covered, that’s a wrap.”

2:06:53 — Cops leave out the Savile Row lobby.

2:07:17 — Band in the downstairs control room talking about the show and listening to playback.
Fantastic post-show debriefing, and jamming other ideas of how to do a rooftop concert even better.  🙂
2:08:00 — Maureen Starkey’s LOVING it!  🙂  and again at 2:09:30.
2:09:09 — John & Yoko closeness shots.
2:09:56 — Ringo puts his hand on Paul & Linda’s.

The band members were clearly at ease with the cameras at this point, and everybody was feeling great, and the film crew were able to capture some pretty special intimacy here that would normally never be seen outside of the handful of those present.  And I mean any band’s intimate moment this.  And this is the freakin Beatles!  … right after they walked offstage from arguably their greatest live performance ever.
This is incredible stuff!  💖

The band want to keep recording, but it takes too long to get their gear back down from the roof and re-set up, so they call it a day.

2:10:50 — Day 22— the last day — Friday, January 31st

“The Apple Studio Performance” — as Lewisohn says the tape boxes are labeled for this day in the basement studio.

2:11:07 — Credits start to roll — set to footage of different song snippets they run through with 2-and-3-screen splits.

2:11:07 — Take This Hammer – a few seconds of the old Leadbelly song
2:11:18 — Two Of Us – snippet
2:11:27 — Friendship­ – the Cole Porter song, with modified, shall we say “Liverpool lyrics”
2:11:39 — Five Feet High and Rising – by Johnny Cash
2:11:47 — Run For Your Life – Beatles song from Rubber Soul

2:12:20 — Two Of Us — staged studio performance (partial) — the recording that’s on the album.
3 screens.

2:13:24 — The Long and Winding Road – several partial takes.

* 2:14:37 — Let It Be – staged studio performance – parts of various takes — eventually includes part of the performance on the album.

They’re having so much fun together.

2:15:45 — John: “I’ll never get Maggie Mae done if we go on like this.”  🤣

2:18:00 — END OF FILM




Some post-doc thoughts . . .

I sorta feel at the moment like this is the greatest movie ever made.

I’ve been seriously studying film for the last 18 months, and there is nothing like this — 7½ hours of prime-time behind-the-scenes footage and storytelling of masters making masterpieces.

I know we’ve had some Mona Lisas — but this is the Sistine Chapel of music documentaries.

This is an historic portrait of the most important collective of artists, probably ever, in any medium.

I love me some Grateful Dead, and Michelangelo blows my mind, and I’m a huge Scorsese fan . . . but none of these people changed the world the way The Beatles did.  And there’s never been anything remotely like this documentary on how this collective created their art.

This is an expansive, detail-rich novel of a movie.  (Not to mention a novel movie  😉)

People today are used to getting their news and art in meme-sized chucks — and suddenly here’s this guy creating a non-fiction Lord of The Rings-like epic.

Or think of it this way —
There’s no 7½-hour behind-the-scenes creation documentary like this about Dylan or Bird or Orson or Picasso or Sinatra or Elvis or Dali or Kerouac or . . . . . no deep-reveal multi-hour intimate entree into any of their processes.

But there now is for The Beatles (no less!)


The part where Glyn Johns tell George Harrison about Jimmy Page forming a new group (Led Zeppelin) is actually from one of the bootleg Nagra tapes and is not in the documentary.  But you can hear it here.


One other observation — they took the weekends off — even in the middle of recording an album — on a tight deadline!

When I’m writing a book, I don’t think, “Oh, it’s Friday night, I’ll knock off for the weekend.”

When people are making a movie, it doesn’t all stop for two days on Friday evening.

It’s just so funny / bizarre that they keep sorta blue collar workingman hours.  😲


The Technology:

The new MAL technology Peter Jackson & company invented while making this is revolutionary — turning single track tapes into multitrack.  Not only is this documentary historic because of its Beatles reveal (and an unmitigated masterpiece of editing) but it’s also gonna be known to history as the film that invented an audio ability to separate tracks.

Also, if you don’t know — Peter Jackson and his co-creator named it MAL — for Mal Evans!  but also cuz it’s M-ultitrack A-rtifical intelligence L-ogistics, and it rhymes with 2001’s famous artificial intelligence machine HAL.  They would say to each other as they were editing a new section, “Let’s give this to Mal.”  🥰  

He said of the audio improvements via the new MAL system, they originally needed around 2,000 closed captioning comments, but after Mal got done with it, they were down to 500.

Then add to that the visual information saturation we see in this digitally remastered footage — making this effectively a different medium than the original documentary.  We can now read words written on notepaper and see what other instruments are lying around in corners.


I love these quotes from the Variety review . . .

““Get Back” isn’t a breakup movie — it’s a miniseries filled with great musical makeup sex.”  😍

“A film project that lets us look in, at leisurely length, on the creative process as well as personalities of genius-superstars who really are Just Like Us.  In 60 years’ worth of pop music movies, that’s something we’ve never really gotten.”

“Seeing Lennon and McCartney invested so thoroughly in each other’s songs here, and Harrison taking great pains to offer brilliant contributions to both despite the feelings expressed earlier, and Starr as the glue-iest glue of all time… there’s little way to compare their complementary humility to anyone else’s, other than to imagine that Tchaikovsky kept coming by Beethoven’s flat because he really wanted to help out with the arrangement to make his songs better.”  😄



If you want to support living artists and this page you can always buy a book!  🥰


If you liked this, you might enjoy this nonfiction Adventure Tale about the original Beat in the Beatles — The Hitchhiker’s Guide to Jack Kerouac — including tons of references to the band and Lennon.  🙂

Or if you like Adventures in sixties music you’d probably love Holy Cats!  Dream-Catching at Woodstock about sneaking into the 25th anniversary of the ’69 concert and catching Bob Dylan, the Band, Joe Cocker, Traffic, the Allman Brothers & a ton of others — all with a heavy weaving presence of John Lennon.  😍


Or if, like John, you’ve got some political activism and Prankster playfulness surging through your soul you’d prolly love Blissfully Ravaged in Democracy: Adventures in Politics 1980–2020 including some rooftop escapades.  😉


by Brian Hassett   —

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