![]() ![]() They continued to summon each other, and eventually me, by whistling “Yellow Submarine.” Although I didn’t know at the time that it was originally written as a children’s song, it came to color my childhood. That spring morning, knowing that my mother was a Beatles fan, my father suggested “Yellow Submarine.” There was no deliberation, no getting mired in the paradox of choice - just an instinctive offering fetched from some mysterious mental library.Įventually, my parents got pregnant, got married, had this child. My mother’s parents, elementary schoolteachers in rural Bulgaria who tended to an orchard and the occasional farm animal, used a melody of unclear origin but aurally evocative of a Bulgarian folk song my father’s parents, both civil engineers and city intellectuals, used a fragment from a Schumann waltz. Partway between the primitive and the poetic, between the mating calls of mammals and the sonnets by which Romeo and Juliet beckoned one another, these signals were part of a couple’s shared language, a private code to be performed in public. At the time, Bulgarian couples customarily had whistle-calls - distinctive tunes they came up with, usually borrowed from the melody of a favorite song, by which they could find each other in a crowd or summon one another from across the street. One spring morning, having finally begun to feel like a couple, they were walking across the lawn between the two dorms and decided it was time for them to have a whistle-call. Upon arrival, he began courting my mother with such subtlety that it took her two years to realize she was being courted. It was the middle of the Cold War and they were both traveling from their native Bulgaria to Saint Petersburg in Russia, where they were to attend different universities - my father, an introvert of formidable intelligence, was studying computer science my mother, a poetry-writing (bordering-on-bossy) extrovert, library science.Īn otherwise rational man, my father describes the train encounter as love at first sight. Here is my essay, as it appears in the book. The anthology is now out as In Their Lives: Great Writers on Great Beatles Songs ( public library), featuring contributions from wonderful writers like Pico Iyer (“Yesterday”), Rosanne Cash (“No Reply”), Rick Moody (“The End”), Rebecca Mead (“Eleanor Rigby”), Roz Chast (“She Loves You”), Jane Smiley (“I Want to Hold Your Hand”), and Adam Gopnik (“Strawberry Fields Forever” / “Penny Lane”). “This was the nitroglycerine that blew everything up.And now for something a bit out of the ordinary: When editor Andrew Blauner invited me to contribute to an anthology of essays by some of his favorite writers about their favorite Beatles songs, I did something I rarely do - I accepted, because a particular Beatles song happens to be a significant animating force in my family story. “The whole album is them saying, ‘Hey, let’s make it all completely different,’” Martin tells Rolling Stone. The results changed the Beatles – and all of rock music – forever. My kind of role is like: Everyone should be able to hear that energy.” There’s such energy that comes out of all of the tapes. ![]() ![]() “I given the keys to Abbey Road and the Beatles’ vault and was allowed to go into the tapes – and it’s just amazing,” Martin said at an earlier Revolver listening event. 28, this special edition of Revolver also includes another version of “Yellow Submarine” with Lennon and McCartney singing a duet. I said to Paul, ‘I always thought this was a song that you wrote and gave to Ringo and that John was like, “Oh, bloody ‘Yellow Submarine.’” Not at all.” “I had no idea until I started going through the outtakes,” remix producer Giles Martin tells Rolling Stone. ![]()
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