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Beatles Let it Be
The Beatles during the 'Let it Be' sessions in 1969

Photo: Ethan A. Russell / © Apple Corps Ltd

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5 Lesser Known Facts About The Beatles' 'Let It Be' Era: Watch The Restored 1970 Film

More than five decades after its 1970 release, Michael Lindsay-Hogg's 'Let it Be' film is restored and re-released on Disney+. With a little help from the director himself, here are some less-trodden tidbits from this much-debated film and its album era.

GRAMMYs/May 8, 2024 - 05:34 pm

What is about the Beatles' Let it Be sessions that continues to bedevil diehards?

Even after their aperture was tremendously widened with Get Back — Peter Jackson's three-part, almost eight hour, 2021 doc — something's always been missing. Because it was meant as a corrective to a film that, well, most of us haven't seen in a long time — if at all.

That's Let it Be, the original 1970 documentary on those contested, pivotal, hot-and-cold sessions, directed by Michael Lindsay-Hogg. Much of the calcified lore around the Beatles' last stand comes not from the film itself, but what we think is in the film.

Let it Be does contain a couple of emotionally charged moments between maturing Beatles. The most famous one: George Harrison getting snippy with Paul McCartney over a guitar part, which might just be the most blown-out-of-proportion squabble in rock history.

But superfans smelled blood in the water: the film had to be a locus for the Beatles' untimely demise. To which the film's director, Michael Lindsay-Hogg, might say: did we see the same movie?

"Looking back from history's vantage point, it seems like everybody drank the bad batch of Kool-Aid," he tells GRAMMY.com. Lindsay-Hogg had just appeared at an NYC screening, and seemed as surprised by it as the fans: "Because the opinion that was first formed about the movie, you could not form on the actual movie we saw the other night."

He's correct. If you saw Get Back, Lindsay-Hogg is the babyfaced, cigar-puffing auteur seen throughout; today, at 84, his original vision has been reclaimed. On May 8, Disney+ unveiled a restored and refreshed version of the Let it Be film — a historical counterweight to Get Back. Temperamentally, though, it's right on the same wavelength, which is bound to surprise some Fabs disciples.

With the benefit of Peter Jackson's sound-polishing magic and Giles Martin's inspired remixes of performances, Let it Be offers a quieter, more muted, more atmospheric take on these sessions. (Think fewer goofy antics, and more tight, lingering shots of four of rock's most evocative faces.)

As you absorb the long-on-ice Let it Be, here are some lesser-known facts about this film, and the era of the Beatles it captures — with a little help from Lindsay-Hogg himself.

The Beatles Were Happy With The Let It Be Film

After Lindsay-Hogg showed the Beatles the final rough cut, he says they all went out to a jovial meal and drinks: "Nice food, collegial, pleasant, witty conversation, nice wine."

Afterward, they went downstairs to a discotheque for nightcaps. "Paul said he thought Let it Be was good. We'd all done a good job," Lindsay-Hogg remembers. "And Ringo and [wife] Maureen were jiving to the music until two in the morning."

"They had a really, really good time," he adds. "And you can see like [in the film], on their faces, their interactions — it was like it always was."

About "That" Fight: Neither Paul Nor George Made A Big Deal

At this point, Beatles fanatics can recite this Harrison-in-a-snit quote to McCartney: "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. Whatever it is that will please you… I'll do it." (Yes, that's widely viewed among fans as a tremendous deal.)

If this was such a fissure, why did McCartney and Harrison allow it in the film? After all, they had say in the final cut, like the other Beatles.

"Nothing was going to be in the picture that they didn't want," Lindsay-Hogg asserts. "They never commented on that. They took that exchange as like many other exchanges they'd had over the years… but, of course, since they'd broken up a month before [the film's release], everyone was looking for little bits of sharp metal on the sand to think why they'd broken up."

About Ringo's "Not A Lot Of Joy" Comment…

Recently, Ringo Starr opined that there was "not a lot of joy" in the Let it Be film; Lindsay-Hogg says Starr framed it to him as "no joy."

Of course, that's Starr's prerogative. But it's not quite borne out by what we see — especially that merry scene where he and Harrison work out an early draft of Abbey Road's "Octopus's Garden."

"And Ringo's a combination of so pleased to be working on the song, pleased to be working with his friend, glad for the input," Lindsay-Hogg says. "He's a wonderful guy. I mean, he can think what he wants and I will always have greater affection for him.

"Let's see if he changes his mind by the time he's 100," he added mirthfully.

Lindsay-Hogg Thought It'd Never Be Released Again

"I went through many years of thinking, It's not going to come out," Lindsay-Hogg says. In this regard, he characterizes 25 or 30 years of his life as "solitary confinement," although he was "pushing for it, and educating for it."

"Then, suddenly, the sun comes out" — which may be thanks to Peter Jackson, and renewed interest via Get Back. "And someone opens the cell door, and Let it Be walks out."

Nobody Asked Him What The Sessions Were Like

All four Beatles, and many of their associates, have spoken their piece on Let it Be sessions — and journalists, authors, documentarians, and fans all have their own slant on them.

But what was this time like from Lindsay-Hogg's perspective? Incredibly, nobody ever thought to check. "You asked the one question which no one has asked," he says. "No one."

So, give us the vibe check. Were the Let it Be sessions ever remotely as tense as they've been described, since man landed on the moon? And to that, Lindsay-Hogg's response is a chuckle, and a resounding, "No, no, no."

The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"

Paul McCartney & Wings
Paul McCartney and Wings in 1974

Photo: Michael Putland/Getty Images

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Wings Release 'One Hand Clapping': How To Get Into Paul McCartney's Legendary Post-Beatles Band

After 50 years on the shelf, Wings' raw and intimate live-in-the-studio album is finally here. Use it as a springboard to discover Paul McCartney's '70s band's entire catalog — here's a roadmap through it all.

GRAMMYs/Jun 17, 2024 - 05:19 pm

Whether it be "Band on the Run" or "Jet" or "My Love," chances are you've heard a Wings song at least once — in all their polished, '70s-arena-sized glory. More than four decades after they disbanded in 1981, we're getting a helping of raw, uncut Wings.

Last February, Wings' classic 1973 album Band on the Run got the 50th anniversary treatment, with a disc of "underdubbed" remixes, allowing Paul McCartney, spouse and keyboardist Linda McCartney, and guitarist Denny Laine to be heard stripped back, with added clarity.

After a few months to digest that, it was time to reveal a session that, for ages, fans had been clamoring for. On June 14, in came One Hand Clapping, a live-in-the-studio set from August 1974 that captured Wings at the zenith of their powers.

Back then, Wings had the wind in their sails, with a reconstituted lineup Band on the Run at the top of the charts. They opted to plug in at Abbey Road Studios with cameras rolling, and record a live studio album with an attendant documentary. The film wouldn’t come out until a 2010 reissue of Band on the Run; the music’s popped up on bootlegs, but had never been released in full.

That long absence is a shame; while One Hand Clapping is a bit of a historical footnote, it absolutely rips; Giles Martin shining up the mixes certainly helped. Epochal Macca ballads, like "Maybe I'm Amazed" and "Blackbird," are well represented, but when Wings rock out, as on "Jet," "Nineteen Hundred and Eighty Five," and "deep cut "Soily," they tear the roof off.

Basically, in range and sequencing, One Hand Clapping shows McCartney prepping Wings like a rocket; soon, it'd rip through the live circuit. If you've never taken a spin through McCartney's post-Fabs discography, though, you may not know where to go from here.

So, for neophytes (or just fans wanting a refresher), here's a framework through which to sift through the Wings discography — with One Hand Clapping still ringing in your ears.

The Essentials

Remember, as you get into Wings: don't cordon off their catalog from McCartney's solo work as a whole. In other words: if you haven't heard masterpieces like 1971's Ram yet, don't go scrounging through Back to the Egg deep cuts yet: check all that stuff out, then return to this list.

That being established: the proper Wings entryway is almost unquestionably Band on the Run. Like Sgt. Pepper's and Abbey Road before it, it's an exhilarating melodic and stylistic rush, a sonic adventure — whether you go for the original or the "underdubbed" version.

In the grand scheme of solo Beatles, Band on the Run is also the one McCartney album that slugs it out with John Lennon's Plastic Ono Band and George Harrison's All Things Must Pass, in terms of artistic realization.

That being said: despite slightly inferior contemporaneous reviews, its follow-up, 1975's Venus and Mars, is almost as good — and if grandiosity isn't your bag, you might actually enjoy it more than Band on the Run. (Think of Harrison following up All Things with the sparser, more spacious Living in the Material World, and you'll get the picture.)

Between those two albums, you've got a wealth of indispensable Macca songs — "Jet," "Let Me Roll It," "Nineteen Hundred and Eighty Five," "Rock Show," "You Gave Me the Answer" — as well as satisfying deep cuts, like doomed Wingsman Jimmy McCulloch's "Medicine Jar."

From there, it's time to understand Weird Wings — which rewinds the clock to their beginnings.

The Weirdness

As the McCartney canon goes, Ram's stock seems to shoot up every year, single handedly inspiring new generations of psych-pop weirdos. By comparison, Wings' debut, Wild Life, was critically savaged in 1971, and its reputation isn't much better today.

As you'll learn so often in your solo Macca voyage — you've just got to ignore the critics sometimes. Even McCartney himself said "Bip Bop" "just goes nowhere" and "I cringe every time I hear it." What he leaves out it's a maddening earworm — to hear this loony, circuitous little sketch once is to carry it to your deathbed.

Indeed, Wild Life is full of moments that will stick with you. In the title track, McCartney screams about the zoo like his hair's on fire; "I Am Your Singer" is a swaying dialogue between Paul and Linda; "Dear Friend" is one of McCartney's most moving songs about Lennon.

Wild Life's follow-up, Red Rose Speedway, is a little more candy-coated and commercial — but outside of the polarizing hit "My Love," it has some integral McCartney tunes, like "Little Lamb Dragonfly" and "Single Pigeon."

In the end, though, Wild Life is arguably the early Wings offering that will really stick to your ribs. It's not a crummy follow-up to Ram, but an intriguing off-ramp from its harebrained universe — and as the opening statement from McCartney's post-Beatles vehicle, worth investigating just on that merit.

The Deep Cuts

McCartney has always been a hit-or-miss solo artist by design — digging through the half-written pastiches and questionable experiments is part of the deal.

1976's Wings at the Speed of Sound features a key track in the irrepressibly jaunty "Let 'Em In," and an (in)famous disco-spangled hit in "Silly Love Songs." From there, with tunes like "Cook of the House" and "Warm and Beautiful," your mileage may vary wildly.

The ratio holds for 1978's London Town: you could put the gorgeous "I'm Carrying" on your playlist and scrap the rest, or you can go spelunking. And McCartney being McCartney, despite 1979's Back to the Egg being choppy waters, he nailed it at least once — on the lithe, sophisticated, Stevie Wonder-like "Arrow Through Me."

Today, at 81, McCartney is an 18-time GRAMMY winner and an enormous concert draw — charging through his six-decade catalog in stadiums the world over. These albums only comprise one decade in his history, where he flourished as a mulleted stadium act alongside his keyboarding wife. But his catalog would be so much different if he never got his Wings.

5 Lesser Known Facts About The Beatles' Let It Be Era: Watch The Restored 1970 Film

The Beach Boys performing in 1964
The Beach Boys performing in 1964

Photo: Michael Ochs Archives/Getty Images

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6 Things We Learned From Disney+'s 'The Beach Boys' Documentary

From Brian Wilson's obsession with "Be My Baby" and the Wall Of Sound, to the group's complicated relationship with Murry Wilson and Dennis Wilson's life in the counterculture, 'The Beach Boys' is rife with insights from the group's first 15 years.

GRAMMYs/May 28, 2024 - 08:31 pm

It may seem like there's little sand left to sift through, but a new Disney+ documentary proves that there is an endless summer's worth of Beach Boys stories to uncover.

While the legendary group is so woven into the fabric of American culture  that it’s easy to forget just how innovative they were, a recently-released documentary aims to remind. The Beach Boys uses a deft combination of archival footage and contemporary interviews to introduce a new generation of fans to the band.

The documentary focuses narrowly on the first 15 years of the Beach Boys’ career, and emphasizes what a family affair it was. Opening the film is a flurry of comments about "a certain family blend" of voices, comparing the band to "a fellowship," and crediting the band’s success directly to having been a family. The frame is apt, considering that the first lineup consisted of Wilson brothers Brian, Dennis, and Carl, their cousin Mike Love, and high school friend Al Jardine, and their first manager was the Wilsons’ father, Murry.

All surviving band members are interviewed, though a very frail Brian Wilson — who was placed under a conservatorship following the January death of his wife Melinda — appears primarily in archival footage. Additional perspective comes via musicians and producers including Ryan Tedder, Janelle Monáe, Lindsey Buckingham, and Don Was, and USC Vice Provost for the Arts Josh Kun.

Thanks to the film’s tight focus and breadth of interviewees, it includes memorable takeaways for both longtime fans and ones this documentary will create. Read on for five takeaways from Disney+'s The Beach Boys.

Family Is A Double-Edged Sword

For all the warm, tight-knit imagery of the Beach Boys as a family band,  there was an awful lot of darkness at the heart of their sunny sound, and most of the responsibility for that lies with Wilson family patriarch Murry Wilson. Having written a few modest hits in the late 1930s, Murry had talent and a good ear, and he considered himself a largely thwarted genius.  

When Brian, Dennis, and Carl formed the Beach Boys with their cousin Mike Love and friend Al Jardine, Murry came aboard as the band’s manager. In many respects, he was capable; his dogged work ethic and fierce protectiveness helped shepherd the group to increasingly high profile successes. He masterminded the extended Wilson family call-in campaign to a local radio station, pushing the Beach Boys’ first single "Surfin’" to become the most popular song in Los Angeles. He relentlessly shopped their demos to music labels, eventually landing them a contract at Capitol Records. He supported the band’s strong preference to record at Western Recordings rather than Capitol Records’ own in-house studio, and was an excellent promoter. 

Murry Wilson was also extremely controlling, fining the band when they made mistakes or swore, and "was miserable most of the time," according to his wife Audree. 

Footage from earlier interviews with Carl and Dennis, and contemporary comments from Mike Love make it clear that Murry was emotionally and physically abusive to his sons throughout their childhoods. He even sold off the Beach Boys’ songwriting catalog without consulting co-owner Brian, a moment that Brian’s ex-wife Marilyn says he felt so keenly that he took to his bed and didn’t get up for three days. 

Murry Wilson was at best a very complicated figure, both professionally jealous of his own children to a toxic degree and devoted to ensuring their success. 

"Be My Baby" and The Wrecking Crew Changed Brian Wilson’s Life

"Be My Baby," which Phil Spector had produced for the Ronettes in 1963, launched the girl group to immediate iconic status. The song also proved life-changing for Brian. On first hearing the song, "it spoke to my soul," and Brian threw himself into learning how Spector created his massive, lush Wall of Sound. Spector’s approach taught Brian that production was a meaningful art that creates an "overall sound, what [the listeners] are going to hear and experience in two and a half minutes." 

Read more: How Brian Wilson Crafted The Beach Boys' Early Sound: A Symphony Of Inspirations, From Boogie-Woogie To Barbershop

By working with The Wrecking Crew — a truly motley bunch of experienced, freewheeling musicians who played on Spector’s records and were over a decade older than the Beach Boys — Brian’s artistic sensibility quickly emerged. According to drummer Hal Blaine and bassist Carol Kaye, Brian not knowing what he didn’t know gave him the freedom and imagination to create sounds that were completely new and innovative. 

Friendly Rivalries With Phil Spector & The Beatles Yielded Amazing Pop Music

According to popular myth, the Beach Boys and the Beatles saw each other exclusively as almost bitter rivals for the ears, hearts, and disposable income of their fans. The truth is more nuanced: after the initial shock of the British Invasion wore off, the two groups developed and maintained a very productive, admiration-based competition, each band pushing the other to sonic greatness. 

Cultural historian and academic Josh Kun reframes the relationship between the two bands as a "transatlantic collaboration," and asks, "If they hadn’t had each other, would they have become what they became?" Could they have made the historic musical leaps that we now take for granted? 

Read more: 10 Memorable Oddities By The Beach Boys: Songs About Root Beer, Raising Babies & Ecological Collapse

The release of Rubber Soul left Brian Wilson thunderstruck. The unexpected sitar on "Norwegian Wood," the increasingly mature, personal songwriting, all of it was so fresh that "I flipped!" and immediately wanted to record "a thematic album, a collection of folk songs." 

Brian found life on the road soul-crushing and terrifying, and was much more content to stay home composing, writing, and producing. With the touring band out on the road, and with a creative fire lit under him by both the Beatles and Phil Spector’s Wall of Sound, he had time to develop into a wildly creative, exacting, and celebrated producer, an experience that yielded the 1966 masterpiece, Pet Sounds.

Pet Sounds Took 44 Years To Go Platinum

You read that right: Pet Sounds was a flop in the U.S. upon its release. Even after hearing radio-ready tracks like "Wouldn’t It Be Nice?" and "Sloop John B" and the ravishing "God Only Knows," Capitol Records thought the album had minimal commercial potential and didn’t give it the promotional push the band were expecting. Fans in the United Kingdom embraced it, however, and the votes of confidence from British fans — including Keith Moon, John Lennon, and Paul McCartney — buoyed both sales and the Beach Boys’ spirits.  

In fact, Lennon and McCartney credited Pet Sounds with giving them a target to hit when they went into the studio to record the Beatles’ own next sonically groundbreaking album, Sgt. Pepper’s Lonely Hearts Club Band. As veteran producer and documentary talking head Don Was puts it, Brian Wilson was a true pioneer, incorporating "textures nobody had ever put into pop music before." The friendly rivalry continued as the Beatles realized that they needed to step up their game once more.

Read more: Masterful Remixer Giles Martin On The Beach Boys' 'Pet Sounds,' The Beatles, Paul McCartney

Meanwhile, Capitol Records released and vigorously promoted a best-of album full of the Beach Boys’ early hits, Best Of The Beach Boys. The collection of sun-drenched, peppy tunes was a hit, but was also very out of step with the cultural and political shifts bubbling up through the anti-war and civil rights movements of the era. Thanks in part to later critical re-appraisals and being publicly embraced by musicians as varied as Questlove and Stereolab, Pet Sounds eventually reached platinum status in April 2000, 44 years after its initial release.

Dennis Wilson Was The Only Truly Beachy Beach Boy

Although the Beach Boys first made a name for themselves as purveyors of "the California sound" by singing almost exclusively about beaches, girls, and surfing, the only member of the band who really liked the beach was drummer Dennis Wilson.

Al Jardine ruefully recalls that "the first thing I did was lose my board — I nearly drowned" on a gorgeous day at Manhattan beach. Dennis was an actual surfer whose tanned, blonde good looks and slightly rebellious edge made him the instant sex symbol of the group. In 1967, when Brian’s depression was the deepest and he relinquished in-studio control of the band, Dennis flourished musically and lyrically. Carl Wilson, who had emerged as a very capable producer in Brian’s absence, described Dennis as evolving artistically "really quite amazingly…it just blew us away."

Dennis was also the only Beach Boy who participated meaningfully in the counterculture of the late 1960s, a movement the band largely sat out of, largely to the detriment of their image. He introduced the band to Transcendental Meditation — a practice Mike Love maintains to this day — and was a figure in the Sunset Strip and Laurel Canyon music scenes. Unfortunately, he also became acquainted with and introduced his bandmates to Charles Manson. Manson’s true goal was rock stardom; masterminding the gruesome mass murders that his followers perpetrated in 1969 was a vengeful outgrowth of his thwarted ambition. 

The Beach Boys did record and release a reworked version of one of Manson’s songs, "Never Learn Not To Love" as a B-side in 1968. Love says that having introduced Manson to producer Terry Melcher, who firmly rebuffed the would-be musician, "weighed on Dennis pretty heavily," and while Jardine emphatically and truthfully says "it wasn’t his fault," it’s easy to imagine those events driving some of the self-destructive alcohol and drug abuse that marked Dennis’ later years. 

The final minutes of The Beach Boys can be summed up as "if all else fails commercially, release a double album of beloved greatest hits." The 1970s were a very fruitful time for the band creatively, as they invited funk specialists Blondie Chaplin and Ricky Fataar to join the band and relocated to the Netherlands to pursue a harder, more far-out sound. Although the band were proud of the lush, singer/songwriter material they were recording, the albums of this era were sales disappointments and represented a continuing slide into uncoolness and obscurity. 

Read more: Brian Wilson Is A Once-In-A-Lifetime Creative Genius. But The Beach Boys Are More Than Just Him.

Once again, Capitol Records turned to the band’s early material to boost sales. The 1974 double-album compilation Endless Summer, comprised of hits from 1962-1965, went triple platinum, relaunching The Beach Boys as a successful heritage touring act. A new generation of fans — "8 to 80," as the band put it — flocked to their bright harmonies and upbeat tempos, as seen in the final moments of the documentary when the Beach Boys played to a crowd of over 500,000 fans on July 4, 1980. 

While taking their place as America’s Band didn’t do much to make them cool, it did ensure one more wave of chart success with 1988’s No. 1 hit "Kokomo" and ultimately led to broader appreciation for Pet Sounds and its sibling experimental albums like Smiley Smile. That wave of popularity has proven remarkably durable; after all, they’ve ridden it to a documentary for Disney+ nearly 45 years later. 

Listen: 50 Essential Songs By The Beach Boys Ahead Of "A GRAMMY Salute" To America's Band

Sean Ono Lennon at 2024 Oscars
Sean Ono Lennon attends the 2024 Vanity Fair Oscar Party.

Photo: Lionel Hahn/Getty Images

interview

Catching Up With Sean Ono Lennon: His New Album 'Asterisms,' 'War Is Over!' Short & Shouting Out Yoko At The Oscars

Sean Ono Lennon is having a busy year, complete with a new instrumental album, 'Asterisms,' and an Oscar-winning short film, 'War is Over!' The multidisciplinary artist discusses his multitude of creative processes.

GRAMMYs/May 2, 2024 - 02:23 pm

Marketing himself as a solo musician is a little excruciating for Sean Ono Lennon. It might be for you, too, if you had globally renowned parents. Despite his musical triumphs over the years, Lennon is reticent to join the solo artist racket.

Which made a certain moment at the 2024 Oscars absolutely floor him: Someone walked up to Lennon and told him "Dead Meat," from his last solo album, 2006's Friendly Fire, was his favorite song ever. Not just on the album, or by Lennon. Ever.

"I was so shocked. I wanted to say something nice to him, because it was so amazing for someone to say that," Lennon tells GRAMMY.com. "But it was too late anyway." (Thankfully, after he tweeted about that out-of-nowhere moment, the complimenter connected with him.)

It's a nice glimmer of past Lennon, one who straightforwardly walked in his father's shoes. But what's transpired since 2006 is far more interesting than any Beatle mini-me.

Creatively, Lennon has a million irons in the fire — with the bands the Ghost of a Saber Tooth Tiger, the Claypool Lennon Delirium, his mom's Plastic Ono Band, and beyond.

And in 2024, two projects have taken center stage. In February, he delivered his album Asterisms, a genreless instrumental project with a murderer's row of musicians in John Zorn's orbit, released on Zorn's storied experimental label Tzadik Records. Then just a few weeks later, his 2023 short film War is Over! — for which he co-wrote the original story, and is inspired by John Lennon and Yoko Ono's timeless peace anthem "Happy Xmas (War Is Over)" — won an Oscar for Best Animated Short Film.

On the heels of the latter, Lennon sat down with GRAMMY.com to offer insights on both projects, and how they each contributed to "really exciting" creative liberation.

This interview has been edited for clarity.

You shouted out your mom at the Oscars a couple of months back. How'd that feel?

Well, honestly, it felt really cosmic that it was Mother's Day [in the UK]. So I just kind of presented as a gift to her. It felt really good. It felt like the stars were aligning in many ways, because she was watching. It was a very sweet moment for me.

What was the extent of your involvement with the War Is Over! short?

Universal Music had talked to me about maybe coming up with a music video idea. I had been trying to develop a music video for a while, and I didn't like any of the concepts; it just felt boring to me.

The idea of watching a song that everyone listens to already, every year, with some new visual accompaniment — it didn't feel that interesting. So, I thought it'd be better to do a short film that kind of exemplifies the meaning of the song, because then, it would be something new and interesting to watch.

That's when I called my friend Adam Gates, who works at Pixar. I was asking him if he had any ideas for animators, or whatever. I knew Adam because he had a band called Beanpole. [All My Kin] was a record he made years ago with his friends, and never came out. It's this incredible record, so I actually put it out on my label, Chimera Music.

But Adam couldn't really help me with the film, because he's still contractually with Pixar, and they have a lot of work to do. But he introduced me to his friend Dave Mullins, who's the director. He had just left Pixar to start a new production company. He could do it, because he was independent, freelance.

Dave and I had a meeting. In that first meeting, we were bouncing around ideas, and we came up with the concept for the chess game and the pigeon. I wanted it to be a pigeon, because I really love pigeons, and birds. We wrote it together, and then we started working on it.

So, I was there from before that existed, and I saw the thing through as well. I also brought in Peter Jackson to do the graphics. 

This message unfortunately resonates more than ever. Republicans used to be the war hawks; now, it's Democrats. What a reversal.

It just feels like we live in an upside-down world. Something happened where we went through a wormhole, and we're in this alternate reality. I don't know how it happened. But it's not the only [example]; a lot of things just seem absolutely absurd with the world these days.

But hopefully, it points toward something better. I try to be optimistic. In the Hegelian dialectic, you have to have a thesis and antithesis, and the synthesis is when they fuse to become a better idea. So, I'm hoping that all the tension in society right now is what the final stage of synthesis looks like.

How'd the filmmaking process roll on from there?

Dave had made a really great short film called LOU when he was at Pixar; that was also nominated for an Oscar. He and [producer] Brad [Booker] know a ton of talented people; they have an amazing character designer.

We started sending files back and forth with WingNut in New Zealand; they would be adding the skins to the characters.

One of the first stages was the performance capture, where you basically attach a bunch of ping pong balls to a catsuit and a bicycle helmet. You record the position of these ping pong balls in a three-dimensional space. That gives you the performance that you map the skins onto on the computer later on. 

For a couple of years, there was a lot of production. David and his team did a really good job of inventing and designing uniforms for the imaginary armies that never existed, because we really didn't want to identify any army as French or British or German or anything.

We wanted to get a kind of parallel universe — an abstraction of the First World War. We designed it so that one army was based on round geometry, and the other was based on angular geometry.

It was a long process, and it was really fun. I learned a lot about modern computer animation.

Between Em Cooper's GRAMMY-winning "I'm Only Sleeping" video and now this, the Beatles' presence in visual media is expanding outward in a cool way.

I think we've been really fortunate to have a lot of really great projects to give to the world. I've only been working on the Beatles and John Lennon stuff directly in the last couple of years, and it's been really exciting for me.

And a big challenge, obviously, because I don't [hesitates] want to f— up. [Laughs.] But it's been a real honor. And I'm very grateful to my mom for giving me the freedom to try all these wacky ideas. Because a lot of people are like, "Oh, when are you going to stop trying to rehash the past with the Beatles, or John Lennon?"

Because the modern world is as it is, I feel like we have a responsibility to try to make sure that the Beatles and John Lennon's music remains out there in the public consciousness, because I think it's really important. I think the world needs to remember the Beatles' music, and remember John and Yoko. It's really about making sure we don't get lost in the white noise of modernity.

I love Asterisms. Where are you at in your journey as a guitarist? I'm sure you unlocked something here.

Like it's a video game. It's weird — I don't even consider myself a guitar player. I'm just, like, a software. But I think it's more about confidence — because it's really hard for me to get over my insecurity with playing and stuff.

For so many different reasons, it's probably just the way I'm designed — being John and
Yoko's kid, growing up with a lot of preconceived notions or expectations about me, musically.

So, it's always been hard to accept myself as a musician, and this was kind of a lesson in getting over myself. Accepting what I wanted to play, and just doing it.

This is my Tzadik record, so it had to be all these fancy, amazing musicians. It doesn't matter what your chops are: it's more about how you feel, and the feeling you bring to your performance.

Once we recorded, it sounded amazing, because we recorded live to tape. So, everything on that album is live, except for my guitar solos. I didn't play my solos live, because I had to play the rhythm guitar. I was just paying attention to the band and cueing people. Once we finished the basic tracks, it just took us a couple of days, and it was done.

It was the simplest record I've ever done, because there were no vocals, so there wasn't a lot of mixing process. We recorded live to 16-track tape, and it was done.

I caught wind a couple of years back that you were working on another solo record simultaneously. Is that true?

I was working on a solo record of songs with lyrics. I finished it, and — I don't know, I think this speaks to the mental problems I have — but I didn't like it suddenly, and i never put it out. I just felt weird about it. I think I overthought it or something.

Then Zorn asked me to do an instrumental thing, and it was a no-brainer, because I've been a fan my whole life. The idea of getting to do something on his label was really an honor.

I got turned on to so many amazing musicians from Zorn, like Joey Baron, Dave Douglas, Kenny Wolleson, and Marc Ribot. Growing up in New York, that's always been my idea of where the greatest musicians are — Zorn and his gang.

Why'd you feel weird about the other album? Did it just not have the juice?

It's not that I didn't think it had the juice. I just got uncomfortable with the idea of putting out a solo record, and the whole process. I got nervous. I still think it's good. But I don't know if it's good enough to warrant me releasing it.

That's fine playing in bands, like the [Claypool Lennon] Delirium and GOASTT [Ghost of a Saber Toothed Tiger]. It takes a degree of unnecessary pressure off of making music. But as soon as your actual birth name is on the record, it starts to feel uncomfortable for me.

People are ruthless today, period. But they're especially critical of me with music. So, it's like, Do I really need to do that s—? It's a little more awkward: "I, myself, Sean Lennon, am putting out my art, and here it is." I'd rather be part of the band.

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Taylor Swift performs with Stevie Nicks at the 2010 GRAMMYs
Taylor Swift performs with Stevie Nicks at the 2010 GRAMMYs

Photo: ROBYN BECK/AFP via Getty Images

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11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More

From Paul McCartney to Paramore, Emily Dickinson and even "Game of Thrones," read on for some of the major influences Taylor Swift has referenced throughout her GRAMMY-winning career.

GRAMMYs/Apr 22, 2024 - 11:24 pm

As expected, much buzz followed the release of Taylor Swift's 11th studio album, The Tortured Poets Department, on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record). 

Shoutouts abound in The Tortured Poets Department: Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and  Florence + the Machine’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation-era feud with Kim Kardashian. 

Swift casts a wide net on The Tortured Poets Department, encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD, consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.

Stevie Nicks

If Taylor Swift is the chairman of The Tortured Poets Department, Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre-Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.

For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department. "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"

Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me" before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless. More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie.

Patti Smith

Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department. Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album. 

Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog.

Emily Dickinson

When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed!) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.

"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.

Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").

The Lake Poets

Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.

Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions. "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff. "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"

Paul McCartney

Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue. The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").

However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.  

The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.

The Chicks

From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore’s Haim-assisted murder ballad "no body, no crime" and her own Lover-era collab with the band, "Soon You’ll Get Better.") 

In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter, Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"

"Game of Thrones"

When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."

"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."

Joni Mitchell

Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red, which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red’s release, the country-pop titan gushed over Blue’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."

Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights.

Fall Out Boy & Paramore

When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore

"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version), which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams.

Tim McGraw

For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music. 

In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album