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Miscellaneous questions about Paul McCartney
15 April 2015
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Expert Textpert said
Is Paul McCartney more cute, famous, or talented? I want to know.

That’s a tough one. You’d better ask @Ahhh Girl about it… no, maybe not, not if you want an unbiased opinion… :D  

I’d say it’d be in this order: 

  1. Famous 
  2. Talented 
  3. Cute 

….but that’s judging by his more recent photos a-hard-days-night-john-6 

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16 April 2015
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This is telling. You think he is more famous than he is actually talented. So Paul is not your favorite.

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16 April 2015
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@Expert Textpert grinned fiendishly   
This is telling. You think he is more famous than he is actually talented. So Paul is not your favorite.

a-hard-days-night-paul-11 

You’re actually partially correct. Paul isn’t my favourite– he’s my other favourite; my favourite is George. It used to be the other way round. But it fluctuates, really– depending on the weather I think. 

And I do think he is MASSIVELY INCREDIBLY talented. It’s just that he’s also a Beatle. Get it? 

Admittedly, it was an EXTREMELY hard choice. 

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16 April 2015
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It was a smile, not a sneer.

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16 April 2015
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@Expert Textpert smiled 
It was a smile, not a sneer.

a-hard-days-night-paul-11 

Happy now? 

If you are quite satisfied, we shall now proceed with our on-topic conversation… 

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24 May 2015
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Approaching this from a philosophical angle, one problem with Expert Texpert’s question —

Is Paul McCartney more cute, famous, or talented?

— is that one could think Paul is enormously, superlatively, fabulously, incredibly talented and yet still perceive that his fame is of such a great degree that it qualifies technically as “more”.  What perhaps seems to be lurking in the question is the more precise question —

Is Paul McCartney ‘s fame of higher value than his talent?

This in turn illuminates the problem, because “fame” and “talent” are qualitatively different commodities, but their qualitative difference seems to be obscured by lumping them together on the same scale to be measured.

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I’m also inclined to say 

1 famous

2 talented

3 cute

But I don’t think that’s necessarily a good thing, or a fair assessment. Quite the opposite, really. Many people are inclined to not look beyond Paul’s fame, causing them to ignore or be oblivious to his enormous talent. Any random online news article with a comment section will prove my point. I get exasperated just thinking about the countless times people imply (or outright say) his Beatle fame is all he has going for him and that everything he’s done post-Beatles is shyte. He’s been called every name under the sun, including “talentless hack”. More often than not, those people never looked beyond the tip of their nose, as the Dutch proverb goes, and base their opinion on either Paul’s songs they dislike, their worship of John, or both. 

Anyway, it’s not a fair comparison to make. Being famous doesn’t make you talented *cough*Bieber*cough*, being talented doesn’t automatically make you famous, and being cute shouldn’t even matter at all, though too many singers owe their fame to their good looks rather than their talent. Paul McCartney most definitely does not fit into that category. His looks are a bonus, but I am 100% convinced his face didn’t make much (if any) of a difference in getting where he is today. 

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13 July 2015
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Expert Textpert said
Is Paul McCartney more cute, famous, or talented? I want to know.

Yes.  Now you do.

13 July 2015
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C.R.A. said

Expert Textpert said
Is Paul McCartney more cute, famous, or talented? I want to know.

Yes.  Now you do.

When did I not?

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13 July 2015
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JPM-Fangirl said

I’m also inclined to say 

1 famous

2 talented

3 cute

But I don’t think that’s necessarily a good thing, or a fair assessment. Quite the opposite, really. Many people are inclined to not look beyond Paul’s fame, causing them to ignore or be oblivious to his enormous talent. Any random online news article with a comment section will prove my point. I get exasperated just thinking about the countless times people imply (or outright say) his Beatle fame is all he has going for him and that everything he’s done post-Beatles is shyte. He’s been called every name under the sun, including “talentless hack”. More often than not, those people never looked beyond the tip of their nose, as the Dutch proverb goes, and base their opinion on either Paul’s songs they dislike, their worship of John, or both. 

Anyway, it’s not a fair comparison to make. Being famous doesn’t make you talented *cough*Bieber*cough*, being talented doesn’t automatically make you famous, and being cute shouldn’t even matter at all, though too many singers owe their fame to their good looks rather than their talent. Paul McCartney most definitely does not fit into that category. His looks are a bonus, but I am 100% convinced his face didn’t make much (if any) of a difference in getting where he is today. 

Yes, those who overlook his post-Beatles work are missing out. I have been schooled in this regard.

Although he was given a clear advantage over John because he has not been dead since 1980, Paul clearly has the best and most consistent solo output of any Beatle. This is because of his genius for melodies.

When comparing George and Paul’s worst albums, Paul’s have the advantage of being more catchy.

Sometimes nothing will do but listening to some Paul McCartney .

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13 July 2015
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Expert Textpert said

JPM-Fangirl said

I’m also inclined to say 

1 famous

2 talented

3 cute

But I don’t think that’s necessarily a good thing, or a fair assessment. Quite the opposite, really. Many people are inclined to not look beyond Paul’s fame, causing them to ignore or be oblivious to his enormous talent. Any random online news article with a comment section will prove my point. I get exasperated just thinking about the countless times people imply (or outright say) his Beatle fame is all he has going for him and that everything he’s done post-Beatles is shyte. He’s been called every name under the sun, including “talentless hack”. More often than not, those people never looked beyond the tip of their nose, as the Dutch proverb goes, and base their opinion on either Paul’s songs they dislike, their worship of John, or both. 

Anyway, it’s not a fair comparison to make. Being famous doesn’t make you talented *cough*Bieber*cough*, being talented doesn’t automatically make you famous, and being cute shouldn’t even matter at all, though too many singers owe their fame to their good looks rather than their talent. Paul McCartney most definitely does not fit into that category. His looks are a bonus, but I am 100% convinced his face didn’t make much (if any) of a difference in getting where he is today. 

Yes, those who overlook his post-Beatles work are missing out. I have been schooled in this regard.

Although he was given a clear advantage over John because he has not been dead since 1980, Paul clearly has the best and most consistent solo output of any Beatle. This is because of his genius for melodies.

When comparing George and Paul’s worst albums, Paul’s have the advantage of being more catchy.

Sometimes nothing will do but listening to some Paul McCartney .

You could also argue (and some do) that because Paul has been more active pre-1981 its devalued his catalogue as it is so varied and he has aged/declined whereas John’s is very much set in a period of time – and even recorded at his peak.

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21 July 2015
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Anyone know any more about Paul losing the publishing rights to Buddy Holly’s catalogue. Had no idea this had happened until reading the comments section in an article on BMG acquiring the rights to Buddy’s catalogue where stepheneasley writes

… Sir Paul’s company, MPL, was the publisher on Buddy’s portion of his songs (with the Exception of “Everyday” and the Apartment Tapes, which were at Peer Publishing), while Maria Elena always retained the writer’s share. Over the last few years these rights reverted to his widow, Maria Elena Holly, and her publishing company. Now all these rights, publisher’s and writer’s shares from Buddy, are at BMG.

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21 July 2015
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I just checked MPL’s website. They still show MPL as publishing for Buddy Holly. I also checked BMGs website they don’t show anything about Buddy.

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21 July 2015
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@meanmistermustard, from what I understand Paul owns the worldwide music publishing rights excluding the US, which Maria Elena Holly insisted on keeping, along with control of his song catalogue.

Maria Elena’s deal with BMG (announced on 2 July) involves the US music publishing rights and the song catalogue, along with the rights to his name, image and likeness. They will also administer worldwide royalties.

The fact that the BMG deal specifies the US publishing rights suggests the worldwide rights are to remain with Paul.

Given that Maria Elena is 83 this year, after all these years of guarding Buddy’s legacy, it seems like she’s entrusting it to others to ensure it’s in hands she trusts when she is no longer here.

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no

but I hear he scoffs at ham sandwiches

lol

29 August 2015
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Ah great, an already existing topic that fits my question!

Many years ago (perhaps the 80s — it’s all a blur…) I saw a songbook written by Paul & Linda, and part of it was Paul showing readers tips on songwriting.  I remember one phrase he wrote in there, something along the lines of “Anyone can write a song, it’s easy, just go ahead and do it”. 

Does anyone remember or know of the existence (and the whereabouts, url-wise) of said songbook?

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22 November 2015
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A very oddball question.

Does anyone know the channel the BBC broadcast Paul’s 14th December 1999 Cavern Club concert on? Joe’s entry puts it as the 15th, the next day, however i’ve been thru the Radio Times online archive and its not listed anywhere. Due to the 11 days notice its highly possible there wouldn’t have been sufficient time for the RT to have been able to meet the print deadline.

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22 November 2015
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It was  broadcast live on Radio 1. The filmed performance, if I remember correctly, was first broadcast some time later on Channel 4.

From the Cavern Club website (#10 on the list):

Paul McCartney performed on stage at the Cavern Club. He played a set of rock ‘n’ roll covers from his newly released Run Devil Run album. Pauls’ band comprised of Pink Floyd’s Dave Gilmour, Deep Purple’s Ian Paice, guitarist Mick Green and keyboard player Pete Wingfield.

As well as the audience in the Cavern, the concert was broadcast live on Japanese TV and on BBC Radio One.

Thousands of fans gathered in Liverpool city centre to watch the concert live on a huge outdoor screen and the concert had an estimated net cast audience of 53 million. A DVD was released – Paul McCartney Live At The Cavern Club.

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From Joe’s article, and i’ve seen the same elsewhere

The concert was filmed, and was shown the following night on BBC television.

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24 November 2015
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meanmistermustard said
A very oddball question.

Does anyone know the channel the BBC broadcast Paul’s 14th December 1999 Cavern Club concert on? Joe’s entry puts it as the 15th, the next day, however i’ve been thru the Radio Times online archive and its not listed anywhere. Due to the 11 days notice its highly possible there wouldn’t have been sufficient time for the RT to have been able to meet the print deadline.

Got the answer in Keith Badman’s book ‘The Beatles Diary Volume 2: After The Break-Up 1970 – 2001’.

Media transmission notes for the Cavern Club gig: for the Radio 2 broadcast (transmitted between 10:31 and 12:01am on the night of the concert), hosted by Richard Allinson and recorded in a BBC van parked in nearby Harrington Street, ‘Shake A Hand’ is omitted and for the first television transmission, on BBC1, the following night, Wednesday December 15, between 11:15 and 11:55pm, both ‘Blue Jean Bop’ and ‘Try Not To Cry’ are cut. The show is transmitted in Canada on Much More Music on Thursday December 16 and Saturday December 18, 1999, with all 13 songs. The first television repeat of The Cavern gig takes place on Saturday January 15 with further screenings taking place on Friday May 5, 2000, Thursday August 10, 2000 and December 2000, while further radio broadcasts of The Cavern gig occur on Thursday January 20, 2000 (see all entries). The very first television clip of Paul’s Cavern gig, ‘Honey Hush’, actually appears on Sky News when they air a brief segment live, perhaps accidentally, during a report on the concert.

If that is correct then concert wasn’t broadcast live on BBC Radio 2 as the show started soon after 8pm.

For the 45-minute evening show, which began just after 8pm, Paul’s band, as expected, consists of the following: David Gilmour, Mick Green (guitars), Pete Wingfield (keyboards), Ian Paice (drums) and Chris Hall (accordion). They perform the following songs: ‘Honey Hush’, ‘Blue Jean Bop’, ‘Brown Eyed Handsome Man’, ‘Fabulous’ (with a false start), ‘What It Is’, ‘Lonesome Town’, ‘Twenty Flight Rock’, ‘No Other Baby’, ‘Try Not To Cry’, ‘Shake A Hand’, ‘All Shook Up’, ‘I Saw Her Standing There ‘ and ‘Party’. Paul leaves the tiny Cavern stage saying: “See you next time …

I’m now confused.

So the show wasnt broadcast live on Radio 1 but was broadcast later that night on BBC Radio 2?

Or was it broadcast live on BBC Radio 1 and then later that night on BBC Radio 2. 

Or is the book wrong? There is no note of a Radio 1 broadcast in the book. 

Or is the history wrong?

@Joe, @Ron Nasty, @anyone, any ideas?

The full entry is below

a.jpg

In front of a crowd of just 300, Paul plays his historic concert at the new Cavern Club in Mathew Street, Liverpool. He comments: “I can’t think of a better way to end the century than with a party at The Cavern, singing the songs of my heroes.” Fans are naturally desperate to witness the show. “Women have been blatantly accosting me in the (Cavern) club,” says an exasperated Billy Heckle, the Cavern Club’s co-manager. “They’ve been trying to bribe me with their bodies. I’ve been repeatedly offered sex in exchange for a ticket!” Many people are, naturally, disappointed that they can’t get in, none more so than The Beatles’ former manager, Allan Williams, who blasts: “I can’t believe they’re not letting me in there tonight. If it wasn’t for me, there would be no Beatles!” (In fact, Williams was intoxicated at the time of the concert.)

Paul arrived in Liverpool this afternoon at Speke airport at around 2pm. His flight was delayed 45 minutes before it arrived at Speke. On his arrival, after giving a couple of autographs and a quick chat with the Liverpool Echo, he quickly transferred to his Jaguar car, which was escorted by half a dozen policemen to the rear of The Cavern where he was driven into the completely sealed off parking area, situated under the Cavern Walks complex. Paul entered The Cavern Club via its emergency doors at the back. Afterwards Paul and his band held a two-hour rehearsal.

The press entered the building at 4pm and, at 5pm, Paul held the short press conference, which turned out to be just a small statement and photo call. When Paul arrived on the tiny stage, he kissed the “wall of fame” behind him. The statement he read to the press was as follows: “I just want to say that it’s fantastic to be back at The Cavern. What better place to rock out the century? This is where it all began and, for me, the century is going to end with playing rock’n’roll. You’ll remember that before The Beatles were The Beatles, they were a fabulous little rock’n’roll band, which is what held us together for so long and made us so good. I think. And I’m back here because I love Liverpool and I’m playing the music I love best in the city I love most. There is no more fantastic place to rock out the century.”

Following the conference, Paul sneaked out to a nearby hotel where he was reunited with his local family for a private cup of tea and to record an exclusive interview for a BBC Radio Two special to be broadcast later this evening.

For the 45-minute evening show, which began just after 8pm, Paul’s band, as expected, consists of the following: David Gilmour, Mick Green (guitars), Pete Wingfield (keyboards), Ian Paice (drums) and Chris Hall (accordion). They perform the following songs: ‘Honey Hush’, ‘Blue Jean Bop’, ‘Brown Eyed Handsome Man’, ‘Fabulous’ (with a false start), ‘What It Is’, ‘Lonesome Town’, ‘Twenty Flight Rock’, ‘No Other Baby’, ‘Try Not To Cry’, ‘Shake A Hand’, ‘All Shook Up’, ‘I Saw Her Standing There ‘ and ‘Party’. Paul leaves the tiny Cavern stage saying: “See you next time …”

VIPs in attendance include, amongst others, the Apple boss, Neil Aspinall, the old Cavern Club boss, Ray McFall, the old Cavern Club DJ, Billy Butler and Bob Wooler. Paul’s immediate family is also present.

A large outdoor screen in Chavasse Park, near the Albert Dock, in Liverpool, is erected so approximately 12,000 people can also watch the show live in the freezing cold. Paul had rented the park.

After the concert, Paul, his band and friends, go to the nearby Sports Bar, Baron Pierre de Coubertin’s, which is owned by Cavern City Tours. While there, Paul signs an authentic copy of his Hofner violin bass guitar, scribbling: “Cool Cavern! Cheers. Paul McCartney Dec 14. ’99” on the scratch plate. Paul leaves the Sports Bar through a private corridor, around midnight.

a.jpg

Media transmission notes for the Cavern Club gig: for the Radio 2 broadcast (transmitted between 10:31 and 12:01am on the night of the concert), hosted by Richard Allinson and recorded in a BBC van parked in nearby Harrington Street, ‘Shake A Hand’ is omitted and for the first television transmission, on BBC1, the following night, Wednesday December 15, between 11:15 and 11:55pm, both ‘Blue Jean Bop’ and ‘Try Not To Cry’ are cut. The show is transmitted in Canada on Much More Music on Thursday December 16 and Saturday December 18, 1999, with all 13 songs. The first television repeat of The Cavern gig takes place on Saturday January 15 with further screenings taking place on Friday May 5, 2000, Thursday August 10, 2000 and December 2000, while further radio broadcasts of The Cavern gig occur on Thursday January 20, 2000 (see all entries). The very first television clip of Paul’s Cavern gig, ‘Honey Hush’, actually appears on Sky News when they air a brief segment live, perhaps accidentally, during a report on the concert.

The show is also broadcast live on the Internet worldwide, on MCY.com, which features an exclusive introduction by Paul, who remarks: “This is going to be a thrilling and emotional night for me and it’s fantastic that fans around the world can log on to the gig and party with us.” But, because of the limitations, it is nearly impossible to get online. Ninety minutes before the start of the show, the system is already jammed to anyone trying to log on. Later, about 30 minutes after the concert has ended, EMI and MSN originally plan to make the programme available for “on demand” viewing for the following fifteen hours. But, due to the extraordinary interest in the webcast, the host MCY.com ends up re-broadcasting the concert until Sunday December 19. (Also see entries for Friday December 24 and June 30, 2000.)

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