Datasets:

tomekkorbak

/

pii-pile-chunk3-1850000-1900000

like 0

[ "Pages\n\nThursday, October 24, 2013\n\nElena Baxter just turned 16, and boy, was it a sweet one! ", "She found out she's a direct descendant of the Lady of the Lake from the Arthurian legends, which, in her world, are actually true. ", "As her new witch powers begin to unfold, she's granted the opportunity to travel to the magical land of Avalon, located off the northeast coast of England. ", "Elena enrolls in New Avalon, a school for all of the young women who share powers similar to Elena's, and Elena decides to stay upon coming to terms with the fact that in just three years she will be the next Lady of the Lake, the ruler of Avalon.", "\n\nAndrea Buginsky has crafted the world of Avalon to be every girl's fairy tale dreamland - sprites, unicorns, wonderful people, and other enchanted creatures. ", "With a Hogwarts-esque feel and wonderful imagery, the reader gets a vivid image of Avalon. ", "Elena is surrounded by new friends and her godmother, Isabel, who is the current Lady of the Lake (the Lady gets replaced every 125 years), which gives the book a very homey, warm feel. ", "While the book has a fair amount of external character development, I would have liked to see Buginsky really delve into Elena's emotions, which were sparse besides the few moments when she realizes the consequences of becoming the Lady of the Lake and when she misses her home. ", "Also, there is no overarching antagonistic force in the book. ", "In the first few chapters Elena has difficulty with a few bullies at her school back home in America, but otherwise, that's it. ", "The book comes to a conclusion with no real climax and no villain or villainous force foreseeable in the next installment of the series. ", "Elena has everything set up for her perfectly to become the next Lady of the Lake with little or no difficulties approaching besides a few unnamed resentful girls who feel that Isabel is playing the nepotism game. ", "Otherwise, she's got it all together with the full support of her professors, friends, family, and fellow students. ", "There is nothing and no one to truly oppose her, which leads to a fairly flat ending to the book. ", "Hopefully we'll see a villain emerge in the next book in the New Avalon series!", "\n\nThe book is very clean, no large thematic elements, and has only 2 uses of mildly profane languages. ", "I'd say ages 11 and up could read this book based on its content.", "\n\nTuesday, August 27, 2013\n\nLace and Jace fall for each other as Lace is about to fall off a cliff - literally. ", "Their romance avalanches from there, and before long they deem each other soulmates. ", "But a hidden world and an long-harbored desire for vengeance threaten to interfere with these teens' plans for happily ever after. ", "Add in a few judgmental friends, a one-track-mind obsessive guy, and a mixed martial arts (or similar) twist, and you've got your first glimpse at Majestica;First Glimpse.", "\n\nMize definitely has potential for a compelling story in the next two installments of the trilogy, with the main conflict ultimately left unresolved and the thought of being apart looming over Jace's and Lace's heads. ", "While the idea of finding one's soulmate is exciting and heartwarming, Lace constantly seemed unable to think about anything besides her boyfriend in an almost Twilight-esque manner (the story is told in first person). ", "The redundancy of Lace's thoughts throughout the book about how much she loved Jace and how much she needed him, etc., ", "took away from the plot of the book. ", "In the words of my mother, \"You don't need a boy to define you,\" but it seemed like Lace did. ", "And when Jace was gone for a good third of the book, Lace was miserable to the point of pathetic - she drew back further from her closest friend (the others had left her), was antisocial and introverted, and she put her life on a full standstill waiting for Jace to return. ", "Life is not meant to be lived that way. ", "I understand she was worried about her boyfriend, but that shouldn't stop her from living, though it seemed to.", "\n\nSome characters and subplots were also very reminiscent of Twilight (take that as you will - I enjoyed the books, but the movies were definitely lacking); Jace's pack of friends (one of whom is the leader he must obey), friends who ditch Lace or are ditched by Lace when she starts dating Jace, and a few others. ", "This is not to say Mize did a poor job; a wider gap between the two tales would have been appreciated.", "\n\nWhile I very much respect Mize's writings on premarital sex (waiting for the right person, when the time is right, etc.), ", "the teens' actions after 3 attempted sexual assaults - one very nearly not stopped in time - were disheartening and hopefully unrealistic. ", "Instead of alerting the proper authorities or adults, they did nothing and let the boy who tried to rape Lace walk away. ", "Granted, he got a few nice bruises from Jace, but I believe it would have sent out a much stronger message to adolescents that in those types of situations authorities or trusted adults need to be alerted to the issue immediately. ", "Sexual assault is nothing to take lightly, and there are viable options that should be investigated before simply dismissing the ordeal. ", "Lace's emotions played little or no mentioned factor in her decision to keep the situation among her friends and Jace, and the idea of telling her parents or anyone else was not even entertained.", "\n\nMany props to Rebecca Mize for publishing, and I hope the rest of the Majestica trilogy brings verisimilitude, further character development, and better choices made by the characters. ", "I would like to see Mize address the main conflict again and perhaps allow the reader to better comprehend the world of Majestica, as we never get to see it (or read about it) for ourselves as Lace is unable to travel there. (", "I won't give away any more of the plot, though!)", "\n\nThe book contained little or no profanity, while it did had strong thematic elements, including a fairly graphic attempted rape scene (and two other attempted assaults), and some discussion of premarital sex. ", "I'd say the book is suitable for teens 14 and older.", "\n\nSaturday, April 13, 2013\n\nCode Name Verity is the gripping tale of two friends who work for the Allied forces during World War II. ", "The first is Julie (aka Queenie in the first part of the book) and the second is Maddie, a pilot. ", "After a flight gone wrong, Julie and Maddie are separated, and Julie is soon caught by the German Gestapo in the fictional town of Ormaie, France. ", "After being tortured, Julie finally agrees to write down the story of how she came to be arrested and reveal all of the secrets she has been keeping for the Allies. ", "Her story is the first part of the novel. ", "It begins with Maddie and how she first came to be involved with the Allied forces and follows with how they met, their developing frienship, and the fateful night that tore them apart. ", "The second part of the book is titled \"Kittyhawk\" and follows what happens after Julie concludes her tale. ", "At the great risk of giving far too much away in this fantastic book (including spoiling important plot points), I will conclude my summary there. ", "What I will tell you is this: the books is filled with the plot twists you can only hope for, the courage that you only dream of possessing, and the friendship that is found only in the truest of friends.", "\n\nWhile Code Name Verity was enthralling, various parts were confusing, especially with the variety of acronyms and jargon pertaining to the girls' jobs. ", "Some of the plot was also blurry along with a bit of the girls' timelines. ", "However, once you get past that, the book is fantastic. ", "Though I only picked it up from my library on a whim and had a bit of difficulty getting into it, it was well worth it. ", "The writing style is fabulous; Julie's voice is both humorous and eerily spot-on with regards to so many different things from cultural aspects to her fears and then some. ", "And, even if the plot was confusing at times, the sheer writing was enough to make me continue reading.", "\n\nThis book is for ages 15 and up; thematic materials are intense and prominent throughout the book from talk of torture (one or two graphic descriptions, but not until the latter end of the book) to dealing with unwanted advances from men (no sexual abuse is present though), and the book is riddled with curses.", "\n\nA phenomenal novel that will leave your mind spinning, Elizabeth Wein's Code Name Verity is a superbly written tale on the will to live, the strength to persevere, and the love between friends that you will never forget.", "\n\nSo ever since I read The Final Note, I've been on a Kevin Alan Milne kick. ", "The Paper Bag Christmas, Milne's first novel, was just as heartrending as The Final Note, if not more so. (", "Okay, it was definitely more poignantly touching and tear-jerking.) ", "It's Christmastime, and Molar \"Mo\" Alan and his brother Aaron are recruited by quite a nontraditional Santa to spend time in the children's oncology ward of the local hospital in the weeks leading up to Christmas. ", "They've been promised by Dr. Christopher K. Ringle - the nontraditional Santa whose lap Mo sat on at the mall - to receive \"everything they've never wanted\" for Christmas this year. ", "Charged with making friends and collecting Christmas lists from the sick children, Mo and Aaron quickly take to their new role. ", "There's only one problem: Mo can't seem to get through to Katrina, a hardened young girl who wears a paper bag on her head because she feels too ugly to show the world her face.", "\n\nWhen it's time to start rehearsing for the Christmas pageant, Katrina refuses to even participate. ", "Mo challenges her to a gurney race (really just a dangerous game of chicken), and the lengths he goes through to ensure victory leave Katrina stunned. ", "She reluctantly agrees to be in the pageant, but still won't give Mo the Christmas list Dr. Ringle asked him to collect. ", "Christmas draws nearer, and the night of the pageant is like no other... Mo's first Paper Bag Christmas is one he will never forget, and neither will the reader.", "\n\nI literally could not put this book down. ", "It's a short, fast-paced read (only took me about an hour and twenty minutes), but the message Milne delivers will last a lifetime. ", "There are few books that touch me so deeply that I actually cry, but The Paper Bag Christmas left me sobbing, even long after I finished reading it! ", "It is one of the most beautiful, most heartfelt, and most touching books I have ever (and probably will ever) read. ", "Strong emotional and thematic elements are the basis of this fantastic novel, and it is not for the faint of heart. ", "While the books was predictable in a very bittersweet way, it was not disappointing in the least. ", "Vivid descriptions, beautiful themes, and an overall sense of love flow through this book. ", "To put it simply, Milne is a literary genius.", "\n\nI would recommend this book for teens seventeen and older - the overall concept of the book is hard to deal with and just has a general plot that I wouldn't want to burden younger children with. ", "However, Mo was only 9 when he had his first Paper Bag Christmas, but what he dealt with, while life-changing, is not something for younger teens to read about just yet.", "\n\nWednesday, April 3, 2013\n\nM.L. Roble's debut novel follows the tale of Natalie, a twelve-year-old girl who is just discovering that she is more than what she seems. ", "She quickly comes into supernatural powers of her own while coming to the realization that her world is far more than it seems. ", "From her mother's psychic business to her friend Phillip and his ability to travel through maps and to a very special doll who may be more human than she appears, Natalie is in a for a whirlwind of a ride! ", "The book is reminiscent of a blend of Charlie Bone meets Pinocchio meets Harry Potter's Order of the Phoenix with just a drop of The Inheritance Sage/Eragon.", "\n\nNatalie, Phillip, and their mothers attend a circus where they meet The Great Beausoleil and his magical doll, Louisa. ", "But each is more than meets the eye, and Natalie's and Phillip's endowments spark and burn with the presence of Beausoleil and Louisa. ", "As Natalie is struggling to come to terms with her gifts, a dark force is struggling to find her and her friends and family. ", "After Beausoleil is captured, Natalie is forced to confront what she has been dreading most: herself and her powers. ", "She is thrown into a realm of power, enchantment, unseen forces, and long kept secrets...even some about her and Phillip's absent fathers. ", "And when Phillips is captured by the dark forces, how much will Natalie risk to try to get him back?", "\n\nTuesday, March 12, 2013\n\nIn this gripping, chilling thriller, Neal Shusterman takes organ donation and harvesting to the next level. ", "Sometime in America's near future, parents can send their children away to be unwound...a process no ordinary citizen is entirely sure of, but one that separates a human's body parts and redistributes them to people who are in need of appendages and organs. ", "This government-sanctioned operation (or separation, rather) promises that no one is being killed or dies - just shared with those who can afford better body parts. ", "All parts of the Unwind's body are still functioning, only not in one piece.", "\n\nConnor, Risa, and Lev are all Unwinds and come from various backgrounds, but their stories all intertwine one fateful day. ", "As Connor and Risa attempt to escape their fates, Lev welcomes it, as he has been designated as a Tithe since he was born. ", "A Tithe is a sacrificial Unwind and one of the highest honors bestowed upon a child, or so Lev thinks. ", "After betrayed by Lev, Connor and Risa manage to escape to a fugitive Unwind camp, called the Graveyard, and things are going well for them. ", "But after a riot at the Graveyard, Connor and Risa are taken to a harvest camp for unwinding. ", "Lev, meanwhile, has become a clapper. ", "Clappers are terrorists/suicide bombers who ingest explosive substances so that, when the time is right, they can clap their hands hard enough and detonate. ", "The novel peaks as Connor is about to be unwound in the same building where Risa is and where Lev and two others are about to fatally clap to blow up the building. ", "In a race against time, it will take all the three have to stay alive and keep from being unwound.", "\n\nUnwind was a fantastic, thought-provoking novel. ", "It is the first installment in the Unwind Trilogy (the second is UnWholly), and it posed a frightening question of if your parents could choose to get rid of you, would they? ", "Or if they believed unwinding you was for the greater good, would they sign away your body? ", "Connor's parents' motives were because Connor was a problem child, and there was nothing more they could do to try to get him to behave. ", "Risa was an orphan, and the state ward where she lived simply didn't have the money to keep her anymore. ", "And Lev, as previously mentioned, was a Tithe.", "\n\nI would definitely recommend this book to readers of at least 15 - some of the thematic elements were strong and somewhat disturbing/frightening. ", "Various curses were present in the book, but nothing too awful.", "\n\nThis is a superb read along with its sequel, and the third in the trilogy, UnSoulled, is supposed to be released this October.", "\n\nMonday, March 11, 2013\n\nWhat if your sense of \"you\" changed on a daily basis, as if you were a new person every single day of your life? ", "If you woke up in a different body with a different family with different friends in a different place...forever. ", "For as long as can remember, and for as long as you'll be alive. ", "Who would you be? ", "For A, this daunting prospect is a grim reality. ", "Neither male nor female, neither here nor there, A wakes up inside of a different person every day of his/her life. (", "For the sake of writing this, I will continue by addressing A as a male.)", "\n\nOne day, though, is different than the rest: A falls in love with Rhiannon, a girl with a spirit as wild as his (except that she doesn't jump bodies). ", "Now A, who is in Rhiannon's boyfriend Justin's body, makes Rhiannon believe that Justin truly loves her, that he's changed from harsh and demeaning to warm and wonderful. ", "But the next day Justin is back to normal, and A is someone else entirely. ", "As A continues to try to find ways to get back to Rhiannon, to connect with her, to prove that he loves her, and that he really does exist, he is faced with concerned parents, jealous boyfriends, and a whole lot of trouble from two people who believe A is a demon needing to be exorcised and sent to hell...\n\nLevithan creates a world that is so similar to reality, and yet entirely different. ", "He puts a new twist on \"walking a mile in somebody else's shoes,\" quite literally. ", "This book often reminded me of Leap Day, another great teen read, which dealt with how people's lives are interconnected over the course of one day. ", "Every Day, however, takes place over an extended period of time. ", "A gets to experience a variety of lifestyles and obstacles and Levithan presents the material in such a way that it makes me grateful for the life I have. ", "In the words of Ben Franklin, \"Envy is ignorance.\" ", "The reader, right there with A, deals with questions regarding sexuality, eating disorders, suicide, drugs and alcohol, and, on the flip side, the happier sides to life.", "\n\nA's existence is not something I would wish for myself. ", "But his existence does cause the reader to question what it would be like, and if we had the choice to be ourselves for eternity or be like A and be someone new forever, what would we choose?", "\n\nPoignant, dramatic, funny, and captivating, Levithan has conjured up a magically captivating novel. ", "There are scattered curses throughout, some PG/PG-13 rated kissing/romance, and many different types of thematic elements. ", "I'd recommend this book for ages 14 and up.", "\n\nMe again, Bookenders! ", "I have recently developed and published a new blog, What's Write For Me, with my own personal clips. ", "I figured you all read about what I read, but never get the opportunity to read what I write outside of Bookend. ", "Please remember that all work posted on What's Write For Me is the sole copyright of me, the author, and is not available for reprint without strict written permission of the author. ", "For requests, comments, and/or concerns, feel free to drop a comment or email me at bookendreviews@gmail.com. ", "Thanks, and happy readings!", "\n\nWell, I haven't blogged here in longer than I care to admit...But here we go again! ", "For the record, it's tricky to get your hands on YA Fiction when your college library only carries non-fiction books. ", "However, that's no excuse!", "\n\nThe Final Note is by far one of the best books I have read in a very long time - probably at least a year. ", "It follows the bittersweet tale of Ethan and Anna Bright, a young couple whose dreams get put on hold more times than they would ever wish. ", "But still they manage to make the best of their situation, especially when they are graced with a beautiful baby girl, Hope. ", "Told from Ethan's perspective, he recounts how he and Anna met, their romantic courtship, and then the harsh reality of the real world when it hits - and it hits them hard. ", "As Ethan gets promoted up the line through his company, the time he is able to spend with his family dwindles and puts his marriage and his relationship with Hope on the rocks. ", "One fateful day, catastrophe strikes, and Ethan is forced to reevaluate his life, his love, and his sense of self. ", "Gripping, compelling, tear-jerking, humorous, poignant, and all-around phenomenal, The Final Note leaves readers on the edge of their seats until the final word.", "\n\nMilne weaves a tale as deep as the ocean and as timeless as the world. ", "Though the target audience is geared more towards adults, it can still pass as appropriate for teens. ", "The only (very minor) qualm I have is that the timeline of the book gets a little hectic - like Ethan's life - in the Brights' early-to-mid years of marriage. ", "Otherwise, this book is, in my opinion, absolutely perfect. ", "There is no sexual content, and there are no curses (or if there are, they are hardly noticeable). ", "Thematic material is prevalent, with a few tough-to-read passages. ", "The calamity that faces Ethan, Anna, and Hope is definitely more mature material, but nothing unmanageable for teens around 15 years and older (especially for upcoming drivers!).", "\n\nUtterly moved by the book, I emailed Milne immediately after finishing the novel. ", "I must admit, the email may have been gushing a bit too much about how great this book was. ", "Milne carries a bit of a Nicholas Sparks-esque passion to his writing and in his characters, but this book is far better than any Sparks book I've read (and I've read several of them). ", "I believe his style surpasses Sparks by far (no offense to Sparks), and his characters are much more dynamic, with perhaps the exception of Jamie and Landon from A Walk to Remember. ", "Basically, if you like Sparks, you'll love The Final Note.", "\n\nAnd on that note (see what I did there?), ", "I will leave you Bookenders to it! ", "Expect a review of ML Roble's The Magician's Doll soon/on the shelf.", "\n\nBook Review Catalog Search:\n\nFollow Bookend on Facebook!", "\n\nYou can follow Bookend on Facebook by searching and \"liking\" Bookend: A Teen Book Review Blog. ", "Or simply post this in your URL bar: http://www.facebook.com/pages/Bookend-A-Teen-Book-Review-Blog/207566379267025 ." ]

{ "pile_set_name": "Pile-CC" }

[ 0.00011562030292519367, 0, 0.000041091387245233394, 0.000032782048550213904, 0.000078125, 0.00012075836251660429, 0.000028905075731298418, 0.000025693400650043035, 0, 0, 0, 0.00002183596820683029, 0, 0, 0, 0, 0, 0, 0, 0, 0.00003419855682090216, 0.00004170054836221096, 0.00002085027418110548, 0.0001412329637737448, 0, 0.00011317338162064282, 0.000039959507698865155, 0, 0, 0.00004031242126480222, 0, 0.00006503642039542143, 0, 0.00006830134553650708, 0.00001874027848053822, 0, 0.00005259697567389875, 0.000028596757127741712, 0, 0, 0, 0, 0.00005653230821414438, 0.0002082465639316951, 0.00023138507103521682, 0.000036730945821854914, 0, 0.000057810151462596836, 0.00008734387282732115, 0, 0, 0.000042165626581211, 0, 0, 0, 0, 0, 0, 0.00002029056083110137, 0.000168662506324844, 0.0001746877456546423, 0, 0.00004367193641366058, 0.00003018959062915107, 0.0001220703125, 0, 0, 0, 0.00006830134553650708, 0.000038578758535550326, 0, 0, 0.00004504301608035674, 0, 0, 0, 0, 0.0004938271604938272, 0, 0.00003501277966457757, 0.0000358564308508731, 0, 0.00004712979545668771, 0.00012170879143170108, 0.00013660269107301415, 0.0001646090534979424, 0.000064, 0.00007305135510263716, 0.00005175715542673775, 0.0001, 0.00005486968449931413, 0, 0, 0, 0.000064, 0.00006609822195782934, 0.00009425959091337542, 0.0001005985614405714, 0.00011317338162064282, 0.0006925207756232687, 0, 0.000111540749553837, 0, 0, 0.00006530612244897959, 0, 0.000053279343598486864, 0.00009070294784580499, 0.0004725897920604915, 0, 0, 0.00006103515625, 0, 0, 0, 0, 0, 0, 0, 0, 0.00010259567046270647, 0.00017777777777777779, 0.00000647462916561454, 0, 0, 0, 0.00004162330905306972, 0.0007689350249903883, 0, 0, 0, 0, 0, 0, 0, 0, 0.00007831466833737959, 0, 0.00008264462809917355, 0, 0, 0, 0, 0, 0.0001020408163265306, 0, 0.00006682481873767917, 0.00003191930798940279, 0.00007561436672967865, 0, 0, 0, 0.00003955539733396622, 0, 0, 0, 0.00006312334301224592, 0.0001417233560090703, 0, 0.000029218407596785978, 0.00006037918125830214, 0.00029726516052318666, 0, 0, 0.00021626297577854672, 0, 0, 0.00007431629013079666 ]

[ "var Buffer = require('buffer').Buffer;\n\nmodule.exports = function(buf) {\n var out = new Buffer(buf.length);\n buf.copy(out);\n return out;\n};" ]

{ "pile_set_name": "Github" }

[ 0.00004959333465582226 ]

[ "\"If you love the dreamy nostalgia and Easter egg color palettes of Wes Anderson films, Maquisard, will make your twee heart soar.\" - ", "The Verge\n\n\"You get to sneak around carrying a flower stand to duck behind. ", "Oh yes.\" - ", "Rock Paper Shotgun\n\n\"It's a fun and creative role-subversion .\" - ", "Boing Boing\n\n\n\nMaquisard is a charming game of snooping and investigation. ", "As the lobby boy at a fancy hotel, the player receives clues from the resistance about the identity of a government agent and tries to figure out their identity by snooping on the guests over the course of three days. ", "Players must listen in on conversations, peek into rooms, and observe the guests' habits in order to figure out which guests has all the traits of their target. ", "Maquisard is a single-player puzzle game that has an unique non-linear investigation gameplay and draws on the visual aesthetics of Wes Anderson's film The Grand Budapest Hotel.", "\n\nMaquisard was an official selections for the Digital Selects at Indiecade 2015.", "\n\n\n\nMaquisard was also an Official Selection for the IndieCade Showcase @ E3 2015!", "\n\n\n\nCredits\n\nWyatt Yeong - Game Design & Programming\n\nJulian Hyde - Project Management\n\nAngela Lee - Character Design & Animation\n\nTerry Li - Game Design\n\nAndrew Struck-Marcell - Music\n\nKailin Zhu - Visual Design\n\nSystem Requirements\n\nPC\n\nOS: Windows 7 / Windows 8\n\nProcessor: 2.0 GHz Intel Core 2 Duo\n\nMemory: 4 GB RAM\n\nGraphics: Intel HD 5000 or higher\n\nHard Drive: 2GB\n\nMac\n\nOS: 10.8.5 (Mountain Lion)\n\nProcessor: 2.0 GHz Intel Core 2 Duo\n\nMemory: 4 GB RAM\n\nGraphics: Intel HD 5000 or higher\n\nHard Drive: 2GB" ]

{ "pile_set_name": "OpenWebText2" }

[ 0.00016959692464243314, 0.00017313019390581717, 0, 0.0002295684113865932, 0, 0, 0, 0.00006383861597880558, 0.00015241579027587258, 0, 0.000022977853179177467 ]

[ "Excerpt:Deadly Attraction\n\nSCVC Taskforce Series\n\nThe woman who answered the door wasn’t at all what Mitch expected.", "\n\nHer brown hair was forced into a clip on top of her head, a couple pieces of hay sticking out of it and random strands stuck to her neck. ", "Her face was devoid of makeup and sporting a healthy smear of dirt on her cheek. ", "She clutched the edges of a worn plaid robe close to her neck, her short fingernails showing traces of caked mud. ", "Beneath the hem of the robe stretched sexy bare legs, slender ankles, and Barbie-pink toenails.", "\n\nMitch fought to take his eyes off her shapely calves and bring them back up to her face. “", "Is Dr. Collins home?”", "\n\nThe porch light gave her face a subtle yellow glow. ", "He couldn’t be sure about the color of her eyes. ", "They looked brown one moment, then flashed a hint of green the next as she glanced behind him as if she expected the boogeyman to be in the shadows.", "\n\nMaybe she did.", "\n\n“I’m Dr. Collins. ", "What is this about?”", "\n\n“You’re Emma Collins?”", "\n\nThose eyes of hers flashed again, but she replied evenly. “", "Dr. Emma Collins, yes. ", "And you are?”", "\n\nDamn. ", "Definitely not what he expected a forensic psychologist to look like. ", "Shouldn’t she be…older? ", "More buttoned-up with a bun and glasses? ", "Maybe that was just his librarian fantasy getting in the way.", "\n\nMitch flashed his ID and she glanced at it. “", "Agent Mitch Holden. ", "National Intelligence. ", "Currently on loan to the Southern California Violent Crimes Taskforce. ", "May I come in?”", "\n\nShe was a good six inches shorter than him, her focus swinging up to return to his face. “", "I’m not in the habit of letting strange men into my house, Agent Holden, so no, you may not. ", "Not until you tell me what this is about.”", "\n\nGet it together, Holden. ", "Quit analyzing the woman’s eyes and get down to business. “", "Chris Goodsman escaped a transport out of the Hills today.”", "\n\nHer face blanched. “", "What?”", "\n\nShe obviously hadn’t heard the news yet. “", "Victor Dupé asked me to get you to a safe house. ", "He’s been trying to reach you, but with the wildfires and all, landlines have been overloaded and some of the local cell towers aren’t working.”", "\n\nThe mention of Dupé seemed to wipe away her hesitation about letting a strange man into her house. ", "She stepped back and motioned him in, her pretty eyes once more scanning the shadows over his shoulder.", "\n\nTwo Labs, one black and one white, rushed Mitch, sniffing and wagging their tails.", "\n\n“Nah.” ", "Cold noses met his fingers. ", "They, too, had a dirt on their faces and hay in their short coats. “", "My brother and I always had dogs growing up.”", "\n\nCollins snapped her fingers and the Labs retreated, heads down, tails still wagging. ", "They flanked her, one on each side like bodyguards. ", "She absently petted their heads, the V of her robe falling open enough for him to see tan skin and freckles dancing across her collarbone. “", "How did Chris escape?”", "\n\nChris. ", "Sounded funny for the doctor to refer to the actor—a man she’d labeled a sociopath—by his first name. “", "The transport van was run off the road. ", "Goodsman escaped, the driver was killed, another guard’s in serious condition. ", "I don’t know all the details, but I’m sure Dupé can fill you in when he meets us at the safe house.\"", "\n\nHer nose wrinkled. “", "Have you been drinking?”", "\n\nShit. “", "Not enough to affect my reasoning or judgment skills, Dr. Collins. ", "I assure you, I can keep you safe.\"", "\n\nPushing off the door, she headed for the kitchen, a brightly lit room off to his left. “", "I’ll make you some coffee.”", "\n\nCoffee sounded good. ", "The tone in her voice—like she was reprimanding a kid about skipping school or not washing behind his ears—didn’t. “", "I had two sips of whiskey, that’s all, before I got the call to come protect you.”", "\n\nHe found himself following her into the kitchen, his gaze drawn to her ass as she reached up to grab a bag of coffee from a rough pine cabinet. “", "The holidays are hard on all of us,” she said.", "\n\nSo now she was presuming to know he hated Christmas and the emotional shitstorm it brought on? ", "Yeah, maybe he did feel that way, but it was still annoying that within two minutes, she seemed to see right through him.", "\n\nOne of the Labs nuzzled his fingertips. ", "Gritting his teeth, Mitch did his usual trick when someone probed into his personal life—turned the tables on them. “", "How is it hard on you? ", "Your boyfriend dump you right before Christmas or something?”", "\n\nShe paused in pouring water into the coffee maker, but her face was serene when she glanced over at him. “", "Touchy subject, I take it?”", "\n\nGuilt over lashing out at her clawed its way into his chest. ", "Jesus, what was wrong with him? ", "He was here to get her to a safe house, nothing more. ", "Then it was back to a few last hours of vacation filled with moping and a twelve pack. ", "Mac could keep his scotch. “", "Yes, actually, it is.”", "\n\nShe nodded and finished pouring the water, hit the switch. “", "Sorry. ", "I’m sure this isn’t what you had planned for your Saturday night.”", "\n\nIt wasn’t what she’d planned either. ", "Once more, he chastised himself for being so defensive over nothing. ", "For being rude. “", "Look, I appreciate the coffee and the chitchat, but you need to pack a bag so we can get out of here.”", "\n\n“I’m going to shower and get dressed.” ", "She walked by him toward the living room and the stairs. “", "Help yourself to the cookies in the Snoopy jar on the counter.”", "\n\nShe was halfway up the stairs when she turned back and caught him ogling her ass. ", "That same serene look crossed her features before she motioned at the door. “", "There’s a shotgun above the door, locked and loaded. ", "Just in case.”", "\n\nHuh. ", "Interesting. ", "A handsome Remington rested on hooks over the front door exactly like she claimed. ", "He also noticed for the first time that there wasn’t a Christmas decoration of any kind inside the house. ", "No menorah or kinara either.", "\n\nWas she atheist or some other religion? ", "Did she simply hate the holidays as much as he did?", "\n\nHe tipped his head at her. “", "Good to know.”", "\n\n“FYI, I also have a couple of weapons upstairs.”", "\n\nWas she warning him or letting him know she didn’t need his protection? ", "Either way, he found it cute. “", "Do you know how to use them?”", "\n\nOne of her dainty eyebrows arched. “", "Better help yourself to that coffee, Agent Holden. ", "I’ll be back shortly.”", "\n\n“We really need to get on the road.”", "\n\n“If Chris is coming after me, I’d rather not smell like a barn when I have to confront him.”", "\n\nShe did smell. “", "You have livestock?”", "\n\n“Horses. ", "My practice involves therapy animals. ", "You ride?”", "\n\n“Just motorcycles, ma’am.”", "\n\nShe glanced at his black boots. “", "A similar type of therapy I’m told. ", "No motorcycle tonight, though, huh?”", "\n\nHe hadn’t trusted himself on his bike. ", "Too tempting to flee town, just him and his demons, and ride like hell. “", "Not tonight.”", "\n\n“Too bad.”", "\n\nShe disappeared up the stairs, the Labs on her heels, before he could ask why." ]

{ "pile_set_name": "Pile-CC" }

[ 0.00014863258026159333, 0, 0, 0, 0.00011080332409972299, 0, 0.0022675736961451248, 0, 0, 0, 0, 0.0025, 0, 0, 0, 0.001890359168241966, 0, 0, 0, 0, 0, 0, 0.0004526935264825713, 0.0025, 0.001890359168241966, 0.00019837333862328903, 0, 0, 0.00011562030292519367, 0, 0.0013717421124828531, 0, 0.0005745475438092502, 0, 0, 0, 0, 0, 0.0000980296049406921, 0, 0.0001417233560090703, 0, 0, 0, 0, 0, 0, 0, 0.002066115702479339, 0.012345679012345678, 0, 0, 0.0001602307322544464, 0.0001, 0, 0, 0, 0.0002227667631989307, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00007305135510263716, 0, 0, 0.00008573388203017832, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0001451589490492089, 0, 0.0012755102040816326, 0, 0, 0.0011111111111111111, 0, 0, 0, 0, 0, 0, 0.00038446751249519417, 0, 0, 0.00011317338162064282, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "Q:\n\nCan I get the Emprise shards without killing this dragon?", "\n\nOne of my runs through Dragon Age Inquisition is getting pretty high-level, and nearing the end of the game. ", "As such, one of the things I'd like to do is complete all the Shard collection quests, and pick up the resistance boosts that result, to make later dragon hunting a lot easier. ", "Unfortunately, while trying to gather all the shards in the Emprise Du Lion, I came across this Ocularum:\n\nAs you can see, even though I'm invisible and not engaged in combat, because the dragon is a boss fight, its health bar is still up. ", "Because of this, I can't seem to get my character to activate the Ocularum, and find the shards; I'm considered in-combat despite having put my weapons away, which is normally enough when around regular enemies.", "\nIs there any way at all to activate it without having to go through the trouble of killing the dragon?", "\n\nA:\n\nSort of complicated, but stand next to the ocularum, activate an ability, and hit the tactical camera while in the animation. ", " You can then click to interact despite being in combat. ", " Unpause the game and you should enter ocularum mode.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0.00008116224332440549, 0.00003191930798940279, 0.00003472222222222222, 0.00002246131039284832, 0, 0, 0, 0, 0 ]

[ "\r\n\r\n/*\r\n Copyright 2016 Goldman Sachs.", "\r\n Licensed under the Apache License, Version 2.0 (the \"License\");\r\n you may not use this file except in compliance with the License.", "\r\n You may obtain a copy of the License at\r\n\r\n http://www.apache.org/licenses/LICENSE-2.0\r\n\r\n Unless required by applicable law or agreed to in writing,\r\n software distributed under the License is distributed on an\r\n \"AS IS\" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY\r\n KIND, either express or implied. ", " See the License for the\r\n specific language governing permissions and limitations\r\n under the License.", "\r\n */\r\n\r\npackage com.gs.fw.common.mithra.test.domain;\r\npublic class ListEntryContactsImplDatabaseObject extends ListEntryContactsImplDatabaseObjectAbstract\r\n{\r\n}\r\n" ]

{ "pile_set_name": "Github" }

[ 0.0006925207756232687, 0.00011306461642828876, 0.00004189315151705575, 0.00009425959091337542, 0 ]

[ "Q:\n\nHow to add referral program in flutter using firebase\n\nSo I am a newbie in flutter but I want to implement a referral program which can help me! ", "please\n\nA:\n\nYou need firebase_dynamic_links to implement a referral program, For more information visit official page \nHow Create Dynamic Link?", "\nfinal DynamicLinkParameters parameters = DynamicLinkParameters(\n uriPrefix: 'https://abc123.app.goo.gl',\n link: Uri.parse('https://example.com/'),\n androidParameters: AndroidParameters(\n packageName: 'com.example.android',\n minimumVersion: 125,\n ),\n iosParameters: IosParameters(\n bundleId: 'com.example.ios',\n minimumVersion: '1.0.1',\n appStoreId: '123456789',\n ),\n googleAnalyticsParameters: GoogleAnalyticsParameters(\n campaign: 'example-promo',\n medium: 'social',\n source: 'orkut',\n ),\n itunesConnectAnalyticsParameters: ItunesConnectAnalyticsParameters(\n providerToken: '123456',\n campaignToken: 'example-promo',\n ),\n socialMetaTagParameters: SocialMetaTagParameters(\n title: 'Example of a Dynamic Link',\n description: 'This link works whether app is installed or not!',", "\n ),\n);\n\nfinal Uri dynamicUrl = await parameters.buildUrl();\n\nHow to Receive Dynamic Links?", "\nfinal PendingDynamicLinkData data = await FirebaseDynamicLinks.instance.getInitialLink();\nfinal Uri deepLink = data?.link;\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0.000007086167800453514, 0, 0.000128 ]

[ "[Robotic partial nephrectomy: five years retrospective analysis at a single center].", "\nThe aim of this study is to assess perioperative outcomes in a large series of robotic partial nephrectomy. ", "We performed a retrospective analysis of 413 patients undergoing a robotic partial nephrectomy in a single center between June 2006 and December 2011. ", "We analyzed demographic characteristics, operative and postoperative outcomes. ", "Mean age was 58.6±11.9 years, body mass index was 30.5±7.1 kg/m2 and median ASA score 3. ", "Mean tumor size was 3.2±1.66 cm and was divided in low, moderate and high RENAL nephrometry score respectively in 40%, 44% and 16%. ", "Operative time and warm ischemia time were respectively 191 and 21min. ", "Mean estimated blood loss was 200 mL and there were 4.3% major complications (Clavien-Dindo System). ", "Mean length of stay was 3.6 days. ", "The latest estimated glomerular filtration rate (eGFR) was 74.84 mL/min×1.73 m2 with a mean decrease of 8.6%. ", "In multivariate analysis, Charlson comorbidity index (P=0.005), preoperative eGFR (P<0.001) and warm ischemia time (P=0.0025) were found to be independent predictors of latest postoperative renal function. ", "Robotic partial nephrectomy is feasible and safe in experienced hands. ", "In our study preoperative renal function, Charlson comorbidity index and warm ischemia time were independent predictors of latest eGFR." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0.0001417233560090703, 0, 0, 0, 0, 0.0000573921028466483, 0, 0.0000980296049406921, 0, 0.00008264462809917355, 0.000023564897728343855, 0, 0 ]

[ "//\n// createMeshNoClear.", "H\n// ~~~~~~~~~~~~~~~~~~~\n// currently identical to createMesh.", "H\n\n Foam::Info\n << \"Create mesh, no clear-out for time = \"\n << runTime.timeName() << Foam::nl << Foam::endl;\n\n Foam::fvMesh mesh\n (\n Foam::IOobject\n (\n Foam::fvMesh::defaultRegion,\n runTime.timeName(),\n runTime,\n Foam::IOobject::MUST_READ\n )\n );\n" ]

{ "pile_set_name": "Github" }

[ 0, 0, 0 ]

[ "I supplement with Spirulina powder. ", "Problem is most of it is sourced in China. ", "I have been using the vitacost brand that's been grown in the US. ", "It tastes awful lol and nothing can mask it, but whatever.", "\n\nHawaiian Spirulina Pacifica is manufactured in Hawaii by Nutrex Hawaii one of most trusted producers of Spirulina in the world today. ", "Their products are 100% vegetarian, Kosher Certified, Non-GMO and cultured in a Bio secure environment which is free of herbicides and pesticides.", "\n\nThe Nutrex Hawaii brand is owned by the American company \"Cyanotech\" which is one of only four Spirulina manufacturers to be giving the GRAS (Generally Recognized as Safe) award by the American Food and Drug Administration.", "\n\nIn this article we will examine why Nutrex Hawaii – Hawaiian Spirulina Pacifica is so highly rated.", "\n\nManufacturing Process:\n\nHawaiian Spirulina is cultured in deep ponds which are fed with 100% fresh water from Hawaiian aquifers and the deep ocean water of the pacific. ", "The water which is channeled through a pipeline that runs 2000 feet below the ocean's surface and contains high concentrations of Calcium, Magnesium and over ninety essential trace elements.", "\n\nThe nutrient rich water once extracted from the ocean is processed using a \"Cyanotech\" patented technology called Ocean Chill Drying™ a system used for drying microalgae/microalgal products. ", "This patented technology helps to protect phytonutrients and antioxidant enzymes, ensuring that Hawaiian Spirulina retains maximum nutritional potency.", "\n\nThe ponds used to grow the algae are constantly mixed – this is an important aspect of the production process which helps to deliver an even distribution of sunlight throughout the algae ensuring that it does not dry-out or burn as this can lead to an inferior product with greatly reduced nutritional properties.", "\n\nSafety Standards:\nMany of the health risks commonly associated with Spirulina are caused because the algae from which it is made are contaminated. ", "When algae is harvested from non-controlled environments such as lakes and other open bodies of water it's possible that more than one type of algae to be in the yield and some of these may contain contaminants.", "\n\nThe Spirulina made by Nutrex Hawaii is free of herbicides and pesticides and made using cultured algae, which means that only one type of algae is present, this algae undergoes daily examination and inspection to ensure that they are contaminant free.", "\n\nNutrex Hawaii is regulated by the FDA for Foods and Dietary Supplements, the State of Hawaii Department of Health, the US Department of Agriculture, and the Federal Trade Commission.", "\n\nNutritional Properties:\nNutrex Hawaii goes to great lengths to preserve the nutritional potency of their products, and they claim to have the most nutrient rich Spirulina on the market. ", "To provide you with a break-down of all the properties of Hawaiian Spirulina would go beyond the scope of this article (it would be a very long list) but I will provide you with a list of some of the main properties:\n\nStrengthens the immune system\nBoosts energy levels\nSupports cellular health\nSupports cardiovascular, eye and brain health of these\nThe above benefits/statements come with a caveat from Nutrex stating the FDA has not evaluated them. ", "However, in the same breath Nutrex are one of the few Spirulina producers awarded the \"GRAS\" (Generally Recognized as Safe) award by the FDA.", "\n\nRegardless of awards and certifications, the proof is in the pudding, or so the say and it is hard to find a bad or negative \"real customer\" review of Nutrex spirulina powder. ", "Most lovers of spirulina agree that Nutrex provide the best product on the market.", "\n\nConclusion:\nIf you are considering using spirulina as part of your diet then you want to ensure it is of the highest purity and nutritional value and that is exactly what you get with Nutrex Hawaiian, a spirulina product that is pure and highly nutritional." ]

{ "pile_set_name": "Pile-CC" }

[ 0.0007716049382716049, 0, 0, 0, 0.00010813148788927336, 0.00009382623381497466, 0.00005925925925925926, 0.0001960592098813842, 0.00006839711364180432, 0.000027700831024930747, 0.00005369271658299552, 0.00004385772553835358, 0, 0.00004504301608035674, 0, 0.000031245606086644065, 0.0001476843100189036, 0.00005658669081032141, 0.000014814814814814815, 0.0001508978421608571, 0, 0.000148720999405116, 0.000014907350814686723 ]

[ "When I am tired and hot and do not want to return to the resort, but in need a quick nap ....In MK I go to Hall of Presidents or Carousel of Progress or Country Bears. ", "In EPCOT do the same in France pavilion or the American Adventure.", "\n\nI really like the Tiki Room because it reminds me when I was a teenager with my girlfriend and we where the only ones in that room so we made out. ", "I really enjoy the Country Bear Jamboree because it reminds me when I was a child when my parents took me to DLR. ", "I do not like The Many Adventures of Winnie the Pooh or the Tea Cup attractions. ", "I also dislike turkey legs and dole whip (I've tried it many times). ", "I hate strollers and electric wheel chairs especially when someone runs into me with them.", "\n\nI don't tell people I own DVC. ", "So many do not understand why I (61 yrs old) own at Disney and I do not have any grandchildren to share it with. ", "My DD (40), GodD (21), and best friend (55) have a great time every year." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0.00007694675284702985, 0.00030483158055174517, 0, 0, 0, 0.00007831466833737959, 0 ]

[ "Xbox One users will be able to watch the NFL Draft through the console's dedicated NFL app, Microsoft announed on Xbox Wire.", "\n\nBeginning Thursday, May 8 and running through Saturday, May 10, Xbox Live Gold members can use the app to view the new dedicated draft channel as well as other draft-related content and commentary.", "\n\nThe Draft Tracker feature, which can be viewed using the Xbox One's Snap feature, will automatically update as each team picks its players. ", "Within the app, teams will be listed in their draft order and will include details on the kinds of players the team still needs. ", "Picks will go live on the app instantly and players will be able to view highlights from the careers of each player picked.", "\n\nThe NFL app is already preparing for the draft to begin tomorrow; users can now view highlights and analysis on each team participating in the draft. ", "Viewers who miss parts of the draft will be able to recap each team's picks later, and can do so while watching current live picks.", "\n\n“Our NFL experience currently features a large volume of NFL Draft videos and analysis, with new video content arriving daily,” executive producer of Sports at Xbox David Jurenka said. \"", "The control we give to fans is what makes our system unique. ", "If your team drafts Johnny Manziel and you want to see some clips of him, you can just jump in and do that. ", "We’re taking what has traditionally been a passive TV experience and making it interactive and personalized.”", "\n\nThe Xbox One's NFL app is part of a major deal between Microsoft and the NFL, which was announced when the console was unveiled in May 2013. ", "The app includes the NFL Network, an all-football all-the-time livestream. ", "NFL Now, a feature allowing viewers to tailor their NFL stream to their personal interests and favorite teams, was announed for the app in January." ]

{ "pile_set_name": "OpenWebText2" }

[ 0.0002601456815816857, 0, 0, 0, 0, 0.000043282548476454294, 0, 0.00008488003621548211, 0, 0.00008573388203017832, 0, 0.00014670644041273411, 0.00017777777777777779, 0.00009255402841408673 ]

[ "Q:\n\nAllocation on self or underscore in ARC?", "\n\nLets say I have a customView defined with strong property.", "\n@property (nonatomic, strong) UIView *customView;\n\nWhat would be the best practice of allocating and initializing customView ?", "\nself.customView = [[UIView alloc] initWithFrame......\nOR\n_customView = [[UIView alloc] initWithFrame...\n\nA:\n\nIt's up to you. ", "You can go the \"always use getters and setters\" route if you want to never think about it again. ", "Or if you don't feel like wasting message calls and littering your code with self. (", "like me), you can go the \"use instance variables unless I need to use getters/setters\" route.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0.0005165289256198347, 0, 0.000062000124000248, 0, 0, 0, 0, 0 ]

[ "The ultrastructure of camel blood platelets: a comparative study with human, bovine, and equine cells.", "\nPrevious studies indicated that the camel has a very active haemostatic mechanism with a short bleeding time and thrombocytosis. ", "However, platelet function, when tested by agonist-induced aggregation and PFA 100 closure time, showed marked inhibition compared to humans. ", "Since camels are also far more resistant to long exposure to excessive heat and high body temperature than humans, it seemed worthwhile to explore fundamental morphological differences between human and camel platelets and those from other species. ", "The present study has examined the ultrastructure of camel platelets and compared them with the fine structures of human, bovine and equine thrombocytes. ", "Camel platelets, like bovine and equine cells, are discoid in shape and about two-thirds the size of human platelets. ", "A circumferential coil of microtubular supports the disk-like form of camel platelets. ", "Their cytoplasm, like bovine and equine platelets, is filled with alpha granule twice as large as those in human platelets, but lacking the organized matrix of equine alpha granules. ", "Dense bodies are present in camel platelets with whip-like extensions not present on bovine or equine thrombocytes, but found on occasional human platelet dense bodies. ", "Camel platelets, like bovine and equine thrombocytes, lack an open canalicular system (OCS) and must secrete granule products by fusion with the cell wall rather than an OCS. ", "Future studies will determine if the differences in ultrastructural anatomy protect camel platelets from heat more than human thrombocytes." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0.00004959333465582226, 0, 0, 0.00007181844297615628, 0, 0, 0, 0.00003265306122448979, 0 ]

[ "Q:\n\nconditional or js to detect whether user is on windows XP?", "\n\nBecause windows xp renders certain fonts so poorly, i would like to detect whether the user is using that OS and add a class to the body accordingly.", "\nI'm looking ideally for an html conditional statement or php $_SERVER var to do this\nHowever failing that a piece of javscript along the lines of below would do\nif(users_os === 'xp'){\n $('body').addClass('xp');\n}\n\nWhat avenues should i be persuing?!!!", "\nthanks!", "\n\nEDIT: TO CLARIFY!", "\nThis is further development on a project which renders the webapp in nicer fonts if the user has it natively installed - see part of my solution here: for extending font stacks abilities.", "\nFonts render differently on combinations of OS and Browser, not Browser alone - i want to be able to know whether a user is on xp or not becuase it's rendering of Calibri is so very poor\n\nA:\n\nIt actually makes no sense to determine which operating system is used for a Web Application. ", "The only thing which should be of interest, is the Browser. ", "Even in the Browser you just have to care about what it supports and what not.", "\nIn JQuery you may use the .support(), .browser() and .boxModel() methods for that purpose.", "\n\nA:\n\nI fully agree with jAndy's answer, you shouldn't ever need OS detection for a web application and you should rarely need browser detection (the exception being stats/analytics, of course).", "\nThat being said, if you're insistent you need this, you can get what you need to know using the PHP function get_browser():\n$browser = get_browser();\necho $browser[\"platform\"];\n// -> \"WinXP\"\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0.0002601456815816857, 0, 0.00003075740099961553, 0, 0, 0, 0.000024280979494712818, 0.0002777777777777778, 0.00016436554898093358, 0, 0.00002657030502710171, 0.00008053907487449328 ]

[ "Description\n\nBuildable lot in prime location! ", "Multiple lots in a row in a great location. ", "New construction happening all around. ", "This lot is walking distance to shops and restaurants. ", "Location Location Location! ", "Central is becoming a 2 way street which is a bonus! ", "30x135 Deep lots for the downtown area.", "\n\nSchool Ratings & Info\n\nDescription\n\nBuildable lot in prime location! ", "Multiple lots in a row in a great location. ", "New construction happening all around. ", "This lot is walking distance to shops and restaurants. ", "Location Location Location! ", "Central is becoming a 2 way street which is a bonus! ", "30x135 Deep lots for the downtown area.", "\n\nProperty Description\n\nBuildable lot in prime location! ", "Multiple lots in a row in a great location. ", "New construction happening all around. ", "This lot is walking distance to shops and restaurants. ", "Location Location Location! ", "Central is becoming a 2 way street which is a bonus! ", "30x135 Deep lots for the downtown area." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0.0012755102040816326, 0, 0, 0, 0, 0, 0, 0.0012755102040816326, 0, 0, 0, 0, 0, 0, 0.0012755102040816326, 0, 0 ]

[ "/*\n * CocosBuilder: http://www.cocosbuilder.com\n *\n * Copyright (c) 2011 Viktor Lidholt\n * Copyright (c) 2012 Zynga Inc.\n *\n * Permission is hereby granted, free of charge, to any person obtaining a copy\n * of this software and associated documentation files (the \"Software\"), to deal\n * in the Software without restriction, including without limitation the rights\n * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell\n * copies of the Software, and to permit persons to whom the Software is\n * furnished to do so, subject to the following conditions:\n *\n * The above copyright notice and this permission notice shall be included in\n * all copies or substantial portions of the Software.", "\n *\n * THE SOFTWARE IS PROVIDED \"AS IS\", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR\n * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,\n * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. ", "IN NO EVENT SHALL THE\n * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER\n * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,\n * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN\n * THE SOFTWARE.", "\n */\n\n#import \"CocosScene.h\"\n#import \"CCBGlobals.h\"\n#import \"CocosBuilderAppDelegate.h\"\n#import \"CCBReaderInternalV1.h\"\n#import \"NodeInfo.h\"\n#import \"PlugInManager.h\"\n#import \"PlugInNode.h\"\n#import \"RulersLayer.h\"\n#import \"GuidesLayer.h\"\n#import \"NotesLayer.h\"\n#import \"CCBTransparentWindow.h\"\n#import \"CCBTransparentView.h\"\n#import \"PositionPropertySetter.h\"\n#import \"CCBGLView.h\"\n#import \"MainWindow.h\"\n#import \"CCNode+NodeInfo.h\"\n#import \"SequencerHandler.h\"\n#import \"SequencerSequence.h\"\n#import \"SequencerNodeProperty.h\"\n#import \"SequencerKeyframe.h\"\n#import \"CCScale9Sprite.h\"\n\n#define kCCBSelectionOutset 3\n#define kCCBSinglePointSelectionRadius 23\n#define kCCBAnchorPointRadius 6\n#define kCCBTransformHandleRadius 5\n\nstatic CocosScene* sharedCocosScene;\n\n@implementation CocosScene\n\n@synthesize rootNode;\n@synthesize isMouseTransforming;\n@synthesize scrollOffset;\n@synthesize currentTool;\n@synthesize guideLayer;\n@synthesize rulerLayer;\n@synthesize notesLayer;\n\n+(id) sceneWithAppDelegate:(CocosBuilderAppDelegate*)app\n{\n\t// 'scene' is an autorelease object.", "\n\tCCScene *scene = [CCScene node];\n\t\n\t// 'layer' is an autorelease object.", "\n\tCocosScene *layer = [[[CocosScene alloc] initWithAppDelegate:app] autorelease];\n sharedCocosScene = layer;\n\t\n\t// add layer as a child to scene\n\t[scene addChild: layer];\n\t\n\t// return the scene\n\treturn scene;\n}\n\n+ (CocosScene*) cocosScene\n{\n return sharedCocosScene;\n}\n\n-(void) setupEditorNodes\n{\n // Rulers\n rulerLayer = [RulersLayer node];\n [self addChild:rulerLayer z:6];\n \n // Guides\n guideLayer = [GuidesLayer node];\n [self addChild:guideLayer z:3];\n \n // Sticky notes\n notesLayer = [NotesLayer node];\n [self addChild:notesLayer z:5];\n \n // Selection layer\n selectionLayer = [CCLayer node];\n [self addChild:selectionLayer z:4];\n \n // Border layer\n borderLayer = [CCLayer node];\n [self addChild:borderLayer z:1];\n \n ccColor4B borderColor = ccc4(128, 128, 128, 180);\n \n borderBottom = [CCLayerColor layerWithColor:borderColor];\n borderTop = [CCLayerColor layerWithColor:borderColor];\n borderLeft = [CCLayerColor layerWithColor:borderColor];\n borderRight = [CCLayerColor layerWithColor:borderColor];\n \n [borderLayer addChild:borderBottom];\n [borderLayer addChild:borderTop];\n [borderLayer addChild:borderLeft];\n [borderLayer addChild:borderRight];\n \n borderDevice = [CCSprite node];\n [borderLayer addChild:borderDevice z:1];\n \n // Gray background\n bgLayer = [CCLayerColor layerWithColor:ccc4(128, 128, 128, 255) width:4096 height:4096];\n bgLayer.position = ccp(0,0);\n bgLayer.anchorPoint = ccp(0,0);\n [self addChild:bgLayer z:-1];\n \n // Black content layer\n stageBgLayer = [CCLayerColor layerWithColor:ccc4(0, 0, 0, 255) width:0 height:0];\n stageBgLayer.anchorPoint = ccp(0.5,0.5);\n stageBgLayer.ignoreAnchorPointForPosition = NO;\n [self addChild:stageBgLayer z:0];\n \n contentLayer = [CCLayer node];\n [stageBgLayer addChild:contentLayer];\n}\n\n- (void) setStageBorder:(int)type\n{\n borderDevice.visible = NO;\n \n if (stageBgLayer.contentSize.width == 0 || stageBgLayer.contentSize.height == 0)\n {\n type = kCCBBorderNone;\n stageBgLayer.visible = NO;\n }\n else\n {\n stageBgLayer.visible = YES;\n }\n \n if (type == kCCBBorderDevice)\n {\n [borderBottom setOpacity:255];\n [borderTop setOpacity:255];\n [borderLeft setOpacity:255];\n [borderRight setOpacity:255];\n \n CCTexture2D* deviceTexture = NULL;\n BOOL rotateDevice = NO;\n \n int devType = [appDelegate orientedDeviceTypeForSize:stageBgLayer.contentSize];\n if (devType == kCCBCanvasSizeIPhonePortrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-iphone.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeIPhoneLandscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-iphone.png\"];\n rotateDevice = YES;\n }\n if (devType == kCCBCanvasSizeIPhone5Portrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-iphone5.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeIPhone5Landscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-iphone5.png\"];\n rotateDevice = YES;\n }\n else if (devType == kCCBCanvasSizeIPadPortrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-ipad.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeIPadLandscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-ipad.png\"];\n rotateDevice = YES;\n }\n else if (devType == kCCBCanvasSizeAndroidXSmallPortrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-xsmall.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeAndroidXSmallLandscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-xsmall.png\"];\n rotateDevice = YES;\n }\n else if (devType == kCCBCanvasSizeAndroidSmallPortrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-small.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeAndroidSmallLandscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-small.png\"];\n rotateDevice = YES;\n }\n else if (devType == kCCBCanvasSizeAndroidMediumPortrait)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-medium.png\"];\n rotateDevice = NO;\n }\n else if (devType == kCCBCanvasSizeAndroidMediumLandscape)\n {\n deviceTexture = [[CCTextureCache sharedTextureCache] addImage:@\"frame-android-medium.png\"];\n rotateDevice = YES;\n }\n \n if (deviceTexture)\n {\n if (rotateDevice) borderDevice.rotation = 90;\n else borderDevice.rotation = 0;\n \n borderDevice.texture = deviceTexture;\n borderDevice.textureRect = CGRectMake(0, 0, deviceTexture.contentSize.width, deviceTexture.contentSize.height);\n \n borderDevice.visible = YES;\n }\n borderLayer.visible = YES;\n }\n else if (type == kCCBBorderTransparent)\n {\n [borderBottom setOpacity:180];\n [borderTop setOpacity:180];\n [borderLeft setOpacity:180];\n [borderRight setOpacity:180];\n \n borderLayer.visible = YES;\n }\n else if (type == kCCBBorderOpaque)\n {\n [borderBottom setOpacity:255];\n [borderTop setOpacity:255];\n [borderLeft setOpacity:255];\n [borderRight setOpacity:255];\n borderLayer.visible = YES;\n }\n else\n {\n borderLayer.visible = NO;\n }\n \n stageBorderType = type;\n \n [appDelegate updateCanvasBorderMenu];\n}\n\n- (int) stageBorder\n{\n return stageBorderType;\n}\n\n- (void) setupDefaultNodes\n{\n}\n\n#pragma mark Stage properties\n\n- (void) setStageSize: (CGSize) size centeredOrigin:(BOOL)centeredOrigin\n{\n \n stageBgLayer.contentSize = size;\n if (centeredOrigin) contentLayer.position = ccp(size.width/2, size.height/2);\n else contentLayer.position = ccp(0,0);\n \n [self setStageBorder:stageBorderType];\n \n \n if (renderedScene)\n {\n [self removeChild:renderedScene cleanup:YES];\n renderedScene = NULL;\n }\n \n if (size.width > 0 && size.height > 0 && size.width <= 1024 && size.height <= 1024)\n {\n // Use a new autorelease pool\n // Otherwise, two successive calls to the running method (_cmd) cause a crash!", "\n NSAutoreleasePool *pool = [[NSAutoreleasePool alloc] init];\n \n renderedScene = [CCRenderTexture renderTextureWithWidth:size.width height:size.height];\n renderedScene.anchorPoint = ccp(0.5f,0.5f);\n [self addChild:renderedScene];\n\n [pool drain];\n }\n \n \n}\n\n- (CGSize) stageSize\n{\n return stageBgLayer.contentSize;\n}\n\n- (BOOL) centeredOrigin\n{\n return (contentLayer.position.x !", "= 0);\n}\n\n- (void) setStageZoom:(float) zoom\n{\n float zoomFactor = zoom/stageZoom;\n \n scrollOffset = ccpMult(scrollOffset, zoomFactor);\n \n stageBgLayer.scale = zoom;\n borderDevice.scale = zoom;\n \n stageZoom = zoom;\n}\n\n- (float) stageZoom\n{\n return stageZoom;\n}\n\n#pragma mark Extra properties\n\n- (void) setupExtraPropsForNode:(CCNode*) node\n{\n [node setExtraProp:[NSNumber numberWithInt:-1] forKey:@\"tag\"];\n [node setExtraProp:[NSNumber numberWithBool:YES] forKey:@\"lockedScaleRatio\"];\n \n [node setExtraProp:@\"\" forKey:@\"customClass\"];\n [node setExtraProp:[NSNumber numberWithInt:0] forKey:@\"memberVarAssignmentType\"];\n [node setExtraProp:@\"\" forKey:@\"memberVarAssignmentName\"];\n \n [node setExtraProp:[NSNumber numberWithBool:YES] forKey:@\"isExpanded\"];\n}\n\n#pragma mark Replacing content\n\n- (void) replaceRootNodeWith:(CCNode*)node\n{\n CCBGlobals* g = [CCBGlobals globals];\n \n [contentLayer removeChild:rootNode cleanup:YES];\n \n self.rootNode = node;\n g.rootNode = node;\n \n if (!", "node) return;\n \n [contentLayer addChild:node];\n}\n\n#pragma mark Handle selections\n\n- (BOOL) selectedNodeHasReadOnlyProperty:(NSString*)prop\n{\n CCNode* selectedNode = appDelegate.selectedNode;\n \n if (!", "selectedNode) return NO;\n NodeInfo* info = selectedNode.userObject;\n PlugInNode* plugIn = info.plugIn;\n \n NSDictionary* propInfo = [plugIn.nodePropertiesDict objectForKey:prop];\n return [[propInfo objectForKey:@\"readOnly\"] boolValue];\n}\n\n- (void) updateSelection\n{\n NSArray* nodes = appDelegate.selectedNodes;\n \n // Clear selection\n [selectionLayer removeAllChildrenWithCleanup:YES];\n \n if (nodes.count > 0)\n {\n for (CCNode* node in nodes)\n {\n CGPoint localAnchor = ccp(node.anchorPoint.x * node.contentSize.width,\n node.anchorPoint.y * node.contentSize.height);\n \n CGPoint anchorPointPos = [node convertToWorldSpace:localAnchor];\n \n CCSprite* anchorPointSprite = [CCSprite spriteWithFile:@\"select-pt.png\"];\n anchorPointSprite.position = anchorPointPos;\n [selectionLayer addChild:anchorPointSprite z:1];\n \n if (node.ignoreAnchorPointForPosition)\n {\n anchorPointSprite.opacity = 127;\n }\n \n //CGPoint minCorner = center;\n \n if (node.contentSize.width > 0 && node.contentSize.height > 0)\n {\n CGAffineTransform transform = [node nodeToWorldTransform];\n float angleRad = -(atan2(transform.b, transform.a));\n float angle = angleRad/(M_PI*2)*360;\n \n // Selection corners in world space\n CGPoint bl = [node convertToWorldSpace: ccp(0,0)];\n CGPoint br = [node convertToWorldSpace: ccp(node.contentSize.width,0)];\n CGPoint tl = [node convertToWorldSpace: ccp(0,node.contentSize.height)];\n //CGPoint tr = [node convertToWorldSpace: ccp(node.contentSize.width,node.contentSize.height)];\n \n // Width & height of selection\n float width = (int)ccpLength(ccpSub(br, bl));\n float height = (int)ccpLength(ccpSub(tl, bl));\n \n // Check if selection is mirrored\n CGPoint posRaw = bl;\n if ([self isLocalCoordinateSystemFlipped:node]) posRaw = tl;\n \n // Round so it is always displayed sharply\n CGPoint pos = ccpSub(posRaw, ccpRotateByAngle(ccp(kCCBSelectionOutset,kCCBSelectionOutset), CGPointZero, -angleRad));\n \n if (angle == 0)\n {\n pos = ccp((int)pos.x, (int)pos.y);\n }\n \n // Create a sprite for the selection\n CCScale9Sprite* sel = [CCScale9Sprite spriteWithFile:@\"sel-frame.png\" capInsets:CGRectMake(8, 8, 8, 8)];\n sel.anchorPoint = ccp(0,0);\n sel.rotation = angle;\n sel.position = pos;\n sel.preferedSize = CGSizeMake(width + kCCBSelectionOutset * 2, height + kCCBSelectionOutset * 2);\n [selectionLayer addChild:sel];\n \n /*\n minCorner.x = MIN(minCorner.x, bl.x);\n minCorner.x = MIN(minCorner.x, br.x);\n minCorner.x = MIN(minCorner.x, tl.x);\n minCorner.x = MIN(minCorner.x, tr.x);\n \n minCorner.y = MIN(minCorner.y, bl.y);\n minCorner.y = MIN(minCorner.y, br.y);\n minCorner.y = MIN(minCorner.y, tl.y);\n minCorner.y = MIN(minCorner.y, tr.y);\n */\n }\n else\n {\n CGPoint pos = [node convertToWorldSpace: ccp(0,0)];\n \n CCSprite* sel = [CCSprite spriteWithFile:@\"sel-round.png\"];\n sel.anchorPoint = ccp(0.5f, 00.5f);\n sel.position = pos;\n [selectionLayer addChild:sel];\n }\n \n /*\n if (minCorner.x < 10+15) minCorner.x = 10+15;\n if (minCorner.y < 36+15) minCorner.y = 36+15;\n if (minCorner.x > self.contentSize.width - 28*3+6) minCorner.x = self.contentSize.width - 28*3+6;\n if (minCorner.y > self.contentSize.height+6) minCorner.y = self.contentSize.height+6;\n \n minCorner.x = (int)minCorner.x;\n minCorner.y = (int)minCorner.y;\n */\n }\n }\n}\n\n- (void) selectBehind\n{\n if (currentNodeAtSelectionPtIdx < 0) return;\n \n currentNodeAtSelectionPtIdx -= 1;\n if (currentNodeAtSelectionPtIdx < 0)\n {\n currentNodeAtSelectionPtIdx = (int)[nodesAtSelectionPt count] -1;\n }\n \n [appDelegate setSelectedNodes:[NSArray arrayWithObject:[nodesAtSelectionPt objectAtIndex:currentNodeAtSelectionPtIdx]]];\n}\n\n#pragma mark Handle mouse input\n\n- (CGPoint) convertToDocSpace:(CGPoint)viewPt\n{\n return [contentLayer convertToNodeSpace:viewPt];\n}\n\n- (CGPoint) convertToViewSpace:(CGPoint)docPt\n{\n return [contentLayer convertToWorldSpace:docPt];\n}\n\n- (NSString*) positionPropertyForSelectedNode\n{\n NodeInfo* info = appDelegate.selectedNode.userObject;\n PlugInNode* plugIn = info.plugIn;\n \n return plugIn.positionProperty;\n}\n\n- (CGPoint) selectedNodePos\n{\n if (!", "appDelegate.selectedNode) return CGPointZero;\n \n return NSPointToCGPoint([PositionPropertySetter positionForNode:appDelegate.selectedNode prop:[self positionPropertyForSelectedNode]]);\n}\n\n- (int) transformHandleUnderPt:(CGPoint)pt\n{\n for (CCNode* node in appDelegate.selectedNodes)\n {\n transformScalingNode = node;\n \n CGPoint localAnchor = ccp(node.anchorPoint.x * node.contentSize.width,\n node.anchorPoint.y * node.contentSize.height);\n \n CGPoint center = [node convertToWorldSpace:localAnchor];\n if (ccpDistance(pt, center) < kCCBAnchorPointRadius) return kCCBTransformHandleAnchorPoint;\n \n if (node.contentSize.width == 0 || node.contentSize.height == 0)\n {\n CGPoint bl = ccpAdd(center, ccp(-18, -18));\n CGPoint br = ccpAdd(center, ccp(18, -18));\n CGPoint tl = ccpAdd(center, ccp(-18, 18));\n CGPoint tr = ccpAdd(center, ccp(18, 18));\n \n if (ccpDistance(pt, bl) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, br) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, tl) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, tr) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n }\n else\n {\n CGPoint bl = [node convertToWorldSpace: ccp(0,0)];\n CGPoint br = [node convertToWorldSpace: ccp(node.contentSize.width,0)];\n CGPoint tl = [node convertToWorldSpace: ccp(0,node.contentSize.height)];\n CGPoint tr = [node convertToWorldSpace: ccp(node.contentSize.width,node.contentSize.height)];\n \n transformScalingNode = node;\n if (ccpDistance(pt, bl) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, br) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, tl) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n if (ccpDistance(pt, tr) < kCCBTransformHandleRadius) return kCCBTransformHandleScale;\n }\n }\n \n transformScalingNode = NULL;\n return kCCBTransformHandleNone;\n}\n\n- (void) nodesUnderPt:(CGPoint)pt rootNode:(CCNode*) node nodes:(NSMutableArray*)nodes\n{\n if (!", "node) return;\n \n NodeInfo* parentInfo = node.parent.userObject;\n PlugInNode* parentPlugIn = parentInfo.plugIn;\n if (parentPlugIn && !", "parentPlugIn.canHaveChildren) return;\n \n if (node.contentSize.width == 0 || node.contentSize.height == 0)\n {\n CGPoint worldPos = [node.parent convertToWorldSpace:node.position];\n if (ccpDistance(worldPos, pt) < kCCBSinglePointSelectionRadius)\n {\n [nodes addObject:node];\n }\n }\n else\n {\n CGRect hitRect = [node boundingBox];\n \n CCNode* parent = node.parent;\n CGPoint ptLocal = [parent convertToNodeSpace:pt];\n \n if (CGRectContainsPoint(hitRect, ptLocal))\n {\n [nodes addObject:node];\n }\n }\n \n // Visit children\n for (int i = 0; i < [node.children count]; i++)\n {\n [self nodesUnderPt:pt rootNode:[node.children objectAtIndex:i] nodes:nodes];\n }\n}\n\n- (BOOL) isLocalCoordinateSystemFlipped:(CCNode*)node\n{\n // TODO: Can this be done more efficiently?", "\n BOOL isMirroredX = NO;\n BOOL isMirroredY = NO;\n CCNode* nodeMirrorCheck = node;\n while (nodeMirrorCheck !", "= rootNode && nodeMirrorCheck !", "= NULL)\n {\n if (nodeMirrorCheck.scaleY < 0) isMirroredY = !", "isMirroredY;\n if (nodeMirrorCheck.scaleX < 0) isMirroredX = !", "isMirroredX;\n nodeMirrorCheck = nodeMirrorCheck.parent;\n }\n \n return (isMirroredX ^ isMirroredY);\n}\n\n- (BOOL) ccMouseDown:(NSEvent *)event\n{\n if (!", "appDelegate.hasOpenedDocument) return YES;\n \n NSPoint posRaw = [event locationInWindow];\n CGPoint pos = NSPointToCGPoint([appDelegate.cocosView convertPoint:posRaw fromView:NULL]);\n \n if ([notesLayer mouseDown:pos event:event]) return YES;\n if ([guideLayer mouseDown:pos event:event]) return YES;\n \n mouseDownPos = pos;\n \n // Handle grab tool\n if (currentTool == kCCBToolGrab || ([event modifierFlags] & NSCommandKeyMask))\n {\n [[NSCursor closedHandCursor] push];\n isPanning = YES;\n panningStartScrollOffset = scrollOffset;\n return YES;\n }\n \n // Find out which objects were clicked\n \n // Transform handles\n int th = [self transformHandleUnderPt:pos];\n \n if (th == kCCBTransformHandleAnchorPoint)\n {\n // Anchor points are fixed for singel point nodes\n if (transformScalingNode.contentSize.width == 0 || transformScalingNode.contentSize.height == 0)\n {\n return YES;\n }\n \n BOOL readOnly = [[[transformScalingNode.plugIn.nodePropertiesDict objectForKey:@\"anchorPoint\"] objectForKey:@\"readOnly\"] boolValue];\n if (readOnly)\n {\n return YES;\n }\n \n // Transform anchor point\n currentMouseTransform = kCCBTransformHandleAnchorPoint;\n transformScalingNode.transformStartPosition = transformScalingNode.anchorPoint;\n return YES;\n }\n if (th == kCCBTransformHandleScale && appDelegate.selectedNode !", "= rootNode)\n {\n if (([event modifierFlags] & NSAlternateKeyMask) &&\n ![", "appDelegate.selectedNode usesFlashSkew])\n {\n // Start rotation transform (instead of scale)\n currentMouseTransform = kCCBTransformHandleRotate;\n transformStartRotation = transformScalingNode.rotation;\n return YES;\n }\n else\n {\n // Start scale transform\n currentMouseTransform = kCCBTransformHandleScale;\n transformStartScaleX = [PositionPropertySetter scaleXForNode:transformScalingNode prop:@\"scale\"];\n transformStartScaleY = [PositionPropertySetter scaleYForNode:transformScalingNode prop:@\"scale\"];\n return YES;\n }\n }\n \n // Clicks inside objects\n [nodesAtSelectionPt removeAllObjects];\n [self nodesUnderPt:pos rootNode:rootNode nodes:nodesAtSelectionPt];\n currentNodeAtSelectionPtIdx = (int)[nodesAtSelectionPt count] -1;\n \n currentMouseTransform = kCCBTransformHandleNone;\n \n if (currentNodeAtSelectionPtIdx >= 0)\n {\n currentMouseTransform = kCCBTransformHandleDownInside;\n }\n else\n {\n // No clicked node\n if ([event modifierFlags] & NSShiftKeyMask)\n {\n // Ignore\n return YES;\n }\n else\n {\n // Deselect\n appDelegate.selectedNodes = NULL;\n }\n }\n \n return YES;\n}\n\n- (BOOL) ccMouseDragged:(NSEvent *)event\n{\n if (!", "appDelegate.hasOpenedDocument) return YES;\n [self mouseMoved:event];\n \n NSPoint posRaw = [event locationInWindow];\n CGPoint pos = NSPointToCGPoint([appDelegate.cocosView convertPoint:posRaw fromView:NULL]);\n \n if ([notesLayer mouseDragged:pos event:event]) return YES;\n if ([guideLayer mouseDragged:pos event:event]) return YES;\n \n if (currentMouseTransform == kCCBTransformHandleDownInside)\n {\n CCNode* clickedNode = [nodesAtSelectionPt objectAtIndex:currentNodeAtSelectionPtIdx];\n \n BOOL selectedNodeUnderClickPt = NO;\n for (CCNode* selectedNode in appDelegate.selectedNodes)\n {\n if ([nodesAtSelectionPt containsObject:selectedNode])\n {\n selectedNodeUnderClickPt = YES;\n break;\n }\n }\n \n if ([event modifierFlags] & NSShiftKeyMask)\n {\n // Add to selection\n NSMutableArray* modifiedSelection = [NSMutableArray arrayWithArray: appDelegate.selectedNodes];\n \n if (![", "modifiedSelection containsObject:clickedNode])\n {\n [modifiedSelection addObject:clickedNode];\n }\n appDelegate.selectedNodes = modifiedSelection;\n }\n else if (![", "appDelegate.selectedNodes containsObject:clickedNode]\n && ! ", "selectedNodeUnderClickPt)\n {\n // Replace selection\n appDelegate.selectedNodes = [NSArray arrayWithObject:clickedNode];\n }\n \n for (CCNode* selectedNode in appDelegate.selectedNodes)\n {\n CGPoint pos = NSPointToCGPoint([PositionPropertySetter positionForNode:selectedNode prop:@\"position\"]);\n \n selectedNode.transformStartPosition = [selectedNode.parent convertToWorldSpace:pos];\n }\n \n if (appDelegate.selectedNode !", "= rootNode)\n {\n currentMouseTransform = kCCBTransformHandleMove;\n }\n }\n \n if (currentMouseTransform == kCCBTransformHandleMove)\n {\n for (CCNode* selectedNode in appDelegate.selectedNodes)\n {\n float xDelta = (int)(pos.x - mouseDownPos.x);\n float yDelta = (int)(pos.y - mouseDownPos.y);\n \n CGSize parentSize = [PositionPropertySetter getParentSize:selectedNode];\n \n // Swap axis for relative positions\n int positionType = [PositionPropertySetter positionTypeForNode:selectedNode prop:@\"position\"];\n if (positionType == kCCBPositionTypeRelativeBottomRight)\n {\n xDelta = -xDelta;\n }\n else if (positionType == kCCBPositionTypeRelativeTopLeft)\n {\n yDelta = -yDelta;\n }\n else if (positionType == kCCBPositionTypeRelativeTopRight)\n {\n xDelta = -xDelta;\n yDelta = -yDelta;\n }\n else if (positionType == kCCBPositionTypePercent)\n {\n // Handle percental positions\n if (parentSize.width > 0)\n {\n xDelta = (xDelta/parentSize.width)*100.0f;\n }\n else\n {\n xDelta = 0;\n }\n \n if (parentSize.height > 0)\n {\n yDelta = (yDelta/parentSize.height)*100.0f;\n }\n else\n {\n yDelta = 0;\n }\n }\n \n // Handle shift key (straight drags)\n if ([event modifierFlags] & NSShiftKeyMask)\n {\n if (fabs(xDelta) > fabs(yDelta))\n {\n yDelta = 0;\n }\n else\n {\n xDelta = 0;\n }\n }\n \n CGPoint newPos = ccp(selectedNode.transformStartPosition.x+xDelta, selectedNode.transformStartPosition.y+yDelta);\n \n // Snap to guides\n /*\n if (appDelegate.showGuides && appDelegate.snapToGuides)\n {\n // Convert to absolute position (conversion need to happen in node space)\n CGPoint newAbsPos = [selectedNode.parent convertToNodeSpace:newPos];\n \n newAbsPos = NSPointToCGPoint([PositionPropertySetter calcAbsolutePositionFromRelative:NSPointFromCGPoint(newAbsPos) type:positionType parentSize:parentSize]);\n \n newAbsPos = [selectedNode.parent convertToWorldSpace:newAbsPos];\n \n // Perform snapping (snapping happens in world space)\n newAbsPos = [guideLayer snapPoint:newAbsPos];\n \n // Convert back to relative (conversion need to happen in node space)\n newAbsPos = [selectedNode.parent convertToNodeSpace:newAbsPos];\n \n newAbsPos = NSPointToCGPoint([PositionPropertySetter calcRelativePositionFromAbsolute:NSPointFromCGPoint(newAbsPos) type:positionType parentSize:parentSize]);\n \n newPos = [selectedNode.parent convertToWorldSpace:newAbsPos];\n }\n */\n \n \n CGPoint newLocalPos = [selectedNode.parent convertToNodeSpace:newPos];\n \n [appDelegate saveUndoStateWillChangeProperty:@\"position\"];\n \n [PositionPropertySetter setPosition:NSPointFromCGPoint(newLocalPos) forNode:selectedNode prop:@\"position\"];\n }\n [appDelegate refreshProperty:@\"position\"];\n }\n else if (currentMouseTransform == kCCBTransformHandleScale)\n {\n CGPoint nodePos = [transformScalingNode.parent convertToWorldSpace:transformScalingNode.position];\n \n CGPoint deltaStart = ccpSub(nodePos, mouseDownPos);\n CGPoint deltaNew = ccpSub(nodePos, pos);\n \n // Rotate deltas\n CGPoint anglePos0 = [transformScalingNode convertToWorldSpace:ccp(0,0)];\n CGPoint anglePos1 = [transformScalingNode convertToWorldSpace:ccp(1,0)];\n CGPoint angleVector = ccpSub(anglePos1, anglePos0);\n \n float angle = atan2f(angleVector.y, angleVector.x);\n \n deltaStart = ccpRotateByAngle(deltaStart, CGPointZero, -angle);\n deltaNew = ccpRotateByAngle(deltaNew, CGPointZero, -angle);\n \n // Calculate new scale\n float xScaleNew;\n float yScaleNew;\n \n if (fabs(deltaStart.x) > 4) xScaleNew = (deltaNew.x * transformStartScaleX)/deltaStart.x;\n else xScaleNew = transformStartScaleX;\n if (fabs(deltaStart.y) > 4) yScaleNew = (deltaNew.y * transformStartScaleY)/deltaStart.y;\n else yScaleNew = transformStartScaleY;\n \n // Handle shift key (uniform scale)\n if ([event modifierFlags] & NSShiftKeyMask)\n {\n // Use the smallest scale composit\n if (fabs(xScaleNew) < fabs(yScaleNew))\n {\n yScaleNew = xScaleNew;\n }\n else\n {\n xScaleNew = yScaleNew;\n }\n }\n \n // Set new scale\n [appDelegate saveUndoStateWillChangeProperty:@\"scale\"];\n \n int type = [PositionPropertySetter scaledFloatTypeForNode:transformScalingNode prop:@\"scale\"];\n [PositionPropertySetter setScaledX:xScaleNew Y:yScaleNew type:type forNode:transformScalingNode prop:@\"scale\"];\n \n [appDelegate refreshProperty:@\"scale\"];\n }\n else if (currentMouseTransform == kCCBTransformHandleRotate)\n {\n CGPoint nodePos = [transformScalingNode.parent convertToWorldSpace:transformScalingNode.position];\n \n CGPoint handleAngleVectorStart = ccpSub(nodePos, mouseDownPos);\n CGPoint handleAngleVectorNew = ccpSub(nodePos, pos);\n \n float handleAngleRadStart = atan2f(handleAngleVectorStart.y, handleAngleVectorStart.x);\n float handleAngleRadNew = atan2f(handleAngleVectorNew.y, handleAngleVectorNew.x);\n \n float deltaRotationRad = handleAngleRadNew - handleAngleRadStart;\n float deltaRotation = -(deltaRotationRad/(2*M_PI))*360;\n \n if ([self isLocalCoordinateSystemFlipped:transformScalingNode.parent])\n {\n deltaRotation = -deltaRotation;\n }\n \n while ( deltaRotation > 180.0f )\n deltaRotation -= 360.0f;\n while ( deltaRotation < -180.0f )\n deltaRotation += 360.0f;\n \n float newRotation = (transformStartRotation + deltaRotation);\n \n // Handle shift key (fixed rotation angles)\n if ([event modifierFlags] & NSShiftKeyMask)\n {\n float factor = 360.0f/16.0f;\n newRotation = roundf(newRotation/factor)*factor;\n }\n \n [appDelegate saveUndoStateWillChangeProperty:@\"rotation\"];\n transformScalingNode.rotation = newRotation;\n [appDelegate refreshProperty:@\"rotation\"];\n }\n else if (currentMouseTransform == kCCBTransformHandleAnchorPoint)\n {\n CGPoint localPos = [transformScalingNode convertToNodeSpace:pos];\n CGPoint localDownPos = [transformScalingNode convertToNodeSpace:mouseDownPos];\n \n CGPoint deltaLocal = ccpSub(localPos, localDownPos);\n CGPoint deltaAnchorPoint = ccp(deltaLocal.x / transformScalingNode.contentSize.width, deltaLocal.y / transformScalingNode.contentSize.height);\n \n [appDelegate saveUndoStateWillChangeProperty:@\"anchorPoint\"];\n transformScalingNode.anchorPoint = ccpAdd(transformScalingNode.transformStartPosition, deltaAnchorPoint);\n [appDelegate refreshProperty:@\"anchorPoint\"];\n }\n else if (isPanning)\n {\n CGPoint delta = ccpSub(pos, mouseDownPos);\n scrollOffset = ccpAdd(panningStartScrollOffset, delta);\n }\n \n return YES;\n}\n\n- (void) updateAnimateablePropertyValue:(id)value propName:(NSString*)propertyName type:(int)type\n{\n CCNode* selectedNode = appDelegate.selectedNode;\n \n NodeInfo* nodeInfo = selectedNode.userObject;\n PlugInNode* plugIn = nodeInfo.plugIn;\n SequencerHandler* sh = [SequencerHandler sharedHandler];\n \n if ([plugIn isAnimatableProperty:propertyName node:selectedNode])\n {\n SequencerSequence* seq = sh.currentSequence;\n int seqId = seq.sequenceId;\n SequencerNodeProperty* seqNodeProp = [selectedNode sequenceNodeProperty:propertyName sequenceId:seqId];\n \n if (seqNodeProp)\n {\n SequencerKeyframe* keyframe = [seqNodeProp keyframeAtTime:seq.timelinePosition];\n if (keyframe)\n {\n keyframe.value = value;\n }\n else\n {\n SequencerKeyframe* keyframe = [[[SequencerKeyframe alloc] init] autorelease];\n keyframe.time = seq.timelinePosition;\n keyframe.value = value;\n keyframe.type = type;\n \n [seqNodeProp setKeyframe:keyframe];\n }\n \n [sh redrawTimeline];\n }\n else\n {\n [nodeInfo.baseValues setObject:value forKey:propertyName];\n }\n }\n}\n\n- (BOOL) ccMouseUp:(NSEvent *)event\n{\n if (!", "appDelegate.hasOpenedDocument) return YES;\n \n CCNode* selectedNode = appDelegate.selectedNode;\n \n NSPoint posRaw = [event locationInWindow];\n CGPoint pos = NSPointToCGPoint([appDelegate.cocosView convertPoint:posRaw fromView:NULL]);\n \n if (currentMouseTransform == kCCBTransformHandleDownInside)\n {\n CCNode* clickedNode = [nodesAtSelectionPt objectAtIndex:currentNodeAtSelectionPtIdx];\n \n if ([event modifierFlags] & NSShiftKeyMask)\n {\n // Add to/subtract from selection\n NSMutableArray* modifiedSelection = [NSMutableArray arrayWithArray: appDelegate.selectedNodes];\n \n if ([modifiedSelection containsObject:clickedNode])\n {\n [modifiedSelection removeObject:clickedNode];\n }\n else\n {\n [modifiedSelection addObject:clickedNode];\n //currentMouseTransform = kCCBTransformHandleMove;\n }\n appDelegate.selectedNodes = modifiedSelection;\n }\n else\n {\n // Replace selection\n [appDelegate setSelectedNodes:[NSArray arrayWithObject:clickedNode]];\n //currentMouseTransform = kCCBTransformHandleMove;\n }\n \n currentMouseTransform = kCCBTransformHandleNone;\n }\n \n if (currentMouseTransform !", "= kCCBTransformHandleNone)\n {\n // Update keyframes & base value\n id value = NULL;\n NSString* propName = NULL;\n int type = kCCBKeyframeTypeDegrees;\n \n if (currentMouseTransform == kCCBTransformHandleRotate)\n {\n value = [NSNumber numberWithFloat: selectedNode.rotation];\n propName = @\"rotation\";\n type = kCCBKeyframeTypeDegrees;\n }\n else if (currentMouseTransform == kCCBTransformHandleScale)\n {\n float x = [PositionPropertySetter scaleXForNode:selectedNode prop:@\"scale\"];\n float y = [PositionPropertySetter scaleYForNode:selectedNode prop:@\"scale\"];\n value = [NSArray arrayWithObjects:\n [NSNumber numberWithFloat:x],\n [NSNumber numberWithFloat:y],\n nil];\n propName = @\"scale\";\n type = kCCBKeyframeTypeScaleLock;\n }\n else if (currentMouseTransform == kCCBTransformHandleMove)\n {\n CGPoint pt = NSPointToCGPoint([PositionPropertySetter positionForNode:selectedNode prop:@\"position\"]);\n value = [NSArray arrayWithObjects:\n [NSNumber numberWithFloat:pt.x],\n [NSNumber numberWithFloat:pt.y],\n nil];\n propName = @\"position\";\n type = kCCBKeyframeTypePosition;\n }\n \n if (value)\n {\n [self updateAnimateablePropertyValue:value propName:propName type:type];\n }\n }\n \n if ([notesLayer mouseUp:pos event:event]) return YES;\n if ([guideLayer mouseUp:pos event:event]) return YES;\n \n isMouseTransforming = NO;\n \n if (isPanning)\n {\n [NSCursor pop];\n isPanning = NO;\n }\n \n currentMouseTransform = kCCBTransformHandleNone;\n return YES;\n}\n\n- (void)mouseMoved:(NSEvent *)event\n{\n if (!", "appDelegate.hasOpenedDocument) return;\n \n NSPoint posRaw = [event locationInWindow];\n CGPoint pos = NSPointToCGPoint([appDelegate.cocosView convertPoint:posRaw fromView:NULL]);\n \n mousePos = pos;\n}\n\n- (void)mouseEntered:(NSEvent *)event\n{\n mouseInside = YES;\n \n if (!", "appDelegate.hasOpenedDocument) return;\n \n [rulerLayer mouseEntered:event];\n}\n- (void)mouseExited:(NSEvent *)event\n{\n mouseInside = NO;\n \n if (!", "appDelegate.hasOpenedDocument) return;\n \n [rulerLayer mouseExited:event];\n}\n\n- (void)cursorUpdate:(NSEvent *)event\n{\n if (!", "appDelegate.hasOpenedDocument) return;\n \n if (currentTool == kCCBToolGrab)\n {\n [[NSCursor openHandCursor] set];\n }\n}\n\n- (void) scrollWheel:(NSEvent *)theEvent\n{\n if (!", "appDelegate.window.isKeyWindow) return;\n if (isMouseTransforming || isPanning || currentMouseTransform !", "= kCCBTransformHandleNone) return;\n if (!", "appDelegate.hasOpenedDocument) return;\n \n int dx = [theEvent deltaX]*4;\n int dy = -[theEvent deltaY]*4;\n \n scrollOffset.x = scrollOffset.x+dx;\n scrollOffset.y = scrollOffset.y+dy;\n}\n\n#pragma mark Updates every frame\n\n- (void) nextFrame:(ccTime) time\n{\n // Recenter the content layer\n BOOL winSizeChanged = !", "CGSizeEqualToSize(winSize, [[CCDirector sharedDirector] winSize]);\n winSize = [[CCDirector sharedDirector] winSize];\n CGPoint stageCenter = ccp((int)(winSize.width/2+scrollOffset.x) , (int)(winSize.height/2+scrollOffset.y));\n \n self.contentSize = winSize;\n \n stageBgLayer.position = stageCenter;\n renderedScene.position = stageCenter;\n \n if (stageZoom <= 1 || !", "renderedScene)\n {\n // Use normal rendering\n stageBgLayer.visible = YES;\n renderedScene.visible = NO;\n [[borderDevice texture] setAntiAliasTexParameters];\n }\n else\n {\n // Render with render-texture\n stageBgLayer.visible = NO;\n renderedScene.visible = YES;\n renderedScene.scale = stageZoom;\n [renderedScene beginWithClear:0 g:0 b:0 a:1];\n [contentLayer visit];\n [renderedScene end];\n [[borderDevice texture] setAliasTexParameters];\n }\n \n [self updateSelection];\n \n // Setup border layer\n CGRect bounds = [stageBgLayer boundingBox];\n \n borderBottom.position = ccp(0,0);\n [borderBottom setContentSize:CGSizeMake(winSize.width, bounds.origin.y)];\n \n borderTop.position = ccp(0, bounds.size.height + bounds.origin.y);\n [borderTop setContentSize:CGSizeMake(winSize.width, winSize.height - bounds.size.height - bounds.origin.y)];\n \n borderLeft.position = ccp(0,bounds.origin.y);\n [borderLeft setContentSize:CGSizeMake(bounds.origin.x, bounds.size.height)];\n \n borderRight.position = ccp(bounds.origin.x+bounds.size.width, bounds.origin.y);\n [borderRight setContentSize:CGSizeMake(winSize.width - bounds.origin.x - bounds.size.width, bounds.size.height)];\n \n CGPoint center = ccp(bounds.origin.x+bounds.size.width/2, bounds.origin.y+bounds.size.height/2);\n borderDevice.position = center;\n \n // Update rulers\n origin = ccpAdd(stageCenter, ccpMult(contentLayer.position,stageZoom));\n origin.x -= stageBgLayer.contentSize.width/2 * stageZoom;\n origin.y -= stageBgLayer.contentSize.height/2 * stageZoom;\n \n [rulerLayer updateWithSize:winSize stageOrigin:origin zoom:stageZoom];\n [rulerLayer updateMousePos:mousePos];\n \n // Update guides\n guideLayer.visible = appDelegate.showGuides;\n [guideLayer updateWithSize:winSize stageOrigin:origin zoom:stageZoom];\n \n // Update sticky notes\n notesLayer.visible = appDelegate.showStickyNotes;\n [notesLayer updateWithSize:winSize stageOrigin:origin zoom:stageZoom];\n \n if (winSizeChanged)\n {\n // Update mouse tracking\n if (trackingArea)\n {\n [[appDelegate cocosView] removeTrackingArea:trackingArea];\n [trackingArea release];\n }\n \n trackingArea = [[NSTrackingArea alloc] initWithRect:NSMakeRect(0, 0, winSize.width, winSize.height) options:NSTrackingMouseMoved | NSTrackingMouseEnteredAndExited | NSTrackingCursorUpdate | NSTrackingActiveInKeyWindow owner:[appDelegate cocosView] userInfo:NULL];\n [[appDelegate cocosView] addTrackingArea:trackingArea];\n }\n}\n\n#pragma mark Init and dealloc\n\n-(id) initWithAppDelegate:(CocosBuilderAppDelegate*)app;\n{\n appDelegate = app;\n \n nodesAtSelectionPt = [[NSMutableArray array] retain];\n \n\tif( (self=[super init] ))\n {\n \n [self setupEditorNodes];\n [self setupDefaultNodes];\n \n [self schedule:@selector(nextFrame:)];\n \n self.mouseEnabled = YES;\n \n stageZoom = 1;\n \n [self nextFrame:0];\n\t}\n\treturn self;\n}\n\n- (void) dealloc\n{\n [trackingArea release];\n [nodesAtSelectionPt release];\n\t[super dealloc];\n}\n\n#pragma mark Debug\n\n\n@end\n" ]

{ "pile_set_name": "Github" }

[ 0.000011902400317397341, 0.000021633315305570577, 0.000013717421124828532, 0.000008800059136397397, 0, 4.372731645458918e-7, 0.000005333646240579447, 0.000003621217072952134, 0.00004367193641366058, 7.561327769156264e-7, 0.0000022531875671189914, 0.00004756242568370987, 0.000001242839689836927, 0, 0, 0.00021003990758244068, 0, 0.000036289737262302225, 0.0000013315573317544023, 0, 0.0000035663319918830286, 8.849800304256135e-7, 0.00002029056083110137, 0, 0, 4.1205161434249657e-7, 0.0000016030573509797887, 0.000003285941837186511, 0, 0, 0, 0, 0, 0, 0.000009127335456960049, 0.000013285152513550855, 0.0000010224568709101725 ]

[ "The International Court of Justice's (ICJ) decision in The Hague comes after years of animosity between Australia and Japan over the legality and morality of whaling.", "\n\nUntil last year the debate played itself out in the structured but ultimately toothless confines of the International Whaling Commission (IWC) and the highly emotive court of public opinion.", "\n\nBecause today's ruling comes from the ICJ and not the voluntary IWC, it is the first legally binding decision for the two countries and New Zealand, which made submissions.", "\n\nJapan has said it respects international law and has promised to abide by The Hague's decision.", "\n\nIn the event that it decides to defy the court's ruling, there is a theoretical possibility that the United Nations Security Council could step in as enforcer, but international law experts say this is almost inconceivable.", "\n\nWith fierce national pride and centuries of tradition, it is unclear whether the ICJ decision will mean an end to Japanese whaling.", "\n\nWhat is clear is that a precedent has been set: Japan's scientific whaling program has been judged illegal in the eyes of the law.", "\n\nInternational law expert Steven Freeland says Japan now finds itself in a difficult position because the ICJ has taken away its justification for whaling.", "\n\nHe says the ruling will do little to persuade a Japanese public that is largely in favour of a centuries-old whaling tradition.", "\n\n\"Japan of course in abiding with [the decision] would have to stop its program because it's in breach of the convention,\" he said.", "\n\n\"What options would Japan have then? ", "It really depends on how Japan would view the overall context of whaling because ... there is always the option to withdraw from the regime altogether by giving six months notice.", "\n\n\"At an extreme end if Japan felt very strongly about continuing some form of whaling and yet it had to abide by this position, it could take that extreme step.\"", "\n\nMr Freeland says he does not expect this decision to provide much resolution for the vexed issue of whaling.", "\n\n\"I think after this decision ... countries have to get together with cool heads and still need to talk and that's always been the issue,\" he said.", "\n\n\"Discussions over the past years have been on an all-or-nothing basis where Australia says 'no whaling whatsoever' and Japan says they reserve the right because it's part of their culture and [they're] allowed to do it anyway under the scientific whaling.\"", "\n\nMr Freeland says legal avenues remain for Japan which may permit whaling.", "\n\nJapanese whaling restrictions: a brief history\n\nSignatories at the 1947 signing of the International Convention For The Regulation Of Whaling in Washington DC. ( ", "Supplied: IWC )" ]

{ "pile_set_name": "OpenWebText2" }

[ 0.000036289737262302225, 0.00002712673611111111, 0.00003302946228035408, 0, 0.000019753086419753087, 0.00005653230821414438, 0, 0.00008218277449046679, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000037180249851279, 0 ]

[ "Hrastovlje\n\nHrastovlje (; ) is a village in the City Municipality of Koper in the Littoral region of Slovenia.", "\n\nGeography\nHrastovlje is also the location of the only major spring in Slovenian Istria, the karst spring of the Rižana River, which is itself the most important source of water supply for the Slovenian coastal area and part of the habitat range of the marbled trout listed on the IUCN Red List.", "\n\nName\nHrastovlje was attested in written sources in the 14th century as Cristoglan (and as Cristoviae in 1581, and Christoja in 1763–87). ", "The name is derived from the plural demonym *Xrastovľane, referring to residents of a village named after oak trees ().", "\n\nHoly Trinity Church and fresco\nHrastovlje is best known for Holy Trinity Church, which contains a late-medieval Danse Macabre fresco. ", "The church itself belongs to the Parish of Predloka. ", "It is a stone-built church, typical of the area, and stands on a small hill above the village inside a walled enclosure 8 m high. ", "The church was built in the late Romanesque tradition before 1480. ", "The encampment wall, built in the late 15th and early 16th centuries, is an irregular rectangle with cylindrical towers in exposed corners. ", "\n\nThe frescos inside the church date to 1490 and are some of the best preserved in Slovenia. ", "They were plastered over and whitewashed, and were only rediscovered in 1949 and were carefully restored. ", "The most famous is the 7 m sequence known as the Dance of Death on the south wall of the nave, representing people of all walks of life from kings and popes to beggars and babies being led by skeletons towards Death itself. ", "Scenes from the Book of Genesis also decorate the nave, images of the Apostles are painted in niches in the apse, with other saints and prophets as well as a Passion series and the journey and adoration of the Magi.", "\n\nReferences\n\nExternal links\n\nHrastovlje on Geopedia\nThe Danse Macabre of Hrastovlje: a very rare medieval fresco hidden until 1949\n\nCategory:Populated places in the City Municipality of Koper" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0, 0.000011413440467494522, 0.0001035143108534755, 0.0000706164818868724, 0.00016219723183391005, 0, 0, 0, 0, 0, 0, 0.00003985969387755102, 0, 0.00002712673611111111 ]

[ "434 F.2d 666\nApplication of Harry Louis YALE.", "\nPatent Appeal No. ", "8368.", "\nUnited States Court of Customs and Patent Appeals.", "\nDecember 10, 1970.", "\n\nLawrence S. Levinson, New Brunswick, N. J., attorney of record, for appellant; Robert Alpher, New York City, Theodore J. Criares and Merle J. Smith, New Brunswick, N. J., of counsel.", "\nS. Wm. ", "Cochran, Washington, D. C., for the Commissioner of Patents; Jack E. Armore, Washington, D. C., of counsel.", "\nBefore RICH, ALMOND, BALDWIN and LANE, Judges, and RE, Judge, United States Customs Court, sitting by designation.", "\nALMOND, Judge.", "\n\n\n1\nThis is an appeal from the decision of the Patent Office Board of Appeals, adhered to on reconsideration, affirming the rejection of claims 1-10 of appellant's application entitled \"Inhalation Anesthetic.", "\"1 No claims have been allowed.", "\n\n\n2\nThe invention relates to a chemical compound, 3-bromo-3-chloro-1,1,1,2,2-pentafluoropropane, which has the formula CF3 CF2 CHClBr. ", "Azeotropic mixtures of the compound with diethyl ether, as well as mixtures of the compound with a preservative such as thymol, are disclosed. ", "The compound or its azeotrope, with or without a preservative added, is useful as an inhalation anesthetic and may be administered with a source of oxygen. ", "Claim 1 recites the compound; claim 2 is for the compound in pure form; claim 3 covers an azeotropic mixture; claims 4-5 cover a mixture of the compound with a preservative; and claims 6-10 are drawn to the method of inducing anesthesia with the compound.", "\n\nThe references relied upon were:\n\n3\nSuckling et al.", "\n (Suckling) 3,097,133 July 9, 1963\nMuray et al.", "\n (Muray) 3,177,260 April 6, 1965\nClements et al. (", "Clements), Proc. ", "Nat'l Acad. ", "of\n Sci., ", "Vol. ", "48, 1962, pages 1008-1014.", "\nChemical Abstracts, Vol. ", "58, April 1963,\n 7264(h)-7265(a).", "\n\n\n4\nThe Clements article reports the results of research conducted to determine how strongly inert anesthetic gases interact with surface films on water. ", "Fig. ", "3 shows a graph of Log PA vs. Log Pf for agents for anesthesia in mice. ", "CF3 CF2 CHClBr is one of the nine compounds plotted on the graph. ", "This compound is not mentioned anywhere else in the article and is not plotted on any of the other graphs.", "\n\n\n5\nSuckling discloses inhalant anesthetic compositions consisting of fluorinated hydrocarbons, but not CF3 CF2 CHClBr. ", "The anesthetic may be administered with a source of oxygen; it may be mixed with a stabilizer such as thymol, as well as with another inhalant anesthetic such as ether.", "\n\n\n6\nMuray shows that other halogenated hydrocarbons have been made by the reaction of a halogen with a less halogenated starting material, the general method used for preparing appellant's compound; and the Chemical Abstract reference shows that the starting materials used in preparing appellant's compound are known.", "\n\n\n7\nAll the claims were rejected under 35 U.S.C. § 103 as unpatentable over Clements in view of Suckling. ", "The examiner relied upon the disclosure of the formula CF3 CF2 CHClBr in Fig. ", "3 of the Clements article pertaining to anesthetics; and with respect to the admixtures of claims 3-5 and the administration techniques of claims 6-10, he referred to the Suckling patent. ", "The Board of Appeals affirmed that rejection.", "\n\n\n8\nAppellant apparently does not take issue with the obviousness of the combination of references if Clements is found to be a valid reference with regard to the disclosure of CF3 CF2 CHClBr. ", "It is appellant's main contention that the listing of CF3 CF2 CHClBr in Clements was a typographical error. ", "Appellant argues that it would be obvious to one of ordinary skill in the art that the reference to CF3 CF2 CHClBr in Clements is an error since (1) only known compounds were discussed in the article; (2) all the compounds tested were plotted as to Log Pf in Fig. ", "1; (3) CF3 CF2 CHClBr in Fig. ", "3 is the only compound listed in any figure which is not also listed in Fig. ", "1, and (4) the Log Pf in Fig. ", "3 at which CF3 CF2 CHClBr is plotted is the Log Pf for CF3 CHClBr in Fig. ", "1 and the two compounds are not likely to have the same Log Pf. ", "In addition, appellant submitted two letters, one of which was from a chemist named Dr. Hofmann to Kenneth M. Wilson, the co-author of the Clements article, inquiring whether the listing of CF3 CF2 CHClBr was a typographical error. ", "The response from Wilson stated:\n\n\n9\nFigure 3 of the paper by Dr. J. A. Clements and myself is, of course, an error as you suppose and CF3 CF2 CHClBr should read CF3 CHClBr.", "\n\n\n10\nIt is appellant's position that since the listing of CF3 CF2 CHClBr in Clements is clearly an error, that reference does not provide a valid disclosure of the compound.", "\n\n\n11\nThe board considered appellant's arguments in this regard but found them unpersuasive. ", "It stated that there was no showing that CF3 CHClBr and CF3 CF2 CHClBr could not have the same Log Pf value, nor did it find any indication in the article that all of the compounds listed in Fig. ", "3 were meant to correspond to the compounds listed in Fig. ", "1. ", "In regard to the Hofmann-Wilson letters, the board refused to accept them as evidence on the ground that more authentication is required than the mere filing of copies of letters. ", "It was then stated by the board that even if the asserted error were properly established, such error would not serve to avoid the rejection under the particular circumstances of the instant case.", "\n\n\n12\nAppellant responded to the board's decision with a request for reconsideration and an affidavit by Dr. Hofmann which, among other things, identified the previously filed correspondence. ", "The board accepted the affidavit only to the extent that it identified such correspondence, but adhered to its previous decision on the ground that, even assuming an error to exist, the reference is still good since in a printed publication under 35 U.S.C. § 102(b) there is no need for actual possession of the described compound by the author. ", "Actually, all the claims were rejected under 35 U.S.C. § 103, and thus the reference was viewed as to what it reasonably taught to those of ordinary skill in the art. ", "It was the board's position that the error in Clements is not apparent on the face of the document and one of ordinary skill in the art, not knowing of the error, would be taught that CF3 CF2 CHCIBr is an anesthetic. ", "In addition, it was felt that the Muray and Chemical Abstract references indicate that the chemist of ordinary skill would know from the available art how to make the compound. ", "No claims were rejected over the Muray and Chemical Abstract references alone, but rather those references were used with Clements in accordance with a doctrine which arose in In re Von Bramer, 127 F.2d 149, 29 CCPA 1018 (1942).", "\n\n\n13\nThe Von Bramer doctrine has been discussed by us at length on several occasions, one being In re Brown, 329 F.2d 1006, 51 CCPA 1254 (1964), which is relied upon by appellant and which states (at 1010 of 329 F.2d, at 1259 of 51 CCPA):\n\n\n14\nTo the extent that anyone may draw an inference from the Von Bramer case that the mere printed conception or the mere printed contemplation which constitutes the designation of a \"compound\" is sufficient to show that such a compound is old, regardless of whether the compound is involved in a 35 U.S.C. § 102 or 35 U.S.C. § 103 rejection, we totally disagree. [", "Footnotes omitted.] * * *", "\n\n\n15\nWe think, rather, that the true test of any prior art relied on to show or suggest that a chemical compound is old, is whether the prior art is such as to place the disclosed \"compound\" in the possession of the public. [", "Citations omitted.]", "\n\n\n16\nApplying this test, the question here is not whether the listing of CF3 CF2 CHClBr in Clements, if it were an error, evidenced a conception of the compound, for surely it did not. ", "Rather, the question is whether the listing of CF3 CF2 CHClBr describes to one of ordinary skill in the art the compound and whether one of ordinary skill in the art would know how to make the compound so that the mere listing of the compound places it in the possession of the public.", "\n\n\n17\nThe solicitor cites In re Land, 324 F.2d 312, 51 CCPA 781 (1963), and In re Pio, 217 F.2d 956, 42 CCPA 746 (1954), as controlling in this case. ", "However, those decisions, like In re Von Bramer, supra, merely stand for the proposition that the disclosed suggestion, whether or not workable or even intended at the time disclosed, made the invention obvious to one of ordinary skill in the art. ", "In other words, the disclosed suggestion put one of ordinary skill in the art in possession of all the aspects of the invention since he would know how to implement the invention from the mere suggestion.", "\n\n\n18\nThe Patent Office believes this to be one of those situations since Muray and the Chemical Abstract references indicate that the chemist of ordinary skill in the art would know how to make CF3 CF2 CHClBr. ", "We find it unnecessary in the Von Bramer-type analysis to determine whether one of ordinary skill in the art would know how to make the compound since we do not believe the ordinary chemist would even consider making the compound.", "\n\n\n19\nIt is our opinion that not only is the listing of CF3 CF2 CHClBr in Clements a typographical error but also this fact would be apparent to one of ordinary skill in the art when reading the Clements article. ", "Since it is an obvious error, it cannot be said that one of ordinary skill in the art would do anything more than mentally disregard CF3 CF2 CHClBr as a misprint or mentally substitute CF3 CHClBr in its place. ", "Certainly he would not be led by the typographical error to use the erroneous compound as an anesthetic even if as a chemist of ordinary skill in the art he would know how to prepare the compound. ", "He simply would not get so far in the thought process as to determine if he knew how to make CF3 CF2 CHClBr, as it would have long since been discarded by him as an obvious typographical error.", "\n\n\n20\nAppellant has gone through a detailed review of the Clements article to point out the inconsistencies which make it apparent that the listing of CF3 CF2 CHClBr is an error. ", "Any number of these individually or cumulatively would, we believe, alert one of ordinary skill in the art to the existence of the typographical error. ", "Suffice it to say that the one we immediately noted was the inconsistency between Figs. ", "1 and 3 of Clements. ", "The anesthetic gases tested by Clements are not mentioned in the written discussion; rather, they all are only listed in Table 1 or plotted on the graphs of Figs. ", "1-5. ", "Only Fig. ", "1 plots all the compounds except, of course, CF3 CF2 CHClBr. ", "Except for CF3 CF2 CHClBr, no compound not listed in Fig. ", "1 is plotted elsewhere, although each graph has a different number of compounds plotted on it. ", "A comparison of Fig. ", "3 and Fig. ", "1 shows that eight out of the nine compounds in Fig. ", "3 (except CF3 CF2 CHClBr) appear in Fig. ", "1. ", "All eight have the identical Log Pf in Fig. ", "3 that was listed for them in Fig. ", "1. ", "The only exception to this is CF3 CF2 CHClBr which was not listed in Fig. ", "1 and which has the Log Pf which was assigned in Fig. ", "1 to CF3 CHClBr. ", "We have no doubt that the chemist of ordinary skill in the art would readily recognize that CF3 CF2 CHClBr does not belong in Fig. ", "3 and must be an error.", "\n\n\n21\nOur conclusion as to the obviousness of the error in Clements is supported by the correspondence between Dr. Hofmann and the co-author of the Clements article, Kenneth Wilson. ", "No question has been raised concerning the admissibility of the correspondence since the board considered the correspondence and explicitly accepted the affidavit of Dr. Hofmann to the extent that it identified the correspondence. ", "However, the board did question the probative weight of this evidence because it had not been sworn to. ", "In our opinion, while this may be said to detract to some extent from the weight of the evidence, the belief of Dr. Hofmann and Mr. Wilson, as indicated in the correspondence, that the listing of CF3 CF2 CHClBr was an obvious typographical error and the inconsistencies in the Clements article itself, as pointed out above, make it clear that the error in Clements would be apparent to one of ordinary skill in the art.", "\n\n\n22\nSince the listing of CF3 CF2 CHClBr in Clements is an error obvious to one of ordinary skill in the art, it cannot be said to describe or suggest that compound to those in the art. ", "The public is not put in possession of the compound; thus, it would not be obvious to use it as an inhalant anesthetic as in Suckling or to mix it with the various other compounds which are mixed with the fluorinated hydrocarbons of Suckling.", "\n\n\n23\nTherefore, the decision of the board is reversed.", "\n\n\n24\nReversed.", "\n\n\n\nNotes:\n\n\n1\n Serial No. ", "554,671 filed June 2, 1966 as a continuation-in-part of serial No. ", "365,173 filed May 5, 1964\n\n\n" ]

{ "pile_set_name": "FreeLaw" }

[ 0.0004938271604938272, 0, 0, 0.00038446751249519417, 0, 0.0001772211720226843, 0, 0.0003493754913092846, 0.00037807183364839316, 0, 0.000022893248780934502, 0, 0.00005406574394463668, 0, 0, 0, 0, 0.00025195263290501383, 0.00021626297577854672, 0, 0, 0, 0, 0, 0, 0, 0.00004162330905306972, 0, 0.00019290123456790122, 0.0002295684113865932, 0, 0.00006830134553650708, 0, 0.000009826947455311955, 0.0001746877456546423, 0.00032873109796186715, 0.00005658669081032141, 0.0004938271604938272, 0.00005314061005420342, 0.00017146776406035664, 0.0000573921028466483, 0.0022222222222222222, 0.000168662506324844, 0.0011111111111111111, 0.000547845142439737, 0.000244140625, 0.00007431629013079666, 0.00010023722810651875, 0.00006605892456070815, 0, 0.00007809246147438567, 0.0002872737719046251, 0, 0.0000308641975308642, 0, 0.00002712673611111111, 0, 0, 0.00004247276433986706, 0.00006383861597880558, 0.00007694675284702985, 0.0000027230445816858916, 0, 0, 0, 0.000057810151462596836, 0.000012311480455524777, 0, 0.000016259105098855357, 0, 0.00008984524157139328, 0, 0.000066124446207763, 0.000045351473922902495, 0, 0.00002684635829149776, 0.0000624200243438095, 0, 0.00012913223140495868, 0.0022675736961451248, 0.000037637848620572846, 0, 0, 0.0002687449610319807, 0.0005945303210463733, 0, 0.0022675736961451248, 0.008264462809917356, 0.00035599857600569594, 0.001189767995240928, 0, 0.0010330578512396695, 0.0008163265306122448, 0, 0.0003652300949598247, 0.0003429355281207133, 0, 0.0001165433249810617, 0, 0.00012075836251660429, 0.00001874027848053822, 0, 0.000028480129413708054, 0.000057193514255483425, 0.00001707533638412677, 0, 0, 0, 0, 0 ]

[ "Two new species of the Neotropical spittlebug genus Monecphora Amyot & Serville (Hemiptera: Cercopidae) with key and notes of species of the genus.", "\nTwo new species of the Neotropical spittlebug genus Monecphora Amyot & Serville are described: Monecphora machadoi sp. ", "nov. (", "Holotype male deposited in NMW: Brazil, \"Natterer\") and Monecphora broomfieldi sp. ", "nov. (", "Holotype male deposited in BMNH: Costa Rica, Turrialba, 3-8.VII.1981, W.R. Dolling leg.) ", "and a key and notes to species of the genus are provided. ", "Lectotypes are designated for Tomaspis fryi Distant, Monecphora nigritarsis Stål, and Monecphora semilutea Stål. ", "In addition, two corrections are made to the Cercopid Spittlebugs of the New World (Carvalho & Webb 2005) with respect to figures 70-73 and 193-194 (see Corrigenda)." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0.00009255402841408673, 0.0001388888888888889, 0, 0.0005806357961968356, 0, 0.0005049867440979674, 0, 0.00023494400501213877, 0.00007346189164370983 ]

[ "LANY // LANY\n\n[ Overview ]\n\nHere’s something both sensitive boy-bands and R&B slow-jam specialists know: heartbreak can be a turn-on. ", "One of the go-to romantic moves for a skilled pop balladeer is to sidle up to the object of seduction and confess, with disarming sincerity, that he’s been deeply bruised by the end of another love affair. ", "When sung with the proper passion and ennui, that pitch is irresistible.", "\n\nLANY’s singer Paul Klein hits the “love me, I’m lost” note just right on the band’s self-titled debut. ", "Over the course of three acclaimed EPs and now this new long-player — all recorded and released in the past three years — Klein and his electronica-loving cohorts Jake Goss and Les Priest have perfected an approach to synth-driven blue-eyed soul that’s both sonically sophisticated and endearingly direct. ", "The trio’s music is as frank and unpretentious as a post on social media.", "\n\nAnd like any good Twitter or Instagram feed, LANY is carefully curated, and poised to go viral. ", "The band fills this hourlong record with 15 previously unheard songs, bringing back only their internet hit “ILYSB” (a.k.a “I love you so bad”). ", "The latter track appears halfway through the album, and with its spare beat, slinky guitar, and casually conversational tone, serves as a keynote for LANY. ", "LANY’s music has its roots in the ‘80s: in the mix of guitars and electric keyboards that bands like A Flock of Seagulls mastered; and in the smooth, radio-ready adult contemporary ballads of Hall & Oates. ", "But the album isn’t stuck in the past. ", "LANY is equally informed by modern pop and hip-hop, where the emphasis is on hooks as much as mood.", "\n\nThe trio makes the most of a unique dynamic, with instruments producing sounds that don’t exist in nature while Klein’s charmingly boyish voice coos lines like, “Oh my god I think I’m in love, the way we stay up late and talk about dumb stuff.” ", "The relatable humanity of the lyrics sells these songs about desire and sorrow — and how they’re intertwined." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0.00018140589569160998, 0.00003203895937459951, 0, 0.00010412328196584755, 0, 0, 0.00004712979545668771, 0, 0, 0.000016391024275106952, 0 ]

[ "/**\n * Mandelbulber v2, a 3D fractal generator ,=#MKNmMMKmmßMNWy,\n * ,B\" ]L,,p%%%,,,§;, \"K\n * Copyright (C) 2020 Mandelbulber Team §R-==%w[\"'~5]m%=L.=~5N\n * ,=mm=§M ]=4 yJKA\"/-Nsaj \"Bw,==,,\n * This file is part of Mandelbulber. ", " §R.r= jw\",M Km .mM FW \",§=ß., ,", "TN\n * ,4R =%[\"w[N=7]J '\"5=],\"\"]]M,w,-; T=]M\n * Mandelbulber is free software: §R.ß~-Q/M=,=5\"v\"]=Qf,'§\"M= =,M.§ Rz]M\"Kw\n * you can redistribute it and/or §w \"xDY.J ' -\"m=====WeC=\\ \"\"%\"\"y=%\"]\"\" §\n * modify it under the terms of the \"§M=M =D=4\"N #\"%==A%p M§ M6 R' #\"=~.4M\n * GNU General Public License as §W =, ][T\"]C § § '§ e===~ U !§[", "Z ]N\n * published by the 4M\",,Jm=,\"=e~ § § j]]\"\"N BmM\"py=ßM\n * Free Software Foundation, ]§ T,M=& 'YmMMpM9MMM%=w=,,=MT]M m§;'§,\n * either version 3 of the License, TWw [.j\"5=~N[=§%=%W,T ]R,\"==\"Y[LFT ]N\n * or (at your option) TW=,-#\"%=;[ =Q:[\"V\"\" ],,M.m == ]N\n * any later version. ", " J§\"mr\"] ,=,,\" ==\"\"\"J]= M\"M\"]==ß\"\n * §= \"=C=4 §\"eM \"=B:m|4\"]#F,§~\n * Mandelbulber is distributed in \"9w=,,]w em%wJ '\"~\" ,=,,ß\"\n * the hope that it will be useful, . \"", "K= ,=RMMMßM\"\"\"\n * but WITHOUT ANY WARRANTY; .'''", "\n * without even the implied warranty\n * of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.", "\n *\n * See the GNU General Public License for more details.", "\n * You should have received a copy of the GNU General Public License\n * along with Mandelbulber. ", "If not, see <http://www.gnu.org/licenses/>.", "\n *\n * ###########################################################################\n *\n * Authors: Krzysztof Marczak (buddhi1980@gmail.com)\n *\n * TODO: description\n */\n\n#include \"settings_cleaner.h\"\n\n#include <memory>\n\n#include \"ui_settings_cleaner.h\"\n\n#include \"thumbnail_widget.h\"\n\n#include \"src/cimage.hpp\"\n#include \"src/fractal_container.hpp\"\n#include \"src/initparameters.hpp\"\n#include \"src/interface.hpp\"\n#include \"src/parameters.hpp\"\n#include \"src/progress_text.hpp\"\n#include \"src/system_data.hpp\"\n#include \"src/wait.hpp\"\n\ncSettingsCleaner::cSettingsCleaner(QWidget *parent) : QDialog(parent), ui(new Ui::cSettingsCleaner)\n{\n\tui->setupUi(this);\n\n\tactualParams.reset(new cParameterContainer());\n\tactualFractalParams.reset(new cFractalContainer());\n\n\tsetModal(true);\n\n\tint baseSize = int(systemData.", "GetPreferredThumbnailSize());\n\tint sizeMultiply = 2.0;\n\tint previewWidth = sizeMultiply * baseSize * 4 / 3;\n\tint previewHeight = sizeMultiply * baseSize;\n\n\tui->previewwidget_actual->SetSize(previewWidth, previewHeight, 1);\n\tui->previewwidget_actual->DisableThumbnailCache();\n\tui->previewwidget_actual->DisableTimer();\n\tui->previewwidget_actual->DisableRenderOnPaint();\n\tui->previewwidget_cleaned->SetSize(previewWidth, previewHeight, 1);\n\tui->previewwidget_cleaned->DisableThumbnailCache();\n\tui->previewwidget_cleaned->DisableTimer();\n\tui->previewwidget_cleaned->DisableRenderOnPaint();\n\n\tconnect(ui->pushButton_stop, &QPushButton::clicked, this, &cSettingsCleaner::slotPressedStop);\n\tconnect(ui->pushButton_ok, &QPushButton::clicked, this, &cSettingsCleaner::slotPressedOK);\n\tconnect(ui->pushButton_cancel, &QPushButton::clicked, this, &cSettingsCleaner::slotPressedCancel);\n\tconnect(ui->listWidget, &QListWidget::itemDoubleClicked, this, &cSettingsCleaner::slotRemoveItem);\n}\n\ncSettingsCleaner::~cSettingsCleaner()\n{\n\tdelete ui;\n}\n\nvoid cSettingsCleaner::runCleaner()\n{\n\tWait(100);\n\tQApplication::processEvents();\n\n\tui->progressBar->setFormat(tr(\"Initializing\"));\n\tui->progressBar->setValue(0.0);\n\n\t*actualParams = *gPar;\n\t*actualFractalParams = *gParFractal;\n\n\t// render reference image\n\tui->previewwidget_actual->AssignParameters(actualParams, actualFractalParams);\n\tui->previewwidget_actual->update();\n\n\tif (!", "ui->previewwidget_actual->IsRendered())\n\t{\n\t\tui->previewwidget_actual->slotRender();\n\t\twhile (!", "ui->previewwidget_actual->IsRendered())\n\t\t{\n\t\t\tQApplication::processEvents();\n\t\t\tWait(10);\n\t\t}\n\t}\n\n\t// render the same settings to check noise level\n\tui->previewwidget_cleaned->AssignParameters(actualParams, actualFractalParams);\n\tui->previewwidget_cleaned->update();\n\tif (!", "ui->previewwidget_cleaned->IsRendered())\n\t{\n\t\tui->previewwidget_cleaned->slotRender();\n\t\twhile (!", "ui->previewwidget_cleaned->IsRendered())\n\t\t{\n\t\t\tQApplication::processEvents();\n\t\t\tWait(10);\n\t\t}\n\t}\n\tstd::shared_ptr<cImage> actualImage = ui->previewwidget_actual->GetImage();\n\tstd::shared_ptr<cImage> cleanedImage = ui->previewwidget_cleaned->GetImage();\n\tdouble referenceNoise = cleanedImage->VisualCompare(actualImage, false);\n\tdouble referenceDistane =\n\t\tgMainInterface->GetDistanceForPoint(actualParams->Get<CVector3>(\"camera\"));\n\n\tQApplication::processEvents();\n\n\t// Creating list of all non default parameters\n\n\tQList<sDefaultedParameter> listOfAllModifiedParameters;\n\n\tQList<QString> listOfMainParameters = actualParams->GetListOfParameters();\n\tfor (QString parameterName : listOfMainParameters)\n\t{\n\t\tif (!", "actualParams->isDefaultValue(parameterName)\n\t\t\t\t&& actualParams->GetParameterType(parameterName) == paramStandard)\n\t\t{\n\t\t\t// exceptions\n\t\t\tif (parameterName == \"image_width\") continue;\n\t\t\tif (parameterName == \"image_height\") continue;\n\t\t\tif (parameterName == \"N\") continue;\n\t\t\tif (parameterName == \"reflections_max\") continue;\n\t\t\tif (parameterName == \"DOF_samples\") continue;\n\t\t\tif (parameterName == \"DOF_min_samples\") continue;\n\t\t\tif (parameterName == \"DOF_max_noise\") continue;\n\t\t\tif (parameterName == \"DOF_monte_carlo\") continue;\n\t\t\tif (parameterName == \"image_proportion\") continue;\n\t\t\tif (parameterName == \"MC_soft_shadows_enable\") continue;\n\t\t\tif (parameterName == \"antialiasing_enabled\") continue;\n\t\t\tif (parameterName == \"antialiasing_size\") continue;\n\t\t\tif (parameterName == \"antialiasing_ocl_depth\") continue;\n\t\t\tif (parameterName == \"antialiasing_adaptive\") continue;\n\t\t\tif (parameterName == \"description\") continue;\n\t\t\tif (parameterName.contains(\"animSound\")) continue;\n\t\t\tif (parameterName == \"camera_distance_to_target\") continue;\n\t\t\tif (parameterName == \"camera_rotation\") continue;\n\t\t\tif (parameterName == \"view_distance_max\") continue;\n\t\t\tif (parameterName == \"stereo_mode\") continue;\n\t\t\tif (parameterName == \"formula_code\") continue;\n\t\t\tif (parameterName.contains(\"flight_\")) continue;\n\t\t\tif (parameterName.contains(\"keyframe_\")) continue;\n\t\t\tif (parameterName.contains(\"voxel_\")) continue;\n\t\t\tif (parameterName.contains(\"mat\") && parameterName.contains(\"is_defined\")) continue;\n\t\t\tif (parameterName.contains(\"mat\") && parameterName.contains(\"name\")) continue;\n\t\t\tif (parameterName.contains(\"mat\") && parameterName.contains(\"rough_surface\")) continue;\n\t\t\tif (parameterName.contains(\"mat\") && parameterName.contains(\"use_colors_from_palette\"))\n\t\t\t\tcontinue;\n\n\t\t\tsDefaultedParameter par;\n\t\t\tpar.parameterName = parameterName;\n\t\t\tpar.actualContainer = actualParams;\n\t\t\tpar.originalContainer = gPar;\n\t\t\tlistOfAllModifiedParameters.append(par);\n\t\t}\n\t}\n\tfor (int i = 0; i < NUMBER_OF_FRACTALS; i++)\n\t{\n\t\tQList<QString> listOfFractalParameters = actualFractalParams->at(i)->GetListOfParameters();\n\t\tfor (QString parameterName : listOfFractalParameters)\n\t\t{\n\t\t\tif (!", "actualFractalParams->at(i)->isDefaultValue(parameterName)\n\t\t\t\t\t&& actualFractalParams->at(i)->GetParameterType(parameterName) == paramStandard)\n\t\t\t{\n\t\t\t\tsDefaultedParameter par;\n\t\t\t\tpar.parameterName = parameterName;\n\t\t\t\tpar.actualContainer = actualFractalParams->at(i);\n\t\t\t\tpar.originalContainer = gParFractal->at(i);\n\t\t\t\tlistOfAllModifiedParameters.append(par);\n\t\t\t}\n\t\t}\n\t}\n\n\t// checking all listed parameters if can be defaulted\n\n\tcProgressText progressText;\n\tprogressText.", "ResetTimer();\n\tint count = 0;\n\n\tfor (sDefaultedParameter par : listOfAllModifiedParameters)\n\t{\n\t\tif (stopRequest) break;\n\n\t\tstd::shared_ptr<cParameterContainer> container = par.actualContainer;\n\t\tQString parameterName = par.parameterName;\n\n\t\t//\tqDebug() << container->GetContainerName() << parameterName;\n\n\t\tcOneParameter settingBeforeClean = container->GetAsOneParameter(parameterName);\n\n\t\tcOneParameter settingCleaned = settingBeforeClean;\n\t\tsettingCleaned.", "SetMultiVal(settingCleaned.", "GetMultiVal(valueDefault), valueActual);\n\t\tcontainer->SetFromOneParameter(parameterName, settingCleaned);\n\n\t\tui->label_parameterName->setText(\n\t\t\ttr(\"Trying parameter: %1:%2\").arg(container->GetContainerName()).arg(parameterName));\n\n\t\tdouble distanceAfterCleaning = gMainInterface->GetDistanceForPoint(\n\t\t\tactualParams->Get<CVector3>(\"camera\"), actualParams, actualFractalParams);\n\t\tbool changedDistance = false;\n\t\tif (distanceAfterCleaning < referenceDistane * 0.9\n\t\t\t\t|| distanceAfterCleaning > referenceDistane * 1.1)\n\t\t{\n\t\t\tchangedDistance = true;\n\t\t\t// qDebug() << \"changed distance\" << referenceDistane << distanceAfterCleaning;\n\t\t}\n\n\t\tif (!", "changedDistance)\n\t\t{\n\t\t\tui->previewwidget_cleaned->AssignParameters(actualParams, actualFractalParams);\n\t\t\tQApplication::processEvents();\n\t\t\tui->previewwidget_cleaned->slotRender();\n\t\t\tQApplication::processEvents();\n\t\t\twhile (!", "ui->previewwidget_cleaned->IsRendered())\n\t\t\t{\n\t\t\t\tQApplication::processEvents();\n\t\t\t\tWait(10);\n\t\t\t}\n\t\t}\n\n\t\tcleanedImage = ui->previewwidget_cleaned->GetImage();\n\t\tdouble diff = cleanedImage->VisualCompare(actualImage, false);\n\n\t\tif (diff > 1.5 * referenceNoise || changedDistance)\n\t\t{\n\t\t\tcontainer->SetFromOneParameter(parameterName, settingBeforeClean);\n\t\t}\n\t\telse\n\t\t{\n\t\t\tQString itemText = QString(\"%1_%2: %3 -> %4\")\n\t\t\t\t\t\t\t\t\t\t\t\t\t .arg(container->GetContainerName())\n\t\t\t\t\t\t\t\t\t\t\t\t\t .arg(parameterName)\n\t\t\t\t\t\t\t\t\t\t\t\t\t .arg(settingBeforeClean.", "Get<QString>(valueActual))\n\t\t\t\t\t\t\t\t\t\t\t\t\t .arg(settingCleaned.", "Get<QString>(valueActual));\n\t\t\tui->listWidget->addItem(itemText);\n\t\t\tlistOfAllDefaultedParameters.append(par);\n\t\t}\n\n\t\tcount++;\n\t\tdouble progress = double(count) / listOfAllModifiedParameters.size();\n\t\tQString progressBarText = progressText.getText(progress);\n\t\tui->progressBar->setFormat(progressBarText);\n\t\tui->progressBar->setValue(progress * 1000);\n\n\t\tQApplication::processEvents();\n\t}\n\n\t// render last version of image\n\tui->previewwidget_cleaned->AssignParameters(actualParams, actualFractalParams);\n\tui->previewwidget_cleaned->update();\n\tif (!", "ui->previewwidget_cleaned->IsRendered())\n\t{\n\t\tui->previewwidget_cleaned->slotRender();\n\t\twhile (!", "ui->previewwidget_cleaned->IsRendered())\n\t\t{\n\t\t\tQApplication::processEvents();\n\t\t\tWait(10);\n\t\t}\n\t}\n\n\tui->pushButton_stop->setDisabled(true);\n}\n\nvoid cSettingsCleaner::closeEvent(QCloseEvent *event)\n{\n\tevent->accept();\n\tstopRequest = true;\n}\n\nvoid cSettingsCleaner::slotPressedStop()\n{\n\tstopRequest = true;\n}\n\nvoid cSettingsCleaner::slotPressedOK()\n{\n\t*gPar = *actualParams;\n\t*gParFractal = *actualFractalParams;\n\tclose();\n}\nvoid cSettingsCleaner::slotPressedCancel()\n{\n\tclose();\n}\n\nvoid cSettingsCleaner::slotRemoveItem(QListWidgetItem *item)\n{\n\tint row = ui->listWidget->row(item);\n\tdelete item;\n\n\tsDefaultedParameter defaultedParameter = listOfAllDefaultedParameters.at(row);\n\n\tdefaultedParameter.actualContainer->SetFromOneParameter(defaultedParameter.parameterName,\n\t\tdefaultedParameter.originalContainer->GetAsOneParameter(defaultedParameter.parameterName));\n\n\tlistOfAllDefaultedParameters.removeAt(row);\n\n\tui->previewwidget_cleaned->AssignParameters(actualParams, actualFractalParams);\n\tui->previewwidget_cleaned->update();\n\tif (!", "ui->previewwidget_cleaned->IsRendered())\n\t{\n\t\tui->previewwidget_cleaned->slotRender();\n\t\twhile (!", "ui->previewwidget_cleaned->IsRendered())\n\t\t{\n\t\t\tQApplication::processEvents();\n\t\t\tWait(10);\n\t\t}\n\t}\n}\n" ]

{ "pile_set_name": "Github" }

[ 0.000009467455621301774, 0.0007716049382716049, 0.00003270517592114128, 0, 0.000015500031000062, 0, 0, 0.0002872737719046251, 0.00010412328196584755, 0.0005408328826392645, 0.0000031094333990460256, 5.00151045615776e-7, 0, 0, 0.00010628122010840684, 0.000007868300388103917, 0.0000012671658737024223, 0.00000882706023585905, 0.000009493024999881338, 0, 0.000004777728142490964, 0, 0.000006833378319740605, 0, 0.000006659917949810858, 0.00010628122010840684, 9.317094259179202e-7, 0.00010628122010840684, 0.0000980296049406921 ]

[ "Birt--Hogg--Dubé syndrome (BHDS) (MIM 135150) is an autosomal dominantly inherited genodermatosis that predisposes to the development of cutaneous hamartomas (fibrofolliculomas), kidney neoplasms, lung cysts and spontaneous pneumothorax.[@b1] [@b2] We mapped the *BHD* locus to the short arm of chromosome 17(17p11.2).[@b3] Subsequently, we found that germline mutations in *BHD* (GenBank accession number AF517523) (also known as FLCN), were associated with the susceptibility for BHDS.[@b4] *BHD* is composed of 14 exons. ", "We previously reported 51 BHDS families with germline mutations in *BHD*, and to date more than 40 unique mutations in *BHD* have been reported.[@b4]^--^[@b16] Germline insertion or deletion of a cytosine in the hypermutable polycytosine (C8) tract in exon 11 of the *BHD* gene has been detected in 53% of BHDS families and is suggested as a mutation \"hot spot\".[@b6] Most *BHD* germline mutations are frameshift or nonsense mutations that are predicted to truncate the BHD protein, folliculin.[@b4]^--^[@b16]\n\nTwo naturally occurring renal cancer syndromes in animals have been described: hereditary multifocal renal cystadenocarcinoma and nodular dermatofibrosis in German shepherd dogs[@b17] [@b18] and hereditary renal carcinoma in the Nihon rat.[@b19] [@b20] Germline mutations in the *BHD* ortholog genes have been identified in affected animals with these renal cancer syndromes: a missense mutation in exon 7 in the canine *bhd* gene,[@b21] and an insertion of a cytosine in a C~5~ tract in the rat *bhd* gene.[@b22] Furthermore, a high frequency of loss of heterozygosity (LOH) of the wild type *bhd* allele has been demonstrated in renal tumours in Nihon rats suggesting that *BHD* functions as a tumour suppressor gene.[@b19] [@b20]\n\n*BHD* is predicted to encode a 579 amino acid protein, folliculin, which is highly conserved among species. ", "BHD mRNA is expressed in a variety of tissues including stromal cells, the distal nephron of the kidney, type I pneumocytes of the lung, and skin and its appendages.[@b23] However, reduced expression of *BHD* was seen in renal tumours from patients with BHDS,[@b23] consistent with the reported inactivation of the wild-type *BHD* allele by somatic mutation or LOH in BHD associated renal tumours.[@b24]\n\nUntil recently the function of folliculin was unknown. ", "Taking a genetic approach, Singh and colleagues demonstrated that *Drosophila* DBHD is required for male germline stem cell maintenance in the fly testis and functions downstream of the JAK/STAT and decapentaplegic signal transduction pathways.[@b25] Recently, Baba and colleagues identified a novel folliculin-interacting protein, FNIP1, by co-immunoprecipitation studies in mammalian cells. ", "They found that FNIP1 binds to 5′-AMP activated protein kinase, a negative regulator of mTOR suggesting that folliculin and its interacting partner may be involved in the AMPK and mTOR signalling pathways.[@b26]\n\nUnderstanding the mutation spectrum as well as defining the clinical features of BHDS is important for diagnosis and *BHD* mutation screening, as well as for surveillance and treatment. ", "In this study, we investigated new clinical features, *BHD* germline mutations, and potential genotype--phenotype associations in 51 families with BHDS.", "\n\nPATIENTS AND METHODS {#s2}\n====================\n\nPatient recruitment and evaluation {#s2a}\n----------------------------------\n\nAll patients were evaluated at the National Institutes of Health (NIH) Clinical Center in consecutive order in a protocol approved by the Institutional Review Board of the National Cancer Institute (NCI). ", "All members of families screened for BHDS who participated in this study gave written informed consent. ", "We recruited BHDS families through referrals from the 11 000 members of the American Academy of Dermatology and were also referred families for treatment of familial kidney cancer. ", "Forty-four families were ascertained because of cutaneous signs of BHDS and seven families were referred to the Urologic Oncology Branch for evaluation and treatment of familial kidney cancer. ", "Medical histories were obtained (fibrofolliculomas, spontaneous pneumothorax and renal tumours) and physical examinations were performed. ", "History of other neoplasms and pneumothorax in the patient or family were also recorded. ", "Each individual had a detailed dermatologic examination and skin biopsies were obtained of selected lesions. ", "Computed tomography (CT) scans of the chest and abdomen were used to screen for pulmonary and renal abnormalities respectively, as previously described.[@b6] Outside medical records and pathology reports were reviewed, and tissue specimen blocks and slides were reviewed by NIH pathologists. ", "Blood was drawn for *BHD* mutation analysis.", "\n\n*BHD* mutation analysis {#s2b}\n-----------------------\n\nDNA was extracted from peripheral blood leucocytes according to standard procedures. ", "Methods for identification of exon/intron boundaries and high throughput DNA sequencing were as previously described.[@b4] At least 160 unrelated control individuals were examined for each disease associated sequence variant. ", "Insertion and deletion mutations were confirmed by subcloning using Topo Cloning Kit (Invitrogen) and sequencing.", "\n\nStatistical analysis {#s2c}\n--------------------\n\nData collected from BHDS patients included: presence of fibrofolliculomas, presence of renal tumours, gender, history and number of pneumothoraces, and presence of lung cysts. ", "Analyses with respect to dichotomous parameters and their relationship to presence or absence of a pneumothorax, renal tumour or fibrofolliculomas were done using a Fisher's exact test. ", "Mehta's modification to Fisher's exact test was used to compare unordered categorical data to a dichotomous parameter.[@b27] An exact Cochran--Armitage test for trend was used to determine the association between the number of pneumothoraces considered in ordered categories, and the presence or absence of a family history of pneumothoraces.[@b28] All p values are two-sided and were not adjusted for multiple comparisons. ", "However, in view of the exploratory nature of the study and the large number of comparisons performed, only p values \\<0.01 should be considered as being associated with statistically significant tests, while those between 0.01 and 0.05 would be considered trends.", "\n\nMultiple sequence alignment of the folliculin protein {#s2d}\n-----------------------------------------------------\n\nWe analysed evolutionary conservation by comparing human folliculin against the orthologous folliculin sequences of chimpanzee, monkey, mouse, rat, dog, horse, cow, chicken, frog, zebrafish and sea urchin from the National Center for Biotechnology information (NCBI) protein database.[@b29] The ClustalW Multiple Sequence Alignments algorithm (European Bioinformatics Institute) was used to evaluate sequence conservation.[@b30]\n\nLiterature review {#s2e}\n-----------------\n\nWe performed an electronic search from 2001 to 2007 designed to capture all reported cases of BHDS with *BHD* (also known as FLCN) germline mutations. ", "Cases were excluded if mutations were somatic (not shown in a second tissue like normal kidney or peripheral blood). ", "However, cases were still included in the review even if the method of mutation detection was not included. ", "In total, 11 articles were ultimately included.[@b5]^--^[@b15] Cases were cross-referenced in order to avoid duplication of cases. ", "Only one case was reported twice.[@b7] [@b8] Germline *BHD* mutation, presence of fibrofolliculomas, renal tumours, lung cysts, and history of pneumothorax, regardless of radiological methods, were recorded.", "\n\nRESULTS {#s3}\n=======\n\nBHD mutation analysis {#s3a}\n---------------------\n\nNinety-eight individuals from 58 families were screened for *BHD* mutations. ", "Using direct sequencing analysis we identified *BHD* germline mutations in 89 individuals from 51 families with BHDS (88% (51/58) *BHD* mutation detection rate). ", "Direct sequence analysis of the 14 coding exons and splice site junctions of *BHD* revealed 23 unique germline mutations including: one missense, eight deletions, four insertions, one insertion/deletion, three nonsense, and six splice site mutations ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Of these 23 germline mutations, 13 were novel and consisted of: three deletions (c.602delA, c.1707delC, c.1983-5delGAG), two insertions (c.802insA, c.1741insA), an insertion/deletion (c.774-5delGTinsCAC), four splice site mutations (IVS4-2 A\\>G, IVS7+1 G\\>T, c.1755 G\\>A, IVS12+1 G\\>A), one missense (c.1978A\\>G \\[K508R\\]) and two nonsense (c.1065-6delGCinsTA, c.1670C\\>G) ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}, [fig 1](#jmg-45-06-0321-f01){ref-type=\"fig\"}). ", "Splice site and missense mutations were not detected in more than 160 normal individuals. ", "All insertions and deletions were confirmed by subcloning. ", "The c.1755 G\\>C and c.1755 G\\>A affect the last coding nucleotide of exon 11 resulting in aberrant mRNA splicing. ", "Splicing alteration of exon 11 as a consequence of this mutation has been previously demonstrated.[@b7]\n\n{#jmg-45-06-0321-f01}\n\n###### Spectrum of germline *BHD* mutations and phenotypic features of 51 National Cancer Institute families with Birt--Hogg--Dubé syndrome\n\n Family ID Mutation analysis Phenotype in family members \n --------------------- ------------------- ----------------------------- -------------------- ------- --------------------- ---- ---- ------------------ --- --- ------------\n 251 4 c.514delT† F20 Deletion 1 1 TD, BCC 0 0 0\n 252 4 c.602delA E49 Deletion 1 1 0 1 1 (n = 3)\n 253 4 IVS4-2A\\>G Splice site 1 1 0 1 1 (n = 1)\n 240 4 IVS4-2A\\>G Splice site 10 9 TD, PFF 1 4 0\n 254 4 IVS4-2A\\>G Splice site 1 1 TD 1 1 0\n 255 4 IVS4-2A\\>G Splice site 1 1 PFF 0 1 1 (n = 2)\n 256\\* 5 c.751delA D99 Deletion 1 0 PFF 1 1 1 (n = 5)\n 1798 5 c.774-5delGTinsCAC V107 Deletion/ insertion 1 1 TD 0 1 0\n 257 5 c.774-5delGTinsCAC V107 Deletion/ insertion 4 3 PFF, SH 0 4 0\n 258 5 c.802insA Q116 Insertion 1 1 LM 1 1 1 (n = 17)\n 259 6 c.1039delG† G195 Deletion 1 1 1 1 0\n 260 6 c.1039delG† G195 Deletion 1 1 SH, PFF 0 1 1 (n = 1)\n 1751 6 c.1065-6delGCinsTA A204X Nonsense 4 4 AF, BCC 0 4 2 (n = 2)\n 261 7 IVS7+1 G\\>T Splice site 1 1 L 1 1 1 (n = 3)\n 262 7 IVS7+1 G\\>T Splice site 5 4 AF, DFSP, LS, TD 4 5 1 (n = 1)\n 263\\* 7 IVS7+1 G\\>T Splice site 1 1 1 1 1 (n = 1)\n 264 9 c.1378-1405dup T317 Insertion 1 1 PFF 1 1 0\n 265 9 c.1378-1405dup T317 Insertion 2 2 PFF 1 2 2 (n = 4)\n 266 9 c.1378-1405dup T317 Insertion 1 1 TD 0 1 0\n 267 9 IVS9+2 T\\>G Splice site 1 1 0 1 0\n 268 11 c.1670C\\>G Y405X Nonsense 1 1 DF 1 1 0\n 269 11 c.1707delC L418 Deletion 1 0 AF, SH, SCC 0 1 0\n 270 11 c.1733insC H429 Insertion 1 1 MM, L 1 0 0\n 271 11 c.1733insC H429 Insertion 2 2 TD, PFF, CTN 0 1 0\n 272 11 c.1733insC H429 Insertion 1 1 BCC, PFF 0 1 0\n 273 11 c.1733insC H429 Insertion 1 1 PFF 0 1 0\n 274 11 c.1733insC H429 Insertion 1 1 PFF, SH 0 1 1 (n = 4)\n 275 11 c.1733insC H429 Insertion 2 2 1 2 1 (n = 5)\n 276 11 c.1733insC H429 Insertion 1 1 BCC 0 0 0\n 277 11 c.1733insC H429 Insertion 2 2 PFF 0 2 0\n 278 11 c.1733insC H429 Insertion 3 2 PFF 0 2 0\n 279\\* 11 c.1733insC H429 Insertion 2 2 2 2 1 (n = 1)\n 280 11 c.1733insC H429 Insertion 3 2 AF, CTN 0 3 3 (n = 5)\n 281 11 c.1733insC H429 Insertion 2 2 AF 0 2 1 (n = 5)\n 282 11 c.1733insC H429 Insertion 1 1 1 1 0\n 283 11 c.1733insC H429 Insertion 3 2 1 3 1 (n = 1)\n 284 11 c.1733delC H429 Deletion 4 3 L, MM 1 4 3 (n = 4)\n 285\\* 11 c.1733delC H429 Deletion 1 1 1 1 1 (n = 7)\n 286 11 c.1733delC H429 Deletion 1 1 0 1 0\n 287 11 c.1733delC H429 Deletion 1 0 TD 1 1 1 (n = 1)\n 288 11 c.1733delC H429 Deletion 2 2 AF 2 2 0\n 289 11 c.1741insA H429 Insertion 1 1 BCC, SCC 0 1 1 (n = 3)\n 290\\* 11 c.1755G\\>C E434Q Splice site 1 1 1 0 0\n 291\\* 11 c.1755G\\>A E434K Splice site 2 1 PFF 1 2 1 (n = 4)\n 292 12 c.1834-5delTC L460 Deletion 1 1 1 1 1 (n = 1)\n 293 12 c.1844C\\>G Y463X Nonsense 2 2 AF 0 2 1 (n = 2)\n 294 12 c.1844C\\>G Y463X Nonsense 1 0 PFF, AF 0 0 0\n 295 12 c.1844C\\>G Y463X Nonsense 1 1 AF 1 1 1 (n = 4)\n 296 12 IVS12+1G\\>A Splice site 1 1 TD, PFF 0 1 1\n 297\\* 13 c.1978A\\>G K508R Missense 1 0 0 1 0 0\n 298 13 c.1983-5delGAG E510 Deletion 2 1 AF 0 2 2 (n = 4)\n Totals: 51 families 89 75 30 75 \n\nAF, angiofibroma; BCC, basal cell carcinoma; CTN, connective tissue nevus; DFSP, dermatofibrosarcoma protuberans; FF, fibrofolliculoma; L, lipoma; LM, cutaneous leiomyoma; MM, malignant melanoma; PFF, perifollicular fibroma; LS, cutaneous leiomyosarcoma; SCC, squamous cell carcinoma; SH, sebaceous hyperplasia; TD, trichodiscoma.", "\n\nFF diagnosis is based on histological diagnosis only.", "\n\n\\*Families ascertained on the basis of kidney tumours. ", "†In these cases of deletions in a mononuclear tract, the last nucleotide is given. ", "The c.514delT mutation was formerly reported as c.513delT and the c.1039delG was formerly reported as c. 1036delG.\n\n*BHD* mutations were identified affecting only translated exons 4, 5, 6, 9, 11, 12 and 13 ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Exon 11 was the most frequent site of mutation representing 47% (24/51) of the BHDS families. ", "A total of 19 families had a germline *BHD* mutation in the mononucleotide tract of eight cytosines (c.1733--1740), the mutation \"hotspot\" in exon 11. ", "Seventy-four per cent (14/19) had a cytosine insertion (c.1733insC) and 26% (5/19) had a cytosine deletion (c.1733delC). ", "Three of the four families with mutations in exon 12 shared a common mutation (c.1844C\\>G). ", "Four families had a *BHD* mutation in exon 5. ", "Exons 9 and 6 were each the site of mutations in three families. ", "All three families with mutations in exon 9 had the 28-bp duplication (c.1378-1405dup). ", "Two families had unique mutations in exon 4 and two families had a unique mutation in exon 13. ", "Nine families had intronic mutations that were predicted to cause exon skipping: three in intron 7 (IVS7+1G\\>T), four in intron 4 (IVS4-2 A\\>G), one in intron 9 (IVS9+2 T\\>G) and one in intron 12 (IVS12+1 G\\>A) ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "The most 5′ mutation (c.514delT) occurred in exon 4 (20 aa from the initiation codon) and is predicted to truncate the protein 34 amino acids downstream. ", "The most 3′ mutation (c.1983-5delGAG) occurred in exon 13 and it is predicted to produce a deletion of a single amino acid at position 510.", "\n\nThe novel missense mutation (K508R) was also confirmed by a CLIA approved laboratory and it was not present in DNA from 160 unrelated control individuals. ", "The K508R mutation leads to a change from lysine to arginine at amino acid position 508 ([fig 2](#jmg-45-06-0321-f02){ref-type=\"fig\"}). ", "ClustalW multiple protein sequence alignments showed that amino acid K508 of folliculin is highly conserved in chimpanzee, horse, mouse, rat, dog, cow, chicken, zebrafish and sea urchin ([fig 2](#jmg-45-06-0321-f02){ref-type=\"fig\"}). ", "In addition, a block of continuous high conservation was shown between amino acids L507 to V515. ", "The conservation across species suggests an important biological role for K508 amino acid in folliculin.", "\n\n{#jmg-45-06-0321-f02}\n\nClinical features {#s3b}\n-----------------\n\nPatients' clinical characteristics are listed in [table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}. ", "Our cohort included a total of 89 individuals from 51 families with *BHD* mutations. ", "There were 37 men and 52 women with a median age of 54 years. ", "The number of affected individuals in a family ranged from 1 to 10. ", "Thirty-three families had only one member affected with BHDS who participated in the study.", "\n\n### Cutaneous findings {#s3b1}\n\nNinety per cent (46/51) of families with BHDS had individuals with multiple 1--5 mm white or skin coloured papules distributed over the face, neck and/or upper trunk and a histologically confirmed fibrofolliculoma (FF). ", "Fifty-seven per cent (26/46) of BHDS families with a histologically confirmed FF also had individuals with a second histologically confirmed cutaneous lesion associated with BHDS including: angiofibroma (AF) or trichodiscoma (TD) (12 families), perifollicular fibroma (PFF) (11 families), and both TD and PFF (three families). ", "In 10% (5/51) of BHDS families the clinical diagnosis of FF was not confirmed histologically. ", "However, four of these families had at least one individual with a histologically proven TD or AF (one individual in each of two families), or PFF (one individual in one family), or both an AF and a PFF (one individual in one family). ", "One family had no individuals with FF, PFF, TD or AF. ", "All of these individuals also had a germline *BHD* mutation. ", "In addition, three of these families had individuals with a history of spontaneous pneumothorax and/or lung cysts supporting the clinical diagnosis of BHDS.", "\n\nOther dermatologic conditions histologically confirmed in individuals with a germline *BHD* mutation included: basal cell carcinoma (four families), connective tissue nevus (two families), sebaceous hyperplasia (two families), squamous cell carcinoma (SCC) (one family), and malignant melanoma (two families) ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Two families had cutaneous soft tissue tumours: family 258 had one individual with a cutaneous leiomyoma (LM) and family 262 had one individual with a dermatofibrosarcoma protuberans (DFSP) and another with a cutaneous leiomyosarcoma (LS).", "\n\n### Kidney tumour findings {#s3b2}\n\nOverall 34% (30/89) of individuals and 49% (25/51) of families with BHDS had kidney tumours ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Men (13 cases) developed renal tumours about as often as women (17 cases). ", "Patients had either bilateral, multifocal or unilateral renal tumours (\\>0.5 cm lesion).", "\n\nAmong 25 families with kidney tumours, 18 (72%) were recruited based on cutaneous manifestations suggestive of BHDS and/or the histologic diagnosis of fibrofolliculoma and seven (28%) were recruited based on kidney tumours. ", "Approximately 41% (18/44) of families presenting with cutaneous manifestations had kidney tumours. ", "We observed that 88% of BHDS families with renal tumours had only one individual with renal tumours even after screening multiple *BHD* gene mutation carriers for renal tumours with abdominal CT or magnetic resonance imaging (MRI) of the kidneys. ", "Only three families had multiple living individuals affected with kidney tumours. ", "Family 279 and family 288 each had two living cases and family 262 had four cases. ", "An individual from family 297 with a germline *BHD* mutation presented with bilateral multifocal renal oncocytomas as the only sign of BHDS. ", "He had no skin papules, history of pneumothorax or lung cysts on CT imaging.", "\n\n### Pulmonary findings {#s3b3}\n\nEighty-eight per cent (45/51) of the BHDS families and 84% (75/89) of BHDS patients had lung cysts on CT imaging ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Fifty-three per cent (27/51) of BHDS families and 38% (34/89) of individuals with BHDS had a history of spontaneous pneumothorax. ", "Most patients with a history of pneumothorax had lung cysts by chest CT imaging ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Thirty-four individuals had a total of 92 spontaneous pneumothoraces. ", "Nineteen patients had two pneumothoraces, three patients had four pneumothoraces, three had five pneumothoraces, and one experienced seven pneumothoraces ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}).", "\n\n### Family history {#s3b4}\n\nWe found that 18 of 31 patients (58%) with a family history of pneumothorax developed pneumothoraces compared to 16 of 57 patients (28%) without this family history (p = 0.011). ", "Among patients with BHDS, there was a statistically significant trend toward having a greater number of pneumothoraces if the patients had a family history of pneumothoraces compared to the number of pneumothoraces in patients who did not have this family history (p = 0.0022, by an exact Cochran--Armitage trend test). ", "However, family history of pneumothorax was not associated with an increased risk of kidney tumours. ", "Twelve of 34 patients with a family history of pneumothoraces had kidney tumours compared to 18 of 55 without this family history (p = 0.82).", "\n\nBHDS patients with a family history of kidney tumours had a statistically significantly increased probability of having renal tumours, with 16 of 28 (57%) individuals having these tumours among those with a family history for this condition as compared to 14 of 61 (23%) without a family history of kidney tumours (p = 0.0032). ", "However, we observed that a family history of renal tumours was not associated with an increased risk of lung cyst (p = 0.32) or pneumothrorax (p = 0.16).", "\n\n### Variable expression of phenotypic manifestations {#s3b5}\n\nVariable phenotypic expression may be observed among families and within members of BHDS families ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "Among the 51 families with BHDS: 25% (13/51) had FFs, a history of spontaneous pneumothorax and renal tumours; 24% (12/51) had both FFs and a history of spontaneous pneumothorax but no renal tumours; 18% (9/51) had both FFs and kidney tumours but no individuals with a history of pneumothorax; 24% (12/51) had FFs but no renal tumour or history of pneumothorax; 4% (2/51) had no FFs, renal tumour or a history of pneumothorax; 2% (1/51) had renal tumour but no FFs or a history of pneumothorax; and 4% (2/51) had renal tumours and a history of pneumothorax but no FFs ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}).", "\n\n### Other clinical findings {#s3b6}\n\nAmong the BHDS patients in the present study, two had parotid gland oncocytomas diagnosed at ages 20 and 39 years. ", "Non-renal cancers that occurred among the BHDS patients included two cases of colon cancer and thyroid cancer, respectively; and single cases of squamous cell carcinoma (SCC) of the head and neck, Hodgkin's disease, uterine cancer, prostate cancer, breast cancer, and SCC of the cervix. ", "Other tumours were rhabdomyoma and an adrenal mass ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}).", "\n\nGenotype--phenotype correlations {#s3c}\n--------------------------------\n\n### BHD mutation hotspot: c.1733insC and c.1733delC {#s3c1}\n\nThere was no association between *BHD* mutation hot spot versus all other *BHD* mutations, and presence of FFs (p = 0.78), presence of lung cysts (p = 0.76) or presence of pneumothoraces (p = 1.0). ", "We also investigated for genotype--phenotype correlation among c.1733insC and c.1733delC *BHD* mutation carriers. ", "The frequency of individuals with histologically proven FFs was similar among c.1733insC *BHD* mutation carriers (88% (22/25)) and c.1733delC *BHD* mutation carriers (78% (7/9)) (p = 0.59). ", "Lung cysts were detected similarly among c.1733insC (84% (21/25)) and c.1733delC *BHD* mutation carriers (100% (9/9)) (p = 0.55). ", "History of spontaneous pneumothorax was somewhat more common among c.1733delC (56% (5/9)) mutation carriers than among c.1733insC carriers (32% (8/25)) but not statistically significant (p = 0.25). ", "Renal tumours were more common among c.1733delC (56% (5/9)) than c.1733insC (24% (6/25)) *BHD* mutation carriers but not statistically significant (p = 0.11). ", "To explore further potential genotype--phenotype correlations we combined the *BHD* mutation hotspot data from our present and previous study.[@b6] Our analyses showed that c.1733insC mutation carriers and c.1733delC mutation carriers had similar frequencies of FFs (85% (66/78) vs 84% (27/32) p = 1.00), lung cysts detected on thoracic CT scans (86% (56/65) vs 84% (22/26) p = 1.00), spontaneous pneumothorax (36% (31/87) vs 40% (14/35) p = 0.68) and renal tumours (29% (19/65) vs 24% (6/25) p = 0.79). ", "Therefore, in general there were no statistically significant phenotypic differences among c.1733insC and c.1733delC carriers in BHDS families seen at NCI.", "\n\n### Other types of mutations {#s3c2}\n\nThere was no association between *BHD* mutation status (no mutation vs mutation), mutation types ((insertion, deletion, nonsense, missense and splice site) (insertion vs other types of mutation), (deletion vs other types of mutation), (nonsense vs other types of mutation), (splice site vs other types of mutation), (missense vs other types of mutation), (frameshift vs other types of mutation), (intron vs exon mutations)), and cutaneous affected ((FF vs no FF) or (FF vs TD and/or PFF)), lung cyst (lung cyst vs no lung cysts ) or pneumothorax (history of pneumothorax vs no history of pneumothorax) in our cohort of patients.", "\n\nReview of published reports of *BHD* germline mutations {#s3d}\n-------------------------------------------------------\n\nWe reviewed cases with published *BHD* germline mutations and general clinical characteristics associated with BHDS.[@b5]^--^[@b15] We previously reported 177 patients (88 men and 89 women) with *BHD* mutations from 51 BHDS families.[@b6] Excluding the BHDS patients reported by NCI,[@b6] a total of 85 individuals with *BHD* germline mutations have been reported including 35 women, 41 men and nine individuals in whom the gender was unspecified ranging from 12--77 years of age[@b5] [@b7]^--^[@b15] ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}). ", "The number of affected individuals in a family ranged from 1--12.", "\n\n###### Summary of reviewed reports with *BHD* germline mutations and general clinical characteristics, excluding National Cancer Institute reports\n\n Reference No. ", "of patients Clinical FF (Bx FF) (pos/neg/unk) Renal tumour med Hx, and/or CT or MRI (yes/no/unk) Lung cysts (pos/neg/unk) Hx pneumo (yes/no/unk) Germline mutations\n -------------------------------- ----------------- ----------------------------------- ---------------------------------------------------- -------------------------- ------------------------ -----------------------------------\n Khoo *et al* 2002[@b5] 21 Pos 16/21 (16 Bx+) Yes 2/15; Unk 6 Unk 21/21 Yes 8/21 c.1733delC, c.1733insC\n Van Steensel *et al* 2007[@b7] 6 Pos 6/6 (6 Bx+) No 5/5; 1 Unk Neg 5/5 Yes 1/5 c.1863-1873delGGGAGCCCTGT\n Ukn 1 1 Unk c.1755G\\>C, c. 875delC,\n c.1733insC, IVS10-2 A\\>G\n Leter *et al* 2008[@b8] 23 Pos 18/23 (18 Bx+) Yes 2/25 Ukn 25/25 Yes 4/25 c.1065-6delGCinsTA,\n 2 Ukn c.1733insC, c.875delC, c.1110dupG\n c.1756-7del11;1778delCinsGA\n c.IVS 6-1 G\\>A\n Gunji *et al* 2007[@b9] 5 Neg 5/5 No 5/5 Pos 5/5 Yes 5/5 c\\. IVS5-1delgtccctccag,\n HRCT c.1795 insCCACCCT, c.1733insC\n c.1988delGATG, c.857delC\n Graham *et al* 2005[@b10] 11 Ukn 11/11 No 11/11 Pos 6/6 Yes 10/10 c.1398G\\>T, c.1884C\\>T\n Ukn 5 1 Ukn \n Painter *et al* 2005[@b11] 12 Unk 12/12 No 12/12 Pos 12/12 Yes 5/12 c.690-3delTCGG\n Kawasaki *et al* 2005[@b12] 2 Pos 2/2 (2 Bx+) No 2/2 Unk 2/2 No 2/2 c.1733insC\n Lamberti *et al* 2005[@b13] 1 Pos 1/1 (Bx+) Ukn Unk Ukn c.1733insC\n Bessis *et al* 2006[@b14] 2 Pos 1/2 (1 Bx+) No 2/2 1 Neg; 1 Unk Yes 1/2 c.458delG\n Murakami *et al* 2007[@b15] 1 Ukn 1 Yes Neg No c.1733insC\n Chest CT \n **Total** 85\\* 43/59 Pos(43 Bx+) Yes 5/77 23/30 Pos Yes 33/82 \n Ukn 26 Ukn 8 Ukn 55 Ukn 3 \n\nBx, biopsy; CT, computed tomography; FF, fibrofolliculoma; HRCT, high resolution computed tomography; Hx, medical history; MRI, magnetic resonance imaging; Neg, negative; Pos, positive; Ukn, unknown.", "\n\n\\*One case was reported twice.[@b7] [@b8]\n\n### BHD germline mutations {#s3d1}\n\nExcluding our previously reported 22 *BHD* germline mutations,[@b4] [@b6] 18 unique *BHD* germline mutations have been reported by other investigators including: seven deletion, three insertion, three nonsense, and five splice-site mutations ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}).[@b5] [@b7]^--^[@b15] Of a total of 40 *BHD* germline mutations reported to date, only four mutations (c.1065-6delGCinsTA, c. 1733insC, c. 1733delC and 1884C\\>T) were reported by both the NCI BHDS group and other investigators.[@b4]^--^[@b9] [@b12]^--^[@b14] A family with the c.875delC mutation was described in two different studies.[@b7] [@b8] *BHD* mutations have been reported affecting all translated exons,[@b4]^--^[@b14] with the exception of exons 8 and 10.[@b4]^--^[@b15] Exon 11 was the most frequent site of mutations (c.1733insC/1733delC, c.1755G\\>C) present in 125 individuals from 40 unrelated BHDS families.[@b4]^--^[@b9] [@b12]^--^[@b14] The hot spot mutation (c.1733insC or c.1733delC) was the most common *BHD* mutation reported to date in a total of 124 individuals from 39 BHDS families.[@b4]^--^[@b9] [@b12]^--^[@b14] Seventy-nine individuals from 28 families (18 NCI and 10 other groups) were reported to have the c.1733insC mutation and 45 individuals from 11 families (nine NCI and two other groups) were reported as having the c.1733delC mutation.[@b4]^--^[@b9] [@b12]^--^[@b14]\n\nThe most 5′ BHD mutation reported occurred at nucleotide 454 (c. 458delG) in exon 4 affecting the initiator codon of *BHD*.[@b14] Other *BHD* germline mutations have been previously reported in exon 4: c.690delTCGG predicted to result in a termination codon 50 amino acids downstream[@b11] and c.514delT predicted to result in a premature termination codon at codon 34.[@b6] The most 3′ mutation reported occurred at nucleotide 2034 (c.2034 C\\>T) in exon 14 and was predicted to produce a premature termination codon at codon 527.[@b6] No additional *BHD* mutations have been reported in exon 14.", "\n\n### Clinical features {#s3d2}\n\nIn the previously reported NCI BHDS cohort, 143 patients with *BHD* mutations had their skin papules biopsied and evaluated histologically. ", "Of these 143 cases, 122 (85%) were diagnosed with a histologically proven FF.[@b6] Excluding the NCI BHDS patients reported,[@b6] 73% (43/59) of individuals with germline mutations in *BHD* had a histologically confirmed FF ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}).[@b5] [@b7]^--^[@b15] In five individuals with germline *BHD* mutations, FF was not confirmed histologically but they had a histologically proven trichodiscoma.[@b8]\n\nWe previously reported 35 patients with *BHD* germline mutations who developed renal tumours.[@b6] The frequency of renal tumour among patients with *BHD* germline mutations seen at the NIH clinical centre or in field trips was 22% (35/162) or 20% (35/177) of all patients of whom blood was collected and screened for mutations.[@b6] Two BHDS patients died of metastatic kidney cancer after radical nephrectomy.[@b31] One patient underwent bilateral nephrectomies for multiple tumours and received a kidney transplant. ", "Pathological examination revealed that his largest tumour was an 8 cm clear cell renal cell carcinoma (RCC) and the other tumours had multiple histologies. ", "This patient had biopsy proven paraspinal metastasis (clear cell histology) 56 months after his initial surgery and he died shortly thereafter. ", "The other patient had an 8 cm predominantly clear cell RCC with areas of tubular papillary and chromophobe histology that invaded the perinephric fat. ", "This patient had retroperitoneal recurrence 5 months after surgery, eventually developed osseous metastases and died 20 months postoperatively.[@b31]\n\nExcluding previous NCI BHDS reports,[@b6] overall in the literature five of 77 (6.5%) individuals with *BHD* germline mutations had a recorded medical history of kidney tumours and/or renal tumour on renal imaging ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}). ", "The age at diagnosis of a renal tumour ranged from 20--55 years.[@b5] [@b8] [@b15] Khoo and co-workers reported a 65-year-old BHDS patient with a history of right nephrectomy at age 20 for clear cell RCC, and an additional patient who at age 35 had a nephrectomy for an 8 cm \"malignant oncocytoma\" infiltrating the capsule.[@b5] The latter patient developed metastatic disease involving the right upper lobe of the lung which upon thoracotomy revealed metastatic RCC with papillary structures. ", "Microscopic re-examination of tumour tissue revealed unclassified RCC, Fuhrman grade 4.[@b5] Leter and co-workers reported an individual with a history of RCC who had unilateral mixed papillary and clear cell RCC at age 39 and a year later died due to metastatic disease.[@b8] In addition, Murakami *et al* reported a 55-year-old who at the time of nephrectomy had a 9.5 cm single solid mass, an inferior vena cava tumour thrombus and lung metastasis.[@b15] Microscopic examination of renal tumour showed tubular and tubulo-papillary areas with mainly eosinophilic neoplastic cells and focally clear cells. ", "This patient died of metastatic disease 27 months after nephrectomy. ", "Of 50 individuals with a germline *BHD* mutation who were screened for kidney tumours by other investigators,[@b5] [@b7]^--^[@b15] only one had a renal tumour detected on baseline imaging ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}).[@b8] This patient was a 40-year-old woman with histologically confirmed trichodiscoma who was referred by the dermatologist for renal imaging. ", "Renal work-up revealed RCC with elements of oncocytoma.", "\n\nIn our previous study, we found that 33% (57/171) of patients with *BHD* germline mutations for whom medical history was available reported a history of spontaneous pneumothorax and 87% (95/109) of BHDS who were screened by chest CT scan had one or more lung cysts.[@b6] Excluding the BHDS patients reported by NCI,[@b6] 77% (23/30) of patients reported with *BHD* germline mutations had lung cysts on CT imaging and 40% (33/82) of patients reported a history of spontaneous pneumothorax ([table 2](#jmg-45-06-0321-t02){ref-type=\"table\"}).[@b5] [@b7]^--^[@b15]\n\nDISCUSSION {#s4}\n==========\n\nWe report the clinical findings in 50 new families with BHDS and 13 novel *BHD* germline mutations. ", "We identified *BHD* mutations in 88% of BHDS families which is slightly higher than our previously reported mutation detection rate of 84%.[@b6] In combination with our previous reports,[@b4] [@b6] to date we have reported 102 families and 36 unique *BHD* germline mutations including 21 insertion/deletions, eight putative splice site, six nonsense and one missense mutation ([fig 3](#jmg-45-06-0321-f03){ref-type=\"fig\"}). ", "Including the present study and all cases worldwide, 53 unique germline *BHD* mutations have been reported affecting all translated exons (4-14), with the exception of exons 8 and 10 (4-15). ", "In this investigation, we report the first germline missense mutation (K508R) in *BHD* ([fig 2](#jmg-45-06-0321-f02){ref-type=\"fig\"}). ", "Using sequence alignment, we found that the lysine508 amino acid in folliculin is conserved in vertebrate and invertebrate species suggesting functional significance. ", "The K508R mutation was present in a patient with bilateral multifocal renal oncocytomas, a phenotype commonly seen in BHDS, suggesting that it is a disease-causing mutation. ", "This mutation was not present in DNA from 160 unrelated control individuals. ", "Therefore, although uncommon, germline *BHD* missense mutations may occur in BHDS. ", "This is not surprising since a missense mutation in exon 7 (H255R) in the canine *BHD* ortholog is the disease-associated germline mutation in hereditary multifocal renal cystadenocarcinoma and nodular dermatofibrosis in German shepherd dogs.[@b21] The H255R mutation confers an amino acid change in a highly conserved histidine of folliculin.", "\n\n![*", "BHD* germline mutation reported by the National Cancer Institute (NCI) group and other investigators. (", "A) Illustration of the 55 germline *BHD* mutations identified by the NCI. ", "The 23 unique *BHD* mutations identified in the present study are shown in red. ", "The star indicates mutations identified in both the present study and the previous NCI study.[@b6] The 22 unique mutations previously reported by NCI are shown in black.[@b6] (B) Lower panel shows the 18 germline *BHD* mutations reported by other investigators.[@b5] [@b7]^--^[@b15] Mutations shown in blue were identified by both the NCI group and other investigators. ", "The parenthesis show the original nomenclature used in the original reports.](JMG-45-06-0321-f03){#jmg-45-06-0321-f03}\n\nIncluding the present study, 70 patients with *BHD* germline mutation and kidney tumours have been reported in the literature.[@b5] [@b6] [@b8] [@b15] In the present NCI study, the age at diagnosis of kidney tumours was similar to our previous reports[@b6] [@b31] and reports by other investigators.[@b5] [@b7]^--^[@b15] Even though in the present study we did not identify BHDS patients with metastatic kidney cancer, only five BHDS patients with *BHD* mutations who died of metastatic kidney cancer have been reported to date.[@b5] [@b8] [@b15] [@b31] These individuals with metastatic kidney cancer had tumours with clear cell, tubulo-papillary and/or papillary histologic features. ", "These histologic features are slightly different from most kidney tumours associated with BHDS. ", "BHDS is associated with a unique histological spectrum of bilateral and multifocal kidney tumours ranging from hybrid oncocytic (67%) to chromophobe RCC (23%) to oncocytic (3%).[@b31] Clear cell RCC (3%) has also been reported in a few BHDS cases.[@b31] Prospective studies with a larger number of patients are needed to determine whether the different renal tumour histopathologic subtypes associated with BHDS have different malignant potentials. ", "It is of interest that even though 95% of patients with *BHD* germline mutations and kidney tumours have been reported by the NCI, to our knowledge only two cases from the NCI group have developed metastatic kidney disease.[@b31] In contrast, only a few BHDS patients with a *BHD* germline mutation have been reported by other investigators to have kidney tumours, and most (three of five) of these cases had metastatic disease.[@b5] [@b7]^--^[@b15] These differences may be a reflection of the different ascertainment and screening methodologies for kidney tumour used by different research groups.", "\n\nThe present investigation confirms the high prevalence of kidney tumours in our BHDS families. ", "Previously, we observed a sevenfold increased risk of renal tumours in patients with BHDS.[@b32] In the present study, using a combined ascertainment in dermatologic and urologic oncology clinics at NCI, the overall prevalence of kidney tumours among individuals with germline *BHD* mutations was 34%. ", "This frequency is higher than our previous report (23%)[@b6] and much higher than the frequency of kidney tumours in BHDS cases combined from other investigators (6.5%). ", "We also observed that BHDS patients with a family history of kidney tumours had a statistically significant risk of developing kidney tumours compared with BHDS patients without a family history of kidney tumours (p = 0.0015). ", "The risk remained significant when we excluded cases ascertained on the basis of kidney tumour. ", "Kidney tumour is also a major phenotypic feature with high penetrance in the naturally occurring BHDS animal models.[@b17] [@b18] However, other genetic and environmental factors may also be involved in the development of kidney tumours in patients of BHDS and animal models.", "\n\nRenal tumours associated with BHDS may have a higher impact on morbidity than on mortality. ", "The presence of oncocytosis in the renal parenchyma at surgery or at postmortem examination of patients with BHDS is histologic evidence of the potential of kidney tumour development in BHDS patients. ", "The diagnosis in a family member and surveillance of families with BHDS should lead to identification of patients at high risk of BHDS kidney tumours and to early detection and treatment. ", "The use of nephron sparing surgery rather than radical nephrectomy decreases the morbidity of BHDS patients with renal tumours by preserving renal functional tissue. ", "The diagnosis of BHDS is of critical importance in a patient presenting with kidney tumours since the management of these tumours is different from sporadic kidney tumours.[@b31] Somatic *BHD* mutations or LOH at the *BHD* locus have been detected in 70% of RCCs from BHDS patients.[@b24] The high frequency of second hits in *BHD* and *bhd* supports that it is a tumour suppressor gene. ", "Inactivation of both *BHD* alleles occurs in several histologic subtypes of RCC, suggesting that inactivation of *BHD* occurs at an early stage of renal tumorigenesis.[@b24]\n\nIn the present study, we found that 84% of patients with *BHD* germline mutations have pulmonary cysts on chest CT. ", "This is very similar to our previous study (89%)[@b6] but slightly higher than other reports combined (77%)[@b5] [@b7]^--^[@b15] In the present study we found that 38% (34/89) of individuals with a *BHD* germline mutation had a history of spontaneous pneumothorax. ", "This is very similar to all other studies combined and our previous study (33%).[@b6] In the present study, we also observed that patients with BHDS and a family history of pneumothorax had a statistically significant increased risk of pneumothorax when compared to BHDS patients without a family history of spontaneous pneumothorax. ", "This supports previous reports of families with *BHD* mutations and a prominent and almost exclusive spontaneous pneumothorax inherited in an autosomal dominant fashion.[@b10] [@b11] Most cases with lung phenotype without other cutaneous or renal manifestations probably are undetected cases of BHDS since they are from cross sectional studies and cases may develop other manifestations with time. ", "Therefore, prospective follow-up clinical studies of this group of patients are needed to understand better how they fit within the spectrum of clinical manifestations of BHDS.", "\n\nPreviously, we reported a 50-fold increased risk for the development of spontaneous pneumothorax in patients with BHDS compared with family members unaffected by BHDS.[@b32] The role of lung cysts in the mechanism leading to a spontaneous pneumothorax in BHDS had not been established. ", "Lung cysts appear to be a precursor lesion leading to a spontaneous pneumothorax. ", "Recently, we reported that total lung cyst volume, largest cyst diameter and volume, as well as every parameter associated with lung cysts which we evaluated, were significantly associated with pneumothorax in patients with BHDS.[@b33] Haploinsufficiency may be responsible for the development of lung cysts, skin lesion and other hamartomas associated with BHDS. ", "We have not observed increased mortality or progressive lung deterioration in BHDS patients with lung cysts or pneumothorax. ", "The lung phenotype (history of spontaneous pneumothorax and lung cysts) associated with BHDS is a prominent feature that helps to distinguish BHDS from other inherited kidney cancer syndromes (von Hippel--Lindau syndrome, hereditary leiomyomatosis and renal cell cancer, and hereditary papillary renal cell carcinoma).[@b34]^--^[@b37]\n\nWe also report in this study for the first time families with germline mutations in *BHD* and angiofibroma, perifollicular fibroma or both angiofibroma and perifollicular fibromas as their only BHDS cutaneous phenotype. ", "Our findings support that BHDS is associated with a spectrum of cutaneous hamartomas ranging from AF to PFF to FF. ", "BHDS associated hamartomas should be distinguish it from other genodermatoses with an increased risk for internal malignancy.[@b38] Recently, a *BHD* mutation was reported in one of three families with only trichodiscomas.[@b8] However, two of the three families had an atypical presentation and most likely do not have BHDS. ", "In addition, we previously reported additional individuals with *BHD* germline mutations and trichodiscomas.[@b6] It is of interest that we identified two individuals with germline mutations in *BHD* who also had a history of malignant melanoma. ", "Only one previous confirmed case of melanoma in a BHDS patient has been reported.[@b5] We also identified a BHDS family in whom one sibling developed a DFSP and another sibling had a cutaneous leiomyosarcoma. ", "These tumours are rare and not previously reported in BHDS. ", "We also identified two additional individuals with parotid gland tumours for a total of six cases in our group of 102 BHDS families[@b6] and a total of eight cases reported to date.[@b39] Most of the other internal neoplasms identified in this study have been previously reported in patients with BHDS.[@b5] [@b40]^--^[@b45] However, determining whether they are part of the clinical spectrum of BHDS remains to be investigated in further studies.", "\n\nIn this study, we investigated potential genotype--phenotype relationships in our patients with BHDS. ", "In general, we found no associations between specific *BHD* mutations or mutation types (intron vs exon; frameshift, nonsense, missense) and clinical phenotype (FF, TD/AF, PFF, renal tumours, spontaneous pneumothorax, or lung cysts). ", "Previously, we reported that individuals with an *BHD* IVS9+2 mutation had a higher frequency of kidney tumours compared to all mutation carriers.[@b6] In this study, only one family had this same mutation, thus this observation could not be confirmed. ", "It is possible that aberrant mutant BHD proteins produced by splice site mutations have functional consequences and lead to renal tumorigenesis.", "\n\nEach of our independent studies and combined analyses showed that c.1733insC and c.1733delC mutation carriers had similar frequencies of FFs, lung cysts and pneumothoraces. ", "In a previous study, we found that the frequency of renal tumours in c.1733delC carriers was lower than the frequency of renal tumours in c.1733insC carriers.[@b6] However, analysis of combined data from both studies showed no significant differences in frequencies of renal tumours among both groups. ", "Future studies with combined data from large cohorts of BHDS families should have enough statistical power to confirm our studies and evaluate other potential genotype--phenotype correlations.", "\n\nThe majority of *BHD* germline mutations identified in this investigation, both of our studies combined and all studies combined, are predicted to produce a C-terminally truncated folliculin (FLCN) resulting in loss of function.[@b4]^--^[@b15] In this study, we report a mutation in a family in which a *BHD* mutation was not previously detected.[@b6] Re-sequencing DNA from family 240, who linked to chromosome 17p11.2, revealed that affected haplotype carriers had a putative splice site mutation in the BHD gene within intron 4 (IVS4-2 A\\>G) ([table 1](#jmg-45-06-0321-t01){ref-type=\"table\"}). ", "However, we did not identify sequence variations in the coding region and 3′ and 5′ regulatory regions of *BHD* in seven additional families despite two attempts using direct DNA sequencing. ", "Future studies will include screening families for large deletions in *BHD*.", "\n\nRecently, Baba and co-workers[@b26] reported that FLCN interacts with FNIP1 through its C terminus. ", "Therefore, germline mutations predicted to produce a C-terminally truncated FLCN would be unable to bind FNIP1. ", "These investigators also showed that FLCN phosphorylation facilitated by FNIP1 is reduced by inhibitors of mTOR and AMPK activity implicating FLCN/FNIP1 in the AMPK and mTOR signalling pathways.[@b26] Recently, Henske and co-workers deleted the BHD homolog in *Schizosaccharomyces pombe*.[@b46] They showed that expression profiling revealed that six permease and transporter genes, known to be down-regulated in Deltatsc1 and Deltatsc2, were up-regulated in Deltabhd. ", "They also showed that loss of Bhd sensitised yeast to rapamycin induced increases in permease expression levels, and rapamycin induced lethality in Deltabhd yeast expressing the hypomorphic Rhb1 allele.[@b46] These results suggest that Bhd activates Tor2.", "\n\nAdvances in the diagnosis of BHDS using molecular genetic techniques has allowed us to expand the BHDS phenotypic spectrum of associated hamartomas and tumours, and demonstrate clinical heterogeneity both within and among BHDS families. ", "Although we report a large group of families, our dataset is too small to examine genotype--phenotype correlations rigorously. ", "However, this should be possible in the future by combining our clinical and *BDH* mutation data on clinically well described BHDS patients and families with that from other centres. ", "Future characterisation of *BHD* mutations and genotype--phenotype correlations in BHDS may provide valuable insights into the molecular pathogenesis of BHDS. ", "Future clinical studies and laboratory investigations using in vitro systems and animal models may help us to elucidate the sequence of pathogenetic events that lead to the clinical findings and the organ preference of involvement that we observe in BHDS.", "\n\nWe thank the BHD families for their participation in our study, and the members of the American Academy of Dermatology for their help in the recruitment of families. ", "We also thank Martha Ninos, Sarah Fowler, and Lindsay Middelton for their many contributions to this project.", "\n\n**Competing interests:** None declared.", "\n\n**Funding:** This research was supported in part by the Intramural Research Program of the NIH, National Cancer Institute, Center for Cancer Research and the Division of Cancer Epidemiology and Genetics. ", "This project has been funded in whole or in part with Federal funds from the National Cancer Institute, National Institutes of Health, under contract no. ", "NO1-CO-12400. ", "The content of this publication does not necessarily reflect the views or policies of the Department of Health and Human Services, nor does mention of trade names, commercial products, or organisations imply endorsement by the US government.", "\n\n**Patient consent:** Informed consent was obtained from the patients and family members for publication of this report.", "\n" ]

{ "pile_set_name": "PubMed Central" }

[ 0.000029135831245265425, 0.000009286527051926435, 0.000023629489603024573, 0.000019423887496843618, 0.000018844102738048125, 0.000043282548476454294, 0.0000358564308508731, 0, 0.000030524098775983637, 0, 0, 0, 0, 0.000023456558453743664, 0, 0, 0.000019578667084344897, 0.00007831466833737959, 0, 0.000028905075731298418, 0.000022249911000355996, 0, 0.00000905716702684001, 0, 0, 0.0001165433249810617, 0.00004667553501832014, 0, 0.000038103947568968146, 0, 0, 0, 0, 0, 0.00008573388203017832, 0, 0, 0, 0, 4.070771128471199e-7, 0, 0, 0, 0, 0.00011317338162064282, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00001826283877565929, 0, 0.00009245562130177516, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000015500031000062, 0.00004675999962592, 0.00011317338162064282, 0.000054323223177908555, 0.0013717421124828531, 0, 0.000041091387245233394, 0, 0.000017506696311339085, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00017313019390581717, 0, 0.0000591715976331361, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000012140489747356409, 0, 0, 0, 0, 0.0001183431952662722, 0, 0, 0.000011810279667422523, 0.00004162330905306972, 0.000008964107712718276, 0.000015363511659807956, 0, 0.000027700831024930747, 7.488330186237767e-7, 0.000009049194204060722, 0.000033412409368839586, 0.000014076561334284765, 0, 0, 0, 0.000017252385142245916, 0.000016391024275106952, 0.000024426718487497592, 0, 0.000027268575012441288, 0, 0.000010411265822521234, 0.000016687433250267, 0, 0, 0, 0, 0, 0, 0.000008499859752314087, 0, 0.00018851918182675084, 0.00018261504747991235, 0, 0.000058436815193571955, 0.000021550529835169233, 0.00010850694444444444, 0.0000148808785670706, 0.000016722361420397377, 0, 0.00002192886276917679, 0.00003460207612456747, 0, 0, 0.000026446280991735536, 0.00011317338162064282, 0, 0, 0.000036289737262302225, 0.000019927728770326283, 0.000023618048912979298, 0.00005695977216091136, 0.000008964107712718276, 0.00001262594378929825, 0.00003228305785123967, 0.000012056327160493826, 0.000148720999405116, 0.000015094795314575536, 0, 0.000012939288856684438, 0.0002268431001890359, 0.000018818924310286423, 0.000016524555489457336, 0.000022893248780934502, 0, 0.000025023897822420414, 0, 0.00005478851632697786, 0.000015622803043322032, 0, 0.00006530612244897959, 0.000010964431384588396, 0, 0.000011148240946931587, 0, 0, 0.00019223375624759708, 0.00007971938775510203, 0.00004546260473447566, 0.00006151480199923106, 0.000017506696311339085, 0, 0.00002986055122577563, 0.00007911079466793244, 0, 0.00007086167800453515, 0.00025250399797996804, 0, 0.00009425959091337542, 0.000084331253162422, 0, 0.00001721733441228629, 0, 0 ]

[ "Five creatine kinase isoenzymes in serum of a patient with severe heart disease.", "\nAbnormal creatine kinase (CK) isoenzyme patterns were observed in the serum of a 64-year-old woman with severe heart disease. ", "Agarose electrophoresis revealed the presence of all the usual CK isoenzymes (MM, MB, and BB) plus an extra band between MM and MB. ", "Total serum CK activity was within the normal range. ", "Within 2 h after the patient suffered cardiorespiratory arrest, a fifth CK isoenzyme appeared, cathodal to MM. ", "After cardiac valve replacement, the patient's serum showed a high activity of CK, but the isoenzyme pattern showed only MM and, transiently, an MB band. ", "With return of the serum CK activity to normal, the CK isoenzymes pattern also became normal, virtually ruling out genetic variant(s). ", "The abnormal CK isoenzyme patterns might have been the consequence of severe hypoxemia in the patient, thus such patients may represent an ominous prognostic sign. ", "The association of the abnormal pattern upon admission with rapid deterioration of the condition of the patient suggests prompt attention for the prevention of complications." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0.000062000124000248, 0.0003443526170798898, 0.00035599857600569594, 0.00016232448664881097, 0.000084331253162422, 0.00010973936899862826, 0.000037180249851279, 0 ]

[ "1. ", "Field of the Disclosure\nThe present disclosure relates to compositions comprising 2,3,3,3-tetrafluoropropene (HFO-1234yf) or 1,3,3,3-tetrafluoropropene (trans-HFO-1234ze) or a mixture thereof; difluoromethane (HFC-32); and 1,1, difluoroethane (HFC-152a), 3,3,3-trifluoropropene (HFO-1243zf) or mixture thereof.", "\nThe compositions of the present invention are useful in processes for producing cooling or heat, as heat transfer fluids, foam blowing agents, aerosol propellants, and as power cycle working fluids.", "\n2. ", "Description of Related Art\nThe refrigeration industry has been working for the past few decades to find replacement refrigerants for the ozone-depleting chlorofluorocarbons (CFCs) and hydrochlorofluorocarbons (HCFCs). ", "CFCs and the HCFCs are being phased out as a result of the Montreal Protocol. ", "The solution for most refrigerant producers has been the commercialization of hydrofluorocarbon (HFC) refrigerants. ", "For example, the new HFC refrigerants, HFC-134a being the most widely used at this time, have zero ozone depletion potential and thus are not affected by the current regulatory phase out as a result of the Montreal Protocol.", "\nHowever, further environmental regulations may ultimately cause global phase out of certain HFC refrigerants. ", "Currently, the industry faces regulations relating to global warming potential (GWP) for refrigerants used in mobile air-conditioning. ", "Should the regulations be more broadly applied in the future, for instance for stationary air conditioning and refrigeration systems, an even greater need will be felt for refrigerants that can be used in all areas of the refrigeration and air-conditioning industry. ", "Uncertainty as to the ultimate regulatory requirements relative to GWP, have forced the industry to consider multiple candidate compounds and mixtures.", "\nCurrently proposed replacement refrigerants for HFC refrigerants and refrigerant blends include, for example, pure hydrocarbons such as butane or propane, or “natural” refrigerants such as CO2. ", "However, these suggested replacements have problems including toxicity, flammability, low energy efficiency, or require major equipment design modifications. ", "Similarly, new replacements are being proposed also for R-22, R-134a, R-404A, and R-407C among others. ", "Uncertainty as to what regulatory requirements relative to GWP will ultimately be adopted have forced the industry to consider multiple candidate compounds and mixtures that balance the need for low GWP, non-flammability or low flammability, and existing system performance parameters." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0.00002081165452653486, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "this.addScript('dom.js',['DOMImplementation','XMLSerializer']);\r\nthis.addScript('dom-parser.js',['DOMHandler','DOMParser'],\r\n\t\t['DOMImplementation','XMLReader']);\r\nthis.addScript('sax.js','XMLReader');" ]

{ "pile_set_name": "Github" }

[ 0 ]

[ "A new study found that more than 2 million teenagers in the United States are using electronic cigarettes or better known as vapes to smoke marijuana.", "\n\nThe figure is based on the 2016 National Youth Tobacco Survey that polled a sample of students from grades 6 to 12. ", "The research was led by the Centers for Disease Control and Prevention.", "\n\nTheir findings were published in the journal JAMA Pediatrics.", "\n\nPrevalence Of Cannabis In E-Cigarettes Among US Youth\n\nFrom 20,675 participants, 8.9 percent or nearly 1 in 11 children admitted to using marijuana, hash oil, or THC wax with their e-cigarette devices. ", "To extrapolate, across the country, about 12.4 percent or 1.7 million were Grade 9 to 12 students (high school) while 4.5 percent or 425,000 were from grades 6 to 8 (middle school).", "\n\nAbout 5,217 students, meanwhile, admitted to using an e-cigarette at least once in their lives. ", "From the group, 30.6 percent has vaped marijuana products.", "\n\nThe study also found that certain groups are more likely to use marijuana products in their e-cigarettes. ", "Of the surveyed teens, 10.6 percent of all boys have vaped marijuana while only 7.2 percent of girls tried it out.", "\n\nAbout 10.8 percent of all Latino students have smoked marijuana products using their e-cigarettes. ", "In comparison, only 8.5 percent of white students and 8.4 percent of black students admitted to using it. ", "About 13 percent of students who vape marijuana live with a tobacco user in their homes.", "\n\nA similar study from the University of Michigan last December also found that 8 percent of surveyed 10th graders had vaped marijuana in the past year.", "\n\nVapes are the most common tobacco product in the United States. ", "Although it comes with its own health risks, e-cigarettes are generally considered to be safer alternatives to regular cigarettes.", "\n\n\"The use of marijuana in these products is of particular concern because cannabis use among youth can adversely affect learning and memory and may impair later academic achievement and education,\" explained lead author of the study, Katrina Trivers, to The Verge.", "\n\nStricter Regulation For Vapes\n\nThe United States Food and Drug Authority has already started cracking down on the prevalent vape use of teens. ", "Earlier this month, public health officials declared vaping an epidemic in youths and efforts have already started to steer children away from using e-cigarettes.", "\n\nFDA Commissioner Cott Gottlieb is also pursuing vape retailers who fail to keep e-cigarettes away from children under the age of 18. ", "He is looking at a possible ban of e-liquid if five of the biggest manufacturers in the vaping business fail to provide an adequate plan to discourage American youths from using the product.", "\n\nⓒ 2018 TECHTIMES.com All rights reserved. ", "Do not reproduce without permission." ]

{ "pile_set_name": "OpenWebText2" }

[ 0, 0.00007181844297615628, 0.00019837333862328903, 0, 0.000024029219530949635, 0, 0, 0, 0, 0, 0, 0, 0, 0.000043282548476454294, 0, 0, 0.00002847988608045568, 0.00004756242568370987, 0, 0.00010973936899862826, 0, 0, 0 ]

[ "Q:\n\nFacebook Messenger sending metadata (Android)\n\nI'm following this guide to create an app which sends an image to Facebook messenger.", "\nString mimeType = \"image/png\";\nUri contentUri = Uri.parse(\"android.resource://com.test.test/drawable/foobar\");\n\nString metadata = \"{ \\\"name\\\": \\\"baz\\\" }\";\nShareToMessengerParams params = ShareToMessengerParams.newBuilder(contentUri, mimeType).setMetaData(metadata).build();\nMessengerUtils.shareToMessenger(this, REQUEST_CODE_SHARE_TO_MESSENGER, params);\n\nThe code is pretty simple and almost identical to Facebook's own sample code. ", "The image is properly sent to the messenger which recognizes my app to be optimized and supplies the REPLY button. ", "However, I am having trouble getting the metadata sent across. ", "When the REPLY button is pressed, everything that's supposed to be in the extra bundle (EXTRA_IS_REPLY, EXTRA_THREAD_TOKEN, EXTRA_PARTICIPANTS) is sent back to the app but not the metadata. ", "Any help will be greatly appreciated.", "\nBelow is a snippet from manifest:\n <!-- ", "Activities -->\n <activity\n android:name=\".", "MainActivity\"\n android:windowSoftInputMode=\"stateHidden\"\n android:label=\"@string/app_name\" >\n <intent-filter>\n <action android:name=\"android.intent.action.", "MAIN\" />\n <category android:name=\"android.intent.category.", "LAUNCHER\" />\n </intent-filter>\n <intent-filter>\n <action android:name=\"android.intent.action.", "PICK\" />\n <category android:name=\"android.intent.category.", "DEFAULT\"/>\n <category android:name=\"com.facebook.orca.category.", "PLATFORM_THREAD_20150311\"/>\n </intent-filter>\n <intent-filter>\n <action android:name=\"android.intent.action.", "PICK\" />\n <category android:name=\"android.intent.category.", "DEFAULT\"/>\n <category android:name=\"com.facebook.orca.category.", "PLATFORM_THREAD_20150314\"/>\n </intent-filter>\n </activity>\n\nA:\n\nOk so here's the workaround for those having the same problem.", "\nIf an app posts a same image to Facebook Messenger multiple times, the Messenger treats all but the first image as duplicates and doesn't attach the metadata. (", "There's an eventual timeout but can't care less to figure out the exact duration)\nMy workaround is as follows: Every time your app posts to the messenger, make it place a random pixel in a random location to make sure the image's signature changes. ", "I haven't tried but I think changing the alpha value of a pixel will work better in terms of making it less conspicuous to the users.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0.00016219723183391005, 0.000026545477712416914, 0, 0.00025195263290501383, 0, 0, 0, 0.00036982248520710064, 0.00008579027138322515, 0.000630119722747322, 0.00007181844297615628, 0.00042007981516488136, 0.0003652300949598247, 0.00005653230821414438, 0.00042007981516488136, 0.0003652300949598247, 0, 0.00007715751707110065, 0, 0, 0 ]

[ "Getting to the Point of “I Can Do This!”", "\n\nBefore you can embark on a new project, you need to believe you can do it. ", "In order to believe you can do it, you need have to some self-confidence. ", "In order to have self-confidence, I think you need to do one or both of the following:\n\nAccumulate small wins. ", "Successfully take baby steps. ", "So if you want to write a book, for example, you first write and publish an article that gives you confidence in your writing ability.", "\n\nExpose yourself systematically to the techniques and habits of those who have already done it. ", "In other words, demystify the accomplishment. ", "If you want to start a company, read tons of first-hand accounts and talk to entrepreneurs to understand step-by-step how they did it. ", "This will de-mystify the achievement, not allowing you to attribute John Doe’s success as some “magical talent” that’s been with him since the womb (a typical excuse).", "\n\nBy the way, self-confidence — telling yourself, “I believe I can do this!” — ", "is only half the job. ", "The other litmus test before starting something is, “Does this excite me?” ", "Both must check out positive for the project to succeed.", "\n\nHow else do you cultivate the self-confidence that will allow you to set forth towards an ambitious goal?", "\n\n(hap tip to Cal Newport for helping spark and think through this idea)\n\n7 Responses to Getting to the Point of “I Can Do This!”", "\n\nBen, I was glad to see this post this morning, because it underscores the advice I’m giving – or at least trying to give – regarding breaking into the rewarding but competitive careers featured in How’d You Score That Gig? ", "You must set up informational interviews with people who are already successful in your field of choice to learn what’s required, and you should ease into a new career one foot at a time. ", "This might mean collecting a paycheck at your current job while doing a part-time internship in your new field or taking an adult education class or workshop on the weekend.", "\n\nReceived this advice from an elder entrepreneur a while back:\n“The ones who ultimately became successful were the ones that allowed themselves to be successful. ", "This is how I did well in the multiple industries I worked in. ", "I liked to move around a lot, and every time I did I made sure I stuck around long enough to be successful. ", "Once you do well in one field you are able to bring that expectation into another. ", "That expectation is 9/10ths of it.”", "\nI have the “I can do this” attitude, but during the long lulls where results are nay, I have to take his advice and give myself time to be successful.", "\n\nReply link does not work in your browser because JavaScript is disabled.", "Reply\n\nBen, great thoughts! ", "It’s funny because I just blogged along a similar thought pattern a couple days ago in a post entitled, “What Winners Know that Losers Don’t.”", "\n\nMy big point was that successful people understand that the gap between first and second place is incredibly small. ", "People who have never “won” in there life tend to think of the gap between failure and success as being a giant chasm that can only be crossed by the lucky ones.", "\n\nThis attitude tends to perpetuate itself in both directions with winners expecting to win and losers believing it’s not possible.", "\n\nCompletely agree that one of the best ways to learn to have the right attitude is by hanging around the right people, people who consistently win.", "\n\n-Cameron\n\nReply link does not work in your browser because JavaScript is disabled.", "Reply\n\nJust read this post through a link from Study Hacks. ", "I assume that’s what led you to call me, from reading my post: Comfortable with Failure?", "\n\nFor me, Getting to “I Can Do This!” ", "also required a lot of small wins, which is what my post was about, that although I didn’t necessarily win at everything that I tried, I had the confidence to give them all a go and am better for experience of each one.", "\n\nSo, in my case, the “I Can Do This” was the belief in myself that I have the skills and the mental fortitude to become a solar power project developer in the utility-scale market, despite my lacking a few lines on the resume that would indicate my qualification for the position.", "\n\nFortunately, I am proud to announce that as of today, I have an offer from a utility-scale solar project developer that is still in start-up mode and was recently funded by an industry private equity firm to join their small and growing team of developers.", "\n\nBen I want to thank you for everything that you have put in to your blog and for the conversations we had encouraging me to start my own blog.", "\n\nThe company that I interviewed with today stated that they really enjoyed reading my blog and seeing the thought processes and research that I had done. ", "I believe it was a large contributor to me getting to this point. ", "For that I say:\n\nThanks Ben.", "\n\nWe’ll talk soon.", "\n\nReply link does not work in your browser because JavaScript is disabled.", "Reply" ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0000358564308508731, 0, 0, 0, 0, 0, 0.00006009254251547383, 0.000019753086419753087, 0, 0, 0, 0, 0, 0, 0, 0, 0.00018261504747991235, 0, 0.00004959333465582226, 0, 0, 0, 0, 0.0001417233560090703, 0.0002777777777777778, 0, 0, 0, 0, 0, 0.000048225308641975306, 0, 0, 0.0012755102040816326, 0, 0.00018261504747991235, 0 ]

[ "A city in Alabama has recalled a local law which prevented transgender people from using public lavatory facilities consistent with their gender identity.", "\n\nThe law, passed by the city council in Oxford was believed to be the first in the US to threaten those breaking the bathroom rules with imprisonment or fines.", "\n\nThose breaking the law could have faced six months in jail or a $500 fine, raising legal and privacy concerns regarding how the law would have been enforced.", "\n\nEva Walton Kendrick, HRC Alabama State Director, said in a statement: “It’s a great day in the state of Alabama and we commend Councilperson Charlotte Hubbard for leading the recall effort.”", "\n\n\"This sends a welcome message of inclusion to Oxford’s families, businesses and visitors, and sets an example for other communities that may be considering similar legislation. ", "Fair-minded Americans do not believe in discrimination, and we must continue to educate one another on the importance of being inclusive and welcoming to all. ”", "\n\nOxford’s ordinance was unprecedented in its establishment of criminal penalties for violations. ", "The law applied to bathrooms and lockers citywide, including private businesses.", "\n\nNorth Carolina Governor Pat McCrory. ( ", "Chip Somodevilla/Getty Images) (Chip Somodevilla/Getty Images)\n\nThe decision comes after the City Council of Rockwall, Texas, unanimously rejected a bill proposed by Mayor Jim Pruitt that would have prohibited transgender people from using bathrooms consistent with their gender identities.", "\n\nThis week, North Carolina was given five days to scrap its anti-LGBT legislation - HB2 - by the US Justice Department, or risk losing billions of dollars of federal funding.", "\n\nThe US Department of Justice notificed Governor Pat McCrory that the law violates the U.S. Civil Rights Act, Human Rights Campaign reported.", "\n\nCirque du Soleil cancelled shows in North Carolina last month in protest at the state’s new anti-LGBT law." ]

{ "pile_set_name": "OpenWebText2" }

[ 0, 0.0000390625, 0, 0.00008138020833333333, 0.00003121001217190475, 0, 0.00010412328196584755, 0, 0.000594883997620464, 0.00004756242568370987, 0.00003265306122448979, 0.00014878000396746676, 0 ]

[ "Q:\n\nFlatten nested iterables\n\nI wrote a program sometime ago that reads csv files, sorts, reorders and groups their columns/rows' content (with itertools) and later labels the groups using a dictionary. ", "The groups and dictionary are then flattened and rows of length N (columns) are uploaded to a spreadsheet. ", "This is another function, not specific to that program, to use in this situation.", "\ndef digfrom(iterable, *, depth=None, strings=True):\n \"\"\"\n Dig values from nested iterables, flattening\n the input iterable.", "\n\n >>> iterable = [['a'], 'bc', ('de', ['f'])]\n\n >>> list(digfrom(iterable))\n ['a', 'b', 'c', 'd', 'e', 'f']\n\n Depth may be limited and \"exploding\" strings\n is optional.", "\n\n >>> list(digfrom(iterable, depth=2))\n ['a', 'b', 'c']\n\n >>> list(digfrom(iterable, strings=False))\n ['a', 'bc', 'de', 'f']\n\n \"\"\"\n\n exhausted = object()\n iterable_attr = '__iter__'\n iterator_attr = '__next__'\n\n iterators = [iter(iterable)]\n\n while iterators:\n it = next(iterators[-1], exhausted)\n\n if it is exhausted:\n iterators.pop()\n continue\n\n if hasattr(it, iterable_attr):\n string = isinstance(it, str)\n\n if not ((string and len(it) <= 1) or\n (string and not strings)):\n it = iter(it)\n\n if hasattr(it, iterator_attr):\n iterators.append(it)\n iterators = iterators[:depth]\n else:\n yield it\n\nA:\n\nLooks like decent code. ", "I think you only got downvoted (once) because you alluded to how you wanted to use this function as part of a (gasp!) ", "program — and then of course twice more because they saw you'd already been downvoted once. ", "That's just how this site works. :)", "\n\nThe biggest problem with your code is that it uses the identifiers iterable, iterable_attr, iterator_attr, iterators, it, and iter, all with different meanings. ", "That's too many its!", "\niterable_attr and iterator_attr could be called more like ITER_ATTR and NEXT_ATTR, because (A) the capitalization indicates that they're constants, and (B) the names indicate the values they hold. ", "However, this is right up there with THREE = 3. ", "When you see yourself giving symbolic names to global constants, it's time to DRY up your code:\n if hasattr(it, '__iter__'):\n string = isinstance(it, str)\n if not ((string and len(it) <= 1) or\n (string and not strings)):\n it = iter(it)\n if hasattr(it, '__next__'):\n iterators.append(it)\n iterators = iterators[:depth]\n\nActually, that logical expression buried in the middle there looks like it could stand some De Morgan's Laws. ", "Also, string is a bad name for a boolean! ", "Name your booleans after predicates: in this case, is_string would do. ", "But let's see if we need it at all.", "\n is_string = isinstance(it, str)\n if not ((is_string and len(it) <= 1) or (is_string and not strings)):\n it = iter(it)\n\nDe Morgan 1:\n is_string = isinstance(it, str)\n if not(is_string and len(it) <= 1) and not(is_string and not strings):\n it = iter(it)\n\nDe Morgan 2:\n isnt_string = not isinstance(it, str)\n if (isnt_string or len(it) > 1) and (isnt_string or strings):\n it = iter(it)\n\nDistributive law:\n isnt_string = not isinstance(it, str)\n if isnt_string or (strings and len(it) > 1):\n it = iter(it)\n\nRefactor to emphasize the one special case we're trying to express:\n if (not hasattr(it, '__iter__')) or (len(it) <= 1):\n pass # can't explode this guy\n elif (not strings) and isinstance(it, str):\n pass # we're not exploding strings\n else:\n it = iter(it) # explode it\n\nThe next two lines\n iterators.append(it)\n iterators = iterators[:depth]\n\nlook suspicious. ", "We're appending to the array and then immediately truncating it? ", "Couldn't we do that in some cleaner way?", "\n\nBy the way, that *, in the signature must be a Python-3-ism; I'm not sure what it means. ", "In Python 2 you'd just omit it and it would still do what you wanted.", "\n\nYour exhausted = object() ... if it is exhausted idiom is neat, if maybe a bit too cute. ", "It beats catching the exception from next(iterators[-1]), anyway.", "\n\nUnit tests (especially for depth=...) would go a long way here.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0, 0.00005653230821414438, 0, 0.0000015018262206843522, 0, 0, 0, 0, 0, 0.000025507601265177026, 0, 0.00000418198318006365, 0, 0, 0.0008163265306122448, 0.0000018670214007328059, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "Current status of alcohol marketing policy--an urgent challenge for global governance.", "\nTo review research literature and available information on the extent and impacts of marketing, current policy response and the interests engaged in the policy debate in order to inform recommendations for policy change on alcohol marketing. ", "Relevant literature, including systematic reviews and publicly available information (websites and participant observation) is reviewed and synthesized. ", "Alcohol marketing has expanded markedly in the past 50 years and, while there remains uncertainty about the impact across the population, there is now clear evidence of its impact on the consumption of young people. ", "Few countries have effective policy in place restricting alcohol marketing, and there is a lack of an international response to alcohol marketing which crosses national boundaries. ", "The protection of alcohol marketing has been a major focus for vested interest groups and this has affected governmental response at national and international levels. ", "There has been a lack of non-governmental organization engagement. ", "The policy response to tobacco marketing provides a clear contrast to that of alcohol marketing policy and provides a model for alcohol marketing policy. ", "The global exposure of young people to alcohol marketing requires an urgent policy response. ", "The Framework Convention on Tobacco Control provides an appropriate model for global governance to control alcohol marketing. ", "There are extant examples of national level legislation achieving comprehensive bans with France's Loi Evin providing a feasible model. ", "Resources from philanthropic organizations to allow non-governmental organization engagement are urgently required, as is engagement by the governmental sector independent of commercial influence." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00006298815822625346, 0.00005406574394463668, 0 ]

[ "Conjugated linoleic acid suppresses colon carcinogenesis in azoxymethane-pretreated rats with long-term feeding of diet containing beef tallow.", "\nWe have indicated previously that long-term feeding of beef tallow increases colorectal cancer in rats. ", "In this study, we investigated the effects of conjugated linoleic acid (CLA) on colon carcinogenesis in rats under long-term feeding of beef tallow diets, pretreated with azoxymethane (AOM). ", "Six-week-old male Sprague-Dawley rats were fed with 10% beef tallow diet only, 10% beef tallow with 1% CLA in triglyceride form (CLA-TG), or 10% beef tallow with 1% CLA in free fatty acid form (CLA-FFA). ", "Colon carcinogenesis was induced by two intraperitoneal injections of AOM. ", "Aberrant crypt foci (ACFs) were examined at 12 weeks. ", "Cancer, cell proliferation, apoptosis, Wnt signaling, and the arachidonic acid cascade were examined at 44 weeks. ", "At 12 weeks, CLA-TG and CLA-FFA attenuated the increase in ACFs induced by 10% beef tallow and AOM pretreatment. ", "At 44 weeks, both forms of CLA attenuated multiple colon cancers, and CLA-FFA reduced the incidence of colon cancer to 50% of that seen with CLA-TG. ", "CLA-TG and CLA-FFA decreased the number of 5-bromo-2'-deoxyuridine-positive cells in AOM-pretreated rats fed with 10% beef tallow. ", "CLA-FFA increased the number of apoptotic cells and the activity of caspase-3 in the colon mucosa, and CLA-TG enhanced the activity of caspase-3. ", "Both forms of CLA suppressed Wnt signaling and the arachidonic acid cascade in rats treated with beef tallow and AOM. ", "These results suggested that CLA-TG and CLA-FFA suppressed colon carcinogenesis in rats with long-term feeding of a 10% beef tallow diet, through several mechanisms. ", "The results of the present study with rats might be applicable to humans." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0.000027411529289219047, 0.00004805843906189927, 0.00017777777777777779, 0, 0.00007694675284702985, 0.00023494400501213877, 0.00009008603216071348, 0.0001165433249810617, 0, 0.00007181844297615628, 0.00007257947452460445, 0 ]

[ "Giovanni Picca\n\nGiovanni Picca (14 February 1840 – 1910) was an Italian painter and scenographer.", "\n\nBiography\nHe was born and resident at Ascoli Piceno. ", "He studied while very young in Rome and other places. ", "He has painted scenes for many theaters, among them the Teatro Ventidio Basso of Ascoli, and the theaters of Foligno and Perugia. ", "He also has worked in the decoration of palace ceilings and walls, including the ceiling of the vestibule in the Theater of Monte Giorgio. ", "He painted the frescoes of the Caffè Meletti in Ascoli Piceno.", "\n\nReferences\n\nCategory:1840 births\nCategory:1910 deaths\nCategory:People from Ascoli Piceno\nCategory:19th-century Italian painters\nCategory:Italian male painters\nCategory:20th-century Italian painters\nCategory:Italian scenic designers" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0.00021256244021681367, 0.0003305785123966942, 0, 0.0001183431952662722, 0.00005175715542673775, 0, 0 ]

[ "// List Icons\n// -------------------------\n\n.@{fa-css-prefix}-ul {\n padding-left: 0;\n margin-left: @fa-li-width;\n list-style-type: none;\n > li { position: relative; }\n}\n.@{fa-css-prefix}-li {\n position: absolute;\n left: -@fa-li-width;\n width: @fa-li-width;\n top: (2em / 14);\n text-align: center;\n &.@{fa-css-prefix}-lg {\n left: -@fa-li-width + (4em / 14);\n }\n}\n" ]

{ "pile_set_name": "Github" }

[ 0.000028444444444444444 ]

[ "In recent years, photography has been rapidly transformed from chemical based technologies to digital imaging technologies. ", "Images captured by digital cameras can be stored in computers and viewed on display devices. ", "Users can also produce image prints based on the digital images. ", "Such image prints can be generated locally using output devices such an inkjet printer or a dye sublimation printer or remotely by a photo printing service provider. ", "Other products that can be produced using the digital images can include photo books, photo calendars, photo mug, photo T-shirt, and so on. ", "A photo book can include a cover page and a plurality of image pages each containing one or more images. ", "Designing a photo album can include many iterative steps such as selecting suitable images, selecting layout, selecting images for each page, add text, and rearrange the images and text, which can be quite time consuming. ", "It is desirable to provide methods to allow users to design and produce photo albums in a time efficient manner." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0, 0.0000510204081632653, 0, 0, 0 ]

[ "By using a broom and sweeping, you avoid creating any wastewater. ", "If you do use water for outdoor cleaning, much of the wastewater produced will probably run-off into the storm water system that drains to a nearby creek or will evaporate. ", "If possible, you should reuse some of the wastewater onto your landscape. ", "Be sure and use a non-toxic biodegradable soap if you intend to reuse water for plants." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0 ]

[ "The United States and Japan will step up their defence cooperation to deal with the threat from nuclear-armed North Korea as tensions in East Asia remain high, officials from the two allies said on Thursday.", "\n\nIncome management is failing: report\n\nIncome management is a disempowering control measure and there is little evidence it is helping people in the Northern Territory manage their money, an independent evaluation has found.", "\n\nIn a scathing interim report, two leading universities say the program operates more as \"a means of control\" than as a way to build an ability to effectively manage money.", "\n\n\"There is little evidence to date that income management is resulting in widespread behaviour change,\" the report says.", "\n\n\"It does not in itself motivate people to develop the skills to manage their finances in the longer term.\"", "\n\nThere are many people subject to compulsory income management who are unlikely to benefit from the measure, and for whom the restrictions create unnecessary frustrations and challenges, the report says.", "\n\nThere is little support available to help people present cases to be exempted, it says.", "\n\nIndigenous Affairs Minister Jenny Macklin announced on Thursday the federal government would be making exemption processes clearer.", "\n\nRelated Articles\n\nThe changes would apply from July 1, 2013 and involve Centrelink staff giving parents reminders about requirements for exemptions - regular child health checks, immunisation and school attendance.", "\n\nThe federal government will also ramp up money management services on offer to help increase financial literacy.", "\n\nIncome management has been used in NT Aboriginal communities since 2007.", "\n\nLaws were passed in June to expand income management for people on welfare to trial sites at Bankstown (NSW), Playford (South Australia), Shepparton (Victoria), and Rockhampton and Logan (Queensland).", "\n\nUnder the arrangement, 50 to 70 per cent of people's welfare payments are quarantined on a \"Basics\" card that can be used only at Centrelink-approved stores on certain items.", "\n\nIn October 2011, there were more than 16,000 people in the Northern Territory on income management, including almost 12,000 on compulsory income management.", "\n\nOverall, 91 per cent of people on income management are indigenous.", "\n\nThe system has failed to stop the practice known as humbugging, or relatives begging for money from family members.", "\n\n\"Basics cards are used for currency in card games and gambled,\" the report says.", "\n\nThe report quotes people on Basics cards saying they have difficulty paying for flights to attend funerals and frequently miss out on attending sporting matches and other social events, such as the Darwin Show, that do not accept the card.", "\n\nThe evaluation by the Australian National University and University of NSW did not look at whether income management was providing value for money.", "\n\nA final evaluation is due in 2014.", "\n\nAustralian Greens senator Rachel Siewert said Ms Macklin was misusing the evaluation to \"justify the continuation and expansion of the flawed policy.\"" ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0, 0, 0, 0.00005653230821414438, 0, 0, 0, 0.0000980296049406921, 0, 0, 0, 0, 0, 0.00001721733441228629, 0.00004504301608035674, 0, 0.00008656509695290859 ]

[ "import React, { Component } from 'react'\n\nimport { callPlayer, getSDK, queryString } from '../utils'\nimport { canPlay, MATCH_URL_MIXCLOUD } from '../patterns'\n\nconst SDK_URL = 'https://widget.mixcloud.com/media/js/widgetApi.js'\nconst SDK_GLOBAL = 'Mixcloud'\n\nexport default class Mixcloud extends Component {\n static displayName = 'Mixcloud'\n static canPlay = canPlay.mixcloud\n static loopOnEnded = true\n callPlayer = callPlayer\n duration = null\n currentTime = null\n secondsLoaded = null\n\n componentDidMount () {\n this.props.onMount && this.props.onMount(this)\n }\n\n load (url) {\n getSDK(SDK_URL, SDK_GLOBAL).then(Mixcloud => {\n this.player = Mixcloud.", "PlayerWidget(this.iframe)\n this.player.ready.then(() => {\n this.player.events.play.on(this.props.onPlay)\n this.player.events.pause.on(this.props.onPause)\n this.player.events.ended.on(this.props.onEnded)\n this.player.events.error.on(this.props.error)\n this.player.events.progress.on((seconds, duration) => {\n this.currentTime = seconds\n this.duration = duration\n })\n this.props.onReady()\n })\n }, this.props.onError)\n }\n\n play () {\n this.callPlayer('play')\n }\n\n pause () {\n this.callPlayer('pause')\n }\n\n stop () {\n // Nothing to do\n }\n\n seekTo (seconds) {\n this.callPlayer('seek', seconds)\n }\n\n setVolume (fraction) {\n // No volume support\n }\n\n mute = () => {\n // No volume support\n }\n\n unmute = () => {\n // No volume support\n }\n\n getDuration () {\n return this.duration\n }\n\n getCurrentTime () {\n return this.currentTime\n }\n\n getSecondsLoaded () {\n return null\n }\n\n ref = iframe => {\n this.iframe = iframe\n }\n\n render () {\n const { url, config } = this.props\n const id = url.match(MATCH_URL_MIXCLOUD)[1]\n const style = {\n width: '100%',\n height: '100%'\n }\n const query = queryString({\n ...config.options,\n feed: `/${id}/`\n })\n // We have to give the iframe a key here to prevent a\n // weird dialog appearing when loading a new track\n return (\n <iframe\n key={id}\n ref={this.ref}\n style={style}\n src={`https://www.mixcloud.com/widget/iframe/?${query}`}\n frameBorder='0'\n />\n )\n }\n}\n" ]

{ "pile_set_name": "Github" }

[ 0.00001328656462585034, 7.715751707110065e-7 ]

[ "Part of the Series Climate Disruption Dispatches\n\nResearching and writing about the impacts of runaway climate change, as I’ve been doing now for too many years, I’ve watched several patterns recur.", "\n\nOne of these is evident in a recent warning from the UN. ", "Biodiversity chief of the UN Cristiana Pașca Palmer warned that if governments around the globe don’t work to bring a halt to the loss of biodiversity and succeed in implementing a plan to do so within two years, humans could face our own extinction.", "\n\nPalmer said, according to The Guardian, “People in all countries need to put pressure on their governments to draw up ambitious global targets by 2020 to protect the insects, birds, plants and mammals that are vital for global food production, clean water and carbon sequestration.”", "\n\nPeople in all countries are already working to pressure their governments to do just that. ", "Yet, with few possible exceptions, we know all too well how wedded most governments are to the current power structure and the economics that drive it to believe radical policy change like this will actually occur (without overthrowing said governments).", "\n\nThen the pattern will repeat: After some time passes, and things are even worse, another dire warning or results of a study that serves as one is released, and again, nothing will change.", "\n\nAs cynical as this is, anyone paying attention over time can see this pattern.", "\n\nThus, we shall continue to watch these milestones as they pass by, then brace ourselves for what is to come.", "\n\nPersonally, I have instead surrendered and accepted the inevitability of our situation: that we will live the rest of our time, however long each of us might have left, on an irrevocably changed planet, while the Sixth Mass Extinction event continues apace. ", "We will daily walk further into that frontier.", "\n\nHowever, for me, this means that caring for the small piece of land where I live has never been more meaningful. ", "Never have I felt as much gratitude for birdsong when I hear it, or for the scent of the Douglas fir near my home, or for the fresh air wafting down from the Olympic Mountains within whose shadow I live.", "\n\nAt the same time, never have I felt as morally obliged as I do today to live my life as close to my beliefs as possible. ", "I’m obliged to work to serve and care for the planet with as much assiduity, tenacity and devotion as I am capable of. ", "In fact, each time I read about the dire results of yet another human-caused climate/bio/geosphere disruption study, it is an opportunity to recommit to my beliefs.", "\n\nAt least for today, this is how I do this work in a way that is personally sustainable. ", "Tomorrow, assuming I am still here, I might need a completely different approach.", "\n\nIf you haven’t yet, I encourage you to consider what your approach could be, as you take in each one of these reports below — each one a body blow humans have inflicted upon Earth.", "\n\nTo begin, a recently published study has shown that ocean acidification has already ignited a dangerous feedback loop that is literally dissolving the seafloor. ", "Motherboard’s explanation of the study is worth quoting in full, as this is a critical feedback loop we all must be aware of:\n\nCalcium carbonate, or calcite, lines the ocean floor. ", "When calcite combines with carbon dioxide and water, the reaction produces calcium ions and bicarbonate ions. ", "Because of this, the surrounding water becomes less acidic over long periods of time — think tens to thousands of years. ", "But when you throw more carbon dioxide into the equation, all of the seafloor calcite starts to get used up to power these reactions in extremely large amounts, meaning that the ocean floor is dissolving. ", "Now, there’s not enough calcite but more carbon dioxide than ever, driving up acidity levels.", "\n\nFoundational species in the marine food chain, such as coral, are fine-tuned to thrive within a very particular range of pH levels. ", "When those levels change for a long period of time, these species — as well as the fish, bacteria, mollusks, and ocean life that depends on them — simply can’t survive. ", "The last time the oceans were as acidic as they are now, 96 percent of ocean life was extinct.", "\n\nAnother study published in mid-November revealed how the climate policies of China, Russia and Canada alone will, if left unchanged, bring Earth above catastrophic 5 degrees Celsius (5°C) warming in less than 85 years.", "\n\nThe recently released US National Climate Assessment stated unequivocally that human-caused climate change will inflict “substantial damages” to the “economy, environment, and human health over the coming decades.” ", "In many ways it restates the obvious: Climate change is already harming the lives of people in the US via disastrous wildfires in the west, soil loss in the Midwest, coastal erosion in Alaska, and east coast flooding. ", "As did the aforementioned study, a previous climate assessment chapter stated: “without major reductions, annual average global temperatures could increase by 9°F (5°C) or more by the end of this century.”", "\n\nEarth\n\nClimate change-driven changes across this realm are becoming more dramatic with each passing month.", "\n\nA recently published study showed that, due to increasingly warmer temperatures, climate change has become an “escalator to extinction” for mountain birds. ", "Warmer temperatures are wiping out bird species that were already living atop mountains for the cooler climate.", "\n\nAnother recent study showed that climate change is essentially functioning to sterilize male insects. ", "This grave damage to male insect reproductive systems under increasingly powerful heat waves could already be contributing to declines in biodiversity around much of the world.", "\n\nHabitat loss for wildlife, according to a recent UN conference, is a threat to all of our futures. ", "Biodiversity experts in attendance warned that the mass extinction of the planet’s wildlife is now as big of a danger as climate change itself. ", "The World Wildlife Fund recently published its annual Living Planet report, which showed how, since just 1970, humans have annihilated 60 percent of Earth’s mammals, birds, fish and reptiles.", "\n\nA very important recently published article by Yale Environment 360 showed how Earth’s climate zones are literally shifting due to climate change. ", "This is bringing about food and water scarcity, and resulting in mostly negative consequences for local economies and public health. ", "Some of the highlights of the article: The tropics are expanding by 30 miles each decade, the Sahara Desert has gotten 10 percent larger since 1920, and the 100th meridian in the US — the line where the arid Western plains of North America meet the wetter eastern region — has shifted 140 miles to the east.", "\n\nOn that note, a government scientist in Canada is sounding the alarm about what is happening to forests in his country. ", "Speaking to the fact that vast areas of Canadian forests are dying out, Canadian Forest Service research scientist Barry Cooke told the CBC, “We see these compelling images of trees dying over large areas and it’s fairly frightening.” ", "The trees, which are dying off, are also a critical source of Canada’s biodiversity.", "\n\nMeanwhile, a shocking new study showed that the Congo Basin rainforest, the second largest rainforest on Earth, may be gone by the end of this century, given current rates of deforestation. ", "The study does not take into account climate change impacts like drought, wildfires and insect infestations that, of course, speed this up dramatically.", "\n\nWe are all acutely aware of the growing number of people from Central America heading toward the southern US border. ", "But what is usually not reported by the corporate media is that a vast percentage of these migrants, particularly those from Guatemala, are migrating due to climate change impacts like drought and shifting weather patterns, which are making life ever more difficult for small-scale farmers there.", "\n\nThis fall, a major hurricane in Hawai’i literally erased a small island from the map. ", "Along with that disappearance came the loss of a critical breeding ground for monk seals, turtles and birds.", "\n\nIn what is truly a sign of the times, increasing numbers of “last chance” tourists are flocking to sites before they vanish. ", "A recent article about this “last-chance tourism” — the phenomenon of people wanting to see places that are already irrevocably changed by climate change, or that will likely soon go away entirely — is rather disturbing. ", "Some of the places attracting these “last chance” tourists are the Florida Reef Tract and Glacier National Park in Montana.", "\n\nTo close this section on a slightly heartening note, it is good to see more and more books and articles that are addressing the need to grieve all of this mounting loss.", "\n\nWater\n\nThe now-infamous Pacific Blob, a vast patch of warm water that caused massive die-offs of marine life a few years ago, was just the precursor to what could become a pattern. ", "Another mass of warm water has formed off the coast of Canada’s British Columbia, where warmer than normal ocean water is already covering about a 2,000 sq. ", "km. ", "area.", "\n\nDespite Oregon being in the normally rainy Pacific Northwest, record heat and low rainfall have caused a declaration of emergency in almost one-third of the counties of the state. ", "Amazingly, 86 percent of the state is also in severe drought.", "\n\nIn a dramatic indication of the rapidly diminishing cryosphere, a large glacier in China that draws millions of tourists annually is melting away before our eyes. ", "The Baishui glacier, at 15,000 feet, is part of a massive blanket of ice in Central Asia referred to as the “third pole,” given that it is the third largest store of ice on the planet, behind Greenland and the Antarctic. ", "The area of ice, roughly the size of New Mexico and Texas combined, is vital as a water source for billions of people in Asia, and the 10 largest rivers in Asia rely heavily on its seasonal melting. ", "In fact, it is one of the largest sources of freshwater on Earth, and it is in trouble. ", "Scientists working in China found that, by 2015, 82 percent of the glaciers they surveyed in China had retreated. ", "A study published this year showed that the Baishui had lost 60 percent of its mass and shrunk 820 feet since just 1982.", "\n\n“China has always had a freshwater supply problem with 20 percent of the world’s population but only 7 percent of its freshwater,” Jonna Nyman, an energy security lecturer at the University of Sheffield, told Phys.org. “", "That’s heightened by the impact of climate change.”", "\n\nScientists have also warned of a coming water crisis due to the melting glaciers in China; they expect it to begin around 2060.", "\n\nMeanwhile, sea ice and glaciers in other parts of the world are not faring any better.", "\n\nThe Arctic sea ice is now thin enough that Russia is softening its regulations for the kind of vessels it allows to operate within its Northern Sea Route for shipping across the Arctic.", "\n\nIn Canada’s Yukon Territory, glaciers are now retreating much faster than previously believed, and bringing dramatic changes across the region. “", "In their recent State of the Mountains report published earlier in the summer, the Canadian Alpine Club found that the Saint Elias mountains – which span British Columbia, the Yukon and Alaska – are losing ice faster than the rest of the country,” read a story in The Guardian about the melting glaciers. “", "Previous research found that between 1957 and 2007, the range lost 22 percent of its ice cover, enough to raise global sea levels by 1.1 millimetres.”", "\n\n“When I first went to the St. Elias range, it felt like time travel – into the past,” David Hik, who co-edited the report, told The Guardian. “", "What we’re seeing now feels like time travel into the future. ", "Because as the massive glaciers are retreating, they’re causing a complete reorganization of the environment.”", "\n\nThen there are the ever-rising seas. ", "Recently, three-fourths of Venice was flooded by an exceptionally high tide, which was augmented by strong winds. ", "It was the worst flooding to inundate the city in a decade, and untold numbers of homes, commercial buildings and businesses flooded. ", "We will, of course, see more of this colossal flooding in the not-so-distant future for all coastal cities around the globe.", "\n\nOne factor that causes the oceans to rise is the expansion of ocean waters as they warm. ", "With that warming come other problems. ", "For example, Australia’s Great Barrier Reef has received another dire warning: the entire system is at risk from bleaching and more coral death. ", "The US National Oceanographic and Atmospheric Administration forecast a 60 percent chance that the entire Great Barrier Reef will reach alert level one, meaning that extreme heat stress and bleaching are likely. ", "2016 and 2017 both saw heat waves that decimated large swaths of the reef.", "\n\nThe Intergovernmental Panel on Climate Change’s recent report warned that even with just a 1.5°C warming (Earth is currently at 1.1°C), the planet would lose 80 percent of its coral reefs. ", "At 2°C they would all be destroyed.", "\n\nFire\n\nCalifornia isn’t the only place experiencing increasingly intense and devastating wildfires.", "\n\nA wildfire in George, South Africa, killed seven people, including a firefighter, as fires in the region are worsening due to ongoing drought and increasingly warming temperatures.", "\n\nBushfires following an intense heat wave across parts of Queensland, Australia — described as “highly unusual” for this time of year — have destroyed homes and forced evacuations. ", "Normally, in Queensland, this time of year is the wet season.", "\n\n“In this part of the world we have not experienced these conditions before,” Queensland Fire and Emergency Services Commissioner Katarina Carroll told the BBC. “", "It is unprecedented.”", "\n\nMeanwhile, it’s not news that California, being warmer and drier than it used to be, is causing more and increasingly destructive wildfires as climate change progresses. ", "Another report, this one from National Geographic, outlined how that state’s hottest and driest summers have all occurred in the last 20 years, along with the fact that 15 of the 20 largest wildfires in the state’s history have occurred since just 2000. ", "Additionally, 10 of the top 20 most destructive California wildfires have occurred since just 2010.", "\n\nUnderscoring these trends, another report showed that California’s Camp Fire, which killed scores of people and displaced more than 100,000, caused greater devastation than the 10 other most destructive California wildfires combined.", "\n\nAir\n\nAccording to a recent study published in the Proceedings of the National Academy of Sciences, climate change is likely the cause of tropical cyclones now being pushed toward the poles. ", "This means they are becoming increasingly destructive at the northern latitudes. ", "This is due to the fact that climate change is actually causing the tropics to expand, is warming sea surface temperatures, and these conditions are causing cyclones to form further northward.", "\n\nA November report by Yale Environment 360 showed that Arctic warming, which is happening twice as quickly as the warming of the rest of the globe, has allowed new species to spread northwards, which are bringing new diseases with them that are having an increasingly devastating impact on the region’s fragile ecosystems.", "\n\nDenial and Reality\n\nThe rhetoric of climate denial is shifting, according to a recent report by Vox. ", "The Republican Party, having become aware that — given the regularity of catastrophic climate events that is now undeniably upon us — engaging in ongoing denial of climate change makes them look bad, has shifted its wording again. ", "Rather than denying outright the reality of climate change, some Republicans are now increasingly challenging the idea that it is human-caused … while, of course, continuing to do the bidding of its fossil fuel funders. ", "The rhetoric may have shifted, but in a sense, it doesn’t matter: Republicans are still working against any policy changes that might threaten the profits of Big Oil.", "\n\nIn one of the most blatant acts of denial possible, while commenting on the release of the aforementioned alarming US climate change report, President Donald Trump said, “I don’t believe it.”", "\n\nBack in reality-land, Energy and Environment News published an important story outlining how every single US president from JFK on was warned about the dangers of climate change.", "\n\nMeanwhile, New York State’s attorney general has sued ExxonMobil, accusing it of deceiving its shareholders by downplaying the risks of climate change.", "\n\nWe must brace ourselves for a truly dystopian climate future that is inevitable. ", "A very important report by Aeon shows us that we’re not just facing a “new normal” of climate extremes and the catastrophes that accompany them. ", "In effect, we are entering a New Cretaceous period.", "\n\n“Last November, the COP23 UN Climate Change Conference in Bonn reported that warming by 3°C by 2100 is now the realistic expectation,” reads the report. “", "With no check on emissions, we are on course to see preindustrial levels of CO2 double (from 280 to 560 ppm, or parts per million) by 2050 – and then double again by 2100. ", "In short, we’ll be generating climate conditions last experienced during the Cretaceous period (145-65.95 million years ago) when CO2 levels reached over 1,000 ppm.”", "\n\nIt is worth noting that during the Cretaceous period, global temperatures were 3-10°C hotter than preindustrial temperatures, and we are currently at 1.1°C above preindustrial temperatures.", "\n\nA final reality check for us all: The World Meteorological Organization (WMO) recently reported that concentrations of key greenhouse gases in the atmosphere that are driving up global temperatures set a record in 2017. ", "There is no sign of a reversal to this trend on the horizon.", "\n\nAccording to the WMO report, the last time Earth experienced a similar concentration of CO2 was 3-5 million years ago, when global temperatures were 2-3°C warmer than today, and sea levels were 10-20 meters higher than they are right now.", "\n\nCO2 concentrations in the atmosphere are 46 percent higher today than they were before the industrial revolution began. ", "Concurrently, methane, which is a far, far more potent greenhouse gas than CO2, is now present in the atmosphere at 257 percent of its level before the industrial revolution, and its rate of increase has been constant over the last decade.", "\n\nThe catastrophic impacts of runaway climate change are already upon us. ", "We must all consider how to use our time and energies most wisely and carefully, as we face down the most monumental test our species has experienced.", "\n\nCopyright © Truthout. ", "May not be reprinted without permission." ]

{ "pile_set_name": "OpenWebText2" }

[ 0.000025507601265177026, 0.0002872737719046251, 0.000016, 0.000012398333663955564, 0, 0, 0, 0, 0, 0, 0, 0, 0.000024266543716178507, 0, 0, 0, 0, 0, 0, 0, 0.000030524098775983637, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002123638216993353, 0, 0, 0, 0, 0, 0, 0, 0.0001960592098813842, 0, 0.000027411529289219047, 0.00004504301608035674, 0, 0, 0, 0.000054323223177908555, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0001321964439156587, 0, 0.00002986055122577563, 0, 0, 0, 0.00003018959062915107, 0, 0, 0, 0, 0, 0, 0, 0.00006087168249330412, 0, 0, 0, 0, 0.00004627701420704336, 0.000042718612499466016, 0, 0.00009512485136741974, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000022249911000355996, 0, 0.000027411529289219047, 0, 0, 0, 0, 0, 0.00011291354586171855, 0, 0, 0.000015500031000062, 0, 0, 0.00002712673611111111, 0, 0, 0.000009585062638384343, 0.00009425959091337542, 0.00001874027848053822, 0, 0.000036289737262302225, 0.00002684635829149776, 0.0000617283950617284, 0.000042718612499466016, 0, 0.00004756242568370987, 0, 0.000041091387245233394, 0, 0, 0.000027411529289219047, 0.00004058112166220274, 0, 0.00001736111111111111, 0, 0, 0, 0, 0, 0 ]

[ "Studies on acid protease fractions and gastric mucosal atrophy. ", "1. ", "A modified simple method for separate determination of alkali labile pepsin in gastric juice by alkali treatment or by using a synthetic substrate.", "\nA modified simple method applicable for clinical purpose for separate determination of \"pepsin\" and \"gastricsin\" by alkali treatment is reported. ", "The method includes dialysis against 0.1 M acetate buffer, pH 5.3 and incubation in an equal volume of 0.1 M phosphate buffer, pH 7.8 to give a final pH of 7.25, at 25 degrees C for 20 minutes, and has a good reproducibility. ", "N-acetyl-L-phenylalanyl-L-diiodotyrosine (APDT) hyprolysing activity and alkali labile pepsin activity are correlated very well. ", "Nevertheless the former cannot completely be destroyed by the treatment." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0, 0, 0, 0, 0 ]

[ "TERMUX_PKG_HOMEPAGE=https://rakshasa.github.io/rtorrent/\nTERMUX_PKG_DESCRIPTION=\"Ncurses BitTorrent client based on libTorrent\"\nTERMUX_PKG_LICENSE=\"GPL-2.0\"\nTERMUX_PKG_VERSION=0.9.8\nTERMUX_PKG_SRCURL=https://github.com/rakshasa/rtorrent/releases/download/v${TERMUX_PKG_VERSION}/rtorrent-$TERMUX_PKG_VERSION.tar.gz\nTERMUX_PKG_SHA256=9edf0304bf142215d3bc85a0771446b6a72d0ad8218efbe184b41e4c9c7542af\nTERMUX_PKG_DEPENDS=\"libcurl, libtorrent, ncurses\"\n" ]

{ "pile_set_name": "Github" }

[ 0.000020019118257936327 ]

[ "cats synthesizers music art opinion\n\nhayley silverman\n\nWe now turn our attention to another exhibition that is closing this week. ", "For most of May, Jancar Jones Gallery has presented a group exhibit of videos by Anne Eastman, Maggie Foster, Guthrie Lonergan and Hayley Silverman. ", "Each of videos explores subtle motion and illusory effects, either through the objects being filmed or through computer-based manipulation. ", "The exhibit will remain open at the gallery through May 29.", "\n\nAnne Eastman, A Record of Abstract Ideas. ", "Image courtesy of Jancar Jones Gallery. (", "Click to enlarge.)", "\n\nThe work that most caught my attention was A Record of Abstract Ideas, a mesmerizing video by New-York-based artist Anne Eastman. ", "She creates sculptures and installations that are very abstract and formal, but also play with reflection, motion and changes through the inclusion of mirrors and mobile elements. ", "She then creates videos of the installations, which become works in their own right. ", "The video presented here appears to include images of Eastman’s 2009 installation “Mobiles” at the ATM Gallery in New York, as seen here. ", "Throughout the video, one sees portions of geometric shapes, circles, rectangles and grids enter and exit the video at odd angles and reflect different textures and patterns within their boundaries. ", "At times, one sees the elements close-up and disconnected, while at other moments there is enough context to recognize a piece of a sculpture. ", "She also plays with colors and effects of the video itself in creating a work separate from the installation being filmed. ", "At a few times, one can see a video projector in the background, presumably projecting an earlier video of and earlier installation.", "\n\nOpposite Eastman’s video, the other works were projected onto the wall as part of a single continuous loop. ", "Hayley Silverman’s 1st Movement features images of shiny fabrics that appear to be folding and collapsing naturally, as if a sheet or a piece of clothing were dropped on a surface. ", "However, on close viewing one can see that the images are being digitally deformed, giving the illusion of the natural behavior of fabric. ", "You can see a video example here. ", "The other videos in the loop explore similar themes. ", "In “Floor Warp 2“, Guthrie Lonergan creates the illusion of continuous motion of wooden flooring (very similar to the flooring at CatSynth HQ, actually). ", "Similarly, Maggie Foster’sUntitled (2009) manipulates images of a green lawn creating illusions of distance." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0.0002252150804017837, 0, 0, 0.0005165289256198347, 0.000594883997620464, 0, 0.0001147842056932966, 0, 0, 0.00010501995379122034, 0, 0, 0, 0, 0, 0.000030524098775983637, 0, 0, 0, 0.000084331253162422, 0.00008573388203017832 ]

[ "Harib Al-Habsi\n\nHarib Abdullah Harib Al-Habsi (; born 4 December 1986), commonly known as Harib Al-Habsi, is an Omani footballer who plays as a goalkeeper for Al-Mudhaibi SC in the Oman First Division League.", "\n\nClub career statistics\n\nPersonal life\nHarib is the younger brother of Oman national football team and Wigan Athletic FC goalkeeper, Ali Al-Habsi.", "\n\nInternational career\nHe was selected for the national team for the first time in 2012. ", "He made his first appearance for Oman on 28 September 2012 in a friendly match against Yemen when he came on as a substitute for Mazin Al-Kasbi at the beginning of the second half.", "\n\nHonours\n\nClub\nWith Saham\nOmani Super Cup (1): 2010\nWith Fanja\nOman Elite League (0): 2012-13\n\nReferences\n\nExternal links\n \n Harib Al-Habsi at Goal.com \n \n \n \n\nCategory:1986 births\nCategory:Living people\nCategory:People from Al-Mudhaibi\nCategory:Omani footballers\nCategory:Oman international footballers\nCategory:Association football goalkeepers\nCategory:Muscat Club players\nCategory:Saham SC players\nCategory:Sur SC players\nCategory:Fanja SC players\nCategory:Footballers at the 2006 Asian Games\nCategory:Asian Games competitors for Oman" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0.00011556952662721894, 0.00009255402841408673, 0, 0, 0.000020729398432857478 ]

[ "Share this:\n\nIntroduction\n\nIn this article we’ll look at how to control the client ID the application presents to the queue manager.", "\n\nSetting a specific client ID\n\nBy default the Amqp.", "Net Lite client library generates a UID container ID to use in the AMQP open frame. ", "MQ interprets the container ID as a client ID which can be used to identify and, if required, authorise specific applications to different MQ topics.", "\n\nHere’s the output of runmqsc when viewing the AMQP channel status for a basic Amqp.", "Net Lite connection:\n\nYou can now more easily identify which connections you have coming into the queue manager and if you choose to adopt the client ID as the connection’s security context, authorise individual clients to specific MQ topics.", "\n\nIn the next post we will look at how multiple receivers can consume messages from a shared subscription." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0, 0, 0 ]

[ "The present invention relates to a method for fabricating a semiconductor device, and more particularly, to a method for forming a metal bit line in a flash memory device using a damascene process.", "\nA bar resistance that is appropriate for an operation characteristic of a flash memory device may be difficult to obtain if tungsten (W) is used as a bit line when fabricating a flash memory device smaller than 60 nm. ", "A method for forming a metal line using aluminum (Al) or copper (Cu) instead of tungsten has been introduced to address this problem. ", "Typically, a method for forming a metal line using aluminum includes depositing aluminum and then performing a reactive ion etch (RIE) process. ", "However, it may be difficult to obtain a uniformly etched surface. ", "Furthermore, a loss of aluminum may occur on a bottom interface when forming the metal line using the RIE process. ", "Thus, the aluminum line may be difficult to embody when a critical dimension (CD) of the metal line is low. ", "A metal line including copper is formed using a damascene process. ", "The damascene process generally has a better electro-migration characteristic than the RIE process.", "\nThe damascene process is commonly used to form a metal line including copper or aluminum. ", "A barrier metal layer is provided on an interface of an insulation layer to decrease diffusion of the copper or aluminum into the insulation layer. ", "When compared to the metal line including aluminum (hereinafter referred to as the aluminum line), the formation of the metal line including copper (hereinafter referred to as the copper line) using the damascene process provides a better electro-migration characteristic and better stability when performing a chemical mechanical polishing (CMP) process to isolate lines. ", "However, the formation of the copper line generally requires an independent work space and apparatus for forming the copper line because of a diffusion characteristic of copper. ", "It should be noted that copper has a fast diffusion speed in silicon or an oxide-based material used as an insulation layer.", "\nIn contrast, the aluminum line formed using the damascene process may provide advantages because the aluminum line may form a denser layer than the copper line. ", "Also, aluminum may not diffuse into silicon or an insulation layer. ", "However, the aluminum line is less stable than the copper line and therefore has a diminished electro-migration characteristic. ", "Thus, the aluminum line may easily corrode. ", "In particular, galvanic corrosion supplying electrons to a barrier metal layer may occur at a contact region with the barrier metal layer which includes a metal other than aluminum. ", "Such a characteristic may increase the bar resistance of the metal line and adversely impact the reliability of the device.", "\nAfter performing the CMP process for electrically isolating adjacent aluminum lines, a cleaning process is performed to remove slurry residue and polish by-products generated during the CMP process. ", "The cleaning process typically uses an ammonia (NH3)-based or hydrogen fluoride (HF)-based cleaning solution. ", "Consequently, the cleaning solution chemically damages the aluminum line and galvanic corrosion occurs. ", "Therefore, an improved cleaning solution for decreasing the galvanic corrosion during a cleaning process is desired. ", "FIG. ", "1 illustrates micrographic views of galvanic corrosion (referred to as ‘C’) generated between an aluminum line and a barrier metal layer during a cleaning process after a CMP process is performed." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0.000055691690799732676, 0.000048225308641975306, 0, 0.00007561436672967865, 0, 0, 0.0001020304050607081, 0, 0, 0.000007187574121858132, 0, 0, 0, 0, 0, 0, 0, 0, 0.00005, 0, 0, 0, 0.04, 0.00002603082049146189 ]

[ "The Real Deal about Real Estate.....Really!", "\n\nSo many times I've seen the case where a principal and their agent fill out a cancellation of contract, and once it's signed, they think it's all over and done.", "\n\nNot quite.", "\n\nWhat you need to keep in mind is that the contract between a buyer and seller is one thing. ", "The ESCROW, however, is not one in the same. ", "In addition to cancelling a contract, you must also cancel the escrow. ", "Otherwise, escrow does not have the ability to appriopriate funds and or take any remedial action according to the cancellation of the contract.", "\n\nThat works in reverse also. ", "If you fill out an escrow cancellation form, that does not necessarily cancel the contract. ", "You need a cancellation form for the contract as well.", "\n\nAnother small thing to keep in mind is that any amendments to you contract do not affect your escrow unless, of course, you notify escrow of the amendment. ", "Ideally, with enough time to take appropriate action based on the terms of the amendment.", "\n\nI've seen it often enough where there are credits issued or perhaps a price reduction that is mutually signed by buyer and seller, yet no one has communicated that to escrow, which ends up in a last minute scramble at close of escrow which sometimes results in unecessary drama." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0.0004938271604938272, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "---\nabstract: 'A relativistic Coulomb-like resummation factor in QCD is suggested, based on the solution of the quasipotential equation.'", "\naddress: 'Department of Physics and Astronomy, University of Oklahoma, Norman, OK 73019 USA'\nauthor:\n- 'Kimball A. Milton[^1] and Igor L. Solovtsov[^2]'\ntitle: |\n OKHEP-00-06\\\n Relativistic Coulomb Resummation in QCD\n---\n\nIn describing a charged particle-antiparticle system near threshold, it is well known from QED that the so-called Coulomb resummation factor plays an important role [@Schwinger70]. ", "This resummation, performed on the basis of the nonrelativistic Schrödinger equation with the Coulomb potential $V(r)=-\\alpha/r$, leads to the Sommerfeld-Sakharov factor [@Sommerfeld; @Sakharov] $$\\label{SS-factor} \nS_{\\rm nr}\\,=\\,\\frac{X_{\\rm nr}}{1\\,-\\,\\exp(-X_{\\rm nr})}\\, , \n\\quad\\quad X_{\\rm nr}\\,=\\,\\frac{\\pi\\,\\alpha}{v_{\\rm nr}}\\, ,$$ which is related to the wave function of the continuous spectrum at the origin, $|\\psi(0)|^2$. Here $v_{\\rm nr}$ is the velocity of the particle. ", "An expansion of Eq.", " (\\[SS-factor\\]) in a power series in the coupling constant $\\alpha$ reproduces the threshold singularities of the Feynman diagrams in the form $(\\alpha/v)^n$. However, in the threshold region one cannot truncate the perturbative series and the $S$-factor should be taken into account in its entirety. ", "A description of quark-antiquark systems near threshold, which has now been intensively investigated [@resum], also requires this Coulomb resummation. ", "The $S$-factor appears in the parametrization of the imaginary part of the quark current correlator, the Drell ratio $R(s)$, which can be approximated in terms of the Bethe-Salpeter (BS) amplitude of two charged particles $\\chi_{\\rm\nBS}(x)$ at $x=0$ [@BarbieriCR73]. ", "The nonrelativistic replacement of this amplitude by the wave function which obeys the Schrödinger equation with the Coulomb potential, leads to the approximation (\\[SS-factor\\]) with $\\alpha\\to 4\\alpha_s/3$, for QCD.", "\n\nIn the relativistic theory, especially for systems composed of quarks lighter than the top, the nonrelativistic approximation needs to be modified. ", "To use the $S$-factor within such a relativistic regime one usually uses the simple substitution $v_{\\rm nr}\\to v$ with $v=\\sqrt{1-{4m^2}/{s}}$. However, the corresponding relativistic generalization of the $S$-factor is obviously not unique, for there are numerous ways of expressing the nonrelativistic velocity in terms of the relativistic energy $\\sqrt{s}$. For a systematic relativistic analysis of quark-antiquark systems, it is essential from the very beginning to have a relativistic generalization of the $S$-factor.", "\n\nIn this letter we suggest a new form for this relativistic factor in the case of QCD. ", "Our starting point is the quasipotential (QP) approach proposed by Logunov and Tavkhelidze [@LogunovTav], in the form suggested by Kadyshevsky [@Kadyshevsky68]. ", "To find an explicit form for the relativistic $S$-factor we will transform the QP equation from momentum space into relativistic configuration space [@KadMS68-72]. ", "The local Coulomb potential defined in this representation has a QCD-like behavior in momentum space [@SavrinS80].", "\n\nThe possibility of using the QP approach to define the relativistic $S$-factor is based on the fact that the BS amplitude, which parameterizes the physical quantity $R(s)$, is taken at $x=0$, therefore, in particular, at relative time $\\tau=0$. The QP wave function is defined as the BS amplitude at $\\tau=0$, and the $R$-ratio can be expressed through the QP wave function $\\psi_{\\rm QP}({\\bf p})$ by using the relation $$\\label{BS-QP}\n\\chi_{\\rm BS}(x=0)\\,=\\,\\int d\\Omega_p \\,\\psi_{\\rm QP}({\\bf p})\\, ,$$ where $d\\Omega_p=(d{\\bf p})/[(2\\pi)^3\\,E_p]$ is the relativistic three-dimensional volume element in the Lobachevsky space realized on the hyperboloid $E_p^2-{\\bf p}^2=m^2$.[^3]\n\nThe QP equation in momentum space has the form $$\\label{OP-m-eq}\n\\left(2E \\,-\\,2E_p\\right)\\,\\psi ({\\bf p})\\,=\\,\n\\int\\,d\\Omega_k\\,V\\left({\\bf p}(-){\\bf k}\\right)\\,\\psi ({\\bf k})\\, .$$ The proper Lorentz transformation, $\\Lambda_{\\bf k}$, means a translation in the Lobachevsky space $$\\label{translation}\n\\Lambda_{\\bf k}\\,{\\bf p}\\,\\equiv\\,{\\bf p}(+){\\bf k}\n\\,=\\,{\\bf p}+{\\bf k}\\left[ \\sqrt{1+{\\bf p}^2}\n\\,+\\,\\frac{{\\bf p}\\cdot{\\bf k}}{1+\\sqrt{1+{\\bf k}^2}}\\right]\\, .$$ The role of the plane waves corresponding to the translations (\\[translation\\]) is played by the following functions $$\\label{xi-funct}\n\\xi({\\bf p},{\\bf r})\\,=\\,\\left(E_p-{\\bf p}\\cdot{\\bf n}\\right)^{-1-ir}\\, ,$$ where ${\\bf r}={\\bf n}r$ and ${\\bf n}^2=1$. These functions correspond to the principal series of unitary representations of the Lorentz group and in the nonrelativistic limit ($p\\ll1$, $r\\gg1$) $\\xi({\\bf p},{\\bf r})\\to\\exp(i{\\bf p}\\cdot{\\bf r})$. The orthogonality and completeness relations for these functions are $$\\begin{aligned}\n\\label{orthogonality}\n\\int\\,d\\Omega_p\\, \\xi({\\bf p},{\\bf r})\\,\\xi^*({\\bf p},{\\bf r}')\n&=&\\delta({\\bf r}-{\\bf r}')\\,, \\nonumber\\\\\n\\int (d{\\bf r})\\, \\xi({\\bf p},{\\bf r})\\,\\xi^*({\\bf k},{\\bf r})\n&=&(2\\pi)^3\\delta({\\bf p}(-){\\bf k}) \\, ,\\end{aligned}$$ where the relativistic momentum-space $\\delta$-function is $\\delta({\\bf p}(-){\\bf k})=\\sqrt{1+{\\bf p}^2}\\,\\delta({\\bf p}-{\\bf k})$. The QP wave functions in the momentum and relativistic configuration representations are related as follows: $$\\begin{aligned}\n\\label{p-r-funct}\n\\psi ({\\bf r})&=&\n\\int d\\Omega_p\\,\\xi({\\bf p},{\\bf r})\\,\\psi ({\\bf p})\\,,\\nonumber\\\\\n\\psi ({\\bf p})&=&\n\\int (d{\\bf r})\\,\\xi^*({\\bf p},{\\bf r})\\,\\psi ({\\bf r})\\,.\\end{aligned}$$\n\nFor a spherically symmetric potential the $\\xi$-transform of Eq.", " (\\[OP-m-eq\\]) is the equation $$\\begin{aligned}\n\\label{r-eq1}\n&&\\int\\,d\\Omega_p\\, (d{\\bf r}')\\,(2E -2E_p)\\, \\xi({\\bf p},{\\bf r})\n\\xi^*({\\bf p},{\\bf r}')\\,\\psi ({\\bf r}')\\nonumber\\\\\n&&\\quad=V(r)\\,\\psi ({\\bf r}),\\end{aligned}$$ where the right hand side is local. ", "Here the transform of the potential is given in terms of the same relativistic plane wave, $$V({\\bf p(-)k})=\\int(d{\\bf r})\\,\\xi^*({\\bf p(-)k,r})V({\\bf r}).$$ The left hand side of this equation can be rewritten in a non-integral form by using the operator of the free Hamiltonian [@KadMS68-72] $$\\label{H-0}\n\\hat{H}_0\\,=\\,\\cosh\\left(i\\frac{d}{dr}\\right) \n+\\frac{i}{r}\\sinh\\left(i\\frac{d}{dr}\\right) \n-\\frac{\\Delta_{\\theta,\\varphi}}{2r^2}\\exp\\left(i\\frac{d}{dr}\\right)\\,,$$ where $\\Delta_{\\theta,\\varphi}$ is the angular part of the Laplacian operator. ", "The relation $\\hat{H}_0\\xi({\\bf p},{\\bf r})=E_p\\xi({\\bf p},{\\bf r})$ allows one to re-express the equation in terms of finite differences $$\\label{r-eq-fd}\n\\left(2E -2\\hat{H}_0\\right)\\psi ({\\bf r})\\,=\\,V(r)\\,\\psi ({\\bf r})\\,.$$ This equation for the Coulomb potential has been investigated in Ref.", " [@Freeman69]. ", "The solutions contain arbitrary functions of $r$ with period $i$, the so-called the $i$-periodic constants, which appear in the solutions due to the finite difference nature of the Hamiltonian (\\[H-0\\]). ", "For some problems, such as defining the bound state spectrum, this $i$-periodic constant is not important. ", "However, for the purpose of extracting the $S$-factor, we must develop a method which avoids this ambiguity.", "\n\nConsider the Coulomb potential defined in relativistic configuration space $$\\label{Coulomb}\nV(r)\\,=\\,-\\frac{\\alpha}{r}\\,.$$ The $\\xi$-transformation of Eq.", " (\\[Coulomb\\]) gives in momentum space the following function $$\\label{Coulomb-moment}\nV(\\Delta)\\,\\sim\\, \\frac{1}{\\chi_\\Delta\\sinh\\chi_\\Delta}\\,,$$ where the relative rapidity $\\chi_\\Delta$ corresponds to ${\\bf \\Delta}={\\bf p}(-){\\bf k}$ and is defined in terms of the square of the momentum transfer by $Q^2=-(p-k)^2=2(\\cosh\\chi_\\Delta -1)$. For large $Q^2$ the potential $V(\\Delta)$ behaves as $(Q^2\\ln Q^2)^{-1}$, which reproduces the principal behavior of the QCD potential proportional to $\\bar\\alpha_s(Q^2)/Q^2$ with $\\bar\\alpha_s(Q^2)$ being the QCD running coupling.", "\n\nAccording to Eqs.", " (\\[BS-QP\\]), (\\[xi-funct\\]), and (\\[p-r-funct\\]), we find a relation between the required BS amplitude and the QP wave function, $\\chi_{\\rm{BS}}(x=0)=\\psi_{\\rm{QP}}(r=i)$. Performing a partial-wave analysis we further observe that the QP wave function for an $\\ell$-state will contain the generalized power $(-r)^{(\\ell+1)}=\ni^{l+1}\\Gamma(ir+l+1)/\\Gamma(ir)$, which vanishes at $r=i$ for $\\ell\\not=0$. Thus, we need only to consider the $\\ell=0$ wave function for which we can write $\\psi ({\\bf r})=\\psi (r)$. Introducing the function $R (r)=r\\,\\psi (r)$ into Eq.", " (\\[r-eq1\\]), we get $$\\begin{aligned}\n\\label{r-eq2}\n&&\\frac{2}{\\pi}\\int_0^\\infty d\\chi'\\int_0^\\infty dr'\\sin \\chi' r\\,\n\\sin \\chi'r' (2E -2\\cosh\\chi') R (r')\\nonumber\\\\\n&&\\quad=V(r)\\, R (r)\\,.\\end{aligned}$$\n\nWe will seek a solution of Eq.", " (\\[r-eq2\\]) with the Coulomb potential (\\[Coulomb\\]) in the form $$\\label{form-of-solut}\nR (r)\\,=\\,\\int_\\alpha^\\beta\\,d\\zeta\\,\\exp(i\\,r\\,\\zeta)\\,R (\\zeta)\\,,$$ where the $\\zeta$-integration is performed in the complex plane over a contour with endpoints $(\\alpha,\\beta)$ [@SkSol83]. ", "Substituting Eq.", " (\\[form-of-solut\\]) into Eq.", " (\\[r-eq2\\]) we find the equation[^4] $$\\begin{aligned}\n\\label{r-eq4}\n&&\\int_\\alpha^\\beta\\,d\\zeta\\,\\exp(i\\,r\\,\\zeta)\\,\n\\left(\\,2E -2\\cosh\\zeta\\right)\\,R (\\zeta)\\nonumber\\\\\n&&\\quad=-\\frac{\\alpha}{r}\\,\n\\int_\\alpha^\\beta\\,d\\zeta\\,\\exp(i\\,r\\,\\zeta)\\, R (\\zeta)\\,,\\end{aligned}$$ which, when we integrate by parts, yields the two equations $$\\label{nonintegral-term}\n\\exp(i\\,r\\,\\zeta)\\,\\left(\\,2E -2\\cosh\\zeta\\right)\n\\,R (\\zeta)\\,\\Big|_{\\zeta=\\alpha}^{\\zeta=\\beta}\\,=\\,0$$ and $$\\label{integral-term}\ni\\,\\frac{d}{d\\zeta}\\,\n\\Big[\\left(\\,2E -2\\cosh\\zeta\\right)\\,R (\\zeta)\\Big]\\, \n=\\,-\\,\\alpha\\,R (\\zeta) \\,.$$ The solution of Eq.", " (\\[integral-term\\]) is $$\\begin{aligned}\n\\label{R-zeta}\nR (\\zeta)&=&C(\\chi)\\, \\exp(\\zeta)\n\\Big[\\exp(\\zeta)\\,-\\,\\exp(-\\chi)\\Big]^{A-1}\\nonumber\\\\\n&&\\quad\\times\\Big[\\exp(\\zeta)\\,-\\,\\exp(\\chi)\\Big]^{-A-1} \\,,\\end{aligned}$$ where $A=i\\alpha/(2\\sinh\\chi)$, $E =\\cosh\\chi$, and $C(\\chi)$ is an arbitrary function of $\\chi$.\n\nThe branch points of the function (\\[R-zeta\\]) are $\\pm\\chi+2\\pi in$ (see Fig.", " \\[zeta-plane\\]). ", "The contour of integration must not intersect cuts which we take from $-\\infty+2\\pi i n$ to $\\pm\\chi+2\\pi i n$. In the case when the interaction vanishes, $\\alpha\\to0$, the solution $R (r)$ should reproduce the known free wave function ${\\sin\\chi r}/{\\sinh\\chi}$. Taking into account these remarks and Eq.", " (\\[nonintegral-term\\]) for the boundary values at $(\\alpha,\\beta)$, we take $\\alpha=-R-i\\varepsilon$, $\\beta=-R+i\\varepsilon$ with $R\\to\\infty$. The vertical part of the contour to the right is given by ${\\rm Re}\\,\\zeta=+R$. It is also convenient for finding a connection to an integral representation of the hypergeometric function to take the horizontal parts of the contour to be characterized by ${\\rm Im}\\,\\zeta=\\pm\\pi$ (see Fig.", " \\[zeta-plane\\]).", "\n\nThe resulting solution does not contain the $i$-periodic constant and reads[^5] $$\\begin{aligned}\n\\label{R(r)1}\n&&R (r)=C(\\chi)\\,\\sinh\\pi r\\,\\int_{-\\infty}^\\infty\\,\ndx\\,\\exp(irx)\\,\\exp(x)\\nonumber\\\\\n&&\\times\\Big[\\exp(x)\\,+\\,\\exp(-\\chi)\\Big]^{A-1}\n\\Big[\\exp(x)\\,+\\,\\exp(\\chi)\\Big]^{-A-1}.\\nonumber\\\\\\end{aligned}$$ Comparing the asymptotic form of Eq.", " (\\[R(r)1\\]) at $r\\to\\infty$ with the free wave function we can determine the constant $C(\\chi)$ and calculate $|\\psi_{\\rm QP}(i)|^2$ which leads to the relativistic $S$-factor: $$\\label{S-factor-relativistic}\nS(\\chi)\\,=\\,\\frac{X(\\chi)}{1\\,-\\,\\exp\\left[-X(\\chi)\\right]}\\, ,\n\\quad\\quad X(\\chi)\\,=\\, \\frac{\\pi\\,\\alpha}{\\sinh\\chi}\\, ,$$ where $\\chi$ is the rapidity which related to $s$ by $2\\cosh\\chi=\\sqrt{s}$. The function $X(\\chi)$ in Eq.", " (\\[S-factor-relativistic\\]) can be expressed in terms of $v$ as $X(\\chi)=\\pi\\alpha\\sqrt{1-v^2}/v$.\n\nWe note that this new relativistic factor could have a significant impact in interpreting strong-interaction physics. ", "In many physically interesting cases, $R(s)$ occurs as a factor in an integrand, as, for example, for the case of inclusive $\\tau$ decay, for smearing quantities, and for the Adler $D$ function. ", "Here the behavior of $S$ at intermediate values of $v$ becomes important. ", "To illustrate the difference between the factors (\\[SS-factor\\]) and (\\[S-factor-relativistic\\]), in Fig.", " \\[fig2\\] we plot the principal contribution to $R(s)$ for the vector currents, $$R^{(0)}(s)={v(3-v^2)\\over2}S,$$ for the nonrelativistic case with $v_{\\rm nr}\\to v$ and the relativistic one, for $\\alpha=0.25$.\n\nWe conclude this letter by discussing the two limiting cases. ", "In the nonrelativistic limit, $v\\ll1$, the relativistic $S$-factor (\\[S-factor-relativistic\\]) reproduces the nonrelativistic result (\\[SS-factor\\]). ", "In the ultrarelativistic limit, as it has been argued in Ref.", " [@Lucha], the bound state spectrum vanishes as $m\\to 0$ because the particle mass is the only dimensional parameter. ", "This feature reflects an essential difference between potential models and quantum field theory, where an additional dimensional parameter appears. ", "One can conclude that within a potential model, the $S$-factor which corresponds to the continuous spectrum should go to unity in the limit $m\\to 0$. Thus, the relativistic resummation factor $S$ obtained here reproduces both the expected nonrelativistic and ultrarelativistic limits and corresponds to a QCD-like Coulomb potential.", "\n\nAcknowledgments {#acknowledgments .unnumbered}\n===============\n\nThe authors would like to thank A.N. Sissakian, D.V. Shirkov, and O.P. Solovtsova for interest in this work and valuable discussions. ", "Partial support of the work by the US National Science Foundation, grant PHY-9600421, by the US Department of Energy, grant DE-FG-03-98ER41066, and by the RFBR, grants 99-01-00091, 99-02-17727, is gratefully acknowledged. ", "The work of ILS was also supported in part by the University of Oklahoma, through its College of Arts and Science, the Vice President for Research, and the Department of Physics and Astronomy. ", "He thanks the members of the high energy group of the University of Oklahoma for their warm hospitality.", "\n\nJ. Schwinger, [*Particles, Sources and Fields*]{}, vol. ", "II (Addison-Wesley, Reading, Mass. 1973), p. 397, for example. ", "A. Sommerfeld, Atombau und Spektrallinien, vol. ", "II (Vieweg, Braunschweig, 1939). ", "A.D. Sakharov, Sov. ", "Phys. ", "JETP [**18**]{}, 631 (1948). ", "M.B. Voloshin, Int. ", "J. Mod. ", "Phys. [**", "A 10**]{}, 2865 (1995); M. Jamin and A. Pich, Nucl. ", "Phys. [**", "B 507**]{}, 334 (1997); K.G. Chetyrkin, A.H. Hoang, J.H. K$\\ddot{\\rm u}$hn, M. Steinhauser, and T. Teubner, Eur. ", "Phys. ", "J. [**C 2**]{}, 137 (1998); J.H. K$\\ddot{\\rm u}$hn, A.A. Penin, and A.A. Pivovarov, Nucl. ", "Phys. [**", "B 534**]{}, 356 (1998); A.A. Penin and A.A. Pivovarov, Nucl. ", "Phys. [**", "B 549**]{}, 217 (1998); A.A. Pivovarov, Phys. ", "Lett. [**", "B 475**]{}, 135 (2000); A.H. Hoang, M. Beneke, K. Melnikov, T. Nagano, A. Ota, A.A. Penin, A.A. Pivovarov, A. Signer, V.A. Smirnov, Y. Sumino, T. Teubner, O. Yakovlev, A. Yelkhovsky, hep-ph/0001286. ", "R. Barbieri, P. Christillin and E. Remiddi, Phys. ", "Rev. D [**8**]{}, 2266 (1973). ", "A.A. Logunov and A.N. Tavkhelidze, Nuovo Cimento [**29**]{}, 380 (1963). ", "V.G. Kadyshevsky, Nucl. ", "Phys. [**", "B 6**]{}, 125 (1968). ", "V.G. Kadyshevsky, R.M. Mir-Kasimov and N.B. Skachkov, Nuovo Cimento [**55 A**]{}, 233 (1968); Sov. ", "J. Part. ", "Nucl. [**", "2**]{}, 69 (1972). ", "V.I. Savrin and N.B. Skachkov, Lett. ", "Nuovo Cimento [**29**]{}, 363 (1980). ", "M. Freeman, M.D. Mateev and R.M. Mir-Kasimov, Nucl. ", "Phys. [**", "B 12**]{}, 197 (1969). ", "N.B. Skachkov and I.L. Solovtsov, Theor. ", "Math. ", "Phys. [**", "54**]{}, 116 (1983). ", "W. Lucha and F.F. Sch$\\ddot{\\rm o}$berl, Phys. ", "Rev. Lett. [**", "64**]{}, 2733 (1990); Phys. ", "Lett. [**", "B 387**]{}, 573 (1996).", "\n\n[^1]: E-mail: milton@mail.nhn.ou.edu\n\n[^2]: On leave of absence from the Bogoliubov Laboratory of Theoretical Physics, Joint Institute for Nuclear Research, Dubna, 141980 Russia. ", "E-mail: solov@mail.nhn.ou.edu, solovtso@thsun1.jinr.ru\n\n[^3]: In the following we will consider the case of two scalar particles with the same masses $m$ and use the system of units $c=\\hbar=m=1$.\n\n[^4]: We first perform the $\\chi'$-integration with a regularization factor $\\exp(-\\epsilon\\chi^{\\prime2})$ and then set $\\epsilon=0$ after all calculations.", "\n\n[^5]: The representation of this solution in terms of the hypergeometric function can be found, for instance, by the substitution $x=\\chi-\\ln s$.\n" ]

{ "pile_set_name": "ArXiv" }

[ 0.00010655868719697373, 0.000041641879833432486, 0.000025194840096748185, 0.002770083102493075, 0, 0.00008771545107670716, 0.00004208222867483062, 0.0000637091465098006, 0, 0.0000036281179138321994, 0.00012913223140495868, 0.00019289379267775161, 0.000074360499702558, 0.0001538935056940597, 0.0000027797176755215937, 0.000014457343607685523, 0.000006563747111951271, 0.00001133671167341201, 0.0044444444444444444, 0, 0, 0, 0.0000400576830636116, 0.000009105367310517307, 0.002770083102493075, 0.000015718525225089282, 0.00003501339262267817, 0.00002479666732791113, 0, 0.0023781212841854932, 0.000020678032691969687, 0.000012562735158698751, 0, 0.000010749798441279227, 0.000005284713964856652, 0, 0.000008070764462809918, 0.000005188848127604153, 0, 0, 0, 0.00009070294784580499, 0, 0, 0, 0.00007181844297615628, 0.00004565376186997809, 0.000009072434315575556, 0.00005, 0.00008116224332440549, 0.00010738543316599103, 0.00009245562130177516, 0.00029726516052318666, 0.00025195263290501383, 0.00043402777777777775, 0, 0.0025, 0, 0, 0.0025, 0.015625, 0, 0.0011094674556213018, 0, 0.00031325867334951836, 0, 0.00037037037037037035, 0, 0.0005374899220639614, 0, 0.0004725897920604915, 0.012345679012345678, 0.00025251887578596504, 0.0012, 0, 0.000562957402889848, 0.001736111111111111, 0, 0, 0.0004081216202428324, 0.012345679012345678, 0, 0, 0.002191380569758948, 0.0006925207756232687, 0.0011094674556213018, 0, 0, 0.001189767995240928, 0, 0, 0, 0.0004526935264825713, 0.00510204081632653, 0, 0.012345679012345678, 0, 0.00012209639510393455, 0.000015869867089863123, 0 ]

[ "San Paolo Cervo\n\nSan Paolo Cervo is a former comune (municipality) in the Province of Biella in the Italian region Piedmont, located about northeast of Turin and about northwest of Biella. ", " From 1 January 2016 San Paolo Cervo, along with Quittengo, was absorbed by the neighbouring municipality of Campiglia Cervo.", "\n\nReferences\n\nCategory:Former communes of the Province of Biella\nCategory:Frazioni of the Province of Biella\nCategory:Cities and towns in Piedmont" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0.000054823058578438094, 0.000064, 0 ]

[ "Smile with confidence, with brighter, whiter teeth!", "\n\nDon’t be ashamed of your smile. ", "If you’re worried about having discoloured or stained teeth, talk to the Guiney Dental Team today. ", "We’ve got the expertise to help dramatically improve the appearance of your teeth, restoring your smile to its natural glory.", "\n\nWhat Causes Staining on Teeth?", "\n\nStained and discoloured teeth can be an upsetting problem and the good news is that there’s plenty that can be done to solve it! ", "If you’re catching the problem early, it’s great news as you’ll be able to prevent staining rather than trying to reverse it, which is much easier to do. ", "However, don’t be disheartened if you’re already living with stained teeth, there are many options for you to try.", "\n\nAvoid Staining Your Teeth by Watching What You Eat\n\nThere are many foods that contribute to staining teeth, and some of these are not so obvious! ", "It won’t come as a surprise that carbonated, sugary drinks are a culprit, but did you know that berries can also cause your teeth to become stained? ", "Acidic foods can lead to discolouration as they can weaken tooth enamel, leaving the tooth itself open to damage. ", "Tea, red wine, fizzy drinks and sauces, such as ketchup and soy sauce, can all have adverse effects on the colour of your teeth and although you probably won’t want to eliminate them from your diet, cutting down can be a good idea.", "\n\nFive Top Tips to Keep Your Teeth Whiter\n\nUse a straw. ", "This may not be an elegant choice for the dinner party drinks, but if you can use a straw when drinking fizzy drinks or juices, your teeth will thank you. ", "The unexpected sugars and acids in fruit and fruit juices can be harmful to teeth, so be sure to limit your intake of these as well as the more obvious stain culprits.", "\n\nDon’t chew for too long. ", "We all know it’s vital to chew your food properly before swallowing it, but don’t get carried away as swallowing promptly can reduce the risk of staining – especially where drinks are concerned.", "\n\nRinse your mouth. ", "If you can’t brush your teeth immediately after eating – and sometimes it’s better not to, as your enamel will be vulnerable to abrasion if you brush within 30 minutes of acidic food or drinks – you can swish your mouth out with water to rinse stain-causing deposits away from your teeth.", "\n\nChew gum. ", "Chewing sugarless gum after eating or drinking is said to reduce staining and can also help to keep breath fresh and sweet. ", "Be aware of potential side effects of excessive gum chewing, though, as some brands can have negative effects, for example, if they possess laxative ingredients.", "\n\nVisit a professional. ", "If you have been unable to improve your staining by yourself and it’s a problem you don’t want to suffer with for any longer, visit a dentist and ask advice on whitening treatments. ", "Over the counter products can be too harsh for your teeth and your dentist will be able to advise on the best solutions for you.", "\n\nFind a Dentist in Cork\n\nIf you’re searching for a dentist in Cork, look no further than Guiney Dental Clinic. ", "We pride ourselves on being friendly and personable, and you can be sure that your teeth will be very well cared for! ", "Call today on 021-481 0535." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0.0001020304050607081, 0, 0.0009765625, 0, 0, 0, 0, 0, 0.00007694675284702985, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00015943877551020407, 0, 0 ]

[ "Parvovirus vectors: use and optimisation in cancer gene therapy.", "\nWith the increasing incidence and mortality of cancer worldwide, there is an urgent need for new therapeutic approaches. ", "Gene therapy is one such approach and preliminary data are promising. ", "Viral and nonviral vector systems for gene delivery are available, but most of the current systems suffer from disadvantages such as low transfection efficiencies, in vivo instability, targeting problems, mutagenic potential and immunogenicity. ", "Viruses of the Parvoviridae family, which are characterised by their oncotropism, oncosuppression, long-term gene expression and human apathogenicity, potentially offer advantages as viral vectors. ", "This article evaluates their usefulness in gene therapy strategies for cancer." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0, 0, 0.000025507601265177026, 0 ]

[ "Introduction {#s1}\n============\n\nThe market of biopharmaceutical products and drugs based on recombinant proteins (r-proteins) is growing rapidly, with total sales reaching more than 138 billion dollars in 2010 [@pone.0093865-Visiongain1]. ", "The mammalian cell culture system is predominant in the synthesis of biopharmaceutical products due to their ability to properly develop processes for assembly, folding and post-translational modifications, such as glycosylation [@pone.0093865-Lim1].", "\n\nWhile in the past 20 years production systems have improved in terms of cell growth, from maximum cell concentrations of 1--2 to 10--15 million cells/ml, as well as in specific (10--20 to 50--90 pg/cell/day) and volumetric (0.05--0.1 to 1--5 g/L) productivities [@pone.0093865-Wurm1], the demand for this growing market still requires further production capacity under stringent optimization schemes [@pone.0093865-Kim1]. ", "In this aspect, considering that the productivity of r-proteins is directly proportional to the mass of viable cells, culture viability and longevity, different approaches have been investigated to optimize the production capacity of the cultures. ", "One of such approaches has been the use of mild hypothermia condition with temperatures ranging between 30°C and 33°C, which have been shown to increase culture longevity and specific productivity of a wide range of recombinant proteins, in addition to reducing cell growth rate in CHO cells batch cultures [@pone.0093865-Furukawa1], [@pone.0093865-Kauffmann1], [@pone.0093865-Schatz1], [@pone.0093865-Yoon1], [@pone.0093865-Yoon2], [@pone.0093865-Fox1], [@pone.0093865-Fogoln1], [@pone.0093865-BollatiFogolin1], [@pone.0093865-Trummer1], [@pone.0093865-Berrios1].", "\n\nThe mechanism for an increase in specific productivity of recombinant proteins from a decrease in cultivation temperature in batch cultures has not been determined with certainty [@pone.0093865-Becerra1]. ", "Among the possible causes that could be involved in this phenomenon are: cell cycle arrest in G1 phase, considered as a more metabolically active phase [@pone.0093865-Carvalhal1], [@pone.0093865-Yoon1], [@pone.0093865-Yoon3], [@pone.0093865-Bi1], [@pone.0093865-Trummer1]; reduced or delayed catabolism of carbon and energy sources [@pone.0093865-BollatiFogoln1], [@pone.0093865-Yoon4]; increased levels of transcription and increased mRNA stability of r-proteins [@pone.0093865-Sonna1], [@pone.0093865-Yoon1], [@pone.0093865-Fox1], [@pone.0093865-AlFageeh1]; increase in folding capacity and expression of endoplasmic reticulum chaperones [@pone.0093865-Smales1], [@pone.0093865-Baik1], [@pone.0093865-Masterton1].", "\n\nWhile the benefits of mild hypothermia condition have been widely demonstrated by cold shock [@pone.0093865-Furukawa1], [@pone.0093865-Trummer1], [@pone.0093865-Yoon4] or after adaptation of the cells [@pone.0093865-Berrios1]; [@pone.0093865-Vergara1], a significant increase in specific productivity of r-proteins has been observed in most cases, all existing reports have used batch cultivation [@pone.0093865-Hendrick1], [@pone.0093865-Schatz1], [@pone.0093865-BollatiFogoln1], [@pone.0093865-Fox1], [@pone.0093865-Oguchi1], [@pone.0093865-Yoon2], [@pone.0093865-Shi1], [@pone.0093865-Marchant1], [@pone.0093865-Nam1], [@pone.0093865-Berrios1]. ", "Unfortunately, this mode of cultivation does not allow to study the effect of reduced culture temperatures on r-protein productivity separately, since a reduction of the specific growth rate is simultaneously caused by mild hypothermia. ", "In this sense, chemostat culture resurgence as the most appropriate tool for obtaining biologically reliable and homogeneous data [@pone.0093865-Omasa1], [@pone.0093865-Berrios2], [@pone.0093865-Krampe1], [@pone.0093865-Burleigh1] (based on the advantages offered through environmental control, reproducibility and delivering constant physicochemical conditions), allowing control the specific growth rate of the cells (μ), through the dilution rate (D), after reaching steady state (SS) being valid in mammalian cell technology to high viability (D = μ). ", "Thus, chemostat culture emerges as a relevant option to achieve a correct understanding of the cell behavior to solve the problem of evaluating various culture variables [@pone.0093865-Hoskisson1].", "\n\nTherefore, the use of chemostat cultures is a more suitable option to study the sole effect of temperature changes, as it allows defining the specific growth rate by setting the dilution rate (D = F/V), (F: Feed flow; V: Reaction volume). ", "This constant and stable environment, in turn, allows separating the specific growth rate from other system variables, therefore maintaining the cell population in a defined physiological state [@pone.0093865-Bailey1].", "\n\nThis study aims to separately assess the effect of mild hypothermia and specific growth rate on the production of recombinant human tissue plasminogen activation (rht-PA) produced by CHO cells. ", "For this purpose, chemostat cultures were carried out at two D (0.017 and 0.012 h^−1^) and two culture temperatures (37°C and 33°C).", "\n\nMaterials and Methods {#s2}\n=====================\n\nCell line and culture medium {#s2a}\n----------------------------\n\nThe ht-PA producing cell line (CHO TF 70R) was obtained from Pharmacia & Upjohn S.A. (Sweden) (kind gift of Torsten Björlig). ", "The culture medium was SFM4CHO HyClone, free of glucose and glutamine, supplemented with 10 mM glucose (G7021, Sigma, USA) and 6 mM glutamate (G8415, Sigma, USA) used in substitution of glutamine [@pone.0093865-Altamirano1] in the feed.", "\n\nChemostat cultures {#s2b}\n------------------\n\nChemostat culture experiments were performed in a Biostat A Plus bioreactor (Sartorius Stedim Biotech S.A., France) maintaining a working volume of 500 ml and a pH level of 6.9 (Hepes buffer, Sigma-Aldrich). ", "The bioreactor was inoculated and operated in batch-mode during 48 h and it was then supplied with sterile feed throughout the period of operation.", "\n\nA series of four experiments was performed, in duplicate, at 37°C or 33°C, keeping a High-D: 0.017 h^−1^ (Residence time (τ = 1/D), τ~0.017~: 58.8 h) or Low-D: 0.012 h^−1^.(τ~0.012~: 83.3 h). ", "Samples were taken every 24 h for viable cell quantification, centrifuged and the supernatant was immediately frozen at −20°C for analytic measurements. ", "Cultures were considered to reach steady-state (SS) when, after at least four residence times, 4×τ~0.017~: 235.2 h or 4×τ~0.012~: 333.2 h, and the number of viable cells, glucose, and lactate concentration, were constant in two consecutive samples [@pone.0093865-Berrios2].", "\n\nAnalytical methods {#s2c}\n------------------\n\nCells were counted using a hemacytometer (Neubauer, Germany). ", "Cell viability was determined by the method of exclusion using trypan blue (T8154, Sigma, USA) (1∶1 mixture of 0.2% trypan blue in saline and cell sample). ", "Glucose and lactate concentrations were determined with an automatic biochemistry analyzer (YSI 2700, Yellow Springs Inc., USA). ", "The concentration of rht-PA was quantified by enzyme immunoassay (Biopool Imulyse t-PA kit, Diagnostic International, Germany).", "\n\nQuantitative real-time PCR assay {#s2d}\n--------------------------------\n\nRNA extraction and cDNA synthesis were performed as previously described [@pone.0093865-DazBarrera1]. ", "Cells were harvested by centrifugation at 500 g for 10 min at 4°C and stored at −80°C with RNAlate solution (RNA stabilization and protection solution). ", "Total RNA was isolated and purified from the samples using the High Pure RNA Isolation kit (Roche Applied Science), and the concentration of RNA was determined by measuring the ratio of absorbance at 260 and 280 nm. ", "The synthesis of cDNA was carried out using RevertAi H First Strand cDNA Synthesis kit (Fermentas Inc.) using random DNA primers according to the manufacturer\\'s protocol. ", "Quantitative real-time PCR (qPCR) was performed using LightCycler FastStart DNA Master SYBR Green I systems (Roche Applied Science). ", "The sequences of the primers used for cDNA synthesis and for qPCR were designed using algorithm Primer 3 ([Table 1](#pone-0093865-t001){ref-type=\"table\"}). ", "The level of *cdc42* mRNA was used as an internal control [@pone.0093865-Yee1] to normalize the results obtained for the *rht-PA* mRNA. ", "The relative quantification of gene expression was performed as described previously [@pone.0093865-DazBarrera1] using the standard curve method with three measurements for each gene for each experimental condition evaluated. ", "A maximum standard deviation (SD) of 10% was obtained.", "\n\n10.1371/journal.pone.0093865.t001\n\n###### Primers used in qPCR analysis.", "\n\n![](", "pone.0093865.t001){#pone-0093865-t001-1}\n\n Gene Fordward (5′ → 3′) Reverse (5′ → 3′)\n ---------- ----------------------- ----------------------\n *cdc42* CCTCACACAGAAAGGCCTAAA TGGGGTTCTGTGCTGTGTAA\n *rht-PA* GCCCTGGTGCTACGTCTTTA AACACCAGCTGTGCAGAAAC\n\nEstimation of specific rates at Steady-State {#s2e}\n--------------------------------------------\n\nSpecific growth rate (μ) was calculated from a mass balance in the reactor: where N~v~ is the concentration of viable cells (10^6^/ml), N~d~ is the concentration of dead cells (10^6^/ml), N~t~ is the concentration of total cells, and D is the dilution rate of the culture (h^−1^).", "\n\nSpecific rates of production or consumption (Ec2.) ", "of metabolite i (q~i~) were calculated from a mass balance in the reactor: where C^i^ ~i~ is the concentration of i in the inlet (mmol/L), C^i^ ~o~ is the concentration of i in the outlet (mmol/L), N~v~ is the concentration of viable cells (10^6^/ml), and D is the dilution rate of the culture (h^−1^).", "\n\nStatistical Analysis {#s2f}\n--------------------\n\nChemostat cultures at each condition were performed in duplicate and two independent samples were taken at each time point for every culture with analytical measurements carried out separately. ", "Values are expressed as mean standard error. ", "Analysis of variance for factorial design of two factors was used to compare the results by Design-Expert 7 for Windows.", "\n\nResults and Discussion {#s3}\n======================\n\nEffect of mild hypothermia and specific growth rate on cell growth {#s3a}\n------------------------------------------------------------------\n\nSeparate temperature reduction and specific growth rate effects were investigated in chemostat culture, once a steady state was reached (after 4 residence times). ", "The main results are presented in [Figure 1](#pone-0093865-g001){ref-type=\"fig\"}. ", "The maximum cell density achieved in the cultures grown at High-D (D = 0.017 h^−1^) was 2×10^6^ cells/ml±0.1, without any observed effects on temperature. ", "In cultures grown at Low-D (D = 0.012 h^−1^) cell concentration was slightly lower, reaching a peak of 1.8×10^6^ cells/ml±0.2 at 37°C and 1.6×10^6^ cells/ml±0.1 at 33°C. ", "Thus, a reduction by 20% is observed in cell density between the cultures carried out at 33°C. ", "Regarding the cell viability (see [Figure 1b](#pone-0093865-g001){ref-type=\"fig\"}) just at 33°C and Low-D, a slight decrease was observed, keeping all the other cultures at 97%.", "\n\n{#pone-0093865-g001}\n\nThese results are consistent with those reported in literature, where at the same dilution rate ranges, it has been observed a steady concentration of viable cells, both CHO [@pone.0093865-Hayter1] as hybridoma cells [@pone.0093865-Robinson1] at 37°C as cultivation temperature. ", "However, the observed behavior at 33°C, where a decrease in the number of viable cells is observed, has been reported only in chemostat culture at 37°C and low dilution rate, close to 0.010 h^−1^ [@pone.0093865-Hayter1], [@pone.0093865-Sinclair1], [@pone.0093865-Miller1], associated with a higher rate of cell death in the G1 phase of the cell cycle, which predominate at low dilution rates [@pone.0093865-Linardos1], [@pone.0093865-Ray1].", "\n\nTo date, no other studies employing chemostat culture have evaluated the effect of temperature on the number of viable cells. ", "The response observed at High-D contradicts the idea that the hypothermia condition by itself affects cell concentration in batch cultures [@pone.0093865-Yoon1], [@pone.0093865-BollatiFogoln1], [@pone.0093865-Fox1], [@pone.0093865-Berrios1], since no change in a viable cell number could be observed at High-D, due to different culture temperature.", "\n\nEffect of mild hypothermia and specific growth rate on production of rht-PA {#s3b}\n---------------------------------------------------------------------------\n\nrht-PA protein production was evaluated under High-D and Low-D at two culture temperatures (37 and 33°C) ([Figure 1c](#pone-0093865-g001){ref-type=\"fig\"}). ", "Interestingly, reducing dilution rate at 37°C not produce differences in q~tPA~ ([Figure 2](#pone-0093865-g002){ref-type=\"fig\"}). ", "However, at 33°C an increase of 65% in qtPA was observed by reducing the dilution rate. ", "Meanwhile, the temperature reduction at High-D promoted a decrease in qtPA, whereas at Low-D there were no significant differences in qtPA at both temperatures tested. ", "These results indicate that at low specific growth rates, the use of mild hypothermia conditions influence the productivity of the recombinant protein positively. ", "In this study the condition of Low-D could represent a turning point in relation to the effect of temperature and it requires studies at even lower dilution rates to corroborate this hypothesis. ", "On the other hand, at Low-D levels of mRNA of rht-PA show a significant increase for both temperatures evaluated ([Figure 2b](#pone-0093865-g002){ref-type=\"fig\"}). ", "This increase in the level of mRNA only resulted in an increase in q~rht-PA~ at 33°C, without observing any increase in this parameter at 37°C.", "\n\n{#pone-0093865-g002}\n\nIn concordance with reported by Kou and colleagues (2011) [@pone.0093865-Kou1], it may be presumed that post-translational processes are improved in batch culture of CHO cells, under mild hypothermia and low specific growth rate, allowing an increase in the synthesis of the rht-PA protein.", "\n\nThis results regarding the effect of μ on the productivity of r-protein at 33°C differ from those reported in chemostat cultures of CHO cell at 37°C [@pone.0093865-Hayter1], in which it was reported that a higher specific growth rate is associated with an increased specific productivity of r-protein. ", "However, it\\'s agree with that reported by Berrios et al. (", "2009) who shows a correlation between increasing q~rht-PA~ and decreasing μ promoted by low temperature or varying concentrations of mannose in batch culture. ", "The relationship between specific growth rate and specific productivity is suggested to be dependent on the cell line used, the r-protein studied, as seen in the case of hybridoma culture [@pone.0093865-Sinclair1], [@pone.0093865-Miller1], [@pone.0093865-Robinson1], the limiting nutrient of culture, and also depend on culture temperature used.", "\n\nFurthermore, the null of mild hypothermia effect on q~rht-PA~ in chemostat cultures at Low-D is opposite to the widely reported positive effect in batch cultures [@pone.0093865-Kauffmann1], [@pone.0093865-Yoon1], [@pone.0093865-BollatiFogoln1], [@pone.0093865-BollatiFogolin1], [@pone.0093865-Yoon4], [@pone.0093865-Hendrick1], [@pone.0093865-Yoon2], [@pone.0093865-Nam2], [@pone.0093865-Marchant1], [@pone.0093865-Berrios1], [@pone.0093865-Nam1]. ", "Meanwhile, in the condition of High-D a negative effect of mild hypothermia on q~rht-PA~ is observed. ", "While these results have no precedents to be contrasted, at less in chemostat culture, overall, they suggest that the reported effect of mild hypothermia promoting specific productivity of r-proteins in batch CHO cell cultures, not only corresponds to the result of lowering the culture temperature, but rather is the combined effect of a temperature reduction and a reduction of cellular growth rate. ", "Some reports suggest that a number of key regulatory proteins and pathways are involved in modulating the response of cells to mild hypothermia, such as cold shock proteins, but these were no the objective of this work.", "\n\nEffect of mild hypothermia and specific growth rate on Central Metabolism {#s3c}\n-------------------------------------------------------------------------\n\nGlucose, lactate and glutamate metabolism was investigated under two different cultivation temperatures and High-D and Low-D. The Glucose profile ([Figure 3a](#pone-0093865-g003){ref-type=\"fig\"}) shows insignificant differences in the levels of residual glucose in the bioreactor, due to the reduction of culture temperature or dilution rate, in all cases, concentrations were less than 0.2 mM. Similarly, the specific glucose consumption was not affected by the temperature reduction ([Figure 4a](#pone-0093865-g004){ref-type=\"fig\"}).", "\n\n{#pone-0093865-g003}\n\n{#pone-0093865-g004}\n\nThe use of High-D or Low-D caused no effect on the specific glucose consumption. ", "This response differs from that reported in the literature, where a reduction in dilution rate is accompanied by a significant decrease in residual glucose levels and specific glucose consumption in CHO [@pone.0093865-Hayter1] and other cell lines [@pone.0093865-Miller1], [@pone.0093865-Robinson1], [@pone.0093865-Omasa1]. ", "The response obtained in this study could be explained by a redistribution of carbon fluxes for biomass and the lactate production [@pone.0093865-Altamirano1]. ", "Indeed, although the supplied glucose is capable of supporting the growth of cells and the production of recombinant protein due to the growth conditions, it is fully used and the effect of varying the dilution rate is reflected in the decreased specific lactate production. (", "see below).", "\n\nThe absence of an effect from mild hypothermia is also in contrast with what has been widely observed in batch cultures [@pone.0093865-BollatiFogoln1], [@pone.0093865-Yoon4], [@pone.0093865-Trummer1], [@pone.0093865-Berrios1], in which a general reduction in hexose consumption, used as carbon source, has been observed. ", "However, this evidence could arise in batch cultures from the combined effects of temperature and growth rate, produced by the reduction in temperature.", "\n\nThe lactate concentration profile ([Figure 3b](#pone-0093865-g003){ref-type=\"fig\"}) showed differences in the levels reached, it recorded a 35% increase in lactate production at High-D that Low-D. This difference is also reflected in the increased productivity of lactate at High-D, which is 42% larger than at Low-D ([Figure 4b](#pone-0093865-g004){ref-type=\"fig\"}). ", "No differences were observed due to the reduction of the cultivation temperature.", "\n\nThis behavior, resulting from the variation in dilution rate, it has been previously reported in chemostat culture of CHO cells [@pone.0093865-Hayter1] and other cell lines [@pone.0093865-Miller1], [@pone.0093865-Robinson1], [@pone.0093865-Omasa1]. ", "However, the fact that the specific lactate production were independent of the cultivation temperature differs from the behavior observed in batch cultures [@pone.0093865-BollatiFogoln1], [@pone.0093865-Yoon4], [@pone.0093865-Trummer1]. ", "In these cultures, a decrease is observed in the value of the parameter, which is linked to a total reduction of cellular metabolism.", "\n\nAn important indicator of the metabolic state of the cells is the ratio of lactate produced to glucose consumed (Y~Lac/Glc~) [@pone.0093865-Fogoln1], [@pone.0093865-Trummer1], [@pone.0093865-Yoon4]. ", "The Y~Lac/Glc~ showed a significant decrease due to decrease in the dilution rate by 42% at 37°C and 34% at 33°C, respectively ([Figure 4d](#pone-0093865-g004){ref-type=\"fig\"}). ", "This shows a change in the metabolic fate of the carbon, also indicating a more efficient utilization of glucose at Low-D. These results suggest that the reduction in the Y~Lac/Glc~ in batch culture [@pone.0093865-Yoon1], [@pone.0093865-Yoon4] occurs mainly due to the reduction in the cell growth and is not the result of reducing the culture temperature only.", "\n\nOn the other hand, the consumption profile of glutamate ([Figure 3c](#pone-0093865-g003){ref-type=\"fig\"}) showed, how expected, a much lower amino acid utilization compared to glucose [@pone.0093865-Berrios2]. ", "Interestingly, the use of this amino acid ([Figure 4c](#pone-0093865-g004){ref-type=\"fig\"}) was significantly affected by the temperature reduction, showing a reduction of 42% independent of the dilution rate used. ", "Similarly, reduction of dilution rate from High-D to Low-D caused a decrease in the q~Glu~ by 52% at 37°C and 66% at 33°C respectively.", "\n\nThe behavior observed, is agree with data in the literature, which indicates a decrease in the consumption of glutamine as an energy source, in CHO cells [@pone.0093865-Hayter1] and other cell lines [@pone.0093865-Miller1], [@pone.0093865-Robinson1], [@pone.0093865-Omasa1] in chemostat culture as a result of the reduction in the rate of dilution. ", "On the other hand, the effect of mild hypothermia on the consumption of amino acids used as an energy source is controversial. ", "Yoon and colleagues reported in batch culture a reduction in the consumption of glutamine [@pone.0093865-Yoon4] as the main energy source, while others authors in the same culture system, indicate an increase in the amino acid consumption due to the reduction of the temperature of cultivation [@pone.0093865-Trummer1], [@pone.0093865-Yoon1].", "\n\nConclusion {#s4}\n==========\n\nThe individual effects of mild hypothermia and specific cell growth rate were evaluated in chemostat cultures at SS. ", "To our knowledge, this is the first report in which these variables have been studied separately. ", "The use of mild hypothermia condition showed a differential effect on the specific productivity of rht-PA, being negative to a condition of High-D (0.017 h^−1^) and negligible to Low-D condition (0.012 h^−1^). ", "However, the decrease of D under the conditions of mild hypothermia, promotes an increase in the specific productivity of protein, suggesting that a condition of mild hypothermia and smaller values of µ promote a greater system productivity. ", "A comprehensive analysis of this behavior shows that the response observed in batch culture corresponds to a combined effect of both variables when using the mild hypothermia condition.", "\n\nThe analysis of the central metabolism revealed that at Low-D, a more efficient metabolism in glucose utilization is presented, lowering the ratio of lactate produced to glucose consumed, with no effect the reduced temperature on this parameter.", "\n\nThese results show that through a suitable experimental approach it is possible to evaluate the differential effect of mild hypothermia and specific growth rate on the production of r-protein in CHO cells, showing that the cellular response in the studied system is primarily modulated by changes in the specific growth rate and to a lesser extent by changes in the culture temperature. ", "Understanding how these variables individually affect the different stages of protein synthesis, is a critical aspect, on which future efforts should be focused.", "\n\nTechnical support of Veronica Figueroa is acknowledged.", "\n\n[^1]: **Competing Interests:**The authors have declared that no competing interests exist.", "\n\n[^2]: Conceived and designed the experiments: MV SB JB NO JR MR RG CA. ", "Performed the experiments: MV SB MR. ", "Analyzed the data: MV SB JB NO JR MR RG CA. ", "Contributed reagents/materials/analysis tools: NO JR RG CA. ", "Wrote the paper: MV SB JB NO JR MR RG CA.", "\n" ]

{ "pile_set_name": "PubMed Central" }

[ 0.00001736111111111111, 0.000016, 0.000011124955500177998, 0, 0.000034580755495196416, 0.00002333776750916007, 0.000027385202210377037, 0.000035502958579881656, 0, 0.000016174111070855544, 0.000025767218944059367, 0, 0.000021041999831664002, 0.00002603082049146189, 0.0000573921028466483, 0.000049979175343606825, 0.00003590922148807814, 0.000030517578125, 0, 0, 0.000042718612499466016, 0.000026835191670356507, 0, 0, 0.00006009254251547383, 0.000124000248000496, 0.0000946850145183689, 0.00008543722499893203, 0.00006430041152263374, 0.00006760411032990806, 0.00005653230821414438, 0, 0.00005406574394463668, 0.000019578667084344897, 0, 0, 0, 0.000011618828078524687, 0, 0.00003289329415376519, 0, 0, 0.00006944444444444444, 0, 0, 0.00008324661810613944, 0, 0, 0, 0, 0.00004627701420704336, 0, 0, 0.000027434842249657064, 0.000025826446280991735, 0, 0.00003302946228035408, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000022273533844634675, 0.000021641274238227147, 0.0005745475438092502, 0, 0.00002520478890989288, 0.00005432098765432099, 0, 0.000006187965644414742, 0, 0.00000624675949351274, 0, 0.00006944444444444444, 0, 0, 0.00007228671803842762, 0.00010813148788927336, 0, 0, 0, 0, 0.00004762993446121018, 0.0000390625, 0, 0, 0.00003834025055353737, 0, 0, 0, 0.00007936381962191077, 0.00005341024408481547, 0, 0.00007425558773297691, 0, 0.000023020081184152977, 0.000022249911000355996, 0, 0, 0.000040584086168131756, 0, 0.00002564891761567662, 0.00004565376186997809, 0, 0, 0, 0, 0, 0.000006608468091011822, 0, 0.0003077870113881194, 0, 0, 0, 0, 0, 0, 0 ]

[ "Q:\n\nCreating a tree with LINQ expression\n\nI have a C# List of following fields which are returned by a stored procedure:\nCarrierId ParentCarrierId Name Descrition\n1 NULL A AA\n2 1 B BB\n3 1 C CC\n4 3 D DD\n5 NULL E EE\n\nI need to construct a nested object list out of this output \nSo each object of Carrier should have list of all it's children. ", "Can anyone help me construct a LINQ code to accomplish this?", "\nDesired Result:\n CarrierId = 1\n |__________________ CarrierId = 2\n |__________________ CarrierId = 3\n |___________________ CarrierId = 4\n\n CarrierId = 5\n\nDesired result should be as mentioned above \n\nA:\n\nFirst create a lookup that maps a parent ID to its children:\nvar lookup = carriers.", "ToLookup(carrier => carrier.", "ParentCarrierId);\n\nThe go through each node and assign its children based on the lookup:\nforeach(var carrier in carriers)\n carrier.", "Children = lookup[carrier.", "CarrierId];\n\nTo get all of the root nodes just get the null values from the lookup:\nvar roots = lookup[null];\n\nNote that this entire operation is O(n), as building the lookup is O(n) and all of the children for every single carrier can be found in O(n) time, rather than taking O(n^2) time as in the other solutions posted (as they use an O(n) operation to find all of the children for a single node). ", " This makes this code dramatically faster than the other options, in addition to being much simpler and shorter.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0.000015872763924382153, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "Q:\n\nWhat are the pros and cons of using the Sphinx Storage Engine?", "\n\nWhat are the pros/cons of using the Sphinx Storage Engine in MySQL (doc) over the normal api?", "\n\nA:\n\nPros\n\nIf there is no Sphinx API for the language you are using SphinxSE allows you to do searches through MySQL.", "\nIf you are doing background processing and storing the search results in your database SphinxSE allows you to move the data from the searchd service directly into MySQL instead of going through an application layer.", "\n\nCons\n\nYou have to compile SphinxSE into MySQL.", "\nUsing SphinxSE requires some additional setup besides the basic searchd and indexer configuration.", "\n(This one is more my opinion) Searching through the API is more intuitive than using the SphinxSE SQL syntax.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0, 0, 0, 0, 0.0001652892561983471, 0 ]

[ "Get breaking news alerts and special reports. ", "The news and stories that matter, delivered weekday mornings.", "\n\n\"White Lives Matter\" will soon be added to a list of U.S. hate groups by the Southern Poverty Law Center, the watchdog group announced Tuesday.", "\n\nThe SPLC contends that White Lives Matter is frequently used by white supremacists as a counter-slogan to \"Black Lives Matter,\" and the movement has been organized into a separate white nationalist group.", "\n\nWhite Lives Matter will officially join the list of 892 other hate groups in the country when it gets its annual update in February, said Heidi Beirich, the Intelligence Project director at the SPLC.", "\n\nRebecca Barnette stands in front of a flag with a swastika in her profile picture on the Russian social media site VK.com. ", "via VK.com\n\nThe group will also appear on the SPLC’s Hate Map, which functions as a device to alert the public and law enforcement where “organizations spewing racism and hate are located,” Beirich told NBC News.", "\n\nWhite Lives Matter is headquartered in Tennessee, but could also be featured in other places on the map after the SPLC does more research on the group and there whereabouts of its members, Beirich said.", "\n\n\"Hate groups are, by our definition, those that vilify entire groups of people based on immutable characteristics such as race or ethnicity,\" SPLC's website says. \"", "While it’s no surprise, given our country’s history, that most domestic hate groups hold white supremacist views, there are a number of black organizations on our hate group list as well.\"", "\n\nThe Morning Rundown Get a head start on the morning's top stories. ", "This site is protected by recaptcha\n\nBlack Lives Matter is not on that list because leaders and founders of the group have done \"nothing at all to suggest that the bulk of the demonstrators hold supremacist or black separatist views,\" the SPLC says.", "\n\nThe SPLC added that Black Lives Matter advocates that \"black lives also matter\" and is not in any way anti-white.", "\n\nMeanwhile, the White Lives Matter website says the group “supports breeding practices that improve fitness, opposes dysgenic immigration, and takes a libertarian stance on other right wing gripes that don’t directly turn the population non-White.\"", "\n\n“The group is clearly white supremacist,” Beirich said.", "\n\nWhite Lives Matter denies that is a white supremacist group and challenged the hate group label.", "\n\n\"White Lives Matter is really about recognizing the contributions that people of European descent have made to civilization, and that we as a people and culture are worth preserving. ", "We reject the notion that it is morally wrong for people of European descent to love and support their own race,\" the group said in a statement sent to NBC News. \"", "We value Western civilization and believe that at the very least, immigrants should not make us dumber or poorer.\"", "\n\nOriginal report: White Lives Matter: The Racist Response to the Black Lives Matter Movement https://t.co/aEuZ2mFoVg pic.twitter.com/cr8Gq1msdQ — (((SPLC))) (@splcenter) August 29, 2016\n\nBeirich said there’s no way to know how many members the group has, and the SPLC says it doesn’t know when the group officially organized, but they believe “one of its key leaders, if not the leader” is Rebecca Barnette, 40, who has leadership roles in the racist skinhead group Aryan Strikeforce and the National Socialist Movement, a neo-Nazi group.", "\n\nAnd the Texas-based Aryan Renaissance Society, a neo-nazi group which Barnette was once a member of, has described itself as “the leading force behind the WLM Movement,” according the the SPLC.", "\n\nBarnette's apparent profile on VK.com, a Russian social media site preferred by white supremacists for its leniency, features Nazi and Klu Klux Klan memes as well as racist and homophobic slurs.", "\n\nBarnette has used White Lives Matter to attempt “to unite the broader white supremacist movement” with events like a march in Georgia and a rally in New York, according to the Anti-Defamation League.", "\n\nBarnette did not respond to an email sent to an address posted on her VK.com page seeking comment.", "\n\n“White Lives Matter” members are expected at an event to be organized by the Aryan Nationalist Alliance, an umbrella group of small white supremacist groups, on Sept. 10-11 in Quinlan Texas, according to the SPLC.", "\n\nBesides spreading their message through marches and rallies, White Lives Matter fliers reading “It’s Not Racist to Love Your People” have been posted all over the country, according to the SPLC.", "\n\nSome of the handouts feature language about black-on-white crime, echoing the Council of Conservative Citizens website, which allegedly inspired Dylann Roof to kill nine black churchgoers in Charleston, South Carolina, last year, the SPLC reports." ]

{ "pile_set_name": "OpenWebText2" }

[ 0, 0, 0.00009512485136741974, 0.000023564897728343855, 0.00007425558773297691, 0.000128, 0.000066749733001068, 0.00004805843906189927, 0.000036289737262302225, 0, 0, 0.00003225754423315753, 0.00007561436672967865, 0, 0.0003077870113881194, 0, 0.000029218407596785978, 0.000037637848620572846, 0, 0.000020652551794878854, 0.00007889546351084813, 0.00005206164098292378, 0.00002475186257765897, 0, 0.00006489994591671173, 0.00002603082049146189, 0.0000483863163497363 ]

[ "Q:\n\nSpring Controllers and Services\n\nwe are at the middle of a project. ", "It's a REST Service. ", "Now we have controllers to handle the Requestmappings and the forwarding to the Services. ", "\nA concrete example we have a UserController, GroupController, UserService and a GroupService. ", "\nThe user controller has as injection the UserService and the GroupController has as injection the GroupService. (", "one to one dependency)\nWhen I create/update/delete a user then the scenario is simple: userControllers tells the userService and it do this. ", "\nNow the system has a lot of other controller/services that are going to be added.", "\nBut what I don't know is: what is the best way when I have to to mix user/group action?", "\nFor example: I have to add a user in a group. ", "But I must check that the user exists, that the group exists and after save the information in the user (Entity/DTO) that the user is now port of this group.", "\n1) schould I manage all from the userController:\n-userService.checkUser()\n-groupService.checkGroup()\n-userService.updateUser()\n2) or schould I manage al from the userService:\n-userService.addUser()\n(in the userService then:\n -checkUser()\n -checkGroup()\n -updateUser()\n) \nIn the solution 1 what I don't like is the injection of some other Services that not belongs to users\nIn the solution 2 I have the idea that I'm going to replicate concepts that exists on the groupServices...\nThe exapmle above is only a litle part of the great picture. ", "But that what i would understand is how can I design this part to don't have a lot dependency and a lot of code replication?", "\n\nA:\n\nIt depends on how you want to structure your layers (controller, service, persistence).", "\nIdeally controllers shouldn't mess with all the business logic, that's what services are for. ", "The exception is for surface checks (validation, nullity, types).", "\nTry to keep the Single responsibility principle in mind to help you structure correctly your code.", "\nThat's why I recommend what you describe as the solution 2.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0.0002469135802469136, 0.00044321329639889195, 0.00023084025854108956, 0.0000502992807202857, 0, 0, 0, 0.000040569597143900364, 0.000010100159919198721, 0, 0, 0, 0, 0, 0, 0 ]

[ "\n# \n**TELL ME WHY**\n\n# TELL ME WHY\n\n# **A Beatles Commentary**\n\n## **TIM RILEY**\n\nCopyright © 1998, 2002 by Tim Riley\n\nAll rights reserved. ", "No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ", "Printed in the United States of America.", "\n\nOwing to limitations of space, acknowledgments of permissions to reprint previously published material will be found on page 452.", "\n\nCataloging-in-Publication data for this book is available from the Library of Congress.", "\n\nFirst Da Capo Press edition 2002 \nThis Da Capo paperback edition of _Tell Me Why_ is an updated republication of the English-language edition first published in 1988 by Alfred A. Knopf. ", "It is reprinted by arrangement with the author. ", " \n**ISBN-10: 0-306-81120-0 ISBN-13: 978-0-306-81120-3**\n\neBook ISBN: 9780786730902\n\nPublished by Da Capo Press \nA Member of the Perseus Books Group \n<http://www.dacapopress.com>\n\nDa Capo Press books are available at special discounts for bulk purchases in the U.S. by corporations, institutions, and other organizations. ", "For more information, please contact the Special Markets Department at the Perseus Books Group, 11 Cambridge Center, Cambridge, MA 02142, or call (800) 255-1514 or (617) 252-5298, or e-mail j.mccraiy@perseusbooks.com.", "\n\n**FOR MICKEY**\n\nWriting about music is like dancing about architecture. **–", "ELVIS COSTELLO**\n\nRoll over Beethoven, dig to these rhythm and blues. . . . ", " **–CHUCK BERRY**\n\n# SELECTED PARLOPHONE/APPLE DISCOGRAPHY\n\nTHE BEATLES SIGNED with the Parlophone label, a subsidiary of Electrical and Mechanical Industries (EMI) in Britain, after producer George Martin heard their audition in August 1962. ", "Until 1968, when they formed their own label, Apple, EMI distributed their records in Britain, and Capitol Records distributed in America. ", "After Apple was formed, Capitol retained distribution rights to Beatles records in America, even though the records bore the Apple label.", "\n\nThe American versions of Beatles records were assembled by Capitol, and until the release of _Sgt. ", "Pepper_ in 1967, they bore little resemblance to their Parlophone counterparts. (", "The British EP, an extended-playing single averaging four songs, was also disregarded by Capitol.) \"", "Bit of a drag, isn't it?\" ", "McCartney once remarked to a BBC interviewer about the arrangement. ", "Most American Capitol albums contain ten songs: Parlophone's average fourteen. ", "This meant that the extra songs on British albums that the Americans didn't get would be transferred onto synthetically arranged collections in order to produce more product from the same amount of material. ", "Capitol's _Yesterday and Today_ and _Hey Jude_ albums are the grossest examples—they have no Parlophone counterparts whatsoever. ", "It was profiteering at its most aesthetically corrupt.", "\n\nThe discrepancy between British and American releases makes for some confusing perceptions. ", "Because the Beatles were sensitive to the way an album was laid out, the Parlophone releases remain the truest display of what they wanted to publish. ", "The American issue of _Rubber Soul_ , for example, although it features the same portrait on the cover, omits three of the songs included on Parlophone's version and contains two songs that appeared on the Parlophone version of _Help!_ ", "For some American fans, it is still hard to imagine a _Rubber Soul_ that begins with \"Drive My Car,\" as the Beatles intended it to.", "\n\nWith the release of the entire Beatles catalogue on compact disc by EMI and Capitol beginning in February 1987, the Parlophone editions—titles, song sequences, and even liner notes—are restored to their original design; as soon as the singles become available in this form (nonalbum tracks like \"She Loves You,\" \"I Want to Hold Your Hand,\" and \"Hey Jude\"), the reissue campaign will be complete. ", "These Parlophone formats are still the best reflections of the Beatles' intentions, and offer a better picture of their development in turning the record album into a new art form.", "\n\nWhat follows is a selected discography that omits unnecessary repetitions (such as singles and EPs that draw their material from albums) and represents the most logical rundown of the focus of this book. ", "For a complete and detailed discography, consult Castleman and Podrazik's notorious _All Together Now_ (Ballantine, 1975).", "\n\nRelease dates refer to the British issues. ", "Names of lead singers are in parentheses. ", "All songs are by Lennon-McCartney except those in which composer credits, in brackets, follow the name of the lead singer. ", "Songs not written by the Beatles are asterisked. ", "According to John Lennon in the final _Playboy_ interviews, as a general rule the lead singer of any given song is the chief creative force behind the song. ", "Knowing that McCartney is the lead singer on \"All My Loving,\" for example, clues us in to the fact that he was the song's auteuiy if not the sole author.", "\n\nBootleg albums are not included in this discography, although they can be useful in interpreting the commercial releases (see Charles Reinhart's _You Can't Do That)_. ", "In general, the Parlophone/Apple releases in Britain are the closest thing to the published Beatles catalogue; the bootlegs should be thought of as rough drafts and outtakes not meant for public release.", "\n\nThe Beatles catalogue also has the dubious distinction of being the most varied in the world markets. ", "Different versions and stereo mixes of songs were released in different parts of the world, consigning collectors to a lifetime's worth of pleasure—and stupefaction—in retaining all resulting editions. ", "For this text, the main source for stereo mixes has been the Mobile Sound Lab's original master recording pressings, except where noted. ", "Since all the British singles were originally published in mono (single-channel) mixes, certain American stereo mixes (such as the one for \"Strawberry Fields Forever\") have been substituted to help delineate instrumentation.", "\n\n_**Love Me Do**_ (Paul)/P.S. I Love You (Paul) \n(Parlophone R 4949) _Released: October 5, 1962_\n\n_**Please Please Me**_ (John)/Ask Me Why (John) \n(Parlophone R 4983) _Released: January 11, 1963_\n\n**PLEASE PLEASE ME (Parlophone PCS 3S42)** \n _Released: March 22, 1963_\n\nI Saw Her Standing There (Paul) \nMisery (John) \nAnna (Go to Him)* (John) [Alexander] \nChains* (George) [Goffin-King] \nBoys* (Ringo) [Dixon-Farrell] \nAsk Me Why (John) \nPlease Please Me (John) | Love Me Do (Paul) \nP.S. I Love You (Paul) \nBaby It's You* (John) [David-Bacharach-Williams] \nDo You Want to Know a Secret (George) \nA Taste of Honey* (Paul) [Marlow-Scott] \nThere's a Place (John and Paul) \nTwist and Shout* (John) [Russell-Medley] \n---|---\n\n_**From Me to You**_ (John and Paul)/Thank You Girl (John and Paul) (Parlophone R 5015) _Released: April 12, 1963_\n\n**_She Loves You_** (John and Paul)/I'll Get You (John and Paul) (Parlophone R 5055) _Released: August 23, 1963_\n\n**WITH THE BEATLES (Parlophone PCS 3045)** \n _Released: November 22, 1963_\n\nIt Won't Be Long (John) \nAll I've Got to Do (John) \nAll My Loving (Paul) \nDon't Bother Me (George) [Harrison] \nLittle Child (John) \nTill There Was You* (Paul) [Willson] \nPlease Mr. Postman* (John) [Holland-Bateman-Gordy] | Roll Over Beethoven* (George) [Berry] \nHold Me Tight (Paul) \nYou've Really Got a Hold on Me* (John) [Robinson] \nI Wanna Be Your Man (Ringo) \nDevil in Her Heart* (George) [Drapkin] \nNot a Second Time (John) \nMoney* (John) [Gordy-Bradford] \n---|---\n\n_**I Want to Hold Your Hand**_ (John and Paul)/This Boy (John, Paul, George) (Parlophone R 5084) \n _Released: November 29, 1963_\n\n_**Long Tall Sally***_ (Paul) [Penniman]/I Call Your Name (John)/Slow Down* (John) [Williams]/Matchbox* (Ringo) [Perkins] (Parlophone GEP 8913) EP, _Released: June 19, 1964_\n\n**A HARD DAY'S NIGHT (Parlophone PCS 3058)** \n _Released: July 10, 1964_\n\nA Hard Day's Night (John and Paul) \nI Should Have Known Better (John) \nIf I Fell (John and Paul) \nI'm Happy Just to Dance with You (George) \nAnd I Love Her (Paul) \nTell Me Why (John) \nCan't Buy Me Love (Paul) | Any Time at All (John) \nI'll Cry Instead (John) \nThings We Said Today (Paul) \nWhen I Get Home (John) \nYou Can't Do That (John) \nI'll Be Back (John and Paul) \n---|---\n\n_**I Feel Fine (John)/She's a Woman**_ (Paul) \n(Parlophone R 5200) _Released: November 27, 1964_\n\n**BEATLES FOR SALE (Pariophosm PCS 3362)** \n _Released: December 4, 1964_\n\nNo Reply (John) \nI'm a Loser (John) \nBaby's in Black (John and Paul) \nRock and Roll Music* (John) [Berry] \nI'll Follow the Sun (Paul) Mr. Moonlight* (John) [Johnson] \nKansas City/Hey, Hey, Hey, Hey!* (", "Paul) [Leiber-Stoller/Penniman] | Eight Days a Week (John) \nWords of Love* (John and Paul) [Holly] \nHoney Don't* (Ringo) [Perkins] \nEvery Little Thing (John and Paul) \nI Don't Want to Spoil the Party (John) \nWhat You're Doing (Paul) \nEverybody's Trying to Be My Baby* (George) [Perkins] \n---|---\n\n**_Ticket to Ride_** (John)/Yes It Is (John) \n(Parlophone R 5265) _Released: April 9, 1965_\n\n_**Help!**_ (", "John)/I'm Down (Paul) (Parlophone R 5303) \n _Released: July 23, 1965_\n\n**HELP! (", "Parlophone PCS 3071)** _Released: August 6, 1965_\n\nHelp! (", "John) \nThe Night Before (Paul) \nYou've Got to Hide Your Love Away (John) \nI Need You (George) [Harrison] \nAnother Girl (Paul) \nYou're Going to Lose That Girl (John) \nTicket To Ride (John) | Act Naturally* (Ringo) [Russell-Morrison] \nIt's Only Love (John) \nYou Like Me Too Much [Harrison] \nTell Me What You See (Paul) \nI've Just Seen a Face (Paul) \nYesterday (Paul) \nDizzy Miss Lizzie* (John) [Williams] \n---|---\n\n(Lennon's smoldering version of \"Bad Boy,\" by Larry Williams, is recorded during sessions for side two of _Help!_ ", "and appears on Capitol's _Beatles VI_ , but it doesn't show up in Britain until Parlophone releases A _Collection of Beatle Oldies_ [Parlophone PCS 7016] at the end of 1966.)", "\n\n**RUBBER SOUL (Parlophone PCS 3075)** \n _Released: December 3, 1965_\n\nDrive My Car (Paul) \nNorwegian Wood (This Bird Has Flown) (John) \nYou Won't See Me (Paul) \nNowhere Man (John) \nThink for Yourself (George) [Harrison] \nThe Word (John and Paul) \nMichelle (Paul) | What Goes On (Ringo) \nGirl (John) \nI'm Looking Through You (Paul) \nIn My Life (John) Wait (John and Paul) \nIf I Needed Someone (George) [Harrison] \nRun for Your Life (John) \n---|---\n\n**_Day Tripper_** (John)/ _ **We Can Work It Out**_ (Paul and John) \n(Parlophone R 5389) _Released: December 3, 1965_\n\n**_Paperback Writer_** (Paul)/Rain (John) \n(Parlophone R 5452) _Released: June 10, 1966_\n\n**REVOLVER (Parlophone PCS 7009)** _Released: August 5, 1966_\n\nTaxman (George) [Harrison] \nEleanor Rigby (Paul) \nI'm Only Sleeping (John) \nLove You To (George) [Harrison] | Here, There and Everywhere (Paul) \nYellow Submarine (Ringo) \nShe Said She Said (John) \n---|--- \nGood Day Sunshine (Paul) \nAnd Your Bird Can Sing (John) \nFor No One (Paul) \nDoctor Robert (John) | I Want to Tell You (George) [Harrison] \nGot to Get You into My Life (Paul) \nTomorrow Never Knows (John)\n\n_**Penny Lane**_ (Paul)/ _ **Strawberry Fields Forever**_ (John) \n(Parlophone R 5570) _Released: February 17, 1967?_", "\n\n**SGT. ", "PEPPER'S LONELY HEARTS CLUB BAND** \n **(Parlophone PCS 7027)** _Released: June 1, 1967_\n\nSgt. ", "Pepper's Lonely Hearts Club Band (Paul) \nWith a Little Help from My Friends (Ringo) \nLucy in the Sky with Diamonds (John) \nGetting Better (Paul) \nFixing a Hole (Paul) \nShe's Leaving Home (Paul) \nBeing for the Benefit of Mr. Kite! (", "John) | Within You Without You (George) [Harrison] \nWhen I'm Sixty-four (Paul) \nLovely Rita (Paul) \nGood Morning, Good Morning (John) \nSgt. ", "Pepper's Lonely Hearts Club Band (Reprise) (all) \nA Day in the Life (John and Paul \n---|---\n\n_**All You Need Is Love**_ (John)/Baby, You're a Rich Man (John) \n(Parlophone R 5620) _Released: July 7, 1967_\n\n_**Hello Goodbye**_ (Paul)/I Am the Walrus (John) \n(Parlophone R 5655) _Released: November 24, 1967_\n\n**MAGICAL MYSTERY TOUR (Parlophone SMMT ½) 2 EP's** \n _Released: December 8, 1967_\n\nMagical Mystery Tour (Paul) \nYour Mother Should Know (Paul) \nI Am the Walrus (John) | The Fool on the Hill (Paul) \nFlying (instrumental) [all] \nBlue Jay Way (George) [Harrison] \n---|---\n\n**YELLOW SUBMARINE (Apple PCS 7070)** \n _Released: January 17, 1969 \n[new tracks recorded mid-June 1967_✝ _and early 1968#]_\n\nYellow Submarine (Ringo) \nOnly A Northern Song# (George) [Harrison] \nAll Together Now✝ (Paul) \nHey Bulldog# (John) \nIt's All Too Much# (George) [Harrison] \nAll You Need Is Love✝ (John) | George Martin Orchestra: Pepperland \nMedley: Sea of Time/Sea of Holes \nSea of Monsters \nMarch of the Meanies \nPepperland Laid Waste \nYellow Submarine in Pepperland \n---|---\n\n**_Lady Madonna_** (Paul)/The Inner Light (George) \n[Harrison] (Parlophone R 5675) _Released: March 15, 1968_\n\n**_Hey Jude_** (Paul)/Revolution (John) \n(Apple R 5722) _Released: August 30, 1968_\n\n**THE BEATLES** (\"White Album\") **(Apple PCS 7067/8)** \n _Released: November 22, 1968_\n\nBack in the U.S.S.R. (Paul) \nDear Prudence (John) \nGlass Onion (John) \nOb-La-Di, Ob-La-Da (Paul) \nWild Honey Pie (Paul) \nThe Continuing Story of Bungalow Bill (John) \nWhile My Guitar Gently Weeps (George) [Harrison] \nHappiness Is a Warm Gun (John) | Martha My Dear (Paul) \nI'm So Tired (John) \nBlackbird (Paul) \nPiggies (George) [Harrison] \nRocky Raccoon (Paul) \nDon't Pass Me By (Ringo) [Starkey] \nWhy Don't We Do It in the Road? (", "Paul) \nI Will (Paul) \nJulia (John) \n---|--- \nBirthday (Paul) \nYer Blues (John) \nMother Nature's Son (Paul) \nEverybody's Got Something To Hide, Except Me and My Monkey (John) \nSexy Sadie (John) \nHelter Skelter (Paul) \nLong Long Long (George) [Harrison] | Revolution No. ", "1 (John) \nHoney Pie (Paul) \nSavoy Truffle (George) [Harrison] \nCry Baby Cry (John) \nRevolution No. ", "9 (John) \nGood Night (Ringo)\n\n**LET IT BE (Apple PXS I)** _Released: May 8, 1970_ \n _[recorded January 1969, except # in January 1970]_\n\nTwo of Us (Paul and John) \nDig a Pony (John) \nAcross the Universe (John) \nI Me Mine# (George) [Harrison] \nDig It (John) | Let It Be (Paul) \nMaggie Mae* (John and Paul) [trad.—arr. ", "Lennon, McCartney, Harrison, Starkey] \n---|--- \nI've Got a Feeling (Paul and John) \nOne After 909 (John) \nThe Long and Winding Road (Paul) | For You Blue (George) [Harrison] \nGet Back (Paul)\n\n**_Get Back_** (Paul)/Don't Let Me Down (John) \n(Apple R 5777) _Released: April 11, 1969_\n\n**_The Ballad of John and Yoko_** (John)/Old Brown Shoe \n(George) [Harrison] (Apple R 5786) \n _Released: May 30, 1969_\n\n**_Let It Be_** (Paul)/You Know My Name (Look Up the Number) \n[all] (Apple R 5833) _Released: March 6, 1970_\n\n**ABBEY ROAD (Apple PCS 7088)** \n _Released: September 26, 1969_\n\nCome Together (John) \nSomething (George) [Harrison] \nMaxwell's Silver Hammer (Paul) \nOh! ", "Darling (Paul) \nOctopus's Garden (Ringo) [Starkey] \nI Want You (She's So Heavy) (John) | Here Comes the Sun (George) [Harrison] \nBecause (John) \nYou Never Give Me Your Money (Paul) \nSun King (John) \nMean Mr. Mustard (John) \nPolythene Pam (John) \nShe Came in Through the Bathroom Window (Paul) \nGolden Slumbers/Carry That Weight/The End (Paul) \nHer Majesty (Paul) \n---|---\n\nSelected Solo Recordings\n\n**RINGO STARR** \n _Sentimental Journey_ (1970) \n _Beaucoups of Blues_ (1970) \n\"It Don't Come Easy\"/\"Early 1970\" (1971) \n\"Back Off Boogaloo\"/;\"Blindman\" (1972) \n _Ringo_ (1973) \n _Goodnight Vienna_ (1974) \n _Blast from Your Past_ (Greatest Hits) (1975) \n _Ringo's Rotogravure_ (1976) \n _Ringo the 4th_ (1977) \n _Bad Boy_ (1978) \n _Stop and Smell the Roses_ (1981)\n\n**GEORGE HARRISON** \n _All Things Must Pass_ (1970) \n _The Concert for Bangladesh_ (1971) \n _Living in the Material World_ (1973) \n _Dark Horse_ (1974) \n _Extra Texture—Read All About It_ (1975) \n _Thirty-Three_ & ⅓ (1976) \n _George Harrison_ (1979) \n _Somewhere in England_ (1981) \n _Gone Troppo_ (1982) \n _Cloud Nine_ (1987)\n\n**PAUL MCCARTNEY** \n(with and without Wings): \n _McCartney_ (1970) \n\"Another Day\"/\"Oh Woman, Oh Why\" (1971) \n _Ram_ (1971) \n _Wild Life_ (1971) \n\"Give Ireland Back to the Irish\"/ \n\"Give Ireland Back to the Irish\" (version) (1972) \n\"Mary Had a Little Lamb\"/\"Little Woman Love\" (1972) \n\"Hi, Hi, Hi\"/\"C Moon\" (1972) \n _Red Rose Speedway_ (1973) \n\"Live and Let Die\"/\"I Lie Around\" (1973) \n _Band on the Run_ (1973) \n\"Junior's Farm\"/\"Sally G\" (1974) \n _Venus and Mars_ (1975) \n _Wings at the Speed of Sound_ (1976) \n _Wings over America_ (1977) \n\"Mull of Kintyre\"/\"Girls' School\" (1977) \n _London Town_ (1978) \n\"Goodnight Tonight\"/\"Daytime Nighttime Suffering\" (1979) \n _Back to the Egg_ (1979) \n _McCartney II_ (1980) \n _Concert for the People of Kampuchea_ (1981) \n _Tug of War_ (1982) \n\"Wonderful Christmas Time\"/ \n\"Rudolph the Red-Nosed Reggae\" (1982) \n _Pipes of Peace_ (1984) \nGiven My regarts to Board Street (1984) \nPress to Play (1986)\n\n**JOHN LENNON** \n(with and without the Plastic Ono Band) \n _Unfinished Music No. ", "1: Two Virgins_ (1968) \n _Unfinished Music No. ", "2: Life With the Lions_ (1969) \n _Wedding Album_ (1969) \n\"Give Peace a Chance\"/\"Remember Love\" [Ono] (1969) \n\"Cold Turkey\"/\"Don't Worry Kyoko (Mummy's Only \nLooking for her Hand in the Snow)\" [Ono] (1969) \n _The Plastic Ono Band_ — _Live Peace in Toronto_ (1969) \n\"Instant Karma (We All Shine On)\"/ \n\"Who Has Seen the Wind?\" [", "Ono] (1970) \n _Plastic Ono Band_ (1970) \n\"Power to the People\"/\"Open Your Box\" (1971) \n _Imagine_ (1971) \n\"Happy Xmas (War Is Over)\" [Lennon-Ono] \n\"Listen the Snow Is Falling\" [Ono] (1971-U.S.; 1972-U.K.) \n _Some Time in New York City_ (1972) \n _Mind Games_ (1973) \n _Walk and Bridges_ (1974) \n _Rock 'n' Roll_ (1975) \n _Shaved Fish_ (1975) \n _Double Fantasy_ (1980) \n _Milk and Honey_ (1983) \n _John Lennon: Live in New York City_ (1986) \n _Menlove Avenue_ (1986)\n\n# **TELL ME WHY**\nLots of people asked us what we enjoy best, concert, television, or recording. ", "We like doing stage shows, cos, you know, it's great to hear an audience enjoying themselves. ", "But the thing we like best is going into the recording studio to make new records. . . . ", "What we like to hear most is one of our songs taking shape in the recording studio, one of the ones that John and I have written, and then listening to the tapes afterwards to see how it all worked out. . . .", "\n\n**PAUL McCARTNEY,** \nin the 1963 Fan Club Christmas Message\n\nThe records are the point. ", "Not the Beatles as individuals!", "\n\n**JOHN LENNON,** \nin _Playboy_ , 1980\n\n# INTRODUCTION\n\n\"Give Me Love\" by Rosie and the Originals. ", "An amazing record. ", "It's one of the greatest strange records, it's all just out of beat and everybody misses it—they knocked off the B side in ten minutes.", "\n\n_—John Lennon to Jonathan Cott, 1968_\n\nROSIE AND THE ORIGINALS released their only 45-rpm single in early 1960. \"", "Angel Baby,\" the A side, reached number five in America, but it never even saw the light of day on the British charts. ", "The song is dismissible, a one-hit wonder from singer Rosie Hamlin that didn't deserve a follow-up. ", "But the B side is something else entirely. ", "For one thing, one of the Originals is hogging the mike, and Rosie is nowhere to be heard—a mystery that the label doesn't explain. ", "The record is much as Lennon describes: after a rewed-up guitar intro, the drums vanish and leave everyone else playing straight off the top of their heads. ", "The listener eavesdrops on a sloppy rhythm-and-blues concoction, with jealous lyrics sung to unrehearsed riffing—it's so sloppy, so incoherently diffuse, that it's more laughable than it is danceable. ", "To say \"Give Me Love\" sounds spontaneous doesn't begin to suggest its strangeness; the musicians themselves don't seem to know where the next downbeat is going to land. ", "The listener has trouble making sense of the music—but then again, so do the musicians. ", "Far from backing up Rosie's willful debut, it sounds as though someone left the tape machine running during an early-morning musical reverie—sounds that were completely random became crystallized on tape. ", "It exposed the would-be Originals as crudely inspired amateurs, who weren't even able to sustain their facade as a group from one side of a 45 to the other.", "\n\nTo the young John Lennon, this was what pop music was all about. ", "That he prized this oddity says a great deal about what he listened for: he put the _feel_ of a record above everything else, and treasured the magic and humor of ordinary situations where most heard unkempt discord. ", "To John, Paul, George, Ringo, and their Merseyside peers, the singles like these which they begged off the Cunard Yanks at the Liverpool docks meant much more than they could really express. ", "They would practice their guitars to these records, mimic their favorite singers, go nuts over their favorite moments, and crack up at inside jokes they shared. ", "In the beginning, they weren't much different from millions of other teenagers in the late fifties: they invested a lot in their fantasies. ", "It was youths like the Beatles all over the world who helped invent the outrageous dimensions that Little Richard, Jerry Lee Lewis, Buddy Holly, Chuck Berry, and Elvis Presley—the undisputed King—inhabited.", "\n\nPop completed their young world in ways that television and movies couldn't—it made them feel connected up to something that confirmed their adolescent impulses and gave voice to their most private emotional secrets. ", "Because the Beatles were avid participants in the pop life, they learned a lot from it, not only about themselves and their own capabilities but about the medium they would go on to transform. \"", "You Know My Name (Look Up the Number),\" which began after the _Sgt. ", "Pepper_ sessions and got stuck on the back of \"Let It Be\" ten years after Rosie and the Originals made their mark on Lennon, is somewhat more developed than \"Give Me Love\" but no less absurd. ", "The droll opening duet, sung conspicuously low, gives way to a snazzy nightclub cha-cha. ", "Lennon s emcee welcomes us to club \"Slaggers\" and introduces McCartney's unctuous lounge-act alter ego, \"Dennis O'Dell,\" who oozes lovesick sentimentality through a glib vibrato (\"You _know_ you know my name . . .\"). ", "Then Lennon interrupts McCartney's prodding announcer with a spectacled granny scolding, surrounded by penny whistles. ", "After a verse of cacophonous counting, a precocious piano solo gets grumbled and scatted over by everybody, and the mock variety show ends with one last bark of Lennon's gibberish. (\"", "What's the New Mary Jane,\" the A side that Lennon prepared for \"You Know My Name\" in late 1969, was rejected for sounding even more inchoate.)", "\n\nLike \"Give Me Love,\" \"You Know My Name\" captures the unstudied spark of a first or second take—the mistakes are left in, and the casual tone is an essential part of its hit-or-miss appeal. ", "The Beatles are making this music as a lark, more for themselves than for the microphones and the listeners beyond. ", "This aura of a shared secret informs even the Beatles' most accomplished recordings, like \"She Loves You\" and \"I Want to Hold Your Hand\"; there's something extra at work in these tracks that transports the musicians as they play. ", "Even when in complete command of the music, they're intoxicated with the sounds they're making.", "\n\nNone of the Beatles was formally trained, but this fondness for mystery and offbeat humor in rock 'n' roll counts as the best education they ever could have given themselves. ", "Listening to records like \"Give Me Love\" hundreds of times, they soon developed an uncanny sense of what makes music tick, both as material and as recorded sound. ", "It taught them about the aspects of pop they would go on to revitalize, both the 45-rpm single (the form they grew up on) and the full-length album (the form they redefined). ", "Their aspirations for the pop album spring directly from this affection for obscure B sides; and as they progressed, the longer form blossomed into an artistic statement—the idea of the long-playing album grew to be larger than the idea of each individual song. ", "As Rolling Stone Keith Richards would later put it: \"Both the Beatles and us had been through buying albums that were filled with ten tracks of rubbish. ", "We said, 'No, we want to make each track good. ", "Work almost as hard on it as you would work on a single. . . .' \" ( _", "The Rolling Stone Interviews_ , Volume II, Ben Fong-Torres, ed., ", "pp. ", "235–6) The unaffected feel of any given Beatles track shows just how well they understood what it takes to pull this feat off: their songs became increasingly self-conscious, but their playing always shunned affectation; they were never more cerebral than they were visceral.", "\n\nSO MUCH HAS ALREADY been written about the Beatles, so many biographies, memoirs by friends, and scattered critical tracts, that another volume requires justification. ", "Their story is so big, means so many different things to so many different people, that it would be impossible for one book to tell it all. ", "And yet so far, the story has been one-sided. ", "Their music always put it best; and in the end, that counts for more anyway. ", "But it is as _music_ that their catalogue still begs for commentary: the two major biographies (Hunter Davies's _The Beatles: The Authorized Biography_ and Philip Norman's _Shout!_ ) ", "concentrate on their lives and do not attempt to analyze their music. _", "Twilight of the Gods_ by Wilfrid Mellers and _A Musical Evolution_ by Terence O'Grady are both attempts at strict analysis, but written in such arcane academic terms that even when their interpretations provoke, they tend to miss the point entirely. ", "Mellers insists that the final E-major chord of \"A Day in the Life\" has something to do with heaven; O'Grady mistakenly bases his \"evolutionary\" account on the distorted American Capitol editions. ", "Both these scholars may know a great deal about the history of the Western classical tradition, but they tend to isolate the Beatles from the history of rock 'n' roll, the popular form they grew up with; strict musicology falls far short of explaining how well the Beatles communicated with their audience and why their records are as important as any artistic legacy of our age.", "\n\nThe Beatles deserve to be addressed on their own terms. ", "What's missing from most Beatles criticism is a sense of how they best expressed themselves: through instrumental and vocal interplay, both in riveting singles and on their carefully constructed albums. ", "They saw themselves first and foremost as recording artists, and their records still demonstrate all that pop can be. ", "In order to understand what it was the Beatles had to say to the world, and why their message was so powerful and convincing, their work, both words and music, deserves more attention than their marriages. ", "How are such strong emotional effects achieved? ", "Why is a given vocal delivery so penetrating? ", "How does a guitar solo inflect a verse, a refrain, a transition? ", "And most of all, what does it all mean?", "\n\nTheir ubiquity tends to steal attention from their significance—the fact that they have been covered by everyone from Siouxsie and the Banshees (\"Dear Prudence\") to Robert Goulet testifies to their pervasive influence, even though songs like \"Happiness is a Warm Gun\" and \"Hey Jude\" are still widely misunderstood. ", "Their musical merit is rarely questioned. ", "Highbrows like Leonard Bernstein, Ned Rorem, and Joan Peyser have long since offered their stamp of approval, as if that mattered. ", "But their Parlophone catalogue deserves a thorough exegesis. ", "To hear \"A Day in the Life\" as background Muzak in an elevator is to hear just how much we have come to take their work for granted. ", "Since Michael Jackson's purchase of the Lennon and McCartney publishing rights (Northern Songs), \"Help!\" ", "and \"Revolution\" have been prostituted as television jingles for cars and sneakers.", "\n\nReturning to the original Beatles catalogue not only rewards close listenings, it sheds light on the styles they inspired and the reactions that followed. ", "They're best heard on their own records, playing their own songs with their own arrangements. ", "This text is meant to accompany close listenings for a detailed look at a very intricate art.", "\n\nROCK 'N' ROLL BEGAN WITH Sam Phillips and the young Elvis Presley in 1954 at the Memphis studios of Sun Records, Phillips's independent label. ", "With his first record, \"That's All Right (Mama),\" an old Arthur Crudup blues sped up to intensify the singer's resentment, Presley effectively turned black rhythms and a caustic, taunting delivery into a style that whites could readily identify with—the black-influenced beat was forbidden, but the singer was incredible before race came into the discussion. ", "When he signed with RCA in late 1955 and released \"Don't Be Cruel,\" \"Teddy Bear,\" and \"Jailhouse Rock,\" Presley crossed over to number one on what had once been three irreconcilable charts: pop, country, and rhythm and blues. ", "When Presley wasn't being dirty (\"Heartbreak Hotel\") or threatening (\"Hound Dog\"), he could turn on the sentimentality (\"I Want You, I Need You, I Love You\") and transform the rhythms he had released as anger into harmless, rollicking fun (\"Blue Moon of Kentucky\"). ", "The power of the music lay in its directness: rhythm and harmony were boiled down to basic essentials and used to convey primal human passions—impatience, pride, sexual yearning, simple pleasures, confusing doubts, and sheer hilarity. ", "The recording medium rock 'n' roll was invented in proved to be the perfect outlet for these passions, and when linked with radio, it inspired a mass connection among teenagers everywhere who were quickly smitten by the new sound—in part because Elvis enacted the sexuality they had been taught to repress, but also because he put more into his music than had previously seemed possible, an eccentric resolve that simply compelled attention. ", "It is no small measure of Presley's greatness that we speak of songs like \"I Can't Help Falling in Love with You\" and \"Love Me Tender\" as Presley's, even though he never wrote a note of music in his life.", "\n\nThe Beatles are a pivotal part of rock's story not just because their music can still dazzle but because their arrival as rock 'n' rollers with an endless stream of original material challenged what anyone had imagined pop could become. ", "They weren't the first or the only ones to dare toward such encompassing celebrity-hood. ", "The foundations had been laid for them by Sinatra, Presley, and a handful of others, and they shared the sixties stage primarily with the Rolling Stones and Bob Dylan. ", "But as a microcosm of the rock experience, nothing equals the Beatles catalogue: it integrates the best of what came before and signals the array of styles that would soon follow. ", "They may not be responsible for everything, but nearly everything that comes after would be impossible without them. ", "Strictly speaking, the Mothers of Invention's _Freak Out_ has claims as the first \"concept\" album, but _Sgt. ", "Pepper_ was the record that made that idea convincing to most ears. ", "Their influence touches every extreme: \"She Said She Said\" certainly inspired Lou Reed, and \"Birthday\" perfected the kind of infectious guitar riff that a hundred derivative bands like Cheap Trick used as excuses for careers.", "\n\nThe Beatles and their generation were the first to go through puberty with rock 'n' roll on the radio. ", "The chief concern of rock 'n' roll is youth, and it distinguishes itself from jazz in this way. ", "That other great American art form, rock 'n' roll's essential predecessor, celebrates musical creativity itself, stressing improvisation (more often de-emphasizing lyrics) as a means toward self-expression. (", "Both styles derive their titles from black slang words for sex.) ", "In early rock 'n' roll, the main concern is puberty itself, the search to assimilate experience into a cohesive self-identity. ", "What the Beatles heard in the rock 'n' roll they fell in love with was the potential not just for variety but for summing up a long tradition of popular styles. ", "Their artistry grew from their eclectic love for the entire spectrum that stretched from ragtime to Broadway, from a desire to synthesize the best of the rock 'n' roll they had grown up with with the larger heritage of pop they saw as its backdrop. ", "Explicitly, these roots go as far back as ragtime or Victorian dance halls; implicitly, the wedding of country swing to rhythm and blues (white to black) can be traced back to the rhythms of African folk cultures and the vignettes of English storytelling.", "\n\nGreil Marcus's excellent essay on Elvis Presley in _Mystery Train_ articulates Presley's role in giving rock 'n' roll its mass appeal:\n\nEchoing through all of rock 'n' roll is the simple demand for peace of mind and a good time . . . ", "Satisfaction is not all there is to it, but it is where it all begins. ", "Finally, the music must provoke as well as delight, disturb as well as comfort, create as well as sustain. ", "If it doesn't, it lies, and there is only so much comfort you can take in a lie before it all falls apart, (p. 162)\n\nTo this we can add the idea of liberation: the boundaries that Presley seemed to break in his singing become metaphors for ways of thinking about life. ", "The most aggressive rock 'n' roll is a testing of limits, a combustive enactment of the frontier spirit. ", "With a combination of determination and good luck, anything is possible, the sound seems to be telling us. ", "We hear it in all the great rock recordings from \"Hound Dog\" and \"I Want to Hold Your Hand\" right up through Bruce Springsteen's \"Hungry Heart.\" ", "Good rock 'n' roll is simple but not dull—it must bear repeated listenings. ", "It relies on impact, saying a lot in a short period of time, and it innovates as well as conforms to conventional patterns. ", "Ideally, rock 'n' roll plays with our expectations, making each experience of a given song different.", "\n\nIn 1963, the sound of British youths singing the distinctly American style must have been jarring. ", "Only seven years earlier, adults had reeled at the sight of Elvis belting out blatantly black rhythms on the Ed Sullivan show as their children gaped in wonder. ", "Now here was another level of detachment, and hence another level of potential, with the Beatles copying their American idols at the same time they gave the form a new lease on life—their ironic detachment from the music's roots suddenly made it all sound new again. ", "Inanities like \"Be-Bop-A-Lula\" and \"Tutti Frutti\" had reached across the Atlantic and gripped Britain. ", "If rock 'n' roll could do that, anything might happen. ", "And the Beatles' early cover versions of their favorite rock standards didn't just hint at the possibilities; they laid the groundwork for the surprises that kept coming. ", "Their obsession with rock 'n' roll was infectious, and quickly inescapable, surrounding the audience and zeroing in on its wants, needs, desires, and fetishes.", "\n\nWHEN THEY SPOKE about their heroes in interviews, the Beatles revealed impeccable taste: they named themselves after Buddy Holly's band, the Crickets (John changed the \"ee\" to \"ea\" to make the pun on \"beat\" explicit) and they idolized Chuck Berry, Carl Perkins, Jerry Lee Lewis, Fats Domino, and the Everly Brothers to the extreme. ", "They caught the British tours of Eddie Cochran, Gene Vincent, and Little Richard at every possible opportunity. ", "John flipped at the audacity of someone dubbing himself \"Dr. Feelgood\"; he loved the manic intensity of Larry Williams's delivery and the soulful vocalism of Arthur Alexander. ", "Paul cited Little Richard, Peggy Lee, the Platters; George mentioned girl groups like the Shirelles and doo-wop favorites like the Chiffons; Ringo wanted to move to Texas because \"that's where Lightnin' Hopkins came from.\" ", "And they all emphasized Elvis.", "\n\nElvis embodied the rock n' roll myth. ", "Myths combine fact and fiction, feeding off both the images they project—real and fictive—and the imaginative space their records inhabit. \"", "Johnny B. Goode,\" the 1958 Chuck Berry hit, is loosely based on Elvis Presley's story: the country boy who finds fame in Hollywood from the railroad rhythms he plays on his guitar. ", "The idiosyncrasies of Presley's real life lend themselves to such treatment: he was a mother's boy, polite to a fault, and had a twin brother who died at birth. (", "Johnny's name even suggests what Lennon's mother may have told him as a boy—\"be good.\")", "\n\n_He used to carry his guitar in a gunnysack \nGo sit beneath the tree by the railroad tracks \nOld engineer would see him sittin' in the shade \nStrummin' with the rhythm that the drivers made \nWhen people passed him by they would stop and say, \n\"Oh my, but that country boy can play!\"_", "\n\nThe heart of the music is its rhythm—it still makes more sense when you dance to it—but to young Johnny, the train's motion seems to mean a lot more than just a beat to strum to. ", "It symbolizes his turning from a boy into a man in the big world, leaving poverty behind for the big time and separating from his mother. ", "When Elvis returned from his Army stint in 1960, Berry wrote a sequel, \"Bye Bye Johnny,\" about how Johnny builds a mansion by the railroad tracks where he can settle with his new wife and his mother. ", "By then, Elvis Presley's mother had died near Graceland, the mansion he had built.", "\n\nThe Beatles cavorted their way through \"Johnny B. Goode\" on BBC radio broadcasts, and the Rolling Stones were still sneering \"Bye Bye Johnny\" as late as their 1972 tour. ", "But Elvis wound up living out the dark side of success, the kind that feeds on bottomless desires: according to Elaine Dundy in _Elvis and Gladys_ , he never overcame his mother's death. ", "Bruce Springsteen would write the final song of the B. Goode legend, \"Johnny Bye Bye,\" about Elvis's funeral in Memphis (\"They found him slumped up against the drain/A whole lotta trouble runnin' through his veins . . . \").", "\n\nTO BRITISH YOUTHS, the Americanisms that loomed inside rock's aura must have been that much more grand and desirable. ", "After all, in 1963 the world looked down on British pop—the Beatles themselves couldn't stand it—and the sun that was finally setting on the British Empire had brought a sense of resignation. ", "Britain had in a generation lost its position as a world power. ", "In spite of an often pragmatic approach to the end of the Empire, a feeling of defeat was in the air.", "\n\nThe Beatles knew they were better than that national self-image, just like a lot of postwar babies did—the stories of hardship and war they were told took root in ways the parents never expected. ", "The British had sacrificed almost everything in order to save Europe from the threat of Hitler; now their kids arose to claim what they concluded was theirs: the luxury of freedom, the opportunity for success, and the requisite dividends of pleasure. ", "Born during Germany's Liverpool air raids and conditioned to life as young men in a sleazy district of Hamburg, the Beatles followed Britain's new-wave sensibility—the angry young men—as rebels with a single cause: to have fun. ", "Their intelligent frivolity targeted the core of the music, the hope that undergirds even Elvis's most bitter putdowns (Leiber and Stoller's \"Hound Dog\"), the place in the sound that promises more from life than is commonly assumed; the idea that beyond paying dues and disciplining talent, the only thing that stands between a person and a happier life is the act of questioning, demanding satisfaction and acting out dreams of something better.", "\n\nWhat they gained from their relatively provincial upbringing was something worth living for: not to settle for the security their parents had fought for but to take advantage of what the new world had to offer; not to betray the values of the past but to see how far they could be taken when given half a chance. ", "It involved a wholly different kind of risk—a more personal kind of outlook, both at the world outside and at the dread within.", "\n\nPaul's mother, Mary, died of breast cancer when Paul was fourteen, and John's mother, Julia, was struck by a bus just before John turned eighteen—losses that each of them would draw on in their work. ", "Moreover, Julia had turned John over to her sister Mimi soon after his birth, and at age five he was kidnapped by his seafaring father, Fred. ", "When Julia tracked them down several days later in Blackpool, young John was asked choose between living with his mother and his father in a traumatic scene: after first choosing his father, he ran back into Julia's arms, and she returned him to his home with Aunt Mimi. ", "The fact that Lennon also lost a surrogate father figure, Aunt Mimi's husband, George, as well as a best friend and early band member, Stu Sutcliffe, all in the space of seven adolescent years, made his resentment even deeper. ", "At the very least, both John and Paul must have felt as though the world owed them something. ", "Their parents' generation had made sacrifices for certain liberties; the Beatles were determined to use those freedoms as much as they could to make life as meaningful as they intuited all along. ", "Their enormous ambition was only part of it; the richness they felt from their own experience—and heard in Presley's singing—demanded something more. ", "The bomb scars that they posed in front of for Dezo Hoffman in 1962 were ruinous, but they knew the optimism of the baby boom generation better than the carnage that was its cost.", "\n\nTHE BEATLES MYTH resembles Presley's in important ways: supposedly, they sprang from nowhere as overnight sensations, working-class northerners who stormed the British ruling class of pop in London, four happy-go-lucky moptops to whom life meant fun and then some. ", "But like Berry's version of the Presley legend, much of the Beatles myth is drawn from conclusions not based on fact: only Ringo's Dingle neighborhood upbringing can be called poor; the other Beatles were solidly middle-class grammar-school types, more privileged than underprivileged. ", "To Americans, it may have seemed as though they enjoyed overnight success, but a glance at their schedules (in Mark Lewisohn's exhaustive _The Beatles Live!_ ) ", "in Hamburg and British dance halls between 1957 and their first Parlophone recording session in 1962 argues against it.", "\n\nThe most misleading part of their myth is the idea that Liverpool is \"nowhere,\" for nowhere else in Britain—and probably the world—was beat music as alive as it was in the Merseyside scene when the Beatles cut their chops. ", "Over three hundred bands worked the area, over thirty of them engaged several nights a week at the popular clubs like the Cavern for both lunchtime and evening slots. ", "The musical community fed on a furious energy: bands scouted other bands, keen for the best unnoticed B sides of American popular records that the Yankee sailors would bring them from across the Atlantic on the Cunard shipping lines. ", "Along with a mutual respect for quality, there was a competitive edge between groups that challenged them all to greater heights. ", "Opening acts would stump their headliners with a newfound beat thriller that no one had even heard before, and headliners would be forced to try to outdo what came before them. ", "There were many other groups that could hold their own in this arena (the Searchers, Derry and the Seniors, the Big Three), but the Beatles had the peculiar advantages of Brian Epstein's fancy and the luck of a Parlophone contract. ", "It's no accident that they came from the active musical life of Liverpool, but they quickly outdid all their peers with a talent and ambition that left the others behind. ", "After all, they wanted to be bigger than Elvis.", "\n\nLike the other Merseyside bands at the time, the Beatles subscribed to the ethic of copying the American sounds they loved as closely as possible, faithful to all the licks, fills, guitar solos, and vocal treatments from their favorite Stateside records. ", "The old dictum that artists' early work is first recognized by their influences could not be truer than with the Beatles, and the paradox is that the more they polished their imitations of songs, the closer they came to an individual sound. ", "The more John sang Richie Barret's \"Some Other Guy,\" the more he invested his own jealous longing into it; the more Paul sang Little Richard's \"Lucille,\" the more he flavored it with his giddy brand of camp. ", "George couldn't help sounding like George even when he mimicked Eddie Fontaine's \"Nothin' Shakin' (but the Leaves on the Trees).\" ", "What they learned from the records they copied was not merely how to sound like someone else but how to play and sing, how to put a song forward. \"", "Don't copy the swimming teacher, learn how to swim!\" ", "is how John later put it.", "\n\nThey all cited Lonnie Donegans \"Rock Island Line,\" a skiffle treatment of Huddie (\"Leadbelly\") Ledbetter s blues song, as one of the most influential records of their youth. ", "A fluke hit in Britain in 1956, it caught their ear not only because it was catchy, rhythmic, and somewhat raw but because they could master it immediately. ", "With other hits, they crammed all the sounds they heard into the two-guitar, bass, and drums format, reworking sax solos, string arrangements, and high female vocals along the way. ", "They omitted the string ornaments from the girl-group songs they covered in part because of studio costs, but more because they wanted to project the entire imaginative illusion by themselves. ", "Had Decca Records signed them on the merits of their audition tape (now widely available, and astonishing), they would have been treated like any other pop group—given material to play, told how to sound, and recorded and mixed by a professional \"slick\" pop producer.", "\n\nBut since George Martin wasn't really a pop producer (he was best known for his comedy records) and was won over by their original songs, the Beatles debuted with an enthusiasm won by their determination to be true to an ideal they cherished, not a sound targeted for a presumed listenership. ", "Martin trusted their sense of their potential audience, instead of trying to define it for them, as producers usually do. ", "This was a radical posture: in remaining faithful to the sounds they loved, they redefined pop in their own terms and sparked their career-long journey toward self-definition. ", "They became recording artists soon after bucking the surefire-hit system, but they mastered their craft from the inside out—not by having studio technique applied to their music for effect but by allowing their material to incorporate more sophisticated effects as needed. ", "The difference is everything.", "\n\nTO BE BIGGER THAN Elvis, the Beatles had to propose bigger challenges, put across even more provocative ideas. ", "From the outset, they embodied the notion that an individual can realize his own identity in a community, even when it consists of four utterly different—even contradictory—parts. ", "Their view of the world, as seen through their records, affirms a sense of perspective no matter what they happen to be singing about: whether it's a broken heart or some shattered illusion, the individual slant is always framed in a group context. ", "When they covered the Isley Brothers' 1959 debut, \"Shout,\" they rotated singers: after Paul and John kick things off, George takes it down (\"a little bit softer now\"), Ringo brings it back up (\"a little bit louder now\"), Paul re-enters with call-and-response \"hey\"s, and Lennon goes out howling \"I'm foockin' shoutin' now!\" ", "In their own work, their exchanges illuminate each other's personalities even more: the conflict in \"We Can Work It Out\" sounds as nonthreatening as a simple misunderstanding to Paul (who sings \"We can work it out\"), more like an argument to Lennon (who answers \"There's no time for fussing and fighting . . . \"). ", "Paul's strongest heartache songs (\"Yesterday\" and \"For No One\") are contrasted with the bottomless sorrow and longing in John's \"Julia\" or \"Don't Let Me Down\"—different emotional climates surrounding the same subject matter. ", "And to get such radically opposing views on similar topics from the same band fulfilled any audience's demand for simple variety at the same time that it enlarged their impact.", "\n\nLENNON AND MCCARTNEY are an unusually polarized songwriting team, even though they were both madly in love with rock 'n' roll when they began playing together. ", "The difference was, they both loved it for entirely different reasons. ", "Paul McCartney's upbringing was decidedly more working-class than John Lennon's, even though John's more middle-class family life was probably more traumatic. ", "Paul's father, Jim, was a cotton salesman who worked his way up in a respectable manner and played in a big band on the side as a hobby. ", "Mary had to work full-time as a midwife in order to make ends meet for their two children. ", "By comparison, John's Aunt Mimi stayed home and kept house while her husband, George, worked at the local dairy. ", "Mimi could even afford to have a gardener come in twice a week. ", "Lennon, who was given the gentlemanly middle name \"Winston\" after Prime Minister Churchill, grew up with a servant—the McCartneys would never have dreamed of such a luxury. ", "This working-class ethic was instilled in Paul at a very young age, and it represents a major difference in the way he and John approached their music: John, always more concerned with expressing himself, came to see his music as an art, while Paul became a consummate craftsman; he saw pop music more as a trade.", "\n\nThe songs each chose to sing lead on for their early BBC radio spots clue their separate traits: John identified with the broken family in Chuck Berry's \"Memphis, Tennessee,\" the rampant consonants of Berry's wordy \"Too Much Monkey Business,\" and the tenderness that turns to frustration in Phil Spector's \"To Know Her Is To Love Her.\" ", "Paul loved the fun side of Chan Romero's \"Hippy Hippy Shake,\" the Hollywood sentimentality of \"The Honeymoon Song,\" and the high melodrama of \"Besame Mucho.\" ", "As Greil Marcus writes, \"Lennon's writing always admitted struggle; McCartney's always denied it.\" ", "To say that McCartney aims to please is not really going too far—to this day he loves to entertain, and he's in his element when he's upbeat, celebrative, and downright whimsical. ", "In the 1963 Christmas Message he told his fans, \"We'll try to do everything we can to please you with the type of songs we write and record next year. . . .\" ", "Paul McCartney is a comfortable person: looking both inside himself and at the world around him, he waxes positive—life suits him. ", "His persgnality plays itself out musically with lyrical melodies dressed in clever harmonic frameworks (the two-key layout of \"Here, There and Everywhere,\" the major-minor tension of \"Eleanor Rigby\"). ", "And his appetite for kitsch is at least as large as his hero Elvis Presley's.", "\n\nLennon had more in common with Presley's rebellious posture—the side that provoked questions, confronted assumptions, and challenged authority. ", "When he looked at himself and the world around him, he felt unsettled, dissatisfied; life wore on him. ", "The creative process for Lennon was a working out of this discomfort—he got a lot off his chest in song. ", "He was, as McCartney himself has said, a more autobiographical writer than his partner. ", "Events in his life directly influenced the songs he wrote: with McCartney, the same is not as often true. \"", "Norwegian Wood\" is about an affair Lennon had; \"Michelle\" has nothing to do with McCartney's own love life. ", "Lennon's musical personality is obsessed with rhythm, and his lyrics most often rise above Paul's. ", "Paul was primarily a melodic thinker, both in the lyricism of his vocal lines and in the sweep of his bass playing; his gift lies in linear phrases, while Lerinon's jagged beats disrupt songs horizontally. ", "McCartney's texts are usually witty, charming, narrative, or sentimental. ", "Lennon's are more extreme: acerbic, confessional, or maddeningly obtuse.", "\n\nA knowledge of the music Lennon and McCartney had in their ears by 1962 explains the sources of some of their licks, but the bands who carried on to record after Beatlemania hit prove that the Beatles weren't the only four Liverpudlians who knew and cherished their girl-group 45s. ", "What matters more is how they digested what came before and turned it into something they could call their own: you can hear Elvis's corn in Paul's rendition of \"Till There Was You,\" and Little Willie John's howling jealousy when Lennon sings \"Leave My Kitten Alone\" (from the _Beatles for Sale_ sessions), but you can't explain either Paul or John by pointing to their exemplars. ", "In the best sense, they define one another.", "\n\nLennon and McCartney immersed themselves in song-writing, to the point where they threw away between fifty and a hundred tunes before they wrote \"Love Me Do\" (some of these, like \"One After 909,\" \"I'll Follow the Sun,\" \"What Goes On,\" and \"When I'm Sixty-four\" were revived later on). ", "When they dueted on Carl Perkins's \"Sure to Fall,\" they learned as much from its style as from its construction; the small silences in their cover of the Everly Brothers' hit \"So How Come (No One Loves Me)\" taught them the value of such tricks. ", "Among their performing heroes, many wrote their own songs (Buddy Holly, Carl Perkins, Little Richard, Smokey Robinson, Chuck Berry, Roy Orbison), and the Beatles were always covering or copping ideas from pop's great tunesmiths (Leiber and Stoller, Goffin and King, Shuman and Pomus, and Motown's Berry Gordy).", "\n\nTheir individual tendencies dictate the form a song takes. ", "McCartney prefers dramatic settings, complete with characters: \"Eleanor Rigby\" and \"She's Leaving Home\" are like pop-song short stories. ", "The two-key harmonic framework of \"Penny Lane\" articulates its double narrative structure. ", "Len-non is more interested in projecting moral visions with mythical figures like \"Nowhere Man\" or \"I Am the Walrus,\" and he addresses his audience more directly. ", "As collaborators (and competitors—the distinction is often subtle), they constantly influenced one another and were well aware of their differences. ", "It is not completely a joke that Lennon enjoyed referring to \"Why Don't We Do It in the Road?\" ", "as McCartney's best song.", "\n\nAs collaborators, their idiosyncrasies appear explicitly in dialogues like \"We Can Work It Out,\" a song about a lovers' quarrel that turns out to be an argument in itself, and \"A Day in the Life,\" where two separate ideas are stitched together into one musical setting. ", "But the same dynamic also produces opposing visions like the \"Penny Lane\"/\"Strawberry Fields Forever\" single: here each song springs from the same desire to depict a personal vision of childhood. ", "McCartney's is charming, of \"ordinary\" lunacy at the corner barbershop. ", "Lennon's song uses an image of homelessness (the title refers to an orphanage near where he grew up) and poses despairing questions about abandonment. ", "McCartney could never have penned the disturbing \"Happiness Is a Warm Gun,\" just as Lennon would never have bothered with \"Maxwell's Silver Hammer.\"", "\n\nBecause they often contradicted themselves in interviews, we can't know in detail who contributed what to many songs. ", "Hunter Davies describes them writing \"With a Little Help from My Friends,\" bouncing ideas off of each other for Rin-go's _Sgt. ", "Pepper_ spotlight. ", "But the specifics of what else we know make their partnership seem utilitarian; they would use one another when and if they wanted to. ", "Lennon rewrote \"Drive My Car,\" which McCartney brought in as \"Baby, You Can Wear My Diamond Ring\" Paul introduced the first draft of \"Hey Jude\" as gibberish and John dubbed it finished; John discarded several descriptive verses for \"In My Life,\" but Paul claims to have written the melody; and Paul suggested the lopsided drum hook for Lennon's \"Ticket to Ride.\"", "\n\nAs musicians, their personalities complement each other, enlarging the scope of what would otherwise be individual statements. ", "Paul's lyrical harmony and melodic bass playing shade Lennon's intensity in \"Don't Let Me Down.\" ", "Lennon's background harmony to the last verses of \"Hey Jude\" lends it a warmth and spirit that no other singer could provide. ", "If they didn't always work together when writing—they composed more and more separately as the years passed, even though the publishing citations still credit them jointly—they were almost always generous toward each other in performance.", "\n\nTHE PERSONAL RELATIONSHIPS these four men shared were also an ever-changing mixture of different balances, but John Lennon was clearly the one they acknowledged as their leader from the start. ", "To begin with, Lennon had more of a vision of what the Beatles were about and what they could be; he spoke of it more in interviews and he lived it out more in his life. (", "It was John who invited Paul to join the-Quarrymen, as much out of respect as fear of competition.) ", "If, as Greil Marcus suggests, \"it was the Beatles who opened up the turf the Stones took as their own—there was no possibility of a Left until the Beatles created a Center,\" the same can be said to be true of the different creative spaces Lennon and McCartney inhabited. ", "McCartney can be called the group's center, the middle of the road; Lennon stands for the fringes that are rock 'n' roll's true holy ground. ", "Paul went along with Brian Epstein's stylized suits and deep bows; John always wanted to skip the formalities. ", "Paul covered the standard classic ballads as a matter of course; John made certain their early records finished to the sound of him wailing \"Twist and Shout,\" \"Money,\" and \"Dizzy Miss Lizzie.\" ", "The exceptions prove the rule: John's \"Good Night\" is as smarmy as anything McCartney ever wrote, and \"Helter Skelter\" is Paul's heavy-metal scorcher. ", "But Paul's cover of \"Long Tall Sally\" is rollicking where John's \"Money\" is utterly vicious; Len-non's love ballad \"Julia\" is oedipal, and follows Paul's \"I Will\" on the \"White Album\" the way \"Dear Prudence\" follows \"Back in the U.S.S.R.\"—from the ridiculous to the sublime. ", "In the final analysis, Lennon's struggle with life more often outweighs McCartney's contentedness.", "\n\nThere is an undeniable sympathy between them as singers that makes their best duets something different still. ", "Paul's romanticism curbs John's angst (\"If I Fell\"), and Lennon shoots McCartney's puerile excesses through with humor (\"Yellow Submarine\"), one making up for what the other may lack. ", "They are a team as naturally suited to one another as Astaire and Rogers, Rodgers and Hart or Hammerstein, Hepburn and Tracy. ", "They magnify this power not just because they are two but because their combined chemistry is so much more than one plus one.", "\n\nThis is true of the band as well: their group identity far outweighs their separate talents. ", "The interplay between McCartney's bass and George's guitar during the guitar solo of \"Something\" is one of the best things about the song itself—Paul comes close to stealing the show.", "\n\nRingo Starr is still an underrated drummer. ", "To begin with, he keeps flawless time—never giving in to the tendency to rush or slow down—an essential element of driving rock 'n' roll. ", "He doesn't dominate his set the way the Who's Keith Moon did, nor does his relatively earthy musicality compete with that of a jazzer-turned-rocker like Charlie Watts of the Rolling Stones. ", "But his role in the band is impossible to discount. ", "Each track has its own drum sound, its own specific patterns, and he gives each song a special feel by adjusting his rhythms to suit the musical tone. ", "His partnership with Paul's increasingly active bass playing is still a lesson in how variously the bottom can support the top in rock. ", "Beginning with \"Boys,\" Ringo is given a song to sing on nearly every album, and supported with musical affection; by the time he delivers \"Yellow Submarine,\" his presence is central.", "\n\nGeorge Harrison's work will always suffer from the comparison he invites to Lennon and McCartney; such brilliant company inevitably makes his efforts sound weaker. ", "Like silent partners John Entwistle in the Who or Bill Wyman in the Stones, he counts as an essential ingredient of the band's character more than a striking standout. ", "His strong moments are notable by any other standards, songs like \"Taxman,\" \"While My Guitar Gently Weeps,\" and \"Here Comes the Sun\" have earned their place in rock history, even if his excursions into Indian sitar-based exoticism are now largely dismissable. ", "He's best thought of as a lead guitarist, the one who turned in the effervescent solo on \"And Your Bird Can Sing\" and the brief and breathless interruption in \"Got to Get You into My Life.\" ", "Like Ringo's, his musical competency supported, rather than competed with, his elder peers.", "\n\nOn record, the Beatles play up their personalities, enjoying their implications as well as their contradictions. ", "The visual presence they commanded onstage accentuated this: John's Rickenbacker, George's Gretsch, and Paul's Hofner each had a distinctive design to it; they were more than phallic, they were logical extensions of their owners' musical wit. ", "Their stage presence was haloed by an illusory arc that stretched from the neck of Lennon's Rickenbacker on the right, over Ringo's drums, to the tuning pegs of Paul's bass, which he played left-handed while sharing a microphone with George. ", "Their long hair made them arty and outrageous, and as their looks changed over the years, they projected the idea that the way one appears affects the way one perceives oneself.", "\n\nAs an ensemble, their interplay is a constantly shifting exchange of combinations. ", "The simple two-guitar, bass, and drums setup allows for a number of different combinations: at the simplest level, Paul's bass provides the harmonic foundations and teams with Ringo's drumming to form the rhythm section. ", "On top of this, John's rhythm guitar flanks George's lead. ", "These elementary patterns lead to more intricate configurations: a song can pit lead guitar against the drums (\"I Feel Fine\") or let the bass play lead almost exclusively (\"Rain\").", "\n\nThe two songwriters carry the lead vocal parts, and are supported by pairing the remaining lead singers behind (Paul and George back up John, John and George back up Paul). ", "In \"Long Tall Sally,\" Paul leads the band; in \"Roll Over Beethoven,\" George lets them carry him; in \"Money,\" John pits himself against the others, turning the act of performance into a competition of will, endurance, and emotional thrust. ", "A singer can impose his emotional presence on the way the band actually sounds: John's authority on \"Bad Boy\" conjures up a completely different imaginative space than Paul does on his equally masterful \"Kansas City.\"", "\n\nTHE BEATLES ARE our first recording artists, and they remain our best. ", "The growing significance of pop music in the sixties paralleled advances in recording technology, which suited their own creative inclinations to stop touring and concentrate on studio work. ", "The expanding technical possibilities influenced their music to a greater degree than pop had ever been subject to before. ", "Phil Spector's work with the Ronettes, Ike and Tina Turner, the Crystals, and the Righteous Brothers are paragons of how studio technique can turn the simple essence of pop into grand, dramatic surges of sound. ", "But Spector was more an auteur than he was a full-fledged artist—his catalogue bears his signature but not his soul. ", "The Beatles' work came to be conceived with the studio in mind—all the production values a mixing board had to offer were used to serve the ideas conveyed in their music. ", "A Beatles record is more than just a collection of songs; it's a performance for tape. ", "The recording industry still measures itself against ingenious achievements like _Sgt. ", "Pepper_ (recorded on two four-track recorders), even though digital circuitry is now far beyond the eight-track machines that were used to tape their last album, _Abbey Road_.", "\n\nGeorge Martin, a classically trained oboist, produced almost all of the Beatles' material for the recording medium. ", "His technically experienced ears lent a disciplined sensibility to Lennon and McCartney's ideas. ", "The classical touches bear Martin's fingerprints (the string quartet on \"Yesterday,\" the baroque keyboard solo in \"In My Life\"), and when Lennon wanted two different versions of \"Strawberry Fields Forever\" spliced together to capture the best of both, even though they were in different keys and tempi, it was Martin who figured out how to do it. ", "His creative presence is notably absent on _Let It Be_ , the only Beatles record he didn't oversee. ", "Phil Spector produced \"Let It Be,\" \"The Long and Winding Road,\" and \"Across the Universe\" for that record with strings and female chorus. ", "It's obvious from the resulting clash of sentiment and schmaltz that Spector doesn't speak the Beatles' language as well as Martin does. ", "Martin's care for detail and nuance are why other artists' recordings of Beatles songs are usually less satisfying than their original counterparts. ", "Each element of the production on Beatles records is so carefully placed that it becomes part of the song itself. ", "As time went on, the Beatles weren't so much songwriters as they were _record_ writers; the studio became a lab where musical ideas were exchanged, reworked, and restructured for tape.", "\n\nThe merits of a recorded performance compared with those of a performance in the live arena are often disputed in rock 'n' roll. ", "While Bruce Springsteen might contend that rock's most noble values are played out in concert, where artist and audience engage in shared imagery at the same time in the same place, the airwaves are where the music lives in day-to-day life; and since day-to-day life is pop's subject, its medium is its most important message. ", "The very idea that highly individual messages can be shared on a mass scale is enough to make Rosie and her Originals seem almost oracular.", "\n\nThe Beatles' understanding of how the recording medium could be used was intuitive and unfeigned. ", "In \"Strawberry Fields Forever,\" sounds roam from place to place; the voice is filtered to warp the sense of space (at times it sounds as if Lennon were singing underwater); and even some of the instruments are unrecognizable because of what surrounds them. ", "For a song that grapples with the disturbing questions of alienation and self-identity, the setting alone conveys much of the text's confused tone.", "\n\nThe studio effects don't need to be fancy, though: for the final verse of \"I've Got a Feeling,\" Phil Spector simply separates the lead voices into separate stereo channels, dividing the duet into two distinct parts, type-casting Lennon and McCartney's swan song by putting it through separate speakers. ", "The way the rhythm instruments are distinguished from the lead vocals on earlier albums enhances the texture: each instrument etches a clear line in the web of sound. ", "These early mixes (vocals opposite instruments) sound simplistic today, but they grew into such lopsided treats as \"Yer Blues,\" with the drums all the way over to the left, and \"Maxwell's Silver Hammer,\" with its overwrought labyrinth design.", "\n\nWITH THE WEALTH of material the band produced, it's surprising to remember that their recording career lasted only seven years. ", "A lifetime in pop is very short, and seven years has come to signify about one generation: seven years after the Beatles' dissolution, in 1977, punk and new wave came to the fore; roughly seven years after that, in 1984, a new crop of underground hopefuls—the Replacements, Hüsker Dü, the Minutemen—came into maturity. ", "The Beatles' seven years of recording (1962–69) were loaded with creativity, and when their work is seen as a self-contained world, there is a progressive direction implicit in the best of it. ", "The seeds of their later period can be heard in the early stages, and as early as _Help!_ ", "their world is self-reflective. \"", "You're Gonna Lose That Girl\" is basically a rewrite—the unsung threat—of \"She Loves You.\"", "\n\nThe idea of turning the long-playing record into an artistic statement came about largely because of the Beatles' own career. ", "John Rockwell points out how records like Frank Sinatra's _Only the Lonely_ have an underlying theme that makes their songs part of a whole, but the concept album as we know it came into its own with _Sgt. ", "Pepper_ and has never been the same since. ", "To say that a record has an \"inner logic\" (to use Robert Christgau's term) suggests something more than a common theme. ", "It has to do with the rhythm of an album side, the way songs relate to one another, and the way a listener becomes engaged with the imaginative landscape of sound. ", "In the same way that great movie actors relax and forget their self-consciousness in front of the cameras, the Beatles' ease in front of the microphones lets us hear them feel the music as they play it—the way Ringo plows right into \"Birthday,\" for instance, or the tight grip that John keeps on his rhythm guitar in \"I'm Happy Just to Dance with You.\" ", "Their relationship with the material can be heard in the way a song is played through time, either gaining momentum toward the finish (as in \"Twist and Shout\") or ebbing and flowing of its own accord (\"If I Needed Someone\").", "\n\nThe Beatles treated the album as a journey from one place to another. ", "They built cornerstones into their records by positioning the songs in relation to one another: beginnings and endings of sides can sum up, contradict, qualify, or cast a shadow over the songs they introduce or follow. ", "Each Beatles album has its own nooks and crannies, its individual contours, speckled with personal moments listeners can latch on to and call their own—a favorite guitar solo, a treasured vocal ad-lib, any number of lyrical indecipherables. ", "Their \"inner logic\" is best understood by hearing the songs out of their normal sequence, as on the collection LPs that followed their breakup. ", "After \"Something,\" the ear wants to hear \"Maxwell's Silver Hammer\"; after \"Back in the U.S.S.R.,\" \"Dear Prudence.\"", "\n\nThey took great care in assembling their records—they had a keen sense of how the order of songs gives shapes to the experience of an album. ", "On most of their LPs, placing the songs in any other sequence would lessen their impact, detract from the entirety they form. ", "This is true not only on their \"concept\" albums but on the earlier designs that led up to them. ", "The way \"Twist and Shout\" finishes off their debut LP provides direction as well as a rousing finale; _Revolver_ wouldn't have the same flavor if it didn't start with Harrison's bitter \"Taxman.\" ", "This sense of arranging the material evolves into works like _Sgt. ", "Pepper_ , which had a self-conscious beginning, middle, and end. ", "Side two of _Abbey Road_ has a a collage effect—the individual songs are less central than the way they relate to one another as parts of an integrated mosaic. ", "Again, the exceptions prove the rule: \"Dizzy Miss Lizzie\" sags after \"Yesterday\" on the _Help!_ ", "album; \"Run for Your Life,\" the last song on _Rubber Soul_ , blemishes that album by undermining its ambiguities.", "\n\nOnce immersed in their catalogue, it's hard to separate any single song from its context. ", "Their rendition of Barrett Strong's hit \"Money\" is simply more powerful when heard after listening to the rest of _With the Beatles_ , the album it closes. \"", "Hey Jude,\" 1968's summer single, would have changed its character considerably on the \"White Album\"—as a single, it stands out more than if it had been surrounded by that album's abundance. ", "1967's \"Penny Lane\"/\"Straw-berry Fields Forever\" single may be the most striking use of aural montage in the medium. ", "Understanding their entire output enhances the enjoyment of any particular song.", "\n\nTHE ENTIRE BEATLES catalogue witnesses a growth—both musical and personal—that extends from the unleashed enthusiasm of _Please Please Me_ to the resigned farewell of _Abbey Road's_ \"The End.\" ", "Their early sound peaks with _A Hard Day's Night_ , progresses uneasily through _Beatles for Sale_ and _Help!_ , ", "ripens and blooms on _Rubber Soul_ and _Revolver_. ", "By 1966, after barely four years of recording, _Revolver_ stands as the pinnacle of all they can do: there are no weak tracks, and most of what follows deserves to be measured against it. ", "The rest of the catalogue maps their dissolving partnerships: _Sgt. ", "Pepper_ , the most famous, is also the most overrated; _Magical Mystery Tour_ and _Yellow Submarine_ are embarrassments; the \"White Album\" is a patchwork interwoven by great playing; _Let It Be_ is an overhauled modesty. _", "Abbey Road_ , although a success, doesn't quite extend or improve upon what _Revolver_ attained.", "\n\nThe Beatles weren't always conscious of this larger picture, but its implications are broad: they came of age through their music as their audience came of age. ", "The innocence heard in \"I Saw Her Standing There\" and \"There's a Place\" quickly gives way to the qualified commitment of \"If I Fell,\" the sadness that pervades \"And I Love Her.\" ", "Their singing, playing, and album conceptions followed their artistic temperaments, so that at each step of the way, their identities as musicians and writers were served by their natural abilities and their comparatively unschooled studio technique.", "\n\nBy digesting rock 'n' roll during adolescence and recreating it in their own image as they progressed, the Beatles helped the form come of age and gain the capacity to express more adult themes: isolation, despair, alienation, loss, and the positive correlatives of peace, communication, self-worth, vision, and hope. ", "The term \"rock 'n' roll\" was abbreviated to \"rock.\" ", "Rock 'n' roll still expresses adolescent concerns (which still pack a wad of excitement when Bruce Springsteen closes a show with Eddie Cochran's \"Summertime Blues\"). \"", "Rock\" refers to the larger spectrum of adult experience and embraces everything from the mature work of Bob Dylan, the Rolling Stones, the Who, and others to punk and new wave, with talents like Elvis Costello and the Talking Heads continuing to explore the genre. ", "The Beatles symbolize this growth toward maturity, even if the weight of the journey is shared by others. ", "Their early work charges adolescent themes with a greater urgency, and their maturation more than delivered on their early promise.", "\n\nTHE BEATLES COMBINED the physicality of Elvis with a British zeal for verbal flair. ", "The point of a good pop lyric is not to be haughty or arcane but to communicate by twisting assumed meanings, using images out of context or emphasizing things in a new way. ", "The Beatles had an uncanny flair for cleverness without being artful or supercilious—their word painting conjures up varied associations with the simplest of references. ", "Sometimes it's not the performance that is most riveting; it's the singularity of ideas that strikes the imagination. ", "At other times, the emotional energy of a vocal performance seems to carry the band along behind, transcending any hidden references in the words. ", "The poignancy of generational conflict in \"She's Leaving Home\" makes up for its sentimental setting; and the two lines that Paul repeats in \"Why Don't We Do It in the Road?\" ", "are shot through with some masterful vocal gymnastics.", "\n\nMaking intelligent lyrics and arrangements accessible to a popular audience is a formidable challenge. ", "Although the Beatles' lyrics are made up of clichés and colloquialisms, we always sense a strong voice behind their words, a personality that draws on pop's language as a means of expression, not just lines used to fill up spaces in the sound™the sentiment generates the lyrics instead of clichés being forced to fit. ", "Whether it's \"I am the walrus\" or \"yeah, yeah, yeah,\" they constantly reanimate their language. ", "Simple verbal phrases are made to carry an emotional weight beyond their capacity, and when combined with music, they signify much more than what is implied on the surface. ", "These commonalities are treated so that the familiar seems fresh, the ordinary seems special, and the secular somehow becomes holy. ", "The transformation of idioms can be ironic: the slang phrase \"turn you on\" of the drug culture becomes a humanitarian plea for enlightenment in \"A Day in the Life\"; in \"Let It Be,\" Paul sings as much to his companions as he does to his audience.", "\n\nThe attitude of the lover toward his beloved in early songs is constantly shifting—Lennon can be spiteful and pretentious as easily as he can be vulnerable and paranoid. ", "Women seem to taunt him as much as they symbolize satisfaction: \"If I Fell\" takes a simple second-time-around scenario and wrings a song of real consequence from its emotional implications. ", "The transition toward selfhood is found all through their catalogue, from a deceptively simple heartbreak song like \"Yesterday\" on _Help!_ (", "which came to mean much more to an entire generation that lost its innocence to the sixties revolution) to \"You Never Give Me Your Money\" on _Abbey Road_ , which laments the inevitable responsibilities of fame. \"", "Help!\" ", "itself was once thought of as simply the title song for a mock James Bond movie, but it has survived as a young man's desperate cry for intimacy. ", "The pessimism in \"Happiness Is a Warm Gun\" sounds that much darker when weighed against the unflinching exuberance of \"I Want to Hold Your Hand.\"", "\n\nLater, as they begin to address the larger concerns of adulthood, their masks and innuendos change. ", "Paul's financial terminology on side two of _Abbey Road_ stems directly from the legal confrontations the Beatles were then facing with their publishers. ", "Lennon's identity crisis at the height of his fame spawned a number of self-referential confessionals about his innermost personality (\"Help!,\" \"", "Strawberry Fields Forever,\" \"She Said She Said\") and alternative realms of the imagination that reached beyond the conscious world (\"Tomorrow Never Knows,\" \"Lucy in the Sky with Diamonds\"). ", "The layered levels of inference in a song as full of imagery as \"I Am the Walrus\" or even \"Hey Bulldog\" have the welling sense of the uncontrollable; the storyteller sounds barely in control of his story, never mind his subject. ", "Lennon had to write \"A Day in the Life\" before he could return to basics with songs like \"Revolution,\" \"I Want You (She's So Heavy),\" and \"Don't Let Me Down.\"", "\n\nThe effect of time on people's lives is treated both romantically (as in \"It Won't Be Long\" and \"Things We Said Today\") and humorously (\"When I'm Sixty-four,\" \"Ob-La-Di, Ob-La-Da\"). ", "The sophomoric images of nature found in \"And I Love Her\" mature into the sublime restraint of \"Dear Prudence.\" \"", "All My Loving\" is ripe with irony; the joy of the performance belies the sentiment of the text. \"", "Drive My Car\" has even more sophisticated ironic wit. ", "This wealth of material goes way beyond diversity, and it takes many forms—it can pop up as a respectful parody like \"Honey Pie\" (which can still stand on its own) or it can lie in the grooves between such different songs as \"The Word,\" an uptempo community song by Lennon, and McCartney's \"Michelle,\" with its unabashed cabaret setting. ", "The Beatles hated overintellectualization of their songs (\"Glass Onion\") almost as much as they hated not being taken seriously (\"I'll Get You,\" \"I'm So Tired,\" and \"Sexy Sadie\").", "\n\nAs their music develops, the basic primal passions of rock 'n' roll are carried forward and enlarged. ", "When rock 'n' roll first appeared, it challenged some basic assumptions. ", "Presley's conjunction of black and white was radical enough for some; but along with this, rock 'n' roll raised the whole issue of freedom (again). ", "The Beatles played out the concept of \"the beat can set you free\" and emphasized the freedom even more than the beat. ", "Their beat was enormous (as Marcus points out), but the possibilities of what it could do became even bigger. ", "What kinds of freedom could rock 'n' roll address? ", "Initially, of course, it was sexual freedom—Elvis Presley's image was both racial and physical. ", "But the Beatles didn't so much sharpen rock's sexual and cultural arrows as they did infuse the style with an even greater musical intelligence. ", "If Elvis Presley symbolized everything that rock 'n' roll could stand for, the Beatles took it all apart and put it back together in ways that made the music sound infinitely resourceful, adaptable, rich. ", "They didn't reinvent rock 'n' roll itself so much as how one could look at it, transforming it into a style both bold enough to provoke and seasoned enough to sustain itself—they played up possibilities that didn't seem feasible on the surface. ", "Without being explicit, their work inspired their audience far more dramatically than protest songs and peace-love-and-brother hood propaganda would have (\"The Word\" and \"All You Need Is Love\" are the only songs that flirt with flower power). ", "Lennon's rendition of \"Twist and Shout,\" with all its lust, has kernels of spiritual longing. ", "The way he sings \"Money\" on the next album makes the physical-spiritual tug of war more apparent: the spirit of his singing tells us that he sees right through the materialist doctrine he's supposedly endorsing.", "\n\nEventually, the beat conveys more complex notions of freedom—and what lies beyond. ", "The _Revolver_ album confronts mortality and seeks transcendental and romantic avenues toward peace of mind. ", "The incessant rhythm track of \"Tomorrow Never Knows\" is merely bedding for tape loops and a backwards guitar solo—instead of riding the beat like a wave, it's like they're inside the wave itself. ", "The beat of \"Rain\" is mesmerizing; the layered patterns of \"Happiness Is a Warm Gun\" make the stomach turn; and the variety of rhythmic sequences in \"I Want You\" gives the simple text a potent framework. \"", "She Said She Said\" condenses three stages of life into less than four minutes by letting the beat tell half the story. ", "As complex as their rhythmic ideas can get, they never lose sight of where it all springs from: the backbeat. ", "The finale to _Abbey Road_ has as its centerpiece a simple guitar jam, as fundamental as anything from _Please Please Me_. ", "Their love of simple rock 'n' roll was always a springboard for messages of higher implication, and their achievements encompass not only new musical styles but new ways of looking at the world.", "\n\nThe Beatles never seemed to question whether rock 'n' roll could speak to all these concerns; they simply acted as if it could. ", "Along the way, they transformed the style nonchalantly, whipping off dazzling record after dazzling record, transforming the very idea of the rock album each time out, making technical and artistic feats sound not only easy but fun. ", "By the time they bade their audience farewell with \"Her Majesty,\" they had developed new vocabularies for pop, whether it's the way an album begins and ends or the flashes of brilliance in between that their singles embody. ", "The journey from unknown upstarts to consummate artists is a story best told by the music.", "\n\nBEFORE SETTING FOOT in a recording studio, the Beatles paid their dues like any other band. ", "They started playing wherever they could—at church dances, picnics, and the small clubs that would let them open for bigger acts. ", "When Allan Williams decided to manage them, bookings were scarce. ", "They simply weren't very good yet, and none of them had the means to devote the time to a career—it meant giving up jobs and school. ", "But when Williams got them a long-term contract to play the Reeperbahn in Hamburg, they leapt at the chance. ", "It was steady income, and it meant they could devote their lives to music. ", "To see an early picture of the band in front of the Arnhem War Cemetery on their first trip to Hamburg in 1960—with the tragic figure of Stu Sutcliffe in place of a mysteriously absent John Lennon—is to have a strange retrospective sense of prophecy. ", "The tomb they are posed upon reads: THEIR NAME LIVETH FOR EVER MORE.", "\n\n#\n\nFROM THE GARAGE TO THE DANCE FLOOR\n\n_**Love Me Do**_ (Paul)/P.S. I Love You (Paul) \n _Released: October 5, 1962_\n\n**_Please Please Me_** (John)/Ask Me Why (John) \n _Released: November 26, 1962_\n\n**PLEASE PLEASE ME** _Released: March 22, 1963_\n\nTHE RECORDING WORLD is full of sharks, crooks, and people on the run (like Elvis Presley's manager, Colonel Tom Parker), but Brian Epstein was a genuine shopkeeper. ", "A former window dresser for his father's furniture store, he was running his own record business around the corner from the Cavern when he signed on as the Beatles' manager in December 1961. ", "His idea of making the Beatles marketable was to clean up their stage act: he put them in collarless jackets, made them put out their cigarettes, insisted that Lennon stop cursing onstage, and taught them to do ridiculous hanging bows after every number. ", "As Lennon later put it:\n\nWe were just a band that made it very, very big, that's all. ", "Our best work was never recorded . . . ", "because we were performers—in spite of what Mick says about us—in Liverpool, Hamburg and other dance halls. ", "What we generated was fantastic, when we played straight rock, and there was nobody could touch us in Britain. ", "As soon as we made it we made it but the edges were knocked off . . . ", "you know Brian put us all in suits and all that and we made it very, very big. ", "But we sold out, you know. ", "The music was dead before we even went on the theater tour of Britain. ", "We were shit already, because we had to reduce an hour or two hours' playing, which we were glad about in a way, to twenty minutes, and we would go on and repeat the same twenty minutes every night. ", " \n _(Lennon Remembers_ , pp. ", "45–46)\n\nAlthough Lennon is at his most bitter in this 1970 interview, his remarks about their transformation toward marketability (in Epstein's eyes, at least) are revealing. ", "Some of what they compromised must have been regrettable, but aside from the \"Hamburg Star Club\" tapes of December 1962 (which is actually late in the period Lennon is referring to), we can't know just how regrettable.", "\n\nTrimming their live shows inevitably influenced their music. ", "To begin with, their condensed sets distinguished them from the blues circuit in London, which was just beginning to nurture such talents as the Rolling Stones, the early Yard-birds (with their alumni of outstanding guitarists, Eric Clapton, Jimmy Page, and Jeff Beck), and the Who. ", "These bands were obsessed with American blues—the black sounds and heroes that had influenced Elvis Presley—and worked long, impassioned guitar solos around dramatic vocalism. ", "The Stones' early repertoire included songs by Slim Harpo and Muddy Waters (they even named themselves after Waters's \"Rolling Stone\"): the Who played an emphatic rendition of James Brown's \"Shout and Shimmy\" that made them sound much blacker than the Beatles' equivalent (the Isley Brothers' \"Shout!\" ", "and \"Twist and Shout!\"). ", "The Beatles were taking the road that led to pop, although a much more sophisticated kind than even they imagined at the time.", "\n\nTheir musical preferences were made clear by appearances on radio shows like the BBC's \"Saturday Club\" and \"Here We Go,\" where their selection displayed a much broader range of taste and versatility than their London counterparts. ", "Lennon sang Chuck Berry's \"Carol,\" the Presley version of \"I'm Gonna Sit Right Down And Cry (Over You),\" and Arthur Alexander's \"A Shot of Rhythm and Blues\"; McCartney did the syrupy \"Beautiful Dreamer,\" the Coasters' \"Searchin',\" and Ray Charles' \"Hallelujah, I Love Her So\"; George sang Buddy Holly's \"Crying, Waiting, Hoping\" and Eddie Fontaine's \"Nothin' Shakin' (but the Leaves on the Trees).\" ", "John and Paul duetted on Goffin and King's \"Don't Ever Change\" and the Everly Brothers' \"So How Come (No One Loves Me),\" and all three romped through the refrains of the Coasters' \"Three Cool Cats\" (Leiber and Stoller) with George taking the verses. ", "The Beatles weren't interested in playing the blues—their repertoire emphasized _hits_. ", "And as their popularity grew, their live show began to feature original material more and more and got concise to the point of rudeness: they teased their audiences with ferocious forty-minute sets (at the outside)—their screaming fans were always left screaming for more. ", "This meant that some improvisation had to be sacrificed.", "\n\nThey were, in effect—for better and not, as Lennon implies, for worse—a recording band from the minute Epstein began tailoring their Cavern Club act. ", "Instead of embellishing things here and there, as is the custom in front of an audience, each time Harrison took a guitar solo he began to play the same set of notes he had played the night before. ", "The harmonies, solos, drum fills, intros, and cutoffs began to fit a predetermined set of gestures that quickly became habits. ", "And they kept up all the bowing. ", "To watch clips of them singing \"Twist and Shout\" during this period is to see an example of what Lennon called \"dead\": there are virtually no deviations from the standard arrangement in literally hundreds of concerts. ", "As performers, this made for a dull, nonthinking kind of music making, and it was after several years of this musically (although not energetically) inert live show that they retired from the stage to concentrate on recording.", "\n\nBut the repetitive polish of their stage shows had unintentional and extraordinary consequences. ", "The art they arrived at relies more on subtleties of writing and recording than on live stage shows. ", "Elvis Presley before them had leapt straight from being a performing dynamo to Hollywood, and even though his blues singing far outstripped his acting, his recordings, although still hits, took a back seat. (", "Later in his career, free from the bondage of his movie contracts, Elvis returned to the live arena with zeal.) ", "If rock 'n' roll up to that point was still derided as a fad whose bubble might burst as quickly as the hula hoop's had, the Beatles consolidated its staying power not only with their songwriting and playing skills but with their commitment to recording. ", "The medium that best suited their act was just waiting for salvation: the long-playing record.", "\n\n## **_Love Me Do_** (Paul)/P.S. I Love You (Paul) _Released: October 5, 1962_\n\nGEORGE MARTIN REMEMBERS hearing several original songs, including \"Ask Me Why\" and an early, slow rendition of \"Please Please Me,\" before they decided on \"Love Me Do\" for their first Parlophone single. ", "It was not an auspicious debut for a pop group: no one listening to it in the last months of 1962 would have believed the career awaiting these young men. ", "Yet with almost no promotion from Parlophone, the single reached number 17 on the _New Musical Express_ charts in December 1962, a year after the Decca label had turned them down. (", "Brian Epstein bought thousands of copies of the single for his own shop to help tilt the chart position—a maneuver called \"padding\" that is still practiced.) ", "This limited success was respectable enough to continue recording, although the record was weaker, both commercially and critically, than what would immediately follow. \"", "I was by now absolutely convinced that I had a hit group on my hands,\" Martin says in his memoirs, \"though I knew that I hadn't got it with the first record, feeling the quality of the song wasn't really up to it.\"", "\n\nLennon's harmonica (he called it his harp) opens the tune, but not with the same enthusiasm that would soon color \"I Should Have Known Better.\" ", "John and Paul's vocal harmony is patterned after the Everly Brothers, minus the refinement. ", "The dash of Beatles magic comes as they reach the end of the verse and bounce together on the strung-out \"pleeeeeeease . . .\" ", "answered by Paul's solo \" . . . ", "love me do.\" ", "The spirit in the harmony and the expectant silence that follows heightens the sense of anticipation, a different take on the same Everlys effect before the \"ooh-la-la\"s in \"Wake Up Little Suzie.\" ", "For a moment at the end, when Paul ad-libs during the fade-out, the spirit cuts loose again. ", "But the song has a skiffle or washboard beat that only hints at rock's aggressiveness—it's not meant to cut loose. ", "The general effect is tame: the urgency is more charming than impassioned.", "\n\nThe B side, \"P.S. I Love You,\" is a crooner by Paul, the early model for \"And I Love Her\" and \"Yesterday.\" ", "The hook lies in the harmonic turn at the end of the verse, on \"P.S., I love _you\"_ (it climbs back up from the flatted six chord on the words \"you, you, you\"). (\"", "Paul was even more intense about fancy pop chords and corny pop tunes than he was about Little Richard,\" write Christgau and Piccarella.) ", "In a subtle way, this simple turn creates a tone of sincerity, and it's more of a song because of it. ", "He darts out of his candor with his off-the-cuff scat near the end (\"You know I want you to\"), dancing around the always-be-true intentions. ", "What might have been a simple declaration of faith is juiced up with a touch of humor, enlarging its emotional range.", "\n\nAN EMBARRASSING ATMOSPHERE hung over the Beatles' first recording session. ", "George Martin had his doubts about Pete Best, the drummer who had played with them for the audition, so he hired a professional drummer, Andy White, to play for their first studio session. ", "This was common practice; and since the Beatles were Martin's first pop group, employing studio musicians for sessions was a typical move, if not the rule. ", "In the meantime, the Beatles had replaced Best with Ringo Starr, late of Rory Storm and the Hurricanes, and an old friend from Hamburg—they had even played a recording session there together. ", "For the long-awaited first taping session, Ringo, the newcomer, had to watch another drummer play his parts as he stood by with a tambourine. ", "But Ringo did sit in for at least one take—the one without the tambourine on it. ", "And this turned out to be the version of \"Love Me Do\" that was released as their first single. (", "Andy White plays drums on \"P.S. I Love You.\")", "\n\nMartin provides the best description of Ringo's talents in his All _You Need Is Ears_ (p. 127):\n\n. . . ", "I did quickly realize that Ringo was an excellent drummer for what was required. ", "He's not a \"technical\" drummer. ", "Men like Buddy Rich and Gene Krupa would run rings round him. ", "But he's a good solid rock drummer with a super steady beat, and he knows how to get the right sound out of his drums. ", "Above all, he does have an individual sound. ", "You can tell Rin-go's drums from anyone else's, and that character was a definite asset to the Beatles' early recordings.", "\n\nFor all the critical abuse Ringo has taken as the least talented of the four, this is high praise from the only man in London to take on the group from Liverpool. ", "One of the key strengths of the Beatles' sound—early or late—is their symbiotic blend, the warm ensemble playing that communicates so much meaning as well as the joy of playing together. ", "There is a natural give-and-take between the four players that is special in any style of music, and the wealth of shared experience in their sound never gets in the way of each member's individuality. ", "That Ringo joined the band at this juncture in their career—as they made the leap to recording—is no coincidence.", "\n\nPete Best had been their drummer since 1960, paying dues with them in Hamburg and traveling throughout England, sticking with the band through disappointment after disappointment during recording auditions. ", "His mother, Mona Best, had been a former booking agent of sorts for the band and sponsored them regularly at her Liverpool club, the Cas-bah. ", "Best owned the essential drum kit, had good looks and a loyal following of fans and a mother who helped them get gigs. ", "He was a sullen-faced type, always pictured with a dour grimace—his good looks were overshadowed by the antics of the rest of the band, his stoical posture an unlikely contrast to Lennon's maniacal outbursts. ", "In most pictures, he looks as though he doesn't even enjoy playing. ", "On the Decca audition taped the first day of January 1962, released as a bootleg entitled \"The Deccagone Sessions,\" Best's presence is unobtrusive, undistinctive.", "\n\nBut when the Parlophone contract came about, the commitment to making recordings immediately overrode whatever else Best had going for him. ", "The others had been wanting to sack him for some time, and they chose this moment to do it. (", "Some say they were jealous of Best's Liverpool popularity.) ", "To replace him they chose Ringo, a clumsier-looking fellow with an enormous nose. ", "His local standing was already doomed: George Harrison suffered a black eye from the fist of a Best fan at the outburst of protest surrounding his removal. ", "But for the Beatles, recording had become a higher priority than good looks, the studio was suddenly more important than Best's mother's club.", "\n\nRingo's dopey smile was preferable to Pete's static gaze, and his drumming fit in snugly with the ensemble sound they had developed without him. ", "His character leveled the band's presence: the head that rocked from side to side behind the set was as oddly interesting as McCartney's left-handed bass, and the unimpressed droop that was Ringo's natural facial expression oflFset Lennon's acerbity in a way no words ever could. ", "When Martin says \"he knew how to get the right sound out of his drums,\" he means in part that Ringo wanted to serve the songs rather than show off. ", "As a songwriter's drummer, Ringo was the type of musician who could follow instructions as he complemented the overall sound. ", "His commitment to the music was always bigger than his ego. ", "Ringo's \"audition\" for Martin as they selected material and recorded the first single was convincing—when they entered the studios on November 26, 1962, to record their next single, Martin's confidence in Ringo was secure. ", "He realized that they shared his impressions of Best's talents, and he didn't bother to hire an alternate percussionist.", "\n\nWITHOUT ALWAYS BEING conscious of how their sources influenced them, pop history had an enormous effect on the Beatles' approach. ", "Besides preparing them for the rigors of world touring, the dues that they paid in Hamburg and throughout the dance halls of Britain before the Parlophone contract sealed their determination to be original songsters. ", "By the end of 1962 their live set included a large selection of songs from the popular catalogue, tunes they had grown up to and learned to play their instruments by—material that had inspired them to make music in the first place. ", "It's easy to hear the Beatles' covers as nostalgic now, even though most of the songs were less than seven years old at the time. ", "But Greil Marcus points out how they thought of the great rock 'n' roll hits they were playing as alive and well, a tradition as well as a way of thinking, a history as well as something living in their immediate present.", "\n\nIn the Merseyside music scene, there were two definite attitudes prevalent among the bands playing beat music. ", "There were the purists—the faithful—and the aspirants, or slickers—the ones willing to compromise in order to get a hit record. ", "The Beatles were purists, who in the process of trying to sound close to the originals they covered developed a group approach. ", "The more they performed Carl Perkins's \"Lend Me Your Comb,\" the more they turned it into a _Beatles_ song first and foremost. ", "They were seeking out an ideal sound, and the closer they got to that ideal, the more self-revealing their ensemble became. ", "The truth is, they were essentially better than their heroes to begin with—except for Presley, whose songs they played but dared not record.", "\n\nMore than anything else, their broad array of other people's material maps their development as a band. ", "As they matured, they found secret places hidden in these familiar songs that hadn't even occurred to the original performers: the urgency that was implicit all along in \"Please Mr. Postman\" and \"You've Really Got a Hold on Me,\" or the way the ultra-cool \"cheat-cheat\" sounds more cutting when sung by males on \"Baby It's You.\"", "\n\nBy performing their favorite pop songs over a long period of time as a band, they grew as a unit, as four players who responded to one another's personalities, ambitions, and high standards. ", "As the defiant kicks that nearly obliterate \"Besame Mucho\" on the Hamburg Star Club tapes demonstrate, their ensemble has more to it than just four people playing at the same time—there's a unity of attack that lets them second-guess just where those kicks are going to land. ", "The exhilaration in the send-off to \"Please Please Me\" doesn't happen automatically with musicians: it takes time, and a common infatuation with a sound they all carry around in their heads.", "\n\nFinally, performing all these classics fertilized Lennon and McCartney's songwriting talents. ", "Meredith Willson's \"Till There Was You\" may have been unbearably simpy for Lennon (we hear him jeering McCartney's soupy delivery on _Live! ", "At the Star Club in Hamburg, Germany)_ , but it pointed the way toward ballads like \"P.S. I Love You\" as McCartney the apprentice began to turn craftsman. ", "Lennon's interest in songs about envy and disappointment like Richie Barrett's \"Some Other Guy\" (co-written with Leiber and Stoller) leads to his own treatment of similar themes (\"No Reply\" and \"You Can't Do That\"). ", "Incorporating their good taste with their creative muses meant that the Beatles could begin their career with a richer perspective on what they wanted to say and how they wanted to put it across. ", "By the time they showed up for their next recording session, they were certain that their new upbeat version of \"Please Please Me\" compared with anything they had played by anybody else.", "\n\nFOR THEIR SECOND single, George Martin was anxious to do better than number 17 on the charts. ", "He selected a song by Mitch Murray called \"How Do You Do,\" which he insisted the Beatles put down on tape before he would hear of any more arguments for their own material. ", "The demo that survives epitomizes the way the London pop machinery would have packaged the Beatles—smooth, unthreatening, almost charmless. ", "The duet that John and Paul turned in actually might have charted—at first, Martin was pleased. ", "But afterwards, they convinced him to listen to a new arrangement of \"Please Please Me,\" which they had sped up. ", "Because they had gumption enough to believe in their own material—and more importantly, because Martin gave it an honest chance—what they arrived with on \"Please Please Me\" overwhelmed Murray's mainstream tactics by not sounding anywhere near as studied.", "\n\nKnowing that most of their American heroes (Buddy Holly, Chuck Berry, Little Richard, Carl Perkins, Smokey Robinson, Roy Orbison, Arthur Alexander) were themselves self-sufficient—performers as well as writers—gave Lennon and McCartney's homespun ambition ample precedent in their minds. ", "Sticking up for their own material seemed logical, even crucial. ", "The fact that they had just been forced to play a song they didn't really like gave \"Please Please Me\" a competitive edge: they cut \"How Do You Do\" as well as any group might, but \"Please Please Me\" has more spark to it, even though it is not as \"well-written.\" ", "Their high spirits more than compensated for the lack of the applied ornaments a conventional producer might have used to tame them musically the way Epstein cultivated their look. ", "Martin heard the difference and came away from the second session bowled over. \"", "Please Please Me\" became their first number one single.", "\n\n## **_Please Please Me_** (John)/Ask Me Why (John) _Released: November 26, 1962_\n\nTHE AGGRESSIVE THRUST of \"Please Please Me\" makes it instantly more exciting than \"Love Me Do\"—the lyrics are more suggestive, and Lennon's singing is more spirited, sexier. ", "Christgau and Piccarella call it \"the first real oral sex pop song,\" although it probably wasn't heard that way at the time. ", "The polite word \"please\" takes on a different hue than elsewhere (\"plee-ee-ease . . . ", "love me do\" in \"Love Me Do\" and \"Oh please say to me you'll let me be your man\" in the third verse of \"I Want to Hold Your Hand\"); the tension in the title is in the shift of meaning between a pleasantry and a wishful fantasy. ", "In the drawn-out \"plee-ee-ease\" of \"Love Me Do\" the lilting harmonies yearn politely—in \"Please Please Me\" it's dirty and polite all at the same time.", "\n\nJohn and Paul's verse duet gains on the Everly formula: Paul stays on the initial high note as John pulls away beneath him (\"Last night I said these words to my girl\"), putting the Everlys' \"Cathy's Clown\" lilt to a brighter beat. ", "The rasp in Lennon's voice on the repeated \"come on\"s is far from innocent—he wants this woman to do more than just hold his hand. ", "As they hit the second \"please,\" Paul and John leap away from the pleasantry of the first, soaring up to convey a real adolescent sexual frustration. ", "Even the sound of the band has more rough edges than the thunking bass of \"Love Me Do.\" ", "Where the first single is genuinely coy, the second makes a \"polite\" demand on the female, and Lennon deliberately tries to stir up a reaction.", "\n\n\"ASK ME WHY,\" the B side, has the lyricism of \"P.S. I Love You,\" but it's buoyed with a greater sense of humor: the background vocals' \"woo-woo-woo\"s that follow \"you?\" ", "and Lennon's own \"I-I-I-I\"s before \"should never, never, never be blue-oo,\" which ends the phrase with a tripped leap to falsetto (the same vowel reiteration that moves \"I Should Have Known Better\" on the word \"mine\" near the end of the bridge). ", "It's a two-dimensional love song, but Lennon milks it for all it's worth. ", "The affection they have for all these pop snippets of wordplay make the song more of a treat—the way Lennon basks in the song's corniness is half of its pleasure.", "\n\nTHESE FIRST TWO singles have variety and spirit—but not quite artistry. ", "There's a formal acuity just beneath the enthusiasm that hasn't come into its own yet, even though we hear it differently in retrospect. ", "Paul's sincere ballad will become standard, as will John's wordplay, lust, and self-mockery. ", "But with just these four songs, their opposing tendencies are not as clear as they soon will be. ", "The most imposing thing about these relatively simple songs is how quickly they are improved upon, how adventurous they are _not_ in comparison with most of the first album. ", "The most pretentious thing about them is that they are all originals—which is brasher than any other debut group dared to be in 1962. ", "It meant they were staking claims to be as audacious as the rock 'n' roll heroes that had inspired them.", "\n\n## **PLEASE PLEASE ME** _Released: March 22, 1963_\n\nWhere \"Love Me Do\" still sounds somewhat imitative, _Please Please Me_ , the debut album they recorded in twelve hours, is something more than innovative. ", "It mixes the youthful spirit of the best rock 'n' roll that came before with the promise of the greatness that would follow: from the romantic lyricism to the uncompromising rockers, the infectious early Beatles sound is captured as the raw, determined ebullience it must have felt like at the Cavern. ", "Even the cover photo is dashing: four deliriously happy youths stand peering from the balcony of \"what seems to be a block of Council flats,\" writes Philip Norman—it was actually EMI headquarters in London. \"", "No one seen in the Top Twenty since Tommy Steele had made so overt a declaration of being working class,\" Norman writes in _Shout!_ ", "More important, though, was their long hair: despite their suits, they greeted their audience—musically and visually—on their own terms.", "\n\nThe local legend still stands: to experience the Beatles live, you had to hear them inside the sweaty Cavern—there was simply nothing else like it. ", "Martin's original idea was to record them onstage at the basement club to capture the group's sound as it was familiar to audiences there. ", "This \"concept\"—capturing a live set—gives the record as much of a structure to work with as the mythical Lonely Hearts Club Band does for _Sgt. ", "Pepper_ : the record grows in spirits from Paul's jocular opening to the encore of \"Twist and Shout.\" ", "The microphones capture every stray note, every out-of-tune harmony, and the Beatles make these flaws work for them: they're intent on _saying_ something, determined to have fun in the process; and studio polish would not only get in the way—it would waste precious time. _", "Please Please Me_ remains the quintessential garage band record. ", "They're the kind of musicians that are perfectly suited to their medium: the camaraderie in their casual approach excludes no one within earshot. ", "And the frayed technical edges give the sound the willfulness of adolescence. ", "The listener is effortlessly drawn into the unspoken bond of imperfection.", "\n\nTHE JOURNEY BEGINS with McCartney's celebrated count-off—\"One, two, three, faw!\"—and the anticipation in his voice instantly signals that something big is about to happen. ", "There is a simple, almost unconscious naiveté to his gusto, but it has become a classic call to rock, and it continues to resonate in the ripples of the history it helped to shape. ", "Aside from the palpable thrill in his voice, the count-off shows just how important the beat is to everything that follows.", "\n\n\"I Saw Her Standing There\" is as openly expectant as any seventeen-year-old might look on a dance floor. ", "Paul's voice is assured, and the steady beat and pulsing handclaps strut out an impetuous cockiness known only to the young. ", "The pauses that break up the playfully suggestive lines intensify the things that are left unsaid—the gaps in \"Well she was just . . . ", "seventeen / you know . . . ", "what I mean\" punctuate the implications. ", "The conclusion fills in the blanks: \"So how could I dance with another . . . ", "OH! ", "When I saw her standing there.\" ", "The exclamatory \"Oh!,\" ", "which attempts to verbalize the unsung anticipation, is reinforced by a musical exclamation, a flatted-six chord; the pent-up energy the pauses have been pointing toward are suddenly unleashed at the same time that the fresh harmony takes the standard blues changes to new heights. ", "The combined effect transforms the implied innocence into sexual bravado.", "\n\nThe second verse propels the singer into a too-cute-for-comfort lyric, as though he's seduced by both the girl and the music they're dancing to: \"Well she looked at me/and I—I could see/that before too long I'd fall in love with her . . .\" ", "The bridge lets the gush roll: \"Well my heart went boom/When I crossed that room/And I held her hand in miiiii-eeene!\" ", "The energy in this passage finds such ecstatic release on the word \"mine\" that the singers can't contain themselves—the leap to falsetto is a natural outburst of the bridge's momentum. ", "It's not just the girl, it's the whole idea of young love that's contained in that surge of feeling.", "\n\nFor the singer, the world turns on asking this seventeen-year-old to dance and holding her hand. ", "The immediacy of the recording mirrors this immediacy of feeling: the Beatles themselves are seduced by this music; they too believe in its magic as they perform their first great original piece of rock 'n' roll. ", "The exhilaration of the sound betrays their passion for the music and the thrill they feel playing it together—from Ringo's drum fills into each bridge to the euphoric screams that send off the guitar solo, the track reeks of excitement. ", "The song, the performance, and the recording all put across the simple but penetrating rush of adolescent desire. ", "And even the rush is expectant, anticipatory—it's the first track of their first album, side one, song one of their album career.", "\n\n\"LENNON AND MCCARTNEY seem always to have distrusted songs whose deliberate aim was to move people, the slow violin-filled sagas of sentimentality,\" David Laing writes in _The Sound of Our Time_ (pp. ", "122–23). \"", "Before almost any of their songs moves, it delights,\" he writes, describing the \"creation-elation\" element to their sound, \"the consciousness of themselves as performers, delighting themselves and us.\" ", "This principle gives Beatles songs \"a dimension which most pop songs lack,\" he says, and he cites as his prime example \"Misery,\" the cut that follows \"I Saw Her Standing There.\"", "\n\n\"Misery\" contradicts its own title: it parodies the type of song it embodies. ", "John hardly sounds sad: and even when he does, in the middle eight bars, the descending piano octaves that echo his melody are too saccharine to believe—they could be aural tears falling like rain. ", "He makes his pitch for pity in the dramatic opening moments of the song, as if on his knees to the audience, pleading—\"The world is treating me bad, _misery_.\" ", "John sings it with an impish glint in his eye—he doesn't buy it any more than he wants us to, it's just a romp. (", "If Paul had sung this song, we would be treated to something quite sincere, and John would be holding back guffaws in the background.)", "\n\nThe wink-wink hilarity of the repeated \"misery\"s at the end draw the joke out even further, as Lennon's simpy groan grows to the mockery of the \"la la la\"s—Christgau and Piccarella point out the \"Little Darlin' \" referent—he's sending up the very idea of a song that would call itself \"Misery.\" ", "The paranoiac slant of the line like \"Send her back to _me/Cos everyone can see_ \" shows the sort of self-conscious uneasiness that will show up again in songs like \"You Can't Do That\" and \"I'm a Loser.\" ", "And the macho overtones of a line like \"She'll remember and she'll miss her only one/Lonely one\" are typically overconfident: she's supposed to return to him, not the other way around. ", "It's the same aggressive posture that will rear its head in \"Run for Your Life.\" ", "He sings it as a lark, but he can't help spilling his true self in the process.", "\n\nThe differences between Lennon and McCartney emerge quickly on this record: either of them singing the other's songs would completely alter the implication of the words. ", "Paul on the dance floor could be anybody; John invests too much of himself for us to detach who he is from what he's singing about—we can't hear the first-person voice as anyone other than Lennon. ", "Their vocal styles influence the way we hear what they're saying to at least as great an extent as Bob Dylan's delivery qualifies the words he constantly reinterprets. ", "Their voices and personalities complement each other in both obvious and subtle ways. (", "The intricacy of their blend also accounts for the intensity of the breakup.) ", "For McCartney, \"Misery\" might have been an exercise in martyrdom, convincing but facile. ", "But by playing the fool Lennon turns this cheeky romp into a depiction of how many teenagers cope with their troubles: by laughing them off. ", "There's already much more to it than that, with Lennon's insecurity and machismo inflecting every turn. ", "And undergirding all this is a slight but unmistakable strain of tenderness, a quality that will pervade even his toughest songs.", "\n\nTHE COVER (nonoriginal) material a group records sets down the way it looks at rock 'n' roll and how it views itself in rock's continuum. ", "The best cover songs expand upon what their original material puts forth and sheds new light on how an artist or a band wants to project itself. ", "Al Green's \"Take Me to the River\" makes the new wave ontology of the Talking Heads' second album ( _More Songs About Buildings and Food_ ) sound more rooted. ", "Since the Beatles' debut singles were all originals, their first three cover songs, which follow \"Misery\" (\"Anna,\" \"Chains,\" and \"Boys\"), refer to both the heroes and the history they aspire to be a part of as songwriters and pop stars. ", "On this album, only \"A Taste of Honey\" would have been recognizable to anyone who didn't follow the charts. ", "All these songs were independent-label top twenty hits in America, but only Dixon and Farrell's \"Boys\" was a number one, in 1960, and then only as the B side to the Shirelles' \"Will You Love Me Tomorrow\" (by Goffin and King). ", "The Beatles emphasized hits when they played live, but when it came to choosing songs for their albums, they relied on their gut sense of what songs worked best for their personalities.", "\n\nLennon belts out the bridge to Arthur Alexander's \"Anna\" with a desperate loneliness. ", "Ringo's lanky, off-balance drum pattern frames the song with a lazy, sluggish motion, giving it the resigned tone of a lover who has given up trying, and the flat singing in the background vocals has a roughness that is this record's signature: we meet the Beatles just as they begin to have a sense of professionalism, and they drop their guard without knowing it—the lack of self-consciousness is as expressive as their playing. ", "John's repeated cry of \"What am I, what am I supposed to do?!!\"—the pitch at the end of the bridge—suits his character perfectly: he can't understand why all these girls leave him, and singing is his only recourse. ", "His acoustic guitar is an intimate presence among the electric guitars that surround it (a texture he will return to later to better effect).", "\n\nThe next two covers introduce George and Ringo: \"Chains,\" a Goffin-King song, opens with Lennon's harp and provides a good stage for three-part harmony, with Harrison on lead and carrying the middle eight bars himself. ", "George's awkward intonation is expressive, but he doesn't measure up to Lennon's and McCartney's performances just before—a shadow that will plague him for the rest of his life. ", "Ringo's vocal debut in \"Boys\" may be lacking in quality, but it's loaded with personality. ", "The Shirelles' original version is slinky and seductive, but Ringo's disbelief at how he makes his girl feel makes \"Boys\" sound as though it were written with him in mind. ", "The \"bop-bop-shoo-op\"s in the background and the whoops for joy all seem to stem from his goofy grin. ", "At one point, Ringo shouts \"All right, George!,\" ", "cajoling him into his guitar solo, passing him the spotlight as casually as if it were a football.", "\n\nThe album moves from celebration (\"I Saw Her Standing There\") to parody (\"Misery\") with two originals, followed by three covers: from Lennon's straight ballad delivery of \"Anna\" to the medium-tempo \"Chains,\" building to the rocker of \"Boys.\" ", "Spotlighting George and Ringo rounds out a complete picture of the band before the record needs turning over, and the impressions their voices create play against one another well—we can imagine these four people working together in a group.", "\n\nThe two original tunes that follow are sturdy enough to stand next to the covers without apology. ", "For songwriters, this kind of assurance is rarely arrived at so soon (if it happens at all)—Lennon is only twenty-two, McCartney just twenty—but by the end of side one they have already established a new standard in rock 'n' roll, in terms of both style and substance. ", "Things would never be the same if only because so much had already changed.", "\n\nThe first of these two, \"Ask Me Why\" (the B side to the second single), is amorous wordplay. ", "They draw out \"you\" by echoing the \"woo-woo-woo-woo\" the same way the harmony lingers on the minor chords before settling back down into the major key that is home at the end of each line. ", "This song takes on a sly inside joke when heard in the context of the album: \"I can't conceive . . . ", "of any more . . . ", "MISERY!\" ", "evokes the earlier song, and the effect is disarming—it's sung with relish rather than despair, itself an echo of \"Misery\" 's parodic tone.", "\n\n\"Please Please Me,\" the second single, closes the side, ignoring the conventional practice of putting the hit up front and fleshing the album out with weaker material.", "\n\nMCCARTNEY'S PERSONALITY opens side two, nestling the first single squarely in the middle of the album. \"", "Love Me Do\" is not a strict solo, but his personality pervades its upbeat approach: his ad-libs see the song out. \"", "P.S. I Love You\" places McCartney's own love ballad before his cover, \"A Taste of Honey,\" its youthful earnestness deferring to the established standard.", "\n\nLennon breaks the sentimentality on the Bacharach-David-Williams \"Baby It's You,\" skipping up to the second part of the verse with a suave \"uh-oh\"—the kind of American soul convention so doted on by the Rolling Stones. ", "The low guitar doubled with celeste in this songs solo offers the most period-sounding Muzak on the entire record (the original it's drawn from has an even tackier organ), but it lies awkwardly next to Lennon's soulfully mannered delivery, which reaches a fine pitch at the end of each verse. ", "Both of Lennon's covers on this album are about broken affairs. ", "In \"Anna\" he reluctantly sets his girlfriend free: in \"Baby It's You,\" the love is unrequited, and he's left behind, trapped by his own convictions. (", "Shirley Alston, the Shirelles' lead singer, sounds eerily like Yoko Ono on their 1962 hit.)", "\n\n\"Do You Want to Know a Secret\" is among the better-crafted early songs, and it's given to George. ", "The hook is in the downward chunk-a-chunk motion of the guitar, echoed in the backup vocals on \"doo-wa-doo.\" ", "But the high point harmonically lies in the middle section (\"I've known the secret for a week or two\") where it veers off into the subdominant. ", "This simple twist is an early flexing of what will become deft harmonic muscle—their songs often change keys, but it always sounds natural. (", "The short introduction where George pleads \"You'll never know how much I really love you / You'll never know how much I really care\" starts off in E minor and passes through G major to prepare for E major, the key of the verse; the bridge is in A major.)", "\n\nThe stop-time opening to \"A Taste of Honey\" resembles \"Do You Want to Know a Secret\" and \"Misery,\" but now it's Paul who is singing, and he's absolutely serious. ", "During the bridge, his voice is double-tracked with a reverb that enhances the professionalism of the sound, and his high notes are flawless. ", "The only personal touch to what is essentially a standard reading is the last chord: it ends in major instead of the minor tonality of the rest of the song (a Picardy third).", "\n\n\"THERE'S A PLACE\" places deft songs like \"Ask Me Why\" and \"Do You Want to Know a Secret\" into the teeny-bopper context they ultimately deserve. ", "This first-person narrative is about what goes on inside a teenager's head aside from just girls—and it's a much better song than its American cousin, Brian Wilson's \"In My Room.\" ", "In Christgau and Piccarella's discussion, they compare Lennon's song with Wilson's, concluding that Lennon's is more confident:\n\nLennon has better places to go but his room, and better ways to get there than Brian Wilson . . . ", "In its avowal of self-sufficiency—of the singer's ability to transcend the isolation he dreads (not to mention time itself) by retreating dreamlike into that part of the Beatle being he calls home—this early song typifies his urge to say a great deal (though not everything) within the conventions of the rock and roll love song. . . . ( _", "The Ballad of John and Yoko_ , pp. ", "249–250)\n\nIn addition to the lyrical breakthrough, the Lennon-and-McCartney vocal blend doubles the effect of any comparable Beach Boys effort. ", "Although John and Paul can be worlds apart (as this album demonstrates), when they harmonize the common brilliance they achieve is breathtaking. ", "The two share a space of musical effervescence that only they know how to reach for, and they hit it with uncommon grace. ", "If the Beatles had never recorded anything more than this, they would have secured themselves a place in pop history.", "\n\nGuitars play an upbeat into a harp solo by John, but here the harp cries out like never before. ", "It sits stubbornly on an uneasy note, the kind of pitch it can't rest on for long; and when it does move, its resolution never sounds final. ", "The lead guitar plays the harp line an octave below it but out of sync, the harp always lagging behind rhythmically. ", "The two lines sound both together and askew from each other, and the effect is that of an uneasy, confused teenager.", "\n\nThe song kicks into high gear after the word \"blue,\" when the quirky triplet of \"And it's my mind\" is punctuated by the drumming, sending the verse to new heights. ", "On the second line of this stanza (\"And there's no time\"), the words are sung in triplets atop a regular backbeat. ", "The consistently imbalanced patterns (guitar against harp, vocals against the beat) give the song its yearning but uncertain tone.", "\n\nDuring the bridge, on the words \"Don't you know that it's so?\" ", "the voices leap up in unison, and the song reaches its pitch. ", "It's as if the singer is urgent for something—some peace, some relief—but he's not articulate enough to express it yet, so he lets the music say it for him. ", "The spirit of the sound has more expressive currency than the lyrics. ", "The final section repeats \"There's a place,\" with John, Paul, and George in harmony, Ringo filling in the spaces between exhortations, and the harp recalling its opening melody in abbreviated form. ", "Since it's in major and the end fades out, the effect is liberating: the singer achieves some kind of peace for the moment, if only through the charm of the music. ", "But the rhythmic tension of the song suggests an uneasiness below the surface that remains unresolved. ", "The singer knows that pleasant thoughts alone won't sustain him: and even though he has a girl in mind, the song is more about the peace he seeks within himself, not through any outside experience. ", "For now, he has figured out a way to pick himself up out of his slump by reveling in music. ", "No resolution is given to the combatting sentiments—hope versus vexation—but their clash is real, and projected with verve. ", "It put the Beatles in touch with the basic emotional stirrings of teenagers everywhere.", "\n\nTHE ONLY WAY to top this (and other groups might not have even tried) was to play an all-out rocker and blow the roof off the place. ", "Martin's request for a last tune prompted a quick huddle, and they chose \"Twist and Shout,\" a 1962 Isley Brothers hit they used to close with at the Cavern.", "\n\nAll we did really was to reproduce the Cavern performance in the relative calm of the studio. ", "I say \"comparative,\" because there was one number which always caused a furor in the Cavern—\"Twist and Shout.\" ", "John absolutely screamed it. ", "God alone knows what he did to his larnyx each time he performed it, because he made it sound rather like tearing flesh. ", "That _had_ to be right on the first take, because I knew perfectly well that if we had to do it a second time it would never be as good. (", "Martin, p. 131)\n\nThe first and last songs on the album, \"I Saw Her Standing There\" and \"Twist and Shout,\" are its bookends: both revolve around the idea of falling in love on the dance floor. ", "But where Paul gets the dance floor jumping, Lennon makes the earth move. ", "It's as raunchy as anything the Beatles ever recorded, and it stands up beautifully to records with raunchier reputations (like the Stones' \"Satisfaction\"). ", "Where the opening tune suggests an adolescent sexuality, \"Twist and Shout\" conveys a loss of innocence; where Paul's singing is charged but charming, Lennon's delivery is nothing short of lustful.", "\n\nThroughout rock, and throughout the history of music—from Bach's French Suites to Ravel's _La Valse_ —the image of the dance in music has been linked to the act of sex. ", "In \"I Saw Her Standing There,\" it is not fully played out, but here it is, either as a metaphor for or as a prelude to lovemaking, and it puts across what Lennon would later talk of as the meaning behind all of rock 'n' roll:\n\nI know Fats Domino was makin' records in '48, and there was lots of stuff called rhythm 'n' blues you could've called rock V roll, but it was hard to get in England. ", "Rock 'n' roll only came into our consciousness when white people did it. ", "I think it was a euphemism for fucking—the actual expression meaning being in bed and rocking and rolling. ", "So this bit about \"when did rock start?\" ", "really means \"when did the honkies start noticing it?\" ", "i.e., \"when did we know it was something strong and powerful and beautiful?\" ", "So it doesn't matter when; it's what it did to us that matters—that it changed our lives when we heard it. . . . ( _", "Playboy_ , p. 70)\n\nThe band sounds warmer by this point—the album is almost finished, they have been playing all day—and the ensemble rocks with a meaningful pulsation. (", "Since there's no audience in the studio, they push themselves even harder to bring the song to life.) ", "The way Lennon takes the beat and squeezes it, cramming four \"come on\"s on top of the drum break as if he's just under the wire—too many words and not enough time—gives a physical tug to the music that would draw even the meekest out to the (metaphorical) dance floor. ", "It's the kind of sound that makes rock music the sexiest music of all—it makes you want to _move_.", "\n\nAfter two verses, the singers—John with Paul and George in support—back off to play their guitars for a verse, as if resting for the final round. ", "When the voices come back in, the personalities we've heard throughout the record stack up one by one for the rave-up, building the chord with mounting excitement. ", "At the top of the ladder, they spill over the edge with hysterical screams, the musical dam breaks, and before we know it they're into the last verse. ", "It's the musical equivalent of an orgasm, and it counts among the most exciting moments in all their music. ", "The final verse is pure glee—they're riding a wave: Ringo kicks the \"Shake it, shake it, shake it, baby\" refrain that Lennon tacks on at the end to give one last rush of adrenaline before the final rave-up to the cutoff. ", "There is a faint \"hey!\" ", "after the song—and the album—finishes. ", "The day is over, and they've finished on a high, spontaneous burst of energy.", "\n\n\"Twist and Shout\" sums up the album like something that needs no encore—there's nothing more to say. ", "Once the record is familiar, the song becomes a kind of center of gravity: all the other songs point toward it; it gives the entire sequence direction. ", "The moment it captures lifts the Beatles' status beyond that of a pop act to that of performers who have something urgently important to say to the world. ", "It's not that they're telling teenagers to dance or have sex: they're simply enjoying life so much that they can't contain themselves—they want the beat to seduce the whole world into having fun. ", "After \"Baby It's You\" and \"Anna,\" Lennon's feisty delivery (\"You know you got me goin' now/Just like you knew you would\") has more than one passion driving it along; the concluding celebratory piece isn't naive. ", "As a whole, the record proclaims adolescent experience to be at least as significant as adult experience, with \"Twist and Shout\" as a redemptive anthem to good times, as though playing together and getting a dance floor hopping were the most rewarding antidote to the angst of being a teenager.", "\n\nIn its hysterical scope, \"Twist and Shout\" adds to its obvious sexual overtones an unmistakable yen for something more—the insecure yearning of \"There's a Place\" coupled with the let-it-loose gullibility of \"I Saw Her Standing There\"; the spiritual hunger that Lennon sets loose is as determined as it is uncontrollable. ", "As a starting point, the album it closes sets an intimidating standard that the Beatles would now have to live up to. ", "As an enactment of rock's implications and the thrills it can achieve, it has few peers.", "\n\n#\n\n\"I WANNA BE FREE!!!\"", "\n\n_**From Me to You**_ (John and Paul) /Thank You Girl \n(John and Paul) _Released: April 12, 1963_\n\n_**She Loves You**_ (John and Paul)/I'll Get You \n(John and Paul) _Released: August 23, 1963_\n\n**WITH THE BEATLES** _Released: November 22, 1963_\n\n**_I Want to Hold Your Hand_** (John and Paul)/This Boy \n(John, Paul, George) _Released: November 29, 1963_\n\n_P LEASE PLEASE_ ME was released in Britain in March 1963 and quickly rose to a thirty-week reign at number one from May into November. ", "Before their next recording session in July, they toured as a supporting act with Roy Orbison and Helen Shapiro, performed on \"Top of the Pops,\" and appeared frequently on Brian Matthews's \"Saturday Club\" on BBC radio. ", "By the fall, the British press had latched on to them as the perfect respite to the Profumo scandals that rocked Harold Macmillan's cabinet.", "\n\n_Please Please Me_ was still at the top of the charts in November, the month the Beatles appeared at the Royal Variety Performance as national heroes—it stepped down to number two to make way for _With the Beatles_ in December. ", "Before the year was out they got their own radio shows: \"Pop Go the Beatles,\" and a series of specials, \"From Us to You,\" for which they reworked their next single as the theme.", "\n\nThere's a proverb in Liverpool that says the only way a person can survive there is to have a sense of humor. ", "The Beatles were essentially the same type of characters that Liverpool's comics are renowned for—unembarrassed skeptics who delighted in puncturing social decorum. ", "One of George Martin's key credentials for Lennon was that he had worked with the flighty comic Peter Sellers, originator of the radio \"Goon Show\" with Spike Milligan.", "\n\nBut their sense of humor was also protective—the only sane response to the growing adulation their records began provoking. ", "Their success was so swift and encompassing that snappy retorts became a useful dodge to questions like \"What are you going to do when the bubble bursts?\" (", "Lennon's answer: \"Sit back and count my money.\") ", "To them, a political scandal like the Profumo Affair was a good laugh, all but predictable coming from the political duplicity it exposed. ", "In the studio, they were eclectic packrats, assimilating what they digested from their favorite pop records into a fresh sound; in interviews, they were constant pranksters, casually tossing darts of sarcasm at the establishment. ", "Their music was irresistible, but as personalities they were so offhandedly funny that they were hard not to like even when they were being rude to their hosts. \"", "Brian's nose is peeling, folks,\" John blurted out as BBC's Brian Matthews was introducing him.", "\n\n## **_From Me to You_** (John and Paul)/Thank You Girl(John and Paul) _Released: April 12, 1963_\n\nNONSENSE WORDS IN pop are often filler for something that needs fleshing out, but with the Beatles these devices are rarely gratuitous, even this early on: word snippets and trivial asides are played up, the smallest details bring life to the whole. ", "The \"Da-da-da, da-da-dun-dun, dah\" at the top of \"From Me to You\" is a melodic teaser, sung rather than played on guitar to voice the nameless feelings that live inside every teenager. ", "It draws the listener in even before words are sung, tripping Ringo's brief tom-tom fill into the final seconds before the verse. ", "By bookending the song with the same melodic tease played on harmonica and guitar, they show just how much care each moment is given—every advantage is taken to make one minute and forty-nine seconds swell with life. \"", "From Me to You\" amounts to a formal arrival: the high spirits in Lennon and McCartney's voices are suddenly translated into song. (", "It was written during their tour with Helen Shapiro in February 1963, and it spent six weeks at number one alongside the album it didn't even appear on.)", "\n\nJohn and Paul's vocal duo gives everything else contour. ", "The joyous leap from unison to harmony in the second line (\"If there's anything _I can do_ \") points to a larger sense of control: they know just where a harmony is needed and just where it would clutter an otherwise unfettered melody. ", "The verse lines combine unison and harmony (\"If there's anything _that you want_ \") and alternate in the bridge (\"I've got arms _____ that long _____ to hold you\" sung in unison, \" _and keep you by my side_ \" harmonized). ", "When they inflect the end of the bridge with a new color (augmenting the chord on \" _satisfied_ \"), it propels the falsetto \"ooh!\" ", "and Ringo's pert fill naturally—the ad-libs are written right into the transition. ", "At the end of the second bridge, George adds triplet guitar chords behind the same phrase—in those fleeting moments, the sound is even more rapturous than the high \"you\"s at the end of \"Please Please Me.\" (", "Their ad-libbed screams spring from the same musical instinct: there are times when their whoops seem so perfectly timed, so _right_ , that it's hard to imagine the song without them.) ", "The tight writing unleashes energy rather than strapping it in.", "\n\n\"Thank You Girl\" also varies the unison and harmony singing, and reverses the verse-bridge verbal games of \"From Me to You\": on the A side, the bridge holds out words, romanticizing the promises of the verses (\"I've got arms _____ that long _____ to hold you\"). ", "On the B side, the bridge irons out the lyricism of the verses into stepwise motion (Thank _____ you _____ girl _____ for _____ lo_____-ving _____ me _____ . . .\"). ", "The verse places held notes (\"I _____ could tell the world _____ a thing or two _____ about our love\") on top of alternating chords, which makes the shift to vocal duet on the following line that much more appealing. ", "The intricacy of the harmony on the words \"And _____ eternally _____ I'll always be _____ in love with you\" grows out of the unison line that precedes it, stemming from it and taking it further—Paul's upper harmony is already implicit in the line it follows. ", "This alternation is compressed in the refrain: \"And all I've gotta\" in unison is punctuated by \"do\" in perfect harmony, answered by the title line, \"Thank you girl,\" first in unison, then repeated in harmony. ", "The vocal ingenuity is bolstered by the harp and tomtom intro (repeated in the middle) and Ringo's start-and-stop snare fills at the end of each refrain.", "\n\nIt's a dashing setting to such a wide-eyed lyric, and like \"From Me to You,\" what its words lack is made up for musically. ", "The small silences that punctuate \"Love Me Do\" and \"Ask Me Why\" are fleshed out with new tricks—the way John and Paul's duets dynamize already sturdy melodies, the way verses and bridges work off one another. ", "Their spontaneous playing surrounds this formal leap as though it's all coming to them off the cuff. ", "Even though the ending is arranged—returning to the three \"oh\"s from the intro—Ringo injects more excitement with each successive drum flurry.", "\n\nGiven the constraints of the pop format—three or four chords at most, no song yet over three minutes long—the invention that begins creeping into these early singles is remarkable. ", "By varying every element at their disposal, from the vocal arrangements to the drum breaks that charge up endings, they cram worlds of inventiveness into simple vessels of pop songs. ", "The inventiveness goes hand in hand with their unabashed love for pop's confections; what they savored in their favorite pop records, they used in new ways—the playful nonsense words, like the \"a-tack a-tack a-tack\" that Chuck Berry sets loose in \"Almost Grown\"; the breathtaking high \"ooh\"s; the thrill of a simple but sturdy hook. ", "The simplicity of \"From Me to You\" and \"Thank You Girl\" floats above a richness of nuance that makes every instant count.", "\n\nBY THE SUMMER of 1963, the Beatles were national celebrities, and anxious to move on from the everyday life that was Liverpool. ", "Their ambition, after all, was in part a reaction to the provincial self-image they had grown up with there, and a desire to shake free from it like Elvis did. ", "But if the Beatles were to be bigger than Elvis, they would soon have to face the dilemma of wider popularity: by reaching for a larger audience, they risked losing the close give-and-take they shared with the Cavern crowd and local fans who had made them successful in the first place. ", "After George let it slip that he liked \"jelly babies\" (jelly beans) during a radio interview, they were affectionately pelted with them everywhere they played. ", "Birthday presents began pouring in, and the mail to their Liverpool fan club was already expanding beyond what could be handled locally. ", "This groundswell of adoration would gain a momentum of its own—first Britain, then Europe, then America—until the Beatles became captives of their own popularity, forced to isolate themselves from their audience. ", "But with their records monopolizing the number one spot, a responsibility to their growing audience crept in, and the even greater success that loomed was too enticing for them to remain at home. ", "Before the choice was made for them with \"She Loves You,\" they moved to London, eager for the acceptance that all of England—and eventually the world—seemed to be offering them.", "\n\n## **She Loves You** (John and Paul)/I'll Get You(John and Paul)/ _Released: August 23, 1963_\n\nOF ALL THE early singles, no other combines their mastery of pop styling with the rapture it incited from their audience—Beatlemania—as manically as \"She Loves You.\" ", "Everything here can be traced to earlier material (the beat, the hooks, the formal ingenuity), but nothing that came before hints at this kind of power. ", "The brazen performance is coupled with the originality of the narrative twist: the singer still sings in the first person, but he's singing about someone else's love affair—a friend stepping in to carry a message and give advice. ", "The lyric no longer relies on the music.", "\n\nThe recording has become a symbol: historians dote on it as the hallmark of an era obsessed with youth—\"Yeah, yeah, yeah\" are the nonsense words the Beatles immortalized, \"a truth known only to young gods and the biggest giggle in the world simultaneously,\" write Christgau and Piccarella. ", "Dave Marsh goes so far as to say that \"She Loves You\" was \"as good as it got because it was as good as it _needed_ to get.\" ", "Part of its magic is its status as a single: it exists outside the context of an album, surrounded by other songs. ", "At two minutes and eighteen seconds, it packs twice the number of ideas in even less space than usual, and blasts the future of rock wide open. ", "The original version is such a riveting performance that succeeding generations of rockers pay it the highest praise by simply leaving it alone—\"She Loves You\" is among the least covered Beatles songs, as much out of respect as awe. (", "John refers back to it in the fade-out to \"All You Need is Love\" and at the ends of verses on _Abbey Road's_ \"Polythene Pam.\")", "\n\nAs the Beatles gain more assurance with song forms, they begin toying with different ways of grabbing a listener's attention; their introductions become less a setting up of what will follow than a physical yank into what's already happening. ", "Ringo's tom-tom fill that is \"She Loves You\" 's first sound doesn't establish the beat so much as it tumbles down into it—there isn't a firm downbeat until the final \"yeah\" at the end of the fall, and the effect is like jumping onto a moving train. ", "The song itself is about an interrupted love affair; the singer is bringing his friend the hope of reconciliation as if he can't contain himself any longer. ", "The Beatles embrace their listeners in the same rush of anticipation that the unsuspecting lover feels when he hears his friend's breathless encouragement.", "\n\nThe opening is a truncated version of the refrain, and it too is less an introduction than an unprepared exclamation. ", "The drums alternate between the low tom-toms and the accented snare, making the vocal cries the center of attention. ", "The harmonies unfold step by step until the final (tonic) landing point, where the added sixth (Harrison's idea) makes the tonearm quiver. ", "On this last \"yeah,\" Ringo turns out to his loosely closed high-hat, letting the cymbals ring against each other more than usual, and George sneaks in a ratty little guitar lick beneath the vocals, riding out the pleasure that's released to the breaking point. ", "When the first verse begins, it's like a whole new world opening—the music defines ecstasy.", "\n\nThe verse melody climbs right up the scale (\"You think you've lost your love\"), unwinds from unison into harmony (\"Well I saw her\"), and closes with the playful bounce John and Paul take on the words \"yesterday-ee-ay,\" and \"say-ee-ay.\" ", "Everything points toward the hook—the good news—of \"She loves you,\" which is kicked with a syncopated stroke from the whole band before they finish singing the word \"you.\" ", "The lead guitar anticipates the \"yeah, yeah, yeah\" of the refrain after the line \"and you know that can't be bad\"; and the half-diminished chord on the following line (\"She loves you . . . ", "and you know you should be glad\") gleans both fear and pleasure: there is some anxiety at the prospect of getting back together. ", "The second and third time this passage is sung, however, they add a disarmingly quick high \"ooh\" to set up the refrain as intimidation gives way to expectancy. ", "Saving the refrain until after the second verse, they increase the anticipation for it—the ear wants to hear it again. ", "When it finally rolls around, everything plummets straight into it.", "\n\nWith the words \"She loves you, yeah, yeah, yeah\" the opening texture returns: Ringo heads for his tom-toms and kicks the third \"yeah\" with delayed triplet raps on his snare, pulling the motion back just where it wants to leap forward. ", "At the end of the fall, the concluding \"with a love like that\" emphasizes the momentum that has built up by stripping it down, leaving an irresistibly small silence in the middle of all the hoopla (just after \"love like that\"). ", "The musical gesture is as sharp as it is persuasive—the singer is winning his friend over with sheer enthusiasm.", "\n\nThe third verse sneaks lyrics of subtle wisdom into the scenario, breaking from standard pop clichés:\n\n_You know it's up to you. ", "I think it's only fair_ \nPride can hurt you too, _so apologize to her \nBecause she loves you!_", "\n\nIt's the kind of advice only a very good friend can offer, and even though the singer may desire this woman as much as his friend does, his words aren't as jealous as they are sympathetic. (", "This love triangle may have been inspired by Lennon, but it's not as rash as \"I'll Get You\" or \"You Can't Do That.\") ", "The refrain after this verse has a pause after the words \"you know you should . . ", ".\"—the harmonies are drawn out, giving some relief from the track's wired feel as well as supplying a dramatic pause from which to spring. ", "They linger on those words so teasingly that the final refrain virtually erupts from its coyness (\". . . ", "be glad!\"). ", "The \"yeah, yeah, yeah\"s take the ending home as the vocals outlast the final guitar chord, still shimmering on that added sixth.", "\n\nA song that penetrates with this much punch isn't luck, it's a gift. ", "Intelligent listeners like Bob Dylan (recalling the early Beatles in 1971) heard this at the time:\n\nWe were driving through Colorado [and] we had the radio on and eight of the Top Ten songs were Beatles songs. ", "In Colorado! \"", "I Want to Hold Your Hand,\" all those early ones.", "\n\nThey were doing things nobody was doing. ", "Their chords were outrageous, just outrageous, and their harmonies made it all valid. . . . ", "But I kept it to myself that I really dug them. ", "Everybody else thought they were for the teenyboppers, that they were gonna pass right away. ", "But it was obvious to me that they had staying power. ", "I knew they were pointing the direction where music had to go . . . ", "in my head, the Beatles were _it_. ", "In Colorado, I started thinking but it was so far out I couldn't deal with it—eight in the Top Ten.", "\n\nIt seemed to me a definite line was being drawn. ", "This was something that never happened before, (in Anthony Scaduto, _Bob Dylan_ , pp. ", "203–4)\n\n\"She Loves You\" entered Britain's consciousness that summer of 1963 like no pop song ever had, and set Beatle-mania ablaze. ", "In America, it didn't enjoy success until after \"I Want to Hold Your Hand\" broke through in early 1964. ", "But with this kind of euphoria bursting forth from the radio each day, it's no wonder a generation was turned on. \"", "She Loves You\" transforms the Beatles from upstart pop enthusiasts to pop sensations in their own right.", "\n\nTHE GENTLE SWAY of melody that swings the verse of \"I'll Get You\" (the B side of \"She Loves You\") is broken by the determined refrain, a simple repetition of the title. ", "But the sound is vigorously innocent, and along with \"Thank You Girl\" \"I'll Get You\" counts among the best neglected songs the Beatles ever recorded. ", "Astride the meteoric potency of \"She Loves You,\" it compromises none of its aggressiveness to achieve a real sweetness; its lure is gently seductive (\"Imagine I'm in love with you\"), and pressing only when the singers' passion overtakes them on the swelling line \"It's not like me to pretend/But I'll get you, I'll get you in the end.\" ", "Innocence is overcome by desire. ", "The \"oh yeah\"s of the introduction give way to the deliberate stutter of \"many, manymanytimes before\" (the \"ore\" becoming \"oh\" to rhyme with \"know\") and \"never, nevernevernever blue.\" ", "The all too predictable bridge breaks into harmony:\n\n_Well there's gon-na be a time_ \n _When I'm gonna change your mind_ \n _So you might as well resign yourself to me, oh yeah_. . . .", "\n\nThey take such pride in finding the word \"resign,\" that they can be forgiven the mistakenly sung words, the simplistic attitude, and the repeated first verse. ", "The beautiful truth that lies in the harmonic blend of their voices says that they believe in what they're singing (\"oh yeah\")—and since the song is not really a threat but a self-pep talk, that's all that really matters.", "\n\n## **WITH THE BEATLES** _Released: November 22, 1963_\n\nThe Beatles' second album starts out like the first, only with more sparks flying. ", "Greil Marcus describes its American counterpart, _Meet the Beatles_ , as \"joyous, threatening, absurd, arrogant, determined, innocent and tough\" to which \"It Won't Be Long\" alone adds bad puns, razor wit, and a recklessly taut form. ", "It immediately enriches the simple romance of _Please Please Me:_ \"It Won't Be Long\" is about urgency in a relationship—the urgency to begin again something that has been interrupted, to be reunited after a separation.", "\n\nBy beginning with four originals from three different writers, _With the Beatles_ secures their stance as songwriters. ", "Backed with the cover-original alternating layout of side two, it dramatizes how they begin to outdo their models, as well as claim new musical territory. ", "Because their creativity is so abundant, the sound of them doing Chuck Berry's \"Roll Over Beethoven\" next to Paul's \"Hold Me Tight\" affects the way we hear both: they're showing where their approach came from as it develops. ", "There's as much irony in \"All I've Got to Do\" 's angst-filled pledges and \"All My Loving\" 's goodbye smile as there is in the way \"Till There Was You\" sits next to \"Please Mr. Postman,\" or the way John's aggressive reading of Smokey Robinson's \"You've Really Got a Hold on Me\" is followed by Ringo's inimitable nonchalance in \"I Wanna Be Your Man.\" ", "Moods and ideas ring out in magnetic opposition, strengthening both the band and the album.", "\n\nLIKE _P LEASE PLEASE ME_, the record uses an original and a raucous coyer as bookends as it takes things to a higher level—Lennon's \"It Won't Be Long\" portends more than falling in love on the dance floor, and it makes that announcement grandly with the ingenious way the beat lassos the listener into the vocal arrangement. ", "A pun is worked out along the way: \"It won't _be long_ \" becomes \"till I _belong_ to you\" as the refrain heads for the verse. ", "There isn't another upbeat original here that delivers the same expectant thrill: Paul's \"Hold Me Tight\" has an steady charge but not the same authority, even including its refrain's own antiphonal buildup. \"", "It Won't Be Long\" outdoes \"I Saw Her Standing There\" formally without sacrificing any of the earlier song's impulsiveness, and it whets the appetite for something bigger than garage-band ambition. ", "Until they reach the two covers that close side one (\"Till There Was You\" and \"Please Mr. Postman\"), the new stature is manifest in original terms.", "\n\nLennon barks out the record's opening words alone, and the background vocals leap in immediately, tossing \"yeah\"s back and forth with his lead. ", "The \"yeah\"s are less exuberant than they are in \"She Loves You\"—they're pent up and anxious—and the antiphony conveys the distance between lovers as well as the tug between frustration and satisfaction that the singer feels within. ", "The opening sequence is also the refrain, which sandwiches a major response in between two minor outcries and moves to the major verse on the concluding line with a major chord (\"till _I_ \") that passes through minor (\" _belong_ to you\"). ", "The refrain's cries find comfort in the verses, which move from self-pity (\"sitting all on my own\") to the happiness of what lies ahead (\"Every day well be happy I know\").", "\n\nDuring the final refrain, Paul jumps up in the middle of his background singing for a final charged \"yeah\" (the fifth of seven), filling up the expectancy with a whoop of unleashed delight. ", "To close, the band actually slows things down, tacking on a stop-time break for Lennon's lead (on the last \"till I belong . . . ", "to you\") before spreading into a vocal harmony on the last word. ", "But the melodramatic ritard can't summarize the drama compacted in the refrain's combatting emotions, where hope rallies with anxiety.", "\n\n\"IT WON'T BE LONG\" is confidently overdesirous (\"Now I know that you won't leave me no more\"). ", "In \"All I've Got to Do\" it's as if by declaring his devotion Lennon wants to plow under any hint of insecurity by just singing. ", "The beat moves from quick to medium tempo, from the sturdy promise of love to the jerky, accented angst of love itself. ", "His brooding intensity gives him away: he doesn't sound confident, as his lyrics would have us believe—he sounds positively scared.", "\n\nPaul's harmony that joins John's lead on the title phrase has an eerie quality, the kind of self-consciousness that teenagers live with from day to day. ", "John plays with the phraseology in this song the way he plays verbal games in others, running consonant-laden words together to answer lines with their own phonetical inverse:\n\n_when I_ _____ _I wanna kiss you yeah_ \n _All I gotta do_ _____\n\nRingo's jerky drum patterns and the tart high-hat accents that fill up the dead spaces after verses make everything sound jittery. ", "As the sound swells into the bridge (\"And the same goes for _me_ \"), Lennon gains on his fear and suppresses it with the concluding lines, sung in block harmony (\"You just gotta call on me\"), which he repeats as if to convince himself. ", "But when he sings about wanting to kiss this woman in the second verse, he's got next to no nerve about it.", "\n\nThe track's most remarkable moment comes during the second bridge, when Lennon plays with the lead vocal line on the words \"111 be there, yes I will.\" ", "He comes unhinged on the first word, skidding all over the beat before landing back in the groove in the nick of time. ", "It's a compressed musical symbol of what the song is about: regaining a suave demeanor as his innards fall apart. ", "His performance of that one line, that one _word_ , combined with the cool held notes of the verse, makes the song something much more than it would be in the hands of a lesser singer. ", "His uncanny rhythmic delivery is rife with layered emotions.", "\n\nOne of Lennon's chief strengths as a writer is in expressing this uneasy balance of sentiments. ", "Like \"Any Time at All,\" the range of feelings \"All I've Got to Do\" turns over is extraordinarily controlled, even though it expresses the most complex self-doubt: the threat of rejection is coupled with the fear of gaining a love he doesn't feel worthy of, of wanting an intimacy he might not let himself enjoy. ", "It has such an idiomatic tinge to it, it is so wholly Lennon, that it is among the least covered songs in their repertoire.", "\n\nLISTENING TO THE IRONY of \"All My Loving\" with the perspective of Paul's later solo work suggests he wasn't in control of the clash between the rollicking music and the fare-thee-well lyrics—it works better as a happy goodbye song than a cheery denial of reality, the kind of pep talk John gives himself in \"There's a Place\" and the bridge to \"No Reply.\" ", "Above a confidently walking bass, a constantly ringing guitar defines the texture, and the band rolls along with such daft happiness it helps Paul sound less and less upset about the impending separation. ", "The minor refrain, where Paul sings \"Darling, I'll be true,\" sounds more devotional than resigned, and the silences that follow each verse are packed with delight, not sorrow. ", "Even George's guitar solo greets Paul's loss unaffectedly. ", "As Lennon chimes in for the harmony on the last verse, the sound actually gets happier, more at ease. ", "Paul doesn't deny the pain so much as win over his lover—and his audience—with a beaming resolve.", "\n\n\"All My Loving\" follows \"All I've Got to Do\" in a revealing way: John is suffering behind a contented mask; Paul is rallying toward a happy attitude even though he's saying goodbye to his true love. ", "Lennon can sound whiny, whereas McCartney seldom stoops to self-pity. ", "The first three songs on this side begin with voice alone, and the same approach works differently for each lead singer. ", "Lennon's two numbers project an emotional urgency; he's not just alone, he's self-en-snarled, unable to escape from himself. ", "Paul sounds liberated, free not just from heartache but from insecurity of any kind. ", "In toying with the same possibilities, they wind up sounding even more different than if they had stuck to their own idiosyncrasies.", "\n\nWOULD WE APPRECIATE George Harrison's songs if they weren't featured on Beatles records? \"", "Taxman\" has a place all its own as the entrance to the world of _Revolver_ , and even \"Within You Without You\" is a harmless way to get side two of _Sgt. ", "Pepper_ going—it's the perfect foil for the camp of \"When I'm Sixty-four,\" which follows. ", "But \"Don't Bother Me\" is a weak songwriting debut, especially since George sounds so much better on something Lennon would write for him on the next album (\"I'm Happy Just to Dance with You\").", "\n\nGeorge has been taking in what Lennon and McCartney have been pouring out: \"Don't Bother Me\" has a variety of texture; good use is made of the stop-time breaks before each verse; and there is a brooding, almost malevolent quality in the singing that suits the lyric (the modal harmonic design sets dorian verses off an aeolian bridge). ", "He sounds like the perennial misunderstood teenager, his voiced pinched in desperation (\"Because I _know_ shell always be . . .\") ", "without being compelling; and his guitar solo just sits there—it's dry, nearly lifeless. ", "In between two such good dance numbers it can hardly miss as a good beat song; no one will leave the dance floor just because the tune fails critically. ", "It actually shows off the life of this ensemble that they find a groove in this tune despite its flaws. ", "As always, they play with an uncanny sense of rhythmic timing, its tensions and releases; and George winds up being carried by the others.", "\n\nLENNON'S HARP breaks open the last original on this side with complete abandon: the pleasure comes as much from the harp itself as from the Lennon personality it projects. \"", "Little Child\" is happy blues, with a slightly altered bridge, and the first throwaway dance number here. ", "The vocal harmonies (\"Fm so sad and _lonely_ \") bring out the kitsch in Lennon, who does it all with his unmistakable glint—the slide on \"lonely\" sounds like something Paul thought up, and they sing it with panache. ", "During John's harp solo it sounds as though he and Ringo make eye contact and goad the thrust of the beat together. ", "Lennon becomes more successful at this kind of camp by the next album, where in \"Tell Me Why\" he combines just the right amount of swing with a more seasoned lyric about jilted deception.", "\n\nWHERE \"ALL I'VE GOT TO DO\" walked the fine line between ballad and medium-tempo dance, Paul's cover of Meredith Willson's \"Till There Was You\" (from the Broadway musical _The Music Man_ ) is the first out-and-out ballad here. ", "Among the many standard vehicles Paul sang in Hamburg and on their radio appearances (Roy Orbison's \"Dream Baby,\" \"The Honeymoon Song\" from the 1959 film _Honeymoon_ , and other cream-puff titles), \"Till There Was You\" may have been chosen above the others because of the flamenco-style guitar solo George worked up for it. ", "Otherwise, it follows Peggy Lee's sensuous arrangement but not her breathy delivery. ", "Paul's singing is flawlessly polished; he doesn't set up any challenges and doesn't deliver much more than heart-on-the-sleeve sentimentality. ", "His original efforts in this vein (\"And I Love Her\") will soon surpass this performance.", "\n\nPart of the Beatles' broad appeal is due to the way they place this kind of kitsch on an album that ends with the scandalous \"Money,\" the same way \"A Taste of Honey\" doesn't suggest the sound or fury of \"Twist and Shout.\" ", "It superimposes the larger pop tradition the Beatles embraced on the rock 'n' roll heritage. ", "Because they include this kind of vocal showcase, it makes them sound less at odds with the formal lineage of composers like Richard Rodgers and Cole Porter than many of their contemporaries do. ", "The Rolling Stones would never have recorded such saccharine material—some of their followers even balked at their cover of \"Under the Boardwalk.\" ", "Dylan's sentimental side, when successful, is usually ironic or verbose. ", "That the Beatles see songs like \"Be-same Mucho\" and \"That's All Right (Mama)\" as feeding the same musical currents points up their eclecticism; that they perform \"Till There Was You\" as lovingly as \"Please Mr. Postman,\" which follows, makes that pop vision credible.", "\n\nTHE FIRST THREE songs on this side open with solo vocal pleadings; \"Please Mr. Postman\" reverses the same trick—the background vocals yell \"Wait!\" ", "to a crisp high-hat break before Lennon answers. ", "The opening \"Wait!\"s are sung as though the Beatles were caught in midair—as in Dezo Hoffman's famous leap photos—not so much in harmony as in desperation. ", "As George and Paul sing the refrain, Lennon dances all around them with rhythmic lyricism (\"Pleeeze, pleeeze, Mr. Po-wo-wostman\"). ", "By the time he arrives at the first verse the track isn't just warmed up; it's almost boiling over. ", "The beat is tremendous, pounding out the flip side of Lennon's pumped-up enthusiasm on \"It Won't Be Long\": _not_ hearing from the woman he's separated from, and dying with lovesick agony when he sees the postman leaving. ", "Christgau and Piccarella write that \"when the Beatles outdo their exemplars, John is usually why\" (p. 247). ", "The original Marvelettes recording, which Motown's Berry Gordy helped arrange for them, is subdued, almost relaxed in comparison. ", "The Beatles sound delirious, pent up and manic all at the same time; there's no room to breathe in this sound—it's an aural equivalent of what it means to feel strung out. ", "In the second refrain, where Lennon sings along with the backup vocals instead of scatting off of them, it's where he dabbles slightly from the others that he generates the most excitement. ", "The repetitions into the fadeout unleash him for two solo breaks; on the second (\"Deliver the let-tah, the sooner the bett—you gotta waitaminute!\"), ", "he gets too carried away to even finish: the first part of that line is enunciated with tickling fancy, the ending is madly out of breath. ", "Like all great rock 'n' roll, it sounds perilously close to falling apart at any minute. ", "This is the most reckless and completely irresistible playing yet on the record, and the most flammable rock 'n' roll they've given us since \"She Loves You.\"", "\n\nSIDE TWO ALTERNATES covers with original material, unlike the slew of originals that opened side one, and the common ardor poured into every track makes it swing from heartfelt indebtedness to informed originality. ", "Like their \"Please Mr. Postman,\" each performance of somebody else's song competes with the freshness of their own, and it all sounds as though it springs from the same bottomless well of inspiration.", "\n\nGEORGE'S STRENGTH early on lies in his simple honesty with his audience; he never tries to hide his utter willfulness; his competence is outstripped by his earnestness. ", "The opening guitar lick to \"Roll Over Beethoven\" is the standard set of figurations used to open this tune by countless bands, but George sounds thoroughly rehearsed—he's comparing himself with others, even though his listeners may not be. ", "It's not until the band enters that he settles back into the groove and lets it work for him. ", "This sense of camaraderie can be heard in his singing: he's not trying to sound like Chuck Berry as much as he is intent on just getting the words out. ", "Since the text is a fast-moving-string of one-liners that roll easily off his tongue, he does fine. ", "Chuck Berry's rock 'n' roll imagery perfectly suits George—we can just picture him writing a letter to his local deejay. ", "His kid-brother act explains the misunderstood tone of \"Don't Bother Me.\"", "\n\nMusically, the track detonates. ", "The motion settles down to a cool rumble in the middle section (\"Well if you're feeling like it . . .\") ", "and opens up again for the guitar solo, which George delivers with the utmost humility. ", "He knows how to tickle the meter: when he hits a rhythmic pattern and repeats it over the bar, he understands exactly what Berry had in mind—the guitar mocking the rest of the band, defying the gravity of the backbeat. ", "Even where he apes Berry's fluidity more than masters it, his deadpan determination is simply glorious.", "\n\nThe final line (\"Dig to these rhythm and blues\") is sung with the same out-of-tune good intentions, and the final guitar chord that's patched on at the end doesn't sound as unnatural as it somehow should (it's obviously been added after the original live take). ", "The timing of this final chord is perfect, and the ring of that last stroke is like makeup for the rest of the song's inaccuracies. ", "It's not exactly cheating, but it doesn't make full use of the pitch the band has built to by the end, either.", "\n\nFor all of George's matter-of-factness, the Beatles' version of \"Roll Over Beethoven\" has strong undercurrents: it's a significant statement about how this music transformed—and continues to transform—people's lives. ", "The simple fact that ordinary English youths were driven to play this style raised its stature with its home audience. ", "Lennon might have turned Berry's good-humored elitist snub into a rebellious jab at musical snobbery, but George's simple determination makes their love for rock 'n' roll something different, something more appealing: it pronounces how accessible this music was to youth like George, who had no musical training; that this music is as important to its audience as any other form is to any other audience. ", "Recording songs like \"Roll Over Beethoven\" makes the idea of rock 'n' roll—the community of youth and the joyous commercialism it exonerates—a living presence on Beatle records.", "\n\nLIKE \"SHE LOVES YOU\" and \"I Want to Hold Your Hand,\" McCartney's \"Hold Me Tight\" uses the tag end of a later portion of the song as its introduction, throwing the ear as to what harmony is actually solid ground. ", "The confusion sorts itself out by the middle of the verse, and succeeding listenings reorient the listener to the trick—it's another sly entrance into what could have been just another midtempo rocker. ", "The variation in what would otherwise be the basic Paul treatment is in the way the backup harmonies precede the solo voice instead of the other way around (as in \"From Me to You\"). ", "Paul sings it straight; he doesn't try to redeem the standard formula of the song with any ad-libs (like he does at the top of the third verse to \"I Saw Her Standing There\"). ", "The performance is a clean and polished rocker in the same the way that \"Till There Was You\" is a clean and polished ballad, and although the slow-to-stop ending sets up the next song's medium tempo, it doesn't do justice to the witty opening.", "\n\nSMOKEY ROBINSON SINGS his \"You've Really Got a Hold on Me\" with a light touch—the beat swings gently—and gives way to feeling most when he steps outside his sweet vulnerability to vary the melody (the way he sings \"Baaaaby! ", "Baby!\" ", "on the second refrain). ", "The outbursts gain immediacy from the controlling context. ", "The Beatles tart it up by having Ringo's bass drum drag the conviviality of the vocals—where the Miracles sound elegant, Lennon sounds ruthless. ", "He takes the song's tug personally, finding bitterness, frustration, and resentment alongside its warmth, repentance, and longing. ", "You can hear it in the way the \"hold me\"s are linked by Lennon's irrepressible \"please\" and \"squeeze\" responses, or the way he makes each successive \"tighter\" more urgent, compressing greater feeling into each repeat before dropping back down for the verses. ", "The politesse it took for a black man to make this hunger for love acceptable gets drowned in Lennonesque revenge.", "\n\n\"I WANNA BE YOUR MAN\" was written for the Rolling Stones ( _Ready, Steady, Go_ )—John and Paul whipped it off in a brief studio huddle that floored Mick Jagger and Keith Richards (and inspired them to write more songs of their own)—but Ringo brings such a personal touch that it sounds as if it could have been written with him in mind. ", "Its chief hook is the way the harmonies tilt downward on the last \"I wanna be your _man_ \" The harmonic progression has been tilting downwards all along, and this quick final vocal tilt buffers the drift of the whole refrain. ", "When set against the drumbeat, pounding out the raw rhythm after the guitars have dropped out, it has a sneering yank to it. ", "The screams of delight that send it home during the fadeout approach the euphoria of \"Postman\" but don't quite make the leap into hysteria.", "\n\nTHE TOM-TOM INTRO at the start of \"Devil in Her Heart\" is quicker than the one into \"You've Really Got a Hold on Me,\" and George throws himself into his \"No, no, no\"s, but this cover of the Donays' 1962 original doesn't have the intensity of John's bow to Smokey Robinson. ", "The arrangement casts George arguing with the background vocalists—they sing the title line with such clipped enunciation, it's like they're scolding him. ", "Harrison gets the last word (\"No, she's an angel sent to me\") but loses the debate.", "\n\nLIKE \"ANY TIME AT ALL,\" Lennon's \"Not a Second Time\" is at odds with its own setting. ", "His decisive lecture is resolute, but his singing is confused and hurt. ", "He has trouble just getting started: piano and guitar vamp between major and minor chords, before the line \"I see no use in wondering whyyyyyIiii criiiiiied, for yoouuuu.\" ", "It's one of the longest melismas—traveling held vowel passages—Lennon ever wrote for himself, and it hovers over several emotions. ", "The uneasy balance between trepidation and determination is sung desperately, making the wish for reconciliation implicit in the overstatement of the refusal:\n\n_You're giving me the same old line_ \n _I'm wondering why_ \n _You hurt me then_ , \n _You're back again_ , \n _No, no, no, not a second time_.", "\n\nThe piano solo recalls the Muzak of \"Baby It's You\" from the first album, dating the sound, and it couldn't be more out of place: it's balming where it should sting, complacent when it should be resentful. ", "This song doesn't achieve the emotional urgency of \"If I Fell,\" which extends similar emotions in a love triangle. ", "In that song, the singer is both soft and vengeful, ready to fall in love again if only to get back at the woman who has jilted him. ", "Here, Lennon's desire can't sneak through his defenses.", "\n\nIT'S NO ACCIDENT that the cover songs Lennon chooses to sing on this record are about heartache, conflicted desire, frustration at forces beyond his control, and finally, freedom. ", "His own songs are about resentment, double-crossings, and uneasy assurances cast in more personal terms, instead of the universality Paul often attains. ", "Lennon can never mask his true nature, whether it comes out in his singing or in his playing, and the choice of \"Money\" to close the album lets him cut loose in the way he still knows best: in a rock 'n' roll song that first revealed its possibilities to him. ", "It doesn't matter that the piano intro seems tame by today's standards—at the end the mix is so gloriously cluttered and full of motion that \"Money\" overshadows every other cover song they ever recorded. ", "He takes an already great song and makes it greater, personalizes its social implications by turning a defiant howl from within into an outrageous public act.", "\n\nThe tension between the sell-out message of the text and the never-say-die tenacity of the performance gives the track its sarcastic tinge and makes \"Twist and Shout\" sound relatively meek. ", "The Barrett Strong original isn't nearly as suggestive—and coming from a black man, not half as ironic. ", "The spiritual-material tug-of-war here is right out in the open: there is much more to life than the quest for money, Lennon's spirited chicanery tells us, and to miss that point is to miss what all the fuss over rock 'n' roll is about. ", "The artistry at work is in the way he makes these cynical words sound hopeful, his vulnerability sound powerful. ", "The most important thing he learned from his hero Elvis Presley was the value of individuality at all costs, as Marsh would say, without essential compromise. \"", "Twist and Shout\" challenged adults to let Lennon go out with their daughter; \"Money\" pits Lennon's rage at what he sees as the gap between conventional platitudes and what life _really_ has to offer. ", "It's the first political statement he ever makes: if \"Twist and Shout\" was the musical equivalent of an orgasm, \"Money\" is the rock 'n' roll equivalent of giving society the finger.", "\n\nWhen Lennon cuts loose during one of the final choruses and screams \"Whoa! ", "yeah, I wanna be free!!!\" ", "he sings it with such intensity that it's as much a demand as it is a threat. ", "It's one of the broadest declamations ever made by a rock 'n' roller, as unmistakably final as Elvis singing \"Blue Suede Shoes\" or even \"Hound Dog.\" ", "Lennon's presence embodies all the virtues of great rock 'n' roll as he testifies that its strengths—hilarity, self-determination, celebration in the face of despair, the courage to rise above conventional standards—can alter forever the way a person looks at life, as well as lives it out. ", "He does more than take this music seriously; he lives inside of it, accepts its terms completely.", "\n\nThe Beatles can sound spanking clean compared to the animal in Elvis, the greasy-haired earthiness of Chuck Berry, and especially the outlandish peacockery of Little Richard. ", "But their precision is far from careful, and it gets overridden by the brutality of their attack: they discover an unmistakable power from the sheer strength of their convictions. ", "In _Feel Like Going Home_ , Peter Guralnick claims they \"never really did anything to see that their influences were recognized,\" while the Stones \"paid their respects from the first\" (p. 28). ", "But Lennon and McCartney were not the blues archivists Jagger and Richards were—never wanted to be, never claimed to be. ", "When the Beatles placed original statements like \"Not a Second Time\" and \"All I've Got to Do\" next to covers like \"Roll Over Beethoven\" and \"You've Really Got a Hold On Me,\" they do more than \"pay their respects.\" ", "Their original material affects the personality of their covers the same way their covers inflect their originals. ", "Building upon what they had learned from such heroes, they re-enact their infatuation with rock's past in the present while making airs toward its future. ", "The Beatles took what came before and made it real for an entire culture, not just the cultists. ", "Lennon paid his respects to people like Strong in \"Money\" by conceiving rock 'n' roll as something more than just a career, a way of making money, which is how Elvis wound up conceiving it. ", "For the Beatles—and through them, their audience—rock 'n' roll became a way of confronting the world.", "\n\nThat's why this album reveals so much more about Len-non than about McCartney: of the eight originals, four are essentially Lennon songs, and Paul sings only two of the others. ", "Paul's cover, \"Till There Was You,\" may have more polish, but it still bears a close resemblance to \"A Taste of Honey\" as a dismissible crooner. ", "Lennon's numbers revolve around the constricting forces at work in a relationship or in living one's life.", "\n\nThe record's weaknesses (\"Little Child,\" \"Don't Bother Me,\" and \"Hold Me Tight\") are as telling as its strengths, halfway between the aspirations of _Please Please Me_ and the polish of _A Hard Day's Night:_ all the musical virtues are there (variety of textures, mood, content, singers, and styles) but without the artistic flair that will mark what follows. ", "And this is the last time that a cover song will say it all for Lennon. ", "His next classic moment comes with \"Rock and Roll Music,\" the Chuck Berry cover on _Beatles for Sale;_ but by then his original work is beyond what these standards have to offer him, and he never again gleans \"Money\" 's ethical hooliganism from another person's song.", "\n\n## **_I Want to Hold Your Hand_** (John and Paul)/This Boy(John, Paul, George) _Released: November 29, 1963_\n\nAMERICANS REMEMBER \"I Want to Hold Your Hand\" as among the first things they heard from the Beatles. ", "Vee Jay, a small independent label in Chicago, had released both the \"Please Please Me\" single and the album with little radio support and unremarkable commercial returns. ", "But Capitol Records, a major American company, supported it with a $50,000 promotion campaign when it began releasing Beatles records in early 1964, to coincide with the band's Ed Sullivan debut. ", "This song was their first major stateside single, and when Americans bought their first Capitol Beatles album, _Meet the Beatles_ , this was the first track they heard on side one. ", "In Britain, however, it was released only as a single that came out the week after Parlophone's _With the Beatles_. (", "It was recorded during the same sessions as that album, and they performed it as early as August 1963). ", "Like \"She Loves You,\" it stands better alone than if it had been surrounded by the songs on that album. ", "Its exuberance is rivaled only by that pre-album counterpart—the two singles encase the second album with boundless energy and musical wit.", "\n\n\"I Want to Hold Your Hand\" brings the pop structures they had been toying with around to a full expression of their possibilities, much like \"She Loves You\" does: hooks, textural contrasts, harmonic variation, and physical dynamism crammed into the two-and-a-half-minute format with a touch of genius. ", "The introduction alone is a simple two-chord progression drawn out with a welling anticipation (the same music later sung to the words \"I can't hide, I can't hide\")—it sets the mood as it should, but the arousal it contains in just four bars is more than most songs ever attain. ", "Just before the vocals land in the home key of the verse, a repeated chord is drawn out until it might burst, creating anticipation everywhere and excitement in everything. ", "Only then do they start singing.", "\n\nThe first two words act as an assertive upbeat; Lennon sings them with a declamatory punch, and the song is off. ", "The first two clipped lines are completed by one longer one:\n\n_Oh yeah_ \n _I'll_ \n _Tell you something_ \n _I think youll un-der-stand—_ \n _When I_ \n _Say that something_ \n _I want to hold yout hand_ _____ \n _I want to hold your hand_ _____ \n_I want to hold your hand_.", "\n\nThe harmonic setting plays fourths off one another, first tonic to dominant, then relative minor to _its_ implied dominant. ", "The concluding couplet repeats the title line twice in a standard IV–V–I–vi progression that brings the harmony back to the home key.", "\n\nBut it's the smattering of details that really breathes life into the song: the handclaps after the short lines echoed in the rhythm guitar after the long line; the chromatic bass movement that steers everyone toward the minor harmony (setting up the line \"I think you'll understand\"); and the final vocal leap of an entire octave the first time they sing the title. ", "The harmonized landing point of \"hand\" is supported by drum fills gliding beneath the vocalists. (", "The third time the line is sung, bringing the harmony back around for the second verse, Lennon sings it alone.) ", "This is plainly a classical rise and fall of the most archetypical design: everything in the arrangement and performance is meant to highlight a certain moment (the octave leap up to the word \"hand\") either by pointing to it or falling from it. ", "And the sound that the band achieves in the process defies analysis: it's not just happy, it's enchanted; they enact the inspired pleasure in the music as they play it out.", "\n\nAfter the second verse, there is a sudden hush: the electricity fades out almost completely, and a calmer, acoustic sound intrudes—guitars become less rhythmic than atmospheric, and the vocals harmonize throughout, growing from close thirds to the open fourths of \"I can't hide, I can't hide.\" ", "The change in texture conveys the shift in mood from the outgoing verse to the relative introspection of \"And when I touch you I feel happy inside.\" ", "At the end of the second line, the gut impulse of glee rises at each repetition of \"I can't hide\" (the same way that the introduction did without the words), as if the lover simply can't contain himself. ", "The verse and bridge fit together symbiotically, one excited, the other reflective.", "\n\nAs the song winds to a close, the title line is sung four times instead of the usual three, with an extra harmonic twist: on the third of these, the band swiftly pounds out a new chord before the fourth and final plea wraps things up. (", "The chord is major and corresponds to the implied dominant harmony in the verse on the word \"under _stand_.\" ", "In addition to adding an extra surge of energy to the final measures, they touch all the harmonic bases of the song before sending it home.) ", "As if any more ingenuity were needed, triplet quarter-note kicks are added beneath the final word, \"hand,\" buffering the momentum of the entire track. ", "Imagine it ending any other way and you'll hear something duller, less compelling, and less vital to all that has gone before—the simple act of halting the motion draws attention to just how charged it was to begin with. ", "It completes what was kicked off by the opening rhythmic jerks the same way that the \"Yeah, you\" at the start of the last verse echoed the \"Oh yeah, l'11\" at the top of the song. ", "For all this music's frenzy, its structural reinforcements couldn't be tighter.", "\n\n\"I Want to Hold Your Hand\" is often used to show the difference between what the Beatles had on their minds (holding a woman's hand) and what the Stones had on theirs (spending the night with her), and the larger difference between pop and the blues, between acceptability and defiance. ", "It's a comparison that is too pat, ignorant of the musical goals each group aspired to. ", "The Stones were purists posing as hoods; the Beatles were openly more varied in their taste—but that doesn't make them the good guys to the Stones' rude boys. ", "In its innocence, \"I Want to Hold Your Hand\" has what can be called \"charm,\" but the performance is certainly something more: where the lyrics tickle, the sound explodes. ", "The spirit of the playing plows under any lyrical prissiness, the way it does in \"Thank You Girl\" and \"From Me to You,\" only more. ", "The inarticulateness of the singer in \"There's a Place\" propelled him to musical heights; the lyrics in this song get tarted up by the energy of the performance. ", "Listen to the way Harrison bends his lead note just before the initial vocal entrance, or the way McCartney makes that brilliant vocal leap upward every time he sings the title line—these moments imbue the lyrics with more substance than the words alone imply. ", "Its joy is charged in large part by what the Beatles find themselves saying _through_ this music, which may well have been more than they originally intended. ", "Marsh puts it this way: \"[They] counsel[ed] acceptance of love as the greatest glory humanity can know. . . . ", "Yes to love, yes to joy, yes to the transforming power of what they did, from the very beginning\" ( _The Compleat Beatles_ , p. 67).", "\n\nOn their first album, they wanted to crack the whole world up with their beat—\"Twist and Shout\" extended dancing as a metaphor for sex into sex as a metaphor for fun. ", "In \"I Want to Hold Your Hand,\" their levity gets more implicative; the image of the loved one becomes an image of intimacy. ", "The love relationship extends beyond one specific lover to the idea of love itself and an affirmation of all it can offer.", "\n\nON THE REVERSE SIDE, \"This Boy\" goes beyond the coquettish \"Do You Want to Know a Secret\" and contains the promise of such breakthroughs as \"And I Love Her\" and \"Yes It Is.\" \"", "Just my attempt at writing one of those three-part-harmony Smokey Robinson songs. ", "Nothing in the lyrics, just a sound and harmony,\" Lennon told _Playboy_. ", "With its fantasies of revenge and its unrequited yearnings, Lennon may have copied Robinson's approach but not his emotional turf. ", "A finely honed vocal trio built around a conventional I–vi–ii–V progression serves as the soundtrack for a jilted-for-another heartbreak scenario, a traditional doo-wop formula invested with Lennon's vengeful melodramatic touch.", "\n\nThe acoustic guitar intro plays in duple what the band soon fills out in time, introducing the plain vanilla chord sequence of the verse with a rhythmic tease. ", "The vocal harmonies have a poignant moving note in the very opening line, altering the major seventh of the tonic to the root of the relative minor—it makes the title phrase sound tired, regretful, and genuinely compassionate. ", "The restrained vocal trio of the verses erupt into John's solo outburst in the bridge, effectively contrasting song sections off one another once again.", "\n\nAs Lennon comes to the fore, supported by the backup \"ah\"s, there's little doubt that he intends to take things to the brink. ", "He's singing straight from his gut, and the contrast of the trio's sentimentality with his raw outburst is gorgeous, building right to the stop-time of the bridge that leaves him wailing alone, as only he can, on the word \"cry.\" ", "The way he then slips right back into the vocal trio points up their control: the tension between cooing harmony and naked vocal audacity is built right in, and they understand its potency.", "\n\nALL OF THE MATERIAL examined up to this point was conceived and recorded before 1964, the year the Beatles \"conquered\" America, a point not lost on Marsh:\n\nThe Beatles had not only arrived, they had arrived complete. ", "They would not get better in the six years left to them, because there simply wasn't much better to get. ", "What they did, instead, and to their everlasting credit, was become more sophisticated, take the same idea and never shy away from its complexities. ", "But _better?_ ", "You don't improve on \"I Want to Hold Your Hand\" . . . ", "you just elaborate. ( _", "Compleat Beatles_ , p. 66)\n\nWhen Americans caught Beatlemania, these records held up the most intriguing reflection of their indigenous musical culture that they had ever heard. ", "Surrounding the Beatles' view of rock's best moments (\"Twist and Shout,\" \"Roll Over Beethoven,\" \"Money\") with original material that extended and sometimes competed with that legacy in terms of urgency and power, they taught Americans how much there was to hear in one of their own folk musics—not only by exposing messages that had so far been implicit but by showing where such attitudes might be taken, and what value existed all along in shared enthusiasm on a mass scale. ", "This low, common style, so derided for its vulgarity by the anti-Elvis establishment, was suddenly not only alive again but in better musical health. ", "Elvis Presley's mystique was physical and racial—the poor white boy who gets rich singing black rhythms—and his records survive as vocal dynamos of technique and emotional presence. ", "The Beatles greeted America with humility and irreverence, magnifying Elvis's mercurial impact with musical ingenuity. ", "The torch was being passed.", "\n\n#\n\nBEYOND ADOLESCENCE\n\n_**Long Tall Sally**_ (Paul)/I Call Your Name (John)/ \nSlow Down (John)/Matchbox (Ringo) \n _Released: June 19, 1964_\n\n**A HARD DAY'S NIGHT** _Released: July 10, 1964_\n\nTHE BEATLES BEGAN 1964 with a flurry of international activity. ", "During a three-week appearance at the Olympia Theatre in Paris as a supporting act for headliners Trini Lopez and Sylvie Vartan (January 14 through February 5), they composed most of the songs for their upcoming film debut, _A Hard Day's Night_. ", "By the end of the run they were the favorites on the bill, humbling the other stars with their crowds as Beatlemania took root in France. ", "On January 17, George Martin was visiting them in their rooms at the Hotel George V to hear this new material when they received the news that \"I Want to Hold Your Hand\" had gone gold in America. ", "There is a picture of them celebrating with Brian Epstein sporting a pot atop his head. ", "On January 29, they recorded the vocals in German for \"She Loves You\" and \"I Want to Hold Your Hand\" in the Pathé-Marconi studio, in addition to laying down \"Can't Buy Me Love,\" their next single, and their first effort for _A Hard Day's Night's_ soundtrack.", "\n\nJust two days after returning from Paris, they flew to New York for the first time, where they were greeted by three thousand fans and a hundred journalists. ", "They floored everybody at the airport press conference with their savvy comebacks, but the attention seemed excessive to the extreme—seeing the crowd as they taxied toward the gate, the Beatles were certain that the greeting was meant for the President. ", "American Beatlemania made the twist look like a rumor. ", "During their two-week visit (February 7–22), they made their legendary live appearance on \"The Ed Sullivan Show,\" but their stateside \"arrival\" was largely promotional: two concerts in Carnegie Hall and one in Washington, D.C., before a working holiday in Miami, where they taped more footage for another Sullivan program. ", "But by then it didn't seem like work. \"", "What do you think of America?\" ", "a journalist asked Ringo. \"", "I think you've all gone mad,\" he replied.", "\n\nReturning to London, they reentered the studios in late February for _A Hard Day's Night_ sessions, which also produced \"You Can't Do That,\" the B side for the \"Can't Buy Me Love\" single. ", "The vocals for \"You Can't Do That\" were also taped onto the instrumental track that had been laid down in Paris the previous month. (", "Since \"Can't Buy Me Love\" and \"You Can't Do That\" are included on _A Hard Day's Night_ , they will be discussed as part of that album.) ", "Also during the final week of February, they recorded the four songs for their extended-play single _Long Tall Sally_ , which was released on June 19 (the four-song British EP had no equivalent on Capitol). ", "On March 2, they began six weeks of filming and recording for their first feature-length film as the American charts caught up with earlier British releases: on March 31, the top five singles on _Billboard's_ Hot 100 were \"Can't Buy Me Love,\" \"Twist and Shout,\" \"She Loves You,\" \"I Want to Hold Your Hand,\" and \"Please Please Me.\"", "\n\n## **_Long Tall Sally_** (Paul)/I Call Your Name (John)/Slow Down (John)/Matchbox (Ringo) _Released: June 19, 1964_\n\nThe Beatles first met Little Richard in 1962 when he performed at the New Brighton Tower in Liverpool, and Brian Epstein arranged another concert for him at the Empire Theatre on October 28, 1962, with the Beatles as part of the supporting bill. ", "Richard, the most overt influence on McCartney's belting style, still claims that at some point during his contact with the Beatles he gave Paul a screaming lesson. ", "The bundle of outrageous American sexual and racial innuendos he embodied didn't seem to faze McCartney, who was more awed by the possessed wildness that sprang from Richard's vocal cords.", "\n\nRichard's \"Long Tall Sally\" is McCartney's first statement as a rocker that there are other ways to go crazy than Lennon's spiritual hunger and moral indignation. ", "Unlike Little Richard's brazen homosexual camp, Paul's commanding, out-of-breath mania makes him sound indomitable and acceptable all at once, lampooning his goody-goody sheen by smudging it. ", "His sheer physical dynamism on this recording turns it into an out-of-control romp, an unhinged tour-deforce. ", "After \"Long Tall Sally,\" John no longer corners the market on riveting mayhem.", "\n\nInsiders understood Little Richard's 1956 hit as code language for transvestism. ", "The joy of \"Tutti Frutti\" and \"Good Golly Miss Molly\" (\"Sure like to ball!\") ", "was what Little Richard got away with—his bouffant hairdo and audacious stage persona were simply too far out to be believed. ", "When Paul screams \"Long Tall Sally,\" the first song he ever did onstage, he acts as though Little Richard's drag queen persona is beside the point. ", "He mows right over lyrics like \"He said he had the mis'ry/But he got a lot of fun/Oh baby\" and \"Long Tall Sally's built pretty sweet/She's got everything that Uncle John needs/Oh baby\"—the operative words for Paul are \"have some fun tonight.\" ", "He tarts the latter line up with exuberance and lets the rest implode—impact pulverizes meaning. ", "Along with \"Twist and Shout,\" \"Money,\" and \"I'm Down,\" it's a Rock 'n' roll stance that rivals that of any of their heroes.", "\n\nFrom the opening moments, Paul snubs pretense and flips out—his vocalism compresses the enthusiasm of the entire band into rip-snorting yelps, refusing to recognize the conventional limits on excitement. ", "He's not interested in explaining his hysteria; and if you have to ask what all the excitement is about, you'll never understand the immediacy—there's no space for subtlety when all the stops are pulled out. ", "The lyrics are all but unintelligible, as they should be: with the band pressure-cooking the beat all around him, his singing is all urgency and power. ", "Together they demolish everything in their path.", "\n\nThe ferocity of their attack sounds like a fuse is burning quickly: pleasure mounts with each verse, and Paul's delivery frames two of George's finer guitar solos—it helps to get a wailing lead-in, but George's rhythmic timing has never been better, and they back him up with a beat that is both warm and cutting. ", "On the vocal break after the solo (\"Well long tall Sally's built . . . ", "pretty sweet she got . . . ", "everything that Uncle John needs oh baby\"), Paul packs as much tension into the silences as he does into the words themselves. ", "On the live version of this song off the _Hollywood Bowl_ LP, this is the line he rips to shreds. ", "The second guitar solo starts with an ensemble climb to the chord change—more combustion—before George cuts loose again.", "\n\nThe home stretch is one last lap of dementia: Paul sings \"Have some fun tonight/Everything's all right\" like it's all he's ever wanted to do in his life, searing the pleasure with his outlandish pace, careening around the last turn (\"yeah, yeah, yeah\"). ", "George plays a new rhythmic figure, pushing him along from behind, and Ringo heads for his tom-toms. ", "Without the cymbal timbre, everything condenses; the sound veers even closer to some tumultuous abyss. ", "Just when it all seems ready to rupture, they rear back into the cutoff, sputtering and smoking like the end of a reckless car ride—near misses, rampant turns, and unpredictable spins—choked off by something besides lack of nerve. (", "The last live guitar chord is untouched, not the patched-on finale of \"Roll Over Beethoven.\") ", "Clocked at under two minutes, the mess of sound they leave behind gives tenuous shape and order to feelings that otherwise would reap chaos. ", "Little Richard's perversities get scorched by anarchic hilarity.", "\n\nThat was my song. ", "When there was no Beatles and no group. ", "I just had it around. ", "It was my effort as a kind of blues originally, and then I wrote the middle eight just to stick it in the album when it came out years later. ", "The first part had been written before Hamburg even. ", "It was one of my _first_ attempts at a song. . . . (", "Lennon in _Playboy_ , p. 180)\n\nTHE FIRST SOUND of \"I Call Your Name\" is a new guitar, but the shifting rhythmic patterns set the unsteady tone. ", "George's Rickenbacker twelve-string has a big, ringing sound, a swarming electric tonic that became very influential (the instrument mesmerized Byrds founder Roger McGuinn when he saw A _Hard Day's Night)_. ", "It leads the band in and commands the ensemble interplay, the way Lennon's playing will in \"You Can't Do That,\" a cousin to this song's jealous temper.", "\n\nThe clipped economy of the troubled verses is followed by melismas at the ends of stanzas (\"for bein' unfair _____\"), and the confessional middle eight has the most interesting turn of harmony as short lines are stretched from \"Don't you know I can't take it\" through the elongation of \"I'm not gonna may-ee-ay-yake it,\" to the harmonic twist on the held note on \"I'm not that kind of _man_ _____.\" (", "The added harmony for this line is C major, the neapolitan of the dominant, B major, pivoting on the held tonic note E as a common tone between E major and C major.) ", "George shifts into double time in this passage (playing twice as fast); the others keep the exact same time patterns behind him. ", "The two rhythms couple uncertainty with restlessness; the band holds back as George tries to move forward.", "\n\nLennon remembered spicing up the guitar solo with \"ska\"—a style of reggae that emphasizes offbeats, and discards downbeats altogether: \"I should have invested in reggae because I never thought the Americans would get on. ", "The Beatles made an attempt at ska—the middle—the solo on 1 Call Your Name' was ska—deliberate and conscious,\" he told Andy Peebles, in 1980 ( _The Lennon Tapes_ , p. 92). ", "The transition between the reggae solo and the second bridge is overlapped: Lennon tugs the beat back into place early with the same linking words (\"Don't you know I can't take it\"); the others fall into sync a measure later.", "\n\nLennon's hyperemotionalism here is leveled by reality. ", "The bridge emphasizes his vulnerability—the separation he can't take, the paranoia he fears giving in to, the kind of man he isn't—and leads to the one outlet of passion left open to him: the title line is the only declaration that isn't qualified by a negativism or a question of blame. \"", "I never weep at night/I call your name\" reels from self-consciousness—he doesn't cry about getting jilted, he sings. ", "The fade-out rounds off the shifting meter by adding an extra kick ahead of the downbeat (which Ringo misses the first time around), and for the first time Paul steps forward to fiddle about on his bass just as the sound begins to die away—a fade-out device that will become a trait.", "\n\n\"SLOW DOWN,\" John's first Larry Williams cover, is a hoot—his vocal delivery is quixotic, hilariously straight, the same iconoclastic presence that makes \"Money\" danceable, only with more playfulness. ", "On the original recording, Williams's band plays like gangbusters, jamming through an entire verse together before Williams lets go with his hustling delivery, clanky piano figures filling out the high end like bits of drunken poetry. ", "Williams with his cool, condescending pose and forceful raillery, was just the kind of rocker Lennon patterned himself after. ", "The elegant cat howl after the second verse is a Williams specialty, mixing arrogance with humor, but he doesn't impose the same command as Lennon, who nudges the same qualities toward both supremacy and self-mockery.", "\n\nAs with most of their covers, the Beatles stick to the original arrangement almost exactly and overwhelm the musical similarities with personality. ", "They replace Williams's sax solo with a guitar, the tempo is slowed, and the overall feel is cleaner; but it's in the ad-lib vocal breaks that Lennon veers away from his role model even when he sings the same phrases. ", "He Brands his very purpose into his outcries, seizing naked moments with an even tighter grip than their author's. ", "The way he sails in on top of the guitar solo with a long \"weeelll\" brings the last verse in with the kind of raucous grace Williams never dreamed of. ", "Saving Williams's underwater \"blblblblbl!!\" ", "lip flapping for a single break (Williams does it twice), Lennon is at his most intense—his humor is never simply funny. ", "Even when he's laughing at himself, he takes his material utterly seriously.", "\n\nRINGO'S FIRST Carl Perkins song, \"Matchbox,\" follows like a shaggy-dog punchline—he turns the original down-and-out song into a what-the-hell aside. ", "It's the most self-revealing song he's done yet, as if Perkins had written it especially for a Ringo revival. \"", "Well, I'll be your little dog/Till your big dog comes\" is the honest modesty Ringo always wore on his face. \"", "What's a scruff like me doing with this lot?\" ", "he asked Hunter Davies. ", "His utter bafflement at his own fame is what made him a legend.", "\n\n## **A HARD DATS NIGHT** _Released: July 10, 1964_\n\nFor all the flower-power naiveté, the sixties had a self-conscious streak. ", "The Beatles loved to show their audience how they worked: _A Hard Day's Night_ is a semifictional day in the life, calculated for laughs by screenwriter Alun Owen; _Let It Be_ is nonfictional and uncalculated, edited as a \"documentary\" by Michael Lindsay-Hogg. ", "Each film tries to defrock the myth that is their subject—(Who are these Beatles? ", "How do they work together?), ", "although a certain amount of suspended disbelief is required in each case. ", "That the first introduces them to their worldwide audience and the latter (in effect) says farewell only makes the rehearsal-to-performance movement that both work around the more telling. _", "A Hard Day's Night_ captures them at the peak of their powers; _Let It Be_ plays off past glories.", "\n\nThe \"And I Love Her\" sequence in the first film shows the Beatles rehearsing for a live television broadcast from the vantage point of the television director, who looks down at the stage through video monitors from his control room above. ", "Inside the heart of the studio, amidst different levels and channels of technology in that now primitive-looking TV director's booth, Richard Lester's direction points up just how self-conscious the Beatles' music is by this point, the relationship between their appearance and what goes into it. ", "The sequence shows how electronic messages are being sent out into the world and how well the Beatles suit their medium. ", "Before they play in front of a live studio audience they cut up together, mock their agent, put on the press, put down fashion experts, baffle the Victorian-costumed extras, ridicule their elders, cavort on an empty soccer field, flirt with women—in short, enact the music's flair and impulsiveness—before hopping on stage to deliver a set of such power and excitement that they themselves find renewal in playing it.", "\n\nThis record begins to show how the Beatles' music and the recording medium were meant for each other. ", "George's double-tracked guitar solo on \"Can't Buy Me Love\" talks to itself across the left and right channels; he answers his own melodic question with an echoing response, countering Paul's rampant affability with stereo dialogue. ", "The album's opening chord is unresolved—without a third, it's neither major or minor—and it sets off a string of harmonic turns. ", "The major-minor nexus of \"A Hard Day's Night\" is put to use in almost every track: the major-verse-with-minor-bridge layout of \"I Should Have Known Better,\" \"I'm Happy Just to Dance with You,\" and \"I'll Cry Instead\" is reversed in \"Can't Buy Me Love,\" \"Any Time at All,\" and \"Things We Said Today,\" making the alternating major-minor ambiguity of 'Til Be Back\" an overriding musical motif. \"", "When I Get Home\" skirts around musical keys so deftly that its angular final cadence points to the condensed key treatments of \"Doctor Robert\" and \"Martha My Dear.\"", "\n\nThe distance between appearance and reality widens: the assured surface of \"Any Time at AH\" belies its final complexity—it snags the listener with overtones of devotion before delivering annoyance, musical irony, and an overall tremulousness. ", "In \"If I Fell,\" Lennon sings to himself, his prospective lover, and his ex-lover all at the same time; \"And I Love Her\" is bittersweet, devotion underlined with sorrow; \"I'll Be Back\" promises as much as it hedges. ", "But the spiritual energy that lifted _Please Please Me_ out of the ordinary remains un-compromised. \"", "I Should Have Known Better\" is the kind of instant and sustained pleasure with no strings attached that inspires follow-ups like \"Eight Days a Week\"; and \"I'm Happy Just to Dance With You\" returns to the dance floor of innocence. ", "Nuance and a growing musical formalism are laced with humor, sentimentality, and a bolder vulnerability, laid out sequentially to highlight the contrasts, _A Hard Day's Night_ blends the Beatles' ardent vitality with restraint, and in doing so it gives their first all-original album claims toward being their most perfect record.", "\n\nTHE TITLE SONG to the Beatles' first movie was recorded on April 16, 1964, after much of the filming had been completed. \"", "Whew, that's a hard day's night,\" Ringo quipped after a long day of shooting, and the phrase was adopted as the title. ", "Lennon and McCartney then went off to come up with the song.", "\n\nThe clash of a chord that rips open the silence (a G7 with added ninth and suspended fourth) makes the opening to the record a stunning jolt pf crash and ripples. ", "There's so much space as George lets the sound ring that its suspended intervals harbor expectancy and promise for the enriched musical dialect of what follows. ", "The distinctive tone is the new twelve-string guitar first heard on \"I Call Your Name,\" and the song may have been written with just that instrument in mind. ", "The same sound sees the song out with a repeating arpeggio, outlining the same notes from the opening chord as it spins into the fade-out. ", "In the context of the film, it's easy to imagine how such a vibrant lick was written during the shooting.", "\n\nThe collaboration binds the almost single-note verses by Lennon in major with the bridge sung by McCartney in minor. ", "Lennon sings assertively: the held vowels on the words \"hard _____ day's _____ night _____\" offset the drawn-out consonants of \"workinnnn' _____\" and \"sleepinnnn' _____.\" ", "The \"like a dog\" and \"like a log\" tags roll naturally off the energy that's wrung from the held notes they follow. ", "With a short break into harmony (\"But when I get home to you/1 find the things that you do . . .\"), ", "Lennon eases back into the final line with bluesy inflections (\"You know I feel all-right\").", "\n\nLike Lennon's, McCartney's portion is also double-tracked, and it's atypically aggressive: where Lennon leans back into his phrases, dipping into the beginning of each word, McCartney presses forward. ", "The cowbell is brought up for a change in texture, and Paul starts with held notes and rolls into wordier second lines:\n\n_When I'm home_ _____ \n _Everything seems to be right_ \n _When I'm home_ _____ \n _Feeling you holding me tight . . . ", "tight, yeah_\n\nThe first time John re-enters for his verse, the transition from Paul's voice to his is smooth, not pronounced. ", "The second time, Lennon sings a small \"hmm\" underneath Paul as he finishes, and this dovetailing changes the character of the exact same transition—it adds direction as it pronounces the personalities in collaboration. ", "In a typical patriarchal setup, the singer's responsible toil in the real world is rewarded by his woman's comfort at the end of the day. ", "But behind the considerable drive, some revealing vocal moments (the \"hmm\" before the final verse, the blue notes of \"feel all right\") imply not just sensuality but softness. ", "As macho and dominating as Lennon's posture was, his delivery could never fully conceal what he later called \"the little boy inside the man.\"", "\n\nJOHN'S HARP BREAKS the silence into which George's guitar has drifted, with a fuller sound than on \"Love Me Do\" or \"From Me to You\"—\"I Should Have Known Better\" has a real swing to it, and Lennon plays it as a robust amorous fanfare.", "\n\nThe song is a marvel of economy, an ingenious manipulation of several very simple elements seamlessly joined: the initial held vowel (\"I\") grows and spills into words (\"shoulda known better\") with an easy momentum, despite all those consonants, before coming to rest one note higher than where it started out (\"with a girl like _you_ \"). ", "The second part of the phrase is repeated with different words and rounded out by repeating the last fragment of the melody: \"And I do/Hey, hey, hey/And I do.\" ", "The harp sneaks in just before the lyrics end to link things back up to the beginning. ", "This transition makes as much musical sense as the one going into the bridge does with a line of logic (both lyrical and musical) that begs for elaboration: \"Can't you see\" flows smoothly into \"That when I tell you that I love you . . .\" (", "as a C-major chord tilts downward to B major, the dominant of the bridge's E minor). ", "The interplay between John's harp and George's guitar during the solos imitates the verbal games; the harp reverses the word patterns: it starts with plenty of motion and finishes by holding out chords for the guitar to play off of.", "\n\nThe bridge (\"That when I tell you that I love you . . .\") ", "is decorated by strummed chords from George's lead, establishing another layer of rhythmic texture, like the bridge of \"I Call Your Name.\" ", "Here George plays half time (instead of double time) against the unaltered rhythmic pattern in the rest of the band, suspending chords as the others play through them. ", "Lennon's falsetto climb on \"mi-hi-hi-hine\" lifts him to the most stirring register in his range. ", "He leaps to that high note half laughing, half crying (just after \"And when I ask you to be mine,\" the only moment of hesitation), preparing it with the vowel reiteration that is the song's lyrical hook. ", "His falsetto is always telling emotional secrets.", "\n\n\"IF I FELL\" rests on as big an equivocation musically as its lyric does emotionally: the trepidation of that first word (\"If\") is sung above an uncertain E-flat-minor chord, the perilous half step above the song's D-major key. ", "Christgau and Piccarella write that \"the yearning for tenderness and the yearning for revenge become almost inextricable\" as John's get-even tactics mix with Paul's gently reassuring vocal blend to realize the song's layered emotions. ", "Love suddenly means more than \"just holding hands.\"", "\n\nAt the end of 1963, music critic William Mann of the London _Times_ wrote an essay on the theoretical attributes of Lennon and McCartney's compositional technique. ", "He dubs the cadences at the end of \"Not a Second Time\" \"aeolian,\" a quote that is still batted about with derision, even though what he says is true. (", "Lennon always held that the term \"aeolian cadence\" sounded like some strange exotic bird.) ", "But Mann also writes that \"one gets the impression that they think simultaneously of harmony and melody, so firmly are the major tonic sevenths and ninths built into their tunes . . .\" ( _", "The Beatles Forever_ , p. 23). ", "The duet that John and Paul sing in \"If I Fell\" is the best example of what Mann is referring to: the melody itself seems written as harmonized—both lines are so lyrical it's hard to say just which one is the \"melody.\" ", "The intertwining harmonies are so strong that they seem to carry the entire song along behind them. ", "Melody and meaning govern the musical setting.", "\n\nPaul's upper harmony enters with the verse, and is constant, as strong an imaginative presence as John's lead. ", "Their voices align geometrically as they travel in the same direction (\"If I give my \"), part toward opposite paths in contrary motion (\"heart\"—where Paul falls and John rises—\"to you\"—where Paul rises and John falls), and wind up in unison for the final linking line (\"I must be sure\"). ", "Breaking up lines with these harmony patterns only increases the temperamental dividends of McCartney singing atop Lennon: John sounds hurt, uneasy but still hopeful; Paul is romantic, yearning, and full of promise. ", "Their vocal blend conveys the emotional quandary.", "\n\nAs they turn the corner into the bridge, it's on the key line \"Don't hurt my pride like _her_ ,' and the bridge admits vulnerability: \"Cos I couldn't stand the pain.\" ", "The rising line they sing to these words captures the essence of romantic pain, and is followed almost immediately by a tinge of regret, as the major chord flips into minor on the words \"and _I_.\" ", "Lennon does a neat glide down between the words \"new\" and \"love,\" and Paul makes a delicious error when he cracks on the word \"vain\" at the end of the second bridge. ", "In the middle of such a delicate arrangement, the mistake is priceless.", "\n\nLennon wants to strike a bargain with his new lover: he'll fall in love with her if she'll promise to be true, and if at the same time he can get back at the femme fatale who broke his heart—he seeks reinvolvement in order to gain revenge. ", "What surer way for a love to \"be in vain\" than to base it on impractical pledges and retaliation instead of true affection? ", "Lennon's dilemma is so honestly wrought that the contradiction doesn't matter—the minor chord (an altered subdominant) on the final title phrase summons past regrets (from \"and _I_ \") as much as it aches for newfound comfort. ", "The music empathizes how we hear Lennon's sense of consequence surrounding a new involvement—we share both his hope and his fear.", "\n\nThis love triangle exposes the emotional landscape that earlier Lennon songs inhabited: the brooding melismas that qualify the hopeful lyrics of \"All I've Got to Do,\" the sympathetic anger of \"Not a Second Time,\" and the humble infatuation that grows into unswerving determination in \"111 Get You.\" ", "It's a key early heartache song, shedding light on his early romantic dilemmas the way \"Julia\" oedipalizes his view of women as a whole, filling out the mystery of \"Norwegian Wood\" and \"Girl\"; the way the solo \"Woman\" reconciles the domineering conceit in \"You Can't Do That\" and \"Run For Your Life.\"", "\n\nJOHN WROTE \"I'm Happy Just to Dance with You\" for George, and it interrupts the two ballads on this side. ", "The thrust of Lennon's Rickenbacker demonstrates his exceptional rhythmic sense—his guitar playing virtually carries the rest of the band. ", "Dancing-as-sex is downplayed, even though \"If somebody tries to take my place/Let's pretend we just can't see his face\" is a cool Lennon possessive, and the concluding title line of each verse is touched with timidity (the augmented chord on \"just to _dance_ with you\"). ", "Tom-tom accents (on the first and fourth eighth of each bar) give the major verses extra punch, and John and Paul add backup harmonies in the minor bridge. ", "The way they fly off the end of their last \"Oh!\" ", "eases the transition back to the verse. ", "It goes out with that same soaring effect.", "\n\nOF ALL THE MCCARTNEY songs with oedipal overtones (biographer Chris Salewicz cites \"Yesterday,\" \"Lady Madonna,\" and \"Let It Be\"), \"And I Love Her\" is the most genuinely stirring. ", "With one stroke, he gains the status of standard bal-ladeer composer that he strived toward as early as \"P.S. I Love You.\" ", "The haunting melody is dressed up with tasteful acoustic guitar playing, a subtle percussive line, and a deft key change for George's classical guitar solo to keep the ear interested in what would otherwise be a repetition of a simple musical idea. ", "For the final chord, the minor tonality inverts to major (a better use of a trick from \"A Taste of Honey\").", "\n\nThe tension between the lyrics and the melody bears some similarity to the irony of \"All My Loving\"—the melody alone doesn't suggest such positive words. ", "Paul sings it with melancholy against George's high guitar arpeggios that hover over the last verse. ", "If these moon-in-June lyrics had been set in more ordinary fashion, the song would be dismissible. ", "But considered by itself, this tune is among the best Paul will ever write, imbuing the cliché lyrics with a plaintive undertow. ", "The tug between the two gives the song substance: the music underscores his loyalty with an unutterable sorrow.", "\n\nTHE TUMBLE OF drums into \"Tell Me Why\" breaks the romantic mood with a booming resonance, as if we're hearing them play in a large open ballroom. ", "The Beach Boys covered this song on the _Beach Boys' Party!_ ", "album, sending up their own block vocal harmonies in response to the Beatles' tribute to their style. ", "It's another tortured Lennon tune, but this one doesn't rock: it swings—the backbeat has a syncopated snazz that keeps it moving ever forward.", "\n\nLike \"If I Fell,\" emotions are pitted against each other—this time the act of singing is revengeful, the type of get-even pleasure Lennon tries to wash down his dread with. ", "Listen to the way the giddy leap to falsetto is written right into the end of the line \"And why you lie _____ to me _____.\" ", "The joy in the singing is supplanted by the way Lennon twists up the melody, bending notes all over the place to juice the betrayal for all it's worth. ", "He finds comfort in numbers as he exchanges lines with his backup singers:\n\n_LENNON: Well I_ gave _you everything I had \nALL: But you left me sittin' on my own \nLENNON: Did you_ have _to treat me oh so had? ", " \nALL: All I do is hang my head and moan!_", "\n\nThe bass line walks downward resolutely in the refrain, propelling the straight meter into a declamatory pulse, the beat of the jilted. ", "The regularity of the bass alone is one reason why the yanking kicks (after \"lie to me\") jerk so hard: the syncopations tug at the beat with real physicality.", "\n\nLennon rips off a rolling rhythmic guitar flourish that sends the song into its coda (one more verse with refrain):\n\n_LENNON (alone): Well I beggin on my bended knees \nIf you'll only listen to my pleas_\n\n_(in falsetto): If there's anything I can do_\n\n_(down again): Cos I really can't stand it I'm so in love with you_. . . .", "\n\nPlainly parodic but also strangely affecting, he pulls out all the melodramatic stops without cloying. ", "To hear it is to laugh out loud, especially at lines as thick as \"If you don't [come back] I really can't go on/Holding back these tears in my eyes.\" ", "But he doesn't sing it with the farcical tinge of \"Misery,\" and even though the rolling guitar and the double-stick drum solo that follow those lines sound like a showbiz cliché, a forced encore, Lennon flings himself into the two-dimensional lyrics and comes up convincing. ", "Perhaps it's Lennon having a laugh on himself, paying irreverence to the broken-heart-song heritage. \"", "They needed another upbeat song and I just knocked it off,\" Lennon told _Playboy_ , p. 204-205. \"", "It was like a black New York girl-group song.\" ", "Whatever the slant, the real Lennon speaks through it—persevering but self-deprecating somewhere beneath the surface, revenge folding into high spirits. ", "The ending works the kicks out logically, wrapping things up with fine pop styling, and the final chord shuns extra notes, resolving all the fancy jazz chords that lead up to it with a simple, unaltered tonic—turmoil coaxing consonance.", "\n\nAT ONE POINT in the film, scheduled and restricted like some dog act before their taping, the Beatles escape from their manager and director by stumbling outdoors via a fire escape. ", "As they prance about a big open football field, Richard Lester films them leaping, bouncing, hopping, running into one another, running into nothing, twisting, falling, and cracking up in the freest kind of free-for-all. ", "They were doing more than just burning up energy; they were releasing a carefree joy for life in visual terms—doing for the camera what they normally did for the microphone.", "\n\n\"Can't Buy Me Love\" is the soundtrack for this giddiness, and it has the same bubbly thrill as the film's manic physicality. ", "It's McCartney's loose response to Lennon's performance of \"Money,\" but it doesn't really reach for those heights—it's a bouncy pop song, not a diatribe against hypocrisy. ", "As a rearrangement of a standard blues, it points toward \"I'm Down\" and \"She's a Woman,\" inflecting the same progression with a minor refrain, fleshing things out with detail: short piercing guitar chords on the right channel during the refrain (short-long, short-long) add punch on the minor harmony; the bookend effect of a tom-tom drum in both the intro and the final refrain; Paul's lead vocal is double-tracked (there are no vocal harmonies); and the double-tracked guitar solo allows George to echo his own playing for one brief moment (the interplay between the center and the right channel, where the two separate guitar leads are mixed). ", "It's the most intricate production of a song yet, with voice in the middle, lead guitar on the right (only on refrains), and acoustic guitar, bass, and drums on the left. ", "Paul's unbridled buoyancy is exactly etched into stereo.", "\n\nTHESE SOUNDTRACK SONGS, composed on a rented piano in Paris, clean things up without selling out—accents are sharper, kicks hit harder, and lyrics carry more import. ", "If the film showed the four moptops trapped by success but free to say and do as they pleased among themselves, these soundtrack songs do the same thing in musical terms. ", "Epstein may have dressed them up in matching suits and uniform bows, but the angles their songs take and the music that pumps them up were provocative and humorous, loaded with more than three-minute songs were meant to carry. ", "By crafting such considerable material for their score, they turned their out-of-place movie roles into something their fans couldn't resist and the older generation couldn't ignore. ", "Like Bob Dylan in _Don't Look Back_ (filmed a year later), they make the straight world's preoccupations look ridiculous, and the score puts this across without sounding uppity or smug. ", "The _Hard Day's Night_ songs overshadow _With the Beatles_ technically while drawing on _Please Please Me_ 's raucous thrills, catching the Beatles in the act of maturing.", "\n\nLIKE SIDE ONE, side two begins with an explosive punctuation: Lennon's solo vocal entrance to \"Any Time at All\" is tripped by Ringo's upbeat drum accent just before John begins—it sounds as if the record might have skipped. ", "The band is left and center in the mix with a single-note piano part on the right channel. ", "Lennon's double-tracked lead links stanzas together: as he approaches the end of a line, one voice drops out in order to pick up the next line—the voice left behind catches up in the middle of the line already underway (the same overlapping that loops around itself in \"Julia\"). ", "He's singing to his lover, but he's also singing to himself:\n\n_If you need somebody to love \nJust look into my eyes \nI'll be there to make you feel_ right\n\nIf you're feelin' _sorry and sad \nI'd really sympathize \nDon't you be sad, just call me tonight_ . . .", "\n\nThe solo, shared between guitar (left) and piano (right), is also a dialogue: the guitar starts high and ends low; the piano begins low and ends up high. ", "They play in contrary motion in the beginning (the guitar moving downward and the piano moving upward), join forces in the middle to play quarter-note triplets, and the piano summarizes the exchange by closing with the guitar figure that echoes each refrain (after Lennon sings \"I'll be there . . .\").", "\n\nThe melody struggles with one of the more awkward phrases Lennon has yet written. ", "The one-line (title) refrain has trouble starting up; it takes a firm kick from the guitar and drums before any kind of groove is really established. ", "Once set in motion, the same line is repeated, then repeated again as though at a loss for words, before a huge, consonant-filled line is inserted (\"Yeah any time at all/Allyougottado iscall/And I'll be there\") to cap the refrain. ", "With the grace of songs like \"I Should Have Known Better\" on the other side, it's jarring that such a phrase gets this kind of forced attention, but it shows just how much Lennon wants to squeeze into the pop format. ", "An unusual idea, one that doesn't suit the conventions, is made to seem plausible, almost suitable. ", "A comforting sentiment (\"any time at all\") is seasoned with jerky, uneven rhythmic kicks, and then sung in anguish. ", "The second, higher \"any time at all\" sounds as if he could be singing the words \"please don't go\" for all the despair he puts into it. ", "It's the opposite of Paul celebrating a separation: instead of kicking his heels for joy, John sounds fearful that this woman _won't_ call. ", "The reassurances are directed inward as much as outward.", "\n\n(The ending has a guitar chord edited onto it, but the patch is more successful than on \"Roll Over Beethoven.\" ", "This guitar seems to ring from out of the distance, and slowly comes to the forefront of the mix only on its second pulse. ", "If it weren't for this guitar, the song would have ended as it began, with one of Ringo's adamant drum slams.)", "\n\n\"I'LL CRY INSTEAD\" was written for the movie, but Richard Lester later rejected it for the football field routine. \"", "I wrote that for _A Hard Day's Night,\"_ Lennon told _Playboy_ (p. 205) in 1980, \"but Dick Lester didn't even want it. ", "He resurrected 'Can't Buy Me Love' for the sequence instead.\" ", "The country acoustic feel couches the vengeful exaggerations in levity (\"I'm gonna break their hearts all round the world\")—it's cartoon revenge compared with \"If I Fell.\" ", "Paul's bass breaks on the third line of each stanza (behind \"show you what your lovin' man can do\") are precursors to those that Lennon will give him in \"Rain\" and \"I'm Only Sleeping.\"", "\n\nTHE BALLADIC \"Things We Said Today\" separates four John songs with another love song from Paul. ", "Both of McCartney's bittersweet ballads on this record are in minor, tempering the cheerful persona that normally excels in major positivisms (even for goodbye songs) like \"P.S. I Love You\" and \"All My Loving.\" (", "This typically British underside will evolve into \"Eleanor Rigby\" and \"For No One.\") \"", "Things We Said Today\" is wistful and nostalgic, and it's one of the first from either Paul or John that takes on the issue of time in an explicit manner, even though it just skims the surface of the issue. ", "Lennon's temporalities can be ominous (\"Not a Second Time,\" \"In My Life,\" \"She Said She Said,\" \"A Day in the Life\"); McCartney's concern with time is less pronounced in \"Yesterday\" and more humorous in \"When I'm Sixty-four.\"", "\n\nThe assertive acoustic guitar intro sets up an atmosphere of impending departure (\"You say you will love me/If I have to go\"), and the middle eight bars go batty with head-over-heels delirium. ", "The melody is the sound of romantic longing: it has the roll-on flow of a constancy that is approaching change, as well as the swells of hope that greet the inevitable (\"Someday when you're dreaming . . ", ".\")—Paul's voice is complemented beautifully during those moments. ", "But the middle section, all rumble-tumble in major, stirs up the enchanting lift of love itself, not renouncing the impending sadness but resting beside it with a completely different tone:\n\n_Me I'm just a lucky guy_ \n _Love to hear you say that love is love_ \n _And though we may be blind_ \n _Love is here to stay and that's enough_\n\nMusically, the bridge kicks optimism in where the verse plaintively accepts separation. ", "With his eyes on the distant future—\n\n_Someday when we're dreaming \nDeep in love, not a lot to say \nThen we will remember \nThings we said today_\n\n—he can't help but revel in the present infatuation with love he feels as he sings. ", "Goodbye heartache is assuaged with bottomless affection.", "\n\nTHE \"WHOA I_____\"s at the start of the next song—\"When I Get Home\"—have a roaring pull to them, like a horse bucking beneath the rider. ", "The vocal harmony on the refrain sounds deliciously out of sorts, as though they've imbibed, and the cantankerous delivery carries right over into the playing. ", "Even Lennon's sharp rhythm guitar strokes are like barbs in the wire; he's leading the band with more than just his guts. ", "Lennon's singing is so good, so full of enthusiasm for what he's doing, that it doesn't really matter what the words are (and they're fairly forgettable)—his fervency gains strength from a simple passion.", "\n\nAs in \"I Should Have Known Better,\" the surface sentiment masks the musical intricacies: the lyric strings wordy lines against melismas and short phrases against held notes; the bridge mixes up the same patterns. ", "The final cadence takes all the key flirtations and settles all bets: the repetition of \"when I get home\" at the end leads not into A minor as it has almost every other time but into C major, linking up both verse (C) and refrain (A) key areas in one simple gesture. ", "It lays the groundwork for the treats that keep coming: \"You're Going to Lose That Girl\" is a two-key song, as are \"Good Day Sunshine\" and \"Penny Lane.\" ", "Starting with a relatively simplistic play with the different ways chords can relate to each other, the Beatles quickly learn the expressive value of such ploys.", "\n\n\"YOU CAN'T DO THAT\" puts George's twelve-string up front again for a classic rocker, heir to the force that was with \"I'll Get You.\" ", "It may not have the same anger, but it has the same self-righteous smell, and Lennon ornaments it here with a fine guitar lick and sneering background vocals. ", "Where \"I'll Get You\" had some sympathy (the seductive melody on \"I think about you night and day\"), this song is all aggressive—he's practically bawling his girlfriend out, you can almost hear him wag his finger on the hook (\"because I _told you before\"_ ). ", "Ringo reacts to that line with a syncopated entrance, jerking the band back in rather than easing them around the curve.", "\n\n\"Everybody's gree-een cos I'm the one who won your love,\" is a subtle paranoid Lennonism—the green connotes envy—and it leads straight into \"But if they'd see-een you talkin' that way . . .\" ", "Ringo interrupts that line to rub John's nose in the ultimate humiliation: \"They'd laugh in my face!\" ", "When Lennon sings \"I can't help my feelings/I go out of my mind\" in the succeeding verse, his own personal nature spills effortlessly into song. ", "His manic possessiveness is easily thrown into fits of jealousy.", "\n\nJohn's guitar solo equals and then outdoes his insistent flippancy on \"I'm Happy Just to Dance with You\"—the block chords he starts off with are soon twisted into screaming rhythmic figures. ", "The solo relies on emotional force, not the soaring melodic virtuosity that usually passes for brilliance. ", "As a singer Lennon leads by tugging, tossing, and teasing the beat, and he does the same thing with his guitar—setting up premises just to smash them. ", "The ending to this outburst thwarts expectations. ", "The song doesn't come to the crashing finish one might suspect from this angry lecture; after the guitar utters its final recitation of the opening lick, the music slows to a complete stop on the last three notes. ", "Instead of exploding, it simply runs out of steam.", "\n\nON THE FIRST two albums, the songs that finished off side two assumed special importance: the covers they chose reached beyond what had been said before in ways their original material still groped for. ", "They shelved their songwriting ambitions and put their hearts into their performances. \"", "I'll Be Back\" is their first original closer, making the idea of the song more important than any end-of-the-album blowouts.", "\n\nLennon's romantic insecurities from \"If I Fell\" and \"I'll Cry Instead\" spread out incrementally in \"I'll Be Back.\" ", "With atypical timidity, John is asking for another chance after backing out, and his discomfort seeps into the music: after the introduction in major, John and Paul's duet enters in minor, wringing emotional ambiguity from dashed expectations; the \"oh _____, oh\" passages at the end of each stanza trip the meter, dropping two beats on the way toward the next verse. ", "At the start of the bridge, John's solo \"I _____\" holds the humility and desire of the entire song in one outburst of feeling. ", "The act of singing becomes apologetic, even though it hints at resentment (\"You/Could find better things to do/Than to break my heart again\") and never betrays his carping self-consciousness (\"This time/I will try to show that I'm/Not trying to pretend\"). ", "Both verse and bridge waddle along so dodgingly between major and minor that at the end, instead of giving the listener a firm decision on the matter, the song simply fades out alternating between the two; any hope of resolution is left dangling in the air. ", "Lennon has never before been this honest about being this indecisive.", "\n\nThe song links together the harmonic _motif_ of the entire record: the verse (major)/bridge (minor) layout of the title track and the tinge of regret in \"If I Fell\" (\"And _I_ would be sad . . .\") ", "gets extended into an emotional symbol of ambiguity. ", "Only \"I'll Cry Instead\" and \"You Can't Do That\" avoid the tensions implicit in pitting major against minor, and only \"I Should Have Known Better,\" \"I'm Happy Just to Dance with You,\" and \"Can't Buy Me Love\" are simplistic looks at love. ", "The other film songs and the whole of side two take less resolute stances—they're either qualified pleasures, disrupted affairs, or regretful confessions. ", "If this album ends more soberly than the heights of \"Twist and Shout\" or \"Money,\" it's because the approach to what they're singing about is no longer two-dimensional: love is more than just \"holding hands,\" and true love (\"And I Love Her\") confounds formula fantasies. ", "A high-rolling barnbuster wouldn't undermine these sentiments, but it wouldn't emphasize them, either, which is why \"I'll Be Back\" is so well placed. (", "These songs have also grown to mean more in time: the possessiveness in \"You Can't Do That\" used to be the way men pledged their devotion.)", "\n\nThe gap between the commercial songs for the movie and the less conventional treatments on side two gives the album a duality (even though \"I'll Cry Instead\" was intended for the film): surefire recipes and tastefully practiced solos for the \"soundtrack\" sit astride more experimental impulses on side two (the jerky starting gate of \"Any Time at All,\" the harmonic tricks of \"When I Get Home,\" the irregular meters of \"I'll Be Back\")—a gap that will widen on _Help!_ ", "The freshness of the live performance and the intricacy of the recorded product will mesh in varying degrees for the next several records: _Rubber Soul_ is often pointed to as the transition point, but _A Hard Day's Night_ shows just as much spontaneity mixed with calculation. ", "The idea of the album is beginning to take shape as a forum for ideas, different slants on what pop can address, and how variety can be arranged to best effect.", "\n\n#\n\nTIRED OF TOURING\n\n_**I Feel Fine**_ (John)/ _ **She's a Woman**_ (Paul) \n _Released: November 27, 1964_\n\n**BEATLES FOR SALE** _Released: December 4, 1964_\n\nTHE FOUR WEARY faces on the cover of _Beatles for Sale_ articulate the record's undertone of fatigue. ", "Instead of the handsome profiles of _With the Beatles_ or the playful expressions on _A Hard Day's Night_ , the soft focus of Robert Freeman's lens casts somber shades on the Beatles' already tired expressions. ", "After completing production work on _A Hard Day's Night_ and winding up sessions for its soundtrack album, the Beatles played several British dates before taking three-week vacations with their wives and girlfriends in May 1964. ", "They were to work steadily from the end of May until the new year. ", "In June, Jimmy Nicol replaced an ill Ringo on drums for a tour of Denmark, the Netherlands, Hong Kong, Australia, and New Zealand. ", "Twelve thousand fans greeted them as they returned to England on July 2, in time for the premiere of _A Hard Day's Night_ at Piccadilly Circus on July 6. ", "The album came out four days later.", "\n\nJuly included appearances on the BBC's \"Top Gear\" and \"Juke Box Jury,\" tapings, and several live shows and concluded with four performances at Johanneshovs Isstadion in Stockholm, Sweden. ", "In August they hosted their own \"From Us to You\" on the BBC Light Programme, grabbed studio time as they could, and performed a few more live dates. ", "On August 18, 1964, they returned to America for a month-long tour, erratically criss-crossing the country to log fifteen thousand miles. ", "When they returned to Britain in late September, they had only two weeks to complete sessions for _Beatles for Sale_ in order for the album to be ready for the Christmas market. ", "They then embarked on a month-long tour of England.", "\n\nThe \"I Feel Fine\"/\"She's a Woman\" single was released on November 27; the album came out on December 4. ", "After a relatively light schedule in early December, they performed for three straight weeks, two shows per day (with only Sundays off), at the Hammersmith Odeon Theatre in London, billed as _Another Beatles Christmas Show_. ", "The strain of their schedule finally began to catch up with them.", "\n\nStill, the slip in quality doesn't compare with the disastrous second half of 1967, a period so below par that only \"Hey Jude\" could make up for it. ", "Their work in late 1964 _is_ uneven, especially compared with 1963's. ", "But it does dramatize their connection with the white sources of rock 'n' roll's roots, and, although critically unpopular, it reveals a completely different—and essential—side of their musical personality.", "\n\n## **_I Feel Fine_** (John)/ ** _She's a Woman_** (Paul) _Released: November 27, 1964_\n\n\"I FEEL FINE\" was written in the studio, and Lennon always prided himself on producing the first feedback ever recorded:\n\nThat's me completely. ", "Including the electric guitar lick _and_ the record with the first feedback anywhere. ", "I defy anybody to find a record—unless it's some old blues record in 1922—that uses feedback that way. ", "I mean, everybody played with feedback on stage, and the Jimi Hendrix stuff was going on long before. ", "In fact, the punk stuff now is the Beatles. ", "Before Hendrix, before the Who, before anybody. ", "The first feedback on any record. ( _", "Playboy_ , p. 184)\n\nThe opening electric storm generates its own antidote—a plucked note from Paul's bass sets off the lead guitar's reverberations, and when George breaks free into the melodic riff that drives the whole song, it makes the beginning of \"You Can't Do That\" sound tame. ", "Everything that joins the central guitar lick sounds like a natural extension of the energy it generates. ", "But as hook-bound as the guitar is (its rhythms are melodic, its melody rhythmic), Ringo carries this groove even more than George (eighth notes on two, tom-tom pop on four)—his Latin undercurrent keeps everybody swinging. (", "The guitar lick and some of the drum patterns are lifted straight from breaks in Bobby Parker's \"Watch Your Step,\" a 1961 single that picked up where Ray Charles's 1959 \"What'd I Say\" left off, according to Lennon's ear.)", "\n\nLike \"Eight Days a Week,\" this is a feel-good song meant for the car radio, where subtleties are subsumed by pleasure. ", "The melody is a throwaway, a chip off the blues, and the recording relies on John, Paul, George, and Ringo's playing to make the kinesthetic connection—and they do. ", "John's brisk onslaught in the verses (\"Baby's good to me/You know she's happy as can be/You know. . .\") ", "are smoothed out by vocal harmonies in the bridge (\"I'm _____so_____glad_____\"). ", "As the band responds together to the excitement in the original guitar lick, the sound burgeons into a high tidal beat that comes out of the speakers in waves—a Phil Spector wash stripped of pretensions.", "\n\nThe drum fill that follows George's spirited and scrappy guitar solo is a quantum leap from anything Ringo has done before—he sounds enraptured by the beat, and not quite sure where he's going to land. \"", "When I'd do a fill I always felt I went into a blackout. ", "I didn't know what I'd do,\" he told Max Weinberg in _The Big Beat_ (p. 182). ", "After several radiant moments of syncopated second-guessing, he spins back into his Latin patterns and the band is off again. ", "Except for the guitar interruption, a repeat of the introduction, the attack is relentless. (", "This drumming sets the stage for the timing marvels in \"Ticket to Ride\" and the constant variations in \"Drive My Car.\") ", "It all goes by so fast that Lennon's humming as the guitar fades out sounds like satisfied exhaustion—a nice kind of tired.", "\n\nPAUL'S \"SHE'S A WOMAN\" approaches rhythm and blues more with a pop sweetness than with a dirty mind. ", "The clipped guitar yelps that set it off tease the ear in a simpler way than the fade-in to \"I Want to Tell You\" will—only after the band enters do George's carefully yanked chords sink into the offbeat of the ensemble. ", "Paul sings at the very top of his register, a high but not quite belting happy blues, and everything around him is arranged, from the piano that echoes his melody to George's solo, where he confines himself to the simplest of linked licks. ", "Because good times and an easy way with a song are the heart of R&B, too much control can choke. ", "If Ringo didn't open up to his cymbals on the middle four-bar break (instead of the usual eight-bar bridge) behind the words \"She's the woman who understands/She's the woman who loves her man,\" the track would be almost too tightly strung.", "\n\n## **BEATLES FOR SALE** _Released: December 4, 1964_\n\nArtistic slumps are revealing—they measure endurance, even if you're at the top. ", "If _Magical Mystery Tour_ demonstrates the limits of rock psychedelia, the country excursion of _Beatles for Sale_ says something about how the Beatles view rock's antecedents. ", "It would take until _Help!_ —\"", "Yesterday\" 's string quartet—for them to begin conceiving sounds that they could never reproduce on stage; but \"I'm a Loser\" is the start of a self-revealing journey for Lennon that includes \"Help!,\" \"", "I'm Only Sleeping,\" and \"Baby You're a Rich Man\" and concludes with \"Don't Let Me Down\" and \"Instant Karma,\" a string of work that charts his personal responses to fame. ", "McCartney's presence on the album is lesser, with only two solo originals (\"I'll Follow the Sun\" and \"Look What You're Doing\"—\"Baby's in Black,\" \"Eight Days a Week,\" and \"Every Little Thing\" are duets), but in the final analysis, his dash through \"Kansas City\" outdoes Lennon's unironic \"Rock and Roll Music.\" ", "And even the flattest moments—\"Baby's in Black,\" \"Mr. Moonlight,\" some of \"Honey Don't,\" and George's ill-placed Perkins fiasco—detract from what surrounds them only in context; the great moments don't suffer as much as they should, which makes them even stronger (side starters \"No Reply\" and \"Eight Days a Week\").", "\n\nLennon sings the opening words of the record (\"No Reply\") with a spite (\"This happened once before/When I came to your door\") that suddenly melts into a knowing sneer (\". . . ", "no reply-ee-ie-ie\"); the verses are split between brooding mistrust and neurotic cries. ", "Lennon's most tightly wound story about getting dumped is also his first without any electric guitars, and the acoustic starkness jabs bluntly at his words. ", "A piano joins Ringo's heavy blows to his crash cymbal (right) to make the pain in Lennon's voice palpable: the syncopated lines that interrupt the feigned aloofness of the verses (the loaded \"I saw the _light_ \" \"I nearly _died_ \") are repeated to set up the betrayals that spark his seething jealousy (\" 'Cause you walked hand in hand/With another man . . . ", "in my place\").", "\n\nIn the bridge (\"If I were you\"), John delivers a pep talk in double time, as though he could wash down the aftertaste of betrayal just by singing about it. ", "The question of whom he's speaking to here—his lover or himself—shakes up his self-confidence even more. ", "McCartney's high harmony, along with the handclaps and the piano, helps make it sound as though he's regaining his self-confidence (\"If I were you/I'd realize that I/Love you more/than any other guy\")—they reach for the new harmonic territory with zeal. (", "The verse kicks land on A minor and E minor—\"I nearly died\" and \"No reply\"; the bridge visits A major by the way of E major.) ", "Out of desperation, he goes so far as to offer forgiveness. ", "But the sympathy that belies his earned cynicism returns to the final verses with resignation. ", "Ringo anticipates the final two \"No reply\" cries (returning to C major) with one last piercing blow, dashing all hopes of a second chance.", "\n\nWhere \"You Can't Do That\" was accusatory simply to let off steam, \"No Reply\" is genuinely pained: the former song accused; the latter swallows deceit. ", "It's the most disheartened opening to an album yet.", "\n\n\"I'M A LOSER\" is a swollen contradiction: half country, half rock 'n' roll, with a narrative to match—half storytelling, half aggressive release. ", "The stop-tiine intro recalls \"Misery\" without the mischief, the opening moments are direct and confessional: \"I'm a loser/And I'm not what I appear to be.\" ", "Among Lennon's songs, \"I'm a Loser\" is the first to admit anything but satisfaction at being a Beatle.", "\n\nTo Lennon, love is a matter of winning and losing (\"I should have known she would win in the end\"); and with lines like \"Is it for her or myself that I cry?\" ", "he redeems the \"tears . . . ", "falling like rain\" cliché of the second verse—he's singing more tellingly about himself than about any love that he's lost. ", "His wailing harp solo is answered by George's best Carl Perkins guitar imitation before the third verse zeroes in on what's really troubling him—pride: \"And so it's true pride comes before a fall/I'm telling you so that you won't lose all.\" ", "He leads by reluctantly admitting that the cliché he hates is true; he follows through with a warning.", "\n\nOnly later, after \"Help!\" ", "and \"I'm So Tired,\" does \"I'm a Loser\" clearly resonate as Lennon's first song about the dispiriting facade of fame. ", "Real fears about identity are couched in metaphors of romance: the love relationship is so clearly a code for his internal struggle that it marks how ingeniously he reimagined pop's conventions. \"", "I'm a Loser\" is an early self-portrait.", "\n\n\"BABY'S IN BLACK\" rounds off the unhappy subjects of the first three songs and very nearly parodies them. ", "Its wordplay (\"Baby's in black and I'm feeling blue\") doesn't revive its inferior lyric (\"though it's only a _whim_ \"?), ", "and it remains unclear why they included it. ", "Other songs recorded during these sessions—notably Lennon's streak through \"Leave My Kitten Alone\"—didn't make it onto the album. ", "Although \"Baby's in Black\" received an elegant cover from Elvis Costello and T-Bone Burnett in 1984, it sits uneasily next to the catharsis it follows.", "\n\nTHE EARLY BEATLES' inspiration for covers was an irresistible draw toward a given idea or performance—on \"Money\" and \"Long Tall Sally,\" they sound as though they can't help but play with all their might. ", "They did covers out of sheer affection for a sound and an urgent desire to get inside the imaginative space their heroes had shown them, allowing the cultural and racial contradictions to sort themselves out along the way.", "\n\nIn \"Rock and Roll Music,\" Lennon sounds worn, less involved with what surrounds him; he's not filled with rage or revenge (\"Money\"), not lustful or teasing (\"Twist and Shout\"). ", "He runs this Chuck Berry classic pro forma, without the intensity or the edge that made the other two such rousing finales. ", "Because it's his only cover on this record, and his earlier covers said so much more, it seems to symbolize his frustration with the form—we still hear his love for rock 'n' roll, but it revels in good humor more than it mocks assumptions.", "\n\nThat doesn't mean the track is banal—far from it. ", "Lennon's voice builds to a beautiful pitch at the end of his verses, throwing the whole band into higher gear for each refrain. ", "By the last verse, the momentum explodes into the downward glissando on the piano and the subsequent Johnny Johnson triplets way up high on the final chorus. ", "But compared with the way he threw himself into \"Please Mr. Postman\" or \"You've Really Got a Hold on Me,\" he sounds haggard, less captivated by the music's possibilities. ", "Following the shaken confidence of \"No Reply\" and the layered interferences of \"I'm a Loser,\" his delivery is almost flat. ", "These grand old rock 'n' rollers don't say it all for him anymore: he's beginning to say things better for himself.", "\n\nMCCARTNEY'S LYRICISM is in full bloom in \"I'll Follow the Sun\"—his deceptive harmonies draw the listener into the gentle mood unaware that it masks a conceited cheat beneath the surface. ", "With such a gorgeous key layout going for him, no wonder he didn't work on the lyrics. (", "The verse moves backward through dominant and subdominant seventh chords to tonic.) \"", "I'll Follow the Sun\" is not a love song; it's the precursor to such vain self-glorifications as Mac Davis's \"Baby Don't Get Hooked on Me\"—the singer is more interested in escaping than in saying goodbye, skipping the rain to stay in the sun. ", "It's not a mutual separation: \"One day you'll know/I was the one\" presumes much more than it sympathizes. ", "This is why the harmonic cleverness is so apt: it tricks our ears the way Paul's singing betrays the lyrics' intentions.", "\n\nLENNON'S FULL-THROTTLE vocal attack at the top of \"Mr. Moonlight\" smashes Paul's feigned sincerity with one of the most peculiarly engaging covers they ever set down. ", "Their rendition of this 1962 B side by Dr. Feelgood and the Interns shows just how fanatic they were about obscurities, and how much everyone else took for granted by ignoring such oddities. ", "Just as in Larry Williams's \"Slow Down\" John's true convictions cut through even the funniest moments; here his parody actually sounds plausible.", "\n\nThe singing is unbearably straight on the harmony sections, which allows Lennon to break loose with real gut energy on his solo lines (\"And the night you don't come my way/I pray and pray more each day. . .\"). ", "You can hear why Len-non had to record it: it lets him wear his heart on his sleeve in a way he never could have written for himself. ", "The melodic limitations would never have appealed to someone like Paul; Lennon's melodies actually resemble this one-note kind (\"A Hard Day's Night\" or \"I Should Have Known Better\"). ", "The comic touches are exaggerated; Ringo's tom-tom blows, which punch holes in the middle of verses; the organ's tasteless, velveteen solo. ", "By taking the whole thing so seriously, they actually make it hysterical; even the arranged vocal fade-out, rising with each repeat, is one last musical guffaw.", "\n\nLEIBER AND STOLLER'S \"Kansas City\" is a vehicle for Paul's singing. ", "When he veers into Little Richard's \"Hey, Hey, Hey, Hey!\" ", "McCartney seizes the moment with a deliciously raspy send-off; and as the background vocals join in for the response choruses with handclaps, the whole mix jumps with energy, from the steady beat Ringo drapes beneath to the high falsetto \"whoo\"s Paul adds to the top. ", "It's cleaner than \"Long Tall Sally,\" cleaner than even \"Rock and Roll Music\"; it charms the beat rather than desecrates it—and who said rock 'n' roll couldn't have charm? ", "The high spirits of Paul's rock 'n' roll are always honest: he never puts on airs. ", "Balancing out Lennon's soul-searching with a nearly unflappable cheerfulness, he winds up making John sound sane by comparison.", "\n\nNOTHING ELSE ON this record compares with the pop electricity at the top of side two—\"Eight Days a Week.\" ", "Within its strictly confined conventions, Lennon writes a romantic but not too cheeky radio song, perfect for AM top forty's two-inch speakers. ", "At the same time, he innovates: a fade-in to a song (like Chuck Berry's \"Downbound Train\"); acoustic guitars up front with electric guitars pushing from _behind_ ; a mixture of styles—not quite pure country, but certainly not driving rock 'n' roll. ", "Greil Marcus cites this song as being among the ones that kept \"virtually every promise rock 'n' roll over made\" (the others being \"There's a Place,\" \"Every Little Thing,\" and \"Money\"), where, within a \"classically simple rock structure,\" the Beatles sound \"ready to blow up in the listener's face at any moment.\" ", "In \"Eight Days a Week,\" though, they sound less likely to blow up than to burst into uncontrollable laughter. ", "Its freshness is impelled by its roots; the spirit is indebted as well as immediate.", "\n\nThe components of the song don't add up the way the actual performance does: the handclaps on the right channel, the variations in the vocal harmonies that build with successive verses, and even the irresistible hook of \"Hold me, love me,\" repeated to sequential harmonies—all these devices have been used before. ", "What they haven't been coupled with, however, is a beat that they actually seem to sit back in—the Beatles are good enough by now to let the medium tempo carry them instead of pushing it. ", "The effect is lulling, almost hypnotizing—like the Byrds' sound, which it influenced—if it weren't for the vocals forcing attention at every step of the way. ", "The little turns that both Paul and John inject are enough to bring surges of excitement to the sound. ", "And during the middle eight, when they pause briefly after the me-lisma on \"lo-o-ove you,\" the anticipation before Ringo picks up the beat swerves between teasing and tantalizing. ", "The way Ringo then half fills out the space, stopping short instead of filling out both beats, suspends the expectation-release gesture in midair. ", "His control is masterful, and the feeling he injects is understated sprightfulness.", "\n\nThat \"Eight Days a Week\" starts side two of the same album that began with the sharp pain of \"No Reply\" shows that the Beatles certainly aren't going out of their way to be the four happy-go-lucky moptops the press—and, to be fair, their audience—wanted them to be. ", "But the expansion of both ends of their range, from angst-filled heartache to what Marcus calls \"the pleasure principle,\" point toward a complexity that will soon make a single like \"Penny Lane\"/\"Strawberry Fields Forever\" possible. ", "The variety inherent in each song is increasingly apparent on each record, as moods play off one another in deliberate contradiction. ", "There is just as much pain in Lennon's moan in \"Eight Days a Week\" as there is delight in the charged bridge to \"No Reply\": the contradictions exist before an album is ever laid out.", "\n\nTHE ONLY BUDDY HOLLY song the Beatles released, \"Words of Love,\" is the closest they ever got to an Everly Brothers cover (which they left for Simon and Garfunkel). ", "As usual, the differences in arrangement between Holly's original and the Beatles' rendition are slight. ", "George sounds more assured than Holly, or in purist terms, less hillbilly: the sound he gets from his electric guitar is more wiry than the original, but the playing is more refined.", "\n\nBut where Holly harmonizes with himself, John and Paul turn in a bona fide duet. ", "Holly strings the lyrics out and caresses the endings of words gingerly, slyly hinting at sexuality. ", "He sounds vaguely harmless, the boy next door delivering a pleasant melody with an exaggerated, aching tenderness. ", "Paul smooths his tone above John's, whose earthy baritone sounds almost heavy with breath. ", "Listen to the sensuality they draw out at the ends of phrases (\"Darling I love you\"); where Holly's vocals are crooked, the Beatles' are romantically curved. ", "In their only cover of the band that inspired their name (the Crickets), they elevate what Holly sang as inspired corn.", "\n\nLONG BEFORE RINGO ever realized his dreams might come true, he wrote to the Houston chamber of commerce in search of employment. ", "As he told Max Weinberg:\n\nLiverpool's a port and it's probably the biggest country and western town in England. ", "With all the guys coming off the ships, they'd bring with them all these country and western records. ", "But I was into the blues. ", "I wanted to emigrate to America because of Lightning Hopkins. (", "Weinberg, p. 184)\n\nHe never has recorded the blues; but \"Honey Don't,\" from the B side of the 1956 Carl Perkins hit that Presley would make famous, \"Blue Suede Shoes,\" is already Ringo's second Perkins cover, following \"Matchbox\" with the same key ingredients. ", "Perkins's style is Ringo's strong suit: he's humble, self-effacing and rollicking, and makes few demands on his audience. ", "Rockabilly's magic lies more in its streak of character (its droll bemusement, its deadpan jollity) than in what it says. ", "The medium tempo doesn't have the same edge as straight-ahead rock; it requires a laid-back approach to make the dry humor stick. ", "Perkins's original delivery is that of a man with no class except for the simple dignity with which he carries himself. ", "He's got more grit than natural charm, and the joke works because he knows what he's after. ", "Ringo doesn't have the grit, but he'd loaded with luckless charm. ", "The Beatles make it work because of Ringo, not in spite of him, and it adds even earthier pleasures to what John and Paul did with Buddy Holly.", "\n\n\"EVERY LITTLE THING,\" the next track, takes the middle road to Lennon's psychodramas: it's not twisted up, but it's not exactly a joy ride, either. ", "The singer is a man in love but not quite sure of himself, on the verge of paranoia but not quite peeking over the edge. ", "The title phrase (\"Every little thing she does/She does for me\") could be euphoric, spilling with rapture at the prospect of being loved (as in \"I Want to Hold Your Hand\" or \"She Loves You\"); but it's not—the mood is contained, and Lennon sings with a deliberate assertiveness, not abandon.", "\n\nThe verse caps two short phrases off with a longer one sung in triplets, melodically hesitant beneath the self-assurance of the text (\"Yes, I know I'm a lucky guy\"). ", "A descending piano line touches up the last phrase of the irregular verse, and the refrain opens up a little rhythmically from the rest of the song. ", "The timpani blows that accent the refrain are more original than George's guitar solo, which picks up on the earlier triplets; but there are no smudges in the production, and everything hums along nicely. ", "As Paul joins for the upper part on the refrain, the odd harmonies give a tickle of interest—parallel fourths followed by parallel triads. ", "They're somewhat ungrammatical in musical terms, the kind of harmonies only the Beatles could make work for them (like the \"I can't hide\" fourths in \"I Want to Hold Your Hand.\") ", "The final touch is the irresistible melodic fragment they repeat during the fade-out (\"Every little thing _____\"), which is so instantly catching it might have been the catalyst for the entire song. ", "As the guitar line links itself up beneath the voices, the melodic and rhythmic motifs weave together for a dialogue into the fade-out. ", "It's the kind of brilliant closing gesture that makes the whole song seem memorable, even if that's the only thing left ringing in one's ears.", "\n\nTHE EMOTIONAL restraint of \"Every Little Thing\" comes undone in \"I Don't Want to Spoil the Party\": indecision turns to self-pity, and the punishment of being left alone threatens whatever reconciliation may be at hand. ", "Lennon's lead vocal is double-tracked except in the bridge, where McCartney's upper harmony and the change in rhythmic texture lift the otherwise staple country number to a more buoyant level. ", "The bridge resembles the middle section of \"No Reply\" in its search for hope and asserts the singer's own sense of purpose against the loss that he's confronting by emphasizing his devotion (\"Though tonight she's made me sad/I _____ still _____ love _____ her\"). ", "The Carl Perkins-style guitar work throughout makes its inspiration clear.", "\n\nWHEN A RHYTHM alone captures the listener's interest, it's a good bet that a talented artist is at work. ", "Steve Gadd's suggestive drum patterns at the top of Paul Simon's \"Fifty Ways to Leave Your Lover\" hook the listener promptly; Steely Dan's first hit, \"Do It Again,\" opens with the unadorned rhythms that backdrop the entire track; the Talking Heads use the same bait on \"Warning Sign\" (from _More Songs About Buildings and Food_ ). ", "The opening drum break of \"What You're Doing\" compresses all the rhythmic tension of the song into a crisp, tart introduction—the trap is already set before the musical snag is even hinted at. ", "The guitar riff that follows is modest—there's none of the infectiously charged dynamism that makes \"I Feel Fine\" irrepressible.", "\n\nThe modesty gives way to an unusual annoyance, especially coming from Paul. ", "The verses all start out with a punch; single words are spit out angrily by all before Paul alone finishes the phrase. (", "The backup vocalists make an uncorrected mistake during the first round of the third verse, singing \"you\" where Paul sings \"please\" and \"I'm\" where he sings \"you.\") ", "At the end of the bridge, Paul trails off the word \"me _____\" before the band re-enters with the same kind of punch for an upbeat back into the verse. ", "The guitar solo is backed by razzmatazz piano for lack of anything better to do with it. ", "The ending mirrors the beginning exactly with a return to the guitar riff, which drops out to drums alone. ", "Then, quite unexpectedly, Paul turns in a brief but important bass solo and brings the whole band back in, piano and all, for the fade-out.", "\n\nBoth as song and performance \"What You're Doing\" dodges risks, but it does contain more than its share of pop ingenuity. ", "Adding a piano for just the guitar solo and the final fade-out suggests the love of detail they would later develop more fully. (", "A live performance of this kind of song would feature a piano the entire way through, not just for eight bars.) ", "The Beatles' conception of what the studio allowed them to do in altering textures and changing musical colors for different sections of songs is emerging as a stylistic trait, not just a gimmick. ", "When they begin to conceive of expressive textures in terms of studio manipulation, they overturn the conventional notion that a pop record is a replication of a live performance. ", "By the time they reach _Revolver_ , the live performance is almost beside the point.", "\n\nSONG PLACEMENT ON records is an expressive—not to mention political—group act. ", "The only Harrison song to start an album will be \"Taxman\" at the top of _Revolver_ , And the only George piece to close an album is his sober recitation of \"Everybody's Trying to Be My Baby,\" which limps to the same finish line that \"Twist and Shout\" and \"Money\" streaked through. ", "With \"Roll Over Beethoven,\" George didn't have much choice but to be fast and energetic; on \"Everybody's Trying to Be My Baby,\" he settles back into the beat with comfort and a modest glint in his eye. ", "The Carl Perkins original, from the same record that contained \"Honey Don't\" (1958's _Teen Beat_ ), is similar in style to that song: pure rockabilly, the wildness of the singer is contained only by the boundaries of song. ", "George belts out the opening lines inside a huge reverb, taking the same liberty with the pauses that Perkins does, and the guitars (one on each channel) are also boomier, more resonant, and more authoritative than their hillbilly exemplars. ", "His solos are all true to the licks he learned straight off the Perkins original, and he tacks an extra kick onto the finale for a send-off, echoing his own cutoff the way he echoes Perkins's style.", "\n\nJudged against \"Twist and Shout\" and \"Money\" as a showstopper, this song doesn't make up in excitement for what it lacks in creativity; both other finales are hard-hitting rockers where this is laid-back rockabilly. ", "But by placing it at the end of the album, it invites the comparison, because those other finales said so much more.", "\n\n_Beatles for Sale_ doesn't have such an ending, in part because their conception of the record was pinched. ", "After an exhausting American tour, their studio schedule was subject to the Christmas market deadlines. ", "But \"Everybody's Trying to Be My Baby\" has its own significance in terms of the record it closes, even if can't make the same claims. ", "From the opening cut, this album is the Beatles' most country flavored, spiced with true rock 'n' roll (\"Kansas City,\" \"Rock and Roll Music\"), pop sidetracks (\"Eight Days a Week,\" \"Baby's in Black,\" and \"What You're Doing\"), a ballad, and a romp (\"Mr. Moonlight\"). ", "Country and country-related roots are at this record's core, which is why electric guitars are de-emphasized throughout. ", "It doesn't have the same impact of the albums that precede it (except for \"Eight Days a Week,\" perhaps, or \"Kansas City\") but it does have a historical integrity. ", "With the exception of Chuck Berry's \"Rock and Roll Music,\" and Little Richard's \"Hey, Hey, Hey, Hey!\" ", "performed in medley style with \"Kansas City,\" as Richard did it, all of the allegiances the Beatles pay here are to _white_ rockers. ", "Leiber and Stoller wrote \"Kansas City\"; Carl Perkins's and Buddy Holly's styles dominate side two, both explicitly and implicitly. ", "And more specifically, these last two were white rockers who specialized in country-inflected tributaries of pure rock 'n' roll: rockabilly, country swing, and plain old country (the Beatles covered Perkins's \"Sure to Fall,\" his prettiest country ballad, on BBC radio).", "\n\nAs participants in the history of rock, the Beatles could hardly be better students of its past. ", "By this point they've touched all the bases: from the manic Little Richard of \"Long Tall Sally\" to the Gene Vincent rocking crooner duality they admired; from the girl-group strains of \"Boys\" to the relentless drive of \"Rock and Roll Music.\" ", "This album injects the country element into their vision of rock 'n' roll as pop, and it plays right into their original material: \"No Reply\" and especially \"I'm a Loser\" are the sound of John the rocker attempting country (his charged-up bridges give him away); \"I'll Follow the Sun\" may be a standard ballad, but it doesn't have the high classical tone of \"All My Loving\"—like \"I Don't Want to Spoil the Party,\" it has a front-porch singability to it, a lack of sophistication compared with \"Things We Said Today.\" ", "Most importantly, the Beatles added these rural inflections without compromising their stance as rockers.", "\n\n#\n\nPARANOIA AND INSOUCIANCE\n\n_**Ticket to Ride**_ (John)/Yes It Is (John) \n _Released: April 9, 1965_\n\n_**Help!**_ (", "John)/I'm Down (Paul) \n _Released: July 23, 1965_\n\n**HELP!** _", "Released: August 6, 1965_\n\nTHE BEATLES' SECOND movie and its soundtrack compare poorly with their screen debut: _Help!_ ", "isn't the screwball success _A Hard Day's Night_ is, even though a bigger budget and a longer production schedule allowed the Beatles a vacation in the Bahamas as they filmed. ", "Lennon said they felt like \"guest stars\" in their own feature, and Richard Lester's flashy direction—zipping cutaways and zany asides—doesn't revive the forced laughs in the script. ", "Shooting took place between February and May 1965, with recording sessions and more radio appearances sandwiched in between location work in Austria, Britain, and Nassau. ", "By summer they were touring Europe: _Help!_ ", "premiered in London in July, and the album was released in August, the same month they toured America again, beginning with their unprecedented Shea Stadium concert in front of fifty-six thousand fans.", "\n\nLike _Beatles for Sale, Help I_ doesn't add up to the kind of fuller statements that _Please Please Me, With the Beatles_ , and _A Hard Day's Night_ are. ", "Individual moments (the title song, \"You've Got to Hide Your Love Away,\" \"You're Going to Lose That Girl,\" \"Ticket to Ride\" \"Yesterday\") outweigh the effect of the record as a whole. ", "The two singles that precede _Help!_ ", "are used to open and close side one's film songs; but since the B sides to these singles do not appear anywhere else in the Parlophone catalogue, they will be discussed first. (", "It is a curious reversal of procedure that Capitol includes Lennon's rip-snorting rendition of Larry Williams's \"Bad Boy\" from these same sessions on the American _Beatles VI_ LP; in England the song appears only on Parlophone's _A Collection of Beatle Oldies_ , released in December 1966, and the British version of _Rarities_.)", "\n\n## **_Ticket to Ride_ **(John)/Yes It Is (John) _Released: April 9, 1965_\n\n\"YES IT IS\" resembles \"This Boy\"—block harmonies for the verses and Lennon singing lead during the middle section. ", "Both \"This Boy\" and \"Yes It Is\" are in time, but there is a sense of growth between the two: in the second the harmonies are more seasoned, the delayed duple against the triplet rhythms pull with more resignation (each time \"Yes it is\" is sung in the verse), and the harmonic language is more intricate (the bridge hinges on the minor dominant to get to the subdominant, and climaxes on the supertonic).", "\n\nThe second verse economizes the images of the first with the same emotional thrust:\n\n_Scarlet were the clothes she wore \nEverybody knows, I'm sure \nI would remember all the things we planned \nUnderstand, it's true, yes it is_ . . .", "\n\n\"Scarlet\" (instead of red) implies betrayal; \"everybody\" knowing is paranoid; and the final couplet links regretful memory with a plea for understanding. ", "As in \"If I Fell,\" Lennon wants this new woman to love him even though he can't shake the old flame from his heart, and the bridge explains why:\n\n_I could be happy with you by my side \nIf I could forget her_ \nBut it's my pride, _yes it is, yes it is_ \n _Oh yes it is, yeah_ . . .", "\n\n\"But it's my pride\" is hastily, almost incomprehensibly sung—he's savvy enough to know that it's his pride that gets in the way of leaving the past behind, but weak enough still to be overwhelmed. ", "The authority Lennon commands as a singer grows to a surge of feeling for the line \"But it's my pride, yes it is,\" making the last \" _Oh_ yes it is\" an emphatic self-indictment as well as an effective transition—listen to the way his last \"yeah\" buffers the anxiety it follows to quiet the return of the verse.", "\n\nThe varied meanings of the title phrase and the wordplay in the final verse (\"For red is the color that will make me blue/In spite of you\") don't get in the way of the sentiment—these turns show them off as practicing tunesmiths, tinkering with the possibilities of a lyric instead of tailoring clichés to fit. ", "It may not have the same poignancy of the duet in \"If I Fell,\" but the use of imagery is resourceful and flexible. \"", "Yes It Is\" blends sentiment with wit to make the angered confusion in \"This Boy\" more explicit. (", "Both happen to sit aside electric A sides, \"I Want to Hold Your Hand\" and \"Ticket to Ride.\")", "\n\n## **_Help!_** (", "John)/I'm Down (Paul) _Released: July 23, 1965_\n\n\"I'M DOWN,\" PAUL'S first straightforward original rocker since \"I Saw Her Standing There,\" is a rock 'n' roll classic as surely as his version of Little Richard's \"Long Tall Sally\" is, even if some critics hold that Paul's original bears a striking resemblance to that juggernaut of insanity. ", "The fact is, \"I'm Down\" is better suited to Paul than \"Long Tall Sally\" is, because it isn't hampered by the camp racial ironies he tackles in interpreting the Little Richard original. ", "For all the gusto he wrings from \"Sally,\" there's more Paul in \"I'm Down,\" and more Beatles. ", "It embodies the short phrase that novelist Mary Jo Parker uses to describe the essence of rock 'n' roll: \"fun songs about sad stuff.\" ", "If the first song was a tribute, a pitch toward Richard's mad, eccentric flair for the music, \"I'm Down\" is the claiming of that irresistible spirit twisted with Beatles rhetoric. ", "Along with \"Twist and Shout,\" \"Money,\" and \"She Loves You,\" \"I'm Down\" lights right through the Beatles' pop stardom and makes them rock 'n' roll legends.", "\n\nAs the singer, Paul plays the blue-balled protagonist—the pain in his voice stems from his unrequited passion. ", "His lover won't give in, and he is beside himself—frustrated, crazed, inexorably _down_. ", "But within this context, Paul turns the music into a celebratory frenzy, not a lament, but a raised clenched fist, twisting disappointment into a raging storm of self-assertion. ", "If dancing on your problems is what rock 'n' roll is all about (as Pete Townshend says), then \"I'm Down\" follows in the tradition of songs like \"That's All Right (Mama)\" and \"Blue Suede Shoes.\"", "\n\nIt resembles \"Long Tall Sally\" most during Paul's opening: one mad voice screaming at the top of its lungs. ", "The band punctuates his singing fiercely, and the ensemble is tight to the point of bursting—Ringo's snare drum alone has a snap that literally stings. ", "There's a power in the sound of these four men playing these three chords that has nothing to do with volume. ", "As they swing into the refrain, the background vocals give away the tone: the shape of their phrase is parodic—\"I'm _really_ down.\" (", "There is a fourth, slightly concealed voice singing the bass line, holding out the roots of each chord on the word \"down.\")", "\n\nAfter a full round of \"I'm down\"s, the band stops and the backup singers chide the vocalist with his own tormented question. ", "The call-and-response figure is turned inside out, with the backups chiding \"How can you laugh\" and Paul responding \"when you know I'm down?\" ", "Almost inadvertently, it gives the song balance: the verses all begin with this poor soul, and the refrains all end with his same naked cries, mocked by the supporting singers. ", "Where Little Richard had a flair for code words and hairstyles, McCartney adds a knack for the dramatic.", "\n\nGeorge's guitar solo is his most confidently unhinged yet—it doesn't even have to be brought in by a scream. ", "By the time Paul starts hollering behind him, George is already well off his head. ", "Those repeated notes near the end—the ones he bends and prances on—sting as much as Ringo's snare. ", "Paul twists the third and final vocal solo out of shape the same way he does on \"Long Tall Sally,\" and his fury charges the band to even greater heights. ", "As in \"Money,\" they churn the whole mess into an unstoppable gait, daring the needle to jump the grooves. ", "But the motion is both violent and giddily hysterical—it's as though they synthesized the determined grit of \"Money\" with the buoyancy of \"Eight Days a Week.\"", "\n\nLennon's organ solo subsumes Paul's most irrepressible scream—\"When you know I'm WAA!!!\" ", "In the film of their 1965 Shea Stadium concert, John's manic keyboard playing (elbow glissandos, howls of laughter) is like a comment on the absurdity of their own half-hour set. ", "Surrounded by fifty-six thousand screaming fans who had trouble hearing the music much less seeing the group, the Beatles seem simultaneously nonplused and unfazed at what their popularity inspires: they perform as enigmas, not as musicians. ", "The band's hysteria on this song mirrors their fans' deafening adulation, and this image of Lennon bashing his way through his friend's rocker, wet with sweat and too turned on to care, is the perfect visual track to this B-side manifesto.", "\n\nPaul's ad-lib vocal climax before the fade-out makes even the initial outbursts sound civilized. ", "When he sings \"Well baby, _baby_ , BABY!!!!\" ", "in growing annoyance at the taunting chirps of John and George's backup, he aims to blow the whole song's fuse. (", "These gut reactions to the excitement of the sound grow into the heraldic scat refrain of \"Hey Jude\" and the melodic delights of his early solo albums _McCartney_ and _Ram_.) ", "Meanwhile, the band veers breathlessly close to the edge of hysteria, and it's to Ringo's credit that things don't fall apart. ", "The hardest assignment for any drummer is to let the others cut loose to the extreme while providing a steady beat for them to fall back on. ", "Lesser bands would easily come unglued with a groove so addled and punctured; Ringo maintains a sure but unconfining backbeat for the madness, the strongest glue of all.", "\n\n## **_HELP!_** _", "Released: August 6, 1965_\n\n_Help!_ ", "is better than _Beatles for Sale_ if only because it points more forward than backward— _Rubber Soul_ couldn't exist without it. ", "Side one's songs are all of a common type, either pop single or ballad, and although the invention within forms is great, the second side doesn't advance these formats the way it does on _A Hard Day's Night_. ", "Although any of the remaining songs conceivably could have been used in the film, they sit in awkward relation to their counterparts—the two distinct sides make it sound like a link in a larger chain. ", "The disparity is much more apparent than it was on _A Hard Day's Night_ , and overall these songs compare poorly with that score's—\"Another Girl\" is not as strong as \"Can't Buy Me Love,\" and while \"You've Got to Hide Your Love Away\" _is_ strong, it's not as complex as \"If I Fell\"; \"I'm Happy Just to Dance with You\" is better than \"I Need You.\" ", "But side two is half-baked: it begins with a Ringo prank and ends with a Lennon screamer but sags in between. \"", "Tell Me What You See\" is a naive version of \"I'm Looking Through You\"; \"Yesterday\" has probably given more people the wrong idea about this band than any other track in their career—its popularity is as much a curse as it is a virtue. \"", "I've Just Seen a Face\" is charmingly harmless, and \"You Like Me Too Much\" is a snoozer, but \"It's Only Love\" is still as offhandedly great as Ringo's cowpoke impression. ", "The result is that the Beatles sound less interested in filling out an album conceived for them as a tie-in with film profits. ", "In fact, from this point in their career on they make albums not for the conventional audiences of films and concerts, but solely for the as yet unrecognized audience of rock vinyl junkies.", "\n\nWhen _Help!_ ", "came out, I was actually crying out for help. ", "Most people think it's just a fast rock 'n' roll song. ", "I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. ", "But later, I knew I was really crying out for help. ", "So it was my fat Elvis period. ", "You see the movie: He—I—is very fat, very insecure, and he's completely lost himself. ", "And I am singing about when I was so much younger and all the rest, looking back at how easy it was. ", "Now I may be very positive—yes, yes—but I also go through deep depressions where I would like to jump out the window, you know. ", "It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little. ", "Anyway, I was fat and depressed and I _was_ crying out for help. (", "Lennon in _Playboy_ , p. 187)\n\n\"HELP!\" ", "HAS THE desperation of \"I'm a Loser\" with none of the earlier song's countrified jollity. ", "Lennon's first draft of the later song was slower, but since it was needed as the title track for an action film, they sped it up. ", "What began as an introspective ballad gains urgency from the running-fast-to-stay-in-place tempo—where \"I'm a Loser\" has a margin of self-deprecation, \"Help!\" ", "sounds spooked. (", "The introductory pseudo-James Bond music that is edited on to the front of the Capitol version of this album puts the song in huge nonthreatening parentheses.)", "\n\nThe opening is a breathless flurry: background vocals bark out \"Help!\" ", "and Lennon answers with increasing delirium—he sounds panicked, trapped. ", "Paul and George interrupt his every cry, leaving him no room to breathe. ", "As the tension mounts and the backup voices go into the free fall of the last \"Help! ______,\" ", "John drops out completely, as if words escape him. ", "The effect is one of joining an object in free flight—George's concluding guitar lick and the drumroll Ringo squeezes in a split second before the downbeat to the verse only add to all the gasping. (", "The opening bars sequence down from the initial B-minor exhortation of \"Help!\" ", "to the ultimate A-major tonality of the song.)", "\n\nSince Paul and George anticipate nearly every line Len-non sings in the verse, the effect is of voices inside the same head, prodding, goading. ", "The call-and-response device has been turned around again (backups preceding lead), but this time to chilling consequence. ", "By the time Lennon sings \"open up the doors,\" the voices are completely caught up in the nightmare. ", "The drums drive the verse into the refrain with a determined, agitated fill that is at once constricted and lunging.", "\n\nThe refrain follows the same harmonies as the introduction, and the beat opens up: Ringo switches from his high-hat to his open ride cymbal, and a tambourine is added to loosen up the suspense. \"", "Help me get my feet back on the ground,\" Lennon sings, before joining the backup vocals with their leap to the falsetto free fall on \"Won't you _please, please_ help me\" (as the drums drop out completely). ", "The whirlpool of paranoia has sucked him in, and he chooses this moment to soar into his high register—usually his most poignant range, used here to express devastation.", "\n\nThe second verse follows the first almost exactly, except for the final line, where Lennon forces too many words into the phrase to heighten the sense of aggravation: \"I-know-that-I/Just- need-you-like/I've never done before.\"", "\n\nInstead of the usual guitar solo for the third verse, the aggravation fades and Lennon sings the first verse over again, accompanying himself alone with his twelve-string acoustic guitar. ", "He's done this before for intimacy (the bridge of \"I Want to Hold Your Hand\"), but never with this much intensity. ", "He sings it more directly without all the instruments going off around him, with sorrow as much as tenderness ringing in his delivery. ", "As the band slowly rejoins him for the final refrain, the gears begin to churn again, and he gets caught up in the motion one last time. ", "The forces he's crying out against are bigger—and more ominous—than even he can get a grip on.", "\n\nFollowing the last refrain, the call-and-response sequence is reduced to just two lines: the backup vocals call \"Help!\" ", "and Lennon replies \"me!\" ", "in a moan too full of pain to be called singing. ", "The final line, \"Help me,\" is set up by the backup vocals (\"Help\") but concluded by all in a gliding motion that finally lands on the minor chord, ending where it all began. ", "The voices linger on their note, holding it past the instruments' last chord, straining to hold it out almost at the cost of losing their breath. ", "Instead of stretching the vowel \"ooh,\" they switch to the more inward \"nnn,\" closing up the word \"me\" with successively darkened tones, entrapping John's futile cries the way a movie screen freezes a frame and fades to blackness.", "\n\nIt might have been written as the title song for a James Bond parody, but \"Help!\" ", "survives as a desperate cry for intimacy. ", "John isn't the first to be stricken by pop-star neurosis, the angst of losing contact with the very everyday people and everyday life he wants his music to address. ", "But \"Help!\" ", "exposes it as a personal kind of nightmare. ", "No other Beatles song about fame sounds as lonely: \"Drive My Car\" dodges the pain with sly innuendos; \"I'm So Tired\" conveys the weight of fame and the animosity it can harbor; \"Carry That Weight\" accepts fame's responsibilities with a majestic resolve. ", "And the wish for innocence (\"When I was younger . . .\") ", "is more softly expressed here during the acoustic section than it is later in the schizophrenic rhythms of \"She Said She Said\" (on the line \"When I was a boy\"). ", "The immediacy of the performance brings the sense of isolation home so strongly that it's curious to think that it was probably not heard this way when it was released. ", "The sense of unstoppable motion conveys not only Lennon's—and his audience's—personal growing pains but the public frenzy over his Beatle persona, which shows no signs of abating (\"My independence seems to vanish in the haze\"). ", "As the masks in \"I'm a Loser\" suggest, Lennon feels trapped in his Beatle role—he's an avowed outsider confronting mass adulation, and stardom exacerbates his identity perplex. ", "In \"Help!\" ", "he sounds taunted even by his fellow Beatles.", "\n\n\"THE NIGHT BEFORE\" is a piece of formula pop from Paul, with only small details of interest, nothing as rich harmonically as \"Another Girl\" on this side nor as precocious as \"Yesterday\" on side two. ", "The background vocals sing tightly drawn \"aah\"s and \"ooh\"s behind the lead lyrics \"When I held you near/You were so sincere\" as the melody rises dramatically. ", "During the bridge (\"Last night is the night I will remember . . . ", "you by\"), Ringo varies his drum pattern, approximating a Latin rhythm (with a slight dip on four), and a tambourine is added. (", "Like \"Yes It Is,\" the bridge pivots off the minor dominant and moves to the subdominant.) ", "A Hohner electric piano _is_ mixed into the right channel throughout. ", "Paul's vocal performance is forthright and professional, peaking on the line \"When I think of things we did/It makes me wanna _cry_ ,\" and George's meager guitar solo is doubled at the octave, returning briefly at the final cadence to round things off.", "\n\nMCCARTNEY'S ASSURED POP is followed by Lennon's reflective folk. \"", "You've Got to Hide Your Love Away\" doesn't owe as much to Dylan as some would like to think; it has more of Dylan's influence than his actual style. ", "It's hard to imagine the master of deceit singing so direct a sentiment with such clear, distilled imagery. ", "Although Lennon's delivery here is detached and somewhat restrained, it's still more personally revealing than most of the masks Dylan wears. ", "Dylan is among the great singers of his generation, but his skill lies more in twisting meanings and snarling ironies; he sings with an ear for hidden inferences and innuendos. ", "Although a lot of Dylan songs address the audience directly—explaining feelings, holding opinions, pronouncing injustices—it's not clear how many songs are meant in the first person. ", "Who is the real Bob Dylan: the drifter in \"Tangled Up in Blue\" or the prayerful \"tenant\" in \"Dear Landlord\"? ", "Lennon is never so detached from his subject. \"", "How could she say to me/Love will find a way?\" ", "is the kind of sardonic line Dylan might write, but Lennon is singing more to himself than to the \"clowns\" he sees around him. ", "There are more boundaries between Dylan the performer and his audience. ", "Although Lennon is speaking to the world at large, what comes across is a sense of sober introspection, not a lesson on human relationships.", "\n\nIn a standard pop song like \"Blue Skies\" by Irving Berlin, melancholy wins out over the hopeful lyric by undermining it with a minor melody. ", "In rock 'n' roll, these extremes are played with and inverted, often by positioning down-and-out words with whoop-it-up rhythms (Robert Christgau calls this \"afflrmation-by-negation\"). \"", "You've Got to Hide Your Love Away\" takes this idea a step further: wrongheaded advice is renounced by the acrid tone Lennon invests in it. ", "As his voice strains with feeling on the high note of \"Hey,\" he suddenly sounds more determined, less vulnerable, even though the advice the \"clowns\" are giving to him contradicts the nature of his personality. ", "The images of isolation (\"Turn my face to the wall\") are accented by a lone tambourine on the offbeat; the flutes that carry all of verse three emphasize the tender more than the bitter. ", "The irony in \"You've Got to Hide Your Love Away\" lies in Lennon's delivery—he sings it with scorn.", "\n\nGEORGE'S \"I NEED YOU \" is built around the small guitar riff of its introduction. ", "The verses play off its angles with antecedent-consequent (question-answer) melodic phrases: the first line (\"You don't realize how much I need you\") ends at a higher point than the second (\"Love you all the time and never leave _you_ \"), which takes a small turn further downward. ", "The middle section adds a cowbell and continuous background harmonies behind the lead voice, and ebbs and swells with a natural kind of arc instead of building to a pitch. ", "George's voice sounds tired; and although he's improving as a singer and songwriter, he's still on his way to better things. ", "This song doesn't measure up to \"You Like Me Too Much\" on the other side or \"If I Needed Someone\" on the next album.", "\n\nTHE LEAD GUITAR ambles into the right channel of the next track (\"Another Girl\") like a drunken commentary on the refrain. ", "McCartney's playing sounds loopy, like he's tripping all over himself, and it gives the otherwise ordinary track a goofy subplot. ", "Paul plays with the ambiguity between the major and minor inflections this blues melody has to offer, and saves it from becoming completely clichéd by moving into a different key area for the bridge. ", "The shift isn't really drastic, but it adds a great deal of color and allows for some gorgeous vocals. (", "The verse is in A major; the bridge moves to C major. ", "The blue notes in the verse flirt with A minor.) ", "Thematically, the song is not as well worked out as the key areas of \"Here, There and Everywhere\" or the dramatic symbolism of \"Penny Lane,\" but it does have a definite layout: the verses are all addressed to the woman he's about to drop; the bridge is a fantasy about his new conquest. ", "But the song is a throwaway—and while the harmony singing is as tight and full as any the Beatles recorded, it is immediately overshadowed by what follows.", "\n\n\"YOU'RE GOING TO LOSE THAT GIRL\" startswith Lennon uttering the title as a threat, daring his friend to an argument. ", "The falsetto note on \"lose\" is used for all it's worth as the song progresses: at first it's set against the jeering background vocals, holding on as they pull away beneath it; during the transition to the bridge, the held note is used as a common tone to link up the two key areas of the song. ", "This transition is richer than the one in \"Another Girl\": it makes \"I'll make a point of taking her away from you\" sassier, more cutting. ", "For the link back to the original key area of the verse, Lennon uses a simple slide (from F down to E—a half step), suavely veering back into the groove of the verse.", "\n\nThe wit of the songwriting is the freshest since the title track—they're finding new ways of sustaining interest at every moment of a song. ", "They did this with rhythm and texture in \"I Want to Hold Your Hand,\" they do it here with the harmonic plan. (", "The chord progression of the verse varies just one chord from the progression of the refrain instead of remaining the same all the way through—E\"–G#–F#m–B7 becomes E–C#m–F#m–B7.) ", "George's guitar solo, played to the music of the verse, is buttressed by the continuing background vocals (varying the fourths with thirds and mixing them all up in the bridge); and Ringo's bongos add a playful menace throughout. ", "The final cadence visits the key area of the bridge again before resolving up to the home key.", "\n\nIf \"She Loves You\" was the best kind of news one friend could bring to another, \"You're Going to Lose That Girl\" is the most vindictive. ", "The two songs are like inverse narratives of the same situation: a friend giving advice about a love affair. ", "But where \"She Loves You\" was bursting with head-over-heels ecstasy, \"You're Going to Lose That Girl\" is tightly strung, and Lennon unleashes his vengeance not on the woman (as in \"If I Fell\") but on the man standing between them.", "\n\n\"TICKET TO RIDE\" is the middle of a trio of guitar pieces, songs where the guitar lick is central to the whole track. ", "Next to the assertive joy of \"I Feel Fine\" or the ultracool contour of \"Day Tripper,\" it has its own modest incandescent glow.", "\n\nThe song is Lennon's, but Paul contributed the lopsided drum pattern, and this disrupted motion is the song's most intriguing feature. ", "As if to dramatize Ringo's patterns, a tambourine's regular backbeat is set against it. ", "When the bridge cuts loose in a standard rhythm (\"I don't know why she's ridin' so high\"), the contrast is palpable. ", "And from the brief wah-wah cadence in the middle of the refrain (\"ri-i-ide\") to the sleek drum fills Ringo sneaks in after it, the arrangement fills up every second with sparkles of energy: none of Ringo's fills are ever the same twice, and each one propels the concluding line of the refrain with piquancy (before \"She's got a ticket to ride/And she don't care!\").", "\n\nAnd there is variety within the varied format: the transition from the second refrain to the first bridge is anticipated by drums and tambourine as they shift to double time one measure ahead of the others; the transition to the second bridge has no such overlap. ", "Usually handclaps are added to fill out the sound with the effect of several people being swayed by the beat; in this bridge, there is only one pair of hands clapping. ", "The hands reappear during the fade-out, clapping the tambourine's part as it moves on to play a new pattern. ", "The momentary swell of excitement that follows the bridge during Paul's guitar solo is given a shimmering backdrop by the shaken tambourine—a trick that Lennon will transform for the exultant surges of \"Day Tripper.\"", "\n\nPaul joins John in harmony at the end of the first line (on \"I think it's _today_ , yeah\"). ", "The swelling high note he hits is immediately outdone by the even higher one he leaps up to on the second line (\"The _girl that's_ drivin' me mad\"). ", "Paul joins him again in the bridge, and the duet they turn in could be their best since \"If I Fell.\" ", "Their voices bob along, harmonizing yet independent, each sensitive to the other's slightest nuance. ", "Lennon's solo vocal is so cool it verges on anger, breaking down only on the second line of the refrain (\"She's got a ticket to ri-i-ide\"). ", "The last time Lennon sings this line, Ringo's fill is a solitary flam on his snare, tripping the beat squarely for his final fill. ", "The sliding moans Lennon adds going into the third and fourth refrains express disgust, while the falsetto-to-midrange melody he writes as the song's kicker laughs the whole thing off (\"My baby don't care!\"). ", "As the song fades out to those words, Paul adds guitar commentary—the same goofy sound that he offered on \"Another Girl.\" (", "These are the only two songs in the catalogue where he plays this way; and where the sound oils up \"Another Girl,\" it makes the end of \"Ticket to Ride\" sound flippant.)", "\n\nTHE BAND STARTS the disappointing second side with a typecasting send-up: \"Act Naturally\" may be the broadest joke the Beatles ever pulled off. ", "Ringo's favorable reviews in _A Hard Day's Night_ led to his being cast as the protagonist of _Help!_ (", "something of a joke in itself). ", "The song, a number-one country hit for Buck Owens in 1963, is about a man with no talent getting famous by playing himself in a hard-luck movie. ", "The cover works because it's self-conscious: it's the story of Ringo's life as well as the story of _Help!_ ", "By this point Ringo's unaffected demeanor is an essential part of the band's musical charm. ", "Turning the record over from \"Ticket to Ride\" to find Ringo is like going from a sleek convertible to a pickup truck and affirming the beauty and value of each. ", "If George's song-writing points up the greatness that surrounded him, Ringo's singing levels the whole heady experience of a Beatles album by reminding us of the virtues of being normal.", "\n\nTHREE WEAKER EFFORTS follow: Lennon's folky \"It's Only Love,\" Harrison's vain \"You Like Me Too Much,\" and McCartney's incidental \"Tell Me What You See\" (only \"I've Just Seen a Face\" and \"Yesterday\" keep the album afloat). ", "Lennon made clear his distaste for \"It's Only Love\" to _Playboy_ in 1980: \"I always thought it was a lousy song. ", "The lyrics were abysmal. ", "I always hated that song\" (p. 187). ", "It is weaker than anything on side one, if not as chunky as \"Baby's in Black\" from the previous album. ", "There are no group harmonies, only Lennon's double-tracked voice on the right channel for the refrain. ", "The usual games are played with texture (tambourine only in certain sections, acoustic guitars on the left, electric on the right), but these decorations don't find much to prop up.", "\n\n\"You Like Me Too Much\" captures the awkward Harrison persona better than anything since \"Don't Bother Me\"—it has a nervous charm, and the piano-guitar dialogue that is the solo defines cliché. ", "The transition to the bridge (\"I really do\") has a nice pop feel to it; the harmonies are synchronized in the best possible way. ", "But the transition back to the verse suffers because of the key change that earlier harmony has forced George to reckon with: the music to \"If you leave me . . .\" ", "couldn't be less convincing, and the disoriented composer can be heard manipulating his way back to the verse hoping no one will hear. \"", "It's Only Love\" is better, even though George's song sits much better on the _Help!_ ", "album than it does on the Capitol's _Beatles VI_ (where it lies between \"Eight Days a Week\" and \"Bad Boy\"). \"", "You Like Me Too Much\" is Harrison's low point until the arrival of \"If I Needed Someone\" on _Rubber Soul_.", "\n\n\"Tell Me What You See\" is a working draft of \"I'm Looking Through You.\" ", "The electric piano that could be the signature of these sessions is put to one of its better uses here, though, in a spicy exchange with the drums after the refrain. ", "Ringo's response to the piano's lick packs plenty of energy in the snap of his snare. ", "The claves that perk away throughout give it a kind of lounge-act character, a domesticated banality next to the piano-drum exchange.", "\n\n\"I'vE JUST SEEN A FACE\" could easily have been written for Peter and Gordon, and Joan Baez would have done it better than \"Imagine.\" ", "It's the Beatles' most overt \"folk\"-inflected pop yet, the kind of generic song that sounds less distinctly Beatlesque than adaptable to numerous other treatments.", "\n\nThe introduction sets up the tonality of the song by falling into it, not establishing it. ", "And it does the same thing with rhythm: instead of setting the ear up for a rhythmic pattern that will be used throughout, it glides into the swing by delaying it with triplet motion. (", "The rhythmic impulses of the intro are half what they are during the rest of the song.) ", "The tune is sweet and lithe without getting saccharine, and works even though the ends of stanzas are wordless:\n\n_I've just seen a face I can't forget the time or place where we just met \nShe's just the girl for me and I want all the world to see we've met \nMmmmmmmmm (Di-di-di for the second verse)_\n\nAs if to stay completely country, there is no bass guitar, and the guitar solo is done on the low end of a six-string as Paul dances around it vocally. ", "When McCartney performed this song during the acoustic set of his 1976 American tour with Wings, he gave it the right effect: of sitting around on a porch harmonizing to a good old rural favorite. ", "The soft brushes that Ringo uses on his snare propel the song in a gentle way—drums could easily intrude—and the maracas added for the refrain divvy up the rhythmic texture the way the tambourine does in earlier songs.", "\n\nIf it weren't for \"Yesterday,\" this would be Paul's best song on the album: there isn't one word out of place; neither the rhymes nor the alliterations sound forced; and the refrain is a wonder of a hook, with enough lyricism to contrast with the run-on verses. ", "Even the wordless lines sound appropriate—they follow the wordy lines with a simple smile. ", "The refrain is repeated three times to take the song out, and each repetition gains warmth as it clues the listener in to the song's close. ", "On the final repeat, the vocals (Paul is double-tracked) take a slight trip on \"Oh, falling\" for a lilt just before the song comes around the bend to the finish line. ", "It sounds as if it wrote itself, and it has the simple grace of a folk classic.", "\n\nIF \"YESTERDAY\" ISN'T the most esteemed _recording_ the Beatles ever made, it certainly is the most celebrated song they ever produced. ", "Its universality guarantees cover versions for years to come, from Las Vegas singers to \"Gong Show\" contestants. ", "The Muzak royalties alone account for a great deal in the Lennon and McCartney estates, even though Len-non admitted the song is solely Paul's. ", "The landmark use of a string quartet on a pop song was immediately copied by several groups, notably the Rolling Stones on \"As Tears Go By\" later that same year.", "\n\nThe narrative is implied; the lyrics don't spell out the story the way Paul's other small dramas do (\"Eleanor Rigby\" or \"Ob-La-Di, Ob-La-Da\"). ", "But the emotional impact is stirring—it's the kind of song that sounds immediately familiar and yet original, as if it already existed before it came to McCartney:\n\nI really reckon \"Yesterday\" is probably my best . . . ", "I like it not only because it was a big success but because it was one of the most instinctive songs I've ever written. ", "I just rolled out of my bed one morning and . . . ", "just got the tune. ", "I was so _proud_ of it. ", "I felt it was an original tune, it didn't copy off anything, and it was a big tune, it was all there and nothing repeated. ( _", "Paul McCartney in His Own Words_ , p. 17)\n\nHis gift for lyricism has never equaled this moment, and it follows through on the promises made in \"And I Love Her\" and even \"I'll Follow the Sun.\" ", "In the verses, a three-syllable melodic fragment (\"Yesterday . . .\") ", "grows to two arching phrases: the first rises (\"all my troubles seemed so far away\"), the second gently falls (\"now it looks as though they're here to stay\") before returning to the opening word (\"Oh I believe in yesterday\"). ", "The plaintive opening guitar introduction and solo verse from Paul establish a mood of complete loneliness, of being left behind in the starkest reality of all—where romance suddenly turns into a haunting illusion. ", "As the strings enter for the second verse, everything swells with questioning heartache. ", "George Martin's quartet arrangement is so tasteful that it barely draws attention to itself; all the focus is on the singer and the song. ", "The way the viola pulls away from the voice's held note at the end of the bridge is so effective that Paul sings this viola line himself the second time around. ", "The first violin holds a single note for the entire final verse; instead of soaring, it weeps. ", "Where others try to wring buckets of emotion from the song, Paul's simple delivery winds up being the most effective; his poignancy is simple and direct. ", "It is a great recording, then, because it frames the emotion without intrusion, capturing the honesty of the sentiment without affectation.", "\n\nPaul's most famous lost-love ballad stands out in part because it's also his saddest, drawing on the same melancholy that laced \"And I Love Her\"—his seemingly boundless geniality becomes more three-dimensional in such songs. \"", "Yesterday\" received such wide acclaim as a result of its release on this album that it was subsequently chosen as a single, and Paul played it by himself in the middle of a full Beatles set on \"The Ed Sullivan Show\" appearances that followed its release. ", "Thank you, Paul,\" John said after Paul sang it to respectful silence. \"", "That was just like him.\"", "\n\nFOR ALL OF Lennon's admiration for Larry Williams's singing and recording style (he also covered \"Slow Down\" and \"Bad Boy\"), he sounds defeated on \"Dizzy Miss Lizzie,\" as though he doesn't feel up to fighting the same rock 'n' roll battles anymore. (", "The slower version off the Plastic Ono Band album _Live Peace in Toronto_ some five years later has more meat to it.) ", "Lennon's treatment of this Williams song is his first to suffer from a comparison with the original. ", "Where Williams sounds manic, Lennon sounds fatigued; where Williams lets the song carry him, Lennon drives it forcefully, inhibiting any sense of flow it might have had on its own. ", "The rhythmic groove is well set, and some of Ringo's propulsive links into successive verses are charged; but the cover as a whole doesn't do much more than pay respects. ", "The contrast between this Lennon album-closer and \"Money\" is striking—\"Dizzy Miss Lizzie\" lives up to the rock 'n' roll ideal without outdoing it. ", "And with such a quirky follow-up to the beauty of \"Yesterday,\" the problem seems less artistic than it does commercial: they needed one more song to fill out the record, as they had on _Please Please Me_ , so they leapt into \"Dizzy Miss Lizzie\" without much caring.", "\n\nBut it's nearly the last nonoriginal the Beatles would ever record (only the traditional Liverpool \"Maggie Mae\" on _Let It Be_ would follow), and the problem could have been much larger. ", "The Beatles were now in a position to record only their original songs; they had transcended speaking through the masters' material that had guided them this far. \"", "Dizzy Miss Lizzie\" doesn't sum up _Help!_ ", "the way earlier covers did for other albums—it points up just how uneven the mood of this record really is, and how ridiculous it would be to think that the Beatles could continue making the quality of recordings they wanted with all the touring that was still expected of them. ", "Their unconventional recording ambition on side two (the strings on \"Yesterday,\" the electric piano on \"Tell Me What You See\") isn't fleshed out by supporting material worthy of the same claims. ", "It's to their credit that they follow up the disappointment of _Help!_ ", "and its closing number, which promises more than it delivers, with songs and production that still count among their best. _", "Rubber Soul_ shakes free from the shackles of confined studio time and cinematic obligations—it follows through on the emotional ambiguities and musical kinetics that began surfacing as early as _A Hard Day's Night_ and fulfills the artistic promise that persisted beneath the surface of Beatlemania's incessant demands.", "\n\n#\n\nSTATES OF THE HEART\n\n**RUBBER SOUL** _Released: December 3, 1965_\n\n_**Day Tripper**_ (John)/ _ **We Can Work It Out**_ (Paul and John) \n _Released: December 3, 1965_\n\nWHEN THE BEATLES returned from their second major American tour in September 1965, they took a month off. ", "August had been an endless series of mobbed airports and concerts, prisonlike hotel rooms (easier for fans to infiltrate than for the Beatles to escape), and in California, a \"secret\" mountain hideaway besieged with admirers. \"", "How do you like America?\" ", "George was asked. \"", "Well, so far, I've seen a room, and a room, and a car and a room and a room,\" he replied. ", "Two days after taking acid with Peter Fonda and Byrds leader Roger McGuinn in Los Angeles, they accepted Elvis Presley's invitation for a visit at his Bel Air home. ", "They broke the ice by launching into a three-hour jam session of Presley songs—sounds that must have been the most myth-infested rock 'n' roll ever made.", "\n\nOnce they were back in England, their singular position became clear: with Beatlemania confounding all expectations of its strength and staying power, there was no need to rush the next record. ", "They must have felt relieved at not having to produce an album subject to the tight schedule that had marred _Beatles for Sale_ a, year before. ", "With no obligations for a third film score, their slate was essentially clean. ", "Free from the pressures of public commitments, they returned to the Abbey Road studios for two months of work in October and November, pushing up the Christmas-market release date until December 3.", "\n\nThere's a new affection for recording on _Rubber Soul_ : for the first time, the Beatles make music that they will never perform live. ", "The genius lies in the balance between the spirited life of their ensemble (\"Their records retained a bar band's spark,\" write Christgau and Piccarella) and its elegant tone. \"", "If the emotional touch was harder, the musical touch was lighter,\" Greil Marcus writes. \"", "This music was seduction, not assault; the force was all beneath the surface . . .\" _", "Rubber Soul_ intensified their bond with their audience (the way \"She Loves You\" had) as it fed the idolatry surrounding their fame—it drew them closer to their listeners as the frenzy of their tours continued to isolate them. ", "The fish-eye lens they look down through on the cover elongates their heads and faces, as though they made music in another dimension.", "\n\nTHE AMERICAN CAPITOL version of _Rubber Soul_ is a misguided rewrite of an artistic breakthrough. ", "Where the Parlophone edition starts with the savvy rock of \"Drive My Car,\" Capitol substitutes the harmless folk of \"I've Just Seen a Face\" from side two of Parlophone's _Help!_ ", "The rest of side one's lineup is the same except for the omission of \"Nowhere Man.\" ", "But what may look like simple changes alter the character of the record drastically, emphasizing the softer numbers with acoustic-based textures and omitting the two dramatic electric flourishes the Beatles included to balance things out (\"Drive My Car\" and \"Nowhere Man\"). ", "Side two suffers from Capitol's edit as well: it leaves out Ringo and George and inserts \"It's Only Love\" (again from Parlophone's _Help!_ ) ", "at the top of the set. ", "The songs left off the American _Rubber Soul_ would show up six months later on the singles-and-odds-'n'-ends review _Yesterday and Today_ , a synthetic compilation to which there is no remotely similar Parlophone edition. ", "This seemingly innocent ploy for profits (Capitol's record offers ten new tunes, Parlophone offers fourteen) is drastically out of line with the Beatles' original intentions and created some important differences between the way Americans respond to this record as compared to the British.", "\n\nIt's been suggested that Capitol's alterations were a vain attempt to plug the Beatles' latest album into the American folk-rock trend that was perceived by record executives at that point as a full-blown craze. ", "The Byrds' electrified Dylan was hyped as \"America's answer to the Beatles\" by their publicist, Derek Taylor, former press agent and ghost writer for Brian Epstein.", "\n\nBut in 1965 the pop world underwent a major _rock 'n' roll_ explosion. ", "Dylan's electric set at the Newport Folk Festival earlier in the year, and his two seminal rock albums _Bringing It All Back Home_ and _Highway 61 Revisited_ , effectively derailed the purist folk craze. ", "His best rock tour de force, \"Like a Rolling Stone,\" capped a summer that had started with the Byrds' elegiac cover of Dylan's \"Mr. Tambourine Man\" and the seething disaffection of the Rolling Stones' \"Satisfaction.\" ", "Direct confrontation with a beat outsold watered-down protest: the Who's bombastic \"My Generation\" extended the implications of \"Twist and Shout\" and \"Money\"—Roger Daltrey's stuttered delivery made it sound as if he were stifling obscenities. ", "The rock audience, written off as ephemeral by Capitol when it signed the Beatles in late 1963, was not only growing; its tastes were maturing. ", "For the Beatles, as eager and discriminating pop fans, all this activity, which they helped set into motion, challenged their approach to their next record.", "\n\nBut the shaded musical color of _Rubber Soul_ took everybody off guard. ", "With Dylan's electric conversion and the Stones' hard-edged triumph, nobody expected the Beatles to go soft. ", "It's a measure of _Rubber Soul's_ success that by slowing the beat down they draw attention to how much rhythm can do. ", "The material is still powerful, but the tug of the record is intelligent and cunning, not brazen or manic. ", "At the time, _Rubber Soul_ was as much an unpredictable response to 1965's activity as it was a step toward a greater synthesis.", "\n\nAnd yet _Rubber Soul_ doesn't sound at all reactionary—it's their most forward-looking album since _Please Please Me_. (", "The \"White Album\" is prescient in a different kind of way: it hints at possibilities and leaves loose ends for others to carry through.) ", "Dylan and the Stones inspire rather than influence their sound. ", "The untold story of sixties rock is how these artists admired each other without ever stooping to imitation—the narrow barriers of the archetypical rock-'n'-roll formula sound vastly different in the hands of these central figures. ", "The improvised narrative of Bob Dylan's \"Talkin' World War III Blues\" expands into the verbal shenanigans of \"Tombstone Blues\" the same way his poetic vengeance in \"I Don't Believe You (She Acts Like We Never Have Met)\" (first acoustic, then electrified with the Band) is heir to the embittered \"Don't Think Twice, It's All Right.\" ", "The Stones' rhythm-and-blues foundations (covers like Leiber and Stoller's \"Poison Ivy\" and Muddy Waters's \"I Can't Be Satisfied\") give way to original breakthroughs like \"The Last Time\" (which came out in April 1965) and \"Get Off My Cloud\" (which appeared in October) in much the same way the Beatles' self-taught apprenticeship leads to \"Nowhere Man\" and \"I'm Looking Through You.\" ", "Like Dylan's and the Stones', the Beatles' musical voice remains intact: they continue to strengthen each other's individuality without ever compromising their ensemble approach. ", "Even though they sound completely transformed, there's still an unmistakable delight in what four people can do together that is uniquely Beatlesque.", "\n\nWITH _R UBBER SOUL_ the Beatles come of age musically as their subject matter matures emotionally. ", "The latent ambiguities in \"If I Fell\" and \"I'll Be Back\" are the sounds of young people trying to make sense of feelings they don't understand, uncertainties that find release in startling rockers like \"I'm Happy Just to Dance with You\" and \"Can't Buy Me Love.\" ", "But as teenage anxieties turn into adult perplexities, experience begins to temper their naiveté. ", "The first signals of this shift can be heard in songs about sour romances (\"No Reply,\" \"What You're Doing\") and the fallacy of success (\"I'm a Loser,\" \"Help!,\" \"", "I'm Down\"). ", "The sad moments on the _Help!_ ", "album (\"You've Got to Hide Your Love Away\" and \"Yesterday\") are deeper, more welling than before (\"And I Love Her\" or \"I Don't Want to Spoil the Party\").", "\n\nAt the top of _Rubber Soul_ , \"Drive My Car\" 's smart groove announces that love isn't all it's cracked up to be, or at least not without its hitches. ", "There's no way \"Norwegian Wood\" could be substituted for the \"You've Got to Hide Your Love Away\" sequence in the _Help!_ ", "movie—the film song is a coming-to-terms with innocence where the _Rubber Soul_ track is decidedly more worldly. ", "The loss in \"Norwegian Wood\" comes from the same vulnerability as in \"If I Fell,\" but this time Lennon knows he's got only himself to blame for the emotional risks he takes. ", "The only pledge of unqualified devotion here is \"In My Life,\" which is so full of the pain of separation from family that its irony is profound. ", "The idea of love in this music is not just tested (as it is in \"I'll Be Back\" or \"Yes It Is\"); it's a whole new continent of feeling.", "\n\n\"DRIVE MY CAR\" has the smooth bravado of a Jack Nicholson performance, grinning on the surface with wheels spinning like mad underneath. ", "The automobile, the American symbol of status and wealth, is also where pop lives—cruising, dating, jamming the radio on the way to the beach. ", "Former truck driver Elvis Presley consummated his gratitude for fame—and his oedipal infatuation—by buying his mother a Cadillac. ", "The Beatles instead satirize the ethics that such materialism implies and laugh at the drawbacks of their own success: the sleek tone touts the pleasures of fame to be as confounding and ephemeral as love itself. (", "McCartney's original phrase was \"Baby, you can wear my diamond ring\"; Lennon reputedly shortened it and reversed the sexual roles.)", "\n\nIn the opening moments a brash lead guitar (doubled left and right) is thrown off meter by Paul's deceptive bass entrance (right); the texture is spare, and the beat has a new freedom to it, a relaxed, engaging draw. ", "The divided mix is the studio imprint that makes these songs so richly textured: all of a sudden we're aware of how many different parts fit together to make up the entire sound, instead of everything being stirred together into one high-velocity mass (as in \"Long Tall Sally\"). ", "The stereo separation clarifies the vocals, cowbell, piano, and lead guitar solo on the right channel by keeping the rhythm track (drums, bass, and rhythm guitar) over to the left. ", "The effect is expansive. ", "Ringo slides a lopsided fill in an instant before the first real downbeat of the verse.", "\n\nThe singer is a hopeful lover, his prospect more interested in easy fame than in love—a subtle parody on the Beatles' own stardom and the status seekers it put them in touch with. ", "The title line's vernacular slang is twisted with implications: the woman wants \"to be famous, a star of the screen,\" but she's also teasing the singer sexually (\"drive my car\" means both \"make me rich\" and \"turn me on\"). \"", "Working for peanuts is all very fine,\" she tells the singer, \"but I can show you a better time.\" ", "A continuous guitar riff is doubled in the bass for the verse.", "\n\nA qualifying \"but\" sends the vocals into high, taut harmonies at the end of each verse (on the words \"But you can do something in between\" and \"But I can show you a better time\"); the drum fills underneath exaggerate the flirtation (it resembles a similar passage in their demo of \"How Do You Do?\"—after its bridge, on the words \"But won't you tell me how do you do it?\") ", "Ringo plays every break differently, pulling a distinct tension from the beat each time out—the vocals pick up on it just before the guitar solo and during the fade-out with \"beep-beep, beep-beep, yeah.\" ", "During the minor refrain, a piano criss-crosses the ensemble on an added major chord (G major, the common harmony between the verse's D major and the bridge's B minor). ", "The piano superimposes triplet quarter notes over the bar with just the right delay, giving the beat a drag that's as witty musically as the words (stressing the key words \"car\" and \"star\"). ", "The coy concluding line of the refrain (\"And maybe I love you\") is underlined by Lennon's double-tracked vocal in the right channel—the only double-tracked stereo vocal in the song.", "\n\nThe final verse is the punch line, what the singer suspects all along: she's got no car, but she's found a servile driver, \"and that's a start.\" ", "Love may be as fickle and fleeting as fame, but the \"beep-beep\"s are the singer's hoots of conquest. ", "Both lead guitar and piano return for the fade-out as Ringo rolls modestly into the downbeat of every two measures. \"", "Drive My Car\" 's musical intricacy is uncanny, but its ingenuity is never forced. ", "The flirtation that begins as satire ends as seduction.", "\n\nTHE LIGHT WALTZ of the opening guitar to \"Norwegian Wood\" is deceptive—the undulating rhythm lures us in to a forbidden dance, a furtive encounter. ", "The smoky ambience is acoustically lit, with only tambourines for a rhythmic pulse—the sound alone is more mature, more restrained than in \"I'm a Loser,\" the first-personisms more distant than in \"You've Got to Hide Your Love Away\" (even though Lennon claimed he wrote \"Norwegian Wood (This Bird Has Flown)\" about an actual extramarital affair). ", "The detailed lyric is finally allusive, the scene is conjured up by inference rather than by description—atmosphere outweighs drama, Lennon circles over the rejection of the woman skipping out on him, mulling over his insecurities musically with the hazy drone of the sitar (a less threatening usage than the Stones' in \"Paint It Black,\" which followed in 1966).", "\n\nThe bitter opening line neatly combines her refusal and his resentment: \"I once had a girl/Or should I say/She once had me.\" ", "This cynical regret far outweighs the relative idealism of \"If I Fell.\" ", "The bridge (in the parallel minor) adds Paul's upper harmony and tambourine on the offbeats as John's biting humor trips the harmony back toward the verse at the end of the couplet:\n\n_She asked me to stay and she told me to sit anywhere \nSo I looked around and I noticed there wasn't a_ chair.", "\n\nand\n\n_She told me she worked in the morning and started to laugh \nI told her I didn't and crawled off to sleep in the_ bath.", "\n\nThe implied tease and his annoyance at having to sleep in the bath is secondary; it's her aloofness that he can't abide—it's repayment for his own flippant way with women. ", "The tone conveys a completely different kind of longing than the comparably green \"It's Only Love\": something has been set off inside that he can't explain, and it hurts simply to admit that a woman can affect him so strongly; the intimidation involves something more than infatuation. ", "In the last verse, \"This bird had flown\" implies her departure not just to work but forever, leaving him alone in her apartment. ", "Lighting the fire at the end is the revenging kiss-off: he's not reminiscing about the previous evening's fireside conversation; he's fantasizing (at least) setting fire to her elegant decor. (", "Dylan's answer to this song, \"4th Time Around,\" is either a highly derivative imitation or an overwrought self-parody.)", "\n\nLENNON'S SUPPRESSED ANXIETY is broken by the striking and incisive piano jerks that hammer out the frustration of \"You Won't See Me.\" ", "Coming from Paul, this antagonism can't help being tempered by melodic suavity, so he winds up sounding like an innocent victim rather than a co-conspirator in a love affair. ", "Short, clipped lines contrast with long-held notes in both verse (in major) and refrain:\n\n_When I call . . . ", "you up \nYour line's _____ engaged \nI am hurt . . . ", "enough \nSo act _____ your age \nWe have lost . . . ", "the time \nThat was so hard _____ to find \nAnd I will lose . . . ", "my mind_\n\n_If you won't see me_ _____ \n_(You won't see me)_ \n _You won't see me_ _____ \n_(You won't see me)_\n\nAs John and George add backup harmonies behind the second and third verses, they descend above Paul's lead (ooh-la-la-la), join him for the title line, and then invert their downward angles by rising as they echo his plea, retracing their steps backward.", "\n\nThe bridge (in minor) works its way back to major with the tug of \"I wouldn't mind if I knew what I was missing!\" ", "The backup vocals that pull away from Paul's lead on that final line (singing \"No I wouldn't, no I wouldn't\") ease the bridge back into the verse. (", "The last verse adds a third voice on the high tonic note to intensify the other harmonies.) ", "Paul's lead vocal track is kept over to the right and is sometimes swamped by the activity that surrounds him—the texture becomes more engaging than the emotion.", "\n\nEven though it doubles the backup vocals an octave below, the piano on this track is central—it complements Paul's bass percussively in a way that guitars can't. ", "Paul's playing takes a quantum leap on the album as a whole: without ever being intrusive, his bass emerges as an irreplaceable part of the overall texture. ", "Because he virtually breathes melody, his bass lines begin to soar with inventive counterpoint to the rest of the band (a device that comes into its own on \"Rain\").", "\n\nTHE CHORAL STRAINS that introduce \"Nowhere Man\" are breathtakingly seductive—the voices have a brilliant sheen that vivifies the despondency they're singing about. ", "The paradox is that while singing as a group, they're singing about loneliness. \"", "I'd love to turn you on,\" the catch phrase of \"A Day in the Life,\" is \"the motivating idea\" of \"Strawberry Fields Forever,\" writes David Laing (p. 134), and it motivates much of \"Nowhere Man\" as well. ", "But \"Nowhere Man\" empathizes more than it pities; and, like that of \"Imagine\" or \"Nobody Told Me There'd Be Days Like These,\" its tone is deeply moral.", "\n\nThe band's entrance is slightly syncopated in anticipation of the downbeat; they slip perfectly into the groove that the vocals have set up—the invisible background that the singers seem to hear suddenly comes alive. ", "Rhythm guitar, bass, and drums provide the accompanying track; lead guitar comments at the ends of phrases; Ringo adds a subtle snare roll before each bridge; and Paul's arching bass figures link the bridge back up to the verses (after \"The world is at your command\"). ", "The vocal harmonies remain thick through the verse, and as Lennon takes the lead vocal for the bridge (\"Nowhere man, please listen\"), the others fall into complementary backups. ", "They rise toward the end, stringing out their \"la-la-la\"s to the last instant before George's guitar takes over.", "\n\nHarrison's solo blends practiced arrangement with inspired performance—he starts each phrase with a chord and follows with a lead line that inverts the verse's melodic direction (climbing where the words \"point of view\" and \"going to\" normally fall). ", "After he slides down for the last note, he bounces off of it into a harmonic that rings from the left channel to the right. ", "Just as he later injects a fleeting drama into \"Got to Get You into My Life,\" here he encapsules the track's luster in one simple gesture.", "\n\nThe ironic contrast between the shimmering texture and the compassionate text is the opposite of that in \"All I've Got to Do\" and \"Any Time at All,\" where Lennon sang upbeat words to anxious rhythms. ", "In \"Nowhere Man,\" he sings for the unsung, the people who have shut themselves off from life; but the glowing timbre is hopeful. ", "The communal surge in the ensemble warms the sentiment with a rejuvenating interplay—no one can make it through life's difficulties alone, the music seems to be saying, and the best crutches are other people.", "\n\nWITH ITS BITTER tone, George's \"Think for Yourself\" is a cousin to his first song, \"Don't Bother Me,\" and the fuzz bass adds just the right guttural cynicism. ", "It's a step beyond the flaccid \"I Need You\" and the forced amorousness of \"You Like Me Too Much.\" ", "The rhythmic impulse changes between the verse and the bridge, and the angular harmonic turns are offset by Paul's triplets (after \"Go where you're going to\"); but George doesn't practice what he preaches about self-reliance (he doesn't do much with \"Although your mind's opaque/Try thinking more if just for your own sake\"), and it's far from the melodic sonorities and layered texture that make side two's \"If I Needed Someone\" every guitarist's hook-bound fantasy. \"", "Think for Yourself\" is still George as contrast, providing odd relief to the Lennon songs he interrupts.", "\n\nTHE PIANO THAT stumbles into \"The Word\" is a quirky yank away from George's putdown. ", "The song is a philosophical cousin to \"Nowhere Man\" and a spiritual source for 1967's Summer of Love; this sentiment will grow into the restraint of \"Dear Prudence\" and \"Across the Universe,\" but here the band latches on to a medium-tempo groove that leaves little room for fooling around. ", "Its punchiness places it above the wafting utopianism of \"All You Need Is Love\"; \"The Word\" is more rooted in reality: \"love\" can be found in books both good and bad. ", "Ringo's accented kicks nail Paul's rising bass lines down behind the syncopated harmonies (\"It's so fine/It's sunshine\") and follows them up with tart little fills; vocal harmonies grow continuously toward the high end of the final verses; and Paul's brief bass flurry in the middle of the third refrain shows just how succinct all the motion is. ", "This message has since grown trite, but it tapped an attitude that was then enlisting activists in the civil rights and antiwar causes; that the Beatles would soon publicly denounce Vietnam made this song relevant in ways pop had never been before. (", "By the time this sentiment reaches \"All You Need Is Love,\" its self-righteousness is parodically exposed.)", "\n\n\"MICHELLE\" SOUNDS as if McCartney were selfconsciously writing another standard instead of letting the song inspire its own setting. ", "It tries too hard, and it's a classic despite itself. (\"", "Yesterday\" works better; its music is as nostalgic as its words.) ", "The language barrier between lovers might have been suggested by Chuck Berry's \"La Juanda (Español),\" about a man who pretends he doesn't understand a Mexican prostitute's price. ", "But Paul aims more for charm and sophistication with his French, like Nat King Cole in \"Darling, Je Vous Aime Beaucoup\" (1955)—instead of developing the idea of lovers who speak in different tongues, he pines over it, and the conceit never achieves its potential. ", "McCartney is still playing with the way major and minor can set different sections off one another (\"Michelle, ma belle\" is in major; \"I love you, I love you\" turns into minor), but it lacks the wavering indecisiveness of \"Fixing a Hole\" or the hopeful desolation of \"Eleanor Rigby.\" ", "His understated bass lines at the ends of stanzas (\"until I do I'm hoping you . . .\") ", "nearly save the schmaltz from puerility.", "\n\nTHERE'S AN ASSURANCE in \"What Goes On\" that kicks the Beatles out of the nest of their exemplars—it pays respects to heroes like Carl Perkins and Jerry Lee Lewis not as a cover but as a rockabilly original. ", "This Beatles equivalent of \"Honey Don't\" is all rusticity, emphasizing character instead of message through Ringo's innocuous, out-of-tune delivery. \"", "That was an early Lennon written before Beatles when we were the Quarrymen, or something like that,\" Lennon told _Playboy_ , \"and resurrected with a middle eight thrown in, probably with Paul's help, to give Ringo a song and also to use the bits, because I never liked to waste anything\" (p. 188). ", "Before they even became the Beatles they had absorbed enough rock-'n'-roll history to begin knocking off solid country beats on their own, which shows just how much they loved the form. ", "Placing this track at the beginning of side two (the same position as the Buck Owens hit \"Act Naturally\" on the previous album) makes the commitment to original material more explicit: instead of dealing Ringo another surefire cover, they challenge themselves into reworking an old standby.", "\n\nLENNON TURNS THE solo vocal opening of \"Girl\" into a heartfelt rhetorical quandary—before he can catch his breath he's caught up in memories and feelings of a woman who left an unshakable impression on him. \"", "Is there anybody going to listen to my story/All about the girl who came to stay?\" ", "combines a dash of self-pity with a lingering infatuation; \"came to stay\" is a visitation, both physical and emotional. ", "The way he sings the next line (\"She's the kind of girl you want so much it makes you sorry/Still you don't regret a single day\") enforces the longing by letting words lag just behind the beat.", "\n\nInstrumentally, it sounds like a scene from the old world, something passed down from the previous generation—the high guitar resembles a mandolin, and the solo section turns the beat into an emotionally laden two-step dance. ", "The refrain, a simple \"Girl\" (in major), is a fitful sigh after the breathy anticipation of \"thththth\"—the release on \"girl\" is one of regret. (", "The inhalation is slyly stretched out to \"tit-tit-tit-tit\" in the bridge.)", "\n\nThe guitar countermelody that accompanies the last verse (right) adorns it naturally, growing right out of the progression it springs from; its line is implied all along. ", "During the two-step, this same guitar line joins a new counterpoint with a mandolin-style higher melody, the two interlocking parts outlining the harmony rather than filling it in.", "\n\n\"Girl\" is a \"good deal more sophisticated than Dylan's 'Just Like a Woman,' \" writes Greil Marcus. ", "Love's afterglow is mixed with a resentment for what the affair touches off inside. ", "The story of the verse (in minor) and the relief of the refrain (in major) play out these opposing emotions. ", "The old-fashioned atmosphere conveys desire and self-deception, and Lennon sings it as much to console himself as to make sense of its bewildering proportions (\"And she promises the earth to me and I believe her/After all this time I don't know why\"). ", "It's the sympathetic side of the anger in \"Norwegian Wood.\"", "\n\nTHE TENSION BETWEEN appearance and reality that Paul confronts in \"I'm Looking Through You\" resembles the self-examination he undergoes in \"Fixing a Hole.\" ", "Change is endemic in a relationship, and love \"has a nasty habit of disappearing overnight.\" ", "The cast of clichés Paul uses suits his subject perfectly—none of them mean the same thing beneath the surface.", "\n\n_I'm looking through you \nWhere did you go? ", " \nI thought I knew you \nWhat did I know?_", "\n\nand\n\n_Your lips are moving \nI cannot hear \nYour voice is soothing, \nBut the words aren't clear_\n\nThese lines play off each other in subtle, charming ways. ", "Does her soothing voice sugar-coat her words, or is it just the way he's hearing them? ", "In seeing through his lover's eyes, does he recognize himself? ", "The music dances around self-awareness as it explores the changing emotional phases lovers go through. ", "It's reputedly an autobiographical song Paul wrote to girlfriend Jane Asher after returning from an American tour. (", "An early draft on bootlegs is slower, almost sad.) ", "His mind is wandering, the way it will in \"Fixing a Hole,\" and he comes up alternately pleased and confused.", "\n\nThe music echoes the acoustic flavor of \"I've Just Seen a Face,\" with only a simple rhythm patter on the right channel, but the blue note of \"I'm looking _through_ you\" stirs up the harmony in the same way that words refract double meanings. ", "The frustrated rise in dynamics at the end of each verse, where the electric guitar enters, works its way into the relative calm of the bridge, even though that's the only place where he asks a nonrhetorical question (\"Why, tell me why did you not treat me right?\"). ", "Vocal harmony is used sparingly (only on the third line of the verse), and Paul's sincere lead delivery makes this song as much of a singer's breakthrough as it is a songwriter's.", "\n\nIN THE MOSAIC of _Rubber Soul's_ romantic themes—we get to know these songs in terms of one another—\"In My Life\" is the most encompassing, and the closest to its subject. ", "It links a particular love affair with all the dreams and disappointments inherent in close connections throughout a person's life. (", "This song began as a look back toward childhood, the same inspiration as \"Penny Lane\" and \"Strawberry Fields Forever.\" ", "The early drafts of Lennon's lyrics, reprinted in Ray Coleman's _Lennon_ , recount Liverpool landmarks—the melody is McCartney's.)", "\n\nThe opening melody distills the singer's experience into a poignant guitar line played with stirring restraint. ", "Ringo's irregular drumbeat adds a perpetual hesitancy, backing Lennon's soulful vocal performance with stop-and-st art timidity. ", "For all the certainty of the singer's devotion, he sings from a place of discomfort—the discomfort implicit in love itself. ", "Paul's melody rises to the end of the first line (\"There are places I remember\") and then falls off as the background harmonies sing \"ooh\" behind the lead (on \"All my life, though some have changed\"). ", "Paul's upper harmony for the first part of the line is more cutting than soothing, and his blend is superb.", "\n\nThe verse is broken up into two parts, the second with a more lilting texture than the first (\"All these places have their moments\"). ", "The title line winds around a minor harmony: \"In my life I've loved them all.\" ", "This minor inflection is the same harmony that added reluctance to \"If I Fell\" (the minor subdominant), and here the musical irony stresses the intuitive feeling; the joy of a new love touches off the hurtful separations from earlier attachments (\"I know I'll never lose affection/For people and things that went before\"). ", "In the second verse, Lennon addresses the lover directly: \"I've loved them all\" becomes \"I love you more\"—he's searching for ways to tell his lover just how much she means to him.", "\n\nThe piano solo is more than a proficient baroque piece of styling. ", "A classically trained musician, George Martin responded to Lennon's request for \"something baroque-sounding here\" with an authentic-sounding solo in the style of Bach. ", "The counterpoint of this style is a conjunction of individual voices woven into a fabric of interplay and opposition, the way Lennon's remembrances intermingle in the lyric.", "\n\nSince Martin was an oboe player, not a keyboardist, he recorded the solo at half tempo and then sped the tape up to get the resulting quickened decay of the piano to resemble a baroque harpsichord. ", "It graces the song with the same old-world tenor that made \"Girl\" so effective. ", "Inserting classical styles into the pop medium (as with \"Yesterday\" 's string quartet) is a statement all its own: it makes airs toward \"legitimate\" respectability. ", "At the same time, it links the popular idiom up with the history of music in the same way that the lyrics link the present love affair up with past involvements. (", "This is all done with astonishing aplomb.) ", "The caesura ending, where the band stops and Lennon sings the final title line in dreamy falsetto, ranks with the ending of \"God\" on his first solo album as the most beautiful singing of his career.", "\n\nTHE SENTIMENT OF \"Wait\" is harsher than that of \"It Won't Be Long\"; the lovers' reunion has more anxiety than euphoria goading the beat. (", "These two songs have the same inverted relation as \"You're Going to Lose That Girl\" and \"She Loves You.\") ", "Lennon wrote the verses and the refrain and relied on Paul for the bridge (\"I feel as though, you ought to know\")—the same formula that makes \"We Can Work It Out\" and \"A Day in the Life\" such revealing collaborations. ", "Rhythmic momentum carries the verse: a tambourine strikes offbeats on the right channel and grows to shaken maracas and full drums in the right channel during the second stanza. ", "The drums spill into the chorus with an unusual twist: Bingo hits the crash cymbal _before_ his roll on the tom-toms (a backward fill), and a guitar echoes John's cries of \"Wait!\" ", "with a flash of pain. ", "At the end of the refrain, the swell subsides with guitar and tambourine reverberations on the empty beats beneath the lead voice (after the words \"the tears we cried\"). ", "The whole texture-building process starts again with the second verse.", "\n\nPaul's bridge picks up where the empty beats left off and takes the band into a circle-of-fifths progression (moving from key to key as naturally as possible). ", "With characteristic promises—\"I feel as though/You ought to know/That I've been good, as good as I can be\"—he winds up back where he started on the words \"will wait for me\" (which the guitar punctuates in the right channel). ", "The guitar on the right plays a rhythmic (instead of chordal) figure during the bridge to emphasize the rise in the harmonic progression.", "\n\nWhere \"It Won't Be Long\" is expectant, \"Wait\" is doubtful, anxious, uncertain—the \"trust\" in Paul's bridge is forced, if not faked; the jubilance of \"It Won't Be Long\" sounds irrepressible in comparison. \"", "Wait\" doesn't measure up as a song, either in spirit or in structure. ", "There's more uncertainty in \"If I Fell,\" more ambiguity in \"I'm Looking Through You.\" \"", "Wait\" sounds dashed off, composed and performed with finesse but not as much commitment.", "\n\nONCE IT GETS GOING, the ringing hypnotic guitar texture of \"If I Needed Someone\" carries itself. ", "The ensemble slips right into the groove as if in disguise; the blend with the rhythm of the guitar is perfect (it resembles the band's entrance in \"Nowhere Man\"). ", "Paul's upwardly arching bass line doesn't push or prod; it settles back into the ebb and flow of everything else. ", "George's musical personality is still awkwardly earnest, but at the same time his best song yet sounds relaxed and confident. ", "He knows he's set up a fine riff, and all he has to do is ride it out.", "\n\nBy leaving well enough alone, the words are evocative without much fuss. ", "The melodic line always pulls at the beat beneath it by carrying words over the bar—\"if\" is the only word sung on a proper downbeat during the verses. ", "This rhythmic overlay doesn't overdo the tension; it merely strings it out to full effect—the syncopations are played close to the vest.", "\n\nThe music turns on the word \"of\" as .the band rides out a different harmony that sways against the constant bass line (the guitars change chords, the bass stays the same). ", "The tension in this simple gesture propels some fine musical drama from all the players, especially Ringo, who applies just the right amount of pressure to bring the guitar harmony back into place. (", "The guitar solo is simply an intensification of this hook, not an elaboration.)", "\n\nThe bridge has the same verbal syncopation but sounds more driven (\"Had you come some other day then/It may not have been like this\")—instead of suspending things, it sets things in motion. \"", "Don't Bother Me\" is protest-too-much refusal; \"If I Needed Someone\" is qualified flirtation—a romantic interest is set on hold because \"now I'm too much in love.\" \"", "Carve your number on my wall and/maybe you will get a call from me\" rings patronizing, but the musical suspension conveys it all without bravado or malice, and the effect is more passive than aggressive. (", "The lick even survives the Hollies' pumped-up cover in 1966, with some extraordinary drumming from Bobby Elliott.)", "\n\n\"RUN FOR YOUR LIFE\" lets off steam with good old-fashioned denial; the most paranoid Lennon track is a clenched macho fist that rings true now only as a dated piece of jealous anger. ", "Lennon cites it in _Playboy_ as \"just sort of a throwaway song of mine that I never thought much of, but it was always a favorite of George's\" (p. 189). ", "For its tone alone it's the weakest song on the album. ", "Where the rest of the record is open-ended, allowing room for indecision and change, this song hammers closed-minded distress home with petty clichés and insulting accusations (it makes \"You Can't Do That\" sound reasonable).", "\n\nFrom the opening moments, a driving acoustic guitar sets a tone of unswerving obstinance that only accentuates the insecurity that stirs beneath it. ", "The vocal harmonies are drawn so close they're disharmonious, stinging with accusation. ", "The lead guitar line, double-tracked on both channels, actually sounds like a nasal \"nah, nah, nah,\" anticipating the syllables Lennon sings during the fade-out. ", "The second verse even acknowledges that the singer is a \"wicked guy/And I was born with a jealous mind,\" but then denies any responsibility for it with the simplistic dominance tag: \"And I can't spend my whole life tryin'/Just to make you tow the line.\" (", "The most inflammatory line, \"I'd rather see you dead, little girl/Than to be with another man,\" is copped from \"Baby Let's Play House,\" which Elvis Presley recorded in a 1955 Sun session.)", "\n\nThe interesting thing about this song as the culmination of this emotionally varied record about romance is just where Lennon is in 1965, and how far beyond that he will go before he dies. ", "His violent streak can be traced to this starting point—it magnifies the angered outbursts of other songs (\"Not a Second Time\" and \"No Reply\"). ", "This song epitomizes all the violence and selfish aggressiveness that Lennon would later come to terms with. ", "His own manic temperament is never really \"tamed\"— _Double Fantasy's_ \"I'm Losing You\" has its share of conflict—but his repressions become more eloquent as time goes on.", "\n\nON _R UBBER SOUL_, the formal mastery that informed _A Hard Day's Night_ ripens into something that eluded both _Beatles for Sale_ and _Help I_ Where the Beatles' early sound was bright, _Rubber Soul_ is dusky. ", "There's a restraint, a supple fluidity of rhythms that allows their deft musical intelligence to flow through.", "\n\nAt the outset, a guitar snares the ear an unlikely cross-rhythm with the bass, and \"Drive My Car\" is tart but not aggressive; the instruments are spaciously drawn in the mix. ", "The album prolongs this air of suspension: instead of driving the beat the way they do in \"It Won't Be Long,\" they let it carry them. \"", "Nowhere Man\" has a buoyant irony; \"Girl\" sets interlocking melodic lines afloat over a gently swaying dance pattern; and a triplet piano figure counters the measured strategy of \"Drive My Car.\" \"", "The Word,\" \"You Won't See Me,\" and Harrison's \"If I Needed Someone\" are progressions that travel of their own volition—any extra kicks would be intrusive (the kicks at the ends of refrains in \"The Word\" have more lift than squeeze). \"", "I'm Looking Through You\" and \"Think for Yourself\" pivot off rhythmically contrasted verses and bridges. ", "The bridge of \"Wait\" reduces the motion to its elemental eighth-note pulse, alive and continuous behind everything else. ", "The sitar's waltz is exotic in \"Norwegian Wood\"; the vocal harmonies glide into their cadences in \"What Goes On.\" ", "Ringo's perky backdrop to \"In My Life\" is assuaged by the gentleness in the falling vocal harmonies; his drumming becomes the singer's timidity at articulating a deep feeling. ", "By comparison, _Revolver's_ rhythms are marked: the drive of \"Taxman\" is harsh; the guitar in \"Doctor Robert\" pulls at the beat; and \"Tomorrow Never Knows\" deconstructs it. _", "Rubber Soul_ has less the musical distillation of _A Hard Day's Night_ , and more intricately contained wonder.", "\n\n## **_Day Tripper_** (John)/ **_We Can Work It Out_** (Paul and John) _Released: December 3, 1965_\n\nON THE SAME day that _Rubber Soul_ was released (December 3, 1965) a new single was issued: \"Day Tripper,\" Len-non's electric-guitar heaven, is backed by one of the more remarkable Lennon-McCartney collaborations, rivaled only by \"A Day in the Life\"—\"We Can Work it Out.\" ", "It went immediately to number one.", "\n\n[\"Day Tripper\"]—that's mine. ", "Including the lick, the guitar break and the whole bit. ", "It's just a rock 'n' roll song. ", "Day trippers are people who go on a day trip, right? ", "Usually on a ferryboat or something. ", "But it was kind of—you know, you're just a weekend hippie. ", "Get it? (", "Lennon in _Playboy_ , p. 188).", "\n\nLennon's casual description of the song sounds as offhand as the guitar lick itself: brilliant yet coolly irreverent. ", "In less than a verse, that guitar lick is embedded in your memory; and the longer it stays there, the stronger it gets. \"", "Day Tripper\" is another song about being awakened and jilted all at once. ", "The singer is looking back on the affair with a knowing humility (\"It took me _so_ long to find out\"). ", "Everything is aimed toward self-justification and self-redemption, and it delivers that and more in the climactic rave-up, the first since \"Twist and Shout.\"", "\n\nThe opening moments are a formal abbreviation—the naked electric guitar riff on the left channel implies the entire track's attitude and form in its initial statement (the same way the elegant riff of the Temptations' \"My Girl,\" by Smokey Robinson and Ronald White, holds the whole song in its first utterance). ", "As the Beatles enter, first bass and guitar on the right channel, then rhythm guitar and tambourine on opposite channels, the guitar riff rides double waves: one on each stereo track. ", "The drums are the last to enter, capping off the buildup with the rush of coming up for air from underwater. ", "The excitement of the intro mounts as each new instrument enters, and the drums clench it up, locking the others together with a slow drag after the cymbal crash as surely as something slipping back into its natural orbit. ", "At that moment of sync, the tambourine shifts into a backbeat figure, securing Ringo's tug on the reins.", "\n\nPaul sings the first line and is then joined by Lennon for the succeeding harmony lines in each verse. ", "As Lennon takes the lead for the refrain (\"She was a day tripper\"), the high background vocals bring a whole new dimension to the texture—the held notes of the title line and the syncopated line that follows (\"one way tick-et, yeah\") all hover above the insistent pulsation of the guitars beneath for a new variation in rhythm. ", "As this figure is repeated (\"It took me _so_ long\") to even higher harmonies, Lennon shoots up to an exasperated falsetto at just the right moment. ", "The harmony never so much as glances toward minor: the entire song is done with major chords and yet is so convincing that it doesn't lack for contrast or dimension.", "\n\nThe first refrain leads back to an abbreviated strand of the introduction and the second verse, but the second refrain leads into an instrumental bridge, the rave-up to end all rave-ups. ", "It starts modestly enough as a guitar solo, adding layer upon layer of texture as the tension rises. ", "A buried guitar line that devotes itself to single notes emerges from the left channel, rising slowly up the major scale on the offbeats. ", "Vocals enter after the sixth bar, and then George takes off into a solo, ornamenting all that's going on around him. ", "The return of the opening riff isn't just satisfying; it's inexorable. ", "Without the screams and hoots of \"Twist and Shout,\" it doesn't quite reach the same pitch of excitement, but it has a formal surge all its own, and it plunges down into the last verse like a wave crashing on the shore. ", "The lift that that moment delivers is the lift of release, the singer's redemptive breakthrough. ", "It sounds better each time, even though we know exactly what's going to happen.", "\n\nThe last verse rides out the wave of energy much like the last verse of \"Twist and Shout\" did, only with more authority. ", "There is a curious lapse of the tambourine and guitar on the right channel just after the words \"tried to please her,\" which has never been explained. (", "It's obviously a mistake, a moment some engineer accidentally erased, but technical flaws are so rare on a Beatles recording that its inclusion is strange.)", "\n\nAs the end approaches, Ringo takes over with fills, and he defines the final moments—guitar heaven becomes drum nirvana. ", "The drumming he has been slinging into the sound at every entrance is like small pelts of compressed tension and release, and it's difficult to imagine the track without it. ", "But the final drum spot condenses his other fills into a solo of imaginative breaks: triplets here, tom-tom rolls there, filling up each opportunity with rhythmic commentary on the riff that has driven the entire song. ", "Even Paul's hidden bass ad-libs (left channel) don't match Ringo's ingenuity. ", "His timing shows just what attentive drumming a track like this requires, and it is among Ringo's finest moments.", "\n\n\"WE CAN WORK IT OUT\" exemplifies the Lennon and McCartney collaborative technique of joining two separate parts to form one larger whole. ", "Only \"A Day in the Life\" is a better song in this vein, with their swan song \"I've Got a Feeling\" neatly reversed as a kind of teaser. ", "Its structure is simple: Paul sings the verses, Lennon sings the bridges. ", "It's the details that are telling: Paul's verses are hopeful, they're in major and have a steady backbeat; Lennon's bridge is in minor, the sentiment is frustrated, and the rhythm jumps into double time. ", "The two are linked by a small triplet figure that comes at the end of each line in the bridge, an oom-pah-pah merry-go-round of a musical image that conveys the futility of the argument. ", "Everything follows this basic design: the harmonium that Lennon plays throughout swells with optimism during the verse and holds single notes which unravel during the bridge. ", "Paul sings his verses alone; Lennon sings his bridge with upper harmony. ", "Where Paul is laid back, Lennon is impatient; where Paul is cheerful, Lennon is doubtful (\"I have always thought that it's a crime . . .\").", "\n\nThe tension between the two sections gives it ironic appeal: the song is about an argument, presumably in a love affair (although not confined to one), which turns into an argument between the two songwriters. \"", "We Can Work It Out\" is really about noncommunication, and it makes its point most strongly in the way it fends off its own resolution. ", "The arguments go full circle: as a musical conclusion, the oom-pah-pah figure from the bridge is played in the verse's major. ", "All their previous songs point toward this opposition of viewpoints, but nothing unites them in terms that so explicitly threaten a falling-out.", "\n\n#\n\nSTATES OF MIND\n\n_**Paperback Writer**_ (Paul)/Rain (John) \n _Released: June 10, 1966_\n\n**REVOLVER** _Released: August 5, 1966_\n\nBY 1966, public demand for the Beatles seemed insatiable. ", "They continued plans for a third full-length motion picture, to be called _A Talent for Loving_ , and they toured Europe and America. ", "But the crowds' constant din was becoming unbearable, and the Neanderthal amplification technology constantly prevented them from hearing themselves adequately. \"", "Don't try to listen to us,\" John is quoted as saying in Germany, \"we're really terrible these days\" (Norman, p. 261). ", "By not showing up at a Marcos state dinner in the Philippines, they were forced out of the country as embarrassments. ", "In America, a furor arose over Lennon's \"We're bigger than Christ\" statement, and they received death threats on the road as their records were burned throughout the Bible Belt. ", "Their notoriety was not only distracting, it had become dangerous. ", "Their performances at San Francisco's Candlestick Park would be their last.", "\n\n_Revolver_ singlehandedly made Beatlemania irrelevant—there was no longer any need for touring to keep the idea of the Beatles alive. ", "It is so clearly the work of _recording_ artists that the idea of them running through their hits on that last tour now seems ridiculous, a compromise of all the creative progress they had made in the studio.", "\n\n## **_Paperback Writer_** (Paul)/Rain (John) _Released: June 10, 1966_\n\nTHE LUST FOR FAME in \"Paperback Writer\" is stripped of the innuendos that make \"Drive My Car\" a sporty come-on. ", "The singer needs \"a break\" and has ambition to burn, but it's all for easy money; the plot summary gives him away as a hack: \"It's a dirty story of a dirty man/And his clinging wife doesn't understand. . . .\"", "\n\nThe choirboy spoof in \"Doctor Robert\" is self-reflective in \"Paperback Writer\"—the vocal collage that blossoms from Paul's centered lead and accretes from left and right is resplendent but self-centered and hollow, like the lyric. ", "George's delicious lick (the kind of rhythmically playful riff that \"Day Tripper\" perfects) interrupts the hanging vocal reverberations, teased and driven by Ringo's suspenseful backdrop, and the verse enters after a daringly brief bass fill as they all fall into the first big downbeat. (", "Paul's bass is mixed left, allowing him to play off of the ensemble's rhythm track on the right.) ", "The grandiosity of the opening cascade is so thrilling that they bring it back after each verse. ", "Like that of the Beach Boys' \"Good Vibrations\" (released later the same year), the vocal effect is so disarming that the words are almost beside the point.", "\n\nWhat first sounds as innocent as a \"la-la\" background vocal behind the second verse slowly emerges as John and George singing \"Frere Jacques,\" a farcical backdrop to McCartney's daft cynicism. ", "The bass solo that Paul gives himself going into fade-out groove draws out his quick rolls into a dramatic figure that accentuates by resistance; he slows to pull back from the downbeat like a horse rearing at the tightening of its reins, suspending the fall. ", "The remaining title-line dialogue pits Paul (double-tracked in the center) against John and George (left) repeating the title in squeaky falsetto, scooping up the fourth time for shape just before the sound disappears.", "\n\nLENNON'S B SIDE IS the first stirring of pop psychedelia. ", "David Laing writes that \"Strawberry Fields Forever\" depicts a \"landscape of the imagination,\" and \"Rain\" anticipates that setting musically the way \"Lucy in the Sky with Diamonds\" fulfills it visually. ", "The beat is deliberate but never circumspect (it's slower than even \"Eight Days a Week\"), a dreamy tug that casts a lulling spell. \"", "Rain\" matches the Byrds' \"Turn, Turn, Turn\" for texture and thrashes it with instrumental authority.", "\n\nRingo's five pert raps on his snare drum (two plus three) coil the understated allure of the track into a commanding opening gesture: \"My favorite piece of me is what I did on 'Rain,' \" he told Max Weinberg. \"", "I think I just played amazing. ", "I was into the snare and high-hat. ", "I think it was the first time I used this trick of starting a break by hitting the high-hat first instead of going directly to a drum off the high-hat\"—the same device he uses in \"Wait\" (p. 181). ", "The arpeggiated (as opposed to strummed) guitar gives the texture its space, creating a web of sound in the center that the bass hovers over in the right channel. ", "Paul's bass is even more prominent that it is on \"Paperback Writer\": there it stood off on its own and took a couple of small breaks; here it's an essential part of the melodic fabric, playing off the guitar instead of the other way around. ", "His perpetual interplay adds a third instrumental line to the dialogue between Lennon and his backup singers.", "\n\nDuring the second verse, Ringo's drumming swells into inspired flourishes of rhythm, from the cunning reversals (high-hat preceding snare) to the way he plays right through a downbeat (on the repeat of the line \"when the sun shines\"), throwing the meter completely off. ", "He hooks back up with the others just before the refrain.", "\n\nThe refrain sustains tension on the words \"rain _____\" and \"shine _____\" toward the relief of \"I don't mind\" and \"the weather's fine.\" ", "But the texture implodes: voices hold the word \"rain\" in harmony, dipping with every two beats as the music sways against the pedal point (similar to the kind of harmonic contrast Harrison uses in \"If I Needed Someone\"—bass static as the harmony shifts above it); Paul's bass pulses along as the lead instrument even though it's only playing one note; the guitar changes from arpeggios to straight strumming; and the drums drop out completely except for the closing high-hat. ", "As the music glides into the nearest landing point (\"I don't mind\"), Ringo pulls the beatless undulation together with a fill that sounds like he's running to catch up—there's a slight drag that gives his arrival a thwarted accent the first time around.", "\n\nThe plateau they land on has so much give that Paul bounces off of it—the spacious texture and tempo turn into a springboard for his bass playing. ", "At the top of the third verse (after the first refrain), the formula is set, and Paul simply takes off, filling up the second refrain with triplets instead of the steady one-note lead he played the first time around, adding extra pull to the already ebbing tug. ", "After the fourth and final verse, the motion stops for an out-and-out bass solo with drums. ", "It's not elaborate or virtuosic (the way his playing in the rest of the song is), but it highlights the role the bass can play in creating a rhythmic and melodic undertow. ", "McCartney's vocal gift is supreme—his melodies seem effortless—and this lyrical temperament lends his bass playing an unparalleled sense of line. ", "His bass turns into an independent part of their ensemble, and the Beatles' command of textures grows geometrically.", "\n\nAfter Ringo and Paul's interruption, Lennon ornaments the closing fade with a new favorite sound:\n\nI got home about five in the morning, stoned out of me head.", "I staggered up to me tape recorder and put it [\"Rain\"] on, and I was in a trance in the earphones, what _is_ it, what _is_ it. ", "Too _much_ , you know, and I really wanted the whole song backwards . . . ", "so we tagged it onto the end. ", "I just happened to have the tape the wrong way round. (", "Lennon in _Beatles Forever_ , p. 55)\n\nBy running the vocal track backward at the end, Lennon gives the illusion of the track starting over again, only in the wrong direction—the rest of the band moves forward while Lennon spins the record against the needle.", "\n\nAlan Watts, Lennon's favorite philosopher, writes that reality is a spectrum of wavelengths, and that our human senses limit us to \"receiving\" just five of them. ", "But because we are able to tune in to only a very small portion of this larger network of living vibrations, Watts holds, everything beyond what we call \"real\" remains a vast illusion: \"I can show you that when it rains and shines/It's just a state of mind . . .\" \"", "Rain\" is as much about attitudes as it is about how nature strikes our senses—with a line as suggestive as \"They run and hide their heads/They might as well be dead,\" Lennon isn't singing about the weather. ", "During the sixties, every \"they\" implied an \"us,\" an establishment and a counterculture. ", "What \"they\" are running from (perceptive experience) and what \"they\" are missing (life) in the verses plays off the laid-back advice of the refrain: \"I don't mind . . . ", "the weather's fine . . .\"", "\n\nBy pitting a backward tape against a forward-moving ensemble, Lennon demonstrates his philosophical message with a musical metaphor. ", "The dreamy effect of running tapes backward enhances this aural illusion with contrary motion—two directions at once. ", "Rain is just as much a \"state of mind\" as music is.", "\n\n## **REVOLVER** _Released: August 5, 1966_\n\n_Rubber Soul_ has a romantic astonishment, the echoing realization that teenage quandaries don't dissipate with age; they dilate. ", "Starker realities intrude on _Revolver:_ embracing life also means accepting death. ", "The first track to be recorded was \"Tomorrow Never Knows,\" in April 1966, and it bore the working title \"The Void\"—an image each of these songs circles around. ", "They link a disillusioned view of the modern world (\"Taxman\") with a belief in metaphysical transcendence (\"Tomorrow Never Knows\").", "\n\nHarrison's \"Taxman\" dances on avarice that makes death ignoble; Eleanor Rigby and Father Mackenzie are chaste strangers cast off from the world by age and neglect, brought together only by the empty ritual of Eleanor's burial. \"", "I'm Only Sleeping\" waves off reality's nightmare; \"Love You To\" encourages spiritual awareness but contains the most bitter line on the record (\"There's people standing 'round/Who'll screw you in the ground\"). ", "The intensity of \"She Said She Said\" is Lennon in a neurotic deadlock, mourning the passing of his youth as the wish for innocence continues to haunt him; it sums up three stages of life in rhythmic apposition. \"", "Doctor Robert\" equates narcotics with religion; \"I Want to Tell You\" makes an earnest plea for human connection; and \"Tomorrow Never Knows\" turns to spiritual ecstasy as the only way out.", "\n\nBut if the overall tone of _Revolver_ is bleak, it is far from disheartening: \"Here, There and Everywhere\" and \"Good Day Sunshine\" are beams of romantic light shadowed by \"For No One\" 's sober awakening. \"", "Yellow Submarine\" reclaims childlike pleasures in a pretend underwater diversion, and \"Got to Get You into My Life\" grounds the experimentalism of \"Love You To\" and \"Tomorrow Never Knows\" in the affirmative pulse of rhythm and blues. ", "In its progression from dismaying experience through romantic and comic asides, _Revolver_ moves from Western practice to Eastern thought, from outward predicaments to the calming inner universe of the mind.", "\n\nThe Beatles' best album is also their most artistically compromised by the Capitol edition. ", "Only three songs from the British edition are omitted, but all three happen to be Lennon's. ", "The result more than disrupts the intended flow of the record—it confines Lennon's presence to the last cut of each side. ", "With five Lennon tracks on the Parlophone sequence (instead of just two), his side endings sound less extremist, part of a larger process instead of a sudden swing to the surreal.", "\n\nThe cover depicts the four Beatles' faces looking away from each other, connected in the middle with a cornucopia of black-and-white images pouring from the center of their collective consciousness. ", "Klaus Voorman, their Hamburg friend and bassist for Manfred Mann, sketched the surrealism of psychedelia with none of its color. ", "As on _Rubber Soul_ , the four faces are \"so instantly recognizable,\" Philip Norman writes, \"it was not thought necessary to print their collective name\" [p. 269]. ", "The back photo shows full faces, shaded by the hip modesty of sunglasses and cigarette smoke.", "\n\nGEORGE COUNTS OFF \"Taxman\" in a low sneer that cuts through the off-mike studio noise behind him: fingers on live guitar strings, coughing, the expectancy of a take in the air. ", "George's forefront voice is just a fake, though—the real count-off comes from the background (left). ", "The two tempos not only trip up expectations as to where the beat will land; they gives a sense of space to the recording: the tension between what's heard in the foreground and how it's actually produced behind the scenes. ", "The opening count-off of the first record, _Please Please Me_ , captured the essence of the Beatles' live sound; \"Taxman\" uses the same idea to announce the new studio aesthetic of _Revolver_. ", "It's more than \"a symbolic gesture underlining the loss of innocence—both musical and social—which had occurred between the two albums,\" as Terence O'Grady writes; the backstage moment gives the album's conceit away: the difference between live and recorded sound comments on the Beatles' own career as it evokes the detachment modern man feels from the world that surrounds him.", "\n\nThe opening kicks have more than a little edge to them; they're playing with real anger, and George's voice is poisoned with acridity. ", "In a schoolmarmish tone (\"Let me tell you how it will be\") he mocks the taxman's rampant greed, with no hint of the delicate smugness he saves for \"Piggies.\" ", "The breaks after each line where the band anticipates the hook of \"Taxman\" are sharp, incisive jolts of energy that contrast with the matter-of-fact dryness of Harrison's voice—he's angry too, but the best he can advise the dead is to \"declare the pennies on your eyes.\" ", "The stop-and-start guitar part is melded with Paul's bass, giving the line motion where the other instruments click with mechanical precision.", "\n\nA tambourine is added to this basic texture on the first part of the second verse, a cowbell during the second part. ", "Paul's bass playing on this verse comes unhinged in a series of lickety-split riffs. ", "The third verse is completely rewritten melodically to incorporate a call-and-response dialogue between the background singers and the lead (\"If you drive a car/I'll tax the street\") that builds to the frenzied intensity of the final \"taxman!\" ", "they all sing together. ", "The guitar solo that bursts out of all this fevered stress sears from the right channel with a vengeance, and the nondiatonic notes it bristles through leave a sour smell in the air.", "\n\nAfter another refrain, the lead guitar on the right swings into the accompanying riff with the ensemble on the left, and the backup vocals chime in with swipes at Mr. Wilson and Mr. Heath (prime minister and leader of the opposition, respectively—Harold Wilson had nominated them for their Members of the Order of the British Empire [MBE] royal citations in 1965). ", "Background \"shoo-wop\" nonsense asides are turned into darts thrown at two-faced politicians. ", "Everything condenses near the end: lead guitar adds extra bite; background vocals rile every held note. ", "The final \"And you're working for no one but me\" takes it into the fade-out, which trails off with the guitar wailing and writhing as the sound dies.", "\n\nTHE OPENING VOCAL strains of \"Eleanor Rigby\" greet the listener at point-blank range, the \"ah\"s aren't soothing, they're aching, and the sudden drop in the cellos after the first line sinks the heart along with it. ", "The choice of a string octet weighs the sentiment down as it strengthens the tone—the lithe quartet of \"Yesterday\" darkens into pathos, expressing a loneliness far greater than heartache.", "\n\nThe imagery defines isolation: in the first verse Eleanor \"picks up the rice in the church where a wedding has been\"—a sad figure left out of a happy occasion, a fading woman sifting through remnants of a celebration of youth and new life. ", "She \"waits at the window, wearing a face that she keeps in a jar by the door.\" ", "Father Mackenzie's life in the second verse is no less futile: writing a sermon for no one, \"darning his socks in the night when there's nobody there\" as the string arrangement elaborates slightly on its terse, marching staccatos. ", "In the final verse, the two characters are brought together: Eleanor has died with nothing but her name, and after her burial Father Mackenzie wipes the dirt from his hands, thinking to himself that \"no one was saved.\" ", "The strings on the last verse reach a gorgeous poignancy: a high note rides over Eleanor's burial, joined in syncopation by the middle strings at accented entrances; the cellos comment on Father Mackenzie's grim expression as he walks from the grave, doubling McCartney's voice an octave beneath it. ", "In the final refrain, Paul doubles his own voice in the left channel, counterpointing his lead with distant resignation to the despairing story he has just told.", "\n\nAs in Lennon's \"Nowhere Man,\" the vocal refrains that erupt in major contradict the aching loss etched out in the minor verses, and there's a sadness and compassion for the world here that overwhelm the personal scope of McCartney's \"Yesterday\" and \"And I Love Her.\" ", "Along with \"For No One,\" \"Eleanor Rigby\" offsets his other _Revolver_ songs (\"Here, There and Everywhere,\" \"Good Day Sunshine,\" and \"Got to Get You into My Life\") with a tragic realism and makes his optimism sound more well-rounded. ", "The corruption of \"Taxman\" and the utter finality of Eleanor's fate makes the world of _Revolver_ more ominous than any other pair of opening songs could.", "\n\nTHE DOWNWARD STRUM on the acoustic guitar that starts off \"I'm Only Sleeping\" occurs simultaneously with the vocal entrance. ", "The delayed downbeat has no preparation: before we can blink we're well into the first verse, and the effect is of being awakened in the middle of a dream. \"", "I'm Only Sleeping\" captures the bleary-eyed mood of returning to consciousness after a midday nap, and everything about the song is drugged with weariness, from the laid-back drumbeat to the yawning bass solo at the end of each refrain. ", "Even the run-on lines (\"Please don't spoil my day/I'm miles away/And after all I'm only sleeping\") drag the beat down instead of picking it up (as syncopations normally do by building tension).", "\n\nThere are two worlds in this song: the dreamy desires of the subconscious that come with sleep, and the intruding consciousness of reality. ", "The link between the two is a guitar, distorted and twisted to seem illusory—the surreal presence it takes on when heard backward. ", "It enters in the second verse (during \"Running everywhere at such a speed\"). ", "After a truncated \"bridge\" (\"Keeping an eye on the world going by my window/Takin' my time . . .\"), ", "it re-enters for a hallucinatory solo. ", "Lennon adds a drowsy gape over Paul's bass solo the second time around before the bridge returns with even more sluggish kicks. ", "The backward guitar is brought back for the fade-out as Lennon drifts back to sleep. ", "It's the album's first image of escape.", "\n\nTHE DREAM WORLD that \"Fm Only Sleeping\" wanders off to is where George's \"Love You To\" begins: out of time, full of space, and rich with unorthodox pop textures. ", "The sitar flourishes in the opening moments make the sitar in \"Norwegian Wood\" sound like a normal part of a rock band—it's the first Beatles track where traditional Western instruments aren't even alluded to. ", "Building on the Indian musical raga principle of repetitive droning that slowly grows into virtuosic improvisation, Harrison crams the Eastern philosophy of time as a dimension to be passed through into the Western economy of wit—the pop structure. ", "The expansive introduction breaks into a brisk meter that accelerates with each solo. ", "The refrain melody (\"Love me while you can\") is answered in the sitar as the meter diminishes (from to ¾ and finally before the verse returns). ", "Integrating foreign musical cultures is a tricky affair, as some of Harrison's later work demonstrates, but here the crossover is appealing. ", "George's obvious infatuation with Eastern values and sounds makes \"Love You To\" a fresh invention. ", "It's a bold move from him, trading in the religion of Chuck Berry's guitar for Ravi Shankar's meditative sitar.", "\n\nPAUL'S \"Here, There and Everywhere\" domesticates Harrison's exoticism with the record's first straightforward love song, written with the conciseness of a Rodgers and Hart classic: the first verse is built around \"here,\" the second verse around \"there,\" and the bridge leaps to a new harmonic ground for \"everywhere.\" ", "The two key areas of the song are parenthesized in the disarmingly simple four-bar introduction (\"To lead a better life\" in G major, \"I need my love to be here,\" in B-flat, returning to G for the first verse). ", "Paul's double-tracked vocal (on both channels) is supported by a slight instrumental accompaniment on the right, but it's the background harmonies that paint a smooth surface for his voice to glide over during the verses.", "\n\nOn the line \"I want her _everywhere_ ,\" the melody climbs gracefully to the new key area for the bridge, and the background vocals drop out to emphasize the change in altitude. ", "A brief mandolinlike guitar phrase shadows the vocal on the minor harmony (on the words \"but to love her is to need her . . .\") ", "before the return to the verse, which settles back into the original key by altering that same minor back into major (again on the word \"everywhere\"). ", "The turn from minor to major—and from the key area of the bridge to the original key area of the verse—is the simplest kind of musical pivot, the alteration of a single note (the B-flat of G minor becomes B natural for G major).", "\n\nA low harmony is added for the last bridge, and finger snaps lead the song home into its conclusion, where the first words of each verse are joined together for the title-line codetta. ", "The end melody is a subtle touch: a descending French horn figure is added in the right channel—its brief appearance anticipates the horn solo in \"For No One.\" ", "These sophisticated moves drape a seductive ease atop the underlying harmonic frame. ", "It is the most perfect song that Paul has yet offered, and it remains a standard of measure for others of this ilk that will follow (like the relatively egregious \"My Love,\" or \"Warm and Beautiful\" from his solo career).", "\n\nFROM THE GRACE of Paul's tenor to the nasal honk of Ringo's throaty baritone is a leap only the Beatles could make successfully, and the comic relief of \"Yellow Submarine\" adds to Ringo's playful appeal even on the heels of one of Paul's finer moments. ", "Ringo sings his opening line flat, but with such literal relish that it punctures the romantic aura much better than the existential angst of \"She Said She Said\" would.", "\n\nPaul was interested in writing a children's song, but he realized that \"Yellow Submarine\" was too arch to be sung straight (imagine any other Beatle singing this song and something less loopy springs to mind). ", "Ringo carries it like he has every other track he sings, with humor and self-effacement; but this is really his first chance to take an original and plant his personality on it. ", "On the first album, \"Boys\" is a self-propelling Shirelles cover: \"I Wanna Be Your Man\" is a token original thrown to him for the second album; \"Honey Don't,\" \"Matchbox,\" and \"Act Naturally\" are affectionate rockabilly covers; and \"What Goes On\" so resembles that style that it outcamps its American models only by being an original. \"", "Yellow Submarine\" sounds as though enough of Ringo's dopey simplicity had rubbed off on Paul for him to knock off something exactly suited to his drummer's humble charm.", "\n\nThe track is one big Spike Jones charade, from the oceanic sound effects to the underwater band and \"Full speed ahead!\" ", "clowning. ", "The jeering echoes that Lennon adds for the last verses turn it into a sailor's drinking song: there's so much Goon humor in them they become an irresistible part of all the jousting. ", "And as light as the song is, the Beatles give the refrain a taut vocal arrangement that leaves the last syllable of each refrain dangling (the unresolved sixth on \"yellow submar _ine_ \"). \"", "Yellow Submarine\" doesn't subvert _Revolver's_ darker moods; it provides joyous distraction from them.", "\n\nTHE RIDICULOUS IS suddenly shattered by the traumatic: the outwardly harnessed but inwardly raging guitar that unleashes \"She Said She Said\" has a commanding emotional weight. ", "Part of the song's complexity is its primal urge: the wish for innocence. ", "A woman glibly tells the singer she knows what it's like to be dead; the singer shoots back that she's making him feel like he's never been born. ", "His thoughts become scattered, and the confrontation sets off nagging worries and renewed aggravation; the exchange is trivial, but what it summons up is overwhelming—her smugness makes him feel impossibly small and defenseless. ", "The intensity is palpable; the singer is wrestling with feelings he barely understands—inadequacy, helplessness, and a profound fear. ", "Because Lennon so obviously feels these emotions as he plays and sings them, the music is a direct connection to his psyche.", "\n\nThe beat is neither tight nor chaotic but constantly lunging between the two. ", "Ringo's drumming takes the sting of the opening guitar and diffuses it behind Lennon's opening line—he settles into a loose groove for the downbeat preceding \"I know what it's like to be dead.\" ", "The kicks that try to bridle the surges for the concluding line, \"And she's making me feel like I've never been born\" (echoed in the lead guitar), wind up disrupting things even further: the syncopations across the bar draw attention to the beat as much as they seek relief from it.", "\n\nMelodies intrude on each other with panicked circularity. ", "The opening words of each verse (\"She said\") encase the interval of a fifth that the opening guitar outlines; phrases are extended from eighth notes into triplets (\"I know what it _is to be_ sad\") to intensify the rhythmic stress, the thin line between confidence and anxiety. ", "After the second verse (\"I said\"), the bridge suddenly overtakes the meter by shifting into a completely different rhythm: the pulse shortens to three as Lennon leaps to the climactic \"When I was a boy\" (mimicking the opening guitar scale). ", "For a moment (\"everything was right\") the ¾ meter seems to stick; but just as quickly, and with no preparation, the backbeat (in four) returns with the verse. ", "It's as drastic a musical equivalent as there is for a sudden shift in mood, and the effect is schizophrenic. ", "Lennon will drop a beat to throw expectations (for fun in \"Everybody's Got Something to Hide, Except Me and My Monkey\"), but only in \"Happiness Is a Warm Gun\" does he take the beat further, pitting one rhythm in the band against another in the drums.", "\n\nIn \"She Said,\" this literal idea is placed next to the colloquial phrase, he hasn't been born yet, meaning he's so naive and ignorant. ", "And the meaning of this phrase gets a new equivocal dimension. ", "We begin to wonder whether birth is just a physical event, or whether it's some spiritual leap into a higher wisdom. ", "Then, a little further in the song comes the line, \"When I was a boy, everything was right.\" ", "This tugs us back into the physical temporal dimension in which he is born, and then is a boy and finally the man who is singing the song. ", "The way in which the song moves from one kind of reality to another is like the way the pieces of a kaleidoscope form a new pattern each time you look at them. ", "In the song as a whole, the traditional certainties of the love song's systems of metaphor have become ambiguous and begun to crumble. ", "Standing beside them is a new mode of apprehension, using words (sometimes the same words) in fidelity to a different kind of experience. (", "Laing in _The Sound of Our Time_ , pp. ", "127–8)\n\nLaing's description of the song's temporal and spatial inferences are drawn by the beat: the instant Lennon sings the word \"boy,\" the meter changes; and the instant he returns to the conversation with the woman in the verse, everything reverts to the initial (although unsteady) backbeat. ", "The contradictory emotional states these rhythms conjure up—the frustrated pull between idealized innocence and the overbearing complexity of a deeply personal disillusionment—are framed by the inevitable stages of human life: birth, middle age (the singer/narrator), and death.", "\n\n\"She Said She Said\" raises unspeakable fears from the subconscious (Is death a mockery of birth? ", "Does life ultimately cheat us all?) ", "and poses them as essential questions. ", "In \"Money,\" Lennon cried out for all the freedom that life can give; in \"She Said She Said\" he acknowledges all of life's chains. ", "In expressing rage and conflict in such demanding terms, \"She Said She Said\" finds a certain liberation—a rush of amorphous feeling finds expression, if only briefly. ", "At the core of Lennon's pain is a bottomless sense of abandonment, the same primal loss that gets recast in \"Strawberry Fields Forever\" and again in \"Julia\" and \"Mother.\" ", "All these songs have constricted facades and deep, irrepressible subtexts of hurt. ", "None of the loose ends are tied up in \"She Said She Said\"; they're simply left squirming as vocal elisions fold into each other and the band jumps into double time. ", "By ending side one with this song, the Beatles continue the moods of three earlier songs (\"Taxman,\" and \"Eleanor Rigby\" and \"Love You To\"). ", "The love song (\"Here, There and Everywhere\") and the romp (\"Yellow Submarine\") are concluded with animated despair.", "\n\nSIDE TWO BEGINS with the expectant pulse of guitar and piano; before the drums usher the sound into the refrain, the mood is hushed, a spring waiting to be released. ", "The exclamation of the refrain deserves such suspense, and it bursts through with all the warmth of the sunshine it describes. ", "Unlike the unhinged giddiness of \"She Loves You,\" the restraint of \"Good Day Sunshine\" is mature, and the soft-shoe verse that follows (in a different key area) has just the right amount of camp to it. ", "Other Beatles songs that celebrate nature (\"Here Comes the Sun,\" \"Dear Prudence,\" \"Mother Nature's Son\") don't have the same playful soft focus. ", "With pianos double-tracked on both channels, there's no need for guitar; the song points toward the pub-band charm of \"When I'm Sixty-four,\" and if it weren't for the vibrant colors of the harmonies on the refrain, it would be positively as old-fashioned. ", "The ragtime piano solo that caps off the second verse (replacing a second stanza) is round with Joplinesque pleasure.", "\n\nThe two-key layout resembles that of \"Here, There and Everywhere,\" only simplified: the romantic verses in A major are bathed in the warmth of B major for the refrain (the last line hinges on E major, the common harmony between the two). ", "Ringo's kicks gently prod more than they jerk at the motion—modesty is its ultimate appeal. ", "The final refrain has one of the few modulations (up one step for effect) in the entire Beatles catalogue. ", "Voices cascade over other voices as they enter from different directions, like sun peeping through the trees (first center, then right, and finally left). ", "The cornucopia of vocal colors expresses all the unexpected pleasure of falling in love.", "\n\n\"AND YOUR BIRD CAN SING\" pits a forceful rhythm behind a magnetic guitar riff—everything sticks to it—and the lyrics are at once patronizing and sympathetic. ", "The sensory images from \"Nowhere Man\" have more bite, more assertiveness, and more groove. ", "Lennon's voice is double-tracked onto both channels, and the bass counterpoint to the guitar's perpetual lead creates a texture that is both constantly in motion and handsomely controlled.", "\n\nIn the verses, Lennon cuts his subject down to size: it's a shaded putdown song, not far from Dylan's \"Positively 4th Street\" (1965). ", "The vocal harmonies that join Lennon's lead on every title line add a shimmer to their pungency; the title line is mock singsongy, and Lennon's voice strains on the word \"me,\" the implied rejection. ", "He's upset about the lack of human connection the way George is in \"I Want to Tell You,\" but he retreats from derision in the bridge (in minor):\n\n_When your prize possessions \nStart to weigh you down \nLook in my direction \nI'll be 'round \nI'll be 'round_\n\nAs in \"Nowhere Man,\" Lennon's compassion is never far from his anger. ", "The song's subject possesses everything she wants, but she doesn't \"get\" (i.e., understand) Lennon; she's seen the seven wonders, but she can't \"see\" (or empathize with) him; finally, she can hear every sound there is, but she can't hear (or communicate with) John. ", "The second verse links the sense of sight with the color of her bird (green—John's color code for envy; c.f. \"", "You Can't Do That\"); the third verse uses the sense of hearing, \"and your bird can sing.\" ", "The compression of images allows wordplay: \"And your bird can _sing_ \" in the first verse follows the line about possessions (\"Tell me that you've got everything you want\"), but not the last, which alludes to hearing (\"Tell me that you've heard every sound there is\"). ", "The first verse anticipates the final verse's region of perception and takes the sound associations one step further: \"your bird can sing\" is changed to \"your bird can _swing_ ,\" from listening to music to dancing to it, Lennon's favorite image of freedom.", "\n\nThe guitar solo is fluorescent irony. ", "In a song about joy this fluidity would be celebratory; in the context of Lennon's nose-in-the-air arrogance, though, it glitters with supremacy—the sonic equivalent to Lennon's uppity vocal attack. ", "The texture's hypnotic lull owes something to the Byrds (whom John admired), but the Byrds never recorded an original of such sour allure (they actually smooth out Dylan's \"Positively 4th Street\" rather than tart it up). ", "The unresolved (subdominant) chord on which this song ends lets all the tension ride off into the air as Paul stutters toward a stop on his bass.", "\n\n\"FOR NO ONE\" makes the same jarring entrance as \"Eleanor Rigby\"—it's awake and melancholy with dread, the way its unsuspecting lover arises with a headache. ", "The first verse, sung to a lonely harpsichord, conveys the solitude and regret of \"Yesterday\" with more disbelief, more longing. ", "The narrator describes the man's dumbstruck loss in the first stanza, the woman's new life in the second, and the brittle emotion of rejection and disintegrating dreams in the refrain:\n\n_And in her eyes you see nothing \nNo sign of love behind the tears \nCried for no one \nA love that should have lasted years_. . . .", "\n\nThe elegiac horn solo, played by master hornist Alan Civil, comes in the second stanza of the second verse, expressing feelings too piercing for words. ", "The final verse juxtaposes the two lovers in separate lives and then returns to the very first stanza to round the song off.", "\n\nThe lyrical melody plays off of the simplistic piano figure (oom-pah-pah-pah): Paul's voice rises in ever-increasing stretches of yearning until he reaches the peak of the line, which lands on a dissonant note, one that sits outside the harmony it sounds with, and resolves itself only by falling resignedly. ", "The melody itself mixes hope with disappointment. ", "The piano figure for the bridge is another ironic comment on the mood; its predictable broken eighth-note chords contain the emptiness of what the lover sees in his loved one's eyes: nothing. ", "The suspended cadence that is resolved at the end of the bridge is the musical equivalent of a sigh, the sorrow and self-obsession of a lover left behind. ", "The brief echo of the horn solo during the final verse lingers like a lost memory in the lover's consciousness. ", "It ends on its dominant harmony (the same way the preceding song finished on its subdominant) with the same sigh, and its return is irreconcilable.", "\n\nThere were other father figures in New York at that time—the acid doctors. ", "A friend of mine—well, an ex-friend of mine—told me about this terrific doctor where you'd get these vitamin shots—Dr. Charles Roberts. . . . ", "I went one night, got this shot, and it was the most wonderful shot in the world. ", "I had the answer: I mean, it gives you that rush. ", "There were vitamins in it, and a very strong lacing of methedrine. ", "Fd never heard of methedrine or speed. ", "They never told you what was in the shot anyway. ", "It was a slow evolution. ", "I went there first and got a shot. ", "I went a week later and got another one. ", "And maybe one week later I was feeling kind of down, and I went twice a week. ", "Eventually I was going there everyday, and then I was going two or three times a day. ", "Then I went four times a day. ", "Then I started shooting up myself. (", "Joel Schumacher in _Edie: An American Biography_ , p. 260)\n\nIN JEAN STEIN and George Plimpton's oral biography of Edie Sedgwick, the Andy Warhol superstar, Joel Schumacher describes Dr. Roberts of New York City, on whom John Lennon based his song. ", "The doctor was notorious enough— _real_ enough—for the Beatles to get wind of his reputation. (", "This was in the same period when George's dentist dropped acid into after-dinner coffee without telling John, George, or their wives.) ", "The mix has the glossy appeal of the rush of a good drug: it sounds shiny and sweet, like candy, and the lure is as intoxicating as in \"And Your Bird Can Sing,\" only synthetic—the aural sheen is not real, not lasting. ", "The harmonic progression slips and slides around in the same way; we're never sure where home base is because the harmonic ground is constantly changing (from A major, tonic, to F-sharp major, submedian, to B major, supertonic). ", "The only stability comes in the bridge, when the voices gather around an organ to sing the praises of the good doctor. ", "This penetrating satire implicates not only the doctor and his \"patients\" but the listener who gets seduced by the song's tease as well.", "\n\nLennon's lead vocal (again put through both channels) has the bleary, drugged-up feel of an addict. ", "The rhythm guitar continually leans back on the flat sevenths of the chords it belts out, giving the beat a tart, aggressive bite. ", "As in \"I'm Happy Just to Dance with You,\" Lennon's rhythm guitar pushes the song even more than the drums do. ", "McCartney's upper harmony on the second verse (\"He's a man you must believe/Helping anyone in need\") inflects the blase melody with salesmanship, setting the stage for the choral refrain. ", "A lead guitar (right) plays a small introduction to the refrain before the organ enters and everything drops to a pulsing drone.", "\n\nThe refrain has the glowing hue of the Beatles with halos around their heads. ", "They're sending up their own image as incorruptible young men—singing at the altar of the drug doctor. ", "The return to the verse is sudden: the harmonic transition from the refrain back to the verse is prepared, but the shift from High Church to the band happens without warning (the keys pivot off E major from B major back to A major, the same diagram as in \"Good Day Sunshine\"). ", "Lead guitar remains to add commentary, ornamenting the top layer of sound while the bass remains static. ", "The mockery of empty religious values is as severe as the poke at the medical profession, and the two are implicitly linked by the music.", "\n\nThe key angles in the closing fade distort the tracks' harmonic maze: they arrive at B major just as the sound is close to disappearing, blurring the line between proper cutoff and fade-out. ", "It's the fourth Beatles song in a row that ends in a different key than it begins in, satirizing its own key scheme like the \"Sgt. ", "Pepper\" reprise and \"Piggies.\"", "\n\nTHE TRANSITION FROM the blurred ending to the asymmetrical guitar line that opens \"I Want to Tell You\" is as satisfying as the drift from \"I'm Only Sleeping\" into \"Love You To,\" and together they point toward the integration of song segues that makes _Sgt. ", "Pepper_ a continuous stream of sound. ", "George's guitar creeps out of the silence (the opposite of a fade-out), and his syncopated eighth notes and triplets deliberately trick the ear as to where the best will land. ", "It isn't until the drums enter with the solid backbeat that a rhythmic pattern is established—it's the most disorienting introduction to a Beatle song yet.", "\n\nThe lyrics are concerned with communication—and, as David Laing points out, not necessarily between lovers or even friends, but perhaps between artist and audience. ", "This song shuns the \"modern\" anxieties with time and seeks healthy exchange and the enlightened possibilities that lie outside fixed Western temporal boundaries. ", "This is why the song both begins and ends with disruptive rhythmic figures, and why its pivotal climaxes are rhythmic and focused: the repetition of one note on the piano (on the words \"slip away\") penetrates the confusion, the uptight feelings that drag the singer down.", "\n\nThe guitar line is central, the backbone for the esoteric lyrics, and the piano's annoying dissonant figure at the end of each verse disrupts its stability. ", "The piano conveys the frustration of the singer, and its single-note solo is the peace he wants to attain. ", "The last line (\"It's all right/I could wait forever/I've got time\") is the transcendental key: the tension surrounding the exchange in the song need not rely on any rigid measurements of time. \"", "I'll make you maybe next time around\" admits different frames of perspective for different people.", "\n\nThese issues are not explicitly drawn out in the lyric; they rely on the music to help convey their message: \"I've got time\" is sung just after the backbeat stops; \"Maybe you'd understand\" is sung just before the single repeated note in the piano that signifies the wish for relief; and the second time the repeated piano note appears, it's after the lines\n\n_But if I seem to act unkind \nIt's only me it's not my mind \nThat is confusing things_\n\nThe repeated piano note combines what Laing refers to as the \"individualistic, selfish ego\" and the \"mind . . . ", "the Buddhist not-self, freed from the anxieties of historical Time\"—the difference George suggests between \"me\" and \"my mind.\"", "\n\nFor the repetitions into the fade-out, the line \"I've got time\" is repeated in an exultant deluge of voices, freely improvising around the disintegrating beat (or time itself). ", "The constriction of Western time is conquered only by the singer's release from it; and as the sound fades, a single wandering voice dabbles around in a new modality, awash with pleasure (the expressive opposite of the same nondiatonic stretch of guitar at the end of \"Taxman\").", "\n\n_R EVOLVER'S_ MOST DERIVATIVE cut is \"Got to Get You into My Life,\" and it. ", "captures the urgency of rhythm and blues so well that it sounds like a Beatles cover of an old Beatles cover. ", "Everything about this track shows how much they learned from playing material like \"You've Really Got a Hold on Me\" and \"Please Mr. Postman\" and from listening to concise hit-writers such as Berry Gordy and Smokey Robinson and teams like Norman Whitfleld and Barrett Strong (who penned Marvin Gaye's \"I Heard It Through the Grapevine\" and Edwin Starr's \"War\") and Eddie Holland, Lamont Dozier, and Brian Holland (who churned out hits like \"I Can't Help Myself\" for the Four Tops as well as numerous Supremes classics). ", "The vigorous horns, pulsating bass, knockabout drumming, and, above all, the untamed Wilson Pickett vocalisms in the refrain echo the charged brilliance of the Motown and Atlantic labels' finest pop rhythm and blues.", "\n\nA sharp brass passage opens the track with a flash of bravura: with a complement of horns and saxes on the right and the Beatles on the left, the brisk high-hat and tambourine set a clipped pace. ", "Paul's high notes that punctuate the ends of lines are perfectly placed, the \"ooh\"s are ripe with feeling, and the drum fills round off each verse with soulful precision—the gut physicality of Ringo's playing owes a lot to the Motown style of Bernard Purdie. (", "Purdie played with James Brown, Aretha Franklin, and others—and had the audacity to brag that he overdubbed Ringo's rhythm tracks for the Beatles.) ", "When Paul rips into the refrain after the second verse, he defines the moment for himself (the way he did in \"Long Tall Sally\" and \"I'm Down\"): his timing is extraordinary, and the excitement of his emotion is invincible.", "\n\nThe absence of guitar for the first three verses reveals the Beatles as soul purists, but the song's astonishing moment of glory after the third refrain transforms them into futurists. ", "This could well be George's finest moment: the sound of his guitar is dazzling, and the crimped energy he packs into this brief display has angular jabs against the beat that summarize the gritty motion it springs from. ", "He hangs out for the next refrain, laying down tasty ornaments to the jive that surrounds him.", "\n\nAs the track streaks toward its finish, Paul has the last word with his ad-libs, which he economizes by singing the very opening line of the song. ", "The moment is charged—everyone drops out except Ringo. ", "When the ensemble reappears for the fade-out, high organ is added up on top, and the brass players go nuts. ", "Just as the lead trumpeter leaps up for one last high scream, everything disappears.", "\n\n\"TOMORROW NEVER KNOWS\" fades in from that same silence, but it sounds as though it's touching down from a different galaxy. ", "The only Beatles ensemble players are Ringo and Paul, who lay down a feverish groove beneath the chaos as noises, backwards guitars, and eerie bird sounds swoop all around them. ", "The swirls of motion are the product of eight tape loops mixed randomly together for a blizzard effect, with only an occasional organ adding harmonic dashes to the mesh. ", "Lennon's voice is put through a Leslie loudspeaker for a boomy, distancing effect.", "\n\nThe lyric is from a version of _The Tibetan Book of the Dead_ prepared by Timothy Leary as a handbook for people wanting to achieve spiritual enlightenment by taking LSD. ", "Leary's book espouses the drug as a mind-expanding substance, and the words to this song are part of the text Leary recommends reciting to people taking the drug to guide them away from a bad trip toward a good one. ", "The values of transcendence from the material world are similar to those in \"I Want to Tell You\": escaping from the mechanically physical nature of time, the irrelevance of Western \"games\" (e.g., money), and a blissful union with the spiritual realm. ", "The true essence of being is knowing and existing, not cheating, hoarding, or putting the make on other people—and Leary would add that it's quicker with LSD than with simple meditation.", "\n\nLennon achieves the transcendental bliss he seeks in aural terms—who knows how many bad trips it cost him in real life? ", "The track relies solely on the tape effects for its collage of aural color and imagery, and Lennon's vocal delivery actually deflects emotion—he's meant to sound primordial, elemental. ", "The backward guitar solo spins out of the mass of sound, rearranging temporal direction before gliding back into the ether. ", "Lennon sings the final verse through a filter that distorts his detached presence even further; it symbolizes the transcendence through which he supposedly guides the listener. ", "On the other end of reality, Lennon sings:\n\n_That love is all, that love is everyone \nIt is knowing, it is knowing \nThat ignorance and hate may mourn the dead \nIt is believing, it is believing \nBut listen to the color of your dreams \nIt is not living, it is not living \nOr play the game's existence to the end \nOf the beginning, of the beginning, of the beginning, of the beginning_ . . .", "\n\nDuring the fade-out, much of the noise finally drops out and a lone, out-of-tune honky-tonk piano takes the song into the abyss. ", "This is less a self-parody of the message than it is one more random sound tagged on to emphasize the lack of rational hierarchies in the altered state.", "\n\nThe song's slant sharpens the message of the entire record, which moves from cynicism to withdrawal. \"", "Tomorrow Never Knows\" embraces an alternative Eastern \"reality\" as though everything flowed from it—the ecstasy it describes deliberately contrasts the disillusion it follows. ", "In Western culture taxes are a scam, time and money in general are fraught with human corruption, romance and the possibilities of meaningful connections are imperiled, and the untapped galaxies of the mind are the only hope of deliverance from worldly evils. ", "Lyrical and musical circles intrude throughout: the cyclical stages of life in \"She Said She Said\"; the turning guitar line of \"I Want To Tell You\"; the modular key schemes of \"Good Day Sunshine\" and \"Doctor Robert.\" ", "At the end, \"Tomorrow Never Knows\" uses circles of tape loops and swirling sound effects to evoke the idea of death as transition, the end that becomes a beginning.", "\n\nCOMPARED WITH _Rubber Soul, Revolver_ gives the beat more prominence, with quicker tempos and more daring harmonic schemes. ", "The earlier record's tone was softer but its rhythms more involved; _Revolver's_ beat is direct. ", "The guitar solo on \"Taxman\" is at once red hot and alien; the nondiatonic tones hint at the Indian colors of \"Love You To\" and the converging temporal zones of \"I Want to Tell You.\" \"", "Eleanor Rigby\" 's strings are sharper, more accented than on any other Beatles string arrangement except for \"Glass Onion.\" ", "The fatigue of \"I'm Only Sleeping\" only points up how incisive the grooves are in \"And Your Bird Can Sing\" and \"Doctor Robert.\" ", "At the end of side one, the rhythmic assurance of \"She Said She Said\" grounds the entire record with a determined insecurity: the scalar melodies are backed by shifting meters, and as the beat goes from four to three and back to four again, it suddenly gets more powerful. \"", "Good Day Sunshine\" and \"And Your Bird Can Sing\" share angular key layouts, and \"For No One\" and \"Doctor Robert\" follow as a string of four songs that end on different harmonies than they began in. \"", "Got to Get You into My Life\" finds as much redemption in the beat as \"She Said She Said\" finds terror. ", "Only two slow cuts (\"I'm Only Sleeping\" and \"For No One\") resemble the reflective climate of _Rubber Soul_. ", "Part of what _Sgt. ", "Pepper_ lacks is a similar commitment to hard, purposeful rhythms—it dabbles more in textural colors and imaginative fancies than in spirited actualities.", "\n\nBeginning with the celebration of innocence (\"Love Me Do\" and \"I Want to Hold Your Hand\") and moving through uncertainties (\"If I Fell,\" \"I'll Be Back\") and progressively disenchanted poses (\"Help!\", \"", "Yesterday,\" \"Day Tripper\"), the Beatles arrive at an impasse:\n\n[After our concert at Candlestick Park in San Francisco] we decided, no more touring; that's enough of that. ", "I'm not going to put up with it. ", "And I was dead nervous, so I said \"yes\" to Dick Lester, that I would make this movie with him. ", "I went to Almeria, Spain for six weeks, just to . . . ", "because I didn't know what to do. ", "What do you do when you don't tour? ", "There's no life. ", "Because I'd been on the road for . . . ", "well, it wasn't that I wanted to tour so much, but I didn't know what to do. ", "What . . . ", "what the hell do you do all day, you know, I mean? _[", "Laughs]_ So I went, I did the movie which was boring as hell and spent six weeks there. ", "But I was really too scared to walk away. ", "I was thinking, well, this is like the end really. ", "You know, there's ho more touring. ", "That means there's going to be a blank space in the future. ", "At some time or other that's when I really started considering what can one do? ", "Considering life without the Beatles—what would it be? ", "And I spent that six weeks thinking about that. ", "What would it . . . ", "what would it . . . ", "what am I going to do, you know? ", "Am I going to be doing Vegas—I call it now . . . ", "but cabaret? ", "I mean, where do you go? ", "So that's when I started thinking about it. ", "But I could not think what . . . ", "what it would be, or how I could do it, or . . . ", "I didn't consider forming my own group or anything, because it didn't even enter my mind. ", "Just what would I do when it stopped. ( _", "Lennon Tapes_ , p. 11)\n\n_Revolver_ celebrates life mostly in terms of evasion—the dream world of \"I'm Only Sleeping\" or the childish foppery of \"Yellow Submarine.\" \"", "Good Day Sunshine\" and \"Here, There and Everywhere\" sound like wishful fantasies of happiness compared with the despair of \"Eleanor Rigby,\" \"She Said She Said,\" and \"For No One.\" ", "The layout of their greatest work pronounces its place in the larger journey: from unassuming naiveté _(Please Please Me)_ through experience and disillusion _(Rubber Soul, Revolver)_ toward alternative worlds of escape (\"Tomorrow Never Knows,\" _Sgt. ", "Pepper_ , and _Magical Mystery Tour_ ).", "\n\n#\n\n\"I'D LOVE TO TURN YOU ON\"\n\n_**Penny Lane**_ (Paul)/ _ **Strawberry Fields Forever**_ (John) \n _Released: February 17, 1967_\n\n**SGT. ", "PEPPER'S LONELY HEARTS CLUB BAND** \n _Released: June 1, 1967_\n\n_S GT. ", "PEPPER_ is the Beatles' most notorious record for the wrong reasons—a flawed masterpiece that can only echo the strength of _Revolver_. ", "There probably has been more written about _Pepper_ than any other rock album, and even though now most critics claim either _Rubber Soul_ or _Revolver_ as their best overall achievement, _Pepper_ was the record that made rock criticism worthy of its subject. ", "Purists mistrust _Pepper_ 's airs of respectability—there's no all-out rocker with the thrust of \"She Said She Said\" or \"Got to Get You into My Life,\" and the psychedelic colors in its layered textures come close to flaunting their musical sophistication. ", "It has a degree of self-consciousness throughout that primitive rock 'n' roll snubs in favor of urgency and raw energy. (", "Its proportions were immediately satirized: the Mothers of Invention put out the heavy camp of _We're Only in It for the Money_ , and the Rolling Stones responded with the limp _Their Satanic Majesties Request.)_", "\n\nThe layout is a vaudevillian smorgasbord with something for everybody: songs about friends and courtship, an Indian diversion, a circus masquerade, a dance-hall charmer, and some sentimentality for the old folks. ", "This album is not about ideas in conflict and a growing introspective awareness of life: it's a miragelike reaction to the complexities of both _Rubber Soul_ and _Revolver_. ", "A direct assault like \"Taxman\" would spoil the nonchalant tone of _Pepper_ 's picturesque world.", "\n\nWhere _Revolver_ witnesses corruption and mortality and turns toward withdrawal, _Sgt. ", "Pepper_ begins as light farce and moves toward a sober awakening: \"Tomorrow Never Knows\" is drugged-up mysticism, \"A Day in the Life\" is reluctantly despondent. ", "Only \"Fixing a Hole\" turns indecisive-ness into a lingering quandary; \"She's Leaving Home\" is high melodrama where \"Eleanor Rigby\" is suffused with adversity. ", "The Lennon songs disrupt McCartney's light touch with increasing wariness: \"Lucy in the Sky with Diamonds\" is ultimately about escape, the disturbed \"Mr. Kite\" turns a traveling circus into a ghoulish orgy of the bizarre, and \"Good Morning, Good Morning\" plys real horrors to set up the finale (which functions as an epilogue), \"A Day in the Life.\" ", "When the vaudeville ends, Lennon and McCartney's most successful song montage sets the punctured dream against the overbearing reality to epitomize _Pepper_ 's larger theme: the necessity of fantasies and the danger of indulging in them—the blurring of real and imagined worlds in \"A Day in the Life\" is finally confounding. ", "The restrained power of the finale makes the record somewhat lopsided; Paul's guileless showmanship keeps the receding gigantic chord from sounding hopeless. ", "Ironically, _Pepper_ 's popularity is part of its appeal, and McCartney's entertaining accessibility accounts for its widespread acceptance more than Lennon's intrusive doubts.", "\n\nBecause of George Martin's lavish attention to detail and nuance, _Sgt. ", "Pepper_ remains a very engaging record. ", "Sounds appear unexpectedly, favorite moments are continuously satisfying, and familiar phrases take on renewed freshness with repeated listenings. ", "But the self-consciousness of the record seems to work against it; _Rubber Soul_ and _Revolver_ sound like miracles of intuition by comparison. ", "Where its predecessors sound born to the world, entireties greater than the sums of their parts, _Sgt. ", "Pepper_ is tinged with conceit.", "\n\nIN THE SUMMER OF 1967, _Sgt. ", "Pepper_ was the longest and most expensive recording ever produced in the rock medium, and it is still the all-time grand slam of rock albums if only because of the way it hit the world when it was released on June 1: radio stations competed with one another to see who could air it from start to finish and how often. ", "All across America and much of the world, the sound of the long-awaited new Beatles record rebounded off the airwaves through people's minds, a soundtrack for the Summer of Love.", "\n\nThe closest Western Civilization has come to unity since the Congress of Vienna in 1815 was the week the _Sgt. ", "Pepper_ album was released. ", "In every city in Europe and America the stereo systems and the radio played, \"What would you think if I sang out of tune . . . ", "Woke up, got out of bed . . . ", "looked much older, and the bag across her shoulder . . . ", "in the sky with diamonds, Lucy in the . . .\" ", "and everyone listened. ", "At the time I happened to be driving across country on Interstate 80. ", "In each city where I stopped for gas or food—Laramie, Ogallala, Moline, South Bend—the melodies wafted in from some far-off transistor radio or portable hi-fi. ", "It was the most amazing thing I've ever heard. ", "For a brief while the irreparable fragmented consciousness of the West was unified, at least in the minds of the young. (", "Langdon Winner in _The Rolling Stone Illustrated History of Rock 'n' Roll_ , p. 183)\n\n\" _Sgt. ", "Pepper_ sounds playful but contrived, less a summing up of its era than a concession to it,\" Greil Marcus writes. ", "The music's psychedelia captures a sensibility, an aural picture of the way things used to be; it mirrors the era it was conceived in better than it speaks through time (psychedelic revivals are still, after all, revivals). ", "It spoke most directly to its immediate audience and drew people together through the common experience of pop on a larger scale than ever before.", "\n\n_Pepper_ 's childlike playfulness with images and pictures springs from the songs they began with: \"Penny Lane\" and \"Strawberry Fields Forever,\" two reminiscences of Liverpool. ", "In December 1966 they laid down basic tracks for \"When I'm Sixty-four\" and \"Strawberry Fields Forever\"; \"Penny Lane\" was recorded during the first two weeks of January 1967. ", "All three were intended for the album, but \"Penny Lane\" and \"Strawberry Fields Forever\" were put out as a single to appease the record executives who wanted to bridge the lengthening gap between records, and these were the only three songs from which to choose. ( _", "Sgt. ", "Pepper_ came out ten months after _Revolver_ —a then-unheard-of stretch between releases.) ", "As part of _Pepper_ , these two songs might have relieved some of the artifice. ", "Combined for a single, they became a riveting apposition, signalling the split between Lennoh and McCartney implanted in \"We Can Work It Out.\"", "\n\n## **_Penny Lane_** (Paul)/ ** _Strawberry Fields Forever_** (John) _Released: February 17, 1967_\n\nLIKE \"Day Tripper\"/\"We Can Work It Out,\" this single was labeled a double A side. ", "The conceptual idea embraced by the songs was depicted on the record sleeve: one side pictures the Beatles with their new mustaches, bright lights flashing from behind; the other features photographs of the four of them as children. ", "The two songs refract views of childhood, the same subject igniting two vastly different emotional worlds. ", "This pairing compounds Lennon and McCartney's contrariness—they look at life differently because they experienced _childhood_ differently. \"", "Penny Lane\" is Paul's wistful and somewhat quirky view of urban life; \"Strawberry Fields Forever\" is Lennon's personal reminiscence of abandonment and the struggle toward self-identity. ", "Their coupling is complementary but in some ways incompatible—the sensibilities that were stitched together for \"We Can Work It Out\" now speak the same language in their own separate dialects.", "\n\nIN THE CRYSTALLIZED setting of \"Penny Lane,\" everything is idyllic and precious. ", "The urban workaday life is drawn with characters—a barber, a banker, a fireman, and a \"pretty nurse . . . ", "selling poppies from a tray\"—who symbolize a thrifty, hardworking ethic. ", "The musical atmosphere surrounding them idealizes their provincial charm (the barber displays photographs \"of every head he's had the pleasure to have known\"; the banker carries \"a portrait of the Queen\"), but the tone is as odd as it is ordinary. ", "The middle of each verse is interrupted—the drums drop out, the harmony shifts from the bright major of the opening to a quizzical minor, and a shadow is suddenly cast across the characters' quirks (on the absurdist line \"The banker never wears a mac in the pouring rain,\" the boomerang sentimentality of \"The little children laugh at him [the banker] behind his back,\" and the final clever turn of \"And though she feels as if she's in a play/She is anyway\"). ", "Like the zombie nine-to-fiver he becomes in \"A Day in the Life,\" McCartney romanticizes these people as he measures the inanities of their day-to-day lives: \"very strange.\"", "\n\nWith the three accented impulses that accompany those words, the tonality shifts down one key from the verses for the refrain (from B major down to A major). \"", "Penny Lane is in my ears and in my eyes\": the singer-narrator steps back from his story for a moment and tells us, as Laing puts it, that \"the return . . . ", "is one in imagination,\" in the ears and the eyes of the memory. ", "The refrain becomes an aside from the older man remembering scenes from his youth; the verse takes the listener back to the remembered experience as it lives in the imagination. ", "The same three accented raps, on the words \"meanwhile back,\" return the music to the original key. ", "The two key areas carry the shift in perspective.", "\n\nThe second stanza of the second verse is given over to a trumpet solo—not an ordinary trumpet but a piccolo trumpet, the toy trumpet of the child (a \"real\" trumpet doesn't belong in this imaginative world). ", "The refrain it follows has a different stanza than the first:\n\n_Penny Lane is in my ears and in my eyes \nA four offish and finger pies_— _in summer—meanwhile back_ . . .", "\n\nTrivial associations can set off the most stirring childhood memories. \"", "Finger pies\" is slang for both filching and teenage heavy petting, schoolboy rites of passage; it's the kind of personal detail that McCartney sees himself in—he too feels as if he's in his own play anyway. (", "Penny Lane is a bus roundabout near where they attended school.)", "\n\nThe drama of \"Penny Lane\" follows the outline of \"Eleanor Rigby\": opening verses introduce types and paint their world, and principal players (the banker, the barber, the fireman) are set in motion together at the end (when \"the fireman rushes in . . . [", "to the barber shop] . . . ", "from the pouring rain,\" even though it's the _banker_ who \"never wears a mac\"). ", "As the final refrain approaches, there is a modulation—a musical device the Beatles rarely used as a way of punching up the end of their songs. ", "Climbing one key higher to intensify endings is the musical equivalent of a forced encore, but in \"Penny Lane,\" the modulation is actually a working out of the key areas that frame it: the adult perspective of the refrain (in A) arrives in the verse key (of B) as the piccolo trumpet returns, commenting on the transformation with brisk effusion. (", "On the promotional copy of the single, the one radios aired, the trumpet gets the last word by rounding off the phrase it only begins in the original. ", "This version makes more musical sense.) ", "The summing up of the small drama rests on the musical worlds that come together at the end: the past is brought to life in the present.", "\n\nMcCartney's command of the 45 genre in this song is masterful. ", "From the initial bass flutter to the distant flutes, everything coalesces into a hazy tingle that speaks to the innocent in everybody—it's as perfect as pop gets. ", "The Victorian dance hall overtones make it categorically British, combining an old-world flavor with the modernity of Ringo's cushioned backbeat. \"", "Penny Lane\" survives as a classic because its surface charm masks its structural intelligence—the appeal is as simple and sweet as the youthful glow it recaptures.", "\n\n\"No one I think is in my tree.\" ", "Well, what I was trying to say in that line is \"nobody seems to be as hip as me, therefore I must be crazy or a genius.\" . . . ", "I don't literally mean genius as the things we deify, but as the spirit of genius that can come through anybody at any given time. ", "And if there is such a thing, well, I'm going to _be_ one. . . . \"", "I think it must be high or low.\" ", "What I'm saying, in my own insecure way, is \"nobody seems to understand where I'm coming from. ", "I seem to see things in a different way from most people.\" . . . ", "Surrealism had a great effect on me because then I realized that the imagery in my mind wasn't insanity—that if it was insane, then I belonged to an exclusive club that sees the world in those terms. ", "Surrealism to me is reality. ", "Psychedelic vision is reality to me and always was. (", "Lennon in _Playboy_ , pp. ", "166–169)\n\n\"PENNY LANE\" is detailed and dramatic; \"Strawberry Fields Forever\" is evocative and euphemistic—its meanings are cloaked in surreal images and overlapping musical textures. ", "David Laing writes that the world of \"Strawberry Fields Forever\" is a \"landscape of the mind, not of the world.\" ", "Both songs have an imaginative glow, but where McCartney's recaptures boyhood memories, Lennon's is about a childhood nature irrevocably lost, and he sings it from some deep poetic part of his subconscious. ", "The title is taken from a Salvation Army children's orphanage around the corner from Mendips, his home in Liverpool. ", "He used to hop the fence to play in the broad green lawns, and his Aunt Mimi would take him to the fête there each summer. ", "It was a magical forest to him as a youth, comforting the ominous sense of insecurity he carried around inside, the unrelieved effects of his traumatic parentage. \"", "Strawberry Fields\" is a never-never land where \"nothing is real,\" where there's \"nothing to get hung about,\" but the music overwhelms the words—it's as much about loneliness as \"Eleanor Rigby,\" and is one of the few Beatles songs that de-emphasize vocal harmony. \"", "What was perhaps most disturbing about 'Strawberry Fields,' \" writes Geoffrey Stokes in his biography ( _The Beatles_ , p. 195), \"was the affectless quality of John's vocals; it is as though he wasn't teasing us with a hidden meaning, but was hopelessly confused himself. '", "Strawberry Fields' is less a riddle than a mystery.\" ", "Its sense of dislocation is part of its expressive resonance.", "\n\nA doleful Mellotron droops into the first downbeat bale-fully. ", "There is no story line, only John's lone voice, weary and somewhat distant, meandering with a confused detachment. ", "He's singing about himself while affecting a blase, matter-of-fact surrealism. ", "The dream of innocence is the same as in the middle section of \"She Said She Said\"—childhood as a place where \"everything was right.\" ", "But he can't articulate his angst over the father who left him and the mother who died on him; the vocal performance is painfully distracted in contrast to the assertive sense of self he gives to earlier songs. ", "The texture carries the emotion that the words and the singer grope for, suffocating Lennon's normally uninhibited style. ", "He sounds trapped inside his own emotions.", "\n\nThe music carries the burdens of the text's obliqueness: the Beatles' sluggish electric treatment is transformed into a cello-and-trumpet ensemble after the second refrain. ", "This is George Martin's ingenious splicing of two completely different versions they had recorded, the first with the band, the second with the orchestral instruments. (", "The American edition of this track has the new ensemble enter dramatically, swooping across the stereo spectrum. ", "The splice is heard more clearly in the change of drum timbre on the European mix.) ", "The imbalanced mood that Lennon was after meshes these two versions together as one—the shift in aural tone is as disjointed as the words it envelops, and the two different instrumentations are more troubling than one alone possibly could be. (", "Lennon's voice suffers more distortion from the new mix.)", "\n\nHis confessional is met at every turn by denial, and every denial becomes a lie. ", "Every musical gesture seeks relief, from the shifting stanzaic patterns to the shrill trumpet accents, as the singer tries to talk circles around the hurt he's obviously feeling: \"Always, no sometimes, think it's me/But you know I know when it's a dream.\" ", "The play on \"no\" and \"know\" confuses the pattern of pitting \"always\" against \"sometimes\" and \"know\" against \"think\"; it's there in the next line as well separating \"you\" and \"I.\" Either spelling sows disorientation. ", "The last verse places the vernacular stumble of \"I think I know I mean ah yes but it's all wrong/That is I think I disagree\" next to an irregular cello pattern, making the words fit the music (or vice versa) as if through sheer willpower.", "\n\nThe cellos groan their lines, offsetting the high plucked arpeggio that links the verses to the refrains. ", "A high-hat sound played backward accompanies the line \"No one I think is in my tree,\" as trumpets play the Mellotron part from before. ", "But this is a dissolution of musical elements, not a compression—instead of gaining on the hurt he sings about, he's slowly losing control. ", "Even where Ringo links up empty spaces with wide-open fills, the beat seems to melt. ", "The title is the only lifeline to hang on to: \"Strawberry fields forever, strawberry fields forever.\"", "\n\nAs the lead guitar returns after the final refrain, another electric guitar plays off the cellos and trumpets. ", "After the fade-out a new set of wandering noises comes back in: a snare drum marches judiciously onward; flutes flicker and sputter around a repetitive guitar note. \"", "Strawberry Fields Forever\" gives tentative form to unexplainable feelings, and the telling of the story affects the shape of the story itself (told narratively, the song would refract a completely different experience). ", "The nagging sense of self-doubt just beneath the surface of \"She Said She Said\" is conveyed without self-consciousness here: there's no pretense of cohesion or intimidation. (", "Accompanied simply by acoustic guitar, as can be found on bootlegs, he sounds even more distracted, even more lost in feeling.) ", "Lennon's vocal performance in \"Strawberry Fields Forever\" is spellbinding, and the overall effect is aching, desperate. ", "The man gets lost inside the child, and the child can barely make sense of things.", "\n\n## **SGT. ", "PEPPER'S LONELY HEARTS CLUB BAND** _Released: June 1, 1967_\n\nPeter Blake's _Sgt. ", "Pepper_ cover is one of the best-known works that pop art ever produced. ", "He places the Beatles among the notorious figures and artists they compiled together from the past century, major—recognizable and semi-obscure—icons from G. B. Shaw, Edgar Allan Poe, and Aldous Huxley to Lenny Bruce and Mae West (Elvis Presley and several others were removed for fear of copyright infringement). ", "Its declarative use of popular icons suggests Andy Warhol's pop art, but its eclecticism is straight out of collage-based British pop art. ", "Where Warhol singled out objects like a Campbell's soup can, distorting size, color, and dimension for effect, British artists superimposed the iconography of the postwar commercial boom, romanticizing home appliances and images of success. ", "They turned reality back into fantasy by flipping the commercial ads they parodized inside out. ", "An ordinary kitchen became \"the best of all possible worlds.\"", "\n\nIn _Pepper_ 's funeral pose, art romanticizes the celebrity. ", "If the Beatles weren't bigger than Christ, they were certainly as big as any of the people they posed with here. ", "Their costumes are Victorian band uniforms; the host of immortals they stand with are posing at a grave; and the memorial they are all attending is for the Beatles' former image—they're paying their respects to their own late live career. ", "Their former moptop images, from Madame Tussaud's wax museum, look down on the grave; their former selves become as much of an illusion as Sgt. ", "Pepper's band. (", "At the far left, crowded from the center of attention, is Stu Sutcliffe.) ", "To the right a large female doll wears a sweater that reads \"Welcome the Rolling Stones\"; Stan Laurel peeks out from behind comedian Issy Bonn; Johnny Weissmuller, the actor who played Tar-zan, leers behind Ringo, as Oscar Wilde peers out in back of Lennon.", "\n\nCrowd noise opens the world of _Sgt. ", "Pepper_ , a performance-within-a-performance that satirizes the Beatles' retirement from the live stage. _", "Sgt. ", "Pepper_ makes fun of its own eight-track wizardry: were listening to a pretend audience that is pretending to listen to the pretend Sgt. ", "Pepper's Lonely Hearts Club Band. ", "The mood is expectant, and the opening charge from the band onstage is warm and celebratory. ", "It's the same kind of self-consciousness that makes \"I Saw Her Standing There\" a ritualization of youth; here, they're celebrating show business, and the relationship between the musicians and the home listening audience, which they themselves can only imagine. ", "By turning conventions inside out (an imaginary band, an imaginary audience) the Beatles achieve a scary comic awareness. ", "Sharing this self-awareness with their audience is one of the underlying motives of _Sgt. ", "Pepper:_ dashing the illusions that make them famous by creating new ones. ", "Like the Who's top-forty radio gags on _Sell Out_ (1968), only far more subtly, they parodize the medium through which they speak.", "\n\nTHE TITLE TRACK begins with a razor-sharp guitar lead to a buoyant beat, all on the far right channel—the context is camp, but the tone is rock 'n' roll. ", "Paul plays emcee during the first verse, before horns enter (left) with a Sousa-like flourish that wins an astonished gasp from the canned audience. ", "Then Sgt. ", "Pepper's Band greets us with a string of showbiz clichés (\"We hope you will enjoy the show\") punctuated by a grandiose descending horn solo (after \"Sit back and let the evening go!\"). ", "As the harmonies rise to the quieter section on the words \"It's wonderful to be here/It's certainly a thrill,\" the vocals travel from far left to center—by the time Paul's emcee re-enters, it's as though the band is center stage and Paul is addressing the audience from stage right. \"", "I don't really wanna stop the show,\" he interrupts, more like a circus ringmaster than a pop singer, and throws the spotlight on Ringo (\"the act you've known for all these years\").", "\n\nThe move from flctive band to flctive celebrity (Billy Shears) is made as the screams of Beatlemania hail Ringo's appearance. ", "The high camp gets linked to personal warmth with a single electric guitar that settles slowly into the new tempo of \"With a Little Help from My Friends.\" ", "Ringo's celebrity posture has always included an element of \"this could be you,\" so his first lines, \"What would you think if I sang out of tune/Would you stand up and walk out on me?,\" ", "are more than a perfect opening—they're his most self-revealing moment as a Beatle. ", "He's singing about himself both to his audience and to the band that's backing him up. (", "In Joe Cocker's gutsy cover, these Beatlesque overtones are lost.)", "\n\nPaul's bass is a lead instrument on the right channel; and his fills are not only melodic, they're an essential part of the song—without him, the whole character of the tune would change. ", "As he falls from the line \"Do you need anybody?\" ", "he sets up a high end for Ringo to answer in his boomy low tomtom fill after the first verse. ", "Ringo's ride cymbal on the third verse is the only shift in texture for the entire song: no more is attached to it than necessary; its good nature is open and spacious. ", "Compared with the extravagance that follows, \"Friends\" is simply put.", "\n\nTHE STREAMLINED TRANSITION between \"Friends\" and \"Lucy in the Sky with Diamonds\" becomes a signature of the album: there is barely a thread of silence separating tracks.", "\n\n\"Yellow Submarine\" is a children's song that adults can sing; \"Lucy\" is a kid's song sung to adults. ", "The Mellotron introduction raises the curtain on a playground of ideas, with streaks of bright hues for a musical texture. ", "Even though Len-non's voice is childlike, he plays the calm but awestruck storyteller, describing scenes he finds himself entranced by. ", "The opening line's invitation (\"Picture yourself on a boat on a river\") makes us participatory observers in sustaining the illusion of Lucy's world. ", "The musical colors have no gravity; the singer drifts aimlessly among the images and makes them float in the hazy atmosphere the music provides.", "\n\nPaul's bass is again prominent (right), lending the subtlest interplay with the Mellotron (left) as the track's only rhythm section for the verses. ", "All the other sounds are built on this foundation. ", "A lead guitar (right) shadows Lennon's vocal on the second part of the verse (\"Cellophane flowers of yellow and green/Towering over your head\") as the Mellotron drops out.", "\n\nThe heavy two-three-four drum fill turns the light waltz of the verse into a backbeat refrain (in four) which celebrates the imaginative act itself. ", "The liberating title line transforms everything—it exalts the artful happenstance of child's play. ", "The pleasure behind this serendipity increases as Paul joins Lennon for the high harmony.", "\n\nSurreal images like \"newspaper taxis\" (actually Paul's line) and \"marmalade skies\" are juggled as effortlessly as the musical texture. ", "Lennon immerses himself in the joy of language: unlikely adjectives are coupled with common nouns, trading the despair of \"Strawberry Fields\" for dreamy frivolity. \"", "Lucy\" is his bright, magically escapist exploration of psychedelia, where \"Fields\" and \"I Am the Walrus\" are convoluted and thick. ", "The enigmatic heroine herself disappears as soon as she reveals herself (\"Look for the girl with the sun in her eyes/And she's gone\").", "\n\nThe final verse is cut off early with some sitarlike debris hanging over the last drum call. ", "The closing refrains are ornamented with leaps and rolls from Paul's bass as the sound fades away. ", "At this point in the album, the material world is completely clouded in the mythical by both text and musical atmosphere. ", "The breezy shadings of color in the openness of the mix engulf the listener as the journey from introduction through Ringo's mock autobiography continues into Lennon's looking glass. ", "There's a sense of discovery in these textures that renews the Beatles' approach to sound as it explores ways in which phrases and instrumental images can be shaped by layers of overdubs.", "\n\nTHE CLIPPED OPENING chords of Paul's \"Getting Better\" are upbeat pop confection: he's in love and all is right with the world. ", "There are two small trips in the high guitar (right) that give the intro a twice-four count (one into the second bar, another just before the last upbeat before the vocals enter—without these simple accents, the meter would be obscure). ", "Tunes reign in this song, and the arrangement is tailored to suit the melodies: Ringo enters with the vocals in a mock military shuffle and then delivers a quirky high-hat/backbeat combination for the verse; the bass gives the track a lot of its lift, making octave leaps in the verses and anticipating the chord changes during the refrain by getting there early at each shift; conga drums season the last verse; and there are some fine guitar touches darting in and out of it all.", "\n\nBut vocals carry the day, and Paul sings with the same excitement that made \"Good Day Sunshine\" believably unclouded. ", "Criss-crossing his lead with backups, a clever new vocal texture is found, with sly elisions: the background vocals cry \"Can't get no worse\" as McCartney sings over the \"worse\" with \"Yes!\" ", "There's even a cool high \"oooh\" before the last refrain, a signature from the past. ", "It's a silly love song, but it's his most refreshing—he doesn't drag it out into cloying sentimentality. ", "What it lacks in sweep it makes up for with infectious lyricism.", "\n\nTHE INDECISIVE MAJOR-MINOR intro to \"Fixing a Hole\" maps out its harmonic symbolism: the first part of each verse begins in major and slips quickly into minor, as Paul sings of how repairing leaks sets his thoughts spinning. ", "In the second part of each verse, on the words \"And it really doesn't matter if I'm wrong I'm right,\" the harmony shifts back to major, and a new outlook shines through: satisfaction, self-assurance, and positivism. ", "This is the same kind of dual-key setup that marks both \"Good Day Sunshine\" and \"Here, There and Everywhere,\" only here it's just one key in an artful dance between doubtful minor and absolving major.", "\n\nHarpsichord, bass, and drums form the backdrop, and lead guitar is added sparingly, with a falling figure after the first section of the verse. ", "The bass line during the first part of the verse (under the words \"there I will go _____\") gives it its syncopated rhythmic pulse; the rock-'n'-roll chord outlines that the lead guitar plays (behind \"See the people standing there, who disagree and never win/Wonder why they don't get in my door\") brings it to its pitch.", "\n\nThe guitar solo after Paul's \"hey, hey, hey _____\" is also in two opposing sections: the first part is high, arpeggiated, and ringing; the second is low, syncopated, and rhythmic—a musical play on the words \"wondering\" and \"wandering.\" ", "Vocals enter on the major section that follows, going from \"ooh\"s to \"deep-deep\" as the guitar returns to play its swinging rock 'n' roll triads. ", "They remain for the final verse, backing up Paul as he makes his final gorgeous leap to falsetto on the words \"and I still go _____\"\n\nThe song fades on the minor section of the verse, drawing out the tension and uneasiness (as in \"I'll Be Back\") rather than neatly, optimistically tying things up. ", "The misplaced emphasis on \"Where it _will_ go\" gives the line a gentle tilt, playing out the off-kilter sentiment that's being sung. ", "This is a different kind of doubt than McCartney has offered before: \"Yesterday\" is full of longing, and \"I'm Looking Through You\" is romantic bewilderment. ", "As he matures, emotional ambiguity is couched in musical equivocation. ", "Following \"Getting Better\" as part of _Sgt. ", "Pepper_ , it qualifies his upbeat positivism the way \"For No One\" tempered the abundant warmth of \"Good Day Sunshine.\"", "\n\nTHE STRING QUARTET in \"Yesterday,\" doubled to octet in \"Eleanor Rigby,\" is seasoned with a harp in \"She's Leaving Home\" to symbolize the extra dimension of the parents in this song. ", "Of the three, only \"Yesterday\" was written by Paul alone; \"Eleanor Rigby\" was a collaboration built around a McCartney drama. ", "Lennon's presumed contribution to \"She's Leaving Home\" transforms the domestic drama by voicing the parents' worst fears which have suddenly come to life:\n\n_(She_ . . .) _", "We never thought of ourselves \n(is leaving_ . . .) _", "Never a thought for ourselves \n(home_ . . .) _", "We struggled hard all our lives to get by Bye, bye_\n\nand later:\n\n_(She_ . . .) _", "What did we do that was wrong? ", " \n(is having_ . . .) _", "We didn't know it was wrong \n(fun_ . . .) _", "Fun is the one thing that money can't buy \n(Something inside that was always denied for so many years) \nBye, bye_\n\nWhen the two lines intermingle at the end of the refrain, John's voice with Paul's, the two worlds of the generation gap are brought together in their voices: the high held tone of the title line contrast with the lower Lennon melody; Paul reasserts the young woman's independence above the parents' grieving \"Bye, bye\"s.", "\n\nThe string arrangement is by Mike Leander, whom Paul sought out due to George Martin's busy schedule, and it conveys both the shock of the loss (the brittle high notes behind \"Our baby's gone\") and the clipped expectation of \"Waiting to keep the appointment she made/Meeting a man from the motor trade.\" ", "There is a touch of heart-on-the-sleeve to such obvious emotional gristle, a conceit that Martin might have avoided had he scored the parts. ", "But the extra dimension of the harp lifts the song from the ordinary just as its textual counterpart, the consciousness of the parents, graces the story. ", "It may not have the cold briskness that gives \"Eleanor Rigby\" its stark alienation; but the long, weary sighs that are this song's refrain pack a sadness rich in dramatic interplay. ", "It's a weeper.", "\n\n\"BEING FOR THE BENEFIT OF MR. ", "KITE!\" ", "is twisted carnival burlesque, like Keith Moon's mad invitation to Tommy's Holiday Camp in _Tommy_. ", "Lennon drew the song almost verbatim from a circus poster he owned, setting the bill of fare to a runaway merry-go-round organ.", "\n\nPaul's emcee at the top of the record was dashing; Len-non's salesmanship is sinister, clicking the last _d_ in \"in his way Mr. K. will challenge the world!,\" ", "emphasizing the ten somersaults to be undertaken \" _on solid ground_ \" and drawing out consonants: \"The celebrated _misss_ ter K./Performs his feat on Saturday.\" ", "There's something demented about Lennon's ringmaster; his delivery is contorted, and he has a malicious grip on the song's gears. ", "As he announces Henry the Horse's waltz, everything shifts into a whirling ¾ meter; lights and colors suddenly burst forth from the sound, and a labyrinth of organ textures intrudes, like spirits set loose in the house of horrors.", "\n\nThe oom-pah oom-pah drumbeat Ringo provides for most of the song between his bass drum and his high-hat sounds like a clumsy old one-man band, the fool in the traveling show. \"", "Kite\" has a Dickensian aura: the people and images he sings of are so thoroughly British they resemble the traveling theatrical troupe that Nicholas and Smike join up with in _Nicholas Nickleby_. ", "But the sparse accompaniment is burlesque, and the odd characters dance by in the listener's imagination the way they did in \"Lucy\"—only here the old-fashioned is bizarre, the surreal downright spooky. ", "The organ pile-up returns for the fade-out, and everything comes to a halt with the equivalent of a pipe-organ cymbal smash. ", "The song darkens the _Sgt. ", "Pepper_ fantasy of fame—its characters aren't lovable old show-biz types but freaks and misfits. ", "These performers live outside the real world and do stunts with animals for a living; the song suggests the lunacy of a marginal world rather than a child's idyll.", "\n\nSIDE TWO BEGINS with a spiritual mirage, fanciful in Indian color and exotid in texture. ", "Listening to \"Within You Without You\" some twenty years later, it's hard to believe that lines such as \"Life flows on within you and without you\" were taken seriously—it's now the most dated piece on the record. ", "In its way it's just as slick as McCartney's hat-and-cane routine, but it hasn't worn as well. ", "This should have been the link between \"Love You To\" and the better pop effect of \"Inner Light,\" but it winds up having the same unintentional affectation as \"Michelle\" or \"All You Need Is Love.\"", "\n\nThe sound that engulfs the listener during the opening moments is stirring: time is expanded, and until the tablas enter there is a sense of weightlessness, of drifting. ", "George's voice wakes us from this state by setting a tone of pure omniscience. ", "The line \"The people who hide themselves behind a wall/Of illusion\" doesn't \"explicitly describe what side one was all about,\" as Joan Peyser claims (in _The Age of Rock_ , p. 132); it sits outside the _Pepper_ fantasy in its own self-contained musical temple. ", "Harrison's track could easily have been left off with little or no effect to the larger idea at work on the record. ", "He stretches phrases out as though they were oracular, but the monotony of sound is dulling. ", "The laughter at the end punctures the bloated clichés the same way \"Her Majesty\" pulls the rug from beneath \"The End\" on _Abbey Road_. ", "Where \"Love You To\" has some sense of rhythmic spontaneity, \"Within You Without You\" is directionless.", "\n\nPAUL WROTE \"When I'm Sixty-four\" long before he ever had dreams of recording it; some sources say he waited until his own father reached the magic number. \"", "I wrote 'When I'm Sixty-four' when I was about sixteen,\" Paul told Paul Gambaccini. \"", "I wrote the tune for that and I was vaguely thinking that it might come in handy in a musical comedy or something. ", "I didn't know what kind of career I was going to take\" (in _Paul McCartney In His Own Words_ , p. 17). ", "The period the song evokes is wonderfully captured, and the stereo layout is well-balanced: clarinets on the right, bass and drums center, and Paul alone off to the left. ", "A nimble piano, playing only a few chords, pounds occasionally in the center. ", "Martin scored the low clarinets to glide along like a well-oiled Model T; the arrangement alone is mint: the \"ah\"s that follow \"you'll be older too\" sound like the knowing wave of an elderly finger. ", "A pert clarinet chimes in as Paul sings \"go for a ride,\" and then fills out the lead voice with harmony during the last verse.", "\n\nThe verse climbs from worldly-wise homey virtues and promises to the humble title question: \"Will you still need me/Will you still feed me/When I'm sixty-four?\" ", "The bridge has a more expectant beat and shifts to minor, but the final line of the stanza always resolves whatever troubles may lie ahead—all worries are ironed out, all doubt laid to rest. ", "Before returning to the main verse, a chime of happiness is duly rung.", "\n\nThe last verse (\"Send me a postcard, drop me a line\") turns the song into a charming elderly pass, and the self-effacing tone refutes Richard Poirier's overinterpretation: \"They quite suddenly at the end transform one cliché (of sentimental domesticity) into another (of a lonely-hearts newspaper advertisement), thereby proposing a vulgar contemporary medium suitable to the cheap and public sentiments that once passed for nice, private and decent\" ( _The Age of Rock_ , pp. ", "176—77). ", "There's no cynicism in the pub band (as there is in the oversimplified \"Ob-La-Di, Ob-La-Da\"), only affection. \"", "Sixty-four\" is nothing more than a dressed-up love song, the McCartney side of Elvis's corny hokum. \"", "Yellow Submarine,\" the song he wrote for kids, is complemented by a song for grandparents, kids' best friends. \"", "Yesterday\" may be Paul's most popular song, but more people sing along to \"When I'm Sixty-four.\" ", "The final kicking-the-hat-from-behind \"hoo\" that sends the clarinet tune home and tucks the song in has a soft-shoe delicacy. ", "The production turns it all into a delicately baked trifle.", "\n\nPAUL'S OPENING \"Ah\" at the top of \"Lovely Rita\" arches in a beautiful rainbow curve that hovers over an acoustic guitar before Ringo's full-bodied drum fill. ", "The song is a cartoon, a rock-'n'-roll ragtime with a tongue-in-cheek narrative that brings the cardboard sitcom to life. ", "Paul plays with his delivery, going for the pun on \"boob\" as he sings \"filling in the ticket in her little white _book_ ,\" tripping over the line \"made-her-look-a-little-like-a-milit'ry-man\" as easily as he prances around the final backup vocal refrains, ad-libbing his heart out. ", "The piano solo (right) that follows on the heels of Paul's ecstatic \"Rita!\" ", "has more spunk than the one in \"Good Day Sunshine\"—it ends with a one-finger scalar flourish a la Chico Marx. (", "But the can't-figure-out-how-to-end-this jam is unnecessarily long; it doesn't add anything to the whimsical inconsequence of the lyric.)", "\n\nA ROOSTER'S CRY leaps out from the final downward glissando of \"Rita\" 's piano, a startling reveille to \"Good Morning\" 's frightful pace. ", "The gaga frenzy of contemporary urban pace finds its voice in a television jingle: the cornflakes ad that was this song's inspiration becomes a slogan of derision—\"Good morning!\" ", "turns into a curse. ", "The cackle of Len-non voices blaring from the right repeats \"Good morning\" an irregular five times, and the final pronounced \"ng-uh\" strings the irritation out tauntingly. ", "Everything is suddenly a jumble, from jobs to memories of the old school to marriage to television, and the onslaught is so real it's ghastly. ", "This is the strongest hint that beyond the fantasies of this record a workaday nightmare awaits—\"Good Morning\" enacts the constriction and conformity that aggrieves \"A Day in the Life.\" ", "Ringo's snare-drum fill just before the verse pushes the aggravated rush to its limits.", "\n\nThe first lines of verses (\"Nothing to do to save his life/Call his wife in\") are punctuated by an asymmetrical cymbal smash, dropping a full beat before moving on—a rhythmic booby trap. ", "Meters are uneven, and the horns are quacky and aggressive, not like the Sousa flourishes of \"Yellow Submarine.\" ", "From the start, it's obvious that this song is about more than just a daily job hassle: it's about lives that are daily hassles to live. ", "Lennon sings it with the high-blood-pressure pulse of the Nowhere Man, physically overworked and spiritually undernourished. ", "The tag line, \"I've got nothing to say but it's okay,\" is sadly ironic.", "\n\nGeorge's guitar solo bursts from the madness with even more fury than the one in \"Taxman\" and rams head-on into a new section that twists things up even further, with saxes plunging away in double time at a monotonous riff:\n\n_People running 'round, it's five o'clock \nEverywhere in town it's getting dark, \nEveryone you see is full of life \nIt's time for tea and meet the wife_.", "\n\nThe shriek from the guitar after that last line is a howl of neurotic pain.", "\n\nAS THE SOUND recoils into its own whirlpool of repeated phrases, a fox hunt descends into the fore, satirizing the mad dash of life. ", "Then George Martin's most inspired piece of trivial genius turns a chicken's squawking into an electric guitar as the cacophony of animal noises recedes. ", "The evening's entertainment is over, and the closing reprise of the _Sgt. ", "Pepper_ theme is launched.", "\n\nPaul's hiccuped \"One, two, three, four\" is peppy with anticipation, and Lennon can't resist adding an insouciant \"Bye\" behind him. (", "It vaguely echoes his same moment at the beginning of \"I Saw Her Standing There.\") ", "Ringo's simple drum solo is nothing but the primal beat in all its glory, so charged and spirited that any showy twist would lessen it. ", "The energy it gives off is regenerative—when the band enters, it sounds as though they've been playing all this time and have warmed to a closing pitch.", "\n\nPaul's bass leads the others in, and they hit their stride with even more grandeur than the drums had hinted at. ", "The band answers Ringo's antiflash solidity by reveling in the sound of a simple one-chord riff for four full bars before the vocals enter. ", "The reprise extends the show-biz fireworks of the opening by adding a full-scale modulation—their most obvious yet—up a step for the last go-round. (", "Hoisting the harmonies up one key for a dramatic last verse is normally a Tin Pan Alley cliché, but putting it to use in this song shows their respect for the genre.) ", "The kick it gives propels wordplay: \"Sgt. ", "Pepper's one and only Lonely Hearts Club Band/It's getting very near the end,\" as if they were worried about falling off the end of the record. ", "George saves his best guitar fills for this last segment, backing the vocalists as they slowly step offstage. ", "One last \"Whew!\" ", "sends the tune home.", "\n\nBEFORE THE FINAL chord has even begun to fade away, the acoustic guitar of \"A Day in the Life\" enters the left channel, and the parallel universe of everyday life intrudes. ", "The curtain falls on Pepperland just as another is raised on the sobering stage of the real world. (", "The unadorned guitar chords shatter the _Pepper_ illusion in much the same way that backward sounds subvert the direction of \"Rain.\")", "\n\nLike \"Tomorrow Never Knows\" and \"Twist and Shout,\" \"A Day in the Life\" redefines everything that came before. ", "After the reprise regroups the mythical band and sends the audience home with a rousing encore, the real Beatles take us back into the world that greets us after the turntable platter stops spinning. ", "As a postlude to the Pepper fantasy, it casts a shadow that sets all the other songs (and the Beatles' own career) in perspective. \"", "A Day in the Life\" comments on how listening to a pop record relates to what's happening when the show is over.", "\n\nThe slow guitar chords at the outset have a drag to them, and the piano that soon joins in is wearied as well. ", "The sound is ominous, broad but not dense. ", "Lennon's entrance on \"I read the news today, oh boy\" is pregnant with disillusionment; the gentle fall on the word \"oh\" alone is the sound of poignance. ", "The simple surface gestures in the music and the voice gain deep feeling with repeated listenings. \"", "And though the news was rather sad,\" he sings, \"well I just had to lauaugh.\" ", "The laughter isn't funny but a nervous response to an overwhelming despair.", "\n\nGuitar, bass, piano, and gentle maracas carry the first verse. ", "Lennon's delivery from the far left channel sounds distant, adrift in the burdensome events he's reading aloud, unable to make sense of the news that greets his day. ", "The second half makes the anxiety clear: \"He blew his mind out in a car.\" ", "Even the way Lennon phrases that horror—borrowing an image from the drug culture to soften the violence—tells us that he has a great deal of trouble accepting the reality itself. ", "Ringo's drum entrance swells this image further, filling up the space with large hollow tom-toms. ", "The crash occurred because \"he didn't notice that the lights had changed,\" a pitifully small oversight.", "\n\nDuring the last lines of the first verse, Lennon's voice moves slowly from the far right toward the center as the song becomes more aware of itself and the music gains intensity. ", "The end of the first verse reaches the melodic height with Lennon's falsetto left hanging in the air, unresolved: \"NobodywasreallysureifhewasfromtheHouseofLords.\" ", "Half of the horror is in the victim's unrecognizable familiarity—he could have been anybody.", "\n\nRingo's drums comment on each line in the second verse, conveying the emptiness the singer fears in himself. \"", "A crowd of people turned away\" from the brutal scenes of the war movie, but the singer cannot turn away—\"having read the book,\" he is impelled to watch, repulsed by the illusions on the screen but unable to turn his eyes from the awful truth it imposes. (", "The despair hints at atomic devastation.) ", "By the end of the verse Lennon's voice has traveled all the way over to the far left channel, and the journey of awestruck disbelief is complete. ", "As he sings \"I'd love to turn you on,\" his voice fades into the debris of sound that will soon rise up and overwhelm its meekness. (", "The BBC banned this song from its airwaves because this line was thought to be a drug reference, when in fact it is probably one of the least drug-oriented on the record.) ", "The cloud of confusion that has grown inside the singer's head since the song began now opens up, slowly at first, then rises toward a torrential downpour of sound. ", "The storm reaches drastic proportions in a matter of seconds.", "\n\nThe conglomeration of noise made by over forty orchestral musicians playing without music evokes the image of a train speeding toward a head-on collision—it picks up speed from its own momentum. ", "At the peak of the summit, the moment of reckoning, a breakthrough occurs—an alarm clock goes off, and a befuddled sleeper wakes up and begins his day, oblivious to his own nightmare. ", "The simple snare-to-cymbal rousing that Ringo whips off on Paul's waking words completes the transition.", "\n\nThe new beat is chipper, industrious, and comments on its own corporate precision only briefly at the end of lines, where the marshalled bass is set loose for a contrasting harmony (on the words \"comb across my _head_ \" and \"in seconds _flat_ \")—the snare marches purposefully onward. ", "The compulsion of the rhythm conveys his obsession with time; after looking up and noticing that he's late, he actually gasps for breath before moving on.", "\n\nPaul's complementary section is the day in the life of a modern everyman who sets forth each morning unaware of the tragedy around him—a kind of rock-'n'-roll Babbitt. ", "Len-non's agonized empathy surrounds Paul's blissful ignorance: as it did the protaganist of \"Good Morning,\" life is passing this figure by; he is not of this world but _out_ of it, preoccupied with his schedule and bland attire. ", "Hopping on the bus \"in seconds flat,\" he climbs to the top level of the double-decker (where smoking is allowed) and has his routine ciggy to start his day. ", "The nightmare returns.", "\n\nThe blurring of the dream life and the real world adds to all the confusion. ", "We're never sure whether Lennon's section is the \"real\" world or if it's merely the dream that Paul slips back into atop the bus. ", "The alarm clock blurs these boundaries: is Paul waking from Lennon's nightmare, or is Lennon imagining Paul's generic day in the life? ", "The song inside a song works like the play within a play: the interdependence of reality and illusion is telescoped into one setting. ", "As Paul drifts further off into his \"dream,\" his \"ah\" travels from right to left and back to the right again, very slowly, doubling the distance that Lennon took over the course of the first two verses. ", "The rhythm softens to a comfortable back-beat by slicing the rigid military snare in half, allowing a smooth transition back to Lennon's final verse. ", "In fact, the pulse is constant until the end, and the basic rhythm track was recorded live after days of rehearsals, even though bass, drum and vocal tracks would be overdubbed several days later. (", "The orchestra was added last.) ", "A loud brass line announces the return, and Lennon appears way over to the left, where he had arrived at the end of the second verse.", "\n\nThis last verse goes by more swiftly than the first two; the forces that are set in motion for the first orchestral ascent are starting up again here, only much sooner. ", "This time the train is a runaway from the very beginning of the verse, and the loss of control is apparent with each passing line.", "\n\nThe final image of the song is trivial: the \"four thousand holes in Blackburn, Lancashire\" are potholes that the local authorities had to count. (", "There is disagreement about this image: Richard Poirier writes morbidly of Scotland Yard searching \"for buried bodies on a moor by making holes in the earth with poles and then waiting for the stench of decomposing flesh.\") ", "Lennon comments on bureaucratic absurdity wryly: \"Now they know how many holes it takes to fill the Albert Hall.\" ", "What all the holes refer to doesn't matter as much as where Lennon takes the image—by devoting attention to such a meaningless counting task, he emphasizes the disparity between this verse (and the warped values it implies) and the other two.", "\n\nThe second orchestral tidal wave is larger and more disturbing than the first. ", "Instead of arriving at an alternative world, the roaring tumult crashes headlong into the defeat that was its fate from the very beginning. ", "The tangle of instruments was never scored; each player was told to follow George Martin's gestures and reach a certain pitch as he conducted the ensemble. ", "It is the sound of utter turmoil, an ocean of vexation, churning from beneath everyman's subconscious and ready to explode at any second.", "\n\nWhen the climax is reached and the final declamatory chord hammers the song closed, it is bombastically hollow. ", "The sheer force of energy released from it is enormous, but the tension remains unresolved; it leaves the listener more disturbed than mollified. ", "This final chord, struck mightily by the four Beatles at three pianos on a simultaneous cue, hangs in the air forever, echoing until the final strains disintegrate before our very ears. ", "The aural image couldn't be more stark; it has a sense of tragic inevitability that haunts long after the record is played.", "\n\nIn the context of the album, the track begins as an encore and winds up a eulogy; it dismantles the illusory world the Beatles entered as Sgt. ", "Pepper's Band. ", "Because \"A Day in the Life\" sits next to an unabashedly fun set of songs, it sounds all the more stark. ", "But the _Sgt. ", "Pepper_ journey isn't futile; its despair is ultimately hopeful. \"", "I'd love to turn you on\" is a motto of enlightenment, of Lennon's desire to wake the world up to its own potential for rejuvenation, not self-annihilation. ", "If \"A Day in the Life\" were a single, it would be unbearably pessimistic; as the final track to the _Pepper_ road show, it cools the freak-out optimism and challenges its listeners to scheme beyond the numbing ordinariness that daily life confronts them with. \"", "A Day in the Life\" affirms the imaginative landscape of the rest of the album by acknowledging our need for it. ", "Because of the larger context, it's not \"a song of wasteland,\" as Richard Poirier suggests. ", "The final blow doesn't summon the fate of modern man; it decries the tragedy of the fullness available and denied in our culture.", "\n\nTHE LAYOUT OF _Sgt. ", "Pepper_ , combined with the pop explosion that Marcus holds as its promotional triumph, gave pop the artistic legitimacy it deserved at least as early as _A Hard Day's Night_. ", "Most critics agree, however, that _Sgt. ", "Pepper_ is not the Beatles' finest album, even if it is one of pop's most important. ", "In _Hi-Fidelity_ magazine, Roger Lees complained of the praise being heaped on the Beatles for a simple recapitulation of the theme song. ", "Because of its initial impact, _Sgt. ", "Pepper_ has attained the kind of populist adoration that renowned works often assume regardless of their larger significance—it's the Beatles' \"Mona Lisa.\" _", "Revolver_ remains a better work than _Pepper_ for its sturdier material, though _Pepper_ represents a creative leap in terms of formal design.", "\n\nAnd even though _Pepper_ is a model of psychedelic design, it lacks its predecessor's emotional core. ", "The labyrinth of sound that hovers over \"Lucy\" and \"Mr. Kite\" doesn't have the same compulsion that guides \"She Said She Said\" or the philosophical release of \"Tomorrow Never Knows.\" ", "Too much of _Pepper_ winds up as texture for the sake of texture, surface sliding around on light substance instead of enriching it. ", "The vexing clouds of \"Strawberry Fields Forever\" have mournful cellos as agents of expression; the haze of \"Within You Without You\" only confirms the song's vagueness of thought. \"", "When I'm Sixty-four\" and \"Good Morning\" justify their colorful sound patterns: the emotions generate the music; unlike \"Lucy in the Sky with Diamonds\" and \"Lovely Rita,\" these two songs rely on more than artfully woven musical turns surrounding fanciful ideas. _", "Sgt. ", "Pepper_ contains only one proper love song (\"It's Getting Better\"), but nothing with the elegance of \"Here, There and Everywhere\" or the soulful punch of \"Got to Get You into My Life.\" \"", "A Day in the Life\" actually saves _Pepper_ from being an indulgent studio etude; imagine this record without its stark finale and it becomes an exercise in levity.", "\n\nAFTER PEPPER, the main themes that have been set loose on the Beatles' records start to reappear in different contexts. ", "With the death of Brian Epstein in August 1967, the internal politics of the band begin to shift—Paul begins to assert himself more as a leader—and the unity of the three middle-period records never finds the same coherence in their remaining work (the \"White Album,\" _Let It Be, Abbey Road)_. ", "The innocence and disillusionment they balance so well on the \"Penny Lane\"/\"Strawberry Fields Forever\" single is never achieved again, in part because no solution is possible and in part because such a delicate balance implies extremes that are irreconcilable—any further apart and they fall off the map (cf. \"", "Hello Goodbye\"/\"! ", "Am the Walrus\"). ", "If _Help!_ ", "was the beginning of their studio career, _Sgt. ", "Pepper_ is its apotheosis and the beginning of their solo careers: from here on out, there are fewer and fewer Lennon and McCartney collaborations, and the different paths they pursue until \"The End\" on _Abbey Road_ delineate more than align their opposing sensibilities.", "\n\n#\n\nFOOLS ON THE BUS\n\n_**All You Need Is Love**_ (John)/Baby, You're a Rich Man \n(John) _Released: July 7, 1967_\n\n_**Hello Goodbye**_ (Paul)/I Am the Walrus (John) \n _Released: November 24, 1967_\n\n**MAGICAL MYSTERY TOUR** _Released: December 8, 1967_\n\n**YELLOW SUBMARINE** _Released: January 17, 1969 \n[new tracks recorded mid-June 1967 and early 1968]_\n\nSEEN IN RETROSPECT, the alternative world of _Sgt. ", "Pepper_ works as an antidote to the encroaching complexities of _Revolver_. ", "They make an interesting pair: _Revolver_ dwells in poignant realities until the deliverance of \"Tomorrow Never Knows\"; _Pepper_ sustains imaginative possibilities before concluding with the tragic actualities of \"A Day in the Life.\" ", "Like _Please Please Me_ and _Abbey Road_ , the conclusions are essential to the way each record works. ", "But where _Pepper_ has acknowledged its own excesses by the time the masquerade is over, everything that followed it in 1967 plays off _Pepper_ 's weaknesses instead of its strengths.", "\n\nBrian Epstein's death in late August (two months after the release of _Sgt. ", "Pepper_ ) sent the business career of the band into disarray. ", "They were beginning to establish their own company, Apple, but they didn't bother to hire another manager. ", "Instead, film and recording plans launched forward as though business would take care of itself. ", "But even before Epstein's death, their music had begun to meander. ", "On their first summer off from touring, the Beatles performed for a worldwide satellite hookup (\"All You Need Is Love\") and sang out loud about questions that had been stirring for at least a year (\"Baby, You're a Rich Man\"). ", "Not such bad notions in themselves, except that they sound spent.", "\n\n_Magical Mystery Tour_ is a paltry copy of the _Pepper_ road show (and Ken Kesey's Merry Pranksters), enacted childishly on the screen in their first film with no director. \"", "All You Need Is Love\" is Lennon utopianism more kitschy than even McCartney's optimism; the \"Hello Goodbye\"/\"! ", "Am the Walrus\" single diffuses the polarities of \"Penny Lane\": congeniality becomes meaningless, and the emotional turmoil of \"Strawberry Fields Forever\" turns incomprehensible. ", "For the rest of 1967, they rode out the psychedelic trend instead of redefining it in fresh, original terms, even though some material—the title track—was recorded before _Pepper_ was released. (\"", "Hello Goodbye\" appears only as a single on Parlophone; \"I Am the Walrus\" will be discussed as part of _Magical Mystery Tour_.) ", "Throughout all these sessions, the worst of the batch were consigned to the score for _Yellow Submarine_. ", "The best of them—\"Hey Bulldog\"—was not even used in the animated movie.", "\n\n## **_All You Need Is Love_** (John)/Baby, You're a Rich Man(John) _Released: July 7, 1967_\n\n## **_Hello Goodbye_** (Paul)/I Am the Walrus (John) _Released: November 24, 1967_\n\nTHE MUSICAL SARCASM of the French national anthem kicking off \"All You Need Is Love\" is one of the good moments amid the rubble—it lets the simple hook (\"love, love, love\") ring out that much more baldly. ", "The internal contradictions (positivisms expressed with negatives) and bloated self-confidence (\"it's easy\") make it the naive answer to \"A Day in the Life.\"", "\n\nThe first two lines of the verse are irregular (seven beats—four plus three—instead of the usual eight), but the dropped beat simply allows the song to move forward less awkwardly; there's less space to fill up after the words are sung. ", "The refrain, a simplified turn of phrase, breaks through with a regular pattern, the kind at which Lennon normally excels. ", "Here it's obvious rather than clever: \"All you need is love\" becomes \"Love is all you need.\" ", "The music, though, is an ideal world built on the idea that love can truly save us. ", "The quipping brass and ornamenting strings give the sensation of joy run amuck. (", "Paul inserts asides—\"All together now\" and \"Everybody\"—during the last refrain, the same way that Lennon did on \"Yellow Submarine.\") ", "The fade-out is a musical funhouse that stacks a Bach two-part invention, \"Green-sleeves,\" and Razaf and Garland's \"In the Mood\" on top of Lennon's capricious retort \"She loves you, yeah, yeah, yeah.\" ", "It ends like its \"Marseillaise\" beginning, robbing pomp of its currency and asserting a chaotic charm. ", "It's the aural equivalent to Peter Blake's _Sgt. ", "Pepper_ visual montage.", "\n\nHappiness would win out if the technical quality weren't so poor—compared with the clarity of _Pepper_ , the mix sounds amorphous. \"", "All You Need Is Love\" lacks the ardor of \"The Word.\" ", "It would take a generation's hard lessons to learn that it takes more than love to survive, never mind thrive. (", "When Elvis Costello revived the song for his Live Aid appearance in 1985, his vitriolic snarl implied how far there still was to go rather than how far we'd come.)", "\n\nTHE FOGGED-UP texture to \"Baby, You're a Rich Man\" stirs different concerns into the same formulas. ", "Like \"A Day in the Life,\" it's a \"combination of two separate pieces, Paul's and mine, put together and forced into one song,\" Lennon told _Playboy_ (p. 194). \"", "One-half was all mine, [ _sings_ ] 'How does it feel to be one of the beautiful people, now that you know who you are, da da da da.' ", "Then Paul comes in with [ _sings_ ] 'Baby, you're a rich man,' which was a lick he had around.\"", "\n\nThe onslaught of questions Lennon poses gives away the aimless qualities of the music. ", "The answers are vague witticisms, empty enough to deflate expectations:\n\n_How does it feel to be one of the beautiful people? ", " \nNow that you know who you are—what do you want to be? ", " \nAnd have you traveled very far?_ ", " \n— _Far as the eye can see_.", "\n\n_How often have you been there?_ ", " \n— _Often enough to know \nWhat did you see when you were there?_ ", " \n— _Nothing that doesn't show_.", "\n\nIt's clear that they understand their position: if the Beatles are beautiful people, by extension their listeners become beautiful people (\"Baby, you're a rich man, too\"). ", "What's unsettling is how lacking in purpose it all sounds. \"", "You put all your money in a big brown bag inside a zoo/What a thing to do\" is not only a clumsy trope, it's immodest. ", "There's no center to this music, and its inchoate character never finds the expressive timbres of \"Strawberry Fields Forever.\" ", "A snake-charming Clavioline (imitating an oboe) swerves in and out of everything else as the only point of musical interest. \"", "Help!\" ", "and \"Drive My Car\" addressed the fallacies of fame from cynical impulses; \"Baby, You're a Rich Man\" flounders in privileged emptiness.", "\n\nTHE \"HELLO GOODBYE\"/\"! ", "AM THE WALRUS\" single magnifies \"Penny Lane\"/\"Strawberry Fields\" from earlier in the year as a dual-sided character study: McCartney gets more innocuous and Lennon gets more obscure. \"", "Hello Goodbye\" resembles both \"Penny Lane\" and \"Your Mother Should Know\" as a tuneful piano-based whimsy, and tacks on a Hawaiian return after a fake ending to try to save its meager melodic dividends. ", "It's the kind of song McCartney can write in his sleep, and probably did.", "\n\n## **MAGICAL MYSTERY TOUR** _Released: December 8, 1967_\n\nThe Mystery show was conceived way back in Los Angeles. ", "On the plane. ", "You know they give you those big menus and I had a pen and everything and started drawing on this menu and I had this idea. ", "In England they have these things called Mystery tours. ", "And you go on them and you pay so much and you don't know where you're going. ", "So the idea was to have this little thing advertised in the shop windows somewhere called Magical Mystery Tours. ", "Someone goes in and buys a ticket and rather than just being the kind of normal publicity hype of magical . . . ", "well, it never was magical, really . . . ", "the idea of the show was that it was actually a magical run . . . ", "a real magical trip.", "\n\nI did a few little sketches myself and everyone else thought up a couple of little things. ", "John thought of a little thing and George thought of a scene and we just kind of built it up. ", "Then we hired a coach and picked actors out of an actors directory and we just got them all along with the coach and we said, \"OK, act.\" ", "An off-the-cuff kind of thing. ", " \n( _Paul McCartney in His Own Words_ , p. 48)\n\n_Magical Mystery Tour_ starts out with all the ambition of _Sgt. ", "Pepper_ but none of its spark of originality. ", "It's like the band set out to repeat past glories by enacting the fantasies that make _Pepper_ so enchanting. ", "The title song is a warmed-over rewrite of _Pepper_ 's opening without the same layers of self-awareness; \"Your Mother Should Know\" is \"When I'm Sixty-four\" in knickers; \"I Am the Walrus\" combines the loss at the center of \"Strawberry Fields Forever\" and the disturbing confusion of \"Being for the Benefit of Mr. Kite!\"; ", "and \"Blue Jay Way\" picks up where \"Within You Without You\" leaves off—an even longer trip to nowhere. ", "In addition, the set of six _Mystery Tour_ songs seems to have nothing to do with one another: as a long-playing album it would have been tedious, and as double extended-playing singles (two 45s packaged with a picture booklet) it seems overwrought. ", "Where their early records could be forgiven their boundless naiveté because they were so full of musical high spirits, _Magical Mystery Tour_ underestimates its audience. ", "For the first time, the Beatles' fun sounds contrived.", "\n\nThe opening trumpet flourish is wearing thin by now: on _Pepper_ it was razzmatazz; on \"All You Need Is Love\" it was reduced to nationalistic farce; here it's the worst kind of musical cliché, deliberate instead of spontaneous. ", "Ringo packs a wad of energy into his drums' energetic punch as Paul (ringmaster again) shouts \"Roll up, roll up for the Magical Mystery Tour, step right this way!\"", "\n\nBut it's a sure sign that things aren't flowing right when tempos fluctuate this drastically between sections of songs: each time Ringo returns to the verse section, he pumps up the beat by accelerating—he's trying to revive it. ", "At one return, after the mock _misterioso_ section, he falls back into the back-beat with a deliberate restraint, as though he needs some place to build up from that the material itself isn't giving him. ", "The song's ending slowly lets the air out of its feigned majesty—the same kind of can't-get-out-of-this jam that deflated \"Lovely Rita.\"", "\n\n\"YOUR MOTHER SHOULD KNOW\" is a lesser version of \"When I'm Sixty-four\"; it's got plenty of Paul's hokey affection for old-time singalong pleasure but none of his flair for characterization. ", "The harmonic turns are bright and clever: the bridge is a piano solo that disrupts the oom-pah-pah meter, but it suggests more than it actually expresses. ", "With a new lyric in this section, he might have turned the song into a more wistful standard—a song within a song would work well here. ", "As it is, the interrupting piano-and-organ bridge doesn't seem to have anything to do with the verses. ", "They dress it up by putting Paul's voice to the right for the second verse, and the background vocals adorn the bright, plunky piano chords with parodic irreverence. ", "But the wordless verses (\"da-da-da\") make it sound like a demo with dummy lyrics.", "\n\n\"I AM THE WALRUS\" meanders; but unlike \"Blue Jay Way,\" it actually seems to suspend normal time boundaries—it creates its own world of sound so completely that we forget what came before and what comes after. ", "The simple police siren chord the organ trots out in the opening moments is immediately contorted by the cellos that follow—Lennon means to take the expected pleasures of a Beatles tune and invert them, set the characters in the looking glass chasing the innocent listener. ", "What comes dashing out is not fanciful, like \"Lucy in the Sky with Diamonds,\" but garbled. ", "John's stream-of-consciousness becomes just as pretentious as Paul's heart-on-the-sleeve emoting. ", "But because \"Walrus\" is so unlike anything that comes before, so original, it sticks out in their catalogue like an impenetrable nightmare—its shifting time signatures and unidentifiable instruments visit a foreign reality.", "\n\nFor the first time, Lennon sounds detached from the words he's singing, voicing other people's thoughts resuscitated from his subconscious. \"", "Corporation teeshirt, stupid bloody Tuesday man you been a naughty boy you let your face grow long\" is answered in the next verse with \"Craba-locker fishwife pornographic priestess boy you been a naughty girl, you let your knickers down.\" ", "This is recognizable Lennon gibberish, like the semantic illogic that trips up \"Strawberry Fields Forever,\" but here his references are impersonal, and the tone is mock cryptic.", "\n\nIn the middle, after the first \"GOO GOO GOO JOOB,\" everything stops for a mawkish cello cadenza, which sets up the wry wit of \"Sitting in an English garden waiting for the sun/If the sun don't come you get a tan from standing in the English rain.\" ", "There are typical Lennon stabs (\"Man you should have seen them kicking Edgar Allan Poe\") and wordplays (\"See how they smile, like pigs in a sty, see how they snied\"), as well as pregnant alliterations (\"pornographic priestess,\" a seed for \"Lady Madonna\" and \"Happiness Is a Warm Gun\"). ", "From within the recesses of imagery, \"I'm crying\" is the only repeated line that alternates with the title refrain. ", "The ending is a musical battle between two polarities, one traveling up, one traveling down, pushing and pulling at one another as they fade out. ", "Radio dialogue appears above the rubble, culled from a BBC broadcast of Shakespeare's _King Lear_ —Edgar's line \"Sit you down, Father, rest you,\" can be heard just before the sound disappears.", "\n\nThe world of \"I Am the Walrus\" has no gravity (like \"Lucy in the Sky with Diamonds,\" which it quotes), but it's less an imaginative fancy than it is an unselfconscious phantasm of sound. ", "It inflates the moods set off in \"Being for the Benefit of Mr. Kite!\" ", "and \"Good Morning, Good Morning\" and puts them through a mixmaster of starkly evocative textures. ", "The most revealing line, \"Don't you think the joker laughs at you? ", "Ha ha ha!\" ", "foreshadows the sour comic self-consciousness in \"Glass Onion.\" (", "Except for\"Revolution No. ", "9,\" it marks the end of Lennon's underbellied sprees.)", "\n\nTHERE'S A SAYING among actors that the easiest way to win awards is to portray a cripple or a slow person as broadly as possible—audiences love feeling sympathy for people needier than themselves. \"", "The Fool on the Hill\" pits the major-key area of the verse against the confused minor of the refrain, trying to set the natural head-in-a-cloud simpleton against the real world, which is constantly \"spinning round.\" ", "Naturally, he's misunderstood by everybody else, \"they don't like him,\" so the primitive outcast leads a lonely life.", "\n\nBut the last verse has a catch: \"He never listens to them.\" ", "McCartney takes himself too seriously here—the film setting for this track is the only one to use outside professional photography. ", "The honk-honk ding-dong grind organ and the featherbrain flute signify something so bucolic as to be untouchable; the fairy-tale figure that sits alone on his hill is supposed to understand the nature of things simply because he knows how to let life pass him by. ", "But what's to be learned from this fool? ", "Little or nothing, except how to pull the heartstrings. ", "The last verse plays up its own weakest moment: \"He never listens to them/He knows that they're the fools\" is answered by the lazy \"They don't like him.\" ", "Fools in Shakespeare do more than watch the world spinning round; they often reflect back the most cunning insights to their masters. ", "Possibilities in this song outweigh its substance—it's the most unworthy Beatles standard since \"Michelle.\"", "\n\n\"FLYING\" is the only Beatles song credited to all four Beatles, and it amounts to less than anything else they ever recorded. ", "With the band on the left, an acoustic guitar lays down some licks on the right before the bassoon enters center. ", "It's a trivial blues-based throwaway that is immediately mocked by low voices on \"la-la-la.\" ", "The odd whirring sounds that enter before fading out are a sure sign that they don't know what to do with what they've just done.", "\n\n\"Blue Jay Way\" begins with an ominous organ on a single note which is skated on dissonantly by a cello (right). ", "When George starts singing, he sounds as tired and droning as what he's surrounded by. ", "Drums are left, the vocal is right, and small snippets of backward singing and noises enter sporadically, punctuating phrases, \"mystifying\" the scene. ", "But all those filtered background voices echoing George's lines don't evoke much of anything, except the boredom of the lyric. ", "In three minutes and fifty seconds, it goes nowhere tiresomely.", "\n\n## **YELLOW SUBMARINE** _Released: January 17, 1969_ _[new tracks recorded mid-June 1967 and early 1968]_\n\nBrian Epstein arranged for the Beatles' third feature-length film for United Artists to be a cartoon, one that would use prerecorded songs so that the demand for new material—and live Beatles appearances—would be minimal. ", "The soundtrack album that was eventually released has only four new songs, all recorded before work on the \"White Album\" began and all considered unworthy of that project. ", "Side one starts with the _Revolver_ version of the title track, follows with the four new songs, and finishes with the resurrected \"All You Need Is Love,\" the finale for the cartoon fantasy in the film. ", "Side two contains incidental music written and conducted by George Martin, played by a full orchestra. ", "The result is nothing close to a Beatles record. ", "The album was slapped together to meet a contractual demand, with little or no care taken with the shape of the song sequence, much less the way the familiar tracks are reused.", "\n\n\"ONLY A NORTHERN SONG\" has gained in irony over the years. ", "George wrote it as a mock-modest satire of Northern Songs, their music publishing company, and Philip Norman calls it a \"self-confessed nadir of his ability and [the Beatles'] interest\" in the entire project. ", "Harrison later was sued for echoing \"He's So Fine\" too clearly in his 1971 \"My Sweet Lord,\" and 'Northern Song\" sounds like a prescient confessional to the sponging practices of pop songwriting. ", "Its texture confirms all suspicions about the psychedelic hubris of 1967, digressive filigree sprouting up for no other reason than to occupy space. ", "This \"fake\" song rambles on terminally—it sounds even longer than \"Blue Jay Way\"—and it self-deprecating pose doesn't redeem its own excesses.", "\n\nIN CONTRAST, \"All Together Now\" has a simpler guitar entrance, pumped up with chumminess, before Paul begins singing (right). ", "It was motivated by the same simple idea as \"Yellow Submarine\": to write a jolly singalong. ", "John's harmonica, which hasn't been heard since \"I Should Have Known Better,\" is all insouciance. ", "The long, gradual speeding up that sees the song out takes great control—once the momentum gets going, the tendency might have been to give in to its tug and speed up much sooner than they do. ", "Here, the escalation in tempo is drawn out over a lengthy space, giving the track momentum (where a modulation would have been trite).", "\n\n\"HEY BULLDOG\" outclasses its surroundings with a randy camp; Lennon's sardonic rocker is based on a wry piano lick that coils back on itself like the piano-based \"Money.\" ", "As an experimental treatment of how his surreal lyrical tendencies could be set in purist rock forms, \"Bulldog\" is a neglected piece of work. ", "To a distracting psychedelic landscape these lyrics would fall flat—they're no more outre than \"I Am the Walrus.\" ", "But in the rhythm-and-blues context in which John sings them, they work as rhythmic spoils to the natty melody. ", "For the refrain, \"You can talk to me\" is repeated in escalating cadences almost like a threat; it concludes with \"If you're lonely you can talk to me\" sung so cynically that it purges its literal meaning—it contradicts itself the same way \"You've Got to Hide Your Love Away\" does (it's the only line of the song that comes from both channels).", "\n\nLennon's guitar solo is a daring piece of rhythmic work; it leaps in stops and starts, with crimped harmonies setting off high, screaming outbursts (it recalls his solo in \"You Can't Do That\"). ", "During the fade-out, his double-tracked lead vocal goes into harmony, the low part on the left and the high part on the right. ", "Paul's bass is center, and engagingly active—as in \"Rain,\" it acts as a solo instrument throughout. ", "The repeating title phrase fade-out erupts into a squabble, and Paul's bark gets John howling; his mad laughter is more a hoot than a wound. ", "This twisted beat song restores whatever humor and self-effacement they lost credit for on _Magical Mystery Tour_.", "\n\nA FLAMING GUITAR opens \"It's All Too Much\" with the resplendent surge of a Hendrix electric fireball. ", "With Ringo's vast drum entrance, they seem to be defining as large a space as they can, and the title words describe the sense of awe George was after in the music. ", "The beat isn't so much the backdrop as it is the design—clumping off-beats appear in both left and right channels. ", "The words are mock inspirational, the opposite of the honed and delicate imagery George will use for \"The Inner Light\" (the B side to \"Lady Madonna\"), his best philosophical pop. \"", "Show me that I'm everywhere/And get me home for tea\" is the kind of line McCartney might throw away. ", "It's George's version of \"All You Need Is Love\" (a song that he adored so much he mentions it in his 1981 Lennon tribute, \"All Those Years Ago\"). ", "But a song over six minutes long need not be boring (as \"Hey Jude\" proves), and the relentless barrage of the irrational only clutters the lyric's search for mystery, richness, and beauty.", "\n\nInstead of the self-propelling lick of \"If I Needed Someone\" or the memorable maiden voyage of the lanky, painfully self-conscious \"Don't Bother Me,\" Harrison's psychedelic outbursts point up everything that can go wrong with such ventures. ", "The textures that coat \"Blue Jay Way,\" \"Only a Northern Song,\" and \"It's All Too Much\" wilt. ", "These tendencies will later be tailored for songs like \"Long Long Time\" and the better songs on his first solo outing, _All Things Must Pass_. ", "But unedited, they suffer from run-on lyrics sung with swallowed vocal delivery. ", "Subtleties are scattered, good ideas are reiterated to no good purpose, and nice thoughts are subsumed by a lack of immediacy.", "\n\nMAGICAL MYSTERY TOUR and _Yellow Submarine_ would be easier to write off completely if it weren't for what follows.", "Just as _Pepper_ can be heard as a flowered response to the bleak character of _Revolver_ , the profuse psychedelia of post-Pepper work is answered in 1968 by another distillation of musical resources—the pendulum swings all the way back toward essentials. ", "If this weaker material confirms our worst suspicions about Harrison's lack of focus, McCartney's superficial charm, and Lennon's self-indulgent bouts with his subconscious, it also serves as a helpful contrast to their best work of the coming year: \"Glass Onion,\" although presumptuous, is less claustrophobic than \"I Am the Walrus\"; \"Martha My Dear\" fleshes out McCartney's whimsy with a musical sophistication; and \"While My Guitar Gently Weeps\" has more sincerity than any of these other Harrison songs. (", "Perhaps if Ringo had sung \"Only A Northern Song,\" its conceit would be more believable.) ", "As it is, the weakest period of the Beatles' career is best thought of as a necessary dip that charts psychedelia's pale fringes and rallies them for work ahead that still compares with their best.", "\n\n#\n\nFRACTURED UNITIES\n\n**_Lady Madonna_** (Paul)/The Inner Light (George) [Harrison] \n _Released: March 15, 1968_\n\n_**Hey Jude**_ (Paul)/Revolution (John) \n _Released: August 30, 1968_\n\n**THE BEATLES** (\"White Album\") Released: November _22, 1968_\n\nTHE MAGICAL MYSTERY TOUR EP was released on December 8, 1967, and the film premiered on BBC television during Christmas. ", "The record was a hit, but after the television broadcast the Beatles received their first sound lashing from critics. ", "Undaunted, they opened an Apple clothing boutique on Baker Street in London, decorated by the Dutch artists who called themselves the Fool. ", "During the first six weeks of 1968, the band began work on several new tracks: George laid down the instrumentals for \"The Inner Light\" in Bombay, while \"Lady Madonna,\" \"Across the Universe,\" \"Only a Northern Song,\" and \"Hey Bulldog\" took shape at Abbey Road. ", "In mid-February they traveled to Rishikesh, India, for a ten-week transcendental meditation retreat with the Maharishi Mahesh Yogi. ", "Joining them were Mike Love of the Beach Boys, Mia and Prudence Farrow, jazz flutist Paul Horn, and Donovan. ", "But the retreat was soon disappointing: Ringo and his wife Maureen returned to England after only two weeks; Paul and Jane Asher left after six; and John and George eventually walked out feeling cheated.", "\n\nBy April, Apple Corps Ltd. had established its, headquarters and taken an ad in the _New Musical Express_ to solicit aspiring artists' material. ", "Derek Taylor, Brian Epstein's former ghostwriter and the Byrds' promoter, was hired back to be their new press officer. ", "John and Paul made a trip to America to promote their new company, and George composed the soundtrack music to a film called _Wonderwall_. ", "John and Yoko began their experimental tape projects together, and in the summer their joint exhibition entitled \"You Are Here\" opened at the Robert Fraser Gallery in London. ", "But it wasn't until July that studio work began in earnest for the next Beatles album and single. ", "Without a performing schedule, they found themselves with more time to compose and more material than ever before to record. \"", "Hey Jude,\" the first Beatles single with the inimitable Apple label, was released at the end of August; work on the album continued into October. ", "By the time the release date rolled around on November 22, the Apple boutique had closed, Linda Eastman had moved in with Paul, and the first edition of Hunter Davies's authorized biography had been issued; and in swift succession just before the \"White Album\" hit the stores, John was arrested for possession of marijuana, he and Yoko released _Two Virgins_ , and Yoko suffered a miscarriage.", "\n\n_S GT. ", "PEPPER_ is the fantastical response to _Revolver's_ despair. ", "Even \"She's Leaving Home,\" the only thing close to \"Eleanor Rigby,\" is decorated with a sweeping harp, framing its sadness within the colorful parameters of _Pepper_ 's mythical dimensions. \"", "A Day in the Life\" pulled the curtain on the allegorical dream world to expose the illusions that all of us subscribe to in everyday life. _", "Magical Mystery Tour_ fails as a concept in part because it has no equivalent touchstone; its fantasy has no antidote. ", "Unlike \"Strawberry Fields Forever\" on the back of \"Penny Lane,\" \"I Am the Walrus\" seems truly unreal—it bears no relation to a fixed viewpoint. ", "Side one of _Yellow Submarine_ is grounded by \"Hey Bulldog,\" the only song in that context that doesn't sound forced. ", "At their worst, _Magical Mystery Tour_ and _Yellow Submarine_ are self-parodic without being self-conscious.", "\n\nTheir next period of work veers away from these tendencies back toward basics. ", "Although they're still knocking off songs for _Yellow Submarine_ as this new ethic takes shape (George's \"It's Only a Northern Song\"), the direction is clear. ", "Both McCartney's \"Lady Madonna\" and Lennon's \"Hey Bulldog\" are piano-based and lean, and signal a return to simpler rock 'n' roll. ", "Harrison's \"The Inner Light\" improves on \"Within You Without You,\" and everything that follows prunes away the aural crutches of playful noise. ", "Only \"Revolution No. ", "1\" on the \"White Album\" has psychedelic overtones; their use of sound as colorful imagery is edited down and controlled, their image decidedly less flamboyant. ", "Long before the idea for the _Get Back_ project was proposed, the Beatles began to reinvestigate their roots.", "\n\n## _**Lady Madonna**_ (Paul)/The Inner Light (George) _Released: March 15, 1968_\n\nMCCARTNEY'S OVERT Presley imitation on \"Lady Madonna\" makes it the kind of double-edged parody that pays respects as it holds its own. ", "In Elvis's singing, for every threat there's another chance—an appetite for real experience that is full of broad, engaging humor. \"", "Lady Madonna\" is sinful fun, a sassy Fats Domino piano figure gussied up with a natty horn section and flapper falsetto harmonies. ", "The title is an oxymoron: she's a \"lady,\" but she's also a virgin with a \"baby at [her] breast.\" ", "It's a smart play on how chaste spiritual doctrine doesn't account for desires of the flesh, on the hypocrisy of pretending that it does. ", "Like Lennon's Mother Superior in \"Happiness Is a Warm Gun,\" a pure woman is seduced by earthly temptations: \"Lady Madonna, lying on the bed/Listen to the music playing in her head. . . .\"", "\n\nThe bridge lists days of the week in nursery-rhyme sequence, trotting out contradictions with feigned innocence: \"Sunday morning creeping like a nun\" gives piety away as a guilt trip. ", "The downwardly walking piano turns around to come back up after that line—devoutness is mocked as empty dutifulness. ", "The stately conclusion of \"See how they run!\" ", "is sung with giddy irreverence—it implicates the \"run\" in her stockings (large enough for intercourse) as it exculpates the kids she's forced to feed as a result. ", "The groove dances all over the contradiction.", "\n\nPaul's cryptic tone makes the stylized nostalgia hip, A growling sax solo exonerates guilty pleasures backed by the vocals' sarcastic \"up-bah-bah-bah\"s. ", "With kids running about in the verses and the farcical nursery-rhyme bridge, prolonged innocence is hooted at as unnatural; sex is congenital. ", "Like the corrupt choirboys in \"Doctor Robert,\" the religious concept of purity is uncovered as a charade. (", "At least one biographer, Chris Salewicz, holds that \"Lady Madonna,\" along with \"Yesterday\" and \"Let It Be,\" are about Paul's mother, who died of breast cancer when he was fourteen.)", "\n\nHARRISON'S \"The Inner Light\" appears only on the B side of the \"Lady Madonna\" single, and its spiritual popism is more rhythmically varied and easier to swallow than nearly every other Indian-style album track. ", "It rivals \"Love You To\":\n\n_Without going out of my door \nI can know all things on earth \nWithout looking out of my window \nI could know the way of heaven_\n\n_The farther one travels, the less one knows \nArrive without traveling \nSee all without looking, \nDo all without doing_\n\n\"Forget the Indian music and listen to the melody,\" Paul says of this song. \"", "Don't you think it's a beautiful melody? ", "It's really lovely\" ( _Illustrated Lyrics_ , p. 108). ", "George's philosophical musings are less condescending than those of \"Within You Without You,\" and the fact that both are built from the same Eastern rhythmic principles only exaggerates \"The Inner Light\" 's success. ", "When he sings \"the less one really knows,\" he admits a degree of spiritual modesty instead of flaunting sanctimonious hype. ", "The lyrics are sung to soft hues answered in sitar, and the meter accelerates to a quick dance-like rhythm with drums. \"", "The Inner Light\" says all it needs to say about the insight that meditation can offer its followers, the wisdom of mystery that George goes on too long about too often during his solo career.", "\n\n## **_Hey Jude_** (Paul)/Revolution (John) _Released: August 30, 1968_\n\nWith the \"Hey Jude\"/\"Revolution\" single, Lennon and McCartney's competitive edge reaches an apex: the duality of \"We Can Work It Out\" that splits for \"Penny Lane\"/\"Straw-berry Fields Forever\" and \"Hello Goodbye\"/\"! ", "Am the Walrus\" reaches its final height (the remaining \"Get Back\"/\"Don't Let Me Down\" pairs them without the same expressive rewards) . ", "McCartney's sentimental muse finds its noblest voice, and Lennon's internalized odysseys are pared down for a refreshing return to Chuck Berry guitar motion. ", "These two songs are touchstones of their mature sensibilities, with McCartney at his most lyrical and Lennon at his most uncompromising.", "\n\n\"HEY JUDE\" began as an improvised song of encouragement to Julian Lennon, John's son by Cynthia, as Paul was driving him home one day. ", "The Lennons were getting a divorce, and Paul's compassion was directed toward the child who found himself caught in the middle. ", "With unfinished lyrics, he brought the song in and played it for Lennon. ", "The two of them remember the demo session differently:\n\nI remember I played it to John and Yoko and I was saying, \"These words won't be on the finished version.\" ", "Some of the words were \"the movement you need is on your shoulder,\" and John was saying, \"It's great I 'The movement you need is on your shoulder.' \" ", "I'm saying \"It's crazy, it doesn't make any sense at all.\" ", "He's saying \"Sure it does, it's great.\" ", "I'm always saying that, by the way. ", "That's me. ", "I'm always never sure if it's good enough. ", "That's me, you know. ( _", "Paul McCartney in His Own Words_ , p. 23)\n\nWell, when Paul first sang \"Hey Jude\" to me—or played me the little tape he'd made of it—I took it very personally. \"", "Ah, it's me!\" ", "I said. \"", "It's _me_.\" ", "He says, \"No, it's _me_.\" ", "I said, \"Check, we're going through the same bit,\" so we all are. ", "Whoever is going through that bit with us is going through it, that's the groove. ( _", "The Ballad of John & Yoko_, p. 50)\n\nJohn read himself right into Paul's song: his involvement with Yoko and the ensuing divorce with Cynthia happened at the same time that Paul split from his longtime girlfriend, actress Jane Asher. ", "The lyrics are atypically self-referential in that way (\"You're waiting for someone to perform with\"), as Nicholas Schaffner points out. ", "What's more telling is how Lennon insisted that Paul keep the lyrics just as they were—Paul introduced them as dummies (like \"Yesterday\" 's \"scrambled eggs\"), but Lennon stamped them completed. ", "This documented instance of who wrote what and how the other responded shows just how sympathetic they were to each other's temperaments. ", "They often doctored up one another's sketches, but \"Hey Jude\" was so good that Lennon didn't touch it.", "\n\nAs usual, the biographical concerns reveal only so much of what the record is all about; the high spirits resonate beyond any immediate personal references. ", "The communal overtones that were atomized in \"She Loves You\" are expanded in \"Hey Jude\"; the singer is singing as much to himself as he is to Jude, but Paul hones in on the joy of that earlier thunderbolt and stretches it into an anthem. ", "The beat is grand rather than manic, and the choral refrain coda outlasts the song itself. \"", "Hey Jude\" reflects a larger realm of experience, and conveys a richer vision of how good life can get.", "\n\nPaul starts the song alone with an immediacy of feeling, an urgency he can no longer suppress. ", "He sings with the hope that something just may come of his effort, and by the end a sad song _is_ made better. ", "Part of this transformation lies in the journey from a lone voice to a chorus of others singing with him—the implicit message is faith in other people, the rejuvenating effect of shared singing. ", "But in trying to cheer someone else up, Paul discovers his own capacity for healing. ", "The process of singing the song testifies that uplifted spirits are _earned_ , not just willed: no peace is possible without struggle, \"Hey Jude\" tells us, and although the journey must be shouldered alone, the strength of community sees the singer through. ", "Instead of escape (\"Tomorrow Never Knows\") or withdrawal (the alternative world of _Sgt. ", "Pepper_ ), \"Hey Jude\" declares human experience as the only path toward enlightenment. (", "That it accomplishes this much on one side of a hit 45 makes it all the more encompassing.)", "\n\nThe solo vocal opening is Paul's balladic answer to Len-non's naked outbursts (in \"No Reply\" and \"You're Going to Lose That Girl\"). ", "As with the solo vocal that trips \"Penny Lane,\" the emotional tone is engaging from the first few seconds. ", "The compassion lies in the gentle fall between the two title words, and the sound has a hue that radiates warmth and empathy. ", "Paul holds the pedal down to let the simple piano chords ring fully; their rhythmic cadence is ripe with feeling. ", "By the end of the first verse, the melody is an old friend.", "\n\nThe suppleness of Paul's voice couldn't be sweeter—he caresses the words, soaring through the contours of a line as if in free flight, hugging its curves and gliding on its plateaus. ", "The cut-off delivery of \"re-mem-bah\" is soft, not clipped; he enjoys singing through the consonants as much he enjoys holding the vowels. ", "Like all great singers, he invites the listener into the song without conceit; the artistry lies in the seeming ease with which he greets us.", "\n\nThe second verse adds guitar (left) and a single tambourine (center) as the understated grace gains fluency. ", "The vocal harmonies (\"ah\") that enter during the second half of this verse (behind the words \"the minute\") hint at the glory to come and help ease the groove for the drum fill into the first bridge. ", "As Ringo offers a restrained tom-tom and cymbal fill, the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge a point of arrival (\"And any time you feel the _pain_ \"). ", "The singer arrives a split second before the downbeat does, making the moment well up with anticipation. ", "Paul's bass enters here, and the song bursts wide open, just as it will on a larger scale during the transition to the coda.", "\n\nThe downward bass motion that defines the harmony of the bridge settles the groove into a steady pace. ", "The bridge consists of two stanzas, separated by the same piano figure that introduces them. ", "As relief to the midrange of the verses, Paul's voice shoots upward: the bridge begins high and ends low; the verse melody arcs in a rainbow curve. ", "At the end of the bridge (in the subdominant), the \"na-na-na\"s reorient the harmony for the verse as the piano figure turns upside down into a vocal aside (two steps downward become two steps upward toward the original dominant seventh, a musical question mark). ", "The transition glows with feeling as it reorients the harmony.", "\n\nTo sustain interest in a four-verse, two-bridge song, details are added: tambourine on the third verse, subtle harmonies to the lead vocal. ", "After he sings \"Now go and get her,\" a distant but audible Paul sings \"So let it out and let it in, hey Jude,\" telescoping the lyric of the second bridge in the background. ", "John joins Paul beneath his lead on the line \"Remember to let her into your heart\" and leaps above him on the next line on the words \"start to make it better.\" ", "When these vocal lines intersect on the line \"Remember to let her into your heart,\" the musical interplay jells into a full-bodied blend. ", "The basic rock ensemble gets colorful long before the choir comes in.", "\n\nPaul arrives a hair early again at the second bridge (\"So let it out and let it in\"), but by now he's more at ease with the music—he doesn't have to define this moment the way he did before, he just lets it happen. ", "Like the stage metaphors McCartney sets up in _Sgt. ", "Pepper_ , expectation and obligation are weighed; \"You're waiting for someone to perform with\" casts Jude as a nervous actor overplaying the part. ", "A guitar lick enters in contrary motion to the piano after the words \"perform with\" (the piano moves downward as the guitar shifts upward). ", "This brief juxtaposition sets Paul off—he sings the next line ad libitum, free from the melody, inspired by the splendor of sound that surrounds him. ", "This is where the most encouraging lines of the song come: \"Don't you know that it's just you/Hey Jude, you'll do/The movement you need is on your shoulder\"—a tidy compendium of pop clichés that expresses the value of self-reliance and self-trust. ", "Since Paul is singing not only to Jude and himself but to his audience, the metaphorical message is larger: he's telling us that we all share an intuitive talent for living. ", "After the \"na-na-na\" transition back to the final verse, Paul adds a modest \"yeah\" beneath the piano's echo to prepare for the final stretch.", "\n\nThe last verse arrives with a strong sense of return—it's like the song has come back home again. ", "This is the last time Paul sings the title line in the verse setting, and he strings it out delicately, with real affection. ", "The single-line harmony that John sings with Paul on this verse, a repetition of the first verse, is more expressive than the harmony he supplies in the third verse. ", "It's their best duet since \"If I Fell,\" not only for its sense of shared experience but for its similarly effortless intricacy—the harmony is just as affecting as the melody it complements. ", "Lennon's presence on the last verse makes what would have been a great solo more of a _band_ experience, strengthening the power of what would have been a solo tour de force.", "\n\nAs the last verse comes to a close, a mood of expectancy pervades—the song isn't ending, even though it's supposed to be. ", "Something even bigger is around the corner; and as it slowly begins to appear, the anticipation heightens even further. ", "When Paul begins his ascent on the repeated word \"better,\" the whole mood is transformed from quiet reassurance to liberated ecstasy. ", "The screams that send off the coda are the joy that has been building up throughout the entire song; all hesitation is set loose, and the coda springs to life from beneath the singer's cries with a new commitment. (", "The repeated progression [I-bVII-IV-I] answers all the musical questions raised at the beginnings and ends of bridges. ", "The flat seventh that posed dominant turns into bridges now has an entire chord built on it.)", "\n\nFor the remainder of the record, the three-chord refrain provides a bedding for Paul to leap about on vocally. ", "The Beatles asked the thirty-six-piece orchestra to sing along for the chorus, making the seemingly nonsensical \"na-na-na\"s sound like the spontaneous anthemic climax Paul must have imagined. ", "If ever a trivial pop snippet was apotheosized, it is here. \"", "Yeah, yeah, yeah\" may be the early Beatles' cries of romantic enchantment; \"na-na-na\" is the mature version of the same intoxication with life. ", "Both spring from a desire to say more than can be said with words, and both convey far more than words could ever express.", "\n\nThe seemingly endless string of ad-libbed hoots, hollers, screams, wails and asides that Paul turns in atop this communal glory speaks for his sense of the moment. ", "He has a way of off-handedly inserting a lick or a phrase that gives everything around it a new shape, a new shade of meaning. ", "This is no small talent. ", "By recombining what has come before with new inflections, ornamenting the already sturdy refrain with lines of soaring beauty, he makes \"Hey Jude\" not only a masterpiece of melodic invention but a recording of unrivalled vocal ingenuity. ", "It becomes a tour of Paul's vocal range: from the graceful, inviting tone of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda. ", "In seven and a half minutes he goes from refinement to abandon in a continuous escalation of pitch. ", "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. ", "He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself. ", "The genius lies in the way he includes the listener in the same pilgrimage.", "\n\nWe recorded the song [\"Revolution\"] twice. ", "The Beatles were getting real tense with each other. ", "I did the slow version and I wanted it out as a single: as a statement of the Beatles' position on Vietnam and the Beatles' position on revolution. ", "For years, on the Beatles tours, Brian Epstein had stopped us from saying anything about Vietnam or the war. ", "And he wouldn't allow questions about it. ", "But on one of the last tours, I said, \"I am going to answer about the war. ", "We can't ignore it.\" ", "I _absolutely_ wanted the Beatles to say something about the war.", "\n\nThe statement in \"Revolution\" was mine. ", "The lyrics stand today. ", "They're still my feeling about politics: I want to see the _plan_. ", "That is what I used to say to Jerry Rubin and Abbie Hoffman. ", "Count me out if it's for violence. ", "Don't expect me on the barricades unless it is with flowers. ", "As far as overthrowing something in the name of Marxism or Christianity, I want to know what you're going to do _after_ you've knocked it all down.", "I mean, can't we use _some_ of it? ", "What's the point of bombing Wall Street? ", "If you want to change the system, change the system. ", "It's no good shooting people. (", "Lennon in _Playboy_ , pp. ", "196–7)\n\nROCK 'N' ROLL has always been a revolutionary force. ", "It changed the way youth culture perceived itself on a wide range of issues: sexuality, freedom, self-worth, individuality. ", "By the mid-sixties the radicals began to see new political possibilities in the form. ", "And yet for all the rhetoric in the underground papers, there are surprisingly few good political rock songs from the sixties. ", "Crosby, Stills, Nash, and Young's \"Ohio\" (1970), directed at the Kent State killings, is the most affecting (\"Tin soldiers and Nixon coming . . .\"). ", "Dylan got more mileage by singing \"Don't follow leaders/Watch the parkin' meters\" with an electric guitar in \"Subterranean Homesick Blues\" (1965) than he did acoustically with \"Only a Pawn in Their Game\" (1964). ", "As Ariel Swartley puts it in her article, \"A Life in the Balance\" (Boston _Phoenix_ , October 28, 1986), \"What Dylan offered listeners was the subversive delight of individual interpretation along with the heady solidarity of consensus.\" ", "Songs like the Rolling Stones' \"Street Fighting Man\" were overread as political potboilers (when the motivating line is really \"What can a poor boy do/But to sing in a rock and roll band\"). ", "But in general, rock stars shunned the political roles that their audiences demanded from them—they were more interested in being musicians than they were in writing movement manifestos. (", "This attitude has its abhorrences: the Stones' jaded response to the front-row killing at their concert in Altamont in 1969 was a manipulative film— _Gimme Shelter_ —and the crude ironies of their next record, _Sticky Fingers_ in 1971.)", "\n\nLennon was a natural leader in the eyes of the radicals, but his instincts told him something different than what the revolutionaries were preaching on the streets. ", "He wanted change, but he refuted violence; he felt the world was at a political and cultural epoch, but he disagreed with the leading leftists who insisted on hearing disorder in rock as a metaphor for revolt. ", "What Lennon understood better than the reactionaries at the time—and what makes \"Revolution\" a classic, a song that still has a relevant viewpoint—is the difference between ideas and action. ", "The gap between utopianism and practicality was all too apparent in his eyes, and real change began with the individual in any case. ", "But because the single was released during the same week that saw police club protestors outside the Chicago Democratic Conr vention, his message in 1968 infuriated many, including some influential critics: \"It is puritanical to expect musicians, or anyone else, to hew to the proper line,\" wrote Robert Christ-gau in the _Village Voice_. \"", "But it is reasonable to request that they not go out of their way to oppose it. ", "Lennon has, and it takes much of the pleasure out of their music for me.\" ", "Lennon was miffed over the fuss the song raised:\n\nI don't worry about what you, the left, the middle, the right or any fucking boys club think. ", "I'm not that _bourgeois_. . . . ", "I'm not only up against the establishment but you too. . . . ", "I'll tell you what's wrong with the world: people—so do you want to destroy them? ", "Until you/we change our heads—there's no chance. ", "Tell me of one successful revolution. ", "Who fucked up communism, Christianity, capitalism, Buddhism, etc.? ", "Sick heads, and nothing else.", "\n\nhe wrote in _Black Dwarf_ magazine in reply to a harsh attack.", "\n\nThe first version of \"Revolution\" to be released, the B side to \"Hey Jude,\" is a sped-up version of the original (heard at the beginning of side four of the \"White Album\"). ", "The distorted anger of the triplet guitar solo that ushers in the storming antimanifesto is accented by a single thunk from the band—it has the same simple command as the opening lick to \"She Said She Said,\" only this groove is slower, funkier. ", "As vocal screams invade and the band falls into the verse, the guitar wails (left) are perfectly timed, coasting into the rhythmic riff that is the track's backbone.", "\n\nThe progression is straight blues, broken only for the stop-time in each verse where Lennon delivers ultimatums:\n\n_But when you talk about destruction \nDon't you know that you can count me out_\n\n_But if you want money for people with minds that hate \nAll I can tell you is brother you have to wait_.", "\n\nThe key line of the song is \"You tell me it's the institution, well you know/You better free your mind instead.\"", "\n\nLike that of \"Instant Karma,\" the message of \"Revolution\" is to put your faith in people, not systems. ", "Lennon knew that any alternate form of government would be as frail as the humans who would construct it. ", "When he did get involved with political activism in the early seventies, he stressed individuals and causes (John Sinclair, the peace campaigns) more than radical ideologies. ", "Even then, the agitprop of _Some Time in New York City_ (1972) is musically stilted. ", "In retrospect, \"She Loves You\" changed more heads than \"Ohio\" which, although pungent, basically preached to the converted. ", "Lennon's political thinking is best summed up in the simple quote he and Yoko used: \"Think globally, act locally.\" (", "The Thompson Twins' vapid 1986 cover of \"Revolution\" usurps its humanitarian overtones by being chic—all posture and no soul.)", "\n\n## **THE BEATLES** _Released: November 22, 1968_\n\nRichard Hamilton's classic plain white design and formal inner graphics for the \"White Album\" mirror the music's range from farcical simulation to tour-de-force rigor. _", "Rubber Soul_ and _Revolver_ didn't mention the word \"Beatles\" on the cover; this record doesn't even show a picture of them, and the title proper of the record is branded crookedly on the bottom right-hand side of the jacket. ", "By being overtly elitist, it sends up pop's anti-elitism the same way Blake's _Pepper_ cover deliberately overstates pop-as-art. ", "Hamilton conceptualized \"the first definition of low Pop Art and made the first high Pop Art work,\" writes Simon Frith. ", "The \"White Album\" jacket was \"a limited edition of millions, hand-numbered on the production line . . .\" ( _", "Village Voice_ , September 23, 1986). ", "The music it contains walks the same tightrope between respectful emulation and high musical satire, what Wilfrid Mellers terms \"serious parody.\"", "\n\nAs a form, the double album has offered up some of rock's finest moments: Dylan's _Blonde on Blonde_ (1966) equals if not surpasses both _Bringing It All Back Home_ and _Highway_ 61 _Revisited_ (both 1965) before it. ", "The Rolling Stones' _Exile on Main Street_ (1972) and Eric Clapton's _Layla_ (1972) are irreducible explorations of the American blues on which these English figures built their sound. ", "Bruce Springsteen's _The River_ (1980) unites concerns from both sides of his career, from the romanticism of _Born to Run_ (1975) to the desperation of _Nebraska_ (1982); the Clash's _London Calling_ (1980) epitomizes the furious kineticism of punk. ", "In each of these cases, the double album signifies a major artistic accomplishment and comes to represent much of what a given artist is all about. ", "Even Elton John's _Goodbye Yellow Brick Road_ (1973), a noble failure, stands as a hallmark of his development as a pop tunesmith—with certain double albums, it's just as revealing to hear what tracks an artist might have cut as it is to hear the ones he chose to include.", "\n\nThe Beatles toy with the double-album form in different ways: the individuality of the songs overwhelms the sense of the four sides as a whole. ", "George Martin still holds that he preferred paring the material down to compose one strong two-sided record, and yet the options for making a satisfying single record from this compilation seem limited: which songs would be lopped off? \"", "Wild Honey Pie\" certainly, \"Rocky Raccoon\" perhaps; \"Long Long Long\" is the weakest George track, but \"While My Guitar Gently Weeps,\" \"Piggies,\" and \"Savoy Truffle\" are essentials. ", "There is no sequence that would satisfy the strictures of the forty-minute record without discarding not a few but many great tracks.", "\n\nTHE \"WHITE ALBUM\" downplays the self-conscious sophistication of _Pepper_ while extending that record's use of musical caricature. ", "By placing \"Birthday\" next to \"Yer Blues\" and \"Revolution\" next to \"Honey Pie,\" it's as though the Beatles mean to pair each musical extremity with its own opposite to highlight both the polarities at work in the band and the catalogue of styles that rock has grown to encompass—the popular tradition it stems from and future directions it will move toward. ", "Throughout the record, their intentions are constantly shifting: animals are used as allegory (\"Piggies\"), nicknames (\"Rocky Raccoon\"), cartoons (\"Bungalow Bill\"), and symbols of the human spirit (\"Blackbird\"). ", "Traditional English female names are sanctified (\"Prudence\" and \"Julia\") or modeled as types (\"Sadie\" is sexy, \"Martha\" is a \"silly girl\"). ", "If the simple chords at the top of \"Ob-La-Di, Ob-La-Da\" sound trite, the corresponding piano intro to \"Martha My Dear\" hides the melody in an unlikely harmony. ", "In the single version of \"Revolution\" John sang \"count me out\"; on the \"White Album\" version he sings both \"out\" and \"in,\" toning down the steadfastness of the original to make it more sympathetic.", "\n\nLike \"Lady Madonna,\" the McCartney songs straddle the ironic distance between genre treatments and fresh, inventive material that stands well on its own, \"Back in the U.S.S.R.\" is Brian Wilson with sex appeal (\"Honey, disconnect the phone\"); \"Honey Pie\" sends up twenties sentimentalism at the same time that it finds an endearing lovesick optimism, much like \"When I'm Sixty-four\"; \"Rocky Raccoon\" is a cowboy song that works as a country-western counterpart to Ringo's \"Don't Pass Me By.\" \"", "Ob-La-Di, Ob-La-Da\" outsimplifies \"Yellow Submarine\" as a kiddie classic; \"Martha My Dear\" is quaint but harmless, \"I Will\" is quaint but indistinctive; and \"Why Don't We Do It in the Road?\" ", "has the same mock finality of Lennon's \"Yer Blues.\"", "\n\nBut as McCartney gains facility with different styles, his partner walks a bitter course. ", "The beauty of \"Dear Prudence,\" a key Beatles song about nature, is thwarted by a disdain for his own listeners in \"Glass Onion.\" ", "The pa-rodic impulse at play in the doo-wop ending of \"Happiness Is a Warm Gun\" is sarcastically cynical. \"", "Julia\" explores the core of his emotional hurt—the loss of his mother—and casts light on earlier identity songs (like \"She Said She Said\" and \"Strawberry Fields Forever\") as well as his jealous streak (\"You Can't Do That,\" \"Run for Your Life\"). \"", "Yer Blues\" is at once satiric and genuine; the glib title reveals nothing of the pain in Lennon's howls. ", "There are moments in \"Sexy Sadie\" where his voice reaches a poignancy as great as at any moment in his career; but the object of its vengeance, the Maharishi, seems beneath contempt. ", "McCartney uses song forms as historical reference points; Lennon twists them to serve his emotional needs.", "\n\nThe effect they have on each other's writing is everywhere in evidence, and the layout accents how their tendencies rub off on one another. ", "Where side starters \"Back in the U.S.S.R.\" and \"Revolution\" seem suited to their separate impulses, the verses to \"I'm So Tired\" are Lennon at his most lyrical, and \"Why Don't We Do It in the Road?\" ", "is the crude side of Paul's humor. ", "McCartney's wrenching \"Helter Skelter\" comes after Lennon's meddlesome \"Everybody's Got Something to Hide Except Me and My Monkey\" in yet another competitive apposition—Lennon submerges in scatological contradictions while McCartney ignites a scathing, almost violent disorder. ", "Both rock extremely hard. ", "And while it's fair to say that McCartney would probably have come up with \"Martha My Dear\" and \"Qb-La-Di, Ob-La-Da\" without someone like John Lennon as a partner, his influence on John's characterizations in \"Cry Baby Cry\" is unmistakable.", "\n\nGeorge gets one song per side and, except for the self-explanatory \"Long Long Long,\" regains the promise of his _Revolver_ tracks. ", "Without \"Savoy Truffle,\" side four would be far too Lennon-heavy, and \"Piggies\" is smug anti-elitism outdone only by the dourness of John's \"Glass Onion\" and \"Sexy Sadie.\" \"", "While My Guitar Gently Weeps\" seems longer than it really is, showing that he did have a good sense of timing (a quality \"Within You Without You\" lacks). ", "It became a seventies classic, competing with songs like Led Zeppelin's \"Stairway to Heaven,\" the Who's \"Won't Get Fooled Again,\" and Erie Clapton's \"Layla\" for heavy FM rock rotation status. ", "Ringo turns in his first solely authored original, \"Don't Pass Me By,\" which grounds side two in unaffected rural simplicity.", "\n\nMuch of the recording was done separately: Paul played drums on \"Back in the U.S.S.R.,\" taped \"Blackbird\" by himself, made \"Why Don't We Do It in the Road?\" ", "with just Ringo; John oversaw the strings to \"Glass Onion\" on his own; George used Eric Clapton to play lead guitar on \"While My Guitar Gently Weeps.\" ", "There are no vocal duets, and the overall feel is that of a group that plays together but no longer shares a common idea of what it wants to project as a whole. ", "As Mike Evans points out in _The Art of the Beatles_ , Hamilton's accompanying collage poster juxtaposes photos from every period in their career, but they're all individual poses instead of group shots. ", "And the sessions were marked by at least two walkouts: first George and then Ringo.", "\n\nA SEARING JET touches down as the album begins, swooping into the center of the mix as the lead guitar (right) coughs before the band starts playing. ", "The device rips off noises from a sound-effects record, and it fades in and out of the song like an aural cartoon. ", "Drums, piano, and lead guitar are mixed to the right; bass and rhythm guitar are on the left; and Paul's vocal is centered. ", "The basic song is rollicking, and, like \"Yellow Submarine,\" it's an open invitation to a party: the background vocals' falsetto \"ooh\"s during the bridge (behind \"The Ukraine girls really knock me out\"), the falling syncopations of the lead guitar that nudge every line of the chorus, and the comic double-takes on \"back in the U.S.\" before the second chorus.", "\n\n\"Back in the U.S.S.R.\" is most often referred to as a Beach Boys parody, the kind of fun-in-the-sun song the California surf kings did so well—it's a send-up of \"California Girls\" and \"Surfin' U.S.A.\" It doesn't depend on this association to be delightful, though—as in \"Drive My Car,\" the wit is happily tart. ", "The more direct association is with Chuck Berry's \"Living in the U.S.A.,\" a list of everything a black man like Berry _couldn't_ have in America (\"I'm so glad I'm living in the U.S.A.\" is more racially ironic than anything else, as Greil Marcus suggests). ", "The commercialism that Berry immersed himself in is relocated and mocked—the joyous return to the Soviet homeland is sarcastic camp. (", "It had the desired effect of inciting the John Birch Society's editorial ire, which linked the song's sympathetic socialism up with Len-non's \"Revolution,\" missing the point completely.) ", "It's offered as a hoot and delivered as such, right down to the self-deprecation of \"Georgia's always on my m-m-m-mind,\" repeating the _ms_ as if mimicking their own earlier style (\"Ask Me Why\"). ", "The lead guitar hovers over the last verse like the jet itself, playing a high single-note lead to take things home.", "\n\nAS THE FINAL engine noises recede into the distance, John's guitar comes up in the far right channel with the elegiac falling riff of \"Dear Prudence.\" ", "The transition couldn't be more marked, but it works despite the extremity of the contrast between Paul's exuberant kickoff and John's inward and stirring ballad. ", "The journey from parody to purity pits the fast-paced technological age against simpler evocations of a child's view of the world (\"The clouds will be a daisy chain\").", "\n\nLennon's opening words are punctuated by a delicate tambourine-and-bass accent in the left channel—the bass continues to play on downbeats, the tambourine reappears only at the beginnings of phrases. ", "Ringo enters with just his high-hat on the first verse as the tone of the song is established, slowly quieting what has come before. ", "The second verse gains in rhythmic activity, drums adding a full beat and bass rounding out a complete pattern that fills in the descending harmonies. ", "When the background vocals enter behind Lennon after \"See the sunny skies,\" the basic texture of the track is complete—the growth will be only one of energy.", "\n\nFor the bridge (\"Look around\"), these elements are enhanced by doublings: a short guitar section replays the opening riff with a new counterpoint; vocals are added (singing \"round, round, round\"); and a lead guitar on the left adds commentary. ", "As the bridge draws to a close, a final \"look around\" swells in the voices as they sing a small musical circle, rising a minor third and ending where they began.", "\n\nFor the third verse, the same guitar intro is used, but it has gained in subtle authority: by now its restraint is gorgeous; the lull is charged with the simplest kind of truth. ", "A lead guitar commentary on the left follows each line, and handclaps are added. ", "As the whole thing mounts toward a swell into the final verse, everything blossoms (after the line \"Won't you let me see you smile\"). ", "The drum fill Ringo provides is invisible, pulling the band along without drawing attention to himself.", "\n\nThe downbeat he hits at the beginning of the last verse as John sings \"Dear _Prudence_ \" sets all the restrained energy in motion: the lead guitar on the left begins playing a counter-melody to the lead vocal, arching higher and higher with dramatic surges of brilliance. ", "After the first line, a piano enters in the middle of the sound with downward arpeggios, rippling and glistening with brightness, irradiating everything around it. ", "Ringo's intro fill gradually becomes one solid verse of a solo, accenting every other downbeat, then skipping one to draw out the tension. ", "His varied timbres (snare alternated with tom-toms) with his sure sense of time (no triples, only eighths and a few sixteenth notes) make the whole mix jump with a beautiful undulating pulse. ", "As they head for the final cadence (\"The sun is up\"), the piano does a full glissando all the way down the keyboard, and the lead guitar on the left aims higher and higher for its peak, landing at the top just before Lennon utters the final line.", "\n\nThe thwarted downbeat before this last line (\"Won't you come out to play\") is the most satisfying resolution of all the motion that has come before. ", "There is a slight retard to buffer the momentum, and the lead guitar echoes its own last note in a distorted reverberation as it fades from the texture. ", "The last sounds of the solo guitar figure on the right complete the larger circle the song travels in; it wanders off into the distance without arriving anywhere as the scene fades.", "\n\nThe life of the child and the celebration of nature are familiar subjects for Lennon, but nowhere else does he sound as composed as he does here, as infatuated with the innocence he's singing about. ", "He wrote it for Mia Farrow's sister when they were both at the Maharishi's meditation retreat in Rishikesh, but ultimately it's a song about sexual awakening, the heady euphoria of natural pleasures wooed by a sublime musical arc. ", "It counts among Lennon's finest songs. (", "Siouxsie and the Banshees' 1984 cover version is a surprisingly effective distortion of the Beatles' elegiac original.)", "\n\nAFTER THE HUSHED resolution of \"Dear Prudence,\" the opening drum and bass raps of \"Glass Onion\" are a rude knock. ", "Ringo's pert flams of anxiety set off verses that reach a dead end with the title phrase, \"looking through a glass onion.\" ", "John's \"I\" is explicitly first-person, and the verbal attack is on his audience; it's an abusive version of \"I Am the Walrus.\" ", "The texture is alienated and fragmented: sharp guitar accents above a thunky bass counter warping strings. ", "The condescension in John's voice is full of loathing as much for his fans as for the boundaries that separate them from him; like \"Sympathy for the Devil,\" it imputes both audience and performer. ", "References to other Beatles songs are strung together implicatively: \"Lady Madonna trying to make ends meet, yeah,\" \"the walrus and me, man,\" and \"fixing a hole in the ocean\" (which refers to both Paul's _Sgt. ", "Pepper_ song and the sequence in the _Yellow Submarine_ film when the cartoon Beatles sail into the sea of holes).", "\n\nAs Lennon skeptically invites us to \"another place you can go,\" cellos slide up (like they do in \"Strawberry Fields Forever\") and lead into the anticipatory kicks of the chorus—every downbeat comes early, agitating the already anxious beat (\"Looking through the bent-back tulips/To _see_ how the other half live\"). ", "The line \"Here's another clue for you all/The Walrus was Paul\" comes a full year before the \"Paul is dead\" rumors, foreboding the fanaticism of a last morbid Beatles craze with an earned cynicism. ", "When he repeats a simple \"oh yeah\" in the bridge, he draws each one out further, gaining intensity at each repetition, finally screaming out the last word until his voice breaks with disgust. ", "It's like he's putting his vocal cords through an emotional strainer and all that comes out is lean acerbity. ", "In the last verse, when he sings \"I told you 'bout the fool on the hill/I tell you man he's living there still,\" he even brings in a shrill recorder (right), a parodic echo of the simpy sounds Paul employed on his _Magical Mystery Tour_ track.", "\n\nInstead of the external voices and surreal word-painting of \"I Am the Walrus,\" \"Glass Onion\" is an implosion of disdainful self-references. ", "It sounds like the whole Beatles mystique is paling for Lennon; he's weary of the role demanded of him by the very people who buy his records, and he's looking for someone to blame. ", "The betrayal is larger than in \"No Reply\" or \"Day Tripper\"; as in \"Help!,\" ", "the band entraps him as he sings about them. ", "The resigning cello passage edited on after the last verse curdles the entire track.", "\n\nTHE RINKY-TINK PIANO chords that open \"Ob-La-Di, Ob-La-Da\" laugh off the bitterness of \"Glass Onion\" in an instant—all despair becomes frivolity. ", "Paul's swinging bass underpins the offbeat chords in the piano, and the lift couldn't be sweeter—it out-simplifies \"Yellow Submarine,\" with the kind of utterly convincing charm that people use to call \"groovy.\" ", "Paul's voice greets the listener from both channels.", "\n\nAny fuss made over such a disarming romp would detract from its benign glint, so it rolls along harmlessly—saxes spurring the bridges along with syncopated nudges, background vocals doing what they can with their choruses, and tiny toy-piano flourishes sprucing up the final verse.", "\n\nMcCartney's solo career suffers from moves like this—anyone else performing a ditty this inane would get raked over the coals for it. ", "But because it's self-deprecating, and sandwiched in with such fine stuff as \"Dear Prudence\" and much of what follows, it comes off better than Lennon's contemptuous sneer. ", "Unlike \"Wild Honey Pie\" (a throwaway on the order of \"Flying\" from _Magical Mystery Tour_ ), \"Ob-La-Di, Ob-La-Da\" has an unforgettable, if insubstantial, hook. (", "In Britain it was immediately copied by Marmalade, whose single version reached number one in a chart life that lasted thirteen weeks.)", "\n\nTHE SPANISH GUITAR FLOURISH that links \"Wild Honey Pie\" to \"Bungalow Bill\" sets up a tale of epic proportions, but the refrain breaks through with such reckless inebriation (in another key area) that the flamenco becomes a prop. ", "In this episode of the ongoing radio melodrama, Bill and his elephants are \"taken by surprise,\" and in the last verse Bill has to justify killing to the children who follow his exploits. \"", "Not when he looks so fierce,\" Yoko (as \"his Mummy\") interrupts before he can answer. \"", "If looks could kill it would've been us instead of him,\" she warns. ", "It's comic-strip parody the way \"Mr. Kite\" made hoops and horses seem nightmarish, without all the psychedelia swirling overhead. ", "The typical Lennon setup contrasts an uneven refrain (in major) with a half-time verse (in minor), linked by four thumps in the bass drum. ", "The sportsman's whistling and self-important air tarts up the refrain, but, like \"Rocky Raccoon,\" it sends up two-dimensional heroes and villains with a caustic subplot: what kind of brave adventurer would take his mommy along \"in case of accidents\"? ", "Bungalow Bill would be helpless without Captain Marvel zapping the mighty tiger \"right between the eyes.\" ", "A lethargic bassoon enters on the repeat of final choruses, and the hunters erupt into applause.", "\n\nThe repeated piano notes (left) of \"While My Guitar Gently Weeps\" interrupt the rowdy hunters, flanked by bass and high-hat (right) and a single acoustic guitar (center) for the introduction. ", "The repeated note climbs up into the melody as the progression gets rolling—Eric Clapton's entrance (left) just before the verse transforms the basic texture into a backdrop for his lead. ", "It's a guitar track for and about guitarists, pushed along by Paul and Ringo's insistent support (right) and set off in the bridge with organ (left) (on the words \"I don't know why nobody told you\"). ", "By the third verse (\"I look at the world\") the groove has grown enough for George to start harmonizing with himself, moving right into Clapton's solo for the fourth verse. ", "They repeat a bridge and then a final verse pushed along with tambourine before letting the track glide out into vocal ad-libs and guitar musings. ", "Things don't build to a raging pitch the way they might; the weeping tone is sustained by a constantly withheld intensity—the kind of blues that says more by holding back than it does by cutting loose.", "\n\nWHERE \"Dear Prudence\" evokes a sexual pastoral, \"Happiness Is a Warm Gun\" is a squalid montage. ", "Lennon starts it alone on his electric guitar—\"She's not a girl who misses much\" is sung despondently, not suggestively. ", "As the band approaches from behind, its ominous swell is downright scary—its first downbeat utterly shrieks (before \"She's well acquainted with the touch\"). ", "He's looking ugliness in the face: the sensation of the \"touch of a velvet hand\" is likened to the shiny underbelly of a \"lizard on a window pane\"; the dirty old \"man in the crowd with the multi-colored mirrors on his hobnail boots\" lies \"with his eyes as his hands are busy working overtime\" as vocal harmonies are added. ", "A ringing guitar (center) is set against a clipped guitar (right) that injects incisive offbeat chords into the texture. ", "In the opening sequence, a pervert looks up skirts with his boots' mirrors before masturbating—and then, bizarrely, \"A soap impression of his wife which he ate and donated to the National Trust\" (obscure British slang for toilet) shifts meters three times in three bars before landing in a drugged-up waltz.", "\n\nA guitar solo links the first episode to the second with a dirty, pornographic grunge, and Ringo plays every other downbeat differently—first snare, then cymbals. \"", "I need a fix cos I'm goin' down\" has a junkie's dread to it, the burnt-out zone between coming down and the next rush. ", "It's sung low, offsetting the high first scene, and conjures up a sordid street life of outcasts and perverts.", "\n\nThe next section gets no preparation: \"Mother Superior jump the gun\" combines an incorruptible fantasy status for a female with a munitions cliché—the nun has jumped the gun, fallen from grace. ", "The meter disintegrates (three bars in ¾ answered by two bars of ¾ and one in ). ", "Sex is inextricably bound up with the violent phallus of the gun, which plays off the junkie's \"shooting up\" and the dirty flasher \"shooting his wad\" before it lurches into the final episode.", "\n\nThe landing point for the unsteady rhythm settles into a new for a long fifties progression (I-vi-IV-V) that sends up the National Rifle Association slogan from which Lennon copped the title. ", "To say that this section is parodic doesn't begin to describe its ferocity; the NRA line itself is a sick joke, a play on the \"Peanuts\" cartoon Broadway show song \"Happiness Is . . . ,\" ", "but after all the sexual ills it has touched upon and the extreme types it displays (from \"girl\" to \"Mother Superior,\" dirty old men to young addicts), the feigned doo-wop euphoria effects a haze even more blinding than that of \"Doctor Robert.\"", "\n\nAs Lennon sings \"When I hold you in my arms,\" the already murky rhythmic waters get stirred up even more. ", "Guitarists and vocalists go into ¾ as Ringo remains in —a competing rhythmic tension that makes the stomach turn. ", "All sense of the beat's gravity is suspended—no landing points, no steady repetitions, just two rhythms simultaneously fighting it out. ", "Neither wins. ", "The relish in Lennon's voice as he sings \"when I hold you in my arms\" makes the pleasure he's singing of too sick to enjoy.", "\n\nAfter the caesura hold, where Lennon ad-libs a plainly insincere \"Happiness is a warm, yes it is,\" he aims up to his high falsetto for the final coda. ", "Instead of \"shoo-op\" and \"bebop,\" the background vocalists sing \"bang-bang, shoot-shoot.\" ", "The violent overtones are made even more ghastly in the way Lennon veils their presence; he doesn't have to spell things out; the terror in his voice tells a tale he doesn't have to describe explicitly. ", "The surrealism that's used to paint the wandering identity denials in \"Strawberry Fields Forever\" is condensed to a potent realism here—it's about the seedy side of sex that springs from cultural repression. ", "Lennon is barely in control of this story; it sounds like he's venting the hideously neurotic side of his sexual conditioning. ", "Ringo's exhausted landing after everything is over is the dull thud of something dreadful.", "\n\nSIDE ONE VISITS the extrenes the rest of the record will play out (only Ringo's drollness is missing). ", "McCartney's gift for pastiche (\"Back in the U.S.S.R.\") and his charm (\"Ob-La-Di, Ob-La-Da\") sit next to Lennon's peacefulness (\"Dear Prudence\") and his violence, either the smugness of \"Glass Onion,\" the black comedy of \"Bungalow Bill,\" or the unrepressed anxiety of \"Happiness Is a Warm Gun.\" ", "George's song is a better relief from these contrasts than _Rubber Soul's_ \"Think for Yourself; \"While My Guitar Gently Weeps\" is expansive where the rest of the songs adhere to stricter forms. ", "Like _Pepper_ , side one of the \"White Album\" moves from a party to a nightmare, only the boundaries become exaggerated.", "\n\nMCCARTNEY WROTE \"Martha My Dear\" in honor of his English sheepdog, and it gets side two off with a daft elegance. ", "The snazzy piano intro (left) sounds like a drawing-room version of a dance-hall delicacy; the melody is lyrical and endearing, and deceptively engaging for the meter and harmony it trips up along the way. ", "Strings complement the piano as chamber music during the first verse. ", "The brass arrangement for the bridge (\"Hold your head up\") is tight and pert (it pivots off the minor seventh chord toward the super-tonic on \"Look what you've done\"). ", "The trumpet and tuba break in the second verse is done up with handclaps (center); it sounds like a windup marching band. ", "For the second bridge (\"Hold your hand out\"), they play off Paul's lead eontrapun-tally. ", "The three pulses of the tonic that reassert the home key for the verse wind up giving him some trouble when it comes time to bring the song to a close—the bass descends from the strings as they hold their last chord, but the effect sounds feigned, a compromise of harmonic home base (it might have worked better to set the toy band marching off into a fade-out).", "\n\n\"I'M SO TIRED\" reverses that same bass motion, rising toward its tonic sleepily as Lennon enters in an insomniac's daze. ", "The opening line droops down a half step with weariness, much like \"Sexy Sadie,\" and the entire beat moves along grudgingly, sinking beneath the weight of exhaustion. ", "A guitar makes sharp, jagged accents (right) as Lennon's delivery works itself into anger, his resignation rising to hostility on the line \"I wonder should I call you/But I _know_ what you would do.\" ", "The hung-over pace of the players sounds as though they're trying to get through the track without knocking anything over.", "\n\nWhere the verse goes from listlessness to resigned indifference, the bridge starts with accusations and turns to pleas:\n\n_You'd say I'm puttin you on but it's \nNo joke, it's doin me harm you know I \nCan't sleep, I can't stop my brain it's been \nThree weeks, I'm going insane you know I'd \nGive you everything I've got for a little peace of mind_\n\nAfter that climactic last line, Lennon falls back into bleary-eyed annoyance—even the face on the cigarettes he reaches for makes him cringe (\"Sir Walter Raleigh,\" the ciggy ad, \"was such a stupid _get_ \"). ", "When _Rolling Stone's_ publisher Jann Wenner wrote his commentary on the album in 1968, he called the heaviness in Lennon's voice the \"weight of fame.\" ", "The stop-again-start-again bass-and-drum exchanges after that key phrase the second time around only aggravate the calm that booze and cigarettes don't provide. ", "Lennon goes out grumbling wearily.", "\n\n\"BLACKBIRD\" hasn't worn as well as some other Paul ballads, even though the simple elegance of the guitar writing rescues the extreme images of the words (\"Into the light of the dark black night . . .\"). ", "It doesn't sound as imitative as \"Mother Nature's Son\" or \"Rocky Raccoon\"; but, as with \"Michelle,\" there's a conceit at work that seems forced. ", "A wounded bird, like a fool on a hill, is an easy target for sympathy, and Paul's double-tracked voice (center) sounds tentative for the \"leap of faith\" sentiment he's offering up. ", "Compared with \"Julia\" 's \"windy smile\" and \"seashell eyes,\" \"Blackbird\" 's \"broken wings\" and \"sunken eyes\" sound uninspired. ", "Crosby, Stills, and Nash tried to make it their own at one of their perpetual reunion concerts, confirming its generic quality as a song best left for others to sing.", "\n\n\"PIGGIES\" could be Harrison's \"Son of Taxman,\" a self-righteous finger pointed at those who put money and social status before everything else. ", "The harpsichord opening rivals \"Martha\" for musical taste, but it comes off as all the more condescending once George's intentions become clear. ", "The blue notes that the harpsichord plays during its solo sound as odd as a violin might mimicking a guitar solo—it's twisted, the wrong instrument playing the wrong style, and it sticks out intentionally like swine grunting through an elegant drawing room. ", "The final verse is a full piggy chorus, snorts and all, \"clutching forks and knives to eat their bacon.\" ", "Before a final grand cadence, wrenched up a half step by a string quartet, George snidely intones \"one more time\" in a thick scouse accent, smearing social elitists with their own symbols of \"high\" culture. (", "The tacked-on ending recalls that of \"Glass Onion\" and is no less brackish.)", "\n\n\"BUNGALOW BILL\" is a Captain Marvel comic; \"Rocky Raccoon\" is a B-movie Western shootout that turns into a ragtime tap dance. ", "Paul delivers the humorous narrative affectionately (\"Her name was Magill/And she called herself Lil/But everyone knew her as Nancy\"), and Ringo kicks the line \"He drew first and shot\" neatly. ", "After Rocky's near-fatal duel with Dan, he tells the doc \"it's only a scratch,\" making him the same kind of two-dimensional hero as Bungalow Bill. ", "Ringo's \"Don't Pass Me By,\" another rustic hillbilly charade with organ and hick fiddle, continues side two's acoustic-based set (\"I'm So Tired\" is the only song with electric textures), where side three is dominated by hard rock. ", "Ringo's heartbreak actually turns morbid with a pass at \"A Day in the Life\": \"You were in a car crash/And you lost your hair.\"", "\n\n\"WHY DON'T WE DO IT IN THE ROAD?\" ", "is straight blues from Paul, who sings expansively—tongue in cheek but all over the map vocally. ", "The track probably would have been edited from a single record, but its grit contrasts nicely with the supple shine of \"Martha\"—it's good to hear that Paul can be more than just dapper. ", "It has a B-side quality to it, like Lennon's oldies favorite, Rosie and the Originals' \"Give Me Love\"—all feeling and absolutely no finesse.", "\n\nOUT OF THE FINAL cymbal smash, Paul's \"I Will\" makes a humble entrance, and its acoustic romanticism is the polar opposite of the blatant sexuality of what came before. ", "Bongos are mixed left, guitars center, and the bass track is an over-dubbed Paul singing \"dum\" in the right—there is no bass guitar. ", "A simple countermelody from the lead guitar takes the tune home in less than three minutes. ", "As a brief encounter with Paul's mushy side, it wins points by being quick.", "\n\n\"JULIA,\" JOHN'S balladic answer, is oedipally inspired—Julia is the name of his mother, who was struck dead by an off-duty cop when he was seventeen. ", "Like \"Strawberry Fields Forever,\" it speaks to us from a private part of Lennon's subconscious; but the sentiment isn't groping, it's languid. ", "He sings to Julia directly, but he's addressing more the idea of who she is and what her loss still stirs inside him. ", "The double-tracked vocal resembles that of \"Any Time at All,\" new lines overlapping the old as the song continues.", "\n\nThe first verse is sung slowly, as if in a dream, with guitar mixed way to the right and Lennon's fragile voice center. ", "The second verse enters on top of it, before the first has finished, with guitars spreading to right and left. ", "The tenderness in his voice is as far from \"Glass Onion\" and \"Sexy Sadie\" as it can get, and the intimate personal tone that his primal solo works adopt can be traced to this performance. ", "The two-word images resonate more poetically than the run-ons of \"Strawberry Fields\": \"seashell eyes, windy smile,\" \"sleeping sand, silent cloud.\" ", "There's a return to the minor subdomi-nant harmony for the yearning of \"call me\" and \"touch me\"—the same harmony that brought doubt to \"If I Fell\" and \"In My Life\".", "\n\nThe high guitar line that feeds the voice its notes during the bridge (\"Her hair of floating sky is shimmering\") drops to lower counterpoint on the line \"in the sun.\" ", "The voice-and-guitar interplay is expert, independent yet complementary. ", "As Lennon refers to the English translation of Yoko Ono's name (\"ocean child\"), he's connecting his yearning for the mother who died on him with the woman who now holds his heart (the sentiment \"In My Life\" attempted). \"", "Julia\" illuminates the mystery that the image of woman represents for John; the grief of loss and the insufferable longing he still feels for his mother better explain his earlier heartache songs—their jealousy and intimidation—as the result of some traumatic inner conflict. ", "Like the sparse but evocative setting he uses on _Plastic Ono Band_ two years later, the private world he reveals alone with his guitar is like a therapeutic confessional. (\"", "Julia\" even resembles \"Look at Me\" from that album; they were written in the same period.)", "\n\n\"JULIA\" and \"Martha My Dear\" are bookends on side two, but the distance between the two shows just how subverted the structure of the entire four-side layout really is. ", "Songs lie next to each other in stylistic contrast, but there's less interdependence than there is complete independence. ", "It's a measure of the emotional worlds these songs successfully conjure up that they sound more like entities unto themselves than parts of a larger framework. ", "Side three's \"Mother Nature's Son\" could be exchanged with side two's \"Blackbird\" with little or no consequence to the general feel of either side.", "\n\nRINGO KICKS side three off with a drum intro that resembles the reckless tumble into \"She Loves You,\" and \"Birthday\" is an electric binge that's produced and performed for the sheer joy of dancing. ", "It's some of the highest-energy rock 'n' roll the Beatles have played since \"I'm Down.\" ", "The riff that drives it along recalls \"Day Tripper\"; but instead of a steadily mounting ascent, the song visits different zones of excitement.", "\n\nSong sections play off one another: after the main riff (in A major) with the bass echoing the rest of the band (center), Paul's lead vocal (doubling himself at the octave) enters on the far side of both channels. ", "Ringo inserts a modestly short drum solo with tambourine after the first verse as background screams rise (\"Come on,\" and finally \"Yeah!!\") ", "to link the main riff up with the dominant (E major) rave-up. ", "After the steadiness of Ringo's snare solo, the band returns with a new fervor, clinging to a single chord with all its might. ", "Quick handclaps join John's vocals on both channels (\"Yes we're goin' to a party, party\"); and on the third and last repeat, Ringo kicks each eighth note, propelling the momentum toward a deceptive cadence (into C major) where a gritty-voiced Paul sings \"I would like you to dance,\" answered by Yoko's high \"birthday.\" ", "The band plays a simple derivative blues riff outlining the alternating harmonies between the new tonic and dominant (C and G), and the sound opens up with a bright piano that flies out of the low guitars from before. ", "As Paul repeats \"dance, dance,\" a small linking section (moving from G through E major) stretches the harmony out to point things back to the main verse as the lead guitar jams in three high lead notes from above.", "\n\nFor the second verse, the band plays the same riff as in the first verse, echoed by chords way up high in the electric piano as the bass continues to echo way down low—it's a dialogue between the midrange and the sandwiching upper and bottom. ", "At the end of this verse, Ringo drops out for a syncopated lick from the guitar and the bass, which he answers; guitar and bass respond before swerving into the \"I would like you to dance\" section again. ", "This last episode takes them into the final verse, with all of these elements combined for a huge, jumping mix of sound: handclaps on the offbeats, piano and bass echoing the main riff, and Paul's vocals screaming along from both ends of the stereo horizon.", "\n\nThe effect of all this mayhem isn't as charged or rampant as the sweat that drips off of \"Long Tall Sally,\" but the formal arrangement of these different episodes never detracts from the song's celebratory height. ", "The rotating harmonies add direction that gives each new transition its own lift—especially the way E major is transformed into C major as the \"party, party\" rave-up moves into \"I would like you to dance.\" ", "By the time they reach the last verse, the texture smolders with energy and the song hits a pitch of accumulated hilarity. ", "The siren noises that are left wagging once the final anticipatory kicks send the tune home give the effect of a huge train blistering past, the listener left gaping at the force of its motion.", "\n\n\"YER BLUES\" saunters in immediately with Lennon's lead guitar on the right countering Ringo's drums to the left—Paul's bass thunks along with a fuzzy tone in the center. ", "The beat is tired again, Lennon's guitar line first spicing the sound with rhythmic jabs and then falling, hanging on to the beat for dear life. ", "The assertive lick Lennon plays at the end of each verse (after \"If I ain't dead already\") vents a sprawling, bluesy agony.", "\n\nRingo fills up the spaces in the second verse with big gestures; and the texture as a whole has a hollowness to it, not just because the instruments are spread out but because there's so much room in this blues lick that every player can afford to piddle about without sounding busy. ", "The second verse starts out with \"In the morning, wanna die/In the eve-nin', wanna die.\" ", "Lennon pushes the word \"evenin' \" beyond the breaking point, his voice wrenched with pain. ", "For him, the act of singing the blues becomes an act of struggle in itself; it brings on even more angst than he first feared. ", "For the third verse, a stop-time break squeezes things even tighter:\n\n_My mother was of the sky \nMy father was of the earth \nI am of the universe \nAnd you know what it's worth_\n\nThe band rejoins him at the end of that second line, jolted by the resentment in his voice. ", "The next verse uses the same break to emphasize Lennon's reference to Dylan's paranoid journalist in \"Ballad of a Thin Man\":\n\n_The eagle picks my eye \nThe worm he licks my bone \nFeel so suicidal \nJust like Dylan's Mr. Jones_\n\nThe third time he takes this solo vocal break, the band re-enters with a swinging blues, quicker than the beat of the rest of the song but even more distressing. ", "This chorus follows what Lennon sings as the most disenchanting fear he knows how to express:\n\n_Black clouds cross my mind \nBlue mist round my soul \nFeel so suicidal \nEven hate my rock 'n'roll_\n\nA guitar solo follows, and an extra snare is added to the mix to intensify the backbeat. ", "The first round of guitar solos simply rocks off the beat—it sounds warped, as though we're hearing it from underwater. ", "The second guitar solo (probably George) is more melodic, even though its brittle tone is tense and pinched, At the end of its stinging assault, a compressed drum fill takes the band back into the original slow groove. ", "On the last verse, John's voice is off in the distance, wailing at the lyrics even though his voice mike is off, overpowered by the band's relentless throbbing. ", "The emotional angst in this music belies the parodic title.", "\n\nPAUL'S MUSICAL MIMICRY continues with \"Mother Nature's Son,\" where he targets Donovan's foppishness as he unwittingly outlines a career for John Denver (who actually covers this song). ", "The singer is the innocent simpleton, pure beyond belief, a plastic pastoral. ", "A measured brass choir enters (right) at the second verse, and the picture of wholesome, natural, back-to-the-earth sentimentality could not sound more pristine. ", "He \"doo-doo-doo\"s his way through verses, amicably humming out his carefree existence. ", "On the final verse, the brass drops out for Paul to hum over a fine guitar counterpoint (right). ", "As he finishes things off, brass re-enters and plays a flatted seventh on the final chord, mocking the song's literal intentions like a deliberately satirical question mark.", "\n\nTHE GUITAR LICKS that announce \"Everybody's Got Something to Hide, Except Me and My Monkey\" are only the barest outline of what will follow—set off by handclaps and drums, the guitar calls to the rest of the band from the far right channel, rousing them into the song but letting the listener in on none of the force that will soon invade the sound. ", "The downbeat of the verse, where the band enters, is instantly frenzied; two lead guitars inject rhythmic licks (right)—one plays fragments of the intro, another pulsates madly around one note. ", "Lennon sings in the center, and Paul's bass and Ringo's drums are augmented by a huge ringing cowbell (left). ", "After the title line, the lead guitar again fills in two bars alone, as in the intro, but this time with a new lick that twice snarls the melodic line it follows.", "\n\nThe verses play suggestive opposites against one another:\n\n_Your inside is out when your outside is in \nYour outside is in when your inside is out \nSo come on_\n\nand\n\n_The deeper you go, the higher you fly \nThe higher you fly, the deeper you go \nSo come on_.", "\n\nAfter the third verse and refrain, the band drops out, and a multi-tracked cacophony of Lennon voices jabbers \"Come on, come on, come on, come on\" at different speeds and with different inflections. ", "A huge bass (right) lassos them all together and brings the band back in for a tidal-wave return—the repeated groove they brand into the end of the song goes around six times, instead of the usual four or eight, and it makes the return of the original verse texture startlingly swift and powerful. ", "The six-time groove dams up the energy of the entire song; and when it bursts open, the band comes rushing through with irrepressible force, cowbell clanging like gang-busters. ", "The \"Come on\" voices persist into the fade-out. (", "Like \"Bungalow Bill,\" \"Everybody's Got Something to Hide, Except Me and My Monkey\" shares a comic tone with Chuck Berry's \"Jo Jo Gunne,\" a song with a \"meddlesome\" monkey hero. \"", "Monkey\" is also said to be cryptic doubletalk for Yoko. ", "The Rolling Stones' satirical self-portrait, \"Monkey Man,\" uses the same imagery to laugh at their own use of \"jungle\" rhythms.)", "\n\nDYLAN'S BITTEREST SONGS deliberately keep their subject vague. ", "Some say \"Positively 4th Street\" is about the folkies who stiffly opposed his shift to rock; \"Like a Rolling Stone\" snarls at innocence itself. \"", "Sexy Sadie\" is a thinly veiled kiss-off to the Maharishi, Lennon's bitter hate letter to the Indian meditation master. ", "The spirit captured in the piano's bare opening is touched only by a tambourine, and as Ringo leads the band in, John utters the title line with mock breathy sensuality—there's nothing sexy about it. ", "The rising piano lick that arches overhead as he sings \"You made a fool of everyone\" makes the sarcasm deadly.", "\n\nLennon plays the butt of his own jokes, but he reels back in horror at getting duped—it feeds his paranoia. ", "The serenely contemptuous background vocals chime in with \"wa-wa-wa-wa\"; and after the line \"You'll get yours yet I\" the piano answers with a tense repeated figure, singeing Lennon's already tart revenge fantasy. ", "The cynical humor makes the sour taste that much more scathing.", "\n\nWith \"She's the latest and the greatest of them all,\" Lennon soars into his bitter falsetto to bring home the sting of the betrayal. ", "The atmosphere of this track makes it sound like a rehearsal run-through before the real take, as if the band resents the energy it takes John to answer a conniving medi-tational swindler. ", "Music as disturbed as this implicitly belittles Lennon's overextended spiritual expectations and hints at the insecurity he tries to take out on his audience in \"Glass Onion.\" ", "Like Dylan's, Lennon's exaggerations reflect back on himself as much as his subject.", "\n\nTHE GUITAR (left) that demolishes the silence at the start of \"Helter Skelter\" resembles the lead of \"Revolution,\" only there the figure leaned upward into its notes; here it falls into them from a high, piercing vantage point, the quick descent accenting the repeated notes that follow. ", "Paul meets the guitar's pulse head-on and tears the opening line apart—by the times he reaches the end (\"till I see you AGAIN _____!!!\") ", "he's way out of breath, and he pulls himself back in with a quickly caught \"yeah, yeah, ye-ah.\" ", "Ringo joins him in mid-flight on snare (right), and by the time the band enters at the start of Paul's descent, the sound is savaged. ", "The guitar that's mixed center, behind Paul's voice, is out of tune and grating, and the track itself is more of a basher than a rocker. ", "Ringo flails away mercilessly on the drums, heavy on the cymbals, and the bass (left) plods through the mix with a muffled thunk, like it's treading through mud.", "\n\nOn the first chorus, a second lead guitar joins the bass on the left for a lick to follow the title line; on the second chorus this guitar appears on the right. ", "The beat is huge, wide and deep, but, as in \"Sexy Sadie,\" somehow not full. ", "As the final verse rolls around, John plays octave hops on his bass to dramatize the vast proportions that have been set plodding. ", "At first the song goes out with weird traveling guitar noises into a ringing limbo, then they re-enter, hacking away into the fade-out. ", "An infamous fade back in lets the listener eavesdrop on the whole thing falling apart, the band driving the song into the ground at the end of a long jam. ", "The mix finally fizzles and stutters to a stop with random piano noises, then rises for one last gasp with Ringo's jam-slamming drum fatigue: \"I've got blisters on my fingers!!!\"", "\n\nEVEN THOUGH the smoke and ash are still settling from \"Helter Skelter,\" \"Long Long Long\" creates its mood quickly; Harrison's guitar invites the ear into a completely settled musical state. ", "An organ adorns the top with brooding lines and two-note chords, and a simple piano enters at the bridge. ", "Ringo's drum fills are big and round, contrasting with the quiet soul in George's voice. ", "The song's reserved tone calls to mind the indulgences of _All Things Must Pass_ two years later, but it works better unhampered by like-minded company. ", "The track dissolves into not-so-eerie organ doodling and strange vocal cries.", "\n\nAT THE TOP of side four, \"Revolution No. ", "1\" leaves on its false start, John yelling \"Okay!\" ", "as his guitar gets going (left).There's an unidentifiable crackling noice (center) before the verse, and once John's voice enters, it stops; the texture expands into a new web of sound—what might be called \"mature psychedelic,\" lit with musical color but well-supported rhythmically. ", "Instruments jump around, but they're controlled, arranged, and spaced with an ear for variety—because this version is slower than the single it turned into, there's more space to fill up. ", "The main ensemble is centered, spreading into brass (right), lead guitar outbursts (left), and background vocals (\"Bow-oom, shoo-be-doo-wa, bow-oom, shoo-be-doo-wa\"), ancient girl-group snippets over the top. ", "Lennon reaches for a climactic falsetto in the refrain \"It's gonna BE\"—and falls back into chest voice for \"—all right.\" ", "At the end of the final refrain, the band hammers the closing punches down an irregular three times to set the wandering grunts and traveling lead guitars off rambling, competing for attention in the fade-out.", "\n\nPAUL GETS OUT his top hat and cane again for \"Honey Pie,\" recasting the vaudevillian ham of \"When I'm Sixty-four\" as twenties swank. ", "After the first phrase (\"She was a working girl, north of England way\"), a needle hits an old 78-rpm record (left), and Paul apes an old-fashioned melodramatic crooner (\"Now she's hit the big time!\"). ", "It's not only a record inside a record; it's original-version-meets-respectable-parody as Paul the Beatle answers resignedly \"in the U.S.A.\" The caesura they hold out for the lead guitar's upward slide (right) is impossibly long—they're playing up the suspense before Paul nudges the piano entrance downward.", "\n\nPaul's sense of style is impeccable. ", "His delivery is dapper, and he overdoes the \"t-t-t\"s with relish—even Ringo gets into it. ", "The band tightens up for the guitar solo (center): Ringo gives each accent a silenced cymbal, and the clarinets and saxes (right) take the second half with a glistening swing. ", "Paul intrudes with some uninspired scatting—\"I like this kinda hot kinda music, play it to me, play it to me, honey, with blues\"—before one final scurry from the winds for the final bridge and verse. ", "Instead of playing it smooth and letting the band finish alone, he gets carried away with himself way up high over the final cadence. (", "He loves this persona so much he made a fool of himself with it in \"Gotta Sing, Gotta Dance,\" a number he wrote for his _James Paul McCartney_ television special (1972), and again in \"You Gave Me the Answer\" from _Venus and Mars_.)", "\n\n\"Savoy Truffle\" is a funny one written whilst hanging out with Eric Clapton in the sixties. ", "At that time he had a lot of cavities in his teeth and needed dental work. ", "He always had a toothache but he ate a lot of chocolates—he couldn't resist them and once he saw a box he _had_ to eat them all. ", "He was over at my house and I had a box of \"Good News\" chocolates on the table and wrote the song from the names inside the lid: Creme Tangerine, Montelimar . . . . ", "I got stuck with the two bridges for a while and Derek Taylor wrote some of the words in the middle . . . \"", "you know that what you eat you are . . .\" (", "George Harrison, _I Me Mine_ , p. 128)\n\nRINGO ALWAYS finds the best groove for a song, using just the right touch by giving each track its own rhythmic propulsion, cymbal sounds, and tom-tom arches. ", "The run-in snare that ignites \"Savoy Truffle\" is perfectly timed (left). ", "George's vocals are mixed way to the right to play off the lead guitar on the left and the saxes that belt their sassy lines throughout. ", "An organ warms up the bridges, and the saxes-and-lead-guitar (right), dialogue in the solo section makes for rousing rock-'n'-roll confectionery. ", "In terms of sheer feel, it's the best George song since \"I Want to Tell You\": the rhythms are snug and his vocal doesn't wallow.", "\n\nLENNON SINGS \"Cry Baby Cry\" from way to the left for the opening refrain, with his guitar (right) and George Martin on harmonium (center) circling around the melody to set up the verses, which have a completely different cast: guitar stays put, vocal joins a piano center, and bass putters about to the left. ", "For the second refrain, the vocal goes back to the left, and drums and tambourine join the piano center. ", "By the time they hit the second verse, the mix fills out completely—organ up top, drums all around, and bass busy over on the side—but the vocals keep alternating between center and left, with weak background harmony flanking later refrains (right).", "\n\nThe aristocratic adults in the verses goad their children into spiting them. ", "For the last verse, Ringo taps his cymbal lightly (behind the words \"At twelve o'clock a meeting round the table for a seance\"), and everyone storms the end of the phrase (\"in the dark\"). ", "The prank gets sent home by a great downward glissando on the piano (\"With voices out of nowhere put on specially by the children—for a lark!\") ", "As a metaphor for the fear the youth culture's sounds instilled in their parents, \"Cry Baby Cry\" is an underrated Lennon royalty satire; it's his most accomplished Lewis Carroll pastiche.", "\n\nTHE HAUNTING SONG-SNATCH thatfinds itself wedged between \"Cry Baby Cry\" and \"Revolution No. ", "9\" is a piece of leftover Paul, a patch of melody that he never put to use. ", "It flaunts the band's wealth of material the way \"Wild Honey Pie\" on side one does—they have enough music to fill four sides and then some.", "\n\nTHE TALKING BEFORE \"Revolution No. ", "9\" is hushed, furtive, finally argumentative; and before it expands into an aural stream-of-consciousness, a piano wanders plaintively behind an engineer's voice that swings from side to side. ", "The track slowly casts a myopic shadow across the four sides it consumes. ", "There is a danger in taking Yoko Ono's inspired avant-garde experimentalism too seriously, but its antecedents are clear—it's \"I Am the Walrus\" cubed, or \"A Day in the Life\" as a Joycean aural stew. ", "And yet it can be very rewarding: new sounds jump out with each listening; the edited landscape has hidden pockets, sudden glimpses of light and several stretches of unresolved tension. ", "It brings a sense of play to the obvious—the absurd is made significant—and it recedes back into the parallel universe it came from with a football crowd chanting \"Block that kick!!\" ", "There is no musical structure to generate the noise, but the track has its own inchoate logic: things stem from other things; waves of noises ebb and flow across the stereo tapestry; and a single voice arches across, back and forth, intoning the only link with reality—\"Number nine.\" ", "Edgard Varèse experimented with electronic tape and synthetic sound collages as early as the 1950s, but Lennon's sound-piece is made up of identifiable media sounds jumbled as if in a dream. ", "You can almost hear right through them.", "\n\nMany of the noises are live musical performances, from the weary piano playing that underlies a good deal of the space to the huge orchestral climaxes—with chorus—spun backward at certain junctures. ", "A marching band even intercedes before a striking dramatic pause when Lennon interrupts with \"Take this, brother, may it serve you well.\" ", "Although the journey is random and extreme, there's a musical ear guiding it. ", "It's aurally abstract the way unidentifiable images on canvas are. ", "There are moments of delineated rhythms, clarified speech—through voice filters, tape distortions, and male-versus-female dialogues—and whooshing onslaughts of several tapes spinning at the same time. ", "At one point, Lennon fades the miasmic backdrop out, leaving himself listing various dance steps from the past generation (the watusi).", "\n\nThe result is experimental, but it's not just a free-for-all—no musical novice would have arrived at just this set of combinations. ", "The fact that chance in art played a major role in the modern era by no means reflects a nonartistic consciousness selecting its parameters, sources, and material.", "Lennon's touch lies in the humor of how things are juxtaposed: tape loops, radio noises, honking cars, cocktail parties, crowds, and choirs are strung together in tentative rhythms and then smashed.", "\n\n\"REVOLUTION NO. ", "9\" fades down into the softness that becomes the lush string divertimento of \"Good Night.\" ", "It recapitulates the contrast that got things started way back on side one, from technological rush to sentimental intimacy—except that here the shift is only from Lennon's arty intellect to his soul. ", "Going out with Ringo singing also undercuts the difficulty of \"Revolution No. ", "9\"—if that track had closed all four sides, it would have a more ominous presence. \"", "Good Night,\" easily the smarmiest mush John ever penned, is also among his most loving (along with \"Bless You\" and \"Grow Old Along with Me\").", "\n\nThere is a tendency to write this song off as a parody, but even though it works as one (with its female chorus), a close listen reveals an open heart at work, not a hack, and Ringo's genuine humility makes it a fervent plea for peace as well as a lullaby offered to the record's audience after the Beatles' longest—and most taxing—album. ", "When he repeats \"Dream sweet dreams for me,\" drawing out the tension in the dissonance, the calming effect of the resolution is gorgeous. ", "The drums on George's \"Long Long Long\" (the only comparable side-closer) give it a resistance, a rumbling beneath the surface that rises with eerie howls and the clatter-ings that see it out. \"", "Good Night\" 's farewell is softer—calm, serene, and incantatory. ", "It has the classical feel of a standard that speaks through the ages, like \"Good Night, Irene.\"", "\n\nTHE \"WHITE ALBUM\" defies structure. ", "Where _Revolver_ and _Pepper_ had self-conscious beginnings and endings, the compilation of songs here is less formally arranged; its totality is not as central as the idea of any given track. ", "There's a governing irony throughout: the tendency to be supercilious (\"Ob-La-Di, Ob-La-Da,\" \"Piggies,\" \"Revolution No. ", "9\") is redeemed by rich instrumental interplay and sheer vocal virtuosity.", "\n\nEach of the Beatles' solo albums would draw upon sounds that first appeared here: \"Julia\" captures a sense of fragility and loss that John would intensify on his first solo record; \"Ob-La-Di, Ob-La-Da\" could have appeared on McCartney's _Ram_ ; \"Long Long Long\" has the restraint of Harrison's _All Things Must Pass;_ and \"Don't Pass Me By\" is Ringo's original country-and-western honk that sets the stage for his Nashville album, _Beaucoups of Blues_ ; \"Good Night,\" the Lennon song Ringo sings to close the album, resembles his _Sentimental Journey_ record even more.", "\n\nIn fact, that is the chief criticism this album lays itself open to: it sounds as though the Beatles have become mere accompanists for one another. ", "But even this flaw has its merits: the varied stereo mixes make them sound like a different band on each track. ", "In moments like the relentless groove of \"Everybody's Got Something to Hide, Except Me and My Monkey,\" the lazy upbeats of \"I'm So Tired,\" and the tight grip of the bridge to \"Birthday,\" their sense of ensemble is as strong as at any other point in their career. ", "The disparity between songs is linked only by the musical currents that still flow between them.", "\n\n#\n\nROLL OVER, GEORGE MARTIN\n\n**LET IT BE** _Released: May 8, 1970 \n[recorded January 1969 and January 1970]_\n\n_**Get Back**_ (Paul)/Don't Let Me Down (John) \n _Released: April 11, 1969_\n\n_**The Ballad of John and Yoko**_ (John)ZOld Brown Shoe \n(George) [Harrison] _Released: May 30, 1969_\n\n_L ET IT BE_ is the Beatles' anomaly. ", "It began as a tribute to their roots entitled _Get Back_ , a documentary record and film that would capture them at work on songs and conclude with a live concert, the way _A Hard Day's Night_ had. ", "Along the way, the usual session jams of old rock 'n' roll numbers (like \"Suzy Parker,\" \"You've Really Got a Hold on Me,\" and \"Be-same Mucho\") would be left in to show how their new material connected with their beginnings. ", "But _Let It Be_ ended up as a shadow of these original intentions. ", "After they had shelved the project for over a year, Allen Klein convinced them to mix and release the tapes for some quick cash, and Phil Spector was hired to turn the sessions into an album (the spring after _Abbey Road_ was released).", "\n\nWork on the project had begun on the second day of 1969 at the Twickenham Film Studios, with Michael Lindsay-Hogg's cameras rolling on rehearsals of new songs. (", "Lindsay-Hogg had just completed shooting the Rolling Stones' _Rock and Roll Circus_ in December 1968, in which Lennon sang \"Yer Blues.\") ", "At the completion of these sessions, a live appearance was planned, possibly at the Royal Albert Hall, where the formative strands of the practice sequences would coalesce in front of a live audience. ", "But McCartney's yen for performing was greater than the others'. ", "As the film makes apparent, his constant rallying had become unintentionally grating. ", "In a conversation with Lennon in the middle of the film, McCartney says he thinks the reason the others are unwilling to go back to live playing is nervousness, and he recounts the mounting self-confidence they gained by performing in their early days. ", "Lennon looks at him as though he's gone crazy—nervousness isn't the issue.", "\n\nAt the end of January, a compromise was reached: instead of an advertised appearance, the Beatles decided to appear impromptu on the Apple rooftop for a lunchtime concert, the kind of midday excursion they used to play at the Cavern. ", "This is where Lindsay-Hogg's \"documentary\" turns into fabrication. ", "In cutaways from the windy stage, his cameras get man-on-the-street double-takes as the sound echoes through London's garment district. ", "The police arrive in response to complaints of noise, and several scenes are edited in to give the appearance of unexpected bobbies being ushered up to the roof to stop the concert.", "\n\nThe rehearsal sequences have some knockabout moments from the original _Get Back_ concept: McCartney greets Ringo with a barrel-house piano boogie; George debuts \"I Me Mine\" alone on guitar for Ringo and George Martin and assists Ringo at the piano with the chords to \"Octopus's Garden\"; and Lennon introduces \"Across the Universe\" while Paul suggests an opening falsetto harmony. ", "For our only glimpse of an albumin-progress, Lindsay-Hogg's cameras capture how songs shed several skins before they reach their final form, and how different rhythms are tried out before the band latches on to the one that works best. ", "What starts out as rhythm and blues ends up as acoustic folk-rock in its final form (\"Two of Us\"); what starts off as a rocker turns into an uptempo shuffle (\"Get Back\") as musical ideas are batted about and discarded. ", "Some footage shows just how rewarding trying out various settings for a song can be for a band.", "\n\nBut the emotional undertow is an impenetrable dance of egos: Lennon is noticeably silent except when singing, and waltzes with Yoko to \"I Me Mine\" as if oblivious; McCartney is unsatisfied with Lennon's falling lead on \"I've Got a Feeling\"; and at another point George glibly answers Paul's musical directions with low-voiced recrimination (\"All right, I'll play whatever you want me to play, or I won't play at all if you don't want me to play. ", "I'll do anything you want in order to _please_ you . . .\").", "\n\nBy the time they gather on the roof, the mood is tense—until they start playing. ", "The live set is striking: with the sessions behind them, they ride wave after wave of redeeming rhythm, astonished at the vitality of their own ensemble work when performing. ", "They find a surprising renewal back in front of an audience, and it must have genuinely lifted them, for although they shelved all the filmed and taped material for more than a year, they didn't throw it away—and while none of them bothered to approve the final mix, they didn't block its release, either.", "\n\nBy the spring of 1970, Allen Klein's profit interests may have motivated them more than musical considerations—they needed cash to stay afloat in order to afford breaking up—but they had plenty of other outtakes in the can and could have had a gold record with \"Mary Had a Little Lamb\" (as McCartney went on to prove). ", "Phil Spector was called in to mix the _Get Back_ tapes and prepare the record for release—George Martin was essentially snubbed. (", "Lennon had been impressed with Spector's work on \"Instant Karma,\" his solo single from February 1970, and all of them admired Spector's early-sixties work with the Ronettes and the Crystals.)", "\n\nOriginally, _Get Back_ promised to reorient listeners to the tradition that the Beatles helped keep alive—the invincibility of the young Elvis Presley, the scatterbrained audacity of Little Richard, the smug condescension of Jerry Lee Lewis, the unsophisticated charm of Buddy Holly and Carl Perkins. ", "In its best moments the film reclaims these intentions, but the Spector album provides only disconnected glimpses of it—the way Lennon barks out the record's welcome in mock literary pomposity before the humble \"Two of Us\" even starts, or the stage patter between songs on the roof. ", "The string productions of \"Let It Be,\" \"I Me Mine,\" \"The Long and Winding Road,\" and \"Across the Universe\" might even have worked had they sounded more like the schlock strings of the late fifties and early sixties—like Spector's own grander hits, such as the Ronettes' \"Walking in the Rain\" or Ike and Tina Turner's \"River Deep, Mountain High\"—instead of grafted-on afterthoughts.", "\n\nStill, the record's patched history looks worse on paper than it sounds on vinyl. ", "The band's mood is more centered than it is on the \"White Album,\" and sharing the formulative process of writing with their audience is open and intriguing; _Let It Be_ doesn't play parodic games or manipulate images of public identity. ", "Beneath Spector's uninspired textures a group is at work, and on the live tracks that remain (\"I Dig a Pony,\" \"I've Got a Feeling,\" \"One After 909,\" and \"Get Back\"), the Beatles' distinctive joy in playing together remains palpable.", "\n\nIN AN EARLY sequence of the movie, the Beatles try \"Two of Us\" out as a rocker with train rhythms, and Paul leaps into his arresting impersonation of Elvis Presley. ", "In this final form, it's a country song, a good-humored celebration of the travails of a relationship, with the same unaffected appeal as \"I've Just Seen a Face.\" ", "Lines start with witty homilies (\"Two of us riding nowhere, spending someone's—\") that rise to stretched-out held notes (\"—hard _____ earned _____ pay . . .\"). \"", "Home\" refers more to the emotional space the couple shares together wherever they travel—the sense of adventure along the way rather than the destination (\"not arriving\"). ", "The simple pleasures of wordplay (\"burning matches, lifting latches\") are balanced in the bridge, where the shared experience (\"You and I have memories/Longer than the road that stretches out ahead\") alludes to John and Paul's partnership as songwriters. ", "The bureaucratic innuendo—\"You and me chasing paper, getting nowhere\"—hints at the ironies to come in \"You Never Give Me Your Money.\"", "\n\nThere is a sense of expectancy in the silence at the end of each verse when the band drops out, leaving the two voices holding the word \"home.\" ", "The first time, the humble guitar reappears to start up the second verse. ", "The second time, the bridge grows out of the held chord they land on through a solo snare-drum fill—a series of escalating eighth notes—that connects the refrain up with the bridge. ", "When Ringo lands on his downbeat, the bridge begins in the new harmony, and Paul sings solo. (", "The bridge leaps to B-flat and passes through more minor chords; the verses are in G major—the same verse/bridge keys that hold \"Here, There and Everywhere.\") ", "The last line (\"The road that stretches out ahead\") is strung out for a swelling return to the verse, Paul and John carrying the rest of the band in tow.", "\n\nAlthough John and Paul perform it as a duet, \"Two of Us\" is a Paul song almost exclusively. ", "The art is in the way John accompanies: he knows how to bring out the best in Paul's whimsy, and the two of them sound more different together here than on any other duet they sing. ", "There is no bass, and the only electric guitar shadows the ensemble; drums are minimal, with few cymbals. ", "Lennon whistles nonchalantly as the song fades out; but rather than simply turning the dials slowly downward, the band softens up on its own, receding into the distance like images on the horizon. ", "The homemade warmth resembles the feel of McCartney's first solo record.", "\n\nTHE FALSE START that's left on \"I Dig a Pony\" is Ringo caught mopping his brow in the middle of their rooftop concert. ", "It's fun to hear the Beatles make a mistake with such a loud thunk—Spector captures a moment of real spontaneity by keeping it on. ", "Ringo's galloping circular figure (in three) brings the song in, and the verse reduces the meter to one beat per bar instead of three. (", "The lick is gleaned from the refrain, the guitar line after \"All I want is you\" that accelerates with bass into the dotted figure beneath \"Everything has got to be just like you want it to.\") ", "This opening figure generates the song—and outlines the refrain's harmonies—like the sardonic blues lick of \"Hey Bulldog.\" ", "It's forceful and instantly appreciable as a musical hook, allows various possibilities in pulse for different sections, and the band plays it with verve and punch.", "\n\nAs John settles into the verse, \"I-hi-hi-hi-hi . . . ", "dig a pony\" resembles the vowel reiteration in \"I Should Have Known Better\" (\"And when I ask you to be mi-hi-hi-hine\"). ", "But the words free-associate instead of narrate; images leap out in unexpected ways, and John sings it tongue-in-cheek. ", "It's as though the imaginative rambling of \"I Am the Walrus\" has been cast in a frame as sturdy and tidy as that of \"I Call Your Name\"—it's implicative musically without making much literal sense. ", "The imagery is strung together to intensify the love relationship it describes (\"You can radiate everything you are\") coupled with a sense of playfulness (\"Syndicate every boat you row\" or \"Feel the wind blow . . . ", "where you can indicate everything you see\"). ", "The song is about the affection and the heights of feeling two people can share. ", "By approaching the emotions tangentially, Lennon expresses a sense of the impossible made possible, the liberation of ideas set off when love rushes through the imagination. (", "There's even a backhanded allusion to an early Beatles name, Johnny and the Moondogs, when Lennon sings \"I pick a moondog. . . .\")", "\n\nEverything points toward the refrain, where Paul's upper harmony joins John for the exultant \"All I want is _you_ . . . ", "Everything has got to be just like you want it to _____ . . . ", "because.\" ", "Lingering on the word \"to _____,\" they reverse the blend they achieved on \"Two of Us\": even on the reiterated vowel phrases, when he rises in perfect symmetry with John, Paul complements his partner more than he defines his own space in the sound. ", "Again, it's unlike almost any other blend they reach together—Paul makes himself almost invisible.", "\n\nThe beat has a terrific sense of gravity to it, as though the direction embedded in the central lick carries the band. ", "Downbeats land with a satisfying give, and the transitions have an inevitable pull to them. ", "They rise to the swell at the end of the verse with the line \"I told you so,\" and it swings them right into \"All I want is _you!_ \" ", "The whole song comes to a halt as John and Paul finish the refrain and Ringo starts things up again (after the final \"Everything has got to be just like you want it to . . . ", "because\"), playing out the energy implicit in the silence the singers take between their words. (", "They haven't had a caesura like this since the end of \"She Loves You.\") ", "The second time, when the break leads them into George's guitar solo, the two of them hoot openly.", "\n\nAfter the last refrain, they return to the opening lick to take them home, and play the revolving figure out to the end, landing on that last chord with all the bounce and oomph that has accumulated. ", "Fiddling with their final notes and holding out faint \"oohs,\" the Beatles dissolve into chatter (\"Thank you, brothers,\" John says) as if they were playing it just for themselves. ", "These rooftop moments help give the record the intimacy of the film, the sense of eavesdropping on closed sessions.", "\n\nPHIL SPECTOR'S VERSION of \"Across the Universe\" is unnecessarily hampered. ", "Where Lennon's original demo (available on _Rarities_ ) aspired to the sublimity of \"Dear Prudence,\" Spector's souped-up strings and female choir make saccharine sentiment out of Lennon's stirring pastoral. ", "What was intended as a childlike acoustic song is suddenly transformed (at the first refrain) into a glitzy Hollywood production number: a choir of nymphs singing from the trees, a heavenly orchestra casting a benevolent glow upon the scene.", "\n\nThe first thing Spector does is slow it down, which in itself may have been a reasonable idea; but once familiar with the faster original version, the ear prefers it.", "\n\nLennon lets the words determine the meter of his lines, so no two verses follow the same rhythmic patterns. ", "The first verse outlines the inspiration that set things in motion:\n\n_Words are flowing out like endless rain into a paper cup \nThey slither while they pass, they slip away \nAcross the universe \nPools of sorrow, waves of joy are drifting through my opened mind \nPossessing and caressing me_. . . .", "\n\nThe free-floating imagery determines the musical flexibility—the words evoke the creative process as much as a creative state of mind. ", "The lulling effect explores the idea of music as meditation, and the refrain is a mantra (\"Jai Guru Deva, Om/Nothing's gonna change my world\"), the repeated phrase said in the rhythm of one's own breathing to calm the mind into higher consciousness. ", "Lennon's rhythmic melody dances inside the harmonies lithely; the song almost overcomes its grandiose setting.", "\n\nAN OMINOUS ORGAN broods behind George's opening guitar lead to \"I Me Mine,\" making the opening moments sound like a horror movie takeoff. ", "The waltzing verse begins rather humbly in comparison, and the song turns into an ode about self-pity, solipsism about solipsism. ", "The chorus in four breaks out with all the joy and revelry of old-time rock 'n' roll, a lead guitar rejoicing (left), mocking the hubris of the verses. ", "Spector's female chorus (right) and orchestral brass (left) don't play up these ironies; they virtually drown them.", "As unfettered rock 'n' roll with acoustic verses, Harrison's song answers greed with a crude groove; with Speetor's ornaments, the track is a washout.", "\n\n\"DIG IT\" FADES in with Lennon at the helm singing the first thing that pops into his head—the kind of off-the-cuff riff with which musicians warm sessions up (the unedited jam is insufferably long). ", "It fades out to Lennon introducing \"Let It Be\" with the same scorn with which he offered up \"Yesterday\" on \"The Ed Sullivan Show.\" ", "Here, he rolls the carpet out for Paul's latest ballad with a doll-like falsetto: \"That was 'Can Ya Dig It' by Georgie Wood. ", "And now we'd like to do 'Hark the Angels Come.' \"", "\n\n\"LET IT BE\" is the third in a series of songs by Paul alluding to his mother (following \"Yesterday\" and \"Lady Madonna\"). ", "It has a more resigned tone than the dramatic rise of \"Hey Jude,\" a gospel resolve that conveys a simple nobility of spirit.", "\n\nGeorge's guitar solo on the album is more polished than the one on the single—it arches more dramatically toward its highest note and was obviously added long after the original recording. (", "In the movie, the guitar solo rambles, still searching for its voice.) ", "It returns for the final refrains, draping over Paul's vocal as the textural layers accrete. ", "Spector's orchestra is mostly brass here, sounding regal and dignified, more tasteful than the gushing fake upholstery of \"The Long and Winding Road.\" ", "And Ringo's irregular drumbeat—trailing high-hats, reactions to downbeats—saves it from clichéd balladry. ", "The falling cadence that sets up the guitar solo and sees the song out inspires some juicy organ playing from Billy Preston. (", "An organ solo proper might have made this song sound _too_ reverent.) \"", "Let It Be\" doesn't have the climactic burst of ecstasy that \"Hey Jude\" promises (and then delivers), but it became the Beatles' epitaph.", "\n\nAFTER THE SOLEMNITY of \"Let It Be,\" \"Maggie Mae\" has the irreverence of the laughter after \"Within You Without You,\" the same wink-wink \"bellyful of wine\" that \"Her Majesty\" assumes after the grand finale to _Abbey Road_. \"", "Maggie Mae\" is a whore song from Liverpoool, about the legendary Lime Street tarts who used to walk the town (described by the Beatles' first manager, Alan Williams, in his book _The Man Who Gave the Beatles Away_ ). ", "The song slides uphill to its conclusion, with members dropping out along the way until the bass is the only thing left. ", "Whether this is a Beatles move or not is hard to tell, but it works, puncturing Spector's self-righteous setting of Paul's catholic ballad with spontaneous ribaldry.", "\n\nSIDE TWO BEGINS with two live cuts from the Apple roof, the first a late Lennon and McCartney collaboration, the second an early Nurk Twins revival. \"", "I've Got a Feeling\" harks back to the singular blend of \"We Can Work It Out,\" each singer contributing a distinct part of the song's tone. ", "It's mostly Paul, even though he's out of character—singing about his own feelings, exposing his inner commotion, and finally screaming in frustration over the very angst of love during the bridge. ", "John's reply is atypically detached, and Spector combines the two for a splendid irony in the final verse.", "\n\nThe simple guitar riff that gets things started has a supple restraint to it, relishing the pure major harmonies it dwells in. ", "By the time the drums enter on the second phrase, the song has set itself up as a disarmingly natural melody built around two chords, simple but solid. ", "When Ringo's fill brings the rest of the band in for the surmounting conclusion, the beat pops with a penetrating ring—at the end of the run, when they all pause for Paul to sing the concluding \"I've got a feeling,\" the verse has been rounded off in the best kind of old-fashioned curve: pointing toward a goal, hitting it, and falling away from its charge naturally. ", "John joins in for harmony on the second verse (\"Oh, please believe me\"), and they both play around with the different ways the tags (\"Oh, yeah\" and \"Oh, no\") can be sung—from a distance, hard and cutting, even jokingly.", "\n\nPaul's bridge cuts loose from the sturdiness of the rest of the song with a raging frustration. ", "Where his verse moves along smoothly, the bridge stumbles and lunges, and gains an anxiousness that finds as much discomfort in the groove as the verse finds pleasure:\n\n_All these years I've been running round the world \nWondering how come nobody told me \nAll I been looking for is somebody who looks like you!_", "\n\nHe's not prone to such outbursts of self-expression, and his voice breaks into such earnest passion that it's an entirely believable personal statement, as gut-wrenching as \"Oh! ", "Darling.\" ", "Rising from the supple alternating chords that give the track its expectant opening moments, his outbursts twist the song from an affirmative smile into a tormented howl. ", "Len-non's guitar, which links the bridges back up to the verses, tilts downward slowly, pulling hard against the beat before Ringo's fill sinks it deftly back into place. ", "Bending his strings to avoid exact delineations in pitch, it's like one wailing guitar left squirming in pain from all the hollering that came before.", "\n\nJohn's verse flips his typical perspective around as well: Paul is singing about his feelings, so John describes events in a free narrative, an outsider looking in. ", "In a conversational tone, he sings about the small pleasures, \"wet dreams,\" \"putting your feet up,\" \"letting your hair down,\" \"putting your foot down.\" ", "The phrases are plays on clichés that center around relaxing, letting nature take its course, permitting things to happen with their own logic—the side Paul usually takes. ", "Lennon also contrasts McCartney's shorter lines, employing the words rhythmically for the kind of play against the beat a good set of Lennon consonants provides.", "\n\nFor the final verse, Phil Spector mixes these two vocal lines on separate channels, John and Paul singing different interlocking melodies with different words, expressing their inverted personality traits at the same time. ", "The song is summed up in this section the way \"We Can Work It Out\" never is: the contradicting personalities are sounded together, linking the implications of their role reversal with the music. ", "It shows us how self-conscious they are of their traits, and how they enjoy playing with our expectations of their roles. ", "On this record, it's Spector's best expressive touch.", "\n\nTHE BEATLES RECORDED \"One After 909\" in 1963, but John and Paul wrote it as far back as 1957 and were never satisfied with the lyrics. ", "Spector's inclusion of it makes it the only remnant of the original _Get Back_ concept: the Beatles romping through their roots. ", "On the preferably slower 1963 version (on bootleg), George plays some stunning train noises as an introduction; here they just lean right into it with a brief guitar fill. ", "Once the song is set off, the rush of remembrance and the joy these men feel toward this rare original is tangible. ", "It's probably as corny as anything they threw out, but on this record it comes to mean much more—you can hear the thrill they find in it together, and you can see it in their faces in the film. ", "It's hard to tell who's happier: Paul in front of a live audience again or John blushing at the immature lyrics that George answers with every line.", "\n\nTheir harmony sounds as rapturously open and bright as in \"Please Please Me\" and as self-mocking as in \"Misery\" (\"Come on, baby, don't be cold as ice\"). ", "For George's guitar solo they slip into a fresh twist on the groove, leaning harder on its contours, reveling in the breaks they have him fill in (the \"Move over once . . .\" ", "passages). ", "At the end of the bridge, after John sings \"I got the number wrong!,\" ", "Ringo sways against the bar, nudging the beat to emphasize the humor.", "The repeats of the unfinished title line see the song out by winding the hook up even tighter and letting it roll home of its own volition.", "\n\nHearing where it all began revives the innocent life of their ensemble, a musical bond that goes beyond brotherhood. ", "Just at the song's end, Lennon starts singing \"Danny Boy,\" conjuring up what stage patter at their Hamburg shows must have been like—ridiculing old songs, talking gibberish German to the drunken throng at the Star Club. ", "That pop artists of this proficiency can throw themselves wholeheartedly into this rollicking aside tells us just how much the simple forms are still worth, and how everything they do stems from the thrill of unadulterated rock 'n' roll.", "\n\nSPECTOR COMMITS HIS crimes early in \"The Long and Winding Road.\" ", "The initial vocal statement with piano has a tender grace to it; Paul invites us into the song with the same ease as in \"Let It Be.\" ", "But as soon as that phrase is finished, a full orchestra accentuates it and smothers whatever meekness it might have had: all of the sudden it's as if we're in the showroom of a large casino, and Paul is cruising into a schmaltzy ballad. ", "Not that he can't croon—he could still outdo Linda Ronstadt with a singer's album of other people's material—but following the sheer directness of \"One After 909,\" the veneer sounds applied rather than inspired.", "\n\nI'm not struck by the violins and ladies' voices on \"The Long and Winding Road.\" ", "I've always put my own strings on. ", "But that's a bit of spilled milk. ", "Nobody minded except me, so I shut up. ", "When we first got it, Linda and I played it at home. ", "It was a bit rough after _Abbey Road_ had been very professional. ( _", "Paul McCartney in His Own Words_ , p. 20)\n\nThe film versions of both \"Let It Be\" and \"The Long and Winding Road\" still offer more intimate music-making—Paul sings them directly to his audience. ", "With just the band, and John and George adding backup harmonies for the refrain, the effect is quieter, more gently reassuring. ", "With both tracks, Spector fiddled with subtleties and exploited McCartney's weepier tone; the Beatles gave them simple humility and longing. ", "In their original versions, they're minor classics.", "\n\n\"FOR YOU BLUE\" is a slight boogie from George, with John playing slide guitar and Paul on honky-tonk piano. ", "It's harmless, the kind of song that gets batted around for a while and then left off a record. ", "The best thing about it is the enticingly brief but deceptive acoustic guitar intro.", "\n\nBEFORE THE ROOFTOP finale, John sings a gibberish version of what is about to come: \"Sweet Loretta fat she thought she was a cleaner/But she was a frying pan.\" \"", "Get Back\" has become a rock classic: Elton John launches into it on his live _11/17/70_ album alongside Elvis's \"My Baby Left Me.\" ", "But it makes no pretense at being anything more than a pleasant romp, and Ringo's gentle snare shuffle, eschewing cymbals except for the kicks, trots the song along with a perfect pace. ", "Paul writes high for his voice, reaching up for the note on \"Jo-Jo was a man who _thought_ ,\" then scooping down for \"but he knew it couldn't last.\"", "\n\nOn the first chorus only, John joins Paul for a low harmony, and for the rest of the time Lennon concentrates on his lead guitar part (left), commenting with a lower lick that's accentuated by an upper rhythmic figure. ", "Billy Preston's piano solos are tightly drawn restatements, the perfect answer to Lennon's extremes. ", "The alteration between the taut, focused groove (during the harmonized chorus) and the explosions into a punched-up version of the same thing two refrains later make the kicks fly that much higher. ", "They go out soaring through the same accents as Paul ad-libs on top of them. ", "Lennon steals the last word with mock humility: \"I'd like to say thank you on behalf of the group, for ourselves, I hope we passed the audition. . .\"", "\n\nSPECTOR'S KITSCHY STRINGS make the ear appreciate George Martin's modest English touch—compared with the one on \"The Long and Winding Road,\" the orchestra on \"Good Night\" sounds positively curt. ", "But even the abominations of the Spectorized \"Across the Universe,\" \"I Me Mine,\" \"The Long and Winding Road,\" and \"Let It Be\" don't seem to ruin the record as much as they play up the contrast between the live set and the reworked studio sessions. ", "Side two begins with two rooftop cuts, then breaks for Paul's second ballad and George's throwaway, then returns for the rooftop finale. ", "If side one had sequenced \"Two of Us,\" \"Across the Universe,\" \"Let It Be,\" \"I Me Mine,\" and \"The Long and Winding Road\" next to the complete live set on side two (including \"I Dig a Pony,\" both film versions of \"Get Back,\" and \"Don't Let Me Down\"), omitting \"For You Blue,\" the album's form would have better reflected the sessions. ", "Spec-tor's layout lacks the sense of direction that gets taken for granted on their best records, and points up just what good hands the Beatles were in with George Martin.", "\n\n## **_Get Back_** (Paul)/Don't Let Me Down (John) _Released: April 11, 1969_\n\nTHE SINGLE VERSION of \"Get Back\" sounds identical to the album version except for the tag at the end, a coda that Spec-tor leaves off _Let It Be_. ", "This single was released before the _Let It Be_ album—the first thing the world heard from these sessions. ", "The B side is Lennon's \"Don't Let Me Down,\" the most stirring love blues he ever wrote.", "\n\nAn artist's B side used to be throwaway songs—the ones that didn't make it onto the album. ", "But largely because of the Beatles, the album form eclipsed the single as the main unit of commerce, and since they gave their lesser material to other artists, their B sides are uncommonly good. ", "A great B side is a shared secret to those who give it a chance (from \"Thank You Girl\" and \"I'll Get You\" to Harrison's \"The Inner Light\" and \"Old Brown Shoe\"). ", "Bruce Springsteen's _Born in the U.S.A_. ", "B sides from the 1984–85 singles are mavericks of similar dimension: \"Johnny Bye Bye\" is a stirring one-minute-and-fifty-eight-second history of rock 'n' roll and the quaking dimensions of Elvis Presley's death; \"Shut Out the Lights\" makes the heaving irony of \"Born in the U.S.A.\" a personal plea for sanity; \"Pink Cadillac\" is more Presley myth with Bible-busting humor; and \"Janey Don't You Lose Heart\" could be his best pop ever.", "\n\n\"Don't Let Me Down\" belongs on the _Let It Be_ album as part of their live set—the film version even includes some priceless Lennon gibberish when he forgets his own words. ", "It's an ironical cousin to \"Help!,\" ", "a song about fame that decries robbed privacy; \"Don't Let Me Down\" is a pledge of devotion that writhes in the fear of loss. ", "His first ode to Yoko is a cry of paranoia so honest and heartfelt that it strikes as deep a pathos as \"In My Life.\"", "\n\nThe opening downbeat is warm and full, and George's guitar lick rises out of its sound invitingly. ", "With his guitar landing accented by bass and drums, John's first entrance is commanding; the song becomes a vehicle for his vocal expression. (", "On a bootleg, at one point during rehearsals John asks Ringo for a big cymbal crash before this entrance, \"to give [me] the courage to really scream.\") ", "But as in \"Hey Jude,\" it's not the singer alone that makes the song great: this number ranks among their best individually meshed mosaics, coming together in one various yet complementary whole.", "\n\nBilly Preston's electric piano fills in the ends of phrases with soulful restraint, and Paul's vocal harmony adds just the right touch of edge to the top end—there's no smoothing over the tension in John's voice. ", "For the solo breaks (\"Nobody ever loved me like she does\") the band gives Lennon's vocal arc an extra beat to fit all the words in—five instead of four—and the elongation pulls on the already broad rhythm with an understated delay. ", "The rhythm for the verse that follows swings just ever so slightly, and Ringo kicks accents in threes across two bars, the same way that the chorus's \"don't let me down\" is syncopated in quarter triplets over half a bar. ", "George adds a descending octave guitar lead to the right channel.", "\n\nWhen the refrain returns the first time, Ringo kicks it with his high-hat instead of his cymbal, and Paul accents his bass note twice. ", "With a more declarative vocal break that follows from Lennon (\"I'm in love for the first time\") they move into the bridge. ", "The bass and electric piano (right) play a simple but arresting descending motivic counterpoint to the vocal, this time carrying groups of two in delayed rhythms over the bar. ", "The subtle interplay sets the song's bottom afloat _beneath_ Lennon as he climaxes toward his most assured expression of the song: \"It's a love that lasts forever/It's a love that has no past.\" ", "Like the charged commitment in the middle of \"All I've Got to Do,\" the bridge redeems the uncertainty of the refrains.", "\n\nWhen the refrain comes back after the first bridge, Len-non's delivery intensifies—the next verse (\"And from the first time that she really done me\") is sung intimately, the breathy sensuality conveying something keenly felt. ", "He storms into the following refrain with the sound of a man moved by both love and fear, still driven to paranoia by forces he can't understand. ", "Lennon howls out one last falsetto \"please\" to go into the final ad-lib refrain, interjecting pleas and \"Gan ya dig it?\" ", "asides behind Preston's keyboard solo. ", "The song ends on the same warm, deep chord it started on. \"", "Don't Let Me Down\" accepts the tenuousness of true love that he once could only fear (\"If I Fell\").", "\n\n## **_The Ballad of John and Yoko_** (John)/Old Brown Shoe (George) _Released: May 30, 1969_\n\nJOHN AND YOKO'S wedding symbolized much more than just another pop star's coupling, and they knew it. \"", "The Ballad of John and Yoko\" recounts their dashes around the continent, pulling stunts to manipulate the press as much as to send up the frantic attention they received. ", "The 1968 drug bust got in the way of their wedding plans: they had originally wanted to get married in Europe (\"tryin' to get to Holland or France\"), but settled for the Rock of Gibraltar because of visa problems. ", "The wedding ceremony was private, but the honeymoon was public: a week in bed in front of the press, promoting peace (\". . . ", "the Amsterdam Hilton/Talking in our beds for a week\"). (", "Their first solo single together, \"Give Peace a Chance,\" was recorded live in their hotel room in Montreal, where they held a similar Bed-in six months later.) ", "The refrain is directed at the press—\n\n_Christ! ", "You know it ain't easy \nYou know how hard it can be \nThe way things are going \nThey're gonna crucify me_\n\n—a cynically light-hearted reference to his \"bigger than Christ\" quote, the flap that earned the Beatles death threats in 1966. ", "The last verses capsulized John and Yoko's Bag event in Vienna and the Acorns for Peace campaign.", "\n\nJohn's lead guitar echoes itself, played in the right channel and resounding in the left. ", "Piano glissandos spill into the bridge (\"Saving up your money for a rainy day . . .\"), ", "where the paparazzi pace is contrasted with the private wisdom that keeps them sane (\"Last night my wife said/Oh boy, when you're dead/You don't take nothing with you but your soul _____\"). ", "The end of the bridge drops two beats after the word \"soul\" for Lennon to shout \"THINK!\" ", "Paul's harmony for the last verse adds the same supportive dimension that Lennon's did on the last verse of Paul's \"Hey Jude\"—the way he drags out the last \"the way things are _goin_ \" turns it into a Beatlesque duet.", "\n\nThis single points up the degree to which the Beatles thought—or didn't think—of themselves as a band by this point. ", "The only two Beatles on this recording are John and Paul (who handles drums, bass, and supporting harmony). ", "In six weeks, John would release \"Give Peace a Chance\" and credit it to the Plastic Ono Band, his imaginary new group. ", "In this way, Lennon's solo career really began before the Beatles finished, and he claimed the authority of a solo artist long before Paul released his first solo album, at the same time _Let It Be_ came out.", "\n\nGEORGE'S \"OLD BROWN SHOE,\" the B side, is at least as good a rocker as \"Savoy Truffle.\" ", "Paul's bass ignites a perky piano before the band enters in the verse, and Ringo supplies a quickly moving set of dotted rhythms that make everyone else jump. ", "The lyrics are a witty and oblique look at love, delivered with sardonic flair:\n\n_I want a love that's right, \nRight is only half of what's wrong \nI want a short-haired girl \nWho sometimes wears it twice as long_\n\nThe bridge has an inside bow to Ringo (\"wearing rings on every finger\"), and leads into a daring guitar solo—George's best since \"Got to Get You into My Life\"—that rises and falls with astonishing fluidity and control. ", "Recorded in the spring after the \"Get Back\" sessions, it's the kind of piquant effort that _All Things Must Pass_ lacks.", "\n\n#\n\nA TWO-HEADED ORACLE\n\n**ABBEY ROAD** _Released: September 26, 1969_\n\nALTHOUGH THE \"White Album\" lays bare the forces of disintegration at work within the band, the intuitive musical flow still overwhelms the factionalism of the songs; you can hear it in the way Ringo second-guesses Paul's bass lines, or the way Lennon reads a vocal space they leave open for him (\"Happiness is a warm, yes it is—\"). ", "Less than four months later, Michael Lindsay-Hogg films the Beatles' encroaching incompatibility, but the album _Let It_ Be disguises the conflicts with Phil Spector's omissions and orchestral facelifts. (", "George Martin might have captured the band as John had hoped, \"with [their] trousers off.\") ", "But regardless of the fatigued sessions that led up to it, the rooftop sequence sounds like the Beatles in their prime.", "\n\nTheir corporate harmony was another story. ", "The spring of 1969 saw the mismanagement of Apple and the Beatles' publishing interests become public news. ", "Lennon wanted Allen Klein, an American businessman who won owed royalties for the Rolling Stones, to represent the Beatles' affairs. ", "McCartney preferred his soon-to-be father-in-law, Lee Eastman, who headed a New York firm that eventually turned McCartney into the richest man in show business, with holdings of up to $500 million. ", "On Eastman's advice, Paul had been buying up shares of the Lennon-McCartney publishing company, Northern Songs, behind the others' backs to increase his holdings, and he continued to listen to Eastman while John, George, and Ringo sided with Klein. ", "In February, Brian Epstein's brother, Clive, sold NEMS, Brian's original general-interest management company, to Triumph Investment Trust; and the next month Dick James, the Beatles' publisher, sold his interest in Northern Songs to Associated Television Corporation (ATV). ", "With three Beatles on his side, Klein attempted to buy out the rest of Northern Songs with stock from Beatles companies and some of his own holdings. ", "But a third consortium of investors resisted Klein's tough bargaining and Lennon's obstinacy. ", "They insisted on autonomy, and by May ATV had gained a controlling share of Northern Songs, leaving the Beatles only part owners of their own catalogue. ", "By the end of 1970, the only way to diwy up their collective interests was to dissolve the partnership in court; Paul sued the other three. (", "Eventually Klein himself was countersued, in litigation that lasted well into the seventies.)", "\n\nIn between business negotiations, the Beatles were all busy with outside projects: Ringo appeared in the Peter Sellers film _The Magic Christian_ , whose hit song \"Come and Get It\" was written by Paul McCartney and performed by an Apple discovery, Badfinger. ", "Harrison's _Electronic Sound_ was released on Apple's experimental subsidiary, Zapple. ", "John and Yoko heard about Dick James's sale at their Amsterdam Bed-in, and the \"Ballad of John and Yoko\" single, featuring just John and Paul, came out at the end of May. Paul produced records for Mary Hopkin and Jackie Lomax and played bass with James Taylor, another Apple find, on \"Carolina in My Mind.\"", "\n\nStill, venturing out into solo careers was a daunting notion, especially when the itch to make more Beatles music wouldn't go away—perhaps the rooftop set had been so promising that they felt the need to reconcile the musical loose ends on the unreleased _Get Back_. ", "If the Beatles were still a band, they owed their audience a follow-up to the \"White Album.\" ", "George Martin remembers a phone call from Paul in July asking him to help make a record \"the way we used to do it.\" ", "Martin was skeptical of reliving past glories: \"If the album's going to be the way it used to be, then all of you have got to be the way you used to be\" (Norman, p. 378). ", "But Paul persisted, hoping that a musical reunion would help assuage the animosity of their financial entanglements, and Martin returned to the recording console for sessions in the summer of 1969.", "\n\nLENNON WANTED a straightforward rock-'n-'roll album, songs laid back-to-back the old-fashioned way, nothing fancy or elaborate. ", "McCartney and Martin were interested in playing with form: they wanted to create an album that would combine pop hooks with classical recapitulations—a kind of pop symphony, something more conceptual than a collection of songs. ", "The sizzling blues of Lennon's \"I Want You,\" cut short abruptly at the end of the first side, severs the record in half: side one gives each Beatle his requisite track; side two links a series of episodes into a developed song montage. ", "In contrast to the \"White Album\" 's independent strokes, _Abbey Road_ has one overall sheen of sound. ", "The playing is polished bordering on slick; the production is punctiliously detailed and clear. ", "There are no bleary, first-take tracks, like \"I'm So Tired,\" and nothing with the brazen punch of \"Birthday\" or the spontaneous live aura of \"I Dig a Pony.\"", "\n\nThe efficiency of _Abbey Road_ is as far from the gripping immediacy of _Please Please Me_ as seven years' development can be. ", "But where their first record gains credibility by its unabashed candidness, _Abbey Road's_ masterful professionalism doesn't work against it. ", "The opening track, Lennon's \"Come Together,\" is a recasting of Chuck Berry's \"You Can't Catch Me\" (copping a couplet and guitar figure), a delicate piece of textural modernity with a rooty subtext. ", "Both of George Harrison's songs are uncommonly strong: \"Here Comes the Sun\" is the sweetest Beatles track about nature (dwarfed only by \"Dear Prudence\"), and \"Something\" has earned its status as a standard alongside \"Yesterday\" and \"And I Love Her.\" ", "The vocal gymnastics on \"Oh! ", "Darling,\" which Paul prepared for with a week of screaming, is his closest stab at a gut-churning roof raiser since \"Long Tall Sally.\" \"", "Maxwell's Silver Hammer\" is ersatz comedy decked out in arch studio trickery; \"Octopus's Garden\" is Ringo's feeble rewrite of \"Yellow Submarine,\" complete with underwater effects. \"", "I Want You\" is a varied rhythmic exercise that draws from the basic blues form of John's failed parody \"Yer Blues.\"", "\n\nThe first side etches the same kind of lines between tracks that the \"White Album\" does; the second side virtually erases them. ", "The songs were connected only after they were written and recorded, but they make more sense when heard together, and the emotional impressions they create make their extended linkage implacable. ", "The common ground is musical, not narrative. ", "The song suite resonates at both ends of the Beatles' career. ", "Like the major-minor motif they discover on _A Hard Day's Night_ , the entire second side pivots on a series of connected harmonies (hinging on C and A major). ", "The dangling chord at the end of \"Because\" sounds like a premonition of \"You Never Give Me Your Money,\" and the end of \"Polythene Pam\" unwinds into the entrance of \"She Came in Through the Bathroom Window.\" ", "The side progresses from George's opening acoustic guitar through electric guitar and vocal textures (\"Because\") toward piano and orchestral timbres (\"You Never Give Me Your Money\" and \"Golden Slumbers\") and climaxes with a drum avalanche and a guitar duel. ", "The conclusion (\"The End\") recombines these instrumental colors less as a summation than as a circumstantial axiom; \"Her Majesty\" goes out with a nudge and a wink.", "\n\nWhile the Beatles were embracing blues forms (\"Yer Blues,\" \"Why Don't We Do It in the Road?,\" \"", "Oh! ", "Darling,\" \"I Want You\"), others reverted to the country styles the Beatles had already covered. ", "After his motorcycle accident and eighteen-month sabbatical (during which he recorded the fabled _Basement Tapes_ [1975] with the Band), Bob Dylan's response to psychedelia was the rustic mysticism of _John Wesley Harding_ (1968). ", "Jimi Hendrix turned \"All Along the Watch tower\" into a §torm of impending cultural doom, but Dylan himself followed his musical instincts back to Tennessee (where he had recorded some of _Blonde on Blonde_ ) to croon _Nashville Skyline_ (1969), a loving set of country songs. ", "Conversely, as the Beatles camped their way through \"Rocky Raccoon\" and \"Don't Pass Me By,\" the Rolling Stones delivered their most stirring blues testimonials, \"Prodigal Son\" on 1968's _Beggars Banquet_ and Robert Johnson's \"Love in Vain\" on 1969's _Let It Bleed_. ", "At the same time, they inverted their electric smash \"Honky Tonk Woman\" into a rural-guzzling \"Country Honk\" on _Let It Bleed_ , tattered and worn with fiddle. ", "On the same record, their musical ambition vaulted toward the other extreme, with the Bach chorale on \"You Can't Always Get What You Want\" (the same way that the Beatles joined forces with an orchestra on \"Golden Slumbers\" and \"Carry That Weight\").", "\n\nTHE BASIC Chuck Berry guitar riff Lennon recycles for \"Come Together\" resembles the ones in \"Revolution\" and \"Get Back,\" but the surrounding texture is spare and elemental: Ringo sticks to his tom-toms, Paul repeats a querying bass line, and Lennon's voice echoes on top of it all, the detached observer pondering his latest self-portrait (the irony is that he sings it himself). ", "This distance separates his singing from his self-references; the impersonal, detached first-personisms of \"I Am the Walrus\" combine with the carping self-consciousness of \"I'm a Loser\" and \"Help!\" ", "Like \"Strawberry Fields Forever,\" it's an attempt to forge an identity from amorphous feelings.", "\n\nThe album's opening moment sinks a muffled \"Shook!\" ", "into the first downbeat, which springs into an eerie bass leap and fall as Ringo catches up on tom-toms. ", "Ringo (left) goes from cymbal to hi-hat to tom-tom roll in a swirl of drum textures that gives the heartbeat of the song its contour; Paul's bass line (center) obscures the faint guitar (left) and slides into each downbeat with a questioning upbeat on the heels of Ringo's swells. ", "When John's lead vocal enters, Ringo holds fast to his tom-toms, and the guitar goes into an alternating riff that provides the only harmonic backdrop.", "\n\nThe lyrics cop their opening couplet and narrative bent from Berry's \"You Can't Catch Me,\" a flying car fantasy which Lennon eventually covers on _Rock 'n' roll_. ", "Lennon puts the title of his source to work implicitly, by unraveling separate strands of identity couched in contradictions and cryptic asides:\n\n_Here come ol' flattop he come \nGroovin' up slowly he got \nJoo joo eyeball he one \nHoly roller \nHe got hair down to his knees \nGot to be a joker he just do what he please_\n\nAs Lennon takes his solo vocal break on that last line, Ringo's pulsing bass drum pushes him along from behind to set up the sexual innuendo of the tag (\"Come together, right now/Over me\"). ", "Just before the band returns after the last word, fingers slide atop guitar strings, squeaking like fingernails across a chalkboard.", "\n\nPaul's lower harmony during the second verse is atypical of their duo singing. ", "As the music rises to the title line after the second vocal break (\"One thing I can tell you is you got to be free\"), Ringo heads for his snare to kick the sudden burst of guitar sound, and the contrast breaks through on the downbeat of the title words. ", "The spare texture exaggerates the veiled low profile of the verses, making the shift to the refrain dramatically charged. ", "It's a process of delayed gratification, and the two contrasting sections fit together snugly.", "\n\nIn the link back to the third verse, a repetition of the intro, Paul adds a small improvised lick to the final repeat of the basic ruff instead of his usual drop into the downbeat, settling down into the self-generating texture.", "\n\n_He Bag production/He got/walrus gumboot/He got/Ono sideboard/He one/spinal cracker/He got/ \nFeet/down below his knees_ . . . _ ", " \nHold-you-in-his-arms-till-you-can-feel-his-disease_\n\nThe references to his Bag press stunts with Yoko, now his constant companion (his \"sideboard\"), and his notorious abrasive humor (\"spinal cracker\") lead illogically to the claptrap humor of \"feet down below his knees.\" ", "The last line cuts through the myth and conveys a real sense of inner pain: the \"disease\" he carries is his own overbearing self-consciousness, his ever-present sense of insecurity and longing. (", "Some transcriptions mistakenly substitute \"Hold you in his armchair\" for \"Hold you in his arms till\"—either way, the line is addressed to a lover, and the issue is intimacy.) ", "A deeply felt \"Right!\" ", "hangs over Ringo's impulsive drum fill that takes the band into the solo chorus.", "\n\nAs the piano repeats a rhythmic figure (left), Lennon punches the center up with short, breathy \"heh\"s, and leans into a healthy groan as the high guitar solo enters (center). ", "Ringo opens up to his ride cymbals as the sound gains momentum for the guitar's cries, and he fills in the empty spaces with dark tom-tom flourishes. ", "After the guitar trails off on its last piercing note, there's an astonishing linkage back to the verse: electric piano carries most of it (moving to center), but after repeated listenings, bass and guitar criss-cross in their midrange, suspended together out of time before falling back into sync. ", "In a spontaneous juxtaposition, the band (minus Ringo) reaches a magical blend of confusion and interplay in the small space between the guitar's last cries and the impending last verse. ", "Paul finishes it with a decorative upper mordent on his bass.", "\n\nThe fourth verse is more calculated doggerel, with Paul shadowing his partner vocally from behind as in the second verse. \"", "He roller coaster\" pinpoints John's fluctuating emotional extremes; \"He want mojo filter\" refers to his affection for Italian ciggies; and \". . . ", "one and one and one is three/Got to be good-looking cos he's so hard to see\" parodizes his evasive logic and the self-deprecating hippie mask his long hair and beard affect. ", "For the last \"Come together\" refrain, Ringo lays off the snare for no apparent reason.", "\n\nIn the final outro (a literal repetition of the intro), the piano plays a single chord (left) as a flapping noise and high lead guitar upsurge are added (center) to emphasize the hanging mystery in the middle of the swell. ", "As they go into the repetitive last section, Lennon comes forward with an unrestrained \"Oh!\" ", "atop Ringo's directional fill that sets off John's title-line dialogue with the guitar solo. ", "The coda flows on languorously, piano and rhythm guitar repeating the harmonic riff and Ringo cutting loose on his ride cymbal to play up the release at the end of this tightly-woven ensemble piece. ", "The lead guitar rises above the rest to trade ever-heightened utterances of the main melody with Lennon's falsetto, and just before the sound dies away, Paul begins puttering about more freely on his bass.", "\n\nRINGO'S CALCULATED tumble into \"Something\" sends off the lead guitar with large hollow tom-toms before George's soft vocal entrance. ", "Compared with the restrained first verse, the entrance is grand and conventional, almost staged. ", "Paul's bass (right) plays a solo role from the start, balancing his duties between providing a harmonic foundation and injecting a lyrical counterpoint; his rhythmic impulses are always informed by a strong melodic sense. ", "Because the song is a ballad, it's slow enough to create large spaces for the players to fill in: Ringo's drum fills are purposeful, pulling the others into downbeats with tasteful restraint. ", "When George sings \"I don't wanna leave her now,\" Paul leaps up on his bass for a lick of dashing beauty. ", "Strings enter quietly behind this line and grow into a backdrop for the others to play off of by the second verse. ", "Unlike Spector's string arrangement for \"The Long and Winding Road,\" Martin's strings sneak in to complement the band rather than overwhelming it with gush.", "\n\nA high keyboard figure enters at the end of the second verse to enlarge the textural spectrum, and the three-pronged intro motif that sets the whole thing off returns to take things into the bridge (the verse has been in C major, the bridge drops to A major).", "\n\nAs they hit the new harmony at the end of this link, a flush of color bursts through (to set up the words \"You're asking me will my love grow\"). ", "Paul fills in the harmony with an arpeggiated figure (defining the outlines of the chord), and the rhythmic underpinning for the change of key is spurred by Ringo's new high-hat patterns for the wordier text. ", "Vocal harmonies are added on the first lines of stanzas (\"You're asking me will my love grow\" and \"You stick around, well it may show\"), climaxing with the added harmony on the concluding line, \"I don't know!\" ", "Strings play a low countermelody to George's vocal in this section, and stanzas conclude with step-wise descending passages, the first in the key of the bridge, the second paving the way back to the key area of the verse. ", "Near the end of this second fall, low piano octaves are brought up (center) to emphasize the change in color.", "\n\nLanding in the solo verse area, George's lead guitar (center) is understated rather than virtuosic. ", "By this point, the band has reached a comfortable pace with the well-worn grooves the song has to offer. ", "Ringo's drum fills pull with more weight, and Paul's perpetual bass solos propel the others with just the right touch of control. ", "After a tasteful high triplet, when George's lead arrives at the phrase sung to the words \"Don't wanna leave her now,\" Paul leaps up as before, this time providing a breathtaking _upper_ counterpoint to George's lead: George's guitar plays low, repetitive notes which soon arch into a final cry that leads back into the verse; Paul's bass is high and soaring, ornamenting the lead with an inspired dialogue. ", "It rivals Paul's performance in \"Rain,\" without stealing too much attention from the solo it supports.", "\n\nAfter George sings \"Something in the way she knows\" in the final verse, Paul's line adds anew lick, extending what he's already set up for himself. ", "Heading into the final cadences (the first deceptive, pointing toward the bridge harmony, the second resolving), the strings assume the melody, and the lead guitar peaks over the top of Ringo's drum fill with a towering arched curve above the rising step-wise intensity of Paul's bass. ", "The final utterance of this cadence ends resolutely on the three pulses from the opening moments, spaced to emphasize their finality.", "\n\nFor all the predictable dismissals the schmaltzy tone baits, the high drama between George, Paul, and Ringo is the sound of intimacy itself. ", "George's romanticism has a stately touch, and this survives as his strongest song since \"If I Needed Someone.\" (", "At Allen Klein's suggestion, the Beatles release it as the A side of their first single from this album, backed with John's \"Come Together,\" the first Harrison A side to a single.)", "\n\n\"OB-LA-DI, OB-LA-DA\" has an insouciant frivolity; \"Maxwell's Silver Hammer\" is mega-camp: it dresses its dark comedy up in such bright clothes that there's a disappointing lack of irony between what Paul sings and the music that surrounds him. \"", "Maxwell\" tries to justify itself with textural games—no two verses or refrains don the same instrumental patterns—and the linkages between sections are fussed over in a way that steals attention from what they're supposed to ornament. ", "The simple trio that backs Paul's lead vocal up for the first verse (piano and bass left, drums right) is soon so decorated and awash with other sounds that it becomes unrecognizable. ", "Such gimmickry is a sure sign of weak material: it doesn't generate its own setting, so one has to be designed to keep it propped up.", "\n\nAnother reason the song falls flat is its square rhythmic sense: the one-two punch of \"Bang bang\" on the refrains gets predictable, and when Paul fills in the ends of lines with \"oohs\" instead of words (\"Jo-oh-oh-oan . . .\"), ", "the syncopations don't find any friction with the beat they could rub up against. ", "With an anvil on every \"bang,\" the effect is literal instead of cunning. ", "Maxwell, the medical student who murders people with his hammer, might have been a spoof anti-hero like Bungalow Bill or the Paperback Writer, but his elaborate musical character makes him a contrived Loony Tune. ", "The song sounds refined and almost luxurious in tone where it should stay cute and forgettable.", "\n\nThe first chorus adds a bright, tasteful lead guitar figure (center) before a reverential synthesizer passage links the refrain back up to the second verse. ", "A single synthesizer line plays a countermelody to Paul's lead on the second verse, and a guitar comments after the first stanza. ", "There's such a big deal made out of the obligatory step-wise motion up to the chorus (piano and bass play it, drums kick it in), that it promises much more than a simple repeat of that refrain can deliver—even though this time the arrangement blossoms: acoustic guitars flesh out the lead guitar line, which follows with its own solo refrain (complete with \"doot-doot\" backups). ", "The second linking passage bedecks the upright-sounding piano (which has been piddling away on the left) in concert-grand formal tails, arpeggiating chords as though they mattered. ", "You can hear McCartney wanting to sucker you into this charm, but he relies so completely on his devices instead of his melodies and humor that these moments become manipulative. ", "The modesty in the low tom-toms and bass that round out this link sounds out of place.", "\n\nThe last verse has a spooky synthesizer shadowing Paul's lead vocal, beginning in the far left and traveling all the way over to the right by the end of the verse. ", "Rainbow curves work better when they're expressive: the distance Lennon's voice travels in \"A Day in the Life\" is truly ominous, outlining a distance that the singer takes inside his own head; it becomes the consciousness of the song itself. ", "Here it's just another decoy to substitute musical radiance for a banal lyric. ", "The heavyhandedness reaches its most unnecessary forced aside when the background vocals rejoin McCartney, playing the parts of Rose and Valerie in mock falsetto (\"Maxwell must go free,\" left). ", "As he goes into the final refrain, a wa-wa synthesizer sound effect darts off (right), and the song begins to wind down.", "\n\nThe last chorus has a lot of motion to it, and all the colors introduced throughout the song take on a warm glow; but the mix bustles with an activity that can only approximate the natural, happy impetus of earlier farcical singalongs like \"Yellow Submarine\" or \"All Together Now.\" \"", "Maxwell\" has no real giddiness; it's virtuoso pulp. ", "A final synthesizer solo precedes the choral last rites to the words \"silver hammer,\" before the track is finally hammered shut with two final rings on the anvil.", "\n\nJOHN'S ARGUMENT THAT the Beatles were worthy of better material than \"Maxwell\" is confirmed by what follows. \"", "Oh! ", "Darling\" is a masterful piece of singing from Paul, his most spine-tingling vocal assault since \"Long Tall Sally\" and \"I'm Down.\" ", "Beneath a motorized banging piano (left) and blistering chopped guitar chords (right), he gives himself a swaggering bass line that swerves and pivots, mitigating the angered surface with a constantly swaying bottom. ", "The heated rhythms of \"Got to Get You into My Life\" are slowed to a simmering gospel blues torched with Ray Charles vocal melodramatics, sacred inflections redeeming secular heartache.", "\n\nIn addition to the angular bass line that undergirds the verse, Paul writes himself a walloping solo vocal break at the top of each verse. ", "Like Elvis Presley in \"One Night\" (1957), McCartney crams more into every new title outcry, making each one more charged than the last—it's the kind of break that allows a great singer to unleash the very essence of what the song is all about. ", "By seizing the moment completely, Paul defines it, shapes it in his own terms; his vocal authority commands all the other players. ", "He makes these moments unig-norable the same way he makes the feverish ad-libs in \"Hey Jude\" so compelling—by letting his guts tell him where to land, and trusting his spontaneous sense of what sounds right to guide him toward the most riveting spontaneous phrasing. ", "Nothing sounds planned because it isn't, and the gripping sense of emotion in the rising and descending swells at the end of each verse helps ground his flights as they set up his next entrance.", "\n\nThe bridge transcends the lift of the verses: as he sings \"When you told me/You didn't _need_ me anymore,\" Paul's voice comes unhinged, and the clipped guitar of the verses balloons into huge arpeggiations of the harmonies (right). ", "It's one long scream of pain, and Paul sustains the tension right up to the last solo plea, \"I nearly broke down and di-i-i-ed, oh, darling!\" ", "as he links the final desperate cries of the bridge up with the return of the verse. ", "The escalation of harmony in the bridge is almost secondary to the way he contorts the word \"need\" (from A major, the band jumps from D7 to F7 on that word to intensify the basic blues progression) . ", "In these moments he nearly leaves everyone else behind, and his focus dares the others to match his emotional pitch.", "\n\nThe third verse is all warmed up: Paul takes more chances stretching words (\"I'll never _maaaake_ it . . . ", "alone\"), and lets silences spew their own inner tensions. ", "The second time they move toward the bridge, Paul ad-libs \"Believe me, darling\"; we know what's going to happen, and they know that we know, so they're forced to make even more out of it the second time. ", "As the second bridge comes around the bend, the sense of excitement is inescapable: the persuasive piano rumble that gets going in the left barely hints at the explosion of energy that takes place once they land on it. ", "The end of the band's fuse suddenly ignites Paul's voice: \"When you _told_ me—whoo—woo!!\"", "\n\nThat single ad-lib takes the whole track into hyper-space—you can hear it in the way the piano's octaves get manic throughout the succeeding bridge, and the way it reluctantly cools to the unsettled determination of the final verse (\"I'll never le-e-et . . . ", "you down\"). (", "With energy like this in the air, there's no need to dress things up with roving synthesizers and sly backup-vocal jokes.) ", "The last line Paul sings has all the sorrow of rejection and the resolve of not caving in that the entire song has sustained: he grieves over his loss, convinced that he doesn't deserve it. ", "A guitar frames the track with bristled notes as the band holds the final chord.", "\n\nWE SEE RINGO trying out \"Octopus's Garden\" in _Let It Be_ , with George offering some optional harmonies for the second half of the verse. ", "By the time it reaches _Abbey Road_ six months later, John and Paul may have dabbled with it as well; all the simple charm has been produced out of it. ", "There's nothing worse than to hear Ringo take himself too seriously: when he leaps up for the minor harmony on \"We would be so happy, you and me,\" with piano banging away fitfully behind him, his singing sounds coached, like he was talked out of the village-idiot goofiness that made \"Act Naturally\" so disarming. ", "It's bad enough that Paul tries to be Ringo on \"Maxwell\"; when Ringo tries to be Paul, his aplomb turns into bathetic self-parody. (", "If they had omitted Ringo's rewrite of \"Yellow Submarine\" and had him sing \"Maxwell\" instead, it would have saved the side some of its overdone charm.)", "\n\nMCCARTNEY'S EMOTIONAL URGENCY on \"Oh! ", "Darling\" is out of control; he throws himself into his outbursts without hesitation. ", "Lennon's \"I Want You (She's So Heavy)\" carries the weight of holding back—he gets even more mileage from the rhythmic reins he puts on his considerable screaming than he does from the screaming itself. ", "The shifting swing patterns disrupt the primacy of the lyrics, and the band's changing tempos become the main musical force, keeping the combustive texture in check until the emotional buildup overwhelms them in the long coda that sees the song out. ", "In the end, the tension is chopped off rather than resolved—Lennon seeks absolution and finds only continuous struggle.", "\n\nThe intro is a slow-moving arpeggiated guitar riff with a zigzagging bass line, held together by firm tugs from the overarching lead guitar (in D minor). ", "After the band lands on the unresolved held chord, John sings a blues duet with his guitar (in A minor). ", "He takes his time with it; the band lightly accents his every line with three raps, then four, then three again before they join him with an accompanying figure in a quicker tempo than the intro. ", "This juxtaposition of tempos and harmonies is part of what gives this song its spark—the repeated vexation of the vocal is played out more dramatically in the rhythms than in the words.", "\n\nThe texture is basic: the bass on the right fills in spaces handsomely beneath a purring organ; Ringo's drums lean toward the left with George's fuzzed-up, sporadic rhythmic figures; in the center are John's voice and guitar. ", "What's striking about this vocal performance, compared with that of \"Yer Blues,\" is the complete lack of affectation: there's no self-consciousness as he sings; the consequentially draws its force from an even starker, less inhibited style. ", "As in McCartney's slow track on this side, there's enough space for everybody to move around—things come together in random moments of creative chance rather than in predetermined hooks. ", "At the end of the second verse, John hauls into a repeated tag line to the verse (\"It's drivin' me . . .\") ", "that sends the band into a rip-snorting exclamation (on a dominant E-7 with added b-11 chord), answered in Paul's vaulting bass solo.", "\n\nLennon wails \"She's so . . .\" ", "after Paul's second-verse bass solo, and the band breaks into the tempo from the intro, a slightly slower and more measured groove (returning to D minor) that pulls on the rising tension with the force of backed-up counterpressure. ", "The long delay before he sings the word \"heavy\" compounds in the line's repetition as vocals layer on top of one another in mounting swells. ", "The organ is brought forward, and Paul's bass steadies to anchor the guitar's circular arpeggios. ", "Lennon's lead guitar is left trailing over the last chord, and just as the feedback starts it pivots into its solo verse.", "\n\nThe next verse is a guitar solo; Ringo adds a Latin-tinged beat (tom-toms on two, snare on four) to give it more direction, and the organ offers a new accompanying lick. ", "John was right when he assessed his guitar playing for Jann Wenner: he does more than just play notes, he \"makes a guitar speak\"—his instrument takes on human inflections. ", "For the second bass break at the end of this verse, Paul adds a small rhythmic trip. ", "The organ breaks open the world of the slower section this time out with even more heat than before. (", "With its sharp rhythms, it improves on the jaded-cum-existential Los Angeles blues of the Doors.)", "\n\nAfter the second bridge, the fourth verse resumes its cool: the tempo is the same, but Ringo repeats his Latin patterns and the feeling relaxes—Lennon is singing the blues, but on this verse he's boogieing more than he is crying. ", "The downward fall that Paul can't resist going into the second stanza in this verse plays up the happier spirit. ", "Lennon's wailing \"Yeah!!!\" ", "at the end brings the slower section back with a vengeance.", "\n\nThis last bridge repeats itself into a coda, gaining strength from the sheer repetition of changes (the same D-minor progression of the intro). ", "You can hear Ringo pulling the others into sync during the first few moments, holding back their tendency to rush. ", "The expressive power gained from reiteration is among the most powerful devices in rock: in \"Hey Jude\" the three-chord coda works as redemption; in \"I Want You\" it acquires a sustained apprehension. ", "Paul leaps up and down the neck of his bass, dramatizing the highs and lows Lennon's singing has embodied, and a fog of white noise enters in the background, enveloping the sound. ", "The singer disappears completely, drowned by his own self-absorption.", "\n\nAs in \"Don't Let Me Down,\" the love described has as much to do with the pain of longing as it does with the joy of fulfillment. ", "John's yearning has a long history, but his relationship with Yoko conjures up the most profound fears—anxieties about closeness that were first heard in \"If I Fell\" and \"Girl,\" and later more imposingly with \"She Said She Said\" and \"Julia.\" ", "By making the simple declaration of \"I Want You\" a testimonial of faith as well as a howl of doubt, with none of the parody he tried to hide behind in \"Yer Blues,\" he transforms his idiomatic blues into a statement of purpose. (", "In 1986 Elvis Costello's \"I Want You\" uses the same album position, the end of _Blood and Chocolate's_ side one, for a similarly consumptive effect.)", "\n\nTHE SUDDEN-DEATH EFFECT makes the unevenness of this side unsettling; it sounds as though the needle has jumped off the vinyl. ", "The colliding passions of the two main songwriters still seek extremes, with Lennon's and Harrison's tracks exploring group dynamics while the others' smooth over musical inequities with slick production values—McCartney's deeply felt \"Oh! ", "Darling\" only dramatizes the shallow waters it lies between. ", "What side one does not do, in fact, is prepare the listener for the rest of the record.", "\n\nSide two eases into its song suite after Harrison's \"Here Comes the Sun\" and Lennon's \"Because\" with McCartney's \"You Never Give Me Your Money.\" ", "By then, the syncretic instrumental textures are established: basic rock 'n' roll (guitar, bass, and drums, with added synthesizer) expands into piano balladry with orchestra; rich vocal textures (\"Because,\" \"Sun King\") coalesce into unison (\"Carry That Weight\") and back into harmony again (\"The End\"). ", "The silence before \"Golden Slumbers\" separates the memories and imaginative fancies that are set off in \"You Never Give Me Your Money\" from the closing ruminations and majestic resolve of \"Carry That Weight.\"", "\n\nTHE SUPPLE ACOUSTIC GUITAR that greets the day in \"Here Comes the Sun\" shares some of the purity that fills Lennon's falling electric entrance to \"Dear Prudence.\" ", "Its gentle, inviting melody shapes syncopations that will mark the song's irregular bridge; but although the lick outlines disruptions in the beat, the effect is simple, not intricate—it hints at what lies ahead without giving anything away.", "\n\nThe guitar enters demurely on the left, and a synthesizer joins its simple repeat of the melody. ", "Another synthesizer appears overhead (center) to fall toward the right, where a window opens on George's vocal surrounded by strings and background vocals. ", "His opening refrain is delicate; he bounces lightly on the \"doot-n-doo-doo\" tag, and by the time the drums come in for the concluding syncopated riff (grouped in threes over the bar), the song's (and the side's) awakening is fresh and inviting. (", "After four groups of three, Ringo's fill squeezes two triplets in one-third the space—two beats—before landing on the downbeat of the verse.)", "\n\nA synthesizer shadows the second verse; drums and bass mind the center with guitar touches here and there before the acoustic guitars (left) break away to introduce the shifting meters of the bridge (which moves from C major down to A major). ", "As the vocals (right) repeat \"Sun, sun, sun, here it comes\" four times, extra guitars, synthesizers, and handclaps are added one by one until the texture blooms into a vivid array of colors. ", "The transition back to the verse sequences a climbing melody above a dominant chord, spilling into the last stanza with a new synthesizer lead (center) to counterpoint George's voice.", "\n\nThe arrival at the final verse isn't climactic (like the one in \"Dear Prudence\"); it carries the momentum of the bridge into a pleasantly rolling pace. ", "The band repeats the last refrain for the sheer pleasure of it, singing \"It's all right\" at the end as the music rejoins with the two-bar riff in groups of threes. ", "On the final line, the synthesizer holds the concluding note as the opening acoustic guitar alludes to the bridge before finishing as it began—a trim, implicative solo, containing the seeds to all the song's syncopations in its endearing melody.", "\n\nLENNON LIKED TO SAY that the arpeggiated synthesizer harmonies at the start of \"Because\" are Beethoven's \"Moonlight\" Sonata played backward, which may make good copy, but the progression bears only a small resemblance, even though it's in C-sharp minor (a relative harmony to \"Here Comes the Sun\" 's A major). \"", "Because\" is essentially a vocal harmony piece, engaging the ear with rich but transparent harmonies throughout.", "\n\nThe synthesizer arpeggiations (left) are joined by guitar (right) before the voices enter the bass on \"Ah _____\" (center). ", "By the time they enter the verse the mood is hushed, and the pristine voices solemnly intone the undercutting wordplay of the lyrics. ", "As a result, lines like \"Love is all, love is new/Love is all, love is you\" don't sound as clichéd as they should. ", "McCartney's voice flutters the high point of the last verse (\"Because the sky is _blue_ _____\"), and the effect is elegant and refined, a strangely beautiful setting that doesn't take itself at all seriously. ", "A synthesizer solo sings the melody on top of the voices to see the song out, leaving the last harmony hanging in anticipation of the piano to come.", "\n\nAFTER GEORGE'S gardening ode and John's mood piece, Paul's \"You Never Give Me Your Money\" begins poignantly and ends dynamically, outlining the shape of the song suite it sets off. ", "The suite tells several imaginative stories at once, beginning with Paul's shattered love affair and moving through heady nostalgia toward sober reflection: the love song becomes a metaphor for his feelings toward the Beatles. ", "It ends with a wistful English nursery rhyme, the same descending progression that gets recapitulated in \"Carry That Weight\"; and once that association becomes clear, the soured romance tells the Beatles' own story.", "\n\nThe suggestive melancholy of the piano chords (left) are answered by a richly toned electric guitar at the end of the first phrase (right) which dips into the downbeat of the verse with a tasty lick inside the piano's brief silence. ", ".Paul's tender first verse is joined by bass (center) and soft cymbals (right) for the second, which grows slowly toward the tumble into the next section as vocal reverberations echo above Ringo's accelerating tom-toms. ", "The financial metaphors allude to the Beatles' business troubles (\"You never give me your money/You only give me your funny papers\"), the theme that gets played out in group terms by \"Carry That Weight\" and \"The End\" (which reverses this song's solo-piano-to-band direction).", "\n\nAs Paul pushes his voice into an almost unrecognizable baritone for the following episode (right), the piano (left) erupts into honky-tonk ragtime, as though thumbtacks had instantly been applied to its felt hammers (it resembles the boogie-woogie in \"Lady Madonna\"). ", "The lyric is a reminiscence of salad days when life seemed simpler (\"See no future, pay no rent\"). ", "By the time the rhythm halves and Paul sings \"But oh, that magic feeling, nowhere to go,\" his voice has traveled all the way up over the center to sit as far to the left as it had started on the right. ", "The song moves from the imperfections of a love relationship to the fond memories of carefree unemployment; the vocal journey across the stereo horizon traces the leap of imagination that the singer takes from adulthood back to wishful naiveté.", "\n\nThe fantasy grows into a longer vocal refrain on \"ah,\" which is spurred along by a guitar lead (right) that soon swells into a doubled solo (right and center), arching toward higher harmonic ground as Ringo responds to every rising sequence. ", "Landing in A major (the parallel harmony to the opening A-minor chords), a soulful rock-'n'-roll guitar texture emerges: \"One sweet dream . . . ", "Pick up the bags and get in the limousine\" conveys the sweeping rush of early fame. \"", "One sweet dream came true today/Came true today,\" flushed out with high bass rolls and tambourine accents, subsides into a goodnight prayer: \"One, two, three, four, five, six, seven/All good children go to heaven\" (recalling Lennon's bridge to \"She Said She Said,\" with \"When I was a boy/Everything was right\"). ", "A guitar lead dances around the singers as bells (left) and crickets (right) begin to roam, eclipsing the daydream that \"You Never Give Me Your Money\" drifts into; the nocturnal opening of \"Sun King\" is telescoped into the fade-out.", "\n\nFrom the left, a hushed cymbal roll sets off a dark, mellow guitar; a cymbal rings (center) and carries Ringo's drums all the way over to the right before a second arpeggiating guitar appears (center) and wanders between channels (toward Paul's bass on the left, then back toward Ringo's drums). ", "The atmosphere is pitch black, lunar and echoing, and as the choir of Voices enters on a stop-time break (\"ah _____\") everything is brought to a momentary halt on a dangling Dm7/G chord (the harmony in between E major and C major, the key area of the verse). ", "They fall back into the undulating rhythmic pattern that gives this song its flowing draw—it would be positively mellow if it weren't for Ringo's gently insistent bass drum. ", "An organ joins in with a counter-melody during the repeat of \"Here comes the sun king,\" and as John takes the lead for the following lines (\"Everybody's laughing, everybody's happy\"), the song lulls with a tidal expanse. ", "On the final repetition line, everybody leaps up into a gorgeous elaboration of the melody.", "\n\nThe link to the next area reverses the step-wise motion of the first transition (from F major up to A major, the subdom-inant of E major). ", "The vocals sing an inferential Spanish gibberish above the opening instrumental texture, parodying the copped Harrison line with lilting syncopated patterns. ", "The rhythmic inflection the singers give this nonsense kneads the motion, stretching the words as far across the bar as possible, always lagging just behind the beat.", "\n\nThe last chord rings suggestively, but the drums (right) immediately puncture the mood with a linking fill to set up two Lennon character sketches: \"Mean Mr. Mustard,\" a \"dirty old man,\" and the androgynous \"Polythene Pam,\" who is \"so good looking but she looks like a man\" (she might be Mr. Mustard's sister). ", "These short, punchy rock 'n' roll sketches contrast with Lennon's two slower songs on this side (\"Because\" and \"Sun King\") and are answered by Paul's \"Bathroom Window.\"", "\n\nA randy piano (center) spurs the beat; synthesizer provides the bass (left); and a tambourine (center) shakes up the motion. \"", "Mean Mr. Mustard\" describes a homeless bum, with lines sung over the bar to disrupt the meter: \"Mean Mr. Mustard sleeps/in the park, shaves in the/dark, tryin' to save paper.\"", "\n\nThe music is grungy; the sounds low and guttural; and Paul's expert parallel vocal harmony tarts up the second verse: his sister Pam is a \"go-getter,\" she \"takes him out to look at the Queen,\" where he \"always shouts out something obscene.\" ", "At the end of the second verse, the \"dirty old man\" tag goes into to connect with the opening chords of \"Polythene Pam.\"", "\n\nWithout any warning, the song is over—the opening acoustic chords to \"Polythene Pam\" tear a hole through the last bar. ", "The booming guitar has a vicious edge; to get this much sound from a nonelectric instrument, Lennon thrashes at it with the same commanding effect that Pete Townshend gets on \"Pinball Wizard.\" ", "The whole band answers back (both channels) as best it can with repeated eighth notes in the second bar, but the guitar dominates. ", "As if to emphasize this, Ringo's drumming stresses tom-toms, giving the whole texture a compulsion that relies less on the electric guitar that answers every line (right) than on the sheer energy of the propulsive rhythm itself. ", "Lennon's delivery is clipped; he spits his words out quickly to fit them all in, supported by tight, weaving vocal harmonies on \"ah.\" ", "The first verse ends with a declamatory \"yeah, yeah, yeah\" echoed in the acoustic guitar, which has moved over to the left.", "\n\nJohn sings in a thick Scouse accent, deliberately blurring the words as they rush past (\"She's killer-diller when she's dressed to the 'ilt.\"). ", "As in \"Hey Bulldog,\" the words are secondary to the groove that's set in motion: three chords and a burning band doused with flippantly clipped absurdity. ", "When Lennon sings \"yeah, yeah, yeah,\" he's referring to much more than just the girl in the song; he's reminiscing the way McCartney did when he sang \"that magic feeling—nowhere to go.\" ", "Even their trademark early hoots bob to the surface: a \"yeah, great!\" ", "sets the guitar solo off (right). ", "Ringo sticks to his tom-toms and punches up the ends of two-bar phrases with large accents; tambourine and extra percussion fill in the gaps.", "\n\nThe acoustic guitar is still ringing (left), and as everything approaches a conclusion, the guitar also descends into the lower register and everybody pulls back a little on the momentum. ", "Two descending bars link the end of \"Polythene Pam\" to the beginning of \"She Came in Through the Bathroom Window.\" ", "In anticipation of the change in meter, John can be heard chuckling \"heh-heh,\" and Paul shouts \"Oh, look out\" just before the impending downbeat.", "\n\nThe new song breaks forth with a jarring drop into half-time (like the \"magic feeling\" shift)—the beat gets twice as big. ", "As the first huge downbeat lands, all that resounds is the lead guitar that led it in (right) and the tambourines that signal the new beat's pulse. ", "But the downbeat itself is simply a platform for Paul to leap off vocally, and he seizes the moment as only McCartney can, forging his presence onto everything else in the mix. ", "As he finishes his dramatic opening title phrase, backup vocals glide upward from behind (on \"ah-ooh\"), and Ringo slides into the next bar with a drum fill, dragging just enough to make the verse downbeat pulverizing. ", "It's one of the focal points of the side.", "\n\nThe flirtatious hustler in \"She Came in Through the Bathroom Window\" is McCartney's sister to John's \"Polythene Pam,\" and it sounds as though both songs were cut during the same take. ", "Acoustic guitars ring out brightly (left); lead guitar offers up commentary on each phrase (right); background vocals flank Paul's lead (left); handclaps interrupt the motion of odd offbeats during the second verse; and Ringo piles menacing drum fills on top of one another to keep everything moving forward. ", "When they hit the bridge (\"Didn't anybody tell her\"), the stop-time break adds a vocal harmony—as always, they're aware of the music's direction, and a repeated break demands more interest than the first one. (", "The bridge alters D major to D minor, and twists the song around from A major into the C major to which they modulate—after \"Tuesday's on the phone to me\"—before heading back to the second verse. ", "The closing moments wrap the key areas of the bridge and the verse up in one neat turn, moving from C major back to A major for the final surprise cadence: \"oh yeah.\")", "\n\nThese three songs that follow \"Sun King\" have a textural relationship that invokes the good old days in \"You Never Give Me Your Money,\" when they made rock 'n' roll for fun, not for pay. ", "All three emphasize guitars as rhythmic instruments and turn on playful ambiguities, the singer in different slants of condescension toward his subject. ", "In the last song the money issues are more corrupt: \"She could steal, but she could not rob . . .\"", "\n\nA SMALL SILENCE follows to set off the broken piano chords of \"Golden Slumbers\" (right). ", "Its poignancy evokes the earlier piano intro of \"You Never Give Me Your Money,\" and its lyric comments resignedly on that song's fantasies of youth: \"Once there was a way to get back homeward.\" ", "The orchestral gloss that is laid on after that line signals the passage of time: the texture is no longer that of a simple rock 'n' roll band, it's a full-bodied orchestral wall of harmony, stratified by Paul's scooping bass (center), whose off-bar accents give the strings their rhythmic foundation.", "\n\n\"Golden Slumbers\" also picks up on the lullaby ending to \"You Never Give Me Your Money\": the words are borrowed from Thomas Dekker's sixteenth-century \"Golden Slumbers Kiss Your Eyes,\" and are offered up as a farewell to altruism. ", "When the drums (left) come crashing in, we hear just how pressing these lost ideals are. ", "The refrain is a big-chested line of grand, nostalgic drama that breaks away with determined conviction after the yielding sadness of the verses. (", "In contrast to the songs that it follows, this song emphasizes piano even in the larger, drummed-out refrain.)", "\n\nThe second verse repeats the first to a more seasoned orchestral dialogue, strings juicing the singer's plaintive tone with countermelodies, and an added horn part underlines the emotional plight. ", "As he reaches the end of this verse, Ringo's fill ushers in \"Carry That Weight,\" and the longing and tenderness of \"Golden Slumbers\" grow into the larger implications of fame and notoriety—obligation and commitment—that weigh in the singer's heart.", "\n\nA unison Beatles chorus sings the declamatory refrain of \"Carry That Weight\" to a slightly slower beat, with rhythmic bass impulses surging from beneath and a snare drum doubled to the right. ", "At the end of the first phrase, piano and drums fill up the space between exhortations with a determined punch; after the second phrase, the brass heralds the re-emergence of the melody from \"You Never Give Me Your Money.\" ", "The lead guitar's response (right) to the orchestral statement is charged with the earlier song's pathos and nostalgia—it's a short dialogue of rock textures with \"mature\" orchestral symbolism. ", "When the voice returns, we hear the last verse sung among musical forces that symbolize the burdens of maturity and the pressing responsibilities of fame. ", "It is here that McCartney utters the most intimate line, shunning the financial language:\n\n_I never give you my pillow, \nI only give you my invitations \nAnd in the middle of the celebrations \nI break down_\n\nAs the others join for a final chorus of \"Carry That Weight,\" the ironies become palpable; the love song Paul sings to the Beatles spells out the price that fame has exacted from their friendship. ", "The same guitar arpeggio that saw the end of the original \"You Never Give Me Your Money\" out (to the children's rhyme \"One, two, three, four, five, six, seven/All good children go to heaven\") returns for two statements (moving again from C major to A major). ", "Then, without warning, the beat shifts gears, jump-starting the band on a new pattern (\"The End\").", "\n\nThe ascent to this final section is an exchange between the three guitarists and Ringo: the band plays ascending chromatic chords, then drops back down to the tonic. ", "Ringo fills in the empty space with tom-toms that spread across left and right channels, kicking the band into a repeat of its phrase before his drum solo. \"", "Oh yeah! ", "All right! ", "Are you gonna be in my dreams tonight?\" ", "Paul sings, with all the anticipatory gusto of their early rockers.", "\n\nFor Ringo to take a drum solo is a special event—he never has taken one so exposed before, and has built his reputation by shunning virtuosic display. ", "His entire career with this band has been devoted to rhythmic frameworks for songs rather than technical showboating. ", "Given the spotlight for one final flourish, however, he turns in eight bars of pure rhythm that seems to define what his drumming is all about as its breathless tension lifts the whole side to new heights. ", "In his introductory solo to the reprise of \"Sgt. ", "Pepper,\" he reveres the beat above all else; here, every little gesture that strays from it gets tugged right back into the commanding magnetic thump of the bass drum. ", "The thrills come with the way he disrupts the regular meter of eight beats to the bar: injecting three sets of four sixteenth notes separated by one eighth to a measure, he throws the ear's expectations off, making the band's exultant re-entrance a triumph of sustained anticipation and expectant release.", "\n\nThe simple groove that the drum solo sets in motion is as enticing as any rock 'n' roll the Beatles have ever delivered. ", "Something is approaching a climax, but we don't know just what, and the refreshing neatness of the two alternating chords (A and D) makes the resulting guitar exchanges ripe with implication. ", "They're playing straight, pure rock 'n' roll to emphasize how much they love the unadulterated form, and how much this simple idea can generate—like \"One After 909\" on _Let It Be_ , it comments not only on its own record but the entire career it looks back on; the idea of the group gets even bigger than the idea of the album side that's climaxing. ", "The vocal chanting (either \"love you\" or \"yeah, you,\" depending on whose lyric sheet you follow) plays up the celebratory side of the sound (it starts out on the right and moves to the far left just before the guitars enter). ", "As on any other classic groove from their past (\"Money\" or \"I'm Down\"), they sound like they're enslaved by the beat, responding to the repetition's natural currents of tension and relief.", "\n\nThere is a little break where Paul plays, George plays and I play. ", "And you listened to it. ", "And there is one bit, one of those where it stops, one of those \"Carry That Weight\" where it suddenly goes boom, boom on the drums and then we all take it in turns to play. ", "I'm the third one on it. ", "I have a definite style of playing. ", "I've always had. ", "I was overshadowed. ", "They call George the invisible singer, well, I'm the invisible guitarist. (", "Lennon, in _Lennon Remembers_ , p. 56)\n\nThe jam is a three-way conversation between the three guitarists. ", "The exchanges are telling: if Lennon's summary is correct, Paul's lines are typically melodic, George's are soaring and virtuosic, and John's are intensely rhythmic. ", "Paul and George turn in rhythmic lines, but both of them get out of the rhythm they set up with lyricism; John drives his patterns into the ground. ", "On the final, distorted guitar entry, John pushes the momentum that has built up to its breaking point: the band suddenly disappears into a void, leaving only a repeated A-major piano chord.", "\n\nThe piano's simple triad springs unassumingly from the collective motion—it would sound affectedly coy if it weren't preceded by such a dramatic buildup. ", "The effect captures a regained innocence that this side has pointed toward since the opening guitar of \"Here Comes the Sun,\" and with the piano introductions of \"You Never Give Me Your Money\" and \"Golden Slumbers.\"", "\n\nPaul's simple vocal line \"And in the end . . .\" ", "is answered exquisitely by two guitar licks, the first from the right, the second echoing symmetrically off to the left. ", "John and George join him for the next phrase, \"the love you take,\" answered by the right-channel guitar only, before the easy sway of the melody leads them all down into a resolving downbeat as they conclude \"Is equal to the love . . . ", "you make\" (in two dotted quarter notes to the bar, changing the meter momentarily from to , echoing the triplet patterns in \"Here Comes the Sun\" and the end of \"Mean Mr. Mustard\").", "\n\nWhen they hit the words \"love you make\" (and the meter changes back to ), the orchestra reappears, and a one-bar drum fill from Ringo helps buffer the subsiding motion (the harmonic transition moves from the piano triads on A major to the final destination of C major, the central key relationship of the entire side). ", "The music settles down into a grand march of uncovered truths, the arrival of a more elaborate and complex journey than the one \"Hey Jude\" made. ", "A guitar lead climbs the distance of two octaves above a vocal bedding, and Ringo tugs at the final bars to make sure the brakes are applied toward the finish.", "\n\nWhen all these elements—orchestra, guitar, and vocals—combine for the final cadence, the concluding line has enough veiled irony to bring these conflicting tensions together, if only to admit their existence. ", "It's sung both from Paul to the other Beatles and from the Beatles to their audience.", "\n\nIf the conclusion is too nicely tied together, the loose ends of these personalities too patly tucked away in a wash of orchestral luster, the record's encore puts all the apocalyptic overtones in perspective with a grinning gesture of self-deprecation. ", "McCartney's \"Her Majesty,\" which travels from right to left across the stereo spectrum (a reverse image of the rainbow arc the synthesizer played at the beginning of \"Here Comes the Sun\"), recalls the closing grooves of _Sgt. ", "Pepper_ , whose British edition emitted high-pitched sound waves that only dogs could hear. ", "It sounds like the pub song the band hears after knocking off a day's work in the studio—slightly bawdy and somewhat soused. ", "Without this lusty aside, the grand finale would have sounded like uncharacteristic pomposity. ", "The track is cut off (just like \"I Want You\" on side one), leaving a final dominant note unresolved, wanting its tonic resolution but never getting it.", "\n\n_A BBEY ROAD_ is more coherent musically than it is conceptually. ", "The spook of Paul's bass line in \"Come Together\" becomes the lyrical alter ego to George's lead guitar in \"Something\"; Ringo's drumming holds the same two songs with expert stylistic contrast. ", "The album is a model of fluent ensemble work, vocal personas, and brilliantly shaped guitar textures. ", "But the line between parody and sincerity blurs: \"Maxwell's Silver Hammer\" is a catchy annoyance; \"Because\" and \"Sun King\" can't be taken at face value; and the two halves lie at an even greater distance from each other than the sides of _A Hard Day's Night_ and _Help!_ (", "Even the musical unities are ironic: when they write different versions of the same song [\"Oh! ", "Darling\" and \"I Want You (She's So Heavy)\"], Paul and John sound worlds apart—the way everything coalesces near the finale only exaggerates their remoteness.)", "\n\nSide two works better as a set of distinct but related tracks (like the Who's _Tommy_ ) than as a lengthy single song; it revives different stages of their career for a remarkable nostalgic resonance and comprises an ingenious manipulation of rock 'n' roll textures. ", "The pauses (before \"Sun King\" and \"Golden Slumbers\") intensify the climaxes—the driving guitar rock sounds more energized next to the more reflective piano. ", "It has McCartney's and Martin's signature (some call it Paul's best solo album), but the effect is of a collective swan song. ", "The guitar exchanges delineate the band's personalities the way song choice and vocals did on _Please Please Me_ , and the ensemble finale returns to the dance floor possibilities of \"I Saw Her Standing There.\"", "\n\nBut as much as this album looks back, it sets creative standards for the production values and the longer concept treatments of the seventies. ", "The Beatles integrate the synthesizer into their group texture as naturally as they do string quartets and brass; like Pete Townshend's masterful use of the new technology on _Who's Next_ and _Quadrophenia_ , their expanded musical vocabulary never loses sight of the music's origins and purposes. ", "As a musical statement, the record is more rewarding to return to than _Sgt. ", "Pepper_ but more difficult to read literally. ", "It closes their career equivocally.", "\n\n#\n\nTHE DREAM IS OVER \n**THE SOLO CAREERS**\n\nWHEN IT LOST the Beatles, pop lost its hub. ", "They symbolized the ultimate integration—outrageous yet accessible, varied yet whole—and their breakup made the period that followed sound irrevocably splintered. ", "The best Rolling Stones and Bob Dylan records of the seventies ignored trends more than they set new standards: _Exile on Main Street_ and _Blood on the Tracks_ (1974) are grounded in the experience of the sixties, enigmas to the pop climate they greeted (a dilemma Dylan wrestles with in \"Idiot Wind\"). ", "By 1978, with the Stones' disco pander \"Miss You\" and Dylan's conversion to Christianity ( _Slow Train Coming_ [1979]), they began to sound like Presleyan parodies of themselves, especially compared to the ethic of reinvention practiced by punk and new wave ascendants—the Ramones, the Talking Heads, Elvis Costello, the Sex Pistols, the Clash. ", "Only Steely Dan, the most strategically innovative group to follow the Beatles, won mainstream commercial favor, while going straight over most listeners' heads. ", "Singer-songwriters like James Taylor, Cat Stevens, Joni Mitchell, and Jackson Browne suppressed the beat and wrote almost completely in the first person. ", "Heavy-metal forebears like Led Zeppelin and Alice Cooper dispensed with subtleties and exaggerated the beat by slowing it down, spelling out a mass-cult style with its own rituals and sacred cows. ", "Stevie Wonder, Marvin Gaye, and Sly and the Family Stone applied album concepts to soul and funk better than art-rock bands like Emerson, Lake and Palmer, Jethro Tull, and Yes did. ", "And yet some sixties hangovers went on to make good records based on the frameworks of their original sounds instead of buckling under to the prevailing trends; and several of them produced their most remarkable work: Rod Stewart on _Every Picture Tells a Story_ (1971), Eric Clapton's (Derek and the Dominos') _Layla_ and his own _461 Ocean Boulevard_ (1974), Paul Simon on most of his solo work, and the Who on _Quadrophenia_ (1973). ", "The two seventies figures to emerge as eighties superstars, Michael Jackson and Bruce Springsteen, were in many ways the guardians of the artistic tradition, Springsteen with his herculean concerts and albums, Jackson with singles. ", "The fact that Dylan's heir apparent, Elvis Costello, didn't win over a deserved large audience says more about the fickle masses than about his formidable songwriting invective. ", "With the measured California rock of the Eagles and Fleetwood Mac, and Elton John's and Billy Joel's bright melodic hits, the wake of the Beatles sounded more neutralized than artistically centered.", "\n\nIn the midst of it all, Beatles imitation bands (John dubbed them \"Sons of Beatles\") inevitably sprang up. ", "Paul McCartney wrote Badfinger's first hit, \"Come and Get It\" (1970), and George Harrison went on to produce them; \"No Matter What\" (1970) made terrific use of the expectant Beatles silences in \"Love Me Do\" and at the end of \"She Loves You.\" ", "Two years later, the Raspberries, led by Eric Carmen, debuted with a rapturous single, \"Go All The Way,\" that was almost as artfully sexy as \"Please Please Me.\" ", "Later in the decade, the Knack was hyped as the next Fab Four with the smash \"My Sharona\" and the _A Hard Day's Night_ TV-set pose on their debut album's back-cover photo. (", "Capitol Records, their label, went so far as to revive the rainbow inner label to make the connection explicit.) ", "Almost predictably, spurred by a backlash of star worship that would go so far as to immortalize McCartney with a fake death, a Beatles-reunion rumor ignited surrounding the Canadian group Klaatu's eponymous album and helped push their debut, a watered-down mechanical retread of faintly Beatlesque formulas, into the top forty. ", "Naturally, Klaatu's label, Capitol, did nothing to squelch the gossip. ", "In the eighties, the taut harmonies of the Bangles, a Los Angeles female quartet, were labeled the successors to the great vocal ensemble tradition, and the Smithereens won praise for their unabashed retranslations of Beatlesque song forms. ", "Some of the groups that most deserved the Beatles analogy, like the British Squeeze and XTC, never found the larger audiences they deserved. ", "American outfits like the Rubinoos found brief cult status with faithful encore covers of \"I Want to Hold Your Hand,\" and Cheap Trick borrowed Beatles-isms like self-parody (and covered \"Day Tripper\"); but none of these displayed consistent songwriting skills or the compelling personalities to live up to their models, and few backed their singles up with solid full-length records. ", "All suffered immensely from the weight of the comparison. ", "The Beatles dominated rock by their absence almost as much as they once had by their involvement.", "\n\nAS SOLOISTS, all four Beatles worked outside the mainstream of pop's prevailing currents, making their records curious echoes of a better place in the past rather than engaged dialogues with the pop life around them. ", "The memorable solo hits—\"Maybe I'm Amazed,\" \"Give Me Love,\" \"You're Sixteen,\" right up through \"Starting Over\"—usually had nothing in common with the charts they topped. ", "The exceptions are telling: Lennon's \"Whatever Gets You Through the Night,\" his first number one, was a duet with Elton John that danced on its blatant commercialism where McCartney's \"Goodnight Tonight\" succumbed to it. ", "Their Beatles work grew in stature as time went on and re-entered the charts with the slightest of pretexts: Elton John peaked with \"Lucy in the Sky with Diamonds\" in 1974; a Capitol re-issue campaign put \"Got to Get You into My Life\" in the top ten in 1976; and as late as 1986 the Beatles' 1963 recording of \"Twist and Shout\" (featured in the films _Ferris Buehler's Day Off_ and _Back to School_ ) blitzed past McCartney's solo \"Press.\"", "\n\nThe Beatles' unfailing sense of ensemble points up how rare it is for four players to find a common voice. ", "When these gifted collaborators hired studio musicians, the dynamic of interplay took a backseat to the material; and only striking and varied music can carry a single voice for an entire album. (", "This put Ringo and George at an obvious disadvantage.) ", "Where together the Beatles could redeem lesser tracks by getting up inside of them to make the idea of the group more persuasive than the idea of the song (\"What Goes On\" or \"All Together Now\"), on their solo records they sound trapped—even when McCartney credits his players in Wings, the side-men are always subsidiary, the records padded with filler. ", "Solo Beatle singles outdo their complete albums, and their music always uses their sixties work as a reference point.", "\n\nWith the strained musical camaraderie already at work as their business disputes progressed, it's no wonder their early individual efforts touched on the animosity they left behind. ", "The Utopian dream of Apple Corps as a haven for struggling artists crumbled into a rock 'n' roll Jarndyce and Jarndyce as their lawsuits with Allen Klein stretched into the seventies. ", "A series of songs they sang to one another from their separate islands of creativity became a sideshow to the creative fallout. ", "Ringo started with the B side to his first hit, \"It Don't Come Easy\"—a wishful reunion epistle called \"Early 1970.\" ", "Then, in typical confrontational fashion, Lennon wrote a scathing renunciation of the Beatles myth in \"God,\" a nulling but vain attempt to slam the lid on the reunion rumors that persisted until he died. ", "Paul's \"Too Many People,\" on _Ram_ , snubbed Lennon's hyperactive politicking. ", "Lennon retorted with \"How Do You Sleep?\" ", "on _Imagine_ , a knife-twisting indictment of Paul (the album was packaged with a postcard of John manhandling a pig, a direct satire of the sheep on the cover of McCartney's _Ram_ ). ", "On _Wild Life_ , Paul offered up \"Dear Friend,\" a saddened rebuttal to the acridity of \"How Do You Sleep?\" ", "which nonetheless brought the exchanges to a halt until Lennon's death.", "\n\nTheir solo careers marginalized their independent strengths. ", "The maxim that their whole was greater than the sum of their parts seems true beyond description. ", "By the time the jet-set pop scene of the seventies was deliberately fractured by punk and new wave in 1977, Ringo and George's solo careers were basically over, Paul's work had turned sadly formulaic, and John had gone into retirement to raise his new son, Sean. ", "At one point during his five-year sabbatical, Lennon got a visit from McCartney in Manhattan, and they watched together as Lome Michaels of NBC's \"Saturday Night Live\" comedy show offered the Beatles a whopping three thousand dollars to reunite on the air. ", "Lennon recalls that they \"were watching it and almost went down to the studio just as a gag. ", "We nearly got into a cab, but we were actually too tired. . . . [", "We] went, 'Ha ha, wouldn't it be funny if we went down?' ", "But we didn't\" (from _Saturday Night: A Backstage History of Saturday Night Live_ by Doug Hill and Jeff Weingrad, pp. ", "134–5).", "\n\nJohn Lennon's comeback album with Yoko in 1980, _Double Fantasy_ , was heralded as the promising answer to 1970's tormented _Plastic Ono Band;_ it bolted to the top of the charts the month before he was killed. ", "In the spring of 1987, Ringo Starr returned to recording studios in Memphis, and George Harrison was at work with former Electric Light Orchestra member Jeff Lynne. ", "As of this writing, Paul McCartney continues to produce records regularly and hints at more live appearances.", "\n\n## **RINGO STARR:**\n\n### _The Act You've Known for All These Years_\n\nRingo was always the Beatles' own biggest fan. ", "His signature song, \"A Little Help from My Friends,\" plays up his dependency on the others and makes the possibilities of the ordinary seem not only entertaining but rejuvenating. ", "The breakup appeared to leave Ringo stranded, virtually unimportant in the legal imbroglio over songwriting royalties and creative control. ", "As a drummer, he couldn't very well join another band without taking a step down. ", "So he decided to sing.", "\n\nHis early releases succeed on the same extramusical terms as his Beatle persona: his charm is irresistible, so much so that whether he's singing big-band standards or a maudlin collection of country and western, he wins listeners over with the musical character realized in \"Act Naturally\" and \"Goodnight.\" _", "Sentimental Journey_ (1970) is a crooner's record of nightclub staples, arranged by contributors like Quincy Jones, the Bee Gees' Maurice Gibb, and Oliver Nelson. ", "Backed by full jazz band and occasional strings, Ringo poses as a Liverpudlian Jack Jones, with surprisingly good results. _", "Beaucoups of Blues_ (1970) is affectionate country recorded in just two days with Nashville cats under the direction of veteran steel guitarist \"Sneaky\" Pete Drake. ", "Both these albums have a deceptively easy feel, and the strongest moments from each (\"Dream\" and \"Blue Turning Grey Over You\" from the first and \"Woman of the Night\" on the second) confirm his fundamental appeal as a personality.", "\n\nStaying active in session work with people like Leon Russell and blues heroes Howlin' Wolf and B. B. King, Ringo followed up these lovably odd ventures with two fine hit singles that he wrote himself: \"It Don't Come Easy\" in April 1971 (which won a big ovation when he sang it at George's Concert for Bangla Desh) and \"Back Off Boogaloo,\" in March 1972.", "\n\nIt wasn't until 1973's _Ringo_ that he recorded his first rock album, supported—albeit separately—by the other three Beatles (and by the Band on one track) for a committed return to harmless pop. ", "The cover drawing by Hamburg friend and bassist Klaus Voorman parodies _Sgt. ", "Pepper:_ Billy Shears is finally getting a record to himself. ", "Ringo doesn't have to do anything to Lennon's megalomaniacally uproarious \"I Am the Greatest,\" which lets the audience know that Ringo knows that the laugh is on him—it's a middle-aged answer to \"Act Naturally.\" ", "McCartney's contribution (\"Six O'Clock\") is a tasteful ballad with an elegant synthesizer duet. ", "The record gave Ringo three top ten hits: \"Photograph,\" his collaboration with Harrison, became his first number one; \"You're Sixteen,\" a 1960 Johnny Burnette cover complete with a \"mouth sax solo\" from Paul, repeated the same feat; and \"Oh My My,\" written with his seventies songwriting partner Vini Poncia, followed at number five. ", "This semi-Beatles reunion is the closest they ever came to getting back together, and Ringo's role in drawing the others back to support him emanates from an undying fondness for their musical companionship.", "\n\nEven though Ringo stuck with producer Richard Perry, the same formula—hiring bigshot friends to write and duet with—mars 1974's follow-up, _Goodnight Vienna_. ", "Technically, Ringo has the same problem as George: his voice doesn't have the range to carry an entire record—he is only as good as his material. ", "Unlike _Ringo's_ unfeigned lightheartedness, these contributions from crack songwriters (Lennon, Harry Nilsson, Elton John/Bernie Taupin, Hoyt Axton, Allen Toussaint, Roger Williams) sound more thrown away on Ringo than tailored for him. ", "Even so, the Platters' 1955 debut hit, \"Only You,\" which Lennon suggested for him, reached number six; and Hoyt Axton's embarrassingly square \"No No Song\" scored as a kind of novelty item at number three.", "\n\n_Blast from Your Past_ , a greatest-hits collection released for Christmas of 1975, combines Ringo's staples with would-be hits without reverting to Beatles tracks (the way Harrison's collection does). ", "It includes the B side to \"It Don't Come Easy,\" a touching Beatles epigram called \"Early 1970\"—the first ex-Beatles song sung to the others, with a verse devoted to each—it survives as the most hopeful reunion rumour.", "\n\nMcCartney's well publicized no-show at the Rock and Roll Hall of Fame awards that saw the Beatles inducted as lifetime achievers in early 1988 was only the latest incident in the ongoing legal squabble over publishing rights and royalties. ", "Even Ringo's lawyers refused Knopf permission to reprint the lyrics to \"Early 1970,\" one of his best songs, saying it would allow this book to profit off of his original material. ", "And yet for a drummer of Ringo's caliber, to get shut out of creative royalties from Beatle records underscores how unfair the authorship issue in rock really is. ", "Lennon and McCartney were undeniably the chief songwriters of the four, but Ringo's contributions especially are at a much higher level than the average studio hack they might have recorded with (if Martin had had his way originally). ", "McCartney may have suggested the drum pattern that accents the guitar line's hanging triplet in \"Ticket to Ride,\" but no one else could have gotten the sound down with just the right punch, the way Ringo does. ", "His varied fills before the final line of each refrain only extend this ingenuity.", "\n\nRINGO'S REMAINING SOLO work suffers the ex-Beatles burden rather than using it (the way _Ringo_ did); the supporting-cast routine begins to wear thin. ", "Hollywood film composer Arif Mardin produced 1976's _Ringo's Rotogravure_ to distraction, making meager contributions from both Lennon and McCartney sound even weaker than they should. (", "The back cover pictures the former Apple offices at 3 Savile Row in London, ravaged by graffiti.) ", "Mardin repeated these mistakes on _Ringo the_ 4 _th_ (1977), even though moments like the inebriated glint of \"Can She Do It Like She Dances\" beg for more inspired playing from pros like Sneaky Pete, Don Grolnick, and the incomparable session drummer Steve Gadd (only Ringo could credit Gadd's playing and not appear shamelessly modest). _", "Bad Boy_ (1978) is virtually irredeemable. ", "McCartney's and Harrison's material on _Stop and Smell the Roses_ (1981) suffers the ignominy of being upstaged by dismissible Nilsson pap like \"Drumming Is My Madness\" and the spontaneous goodbye rap Ringo gives in the title song.", "\n\nLennon's tired goodbye to _Rock 'n' Roll_ rebounds as a self-confessional—he remarked later that it was a moment when he realized he would be leaving the record business. ", "Like Lennon, Ringo could never make a weak record without evincing self-consciousness: it's curious that the group's most recognizable everyman should also understand the charade that most of his solo records fail to sustain. ", "He knows his career has to stop; \"everybody wants it to stop,\" he ad-libs into the fade-out. ", "As usual, the gesture is friendly, but the admission is somewhat galling. ", "To date, this Ringo farewell capsulizes the ex-Beatles' declining estimation of the audience they once ennobled and empowered. (", "There's even talk of a Ringo TV sitcom, God help us.) ", "Still, Ringo being Ringo, he gets it both ways: his delivery has the same bracing self-effacement as \"With a Little Help from My Friends,\" and it gives the record its only worthwhile humor. ", "Not even the requisite covers (\"You Belong to Me,\" the 1962 hit by the Duprees featuring Joey Vann, and Carl Perkins's inimitable classic \"Sure to Fall\") can save this album.", "\n\nNaturally, Ringo's musical decline got reflected in sales (his last single, Harrison's \"Wrack My Brain,\" barely crept into the top forty, halting at thirty-eight), and his market appeal faded to the point where much of his catalogue is now out of print. _", "Old Wave_ , the 1983 record produced by Joe Walsh, was released only in Germany, even though it stacks up better than Ringo's previous three records—notably Lei-ber and Stoller's \"I Keep Forgettin' \" and Walsh's own \"Goin' Down,\" an unpretentious jam with a small drum solo.", "\n\nRingo's best drumming is found on Lennon's _Plastic Ono Band_ and in the astonishing time he keeps doubling Jim Keltner on _The Concert for Bangla Desh_. ", "He sits in on sessions with friends like Keith Moon and Harry Nilsson and does what he can on a number of McCartney's and Harrison's records; and this studio work proves his rhythmic feel is more of a prize than his songwriting ambitions with Poncia on later solo albums. ", "He dabbled in film (Frank Zappa's _200 Motels_ , Marc Bolan's _Born to Boogie)_ , and his most notable work on screen is as David Essex's co-star in _That'll Be the Day_ , where he plays a ducktailed carnival tough in the late fifties who doesn't follow his own advice. ", "His marriage to Barbara Bach in 1981 reoriented his family life, and now he shows up in television movies and talk shows as well as the odd promotional campaign (Sun Country wine cooler). ", "When his legendary status beckons, he still takes part in celebrity benefits (he appeared in Miami Steve Van Zandt's antiapartheid benefit \"Sun City\"). ", "But his biggest dream goes unfulfilled. ", "As he told Max Weinberg in _The Big Beat_ (p. 189), \"My one ambition was to have been in the audience when the Beatles played. ", "It must have been great.\"", "\n\n## **GEORGE HARRISON:**\n\n### _Don't Bother Me_\n\nHARRISON'S BEATLES songs helped offset the brilliance of Lennon and McCartney. ", "His singing on \"Do You Want to Know a Secret\" and \"Don't Bother Me\" made him sound like a scrawny younger brother to the clan. ", "These early, half-out-of-tune gems, like Ringo's, helped form a bond of commonality with their audience and kept Lennon's and McCartney's cockiness in check. ", "His apprenticeship on guitar traces a growth in skill from the willful \"Roll Over Beethoven\" solo to the commanding leads on \"Taxman\" and \"Got to Get You into My Life.\" ", "But as a songwriter, he scrambled just to keep up; and as a singer of other people's songs (\"Chains,\" \"Devil in Her Heart,\" \"I'm Happy Just to Dance with You,\" and the laconic \"Everybody's Trying to Be My Baby\"), he relied on the others' support more than he inspired them.", "\n\nHarrison's best Beatles tracks place modest lyrics above guitar-based textures. ", "Only a handful of songs hold their own: \"If I Needed Someone\" and his three sturdy _Revolver_ tracks; \"The Inner Light\" (\"Lady Madonna\" 's B side) and \"Love You To,\" the only Indian excursions that survive as more than curiosities; \"While My Guitar Gently Weeps\" and \"Piggies\" on the \"White Album,\" held together more by guitar playing and wit than by George's vocals; \"Savoy Truffle\" and \"Old Brown Shoe\" from the same sessions, which relegate his voice to a secondary position beside randy guitar licks and hard rhythmic kicks; and \"Something\" and \"Here Comes the Sun,\" which couple vocal maturity with a promising new songwrit-ing finesse. ", "But the weak spots surrounding these better moments are prescient: for every \"Inner Light\" there is a ponderous \"Within You Without Yop\"; for every harmless \"I Need You\" there is a strained \"You Like Me Too Much\"; and virtually all of his psychedelic musings (\"Blue Jay Way,\" \"Only a Northern Song,\" \"It's All Too Much\") are misguided and pretentious. ", "The dark-horse mystique that once surrounded his early solo efforts seems unfounded in retrospect.", "\n\nWHEN HARRISON TEAMED with Phil Spector a few months after _Abbey Road_ to record _All Things Must Pass_ , his ambition outweighed his creativity; a double-record debut solo album is the height of conceit. ", "The fact that he repeats the dourest track, \"Isn't It a Pity\"—at an even slower tempo—points to a larger problem: the monotonous material doesn't provide enough variety in tempo and mood. ", "It's typical for artists to record many more tracks than are needed to fill up a forty-minute LP; Harrison's problem, at least with this record, is editing. ", "Tracks like \"What Is Life,\" \"Beware of Darkness,\" \"Apple Scruffs\" (an affectionate ode to Beatles groupies), \"All Things Must Pass,\" \"The Art of Dying,\" and the best of the lot, \"Run of the Mill,\" on a single record would have made for a much less sprawling album; as it is, these better cuts get buried among turgid studio exercises (\"Let It Down\") and light treacle (\"The Ballad of Sir Frankie Crisp [Let It Roll]\" or \"Wah-Wah\").", "\n\nEven though the record garnered him a double-sided number-one hit (\"My Sweet Lord\"/\"Isn't It a Pity\"), and \"What Is Life\" went to number ten, _All Things Must Pass_ remains the least durable of all the ex-Beatle solo debuts; it wound up at the top of John Swenson's 15 Most Boring Classic Albums in _The Book of Rock Lists_ , beating out such dinosaurs as Chicago's _At Carnegie Hall, Volumes I–IV_ and the Moody Blues' _Days of Future Passed_. (", "The extra record of jam out-takes Harrison included might have brightened things up with some scalding exchanges between demanding players like Dave Mason, Eric Clapton, Jim Keltner, and Billy Preston; instead, it rambles aimlessly.) ", "To seal this record's historical blight, Ronnie Mack, composer of the Chiffons' 1963 hit \"He's So Fine,\" took Harrison to court for stealing the basic progression of that song on \"My Sweet Lord\"—and won.", "\n\nGEORGE BROUGHT TOGETHER a host of fine perf ormers-on very short notice for the Concert for Bangla Desh in August 1971, and the live album he and Phil Spector mixed afterward contains four songs from _All Things Must Pass_ mixed with three Beatles tracks (\"While My Guitar Gently Weeps\" with Eric Clapton, \"Here Comes the Sun\" with Badfinger, and \"Something\") and \"Bangla Desh,\" composed specifically for the event. ", "It includes a difficult Indian set from Ravi Shankar; a Leon Russell medley; a song each for Billy Preston and Ringo; and a startling five-song acoustic set from Bob Dylan (accompanied by George on guitar, Ringo on tambourine, and Leon Russell on bass), the only worthwhile music on the entire six sides.", "\n\nTHE ELEGIAC \"Give Me Love,\" Harrison's best single (from _Living in the Material World_ ), saturated the summer of 1973, a soothing piece of radio taffy that's as easy to tune out as it is to tune into (it made a like-minded companion to Paul Simon's \"Kodachrome,\" a similar piece of nose-on-the-face pop). ", "But as a starting point for the album it sets up, it makes almost everything that follows a letdown. \"", "Sue Me, Sue You Blues\" recounts the Beatles' legal problems with a hurry-up-and-wait tag line (\"We're gonna play those\") before an instant of silence, making the title line hesitant instead of forceful. (", "This song was later unwittingly co-opted by Lionel Ritchie in the theme to the movie _White Nights_ as \"Say You, Say Me.\") ", "Even with the compressed—and somewhat innac-curate—Beatles history in the title track, the continuing stream of devotional numbers (\"The Light That Has Lighted the World,\" \"Who Can See It,\" and the over-orchestrated \"The Day the World Gets Round\") makes Harrison sound increasingly insulated even as he sings of spiritual involvement.", "\n\nGEORGE WAS THE FIRST ex-Beatle to embark on a full-length tour—to promote his 1974 album on his new record label of the same name, _Dark Horse_. ", "The record continues the series: a couple of modest hits clouded by poor excuses for surrounding songs (on \"Hari's on Tour\" he wisely lets his slide guitar do the talking; \"Simply Shady\" quotes \"Sexy Sadie\" for an atypically gnarled track). ", "By comparison, the tour was a humble success, even though his voice wore thin and Billy Preston's hits \"Nothing from Nothing\" and \"Will It Go Round in Circles\" interrupted George's devotional restraint with danceable excitement. ", "As Ben Fong-Torres wrote in his _Rolling Stone_ cover story:\n\nOn paper, without mentioning the drive of Andy Newmark's drumming, the color of Emil Richards' percussion work, the solidity of Willie Weeks' bass, the vocal (and sweeping keyboard) help rendered by Billy Preston, the exuberant rock and blues guitar of Robben Ford, and the brilliant horn work of Tom Scott, the concert sounds pretty dreadful. ", "But it wasn't quite that bad.", "\n\nHarrison was reluctant to perform any Reatles songs, relenting only with \"Something,\" \"While My Guitar Gently Weeps,\" \"Here Comes the Sun,\" and a sincerely charged reworking of Lennon's \"In My Life\" (singing \"I love God more\" instead of \"I love you more\"), which actually gained resonance with the brotherly overtones, when sung by one ex-Beatle to another. ", "But overexpectant audiences had to sit through an entire first set of Ravi Shankar's Indian music, and while Harrison's new material sounded better in concert than on record, the act seemed to confirm his stature as a sideman more than show him off as a leader.", "\n\nThe remainder of Harrison's catalogue has only a smattering of good moments. \"", "You\" is an unassuming and pleasurable guitar lick stretched out to a diffident single from 1975's _Extra Texture_ — _Read All About It_ , which also contains a feeble answer to \"While My Guitar Gently Weeps\" entitled \"This Guitar Can't Keep From Crying.\" ", "1976's _Thirty-Three & ⅓_ contains the lukewarm hits \"This Song\" (a response to the \"My Sweet Lord\" lawsuit) and the foppish \"Crackerjack Palace.\" ", "On _George Harrison_ (1979), he resuscitates \"Not Guilty,\" a track the Beatles left off the \"White Album,\" even though he doesn't alter the arrangement, and pens yet another unnecessary answer song (to \"Here Comes the Sun\") with \"Here Comes the Moon.\"", "\n\nLENNON'S DEATH INSPIRED good songs from some improbable sources. ", "Elton John's \"Empty Garden\" draws from \"Dear Prudence\" with sadness and respect, reworking Lennon's \"come out to play\" line with a genuine swell of feeling that he rarely achieves in his Taupin collaborations. \"", "The Late Great Johnny Ace,\" Paul Simon's tribute orchestrated by Philip Glass, appears on the wistful _Hearts and Bones_ in 1983. ", "And London Wainwright III, the sardonic folkie, sets down a meekly despondent response in \"Not John,\" from his _I'm Alright_ LP (1985).", "\n\nHarrison recruited Paul and Ringo together to play on his Lennon memorial, \"All Those Years Ago,\" and although he doesn't rank with Elton or Simon as a perennial under-achiever suddenly overachieving once again, his kid-brother tone recaptures the approach he took on \"I'm Happy Just to Dance with You,\" the song Lennon wrote for him. ", "Like Elton, he addresses Lennon directly, but the bounciness of the synthesizer overdubs and \"doo-wa\" background vocals are breezy, and he sounds upset only in the wedged lyrics of the bridge:\n\n_Living with good and bad \nI always looked up to you \nNow we're left cold and sad \nBy someone the devil's best friend \nSomeone who offended all_\n\n\"The Late Great Johnny Ace\" brings Simon's _Hearts and Bones_ to a dead standstill, with Glass's embryonic strings casting a ghastly pall over the dread that the song—and album—have witnessed. ", "McCartney's \"Here Today\" centers _Tug of War_ at the end of side one with stirring personal memories. ", "But Harrison undermines any cathartic possibilities \"All Those Years Ago\" might have held as part of its 1981 album, _Somewhere in England:_ \"Baltimore Oriole,\" the lifeless aside that follows, simply defuses it.", "\n\n_Gone Troppo_ (1982), Harrison's last record before a five-year hiatus, is easily his most dismissible. ", "He appeared as a news interviewer outside the pillaged Apple offices in Eric Idle's television film _The Rutles_ , a bull's-eye Beatles parody, but did better at producing Monty Python–related films (notably _Life of Brian_ , the underrated _Time Bandits_ , and Terry Gilliam's acclaimed _Brazil_ ) than he did with composing. ", "With Derek Taylor, he wrote his autobiography, _I Me Mine_ (1980), a slight recollection of his life (less than seventy-five pages) fleshed out with pictures, photocopies of handwritten lyrics, and explanatory notes to his songs. ", "Until the quaintly dull comeback of _Cloud Nine_ (1987), he retreated increasingly from the public eye, his interviews dwindled, and his interests wandered to car racing and gardening. ", "In late 1985 he made a rare appearance with Carl Perkins in London for a cable television special, looking trim and happy, offering up \"Everybody's Trying to Be My Baby\" as earnestly as ever.", "\n\n## **PAUL McCARTNEY**\n\n### _The Working-Class Hero_\n\nThe moment was temporary like everything is. ", "Nothing in life really stays. ", "And it's beautiful that they go. ", "They have to go in order for the next thing to come. ", "You can almost add beauty to a thing by accepting that it's temporary. ", " \n(Paul McCartney in _Life_ magazine, April 16, 1971)\n\nFROM THE BEGINNING, McCartney rarely personalized his songs the way Lennon did; he had a keener commercial instinct, and in some cases helped put Lennon's more challenging work over with a smile and a wink. ", "The sexual directness of \"Please Please Me\" is smoothed over by McCartney's high, arching harmonies; and \"Strawberry Fields Forever\" rode the popular coattails of \"Penny Lane.\" ", "Where Lennon challenged his audience with lofty ideas like the illusory nature of reality (\"Rain\") and acute anxiety (\"She Said She Said,\" \"Julia\"), McCartney satisfied pop expectations, whether covering \"Till There Was You\" penning dandy stories like \"Lady Madonna\" and \"Ob-La-Di, Ob-La-Da\" or reassuring ballads like \"Hey Jude\" and \"Let It Be.\" ", "Once they became solo artists, these tendencies stratified: the profundity of _Plastic Ono Band_ lacks the comic self-effacement McCartney might have provided; and _Band on the Run_ 's layout and casual feel could use some of Lennon's clever acidity. ", "Their best albums epitomize their strengths as they delineate what an intriguing match of sensibilities the two of them once were.", "\n\nMcCartney's ambition to get back on stage again was realized early on with Wings, the new band he formed around him. ", "He taught Linda to play keyboards, and the band's constantly shifting personnel revolves around the two of them. (", "In whatever form, Wings were always a better band live than they were on record.) ", "All his records are riddled with the snatches of bright humor and deft musical turns that make him almost supernaturally popular, but as a series of moments they get dragged under by an overall lack of discipline; there is little, if any, extended growth from one period to the next, and when McCartney starts to copy trends instead of inspire them, his commercial savvy quickly turns predictable (the disco pap of \"Goodnight Tonight,\" the techno-pop of \"Coming Up\"). ", "His good moments argue for the lesser songs to be weeded out.", "\n\nBut even his best songs are self-derivative in ways that only recall his earlier triumphs. \"", "Every Night,\" one of his first album's best tracks, steals its refrain from \"You Never Give Me Your Money\"; \"You Gave Me the Answer\" retreads \"When I'm Sixty-four\"; \"Call Me Back Again\" mimics \"Oh! ", "Darling\"; and _Band on the Run_ is largely a compendium of reformed ideas worked out to better effect: \"Bluebird\" recasts \"Blackbird,\" \"Mamunia\" is a second-generation \"Rain,\" and \"Picasso's Last Words\" simply turns the episodic inanities of \"Uncle Albert/Admiral Halsey\" into a poignant montage. ", "By around _London Town_ , McCartney began to suffer the same insularity as George, only without the spiritual excuses—Linda's domestic influence on Paul was even more worrisome than Yoko's avant-garde influence on John.", "\n\nMcCartney's ten-day imprisonment in Japan for attempting to smuggle in a suitcase full of marijuana in 1980 appears to be the logical extension of how much his musical standards have withered; he tests how much he can get away with more than how much he can still challenge himself. ", "Without Len-non's expressive prongs, McCartney's professional approach evolves into uninspired vocation. ", "The spontaneous charm of his early work takes on a glow once his later work begins to falter; what were once inspired melodies start to sound forced, and his lyrics become hackneyed. ", "As happened with Elvis Presley, putting out records and performing have become his job, and he works assiduously, often without emotional incentive or purpose.", "\n\nHis singles, however, are consistently strong, especially the ones that aren't lodged inside spotty albums—\"Hi, Hi, Hi,\" \"Live and Let Die,\" \"Helen Wheels\" (which was added to _Band on the Run_ after the fact), \"Junior's Farm,\" \"Mull of Kintyre\" and its underrated B side, \"Girls' School\". ", "These moments of slapdash excitement and wry absurdity seem to spring from him effortlessly.", "\n\nTHE HUMBLE TONE of _McCartney_ (1970), his first solo effort, has a homey appeal that makes up for some of the half-written tracks. ", "It's not a major effort, but like its one-man-band counterparts, Pete Townshend's _Who Came First_ and _Scoop_ and Todd Rundgren's _Something/Anything_ , the piddling about that goes on behind records is fun to take part in; the listener casually overhears an album-in-progress that would normally get edited down.", "\n\nYeah, I'd say \"Maybe I'm Amazed\" was the most successful song off _McCartney_. ", "You've got people who say \"Oh, I love 'Lovely Linda,' \" and silly things that were just little asides on the album. ", "Or \"That Would Be Something.\" ", "They were almost throwaways, you know. ", "But that's why they were included—they weren't quite throwaways. ", "That was the whole idea of the album. _(", "Paul McCartney in His Own Words_ , p. 69)\n\nFour songs would have fit on any of the last three Beatles albums: \"Maybe I'm Amazed,\" the single, finds an uncommon ensemble groove considering McCartney is playing all the instruments himself; \"Every Night\" is a gently melodic love song; \"Junk,\" a sweetly lilting waltz, would have made an affectionate title track (it gets an unnecessary instrumental repeat); and \"Teddy Boy,\" a tune that was batted about during the _Get Back_ sessions, is an intuitive mother-and-child scenario that follows revolving harmonies.", "\n\nTo make a public announcement of the end of the Beatles, McCartney released _McCartney_ a month before _Let It Be_ , which quickly nudged it off the top of the charts.", "\n\nThe frivolous tone of his second effort, _Ram_ (1971), makes it the Beatle solo album that most resembles _Sgt. ", "Pepper_ , even though its orchestral conclusion, \"Back Seat of My Car,\" resembles \"Two of Us\" more than \"A Day in the Life.\" (", "It's preceded by a harmless, melodic single, \"Another Day,\" backed with a thumping rocker, \"Oh Woman, Oh Why,\" that echos \"Why Don't We Do It in the Road.\") _", "Ram_ combines the homemade tone of _McCartney_ with Paul's notorious pop perfectionism—he hired crack studio musicians (Dave Spinozza, Hugh McCracken) to play insipidly cheerful tracks like \"Three Legs\" and \"Monkberry Moon Delight\" and declined to play bass even on the two concluding cuts that deserve it (\"Back Seat of My Car\" and \"Too Many People\"). \"", "Dear Boy\" is an underrated piano song sung to Linda's ex-boyfriend(s), and the smoldering \"Smile Away\" pulverizes \"Uncle Albert/Admiral Halsey,\" the innocuously rambling single it follows on side one.", "\n\nBut it wasn't until 1973's _Band on the Run_ that McCartney returned to the kind of album-making he built his reputation on, and he was almost forced into proving himself by the intervening releases: _Wild Life_ (1971), the first Wings record, sports only one worthwhile track, a deliciously funked-up cover of Mickey and Sylvia's 1957 hit, \"Love Is Strange.\" \"", "Dear Friend,\" his answer to Lennon's temper-baiting \"How Do You Sleep?,\" ", "is mawkish. ", "Three hit singles followed in 1972: \"Give Ireland Back to the Irish\" counters Lennon's agitprop with rollicking daftness; \"Mary Had a Little Lamb\" satirizes charges of simplemindedness as it implicates itself; and the rip-snorting \"Hi, Hi, Hi\" sat beside Elvis Presley's lascivious \"Burning Love\" on the charts without apology.", "\n\nMcCartney's tours of Britain with his new musicians in 1972 (drummer Denny Seiwell, guitarists Henry McCullough and Denny Laine) demonstrated his natural talent for live performances, some of which were captured on film for his 1973 television special, _James Paul McCartney_. ", "On this tour he unpacked Little Richard's \"Long Tall Sally\" and Presley's \"Blue Moon of Kentucky\" from his chest of covers, and still sang them daringly. _", "Red Rose Speedway_ (1973), the first and only Wings record with this lineup, is barely a notch above _Wild Life_ in terms of quality: the hook to \"My Love,\" the smarmy surefire-hit single, is sung to \"wo-wo-wo-wo.\" ", "The closing medley (\"Hold Me Tight/Lazy Dynamite/Hands of Love/Power Cut\") shows how many unfinished songs he has lying around instead of how many he cares about polishing off.", "\n\nDENNY SEIWELL and Henry McCullough dropped out of Wings just before the next recording sessions were due to take place in Lagos, Nigeria, so Paul wound up drumming for _Band on the Run_ (1973). ", "It's McCartney's sturdiest set of solo songs, even though they fail to live up to the critical praise that first greeted them. _", "Ram_ included a halfhearted reprise of its ukelele title tune; _Band on the Run_ fades the title cut back in after the pseudo-apocalyptic conclusion, \"Nineteen Hundred and Eighty-five,\" making the concept sound faintly _Peppere_ sque. \"", "Jet\" and \"Helen Wheels\" are propulsive yet still melodic, and \"Let Me Roll It\" is a gauntlet tossed at the bath-tile vocal echo Lennon and Spector developed for _Plastic Ono Band_. ", "But the customary asides, romantic and otherwise, are all too familiar: \"Bluebird\" is a second-class \"Blackbird\"; \"Mrs. Vanderbilt\" apes \"Monkberry Moon Delight\" with the ultimate Paul hook (\"What's the use of worrying?\"); ", "and \"Mamunia\" is a pale rewrite of Lennon's \"Rain\" despite its smart two-key framework. ", "With \"Picasso's Last Words,\" McCartney adapts the \"Uncle Albert/Admiral Halsey\" formula to weave in song fragments from \"Jet\" and \"Mrs. Vanderbilt\" in the same way that \"Golden Slumbers\" visits the last verse of \"You Never Give Me Your Money.\"", "\n\nComing after the wandering quasi-epic muse of \"Picasso's Last Words,\" the straight rock 'n' roll of \"Nineteen Hundred and Eighty-five\" tries to get the record up to a higher level before closing—the nimble major-minor piano lick the song centers itself on seems to slyly laugh away the pretension of what came before. ", "But the bridge doesn't follow suit; the ominous organ and \"ooh\" vocals resemble the middle eight of \"Your Mother Should Know,\" and when the getaway of the title track is reprised to send the album into its last fade-out, it sounds even more enticing than the opening.", "\n\nIn his _Rolling Stone_ review, John Landau lauded _Band ))n the Run_ for being neither a \"collection of song fragments _(McCartney, Ram)_ nor a collection of mediocre and directionless songs _(Wild Life, Red Rose Speedway)_ ,\" For upholding the mythic rock tradition in McCartney's own terms, Landau dubbed it \"the finest record yet released by any of the four musicians who were once called the Beatles.\" ", "But these comments read like overextended hopes in light of how this record has aged. ", "Play it alongside _Plastic Ono Band_ or even _Sgt. ", "Pepper_ and it sounds leveled. ", "Like _Tug of War, Band on the Run_ suffers from its own admirers' misappropriated praise.", "\n\n_V ENUS AND MARS_ (1975) follows _Band on the Run_ more promisingly than _Red Rose Speedway_ approached it; it feels like Wings' arrival. ", "Combined with _Wings at the Speed of Sound_ , it provided most of the material for his 1976 live dates (when drummer Joe English and guitarist Jimmy McCulloch replaced Seiwell and McCullough). ", "New Orleans pianist Allen Toussaint roughs up \"Rock Show\" for a rousing jam, and the band crashes in behind him with a deep, heavy beat; saxophonist Tom Scott turns in a masterful first-take solo to the single \"Listen to What the Man Said\"; McCartney insists on yet another twenties crooner, \"You Gave Me the Answer,\" and tries to make up for it by screaming his way through \"Call Me Back Again,\" a close cousin to \"Oh! ", "Darling.\" ", "But even including Jimmy McCulloch's \"Medicine Jar\" (the only non-McCartney track besides the closing instrumental, \"Crossroads Theme\"), McCartney underestimates his new band's presence, especially in \"Magneto and Titanium Man,\" his latest cartoon ditty. ", "They grasp for more than the material can give them, and they wind up overplaying.", "\n\n_W INGS AT THE SPEED OF SOUND_ (1976), the record before the big tour, fared less well on stage; only four cuts were chosen to perform live: \"Let 'Em In,\" a coy brass and marching-drum number where Paul tips his hat to Phil and Don Everly; \"Time to Hide,\" a token Denny Laine number; \"Silly Love Songs,\" where Paul, a la Presley, invites his audience to have a laugh on him; and \"Beware My Love,\" patterned after the ranting and raving of \"Helter Skelter\" with none of the oblique panache. \"", "Cook of the House,\" Linda's culinary puffball, is a feminist's nightmare. (", "The closing \"Warm and Beautiful,\" a potentially gorgeous ballad, could still be revised and saved from its unfinished limbo.)", "\n\nWHEN MCCARTNEY FINALLY put together his major tour with Wings after years of scheming and working out his visa status (which was complicated by drug busts), he did it as well as any former Beatle could have. ", "Ever the showman, he noted Harrison's disinclination to play Beatles songs and made sure his act included the best of his solo singles (the high point was \"Live and Let Die,\" his 1973 James Bond movie theme) as well as a few monumental classics. ", "He was probably tired of \"Yesterday,\" which by 1976 was eleven years old, but it had grown into a standard he couldn't _not_ perform. ", "He sang it alone at the end of an acoustic set that included Paul Simon's unlikely \"Richard Cory\" as well as \"I've Just Seen a Face\" and \"Blackbird\" (he also considered doing \"Hey Jude\" and \"The Fool on the Hill\"). ", "He closed with \"Band on the Run,\" encored with the lickety-split \"Hi, Hi, Hi,\" and threw in a new number, \"Soily,\" a sweltering finish.", "\n\n_Wings over America_ (1977), the three-record compilation from this tour, captures the spirit of these concerts handsomely and still ranks with other fine live sets (Elton John's _11/17/70_ , the Band's _Rock of Ages_ ). ", "Almost all of the Wings material fares better when punched up with the adrenaline the delirious audiences provided; \"Lady Madonna\" is still sassy after all these years, and \"The Long and Winding Road,\" minus Phil Spector's strings, lives again. ", "Even with a new phony ending to \"Maybe I'm Amazed,\" this onstage version returned to the charts.", "\n\nThere is a memorable tag to the film of the tour (available on video as _Rock Show_ ), shot during the final concert in Seattle. ", "After the last encore, Ringo embraces Paul backstage; they exchange modest compliments, engage in small talk, and generally play down what's happening around them. ", "Although brief, the meeting has a very keen sense of where these two men have been together, all they have accomplished, and the irretrievable past that looms over their mock humility. ", "In this moment, Paul's solo career seems quite removed from his enormous musical significance as a Beatle, and Ringo's ceaselessly good-natured air turns bittersweet.", "\n\n\"MULL OF KINTYRE\" (1977), a ballad complete with bagpipes and marching drums that celebrates the McCartney home near the Hebrides, became one of Paul's all-time biggest hits, largely because of its instant local popularity in the British Isles (even though it never broke the top forty in America). ", "The insuppressible \"yahoo\"s in the final verse make it an inebriated pub standard. \"", "Girls' School,\" the B side, is another charged rocker in the style of \"Junior's Farm\" and \"Hi, Hi, Hi.\"", "\n\nBeginning with _London Town_ (1978), all semblance of the group Wings began to disintegrate—on this record, Denny Laine is the only surviving member, and even he left after its release. ", "Along with _Back to the Egg_ (1979), it revamps familiar McCartney themes with technically flawless productions: \"With a Little Luck,\" the first record's musically lame (but smash) single, tries to update the optimism of \"We Can Work It Out,\" \"Fixing a Hole,\" and \"Getting Better.\" ", "The simplistic screamer \"I've Had Enough\" and the willfully sulky \"London Town\" became relatively successful follow-up singles, but the overlooked track is \"Name and Address,\" another affectionate Presley imitation.", "\n\n_Back to the Egg_ auditions a new lineup—Steve Holly on drums and Laurence Juber on guitar. ", "Their playing is more than competent, but the material is again sorely lacking. ", "Some songs never seem to get going (\"We're Open Tonight\"); others try too hard (\"Getting Closer\"). \"", "Spin It On\" is the only clue that Paul has been listening to the punk explosion happening right under his nose; it bolsters its energy with sheer velocity. ", "The \"Rockestra Theme\" is a bloated piece of instrumental trash, and \"Baby's Request\" sounds so much like another song that it probably is. ", "His first album for his figure-busting Columbia contract hangs out on the charts briefly before getting sentenced for life to the budget bins.", "\n\nIn between records, the brightly textured disco of \"Goodnight Tonight\" (1979) reaffirms Paul's commercial instinct for another top ten hit, although not much else. ", "By the time he compiled his set for the _Concert for the People of Kampuchea_ (1981), a benefit he helped organize in Britain, he had reverted to several Beatles standbys as if admitting his own watered-down muse. ", "The live horns on \"Got to Get You into My Life\" reinvigorate his singing, but the arrangement sticks so closely to the original that even when he ad-libs at the end he sings along with his former self. ", "This contradicts his own pop ethic of prizing the spontaneity of the moment; instead of seeking out new spaces for excitement in this vocalist's showcase, he relives what it once was. ", "There's more formal acuity when the band rips into \"Lucille,\" the Little Richard song he used to play with the Beatles on BBC radio; and the live gospel feel that supports \"Let It Be\" makes this version almost preferable to Phil Spector's single mix: his little piano fill before the guitar solo is sprightly without being irreverent. (", "When Paul, at Bob Geldof s request, closes the 1985 Wembley Live Aid show with \"Let It Be,\" his flippant delivery and pompous air detract from the song's heartfelt sentiment.)", "\n\nHis second single-handed effort, _McCartney II_ (1980), shows a disappointing lack of growth from the first, considering that ten years separate the two. ", "Ten years is a long time in pop—enough time for some to forget, others to grow up. ", "One of the wrenching ironies of Paul's story is that young fans start to buy McCartney's and Wings' records without the slightest knowledge that he used to be a member of a sixties band called the Beatles. ", "Like _McCartney, McCartney II_ has its moments: \"Coming Up\" survives as a quirky texture piece but found greater commercial favor in its \"live at Glasgow\" rendition, despite its musical limitations; \"Waterfalls\" is an ambitious song about risk and loss with a haunting melody; and \"Nobody Knows\" is a scrappy rocker with a flawed lyric that streaks in at under three minutes, which helps. ", "But nothing stands out like \"Maybe I'm Amazed\" or captures the endearing homespun demo charm of \"Junk\" and \"Teddy Boy.\" ", "The contrast between these two records is disappointingly telling: Paul should still throw away more songs than he uses.", "\n\nBOTH _T UG OF WAR_ (1982) and _Pipes of Peace_ (1984) reunited McCartney with producer George Martin and capture Paul grappling with his weakness of abundance, even though both albums fall short of their high aspirations. _", "Rolling Stone_ proclaimed the first his \"masterpiece\" (the same year that magazine misguidedly compared Elvis Costello's _Imperial Bedroom_ with _Sgt. ", "Pepper_ ). ", "But despite the seamless production (the taut saxes on \"Take It Away,\" the snazzed-up mix of \"Ballroom Dancing,\" the coin clinking on \"The Pound Is Falling\"), the filigree keeps popping up (\"I Know How You Feel,\" \"Dress Me Up As a Robber\"), and the stronger songs are forced to carry too much of the burden. ", "The grunting noises on the title track are too literal, and his promising duet with Carl Perkins on \"Get It\" is saccharine countrybilly, the worst kind. \"", "Ebony and Ivory,\" his duet with Stevie Wonder, is a single verse that Martin stretches out with the help of a key change. ", "McCartney simply steps aside for Wonder's funky \"What's That You're Doing?\"—it's a Wonder track that sounds phoned in to someone else's record.", "\n\nSo it's paradoxical that Paul's Lennon tribute, \"Here Today,\" is sadly stirring. ", "The \"Yesterday\" guitar-plus-string-quartet arrangement sounds derivative at first but soon grows effectively poignant. ", "Paul shares his _personal_ memory of Lennon, a risky poetic conceit that works even though Lennon doesn't need McCartney to immortalize him. ", "What Paul offers his audience goes far beyond what he usually offers up as sentiment—there is a fragility to this emotion, no matter how precious he makes the \"playing hard to get\" first meeting sound. ", "For the first time since side two of _Abbey Road_ (or since the impulse behind \"Dear Friend\"), McCartney reveals himself in a manner that speaks through the predictable setting—the voice that used to be raised in exultant harmony with his partner now wobbles with feeling.", "\n\n\"Wanderlust,\" side two's fulcrum, is the kind of stately piano ballad that makes it impossible to dismiss the record entirely; along with \"Here Today,\" it makes one wish for so much more from McCartney. ", "Its tune rests snugly above its three simple chords, and soon a countermelody enters that sounds as inspired as its foundation (it outdoes the contrived bit of three-part singing in \"Silly Love Songs\"). ", "Martin's tasteful horns are all decked out and at attention for McCartney's vocal; the sound is majestic, round and satisfying. ", "It begs for better company.", "\n\n\"WONDERFUL CHRISTMAS TIME\" / \"Rudolph the Red-Nosed Reggae\" (1982), Paul's Christmas single, contains a forced round that makes \"Silly Love Songs\" sound like inspired counterpoint. ", "Who would have thought that Paul would wind up stealing from George (\"ding-dong, ding-dong\" on side two of _Dark Horse)_? \"", "Rudolph\" is a play on an old Beatles joke from the 1963 Christmas message, where John erupts into \"Ringo, the Red-Nosed Beatle.\"", "\n\n_P IPES OF PEACE_ suffers from its overly simplistic title track and goes downhill from there. ", "In \"Average Person\" the common touch McCartney would still like to affect is finally condescending; the pointless tribalism of \"Tug of Peace\" is a contrived return that elevates _McCartney_ 's finale (\"Kreen-Akrore\") to the unselfconscious primitive. ", "Since neither really needed the extra exposure, the two Michael Jackson collaborations (\"Say Say Say\" and \"This Is the Man\") come off as limp commercial moves. \"", "Through Our Love,\" the closing song, is out-and-out Muzak.", "\n\nBy the time McCartney filmed his own movie, even his most fervent admirers had lost some faith in him. ", "Instead of developing a partnership with Britain's finest playwright, Tom Stoppard, Paul sacked him early on to make _Give My Regards to Broad Street_ (1984), a self-written, updated _A Hard Day's Night_. ", "What's most disturbing are Paul's recasts of two of his best Beatles songs: Ringo should have talked him out of the stuffy Dickensian \"Eleanor Rigby\" film sequence, never mind the weak vocal recording on the soundtrack; \"Here, There and Everywhere\" becomes a mere skeleton of its original beauty. ", "Elaborate makeup spoils any pleasure that might have been taken in watching crack sessionist (and Toto member) Jeff Porcaro play drums on \"Silly Love Songs.\" ", "The better moments come during a rehearsal scene, when McCartney cuts loose with Chris Spedding, Dave Edmunds, and Ringo for ensemble footage that might have approximated the rooftop flnale to _Let It Be_ if not for the material (\"Not Such a Bad Boy\" is unbearably prudish). ", "Although \"No More Lonely Nights\" redeems his stock on the charts, the movie is a washout.", "\n\nI really dig myself as a bass player . . . ", "I kind of fancy myself. ", "As a singer I do, you know, and as a songwriter. ", "Probably comes in that order. ", "But then I can kind of play a bit of keyboards. ", "It just depends on how I'm doing, really, I can play lousy keyboard, too ( _Paul McCartney In His Own Words_ , p. 39)\n\nWhat's disconcerting about McCartney's estimation of himself is his accuracy. ", "Like Barbra Streisand and Michael Jackson, he shortchanges his own potential as a vocalist by demanding complete control of his work—his singing is still peerless, but his material rarely lives up to what he can put into it, and his bass playing never reaches the same virtuosic lyricism he displayed on _Abbey Road_. ", "He remains as gifted as he is undisciplined. ", "Some of his better post-Beatles songs were written for others: for Peggy Lee, \"Let's Love,\" a return compliment for the obvious inspiration she provided him on \"Till There Was You\"; for the Everly Brothers, \"On the Wings of a Nightingale.\" ", "But \"Spies Like Us\" (1985), the title tune for a Chevy Chase/Dan Aykroyd comedy thriller, sounds like a discarded Queen arena anthem. ", "McCartney's latest venture, _Press to Play_ (1986), falls into the same traps despite a new producer (Hugh Padgham) and a harder edge. ", "In the video to the single, \"Press,\" Paul mugs for the camera as only he can, getting lost in London's underground railway, benignly unaware that getting lost on the subway only points up how much he gets chauffeured around. ", "When he runs through \"Get Back\" and \"I Saw Her Standing There\" with Tina Turner, Phil Collins, and other eighties superstars at Prince Charles's annual charity concert in 1986, he becomes a kind of kindhearted benefactor, beloved for what he once was more than for what he is now. ", "Instead of building on his Beatles past, he lets it overwhelm him.", "\n\n## **JOHN LENNON:**\n\n### _We All Shine On_\n\nWhen two great Saints meet it is a humbling experience. ", "The long battles to prove he was a Saint. ", " \n(Paul McCartney, dedication to _Two Virgins_ )\n\nEVER SINCE HE MADE _How I Won the War_ with Richard Lester in 1966, Lennon had trouble imagining himself apart from the band—his first wife, Cynthia, put it to him best: \"You seem to need them even more than they need you.\" ", "When John and Yoko began collaborating during the period surrounding the \"White Album,\" it immediately provoked Lennon to turn away from the aimless profusion of \"I Am the Walrus\" and leap back onto his beloved Chuck Berry rhythms for \"Revolution.\" ", "In addition to forging a new partnership, the transition from Paul to Yoko became a deliverance; he gleaned greater insight and redemption from his first great love, rock 'n' roll, and he put it to work for the rest of his Beatles career (from \"Everybody's Got Something to Hide, Except Me and My Monkey\" up through the \"One After 909\" revival and \"Come Together\"). ", "The flip side of this return to rock 'n' roll was an expansion of the experimentalism of \"Tomorrow Never Knows\" and \"I Am the Walrus,\" which he continued outside of Beatles records (\"Revolution No. ", "9\" notwithstanding). ", "Long before the band came apart, John and Yoko immersed themselves in their own gallery shows, films, lithograph projects, duo recordings, and performance experiments, all of which catalyzed his individual work and opened creative doors the other Beatles saw no use for.", "\n\nYoko seems to have convinced Lennon that rock 'n' roll really could be art if he wanted it to be. ", "Where McCartney's popular solo work can sound aloof, Lennon's most revealing introspections are deliberately noncommercial. ", "The craftsman in Lennon was almost always at the service of the artist; his hits (\"Instant Karma,\" \"Imagine,\" and \"Starting Over\") are more remarkable than McCartney's because of their searching emotional power.", "\n\nIn the early avant-garde records, there is a sense of adventure beside all the playful squeaks and squawks, as though he needed to vent the endless stream of ideas that roamed his imagination in order to settle his pop instincts down for his first independent solo project. _", "Plastic Ono Band_ , his anguished goodbye letter to the Beatles in 1970, remains as difficult and challenging to some as the tape layers of \"Revolution No. ", "9,\" but it remains his most deeply felt work, and it informs everything he did with the Beatles.", "\n\nFrom there he reverted to _Imagine_ 's brighter tone—\"candy coated,\" as he called it—and added strings, which have a completely different effect on his material than they do on McCartney's. ", "Afterwards, his solo work wandered, although the sense of personal struggle is always at play in the music. _", "Mind Games, Walls and Bridges_ , and _Rock 'n' Roll_ trace his midlife crisis until his self-imposed retirement in 1975, while his extremes as a Beatle magnify: what sounds uneven in McCartney sounds radically temperamental in Lennon; he rarely has the objectivity to distance himself from his records. ", "Where Beatle Paul often threw Lennon's radical departures into high relief (the way \"Hello Goodbye\" floats astride \"I Am the Walrus\"), on his own Lennon can sound disconcertingly nostalgic (\"Mind Games\"), impassive (\"Nobody Loves You When You're Down and Out\"), and out of touch with his own roots (the embarrassing \"Slippin' and Slidin' \" and \"Bony Maronie\" on _Rock 'n' Roll_ ).", "\n\nWithout McCartney, Lennon's sense of proportion sometimes falters. ", "If Paul rarely sounds risky after the Beatles, John can sound all-fOo risky, in unattractive ways. ", "He can't seem to adopt any pose without taking it to extremes: _Some Time in New York City_ is well intended but strident; _Rock 'n' Roll_ is ambitious and somewhat overwrought; longer tracks like _Imagine_ 's \"I Don't Want to Be a Soldier Mama, I Don't Want to Die\" are unpredictably comfortable in tone; and the larger tragic irony is not that Lennon was murdered on the eve of a comeback full of promise, but that _Milk and Honey_ , the posthumous outtakes from the follow-up to those sessions, poises a more delicate balance between wistful sentiment (\"Grow Old with Me\") and humorous incredulity (\"Nobody Told Me\").", "\n\nLike McCartney's, Lennon's singles tend to work better than his albums as totalities (except for _Plastic Ono Band)_ , but for different reasons. ", "To begin with, he put out fewer of them (McCartney has released over thirty, Lennon has exactly fourteen), and except for the first four (\"Give Peace a Chance,\" \"Cold Turkey,\" \"Instant Karma\"—his best—and \"Power to the People\"), he lifted them all from albums instead of making them separate pieces. (", "McCartney is the only Beatle who continues making singles as separate entities well into the era of the mega-platinum multisingle albums in the eighties.) ", "Lennon's growth wasn't as much musical as it was personal, for although he wrote his version of \"Hey Jude\" in \"Instant Karma,\" he never penned another song that will be remembered as well as \"Imagine\"; and even though he got better at expressing his manic mood swings (his last hits, \"Woman\" and \"Nobody Told Me,\" rank among his best), his partnership with McCartney seems to have provided him with a musical reckoning, the same way he intimidated Paul lyrically.", "\n\nHE BEGINS WITH three avant-garde records. _", "Unfinished Music No. ", "1: Two Virgins_ , his first collaboration with Yoko, came out alongside the \"White Album\" in November 1968, an extension of \"Revolution No. ", "9\" 's tape dialogues. ", "The cover shows the naked couple standing by their strewn clothes, with gently naive expressions on their faces. ", "The pictures were inflammatory—EMI refused to distribute the album, and thousands of copies were confiscated in New Jersey as obscene—but now seem relatively harmless, like the sounds inside: Yoko screeches, murmurs, cries, and wails, and John counters with scatterbrained asides (\"It's just me, Hilda, I'm 'ome for tea . . .\").", "\n\n_Unfinished Music No. ", "2: Life with the Lions_ (1969) features \"Cambridge 1969,\" a long, severely atonal improvisa-tional dialogue between Yoko's voice and John's guitar. ", "Yoko twists and mangles her long \"elf's to mimic the antic distortions Lennon gets in his feedbacks, and his own engaged me-talism winds around her vocal effects as if it wants to be human. ", "Even the silences get eerie. ", "Side two contains sounds recorded in Yoko's hospital bed before her 1968 miscarriage: \"Baby's Heartbeat\" is the sound of a microphone pressed up against her womb; \"Radio Play\" finds John spinning a radio dial, creating rhythms out of the static (the way rapmasters will use turntables later on to punch up rap music). ", "The cover photo captures the Lennons surrounded by fans in front of the Marylebone registry after being arrested for possessing dope.", "\n\nTheir _Wedding Album_ of the same year collects newspaper clippings and photographs for a souvenir album of pop's most notorious peaceniks, who invited the press into their honeymoon suite to promote the \"War Is Over\" campaign. ", "Side one is another extended dialogue: John says \"Yoko,\" Yoko answers, \"John\" for over twenty-two minutes. ", "But the range of emotion they evoke with these two words transcends the self-indulgent framework: when Yoko erupts in piercing screams near the end and John responds in kind, the moment is ripe with pain and desire; at another point, they become deeply erotic. ", "It ends as simply as it began, with a slight smirk of a question mark in their voices. ", "Side two's \"Amsterdam\" is a day in the life of John and Yoko's Bed-in that begins with Yoko's opening prayer for peace and ends with \"good night\" mumblings. ", "Their speeches to the press restate the hippie rhetoric of the left they mean to brighten with humor, but their intentions are lighthearted, and they clearly enjoy baffling the world's media.", "\n\nTHE HIT SINGLES that follow consign Yoko's relatively inaccessible art songs to B sides. \"", "Give Peace a Chance\" (1969) was recorded in their Toronto hotel room during one of their Bed-Ins for peace and captures an impromptu sing-along. ", "Timothy Leary, Tommy Smothers, Derek Taylor, and a host of journalists join in the choruses, while John fills in the verses with run-on lists of \"-isms\" and \"-tions\" (shades of Chuck Berry's \"Too Much Monkey Business\"). ", "Its comic overtones simplify the message underlying \"Revolution\": it doesn't talk down to radicals; it forms a coalition among its singers (like 1971's \"Power to the People\"). ", "A few months later, \"Cold Turkey\" (1969) appeared, a brutally painful enactment of heroin withdrawal. ", "John takes \"I'll So Tired\" 's key line (\"I'd give you anything I've got for a little peace of mind\") and unloads it into a scorching howl of self-torture (\"I'll promise you _anything_ /Get me out of this hell!!\"). ", "As the song fades, John's gut-pinched screams are surrounded by distressed guitars, using Yoko's vocal techniques as a model of invention.", "\n\nTwo weeks before the release of _Abbey Road_ in September 1969, Lennon flew to Canada at the invitation of the Toronto Rock 'n' Roll Revival Festival to perform with a hastily assembled pick-up band: Eric Clapton, Klaus Voorman, and Alan White. ", "Choosing fifties standards, they rehearsed on the plane, and the performance was captured on _The Plastic Ono Band_ — _Live Peace in Toronto, iq6q_. \"", "Okay, we're just gonna do numbers that we know cos we've never played together before,\" Lennon says in apology before launching into Carl Perkins's \"Blue Suede Shoes.\" ", "The playing is heavy at first, almost hesitant, but Clapton pulls things along with his first solo, and Lennon seems to gain confidence from him—his second verse is more intense. \"", "Money\" sinks more into the gravity of the lick (piano traded for guitar), weighing the frenzy of John's _With the Beatles_ version with angst. \"", "Dizzy Miss Lizzie\" is actually quick where the first two songs tend to drag. ", "By the time Lennon settles into it, he lets out a few ad-libs of enjoyment, hoping to recapture the manic spirit of his all-night Hamburg sessions with these songs. (", "He was physically ill with nervousness before he took the stage.) ", "But Clapton, Voorman, and White are still feeling each other out, and as good as they are, they never quite peak over the crest of the wave they all know is there.", "\n\nTo supplement his rock 'n' roll set, Lennon chose three solo numbers, all of them personal blues-based takes on the songs he had just sung. ", "The weighty trudge of \"Yer Blues\" becomes the arrival point of \"Blue Suede Shoes\" 's resentment, \"Money\" 's determined punch, and \"Dizzy Miss Lizzie\" 's ego-scorching plea, and adds paranoia to all the emotional desperation. ", "Yoko's high, birdlike calls above the band help give \"Cold Turkey\" the brittle texture of the single. ", "John offers up \"Give Peace a Chance\" by saying, \"I've forgotten all those bits in between, but I know the chorus, so . . . ,\" ", "and he delivers a rousing chant of acceptance that works at redeeming all the blues this side has witnessed. (", "Side two is a long stretch of Yoko's grating dissonance—\"Don't Worry Kyoko [Mummy's Only Looking for her Hand in the Snow]\" and \"John, John [Let's Hope for Peace].\")", "\n\nON THE twenty-sixth day of the new decade, John woke up with a new song bouncing around in his head, and by evening he had written and recorded \"Instant Karma\" with Phil Spec-tor, his answer to \"Hey Jude,\" and the rock 'n' roll antecedent to the softer \"Imagine.\" \"", "I wrote it for breakfast, recorded it for lunch, and we're putting it out for dinner,\" Lennon quipped. ", "The crude, obviously hurried mix does a lot for the message—that pop's impact can be instant, its force penetrating and incorporeal. ", "It starts with the \"Some Other Guy\" lick that trips Richie Barrett's 1962 single, the jealous revel that Lennon sang with the Beatles on their live BBC broadcasts. ", "With a sudden slink of Alan White's drums, Lennon turns this brief Barrett cop into a rousing piano-based testament to the power of pop. ", "Quoting from one of his own favorites, he links his work up with the possibilities that early rock 'n' roll once held out for him.", "\n\nStephen Holden writes, \"He turned the pop cliché that everyone's a star into a rousing, pro-life anthem\":\n\n_Why in the world are we here? ", " \nSurely not to live in pain and fear \nWhy on earth are you there \nWhen you're everywhere, corne get your share_\n\n_And we all shine on \nLike the moon and the stars and the sun_. . . .", "\n\n\"Revolution\" said, \"Don't put your faith in systems\"; \"Instant Karma\" holds out exactly where faith is best invested: in ourselves. ", "As in \"Hey Jude,\" this vision is put across with more than just words; the tentative lone voice that counts off \"Three, four\" is joined by the end with a choir of unprofessional voices—people were recruited whimsically from a nearby nightclub, and George Harrison was dubbed choirmaster. ", "The sound is rough, not grand, and White's two drum breaks that answer Lennon's rhetorical questions (\"Why in the world are we here?\") ", "punctuate their spaces with dauntless, lopped-off sprints—the mood is compelling, the immediacy gripping. \"", "Cold Turkey\" reveals an impoverished morality by trying to reclaim it; \"Instant Karma\" finds enlightenment through the darkness it confronts, and rings that much truer as a single, a context unto itself.", "\n\nDR. ", "ARTHUR JANOV'S primal scream therapy, which John and Yoko experienced during the summer of 1970, influenced _Plastic Ono Band_ , Lennon's first real solo album, to a marked degree: these confessional songs seek out the idealized state of childhood, the pain of individuation, the fragility of fantasies and the very real power of illusions. ", "The directness of his late-period-Beatles blues (\"Don't Let Me Down,\" \"Yer Blues,\" and \"I Want You [She's So Heavy]\") fuses with the gnarled emotional cores of \"Strawberry Fields Forever\" and \"She Said She Said.\" ", "Minimal ensemble settings (Ringo on drums, Voorman on bass, occasional piano from producer Spector and Billy Preston) punctuate the album's stark musical landscape, carving beauty from buried pain—the simplest of gestures glean chilling effect from their modest means, and the act of reduction increases the import of everything Len-non sings about. ", "The soul-bearing leanness of the sound embodies the crux of what rock 'n' roll is all about: a restlessness with the status quo, a hopeful dissatisfaction, and a gnawing sense of encumbrance that finds release as it expresses itself.", "\n\nThe music hinges on elemental contrasts: verses sit in different meters than their refrains (\"I Found Out,\" \"Isolation,\" \"Remember,\" \"Well Well Well\"), Ringo's drum patterns shift quixotically, and distorted guitar effects taunt and tease the extraordinary vocal inflections. (", "The vocal resonance throughout resembles the kind of reverb Jerry Lee Lewis got on 1957's \"Whole Lotta Shakin' Goin' On.\") ", "Everything promulgates the contradictory impulses in Lennon's personality, from the allegiance to rock's early spirit (quoting the opening line to Sam Cooke's \"Bring It on Home to Me\" in \"Remember\") to the sudden yelp of \"Cookie!\" ", "that interrupts \"Hold On\" (after \"Sesame Street\" 's Cookie Monster). ", "The intensity is offset by frail laments (\"Hold On,\" \"Look at Me,\" \"Love \"), making the conclusion, \"God,\" a chimerical mixture of denial and hope, a meditation on truth and conceptualization that strips pop formula to essence. ", "Like \"A Day in the Life,\" \"God\" overwhelms the world it follows. ", "The postlude, \"My Mummy's Dead,\" echoes the faint sing-songy tune that was slowed for \"Mother,\" a bookend that makes plain the loss behind all the other songs, the pain at the center of the record. ", "As Robert Christgau wrote in his _Record Guide_ (p. 224):\n\nThe real music of the album inheres in the way John's greatest vocal performance, a complete tour of rock timbre from scream to whine, is modulated electronically—echoed, filtered, double-tracked, with two vocals sometimes emanating in a synthesis from between the speakers and sometimes dialectically separated. ", "Which means that John is such a media artist that even when he's fervently shedding personas and eschewing metaphor he knows, perhaps instinctively, that he communicates most effectively through technological masks and prisms.", "\n\nTHE SOMBER BELLS in the opening moments are foreboding peals of mourning; Lennon's voice suddenly breaks free from them in an impossibly high held note, as gorgeous as it is distressed, and he soars above ominously struck piano chords that slowly decay beneath Ringo's framing drums. ", "The melody is a child's lullaby decelerated to a dirge.", "\n\nWith his aching falsetto hitting notes he has no right to hit, Lennon's vocal performance turns \"Mother\" into an agonized exorcism of parentage as well as an omen. ", "The shadow of his abandonments, so long hinted at behind his Beatles group identity (jealous outbursts like \"You Can't Do That,\" \"111 Get You,\" \"No Reply,\" and \"Run for Your Life\"), breaks through with a deeply felt realism. \"", "A lot of people thought it was about my parents,\" he says during his introduction to this song at the One to One benefit concert, \"but it's about ninety-nine percent of the parents, alive or half-dead\"—and by extension, the longing for closeness that touches everybody's life. ", "Each verse changes subjects while exploring the same hurt: \"Mother\" is first, \"Father\" is second, and the last verse addresses his audience directly with a concise metaphor for his years inside the bubble:\n\nChildren don't do what I have done \nI couldn't walk, so I tried to run \nSo I just gotta tell you \nGoodbye, goodbye\n\n\"Mother\" has a hollowness to it that nearly swallows Lennon's gnawing delivery in its desperation. ", "The music doesn't rise or swell—it contracts, relenting from its tightly drawn spaces only in the final triplet syncopations where Lennon sings \"Mama don't go/Daddy come home . . .\" ", "Even then, the syncopations don't lift the beat; they twist things together. ", "He shrieks convulsively into the fade-out.", "\n\nWHEN LENNON WAS killed, he was eulogized by those who didn't know better as a \"Working Class Hero,\" an image he knew to be false even though he did little to clarify it when he was alive. ", "The song itself is a resentful riot act read to the bourgeois social system that spurs competition as it smashes creativity and promotes alienation (he sings alone, accompanied only by his dry, Dylanesque guitar). ", "It has such a bitter flavor that it might have been banned as an antiestablishment diatribe even without the obscenities:\n\n_They hurt you at home and they hit you at school \nThey hate you if you're clever and they despise a fool_ . . .", "\n\n_Keep you doped with religion and sex and TV \nAnd you think you're so clever and classless and free \nBut you're still fucking peasants as far as I can see \nA working class hero is something to be_\n\nLennon prized the impact of extremes, whether it was pledging his love to Yoko (\"I Want You\") or venting his anger at the Maharishi (\"Sexy Sadie\"). \"", "Working Class Hero\" is harsh; but for all the finger pointing, his detached sarcasm on the line \"If you want to be a hero then just follow me\" admits a certain degree of culpability; as much as the Beatles wanted to shake the world up, they too were seduced by the wealth and prestige of fame. ", "The serenity of \"Imagine\" sounds all the more hopeful when measured against the cultural neurosis Lennon sketches here. \"", "Silly Love Songs\" can actually typify Paul's approach; \"Working Class Hero\" operates as a stringent backlash to the flower-power optimism John and Yoko's Bed-Ins unwittingly epitomized.", "\n\nSIDE TWO BEGINS with \"Remember,\" the quickest groove here, and the most perpetually frightening. ", "The subject is looking back, but not as nostalgically as in \"Penny Lane\"—the remembrances here are oppressive, an adult trying to make sense of early hurts, and only the bridge tries to put things in perspective:\n\n_And don't feel sorry_ _____ \n _'Bout the way it's gone \nAnd don't you worry_ _____ \n _'Bout what you've done_\n\nThe meter gets chopped in half for those lines to allow Lennon a sweeping vocal, and for a moment the tension relaxes. ", "But the return to the verse is inescapable; experience gets trapped by time.", "\n\nAdultism is the first prejudice, the most unintentional seed of resentment. \"", "Remember when you were small/How people seemed so tall\" seems naively obvious until the tag line: \"Always had their way.\" ", "Parents' dreams for their children (\"Just wishing for movie stardom\") dissolve into unrealized images of selfhood: \"Always playing a part.\" ", "Lennon keeps the other players on their toes by taking his time before spitting out lines, disrupting the regular meter as he goes, and forcing bassist Voorman to constantly second-guess where to land. ", "In its first-or-second-take feel, it captures the rush of memory with a momentum that seems to feed on itself: only the bridges let the players expand with relief from the relentless beat; the overall tone is hastily out of breath.", "\n\nComing out of the second and last bridge, Lennon throws everything away—\"Remember . . . ", "remember . . . / ", "The fifth of November.\" ", "Guy Fawkes Day is a national holiday in Britain: Fawkes is a celebrated antihero because he failed to burn down the Houses of Parliament in 1606—a monument still stands there to commemorate his inefficacy. ", "It's the only way Lennon can get out of what he's set in motion; the song pulls so strongly back into the pulse of the verses after each bridge that aside from fading it out (which would sound mannered), the only way to finish it off is by blowing it apart. ", "But the image of Guy Fawkes is a curious one—a failed revolutionary, England's Benedict Arnold, an annual historical scapegoat for nationalists. ", "It's appropriately absurd for Fawkes to trigger the jarring end of this song; it reinforces the lunacy of empty tradition.", "\n\nLIKE \"IN MY LIFE,\" \"God\" (the finale) finds promise and renewal only by acknowledging the separations implicit in new beginnings. ", "After the repeated, awkward opening line (\"God is a concept by which we measure our pain\"), Lennon renounces a string of heroes, gods, leaders, and gurus, building toward the rock myths that once held his own imagination—Elvis, Zimmerman (Dylan) . . . ", "the Beatles. ", "He reverses the direction of \"Hey Jude\" by moving toward a declamatory silence (after the climactic line \"I don't believe in Beatles\"), which falls toward Lennon's timorous but resolute falsetto on the concluding lines (\"The dream is over . . .\") ", "to convey his individual redemption. ", "The litany is spellbinding: the musicians push and pull against the major and minor axes that ensnare the words, and both the introduction and conclusion brace the denunciations with the simplest doo-wop progression (I-vi-IV-V, a slower version of the \"bang-bang, shoot-shoot\" refrain to \"Happiness Is a Warm Gun\"). ", "The effect is strangely nonsatirical, uncannily straightforward and direct, and conveys both how easily pop myths are created and how resistant they are to disassembly.", "\n\n_Plastic Ono Band_ outstrips the other three solo Beatle debuts with a brutal but still romantic honesty and a chilling but compelling rhythmic undertow. ", "With Springsteen's _Nebraska_ (1982), it holds an iconoclastic position in the sphere of superstar albums: it was obviously anathema to commercial tastes, but it managed to succeed on terms entirely foreign to popular standards. (", "Both albums broke the top ten easily, _Nebraska_ peaking at number three, _Plastic Ono Band_ at number six.)", "\n\nIN THE DAYS AND WEEKS after Lennon's stupefying murder, \"Imagine\" acquired an unbearable sadness; future generations will never be able to appreciate it in its pure form. ", "But the song is strong enough to survive nearly any context: as the opening track on the eponymous 1971 album, it sets the tone for a brighter, more accessible record than _Plastic Ono Band;_ as a single its chart life gave off a radiant hue, the seventies equivalent to \"She Loves You\" or \"I Want to Hold Your Hand.\"", "\n\n\"Imagine\" sounds born to the world, not invented. ", "It feels ageless, and has become as sure a classic as \"Yesterday,\" even though it's much harder to pull off; Lennon's presence in the song itself is so strong that anyone else's version—a Joan Baez's or an Elton John's—seems irrelevant. ", "Unfortunately, its Utopian spirit gets diluted when it sits outside the rest of his catalogue. ", "Lennon's hope for the world is inseparable from the despair he expressed; \"Imagine\" simply wouldn't be as much of a song if it didn't spring from the same unsettled spirit that gave us \"A Day in the Life\" and \"Happiness Is a Warm Gun.\" ", "Its universality is at once embracing and specific; the deceptively facile musical surface has a deeply personal inward tone.", "\n\nThe rest of the album clings to brighter colors and thick mixes even when the lyrics probe fundamental conflicts. \"", "I Don't Want to Be a Soldier Mama, I Don't Want to Die\" has a Spectorian scope and impenetrability to it, and without the randy sax solo \"It's So Hard\" might have fit on _Plastic Ono Band_. \"", "Give Me Some Truth\" pits Lennon's angered demand for justice against a high, ringing guitar line that anticipates that of \"Mind Games\"; \"Jealous Guy\" recalls the confusion and timidity of \"If I Fell\" and \"Yes It Is\" with a mature frankness (Bryan Ferry sang a regrettable tribute cover in early 1981).", "\n\n\"How Do You Sleep?\" ", "is a cutting open letter to Paul, which starts out with _Sgt. ", "Pepper_ hemming and hawing, the studio players sitting in for the fake audience:\n\n_A pretty face may last a year or two \nBut pretty soon they'll see what you can do \nThe sound you make is Muzak to my ears \nYou must've learned something in all those years_ . . .", "\n\nThe strings that swarm those words are embittered Muzak, the kind of hateful scorn that reveals the insecurity about what it lashes out against (as in \"Run for Your Life\" or \"Sexy Sadie\"). ", "Lennon's viciousness underscores the closeness of their partnership, despite the denials he was then dropping to the press in his interviews. (", "McCartney's reply, \"Dear Friend\" on _Wild Life_ , sounds almost at a loss for words.)", "\n\n_Imagine_ closes with a carefree 1968 love song to Yoko, complete with robust harmonica. ", "In many ways, this album works as a respite from the raw fear and vulnerability that move _Plastic Ono Band_ —the pain is still there, but it's made more accessible with lighter moments (\"Crippled Inside\" and \"Oh Yoko!\"); ", "it becomes part of a larger sensibility. ", "Ironically, it's the one Lennon solo album where McCartney's influence is overt. ", "Together, these first two records represent Lennon's best work alone.", "\n\nIN AUGUST OF 1971, a month before the release of _Imagine_ , John and Yoko moved to Greenwich Village in New York City, where they met up with Jerry Rubin and flung themselves into radical politics: an American Indians' civil rights protest in Syracuse, New York; a John Sinclair rally in Ann Arbor, Michigan; and in October, the recording of \"Happy Xmas (War Is Over),\" a heartfelt seasonal jingle recorded with the Harlem Children's Choir. (", "The B side, Yoko's \"Listen the Snow Is Falling,\" is her prettiest and most soulful ballad.) ", "In early 1972, they guest-hosted \"The Mike Douglas Show,\" where John sang \"Memphis, Tennessee\" and \"Johnny B. Goode\" with his idol Chuck Berry.", "\n\nIn the spring of 1972, John and Yoko hired the Elephant's Memory band to record their _Some Time in New York City_ album, an almost repellent string of agitprop songs that came out in June. ", "The musical flavor is sour, the tone that \"Revolution\" overcomes; and only \"Woman Is the Nigger of the World\" and \"New York City\" stand out as political ideas that work well as songs. ", "It's as though they decided to produce an entire record built around different versions of \"Working Class Hero\" and \"Give Me Some Truth\" with all the attendant leftist clichés; their hearts are in the right place, but their intentions constrict their better musical instincts. (", "An immodest extra record pits \"Cold Turkey\" and \"Don't Worry Kyoko\" from a 1969 Lyceum Ballroom performance with a 1971 Fill-more East jam with Frank Zappa and the Mothers of Invention.)", "\n\nElephant's Memory served as his backup band in August for a benefit performance for handicapped children called One to One. ", "The show was filmed for television, but an album wasn't released commercially until 1986, as _John Len-non: Live in New York City_. ", "Lennon's apologies (\"Welcome to the rehearsal\") key the in-house nature of the project—it's a lesser live album than even _Live Peace in Toronto_. ", "Only \"Come Together\" compares with the original Beatles version; lyrics fly all over the place, but the basic rock 'n' roll lick stands up well, and the vocal breaks are severe and punchy.", "\n\nIN 1973, Lennon was ordered by the U.S. Immigration authorities to leave the United States, ostensibly because of drug busts in England dating to 1968 but ultimately part of the Nixon administration's paranoia concerning his political activities (detailed in Jon Wiener's _Come Together_ ). ", "While appealing his visa status, he separated from Yoko and settled in Los Angeles, where he hung out with Keith Moon, Harry Nilsson, and Ringo, drinking heavily and recording simply because he had nothing better to do. ", "Three records came out of this period, which Lennon called his \"lost weekend\"; and although each has a particular flavor—each stronger in its way than _Some Time in New York City_ —they all sound lackluster, with only an occasional dash of insight. ", "The first of these, _Mind Games_ (1973), is the least memorable. ", "Its best songs—the title single, \"I Know (I Know)\"—can't carry the dross of \"Tight A$,\" a throwaway, or the near-hit \"One Day at a Time.\" ", "There's a lack of focus in the writing that draws attention to the lack of interplay among the studio musicians, and it sounds as distant as Lennon will ever get.", "\n\nWithout a moment's pause, John began work on a lifelong dream: to sing an album of oldies with producer Phil Spector. ", "The project started in late 1973, but because of intervening projects (his production work on Nilsson's _Pussy Cats_ , Spector's notorious crackups, and the ongoing immigration hearings), the album was delayed for another year before John returned to work on production himself at New York's Record Plant. ", "By the time it was released in 1975, only four Spector tracks remained (Chuck Berry's \"You Can't Catch Me\" and \"Sweet Little Sixteen\" plus \"Bony Maronie\" and \"Just Because\"). ", "Ben E. King's \"Stand By Me\" gets the best reading and produced a hit single. ", "But _Rock 'n' Roll_ suffers when compared with oldies collections like the Band's _Moon-dog Matinee_ (1973). ", "Lennon's usually assured delivery comes out in fits and starts; even \"Bony Maronie,\" the only Larry Williams cover, doesn't have half the resolve of his early Williams treatments, like \"Dizzy Miss Lizzie\" and \"Bad Boy.\"", "\n\nYou can hear what Spector was trying to do with Len-non: cast him as a producer's \"singer\" in his huge sonic firmament. ", "But these massive, echoing arrangements—the same formulas Spector relied on for his sixties masterpieces (the Crystals' \"Da Doo Ron Ron,\" the Righteous Brothers' \"You've Lost That Lovin' Feelin',\" among others)—tend to surround lesser vocalists, who rely on the surging waves of sound to cushion them. ", "Though Spector had a gift for making fair-to-good singers sound incredible—you come away from the Ro-nettes' \"Walking in the Rain\" thinking \"What a record!\" ", "not \"What a singer!\"—Lennon doesn't get a chance to declaim in this setting; he simply sits back and lets the music float by—it robs him of his unguarded drama. ", "When he dares himself to reapproach Spector's own \"To Know Her Is to Love Her,\" the wondrous ballad of devotion he used to sing with the Beatles, he lets Spector stretch it out into a gaudy display of glitzy vulnerability (it winds up on _Menlove Avenue_ , among outtakes from these and other sessions that Yoko released in 1986). ", "When Lennon makes the undulating tempos work for him (in an enthralling—and enthralled—version of the Ronettes' \"Be My Baby\"), it doesn't make the final cut. _", "Rock 'n' Roll_ winds up less the must-do project it began as than the rush-release it became. (", "Morris Levy's _Roots_ , an illegal bootleg of these sessions, forced a hurried completion schedule.)", "\n\nLENNON'S APPEALED CITIZENSHIP trial required his presence back in New York City come 1974, so he continued work on _Rock 'n' Roll_ as he began his next solo work, _Walls and Bridges_ , in order to keep apace of court costs (his Beatles assets were frozen by numerous Allen Klein suits). ", "Even though _Walls and Bridges_ is a more depressed record than _Mind Games_ , it's closer to its subject and has more committed song craft in its favor. ", "Elton John's appearance on \"Whatever Gets You Through the Night\" is an unusual reversal of favors—the new hitmaster helping out the seasoned veteran for his first number-one solo single. (", "Lennon returns the gesture by playing guitar on Elton's versions of \"Lucy in the Sky with Diamonds\" and \"One Day at a Time\"). ", "Elsewhere, \"Bless You\" is a haunted lullaby sung to Yoko that sees through jealousy to find an undying love; \"Scared\" and \"Nobody Loves You When You're Down and Out\" are frightened texture pieces in the mold of _Imagine_ 's \"I Don't Want to Be a Soldier\"; \"#9 Dream\" is a visionary piece that recalls \"Across the Universe\"; and \"Surprise, Surprise (Sweet Bird of Paradox)\" and \"What You Got\" are two upbeat confections that work as danceable foils to the surrounding uncertainties.", "\n\nAlthough the self-portraiture of \"Steel and Glass\" sounds bleak and nearly hopeless (especially on _Menlove Avenue)_ , the most disturbing track here is \"Nobody Loves You When You're Down and Out,\" which works as the inverse of \"Imagine.\" ", "It matches his signature single's hope with regret and jaded ambivalence; when he sings \"it's all show biz,\" you know he doesn't want to believe it, but when he stumbles into his own epitaph (\"Everybody loves you when you're six feet in the ground\"), you know he's not just getting sentimental. ", "This is the burnt-out side of the monstrosities in Lennon—aghast at his own celebrityhood—that most people leave out of their eulogies.", "\n\nLennon appeared on stage with Elton John on Thanksgiving of 1974 at Madison Square Garden to play \"Lucy in the Sky with Diamonds\" (which had reached number one), \"Whatever Gets You Through the Night,\" and \"I Saw Her Standing There,\" which he introduced as \"a number by an old estranged fiancé of mine called Paul.\" ", "Backstage after the concert, he and Yoko reconciled. (\"", "I Saw Her Standing There\" appears on the B side to Elton's 1975 disco salute to Billie Jean King, \"Philadelphia Freedom.\") ", "The following January he collaborated with David Bowie on his _Young Americans_ album, penning \"Fame\" with him and contributing guitar to Bowie's glam-rock rendition of \"Across the Universe.\" _", "Rock 'n' Roll_ was released in February, but it wasn't until the next fall that a U.S. Court of Appeals overturned the deportation order and Lennon was granted citizenship. ", "On October 9, his thirty-fifth birthday, Yoko gave birth to Sean Ono Lennon, and John's long legal battle ended. \"", "I feel higher than the Empire State Building,\" he said. _", "Shaved Fish_ , (1975), the Christmas collection album that starts with \"Give Peace a Chance\" and moves through singles up to \"#9 Dream,\" came out later the same month.", "\n\nTHE LAST FIVE YEARS of Lennon's life were spent with Yoko, raising Sean in their New York apartment. ", "When he re-emerged with _Double Fantasy_ in 1980, \"Watching the Wheels\" described his disengagement from the pop world, a dizzy existence that Lennon was happy to be rid of. ", "The entire record has a clear, open texture that revives the optimism of \"Imagine.\" ", "The bells that tick off \"Starting Over\" sound like kitchen timers, domesticating the morbid gongs at the top of _Plastic Ono Rand_ ; it became his second number-one single. ", "When he sings \"But when I see you, darlin'/It's like we both start fallin' in love again,\" he openly parodies the tongue-in-cheek charm of Brian Wilson's \"Don't Worry Baby\" (it resembles Wilson's melodic sequence in that song on the words \"when she makes love to me\"). ", "It's the kind of wit that Lennon's solo career too often lacks, and it signals a newfound comfort with life.", "\n\nThe record is an alternating duet between John and Yoko, with songs sung to each other and to Sean: Yoko's \"Kiss Kiss Kiss\" is an intensely passionate coitional workout; \"Cleanup Time\" is a playfully gentle gibe at household chores that works as an adult song about addiction; John's \"I'm Losing You\" is answered by Yoko's \"I'm Moving On\"; John's lullaby to Sean, \"Beautiful Boy,\" is countered by Yoko's love song to both of them, \"Beautiful Boys.\" (", "John leaves behind his own vocal treatment of Yoko's \"Every Man Has a Woman Who Loves Him\" for her fiftieth birthday present, a collection of her songs sung by various artists released under the same name. ", "In the drawn-out phrases, he finds his own personal space in Yoko's spacious contours, and she trades roles from the _Double Fantasy_ version, shadowing his lead elegantly.)", "\n\n\"Woman\" is a medium-tempo guitar-textured single with Beatlesque vocal harmonies that restores Lennon's gift for musical joyrides (it's a mature version of \"I Should Have Known Better\" or \"Eight Days a Week\"). ", "And even though \"I'm Losing You\" is a frightened exercise in loss, it fills the darker moments of the record less severely than _Plastic Ono Band_ ; the prevailing mood is warm and generous. \"", "Beautiful Boy\" uses a delicate Oriental pentatonicism to convey a fatherly adoration; McCartney still calls it one of his favorites. ", "The lyric contains the most penetrating line of Lennon's late career: \"Life is what happens to you while you're busy making other plans.\"", "\n\nALTHOUGH MILK AND HONEY (1983) is comprised of unfinished tracks, it hangs together extremely well—the incompleteness has its own sense of possibilities. \"", "I Don't Want to Face It\" _is_ a raunchier version of \"Watching the Wheel,\" and \"Nobody Told Me\" is a scrappy return to basics with a lyric that decries the anomie of the eighties almost before they got started (it was presumably written in the pall of the first Reagan landslide). \"", "Grow Old with Me\" may not turn out to be the wedding standard Lennon intended it to be, but its disarmingly simple melody stands up well, the kind of intuitive songful grace that informs \"Jealous Guy\" and \"Love.\" ", "There's an intimacy to this recording—done as a demo on their house piano with a rhythm box—that makes it the mature answer to _Plastic Ono Band_ 's nightmarish \"My Mummy's Dead.\"", "\n\nThese last two records overcome the midlife crisis of Len-non's solo career ( _Mind Games_ and _Walls and Bridges_ )—a new partnership is finding its way in the music, sharing experience and a common purpose. ", "The hopeful direction they were pointed in made his death impossibly cruel and canonized him as the kind of pop martyr he never wanted to be. ", "It's clear that by the end he had made a certain peace with himself and his family, and if his mid-seventies efforts sound strained and deliberate, his final recordings return to the un-calculated sense of expression he found so easily with the Beatles. ", "He wasn't creating for other people (the way McCartney can still seem to); he was reclaiming his personal musical language as an artist.", "\n\nBetween _Plastic Ono Band's_ barren and scathing deliverance and _Double Fantasy_ 's gentle acceptance, there's an undeniable personal growth that defines Lennon's songwrit-ing. ", "Where Paul conceived his music more and more as craft, and eventually as product, John used his skill to make sense of his feelings. ", "Paul deliberately set out to write hits (\"Junior's Farm,\" \"Girls' School,\" \"Goodnight Tonight\"); John's commercial success was more a consequence of his musical intuition (\"Instant Karma,\" \"Imagine,\" \"Woman\"). ", "The distance measures the difference between the ways Paul and John worked and helps explain what they discovered as partners: even at their most incompatible (\"A Day in the Life\"), they completed one another.", "\n\nPOP IS STILL catching up with the Beatles. ", "By the time punk paved the way for more lasting talents like the Talking Heads to emerge, it was clear that any significant pop inheritors would have to shatter the model and make claims to greatness on their own terms, just as the Beatles did. ", "There simply isn't any way to \"top\" what they accomplished—the next pop thunderbolt will necessarily take a completely different shape. ", "Bruce Springsteen is beginning to be touted as Presley's legitimate heir, but his music works on less innovative terms: his mature songs are topical, but hard-boiled and reductive; he acts persuasively as though punk, disco, first-person and singer-songwriters never happened and weren't important. ", "As a child star and a reclusive adult, Michael Jackson may already have played out his hand; his records will probably not survive as long as his videos.", "\n\nThe Beatles will always be tagged sixties artists, but it's remarkable how well their songs step around time. ", "Their music still projects a sense of engagement with the world, because very few lyrics rely on topical issues (\"She's Leaving Home,\" perhaps). \"", "Revolution\" was actually misheard as solely about current issues in 1968, but it survives as universal. ", "Even the names they gave their characters seem antiquated, almost Victorian: Eleanor Rigby, Father Mackenzie, Lucy, Henry, Rita, Jude, Prudence, Martha, Julia, Sadie. ", "The bulk of their catalogue operates on images of continuing pertinence; they struck nerves that were both immediate and lasting, so much so that twenty years later their records fit snugly into radio segues in and out of contemporary hits without sounding the least bit dated.", "\n\nThat the tone of Beatles records—the emotional space these four players could summon up together and the heights of feeling they committed to tape—continues to enthrall us is a comment on more than just the music itself; like the limits that Elvis Presley's voice overcomes, or Rosie and the Originals' inspired bad joke, the Beatles' expansive artistry exists as metaphor as much as music. ", "All great music symbolizes integration; the Beatles sharpened that dynamic by making it a drama of personalities as well as sounds—the fluid reciprocity they achieve as writers and players signifies much more than musical analysis alone can get at. ", "And the games they play with their audience make it clear how much the Beatles enjoyed being the Beatles: at the height of their popularity _(Sgt. ", "Pepper)_ , they were still confident enough in their abilities to stay lighthearted about their success.", "\n\nThe mass catharsis that the entire world experienced in the days after Lennon's death demonstrates the power of their music to bring people of vastly different attitudes and outlooks together. ", "They became the world's family, and their music continues to both embody and enact procreative interplay; when they covered \"Twist and Shout,\" they wanted to get everybody dancing, not just on the dance floor but in everyday life. ", "They play up this central idea in as many ways as possible: confronting harsh realities with shared fantasies; acknowledging the tension between life as it could be and life as it is; relishing the peculiar thrill of emotional intelligence (\"Hey Jude,\" \"Instant Karma\") and the cleansing effect of shared despair (\"Eleanor Rigby,\" \"Don't Let Me Down\").", "\n\nIt's reassuring how boldly and irreverently their catalogue flies in the face of postmodernism, squelching the ethic that art is exhausted, that existence is meaningless. ", "The idea of undiscovered possibilities between people is the biggest metaphor on Beatles records, and in this sense they inspire us all. ", "The opposing sensibilities that they weaved into invigorating harmonies still argue that their similarities were far greater than their differences. ", "By extension, the world's continuing embrace of what they produced demonstrates that our collective strength lies in emphasizing what we have in common. ", "It's our connections with people that make us most human, the Beatles seem to be telling us; our interaction with others fulfills the biggest part of our humanity.", "\n\n# EPILOGUE TO THE SECOND EDITION\n\n## **Albums**\n\n 1. ", "Parlophone catalogue on CD (EMI/Capitol/Apple), released 1987–88\n 2. ", "The Complete EP Collection (EMI/Capitol), released 1992\n 3. _", "Live at the BBC_ (EMI/Capitol/Apple), released 1994\n 4. _", "Anthology_ CDs Vols 1-3 (EMI/Capitol/Apple), released 1995–96\n 5. _", "Yellow Submarine_ (EMI/Capitol/Apple), released 1999\n\n## **Books**\n\n 1. _", "The Beatles' Recording Sessions_ , by Mark Lewisohn (Harmony, 1988)\n 2. _", "The Complete Beatles Chronicle_ , by Mark Lewisohn (Harmony, 1992)\n 3. _", "Many Years from Now_ , by Paul McCartney with Barry Miles (Henry Holt, 1997)\n 4. _", "The Beatles Anthology_ , by the Beatles (Chronicle Books, 2000)\n\nWHEN THIS BOOK first appeared in 1988, the Beatles' career was a closed subject. ", "Unless you were a bootleg scavenger, the arc that went from 1963's _Please Please Me_ to 1969's _Abbey Road_ and 1970's _Let It Be_ had enough thoughtful curves to exert anxiety of influence over generations of bands to come. ", "The arc is now classic: early idealism followed by middle-period maturity—and as Mark Moses pointed out in the _Boston Phoenix:_ \"conceptual coup [ _Sgt. ", "Pepper_ ], renunciation of conceptual coup [ _White Album_ ], roots move, fall to pieces.\" ", "You could scour post-career compilations like _Rock 'n' Roll_ or _Reel Music_ for touch-ups to mixes, \"fixed\" mistakes, and the odd remaster, but basically the stoiy was over, the solo careers were half-hearted apologies to expired greatness, and Lennon's death precluded any real reunion talk.", "\n\nSeveral major, Beatle-driven developments have since blown their stoiy apart, changed its meanings, and altered the band's glow for future generations. ", "For starters, simply the choice of Jeff Lynne (the former Electric Light Orchestra frontman, then George Harrison's mate in the Traveling Wilbuiys) over original producer George Martin (who oversaw all the CD transfers) as producer of the new mid-90s reunion singles on the _Anthology Vols. ", "1–3_ , gave the updated Beatles a vastly different color than before. ", "The death of George Harrison on November 29, 2001, made the reunion project seem more justified, even if it grew from a mixture of emerging rock fatalism, sullied reputations, and financial incentives than any magical spark of inspiration. ", "After all, in the midst of reunions by the likes of Supertramp and Kansas, would the Beatles remain the only major rock group _not_ to reunite in proof of their relevance to rock's enduring audience? ", "Several external factors played into reunion fever, extending its effect and imbuing it with more respectability than it probably deserves. ", "In the aftermath of Harrison's death, the _Anthology_ acquired a bittersweet finality.", "\n\nOn a ceremonial level, the Beatles have long since passed into High Respectability, above and beyond their 1965 MBEs. ", "Thirty years later, in June of 1996, producer George Martin was honored with a knighthood, and at the end of that year, after the _Anthology_ video and CD package enriched England's tax coffers, Paul McCartney became the first Beatle honored with a knighthood; he is henceforth known as Sir Paul McCartney. ", "The actual knighthood ceremony was held March 10, 1997. ", "In a statement, Paul said he accepted the honor \". . . ", "on behalf of all the people of Liverpool and the other Beatles, without whom it wouldn't have been possible. ", "So I hope I can be worthy of it.\" ", "George and Ringo jokingly called him \"His Holiness.\"", "\n\nThe larger context for the Beatles' reunion was steered by overlapping musical and legal twists; each of the Beatles needed to settle old scores for different reasons. ", "McCartney's motive was largely aesthetic: as the richest man in show business (even without owning his own songwriting catalog), his ears still told him that his creative reputation would forever rest on his work with his first band. ", "Amid a slew of lackluster solo albums with and without his '70s band, Wings, he commanded the world's stages as a renowned songwriter who wrote perhaps one solid song for every thirty that rolled out of him, and had little if no incentive to finish many of his more promising numbers (\"Wanderlust,\" or even one of his biggest hits, \"Mull of Kintyre,\" or the Super Bowl jingoism of \"Freedom\"). ", "His defensive tone in his authorized biography, and during many interviews (where he berated Yoko Ono for refusing to give him top songwriting credit for \"Yesterday\"), led Mini Udovitch to write, \"[He] makes you want to sit down and write him a letter saying, \" 'Dear Sir Paul: Anybody who really knows recognizes that without your superb musicianship, the Beatles could not have been. ", "You are a fully a co-genius with the late John Lennon. ", "Now please relax.' \" ", "He twice triumphed merely by turning to other people's material, first one _Choba b CCCP (The Russian Album_ ) (EMI/Capitol, 1989), and then, after his wife Linda died of breast cancer, on _Run Devil Run_ (EMI/Capitol) in 1999. ", "Each fallback move proved exactly how much McCartney still had in him, especially vocally, and how much he'd thrown away by acting as his own Executive Producer. _", "Run Devil Run_ especially disarmed fans and critics by being some of the best work of his post-Beatle career, and stands alongside much of his cover tracks with the Beatles as well.", "\n\nRingo Starr sobered up and ran his semi-annual summer touring camp for has-beens, and Harrison popped in and out of the limelight, recording _Live in Japan_ with Eric Clapton in late 1991, bopping on stage for a disarming \"Absolutely Sweet Marie\" at Dylan's 30th Anniversary Celebration (of his first Columbia recording) in New York. ", "But McCartney's career was both the most bloated and the most uninspired—at least Harrison put out fewer records. ", "McCartney could have taken a cue from Harrison, who triumphed with the Traveling Wilburys, a group of icons (Harrison, Roy Orbi-son, Bob Dylan, Tom Petty, and Jeff Lynne) that sent up the shared burdens of fame and aging on two deliberately low-key albums. ", "The second contains an understated Harrison tribute to Orbison, \"You Take My Breath Away.\" ", "The Wilburys would be completely harmless if it weren't for Lynne's participation: his production is bland to the point of distraction, as if some of the more original voices in pop can't sound any more distinctive than the boldly derivative Electric Light Orchestra. ", "As a sideline it's a forgivable lark; as prelude to Lynne's work on the Beatles' reunion, it's unthinkable.", "\n\n_T ELL ME WHY_ hit stores just as this new stoiy was getting started. ", "In 1987, EMI/Capitol began reissuing the entire Par-lophone album catalogue in the new compact disc format (with two discs devoted to singles' collections as _Past Masters I & II_, 1988) which was just then becoming the dominant medium. ", "Early on, the controversy surrounded EMI's decision to release the first four CDs in mono only, claiming that the stereo mixes were \"unavailable,\" and making George Martin the fall guy. ", "Since one of the primary aims of _Tell Me Why_ was to cue American ears to the original British sequences, this commercial repackaging was serendipitous, as future generations will most likely get to know the Beatles in digital form instead of vinyl. ", "There are bootleggers and collectors who still prefer their Capitol sequences of _The Beatles' Second Album_ or _Yesterday and Today_ , but there is much wider agreement now about how the Beatles intended their songs to be heard, and not just because of digital technology's brighter, more detailed reproduction.", "\n\nAround the same time that Albert Goldman published his hysterically tabloid life of John Lennon ( _The Lives of John Lennon_ , originally _Nowhere Man_ ), Mark Lewisohn resurfaced from the basement of Abbey Road studios after listening to the entire library of master tapes. ", "His book, _The Beatles' Recording Sessions_ (and the subsequent calendar book _Chronicles_ ), represents the first new major primary source material to emerge from the stoiy since the albums themselves (secondary source material will be discussed below). ", "Comprehensive, detailed, and exacting, Lewisohn not only sheds light on the Beatles' work habits but their grueling schedule—seven years when the collective muse drove them all to new creative heights with each recording.", "\n\nObviously, Lewisohn's work would have been a dreani reference for the type of work _Tell Me Why_ aspired to be; as it is, I can only be grateful mistakes and omissions were not made any more blatant by his research. ", "But there are several outstanding issues that deserve mention. ", "For starters, McCartney plays drunis on \"Dear Prudence\" (p. 264-65), which I had counted as among Ringo's finest moments. ", "This recording occurred on August 28 and 29, 1968, sessions when Stair had quit the band and the others simply kept on taping. ", "McCartney has never made too much of an issue about this, but it would certainly be interesting to hear Ringo's thoughts on it now that it's one of the few confirmed Beatle tracks without his backbeat (McCartney also drums on \"The Ballad of John and Yoko\").", "\n\nLEWISOHN'S RESEARCH IS INVALUABLE but not imperfect. ", "If EMI had handed almost anybody the keys to its archives, few writers would complain. ", "And yet Lewisohn is more the insatiable fan than keen-eared critic, and his descriptions of many of these sounds fall short of artful, evocative session summaries. ", "For the most part, Lewisohn leans heavily on superlatives and adjectives like \"brilliant,\" when what one really wants (since we'll never be able to hear all of it) is color, texture, and mood. ", "And he was obviously not hired for his willingness to confront his employers with negative opinions.", "\n\nFor example, on page 49, he describes the \"Eight Days a Week\" session:\n\n\"Eight Days a Week\" was a landmark recording in that it was the first time the Beatles took an unfinished idea into the studio and experimented with different ways of recording it.", "\n\nThis overstatement disregards a lot of the work on \"Can't Buy Me Love\" that's now available on the _Anthology I_. ", "There's all kinds of evidence that the band got more and more creative and experimental as they progressed, but they clearly opened themselves up to numerous ideas about tempo, arrangement, even meter before \"Eight Days a Week.\" ", "On _Anthology I_ , for example, we hear them tiy \"I'll Be Back\" as a waltz.", "\n\nAlthough it was to become the first pop song to feature a faded-up introduction [what about Chuck Berry's \"Downbound Train\"?], ", "the session tapes reveal that this was not the original plan. ", "Take one was played straight, no frills, on acoustic guitar. ", "On take two John and Paul introduced a succession of beautifully harmonized \"Ooohs,\" climbing up the scale, to precede the first guitar strum. ", "On take three they merged the first two ideas, \"Ooohs\" and acoustic guitar. ", "On take four the \"Ooohs\" were altered to remain on the same pitch throughout [which pitch?] ", "rather than climbing the register. ", "Take five incorporated \"Ooohs\" at the end as well as the beginning. ", "Take six took the shape of the released version but did not have the faded in-tro or outro. ", "From then on, until the \"best,\" take 13, the Beatles concentrated on perfecting take six, overdubbing a double-tracked Lennon vocal, for instance. . . .", "\n\nThis description completely evades the effect of the creative process, which was a stripping away of vocal hannonies to build tension and color. ", "Where the takes begin with the hannonies you an hear on _Anthology I_ , the final anangenient emerges from their absence (much the same way it did on \"Can't Buy Me Love\"). ", "It gives the song its rarefied air of buoyant energy, and displays the Beatles as suspicious of any ornamentation that merely props up material at the expense of a song's truer, unfettered nature. ", "In other words, the effects that these vocal harmonies are going for are completely discarded in favor of something simpler, less intrusive, and less ornate—which suits the track's helium lift perfectly. ", "The creative process is one of peeling away, not addition; the poetiy lies in the throwing away of all ideas extraneous to the song's core charm.", "\n\nAnd this is only one of the few cases in which officially published takes are available for first-hand reference to compare to Lewisohn's notes. ", "There are literally hundreds of other songs where his descriptions are less detailed and the number of takes more numerous. ", "Early on, song takes numbered between one and ten or twenty; later it became more common to go through hours of takes of a song before a basic track was accomplished: one notorious example is the seemingly innocuous \"Ob-La-Di, Ob-La-Da,\" which took up most of July 1968, alongside other songs. ", "On July 8th, alone, twelve takes of the song were taped; a frustrated Lennon piano intro is suddenly \"twice the speed\" of previous renditions—which is quite a kick. ", "The song's takes would ultimately number 23 (which by then was an average number). ", "And then there are Lewisohn's offhanded references to things like: \"Take six was aborted when Paul buiped a vocal instead of singing it, take seven was complete but ended in uproarious laughter . . .\" (", "p. 49, during \"Every Little Thing\"). ", "Such comments cry out for fuller descriptions.", "\n\nTo be sure, Lewisohn spent over a year listening to master tapes all day long; his notes on outside instrumentalists and instrumentation are thorough and dependable. ", "And there is a way in which a strong point of view could have put precisely the wrong slant on this project. _", "The Beatles' Recording Sessions_ is likely to remain the only reference book of its kind, and Lewisohn clears up a number of details that make it indispensable for close listening. ", "Perhaps it is the curse of all things Beatles that any amount of information only leaves you wanting more.", "\n\nNINETEEN EIGHTY-EIGHT BEGAN with the Beatles'induction into the Rock 'n' Roll Hall of Fame. ", "The award came at a moment when McCartney was in court against the others; he refused to attend the New York ceremony and issued a statement that said, \"I was keen to go and pick up my award, but after twenty years, the Beatles still have some business differences, which I had hoped would have been settled by now. ", "Unfortunately, they haven't, so I would feel like a hypocrite waving and smiling with them at a fake reunion.\" ", "The acrimony of the breakup had devolved into years of squabbling, first to clean up Allen Klein's string of legal suits, and later to recoup royalties from Capitol in America. ", "Beatle camaraderie had long since turned sour.", "\n\nSo it fell to George Harrison, typically more jaundiced than McCartney, to address the occasion. ", "His plastic nostalgia solo record, _Cloud Nine_ (produced by Jeff Lynne), and its hit single, \"Got My Mind Set on You,\" were getting heavy airplay, and Harrison's trademark sardonicism suddenly rang sincere. ", "As he stood on the stage with Ringo Starr, Yoko Ono, and Sean and Julian Lennon, he gave this abbreviated speech: \"I don't have much to say, because I'm the quiet Beatle. . . . ", "It's unfortunate that Paul's not here, because he was the one who had the speech in his pocket. ", "Anyway, we all know why John can't be here, and I'm sure he would be. ", "And it's really hard to stand here supposedly representing the Beatles . . . ", "what's left, I'm afraid. ", "But we all loved him so much.\"", "\n\nThat evening, even insiders might not have predicted that the biggest pop act of the 1960s would become one of the biggest sellers of the 1990s. ", "It began with their earliest recordings from the BBC, which comprise some of the most intriguing and revealing work. _", "Live at the BBC_ captured the Beatles in the act of defining themselves: scoping out their version of rock's tradition, submitting themselves to that tradition, and finally turning it into a creative challenge to pounce upon and overtake. ", "The group's appearances on the BBC airwaves between 1962 and 1966 had been on collectors' short lists of unpublished Beatle wonders even before they were first resurrected for a radio series in 1982. ", "Beginning back when manager Brian Epstein began pounding London pavement in search of a recording deal, this material stakes a claim in rock mythology equal to that of Bob Dylan's _Basement Tapes_ (recorded in 1967, released in 1975) or Elvis Presley's comeback television special in 1968 (available as _One Night with You_ on video). ", "These projects tell secrets about these performers that are central to their greatness—Dylan's cockeyed intoxication with the early American west, or Presley's inspired notion of how to recreate himself in middle age by chuckling along self-consciously with his younger image, turning the later Vegas kitsch back on itself to a point at which sincerity flirted with irony. ", "After you hear _Live at the BBC_ , the entire Beatles catalog makes a different kind of musical sense, and their creative leaps seem less out-of-the-blue than essential.", "\n\nThe 56 tracks included on these two discs, interspersed with gaggles of between-song chatter, trace Lennon and McCartney's distinct vocal development, the seeds of their songwriting partnership, and the way these four instrumentalists learned to play off each others' strengths to create an unparalleled ensemble. ", "Paradoxically, these tracks also show how the Beatles elevated the idea of covering other peoples' songs into an act of self-definition, a glossaiy of their own taste and aspirations, a bildungsroman of song. ", "The Band's _Moondog Matinee_ , Guns N' Roses' _The Spaghetti Incident_ , and the spate of best-selling tribute albums in the 1990s, from the Eagles to the Grateful Dead, are all direct descendants of the Beatles' impulse to absorb, imitate, and expand on their models. ", "To hear the Beatles perform before they were signed provides the most accurate picture of the band's character before Epstein tailored the act for television. ", "Live and unvarnished (and rolling about giggling on the bathroom floor, as host Brian Matthews remembers), the Beatles made music as great as they would ever record once famous.", "\n\nOn the other hand, the BBC and EMI/Capitol contrived to make this two-disc release (clocking in at two hours, 13 minutes, and 40 seconds) an unnecessarily frugal sampling of the vast selection available. ", "The rival nine-CD set (a 1992 bootleg) from Italy's Great Dane label, _The Complete BBC Sessions_ , lasts well over ten hours; an updated (and speed-corrected) version of that set, _Complete BBC Sessions Upgraded_ , from Purple Chick, recasts much of the same material, plus updates, across 10 80-minute CDs. ", "The major-label defense for its paltry two-CD frugality is sound fidelity, which is poppycock. ", "Although some of the digitally cleaned-up sound here is wonderful, sound quality is hardly what makes the collection as a whole so appealing. ", "This music has already won over skeptics through hundreds of low-quality vinyl pressings. ", "The supposedly superior quality of the meager \"official\" selection doesn't justify cheating fans out of even more revelatory material that's been making the bootleg rounds for over 30 years.", "\n\nGranted, EMI/Capitol seems to take pains to irritate Beatle fans, whether it's putting out the right thing in the wrong format (the first four CDs in mono only), or the right thing in the wrong packaging ( _Rock 'n' Roll_ , 1976), or the wrong thing period ( _Love Songs_ , 1977), or the wrong thing done wrong twice over ( _The Beatles/1962S6_ and _The Beatles/1967–69, a.k.a_. ", "the Red and Blue Collections, released as two CDs each in 1993, when the material could easily fit on one long-playing disc apiece). ", "Given the track record, there's not much hope for the _Hollywood Bowl_ CD, or the _Let It Be_ session material, if and when such projects ever appear.", "\n\nEven a \"testing the waters\" defense doesn't jibe with the enormous sales potential of this material, which certainly made EMI stockholders happy: The package debuted at number three in the final months of 1993, spent three weeks in the Top Ten during the Christmas spree, and remained in the top 40 for over six weeks. ", "That makes _Live at the BBC_ an anomaly in pop history: What other 30-year-old collection of covers ever did as well? ", "All this would be overshadowed by successive Beatle releases—but it's easy to overlook the popular significance of this band's apprenticeship.", "\n\nAnd still, this \"official\" version of the Beatles' formative history stacks up quite well in spite of everything (as usual). ", "They were a generous and combustible live act before worldwide Beatle-mania stirred their songwriting juices. ", "And they knew more than a thing or two about how songs are put together before Martin began contributing to their arrangements. ", "Though it's long been known that the Beatles had exceptional taste in cover material, what _Live at the BBC_ reveals is just how abiding that taste was, and how fiercely they embraced rock history (at that point, barely a decade old) before anybody took notice. ", "Even with the omissions, this song sequence presents a pretty balanced picture of how the Beatles defined rock style: as a mixture of rhythm and blues (Arthur Alexander), catchy guitar riffs (Chuck Berry), campy belters (Little Richard), novelty items (\"The Honeymoon Song\"), and more rockabilly and country than is commonly assumed (the Harrison-sung Carl Perkins number \"Everybody's Trying to Be My Baby,\" Buddy Holly's \"Crying, Waiting, Hoping,\" as well as the key early Lennon-McCartney duet on Perkins's \"Sure to Fall\").", "\n\nThe Beatles' quest to be original led to ingenious theft. ", "Take their affection for girl group material, which they held in at least as much esteem as they did Elvis Presley or Buddy Holly. ", "They start by completely reimagining the tacky gender roles in songs by the Shirelles and the Cookies. ", "Manhandling Little Eva's \"Keep Your Hands Off My Baby,\" Lennon bites into some possessive girl-talk and spits out an insecure macho threat. ", "In the Shirelles' \"Baby It's You,\" instead of a woman pleading to a man, the original's shivering feminine dependence turns to shuddering male vulnerability. ", "When they get to the second verse (\"You should hear what they say about you. . . .\"), ", "Paul and George chiip \"Cheat-cheat,\" which lends the original Shirelles' gesture an early twinge of Lennonesque paranoia. ", "Sung by men, the \"sha-la-la-las\" lilting behind the lead vocal turns precociously liberated and subversive. ", "These nonsense words pitched in character behind the singer jack up the camaraderie alive in the playing.", "\n\nEverything included on _Live at the BBC_ points to numbers left behind, and conceals the more wide-reaching sources the Beatles heard in rock 'n' roll. ", "On their set list in this period were such gems as Roy Orbison's \"Dream Baby,\" which McCartney turned in at their veiy first BBC session in 1962. ", "Other missing essentials include Carl Perkins's \"Lend Me Your Comb,\" a bouncy duet from John and Paul (which appears on _Anthology I_ ), and the Coasters' \"Three Cool Cats,\" a song that shows how selfconsciously they were developing their group identity (recorded twice but never broadcast by the BBC, it's easiest to find on bootlegs of their Decca audition tape). ", "With its totemic vocal climaxes, \"Twist and Shout\" would emerge as their ensemble signature, but only after they test-drove many alternatives.", "\n\nStill, some important songwriting characteristics peek through: Lennon's swelling fnistration in the bridge of \"To Know Her Is to Love Her\" sounds like a scrimmage for \"I'll Get You.\" ", "In the only Everly Brothers cover they ever released, \"So How Come (No One Loves Me),\" they show just how ineffable the Lennon-McCartney vocal duets promised to be. ", "And included here for the first time is \"I'll Be On My Way,\" an early Lennon-McCartney ditty that could be the Everlies singing Buddy Holly. (", "The key missing early rocker in their catalogue, perhaps even more intimidating to them than Presley, is Jerry Lee Lewis. ", "We know Lennon sang \"Fools Like Me,\" and McCartney did \"High School Confidential\" on stage, but not for the ages.)", "\n\nThe different things Lennon and McCartney heard in their favorite rock stylists dramatized their conflicting ideas about rock 'n' roll. ", "McCartney idolized Little Richard. ", "Lennon admired Chuck Berry's tight narratives, and heard in Berry's candid swagger an emotional directness that answered Richard's showmanship. ", "When he wasn't singing about himself directly, Lennon preferred singing about characters; McCartney always seemed to be playing a character—a habit he can't seem to shake.", "\n\nSo the cultural significance of John Lennon singing \"Johnny B. Goode\" is considerable. ", "To Lennon, the song's hero isn't as freighted with the racial baggage that Chuck Berry slyly concealed (some read this fable as a shadow biography of Elvis Presley, or a fantasy of Berry's own stoiy had he been white). ", "To Lennon, \"Johnny B. Goode\" was the Everyman statement: Lurking inside these enviable American heroes with their rock 'n' roll soundtracks there was a universal impulse waiting to be tapped. ", "The sound was open enough for a Brit like Lennon to identify with, apply to his experience, and sing back to Americans as his own. ", "Alongside the class identification, British rockers identified with how much noise American black musicians had to make to get noticed, never mind respected, in the pop music world. ", "What we hear in retrospect is the man who wrote \"Don't Let Me Down\" singing a bar-band staple (talk about a song with legs). ", "But at the time, \"Johnny B. Goode\" signaled how much the Beatles heard for themselves in this music, and how much they intuited in a style few took seriously.", "\n\nProgram your CD player to sequence all the Lennon-Chuck Berry covers, and you'll be hard pressed to argue that Lennon wasn't Berry's best interpreter. \"", "Too Much Monkey Business,\" \"Carol,\" \"Johnny B. Goode,\" \"Memphis, Tennessee\" on disc one; and \"Sweet Little Sixteen,\" \"Rock and Roll Music,\" and \"I Got to Find My Baby\" on disc two. (\"", "Johnny B. Goode\" segueing into \"Memphis, Tennessee\" may be this collection's high point.)", "\n\nFor Lennon's summary of how rock's jealousy, obsession, and left-field humor could quickly turn callous, try this sequence: On disc one: the Ray Charles–cum–Elvis Presley \"I Got a Woman\"; Goffin-King's \"Keep Your Hands Off My Baby\" (originally done by Little Eva); Arthur Alexander's \"A Shot of Rhythm and Blues\"; Ritchie Barrett's obscure (except to Liverpool) \"Some Other Guy\"; the Shirelles's \"Baby It's You\"; Arthur Alexander's \"Soldier of Love\"; another Presley number, \"I'm Gonna Sit Right Down and Ciy Over You\"; Smokey Robinson and the Miracles's \"You Really Got a Hold On Me\"; Phil Spector's \"To Know Her Is to Love Her\" (originally done by Spector's Teddy Bears); and on disc two: the Johnny Burnett Trio's \"Lonesome Tears in My Eyes,\" and Larry Williams's \"Dizzy Miss Lizzie\" and \"Slow Down.\" ", "With these tracks in your ears, the insecurity that seeps from Lennon numbers like \"I'm a Loser\" begins to make a lot more sense. ", "And, since he probably knew that Spector's \"To Know Him Is to Love Him\" was engraved on Spector's father's tombstone, could Lennon be singing that emotional black hole of a bridge in \"To Know Her Is to Love Her\" to . . . ", "his mother Julia? ", "Stu Sutcliffe?", "\n\nStringing together a programmed sequence also lets you concentrate on McCartney's better side and avoid the tired ritual of \"Till There Was You\" and \"A Taste of Honey.\" ", "Where Lennon heard humor, verbal acrobatics, and point-of-view tricks in Chuck Beriy's writing, McCartney heard pure release in Little Richard (even if it doesn't sound as if he knew what a transvestite was): On disc one, Paul sings Presley's \"That's All Right [Mama],\" The Jodimars's arcane-but-great \"Clarabella,\" Little Richard's \"Long Tall Sally,\" and \"Lucille\"; on disc two, Chan Romero's \"The Hippy Hippy Shake,\" Little Richard's medley of \"Kansas City/Hey! ", "Hey! ", "Hey! ", "Hey!\" ", "as well as \"Ooh! ", "My Soul.\" ", "McCartney's impressive vocal swagger on such songs makes it clear why Lennon teamed up with him in the first place—for his giddy hellfire wail. (", "Cue up this track list: Chuck Berry: CD 1: 5–16–29–30; CD 2: 10, 21, 29; Lennon's emotional footsteps: CD 1: 4–6–9–11–14–17–20–23–24; CD 2: 12–23–33; McCartney's sequence: CD 1: 15–19–26–31; CD 2: 14–24–30.)", "\n\nIn fact, the best song sprint on these two CDs comes when these competing rock idealists go head-to-head trading favorites at the end of disc one, beginning with \"You Really Got a Hold On Me\" (Lennon), \"To Know Her Is To Love Her\" (Lennon), \"Long Tall Sally\" (McCartney), \"I Saw Her Standing There\" (McCartney), \"Johnny B. Goode\" (Lennon), \"Memphis, Tennessee\" (Lennon), \"Lucille\" (McCartney), and ending with the full-blown writerly confidence of \"Can't Buy Me Love.\" ", "Theirs is an argument between musical personalities that ping-pongs vehemence and desire, anger and exaltation, abandonment and fulfillment—with an embrace (not a rejection) of Tin Pan Alley (\"The Honeymoon Song,\" \"Till There Was You\"). ", "Of course, this is the internal debate the Beatles had, and rock had with itself, and has had ever since.", "\n\nThese jarring contrasts—from breathtaking excitement to jittery self-scrutiny to music-hall sentimentality—sum up the inclusive Beatle formula. ", "Add a streak of country and western and rockabilly (something they're not famous for but plenty adept at), and you have the total Beatle embrace. ", "For the hick touch they turn to George, who's perfect for the awkward narrator of the Lieber-Stoller-Pomus song, \"Young Blood,\" the other Coasters' ensemble piece. ", "His best moment is the Presley cover, \"I Forgot to Remember to Forget,\" in which he embodies a sheepish teen almost too well. ", "Missing is Harrison's droll streak through \"The Sheik of Araby,\" a cover of a 1961 Joe Brown and the Bruwers track, which would have rounded out his character (it finally pops up on _Anthology I_ ).", "\n\nThese are all qualities made manifest in later Beatle recordings, which makes it all the more flabbergasting to hear them this early, this unproduced. ", "And yet there's more to learn here about Ringo than about any other member of the band. _", "Live at the BBC_ forever clears Ringo's name as the luckiest man in rock and positions him as its most underrated musician. ", "The Beatles did three appearances on the BBC in 1962 when the strapping but standard-issue Pete Best was still backing them up. \"", "Sadly, no quality recording exists of this or their other three broadcasts of 1962,\" BBC producer Kevin Howlett writes in his liner notes. ", "Note the evasive word \"quality.\" ", "These tapes were simply voted down. ", "The qualities Ringo brought to the party, however, should hereafter be inarguable. ", "He was breaking himself in as the Beatles' locomotive, and on each of these tracks, he proves himself a rhythmic wonder crucial to the developing Beatle sound. ", "Acutely attuned to the nuances in Lennon and McCartney's songs as they began pouring out, Ringo combined a controlled rhythmic drive with a keen sensitivity to each number's overall shape and hidden detail. ", "He was a developing songwriter's dream. ", "Invisible (and thus underrated), his drum parts meld into songs as neatly as Lennon-McCartney's composed retransitions and rhythm guitar fixtures.", "\n\nListen to \"Thank You Girl,\" done live in June 1963, and known then as the B-side to the brand new \"From Me to You\" single. ", "Just as the band finds its groove and leans into one of its early songwriting peaks, Ringo holds back just slightly where lesser drummers would push; he pulls back for tautness instead of shoving ahead—you can even hear him steady the others' impulse to rush during the intro. ", "This is the most important and difficult thing for any new drummer to do: impose a meter on his new bandmates. (", "The tendency to rash the beat is exaggerated in front of a live audience.) ", "This withheld energy adds an extra stream of tension into the sound. ", "Song after song, Ringo tugs the reins against the band's momentum, creating a backlog of energy that swells hard against his imposing rhythmic spine. ", "On the heels of \"Some Other Guy,\" from the same live spot, this toughened version of \"Thank You Girl\" makes the studio version sound coy.", "\n\nAnd when Ringo takes his breaks on \"Ticket to Ride\" in a BBC session from May 1965, nothing he does simply repeats what he had already recorded. ", "Not only is each verse-closing drum break varied, he alters each one subtly from version to version—he deliberately drags his fills behind the bar, and his anticipations are often simply breakneck silences (just after the brief post-bridge guitar solos) that pack even more tension than his fleet double-stick rolls. ", "Starr's cunning modesty is as radically counter-intuitive to rock's vernacular as McCartney's liberated bass lines.", "\n\nBecause it's likely to stand as the only \"legitimate\" musical snapshot from this period, for most fans _Live at the BBC_ will provide the best glimpse of the Beatles' early repertoire, and the most persuasive explanation of why they returned to these songs in early 1969 for inspiration. ", "The _Let It Be_ sessions may be the most bootlegged tapes in the rock catalogue, but they don't come close to conveying what the Beatles were seeking in this music—the heights they'd scaled a mere seven years earlier. ", "What you hear on these BBC tapes is immediate, direct, and unselfcon-scious, a sense of how alive rock could be in the moment before the world caught on. ", "No wonder they turned to this material as a release from the musical bickering and financial animosity that had, by then, poisoned their well.", "\n\nFor the Beatles, playing this music was more than a primer in rock histoiy, it was an acting out of how much rock 'n' roll had to teach. ", "Even their contemporaneous selections (like the Shirelles's \"Boys,\" which Ringo sings with paradoxical conviction; or Smokey Robinson's \"You've Really Got a Hold On Me\") testify to the music's unfailing purpose. (", "So much so that the coda of \"Love Me Do\" at the end of this set is an odd anticlimax to a string of revelations.) ", "Rock 'n' roll had not only reached across the Atlantic and seized the imaginations of grammar school Teds, it had taught two promising young songwriters how to compose, and three self-taught guitarists and a replacement drummer how to divine a band. ", "It was one of rock's key early triumphs to transcend its racial, class, and geographical roots to become a universal phenomenon.", "\n\nWITH SALES POTENTIAL proven by _Live at the BBC_ , the three ex-Beatles began shoring up their legacy in earnest, gathering in early 1995 to remake several unfinished songs offered by Yoko Ono from Lennon's private stash: \"Free as a Bird,\" \"Real Love,\" \"Grow Old With Me,\" and \"Now and Then.\" ", "Because the demos were recorded on primitive home equipment and were at least 2nd or 3rd generation copies (the Lennon estate was looted in the days following his death), Jeff Lynne oversaw removal of tape hiss, clicks, and unsteady beats. ", "Meanwhile, a video production team put together a 10-hour film of archive footage, radio interviews, TV appearances, home movie reels, and demo material for broadcast on American TV (ABC) in November, which included new videos for \"Free as a Bird\" and \"Real Love,\" the two reunion tracks that made it through completion. ", "This _Anthology_ project brought three Grammy awards in 1997, including Best Pop Performance by a Duo or Group with Vocal, Best Music Video, Short Form (the \"Free as a Bird\" video), and Best Music Video, Long Form (the _Anthology_ video).", "\n\n\"Free as a Bird\" makes the Lester Bangs quote about how any Beatle reunion would likely prove \". . . ", "the biggest anticlimax in history\" seem generous. ", "The material itself is not just lo-fi (in fact, if Jeff Lynne gets any credit, it should be for the technical clean-up he gives the Lennon demo), the song itself is unfinished. ", "The bridge Paul McCartney writes for it is a conspicuous lift from the Shangri-Las' \"Remember (Walkin' in the Sand),\" accented by the first three words (\"Whatever happened to the boy that I once knew/The boy who said he'd be tine. . ..\"). ", "This direct song lift was widely heard at the time of the single's release, played on National Public Radio, but McCartney has remained mum on the subject. ", "Aside from being an arch reference to an early girl-group staple, the kind the Beatles themselves might have covered (alongside \"Chains\" or \"Please Mr. Postman\"), it cheapens the entire effort. ", "To have the remaining partner of the centuiy's greatest and most popular songwriting team finish his dead partner's demo by stealing a bridge from a well-known favorite seems hinky, even for McCartney.", "\n\nTo add irony to the existing acrimony between McCartney and Harrison, the Shangri-Las' echo rubs Harrison's nose in the lawsuit he lost when the Chiffons filed against Harrison for sponging their \"He's So Fine\" chord sequence in 1970's \"My Sweet Lord.\" ", "That no suit took place in 1995 against \"Free as a Bird\" was a factor of the increasing sampling in pop culture by hip-hop, which by that point had gone far beyond what any court could keep track of, and evolved into an elaborate aural symbol-ogy of homage more than theft. ", "When Coolio samples Stevie Wonder's \"Pastime Paradise\" (in \"Gangsta's Paradise\"), or Angie Stone builds a new song from the foundation to the O'Jays's \"Back Stabbers\" (in \"Wish I Didn't Miss You\"), the effect is of re-contextualization, mining more from the source than simply sticking your name in the author slot. ", "And Harrison's case, being among the earlier conflicts, predates digital sampling and served as a dissuasive benchmark against which future songwriters held as a standard. (", "When the Rolling Stones discovered they had inadvertently stolen kd lang's \"Constant Craving,\" on a song called \"Anybody Seen My Baby,\" they simply added her name to the composer credits.) ", "But there's no way George Harrison didn't hear McCartney commit almost exactly the same crime Harrison had thirty years earlier and get off scot-free.", "\n\nALTHOUGH THE _A NTHOLOGY_ PROJECT collects a lot of rare, personal footage, including studio exchanges and tour material, the overall motivation is spotty, its outtakes and demos a mixed bag—and the title is misleading. ", "Certainly the Beatles deserved the chance to tell their own story and reap the profits they had so long shared with too many others. ", "But as a document, neither the video nor the book can count as \"definitive\"; the Beatles and their crew are not always the best people to tell their own stoiy. ", "Neil Aspinall, originally a Liverpool roadie who now runs Apple, seems to get as much camera time as the Beatles themselves, and lacks any kind of charisma. ", "Often whole sections of the stoiy are omitted; other times, only three-quarters of the stoiy gets told.", "\n\nWhile the video production introduced a new audience to the Beatles' career, more than a few younger consumers picked up the accompanying CDs under the impression that this collected all of the Beatles' essential work. ", "On the one hand, there are superior live tracks that count among some of the band's best performances (including \"I'll Get You,\" and the Royal Command Performance in 1963). ", "But Martin's editing process muddies the waters: \"Yes It Is,\" for example, begins as a rough take, with Lennon doing a guide vocal (an early performance to be sung over as a diagram for the final version). ", "This elides into the finished version as if to trace the professional transformation the Beatles give the number. ", "It raises the question of how much sweetening is done throughout the project without explanation, and also seems beside the point: where the final version is widely available, this early mix is intriguing for its tentativeness, and betrays a unique strain of Lennon's vulnerability. ", "Even when he's going through the motions for himself, his voice is uncannily expressive.", "\n\nLike the BBC tapes, everything that's here points to more significant material that is still unavailable: the \"Helter Skelter\" excerpt on _Anthology II_ only hints at the notorious longer jam session that was edited out of the _White Album_ version, the most sought-after bootleg in the entire canon. ", "And on numbers like \"Revolution,\" from the David Frost show in 1968, the live-vocal-backed-with-canned-instruments version gets spoken over during the video documentary, spoiling any chance of unfettered access to this one-time version of the song (the only version where Paul and George chime in with \"Bah-om, shoo-by doo-wop, bah-om, shoo-by doo-wop . . .\"). ", "It obliterates the notion that bootleggers won't keep trafficking this material for years to come.", "\n\nSome numbers have long deserved official publication: McCartney's \"That Means a Lot,\" a sprawling Brian Wilson-like arrangement from the _Help!_ ", "sessions that was abandoned and finally given to American export P.J. Proby, and Lennon's 1964 aggravated braggadocio in Little Willie John's \"Leave My Kitten Alone,\" which stands alongside his greatest covers, including \"Rock 'n' Roll Music,\" \"Money,\" or \"Bad Boy.\" ", "A 1965 live set from Blackpool that includes \"I Feel Fine\" and \"Ticket to Ride\" is anything but flat; \"Mailman, Bring Me No More Blues\" (by Ruth Roberts, Bill Katz, and Stanley Clayton) stands out from the _Let It Be_ sessions as a moment of inspired lethargy (it was originally the B-side to Buddy Holly's \"Words of Love,\" from 1958). ", "To stumble onto this of all songs during their prolific rehash of '50s favorites adds chilling commentary on their situation. (", "During one film outtake, Lennon stares blankly into the distance for what seems like hours before announcing dully: \"Well, it's been a lot of fun.\") ", "And the closing remix of \"The End,\" which spews sparkling guitar exchanges between Harrison, McCartney, and Lennon, segues directly into the final _Pepper_ chord from two years earlier, which seems not just anachronistic but hackneyed.", "\n\nAnalogous video segments are gratuitous: does anybody really need a 1995 footage of McCartney singing \"Eleanor Rigby\" alone on the guitar, interspersed with glimpses of anonymous lower-class children? ", "The accompanying _Anthology_ book simply expands the video interview transcripts which cry out for judicious editing (although it sells more than two million copies). ", "It's packed with private photographs and notes, lyric drafts, postcards, and all manner of back-of-the-drawer quips (Lennon writes to a friend \"Do You Want to Know a Negro?\"). ", "And in general, the agonizing court cases that kept a bitter McCartney from joining his bandmates at the Rock 'n' Roll Hall of Fame ceremony in 1988 are smoothed over. ", "The conciliatory tone tries to pass over the aesthetic wreckage of their solo careers, and the public relations damage done by the acrimonious _Let It Be_ footage, but it doesn't hit its mark. ", "In a way, this feigned harmony seems more of a letdown than the acrimony itself.", "\n\nTHE SUCCESS OF _A NTHOLOGY_ led to the re-release and remaster of _Yellow Submarine_ material for the new 5:1 Dolby Surround Sound home theatre format (minus'George Martin's instrumentals). ", "This reissue draws attention to many of the discrepancies in mixing that have changed through the years. ", "Bea-tle mixes were often as creatively sharp as their writing and playing, with instruments in odd spaces or making sudden, strange movements, which is another reason why Lynne's reunion track production sounds stodgy. ", "The new mixes were supervised by Ted Hall at Pacific Ocean Post, engineered by Abbey Road's Peter Cobbin, and overseen by the Beatles themselves. ", "The ironies are abundant: for starters, the _Rubber Soul_ CD edition of \"Nowhere Man,\" keeps the left-right separations, but for the _Yellow Submarine_ remix, the vocals are double-tracked to both channels. ", "This makes for a \"fuller,\" more \"contemporary\" sound, but along the way the echo gets enriched, and the effect has more sheen than the original—and part of the original's sheen was effortless. ", "You don't _need_ to add any reverb or echo to that rich a vocal part sung with such gusto, it carries itself. ", "And where does the roaming guitar harmonic from \"Nowhere Man\" disappear to (it should occur at 1:01)? ", "The final harmonic used to ring from channel to channel, and this mix has since disappeared from every single CD version of the track. (", "After so many different \"official\" renditions, there's no longer any meaning to the idea of \"official\" version of anything.)", "\n\nThe same with McCartney's priceless vocal crack on the second bridge of \"If I Fell,\" which has been \"repaired\" on the mono master, and so appears \"fixed\" on both the _Hard Day's Night_ CD (at 1:44), and The Complete EP Collection. ", "Why does this get repaired and not the tambourine that suddenly drops out during the final verse of \"Day Tripper,\" after the lyric \"Tried to please her,\" at 1:50? (", "This \"Day Tripper\" tambourine drops out on _Past Masters_ , but gets fixed on 1's remix). ", "Are some flaws less worthy than others? ", "The roaming vocal mix on \"Day in the Life\" is preserved on CD: the opening verses go from right to center, the final verse comes from the left. ", "Is the issue of consistency ever discussed at these mixing sessions? ", "All of these are simple digital fixes, but the point is: they would have been equally simple _analog_ fixes in their day. ", "These simple flaws were more than upstaged by the band's spark and increasingly spry edits. ", "That many missing words and missed notes were originally left in spoke to their enormous daring and focus on the larger ideas. ", "Their blemishes were part of their appeal, just like their silliness was a key part of how seriously they took pop.", "\n\nIN DECEMBER 1999, in a grisly replay of Lennon's assassination 19 years earlier, George Harrison and his wife Olivia narrowly escaped death by subduing a knife-wielding mentally ill intruder to their Friar Park British estate. ", "Keith Richards spoke of the attack in his thoughts on Harrison in _Rolling Stone's_ tribute issue after Harrison died in 2001:\n\nWhat he didn't need, and to me what's unbelievable, is that, basically, the knifing, the attack two years ago at his house, is what did in George. ", "Because I think he probably would have beaten the cancer if it wasn't for the blade. ", "John was my first mate among them, because George was a bit quiet. ", "Now I think, \"Oh, one by gun, one by knife.\" ", "And that's still puzzling to me in a way, although he didn't die literally from it. ", "It's just that for such pleasant guys, who made such beautiful music and never did harm to anybody, to have to go through that kind of violence—I mean, I'm used to it, I've been stabbed several times, and the bullet wounds are healing. ", "But with George, it was like, \"Oh, I can't believe it really.\" ", "You know, he was a guy who only looked out for the best in people. ", "Of all people, it shouldn't have happened to George.", "\n\nAt least Harrison got to see his band's collection of 27 number-one hits, _1_ , overtake the music industiy in the fall of 2000, the year before he died. ", "Selling 2.5 million units in its first month, _1_ quickly became the fastest-selling CD of all time, topping the charts of 28 countries simultaneously. ", "Alongside the _Anthology_ book and the launch of the official Beatles Web site (at <http://www.thebeatles.com/>), it led to a euphoric Beatles revival that upstaged the songwriting of bands like Oasis and Radiohead, and guaranteed more vault releases in the years to come.", "\n\nBut it also raised many of the same questions posed by the _Anthology_ project. ", "Is it possible to reflect on the Beatles anymore without the influence of the _Anthology_ and reunion? ", "In the end, the _Anthology, Yellow Submarine_ , and _1_ titles only give the most surface-level clues about the density of creative work that took place at Abbey Road. ", "On a commercial level, the Beatles' late career gives tacit assent to all the bootleggers who have been compiling and releasing unpublished material both before and since. ", "Doctoring-up songs gives a false impression of what the sessions actually sounded like, and fading out tracks before the unfinished endings (\"111 Be Back\") cheats you of their writing habits. ", "And _Live at the BBC_ is compelling and hilarious, but represents only about a tenth of what remains in the BBC vaults. ", "So while it's easy to sympathize with the Beatles wanting to earn more royalties off their own work, their public image, once determinedly realistic, has now been whitewashed.", "\n\nDuring their '60s career, they were confident and prolific enough to leave in mistakes and go public with the most uneven experiments. ", "As elder rock statesmen, they seem obsessive about protecting their image at the expense of fidelity. ", "And the reunion with Lennon was simply an aesthetic failure: coming after Natalie Cole's duet with her father on \"Unforgettable,\" they can't even claim it was a technical or conceptual breakthrough. ", "Original material of a higher standard without Lennon would have fared far better, even if it didn't measure up to their earlier work. ", "As it is, \"Free as a Bird\" and \"Real Love\" play to the worst side of their sentimentality, and nearly every earlier track upstages these '90s numbers. ", "Before the 1990s, the Beatles paid the highest respect to their work by leaving well enough alone; the classic curve of their mere seven years in the studio had both eccentricity and closure. ", "Now, much of their tidying up and repackaging has turned Beatle whimsy into artifice.", "\n\nTim Riley\n\nFebruary 2002\n\n## **Notes**\n\n1. ", "Member of the British Empire.", "\n\n2. ", "The New York Times Book Review, \"Let Us Now Praise Famous Men,\" October 8, 2000, p. 10.", "\n\n3. ", "There's more where that came from: Phil Spector didn't add strings to the song \"Let It Be\" (p. 27), just \"Across the Universe,\" \"The Long and Winding Road,\" and \"I Me Mine\"; \"How Do You Do It\" (not \"How Do You Do\") was recorded on September 4, 1962, not in November for the second single (p. 46); the Beatles didn't play _Top Of The Pops_ in 1963, they played such BBC programs as _Teenager's Turn, The Friday Spectacular, The Beat Show_ and _Pop Go the Beatles_ ( _Top of the Pops_ didn't premiere until January of 1964) (p. 61); Paul overdubbed the harmony to his own lead on \"All My Loving,\" an early mimic of an imaginary duet with Lennon (George took this harmony on stage) (p. 74); the earliest listed performance of \"I Want To Hold Your Hand\" came after, not during, August 1963 (p. 85); only half of the \"Long Tall Sally\" EP was recorded in February of 1964, the other half was recorded in June (p. 92); Lennon takes the first guitar solo in \"Long Tall Sally,\" not George (p. 94); the correct \"Things We Said Today\" lyric is \"Me, I'm just the lucky kind,\" not \"lucky guy\" (p. 111).", "\n\nThe \"three-hour jam session with Elvis\" (p. 152) is irresistible, but merely myth. ", "In the book _The Beatles Anthology_ (2000), Lennon, McCartney, Harrison, Starr and roadies Neil Aspinall and Mai Evans tell of a visit to Presley's Los Angeles home with Brian Epstein for a long evening that included Charlie Rich, whose current hit, \"Mohair Sam,\" was on Presley's stereo. ", "For a period, apparently Elvis picked up a bass, and eveiyone else but Ringo picked up guitars; but a formal jam session this was not. ", "Harrison remembers hitting up the Memphis Mafia for reefers with no success.", "\n\nThe guitar solo in \"Nowhere Man\" is a unison duet played by Harrison and Lennon on their new Fender Stratocasters. ", "Harrison probably helped compose this section, but the final overtone's movement across the mix has long since disappeared (p. 161); In _Many Years from Now_ , Paul recalls \"Wait\" as largely his composition with a little help from Lennon (p. 168); there's no French horn in \"Here There And Everywhere,\" just George using his guitar's volume pedal for a sound remarkably similar to the horn on \"For No One\" (p. 187); _Sgt. ", "Pepper_ was recorded entirely on two four-track machines, not an eight-track (p. 213); _The Who Sell Out_ was released in 1967, not 1968 (p. 213); McCartney's high-end bass figures in \"With a Little Help From My Friends\" answer Ringo's low end-of-first-verse tom-tom fills, not the other way around (p. 214).", "\n\nThere's no Mellotron on \"Lucy in the Sky With Diamonds,\" just a Lowrey organ impersonating one (p. 215); as on \"Taxman,\" Paul plays the guitar solo on \"Good Morning, Good Morning,\" not George (p. 223); \"A Day In The Life\" was recorded live on January 19 and 20, 1967, after several days of rehearsal; the recording was built off the basic track from these sessions (p. 228); no organ on \"The Fool On The Hill,\" just piano, flutes, recorder, harmonicas, guitar, maracas, and cymbal (p. 240); the \"bassoon\" on \"Flying\" and \"Bungalow Bill\" is a Mellotron on trombone setting (p. 240 and 268); there _is_ harmonica since \"I Should Have Known Better,\" on \"I'm A Loser\" (p. 242); George never walked out on the _White Album_ sessions (p. 262); the \"I'm So Tired\" lyric \"It's been three weeks\" should be \"you know it's three weeks\" (p. 272); no organ on \"Don't Pass Me By,\" just Leslie'd piano (p. 273); and phased, not electric, piano on \"Birthday\" (p. 276).", "\n\nThe _James Paul McCartney_ special was taped and aired in 1973, not 1972 (p. 284); \"Suzy Parker\" (which some claim to be \"Susie's Parlour\") was pure ad-lib, not another oldie like the jams it springs from (p. 289); the scenes of London bobbies at Apple's door aren't edited in, apparently there was enough time to set up cameras from both angles once it was known the police were arriving (p. 290); Harrison's exact quote to McCartney is: \"Whatever it is that'll please you, I'll do it\" (p. 291); the \"Across the Universe\" lyric is \"slither wildly as they slip away,\" not \"slither while they pass\" (p. 296); George Martin added the brass to \"Let It Be,\" not Phil Spector (p. 297); The \"I've Got a Feeling\" lyric is \"wandering around,\" not \"running round the world\" (p. 299); the Montreal bed-in was two months after Amsterdam, not six (p. 306); recorded in April, 1969, Harrison's \"Old Brown Shoe\" is not a _White Album_ outtake (p. 307); James Taylor's song title is \"Carolina In My Mind\" (p. 309); the \"synth arpeggio\" on \"Because\" is played by a Baldwin spinet electric harpsichord (p. 326); what seems like a \"synth bass\" on \"Mean Mr. Mustard\" is just fuzz bass (p. 329); McCartney and Starr's backstage reunion was in the documentary _Wings Over America_ , not _Rockshow_ (p. 360); Denny Laine stayed with Wings until 1981, during the _Tug of War_ sessions (p. 361); _Pipes of Peace_ came out in 1983, not 1984 (p. 362); the correct title to \"I Know How You Feel\" is \"Somebody Who Cares\" (p. 363); and McCartney's \"Wonderful Christmastime\" single came out in 1979, not 1982 (p. 364).", "\n\n4. ", "Later, on page 143, Lewisohn describes the \"Helter Skelter\" session, comprised of three of the longest takes the band ever commits to tape, and which are later discarded as \"rehearsals\" in favor of a remake made on September 9. ", "Here is his description:\n\nTake one lasted 10'40,\" take two 12'35\" and take three an epic 27'11,\" the longest ever Beatles recording. ", "All three versions were similar: drums, bass, lead and rhythm guitars played live—positively no overdubs—with a VERY heavy drum sound, heavy guitars and a magnificent vocal delivery by Paul, with—surprisingly—all but identical lyrics to the re-made version. ", "Each take developed into a tight and concisely played jam with long instrumental passages.", "\n\nThese takes are now among the most sought-after Beatle bootlegs; given everything that's been smuggled from those vaults, it's hard to believe that this session, alone, turns out to be among the rarest. ", "It begs elucidation: did McCartney routinely improvise _new_ lyrics during separate takes, as implied? ", "Are the drums heavier than they sound on the final track? ", "Since the Beatles rarely recorded long tracks, how did these eight-minute-plus takes \"develop . . . ", "concisely. . . .\"? ", "Does the final track capture the \"essence\" of these jams, or do they sound much different? ", "Given the fact that the Beatles \"jammed\" so rarely in any of their sessions, this half-hour of music surely provides clues to their ensemble ticks.", "\n\n# SELECTED BIBLIOGRAPHY TO THE SECOND EDITION\n\n## **Secondary Sources**\n\n_**The Beatles' Complete Scores**_ (Hal Leonard, 1989). ", "Ambitious but not definitive, this first full-score treatment of Beatle songs (transcribed by Tetsuya Fujita, Yuji Hagino, Hajime Kubo, and Goro Sato) gets to the nub of what separates great songs and great playing from skeletal notational symbols. ", "What these scores get right only underlines how far these recordings extended these compositions. ", "The technical expertise that an ear like that of Ian McDonald brings to this material (below), with indications of \"flanging\" vocals (or ADT) and overdubs, is the next level this notation requires. ", "As pure notes on a bar, the weak spots occur mainly in repeats, which were seldom unvaried. ", "The bass part of \"You Won't See Me,\" for instance, where McCartney begins improvising new melodies on repeats, goes unnoticed.", "\n\n_**Revolution in the Head: The Beatles' Records and the Sixties**_ , by Ian McDonald (Henry Holt, 1995). ", "Essential reading for Beatleheads, despite its false premise. ", "Where _Tell Me Why_ takes the Beatles Parlophone release dates as its organizing principle, McDonald orders his narrative on the recording session dates, which misdirects the ear when it comes to larger concepts. ", "The most dramatic example of this \"intentional fallacy\" comes when he notes that both \"Tomorrow Never Knows\" and \"A Day In the Life\" came quite early in the recording process for the albums they appeared on ( _Revolver_ and _Sgt. ", "Pepper_ , respectively). ", "This leads McDonald to argue that neither track should be considered as a closing statement to those breakthroughs simply because they were recorded before many of the others. ", "But interpreting the position of a song in a given sequence is surely part of what the Beatles wanted us to listen for, or they would have simply released every song in the order in which they were recorded. ", "The larger concepts presented to us has to do with track sequencing, not the order in which songs were recorded. \"", "A Day in the Life\" may have come first, but its placement at the end of _Pepper_ gives it a resonance it otherwise might not have had. ", "Surely any interpretation of _Pepper_ must take this into account. ", "Otherwise, McDonald uses newer primary sources judiciously, has handy CD time cues, a rich understanding of studio technique, and evokes the Lennon-McCartney relationship both in and out of song with informed sensitivity.", "\n\n**_The Beatles_ (20th-century Composers)**, by Allan Kozinn (Phaidon Press Inc., 1995). ", "The ultimate understated critical biography.", "\n\n**_Get Back: Thehe Beatles_ ' Let It Be _Disaster_** , by Doug Sulpy and Ray Schweighardt (St. Martin's Press, 1997). ", "This painstakingly detailed account of the January 1969 Twickenham and Apple basement sessions (audio and film) is a marvel of musical anthropology. ", "At the time of its release, the general reaction to _Let It Be_ was as an anticlimax to a brilliant career, a coda to brilliance. ", "The received notion about the film is that it's the documentary of a disintegration—but there's more going on for the cameras than that. ", "The project had actually languished on Apple's shelves for over a year, and was only completed when the cash-poor Beatles overrode McCartney and hired Allen Klein to administer their crumbling empire. ", "Rumors of the break-up were rampant: John Lennon had already made numerous appearances billed as a solo artist with his Plastic Ono Band, McCartney released his first solo album alongside _Let It Be's_ soundtrack. ", "The project has always gotten a bum rap, both because of how oddly most of the footage screens, and for how insistent the Beatles were in what a botched job it had been. ", "But a generation's hindsight can lose sight of what a subversive gesture this project was. ", "In an industry notorious for rewarding non-talents, heaping Grammies and pots of money on pretty faces, the Beatles were famous both for making great music and using their fame to expand the idea of rock. ", "Here was something new: a band on top that not only didn't take the fizz of its status all that seriously, but was actually deserving of its hype, album after album, no matter how out of control the mania seemed to get. ", "In a very unique way, the Beatles worked to keep their aesthetics on a par with their popularity in a way veiy few bands have before or since.", "\n\n_So Let It Be_ can be seen from a different perspective: as a lesson on how difficult, tedious and frustrating music rehearsals can be. ", "The magic of the movie lay in the lunchtime concert (their last public performance) the Beatles played on the roof of their Savile Row Apple building at the end of the movie (which gently echoed their lunchtime Cavern gigs six and seven years earlier). ", "On the roof, rehearsal drudgery gave way to euphoric performance. ", "Exposing the labor behind the accomplished playing and wonderfully original and expressive singing was a veiy intimate act, something only the greatest musicians risk.", "\n\nAt the film's climax, during the rooftop concert, the Beatles's source of confidence is made plain—not only how deeply engrained their ensemble instincts were, but also how years of dedicated toil together had enabled them to keep so much hidden from the rehearsal cameras. ", "Nothing in the film hints at the heights of feeling they find in that farewell concert, which suggests that the drudgery wasn't so much musical as personal. ", "If there's a guiding idea behind _Let It Be_ , perhaps it's this: it's possible to excel musically in a band long after you become disenchanted with your colleagues. ", "Or, to reverse the equation, if even close professional relationships could let you down, couldn't music be a path towards reinvigorating friendships—didn't the music finally help the Beatles transcend their own disintegration?", "\n\nThese authors piece together all the available footage and tape from this period to tell the stoiy as a narrative (with paraphrases instead of quotes to dodge Apple's lawyers), and it's full of surprises: McCartney's sympathy for John and Yoko, the bands antipathy towards Michael Lindsay-Hogg (whom they snicker at as a homosexual). ", "And finally, a list of song titles that roll from their collective unconscious, a memory bank of lyrical and melodic shadows. ", "On Friday, January 10th, a bossa nova jam on a lyric built around \"In the Middle of an Island,\" Lennon and McCartney veer off in different directions, first whistling a duet, then erupting into birdcalls, then \"Besame Mucho,\" then \"The Peanut Vendor,\" Louis Armstrong's 1931 hit, which reminds Lennon of the Young Rascals' \"Groovin',\" and McCartney of South American singer Yma Sumac, which then reverts to \"Groovin\"' and finally Elvis Presley's \"I Got Stung.\" ", "A compilation of this material, spilling out of them at a time when they were unguardedly fishing for ideas, would provide a pipeline to their childhood ears. ", "If there were an analogous CD which collected all the musical references that the Beatles toss off like so many punchlines to their unfinished songs, it would diagram their roots in British big band, skiffle, and trad jazz as much as in rock 'n' roll. ", "It shouldn't be surprising how some of the more arcane British sources feed into the Beatles' rock 'n' roll influences, but the wealth of references is dizzying.", "\n\n**_The Beatles as Musicians:_ Revolver _Through the_ Anthology**, by Walter Everett (Oxford University Press, 1999)\n\n**_The Beatles as Musicians: The Quarry Men Through_ Rubber Soul**, by Walter Everett (Oxford University Press, 2001). ", "Covered backwards in two volumes, Everett's study complements and extends Lewisohn's work, and will remain the key academic volume for some time. ", "If you're a theoiy teacher looking for a great way to introduce double plagal concepts to young ears, or just want to take a dip in the brisk yet healing waters of Schenkerian analysis, start here. ", "If you have no interest in theoiy, Everett still makes it worth your while: skim the technical language, and you're in for a rich narrative of detail and insight that enhances every other source.", "\n\n_**The Beatles Gear**_ , by Andy Babiuk (Backbeat Books, 2001). ", "Babiuk, a guitarist in Rochester's eminent Chesterfield Kings, details each of the Beatles' instruments, a serious document for guitar hounds and drummers alike.", "\n\n## **Web Sites**\n\nmillennium pop: a journal of popular culture \n<http://www.geocities.com/triley60/>\n\n## **Beatle Links**\n\n<http://www.beatlelinks.net/links/>\n\nOfficial Beatles Site \n<http://www.thebeatles.com>\n\nInternet Beatles Album \nwww.beatlesagain.com/\n\nBeatleworld \n<http://www.beatleworld.co.uk/disc.htm>\n\nBeatle Interview database \n<http://www.geocities.com/~beatleboyl/.html>\n\nThe Beatles Unlimited \n<http://www.beatles-unlimited.com/>\n\nBeatles Gear \n<http://www.beatlesfabgear.com>\n\nThe Beatles London News and Information Service \n<http://www.fabfour.addr.com/>\n\nThe Beatles Bootleg Exchange \n<http://www.beatlegs.org>\n\n# SELECTED BIBLIOGRAPHY\n\nThese are the chief sources for quotes, dates, and stories that this book is based upon; other rock books of note (Jon Landau's _It's Too Late to Stop Now_ , Robert Christgau's _Any Old Way You Choose It_ and _Record Guide_ , Dave Marsh's numerous manifesto-biographies and _Rolling Stone Record Guide_ , Simon Frith's _Sound Effects_ ) were reliable and influential reference works for the larger contextual picture.", "\n\nBROWN, PETER, and STEVEN GAINES. _", "The Love You Make: An Insider's Story of the Beatles_. ", "McGraw-Hill, 1983. ", "Brown, the assistant who Lennon offhandedly immortalized in \"The Ballad of John and Yoko,\" plays down his strengths as an insider (slighting the remarkable scene of Ringo zooming around the Indy 500 in the middle of the night) and goes for the smut. ", "In the most notorious story, Paul dances between groupies in two opposite hotel rooms, ostensibly satisfying them both. ", "As a bestseller, it made pots of money and estranged Brown forever from the Beatles' inner circle; as a leftover tattle-tale epic, it grossly overestimates the audience's concern with the Beatles' private lives.", "\n\nCAMPBELL, COLIN, and ALLAN MURPHY. _", "Things We Said Today_. ", "Pierian Press, 1980. ", "This complete concordance of lyrics features the usual mistakes (from \"Gome Together\": \"hold you in his _armchair_ \"; from \"I've Got a Feeling\": \"everybody put the _fool_ down,\" overread as a coded Lennon swipe at Paul) and an arch critical essay on the Beatles' development of the idea of romanticism. ", "Handy if you want to see how many times they used the word \"blue.\"", "\n\nCARR, ROY, and TONY TYLER. _", "The Beatles: An Illustrated Record_. ", "Harmony, 1975. ", "A coffee-table pictorial account of their career, mapping all the Parlophone releases and accompanied by release dates, calendars, and full-size color reproductions of album covers. ", "The critical discussion is marginal: \"Getting Better\" and \"Fixing a Hole\" are said to be \"slow and fast versions respectively of the same song,\" and the \"White Album\" essay concludes vaguely: \"They were no longer invulnerable\"—to what?", "\n\nCASTLEMAN, HARRY, and WALTER J. PODRAZIK. _", "All Together Now: The First Complete Beatles Discography 1961–1975_. ", "Ballantine, 1975. ", "Along with its companion volume, _The Beatles Again_ , the most comprehensive listing of Beatles issues, including an index of songs both by and for others, the Beatles on film, British and American charts, and notorious misconceptions (like _The Beatles in Italy_ , collectors' fool's gold).", "\n\nCOLEMAN, RAY. _", "Lennon_. ", "McGraw-Hill, 1984. ", "Ray Coleman, a British pop-music journalist and friend of Lennon's, tells his story with enthusiasm and an obvious affection (which often spills into sentimental deification). ", "His chief source for this largely anecdotal biography was Cynthia Lennon. ", "More personally sympathetic than Davies or Norman, but less rigorous. ", "Reprints some of Len-non's early love letters to Cynthia from Hamburg, a zany postcard from America, several breakup exchanges between Paul and John, and a hilarious and complimentary rebuttal to Todd Rund-gren.", "\n\nDAVIES, HUNTER. _", "The Beatles: The Authorized Biography_. ", "McGraw-Hill, 1968; second edition, 1985. ", "With the first Beatles biography, Davies taught the world that the Beatles were not overnight sensations. ", "They complied with his interviews during the spring of 1967 and after _Pepper_ 's release, and his encounters include a revealing sketch of Lennon and McCartney composing \"With a Little Help from My Friends.\" ", "But the whole reads like one long Sunday magazine article. ", "For a journalist assembling facts and history, his account is only passable: he completely omits Lennon's introduction to Yoko at London's Indica Gallery in November 1966. ", "In describing their musical merits, his establishment frame of reference weakens his understanding of their significance.", "\n\nDAVID, EDWARD E. _The Beatles Book_. ", "Cowles, 1968. ", "Worth tracking down for reprints of famous statements from Nat Hentoff, Richard Goldstein (the _New York Times_ reviewer who panned _Sgt. ", "Pepper_ ), and Ralph J. Gleason. ", "Also Timothy Leary's \"Thank God for the Beatles,\" wherein he links their \"beat\" with the \"beatitudes,\" and two stiff William F. Buckley, Jr. columns, the first on Lennon's \"bigger than Christ\" statement, the second on the overwhelming response to the first. ", "Both shun pleasure, miscomprehending the Beatles' comic allure.", "\n\nDILELLO, RICHARD. _", "The Longest Cocktail Party_. ", "Playboy Press, 1972. ", "Tattle-tales from an office boy whose job included rolling joints and sending out for barrels of apples for press conferences. ", "Paperback Writer becomes flesh.", "\n\nEDITORS OF _R OLLING STONE_. _", "The Ballad of John and Yoko_. ", "Rolling Stone/Dolphin, 1982. ", "A durable collection of Lennon news and interviews that appeared in the pages of _Rolling Stone_ , as well as essays commissioned for the project: Robert Christgau and John Piccarella's \"Portrait of the Artist as a Rock & Roll Star\" is among the finest pieces on Lennon's life and art. ", "In addition, Lennon's impassioned defense of his peace concert (\"Have We All Forgotten What Vibes Are?\"), ", "Annie Leibovitz's last portraits, and a long, loving chapter of remembrances, everyone from Gerry (\"How Do You Do?\") ", "Marsden to Chuck Berry.", "\n\nEISEN, JONATHAN. _", "The Age of Rock_. ", "Random House, 1969. ", "Contains four Beatles essays from the intelligentsia (critic Joan Peyser, composer Ned Rorem, academics Richard Poirier and Wilfrid Mellers), whose highbrow tone makes even the better ideas sound removed from the listening—never mind dancing—experience.", "\n\n_____. _", "The Age of Rock, Volume Two_. ", "Random House, 1970. ", "A slim Beatles entry by J. Lawrence attempts an interpretation of _Abbey Road_ , but a terrific interview by R. Meltzer (by \"Andy Warhol\") and a 1965 Dylan interview by Nora Ephron and Susan Edmiston. ", "Beatles associations lace most of these commentaries.", "\n\nEPSTEIN, BRIAN. _", "A Cellarful of Noise_. ", "Pierian Press, 1984 (reprint). ", "Derek Taylor wrote this book, but he recaptures Epstein's voice perfectly.", "\n\nEVANS, MIKE. _", "The Art of the Beatles_. ", "Contemporary, 1984. ", "A discussion of the Beatles' ever-changing visual persona and the artists who worked on their album covers.", "\n\nFAST, JULIUS. _", "The Beatles: The Real Story_. ", "G. P. Putnam's Sons, 1968. ", "A slight, forgettable journalistic treatment for parents.", "\n\nFAWCETT, ANTHONY. _", "One Day at a Time_. ", "Grove Press, 1976. ", "Lennon's personal assistant recounts the years that span the breakup and the beginnings of Lennon's solo career. ", "Well written, a notch above the usual hatchet jobs such tag-alongs normally get.", "\n\nFULPEN, H. V. _The Beatles: An Illustrated Diary_. ", "Perigee, 1982. ", "A fan's testimonial, with an unfathomable amount of reproduced artifacts and calendar dates.", "\n\nGAMBACCINI, PAUL. _", "Paul McCartney in His Own Words_. ", "Flash, 1976. ", "Pop's great cute one tap-dances his way through interviews, with the occasional dash of insight.", "\n\nGARBARINI, VIC, and BRIAN CULLMAN, with Barbara Graustark. **_", "Strawberry Fields Forever: John Lennon Remembered_. ", "Bantam**, 1980. ", "Considering how maudlin such tributes are (cf. ", "the press clips in _A Tribute to John Lennon_ , Proteus, 1981), this collection proves worthwhile. ", "The introduction by Dave Marsh is an important statement; the quote from Robert Christgau's cover epiphany for the _Village Voice_ is likewise insightful. ", "But the genuine item is the reprint of Lennon's interview with _Newsweek_ in the fall of his death. ", "Although it overlaps with the ongoing _Playboy_ interview from the same period, it touches on many things that that interviewer either forgot to ask or John forgot to mention. ", "For these quotes alone, this rush-released death-profit book is worth hunting down in secondhand shops: \"We did it for a big tribe, because the communication is worldwide now. ", "But all we did is what musicians have been doing ever since the word go. ", "Ritualized dancing, a celebration of the seasons. ", "The Beatles were not other than society. ", "They were part of it. ", "The Beatles didn't lead, they were part of it.\"", "\n\nGILLETT, CHARLIE. _", "The Sound of the City_. ", "Pantheon, 1983. ", "As indispensable to the student of rock history as Grout is to the music major, and often as boring. ", "Detailed and thorough as this book is, it lacks spark in what some consider among the greatest stories ever told. ", "Because of the huge scope, Gillett's treatment of the Beatles (and of all major artists) is cursory, and although he brings several crucial critical points to light, he dismisses much of their work out of hand as self-absorbed and gratuitous. \"", "The Beatles . . . ", "had surprisingly little stylistic influence on other innovators,\" Gillett claims, affronting the truth. ", "As with his view of Elvis Presley, this is the purist's prerogative.", "\n\nHARRISON, GEORGE. _", "I Me Mine_. ", "Simon and Schuster, 1980. ", "Derek Taylor wrote this one too, although George contributed original drafts of songs, blow-by-blow commentary, and (with help from Jim Horn) brass charts for \"Bangla Desh.\"", "\n\nHOWLETT, KEVIN. _", "The Beatles at the Beeb, 62–65_. ", "Pierian Press, 1983, (reprint). ", "A companion to the series, now widely available on vinyl, with transcripts of interviews (Ringo mentions his \"Don't Pass Me By\" in 1963), complete song index (note: John sings \"Sit Right Down and Cry,\" not Paul), and dates of tapings and broadcasts. ", "Producer Terry Henebery describes a typical radio session: \"You had to crack the whip and get on the loudspeaker talk-back key quite a lot and say, 'Come on, chaps!' ", "They'd be lying over the floor, giggling. ", "And I can remember afternoons down at the BBC Paris Cinema Studio, where you were just looking at the clock, throwing your hands up in horror, thinking will they ever settle down? ", "Stop horsing about? ", "I mean people would go and get locked in the toilets and fool about. ", "They treated it as a fun thing but you were, at the end of the day, getting some nice material out of them.\"", "\n\nKESEY, KEN. _", "Demon Box_. ", "Viking, 1986. \"", "Now We Know How Many Holes It Takes to Fill the Albert Hall\" begins with the 1968 Apple Christmas party, Kesey and Hell's Angels in tow, during which John and Yoko appear in matching Santa suits to pass out gifts. ", "It ends with Lennon's assassination and the grim post-punk decay—the best written tribute.", "\n\nLAING, DAVID. _", "The Sound of Our Time_. ", "Quadrangle, 1969. ", "Laing traces rock back to its folk sources and the subsequent demise of the Tin Pan Alley monopoly, and incorporates Jean-Paul Sartre's bleak theory of pop: \"The Hit Parade itself is held up to the individual listener as the mirror of the authentic preferences of the People . . . ", "and [the listener] is invited to identify with them by participating and buying a disc. ", "In fact, however, [the listener] will only be acting like thousands of other isolated record buyers subjected to the same persuasion.\" \"", "Notes on a Study of the Beatles\" charts the growth of metaphysical issues in songs like \"She Said She Said\" and especially \"Love You To.\"", "\n\nLEIGH, SPENCER (with charts by Pete Frame). _", "Let's Go Down the Cavern_. ", "London: Vermilion, 1984. ", "An articulate and enthusiastic account of the Liverpool beat pre- and post-Beatlemania. ", "Leigh lets the originals have their say about their role in pop history, and the chronologies give a good understanding of the musical turf the Beatles rose up through. ", "Several good Lennon stories to boot.", "\n\nLENNON, JOHN. _", "The Lennon Tapes_. ", "Jolly and Barber, 1981. ", "Andy Peebles' fated final interview of December 6, 1980.", "\n\nLEWISOHN, MARK. _", "The Beatles Live!_. ", "Henry Holt and Company, 1986. ", "As Lewisohn persuasively demonstrates, it took countless live performances before the Beatles even began to dream up studio artistry. ", "As well-researched and documented an account of their early years as seems possible, with revisionary aims (sorting out when John met Paul, and who played drums on \"Love Me Do\") and extensive repertoire notes.", "\n\nMCCABE, PETER. _", "Apple to the Core_. ", "Pocket Books, 1972. ", "A sobering account of the business and legal interests that imbue both \"You Never Give Me Your Money\" and \"Golden Slumbers.\"", "\n\nMARCUS, GREIL. _", "Mystery Train_. ", "E.P. Dutton, 1982. ", "Still the last word on the history of rock and the values on which it rests. ", "Marcus circles around the Beatles rather than taking them on, but their heritage according to \"Presliad,\" the remarkable chapter on Elvis, has never been more lovingly drawn.", "\n\nMARTIN, GEORGE. _", "All You Need Is Ears_. ", "St. Martin's Press, 1979. ", "This firsthand account is strewn chronologically and contains more information about Martin's career than seems necessary, but it provides useful information regarding the use of the newfangled (now standard) Dolby noise reduction system during the _Pepper_ sessions, and Martin's unconscionable treatment by EMI.", "\n\nMELLERS, WILFRID. _", "Twilight of the Gods: The Music of the Beatles_. ", "Schirmer, 1975. ", "Even when Mellers admits \"the Beatles cannot have known this,\" he insists on interpreting their music through the written classical heritage (functional harmonies, key symbolism, and primitive dance mythologies), which leads to confounding interpretations and overstated (i.e., indecipherable) logic. ", "Unimpressive to the musically literate and seemingly out of reach to everyone else.", "\n\nMELTZER, R. _The Aesthetics of Rock_. ", "Something Else Press, 1970. ", "Crisscrossing allusions to the fever at the Shea Stadium concert, this uproarious (mock-?) ", "philosophical \"history\" of rock is riddled with Beatle insights, from the essential co-dependency of overstatement and triviality to \"I Should Have Known Better\" as lover's conquest. ", "Sample: \"The single-note fadeout of more than 40 seconds that follows a crescendo of equally unaccustomed non-rock harshness on . . . '", "A Day in the Life' is the biggest musical reference point of them all. . . . ", "The inclusion of this sort of thing on a record that will be distributed throughout the whole goddam world goes beyond anything Cage or any of those guys were ever in any position to do with the music-sound of the whole sound totality of the whole thing, officially decisively ending all art-non-art/music-noise distinctions forever, or until somebody forgets.\"", "\n\nMILLER, JIM, ED. _", "The_ Rolling Stone _Illustrated History of Rock 'n' Roll_. ", "Rolling Stone Press, 1976. ", "The bible for anyone interested in a general introduction to critics and their various styles. ", "Greil Marcus's Beatles entry has been quoted often here and is probably the best single critical bio around.", "\n\nNORMAN, PHILIP. _", "Shout!: ", "The Beatles in Their Generation_. ", "Warner Books, 1982. ", "A better book than Davies's because it makes more of the Beatles' beginnings and doesn't mince words when it comes to Hamburg; a weak book because he's essentially against them from the start. ", "His distaste for a lot of their music dispels interest almost immediately, and his powers of description are far from illustrative. ", "He makes the whole story sound lucky, as though they never had any talent to begin with, and aren't excused for being human.", "\n\nO'GRADY, TERENCE J. _The Beatles: A Musical Evolution_. ", "Twayne, 1983. ", "Expanding a doctoral thesis from the University of Wisconsin, O'Grady insists on taking the Beatles apart in academic terms, analyzing what they did even more intensively than Mellers, with all the attendant humdrum terminology. ", "A one-dimensional approach considering their musical scope; all too often short on lyrical interpretation in favor of harmonic boasting. \"", "While the song's meaning is not clarified,\" he writes of \"A Day in the Life,\" \"its uniqueness is underlined in an extraordinarily graphic way.\" \"", "Happiness is a Warm Gun\" gets two sentences. ", "Beware: lots of factual errors (Capitol editions) and oversimplified musical notation.", "\n\nOKUN, MILTON. _", "The Compleat Beatles_ , Volumes I and II (with commentary, discographies, filmographies). ", "Delilah, 1981. ", "Because rock is an oral medium, writing it down is tricky business, especially for players of all levels. ", "Okun has transcribed pop tunes to song sheets for ages ( _Great Songs of the Sixties_ and _Seventies_ ), but his piano-minded approach cheats guitarists of the goods, especially in songs like \"Across the Universe\" and \"And Your Bird Can Sing.\" ", "The best we've got, but still loaded with mistakes and clumsy problem solving: \"I Feel Fine\" is clearly in G major with blue notes (flat third and seventh), not \"mixolydian mode,\" as Okun suggests; the omission of the opening chord to \"A Hard Day's Night\" strips the song of its immediacy; the spacing nuances of the background harmonies are lost in \"The Night Before\" and \"You're Going to Lose That Girl\"; and the guitar intro to \"Drive My Car\" is misplaced rhythmically. ", "Considering the absence of drum patterns, guitar ornaments, and studio effects, Okun's transcriptions are even more skeletal than standard musical notation. ", "His essay on the music betrays a lack of understanding of the Beatles' overall recording accomplishments. (", "All the harmonic keys to songs are quoted from Okun even when it gets sticky—e.g., \"You Can't Do That,\" which the band played in G but slowed on tape to sound in G-flat, as it did with \"Mr. Moonlight.\") ", "Anyone else out there for full-score transcriptions?", "\n\nREINHART, CHARLES. _", "You Can't Do That: Beatles Bootlegs and Novelty Records_. ", "Contemporary Books, 1981. ", "A richly detailed and inevitably incomplete listing of bootlegs, remarkable in scope and impressive in particulars. ", "Includes indexes of bootlegs as well as counterfeits, novelties, and Lennon tribute issues.", "\n\nSALEWICZ, CHRIS. _", "McCartney_. ", "St. Martin's Press, 1986. ", "At 250 pages the best biographical account of the band yet and a believable view of Paul, intelligent and fair. ", "Everything you need to know in an engaging style, sympathetic but probing, generous and accurate. ", "Top prize for correct Lennon-McCartney meeting date: July 6, 1957\n\nSCHAFFNER, NICHOLAS. _", "The Beatles Forever_. ", "McGraw-Hill, 1977. ", "A fan's companion, with inside scoops on radical interpretations (wood as a symbol for marijuana in \"Norwegian Wood\"?) ", "and song sources (the lyrics to Harrison's \"The Inner Light\" were \"pinched almost verbatim from a Japanese poem by Roshi, translated by R.H. Bluth\"), even though Schaffner is at his critical best on the solo careers. ", "Includes scads of pictures, memorabilia, record and concert dates.", "\n\nSHEFF, DAVID, and G. BARRY GOLSON. _", "The Playboy Interviews with John Lennon and Yoko Ono_. ", "Berkley Books, 1981. ", "Indispensable last interview which touches on virtually all phases of Lennon's life, including a lengthy section covering songs blow-by-blow.", "\n\nSTOKES, GEOFFREY. _", "The Beatles_. ", "Rolling Stone/Times Books, 1980. ", "A preferably shorter version of Davies and Norman, with a more sympathetic (counterculture) frame of reference, elegantly designed by Bea Feitler.", "\n\nTAYLOR, DEREK. _", "As Time Goes By_. ", "Pierian Press, 1983 (reprint). ", "Former Brian Epstein/Byrds/Apple publicist Derek Taylor, a dreamy gonzo journalist with English gentility intact, reflects on the psychedelic years with a fondness that verges on patronization.", "\n\n_____. _", "It Was Twenty Years Ago Today_. ", "Fireside, 1987. ", "Eyes on the calendar (and the compact disc reissue campaign), Taylor reminisces on the drugs, religion, activism, hype . . . ", "and music of the summer of love. ", "Reprints artifacts like the \"Mr. Kite\" circus poster and \"A Day in the Life\" newspaper article.", "\n\nWEINBERG, MAX. _", "The Big Beat_. ", "Contemporary, 1984. ", "Bruce Springsteen's drummer talks to the greats, takes some ribbing, hears some tall tales (mostly from Bernard Purdy), and swaps secrets about the classics. ", "Most of the Ringo quotes come from this book.", "\n\nWENNER, JANN. _", "Lennon Remembers_. ", "Popular Library, 1982. ", "Indispensable (again) 1970 interview wherein Lennon angrily recounts his disillusion with his band's demise, reminisces about his rock 'n' roll heroes, recounts his recent work with Phil Spector, and airs probing internal questions that must have sent Paul reeling.", "\n\nWIENER, JON. _", "Come Together: John Lennon in His Time_. ", "Random House, 1984. ", "Wiener's persistence in tracking down the Lennon papers won him boxes of security data tracing the FBI's surveillance of John and Yoko during the early seventies, and as a peacenik Lennon is drawn here as an unsuspecting Utopian. ", "He was really more of a self-mocking media artist, whose best ideas leave Wiener at a loss for coherent musical criticism.", "\n\nWILLIAMS, ALLAN. _", "The Man Who Gave the Beatles Away_. ", "Macmillan, 1974. ", "It looks like Williams will spend his days living out his own epitaph rather than living it down. ", "He's still available for interviews and tours, and not many would be surprised if he wrote yet another book about it all.", "\n\n# ACKNOWLEDGMENTS\n\nHuzzahs and hoorahs first of all to Barbara Carlson, with bows to musicians Eloise Ristad, Doris (and her brother Eugene Pridonoff) Leh-nert, Tony Lee, Duane Staggers, Ron Revier, and Cecil Effinger—Boulderite teachers with the mostest. ", "Broad cheers to Bob Johnson (a deep, majestic bow), Father Marion Hammond (the rafters are shaking), and of course all the Moores and Evergreen's own Kamikazees (encore, encore!). ", "Uproarious applause for supportive rockcrits Gil Asakawa and Leland Rucker; loud clamors from the gallery for Carol Hoffman, and Katie and Jake Culbertson, Joseph Schwartz, Tom Linehan, John Harvith, James Hepokoski, Dewey Ganzel and Obies all, especially upstarts Dave Periera and Debbie Zeller, and a legion of early morning television stars.", "\n\nSteve Braun and Sean Kirst read early proposal drafts; they win a free drink each (guffaws and loud retorts); the steadfast Robert Freeman and Jon Engberg receive sustained ovations, while Rebecca Pen-neys and John Baldo summon whistles, hoots, and hollers. ", "Cheers and exclamations for influential mentor Richard Gollin, at the University of Rochester's Film Studies Program. ", "Standing ovation for Paul Burgett.", "\n\nEnter an epic PaGodal procession: Pat Crumpley, Eric Davidson, Maria Lambros, Paul Ousley, Joe Patchen, Jeremy Pick, and Michael Rose not only debate aesthetic issues into the ground, they toot little paper horns and sport napkins atop their heads (bawdy songs, robust laughter).", "\n\nIn England, gratitude is due to all the Wilsons at BESGL in London, and the following Beatles people: Debbie Geller, Bob Woofinden, Simon Frith, Bill Harry, Chris Salewicz, Dave Laing, Jon Tobler, Tony Barrow, and Andy Peebles and Kevin Howlett at the BBC (who stayed late to talk through the entire discography). ", "In Liverpool: Spenser-Leigh, Peter Trollop at the _Echo_ , and beat drummer John Cochrane.", "\n\nRobert Christgau's rock history course at the School for Visual Arts in January of 1986 provided a polemical slant on the business of pop over forty years. ", "Dave Marsh talked passionately to me about \"She Loves You\" 's definitive rock 'n' roll greatness. ", "Mark Lewisohn and Greil Marcus wrote encouraging letters of interest, and Don Giller, a musi-cological Beatlehead, spent long afternoons taping me bootlegs and talking turkey.", "\n\nAt Bodley Head, Chris Holifield and her staff were both patient and gracious (lengthy accolades), and Abner Stein let me use his phone and bought me lunch.", "\n\nRobert Cornfield offered to handle the proposal, and Robert Gottlieb acted swiftly and encouragingly (gasps of astonishment). ", "Adam Gopnik, an inquisitive and empowering editor, helped shape much of the large structure and edited with taste and finesse (beaming accolades). ", "Lee Goerner saw the book through production, and deflated a lot of frustration with his easy laugh; Roane Carey carefully supervised the copyedit to completion. ", "Patrick Dillon, a scrupulous copyeditor, gave the manuscript an extremely close reading—and the Beatles a close new listening—that sent me back to my sources and had me rethinking major points. ", "Marysarah Quinn came up with the handsome design, Chip Kidd conceived a subtly engaging cover, Marisa Christoforou tracked down numerous copyright permissions, Max Cantor hunted down corrections for the Vintage edition, and both Mary Maguire and Jane Ziegelman were cheerfully helpful throughout (GOO GOO GOO JOOB).", "\n\nFinally, effusive praise and sympathies to my family (Ann, Jenny, Laurie, Cathy, Nancy, Con, Grammy, and, of course, Julie), without whom.", "\n\nTim Riley\n\nJune 1987\n\nBoston\n\n# PERMISSIONS ACKNOWLEDGMENTS\n\nGrateful acknowledgment is made to the following for permission to reprint previously published material:\n\n_ABKCO Music, Inc.:_ Excerpt from \"Street Fighting Man.\" ", "Words and music by Mick Jagger and Keith Richards. ", "Copyright © 1968 by ABKCO Music, Inc. Reprinted by permission. ", "All rights reserved.", "\n\n_BBC Enterprises Ltd.:_ Excerpt from _The Lennon Tapes_ as interviewed by Andy Peebles. ", "Reprinted by permission of BBC Enterprises Ltd.\n\n_Chappell & Co., Inc.:_ Excerpt from \"Matchbox\" by Carl Perkins. ", "Copyright © 1957 by Knox Music Inc. Copyright renewed. ", "All rights administered by Unichappell Music Inc. International copyright secured. ", "All rights reserved. ", "Reprinted by permission.", "\n\n_Columbia Pictures Publications:_ Excerpt from \"Please Mr. Postman\" by Brianbert, F. Gorman, G. Dobbins, and W. Garreft. ", "Copyright © 1961, 1962, 1964, 1968 by Jobete Music Co., Inc., Hollywood, CA 90028. ", "Excerpt from \"Mr. Moonlight\" by R. L. Johnson. ", "Copyright © 1962 by Low-ery Music Co., Inc. Rights in the open market administered by International Music Publications, Essex. ", "Excerpt from \"You've Really Got A Hold on Me\" by W. \"Smokey\" Robinson. ", "Copyright © 1962 by Jobete Music Co., Inc. Excerpt from \"Money (That's What I Want)\" by Gordy-Bradford. ", "Copyright © 1959 by Jobete Music Co., Inc. International copyright secured. ", "Made in the U.S.A. All rights reserved. ", "Reprinted by permission.", "\n\n_Gil Music Corporation:_ Excerpt from \"I Saw Her Standing There\" by John Lennon and Paul McCartney. ", "Copyright © 1963 by Northern Songs Ltd., London, England. ", "Excerpt from \"Misery\" by John Lennon and Paul McCartney. ", "Copyright © 1963 by Northern Songs Ltd., London, England. ", "Excerpt from \"From Me to You\" by John Lennon and Paul McCartney. ", "Copyright © 1963 by Northern Songs Ltd., London, England. ", "Excerpt from \"She Loves You\" by John Lennon and Paul McCartney. ", "Copyright © 1963 by Northern Songs Ltd., London, England. ", "Rights for the U.S.A. and Canada controlled by Gil Music Corp., New York, NY. ", "Rights in the open market administered by SRK Songs Ltd., London, England. ", "Reprinted by permission.", "\n\n_Harrisongs Ltd.:_ Excerpt from \"Something\" by George Harrison. ", "Copyright © 1969 by Harrisongs Ltd. Excerpt from \"Old Brown Shoe\" by George Harrison. ", "Copyright © 1969 by Harrisongs Ltd. Excerpt from \"While My Guitar Gently Weeps\" by George Harrison. ", "Copyright © 1968 by Harrisongs Ltd. Excerpt from \"All Those Years Ago\" by George Harrison. ", "Copyright © 1981 by Ganga Publishing BV. ", "Reprinted by permission.", "\n\n_Isalee Music Co.:_ Excerpt from \"Johnny B. Goode\" by Chuck Berry. ", "Copyright © 1958 by ARC Music Corp. Copyright renewed and assigned to Isalee Music Co. Rights in Canada and the open market excluding the United States administered by ARC Music Corp. Reprinted by permission. ", "All rights reserved.", "\n\n_The Lowery Group:_ Excerpt from \"Mr. Moonlight\" by Roy Lee Johnson. ", "Copyright © 1962 by Lowery Music Co., Inc., Atlanta, GA, U.S.A. International copyright secured. ", "All rights reserved. ", "Reprinted by permission.", "\n\n_MCA Music, Inc.:_ Excerpt from \"I Want to Hold Your Hand.\" ", "Words and music by John Lennon and Paul McCartney. ", "Copyright © 1963 by Northern Songs Ltd., London, England. ", "Rights in the U.S.A. and Canada administered by Music Corporation of America, Inc., New York, NY 10019. ", "Rights in the open market administered by SBK Song Ltd., London, England. ", "Reprinted by permission. ", "All rights reserved.", "\n\n_MPL Communications Inc.:_ Excerpt from \"Words of Love\" by Buddy Holly. ", "Copyright © 1957 by MPL Communications, Inc. Copyright renewed 1985 by MPL Communications, Inc. International copyright secured. ", "All rights reserved. ", "Reprinted by permission.", "\n\n_Painted Desert Music Corporation:_ Excerpt from \"Anna (Go to Him).\" ", "Music and lyrics by Arthur Alexander. ", "Copyright © 1962 by Painted Desert Music Corp., New York. ", "Copyright renewed. ", "Used by permission.", "\n\n_The Putnam Publishing Group:_ Excerpts from _The Playboy Interviews with John Lennon and Yoko Ono_ by David Sheff and Barry G. Golson. ", "Copyright © 1981 by _Playboy_. ", "Excerpts from _Paul McCartney in His Own Words_ by Paul Gambaccini. ", "Copyright © 1976 by Flash Books. ", "Reprinted by permission of The Putnam Publishing Group. ", "Rights in the open market to reprint from _Paul McCartney in His Own Words_ by Paul Gambaccini administered by Omnibus Press, 8/9 Frith Street, London wiv 5tz. ", "Reprinted by permission.", "\n\n_St. Martin's Press Inc.:_ Excerpts from _All You Need Is Ears_ by George Martin. ", "Copyright © 1982 by George Martin. ", "Rights in Canada and the open market administered by Macmillan London Ltd. Reprinted by permission.", "\n\n_SBK Entertainment World:_ Excerpt from \"Long Tall Sally\" by Richard Penniman, Enotris Johnson and Robert Blackwell. ", "Copyright © 1956, renewed 1984 by ATV Music Corp. All rights controlled and administered by Blackwood Music Inc. under license from ATV Music (Venice). ", "All rights reserved. ", "International copyright secured. ", "Reprinted by permission. \"", "Do You Want to Know a Secret?\" ", "by John Lennun/Paul McCartney © 1963 Northern Songs Ltd. Rights assigned to SBK Catalogue Partnership. ", "All rights controlled and administered by SBK UNART CATALOG INC. ", "All rights reserved. ", "International copyright secured. ", "Used by permission. \"", "I Call Your Name\" by John Lennon/Paul McCartney © 1963 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maclen). \"", "Things We Said Today\" by John Lennon/Paul McCartney, \"Tell Me Why\" by John Lennon/Paul McCartney, \"Any Time at All\" by John Lennon/Paul McCartney, \"If I Fell\" by John Lennon/Paul McCartney, \"A Hard Day's Night\" by John Lennon/Paul McCartney, \"I Don't Want to Spoil the Party\" by John Lennon/Paul McCartney, \"Every Little Thing\" by John Lennon/Paul McCartney, \"Baby's in Black\" by John Lennon/Paul McCartney, \"I'm a Loser\" by John Lennon/Paul McCartney, \"No Reply\" by John Lennon/Paul McCartney, \"She's a Woman\" by John Lennon/Paul McCartney, \"Eight Days a Week\" by John Lennon/Paul McCartney, \"I'll Be Back\" by John Lennon/Paul McCartney © 1964 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maclen). \"", "It Won't Be Long\" by John Lennon/Paul McCartney, \"I'll Get You\" by John Lennon/Paul McCartney © 1963, 1964 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maclen). \"", "All I've Got to Do\" by John Lennon/Paul McCartney © 1961, 1964 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "You Can't Do That\" by John Lennon/Paul McCartney, \"I'm Happy Just to Dance with You\" by John Lennon/Paul McCartney, \"Not a Second Time\" by John Lennon/Paul McCartney © 1964, 1967 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Help!\" ", "by John Lennon/Paul McCartney, \"The Night Before\" by John Lennon/Paul McCartney, \"You've Got to Hide Your Love Away\" by John Lennon/Paul McCartney, \"Ticket to Ride\" by John Lennon/Paul McCartney, \"Yes It Is\" by John Lennon/Paul McCartney, \"Yesterday\" by John Lennon/Paul McCartney, \"Drive My Car\" by John Lennon/Paul McCartney, \"Norwegian Wood (This Bird Has Flown)\" by John Lennon/Paul McCartney, \"Girl\" by John Lennon/Paul McCartney, \"I'm Looking Through You\" by John Lennon/Paul McCartney, \"In My Life\" by John Lennon/Paul McCartney, \"Wait\" by John Lennon/Paul McCartney, \"Run for Your Life\" by John Lennon/Paul McCartney, \"Day Tripper\" by John Lennon/Paul McCartney © 1965 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "I've Just Seen a Face\" by John Lennon/Paul McCartney © 1965, 1967 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "You Won't See Me\" by John Lennon/Paul McCartney © 1965, 1974 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Paperback Writer\" by John Lennon/Paul McCartney, \"Rain\" by John Lennon/Paul McCartney, \"Eleanor Rigby\" by John Lennon/Paul McCartney, \"I'm Only Sleeping\" by John Lennon/Paul McCartney, \"Here, There and Everywhere\" by John Lennon/Paul McCartney, \"She Said She Said\" by John Lennon/Paul McCartney, \"And Your Bird Can Sing\" by John Lennon/Paul McCartney, \"For No One\" by John Lennon/Paul McCartney, \"Dr. Robert\" by John Lennon/Paul McCartney, \"Tomorrow Never Knows\" by John Lennon/Paul McCartney © 1966 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maclen). \"", "Penny Lane\" by John Lennon/Paul McCartney, \"Strawberry Fields Forever\" by John Lennon/Paul McCartney © 1967 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maclen). ", "International copyright secured. \"", "Sgt. ", "Pepper's Lonely Hearts Club Band\" by John Lennon/Paul McCartney, \"With a Little Help from My Friends\" by John Lennon/Paul McCartney, \"Lucy in the Sky with Diamonds\" by John Lennon/Paul McCartney, \"Fixing a Hole\" by John Lennon/Paul McCartney, \"She's Leaving Home\" by John Lennon/Paul McCartney, \"Within You Without You\" by George Harrison, \"When I'm Sixty-four\" by John Lennon/Paul McCartney, \"Lovely Rita\" by John Lennon/Paul McCartney, \"Good Morning, Good Morning\" by John Lennon/Paul McCartney, \"A Day in the Life\" by John Lennon/Paul McCartney, \"All You Need Is Love\" by John Lennon/Paul McCartney, \"Baby, You're a Rich Man\" by John Lennon/Paul McCartney, \"I Am the Walrus\" by John Lennon/Paul McCartney, \"The Fool on the Hill\" by John Lennon/Paul McCartney © 1967 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "I'm So Tired\" by John Lennon/Paul McCartney, \"It's All Too Much\" by George Harrison © 1968, 1969 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Hey Jude\" by John Lennon/Paul McCartney, \"Revolution\" by John Lennon/Paul McCartney, \"Dear Prudence\" by John Lennon/Paul McCartney, \"Glass Onion\" by John Lennon/Paul McCartney, \"Happiness Is a Warm Gun\" by John Lennon/Paul McCartney, \"Rocky Raccoon\" by John Lennon/Paul McCartney, \"Birthday\" by John Lennon/Paul McCartney, \"Yer Blues\" by John Lennon/Paul McCartney, \"Everybody's Got Something to Hide, Except Me and My Monkey\" by John Lennon/Paul McCartney, \"Honey Pie\" by John Lennon/Paul McCartney, \"Lady Madonna\" by John Lennon/Paul McCartney, \"Across the Universe\" by John Lennon/Paul McCartney © 1968 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Two of Us\" by John Lennon/Paul McCartney, \"Get Back\" by John Lennon/Paul McCartney, \"Don't Let Me Down\" by John Lennon/Paul McCartney, \"The Ballad of John and Yoko\" by John Lennon/Paul McCartney © 1969 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Come Together\" by John Lennon/Paul McCartney, \"Oh! ", "Darling\" by John Lennon/Paul McCartney, \"You Never Give Me Your Money\" by John Lennon/Paul McCartney, \"Sun King\" by John Lennon/Paul McCartney, \"Mean Mr. Mustard\" by John Lennon/Paul McCartney, \"Golden Slumbers\" by John Lennon/Paul McCartney, \"Carry That Weight\" by John Lennon/Paul McCartney, \"The End\" by John Lennon/Paul McCartney © 1969 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "I Dig a Pony\" by John Lennon/Paul McCartney, \"I've Got a Feeling\" by John Lennon/Paul McCartney, \"One After 909\" by John Lennon/Paul McCartney © 1970 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "I Need You\" by George Harrison © 1965, 1966 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "If I Needed Someone\" by George Harrison, \"Love You To\" by George Harrison, \"Taxman\" by George Harrison © 1966, 1967 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "I Want to Tell You\" by George Harrison, \"The Inner Light\" by George Harrison © 1966, 1968 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Mother\" by John Lennon, \"Remember\" by John Lennon, \"God\" by John Lennon, \"How Do You Sleep?\" ", "by John Lennon © 1971 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"", "Instant Karma\" by John Lennon © 1970 Northern Songs Ltd. All rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (Maden). \"(", "Just Like) Starting Over\" by John Lennon © 1980 Lenono Music. ", "All rights controlled and administered by Blackwood Music Inc. All rights reserved. ", "International copyright secured. ", "Used by permission.", "\n\n_Screen Gems-EMI Music, Inc.:_ Excerpt from the lyrics to \"Twist and Shout\" by Bert Russell and Phil Medley. ", "Copyright © 1960, 1964 by EMI Music Publishing Ltd. and Unichappell Music. ", "All rights for U.S. and Canada controlled by Screen Gems-EMI Music, Inc.\n\n_Slow Dancing Music, Inc.:_ Excerpt from \"Devil In Her Heart.\" ", "Copyright © 1962 by Slow Dancing Music, Inc. Reprinted by permission.", "\n\n_Times Books, A Division of Random House, Inc.:_ Excerpt from _The Sound of Our Time_ by David Laing. ", "Reprinted by permission.", "\n\n# ABOUT THE AUTHOR\n\nTim Riley's commentary on pop culture and classical music has appeared in the _Washington Post, Boston Magazine_ , the _Boston Phoenix, Salon_ , and _Feed_ , He is the author of _Hard Rain: A Dylan Commentary_ and _Madonna: Illustrated_ , and the publisher of _millennium pop_ , an online journal about popular culture (at <http://www.geocities.com/triley60>). ", "His commentary appears regularly on National Public Radio's \"Here and Now.\"", "\n\n# Index\n\n_Abbey Road,_ \nAcorns for Peace campaign \n\"Across the Universe\" \n\"Act Naturally\" \nAlexander, Arthur \n\"All Along the Watchtower\" \n\"All I've Got to Do\" \n\"All My Loving\" \n\"All Things Must Pass\" \n _All Things Must Pass (Harrison)_ \n\"All Those Years Ago\" \n\"All Together Now\" \n _All Together Now (Castleman and_ \nPodrazik) \n\"All You Need Is Love\" \n\"Almost Grown\" \nAlston, Shirley \n\"Amsterdam\" \n\"And I Love Her\" \n\"And Your Bird Can Sing\" \n\"Angel Baby\" \n\"Anna (Go to Him)\" \n\"Another Day\" \n\"Another Girl\" \n\"Any Time at All\" \nApple Corps Ltd., * . ", " \nApple label, \n\"Apple Scruffs\" \n\"Art of Dying, The\" \n\"As Tears Go By\" \nAsher, Jane, \n\"Ask Me Why\" \nAssociated Television Corporation \nAstaire, Fred \n _At Carnegie Hall (Chicago),_ \nAtlantic label \n\"Average Person\" \nAxton, Hoyt \nAykroyd, Dan \n\"Baby Don't Get Hooked on Me\" \n\"Baby It's You\" \n\"Baby Let's Play House\" \n\"Baby, You're a Rich Man\" \n\"Baby's in Black\" \n\"Baby's Request\" \n\"Baby's Sweetheart\" \nBach, Barbara \nBach, Johann Sebastian \nBacharach, Burt \n _Back to the Egg (McCartney),_ \n\"Back Off Bugaloo\" \n _Back to School (film)_ \n\"Back Seat of My Car\" \n\"Back in the U.S.S.R.\" \n\"Bad Boy\" \n _Bad Boy (Starr),_ \nBadfinger, \nBaez, Joan, \n\"Ballad of John and Yoko, The\" \n _Ballad of John and Yoko, The_ \n(Editors of Rolling Stone), \n\"Ballad of Sir Frankie, The (Let It \nRoll)\" \n\"Ballad of a Thin Man\" \n\"Ballroom Dancing\" \n\"Baltimore Oriole\" \nBand, the \n\"Band on the Run\" \n _Band on the Run (McCartney)_ \n\"BanglaDesh\" \nBangles, the \nBarrett, Richie, \n_Basement Tapes (Dylan)_ \nBateman, Robert \nBBC \n\"BeBopaLula\" \n\"Be My Baby\" \nBeach Boys, \n_Beach Boys' Party!_ ", " \n _Beatles, The (\"White Album \")_ \n _Beatles, The: The Authorized_ \n _Biography (Davis)_ \n _Beatles for Sale_ \n _Beatles_ \n _Beaucoups of Blues (Starr)_ \n\"Beautiful Boy\" \n\"Beautiful Boys\" \n\"Beautiful Dreamer\" \n\"Because\" \nBeck, Jeff \nBee Gees \nBeethoven, Ludwig van \n _Beggars Banquet (Rolling Stones)_ \n\"Being for the Benefit of Mr. Kite!\" ", " \nBerlin, Irving \nBernstein, Leonard \nBerry, Chuck \n\"BesameMucho\" \nBest, Mona \nBest, Pete \n\"Beware of Darkness\" \n\"Beware My Love\" \nBig Three \n\"Birthday\" \n _Black Dwarf (periodical)_ \n\"Blackbird\" \nBlake, Peter \n_Blast from Your Past (Starr)_ \n\"Bless You\" \n\"Blindman\" \n _Blonde on Blonde (Dylan)_ \n _Blood and Chocolate (Costello)_ \n _Blood on the Tracks (Dylan)_ \n\"Blue Jay Way\" \n\"Blue Moon of Kentucky\" \n\"Blue Skies\" \n\"Blue Suede Shoes\" \n\"Blue Turning Grey Over You\" \n\"Bluebird\" \nBolan, Marc \nBonn, Issy \n\"Bony Maronie\" \n_Book of Rock Lists, The (Swenson)_ \n_Born to Boogie (film)_ \n _Born to Run (Springsteen)_ \n\"Born in the U.S.A.\" \n _Born in the U.S.A. (Springsteen)_ \nBowie, David \n\"Boys\" \nBradford, Janie \n _Brazil (film)_ \n\"Bring It on Home to Me\" \n _Bringing It All Back Home (Dylan)_ \nBrown, James \nBrown, Peter \nBrowne, Jackson \nBruce, Lenny \nBuckley, William F., Jr. \nBurnett, TBone \nBurnette, Johnny \n\"Burning Love\" \n\"Bye Bye Johnny\" \nByrds\n\n\"C Moon\" \nCage, John \n\"California Girls\" \n\"Call Me Back Again\" \n\"Cambridge \" \nCampbell, Colin \n\"Can She Do It Like She Dances\" \nCandlestick Park (San Francisco) \n\"Can't Buy Me Love\" \nCapitol Records \nCarmen, Eric \nCarnegie Hall (New York) \n\"Carol\" \n\"Carolina in My Mind\" \nCarr, Roy \nCarroll, Lewis \n\"Carry That Weight\" \nCasbah Club (Liverpool) \nCastleman, Harry \n\"Cathy's Clown\" \nCavern Club (Liverpool), \n\"Chains\" \nCharles, Prince \nCharles, Ray \nChase, Chevy \nCheap Trick \nChicago \nChiffons \nChristgau, Robert, . ", "L \nChurchill, Winston \nCivil, Alan \nClapton, Eric \nClash, The \n\"Cleanup Time\" \n _Cloud Nine (Harrison)_ \nCoasters \nCochran, Eddie \nCocker, Joe \n\"Cold Turkey\" \nCole, Nat King \nColeman, Ray \n _Collection of Beatles Oldies, A_ \nCollins, Phil \n\"Come and Get It\" \n\"Come Together\" \n\"Coming Up\" \n _Concert for BanglaDesh, The_ \n(Harrison) \n _Concert for the People of_ \n _Kampuchea (McCartney)_ \n\"Continuing Story of Bungalow Bill, The\" \n\"Cook of the House\" \nCooke, Sam \nCooper, Alice \nCostello, Elvis \nCott, Jonathan \n\"Country Honk\" \n\"Crackerjack Palace\" \nCrickets \n\"Crippled Inside\" \nCrosby, Stills, and Nash \nCrosby, Stills, Nash, and Young \n\"Crossroads Theme\" \nCrudup, Arthur \n\"Cry Baby Cry\" \n\"Crying, Waiting, Hoping\" \nCrystals\n\n\"Da Doo Ron Ron\" \nDaltrey, Roger \n\"Danny Boy\" \n _Dark Horse (Harrison)_ \n\"Darling, JeVousAimeBeaucoup\" \nDavid, Hal \nDavid, Edward E. \nDavies, Hunter \nDavis, Mac \nDay, Doris \n\"Day in the Life, A\" \n\"Day That the World Gets Round, The\" \n\"Day Tripper\" \n _Days of Future Passed (Moody_ \nBlues) \n\"Daytime Nighttime Suffering\" \n\"Dear Boy\" \n\"Dear Friend\" \n\"Dear Landlord\" \n\"Dear Prudence\" \nDecca Records \n\"Deccagone Sessions, The\" \nDekker, Thomas \nDemocratic National Convention \n(Chicago,) \nDenver, John \nDerek and the Dominos \nDerry and the Seniors \n\"Devil in Her Heart\" \nDickens, Charles \n\"Dig a Pony\" \n\"Dig It\" \nDiLello, Richard \nDixon, Luther \n\"Dizzy Miss Lizzie\" \n\"Do It Again\" \n\"Do You Want to Know a Secret\" \nDr. Feelgood and the Interns \n\"Doctor Robert\" \nDomino, Fats \nDonays \nDonegan, Lonnie \nDonovan \n\"Don't Be Cruel\" \n\"Don't Bother Me\" \n\"Don't Ever Change\" \n\"Don't Let Me Down\" \n_Don't Look Back (film)_ \n\"Don't Pass Me By\" \n\"Don't Think Twice, It's All Right\" \n\"Don't Worry Baby\" \n\"Don't Worry Kyoko (Mummy's \nOnly Looking for her Hand in the \nSnow)\" \nDoors \n _Double Fantasy (Lennon)_ \n\"Downbound Train\" \nDozier, Lamont \nDrake, \"Sneaky \" Pete \nDrapkin, Richard B. \n\"Dream\" \n\"Dream Baby\" \n\"Dress Me Up as a Robber\" \n\"Drive My Car\" \n\"Drumming Is My Madness\" \nDundy, Elaine \nDuprees \nDylan, Bob\n\nEagles \n\"Early \" \nEastman, Lee \nEastman, Linda, see McCartney, Linda Eastman \n\"Ebony and Ivory\" \n\"Ed Sullivan Show \" (TV show) \nEdmiston, Susan \nEdmunds, Dave \n\"Eight Days a Week\" \nEisen, Jonathan \n\"Eleanor Rigby\" \nElectric Light Orchestra \n _Electronic Sound (Harrison)_ \nElephant's Memory \n _11117170 (Elton John)_ \nElliott, Bobby \nEmerson, Lake and Palmer \nEMI,(see also \nParlophone label) \nEmpire Theatre (Liverpool) \n\"Empty Garden\" \n\"End, The\" \nEnglish, Joe \nEntwistle, John \nEphron, Nora \nEpstein, Brian, . ", " \nEpstein, Clive \nEssex, David \nEvans, Mike \nEverly Brothers \n\"Every Little Thing\" \n\"Every Man Has A Woman Who \nLoves Him\" \n\"Every Night\" \n _Every Picture Tells a Story_ \n(Stewart) \n\"Everybody's Got Something to \nHide, Except Me and My \nMonkey\" \n\"Everybody's Trying to Be My \nBaby\" \n _Exile on Main Street (Rolling_ \nStones) \n _Extra Texture—Read All About It_ \n(Harrison)\n\n\"Fame\" \nFarrell, Wes \nFarrow, Mia \nFarrow, Prudence \nFast, Julius \nFawcett, Anthony \nFeelgood, Dr. \nFeitler, Bea \n _Ferris Buehler's Day Off (film)_ \nFerry, Bryan \n\"Fifty Ways to Leave Your Lover\" \nFillmore East (New York) \n\"Fixing a Hole\" \nFleetwood Mac \n\"Flying\" \nFonda, Peter \nFongTorres, Ben \nFontaine, Eddie \nFool \n\"Fool on the Hill, The\" \n\"For No One\" \n\"For You Blue\" \nFord, Robben \n _Ocean Boulevard (Clapton)_ \nFour Tops \n\"4th Time Around\" \nFrame, Pete \nFranklin, Aretha \n _Freak Out (Mothers of Invention)_ \nFreeman, Robert \nFrench Suites (Bach) \nFrith, Simon \n\"From Me to You\" \n\"From Us to You \" (radio show), Fulpen, H. V.\n\nGadd, Steve \nGaines, Steven \nGambaccini, Paul \nGarbarini, Vic \nGarland, Joe \nGaye, Marvin \nGeldof, Bob \n _George Harrison_ \nGeorge Martin Orchestra \n\"Get Back\" \n _Get Back project, (see also Let It Be_ \n[album]; Let It Be [film]) \n\"Get It\" \n\"Get Off My Cloud\" \n\"Getting Better\" \n\"Getting Closer\" \nGibb, Maurice \nGillett, Charlie \nGilliam, Terry \n _Gimme Shelter (film)_ \n\"Girl\" \n\"Girls' School\" \n\"Give Ireland Back to the Irish\" \n\"Give Me Love\" \n\"Give Me Some Truth\" \n _Give My Regards to Broad Street_ \n(film) \n\"Give Peace a Chance\" \nGlass, Philip \n\"Glass Onion\" \nGleason, Ralph J. \n\"Go All the Way\" \n\"God\" \nGoffin, Gerry \n\"Goin' Down\" \n\"Golden Slumbers\" \nGolson, G. Barry \nGoldstein, Richard \n _Gone Troppo (Harrison)_ \n\"Good Day Sunshine\" \n\"Good Golly Miss Molly\" \n\"Good Morning, Good Morning\" \n\"Good Night\" \n\"Good Night, Irene\" \n\"Good Vibrations\" \n _Goodbye Yellow Brick Road (Elton_ \nJohn) \n\"Goodnight Tonight\" \n_Goodnight Vienna (Starr)_ \n\"Goon Show \" (radio show) \nGordy, Berry \n\"Gotta Sing, Gotta Dance\" \nGraustark, Barbara \nGreen, Al \n\"Greensleeves\" \nGrolnick, Don \n\"Grow Old Along with Me\" \n\"Got to Get You into My Life\" \nGuralnick, Peter\n\n\"Hallelujah, I Love Her So\" \n\"Hamburg Star Club tapes\" \nHamilton, Richard \nHamlin, Rosie \nHammersmith Odeon (London) \nHammerstein, Oscar \n\"Hands of Love\" \n\"Happiness Is a Warm Gun\" \n\"Happy Xmas (War Is Over)\" \n\"Hard Day's Night, A\" \n _Hard Day's Night, A (album)_ \n_Hard Day's Night, A (film), ioo_ \n\"Harfs on Tour\" \nHarlem Children's Choir \nHarpo, Slim \nHart, Lorenz \n\"Heartbreak Hotel\" \n _Hearts and Bones (Paul Simon)_ \nHeath, Edward \n\"Helen Wheels\" \n\"Hello Goodbye\" \nHell's Angels \n\"Help!\" ", " \n _Help! (", "album)_ \n_Help! (", "film),_ \n\"Helter Skelter\" \nHendrix, Jimi \nHenebery, Terry \nHentoff, Nat \nHepburn, Katherine \n\"Her Majesty\" \n\"Here Comes the Moon\" \n\"Here Comes the Sun\" \n\"Here, There and Everywhere \n\"Here Today\" \n\"Here We Go \" (radio show) \n\"He's So Fine\" \n\"Hey Bulldog\" \n\"Hey, Hey, Hey, Hey!\" ", " \n\"Hey Jude\" \n_Hey Jude_ \n\"Hi, Hi, Hi\" \n _HiFidelity magazine_ \n _Highway Revisited (Dylan)_ \nHill, Doug \n\"Hippy Hippy Shake\" \nHoffman, Abbie \nHoffman, Dezo \n\"Hold Me Tight\" \n\"Hold On\" \nHolden, Stephen \nHolland, Brian \nHolland, Eddie \nHollies \nHolly, Buddy \nHolly, Steve \n _Hollywood Bowl_ \n\"Honey Don't\" \n\"Honey Pie\" \n _Honeymoon (film)_ \n\"Honeymoon Song, The\" \n\"HonkyTonk Woman\" \nHopkin, Mary \nHopkins, Lightnin' \nHorn, Jim \nHorn, Paul \n\"Hound Dog\" \n\"How Do You Do?\" ", " \n\"How Do You Sleep?\" ", " \n_How I Won the War (film)_ \nHowlin' Wolf \n\"Hungry Heart\" \nHusker Dtt \nHuxley, Aldous\n\n\"I Am the Greatest\" \n\"I Am the Walrus\" \n\"I Call Your Name\" \n\"I Can't Be Satisfied\" \n\"I Can't Help Falling in Love with \nYou\" \n\"I Can't Help Myself\" \n\"I Don't Believe You (She Acts Like \nWe Never Have Met)\" \n\"I Don't Want to Be a Soldier \nMama, I Don't Want to Die\" \n\"I Don't Want to Face It\" \n\"I Don't Want to Spoil the Party\" \n\"I Feel Fine\" \n\"I Found Out\" \n\"I Heard It Through the Grapevine\" \n\"I Keep Forgettin'\" \n\"I Know (I Know)\" \n\"I Know How You Feel\" \n\"I Lie Around\" \n\"I Me Mine\" \nI Me Mine (Harrison) \n\"I Need You\" \n\"I Saw Her Standing There\" \n\"I Should Have Known Better\" \n\"I Wanna Be Your Man\" \n\"I Want to Hold Your Hand\" \n\"I Want to Tell You\" \n\"I Want You, I Need You, I Love \nYou\" \n\"I Want You (She's So Heavy)\" \n\"I Will\" \n\"Idiot Wind\" \nIdle, Eric \n\"If I Fell\" \n\"If I Needed Someone\" \n\"111 Be Back\" \n\"I'll Cry Instead\" \n\"111 Follow the Sun\" \n\"111 Get You\" \n\"I'm Down\" \n\"I'm Gonna Sit Right Down and Cry \n(Over You)\" \n\"I'm Happy Just to Dance with \nYou\" \n\"I'm Looking Through You\" \n\"I'm a Loser\" \n\"I'm Losing You\" \n\"I'm Moving On\" \n\"I'm Only Sleeping\" \n\"I'm So Tired\" \n\"Imagine\" \n_Imagine (Lennon)_ \n _Imperial Bedroom (Costello)_ \n\"In the Mood\" \n\"In My Life\" \n\"In My Room\" \nIndica Gallery (London) \n\"Inner Light, The\" \n\"Instant Karma (We All Shine On)\" \nIsley Brothers \n\"Isn't It a Pity\" \n\"Isolation\" \n\"It Don't Come Easy\" \n\"It Won't Be Long\" \n\"It's All Too Much\" \n\"It's Only Love\" \n\"It's So Hard\" \n\"I've Got a Feeling\" \n\"I've Had Enough\" \n\"I've Just Seen a Face\"\n\nJackson, Michael \nJagger, Mick \n\"Jailhouse Rock\" \nJames, Dick \n _James Paul McCartney (TV special)_ \n\"Janey Don't You Lose Heart\" \nJanov, Arthur \n\"Jealous Guy\" \n\"Jet\" \nJethroTuli \n\"Jo Jo Gunne\" \nJoel, Billy \nJohanneshovsIsstadion (Stockholm) \nJohn, Elton \n\"John, John (Let's Hope for Peace)\" \nJohn Birch Society \n _John Lennon: Live in New York_ \n _City_ \n _John Wesley Harding (Dylan)_ \n\"Johnny B. Goode\" \n\"Johnny Bye Bye\" \nJohnson, Roy Lee \nJohnson, Robert \nJones, Brian \nJones, Jack \nJones, Quincy \nJones, Spike \nJoplin, Janis \nJoyce, James \nJuber, Laurence \n\"Juke Box Jury \" (radio show) \n\"Julia\" \n\"Junior's Farm\" \n\"Junk\" \n\"Just Because\" \n\"Just Like a Woman\"\n\n\"Kansas City\" \nKeltner, Jim \nKent State University \nKesey, Ken \nKing, Carole \nKing, B. B. \nKing, Ben E. \nKing, Billie Jean \n\"Kiss Kiss Kiss\" \nKlaatu \nKlein, Allen \nKnack \n\"Kodachrome\" \n\"KreenAkrore\" \nKrupa, Gene\n\n\"La Juanda (Espanol)\" \n\"Lady Madonna\" \nLaine, Denny \nLaing, David \nLandau, Jon \n\"Last Time, The\" \n\"Late Great Johnny Ace, The\" \nLaurel, Stan \nLawrence, J. \n\"Layla\" \n _Layla (Clapton)_ \n\"Lazy Dynamite\" \nLeander, Mike \nLeary, Timothy \n\"Leave My Kitten Alone\" \nLed Zeppelin \nLee, Peggy \nLees, Roger \nLeiber, Jerry \nLeibovitz, Annie \nLeigh, Spencer \n\"Lend Me Your Comb\" \nLennon, Cynthia \nLennon, Fred \nLennon, Julia \nLennon, Julian \nLennon, Sean Ono \n _Lennon Remembers (Lennon)_ \n _Lennon Tapes, The (Lennon)_ \nLester, Richard \n\"Let 'Em In\" \n\"Let It Be\" \n_Let It Be (album)_ \n_Let It Be (film)_ \n_Let It Bleed (Rolling Stones)_ \n\"Let It Down\" \n\"Let Me Roll It\" \n\"Let's Love\" \nLevy, Morris \nLewis, Jerry Lee \nLewisohn, Mark \n _Life of Brian (film)_ \n _Life magazine_ \n\"Light That Has Lighted the World, The\" \n\"Like a Rolling Stone\" \nLindsayHogg, Michael, \n\"Listen the Snow Is Falling\" \n\"Listen to What the Man Said\" \n\"Little Child\" \n\"Little Darlin'\" \nLittle Richard (Richard Penniman) \n\"Little Woman Love\" \n _Live! ", "At the Star Club in Hamburg, Germany_ \nLive Aid \n\"Live and Let Die\" \n _Living in the Material World_ \n(Harrison) \n\"Living in the U.S.A.\" \nLomax, Jackie \n _London Calling (Clash)_ \nLondon Symphony Orchestra \n\"London Town\" \n_London Town (McCartney)_ \n\"Long Long Long\" \n\"Long Tall Sally\" Siou* \n_Long Tall Sally_ \n\"Long and Winding Road, The\" \n\"Look at Me\" \nLopez, Trini \nLove, Mike \n\"Love\" \n\"Love Is Strange\" \n\"Love Me Do\" \n\"Love Me Tender\" \n\"Love in Vain\" \n\"Love You To\" \n\"Lovely Linda\" \n\"Lovely Rita\" \n\"Lucille\" \n\"Lucy in the Sky with Diamonds\" \nLyceum Ballroom (New York) \nLynne, Jeff\n\nMaCabe, Peter \nMcCartney, Jim \nMcCartney, Linda Eastman \nMcCartney, Mary, \n_McCartney_ \n _McCartney_ \nMcCracken, Hugh \nMcCulloch, Jimmy \nMcCullough, Henry \nMcGuinn, Roger \nMack, Ronnie \nMacmillan, Harold \nMadison Square Garden (New York),% \n\"Maggie Mae\" \n _Magic Christian, The (film)_ \n\"Magical Mystery Tour\" \n_Magical Mystery Tour (EPs)_ \n_Magical Mystery Tour (film)_ \n\"Magneto and Titanium Man\" \nMaharishi Mahesh Yogi \n\"Mamunia\" \nManfred Mann \nMann, William \nMarcos, Ferdinand \nMarcus, Greil \nMardin, Arif \nMarlow, Ric \nMarmalade \nMarsden, Gerry \n\"Marseillaise, La\" \nMarsh, Dave \n\"Martha My Dear\" \nMartin, George \nMarvelettes, jy \nMarx, Chico \n\"Mary Had a Little Lamb\" \nMason, Dave \n\"Matchbox\" \nMatthews, Brian \n\"Maxwell's Silver Hammer\" \n\"Maybe I'm Amazed\" \n\"Mean Mr. Mustard\" \n\"Medicine Jar\" \n _Meet the Beatles_ \nMellers, Wilfrid \nMeltzer, R. \n\"Memphis, Tennessee\" \n _Menlove Avenue (Lennon)_ \nMerry Pranksters \nMichaels, Lome \n\"Michelle\" \nMickey and Silvia \n\"Mike Douglas Show, The \" (TV \nshow) \n_Milk and Honey (Lennon)_ \nMiller, Jim \nMilligan, Spike \n\"Mind Games\" \n _Mind Games (Lennon)_ \nMinutemen \nMiracles \n\"Misery\" \n\"Miss You\" \n\"Mrs. Vanderbilt\" \n\"Mr. Moonlight\" . ", " \n\"Mr. Tambourine Man\" \nMitchell, Joni \n\"Money\" . ", " \n\"Monkberry Moon Delight\" \n\"Monkey Man\" \nMonty Python \nMoody Blues \nMoon, Keith \n _Moondog Matinee (the Band)_ \n _More Songs About Buildings and_ \n _Food (Talking Heads)_ \nMorrison, Vonie \n\"Mother\" \n\"Mother Nature's Son\" \nMothers of Invention \nMotown label \n\"Mull of Kintyre\" \nMurphy, Allan \nMurray, Mitch \n _Music Man, The (musical)_ \n\"My Baby Left Me\" \n\"My Generation\" \n\"My Girl\" \n\"My Love\" \n\"My Mummy's Dead\" \n\"My Sharona\" \n\"My Sweet Lord\"\n\n\"Name and Address\" \n _Nashville Skyline (Dylan)_ \nNBC \n _Nebraska (Springsteen)_ \nNelson, Oliver \nNEMS (company) \nNew Brighton Tower (Liverpool) \n _New Musical Express_ \n\"New York City\" \n _New York Times_ \nNewmark, Andy \nNewport Folk Festival \n _Newsweek magazine_ \n _Nicholas Nickleby (Dickens)_ \nNicol, Jimmy \n\"Night Before, The\" \nNilsson, Harry \n\"Nineteen Hundred and Eighty \nFive\" \nNixon, Richard M. \n\"No Matter What\" \n\"No More Lonely Nights\" \n\"No No Song\" \n\"No Reply\" \n\"Nobody Knows\" \n\"Nobody Loves You When You're \nDown and Out\" \n\"Nobody Told Me There'd Be Days \nLike These,\" \nNorman, Philip, \nNorthern Songs \n\"Norwegian Wood (This Bird Has \nFlown)\" \n\"Not Guilty\" \n\"Not a Second Time\" \n\"Not Such a Bad Boy\" \n\"Nothin' Shakin' (but the Leaves on \nthe Trees)\" \n\"Nothing from Nothing\" \n\"Nowhere Man\" \n\"Dream\" \nNurk Twins\n\n\"ObLaDi, ObLaDa\" \"Octopus's Garden\" \nO'Grady, Terence J. \n\"Oh! ", "Darling\" \n\"Oh My My\" \n\"Oh Woman, Oh Why?\" ", " \n\"Oh Yoko!\" ", " \n\"Ohio\" \nOkun, Milton \n\"Old Brown Shoe\" \n_Old Wave (Starr)_ \nOlympia Theatre (Paris) \n\"On the Wings of a Nightingale\" \n\"One After \" \n\"One Day at a Time\" \n\"One Night\" \nOne to One benefit concert \n _Only the Lonely (Sinatra)_ \n\"Only a Northern Song\" \n\"Only a Pawn in Their Game\" \n\"Only You\" \nOno, Yoko \n\"Open Your Box\" \nOrbison, Roy \nOwen, Alan \nOwens, Buck\n\n\"P.S. I Love You\" no \nPadgham, Hugh \nPage, Jimmy \n\"Paint It Black\" \n\"Paperback Writer\" \nParker, Bobby \nParker, Mary Jo \nParker, Colonel Tom \nParlophone label \nPatheMarconi studio (Paris) \n _Paul MacCartney in His Own Words_ \n(Gambaccini) \nPeebles, Andy \nPenniman, Richard, see Little \nRichard \n\"Penny Lane\" \nPerkins, Carl \nPerry, Richard \nPeter and Gordon \nPeyser, Joan \n\"Philadelphia Freedom\" \nPhillips, Sam \n\"Photograph\" \nPiccarella, John, \n\"Picasso's Last Words\" \nPickett, Wilson \n\"Piggies\" \n\"Pinball Wizard\" \n\"Pink Cadillac\" \n\"Pipes of Peace\" \n _Pipes of Peace (McCartney)_ \n _Plastic Ono Band (Lennon)_ \n_Plastic Ono Band—Live Peace in_ \n _Toronto (Lennon)_ \nPlatters \n _Playboy magazine_ \n\"Please Mr. Postman\" \n\"Please Please Me\" \n_Please Please Me_ \nPlimpton, George \nPodrazik, Walter J. \nPoe, Edgar Allan \nPoirier, Richard \n\"Poison Ivy\" \nPolydor label \n\"Polythene Pam\" \nPomus, Doc \nPoncia, Vini \n\"Pop Go the Beatles \" (radio show) \nPorcaro, Jeff \nPorter, Cole \n\"Positivelyth Street\" \n\"Pound Is Falling, The\" \n\"Power Cut\" \n\"Power to the People\" \nPresley, Elvis \n\"Press\" \n _Press to Play (McCartney)_ \nPreston, Billy \n\"Prodigal Son\" \nProfumo, John \nPurdie, Bernard\n\n_Quadrophenia (Who)_ \nQuarrymen\n\n\"Radio Play\" \n\"Rain\" \n _Ram (McCartney)_ \nRamones \n _Rarities_ \nRaspberries \nRavel, Maurice \nRazaf, Andy \nRCA \n _Ready, Steady Go (Rolling Stones)_ \nReagan, Ronald \n _Red Rose Speedway (McCartney)_ \nReed, Lou \nReeperbahn (Hamburg) \nReinhart, Charles \n\"Remember\" \n\"Remember Love\" \nReplacements \n\"Revolution\" \n\"Revolution No. \" ", " \n\"Revolution No. \" ", " \n_Revolver_ \nRich, Buddy \n\"Richard Cory\" \nRichards, Emil \nRichards, Keith \nRighteous Brothers \n _Ringo (Starr)_ \n _Ringo theth (Starr)_ \n _Ringo's Rotogravure (Starr)_ \nRishikesh (India) retreat \nRichie, Lionel \n _River, The (Springsteen)_ \n\"River Deep, Mountain High\" \nRobert Fraser Gallery (London) \nRoberts, Charles \nRobinson, Smokey \n _Rock of Ages (the Band)_ \n\"Rock Island Line\" \n _Rock V Roll (Lennon)_ \n_Rock and Roll Circus (film)_ \n\"Rock and Roll Music\" \n\"Rock Show\" \n _Rock Show (video film)_ \nRockestra \n\"Rockestra Theme, The\" \nRockwell, John \n\"Rocky Raccoon\" \nRodgers, Richard \nRogers, Ginger \n\"Roll Over Beethoven\" \n\"Rolling Stone\" \n _The Rolling Stone Interviews, Vol. ", "II_ \n(FongTorres) \n _Rolling Stone magazine_ \nRolling Stones, \nRomero, Chan \nRonettes \nRonstadt, Linda \n _Roots (Lennon bootleg)_ \nRorem, Ned \nRory Storm and the Hurricanes \nRosie and the Originals \n _Rubber Soul_ \nRubin, Jerry \nRubinoos \n\"Rudolph the RedNosed Reggae\" \n\"Run of the Mill\" \n\"Run for Your Life\" \nRundgren, Todd \nRussell (composer) \nRussell, Leon \n _Rutles, The (film)_\n\nSalewicz, Chris \n\"Sally G\" \nSartre, JeanPaul \n\"Satisfaction\" \n\"Saturday Club \" (radio show) \n\"Saturday Night Live \" (TV show) \n\"Savoy Truffle\" \n\"Say Say Say\" \n\"Say You, Say Me\" \nScaduto, Anthony \n\"Scared\" \nSchaffner, Nicholas \nSchumacher, Joel \n _Scoop (Townshend)_ \nScott, Bobby \nScott, Tom \nSearchers \n\"Searchin'\" \nSedgwick, Edie \nSeiwell, Denny \n _Sell Out (Who)_ \nSellers, Peter \n _Sentimental Journey (Starr)_ \n\"Sgt. ", "Pepper's Lonely Hearts Club \nBand\" \n\"Sgt. ", "Pepper's Lonely Hearts Club \nBand (Reprise)\" \n_Sgt. ", "Pepper's Lonely Hearts Club_ \n _Band_ \nSex Pistols \n\"Sexy Sadie\" \nShakespeare, William \nShankar, Ravi \nShapiro, Helen \n _Shaved Fish (Lennon)_ \nShaw, George Bernard \n\"She Came in Through the Bathroom \nWindow\" \n\"She Loves You\" \n\"She Said She Said\" . ", " \nShea Stadium (New York) \n\"She's Leaving Home\" \n\"She's a Woman\" \nShirelles \n\"Shot of Rhythm and Blues, A\" \n\"Shout\" \n _Shout! (", "Norman)_ \n\"Shout and Shimmy\" \nShuman, Mort \n\"Shut Out the Lights\" \n\"Silly Love Songs\" \nSimon, Paul \nSimon and Garfunkel \n\"Simply Shady\" \nSinatra, Frank \nSinclair, John \nSiouxsie and the Banshees \n\"Six O'Clock\" \n\"Slippin' and Slidin'\" \n\"Slow Down\" \n _Slow Train Coming (Dylan)_ \nSly and the Family Stone \n\"Smile Away\" \nSmithereens \nSmothers, Tommy \n\"So How Come (No One Loves Me)\" \n\"Soily\" \n\"Some Other Guy\" \n _Some Time in New York City_ \n(Lennon) \n\"Something\" \n_Something/Anything (Rundgren)_ \n _Somewhere in England (Harrison)_ \nSousa, John \nSpector, Phil \nSpedding, Chris \n\"Spies Like Us\" \n\"Spin It On\" \nSpinozza, Dave \nSpringsteen, Bruce, * \nSqueeze \n\"Stairway to Heaven\" \n\"Stand by Me\" \nStar Club (Hamburg) \nStarr, Edwin \nStarr, Maureen \n\"Starting Over\" \n\"Steel and Glass\" \nStein, Jean \nSteele, Tommy \nSteely Dan \nStevens, Cat \nStewart, Rod \n _Sticky Fingers (Rolling Stones)_ \nStokes, Geoffrey \nStoller, Mike, . ", " \n_Stop and Smell the Roses (Starr)_ \nStoppard, Tom \n\"Strawberry Fields Forever\" \n\"Street Fighting Man\" \nStreisand, Barbra \nStrong, Barrett \n\"Subterranean Homesick Blues\" \n\"Sue Me, Sue You Blues\" \n\"Summertime Blues\" \n\"Sun City \" concert \n\"Sun Kings\" \nSun Records \nSupremes \n\"Sure to Fall\" \n\"Surfin* U.S.A\" \n\"Surprise, Surprise (Sweet Bird of \nParadox)\" \nSutcliffe, Stu \n\"Suzy Parker\" \nSwartley, Ariel \n\"Sweet Little Sixteen\" \nSwenson, John \n\"Sympathy for the Devil\"\n\n\"Take It Away\" \n\"Take Me to the River\" \n _Talent for Loving, A (film)_ \n\"Talkin' World War III Blues\" \nTalking Heads \n\"Tangled Up in Blue\" \n\"Taste of Honey, A\" \nTaupin, Bernie \n\"Taxman\" \nTaylor, Derek \nTaylor, James \n\"Teddy Bear\" \n\"Teddy Boy\" \n _Teen Beat (Perkins)_ \n\"Tell Me What You See\" \n\"Tell Me Why\" \nTemptations \n\"Thank You Girl\" \n\"That Means a Lot\" \n\"That Would Be Something\" \n _That'll Be the Day (film)_ \n\"That's All Right (Mama) \n _Their Satanic Majesties Request_ \n(Rolling Stones) \n\"There's a Place\" \n\"Things We Said Today\" \n\"Think for Yourself\" \n _ThirtyThree & 'h (Harrison)_ \n\"This Boy\" \n\"This Guitar Can't Keep From \nCrying\" \n\"This Is the Man\" \n\"This Song\" \nThompson Twins \n\"Three Cool Cats\" \n\"Three Legs\" \n\"Through Our Love\" \n _Tibetan Book of the Dead, The_ \n\"Ticket to Ride\" \n\"Tight A$\" \n\"Till There Was You\" \n_Time Bandits (film)_ \n\"Time to Hide\" \n _Times, The (London)_ \n\"To Know Her Is to Love Her\" \n\"Tombstone Blues\" \n _Tommy (Who)_ \n\"Tomorrow Never Knows\" \n\"Too Many People\" \n\"Too Much Monkey Business\" \n\"Top Gear \" (radio show) \n\"Top of the Pops \" (radio show) \nToto \nToussaint, Allen \nTownshend, Pete \nTracy, Spencer \nTriumph Investment Trust \n\"Tug of Peace\" \n\"Tug of War\" \n _Tug of War (McCartney)_ \n\"Turn, Turn, Turn\" \nTurner, Ike \nTurner, Tina \n\"TuttiFrutti\" \nTwickenham Film Studios \n _Twilight of the Gods (Mellers)_ \n\"Twist and Shout\" \n_200Motels (film)_ \n\"Two of Us\" \nTyler, Tony\n\n\"Uncle Albert/Admiral Halsey\" \n\"Under the Boardwalk\" \n _Unfinished Music No.: ", "Two Virgins_ \n(Lennon) \n _Unfinished Music No.; ", "Life With_ \n _the Lions (Lennon)_ \nUnited Artists \nU.S. Immigration and Naturalization \nService\n\n_Valse, La (Ravel)_ \nVan Zandt, Miami Steve \nVann, Joey \nVarese, Edgard \nVartan, Sylvie \nVee Jay label \n _Venus and Mars (McCartney)_ \n _Village Voice (newspaper)_ \nVincent, Gene \nVoorman, Klaus\n\n\"WahWah\" \n\"Wait\" \n\"Wake Up Little Suzie\" \n\"Walking in the Rain\" \n _Walls and Bridges (Lennon)_ \nWalsh, Joe \n\"Wanderlust\" \n\"War\" \n\"War Is Over \" campaign \nWarhol, Andy \n\"Warm and Beautiful\" \n\"Warning Sign\" \n\"Watch Your Step\" \n\"Watching the Wheels\" \n\"Waterfalls\" \nWaters, Muddy \nWatts, Alan \nWatts, Charlie \n\"We Are the World \" project \n\"We Can Work It Out\" \n_Wedding Album (Lennon/Ono)_ \nWeeks, Willie \nWeinberg, Max \nWeingrad, Jeff \nWeissmuller, Johnny \n\"Well Well Well\" \nWenner, Jann \n _We're Only in It for the Money_ \n(Mothers of Invention) \n\"We're Open Tonight\" \nWest, Mae \n\"What Goes On\" \n\"What Is Life\" \n\"What You Got\" \n\"What You're Doing\" \n\"What'd I Say\" \n\"Whatever Gets You Through the \nNight\" \n\"What's That You're Doing\" \n\"When I Get Home\" \n\"When I'm Sixtyfour\" \n\"While My Guitar Gently Weeps\". ", " \nWhite, Alan \nWhite, Andy \nWhite, Ronald \n\"White Album\" see Beatles, The \n_White Nights (film)_ \nWhitfield, Norman \nWho \n _Who Came First (Townshend)_ \n\"Who Can See It\" \n\"Who Has Seen the Wind\" \n\"Whole LottaShakin' Goin' On\" \n _\"Who's Next (Who)_ \n\"Why Don't We Do It in the Road\" \nWiener, Jon \n\"Wild Honey Pie\" \n _Wild Life (McCartney)_ \nWilde, Oscar \n\"Will It Go Round in Circles\" \n\"Will You Love Me Tomorrow\" \nWilliams, Allan \nWilliams, Larry \nWilliams, Roger \nWillson, Meredith \nWilson, Brian \nWilson, Harold \nWings \n _Wings over America (McCartney)_ \nWings at the Speed of Sound \n(McCartney) \nWinner, Langdon \n_With the Beatles,_ \n\"With a Little Help from My \nFriends,\" \n\"With a Little Luck\" \n\"Within You Without You\" \n\"Woman\" \n\"Woman Is the Nigger of the \nWorld\" \n\"Woman of the Night\" \nWonder, Stevie \n\"Wonderful Christmas Time\" \n_Wonderwall (film)_ \n\"Won't Get Fooled Again\" \n\"Word, The\" \n\"Words of Love\" \n\"Working Class Hero\" \n\"Wrack My Brain\" \nWyman, Bill\n\nYardbirds \n\"Yellow Submarine\" \n_Yellow Submarine (album)_ \n _Yellow Submarine (film)_ \n\"Yer Blues\" \n\"Yes It Is\" \n\"Yesterday\" \n_Yesterday and Today_ \n\"You\" \n\"You Are Here \" (exhibition) \n\"You Belong to Me\" \n\"You Can't Always Get What You \nWant\" \n\"You Can't Catch Me\" \n\"You Can't Do That\" \n\"You Gave Me the Answer/' . ", " \n\"You Know My Name (Look Up the \nNumber),** \n\"You Like Me Too Much,** M \n\"You Never Give Me Your Money,'* \n\"You Won't See Me\" \n _Young Americans (Bowie)_ \n\"Your Mother Should Know\" \n\"You're Going to Lose That Girl\" \n\"You're Sixteen\" \n\"You've Got to Hide Your Love \nAway\" \n\"You've Lost That Lovin' Feelin'\" \n\"You've Really Got a Hold on Me\"\n\nZappa, Frank\n" ]

{ "pile_set_name": "Books3" }

[ 0.00009918666931164451, 0, 0, 0, 0.00012624668602449185, 0.000027994736989445982, 0, 0.000019051973784484073, 0.0001274182930196012, 0, 0.00017313019390581717, 0.00008467543904215143, 0.00015527146628021324, 0.00015983803079546062, 0.0001960592098813842, 0.00015241579027587258, 0.0002, 0, 0.00043252595155709344, 0.0003204614645088928, 0, 0.00012018508503094766, 0, 0, 0.00008771545107670716, 0.00003590922148807814, 0.00005827166249053085, 0.0000252518875785965, 0.0000308641975308642, 0, 0.00020155872077398548, 0, 0, 0.00006609822195782934, 0.0004164931278633902, 0.000040569597143900364, 0.000042718612499466016, 0.00003501277966457757, 0.00004853308743235701, 0.00009245562130177516, 0, 0.000053279343598486864, 0, 0.000002086880740748058, 0.000005919927066498541, 0.00015241579027587258, 0, 0.0000205761316872428, 0.00006605892456070815, 0.00000675602637552697, 0, 0.00011080332409972299, 0.00005341024408481547, 0.000048225308641975306, 0.00000422654268808115, 0.000012846700325021518, 0, 0.000019051973784484073, 0.0000064688492564057785, 0.0000038049940546967894, 0, 0.00002705408110813516, 0.00001802186051680689, 0, 0, 0, 0, 0.0010405827263267429, 0.0000980296049406921, 0, 0, 0.0002268431001890359, 0.0000706164818868724, 0.0001, 0, 0.0001147842056932966, 0.000040569597143900364, 0, 0, 0, 0, 0, 0.0002227667631989307, 0, 0.000027411529289219047, 0, 0, 0.00014138938637006315, 0, 0.00002657030502710171, 0, 0.00005425347222222222, 0, 0.00004247276433986706, 0.0000706164818868724, 0.00002986055122577563, 0.00004959333465582226, 0, 0.00007431629013079666, 0.00001890359168241966, 0, 0.00003191930798940279, 0, 0, 0, 0.000042718612499466016, 0, 0, 0.0007100591715976332, 0, 0.000013223140495867768, 0.00003460207612456747, 0, 0, 0, 0.00005972110245155126, 0, 0.000032, 0, 0.000013923601200214422, 0, 0.000024266543716178507, 0, 0.000023564897728343855, 0, 0, 0, 0, 0.00000995133795738837, 0, 0.00017481498747159256, 0.0002687449610319807, 0, 0.00027210884353741496, 0, 0, 0, 0, 0.00019024970273483948, 0.000015518191199633772, 0.000039157334168689795, 0.000014133077053536095, 0, 0.00000511865031428513, 0.00004805843906189927, 0.000017506696311339085, 0, 0.00010629251700680272, 0.0000308641975308642, 0, 0.00008416799932665601, 0.00021626297577854672, 0.00003950617283950617, 0.00009070294784580499, 0, 0, 0, 0, 0, 0, 0, 0.000053863832232117214, 0, 0, 0.000013819598955238318, 0, 0, 0.00004756242568370987, 0, 0, 0, 0, 0.000038578758535550326, 0.000014027409558276873, 0, 0, 0.00003419855682090216, 0, 0.00006274875398902793, 0.00023915816326530612, 0.000096849173553719, 0.00014076293510828692, 0.0011111111111111111, 0, 0, 0.00009157229632795092, 0.00007620789513793629, 0.0002642356982428326, 0, 0.000030524098775983637, 0, 0.0001, 0.000148720999405116, 0.00013520822065981613, 0.00011438702851096685, 0.00006032697218926582, 0.00006944444444444444, 0.00002712673611111111, 0, 0, 0.000025507601265177026, 0.000015872763924382153, 0, 0.000010054495364877636, 0, 0, 0.0000980296049406921, 0.00014878000396746676, 0.00004084911697825465, 0.00007762619107686934, 0, 0.00002603082049146189, 0.000044444444444444447, 0.00003121001217190475, 0.000014027409558276873, 0.000048902146804244705, 0.0000390625, 0, 0.00003950617283950617, 0, 0.00003652567755131858, 0, 0, 0.00007431629013079666, 0, 0, 0.000045420823933746156, 0.00001721733441228629, 0.00002311390532544379, 0.0001775147928994083, 0, 0, 0, 0.00006456611570247934, 0, 0, 0, 0.000014027409558276873, 0.00002298190175237001, 0.00006718624025799517, 0, 0, 0, 0.00007831466833737959, 0, 0, 0.00004762993446121018, 0.000010142399285975091, 0.000019753086419753087, 0, 0, 0, 0.00011866619200189865, 0.000053279343598486864, 0.00012075836251660429, 0.00007831466833737959, 0.000244140625, 0.00006682481873767917, 0.00002041462095152548, 0.00004376597458072196, 0.0000400576830636116, 0.00030609121518212427, 0.0000308641975308642, 0, 0.00005827166249053085, 0.00002475186257765897, 0.000168662506324844, 0.00004691311690748733, 0, 0.00009070294784580499, 0.00012913223140495868, 0.00008734387282732115, 0.00025720164609053495, 0.0002040608101214162, 0.000023564897728343855, 0.00018261504747991235, 0.00019290123456790122, 0.00003719500099186669, 0.000020666708000082665, 0, 0.000012140489747356409, 0.000033319450229071226, 0.00010405827263267429, 0, 0.00010655868719697373, 0, 0, 0, 0, 0.0016, 0, 0, 0.00019290123456790122, 0.00004385772553835358, 0.00009130752373995617, 0, 0.000062000124000248, 0, 0, 0.00002289307408198773, 0, 0.00010628122010840684, 0.00006298815822625346, 0, 0.000026298487836949376, 0.00006839711364180432, 0.0001, 0.0000816982339565093, 0.0001005985614405714, 0.00016232448664881097, 0.00002684635829149776, 0.00008771545107670716, 0.000039669421487603306, 0.0002082465639316951, 0, 0.00008861058601134215, 0.00037792894935752074, 0, 0, 0.00005972110245155126, 0.0004725897920604915, 0, 0.00008310249307479225, 0, 0, 0, 0.00006037918125830214, 0.00010886921178690666, 0.00010629251700680272, 0, 0, 0.00012075836251660429, 0.00007561436672967865, 0.00003387017561686058, 0.00006830134553650708, 0, 0, 0.00004094920251428104, 0.0005745475438092502, 0, 0.0000979591836734694, 0, 0.00002123638216993353, 0, 0, 0, 0.00013476786235708992, 0.00007305135510263716, 0.00003419855682090216, 0.0001321178491214163, 0, 0.00006530612244897959, 0.00014363688595231256, 0.00021256244021681367, 0.00002491508109858898, 0.0001, 0.00005250997689561017, 0.00015983803079546062, 0.00004504301608035674, 0.00007694675284702985, 0.00002953686200378072, 0, 0.000009351999925184, 0.00005175715542673775, 0.0001, 0.000015140274644582053, 0, 0.00003224939532383768, 0, 0, 0, 0.000009826947455311955, 0, 0, 0, 0, 0.00006103515625, 0.00004712979545668771, 0.0005408328826392645, 0.00006944444444444444, 0, 0.000016050205041369406, 0, 0.00019290123456790122, 0, 0, 0, 0, 0, 0, 0, 0.000026298487836949376, 0, 0.0002366863905325444, 0, 0, 0, 0, 0.00008113919428780073, 0.000027700831024930747, 0, 0, 0, 0, 0, 0, 0, 0.00006087168249330412, 0.00010850694444444444, 0.000037637848620572846, 0, 0, 0.000009765625, 0, 0.00007086167800453515, 0.000042719829120683516, 0, 0, 0, 0, 0.00003460207612456747, 0, 0, 0, 0, 0, 0.000009888849333491555, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00004691311690748733, 0, 0, 0.000042165626581211, 0.00004756242568370987, 0.000055401662049861494, 0, 0, 0, 0, 0, 0.0003429355281207133, 0.000017506389832288786, 0.00003121001217190475, 0, 0, 0.00004565376186997809, 0.00007181844297615628, 0, 0, 0.00010850694444444444, 0.00004756242568370987, 0.000047590719809637124, 0, 0, 0.00011317338162064282, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00011317338162064282, 0, 0.0002295684113865932, 0, 0.00008416799932665601, 0, 0.000031745527848764306, 0, 0.00001733542899408284, 0.000027411529289219047, 0.000015378700499807765, 0.00013520822065981613, 0, 0.00008573388203017832, 0, 0, 0.0001602307322544464, 0, 0, 0, 0.0011890606420927466, 0.00003265306122448979, 0.000042083999663328004, 0, 0.000049944436814044376, 0.00003228305785123967, 0.00008771545107670716, 0, 0.00006298815822625346, 0.000018419937740610438, 0.00004396957305544563, 0.000096, 0.00012913223140495868, 0, 0, 0.000043282548476454294, 0.000025507601265177026, 0, 0, 0.000021041999831664002, 0, 0, 0, 0.00002311390532544379, 0.00007971938775510203, 0.000015378700499807765, 0, 0.000012486109203511094, 0, 0.00006104819755196727, 0.0000400576830636116, 0, 0.00002183596820683029, 0, 0.0003544423440453686, 0.00006298815822625346, 0, 0, 0.000025767218944059367, 0.00011562030292519367, 0, 0, 0, 0, 0.0001575299306868305, 0, 0, 0, 0.000168662506324844, 0.00008398421096833795, 0.00008218277449046679, 0.00008138020833333333, 0.00004959333465582226, 0.00015241579027587258, 0, 0.0004938271604938272, 0.00018140589569160998, 0.00015241579027587258, 0, 0.0002601456815816857, 0, 0, 0.00006830134553650708, 0.000036730945821854914, 0.000028596757127741712, 0, 0.00007831466833737959, 0, 0.00009918666931164451, 0, 0.000022893248780934502, 0, 0.000038103947568968146, 0.00004959333465582226, 0, 0, 0.000148720999405116, 0.000041091387245233394, 0.00004959333465582226, 0.00009255402841408673, 0.00003826530612244898, 0.00009130752373995617, 0.00006298815822625346, 0, 0.00006032697218926582, 0, 0.0000573921028466483, 0.00002123638216993353, 0, 0.0000591715976331361, 0.00002047460125714052, 0.00007831466833737959, 0, 0.00006103515625, 0.00006298815822625346, 0, 0.0000510204081632653, 0, 0.000009351999925184, 0, 0.000013127494223902542, 0, 0.00021701388888888888, 0.0001530612244897959, 0.00008324661810613944, 0.00004286694101508916, 0.00002603082049146189, 0, 0.00010850694444444444, 0.00006682481873767917, 0.0000510204081632653, 0.00021701388888888888, 0, 0.000031000062000124, 0.00009512485136741974, 0, 0, 0, 0, 0, 0.000015023135628868457, 0.000128, 0, 0, 0, 0.000018419937740610438, 0, 0.000044444444444444447, 0, 0.000048902146804244705, 0.00003419855682090216, 0.000016524555489457336, 0.00018261504747991235, 0.000038103947568968146, 0, 0, 0.00011562030292519367, 0, 0, 0, 0, 0, 0.000010964431384588396, 0.00006934171597633136, 0.0001147842056932966, 0, 0.000044444444444444447, 0.00005175715542673775, 0, 0.00009611687812379854, 0.000013417595835178253, 0, 0, 0, 0, 0.00003302946228035408, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002204148206925434, 0.0000176541204717181, 0, 0, 0.000024507401235173024, 0, 0, 0, 0, 0.000025507601265177026, 0, 0.00007831466833737959, 0.00011138338159946535, 0.000034010135020236034, 0, 0, 0, 0, 0.00006760411032990806, 0.000025767218944059367, 0.000035430839002267575, 0, 0, 0.00012624668602449185, 0.0000502992807202857, 0.00009245562130177516, 0, 0.0000510204081632653, 0, 0.0000400576830636116, 0.00003560682938987697, 0, 0.00007831466833737959, 0.000029218407596785978, 0.00012913223140495868, 0.000010766522574706208, 0.000021633315305570577, 0, 0.00008189840502856208, 0.00006312334301224592, 0.00012075836251660429, 0.00006760411032990806, 0, 0.0004164931278633902, 0, 0.000033593120128997585, 0.00001721733441228629, 0, 0.000013819598955238318, 0, 0, 0, 0, 0, 0, 0, 0, 0.00008899964400142399, 0, 0.000042718612499466016, 0.00002047460125714052, 0.000011648359328588568, 0.000244140625, 0, 0.00036227508754981284, 0.0001, 0, 0, 0, 0.000015500031000062, 0, 0, 0, 0, 0.0000308641975308642, 0.000116439286615304, 0.0000087016298152644, 0.0008163265306122448, 0, 0, 0, 0.00007305135510263716, 0.0002082465639316951, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00005101520253035405, 0, 0, 0, 0, 0, 0.0001321178491214163, 0, 0.00008218277449046679, 0, 0, 0.0011890606420927466, 0, 0, 0, 0.00018261504747991235, 0.00008113919428780073, 0.00005206164098292378, 0.00010259567046270647, 0.00001294925833122908, 0, 0, 0, 0, 0, 0, 0.00003460207612456747, 0, 0.000013819598955238318, 0, 0.00004565376186997809, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00004162330905306972, 0, 0.000022249911000355996, 0, 0, 0.00007181844297615628, 0, 0, 0.000008162432404856647, 0.00008340109672442193, 0.0000510204081632653, 0.000056710775047258974, 0, 0, 0.000036730945821854914, 0.0001434257234034924, 0, 0, 0.0004164931278633902, 0, 0, 0, 0.00033952014486192844, 0.000016326530612244897, 0.000029218407596785978, 0.0001183431952662722, 0, 0.00005827166249053085, 0.000042718612499466016, 0.0002872737719046251, 0, 0, 0, 0.0001451589490492089, 0.000023564897728343855, 0, 0, 0, 0, 0, 0, 0, 0.000042718612499466016, 0, 0, 0, 0.00004959333465582226, 0, 0, 0.000009018027036045055, 0, 0.0000591715976331361, 0.0000390625, 0.000012140489747356409, 0.0000390625, 0, 0.00002204148206925434, 0.00002603082049146189, 0, 0, 0, 0, 0, 0.0000351848376806155, 0.00006503642039542143, 0, 0, 0.00001826283877565929, 0.00006298815822625346, 0.000016659725114535613, 0.00003225754423315753, 0, 0.00004162330905306972, 0, 0, 0.00005175715542673775, 0.0000293595220269814, 0, 0, 0, 0, 0, 0, 0, 0, 0.000017803414694938486, 0, 0, 0, 0, 0, 0.00007305135510263716, 0, 0, 0, 0, 0, 0, 0.000022675736961451248, 0, 0, 0, 0, 0, 0, 0, 0, 0.0008163265306122448, 0, 0, 0.00027041644131963225, 0.0000573921028466483, 0, 0, 0.00009245562130177516, 0, 0.000044444444444444447, 0.000008857709750566894, 0, 0, 0, 0, 0, 0.0000510204081632653, 0.000018419937740610438, 0, 0.00006830134553650708, 0, 0.000019753086419753087, 0.000032840452869845076, 0, 0.000009351999925184, 0, 0, 0, 0.00004627701420704336, 0, 0, 0, 0, 0, 0.00006103515625, 0, 0, 0, 0.00006103515625, 0, 0, 0.00004162330905306972, 0.000014298378563870856, 0.00001795461074403907, 0, 0.000042718612499466016, 0, 0, 0, 0, 0.00010412328196584755, 0, 0.00006609822195782934, 0, 0, 0, 0.0002872737719046251, 0.00009611687812379854, 0, 0.00002475186257765897, 0.0002040816326530612, 0, 0.000064, 0, 0, 0.00023629489603024575, 0, 0, 0.00002712673611111111, 0.000017506389832288786, 0, 0, 0, 0, 0.00005250997689561017, 0, 0, 0.00002143347050754458, 0.00014863258026159333, 0, 0.000019236688211757463, 0.000028577960676726108, 0.00013840830449826988, 0, 0, 0.00001992984693877551, 0.00011562030292519367, 0.000026298487836949376, 0.00004627701420704336, 0.00018765246762994932, 0.000042399231160608286, 0.00004504301608035674, 0.0004164931278633902, 0.0001232741617357002, 0.00017481498747159256, 0, 0.00004094920251428104, 0.0003429355281207133, 0.0001183431952662722, 0.00003380205516495403, 0.000027700831024930747, 0, 0, 0, 0, 0, 0.000025, 0, 0.00001736111111111111, 0, 0.000043282548476454294, 0, 0.00013660269107301415, 0, 0, 0, 0.00012913223140495868, 0.00002085027418110548, 0.00009425959091337542, 0, 0, 0, 0.00004170054836221096, 0, 0.000024386526444139614, 0.00003191930798940279, 0.00002183596820683029, 0, 0, 0, 0, 0, 0, 0, 0, 0.00009512485136741974, 0, 0.000014907350814686723, 0, 0.0000348065192610576, 0, 0, 0, 0.00005289256198347107, 0.00004162330905306972, 0.0001451589490492089, 0, 0, 0, 0, 0, 0, 0, 0, 0.0003305785123966942, 0.00003018959062915107, 0, 0, 0, 0, 0, 0, 0.000017803414694938486, 0, 0.000078125, 0.000025, 0, 0, 0, 0, 0.00004504301608035674, 0.000011809024456489649, 0, 0.00006383861597880558, 0, 0.00002684635829149776, 0.00020490403660952122, 0.00002183596820683029, 0, 0, 0.00010628122010840684, 0.000027700831024930747, 0.0000980296049406921, 0.00009363003651571424, 0, 0.00008899964400142399, 0, 0.00019290123456790122, 0.000028054819116553746, 0.00004408296413850868, 0.00006760411032990806, 0.00007809246147438567, 0.000030524098775983637, 0.00014610271020527432, 0, 0, 0, 0, 0, 0, 0, 0.00007561436672967865, 0, 0, 0, 0, 0, 0.00007971938775510203, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000023946073442607248, 0, 0.00011866619200189865, 0, 0, 0, 0.0000293595220269814, 0.00003955539733396622, 0, 0, 0, 0, 0, 0, 0.000148720999405116, 0, 0.0001165433249810617, 0.000019236688211757463, 0, 0, 0.000043282548476454294, 0.00006103515625, 0, 0, 0.00006255082254331645, 0, 0, 0, 0, 0, 0, 0.000004395044148218469, 0, 0.00003018959062915107, 0.0000706164818868724, 0, 0, 0, 0, 0.00002603082049146189, 0.00012913223140495868, 0.000015023135628868457, 0, 0.000015500031000062, 0.0003305785123966942, 0.000019170125276768686, 0, 0, 0.0013717421124828531, 0, 0, 0, 0, 0.00004667553501832014, 0.000009182736455463728, 0.000030024394820791894, 0.00011019283746556473, 0.00005658669081032141, 0.00011019283746556473, 0.00002712673611111111, 0, 0, 0.0001451589490492089, 0, 0.00006298815822625346, 0.00009130752373995617, 0.00001693508780843029, 0, 0, 0, 0, 0, 0, 0.0000200288415318058, 0.00019837333862328903, 0, 0.000062000124000248, 0, 0, 0, 0.0001960592098813842, 0, 0, 0, 0, 0.000244140625, 0, 0.000625, 0, 0, 0, 0, 0, 0.00007001330252748022, 0.00004385772553835358, 0.000006187965644414742, 0, 0, 0, 0, 0.00006760411032990806, 0, 0, 0, 0, 0.000012486109203511094, 0.00004853308743235701, 0.000036215482118605704, 0.00006298815822625346, 0.00004247276433986706, 0.000044444444444444447, 0.000021041999831664002, 0, 0.00004385772553835358, 0.0005165289256198347, 0.00013660269107301415, 0, 0.00004385772553835358, 0.00008116224332440549, 0.00008416799932665601, 0, 0.001736111111111111, 0, 0, 0.0000440392830404721, 0.000148720999405116, 0, 0, 0, 0, 0.00001707533638412677, 0.00002267342334682402, 0.00006830134553650708, 0, 0.00009245562130177516, 0.000018579072532699166, 0, 0, 0.000037180249851279, 0, 0, 0, 0, 0.000009182736455463728, 0.00006503642039542143, 0.0000706164818868724, 0.0005555555555555556, 0, 0.000038578758535550326, 0, 0, 0, 0.0001412329637737448, 0, 0, 0, 0, 0.00007279963114853551, 0, 0, 0.00002085027418110548, 0, 0, 0.0000502992807202857, 0.000036215482118605704, 0, 0, 0, 0, 0, 0.00003715814506539833, 0, 0.00005175715542673775, 0.000035430839002267575, 0.00010628122010840684, 0, 0, 0, 0.000054323223177908555, 0, 0.00007257947452460445, 0, 0, 0.000028293345405160706, 0, 0.00004170054836221096, 0, 0, 0.00007831466833737959, 0.000024112654320987653, 0.00002143347050754458, 0, 0, 0, 0.000036289737262302225, 0, 0, 0, 0, 0.00006009254251547383, 0, 0, 0, 0.00005175715542673775, 0, 0.000041091387245233394, 0, 0, 0, 0.00006104819755196727, 0, 0.000016128772116578765, 0, 0, 0.0000980296049406921, 0, 0, 0, 0, 0, 0.00009611687812379854, 0, 0.00003265306122448979, 0, 0.000043282548476454294, 0, 0, 0, 0, 0.00000929506246281975, 0, 0, 0, 0.00009611687812379854, 0, 0, 0, 0, 0.00002953686200378072, 0.00002047460125714052, 0, 0, 0.00006760411032990806, 0.000004777728142490964, 0, 0, 0, 0, 0, 0, 0.000028905075731298418, 0.00006839711364180432, 0.00005873600125303469, 0, 0.000012846700325021518, 0, 0, 0.000011037405768148255, 0.0001417233560090703, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00008264462809917355, 0.00014363688595231256, 0.00014363688595231256, 0, 0, 0.00002953686200378072, 0.00010412328196584755, 0.000022249911000355996, 0.00013520822065981613, 0, 0.00003985969387755102, 0, 0, 0, 0, 0, 0, 0, 0, 0.00006718624025799517, 0.000024029219530949635, 0, 0, 0, 0.000038578758535550326, 0.00005486968449931413, 0.00003955539733396622, 0, 0.00006944444444444444, 0, 0.00019223375624759708, 0.00004756242568370987, 0, 0, 0, 0.00004385772553835358, 0, 0, 0, 0, 0, 0, 0, 0.000014849022563089785, 0.000062000124000248, 0, 0, 0, 0, 0, 0.000017803414694938486, 0, 0, 0, 0, 0, 0, 0, 0, 0.00006738393117854496, 0.000019069049026525047, 0, 0.0001165433249810617, 0.000042165626581211, 0, 0.000055401662049861494, 0.00004504301608035674, 0, 0, 0, 0, 0.000019753086419753087, 0, 0, 0, 0, 0.00001826283877565929, 0, 0, 0.00009611687812379854, 0.0005165289256198347, 0, 0, 0.000024622960911049555, 0, 0.00005978954081632653, 0.00006142380377142156, 0, 0.000036730945821854914, 0.00009245562130177516, 0.00015241579027587258, 0.000024266543716178507, 0.000047590719809637124, 0, 0.000168662506324844, 0, 0, 0, 0.00006609822195782934, 0, 0.000020661157024793387, 0.00001736111111111111, 0.00010628122010840684, 0.000017506696311339085, 0, 0.00003191930798940279, 0, 0.00002475186257765897, 0, 0.00002081165452653486, 0.00002015621063240111, 0, 0, 0.000040569597143900364, 0.000015518191199633772, 0, 0, 0, 0.000015378700499807765, 0, 0, 0, 0.00005250997689561017, 0, 0, 0.00004565376186997809, 0, 0.00019223375624759708, 0, 0, 0, 0.00003443466882457258, 0, 0, 0.00007305135510263716, 0, 0, 0, 0, 0, 0.0000591715976331361, 0.00004385772553835358, 0, 0, 0, 0.00006503642039542143, 0, 0, 0, 0.0000400576830636116, 0.00003419855682090216, 0, 0, 0, 0, 0, 0.00001707533638412677, 0, 0, 0.00003501277966457757, 0.000054823058578438094, 0.00004756242568370987, 0.000022249911000355996, 0, 0.00002986055122577563, 0.0001020408163265306, 0, 0.0002040816326530612, 0.00029726516052318666, 0.000055691690799732676, 0, 0, 0.000062000124000248, 0, 0.000048225308641975306, 0.000016128772116578765, 0.000020284798571950182, 0, 0, 0, 0.000028293345405160706, 0.0000400576830636116, 0, 0.0000308641975308642, 0.00004627701420704336, 0, 0.000013922922699933169, 0.000018419937740610438, 0, 0.00003018959062915107, 0.0000717128617017462, 0.00009070294784580499, 0, 0, 0.0000980296049406921, 0, 0, 0.0000801153661272232, 0.0000706164818868724, 0, 0.00007971938775510203, 0, 0, 0.00025195263290501383, 0.0000587190440539628, 0.00006718624025799517, 0, 0, 0, 0, 0.0002295684113865932, 0.00009780429360848941, 0.000044444444444444447, 0, 0.000011890606420927467, 0, 0, 0.000023795359904818562, 0.00005175715542673775, 0.00003156167150612296, 0, 0, 0, 0.00004094920251428104, 0.00005369271658299552, 0, 0.00018261504747991235, 0.0001746877456546423, 0.000027382006370880152, 0, 0, 0, 0, 0.000036730945821854914, 0, 0, 0, 0, 0, 0, 0, 0.000025767218944059367, 0, 0, 0, 0.00002532895986626309, 0.000024507401235173024, 0.000020108990729755272, 0, 0, 0, 0, 0, 0, 0, 0.00002847988608045568, 0, 0, 0.00019223375624759708, 0.00011306461642828876, 0.0001165433249810617, 0.000013819598955238318, 0.0001020304050607081, 0.00001707533638412677, 0.000003741268813905548, 0.00009070294784580499, 0, 0.00025195263290501383, 0, 0.00003228305785123967, 0.00003018959062915107, 0.00003419855682090216, 0, 0, 0, 0, 0, 0.00003191930798940279, 0.00004619321698801748, 0.00002712673611111111, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002564891761567662, 0.000029218407596785978, 0.00023124060585038734, 0.000055691690799732676, 0.0000617283950617284, 0.000042165626581211, 0, 0, 0.00003156167150612296, 0.00002684635829149776, 0, 0.000043282548476454294, 0, 0, 0, 0, 0, 0, 0.00018491124260355032, 0, 0.0001451589490492089, 0.0001020304050607081, 0, 0, 0, 0, 0.00003121001217190475, 0.00001707533638412677, 0, 0, 0, 0.00015662933667475918, 0.00003265306122448979, 0.000062000124000248, 0, 0.00003501277966457757, 0, 0, 0, 0, 0, 0, 0.00008116224332440549, 0, 0.00003460207612456747, 0.000062000124000248, 0, 0, 0, 0, 0, 0, 0.0010405827263267429, 0, 0, 0, 0, 0, 0, 0, 0.00005827166249053085, 0, 0, 0.00003955539733396622, 0, 0.00018765246762994932, 0.00037530493525989863, 0, 0.00038446751249519417, 0.000050503775157193, 0, 0, 0.00004691311690748733, 0, 0.0001, 0, 0.000025767218944059367, 0, 0, 0.000019236688211757463, 0.000027700831024930747, 0, 0, 0, 0, 0, 0.0016, 0, 0, 0, 0.000019069049026525047, 0.0001417233560090703, 0, 0.000036730945821854914, 0, 0, 0, 0, 0, 0, 0.000019236688211757463, 0.00009575792396820837, 0, 0.0004938271604938272, 0, 0.00003955539733396622, 0, 0.000062000124000248, 0, 0, 0.000015747039556563364, 0.00021626297577854672, 0.00009008603216071348, 0, 0.00009918666931164451, 0.00003191930798940279, 0.00002986055122577563, 0.00008416799932665601, 0, 0, 0.000124000248000496, 0.00019290123456790122, 0, 0.000048902146804244705, 0.000028905075731298418, 0, 0, 0, 0.00010412328196584755, 0, 0, 0, 0, 0, 0, 0.0000591715976331361, 0, 0, 0, 0, 0.000012140489747356409, 0.00004162330905306972, 0.0000706164818868724, 0, 0, 0.000036289737262302225, 0, 0, 0, 0.00001890359168241966, 0, 0, 0, 0.00001890359168241966, 0.00006944444444444444, 0, 0.00010655868719697373, 0.00012913223140495868, 0, 0.00002251829611559392, 0, 0, 0, 0.00002143347050754458, 0, 0, 0, 0, 0.0000510204081632653, 0.0001165433249810617, 0.000022893248780934502, 0, 0, 0.00004691311690748733, 0.00009425959091337542, 0, 0.00004756242568370987, 0.00008573388203017832, 0.00011814744801512288, 0.000038578758535550326, 0.000057810151462596836, 0.00005978954081632653, 0, 0, 0, 0, 0.00009425959091337542, 0, 0.000026298487836949376, 0, 0.000037637848620572846, 0, 0.00013840830449826988, 0.00016833599865331202, 0.00008899964400142399, 0, 0, 0.00013520822065981613, 0, 0.0001646090534979424, 0.000037637848620572846, 0, 0, 0, 0.000004809172052939366, 0.000051534437888118735, 0.000021041999831664002, 0, 0, 0, 0, 0, 0.000053279343598486864, 0, 0.00019290123456790122, 0.000038578758535550326, 0.00004756242568370987, 0.00002085027418110548, 0, 0, 0, 0, 0, 0.00002712673611111111, 0, 0, 0, 0.00012624668602449185, 0.00005250997689561017, 0, 0, 0, 0, 0, 0.00003075740099961553, 0.00019837333862328903, 0, 0.00003149407911312673, 0, 0.0001960592098813842, 0.00009157229632795092, 0.00003419855682090216, 0.00009255402841408673, 0, 0.000055989473978891965, 0.000037180249851279, 0.0005668934240362812, 0.000012846700325021518, 0, 0, 0, 0, 0.000012846700325021518, 0.000019406547769217335, 0, 0.002770083102493075, 0, 0.00014692378328741966, 0.000042718612499466016, 0, 0, 0, 0, 0.000053279343598486864, 0.00006456611570247934, 0.00012624668602449185, 0, 0, 0, 0.0001, 0.00006312334301224592, 0, 0.000013319835899621716, 0.0002011971228811428, 0, 0, 0.00003591911016391087, 0.00004367193641366058, 0.000185901249256395, 0, 0.000024029219530949635, 0.00008494552867973413, 0, 0.00009645061728395061, 0.000041091387245233394, 0, 0.00025250399797996804, 0, 0, 0, 0, 0, 0.00048828125, 0.000018579072532699166, 0.000009072434315575556, 0.00003390842013888889, 0.00009363003651571424, 0, 0.0000980296049406921, 0, 0, 0, 0, 0, 0.000042718612499466016, 0, 0, 0, 0, 0, 0, 0.00005175715542673775, 0, 0.0001183431952662722, 0.00002183596820683029, 0.0001165433249810617, 0.00002085027418110548, 0, 0.000030524098775983637, 0, 0.0001321178491214163, 0.00003018959062915107, 0, 0, 0, 0, 0.000024029219530949635, 0, 0, 0.000030524098775983637, 0, 0, 0.00007305135510263716, 0.000148720999405116, 0, 0, 0.000008353102342209896, 0.000015262049387991818, 0, 0, 0.00002313850710352168, 0, 0, 0, 0, 0, 0.0000706164818868724, 0, 0, 0, 0, 0, 0, 0.000014849022563089785, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002475186257765897, 0, 0, 0.000041458796865714956, 0.00003156167150612296, 0.00007971938775510203, 0.000015622803043322032, 0, 0, 0.000024507401235173024, 0, 0, 0.000038578758535550326, 0, 0.0000045462604734475655, 0.00009245562130177516, 0.0002642356982428326, 0, 0, 0.000016610054065725982, 0.000016, 0, 0.00005486968449931413, 0, 0, 0.0000624200243438095, 0.00002869605142332415, 0.00003719500099186669, 0, 0, 0.00006867974634280352, 0.00008888888888888889, 0.00003378226206026755, 0.000057810151462596836, 0.000023781212841854935, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0001960592098813842, 0, 0, 0.000015747039556563364, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00007431629013079666, 0, 0, 0, 0, 0.00003121001217190475, 0.000033412409368839586, 0, 0, 0.0001775147928994083, 0, 0.00012018508503094766, 0, 0, 0, 0, 0, 0, 0.00003121001217190475, 0, 0.00010629251700680272, 0.000033412409368839586, 0.000025, 0, 0, 0, 0, 0.000025507601265177026, 0, 0, 0, 0.00003156167150612296, 0.0000308641975308642, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0000252518875785965, 0, 0, 0, 0, 0.0001538935056940597, 0, 0.000042718612499466016, 0, 0, 0, 0, 0, 0, 0.000028293345405160706, 0.000027411529289219047, 0, 0.00008416799932665601, 0, 0, 0, 0, 0, 0, 0.00001826283877565929, 0, 0, 0, 0.00003228305785123967, 0.00006605892456070815, 0, 0.000014298378563870856, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00018261504747991235, 0, 0, 0.00003042719785792527, 0.00002953686200378072, 0, 0, 0.00009245562130177516, 0.00009070294784580499, 0.00000929506246281975, 0.00004565376186997809, 0, 0, 0, 0, 0.00007305135510263716, 0, 0, 0, 0, 0, 0, 0.000041091387245233394, 0.00006609822195782934, 0, 0.00002085027418110548, 0.00016436554898093358, 0.00007831466833737959, 0.0001020408163265306, 0, 0.00018261504747991235, 0.000024029219530949635, 0, 0.00003265306122448979, 0.00018765246762994932, 0.00015527146628021324, 0, 0, 0, 0, 0.00008138020833333333, 0, 0, 0.00007181844297615628, 0.00007181844297615628, 0.00003156167150612296, 0, 0, 0.00005406574394463668, 0, 0.000028905075731298418, 0, 0.00005525981322183131, 0.000011973036721303624, 0, 0, 0, 0.00007889546351084813, 0, 0.000042083999663328004, 0, 0.00004901480247034605, 0, 0.0001, 0.00004492262078569664, 0, 0, 0, 0, 0, 0.00008416799932665601, 0.00001351643598615917, 0, 0, 0.000004413530117929525, 0.000015622803043322032, 0, 0, 0, 0, 0.00004691311690748733, 0.00007431629013079666, 0.00007715751707110065, 0, 0, 0, 0, 0.00004506940688660537, 0.000074360499702558, 0, 0.00002333776750916007, 0, 0, 0, 0.00005486968449931413, 0.00007181844297615628, 0, 0.00003228305785123967, 0, 0, 0, 0.00003780718336483932, 0, 0.000022249911000355996, 0.000028596757127741712, 0, 0.00001826283877565929, 0.00002333776750916007, 0.00011317338162064282, 0.00011814744801512288, 0.00006718624025799517, 0, 0.00002475186257765897, 0.00012018508503094766, 0.000037180249851279, 0, 0, 0, 0, 0.00002684635829149776, 0.000013923601200214422, 0.000053279343598486864, 0, 0.000013616372326084883, 0.00004959333465582226, 0, 0, 0, 0, 0, 0.00002969804512617957, 0.00011562030292519367, 0, 0, 0.00002123638216993353, 0, 0.00001707533638412677, 0, 0.00001874027848053822, 0.00002085027418110548, 0.000033333333333333335, 0, 0.000027639197910476636, 0.000018419937740610438, 0.000042165626581211, 0, 0, 0, 0, 0, 0, 0, 0.0001, 0, 0.00006103515625, 0.00013840830449826988, 0, 0.000037180249851279, 0, 0.000016128772116578765, 0, 0, 0.0000502992807202857, 0.0001020304050607081, 0.00016232448664881097, 0.000009765625, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00006151480199923106, 0.000035430839002267575, 0.000022249911000355996, 0.00003156167150612296, 0.000008964107712718276, 0.00007002555932915514, 0.00006718624025799517, 0, 0.00002953686200378072, 0.000027994736989445982, 0.00009611687812379854, 0.00003156167150612296, 0, 0, 0, 0, 0.00006503642039542143, 0, 0.00005314061005420342, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0000390625, 0, 0, 0, 0.00001133671167341201, 0, 0, 0, 0, 0, 0, 0.00003419855682090216, 0, 0, 0.0001020408163265306, 0, 0, 0, 0, 0, 0, 0, 0, 0.00011814744801512288, 0.00008734387282732115, 0, 0, 0, 0, 0, 0.00005406574394463668, 0.000050503775157193, 0.000018365472910927457, 0, 0.00008264462809917355, 0, 0, 0.0000152587890625, 0, 0.000050503775157193, 0.00004094920251428104, 0, 0.00003955539733396622, 0, 0, 0.000042165626581211, 0, 0, 0, 0, 0, 0, 0, 0, 0.00004959333465582226, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00014633194588969825, 0.00011080332409972299, 0.00010973936899862826, 0, 0, 0, 0, 0, 0, 0.00008264462809917355, 0.000028293345405160706, 0, 0.00015625, 0, 0.000013032881961188077, 0, 0, 0, 0, 0.0011111111111111111, 0, 0.0006925207756232687, 0, 0.00004162330905306972, 0.0000358564308508731, 0, 0, 0, 0, 0, 0, 0, 0.00006298815822625346, 0, 0, 0.00016436554898093358, 0.0001652892561983471, 0.000040837389228581713, 0.00002143347050754458, 0, 0.00002958579881656805, 0.00018261504747991235, 0, 0.000028596757127741712, 0.000020661157024793387, 0, 0, 0.0003305785123966942, 0, 0, 0, 0.00003156167150612296, 0, 0.000148720999405116, 0.000033412409368839586, 0, 0, 0, 0, 0.000029218407596785978, 0, 0, 0.000006409229290177856, 0, 0, 0, 0.00003228305785123967, 0, 0.00002123638216993353, 0, 0.00006298815822625346, 0.00010628122010840684, 0, 0.00013007284079084286, 0.00006103515625, 0, 0.000025507601265177026, 0, 0, 0, 0, 0, 0.00003380205516495403, 0, 0.00011080332409972299, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0003305785123966942, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000036730945821854914, 0.00003121001217190475, 0.000015872763924382153, 0.0006574621959237343, 0.0001575299306868305, 0.00019837333862328903, 0.00010813148788927336, 0, 0.0000152587890625, 0, 0.00004449982200071199, 0, 0, 0, 0, 0, 0.00003955539733396622, 0.000024630339652383807, 0.00001893491124260355, 0, 0.00006456611570247934, 0.00018261504747991235, 0.000625, 0, 0, 0, 0.0010405827263267429, 0, 0.000009826947455311955, 0.00003156167150612296, 0, 0, 0, 0, 0, 0.0004938271604938272, 0, 0, 0.0000390625, 0, 0, 0.00022634676324128565, 0.00007694675284702985, 0, 0, 0.00003121001217190475, 0, 0, 0, 0, 0, 0.00009918666931164451, 0.00005972110245155126, 0.000018419937740610438, 0, 0.0001020408163265306, 0.000057810151462596836, 0, 0, 0, 0, 0, 0.000004725897920604915, 0.00003380205516495403, 0, 0.000041091387245233394, 0, 0, 0, 0, 0, 0.00003460207612456747, 0, 0.00002311390532544379, 0.000244140625, 0.0000152587890625, 0, 0.00015625, 0.000048225308641975306, 0.00000825736557008852, 0, 0, 0, 0, 0, 0.00004627701420704336, 0.000037637848620572846, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00007831466833737959, 0.00004667553501832014, 0.00014610271020527432, 0, 0, 0.00002869605142332415, 0.00005367038334071301, 0.00035599857600569594, 0, 0.0002366863905325444, 0.00007561436672967865, 0, 0, 0, 0.00006718624025799517, 0, 0.00003265306122448979, 0.00003501277966457757, 0, 0, 0.000016796560064498793, 0.0003077870113881194, 0, 0, 0, 0, 0, 0.00005486968449931413, 0, 0.00013840830449826988, 0.0001960592098813842, 0, 0, 0.000020661157024793387, 0, 0, 0.00006944444444444444, 0, 0, 0.00030483158055174517, 0, 0.00007099679500182562, 0.00005175715542673775, 0.00001721733441228629, 0, 0, 0, 0.00007831466833737959, 0.000017506696311339085, 0.00009645061728395061, 0.00390625, 0.00018261504747991235, 0.00007570137322291026, 0, 0.00017799928800284797, 0, 0.000053279343598486864, 0.0008650519031141869, 0, 0, 0.00006718624025799517, 0, 0, 0, 0, 0, 0, 0.00002953686200378072, 0, 0.0000308641975308642, 0.0001220703125, 0, 0.000028905075731298418, 0.0001417233560090703, 0, 0.0002295684113865932, 0, 0, 0.00011317338162064282, 0.00003501277966457757, 0, 0.00003419855682090216, 0.00009425959091337542, 0.00006609822195782934, 0, 0.00004504301608035674, 0, 0.000044444444444444447, 0, 0.00006839711364180432, 0, 0, 0.00012624668602449185, 0.000053279343598486864, 0, 0.00005827166249053085, 0, 0, 0, 0, 0.00005972110245155126, 0.000028596757127741712, 0.00006009254251547383, 0, 0.000004322249644494967, 0, 0.000027994736989445982, 0, 0, 0, 0.000019406547769217335, 0, 0, 0, 0.000009765625, 0, 0, 0, 0, 0.000040569597143900364, 0, 0, 0.00007181844297615628, 0.00002953686200378072, 0.00012597631645250691, 0.00003419855682090216, 0, 0, 0.00015625, 0, 0, 0, 0.00000521256854527637, 0.000021359306249733008, 0.0000502992807202857, 0, 0.00003018959062915107, 0, 0, 0, 0.0004, 0, 0.000038578758535550326, 0, 0.0000591715976331361, 0.00001890359168241966, 0.00003156167150612296, 0.00005206164098292378, 0, 0, 0, 0.00010628122010840684, 0, 0, 0, 0.00011080332409972299, 0, 0, 0, 0.0000293595220269814, 0.00007431629013079666, 0, 0, 0, 0, 0.00013840830449826988, 0, 0.00009425959091337542, 0, 0, 0.0000252518875785965, 0, 0, 0, 0, 0.000004358418939945345, 0, 0, 0.0001960592098813842, 0.00007971938775510203, 0, 0, 0, 0.0000390625, 0, 0, 0, 0.00008116224332440549, 0, 0.0000510204081632653, 0, 0, 0, 0, 0, 0.0001321178491214163, 0, 0, 0, 0, 0, 0.000006817143753110322, 0, 0, 0.000042165626581211, 0, 0, 0.000055691690799732676, 0, 0.00005406574394463668, 0, 0, 0.0000510204081632653, 0, 0.0000358564308508731, 0, 0.00009645061728395061, 0.00008264462809917355, 0, 0, 0, 0.0001, 0.00005653230821414438, 0, 0, 0.0001147842056932966, 0, 0, 0, 0.000042718612499466016, 0, 0, 0, 0.0002366863905325444, 0.000036289737262302225, 0, 0.00003121001217190475, 0.00010412328196584755, 0, 0.000030524098775983637, 0.000037637848620572846, 0, 0.00007971938775510203, 0, 0, 0.00004691311690748733, 0, 0.00003380205516495403, 0, 0, 0, 0, 0.00018491124260355032, 0, 0, 0.00003460207612456747, 0, 0, 0, 0, 0.0000591715976331361, 0.00010973936899862826, 0, 0.00004853308743235701, 0.000044444444444444447, 0, 0, 0.00005653230821414438, 0, 0, 0, 0.00003985969387755102, 0, 0.00001707533638412677, 0, 0, 0.000041091387245233394, 0, 0, 0, 0, 0, 0.00004756242568370987, 0.0044444444444444444, 0, 0, 0, 0.000041091387245233394, 0, 0, 0.00011814744801512288, 0, 0, 0.00003228305785123967, 0, 0.00027681660899653976, 0.00005250997689561017, 0, 0.00008113919428780073, 0, 0, 0.00005972110245155126, 0, 0, 0.000014567915622632712, 0, 0, 0, 0.00013437248051599034, 0.00002313850710352168, 0, 0, 0.0034602076124567475, 0, 0, 0.00004084911697825465, 0.00001784651992861392, 0, 0, 0, 0, 0.00016436554898093358, 0, 0.00008734387282732115, 0, 0.0002227667631989307, 0.000019578667084344897, 0, 0.00006456611570247934, 0.00016232448664881097, 0.00003156167150612296, 0, 0.000062000124000248, 0.00008899964400142399, 0, 0.000013563368055555555, 0, 0, 0, 0, 0, 0, 0.00005653230821414438, 0.00004950372515531794, 0, 0.0004164931278633902, 0, 0, 0, 0, 0.000037637848620572846, 0.00009611687812379854, 0, 0.00005653230821414438, 0, 0.00012624668602449185, 0, 0, 0, 0, 0, 0, 0, 0.00003302946228035408, 0, 0, 0, 0.00006298815822625346, 0, 0, 0, 0.00008861058601134215, 0, 0.00018765246762994932, 0.00007431629013079666, 0, 0, 0.00031887755102040814, 0, 0.00007831466833737959, 0, 0, 0, 0, 0, 0.00022634676324128565, 0, 0, 0.00007831466833737959, 0.0004725897920604915, 0, 0.00000970487475859124, 0, 0, 0, 0.0003429355281207133, 0, 0.00007527569724114569, 0.00001874027848053822, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002246131039284832, 0, 0.00012075836251660429, 0.0002082465639316951, 0, 0, 0, 0.00003191930798940279, 0, 0.00003667661010318353, 0, 0, 0.00010850694444444444, 0.000027994736989445982, 0.0002040816326530612, 0, 0, 0, 0, 0, 0.0003429355281207133, 0, 0.00002143347050754458, 0, 0, 0.0000573921028466483, 0, 0, 0, 0, 0.000055691690799732676, 0, 0.00006103515625, 0, 0, 0, 0, 0.0001321178491214163, 0, 0.000062000124000248, 0, 0.000027382006370880152, 0.00003380205516495403, 0, 0.00009425959091337542, 0.0004164931278633902, 0, 0, 0.00006867974634280352, 0.000026298487836949376, 0, 0, 0, 0, 0.00010412328196584755, 0, 0, 0.000033412409368839586, 0, 0, 0, 0, 0, 0, 0, 0.0000502992807202857, 0, 0, 0.00007346189164370983, 0, 0.0000617283950617284, 0.0000980296049406921, 0, 0, 0.00001693508780843029, 0, 0, 0, 0, 0.00007305135510263716, 0, 0.00001929898371551754, 0.00012624668602449185, 0.000025767218944059367, 0.000014375148243716263, 0.00007181844297615628, 0.0000510204081632653, 0.000014792899408284025, 0.0000573921028466483, 0.00033667199730662403, 0.00012133271858089253, 0.00004627701420704336, 0.00020833333333333335, 0.00015527146628021324, 0.00006530612244897959, 0, 0, 0.00009382623381497466, 0.000045322404159301774, 0, 0.0005374899220639614, 0.000027411529289219047, 0, 0, 0, 0.00007181844297615628, 0.00008573388203017832, 0, 0.00007911079466793244, 0.00017481498747159256, 0.000048225308641975306, 0, 0.0000390625, 0.00008416799932665601, 0.00006255082254331645, 0.0000573921028466483, 0.0001165433249810617, 0, 0, 0.000057193514255483425, 0, 0, 0, 0, 0, 0, 0, 0.00008734387282732115, 0.00006104819755196727, 0.00002204148206925434, 0, 0, 0, 0, 0, 0, 0.000027411529289219047, 0.00003591911016391087, 0.00005406574394463668, 0.00012017304919083481, 0.00010813148788927336, 0.00015983803079546062, 0, 0.00018765246762994932, 0.000038103947568968146, 0.000044444444444444447, 0.0002872737719046251, 0, 0, 0, 0, 0, 0.0000390625, 0, 0, 0, 0, 0, 0, 0.00005525981322183131, 0.000053279343598486864, 0.00005314061005420342, 0, 0.00009611687812379854, 0, 0.0000176541204717181, 0.00011814744801512288, 0.00009611687812379854, 0, 0, 0, 0, 0.000015023135628868457, 0, 0, 0, 0.000055691690799732676, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00004367193641366058, 0, 0.00006503642039542143, 0, 0, 0.00004565376186997809, 0, 0, 0, 0.000033412409368839586, 0.0000390625, 0, 0, 0, 0.00036982248520710064, 0.00009255402841408673, 0, 0, 0, 0.00003302946228035408, 0, 0, 0, 0, 0, 0.00003302946228035408, 0, 0, 0.000055691690799732676, 0, 0, 0, 0, 0.00002712673611111111, 0, 0.000048225308641975306, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00035599857600569594, 0.00009130752373995617, 0.00016833599865331202, 0, 0, 0, 0.0002366863905325444, 0, 0, 0, 0.0005374899220639614, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0001351290482410702, 0.000022249911000355996, 0.0000353082409434362, 0.000027700831024930747, 0, 0.00003590922148807814, 0, 0, 0.000027411529289219047, 0, 0.000017301038062283735, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000010892178326743566, 0, 0, 0, 0.00003265306122448979, 0, 0, 0.00014863258026159333, 0.00006298815822625346, 0.00004094920251428104, 0, 0.00006009254251547383, 0.0001388888888888889, 0, 0.0006925207756232687, 0.00004756242568370987, 0.00002085027418110548, 0.000058436815193571955, 0.00011110934747067507, 0, 0.00002703287197231834, 0, 0.000017803414694938486, 0.000030524098775983637, 0, 0, 0.000007802503042976187, 0, 0.0000510204081632653, 0, 0.000025767218944059367, 0.00002048878034388369, 0, 0.00038446751249519417, 0.00011814744801512288, 0.00006009254251547383, 0, 0, 0.00018140589569160998, 0.00002986055122577563, 0.00017799928800284797, 0, 0.0000252518875785965, 0.0008163265306122448, 0.00003881786657005331, 0, 0.00005208333333333334, 0, 0.000033412409368839586, 0, 0.00005425347222222222, 0.000064, 0, 0.00017543090215341433, 0, 0.00004805843906189927, 0.0001451589490492089, 0, 0, 0.00006503642039542143, 0.000007802503042976187, 0, 0.000030517578125, 0.000055691690799732676, 0.000028596757127741712, 0, 0, 0.000042718612499466016, 0.000037637848620572846, 0, 0, 0, 0, 0.000040569597143900364, 0, 0, 0, 0, 0, 0.00009425959091337542, 0.000013319835899621716, 0, 0.00005175715542673775, 0.00002712673611111111, 0, 0, 0, 0, 0.00002475186257765897, 0.00003748055696107644, 0.000625, 0.0000706164818868724, 0, 0.00006609822195782934, 0.000062000124000248, 0, 0, 0.000045351473922902495, 0.00023084025854108956, 0, 0.000025767218944059367, 0, 0, 0, 0, 0.00003018959062915107, 0, 0, 0, 0, 0.00002246131039284832, 0, 0, 0.00005406574394463668, 0.000033412409368839586, 0, 0.00005486968449931413, 0, 0.00005658669081032141, 0.00013520822065981613, 0, 0.0000591715976331361, 0, 0, 0.00008899964400142399, 0, 0, 0.000028293345405160706, 0.000025, 0.00003380205516495403, 0, 0, 0, 0, 0, 0, 0, 0.000010610192150579848, 0.000036289737262302225, 0, 0, 0, 0, 0, 0.00002603082049146189, 0.000028905075731298418, 0.000016796560064498793, 0.00008573388203017832, 0.00007561436672967865, 0, 0, 0.00006609822195782934, 0.00008543722499893203, 0, 0, 0, 0, 0.0001234567901234568, 0.00009070294784580499, 0.00002313850710352168, 0.00002657030502710171, 0.00006944444444444444, 0.00007431629013079666, 0.000023564897728343855, 0, 0, 0, 0, 0, 0, 0, 0.000025, 0, 0.000006377551020408163, 0.00012984764542936286, 0, 0, 0.000023564897728343855, 0, 0.000030524098775983637, 0, 0.00010886921178690666, 0.00004691311690748733, 0.00009512485136741974, 0, 0, 0.00002311390532544379, 0, 0, 0.00005369271658299552, 0.00009255402841408673, 0.00001874027848053822, 0.00006298815822625346, 0, 0, 0, 0.0001020408163265306, 0, 0, 0, 0, 0.000043282548476454294, 0.000048902146804244705, 0, 0, 0.00006718624025799517, 0, 0, 0.00004627701420704336, 0, 0, 0, 0.00004132231404958677, 0, 0, 0, 0, 0, 0, 0, 0.000025, 0.00012913223140495868, 0, 0.00002143347050754458, 0.0000510204081632653, 0, 0.000062000124000248, 0.00003930778982124782, 0, 0, 0, 0.000024029219530949635, 0, 0, 0.000023564897728343855, 0, 0, 0.00006760411032990806, 0.00004756242568370987, 0.00006609822195782934, 0.000012225536701061176, 0, 0, 0, 0, 0.00003270517592114128, 0.000012140489747356409, 0, 0, 0.00007715751707110065, 0, 0.00008579027138322515, 0, 0, 0, 0, 0, 0, 0, 0.0001652892561983471, 0, 0, 0, 0, 0, 0, 0.00006312334301224592, 0, 0.00006103515625, 0.0002366863905325444, 0, 0.0001412329637737448, 0.000025, 0, 0, 0.00002204148206925434, 0, 0, 0, 0.00003228305785123967, 0.0002834467120181406, 0, 0, 0, 0.000055691690799732676, 0, 0.00007715751707110065, 0, 0, 0.00005827166249053085, 0, 0, 0.00003156167150612296, 0.00002712673611111111, 0, 0.0002524933720489837, 0, 0, 0, 0, 0.000012398333663955564, 0, 0, 0, 0, 0, 0.00002475186257765897, 0.00001054140664530275, 0, 0.0001234567901234568, 0.00003228305785123967, 0, 0, 0.00001874027848053822, 0.00011317338162064282, 0, 0, 0.000036730945821854914, 0.00008734387282732115, 0, 0.000050503775157193, 0, 0, 0, 0.00006103515625, 0.000010339016345984843, 0, 0, 0, 0.000028293345405160706, 0, 0.000028596757127741712, 0, 0, 0, 0, 0, 0, 0.0000252518875785965, 0, 0, 0, 0.000054823058578438094, 0, 0, 0, 0, 0, 0, 0.00005486968449931413, 0, 0, 0.000025507601265177026, 0, 0, 0.00002475186257765897, 0.00016436554898093358, 0, 0, 0.000017199714484739553, 0, 0.00002684635829149776, 0, 0.00011080332409972299, 0, 0, 0, 0, 0.000018402593538849408, 0.000044444444444444447, 0, 0, 0, 0.00002705408110813516, 0, 0.00003985969387755102, 0, 0.00003590922148807814, 0.00007527569724114569, 0.00015983803079546062, 0.00002475186257765897, 0.0002366863905325444, 0, 0.000031245606086644065, 0.00018261504747991235, 0.00003590922148807814, 0.0002227667631989307, 0, 0, 0.000047720006271772256, 0.00001795461074403907, 0, 0, 0.000029894770408163265, 0, 0, 0, 0, 0.00001940974951718248, 0.0001183431952662722, 0.00010964611715687619, 0.000054460891633717824, 0, 0.000027555610666776887, 0, 0, 0.000018579072532699166, 0.0000717128617017462, 0, 0, 0, 0, 0, 0, 0, 0, 0.00011317338162064282, 0, 0, 0, 0, 0, 0, 0.00019290123456790122, 0.00006830134553650708, 0.0001165433249810617, 0.00005406574394463668, 0, 0, 0, 0.0003305785123966942, 0, 0.00006944444444444444, 0, 0, 0, 0, 0.00003265306122448979, 0.0002366863905325444, 0.00013437248051599034, 0, 0, 0, 0, 0, 0, 0, 0.00006605892456070815, 0, 0, 0.00010412328196584755, 0, 0.0000624200243438095, 0, 0, 0.00004667553501832014, 0, 0.000035430839002267575, 0, 0, 0, 0.000016, 0.00008264462809917355, 0.0000510204081632653, 0, 0, 0, 0.00008888888888888889, 0, 0, 0.000128, 0, 0.00006609822195782934, 0, 0, 0, 0, 0, 0.00008899964400142399, 0.00006298815822625346, 0, 0.00005406574394463668, 0.00003950617283950617, 0.0000637091465098006, 0, 0.00011019283746556473, 0.00017313019390581717, 0, 0, 0.00017799928800284797, 0, 0, 0.00000738421550094518, 0.00002085027418110548, 0, 0, 0, 0, 0, 0.00003419855682090216, 0, 0.0000358564308508731, 0, 0, 0.00007715751707110065, 0.00003950617283950617, 0, 0, 0.00035599857600569594, 0, 0.00006009254251547383, 0.00003380205516495403, 0, 0, 0.00004565376186997809, 0, 0.00003302946228035408, 0, 0.0002040816326530612, 0.00021003990758244068, 0, 0, 0.00004132231404958677, 0, 0, 0, 0.0000176541204717181, 0.00002246131039284832, 0, 0, 0, 0, 0.0007119971520113919, 0, 0.00002657030502710171, 0.0001220703125, 0.0001508978421608571, 0, 0.00008264462809917355, 0, 0, 0.000037637848620572846, 0.0001165433249810617, 0.000028905075731298418, 0, 0.00004094920251428104, 0.0001960592098813842, 0, 0, 0, 0.000025767218944059367, 0.000016259105098855357, 0.00010655868719697373, 0, 0.00006760411032990806, 0, 0, 0.0001321178491214163, 0, 0.00002603082049146189, 0.000038578758535550326, 0.000594883997620464, 0.00001600093872173834, 0.00003265306122448979, 0, 0, 0, 0.0000980296049406921, 0.000048902146804244705, 0.00008656509695290859, 0, 0.00006489994591671173, 0.000018579072532699166, 0.00002047460125714052, 0.0002366863905325444, 0.000053279343598486864, 0.00006609822195782934, 0, 0.00002657030502710171, 0, 0, 0, 0.00006830134553650708, 0.0006574621959237343, 0, 0, 0.000050503775157193, 0, 0.00002183596820683029, 0, 0.00031887755102040814, 0, 0, 0.000017803414694938486, 0.00021256244021681367, 0, 0.0001321178491214163, 0, 0.00012624668602449185, 0.00002123638216993353, 0.0000706164818868724, 0.00008573388203017832, 0.0001412329637737448, 0.00004622781065088758, 0, 0.00003955539733396622, 0.0000052604999579160005, 0, 0.000024386526444139614, 0.00007138607971445568, 0.00023629489603024575, 0.0000706164818868724, 0, 0.00017146776406035664, 0.00016959692464243314, 0.0000757556627357895, 0.0000967726326994726, 0.00011987852309659545, 0.00008888888888888889, 0.00022634676324128565, 0.00012815583749839805, 0, 0.00011562030292519367, 0.0000733988050674535, 0.0002642356982428326, 0.00009611687812379854, 0, 0.00023124060585038734, 0.00007431629013079666, 0.00006839711364180432, 0.000025767218944059367, 0, 0.000038473376423514926, 0.00003590922148807814, 0.00019223375624759708, 0, 0, 0, 0.00004959333465582226, 0.00005101520253035405, 0.000032, 0, 0, 0.00006104819755196727, 0.00007561436672967865, 0.0000591715976331361, 0, 0, 0.0002601456815816857, 0, 0, 0.000015023135628868457, 0, 0.00010628122010840684, 0, 0.00010850694444444444, 0.00003748055696107644, 0.000039382482671707626, 0.00005653230821414438, 0, 0.000032518210197710714, 0.000027411529289219047, 0, 0, 0, 0.00009070294784580499, 0.000037993439799394636, 0.00008771545107670716, 0.00007346189164370983, 0.000007570137322291026, 0, 0, 0.000015500031000062, 0, 0, 0, 0.00005827166249053085, 0, 0, 0, 0, 0.00015625, 0.00003156167150612296, 0.00008888888888888889, 0, 0.000028596757127741712, 0, 0, 0.00004691311690748733, 0, 0.00013520822065981613, 0, 0.00011562030292519367, 0.00023124060585038734, 0.000050503775157193, 0.000023795359904818562, 0.00005486968449931413, 0, 0, 0.00002712673611111111, 0.00009070294784580499, 0, 0.00008218277449046679, 0, 0, 0.000022893248780934502, 0, 0.00002029056083110137, 0, 0.00009611687812379854, 0, 0.0001183431952662722, 0.000018021914648212227, 0.00009611687812379854, 0, 0.000012225536701061176, 0, 0.00009780429360848941, 0, 0.0001234567901234568, 0.00004917307282532085, 0.000018107741059302852, 0.00002953686200378072, 0, 0.000019236688211757463, 0, 0, 0.00008816592827701735, 0, 0, 0, 0, 0, 0.00003121001217190475, 0, 0.000036289737262302225, 0.00003415067276825354, 0, 0.00007971091508130513, 0, 0, 0.00036982248520710064, 0, 0.00015943877551020407, 0, 0, 0, 0.00002953686200378072, 0, 0.000033593120128997585, 0, 0, 0, 0, 0, 0, 0, 0, 0.00008416799932665601, 0, 0, 0, 0.00012624668602449185, 0, 0, 0, 0, 0, 0.0000502992807202857, 0.00008656509695290859, 0.000010142399285975091, 0.0001147842056932966, 0.00008771545107670716, 0, 0, 0.000024507401235173024, 0, 0, 0, 0.00009070294784580499, 0, 0, 0.00005771006463527239, 0, 0.000028596757127741712, 0.00008734387282732115, 0, 0, 0.00001826283877565929, 0, 0.00010412328196584755, 0.00006830134553650708, 0.00003380205516495403, 0.00006760411032990806, 0, 0, 0.00010628122010840684, 0.00003715814506539833, 0, 0, 0, 0, 0.00007561436672967865, 0, 0.0000308641975308642, 0, 0, 0.00003415067276825354, 0, 0.00009008603216071348, 0, 0.00005208333333333334, 0, 0, 0.00013883104262113008, 0, 0, 0.000036730945821854914, 0, 0, 0.000041091387245233394, 0, 0.0000502992807202857, 0, 0.000027411529289219047, 0.00002986055122577563, 0, 0, 0, 0.00001020731047576274, 0, 0, 0, 0, 0.000022893248780934502, 0, 0.00005972110245155126, 0.000019406547769217335, 0.000021633315305570577, 0, 0.000020661157024793387, 0.000013223140495867768, 0.000013717421124828532, 0, 0, 0, 0.000016796560064498793, 0, 0, 0.000010272846811308349, 0, 0.00003378226206026755, 0, 0.00003302946228035408, 0.00002047460125714052, 0, 0, 0.0000400576830636116, 0, 0.00002041462095152548, 0.000035430839002267575, 0, 0.00006530612244897959, 0.00003387017561686058, 0, 0, 0.00005369271658299552, 0, 0.000019069049026525047, 0.000055691690799732676, 0, 0, 0, 0.000057810151462596836, 0.0002040816326530612, 0, 0.0000502992807202857, 0, 0, 0.00004756242568370987, 0, 0, 0.00003191930798940279, 0.000021041999831664002, 0, 0.000057810151462596836, 0.000010473287879263938, 0, 0, 0, 0, 0, 0, 0, 0, 0.000011037405768148255, 0.000018419937740610438, 0, 0, 0, 0, 0.000016259105098855357, 0.00002657030502710171, 0, 0, 0, 0.000012073722147432222, 0, 0, 0.000035430839002267575, 0.000040569597143900364, 0, 0, 0, 0, 0.000042718612499466016, 0, 0, 0, 0.000035430839002267575, 0, 0.00006609822195782934, 0, 0, 0, 0, 0.00021003990758244068, 0, 0, 0, 0, 0, 0, 0, 0.00008899964400142399, 0.00010886921178690666, 0.00009130752373995617, 0.000027700831024930747, 0, 0, 0, 0, 0.00003590922148807814, 0, 0.000009644689633887581, 0, 0.00003955539733396622, 0, 0.00027681660899653976, 0, 0.000019578667084344897, 0.00011814744801512288, 0, 0, 0, 0, 0.00005369271658299552, 0, 0.00001351643598615917, 0, 0, 0, 0, 0.00012597631645250691, 0, 0, 0.00003378226206026755, 0, 0.0004725897920604915, 0, 0.00023629489603024575, 0, 0.000043282548476454294, 0.000033606385213190505, 0.00007620789513793629, 0.000168662506324844, 0.000051534437888118735, 0.00015262049387991818, 0.000031562999747496005, 0.000055737217598097505, 0.00006312334301224592, 0.00007652280379553107, 0.00008416799932665601, 0.000051226009152380304, 0.000038578758535550326, 0.00006682481873767917, 0.00007831466833737959, 0.00001847728679520699, 0.00039674667724657806, 0.00001721733441228629, 0.0001508978421608571, 0.000013563368055555555, 0, 0.00010628122010840684, 0.00002085027418110548, 0, 0.00006142380377142156, 0.00002594424063802077, 0.00008416799932665601, 0, 0.0006611570247933884, 0.000015959653994701395, 0.00007305135510263716, 0, 0.00011814744801512288, 0, 0.00007431629013079666, 0.00004805843906189927, 0.0001602307322544464, 0, 0.00002953686200378072, 0, 0.00019837333862328903, 0, 0, 0.00005782937443074209, 0.00006056109857832821, 0.00011562030292519367, 0, 0, 0.00014363688595231256, 0, 0.00004408296413850868, 0.00014692378328741966, 0.00008416799932665601, 0.00021545532892846886, 0, 0.0000510204081632653, 0, 0, 0.00001040582726326743, 0.00011291354586171855, 0.00013007284079084286, 0, 0, 0.000039674667724657806, 0.000025507601265177026, 0.000168662506324844, 0.0002601456815816857, 0.000066749733001068, 0.00010850694444444444, 0.0000358564308508731, 0.00002333776750916007, 0.00011573627560665098, 0.00009382623381497466, 0.0001412329637737448, 0.0000720876585928489, 0.00004805843906189927, 0.00002123638216993353, 0.00003415067276825354, 0.0000617283950617284, 0.00007527569724114569, 0.00007243096423721141, 0.000045351473922902495, 0, 0.000042718612499466016, 0.00011562030292519367, 0.0002082465639316951, 0.00006091140870685079, 0, 0.00007496111392215288, 0, 0.000039157334168689795, 0, 0, 0.00006103515625, 0.0003429355281207133, 0.000055401662049861494, 0.00006605892456070815, 0.000030280549289164105, 0.00006659917949810857, 0.0001232741617357002, 0.00006758217993079585, 0.0000411522633744856, 0.000028293345405160706, 0.000043282548476454294, 0, 0.000124000248000496, 0, 0.00006009254251547383, 0, 0.00012017304919083481, 0, 0.000013417595835178253, 0.000148720999405116, 0.0000048373559979586355, 0, 0, 0.00002333776750916007, 0, 0.000040569597143900364, 0.000005383261287353104, 0.00001992984693877551, 0.00009131419387829645, 0.00007279963114853551, 0.000022893248780934502, 0.00008656509695290859, 0.000020946575758527876, 0, 0.0000720876585928489, 0.00006609822195782934, 0.000008964107712718276, 0.00004627701420704336, 0, 0.000038138098053050095, 0.000036399815574267756, 0, 0.0000154320987654321, 0.0000293595220269814, 0.00015625, 0, 0, 0.000031745527848764306, 0, 0.00004492262078569664, 0.0001775147928994083, 0.00005486968449931413, 0.000026415659202775405, 0.000013871116520846553, 0.00009611687812379854, 0.000022249911000355996, 0.00017799928800284797, 0.00005611199955110401, 0.00001890359168241966, 0.000029218407596785978, 0.000027411529289219047, 0.0001, 0, 0, 0, 0, 0.00005827166249053085, 0.00003191930798940279, 0.000016610054065725982, 0.000031745527848764306, 0, 0.0000706164818868724, 0.00007694675284702985, 0, 0.000004565709693914822, 0, 0, 0, 0.00001133671167341201, 0.0001042513709055274, 0.000012311480455524777, 0.00018140589569160998, 0, 0.00003955539733396622, 0.000023456558453743664, 0, 0.000055691690799732676, 0.000020284798571950182, 0.00015241579027587258, 0.00007431629013079666, 0, 0, 0, 0, 0.0000096005837154899, 0.00010503833899373271, 0.00007694675284702985, 0.00006298815822625346, 0, 0.00002393948099205209, 0.000075, 0.00002276711517883569, 0.00018765246762994932, 0, 0.000018703999850368, 0.00006423350162510759, 0.00008324661810613944, 0, 0, 0.00005206164098292378, 0.00006103515625, 0.00001795461074403907, 0.00009157229632795092, 0.000020108990729755272, 0.00012913223140495868, 0.00005080526342529086, 0, 0, 0.00004805843906189927, 0, 0, 0.0010405827263267429, 0, 0.0002040816326530612, 0.00005369271658299552, 0.000017006802721088435, 0, 0.00003075740099961553, 0, 0.00002468638011265218, 0.0005333333333333334, 0, 0.000045351473922902495, 0.00003304911097891467, 0, 0.000043266630611141155, 0, 0.000040217981459510544, 0.000049979175343606825, 0, 0.00005827166249053085, 0.000037180249851279, 0, 0.000036289737262302225, 0.000011037405768148255, 0, 0, 0.00008488003621548211, 0.000012574820180071425, 0.000043266630611141155, 0.00022634676324128565, 0, 0, 0, 0, 0.00004959333465582226, 0, 0.00004367193641366058, 0, 0, 0.000035430839002267575, 0.00003265306122448979, 0.000041091387245233394, 0, 0.00007069469318503158, 0.000019825404273035466, 0, 0, 0.00003950617283950617, 0.00008771545107670716, 0, 0, 0.000042165626581211, 0.00013437248051599034, 0.00009780429360848941, 0.0001451589490492089, 0, 0.0001508978421608571, 0, 0.00001351643598615917, 0.000023795359904818562, 0, 0.0001220703125, 0, 0.00002986055122577563, 0.0001321964439156587, 0.000244140625, 0, 0.000031745527848764306, 0.000038578758535550326, 0, 0.00009070294784580499, 0.000023795359904818562, 0.000034010135020236034, 0.0000801153661272232, 0.00005289256198347107, 0, 0, 0, 0, 0, 0, 0.000051534437888118735, 0.00001977769866698311, 0, 0.00003472222222222222, 0.000055691690799732676, 0.00010973936899862826, 0, 0.00002532895986626309, 0.0002295684113865932, 0.00019223375624759708, 0, 0.000053279343598486864, 0.00008064386058289383, 0.000007465137806443907, 0.000025507601265177026, 0, 0.000027434842249657064, 0, 0.00013007284079084286, 0.00002246131039284832, 0, 0.000041091387245233394, 0.00010850694444444444, 0.00002712673611111111, 0, 0.000043568713306974265, 0.000020775623268698063, 0.00042007981516488136, 0.0001020304050607081, 0.000007804370447450573, 0.00009130752373995617, 0.00002207481153629651, 0.00008324661810613944, 0.000009329707187139933, 0, 0, 0, 0, 0, 0.00002788518738845925, 0, 0.00013696128560993425, 0.000027700831024930747, 0, 0.000009888849333491555, 0, 0, 0.0001746877456546423, 0.0000293595220269814, 0, 0.00008113919428780073, 0, 0.00011814744801512288, 0.00004756242568370987, 0.00010330578512396694, 0, 0, 0.00002183596820683029, 0.00010501995379122034, 0.00006556409710042781, 0, 0.00007086167800453515, 0.0000308641975308642, 0.00009645061728395061, 0.000168662506324844, 0, 0, 0.000037637848620572846, 0.00004959333465582226, 0, 0, 0.00006298815822625346, 0, 0.00007346189164370983, 0.000028054819116553746, 0, 0, 0.000148720999405116, 0.00015983803079546062, 0, 0.0000510204081632653, 0, 0, 0.000012056327160493826, 0.00010973936899862826, 0, 0, 0, 0.000034399428969479106, 0, 0.00003265306122448979, 0, 0.000012846700325021518, 0.00006609822195782934, 0.00003748055696107644, 0.00021003990758244068, 0, 0, 0.000025507601265177026, 0.000021678806798473812, 0.000019578667084344897, 0.000024451073402122352, 0, 0.000036289737262302225, 0.000019578667084344897, 0, 0.000005536332179930795, 0.00003018959062915107, 0, 0, 0, 0.00002183596820683029, 0, 0.000016141528925619835, 0.00001156925355176084, 0, 0.000058436815193571955, 0, 0.000004982461734693877, 0, 0, 0, 0, 0.000024507401235173024, 0, 0.0002469135802469136, 0, 0, 0.00004712979545668771, 0.000015023135628868457, 0.00009512485136741974, 0, 0, 0.00004724111866969009, 0.00591715976331361, 0.000032782048550213904, 0, 0, 0, 0.000041091387245233394, 0.00003780718336483932, 0.00008573388203017832, 0.00006682481873767917, 0, 0, 0.000017803414694938486, 0, 0.00001795461074403907, 0, 0, 0, 0.00003311221730444476, 0, 0, 0, 0, 0.000048902146804244705, 0.00013840830449826988, 0, 0, 0, 0.00030483158055174517, 0.00021003990758244068, 0.000030299204645878046, 0.00011814744801512288, 0.00019560858721697882, 0.00005425347222222222, 0, 0, 0.00011562030292519367, 0, 0.0000573921028466483, 0.00004627701420704336, 0.000028293345405160706, 0.00004659343731435427, 0.00006198347107438017, 0.000016128772116578765, 0.0002366863905325444, 0.00005250997689561017, 0.000038103947568968146, 0.0001388888888888889, 0.000042718612499466016, 0.00006530612244897959, 0.000168662506324844, 0.00025250399797996804, 0.00008340109672442193, 0.00006718624025799517, 0.00002192886276917679, 0.000040569597143900364, 0, 0.000027382006370880152, 0.00007911079466793244, 0, 0.0001, 0.00003591911016391087, 0.000084331253162422, 0.000028293345405160706, 0.00018896447467876037, 0, 0.00001721733441228629, 0, 0, 0.00001990267591477674, 0, 0.00006609822195782934, 0.00005369271658299552, 0.00006682481873767917, 0.0001538935056940597, 0.0003077870113881194, 0, 0.0002827787727401263, 0.00003302946228035408, 0, 0, 0.000027639197910476636, 0.00008573388203017832, 0.000019578667084344897, 0.00004712979545668771, 0, 0.000022249911000355996, 0, 0.00005653230821414438, 0.000053279343598486864, 0, 0.000012574820180071425, 0.00004408296413850868, 0, 0.00006738393117854496, 0, 0.000031000062000124, 0.00005406574394463668, 0.0000308641975308642, 0.00005653230821414438, 0.000045351473922902495, 0, 0.0004938271604938272, 0.000016659725114535613, 0, 0.000022371114417064686, 0.000042718612499466016, 0.00007971938775510203, 0, 0, 0.0001434257234034924, 0, 0.00002589851666245816, 0.000016128772116578765, 0.00004627701420704336, 0, 0.000026298487836949376, 0, 0.000008070764462809918, 0, 0.000053279343598486864, 0, 0, 0.000037637848620572846, 0.00031887755102040814, 0.0004081632653061224, 0.0005202913631633714, 0.0008917954815695601, 0.00043252595155709344, 0.000547845142439737, 0.00018261504747991235, 0.000562957402889848, 0.00043547684714762664, 0.00009382623381497466, 0, 0.000042165626581211, 0, 0.00001156925355176084, 0.000042165626581211, 0.000059045122282448254, 0.0002040816326530612, 0.00001736111111111111, 0.000025, 0, 0.00013520822065981613, 0.00006944444444444444, 0.00004244076860231939, 0, 0, 0.00008416799932665601, 0, 0, 0.00006920415224913494, 0.00001826283877565929, 0.00000647462916561454, 0.00002013476871862332, 0.0003305785123966942, 0, 0.00009618344105878731, 0.000037637848620572846, 0.000030524098775983637, 0.000035430839002267575, 0.0001538935056940597, 0.00012112219715665642, 0.00024151672503320857, 0.00004176876809979951, 0.0001746877456546423, 0.00019290123456790122, 0.00005341024408481547, 0.000057810151462596836, 0.000015872763924382153, 0.000020545693622616697, 0.00005213152784475231, 0, 0.00004094920251428104, 0.000021041999831664002, 0, 0.00013437248051599034, 0.000062000124000248, 0.00006056109857832821, 0.0003305785123966942, 0.0001321178491214163, 0.000037180249851279, 0.00002684635829149776, 0, 0.000015500031000062, 0, 0, 0, 0.00006009254251547383, 0, 0, 0.000048902146804244705, 0, 0, 0, 0, 0, 0.00008656509695290859, 0, 0, 0.000025767218944059367, 0, 0, 0.00004627701420704336, 0, 0, 0, 0, 0.000024507401235173024, 0, 0, 0.000035430839002267575, 0, 0.000030524098775983637, 0.00008899964400142399, 0, 0.0000200288415318058, 0, 0.00006383861597880558, 0.0004725897920604915, 0.0002040608101214162, 0.00006934171597633136, 0.00012767723195761116, 0, 0, 0.000168662506324844, 0, 0, 0, 0.00007181844297615628, 0.00003501339262267817, 0.00005, 0.000026732011583871687, 0.000014375148243716263, 0.00007002555932915514, 0.0000200288415318058, 0.000022893248780934502, 0.0000690979947761916, 0.00003955539733396622, 0.00006383861597880558, 0.00007069469318503158, 0.00003141986363779181, 0, 0, 0, 0, 0.000027555610666776887, 0.00005653230821414438, 0, 0.00000970487475859124, 0.00007181844297615628, 0.00004959333465582226, 0.000062000124000248, 0, 0.00006103515625, 0.000029135831245265425, 0.000025396825396825397, 0.0002777777777777778, 0.00005827166249053085, 0.00009425959091337542, 0, 0.0000400576830636116, 0, 0.00020155872077398548, 0, 0.00009070294784580499, 0.000084331253162422, 0.000140739350722462, 0.00002986055122577563, 0, 0.000028905075731298418, 0.000036730945821854914, 0.00014878000396746676, 0.00013437248051599034, 0.0001538935056940597, 0.00010501995379122034, 0.0016326530612244896, 0.00009645061728395061, 0.00006839711364180432, 0.0002524933720489837, 0.00006255082254331645, 0.00008138020833333333, 0.00005827166249053085, 0, 0, 0.0000400576830636116, 0.000084331253162422, 0.00005972110245155126, 0.00012624668602449185, 0.000023089853394824177, 0.0000591715976331361, 0.00006142380377142156, 0, 0.00510204081632653, 0.00003419855682090216, 0.00004180291319857313, 0, 0, 0, 0, 0, 0.00009512485136741974, 0.00007001330252748022, 0.000013523199047966788, 0.000017803414694938486, 0.00009070294784580499, 0.00004691311690748733, 0.00004691311690748733, 0.000111540749553837, 0.00006298815822625346, 0.00005101520253035405, 0.000042718612499466016, 0.00012624668602449185, 0.00013007284079084286, 0.0001802776275464215, 0.0001035143108534755, 0, 0, 0.0001451589490492089, 0.000078125, 0.00004667553501832014, 0, 0.00004691311690748733, 0, 0.000013032881961188077, 0, 0, 0, 0.000044444444444444447, 0, 0.00009255402841408673, 0, 0.0001512287334593573, 0.000023781212841854935, 0.000021041999831664002, 0.000042165626581211, 0, 0.00005175715542673775, 0.000066124446207763, 0, 0, 0, 0.00003447285262855501, 0.00001736111111111111, 0.00001940974951718248, 0.0000706164818868724, 0.00009425959091337542, 0, 0.00006383861597880558, 0.00003501339262267817, 0.00008218277449046679, 0.00005314061005420342, 0.00002475186257765897, 0.0000922722029988466, 0, 0.0000100144207659029, 0.000033412409368839586, 0.000027994736989445982, 0.00013333333333333334, 0.00002029056083110137, 0.00005653230821414438, 0.0000390625, 0.00012170879143170108, 0, 0.00004094920251428104, 0.000033412409368839586, 0.00004712979545668771, 0.00007694675284702985, 0.000012486109203511094, 0, 0.000021784356653487132, 0.000015346720789435318, 0, 0.00009255402841408673, 0.00004208222867483062, 0.000035430839002267575, 0, 0, 0.00007243096423721141, 0.00004853308743235701, 0, 0.00003228305785123967, 0.000035430839002267575, 0, 0, 0.00008138020833333333, 0, 0.00002085027418110548, 0.00023456558453743666, 0.00002333776750916007, 0, 0, 0, 0, 0, 0.000036839875481220875, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00005720714707957514, 0.00006611570247933885, 0, 0.0004455335263978614, 0, 0, 0, 0.00025195263290501383, 0, 0.00036982248520710064, 0.000041091387245233394, 0, 0.00002703287197231834, 0, 0.00009425959091337542, 0.000035430839002267575, 0.00003380205516495403, 0, 0.0001388888888888889, 0.00003265306122448979, 0, 0, 0.000050503775157193, 0.00005486968449931413, 0, 0.00002712673611111111, 0.00013840830449826988, 0.0004938271604938272, 0, 0, 0.0001321178491214163, 0, 0.0000059025854167351785, 0.00013840830449826988, 0.00011973036721303626, 0.00010973936899862826, 0.00034626038781163435, 0.00014610271020527432, 0.00002246131039284832, 0.000042165626581211, 0.000005493805185273086, 0.000005537755626755271, 0, 0.000019236688211757463, 0.00005653230821414438, 0, 0, 0.000023795359904818562, 0.00009425959091337542, 0, 0.0001, 0, 0, 0.00004627701420704336, 0.00005827166249053085, 0.00008064386058289383, 0, 0.00005101520253035405, 0, 0.00006298815822625346, 0.0001746877456546423, 0.0002601456815816857, 0.00004408296413850868, 0, 0.0016, 0.00003228305785123967, 0.00002311390532544379, 0, 0, 0, 0.00002047460125714052, 0.00037037037037037035, 0, 0.0001388888888888889, 0.00004504301608035674, 0.0000591715976331361, 0, 0.00007425558773297691, 0.00004367193641366058, 0.00003460207612456747, 0, 0.000047590719809637124, 0, 0.00004959333465582226, 0, 0.000031245606086644065, 0, 0, 0.000013127494223902542, 0, 0, 0.000019406547769217335, 0.000035430839002267575, 0, 0.000042348756122924325, 0, 0.000015747039556563364, 0.000038578758535550326, 0.0001059247228303086, 0.00009382623381497466, 0, 0.000026298487836949376, 0.0004591368227731864, 0.00007715751707110065, 0.000016169442137225798, 0, 0.0003305785123966942, 0.002770083102493075, 0.000032, 0, 0.00006738393117854496, 0.0013850415512465374, 0, 0.0022675736961451248, 0.000010892178326743566, 0, 0.0022222222222222222, 0, 0, 0.00003018959062915107, 0.000018107741059302852, 0.0004938271604938272, 0, 0.0030864197530864196, 0.000023456558453743664, 0.0034602076124567475, 0, 0.002770083102493075, 0.00006456611570247934, 0.00018261504747991235, 0.0004081632653061224, 0.00004492262078569664, 0.002770083102493075, 0, 0.000594883997620464, 0.00017799928800284797, 0.000045786497561869004, 0, 0.00010140616549486209, 0, 0.0006574621959237343, 0, 0.0001575299306868305, 0.0009182736455463728, 0.00006009254251547383, 0.00025195263290501383, 0.0022675736961451248, 0.0011890606420927466, 0.0022675736961451248, 0, 0.0010405827263267429, 0, 0.0011111111111111111, 0, 0.000048902146804244705, 0.00008899964400142399, 0.00014610271020527432, 0.001890359168241966, 0.0025, 0, 0.0025, 0.00006249121217328813, 0, 0, 0.0025, 0.00012375931288829484, 0, 0.002770083102493075, 0, 0.0010405827263267429, 0.0003652300949598247, 0.00390625, 0.0016, 0, 0.00008734387282732115, 0.0034602076124567475, 0, 0.0013717421124828531, 0, 0.0022675736961451248, 0.0025, 0.002770083102493075, 0.00015662933667475918, 0, 0.00035599857600569594, 0.0044444444444444444, 0, 0.0022675736961451248, 0.0008650519031141869, 0.00591715976331361, 0, 0.000732421875, 0.0007396449704142013, 0, 0, 0.0001020304050607081, 0.00012486992715920916, 0.0002, 0.00003228305785123967, 0, 0, 0, 0.000594883997620464, 0, 0.0004526935264825713, 0, 0, 0.00390625, 0, 0, 0.000033593120128997585, 0.0030864197530864196, 0.00009245562130177516, 0.00021626297577854672, 0.0022675736961451248, 0, 0.0014792899408284025, 0.00006682481873767917, 0.002770083102493075, 0.0009182736455463728, 0.0009765625, 0, 0.000036289737262302225, 0, 0.0000617283950617284, 0, 0, 0, 0.008888888888888889, 0.006944444444444444, 0, 0.00008734387282732115, 0.0001234567901234568, 0, 0, 0, 0.000012664479933131545, 0, 0, 0, 0.0004526935264825713, 0, 0, 0.00012913223140495868, 0.00003501277966457757, 0, 0, 0, 0.001736111111111111, 0.00031887755102040814, 0.002770083102493075, 0, 0.0011111111111111111, 0.00011138338159946535, 0.000045786497561869004, 0.006172839506172839, 0.005, 0.0025, 0, 0, 0, 0.002770083102493075, 0, 0.00006605892456070815, 0.002770083102493075, 0, 0.0014792899408284025, 0.00003062193142728822, 0.0022675736961451248, 0.0004164931278633902, 0, 0.000011037405768148255, 0, 0, 0.0012755102040816326, 0, 0.00002986055122577563, 0, 0, 0, 0.0075, 0, 0.0013717421124828531, 0, 0.00008573388203017832, 0.002770083102493075, 0, 0, 0.0025, 0.00005369271658299552, 0, 0, 0.00029726516052318666, 0.00510204081632653, 0.000038138098053050095, 0, 0, 0, 0.00013520822065981613, 0.0034602076124567475, 0.0001234567901234568, 0.0044444444444444444, 0, 0, 0.000008939386489905198, 0, 0.00008734387282732115, 0.000024266543716178507, 0, 0.002066115702479339, 0.00029726516052318666, 0.0014792899408284025, 0, 0.00012075836251660429, 0.0025, 0.006944444444444444, 0.0014792899408284025, 0, 0, 0.0002524933720489837, 0, 0.002770083102493075, 0, 0.00008494552867973413, 0, 0, 0.0006611570247933884, 0.0022675736961451248, 0.0000502992807202857, 0, 0.00510204081632653, 0.0009182736455463728, 0.000140739350722462, 0, 0, 0.0010405827263267429, 0.00005369271658299552, 0, 0, 0, 0.000064, 0, 0.00011080332409972299, 0.0030864197530864196, 0, 0, 0.0000801153661272232, 0.0004938271604938272, 0.0034602076124567475, 0.002770083102493075, 0.001890359168241966, 0.00002847988608045568, 0.00390625, 0.001189767995240928, 0.0025, 0.00009451795841209829, 0.00006718624025799517, 0.005, 0, 0.0034602076124567475, 0.00010412328196584755, 0, 0.00012018508503094766, 0.0001234567901234568, 0.00010140616549486209, 0.00008875739644970415, 0.00014363688595231256, 0.0008650519031141869, 0.00008865135953192083, 0.00012017304919083481, 0.0002469135802469136, 0.0000801153661272232, 0.00010412328196584755, 0.00013061224489795917, 0.00012170879143170108, 0.0001220703125, 0.00004627701420704336, 0.00007715751707110065, 0.00005314061005420342, 0.00006046863189720333, 0.0002040816326530612, 0.000058219643307652, 0.0007689350249903883, 0.00025195263290501383, 0, 0.00037037037037037035, 0.0003077870113881194, 0.0003305785123966942, 0.0001451589490492089, 0, 0, 0.0004626875537048053, 0.0001451589490492089, 0.0009053870529651426, 0.000186000372000744, 0.00019837333862328903, 0.00027736686390532545, 0.00017313019390581717, 0, 0, 0.00038446751249519417, 0.00029726516052318666, 0.0009233610341643582, 0.00029726516052318666, 0.0007100591715976332, 0.00029726516052318666, 0.000732421875, 0.00029726516052318666, 0.00032873109796186715, 0.00017777777777777779, 0, 0.0006887052341597796, 0.00027041644131963225, 0.0002, 0.00024151672503320857, 0.000594883997620464, 0, 0.0008401596303297627, 0.00006867974634280352, 0, 0.000595120015869867, 0.00021256244021681367, 0, 0, 0.0005202913631633714, 0.0007689350249903883, 0.00029726516052318666, 0.00009245562130177516, 0.00018261504747991235, 0, 0, 0.000547845142439737, 0.00012018508503094766, 0, 0, 0.00039674667724657806, 0.0006925207756232687, 0.00029726516052318666, 0, 0, 0.00026254988447805085, 0, 0.00043252595155709344, 0.0009182736455463728, 0.00031887755102040814, 0.0001171875, 0, 0.0002834467120181406, 0.0008163265306122448, 0.0001020304050607081, 0.000353082409434362, 0.00012984764542936286, 0, 0, 0, 0, 0.00018851918182675084, 0.0002366863905325444, 0, 0, 0, 0.00006802721088435374, 0.000025, 0.00007283957811316357, 0.00008494552867973413, 0.00005410816221627032, 0, 0.000023169567931001026, 0.00008264462809917355, 0.00008653326122228231, 0.00003496299749431851, 0.00007283957811316357, 0, 0, 0.000021128521273486403, 0.00007936381962191077, 0.000027700831024930747, 0.00004734250725918445, 0.00038446751249519417, 0.00004081216202428324, 0.000054103185595567865, 0.0001020304050607081, 0.0000823045267489712, 0.00008398280032249394, 0.000346860908775581, 0.000096849173553719, 0.00008138020833333333, 0.0005202913631633714, 0.0001417233560090703, 0, 0, 0.00024348672997321648, 0.00035555555555555557, 0.00010655868719697373, 0.00021003990758244068, 0.00036982248520710064, 0, 0.000054537150024882575, 0.00017777777777777779, 0.000018147448015122875, 0.000015119672205506585, 0.000047609601269589366, 0.000012486992715920916, 0.0000098631810092368, 0.000009566326530612244, 0, 0, 0.000035427073369468946, 0.00006024072192481154, 0, 0.000004956740795726628, 0.000011475493080421116, 0.001067995728017088, 0.000015637106146694217, 0, 0, 0.000013289839616710995, 0, 0.0000408489580597912, 0.00003875432525951557, 0.0004938271604938272, 0.0003305785123966942, 0.00008740749373579628, 0.00005486968449931413, 0.000026461074700672324, 0.000006109067053824875, 0, 0.000017990667341316693, 0.000010829068034161378, 0.000007149189281935428 ]

[ "Q:\n\nAdd SPuser to SPGroup by defult ,after registration directly\n\nI need that when the user registers on the site he should automatically be logged in to the site.", "\nHow can I do that by code?", "\n\nA:\n\nWell you can add an SPUser programmatically into SPGroup.. Something like below:\n SPUser spUser = spWeb.", "EnsureUser(userLoginName);\n\n if (spUser !", "= null)\n {\n SPGroup spGroup = spWeb.", "Groups[userGroupName];\n\n if (spGroup !", "= null)\n spGroup.", "AddUser(spUser);\n }\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "Bipropellant gel propulsion systems spray oxidizer and fuel gel in contact with each other. ", "These droplets then ignite hypergolically to produce the thrust for the gel propellant engine. ", "These bipropellant gel systems have enough impulse for tactical applications but the density-impulse is lower than desired. ", "The baseline fuel gel used by the Army is a 48% monomethylhydrazine, 1.5% hydroxypropyl cellulose and 50% carbon formulation. ", "The oxidizer gel is inhibited red fuming nitric acid (IRFNA) type IIIB that is gelled with a 4.5% silicon dioxide. ", "IR-FNA type IIIB is nitric acid that contains 14% nitrogen tetroxide. ", "This combination of fuel and oxidizer has an optimum oxidizer to fuel ratio (O/F ratio) of 3.4.", "\nTherefore, the largest improvement in density impulse occurs when modifications are made in the oxidizer gel." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0.00006298815822625346, 0, 0.0002040816326530612, 0, 0 ]

[ "Museo del violino\n\n__FORCETOC__\n\nThe Violin Museum (in ) is a musical instrument museum located in Cremona. ", "The museum is best known for its collection of stringed instruments that includes violins, violas, cellos and double basses crafted by renowned luthiers, including Antonio Stradivari and Giuseppe Guarneri del Gesù.:", "\n\nHistory\nAt the time of his death in 1883, Enrico Ceruti, a prolific and successful Italian luthier and musician in his own rights, passed down the objects from his workshop to Michelina, the widow of his son, Paolo. ", "Michelina was at that time, married the second time to Giovanni Battista Cerani, who was also a close friend of Enrico Ceruti. ", "Cerani was an instrument dealer and collector, who later donated various musical instruments and models owned by great Cremonese violin luthiers, including Antonio Stradivari to the town of Cremona in 1893, and thus, the Stradivarius museum (in ) was established. ", "The museum was later enriched by the inestimable collection of Count Ignazio Alessandro Cozio of Salabue, an Italian count who is known as the first great connoisseur and collector of violins of his time. ", "Cozio's meticulous notes on nearly every instrument that passed through his hands contributed enormously to the body of knowledge surrounding Italian violinmaking.", "\n\nIn 1920, a huge collection of original Stradivari family tools, such as wooden models, documents and artisanal equipment for the creation of stringed instruments were purchased from the count's descendants by the violin maker named Giuseppe Fiorini of Bologna in order to create an Italian school of lutherie. ", "However, after failing to do so after ten years, he decided to donate the whole collection to the Town Hall of Cremona in 1930.", "\n\nThe municipal administration of Cremona later created the \"Stradivarian Room\" () inside the Palazzo Affaitati, where all the objects of the Salabue-Fiorini collection were exhibited. ", "After a brief transfer of the exhibits to the Palazzo dell'Arte and to the state archives, they were later placed in the Stradivarius Museum, which were divided into three rooms: the first illustrated the construction of the contralto viola according to the classic Cremonese school; the second room exhibited some instruments made by Italian violin makers of the 19th and 20th century; the last room contained sixteen exhibits with over 700 objects.", "\n\nThe \"Cremonese traditional violin craftmanship\" (official name in ) was declared an intangible cultural heritage by UNESCO on 5 December 2012, during the 7th session of the Intergovernmental Committee in Paris.", "\n\nAfter two years of restoration of the Palazzo dell'Arte, the entire collection has been permanently transferred to the current building of Museo del Violino which was officially inaugurated on 14 September 2013.", "\n\nExhibits\n\nThe collections in the violin museum is organized into 10 rooms:\n\nRoom 1: The origins of the violin – The exhibits in this room explain how and when did the violin came about, as well as showing the instruments that preceded it. ", "The phases leading to the birth of the violin are presented including its spread over northern Italy and into the most important European courts, in particular France, at the time of Catherine de' Medici;\nRoom 2: The luthier's workshop – The room presents the violin making process, and introduces the parts of the violin, and the materials, tools, and techniques used during the violin making process;\nRoom 3: The spread of the violin – A room that explains the spread of modern violins into Europe and the rest of the world throughout the 16th to 20th century. ", "Excerpts from important concerts performed by famous 20th century violinists can be seen and heard in the listening room;\nRoom 4: Classical Cremonese violinmaking – The room introduces visitors to the history of Cremonese violinmaking industry and the works of the famous luthier families from Cremona;\nRoom 5: The treasure chest – This room houses the most important instruments donated to the Town Hall of Cremona, which includes instruments crafted by Antonio Stradivari, and by various members of the Amati and Guarneri families;\nRoom 6: Stradivarian tools – More than 700 exhibits, from drawings, mounds and tools, passed down to the museum from Antonio Stradivari's workshop are on display in this room. ", "Most exhibits were donated to the Town Hall of Cremona in 1930 by the famous Italian luthier, Giuseppe Fiorini.", "\nRoom 7: The twilight and rebirth of violinmaking – The room is dedicated to the events of Cremonese violinmaking after the death of Antonio Stradivari from the late 17th to early 19th century;\nRoom 8: The Triennial violin making competitions – Since 1976, a triennial international competition held in Cremona, now organized by the Fondazione Stradivari (The Stradivarian Foundation), has awarded prizes to the best modern instruments selected by a jury composed of luthiers and musicians. ", "The permanent collection of contemporary violinmaking brings together in this room the winning violins, violas, cellos and double basses from the last 13 competitions;\nRoom 9: Friends of Stradivari – dedicated to temporary exhibitions of instruments from other collectors and museums; and\nRoom 10: The violin in the cinema – This is where film clips about Cremonese violin makers are shown.", "\n\nOther Attractions\n\nAt the back of the museum, in what was originally the assembly hall of the Palazzo dell'Arte, a 464-seat auditorium named after the entrepreneur, Giovanni Arvedi, was designed and built by architects Giorgio Palù, Michele Bianchi and acoustical engineer, Yasuhisa Toyota. ", "Soloists and chamber orchestras perform on a small elliptical stage with an area of 85 m2, located in the middle of the room.", "\n\nIn addition, two scientific research laboratories were set up by the Polytechnic of Milan and the University of Pavia, for the scientific study of violin making and diagnostic research.", "\n\nOutside the museum is the modern sculpture named L'anima della Musica (The soul of music), created by Catalan artist Jaume Plensa, depicting a 4-meters tall half-body of a man covered in musical notes.", "\n\nSee also\n List of music museums\nCount Ignazio Alessandro Cozio di Salabue\nTraditional violin craftsmanship in Cremona\nAntonio Stradivari\n\nExternal links\n\nReferences \n\nCategory:Museums in Italy\nCategory:Musical instrument museums in Italy" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0.00008573388203017832, 0.000043266630611141155, 0.000021041999831664002, 0.000062000124000248, 0.00004304407713498623, 0.000047590719809637124, 0, 0.00003081854043392505, 0, 0.00008765522279035793, 0.000009876543209876543, 0.00004449982200071199, 0.00002204148206925434, 0, 0.0000031548826541396796, 0.000005951200158698671, 0.00016232448664881097, 0.00001659193383136788, 0, 0.00005824179664294284, 0, 0.000057193514255483425, 0.00004853308743235701, 0.00005252008893401726 ]

[ "How a North Korean Spy Submarine's Mechanical Meltdown Ended in Shocking Tragedy\n\nAt 4:30 p.m. on June 22, 1998, Capt. ", "Kim In-yong noticed a curious site from the helm of his fishing boat as it sailed eleven miles east of the South Korean city of Sokcho: a small submarine, roughly sixty feet in length, caught in a driftnet used for mackerel fishing. ", "Several crew members were visible on the submarine’s deck, trying to free their vessel. ", "Upon noticing the fishing boat, they gave friendly waves of reassurance.", "\n\nCaptain Kim was suspicious. ", "The entangled submarine was located twenty miles south of the demilitarized zone separating North and South Korea. ", "Likely, he recalled an incident two years earlier when a North Korean spy submarine ground ashore further south near the city of Gangneung. ", "Rather than surrendering, the heavily armed crew first turned on itself and then tried to fight its way back to the border, resulting in the death of thirty-seven Koreans from both nations. ", "Perhaps he was aware that while Republic of Korea Navy operated three Dolgorae-class mini-submarines at the time, North Korea had roughly fifty small submarines of several classes. ", "So the South Korean fisherman informed the Sokcho Fishery Bureau.", "\n\nThe submarine, meanwhile, freed itself from the nets and began sailing north, with Captain Kim following it at a distance. ", "However, before long the submarine rolled on its belly, stalled and helpless in the water.", "\n\nBy 5:20 p.m. the Republic of Korea dispatched antisubmarine helicopters, and the submarine’s location was confirmed nearly an hour later. ", "The vessel was a Yugo-class mini-submarine, imported from Yugoslavia to North Korea during the Cold War. ", "The boats in the class vary from sixteen to twenty-two meters long and seventy to 110 tons in weight, and can’t go much faster than ten knots (11.5 miles per hour), or four knots underwater. ", "Though some carried two torpedo tubes, they were primarily used to deploy operatives on spying missions, with the five-man vessels able to accommodate up to seven additional passengers. ", "Later inspection of the Yugo-class boat revealed it had a single rotating shaft driving its two propellers, which had skewed blades for noise reduction, and that the hull was made of plastic to lower visibility to Magnetic Anomaly Detectors.", "\n\nROK Navy surface ships surrounded the vessel and attempted to communicate with the stranded boat, first via signaling charges and low-frequency radio, then loudspeakers and even hammers tapped on the boat’s hull—without response. ", "Unwilling to risk opening the submarine while at sea, the South Korean sailors ultimately hitched the mini-sub to a corvette at 7:30 that evening and began towing it for port of Donghae.", "\n\nThe timing was inauspicious. ", "South and North Korea were about to hold their first major talks in years at Panmunjom. ", "Recently elected South Korean president Kim Dae-jung was promoting his “Sunshine Policy,” attempting to promote reconciliation and openness between two nations that had been officially at war since 1950. ", "On January 23, North Korea declared that a submarine had suffered a “training accident.” ", "According to Pyongyang, the submarine’s last communication reported “trouble in nautical observation instruments, oil pressure systems, and submerging and surfacing machines.” ", "South Korean officials told the New York Times they didn’t believe the Yugo-class boat had actually been involved in a spy mission.", "\n\nThere was of course something a bit comical about the South Korean Navy coming to the unwanted rescue of a submarine that was spying in its waters. ", "However, as frequently happens in tales of North Korean espionage, the absurd becomes horrific.", "\n\nSouth Korea had readied a special team to open the ship and negotiate with the North Korean crew, including defector and former submariner Lee Kwang-soo, one of only two North Korean survivors of the Gangneung incident. ", "However, while still being towed on July 24, the submarine sank abruptly to the bottom of the ocean. ", "South Korean officials were uncertain: had the boat succumbed to mechanical difficulties, or had it been scuttled by the crew?", "\n\nOn June 25, a South Korean salvage team recovered the boat from one hundred feet underwater and an elite team bored into the hull. ", "They found a horrid tableau inside.", "\n\nThe submarine’s interior had taken on only two and a half feet of water—but the five submariners had been gunned down, with bullet wounds visible across their bodies. ", "Four elite North Korean Special Forces also lay dead, each shot in the head. ", "North Korean military culture stresses that its soldiers should kill themselves rather than accept capture. ", "It seemed likely that the more fanatical Special Forces had murdered the crew—perhaps after they had refused an order to commit suicide—then killed themselves. ", "The nine dead men aboard the submarine were buried in South Korea’s Cemetery for North Korean and Chinese Soldiers, as Pyongyang has mostly refused to accept back the remains of its own spies and soldiers.", "\n\nThe more than two hundred items recovered from the submarine were also revealing. ", "The crew had been packing AK-47s, machine guns, grenades, pistols, a rocket-propelled grenade and three sets of “American-made infiltration gear.” ", "The presence of an empty South Korean pear juice container also suggested that the Special Forces personnel had made it ashore, as did a 1995 issue of Life magazine. ", "If there was any doubt of the boat’s espionage activities, the ship’s log indicated the submarine had landed agents into South Korea on multiple occasions in the past.", "\n\nGiven that U.S. primacy cannot endure, and that accommodating Russia and China is unwise, Washington should work with Moscow, Beijing and others to promote the establishment of functioning collective-security regimes in Europe and Asia." ]

{ "pile_set_name": "Pile-CC" }

[ 0.0001412329637737448, 0.000018419937740610438, 0, 0, 0.0011111111111111111, 0, 0.0000510204081632653, 0, 0.00006104819755196727, 0.0002366863905325444, 0.000064, 0, 0, 0, 0, 0, 0.00001721733441228629, 0, 0, 0, 0.00012913223140495868, 0.000024029219530949635, 0, 0, 0.00005827166249053085, 0, 0, 0.00004058112166220274, 0, 0, 0, 0, 0, 0.000168662506324844, 0, 0, 0.000023795359904818562, 0, 0, 0.00007257947452460445, 0, 0.0000176541204717181 ]

[ "From \"A Christmas Story\" to \"Bad Santa,\" successful Christmas movies have come in many forms.", "\n\nHere, we've compiled the 45 highest-grossing Christmas movies of all time at the domestic box office.", "\n\nThe holiday season wouldn't be complete without a laundry list of Christmas movies and a warm blanket.", "\n\nClassics like \"A Christmas Story\" and \"Elf\" made this list alongside newer titles, including the 2018 version of \"Dr. Seuss' The Grinch,\" which holds the No. ", "3 spot.", "\n\nWe compiled this list of the highest-grossing Christmas movies of all time at the US box office with data from Box Office Mojo (unadjusted for inflation). ", "We also included each film's Rotten Tomatoes critic score and a review excerpt for each.", "\n\nTake a look at the list below and check it twice for the 45 most successful Christmas movies of all time at the domestic box office.", "\n\nNote: Several notable older films, including 1946's \"It's a Wonderful Life,\" are absent for lack of data." ]

{ "pile_set_name": "OpenWebText2" }

[ 0, 0, 0, 0.0000390625, 0, 0.000040569597143900364, 0.00012913223140495868, 0, 0 ]

[ "Deriving Effective Sweep Width for Air-scent Dog Teams.", "\nWe sought to obtain the first effective sweep widths (ESWs) ever measured for an air-scent search dog unit to compare their performance to historical data from human searchers and to initially test the validity of atmospheric convection as a limiting factor in air-scent search. ", "We used GPS tracks and waypoints to measure lateral hit and miss distances for the dog teams during blinded, randomized training tasks during a 6-year period, calculating ESW using the crossover method. ", "During the tasks we collected weather data for determining convection. ", "We used nonparametric statistics and least-square regression to compare the dog ESW data with historical human data and weather conditions. ", "The mean value of ESW for the 4 teams under all conditions was 95 m (95% CI, 44 to 145). ", "The dog teams' performance was statistically superior to human visual searchers in detecting search subjects in low-visibility colors, but not subjects in high-visibility colors. ", "A nonparametric correlation test of ESW vs convection gave P<.05, suggesting that convection may be an operationally significant factor in air-scent dog performance. ", "The ESW methodology is applicable to air-scent dog teams, potentially allowing search managers to make decisions in applying resources operationally, as well as improving accuracy of planning calculations. ", "In addition, the methods described appear to be capable, given more widely representative data, of making valid statistical comparisons between different search modalities and weather and other factors." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0.0003305785123966942, 0, 0.000024266543716178507, 0, 0, 0.00012624668602449185, 0, 0, 0, 0 ]

[ "package com.heweather.owp.bean;\n\nimport java.util.", "List;\n\npublic class BarBean {\n String title;\n int totalLevel;\n List<Integer> levels;\n\n public List<Integer> getLevels() {\n return levels;\n }\n\n public void setLevels(List<Integer> levels) {\n this.levels = levels;\n }\n\n public int getTotalLevel() {\n return totalLevel;\n }\n\n public void setTotalLevel(int totalLevel) {\n this.totalLevel = totalLevel;\n }\n\n public String getTitle() {\n return title;\n }\n\n public void setTitle(String title) {\n this.title = title;\n }\n}\n" ]

{ "pile_set_name": "Github" }

[ 0, 0 ]

[ "Q:\n\nMy made-up combobox is missing its arrow\n\nI have a made-up combobox... more like a textbox with suggestions... in chrome, it has an arrow, making it like a real combobox... but this arrow is missing in mozilla. ", "is there a way for this arrow to also appear in mozilla? ", "I really need it as a combobox and not a drop-down list.", "\nI have no special css for it but here is the code:\n<input type=\"text\" list=\"pilian\" id=\"gi_classification\" name=\"gi_classification\">\n<datalist id=\"pilian\">\n <option>For Sale</option>\n <option>For Lease</option>\n <option>For Sale &amp; For Lease</option>\n</datalist>\n\nA:\n\nI think that you can find the answer to your question here: trigger datalist options on click event of text box (your question is possible duplicate).", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0, 0.000010766522574706208, 0 ]

[ "Christians say Jesus was dead and buried for three days. ", "But Friday night to Sunday morning is only a day and two nights. ", "A tour operator trying to sell that package as ‘three days’ would be prosecuted. ", "So what’s up with the Christians?", "\n\nA case can be made for the Roman practice of inclusive numbering. ", "They would have said our week was eight days, running from Sunday to Sunday. ", "They based their own week on the public market day which was held every eighth day throughout the Roman Empire, and they therefore said the week was nine days. ", "They were brilliant engineers, but not strong in pure mathematics.", "\n\nHowever Roman numbering doesn’t deal with the issue of Biblical prophecy. ", "Christians are at pains to say that Jesus was correct in all his prophecies. ", "Here is the prophecy by Jesus that causes them to say he was buried for three days:\n\n“For as Jonah was three days and three nights in the belly of the great fish, so will the Son of Man be three days and three nights in the heart of the earth.” (", "Matthew 12:40)\n\nChristians will wriggle and wriggle to claim that late Friday plus Saturday plus early Sunday equals three days, but there is no way they can find the necessary three nights.", "\n\nClearly, if Jesus was prophesying about himself, a Sunday morning resurrection fails to meet the criteria. ", "He failed to stay under long enough.", "\n\nSorry, but the claim of accurate prophecy must be disallowed." ]

{ "pile_set_name": "OpenWebText2" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0.00017313019390581717, 0, 0, 0, 0, 0, 0 ]

[ "Logo Design & Branding\n\nWhat is it that gets you noticed?", "\n\nMany companies think if they haven't formally developed a brand yet, they don't have one.", "\n\nBut you do, whether you know it or not. ", "It just probably not be the brand you're hoping it is.", "\n\nWhatever you've been doing over the years, right or wrong, has contributed and solidified your brand in your customers' eyes. ", "Now ask yourself: Do you know what that image is and, is it the image you want them to have?", "\n\nWhen you work with us, we'll help you communicate your brand in a way that resonates in your prospects' hearts, minds and spirits.", "\n\nYour logo isn't your brand.", "\n\nYour brand is not just your logo, tag line or the \"look and feel\" of your ads and website. ", "These are only the visual parts of your brand identity, and often are referred to incorrectly as \"branding.\"", "\n\nWe know that a successful brand separates you from your competitors in a unique way that is relevant and motivating to your existing or prospective customers, giving your service value. ", "With that in mind, we’d like to share our perspective on branding, so you know we can help you in this critical area.", "\n\nIt’s your Promise\n\nIt’s the promise you make to your market that touches them in a way that stays with them. ", "It should resonate within the hearts (feelings) and minds (intellect) of your customers and prospects. ", "It can border on being poetic, as in some of our personal favorites:\n\nKashi’s GoLean Bars are more than just an energy bar, they’re “7 whole grains on a mission.”", "\n\nCastrol Oil ain’t just any ordinary oil. ", "They say: “It’s More Than Just Oil. ", "It’s Liquid Engineering”\n\nOne of our old favorites was FannieMae, who doesn’t say they’re in the home loan business, they claim “We’re in the American Dream business.” (", "Well, maybe not any more.)", "\n\nIt’s what makes you Unique.", "\n\nIt’s what makes you unlike any other company. ", "It’s the sum total of your product, company, competitive experiences and perceptions–some of which you can influence, some which you cannot. ", "It’s a comfort for those who come in contact with your company, knowing that what you offer cannot easily and comprehensively be provided by anyone else.", "\n\nIt’s your Commitment.", "\n\nOnce the promise has been made, everyone in your enterprise must take it to heart by promoting the philosophy on a daily basis with everyone they encounter. ", "Your commitment should permeate the mind set of all employees within the company, and be conveyed to everyone outside the company–so the marketplace knows it’s more than just words.", "\n\nIt’s Continuity.", "\n\nNever let it stop. ", "From the time your prospects first come in contact with you (in any number of ways) to the time they experience or promote your company or services to their professional peers or friends, continuity is key. ", "And whether it’s a two months or two years from now, that continuity equals comfort in the minds of your audience." ]

{ "pile_set_name": "Pile-CC" }

[ 0.0003077870113881194, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00007002555932915514, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "This page links all WHO information to its response on the Public Health Emergency of International Concern." ]

{ "pile_set_name": "OpenWebText2" }

[ 0.00008573388203017832 ]

[ "Presence detection is a technology used to convey information about the availability of individuals. ", "Individuals are often interested in the availability of others and, because they are often not co-located, they require mechanisms for conveying availability or status information. ", "The devices that people interact with know bits and pieces about how available they are for communications or other forms of interaction with others at any instant. ", "People who are on the phone are less available to most others for the duration of the call, but may want to be interrupted by selected callers.", "\nThe location of a person on a mobile phone is information that may be relevant for determining whether that person is available for a certain type of event. ", "For example, someone traveling far away from home may not be available for physical interaction with their neighbors, but may be available to take a call. ", "Similarly, someone near a particular restaurant at lunchtime is a potential consumer.", "\nPresence related information is routinely generated in many devices connected to various networks. ", "For example, a person using a Personal Computer (PC) attached to a network may generate various presence state information. ", "An “On-line” state indicates a user has logged onto a network, such as the Internet or a corporate intranet, while an “Off-line” state indicates no connection is currently active between the user and the presence engine. “", "Idle” status implies the user's system, although logged on, has not been active recently. ", "Similarly, a person who acknowledges a calendar event in a PC or personal digital assistant (PDA) essentially signals their limited availability to most others for some duration while at the same time indicates that the person is active on that device. ", "This level of presence indication is useful, but it is sufficiently coarse to limit its utility.", "\nMost presence systems rely on users to select presence indications through a menu on a PC or PDA or a button on a specific device. ", "Keeping any presence indicator accurate to the actual availability status of the user potentially requires very frequent interaction by the user to supply status information. ", "Such tedious human interaction potentially negates the effectiveness of presence-based communications systems. ", "Some systems sense user interaction with a single device like a PC, which lessens the direct human input while decreasing overall accuracy, since using a mouse or keyboard certainly indicates the presence of the user at the device. ", "However, it simultaneously indicates they are engaged in an activity with the device, the importance of which is unknown. ", "The result is a convoluted view of availability. ", "The user is certainly present to some degree, but may be busy and may not want to be disturbed. ", "In these kinds of systems, the user still has to provide manual input to prevent being inappropriately represented and interrupted.", "\nThe reliability and usefulness of presence information depends on the type of information provided and the device from which the information is gathered. ", "A person actively interacting with a computer indicates to some degree that she is available, but probably only to those on the same network. ", "A PC or other network device inside a corporate network will have visibility, independently or through a corporate presence server, to many presence inputs related to many PCs or other devices on that network. ", "Typically, however, a device inside a corporate firewall will be isolated from having access to presence data related to devices like mobile phones, that by their very nature interconnect through commercial service provider networks.", "\nEven when reliable and useful presence information for a user is available, the basic concept of availability for communications is inherently dependent on who is wanting to communicate with the user. ", "Likewise, the specifics of activities that the user is engaged in at any instant bear on the desirability to be contacted by various individuals. ", "For example, when the user is on a conference call at work they may wish to be unavailable to their coworkers but available to their family members for urgent communications. ", "The user may wish to be accessible by select clients regardless of time, day, and location, wherein accessibility for other clients may be limited to normal working hours when the user is in the office.", "\nFurther, the basic concept of availability for communications inherently is based on the type of communication medium available to the user and the circumstances surrounding the user at the time in which communications are desired. ", "Many circumstances dictate whether silent or verbal communications are appropriate. ", "In the conference call example, a user may be participating in the conference call, but may want to remain available to respond to instant messages or email from all or select people. ", "As such, the user is unavailable for telephonic communications and available for text-based messaging. ", "Additionally, even though multiple media are available, the user will typically prefer one text-based messaging technique over another.", "\nAccordingly, there is a need for improving both the number and quality of inputs into a presence management system in order to more efficiently and effectively deliver presence information to users of the information. ", "Further, there is a need to provide a prioritized list of available and preferred communication media to those desiring to communicate with the user. ", "There is also a need for a presence management system capable of providing different views of availability for different audiences at any given time." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0.00006503642039542143, 0, 0, 0, 0, 0.0000573921028466483, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "/*\nCopyright The Kubernetes Authors.", "\n\nLicensed under the Apache License, Version 2.0 (the \"License\");\nyou may not use this file except in compliance with the License.", "\nYou may obtain a copy of the License at\n\n http://www.apache.org/licenses/LICENSE-2.0\n\nUnless required by applicable law or agreed to in writing, software\ndistributed under the License is distributed on an \"AS IS\" BASIS,\nWITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.", "\nSee the License for the specific language governing permissions and\nlimitations under the License.", "\n*/\n\n// Code generated by client-gen. ", "DO NOT EDIT.", "\n\npackage fake\n\nimport (\n\t\"context\"\n\n\tv1beta1 \"k8s.io/api/node/v1beta1\"\n\tv1 \"k8s.io/apimachinery/pkg/apis/meta/v1\"\n\tlabels \"k8s.io/apimachinery/pkg/labels\"\n\tschema \"k8s.io/apimachinery/pkg/runtime/schema\"\n\ttypes \"k8s.io/apimachinery/pkg/types\"\n\twatch \"k8s.io/apimachinery/pkg/watch\"\n\ttesting \"k8s.io/client-go/testing\"\n)\n\n// FakeRuntimeClasses implements RuntimeClassInterface\ntype FakeRuntimeClasses struct {\n\tFake *FakeNodeV1beta1\n}\n\nvar runtimeclassesResource = schema.", "GroupVersionResource{Group: \"node.k8s.io\", Version: \"v1beta1\", Resource: \"runtimeclasses\"}\n\nvar runtimeclassesKind = schema.", "GroupVersionKind{Group: \"node.k8s.io\", Version: \"v1beta1\", Kind: \"RuntimeClass\"}\n\n// Get takes name of the runtimeClass, and returns the corresponding runtimeClass object, and an error if there is any.", "\nfunc (c *FakeRuntimeClasses) Get(ctx context.", "Context, name string, options v1.GetOptions) (result *v1beta1.RuntimeClass, err error) {\n\tobj, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootGetAction(runtimeclassesResource, name), &v1beta1.RuntimeClass{})\n\tif obj == nil {\n\t\treturn nil, err\n\t}\n\treturn obj.(*v1beta1.RuntimeClass), err\n}\n\n// List takes label and field selectors, and returns the list of RuntimeClasses that match those selectors.", "\nfunc (c *FakeRuntimeClasses) List(ctx context.", "Context, opts v1.ListOptions) (result *v1beta1.RuntimeClassList, err error) {\n\tobj, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootListAction(runtimeclassesResource, runtimeclassesKind, opts), &v1beta1.RuntimeClassList{})\n\tif obj == nil {\n\t\treturn nil, err\n\t}\n\n\tlabel, _, _ := testing.", "ExtractFromListOptions(opts)\n\tif label == nil {\n\t\tlabel = labels.", "Everything()\n\t}\n\tlist := &v1beta1.RuntimeClassList{ListMeta: obj.(*v1beta1.RuntimeClassList).ListMeta}\n\tfor _, item := range obj.(*v1beta1.RuntimeClassList).Items {\n\t\tif label.", "Matches(labels.", "Set(item.", "Labels)) {\n\t\t\tlist.", "Items = append(list.", "Items, item)\n\t\t}\n\t}\n\treturn list, err\n}\n\n// Watch returns a watch.", "Interface that watches the requested runtimeClasses.", "\nfunc (c *FakeRuntimeClasses) Watch(ctx context.", "Context, opts v1.ListOptions) (watch.", "Interface, error) {\n\treturn c.Fake.", "\n\t\tInvokesWatch(testing.", "NewRootWatchAction(runtimeclassesResource, opts))\n}\n\n// Create takes the representation of a runtimeClass and creates it. ", " Returns the server's representation of the runtimeClass, and an error, if there is any.", "\nfunc (c *FakeRuntimeClasses) Create(ctx context.", "Context, runtimeClass *v1beta1.RuntimeClass, opts v1.CreateOptions) (result *v1beta1.RuntimeClass, err error) {\n\tobj, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootCreateAction(runtimeclassesResource, runtimeClass), &v1beta1.RuntimeClass{})\n\tif obj == nil {\n\t\treturn nil, err\n\t}\n\treturn obj.(*v1beta1.RuntimeClass), err\n}\n\n// Update takes the representation of a runtimeClass and updates it. ", "Returns the server's representation of the runtimeClass, and an error, if there is any.", "\nfunc (c *FakeRuntimeClasses) Update(ctx context.", "Context, runtimeClass *v1beta1.RuntimeClass, opts v1.UpdateOptions) (result *v1beta1.RuntimeClass, err error) {\n\tobj, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootUpdateAction(runtimeclassesResource, runtimeClass), &v1beta1.RuntimeClass{})\n\tif obj == nil {\n\t\treturn nil, err\n\t}\n\treturn obj.(*v1beta1.RuntimeClass), err\n}\n\n// Delete takes name of the runtimeClass and deletes it. ", "Returns an error if one occurs.", "\nfunc (c *FakeRuntimeClasses) Delete(ctx context.", "Context, name string, opts v1.DeleteOptions) error {\n\t_, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootDeleteAction(runtimeclassesResource, name), &v1beta1.RuntimeClass{})\n\treturn err\n}\n\n// DeleteCollection deletes a collection of objects.", "\nfunc (c *FakeRuntimeClasses) DeleteCollection(ctx context.", "Context, opts v1.DeleteOptions, listOpts v1.ListOptions) error {\n\taction := testing.", "NewRootDeleteCollectionAction(runtimeclassesResource, listOpts)\n\n\t_, err := c.Fake.", "Invokes(action, &v1beta1.RuntimeClassList{})\n\treturn err\n}\n\n// Patch applies the patch and returns the patched runtimeClass.", "\nfunc (c *FakeRuntimeClasses) Patch(ctx context.", "Context, name string, pt types.", "PatchType, data []byte, opts v1.PatchOptions, subresources ...string) (result *v1beta1.RuntimeClass, err error) {\n\tobj, err := c.Fake.", "\n\t\tInvokes(testing.", "NewRootPatchSubresourceAction(runtimeclassesResource, name, pt, data, subresources...), &v1beta1.RuntimeClass{})\n\tif obj == nil {\n\t\treturn nil, err\n\t}\n\treturn obj.(*v1beta1.RuntimeClass), err\n}\n" ]

{ "pile_set_name": "Github" }

[ 0, 0.0001183431952662722, 0.000034240321402483564, 0.0001020304050607081, 0, 0, 0.000008977305372019535, 0.00013007284079084286, 0.00004950372515531794, 0, 0.00008416799932665601, 0, 0.000029135831245265425, 0, 0.00010412328196584755, 0, 0.00011573627560665098, 0, 0.00003228305785123967, 0, 0, 0.002770083102493075, 0, 0, 0, 0, 0, 0.0016326530612244896, 0, 0, 0, 0, 0.0000573921028466483, 0, 0.000018107741059302852, 0, 0, 0.0000573921028466483, 0, 0.00006032697218926582, 0, 0, 0.00019837333862328903, 0, 0.000048902146804244705, 0, 0, 0.0002903178980984178, 0.00006503642039542143, 0, 0, 0.00011138338159946535, 0, 0.00005314061005420342 ]

[ "Q:\n\nInterpose statically linked binaries\n\nThere's a well-known technique for interposing dynamically linked binaries: creating a shared library and and using LD_PRELOAD variable. ", "But it doesn't work for statically-linked binaries.", "\nOne way is to write a static library that interpose the functions and link it with the application at compile time. ", "But this isn't practical because re-compiling isn't always possible (think of third-party binaries, libraries, etc).", "\nSo I am wondering if there's a way to interpose statically linked binaries in the same LD_PRELOAD works for dynamically linked binaries i.e., with no code changes or re-compilation of existing binaries.", "\nI am only interested in ELF on Linux. ", "So it's not an issue if a potential solution is not \"portable\".", "\n\nA:\n\nOne way is to write a static library that interpose the functions and link it with the application at compile time.", "\n\nOne difficulty with such an interposer is that it can't easily call the original function (since it has the same name).", "\nThe linker --wrap=<symbol> option can help here.", "\n\nBut this isn't practical because re-compiling\n\nRe-compiling is not necessary here, only re-linking.", "\n\nisn't always possible (think of third-party binaries, libraries, etc).", "\n\nThird-party libraries work fine (relinking), but binaries are trickier.", "\nIt is still possible to do using displaced execution technique, but the implementation is quite tricky to get right.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0, 0, 0, 0, 0.0006574621959237343, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "In a radio networking environment that re-uses frequencies (e.g., a cellular telephony and data network), a mobile device often simultaneously receives signals from multiple transmitters even though the mobile device is normally only in active communications with one transmitter at a time. ", "The mobile device monitors the strength of these signals. ", "When the strength of a signal becomes greater than the strength of the signal received from the transmitter with which the mobile device is actively communicating, then the mobile device is “handed off” from its current transmitter to the transmitter with the stronger signal. (", "Note that the strength of the signal as measured by the mobile device typically becomes stronger or weaker as the mobile device moves nearer to, or farther from, respectively, the transmitter.) ", "The mobile device then actively communicates with the new transmitter. ", "The mobile device continues to monitor the strengths of the signals it receives and may be handed off to yet another transmitter.", "\nThis hand-off method allows the mobile device to advantageously direct its communications to the transmitter with the strongest signal (which is usually the nearest transmitter). ", "The method also provides the benefit of reduced interference. ", "When the mobile device receives signals from multiple transmitters, the signals from all transmitters other than the one with which the mobile device is actively communicating can interfere with the transmissions between the mobile device and its chosen transmitter. ", "The amount of interference grows as the strength of the interfering signal becomes greater (e.g., as the mobile device moves closer to the interfering transmitter). ", "In the hand-off method described above, interference problems are resolved because the mobile device eventually switches to the transmitter with the strongest signal. ", "Thus, what was once the greatest source of interference becomes the mobile device's communications partner, eliminating this transmitter as a source of interference.", "\nThis hand-off method provides the interference-reduction benefits only if the communications network permits the mobile device to be handed off to the transmitter with the strongest signal. ", "While this is generally the case, it may not be the case when a transmitter's signal overlaps with the signal from a “private” transmitter. ", "For purposes of the present discussion, we use the terminology of cellular networks: The “normal” or non-private transmitters are called “macrocell” transmitters, and the private transmitter is called a “femtocell” transmitter. ", "The provider of the femtocell may secure it so that the femtocell does not allow itself to become the active transmitter for every mobile device that comes along. (", "Often, this means that the femtocell will only host those mobile devices that know how to log into the femtocell using well known authentication and security protocols.) ", "Although femtocells usually transmit at much lower power levels than used by macrocell transmitters, when a mobile device moves “close enough” to the femtocell transmitter, the signal of the femtocell can become a source of interference that current hand-off methods cannot address. ", "In some cases, the interference is so bad that it creates a “coverage hole” in the macrocell.", "\nRepeating the above example with a little more detail, a mobile device moves toward a secured femtocell transmitter until the femtocell's signal interferes with (or potentially interferes with) the mobile device's communications with a macrocell transmitter. ", "This particular mobile device is not authorized to access the femtocell and thus cannot be handed off to the femtocell. ", "The mobile device must continue to communicate with its macrocell transmitter even though the signal received from the macrocell may be weaker than the signal received from the closer femtocell. ", "The interference from the femtocell grows and cannot be relieved by current methods. ", "As a corollary, the transmissions between the mobile device and its macrocell may interfere with transmissions between the femtocell and its devices." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000037180249851279, 0.00003460207612456747, 0.000012486109203511094, 0, 0.000014792899408284025, 0.0001388888888888889, 0, 0, 0.00004504301608035674 ]

[ "The instant invention relates to image developing apparatus and specifically a developer roll for use in combination with a color producing substrate. ", "In accordance with this invention, a color is formed by the reaction of isolated chromogenic materials. ", "A first chromogenic material is typically a color precursor of the electron donating type whereas the second chromogenic material is typically identified as a color developer and is generally of the electron accepting type. ", "In this invention a developer roll burnishes the active coating on the color producing substrate to promote the reaction of the color forming ingredients. ", "This developing action is accomplished without \"rupturing pressure\" or without the necessity for pressure rollers which define a pressure nip.", "\nOne type of substrate for which image developing apparatus such as the developer roll of this invention is necessary is commonly referred to as carbonless paper. ", "Carbonless paper is a common, commercially used type of pressure sensitve paper wherein during manufacture the backside of the paper substrate is coated with what is referred to as CB coating, the CB coating containing one or more color precursors generally in capsular form. ", "At the same time the front side of the paper substrate is coated during manufacture with what is referred to as a CF coating, which contains one or more color developers. ", "Both the color precursor and the color developer remain in the coating compositions on the respective back and front surfaces of the paper in colorless form.", "\nThis is true until the CB and CF coatings are brought into contiguous relationship and sufficient pressure, as by a typewriter or stylus, is applied to rupture the capsules in the CB coating to release the color precursor. ", "At this time the color precursor contacts the CF coating and reacts with the color developer therein to form a color. ", "Generally, this color is formed in a pattern of an image such as an alphanumeric character or the like. ", "Thus the image from the top surface of the top sheet is transferred to the next sheet without the use of carbon paper.", "\nA related product, and one for which the developer roll of this invention has special utility is referred to as self-contained paper. ", "Very generally, self-contained paper refers to an image transfer system wherein only one side of the paper needs to be coated and the one coating contains both the color precursor, generally in encapsulated form, and the color developer. ", "Thus, when pressure is applied, again as by a typewriter, stylus or other writing instruments, the color precursor capsule is ruptured and the internal phase reacts with the surrounding color developer to form an image. ", "Both the carbonless paper system and the self-contained carbonless paper system have been the subject of a great deal of patent activity.", "\nA second type of product which requires developer roll activity is described as self-developing film for use with fully automatic photographic cameras. ", "Typical of these cameras and the film which is used in them is Polaroid Corporation's SX-70 and Pronto and Eastman Kodak Company's EK-6 and EK-8 cameras. ", "These cameras and the film used therein are designed to automatically produce finished, waste free color prints with virtually no operator involved other than to compose the picture, focus and then actuate the camera by depressing its cycle start button.", "\nOnce actuated, the order of camera operations begins with exposure of a film unit. ", "Afterwards, the exposed film unit is advanced from its exposure location into engagement with a film processing subsystem or apparatus which initiates a diffusion transfer process in the film unit while transporting it to the exterior of the camera where it becomes accessible to the photographer. ", "After the diffusion transfer process is initiated, it develops and forms a visible image in the film unit in a well-known manner.", "\nTypically necessary in systems such as this are pressure rollers to diffuse the active ingredients. ", "See for example, U.S. Pat. ", "No. ", "2,435,717 (1948) to Land; U.S. Pat. ", "No. ", "2,495,113 (1950) to Gannon. ", "Also described in the prior art are pressure ebbs for \"film pods\", see for example, U.S. Pat. ", "No. ", "2,659,825 (1953) to Land or along the same lines squeezing rollers such as demonstrated by U.S. Pat. ", "No. ", "2,751,814 (1956) to Limberger. ", "Other patents generally known to be pertinent to this concept are U.S. Pat. ", "No. ", "2,971,445 (1961) to Orlando; U.S. Pat. ", "No. ", "3,134,313 (1964) to Gold et al.; ", "U.S. Pat. ", "No. ", "3,249,434 (1966) to Land et al.; ", "U.S. Pat. ", "No. ", "3,615,132 (1971) to Turner; U.S. Pat. ", "No. ", "4,017,879 (1977) to Lermann et al.; ", "U.S. Pat. ", "No. ", "4,200,382 (1980) to Friedman; and U.S. Pat. ", "No. ", "4,256,392 (1981) to Stemme et al.", "\nAnother line of products which typically require developer rolls or the like are described in previously mentioned U.S. Pat. ", "No. ", "3,615,132 to Turner and assigned to the Xerox Corporation. ", "These patents describe what is referred to as the process of xerography, which is also disclosed for example in Carlson Pat. ", "No. ", "2,297,691. ", "In this process a xerographic plate comprising a layer of photoconductive insulating material on a conductive backing is given a uniform electric charge over its surface and then exposed to the subject matter to be reproduced usually by conventional projection techniques. ", "This exposure discharges the plate areas in accordance with the light intensity that reaches them, and thereby creates an electrostatic latent image on or in the photoconductive layer. ", "Development of the latent image is effected with an electrostatically charged, finely divided material, such as an electroscopic powder, which is brought into surface contact with the photoconductive layer and is held thereon electrostatically in a xerographic powder image pattern corresponding to the electrostatic latent image. ", "Thereafter, the developed xerographic powder image is usually transferred to a support surface, such as, a sheet of copy paper to which it may be fixed by any suitable means.", "\nSince the disclosure in Carlson, many improvements have been in xerographic devices and techniques and, as a result, both manual and automatic machines for carrying out xerographic reproduction processes are in wide commercial use.", "\nWhile a variety of commercial processes involving a color development or color transfer system have been described above, they all suffer from a common deficiency. ", "In any of the systems wherein color development takes place between co-reactive materials, it is common to use pressure rollers for purposes of developing the color. ", "This is done when the co-reactant materials are maintained in isolation from one another. ", "By use of the apparatus and method of this invention pressure rollers are no longer necessary for the development of colors between co-reacted materials. ", "Rather than use a pressure nip to crush, squeeze, diffuse or otherwise physically distort coatings or substrates a more subtle force is applied by means of the developer roll of this invention. ", "The developer roll of this invention relies on a burnishing effect on the active surface of the reactive coating and the optional application of heat to develop, enhance and project developed colors. ", "Common disadvantages of the high pressure rollers common to the prior art systems are that they require not only high pressure, but also precision alignment in order to develop color without crimping or creasing the sheet.", "\nSeveral terms need to be defined for purposes of this application. ", "The term \"rupturing pressure\" should be understood to mean the pressure necessary to crush microcapsules coated onto a paper substrate. ", "In typical carbonles paper embodiments wherein rupturing pressure is applied by means of a typewriter or stytus-like instrument, in order to assure uniform capsule rupture a rupturing pressure of greater than 100 kg/cm.sup.2 is required.", "\nThe \"force\" necessary to release the internal phase of capsules shall be understood to mean the burnishing force, heat force or frictional force developed by use of the apparatus of this invention to rupture or release the contents of the microcapsules which have been coated onto the substrate.", "\nThe term \"image-wise exposing\" shall be understood to mean that the reaction between the chromogenic material and the developer occur according to the exposure such that a positive or negative image is obtained. ", "The image may be formed by a change in color or a difference in contrast." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0, 0, 0, 0.000013127494223902542, 0, 0, 0.00001992984693877551, 0, 0, 0, 0, 0, 0, 0, 0, 0.00012649687974363298, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0012755102040816326, 0, 0, 0, 0, 0.0010405827263267429, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0006925207756232687, 0, 0.0007716049382716049, 0, 0, 0.0005165289256198347, 0, 0, 0.00006298815822625346, 0, 0.0005745475438092502, 0, 0, 0, 0, 0, 0, 0, 0.000018579072532699166, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "rivative of -21*s + 20/3*s**3 + 5/2*s**2 + 11. ", "Let w(u) = -u + 1. ", "Let l(f) = -c(f) - 5*w(f). ", "Differentiate l(z) wrt z.\n-40*z\nSuppose 9*b = 12*b. ", "Let j be -2 - (-4 - b - 0). ", "What is the third derivative of 43*i**6 - 28*i**6 - 2*i**2 + 7*i**2 + i**j wrt i?", "\n1800*i**3\nSuppose 975 = 17*p - 4*p. ", "What is the third derivative of -21*t**3 - 11*t**2 - 7*t - 7*t**3 + 16*t**2 - p*t**3 wrt t?", "\n-618\nFind the third derivative of -5*z**6 + 114*z**3 + 156 - z**5 + 27*z**3 + 7*z**2 + 86*z**3 - 147*z**3 wrt z.\n-600*z**3 - 60*z**2 + 480\nLet q = 0 + 0. ", "Let h = 7836 + -7834. ", "Find the third derivative of -24*a**3 - a**3 + q*a**h + 3*a**2 wrt a.\n-150\nSuppose 0 = -6*t + 4 + 2. ", "Let z be 6*13/1*t/2. ", "Differentiate 33*s**2 + z*s**2 - 90*s**2 + 21 wrt s.\n-36*s\nLet h(v) = 39*v - 197. ", "Let z(s) = -51*s + 183. ", "Let u(w) = 26*w - 91. ", "Let x(j) = 11*u(j) + 6*z(j). ", "Let r(d) = -4*h(d) - 7*x(d). ", "Differentiate r(f) wrt f.\n-16\nLet s(d) be the first derivative of -345*d**4 + 853*d**3 + 179. ", "What is the third derivative of s(c) wrt c?", "\n-8280\nLet j(h) be the second derivative of 11*h**3 + 0 + 59*h - 25/2*h**2. ", "What is the derivative of j(c) wrt c?", "\n66\nLet c be (-5)/(5*2/(-10)). ", "What is the second derivative of -1 - 11*f**5 + 12*f - 20*f**2 - f**c + 11*f**5 wrt f?", "\n-20*f**3 - 40\nLet b(j) be the third derivative of 1183*j**4/4 + 5431*j**3/6 + 5946*j**2. ", "What is the first derivative of b(d) wrt d?", "\n7098\nSuppose 5*g = 2*m - 27, 0 = -2*m - g + 4*g + 25. ", "Differentiate -94 + 5*k - 69*k - m*k - 21*k with respect to k.\n-96\nLet c(o) = -2676*o**2 - 8*o - 1325. ", "Let d(a) = -4015*a**2 - 14*a - 1993. ", "Let z(y) = 8*c(y) - 5*d(y). ", "Find the second derivative of z(q) wrt q.\n-2666\nLet z(u) be the first derivative of -2*u**7/7 + 2*u**5/5 + 373*u**4/4 - 13*u**3 + 3*u**2/2 - 2*u - 4533. ", "What is the third derivative of z(b) wrt b?", "\n-240*b**3 + 48*b + 2238\nLet m(a) be the third derivative of -193*a**7/42 + 367*a**3/2 + 859*a**2. ", "What is the derivative of m(y) wrt y?", "\n-3860*y**3\nWhat is the first derivative of 396*s**4 - 193*s**4 - 499 + 408*s**4 + 327*s**4 wrt s?", "\n3752*s**3\nLet w(q) = -9*q - 18. ", "Suppose -1 = -2*c - 3*r, 0*r - 2*r = 2*c + 2. ", "Let j be w(c). ", "What is the derivative of 15 - 12 - 32*h**4 - 4*h**4 + j wrt h?", "\n-144*h**3\nFind the second derivative of -271*g**5 - 1673*g - 673*g + 246*g - 277*g**5 - 143*g**5 wrt g.\n-13820*g**3\nLet k = -80 - -85. ", "Suppose -15 = -5*m - k. Find the second derivative of -230 - 5*d**m + 230 + 34*d wrt d.\n-10\nLet m(y) be the second derivative of 906*y**8/7 - 425*y**4/4 - y**3/2 + 7870*y. ", "What is the third derivative of m(l) wrt l?", "\n869760*l**3\nDifferentiate -57*z**3 + 1005*z**3 - 271 - 307*z**3 wrt z.\n1923*z**2\nFind the third derivative of 6*h**2 + 889*h - 27*h**6 + 23*h**2 - 30*h**2 + 18*h**5 wrt h.\n-3240*h**3 + 1080*h**2\nSuppose s + 201 = 5*c, 0*c = -4*c - 5*s + 184. ", "Let w = -36 + c. Find the third derivative of -12*q**2 - 98*q**6 - w*q**2 + 77*q**6 wrt q.\n-2520*q**3\nLet k(f) be the second derivative of 214*f**3/3 - 927*f**2/2 + 197*f - 1. ", "Differentiate k(h) with respect to h.\n428\nWhat is the first derivative of 6271 + 752*u**3 - 1004*u - 859*u**3 - 2039*u**3 + 1003*u wrt u?", "\n-6438*u**2 - 1\nSuppose z = -m - 3 + 10, 3*z - 2*m = 1. ", "Find the third derivative of 3*d**2 - 135*d**2 + z*d**2 - 50*d**5 wrt d.\n-3000*d**2\nWhat is the second derivative of -673*c - 2 - 4736*c**2 + 404*c + 353*c wrt c?", "\n-9472\nLet l(r) = -r**3 + 10*r**2 + 22*r + 27. ", "Let p be l(12). ", "Suppose p*s - 34 = 11. ", "Differentiate -4 + 1 - 2*h + 6 - s with respect to h.\n-2\nLet p(b) = -b**2 - 3*b + 13. ", "Let f be p(3). ", "Let y be (-250)/f + (3/3)/(-1). ", "What is the second derivative of -41*s - 34*s + y*s - s**2 wrt s?", "\n-2\nFind the first derivative of -62*y**3 + 456*y - 898*y - 3298 - 48*y**4 + 442*y wrt y.\n-192*y**3 - 186*y**2\nLet c(z) be the first derivative of 671*z**4/4 - 4*z**3/3 - 823*z**2 + 2165. ", "What is the second derivative of c(d) wrt d?", "\n4026*d - 8\nLet q(n) be the second derivative of -135/2*n**2 + 58*n + 0*n**4 + 0 + 19/4*n**5 + 0*n**3. ", "Find the first derivative of q(r) wrt r.\n285*r**2\nLet a = -1401 + 1401. ", "Let w(l) be the second derivative of 0*l**4 + 9/20*l**5 + 8*l - 1/2*l**2 + a + 0*l**3. ", "Differentiate w(m) with respect to m.\n27*m**2\nSuppose 32*m + 6 = 33*m. ", "Let g be ((-6)/1)/(24/(-12)). ", "Find the third derivative of 22*v**g + 4*v**2 - 18*v**3 + m*v**2 wrt v.\n24\nLet b(i) be the third derivative of -5309*i**8/336 + i**5/20 + i**4/24 + 83*i**3/6 - 6*i**2 + 9. ", "What is the third derivative of b(p) wrt p?", "\n-318540*p**2\nLet c(x) = -1398*x**3 + 2*x**2 + 4*x - 89. ", "Let i(u) = -2798*u**3 + 4*u**2 + 7*u - 176. ", "Let k(b) = -7*c(b) + 4*i(b). ", "Find the third derivative of k(l) wrt l.\n-8436\nLet o(r) be the third derivative of 693*r**4/8 - 2411*r**3/3 + 2*r**2 + 3*r + 123. ", "Differentiate o(c) wrt c.\n2079\nFind the third derivative of -2631*p**2 - 5712*p**2 + 528*p**6 + 54*p**3 - 52*p**3 - 1539*p**6 wrt p.\n-121320*p**3 + 12\nLet j(h) be the second derivative of -h**6/15 - h**5/20 - 781*h**4/6 + h**3/6 - 7057*h**2/2 + 595*h - 1. ", "What is the second derivative of j(o) wrt o?", "\n-24*o**2 - 6*o - 3124\nLet a(n) be the second derivative of 1059*n**8/56 + 45*n**4/2 - 5592*n. ", "Find the third derivative of a(w) wrt w.\n127080*w**3\nLet g(n) be the second derivative of 2147*n**3/6 - 1391*n**2/2 - 55*n. ", "Find the first derivative of g(j) wrt j.\n2147\nLet x = -4612 - -4612. ", "Let g(i) be the first derivative of -1/2*i**2 + 0*i**5 + 0*i**3 + 7/2*i**6 + 0*i + x*i**4 - 9. ", "Find the second derivative of g(h) wrt h.\n420*h**3\nLet r(k) = 2326*k**3 - 7*k**2 - 14*k - 1853. ", "Let d(c) = -1164*c**3 + 3*c**2 + 6*c + 926. ", "Let j(o) = 14*d(o) + 6*r(o). ", "What is the derivative of j(v) wrt v?", "\n-7020*v**2\nLet u(p) = -37*p**3 - 21*p**2 - 7*p - 12643. ", "Let k(o) = -7*o**3 + o**2 + o - 1. ", "Let f(a) = 5*k(a) + u(a). ", "Find the first derivative of f(v) wrt v.\n-216*v**2 - 32*v - 2\nLet v(w) be the third derivative of -383*w**7/210 + w**5/30 + w**4/12 + 196*w**3/3 - 4*w**2 + 468*w - 3. ", "What is the third derivative of v(l) wrt l?", "\n-9192*l\nLet q(t) = -2*t**3 + 55*t**2 - 3*t - 105. ", "Let d be q(27). ", "Suppose 8 = 5*b - 27. ", "What is the third derivative of b*i**2 - 526*i**3 + d*i**3 + 5*i**2 wrt i?", "\n102\nDifferentiate 234 + 1314*a + 980 + 2480*a wrt a.\n3794\nWhat is the first derivative of 9*k**3 - 5273 + 3515*k + 2*k**2 + 30*k**3 - 6*k**2 - 3515*k wrt k?", "\n117*k**2 - 8*k\nLet m(o) be the first derivative of 131*o**7/42 - 13*o**3 - 22*o - 99. ", "Let i(y) be the first derivative of m(y). ", "What is the second derivative of i(x) wrt x?", "\n2620*x**3\nLet c(f) be the first derivative of -2198*f**5/5 + f**3/3 + 5318*f - 4341. ", "What is the derivative of c(l) wrt l?", "\n-8792*l**3 + 2*l\nSuppose 1595*z - 28 = 1588*z. ", "What is the second derivative of 331*a - 310*a - a**z + 61*a**4 wrt a?", "\n720*a**2\nWhat is the third derivative of -102*k**2 - 131*k**2 + 1073*k**3 - 425835*k + 425835*k wrt k?", "\n6438\nWhat is the first derivative of 925*j**4 + 200 + 2574*j**4 + 429 - 695*j**4 - 82 wrt j?", "\n11216*j**3\nLet i be 62/22 + (-98)/(-539). ", "What is the third derivative of 2*d + 0*d**5 + 24*d**i - 25*d**5 - 8*d**5 + 55*d**2 + 34*d**5 wrt d?", "\n60*d**2 + 144\nSuppose 2*a - 6 = -3*q, 2 = q + 6. ", "Let d be 40/6 - 10/15. ", "What is the derivative of 97*t - d*t**4 - 97*t - a wrt t?", "\n-24*t**3\nLet i(j) = 3161*j**2 + 1242. ", "Let c(d) = 15819*d**2 + 6211. ", "Let g(a) = -3*c(a) + 14*i(a). ", "Differentiate g(u) wrt u.\n-6406*u\nLet k(j) = -1193*j - 4746. ", "Let z be k(-4). ", "Let t(o) be the first derivative of -z + 0*o**2 + 16/3*o**3 + 46*o. ", "Find the first derivative of t(n) wrt n.\n32*n\nFind the first derivative of -809*t - 4*t**2 + 21447 + 21417 - 43023 wrt t.\n-8*t - 809\nSuppose -5*z - 85 = -2*j, 0 = 2*j + 2*z - 38 - 26. ", "Let n = 38 - j. Find the third derivative of 5*h**4 - n*h**2 + 20*h**2 - 7*h**4 wrt h.\n-48*h\nFind the third derivative of 21 - 8 - 15 - 1229*q**6 - 50*q**2 wrt q.\n-147480*q**3\nLet g(i) = 2*i**2 + 1. ", "Let z(o) = 13*o**2 + 10*o + 6. ", "Let n(b) = -3*g(b) + z(b). ", "Let f be n(-5). ", "Differentiate -8 + d - d + f*d**2 - 119*d**2 wrt d.\n18*d\nLet l(d) = -13*d**3 - 3*d**2 - 5*d - 4. ", "Let k be l(-2). ", "What is the third derivative of k*z**2 - 22*z**3 + 86*z**3 + 34*z**3 + 125*z**3 - 43*z**3 wrt z?", "\n1080\nFind the third derivative of -57*k - k**2 - 182*k**3 + 8*k**5 + 0*k**5 + 90*k**3 - 11*k + 89*k**3 wrt k.\n480*k**2 - 18\nLet z = 612 - 612. ", "Let d(v) be the second derivative of -5/2*v**2 - 9/10*v**5 + 18*" ]

{ "pile_set_name": "DM Mathematics" }

[ 0, 0, 0, 0.00036982248520710064, 0, 0, 0, 0, 0.00004162330905306972, 0, 0.0000980296049406921, 0, 0.000148720999405116, 0, 0, 0, 0, 0.00011317338162064282, 0, 0, 0, 0, 0.00013520822065981613, 0, 0.0005408328826392645, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0004725897920604915, 0, 0, 0, 0.00003380205516495403, 0, 0.00003387017561686058, 0, 0, 0, 0, 0, 0, 0.001890359168241966, 0, 0, 0, 0, 0.000028293345405160706, 0, 0, 0.00019290123456790122, 0, 0, 0, 0, 0.0005408328826392645, 0, 0, 0, 0, 0.0000152587890625, 0.0005165289256198347, 0, 0.00006503642039542143, 0.00021003990758244068, 0, 0.00010850694444444444, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000040569597143900364, 0, 0, 0, 0, 0.0007304601899196494, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0002687449610319807, 0, 0, 0.00005907372400756144, 0.0000252518875785965, 0, 0, 0, 0, 0, 0.00010850694444444444, 0, 0 ]

[ "<!", "DOCTYPE html PUBLIC \"-//W3C//DTD XHTML 1.0 Transitional//EN\" \"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd\">\r\n<!--", "\r\nCopyright (c) 2003-2011, CKSource - Frederico Knabben. ", "All rights reserved.", "\r\nFor licensing, see LICENSE.html or http://ckeditor.com/license\r\n-->\r\n<html xmlns=\"http://www.w3.org/1999/xhtml\">\r\n<head>\r\n\t<title>Placeholder Plugin &mdash; CKEditor Sample</title>\r\n\t<meta content=\"text/html; charset=utf-8\" http-equiv=\"content-type\" />\r\n\t<script type=\"text/javascript\" src=\"../ckeditor.js\"></script>\r\n\t<script src=\"sample.js\" type=\"text/javascript\"></script>\r\n\t<link href=\"sample.css\" rel=\"stylesheet\" type=\"text/css\" />\r\n</head>\r\n<body>\r\n\t<h1 class=\"samples\">\r\n\t\tCKEditor Sample &mdash; Using the Placeholder Plugin\r\n\t</h1>\r\n\t<div class=\"description\">\r\n\t<p>\r\n\t\tThis sample shows how to configure CKEditor instances to use the\r\n\t\t<strong>Placeholder</strong> plugin that lets you insert read-only elements\r\n\t\tinto your content. ", "To enter and modify read-only text, use the\r\n\t\t<strong>Create Placeholder</strong> button and its matching dialog window.", "\r\n\t</p>\r\n\t<p>\r\n\t\tTo add a CKEditor instance that uses the <code>placeholder</code> plugin and a related\r\n\t\t<strong>Create Placeholder</strong> toolbar button, insert the following JavaScript\r\n\t\tcall to your code:\r\n\t</p>\r\n\t<pre class=\"samples\">CKEDITOR.replace( '<em>textarea_id</em>',\r\n\t{\r\n\t\t<strong>extraPlugins : 'placeholder',</strong>\r\n\t\ttoolbar : [ [ 'Source', 'Bold' ], [<strong>'CreatePlaceholder'</strong>] ]\r\n\t});</pre>\r\n\t<p>\r\n\t\tNote that <code><em>textarea_id</em></code> in the code above is the <code>id</code> attribute of\r\n\t\tthe <code>&lt;textarea&gt;</code> element to be replaced with CKEditor.", "\r\n\t</p>\r\n\t</div>\r\n\t<!-- ", "This <div> holds alert messages to be display in the sample page. --", ">\r\n\t<div id=\"alerts\">\r\n\t\t<noscript>\r\n\t\t\t<p>\r\n\t\t\t\t<strong>CKEditor requires JavaScript to run</strong>. ", "In a browser with no JavaScript\r\n\t\t\t\tsupport, like yours, you should still see the contents (HTML data) and you should\r\n\t\t\t\tbe able to edit it normally, without a rich editor interface.", "\r\n\t\t\t</p>\r\n\t\t</noscript>\r\n\t</div>\r\n\t<form action=\"sample_posteddata.php\" method=\"post\">\r\n\t\t<p>\r\n\t\t\t<label for=\"editor1\">\r\n\t\t\t\tCKEditor using the <code>placeholder</code> plugin with its default configuration:</label>\r\n\t\t\t<textarea cols=\"80\" id=\"editor1\" name=\"editor1\" rows=\"10\">&lt;p&gt;This is a [[sample placeholder]]. ", "You are using &lt;a href=\"http://ckeditor.com/\"&gt;CKEditor&lt;/a&gt;. &", "lt;/p&gt;</textarea>\r\n\t\t\t<script type=\"text/javascript\">\r\n\t\t\t//<![CDATA[\r\n\r\n\t\t\t\tCKEDITOR.replace( 'editor1', {\r\n\t\t\t\t\textraPlugins : 'placeholder',\r\n\t\t\t\t\ttoolbar : [ [ 'Source', 'CreatePlaceholder' ] ]\r\n\t\t\t\t});\r\n\r\n\t\t\t//]]>\r\n\t\t\t</script>\r\n\t\t</p>\r\n\t\t<p>\r\n\t\t\t<input type=\"submit\" value=\"Submit\" />\r\n\t\t</p>\r\n\t</form>\r\n\t<div id=\"footer\">\r\n\t\t<hr />\r\n\t\t<p>\r\n\t\t\tCKEditor - The text editor for the Internet - <a class=\"samples\" href=\"http://ckeditor.com/\">http://ckeditor.com</a>\r\n\t\t</p>\r\n\t\t<p id=\"copy\">\r\n\t\t\tCopyright &copy; 2003-2011, <a class=\"samples\" href=\"http://cksource.com/\">CKSource</a> - Frederico\r\n\t\t\tKnabben. ", "All rights reserved.", "\r\n\t\t</p>\r\n\t</div>\r\n</body>\r\n</html>\r\n" ]

{ "pile_set_name": "Github" }

[ 0, 0.000064, 0.0006155740227762388, 0, 0.000010752514744385843, 0, 0.000005374899220639613, 0, 0, 0.00009425959091337542, 0.000029218407596785978, 0, 0.00019290123456790122, 0.000010679653124866504, 0, 0 ]

[ "1. ", "Field of the Invention\nThis invention relates to the recovery of starch from the cellular tissue of root crops such as manioc, potatoes, yams, turnips, beets, carrots, and the like and more particularly, to the recovery of starch from such root crops in the form of an aqueous slurry.", "\n2. ", "Description of the Prior Art\nWith the ever-increasing depletion of economically recoverable petroleum reserves, the production of ethanol from vegetative sources as a partial or complete replacement for conventional fossil-based liquid fuels becomes more attractive. ", "In some areas, the economic and technical feasibility of using a 90% unleaded gasoline-10% anhydrous ethanol blend (\"gasohol\") has shown encouraging results. ", "According to a recent study, gasohol powered automobiles have averaged a 5% reduction in fuel compared to unleaded gasoline powered vehicles and have emitted one-third less carbon monoxide than the latter. ", "In addition to offering promise as a practical and efficient fuel, biomass-derived ethanol in large quantities and at a competitive price has the potential in some areas for replacing certain petroleum-based chemical feedstocks. ", "Thus, for example, ethanol can be catalytically dehydrated to ethylene, one of the most important of all chemical raw materials both in terms of quantity and versatility.", "\nThe various operations in processes for obtaining ethanol from such recurring sources as cellulose, cane sugar, amylaceous grains and tubers, e.g., the separation of starch granules from non-carbohydrate plant matter and other extraneous substances, the chemical and/or enzymatic hydrolysis of starch to fermentable sugar (liquifaction and saccharification), the fermentation of sugar to a dilute solution of ethanol (\"beer\") and the recovery of anhydrous ethanol by distillation, have been modified in numerous ways to achieve improvements in product yield, production rates and so forth. ", "For ethanol to realize its vast potential as a partial or total substitute for petroleum fuels or as a substitute chemical feedstock, it is necessary that the manufacturing process be as efficient in the use of energy and raw materials as possible so as to maximize the energy return for the amount of ethanol produced and enhance the standing of the ethanol as an economically viable replacement for petroleum based raw materials. ", "To date, however, relatively little concern has been given to the energy and raw material requirements for manufacturing ethanol from biomass and consequently, little effort has been made to minimize the thermal expenditure and waste incurred in carrying out any of the aforesaid discrete operations involved in the manufacture of ethanol from vegetative sources.", "\nThe substitution of alcohol for at least a portion of petroleum based fuels is particularly critical for developing economies where proven domestic petroleum reserves are limited, such as in India and Brazil and these nations have therefore increasingly emphasized the production of alcohol from vegetative sources. ", "The most common such operation employs cane sugar in a fermentation-distillation operation which conveniently utilizes the bagasse by-product as a fuel source. ", "Cassava or manioc (Manihot utilissima Pohl) as a source of starch has also been considered for conversion into alcohol (see \"Brazil's National Alcohol Programme\", Jackson, ed. ", "Process Biochemistry, June 1976, pages 29-30; \"Ethyl Alcohol from Cassava\", Teixeira et al., ", "Industrial and Engineering Chemistry pp. ", "1781-1783 (1950); and United Kingdom Patent Specification No. ", "1,277,002). ", "Manioc root is an especially attractive source of starch since it produces a very large yield per acre of tubers rich in total carbohydrates and grows well upon soils where no other crop does well with very little tending. ", "However, since manioc lacks the equivalent of sugar cane's bagasse, the fuel for alcohol conversion must come from an external source. ", "Thus, to make manioc root and other amylaceous roots economically attractive sources of ethanol, it is essential to utilize as much of the carbohydrate content of the root as possible and to achieve rapid and high levels of conversion of recovered starch to fermentable saccharide and of the fermentable saccharide to ethanol with high levels of thermal efficiency, minimum raw material waste and low plant construction and operating costs. ", "Manioc root typically assays as follows:\n______________________________________ Component Weight Percent ______________________________________ Starch 30 Cellulose 3 Protein 3 Soluble carbohydrate 3 Ash 1 Water 60 ______________________________________\nIn addition to soluble carbohydrates which include gums, pectins and sugars, manioc root and other amylaceous roots contain significant quantities of soluble proteins. ", "Under the process conditions of known starch recovery procedures (viz., ", "U.S. Pat. ", "Nos. ", "1,016,762; 1,156,801, 2,135,104; 2,380,874; 2,798,011; 2,974,068; 3,072,501; 3,079,283; 3,433,668; and 3,948,677) these soluble components present in solution in the process water (so-called \"fruit water\") are discarded or otherwise separated from the starch. ", "While this loss of soluble carbohydrates and proteins is not considered a problem in the starch and sugar industries where the purity and quality of the end product is of paramount importance, it represents a substantial disadvantage to the full and efficient utilization of root starch as a raw material for the production of inexpensive industrial ethanol. ", "The loss of soluble carbohydrate which represents nearly ten weight percent of the total quantity of carbohydrate present in manioc root accounts for a substantial waste of useful raw material. ", "Similarly, the loss of soluble protein which would otherwise be available to satisfy the nutritive requirements of yeast employed in the conversion of fermentable sugar obtained by hydrolysis of the starch further militates against the use of current procedures for the recovery of starch from roots.", "\nAccordingly, there has heretofore existed a need for a process for recovering starch from amylaceous roots which does not result in the removal of substantial quantities of water soluble carbohydrate and/or protein therefrom." ]

{ "pile_set_name": "USPTO Backgrounds" }

[ 0, 0, 0, 0, 0, 0, 0, 0, 0.0000028630243271177073, 0, 0, 0, 0, 0.000096849173553719, 0.00011562030292519367, 0.000594883997620464, 0.0002601456815816857, 0, 0.000020108990729755272, 0, 0, 0.0000056420354206983716, 0, 0, 0, 0, 0, 0, 0, 0 ]

[ "Contents\n\nAs a schoolboy Griffiths played as a centre forward, playing for the Forefield Lane Junior School team in Crosby, Merseyside. ", "He moved up to Crosby County Secondary School, playing for their intermediate team before going to Bootle Technical College aged 12.[2] Whilst there he played for Bootle Schoolboys, and during this spell he transferred from centre forward to full back, the position he would make his own for the rest of his career. ", "He was so impressive playing there that he was picked for the Lancashire County Schoolboys side, where he was spotted by Everton scouts who drafted him into their Youth squad in May 1954.", "\n\nSigning professional forms at 17, and following tours in Ireland and Holland, he made his first team debut against Preston North End at Deepdale aged 19. ", "Everton lost 3–2, and the following week were thrashed 6–1 by Arsenal.", "\n\nSoon afterwards Everton let Griffiths go and in June 1960 Southport's player-manager, ex-Evertonian Wally Fielding, signed him to the Fourth Division club.[3] Nicknamed 'Yogi' during his time with the Sandgrounders thanks to his ultra-short crewcut, Griffiths played 97 consecutive games, racking up 117 appearances and one goal[1] before receiving a cartilage injury at Rochdale in March 1963 that all but ended his professional career aged just 23.[3]\n\nAfter taking over football for Ainsdale St John's boys' club in Southport, in the mid 1960s Trevor Hitchen asked Griffiths to manage Formby. ", "His impact was immediate, winning the Liverpool FA Challenge Cup in 1967–68. ", "History then stepped in to give his side a leg up. ", "The Northern Premier League was formed, attracting many of the stronger sides from lower leagues such as the Lancashire Combination who, in turn, replenished their ranks from leagues further down the football pyramid. ", "In August 1968, after thirty years in the Liverpool County Combination, Formby moved up to the Lancashire Combination and joined national competitions for the first time in 20 years, entering the FA Cup and later the FA Trophy.", "\n\nAfter just three years Formby graduated to a stronger league, the Cheshire County League in 1971. ", "In the first season the Squirrels reached the Liverpool Non-League Senior Cup final. ", "After a feet-finding first year's league campaign, the next three seasons had top ten finishes and record campaigns in the FA Cup and FA Trophy that still stand. ", "In 1978 Formby defeated two League sides to become the first non-league side to win the Liverpool Senior Cup since 1897.", "\n\nGriffiths picked himself as a player for the first few years at Formby, including playing a match in goal,[4] but the habit waned as he aged and the strength of his squad increased. ", "Nonetheless he is remembered as being a very fit and participative manager in training even late in his Formby tenure at the turn of the 1980s.[5]\n\nIn December 1984 Griffiths returned to Southport, now in the Northern Premier League, as manager,[6] a move long desired by fans. ", "He appointed as his assistant a man starting out on his managerial career, Dave Jones, who would go on to be boss of Cardiff City and Sheffield Wednesday. ", "They took Southport to the quarter finals of the FA Trophy and the First Round Proper of the FA Cup.", "\n\nIn November 1987 the duo left Haig Avenue, taking up identical roles in October 1988 at Mossley, who were then bottom of the Northern Premier League. ", "Thirteen months and four trophies later, Griffiths had stabilised them in mid-table when he was asked to halve his wages.[3]\n\nGriffiths promptly moved to Morecambe in December 1989, taking Dave Jones with him again,[3] though the latter left part way into Griffiths' four-year tenure. ", "By the of the first season the team had reached the final of the Lancashire ATS Cup. ", "In 1991–92 they got to the first round of the FA Cup (losing to Hull City) and second round of the FA Trophy (losing to eventual winners Colchester United). ", "The season finished on what was to prove to be Griffiths' high point at Morecambe, winning the two-legged final of the League Presidents Cup, beating Stalybridge Celtic 3–2 on aggregate.", "\n\nIn 1992–93 once again they got to the second round of the FA Trophy, taking Conference side Wycombe Wanderers to a replay. ", "After an indifferent start to 1993–94 Griffiths was sacked by the board in December 1993 after a little over four years in the post." ]

{ "pile_set_name": "Pile-CC" }

[ 0.00016219723183391005, 0.0000100144207659029, 0.000028596757127741712, 0.000041091387245233394, 0.0004081632653061224, 0.000022371114417064686, 0.000168662506324844, 0, 0.000042083999663328004, 0.000058219643307652, 0.0002, 0.00027681660899653976, 0, 0.0001388888888888889, 0.00002953686200378072, 0.000012939288856684438, 0.00004162330905306972, 0.0001, 0.00008656509695290859, 0.000024622960911049555, 0, 0.00008113919428780073, 0.00008671522719389525, 0.000064, 0.0000573921028466483 ]

[ "From 2b46f9187b6f994fc450628a7cd97fc703dd23e0 Mon Sep 17 00:00:00 2001\nFrom: BangLang Huang <banglang.huang@foxmail.com>\nDate: Wed, 9 Nov 2016 10:36:49 +0800\nSubject: [PATCH] fix MIPS softfloat build issue\n\n This patch is backport from github/libffi #272\n\nSigned-off-by: BangLang Huang <banglang.huang@foxmail.com>\n---\n libffi/src/mips/n32.S | 17 +++++++++++++++++\n libffi/src/mips/o32.S | 17 +++++++++++++++++\n 2 files changed, 34 insertions(+)\n\n--- a/libffi/src/mips/n32.S\n+++ b/libffi/src/mips/n32.S\n@@ -107,6 +107,16 @@ loadregs:\t\n \n \tREG_L\tt6, 3*FFI_SIZEOF_ARG($fp) # load the flags word into t6.", "\n \n+#ifdef __mips_soft_float\n+\tREG_L\ta0, 0*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta1, 1*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta2, 2*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta3, 3*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta4, 4*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta5, 5*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta6, 6*FFI_SIZEOF_ARG(t9)\n+\tREG_L\ta7, 7*FFI_SIZEOF_ARG(t9)\n+#else\n \tand\tt4, t6, ((1<<FFI_FLAG_BITS)-1)\n \tREG_L\ta0, 0*FFI_SIZEOF_ARG(t9)\n \tbeqz\tt4, arg1_next\n@@ -193,6 +203,7 @@ arg7_next:\t\n arg8_doublep:\t\n \tl.d\t$f19, 7*FFI_SIZEOF_ARG(t9)\t\n arg8_next:\t\n+#endif\n \n callit:\t\t\n \t# Load the function pointer\n@@ -214,6 +225,7 @@ retint:\n \tb\tepilogue\n \n retfloat:\n+#ifndef __mips_soft_float\n \tbne t6, FFI_TYPE_FLOAT, retdouble\n \tjal\tt9\n \tREG_L\tt4, 4*FFI_SIZEOF_ARG($fp)\n@@ -272,6 +284,7 @@ retstruct_f_d:\t\n \ts.s\t$f0, 0(t4)\n \ts.d\t$f2, 8(t4)\n \tb\tepilogue\n+#endif\n \n retstruct_d_soft:\n \tbne\tt6, FFI_TYPE_STRUCT_D_SOFT, retstruct_f_soft\n@@ -429,6 +442,7 @@ ffi_closure_N32:\n \tREG_S\ta6, A6_OFF2($sp)\n \tREG_S\ta7, A7_OFF2($sp)\n \n+#ifndef __mips_soft_float\n \t# Store all possible float/double registers.", "\n \ts.d\t$f12, F12_OFF2($sp)\n \ts.d\t$f13, F13_OFF2($sp)\n@@ -438,6 +452,7 @@ ffi_closure_N32:\n \ts.d\t$f17, F17_OFF2($sp)\n \ts.d\t$f18, F18_OFF2($sp)\n \ts.d\t$f19, F19_OFF2($sp)\n+#endif\n \n \t# Call ffi_closure_mips_inner_N32 to do the real work.", "\n \tLA\tt9, ffi_closure_mips_inner_N32\n@@ -458,6 +473,7 @@ cls_retint:\n \tb\tcls_epilogue\n \n cls_retfloat:\n+#ifndef __mips_soft_float\n \tbne v0, FFI_TYPE_FLOAT, cls_retdouble\n \tl.s\t$f0, V0_OFF2($sp)\n \tb\tcls_epilogue\n@@ -500,6 +516,7 @@ cls_retstruct_f_d:\t\n \tl.s\t$f0, V0_OFF2($sp)\n \tl.d\t$f2, V1_OFF2($sp)\n \tb\tcls_epilogue\n+#endif\n \t\n cls_retstruct_small2:\t\n \tREG_L\tv0, V0_OFF2($sp)\n--- a/libffi/src/mips/o32.S\n+++ b/libffi/src/mips/o32.S\n@@ -82,13 +82,16 @@ sixteen:\n \t\t\n \tADDU\t$sp, 4 * FFI_SIZEOF_ARG\t\t# adjust $sp to new args\n \n+#ifndef __mips_soft_float\n \tbnez\tt0, pass_d\t\t\t# make it quick for int\n+#endif\n \tREG_L\ta0, 0*FFI_SIZEOF_ARG($sp)\t# just go ahead and load the\n \tREG_L\ta1, 1*FFI_SIZEOF_ARG($sp)\t# four regs.", "\n \tREG_L\ta2, 2*FFI_SIZEOF_ARG($sp)\n \tREG_L\ta3, 3*FFI_SIZEOF_ARG($sp)\n \tb\tcall_it\n \n+#ifndef __mips_soft_float\n pass_d:\n \tbne\tt0, FFI_ARGS_D, pass_f\n \tl.d\t$f12, 0*FFI_SIZEOF_ARG($sp)\t# load $fp regs from args\n@@ -130,6 +133,7 @@ pass_f_d:\t\t\n #\tbne\tt0, FFI_ARGS_F_D, call_it\n \tl.s\t$f12, 0*FFI_SIZEOF_ARG($sp)\t# load $fp regs from args\n \tl.d\t$f14, 2*FFI_SIZEOF_ARG($sp)\t# passing double and float\n+#endif\n \n call_it:\t\n \t# Load the function pointer\n@@ -158,14 +162,23 @@ retfloat:\n \tbne t2, FFI_TYPE_FLOAT, retdouble\n \tjalr\tt9\n \tREG_L\tt0, SIZEOF_FRAME + 4*FFI_SIZEOF_ARG($fp)\n+#ifndef __mips_soft_float\n \ts.s\t$f0, 0(t0)\n+#else\n+\tREG_S v0, 0(t0)\n+#endif\n \tb\tepilogue\n \n retdouble:\t\n \tbne\tt2, FFI_TYPE_DOUBLE, noretval\n \tjalr\tt9\n \tREG_L\tt0, SIZEOF_FRAME + 4*FFI_SIZEOF_ARG($fp)\n+#ifndef __mips_soft_float\n \ts.d\t$f0, 0(t0)\n+#else\n+\tREG_S v1, 4(t0)\n+\tREG_S v0, 0(t0)\n+#endif\n \tb\tepilogue\n \t\n noretval:\t\n@@ -261,9 +274,11 @@ $LCFI7:\n \tli\t$13, 1\t\t# FFI_O32\n \tbne\t$16, $13, 1f\t# Skip fp save if FFI_O32_SOFT_FLOAT\n \t\n+#ifndef __mips_soft_float\n \t# Store all possible float/double registers.", "\n \ts.d\t$f12, FA_0_0_OFF2($fp)\n \ts.d\t$f14, FA_1_0_OFF2($fp)\n+#endif\n 1:\t\n \t# Call ffi_closure_mips_inner_O32 to do the work.", "\n \tla\tt9, ffi_closure_mips_inner_O32\n@@ -281,6 +296,7 @@ $LCFI7:\n \tli\t$13, 1\t\t# FFI_O32\n \tbne\t$16, $13, 1f\t# Skip fp restore if FFI_O32_SOFT_FLOAT\n \n+#ifndef __mips_soft_float\n \tli\t$9, FFI_TYPE_FLOAT\n \tl.s\t$f0, V0_OFF2($fp)\n \tbeq\t$8, $9, closure_done\n@@ -288,6 +304,7 @@ $LCFI7:\n \tli\t$9, FFI_TYPE_DOUBLE\n \tl.d\t$f0, V0_OFF2($fp)\n \tbeq\t$8, $9, closure_done\n+#endif\n 1:\t\n \tREG_L\t$3, V1_OFF2($fp)\n \tREG_L\t$2, V0_OFF2($fp)\n" ]

{ "pile_set_name": "Github" }

[ 0.0000163923229287617, 0.000011377330100907437, 0.0001643655489809336, 0.000015605006085952374, 0.000006808186163042442, 0.0001321964439156587, 0.00001716993658570088 ]

[ "21st Anniversary\n\nMenstrie Challenge 2005\n\nTo celebrate 21 years\nof the Meccano Society of Scotland, those attending our all-day meeting in Menstrie on Saturday May 21st 2005, are invited to submit a 21-part\nmodel in challenge with fellow members. ", "If you can't be with us, you're invited to compete by post or e-mail. (", "See below). ", "Entries will be welcomed from anyone, anywhere.", "\n\nThe judge will be Chris Shute, who will consider various qualities of each entry, especially:\n\nOriginality\n\nSurprise\n\nIngenuity\n\nGood humour and adherence to the spirit of the rules below.", "\n\nGeneral Rules\n\nEntries shall be built from 21 Meccano parts.", "\n\nAll parts of the construction must be Meccano or Meccano replica parts and appear in the ISM Inclusive Parts List. ", "No motor may be used.", "\n\nA part of multiple components (e.g. Universal Coupling 140) shall be counted as one part provided it remains intact, in its normal\nconfiguration.", "\n\nThe following parts shall not be counted: Nut 37a, Bolt 37b, Washer 38, Any Grub Screw or Set Screw 69, 69a, 69b, 69c.", "\n\nMenstrie Meeting Entries\n\nThe judge would prefer not to know the identity of any model's creator before results are declared. ", "Accordingly, entries should remain hidden\nuntil 12.50pm.", "\n\nEntries may be simply labelled, remaining anonymous.", "\n\nAt 12.50pm, the judge will walk his dog, while competitors display their entries at the competition table.", "\n\nJudging will commence at 1.00pm. ", "Results will be declared at 2.00pm.", "\n\nPostal or E-mailed Entries\n\nPostal or e-mailed entries for a parallel challenge are welcome, and will be judged separately, a winner being announced on the same day.", "\n\nEntries may contain such photographs, diagrams or text as necessary to allow the judge to assess it.", "\n\nThe winning entry, and others may appear on our website or in our newsletter.", "\n\nNo model should be sent.", "\n\nPosted material will be returned if the entrant encloses return postage.", "\n\nEntries should arrive no later than one week in advance of the Menstrie meeting.", "\n\nE-mailed entries should be sent to the challenge organiser\n\nPostal entries should be sent to the challenge organiser.", "\n\nThe judge will acknowledge receipt of entries by e-mail and post if an S.A.E. is supplied. ", "No other correspondence about the competition may\nbe entered into." ]

{ "pile_set_name": "Pile-CC" }

[ 0.000032518210197710714, 0, 0, 0.0004526935264825713, 0.000027700831024930747, 0, 0.00007305135510263716, 0, 0, 0.00006944444444444444, 0, 0, 0, 0, 0.0008163265306122448, 0.0008163265306122448, 0.0000358564308508731, 0, 0, 0, 0, 0.000148720999405116, 0, 0, 0 ]

[ "Rent Ready Contractors Founder Brant Phillips Talks About How Houston Homeowners Can Avoid Remodeling Mistakes When Trying To Sell Their Home\n\nWestern Business Journal correspondent Jack Mize recently got to have a conversation with Rent Ready Contractors Founder Brant Phillips about the right and wrong things homeowners do when trying to prepare their house for sale.", "\n\nRent Ready Contractors Founder Brant Phillips\n\nWBJ: Hi Brant. ", "Right now the real estate market is really active in Houston. ", "A lot of home owners are ready to sell their homes, possibly for the first time, and a lot of them seem to think that they need to spend a lot of money on remodeling and repairs to get the highest dollar from buyers. ", "Would this be an accurate assumption if that’s what they’re thinking?", "\n\nBRANT: I would say absolutely not. ", "I think in the last 5 or 10 years, with the HGTV type of shows that are on all the time, people have the misconception that they need to renovate or update their home in order to sell it. ", "While I think it may be true in certain instances or certain markets where now, especially in Houston, it has moved more to a sellers’ market, you actually need to do less repairs.", "\n\nWe’ve worked with a lot of clients where we have honestly told them “Why not test out the market the way the property is now, get some feedback, and then make an assessment?” ", "In the market that we’re in, you can definitely do less to get you home ready to sell and without spending top dollar. ", "Of course, that depends on your neighborhood and where your house is. ", "The general answer is don’t make the assumption that you need to spend more to get more because that’s certainly not the case in the market that we’re in right now.", "\n\nWBJ: That’s really interesting. ", "I want to make something clear. ", "You had mentioned HGTV and I just want to be clear on what that is to the readers. ", "You’re talking about all the home remodeling reality shows that are on cable?", "\n\nBRANT: Yes, there are probably dozens of different shows like that. ", "The Home and Garden Television (HGTV) network and a lot of the other networks have home remodeling shows and they’re very popular. ", "The weekend warrior type homeowners are watching these shows fervently and feeling the need, or maybe it’s the desire, to do some of these home improvement projects on their home as well. ", "This is great if it’s something that you just want to do or you enjoy doing, but it doesn’t necessarily translate into a good return on your investment or time.", "\n\nWBJ: I guess it’s whoever gets the bug every now and then when they start to paint and get the carpet out. ", "Let me ask you this: How can someone with a very limited budget get the biggest bang for their buck when they are updating their home for resale?", "\n\nBRANT: I like to go in with that mind set: What improvement can we get the biggest return on? ", "Start out with a limited budget, and then go from there. ", "For some of the simple things, consult with some friends, or even better yet, several local real estate agents, to get their take on what stands out to them when they see your property.", "\n\nWhat I suggest doing with your property is what I call the Pleasure and Pain Principle. ", "You want to bring potential homeowners to a place of pleasure, such as “This is really nice, I can envision myself staying here or living here.” ", "This doesn’t mean you need a total remodel, but what it means is that you want to remove some of the eye soars. ", "In certain instances, it just may mean clearing up the landscape a little bit, adding some mulch. ", "Don’t necessarily begin painting the entire exterior, but possibly paint or stain the front doors because that’s one of the most visual areas a potential buyer sees when viewing your home. ", "They’re going to spend a couple of minutes at your front door while the agent is opening the lock box.", "\n\nStart with some of the basics and then work your way up to bigger things. ", "We call it three tiers of improvement: things that you must do; things that you should do; and then some wild factors that you can add. ", "I’m not really talking about a bad roof or foundation. ", "Some of those issues you would have to address. ", "I’m talking about more of the simple things, such as if the painting is really outdated or the shag carpet needs to be replaced.", "\n\nWBJ: That brings up a really interesting point because some people go in with that mind set and they start putting money in the wrong places. ", "What are some of the things you see sellers spending money on for updates that they really think will add value because it appeals to their own taste, but it may actually hurt their sales price in the long run?", "\n\nBRANT: We have done entire remodels and renovations for customers and immediately after their homes have sold for example we recently did one where we painted the entire home, inside and out and we used very neutral colors that are industry standard. ", "I would say type of colours that the home builders use and the first thing that the new home owner did after they bought the home was repaint the entire home because they wanted different colors . ", "We came to find out that the particular buyer had been eyeing the property from the beginning of the remodel and they were just waiting to put an offer on it. ", "That’s was definitely an extreme example but an example where that seller probably could have done little or nothing and sold their house without investing the time or money to do the repairs.", "\n\nWBJ: There are still a lot of people that repair or remodel their house it in a way that they would have like to have lived in it which seems kind of odd to me.", "\n\nBRANT: Usually what we tell our clients to do is the must, should and wow. ", "Do anything you must do. ", "For example, the roofs or foundation should be repaired. ", "Also, if you were in a neighborhood where all of the other homes have granite counter tops and you have some outdated counter tops, you might want to upgrade your counter tops. ", "However, if you’ve already got good counters, perhaps some Silestone or some other type of hard surface counter top, but it’s just not you favorite color, then it probably wouldn’t be wise to spend the money to replace them because you think that another color is better or is going to sell faster. ", "Some clients want to install a swimming pool to increase the home’s value. ", "We have found this a huge mistake because there’s really no verifiable proof that adding pools adds values to homes.", "\n\nWBJ: That’s a little extreme.", "\n\nBRANT: For sure. ", "Even adding decks may help increase your days on the market, but that’s also something people like to customize themselves when they move into a home.", "\n\nWBJ: Let’s go to the other extreme based on what you were talking about a little earlier about the sellers who did all the remodeling and the buyers came in and just changed everything. ", "What about the strategy of leaving the stained carpet and the purple walls and offer a concession or money back to reduce the price to cover the buyer to pick their own carpet and paint? ", "Sometimes new home builders can do that. ", "Do you see that as a viable option? ", "Is that something that can save you money or time in selling your house?", "\n\nBRANT: This may sound like I’m not even in the remodeling business, but I think that anytime there’s a possibility where you can save some money and save some time and save the headache of going through the remodeling experience: absolutely! ", "You can test selling the property as is before making any changes. ", "Of course, we have found that many potential home buyers aren’t so good at visualizing what a product or home will look like. ", "We suggest potential clients talk to their agent and test it on the market. ", "Agree on a set time and include in the listing that the seller will paint and update the carpet. ", "Let them pick the carpet they want, or give them a concession on the contract. ", "Have a set time frame it’s going to be completed, 30 days for example. ", "The other thing that you can do if you have a good relationship with the contractor that you’re going to use, or you have an idea of some of the possibilities of the how and what it would look like after painting, is provide them some links to some finished products. ", "Then say “If you want to take this option, our company will come out.” ", "Or, they’ll say “This contractor is going to come out and paint, carpet, your install counter tops and here’s some picture of the work that they do.” ", "That helps potential buyers to visualize and see what that home in its outdated condition could look with some paint and carpet.", "\n\nWBJ: That’s a really good strategy and it gives people the option to have the house the way they want it when they purchase it. ", "This has really been great information and so we’ll wrap this up to respect your time. ", "Let me ask you this one final question if I could. ", "What is the one thing you feel someone must consider in deciding where to spend their money when they need to sell their house at a fair price and in a reasonable amount of time? ", "Not necessarily looking to sell it the fastest, but they don’t want it to sit on the market for a long time, and not if they’re looking for top dollar but they want to get a fair price in a reasoned amount of time, what the one thing they should focus on?", "\n\nBRANT: I would try to keep it as simple as possible, just to stick to some of the basics. ", "For example, for the outside of the house, clean up your landscaping and paint the front door. ", "Some of the little things that catch people’s eyes on the inside of the house are the old outdated dingy electric sockets and switch covers, and maybe some old fashion gold lightning or gold door knobs. ", "It’s better to go with an updated brushed nickel. ", "I would make sure that all of the light bulbs in the house are working. ", "Stick with the little things, things that you can probably take care of in a day or on the weekend just to remove some of the things that negatively tough potential buyer’s eyes. ", "That’s what I would do, just stick to your basics a stick to a punch list that you can most likely take care of in a weekend.", "\n\nWBJ: That’s fantastic, the things that catch people’s eyes when you see some houses and the electrical outlet plate is broken or cracked or missing, you see strings replacing chains that used to be there. ", "Those are really simple and inexpensive things. ", "Like you said earlier it doesn’t sound like you’re a remodeler in the fact that one would expect you to come in say “You need to redo the whole thing.” ", "I certainly appreciate the frankness about what needs to be done and what doesn’t need to be done and I know that’s why you have such a great reputation with your clients is because you talk them out of giving you money sometimes which is the right thing to do. ", "I appreciate you sharing that with us today.", "\n\nBRANT: It’s been a pleasure.", "\n\nBrant Phillips is a former Police Officer and Founder of Rent Ready Contractors in Houston, TX.", "\n\nPrimarily working with Real Estate Investors, Brant grew Rent Ready Contractors to the #1 Investment Property Contractor in the greater Houston area. ", "He attributes that success to his companies commitment commitment and dedication to their clients Real Estate investing success.", "\n\nYou can find out more about Brant Phillips and Rent Ready Contractors at http://rentreadycontractors.com" ]

{ "pile_set_name": "Pile-CC" }

[ 0.000014609203798392989, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0008650519031141869, 0, 0, 0, 0, 0.00005827166249053085, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.000048225308641975306, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0010405827263267429, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.0000591715976331361, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00002333776750916007, 0, 0, 0, 0, 0, 0.00021256244021681367, 0.000043282548476454294, 0.00006103515625, 0.00017799928800284797 ]

[ "Epigenetic control in the immune response.", "\nHelper T cells engaged in an immune response confront a prevalent challenge for developmentally regulated gene expression: How does a cell give rise to daughter cells with different fates? ", "Additionally, lymphocyte function is intimately associated with the processes of cell division and migration. ", "This imposes an additional burden for daughter cells, to remember inductive events from which they are temporally and spatially removed. ", "An emerging view is that helper T cells use epigenetic mechanisms tied to the structure of chromatin and its covalent modifications to achieve at least two important features of their programmed gene expression. ", "Epigenetic effects organize the ability of signal transduction pathways to generate a restricted set of progeny from a multi-potent progenitor. ", "In addition, epigenetic effects seem to allow dividing cells to memorize, or imprint, signaling events that occurred earlier in their development. ", "Beyond helper T cells, the use of epigenetic effects is emerging as a common strategy in development and function of the mammalian immune system, suggesting that epigenetic effects may play a more prominent role in metazoan cell differentiation than previously appreciated. ", "Lymphocytes are, thus, becoming a tractable system for genetic and biochemical dissection of the ways in which the genome is embedded with regulatory information to achieve developmental complexity." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0.0005668934240362812, 0, 0, 0, 0, 0.000048225308641975306, 0, 0, 0 ]

[ "#ifndef EIGEN_SPARSECORE_MODULE_H\n#define EIGEN_SPARSECORE_MODULE_H\n\n#include \"Core\"\n\n#include \"src/Core/util/DisableStupidWarnings.h\"\n\n#include <vector>\n#include <map>\n#include <cstdlib>\n#include <cstring>\n#include <algorithm>\n\n/** \n * \\defgroup SparseCore_Module SparseCore module\n *\n * This module provides a sparse matrix representation, and basic associatd matrix manipulations\n * and operations.", "\n *\n * See the \\ref TutorialSparse \"Sparse tutorial\"\n *\n * \\code\n * #include <Eigen/SparseCore>\n * \\endcode\n *\n * This module depends on: Core.", "\n */\n\nnamespace Eigen {\n\n/** The type used to identify a general sparse storage. */", "\nstruct Sparse {};\n\n}\n\n#include \"src/SparseCore/SparseUtil.h\"\n#include \"src/SparseCore/SparseMatrixBase.h\"\n#include \"src/SparseCore/CompressedStorage.h\"\n#include \"src/SparseCore/AmbiVector.h\"\n#include \"src/SparseCore/SparseMatrix.h\"\n#include \"src/SparseCore/MappedSparseMatrix.h\"\n#include \"src/SparseCore/SparseVector.h\"\n#include \"src/SparseCore/SparseBlock.h\"\n#include \"src/SparseCore/SparseTranspose.h\"\n#include \"src/SparseCore/SparseCwiseUnaryOp.h\"\n#include \"src/SparseCore/SparseCwiseBinaryOp.h\"\n#include \"src/SparseCore/SparseDot.h\"\n#include \"src/SparseCore/SparsePermutation.h\"\n#include \"src/SparseCore/SparseRedux.h\"\n#include \"src/SparseCore/SparseFuzzy.h\"\n#include \"src/SparseCore/ConservativeSparseSparseProduct.h\"\n#include \"src/SparseCore/SparseSparseProductWithPruning.h\"\n#include \"src/SparseCore/SparseProduct.h\"\n#include \"src/SparseCore/SparseDenseProduct.h\"\n#include \"src/SparseCore/SparseDiagonalProduct.h\"\n#include \"src/SparseCore/SparseTriangularView.h\"\n#include \"src/SparseCore/SparseSelfAdjointView.h\"\n#include \"src/SparseCore/TriangularSolver.h\"\n#include \"src/SparseCore/SparseView.h\"\n\n#include \"src/Core/util/ReenableStupidWarnings.h\"\n\n#endif // EIGEN_SPARSECORE_MODULE_H\n\n" ]

{ "pile_set_name": "Github" }

[ 0, 0.00017543090215341433, 0, 7.014413216276806e-7 ]

[ "Popular vote loser Donald Trump freely admits he called the House version of Trumpcare \"mean, mean, mean\" and also claimed that he wanted a Senate bill that is \"generous, kind, with heart.\" ", "That's not what he got with the Senate version of Trumpcare, the \"Better Care Act.\" ", "In fact, the Congressional Budget Office says it's just as mean by the numbers, if not more so.", "\n\nAccording to their estimates, 15 million people will lose their insurance next year, 2018. ", "An election year. ", "By 2026, 22 million people who are now insured will have lost that insurance. ", "Compared to the Affordable Care Act, \"an estimated 49 million people would be uninsured, compared with 28 million who would lack insurance that year under current law.\" ", "The biggest hit, as in the House bill, lands on Medicaid.", "\n\nThe largest savings would come from reductions in outlays for Medicaid—spending on the program would decline in 2026 by 26 percent in comparison with what CBO projects under current law—and from changes to the Affordable Care Act’s (ACA’s) subsidies for nongroup health insurance. ", "Those savings would be partially offset by the effects of other changes to the ACA’s provisions dealing with insurance coverage: additional spending designed to reduce premiums and a reduction in revenues from repealing penalties on employers who do not offer insurance and on people who do not purchase insurance. […] ", "In later years, other changes in the legislation—lower spending on Medicaid and substantially smaller average subsidies for coverage in the nongroup market—would also lead to increases in the number of people without health insurance.", "\n\nKeep in mind that \"later years\" part. ", "This estimate doesn't go beyond 2026; however the CBO doesn't think that the so-called \"flexibility\" for Medicaid that block granting would be for states is all that. ", "Instead, it would be a burden. \"", "With less federal reimbursement for Medicaid, states would need to decide whether to commit more of their own resources to finance the program at current-law levels or to reduce spending by cutting payments to health care providers and health plans, eliminating optional services, restricting eligibility for enrollment through work requirements and other changes, or (to the extent feasible) arriving at more efficient methods for delivering services.\" ", "It also projects that post-2026, Medicaid enrollments would continue to fall." ]

{ "pile_set_name": "OpenWebText2" }

[ 0.00011080332409972299, 0.0002834467120181406, 0.00011080332409972299, 0, 0, 0, 0.00003501277966457757, 0.0006155740227762388, 0.000049944436814044376, 0.000009826947455311955, 0.00001826283877565929, 0, 0.0000717128617017462, 0, 0.000004851636942304334, 0.000168662506324844 ]

[ "OPINION:\nJust where is all this going to end? ", "Just a month or so ago the ACC mass leak of private information was the issue tipped to bring down the Government.", "\n\nThat was mightily outclassed by the Hollywood-style police raid on Kim Dotcom, bungled extradition proceedings and what turned out to be illegal eavesdropping by the top-secret GCSB.", "\n\nThat was followed by the so-called prime ministerial brain- fade and John Key's subsequent correction to Parliament about when he had been informed about the German internet pirate. ", "Now we have the inconceivable bungle of public information computer kiosks at Social Development Ministry offices able to be used to access private and confidential material at the ministry.", "\n\nNot only that, but it turns out the fault had been detected, reported to the ministry, outside experts had subsequently been hired and had reported on the fault - but nothing happened.", "\n\nIt was no wonder the no- nonsense Social Welfare Minister Paula Bennett looked thunderous and was almost speechless with rage at the subsequent press conference. ", "This sort of stuff makes Gliding On, the Roger Hall comedy series on the public service, look benign by comparison.", "\n\nThe extraordinary bungle in having a public access computer system linked to the ministry's own database without adequate firewalls is serious enough, but it is the lethargy which followed the detection and confirmation of the fault which is even more appalling.", "\n\nThe ministry needs to address the faulty design as well as the indolence which followed reportage of the fault. ", "This demands sackings of those who bungled, rather than a ceremonial hara-kiri by the chief executive, which is the normal procedure.", "\n\nAlmost certainly the initial alert and the fault report from the computer consultants would have been passed up the chain. ", "There is a need to find out where this stalled and why - and why the initial recipients of the warnings did not follow up the lack of action by superiors. ", "This smacks of the \"well, I've passed it on, it's not my problem\" approach. ", "Labour and the unions are arguing that this is all the fault of government cost-cutting. ", "Actually it is sloppiness and incompetence on a grand scale.", "\n\nNot surprisingly, Justice took a look at its system as a result of this - and closed kiosks similarly. ", "Others will no doubt follow. ", "The new technology rollout to make systems more accessible to the public will inevitably be delayed till foolproof systems can be developed.", "\n\nBut despite this and the avalanche of political mini- scandals dogging the Government, it has to be noted that ours seem to fade into obscurity compared with those faced by our criminal cousins across the ditch.", "\n\nA couple of decades ago we had the great Australian Wheat Board scandal, when the Ockers managed to avoid United Nations sanctions by dealing through middlemen to secure 90 per cent of the Iraqi wheat market. ", "This involved kickbacks to Saddam Hussein's regime which came to be known as the oil-for-wheat deal.", "\n\nTheir latest saga is just as improbable. ", "It involves a glamorous blonde Australian trade official formerly based in Hanoi, her friend, a Vietnamese spy agency colonel, and alleged kickbacks to Asian officials and politicians.", "\n\nIt is claimed these were provided by firms owned by the Australian Reserve Bank in order to secure contracts for printing Australian-designed polymer banknotes for Vietnam, Malaysia and Indonesia.", "\n\nAustralian Federal Police have charged former executives of the firms Securency, half owned by the Reserve Bank, and Note Printing Australia, fully owned, with bribing central bank officials and politicians in all three countries.", "\n\nSenior Australian trade commissioner Elizabeth Masamune has been named in the Australian media in connection with the scandal. ", "She was based in Hanoi when she reportedly met and formed a close relationship with Colonel Anh Ngoc Luong from Vietnam's spy agency, the Ministry of Public Security. ", "He and his company are alleged to have received $20 million in commissions.", "\n\nWith spies, sex, corruption and multi-million dollar illegal kickbacks, that certainly looks like a better subject for a colourful inquiry than faulty computer kiosks.", "\n\nUnderstandably, Australian Prime Minister Julia Gillard has resisted the clamour so far." ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0.00007694675284702985, 0.00005907372400756144, 0.00005907372400756144, 0.000027700831024930747, 0, 0.000074360499702558, 0.00007561436672967865, 0, 0, 0, 0, 0, 0, 0, 0, 0.00009070294784580499, 0, 0, 0, 0.00004492262078569664, 0.0001, 0, 0, 0.000025507601265177026, 0.000018579072532699166, 0.00006009254251547383, 0.0000717128617017462, 0, 0, 0.0001234567901234568 ]

[ "Lung parenchymal invasion in pulmonary carcinoid tumor: an important histologic feature suggesting the diagnosis of atypical carcinoid and poor prognosis.", "\nThe majority of previous studies on pulmonary carcinoid tumor have usually focused on clinical behavior or outcome, seldom considering histopathologic features. ", "We retrospectively collected 63 cases of resected pulmonary carcinoid tumors from 1995 to 2011 at Samsung Medical Center, Seoul, Korea. ", "The clinical and pathological features were correlated and survival analyses were performed. ", "Forty cases (63.5%) were classified as typical carcinoid (TC) and 23 cases (36.5%) were classified as atypical carcinoid (AC) according to WHO classification criteria. ", "AC patients showed a higher frequency of current smoking status and a higher stage of the tumor by the American Joint Committee on Cancer than TC patients. ", "The disease was associated with death and recurrence in five and seven patients, respectively, with almost all of the associations found in AC patients. ", "The five-year survival rate of TC and AC were 100% and 83.5%, respectively, with AC showing poorer prognosis than TC in overall survival (OS) and disease free survival (DFS) (p=0.005 and p=0.002). ", "Lung parenchymal invasion was observed more commonly in AC than in TC (39.1% vs 12.5%, p=0.01) and was a poor prognostic factor in OS and DFS. ", "Rosette-like arrangements were found only in six cases of AC, while abundant basophilic cytoplasm mimicking paraganglioma and ossification were found only in TC. ", "Through the comprehensive study of pulmonary carcinoid tumor in Korea, we suggest that lung parenchymal invasion could be a useful histologic feature to suspect the diagnosis of AC in daily practice as well as to predict the prognosis of carcinoid tumor." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0, 0, 0.00010813148788927336, 0, 0.000035430839002267575, 0.00008218277449046679, 0.000042718612499466016, 0.00012883609472029683, 0.00009780429360848941, 0.00007620789513793629, 0.000015500031000062 ]

[ "Thursday, June 18, 2009\n\nOut of the remains of a super psychedelic rock band called SPOILS OF WAR, which develop an extra-cerebral rock containing dreamy folk rock, acid rock and electronic collages, and whose albums fetch fortunes, James Cuomo formed Mormos. ", "The group moved to France and concentrated on the European scene playing a folk-rock that was rather complementary to the kind of the old world. ", "Their sound on the first album can be likened to Incredible String Band, whuile their excellent second album MAGIC SPELL OF MOTHER'S WRATH... delved into a mixture of jazz and folk, somehow stepping between The Pentangle and John Martyn. ", "Their only two albums are highly revered in folk circles but certainly deserve the proghead's attention.", "\n\nTracks :\n\n1 Homeside2 Walk in the light of the Lord3 October song4 Plastered in Paris5 Doves are white6 Cows in my colourbook7 Hush8 No 5 in the book9 Rit yellow10 Lady of night11 Magic Stone12 Hey Gilles" ]

{ "pile_set_name": "Pile-CC" }

[ 0.00002958579881656805, 0, 0.0000529623614151543, 0, 0.000023564897728343855 ]

[ "427 F.2d 465\nArthur E. BURKE, Petitioner,v.UNITED STATES of America, Respondent.", "\nNo. ", "452-69.", "\nUnited States Court of Appeals, Tenth Circuit.", "\nJune 12, 1970.", "\n\nWilliam H. Haring, Denver, Colo., for appellant.", "\nJohn A. Babington, Asst. ", "U.S. Atty., ", "Albuquerque, N.M. (Victor R. Ortega, U.S. Atty., ", "Albuquerque, N.M., with him on the brief) for appellee.", "\nBefore LEWIS, Chief Judge, PICKETT, Senior Circuit Judge, and HICKEY, Circuit Judge.", "\nHICKEY, Circuit Judge.", "\n\n\n1\nAppellant Burke filed a petition under 28 U.S.C. 2255 for habeas corpus relief. ", " The trial court denied relief without a hearing. ", " Burke was convicted by a jury of a violation of the Dyer Act, 18 U.S.C. 2312 and is serving the sentence imposed. ", " No direct appeal was taken from the conviction.", "\n\n\n2\nImmediately prior to his indictment and arraignment on the Dyer Act charge, Burke had been incarcerated by the state court upon a nolo contendere plea to the charge of criminal trespass. ", " During that incarceration he filed a 2254 petition in the federal court before the same trial judge from whose order he now appeals. ", " After an evidentiary hearing that application was denied; we considered the appeal thereafter and affirmed the trial court. ", " Arthur E. Burke v. Henry Stockton, (unpublished opinion No. ", "5-69, filed April 16, 1969, 10th Cir.).", "\n\n\n3\nThe trial judge who considered the 2255 motion is also the judge who presided at the jury trial which resulted in the conviction herein attacked.", "\n\n\n4\nThe basic complaint is that the court denied the motion without an evidentiary hearing.", "\n\n\n5\nA scatter-gun attack is confessed by counsel at the trial level wherein he presented issues regarding appellant's competence at all stages of the case; allegations of prejudicial misconduct on the part of the court, counsel, and prosecutor; the denial of a speedy trial; defects in the arraignment, indictment and information; a claim that there were admissions and confessions illegally obtained from the appellant together with a failure to advise him of his rights; lack of effective counsel resulting in the failure to appeal; detention without charges filed within a reasonable time; improper arraignment in a state proceeding; and being tried without representation of counsel of his choice.", "\n\n\n6\nWith an abundance of caution the trial judge admirably and carefully followed pretrial suggestions for 2255 cases set out in 32 F.R.D. 391.", "\n\n\n7\nA transcript of the two pretrial hearings is part of the record before us.", "\n\n\n8\nFrom this record we conclude the scatter-gun approach was conceived. ", " Selected trial counsel confessed to the court, 'We are raising the possible grounds that we feel like might grant relief under 2255, and I'm sure Your Honor is aware of the fact that I have not had an opportunity to talk with Mr. Burke personally to try to find out more of the facts.'", "\n\n\n9\nIn spite of the foregoing, the trial court patiently went through the various allegations one by one and advised counsel of the facts, as they appeared in the transcript and also as the trial judge recalled the incidents.", "\n\n\n10\nA second pretrial hearing was held some days later after counsel had an opportunity to confer with Burke. ", " At this second hearing counsel confessed he had no evidence to present which would bear upon the facts alleged for review.", "\n\n\n11\nThe most serious issue here involved is the issue of competence at time of trial. ", " The issue was raised prior to trial by motion filed October 11, 1968. ", " On October 17, 1968, the motion, together with a continuance, was granted. ", " On October 25, the order was amended appointing the psychiatrist who conducted the competency examination. ", " A continuance was again granted. ", " In both instances appointed counsel and Burke stated for the record they were responsible for the delay and they did not feel they were being denied a speedy trial. ", " The foregoing is recited from the record to indicate the complete inaccuracy of one of the scatter-gun charges herein made.", "\n\n\n12\nDuring the course of the recorded arraignment proceedings, the appointed psychiatrist was called to the stand, sworn in the presence of the accused, and examined and cross-examined by counsel for the accused and the court. ", " At the conclusion of the examination the court made the following finding:\n\n\n13\n'THE COURT: Well, the Court finds that the defendant, Arthur Earl Burke, is not mentally incompetent, and that he understands the proceedings against him, that he is able to properly assist in his own defense, that he has complete understanding of the charges against him, and the Court finds that he is competent to stand trial. ", " 'Now, nothing that I have said will in any way prejudice his right, if he is so inclined, to assert the plea of insanity as a defense in his trial and, of course, the evidence from Dr. Penley will not be called to the attention of the jury or used in any way against him at time of trial.'", "\n\n\n14\nWe note the findings and the testimony of the psychiatrist accord the test established for competency by the Supreme Court. ", " Dusky v. United States, 362 U.S. 402, 80 S.Ct. ", "788, 4 L.Ed.2d 824 (1960).", "\n\n\n15\nThe serious doubts occasioned by the allegation of incompetency at time of trial stems from the language contained in Martinez v. United States, 423 F.2d 479 (10th Cir. ", "1970). ", " The court said:\n\n\n16\n'The district court properly ordered an evidentiary hearing, see Butler v. United States, 361 F.2d 869 (10th Cir. ", "1966), to determine whether, at the time of his trial, movant had 'sufficient present ability to consult with his lawyer with a reasonable degree of rational understanding-- and whether he (had) a rational as well as a factual understanding of the proceedings against him.' ", " Dusky v. United States, 362 U.S. 402, 80 S.Ct. ", "788, 4 L.Ed.2d 824 (1960); Wolcott v. United States, 407 F.2d 1149 (10th Cir. ", "1969).'", "\n\n\n17\nThe language is the result of a number of cases decided in this circuit which clearly hold that in a 2255 petition where the issue of competency at the time of a guilty plea is raised, an evidentiary hearing is automatically required. ", " Kienlen v. United States, 379 F.2d 20 (10th Cir. ", "1967); Nunley v. United States, 364 F.2d 825 (10th Cir. ", "1966); Butler v. United States, 361 F.2d 869 (10th Cir. ", "1966).", "\n\n\n18\nThe rule enunciated stems from the en banc hearings of Ellison v. United States, 324 F.2d 710 (10th Cir. ", "1963) and Nipp v. United States, 324 F.2d 711 (10th Cir. ", "1963) and in Wolcott v. United States, 407 F.2d 1149 (10th Cir. ", "1969) cert. ", "denied, 396 U.S. 879, 90 S.Ct. ", "156, 24 L.Ed.2d 137. ", " The opinions in these cases placed the emphasis on the lack of voluntariness of a guilty plea when mental competency is thereafter challenged and clearly establish the proper rule for cases in which there is a challenge after a plea of guilty. ", " However, in this case, as in Martinez, there was a trial and the question of voluntariness of plea is not in the case.", "\n\n\n19\nPrior to the trial of the Dyer Act charge, a hearing was held on the issue as above related, the accused was confronted by the examining physician, opportunity to examine was afforded to counsel and findings were subsequently made by the trial judge. ", " This is all part of the record in this action.", "\n\n\n20\nButler, supra, states the reason for an evidentiary hearing in a guilty plea case is to afford confrontation, cross-examination and due process. ", " The record herein bears out the afforded protection, and it seems unnecessary to go through an evidentiary hearing again in this 2255 motion. ", " Where voluntariness of a guilty plea is not an issue, the reasons for the hearing are abrogated. ", " 18 U.S.C. 4244, 4245 et seq. ", "afford a vehicle for any problems accused may now have.", "\n\n\n21\nThe number of issues lumped together in the second section of Burke's brief were adequately answered by the pretrial transcripts comprising part of the record in this case.", "\n\n\n22\nSome of the issues were properly 2254 issues presented in the prior unpublished opinion, Burke, supra; other issues relating to court and counsel's conduct were confessed as inaccurate in the pretrial hearing. ", " Others were flagrant misstatements of the record as indicated by the incident related above regarding the denial of a speedy trial. ", " The record also denies the claim that Burke was not advised of his right to appeal. ", " The transcript reflects that the court denied admission of confessions and admissions which are alleged as error.", "\n\n\n23\nBecause they were adequately treated in the pretrial order, we will devote no further time to the scatter-gun approach other than to commend the trial court for its orderly pretrial conferences which exposed the flagrant torturing of the record.", "\n\n\n24\nAffirmed.", "\n\n" ]

{ "pile_set_name": "FreeLaw" }

[ 0.00046875, 0, 0, 0.0009053870529651426, 0, 0.0004, 0.0014792899408284025, 0, 0.0004, 0, 0.0006920415224913495, 0.003780718336483932, 0.00013840830449826988, 0, 0, 0, 0.00002712673611111111, 0, 0, 0.0005374899220639614, 0, 0, 0, 0, 0, 0, 0, 0.000012225536701061176, 0, 0.00007971938775510203, 0, 0, 0, 0, 0, 0, 0.000036289737262302225, 0, 0, 0.000017759781199495623, 0.000011890606420927467, 0.0000591715976331361, 0, 0, 0, 0, 0.00005406574394463668, 0, 0, 0, 0, 0, 0.0004, 0, 0.00031887755102040814, 0, 0, 0.0003077870113881194, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00003156167150612296, 0.00002143347050754458, 0, 0.00013840830449826988, 0, 0, 0, 0 ]

[ "Education\n\nThe Niskayuna Community Action Program (N-CAP) sponsored the nationally recognized President’s Volunteer Service Award ceremony on Tuesday, June 8th. ", "The event took place at Iroquois Middle School and recognized the volunteer efforts of 27 Niskayuna residents who have collectively volunteered…\n\nMY TAKE: What lengths have you gone to so your children can participate in sports? ", "Photos by Rebecca Isenhart. ", "Full story continued after the gallery. ", "By REBECCA ISENHART Gazette Reporter NISKAYUNA — Susan Hanks doesn’t think twice before climbing into…\n\nFamilies braved the rain tonight to see their aspiring actors and actresses’ rendition of Mark Twain’s famous play about a mischievous young boy. ", "Judging by the brief rehearsal, none of the kids here have any problem relating to the joy…\n\nThe Niskayuna High School Art Department presents the 13th anniversary edition of SHORT CUTS: a video celebration showcasing outstanding student films from the 2011-2012 school year on THURSDAY, JUNE 12th at 7 PM at the GE Theater @ Proctors. ", "Over…\n\nNISKAYUNA — Zonta Club of Schenectady, an international business and professional service organization, honored its 2014 scholarship winners at its annual International Women’s Night on May 20 at the Mohawk Golf and Country Club. ", "Two graduate students from the College…\n\nDuring homeroom and first period this morning at Niskayuna High School, two outstanding teachers were surprised with bouquets of balloons carried by their colleagues, students, and school administrators. ", "Though the surprise presentation is tradition with the Murray Award for Excellence…\n\nTonight at Niskayuna High School, graduating seniors will be awarded for their accomplishments in the fine arts. ", "Awards will be given from 6-7 p.m., followed by a reception where friends, family and neighbors can view the students’ masterpieces.", "\n\nAt the Rod Serling Video Festival screening and Awards Ceremony on Friday May 16, 2014 at 8:00 PM, Niskayuna High School seniors Shea McGrinder and Michael Sise won Best Screenplay for their video, “Making an Impression.” ", "Watch their masterpiece here….", "\n\nThe International Scholars Program is seeking families in the Niskayuna School District community that would be interested in the possibility of hosting a visiting student for the 2014-15 school year or in a subsequent year. ", "Host families would be eligible…\n\nRegistration for summer recreational programs is now open for the Town of Niskayuna. ", "Upcoming programs include standbys such as baseball and swimming, with the addition of exciting and quirky options like Hogwarts camp and the all-new Yoga for Athletes. “", "People…" ]

{ "pile_set_name": "Pile-CC" }

[ 0.000038578758535550326, 0.000019069049026525047, 0.0012755102040816326, 0, 0.000032, 0.000017715419501133787, 0.00003560682938987697, 0.000033319450229071226, 0.00005101520253035405, 0, 0.00009964923469387755, 0, 0.000019406547769217335, 0, 0, 0 ]

[ "Job Description\n\nA well-established retail group in the UAE is looking for a highly skilled Operations Manager to coordinate and supervise the operations of their stores across Dubai.", "\nAs the Operations Manager, you will handle the following responsibilities:\n* Drive the achievement of retail sales targets\n* Maximise store productivity by keeping track of retail metrics on a daily basis\n* Conduct regular store visits to check and identify points of improvement and initiate appropriate actions\n* Work with Store Managers in delivering a projected annual and seasonal sales per product category, store and region\n* Ensure that all retail operations are compliant to all company standards and policies\nThe ideal candidate for this role will have the following qualifications:\n* Degree level education\n* At least 8-10 years of experience win retail operations\n* Solid understanding of stores and outlets operations process\n* Strong communication and organizational skills\n* Has an aggressive and go getter attitude\nFor this crucial post, the rewards are beyond the excellent tax-free salary package, but an opportunity to further develop as a professional and have a large influence in an exciting new workplace. ", "If you think that you are qualified for this position, please send us your CV today.", "\nWe request that candidates send their CV as a Microsoft Word document where possible.", "\nQuest Search and Selection is acting as an Employment Agency in relation to this vacancy." ]

{ "pile_set_name": "Pile-CC" }

[ 0.00002986055122577563, 9.425959091337543e-7, 0.0001417233560090703, 0.00027041644131963225, 0 ]

[ "Rob Ford , the mayor of Canada’s largest city, has been caught on video in an impaired rant saying he is going to kill someone and “rip his f---ing throat out.”", "\n\nFord slurs his words as he staggers around an unknown dining room, apparently high, ranting gibberish and gesticulating wildly.", "\n\n“I’m gonna kill that f---ing guy. ", "I’m telling you, it’s first-degree murder,” Ford rages as someone in the room secretly uses a cellphone to film the chief magistrate’s addled tirade.", "\n\nMoments after the Star published the video online, Ford emerged from his office and apologized.", "\n\n“The Toronto Star just released a video that I was very, very inebriated.”", "\n\n“All I can say is, again, I’ve made mistakes. ", "I just wanted to come out and tell you I saw a video. ", "It’s extremely embarrassing. ", "The whole world’s going to see it. ", "You know what? ", "I don’t have a problem with that.”", "\n\n“I hope none of you have ever or will ever be in that state. ", "Obviously, I was extremely, extremely inebriated.”", "\n\nThe target of the mayor’s anger in the video is not in the room and is not known to the Star.", "\n\n“I’ll rip his f---ing throat out. ", "I’ll poke his eyes out. . . . ", "I’ll make sure that motherf---er’s dead,” Ford says, then hitches up his pants as if bracing for action.", "\n\nHis ire appears to be directed at someone who has called him, and brothers Doug and Randy, “liars, thieves.”", "\n\nWednesday, Ford’s chief of staff, Earl Provost, said he could not speak to the Star about the video. “", "I am sorry I cannot talk to you about this,” Provost said.", "\n\nAlso on Wednesday, the Star sent a transcript of the video, a description of the video’s contents and an offer to show it to the following people in the mayor’s circle: Ford, his brother Councillor Doug Ford, Provost, deputy chief of staff Sunny Petrujkic, spokesman Amin Massoudi, and Ford’s lawyer, Dennis Morris.", "\n\nThe Star invited all of them to view the video, either at their office or the Star’s office, and provide an explanation for Ford’s behaviour. ", "No one took the Star up on its offer.", "\n\nFord only commented on the video after it appeared on thestar.com.", "\n\nAfter apologizing for his behaviour, Ford did not elaborate on his filmed rant.", "\n\nLast week, Police Chief Bill Blair announced that investigators had recovered two video clips relevant to extortion charges laid against the mayor’s “close friend” Alexander “Sandro” Lisi. ", "One of those videos is of the mayor smoking what appears to be crack, which two Star reporters viewed in May.\n\nThere is no suggestion that this video is the second video Blair referred to in his press conference.", "\n\nIn this profanity-laden, 77-second video, Ford is seen pacing about the dining room of a house, threatening death to an unnamed enemy. ", "A person off-camera, who is encouraging Ford’s behaviour, tells him to wait until “after the by-election,” an apparent reference to the by-election Ford wanted the city to hold to replace departed deputy mayor Doug Holyday.", "\n\nThe reference to the by-election puts the timing of the video sometime in August.", "\n\nThe need to replace Holyday on council came on Aug. 1, when he became an MPP. ", "City council voted on Aug. 26 to choose his successor by appointment instead of the $250,000 by-election Ford said was the more democratic choice.", "\n\nSimilar to the crack video the Star witnessed in May, Ford’s words switch rapidly from being easily heard to incomprehensible.", "\n\n“I am a sick motherf---er, dude,” says Ford, rolling the cuffs of his collared shirt up to his elbow. “", "Like no one’s gonna f--- around with me.”", "\n\nAt points in the video, Ford is incoherent. ", "He appears to say that unidentified critics call him and his brothers “birds.”", "\n\nAt another point, he angrily mutters what sounds like “This is f---ed, daddy.” ", "However, the outburst also sounds like: “That little prick’s a racist f---, daddy.”", "\n\nIn the video, Ford frenetically waves his arms and shifts from foot to foot. ", "He stumbles backwards and gently bumps into the dining room table, on which sits a large bottle of alcohol. ", "As he grows more agitated he slaps his stomach hard and appears to be discussing a plan to get “in the ring” with someone. ", "Ford and voices off-camera seem to debate how long he will need for the attack. ", "He wants 15 minutes. ", "A man off-camera says he will only have five minutes.", "\n\nThe Star purchased the video for $5,000 from a source who filmed the video from someone else’s computer screen, and that person was connected to people who were in the room during Ford’s rant, the Star was told.", "\n\nAsked why the paper paid $5,000 for the video, Editor Michael Cooke said: “Because of the huge public interest both in Toronto and worldwide.", "\n\n“We weren’t paying a source for information; we were purchasing a video, something newspapers and TV stations do every day. ", "I’ve paid more for a book excerpt.", "\n\n“Publisher John Cruickshank and I talked about the price and quickly decided that the crisis at city hall made it essential to get all information relevant to Ford’s true character and views in front of Torontonians.", "\n\n“This was especially crucial as the mayor insisted he had nothing left to hide and has called us liars and maggots from the beginning, when we reported on two of our journalists seeing a video that showed a clearly intoxicated mayor smoking crack cocaine.", "\n\n“One of the mayor’s pals is accused of going to extraordinary lengths to find and suppress the crack video, while all the while he was denying its existence. ", "We feared if we didn’t grab it quick, this revealing video might disappear.”", "\n\nThe Star has been assured the money went to “the legal and beneficial use of a family.”", "\n\nThe Star was told that Ford arrived at a supporter’s home and was clearly impaired. ", "The Ford supporter was described to the Star as a businessman. ", "Four people between the age of 20 and 60 were present during Ford’s outbursts. ", "One made the video using a phone camera. ", "This man appears to have been sitting on a couch near where the mayor was pacing, in front of a dining room table covered with a white tablecloth and surrounded by six chairs. ", "Blinds are drawn and a chandelier lights the room. ", "It is nighttime.", "\n\nWhile Ford is clearly angry with someone who has insulted him and his brothers, he uses sporting terms to discuss his plan of attack.", "\n\n“No holds barred, brother. ", "He dies, or I die, brother,” Ford says at the start of the video.", "\n\nAgain, a voice off-camera, as if in call-and-response, says, “Mike Tyson,” a reference to the former boxer.", "\n\nFord continues: “I’ll fight him. ", "I’ll . . . (", "gibberish)”\n\n“I need f---ing 10 minutes to make sure he’s dead. ", "It’ll be over in five minutes, brother,” says Ford, who paces back and forth in short, stilted steps.", "\n\nFord, shoes off, struggles to focus his rant, moving around the room and flipping from an aside about his brothers to unintelligible gibberish and back again.", "\n\n“My brothers are, don’t tell me we’re liars, thieves, birds?” ", "he said. “", "Randy walks with a ... (unintelligible) ... 80-year-old birds …”\n\nThe Randy section is largely incomprehensible. ", "Randy Ford is the eldest Ford brother.", "\n\nThe video has two distinct cuts where it appears the person stopped filming then started again or edited together three short clips. ", "It is unknown what, if anything, Ford said in the period of time that was not filmed.", "\n\n“Brother, I just need to go f--king by myself in my f--king underwear,” he says, slapping his belly six times. ", "Near the end of the video, Ford tells his audience, “If I win, I will f--king donate,” before trailing off and leaving the thought unfinished. ", "It is not known what the mayor is referring to.", "\n\nLoading... Loading... Loading... Loading... Loading... Loading...\n\nAfter one cut, Ford’s striped tie is gone and he tugs at his collar.", "\n\nNear the end of the video, Ford tells his audience, “If I win, I will f---ing donate,” before trailing off and leaving the thought unfinished. ", "It is not known what the mayor is referring to.", "\n\nThe video emerges after seven days of revelations. ", "Last Thursday, Chief Bill Blair announced police had found the crack video, the one Star reporters viewed that shows Ford making homophobic and racist comments while smoking a crack pipe. ", "Brother Doug called for Blair to resign. ", "Then the mayor announced he had smoked crack cocaine, once, during a “drunken stupor.”", "\n\nMayor Ford then said, “I have nothing left to hide.”", "\n\nThis email was sent to Mayor Ford, Doug Ford, Sunny Petrujkic, Amin Massoudi, lawyer Dennis Morris and Ford chief of staff Earl Provost\n\nWednesday, November 6, 2013\n\nDear Mayor Ford ,\n\nThis email is a request from the Toronto Star for you to view, tonight, a video we have obtained.", "\n\nThe Video\n\nWe have in our possession a 1 minute 17 second video that shows Mayor Ford impaired, at a constituents house, threatening to kill someone. ", "It is somehow related to the byelection and we believe the video was made in August. ", "Mayor Ford is extremely aggressive.", "\n\nHere is a partial transcript. ", "We would like to show you this video tonight and seek comment. ", "If there is an explanation for this we would like you to provide it. ", "We may publish this story shortly, but again would like to know what your explanation is for this behaviour.", "\n\nThe \"Voice\" refers to people off camera.", "\n\nAmong Mayor Ford's comments :\n\nRF:'Cause I'm going to kill that f--king guy. ", "I'm telling you it's first-degree murder.", "\n\nRF: No holds barred, brother. ", "He dies or I die, brother.", "\n\nRF: Think so, brother? ", "When he's down, I'll rip his f--king throat out. ", "I'll poke his eyes out. ", "I will, f--k, when he's dead, I'll make sure that motherf--ker's dead.", "\n\nRF: I need f--king 10 minutes to make sure he's dead. ", "It'll be over in five minutes, brother...10 minutes\n\nVoice: After you win?", "\n\nRF: I am a sick motherf--ker, dude. (", "rolling up his shirt cuffs) But no one's gonna f--k around with me. ", "My brothers are, don't tell me we're liars, thieves, birds? ", "It hurts.", "\n\nRF: (unintelligible) This is f--ked, daddy. (", "unintelligible) Randy walks\n\nRF: Brother, I just need to go f--king by myself in my f--king underwear. ", "I want to go outside I need 15 minutes. ", "That's all I — No f--king interference, brother. ", "If I win, I will f--king donate ... (arms spread wide as if searching for a word or idea) Voice (accented): These kids are pros, buddy\n\nMayor Ford,\n\nThe scene for this video is a living room, likely in Etobicoke. ", "At least four people are present, aged 20-60. ", "These people are witnesses to your behaviour. ", "You arrived impaired, we are told. ", "We are curious as to how you arrived. ", "By car, driving, or with a driver.", "\n\nPlease respond shortly and I will show you or your staff the video.", "\n\nKevin Donovan\n\nInvestigative Editor\n\nToronto Star" ]

{ "pile_set_name": "OpenWebText2" }

[ 0.0000390625, 0.00006009254251547383, 0, 0.00004504301608035674, 0.00021256244021681367, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00011080332409972299, 0, 0, 0.00009245562130177516, 0.0001652892561983471, 0.00027736686390532545, 0, 0.0000696593657017186, 0.00014467592592592592, 0.0007304601899196494, 0.00021626297577854672, 0.00015241579027587258, 0.00008223458786765713, 0.00004449982200071199, 0.000053279343598486864, 0.00006032697218926582, 0, 0.00015625, 0.00004691311690748733, 0.0001220703125, 0.00009070294784580499, 0, 0.0004725897920604915, 0, 0, 0, 0.0001602307322544464, 0, 0, 0.00015625, 0, 0, 0.000066124446207763, 0.000048902146804244705, 0, 0, 0.000042083999663328004, 0, 0, 0, 0.00012624668602449185, 0.00027041644131963225, 0.0005039052658100277, 0.0001602307322544464, 0, 0, 0, 0, 0.00005486968449931413, 0, 0.0002366863905325444, 0.00008416799932665601, 0.0008163265306122448, 0, 0, 0.0000980296049406921, 0.0000390625, 0, 0, 0.00015662933667475918, 0.0013850415512465374, 0, 0.00013840830449826988, 0, 0.000048902146804244705, 0, 0.000053279343598486864, 0.00004756242568370987, 0, 0, 0.00008488003621548211, 0.001189767995240928, 0, 0.0003429355281207133, 0.00009918666931164451, 0.000043282548476454294, 0, 0.0008163265306122448, 0, 0, 0, 0, 0, 0.0001602307322544464, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0.00009425959091337542, 0, 0, 0.00004408296413850868, 0, 0, 0, 0, 0, 0, 0.00038446751249519417 ]

[ "Influence of varus/valgus positioning of the Nanos® and Metha® short-stemmed prostheses on stress shielding of metaphyseal bone.", "\nThe aim of this study was to analyze bone remodeling around the Nanos® (Smith & Nephew) and Metha® (Aesculap AG) implants as a function of varus/valgus stem positioning. ", "In 75 patients with diagnosed coxarthrosis, either Nanos® (n= 51) or Metha® (n= 24) prostheses were implanted. ", "Digital assessment of plain radiographs immediately, 97 days, and 381 days after THA showed no clinically-relevant migration, angulation, or change in offset and center of rotation. ", "The DEXA scans showed significant BMD changes in Gruen zones 1 (-12.8%), 2 (-3.3%), 6 (+6.4%), and 7(-7.8%)(t-test). ", "The pre/postoperative CCD for the Nanos® was 129°/ 135° and for the Metha® 131°/ 127°. ", "Linear regression analysis showed no prediction for BMD by postoperative CCD or stem type. ", "In conclusion, there was no clinically-relevant influence on proximal femur BMD according to varus/valgus implantation of the Nanos® or Metha® prostheses." ]

{ "pile_set_name": "PubMed Abstracts" }

[ 0.00006103515625, 0.00010259567046270647, 0.00016232448664881097, 0.00006037918125830214, 0.00021915406530791145, 0, 0.00036227508754981284, 0.000042165626581211 ]

[ "Background {#Sec1}\n==========\n\nThe introduction of prostate specific antigen (PSA) as a biomarker for prostate cancer (PCa) screening and detection has transformed the management of this disease \\[[@CR1]-[@CR3]\\]. ", "Despite the overall success of the PSA blood test, its use has been limited due to the lack of specificity, especially in patients with total serum PSA levels in a range of 2--10 ng/ml. ", "Various nonmalignant processes such as benign prostatic hyperplasia (BPH) and prostatitis, as well as manipulation and medical interventions of the prostate lead to serum PSA elevations and subsequently limit the specificity of PSA for cancer detection \\[[@CR4]\\]. ", "Additionally, 15% of PCa cases occur in men with normal serum PSA levels \\[[@CR5]\\]. ", "These data have encouraged considerable investigation into the search for novel PCa biomarkers.", "\n\nThe rise of --omics technologies in recent years and their use in PCa research has delivered a number of new potential biomarkers for PCa \\[[@CR6]-[@CR8]\\]. ", "These included proteins, fusing genes, RNA transcripts and epigenetic modifications of DNA. ", "Among the available technologies, proteomics has shown large potential in identification of PCa biomarkers \\[[@CR9],[@CR10]\\]. ", "As a result of the found differences in protein expression profiles between BPH and PCa, and among different types and grades of cancer, a number of proteins in tissue and biological fluids (serum, plasma, urine, seminal plasma) were identified as potential diagnostic or prognostic markers for PCa. ", "Prostate tissue, although a rich source of potential PCa biomarkers, has the most invasive sampling, low tolerability and carries significant morbid risk \\[[@CR11]\\]. ", "On the other hand, a screening procedure based on biological fluid testing is highly desirable because of the minimally invasive and low-cost procedures for collecting samples. ", "Hence, the current extensive investigation in PCa biomarkers is mostly oriented to the identification of highly specific non-invasive and easily accessible biomarkers in urine, seminal plasma and minimally invasive blood samples.", "\n\nThe number of newly identified diagnostic PCa biomarker candidates in biological fluids is rising over the time. ", "Those found in serum include various precursor forms of PSA \\[[@CR12],[@CR13]\\], α-2-macroglobulin \\[[@CR14],[@CR15]\\], Zinc-α2-glycoprotein \\[[@CR14],[@CR16],[@CR17]\\], Pigment epithelium-derived factor \\[[@CR16],[@CR18]\\], Eukaryotic translation elongation factor 1 alpha 1, Fibronectin 1 \\[[@CR14]\\], Chemokine ligand 16, Pentraxin 3, Spondin 2, Follistatine \\[[@CR19],[@CR20]\\], panels of serum proteins \\[[@CR21]\\] and many other soluble factors and intracellular proteins involved in structural or metabolic functions. ", "Candidates for urine biomarkers include Annexin A3 \\[[@CR22]\\], Inter-alpha-trypsin inhibitor heavy chain 4 \\[[@CR23]\\], CD90 \\[[@CR24]\\], Calgranulin/MRP-14 \\[[@CR25]\\], Semenogelin 1, Uromodulin \\[[@CR26]\\] and Engrailed-2 \\[[@CR27]\\]. ", "Some of these proteins have been identified in independent studies with different proteomics methods and their usefulness is yet to be validated in a large cohort within and across different ethnic populations. ", "However, most of the data obtained until now is quite heterogeneous and there is a small percentage of overlap between independent studies. ", "No single test or proposed biomarker to date can fulfill the requirements for the ideal PCa diagnostic biomarker and the next PCa screening tool. ", "Furthermore, it is becoming clearer that the ideal PCa diagnostics test will most likely be based not on a single but multiple biomarkers, due to the clinical heterogeneity of the cancer and the need to distinguish the disease from greatly prevalent inflammatory and benign conditions \\[[@CR6],[@CR8]\\]. ", "This highlights the necessity of future extensive comparative analysis of well-defined samples for identification of a reliable diagnostic PCa biomarker or biomarker panel.", "\n\nThe aims of this study were to characterize the pattern of differential protein abundances in urine of PCa and BPH patients using two-dimensional difference in gel polyacrylamide gel electrophoresis (2-D DIGE) coupled with mass spectrometry (MS) and to identify a biomarker or marker panel for non-invasive PCa diagnosis preferentially with greater specificity and sensitivity from the ones that are currently in use. ", "Another objective was to compare our results with those of other published studies and to assess the level of compatibility across different technological platforms used and different ethnic background of samples. ", "The identified proteins with differential abundances between the PCa and BPH groups from this study were significantly associated with the Acute Phase Response Signaling pathway. ", "We have been able to successfully validate these findings by confirming the differential abundance of TF, HP and AMBP in urine in an independent validation set. ", "The results from this study may provide a clinically useful diagnostic set for the screening and detection of PCa.", "\n\nResults {#Sec2}\n=======\n\n2-D DIGE analysis {#Sec3}\n-----------------\n\nThe number of the detected spots in the DeCyder DIA workspaces in all gels ranged from 1308 to 1577. ", "In the BVA module, the spots were matched among 4 gels with an average of 1063 matched spots. ", "One hundred and thirty four spots showed statistically significant (p \\< 0.05) 1.8 fold variation or more in abundance. ", "However, upon manual checking of the spot quality, the majority of the protein spots with differential abundance were either part of the most abundant protein in the urine, later identified as albumin \\[[@CR28]\\], or were low quality spots. ", "Therefore, only 41 spots were selected for further analysis (Figure [1](#Fig1){ref-type=\"fig\"}). ", "All of these spots fulfilled the criteria for presence in all spot maps. ", "Among these, 22 spots showed higher abundance in the PCa group (up-regulated) and 19 spots had lower abundance in PCa (down-regulated).Figure 1**Representative 2-D map of the urine proteome obtained by using IEF on pH 4--7 IPG strip and 2-D gel electrophoresis on 12.5% SDS-PAGE.** ", "All proteins with differential abundance between studied groups are marked with numbered arrows. ", "Details of these proteins identified by MALDI MS are tabulated in Table [1](#Tab1){ref-type=\"table\"}. ", "Proteins with increased abundance in PCa are marked with red arrows.", "\n\nPrinciple component analysis and hierarchical clustering analysis of the 41 spots with differential abundance were performed by EDA module, available within the DeCyder software (Figure [2](#Fig2){ref-type=\"fig\"}). ", "Two-dimensional scatter plots of the principal components of urine samples showed a good clear separation between samples from PCa and BPH patients (Figure [2](#Fig2){ref-type=\"fig\"}A). ", "Hierarchical clustering analysis (Figure [2](#Fig2){ref-type=\"fig\"}B) showed that, based on the abundance pattern of the 41 spots, samples from PCa and BPH groups form two distinct separate clusters.", "Figure 2**Principal component analysis and hierarchical cluster analysis of the proteins with differential abundance. (", "A)** Scatter plots of the principal component analysis where green dots represent urine samples from BPH patients and red dots samples from PCa patients. **(", "B)** The hierarchical clustering result: higher abundance in PCa group is coloured in red, the lower ones in green. ", "Column descriptors indicate the 4 samples per group (B = BPH; C = PCa) and the labeling dye, while the row descriptors indicate proteins with their spot numbers (given in Table [1](#Tab1){ref-type=\"table\"}). ", "The dendrograms represent the distances between the clusters.", "\n\nIdentification and interpretation of proteins with differential abundance {#Sec4}\n-------------------------------------------------------------------------\n\nAll of the 41 spots with differential abundance were identified by MALDI-MS. ", "Fold changes of the 41 identified protein spots in the two groups along with the detailed Mascot search results are given in Table [1](#Tab1){ref-type=\"table\"}. ", "Several proteins were identified in multiple spots, most likely due to posttranslational modification leading to shifts in the 2-D. So, the identified spots with differential abundance equaled to 23 distinct proteins, among which 14 were up-regulated and 9 were down-regulated in PCa.", "Table 1**List of proteins with differential abundance identified by MALDI-MSSpot No.*T*** **-testFold Ratio (PCa/ BPH)Protein nameSwiss-Prot accession No.", "Mw (kDa)pIMascot protein scoreRMS error (ppm)p valueNo. ", "of matched peptides out of total% of sequence coverage**10.010−2.53SerotransferrinTRFE_HUMAN79.296.8198803.1E-0610/152120.010−2.64SerotransferrinTRFE_HUMAN79.296.81200472.0E-1623/433830.010−2.64SerotransferrinTRFE_HUMAN79.296.81243571.0E-2022/304040.033−2.17Alpha-1-antitrypsinA1AT_HUMAN46.895.3781561.9E-0412/313150.002−5.21Alpha-1-antitrypsinA1AT_HUMAN46.895.37128823.2E-0918/343660.002−4.34Alpha-1-antitrypsinA1AT_HUMAN46.895.37194518.1E-1623/435370.002−3.66Alpha-1-antitrypsinA1AT_HUMAN46.895.37741097.7E-0412/282780.001−3.05Alpha-1-antitrypsinA1AT_HUMAN46.895.37178633.2E-1420/314190.000−4.27Alpha-1-antitrypsinA1AT_HUMAN46.895.37661024.9E-039/1726100.010−3.18Vitamin D-binding proteinVTDB_HUMAN54.525.40135656.4E-1012/2450110.011−6.11Fibrinogen gamma chainFIBG_HUMAN52.105.371641088.1E-1317/3047120.019−4.41Thymidine phosphorylaseTYPH_HUMAN50.325.36641047.4E-035/1325130.0362.59GelsolinGELS_HUMAN86.04 (52.48)5.90 (5.34)80812.0E-039/1516140.0044.75Fibrinogen alpha chain (fragment)FIBA_HUMAN95.65 (\\~50)5.70 (4.65)91991.6E-0510/1815150.0032.47Endonuclease domain-containing 1 proteinENDD1_HUMAN55.725.551041228.1E-079/1320160.0003.07E3 ubiquitin-protein ligase rififylinRFFL_HUMAN41.745.3359972.7E-025/1226170.0092.72Inter-alpha-trypsin inhibitor heavy chain H4 (fragment)ITIH4_HUMAN103,52 (\\~45)6,51 (5,00)64519.1E-0313/2612180.0042.66Inter-alpha-trypsin inhibitor heavy chain H4 (fragment)ITIH4_HUMAN103.52 (\\~45)6.51 (5.15)881342.9E-0511/2613190.0014.75Quinone oxidoreductase-like protein 1QORL1_HUMAN39.075.4966914.9E-024/1212200.0053.17Interleukin enhancer-binding factor 2ILF2_HUMAN43.265.1962823.0E-025/1319210.0025.07Vesicular integral-membrane protein VIP36LMAN2_HUMAN40.546.4680751.9E-047/1421220.0412.26Protein AMBPAMBP_HUMAN39.875.9586155.5E-058/1522230.0482.25Protein AMBPAMBP_HUMAN39.875.9593789.9E-0610/2423240.0442.26Protein AMBPAMBP_HUMAN39.875.95941098.4E-0610/1924250.0352.35Protein AMBPAMBP_HUMAN39.875.95130932.0E-0915/3537260.0233.33Prostaglandin-H2 D-isomerasePTGDS_HUMAN21.247.6661521.8E-027/1732270.0333.43Prostaglandin-H2 D-isomerasePTGDS_HUMAN21.247.6664237.7E-038/3633280.005−3.25Apolipoprotein A-IAPOA1_HUMAN30.755.56116575.1E-0816/5346290.010−6.82Apolipoprotein A-IAPOA1_HUMAN30.755.56171741.6E-1320/5557300.0093.55Basement membrane specific heparan sulphate proteoglycan core protein (PERLECAN) (fragment)PGBM_HUMAN468.83 (20.65)6.06 (5.47)204621.1E-1515/3388310.0014.60CD59 glycoproteinCD59_HUMAN14.796.02581032.9E-024/721320.0063.11CD59 glycoproteinCD59_HUMAN14.796.0258322.9E-024/721330.0004.17CD59 glycoproteinCD59_HUMAN14.796.0261471.6E-025/1528340.0016.56Secreted and transmembrane protein 1SCTM1_HUMAN27.307.0066344.9E-036/1322350.019−5.51Haptoglobin (fragment, alpha 2 chain)HPT_HUMAN45.86 (\\~16)6.13 (6.20)73799.3E-034/1128360.0172.26Mannan-binding lectin serine protease 2 (chainA, Human MBL associated protein 19)MASP2_HUMAN77.19 (19.53)5.39 (5.44)127245.5E-087/14 (8/14)37370.015−5.86Haptoglobin (fragment, alpha 2 chain)HPT_HUMAN45.86 (\\~16)6.13 (6.20)88327.5E-047/1834380.024−6.58Haptoglobin (fragment, alpha 2 chain)HPT_HUMAN45.86 (\\~16)6.13 (6.20)80411.9E-0411/3431390.0046.21Secreted and transmembrane protein 1SCTM1_HUMAN27.307.0075476.1E-046/922400.012−3.39TransthyretinTTHY_HUMAN15.995.52160322.0E-1210/2773410.010−3.54UromodulinUROM_HUMAN72.645.05158573.2E-1218/2422\n\nThe 23 identified proteins were grouped into different classes based on sub cellular and functional information available (Additional file [1](#MOESM1){ref-type=\"media\"}: Figure S1). ", "The majority of the proteins were enzymes (30%), transporters (22%), enzyme inhibitors (13%) and proteins of unknown function (17%). ", "Most of the proteins were secreted (74%), 17% were cytoplasmic and only 8% membrane or nucleus proteins. ", "Binding was the major molecular function (50%), followed by catalytic activity (27%) and transport (15%). ", "The GO based data of biological processes pointed to a variety of processes in which the identified proteins are putatively involved. ", "Detailed information regarding biological function is given in Table [2](#Tab2){ref-type=\"table\"}.Table 2**Functional characterization of the proteins with differential abundance between PCa and BPH and association with urogenital cancersProtein nameSymbolExpression (PCa/BPH)Biological functionAssociation with PCa** ^**a**^**Association with urogenital cancers** ^**a**^SerotransferrinTFDown-regulatedIron transport, acute-phase response, stimulation of cell proliferationDown-regulated, serum \\[[@CR21]\\]; Down-regulated, urine \\[[@CR29]\\]Alpha-1-antitrypsinSERPINA1Down-regulatedBlood coagulation, acute phase response, hemostasisDifferentially expressed, tissue \\[[@CR30]\\]; Up-regulated, serum \\[[@CR31]\\]; Down-regulated, serum \\[[@CR21]\\]Up-regulated, urine, bladder cancer \\[[@CR32]\\];Vitamin D-binding proteinGCDown-regulatedVitamin D metabolic process, vitamin transport, transmembrane transportDifferentially expressed, tissue \\[[@CR33]\\]Fibrinogen gamma chainFGGDown-regulatedCell activation, protein complex assembly, response to stress, signal transduction, blood coagulation, hemostasisDifferentially expressed, tissue \\[[@CR30]\\]Degradation products in urine - markers for bladder cancer \\[[@CR34]\\]; Up-regulated, urine, bladder cancer \\[[@CR35]\\]Thymidine phosphorylaseTYMPDown-regulatedDNA replication, angiogenesis, response to stimulusPotential marker for PCa \\[[@CR28]\\]Up-regulated, tissue, renal cell carcinoma \\[[@CR36]\\]GelsolinGSNUp-regulatedPromote the assembly of monomers into filaments, transport, apoptosis, response to stressDifferentially expressed, tissue \\[[@CR33]\\]; Down-regulated, tissue \\[[@CR37]\\]Fibrinogen alpha chainFGAUp-regulatedCell activation, protein complex assembly, response to stress, signal transduction, blood coagulation, hemostaisDegradation products in urine - markers for bladder cancer \\[[@CR34]\\]; Up-regulated, urine, bladder cancer \\[[@CR35]\\]Endonuclease domain-containing 1 proteinENDOD1Up-regulatedUnknown, may act as DNase/RNasePotential marker for PCa \\[[@CR28]\\]E3 ubiquitin-protein ligase rififylinRFFLUp-regulatedProtein transport, proteolysis, apoptosisPotential marker for PCa \\[[@CR28]\\]Inter-alpha-trypsin inhibitor heavy chain H4ITIH4Up-regulatedAcute inflammatory response, carbohydrate metabolic process, nitrogen compound metabolic processUp-regulated, urine \\[[@CR23]\\];Down-regulated, serum \\[[@CR31]\\]Quinone oxidoreductase-like protein 1CRYZL1Up-regulatedQuinone cofactor metabolic process, cellular metabolic processPotential marker for PCa \\[[@CR28]\\]Interleukin enhancer-binding factor 2ILF2Up-regulatedImmune response, regulation of transcription, nucleobase-containing compound metabolic processPotential marker for PCa \\[[@CR28]\\]Vesicular integral-membrane protein VIP36LMAN2Up-regulatedProtein localization, protein transport, macromolecule localizationProtein AMBP (Alpha-1-microglobulin/ bikunin precursor)AMBPUp-regulatedCell adhesion, immune response, regulator of biological processes, regulation of signal transductionUp-regulated, urine \\[[@CR23]\\];Down-regulated, urine \\[[@CR38]\\]; Down-regulated, serum \\[[@CR21]\\]Prostaglandin-H2 D-isomerasePTGDSUp-regulatedFatty acit metabolism, lipid biosynthesis, transportUp-regulated, urine \\[[@CR38]\\]Apolipoprotein A-IAPOA1Down-regulatedRegulation of cytokine production, regulation of lipid transport, lipid metabolismDifferentially expressed, tissue \\[[@CR30]\\]; Down-regulated, serum \\[[@CR31]\\]; Down-regulated, serum \\[[@CR21]\\]Up-regulated, urine, bladder cancer \\[[@CR35]\\]Laminin G Like Domain 3 From Human PerlecanHSPG2Up-regulatedDevelopmental processes, cell adhesion, cell differentiation, localizationCD59 glycoproteinCD59Up-regulatedResponse to stress, cell surface receptor linked signal transduction, blood coagulation, hemostasis, response to external stimulusSecreted and transmembrane protein 1SECTM1Up-regulatedImmune response, regulation of signal transduction, multicellular organismal developmentHaptoglobin (α-chain)HPDown-regulatedProteolysis, cellular iron ion homeostasis, response to stress, defense response, metabolic processDown-regulated, urine \\[[@CR38]\\];Up-regulated, urine, bladder cancer \\[[@CR35]\\]Down-regulated, tissue \\[[@CR39]\\]; Down-regulated, serum \\[[@CR21]\\]Mannan-binding lectin serine protease 2MASP2Up-regulatedComplement activation, lectin pathway, activation of immune responseTransthyretinTTRDown-regulatedTransport, localization, establishment of localizationUp-regulated, serum \\[[@CR31]\\]UromodulinUMODDown-regulatedResponse to stress, cellular defense response, regulation of cell proliferationDown-regulated, urine \\[[@CR26]\\]^a^Based on published proteomics studies retrieved from PubMed.", "\n\nThe IPA analysis of associations between our set of proteins and known biological pathways showed significant association with the Acute Phase Response Signaling pathway (p = 6,99E-14). ", "Nine of the 23 proteins with differential abundance are included in this pathway: α-1-microglobulin/bikunin (AMBP), apolipoprotein A-I (APOA1), fibrinogen alpha chain (FGA), fibrinogen gamma chain (FGG), haptoglobin (HP), inter-alpha-trypsin inhibitor (ITIH4), alpha-1-antitrypsin (SERPINA1), transferrin (TF) and transthyretin (TTR) (Figure [3](#Fig3){ref-type=\"fig\"}A).Figure 3**Pathways and networks associated with proteins with differential abundance according to IPA. (", "A)** The top canonical pathway significantly associated with the differentially expressed proteins - Acute Phase Response Signaling (p = 6,99 e^−14^). **(", "B)** Highest ranked protein network of functional associations between 23 proteins with differential abundance - Cancer, Organism injury and abnormalities and Gastrointestinal Disease. ", "Most of the proteins with differential abundance are closely connected in the network through three major nodes: P38 MARK, Pro-inflamatory cytokine and ERK1/2. ", "The network is graphically displayed with proteins as nodes and the biological relationships between the nodes as lines. ", "The color of the shapes indicates the degree of over-expression (red) or under-expression (green) of the corresponding protein in PCa compared to BPH samples. ", "Direct connection between molecules is represented by a solid line and indirect connection by broken line. ", "The length of a line reflects published evidence supporting the node-to-node relationship concerned. **(", "C)** Selected subset of proteins with differential abundance associated with cancer in humans or cancer cell lines.", "\n\nAccording to the IPA functional classification - Diseases and Disorders, 9 of our proteins (APOA1, CD59, FGG, GSN, HSPG2, MASP2, PTGDS, SERPINA1 and TYMP) are significantly associated with the category - Organism Injury and Abnormalities, sub category -- Lesion formation (p = 9,05E-10) while in Molecular and Cellular Function category, 14 proteins (APOA1, CD59, FGA, GSN, HP, HSPG2, ILF2, ITIH4, PTGDS, SERPINA1, TF, TTR, UMOD and TYMP) were found significantly associated with cell death (p = 2,29E-5).", "\n\nThe highest ranked protein network of functional associations between the differentially expressed proteins according to IPA was Cancer, Organism Injury and Abnormalities and Gastrointestinal Disease (score 46) (Figure [3](#Fig3){ref-type=\"fig\"}B). ", "Seventeen out of 23 proteins with differential abundance (TTR, HSPG2, CD59, FGA, FGG, GC, HP, APOA1, TF, ITIH4, AMBP, UMOD, SERPINA1, GSN, TYMP, PTGDS and LMAN2) are closely connected in the network through three major nodes: P38 Mitogen-activated protein kinase (P38 MARK), extracellular-signal-regulated kinase 1/2 (ERK1/2) and pro-inflamatory cytokines.", "\n\nOur set of proteins was further analyzed using IPA biomarker filter which allows matching the input protein list with known disease profiles consisting of maps, networks and lists of biomarkers known for a disease. ", "Results revealed that 12 of the proteins (AMBP, APOA1, FGA, GSN, HP, HSPG2, MASP2, PTGDS, SERPINA1, TF, TTR and TYMP) are predicted markers for prostate cancer (Figure [3](#Fig3){ref-type=\"fig\"}C). ", "The majority of these proteins (7/12) are also part of the Acute Phase Response Signaling pathway.", "\n\nValidation of candidate biomarkers {#Sec5}\n----------------------------------\n\nFive proteins (TF, SERPINA1, APOA1, AMBP and HP) were further evaluated by immunoturbidimetry to test whether quantitative measurement in urine could be utilized as a diagnostic tool to distinguish patients with PCa and BPH. ", "We manage to determine quantitatively the urine levels of three proteins (TF, AMPB and HP), while the concentrations of SERPINA1 and APOA1 were below the assays LOD. ", "The measured concentrations of TF, AMPB and HP were normalized to urine creatinine to make correction for variations in urinary concentration. ", "The results confirmed the abundance levels obtained by the DIGE experiment (Figure [4](#Fig4){ref-type=\"fig\"}A). ", "The concentration of AMPB in the PCa group showed a significantly higher level that in BPH group (Mann--Whitney *U*-test, p = 0.04). ", "The levels of TF and HP were significantly higher in the BPH compared to the PCa group yielding p = 0.015 and p = 0.031, respectively (Figure [4](#Fig4){ref-type=\"fig\"}B). ", "Receiver operating curve (ROC) determined the diagnostic accuracy of the proteins in the validation set, using the histopathological results as the gold standard for clinical diagnosis and classification (Figure [4](#Fig4){ref-type=\"fig\"}C). ", "The area under the curve (AUC) for TF was 0.754 (p = 0.002, 95% CI 0.596-0.912), for AMBP was 0.738 (p = 0.005, 95% CI 0.574-0.903) and for HP was 0.723 (p = 0.008, 95% CI 0.558-0.888). ", "The optimal cutoffs for the proteins were: 12.81 mg TF/g creatinine (93.8% specificity, 56.3% sensitivity); 6.51 mg AMBP/g creatinine (50.0% specificity, 93.8% sensitivity); 2.40 mg HP/g creatinine (56.3% specificity, 93.8% sensitivity). ", "The values of AUC and diagnostics cutoff for serum PSA in the validation set were 0.754 (p = 0.001, 95% CI 0.600-0.907) and 5.50 ng/ml (50.0% specificity, 93.8% sensitivity), respectively (data not shown).Figure 4**Validation of candidate biomarkers for the diagnosis of PCa. (", "A)** 2-DE profiles of TF, AMBP and HP abundance in independent urine samples from BPH and PCa patients obtained by 2-D DIGE. ", "Proteins with differential abundance were represented by clusters of 3--4 spots, highlighted with oval lines. ", "Four gels corresponding to samples from each group were shown. **(", "B)** TF, AMBP and HP levels in urine of PCa and BPH patients, expressed as relative ratio to urine creatinine and obtained by immunoturbidimetry. ", "AMBP level in PCa was significantly higher than that in BPH while TF and HP levels in PCa were significantly lower than in BPH (Mann--Whitney *U*-test, P \\< 0.05). ", "In the combined dot/box plot graphs, concentration data (blue diamond), median (−), 25th and 75th percentiles and mean (+) are shown. **(", "C)** Urinary TF, AMBP and HP distinguish PCa on independent series of urine samples from patients with PCa and BPH. ", "The optimal cutoffs for the proteins were: 12.81 mg TF/g creatinine (93.8% specificity, 56.3% sensitivity); 6.51 mg AMBP/g creatinine (50.0% specificity, 93.8% sensitivity); 2.40 mg HP/g creatinine (56.3% specificity, 93.8% sensitivity). ", "ROC curves were based on series of 32 urine samples. **(", "D)** The diagnostic accuracy of TF, AMBP and HP combinations using logistic regression model. ", "The combination AMBP and HP yielded highest diagnostic accuracy (AUC = 0.848).", "\n\nUsing a logistic regression model, the diagnostic accuracy of various combinations of TF, AMBP, HP and PSA were tested (Table [3](#Tab3){ref-type=\"table\"} and Additional file [2](#MOESM2){ref-type=\"media\"}). ", "The combination of TF, AMBP and HP increased the individual diagnostic accuracy (Figure [4](#Fig4){ref-type=\"fig\"}D). ", "The highest AUC was obtained for the combination of HP and AMBP (AUC = 0.848). ", "Inclusion of PSA or TF into the HP/AMBP test has not yielded an improved accuracy. ", "The combination of each of the tested proteins with PSA also resulted in increased AUC, except for the AMBP where addition of PSA did not improve the diagnostic accuracy (0.773 (AMBP + PSA) vs. 0.738 (AMBP) vs 0.754 (PSA).Table 3**The diagnostic accuracy of various combinations of TF, AMBP, HP and PSA expressed as area under the ROC curve (AUC) using logistic regression modelProtein combinations tested**TF**√√√√√**HP**√√√√√√**AMBP**√√√√√√**PSA**√√√√√**AUC0.8400.8480.8480.8480.8320.8200.8400.8360.773\n\nDiscussion {#Sec6}\n==========\n\nThe low sensitivity and specificity of current diagnostic methods for prostate cancer highlights the need for improvement in this area. ", "In this study, we focused on identification of non-invasive biomarkers for PCa using urine samples from two age-matched groups of patients with histologically characterized diagnosis of PCa and BPH, respectively.", "\n\nUrine is an attractive material in clinical proteomics because it can be sampled non-invasively in large quantities, contains generally soluble proteins which does not undergo significant proteolytic degradation and has lower dynamics range of protein concentrations compared to other biofluids \\[[@CR40]\\]. ", "Urine proteome represents modified ultrafiltrate of plasma combined with proteins derived from kidney and urinary tract \\[[@CR41]\\]. ", "Proteomic analysis of urine has suggested that it contains disease-specific information for a number of kidney diseases, cancers related to the urogenital system such as kidney, bladder and prostate cancer, as well as various non-nephrological/urogenital diseases \\[[@CR42]\\]. ", "The comparative proteomics studies for PCa biomarker identification in urine have reported a number of proteins with differential abundance between PCa and BPH, with some of them proposed as potential biomarkers for PCa diagnosis \\[[@CR22]-[@CR27],[@CR43],[@CR44]\\]. ", "However, most of these candidate biomarkers still lack an extensive validation and haven't been introduced into clinical practice. ", "The high variability of the reported data so far highlights the need for more research in this area with consistent sample collection, storage methods and sample processing. ", "The samples used in this study were collected and stored according to the standard protocol for urine collection with no addition of protease and phosphatase inhibitors and no pH adjustment \\[[@CR45]\\]. ", "Sample processing and manipulation were minimal without depletion of the highly abundant proteins, to exclude the possibility of losing low abundant proteins or low molecular weight proteins that exist in complexes with the highly abundant proteins. ", "In addition, we have used the 2-D DIGE/MS platform who although has lover dynamic range of protein quantification than LC-MS based platforms is still an indispensable platform in proteomics, particularly for the visualization of the proteome and assessment of the individual posttranslational modifications \\[[@CR46]\\].", "\n\nOur proteomic data revealed 23 proteins with differential abundance in urine of PCa patients compared to BPH patients. ", "In order to analyze the impact of co-regulation of protein expression in context of biomarker identification, principal component analysis and hierarchical clustering has been applied on the differential protein expression data. ", "Here, we have detected a clear separation of the two distinct groups (PCa and BPH) based on the abundance pattern of the 23 proteins. ", "The clustering of samples showed formation of two separate clusters, clearly separating benign from tumor samples with general observation that PCa/BPH classification cannot be based on one individual protein, but on expression pattern of the selected subset of proteins.", "\n\nGene Ontology (GO) search for biological processes classified these proteins into proteins involved in the immune response and response to stimuli, regulators of different biological processes (transcription, proliferation, signal transduction, cytokine production), transport proteins involved in transport of ions, proteins and lipids and proteins involved into different metabolic processes.", "\n\nMany of the proteins with differential abundance in this study have been associated with PCa or cancers of the urogenital system (Table [2](#Tab2){ref-type=\"table\"}). ", "Overall, 17 of the identified proteins have been associated specifically with PCa in different proteomics studies. ", "Our initial study of the protein components from urine of PCa patients, pointed out 11 proteins that might have some role in the pathogenesis of prostate cancer by comparison with other published studies analyzing normal urine proteome \\[[@CR28]\\]. ", "Five of these proteins (TYMP, ENDOD1, RFFL, CRYZL1 and ILF2) were detected with differential abundance when comparing to BPH group. ", "In comparative studies using urine, the abundance levels of TF, ITIH4, AMPB, PTGDS, HP and UMOD were the same as in our study \\[[@CR23],[@CR26],[@CR29],[@CR38]\\]. ", "However, for ITIH4 and AMBP, there are also studies where opposite abundance levels were reported as well \\[[@CR31],[@CR38]\\]. ", "The abundance level of APOA1 in our study was the same as in a study using serum while the levels of SERPINA1 and TTR were found opposite to ours \\[[@CR31]\\]. ", "Some of the proteins such as SERPINA1, FGG, FGA, APOA1 and HP were also found with differential abundance in urine in proteomics studies of bladder cancer, and TYMP in tissue in renal cell carcinoma, but mostly with opposite abundance level compared to our study \\[[@CR32],[@CR34]-[@CR36]\\].", "\n\nIPA analysis of our set of proteins revealed significant association with the Acute Phase Response Signaling pathway. ", "Nine of our proteins (AMBP, APOA1, FGA, FGG, HP, ITIH4, SERPINA1, TF and TTR) were acute phase response proteins. ", "The acute phase response is a rapid inflammatory response that provides protection against microorganisms using non-specific defense mechanisms \\[[@CR47]\\]. ", "The association of our proteins with this pathway complies with the generally accepted observation that inflammation is often observed in tumors and appears to play a dominant role in the pathogenesis of various cancer types \\[[@CR48]\\]. ", "Moreover, the highest ranked protein network of functional associations between the differentially expressed proteins revealed close connected in the network through three major nodes: P38 Mitogen activated protein kinase (P38 MARK), extracellular-signal-regulated kinase 1/2 (ERK1/2) and pro-inflamatory cytokines. ", "P38 MARK and ERK1/2 are members of the mitogen activated protein kinase super family that can mediate cell proliferation and apoptosis \\[[@CR49]\\]. ", "Abnormal regulation of the MAPK pathways have been reported for a wide range of diseases including many cancers \\[[@CR50]\\]. ", "The pro-inflamatory cytokines interleukin-6 (IL-6), tumor necrosis factor alpha (TNFα) and interleukin-1 beta (IL-1β) are critical mediators of the systemic inflammatory response and main stimulators for the synthesis of an acute-phase response proteins \\[[@CR48]\\]. ", "These cytokines have been implicated in a variety of diseases including cancer where their role is more likely to contribute to tumour growth, progression and immunosuppression than to an effective host-antitumor response \\[[@CR51]\\]. ", "For this reason, cancer patients frequently present changes in various systemic parameters, comprising alterations in the level of serum inflammatory cytokines, acute-phase proteins and total albumin \\[[@CR52]\\]. ", "And finally, IPA biomarker filter revealed 12 proteins as candidate biomarkers for prostate cancer with majority being acute phase proteins.", "\n\nA number of well characterized acute phase proteins have been linked to distinct cancer types and stages of malignancy \\[[@CR53]\\]. ", "The field of acute phase proteins as cancer biomarkers has vast potential. ", "The identification of specific proteomic expression patterns in acute phase proteins related to cancer offers promise for novel diagnostic markers. ", "Having in mind this and results from the IPA analysis, we considered the possibility of using acute phase response proteins found in urine as non-invasive biomarkers for PCa. ", "This was additionally encouraged from the fact that the abundance pattern of 4 acute phase response proteins in our study differed from the defined expression (Figure [4](#Fig4){ref-type=\"fig\"}A). ", "Protein AMBP shows decreased plasma concentration during the acute phase response, but in our study increased expression in PCa was observed. ", "Proteins HP, SERPINA1 and FGG showed decreased expression in PCa, opposite to the plasma concentration during the acute phase response. ", "On the other hand, the expression levels of the acute phase response proteins in this study correlated with the observed levels in a number of independent studies on PCa, with minor exceptions where opposite abundance levels were also reported (reviewed in Table [2](#Tab2){ref-type=\"table\"}).", "\n\nFrom the total set of acute phase response proteins detected with differential abundance, we highlighted TF, AMBP, HP, APOA1 and SERPINA1. ", "These proteins were detected as clusters of 2-6 spots with the same abundance levels within clusters and therefore exhibited higher potential to be associated with PCa than proteins identified in only one spot. ", "Notably, AMBP, HP and SERPINA1 were particularly interesting for us since they demonstrated the same abundance levels as in other proteomics studies and opposite abundances from the acute phase response. ", "So, we chose to further evaluate the diagnostic potential of these 5 proteins in an independent set of patients by quantitative measurement in urine. ", "Using immunoturbidimetry, we manage to determine quantitatively the urine levels of TF, AMBP and HP in all samples from the validation set. ", "The results showed that there was a significant difference (p\\<0.05) in the urine levels of these proteins between PCa and BPH group, confirming the expression levels obtained by the DIGE experiment. ", "The observed diagnostics accuracy of the proteins was moderate, with the lowest being found for HP (0.723 at 2.40 mg/g creatinine) and the highest for TF (0.754 at 12.81 mg/g creatinine). ", "Similar diagnostics accuracy was found for serum PSA (0.754). ", "A number of logistic regression models using combinations of TF, AMPB, HP and PSA were also tested in order to estimate if the diagnostic accuracy improves with the combination of proteins. ", "In general, combination of proteins showed increased AUC with the highest value obtained for HP/AMBP. ", "So, although the observed accuracy of the individual proteins were similar to the PSA, the combination of HP and AMBP yielded greater accuracy compared to individual tests. ", "The results indicated that HP/AMBP combination could be potential biomarker set for the diagnosis of PCa with improved accuracy compared to the PSA. ", "In addition, the proposed biomarker set complies with the requirements for diagnostics biomarker as it is easily accessible, non-invasive, quickly quantifiable and economical. ", "Though maybe these proteins are not specific proteins for PCa, they could become an important check index and improve the sensitivity and specificity for early diagnosis.", "\n\nConclusions {#Sec7}\n===========\n\nOur study indicated that the 2-D DIGE/MS proteomic analysis of urinary proteins is feasible for the identification of non-invasive biomarkers for PCa diagnosis. ", "As a result of this approach, a set of acute phase response proteins found in urine could serve as a diagnostics biomarkers for PCa. ", "Moreover, our results confirmed the importance of previously identified proteins and highlighted new proteins that can add information regarding the pathophysiological mechanisms of PCa. ", "However, further studies are needed to validate the proposed biomarkers in independent cohorts and to evaluate the diagnostic potential of the rest of the differentially expressed proteins found in this study which might further improve the diagnostics accuracy of the proposed set.", "\n\nMethods {#Sec8}\n=======\n\nSamples {#Sec9}\n-------\n\nWe analyzed 56 urine samples from patients with clinically and histological confirmed PCa and BPH obtained from the University Clinic for Urology, University Clinical Centre \"Mother Theresa\", Skopje, Republic of Macedonia. ", "Informed consent for the use of these samples for research purposes was obtained from the patients in accordance with the Declaration of Helsinki. ", "The study has been approved by the Ethics Committee of the Macedonian Academy of Sciences and Arts.", "\n\nThe patients referred to hospital because of clinical symptoms. ", "The diagnosis was based on histological evaluation of tissues obtained by transurethral resection of the prostate (TURP) for BPH and whole prostate gland obtained by radical prostatectomy for PCa patients. ", "None of the patients received preoperative therapy. ", "Patient's clinical records including histology grading, tumor stage and pre-operative PSA were reviewed to preselect the urine samples used in this study (Additional file [3](#MOESM3){ref-type=\"media\"}: Table S1). ", "BPH patients were preselected to be without signs of inflammation (prostatitis). ", "Urine samples for the 2D-DIGE analysis (screening set) consisted of 8 samples from PCa and 16 samples from BPH patients. ", "Validation of the selected candidate biomarkers was done on an additional 16 PCa and 16 BPH urine samples. ", "In the screening cohort, the mean values (± SD) for PSA, Gleason score and age were as follows: serum PSA was 9.0 ± 3.9 (ng/ml) for the PCa group and 6.4 ± 3.2 (ng/ml) for the BPH group; age was 69.0 ± 6.6 years for PCa and 65.3 ± 7.3 years for BPH; Gleason score was 7.4 ± 1.1. ", "In the validation cohort, the mean values (± SD) for PSA, Gleason score and age were as follows: serum PSA was 8.7 ± 3.2 (ng/ml) for PCa group and 5.6 ± 2.9 (ng/ml) for BPH group; age was 67.4 ± 5.0 years for PCa and 69.2 ± 8.2 years for BPH; Gleason score was 7.4 ± 1.1.", "\n\nThe first morning urine (3--10) ml was collected from the patients prior to clinical intervention and stored on ice for short period (\\<1 h). ", "Samples were centrifuged at 1000 g, for 10 min to remove cell debris and casts, aliquoted in 1.5 ml tubes and stored at −80°C until use.", "\n\nThe stored urine samples were thawed and for each sample, proteins were isolated in triplicate from 100 μl urine using 2-D Clean-UP Kit (GE Healthcare) according to the manufacturer's instructions. ", "The pellets from each replicate were dissolved in 10 μl of UTC buffer (8 M Urea, 2 M Thiourea, 4% CHAPS), pooled together for each sample, quantified by the Bradford method \\[[@CR54]\\] in duplicate against a standard curve of Bovine Serum Albumin (BSA) and stored at −80°C until use.", "\n\n2-D DIGE, imaging and analysis {#Sec10}\n------------------------------\n\nEqual amounts of protein extract from urine were pooled for the DIGE labeling: 2 PCA samples and 4 BPH samples per labeling reaction respectively. ", "The pH of protein samples was adjusted to 8.5 with 1.5 M Tris--HCl. ", "Proteins were labeled with the CyDye DIGE Fluor minimal dyes (GE Healthcare) following manufacturer's instructions. ", "Forty five micrograms of protein per pool were minimally labeled with 400 pmol of Cy3 or Cy5, respectively. ", "Cy2 was used to label an equivalent amount of internal standard containing equal amounts of all samples. ", "Reactions were stopped with 10 mM L-lysine for 10 min. ", "The samples were randomized between gels to ensure an even distribution between those labelled with Cy3 and Cy5 minimal dyes and to avoid repetitive linking of the same sample type with the same dye on multiple gels.", "\n\nThe first dimension of the 2-D DIGE analysis was performed using 24 cm Immobiline Drystrip gels (GE Healthcare) with linear pH 4--7 gradient. ", "The separate CyDyes labeling reactions were combined, rehydration buffer (8 M Urea, 2 M Thiourea, 2% (w/v) CHAPS, 10 mM DTT, 1.2% (v/v) IPG-Buffer pH4-7, Trace of Bromophenol Blue) was added to a final volume of 450 μl and the gels were passively rehydratated overnight in IPGPhor cassettes. ", "Isoelectric focusing (IEF) was performed on the Ettan IPGphor 3 system (GE Helthcare) under the following conditions: 3 h at 300 V, 7 h gradient to 1000 V, 3 h gradient to 10000 V and 4 h 15 min at 10000 V, until total a of 64.5 kVh was reached. ", "The focused proteins in the IPG strips were immediately equilibrated in two incubation steps, each lasting 15 min, at room temperature. ", "In the first step, the equilibration buffer (6 M Urea, 2% SDS, 30% Glycerol, 50 mM Tris--HCl, pH 8.6) was supplemented with 1% (w/v) DTT for reduction, followed by alkylation in the same buffer containing 4.7% (w/v) iodoacetamide instead of DTT. ", "The second dimension was carried out onto 12.5% homogeneous polyacrylamide gels using the Ettan DALTsix system (GE Healthcare), at 2.5 W per gel for 30 min, followed by 16 W/gel for 5 h.\n\nThe four 2-D DIGE gels were scanned on an Ettan DIGE imager (GE Healthcare). ", "Gel images were normalized by adjusting the exposure time to obtain appropriate pixel value without any saturation. ", "All gels were scanned at 100 dpi resolution. ", "Images were cropped using Image QuantTL software v7.0 (GE Healthcare) to remove areas extraneous to the gel image.", "\n\nDIGE images were analyzed using DeCyder 2-D Differential Analysis Software v7.1 (GE Healthcare). ", "Spot detection and normalization was processed by the Differential Analysis (DIA) module using the estimated number of spots set to 3000 and spot volume \\< 30000 as exclusion filter. ", "Gel-to-gel comparison and statistical analysis of the degree of difference in standardized protein abundance between PCa and BPH groups were performed with the Biological Variation Analysis (BVA) module. ", "Matching was further improved by using landmarks and manually confirming potential spots of interest. ", "Proteins with statistically significant differential abundance were selected based on two criteria: *t*-test \\< 0.05 and ratio \\> 1.8. ", "Each spot was manually verified for an acceptable three dimensional characteristic protein profile and for adequate material for subsequent mass spectrometry identification. ", "Spots not meeting these criteria were excluded from further analysis. ", "The Extended Data Analysis (EDA) module of DeCyder and was used for principal component analysis and clustering studies. ", "Selected protein spots with significant difference were excised from a preparative gel stained with CBB G-250 and identified by MALDI MS.", "\n\nSetting up of preparative 2-D gels for spot picking {#Sec11}\n---------------------------------------------------\n\nFor preparative Coomassie brilliant blue (CBB) - stained gel, 60 μg of each of the 8 protein pools were combined, to give a total of 480 μg of protein. ", "The volume was adjusted to 450 μl with the rehydration buffer. ", "The IEF and second dimension SDS-PAGE were run according to standard procedures. ", "Gel was fixed in 30% (v/v) ethanol, 2% (v/v) phosphoric acid for 30 min with two exchanges of the fixing solution, washed three times with 2% (v/v) phosphoric acid for 10 min each, balanced in pre-staining buffer (12% (w/v) (NH~4~)~2~SO~4,~ 2% (v/v) phosphoric acid, 18% (v/v) ethanol) for another 30 min and stained in staining solution (0.01% (w/v) CBB G-250, 12% (w/v) (NH~4~)~2~SO~4,~ 2% (v/v) phosphoric acid, 18% (v/v) ethanol) for 72 h. The gel was stored in the staining solution until the spots of interests were manually picked.", "\n\nMass spectrometry: in-gel tryptic digestion and identification {#Sec12}\n--------------------------------------------------------------\n\nIn-gel digestion was carried out manually with trypsin. ", "Spots were first destained twice with a mixture of 50% (v/v) ACN for 15 min each and than once with 100 mM NH~4~HCO~3~ and 50% (v/v) ACN for 15 min. ", "Spots were dried in vacuum centrifuge and then reduced with 100 mM NH~4~HCO~3~ containing 10 mM DTT for 45 min at 56°C, and then alkylated with 54 mM iodoacetamide in 100 mM NH~4~HCO~3~ for 30 min in the dark, at room temperature. ", "Gels pieces were washed with 100 mM NH~4~HCO~3~, shrunk with 50% ACN for 15 min and dried in a vacuum centrifuge. ", "Gel particles were rehydrated with 20 μl of 0.01 μg/μl trypsin proteomics grade (Roche Diagnostics GmbH) in digestion buffer (95% 50 mM NH~4~HCO~3~/5% ACN) for 45 min at room temperature. ", "The remaining enzyme supernatant was replaced with one gel volume of the digestion buffer and digestion was carried out at 37°C, overnight. ", "After digestion, peptides were collected in a separate tube, extracted once with 20 μl of 50% ACN and twice with a mixture of 50% ACN/5% formic acid, dried in a vacuum centrifuge and reconstituted in 10 μl of 0.1% TFA.", "\n\nFor MS analysis, peptides were purified using ZipTip~C18~ (Millipore Corporation) following the manufacturer's instructions and eluted in 2--3 μl of CHCA (4 mg/ml in 50% ACN/0.1% TFA) directly onto a MALDI target plate (Shimadzu Biotech Kratos Analytical). ", "Droplets were allowed to dry at room temperature. ", "Samples analysis was performed using AXIMA Performance MALDI-TOF-TOF mass spectrometer (Shimadzu Biotech Kratos Analytical). ", "Spectra acquisition and processing was performed using the MALDI-MS software (Shimadzu Biotech Kratos Analytical) version 2.9.3.20110624 in positive reflectron mode at mass range 1--5000 Da with a low mass gate at 500 Da and pulsed extraction optimized at 2300 Da. ", "External calibration was performed based on monoisotopic values of five well-defined peptides: Bradykinin fragment 1--5, Angiotensin II human, Glu1-Fibrinopeptide B human, Adrenocorticotropic Hormone Fragment 1--17 human and Adrenocorticotropic Hormone Fragment 7--38 human (Sigma-Aldrich). ", "External calibration mix (500 fmol/μl) was diluted with the matrix in ratio 1:1 and applied onto the MALDI target plate at final concentration of 250 fmol per spot. ", "Each mass spectrum was acquired by 500 laser profiles (five pulses per profile) collected across the whole sample.", "\n\nAfter filtering tryptic-, keratin- and matrix-contaminant peaks, the resulting monoisotopic list of m/z values was submitted to the search engine MASCOT (version 2.4.01, MatrixScience, UK) searching all human proteins and sequence information from Swiss-Prot (version 2014_05, 20265 sequences) and NCBInr (version 20140323, 276505 sequences). ", "The following search parameters were applied: fixed modification-carbamidomethylation, variable modifications-methionine oxidation and N-terminal acetylation. ", "Up to 1 missed tryptic cleavage was permitted and a peptide mass tolerance of ±0.40 Da was used for all mass searches. ", "Positive identification was based on a Mascot score greater than 56, above the significance level (p \\< 0.05). ", "The reported proteins were always those with the highest number of peptide matches.", "\n\nQuantitative determination of selected proteins in urine {#Sec13}\n--------------------------------------------------------\n\nThe concentrations of Serotransferrin, α1- antitrypsin, α1- microglobulin/bikunin, Apolipoprotein A-I and Haptoglobin in urine were measured by immunoturbidimetry using COBAS Integra 400 Plus (Roche Diagnostics). ", "The kits used for measurement of these proteins in urine and detection limits were as follows: Serotransferrin, TQ Transferrin ver. ", "2 (Roche Diagnostics) with LOD = 0.013 g/L; α1- antitrypsin, TQ a-1 Antitrypsin ver. ", "2 (Roche Diagnostics) with LOD = 0.2 g/L; α1-microglobulin/ bikunin, TQ a-1 Microglobulin Gen. 2 (Roche Diagnostics) with LOD = 5 mg/L; Apolipoprotein A-I, TQ APO A-1 ver. ", "2 (Roche Diagnostics) with LOD = 0.2 g/L; Haptoglobin, TQ Haptoglobin ver. ", "2 (Roche Diagnostics) with LOD = 0.1 g/L. The level of creatinine in urine was determined using the Jaffé method by Crea Jaffe Gen. 2 Urine Kit (Roche Diagnostics) with 0.01 mmol/l limit of detection.", "\n\nBioinformatics and statistical analysis of the proteomics data {#Sec14}\n--------------------------------------------------------------\n\nFor an overview of the cellular localization, molecular function and biological processes in which identified proteins are included in, we used the UniProt Knowledgebase (UniProtKB) and Gene Ontology (GO) database. ", "Pathway analysis was carried out for proteins found to be differently expressed between tumor and control samples using Ingenuity Pathway Analysis (IPA) (Ingenuity Systems, USA). ", "Identified proteins were functionally assigned to canonical pathways and sub sequentially mapped to the most significant networks generated from previous publications and public protein interaction databases. ", "A *p* value calculated with the right-tailed Fisher's exact test was used to yield a network's score and to rank networks according to their degree of association with our data set.", "\n\nThe Mann--Whitney *U*-test was used to analyze the correlation between the levels of the 3 selected proteins in urine and the pathological and clinical stage of prostate. ", "The relative effectiveness of the diagnostic tests was illustrated by plotting the true-positive (sensitivity) versus the false-positive (1-specificity) results in receiver operating characteristic (ROC) curves. ", "ROC curve analyses were used to define the most optimal diagnostic cutoff as well as the diagnostic performance given by areas under the curves (AUC). ", "AUC were compared using a nonparametric method as described by Bamber \\[[@CR55]\\]. ", "In order to estimate the combined diagnostic potential of several candidate biomarkers, logistic regression analyses were performed with clinical diagnosis (PCa/BPH) as dependent variable and measurement of the protein concentrations in urine of selected proteins as independent variables. ", "A confidence level of 95% (p \\< 0.05) was considered significant for all performed tests. ", "Statistical analyses were performed using XLSTAT software (ver. ", "2014.4.06).", "\n\nAdditional files {#Sec15}\n================\n\nAdditional file 1: Figure S1.Classification of urine proteins with differential abundance between PCa and BPH. ", "The molecular function, biological processes in which they are involved, subcellular location and type of the proteins were assessed by Gene Ontology search. ", "The numbers represent percentages.", "Additional file 2:**Logistic regression models and ROC curves of combinations of TF, AMPB, HP and PSA.**The summary of these results is presented in Table [3](#Tab3){ref-type=\"table\"}.Additional file 3: Table S1.Clinical information of patients used to generate urine samples included in the study together with their PSA levels, histology grading and tumor stage.", "\n\n**Competing interests**\n\nThe authors declare that they have no competing interests.", "\n\n**Authors' contributions**\n\nKD designed the study, participated in the sample selection and preparation, 2-D DIGE experiment, MS identifications, carried out bioinformatics analysis of the data and wrote the manuscript. ", "SKiprijanovska participated in the sample preparation, 2-D DIGE experiment and MS identifications. ", "SKomina and GP carried out the histological evaluation of the prostate tissue samples from the patients. ", "NCZ carried out the immunoturbidimetry. ", "MP conceived the study and participated in the design of the experiments. ", "All authors have read and approved the final manuscript.", "\n\nThis work was supported by the funds for Science of the Macedonian Academy of Sciences and Arts (grant no. ", "09-114/1, Biomarker detection in prostate cancer with the use of 2-D DIGE/MALDI-MS technology). ", "We thank patients for their participation in the study, the medical personal at the University Clinic for Urology at the University Clinical Centre \"Mother Theresa\", Skopje, Republic of Macedonia, for the collection of urine samples and Katerina Markovska for technical assistance.", "\n" ]

{ "pile_set_name": "PubMed Central" }

[ 0.00006550790462049087, 0.000057810151462596836, 0.00005695977216091136, 0.00027681660899653976, 0, 0.00007911079466793244, 0.00011814744801512288, 0.000124000248000496, 0.000022222222222222223, 0.0000358564308508731, 0, 0, 0, 0.000050793650793650794, 0.0001412329637737448, 0, 0, 0, 0.000021641274238227147, 0, 0.000005668934240362812, 0, 0.00009363003651571424, 0, 0, 0.000033412409368839586, 0.00011317338162064282, 0, 0.00001721733441228629, 0, 0, 0.0000502992807202857, 0, 0.00009611687812379854, 0, 0.00004247276433986706, 0.000028905075731298418, 0.0000252518875785965, 0, 0.000040569597143900364, 0, 0, 0, 0.00001795461074403907, 0.000038578758535550326, 0, 0.00012649687974363298, 0.00031887755102040814, 0.0000010557877431326896, 0, 0, 0, 0.000055691690799732676, 0.0000020449450752746558, 0.00005658669081032141, 0.00003988919667590028, 0, 0, 0.000078125, 0, 0.00003955539733396622, 0, 0, 0, 0.0000661352504775354, 0.000031745527848764306, 0.00011046585027143038, 0.00002123638216993353, 0.00015304560759106213, 0.00010412328196584755, 0.000053398265624332526, 0.0001814486863115111, 0.000048902146804244705, 0.00007831466833737959, 0.00022612923285657752, 0.00006760411032990806, 0, 0.00014452537865649207, 0.0000353082409434362, 0.00003909864588356423, 0.000128, 0, 0, 0.00009382623381497466, 0.000185901249256395, 0, 0.00022294887039239002, 0.0000353082409434362, 0, 0.00011317338162064282, 0.00032873109796186715, 0.000045351473922902495, 0.00007181844297615628, 0.00048069219676333925, 0, 0.00002207851561723802, 0.000022249911000355996, 0.00001040582726326743, 0.00011306461642828876, 0.000013032881961188077, 0.00008416445734966124, 0, 0, 0.000024266543716178507, 0, 0.00002948084236593587, 0.00006830134553650708, 0, 0.00011138338159946535, 0.000013616372326084883, 0, 0, 0, 0.000016128772116578765, 0.0001721763085399449, 0.00026346494034400994, 0.000248000496000992, 0.0001582215893358649, 0.00008266317119542755, 0.0001388888888888889, 0.0004616805170821791, 0.000040569597143900364, 0.0000176541204717181, 0.000030043262297708703, 0.00013696128560993425, 0.000064, 0.000028054819116553746, 0.000018107741059302852, 0.00002204148206925434, 0.0000510204081632653, 0.000055691690799732676, 0, 0, 0.00003265306122448979, 0, 0.00004959333465582226, 0.00016219723183391005, 0, 0.0002011971228811428, 0, 0.00004805843906189927, 0, 0.0000510204081632653, 0.000075, 0.00008488003621548211, 0.0002601456815816857, 0.000055401662049861494, 0.00009611687812379854, 0.00006682481873767917, 0.00004504301608035674, 0, 0, 0.00002603082049146189, 0, 0, 0, 0.00005289256198347107, 0, 0.0001020304050607081, 0, 0.000023564897728343855, 0, 0.00002183596820683029, 0.00015241579027587258, 0.00020490403660952122, 0.00008734387282732115, 0.00010277360260017214, 0.00010893097860867907, 0, 0, 0.000025, 0.000049944436814044376, 0.00006142380377142156, 0, 0.00014863258026159333, 0, 0, 0, 0, 0.000048225308641975306, 0.0000351848376806155, 0.00003304911097891467, 0.00005406574394463668, 0.00003304911097891467, 0.00002847988608045568, 0, 0, 0.0001538935056940597, 0.0002040608101214162, 0.00005972110245155126, 0.0000720876585928489, 0, 0, 0, 0, 0.00020490403660952122, 0.00010655868719697373, 0, 0, 0.00015241579027587258, 0.000010364699216428739, 0, 0, 0.00001874027848053822, 0, 0.000028293345405160706, 0, 0, 0.000044722052444060165, 0, 0, 0.00002847988608045568, 0.000035427073369468946, 0.000036730945821854914, 0, 0.000016803192606595252, 0, 0, 0.00008116224332440549, 0, 0.000043508149076322, 0, 0.0004152249134948097, 0.00016901027582477015, 0.0008888888888888888, 0.00015, 0.000016050205041369406, 0.00009363003651571424, 0, 0.000030524098775983637, 0.000033412409368839586, 0, 0, 0.0002903178980984178, 0.000011890606420927467, 0, 0.000244140625, 0, 0.00012170879143170108, 0.0000400576830636116, 0, 0.000022642192971863303, 0, 0.00002029056083110137, 0.0001020304050607081, 0, 0.000625, 0, 0, 0.00008416799932665601, 0.00010850694444444444, 0.00006332239966565773, 0 ]

[ "Jerdon's leafbird\n\nJerdon's leafbird (Chloropsis jerdoni) is a species of leafbird found in forest and woodland in India and Sri Lanka. ", "Its name honours Thomas C. Jerdon. ", "It has traditionally been considered a subspecies of the blue-winged leafbird (C. cochinchinensis), but differ in measurements and morphology, it lacking the blue flight feathers for which the blue-winged leafbird was named.", "\n\nIt builds its nest in a tree, and lays 2–3 eggs. ", "This species eats insects, fruit and nectar.", "\n\nThe male is green-bodied with a yellow-tinged head, black face and throat. ", "It has a blue moustachial line. ", "The female differs in that it has a greener head and blue throat, and young birds are like the female but without the blue throat patch.", "\n\nLike other leafbirds, the call of Jerdon's leafbird consists of a rich mixture of imitations of the calls of various other species of birds.", "\n\nReferences\n\n BirdLife Species Factsheet. ", "BirdLife International. ", "Accessed 2008-06-25.", "\n Wells, D. R. (2005). ", "Chloropsis jerdoni (Jerdon's Leafbird). ", "P. 264 in: del Hoyo, J., A. Elliott, & D. A. Christie. ", "eds. (", "2005). ", "Handbook of the Birds of the World. ", "Vol. ", "10. ", "Cuckoo-shrikes to Thrushes. ", "Lynx Edicions, Barcelona.", "\n\nJerdon's leafbird\nCategory:Birds of India\nCategory:Birds of Sri Lanka\nJerdon's leafbird\n\nid:Cica-daun sayap-biru\nms:Burung Daun Sayap Biru\nth:นกเขียวก้านตองปีกสีฟ้า" ]

{ "pile_set_name": "Wikipedia (en)" }

[ 0.00010813148788927336, 0.0008163265306122448, 0, 0, 0, 0, 0, 0, 0.00004959333465582226, 0.0005408328826392645, 0.001736111111111111, 0, 0.001890359168241966, 0.000625, 0.0003305785123966942, 0, 0, 0, 0, 0, 0, 0.0016, 0.00007257947452460445 ]

[ "/*\n * Encog(tm) Core v3.4 - Java Version\n * http://www.heatonresearch.com/encog/\n * https://github.com/encog/encog-java-core\n \n * Copyright 2008-2017 Heaton Research, Inc.\n *\n * Licensed under the Apache License, Version 2.0 (the \"License\");\n * you may not use this file except in compliance with the License.", "\n * You may obtain a copy of the License at\n *\n * http://www.apache.org/licenses/LICENSE-2.0\n *\n * Unless required by applicable law or agreed to in writing, software\n * distributed under the License is distributed on an \"AS IS\" BASIS,\n * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.", "\n * See the License for the specific language governing permissions and\n * limitations under the License.", "\n * \n * For more information on Heaton Research copyrights, licenses \n * and trademarks visit:\n * http://www.heatonresearch.com/copyright\n */\npackage org.encog.ml.prg.train;\n\nimport java.io.", "Serializable;\n\nimport org.encog.ml.ea.genome.", "Genome;\nimport org.encog.ml.ea.genome.", "GenomeFactory;\nimport org.encog.ml.prg.", "EncogProgram;\nimport org.encog.ml.prg.", "EncogProgramContext;\nimport org.encog.ml.prg.", "EncogProgramVariables;\n\n/**\n * A GenomeFactory that creates EncogProgram genomes.", "\n */\npublic class PrgGenomeFactory implements GenomeFactory, Serializable {\n\n\t/**\n\t * The serial id.\n\t */\n\tprivate static final long serialVersionUID = 1L;\n\n\t/**\n\t * The context.", "\n\t */\n\tprivate final EncogProgramContext context;\n\n\t/**\n\t * Construct a factory.", "\n\t * \n\t * @param theContext\n\t * The context to use.", "\n\t */\n\tpublic PrgGenomeFactory(final EncogProgramContext theContext) {\n\t\tthis.context = theContext;\n\t}\n\n\t/**\n\t * {@inheritDoc}\n\t */\n\t@Override\n\tpublic Genome factor() {\n\t\tfinal EncogProgram result = new EncogProgram(this.context,\n\t\t\t\tnew EncogProgramVariables());\n\t\treturn result;\n\t}\n\n\t/**\n\t * {@inheritDoc}\n\t */\n\t@Override\n\tpublic Genome factor(final Genome other) {\n\t\tfinal EncogProgram result = new EncogProgram(this.context,\n\t\t\t\tnew EncogProgramVariables());\n\t\tresult.copy(other);\n\t\treturn result;\n\t}\n}\n" ]

{ "pile_set_name": "Github" }

[ 0.00005236643939631968, 0.000030234315948601665, 0.00009070294784580499, 0.00005425347222222222, 0, 0, 0.0006574621959237343, 0.0006925207756232687, 0, 0.00030483158055174517, 0.00003156167150612296, 0, 0.0002601456815816857, 0.000031122470812957845 ]

[ "Search\n\nWHEN it comes to the legal system in countries like Iran and Saudi Arabia, there’s not much I agree with. ", "Come to think of it, I’m not too keen on anything else about the two regimes, either.", "\nNot that the citizens of those esteemed Muslim democracies (I’m joking) have much say in what’s going on.", "\nBut just how democratic are countries like the UK and Spain? ", "Do Brits really have a say in everything that matters – particularly when it involves contentious issues where government and public opinion are at odds?", "\nLike bringing back the death penalty.", "\nSuccessive governments have known from their research that a national referendum on the return of capital punishment for predatorial killers like Levi Bellfield would produce a massive ‘hang the scum’ vote.", "\n\nLevi Bellfield\n\nRage\nAnd that’s where the British system ceases to be democratic. ", "Because David Cameron’s government, like the Brown, Blair, Major and Thatcher regimes before them, think they know better than the voters.", "\nSo Bellfield will merely spend his life in jail at our expense.", "\nMy heart bled for his victime Millie Dowler’s family in their understandable rage following Bellfield’s conviction.", "\n‘‘In my eyes, justice is an eye for an eye,’’ said Millie’s sister Gemma. ‘‘", "You brutally murder someone then you pay the ultimate price …a life for a life. ", "So in my eyes no real justice has been done’’.", "\nAnd so say the vast majority of those who think political correctness sucks. ", "Which is just about everyone I know!", "\nGemma made it abundantly clear that she wanted Bellfield six feet under.", "\nBut however desirable that may be, it would not politically correct. ", "Because it would impinge on Bellfield’s human rights.", "\nHuman rights? ", "Since when are vermin like Bellfield human? ", "And let’s not call him an animal because, unlike him, no animal is innately evil. ", "Ask the average Brit and at least 75 per cent will say this particular piece of filth has lost his right to live.", "\nLikewise, the likes of Ian Brady, Myra Hindley, Ian Huntley and Harold Shipman should have been executed as soon as they were convicted. ", "It’s all very well for the Lord Longfords of this world to cry out at the lynch-mob mentality of the masses, but public opinion still seems to favour the Old Testament philosophy of an eye for an eye.", "\nIt may be PC to take the New Testament route and turn the other cheek – but if it leads to being whacked twice as hard, what’s the point?", "\nI took a straw poll among friends the other day and whilst a majority favoured bringing back the death penalty, the one proviso everyone demanded was that guilt must be established, not beyond reasonable doubt as in the past, but beyond ALL doubt.", "\nRage\nI would also confine the ultimate penalty to murders involving premeditated evil – which would exclude crimes of passion.", "\nIsn’t it ironic that bringing back capital punishment is so popular with those who remember, not only the heinous crimes of the Crippins and Christies, but also the horrendous mistakes when convicted ‘murderers’ were hanged and then found to be totally innocent?", "\nDiscussing this topic is, of course, largely pointless, because Britain will never restore the death penalty.", "\nNeither will Spain, which in 2009 became one of the last nations in Europe to dismantle its gallows completely.", "\nIndeed, the death penalty remains in only two of Europe’s 50 nations, Latvia and Belarus. ", "And the Latvians retain it only for crimes during wartime.", "\nI’m no fan of the gung-ho Americans, but at least they listen to the people (even to the point of electing an idiot like George W Bush and half-destroying the world as a consequence).", "\nThe Yanks executed 47 murderers last year with Texas the most prolific and enthusiastic state.", "\nThe problem is that our friends across the Pond often fail to understand the difference between a life sentence and a death sentence.", "\nI mean, serving 20 years on death row and THEN being hanged is a bit steep.", "\nBut even 20 eyes for an eye would be too lenient a punishment for the likes of Levi Bellfield.", "\n\n’Allo ’allo, a very good moaning to you all . . .", "\n\nUntil May 2011, I was a semi-retired Fleet Street staff sub-editor and reporter (news, sport and features) living in the Costa Blanca, where I was the self-styled Grumpy Old Gran of the local expat press. ", "Now I'm back doing the lot full-time - as Editor of The Courier, a new weekly newspaper (www.thecourier.es). ", "Despite my grumpy columns, I invariably have funny turns while I'm writing which will either make you laugh or cringe. ", "Clever, corny or just a quirkyt sense of humour? ", "That's for you to decide...\n\nFollow Blog via Email\n\nEnter your email address to follow this blog and receive notifications of new posts by email.", "\n\nJoin 415 other followers\n\nIF YOU CAN’T BEAT ‘EM, JOIN ‘EM . . ", ".SO WE DID\n\nFlying the flag for Spain on World Cup Final night with my pal John Moynihan" ]

{ "pile_set_name": "Pile-CC" }

[ 0, 0, 0, 0, 0, 0, 0.00002333776750916007, 0.0001417233560090703, 0.00021003990758244068, 0, 0.00014863258026159333, 0.000337325012649688, 0, 0, 0, 0, 0.00018765246762994932, 0, 0.00035599857600569594, 0, 0.0005165289256198347, 0, 0.00007831466833737959, 0.00021003990758244068, 0, 0.00005250997689561017, 0, 0, 0.000014457343607685523, 0, 0, 0, 0, 0.00002953686200378072, 0.00011080332409972299, 0.000055691690799732676, 0, 0.00011080332409972299, 0, 0.00002333776750916007, 0.00016833599865331202, 0, 0, 0, 0.000244140625, 0.00012913223140495868 ]

[ "Q:\n\nDoes a Druid in Wild Shape add their own Proficiency Bonus to the physical attribute of the Beast for Skills?", "\n\nThe PHB entry on Wild Shape states: \"You also retain all of your skill and saving throw proficiencies, in addition to gaining those of the creature.\"", "\nDoes this mean you add the character's Proficiency Bonus to the beast's physical attribute modifiers to arrive at the Skill total? ", "For instance, my Druid has a PB of +3, proficiency in Stealth and an 18 Dex, for a total of +7 Stealth in normal form. ", "But in Polar Bear form, her Dex drops to 10...does that mean I'd only be at +3 in Stealth in bear form?", "\n\nA:\n\nYes, they do.", "\nWild shape changes the druid's strength, dexterity, and constitution scores, so any skill checks based on those attributes use the changed shape's ability modifier. ", "Your druid will use the polar bear's dexterity modifier of +0.", "\nHowever, in some cases the following additional rule needs to be considered (PHB p.67):\n\nIf the creature has the same proficiency as you and the bonus in its stat block is higher than yours, use the creature’s bonus instead of yours.", "\n\nIn the case of the polar bear, there is no listed bonus for stealth, so in the example in question, the druid's stealth check bonus would be +3 while they were in polar bear form.", "\n\nA:\n\nYou either use your proficiency bonus or the creature's - never both\nJeremy Crawford has now clarified\n\nThe Wild Shape feature does not let you add your proficiency bonus to\nthe proficiency bonus of your beast form. ", "The first bullet of the\nclass feature details which proficiency bonus you use (PH, 67).", "\n\nThe bullet he refers to is:\n\nYou also retain all of your skill and saving throw proficiencies, in addition to gaining those of the creature. ", "If the creature has the same proficiency as you and the bonus in its stat block is higher than yours, use the creature’s bonus instead of yours.", "\n\nSo, in wild shape form, you essentially use whichever proficiency bonus is higher in the case that both you and the new form are proficient in it.", "\nYour polar bear example\nIn the case of you wild shaping into a polar bear, you would have 0 (the bear's dex mod) + 3 (your stealth proficiency bonus) = 3.", "\n\nA:\n\nYour Stealth drops to +3\nSkill checks are a subset of Ability Checks:\n\nFor example, a Dexterity check might reflect a character’s attempt to pull off an acrobatic stunt, to palm an object, or to stay hidden. ", "Each of these aspects of Dexterity has an associated skill: Acrobatics, Sleight of Hand, and Stealth, respectively. ", "So a character who has proficiency in the Stealth skill is particularly good at Dexterity checks related to sneaking and hiding. (", "PHB 171)\n\nWild Shape:\n\nYou also retain all of your skill [...] proficiencies, in addition to gaining those of the creature. (", "PHB 67)\n\nBeing proficient in a skill means you can add your proficiency bonus to your Ability. ", "It just changed, so you add the same proficiency bonus to the new number.", "\n\n" ]

{ "pile_set_name": "StackExchange" }

[ 0, 0.00004385772553835358, 0.0000573921028466483, 0, 0.00018851918182675084, 0, 0, 0, 0.00001826283877565929, 0, 0.00002029056083110137, 0, 0, 0, 0, 0, 0.00004367193641366058, 0.00007431629013079666, 0.0000591715976331361, 0.000064, 0, 0, 0 ]

[ "Background\n==========\n\nThe Mediterranean Sea is one of the most nutrient-depleted seas and is a characteristic oligotrophic system; however, trace metal concentrations are generally high \\[[@B1]\\], particulary in its surface waters \\[[@B2]\\]. ", "The Mediterranean coastline is among the most intensively utilized in the world. ", "The approximately 70,000 km coastline (including all islands) receives over one hundred million visitors per year from all over the world. ", "As a result, the Mediterranean coast and the coastal waters have experienced an increasing impact of tourism in addition to the effects of resident demographic growth. ", "Other anthropogenic impacts include agriculture and mariculture as well as wild fisheries, industry, and navigation \\[[@B3]\\].", "\n\nThe endemic seagrass *Posidonia oceanica*(L.) Delile forms meadows that are crucial to the health and function of coastal ecosystems (Figure [1](#F1){ref-type=\"fig\"}). ", "Over the last 30 years, frequent alterations and regressions of these meadows have been noted (*e.g*., ", "\\[[@B4],[@B5]\\]). ", "These alterations are often linked to human activities such as tourism, pollution by urban and industrial centers, and coastal facilities \\[[@B6]-[@B8]\\]. ", "Biological pollution in the Mediterranean Sea \\[[@B9],[@B10]\\] increases the vulnerability of *P. oceanica*systems \\[[@B11],[@B12]\\]. ", "Because of the importance of this keystone macrophyte, *P. oceanica*is now considered a threatened species requiring protection and is listed in the \\'Habitats Directive\\' of the European Community \\[[@B13],[@B14]\\].", "\n\n*P. oceanica*has been recognized as an effective tool for investigating the coastal environment because it has a widespread distribution around the Mediterranean basin, is fixed on the bottom, and is sensitive to both pollution and human activities. ", "Markert et al. ", "\\[[@B15]\\] define a \\\"bioindicator\\\" as an organism that contains information about the quality of the environment and a \\\"biomonitor\\\" as an organism that contains quantitative information regarding the quality of the environment. ", "Previous studies suggest that *P. oceanica*can be used as a bioindicator \\[[@B6],[@B16]-[@B18]\\]. ", "In addition, lepidochronology \\[[@B19]-[@B21]\\], phenology \\[[@B22]\\], and tissue contents \\[[@B23]-[@B26]\\] can be used to examine historical changes in the environment.", "\n\nThe aim of this work was to 1) verify the efficiency of the magnoliophyta *P. oceanica*as a bioindicator of the baseline of trace metal pollution at a regional scale. ", "We measured eight trace metal contents (Cr, Ni, Cu, Zn, As, Se, Cd, and Pb) in dated remains of sheaths (lepidochronology) at six sites close to urban zones in northern Corsica (Figure [2](#F2){ref-type=\"fig\"}). ", "2) attempt to use *P. oceanica*as a biomonitor by comparing, over the last 10 years, trace metal contents measured in leaves with results found in sheaths at Calvi.", "\n\nResults and discussion\n======================\n\n*P. oceanica*as bioindicator\n----------------------------\n\n### Shoot and water characteristics in northern Corsica\n\nThe November 2001 and February 2002 data show that the column and interstitial waters in northern Corsica were very nutrient poor. ", "In the water column, the maximum values measured in November for the Calvi area were 2.19, 0.13, and 0.09 μM for NH~4~^+^, NO~3~^-^, and orthophosphate, respectively, but, more often, levels were below detection. ", "Sediment pore water concentration ranges were 0.09--3.03, 0.08--7.41, and 0.02--0.59 μM for NH~4~^+^, NO~3~^-^, and orthophosphate, respectively.", "\n\nIn comparison to the northwestern Mediterranean Sea, the waters of the studied areas along the island of Corsica are characterized by low nitrogen and phosphorus levels \\[[@B1],[@B27]\\]. ", "The hydrological features of this region favor low nutrient availability, specifically, weak terrestrial inputs and irregular deep water shelf-slope exchanges linked to meteorological events \\[[@B28]\\]. ", "Nutrient inputs are often restricted to the winter to early spring period.", "\n\nIn spite of their very different structural aspects (substrate, patchiness, etc.), ", "the six studied meadows exhibited similar biometric parameters (Tables [1](#T1){ref-type=\"table\"} and [2](#T2){ref-type=\"table\"}). ", "All the meadows were dense \\[[@B29]\\], had a high leaf biomass, and a high leaf surface area. ", "Only plants from Saint-Florent site had leaf biomass and nitrogen contents lower than in the other meadows. ", "This high biomass and shoot densities recorded at all sites in the current study (except for Saint-Florent) indicate that the meadows are dense and healthy \\[[@B30]\\]. ", "The epiphyte community was particularly developed in Bastia Bay and represented more than one sixth of the leaf biomass. ", "The *P. oceanica*meadow of the Calvi Bay is one of the most productive meadows of the north Mediterranean coast \\[[@B31]\\] (*i.e*., ", "leaf + rhizome production at a 10-m depth = 760 g~DW~m^-2^y^-1^) and shows high shoot biomasses and shoot densities \\[[@B32]\\].", "\n\n### Trace metals in meadows of northern Corsica\n\nThe mean concentrations of Cr, Ni, Cu, Zn, As, Se, Cd, and Pb in dead sheaths of *P. oceanica*between 1997 and 2001 varied according to the metals and the sites (Table [3](#T3){ref-type=\"table\"}).", "\n\nThe lowest Cr concentrations were measured at the Lumio (22 ± 14 μg.g~DW~^-1^) and Calvi (20 ± 12 μg.g~DW~^-1^) sites, and the highest levels were observed at the Nonza site. ", "The metal concentrations at Calvi and Lumio were significantly lower than at Macinaggio (*P*\\< 0.001 and *P*\\< 0.01, respectively) and Bastia (*P*\\< 0.001 for both). ", "Samples from the Calvi area also had lower metal concentrations than those from Saint-Florent (*P*\\< 0.05). ", "Cr concentrations at the Nonza site (123 ± 41 μg.g~DW~^-1^) were significantly higher than at all other sites except Bastia (*P*\\> 0.05; *P*\\< 0.001 vs. Calvi and Lumio; *P*\\< 0.01 vs. Saint-Florent; *P*\\< 0.05 vs. Macinaggio).", "\n\nThe highest Ni concentrations were observed in samples from the Nonza site (111 ± 52 μg.g~DW~^-1^). ", "These values were significantly higher than those measured at all other sites (*P*\\< 0.001 vs. Calvi and Lumio and *P*\\< 0.01 vs. Saint-Florent and Macinaggio) except for the Bastia site (*P*\\> 0.05). ", "Ni concentrations from Calvi (8 ± 6 μg.g~DW~^-1^) and Lumio (9 ± 6 μg.g~DW~^-1^) were significantly lower than at all other sites (*P*\\< 0.01 and *P*\\< 0.05 vs. Saint-Florent; *P*\\< 0.001 and *P*\\< 0.05 vs. Macinaggio; *P*\\< 0.001 for both vs. Bastia).", "\n\nCr and Ni levels in *P. oceanica*show similar spatial variations around the northern Corsican coast. ", "At Nonza, high concentrations of these two metals were found. ", "Wright and Wellbourn \\[[@B33]\\] emphasize that mining operations may produce Cr and Ni particles that contaminate ground and surface water in the ecosystem. ", "Thus, the high concentration around the Nonza station could be due to an asbestos quarry that lies 15 km from Canari, where wastes were directly dumped into the sea between 1941 and 1965 \\[[@B34]\\]. ", "Indeed, shale contains asbestos, which is rich in Cr and Ni. ", "The fact that Calvi and Lumio show lower concentrations than Saint-Florent can be explained by the hydrologic current distribution in Gulf of Saint-Florent and the fact that Calvi and Lumio were not contaminated with asbestos. ", "The increase in Cr and Ni concentrations observed these last years in meadows in front of Bastia could reflected the urban and industrial activity of the city. ", "Because Ni is known to be bioconcentrated \\[[@B33]\\], particularly by plants, we suggest that a survey of this trace metal should be conducted in the upper trophic levels around Nonza and Bastia.", "\n\nCu concentrations in north Corsica *P. oceanica*meadows were consistently low. ", "The lowest concentrations were found at Lumio (9 ± 1 μg.g~DW~^-1^), Macinaggio (9 ± 2 μg.g~DW~^-1^), and Calvi (10 ± 3 μg.g~DW~^-1^). ", "These concentrations were significantly lower than at Saint-Florent, Nonza, and Bastia (*P*\\< 0.01 for Calvi vs. Saint-Florent and for Calvi vs. Nonza; *P*\\< 0.001 for all others). ", "The highest Cu values of 16 ± 7 μg.g~DW~^-1^and 15 ± 3 μg.g~DW~^-1^were observed in samples collected from Saint-Florent and Bastia, respectively.", "\n\nThe high Cu contamination found around Bastia may be related to the use of this metal as a fungicide in surrounding vineyards (Cap Corse exploitations) and as an antifouling agent in boat paints. ", "The Cu level in northern Corsica, however, was lower than along the French or Italian coasts \\[[@B20],[@B34]\\]. ", "Pasqualini et al. ", "\\[[@B35]\\] found a correlation between the characteristics of *P. oceanica*meadows and Hg, Cu, Pb, Cd, and As contamination levels. ", "According to their classification scheme, the Cu levels at the Corsican sites can be considered normal or background (\\<10--14 μg.g~DW~^-1^), except for Saint-Florent and Bastia, which had \\\"subnormal\\\"concentrations (16 ± 7 and 15 ± .3 μg.g~DW~^-1^, respectively). ", "The concentrations in these two areas likely result from local activities in the harbors and vineyards. ", "The impact of antifouling Cu painting, including an increase in Cu levels in oysters or water, has already been described in other marine areas \\[[@B36],[@B37]\\].", "\n\nThe Zn concentrations were lowest at Lumio (14 ± 3 μg.g~DW~^-1^) and Macinaggio (15 ± 4 μg.g~DW~^-1^). ", "These Zn levels were significantly lower than at Calvi (*P*\\< 0.001), Saint-Florent (*P*\\< 0.001), and Bastia (*P*\\< 0.001 vs. Lumio and *P*\\< 0.01 vs. Macinaggio). ", "The highest Zn concentration was found at Bastia (31 ± 8 μg.g~DW~^-1^), which was 2-fold higher than at Nonza (16 ± 3 μg.g~DW~^-1^; *P*\\< 0.001) and significantly higher than at Calvi (20 ± 4 μg.g~DW~^-1^; *P*\\< 0.05). ", "Also, the Zn concentration at Nonza was lower than at Saint-Florent (23 ± 4 μg.g~DW~^-1^; *P*\\< 0.01).", "\n\nThe Zn levels were not described by Pasqualini et al. ", "\\[[@B35]\\], but our results show that the concentrations in *P. oceanica*sheaths from Corsica are low in comparison with those in French meadows \\[[@B4],[@B20]\\]. ", "The levels of Zn at the Saint-Florent and Nonza sites decreased between 1996 and 2001. ", "Zn is an essential micronutrient for plant growth \\[[@B33]\\]. ", "This metal may diffuse from the sediment, and it is transported into the intracellular space by passive diffusion \\[[@B38]\\]. ", "The levels encountered at our study sites are probably representative of a relatively unaffected area \\[[@B20]\\].", "\n\nConcentrations of As varied between a minimum at Saint-Florent and Calvi (14 ± 7 and 16 ± 6 μg.g~DW~^-1^, respectively) and a maximum at Macinaggio (21 ± 11 μg.g~DW~^-1^); however, the differences were not statistically significant.", "\n\nVery few previous study has examined As accumulation in *P. oceanica*leaves and dead sheaths \\[[@B35]\\]. ", "Our results, which are particularly homogenous, indicate that As levels were higher than those reported for the seagrasses *Zostera capricornii*\\[[@B39]\\] and *Zostera marina*\\[[@B40]\\]. ", "In contrast, our results indicate the *P. oceanica*meadows from Corsica have very high levels of As compared to the levels reported previously for the Mediterranean \\[[@B35]\\]. ", "This metal can enter the aquatic environment through both natural (weathering and volcanic activities) and anthropogenic (combustion of municipal waste and use of herbicides and antifouling agents) activities. ", "We suspect natural inputs, but due to the limited amount of data available, additional studies, including the relationship with sediment characteristics (geology and physicochemical), are necessary to determine the distribution of this metal in Mediterranean seagrasses.", "\n\nThe highest Se concentrations were observed at Nonza (80 ± 15 μg.g~DW~^-1^) and the lowest at Saint-Florent (56 ± 35 μg.g~DW~^-1^); however, no statistically significant differences between sites were found.", "\n\nSe concentrations were uniform around northern Corsica, and no temporal trend was detected over the last decade. ", "The range of concentrations (13--138 μg.g~DW~^-1^) found in sheaths of Corsican *P. oceanica*were 100-fold higher than reported for other seagrasses \\[[@B41]\\]. ", "These high concentrations of Se are probably due to a nonanthropogenic effect, such as weathering of rocks rich in Se or upwelling, because Se is concentrated in deep water \\[[@B42]\\]. ", "Watanabe \\[[@B43]\\] stressed that Se could enhance the effect of Hg in organisms. ", "Moreover, the Se concentration is known to increase with the trophic level \\[[@B39]\\]. ", "Because Se is an element that could threaten marine ecosystems, we suggest that future studies investigate its dynamics in seagrasses.", "\n\nCd concentrations were low at Bastia (0.4 ± 0.1 μg.g~DW~^-1^), and the highest concentrations were found at Calvi (1.1 ± 0.8 μg.g~DW~^-1^) and Nonza (1.2 ± 0.4 μg.g~DW~^-1^). ", "The Cd levels at Calvi were significantly higher than at Lumio (*P*\\< 0.001), Saint-Florent (*P*\\< 0.01), Macinaggio (*P*\\< 0.001), and Bastia (*P*\\< 0.001). ", "The concentrations at the Nonza site were higher than at Lumio (*P*\\< 0.001), Saint-Florent (*P*\\< 0.05), Macinaggio (*P*\\< 0.001), and Bastia (*P*\\< 0.001).", "\n\nThe Cd concentrations at the Nonza and Calvi sites in *P. oceanica*sheaths were higher than at other Corsican sites (Table [3](#T3){ref-type=\"table\"}) and even other Mediterranean sites \\[[@B20],[@B44]\\] (Table [4](#T4){ref-type=\"table\"}). ", "In 1987, Mingelbier (unpublished data) found 2-fold more Cd in *P. oceanica*leaves in Calvi than in Bastia. ", "The Bay of Calvi is located near the protected area of the Scandola and is considered an uncontaminated site \\[[@B20],[@B45]\\]. ", "The enrichment of Cd in sheaths is not clearly linked with anthropogenic activities, but a natural phenomenon such as an upwelling of deep waters rich in Cd has been suggested for this region \\[[@B20],[@B46]\\]. ", "A similar system may explain the behavior observed at the Nonza site.", "\n\nPb concentrations were a homogenous 7 μg.g~DW~^-1^except at the Bastia site, which had a higher mean concentration (25 ± 29 μg.g~DW~^-1^). ", "The Pb levels at the Bastia site were significantly higher than at Saint-Florent (P \\< 0.01) and the other sites (*P*\\< 0.001).", "\n\nLike Port-Cros \\[[@B6]\\], the Bay of Calvi is considered to be an area of low Pb contamination. ", "Except for the Bastia site, the Corsican sites investigated here had Pb levels similar to Calvi and can be classified as sites with low Pb contamination. ", "Our results from Calvi, Lumio, Saint-Florent, Nonza, and Macinaggio are similar to those reported for unpolluted areas, such as Liscia Bay in Sardinia \\[[@B44]\\] and the Lavezzi Natural Park in Corsica \\[[@B20]\\]. ", "The Pb contamination in the vicinity of Bastia (50,000 inhabitants) is extreme according the classification of Pasqualini et al. ", "\\[[@B35]\\] and may be related to local shipping and industrial activities.", "\n\nAlthough our study was conducted at very unpolluted sites, it showed that when using bioindicators such as *P. oceanica*sheaths and the notion of a background level, local conditions such as geochemistry and hydrodynamic parameters must be taken into consideration. ", "As a result, it can be difficult to distinguish the source of contamination using bioindicators alone.", "\n\n*P. oceanica*as biomonitor\n--------------------------\n\nIn this part of the study, we present the metal concentration history in sheaths sampled from six meadows and in leaves sampled from Calvi. ", "Then we compared the metal concentration history in leaves and sheaths sampled from Calvi (Table [5](#T5){ref-type=\"table\"}). ", "Leaf samples (living tissues) were collected in 1993, 1994, 2003, and 2004, and sheaths (dead tissues) were sampled in 2001 and 2002. ", "This sampling design allowed us to retrospectively evaluate a 10-year period from 1992 to 2002. ", "It was therefore possible to compare the two types of organs to determine if sheaths conserve a precise record of the metal concentrations in the leaves.", "\n\n### Temporal evolution of metal concentrations in dead sheaths\n\nTemporal trends of Cr, Ni, Cu, Zn, As, Se, Cd, and Pb concentrations in dead *P. oceanica*sheaths from lepidochronological years 1992--1995 and 2002 are shown for samples from Calvi (Figure [3](#F3){ref-type=\"fig\"}), Lumio (Figure [4](#F4){ref-type=\"fig\"}), Saint-Florent (Figure [5](#F5){ref-type=\"fig\"}), Nonza (Figure [6](#F6){ref-type=\"fig\"}), Macinaggio (Figure [7](#F7){ref-type=\"fig\"}), and Bastia (Figure [8](#F8){ref-type=\"fig\"}). ", "In some cases, it was not possible to obtain results as far as back as 1992.", "\n\nDead sheath samples from Calvi, Lumio and Macinaggio exhibited no significant temporal trend for any trace metals (Figures [3](#F3){ref-type=\"fig\"}, [4](#F4){ref-type=\"fig\"} and [7](#F7){ref-type=\"fig\"}). ", "In contrast, there were obvious trends in the dead sheath data from the other sites. ", "At Saint-Florent, the Zn level decreased significantly between 1994 and 2001 (*P*\\< 0.05; Figure [5](#F5){ref-type=\"fig\"}). ", "At Nonza (Figure [6](#F6){ref-type=\"fig\"}), the Zn level decreased significantly between 1996 and 2001 (*P*\\< 0.05), with a slight increase in 1999 (18 ± 1 μg.g~DW~^-1^) and the Cr concentrations are lower in 2001 than in 1996 and 2000 (*P*\\< 0.05). ", "Additionally, between the years 1996/1997 and 2000/2001, the Pb concentrations at Nonza decreased significantly (*P*\\< 0.05). ", "In contrast Cd levels increase significantly between the years 1996 and 2001 (*P*\\< 0.05). ", "At Bastia (Figures [8](#F8){ref-type=\"fig\"}), a significant increase in Cr and Ni concentrations were observed between the years previous and following 1998/1999.", "\n\n### Temporal evolution of metal concentrations in living leaves\n\nThe concentrations in living leaves differed according to the trace elements and generally could be ranked from highest to lowest as follows: Zn \\> Ni \\> Cu \\> Pb \\> Cd \\> Cr (Tables [5](#T5){ref-type=\"table\"} and [6](#T6){ref-type=\"table\"}). ", "Figures [9](#F9){ref-type=\"fig\"} and [10](#F10){ref-type=\"fig\"} show the temporal variations of Cr, Ni, Cu, Zn, Cd, and Pb in leaves of *P. oceanica*collected between 1988 and 2004.", "\n\n*P. oceanica*had higher levels of Cu in leaves in 2003 and 2004 than in the preceding years. ", "In contrast, the Pb concentrations decreased significantly over the last 15 years (Table [6](#T6){ref-type=\"table\"}). ", "Leaves present a slight but significant decrease in Zn concentrations between the years 1994 and 2003 (HSD Tukey, P = 0.049). ", "Due to heterogeneity, the other trace metals measured (Cr, Ni, Zn, and Cd) did not show significant temporal variations between 1988 and 2004 (Table [6](#T6){ref-type=\"table\"}).", "\n\nThe stable Cu concentration through time in sheaths from north Corsica contrasts with results obtained in *P. oceanica*sheaths from Sardinia \\[[@B44]\\]. ", "In Sardinia, which is considered unpolluted, an increase of Cu concentration was found between 1978 and 1994 in the dead sheaths. ", "Cu is an essential element for plant growth and photosynthesis, and these phanerogams probably have the capacity to regulate this metal \\[[@B23],[@B26]\\]. ", "These authors showed that the Cu levels in sheaths compare well with the environmental levels \\[[@B44]\\]. ", "The factors that influence the temporal variation in sheaths remain unknown. ", "Conflicting results for the temporal history between leaves and sheaths make it difficult to generalize, but there appears to be a tendency for high Cu absorption by old and dead macrophyte tissues \\[[@B47]\\].", "\n\nUsing dead sheaths, we observed a decrease in the concentration of Cd in *P. oceanica*from northern Corsica over the last 15 years. ", "This tendency was confirmed by comparing values measured in sheaths from 1992 and 2002 with those reported by Pergent-Martini \\[[@B48]\\] between 1970 and 1992. ", "Previous studies showed that Cd tissue concentrations in seagrasses reflected the Cd in the environment waters \\[[@B49]\\] or in the sediment \\[[@B50]\\]. ", "Thus, the observed decrease suggests a temporal decrease of Cd concentrations in seawater. ", "Indeed, in the Bay of Calvi, recent observations have shown long-term changes (1979--1998) in climatic and environmental conditions \\[[@B27]\\]. ", "These changes have affected the vertical stability of the water column and reduced nutrient loading by reducing 1) rainwater inputs (reduction of soil leaching) and 2) winds that initiate upwelling. ", "These changes could generate a reduction in the natural input of Cd into the bay. ", "Further studies, however, are needed to test this hypothesis.", "\n\nAt Calvi, the Pb concentrations in leaves decreased between 1986 and 2004 and those in sheaths decreased between 1970 and 2002. ", "Moreover, the same trend was observed in sheaths between 1997 and 2001 at the Nonza site. ", "This trend agrees with the decreasing Pb concentration in the atmosphere \\[[@B51]\\] and surface seawater \\[[@B52]\\], and it is likely the result of the progressive reduction in the use of Pb additives in automobile fuel as suggested by Roméo et al. ", "\\[[@B20]\\], who also found a progressive decrease in Pb levels in dead sheaths of *P. oceanica*. ", "Long-term climate change for Cd, which limits the entry of elements in upper layers of the sea, could also play a role in the decreasing trend in Pb levels. ", "Conversely, temporal trends could be masked by modifications (aging) of the sheaths with time because Pb can bind the outer surface of the plant \\[[@B53]\\]. ", "The tissues of old sheaths tend to become porous, which increases the available surface for passive adsorption \\[[@B48]\\].", "\n\nLocally, we observed a decrease in several metals over recent years in *P. oceanica*sheaths, namely in Zn at Nonza and Saint-Florent, Cd at Calvi, and Pb at Calvi and Nonza. ", "Similarly, Cappelli et al. ", "reported that \\[[@B54]\\], in fish and decapoda in the Ligurian Sea (northwestern Mediterranean), the levels of Pb, Mn, Cu, Zn, Cd, and Hg but not Se decreased. ", "Thus, in contrast to what is commonly reported for the Mediterranean Sea, none of the metals studied here seem to have increased along northern Corsican coast during the past 15 years.", "\n\nThe marine coastal environment is subject to the entry of trace metals from several sources, including both natural (run-off, atmospheric, deposition, etc.) ", "and anthropogenic (industry, urban, etc.) ", "processes. ", "Furthermore, the bioavailability of trace metals is affected by sediment, pH, and redox potential \\[[@B55]\\], and the environmental conditions influence the accumulation processes of living sheaths as well as the degradation processes of dead sheaths. ", "Therefore, the accumulation of trace metals in *P. o*ceanica depends on 1) the metal element, 2) the organ (live blade, live sheath, or dead sheath), and 3) the study site (Table [7](#T7){ref-type=\"table\"}).", "\n\n### Temporal history of trace metal concentrations recorded in dead sheaths and living leaves of P. oceanica from the Calvi area\n\nComparison of the dead and living tissue of *P. oceanica*shoots at Calvi showed that the concentrations were significantly different (Table [5](#T5){ref-type=\"table\"}). ", "Cr and Pb concentrations were significantly higher in sheaths than in leaves, whereas concentrations of Ni, Cd, and Zn were higher in leaves than in sheaths.", "\n\nThese different concentrations could be the result of 1) methodological factors, in that we compared dead sheaths and living leaves, even though living leaves are equivalent to living sheaths plus living blades; and 2) physicochemical factors, in that during decay, dead sheaths desorb Ni, Cd, and Zn and adsorb Cr and Pb. ", "Our results do not support the conclusions of previous studies \\[[@B16]\\] that compared metal concentrations in living leaves and dead sheaths. ", "For *P. oceanica*, the previous studies found that Cr, Ni, Cu, Zn, Cd, and Pb are present at higher concentrations in living leaves (aboveground compartment) than in dead sheaths. ", "The difference can be explained by the fact that our study focused on the sheath degradation process rather than the leaf accumulation process.", "\n\nMoreover, in other data from the Adriatic Sea, Kljaković-Gaśpić et al. ", "\\[[@B56]\\] showed that the oldest sheaths and the dead sheaths of *P. oceanica*exhibited similar Cd and Pb concentrations. ", "This difference could be due to the process used to measure metals in the living tissues. ", "Our results correspond to a mean concentration measured from one entire shoot, and it has been demonstrated that leaf aging causes a dilution effect \\[[@B57]\\]. ", "Thus, the extent of the change in concentration can be minimized (Ni, Zn, and Cd) or maximized (Cr and Pb) by the variation in the metal concentration, which increases with leaf age.", "\n\nWe suggest that future studies should 1) rigorously examine the metal concentrations along a leaf age gradient from the same shoot, and 2) compare trace metal concentrations in dead sheaths with measures in living sheaths and not in the whole living leaves. ", "Although many of the metals did not follow the expected patterns, our results suggest that Cu concentrations were the same in both living leaves and dead sheaths. ", "Therefore, data on Cu for dead sheaths could be used to reconstruct the original leaf concentrations. ", "Gagnon \\[[@B58]\\] noted that mean Cu concentrations in plants were between 5 and 20 μg.g~DW~^-1^, which correspond with data found in *P. oceanica*leaves and sheaths (table [3](#T3){ref-type=\"table\"}, [5](#T5){ref-type=\"table\"} and [6](#T6){ref-type=\"table\"}) and confirm the good health status of north Corsica meadows.", "\n\nConclusion\n==========\n\nIn the Mediterranean Sea, organic and trace metal pollution has increased over the last 20 years \\[[@B59],[@B60]\\], and this has had a perceptible effect on marine environments \\[[@B61]\\]; however, the seagrass meadows investigated in this study can be described as healthy in terms of density and biomass. ", "The nutrient levels in the surrounding waters were low, and the trace metal levels in dead sheaths of *P. oceanica*were, in most cases, comparable to meadows in unpolluted areas. ", "Thus, the meadows investigated in this study appear to be relatively unaffected by the increase of industrial, agricultural, and urban activities, and the surface waters exhibit low anthropogenic (organic and trace metals) discharges. ", "Seagrasses in northern Corsica are currently safe from human pollution, although there are some sites showing impacts of urban centers (*i.e*., ", "Bastia) or mining waste (*i.e*., ", "Nonza).", "\n\nOur study shows that *P. oceanica*can be used as a bioindicator of trace metals in the Mediterranean Sea because of its widespread distribution and because it allows retro dating and smoothing of seasonal variations (lepidochronology). ", "In particular, this plant seems to be useful as a biomonitor for Cu, which is essential for plant growth and metabolism, because variations in its distribution in sheaths reflect the original leaf concentrations. ", "The sheaths were less useful for recording changes in the concentrations of Cr, Ni, Zn, Cd, and Pb. ", "Unfortunately, the As and Se levels could not be tested because they had only been measured in sheaths and not in leaves. ", "Further studies on these latter eight metals should allow determination of whether they can be examined using lepidochronology techniques.", "\n\nMethods\n=======\n\nStudy sites\n-----------\n\nWe sampled six meadows just offshore from the cities of Calvi, Lumio, Saint-Florent, Nonza, Macinaggio, and Bastia along the northeastern and northwestern Corsican coasts (Table [8](#T8){ref-type=\"table\"}). ", "The west coast, or \\\"old Corsica\\\", is dominated by granite rock, whereas the northeast coast, or \\\"alpine Corsica\\\", is dominated by shale. ", "The six investigated meadows have different environmental characteristics that encompass the range of characteristics found in the Mediterranean Sea (Figure [2](#F2){ref-type=\"fig\"}). ", "Off the shore of Calvi, at a depth of 10 m, the meadow is dense and continuous and colonizes a sandy substratum with a 2% slope \\[[@B62]\\]. ", "The meadow at Saint-Florent is patchy with rocks between the stands of *P. oceanica*. ", "At Nonza, the meadow colonizes a pebbly substrate. ", "The coasts of south Saint-Florent have a slight slope of sand or rock, whereas the slope is steeper and rocky around Nonza. ", "These two meadows are well separated. ", "At Macinaggio and Bastia, the coast is principally rock, and the meadow grows on a sandy plain that is damaged by trawling \\[[@B34]\\].", "\n\nThe French coasts have been divided into 50 zones (\\\"zones homogènes\\\") by the Agence de l\\'Eau. ", "Each zone is characterized according to physical criteria (type of coast, currents, etc.), ", "the quality and biodiversity of the ecosystems, human activities (fisheries, fish farming, urbanization, etc.) ", "and anthropogenic input (sewage, dredged materials, etc.) (", "Table [1](#T1){ref-type=\"table\"}).", "\n\nSampling for trace metal measurements in living tissues\n-------------------------------------------------------\n\nTen orthotropic shoots were collected at the Calvi site from February 1988 to December 2004 next to the STARESO station (February and May 1988; March, June, September, and December 1993; February, April, and June 1994; November 2003; and December 2004). ", "In the laboratory, epiphytes were removed with a shard of glass to avoid metal contamination. ", "Leaves from samples collected between 1988 and 1994 were lyophilized and digested using a double boiler, whereas samples collected in 2003 and 2004 were subjected to microwave digestion. ", "For the samples collected between 1988 and 1994, the levels of Cr, Ni, Cu, Zn, Cd, and Pb were measured with an inductively coupled plasma-atomic emission spectrometer (ARL-3510). ", "Recovery ranges with certified QUASIMEME materials (QTM041BT, QTM042BT) were 88 ± 1.5 % to 99 ± 1% for these metals. ", "Samples collected from 2003 and 2004 were analyzed by a certified laboratory (Institut Malvoz-Laboratoire Santé et Cadre de Vie, Liege, Belgium) with an inductively coupled plasma-mass spectrometer (Elan DCR II). ", "A set of certified Material samples (DORM-2, National Research Council, Institute for National Measurement Standards, Ont; Canada) spiked with grade concentration of metals was analyzed to ensure the accuracy of metals. ", "The metal concentrations were expressed as μg.g~DW~^-1^. The change of measuring apparatus is due to a breakdown of the apparatus which we use in routine (ICP AES ARL-3510). ", "All the analyses were carried out by our technician and all the procedure of preparation of the samples was carried out in our laboratory. ", "Rigorous protocols have been followed and intercalibrations have been made. ", "For example, for the Zn concentrations, tests have been realized in the Calvi leaves (2003 and 2004); a correlation test of Spearman rank has been made which show a correlation coefficient of 0,997 at a Pvalue of 0,001. ", "In spite of this breakdown which obliged us has to use another apparatus, our results are comparable and can be regarded as resulting from only one and single series.", "\n\nSampling for trace metal measurements in dead sheaths\n-----------------------------------------------------\n\nAt each site during November 2001 and February 2002, density estimates (n = 10) were made at a 10-m depth by a diver \\[[@B63]\\]. ", "Fifteen shoots from *P. oceanica*plants were collected to measure biometric parameters, and 15 orthotropic rhizomes were collected at each site for measurement the trace metal levels.", "\n\nUsing lepidochronology, it is possible to use the dead sheaths from *P*. *", "oceanica*to examine the history of metal concentrations in the environment over several decades (Figure [1](#F1){ref-type=\"fig\"}). ", "The sheath is the basal part of the leaf that remains attached to the rhizome after abscission of the leave apex (blade). ", "The technique of lepidochronology, which is analogous to dendrochronology, is derived from the life cycle of the phanerogam sheaths, which have an annual periodicity with a maximum and a minimum thickness. ", "Cyclical patterns, therefore, allow each sheath to be assigned a chronological date. ", "In this way, it is possible to measure metal concentrations in each sheath and recreate the temporal history of metal concentrations in the environment \\[[@B6]\\]. ", "Throughout this work, when we use the word \\\"sheath\\\" alone, it refers to a dead sheath.", "\n\n### Biometry\n\nIn the laboratory, shoots were dissected as follows: the leaves were separated and measured, scraped to remove epiphytes \\[[@B64]\\], and the biomass (g~DW~shoot^-1^) was measured after lyophilization. ", "The leaf area (cm^2^of leaf area shoot^-1^) and leaf area index (m^2^of leaves per m^2^of substrate) were calculated according to Giraud \\[[@B30]\\].", "\n\n### Water samples\n\nSediment pore water and water column samples were collected with a syringe for analysis of nutrients (NH~4~^+^, NO~3~^-^, and PO~4~^-^) \\[[@B62]\\]. ", "Nutrient concentrations were determined using a SAN SKALAR autoanalyzer. ", "The results are expressed in μM, and the detection limit was 0.01 μM for the three nutrients.", "\n\n### Dead sheaths\n\nThe orthotropic rhizomes were dissected for lepidochronological analysis \\[[@B19]\\]. ", "The sheaths of three shoots were pooled according to lepidochronological year, pulverized, and lyophilized. ", "A portion of the sample (155 mg) was digested with a mixture of 1 ml of concentrated HNO~3~, 0.1 ml of H~2~O~2~, and 0.25 ml of deionized distilled H~2~O. The mixture was placed in a Teflon bomb and microwaved for 5 min at 300 W, 30 s at 600 W, and 4 min at 250 W. Concentrations of Cr, Ni, Cu, Zn, As, Se, Cd, and Pb were measured in sheaths using an inductively coupled plasma-mass spectrometer and are expressed in μg.g~DW~^-1^.\n\nStatistical analysis\n--------------------\n\nThe trace metal concentrations in living tissues from the Calvi site samples were compared using Repeated Measures Analysis of Variance to determine the significance of differences between the means for different samples. ", "When a difference was detected, a Tukey\\'s HSD post hoc comparison was used to determine whether the difference in mean values was significant. ", "Normality and homoscedasticity were tested using the Kolmogorov-Smirnof test and Bartlett\\'s test, respectively. ", "Data were log-transformed when necessary.", "\n\nDifferent tests were used for the trace metal concentrations in dated sheaths from the northern part of Corsica. ", "To test temporal evolution, Repeated Measures Analysis of Variance was used. ", "When a significant difference between samples was detected, Tukey\\'s HSD post hoc comparison was used. ", "Normality and homoscedasticity were tested with the Kolmogorov-Smirnof test and Bartlett\\'s test, respectively. ", "Data was log-transformed when necessary. ", "To test the significance of differences of trace metals between sites, the Kruskall-Wallis test followed by multiple comparisons based on the Kruskall-Wallis rank sums was used.", "\n\nTo compare relative metal concentrations between dated sheaths and living leaves at Calvi, a Mann-Whitney U Test was used. ", "The results were considered statistically significant at *P*≤ 0.01.", "\n\nAuthors\\' contributions\n=======================\n\nMG: analyzed and interpreted the data, and wrote the manuscript.", "\n\nJMB and GL: contributed to the critical review of the draft.", "\n\nFL: participated in the in situ work and measurements.", "\n\nGP and CPM: participated in the in situ work and measurements, and contributed to the critical review of the draft.", "\n\nSG: designed the study, contributed to the critical review of the draft, and participated in the in situ work and measurements.", "\n\nAll authors read and approved the final manuscript.", "\n\nAcknowledgements\n================\n\nThanks to R. Biondo and R. Bouhy-Lespagnard for their technical help. ", "We are grateful to M. Mingelbier, A. El Bekali and J-P. Nellissen for their assistance. ", "We wish to thank the staff of the oceanographic research station STARESO. ", "This work was carried out within the framework of a research programme funded by the Belgian National Fund for Scientific Research (FRFC 2.4552.99). ", "G. Lepoint is a postdoctoral researcher of the Belgian National Fund for Scientific Research (FNRS). ", "This paper is a MARE publication (MAREXXXX).", "\n\nFigures and Tables\n==================\n\n![**", "The Mediterranean seagrass *Posidonia oceanica*(L.) Delile**. ", "Different seagrass organs. ", "A: Leave; B: Dead sheath; C: Root. (", "Modified from \\[65\\]).](1472-6785-6-12-1){#F1}\n\n{#F2}\n\n{#F3}\n\n{#F4}\n\n{#F5}\n\n{#F6}\n\n{#F7}\n\n{#F8}\n\n{#F9}\n\n{#F10}\n\n###### \n\nSite characteristics from the \\\"zones homogènes\\\" subdivisions.", "\n\n ---------------------------------------------------------------------------------------------------------------------------------------------\n **Sites** **N° \\\"Zones Homogènes\\\"** **Morphologic characteristics** **Ecologic level** **Anthropogenic pressure**\n --------------- ---------------------------- --------------------------------- -------------------- -----------------------------------------\n Calvi 48 Open zone\\ Rich Medium (Tourism)\n Rocky and sandy coasts \n\n Lumio 48 Open zone\\ Rich Medium (Tourism)\n Rocky and sandy coasts \n\n Saint-Florent 50 Semi-closed zone\\ Rich Low (Agriculture, Tourism)\n Rocky and sandy coasts \n\n Nonza 50 Semi-closed zone\\ Rich Low (Agriculture, Tourism)\n Rocky and sandy coasts \n\n Macinaggio 31 Open zone\\ Medium Medium (Tourism)\n Rocky and sandy coasts \n\n Bastia 32 Open zone\\ Medium High (Agriculture, Tourism, Industries)\n Sandy coasts \n ---------------------------------------------------------------------------------------------------------------------------------------------\n\n###### \n\nCharacteristics of the six meadows around north Corsican coasts.", "\n\n **Density** **Leaf biomass** **Epiphyte biomass** **Leaf Area Index**\n ------------------- ------------- ------------------ ---------------------- ---------------------\n *[Feb 2002]{.ul}* \n Calvi 554 ± 123 748 ± 155 43 ± 13 11.6 ± 2.4\n Lumio 448 ± 186 624 ± 317 18 ± 13 13.0 ± 3\n Macinaggio 627 ± 204 765 ± 169 88 ± 29 15.7 ± 3.9\n Bastia 509 ± 159 636 ± 160 117 ± 123 12.5 ± 2.6\n\nDensity, mean leaf and epiphyte biomasses (g~DW~.m^-2^), leaf area index (m^2^.m^-2^), at the sampling sites in November 2001 (Calvi, St Florent, Nonza) and February 2002 (Calvi, Lumio, Macinaggio and Bastia).", "\n\n###### \n\nMetal concentrations (μg g~DW~^-1^) for the period 1997--2001 in sheaths of *P.oceanica*\n\n **Cr** **Ni** **Cu** **Zn** **As** **Se** **Cd** **Pb**\n ---------------- ------------- ------------- ------------ ------------ ----------- ------------- -------------- ------------\n **Calvi** 25 ± 18 11 ± 9 9 ± 3 21 ± 4 14 ± 6 52 ± 30 1.1 ± 0.8 11 ± 6\n N = 41 (6 -- 89) (2 -- 44) (4 -- 17) (13 -- 30) (6 -- 26) (17 -- 115) (0.6 -- 5.6) (2 -- 30)\n **Lumio** 22 ± 14 9 ± 6 9 ± 1 14 ± 3 19 ± 9 72 ± 40 0.4 ± 0.3 6 ± 2\n N = 19 (6 -- 58) (2 -- 25) (6 -- 12) (10 -- 20) (9 -- 38) (30 -- 125) (0.1 -- 0.8) (1 -- 13)\n **St Florent** 39 ± 15 21 ± 7 16 ± 7 23 ± 4 14 ± 7 56 ± 35 0.7 ± 0.8 8 ± 3\n N = 16 (20 -- 73) (10 -- 37) (7 -- 26) (15 -- 32) (7 -- 25) (20 -- 103) (0.3 -- 3.7) (3 -- 14)\n **Nonza** 123 ± 41 111 ± 52 13 ± 2 16 ± 3 20 ± 4 80 ± 15 1.2 ± 0.4 6 ± 3\n N = 13 (67 -- 207) (46 -- 223) (10 -- 16) (11 -- 22) (9 -- 26) (37 -- 108) (0.6 -- 2.1) (3 -- 13)\n **Macinaggio** 48 ± 22 23 ± 11 9 ± 2 15 ± 4 21 ± 11 70 ± 45 0.4 ± 0.3 6 ± 2\n N = 21 (13 -- 96) (4 -- 47) (4 -- 13) (8 -- 30) (7 -- 44) (23 -- 138) (0.1 -- 0.9) (1 -- 10)\n **Bastia** 74 ± 50 37 ± 24 15 ± 3 31 ± 8 19 ± 9 58 ± 40 0.4 ± 0.1 25 ± 29\n N = 18 (23 -- 182) (11 -- 87) (11 -- 21) (21 -- 51) (8 -- 40) (13 -- 109) (0.2 -- 0.5) (8 -- 135)\n\nMetal concentrations sampled in Calvi, St Florent, Nonza, Lumio, Macinaggio and Bastia. (", "Mean ± Standard deviation, minimum -- maximum).", "\n\n###### \n\nComparison of metal concentrations in dead sheaths of *P. oceanica*in the Western Mediterranean Sea.", "\n\n **Cr** **Cu** **Zn** **As** **Cd** **Pb** **Reference**\n ---------------------------------------------- ----------- --------------------- ------------------ --------------------- ---------------------- ------------------------ -----------------------\n **Pointe Chèvres (France)** 2.8 ± 0.4 Pergent-Martini, 1994\n **5 sites Haute Corse (France)** 15.6 ± 6.7 (10--27) 1.4 ± 0.4 (1--1.84) 2.0 ± 1.0 (0.8--3.6) Camuglio, 1995\n **Lavezzi Corse du Sud (France) 1976--1992** 8 ± 2 (6--15) 19 ± 4 (13--30) 1.2 ± 0.2 (0.7--1.5) 5.0 ± 2.9 (1.7--12.0) Roméo *et al*., ", "1995\n **La Darse (France) 1983--1992** 34 ± 7 (27--46) 55 ± 7 (34--149) 0.5 ± 0.2 (0.3--0.9) 10.4 ± 7.1 (1.6--26.1) Roméo *et al*., ", "1995\n **Cap Martin (France) 1986--1992** 17 ± 2 (11--36) 61 ± 7 (35--59) 0.8 ± 0.1 (0.6--1.4) 10.0 ± 1.0 (2.5--22.1) Roméo *et al*., ", "1995\n **Marseille (France) ?-?** ", " 17 ± 2 (4--36) 1.3 ± 0.2 (0.1--3.7) 9.5 ± 1.2 (1.2--28.3) Baroli *et al*., ", "2001\n **Ischia (Italy) ?-?** ", " 17 ± 3 (5.0--58.0) 0.7 ± 0.2 (0.1--3.9) 11.2 ± 9.8 (1.8--18.3) Baroli *et al*., ", "2001\n **Liscia Bay (Sardinia) 1978--1994** 6 ± 3 (3--13) 0.6 ± 0.1 (0.3--0.8) 5.2 ± 8.0 (1.7--36.6) Baroli *et al*., ", "2001\n\nConcentrations were expressed in μg g~DW~^-1^(mean ± standard deviation, minimum -- maximum).", "\n\n###### \n\nMean metal concentrations in different tissues of *P. oceanica*.", "\n\n N Chromium Nickel Copper Zinc Cadmium Lead\n ----------- ---- ------------- ------------- ------------ -------------- ----------- ------------\n Leaves 30 1.6 ± 1.5 22.9 ± 10.2 11.1 ± 6.5 109.3 ± 41.1 2.8 ± 0.9 5.2 ± 3.8\n Scales 28 19.7 ± 12.0 7.6 ± 5.6 9.5 ± 2.8 20.7 ± 4.4 1.0 ± 0.3 11.4 ± 7.7\n M-W U *Z* -6.504 4.964\\* 0.498 6.100\\* 6.100\\* -3.750\n\nLeaf and dead sheath concentrations were expressed in μg g~DW~^-1^(mean ± standard deviations) and Mann-Whitney U test Z was used for each metal. ", "N corresponds to the number of samples and significantly different samples are marked as \\* (p \\< 0.01).", "\n\n###### \n\nLeaf metal concentrations and Repeated Mesured ANOVA F for each metal at each time period at Calvi site.", "\n\n **N** **Cr** **Ni** **Cu** **Zn** **Cd** **Pb**\n ----------------- ------- ----------- ------------- -------------- ----------------- ----------- --------------\n 1988 5 0.9 ± 0.2 0 ± 0 6.7 ± 2.2 a 88.0 ± 6.8 ab 4.0 ± 1.3 8.6 ± 7.5 a\n 1993 12 2.4 ± 2.0 20.5 ± 14.6 9.3 ± 2.0 a 120.7 ± 42.0 b 3.2 ± 1.3 7.7 ± 4.5 a\n 1994 8 0.9 ± 0.9 29.4 ± 3.9 4.4 ± 2.2 a 123.8 ± 47.5 ab 2.6 ± 0.4 4.9 ± 2.1 ab\n 2003 5 1.1 ± 0.2 18.9 ± 2.6 21.7 ± 4.2 c 65.8 ± 8.4 a 2.3 ± 0.3 2.0 ± 0.8 b\n 2004 5 1.0 ± 0 22.6 ± 4.6 15.3 ± 2.1 b 102.1 ± 11.9 ab 2.9 ± 0.4 3.0 ± 0.9 ab\n \n Log transformed No No No No No Yes\n Sum squares 8.254 809.625 928.829 11543.927 8.462 6.521\n Mean square 2.063 269.875 232.207 2885.982 2.115 1.630\n df 4 4 4 4 4 4\n ANOVA *F* 2.391 2.592 47.482\\* 3.246\\* 2.175 4.200\\*\n\nLeaf concentrations were expressed in μg g~DW~^-1^(mean ± standard deviation). ", "Where a significant difference was found, a Tukey\\'s HSD post hoc comparison was used to determine where the differences lay and similar samples were marked with the same letter. ", "N corresponds to the number of samples and significantly different samples are marked as \\* (p \\< 0.05).", "\n\n###### \n\nVariation of mean metal concentrations in the leaves and dead sheaths of *P. oceanica*.", "\n\n ***P. oceanica*organs** **Sites** **Metal levels**\n ------------------------- ------------ -------------------------------------------\n Leaves Calvi Zn \\> Ni \\> Cu \\> Pb \\> Cd Cr\n \n Dead sheaths Calvi Se Ni \\> Zn \\> Cr \\>As Cu \\> Pb \\> Cd\n Dead sheaths Lumio Se Cr \\> As \\> Zn \\> N i\\> Cu \\> Pb \\> Cd\n Dead sheaths St Florent Cr \\> Se \\> Zn \\> Ni \\> Cu As \\> Pb \\> Cd\n Dead sheaths Nonza Cr Ni Se \\> As \\> Zn \\> Cu \\> Pb \\> Cd\n Dead sheaths Macinaggio Se \\> Cr \\> Ni As \\> Zn \\> Cu \\> Pb \\> Cd\n Dead sheaths Bastia Cr \\> Zn Ni Se \\> Pb \\> Cu As \\> Cd\n\nMetal concentrations sampled in the six studied meadows (Calvi, Lumio, St Florent, Nonza, Macinaggio and Bastia).", "\n\n###### \n\nTime sampling design according to organs and sites.", "\n\n **Organs** **studied metals** **Sites** **Sampling time** **studied period**\n ------------ ----------------------------------- --------------- ----------------------------------------------- --------------------\n Leaves Cr, Ni, Cu, Zn, Cd, and Pb Calvi \\- 1988 (February and May) 1988 -- 2004\n \\- 1993 (March, June, September and December) \n \\- 1994 (February, April and June) \n \\- 2003 (November) \n \\- 2004 (December) \n \n Sheaths Cr, Ni, Cu, Zn, As, Se, Cd and Pb Calvi \\- 2001 (November) 1992 -- 2002\n Lumio \\- 2002 (February) (dated back)\n Saint-Florent \n Nonza \n Macinaggio \n Bastia \n" ]

{ "pile_set_name": "PubMed Central" }

[ 0.00003387017561686058, 0, 0, 0, 0.00006298815822625346, 0, 0, 0.006172839506172839, 0.00008324661810613944, 0.0002227667631989307, 0.00008573388203017832, 0, 0.0044444444444444444, 0.000018579072532699166, 0.00010412328196584755, 0.00017301038062283736, 0, 0.00004449982200071199, 0.000037180249851279, 0, 0.00002204148206925434, 0.00004756242568370987, 0.000055989473978891965, 0.000024266543716178507, 0, 0, 0, 0.00011317338162064282, 0, 0.000035430839002267575, 0, 0.0000573921028466483, 0.000124000248000496, 0.000032782048550213904, 0.00009575792396820837, 0.00010886921178690666, 0, 0.00009703273884608668, 0, 0.00012375931288829484, 0.00009448223733938019, 0.00018851918182675084, 0, 0.0002028479857195018, 0.0000252518875785965, 0, 0.00007762619107686934, 0.0001171875, 0.00007889546351084813, 0, 0.00016707507239919803, 0.00015262049387991818, 0.00009382623381497466, 0.00005101520253035405, 0.00023915816326530612, 0.0030864197530864196, 0.0000573921028466483, 0.00002826615410707219, 0, 0.00011431184270690443, 0.00018140589569160998, 0.00018365472910927456, 0.00004170054836221096, 0, 0.00031887755102040814, 0.00011291354586171855, 0, 0.0002601456815816857, 0.00006298815822625346, 0.00007831466833737959, 0.00001826283877565929, 0.00008734387282732115, 0.000057193514255483425, 0.00003191930798940279, 0, 0, 0.000022893248780934502, 0, 0.00007715751707110065, 0.00011687363038714391, 0.000297441998810232, 0.0002642356982428326, 0.000055691690799732676, 0.00003191930798940279, 0.000200288415318058, 0.00016227838857560146, 0.000051226009152380304, 0.00008573388203017832, 0.0001220703125, 0.00004492262078569664, 0, 0.0000502992807202857, 0.000062000124000248, 0.00010412328196584755, 0.000084331253162422, 0.00008734387282732115, 0.00006009254251547383, 0.00018261504747991235, 0, 0, 0.000025767218944059367, 0.00006298815822625346, 0, 0, 0, 0.00002343420456498305, 0, 0.00007001330252748022, 0, 0, 0.000016, 0, 0, 0.00007620789513793629, 0.00001040582726326743, 0, 0.00011080332409972299, 0, 0.00012597631645250691, 0.00003191930798940279, 0.00004162330905306972, 0, 0.00012486992715920916, 0.00017799928800284797, 0, 0.000022893248780934502, 0, 0.0000390625, 0.00008543722499893203, 0, 0.000048225308641975306, 0.0000252518875785965, 0, 0, 0.0000591715976331361, 0, 0.0000483863163497363, 0.00010628122010840684, 0, 0.000040569597143900364, 0.00006718624025799517, 0.00006456611570247934, 0.0013717421124828531, 0.0001171875, 0, 0, 0, 0, 0.000015747039556563364, 0, 0.000011037405768148255, 0.000040569597143900364, 0.000028402366863905327, 0.000048225308641975306, 0.0000308641975308642, 0, 0.00018765246762994932, 0.00006609822195782934, 0, 0.000038578758535550326, 0, 0, 0.000037637848620572846, 0.00009611687812379854, 0.00001953125, 0.000027217302946726665, 0, 0, 0, 0, 0, 0, 0.00002204148206925434, 0.0001, 0.00006718624025799517, 0, 0.00006349105569752861, 0, 0, 0.0001020408163265306, 0, 0, 0, 0, 0.00011138338159946535, 0, 0, 0, 0, 0, 0.000007344246884203259, 0, 0, 0.0000308641975308642, 0.00007305135510263716, 0.000066124446207763, 0.00006198347107438017, 0, 0, 0, 0.00004132231404958677, 0, 0.00001736111111111111, 0, 0, 0, 0, 0, 0, 0.000037637848620572846, 0, 0.00004247276433986706, 0.00004565376186997809, 0.00007002555932915514, 0, 0, 0.00009070294784580499, 0, 0.000012315169826191904, 0.000048225308641975306, 0, 0, 0, 0.000168662506324844, 0.00009425959091337542, 0, 0, 0, 0.000128, 0, 0, 0.0002601456815816857, 0, 0.00007305135510263716, 0.00006009254251547383, 0, 0.0001746877456546423, 0.00025826446280991736, 0, 0.00004504301608035674, 0.0001960592098813842, 0, 0, 0, 0, 0, 0, 0, 0.0001275380063258851, 0, 0.0000617283950617284, 0, 0.0000617283950617284, 0, 0.0000617283950617284, 0, 0.0000617283950617284, 0, 0.0000617283950617284, 0, 0.0000617283950617284, 0, 0.00014610271020527432, 0, 0.000057193514255483425, 0.00000122901789917088, 0.000009850151059102312, 0.0000010999136842736267, 0, 0, 0.000005505340731043184, 0, 0.00002684635829149776, 0.0008650519031141869, 0, 0, 0, 0, 0, 0, 0.0000050390526581002774, 0, 0.0001512287334593573, 0, 0.00003121001217190475, 0, 0, 0.000014977214210925469, 0, 0.0000013840830449826987 ]

[ "//\n// Component animations\n// --------------------------------------------------\n\n// Heads up!", "\n//\n// We don't use the `.opacity()` mixin here since it causes a bug with text\n// fields in IE7-8. ", "Source: https://github.com/twbs/bootstrap/pull/3552.", "\n\n.fade {\n opacity: 0;\n .transition(opacity .15s linear);\n &.in {\n opacity: 1;\n }\n}\n\n.collapse {\n display: none;\n\n &.in { display: block; }\n tr&.in { display: table-row; }\n tbody&.in { display: table-row-group; }\n}\n\n.collapsing {\n position: relative;\n height: 0;\n overflow: hidden;\n .transition-property(~\"height, visibility\");\n .transition-duration(.35s);\n .transition-timing-function(ease);\n}\n" ]

{ "pile_set_name": "Github" }

[ 0, 0, 0.00036982248520710064, 0 ]

[ "// Copyright 2014 The Bazel Authors. ", "All rights reserved.", "\n//\n// Licensed under the Apache License, Version 2.0 (the \"License\");\n// you may not use this file except in compliance with the License.", "\n// You may obtain a copy of the License at\n//\n// http://www.apache.org/licenses/LICENSE-2.0\n//\n// Unless required by applicable law or agreed to in writing, software\n// distributed under the License is distributed on an \"AS IS\" BASIS,\n// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.", "\n// See the License for the specific language governing permissions and\n// limitations under the License.", "\n\npackage com.google.devtools.build.docgen;\n\nimport com.google.common.collect.", "Sets;\nimport com.google.devtools.build.lib.analysis.", "ConfiguredRuleClassProvider;\nimport java.io.", "IOException;\nimport java.util.", "List;\nimport java.util.", "Map;\n\n/**\n * Assembles the multi-page version of the Build Encyclopedia with one page per rule family.", "\n */\npublic class MultiPageBuildEncyclopediaProcessor extends BuildEncyclopediaProcessor {\n public MultiPageBuildEncyclopediaProcessor(\n String productName, ConfiguredRuleClassProvider ruleClassProvider) {\n super(productName, ruleClassProvider);\n }\n\n /**\n * Collects and processes all the rule and attribute documentation in inputDirs and\n * generates the Build Encyclopedia into the outputDir.", "\n *\n * @param inputDirs list of directory to scan for document in the source code\n * @param outputDir output directory where to write the build encyclopedia\n * @param blackList optional path to a file listing rules to not document\n */\n @Override\n public void generateDocumentation(List<String> inputDirs, String outputDir, String blackList)\n throws BuildEncyclopediaDocException, IOException {\n BuildDocCollector collector = new BuildDocCollector(productName, ruleClassProvider, false);\n RuleLinkExpander expander = new RuleLinkExpander(productName, false);\n Map<String, RuleDocumentation> ruleDocEntries = collector.collect(\n inputDirs, blackList, expander);\n warnAboutUndocumentedRules(\n Sets.difference(ruleClassProvider.getRuleClassMap().keySet(), ruleDocEntries.keySet()));\n\n writeStaticDoc(outputDir, expander, \"make-variables\");\n writeStaticDoc(outputDir, expander, \"functions\");\n writeCommonDefinitionsPage(outputDir, expander);\n\n writeRuleDocs(outputDir, expander, ruleDocEntries.values());\n }\n\n private void writeStaticDoc(String outputDir, RuleLinkExpander expander, String name)\n throws IOException {\n // TODO(dzc): Consider splitting out the call to writePage so that this method only creates the\n // Page object and adding docgen tests that test the state of Page objects constructed by\n // this method, and similar methods in this class.", "\n Page page = TemplateEngine.newPage(DocgenConsts.", "BE_TEMPLATE_DIR + \"/\" + name + \".vm\");\n page.add(\"expander\", expander);\n writePage(page, outputDir, name + \".html\");\n }\n\n private void writeCommonDefinitionsPage(String outputDir, RuleLinkExpander expander)\n throws IOException {\n Page page = TemplateEngine.newPage(DocgenConsts.", "COMMON_DEFINITIONS_TEMPLATE);\n page.add(\"expander\", expander);\n page.add(\"commonAttributes\",\n expandCommonAttributes(PredefinedAttributes.", "COMMON_ATTRIBUTES, expander));\n page.add(\"testAttributes\",\n expandCommonAttributes(PredefinedAttributes.", "TEST_ATTRIBUTES, expander));\n page.add(\"binaryAttributes\",\n expandCommonAttributes(PredefinedAttributes.", "BINARY_ATTRIBUTES, expander));\n writePage(page, outputDir, \"common-definitions.html\");\n }\n\n private void writeRuleDocs(String outputDir, RuleLinkExpander expander,\n Iterable<RuleDocumentation> docEntries) throws BuildEncyclopediaDocException, IOException {\n RuleFamilies ruleFamilies = assembleRuleFamilies(docEntries);\n\n // Generate documentation.", "\n writeOverviewPage(outputDir, expander, ruleFamilies.langSpecific, ruleFamilies.generic);\n writeBeNav(outputDir, ruleFamilies.all);\n for (RuleFamily ruleFamily : ruleFamilies.all) {\n if (ruleFamily.size() > 0) {\n writeRuleDoc(outputDir, ruleFamily);\n }\n }\n }\n\n private void writeOverviewPage(String outputDir,\n RuleLinkExpander expander,\n List<RuleFamily> langSpecificRuleFamilies,\n List<RuleFamily> genericRuleFamilies)\n throws BuildEncyclopediaDocException, IOException {\n Page page = TemplateEngine.newPage(DocgenConsts.", "OVERVIEW_TEMPLATE);\n page.add(\"expander\", expander);\n page.add(\"langSpecificRuleFamilies\", langSpecificRuleFamilies);\n page.add(\"genericRuleFamilies\", genericRuleFamilies);\n writePage(page, outputDir, \"overview.html\");\n }\n\n private void writeRuleDoc(String outputDir, RuleFamily ruleFamily)\n throws BuildEncyclopediaDocException, IOException {\n Page page = TemplateEngine.newPage(DocgenConsts.", "RULES_TEMPLATE);\n page.add(\"ruleFamily\", ruleFamily);\n writePage(page, outputDir, ruleFamily.getId() + \".html\");\n }\n\n private void writeBeNav(String outputDir, List<RuleFamily> ruleFamilies) throws IOException {\n Page page = TemplateEngine.newPage(DocgenConsts.", "BE_NAV_TEMPLATE);\n page.add(\"ruleFamilies\", ruleFamilies);\n writePage(page, outputDir, \"be-nav.html\");\n }\n}\n" ]

{ "pile_set_name": "Github" }

[ 0, 0, 0.00010501995379122034, 0.00003042719785792527, 0.00009070294784580499, 0.00016436554898093358, 0, 0, 0.0011111111111111111, 0, 0, 0, 0.0000029630668532081863, 0, 0.00001156925355176084, 0, 0, 0, 0.000015094795314575536, 0.000005986518360651812, 0.0000058063579619683555, 0.00001351643598615917, 0 ]