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torchlitinthedesert · 2 months

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Kenneth Tynan and the Beatles

Shout out to @mmgth for noticing Beatle mentions in the letters of Kenneth Tynan - including working with John Lennon, Paul's 1960s reputation, and glimpses of the breakup. (Alas, no George or Ringo.)

Tynan was a drama critic and later worked with Laurence Olivier at Britain's National Theatre. Philip Norman calls him "the most rigorous cultural commentator of his age": he championed working class plays in the 1950s, supported progressive art (and was widely believed to be the first person to say "fuck" on British television). So he's an interesting perspective: well connected, arty, eager for cultural change, but from an older generation, and outside the immediate rock/pop world.

The first mention is 1966, when Tynan is already working at the National Theatre.

28 September 1966

Dear Mr McCartney,

Playing 'Eleanor Rigby' last night for about the 500th time, I decided to write and tell you how terribly sad I was to hear that you had decided not to do As You Like It for us. There are four or five tracks on 'Revolver' that are as memorable as any English songs of this century - and the maddening thing is that they are all in exactly the right mood for As You like It. Apart from 'E. Rigby' I am thinking particularly of 'For No One' and 'Here, There and Everywhere'. (Incidentally, 'Tomorrow Never Knows' is the best musical evocation of L.S.D. I have ever heard).

To come to the point: won't you reconsider? John Dexter [theatre director] doesn't know I'm writing this - it's pure impulse on the part of a fan. We don't need you as a gimmick because we don't need publicity: we need you simply because you are the best composer of that kind of song in England. If Purcell were alive, we would probably ask him, but it would be a close thing. Anyway, forgive me for being a pest, but do please think it over."

Paul replied that he couldn't do the music because, hilariously, "I don't really like words by Shakespeare" - he sat waiting for a "clear light" but nothing happened. He ended, "Maybe I could write the National Theatre Stomp sometime! Or the ballad of Larry O."

It's interesting that Tynan approaches Paul individually - because they had theatre connections in common? Or did Tynan assume that John wrote the words and Paul the music, so Paul's the guy to ask for settings of Shakespeare lyrics? (Though he does correctly identify Paul songs in his letter, plus the musical setting of Tomorrow Never Knows, so he might just be asking because he's a Paul girl. He also wants Paul to know that he's cool and hip and has done acid.)

Tynan definitely is a Paul girl. On 7 November that year, he pitched possible articles (I think for Playboy). He offers articles on the War Crimes Tribunal (set up by Bertrand Russell on the US in Vietnam), an interview with Marlene Dietrich, or:

"Interview with Paul McCartney - to me, by far the most interesting of the Beatles, and certainly the musical genius of the group."

It's a reminder of how drastically Paul's reputation changed, between cultural commentators of the 1960s and post-breakup.

Tynan didn't get his Paul interview, but he worked twice with John.

On 5 February 1968, he's sorting out practical details for the National Theatre's company manager about about the stage adapation of John's book In His Own Write (which had already had a preview performance in 1967). It's a very Beatle-y affair:

Victor Spinetti and John Lennon will need the services of George Martin, the Beatles A & R man to prepare a sound tape to accompany the Lennon play. Martin did this tape as a favour for the Sunday night production, but something more elaborate will be required when the show enters the rep, and I feel he should be approached on a professional basis as Sound Consultant, or some similar title. I have written to him to find out if he is ready to help and will let you know as soon as he replies.

...John Lennon says that as far as his own contract is concerned, we should deal directly with him at NEMS rather than his publisher.

So John prefers to work within the Beatle structure: George Martin, Victor Spinetti, plus NEMS, rather than pursuing closer ties with his book publisher.

On 16 April 1968, Tynan writes to John about his ideas for a wanking sketch.

Dear John L,

Welcome back. You know that idea of yours for my erotic revue - the masturbation contest? Could you possibly be bothered to jot it down on paper? I am trying to get the whole script in written form as soon as possible.

John's reply is very John:

"you know the idea, four fellows wanking - giving each other images - descriptions - it should be ad-libbed anyway - they should even really wank which would be great..."

Oh John.

Tynan still wanted to interview Paul - and was noticing changes in Beatle dynamics. On 3 September 1968, Tynan pitched another feature on Paul, this time for the New Yorker:

In addition to pieces on theatre, I'd love to try my hand at a profile (I remember long ago we vaguely discussed Paul McCartney though John Lennon is rather more accessible)...

Accessible because Tynan had already worked with him, or because John was already flexing his PR muscles? The New Yorker was interested, because Tynan follows up on 14 October 1968:

4. A few days in the life of Paul McCartney (which we agreed should come at the end of the series of articles, because of the current overexposure of the Beatles.)

Why does he see the Beatles as "overexposed" in autumn 1968, when he hadn't in 1966? Was it the Apple launch? The JohnandYoko press campaign? The cumulative impact of a lot of Beatle news?

Tynan was still trying on 17 September 1969:

...I'd like to go on to either Mr Pinter [playwright Harold Pinter] or Paul McCartney... I incline towards McCartney who has isolated himself more and more in the past from the other Beatles and indeed from the public: he seems to have reached an impasse that might be worth exploring. On the other hand Pinter is a much closer friend and would be more accessible to intimate scrutiny."

I'm fascinated by this - that Paul's isolation was visible to those outside the Beatles circle (the letter is dated three days before the meeting of 20 September 1969, where John said he wanted a divorce).

But Tynan was right about Paul being inaccessible. On 5 January 1970:

I'm saddened to have to tell you that Paul McCartney doesn't want to be written about at the moment - at least, not by me. I gather that for some time now the Beatles have been moving more and more in separate directions. Paul went to a recording session for a new single last Sunday which was apparently the first Beatles activity in which he'd engaged for nearly nine months. He doesn't know quite where his future lies, and above all he doesn't want to be under observation while he decides.

So while Paul "doesn't want to be under observation", he's surprisingly open about the breakup - less blunt than "the Beatle thing is over", which he told Life in November 1969, but still frank.

Trying to persuade Paul to open up to "intimate scrutiny" in 1969 does suggest another reason why 1970s interviewers adored John. Tynan works for an older, more established press, but he's offering the kind of profile John would make his own - discussing his inner life and personal/artistic conflicts with cultural commentator who respects him as an artist. And Paul can't run away fast enough. As a journalist, you'd absolutely go for the guy who makes himself accessible and is eager to bare his soul, over Mr Doesn't Want To Be Written About At The Moment.

#kenneth tynan #the breakup #john lennon #paul mccartney #george martin #victor spinetti #oh! calcutta #john's pr genius is so underrated #tag for mine or my addition

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spoiledleaff · 4 months

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No no you cannot just post that 'silly little hc'??? And not expect me to ask you about it??? I need the rest of your lecture notes ASAP lol

✿ — yesss! haha! i was really, really hoping that someone might be intrigued enough to maybe ask me about this further; it's honestly so near and dear to my heart, especially since diving deep into storytelling and character development is a massive passion of mine! :)) for a little bit of context, this ask is in reference to >>this<< post i made briefly going over my whole hc for the two ep! :D

anyways!! this post is gonna be a massive theory/headcannon post that will be focusing on the sleep token ep, two, and the first song, calcutta, as well as my hc that these songs are quite literally the basis for ii's backstory! :D considering that nazareth and jericho are two of my favorite songs in all of sleep token's discography, i'll most likely address those two songs in a separate post! :) for now, i just wanna throw these thoughts out there, haha!

✿ — TWO.

well, first of all, where does this hc originate from? i'm so glad you asked! :D this hc stems from the fact that every song from this ep are the only songs on spotify to list a 'vessel ii' as a composer alongside 'vessel'. to my knowledge! calcutta, nazareth, and jericho are the only songs in the entire sleep token discography that lists a 'vessel ii' as a composer alongside 'vessel' or 'vessel 1'. naturally, we can assume that this is our one and only ii! :)

and, of course, the ep is named 'two'! :) yes, of course, this ep is the band's second compilation of music, so the name is a little bit on the nose, haha! but i also like to think — in the same vein that this ep is ii's backstory — the ep one is vessel's backstory :) which, who knows, haha! maybe i'll do my own narrative analysis of the one ep after this >:Dc

✿ — CALCUTTA.

↳ tw + cw : discussions of death, jealousy + possessive thoughts.

✿ — first up on the ep is calcutta! :D gosh, i do so love this song, haha! but, first of all, what does calcutta mean?

✧ — as a general idea, calcutta is actually the largest city and the capital in west bengal of india! it's a bit of a melting pot of sorts, especially for practicing different religions such as hinduism, muslims, and, of course, christianity. though, since 2001, the city has officially changed its name to 'kolkata'.

↳ another interesting thing that i discovered while doing some extra research for this post is in regards to the etymology behind the name 'kolkata'! :D the word is initially taken from the name 'kôlikata' which was the name of one of three villages in the area that merged together to form the city of kolkata. in regards to the etymology of the name, 'kolikata' is thought to have been a variation of the bengali word 'kalikkhetrô' which translates to 'field of kali'.

↳ okay, so!! interestingly enough, kali — also known as kalika — is a prominent figure in hindu mythology and religion! kali is oftentimes worshipped as a divine protector and as one who bestows liberation; she is associated with aspects of mortal life such as time, change, creation, power, and!! the most fascinating bit!! she is also associated with destruction and death. this little tidbit of information becomes even more interesting when considering the next song featured in this ep, nazareth. but!! back to calcutta! :)

✧ — additionally, there was also a dungeon stationed in fort william, calcutta in the 1700's that held british prisoners of war after the fort was overtaken in a seige. the dungeon was known as the 'black hole of calcutta', and a written account from one of the soldiers that was imprisoned there detailed brutal conditions that were so inhuman and cramped that they had its prisoners dying from suffocation and heat exhaustion. to support this reference, in the opening shots for the calcutta music video, vessel is shown literally crawling out of an unknown crevice, presumably a hole. haha! i don't know why i worded that so weirdly, but you get the point! :)

✿ — these possible little sneak-peeks of the possible history behind the name of this song are so fascinating to me, haha! but, what about the actual song?

✧ — of course, this is all up my personal feelings and interpretations about this song, but i like to think that calcutta is a song about hopelessness and about experiencing a growing sense of despair that can only come from loving another person that you cannot obtain. as much as i would love to break this song down lyric by lyric and piece by juicy little piece, i think i'm going to focus on specific lyrics and sections that really resonate with me! :D ...which is apparently almost the entirety of the song, haha!

' i am caught, tangled in // wrapped and quartered '

↳ when i first heard this lyric, i was immediately reminded of the black hole of calcutta. to be caught, to be tangled in, only to be executed in a brutal manner that was typically reserved only for individuals who had committed high treason against the kingdom of england. when dissecting it, it's an absolutely morbid and grim line that opens this entire ep!

' and i ache for your eyes and the way you breathe // and i wake, say your name // and i wake, say your name '

↳ personally, these lines scream!! unyielding yearning + unrequited love. especially considering that this line follows after vessel singing about how 'for just a moment // missing pieces find me'?? it feels like every slightly good emotion or feeling that's described in this song is almost immediately crushed by a haunting reminder of how temporary that sensation is.

' you are more than warm belief // melting skywards '

↳ something that i find to be one of the more interesting little references in this ep is that two of the three songs hold roots in christianity + and even calcutta holds a lot of religious symbolism and ties to hinduism. this line feels like religious symbolism being directed to a mortal body—one i can only assume might be vessel. this happens a lot throughout the course of this ep, where there are multiple lyrics that hold heavy references to religious symbolism and/or religious imagery. but there's something so distinctly mortal about how these lyrics are executed, that associating these lyrics with sleep just feels completely incorrect. at least to me!! a gentle reminder that this is all my own person headcannon :)

↳ i'd like to specifically bring your attention towards the terminology that's used in these lyrics! i believe that ii saying that vessel is 'more than warm belief' is ii saying that vessel is more than what sleep is trying to make of him; he is his own person, his own identity that is more than just his devotion to sleep. now, my favorite part is this next bit! 'melting skywards'. sleep token is known for their constant references to water as a form of symbolism, and i think that it's no different here! this might be a bit of an extra long stretch, but i think that ii is worried that vessel's 'warm belief' towards sleep will melt him—ii is worried that vessel's devotion might quite literally be the death of him, or at least the death of his identity, instead choosing to leave ii behind and become completely enveloped in sleep's identity.

' more than silence broken // i'm whole again // for just a moment // 'till the morning comes '

↳ this line feels like a small snippet into vessel's and ii's relationship together, specifically their bonding through music as their time together is 'more than silence broken'. it's through these moments in time where ii feels whole again with vessel and the music that they've made by his side.

↳ i think the most interesting part of this line is the lyric ''till the morning comes'. my favorite thought behind sleep's and vessel's relationship is that sleep is the dominant force during the night, whereas vessel is the dominant side during the day. however, considering that sleep — especially during this era of sleep token's music — is considered a widely negative and toxic personality in their relationship with vessel, wouldn't ii look forward to the daytime?? a time of the week where sleep isn't such a domineering presence in both his and vessel's life?? well! i like to think that this song takes place early in vessel's borderline infatuation with sleep, so even the hours of daylight would be spent with vessel obsessing over sleep and possibly ignoring his relationship with ii in favor of his relationships with sleep and his own personal lover—more on this young lady next!! >:Dc

' oh, she said you'd better believe it // i said you don't know // oh, you said you'd better be there // i said you don't even know '

↳ now, we've finally come to a relatively popular theory in terms of vessel's life before sleep's influence—the possibility of his partner! :) now i will say that i do agree with the theory that vessel did have a longterm partner before sleep and the other vessels hehehe--! especially when considering the music videos for jaws, the way that you were, and possibly even the love that you want and the couple of feminine actors that make an impactful and/or reoccurring appearance in sleep token's music videos!

↳ okay! time to break this puppy down >:)c there are three separate sets of pronouns here — 'she', 'you', and 'i' — so let's identify who might be talking! i believe that 'she' is referring to vessel's partner, 'you' is in reference to vessel, and 'i' is ii. i believe that this verse establishes ii's jealousy towards vessel's partner — something that sleep will weaponize against them both in nazareth.

✧ — ' she said you'd better believe it // i said you don't know ' : to me this feels like vessel's partner is trying to address ii's jealousy, affirming that they are here to stay in vessel's life whether ii likes it or not + ii dismissing them, 'you don't know'.

✧ — ' you said you'd better be there // i said you don't even know ' : this feels like borderline damage control to me, which would make sense if we consider this first half to be from vessel's pov. vessel can see the animosity between ii and his partner. when vessel says, 'you'd better be there', i think he's referring to ii's presence in his life. you'd better be here, you'd better stay with me, etc. etc. and when ii replies, 'you don't even know', i think this is said with the opposite intentions of when ii was dismissing vessel's partner. here, i think ii is almost comforting vessel; his intentions are more genuine when he's addressing vessel, while remaining more hurtful when regarding vessel's partner. i think that this is where sleep finds ii.

✿ — to put it all together, i think that ii cherishes his time spent with vessel during the night, because it's just them! no partner and, at this time, sleep's influence is still small in vessel's life. it's just them. but his attentions are split up — it's being wrapped and quartered — between being with vessel, tolerating his partner, and beginning to catch the eye of sleep themselves. but, in these moments, when it's just ii and vessel together in the dead night, ii feels whole. during the day, vessel seeks out his partner, but in the night, vessel seeks out ii—his missing pieces find him, even for just a moment. however, even in the morning, when vessel moves on, ii is still waking up saying vessel's name. in conclusion, while sleep and their influences might be vessel's—vessel is ii's calcutta; he is ii's prison that ii willingly crawls back into every night, just to have a moment where it is just the two of them. and i think that it is in this moment in time where sleep extends their influence to ii, intending to weaponize ii's jealousy and possessive thoughts to bring vessel closer to sleep.

✿ — and that's it! :D that's my analysis of calcutta from the ep, two! :)) as a friendly reminder, this is just my own interpretation of the lyrics through a strictly narrative lense :) i don't think this could be actual sleep token canon, haha! i just think that this would make a very fun and interesting story for my own selfish reasons, haha! i'll still probably make another post for nazareth and jericho, but please feel free to let me know what you think of this silly little analysis in the mean time! :D i always love hearing other people's opinions and thoughts on these sorts of topics, haha!

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