Thursday, 13 May 2021

PAUL MCCARTNEY HAS CLAIMED THAT EYE YOGA HAS HELPED HIS VISION

Paul McCartney, claims EYE YOGA helps his vision after first discovering the practice on a trip to India


 

 

 


 

 

 

 

 

 

 

 

Paul has claimed that eye yoga has helped his vision after first discovering the practice on a trip to India in the late 2000s.
Talking about the unusual form of exercise, Paul admitted that it can 'look a bit weird' but he is able to read the newspaper without glasses.


Speaking to Jessie Ware on her Table Manners podcast, Paul said: 'I learned off some yogi in India. He explained that your eyes are muscles. Your ears aren't, so you can't exercise your ears. But your eyes, you can.'

Explaining some of the exercises, Paul likened it to the Union Jack shape, he continued: 'So head still, and then you look up as far as you can, one, two, three, go back to the middle, then down, back to the middle.

'You do three lots of that then go to the left and the right. Now you've got a cross, up and down, and sideways, now you do the diagonals.'
Talking about how eye yoga has helped his vision, Paul added: 'It all makes sense. I don't know if that's why I don't need glasses when reading a newspaper.'

The musician also revealed that he created eye yoga instructions for a friend's daughter, which 'improved her eyesight', and stopped her from getting glasses 'for a few years'.  
To which Jessie attempted the practice with Paul joking: 'Anyone looking through the window would think we're mad. It's a seance! It can look a bit weird.'

This isn't the first time Paul has praised eye yoga and in 2009 he said, according to the Mirror: 'When I was in India there was a guy at one of the hotels who offered to teach me eye yoga exercises.

'He told me eyes are muscles are just like any other muscles and they need exercise to keep them working properly.

'Spending so much time at computers or the TV or reading books we are only using one set of muscles in our eyes. The yoga gives a workout to the other ones.' 


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Wednesday, 12 May 2021

RINGO STARR RECALLED GEORGE HARRISON´S "INCREDIBLE" FINAL WORDS TO HIM IN SWITZERLAND


 

 

 

 

 

 

 

 

 

 

It was in visiting Harrison weeks before his death that George surprised Starr with his final words.

“The last weeks of George’s life he was in Switzerland, and I went to see him,” Starr said in an emotional interview for 2011’s George Harrison documentary Living in the Material World. “He was very ill, and he could only lay down.”

Starr’s own daughter, Lee, as well at the time had been diagnosed with a brain tumor and the drummer couldn’t stay long as he wanted to be by her side.

“I was going to Boston, ’cause my daughter had a brain tumor,” Starr continued. “And I said, ‘Well, I gotta go to Boston,’ and [Harrison] goes — they’re the last words I heard him say, actually — and he said, ‘Do you want me to come with ya?’ So that’s the incredible side of George.”

After Harrison’s death, Starr said in a statement, “We will miss George for his sense of love, his sense of music, and his sense of laughter.”


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Tuesday, 11 May 2021

"THE LONG AND WINDING ROAD" HAD A COMPLICATED HISTORY BEFORE FINALLY MAKING IT ON RECORD

The song first showed up on the Let It Be album, which came out on May 8, 1970, in the U.K.; ten days later, it was released in the U.S. Between those dates, a 45 of "The Long and Winding Road" arrived on May 11. It marked the final classic-era single released by the band, which had split up on April 10.
 
To fans the song sounded like a requiem, a last gasp and a summation of the past seven years. Five decades later, it still sounds like a fitting close of the Beatles' career, a mournful and meditative song about looking back while looking forward. And, true to its title, "The Long and Winding Road" had a complicated history before finally making it on record.

Paul McCartney wrote the song in 1968 while visiting his farm in Scotland. He found inspiration in the view of rolling hills disappearing into the green distance. It was a counterbalance to everything going on within the Beatles - who were famously not getting along as they struggled to record the White Album - at the time. McCartney found a sense of peace wistfully looking back at the group's past decade together in the serene, open-air setting.
He cut a demo, pitched it as a Ray Charles-type R&B number to singer Tom Jones, who had to turn it down, and eventually brought it to his bandmates in late January 1969, when the Beatles began work on the Get Back project. The return-to-basics LP was supposed to do away with all of the gadgetry and gimmicks that marked their recent recordings, and instead focus on what made them great in the first place: Four guys just playing songs. But things didn't turn out that way.

With cameras watching their every move for a proposed TV special documenting the recording of their new LP, everyone was on edge at Twickenham Film Studios, where the initial rehearsals began. George Harrison quit the band for five days. (Ringo Starr temporary split during the equally tumultuous White Album sessions.)
 
When George eventually returned, he talked the rest of the band into abandoning the film crew and relocating to Apple Studio to focus on the album. He also brought along keyboardist Billy Preston for a handful of the sessions. The footage that was shot would now be part of a movie, along with a new concert by the Beatles, their first since August 1966, when they played one last show at San Francisco's Candlestick Park before they retired from live performances.

But they couldn't decide on a location for the concert, so they went to Apple Corps' roof in London, played for 42 minutes and got shut down by the cops. And that, for the most part, was the end of the Beatles' involvement with Get Back. Engineer Glyn Johns tried to assemble the mess of recordings into an album; a year later, producer Phil Spector took over the project, added strings, edited some songs and presented a finished version of Let It Be, which ended up as the last album released by the band. (Abbey Road, which came out in September 1969, was recorded in the months following the Get Back) "The Long and Winding Road," Let It Be's penultimate track, was recorded on Jan. 26, 1969, in several takes. Paul sang and played piano on his song; John played six-string bass, with guitarist George and drummer Ringo in their usual roles, along with Preston on Fender Rhodes piano. 
They also recorded the song on Jan. 31 - that version ended up in the Let It Be movie.

The Beatles rejected Johns' mix of the album, so the tapes were handed over to studio legend Spector, who proceeded to stamp his identity on several of the songs. The raw recordings were given new mixes and, in some cases, adornments that rankled the Beatles, who were now separated.


The orchestral arrangements the producer added to some of the songs occasionally assist the songs, sometimes they're barely noticed. But on "The Long and Winding Road" they collide in a cluttered mix of cellos, trombones, trumpets, violas, violins and a choir.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
In his book Revolution in the Head, Ian MacDonald states there are 38 musicians on the final track, a far cry from the stripped-down intentions of the original Get Back sessions.  

In early April, Spector sent his work to all four Beatles, asking them for suggestions and objections. They all approved his version of the Let It Be album; according to the book You Never Give Me Your Money: The Beatles After the Breakup, Paul said he felt forced to go along with his bandmates' collective decision. They broke up a little more than a week later. "The Long and Winding Road" debuted on the singles chart on May 23; on June 13, it reached No. 1, the last of the group's 20 chart toppers in the U.S., and stayed there for two weeks.

When Paul went to court to officially disband the group, he named Spector's version of "The Long and Winding Road" as one of the reasons for the breakup. "I was sent a remixed version of [the song] with harps, horns, an orchestra and a women's choir added," he told The Evening Standard before the album's release. "No one had asked me what I thought. I couldn't believe it." Spector later countered that his embellishments were needed to cover Lennon's subpar bass playing.

Bare-bones takes of the song were finally released on 1996's Anthology 3 (featuring a spoken-word bridge) and in 2003 on Let It Be ... Naked, a revised take on the 1970 LP that was spiritually closer to the Get Back project. 

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