The Beatles helped revolutionize music in several incalculable ways, from re-energizing the British music scene to popularizing the concept album, but one of the smaller — but still significant — ways the Fab Four changed the creative landscape was rewriting the rules of what could be a radio hit.

“Hey Jude,” the 1968 standalone single penned by Paul McCartney, clocked in at 7 minutes and 12 seconds, around twice the length of an average pop single the band would be competing alongside for the coveted #1 spot on the charts.

To make matters worse, the second half of the song simply repeats a variation of “Nah, nah nah, nah nah, nah, nah, nah nah/ Hey, Jude” for at least 3 and a half minutes. While this creative decision has since made the anthem a crowd favorite at sports events (most recently, England’s 2026 World Cup stint, as an ode to Jude Bellingham), as well as McCartney’s concerts, there were concerns that this would be cut by radio stations, comprising on McCartney’s “fade-out to end all fade-outs,” as described in a 2018 retrospective on the song by The Guardian.

George Martin, the Beatles’ longtime producer, warned that the length would discourage DJs from playing the song altogether, clipping its commercial success. Lennon, however, offered his signature defiance in response: “They will if it’s us.”

Lennon’s pragmatism proved to be correct, with the song staying on top of the Billboard Hot 100 for 9 weeks, from September 28 to November 23, 1968, and broke the record for the then-longest #1 single in U.S. chart history — as well as the longest in song length.

Source: mensjournal.com/Bethany Gemmell

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Paul McCartney is among hundreds of public figures backing a new international campaign calling on the United Nations to abolish trophy hunting. Launched on July 1, 2026, the initiative brings together celebrities, conservationists, former heads of state, Indigenous leaders and religious figures around a declaration calling for an end to trophy hunting. The launch was timed to coincide with the 11th anniversary of the killing of Cecil the lion in Zimbabwe, whose death in 2015 became a major international flashpoint in the debate over trophy hunting. The Wildlife & Conservation Foundation, through its Campaign to Ban Trophy Hunting, is coordinating the initiative. Its organisers say more than 500 founding signatories have backed the Declaration on the Abolition of Trophy Hunting, which was developed with the late primatologist and conservationist Jane Goodall.

Even before the infamous Beatles breakup, the Fab Four had to navigate interpersonal dynamics that often bred contempt and competitiveness, particularly between the two principal songwriters, Paul McCartney and John Lennon. The prolific duo had plenty of respect for one another, much of which was established by becoming so close so quickly at such a young age. But they weren’t always forthcoming with their praise of the other—at least Lennon wasn’t.

In a 2018 interview with 60 Minutes, McCartney confirmed that he and Lennon had a competitive relationship when it came to their songwriting. If one musician came up with a particularly good track, the other would take it as motivation to write a better one. They were less interested in doling out compliments to the other, as made clear by McCartney’s memory that Lennon only complimented him once.

The idea of Lennon only openly admiring McCartney’s work once during their tenure as bandmates seems ludicrous in hindsight, given the knowledge we have of McCartney’s tremendous cultural impact. Nevertheless, Lennon played his cards close to the chest—except when it came to “Here, There And Everywhere”. John Lennon Praised Paul McCartney for This ‘Revolver’ Track.

Speaking to 60 Minutes, Paul McCartney put on a fake pained expression and said John Lennon only complimented him “once in that whole time,” as if to emphasize that he, too, thought the dynamic was strange in hindsight. McCartney remembered his bandmate listening to “Here, There, And Everywhere” and telling Macca, “‘That’s a really good song, lad. I love that song.’ And I was like, ‘Yes! He likes it!’ I’ve remembered it to this day. It’s pathetic, really,” he added with a smile.

In one of his final interviews before his death, Lennon told Playboy that “Here, There And Everywhere” was “Paul’s song completely, I believe,” adding that it was “one of my favorite songs of The Beatles.”

Source: americansongwriter.com/Melanie Davis

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Over the course of their impressive 10-year run, the Beatles released 12 studio albums (13 if you include 1967's Magical Mystery Tour in the core canon). The Fab Four's catalog improved with each new release, and one particular entry in their discography, considered by some to be their magnum opus, took the world by storm on this day 57 years ago.
'Abbey Road' by the Beatles Was Released on Sept. 26, 1969

The Beatles released Abbey Road on Sept. 26, 1969. The four-piece rock outfit's 11th studio album was actually recorded after their final record, Let It Be, but released before it. On Oct. 6, the band unleashed a double A-side single featuring "Something" and "Come Together" to promote it.

While the atmosphere was less tense than the Let It Be recording sessions, the group still had their fair share of disagreements, clashing over the album's presentation and Yoko Ono's presence in the studio. However, Paul McCartney and Ringo Starr looked back on the process with fondness, and John Lennon had positive things to say about Abbey Road as a whole.

Infusing musical styles such as rock, pop, blues, and progressive rock, Abbey Road boasts two of George Harrison's best contributions: "Something" and "Here Comes the Sun." The album was a massive commercial success, topping a whopping 11 global weekly charts, including the US Billboard Top LPs and the UK Albums Chart. Abbey Road peaked at No. 1 on the Billboard chart on Nov. 1, 1969, where it reigned for 11 weeks. It also spent a remarkable 507 weeks total on said chart. 

'Abbey Road' Then and Now

Source: yahoo.com/Melody McCune

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Jane Asher’s love story with Paul McCartney is set to play out on screen in the forthcoming Beatles biopics – however, the actor won’t be queuing up to see it in cinemas.

Asher, 80, has revealed in a new interview that she has no plans to watch Lucy Boynton’s portrayal of her in Sam Mendes’s four films about the Beatles.

The Bafta nominee began dating McCartney in 1963, with the pair’s romance inspiring numerous songs for the group, including “And I Love Her” and “I’m Looking Through You”. They announced their engagement in 1967 but called it off a year later amid rumours of McCartney’s infidelity.

In Mendes’s forthcoming series The Beatles – A Four-Film Cinematic Event, which is due for release in 2028, McCartney is being played by Hamnet’s Paul Mescal, while Bohemian Rhapsody’s Lucy Boynton is portraying Asher.

In a new interview, Asher said that the filmmakers “approached me about it, of course, but I said my usual”, referring to how she no longer speaks about her relationship with McCartney.

When asked how she felt about Boynton playing her, she told The Telegraph: “Well, of course, Lucy is beautiful. But I won’t watch the films, otherwise everyone will ask me what I thought.”

Source: the-independent.com/Lauren Morris

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When John Lennon was asked about the song "Wait" in 1970, he couldn't recall writing it. "That must be one of Paul's," he said then.

Paul McCartney did, however, recall. It was mainly his composition, though it was credited to the usual "Lennon-McCartney." His story was that it was written in early 1965 when the Beatles were in the Bahamas shooting Help! the film. Shortly before that, the band had connected with Brandon deWilde, a child actor whose career had blossomed into big sitcom roles (Jamie) and an Academy nomination (for his role in 1953's Shane) as an adult.

"Brandon De Wilde was an actor, a James Dean type," George Harrison recalled in Anthology. "He liked the Beatles' music and he heard we were going to film in the Bahamas, so he came over from the States with a big bag of reefer. We smoked on the plane, all the way to the Bahamas. It was a charter flight, with all the film people – the actors and the crew – and we thought, 'No, nobody will notice.' We had Mal [Evans, the Beatles' road manager] smoking cigars to drown out the smell."  Brandon deWilde, Witness to 'Wait'

It was deWilde that McCartney, apparently, wrote the song "Wait" in front of.

"He was a nice guy who was fascinated by what we did," McCartney recalled in Many Years From Now. "A sort of Brat Pack actor. We chatted endlessly, and I seem to remember writing 'Wait' in front of him, and him being interested to see it being written."

Lennon didn't really factor in, in McCartney's memory: "I think it was my song. I don't remember John collaborating too much on it, although he could have."

Source: ultimateclassicrock.com/Allison Rapp

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