december 1980

Paul McCartney, John Lennon and George Harrison at the wedding reception held for George’s brother Harry and his bride, Irene, Liverpool, 20 December 1959. Photo © The Harrison Family.

“Our original intention was to be in a band as opposed to having a job. The goals were quite small, really.” - George Harrison, 1987

Don’t play with your food.

It is December of 1980, and a young Alecto Carrow is on another countless raid with a group of Death Eaters when she, not unusually, comes across a vaguely familiar face.

Her next victim is cowering, unarmed, in the corner of the bedroom. In a home that was one more protection spell away from being safe.

Alecto raises her wand, but that spark of recognition crosses her expression and she hesitates.

The person chances a glance up, allowing hope to seep into their thoughts before they can think to stop themselves.

The wandless victim slowly nods their head.

The slowly building sense of relief from Alecto’s deceptively friendly tone dissipates as quickly as it appeared.

Alecto raises her wand once more, and the victim tries to plead with her. Scream. Anything. But they cannot seem to find their voice.

Their silence is broken too late, with a piercing scream that reverberates throughout the house, until it is forever muted.

The Death Eaters move on to the next house.


~~ “It was dark times, Harry, dark times.” ~~

We can work it out - Demo
Paul McCartney
We can work it out - Demo

Paul wrote this song at Rembrandt, a house he bought for his father in Merseyside County, near Liverpool, where there was a piano in the dining room that Paul would use. In 1995 Paul said that he wrote most of the song himself, then finished it with John (Many years from now by Miles), while John always said that Paul wrote the main song while he wrote the middle:

“Paul wrote that chorus, you know, I wrote the middle bit about ‘Life is very short, there’s not time for fussing and fighting’” (-
Rolling Stone Interview, December 1970.) In 1980 he described this song with two sections of “McCartney-esque optimism vs. Lennon’s impatience.” (Playboy Interview, 1980.)

This song, or at least the first rough demo of it, has a huge Dylan’s influence. The Beatles discovered his music through “Freewheelin‘” and they also met him on 28 August 1964 at the Delmonico Hotel in New York. From that moment they started using more acoustic guitars, and John was the one that mostly felt Dylan’s influence in his songs, he frequently talked about the ‘Dylan’s period’ during 1965 - 1966, when his lyrics were characterized by a dramatic accent (Help!, You’ve got hide your love away,…).

But I never really felt Dylan’s influence on Paul until I listened to this audio.

John had this tape in his apartment of Paul playing a rough demo of the song, the first time Paul wrote it down and played it, when the middle part by John wasn’t written yet. Unfortunately the demo was interrupted and erased by John later that used the tape to record other stuff, and the song doesn’t last more than 30 seconds, but I love this version because you can clearly hear Dylan’s influence on Paul.