Songs the Beatles didn't do| music
2009년 09월 24일 21:49
Songs the Beatles didn't do: meaning, songs they wrote while the Beatles existed, but which did not appear on official EMI Beatles records. This list is limited to songs that might be considered finished, which we'll define as one of: published; recorded by someone else; registered for copyright; or attempted at EMI for release. Composer credit is shown only where established by publisher or copyright documentation. Comments mention the probable composer in other cases.
Songs
In spite of all the danger (McCartney--Harrison)
You'll be mine (Lennon--McCartney)
Cayenne (McCartney)
Pre-Beatles recordings issued on the CD "Anthology 1" in 1995.
Cry for a shadow (Harrison--Lennon)
Recorded 22 June 1961 (probably), by the Beatles with Pete on drums and released many times over. Of course this is the Beatles, so I'm breaking my own rule, but since it is the only original that was not originally on an EMI Beatles record, here it is. An instrumental. It appeared on the "Anthology 1" CD in 1995.
I'll be on my way (Lennon--McCartney)
Single by Billy J Kramer with the Dakotas, April 1963. The Beatles did it on BBC radio 4 April 1963, and that version is available on the 1994 CD set "Live at the BBC".
Bad to me (Lennon--McCartney)
Single by Billy J Kramer with the Dakotas, July 1963. A demo by John alone (I think) has been bootlegged. The B-side of Kramer's single, "I call your name" was a "song the Beatles didn't do" for almost a year.
Tip of my tongue (Lennon--McCartney)
Single by Tommy Quickly, July 1963. The Beatles attempted to record it, November 1962, but the tape is not at EMI (per Lewisohn) and has not been bootlegged.
Hello little girl (Lennon--McCartney)
Single by the Fourmost, August 1963. A very similar Beatles version with John lead vocal is on the so-called Decca Tape of 1962, bootlegged, and included on the CD "Anthology 1" in 1995.
Love of the loved (Lennon--McCartney)
Single by Cilla Black, September 1963. A Beatles version with Paul lead vocal is on the so-called Decca Tape of 1962, bootlegged, but vetoed by Paul from "Anthology 1".
I'll keep you satisfied (Lennon--McCartney)
Single by Billy J Kramer with the Dakotas, November 1963.
I'm in love (Lennon--McCartney)
Single by the Fourmost, November 1963. A version of this by John has been bootlegged as the demo, but now is believed to be post-1975. A previously unissued version by Billy J Kramer with the Dakotas has recently appeared on the CD "Best of Billy J Kramer and the Dakotas".
A World without love (Lennon--McCartney)
Single by Peter and Gordon, February 1964.
One and one is two (Lennon--McCartney)
Single by the Strangers with Mike Shannon, May 1964. A Beatles demo has been bootlegged.
Nobody I know (Lennon--McCartney)
Single by Peter and Gordon, May 1964.
Like dreamers do (Lennon--McCartney)
Single by the Applejacks, June 1964. Last-released of the three originals on the so-called Decca tape of 1962, and the second of the two appearing on the CD "Anthology 1". Paul lead vocal.
You'll know what to do (Harrison)
Known for some years only as a demo recorded at EMI 3 June 1964, and a UK copyright registration. No recording of any sort appeared even on bootlegs until the CD "Anthology 1" in 1995. However, George scat-sang the first line of it in an Australian interview that is on LP, possibly the one called "The Beatles Talk Down Under".
From a window (Lennon--McCartney)
Single by Billy J Kramer with the Dakotas, July 1964.
It's for you (Lennon--McCartney)
Single by Cilla Black, July 1964.
I don't want to see you again (Lennon--McCartney)
Single by Peter and Gordon, September 1964.
If you've got troubles
Attempted by the Beatles 18 February 1965; the one take has been bootlegged. Ringo lead vocal, written Lennon--McCartney. On the CD "Anthology 2".
That means a lot (Lennon--McCartney)
Single by P J Proby, July 1965. Attempted by the Beatles 20 February 1965 and again 30 March 1965; some takes have been bootlegged. Paul lead vocal. On the CD "Anthology 2".
12-Bar original
Attempted by the Beatles 4 November 1965; it has been bootlegged. Long instrumental. Shorter edit on the CD "Anthology 2".
Woman (Webb)
Single by Peter and Gordon, January 1966. Songwriter Bernard Webb is Paul McCartney, revealed later, but reissues still say Webb. In the US for some reason the fake credit was "A. Smith" instead.
Everywhere it's Christmas
Orowanya
Please don't bring your banjo back
Recorded 25 November 1966 as part of "Pantomime: Everywhere It's Christmas", the 1966 Christmas record. By all four and Mal Evans.
'Carnival of Light' Rave
A very long tape of sound effects made 5 January 1967 and used once for a festival.
Catcall (McCartney)
On an album by the Chris Barber Band, October 1967, with Paul in a group of voices at the end. A Beatles version is on an undated tape, possibly November 1962, that has been bootlegged. Instrumental. Said to be the same as Catswalk, which appears on early Beatles song lists.
Shirley's wild accordion (Lennon--McCartney)
Recording made 12 October 1967 by Shirley Evans, Reg Wale, Paul and Ringo for the "Magical Mystery Tour" film, but not used in it. Shirley Evans does play some accordion in the film.
Jessie's dream (McCartney--Starkey--Harrison--Lennon)
Made at an unknown date by "one or more of the Beatles" (Lewisohn) and used in "Magical Mystery Tour" as Jessie eats tons of spaghetti.
Christmas time (is here again) (Lennon--McCartney--Harrison--Starkey)
Plenty of jam jars
Recorded 28 November 1967 as part of "Christmas Time is Here Again!", the 1967 Christmas record. A longer version of the title song has been bootlegged, and some of it was finally in general release on the "Free as a bird" CD single in 1995.
Step inside love (Lennon--McCartney)
Single by Cilla Black, March 1968. An extremely poor-quality copy of a demo by Paul has been bootlegged.
Thingumybob (Lennon--McCartney)
Single by John Foster and Sons Ltd Black Dyke Mills Band, 26 August 1968 (one of the first 4 Apple singles), produced by Paul. Instrumental.
Sour milk sea (Harrison)
Single by Jackie Lomax, 26 August 1968 (another of the first 4 Apple singles), with George playing guitar and producing. A demo by George has been bootlegged.
Circles
Demo by George, recorded at the same time as many demos for songs heard on the white album. This one was never heard again.
Not guilty (Harrison)
Attempted by the Beatles 7 to 12 August 1968. Bootlegged, and an edited version (made for the unreleased "Sessions" LP) is on the CD "Anthology 3". A demo by George has also been bootlegged. Recorded by George years later.
What's the new Mary Jane
Attempted by some of the Beatles 14 August 1968, with more added to the same recording 26 November 1969. Came close to being a Plastic Ono Band single with "You know my name". John lead vocals. A specially edited version is on the CD "Anthology 3".
Etcetera
Demo made by Paul at EMI, 20 August 1968, and taken away. No version has come out, including bootlegs.
Badge (Harrison--Clapton)
On an album by Cream, February 1969, with George on rhythm guitar as L'Angelo Mysterioso.
Paul piano intro (Lennon--McCartney)
Slow piano piece by Paul, used at the beginning of the "Let it be" film, recorded January 1969. The entire soundtrack has been bootlegged.
Jazz piano song (McCartney--Starkey)
Fast instrumental by Paul and Ringo on one piano, used in the "Let it be" film, recorded January 1969.
Suzy Parker (Lennon--Starkey--Harrison--McCartney)
Rock guitar song with John lead vocal, used in the "Let it be" film, recorded January 1969. Suzy Parker was a celebrity; the song lyric really sounds more like "Suzy's parlor".
Teddy boy (McCartney)
A Beatles rehearsal version of 24 January 1969 was on the "Get Back" album compiled in May 1969. Paul recorded it on his first album.
All things must pass (Harrison)
George recorded a demo of the complete song in February 1969, which is on the CD "Anthology 3". The Beatles had tried it in January but never got back to it. George of course recorded it in 1971.
Goodbye (Lennon--McCartney)
Single by Mary Hopkin, March 1969, produced by Paul. A demo by Paul has been bootlegged.
Come and get it (McCartney)
Single by Badfinger, December 1969, produced by Paul. A nearly identical demo version by Paul has been bootlegged.
Penina (McCartney)
On obscure recordings by Carlos Mendes (Portugal, 1969) and Jotte Herra (Holland, 1970). Paul sings part of it during the "Get Back" sessions, bootlegged.
Get Back tapes
This is the morass of any project attempting to list unreleased Beatles songs. Firstly, do you want to call rehearsals and partial, off-the-cuff renditions Beatles versions? And then there's the problem that more Get Back stuff is still leaking out, and who can keep up with it. But I'll toss out a few lists of songs more or less performed. I'll skip the fact that much of "Abbey Road" appears here too. For much more detail, see the book "Drugs, Divorce and a Slipping Image".
Known or possible old Lennon--McCartney originals: all are fragments and the titles are speculative in most cases
Hot as sun [with words],
I lost my little girl,
I fancy me chances [?],
If tomorrow ever comes (I'll wait till tomorrow),
Just fun,
Thinking of linking,
Too bad about sorrows,
Wake up in the morning (Because I know you love me so),
Won't you please say goodbye
Improvisations or work songs never finished
Commonwealth/White power/Can you dig it medley (Paul and John),
How do you tell someone (George),
I look out the window (George),
I'm going to pay for his ride (Paul),
Madman (John),
Negro in reserve (John and Paul),
Pillow for your head (Paul),
Shakin' in the sixties (John),
Taking a trip to Carolina (Ringo),
There you are Eddie (Paul),
Watching rainbows (John)
Songs Paul finished later
Another day, Back seat of my car, Every night, Suicide, Teddy boy
Songs John finished later
Child of nature [as Jealous guy], Give me some truth
Songs George finished later
All things must pass, Let it down, Hear me lord, Isn't it a pity
Note, on the unreleased "Get Back" albums, "The Walk" is the Jimmy McCracklin hit written by McCracklin--Gorlic, and the opening instrumental sometimes called
"Rocker" is pretty much "Down the road apiece" by Raye and recorded by Chuck Berry.
others would eventually end up on Beatles solo albums, including
Lennon's "Jealous Guy" (called "Child of Nature" at the time and originally written and rehearsed for the White Album) and "Gimme Some Truth",
Harrison's "All Things Must Pass", "Isn't It a Pity" and "Hear Me Lord", and
McCartney's "Teddy Boy" and "Junk" (originally written for the White Album). Much of the band's attention was focused on extended jams on 12-bar blues as well as a broad range of covers. These included classical pieces such as Samuel Barber's "Adagio for Strings", jazz standards such as "Ain't She Sweet", and an encyclopaedic array of songs from the early rock and roll era such as "Stand By Me", "Words of Love", "Lonely Sea", "Bésame Mucho" by Mexican composer Consuelo Velázquez (a song that was part of The Beatles repertoire in the early days) and "Blue Suede Shoes". Only a handful of these were complete performances; the vast majority were fragmentary renditions with a verse or two of misremembered lyrics. The rehearsals and recording sessions were filmed and formed the basis of the Beatles' film of the same name. A song not included was
Watching Rainbows.
Although most of the songs on any given Beatles album are usually credited to the Lennon/McCartney songwriting team, that description is often misleading, and rarely more so than on The Beatles. With this album, each of the four band members began to showcase the range and depth of his individual songwriting talents, and to display styles that would be carried over to his eventual solo career. Indeed, some songs that the individual Beatles were working on during this period eventually were released on solo albums. These include
Lennon's "Look at Me" and "Child of Nature", eventually reworked as "Jealous Guy";
McCartney's "Junk" and "Teddy Boy"; and
Harrison's "Not Guilty" and "Circles".
Lennon also indulged his love of rock and roll with "Crippled Inside" and "It's So Hard." "Gimme Some Truth", originally heard in the Let It Be sessions, appears on the album with a new bridge. The politically-themed "I Don't Wanna Be a Soldier" closes the first half of Imagine in a cacophonous manner.
Revolution
The Ballad of John and Yoko
Come Together
1969 Cold Turkey
Besides Lennon, this recording features Eric Clapton on lead guitar, Klaus Voormann on bass and Ringo Starr on drums. It was recorded in Abbey Road Studio 2.
1970 John Lennon/Plastic Ono Band
"Look At Me" dates from The Beatles period- Ringo Starr: drums
1971 Imagine
2"Crippled Inside" – 3:47 dobro
5"I Don't Wanna Be a Soldier Mama I Don't Wanna Die" – 6:05 slide
6"Gimme Some Truth" – 3:16 elec
7"Oh My Love" (John Lennon, Yoko Ono) – 2:44 elce
8"How Do You Sleep?" – 5:36 slide
George Harrison – electric guitar (6, 7), slide guitar (5, 8) dobro guitar (2)
1972 Some Time in New York City #2 (live jam) live at the Lyceum Ballroom in London, England on 15 December 1969, for a UNICEF charity concert
Eric Clapton - 'Derek Claptoe': guitar., George Harrison - 'George Harrisong': guitar.
1973 Mind Games
Mind Games (with its "love is the answer" refrain and call to "make love not war") was begun during the Beatles' Let It Be sessions
@
Sour Milk Sea
Badge
"While My Guitar Gently Weeps" – 4:53
"Something" – 3:59
"Here Comes the Sun" – 2:59
1970 All things must pass
Harrison had been accumulating the songs he recorded for the album as far back as
1966; both "The Art of Dying"[1] and "Isn't It a Pity"[2] date from that year. In bootlegged conversation from the Get Back sessions, Harrison revealed that John had rejected "Isn't It a Pity" three years before, and that he (Harrison) had considered offering the song to Frank Sinatra.[2] Harrison picked up several more songs in late 1968 while visiting Bob Dylan and The Band in Woodstock, New York. He and Dylan co-wrote "I'd Have You Anytime" and "Nowhere to Go" (also known as "When Everybody Comes to Town") at this time, and Dylan showed him "I Don't Want to Do It."[3] All three songs were attempted at some point in the sessions for All Things Must Pass, but only "I'd Have You Anytime" made the album.
The January 1969 "Get Back" sessions saw early appearances of several other songs that would be considered for
All Things Must Pass, including the title track,
"Hear Me Lord",
"Isn't It a Pity",
"Let It Down", and
"Window, Window",[4] but nothing came of them at the time. The tense atmosphere fueled another song, "Wah-Wah", which Harrison wrote in the wake of his temporary departure from the band.[5] He began writing "My Sweet Lord" while touring with Delaney & Bonnie in late 1969,[6] and would later utilise their backing group "Friends" as an important part of the All Things Must Pass sound. He made one last detour before beginning work on All Things Must Pass, visiting Dylan while the latter was starting sessions for New Morning in May 1970, learning "If Not For You" and participating in a now-bootlegged session.
Bob Dylan, a close friend of Harrison's, co-wrote "I'd Have You Anytime" with him, while Harrison covered Dylan's "If Not For You", which had been recently released on Dylan's New Morning album.
The album features the talents of Ringo Starr
Let It Down" Written and performed during the Get Back sessions 4:57
It's Johnny's Birthday" (Based upon "Congratulations" - Bill Martin/Phil Coulter) Recorded in August 1970 with Ringo Starr and presented to John Lennon on his 30th birthday
1973 Living in the Material World- Ringo Starr on drums
1974 Dark Horse- Ringo Starr on drums
"Love Comes to Everyone" – 4:36 Guitar intro played by Eric Clapton, who would go on to cover the song on his 2005 album Back Home. Song was performed live only once during Harrison's Japanese tour in December 1991
"Not Guilty" – 3:35 Originally written by Harrison for The Beatles in 1968 for inclusion on The Beatles album. It did not however appear on that album.
1981 Somewhere in England
All Those Years Ago" – 3:45 Harrison's tribute to John Lennon, featuring Ringo Starr on drums, as well as Paul and Linda McCartney and Denny Laine on backing vocals
@
Sentimental Journey (1970)
Beaucoups of Blues (1970)
It Don't Come Easy- producer George Harrison "co-wrote" the song
Back Off Boogaloo- Ringo wrote and composed the song himself and George Harrison produced it.
Ringo" (1973)
"Photograph" (George Harrison/Richard Starkey) – 3:56 Features George Harrison on guitar and harmony vocal #1
"I'm the Greatest" (John Lennon) – 3:21 Featuring Starr, John Lennon on piano and harmony vocal, George Harrison on guitar, Klaus Voormann on bass and Billy Preston on organ
"Sunshine Life For Me (Sail Away Raymond)" (George Harrison) – 2:45 George Harrison on guitar and backing vocals
"You're Sixteen" (Bob Sherman/Dick Sherman) – 2:48 Features Paul McCartney on mouth sax solo and Paul McCartney, Linda McCartney and Harry Nilsson on backing vocals
"Six O'Clock" (Paul McCartney) – 4:06 Features Paul McCartney on piano and synthesizer, as well as backing vocals with Linda McCartney and Klaus Voorman on bass guitar
"You and Me (Babe)" (George Harrison/Mal Evans) – 4:59 Features George Harrison on guitar, arranged by Jack Nitzche
"It Don't Come Easy" (Richard Starkey) - 3:02 Bonus track on the 1991 CD reissue, originally released as a single in 1971.
"You're Sixteen" #1
Goodnight Vienna (1974)
"(It's All Da-Da-Down To) Goodnight Vienna" (John Lennon) – 2:35 Featuring John Lennon on opening count-in and piano and Billy Preston on clavinet.
"All By Myself" (Vini Poncia/Richard Starkey) – 3:21 Featuring John Lennon on guitar
"Only You (And You Alone)" (Buck Ram/Ande Rand) – 3:26 Featuring John Lennon on guitar, Steve Cropper on guitar, Billy Preston on electric piano and Harry Nilsson on backing vocals.
"Goodnight Vienna (Reprise)" (John Lennon) – 1:20 Featuring John Lennon's intro, 'OK, with gusto, boys, with gusto!'
"No No Song"/"Snookeroo" #3
Ringo's Rotogravure (1976)
"Pure Gold" (Paul McCartney) – 3:14 features background vocals by Paul and Linda McCartney
"Cookin' (In the Kitchen Of Love)" (John Lennon) – 3:41 features John Lennon on piano, Dr. John on guitar and organ and Melissa Manchester on backing vocals
"I'll Still Love You" (George Harrison) – 2:57
"This Be Called A Song" (Eric Clapton) – 3:14 features Eric Clapton on guitar and background vocals by Melissa Manchester
Stop and Smell the Roses (1981)
"Private Property" (Paul McCartney) – 2:44 Produced by Paul McCartney - features Paul McCartney on bass and piano, as well as backing vocals with Linda McCartney, Laurence Juber on guitar, Howie Casey on saxophone, and Lloyd Green on pedal steel guitar
"Wrack My Brain" (George Harrison) – 2:21 Produced by George Harrison - features George Harrison on guitar and backing vocals and Ray Cooper on piano, percussion and backing vocals, Herbie Flowers on bass and tuba, Al Kooper on piano and guitar
"Attention" (Paul McCartney) – 3:20 Produced by Paul McCartney - features Paul McCartney on bass and piano, as well as backing vocals with Linda McCartney
노무현 참여정부가 5년 동안 국민을 위하여 일한 수 많은 노력을 색안경을 벗고 노무현 대통령을 다시 평가해 주었으면 해서 작성하였습니다. 시골에서 오리농사를 짓고 있던 한 촌부를 둘러싸고 있는 오해와 고정관념, 그리고 잘못된 인식을 국민 모두는 아니지만 네티즌만이라도 객관적 사실을 바탕으로 벗어 던졌으면 합니다. 노무현 정말 열심히 일했습니다.
노무현 경제에 대한 외국의 평가
1.
“한국은 세계적 수준의 테크놀로지와 자동차, 제철, 조선기업 등의 본고장”
(미국 TIME지 아시아판: 05-11-14)
2.
"한국을 배워라 - 그들은 대국이 될 것이다"
이태리의 유력일간지 <꼬리에레 델라 세라 (2007년 2월26)>
3.
"한국은 SF가 현실이 돼가는 곳" "미국에서는 수년 뒤에나 소개될만 한
첨단 기술을 한국인들은 이미 실생활에서 사용하고 있다"
4.
아시아는 이미 한류에 젖은 지 오래다.
무엇보다도 일본·타이완과 태국에서는 청소년들이
한국 대중가요, 한국 연속극, 한국 배우들과 만화에 열광하고 있다.
-독일 프랑크푸르트 알게마이네 차이퉁 (2005-10-19, 사설)
교육면에서도 한국은 이미 다른 나라들의 부러움을 사고 있으니, 한국 학생들은 자녀들이 최고의 성적을 낼 수 있도록 열성적으로 지원하는 부모들 덕분에 피자(PISA)테스트 : OECD 국가 중심 전세계 고교생 학력 테스트에서도 수위를 차지하고 있다.
-독일 프랑크푸르트 알게마이네 차이퉁 (2005-10-19, 사설)
5.
한국은 1인당 GDP가 2030년 독일을 넘어서고, 2035년에는
일본을 넘어서고 2050년에는 미국 다음이 될 것이다 - 미국의 <골드만 삭스>
(<도깨비뉴스>: 2005년 5월1일)
6.
"한국은 네트워크로 연결된 하이테크 국가"
"한국만큼 미래 경제를 새로운 정보기술(IT) 산업과 밀접하게 결부시키고 있는 나라는 없다"
(독일 시사주간지 <슈피겔>: 2006. 4.24)
7.
"韓 1인당 소득.. 2050년 美 이어 세계 2위" - 미국의 골드만 삭스
(연합뉴스: 2007-03-29)
8.
'한국은 IT 세계챔피언' 세계 언론 앞다퉈 소개
르몽드 특집..."IT 코리아 뒤엔 한국정부 열정있다"
(연합뉴스: 2006-07-09)
9.
“한국, IT · 혁신 · 한류로 일본을 앞지르는 중”
(프랑스의 <르몽드: 2006년 6월 5일>)
10.
“인터넷강국 한국에 로봇시대 온다”(In a Wired South Korea,
Robots Will Feel Right at Home). “2010년 '1가정 1로봇'” (NYTIMES지)
11.
"여기에도 한국, 저기에도 한국, 어딜가나 한국(Coree ici, Coree la, Coree partout)"
세계 10위의 경제대국인 한국의 스위스 수출은 지난해 20%가
늘어나 유럽 국가 중에서 가장 높은 증가율을 보였다고 말했다.
(스위스의 『르 탕』지: 2006-4-21)
12.
'미국이라는 제국이 몰락하고
한국이 세계 11대 강국이자 아시아 최대의 경제국으로 부상한다'
-미래예측학자이자, 프랑스의 석학 자크 아탈리 (YTN: 2007-04-15 )
13. "한국은 시대를 따라가는 나라일 뿐만 아니라 미래를 창조하는 나라"
"한국은 세계적인 수준의 테크놀로지, 자동차, 제철, 조선기업들의 본고장이다.
한국은 이제 초고속열차와 컴퓨터로 통제되는 김치 냉장고의 나라가 되었다"
미국의 <타임> 아시아판 (05.11.14)
14.
獨 언론, "한국 기업들 질주 무섭다"
"2004년 한국의 531개 상장기업들은 평균 2배의 수익을 올렸다.
이러한 성장 다이나믹은 늙은 유럽으로서는 꿈을 꿀 수밖에 없는 것이다"
-독일의 (노컷뉴스: 2005-4-9)
15.
"미국인구의 6분의 1에 그치는 인구를 가진 한국에서
배출되는 기술 인력이 미국과 맞먹는 상황"
(뉴스위크는 2006 10대 이슈 특집에서)
16.
˝한국, 구매력 기준 국민소득 10년내 일본 추월˝-영국 바클레이즈증권 발표
(연합뉴스: 2002-07-04)
17.
"한국은 최근 IT분야에서 막강한 신기술을 보유한 하이테크
이미지를 구축해 가고 있다" -킴 루오또넨 주한 핀란드 대사
(머니투데이: 2005-12-07)
18.
‘앞으로의 세계는 IT와 BT가 이끌어갈 텐데
전 세계적으로 이것을 가장 잘 할 민족이 바로 한민족’-엘빈 토플러 (미국의 미래학자)
(데일리서프라이즈: 2005-10-08)
해외 유력 신문인 인터네셔널 헤럴드 트리뷴이
"역사는 2월 퇴임하는 노무현 대통령에게 존경을 안겨줄 것"이라고 논평하였다.
Shuffled off to history, veneration of Roh Moo Hyun will follow
'역사의 뒤안길로 들어갈 노무현 대통령에게 존경 따를 것'
By Howard W. French Published: December 28, 2007
In recent years, South Korea, the prosperous, democratic half of a country once known as the Hermit Kingdom, has provided us with as good a reminder of this as anyone. When Roh Moo Hyun was elected president in 2002, few would have predicted that the ballot choices of his country's 35 million registered voters would have played a determining role in international affairs over the next several years. And yet that is exactly what transpired.
Roh is leaving office as a deeply unpopular leader, a man lampooned as ineffectual, undisciplined and, for some, even mischievous. Seen narrowly, such a reputation would suggest the slimmest of legacies.
At least one thing that Roh believed in deeply will prove to have mattered greatly and will very likely stand the test of time, however, lending unexpected importance to his role and to the role of his country well into the future.
The South Korean leader was strongly attached to the idea of rapprochement with the estranged northern half of his country. In the end, this meant holding his ground under the most trying of circumstances, including a gale of hostile language directed at Stalinist North Korea from Seoul's most important ally, the United States, whose president, George W. Bush, branded it a member of the "axis of evil."
Few Americans outside of the small community of specialists in East Asian affairs have any sense of the role played by Roh. Indeed, exasperated with Roh over other issues, South Koreans appear not to give him much credit, either.
What we do know now, however, is that the Bush administration spent the new few years, following the famous 2002 State of the Union speech in which he first pronounced the words "axis of evil," fighting a war in one of the constituent countries, Iraq, and steadily ratcheting up pressure on another, Iran.
For a time, tensions rose strongly with the third country, North Korea, too, especially after its leader, Kim Jong Il, expelled international atomic inspectors and exploded a nuclear device. Pyongyang's nuclear breakout surely helps explain why the United States has not chosen a more confrontational approach, as it did with the other so-called axis members, but one could argue that the behavior of the supposedly feckless Roh was equally important.
Under the circumstances, avoiding conflict and enhancing engagement required a huge dose of determination and considerable diplomatic skill. At times, Washington was furious at what it perceived as Seoul's appeasement of the North, so much so that people in both countries worried about irreparable damage to the alliance.
At considerable cost to his popularity back home, Roh, who was elected 11 months after the "axis" speech, bought diplomatic maneuvering space for himself, if not outright credibility in Washington, by becoming an early joiner of the "coalition of the willing" and sending troops to Iraq.
It is, of course, impossible to know what might have happened had South Koreans elected a more hawkish leader, or simply a more compliant one. It is not far fetched to imagine, however, that the Bush administration could have taken a more confrontational approach toward North Korea than the path it ultimately settled upon.
What is certain, however, is that with an elected leader in South Korea insisting that his country would oppose any military solution to the North Korean crisis, Washington had few practical options other than to gradually reconcile itself to diplomacy.
North Korea profited from the interlude of saber-rattling to strengthen its negotiating hand, and in the end it was negotiations that eventually produced a rare diplomatic understanding between Washington and Pyongyang about nuclear proliferation and eventual normalization of relations.
South Korea has just elected a new leader, Lee Myung Bak, and it is far too soon to say what sort of impact he might have on this region's complicated diplomatic geometry.
For his part, Roh will soon shuffle off into history, reviled, belatedly celebrated, or perhaps simply largely ignored. And yet his was the kind of example that we must start being more accustomed to: the leader of a peripheral, medium-sized state having an outsized impact on the shape of our world.
[해석]
역사의 뒤안길로 들어갈 노무현 대통령, 존경받을 것
(Shuffled off to history, veneration of Roh Moo Hyun will follow / 미국 International Herald Tribune 인터넷판, 12.28, Howard W. French, 상하이發)
언제쯤 한 국가의 선거가 유권자 본인에게 더 이상 중요치 않은 사안이 될까?
미국의 선거장정이 막을 올리기 직전, 미국인들은 위의 질문을 자문해볼 법도 하다. 무엇보다 세계 각 지역 사람들은 여러 해 동안-물론 선거권은 없지만-미국의 정치를 따르는 것이 습관처럼 되어버렸고, 미국의 선택이 전 세계 모든 사람들의 삶에 엄청난 영향을 미친다는 것은 더더욱 잘 알고 있다.
미국주도의 이라크 전쟁과 對테러 전쟁이 국제정치무대의 대부분을 차지하고 있으며 미국의 무역 및 재정적자가 글로벌 시장을 좌우하는 시대에, 이와 관련된 예시들은 선뜻 생각나게 마련이다.
그러나 강력한 의제를 만들어 내기 위해, 세계 유일의 초강대국이 될 필요는 없다. 다수 전문가들은 그 초강대국마저도 상대적 세력이 퇴조하고 있다고 믿고 있기는 하지만 말이다. 또한, 국제문제의 조류에 큰 영향을 행사하기 위해 굳이 중국처럼 빠르게 떠오르는 강대국이 될 필요도, 러시아처럼 외견상 재기하는 국가가 될 필요도 없다.
우리는 상호 맞물린 세계에 대한 이미지 자체가 진부하게 여겨질 만큼 그런 세계에 관해 논하는 것에 익숙해졌다. 그러나 양극을 중심으로 만들어진 대칭적 질서와 불분명하기는 하나 더욱 복잡해질 것이 분명한 미래를 사이에 둔 과도기적 순간에, 중요한 정책들이 공백상태에서 결정되는 일이 좀처럼 없다는 것만은 사실이다.
한때 은둔의 왕국으로 알려지기도 했던 한반도의 한쪽 절반인 풍요로운 민주국가 한국은, 지난 몇 년간 우리에게 그것을 누구보다도 잘 상기시켜주었다. 노무현 대통령이 2002년 대통령으로 당선됐을 때, 3천5백만 유권자들의 선택이 향후 몇 년간 국제문제에 결정적인 역할을 할 것이라고 예상한 사람은 거의 없었을 것이다. 그런데 정확하게 그런 일이 일어났다.
노 대통령은 무력하고 규율도 모르며 언행이 방정치 못한 사람으로까지 풍자되며 국민들의 지지를 얻지 못한 지도자로서 퇴임하게 된다. 이러한 평판을 편협한 시각으로 본다면, 노 대통령이 남긴 유산이 지극히 적다고 미루어 짐작할 수도 있을 것이다.
그러나 적어도 노 대통령의 신념 한 가지는 대단히 중요했다는 것이 입증될 것이며 분명 시간의 시험을 견뎌낼 것이고, 앞으로 먼 미래에 이르기까지 노 대통령과 한국의 역할에 기대치 않았던 중요성을 부여하게 될 것이다.
한국의 지도자 노 대통령은 소원해진 북한과의 화해노선을 강력하게 고수했다. 결과적으로 이것은, 한국의 맹방인 미국이 독재국가 북한에게 대놓고 적대적 발언을 쏟아내는 등 극도로 지치는 상황에서 자신의 기조를 유지하는 것을 뜻했다. 미국의 부시 대통령은 북한을 “악의 축”으로 규정한 바 있다.
소수 동아시아 문제 전문가들을 제외하면, 노 대통령이 했던 역할이 무엇인지 인식하는 미국인들은 거의 없을 것이다. 실제로 (북한을 제외한) 다른 문제들로 노 대통령에게 격분해 있는 한국인들 역시 그를 신뢰하지는 않는 것 같다.
그러나 우리가 현재 알고 있는 것은 부시가 “악의 축”이라는 단어를 처음 사용했던 저 유명한 2002년 국정연설 이후 몇 년간을, 악의 축의 일부인 이라크와 전쟁을 하면서 그리고 악의 축의 또 다른 일부인 이란에 대한 압력의 수위를 꾸준히 높이면서 세월을 보냈다는 점이다.
북한 지도자 김정일이 국제 핵 사찰단을 추방하고 핵무기를 실험한 뒤로, 한동안 북한과의 긴장이 크게 고조되기도 했다. 북한의 핵 돌파구는, 미국이 다른 “악의 축”들을 대하는 것과는 달리, 왜 북한에 대해서는 대결적 접근을 지양하게 됐는지 그 이유를 설명하는데 분명 도움이 된다. 일각에서는 무능하다고 했던 노 대통령의 태도도 마찬가지로 주요했다고 주장할 수도 있을 것이다.
이러한 상황에서 갈등을 피하고 포용을 강화하는 것은 엄청난 결단과 상당한 외교적 수완이 요구됐다. 이따금씩 미국이 한국의 대북 유화정책에 격분한 나머지, 양국 국민들마저 동맹관계가 돌이킬 수 없는 해를 입지는 않을까 우려했다.
“악의 축” 발언이 나온 지 11달 후에 선출된 노 대통령은, 고국에서의 지지율에 상당한 타격을 입으면서, 미국에 대한 절대적인 신뢰는 아니더라도, 유지동맹(有珍盟)에 동참하고 이라크에 군을 파병함으로써 외교적인 여지를 얻어냈다.
물론, 한국인들이 더욱 호전적인 지도자 혹은 더욱 고분고분한 지도자를 선택했다면 어땠을지 알 수는 없다. 그러나 부시 행정부가 북한에 대해, 이미 닦아놓은 노선보다 더욱 대결적 접근을 할 수도 있었다는 상상을 해보는 것이 그다지 억지스러운 일은 아니다.
그러나 한국에서 북한 위기에 대한 군사적 해결을 반대하겠노라 고집하는 지도자가 선출된 이상, 미국은 점차 외교적으로 타협을 보는 수밖에 달리 현실적인 방도가 없었다는 점은 분명하다.
북한은 협상입지를 강화하기 위해 무력을 행사하겠다는 위협으로 막간을 두어 득을 보았고, 미국과 북한 간에 핵확산과 관계정상화에 관한 외교적 이해를 이끌어낸 것은 결국 협상이었다.
한국은 이제 막 새로운 지도자 이명박을 선출했으며 이 당선자가 복잡한 역내 외교구도에 어떤 영향을 미칠지 말하기는 시기상조다.
노 대통령으로 말하자면, 곧 역사의 뒤안길로 들어가 매도되고 뒤늦게 축하를 받든지, 아니면 그저 묻혀버릴지도 모르겠다. 그러나 그는 우리가 더욱 익숙해져야할 선례였다. 세계의 판세에 큰 영향을 미친, 고만고만한 주변국가(peripheral, medium-sized state)의 지도라라는 점에서 말이다. (언)
저는 이 사진을 매우 좋아합니다. 두 분의 눈높이를 한번 보세요. 노인의 순한 눈빛과 그의 노인에 대한 공경의 눈빛이 마주하고 있습니다. 더불어 노인과 그의 악수는 다사다난했던 한 시대를 살아온 두 촌부의 공감을 보여주는 것 같습니다. 전체적으로 이 나라에서 낮은 위치라 여겨지는 서민과 가장 높은 위치에 있던 이의 장벽없는 모습에 괜히 흐믓해집니다. 그래서 전 이 사진을 좋아합니다.
... from the Ed Sullivan show (Aug 14, 1965) (14.2 MB, mpeg, b&w) The Beatles taped 6 songs for the September 12 Ed Sullivan Show, including this performance of Help! in which John messes up the lyrics.
... at Twickenham film studios, London (Nov 23, 1965) (22.5 MB, mpeg, b&w) This one is that third promo filmed of I Feel Fine in which The Beatles were on the set of the first promo eating newspaper wrapped fish and chips.
... at Twickenham film studios, London (Nov 23, 1965) (7.27 MB, mpeg, b&w) Two versions were mimed for TV shows. This one has John, Paul and George wearing turtlenecks while Ringo rides an exercise bike. The other has clips of The Beatles backstage and in dressing rooms. A third promo was filmed of The Beatles on the set of the first promo eating newspaper wrapped fish and chips.
... at Twickenham film studios, London (Nov 23, 1965) (8.89 MB, mpeg, b&w) For this one The Beatles were in turtleneck sweaters and overcoats and mimed playing. Ringo stood behind, disinterested in miming his drumming with just sticks. The backdrop was a train ticket blowup. An orchestral version is barely audible in the fadeout at the very end of newer CD issues of the Pink Floyd album The Dark Side of the Moon. Probably a mistake in remastering: coincidentally both groups were well-known patrons of Abbey Road Studios.
... at Twickenham film studios, London (Nov 23, 1965) (3.99 MB, wmv, b&w) A combination of three different takes: 1) wearing their Shea Stadium jackets and turtlenecks. Train and plane facades are in the background and foreground and Ringo saws out part of a train window; 2) in suits and ties, on a construction site and 3) similar to the second one except for Ringo's actions. They are dressed in suits and ties and mime the song in their standard performance look.
... at Twickenham film studios, London (Nov 23, 1965) (3.74 MB, wmv, b&w) This clip is a combination of four different versions they made: 1) wearing turtlenecks and jackets, John playing the organ and making faces and whistling at the camera, Ringo looking completely bored and never smiled and George sitting down half way through on the drum stand; 2) wearing their Shea Stadium outfits; 3) in suits and ties and 4) that is almost the same as the 3rd except for the opening with a still of John with a sunflower over his eye.
... at Twickenham film studios, London (Nov 23, 1965) (7.62 MB, mpeg, b&w) That day The Beatles mimed some versions of some of their last songs for TV shows such as U.S.'s "Hullabaloo", BBC's "Top Of The Pops" and "Thank Your Lucky Stars". This version of Help! has The Beatles sitting on a sawhorse, all holding instruments except Ringo who holds an umbrella to shield them from 'snow', which was actually confetti. They wear turtlenecks and jackets.
... at different locations while filming Help! (Spring 1965) (31.4 MB, wmv, colour) This footage shows The Beatles at several exotic foreign locations (the Bahamas, Switzerland) while they were filming Help!. They can be seen with the crew and Richard Lester, among others. Afterwards they were hesitant to begin another film project, and indeed Help! was their last full-length scripted theatrical film.
... at Twickenham film studios, London (April 22, 1965) (22.9 MB, mpeg, b&w) Among the film's original working titles were 'Beatles Phase II' and, what would have been Walter Shenson's suggested title, 'Eight Arms To Hold You'. The Beatles said the film was inspired by the Marx Brothers' classic Duck Soup; it was also directly satirical of the James Bond series of films. The Beatles did not particularly enjoy the filming of the movie, nor were they overly pleased with the end product. John said in 1970 they felt "like extras in their own movie".
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... from the Yellow Submarine film (July 17, 1968) (2.32 MB, wmv, colour) It was recorded during sessions for the single Lady Madonna, and one of the few Beatles song to revolve around a piano riff. During the recording, Paul started to bark without warning. The next lines (initially intended as "Hey Bullfrog") were changed mid-song to "Hey Bulldog". This served as the song's title. The song itself was recorded for the Yellow Submarine film, but initially appeared only in European theatrical prints. It was restored for a 1999 re-release.
... at Balmoral Island & Cabbage Beach (Feb 1965) (1.55 MB, wmv, colour) The Beatles filmed on Balmoral Island in the Bahamas miming to Another Girl and on Cabbage Beach on Paradise Island the next day. Ringo commented in The Beatles Anthology that they were in The Bahamas for the hot weather scenes and it was rather cold. The track was recorded on February 15, 1965, with the guitar outro overdubbed on February 16. It is worth noting that this is the first Beatles song in which McCartney played lead guitar, in addition to his usual bass.
... at Geliebtes Leben (May 3, 1965) (1.83 MB, wmv, colour) This is the second George Harrison song The Beatles recorded (on February 15 and February 16, 1965) and released, after a two album-long hiatus from the songwriter. The song is a simple, melancholy number, with a unique guitar sound achieved by Harrison's first recorded use of a tone pedal. The confessional lyrics are commonly thought to be about Harrison's relationship with Pattie Boyd, whom he had met in March 1964 while filming A Hard Day's Night.
... in Obertauern, Austrian Alps (March 15-20, 1965) (2.32 MB, wmv, color) The actual inspiration of the song is cloudy: John passing his driving test? a girl walking out of his life? a train ticket to Ryde? a special ticket given to prostitutes in Hamburg that showed they had a clean bill of health? ... The lead guitar breaks are by Paul (the first time he played lead guitar on a Beatles record -though it is believed that he played the guitar solo in the outro on Another Girl). After the breakup, Lennon proudly claimed that it was the first heavy metal song of all time; given the droning bassline, repeating drums, and loaded guitar lines.
... from the Help! film (March 1965) (1.63 MB, wmv, colour) In the film, at the opening of the song, the head of the 'Indian cult', Leo McKern, appears from a manhole cover in the middle of Ailsa Avenue, London, where parts of the film were shot. He stays there for the whole song, which The Beatles play in John Lennon's flat. They are watched by 'Ahme', played by Eleanor Bron, and at the end of the song, George passes out after Ahme produces a giant needle for Ringo, who is wearing the ring the cult want.
... at Twickenham film studios, London (April 30, 1965) (1.75 MB, wmv, colour) Most of the time of that day was spent filming the You're Going To Lose That Girl 'recording session': The Beatles appeared singing it in the recording studio, for the film. It can be considered as part 2 of She Loves You. Both feature the singer giving a friend advice about a particular girl, however, this theme is taken one step further. Instead of friendly advice, the song is clearly a threat: if the friend in question does not take care of his girl, the singer most certainly will.
... at Twickenham film studios, London (April 22, 1965) (1.81 MB, wmv, colour) Lennon wrote the lyrics (April 4th) to express his stress coming from the quick rise to a massive level of success for The Beatles. Since Lennon's feelings of insecurity were incongruous with the band's image of confidence, Lennon felt it was nearly impossible for the fans to understand the origin of the song. In 1970, Lennon said that because of its honesty it was one of his favorites among the songs he wrote, but he wished they had recorded it at a slower tempo.
... at Candlestick Park, San Francisco (Aug 29, 1966) (25.0 MB, zipped files) Today is the 40th anniversary of The Beatles' last public 'paid' performance and the 47th of George's first appearance with The Quarrymen. The concert recordings were made on a cassette recorder because of a request by Paul. Long Tall Sally was their last song and it is curious because they were closing everywhere else with Paul's I'm Down. According to the author Wiener they supposedly started In My Life, then stopped and left the stage (see comments).
... at Scala Theatre, London (March 31, 1964) (1.97 MB, wmv, b&w) The Beatles were filmed miming their songs for the film. Phil Collins was in the audience. They were inspired to write She Loves You after a concert at the Majestic Ballroom in Newcastle and it was one of the five Beatles' songs which held the top five positions in the American charts,
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