Guest Post (My son’s College Essay about The Beatles) SbS 05.21.25 Newsletter 27 Are you one of the beautiful people?/Is my name on the list?

Music Question: Beatles: under/over/perfectly rated? Next: My weekly new music radio show. Weeks 993 and 994. Musical thoughts: Bruce Springsteen “Deliver Me From Nowhere” gets release date.

Another guest post with another quick look at “my life with music” too. Also I forgot to add NEXT last week so I’m adding that one too. 

My son's final college essay topic was simply “Genre.” I expected him to write about history, maps, or video games - his usual passions. But he surprised me by making a bold case about The Beatles. I’ll let him explain. He did get top marks on the paper. Yes, the “A” is nice and I’m just proud. So I asked if I could post it and share it with Shaped By Sound. Thank you in advance for reading. And feel free to add your comments. Or don’t.

Zack’s essay: 

A Day In The Life 

What is a genre-defining piece of media? How could one even make that determination? It’s impossible to nail down exactly who ‘invented’ a genre since all ideas are built off previously established ones. I’d argue that the level of attention brought to media that follows a genre can make it genre-defining. If enough people recognize repeated patterns and agree that they’re there it becomes a genre. Anything that can do that within a short period is genre-defining. 

No one deserves the title of genre-defining more than the Beatles. John, Paul, George and Ringo from Liverpool changed the music scene in too many ways to count. They’ve been releasing music for 65 years; together as a band from 1960 to 1970 and continuing to release music separately until John Lennon’s assassination in 1980 and George Harrison’s death in 2001. Ringo Starr and Paul McCartney still release music even now, into their 80s. They’ve greatly impacted already existing genres like rock and roll and pop. They also pioneered entirely new genres such as John’s absurdism, Paul’s heavy metal and George’s raga rock. I want to look at some songs that I feel had a great impact: “Helter Skelter”, “Revolution 9” and “Within You Without You”. 

“Helter Skelter” is the 6^th song on Disc 2 of the Beatle’s White Album. The album’s cover itself speaks to the bands’ unrivaled fame. No other band could release a fully blank cover and have it sell. The only thing that made it appealing is “The BEATLES” towards the bottom right corner in small black print. After his work on Sgt. Pepper’s Lonely Hearts Club Band, McCartney was criticized for writing too much ‘Granny Music’, which were lovey-dovey and whimsical songs that the rest of the band hated, such as “When I’m Sixty-Four”. “Helter Skelter” was the antithesis to Granny Music. Dark and violent, yet still catchy. John played bass guitar on “Helter Skelter”, something he only did on a handful of other songs. The first take was 24 minutes long, leading to Ringo’s iconic line “I’ve got blisters on my fingers!”. Paul somehow captured the heavy metal genre of the 80s in 1968.

Later in the album is “Revolution 9”, the 12^th song on Disc 2. It’s the penultimate song of the White Album. Many first-time listeners will assume it to be continuation of “Revolution 1”, which was only 3 songs earlier on the album. This song is more akin to an experience than a proper song and is one of the first examples of absurdism in mainstream music thanks chiefly due to Lennon’s relationship Yoko Ono. It starts quietly with John repeating “Number 9” over and over, with his voice traveling between your left and right headphones. It’s almost hypnotic. Clips of orchestra music play, people talk near but not clear, and other sounds are distorted in such a way that makes you question not only what you’re listening to but if you’re even listening to music at all. You’ll hear laughter comes in and leaves just as quickly. Babies cooing. Random dialogue. Crowds chanting political slogans. And an ever repeating “Number 9” that ties it all together. After you’d thought the song had ended, Yoko comes in and talks about nakedness. It speaks to the new artist in all of us, not unlike hearing a child playing a keyboard for the very first time: they mess with the tempo, see what two keys sound like together, and play every single note at the same time. It’s not always pleasant, but it’s real. Lennon is throwing everything at us without shame and seeing what sticks.  

I love it because you can assign your own meaning. What do John’s screams of “Wait!” that eventually fade into robotic sputtering mean? What does onion soup have to do with industrial outcome, the twist, or El Dorado? In a classic absurdist sense, he invites you to create your own meaning. 

In the hippie mindset of the mid 60s, the Beatles were taking such large amounts of LSD and other drugs, to the point that it effected their ability to perform music. While this led to great songs like “Tomorrow Never Knows”, “Lucy In Sky With Diamonds” and virtually every song on their Magically Mystery Tour album, band manager Brian Epstein demanded relative sobriety. He decreed they would go on a trip to Rishikesh, India to meet Maharishi Mahesh Yogi to undertake a new form of silent mediation called transcendental meditation. This trip was eye-opening for Harrison, giving him a lifelong affinity for Hinduism, Hare Krishna and other Dharmic religions. An often-overlooked Beatle, he was usually only given one slot per album despite having a lot of ideas. Perhaps he was thinking of all this while writing “Within You Without You” for Sgt. Pepper’s.  

“Within You Without You” was George Harrison’s first foray of blending Indian spiritualism into his music, and some even see it to be Harrison’s interpretation of Hindu philosophy. The deeply spiritual song has a rhythm that urges you to remember everything will be okay in the end. The flowing of the word makes one feel deep peace and Harrison asks you “Try to realize it’s all within yourself, no one else can make you change. And to see you’re only really very small, and life flows on within you, and without you.”. We’re encouraged to see beyond ourselves and understand we are all one, no matter what you do. This mixing of Indian sitars with rock aspects would later be called Raga Rock. It led to many westerners first interaction with Indian-inspired music and led to a short boom of British Indian musicians.  

These are not the only examples. The Beatles refined the art of bleeding songs into one another, as seen in “Back In The U.S.S.R.”  into “Dear Prudence”. They invented new ways of audio processing with “Strawberry Fields Forever” and the accompanying promotional film is viewed as one of the first music videos. Many of their songs ended several times just to come back for more. They took the works of great musicians who came before them, sometimes even eclipsing them. They wrote some of the most recognizable songs of all time. The reason so many people dislike the Beatles so much is that they can correctly identify the genres being used, but due to being exposed to so many other contemporary songs that copy those genres, they miss the importance. They invented the boy band. Most bands would be euphoric to achieve even a fraction of the success the Beatles did. Many have often said that the Beatles are overrated. The contrarian in me disagrees. The Beatles are underrated. 

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Chris: A Three-Part Thank You to my son Zack 

Thank you for sharing what you wrote. Thank you for letting me share what you wrote. And thank you for consistently being a kind and glorious person  

Now back to digging up more musical ghosts.  

P.S. I’m proud of you 

P.P.S. I'll stop now.  

P.P.P.S. Maybe.  

P.P.P.P.S. Last one for real - thank you.  

P.P.P.P.P.S. Okay now I'm done 

P.P.P.P.P.P.S. Love you bye.  

P.P.P.P.P.P.P.S Okay walking away now  

Now - a wee bit of My Life With Music

A Musical Inheritance: Country Radio, Trucker Anthems, and the Ghost of Elvis

Music in our house wasn’t something you chose—it was something that happened to you. Like weather. Or whatever the MD decided to play or was paid to pay. Their musical diet consisted solely of whatever crackled through the static of our radio’s tinny speakers. Albums? Cassettes? Too permanent? Too much? Or not worth it?  This was a world of fleeting signals—songs that appeared like thunderstorms and vanished just as fast.

A wee bit of that Soundtrack: Eddie Rabbitt and his “rain songs”. "I Love a Rainy Night" and “Driving my Life Away”. These lyrics pop into my brain quite often: Those windshield wipers slappin' out a tempo/Keepin' perfect rhythm with the song on the radio. I guess don't mess with a winning streak. This one will never be forgotten. C.W. McCall’s "Convoy": My dad’s secular hymn. The CB radio chatter, the diesel thunder—this was The Odyssey with eighteen wheels. Nothing cooler than "Pig Pen, this here’s the Rubber Duck! And I’m about to put the hammer down!". ("Mercy sakes alive, looks like we got us a convoy...") Which certainly bleeds into Jerry Reed “East Bound and Down”. We do have a long way to go…and a short time to get there.

Man, I remember Juice Newton’s "Queen of Hearts" playing all the time. Yes radio I get it. This played so often - I thought it was a family member. Elvis! No pause was his answer to THE question "Beatles or Stones?" when I asked him one night. Janis Joplin’s rasp was another of Papa's favorites. I remember her voice slithering through the house like a whiskey stain.

Somewhere in the mix was Charlie Daniels’ "The Devil Went Down to Georgia"—that fiddle duel hitting our speakers like lightning. One of my first radio events was hosting Charlie Daniels at a shopping mall outside of Atlanta. Full circle!

This wasn’t curated music (by my parents). It was music as background radiation—songs that seeped into your bones because they were always there, like the hum of the refrigerator or the sound of gravel under tires. No skips, no deep cuts, just the relentless now of radio. And yet—"Convoy" taught me narrative economy. Those Eddie Rabbitt raindrops taught me hooks. Elvis taught me that rebellion could wear a sneer and a pompadour.

The Inheritance: I’d later rebel with rock and grunge and indie rock and jazz records, cassettes, and CDs (And then MP3s - holy balls that’s too much buying the same albums over and over in different formats). The ghost of our home radio still hums in my ears. Sometimes, when it rains, I catch myself waiting for the wiper beat to kick in.

Your Turn: What’s the song that unwillingly soundtracks your childhood?

We have a simple goal: Find you a NEXT, new favorite sonng—whether you're dancing alone in your room or just vibing out. Today’s lineup is packed with indie gems, soulful grooves, and a few surprises. Let’s get into it! Week 994 

 This is Lorelei & MJ Lenderman – "Dancing in the Club". A dreamy, lo-fi anthem for anyone who’s ever swayed awkwardly in the corner of a party. It’s introspective, it’s relatable, and it’s pure magic.  

Common Saints – "Honey".  smooth, soulful groove that drips like golden syrup. If you need a track to soundtrack your late-night chill sessions, this is it.  

Royel Otis – "Moody". Indie-pop with a side of sass. Catchy hooks, laid-back vibes, and lyrics that hit a little too close to home. Play it loud and embrace your inner moodiness.  

Strange Neighbors – "You Got Love". A sun-soaked, feel-good bop. Perfect for those days when you need a little reminder that love—and great music—is all around.

Elbow – "Sober". A masterclass in atmospheric, heart-wrenching beauty. Guy Garvey’s voice could make a grocery list sound profound, and this? This is way better than a grocery list.

Major Spark – "The Other Side". A psychedelic trip through shimmering guitars and hazy vocals. Close your eyes and let it transport you somewhere far, far away.  

Illuminati Hotties – "777". Punk-pop perfection—short, sharp, and packed with attitude. For when you need to scream into your pillow but make it ~artistic~.

Motorbike – "Quite Nice". Exactly what it says on the tin—quite nice, quite catchy, and quite impossible not to nod along to. Indie gold.

The Number Ones – "Blind Spot". A jangly, bittersweet gem. For anyone who’s ever missed the obvious—whether in love or life.

Pearl Jam – "Future Days" (Live). A raw, emotional powerhouse. Eddie Vedder’s voice cracks in all the right places—this is rock ‘n’ roll with heart and soul. Plus live music is good for your soul.

I’m With Her – "Year After Year". Folk harmony at its finest. Three voices, one stunning track. For when you need a little warmth in your life.

The Kooks – "Talk About It". Indie-rock at its most infectious. Catchy, cheeky, and guaranteed to get stuck in your head—in the best way possible. 

Blondshell – "Change". Grunge-tinged, brutally honest, and utterly addictive. For anyone who’s ever faked a smile while screaming inside.

Arcade Fire – "Stuck In My Head". Closing out with a soaring, anthemic track that’ll lodge itself in your brain and refuse to leave. Play it loud and let it consume you.   

From dreamy indie to soul-stirring rock, we’ve covered it all.

Yes, I’m a dolt. I forgot last week’s show. Week 993

Foreign Love Language – "It’s Only Fun". First up - a shimmering indie-pop gem that’s equal parts sweet and bittersweet. Perfect for those late-night drives when you’re caught between nostalgia and moving on.

Caamp – "Mistakes". Folk-rock at its finest—raw, heartfelt, and impossible not to sing along to. If you’ve ever tripped over your own heart, this one’s your anthem.

Jade Bird – "Dreams". A fiery, foot-stomping reminder of why we fell in love with her. That voice? Pure dynamite. Play it loud and let it shake your soul.

R.E.M. – "Stilling Still" (Radio Free Europe 2025 EP). Your daily dose of jangle-punk resistance! Proceeds go to Radio Free Europe. Sure it’s a bit of a cheat and I'll take any excuse to play R.E.M. Crank it up!

Courting – "Pause At You". Post-punk with a smirk—sharp, witty, and relentlessly catchy. Like if Talking Heads crashed a modern indie party.

Freya Beer – "Cry Baby”. Dark, sultry, and dripping with attitude. Gothic pop at its finest—play this one under moody lighting for maximum effect.

Kaleo – "Run No More". A bluesy, soulful powerhouse. That voice? Like gravel and honey. Perfect for when you need to belt your heart out.

Lucius – "At The End Of The Day". The harmonies are chef’s kiss—this no exception. Ethereal, uplifting, and just what you need to remember: It’s gonna be okay.

9. Pearl Jam – "Present Tense" (Redux “The Last Of Us” EP). Eddie Vedder’s voice + apocalyptic vibes = chills. Every. Time.” Loved hearing it at the end of the last episode. Again any excuse to play PJ.  

Counting Crows – "Under the Aurora". Classic Adam Duritz—wistful, poetic, and full of that ‘90s magic we’ll never get over. Cue the sing-along.

The Head And The Heart – "Beg Steal Borrow".  Folk-rock with heart-on-sleeve honesty. For when you need a hug in song form.

Joseph Arthur – "Rise". A raw, acoustic gut-punch. Intimate lyrics, haunting delivery—this is the sound of resilience.

Renée Elise Goldsberry – "Staring". A Broadway-worthy power ballad. That voice could stop traffic. Prepare for goosebumps.

Lamont Landers – "Lotta Love". Closing out with a smooth, soulful, and impossible not to groove to. Like Al Green meets modern R&B. Pure vibes.

That’s a wrap, you beautiful heathens. We just dragged you through a sonic mosh pit of indie anthems, soul-shredders, and a few tracks that’ll haunt your ex’s dreams. Go forth and corrupt your eardrums recklessly - or don’t.

I'm genuinely excited for this film (maybe). Especially because it focuses on the Springsteen album I return to most. There's something about Nebraska's raw, haunted quality that keeps drawing me back. As Bruce himself said about the album: It was the sound of me alone in a room, chasing something dark and true.

The film is set against the creation of Springsteen's most bare, unflinching, gothic album. Bruce once described “Nebraska” as the quiet before the storm of “Born in the USA”. I like that.

20th Century Studios has announced an October 24 theatrical release for “Deliver Me From Nowhere”. The Bruce Springsteen biopic starring Jeremy Allen White. The film, adapting Warren Zanes' 2023 book, focuses on Springsteen's turbulent “Nebraska” era - when the superstar retreated to a New Jersey rental house to record the stark, lo-fi masterpiece that defied his growing fame.  

White stars as Springsteen alongside Jeremy Strong as manager Jon Landau. Johnny Cannizzaro as Steven Van Zandt. The project boasts Springsteen's personal involvement. The soundtrack features Brandi Carlile and Jason Isbell.  

White told CinemaCon attendees: I feel really lucky we all had Bruce's blessing…it's the story of a very particular moment in Bruce's life when he was trying to reconcile the pressure of success and the ghosts of his past.   

Thank you for reading/listening. 

Music is Life. Music is Magic. Live Music Is Good For Your Soul.

And remember if you love someone hug them right now.

And today's title comes from: Eels “Guest List” because well it feels good to be on the guest list. And yes I know this is a metaphor for love - not invited in. E is brilliant. 

Enjoy it all and Embrace The Suck