Can’t Buy Me Love was recorded on 29 January 1964 at EMI’s Pathe Marconi Studios in Paris, France, where The Beatles were performing 18 days of concerts at the Olympia Theatre. At this time, EMI’s West Germany branch, Odeon, insisted that the Beatles would not sell records in any significant numbers in Germany unless they were actually sung in the German language and the Beatles reluctantly agreed to re-record the vocals to She Loves You and I Want to Hold Your Hand prior to them being released in Germany.
While in Paris, The Beatles stayed at the five star George V hotel and had an upright piano moved into one of their suites so that song writing could continue. It was here that McCartney wrote Can’t Buy Me Love. The song was written under the pressure of the success achieved by “I Want to Hold Your Hand” which had just reached number one in America. When producer George Martin first heard Can’t Buy Me Love he felt the song needed changing: “I thought that we really needed a tag for the song’s ending, and a tag for the beginning; a kind of intro. So I took the first two lines of the chorus and changed the ending, and said ‘Let’s just have these lines, and by altering the second phrase we can get back into the verse pretty quickly.'” And they said, “That’s not a bad idea, we’ll do it that way”.
The song’s verse is a twelve bar blues in structure, a formula that the Beatles seldom applied to their own material.
When pressed by American journalists in 1966 to reveal the song’s “true” meaning, Paul McCartney stated that “I think you can put any interpretation you want on anything, but when someone suggests that Can’t Buy Me Love is about a prostitute, I draw the line.” He went on to say: “The idea behind it was that all these material possessions are all very well, but they won’t buy me what I really want.” However, he was to comment later: “It should have been Can Buy Me Love ” when reflecting on the perks that money and fame had brought him.
To watch Can’t Buy Me Love‘s music video, please take a gander at The Genealogy of Style‘s Facebook page:https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
“Chance is the one thing you can’t buy. You have to pay for it and you have to pay for it with your life, spending a lot of time, you pay for it with time, not the wasting of time but the spending of time.”
Bouquet of jonquils (Daffodil Bouquet), photo by Robert Doisneau, 1950
In 1950 Robert Doisneau created his most recognizable work for LIFE magazine: Le baiser de l’hôtel de ville (Kiss by the Hôtel de Ville), a photograph of a couple kissing in the busy streets of Paris, which became an internationally recognised symbol of young love in Paris. The identity of the couple remained a mystery until 1992.
Jean and Denise Lavergne erroneously believed themselves to be the couple in The Kiss, and when Robert and Annette Doisneau (his older daughter and also his assistant at the time) met them for lunch in the 1980s he “did not want to shatter their dream” so he said nothing. This resulted in them taking him to court for “taking their picture without their knowledge”, because under French law an individual owns the rights to their own likeness. The court action forced Doisneau to reveal that he posed the shot using Françoise Delbart and Jacques Carteaud, lovers whom he had just seen kissing, but had not photographed initially because of his natural reserve; he approached them and asked if they would repeat the kiss. He won the court case against the Lavergnes. Doisneau said in 1992, “I would never have dared to photograph people like that. Lovers kissing in the street, those couples are rarely legitimate.”
The couple in Le baiser were Françoise Delbart, 20, and Jacques Carteaud, 23, both aspiring actors. In 2005 Françoise Bornet (née Delbart) stated that, “He told us we were charming, and asked if we could kiss again for the camera. We didn’t mind. We were used to kissing. We were doing it all the time then, it was delicious. Monsieur Doisneau was adorable, very low key, very relaxed.” They posed at the Place de la Concorde, the Rue de Rivoli and finally the Hôtel de Ville. The photograph was published in the 12 June 1950, issue of LIFE. The relationship between Delbart and Carteaud only lasted for nine months. Delbart continued her acting career, but Carteaud gave up acting to become a wine producer.
In 1950 Françoise Bornet was given an original print of the photograph, bearing Doisneau’s signature and stamp, as part of the payment for her “work”. In April 2005 she sold the print at auction for €155,000 to an unidentified Swiss collector via the Paris auctioneers Artcurial Briest-Poulain-Le Fur.
“The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street.”
Robert Doisneau photographed by Abe Frajndlich
Self-portrait, London, 1972
Abe Frajndlich was born in 1946 to in Frankfurt. At the age of ten he moved to the United States via Israel, France and Brazil. His role model and mentor was photographer Minor White, from whom he learnt “the art of seeing”.
It is with “hungry eyes”, but also with a tenacity and patience only equaled by Penelope’s firm belief in the return of her husband Odysseus, that over the last 30 years Abe Frajndlich has taken portraits of his famous fellow photographers. A selection of over 100 pictures from the ever growing portrait collection has been published in book form for the first time under the title Penelope’s Hungry Eyes. It features grand old masters of the art and photographic artists, contemporaries of the author and younger masters from the Düsseldorf School.
Abe Frajndlich has succeeded in luring the world’s most famous photographers out from behind their cameras and in front of his. With extraordinary skill, he has trained his lens on people used to hiding their own eyes behind a camera. For each of his portraits (some in color, some black and white) Frajndlich has conceived an individual setup that brings into focus in diverse ways the photographer’s primary organ, namely their eyes, which are as special as the voice of talented singers. Some of the photographers shy away by closing their eyes, wearing a mask or turning away (Cindy Sherman, Annie Leibovitz, Thomas Struth or Hans Namuth). Others use props such as glasses, mirrors or magnifying glasses to set their eyes in scene (Bill Brandt, Duane Michals, Andreas Feininger, Lillian Bassman) and still others draw attention to the vulnerability of their eyes using knives and scissors (Imogen Cunningham, Lucas Samaras). Yet many of the subjects respond to the unfamiliar “change of perspective” by looking directly into Frajndlich’s camera (Candida Höfer, Berenice Abbott, Gordon Parks).
Abe Frajndlich has presented a Who’s Who of recent photographic history, enriched with a highly subtle eye for humorous situations. In images and text (the photographer has added a personal note to each portrait) Frajndlich sets out to discover the ever enigmatic relationship between the real person and their own legend.
Horst P. Horst