The Beatles’ “Blackbird” is often interpreted as a song of hope and resilience, frequently linked to the Civil Rights Movement. However, a less conventional story suggests a completely different muse for Paul McCartney’s iconic Black Bird Song: Diana Ross.
According to one account, dating back to 1968, Paul McCartney was at a party with Diana Ross during a tumultuous time for The Supremes. Ross was reportedly upset about the potential breakup of the famous group. The story goes that, drawing on the British English term “birds” for women, McCartney offered words of encouragement, suggesting Ross would thrive independently. This interaction, it’s claimed, sparked the lines “blackbird singing in the dead of night / Take these broken wings and learn to fly,” framing the black bird song as a message of empowerment for Ross to pursue a solo career.
While this version of the black bird song’s origin may sound unusual, the commenter who shared it admits to having read it in a book, though they no longer have the source for cross-reference. It’s a story that highlights the ever-evolving and sometimes contradictory narratives surrounding The Beatles’ songwriting.
Adding to the tapestry of Beatles anecdotes, the commenter recounts another story, this time involving John Lennon. In an incident captured on film, a fan broke into Lennon’s house, seeking the songwriter. When confronted, the fan explained he wanted to know if Lennon was writing songs specifically for him. Lennon, in his characteristic manner, demystified the songwriting process, stating his songs were generally about himself or people around him. Interestingly, when the fan mentioned “Hey Jude,” Lennon immediately attributed it to Paul, clarifying it was about Paul and could also be interpreted more broadly. Lennon’s welcoming reaction to the intruder, inviting him in for breakfast, paints a picture of the band’s down-to-earth nature despite their immense fame.
The commenter further speculates about Paul McCartney’s potential involvement in George Harrison’s “Something.” Referencing the “Concert for George,” the commenter points to McCartney’s ukulele performance of “Something” and a seemingly suggestive anecdote about playing ukuleles with George at his house. McCartney’s phrasing, “then I started to play this,” before launching into “Something,” is interpreted as a subtle hint of co-authorship. However, the commenter acknowledges the Beatles’ collaborative and generous spirit, suggesting that even if Paul contributed, he wouldn’t openly claim credit, respecting George’s artistry.
These alternative stories, while perhaps less widely known than mainstream interpretations, add intriguing layers to the understanding of Beatles songs like the black bird song “Blackbird.” They remind us that the origins of creative works can be multifaceted and subject to various interpretations, evolving over time through retellings and personal perspectives. Whether the black bird song was truly inspired by Diana Ross or rooted in the socio-political context of the 1960s, or even subtly co-written, these stories underscore the enduring fascination and mystique surrounding The Beatles and their timeless music.
