biggielixx

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We Got Married

I wrote this in the tags of a post a while ago and just found another lyrical connection I wanted to add

"it doesn't work out if you don't work at it"

PAUL: Yeah. I think we spurred each other into marriage. I mean, you know. They were very strong together, which left me out of the picture. So I got together with Linda and then we got strong with our own kind of thing. And I used to listen to a lot of what they said. I remember him saying to me, “You’ve got to work at marriage,” which is something I still remember as a bit of advice. I still remember that. Um… And then yeah, I think they were a little bit peeved that we got married first. Probably. In a little way, you know, just minor jealousies. And so they got married. I don’t know if that’s – I mean, who knows… [inaudible] making it up, anyway.

September, 1986 (MPL Communications, London): journalist Chris Salewicz

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John Lennon's Double Fantasy

Paul wrote to me from the Star Club in Hamburg once, a great letter, it even had doodles on the front of it, but it was stolen. He said that in one of the clubs one night John Lennon ended up with a stunning, exotic-looking woman—only to discover on closer inspection that she was a he, which all the other Beatles found hilarious.

I used to say to him, ‘I think you’re a closet fag, you know.’ Because after we started to live together, John would say to me, ‘Do you know why I like you? Because you look like a bloke in drag. You’re like a mate.’

Later that night I went to the men’s room, which I was still using sometimes rather than the ladies’, and as there was no one around I was standing at the mirror checking my make-up. I heard footsteps coming in, and I looked over and it was John Lennon. He walked right up to me and stared at me. I was dying inside. I managed to say ‘Oh, hi…’ he was smiling at me and looking at my outfit. This was during the period when he would do hardly anything without Yoko, even go to the bathroom, but here he was alone with me in the men’s room. To this day I wondered if he had followed me in. Apparently he was fascinated by transvestites; when he had been in Hamburg he had met quite a few of the girls. I think he was open minded sexually. Jayne County, Man Enough to be a Woman

He knew it was from Amie L’Nitrate [...]The Boulevard Saint-Germainegreer shone in all its springbok glory as he stepped lightly on some French loafers toward the waiting arms of Comrade Amie. [...] “First of all, I will refresh your memory,” she yodelled, chasing him round the roomservice. “Und then . . . God Only Knows by the Beachboys!” He forgot his ligns and undressed. “C’mere yer little frog,” he said, hoping for a renewal of his license. “Let me tongue yer Pommes Frites. Skywriting By Word of Mouth, John Lennon

...Mon Cheri ... mon Pau Pau ...Mon little Pau Pau... Do you remember the cafe by the left bank? You could not find your [indistinct]... but it was around your [indistinct] you naughty little cheri... John Lennon demo, c. 1970s

All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono, David Sheff 1980//Drawing of the Trillium flower//Album cover for Double Fantasy//Mike Medeiros (the Lennon's gardener) interview with Robert Rodriguez, 2024//Sue Johnston, The Mirror 2011//The Myth of Androgyne in a composite style of ancient Greek pottery//Yoko Ono interview for the Sunday Times, 25 May 1981//John and Yoko photoshoot 1977//Man Enough to be a Woman, Jayne County 1995//John Lennon dancing with Tony King in drag (gif credit: @james-winstonhttps://james-winston.tumblr.com/post/105209846418/amp) //Dakota Days, John Green 1983 (the Lennon's personal psychic)//Skywriting by Word of Mouth, John Lennon c. late 70s//Siamese twin flower//Cafe by the Left Bank lyrics by Paul McCartney, 1977//John Lennon Demo, c. 70s//John and Paul: A Love Story in Songs, Ian Leslie 2025//David Bailey 1966 photoshoot Kenwood 1969 photoshoot comparison//Double fantasy Hibiscus (not friesa apparently John mistook the plant)

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i really love get back

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If you ever want to understand the level of dedication that someone can put into fujoshing tf out then you need to watch all 9 and a half hours of "Understanding Lennon/McCartney" on youtube

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I can’t write another song as long as you keep leaving day by day my nights are long but I keep on believing

some men fight for lovers’ rights some men fight for freedom

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As I read the other day, he [Paul] said in one of his ‘fanzine’ interviews that he was trying to put some distance between The Beatles and the public – and so there was this identity of Sgt Pepper. Intellectually, that’s the same thing he did by writing ‘He loves you’ instead of ‘I love you.’ That’s just his way of working.

(John Lennon, 1980, All We Are Saying, David Sheff)

“Even if I’m writing something very specific, I veil it. If I want to write about loneliness, it will be Eleanor Rigby who carries the can. “With Little Willow, I was very affected by Maureen’s death. The fragility of life is in that song. But it wasn’t called Maureen, if you get what I’m saying. It was called Little Willow.”

(Paul McCartney on the Nineties, jamming with Ringo and life with wife Linda by Simon Cosyns, The Irish Sun, 7 Aug 2020)

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every time i think of the lyrics of "this one" i crash out. paul what the fuck

what the fuckkk man

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Is "Call me Back Again" by Paul McCartney about John Lennon?

During one Wings live performance's at The Rock Show Wings Over America Tour, in 1976, the band was playing the song "Call me Back Again", and during the performance, McCartney changes the lyrics to the chorus. As what was meant to be "I've called your name, every night since then", was changed to "I've called your name, John, every night since then".

McCartney has made this change of saying "John" not once, but twice (he does it at the Myer Music Bowl, in Melbourne 1975, and he did it again during The Rock Show Wings Over America Tour, in LA 1976). This lyric change is solely featured of live performances of the song, and cannot be found on any official releases.

Him including "John" in the lyrics isn't the sole reason why this song might be about John; The song takes place during McCartney's teenage years (implied from the lyrics; "I was just a little baby boy"), and he talks about conversing with someone on the phone almost every night of his youth. One of the closest people to McCartney during this time would've been John, so he is the only person I could imagine to have been speaking with on a daily basis via telephone or even just conversing in real life.

Now the part that confuses me is when McCartney brings up John "not calling him back", and the lyrics "I've heard your name every night since then", which leads me to think that the song is shifting from McCartney's youth to the moment in which the Beatles had broken up and it's aftermath. "I've heard your name every night since then" can be a reference to the interviews in which Paul was being asked if he and the other three Beatles (or maybe just John) might reunite. Paul's response to that being that John won't respond back to Paul about the offer.

Vincent Benitez (a music theorist) took on this perspective of the song as well, saying: “An Intimate Portrait intersperses a performance of Call Me Back Again with McCartney’s explanation of a short poem he had written at the time about his feelings about the possibility of a Beatles reunion”.

The demo of the song features different lyrics to the official release. Said lyrics being: "Call me back again, Only it's for one time, Come on Call me Back Again".

The demo also includes a lot more of a melancholic and feeling of longing to it, unlike the official release which is very upbeat and jazz-like. I can't think of anyone/anything McCartney would have such a longing for except for John and the relationship they had either in their teenage-hood or their time in the Beatles.

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Their trial separations

JOHN: "I was always waiting for a reason to get out of the Beatles from the day I filmed 'How I Won The War' (in 1966). I just didn't have the guts to do it."

(John Lennon, Newsweek, September 29, 1980)

There seem to be certain cycles that relationships go through. The critical points are at different parts of the different cycles. The new way of talking is like, “Well, why work on a relationship? We just stop and get another one.” But the karmic joke is, presuming you’re lucky enough to find a new relationship anywhere near the relationship you’re giving up—or exchanging, or walking away from, or destroying by inattention or inadvertence or selfishness or whatever it is—that you have to go through it over and over and over again right up until you’re seventy. People never grasp the fact that they’re going to have to go through the same thing again. They get to the sort of five-year stretch or the seven-year itch or whatever these tension points are that seem to be organic, built in, like the tide coming in and going out. It’s like every time the tide goes out you quit—you move your house or something. I’m not making it clear here, but you get where I’m going…

(John Lennon, Sept. 1980, in All We Are Saying by David Sheff)

[Paul] even recorded that [Why Don't We Do It in the Road?] all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was… But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

(John Lennon, August, 1980: interview for Playboy with David Sheff)

There isn’t enough outlet for me in the Beatles. The Ono Band is my escape valve. And how important that gets, as compared to the Beatles for me, I’ll have to wait and see.

(John Lennon, New Musical Express December 13, 1969)

So you couldn’t really say, “Oh, we don’t want you to do that, John. You should just stay with us.” We felt so wimpy, you know. So it had to happen like that.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Last year John said he wanted a divorce. All right, so do I. I want to give him that divorce. I hate this trial separation because it’s just not working. Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.

(Paul McCartney, Evening Standard, April 21-22, 1970)

For instance, when they [John and Yoko] bust up their marriage, she came through London. He was in LA doing Pussy Cats with Nilsson and having a generally quite crazy time of it all <…> all because he genuinely loved Yoko and they had a very, very deep, strong relationship… <…> She was very nice and confided in us but she was being very strong about it. She said, ‘No, he’s got to work his way back.’ I said, ‘Well look, do you still love him?’, and she said, ‘Yes.’ So I said, ‘Well, would you think it was an intrusion if I said to him, “Look, man, she loves you and there’s a way to get back”— sounds like a Beatles’ song — and I said ‘Would that be OK?’ <...> So I said, ‘You’re going to have to work your little ass off, man. You have to get back to New York, you have to take a separate flat, you have to send her roses every fucking day, you have to work at it like a bitch! Then you just might get her back.’ And he did.

(Paul McCartney, 1986, interview with Chris Salewicz for Q Magazine)

LENNON: When she [Yoko] kicked me out, I saw I was kicked out. When I was kicked out, I realized where I was, which was on a raft in the middle of the universe, and whatever happened, presuming I could have started another relationship, I would have ended up in the same place—if I was lucky. And that’s a big if. <…> It took a while, but that’s what I saw. If I was lucky … <…> There are laws governing that relationship, too. You can either give up halfway up the hill and say, “I don’t want to climb the mountain, it’s too tough, I’m going to go back to the bottom and start again,” or you can do it this time. PLAYBOY: But you once decided it was too tough. LENNON: I did. But I didn’t see any of this then. Yoko and I were lucky enough to go through that and come back and pick up where we left off, although it took us some kind of effort and energy to—to blend in again and get in the same sync again.

(John Lennon, Sept. 1980, in All We Are Saying by David Sheff)

“The separation didn’t work out,” Lennon joked, telling Paul that he had moved back to the Dakota on February 3 [1975]—just as Paul was recording ‘Call Me Back Again,’ the song he started just after reconnecting with John in Los Angeles—and that he and Yoko were hoping to work things out.

(Uncredited: “Teazers,” NME, February 15, 1975, p. 48 in The McCartney Legacy: Volume 2: 1974-1980 by Allan Kozinn and Adrian Sinclair, 2024)

‘We [John and Yoko] are back together now. And happier than over before. It’s the old, old story—when you get someone back that you’ve lost it’s better than ever.’

(John Lennon, 1975, interview with Penny Grant for Game: Enjoying the big apple)

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1979 is now up there with 1968 in my “WHAT THE HELL HAPPENED BETWEEN PAUL MCCARTNEY AND JOHN LENNON” years.

You don’t just make something as joyful, teasing, naughty, and romantic as McCartney II out of the blue… You don’t just then come out of retirement out of the blue and starting boogying to Double Fantasy + Milk and Honey tracks COINCIDENTALLY, do you? DO YOU??

This is driving me a little crazy. What is your favorite conspiracy theory here?

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John and Paul, Hey Jude recording season; 30th July, 1968.

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I read this on Quora. It’s a response to a prompt: “Is Paul McCartney a jerk?” I thought I would share it because it’s an interesting story from Wings’ early days, and it has to do with people wanting Paul to play Beatles songs.

Paul McCartney is :

One of the most talented individuals ever.

A living legend.

An honest and genuine individual.

Definitely NOT a jerk.

What is my evidence for this? ….. read on.

Having been born and raised in Liverpool in the 50s and 60s , I was devastated to hear of the break up of the Beatles as a teenager in the mid 70’s.

The cause for the split was subject to great speculation and still largely unknown. One thing that stood out , looming larger after the split was rift between the greatest singer song writing duo of all time (Lennon & McCartney) which was highlighted by John’s creation of his song “How do you sleep?”. This direct personal assault on Lennon’s former ‘other half’ may have been previously triggered by McCartney’s solo ditty in his eponymous album (McCartney) quoting the words “ I used to ride on my fast city lights signing songs that I thought were mine alone. …….. Man we was lonely, yes we was lonely but now we’re fine all the while.”.

Lennon’s worded response in his missive “How do you sleep?” was “So Sgt. Pepper took you by surprise, you better look right through that mother’s eyes. Those freaks was right when they said you was dead ( a reference to an earlier fake news report that ‘Macca’ was dead and a replica was living in his stead ) the one mistake you made was using your head. “

Lennon’s musical assault on his former song writing co-author heightened in the lines “ The only thing you done was YESTERDAY and since you’re gone you’re just ANOTHER DAY. The sound you make is music to my ears , you must have learned SOMETHING in all those years”. A reference to 2 before split and on post split McCartmey classics. Although 2 were if course Lennon / McCartney classics. When with the Beatles the 2 may have penned songs solo but always shared the credit as a truly unique double act. Of course with Ringi and George wrote a few classics too and the Beatles will always ,rightly, be remembered as ‘For lads who shook the world’.

Both Lennon and McCartney denied that there was any animosity in both sets of post Beatles split song lyrics claiming that it was just a coincidence.

Fast forward a few years until when the Beatles had split in and around the time of the aforementioned songs about the Lennon & McCartney Beatles split experience.

As a college student in Liverpool in the mid 70’s my fraternity and I would attend open mic’ gigs in Liverpool Polytechnic (known locally as the Poly) in the hope that we might stumble across the next big thing. After numerous average guest stars ( the highlight of which was a guy who later became known as Shaking Stevens) we waited for another group to set up for another normal night of musical entertainment.

As I wondered towards the stage , literally a small elevated segment of a tiny music arena , trying to gain an insight into when the band would start, a lady was struggling to bring in the group’s equipment. As a potential gentleman, who couldn’t understand the concept of a female groupie humping in heavy kit, (forgive my chauvinism but things were less informed in the 70’s) I offered assistance to the lady with carrying in the equipment when to my amazement Paul McCartney came in to assist the lady, Linda in bringing in the group’s kit. It was one of the first iterations of what later became know as Paul McCartney & Wings.

My fellow college students and I were later royally entertained by the , then, emerging group singing songs such as “Junior’s farm’ and “Give Ireland back to the Irish” as well as numbers from the eponymous McCartney solo album. Of course ZERO Beatles’ song were played as it was not the norm at that time.

McCartney , who you contest is a jerk , paid the entire bar bill for all at the gig and stayed and mingled with star struck fans long into the night.

Why is he not a jerk?

Fast forward some time later to McCartney & Wings’ first gig at the Liverpool Empire some years later. Wings were by this time famous having such hits as “Band on the Run” and Venus & Mars”.

The same by now a couple of years older group of students, perhaps with a bigger number knowing that McCartney was actually playing, gathered to see Wings again in a somewhat larger arena of the Liverpool Empire.

Whilst we were all aware that McCartney would not , at the time , sing ‘Beatles’ songs, one of our group by the name of Ged Smith, was determined to have McCartney play “The long and winding road” which was his favourite Beatles song of all time. In between numbers and being close to the front of the stage having queued up to get the best seats , we continually cried out for “The long and winding road.”.

McCartney’s initial response to these calls was “Come on guys you know I can’t do those (Beatles) songs” to which we cried out louder “ Come on Macca we saw you at the Poly (Liverpool Polytechnic) ages ago”.

On hearing these shouts McCartney immediately remembered this and shared back “Was that you lads who helped Linda bring in our gear?”. He appeared to remember the night at the Liverpool Polytechnic equally as well as we had.

McCartney played for many hours that night as he was “back home” in Liverpool. Repeated cries for “The long and winding road” were greeted with muted McCartney responses of “Come on guys you know John would never forgive me if I sang that.”.

After many hours of performing, with at least 2 curtain calls Macca when seated at the piano declared “This is for the lads down the front who were at the Poly …… . He then belted out the unforgettable rendition of “The long and winding road . It was greeted by a tumultuous response the likes of which I have never heard in any circumstance.

That is why McCartney is not a jerk.

He’s a genius and the genuine article. He recalled interactions with individuals as well as , if not better, than we did so ourselves. At that night in the Liverpool Empire he deliberately threw his guitar strap at one of our group , Tommy McGuinness, who I know retained and treasured the article for many years afterwards.

McCartney’s music will be studied in centuries to come.

He is NOT a jerk , he’s a top class human being.

We know because we were there.

When McCartney leaves this earth, his tunes will still remain. Not a jerk , a genuine genius.

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this is paul's "lalala farm" to me bc what the fuck is this even

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Once in a life I’m a lucky man If I can find the kind of love That’s gonna last for me

Twice in a lifetime Is one of those unspoken dreams We usually reserve for fantasy

Who knows how we find love Stop before you give your answer Who knows when a mystery begins

I know, I know I know because it’s happening to me I know, I know

Twice in a Lifetime (1983).

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I hateeeee that we are stuck with Ian Leslie as an alternative voice to the mainstream Lennon/McCartney narrative. I don't want to rely on this man, and he possibly has the means to really shift the narrative/affect beatle literature/media. Our society depends on the perspectives of men (fuck this, but it is true unfortunately), particularly white men, especially on topics as mainstream and "male dominated" (absolute bullshit) as the Beatles. Like, we can't even get a queer white man on this!! What the fuck? That man has no idea what he is talking about when it comes to the absolute queer shit storm that is Lennon/McCartney.