biggielixx

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whenever i see stupid john lennon looking at paul mcgayface i feel tight in the chest like why are you doing that . what are you in love with him . oh you want to stare at him all the time because youre in love . unbelievable

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Oh good, John and Paul are talking in song lyrics again [sob]

“Anytime is paradise, when I’m with you.”

“Any time. Any Time At All.”

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“But you know John and Yoko, you can see it now, the way to get their friendship is to do everything the way they require it. To do anything else is how to not get their friendship. This is still how it is with John and Yoko. I know that if I absolutely lie down on the ground and just do everything like they say and laugh at all their jokes and don’t expect my jokes to ever get laughed at, and don’t expect any of my opinions ever to carry any weight whatsoever, if I’m willing to do all that, then we can be friends. But if I have an opinion that differs from theirs, then I’m a sort of an enemy.”

Paul McCartney, speaking in 1980. All You Need Is Love, Peter Brown and Steven Gaines (2024)

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"They used AI to write their mus--"

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You Want Her Too

"You Want Her Too” is one of the four songs co-written by Paul McCartney and Elvis Costello, and released on Paul McCartney’s 1989 album “Flowers In The Dirt” (the other ones being “My Brave Face“, “Don’t Be Careless Love” and “That Day Is Done“). By its theme (competing for a woman), the song is a reminiscence of another collaboration of Paul – “The Girl Is Mine” 

I said to Elvis, ‘Look, this is really getting a bit me and John!…I’m going ‘I’ve loved her so long’ and he’s going ‘I know you did, you stupid git!”… The intro and the fade we decided to have a… strange carousel thing we’d worked up. It was a silly little idea of mine that I think works…I’d had this idea about a little guitar thing that Hamish had played in the instrumental bit: I’d always been hearing it like a big brass band. So we actually got a big band in one morning, and it’s the ultimate tease, because…as soon as you’re into them they fade! 

From “In Their Own Words: The Producers discuss McCartney’s Flowers in the Dirt“, by Super Deluxe Edition blog 

“That’s a good old trick. We both love the art of songwriting, we’re still intrigued by it. Little things like having a cynical answer to a line—that’s the kind of thing I did a long time ago, like in [the 1967 Beatles song] ‘Getting Better’ where I sing, ‘It’s getting better all the time,’ and John sings, ‘It couldn’t get much worse.’ Otherwise you’re just writing a song straightforward. That’s good too, but it’s kind of nice to have little things that bounce off each other, that yin-yang thing.” 

You can take [‘You Want Her Too’] two ways. It’s either a conscience talking to him or another guy. We imagined a Tom and Jerry cartoon, where there’s an angel and a devil above, and one says, ‘Go ahead, do it,’ and the other says, ‘No don’t do it.’ 

Paul McCartney – Interview with Rolling Stone, June 15, 1989 

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Live your mclennon truth 😔😔

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“Paul’s new album Driving Rain, out on Monday, is littered with references to Heather [Mills] and Linda. It includes the ballad From a Lover to a Friend, which features the poignant line “Let me love again.” Paul went on: “That song could be about my situation with Heather and perhaps subconsciously it is. I’m happy for it to mean that but I don’t mind what people think. “You can’t help when you fall in love — when it happens, it happens. When I first started with Linda, John Lennon, like a lot of people, said, ‘I’m surprised by your choice, are you sure?’ “And I said yes, ‘I’m surprised by yours too’ and we had a little laugh. But we both agreed you can’t tell who you fall for.””

— Paul McCartney, interview w/ Dominic Mohan for the Sun. (November, 2001)

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Another sad mclennon edit I made

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Just remembered the bit in Get Back when John and Yoko celebrate her divorce by snogging in the middle of Paul singing Oh! Darling, in case you’re wondering where my head is right now

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"Intimately"

"But again that was one of the memories when I'm talking to John "What about the night we cried?" you know. "What about the time we met?" and…. come on man, we had the most intimate relationship."

"I just feel blessed to have known him and to have experienced his presence so intimately."

"Another great thing about John and I having known each other so long and so intimately is he would often say to me, ‘What about that tune, that thing you always used to play on the piano? You should do something with that.’"

"I think he knew exactly what he was doing, and because we had been so intimate he knew what would hurt me, and he used it to great effect. "

"I’m just very proud to have known him so intimately from when we were kids to virtually the end all the way through. I do (have a connection) and I don’t expect it to go eventhough we are separated by death. It’s just something I will always feel, some sort of link with John. That’s for sure.”

"Well I work with other people all the time, [but] I mean obviously the biggie is I miss working with John because that was something very special and you know it’s very difficult to replicate that. In fact it’s almost impossible because we met each other as teenagers and went through a lot of life together: hitchhiking to Paris and holidays and working together and being in Hamburg together with The Beatles. So we were very intimate, we knew each other intimately."

“John is a central figure in my life, always will be. I will always be grateful for having so much intimate time with him. I used to do caricatures of John. When I painted him recently, I found myself saying, ‘How did his lips go? I can’t remember.’ Then I’d think, ‘Of course you know. You wrote all those songs facing each other.'”

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Sorry for taking so long on this post, I've been writing it in my head for weeks trying to figure out how to phrase everything. But umm I think Paul was in a bath tub when he was taking certain photos of John.

So the book itself is divided into sections based on location. There's a London section, a Paris section, then they go to New York and then on to Miami, etc. The London section is really interesting and the photos are very revealing IMO. I definitely recommend getting your hands on a physical copy, your local library may have it. This is something you should experience physically because uh. There's a lot of John in here. To me at least it's very obvious how deeply in love Paul was with John.

So imagine for a minute that you're Paul McCartney, and you're in London, England with your best mate.

The way that journalists are treating this set of photos makes me feel a little insane because so many of them are saying "this is John and Paul backstage!" Y'all, this is not John and Paul backstage. This is John and Paul in their hotel room. Alone.

First off let's look at this:

Here's John shaving the stubble off his face. Sunglasses still on; John had prescription sunglasses so if he's wearing these then his contacts are not in. Look at the background of this photo:

John's in the way here but that is a set of curtains in a hotel room! You can tell from the horizontal bar on top, those are to hold the black out curtains. And another thing: I think these are John and Paul's suitcases sitting on top of a wardrobe. Not entirely sure about that though since the image is so grainy.

At this point John has taken off his sunglasses, he's brushing his teeth and has washed his face. Again, look at the background:

This is a medicine cabinet, a storage feature in bathrooms to keep toiletries safe from the humidity caused by a bath and/or shower. I don't know how common these are anymore:

What I find interesting about this sequence of photos is that John first pulls a funny face for Paul:

But then something grabs his attention:

Spits out the toothpaste:

And then off John nyooms...making soft eyes at Paul no less.

Pay close attention to the background on this photo! We're seeing the hotel window from another angle, the horizontal strip at the top is the tell:

I outlined the horizontal strip on the curtain and then drew lines on the dips in the fabric so you can compare it to the OG photo:

Paul is utilizing an interesting run-and-gun style of camera shooting here, he's got John tilted and at an angle that puts John over Paul. Unconsciously signaling something? Let's move on...

According to this strip...

...this is the next photo in the sequence:

Again calling attention to more interesting details here:

John's tie is missing and his shirt is undone. And that looks like a towel in his hands. He's turning in for the night.

2. John is standing in front of a reinforced door which are common in hotels but are not common in dressing rooms:

3. This photo is itself a reflection of John's face that Paul has taken in a mirror, maybe a vanity mirror. Someone in the McLen discord server said it was too small to be a vanity mirror and I'm inclined to agree, so maybe it's a compact or hand mirror propped up on the sink.

So what does this mean? I think that John and Paul were getting ready for bed, someone knocked on the door, and John went to answer it. You'd think Paul would but for some reason he didn't. Oh and another thing...check out the four jackets in the mirror:

They're definitely hanging from something so John and Paul were looking out for the suits that night.

Next in the sequence, John is back at the sink washing up. Check out the hotel window curtain being reflected in the mirror there!

Then something kind of odd happens...John is seen coming back and re-entering the shot again? Through out Eye of the Storm Paul emphasizes a lot of duality with John, including a shot where John reflects on his own sculpted face. Paul was very interested in John doing performing the act of reflection on his own face:

But here's the really interesting bit and what makes me think Paul was naked in a bathtub when he took these last two photos:

Y'all, that's the fluffy fringe of a towel! You can tell that the threads are hanging down from it! These are very different from the clean lines of the curtain or the medicine cabinet or even the lines of their suit jackets! Paul was sitting in or on the edge of the bath tub when he took these photos of John! He wrapped a towel around his camera to protect it from getting wet! Cameras are generally made for right handed people so when Paul had his finger on the button on the right hand side. That means Paul keeping his finger on that button pushed the edge of the protective towel over the lens!

So I submit to you Paul McCartney's Eye of the Storm, where he submitted a film strip where he was staying in a hotel room with John and was most likely nude and bathing when he took John's photographs! Someone knocked on the door to get their attention while Paul was naked so John answered the door for them, while Paul followed him a little. John was enjoying having Paul right there for him too:

PLEASE get Eye of the Storm, it's such a great book and there's so much in it. Paul lets the pictures speak for themselves and wow they have one hell of a story to tell!

@perasperaadastratoday

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Paul once again reminding us how much he loved John

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Darkness came quickly and the moon emerged among a sprinkling of first stars. John tried to identify the stars, but became confused. The only one he was certain about was Venus, which seemed brighter than the rest. As the sky grew darker, another star appeared to shine even more brightly than Venus, and John speculated that it could be Mars. “Ah, Venus and Mars,” he laughed softly. “Sounds like an album title.”

John Lennon: Living on Borrowed Time, Frederic Seaman (1991)

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John: Nobody ever said anything about Paul having a spell over me when I was with him for a long time, or me having a spell over Paul. They didn't think that was abnormal, two guys together, or...

Yoko: They might have.

John: ...or four guys together. In those days? Why didn't anybody ever say, how come those guys don't split up? I mean, what's going on backstage? I mean, what is that, you know, Paul and John business?

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get back: summarised

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TV advert for WINGS's album VENUS & MARS. 1975.