meatlesbeating - Tumblr blog

[meatlesbeating]

Jai guru deva, om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world

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it's starting...........,,,,

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John Lennon in 1970 riding his moped around his estate.

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Twenty flight rock

I absolutely forgot to post my art for Woolton Fete zine which was organised by @sleeper9

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I should be asleep but I can’t stop thinking about Ram and John’s reaction to it. If we Assume, as 90% of the world does, that there was nothing sexual/romantic between them, then both of these things (Ram itself and John’s reaction) make no sense. Ram is not cruel in its lyrics, not really, but throughout the whole album runs this very interesting thread of almost-but-not-quite taunting self-satisfaction. As someone else said, it’s very “my wife and I are having a great time off by ourselves.” But Paul is a smart man and he knows John Lennon will see it as a taunt. So that makes it a taunt.

But again, this doesn’t make sense if John and Paul were simply besties. If they were, Paul wouldn’t feel the need to implicitly tell John that he has a wife now and doesn’t need John anymore to make good music and good love, and John wouldn’t have felt so abjectly hurt (and dare I say jealous) by it.

Also there’s a part of this interview from 71 where someone asks John about Ram and that part is interesting but y'all have been SLEEPING on the last part of that question, when someone follows up with “and don’t you have a song on your new album that could be seen as a response to Ram?” And John’s like well yeah, you could see it as a response to this, or it could just be about a chick I used to know, wink wink.

Bruh. Why u always comparing Paul to women in relation to yourself. It’s like you’re literally asking people to ask you if y'all ever fucked.

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i miss john lennon so bad i wish he was here to craft new insane sentences no one has ever said

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Two of Us play notes/thoughts/Easter eggs I noticed

they played solo Beatles tracks as waiting music before the play began so I sat there listening to ‘Monkberry Moon Delight’ with a theatreful of people which was great 

before Paul turns up John is baking(/burning) bread

John is wearing underwear under his dressing gown which obvs had to be but also my suspension of disbelief was CHALLENGED

when Paul rings up to be let in John does a little rhyme to make him prove he is who he says he is. this is not the exact wording but it went something like: "Five little boys in Hamburg did play/All through the night and all through the day/Ingrid the stripper would do anything/But who got the clap? Was it sexy Stu Sutcliffe - or the lead singer in Wings?" and then Paul has to admit it was him who got the clap

when Paul takes his shoes off he also takes his socks off - idk if this is an intentional barefoot Paul thing but it is hilarious later when they're fighting and Paul is about to leave and angrily putting his socks back on

John and Paul have Get Back era hair/beards, which is weird - presumably because they assume people going to see this will also have seen Get Back but might not know their 1976 looks as well?? idk

some of the dialogue and references have been made a bit more British - the skit they do at the piano is now set in a British greasy spoon instead (still with the American accents)

instead of fighting "like the Hatfields and McCoys" they're now fighting like "the Montagues and the Capulets" (👀)

'Sh-Boom' is played on the record player while they smoke weed (Paul uses the album cover to roll the joint)

George and Ringo both get more of a mention! Paul says that George is happy now (John replies that he's not happy, he's reincarnated). John tells Paul a story Ringo told him about going on a bus in NYC and being recognised.

"I'm the best fuck you ever had" is said by John during the fight (Paul replies "If that's your way of saying you were the real brains behind the Beatles-" etc. etc.)

"You should have married me when you had the chance" is said by John during the Yoko/losing my friend bit

"It's only me" as John's way to get Paul not to leave after the fight

when John goes out to get disguises for them Paul sits at the piano and starts playing some notes he finds there (he'd asked about them earlier and John had said they're nothing). we get a few notes of 'Now and Then' before John returns (ghjshgkhgkdshgksd who did this I HATE YOU)

the appearance of the I Love Paul badge!! John wears it on his disguise jacket and Paul asks what it says. John tells him and then Paul replies "Lucky Paul".......

they never go outside in this version - John says he'll go but then thinks better of it. this means that John comes across as even more locked away than he does in the film.

the police bit is sort of done when Paul puts on a leather hat from the disguises and pretends to be a policeman come to question John, who John then talks back at. he also yells out of the window at some police below at one point.

Paul realises they're never actually going to Luigi's, so John lays the table for him as if they're at a restaurant together (including calling him "Lady McCartney" and "my love")

the bit with the fan is sort of recreated but instead it's John asking Paul whether he truly thinks Wings at the Speed of Sound is the number 1 record in America (which obvs changes it quite a lot)

Julian is brought up - they're toasting to various people/things (ending with "Dr. Winston O'Boogie and Paul Ramon") and Paul says "to Julian" and sort of confronts John about him and how he treated him

during the toasting Paul also mentions "putting hair on a seagull's chest" which John questions and then Paul says it's something his dad used to say

I thought the lift scene/roof scene wouldn't be happening... BUT THEN a lift descended from the ceiling ❤️ the magic of theatre

the kiss still happens and idk but I thought the vibe was a bit different from the film version - less jokey (and no lines after about brushing his teeth/is my name Brian)

Paul: I bought into it that you and me didn't get along well (paraphrasing the Stephen Colbert interview)

they hug at the end of the roof conversation (I was sat very close to this since the actors come in front of the stage to do it and they were both crying and it WAS ALL TOO MUCH 😭😭)

John gets them two guitars to practice with before they go out and they sit opposite each other in chairs and Paul says “I know which one to begin with” and John says “What?” and they lean forward and then the phone rings

when Paul leaves John he’s crying and it’s like okay rip out my heart I guess

the play ends with Paul on the phone to Linda and John on the phone to Yoko, at opposite sides of the stage, and they say “I love you” to their wives but also to each other and it’s ridiculous????

yeah then ‘Give Peace a Chance’ plays which is such a bizarre choice idek

anyway who knows if it's a good play or what the actual people there thought about it because obvs I can have no rational reaction to it but I'm so glad I went to see it because someone on the writing team is one of us I SEE YOU

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'What is the second film about?' I asked. 'It's called Fly. Yoko wants to film a fly crawling over the body of a naked woman…' <…> 'Put the fly on her nipple,' said Yoko. A fly was placed on the woman's nipple. It flew away. John and Yoko looked at each other. Yoko frowned. 'Do it again,' she said, and the process was repeated. It was tried over and over with the same results. Those flies would not listen to John; they would not listen even to Yoko; they didn't care at all about conceptual art; they didn't care about an ex-Beatle's desire to help his wife. The woman was painted with honey. The honey didn't work. Neither did sugar, nor flour and water. She was sponged down and left lying there while everyone sat down to discuss the fly problem. Dan Richter pointed out that when he had worked on 2001, a similar problem had occured. The solution was to gas the flies with carbon dioxide. Then a stoned fly could be placed on the woman's body. We stood around, waiting until the fly recovered enough to start crawling. 'But when it makes up, then will it do what I want it to do?' Yoko asked. 'The fly will do what it wants to do, Yoko,' Dan replied. 'But at least it will stay on her body long enough for us to get a shot.' Yoko said nothing, but everyone could sense her disappointment…

(May Pang about filming the movie Fly in Dec 1970 - Loving John, 1983, ch 2)

Q: Then, of course, there was an infamous picture on the back cover art of RAM of two beetles - Beatles - shagging. What was that all about? Paul: That was nothing to do with it. How could I persuade two beetles to shag each other for a joke? It's not possible. Q: But you must have known when you put that shot on the album… Paul: No, I swear to God. Things like that seem so obvious afterwards. You go, ' Oh yeah, of course, that must have seemed like that.' It was just a really funny shot. A photograph of two beetles shagging! I mean, that had to get on the cover. Then afterwards, you go, 'Oh, but they were beetles.' To me they were just a couple of little ladybirds or insects or something, y'know. We were oblivious to all those hidden messages.

(Paul McCartney on RAM, released on 17 May 1971, interview for Q Magazine, December 2007)

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In case anyone wanted to know how uni has been going, ive recently decorated our fridge

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two of us, quarrymen original: you and i have memories longer than the road that stretches out ahead (john dies 11 years later) (they'd known each other for 12 years by that point) (life is a big cosmic joke against paul mccartney)

i literally do think god has something against that man like. his life is literally a big cosmic joke. there's NO way.

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how i won the war

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JOHN LENNON

PLAYBOY JAPAN, OCTOBER 2004.

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ever since reading that she said she said was about peter fonda and john changed the pronouns just for the fuck of it I have had no doubt in my mind that the pronouns in any given lennon mccartney song don’t mean shit. like I would have come to that conclusion anyway but come on

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McCartney: It’s funny what you are allowed to say in public. It’s weird. If someone comes up to me and says, ‘Fleet Street has got this story about you doing such and such,’ I really believe it all and I think alot of other people do too. John and Yoko definitely did. They took in all the cuttings all the time and weighed up the political situation. They played it very smartly. They were very good. But see, John had a more ballsy attitude. He cared less.

Actually, this is the joke, he probably cared a lot more. This is what I’m finding. You’d think I was the one who maneuvered everything– the perfectionist. I’m finding out many things these days about John. He took every cutting of every newspaper he was ever in. He looked at it and got very much into it.

Q: John had all the time to do it.

McCartney: Yeah, good on him too. That’s what he wanted to do. Great. But anyway, what I’m trying to say is that I always find myself explaining bloody crap. I mean the Japanese thing: people said to me, ‘But why did you take it in– and that much of it sitting right on top of the suitcase?’

Do you think I don’t ask myself that? I do. But I really hate being judged by the media.

So really, I’d like to be a whole lot looser, but I’ve learned this whole game now and my reactions are almost instinctive, like a robot.

One of the things I never realized about people is that it’s not very sympathetic not being too much of a loser. People like a loser, people like to feel there is something wrong with you.

Now, with someone like me, I cover up what’s wrong. I’m just not the kind of character who could admit everything that’s wrong.

-Interview for Music Express • April/May 1982

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