#and paul and john can live their lives together

[fireintheimpala]

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?

[undying-love]

John and Paul on each other: A Compilation

John:

"He [Paul] looked like Elvis. I dug him."

"I'm like everyone else, Harry. I fell for Paul's looks."

"..an old, estranged fiancée of mine called Paul."

"Paul...you're so well-built." (X)

"Groups like this are normally not friends. They’re just four people out there thrown together to make an act. There may be two of them who sort of go off and are friends, you know...Strictly platonic of course."

"Oh, I've had him, he's no good."

"I was riding on a boat called Paul, and now I'm riding on a boat called Yoko."

"I've compared to a marriage a million times and I hope it's… understandable. For people that aren't married. Or any relationship. It was a LONG relationship. It started many, many years before the American public, or the English public for that matter, knew us. Paul and I were together since he was 15, I was 16."

"Nobody ever said anything about Paul's having a spell on me or my having one on Paul! They never thought that was abnormal in those days, two guys together, or four guys together! Why didn't they ever say, "How come those guys don't split up? I mean, what's going on backstage? What is this Paul and John business? How can they be together so long?"

"Well, Paul had met Linda before [the Apple press conference], you see. I mean, there were quite a few women he'd obviously had that I never knew about. God knows when he was doing it, but he must have been doing it."

"I don’t even think about Paul unless somebody brings him up. Or if some song comes out or something happens, they’re in the newspaper. I don’t know why everyone doesn’t just leave him alone—I haven’t really seen him in ten years. I can talk about him forever because I know all about him, but you see, there’s nothing much to say."

[Studio chatter] Paul: I will be overpowering this time. John: Oh good. I like it when you’re brutal. (X)

Paul:

"John was really my only male friend, if only because of proximity."

"[While playing live] John was to the left or to the right of me, so I never got to sort of see him perform so much. Except in the film [Get Back]. And there he is in massive closeup. I can study everything about him.”

“I’ll just sit around and hug him forever, because that’s the depth of my feeling for him."

"And I would often sketch John when we worked together, often without him knowing it. It was so easy doing John because he had glasses, those sideboards...and that long, aquiline nose."

"When I painted him recently, I found myself saying, ‘How did his lips go?"

"I can still see John now: checked shirt, slightly curly hair…I remember thinking, ‘He looks good - I wouldn’t mind being in a group with him."

"James reminds me very much of John in many ways: he's got beautiful hands. John had beautiful hands."

"If I'm going to see a face in a painting, it's highly likely to be his."

"I still remember his beery old breath when I first met him that day. But I soon came to love that beery old breath. And I loved John."

"I’m often thinking of him. I dream of him."

"Delicious boy, delicious broth of a boy."

"John and I used to hitch-hike places together. It was something that we did together quite a lot; cementing our friendship, getting to know our feelings, our dreams, our ambitions together. It was a very wonderful period. I look back on it with great fondness. I particularly remember John and I would be squeezed in our little single bed."

"There's a song I do called Here Today which is specifically written for John. That sometimes catches me out. I realize I'm telling this man that I love him and it's like I'm publicly declaring this in front of all these people I don't know. I sometimes wonder what I'm doing."

"We are individuals— all different. John married Yoko, I married Linda. We didn’t marry the same girl.”

"Please Please Me was a John idea. John liked the double meaning of “please”. Yeah, “please” is, you know, pretty please. “Please have intercourse with me. So, pretty please, have intercourse with me, I beg you to have intercourse with me.” He liked that, and I liked that he liked that."

"[John] was a wild and woolly genius who it was my pleasure to work with, walk with, talk with and occasionally sleep with. "

Q: If John Lennon could come back for a day, how would you spend it with him? Paul: In bed.

"Then also [me and John] were like married, so you got the bitterness. It’s not a woman scorned this time, it’s two men scorned — probably even worse. And I had to make way for Yoko. My relationship with John could not have remained as it was and Yoko feel secure.”

"I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away."

[johns-prince]

1967 is decidedly peak year for Lennon-McCartney as John and Paul were reportedly and observably the closest they ever been. Coming and going together, John always hanging around Paul's house, practically inseparable.

Then somewhere from the end of 1967 to the beginning of 1968, India happens, and just all of a sudden these two are having a falling out? For no real reason? Go on, you can't believe that.

1967, we know John and Paul started taking LSD together. While they were close before, tripping out like this gave them access to getting much closer to each other than before. We know the experience of dissolving into each other through that eye contact thing was described by Paul as both disturbing, but good, and other subsequent trips with John as fantastic because of this new access to each other in ways they hadn't realized was probably possible.

There really isn't much of John talking about these specific trips with Paul, but considering how insistent he had been to take LSD with Paul, and the fact they continued to take it together to the point even Jane was jealous of John getting to experience that with Paul—he was probably over the moon about it. Finally, he gets to experience this much much deeper connection with Paul, melds them into one, their thoughts and feelings becoming singular.

Aside from how much closer John and Paul had gotten, it seems the Beatles at a whole were as close as ever. You have their trip to Greece in the same year, and how there were talks about them buying an island and living on it together.

1967 was really the year for the Beatles, for John and Paul especially.

Still, there's reservations. Paul mentions how you can't come back from the kind of experience he shared with John. You could say that he meant between all them, but that's only because Paul has a habit of including the other two whenever he's uncomfortable with the strong use of “I, me, myself,” in conjugation with John in certain contexts. We were jealous, we loved him, we felt like he was leaving us. Paul only briefly mentions George and Ringo, like a second thought, when describing his first LSD trip with John.

But it was just Paul and John, and I'm sure there were many other subsequent trips that involved solely them.

So they can't go back. Their relationship has changed in a fundamental way that both excites and pleases and disturbs Paul. We can only presume John wasn't as disturbed by it as he was pleased by getting to have this closeness with Paul that no one else would be able to share in. It was all their own.

Paul loved the Lennon-McCartney relationship for everything that it was, but he probably didn't want it to swallow up his whole self/identity (which is normal) Additionally, while I believe Paul is actually pretty straight heterosexual male, I do believe he had this special exception for John—and how can you reconcile that? I don't think Paul had the emotional and mental capacity to quite start to confront the fact there was some romantic/sexual tension between him and John that couldn't just be explained away.

For comparison, Yoko was willing to let her whole identity be swallowed up in the JohnandYoko partnership and relationship that we know today. Because it was technically giving John everything he needed from a partner that would keep him satiated or delusional enough for her to keep him and his connections and finances under her thumb. Even when it inevitably frustrated her that she felt living and thriving off of John's coattails, she made the choice to forgo her individualism and identity for what being with someone like John could give her. There would be no Yoko Ono in the papers and in any relevance without John Lennon.

It was kind of a perfect storm because Yoko and John were both very insecure people, fearful of failure and being a failure and being left behind, whether that be by others or the world.

In another essay I would point out that Yoko got with John because she needed him, needed him to help her complete herself, to transform her into a cultural and artistic icon. I'm not sure she always necessarily wanted him by choice as she needed him as means to an end.

Paul didn't exactly need to be with John as much as he wanted to be John, he wanted to be by John, next to, creating, collaborating, existing with. That's why in a way it was kind of silly for John to fear Paul going off on a solo career after writing yesterday. If Paul wanted to leave John and the others he could've, but he didn't. He wanted to be a Beatle, he wanted to be John's partner, to continue making music together until they were old men. Paul chose to be with John because he wanted to be. Simple as.

Anyway, Paul might have his own complexes and issues but Paul wasn't dealing with the black hole in his chest like John was. He had his insecurities, but Paul never needed to meld his entirety with another to try and make himself complete. Paul was much more secure in himself than John, even if he had to fake it at times, Paul always seemed to know himself better. Paul didn't carry around a self-hatred and lack of self worth like John did.

From an outsiders perspective, I can't fault Paul for not either wanting to be John's everything and anything, and not being able to be that infinite everything and anything for John—because of the time, the place, the sex, all the psychosexual bullshit in between, and because in the end it probably would've devoured them.

I doubt John knew how to deal with it either. John was always prone to extremes, one or the other, you love me fully unconditionally or you don't. What made the whole affair unfair was that he had the hardest time believing anyone could love him fully unconditionally. And Paul did (he still does!) but there's only so much a normal human being with flaws and hangups of his own can take.

By 1968 it seemed like John was hardly in a great state—increasingly abusing substances, feeling completely trapped by his first marriage (no fault of Cynthia, she tried so hard to make it work and make him happy), smothered by expectations, Brian's death (he's cursed y'know, everyone who's ever loved him dies on him), and probably some kind of mental illness brought on by it all—John wouldn't have been in a very stable mindset to really consider or even care too much about any repercussions about leaving his first wife and child to then go gallivanting as a free man, with his best male friend, collaborator, and partner.

But Paul, steadfast, moderate and conservative, not yet completely in the mental anguish shitter like John is, would be conscious enough of these consequences, what it could mean for the band, for them. These things mattered. And maybe John's a special case but Paul's not gay so how could it work to begin with? If he can't make any justifications for it or excuses (maybe if I had been a girl I could have...) then it just can't be done.

Yeah we love each other yeah we want to be in each others pockets till the day we croak, we feel like we NEED each other like air in lungs (yeah we might've fucked) but there's nothing to do about it so we just need to go on like usual and keep it at that.

Because it worked fine before, the way we were dealing with it. Why try to fix something that isn't broken?

But it was broken.

John wanted more but Paul couldn't give it to him. Paul has a right to how he feels, we can never say exactly what, and he wasn't in any wrong in denying or rejecting John if that's what happened.

But, I've always believed too that Paul always had an unrealistic expectation of his own relationship with John.

Because it's just not fair to expect John to keep on going on like everything is normal and his relationship with Paul and all the feelings and wants that entails are normal.

Not holding similar feelings for a friend is just as valid as holding deeper feelings for a friend and finding you can't stay friends due to not being able to go back on these feelings.

But why couldn't Paul have John, and Linda, and a big family, and John. Why can't he have his cake and eat it to. Why couldn't John have his relationship with Yoko and still have his partnership with Paul.

Because they aren't normal best friends that's why. Their partnership wasn't normal. Even Paul admits to it. Paul had to “make way” for Yoko because in a sense he was John's first girlfriend. Of course Yoko couldn't be secure in her marriage with John if Paul was still in the picture. Even if Paul doesn't understand the depth of meaning behind this because he's preposterous doesn't make it any less obvious. And don't think for a second John would've made it any easier for Linda, and like hell Linda would've put up with it.

So, John was “if we can't be lovers we can never be friends,” and Paul was, “I'll have my cake and I'll eat it to.”

I'm not trying to paint anyone as a villain in this. Both sides are understandable, both sides don't actually want to lose the other, both sides love each other, they just have different perspectives and feelings on the matter.

It's whether these differences can be reconciled and reasonable compromises can be made.

But we're talking about John and Paul and as we know, these differences were not reconciled and they were not reasonable men to be making reasonable compromises. Also they were two men.

John wanted all or nothing. Paul couldn't give all, because it's unrealistic and because Paul probably already thought he was giving John as much of him as he could reasonably give. But it wasn't enough.

If they could have kept each other and their relationship as it was despite getting married, I do believe Paul would have had no problem keeping Linda and his kids in one box, and his special little relationship with John in another box. They were able to do it before with John's marriage to Cynthia, why couldn't the same apply?

We know why. Cynthia was never a real, genuine threat to Paul and the Beatles (but mainly Paul) in the end, John always chose to go off the other boys, to go stay nights over at Paul's home instead of staying home with his wife and kid. She simply didn't interfere.

The many girls Paul screwed around with, while certainly put John on edge, and he hardly liked or got along with any, weren't anything too serious and at that time John was willing to put up with it or he hadn't the capacity to really evaluate his life as it was and his relationship and feelings towards Paul.

But Linda was a genuine threat. She wasn't going away. Paul loved her, she could give him everything. And what could that mean for John, especially if he had been making his feelings known, he was pushing for something deeper, definitive, with Paul? How could John stand a chance.

Yoko was nothing like Cynthia. How John treated her and their relationship was nothing like his last marriage. Paul was no longer the sun in John's universe, it was Yoko, and for once Paul was actually put on edge, similar to that of Stu, if not worse. She was his wife, his partner, a woman, a girl. Since Paul wasn't a girl then what chance did he have to put a stop to it, what right did he have to say anything?

John starting it by bringing Yoko into their sessions as if to make a point. Maybe Paul got the point of he didn't not entirely but maybe he was tired and can't Paul McCartney get a little tired of these games when he's hopped skipped jumped and crawled to try and prove to John each time that yes I love, yes I won't leave you willingly, yes I'll put up with you because I love you and you love me right? We're in this together for the long haul.

Can't go back to compartmentalizing relationships outside of Lennon-McCartney, and it seemed their relationship couldn't remain as it were with wives and children between them. Things were different now, they were different. John and Paul had grown, and while their past comments about sticking together as partners even after the Beatles go bust, even in their old age, is cutesy and sweet and coming from young boys who really didn't know any better but knew they loved each other and loved creating together—what's to become of them now that Pandora's box had been opened.

It's all led up to the point when things begin to breakdown, the band starts to pull apart, relations splinter, and John starts bringing up divorce, divorce from the Beatles, divorce from Paul.

The details we won't be privy to, we can only speculate and theorize and piece the puzzle pieces. But it's such a short time frame for such a massive change from John and Paul's relationship in 1967—almost always found together, John at Paul's home, John and Paul arriving together to the studio, taking walks, dissolving into each other—to how they treated and behaved toward each other in 1968, especially after India.

Without proper communication, without making the effort to confront the reality of what they were to each other and what that might mean, plus the drugs and the alcohol, I'm not surprised these unexplained feelings between them began festering.

I've lost the plot somewhere halfway in the post. But something happened.

The final straw was probably in India. But before India, the tension must have been building, like the calm before a storm. Taking LSD together changed the way they saw their relationship, or maybe simply gave them a more honest approach to it, a much less inhibited understanding of what they meant to each other. It scared Paul, or worried him, but he still liked it, which might've been just as worrisome. John was probably thrilled about it, loved experiencing it with Paul, and it might have enlightened him further on what he actually wants. Though drugs should never be trusted. Then Brian died. The Beatles were shattered with grief. John was beginning to spiral. And then it was 1968, and in February the boys went to India. Everything changed significantly there. John and Paul spent a lot of time alone in one room. They were seen together a lot. John often gazing. Something happened. Something happened and we don't know what but it did. Sex? Maybe, maybe not. A confession? Maybe, maybe not. They come back, worse than for better. John works tirelessly to break Paul's heart and drive him to some sort of reaction. To fight, to stay. Love me love me. Paul couldn't or wouldn't because "if I had been a girl then maybe I could have..." but he wasn't so he they had to make way for Yoko. Paul loves Linda, John loves Yoko. They get married a week apart. John and Paul divorce the Beatles breakup. John really didn't actually ever love Paul and they didn't grow up in the same bed or write eyeball-to-eyeball and hey did you know he loved Yoko because she reminds him of a bloke in drag? She's me in drag. John actually manages to instill some of that insecurity and fear in Paul—about his talent, about who he is on his own, whether or not John ever loved actually him. They fight nasty like bitter exes. Paul is the first to lay down the arms with Dear Friend. John responds with Jealous Guy. They're on and off. Paul continues to try to make the effort to connect with John again, despite John and despite Yoko. The lost weekend happens, a total mystery in itself. Calls are missed and time still passes. John comes to the inevitable conclusion that he still loves Paul no matter how hard he tries to not love him, that he can't escape. John backtracks a lot. They start talking again. They occasionally see each other. They rent a studio to use after the new year in 1981. John is suddenly killed in December of 1980. Paul keeps John's name and legacy alive for years and years and years. Paul reminisces about their shared past like a widower. Their relationship will be compared to a marriage, a love affair like that of Spencer Tracy and Katherine Hepburn, and even soulmates. They are only ever known as brothers, collaborators, and friends.

The greatest songwriting duo that ever was. The lovers that never were.

[crepesuzette2023]

Today of all days: fics in which John is old and happy!

Take a sad song, and make it better (@javelinbk). Excellent fix-it. “What would have happened if John had taken up Paul’s offer to come to the UK in 1980?” There’s also a Christmas follow-up and a sweet, fluffy extra!

(Just Like) Starting Over (dollylux). 8 December 1980, and John and Paul are writing together. The magic is still there.

Would you still love me if I were a worm? (@unchaineddaisychain). Old McLennon discuss hypotheticals. In bed. This is how it should have been!

Here Today (HerSpecialAgent005). John and Paul got together in the 1970’s, and live in Scotland. In December 1980, they invite friends and family for a cozy dinner—but Paul feels anxious for no reason he can explain…

Grow Old with Me (@inherownwr1te). Old McLennon on the Scottish farm, a broken arm, taking care of each other. Old love at its finest!

oh darling, pardon me (can you help me remember?) (@inherownwr1te; set in the same ‘verse as “Grow Old With Me”): Paul is nervous about the release of his and John’s next album. John soothes him with a tried-and-true method…by combing his legs. Seeing these two being sweet and bantering together is good for the soul.

Take the shape my body makes (backbenttulips). Mid 1980s. Married McLennon find themselves in a sex shop, watch Beatle porn, and fuck. Then they shop at Williams Sonoma. Pure Utopian bliss.

Having Coffee (dornfelder). “In a world where Mark Chapman doesn’t shoot John Lennon, the Beatles reunite in 1982. In 1983, John and Paul are outed by the tabloid press.It’s 2020, and two journalists are on their way to meet them in their home in Central London.” Interview/Article fic that nails the reporting voice and John and Paul’s voices perfectly.

everything that dies someday comes back (@backbenttulips). 2008. Paul is divorcing Heather; John is out as bi. After a lifetime of being friends and loving others, they are free to declare their love. I’m enjoying this one, because it honors the other relationships in both of their lives, while also leaving space for the lifelong big love they never lost: each other.

[penguininahottub]

This is, by no means, original thought. However, after the release of Beatles ‘64, I just want someone to make a Beatles film that is for us. Forget the mainstream and do what Cynthia said had never happened - people getting the emotion right instead of just the facts. The Beatles story isn’t a success story, it isn’t a rags to riches story, it isn’t an even a story about genius, it’s a story that has the power to change the world and one that will be told for ever. We are living in an era where we get to witness a myth being made and so in tribute to the oral tradition, we need to be the myth-makers. Someone needs to tell the story. I hope it will be Paul. I fear it won’t. Perhaps he can’t or shouldn’t, perhaps he won’t be believed. He definitely won’t be if everyone, including him, keeps recycling the same tropes. We know there’s no new stuff to be created, but there is a new light to be shed on what we know is there. This is beginning to sound a bit like the discovery of the Book of Mormon. No one needs another religion, but we do need is for someone to actually attempt to approach this seismic cultural event with an honest and open perspective.

Yoko allowed John to believe he was the genius. John’s canonisation (his manufactured image does him no favours) means that we can forget that Paul was the revered one in the 60s. He was the chosen one - in every way. John clocked it at their very first meeting.

“I half thought to myself, He’s as good as me, I’d been kingpin up to then. Now, I thought, if I take him on, what will happen?”- John

He took a risk, he made his choice and then never again believed in his own ultimate superiority. The story he’d told himself growing up, was that nobody was capable of spotting his genius because they were all below him. Surely a trauma response to being abandoned by his parents. Never could stand to be ignored, forever desperate to be seen and yet incapable of taking off the armour of cruelty. Look at me! Paul was the same, not armour but a wall of charm. Underneath John was soft and Paul is that almost impenetrable wall. They let each other in, and each betrayed the other. Those instincts of self-preservation that John spoke about.

Anyway, he took the chance on Paul, because he wanted to be somebody and Paul and him together made that a real possibility. Also, Paul was fucking hot and clever and talented. He was also a non-conforming weirdo who made everything look effortless and wouldn’t join John’s gang and wouldn’t let him lead. I wonder if this was Paul knowing, from the first moment of seeing John as was then confirmed by subsequent sightings and (I suspect) recces, strategically carried out to observe John (oh that bus worship carries some significance beyond an appreciation for public transport), that he knew how to handle John. Handle and manage John, in order to make him his very own.

(Is it him? Does it matter, because Paul has told us he “noticed” John many times, even before the chocolate bar.)

But, all the Paul adulation, especially John’s own uncontrollable, unconditional veneration, got to be too much. He couldn’t keep his jealousy in check. No quantity of material objects, women, money, food, fame soothed the ache for long enough. He thought Yoko, and because I am sure this is what Yoko promised him, was the only person who would always be in awe of him. She wasn’t, and the really tragic part is that Paul was from the jump, he still is and his faith never waivered.

If only they’d been able to maintain the connection and never lose the ability to read each other’s minds.

They burned too brightly. They loved too hard.

[certifiedbeatlesposts]

i know like a hundred posts have probably been made about this already but i just think the story of john and paul is one of the most heart-wrenching things ever. like two lonely teenage boys find refuge in tough post-war england by writing love songs eye-to-eye in their bedrooms. despite making it big, they are still so closely intertwined nobody can even try to get between them—until somebody does, and then it all goes wrong, and neither of them are really happy with leaving the other but they have to pretend like they don’t care. they spend a couple dizzying years lost without each other, but when they finally find each other again, everything seems brand new, like it’s all going to work out. and then john is killed and paul has to go on live the rest of his life without him—he knows he cannot replace john, so he doesn’t even try. every interview he gets a chance, for better or for worse, to mention john and how beautiful he was. the ache of john’s loss even 44 years later must be absolutely cavernous. you hear all the time about soulmates and people destined to be together, but i think jp is probably one of the best examples of this we have in the modern era

[tavolgisvist]

'Just call him on the phone'

Q: Aside from the millions you’ve been offered for a reunion concert, how did you feel about producer Lorne Michaels’s generous offer of thirty-two hundred dollars for appearing together on Saturday Night Live a few years ago?* A: Oh, yeah, Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired. Q: How did you and Paul happen to be watching TV together? A: That was a period when Paul just kept turning up at our door with a guitar. I would let him in, but finally I said to him**, “Please call before you come over. It’s not 1956, and turning up at the door isn’t the same anymore. You know, just give me a ring.” He was upset by that, but I didn’t mean it badly. I just meant that I was taking care of a baby all day, and some guy turns up at the door … But anyway, back on that night he and Linda walked in and he and I were just sitting there watching the show, and we went, Ha-ha, wouldn’t it be funny if we went down, but we didn’t. Q: Is that the last time you’ve seen Paul? A: Yes, but I didn’t mean it like that.

<...> Q: You say you haven’t really listened to Paul’s work and haven’t really talked to him since that night in your apartment— A: Really talked to him, no, that’s the operative word. I haven’t really talked to him in ten years. Because I haven’t spent time with him. I’ve been doing other things and so has he. You know, he’s got twenty five kids and about twenty million records out — how can he spend time talking? He’s always working.

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

*It was in 25 April 1976 **it was in 26 April 1976

Well, when I, when I was Just a little baby boy, Every night, every night I would call, Because your number, you know, Brought me such sweet joy. I've called your name, John, Every night since then But I ain't never, no, no, never Heard you calling me, My sweet, sweet babe, So, you know, you better call me back again, I call your operator but I still can't get through to you, Call me back again

(Call Me Back Again, presumably, 10 June 1976, Seattle)

Tell me, is she everything i see Or is she really not the one for me? We know, and though some may disagree But do they know the way we want to be? <…> Building something One thing made to last And holding something Special from the past And do I still believe in stories we've been told***? Are all the things she brings me worth their weight in gold? Oh yeah, (oh yeah) pure gold

(Pure Gold, Paul for Ringo, 1976)

***I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another.The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.'

(Paul McCartney to The Big Issue, Feb. 2012)

After you've gone And left me crying After you've gone Ain't no deny You'll feel blue You'll feel sad You'll miss the dearest pal that you ever had

There'll come a time And don't you forget it There'll come a time When you'll regret it****

Someday when you grow lonely Your heart will break like mine You want me only After you've gone After you've gone away

(After You've Gone, 1977, Paul's version - 'just for fun' as he said - of a 1918 popular song written by Turner Layton and Henry Creamer, and it's Frank Sinatra's (and Sophie Tucker!) version.

****the line 'Don't you forget it/When you'll regret it' reminds another old (not as old like After You've Gone but old) song -  I Love You And Don't You Forget It by Perry Como. The song, what our lads were singing in their early years so playfully:

Klas Burling: Tell us something about how you find a song… how you get the idea about a song, to write it down. John: Well, sometimes it's the words first, and then the music after. Klas Burling: Very often you've got a title, you know… Me and you, and everything like that? Paul: Yeah. We try to do that, to make it personal so it's… so we really mean it. When we sing a thing about 'I love you,' it's easier. John: (singing) 'And don't you forget it!' John & Paul: (singing together, jokingly) 'I love you and don't you forget it!' Paul: Well, you see, it's easier than singing something about the cat that lives on the hill, man. (laughter) Paul: It's a lot easier just to sing about what you feel yourself.

(August 23 1963, interview with Klas Burling)

Was I just dreaming or was it only yesterday I used to hold you in my arms And now a baby, and a another on the way [Indescernable] in a farm Now must we be alone? If it don’t feel right, don’t do it If it don’t look right, look right through it If it don’t feel right, don’t do it Just call him on the phone

(John Lennon, Real Life, Feb 1977)

We'd had a bread strike over here***** and I rang him and I was saying, What are you doing? He says. I'm baking some bread.' 'Oh! Me too.' Imagine, with the stereotypes, John and Paul talking about baking bread.

(Paul McCartney, May 2001, interview for Mojo magazine)

*****a bread strike in England was in Nov 1978

Q: Do you regret that your life has become so public? A: I realized that a good fifteen years ago. I remember actually thinking when I went on holiday somewhere, ‘God I’d really better start thinking now about keeping a few countries aside where we don’t sell records. I won’t be able to go anywhere without being recognized.’ But now I think, ‘Really, I’ve reached the point of no return. There’s no going back.’ Even if I didn’t want to sing anymore, I’d just be like Greta Garbo or Brigitte Bardot. They both retired but you’d never know it. John said this to me a year before he died. He said, ‘Be careful what you wish for, it might just come true.’ That’s the way I look at it. I wished for all this and I got it. To regret it would mean I’d have to sit here and live with negative thoughts about it. I know that would only sink me. Even if I had feelings of regret my personality would not really let them out. ‘Look mate, you don’t regret it. Look on the other side,’ that’s me. Not to sink. I always used to do that instinctively, and not allow too many negative thoughts to surface.

(Paul McCartney, April/May 1982, interview for Music Express)

The couple of years after the Beatles broke up it was very touchy because I think we suspected each other of business manoeuvres. So anyone would ring up, it would be like, “Why is he ringing?” And when you put up the defensive like that it’s very difficult to say, “I’m not! Honest!” You just don’t know where to put yourself. So we had a lot of those ups and downs for quite a few years. But the favourite thing was that if ever we talked not business – and what we ended doing, actually, was make a rule not to talk business on the phone – and on those occasions, we had really good vibes, man. And it was great; we just talked kids, we talked family, we talked cats, we talked life, rather than, “oh, what songs are doing with x business affair?” And one of the great things for me, one of the consolation prizes after John was killed, the only thing– you know, you find yourself holding on to little bits of wreckage to keep yourself afloat. And with me it was the fact that our last phonecall was really one of the best we ever had together; it was really warm, we were really friends again.

(Paul McCartney, 1984, interview for CBS Morning News)

Q: Do you remember your last conversation with John? A: Yes. That is a nice thing, a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blowup. It could have easily been one of the other phone calls, when we blew up at each other and slammed the phone down. Q: Do you remember what you talked about? A: It was just a very happy conversation about his family, my family. Enjoying his life very much; Sean was a very big part of it. And thining about getting on with his career. I remember he said, “Oh, God, I’m like Aunt Mimi, padding round here in me dressing gown”– robe, as he called it, ’cause he was picking up the American vernacular –“feeding the cats in me robe and cooking and putting a cup of tea on. This housewife wants a career!” It was that time for him. He was about to launch Double Fantasy.******

(Paul McCartney, Dec 1984, interview for Playboy)

******Double Fantasy released 17 November 1980

I was lucky. The last few wee... months that he was alive, we’d managed to get our relationship back on track. And we were talking and having real good conversations. Real nice and friendly.

(Paul McCartney about This One, interview with Bernard Goldberg for the TV series 48 Hours, 1989)

[got-ticket-to-ride]

John Lennon explaining who "(Just Like) Starting Over" is for

This interview took place only 12 hours before he lost his life. He was so looking forward to the 80s. I had this edit sitting in my folder for two months because it hurt listening to it. John had such a difficult childhood (losing his mother, his friend dying), his stardom weigh him down mentally, his marriage was a failure (and he couldn't really live in freedom with the person he truly loved due to societal norms). And then he gets robbed of his life in the most brutal way. How absolutely devastating...

In this clip, he clearly says the song is not for Yoko.

I was visualizing all the people of my age group from the 60s.... Having gone through everything together, I am singing to them. I'm really talking to the people that grew up with me and saying here I am now, how are you? How's your relationship going? Did you get through it all? Wasn't the 70s a drag? You know, here we are. Well, let's try and make the 80s good, you know, because it's still up to us to make what we can of it. It's not out of our control.

We have grown, we have grown Although our love is still special Let's take a chance and fly away Somewhere alone It's been too long since we took the time

But when I see you darling It's like we both are falling in love again It'll be just like starting over

Everyday we used to make it love Why can't we be making love nice and easy It's time to spread our wings and fly Don't let another day go by my love It'll be just like starting over

We'll be together all alone again Like we used to in the early days

These parts of the lyrics specifically can only pertain to one person he grew up with. George Harrison.

I'm kidding, Paul.

[thewalrusespublicist]

Hello! Love your blog and your takes, objective and sane and well researched chefs kiss! I had a blast scrolling through it like it was my feed yesterday lol can you elaborate on klaus and Paul if possible? People mostly talk about them like it’s already understood but I don’t understand 😭 I’m kinda lost on their (all of them, including stu) dynamic during the hamburg years specifically when it comes to Paul

Aww thank you anon! Tbh I was starting to feel a bit down about my blog and what I was putting out ( the eternal crisis on how to give full answers and opinions without being stupid, boring and annoying lol). So I really, really needed this. :)

Oh Paul vs/and the Exsis, it's quite a long one so buckle up.

Disclaimer: all of the people involved are essentially art kids/young adults who are famously the most exhausting people on the planet. Do not blame them for being dramatic, it's their natural state of being.

If we want to go into Paul and Klaus, we have to kind of start with the John, Paul and Stu. Now these three are a mess that's too big to go into here (though I have THOUGHTS about how Stu is utilised in the Beatles narrative that I'm more than happy to share if asked lmaooo). But in short(ish):

John and Paul had had an intense year and a bit of closeness. Then John meets Stu at art college.

John and Stu become c l o s e for many reasons (being peers, living together, similar artistic leanings + ego, Stu being a gentle guide to John, sharing art projects/poetry/long letters and feelings etc.) They became 'closer than two men' a friend had seen (remind us of anyone gang?). Most importantly, John could be open about his feelings with Stu in letters. If John had BPD which I subscribe too, I think Stu was his 'favourite person' and as Aunt Mimi said his 'special' and 'closest friend' from this period up until his death (though imho the transference back to Paul was starting prior to his death).

It's not clear what exactly happens as there's differing accounts but Stu uses his money to buy a new bass as John wants him to come to Scotland then Hamburg and play bass as he will 'look good'.

Paul doesen't like being relegated to the seat behind John and Stu when he used to sit next to John. He also isn't thrilled when he gets to Hamburg and not only does he get to sleep in the other room with just Pete but Stu cannot be arsed to play because he's hanging out with his hot new girlfriend Astrid (more on her in a sec). Our boy has spent a lot of money he doesen't have and given up on further education to be here and is jealous and annoyed.

Paul and Stu probably were friends and I think their mutual antipathy is overegged. HOWEVER, can't be denied that Paul is jealous of Stu and Stu is jealous of Paul (and getting flare-ups from increasing brain damage). John and Stu tease Paul and steal his money, Paul is mean to Stu (as are the others encouraged by John). Do I think John was playing games with both of them? Yup. They end up scuffling onstage because Paul said something about Astrid (not clear what, one account is that Paul said that Stu could borrow money off Astrid if he needed it which isn't really that bad a dig but who knows Yoko??).

Why is this dynamic important? Because it directly impacts the 'Exsis' (Klaus, Jurgen and Astrid's) group's relationship with Paul:

The Exsis were young artists living in Hamburg. They were artistic, cool, interesting and edgy. They were paramount in introducing the Beatles to cool new concepts, aesthetics and ideas. They also took themselves VERY seriously ie pretentious as all hell.

Astrid met Stu at Kaiserkeller and hit it off. They embarked on an all-consuming romance.

Letter from Stu to Astrid, c.1961

I've seen people say they were the proto-John and Yoko in terms of making their romance the whole world and influencing John years down the line and I can see that. With Astrid and Stu it's far more endearing though because they ARE young and the right age to have a relationship like that. Stu is popular with the Exsis in general and brings them into the Beatles group.

The Exsis didn't like or trust Paul. Astrid said later it was because Paul was 'too nice' which she herself admits is a ridiculous reason. The others also thought he was a bit of a show-off. It makes sense though if you're cool and edgy and want to stick it to the world to be sus about a guy being friendly show-off with seemingly no inner world. The other problem was a perfectly reasonable one imo, you're not going to like your friends frenemy who you don't connect with. Compound that with Paul not taking drugs as much as George or John and being in the other room and you begin to have a division.

Paul had been popular his whole life, like from what we know since-primary-school-popular. He had never been in this position before, let alone in a foreign country. I believe it became a bit of a brutal feedback loop. Paul's response to this type of behaviour consistently it to go more surface level, snide and passive aggressive. The natural response of any group with a designated 'ugh' person is to become more shady and exclusionary. The cycle continues and gets worse. Stu letters back home at this time says that in a shocking turn of events Paul is hated by everyone but Stu 'just feels sorry for him' (lmao OF COURSE you do Stu, its giving 'loathing' from Wicked lol). Klaus drew a lot of artwork of the early Hamburg Beatles that includes this highly unpleasant picture of Paul in 1961 which I think says a lot:

Klaus is also a musician and fancies himself a place on bass. When Stu leaves to pursue art, Klaus asks John if he could take over but John says that he thinks Paul is going to do it.

Klaus has later gone on to say that he thinks he was a better bass player for the Beatles' sound at the start and then Paul developed into being better for the group. It's one of those I cannot believe those words actually left your mouth and you are not deeply embarrased moments. But it's important to keep this desire and viewpoint in mind.

Klaus stays in touch with all of them and close to John and George, George especially. They visit Klaus on holiday in tenerife in early 60s and Klaus later draws the Revolver artwork.

This whole context of how they met and Hamburg is crucial and has to be taken into account when hearing Klaus' statements. Klaus and Paul started off with a lack of connection and with Paul on the outs, the Exsis got an incomplete view of Paul and an inaccurate snapshot of the Beatles dynamic overall. This is why when Klaus says 'Paul was always slightly apart from the others' and that 'divorce was inevitable' from early 60s we should remember that that is what Klaus is expecting to see as that's what he saw in Hamburg.

Klaus wanted to be the bass player (and was holding out hope to join a band with George and John in the 70s), was really close with George and suffers as many did with 'John Lennon aspiring boy bestie syndrome' (JABBS). Paul had what Klaus wanted and from the Hamburg experience, you could see why Klaus thought he might have an in and may have been jealous of this 'shallow' Paul of all people having the connection that he felt he should/could have with John and George. As with most sufferers of JABBS, he took John's side with everything, always refused to say any regrets about his involvement in How do you Sleep and thought Paul was fine with the song because 'he was even closer to John than [he] was. (Again Klaus to put yourself in that level of closeness with John that it's comparable to Paul is ???.) JABBS and its secondary condition PMIETGSH (Paul McCartney isn't even that good shut up) are virulent diseases that incapacitate sufferers objectivity and judgement, so it's fair to say that Klaus is a source you have to take with a pinch of salt on the early 70s period.

It seems that Klaus and Paul did get on a lot better the older they got (probably without the jealousy complication of George and John) and developed a sweet friendship. Here is Klaus' tribute to Paul for his 80th:

Here is the jam session he's talking about:

He now wants Paul to live in his house lmao so things have gotten warmer. But Klaus and Paul's dynamic is a great example of how and why natural bias, little jealousies and spats can consciously or subconsciously influence our internal narrative and why we need to be so careful about not taking one perspective as gospel.

[lenetaylor]

George and his "Asser"

A letter from George Harrison to Astrid Kircherr, August 1963, on stationery from the Palace Court, Bournemouth, where The Beatles had played The Gaumont, from Monday 19th August to Saturday 24th August 1963.

There is a LOT going on in this letter (George's obsession with photos?, George writing a book??, hate for Mrs. Sutcliffe???, George's aching balls????), but what endeared me was his nickname for Astrid: "Asser", which would be pronounced Assa or Azza. It's true, Hazza and the lads had loads of Northern nicknames for their mates!

My transcription under the cut.

DEAR ASTRID,

Do you remember me asking you in Tenerife to write to me as soon as you get back to Hamburg? You didn’t know how long you were going to stay at Klaus’ house, so you would write to me from Hamburg, then I would send you all the records and fun and games!

Betty (the great) comes to England all fat and sloppy saying, - “Vhy you no write to Astrid,” as if it was my fault, so just shut up. Anyway Asser, I bought you the records I told you about years ago, and they are still at home covered in dust, so if you have decided where about’s you are living lately, then let me know and I will send them to you with some other nice ones that you would like.

Fat Betty has seen all the Happy holiday Photos, hasn’t she? but I haven’t, oh-no. You won’t show them to me will you!

Actually if she had not come to England with King Size, then I would still be wondering which part of the world you where in!

I bought a Jaguar (car) last month, I think you would like it. I will send you a photograph of it, with the records as soon as I get back to Liverpool.

I hope you don’t think I am being funny but…..Could you look through your photographs and find some – or all of the photo’s that have the Beatles, either all together or separately, or that any of us with other people on them, in fact any photographs at all that may be of interest and then if you felt in a HAPPY ASTRID MOOD, do you think that you could either GIVE or LEND them to me. It does not matter if they photographs are terrible, as I won’t tell anybody that you made them, if you want me to.

You know that Paul and John are going to be very rich soon, when they collect the money they have made by writing all those songs, and I don’t think that you would like to see me poor and hungry, so I have decided to make a book. It won’t be a DA SADE type book, but a daft story about the BEATLES, with some photographs in it, and then I hope to sell it to all the nice people and then I can buy food with the money…Can’t I?

I would like to have some pictures that the people haven’t already seen in all the other books, so that is why I am asking you. It would be very nice of you, even if the pictures were old at the Indra and KaiserKeller and Top Ten. I know you are very particular about what you do with all the lovely photos, but if you are nice and send me some with the negatives, then I will kill Mrs. Sutcliffe for you! But if you don’t, then I will pay for Mrs. S. To go to Hamburg and see you for a Holiday!!!

What happened to Jürgen? Do you know his address? Where is Klaus now, as I still haven’t said ‘Thank you’ for letting us live in his house.

How are you Asser? Are you well, because I have been ill all week, feeling tired all the time. The doctor gave me a tonic which is like liquid preludin. My balls have been aching too, and banging around on stage!

We will be in Paris for 3 weeks in January. I will write again with the records cheerio and love from Georgie (your friend who wants the photos)

This was published in the July 2015 issue of Record Collector.

[factcheckingmclennon]

harry nilsson quotes double feature: fact or fiction?

"Someone told me a few minutes ago they saw John walking on the street [once] wearing a sign saying – a button, rather, saying 'I Love Paul'. And this girl who told me that said she asked him, 'Why are you wearing the button that says ‘I Love Paul’?' He said, 'Because I love Paul.'" -Harry Nilsson

"I'm just like everybody else, Harry, I fell for Paul's looks." Harry Nilsson (on John)

these quotes get passed around unsourced, or wrongly sourced, constantly. so...

are these harry nilsson quotes about john lennon real?

shockingly, after getting an anon correction on the first one and then discovering myself on the second one through the world's most random search engine imaginable bc SOMETHING felt unfinished...... the final verdict for both?

...ish? the second one is sort of neutral bc it's taken a bit out of context but i'll get to that

let's get into it, because this one took me on a journey!

(and btw the sources on these were SUCH a pain in the ass to find due to lack of sourcing & wrong sourcing so i am on my hands and knees for these to get passed around w the proper sources now that they're in one place bc they're so good)

first of all, these quotes keep getting mixed up and messed around with different wording. which was my first road block on finding a proper source. second of all, they have been wrongly attributed to a) one single interview together and/or b) a rolling stone interview with nilsson. this made things aggravating. but in the end, an anon sent me the audio for the first quote and for the second one i FINALLY found someone a looong while back actually naming the book it's in & successfully found it!

made a post earlier concluding both were fake, but we just had to go a little deeper folks.

anyway, onto the good shit

who was harry nilsson? he was a friend of john's, specifically during his 1974 lost weekend era. they lived together for a while (along with others, including ringo!) and were pretty close.

"because i love paul"

this one gets misquoted the Most honestly like you'll find a bunch of different variations of it, but you can find it in a 1984 interview with geoffrey giuliano as such:

GIULIANO: Did he miss the Beatles? Was he mournful about what happened, over the, you know—? HARRY: Someone told me a few minutes ago they saw John walking on the street [once] wearing a sign saying – a button, rather, saying ‘I Love Paul’. And this girl who told me that said she asked him, “Why are you wearing the button that says ‘I Love Paul’?” He said, “Because I love Paul.” [laughs]  

(source) (and again, it's a tumblr blog, but given that it's audio, i'm marking it trustworthy. i just uploaded it to archive.org in case it ever gets deleted)

"i fell for paul's looks"

this one. this one was a goddamn journey and a half. this sent me on several rabbit holes and dead ends. the author of the last source said "nope it's definitely not from the tapes i found this audio from or i would've posted it too" and couldn't find the source either. no one had a source. until finally i found someone on a forum saying it was in the ballad of john and yoko published by rolling stone in 1984, in an essay titled "harry remembers" and thank christ it was on archive.org

so here's the full quote, found on page 236

"He spoke the way James Joyce wrote. And to me he was the Beatles. He was always the spark. In a late wee-hours-of-the-morning talk, he once told me: 'I'm just like everybody else, Harry. I fell for Paul's looks. George knew more chords, so he was in. And Ringo, he's just Ringo.'"

(source)

so this one gets a... true/neutral rating from me. why neutral? well, the "i fell for paul's looks" part is certainly there. but in the full context, he's talking about why he wanted each member in the beatles. basically, paul was the pretty face. however, he did say that verbatim and it is incredibly fucking gay imo. like specifically the "i fell for" wording is craaaaazy to me. but i do think the full context should be included if we're talking about it, as well as the actual source.

so no, they were not indeed both from the same interview. one isn't even FROM an interview. but they are both true! which is great bc i love both of these quotes and truly thought they were fake! pleasantly surprised on this one

now, take these with a grain of salt. the first quote is a third-hand source. it's nilsson recounting what some random fan told him john had done YEARS prior. the second one is a second-hand source and nilsson and john were like pretty infamous for getting drunk/high together. but the quotes themselves? certainly exist from harry nilsson, and that's the question. believe them if you want to, or leave them! i'm certainly taking them lmao

[theonlymadmanonmars]

What your favorite Hatchetfield ship says about you.

Paul x Emma: You just want good things for Paul.

Paul x Ted: You Just want good things for Ted.

Ted x Bill: You are a connoisseur of the enemies/Rivals to lovers trope.

Ted x Tinky: You used to ship Billdip. And/or you're a monster fucker.

Paul x Bill: You are a connoisseur of the best friends to lovers trope.

Ted x Charlotte: You Believe cheating on your husband is ethical in some circumstances. You're correct.

Mr Davidson x Carol: You really wanna be choked out in bed.

Ted x Emma: You love sarcastic asswholes.

Deb x Alice: You are an angsty teenager.

Sam x Zoey: You think morally grey people are hot.

Sam x Charlotte: You are clinging hard to that broken Relationship and/or the child of a divorce you never really got over.

Ethan x Lex: You think a sweet delinquent is the best thing ever, and you just want Ethan to be happy. You also live for angst.

Tom x Becky: You believe that no matter how your first relationship is you can find love again.

Linda x Gerald: You think Morally grey women and their supportive husbands are hot.

Dan x Donna: You really like background ships, and think characters are more interesting when you have to work to learn things about them.

Peter x Steph: You're incredibly wholesome and just want them both to be happy.

Ruth x Steph: You just want Ruth to be happy.

Peter x Richie: You Believe in Best friends to lovers and you are an awkward teenager

Ruth x Richie: You love nerdy best friends who support each other when no one else will.

Peter x Ruth: You think joke flirting should always lead to real flirting.

Grace x Steph: Why have enemies to Lover or friends to lovers when you can't have Frenemies to Lovers.

Ruth x Grace: You love unhinged girlfriends.

Max X Richie: You want good things for Max.

Max x Grace: You think a couple who could take over the world together is the best kind of couple.

Brooke X Richie: You definitely have a whole personality and backstory for Brooke conducted in your head. You love background Characters and Desperately want Richie to be happy.

Linda X Becky: You love Enemies to Lovers and Absolutely stan Linda as you should.

Duke x Holloway: You love Angst but don't need all the toxicity. You also probably had a crush you never told how you felt about them.

Wiggly X Wilbur: You're a monster fucker You think Wiggly's hot. As you should. You love the idea of Tentacle sex with feelings

Wiggly X John: You're a monster fucker You're a fan of tentacle sex without feelings.

Bill x Blinky: You're a monster fucker. And You want to put Bill into a jar and shake him.

Updated

Let me know if I missed anything!

[undying-love]

Paul describing John: A compilation

"I knew nothing about him except that he looked pretty cool. He had long sideboards and greased back hair and everything."

"I’d seen him around a couple of times, because I realised later what it was, my bus route, he would take that bus, but he would be going to see his mum who lived kind of in my area. And then he’d take the bus back up to his Auntie Mimi’s. So I’d seen him a couple of times and thought, ‘Wow, you know, he’s an interesting looking guy.’ And then I once also saw him in a queue for fish and chips and I said, ‘Oh, that’s that guy off the bus’. I’m talking to myself, in my mind I thought, ‘I saw that guy off the bus, oh he’s pretty cool looking. Yeah, you know, he’s a cool guy.’

"I remember John looking... we used to think that John looked pretty cool. He was a bit older than us and he would do a little more greased back hair than we were allowed… so John was quite groovy. He looked like a Ted then - he had a drape. He had nice big sideburns."

"There was a guy up on the platform with curly, blondish hair, wearing a chequered shirt-looking pretty good and quite fashionable - singing a song that I loved: the Del-Vikings ‘Come Go With Me’."

"I know how I saw John. He was just a ted, on the bus – greasy hair, long sideburns, shuffling around like he was Mr Hard. And I saw him on the top deck of the bus often, before I met him. Saw him in the queue at a chip shop once. And I thought, “He looks cool.” Turned out my best friend from school knew him. We went and met. I happened to know this song, ‘Twenty Flight Rock’. John admired that."

"Up on the stage there were a few lads around, and there was one particular guy at the front with a checked shirt, sort of blondish kind of hair... a little bit curly, sideboards, looking pretty cool. [...] He was playing Come Go With Me."

"This Ted would get on the bus. I wouldn't stare at him too hard in case he hit me."

“I just thought, ‘Well, he looks good, he’s singing well and he seems like a great lead singer to me.’ Of course he had his glasses off, so he looked really suave…He was really the only outstanding member, all the rest kind of slipped away.”

"My memory of meeting John for the first time is very clear. … I can still see John now - checked shirt, slightly curly hair [...] I remember thinking, ‘He looks good - I wouldn’t mind being in a group with him.’ … Then, as you all know, he asked me to join the group, and so we began our trip together. We wrote our first songs together, we grew up together and we lived our lives together. And when we’d do it together, something special would happen. There’d be that little magic spark. I still remember his beery old breath when I first met him that day. But I soon came to love that beery old breath. And I loved John."

[nevereverywhere]

The »The End« guitar solos or "how to subtly show your love by playing guitar together, when talking about problems is apparently not a possibility" Quotes by Geoff Emerick, sound engineer and record producer: 'I know!' he (John) said mischievously, unwilling to let it go. 'Why don't we all play the solo? We can take turns and trade licks.' Long guitar solos with dueling lead guitarists were becoming the vogue at the time, so it was a suggestion that clearly had merit. George (Martin) looked dubious, but Paul not only embraced the idea but upped the ante further still: 'Better yet,' he said, 'why don't all three of us play it live?' Lennon loved the idea – for the first time in weeks I saw a real gleam in his eye. It didn't take long for John's enthusiasm to rub off on George Harrison, who finally got into the spirit of things. John, Paul and George looked like they had gone back in time, like they were kids again, playing together for the sheer enjoyment of it. More than anything, they reminded me of gunslingers, with their guitars strapped on, looks of steely-eyed resolve, determined to outdo one another. Yet there was no animosity, no tension at all – you could tell they were simply having fun. The order was Paul first, then George, then John, and they went back and forth. They ran down their ideas a few times and before you knew it, they were ready to go. Their amps were lined up together and we recorded their parts on one track. You could really see the joy in their faces as they played; it was like they were teenagers again. One take was all we needed. The musical telepathy between them was mind-boggling. Incredibly, after just a brief period of rehearsal, they nailed it in a single take. When it was over, there was no backslapping or hugging – The Beatles rarely expressed themselves physically like that – but there were lots of broad grins. I guess there's also the possibility that, as they were performing the solo, they realized they might never get to play together again; perhaps they were viewing that moment as a poignant farewell. It was the first time in a long time that the three of them were actually playing together in the studio.

[gardenwalrus]

The deleted quarry scene in Help! (as mentioned in this interview)

— Paul McCartney in the Bahamas on the set of Help!, 28 February 1964

[This can be found in the original trailer for Help! - the rest of the footage was destroyed]

"But there are some good scenes from the film. There are shots of us in a disused quarry, using it as a race track. We found it when we were waiting for the technicians. We were screeching around it like mad. Well, they filmed it slyly and put it in the film. Just like that."

- Paul McCartney interview with Norman Jopling, Record Mirror (May 1965)

When John returned from the Bahamas, he told me that the Beatles, on one of their days off, had each rented a Cadillac. After chasing one another around Nassau at speeds exceeding one hundred miles per hour, they wound up in an unused quarry, where they proceeded to play “bumper cars.” “It was a terrific feeling,” enthused John (who had only passed his driver’s test a few weeks earlier). “Smashing up all those shiny new limos.” The game ended when the last vehicle had been rendered immobile, whereupon John, Paul, George, and Ringo returned to their living quarters on foot, leaving four utterly demolished limousines to languish in the quarry. “So we're going to get some fucking big bill for that one of these days,” John remarked nonchalantly. But the bill never arrived.

- Pete Shotton, John Lennon: in my life (1983)

We rented sports cars which we used to drive around the island, I think they were Triumph Spitfires and MGBs. And as the police were all in the movie, we ever had any trouble with speeding. One day we found a disused quarry and started driving madly around it; skidding, doing doughnuts, going up the sides and spinning out. We made Dick Lester come and set up the camera so he could film us. He shot it with a fish-eye lens and it looked amazing: a big golden quarry with blue and red cars - like little toys - going round the bottom and up the sides. It was never used in the film, but we could sure use it now. We've since found that they destroyed all that footage. People were so short sighted in the old days, it was that 'they'll never last' concept.

- George Harrison in The Beatles Anthology (1995)

A few months later in February of 1965, Chuck Brinkman and I were invited to join the Beatles in the Bahamas where they were filming “Help”. [...] “The Boys” with their well known mischievous streak decided to have some “fun” by wrecking the MG sports car they had been provided. Together they lifted the rear of the car up on two cement cinder blocks, one below each side of the back bumper, and then took delight in starting the motor, laying a brick on the gas peddle and pushing it off the cement blocks for the unattended car to gather speed crashing into a solid cement wall. This was done over and over until the MG no longer could “make the trip” to the wall. With each crash “the boys” leaped for joy squealing in delight cheering on the death of the MG.

- John Rook, KQV radio station director (x)