#studio mpls

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Via Studio MPLS for Strange Lands:

Branding and packaging (with a custom bottle!) for Three Rivers Distilling out of Trois-Rivières, Québec.

[dinnickhowellslikes]

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Lana Lane for MPL Studios

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[deitripper]

I was one of the Chilean winners to meet Paul McCartney and go to his soundcheck. My experience.

Well fellas, it's been a long time since i posted here and what can i say, i just wanted to give u the good news! As u read it, i had the chance (next to other people, 9 great fellow fans) to hug paul and share few minutes with him (As i write this all what i experienced feels unreal) I'm the one wearing the sgt pepper's suit btw!

I don't remember too much about the whole day, but the soundcheck was AMAZING, he played temporary secretary, mrs Vanderbilt, Let em in and Coming up!!it was CRAZY. Bf the soundcheck was over we were taken to another place in the stadium where we waited few minutes, and we talked with Stuart Bell (((((i joked a bit with him about he having the dream job and the possibility of k1ll1ng someone to be part of Paul's team and he told me 'HOW!? IT WAS A SECRET I TOLD U! ))))😂 Stuart is Paul's tour manager and we met his photographer and cameraman.

To be brief, let's jump right into meeting Paul, where do i start??? HE'S THE MOST ADORABLE MAN EVER, as soon as i saw him my eyes turned into waterfalls, my heart skipped a beat and all the memories of me binge watching videos and interviews of The Beatles crashed in my head. He greeted all the other winners and i didn't notice i was almost the last one, i was so shocked, too paralyzed to even say something, other winners told me Paul said something like 'Oh darling come on' and i just went slowly as i could to be near him and get a hug. I swear won't forget that moment. I HUGGED A BEATLE LIKE WHAAAAAATTT THE ACTUALLL HECKKK!!!! He share few words with everyone while the cameraman recorded everything. I feel that we were with him like 5 minutes but they -believe when i tell you- FELT LIKE 2 SECONDS. Then we took an official photo with Paul (which i'm kinda sad to receive bc i know my sgt peppers suit was totally hide behind two other girls who won, but hey, i'm in the same pic with Paul and that's enough!!) and lastly i had the chance to show him a bit of my work, i ordered some badges and stickers with my Beatle illustrations that i put on my suit and explained him stuff that i can't remember right now :'( But this is what finally made me lost my mind (internally bc for everyone is was just crying) LISTEN LISTEN, HE SAID MY WORK WAS """IMPRESSIVE""" AND HE TOUCHED THE STICKER WITH THE JOHN LENNON PORTRAIT I HAD ON THE SUIT, HE- TOUCHED- ONE- OF- MY- PORTRAITS AND HE RECOGNIZED THAT IT WAS JOHN READING SPANIARD IN THE WORKS. FFS, as i write this i start to sob. Then in a rush we sang the spanish version of 'Besame Mucho" a.k.a Cha Cha Boom song 😂 and then we all said goodbye as we could, waving, screaming, and in my case, crying hard af.

I really really hope to have a chance too see him in concert again, i know that the chance to be THAT near to him again, a literally walking legend, is almost impossible (as impossible as it feel the first time) i know i'm a lucky girl, and my life changed just having the chance to be in the same room with him. I won't be over this, there's now way this feels less exciting over the years. I was one of the few people that had the opportunity to be to his side -even if it was for a minute- and nothing is going to change that.

I have big dreams ahead, and i hope i'm able to accomplish every one of them. After hugging Paul everything feels possible.

If you like my art, know that i feel more inspired than ever before and i hope u can follow me on this journey🩷

Love, Dei.🩷

Ps, all the winners and i are expecting the video of everything, so as soon i as get it i'll try to share all the bits where i'm interacting with Paul (i hope with my soul that our hug is recorded and that his team doesn't cut that while editing the clips)

[theneverendingshow]

Nansy A aka Iveta via Mpl Studios

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Who is this? If you know, please comment.

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[dinnickhowellslikes]

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Anya for MPL Studios

part 2 / 2 (part 1)

[nicecurves]

[undying-love]

Paul collecting John-related things

"MPL's [Paul's London office] interior style is quietly art deco. Its walls are hung with modern paintings, or framed photos by Linda McCartney, and pride of place goes to her famous shot of Paul and John, laughing and grasping each other's hands at a Sgt. Pepper party in 1967." (Conversations With McCartney, Paul Du Noyer, 2016)

"Children's artwork hung on the walls and above the doors. He was a guy who could afford Picassos, but chose to display his kids' finger-paintings. A big jukebox shone from his sitting room. On the bulletin board in the kitchen were personal photos of McCartney with John Lennon." (http://www.meetthebeatlesforreal.com/2014/09/one-fans-secret-paul-adventure.html)

"A quick scan of his studio kitchen reveals a copy of Mary McCartney’s recipe book and a John Lennon calendar; March’s pin-up is “Moody John” in sunglasses posed against the New York skyline." (Interview with Mark Blake for Q: Songs in the key of Paul. May, 2015)

"I recently bought a lot of drawings and writings by John. I have them on my wall so I get to look at them all the time." (Paul, The Lyrics, 2021)

“McCartney tells me he treasures a six-foot-tall print of a photo he has of himself and Lennon, taken by Linda during the White Album sessions. "I've got the pad and I'm writing, and he's just looking over at me, and you can see the body language and everything: These guys love each other." (interview in GQ 2018)

[theneverendingshow]

Lilya via MPLStudios

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Who is this? If you know, please comment.

[pack-of-cards]

[gardenschedule]

Paul trying and sometimes failing to be chill about Yoko

“I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership.”

1970, Paul to Ray Connolly in the Evening Standard

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight.

The Lyrics: 1956 to the Present

"It just became impossible for me to work with Yoko sitting there watching us," says Paul. "I wanted to write simple things like 'I love you girl' and every time I knew she was listening I felt I had to come out with someone clever and avant garde! "I'm not blaming Yoko -- I'm blaming me. It was no more John's fault for falling in love with Yoko than it was mine for falling in love with Linda. It just meant that we didn't work together anymore. We tried but it didn't work."

Paul McCartney, in his first magazine interview since the split, tells FLIP's Keith Altham... "THE BEATLES ARE FINISHED!"

We didn’t accept Yoko totally, but like I say, how many groups do you know, these days [who would]? I mean, it’s a joke. It’s like Spinal Tap! I mean, it’s Spinal Tap! A joke!

September, 1986 (MPL Communications, London)

And in John’s thing, you know, when as – you obviously know – he was going through a lot of pain when he said a lot of that stuff. And he felt that we were, um, being kind of vindictive towards him and Yoko. In actual fact I just answered a question on an American TV thing – I think we were quite good, looking back on it, and knowing people in life. Many people would’ve just downed tools with a situation like that and just have said: “Look man, she’s not sitting on our amps while we’re making a film.” I mean, that wouldn’t be unheard of. I mean, Sean Penn... do you know what I mean? Most people would just say, “We’re not having this person here. Don’t care how much you love her.”

But we were actually quite supportive. Not supportive enough, you know; it would have been nice to have been really supportive because then we could look back and say, “Weren’t we really terrific?” But looking back on it, I think we were okay. We were never really that mean to them. But I think a lot of the time John suspected meanness where it wasn’t really there.

September, 1986 (MPL Communications, London)

I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

Paul McCartney, on “Get Back”. In The Lyrics (2021).

MANSFIELD: But, you know, [after John showed me the pictures of himself and Yoko nude for the album cover of Two Virgins], I asked Paul about this. And this, to me, is indicative of their relationship, maybe as much as anything I [had] ever heard. I said, “Paul, you know, what do you think about this?” And Paul says, “I don’t know.” He said, “I don’t really agree with John. But I just am going to figure that John’s ahead of me on this, and that someday I’ll understand and I’ll catch up. So, you know, I’m okay.” ROSEN: And what did that reaction tell you about their relationship? MANSFIELD: That it was an extremely deep relationship.

Ken Mansfield (record label executive and Apple Records U.S. manager), interview w/ James Rosen for Fox News. (December 4th-5th, 2007)

John and Yoko had to visit Sir Joseph Lockwood of EMI with the nude photos to ensure that he would allow their use and there wouldn’t be any censorship problems. Although he personally didn’t like the album or photographs, Paul accompanied the two of them to their meeting. Sir Joseph thought that the fans would be outraged and the Beatles’ reputation would be damaged, but Yoko told him: ‘It’s art.’ Lockwood said: ‘Well, I should find some better bodies to put on the cover than your two. They’re not very attractive. Paul McCartney would look better naked than you.”

The Paul McCartney Encyclopedia by Bill Harry. (also... rekt lmao)

So that – I think, in order to kind of say to Yoko, “Look, my life is now yours,” he had to say things like, “The Beatles were bastards, we were total jerks, we never wrote anything good…” Which I think was rubbish, basically. And as I say, you have to realize that some of that time he was on heroin – so he’s not going to be just talking absolutely lucidly all the time, there. Some of the times, he was having other sorts of problems…

1989, Paul

And I think we would all have continued the Beatles, but Yoko came along, John fell wildly in love with her, he needed a big, big change in his life and he got it! He came to live in New York, he kind of threw over all his English [pause] contacts and everything. And, you know, can’t blame him! If that’s what he wants to do in his life! So we had to kind of, fade into the background to allow them to have their relationship. What were we gonna do, ringin’ him up? ‘Hey John, you know, hey, come and see me! Leave Yoko!’ No, that obviously never gonna happen. [pause] See, you had to let him do what he wanted, and he- he did you know… And he enjoyed it.

Paul McCartney on John’s early 70′s attacks as a sign of his feelings towards him. Interviewed by Bob Costa, 1991.

“. . . I mean, 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. And I understood that. I mean, I couldn’t stand in the way of someone who’d fallen in love. You can’t say, “Who’s this?” You can’t really do that. If I was a girl, maybe I could go out and… But you know I mean in this case I just sort of said, right – I mean, I didn’t say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.”

Paul McCartney, interview with German tv program Exclusiv, April 1985.

PAUL: ‘Cause she’s very much to do with it from John’s angle, that’s the thing, you know. And I – the thing is that I – there’s— Again, like, there’s always only two answers. One is to fight it, and fight her, and try and get The Beatles back to four people without Yoko, and sort of ask her to sit down at the board meetings. Or else, the other thing is to just realize that she’s there, you know. And he’s not gonna sort of – split with her, just for our sakes.

Twickenham, January 13th, 1969

PAUL: Yeah, see, that’s the thing. The only one time we’ve actually done it, she’s agreed. She really is alright. It’s like, it’s the thought of her being there when some of— [faltering] And then you don’t talk to John, so then he doesn’t talk to you, you know. And it’s like, you can screw it up just as much because she’s there, as – as John’s relying on her because she’s there. So that’s the thing. You know, but I mean, like, you’ll notice, if John – if you’re onto a beam with John about something, then he really isn’t, you know, he really won’t let Yoko talk about it. Because he knows when you’re on a beam, and he knows about it, and you’ll – you can talk straighter to him.

Twickenham, January 13th, 1969

‘All new wives don’t like their husband’s old friends or cronies,’ he replies. ‘I don’t think [Yoko] liked Paul. I think Paul was ready to like Yoko. Maybe she saw Paul as a threat. It was a partnership. The partnership should have been John and Yoko, not John and Paul. I am not saying it was a deliberate process, but it was a natural process. John had a new partner: she. Yoko Ono. It was going to be John and Yoko’s songs and not Paul and John’s songs.’

Don Short (newsman), c/o Sandra Shevey, The Other Side of Lennon.(1990)

As the meeting was drawing to a weary close, John, not this day with Yoko, who hadn’t seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often they’d shared small rooms in Hamburg, whatever they knew of each other’s love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, “Well, that’s an interesting one.” The others muttered something and the meeting was over. It occured to me as I was walking down the stairs that what we’d heard could have been an expression of 1960s freedom and openness but was it more likely that it was as if a gauntlet had been thrown down? “You need to understand that this is where she and I are now. I don’t want to hold your hand anymore.”

Michael Lindsay-Hogg (filmmaker), Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond. (2011)

“Paul, in his usual way, tried to be the nice guy and was open-minded about John’s weird choice,” says Brown. “He invited them to stay at [his house in] Cavendish Avenue for a while.” The day after Cynthia’s return, they moved into the second-floor guest bedroom and made themselves at home. “But the problem was that Yoko wasn’t a very warm person—not even able to say thank you in response to anything Paul did for them. And he went miles out of his way to make them feel welcome, being a nice guy. So that didn’t last very long.”

The Beatles – Bob Spitz

Examples of failure to be chill:

PAUL: But it’s just funny to sort of realise that after this is all over, you’ll be off in a black bag somewhere – on the Albert Hall, you know. JOHN: Yes. PAUL: And sort of doing shows and stuff, and you know, digging— JOHN: Yeah, but I— PAUL: —digging that thing of it.

January 25th, 1969 (Apple Studios, London)

Yoko had evidently approached Paul McCartney about appearing in the film, as the Beatles' road manager Mal Evans penned in his diary: "PAUL HAS APPOINTMENT WITH JAPANESE LADY WHO WANTS TO PHOTOGRAPH HIS BOTTOM." Presumably Paul declined, and one must wonder if the same invitation might have been extended to John.

Chip Madinger, Lennonology Volume 1: Strange Days Indeed. (2015) (note: unforgivable rudeness on Paul's part to both Yoko and all of us who would have benefited from him featuring in "Bottoms")

“I was in India meditating about the album, when it suddenly hit me. I wrote Yoko telling her that I planned to have her in the nude on the cover. She was quite surprised, but nowhere near as much as George and Paul. “Paul gave me long lectures about it, and said ‘Is there really any need for this? ‘It took me five months to persuade them.

NEW MUSICAL EXPRESS, JUNE 7, 1969

He wasn’t happy. But the big things that were driving him mad were beyond me. He kept on working and writing, but when John came over, all he could talk about was how much he loved Yoko. That disturbed Paul. In spite of John’s obvious happiness, Paul stifled his jealousy with not-very-cute bursts of racist crap.

Francie Schwartz - Body Count

John & Yoko's perspective:

It’s the same. You can quote Paul, it’s probably in the papers, he said it many times at first he hated Yoko and then he got to like her. But, it’s too late for me. I’m for Yoko. Why should she take that kind of shit from those people? They were writing about her looking miserable in the Let It Be film, but you sit through 60 sessions with the most bigheaded, up-tight people on earth and see what its fuckin’ like and be insulted — just because you love someone — and George, shit, insulted her right to her face in the Apple office at the beginning, just being ‘straight-forward,’ you know that game of ‘I’m going to be up front,’ because this is what we’ve heard and Dylan and a few people said she’d got a lousy name in New York, and you give off bad vibes. That’s what George said to her! And we both sat through it. I didn’t hit him, I don’t know why.

I was always hoping that they would come around. I couldn’t believe it, and they all sat there with their wives, like a fucking jury and judged us and the only thing I did was write that piece (Rolling Stone, April 16th, 1970) about “some of our beast friends” in my usual way — because I was never honest enough, I always had to write in that gobbly-gook — and that’s what they did to us.

Ringo was all right, so was Maureen, but the other two really gave it to us. I’ll never forgive them, I don’t care what fuckin’ shit about Hare Krishna and God and Paul with his “Well, I’ve changed me mind.” I can’t forgive ’em for that, really. Although I can’t help still loving them either.

John Lennon: The Rolling Stone Interview, Part One

JOHN: But I understand how they felt, because if it had been Paul or George and Ringo that had fallen in love with somebody and gotten totally involved, suddenly… It wasn’t like, you know, somebody – George coming in and saying, “I’m going to work with Eric Clapton in a band now, and screw you.” It wasn’t that kind of thing at all. It was just suddenly this involvement.

December 6th, 1980: Andy Peebles talks to John and Yoko

“Lennon stated that “there’s some underlying thing about Yoko in [Get Back]”, saying that McCartney looked at Yoko Ono in the studio every time he sang “Get back to where you once belonged””

David Sheff, All We are Saying: The Last Major Interview with John Lennon and Yoko Ono

TRYNKA: ‘The Ballad of John And Yoko’, with Paul playing drums and bass, seemed like Paul’s tribute to you. Was that the case? YOKO: Yeah. I thought that was beautiful. Paul was trying to be diplomatic about the situation, try to make it well... He meant well. There were other instances where he’d do things that were meant well.

Yoko Ono, interview w/ Paul Trynka for MOJO. (May, 2003)

YOKO: Even now, I just read that Paul said, “I understand that he wants to be with her, but why does he have to be with her all the time?” JOHN: Yoko, do you still have to carry that cross? That was years ago. YOKO: No, no, no. He said it recently. I mean, what happened with John is that I sort of went to bed with this guy that I liked and suddenly the next morning I see these three guys standing there with resentful eyes. SHEFF: Do you think that kind of attitude from people was also jealousy? JOHN: It’s a kind of jealousy. People can’t stand people being in love. They absolutely can’t stand it. They want to pull you down in the hole they’re in.

John Lennon and Yoko Ono, interview w/ David Sheff for Playboy. (September, 1980)

‘He wanted me to be part of the group,’ Yoko says. ‘He created the group, so he thought the others should accept that. I didn’t particularly want to be part of them… I couldn’t see how I would fit in, but John was certain I would. He kept saying, ‘They’re very sensitive … Paul is into Stockhausen… They can do your thing…’ He thought the other Beatles would go for it; he was trying to persuade me.’”

Philip Norman’s 2008 biography Lennon

After the initial embarrassment, that how Paul is being very nice to me, he’s nice and a very, str- on the level, straight, sense, like wherever there’s something like happening at the Apple, he explains to me, as if I should know. And also whenever there’s something like they need a light man, or something like that he asks me if I know of anybody, things like that. And like I can see that he’s just now suddenly changing his attitude, like his being, he’s treating me with respect, not because it’s me, but because I belong to John. I hope that’s what it is because that would be nice. And I feel like he’s my younger brother or something like that. I’m sure that if he had been a woman or something, he would have been a great threat, because there’s something definitely very strong with me, John, and Paul.

Revolution Chaos Tape – Yoko Ono, June 4, 1968

"The line [the walrus was Paul] was put in partly because I was feeling guilty because I was with Yoko and I was leaving Paul. It's a very perverse way of saying to Paul: 'here, have this crumb, this illusion, this stroke - because I'm leaving.'" -John

Playboy, 1980

JOHN: And throwing in the line “the Walrus was Paul” just to confuse everybody a bit more. And because I felt slightly guilty because I’d got Yoko, and he’d got nothing, and I was gonna quit. [laughs; bleak] And so I thought ‘Walrus’ has now become [in] meaning, “I am the one.” It didn’t mean that in the song, originally. It just meant I’m the – it could have been I’m the – “I’m The Fox Terrier,” you know. I mean, it’s just a bit of poetry.

August, 1980: John talks to Playboy writer David Sheff about ‘Glass Onion’.

“Still, the real reason that people disliked Yoko was because she ordered them about and sent them on errands in a particularly rude way; she was brought up with servants, and that’s how she treated the staff of Apple. George found it particularly galling that she never gave the Beatles their definite article. He told me, ‘She would say, “Beatles do this” and “Beatles do that”, and we would say, “Uh, it’s the Beatles actually, love.” She’d look at you and say, “Beatles do this.”’ And he laughed and shrugged his shoulders. Whether Yoko was ever aware of the disruption her presence caused to the Beatles’ working practices I don’t know. Some people thought she was so involved in her own work and self-interest that she didn’t notice; others thought that it was a deliberate ploy to separate John off from the others.”

Barry Miles, The Zapple Diaries. (2015)