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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 1.1

So disclaimer: I took screenshots instead of photographing my screen this time, but the quality of footage is a thousand times worse so the images are still mostly shit. But anyway, here we go :)

We're going to have to keep a tally on how many times they refer to their relationship in romantic terms. Less than a minute in, Paul has used the description, “great love affair.”

And John's right on his heels with “the sexual equivalent of . . . People in love.” So there's 2 already. Oh boy.

That opening montage of John and Paul just living for the light in each other's eyes should actually be the official music video for “I wanna hold your hand.”

Also I wonder how many songs they have about hiding. Someone's got to have a list somewhere right?

I adore the absolute lack of reaction to John manhandling Paul.

And then This Look. He's in love with him, ladies and gentlemen.

I remember seeing somewhere that this footage was literally right after they'd finished “she loves you.” Which was pretty recently after Bob Wooler, which was right after Barcelona. And if you're like me and you think that song is secretly about their relationship? If Paul's just been singing “she said you hurt her so, she almost lost her mind, but now she says she knows you're not the hurting kind. She said she loves you” at you, after all of that? Of course John's acting like a fucking puppy dog.

Poor George tally number 1

Excuse me??? John wants to live in the Beatle apartment instead of with his actual literal wife until Paul decides to move in with his girlfriend? What? He's so insane. Cynthia, you're lucky Paul's a fucking social climber.

I think it's indicative of two things that Paul said “screw secret girlfriends” while John happily went along with secret wives. One: different levels of security in masculinity (John doesn't have gay eyebrows etc) and two: different relationships. Jane and Paul's relationship was a smart career move for both of them and I think, being upper-class, and having her own career, and not being a mother, Jane was in more of a position to have a say.

Every time I watch that footage of Ken Dodd asking about their parents I physically cringe. Poor poor babies. Do your research you idiot! I don't think that ever happened again. I wonder if Brian made sure of that.

Paul literally talks like such a husband here. “We've thought about it, and probably the thing that John and I will do . . .”

Obsessed with Paul shouldering himself between George and John after George's little joke shove. It's so protective and yet so subtle. Exactly the same strong posture and easy smile as when he stepped between John and that interviewer during the Jesus scandal.

Poor George tally number 2 (you can't quite tell from the pic but John is shoving him out of the way because how dare he put his suitcase by Paul's?! That's John's suitcase's spot!!)

All the Beatles were cuddly with each other. It's one of the cutest bits about them, the puppies in a basket aspect. But I think we'll need a “noticable spacing difference” tally for this rewatch, too, and here's the first.

Paul wearing John's hat for attention and it fully and completely doing the job? They're so embarrassing!

I actually love that John's imitation of his upper-class Scottish family (which Paul can't do) is actually much more convincing than his broad Liverpudlian (which Paul nails in two variations, one based off his own family) I'm obsessed with the class dynamics between them.

Poor George tally three. He shares this one with Ringo. That moment when Paul's pretending to interview them about their purple hearts and cuts them both off with, “thank you. Mi-mister Lennon,” and John and Paul proceed to completely forget the other two exist for who knows how long – certainly longer than the videographer was willing to record.

I find John sliding into Paul's raspy “tiiight yeeeah” with his very turned on “mmmMM it's been a hard” extremely suggestive. I'm sorry but I do.

It's like he thinks if he looks away for too long he's going to disappear or something. Which. Now that I said that. Yeah. That is what it is. Poor separation-issues baby.

Ringo: Paul, you wrote a beautiful song and you sing it great. John: yeah and you're SEXY! Let's not forget that, everyone.

Am I crazy to obsess over every little musical similarity in their songs? Yes. Can I help it? No. The little “oh-oh ohoho” in the If I Fell demo is exactly the same as in Imagine and (frothing and writhing) it means something I can feel it! I just have no idea what.

I also find the lyric change from “i hope that she won't cry” to “i hope that she will cry” extremely interesting. There's always a heterosexual explanation. Trust me, the straights are the Simone Biles of mental gymnastics. But while the published lyric can be read as a man bitter toward his ex girlfriend hoping to hurt her by flaunting his new relationship, the demo version is trickier. Could it be that he doesn't want to hurt his wife's feelings by letting her know he's in love with someone else? But who else could John Lennon possibly have been in love with at the time?

“Too too much in love. Woah, too too much in love with you.” My heart

#understanding lennon mccartney #ULM #vol 1

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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 1.2

George: We don't have to keep [an image] up, we just remain ourselves. Don't we, Ringo? Ringo: well, we do, I mean, it's the other two we're worried about. It's a joke about John and Paul being bigheads, but a crazy person – definitely not me – could also see it other ways if they wanted to.

Paul talking about their mutual friend when asked how they met and John telling him not to complicate it. They're so married it's ridiculous.

Always looking at each other with every single joke.

He looks like he's in a lovely enclosure at the petting zoo. I've always been so confused by this footage. Can anyone tell me what the hell is going on?

I LOVE that we now know Paul was cast as Thisbe and John as Pyramus and then they switched. I'm actually dying to know how and why that happened though. My first instinct was “of course. Paul was scared he'd look too convincing as a woman, so John did it for him.” But no. Paul dressed as a woman at the cavern, wore ladies lingerie in Hamburg, and wanted to do a full drag show on TV in the early seventies. So why not Thisbe?

Why do you as a man randomly bring up the color of your friend's dick while staring lovingly into his eyes?

It must be noted. They had a wonderful time playing star-crossed lovers.

The bickering pianos are so cute! And then John (prompting Paul): and John and I . . . Paul: oh I hate this. John: will probably carry on . . . Paul: we'll carry on songwriting . . . You just know Paul didn't hear the end of that one interview answer for a long long time. And it's because John just had to hear it over and over again.

Love the editing so that Paul smacks John's ass right as the symbols crash. 10/10 A+

This iconic moment. Poor George tally number 4.

Interviewer brings up marriage and John takes a shot like he wants to forget that the whole concept even exists. Literally poor Cynthia. And not even in an “lol her husband's gay” type of way. Just in a genuine “the way their relationship fell apart actually breaks my heart because she really did love him and in his way he loved her too but they were just so thoroughly incompatible” type of way.

Paul: makes a stupid dad joke. John: giggles gleefully and kicks his feet

I have never seen someone so disappointed that they didn't need to lend their friend a pen. Paul had his hand in his pocket before John even asked the interviewer for a pen and when the interviewer gives him one, Paul literally hangs his head like he's just been cut from the school play. I just. The obsession is frankly cartoonish. But also, he just needs to be needed, you know? How many songs does he have which conflate being needed and being loved?

The juxtaposition of Paul and John elaborately messing with the interviewer (“yes John Lenard, that's me” and “actually it's done by mirrors.”) vs George's “I don't know” and “yeah.” it's actually kind of mean editing but whatever. It is ULM not UH. Someone should make that though.

Again, John. Calm down. He's not that funny. Just look at Jimmy. That's the normal person's reaction to that joke. John is half the reason Paul has such a big head honestly.

Paul's answer to a question about the Beatles gaining a lot of adult fans is nice. Sometimes he shocks with a bit of wisdom. Sometimes his words don't get messed up at the point they hit his throat as he says.

What the fuck? Okay so the interviewer asks Paul what he likes in a girl, right? I've always been too distracted by Paul saying he likes a sense of humor and John doing an obnoxious fake laugh in the background because John. It's embarrassing how obvious you are. Stop.

But I never noticed Paul actually says “people”. The interviewer asks about girls and he says he likes “people - er - girls” to have a sense of humor. Huh. Okay.

So ULM was actually what made me a serious Beatles fan and this was the first moment where I had to pause it and verify to see if what I'd just read was actually true. It really is a doozy.

How to flirt. A guide by Paul McCartney. Step one: get your crush’s attention. This should be extremely easy. Just gesture vaguely at something you're holding. He'll be interested. Step two: do something suggestive to a phallic object. Step three: that's it. You've got him. He'll do whatever you want.

The editing in this thing truly is brutal. Just the jump cuts from a question about Cynthia to John and Paul making each other laugh to girls screaming to John and Paul unnecessarily touching to girls passed out on the ground to John and Paul desperate for each other's attention to girls waving signs to John and Paul sharing weird eye contact to girls physically mobbing them to John and Paul beaming at each other to a question about Jane. It really does drive home the immense pressure of compulsory heterosexuality back then.

Then a question that's obviously meant to poke a nerve and start some bad feelings. “Paul. Is John the leader of the Beatles?” Easily rebuffed with “no I'm not” and “there's no real leader”. I know I'm dramatic but really it's like every aspect of that society was against them you know? And they just kind of said "fuck you, we're crazy about each other."

Question: what do they think about when they're imprisoned in their hotel rooms? John: we don't think about one thing. *Whips head to look at Paul* well, some of us do. Oh and you know that how exactly? What, do you just have a printout of his every thought? Do you keep constant tabs on his dick?

Someone give me the heterosexual explanation of that moment when John very clearly and obviously checks out and appreciates Paul's ass as he and Ringo are pretending to be cowboys. Seriously. I'm at a loss here.

Poor George tally number six? Seven? They're asked what they'll do if England reinstates the draft. John brings up Southern Ireland. George brings up Germany. Paul and John plan their joint escape to Southern Ireland as if George hadn't even spoken.

The choice to play “Another Girl” over that quote of John's being like ‘Paul's actually much meaner than i am’ is great. Because that's seriously such a jerk song. I don't much like Jane, honestly, but fuck, she deserved so much better than Paul. He was such a douche.

Literally all the song choices in this are phenomenal. “Hide Your Love Away” over the montage of 60s homophobia moments? It's so genius. Saying everything without saying anything. Letting the Beatles do the talking.

The laugh track over the cartoon is honestly so sad. Nobody asked them if they were okay with being mocked like that and they never even made a dime off it. What would that have felt like to know that your being “too close” with your best friend was a running joke on TV?

“It's only love and that is all. Why should I feel the way I do?”

#understanding lennon/mccartney #ULM #vol 1

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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 1.3

Okay can anyone explain the “false hotel registration” thing to me? Does it mean they registered under a false name? So Paul registered under a false name so he could go fuck a girl in his room without getting in trouble with the press? I'm confused. Didn't they bring girls to their rooms all the time without getting in trouble? It doesn't make sense. Why did he feel the need to register under a different name?

Paul, talking about American conservatism, “So many organizations over here that are nuts anyway.” John, “Yeah, they're so far right they just–” tape ends. They really were brave, though. To say what they thought and risk losing what they'd only just got. I wonder who cut the recording.

Journalist: Paul, are you planning to marry Jane Asher? John: scream ‘no.’ Go on. Lol John certainly says what he feels doesn't he?

Paul making fun of the racist question. Good job bud.

The whole “Yesterday” thing is crazy. Like, what a feat, first of all. I think we forget how unbelievably successful the song was.

Second of all, I know John's reaction was childish and mean, but his feelings were valid if you just look at the treatment and reception of “Ticket to Ride” (John's dead mum song). Like objectively yesterday is a better song, but still.

Oh, John. Poor thing.

If “Girl” is secretly about Paul . . . yeesh. It's so obsessive and adoring and simultaneously so disappointed and disparaging. John always has such impossible standards for Paul. “She promises the earth to me and I believe her, after all this time I don't know why.” Um… maybe because he literally did give you the world? At so many points I find myself asking, “what more could Paul possibly have given John?”

People always take this quote as a sexuality thing, but couldn't it also be a conscience thing? Revulsion at taking advantage of the fact that all these women are fans? At the scale of his infidelity? I don't know, am I giving him too much credit?

The thing about Paul, John – and though it drives you insane, it's a big factor in why you love him -- is he's not going to be bullied into anything. If he decides to take LSD it's going to be on his own terms. And I know you think it'll bring you two closer, and you're right, but peer pressure just doesn't work on him. There's no point. You know that.

I LOVE Paul and the Indica. Designing the wrapping paper in secret up in his little attic room, covering over the shop windows so he can do his handyman work building shelves and painting in peace. It's Linda's Paul pre Linda, you know?

John is so good at PR as in making something sound as beautiful and important and powerful as possible. Which is something Paul absolutely relied on John to do and clearly could not do on his own after the break up. Look how John makes them almost into prophets here.

"I really wanted to live in London but I wouldn't risk it." Another thing to make John envious of Paul and resentful of Cynthia. I really wish those two had just never got married.

“I don't object to people having a lot of money, I never did. But I do object to people being stony broke and starving.” RIP John, you would've loved the American “left” of today. But you can't have the former without the latter, sorry.

This picture always gets me. It's ridiculous. Pattie and George. Mo and Ringo. John and Paul. With Cynthia awkwardly by herself. It's funny. It's adorable. It's crushing. And with that quote? It's impossible.

I think Tara Browne is overlooked. Paul brought him home for Christmas. That's a big deal. And John hated him enough to laugh when he read about his death. That's also a big deal. Paul and his messed up social climbing obsession. I do think it's worth pointing out, though, the difference between Paul’s LSD trip with Tara and his trip with John. More on that later.

I really do think they were all staunchly anti-racist for their time, you know, besides John's racist jokes and drawings… but Paul particularly. And I have to wonder where that came from. Did he have empathy for people being judged on appearance and background? Was it partially due to his idolization of black artists? Did Little Richard maybe say something to him about racism in America? Anyone have any thoughts?

Actually, same, John.

Okay and I have to share my hot take on the whole Jesus scandal. It's this: the American right doesn't actually care about Jesus. They care about protecting their hegemony. They didn't like that the Beatles were openly and stubbornly integrationist. They didn't like Paul's comment about their inhumane racism. But they couldn't openly counter that without showing their hand. So they used the Jesus comment as an excuse. If they play the religious persecution card, they get to paint themselves as the victims and therefore the good guys while they take down anyone who challenges the status quo that keeps them in money and power (aka the Beatles).

Maybe I should've had a “poor baby” tally because the number of times I've said that about John in these comments has got to be tally-worthy. I would've driven around in a gorilla suit with you, honey!

It is actually amazing that there hasn't been more speculation on Paul's sexuality with all these serious boyfriends.

Paul tells a story about a time he flew a plane, and how much better he liked it than being a passenger. First off. Imagine being a pilot and just being like “oh, you've never touched a joystick in your life, but you're Paul McCartney? Sure, go ahead. Fly the plane.” But also. His control issues and his confidence are both off unreal. No one in their right mind would feel more safe flying a plane – as someone with a complete lack of experience – than when a licensed pilot is flying it.

Okay I literally JUST learned that Here There and Everywhere says, “how good it can be” not could. Can. And it's one of those in my "for sure this was about John" folder. Okay then. Wow.

The thing is they really did compliment each other's songs a lot more than modern Paul makes it seem like. So I wonder what it was about the “Here There and Everywhere” compliment that made it so special to Paul?

This footage where John is hiding behind McCharmley. I love protective Paul and how different he is to protective John and how much they needed each other.

Hall of Fame quote: “what composer do you respect the most?” “I dunno really. John Lennon.” “Paul McCartney.”

#understanding lennon mccartney #ULM #vol 1

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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 1.4

Oh, John. It's hard because I'm like “fame was not good for that man” but I'm also like “he would've gone crazy with self-loathing if he didn't have the fame.”

John and Paul start to answer a question at the same time. John: no, go on, you can say it. They're seriously so married.

John's schoolboy flirting is cute, but what's more noteworthy to me is a) how happy Paul is to be shoved and b) how he instantly leans back into John. It's like they're bungeed together or something.

John gets me. Look how much he loves Paul bringing out the forced confidence shield to protect him. He's so in love. So turned on.

Here's my question about the death threats. Did the other Beatles actually receive them and tell Brian about them and keep them from John? Because that would be incredibly sweet and noble of them, but also, in that case, surely John received death threats too. Meaning he just didn't care about his own life and assumed the others were being left out of it because they hadn't actually said they were bigger than Jesus. Or did they have people filtering all their mail by that point? And Brian had been keeping the death threats from all of them? Because that could be interpreted as both protective and selfish of him. Does anyone know?

Again. I just love how Paul goes to bat for John over and over during this tour. Batting his eyes and playing with his hair and shouting down any and all criticism of John speaking his mind.

This moment is so telling to me. An interviewer who was up front at several concerts points out the looks and smiles between John and Paul which you can only see from the front and asks, “is it really that much fun every time?” The easy answer is, “Yeah. We like what we do. It's fun!” But Paul gets cagey. “Oh well the thing is you know with things like that it's probably…” and he makes up a bullshit story about messing up on a song they haven't performed in a year. Why do that if you don't have something to hide? (Even if you're subconsciously hiding) That right there is a tip-off for me that they're not normal about each other.

Interviewer: are you guys breaking up? John, immediately and emphatically: No. Paul: "Depends what you mean by breaking up, you know . . . Because we can't go on forever like this, so we've got to think now and prepare for, you know, if it did happen. The time has come for us to break up, but we've realized the possibility . . . Of breaking up as a natural progression." Literally shut the fuck up right now, you're going to give John an aneurysm.

I understand. I know. I don't relate to Paul much but I do relate to his hyperactivity and his avoidant attachment. I make sure constantly that I'll be okay when all my relationships end. But you don't talk about that in front of the other person. Especially someone like John whose worst fear is being left. Come on. Think.

See, now look what you did, Paul. Here's John's answer the next time they're asked about breaking up.

And yeah, the klan being the ones to “stand up against the Beatles blasphemy” really proves my point from the last post I think. It's just masked racism.

It actually seems like Paul's more vocally political at this point in time than John is. I wonder what happened to change that? Was it just the influence of their respective wives? Was it just easier for them to play up the roles they'd been assigned for the most part?

Okay on this round of “are you breaking up” they look at each other first before they answer and then Paul goes “all together probably.” I wonder if they talked about their previous answers together and admitted – however cautiously or however veiled – that hearing the other say they might leave hadn't been fun. Who knows, honestly.

Paul and John often talk about making a radio show together apparently. Gosh if only they could've done that now. I'd make them my token white boy podcast. It'd be great. They'd be so lame and so adorable and they'd talk about recipes and politics and they'd gossip and rank other people's music. But anyway, what really gets me is the often bit. So they really did plan their post-beatle future together. Enough that it was a frequent topic of discussion between them. They planned to be together forever.

Ugh it always guts me that Paul brought a girlfriend to Paris with him to meet up with John.

Okay my tin hat is glued to my head for this but. But. Hear me out alright? So John starts filming on 09/19/66. He's there for 6 &½ weeks. Putting the end at the beginning of November, right when Paul goes in disguise and alone to Paris. Do we have tabs on John for those dates? John just talked about going around Paris in disguise. What if they met up by themselves and in secret? What then?

No fucking wonder John was exhausted with him. Damn. He takes a month and a half to write strawberry fields, shows it to Paul, then...

Interviewer: the songwriting team will keep going whatever happens will it? John: yeah, we'll probably carry on writing music Forever. It's just so ‘Obviously. Might as well ask me if the sun's going to come up tomorrow.’

His friend – try dangerous drugs with and take home to daddy type “friend” – just died brutally and suddenly two days ago, and this is what he looks like and talks like and he's going in to work like it's nothing. I just. Compare that to John talking about Brian's death? Obviously two very different relationships but still… Paul's upbringing really fucked him up so hard. He thinks he's not allowed to be human. What can I say? It's a drag.

AKA the happiest 6 months of John and Paul's lives.

I find it fascinating that Paul alone is asked to compose and record what would eventually become the carnival of light and that he just went ahead and included everyone in that. Really makes me wonder if he got a vibe off John that him doing the family way alone was hurtful or if they maybe even talked about it? Or maybe he just didn't like doing the family way without John.

Actually quite a lovely, forward-thinking, humble speech. Imagine being John, though. Watching that from home like “why the fuck is he philosophizing to the world without me?” Because you know John shares all those sentiments and might even have got there first. It would be infuriating.

“A lucky man who made the grade” is an interesting way to describe Tara and I can't help but wonder if it has anything to do with Tara being cool enough for Paul to associate with him. And Paul is many things but stupid is not one of them. He's going to at the very least wonder if this verse is about John laughing at his friend's death. Right? Like I know Paul's the repression CEO but seriously I don't think even he is that good.

Maybe that Leopold and Leob quote isn't just about tearing people down verbally. Maybe Wooler genuinely got a vibe of a sense of superiority and therefore lack of empathy with Lennon/McCartney.

I mean he really does sound like he's describing sex though, doesn't he? Emotional, loving, romantic sex. Followed immediately by Paul's “I'd love to turn you on” lyrics and the “down with pants” and “sword swallower” pins. Alrighty then.

What I would call my Beatles bio after watching this. "They Touched Dicks: The Only Logical Conclusion."

#understanding lennon mccartney #ULM #vol 1

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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 1.5

Coke Paul is just so pretty

What is the switching glasses supposed to mean in the penny lane video? Any thoughts?

In this interview, Paul seconds John's “go on forever” comment from a few months ago. They really did so well when they were living together, didn't they?

Okay, let's look at the difference in Paul's trips. His first ever trip with Tara Browne and he's just concerned that his sleeves are dirty and just mildly looking through a book of pictures. VS with John? The “I know.” “I know.” The “emperor of the universe” thing? Raving about it to everyone who would listen? Having to leave multiple times because it was scary how tightly they were bonding?

Their songwriting partnership is beyond insane. It's superhuman, it really is. Their abilities, their connection. And Cyn and Terry just reading. Just completely nonplussed. This was very every-day, monotonous stuff for them. Unfathomable.

That song will always get me, though. “what do I do when my love is away?” “Obviously move my best friend in to take her place and then write a timeless classic with him about how it.”

Astrid: At first I did wonder if the really cared about people's feelings and people's friendship. Maybe this doc's whole thesis is “John and Paul's love for each other was so big they didn't have room for any kind feeling toward anyone else.”

The Pepper photoshoot is insane to me. Like more insane than the David Bailey one. Change my mind. You can't.

John tells an interviewer, "Only now am I beginning to realize many of the things I should have known years ago. I'm getting to understand my own feelings." Were follow-up questions just not invented yet??!! What things have you just learned, John? What feelings?

Never forget Linda took these. She must've been somewhat aware of how annoying this man was going to be about John from the start. And she still went after him. That's how good his . . . Nevermind.

"a decisive moment in the history of Western civilization" Well done, babies.

I love smug Paul in general, and I especially love when he's smug about John. That “me and the badass bitch I pulled by being autistic” look. But literally.

Gosh the Greece trip looks so beautiful. Idyllic. Paradisiacal. All of the beautiful people are just so blissful and in love. Sigh. (Every time I tried to take a screenshot of it it was too awful. Peter Jackson should clean it up.)

What are everyone's thoughts about the cause of Brian's death? I really liked what Vivek Tiwary said on AKOM. He knew he was taking a dangerous amount of drugs and he was depressed. But he wouldn't have just left so suddenly without leaving a will or setting things in order for the Beatles business. Anyway, no matter the cause, his death is the beginning of the end for the Beatles.

All those quotes and pictures about the “intensity” between Paul and Brian are fascinating. “Obviously adored” “overcompensate” “little worries” What does it all mean? Was Brian in love with Paul in the end like he had been in love with John in the beginning? Or did he just feel bad because he knew it was unfair to Paul how in love he was with John?

Wait, Brian was hospitalized for s*icide attempts in 66? Really? Confirmed? I knew he was in the hospital, but didn't know it was due to s*icide.

Paul's hand at the small of John's back here, helping him onto the bus. It's so tender, so customary. They took such good care of each other.

Interviewer talking about MMT: If I can't see it in color, I'm going to send it back. ... :/

They're directing something and as Paul starts to walk away, so does John. But not because he wants to. He's looking around almost frantically. He has no choice in the matter. Only one person gets to control their legs at a time, and right now it's Paul's turn.

Look how fucking ecstatic he is. I guarantee John isn't saying anything that monumental but look at those eyes. He's done for. Gone.

Interviewer: just get a tape recorder and you and Paul and the others just start gabbing. John: well, we've got a lot of that lying around the house, actually. Me: First of all “the house?” “the house?” Just casual. Like “our house” Like it's just common knowledge that they've been married and living together since they were fifteen. Second of all, give us the tapes already!! Who has them? Paul?

All of these quotes from the Hunter Davies biography are just so normal. They're all so normal. It's fine. I'm fine. And here's my tin hat coming on again (and yeah I believe John loved George and Ringo immensely) but I think sometimes in these quotes, when John and Cyn are saying "the Beatles" they kind of mean "Paul . . . And George and Ringo". John himself actually says as much in the seventies, that when he says "the Beatles" he might just mean Paul, or just him and Paul. And there are countless times when Paul or John will start out saying "the others" and end up using just one name in a sentence. Idk this doc makes me such a truther I swear I'm not always this crazy.

And John's self soothing, reassuring refrain playing over all of it, “nothing's gonna change my world.” Right after Paul and Jane get engaged? Someone stab me in the heart, it would hurt less. And this is just the anticipation of the next part. Can I even handle part two?

Have some happy screenshots to bolster us.

#understanding lennon mccartney #ULM #Vol 2

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Understanding Lennon McCartney Rewatch Part 2.1

Cynthia and John are worse and crazier for admitting what they admitted in the bio. But Jane and Paul are not exempt.

Will forever love this pic of Paul and Julian. He does not look like the fun uncle. He looks tired and dependable. Just stepped out of the womb as a father, didn't he? The sperm that fertilized his egg probably passed some fatherly advice and hair tussles to the other sperm as it passed them.

They should've bought the fucking island.

They never look more like a couple than when the women they're actually dating are right next to them.

The India footage actually looks so beautiful. Obviously it's a beautiful place, but they all genuinely look so free and at peace there. It really could've been so good for them. Getting enlightened, getting soberish, growing closer as a band, taking a much-needed rest. It should've been good.

The music choices in this documentary! The drastic shift from, “all you need is love” and “the dream I had was true” and “I don't need much to set me free.” to Paul leaving to “yes I'm lonely. Wanna die.” “I'm going insane.” “Look at me. Who am I supposed to be?” 8d8 psychic damage. And the thing is it's real. John really did flip a switch, just like that.

Smashing my head into a wall. It's the same as Yoko's quote about how ‘nobody hurt John more than Paul.’ Really Pete? Worse than after his mum died? Really Yoko? More than that drunk cop? Paul, what the fuck did you do to him in India, seriously, because at this point in the doc I can't accept the theory that it was just some lack of communication, I just can't.

It's also telling to me that when John's losing it, everyone's solution is some time alone with Paul. Nobody panic. Paul can fix him. Little do they know Paul's the one that broke him. Or maybe they do know and that's only another reason they know Paul's the only man for the job?

Old-fashioned ad voice: You liked Protective Jesus Scandal Paul? You'll love Protective LSD Scandal John! Really. Before the question is even out, he's making fun of it. I think he cuts off the interviewer at least three times with jokes before he can get the sentence out, and by the time he is, Paul's giggling too hard to feel bad about his little PR fuck-up.

Then he lets Paul talk a bit before jumping back in, this time with his Hard Man suit on. It's just so good. A testament to their unconditional love, really. Because, clearly, Paul's just hurt John pretty bad. And yet, here John is. Using every trick he's got to defend his friend.

But actually, though John is supposedly the one everyone's worried about, Paul's doing a pretty shit job of being the “stable” one. This entire press tour he's either fucking blazed and laughing at everything or disassociated and not contributing.

(((except during that political discussion – again! Paul secretly has actual thoughts on actual things?!)))

But for the most part, John's absolutely holding down the fort. I wonder if this is another case of everyone – all their friends and business associates, just like we as a fandom still do now – assuming John is the problem child, and Paul's the strong one, but actually they're both both.

Back to the political interview. They're just so in sync. Finishing each other's sentences when you're talking about the weather or your shared work is one thing. Finishing each other's sentences on complex topics like why poor whites often vote bigots in or the cause of rampant misinformation is quite another.

“Letting his dad cut his hair at sixteen, seventeen.” You all know that John hates Jim quote.

John: so there's war, and vegetables. There's relativity and absolute. Paul (absolutely smitten): that's great Johnny. Int: that's rather hard for people to interpret. John: well if they can't interpret it now, maybe they will later..... 1. John really was extremely intelligent. 2. That last statement sums up Beatles historiography.

Paul really just Won't be alone with John, will he? Well, two can play at that game, Paul, and John's going to win, let me tell you.

But he's going to do one last panic grab for attention first.

I really do think if John had done something like that *before* Paul would've given him that attention. Told him he's being insane and taken him home to splash some cold water on him or something and then given him whatever softness Paul was capable of. But not anymore.

I wonder if Paul could go back to 1966 if he just wouldn't have taken John to that Indica show where he met Yoko. If he would've just said “okay John, sure, let's just stay home and trip on the couch tonight.” I don't know.

Anyway, Yoko gets an A+ for persistence. Imagine being Paul, George, or Ringo, though, and John is suddenly madly in love with this woman whose been begging you all (and then him specifically) for a platform for over a year? It would be weird to say the least.

John: don't you hate me? I'm crazy, you know. Paul: no I don't hate you. John: aren't you pissed at me now, Paul? Even a little bit? Paul: I'm very proud of you. It's the unstoppable force (“Don't ‘nore me, Mimi!”) vs the immovable object (“I learned to put a shell around me”.) Someone get them some professional help before they nuke the whole world.

“There is, however, a desire to get power in order to use it for good.” One of those quotes that just really lets you see a person, you know? Benevolent dictator Paul.

Yoko, why are you talking about how bad your boy doesn't want to fuck you right in front of all his closest friends and on record for posterity? If you have to be talking about your sex life, shouldn't you be lying about how insanely horny he is for you? Oh, right, she will think of that, just not yet.

And then she waxes poetic about how turned on John is when he's working on music with Paul. Cool. Smart. Thanks for that, though, genuinely.

And Then (gosh, Yoko is such an asset to Beatles history when she's not actively spreading misinformation. Everyone give her a hand) she goes on about how Paul goes out of his way to make her feel respected and even valued. Compare that to John and Linda, anyone? And I want to be clear, I'm not saying this means John cares too much and Paul doesn't care at all, which might be the surface read. I just think John's reaction was to scream in everyone's face that he was in pain and Paul's was to insist ad nauseam that he was fine. You know?

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Understanding Lennon McCartney Rewatch Part 2.2

Prettyyyyy

Maybe John's not actually crazy for thinking Hey Jude is to him? “For well you know that it's a fool who plays it cool by making his world a little colder.” fool is, in my tin hat world, often a code name for Paul in their songs. And that description is certainly him to a t actually. I wonder why I've never considered it before.

John: are you happy here, honey? Paul: I ain't happy here my honey, can you take me back? How many songs does Paul write from 1968 on about trying to go back? One day I'm going to make a list and it'll be a long one.

And thus begins the phase of they just can't help it, can they? But they really wish they could. They make each other so so happy, but they really wish they didn't. It would hurt less that way.

I love the comparison of Linda's pictures of everyone else and then of John. It just shows that it's not a her problem – that's such a lovely one of George, who Hates Yoko – it's how he feels about her.

John, coming up with every possible weapon to provoke Paul, finally has Yoko sing Paul's part in one of their songs. It really is such a slap in the face. But of course breaking the sanctity of their music is what does it best. And still, all he gets out of him is a look before he walks away. Whatever it is that John wants, I think Paul literally can not give it to him.

Btw the white album is my favorite, probably. There's just such incredible diversity on it. It's so much fun, you never get tired of it, and it's an excellent display of their genius and versatility.

He looks like an abandoned puppy.

What do we think? John says Paul drummed on WDWDITR. Paul says Ringo did. Who is telling the truth?

“It was getting to be where he wanted to do it like that but he couldn't make the break . . .” So John thinks Paul doing his songs by himself means he wants to break the group up? I personally read it as him not wanting to annoy everyone with his bossiness, but that's just my take.

John talking about how it's him and Yoko now, but before, it was . . .

George needs to send them a cease and desist notice or he'll sue them for breech of character the amount of times they drag him into things he's not a part of. Especially if they're not going to even fucking spare him a glance in reality. Please and thank you, Hare Krishna.

Paul's epigraph on the two virgins cover. “Battles to prove he was a saint”? What kind of passive aggressive shit is that, Paul?

The eternal question: what happened in India? And does John really not know? Or is he just unwilling to tell what happened to rolling stone?

Somebody please engage with that poor little boy, preferably, you know, his father. Ugh, Cynthia must've had so much anxiety watching that footage, or really any time Julian was with John. And that footage is placed in the doc right after a pic of Paul already being Heather's dad just so naturally.

But hell, if I've ever seen attention-seeking behavior, this is it. Singing about wanting to die while seductively undressing the closest thing Paul would've had to career competition at the time.

I'm sorry but it will forever be hilarious to me that when John's singing his part of “I've Got a Feeling” with Yoko it's “soft dream” and then with Paul it's “wet dream”. How John and Yoko tricked everyone into believing they were too horny for each other to control themselves is beyond my imagination.

On the day John plays their sex tape, “Unusually, Yoko is not present.” LMAO girl same. John: I'm going to play our sex tape for the band tomorrow. Yoko: oh was that tomorrow? Damn, I forgot, I have a thing.

“Well that's an interesting one.” What did John honestly expect, though? Like I know he wanted Paul to be like, “that's it! Enough is enough I'm taking you home and doing you right!” Or whatever. But what did he honestly, realistically expect?

Always saying the same things at the same time, always on the same page, same word. About everything, it seems, except their relationship.

Paul: but you won't say anything about it. John: I said what I've been thinking. Paul: Are you still thinking that now? What are you thinking now? John: I'm still thinking about it. Infuriating. Whatever it is John's been thinking, he doesn't want to talk about it in front of cameras. Is it quitting the band? I think it's something more complicated than that but I've no idea what.

“John, John, joooooohn!” X “Martha my Dear” crossover my beloved. The fact that literally Everyone reacts and tries to get her to stop except Paul is so extremely telling. Yoko: joooooohn! Ringo: He's busy! Yoko: joooooohn! John: Stop that! (And he looks and sounds genuinely pissed) Yoko: joooooohn! Paul: (plinking and pounding away, definitely not thinking thoughts about what he would do right now if he was a girl that will come out of his mouth fifteen years later)

Everyone's trying to figure out the problem with George vs JohnandYoko and Paul's saying “and like with Yoko, they’re real. They mean it.” Linda laughs. “I don't dig that.” You don't, Linda? What about them isn't real to her, I wonder. Does she think they don't really love each other? Or what?

Linda: *Makes fart noise* Go away! Paul: continues to defend them. Neil: everybody cough. See and this is why it sucks that get back was so edited. Because it's important that Paul's defending them here not just going on and on where nobody asked. He knows he's hurt John, and he feels bad enough about it to let him have his mommy with him at all times if that's what he needs.

If what??? Someone needs to force them to finish their damn sentences. Because I feel like he cuts himself off here when (I swear!!) he's about to say what it is that's hurting John so badly.

Anyway, here's where (imo) he's kinda wrong. Where he says "if it came to a push between Yoko and the band, it's Yoko." I think I said it in my get back posts, but I'll say it again. Yeah, if it was Yoko or the band, it's Yoko. But if it's Yoko or Paul filling all the gaps Yoko is currently filling? It's Paul. You know? And I think that's what John wants so badly at this time, actually. Is “a push between Yoko and [Paul]” ending with Paul stepping up for him in some way that he wasn't before, you know?

He really does get it though. John wanting to be as close as possible with Yoko so he doesn't lose her and their connection. Don't forget he does put Linda in his band. He gets it because it was the same with him and John.

I really do think it's a huge myth that they just never talked about feelings or anything serious. Look at them. This is how they talk in a crowded place with their girlfriends sitting right there. They didn't just get through fifteen years of one of the greatest collaborations in history never actually talking. They talked about deep stuff. And frequently.

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Understanding Lennon McCartney Rewatch Part 2.3

Yoko, you're hilarious. Sirens going off in her brain. “Alert! They're into childhood bedroom crush confessions territory. Redirect! Redirect!”

But also I find them so ridiculous. All the men in this. Is it just a case of men always assuming women are talking more than they are? Because I am definitely not hearing Yoko talking for John here. Or is this a rare case?

Paul’s scouse getting progressively thicker as the argument intensifies. Trying to finish his point as John's interrupting him. “But. Bot! Boot!! I do think –”Ugh it's so sexy. Sorry, anyway.

Paul's pep talk to John is super cute, but what does he mean, exactly? “we would actually all have dug to see you kick that telephone box in.” What is this metaphor? What does he want John to break? Or does he just mean John should act out more?

Okay but in this interview, she's definitely doing 90% of the talking even when the interviewer specifically asks just John. So if that's how they are in meetings or whatever then okay I could see that being frustrating.

Ow. Fuck. Hate that moment.

John: another Lennon/McCartney original entitled “All I Want is You”. Paul: Allan Wanna Too . . . Al Aronovitz. John: Al Aronovitz if you'll Aronovitz. We'll both Aronovitz together. Ugh sometimes you can just hear the voices in their heads being like “no don't tell him you like his song, that's pathetic! God, you're such a loser for even thinking it.” And sometimes . . . It's this. There's no in between.

John knows if Paul's singing “Darling” he's talking to him. Look at his expression as he's watching Paul sing “stand by me Darling, Darling.”

“Dig it” is actually insane. Paul: if you want it, you can get it. You can get it if you can dig it up. John: I can hardly keep my hands still. John: if you want it all you gotta do is ask for it. Paul: (intermittent with John, starts a crescendo of “yeah. Yeah! Yeah! YEAH!” and “want it. Want it. Want it. Want it.”) John continues: Nicely. Say pretty please and you're gonna get it. You're gonna get it alright, you're gonna get it. This time you're gonna get it good!

The looks as they're making fun of something important to him. Poor George.

See and here's the thing. If George knows basically what happened in India (which from this quote that's what I'm deducing) then Paul knows. You know?

Okay you know the “I love you, blue” moment from Get Back? I was feeling so devastated for John that there was no response to that and someone very smart pointed out in the tags that this moment could be interpreted as Paul's coded reply which I think is a lovely idea. And seems legit especially since John responds with song lyrics.

Paul: no that's good, that one. John: okay, tick it. Paul: I Love that one. John: thank you. Paul: I really do. John: I enjoy it too sometimes.

Peter Jackson why didn't you include these bits in your film? Huh? Huh? Was it because it was too homosexuality for you?

John's voice singing “you can imitate anyone you know” over teeny clips of Paul doing about fifty different impressions. It's so phenomenal.

John's “pleeeeeheeeease” actually makes me want to cry. He's begging with everything he's got. It's like he's a baby, really truly, and it physically hurts. If I was the one he was talking to in that song, I don't know if I could survive.

But Paul is sure. They're stuck. He can't give John what he wants.

Yoko tries to give John a kiss and he's so harsh. “Stop it!” If my boy ever talked to me like that . . . Let's just say I wouldn't be sitting with him at work anymore.

And then he's laying with his head in her lap, laughing madly with Paul. See what I mean? If Paul would just let John lay in his lap, I guarantee Yoko would not be there.

A coded exchange PJ left out. You can tell when they start to talk in code just by their tone. Suddenly they're a bit more even-keeled, a bit slower, clearer in their speech. Paul: achieve something every day. It may in theory sound silly, but . . . John: in practice . . . Paul: it's even sillier. But in practice, it's all there is. John: this is where it's at. Paul: this is where it's at unless that is where it's at. John: this is where it's at now. Paul: teamwork. A good defense. John: you play ball with me and I'll play ball with you. Paul: could be learning something instead of this you know.

There's a reason Let it Be is played at funerals, folks.

Is it just me or has Paul literally never looked uglier? Linda's a babe, though. John and Yoko both look cool and hot ASF.

Again, the song choices. “Goodbye (Paul's Version. From the Vault.)” Played over the double wedding footage? Okay. Goodbye, my love.

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Understanding Lennon McCartney Rewatch Part 2.4

It's in the paper that Allen Klein was involved in 40+ lawsuits and John doesn't question it? At this point, I feel like he just didn't want to let Paul be right about anything.

My question is who did that work on before? I mean who fucking does business like that? Let alone business with the most successful man in the world.

John's complaining about Paul being too good at his job is both hilarious (what the hell is Paul supposed to do with that) and sad (it shows just how far their musical relationship has degraded from partners to rivals)

How did they lose Northern Songs? Genuinely, if anyone can break it down for me I'd be so grateful. Anyway I'm sure it was devastating for both of them. “Who'd have the children?” “Dick James”.

I know I'm insane, but can I be allowed to see a glimmer of goodness here? I really do think it's John's kinder side winning out when he decides not to lie. Like, yes, he gets a buzz off of watching Paul go white at his words, but I think he also just – in that moment – didn't have the heart to trick Paul into staying.

But also. Why are we trying to maneuver Paul at all if the end game is for John to leave? It just doesn't make sense to try to trick Paul into signing the contract unless John's divorce threat is at the very least not meant to be final.

I will never understand this picture. Even in the emotional state he's in, he's still hamming it up? There is something seriously wrong with this man.

I do find it interesting that the fact that Paul cried his eyes out after that meeting isn't even mentioned in the doc. I wonder why.

Let's put the bizarre, super-warped timeline in this quote aside for a minute. Apparently the depression started after Brian died and it lasted for about two years and John was still in it during Pepper. Okay. That aside . . .

I have to assume this negative lense on what I can only assume means the period between 66 and 68 is highly influenced by hindsight bias. I agree that John was depressed at the time, in an unhappy marriage, doing too much LSD, etc and that looking at Paul's prolific talent and expansive , fast-paced life would have been maddening. But everyone go back to the end of part one really quick. He looks extremely happy. He sounds extremely happy. Everyone who knows him says he's never been happier. I think he just can't accept right now that there was so much good and he's lost it.

“I look from the wings at the play you are staging . . . I don't know why nobody told you how to unfold your love.”

Insanity quote Hall of Fame. Paul explaining why the Beatles just had to break up, obviously, because he and John "didn't marry the same girl." Someone write the fic where John and Paul both marry the same girl. Could be Yoko or Linda. Sister trad wives au.

Okay, cool, so this means I have full permission to interpret and tin hat about any lyrics I want then, right?

But also. Are we just not going to talk about the fact that Paul dumped a bucket of garbage water and punched this person? And are we not mentioning the depression and alcoholism and heroin abuse during this time?

It's so embarrassing how he looks to her for confirmation here. John, they asked you what you think. Just you. Not some complicated definition. Not Yoko's definition. Just your own thoughts.

“I couldn't wait for them to make up their mind about peace or whatever. About committing themselves.” Yeah, John. You sound real committed to peace. Or whatever. Here's a theory that anyone can shoot down if they want: John asked Paul for some kind of commitment (a friendship wedding, a partnership contract, a mutual wanking pledge) in India and Paul was a chicken about it.

What was that day like, I wonder? I imagine extremely stiff and professional and horrid. But who knows. Maybe it was nice, and maybe that made everything worse.

I will go to my death believing that instant karma was for Paul.

Do we think John actually did send Paul “about twenty postcards from Denmark” all covered in hearts none of which Paul responded to? Paul could be just as cruel in his lack of reaction as John was in his over reaction.

I'm sorry but that is not what a man says when he's just lying to the press to buy time for business. That's what a man says to the press when he's trying desperately to communicate with someone who he can't get through to any other way.

But really, I just don't understand why the creator chose to minimize Paul's emotional response to John's divorce statement. If we don't see him bawling his eyes out and losing the will to live, he comes off like a self-assured, uncaring, jerk. Which. To be fair. John didn't see those things, and that is exactly what John thought of Paul during this time. But still. The audience now comes away from this doc with a skewed view.

All we get is Paul being pissed off about Phil Spector butchering Let it Be without his consent and John and George trying to change McCartney's release date without his consent. Which are both a) understandable and b) strong, male, angry reactions. Making this section portray Paul in the same one-dimensional hyper-masculine way that John so often is. Which isn't my favorite. But hey, it's my only complaint about this doc so far.

Anyway, update: I won't be able to do part three until it gets reuploaded, so we're on hiatus for this project for the time being.

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Understanding Lennon McCartney Rewatch Part 3.1

I thank my lucky stars every night that Yoko eventually got sick of playing secret-keeper.

Paul: I didn't leave the Beatles. The Beatles have left the Beatles . . . John said he wanted a divorce. Alright, so do I. See how they say “Beatles” and they mean each other sometimes?

Derek Taylor on John's position on the break-up: if Paul were to approach him and say “let's do it together again” he probably would; with no more words, he would probably do it. Which is an insane claim to make to a world full of people grieving the greatest band to ever exist unless you are very very sure of that probability. But if it's true that that's all it would have taken, and Paul didn't do it? That hurts my head a little. Do we think he was just hurt too bad to want it back? Do we think he didn't know he had that kind of power? Do we think he was glad to be free of the group?

Ugh my heart can't take it. I'd cry too, John, watching that. I mean look at how they are looking at each other. Look at everything they've lost in a year. I'd bawl like a baby too.

Paul sends John a long, thorough letter, begging for them to legally end their partnership outside of a court. John's run out of cards at this point, but he still doesn't want to lose Paul, so he's just going to play dumb.

This is how bad he doesn't want to lose him, actually: he goes along with Klein in tricking Paul this time. Calls him up and asks him to come to the studio for a jam session, because it'll hurt his case in court. But for multiple reasons – the Eastmans were knowledgeable lawyers, and Paul might not have even wanted to be in a room with John at the time anyway – Paul doesn't come. Which John would've been hurt and angry over, no matter his motives.

"They tell you to stop crying at about age twelve. Be a man. What the hell's that?" I'm so proud of John for his (albeit long and backsliding) journey out of his toxic masculinity and violence. Something I honestly don't see him achieving without Yoko.

And from that quote it transitions to Paul in Scotland, looking like the embodiment of depression, as the opening of “Isolation” plays. It's perfect.

“And don't try to come over here. Or you might get in some trouble.” The way he just froze when he saw them filming him and then the next thing we see is him threatening them? Get ‘em, babe!

John sounds so giddy about this one-upping competition with Paul. I'll scare him and then he'll scare me!

The whole Lennon Remembers era is such a terrible case of diarrhea of the mouth in general, but the amount of homophobic language is quite striking compared to how John talked before and after.

John, talking about George in Rolling Stone: "he was working with two fucking brilliant songwriters and he learned a lot from us." People read that quote and just parrot it like they do with everything John said in this period and act like George had nothing to be angry over. He had every right to be much angrier and hold a much bigger grudge than he did.

And about George's new record, which was phenomenal and brilliant, John is transparently jealous and so cruel. If he'd said that about me and then asked me to play on his new record I'd tell him to go to hell. Why did George do it?

See and everyone who knows John knows how much he loved Brian and to hear him speaking so crassly and cruelly about Brian must've been a sure indication to them to just take the entire interview through that lense of “oh he's just saying shit”. But that's only the people who knew him. Everyone else for the rest of time took this shit as constitutional. And it pisses me off. It should be locked away in a vault somewhere and no one is allowed to listen to it until they've passed some kind of Beatles and emotional intelligence tests.

This crushes my soul. How warped must his definition of love have been by that point that he genuinely believed Phil Spector and Allen Klein loved him more than Paul and George did? It's bonkers.

John in 1967: all you need is love! John in 1971: the point of life is to manipulate people. . . . What the hell happened to you, buddy?

I go back and forth as to who's the smarter PR person: John or Yoko? Because maybe she's right. Maybe they shouldn't divulge that they're master manipulators. But is this one of those times when it's good to be all “look how honest we are about this! We're not hiding anything! We're saying bad things about ourselves too! So you should believe us about everything else!”

Really this documentarian should be hired to make all the music videos for all the Beatles and solo songs. This one for “Too Many People” is perfect. Paul walking into court with a full beard and a confident stride, John and Yoko in bed, Paul horse riding overlayed on Linda's gorgeous face like she's some goddess, designing his fate. All of it is just pure brilliance.

I'm forever laughing at just the title of the song, too. Because to John and Yoko it was so important that they were Weird and Off-putting. Different. Revolutionary. And to say “no. You're not special. There's actually an excess of people like you.” Is so funny to me.

“When she wants an A side, that's when we start fighting.” Oh gosh. Remember how I said he backslides a lot in his feminism journey? Yeah…

Insanity quote Hall of Fame. Yeah, I know he meant to say it's weird to be best friends with a woman. But it sounds like he's saying it's weird to fuck a woman. Which maybe he subconsciously means both idk.

Paul: we need to legally dissolve the partnership because it's the only way we're attached anymore. Ouch. Okay it's true. It's deserved. But that must've stung for the guy who was terrified of losing people. Must've sent him into fight or flight.

I think the point of this framing is to say that if they'd had facetime back then, instead of just crackly phone lines, HDYS would not have been written. Not with those puppy eyes staring him down like that.

Interviewer: the song wasn't even funny though. John: well I think it's hilarious. Interviewer: hmm. Lol I love hearing interviewers talk to John about his lyrics like he's a real guy doing a real job, though. Imagine a music critic now saying John Lennon wasn't clever in his lyrics. You can't, yeah. Me either.

What a slap in the face to Cynthia. Guess she wasn't Cool Girl enough. Should've gone girled him. That would be an excellent fic. Cyn and Jane gone girl their idiot bfs and John and Paul realize they're in love on death row. But anyway, yeah. If Paul would've just pet John's head . . .

Another absolutely bonkers thing to say. That's something the Rockstar’s ex wife says in a documentary ten years after he's dead, not something a songwriting partner says, completely unprompted, in an exiting the band interview.

And then he goes off on what I see as a self-soothing diatribe on Paul the family man. You can see the hoops he jumped through to get himself there. What did Paul want that I couldn't give him? A family. And is that justified? Absolutely not, only pussies and conservatives want families.

Allan Klein: were you and Paul ever really close, then? John: no. John: not that I didn't love him. I did. It's just that every time I let my guard down, he hurt me. Holy shit. At this point, after getting hit in the face with so much of John's Paul-made pain with nothing from the other side but pictures of the happy McCartney family, I'm genuinely feeling quite angry at Paul. Me. An extremely biased Paul girl who knows it's far more complicated and multi-dimensional than this. No wonder the uninformed public fucking hated his guts.

And as they're showing this quote, “I didn't want to hurt you,” plays mournfully in the background. They really are so twisted up in each other there's no separating individual identities.

Okay so he's a psychopath. So what? He's the sexiest man that ever was or ever will be. He's allowed to be a horrible person. No, but really. He's Get Back Paul but healthier. He's done with his depression drinking and he's been spending a lot of time proving he's still useful enough to exist by building fences and shearing sheep.

And this is how Paul talks about George to interviews. John said Klein made ATMP a success but Paul disagrees. "George recorded it all, wrote it all, did it all, wasn't anything to do with [Klein]. It was George's victory, wasn't it?" Compare that to how John does it and tell me again why the hell George is Team John?

What is Paul's obsession with daddies? Actually I know exactly what the obsession with daddies comes from, but we won't get into that here. I do find it interesting that in ‘69 he's saying “we do need a sort of central daddy figure.” And in ‘71 he's deriding John needing one and won't let John's daddy of choice touch him with a hundred foot pole.

I tend to think Paul chafes against authority in general, but that's actually not right. He never had a problem with George Martin. I think it's just abusive authority or authority he doesn't trust yet.

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Understanding Lennon McCartney Rewatch Part 3.2

The thing is Paul just physically can't say what he feels. It's just an impossibility for him. So if he says reading a negative article about himself “doesn't help” or “it's not good” but it “doesn't get home” I just assume he means ‘It hurts, but I can't think about that too hard or I'll go into a self-hate suicidal spiral again’.

I always love how Paul says Linda. “Linder is er, nature mad.”

She!!

Hearing Paul talk about watching Mary be born makes me wonder if John was there with Sean? Also I wonder if Linda would talk about the experience so glowingly. Probably. She's tough as nails. I had a lovely experience, personally, after the epidural lol

“Dear friend . . . I'm in love with a friend of mine.” This is such a strange and beautiful song. It's a man who has to apologize to his friend for falling in love with someone else. At least, that's my interpretation. What's everyone else's?

I understand why he's so closed off. I do. But when John is going off every five seconds, we're missing half the picture here and it's turning out warped. They really are such a good study of attachment honestly.

“Nothing will ever break the love we have for each other.” White-knuckling my way through this section with this quote clenched in my fist.

Yoko, talking about John fighting with Paul: any couple will go from swearing to kissing and it's like that. What favors are you doing yourself here, babe? Maybe John's the PR mastermind between the two of them.

I find John's comparison of working with his romantic partner to being ambidextrous very confusing. Does he mean just doing two things at once?

“If I can't have a fight with my best friend, I don't know who I can have a fight with.” -- Intro slutty gender-fluid Wings Paul my beloved -- “Tell me why, why, why do you treat me so bad? So bad? When you're the best friend a man ever had?” I heard on some podcast somewhere. Someone was going on about how forward-thinking the Beatles were to refer to the women in their songs as “friends”. And I was like, nununununu do not give them that credit.

This is just soooo. In this era? 90 minutes in the middle of a recording session?

John: Sorry, my estranged fiance is calling, gotta take a break. Guitarist: again? Drummer: how estranged can they be if they call every three minutes? Yoko: should we just record the other parts or . . . John: (receiver cradled to his cheek, lovesick grin on his face) Hey, how was Heather's school program? Haha, yeah, I bet she was.

Okay, so you've made up with Paul and now you're done being homophobic? *Cardi b voice* well that's suspicious.

The fact that John's asking Paul to play on stage with him in 1972?? Ugh! If it was just about legalities and money and shit I would be genuinely so pissed at Paul for not going. If only because Come Together sounds incredibly lame without his bass and piano. But also for the obvious fix-it reasons. I have to remind myself of how truly awful Klein was. By being the only one to stand firm against him, Paul actually ended up saving them all from a lot of trouble. But gosh would this have been good!

Things normal people say, for sure, for sure.

Okay in my head it went like this. John calls George and bitches about what an egomaniac Paul is because he won't do anything with him as long as Klein is involved. George gets off the phone and calls Ringo and they make a bet as to how long it is until John decides they should get rid of Klein.

“Where's your audience, Paul?” “In the theater, Dave.” As he should. The cuntiness is unparalleled. Yeah, maybe people like to see a family friendly eclectic magic pixie sexy hard rock floor show? Ever thought about that, Dave?

Anyway, he seems genuinely pissed when the interviewer even mentions the other Beatles and he refuses to even admit he still talks to any of them. Why?

John's just so benevolent and selfless. He's completely straight, of course, but he's always offering to do gay shit. You know. To be nice.

I forget that not only was May their literal employee, but she was ten years younger on top of that. And yet, she managed to do so much good in that relationship. I have so much respect for her.

There's obviously a lot going on behind the scenes that they don't say in interviews. Duh. But I wonder what it is that caused Paul to be so open and happy in this interview where he's asked about the other Beatles compared to before. I wonder if he and John had a really lovely talk, or if he's heard a demo of “I know, I know.” Or maybe it's just he's so reassured that they've got rid of Klein that he feels safe acting open to a reunion on record. Who knows, Yoko.

So so smart to pair “In My Life” handwritten lyrics with the matching lyrics of “I know I know” playing at the same time. I forget about that connection (“I love you more”) because it's so overshadowed by the “than yesterday” right after. I seriously wonder if John thought he was being so obvious with this one the way he was with HDYS and half hoped people would ask him if it was about Paul and he could make up for the whole thing. Because it's just so heavy-handed. It's beautiful. I love it. I'm sure Paul loved it. But yeah. John's just beating us over the head with the references here.

I also wonder (very tentatively!!!) if Paul was maybe a bit more emotionally vulnerable with John than we usually think. I would never think this except for the “you know I nearly broke down and cried” “I'm sorry that I made you cry” and “no more crying!” I don't know. What do we think?

His little baby smirk. It's so silly and cute. He's being very positive about getting back together, and the interviewer asks if John would initiate that. Just a very coy, “a, well, I couldn't say.” I wonder if at that point if he'd said on live tv that he wanted to get together again if it would've happened. Seems like it might have, but I understand him being scared.

Elton John taking pictures like a fan and John: I wanna impound all those photos till I get me green card. What a random idea for a commercial. I love it, obviously, it's hilarious. I wonder who thought of it.

This doc is so good at implication. The smirk as “loving in the palm of my hand” plays. That's not a reference to hand jobs, is it? Certainly not talking to someone with beautiful hands?

Everyone go look up Nineteen Hundred Eighty Five on YouTube. The singing sex is something else, yeah, but I'm always so blown away by the piano part. The fact that he's self taught and doesn't read music and this man will go on to compose symphonies.

#understanding lennon mccartney #ulm #vol 3

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binderclipdocs · 2 months

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Understanding Lennon McCartney Rewatch Part 3.3

John having to get high out of his mind because he knows he's invited Paul to come play with him is so so sad. These are the same guys who used to sit facing each other on a bed playing guitars for hours, and now this is them?

Is John calling Paul “Jack Lemon” a reference to “some like it hot”? Because if so, I have questions. Anyway, when your estranged best friend shows up to hang out with you and a bunch of people, talking about being in love again and getting jizzed on is extremely normal and acceptable behavior.

This jam session is so fucking painful though. Paul's doing his best to just push through and get them to actually play something and John's just too far gone.

My theory: there's two reasons he did this. 1. He's avoidant and the last thing he's going to do is let on how bad he needs John in his life and how scared he is that if John gets back with Yoko that that'll be difficult. And 2. He couldn't live with himself if he didn't. If he'd kept it from John that Yoko wanted him back and later John cried to him about how much he missed Yoko or something? Paul can't have that.

John singing a snatch of Yesterday before a take of “Whatever gets you through the Night”??? Did either of them ever write a song where they weren't thinking about the other? Did they ever have a minute of peace without the other rattling the bars of the cage in his brain?

“Hold me Darling, come on, listen to me. I won't do you no harm.” Duh it's about Paul. Oh my gosh.

And with Bless You I'm always so torn. There are so many obvious references to Paul which the doc points out beautifully, but situationally it could also be about Yoko. Maybe it's about both of them in the same way that don't let me down is about both of them.

Anyway the cosmic visuals are gorgeous.

Why'd you have to phrase it like that though? Twice?

Hall of Fame moment. It's a high point for him career-wise and he chose to pull Paul into his spotlight. Not only to sing Paul's song, not only to name-drop him, but to publicly call him an official romantic title. Not “boyfriend” or “ex-wife” which both could've been much more mocking if that's what he was trying to do. But “fiance”. It's official and respected, but it's still got the lustful, unsettled, connotation that something like “husband” lacks.

Johann Weener, everyone. What a loser.

Everyone who still refers to Lennon Remembers like it's the fucking Bible listen to this. It doesn't go on for the next five years, let alone fifty.

John refusing to walk to blocks to sign the papers when George and Paul flew over the ocean. And only on the basis of astrology. He really didn't want the divorce. My heart aches for him. But he made his bed as they say.

I'm putting on my tinfoil hat again here, but I do just have to point out that one of John's first songs, “Hello, Little Girl,” has a line that goes, “you never seem to see me standing there”. And the earliest draft of WISHST, which was started soon after, answers that line. “I saw you standing there.” (Yes, it said you originally, not her). So maybe. Just maybe. That song wasn't just a Paul song, but a song that John knew Paul had put a message in for him. Okay, I apologize for the insanity. On another note, I do wonder if he ever found out what Paul thought of that.

Interviewer: ≈ at this point, do you like writing by yourself, or do you want to write with Paul again?≈ John: ≈well it's a bit of both. It's the same for Paul. We were talking about it a week ago. Okay, cool. So they definitely talked openly and honestly about potentially writing together again.

John, about their partnership, “There was always the feeling that someone was there if you needed it.” Paired with the gayest picture ever taken and then Paul singing “if I can do anything at all, let me help.” Thanks. I hate it.

John was so excited for New Orleans! What happened? I mean I have my theory based on May's book and the sudden shift in behavior. But it's pretty dark.

You know how crazy Paul is about John in interviews now? How he can't seem to keep John's name out of his mouth? John was worse in the seventies. He's promoting his Rock’n’Roll album, talking unprompted and romantically about how he met Paul, when the interviewer reminds him what relationship he's supposed to be romanticizing right now. So John remembers too and dedicates the album to Yoko who he's just got back together with.

Biconic quote.

Interviewer asks, after John's brought him up, if John's pleased with how well Paul's doing. John expresses his relief that Ringo has "found himself a niche" and then

I really do think that last bit sums up a big chunk of how John feels about Paul, and why he feels alright playing dirty against Paul or slagging Paul off. Why it would have been the furthest thing from his mind that Paul actually struggled or was insecure. Why Paul had to remind him, “I'm only a person like you, love.”

What an insane thing to think, let alone say. What if Julian had heard that? I'm pretty sure Julian and Paul weren't in contact, really at all, until the eighties, right? So John's doing better than he is at this point (I mean he's his dad, he should be). John is insecure about every possible thing and compares himself to Paul in every possible way.

Baby. He needed some serious help. The thing that sucks about being ahead of your time is that you also have to live in a world that's behind your needs.

And then. “There's always a friendly tv channel to turn to that's going to make you feel less alone.” I wonder if Paul “Call Me Back Again, John I know you're not that tired from the baby just let me in the fucking door” McCartney heard this? It's possible with how obsessive they were, but it's also impossible with how busy he kept himself.

Okay, here's the first story we've been missing about Paul experiencing negative emotions. And, of course, as always in this doc, it's paired perfectly with “Don't Let it Bring you Down” which is the musical mission statement of Paul's clenched-jawed smile philosophy.

"I tend to get a bit absolute in my statements." Yes, John. Yes you do. Another quote that Big Lennon fans should keep in mind.

John on the three weeks he took to decide if he wanted to continue the band after the first Hamburg trip: The others were mad because we could've been making money. Yeah, John, Paul suddenly had to work in a factory after he'd thrown away an educated, white-collar career (the first in his family) to be in your band. I'd be pissed too if you just didn't even bother to call. Anyway I just hate how casual John is about it. Someone who never had to worry about money is just never going to get that.

John doesn't even remember a ballpark number of how much they were making. Paul remembers exactly bragging to his professors that he was making fifteen a week in Hamburg. Sorry to go on and on about this right before Paris, but to me it's an important difference between them.

Anyway, the fact that Paris was more than just a vacation for them. The fact that – according to Stuart and John at least – they might not have come back. It's dizzying. They really thought about just running off together. I wonder what made them decide to come back and continue the band.

No offense if you do, but I don't personally believe in this stuff. What would the motivation have been for the tarot reader to tell him that? Either way, fuck him.

Gosh the live version of “Call Me Back Again”. You feel it, physically, how bad he wants this phonecall. And the desperation from such a successful man is fantastic. Literally, John, how did it feel to be the only man in the world that could get Paul McCartney to beg? “Pretty baby” “what can I do?” “Boohoohoo babe.” “I tried the operator, but I just can't get through.”

Reporter at the Wings over America tour: No John Lennon, no George Harrison, and no Ringo Starr, just Paul McCartney. And for everyone here tonight, that seemed to be plenty! Obviously he's loving this praise after all the negative press. Anyone would, and Paul needs it more than most people actually. But I bet part of him is like “stop. Don't say it like that, they already hate me enough as it is.”

How many times has John admitted that he finds Paul attractive? “It was no surprise, you know, when the kids – girls saw him, they go ‘ooh! Ooh!’ right away, you know?”

“I know it's true. It's all because of you.” Playing over this? Are you kidding me? Anyway I've never seen the picture version of this, so I thought I'd screenshot it.

But actually, in a way, the original written lyrics to Now and Then are less depressing than what he sang on the demo. “I know it's true, I'm still in love with you, and if I make it through, it's all because of you,” is obviously sad because they're both married to other people. But at least in that version, John's saying his own personal resilience to life's struggles comes from his relationship with Paul, which is nice. Whereas when John, who is sliding into a self-hating deep depression I'm comparing himself to Paul's phenomenal success, sings “it's all because of you” in a general sense, it almost feels like a callback to the ‘I'm shit and I couldn't do anything but be a Beatle (and ride Paul's boat)’ quote. Which is heartbreaking. I wish he could've recognized his own genius.

But yeah either way it's enough to make your heart heavy. If anyone needs a good cry, just go to the last five minutes of this. That should've been the now and then music video, but Paul's too scared of feelings. Which. You know. Considering how much it affects me, I can't even imagine how much it affects him. So he gets a pass.

“Why must we be alone? It's real love. It's real.”

#understanding lennon mccartney #ULM #vol 3

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binderclipdocs · 2 months

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I love you for what you have done for the mclennon and beatles fandoms! Thank you for your hard work.

Oh, thank you so much! There are so many talented people in this fandom- archivists, gif makers, fic writers, visual artists, podcasters, YouTubers, as well as those who simply share their ideas and theories here on tumblr! I'm just happy that I could use my specialized skills to help tell John & Paul's story and that people enjoy the docs. ❤️

#understanding lennon mccartney #ulm #breathless345

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binderclipdocs · 4 months

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Understanding Lennon/McCartney is now on Letterboxd! Check it out and leave a nice review (if you're so inclined).

#thanks so much to the people who uploaded this!#ulm #breathless345 #understanding lennon mccartney

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binderclipdocs · 4 months

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youtube

We're back, baby! And better than ever. ULM 3 is back on YouTube (with minor edits and 3 minutes of new story)! Thanks to everyone for watching Understanding Lennon/McCartney!

#ULM #understanding lennon mccartney #breathless345 #Youtube

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binderclipdocs · 5 months

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The truth was that when John and I were together, we were much more equal. [...] And I suspect that if that hadn’t have been, that we wouldn’t have put up with each other for so long.

-Paul McCartney interviewed by David Frost, 1997

He was a major influence on my life, as I suppose I was on his.

-Paul McCartney to Bill Harry, The John Lennon Encyclopedia, 2001

We really were a complete fluke – just two kids who happened to meet up in Liverpool and share an interest and start writing songs together. And then developed, organically, together. And had the same sense of humour. And learned things at the same rate. Found out about Vietnam together. Little things. All of these little awarenesses pretty much hit us at the same time over a period of years. And you really become soulmates when that happens.

— Paul McCartney, interview w/ Mark Binelli for Rolling Stone: Sir Paul rides again (October 20th, 2005)

The Beatles split up and we were sort of all equal. George did his record, John did his, I did mine, Ringo did his. It was as we were during the Beatles' times. We were equal. When John got shot, aside from the pure horror of it, the lingering thing was, OK, well now John's a martyr. A JFK. So what happened was, I started to get frustrated because people started to say, ‘Well, he was The Beatles.’

- Paul McCartney to ESQUIRE by ALEX BILMES (2015)

To me, me and John writing, it was so equal. And sometimes it was not equal. Sometimes I was absolutely the one that got his ass out of bed. Which I don’t go round saying. You won’t find me saying, ‘Oh, it was me!’ You’ll find other people saying, ‘It was him! It was me!’ I don’t want to do that. I’m happy with half credit.

-Paul McCartney, Sticky Fingers by Joe Hagan (2017)

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binderclipdocs · 5 months

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ive been watching understanding lennon/mccartney and i noticed that volume 3 has been taken down. do you know when or if it will be back up? i am really enjoying the series so far and i think its amazing that you made the documentary:)

Thank you so much! I'm working on it now. Hopefully it will be up again soon!! Unfortunately I have to do some creative re-editing due to the recent blockage of Now and Then.

#ULM 3 #understanding lennon mccartney

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