#People only talk about John looking at Paul but not the other way around
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#mclennon#The way Paul looks at John#People only talk about John looking at Paul but not the other way around#Pure love#my heart 💔#That first gif though 🔥
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Here it is, Beatle People! The official 'Insane Things Paul Has Said About John' list, as created by the people of tumblr. I hope this is a useful supplement to the original McLennon iceberg
Sources under the cut:
“He was a very cool boy” (@javelinbk)
"Whenever other people do that it always reminds me of John" (@javelinbk)
"We put our names next to each other in our school exercise books" (@beatlepaul4ever)
When was Lennon at his best? "When he was asleep." (@didwemeetsomewherebefore)
"A delicious broth of a boy" (@zilabee)
"A lovely little baby, John was" (@mallowedheart)
"Daddy's room" (@pauls1967moustache)
"We’re songwriting together even if we’re not together" (@midchelle)
"John seemed like some sort of emperor in control of it all" (@blondecasino)
"I'm trying to get my son to have a son and call him Lennon, and then he'll be Lennon McCartney" (@peaceloveandstarrs)
“John and I had millions of fabulous little experiences in Paris” (@divine-sphinx)
"We used to have wanking sessions" (@merseydreams)
"You can be heterosexual and be having a homosexual dream and wake up, and think, 'Shit, am I gay?'" (@skylikeaflame)
"It was a place called Menlove Avenue. [Pauses] Someone's going to read significance into that: Paul and John on Menlove Avenue. Come onnnnnnn" (@s-l-martin)
"I slept with him a million times" (@s-l-martin)
"A wild and woolly genius who it was my pleasure to work with, walk with, talk with, and occasionally sleep with." (@didwemeetsomewherebefore)
"In bed" (@i-am-the-oyster)
"Well, I’m sure Brian was in love with John, I’m sure that’s absolutely right. I mean, everyone was in love with John; John was lovable, John was a very lovable guy." (@whenyourbirdisbroken)
"Dear friend, throw the wine, I’m in love with a friend of mine." (@heartsinthebasement)
"We got very drunk and cried about how we loved each other" (@nikidontsurf)
“Then also we were like married, so you got the bitterness. It’s not a woman scorned this time, it’s two men scorned — probably even worse. And I had to make way for Yoko. My relationship with John could not have remained as it was and Yoko feel secure.” (@thefortunateisle)
"If I was a girl, maybe I could go out and…" (@alienoriana, @majinmelmo)
"You just don’t hang around with your ex-wife" (@javelinbk)
"No, I have a lot of dreams about John, and they're always good" (@notgrungybitchin, @skylikeaflame)
"This (painting) is John’s Room. It just looked to me like John, when he had his long hair and then his cloak or whatever this is. Then I just scratched in that, looked like one of those drawings John used to do. You know his funny little men. So then I called that John’s room … If I’m gonna see a face in a painting it’s highly likely to be his." (@foryouwereinmysong)
"I wish I had sat and just hugged John all the time when we were together.’ (…) I’d just sit around and hug him forever. That’s the depth of my feeling for him" (@theoldmixer)
“Here Today - a love song to John” (@javelinbk, @bluewater9)
"So if you've got someone, you want to tell them you love them, just get it said, don't wait" (@lennon-gal)
And honourable mention for the following stories:
Stalking John all over Liverpool until Ivan officially got them introduced (@only-a-northern-soul)
He’s been telling himself and the whole world that nobody cared about writing songs and his music before he met John. He knew George Harrison. (@greatsaladavenue)
Quitting his job to commit to the band aka explicitly picking John over his father (@adriansfrombrooklyn)
Writing "Here, There, and Everywhere" by John's pool while waiting for him to wake up and write with him alone in his attic (@aint-that-kind-of-blog-bruv)
Taking the one photo of him and john from that night with the cursed pictures with jane and then blowing it up and hanging it in his office at apple (@pauls1967moustache)
Taking LSD so he could join John in his potentially bad trip (@scurator)
The time he vaulted over a table because another man was touching John and Paul had to physically intervene (@scurator)
#kind of heartbreaking seeing them all in one place#but also insane#some of these are even more insane in full context so I suggest you read the full quotes for maximum impact#paul mccartney#john lennon#john and paul#mclennon#insane quotes
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Perceptions of Paul as calculating & John's paranoia
“McCartney’s mistake, which he now admits, was to seem invulnerable. […] And yet, he says, the contrast between himself and Lennon, so assiduously cultivated by journalists, was a fabrication. “I wasn’t brilliant at school. I was trouble, just like John. I got caned practically every day, and the only exam I ever passed was Spanish. John and I weren’t black and white, although people took John, for all his aggression, to be the good guy, because he showed his warts. I’ve only just realized, after all this time, that people like to see warts. It makes them sympathetic. I’d always though that, in order to be liked, you had to be unwarty.””
Living with The Beatles’ legacy, the smears that Lennon left behind… and the battle to win my babies back, The Times Newspaper, Monday January 4, 1982.
Paul was the easiest to talk to. He had such energy and such keenness and, unlike John, enjoyed being liked, at least most of the time. I don't see this as a criticism; John himself could be very cruel about Paul's puppy dog eagerness to please.
The irony was, and still is, that John's awfulness to people, his rudeness and cruelty, made people like him more, whereas Paul's genuine niceness made many people suspicious, accusing him of being calculating.
Paul does look ahead, seeing what might happen, working out the effect of certain actions, but he often ends up tying himself in knots, not necessarily getting what he thought he wanted.
I think there is some insecurity in Paul's nature, which makes him try so hard, work so hard. It also means he can be easily hurt by criticism, which was something that just washed over John.
Hunter Davies, Western Mail: The Beatles. (April 9th, 2004)
Even Paul’s immaculate manners could not thaw her. ‘Oh, yes, he was well-mannered–too well-mannered. He was what we call in Liverpool “talking posh” and I thought he was taking the mickey out of me. I thought “He’s a snake-charmer all right,” John’s little friend, Mr Charming. I wasn’t falling for it. After he’d gone, I said to John, “What are you doing with him? He’s younger than you… and he’s from Speke!”’ After that, when Paul appeared, she would always tell John sarcastically that his ‘little friend’ was here. ‘I used to tease John by saying “chalk and cheese”, meaning how different they were,’ she remembered, ‘and John would start hurling himself around the room like a wild dervish shouting “Chalkandcheese! Chalkandcheese!” with this stupid grin on his face.’
Philip Norman, Paul McCartney: The Life. (2016)
“He always suspected me. He accused me of scheming to buy over Northern Songs without telling him. I was thinking of something to invest in, and Peter Brown said what about Northern Songs, invest in yourself, so I bought a few shares, about 1,000 I think. John went mad, suspecting some plot. Then he bought some himself. He was always thinking I was cunning and devious. That’s my reputation, someone who’s charming, but a clever lad. “It happened the other day at Ringo’s wedding. I was saying to Cilia [Black] that I liked Bobby [her husband]. That’s all I said. Bobby’s a nice bloke. Ah, but what do you REALLY think Paul? You don’t mean that, do you, you’re getting at something? I was being absolutely straight. But she couldn’t believe it. No one ever does. They think I’m calculating all the time.
Paul and Hunter Davies, 1981
In the wake of his death you didn’t tour for most of the ‘80s. People suggested that you were scared to go on the road. Was that true?
No. People speculate about anything. They always credit me with motives I haven’t even dreamed of. It’s interesting, the way they sort of perceive my life and analyse it for me. In that case, I never thought about touring much. People used to say, “Oh, it’s 10 years since you’ve toured.” I’d go, “Is it? Y’know, I’m not counting.” That’s all that was, really. I don’t know why. Maybe I didn’t fancy it.
The Q Interview, 2007
Astrid in Germany was always a bit suspicious of Paul at first, though his relationship with Stu was also bound up in this. 'It used to frighten me that someone could be so nice all the time. Which is silly. It's ridiculous to feel at home with nasty people, just because you feel that at least you know where you are with them. It's silly to be wary of nice people.'
The Beatles (Updated Edition) (Hunter Davies)
Paul is the easiest to get to know for an outsider, but in the end he is the hardest to get to know. There is a feeling that he is holding things back, that he is one jump ahead, aware of the impression he is giving. He is self-conscious, which the others are not. John doesn't care, either way, what people think. Ringo is too adult to think about such things, and George in many ways isn't conscious. He is above it all.
The Beatles (Updated Edition) (Hunter Davies)
Paul today is still the public Beatle, giving interviews at fairly regular intervals, being open and honest about himself and his past, his worries and his pleasures. Naturally, as ever, there are people who suspect his motives, putting him down for being too charming. Paul may be a bit of an actor, acting the part of Paul McCartney, the charming superstar, still loved by every mum, which can make him sound rather prissy at times, but I believe he does tell the truth about himself.
The Beatles (Updated Edition) (Hunter Davies)
“My problem is to me, I come over as this very together guy, always got his finger on top of everything: the man with no problems. School – a doddle, got all the exams. This is the sort of image of me. Actually, I had murder getting through exams, like I was saying about being on tour during my GCEs. I was like the kid who was getting the cane. Just like John was, but he [Phillip Norman] makes me the very shrewd, always-going-to-succeed guy, and John is the kind of cute, working-class hero. In actual fact though, John was just as shrewd and ambitious as I was. What does me in is he adds to this image I’ve got; I resent that, because I know I’m not that, and I know I’ve never been that.
Paul McCartney’s thoughts from 1983 on Phillip Norman’s ‘Shout!’
The funny thing is, when Apple [started], everything was laid out on the table, it’s like a Monopoly game. We saw who had what. I suddenly had more Northern Song shares than anybody, and it was like, oops, sorry. John was like, “You bastard, you’ve been buying behind my back.” John saw everything like a Harold Robbins movie, you know, which it was. He’s not incorrect. I couldn’t get over the fact that we were really involved in all this. I think to this day, he’ll not understand. I don’t think he would accept right now, my naïveté in it. I think he still suspects me of trying to take over Apple. He still suspects that when I offered the Eastmans as [managers] instead of Allen Klein, he naturally assumed that I would be taken care of better than the others, and that the Eastmans could never be moral enough to be equal in their judgment and do the Beatles’ thing rather than Paul’s thing. I think they still suspect to this day.
The point I was trying to illustrate is that it wasn’t so much John being a bastard as it was his being suspicious towards me, always being suspicious towards me. There was Northern Song shares. And I swear on any holy book you want, I know he won’t believe it, but I know for sure that I didn’t buy them with the view to— If I was really trying to do it, I could have bought an awful lot more. So it does hurt a little bit that there’s someone who still thinks, like, I’m out to get them, or that I always was. That’s one of the nice things about it— It’s a pity [I never said to John, “Fuck off, I’m not trying to do it”—and never was]. But he knows I was kind of— We were behind the scenes, and we did a few little [things] that we had to do, and our ambitions, and it was never a kind of terrifying skeletons in the closet. It was always just normal—but, uh, they …
All You Need Is Love – Peter Brown & Steven Gaines
SG: Were the other Beatles anti-Linda?
PMcC: Uh, yeah. I should think so. Like we were anti-Yoko. But you know John and Yoko, you can see it now, the way to get their friendship is to do everything the way they require it. To do anything else is how to not get their friendship. This is still how it is with John and Yoko. I know that if I absolutely lie down on the ground and just do everything like they say and laugh at all their jokes and don’t expect my jokes to ever get laughed at, and don’t expect any of my opinions ever to carry any weight whatsoever, if I’m willing to do all that, then we can be friends. But if I have an opinion that differs from theirs, then I’m a sort of an enemy. And naturally, paint myself a villain with a big mustache on, because to the ends of the earth, that’s how they both see me. They’re very suspicious people [John and Yoko], and one of the things that hurt me out of the whole affair, was that we’d come all that way together, and out of either a fault in my character, or out of lack of understanding in their character, I’d still never managed to impress upon them that I wasn’t trying to screw them. I don’t think that I have to this day.
All You Need Is Love – Peter Brown & Steven Gaines
I was never out to screw him, never. He could be a maneuvering swine, which no one ever realized. Now since the death he’s became Martin Luther Lennon. But that really wasn’t him either. He wasn’t some sort of holy saint. He was still really a debunker. “For ten years together he took my songs apart. He was paranoiac about my songs. We have great screaming sessions about them.
Paul and Hunter Davies, 1981
SALEWICZ: Oh, he was presumably very paranoid.
PAUL: I think so. I mean, he warned me off Yoko once. You know, “Look, this is my chick!” ’Cause he knew my reputation. I mean, we knew each other rather well. And um, I felt… I just said, “Yeah, no problem.” But I did sort of feel he ought to have known I wouldn’t, but. You know, he was going through “I’m just a jealous guy”. He was a paranoid guy. And he was into drugs. Heavy.
September, 1986 (MPL Communications, London)
Miles says, “I think Jane was always a bit irritated by John. Because he was so acerbic and difficult to get on with. And paranoid. He didn’t make life easy. I suppose it’s a sort of rapier wit, but it was usually just plain ordinary rudeness. There was nothing special about it.”
Paul McCartney profile for FAME Magazine (March 1990)
“They [Lennon & McCartney] saw each other again in 1977. The Lennons and McCartneys ate dinner together at Le Cirque, Paul’s favourite French restaurant in New York. John regretted going; it was a loathsome night. Paul and Linda blathered on and on about how perfect their lives were, how they had everything they’d ever wanted, and how they were as happy as they’d ever been. Something very paranoid suddenly occurred to John. Maybe Lorraine Boyle was spying on him for the McCartneys! He woke up the next morning still feeling disturbed; he consulted the Oracle. Swan assured him that Paul and Linda were frustrated and unsatisfied. Their marriage was in trouble, he said, predicting it would break up within the year. Lately Swan’s visions had been astonishingly accurate. Relieved, John began composing a song—a little ditty, really, that would never be released—in praise of the Oracle’s powers. But he still couldn’t understand why Paul and Linda had been together for as long as they had. There appeared to be a psychic connection between John and Paul. Every time McCartney was in town, John would hear Paul’s music in his head.”
Robert Rosen, Nowhere Man: The Final Days of John Lennon, (2000)
JOHN: […..] And he’s (Jagger) goin’ on about “he never calls. Do you think he ever calls? He never calls me. And he keeps changing his phone number all the time… And he’s hiding behind the kid.” I was hurt by it! You know… The fact that… A, I never call anybody. It’s not pride, it’s just that I never, ever have.
REPORTER: Why?
JOHN: I never call the other Beatles, I never call anybody. They always call me.
REPORTER: Why?
JOHN: Cos I’m self-involved! I’m paranoid, too. I don’t like phones… There’s nobody on this earth ever got a call from me that isn’t related, probably. Or a very old friend…
Sept 1980 – John
“Yoko was an extremist and was even more intense than John taking any idea or comment of his to the limit. If, for example, he complained about any of his fellow Beatles she would hint that that Beatle had always been an enemy implying that John should never deal with that person again. Her extreme positions fascinated John and help him take his mind off himself but when she became self-involved and paranoid herself -her paranoia usually dealt with her career, her fame and the fact that even though she had always been famous everyone conspired to keep her from getting even more famous- he had no place to turn. His insecurity about his solo career, his childhood, his relationships with the other Beatles, the way the public perceived Yoko overwhelmed him and he became more and more involved with drugs.”
May Pang, Loving John (1984)
John was lucky. He got all his hurt out. I’m a different sort of a personality. There’s still a lot inside me that’s trying to work it out. And that’s why it’s good to see that wedding-funeral bit, because I started to think, ‘Wait a minute, this is someone who’s going over the top. This is paranoia manifesting itself.’ And so my feeling is just like it was at the time, which is like, He’s my buddy, I don’t really want to do anything to hurt him, or his memory, or anything. I don’t want to hurt Yoko. But, at the same time, it doesn’t mean that I understand what went down.
Paul McCartney: An Innocent Man? (October, 1986)
Some three year later, during the making of Abbey Road, Lennon installed a twin bed in the studio so that Yoko, recuperating from a car crash, could survey proceedings and pass comment though a mike he had suspended over her. The other Beatles positioned themselves around the room as best they could. Yoko would later tell Paul that if, for any reason, he’d seemed to be standing too close to her, all hell would break loose when John got her home. Lennon, she said, was ‘very paranoid’ like that.
McCartney by Chris Sandford
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.
Paul McCartney, interview w/ Chris Salewicz for Musician: Tug of war – Paul McCartney wants to lay his demons to rest. (October, 1986)
#the beatles#paul mccartney#john lennon#mclennon#i wonder how much of their issues were due to john suspecting paul of things that just weren't true#then again maybe paul is secretly an evil mastermind#can't put it past him
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Tag Yourself: Unabridged Shitty Drawing Marshal of the Empire Edition
Yes All 26 Of Them + Bonus 2
drawn and compiled by yours truly, initial and probably inaccurate research assisted by Chet Jean-Paul Tee, additional research from Napoleon and his Marshals by A G MacDonnell, Swords Around A Throne by John R Elting and a bunch of other books and Wikipedia pages
captions under images
mike (Michel Ney)
- full of every emotion
- always has ur back
joe (Joachim Murat)
- it's called fashion sweetheart
- will not stop flirting
lens (Jean Lannes)
- bestie who will call u out on ur shit
- does not like their photo taken
bessie (Jean-Baptiste Bessieres)
- actually nice under the ice
- was born in the wrong generation
dave (Louis-Nicolas Davout)
- overachiever
- 20 year old boomer
salt (Jean-de-Dieu Soult)
- people think ur up to no good
- doesn’t cope with sudden changes 2 plans
andrew (Andre Massena)
- actually up to no good
- sleepy until special interest is activated
bertie (Louis-Alexandre Berthier)
- carries the group project
- voted most likely to make a stalker shrine
auggie (Pierre Augereau)
- shady past full of batshit stories
- will not stop swearing in the christian minecraft server
lefrank (François Joseph Lefebvre)
- dad friend
- in my day we walked to school uphill both ways
big mac (Étienne Macdonald)
- brutally honest
- won't let you borrow their charger even if they have 100%
gill (Guillaume Brune)
- love-hate relationship with group chats
- pretends not to care, checks social media every 2 minutes
ouchie (Nicholas Oudinot)
- needs to buy bandages in bulk
- a little aggro
pony (Józef Antoni Poniatowski)
- can't swim
- tries 2 hard to fit in, everyone secretly loves them anyway
grumpy (Emmanuel de Grouchy)
- can't find them when u need them
- complains about the music, never suggests alternatives
bernie (Jean-Baptiste Bernadotte)
- always talks about their other friendship group
- most successful, nobody knows how
monty (Auguste de Marmont)
- does not save u a seat
- causes drama and then lurks in the background
monch (Bon-Adrien Jeannot de Moncey)
- last to leave the party
- dependable
morty (Édouard Mortier)
- everyone looks up 2 them literally and figuratively
- golden retriever friend
jordan (Jean-Baptiste Jourdan)
- volunteers other people for things
- has 20+ alarms but still oversleeps
kelly (François Christophe de Kellermann)
- old as balls but still got it
- waiting in the wings
gov (Laurent de Gouvion Saint-Cyr)
- infuriatingly modest about their art skills
- thinks too much before they speak
perry (Catherine-Dominique de Pérignon)
- low-key rich, only buys things on sale
- “let’s order pizza” solution to everything
sachet (Louis-Gabriel Suchet)
- dependable friend who always brings snacks
- lowkey keeps the group together
cereal (Jean-Mathieu-Philibert Sérurier)
- unnervingly methodical and precise about fun
- will delete your social media after u die
vic (Claude Victor-Perrin)
- loves spicy food but can’t handle it
- says they're fine, not actually fine
Bonus!
june (Jean Andoche Junot)
- chaotic disaster bisexual
- will kill a man 4 their bestie
the rock (Géraud Duroc)
- keeps a tidy house
- mom friend with snacks
#napoleon’s marshals#napoleonic era#napoleonic shitposting#napoleonic wars#history shitposting#cadmus draws#I thought it would be funny if it was hand drawn#i had to draw these over a few weeks or else my RSI ridden fingers would explode#I will reblog this a few times because this is so stupid and I’m proud of this#yes chatgpt helped because I’m not actually familiar with most of the 26#ended up editing a lot of it but some entries are less based on history and more based on vibes#and as we know vibes are extremely accurate
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AKOM “Fine Tuning,” Episode 6: A prolonged jealousy
Another really excellent episode that I will have to listen to at least two more times to fully ingest, despite having lots of diffuse, unconnected notes where I ranted about most of the same text. They really backed up and gave it context and meaning, including adding a lot of things that I didn’t have and making sense of some of the extras that I did. It was both satisfying and frustrating: more satisfying than I expected, and my frustration feels more coherent and focused now.
I definitely think it’s one of the most important episodes.
There is only one point I would add, and that is just that when you listen to the episode it’s important to realize that Paul’s “jealousy” is the most egregiously non-sourced. There are basically two quotes that Mark Lewisohn uses to support this entire theme. The theme which he so beats into the ground that even if you don’t look at the footnotes it feels excessive.
I’ve mentioned before that when I read “Tune In” I was still very, very new to Beatles’ history. A newborn without any of the historiographical context, no understanding of the long, strange, John-deifying background, and therefore I wasn’t on the lookout for it. And that’s important because I went into the book with implicit trust, loved the writing, and still it was evident to me, fairly quickly, that I was reading an opinion column.
It was the cigarettes that did it
Paul’s care with money was noted—Pete says that while they all passed their ciggies around, Paul would “sneak one of his own to himself”—and he was still needling everyone about the Bambi sleeping arrangements, made all the worse now because he was jealous of Pete getting the best girls.
The second time I read the book I remember thinking, “Surely not that many people spontaneously bitched about Paul being stingy with cigarettes.” And that was my tipoff.
There are two quotes in the book about Paul and cigarettes that appear to be organic—one being Pete’s “sneak one of his own” quote in this episode—but you’d think that half the people Lewisohn talked to about their memories of some of the most famous people ever, and certainly the most famous from Liverpool, just magically thought that one of the most important things about these four guys was that Paul was stingy with cigarettes. And there is just no way that that is true.
But I also know how this works, inside out. You get “an angle” as a reporter. You have a story you want to tell, and then you interview people with that story—that angle—in mind. You ask questions that you think will elicit the responses that back up your thesis. And then, on the other side of the process, you filter the quotes you choose (and don’t choose) that tell the story you want to tell. And to be fair, every reporter and historian does this to some extent. It may just be to organize ideas in a coherent way, or it may be to focus on a theme. But it has also notoriously been used by historians to warp the truth and further a broader historical lie. (A very good example of this and the one closest to me is “the Dunning School” of the US Civil War and Reconstruction, the first real and condensed story of that conflict that injected into US historiography many complete lies, including the especially insane one that after the Civil War the “Radical Republicans” inflicted pain and humiliation on the South, which despite being the exact opposite of the truth is still the story most Americans “know.”)
Mark Lewisohn had a story he wanted to tell, and I believe that story is most obvious in his “jealous Paul” theme because it’s based on nearly thin air and even then is so ludicrously overblown. But I think it was just too tempting a canvas for Lewisohn. Setting up a dead, pretty kid as a sort of saint that Paul persecuted does so much work for everything else he wants to say about Paul, especially in the upcoming books. Hamburg becomes a pressure cooker where Paul’s true colors come out, and if Lewisohn can use Stu—a sort of perfect near-blank slate who never had time to put any of his memories into context—as a foil to Paul and to paint Paul as petty and jealous and seething, then all the rest of his work is easy. Stu is a layup that paves the way to seeing Paul as a bad guy. The concrete dries and everything else falls into place.
And look, there just is no way to see this theme as organic, because it’s not. It just isn’t. It’s not based on quotes or stories. There are a few completely disconnected quotes stretched to breaking that he uses to try to prop all this nonsense up with, but there is simply no defense for even 90% of the primary usage of them, and certainly not of the whole, big-picture story he creates with them.
I’m going to give one example—and there are many—but I admit to liking this one best because it’s all there in one passage based on one quote that doesn’t say any of this.
Passage:
But, as much as Paul liked exhibiting versatility, he was unhappy—he felt he’d been lumbered, that his multi-instrumental ability was tying him down. Who looked at the drummer? By rights, his place was out front, especially with his new guitar. Here he was, paying off the Solid 7 at ten bob a week and hardly getting to play it. Jealousy of Stu was stoked: Paul was in the back line while he remained out front (even if he was hiding and in dark glasses). One thing was for certain: Paul wasn’t going to abandon singing.
The only citation for all that Maca-inhabited resentment is the brief Paul quote already in the text, (FN35) and the next footnote—FN36—is from George on a new topid. There is no citation whatsoever to support any of Lewisohn’s finely-sketched fantasies of Paul’s vanity and jealousy.
FOOTNOTE 35: “I was drumming with my hands, playing the hi-hat and bass drum with my feet and I had a broomstick stuck between my thighs on the end of which was a little microphone, and I’m singing ‘Tell me what’d I say …’ It wasn’t easy!”
*Note: This quote is also in the text right under the ‘lumbered Paul wanted to be out front’ passage, so in some ways it’s an even thinner spread, if that’s possible.
So, according to Lewisohn:
Paul liked “exhibiting versatility” (a whole lot because of the modifier “as much as”)
Paul was unhappy because he felt “lumbered”
He felt he was being punished because he was TOO TALENTED
BY RIGHTS his place was out FRONT
He wanted to be LOOKED AT!
Jealousy of Stu is grabbed from thin air, based on nothing, and “stoked” by Lewisohn.
because, again, Stu was out FRONT
Did you catch the point that Paul is CHEAP?
Again, all of that is cited to this:
“I was drumming with my hands, playing the hi-hat and bass drum with my feet and I had a broomstick stuck between my thighs on the end of which was a little microphone, and I’m singing ‘Tell me what’d I say …’ It wasn’t easy!”
There are at least two more things that I want to say but this is long enough so I will put them off. (Hopefully not for long.) ✌🏻
#the beatles#akom#beatles#fine tuning#tune in#paul mccartney#john lennon#lewisohn#jealous paul#cherry picking#mark lewisohn#Spotify
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Get Back Rewatch 55 Years On: Day One
So I know this has probably been overdone by lots of people on lots of years but I haven't done it yet and I want to so here goes: I'm going to rewatch get back with the days matched up and catalogue my thoughts as I watch.
We don't get to see George and John saying hi to each other, but I'm struck by how careful they are with Ringo when he comes in. "Hi Ringo, happy new year." From both of them, with full eye contact soft, sweet voices. I wonder if they're really wanting to be so gentle with him after what happened at the end of August. Not like walking on eggshells at all, but just very "we're working on doing better because we care about you."
While Paul's not there, John is giving George full attention, leaning in to him, facing him while they sing, and George seems to really love it
But then Paul shows up and you can tell before we even see him that he's arrived, because suddenly John's gaze is gone from George. His eyebrows shoot up, he chin-tilts, and (this sounds insane I know but it's what I just watched) his singing drastically improves. He's putting effort in, performing.
Paul sits down and the shy little grins and glances and inside jokes (at George's expense and hypocritical of John) ensue immediately.
Ringo's jacket. The black with the maroon velvet collar. It's very cool and it's very unique to him. I don't see the other three pulling it off the way he does. He just has effortless swagger. If the other three wore something like that they'd look like try-hards.
George's sassy little hair flip. "oh, you're recording our conversation?"
Meanwhile John and Paul are back at it like magnets I swear. Turned in to each other, talking gibberish, and strumming
George with the deadpan sass again. "Maybe we should just learn a few songs first." Lol he's so stone cold.
"Oh please believe me." "Yes I will." Come on. Do you ever stop? And then the silent communication when they screwed up. We don't see Paul's face but John makes such a cute "oops sorry" face and they keep going.
Paul's literally so bossy. I find it such a turn on, really, watching it. Just because it's him being a genius who has a vision and sucks at social skills. But if I were in that band and he wasn't letting me hit I'd literally hate him.
John's so delighted with Paul's "everybody's got a hard on... Except for me and my monkey." Because that's one of the ways he often expresses his love for Paul and Paul's giving it back to him here. So John's just "Oh he made a joke about my song. He's teasing me. He does like me."
Paul literally diggs John's part of IGAF so fucking hard though. Like as soon as John's singing, Paul can not be still. Can not. He just thinks John's so so clever (and to be fair he is)
Crazy eye fucking continues
Then Paul's off to talk big boy plans with the daddies for a minute. (would love to know who he waved at then sucked his finger) "Is this your place, Twickenham?" Okay. Feeling out a potential daddy's pockets. I see you.
Obsessed with Yoko's emerald bag and how she got her little boyfriend to wear the exact color of Henley. Ken was literally made to be Barbies accessory and he's doing such a great job matching her purse. She's so pretty and cool.
It cracks me up how extremely nonchalant Ringo is about Magic Christian. (I LOVE that movie. Ringo is so hot in it and it's anti-capitalist so it's a winner). Dennis O'Dell is all "the scripts are marvelous." And Ringo's just "yeah you told me." And then Dennis is like "I'll take up up and show you around these really great sets." Ringo: "yeah okay." It's almost like the other three have no chill so he has to have only chill to balance it out.
They really are so blunt with each other when they don't like something. "I don't dig that." "Scrap that." Which is good. If only they could've been blunt when they did like things too though. And I guess they were sometimes. Like John telling Paul to keep that lyric in Hey Jude. But I don't think they were half as open with their positive feelings about each other's work as they were the other way around and that's so sad to me.
Why does George single Paul out about the sandwiches? It's cute. I love it. But what is it? Is he particularly worried about Paul and food because Paul's picky? Is it just their relationship that they take care of each other in these simple ways because they can't take care of each other emotionally?
Fucking hell why does Paul literally flirt with everyone all the time? "No separation in there." "Rain or snow will do me." "Yeah, you're pretty right, Michael."
Pretty sure John was looking at the lyrics of TOU off that sheet that said "Another Quarrymen Original" at the bottom. I wonder what he thought of that. I wonder if it was there to signal him, and if so what was it signalling? "Hey this is about you."??
"Two of us Henry Cooper." Referencing a boxer in a song about him and John. Why? Because they're fighting?
#get back#the beatles#paul mccartney#ringo starr#john lennon#george harrison#Dennis Odell#mclennon#michael lindsay hogg
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Can you do pda headcanons for the beatles? By pda I mean how do the boys show affection in public and how often. Thank you!
hi doilies! thanks for your ask. i'm actually surprised i haven't done this one already (:
john lennon
john is a bit of a mixed bag. one the one hand, he loves you and puts you before anything so if you want him to kiss you, he's going to kiss you. on the other hand, he doesn't like the idea of people watching you and him be intimate even at a publically acceptable way. on the surprise third hand, he has possessive tendancies and wants to show off how much he really owns you. but only when provoked.
despite how particular he is with public kissing, he will insist on holding your hand everywhere. he loves being able to feel you by his side. and any time possible he will rest his arm around your waist. or on top of your head if he can manage.
paul macca
paul is definitely a little more on the conservative side of pda. he will hold your hand or give you a quick, chaste kiss goodbye but mostly he prefers to keep his affections private.
don't get me wrong there are days where he wants to tell the world that you're together in the most explicit ways possible. he just doesn't want to be the type of guy who practically fucks his s/o in public. however, he is 100% the type of guy to pull you into a public bathroom for a quick make out sesh just to stop the urge to kiss you in front of everyone.
and when he inevitably messes up your hair and your outfit, he's brushing any loose stands back into place and straightening your shirt to make sure no one thinks you guys had sex, but mostly just so you don't catch a public indecency charge.
george harrison
george is, unsurprisingly, the most private. he's by no means hiding your relationship from the public but he just prefers to enjoy you in the comfort of his own home, or anywhere that has four walls away from lurking eyes. the most he would really do is hold your hand or your waist in a gentleman-ly manner.
there are certain occasions where he lets himself indulge in a hand in your back pocket or god forbid a kiss. for example, a birthday dinner, either his or yours. he puts down his shield from the public and kisses you. you're by no means starved of love indoors, but having him want to kiss you so much that he lets all his walls fall down makes it very special and you look forward to these occasions every year.
ringo starr
ringo really doesn't care. as long as you're comfortable with it he'll do it. he would literally have sex with you on a bus if you asked him the right way. he's the type of guy to really put himself out there and be a flirt but everyone knows he's taken when he's with you. even when he's not out with you, he will end up talking about you because he just loves you so much. you're his whole world.
you reel him in and keep him from the complete and total public exhibition of your relationship but it is nice being able to kiss your boyfriend when you like. even if some fans can be crazy, especially if we're talking beatles! era ringo, brian would hate you because of all the pr fires he'd have to put out.
#the beatles x reader#john lennon x reader#paul mccartney x reader#ringo starr x reader#george harrison x reader
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When people find I’m Paul’s brother, they sometimes ask what his views on love and marriage are and what the real truth is about his romances.
Well, let’s put it this way. I can’t envisage him getting married for quite a while yet although Paul’s the kind who just might decide to get married suddenly.
He likes to talk about marriage – and particularly its problems, to John and Cythnia Lennon, as we call her. By now, at least, he knows all the snags – and all the advantages.
What about his much-publicized romance with Jane Asher, then, viewers? Last year it was hinted in the press that their holiday in the West Indies was really a honeymoon. Those reports, I can tell you, were pure nonsense. But it’s a fact he’s very fond of Jane who first got to know him when he was a comparative nobody – a hopeful bloke in a maybe-up-and-coming group called the Beatles. At that time she was a fairly big name in theatrical and pop circles through her appearances in Juke Box Jury and other TV programmes. She and Paul have known each other for about two years now and have knocked about on-and-off during part of that time.
They genuinely like each other and our families are very good friends. But that’s as far as it goes.
What kind of a girl is he looking for? That’s a tough one. She would have to be good-looking. And intelligent. That goes without saying.
He certainly likes girls who have artistic interests. For a while he went around with an art student called Celia. But she couldn’t stand the pace of being his girl friend and gave him up. Before that he met another artistic type, Carol. She made a nice change from the type of girl he was mostly meeting then. They usually only wanted to talk about discs and the Top Ten.
What do you think a Beatle does when he takes a girl out? Lives it up? Wines and dines? Dances? Tours the night spots? I don’t say Paul doesn’t enjoy going out on the town now and then. But when he took Carol out, they both jumped on a bus and went to see an art exhibition! I know he was very impressed by her: she knew a great deal about paintings and artists in general and could talk very intelligently and sensibly about the subject. I think you can be sure that when Paul gets married, it won’t be to just a pretty face.
Mike McCartney about Paul in the long portrait he wrote about him for Woman's magazine, August 21st, 1965. Paul was 23, Mike was 21.
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Photo by María Moreno.
In 1987, George was interviewed by El País; here's a translation of that interview (to the best of my school-level Spanish).
George Harrison On Cloud Nine
George Harrison recently released his first album since 1982, when he disappeared from music to work on movies and live his life in peace. In making Cloud Nine he called on his friends Eric Clapton, Elton John and Ringo Starr- Many of the songs are similar to those of the early Beatle years, but Harrison scoffs at rumors about the group reuniting.
Cloud Nine sounds so much like the Beatles that it ends up being a tribute to the band’s early music. One of the songs on this new LP, When We Was Fab, refers to that epoch in which ‚we were fabulous‘ and ‚we were doing everything.‘ The song, which recalls Beatles melodies such as Strawberry Fields Forever and I Am The Walrus, suggests the style of John Lennon. At times it sounds as the late rhythm guitarist himself is singing.
El País: Cloud Nine contains songs and harmonies that recall the early Beatles. Is that what you intended?
George Harrison: Yes. It sounds like the Beatles because of the 12-string guitar. This is the kind of guitar we used on the first Beatles records. The electric guitar I have on the album cover is the one I used when the Beatles were not famous, when we were playing in Hamburg (West Germany). I have recovered it and use it in several songs.
In contrast to the heavy music of this generation I had the idea of making a contemporary record that permits young people to know what was happening at the end of the 60s. Some of the songs are similar to those of the Beatles in the late 60s. I did it intentionally. I didn’t want to bend to the pleasure of the record companies or the industry. I don’t want to be untrue to myself. I like this album… It is so old it seems new.
EP: Listening to Cloud Nine, one gets the feeling that you were comfortable and happy during the recording.
GH: I was because I was with Eric Clapton, Elton John, Ringo Starr and other friends I have known for years and with whom I get along well. Elton John asked to be part of the record when he found out I was going to make it. He is one of the great musicians of rock 'n' roll. And Ringo? Well, what can I say? We have lived and performed together for a long time. We are alike in the way we regard music.
EP: You invited old friends to the recording, but did you invite Paul McCartney?
GH: No. I didn't invite Paul.
EP: You recently said that it is good to grow old, that it is time to mature with dignity.
GH: Yes. After running around so much when you're young, you need tranquility. When we were the Beatles we lived in permanent turbulence, we were crazy. We met mountains of people and went to many countries but we didn't get to know anything well because we never had a moment of peace.
Therefore, for the past few years I have been trying to find out what is happening. It would be rare if it was only happening to me, but we are all growing old together. Ringo and Eric Clapton are growing old with me and that makes it easier. I have always considered them friends, but after the craziness of our youth you rediscover them and they become your best friends. Another thing that compels me to mature is my son, Dhani. I try to devote time to him and be a good father.
EP: At one time you influenced the Beatles to look for an introspective path that derived from Oriental mysticism and transcendental meditation. What remains today of this stage in your career?
GH: It is something I still carry inside but I don't talk about as much. On the new record there are no songs that advocate this way of life as there were on other records.
EP: “My sweet Lord, I really want to see you, I really want to be with you …" Do you still believe in a Sweet Lord?
GH: Oh, yes. Absolutely.
EP: If you were to write the song today, would you keep the same lyric?
GH: I would keep the same lyric. I believe that the lyric is true. I would change a few notes in the melody. (Laughter. In 1976, a U.S. judge sentenced Harrison to pay a fine after determining that My Sweet Lord, which was on the 1970 album All Things Must Pass, was an unintentional plagiarism of another melody.)
EP: The Beatles are said to have taken drugs -- especially marijuana and LSD -- from 1965 to 1967. This comes across in the album Sgt. Pepper's Lonely Hearts Club Band, recorded in 1966. You began transcendental meditation the same year. Did this help you give up drugs?
GH: I think so. The discovery of LSD was something we could not avoid because, in the case of John and me, someone put LSD in our coffee without our knowing it. After having had an LSD experience you do not want to go back to the way you were, you lose the notion of ego and you change because you see things you didn't perceive before. Even if I had not taken LSD it would not have been long before I began spiritual activities. After LSD, I became aware of God. But like with alcohol or other drugs you go crazy if you consume too much.
EP: You have not given up tobacco. Are you still a vegetarian and ecologist?
GH: Ecologist, yes, but now I eat fish and chicken. I did not eat meat from 1966 to 1979. During those years I was undernourished because I didn't know what to eat to replace the protein.
In 1979, I began to follow the Formula One auto races and I was in Madrid or other capitals and it was difficult to eat in restaurants and hotels. If you don't go to Indian restaurants, where you can eat lentils and greens, you cannot stay on a vegetarian diet. So I began eating fish and chicken.
EP: The press has presented you in the past as a lonely man, shy and frightened after the assassination of John Lennon in December 1980.
GH: That's what the gossipers say. From time to time I get a flash of John's death. Sometimes it happens when someone I don't know approaches me by surprise. But you can't be afraid. I live a normal life. I don't go to cocktail parties and discos.
EP: How has Lennon's death affected you?
GH: I don't think anyone ought to die this way, at the hands of a madman. John's death has affected me, like it has most people. It's sad that someone can ruin the life of another. And when it's a longtime friend it's like losing a family member, a father or a brother.
EP: Even though you have written popular songs you have not had a hit since 1969. Do you think you were misunderstood and your talent underused in the Beatles epoch?
GH: For sure, because John and Paul dominated the group and had an arrangement for songwriting. Our producer for many years, George Martin, has publicly asked me to forgive him for this. But there is a moment for everything and at this time I was marginal.
EP: I remember reading in Rolling Stone that Lennon once said you were an invisible man between two egomaniacs.
GH: Absolutely.
EP: Is there something to the rumors of a Beatles reunion? There are rumblings that Lennon will be replaced by Elton John.
GH: Every six months or so someone invents a story like that. There is no possibility of the Beatles coming back to life. That era has ended. It is better to leave it like that.
#George Harrison#quote#quotes by George#quotes about George#1987#1980s#Cloud Nine#Harrison songwriting#George and fame#fits queue like a glove
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Ask-in with a LZ a week - interview to JPJ
(by Ritchie Yorke, NME - April 4, 1970)
What were you doing before Led Zeppelin formed?
Vegetating in studios in London mainly. Jimmy’s also done his share of that. But he got out and went into the Yardbirds. Just before joining the band, I had gotten into arranging and general studio directing, which was better than just sitting and being told what to do.
I did a lot of Donovan's stuff. The first thing I did for him was 'Sunshine Superman'. I happened to be on the session and I ended up arranging it. The arranger who was there really didn’t know about anything. I sort of got the rhythm section together and we went from there.
'Mellow Yellow' I did entirely on my own. I was pleased with it; It was different to what was happening in the general session scene.
Were you surprised at the success of LZ?
Yes, I was surprised as to the extent of our success. You see, we’d been doing all this for a long time and, after a while, you can see how a group breaks up and what causes all the ups and downs. You reckon that if you should consciously put together a group that won’t have a lot of stupid troubles; and the basic thing of what people want to listen to; good musicianship; and a certain amount of professionalism; the right promotion — with those things you figure you must stand a good chance. But to what extent, nobody knows. To this extent, its unbelievable!
Do you think your success came because there was a gap in the rock scene after Cream and a perennial need for a hard-hard rock band?
If you think from a pure popologist’s point of view, you could say it was foreseen, inevitable, predictable. There was a gap there and we filled the gap. But there’s a lot of other things which may do it.
I think the business did need something different because Cream was going around in circles. They never talked to one another, it seemed. The groups that did have a good sound were successful but they always seemed to have internal troubles; while the groups that did get on never got heard, and somehow you had to get the two together. An amicable group, a good sound and exposure.
LZ seems to be a group which gets on well.
Yeah, especially as we’re all different people. Robert and John have got the Birmingham band thing in common. Nobody had actually worked together before LZ though. We just got together in a 6ft. x 6ft. room and started playing and looked at everybody else and realize what was going to happen.
Who influenced your bass playing?
Not a lot of people because it was only recently that you could even hear the bass on records. So apart from obvious jazz influences — like every good jazz bass player in history; Mingus, Ray Brown, Scott LaFaro… I was into jazz organ for quite a while until I couldn’t stand the musicians any longer and I had to get back to rock'n'roll.
I listened to a lot of jazz bass players and that influenced my session playing, and then I cannot tell a lie, the Motown bass players! You just can’t get away from it. Every bass players in every rock group is still doing Motown phrases, whether he wants to admit it or not.
It's a shame that so few artists have credited the Motown bass influence.
Right. Yet it’s been one of the Motown sound’s biggest selling points. I used to know a few names of Motown bass players, but I can’t remember them. Motown was a bass player’s paradise, because they’d actually found a way to record it so that you could hear every note.
Their bass players were just unbelievable; some of the Motown records used to end up as sort of concertos for bass guitar.
What do you think of Jack Bruce's playing?
Jack is very good. I’m not too keen on the sound he has, but that’s personal taste. Being a bass player, I obviously have more idea of the sound I like than someone who just listens to records. I like his LP 'Songs For A Tailor' though.
What about Paul McCartney?
Well, I think he’s perfect. He’s always been good. Everything he’s done has always been right, even if he didn’t do too much, it was still just right. He’s improved so much since early Beatles days, and everything is still right. They’re really beautiful, the things he plays.
How about Rick Grech?
I don’t know anything about him.
Bass has really become important in the past two years.
Bass players have really got annoyed and said to engineers “You’ve got to get it through.” Then they went to the people who cut the record, because you can get it on tape and then lose it on record. The cutters start screaming that it won’t play with too much bass and people’s expensive magnetic cartridges will jump up into the air every time you hit a bottom string.
I think Cassidy did an awful lot, and he’s still doing so. He designs bass guitars which are utterly unbelievable.
Did you hear Moms Marbley's record of 'Abraham, Martin and John'? It had fantastic bass reproduction.
No, I didn’t hear that. The Motown record that really impressed me was 'I Was Made To Love Her' by Stevie Wonder. When it came out, I just couldn’t believe it.
You must be one of the few people who actually sits down just to hear a bass pattern on a new record.
Bass players are always like that. The first record that really turned me on to bass guitar was 'You Can’t Sit Down' by Phil Upchurch, which had an incredible bass solo and was a good record as well. Very simple musically, but it had an incredible amount in it.
After years of session work, how does it feel to be in a group?
It’s a strain, but it’s a different kind of strain. I much prefer it. In sessions you just vegetate and you reach a certain period where you’re working a helluva lot and that’s it. You can’t do anything musically and it’s horrible. You became a well-used session musician with no imagination.
I used to be the only bass player in England that knew anything about the Motown stuff so I used to do all the cover versions. I often used to almost be in tears at the sound they’d get and the way they used to mess up the songs.
The English session scene is rather unique in that. They really only have one man for each instrument, and if you're the man, you get to do every session going.
Right. But it’s not specialised, which is the strangest thing. You can do anything. Every record that’s been made in England you could have been on, if they used your particular instrument — from Petula Clark to visiting Americans. I remember one day — firstly at Decca Studios with the Bachelors; then Little Richard, who’d come over to do a couple of English sessions — and it was bloody awful.
It must have been rough at first, though with people only thinking of LZ as Jimmy Page's band?
Well if Jimmy had been incredibly insecure and really wanted to be a star, he would have picked lesser musicians and gone on the road and done the whole star trip. Everybody in the band recognised that at first having Jimmy’s name was a great help. In fact, it opened a lot of doors, and once you realised that, and because aware that you had a job to do, it worked out all right.
I’ve been playing bass for ten years now. I’ve been on the road since I was two years old — my parents were in the business, too… in variety. They had a double act, musical comedy thing. I was in a professional band with Jet Harris and Tony Meehan. That was when I was 17.
What do you think of Robert Plant?
Robert is unique. We’re all unique really, but Robert is really something. I couldn’t imagine any other singer with us. I just couldn’t. Robert is Robert and there’s nothing else to say.
How about John Bonham?
John is the find of the year as far as British drummers are concerned. I can’t remember anyone like him either. It’s obvious why these people have ended up in the same group. We’ve all the right people. If anybody had to leave, the group would have to split up because it wouldn't be LZ anymore. Each of us is irreplaceable in this band.
How about Jimmy?
For years and years, I’ve rated Jimmy. We both come from South London and even then I can remember people saying: “You’ve got to go and listen to Neil Christian and the Crusaders, they’ve got this unbelievable guitarist.” I’d heard of him before I heard of Clapton and Beck.
I probably listen to more of Clapton through Jimmy telling me to than any other reason. I’ve always thought Jimmy to be far superior to all of them. It sounds like a mutual admiration society; people don’t believe me when I say this. but I mean it.
Why do you think English bands are beginning to be stronger chartwise, than American bands again?
The Americans have got lazy. They’ve had it their way for so long. As soon as some competition comes along and does well, the not-so-good bands get uptight because they think they’re missing out on all the work. The better bands pull their fingers out and really come up with something great, and they do as well as the best English bands.
Do you think we're in the middle of a second English invasion of the US charts?
I think it can be taken as a criticism of American bands that so many English groups are getting into the US charts. American groups should look at themselves and their music if this is the case, and ask themselves why all these foreigners are going so well when they’re not.
And I’m sure if they looked hard enough they’d come up with one reason or another, and they’d be able to get it back together and make it again.
#john paul jones#jonesy#led zeppelin#robert plant#planty#jimmy page#pagey#john bonham#bonzo#60s#70s#70s rock#70s music#rock music#ourshadowstallerthanoursoul
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John Gaius, Lyctorhood, and the Permeability of the Soul
This is an excerpt from Nona the Ninth, from John's conversation to Harrow at the end, about why John didn't tell his friends about perfect Lyctorhood. (I typed the excerpt, so any mistakes are my own.)
[John] looked at [Harrow], squinting his eyes against the white and merciless sun. "God must be able to touch all of creation," he said.
"I don't-"
"You said it yourself. I can't die if [Alecto]'s alive; she can't die if I'm alive. Why would you let something like that run around, Harrow?" Why would you let someone go - away from you - untouchable - two people? I couldn't - I loved them too much - I saw the face of Earth and choked the life out of it and ate it whole. Oh, I knew I was on the clock for the Resurrection Beasts. I pretended she was the only one, but I knew the others were coming. I needed my loved ones to be something I could touch...needed them to be my hands...my fingers."
"But-"
"There can be no forgiveness for those who walked away," he said. "Just as there can be no forgiveness for me - even though I rip the very fingers from my hands...throw them into the jaws of the monsters who hunt me...as I run from them across the universe, end to end. Something will satisfy them eventually, but nothing satisfies me. Nothing."
Alright, my fellow Jod fans. What the fuck does all that actually mean?
Okay, breaking it down.
I think John's got to know that the soul is permeable. He talks about hiding himself in Alecto and Alecto in himself, and Nona the Ninth describes him and Alecto getting, like, hungry at the same time. Perfect Lyctorhood, to John, means all that, plus his life and Alecto's being intertwined, where neither can die if the other lives. (Perfect Lyctorhood here defined as 'what John and Alecto have'.)
Does John know that Standard Lyctorhood - what Augustine and Alfred have, what Mercymorn and Cristabel have, what Ianthe and Naberius have, etc - is also permeable? "The Unwanted Guest" suggests that eventually Standard Lyctorhood looks like the Greater Lysis that Camilla and Palamedes have in Paul. However, it sounds like John didn't want his friends entwined in each other. So, did he think that Standard Lyctorhood would prevent that?
John needed Lyctors to be able to fight Resurrection Beasts. But why would Perfect Lyctorhood have gotten in the way of that?
What is it about Perfect Lyctorhood that would have put them out of touch of John? Why does he think that this would have resulted in them leaving him? Is this John's abandonment issues coloring his perception again?
Why does John perceive Perfect Lyctorhood as something he couldn't permit because he loved his friends too much? He immediate transitions from that to talking about him killing the Earth. Does John find Perfect Lyctorhood to be abhorrent? Worse than letting his friends who are necromancers kill his friends who weren't and eat their souls?
Let me know what you think.
(This post is for Jod-enjoyers only. I don't want to hear from Jod-haters.)
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Tells of the signs
Aries: they have wide foreheads with hair with a very close hairline so their foreheads look smaller when they aren’t! They are quick to react to anything that is or feels personally, and I mean that literally. Like you’ve just finished your sentence and they’re already throwing back what they think or they want ‘out there’. This goes for anything, small or big.
Taurus: we know about the square jaw, but why is nobody talking about their sleepy eyes!! Their peaceful but irritated, serene happy sleepy bulls eyes? Think Robert Pattinson, Craig Ferguson, Gigi Hadid, Lizzo...
Gemini: I know this is cliche, but it’s basically their ability to be two different people in different situations. If your answer is: oh yes, they absolutely have that without it being an (slightly) awkward part of their personality to realise this about, they’re a gemini. Think Paul Mccartney, Stevie Nicks, Prince, Donald Trump, Marilyn Monroe, Angelina Jolie, etc
Cancers: you’re looking in someone’s eyes, trying to guess their zodiac sign and suddenly their cheeks start being very noticeable, they notice you remarking something and their eyes start twinkling, you think they’re not definitely not a cancer, chances are 99% that they are a cancer.
Leo: front foot forward. It’s mostly pretty obvious to see whose sun is exalted and whose isn’t.
Virgo: the virgo men do NOT believe in astrology, will debate you on it, will condescend you, will condescend it, cannot leave you be, girls tend to stay quiet and be like ‘oh whatever, happy for you’, the guys won’t. I’ve seen seven people in my life openly condescend astrology, adamantly like not even turning even a little bit around, using faulty logic and everything, that way and all of them were virgo men. To the point where I started laughing out loud when I asked them their sign, to find out they were another virgo man. So if you encounter one of these, specifically those who debate you with earthy ‘logic’ instead of ‘idk i’m just not feeling the faith in it at all, because how can...’ etc, they are a virgo. The virgo women I know are so organised.. in a certain way. It’s that their head inside is so disorganised, chaotic and such a mess that they keep up so well with stuff on the outside, like markers, college notes, little posters on their wall. They’re definitely ‘that girl’ by nature and they’re natural hard workers.
Libra: they’re kind of insane. The girls are very passive, but have very charming egos and you see their conscious struggle to not be people pleasers. Kim Kardashian, Kate Winslet, Naomi Watts, Bella Hadid, Dakota Johnson. The libra guys are... well most of them are insane. I’m dividing into gender, but it actually comes from ‘who has a lot of very well nurtured confidence?’ Those libras are ~batshit crazy~. Think Cardi B, John Lennon, Lindsey Buckingham, Doja Cat, Anthony Mackie, Jeff Goldblum and Simon Cowell. Noah Schnapp and Jimin belong to the girls’ side and Brie Larsson was bullied into being there too.
Scorpio: non scorpios, like all people, can divide people into types. You’ve got the cheery types, the organised types, the blunt types, the very sensitive types, and the intense types. Only scorpios don’t know that ‘intense type’ is a type at all. To them it’s just air. You can’t look at yourself, not even with a mirror, no matter how hard you try. So if you see someone who looks at you casually the way any other sign would attempt to m*rder someone with their eyes, it’s a scorpio. They also have slightly upturned eyes with sharper eyebrows.
Sagittarius: they all have that smile! The tenseless eyes squint and a laugh that goes like 😕 but then upwards of course! Their tell is most often their mercury in sagittarius (😂), which sag suns have most of the time. Sags are obsessed with going to things. ~Going~ outside, ~going~ out for a drink, ~going~ to the supermarket and ~going~ skiing or on vacation. That is really when they’re in their orange element and you can feel it. You definitely have to get to know a person before figuring out they’re a sagittarius, I think.
Capricorns: with white capricorns, their hair colour as a child is a big tell. Blonde children get darker hair as they grow older and mature. Capricorn children are able to go from blonde hair when they were small to dark brown almost black hair when they’re older. I’ve seen it with four (!!) capricorns myself. For the rest, look at their eyebrows. Capricorn’s eyebrows are such prominent features without somehow it being the first thing you notice about them. It’s a weird combination.
Aquarius: aquarii have these oval, round jaws that I can’t really explain, and when you try to imagine their face, their eyes ‘feel’ higher up in their face than most people have. With aquarii i often notice the lack of an actual ego in astrological and psychological terms (not in social terms, god no). They let everything else speak for themselves while setting themselves apart from the rest. Aquarius’ (self)-identified type of quirkiness is always some form of ‘more lowkey’ or ‘more distant from the rest in this or that way’.
Pisces: vampire teeth and sparkling deeper set eyes. Flat ears and \/ chins. People don’t often talk about how when pisces are enjoying themselves, it’s definitely, almost always noticable.
#astrology signs#astrology synastry#zodiac#zodiac memes#moon astrology#astrology memes#aries astrology#gemini#pisces#scorpio#sagittaire#capricorn#taurus#aries#cancer#leo#virgo#libra sun#sagittarius#astrology
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CUT TO: INT. LEO'S OFFICE - DAY
Toby enters.
LEO
Yeah.
TOBY
I'm gonna have breakfast with Ann Stark tomorrow.
LEO
Leave it alone.
TOBY
I think we should be able to discuss the minimum wage and-
LEO
Toby. It's a brand new year.
TOBY
Let's not faf around!
LEO
It's breakfast.
TOBY
I know. It's breakfast. We're not gonna come up with solutions in 90 minutes. But we have the principles in a room and no cameras. The-[utters a small laugh] the leaders of the land. And not to talk about how we're gonna approach the minimum wage, the Patient's Bill of Rights, Tax relief, and education in the legislative session that's about to begin is a criminally negligent and cowardly refusal to do... what we were all sent her to do. [beat] This is what my ex-wife and I did for years. We had these rules. We could talk about anything but why we couldn't live with each other. I could've been two years younger right now.
LEO
There was a freshman democrat who came to Congress 50 years ago. He turned to a senior Democrat and said, "Where are the Republicans? I want to meet the enemy." The senior Democrat said, "The Republicans aren't the enemy. They're the opposition. The Senate is the enemy." Those days are over. Toby, in this climate...
TOBY
This climate is exactly what real bipartisan debate should look like.
LEO
This woman's had this job two weeks. I don't like dealing with people who are trying to impress me.
TOBY
I know her a little.
LEO
Have breakfast with her.
TOBY
Thank you.
LEO
Toby.
TOBY
Yeah.
LEO
Jenny and I wouldn't talk about it either. You know why?
TOBY
Why?
LEO
Because we loved each other and it was awful and we knew it was never gonna change. Ever.
Toby leaves.
* * *
Toby enters the Oval Office.
TOBY
He didn’t want to see me.
LEO
He’ll be all right in the morning.
TOBY
Yeah.
LEO
You’re the Communications Director. It was a TV show.
TOBY
It was a blunder from top to bottom. You should know it could have been avoided at several points along the way if I’d listened to C.J.
LEO
Or me.
TOBY
Yeah.
LEO
Alexander Hamilton didn’t think we should have political parties. Neither did John Adams. He thought political parties led to divisiveness.
TOBY
They do. They should. We have honest disagreements. Arguments are good.
LEO
Only if they lead to statesmanship. Or it’s just theatre. And statesmanship is compromise.
TOBY
What about persuasion? They’re coming for us, Leo.
LEO
I know.
TOBY
I mean they’re coming for us now.
LEO
Toby, if you knew what it was like getting him to run the first time...
TOBYI
know.
LEOLike pushing molasses up a sandy hill. If I go and tell him it’s time to run again he’s going to get crazy... and frustrated. He’s going to sink into his head and he’s going to say he’s not running.
TOBY
Yeah.
LEO
Yeah.
TOBY
So we’ve got to do it for him. We’ll keep it away from this office but we’ve got to get real now. Leo, Ann Stark’s a war time consigliere. That’s why she was bumped up.
LEO
I’m a wartime consigliere too, Toby. I was just hoping it’d be peace time a little longer.
TOBY
Yeah.
LEO
Son of a bitch!
TOBY
Yeah.
LEO
Shake my hand.
Toby does.
LEO
We just formed it.
TOBY
Formed what?
LEO
The Committee to Reelect the President.
* * *
THE WEST WING
"THE LEADERSHIP BREAKFAST"
WRITTEN BY: PAUL REDFORD
DIRECTED BY: SCOTT WINANT
communicationsoffice.tripod.com
#TV#The West Wing#West Wing#The Leadership Breakfast#2x11#we had these rules#the enemy#the opposition#bipartisan debate#wartime consigliere#I was just hoping it would be peacetime a little longer
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Alf Bicknell, Beatles Chauffeur (and friend), 1964 to 1966:
“It's weird to explain. Even after I left them in 1966 and went back to working with captains of industry and on a cruise, I could never get those songs - all their tracks - out of my system. They'd become a part of me. To be there was the job of a lifetime.”
“It was exhausting. I remember waking some mornings and being filled with trepidation. Filled with the feeling that I couldn't do it, that I couldn't go on at this pace.”
“I ended up with George and this guy, who turned out to be an Italian prince. He offered to show us around Rome. So, together with this prince, his beautiful girlfriend, and George, I had one of the most wonderful of my times with the Beatles. He took us at dawn on this whirlwind tour of Rome. We ended up on some of the Seven Hills of Rome. We were in St Peters Square and all these wonderful places I'd only seen on picture postcards.”
All four had been fond of doodling in an effort to while away the boredom of touring. On this leg of the tour [in Japan] Alf noticed the sketches began to take on a darker tone. Perhaps a legacy of the touring treadmill, although the Beatles discovery of hallucinogenic substances may have coloured their doodles.
“I'm often asked what my favourite tracks are. I don't really know. I guess the two which I think are most poignant are Penny Lane and Strawberry Fields Forever. They make me really sad - I don't know why.”
After the Beatles visit with Elvis, he sent his own roadies round in a giant Cadillac limousine to take the Beatles' road crew out on the town:
“We were wined and dined and went round all these wonderful Hollywood clubs. One place was closing for the night but Elvis's people Sonny and Marty had them open up just for us. Vintage champagne and platters of delicious food duly arrived. Then the singer who had been performing that night came back on and did another set, singing just for the likes of yours truly. I've always thought what a wonderful gesture of Elvis to have remembered us, the humble roadies, this way.”
Re the airport in the Philippines:
“George Martin, in particular, has been documented as saying 'Stupidly Alf Bicknell raised his fists.' I always thought that was pretty rich coming from a guy hundreds of miles away, safely tucked away in a recording studio. Whereas here I was, surrounded by this baying mob, desperate to tear the Beatles to pieces. It was my job to protect them. And it was obvious that reasoned arguing wasn't the answer. You don't stand there and wait till one of the band is hit. It was a case of 'it's the first blow that counts'. ”
Alf decided to leave in 1966, at Candlestick Park when they announced they wouldn't be touring any more. He doesn't go into a lot of detail about why, he just says:
“It had been two years. A magical time, with me privy to one of the most exciting times in the last century. I'd been privileged to be along for the ride. But like the band, the repetition had sort of got to me.”
Ticket to Ride, by Alasdair Ferguson and Alf Bicknell
I'm going to stop now before I type out the entire book. But there are other nice bits in it still. At one point or another he drove each of them back to Liverpool and stayed with their families. He really likes Jim McCartney: "There was a great spiritual feeling about him." He seems to genuinely like everyone. There's a bit where he drives George and Pattie to the airport after their wedding, speeding to escape the press, but when he gets pulled over the officer just pretends to give him a ticket and then holds up the reporters for him. There are the standard bits where John is a bit of a dick, and other bits where he's soft and kind. There's a bit where Alf goes to a bullfight with Brian because no one else will. A bit where he talks about Paul putting on a terrible disguise and going out to look for grandfather clocks, and everyone in the shops pretending not to know who he is. There's a bit where he runs into George in the mid-seventies and they have a hug on the pavement.
(If you're wondering why the Beatles' chauffeur called his book Ticket To Ride, yes, I was also wondering. But he does have another book called 'Baby You Can Drive My Car', so that is why. From what I can work out it's a better version of this one - because honestly outside the quotes from Alf, which I'm assuming are true, this book is badly written to the extreme. It kind of tries to dramatise everything, like 'he sighed dramatically' etc, and is full of small careless mistakes like using passed where they mean past, not once but twice. Unfortunately the other book costs a little fortune, so this one is good enough for now.)
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James Paul McCartney 73 special
I’ve been wanting to watch this for awhile! Finally the time has come to watch this baby!!
Okay opening with little tidbits, fun cute. Is it just me or does Linda’s section read very John esque…
Oh Paul’s is quippy too… did you write these questions so you could give funny answers Paul?? Wait wants this about love of your life:
Linda the kids?? Did you leave someone off Paul? 🤨 hmmm sus
Of course the famous vest looking over shirt with necklace combo!! This look was a whole Harry styles era!! Paul looking at linda all shy and blushy but also doing his little poses for her! He’s so femme here… gosh what was going through his head during this period he was just so free and girlish with Linda… Francie said he was so afraid he wasn’t manly enough (we knew) in 68 but he truly seemed to swing hard the other way in the 70s.
I can’t believe linda is just taking pics the whole time and he’s also making her SING with him?? The way he looks at her like “sing with me sing with me”… heart of the country is a cute song
Linda crouching in this way with her dress over her knees … reminds me of the story of her seducing someone famous like this (I can’t remember who)…
Mary little lamb 🙃
It’s crazy it’s only 3 years after the Beatles and Paul looks SO different. Maybe that’s the intent behind the radical change. Or maybe he’s just being trendy idk (boring). But also 3 years in Beatle time was also radical. I mean 64-67, that’s a crazy difference.
I mean honestly this is not that different from give my regards to broad street really just has no narrative squeezed in between the music set pieces… he really should have just left broadstreet a tv movie then he wouldn’t have gotten so much hate for it lol
I’m honestly like … yeah I get it John it’s boring listening to all these slow hippy songs one after another
Oh spoke too soon do we have a narrative?
ENTER : LIVERPOOL
Lived there most of me life (have you technically Paul?) … he really busted out the scouse for that one
I feel like Paul’s tryna capture the thing he’s always talking about with his family but he honestly just looks nervous and tense this whole time… he doesn’t seem to relax until he’s a bit drunk and even then he glances at the camera …
OOP, “people call me a stick in the mud” right after that
OH PINK SUIT PAUL HERE WE GO
Paul truly loves a big dance number doesn’t he… even tho he clearly can’t dance really… once again something he’s too nervous to do naturally. Him dancing in this big boots he’s taking little steps cause he’s nervous about tripping ! They chose to speed up all his dance routines probably cause it looks so slow so he could keep up with them. Insert of someone else tapping in those shoes.
I like Paul saying America has better movie popcorn… it’s because it’s not sweet probably!!’ Who wants sweet popcorn at the theater it’s gotta be buttery and salty.
A Beatles medley you say????
I bet Paul was like I’m definitely NOT gonna sing a Beatles song 🖕🏼 So they were like er let’s just get some normies in here
moving on a concert now-
Paul’s bum is just not looking as plump as it used to 😔
Omg right before they started playing maybe im amazed he talked to the guitar player and at first I thought he kissed him but I watched it again and it looks like he kinda aggressively grabs him then pushed him away… hm!!!
Honestly sometimes I don’t mind the mullet but sometimes I really HATE it… and I’m really hating it during maybe I’m amazed
Omg I was like wow I can’t believe he’s STILL playing long tall Sally it’s really his jam but then girls jumped up to dance like mad!!! Are these some original Beatles girls or what?? Scruffs? Are you out there?? (I think the scruffs had just disbanded by this point but I know some of them still followed Paul around, even tho Linda would do everything to get rid of them). now everyone’s dancing! Hes still got it boy
The famous strawberry jacket!! (Strawberry fields forever?)
Oop that’s the end I guess… well good night Paul!
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Paul and Icke (part 1 of N)
This is part 1 of a multi-part post about Paul’s relationship with Icke Braun, as portrayed in Icke’s autobiography. The book is in German, and we’ve included the original German text at the bottom of the post. Translations provided by the wonderful @paulsrighthand and her Mum! (Thanks!)
In Icke's autobiography, he's explicit that he was closer to Paul than the other Beatles
The best contact I had was with Paul, not only because he was the only one who spoke German, but to me he was the most likeable. I went with him a few times to the Raa-Wiese.
Raa-Wiese is where Icke was living. This wording and other moments we'll discuss later seem to suggest that Paul stayed with Icke on a handful of occasions. It's very possible that by saying "a few times" Icke is minimizing something that was very important. We know of two instances at least that Paul stayed the night, and there's a moment later in the book that suggests it was more often (we'll get to that later.)
The meet-cute:
On the way from Ahrensburg, we came past a great strawberry plantation. Because there were no people around, Kathia said, let’s steal a few strawberries. The strawberries were small, red and sweet and after we had eaten enough, we said, let’s take some for The Beatles. Kathia went into a barn and came out with a big basket. We picked so many strawberries that the basket overflowed, and on the way to the car, most fell into the road. We put the basket behind my seat and drove off.
At 10pm at the Top Ten, The Beatles were already in full swing, and the dance floor was thick with people. Between two sets, we took the strawberries to the stage. The other guests joked and called us the young strawberries. We could have invited them for a round of beer or schnapps, like the sailors or rockers did, but the strawberries were something else. The Beatles were overjoyed like children, and Paul said ‘what a wonderful idea, you can do this again!’ (He said this in bad German, which he had learnt in school).
The four boys started to eat and couldn’t stop. The interval became longer and longer because the basket was so full and took a long time to empty. The public began to protest, so John decided to start throwing strawberries at people, and then Paul and the others copied him. The public then threw back the squashed strawberries and it became a food fight…Luckily most of the strawberries had been eaten.
Paul then came down from the stage and asked Kathia and myself if we had a musical wish. There was a song which we liked called ‘Till There Was You’ and Kathia whispered to me that we should choose this song. It was a love song and didn’t actually fit into the whole rock n’ roll genre that they normally played. Unfortunately Paul didn’t understand that this was Kathia’s music choice and thought for years that this was my favourite song. Every time that I went to the Top Ten or The Star and he saw me, he would play ‘Till There Was You’, which was quite embarrassing for me because it wasn’t my taste of music at all, and also because the rockers bombarded me with rude gestures and remarks.
Years later, when the boys were already famous, and I was allowed backstage, we were sitting in the Ernst Merck hall and George Harrison mentioned ‘Till There Was You'. I told him that it was actually Kathia’s music taste and not mine. So he understood, but there is still footage from The Star Club where one can hear ‘And now we will play ‘Till There Was You’ for Icke’.
The moment Icke is referring to:
There's a lot to unpack here. For starters, this isn't the story we've been told in the past.
Typically, Kathia takes credit for this entire interaction
He looked like an angel with big eyes. He found it hard to say my name so he would play a request for “the girl with red hair” and sing “Till There Was You.” I wished that he loved me but I was not his type: he liked small, tender blondes. But he did like me and we talked. I could speak English, which not many could do; I told him the Beatles would be famous and he laughed. The Beatles were sexy. Very. You couldn’t decide who was sexiest. They didn’t try to be sexy, they just were, and they were natural.
This is from Tune In, cause, of course, it is. What we've learned over the course of our research is that Lewisohn has created a narrative that fits what he wants it to. We have half a mind to think that Lewisohn asked leading questions of his interviewees to get the exact narrative he wanted to portray.
Another interesting thing to note in this conversation is this web page. This is the only source we can find to Paul calling Kathia "strawberry." We'll talk more in depth about Kathia in a later posts, but these stories both seem in direct contraction to Icke's own recollection, and we trust Icke way more than we trust Lewisohn.
So now that we know what we've heard about this encounter before, let's break down the info Icke provides.
Before knowing this info it was very easy to assume that "Till There Was You" came out of Paul's love for musicals, which he tried to pretend didn't exist for most of the existence of the Beatles. After reading this it seems clear he really didn't know the song because of The Music Man. And it wasn't a song he liked because of the Peggy Lee version either. Icke asked for it, and Paul then played it literally every time he was in the room, going as far as to dedicate it to him.
It's crazy that it was based on a misunderstanding, but this is frankly one of the reasons we think Icke is so trustworthy. Throughout the book, or at least this chapter, he shares his insecurities. From this story to literally turning around outside Paul's gate in the 80s, cause he was scared Paul wouldn't remember him (from everything we can gather and the 3 pages on the subject, PiD scared him a lot and since he and Paul weren't in touch he internalized it a bit.) You can't fake that, or, I guess you can, but you have to be a really good writer to do so, and he enlisted a second author to help him write this. Not to mention, we are probably two of less than 100 people who have even read this book. So what would be the purpose in lying?
Anyway.
Based on what he said about George, it sounds like George assumed it was a romantic thing and then confronted him about it in 66. We wonder how George reacted, cause Icke doesn't share that, and if George told Paul or if to this day Paul thinks it was Icke's favorite song.
The song first appeared on their setlists in 1961 (the year they met Icke). It was one of the songs they played at their Decca audition (1 Jan 1962) and made it onto With The Beatles (recorded July 1963 – 7 months after their last stint in Hamburg).
As for the strawberries, we have a few theories about that as well.
For starters, we know from Paul and John that they both had this strong belief in telepathy. We all have always assumed it was just an assumption between them, but what if it wasn't?
Here's the theory. Strawberry Fields started as John's safe space when he was growing up, but then he invited Paul into that safe space and it became Paul's safe space too.
So given Paul's assumptions about telepathy and all that jazz, when Icke and Kathia go to literal strawberry fields and bring back strawberries cause they just felt like the Beatles would appreciate that, it's very possible he thought that was a sign of some sort. Maybe that Icke knew him in a really deep personal way. It's very easy to see Paul take that and start falling for Icke as a result.
Also, there aren't many mentions of "strawberries" in Paul's songs. But there are two:
In "Venus and Mars" which is all about psychic horoscope things:
Red lights, green lights, strawberry wine
A good friend of mine, follow the stars
Venus and Mars
Are alright tonight
And in the early 90s, two years after he saw Icke for the last time, he released an instrumental album called "Strawberries Oceans Ships Forest" which was also the title of the 7th track.
We have a theory that all the tracks on this album correspond to a lost or current love (but more on that later).
We could write a full essay on this section, but we'll leave it here.
Original German:
Den besten Kontakt hatte ich zu Paul. Nicht nur dass er der einzige von ihnen war, der in bisschen Deutsch konnte, er war mir auch am sympathischsten. Mit ihm war ich auch ein paarmal auf der Raa-Wiese.
—
Auf dem Weg von Ahrensburg nach Hamburg über die B 75 kamen wir an einer großen Erdbeerplantage vorbei. Es waren weit und breit keine Menschen zu sehen und Kathia sagte, lass uns ein paar Erdbeeren klauen, ich habe da mal gejobbt, ich weiß, wie man da reinkommt. Die Erdbeeren waren klein, rot und süß. Als wir satt waren, sagte ich, lass uns für die Beatles welche mitnehmen. Kathia ging in einen Schuppen und kam mit einem großen Korb zurück. Wir sammelten den Korb zu voll, auf dem Weg zu meinem Auto purzelten die Erdbeeren reihenweise in den Dreck. Wir aßen soviel wir noch konnten von oben weg, obwohl wir pappsatt waren, und verstauten den Korb hinter meinem Sitz.
Um 10 Uhr im Top Ten, eigentlich war das viel zu früh, die Minderjährigen wurden gerade nach Hause geschickt, aber die Beatles waren schon wieder voll in Action und die Tanzfläche war dicht. Zwischen zwei Sets brachte ich den Jungens den Korb Erdbeeren auf die Bühne. Die anderen Gäste machten sich zum Teil darüber lustig und nannten mich den Erdbeerjungen. Aber mir war das egal. Wir hätten sie auch zu einer Runde Bier oder Schnaps einladen können, wie die Matrosen oder die Rocker, aber Erdbeeren waren doch mal was anderes. Die Beatles haben sich jedenfalls gefreut wie Kinder. Paul sagte,
„What a wonderful idea, Icke, du kann immer widder macken."
Er hatte etwas deutsch auf der Schule gelernt. Die vier fingen an zu essen und konnten gar nicht mehr aufhören. Die Pause zog sich immer mehr hin, weil der Korb so voll war und nicht leer werden wollte. Das Publikum fing an zu johlen und zu protestieren. Da ging John dazu über, die Erdbeeren auf die Leute zu schmei-Ben, und Paul und die anderen machten es ihm nach. Die Leute aus dem Publikum schmissen die matschigen Beeren natürlich zurück und es gab eine regelrechte Erdbeerschlacht. Zum Glück waren die meisten Erdbeeren schon aufgegessen, sonst wäre die Schweinerei wohl noch größer geworden. Paul kam danach von der Bühne runter und fragte Kathia und mich, ob wir einen Musikwunsch hätten. Es gab ein Lied, das hieß Till there was you. Kathia flüsterte mir zu, ich sollte mir dieses Lied wünschen. Das war ein Liebeslied, passte eigentlich also gar nicht zu dem Rock 'n' Roll, den sie sonst spielten. Leider hatte Paul nicht mitgekriegt, dass ich nur Kathias Musikwunsch weitergegeben hatte, und jahrelang gedacht, dass das mein Lieblingslied sei. Jedes Mal wenn ich ins Top Ten oder später in den Starclub kam und er mich sah, spielte er Till there was you. Mir war das ziemlich peinlich, einmal, weil es gar nicht meinem eigenen Geschmack entsprach, und zum ande-ren, weil die Rocker mich mit schwulen Gesten und Andeutungen ärgerten. Viel später, als die Jungs schon berühmt waren und ich mal in den Backstage durfte, wir saßen da in der Ernst-Merck-Halle, hat mich George Harrison auf Till there was you angesprochen. Da habe ich ihm das dann erzählt, dass der Musikwunsch eigentlich auf Katja zurückging. Das hat er auch verstanden. Aber es gibt Auf-nahmen, die irgendwann im Starclub mitgeschnitten wurden, auf denen man hören kann: „Und nun spielen wir für Icke Till there was you."
#paul and icke#paul mccartney#icke braun#icke evelyn hamann und die beatles: eine art biografie#george harrison#queer bugs#the beatles#hamburg#kathia bergin#mark lewisohn#tune in#till there was you#strawberries#strawberries oceans ships forest#picke#venus and mars#telepathy
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