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#The Beatles
the-boney-rolls · 2 days
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There are seven levels of McLennon Hell
Level 1: Denial - What's this "McLennon"? Oh of course there are people that think they are in love. Wishful thinking but wouldn't that be fun ha ha ha
Level 2: Curiosity - I mean ok they were definitely platonic soulmates, right?
Level 3: Queering John - Oh wow seems like there's legitimate evidence that John was bisexual, I guess it's not that much of a stretch to imagine he was in love with Paul, that really changes things
Level 4: What Happened in India??
Level 5: Disillusionment of Paul's Immovable Heterosexuality - Oh they really wrote a lot of songs about each other huh. "I'm in love with a friend of mine," what's that mean Paul? Paul? Why are you so obsessed with queerness Paul? You don't have to mention John, Paul, no one asked!
Level 6: Letting Go of All Sanity - Look at the way they look at each other, it's not normal! Is it...... so crazy to think that they did? Paul is so private and repressed, he would keep that secret. What else could "waiting on the other side for your friends to go" mean??
Level 7: Acceptance - THEY WERE FUCKING THE WHOLE TIME THERE'S NO OTHER EXPLANATION
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takashimakato · 3 days
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McCartney booty 🤤
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siin-07 · 22 hours
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Splatoon 3 Drums vs Guitar vs Keyboard Splatfest art
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redraws
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tygerland · 2 days
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A Hard Day's Night (1964)
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groovegalz · 3 days
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december 14th, 1974
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reflectismo · 3 days
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The following is an excerpt from the 1970 sworn affidavit of Paul McCartney, made in support of his Application to dissolve the Beatles. This passage pertains to the conflict that surrounded the release date of Paul’s first solo album. Some interesting insights here.
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Paul McCartney baking bread
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twixnmix · 2 days
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John Lennon with Yoko Ono, filmmaker Jonas Mekas, and Andy Warhol's boyfriend Jed Johnson during a party at Allen Klein's home in Riverdale, Bronx, 1971.
Photos by Andy Warhol
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elafranco2024 · 2 days
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Kitten 😺😺😺😺
Paulie in his slutty sailor outfit.
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gardenschedule · 1 day
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Mclennon dancing ❤️
“We were recording the other night, and I just wasn’t there. Neither was Paul. We were like two robots going through the motions. We do need each other alot. When we used to get together after a month off, we used to be embarrassed about touching each other. We’d do an elaborate handshake just to hide the embarrassment… or we did mad dances. Then we got to hugging each other.”
John Lennon, 1967
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apparently this is george but it's still cute so it stays!
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stinkyfartgirl · 2 days
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I can’t deny myself any longer. I love this dead man. I am unwell ab him.
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thisbirdhasflownx · 2 days
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He's so cute omg
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the-boney-rolls · 21 hours
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They were laying down the tracks and doing the melody lines of the song ‘And I Love Her’. It was a very simple song and quite repetitive. George Martin and I looked at each other and the same thought sparked off in both of our minds. It was proving to be, although plain and a warm and sympathetic song, just too repetitive, with the same phrase of repeating. George Martin told the boys, ‘Both Dick and I feel that the song is just lacking the middle. It’s too repetitive, and it needs something to break it up.’ I think it was John who shouted, ‘OK, let’s have a tea break’, and John and Paul went to the piano and, while Mal Evans was getting tea and some sandwiches, the boys worked at the piano. Within half an hour they wrote, there before our very eyes, a very constructive middle to a very commercial song. Although we know it isn’t long, it’s only a four bar middle, nevertheless it was just the right ingredients to break up the over repetitive effect of the original melody.
Dick James on the recording of "And I Love Her"
She gives me everything And tenderly The kiss my lover brings She brings to me And I love her
A love like ours Could never die As long as I Have you near me
Bright are the stars that shine Dark is the sky I know this love of mine Will never die And I love her
The section of lyrics that John and Paul went off to go write together stands out because it changes the object of the singer's love from "her" to "you." Now the singer seems to love both an absent woman and the person he is singing to about her.
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m1ssunderstanding · 2 days
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Understanding Lennon McCartney Rewatch Part 4.2
Having Paul talking about following his artistic muse and deciding not to care what other people think paired with the insanity of McCartney 2 is fantastic. 
I sincerely hope those 20K words that Paul wrote for his posterity about his time in jail are published some day. 
He looks so pretty in this interview!
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John and Sean are so cute! 
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“Nobody Knows” is about secretly hooking up with John, obviously. But “that includes you, honey!” Is that at Linda?? Don't do that to your mother, Paul. 
The only scenario in which I  support a hypothetical JP sexual/romantic relationship in the 70s is that hypothetically no wives were harmed in the making of this hypothetical. 
Not the cut from “Coming Up” to “Probably the thing that John and I will do . . .” to John's self interview about bisexuality and Paul and life begins at forty back to Coming Up interspersed with footage of happy JP to John getting out a guitar to record a demo! 
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And the demo is (Just Like) Starting Over. Just bury me already. 
Another lyrical reference I didn't catch in the demo version: “it's easy.” Sung very similarly to how he sang it in All You Need is Love. 
John comparing them to brothers (Everly) and a marriage (Goffin and King) in the same sentence. And he's right, too.
I love the interviewer being so skeptical of John and how dismissive he is of Paul in this interview and how he can't get his story straight on when the last time he'd seen Paul was. More women should've interviewed him.
How I imagine it went. Interviewer: hi John are you ready to -- John: did you know I never think about Paul anymore unless somebody brings him up? Interviewer: but I didn't – John: yeah he used to show up at my door with a guitar and I told him to go away. Interviewer: ooookaaay? 
Cutie! I love John so much.
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“If I was dead, they wouldn't be angry with me. If I'd conveniently died in the mid seventies after Rock and Roll album or Walls and Bridges (((everybody loves you when you're six feet in the ground))), they'd all be writing this worshipful stuff about what a great guy.” It hurts to hear and it hurts that he was exactly right. 
I don't care what John and Yoko say, manifesting is just another capitalist lie to keep the proletariat complacent. 
“The only one who can control me is me and that's just barely possible.” It's one of those John quotes that's so silly and cute and also entirely relatable. He really had a way of capturing the human condition. 
“Nobody ever said anything about Paul having a spell over me when I was with him for a long time! Or me having a spell over Paul! They didn't think that was abnormal, two guys together.” Yeah, John, they definitely did and they made fun of it and tried to poke holes in it, or have you forgotten?
“Or four guys together.” Yeah. George and Ringo were in the Beatles too.
“In those days? Why didn't anybody ever say ‘How come those guys don't split up?” You're joking, right John? 
The video/audio pairing here though! You mean ‘what's going on under the table?’
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Love John getting pissed that nobody asked him, “What is that Paul and John business?” RIP John, you would've loved Beatles Tumblr.
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humanorck · 2 days
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groovegalz · 3 days
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the real story behind this John Byrne painting, alt. White Album artwork, and the finalized album artwork done by Richard Hamilton
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the above image is frequently incorrectly cited as being an unused album cover for The Beatles’ self-titled album colloquially known as the White Album, however the artist himself, John “Patrick” Byrne, had this to say about that claim:
“I created The Beatles artwork for [Alan Aldridge’s] The Beatles Illustrated Lyrics and NOT for the White Album. I was never contacted by Paul McCartney nor anyone to do with The Beatles with regard to the White Album.” — John Byrne
Alan Alridge’s aforementioned The Beatles Illustrated Lyrics was published in 1969, and this artwork was later used as the album cover for The Beatles Ballads pictured below, a compilation album that came out in 1980
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with this being said, Beatles historian Mark Lewisohn confirmed that Apple “commissioned various designers to come up with sleeve ideas” for the White Album
to my knowledge, the only rejected proposed artwork that has surfaced for the album’s inner gatefold was done by artist Paul Whitehead in 1968, shown below:
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“I was working as the Art Director for Time Out In London [sic], and I had friends at Apple records and one, Wayne Bardell, told me that Apple was looking for ideas for the cover and possibly for material to go inside the cover. I submitted my design but they passed on it.” — Paul Whitehead
this artwork was done when the album’s working title was A Doll’s House, named after the 19th century Henrik Ibsen play, which was changed after the band Family released Music in a Doll’s House in the middle of the White Album sessions, as they did not want to have a similarly titled project
the artist that was ultimately chosen to create the artwork for the White Album was Richard Hamilton, who designed the album’s completely white cover, its inner gatefold, and the collage poster that came with the original and current pressings of the album, pictured below:
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+ the backside of the collage poster includes the lyrics to the songs on the album
the White Album’s collage poster came about as a result of Richard Hamilton feeling somewhat bad for creating the completely white cover, which Paul McCartney was initially not fond of
“So now he was saying, ‘Let’s call it The Beatles and have it white, really white.’ I was saying, ‘Well, I dunno. It’s a great concept, but we are releasing an album here. This is not a piece of art for a rather elite gallery, this is more than that. I see the point. It’s a nice idea, but for what we were to people, and still are, it doesn’t quite fit, we’re not quite a blank space, a white wall, the Beatles. Somebody ought to piss on it or smudge an apple on it for it to become the Beatles, because a white wall’s just too German and marvellous for us.’” — Paul McCartney
“Then I began to feel a bit guilty at putting their double album under plain wrappers; I suggested it could be jazzed up with a large edition print, an insert that would be even more glamorous than a normal sleeve.” — Richard Hamilton
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pictured above, Paul McCartney and Richard Hamilton working on the collage poster for the album in 1968
“Richard and I worked together on the collage for The Beatles’ White Album. Richard and I sat down all week while he did the collage from childhood photos of us all. The thing that impressed me at the end of the week was that after he’d filled the whole board with pictures and got his composition right, his final move was to take pieces of white paper and place them strategically to give space through the whole thing so that it wasn’t just crammed with pictures. It was beautiful and I remember being very impressed with the way he put this negative space on – it was the first time that I’d ever seen that idea.” — Paul McCartney
Hamilton’s white cover for the album was done as a deliberate contrast to the very busy and colorful cover of Sgt. Pepper’s Lonely Hearts Club Band created by Jann Haworth and Peter Blake
“Since Sergeant Pepper was so over the top, I explained, ‘I would be inclined to do a very prissy thing, almost like a limited edition.’ [Paul McCartney] didn’t discourage me so I went on to propose a plain white album; if that were too clean and empty, then maybe we could print a ring of brown stain to look as if a coffee cup had been left on it – but that was thought a bit too flippant.” — Richard Hamilton
the album also came with 4 smaller poster portraits pictured below of John Lennon, Paul McCartney, George Harrison, and Ringo Starr, respectively. these portraits were photographed by John Kelly in the fall of 1968, towards the end of recording the album
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black and white versions of these portraits were also used on the inner gatefold design for the packaging of the album pictured below, also designed by Richard Hamilton
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even though the completely white cover was Richard Hamilton’s idea, it was Paul’s to have the embossing
“‘Maybe if we emboss the word “Beatles” out of the white, that’ll be good. We’ll get a shadow from the embossing but it’s white on white. It’s still white. That’ll be nice.’ But I still wanted something on the white, an idea, like the apple smudging.” — Paul McCartney
according to Pete Shotton, it was also Paul’s idea to have each copy of the White Album numbered, though not for the reasons you might expect
“It was Paul who had decided that each album should be individually stamped with a separate number. He confided in me that this was to be part of a unique marketing strategy. Paul said, ‘In a few months, we’re going to have an enormous lottery, and the person with the winning number will win some fantastic prize. It’ll be a real selling point. Everybody will want to buy the album to get that number.’ I said, ‘Actually Paul, I really don’t think that’s such a terrific idea. It sounds a bit cheap to me. The Beatles don’t need those kinds of gimmicks to sell records.’ He replied, ‘Yeah, Pete. I suppose you’re right.’ But, that’s why each White Album sported its own number.” — Pete Shotton
Richard Hamilton still did much of the design work for the White Album, even being credited by Paul for coming up with the final title of the album
“Richard asked, ‘Has there been an album called The Beatles?’ so I referred back to EMI and they said, ‘No. There’s been Meet the Beatles, Introducing… The Beatles in America, but there’d never been an album called The Beatles.’ So he said, ‘Let’s call it that’; which is the official title of the White Album.” — Paul McCartney
as you can see, the design work and packaging for the White Album went through many different creative stages and proposed ideas throughout the period it was being recorded in 1968
in another world we could’ve had The Beatles’ A Doll’s House (a title i adore!!!!!) or maybe even a different album cover. however, i love the design work Richard Hamilton did for the album; i think it operates as a blank canvas of sorts that is compensated for by the explosions of creativity and individualism on the album’s tracklist
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