DND Au Anyone??

Even though John is under-powered in this period we still see what made him so magnetic to Paul and to others around him. There is a scene early in Part Two that I find riveting. It takes place a couple of days after George has left. The status of everything - the project, the band - remains uncertain, but they are ploughing on for now. John, Yoko, Ringo, Paul and some of the crew are sitting in a semi-circle. Paul looks pensive. Ringo looks tired. John is speaking only in deadpan comic riffs, to which Paul responds now and again. Peter Sellers comes in and sits down, looks ill-at-ease, and leaves having barely said a word, unable to penetrate the Beatle bubble. At some point they’re joined by Lindsay-Hogg, and the conversation dribbles on. John mentions that he had to leave an interview that morning in order to throw up (he and Yoko had taken heroin the night before). Paul, looking into space rather than addressing anyone in particular, attempts to turn the conversation towards what they’re meant to be doing:

Paul: See, what we need is a serious program of work. Not an endless rambling among the canyons of your mind.

John: Take me on that trip upon that golden ship of shores… We’re all together, boy.

Paul: To wander aimlessly is very unswinging. Unhip.

John: And when I touch you, I feel happy inside. I can’t hide, I can’t hide. [pause] Ask me why, I’ll say I love you.

Paul: What we need is a schedule.

John: A garden schedule.

I mean first of all, who is writing this incredible dialogue? Samuel Beckett?

Let’s break it down a little. The first thing to note is that John and Paul are talking to each other without talking to each other. This is partly because they’re aware of the cameras and also because they’re just not sure how to communicate with each other at the moment. John’s contributions are oblique, gnomic, riddling, comprised only of songs and jokes, like the Fool in King Lear. Take me on that trip upon that golden ship of shores sounds like a Lennonised version of a line from Dylan’s Tambourine Man (“take me on a trip upon your magic swirling ship”). “We’re altogether, boy”? I have no idea. Does Paul? I think John expects Paul to understand him because he has such faith in what they used to call their “heightened awareness”, a dreamlike, automatic connection to each other’s minds. But right now, Paul is not much in the mood for it. His speech is more direct, though he too adopts a quasi-poetic mode (“canyons of your mind” is borrowed from a song by the Bonzo Dog Doo Dah Band) and he can’t bring himself to make eye contact. “To wander aimlessly is very unswinging,” he says (another great line, I will pin it above my writing desk). Then John does something amazing: he starts talking in Beatle, dropping in lyrics from the early years of the band, I Want To Hold Your Hand and Ask Me Why. (To appreciate John’s response to Paul’s mention of a schedule, American readers may need reminding that English people pronounce it “shed - dule”.)

What’s going on throughout this exchange? Maybe Lennon is just filling dead air, or playing to the gallery, but I think he is (also) attempting to communicate to Paul in their shared code - something like he loves him, he loves The Beatles, they’re still in this together. Of course, we can’t know. I can’t hide, John says, hiding behind his wordplay.

— Ian Leslie, "The Banality of Genius: Notes on Peter Jackson's Get Back" (January 26, 2022).

[I was curious to read more of Ian Leslie's approach to the Beatles in general and Lennon-McCartney in particular, since he's currently writing a book about John and Paul's relationship: “John and Paul: A Love Story in Songs". He's also the author of that New York Times opinion piece that came out today.]

Letter from John Lennon to Elliot Mintz | June 1973

what if people over a certain height had a special currency called tall coins that short people didn’t know about. And one day you’re walking with your friend (huge) and she drops something and you pick it up and say what is this and she says oh that’s my tall coin don’t worry about it. But you did worry

in that mintz book does it mention the lost weekend story about off-his-head john yelling "this is all Roman Polanski's fault!!" while stabbing a mattress? Possibly from the same night as the chair tying. Ever since I read about that in May's book it's been my personal what happened in India - what do you MEAN, John????? Did he even know Polanski?

SCREAM no it does not but that beyond tracks 😭 it does however mention that he used to go to casinos and place chips on like almost every single number of the roulette wheel and he'd lose money bc it took more chips to do this than he'd make back when he inevitably won. and when mintz tried to explain this he just got confused bc "but I win every time". also they went to mcdonalds together once. and john thought he solved jfk's assassination (the driver turned around and did it, which. literal video of this not being true)

Paul on meeting John

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

Source: https://www.the-paulmccartney-project.com/1997/07/40-years-ago-paul-mccartney-met-john-lennon/

paul: john likes me ?!?! but ...😳 hes a boy ... and ... IM a boy >_<

george: uughh how can i get them to see im just as good of a songwriter as them🚬🚬

john: okay ringo now hit the second tower

January 13th, 1969 (Twickenham Studios, London): As Paul encourages an unconfident Ringo to go ahead with his plans to record a solo LP, John hedgingly brings up his own apprehensions about following his instincts (especially when he’s not even sure what he really wants to do). In their inimitable and emotionally non-committal fashion, John and Paul engage in metaphors about intentions, conveying these intentions in actions, and how these actions may be conveyed by those who see it. (Basically: what John and Paul talk about when they talk about love.)

PAUL: [to Ringo] The great thing is that you singing like how you really sing – will be it. It will be! 

RINGO: Yes, but the only way is to do it on your own. 

PAUL: Until then – yeah, sure. Until then – until you reach how you really sing, you’ll sing your half-soul. 

RINGO: Yeah. 

PAUL: And it’s probably when we’re all very old, that we’ll all sing together. 

RINGO: Yeah.

PAUL: And we’ll all really sing, and we’ll all show each other how good we are, and in fact we’ll die, then, I don’t know. [Linda laughs; diffident] Probably, you know, probably something sappy or soft like that… I don’t know, but really, I mean, i– it’s really down to all those sort of simple, silly things to me. 

YOKO: But those are the important things, you know. 

PAUL: It’s got to be simple. It’s got to be simple. It can’t be A plus B equals X plus Y plus Z, because that’s them, you know. And it couldn’t be— 

JOHN: [quiet] Maybe that’s what’s evading me. 

PAUL: Yes. [sincere] But it’s okay, that, you know. 

JOHN: [hesitating] I just, uh… because I’m not really sure what or how I feel about it. 

PAUL: No, but you’re—

JOHN: Because any time— 

PAUL: You’re unsure because you’re not sure whether to go left or right on an issue. You’ve noticed the two ways open to us. You know the way we all want to go. And you know the way you want to go. Which is positive! ‘Cause you want to go – now, okay. So your positive thing might actually be to kick that telephone box in. It might occasionally be to do that. So you know that’s the way you’ve gotta go.  

YOKO: Everybody would want to see that, actually.

PAUL: But you don’t want to actually look like you’re kicking the telephone box in. So you have to sort of say to everyone, “Look at that over there, everyone!” And while they’re not looking, you’ll kick the telephone box in, and sort of— [whistles innocently] 

JOHN: I don’t think that’s a fair representation. [laughs] 

PAUL: [conceding] Oh, well, it involves me, that’s me. I do that, too. And I think we all do that. But I think the answer is, that – while you’ve got us all looking at nothing over there, and you’ve thrown us for a minute, we would actually all have dug to see you kick that telephone box in.  Because we wanna see you do it. 

YOKO: But we’d have to say it too, though. That’s another thing. 

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you should def draw brian for maximum love healing and strength !!! 🙂‍↕️ <333

I sweaaaaar I swear I read this story about Brian sneaking into a beatles concert to fangirl along with the audience am I insane did I get this from midas man. Either way here's our man having the time of his life

On a cold day in February of 1964, the Beatles made what may have been their only visit together to the National Mall. Fresh off their historic appearance on the Ed Sullivan Show, the Fab Four couldn't fly down from New York City due to eight inches of snow that fell on the nation’s capital and they were forced to take a train to Washington, D.C. Met by enthusiastic fans at Union Station, John, Paul, George, and Ringo made a brief stop on the Mall for a quick photo-op before going to their hotel. Photographer Dennis Brack captured this picture of them near 4th Street. The British rockers played a show that night at the Washington Coliseum - their first ever U.S. concert.