If You Don’t Mind, What Are Some Of Your Favorite Soft Mclennon Moments?

if you don’t mind, what are some of your favorite soft mclennon moments?

JOHN: I used to try to get George to rebel with me. I’d say to him, “Look, we don’t need these fuckin’ suits. Let’s chuck them out of the window.” My little rebellion was to have my tie loose with the top button of my shirt undone. Paul’d always come up to me and put it straight. [x]

PAUL: There’s a story that I used to straighten John’s tie before we went on stage. That seems to have become a symbol of what my attitude was supposed to have been. I’ve never straightened anyone’s tie in my life, except perhaps affectionately.

The Times Profile of Paul McCartney - 1982 [x]

“And John and Paul thought back to the time they’d been in Paris before. Flat-broke, unable to afford a taxi, without funds for a decent meal. ‘Maybe we’ll buy the Eiffel Tower this time’, said John with a grin.”

“The Beatles in Paris.” Beatles Book Monthly Magazine No. 8 (March 1964). [x]

““Okay, okay,” I said, “don’t go on, John.” I felt a surge of embarrassment because my instrument was the cause of such hilarity. “Look guys, that’s enough. What have you two been doing while we’ve been struggling to get here? I hope you’ve done some practising and got the song list sorted out?” I was getting more and more annoyed as this episode was dragging on. “Yeah, yeah, don’t worry Len. Paul and I have got it all sorted out. Haven’t we Paul? Paul! Paul! I said haven’t we Paul?” Paul McCartney looked up with a wry smile and paused. “Tonight will run just like clockwork. I am going to give the audience the best rendition of ‘Guitar Boogie’ they have ever heard this side of Garston.” “Hey, this is a new twist,” I said. “Paul just cracked a joke. He must have a sense of humour after all, John, shall we have him in the group?” John was enjoying the banter as ever. “Yeah, we’ll give him another try and if you don’t get it right this time, Jimmy,” Jimmy (James) was Paul’s first name, “then…” John waited to see the expression on Paul’s face. “Then we’ll,” again a pause, and by this time we were hanging on John’s next words, “then we’ll have to send him for some more guitar lessons!” Paul joined in the laughter and at that we were all back to normal.”

— Len Garry, John, Paul and Me: Before The Beatles. (1997) [x]

“One of my great memories of John is from when we were having some argument. I was disagreeing and we were calling each other names. We let it settle for a second and then he lowered his glasses and he said: “It’s only me.” And then he put his glasses back on again. To me, that was John. Those were the moments when I actually saw him without the facade, the armour, which I loved as well, like anyone else. It was a beautiful suit of armour. But it was wonderful when he let the visor down and you’d just see the John Lennon that he was frightened to reveal to the world.” [x]

“Whatever bad things John said about me, he would also slip his glasses down to the end of his nose and say, ’I love you’. That’s really what I hold on to. That’s what I believe. The rest is showing off.” [x]

“I remember being shocked one day when John started worrying about how people would remember him when he was gone. It was an incredibly vulnerable thing for him to come out with. I said to him then, ‘They’ll remember you as a fucking genius, because that’s what you are. But, you won’t give a shit because you’ll be up there, flying across the universe.’” [x]

“If John Lennon could come back for a day, how would you spend it with him?” “In bed.” — Paul McCartney answers questions for Q magazine, 1998. [x]

“John and I grew up like twins although he was a year and a half older than me. We grew up literally in the same bed because when we were on holiday, hitchhiking or whatever, we would share a bed. Or when we were writing songs as kids he’d be in my bedroom or I’d be in his. Or he’d be in my front parlour or I’d be in his, although his Aunt Mimi sometimes kicked us out into the vestibule!”

— September 26, 1997, “Paul McCartney - Meet The Beatle” by Steve Richards [x]

“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, The Beatles by Hunter Davies [x]

Q: “What musician and composer do you respect most?” Paul: “No, I don’t know, really... John Lennon!” John: *mock-shy* “...Paul McCartney.” [x]

conversations with mccartney, paul du noyer [x]

“It was 8:30. I could hear people talking about the likelihood of a storm later on that evening. I can remember hoping that it would clear up before my cycle ride back to Wavertree. Up to now it had been an eventful day but very tiring and as a group, although committed to playing, we all wished that we could pack up and go home. All of us apart from John Lennon. I think that meeting Paul had whetted his appetite and by the time we went on stage for our session at 8:45 he looked refreshed and seemed to have a new sparkle, as though he had had an injection of renewed optimism and enthusiasm as he played and sang through our usual repertoire that evening. […] I went outside for some air and a smoke; John and Pete decided to come with me. We stood outside pulling on our cigarettes, enjoying the breeze that had risen with the oncoming storm. “Do you know, John,” remarked Pete as we stood outside, “I’ve never heard you sound as good as you did just then. I know you’re going to say that I’m not very musical but I could hear the difference. I can see that something’s happened to you. Even the skiffle numbers which I know you’re not that keen on sounded good. You seem to have put more effort into them.” “Pete’s right, John. I couldn’t help noticing it as well,” I said. John was silent for a few minutes, just enjoying his smoke. “I guess someone took the trouble to share what he knew with me and it’s just given me a little encouragement for the future, that’s all.” “Oh I see, you’re getting a little sentimental in your old age, aren’t you,” joked Pete, who had never seen his life-long friend in that light before. “Don’t be thick, Pete,” replied John, who seemed almost back to his normal abrupt self. “Come on, I need a drink.”” — Len Garry, John, Paul and Me: Before The Beatles. (1997) [x]

[x]

Paul's persistence and endless patience for John while he was dealing with the death of his mother Julia:

But Paul seemed to have limitless patience for John, sneaking away from his classes to drink coffee at the Jacaranda coffeehouse, or else spend the afternoon nursing pints and punching rock ‘n’ roll songs on the jukebox at Ye Cracke pub. Certainly, Paul preferred hanging out with his friend to grinding through lectures and assignments at his schoolboy’s desk at the Liverpool Institute. But the hours they spent together held an emotional significance, too. For even if they rarely spoke about the pain of losing their mothers, the mutual feelings of loss—and the rawness of John’s wound—gave them a connection that was as vital as it was unspoken. It was, Paul said later, a “special bond for us, something of ours, a special thing.” … “We could look at each other,” Paul said, “and know.””

…

John, however, had other things on his mind. Though the fall of 1958 and well into 1959, John was far too busy engaging in art-school life—if not exactly his studies—to think much about playing in a rock ‘n’ roll band. He had started dating another student, a quiet blonde from the relatively posh Hoylake district on the Wirral, named Cynthia Powell. She proved a warm, stabilizing influence, which helped mitigate John’s ongoing grief and rage.

He had also grown particularly close to one of the school’s most promising students, a blazingly talented painter named Stuart Sutcliffe, whose emotional portraits and densely wrought abstracts had already caught the eye of the university’s instructors, along with the gallery owners, artists and critics who orbited the bohemian section that bordered the campus. John had been drawn to Stu’s talent, too, and when his classmate invited John to move into his large, if downtrodden, flat around the corner from the college in a row of once-elegant homes on Gambier Terrace, the two art students became even closer. The flat became a hub for their college friends, a reliable address for drinking bouts and all-night parties.

Nevertheless, Paul made certain not to be a stranger. He was a regular around Gambier Terrace, often toting his guitar to spur a little playing and singing, and if circumstance permitted, a bit of songwriting. John remained an eager music fan, and generally enthusiastic partner for playing and singing. But his disinterest in the band, prompted at least in part by his deepening friendship with Stu, frustrated Paul.

…

John was moving on, and not in a promising direction. George, for his part, had grown sick of waiting and joined the jazz-and-skiffle centered Les Stewart Quartet, though he made it clear to Paul he’d be back with the Quarrymen whenever they resumed playing. Paul, on the other hand, wasn’t interested in playing with anyone else. For whatever combination of emotional or visceral reasons, he couldn’t seem to imagine a musical life that didn’t include John Lennon as his primary partner.

So he persisted, dragging his guitar to Gambier Terrace, making himself a fixture amid the empty beer bottles, overflowing ashtrays, shattered Vicks inhalers, and paint-splattered clothes.

If John didn’t evince any interest in being in a band, Paul would simply wait, guitar at the ready, until he did.

— Peter Ames Carlin, Paul McCartney: A Life [x]

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propheticstar

1 year ago

I wanted to know what Paul's looking so lovingly at on the back of their cover so I recreated his hand placement and this is approximately where his left hand is pointing at.

Here is a clean copy for my John girlies:

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propheticstar

1 year ago

Paul singing Here Today in 2004. He repeats the "I Love You" part four times

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propheticstar

1 year ago

Paul: When you told me John: When you told me Paul: You didn't need me anymore John: You'll never leave me Paul: You know, I nearly broke down and die

John and Paul: we did not have this conversation before. This song is totally fictional and not about us breaking up at all.

This soulful jamming reminds me of their "Oh Johnny, Johnny" "improvisations". Also John proceeds to talk about Yoko's divorce, sticking it in where it hurts. (Chap really knows how to rub it in).

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propheticstar

1 year ago

John sending the Decca audition tape to Paul in 1971

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propheticstar

1 year ago

When the Beatles were told to help decorate the Casbah Club, owned by Mona Best (Pete Best’s mother), John Lennon — as he finished painting the room he was assigned to paint [the Aztec Room] — decided to carve his name into the wall as a way to sign his “work of art”. He was caught by Mrs. Best, however, and received a whack on the back of his head as a punishment; but nobody covered it up and it’s still there to this day.

Some time later, when the Casbah was expanding itself, the Beatles were again asked to help with the painting of a new room [the Spider Room]. John decided to carve his name once again into the ceiling, adding a sarcastic little “I’m back” to his signature this time

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propheticstar

1 year ago

“Now and then, I miss you / Now and then, I want you to be there for me / Always to return to me,” (...) It’s a passage where Lennon’s yearning for McCartney intertwines with Paul’s mourning for John, a shared grieving for the partnership that defined both their lives. link

"Now and Then" is 81-year-old Paul McCartney finishing a song of John Lennon, who has been gone for almost 43 years.

But it is also 15-year-old Paul finishing a song of the boy who wandered around Liverpool with him, talking about their future and love of music.

It is 18-year-old Paul finishing a song of the guy who picked him as his partner and took him to play nightclubs in Hamburg.

It is 20-year-old Paul finishing a song of the lad who wanted to write song after song with him.

It is 23-year-old Paul finishing a song of the man he made history with.

It is 24-year-old Paul finishing a song of the soulmate who shared his visions.

It is 26-year-old Paul finishing a song of the person who serenaded him eating a cupcake.

It is 31-year-old Paul finishing a song of John, who loved him in his own way.

And it is 39-year-old Paul finishing a song of the friend he just lost.

gif source

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propheticstar

2 years ago

hi! how is it going? you said that your gsect epiphany was connected with my sister lover which is of course super cool and valid

but I think it is lock all the doors that spilled all the tea. like I even tried to interpret it in another way, like it is about some girl or whatever

it doesn't fit at all. ok, maybe some girl noel used to love might have had a star shaped tambo, but what all this "forbidden feeling vibe" for? like chill man no one is going to condemn or kill you if they found out that you are having sex with your gf lmao

long story short I really want you to elaborate on this issue. thanks xx

bestieee ive been saving this one for whenever i had the time and now im stuck in the house cuz miss rona finally got me soo 😚

lock all the doors is super interesting! its a song that's been with him for a very long time and one that, at least in its most recent iteration, he likes enough to at least put it on his best of comp.

i think where u gotta start with this ✋🤨 is to look at the original demo from 1992 (or 93? ive seen people say both. either way very very early oasis.) that originally sat unused until 96 or 97 when noel took p much everything but the chorus, wrote the monstrosity that is my sister lover around it, and set that loose into the world. lock all the doors was the same situation but opposite parts and 20 years later. BUT if you ignore my sister lover existing for a second. ik it's hard but hear me out. i think the original lock all the doors was incredibly revealing just as it was. before he wrote the absolutely ham handed chorus that is "you're my lover, i'm your brother", the 2 parts meshed together really well in that original demo i think. they have a very similar vibe abt like. something secret! about not wanting to be discovered. "you never notice you are blind/the dream i have can never be" v similar vibe of not wanting to be seen/noticed, or having something that must be kept secret, and knowing it will only ever be this way, you can't ever have more. and then the lock all the doors chorus brings that theme of like. escapism and running from everyone's view to be alone together in hiding. i think they fit super well together.

but anyways this aint about the demo or my sister lover and i kno ppl have discussed those to death there's really nothing else to be said about my sister lover besides. god what an incredibly bizarre song. i want to force him to acknowledge it at least once and explain. it's like a personal fantasy. anyways

lock all the doors (2015 ☝️😐) is very inchersting cuz why would he be taking lyrics about that feeling of being with someone and having to hide it away or keep it secret and reworking them to release so many years after that time had passed? i know he'll still release a song if it's good even if it's about something that isnt really relevant anymore but this one is weird because he clearly wrote new and Liam Centric lyrics just for it, that many years afterward,

Hi! How Is It Going? You Said That Your Gsect Epiphany Was Connected With My Sister Lover Which Is Of

like OBVIOUSLY we all kno "she wore a star shaped tambourine/prettiest girl i'd ever seen", it haunts me every waking moment, rent free etc etc. noel taking a song he wrote the chorus for when liam actually had that tambourine, and then writing that version of liam into the song like 22 years later im SICK. i do not need to mention just how many times noel made jokes about liam being a girl, wishing liam was a girl, wishing he had a sister instead. not even gonna get into that cuz that is its entire own insanity deep dive. but 🤔 makes u think !

"i tried to catch her every night/dancing on the road in her candlelight/but i can't seem to reach her anymore" babeee ur longing and loneliness is showing! this paired with the opening line of the song, and ALSO knowing just how old this song is, really makes me feel like he's longing for a past version of liam or even how they used to be together. it's just filled with nostalgia to me. he's trying, or did try, to reach that past version of liam and how they used to be but it just wasn't the same and they couldn't connect the same way anymore and he's still longing for it.

thinking about noel writing this chorus when he did in the early 90's is so 🥺. it's such a desperate wish for something that you couldn't ever hope to have in any real sense. you just aren't allowed. but sometimes love doesn't work that way and it's so incredibly sad for that reason lol. every time he writes about that wish to escape the world's view with someone and just be with them, alone together, it kills me. it's so sad :(

i think either this chorus was simply just good enough for him to reuse all those years later or, i would imagine to some degree even after all that time you would still wish for a perfect world where you could escape and hide away together and never be found. since that's essentially what caused 80% of the problems in the first place. again i think it's brought back up by nostalgia and a wish for things to be how they used to be. even if they were hiding and only together in secret behind locked doors with the lights off, at least they were together.

also i think the side by side of growing up sharing a bedroom with your brother, falling in love with him probably in said bedroom, and then writing a song about locking doors and getting down on the floor is very inchersting. makes me wonder if their door had a lock 🤔

this is where it gets juicy! and yes i had to edit this bc genius had the wrong lyrics! or at least i think so bc i dont own the album and am pure pissed abt that because i was halfway out of bed to get it and look when i realized i dont even fucking own it! anyways!

this part is super wack to me bc instead of speaking About this person like he has been, he starts speaking directly To them. the "She" he mentions then becomes someone else entirely, i rlly dont wanna go there but you can make your own conclusions. no matter how toxic and terrible it is between them, i don't think anyone will ever understand either of them the way they understand eachother so i get why he wrote a line like that, "she never hears me when i speak/i gotta find out where that magic sleeps" it doesn't mean he's like pining for liam over his wife or something, i think he's just nostalgic for that level of understanding and being known that he really can't get anywhere else.

"and i can feel you underneath my skin" YESS you are entwined forever neither of you will ever escape the other ur constantly followed by the thought or memory of him and vice versa. pining and longing for somebody to the point where they live so rent free in your head that you can feel them under your skin.

"and if we take our love inside" back to being hidden inside/behind closed doors with someone, because at least you have them at all! i think it's inchersting how noel's common view of his solo career being his ultimate freedom and happiness is contrasted here by a line like "cause i don't wanna sail on the ocean wide/cause we might never live to meet again" which sounds more like loneliness and the fear of him never getting this thing back that he's clearly missing. he obviously knows that they don't have forever if he does plan on fixing that at all. maybe being trapped inside, behind locked doors is better than being all by yourself and alone because at least you're locked in there with the person you love.

i don't think this song, or him bringing it back and releasing it this way, is a real true wish for that at all. more like a fantasy. when you're in a relationship like that for so long i can imagine it becomes a comfort and anything else might seem lonely/overwhelming or make you long for it, even if in hindsight it was much worse. it's just kind of all you know.

anyways yea in conclusion lock all the doors and thinking abt why it was originally written makes me very very sad let there be love etc etc

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propheticstar

1 year ago

Genuinely surprised if you haven't come across these quotes from the following YouTube videos yet: "The woman who saved Paul McCartney | 60 Minutes Australia" @6:25 & "Paul McCartney sets record straight on relationship with Lennon | Parkinson Interview 12 Oct 1997" @22:20. Seems to me like Paul's literally admitted he's not straight already and I'm living for it even if it flew under the radar

“Did he love you?”

“Yeah, I think he did actually. It wasn’t a spiky relationship at all, it was very warm, very close, and very loving.....homosexuality was still largely illegal sure...but then the business came and the lawyers arrived...”

PLEASE LISTEN TO THIS I’M MELTING - 22:20

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propheticstar

1 year ago

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propheticstar

1 year ago

Paul McCartney and George Harrison messing around backstage before their gig at the ABC Cinema in Manchester. The footage is from The Beatles Come To Town. (20 Nov. 1963)

source

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