In Another Universe The Sky Is Always Pink And I Didn’t Leave Three People For You And In Another One

spent over an hour looking for this post of which i only remembered the phrase "stuff that actually happened". god free me

the point of rpf isn’t to concoct scenarios that are thinly veiled attempts to fuck the celebrities you like yourself. the point of rpf is to learn as much lore as is possible about the celebrities you like by whatever means necessary and use that information to craft scenarios that are wildly implausible but Technically could have happened. and then to chuckle about it. by the way

i cannot wait to be done with my physics a level god free me

the photo of john and yoko to the left. what the fuck is wrong with him

“Then at about three in the morning the phone rang in the room and it was Lindsay [one of the Apple security guards] saying to come over to Apple if we weren’t too tired. Well, we were, but we didn’t tell him that. […] Then Lindsay told us the surprise was a complete tour of the Apple building. […] So up the stairs and into the private offices. Then Paul’s office—there was a beautiful picture of him and John over the back wall, one I’d never seen before. On the wall over the fireplace was a basic white wooden chair, sewn in half and just hung up there!” 

Article and top photo by Mike Sacchetti, a Beatles fan who was able to take a private tour of Apple in February 1972. [x] 

reread this post and maybe this is an unpopular mclennon opinion? but i think they both didn't actually understand each other as well as they thought they did. i think both of them believed the other could read their mind and then filtered their subsequent actions as a conscious slight. like. john should know that paul is someone who keeps his feelings very closely guarded, who will always choose to keep the peace and to put on a good face when he's upset. but throughout the breakup, when paul seemingly stays as productive as ever, staying distantly polite to yoko while urging john to keep writing, keep beatling, everything's fine, time to put on a show, john takes it that paul doesn't care one way or another about their partnership dissolving, he's a perfectly capable one-man band hit machine anyway. this is seemingly confirmed by paul announcing the breakup to "sell a record," effectively ending all hope of quietly reconciling and supporting john's theory that paul was done with the beatles (john) anyway and had been on his way out once he learned he could write a #1 song without anyone's (john's) help. all he cares about is hits and money and his new perfect family and farm.

meanwhile. paul should know that john wasn't handling the pressures of the beatles well. he should know that he needed more support. but paul seems to be someone who gets stuck in his ways of thinking about people (see also: george), and doesn't seem to have ever shaken the image of john as the older, cooler teddy boy on the bus who he'd do anything to impress. he thinks the world of john and spends the 60s thinking they're in a friendly competition, not realizing john has started falling into the paranoia that he's losing. you can see it in get back. paul is waiting for john to write his next great song, to set a new bar for paul to push himself to reach. paul got john by impressing him with his music and when he's losing john he doubles down on it because he thinks that's the only valuable thing he has to offer. he might have offered the support john needed instead if he knew what that was, but he didn't. but mid-60s john, who still thinks paul understands him, thinks paul knows he needs him but chooses to spend his time flitting around swinging london instead, which deeply hurts him. john clings to yoko because she's a breath of fresh air from the constant race he's been running for a decade. a creative partner he doesn't have to chase down. someone who needs him as much as he needs her. a woman he can marry, can have a real commitment to. he can be everything to the person who is everything to him. but paul sees this as john finally outgrowing him and finding someone better.

paul also should know that john often speaks first and decides whether he believes what he said later. but it seems he only ever takes john at his word. when john leaves the beatles that's it, no negotiation, because if paul has lost john to someone more interesting, more artistic, then that's that. when john starts to talk publicly about paul's muzak and granny shit that must be true too, it's why john left after all. and granted john just wont stop shit talking him and it's not like he just fell on a keyboard and how do you sleep came out. but this is how you get a paul who starts to see himself as a villain and questions whether john did love him. he doesn't think too many people was that nasty compared to what john was saying about him in interviews because he doesn't realize that one of john's biggest fears is that he's incapable of being a great songwriter without paul. so to john, the lucky break line is paul admitting he agrees with that assessment and twisting the knife. but paul wouldn't see it that way because he's only ever had john on a pedestal.

so by the 70s, on their worst days, john thinks paul is cold marble statue who knows he's better than him and delights in it and paul thinks john is entirely out of love or use for him, if he ever had it in the first place. and of course, they could never talk about any of this openly because neither of them were willing to face the pain of confirming that their love really was one-sided.

welcome to mclennon

throwing up and crying

Paul McCartney, Is this a self-portrait? Oil on canvas, 35.5x28 cm. (1988)

You dissolve into each other. But that’s what we did, round about that time, that’s what we did a lot. And it was amazing. You’re looking into each other’s eyes and you would want to look away, but you wouldn’t, and you could see yourself in the other person. It was a very freaky experience and I was totally blown away…

—Waiting for you is fear. Beneath a blanket of your sleep, in the back of the brain, now and always here. Round and round like a wind from the ground. Deep and deep a world turns in sleep. Waiting for you is fear.

There’s something disturbing about it. You ask yourself, ‘How do you come back from it? How do you then lead a normal life after that?’ And the answer is, you don’t. After that you’ve got to get trepanned or you’ve got to meditate for the rest of your life. You’ve got to make a decision which way you’re going to go.

—If I woke up now, this would go. If I woke up now… and what would follow?

I would walk out into the garden – ‘Oh no, I’ve got to go back in.’ It was very tiring, walking made me very tired, wasted me, always wasted me. But ‘I’ve got to do it, for my well-being.’

—Now you are treading in lonely corridors. Behind glass walls looking inward, girls sit like tears, counting the days, the months, the years, as they move elusively faster and faster. —A way out. I must find the door.

In the meantime John had been sitting around very enigmatically and I had a big vision of him as a king, the absolute Emperor of Eternity. It was a good trip. It was great but I wanted to go to bed after a while.

—There is no way out provided. Each corridor leads into another corridor. —I must find the door. The open door. Life is not like this. Life is birth and death, laughter and pity, farce and tragedy, and always somewhere an open door! —Beat. Beat with your fists on the double-sided, double-faced mirror at the end of all corridors. Has your conscience provided for the anguish surrounding you? Or the hate and hunger? The desire and the despair?

I’d just had enough after about four or five hours. John was quite amazed that it had struck me in that way. John said, ‘Go to bed? You won’t sleep!’ ‘I know that, I’ve still got to go to bed.’ I thought, now that’s enough fun and partying, now… It’s like with drink. That’s enough. That was a lot of fun, now I gotta go and sleep this off. […]

—Deep and deep a world turns in sleep. You are free. You are free from the night’s disgraces, gently to return to the curled worm, the warm dark smelling places of the bud, the heart, the womb. —It was you who first mentioned fear. You who screamed at corruption where I lay curled. You who placarded the headlined world into my suspended cocoon of peace. You.

I mean, I could feel every inch of the house, and John seemed like some sort of emperor in control of it all. It was quite strange. Of course he was just sitting there, very inscrutably. — Paul McCartney, c/o Barry Miles, Many Years From Now. (1997)

—I. Look into my face and tell. What face do you see? —I see myself. The image is no longer divided. Like a mirror, I am you and you are me.

Q: If John Lennon could come back for a day, how would you spend it with him?

PAUL: In bed.

— Paul McCartney for Q: Cash for Questions. (January, 1998)

—In sleep our shadows cling like those of lovers. —As lovers we can shut out the world, not think upon tomorrow, nor think upon our ruthless awakening.

— Daphne Oram and the BBC Radiophonic Workshop - Private Dreams and Public Nightmares. (1957) (extracts)

One of the paintings is called “Is this a self-portrait?” I ask him if it is. “I don’t know. It looks just a bit like me in the Beatles.” I say it also looks like John Lennon. “Uh huh, well hence the title. ‘Is it a self-portrait?’”

Perhaps Lennon was the other great love of his life - but if this was love, it was a tormented, bilious love.

— Paul McCartney, interview w/ Simon Hattenstone for the Guardian: After Linda. (September 11th, 2000)

Listen, I never meant for you not to be in my house. But you couldn’t because you were it.

— John Ashbery, Valentine.

Paul McCartney giggles his way through singing "Sitting on a woody-pecker/ sucking on a lollypoppa... everytime I try to do it/My whole darn tongue gets tired"

Transcript of Paul McCartney and Donovan recorded during the sessions for Mary Hopkin’s Postcard LP as heard on the “No. 3 Abbey Road N.W. 8” bootleg CD. (reproduced from https://davidgray101.tripod.com/PaulandDonovan.html )

Fade in, Paul playing acoustic guitar and singing How Do You Do?. Paul: (singing)How to suck a lollypopper, Sitting on a woodypecker, Dancing in the double-decker shoe, (Donovan snickers, presumably at Paul’s nonsensical lyrics) (note, this is the writers assumption that what Donovan is laughing about is the 'nonsensical lyrics' and not the innuendo) I don’t know,

How do you do?

Paul and Donovan:(singing together) How to suck a lollypopper,

Sitting on a woodypecker,

Dancing in the double-decker shoe,

I don’t know,

So, how do you do?

Donovan attempts to harmonize on the last word, ‘do’, but hits a sour note, causing both him and Paul to laugh. Paul carries on alone.

Paul: (singing) I don’t know how you do it,

Lordy, knows I try,

But every time I try to do it,

My whole darn tongue gets tied

Regarding ‘How Do You Do’ John C Winn writes in ‘That Magic Feeling’

As the tape opens, Paul is singing what appears to be a nursery rhyme of his own creation ‘How Do You Do’,, although the lyrics about “sucking on a lollipopper” and “sitting on a woody pecker” can be taken more than one way! Donovan harmonizes in spots, and Paul does a double-time impression of the song as Danny Kaye might perform it.

(yes, Paul singing about sucking and sitting on phallic objects can definitely be taken in more than one way!)

“omg you’re so creative. how do you get your ideas” i hallucinate a single scene in the taco bell drive thru and then spend 13 months trying to write it

why did you reblog beatles rpf

might've as well asked me why do i feel emotions

paul mccartney can only write about four things:

getting pussy

getting high

a woman with depression he just made up out of nowhere and it has nothing to do with him or his internal life.

john lennon