Spent Over An Hour Looking For This Post Of Which I Only Remembered The Phrase "stuff That Actually Happened".

<3333333 . missing nephrosoupp like a motherfucker

happy birthday to Johnny boy !!

this is GOLD

PaulMcCartney.com: Is there anything in particular you hope people will get from reading your new book? What do you hope their main takeaway will be?

Paul: Well, I mainly see it as a ‘behind the scenes’ publication. After all these years, it was lovely for me to be taken backstage again. I love just looking at old pictures of the guys, for example, ones of John with his glasses; obviously it's hugely sad, because I miss him so much. But this just reminds me of growing up with him and all the pleasant memories.

Whenever I see John with these sorts of glasses, it reminds me of the way he would take him off when there were girls around. For some reason people think they look better without their glasses! And now, whenever other people do that it always reminds me of John. I’d be chatting with him, or writing a song, and he would take his glasses off and clean them. And because nobody in my family had glasses, I'd never seen someone just chatting and absent-mindedly cleaning them. So, that's what this picture and really the whole book reminds me of - it just brings back all those little memories which make up a life.

‘You Gave Me The Answer – ‘Eyes of the Storm’ Exhibition and Book Special’, 19th June 2023

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In other words…

PaulMcCartney.com: What is the main takeaway from your book?

Paul: I love John. I miss John. John looked hot in glasses. John, John, John, John, John. John.

paul mccartney... the face of baldovinetti's madonna...

he's just a girl. vaulting over the table. to get in between his bff. and some guy

John Lennon and Paul McCartney with Beatles associates (Peter Brown, Derek Taylor, Neil Aspinall) in the Apple office in 1968. Photograph by Jane Bown.

Lotus

Let me be graceful over the water, let me float in tranquility as the lotus does whenever it blossoms upon still water. Let me know the peace it does and show the world a softer side.

~ Ely C. Winters. [ @nosebleedclub ]

truly no one does it like mclennon when it comes to literary devices. paul and john being narrative foils, both insanely creative and competitive to a fault? the dramatic irony of john being able to recognize paul's music from MULTIPLE FLOORS down in the dakota while paul thought john hated his guts? the imagery of paul trying to pull tape of his bass while talking to john in dreams? the symbolism of paris (the city of love) being the happiest memory they'd both reminisce about in future years? the foreshadowing of "think of me now and then, old friend"? the tragedy of "all my loving" allegedly playing over the hospital pa the minute john died? its honestly stomach turning and the worst part is that all of that literally, actually happened

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.

Paul McCartney: If John was gay I would’ve known about it but he wasn’t because we topped and tailed it all the time and nothing ever happened. It was purely innocent.

John Lennon, known foot fetishist:

The fact that john girls are mostly paul coded girls is proof that the tragedy of mclennon can't be destroyed, only transformed. Just a group of firstborn daughters with anxiety and their schedules trying to fix his ass