You Have To Hit That Heterosexual 80 Year Old With The Yaoi Beam Theres No Other Way

"paperback writer" is a song about a guy who wants to be a paperback writer who is writing a fictional book about a different, unrelated guy who also coincidentally wants to be a paperback writer, and I feel that we've been neglecting how well this captures paul's approach to songwriting

With Paul out of the room, I answered a knock at the door and met Linda Eastman for the first time. “Hello, may I help you?” I asked. Speaking through me, not to me, she vaguely replied, “Is Paul here?” Over my shoulder she saw Paul coming through the door that led from the bedroom/bathroom portion of the suite, and wham! She went past me like a Notre Dame football tackle. She full-force embraced him in the doorway, push-pulled him through it, slammed the door shut, and that was the last I saw of him or her that day.

Ken Mansfield, The White Book, 2007

Teddy boy Paulie ❤️

harry dubois would end death note in one episode. he'd be unkillable bc he has no fucking idea what his name is and then he'd go drink driving and accidentally run light over and the killings would mysteriously stop

Paul mentioning gay rumors?

So I made a post about this a few days ago but I didn't include the clip:

For context, right before this Paul is talking about his interest in Magritte and the inspiration behind the Apple logo and the Robert he refers to is Robert Fraser. Right after he says "i'm quite secure about my sexuality" he mumbles "yeah, don't know about that" as the audience laughs. And yes, like, to be charitable he could just be referencing the fact his friends still found it "weird" to go on a trip to Paris with a gay man but it's the first time I've heard Paul making reference to his sexuality that's not just him claiming he's straight, 'ungay', what have you (he also immediately brings up the s&m joke he had made earlier to brush past what he said). And I think it would be fair to say one interpretation is paul acknowledging that he wasn't exactly as "secure" about his sexuality as either he thought at the time or is now

we as a fandom really underexamine how often crushing loneliness is a recurring theme in paul’s songwriting

Beatles biographers saying totally normal things about John and Paul: A compilation

"‘John always used to say,’ Yoko told me at one point, ‘that no one ever hurt him the way Paul hurt him.’ The words suggested a far deeper emotional attachment between the two than the world ever suspected - they were like those of a spurned lover." -Philip Norman

"No matter how much he loved Yoko, the Gibraltar ceremony seems like something close to an on-the-rebound reaction to the loss of his first great love, Paul McCartney." -Chris Salewicz

"Almost in each other’s face, John and Paul quickly gained an unusual closeness, little or nothing hidden. Paul noticed that ‘John had beautiful hands." -Mark Lewisohn

"With Yoko present, Paul McCartney’s reign as Lennon’s princess was doomed.” -Peter McCabe

"John's in love with Yoko," Paul confessed to a reporter from the 'Evening Standard', "and he's no longer in love with the three of us." But for all intents and purposes, he might as well have been talking about himself." -Bob Spitz

'I thought Paul's was rubbish,' opined Lennon, saying that he preferred George's All Things Must Pass. McCartney studied the article with the morbid fascination of a jilted lover receiving a kiss-off letter. -Howard Sounes

“Lennon could have abandoned the (US) immigration case and returned to Britain, and possibly even to McCartney, but that would have meant accepting that his relationship with Ono was over.”-Peter Dogget

"Theirs was a volatile relationship right up to the end, and was fraught with emotional summits and valleys. While the connection between them was strictly heterosexual, it was deep, passionate, and highly explosive." -Geoffrey Giuliano

"John was insecure, and when he saw Paul he wanted to look cool. He gave up all his friends for Paul. Aunt Mimi recalled that John jumped around the kitchen when he told her about his new friend. She sarcastically said to John that they were like ‘chalk and cheese’ meaning how different they were. And John would start hurling himself around the room shouting ‘Chalk and Cheese!'’ smiling and laughing. He was fucking in love with him, he adored him. She understood he found the partner of his life." -Thomas Rhodes

“The last week in August, Paul McCartney returned to Liverpool, tanned and noticeably slimmer. In addition to starting school, he came back to begin a relationship he seemed destined for: hooking up with John Lennon." -Bob spitz

“Seeing Lennon focus on Ono rather than him [Paul] was as devastating as it would have been for Cynthia Lennon to witness the couple making love.” -Peter Dogget

January 13th, 1969 (Twickenham Film Studios, London): John contends with how the force of his partnership with Paul and his relationship with Yoko has negatively affected George and perhaps directly contributed to George’s walkout on the group three days prior. (Note: Follows shortly after this clip. My apologies for the vagueness; this is a very difficult excerpt to interpret, and I change my mind about it constantly, as the emotional nuances of what is being conveyed shift significantly depending on whom you presume John is speaking to (Paul or Yoko) about whom (Paul, George, or Yoko) and whom it is in reference to or is directed towards (Paul, George, or Yoko), word to word. I did initially try to indicate who’s who in brackets next to the relevant pronouns, but the transcript got dreadfully cluttered, and as I said, I have hardly nailed myself to a mast. Basically, this is a fannish Rorschach test and Your Mileage May Vary.)

JOHN: And it’s just that, you know. It’s only this year that you’ve suddenly realised, like who I am, or who he is, or anything like that. But the thing is—

PAUL: But I still haven’t realised that. What I’m – the process.

YOKO: [inaudible]

JOHN: Yeah yeah, but you realise that some – like you were saying, like George was some other part. But up till then, you’d had a – your thing that carried you forward. [pause; Yoko speaking?] I know, I’d adjusted before you. Alright, that would make me hipper than you, but I know that I’d adjusted to you before that – for selfish reasons, and for good reasons, not knowing what else to do, and for all these reasons. I’d adjusted to all these and allowed you [inaudible] – you know, if you wanted to let me— [inaudible] —very, very… whatever it is. But this year, you’ve seen, you’ve seen what you’ve been doing, and what everybody’s been doing, and not only did we feel guilty about it, the way we all feel guilty about our relationship to each other, because we could do more… 

YOKO: [inaudible]

JOHN: I know, the thing is that I’m – I can’t – I’m not putting any blame on you for only suddenly realising it, see, because it’s [inaudible] our game, you know; it might have been masochistic, but the goal was still the same, self-preservation. And I knew what I liked about that. I know where the – even if I didn’t know where I was at, you know, the table’s there, and… let him do what he wants, and George too, you know…

PAUL: I know. I know—

JOHN: And I have won.

PAUL: But this thing has been—

JOHN: But I think you—

PAUL: You have—

JOHN: I feel it’s you.

PAUL: Whatever it is, you have. Yeah, I know. Well, I’ve had [inaudible]—

JOHN: Because you – ’cause you’ve suddenly got it all, you see.

PAUL: Mm.

JOHN: I know that, because of the way I am, like when we were in Mendips, like I said, “Do you like me?” or whatever it is. I’ve always – uh, played that one.

PAUL: [laughs nervously] Yes.

JOHN: So.

PAUL: Uh, I’d been watching, I’d been watching. I’d been watching the picture.

YOKO: Go back to George. What are we going to do about George?

JOHN: Yeah, I’m – yeah, sure. But this year, suddenly, it’s all happened to you, and you sort of go – you’re taking the blame, suddenly, as if, uh… Oh, he’d say, “Oh yeah, you know [inaudible],” as if I’ve never known it. And then he thought, “Fucking hell. I know what he’s like. I know he used to kick people. I know how he connived with Len, Ivan. I know him, you know? Fuck him.” And then, oh, but, but right, I’ve done such things… all that. So you’ve taken the five years that [inaudible], you’ve taken the five years of trouble, this year. So half of me says, alright, you know I’ll do anything to save you, to help you. And the other half of me says, well serves him fucking right. I’ve chewed through fucking shit because of him for five years, and he’s only just realised what he was doing [to her?]. So, and that’s something – we’ve both known it, you know? [laughs] And it is incredible. [pause] PAUL: Yeah.

im sorry but i just can't stop thinking about it. this is insane. im feeling so many things. i need to draw this. i need this to be a scene in a biopic if there ever is one.

50 years ago, John sent his son Julian to speak with George on his behalf while he went with Lee Eastman to negotiate.

Eastman told John that George hated him and would not speak to him again unless he signed the papers immediately. The meeting was over once John learned that George forgave him.