JOhn-and-Paul

Interview w/ Chris Salewicz (Excerpt, John Was Lucky He Got All His Hurt Out)
Paul McCartney

September, 1986 (MPL Communications, London): A candid and emotionally tangential Paul talks about receiving criticism and contending with John’s Paul issues manifested and documented hurt over/after the breakup of the Beatles.

SALEWICZ: So how do you react to criticism? To – I mean, do you take it very personally?

PAUL: I don’t really know. Now I’m being very flash and very nonchalant and saying I don’t care, but I haven’t seen too many reviews. And when I see bad reviews, it’ll hurt me. Um… But I am giving myself a bit easier time in life these days. I’ve gone through so much criticism, and not just from critics, from people like [John], that like a fool I kind of actually just stood there and said, “Yeah, well, you must be right, I’ve done this, that wasn’t too nice” and stuff. I’m beginning to see it a bit differently now. I’m beginning to see a lot of what they say is their problem, not mine, a lot of the time.

And in John’s thing, you know, when as – you obviously know – he was going through a lot of pain when he said a lot of that stuff. And he felt that we were, um, being kind of vindictive towards him and Yoko. In actual fact I just answered a question on an American TV thing – I think we were quite good, looking back on it, and knowing people in life. Many people would’ve just downed tools with a situation like that and just have said: “Look man, she’s not sitting on our amps while we’re making a film.” I mean, that wouldn’t be unheard of. I mean, Sean Penn… do you know what I mean? Most people would just say, “We’re not having this person here. Don’t care how much you love her.”

But we were actually quite supportive. Not supportive enough, you know; it would have been nice to have been really supportive because then we could look back and say, “Weren’t we really terrific?” But looking back on it, I think we were okay. We were never really that mean to them. But I think a lot of the time John suspected meanness where it wasn’t really there.

SALEWICZ: Oh, he was presumably very paranoid.

PAUL: I think so. I mean, he warned me off Yoko once. You know, “Look, this is my chick!” ’Cause he knew my reputation. I mean, we knew each other rather well. And um, I felt… I just said, “Yeah, no problem.” But I did sort of feel he ought to have known I wouldn’t, but. You know, he was going through “I’m just a jealous guy”. He was a paranoid guy. And he was into drugs. Heavy.

SALEWICZ: Yes, which makes you paranoid.

PAUL: He was into heroin, and – see, which I hadn’t realised [the extent of] till just now. It’s all [starting to click a bit] in my brain. I was just figuring, oh, there’s John, my buddy, and he’s turning on me, ’cause he perceives that I’m… “McCartney bandwagon,” he once said to me. “Oh, they’re all on the McCartney bandwagon.” And to me, I was just releasing a record, okay. So you can call it the McCartney bandwagon, but it’s no harm. It’s no more than anyone else does when they put out a record. And yet things like that were hurting him, and looking back on it now I just think that it’s a bit sad really.

SALEWICZ: I saw that thing in The Observer last week [about the manuscript of the Apple Beatles biography and the vitriolic comments John made in the margins].

PAUL: Yeah. Well, I mean, I think that starts to show the sort of pain he was going through. I think… okay, I mean, you know. Hell, anybody – look, he was a great guy, great sense of humour, and I’d do it all again. I mean, I’d go through it all again, and have him slag me off all again, just because he was so great.  Those were all the down moments, but there was much more pleasure than has really come out. Every article now, I’m always saying, “I’m so sorry, this and that, and John…” and so and so, but really, I’m quite happy. I mean, we had – I had a wonderful time with one of the world’s most talented people. Which is like a plus. We had all these crazinesses… But for instance, if someone took one of your wedding photos, if you were married – are you married? – someone took your wedding photo and put ‘funeral’ on it [as he did on that manuscript], you’d tend to feel a bit sorry for the guy. You’d think, wait a minute. I’ll tell you what, if I’d ever done that to his thing, he would’ve just hit the roof. But I kind of just sat through it all, and was mild-mannered Clark Kent.

SALEWICZ: This was hurting you, presumably, though. Not half.

PAUL: Yeah.

SALEWICZ: But I mean, when did you actually get a perspective on it?

PAUL: I still haven’t. It’s still inside me. I was just talking to someone the other day, I said, John was lucky. He got all his hurt out. He got all his pain out. He got all his feelings out. I’m not really that kind of person. I’ve a different sort of a personality inside me that’s sort of – is still trying to work it out. And that’s why it’s kind of good to see that wedding-funeral bit, because I started to think, wait, this is someone going over the top. This isn’t just your average jibe. This is like, paranoid. This is paranoia manifesting itself. And so my feeling is just like it sort of was at the time, which is like, oh, you know. He’s my buddy. I don’t really want to do anything to hurt him, or his memory, or anything. I don’t want to hurt Yoko. But, at the same time, it doesn’t mean that I understand what went down.

8

@sipscola asks: “could you do a facial reference of the beatles?”

Here ya are my dear

John: I emphasize his very long roman nose, bushy eyebrows, narrow eyes (also he doesn’t have much of an eyelid crease from what I’ve seen) and small mouth. The most difficult part of john is his jaw shape to me. He has very large jaw but sometimes it looks more Diamond shaped with a protruding chin, and other times it’s very round. I think a lot of that has to do with what year your drawing too, he was rounder and more baby faced until ‘67- then he got a lot sharper. Biggest thing for me to highlight is his nose.

Paul: Eyes/eyebrows make Paul’s face. Very large and doe eyed. Eyebrows are dramatic half circles facing up, eyes are dramatic and droopy half circles. Also he has a short and pointy nose that connects to a v shallow brow bone. His mouth is pretty small too and I’ll either draw it as a subdued version of Rick Wright’s mouth(if closed) or a tilted D (if open) very much like the emoticon :D (but keep it small) Paul’s jaw is very soft though it’s very strong. Also his hair tends to part a little on the left side of his head and swoops to the right.

George: the most defining features on George’s face are his eyebrows and cheeks/jaw. His overall appearance is very sharp, the only soft point on his face is the round tip of his nose. His eyes are narrow and slightly tilted down, their most obvious feature is his large and full eyelashes. His eyebrows are thick angled and very low on his brow (unlike Paul whose eyebrows are very high up on his brow bone) Jojs eyebrows are part of the reason he has a sour resting face, they look very dramatic and intense. Also he has very prominent cheek bones and a loonngg face to go with them. (much like Roger Waters’) George also has large ears and large lips.

Ringo: apart from the large schnoz, ringo also has a very large mouth with full lips. But the main thing I emphasize on him that isn’t his nose is his eyes. They droop very much like Paul’s, but his eyebrows droop low with them instead of contrasting and pointing away. Ringo’s features are in general pretty droopy. He’s also got a short triangle shaped face and a fairly weak jaw. His hair is often very neat with few flyaways, only when it’s grown out does it fam out a bit behind his large ears. I also usually draw ringo with a thick neck.

Hope this helps ✌️

Interview w/ Chris Salewicz (Excerpt, John Was Hurt)
Paul McCartney

September, 1986 (MPL Communications, London): A candid and emotionally tangential Paul talks about Yoko’s recent capricious contrivances and wonders what he could have done that apparently hurt John so manifestly.

PAUL: I mean, I went at Yoko’s request to New York recently. I went to New York. She said she wanted to see me, and I said I was going through New York and stuff, so I stopped off and rang her, and she said she couldn’t see me that day. I was in New York, I was like four hundred yards away from her. And I said, “Well, I mean, I’ll pop over any time today – five minutes, ten minutes, whenever you can squeeze me in.” She said, “It’s going to be very difficult.” I said, “Well, okay, I understand. What is the reason, by the way?” She said, “I was up all night with Sean.” I said, “Well, I understand. I’ve got four kids, you know, I understand how terrible it is, but you’re bound to have a minute today, sometime.” I said, “I’m leaving soon. Can’t really hang around.” And she asked me to come. Flown in, specially.

SALEWICZ: Wait, you’d gone there specially to see her?

PAUL: Yeah. Yeah, to see her. And she wouldn’t even see me. So I’m kind of a little bit humiliated, but I said, “Okay, nine-thirty tomorrow morning, then, let’s make an appointment.” And she rang up at about nine o’clock and said, “Could you make it tomorrow morning?”

SALEWICZ: But I mean, completely off the record, she’s still suffering, isn’t she? She’s still on methadone, isn’t she? [inaudible]

PAUL: I don’t know. I really don’t know. I honestly don’t know, mate, I honestly don’t know. Um, so that’s the kind of thing. What I’m saying is, it wasn’t all my fault. I’m beginning to let myself off a lot of the guilt.

SALEWICZ: Do you have a lot of guilt, did you take—?

PAUL: Yeah. Yeah. Well, when the world’s greatest entertainer calls you Engelbert Humperdinck, you get feelings of… something. And yeah, I always felt guilty. Always felt guilty. But looking back on it, I keep thinking, okay, let’s try and analyse this. Now John was hurt; what was he hurt by? What was the single biggest thing that we can find in all our research that hurt John? And the biggest thing that I can find is that I told the world that the Beatles were finished. And I don’t think that’s so hurtful. I know he said it was like publicity for my album, but I don’t even think that’s hurtful. Big deal. Four months after—

SALEWICZ: Traditionally, people do do these things a bit [inaudible] anyway, and you might as well—

PAUL: But four months after the group’s broken up, and we’ve waited for four months to see if it would get back together again, I then announced – I’ll tell you what was unfortunate, the method of announcing it all, which again there’s a story behind that. Which was that I said to the guy at the office – which had to be Peter Brown, of book fame – I said, “I’ve got an album coming out, McCartney. And I don’t really want to see too much press. Can you do me some question-and-answer things?” I answered them all, and had them printed up and put in the press copies of the album. But I think the perception of that, when it arrived on the journalists’ desks, was, “Oh, this is McCartney really [doing a number].” I look at it now and really kind of shudder. At the time it was me trying to answer some questions that were being asked and I decided to not fudge that question. [Note: Where John’s hurt is concerned, Paul may or may not be referring specifically to his answering “Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?” with a definitive “No.”]

And I say, looking back on it, I don’t think… I mean, if that’s the most hurtful thing I did, I haven’t really heard much else beyond that. We didn’t accept Yoko totally, but like I say, how many groups do you know, these days [who would]? I mean, it’s a joke. It’s like Spinal Tap! I mean, it’s Spinal Tap! A joke!

SALEWICZ: Of course. Actually as I was saying, I always thought – I always have this assumption when I go interview groups, say you interview everyone, you think everyone knows what’s going on, but you talk to individual members and you find no one knows what’s going on. They don’t communicate at all. And then you start seeing it on stage, you know, like you suddenly see how separate they are onstage. What, The Clash is the… [inaudible]

PAUL: Daltrey and Townshend. Daltrey and Townshend on Live Aid. And Pete started copying Roger’s movements, because he knew exactly what Roger was going to do, and so in the end Roger started doing Pete’s movements. They pissed each other off something terrible, actually.

But anyway, generally speaking, you know, what I’m saying is, I loved John. I was his best mate for a long time. Then, the group started to break up. It was very sad. I got the kind of rap as being the guy who broke the group up. But that’s not actually true.

Poetry Nights | Chapter 2: In which drugs succeed where poetry fails

Pairing: John/Paul

Rating: PG-13

Set in: Modern AU

Summary: 21-year-old Paul McCartney, who has recovered from a breakdown due to stress and his mother’s unexpected death, has recently moved to London where he now rents a cheap flat with his friend George. Having needed to give up his medicine studies, he has decided to start over and go to art college instead where he meets the rude and troublesome John Lennon, a young poet, who, much to Paul’s dismay, also happens to be his neighbour.

Disclaimer: I do not own The Beatles and this is fictional. I do not make money off this. The two poems in the fic are actually written by John and can be found in his book In His Own Write

Author’s note: Second part of the seven part fic. And it’s long! It’s been ages, I know. But I hope you enjoy it and feedback is greatly appreciated, especially random ramblings. Please don’t be afraid you’ll be bothering me or anything. I live for them :). Seriously, you could do me no greater pleasure. Anyway, I hope this chapter lives up to your expectations and you’re all going to love it. I’m a bit nervous about it if you can’t tell. I’ve also made a couple very bad moodboards for this fic, which I might post if anyone is interested. I’ll be posting this on wattpad and AO3 tomorrow as it’s late. 


As the end of the week drew nearer, Paul and George were glad there hadn’t been any strange smells coming from the neighbouring apartment, which meant, as George grudgingly concluded that Thursday evening during dinner, that their neighbour was simply a prick who was very much alive and living of their internet connection for free. Music was once again blasting through the walls, and Paul recognised the opening bars of Elvis’ All Shook Up immediately, which he figured accounted for something, seeing as a guy who listened to Elvis couldn’t be all bad. George, on the other hand, didn’t agree and grumbled some more curses to himself as he pricked a potato tart onto his fork. He glared at it before stuffing it into his mouth.

“You know, instead of sitting there grumbling to yourself, you might as well knock on his door and confront him if you’re that worked up about it,” Paul remarked as he watched his friend in amusement. It was rare to see him worked up about something silly like this, as he was usually a relatively calm and peaceful person. Paul always found it interesting when something happened that made him react this way. He even kept a list, which at the moment consisted of three things that Paul could prove ticked him off: video games, people stealing his food without asking, and internet stealing neighbours. According to Ringo, littering was another one, but he hadn’t seen George react to that yet himself, so it wasn’t on the list; he needed that proof first.

Keep reading

7

The first episode of the show and they already kill off the main characters of a children’s who are based on real life people who were not dead at the time, a very bold move. 

To emphasise that the Cartoon Beatles are indeed dead, the show zooms in on their smiling corpses (for kids) and on the instruments, which continued playing as the Beatles died, implying that the instruments are being played by their ghosts. 

But why did they die? 

This happened after the monsters explained everything and the Beatles were no longer afraid of them, so it wasn’t fear of monsters that killed them. The monsters had also left the castle by the time they died anyway. 

Exhaustion? After only one song? Not unless their sense of time was heavily distorted. Maybe the castle could have been cursed. Speaking of which… 

Isn’t it suspicious that the monsters left? Every single one of them left, and after they were enjoying it and saying that they hadn’t heard music in 200 years? And why would they be leaving what seems to be their home? Even the vampire, who went back to sleep in his coffin (possibly indicating that it was near sunrise), was carried out of the castle by the other monsters. 

One of the monsters was a witch. It is possible that the monsters enjoyed the music so much that the witch used a spell to murder everyone in the castle and the monsters evacuated the castle so it would only affect the Beatles, who were oblivious to the monsters’ plan. 

The Beatles, who were now ghosts, were either unable to leave because of the spell/curse preventing them from leaving, the spell/curse making them not want to leave, the distorted sense of time preventing them from realising that time had passed, or people freaking out because of them being ghosts. 

All because the monsters wanted to listen to music.

A Lams Night.
  • <p> <b>John:</b> *Calls Alexander* Hey Babe come over.<p/><b>Alexander:</b> I can't right now, I'm swimming.<p/><b>John:</b> *Seductive Tone* But I'm home alone..<p/><b>Alexander:</b> *Takes 5 seconds to get there* You called?<p/><b>John:</b> *Giggles* Yes I did.<p/><b>Alexander:</b> *Thinking* Thank you God!<p/></p>

anonymous asked:

Any songs that you enjoy or like 😊

Ooooh!!! Okay! I’d love to share my faves with you guys! 

First off… My favorite song is…

Band On The Run | Paul McCartney & Wings 

The Words | Christina Perri

The entire OST to Wonder Woman (I’ve had it repeat the last 3 days…)

Comic Books | Emmy The Great 

LaLa Land OST

What Up | Emmy The Great

Sustain | The Enemies

Let’s Go Crazy | Prince & The Revolution

Rocket Man | Elton John

My Love | Paul McCartney & Wings

Rose | OST to Titanic (I want this to be my wedding song hehe)

Do You Want To Know A Secret | The Beatles

Powerful Magic | OUAT Musical Episode 

Suit & Tie | Justin Timberlake

You’re Not Alone | Meredith Andrews

The River Of Dreams | Billy Joel

Bringing Sexy Back | Justin Timberlake (Will always love this song haha)

Oh my… I could go on for ages…. I have such a wide range of music I love! I obviously love all Disney… hahaha! I am also very big in to music from the 1930′s and 1940′s. Gene Kelly, Bing Crosby, Frank Sinatra, Fred Astaire, Ginger Rogers, Rosemary Clooney… I just love it all! But those up there are songs I usually play very often! 

I hope you enjoy them! ^_^