"their Relationship Is Strictly Platonic" "they're So In Love" Well, More Importantly, They Are Fucking

“We walked toward the sun and slipped through a copse of weeping willow. There in the middle of a field of wildflowers were two huge boulders weighing several tons and standing one atop the other like a pair of giant granite acrobats. “Are those the work of a sculptor?” I asked. “No,” [George] said, “they came from opposite ends of the property, but we moved them here and stacked them in this field. Everyone wants to know about them. In fact, when Ringo came round for a visit last summer, he asked about them, as well. I told him that Paul’s record company had sent them as a promo for his new album, Standing Stone. Ringo was really miffed that he hadn’t gotten his standing stones, but I said they’d probably only posted them to A-list people.” Liverpool accents always sound to me like a joke is coming, but Harrison’s wit was deadpan and dead-on.”

— Paul Simon, c/o Rolling Stone: Harrison: By the Editors of Rolling Stone. (2002)

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.

music conspiracy tumblr in 1967

🎸 blondeonblonde1966 Follow

lets be honest bob dylans ass did NOT get into a motorcycle crash like he didnt even try to make it real. there was literally no ambulance no records of the crash NOTHING. shes sucha faker but i respect it

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he was jealous of paul mccartney

🎸 blondeonblonde1966 Follow

ok

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Paul McCartney, 1942-1966

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🐒 clarrksvilleee Follow

why does michael nesmith seem so hostile towards peter tork irl...honestly i think they should settle it like men and make love in the green grass like god intended

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🎹 catch61 Follow

honestly i cant believe people are still dumb enough to be watching/posting about the m*nkees. i will fucking block you. it is literally appropriating youth culture and monetising it for their own gain ffs

🎹 catch61 Follow

SOMEONE JUST TOLD ME THEY LOCK THE ACTORS IN A MEAT LOCKER BETWEEN TAKES COME ON 😭😭 have any of you realised that you are actively giving money to a studio thats literally evil. i dont care about the actors or their stupid fake music but come onnnn

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🍒 tuttifrutti reblogged valleyofthedollies

🍓 wheres-the-bus

Paul McCartney, 1942-1966

#HES LITERALLY ALIVE?? #what the fuck is going on rn

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💊 valleyofthedollies Follow

woke up today and everyone is posting that paul mccartney died..i dont want to believe it but theres so much evidence for it :(

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Pattie Remembers George

Q: “Was it heartbreaking to fall out of love with George Harrison? I mean, to fall in love with him is an amazing story.” Pattie Boyd: “Oh, it was heartbreaking, of course it was. You know, it was like… I was losing someone who was my best friend and who I adored, and we learnt an awful lot of very important things, issues, during our time together. We learnt them together. So this is something one will never forget.” Q: “What did he teach you, and what did you teach him?” PB: “No, we both learnt together. We learnt, you know, about art, about film making, about meditation, about all sorts of things.” - BBC Radio, September 2019 “I think probably the memory that will always remain with me is when he came to see me not long before he passed away. And he came over to my cottage and wanted to see the garden and wanted to see my darkroom because I’d been doing some printing, and, um, he wanted to see the flowers. And he said — he saw some flowers, tiny little flowers that were growing in a crack in the pavement, and the wind was blowing them. He referred to them as ‘shivering flowers,’ and I thought, ‘Oh God, that’s so sweet.’ He just had a wonderful view, and he used such a different language to describe what he was feeling or thinking. And, you know, he brought me a little gift, a little something for my studio, a little Krishna. And, you know, he was just always generous and kind and sweet and always had a good sense of humor.”

Pattie Boyd (on how she best remembers George), Every Little Thing With Ken Michaels, February 2019

"Well, believe it or don't, I don't really care what you believe. What I do care about is that the one outlet that I had has been taken from me, and that is no fun. I'm not really mad at her [Yoko], you know. I want to yell at her because I'm still popular, and I can't do anything about it. Sound funny? Look!" He held up an envelope. "This is from Francis Coppola. He wants me to do a score for a film he's working on. He says, 'I'm living in a volcano and it's wonderful. Wish you were here. Want to work on a movie?' Here's another one. Frank Perry wants a little Lennon touch on his Time and Time Again. It's a time-travel movie. Just my thing, right? But I don't have any music in me. Here's a guy who wants an interview, but I don't have anything to say. I got three offers here to perform, one to produce, and a million letters that just want to know how I'm doin'. That's popularity. And I don't have anything to give them, so I have to write back nice polite letters saying ‘Thanks but no thanks' because on the off chance I ever do get out of this slump or block or whatever it is, if I ever do get the muse back, then I'm gonna need all these people. "So, you know what I say? I tell them that bit you and Yoko thought up for the Immigration press last year. I tell them that I'm fully employed minding the baby and playing househusband. Now that lie is getting a little stale. People have to wonder, don't they? I'm a bit surprised no one has caught on yet. 'He's got a maid, and a nanny, and a cook, and gofers, I wonder what it is that keeps him so busy?' But the public will believe what the public wants to believe. So I'm a househusband. And it galls the hell out of me to turn down offers that I'm dying to accept and am incapable of fulfilling."

John Lennon talking about losing his muse, as told by John Green in Dakota Days (1983)

The Beatles at the ABC Cinema in Huddersfield, 29th November 1963 - part 3 (part 1, part 2, part 4, part 5) (x)

what if people over a certain height had a special currency called tall coins that short people didn’t know about. And one day you’re walking with your friend (huge) and she drops something and you pick it up and say what is this and she says oh that’s my tall coin don’t worry about it. But you did worry

An absolute must read if you care about Jurgen or John and Paul, or George or gay.

Jurgen is very unapologetically queer.

Is it normal to feel lesbian attraction towards john lennon and paul mccartney

Hello!

I'm looking for a section of the lunchroom tape (from the Get Back sessions) where John says something to Paul along the lines of "I mean, you've only recently realised what you were doing to me". Does that ring any bells?

You seem to know your way around amoralto's archives, and I'm not having any luck searching there :)

Thanks!

Hi, @i-am-the-oyster (love the name, by the way)!

I think you might be referring to this section of the Lunchroom Tape:

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.

I find this bit of the conversation particularly impenetrable; and all the more fascinating because of it. It's here that we have this famed exchange (whose full meaning still eludes me):

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?

I encourage folks to go listen to the full audio and transcript and try their hand at decoding it!

I don't know if it's accessible on the mobile app, but @amoralto has a separate page with links to all the Get Back excerpts, listed in chronological order. It's a pretty neat resource if you want to just binge through interesting little snippets from these sessions (some that made it onto the documentary, and many that didn't).

To those curious about the Lunchroom Tape in particular, here's a (play)list of all the transcribed excerpts, with @amoralto's descriptions for context:

We Have Egos

Over lunch, the remaining Beatles touch on George’s resignation from the band on the 10th, as well as a group meeting held the previous day which ended in less than desirable circumstances (with George leaving the room, frustrated by John’s persistently Yoko-filtered standard of communication). While Yoko contends that it would be easy for John (and Paul) to regain George’s favour, John points out that this is a more deeply-rooted issue than it may seem, compounded over the years by John and Paul’s treatment of George and his defaulted status within the group. Upon this problem of overriding egos, however, Paul suggests (passive-aggressively) that it isn’t just the Lennon-and-McCartney tandem that is causing George upset and consternation. 

Jealousy For You

As the problem of George’s current resignation from the band is discussed, John makes it about him and Paul wonders what it’s all worth.

The Way We All Feel Guilty About Our Relationship To Each Other

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.

Cabbage

During a discussion on how the rest of the group should move forward after George’s departure on the 10th, John wonders if they should get George back at all, suggesting his role as a Beatle is replaceable (unlike his own or Paul’s), and likens this unkindly to how Ringo first replaced Pete Best. Paul notes that John has been the top buck in getting himself heard (and getting his way) since the inception of the group (which John protests) and quickly reassures Ringo when he wryly declares himself to be little more than rabbit food for the group. Paul admits that both he and John have done one over on George, albeit unconsciously as an effect of the competition and unaware of how it may have hurt George in the process, but John argues that he’s known since early childhood how manipulative he himself can be, and has tried to curb it to little avail.

What You Are

In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth.

Working At A Relationship

While Yoko and Paul conduct their own conversation with each other, Linda talks to John about the inevitable difficulties any relationship faces - even in the context of a musical partnership - and why it doesn’t prove the relationship itself is an expired one. John (inexplicably or not) laments that the White Album doesn’t sound like the genuine, inspired band collaboration they achieved in the past. 

You've Got To Blame Yourself

As Paul encourages an unconfident Ringo to go ahead with his plans to record a solo LP, John hedgingly brings up his own apprehensions about following his instincts (especially when he’s not even sure what he really wants to do). In their inimitable and emotionally non-committal fashion, John and Paul engage in metaphors about intentions, conveying these intentions in actions, and how these actions may be conveyed by those who see it. (Basically: what John and Paul talk about when they talk about love.)

How Much More Have I Done Towards Helping You Write?

John and Paul have an obfuscating conversation about their songwriting partnership and creative process, which has been incapacitated by a lack of direction, misplaced (misread) intentions, and the unmet (unrealised) expectations they’ve inflicted upon each other. (In other words: issues. And some projecting of issues onto George, for good measure.)

What We're All About

In the midst of a personal discussion about working together within the band, John tries to explain the disconnect in their process, and why he can’t envision their songs the way Paul can. As both John and Paul circle around the issues of honest communication and (living up to) each other’s expectations, they eventually project onto George bring George into the quandary of the Lennon-McCartney partnership.