chickadeethoughts

[chickadeethoughts]

god where’s that quote from someone who watched Paul talk in I think the 2000s who was like when Paul says “John” it’s like he’s summoning his ghost I can’t find it anywhere and I think about it constantly

[chickadeethoughts]

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

[chickadeethoughts]

what gets me about 1980s john and paul reunion theories is that if they can’t make music together then it won’t work. music is at the center of their dynamic and it permeates their entire relationship. there’s no romance without it. that’s why they were left with mundane chats about bread and family. forcing themselves to talk in a language that’s not their own. music was both the problem and the answer. writing and working together meant opening the door to vulnerability with each other again, and i don’t think they were quite ready for it yet, but they wanted to be.

if there is no music we can’t be lovers, and if we can’t be lovers, we’ll never be friends.

[chickadeethoughts]

been playing help! on the guitar recently and as much as i love the original recording it does also sound so good as a slower song i wish we could’ve heard john’s original vision it really is such a beautiful song

[chickadeethoughts]

george is my fav bc he is contradictory in a funny way. he will be like no i hate possessions i just want to meditate in my ferrari that i keep in my mansion castle. we should all only live in the moment and not hold grudges but i have been angry at paul mcfartney for 30 years bc he didnt let me guitar on hey jude. best guy evar

[chickadeethoughts]

im still not over paul not crediting george for the line "let me roll it to you" in the lyrics like hey siri play run of the mill one more time this guy still doesnt get it

[chickadeethoughts]

Temporary Secretary - Paul McCartney

[chickadeethoughts]

whenever i see anything about 80s mclennon im like girl the aids crisis

[chickadeethoughts]

we really don’t talk enough about how do you sleep pt.2: paul was unfortunately right boogaloo

[chickadeethoughts]

i think i understand mclennon bc im a little bit attracted to everyone im competitive with and a little bit competitive with everyone im attracted to

[chickadeethoughts]

re: John hurting Paul I think he was trying to hurt him but Paul as too powerful to really be hurt the way John can be hurt and he wanted a reaction. He wanted to get blood from that stone.

well it's definitely not true that paul couldn't be hurt by john and it's also not really true that paul was "too powerful" to be hurt, even though his mental health was usually a little more stable than john's. i can't find it now but i know there's a linda quote where she talks about being surprised that paul would read all the reviews of his albums and take the criticism very hard. if music critics who'd never met him or written a song in their lives were capable of upsetting him certainly the same criticism from john lennon, his ex best friend whose art he loves, hurt him tenfold. paul's started talking about this a lot more now that he doesn't have to defend himself as an artist the way he used to in the 70s-90s (ish) before he became universally accepted as a living legend.

but yeah, john likely did want a public reaction that he probably should have known he wasn't going to get. there's some good quotes floating around out there about paul having had just as much of mean streak as john. it would stand to reason that john would want to see if he could push paul's buttons far enough to crack his public persona. but that persona is born out of defense mechanisms that have been part of paul's nature since before he met john—and there's not much shy of john's death that could've brought those walls down.

[chickadeethoughts]

i think one of the most interesting things about the "frankly, i miss paris" quote is the fact of its existence. how did may know that was a significant enough thing to remember and to put in her book? was there something in paul's face? in john's voice? a charged silence, a charged look, an awkward cough, a hurried topic shift?

we know john wasn't talking to may about paul. he declines to discuss him after they see the mccartneys for the first time, and it's also clear that her characterization of paul is heavily informed by public john not private john. so what did you notice, may pang? what did you witness?

[chickadeethoughts]

thinking about yoko thinking about may thinking about yoko thinking about may…i love beatles yaoi more than anything but at the end of the day i’m still a dyke and i’m on the side of women

[chickadeethoughts]

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.

[chickadeethoughts]

Paul's whole thing where he watched fan edits and goes oh we were close. We were really good friends actually is so 😭😭😭 cause he didn't know. Then I think about George and it makes me want to die even more like I know they were on better terms when George died for real but still there was probably a time when he was just like oh well they didn't love me. Appalling.

no I literally can't think about it without wanting to die like... he lost his best friends and like trust me I Get where he fucked up in the break up too but he was genuinely the villain to them for a while. and I just think about him in get back saying he Knows he's annoying them like. he knew before they broke up that he was ruining his closest relationships but he couldn't stopppp I can't think about it. my shayla....

[chickadeethoughts]

stole a bunch of my parents records thinking I was so lucky not to have to pay to listen to the beatles on vinyl WRONG they’re the AMERICAN versions WHERES THE REST OF REVOLVER GODDAMNIT

[chickadeethoughts]

every time i see "the nerk twins" referenced im like wow. the legendary john lennon and paul mccartney. were the biggest dweebs of all time.