helenoftroy23

[helenoftroy23]

GUYS !!!!!!111!!1!!! just found an account on internet archive that uploads entire old beatles monthly books .......... bout to go wild rn .....

and im a decent person so here's the link 😋: https://archive.org/search?query=creator%3A%22Beat+Monthly+Publication%22

[helenoftroy23]

me when I’m definitely not singing about the guy who wrote all you need is love

[helenoftroy23]

happy global beatles day! 🪻🪲

[helenoftroy23]

Spring 1961 - The Top Ten Club roof top, Hamburg, Germany

Ohhh they were feeling themselves in those boots

[helenoftroy23]

January 1966 - During their holiday the Lennon's and Starkey's shared a rented beach house on Young Island, St. Vincent. Personal photos later sold at auction show John, Cynthia, Maureen and Ringo relaxing on the patio🌹🌹🌹

Via Something About the Beatles' Girls FB🌻🌻🌻

[helenoftroy23]

“In interviews they stress over and over again the obvious facts: they have been at the game seriously just over six years; that much of their early work was adolescent and imitative; that they can hope to live and create for another forty years; and that they have total financial freedom to develop in any way they please. “None of us has barely started,” Paul says. “At first we wanted to make money, now we’ve got it, a fantastic platform of money to dive off into anything. People say we’ve had a fantastic success and that is all. We don’t look at it that way. We look at our lives as a whole, think in terms of forty more years of writing. I wouldn’t mind being a white-haired old man writing songs, but I’d hate to be a white-haired old Beatle at the Empress Stadium, playing for people. We might write longer pieces, film scores – I know we want to write the whole score of our next film. We might write specifically for other people, write for different instruments – you name it, and it’s possible we could do it.” Their development has already, in fact, brought them fully around one circle: Marshall Chess, head of Chess Records which records Chuck Berry, has asked John and Paul to write songs for Berry, who until now has written all his songs himself. The boys now influence their influences. John and Paul like to write songs and so far they have hardly had to work at it. “I’d never struggle writing a song till it hurt,” John says, “I’d just forget it and try something else.” The direct sense of their own enjoyment comes through in the songs. Each one, from the first to the last, is a direct statement of a simple emotional idea. Perhaps in some cases the emotion is a juvenile one. They would be the first to admit that. Yet each song is honest. None has the syrupy sentimentality of the songs written by adults for teenagers. This transparent honesty is the key to both the appeal and quality of songs. In that way their work is a perfect mirror of themselves, the boys whose candid simplicity has baffled and annoyed their elders. “One thing that modern philosophy, existentialism and things like that, has taught people, is that you have to live now,” says Paul. “You have to feel now. We live in the present, we don’t have time to figure out whether we are right or wrong, whether we are immoral or not. We have to be honest, be straight, and then live, enjoying and taking what we can.””

— John Lennon and Paul McCartney, interview w/ Michael Lydon for Newsweek: Lennon and McCartney: Songwriters — A Portrait from 1966 (March, 1966). (unpublished)

[helenoftroy23]

i dont think ill ever fully truly understand paul getting johnandyoko back together. like my best guess is that 1) paul was freaked out by the reports of john's behavior in LA and wanted to get john out of an unstable situation, 2) needed to believe in the Ballad and their all consuming love for each other to rationalize his and john's breakup (if they divorce after like 5 years, then what was it all for?), 3) thought that actively being on yoko's side would forge a path to having a real relationship with john again if yoko liked him more

thinking about this as the great threat clip has been bouncing around on my tl. like i dont think paul fully understood the degree with which yoko, for lack of a better term, immediately clocked their tea. and i do not mean to demonize yoko here but like it is super not a coincidence that the day she decides to take him back is Immediately before john is supposed to go to new orleans! fucking may pang for 18 months is not a big deal for their marriage but making music with paul IS. because i fully believe yoko either believed or knew for a fact that john had been in love with paul. this to say, paul was never going to get john back by going through yoko.

[helenoftroy23]

Bob: Can we elucidate on your film, and the songs therein, and do you have a favourite song in the film, called A Hard Day's Night? Paul: And I Love Him — And I Love Her Ringo: And I Love Her, yeah I love that one Paul: Oh, do you like that one? Oh, thanks Ringo Ringo: And the way you sing it knocks me out, man John: And the way that camera goes over your head… Paul: Oh, you should see it John: I thought… I thought, 'hello' Paul: I like If I Fell Ringo: If I Fell… that's a… and I like that one, as well John: Oh, I'd forgotten all about that one George: But they're all nice Ringo: They're all quite nice… I like them all John: They're very big-headed about their tunes, you know, it's amazing Paul: It's not big-headed, is it? Ringo: The man asked us a simple question George: He asked us if we liked them John: Why is Ringo picking on me, listeners? Ringo: I'm not picking on you, John John: You are, Ringo Ringo: I'm not John: I'm just sitting here… Ringo: Believe me, I’m your friend. John: ...trying to do an interview with Rob Bogers… Ringo: I'm your friend John: And here you go, picking on me in public Ringo: I'm not picking on you, believe me, John John: Well, I hope we can call a truce, Ringo Ringo: Well, John John: Because it can't go on like this… one of us will have to go - are you coming?

The Beatles talking to Bob Rogers in Auckland, New Zealand, 24th June 1964

[helenoftroy23]

September, 1980: John tries to define his partnership with Paul, and the force of its gravity. (Note: Preceding the clip is an acoustic demo of ‘God’ - I had a message from above / and I’m here to tell you / that this message concerns our love. / […] Do you read me, brother?)

JOHN: In a marriage, or a love affair – when the seven-year-itch or the twelve-year or whatever these things that you have to go through – there comes a point where the marriage collapses because they can’t face that reality, and they go seeking what they thought they should be having, still, somewhere else. I get a new girl, it’ll all be like that again; I get a new boy… But for all marriages, all couples, it’ll all be the same again. But what you lose is what you put into that… relationship.

… The early stuff – the Hard Day’s Night period, I call it – the early period, was the early equi– se– what I’m – what I’m equating it to is the sexual equivalent of the beginning of a relationship, of people in love. And the Sgt. Pepper-Abbey Road period was the period of maturity in the relationship. And maybe had we gone on together, maybe something more interesting would have come out of it. It would not have been the same. It would have been a different thing. But maybe it wouldn’t either. Maybe it was a marriage that had to end. Some marriages don’t get through that – that phase. It’s hard to speculate about what would have been. 

[helenoftroy23]

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.

[helenoftroy23]

NME article I found about Carl Barât's opera debut

[helenoftroy23]

Thank you for your post about Paul's lies!

Then what about John? Didn't he lie to himself as well? All that fake happiness with Yoko, for example. More showing off, than love I think. Paul at least seemed happy with Linda and I think he genuinely loved her. (In John's case may be it was due to depression and drug addiction that he was with Yoko.)

John was absolutely full of shit about every last little thing. John is a bit more interesting because he was a lot more conscious and deliberate about the fake stories he told people. I think he did lie to himself a lot but it was much more in a "no, fuck YOU dad" kind of way, where he quietly knew he was being untruthful. He knew quietly that a lot of what he was doing and saying was BS but he wanted to believe that it was true and he was willing to act out his surface intentions because the alternative meant looking at his internal world and the psychological wounds driving him. And John would do anything except that, he got hooked on drugs because they were a synthetic alternative to self respect.

John's consistent quality is that he knew more than he wanted to admit because he was deeply invested in fantasies and "fake it till you feel it" and acting out prescribed actions hoping they would fix the internal wounds he carried inside him. Even as early as 1962 this was true when he found out Cynthia was pregnant and offered to marry her. And look not trying to degrade what he did, it was the 1960s and he didn't want to be a serial abandoner like Alfred Lennon was. But he didn't want to face up to the actual problem, that he should not have gotten Cynthia pregnant in the first place. Either by breaking up with her after he returned from Paris with Paul OR wearing a condom when they had sex.

But the point was that John wanted the fantasy of a happy family, he wanted the fantasy of being a good father (and Cynthia, who came from a shitty family where her father and brothers despised her, also wanted the fantasy of a loving husband who would take care of her.) He knew it was a bad idea and his sister Julia said in her book "John Lennon, My Brother" that John came to Mimi the night before the wedding weeping and told her "I don't want to get married." But he went through with it because he didn't want to look at the tiny and selfish part of him that wanted to run away from the situation, abandon Cynthia and the baby, and stay with Paul in some way. He didn't want to admit that his dick had lead him to a situation he couldn't flee from, that struck too close to his ego. It's that meme where the caption says "my dick has lead me places I wouldn't go with a gun" except this time the place it lead John was a father role he didn't want and wasn't equipped for. And I suspect he knew that or else he wouldn't have let himself be thrown into The Beatles as readily as he did. The guilt ate at him because he couldn't bear to admit the horrible truth.

The same thing happened with Yoko. I think that she genuinely appealed to him in some ways. Yoko's art is a very interactive experience and that was such a different idea for Westerners especially in the UK that Yoko made a genuine impression on John. John had not been exposed to many avante garde artists at the time so if he met John Cage prior to meeting Yoko then maybe he would have been better prepared. But I think he's telling the truth when he talks about how Yoko made him excited for the first time in a long time. She reminded him that he was an artist, that he could do more than just be a Beatle and that art is a lot more than just music. Whether or not you engage with her stuff or not is immaterial, the point is that it exists. (And honestly I'd prefer a Yoko Ono art exhibition over listening to her music because the interactive exhibitions are where she thrives and can engage people in physical hands on experiences.)

But John always intended Yoko to be a vehicle for his escape from The Beatles. She was radical, liberated, and challenged him on his assumptions like when she successfully convinced him to get into women's lib. He seemed sincere about embracing the changes she brought his life particularly when her influence got him to give up harmful ideas and patterns.

The problem is John wasn't in love with her. That's been obvious from the start. He was doing the exact some thing as many paganists do. There's a corner of his mind that quietly knows that he was larping and that he was using Yoko as a way to escape from his problems. A snake oil cure like LSD where he thought that if he just did enough acid/was married to a woman long enough, it would fix his mental and spiritual baggage. But of course that isn't how it works and John hid inside the Dakota because he didn't want to admit that he had tricked himself again.

So that's part of the lies John tells himself. He needed to pretend that he was happy with another woman because he felt burned by Paul running off with Linda. He was able to maintain a façade based off his need to spite Paul rather than any genuine affection he felt towards Yoko. That's why their relationship deteriorated to the point that John shouted "I wish I was back with Paul" after only a few years of being married to her. He just wasn't that into her and that moment was the little hole in the roof that revealed John's real feelings towards Yoko and their relationship and how he compared it to his partnership with Paul.

John quietly knew deep down that it was a veneer. That's why he defended the big lie so viciously and why he babbled at Fred Seaman about why he couldn't leave Yoko even though he suspected that she was cheating on him. Because he didn't want to admit defeat and didn't want to betray the surface level beliefs he held.

[helenoftroy23]

Barry Miles, Paul McCartney: Many Years From Now (pg. 95)

[helenoftroy23]

i just found the beatles media file on internet archive

HOLY SHIT

700 VIDEOS?

WITH LOTS OF THEM BEING OVER AN HOUR LONG?

THIS IS WHAT IVE NEEDED ALL MY LIFE

[helenoftroy23]

John Lennon on the roof of his East 52nd Street penthouse, New York, photographed by Bob Gruen. (August 29th, 1974)

-

“Writing songs,” says Paul McCartney, “is like following a trail – and you never know where it will lead you.”

Today, the trail has led us to McCartney’s studio in rural Sussex. Rabbits snuffle around the garden and the English Channel shimmers in the distance. There are worse places to work. A quick scan of the studio kitchen reveals a copy of Mary McCartney’s recipe book and a John Lennon calendar; March’s pin-up is “Moody John” in sunglasses posed against the New York skyline.

— Paul McCartney, interview w/ Mark Blake for Q: Songs in the key of Paul. (May, 2015)

[helenoftroy23]

Paul the type of fella to claim being straight his whole life while shamelessly checking out his man-spreading best friend

[helenoftroy23]

“One in particular rings true, and that’s ‘Here Today’,” Mr. McCartney’s song for John Lennon. It’s typical of his self-critical attitude that he wanted to use a string quartet behind his acoustic guitar and vocal and then hesitated because he had used a string quartet on ‘Yesterday’,” probably his most celebrated recording. “Finally George Martin and I had a talk about it,” Mr. McCartney said, “and I told him I’d come to the conclusion that I don’t have to stop doing something because I’ve done it once. And he said, ‘You’re right, it’s stupid, we’ve been avoiding using a string quartet ever since ‘Yesterday’, and this song is just screaming out for a string quartet.’ So we worked out the arrangement – I can tell George I want a big ‘C’ chord or something, but he has to work out the voicings because I can’t read music – and we really liked it. “And that was a revelation to me. Because with the Beatles, we always changed our sound on every single track. These days, if you get a good drum sound, you’ll probably use it for the whole album. With the Beatles, after we’d recorded one song, we had to change the drum sound - get a new drum kit, hit a packing case, anything but repeat what we’d done on the previous track. I’d set those kind of expectations for myself. But you can keep changing for change’s sake for just so long – until you run out of good ideas. I could have tried a Mongolian yak quartet on ‘Here Today’ and it would have been very different, everyone would have talked about it. But it probably would have sounded bad.” The song’s lyrics are addressed to Mr. Lennon, who denigrated Mr. McCartney’s post-Beatles music in several interviews and in one of his own songs and who once remarked that although he and Mr. McCartney collaborated for a number of years, they never really knew each other. “And my response to that,” Mr. McCartney said, “is that even though he put me down, I’m not going for it. We were friends, and we got it on, we got a lot on. Songwriting is like psychiatry; you sit down and dredge up something that’s inside, bring it out front. And I just had to be real and say, John, I love you. I think being able to say things like that in songs can keep you sane.””

— Paul McCartney, interview w/ Robert Palmer for the New York Times: Music View; Paul McCartney’s latest is exquisite but flawed. (April 25th, 1982)