#mclennon tinted song analysis

[mclennonlgbt]

(JUST LIKE) STARTING OVER WAS DEFINITELY FOR PAUL – a compilation

A meaningful wordplay As you know, John attached great importance to the lyrics of his songs. He liked to smuggle in word games and hidden meanings. Let's look at a fragment of the lyrics of "(Just Like) Starting Over". It's time to spread our wings and fly Wings was Paul's band in the 1970s.

Don't let another day go by

"Another Day" is a song by Paul and Linda that was released as the A-side of a non-album single in February 1971. It was Paul's debut single, following the Beatles break-up in 1970. (Sidenote: giving credits to both himself and Linda, Paul broke up the Lennon-McCartney partnership, angering Allen Klein).

my love

"My Love" is a 1973 song by Wings. The single was viewed as Wings' first significant success.

2. The demos

In the first demo, John uses the word "walrus":

Everyday we used to make it love so why can’t we be making love – it’s easy. The time has come, the walrus said, for you and me to stay in bed again, it’ll be just like starting over

The walrus is a famous motif from Beatles songs. In the song "I Am The Walrus" (1967) John declares that he is the titular walrus, a year later in "Glass Onion" he stated: „And here’s another clue to you all – the walrus was Paul”. In "God" (1970) John sings: "I was the walrus." In an interview from 1969 or 1970, George jokes: „And if you are listening, I am the walrus too”. Regardless of which Beatles was the walrus, John is for sure giving us an interesting clue here.

As for „in bed”:

Here's another fascinating demo... This requires no comment. It's just that John suddenly referred to "Why Don't We Do it In the Road", a song by Paul from the Beatles era.

EDIT:

The whole fragment is:

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

As @i-am-the-oyster pointed out (the screen is theirs) - it's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

3. John explaining who the song is for

„I’m not aiming, I am not aiming at 16 year olds. If they can dig it, please dig it. But when I was singing and writing this and working with her, I was visualizing all the people of my age group from the 60s. Being in their 30s and 40s now, just like me, and having wives and children and having gone through everything together, I am singing to them! I hope the young kids like it as well, but I’m really talking to the people that grew up with me and saying: „Here I am now, how are you? How’s your relationship going? Did you get through it all? Wasn’t the 70s a drag? You know, here we are, let’s try and make the 80s good, you know, because it’s still up to us to make what we can of it. It’s not out of our control”. I still believe in love, peace. I still believe in positive thinking when I can do it. I’m not always positive but when I am, I try and project it”.

Source: https://www.youtube.com/watch?v=rqxPx2Tvf6A

Let’s point out that the song which convinced John to come out of retirement was „Coming up” by Paul. You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say

(…)

You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me

BONUS (this is not evidence or premise, but maybe Paul understood that the song was addressed to him): Paul's reaction to the song after John's death.

„…Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days”.

- Christopher Sandford, „McCartney”

EDIT:

(it's also @i-am-the-oyster's reveal): One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark).

[genderlessginger]

Get Back, McLennon: Day 1

Check out the other Get Back posts here.

Read this first:

I'm going through the whole Get Back documentary (so if you’ve watched a bunch of Get Back, this could get really repetitive for you) day-by-day, telling what’s happening and scouring it for anything that is McLennon. 

Take everything with a grain of salt. This is all speculation. But, hate to break it to ya... McLennon is real. 

I'm going bizarro. Let's get started.

[Ep. 1, 1:51]

Get Back Refresher (skip if you want)

Get Back has been edited from more than 60 hours of video and 150 hours of audio. Some of the bits have been edited, showing video that isn't part of the audio. We're gonna kinda roll with that, because there's nothing I can do about it. They said they did their best to have an accurate portrayal so I'm forced to trust it here.

Before the documentary really gets started, there is a 12-minute refresher of the Beatles' history from the Fete to the Hey Jude live performance in September 1968. It had been two years since their last live performance.

The Beatles enjoyed doing a live performance so much they decided to record their next album in front of a live audience. The recording would be a live TV broadcast. The album would be played all in one take, with no overdubs or edits.

Important Note:

It is my belief that John and Paul (actually, all of the Beatles, but especially JP) communicate, forgive and heal through music. They weren't playing together a lot, a lot (not like before) during The White Album and things were just messy.

When John and Paul play, they usually look at each other. They look at each other for minutes straight, with breaks to look at their instruments, distractions, etc. They always do if they’re in each other's line of sight. Eye contact and how all of the Beatles look and act while playing together will be a major part of these posts. 

I will also be scrutinizing how John and Paul look at George and Ringo, Yoko and Linda.

Day 1 (2 January 1968)

Dress rehearsal is planned for 18 January, live shows are planned for 19 and 20. The bugs will have to come up with 12-14 songs for an album in 16 days. Paul is the last to turn up. This is the first look we see between them.

Here are some angles of how they look at each other, including George looking at Paul and John looking at George.

And putting this here. What a fucking legend.

Paul "teaching"

When Paul is teaching a song, he goes into this teacher mode, similar to a boss babe mentality, but music-ier. Anyway, Paul goes into this teaching place, which is hard to get screenshots to properly demonstrate it. There's a lot of head nodding as if to say, "There you go! You're getting it!" A lot of enthusiasm, a little overbearing. But there's nothing distracting him.

And John looks at Paul;

And when John went to pull Paul out of it, Paul cracked pretty quickly.

These are two separate instances:

And then a little later (I really like this sequence):

This is how everyone is sitting. George is sitting on a cushion in front of Ringo's kit. It doesn't seem like Yoko is disrupting much, as Paul and John are sitting, idk, two feet apart?

I'm not sure if they choose just the footage of these two looking at each other, but it's everywhere.

The dry bun thing:

It's one of the times in their lives where they are not getting along. And they're still so clearly in love.

.....And that's everything for Day One! Day Two coming soon!

[mclennonlgbt]

Silly Love Songs - "I love you" is to John

We all know that Paul wrote "Silly Love Songs" in response to John's criticism. What's more, John believed that the words "I love you" in the chorus were addressed to him: "Bob [Gruen] singled this song out as one he and John would listen to and how much John loved the song. John took the song quite personally, and saw it as Paul sending a message to him: ‘Yeah, I know you think I only write silly love songs, but I love you.’ Bob said John specifically mentioned the ‘I love you’ refrain as being a message from Paul to him".

You know what? I think it's true. Paul sings in an inclusive way. He doesn't specify the gender. He doesn't sing: "How can I tell you about my girl/woman/wife?". Instead, he sings: "How can I tell you about my LOVED ONE?". ​

[mclennonlgbt]

Whenever I listen to "Here, There and Everywhere" and there comes the line:

Someone is speaking, but she doesn't know he's there

I think about how John and Paul spent all days together and Jane was away on the road.

I'm not implying that Paul was cheating on her with John, BUT I think this song is McLennon-coded. Let's remember Paul wrote it next to John, while he was asleep.

[mclennonlgbt]

Riding to Vanity Fair

I know this song has been on the McLennon songs list for a long time, but I recently listened to it again and was struck by how much it is about John. And what a different perspective Paul takes here. He usually sang how much he loved John, and here he reveals his frustration, possibly in reference to the conflict from the 1970s.

The first verse goes:

I bit my tongue I never talked too much I tried to be so strong I did my best I used the gentle touch I've done it for so long

which reminds me of this quote:

“I always find myself wanting to excuse John’s behaviour, just because I loved him. It’s like a child, sure he’s a naughty child, but don’t you call my child naughty".

Paul continues singing and decides to stop suppressing his anger and resentment towards the other person:

I'll tell you what I'm gonna do I'll try to take my mind off you And now that you don't need my help I'll use the time to think about myself

which reminds me of:

There’s no hard feelings or anything, but you just don’t hang around with your ex-wife. We’ve completely finished. ’Cos, you know, I’m just not that keen on John after all he’s done. I mean, you can be friendly with someone, and they can shit on you, and you’re just a fool if you keep friends with them. I’m not just going to lie down and let him shit on me again. I think he’s a bit daft, to tell you the truth. I talked to him about the Klein thing, and he’s so misinformed it’s ridiculous.

This excerpt touches me the most:

The definition of friendship Apparently you're to be Showing support for the one that you love And I was open to friendship But you didn't seem to have any to spare While you were riding to Vanity Fair

What the "riding to Vanity Fair" would be? My interpretation is that this is what John was doing during his interview with Jann Wenner in 1970 (later released as Lennon Remembers): belittling Paul's talent, criticizing him for taking the initiative in The Beatles, and presenting himself and Yoko as True, Non-Commercial Artists.

Some people believe that the song is addressed to a woman. I think this is nonsense. Even if we ignore everything I wrote earlier, look at this:

There was a time When every day was young The sun would always shine We sang along When all the songs were sung Believing every line

This "believing every line" could be a reference to John and Paul's communications through music.

I don't think Paul hated or hates John (or vice versa). However, I think he had the right to be angry with him and feel sorry.

[mclennonlgbt]

Chronological(ish) McLennon Playlist: Act III is a masterpiece

I mean...

The songs aren't always in chronological order, but so what? This order hits me much more emotionally than if they were in the typical one.

Pay special attention to the order of the songs from 1971.

I get the impression that McCartney was particularly attacking and very in-your-face: "I have a REAL family now, I don't need you, John," and Lennon responded more gently and remorsefully. E.g.: Dear Boy: You underestimated me, so fuck off. Gimme Some Truth: Hey, look, that's the song you helped me write when we were still in love, remember?

or:

Monkberry Moon Delight: Paul screaming and being energetic Oh My Love: John being subtle and melancholic

If we set up the dialogue this way, we get a different interpretation from the mainstream one, in which John is the aggressive one and Paul is the polite one.

Anyway, I really like this playlist idea. When we arrange John and Paul's 70s albums so that they intertwine, we see that Lennon and McCartney TALKED to each other.

ALSO:

The idea that "The Back Seat of My Car" may have a reference to John, blew my mind. Paul and Linda want to have sex, and John (portrayed here as a grumpy adult) disapproves. It makes so much sense. Because that's how it really was.

@fireintheimpala thank you!

[mclennonlgbt]

McLennon medley

I started to think the meddley at the end of the "Red Rose Speedway" album ("Hold Me Tight/Lady Dynamite/Hands of Love/Power Cut") may be, at least partially, about John.

I am thinking specifically of "Lazy Dynamite". Look at the lyrics:

Won't you come out tonight When the time is right Oh, will you fight that feeling in your heart Don't you know that inside There's a love you can't hide So, why do you fight that feeling in your heart

Lennon-McCartney dynamic was very complicated at the point. They reconciled in 1973, but Paul may not have been sure that John still loved him. Especially since there was also the Klein case.

Paul calls the addressee "lazy dynamite". John tended to have no energy for months due to depression, drugs and other stuff, for example in 1966. Some of his songs - "I'm only sleeping", "I'm so tired"- allude to sleeping. But John was also very impulsive and could explode. That's why "lazy dynamite" (thank you, @genderlessginger, for noticing this!).

Let's not forget about Beatles references: "There's a love you can't hide" - sounds like an obvious reference to "You've Got to Hide Your Love Away". This isn't the only time Paul has referenced the 1965 song in the era of Wings: "No Words" includes the line: "Your burning love, sweet burning love, it's deep inside, you musn't hide." Before "Lazy Dynamite" is "Hold Me Tight", which sounds like the title of the Beatles' 1963 song. So yes, I see McLennon here.

[mclennonlgbt]

There's 1979 Wings song "Arrow Through Me". This is what Steve Holley (Wings drummer) said: "It was the morning that we recorded 'Arrow Through Me'. The night before had been a particularly long one, it was the only time he ever spoke about it, nothing about his relationship, it was just more of a feeling that I had than anything, that he just missed that closeness... just a perception. My God, he misses John - that it was a huge hole in his life".

And when I watch this music video and I see Linda's face, I think... she KNEW. Pay attention to her expressions.

[mclennonlgbt]

India: John vs Jane

All you need to do is say this little word I know it sounds absurd but it's true The magic in the mantra will give you the answer And swallow this that's all you gotta do

Everything you need is here And everything that's not here is not there

And if if there's something missing in this God almighty plan Could it be you need a woman?

[genderlessginger]

Get Back, McLennon: Day 8 Part 1/3 (or 4)

This began McLennon and is now an in-depth Get Back project. Earlier posts will be updated and reblogged as I get to them.

If you've missed a day, read the other Get Back posts here.

I am posting these day-to-day because Tumblr limits 30 photos per post.

During Day 7, George left the Beatles. John, Paul and Ringo come back to the studio and lose their collective minds.

Over that weekend, the Beatles meet, including Yoko and Linda, to discuss the future of the band. It does not go well and tensions are worsened.

On Day 8, Ringo is the first to arrive. For the first 1-2 hours, there is uncertainty on whether the rest of the band will come at all. Ringo, while concerned, does seem more hopeful than the other guys. He said that the meeting went alright, there was "a lot of good stuff" but...

This is not how Paul, or John, saw it. Ringo is almost always the most optimistic of the group.

Daffodils (my favorite!) were delivered for George by the Hare Krishna. MLH laughs so hard at it and it grosses me out.

Do you like India?

Paul and Linda arrive.

Paul bites a record to shake Denis O'Dell's hand. It's important to document such historical moments.

"Have you heard from John?"

-------

CLARIFICATION AND CONTEXT: I really want to break this down but some editing and order here is not how it unraveled in the Nagra tapes (in real life). Unfortunately for you, me and Dupree, I am too lazy to pull up the Nagra tapes today. So I'm going to break it down from exactly how we see it with a clarification that Paul and Linda were making more fun of Yoko than was seen on the doc. The conversation, in some parts, was considerably lighter than it is shown in the doc.

HOWEVER this does not change Paul's reactions or body language and y'all know i'm going bizarro so let's go.

-------

Paul walks in smiling and seemingly optimistic, winking at people. Hasn't showered in weeks, doesn't know how to brush his teeth, looking hot as hell and pretending nothing is wrong. Classic McCartney.

Can we get a quick round of applause for Linda for living with this? Even I, the biggest believer in McLennon of all time, love Linda (just love JP more). Thank you Linda, and I'm sorry. I'm sure he smelled.

As Paul sits down, the conversation immediate turns to John. Paul is under the impression that John is a) already there or b) is on his way. (narrator voice) Paul was incorrect.

Paul seems tired but relatively unworried.

The conversation turns to the meeting from the day before. Linda believes that Yoko spoke for John and "half the stuff" she said are things John does not believe. (Cue all Beatles fans raucously agreeing).

Geo left in the middle of the meeting, saying, "I'll see you."

Paul stands up for John and Yoko.

"They're trying to, like, be as near together as they can. They want to stay together, those two. So that's alright, let the young lovers stay together."

Paul seems to come to a point that he reconciles John has already chosen Yoko, or it's a matter of time until he will.

"We got a lot out of the Beatles."

There's a silence here, both in the documentary and in the tapes. I'm going to honor that silence here in my post.

The silence is heavy.

Ringo doesn't say much, as usual. But the footage of him is damning. Ringo is "prone to melancholy" and the way he's described himself over the years sounds like he really struggles with depression and abandonment issues. (I've researched and read more about Richy than JPG).

"Why do you build me up, buttercup, just to let me down?"

Paul hugs and collapses in on himself a lot in general. I have a whole ass pinterest board studying it. This isn't a moment quite like that, but when Paul starts singing "Build Me Up Buttercup" by The Foundations while they're waiting for John to call or show up.

"Why do you build me up, buttercup baby, just to let me down and mess me around?

And worst of all, you never call, baby, when you say you will. But I love you still. I need you."

Linda holds Paul's hand, bringing him out of that collapsing-in position. Paul continues to sing and whistle the song throughout this conversation.

Paul explains that they aren't as close as they used to be because they stopped touring (UGHHGHHHHHGDHGHHSAFH)

He's explaining this calmly, logically. He's approaching this very much like the PR, Elder Statesman of the group, the role he's had since the media really picked up. It's Paul's job to be the logical one between him and John. And it's Paul's job to present the united front to the world because Brian Epstein is no longer here to do that.

Because Paul is in this role, it's clear he thinks he's processing all of this information. And it's clear to anyone paying the slightest amount of attention that he is not.

Paul defends the fuck out of John and Yoko, even to the point that it does not make sense. He mentions that it's hard to make songs with Yoko there because he's trying to write songs that she'll like (to me, this reads like, "I'm nervous she's there because I want to write something JOHN likes, if she likes it, I can keep status quo, keep John happy, keep the group together, buy me more time to patch this up").

Neil, Mal and MLH try to get through to Paul about compromise. This is not entirely on Paul. John needs to compromise. The fact this is coming from Neil means quite a bit.

In yet another case of Paul "Doesn't Hear The Words He Says Out Loud" McCartney, he says

"We really do need sort of a central daddy figure."

Which I know isn't dirty and he didn't meant it dirty BUT CMON WHAT AM I SUPPOSED TO DO WITH THAT?

Essentially, Paul is saying that they need Brian or a boss, someone who is in a place of a authority over John, who can say, "Leave the girls at home."

I was hoping to get this part in before I ran out of photos so here's what's coming on Part 2:

Dedicated to @omgmclennon

[genderlessginger]

Get Back, McLennon: Day 6

Check out other Get Back posts here.

Jesus christ

Linda is in the studio but she stays off to the side, behind the lights and camera. When she comes in to take photos later, she will be up close and personal, but that's her reason for being there.

They begin with "Get Back" and the protest lyrics. Here's Paul looking at Linda, then John.

Paul looks at Linda a lot.

First, I believe Paul loved Linda. I don't think Linda and John were in competition the way people think they were, even the way John thought they were. Yeah, Paul looks at her because he loves her. He, really, truly loves her.

I'm not gonna sit here and compare his love for Linda and John. What I'll say is JP can't be tamed, and you can see that shit in this entire day. More than anything, I think he's looking at her to make sure she isn't bored to death.

"That's The Beatles! How would she be bored?!" Idk about you, but I've had a partner/gf/bf come to my old swim practices back when i was an athlete and I'd be so self-conscious. There's no way this can be interesting, even though I'm good at this??? To Paul, he's probably not thinking about them being The Beatles. He's probably like, "This is the first time she's been here. Does she hate it???"

She doesn't. She's a cutie.

Anyway, back to the music:

Paul plays "Commonwealth." While he's singing, he's looking at Linda (see above photo). During the chorus, John chimes in with a "Yes?" and it makes Paul lose his mind.

Through the chorus, Paul continues to look at Linda while they do the call and response. But here's how we know that it's a McLennon moment.

Look at John:

Yep.

Up next, here's some looks from John to Linda. Paul regains his attention.

But later, Paul and Linda kinda cuddle. John does not enjoy that very much.

Here's a cute thing from "She Came In Through The Bathroom Window."

There's also a moment when JP are doing whatever they do in their telepathic brain meld when Yoko comes to sit by John. So here's how that goes down, and how John kinda smooths it over with some good 'ol eye contact.

That's it for Day 6!

[genderlessginger]

Get Back, McLennon: Day 7 Part 2

I'm not proofreading this. Sorry.

If you've missed a day, read the other Get Back posts here.

I am posting these day-to-day because Tumblr limits 30 photos per post.

"Drugs, Divorce and a Slipping Image" by Doug Sully and Ray Schweighart is a 1991 book of the FIRST comprehensive explanation of the Nagra tapes. IThese two went through and listened to the bootlegs, summarized and published it in 1991.

What's important to note about this book is that it's distinctly anti-Yoko and rather anti-John. This book spurs on the John-George fist fight and says that the reason George left the band was because of John degrading George's music.

Now, we did see SOME of that, but we know that most of that is not true. The credibility of this book is shaky. I have listened to some of the Nagra tapes, but not the George parts yet. The credibility issue doesn't take away from the fact that it's an interesting look into the Nagra tapes and what the public derived from them afterward as a result of the book.

Okay, all of that being said: I found that out-of-print book and got a copy signed by the authors. Obviously.

Ahem.

In the intro, they talk about breakdown of communication across the Beatles but I found one thing VERY interesting.

Heightened Awareness

Paul would know that John had subscribed to this belief and would be doing his best to communicate with John via being "tuned in" to him. Lucky for JP, they already have that alien-ass connection so this wouldn't be hard to do.

And if we're taking John's volatile mood due to heroin use into account (which we should), it makes even more sense that John would be reaching out to Paul (subconsciously or consciously) for that anchoring spirit they bring each other.

Let's face the facts, guys. If these four weren't so attached, they would have split by now.

If John and Paul weren't what they are, they would have split by now.

While thing are NOT GOOD (TM) in Camp Beatles, we can't throw out the STRENGTH of McLennon and The Beatles Bond in general (even knowing it will disintegrate in the months to come. I try not to focus on it while I'm doing this).

Day 7

This day had been stressful before everything with George. Dick James came in (which upset Paul). John caught onto it, as I mentioned in Day 7 Part 1. When Dick James came over to say goodbye to the Beatles, everyone said bye. John didn't even turn around.

Later, as things became more confrontational with George, John abandoned conflict resolution entirely in order to make Paul happy. It worked.

They forgot about George. And that really hurts, and it sucks, and I'm sorry.

Now it's time to look at them and their heightened awareness.

EPISODE 1 2:20:34

started "McLennon-tinted analysis"

And I'm showing my entire insanity for this one.

Paul's working on the actual lyrics to "Get Back" as it was a protest song before then. He's said in interviews that he's always had more issue with "the words" (he never used to say lyrics but does now, it's like one day it hit and he was like 'oh shit, that's the word for it? no way!'). So John helped him with the lyrics a lot.

We're seeing this go down. BEFORE they were working on the song, they'd been facing each other but John did go ahead and sit down. Paul went over to him while they were working through it.

Paul seemed a little insecure about the lyrics, and something about this nod that Paul gives (WHICH I TRIED TO UPLOAD A VIDEO OF BUT IT WOULD NOT LET ME --- UGH) when John was giving him feedback hit me:

Paul seemed comforted. I keep a bookmark on that one. Within five seconds (yes I fucking looked), John stands up so he can face Paul. It's almost hurried, rushed. He pushes the chair and it kind of stumbles behind him.

And then they're eyeball to eyeball again. Heightened awareness.

LOOK AT PAUL. LOOK AT HOW FUCKING IN LOVE THAT FACE IS

THAT IS LOVE THAT IS LOVE THAT BITCH IS IN LOVE FUCK YO UHE'S IN LOVE COME ON

COME THE FUCK ON

Paul improvises some lyrics and laughs at himself which is fucking ADORABLE:

(Also, the thighs)

John's "tuned in" to Paul: We don't see his face a lot at all during this time but we do see John dancing and making Paul giggle. They're playing "Two of Us."

George Left

They Came Back Fucked Up

And still manage to look at each other like this.

Listen, this freak out jam session is crucial. I honestly love that Yoko is a part of it. Why? Because she was in the pain, the drama, the chaos of it. For some reason, she fits there.

And that's what's tough about Yoko is that for some reason she fits here. I don't like her, no. But i don't hate her. I love to exclude her, but this is where I keep her.

Who else feels for Ringo?

[genderlessginger]

Get Back McLennon-tinted analysis posts in one place

It's what the title is.

John rages to make Paul feel better

Day 1

Day 2

Day 3

Day 4

Day 5

Day 6

Day 7 Part 1

Day 7 Part 2

Day 8 Part 1

[genderlessginger]

Get Back, McLennon: Day 4

Check out the other Get Back posts here.

Day 4 does not have much (if any) fun McLennon:

Paul's mad at John for being late. He was the latest to get there on Day 1, but I know that this is a pattern for John.

During what I would consider a John-induced music coma, Paul writes Get Back.

Here is the first look we see on camera

There's a lot of conversation about where the show should be, etc. John is high (presumably on heroin).

The conversation goes toward the band being in the doldrums for the past 18 months. Paul feels overwhelmed stepping into a "boss" roll. He's demanding a decision from the others. He's met mostly with silence.

"Maybe we should have a divorce," George said.

The camera shits to reveal Paul's reaction to what George said.

"Well, I said that at the last meeting," Paul responds.

Look at John.

John freezes after this is said.

He stays like this until he can figure out how to react. He leans down, grabs a cigarette and asks Paul:

"Who will have the children?"

"Dick James," Paul said.

As an act of reconciliation, they play Maxwell until time for lunch. George has to help John with the chords. I've read that during this day/session, John couldn't remember things and was a little too high to function.

So, they go to lunch, (and Mal has to get the hammer and anvil) and come back and play.

FINALLY, HERE'S SOME MCLENNON, GOOD GOD.

There's not a huge amount, but when we do see Paul during Day 4, he's regularly trying to engage with John:

That's the end of Day 4, babes!

[genderlessginger]

Get Back, McLennon: Day 7 Part 1

Read the other Get Back day posts here.

Let's get completely insane.

Day 7 PART ONE: The Biggest Day of the whole thing

The fuckery of Dick James and Northern Songs:

Dick James came to visit the set. He, along with his accountant, owned 51 percent of Northern Songs, the majority over Paul and John's 20 percent each and Brian's 10 percent share.

Paul thought this was an unfair deal, and that they didn't realize what they were signing when they signed the publishing contract.

Paul continues to speak with James about how unfair the agreement is while he plays piano.

What's absolutely incredible and heartbreaking is three months later, as James saw the Beatles dissolution coming, he sold the controlling share of Northern Songs to ATV without consulting John and Paul.

From Brian Southall, Northern Songs: The True Story of The Beatles’ Song Publishing Empire.:

[Dick] James, in fact, was quoted as saying that at the time ATV took over Northern Songs “the wolves stopped baying”. He firmly believed that it would have been wrong to sell Northern Songs to either Lennon or McCartney individually but, even so, he admitted that when he met the two songwriters at McCartney’s St John’s Wood home: “Paul was annoyed but John was inconsolable, he was hurt and I was very sorry.”

Anyway, fuck that guy.

Well, before McLennon, I'm gonna hurt your feelings real quick.

This is the day George leaves.

George has been mistreated and discarded.

It doesn't help that "Teacher Paul" was being condescending (and wasn't communicating well at all, so he was confusing).

John didn’t interfere. In fact, John spent all of his attention on Paul. Paul was reveling in it.

They forgot about George.

Rather than let us all off the hook, here's some photos so we can cry. We can’t skip over it.

Paul comes in a little late on this one.

George watches on while the two lovebirds basically stare longingly at each other (see below) and:

McLennon-tinted eye bleach:

Let's get into some adorable McLennon. I've noticed that whenever Paul is upset, John works super hard to go full-blown goofball to make Paul laugh. And that is EXACTLY what he does.

This is after the Dick James interaction:

By the way, this is the exact order of this scene:

:(

Ok, but there is a TON of cute McLennon in this. Here are some highlights:

BIG BIG McLennon analysis on more Day 7 stuff COMING NEXT.

I hit the limit of photos per post but every single of these were important, even the ones that look nearly identical (scour that shit, babies). SO ANYWAY, i'll post the next prob tomorrow (it's 15 oct)

[genderlessginger]

Get Back, McLennon: Day 3

Check out the other Get Back posts here.

TLDR: Paul and George argue: "Whatever you want me to do, I'll do it." John doesn't do much to ease the tension. Not much McLennon, but an important day.

The day starts strong with Ringo being hungover, which I think is hilarious. However, Ringo does wind up being sick later on in the Get Back sessions. He goes on to tell Peter Jackson that he was exhausted throughout the sessions because he was constantly waiting for the guys to play and he needed to make sure he kept the beat.

Poor Rings.

I think people read/hear/see this line and take it like George really doesn't want to do the show. But I feel like he says this solely to piss Paul off

Look at that face. Geo Harrisassy is just pushing buttons.

Anyway, this is how everyone is sitting for Day 3:

And here's Paul looking at Yoko:

It looks way shadier in this frame but it's funnier. It was very short glance.

Day 3 is complicated.

They spend a lot of time on "Don't Let Me Down." There aren't many glances shared because Paul and George are fighting quite a bit. John makes a very minor attempt to smooth things over, but gets bored and makes fun of them for fighting.

This continues into the next song, bringing us to the well-known conversation:

They play a little bit and head home. That's for Day 3. Sorry it's less cute, but Day 4 is coming here shortly.