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@appreciatingmclennon
IT'S HAPPENING!
Well, Iâll tell you one of the things that affected me â and I never even thought about it before but the footage is there â I had an appreciation how utterly painful this must have been for Paul. Because heâs watching his closest creative collaborator â someone heâs known since he was fifteen or sixteen years old â start to drift and go towards Yoko. Johnâs not pushing Paul away, but Paulâs watching Yoko now become the creative collaborator Johnâs excited about. And can you imagine how painful that must be for Paul? How utterly, utterly painful. Heâs just watching it. And heâs okay, he deals with it. He loves the Beatles, he loves John, he wants to go on with it. But boy, what a paâ and you feel it. And I neverâ that never even occurred to me before. You know, itâs all about John and Paul hating each other and not talking to each other, all that negative stuff. But itâs actuallyâ you see this kind of thing happening and itâs justâ itâs wow. â Peter Jackson on John & Paul.
If I Fell lyrics written by John Lennon
Autograph manuscript for âIf I Fellâ, from âA Hard Days Nightâ, aboard a U.S airline, c. late February, 1963. Written on the back of a valentine which had been given to Paul, and which was apparently the only suitable writing surface available at 30,000 feet, the manuscript is 1 page, written on the verso of the unfolded valentine on one half of the sheet, approximately 11 œ x 6 in. âIf I Fellâ is one of Johnâs most powerfully poignant ballads, and one of the most important and early songs to appear at auction. Ostensibly written while the Beatles were in America for a famous appearance on the Ed Sullivan show, John, sitting in the plane seat next to Paul suddenly got the inspiration for one of the best songs which would be released on 1964âs landmark âA Hard Days Night.â By the cadence and subtleties of the lyrics you can tell that John already has the music in his head as he fits it with the perfect words. Time stands still, something very special is coming to life as he sits working on the back of Paulâs valentine.
[Intro] If I fell in love with you Would you promise to be true And help me understand /Cause Iâve been in love before And I found that love was more Than just holding hands. 1. If I gave [changed to give] my heart to you I must be sure From the very start that youâre Gonna love me more than her 2. If I trust in you oh please Donât run and hide If I love you too oh please Donât hurt my pride like her. (she) Cause I couldnât stand the pain / And I would be sad / If our new love was in vain / 3. So I hope you see that I / Would love to love you / I hope that she will cry / When she hears that we are two /
John and Paul photographed during the filming of a short BBC documentary, âThe Mersey Sound,â August 29, 1963âš
August, 1980: In an interview with Playboy writer David Sheff, John doesnât take kindly to having his former bandmatesâ talents underestimated.
SHEFF: Critics would criticize Ringoâs drumming by saying, you know, âIf he wasnât a Beatleââ JOHN: Ringoâs a damn good drummer. He was â he was always a good drummer. Heâs not technically goodâ SHEFF: But critics used to criticize him all the time. JOHN: Well â yeah. I think Ringoâs drumming is underrating â underrated, the same way as Paulâs bass-playing is underrated. Paul was one of the most innovative bass players that ever played bass. And half the stuff thatâs going on now is directly ripped off from his Beatle period. He was always, uh, coy about his bass-playing. Heâs an egomaniac about everything else about him, but his bass-playing he was always a bit coy about. He is a great musician who played the bass like few other people could play it.
Now if you compare Paulâs bass-playing with The Rolling Stonesâ bass playerâs bass-playing, and you compare Ringoâs drumming with Charlie Wattsâ, theyâre equal to, if not better. But the credit has always gone to, uh, Bill and Charlie, and Paul and Ringo didnât get it. But we got other credits that must have made them feel bad, too, so it all equals out in the end. But I always objected to the fact that because Charlie came on a little more arty than Ringo, and knew jazz, and did cartoons, that he got credit. And I think that Charlieâs a damn good drummer and the other guyâs a good bass player, but I think Paul and Ringo stand up anywhere, any â with any of the rock drummers. Not technically great, and none of us were technical musicians, none of us could read music, none of us can write it, but as pure musicians, as â as inspired humans to make the noise, theyâre as good as anybody.
John Lennon at Twickenham Studios for the Get Back sessions, 3 January 1969.
The Beatles arriving in Bangor with the Maharishi (1967)
January 9th, 1969 (Twickenham Film Studios, London): As everyone waits for John and George to arrive, Ringo, Mal, and director Michael-Lindsay Hogg listen as Paul tries to figure out the lyrics for the second verse of âThe Long And Winding Roadâ. (Note: Malâs reference to The Wizard of Oz reminds me of this interview he did in 1975 about him and Paul crying over Johnâs âI want a divorceâ declarative.)Â
PAUL: See I was thinking of having another â like the weather obstacle.Â
MICHAEL: Itâs beautiful. Whatâs it called?
PAUL: âThe Long And Winding Roadâ. [tries playing; falters] The only trouble is I always think of the⊠The storm clouds and the rain / Break up over the winding road⊠[trails off]
âŠ
PAUL: I suppose it should still be about this sort of winding road. Iâve just got that picture â just the winding road that leads to your door, it will never disappear, Iâve seen that road before, itâll always lead me here, lead me to your door. [audio feedback] Oh no!
RINGO: [laughs] Itâs a start.
MAL: What youâre talking is sort of like The Wizard of Oz. Did you ever see The Wizard of Oz?
PAUL: No no no, I didnât, but Iâveâ
MAL:Â âThe Yellow Brick Roadâ?
PAUL: Yeah. I know.Â
MAL:Â âThe Long And Winding Roadâ.Â
MICHAEL: Itâs great.Â
PAUL: You see, itâs also something⊠[starts playing again]
MAL: Itâs got that feel about it, you know? [inaudible] âso [Dorothy] gets back to, back to the boysâ [inaudible] âand sheâs never going to see them again.
MICHAEL: Yeah, yeah, exactly.Â
MAL: Itâs a terrible feeling.Â
MICHAEL: Heartbreaker, yeah. Itâs great.
MAL: It made me cry.
âŠ
PAUL: It could be like the thing thatâs up ahead. The thing thatâs up ahead / At the end of the roadâŠÂ
MAL: Like, how about like the obstacles on the road, that youâre going over?
PAUL: No, but I think the obstacles â eh, you know. I have enough obstacles without putting them in the song. [laughs]Â
MICHAEL: Howâs it going to end? Is it going to end happily, or just â not sure yet? Is that the end?
PAUL: No, it should end something like this. But still they lead me back / To the long and winding road / You left me waiting here / A long long time ago / Donât leave me standing here / Lead me to your doorâŠ
george on the rooftop
John Lennon on the set of Help! 1965.
The Beatles during 1964 interviews.
Sean Lennon about Paul McCartney: Â âIâm just so excited when Iâm around him. Itâs like when you see a white buffalo and you just hold your breath â youâre just hoping that itâs not going to end. Because,â he adds quietly, âitâs the closest I can come to hanging out with my dad. Every second Iâve ever spent with Paul has been really meaningful to me. He was my dadâs best mate for a long time. And my dad didnât have many friends, you know?â
(Article from the London Telegraph about Sean in November, 2010. )
âPAUL HAS APPOINTMENT WITH JAPANESE LADY WHO WANTS TO PHOTOGRAPH HIS BOTTOMâ
From âLennonology- Volume Oneâ by Chip Madinger and Scott Raile (2015)
Hey, are you still around? You haven't posted in a while and I miss your posts.
Hi! Iâm sorry, I have been travelling for work and I donât have a lot of time lately, so Iâve lost sight of this blog. I will definitely have more free time in December. x
Letter 6: to Stuart Sutcliffe, 1961Â
I remember a time when everyone I loved hated me because I hated them. So what, so what, so fucking what. I remember a time when belly buttons were knee high When only shitting was dirty and everything else clean and beautiful. I canât remember anything without a sadness so deep that it hardly becomes known to me. so deep that its tears leave me a spectator of my own STUPIDITY And so I go rambling on with a hey nonny nonny no. How long can one go on writing and writing like you. I now donât really know who Iâm writing to or why its quiet peculiar. I usually write like this and forget about it, but if I post it itâs like a little part of my almost secret self in the hands of someone miles away who will wonder what the hell is going on or just pass it off as toilet paper. Anyway I donât care really what happens because when I think about it, its so bloody unimportant â but what is important, who has the right to say that this letter is not important and Jesus is a something anyway â in any way â anyway â Yeah! I wonder what it would be like to be a cretin or something. I bet its great. Er how are you keeping, Stuart old chap. Are you OK â is life as good â bad, shite, great â wonderful as it was or is it just a thousand years of nothing, and coalmen on and on and on. I think this is it Goodbye Stu donât write out of â er, whatâs it? Well, not because you think you ought to. Write when you feel like. So goodbye (from John. You know, the one with glasses)Â
ANY WAY BYE BYE See you soon. I donât know why I said that.
Lennon, John. The John Lennon Letters: Edited and with an Introduction by Hunter Davies (pp. 37-39).Â
Paul and Jane Asher during a holiday in Switzerland (between 6 and 20 March 1966) (x).
John was in L.A. doing Pussy Cats with [Harry] Nilsson and having a generally crazy time of it all, fighting with photographers and haranguing the Smothers Brothers [âŠ]. Yoko came through London and visited us, which was very nice. Linda and I were living in this big old house in St. Johnâs Wood. She came by and we started talking, and obviously the important subject for us is, âWhatâs happened? Youâve broken up, then? I mean, youâre here and heâs there.â She was very nice and confided in us, but she was being very strong about it. She said, âNo, heâs got to work his way back to me. Heâs got to work at it.â Which was good. She would have been mad to just go and prostrate herself at his feet. And I said, âLook, if I see himâdo you still love him?â and she said, âYes.â So I said, âWell, would you think it was an intrusion if I said to him, âLook, man, she loves you and thereâs a way to get back?âââsounds like a Beatle song. I said, âWould that be okay? I might see him around, and Iâd like to be a mediator in this because the two of you have obviously got something pretty strong going.â And she said, âI donât mind.â It was weird meeting [John in L.A.]. He was in the house with Nilsson, Keith Moon and a few other guys and it was a crazed house. It was pretty wild days. So I said to him, âLook, come here. Come in the back room. I want to talk to you privately.â So I took him into the back room and said, âI feel like a matchmaker here, but this girl of yours, she really still loves you. Do you still love her?â And he said, âYeah, I do, but I donât know what to do.â So I said, âWell, Iâve talked to her and she still does love you, but youâve got to work your arse off, man. You have to get back to New York, you have to take a separate flat, you have to send her roses every fucking day, you have to work at it like a bitch! And then you just might get her back.â Which is sort of what he did, but youâll never hear that story. We told him to go back to Yoko and not long after, he did. You wonât hear that from them, because Iâm too much in the story then. I mean, if you hear it from Johnâs point of view, itâll just be that he spoke to Yoko on the phone and she said to him, âCome back.â
Paul McCartney, interview w/ Chris Salewicz for Musician: Tug of war â Paul McCartney wants to lay his demons to rest. (October, 1986)