In contrast to Paul wrangling John
“Later on, when I was sent downstairs to adjust a microphone, I heard them chatting excitedly about the upcoming appearance [the Royal Variety Performance]. They were over the moon about it, even though it was obvious that they didn’t care for upper-class people in general. Ever cheeky, John whispered to Paul at one point that he was going to ask the toffs in the audience to rattle their jewelry instead of applauding. Paul’s reply was a taunting “I dare ya!” That was the kind of relationship they had: John was the bad boy, the rebel, and Paul—who of course wouldn’t dream of saying that himself—was the instigator, the one needling him on to doing outrageous things.”
Geoff Emerick, Here, There and Everywhere: My Life Recording the Music of The Beatles
This angelic quality [of Paul’s face] was not necessarily always reflected in Paul’s behaviour. Hoffman noted that though in terms of verbal wit he could give as good as he got, Paul’s replies lacked the caustic edge of John’s words: “There was never really any bitterness in Paul.”
Yet it seemed to the photographer that the vicious vitriol John would pour on often undeserving victims was quite evidently to Paul’s pleasure. “In a way Paul wallowed in it, because John always played up to his requirements. It’s a useful thing to have somebody like that, who’s capable of putting down people you don’t like.”
Dezo Hoffman, photographer
To John’s further delight, he discovered that Paul was corruptible. In no time, he groomed his young cohort to shoplift cigarettes and candy, as well as stimulating in him an appetite for pranks. On one occasion that still resonates for those involved, the Quarry Men went to a party in Ford, a village on the outskirts of Liverpool, out past the Aintree Racecourse. “John and Paul were inseparable that night, like Siamese twins,” says Charles Roberts, who met them en route on the upper deck of a cherry red Ripple bus. “It was like the rest of us didn’t exist.” They spent most of the evening talking, conducting a whispery summit in one corner, Roberts recalls. And it wasn’t just music on their agenda, but mischief. “In the middle of the party they went out, ostensibly looking for a cigarette machine, and appeared some time later carrying a cocky-watchman’s lamp.* The next morning, when it was time to leave, we couldn’t get out of the house because [they] had put cement stolen from the roadworks into the mortise lock so the front door wouldn’t open. And we had to escape through a window.”
The Beatles The Biography (Spitz, Bob)
Graham led us around the corner, where the Fab Four were hanging with their dates at a private table in the back of the room. Well, actually it was the Fab Three—George Harrison was not in attendance. […] The deal was, Lennon was actually under the table taking Polaroid pictures up the skirts of his female companions while Paul lent a hand. Ringo laughed at everything, and Paul’s then girlfriend, Jane Asher, was doing her best to drag him out of there. Dressed in Carnaby Street’s finest, the Beatles were dimly lit, and a halo of light illuminating their mop-top hairdos added just the right ambiance to make this already bizarre scene even more surreal.
Paul was ducking under the table himself now, helping his business partner illuminate the proceedings with his disposable lighter, and Jane was searching the booth for her coat as we approached them, with Graham in the lead.
“I’ll be leaving now, Paul,” Jane said through clenched teeth as she pushed her way out of the booth and stood there, staring him down.
Howard Kaylan of the Turtles, in his autobiography Shell Shocked
Several times I saw him whispering to Paul and George, and then he’d wave his hands about and act like a spastic—a cruel but very funny routine he did frequently in the studio. I guessed he was saying to them, “Watch this.” Clearly they were taking great delight in the knowledge that they could manipulate the audience any way they wanted to.'
Here, There and Everywhere - Geoff Emerick, Howard Massey
George and Paul appear to have been slightly jealous of Stu and his influence with John, not that outsiders could see how much John admired Stu. John picked on Stu all the time and hurt him when he could. Paul, following John's lead, also began to pick on Stu, even though he was interested in art and, like John, was getting from Stu a lot of new ideas and fashions.
The Beatles (Updated Edition) (Hunter Davies)
"I remember I had a girlfriend called Celia. I must have been 16 or 17, about the same age as her...we went out one evening and for some reason John tagged along, I can't remember why it was. I think he'd thought I was going to see him, I thought I'd cancelled it and he showed up at my house. But he was a mate, and he came on a date with this Celia girl, and at the end of the date she said, 'Why did you bring that dreadful guy?' And of course I said, 'Well, he's all right really.' And I think, in many ways, I always found myself doing that. It was always, 'Well, I know he was rude; it was funny, though, wasn't it?'"
Barry Miles, Many Years From Now, 1997
Thereafter, it was John and Paul who brought in all the new material; they assigned each musician his part, chose the songs, sequenced the sets—they literally dictated how rehearsals went down. “The rest of us hadn’t a clue as far as arrangements went,” Hanton says slowly. “And they seemed to have everything right there, at their fingertips, which was all right by me, because their ideas were good and I enjoyed playing with them.” But the two could be unforgiving and relentless. “Say the wrong thing, contradict them, and you were frozen out. A look would pass between them, and afterwards it was as if you didn’t exist.”
“Lennon had attitude, and, taking his lead from Lennon, McCartney could be similar. At times, they reminded me of those well-to-do Chicago lads Leopold and Loeb, who killed someone because they felt superior to him. Lennon and McCartney were ‘superior human beings’.”
Bob Wooler in Mark Lewisohn’s Tune In
"When John did 'How Do You Sleep?' I didn't want to get into a slinging match. Part of it was cowardice. John was a great wit, and I didn't want to go fencing with the rapier champion of East Cheam-- But it meant that I had to take shit--It meant that I had to take lines like 'All you ever did was Yesterday.' I always find myself wanting to excuse John's behavior, just because I loved him. It's like a child, sure he was a naughty child, but don't you call my child naughty. Even if it's me he's shitting on, don't you call him naughty. That's how I felt about this and still do. I don't have a grudge whatsoever against John. I think he knew exactly what he was doing, and, because we had been so intimate, he knew what would hurt me and used it to great effect. I thought, 'Keep your head down and time will tell,' and it did because in the 'Imagine' film (Imagine John Lennon, documentary), he says it was really all about himself."
Barry Miles, Many Years From Now, 1997
