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ojovivo
macklin celebrini has autism
wallacepolsom
#extradirty
One Nice Bug Per Day
tannertan36
Keni
❣ Chile in a Photography ❣
🪼
@theartofmadeline
we're not kids anymore.
2025 on Tumblr: Trends That Defined the Year
he wasn't even looking at me and he found me
Lint Roller? I Barely Know Her
TVSTRANGERTHINGS
"I'm Dorothy Gale from Kansas"
Noah Kahan
Cosimo Galluzzi
occasionally subtle
seen from Singapore
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seen from Türkiye
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@hermajestythesun
this picture always kills me. linking up with the guy who beat the shit out of your dead fiance because he was jealous of the attention he was getting from his situationship who is currently having an affair with their boss a week after he had his first child. he also almost drowned about 5 minutes ago.
george didnt give af
john and paul one soul in two bodies thing fucks me up quite regularly but some of the worst examples of this is john saying "i don't know what he wanted because i never knew what i wanted" re whether paul found what he was looking for with linda and when he says "because when i feel weak, i think he must feel strong" about why he expected better from paul with his solo songs....they were a quantum entanglement
can you believe that pop music is what it is now because two boys played guitars mirroring each other and they got matching haircuts one summer and they looked into each other's eyes and bled into each other 🚬🚬
whoever drew this ily
so what I'm getting is that the mclennon dynamic is like
lennon sees mccartney as this unstoppable force that is equally kinda gorgeous and terrifying and it triggers all of his insecurities at once. he is in the trenches. he is suffering
and then mccartney sees lennon through heart-eyes like a 13-year-old with a crush. 'his nose is SO cool~' 'he is SO smart~' 'he likes MUSIC. wow'
technically it's more complicated than that but also yes.
"The thing is when--he did used to kind of. . . hit me. Occasionally. Like, y'know, that was what they did in those days... Yeah no but y'know I was, er, y'know it's not all great. But I'll tell you what comes to mind though just the mem-- the memory of the one moment when I was about, I don't know, 16, 17 or something, and he came with the usual stuff and he sort of just slapped me. And he says (angry gibberish) and we're having an argument and he slapped me . . . and I just--I just stood there. And it was like an amazing M-moment in my life. I said, "go ahead, do it again." And it was like (makes a whooshing noise) and he just went (makes the sound when something falls in a cartoon)And he never did it again."
Paul, talking about his dad on the 2001 Howard Stern show
*stares into the distance* I feel like there's a lot going on here that we don't talk about enough.
I've said it before and I'll say it again, it's very interesting that Paul chose to frame this story of him standing up to his dad after getting hit so positively 'it was like an amazing moment in my life'. And this is the only quote we have from Paul that explicitly talks about Jim hitting him, and even then he talks about how amazing it felt to finally stand up to his dad, not how much he hated getting hit. You can also really tell that he's having even more trouble expressing himself than usual based on the stammers and using sounds instead of words so much. It's also very interesting that the only story he's ever felt comfortable sharing is the one where he stood up to his dad and got him to stop, I've noticed he'll purposely frame every Jim story as positively as possible (I've noticed that with him a lot in general but he does do it a lot specifically with Jim) and maybe this was the only story of Jim hitting him that he could find any kind of positive spin for.
John/Yoko/Paul/Linda
Paul’s interview w/ Chris Salewicz (1986) (source: amoralto):
John and Yoko’s St. Regis interview (1971):
Both John and Linda displayed moments of possessiveness — John separated Paul from Yoko, while Linda affirmed to Yoko that Paul is hers and she’s not after John.
Both Paul and Yoko similarly felt these explanations were insulting (and look John! — Yoko and Paul are behaving alike! How conveniently attractive for you).
These two couples were oddly intertwined… It’s like they all felt the unaddressed tension in the middle and can’t move away from it. So, it made them act super awkward with each other. Two were defensive, two were insulted, and then they just switched around — Paul is jealous of Yoko, John is jealous of Linda. Not to mention Yoko initially chased after Paul, and Linda started off as a “John-girl” fan. They’re the messiest four square, although they had no chance to begin with due to John and Paul’s long-time dynamics.
John’s continued St. Regis interview:
In the same interview, John linked his attraction to women, to Paul’s attraction to women: “I never knew what he wanted in a woman because I never knew what I wanted.” It’s a very implicative line. Because why is it necessary to know what your best mate is attracted towards, in order to analyze yourself? Why did John need to know what Paul liked, so he can understand his own attraction to a woman? It offers no explanation other than, sometimes, I don’t know where John begins and Paul ends. Or at least that’s possibly how John saw it — he and Paul are intrinsically tied.
This continued when John acted *so surprised* by Linda’s appearance: “Boom! She was in and that was the end of it.” Yet, that’s basically the same speed he and Yoko became a couple — where suddenly Yoko is replaced as the sun and moon. John had such a weird lens when it came to Paul, or another set of rules concerning him. Sometimes it seemed like John didn’t even outwardly recognize this. Paul, too. Because Paul sorta did a similar unreflective thing — translating John’s jealousy over the idea of Paul and Yoko together as the result of “paranoia and heavy drugs.” And not seeing how from John’s point of view, it could be just as painful to see Yoko with Paul as it could to see Paul with Yoko, especially if John viewed their attractions as tied together.
Paul’s Life Magazine interview 1969:
And in the end, after the Beatles dissolve and they’re divorcing, Paul tried to untie their mess, yet accidentally roped them together with another sticky message: “We didn’t marry the same girl.” WHY mention this? Everyone knew that already. Why not say ‘we all went our separate ways’ instead of drawing him and John together in their web of marriages. It’s such an unprompted image.
All of this is so frustratingly tangly, with John and Paul in the middle making the lines blurry.
In the last paragraph here, Paul speaks on the breakup:
“We had to look at life, instead of just this group. We had to find women, for one, uh, which we all sort of did. Um. And then we had to give time to that new life, you know, because with the Beatles it prohibited any other thing.”
“We had to find women” = we can no longer be together.
Again, this is so tangly because normal friendships usually survive members getting married. And even if there are friendships out there unable to weather the introduction of boyfriends/girlfriends/spouses, that wasn’t the case for John and Paul before 1968. Because both always had women around! John was literally a husband with a child (even if he did cheat). Paul was in a five year relationship with Jane (even if it was an open relationship of sorts). They already had women. So Paul’s point is depressingly flawed. Yes, he’s trying to convey they’d found serious commitments to their new wives, but there were also serious elements in their previous relationships. Again, John was a full-blown husband. The real crux is so obvious — John and Paul couldn’t function cohesively when they weren’t placed as the most important person in one another’s lives. It tore them apart.
And when discussing the group finding women, Paul says “we all sort of did,” yet it’s only John and Paul who went through that. George and Ringo weren’t going through any phenomenal romantic relationship changes during this time period. “We” is just him and John.
“You can’t help when you fall in love — when it happens, it happens. When I first started with Linda, John Lennon, like a lot of people, said, ‘I’m surprised by your choice, are you sure?’
“And I said yes, ‘I’m surprised by yours too’ and we had a little laugh. But we both agreed you can’t tell who you fall for.”
— Paul McCartney, interview w/ Dominic Mohan for the Sun. (November, 2001)
They were laying down the tracks and doing the melody lines of the song ‘And I Love Her’. It was a very simple song and quite repetitive. George Martin and I looked at each other and the same thought sparked off in both of our minds. It was proving to be, although plain and a warm and sympathetic song, just too repetitive, with the same phrase of repeating. George Martin told the boys, ‘Both Dick and I feel that the song is just lacking the middle. It’s too repetitive, and it needs something to break it up.’ I think it was John who shouted, ‘OK, let’s have a tea break’, and John and Paul went to the piano and, while Mal Evans was getting tea and some sandwiches, the boys worked at the piano. Within half an hour they wrote, there before our very eyes, a very constructive middle to a very commercial song. Although we know it isn’t long, it’s only a four bar middle, nevertheless it was just the right ingredients to break up the over repetitive effect of the original melody.
Dick James on the recording of "And I Love Her"
She gives me everything And tenderly The kiss my lover brings She brings to me And I love her
A love like ours Could never die As long as I Have you near me
Bright are the stars that shine Dark is the sky I know this love of mine Will never die And I love her
The section of lyrics that John and Paul went off to go write together stands out because it changes the object of the singer's love from "her" to "you." Now the singer seems to love both an absent woman and the person he is singing to about her.
John & Paul: Do I love you, oh my do I love.
John & Paul: Honey, 'deed I do.
John: Yes, I do Paul
(This is a cover of 'Deed I Do by Ruth Etting)
Then John sings In the Middle of an Island by Tony Bennett but changes the lyrics.
In the middle of an island In the middle of the ocean You and I beneath the moonlight With just the monkeys and the palm trees
In the middle of an island When it's time to do some kissin' Plenty time for lotsa lovin' And walkin' barefoot in the sand
Though there's no island at all Just a picture on my wall My darlin', how I wish we could be (I wish that we could be)
In the middle of an island In the middle of the ocean You and I forever, darlin' In a paradise for two (In a paradise for two) Though there's no island at all Just a picture on my wall My darlin', how I wish we could be (I wish that we could be) In the middle of an island In the middle of the ocean You and I forever, darlin' In a paradise for two (In the middle of the ocean on an island kissin' you)
In The Middle of an Island by Tony Bennett (1957)
----------------------------
Do I want you? Oh my, do I? Honey, 'deed I do? Do I need you? Oh my, do I? Honey, 'deed I do? I'm glad that I'm the one who found you That's why I'm always hangin' around you Do I love you? Oh my, do I? Honey, 'deed I do? Honey, 'deed I do Hmm, honey, deed I do I'm glad that I'm the one who found you That's why I'm always hangin' around you Oh, do I love you? Oh my, do I? Honey, 'deed I do? Ah, 'deed I do
Deed I Do by Ruth Etting (1926)
Link
sorry I'm just having such a meltdown about paul mccartney like jesus. can you imagine meeting this boy when you're a young teenage boy in the 50s and he's so cool and everything you want to be and you see him around on the bus and talk to him once and he doesn't ever remember you but you remember him. and then your friend introduces you to him and he becomes just as fucking obsessed with you and you click with him like you've never clicked with anyone. you have the same sense of humor and the same interests and he's so smart and hot and funny and sweet and angry and messy and yours. and maybe you start kissing him and maybe you start fucking him but again you're two boys in the 50s you aren't allowed to feel what you're feeling. and you write songs together in your band that's going absolutely nowhere until it does go somewhere and actually it goes to places no one had ever fathomed before or ever can again. you both become some of the most famous people and the first real celebrities and your dumb lil songs reach billions of people and literally change history. you change history and pop culture and music and rock forever and everyone knows who you are. and then he breaks your heart and you break his and you fall in love again and spend years wishing it were different and that he'd come back. and you spend years trying to tell him that in song because that's always how you've communicated. but he never comes back and in fact he gets fucking murdered and now you have your entire life ahead of you without him when you'd never pictured a single day alive when he wasn't there. and you spend the rest of your life in love with him writing about loving him. and watching the world love him too even though they don't know him and they don't know you
paul mccartney gay at 83 writing a breakdown album about his murdered boy best frenemy he made some mysterious secret promise to as teenagers while may decembering with the actor playing him in the fanfiction about his life. and he’s doing yoga with alec baldwin who is a mclennon fundashi. once again having the most unique experiences in human history
If you don't know anything about Paul McCartney then most of his music just sounds happy and/or goofy but if you learn too much about him then suddenly everything he wrote just sounds like a desperate scream of repressed agony
12/14/25
The twink of the day is Paul McCartney!
I kind of understand get back John and Paul being greasy because when youre depressed who genuinely wants to or has the energy to shower. especially like. when its about the band youve been in more or less for you entire adult life (at that point). the band that created your career and has the only 3 other people that will EVER know what that kind of super stardom felt like.
i would Not have been able to be in a band with a cunty bitch like paul mccartney. like don’t pmo
do you think that paul refused to initially drop acid with the beatles/john bc he was scared that he’d have a potentially bad trip in front of them? i meant with tara you get the safety of someone trustworthy that u know but without that person being of upmost importance to you. meanwhile there was so much paul could possibly worry about saying/seeing/confronting around john that he avoided it ?
(I'm assuming this is referencing my fic where, from John's POV, Paul won't do LSD with John because he doesn't love him and he's scared of bonding and connecting with him in that way and he does it with Tara because he's just obsessed with rich people)
Yes. 100% that's what was going on in Paul's head. John going, "wow it's amazing it stripped away all my defenses and I was just fully living in the present and I'll never be the same again it's just really stripped me down to my core" like it's a good thing and Paul's like "yeah that sounds terrifying no thank you I'm going to keep reinforcing my walls up until the day I die I want those things high and thick."
Meanwhile, John's not really being open about the fact that he wants Paul to trip with him for bonding purposes. Instead, he's calling him a conservative loser. So, I think Paul tried LSD with Tara, not out of any real desire of his own (I mean a little. He doesn't do things he doesn't want to do but you know what I mean.) so that he could go "no I've tried it. I'm not scared I'm just not into it. Wasn't for me." Because you're right. He was scared of ruining his most important relationships. So Tara was someone he was close enough to that he'd be safe but not someone he'd be heartbroken about losing. Very strategic.
And he wasn't wrong. There's that quote from George where he was like "you know why I don't trust Paul? Because one time when he was having a bad trip and he thought he was going to fall off this cliff I kept trying to offer him a hand to help him down and he wouldn't take it." Which is so indicative of Paul's issues that George would never understand. But anyway the point is, Paul's "bad" behavior while under the influence of LSD actually did have a serious negative impact on one of his closest relationships.
That's why, I think, he finally chose to trip with John when John was having a bad trip himself. Paul was terrified of being the problem but if John's already in a bad place he can't leave him there alone. Like George Martin said, something about "to be with him in his pain." Paul thinks it's his job to save John. And of course, with their soulmate psychic bond, they ended up melding minds and becoming one just like John had wanted and they deepened their bond and it was beautiful.
Sorry I'm up in the mtns and don't feel like looking up the actual quotes but thank you for this ask! It's so fun to get into why they did what they did and what was (I think) going on in their little messed up heads.
