Sans titre

[lucyjp]

Hi there!

I know thanks to the fics that John and Stu were close in Hamburg and that Paul was rejected by the exis.

Have you book excerpts about this period? I have never read a beatles hamburg book (and i am very curious about this period).

Sorry for any mistakes. English is not my first language.

[lucyjp]

I'm very intrigued by these pictures: my interpretation is that John saw Stuart like a sort of guardian angel. And Paul, well, Paul was everything (i'll explain in a another post)

- photo 2: Stuart's photo above John and Yoko (Yes it's Stuart).

Paul's photo is the most far away, don't you think that interesting?

- bed in photo: i think it's Stuart's photo behind John. It's Paul to the right (i really think).

- the man in the tree and the man with glasses?, don't you think it looks like Stuart?

[lucyjp]

Hey, is there still anyone here? I'd like to write a hellcanary fic and wanted to know if some of you are interested?

Sorry for any mistakes. English is not my first language (I'm french).

[lucyjp]

Hi,

I'd like very much write a mclennon fic. My only problem is that I'm french and that I don't write good enough in english (there's not seems to have a lot of french people in the fandom).

If I write a mclennon fic in french, can someone translate it in english?

[amoralto]

Visit Original Link

April 16th, 1973 (Beverly Hills Hotel, Los Angeles): A few months before the Lost Weekend, DJ Elliot Mintz, in his interview with John and Yoko, slips in a leading question about Paul. Cue John’s defensive, convoluted rambling. (Note: Elliot Mintz was, and still is, a good friend of Yoko Ono’s; it’s been said, however, by at least one credible source that John himself didn’t have a very good opinion of Mintz, and mostly tolerated his company. In this interview - with Mintz keen for an unfavorable comment about Paul, and John pointedly not giving him one - it may seem so.)

MINTZ: There’s one name that has not come up in our discussion. JOHN: Who’s that? MINTZ: Paulie. [laughter] JOHN: Yes, he did! We got Paul in it. And I object to that Paulie business. MINTZ: Mr. McCartney. His name— JOHN: Paul. MINTZ: Paul. Yes. And we really haven’t discussed him to any degree, and people are always concerned about, er, how you regard him. JOHN: I first met Paul— MINTZ: No, no, they’re not interested in that aspect, but they – they are interested in how you relate to him now. There is this all-pervasive feeling, you know, that folks sometimes articulate, that you don’t have the fondest of feelings towards him. Perhaps you’d like to discuss that. JOHN: Well, because of the situation we’re in, and I often express myself through song, or mainly through song, somebody can have – let’s call it— Let’s say he’s a brother of mine, in the family. Now, if two brothers argue and fight, for whatever reason, or even – write, the only way they can express themselves, because they’re not artists, is either through letters or through dialogue. One brother goes away to sea, not because they had a fight, but because he was going away to sea anyway. The last thing they did was have an argument. He, the brother away at sea – let’s call that me, ‘cause I went to America – might write to his brother, or he might write to his other rela– his auntie, let’s say, to, you know, jolly do, say this, or whatever you might say about it. Now, because we’re in the – we do it on the grand scale, or whatever the trip is we’re on, my letters home are examined and taken for a lifelong statement. Now, I said, “I want to hold your hand”— That’s what I was saying then. At the same time, I was saying, “id grooble on the diddle bow,” in me books, right?

So – yeah, okay, I said it, alright? So what does it mean? Does it mean that that is the Bible, and I – and when I’m eighty, that’s what I mean? And now to reiterate yet again ‘cause I heard the program – you know, do they will they are they about the song ‘How Do You Sleep?’. And I’ll say once again— ‘How Do You Sleep?’ was my reaction to Paul’s [second] album. And the song that particularly offended not only me, but the others too – and maybe we were super paranoid at the time, but that’s irrelevant, it’s there in green and white – was ‘Too Many People’, and some various other remarks. Now whether he’s – he was expressing himself because whether we plan it to express our innermost feelings, or sort of surreal it like Dylan, or – Paul, you could say, his lyrics are very sort of… non-specific – if one knows the person, one knows what is coming down. You know, you can read what’s being said— YOKO: Between the lines. JOHN: Between the lines. Because people’s expressions and feelings come out in their work whether they want it to or not. So I always express myself directly, or [in the] language of the streets, and other people don’t. And that’s what it was all about. And I don’t go ‘round thinking, “how do you sleep?” the same as I don’t go, “imagine there’s no heaven,” you know. Because it’s 1973 now, and it’s a different world. And as you’ve probably heard, or people have read, Paul and I have communicated, Linda and Yoko have communicated. And another myth was that Linda and Yoko had all sorts of arguments going on in the early period, and they never had one. YOKO: No, never. JOHN: And they related to each other fairly well. And if anything the arguments are between the two males, you know, the machos. And that’s how it was, and as far as I’m concerned, it’s all over, and I hope not to go through that kind of trip again with anybody. For whatever reason. It’s just a waste of energy and time. There you go. And we’re fine! And if we could meet, it’d probably be finer, but the government’s making it inconvenient. MINTZ: So when you think of him now, you don’t think hostilely or negatively?  JOHN: No. I’m happy he’s doing well with his song, I think his album will do well, and – good luck to him, you know. I hope the James Bond theme’s well, and good luck to all of them, you know. Just – as long as I don’t have to be a part of it, then great! I wish them all well. Even, or including Mr. Klein. Good luck to him. I just wish to lead my own life. Yoko and I want to be happy. And whatever it takes – I mean, not over somebody’s dead body, as it were – but that’s the main concern, and that’s what it’s all about.

[lucyjp]

During a set break, Klaus introduced himself and his friends shyly in broken English. The musicians admired their clothes. Jurgen said he bought all his clothes at the Paris flea markets. Detecting pomposity, John plucked an imaginary flea off Jurgen’s coat and pretended to flick it at Paul, who flinched.

John noted Jurgen’s floppy haircut, asking if he had it done in Paris. ‘No, I cut it myself.’

‘Funny looking, ain’t it, George?’

‘It is.’

‘Would look good on Paul, though,’ said John, putting a comb under Paul’s nose to make a Hitler face.

Source: Fab: an intimate life of Paul Mccartney