Yes it did

A podcast that explores the dream that was, and is, the Beatles

[sgtpeppers]

The Beatles during their final photoshoot, 22nd August 1969 at Tittenhurst Park. Footage included in The Beatles Anthology, Episode 8 (2025 Remaster).

[onesweetdreampodcast]

Despite everything that was happening at that time, they still look so beautiful!

The different styles work so well together, and the setting is gorgeous.

They couldn’t help but create magic

[illleavemymessageinmysong]

Paul & Jane (contd.) - the ties that bind

Having looked at Jane’s presence in Paul’s recent projects, it might be an idea to have a quick squint at the odd little connections, or possible connections, between them in the preceding years. Jane’s decision to keep schtum (after a couple of early interviews), and Paul’s consequent reticence to discuss her, means that any connection between them feels quite poignant.

* A 1986 interview for ‘Entertainment Now’, stands out, with interviewer Barbara Howar going where few others have:

“Probably your great love before you married Linda was Jane Asher….”

Paul visibly flinches, moves his head back and looks a bit unsettled

“…you put me on the spot, Barb”

The gist of Barbara’s point was that he was drawn to kind but strong women. He bats that away a bit saying he doesn’t really analyse his relationships. Fair enough.

* In 1988, Jane was a guest on BBC Radio 4’s long running programme ‘Desert Island Discs.

Guests are asked to select eight audio recordings. Jane only chose only a couple of pop records, one of which was Paul’s song ‘Woman’. The discussion, of course, focused on it being a Peter and Gordon record and Paul wasn’t mentioned. She could, of course, have picked any non-Paul P&G record. She said of it:

“There’s one of theirs I particularly like, ‘Woman’….i love it”.

* Between 1996 and 2002, Jane had three novels published, each a dark, psychological thriller. In a previous post we had a look at ‘Losing It’ and a character’s description of the living arrangements when her boyfriend moved into her family home.

In a work of fiction, she’s pretty clearly describing the time when Paul lived at Wimpole Street, yeah?

Her novel ‘The Question’ includes a few characters with Paul-associated names: Eleanor, John, Ruth and George the dog!

The plot centres on the fallout from the discovery of infidelity and betrayal. The discovery is prompted by Eleanor seeing her husband’s bright yellow tie. The yellowness of the tie is emphasised before we get the detail of it being swirly patterned.

“She had no realistic hope of changing the fact that the yellow snake would still be there, coiled, waiting, on the velvet surface”

“Talking of yellow - I love Mr H.'s new tie. All those swirly things on it - very unlike his usual.”

When Paul and Linda married in March ‘69 (“Linda and I were eventually married in Marylebone registry office, which is a strange little twist”), Paul sported a bright yellow tie. When they went on to the wedding blessing at St John’s Wood Church, Paul had changed neckwear to a swirly patterned number.

Dedicated followers of fashion would have noted that Paul had previously been seen in public wearing those ties. I’ve been told that the teen mags of the day said the ties were gifts…Anecdotal, so can’t confirm.

* When her mother Margaret died in 2011, Jane set up an online JustGiving page for Dementia UK in her memory. The page showed a contribution and comment from George Martin. It also showed a sizeable donation from a ‘Paul’ and this comment:

“Margaret was always such a good friend to me and I will never forget her lovely wit and gentle good humour”.

* In 2017, Paul and Jane both appeared, separately, in the mockumentary ‘Brian Pern: A Tribute”. Paul is really good in it, natural and funny. Jane stars as Pern’s ex-wife Cindi and pretty much steals the show, having some of the best lines in the film and delivering them brilliantly.

[javelinbk]

John and Paul’s 70s meetings - part two (part one, part three)

After a couple of days of family visiting, Paul and Linda went into Manhattan on their own. “We left [the girls] for the first time this summer when we were visiting my dad on Long Island,” Linda reported. “We went into New York for two whole days without them. It was like a dirty weekend.”

In Manhattan, they visited John and May in their new apartment at 434 East 52nd Street, a penthouse overlooking the East River. It was a tumultuous time for John and May, who had moved into the apartment toward the end of June. Shortly after Paul visited them in Malibu, May began to feel that John was pulling away from her—behaving sullenly, spending hours reading beside the pool, and saying he wanted to be alone.

Excerpt from The McCartney Legacy, Volume 2, Allan Kozinn

[onesweetdreampodcast]

Shortly after Paul and Linda visited John and May in NY, in fact within days ( or a week?) John wrote and recorded #9 Dream.

[sgt-paul]

don’t think we are ready to have the yoko conversation yet but… the thing about get back is that we are supposed to believe that john wanted to continue with yoko only, he would choose her over the band as if this were the easiest most obvious and least significant decision ever, that he would have truly been willing and able to “sacrifice them [his lifelong best friends and partner, and the astonishing monster that he’s created with them/him; his life] all for her” just for the sake of it, in that sense he was just totally checked out and disinterested, all that jazz right. but the series does nothing to like, show why this might be or that this might be a thing at all? because when it really comes to john&yoko it’s walking on eggshells, doesn’t even attempt to show that yeah, this is a major conflict in the band and it’s not normal and it’s not just two people being really in love, and yes john is swinging between extremes, he is often shown to be either totally unresponsive, quiet and suffering and just not contributing much, he doesn’t have a lot of songs or ideas to offer, or he’s clowning on and on and on in a hyper way, but like… he is never shown to be against any of these ideas - the show, the documentary, a new album, you never see him comparing his “art” with yoko to creating with the band, at no point is he like “yeah i much rather be off in a black bag than here making music with you guys”, not even in a vague way does he ever put these things against each other. instead he seems to be having the time of his life playing with his best friends, and creating with paul is still such a massive thrill for him, the scenes where they are working out certain parts to a song and they are eyeball to eyeball are the ones where he engages the most, you see him paying attention, being responsive and receptive and.. you just don’t see him being checked out. you don’t. he is sending mixed signals, he is all over the place and going through a lot, but in his own way he is trying to reconnect (or really trying to get paul to reach out and react).

so we are back to the same old same old in a way, why the fuck does a relationship need to be competing with the beatles/paul, why does he need to put these two up against each other, and what does this new relationship give to john that the beatles/paul don’t and why can’t the two co-exist (as in the artistic sense this is said to be the big “clash”), why does he need that, what’s his problem with the current state of the band. you see john loving their music, there are absolutely no major, dividing conflicts in the creative department, or regarding the style of the songs, or the direction and nature of the project or anything, performing, working and clowning with paul makes him look alive and happy, but this “no no, he wanted to create only with yoko, he was moving on, he wasn’t interested in the band anymore” mess still persists as the thing that’s supposed to explain it all. but it doesn’t ffs

[thecoleopterawithana]

All of this, yes! What’s interesting is that Peter Jackson watched all of the footage and this is still the narrative he is going with. At least that’s what I get from his interview with Colbert:

I had an appreciation how utterly painful this must have been for Paul. Because he’s watching his closest creative collaborator — someone he’s known since he was fifteen or sixteen years old — start to drift and go towards Yoko. John’s not pushing Paul away, but Paul’s watching Yoko now become the creative collaborator John’s excited about.

Like, where in the footage do we see John being more excited to work with Yoko than Paul and the Beatles? If anything, one could argue at times that he is checked out, so you could say he’s no longer interested in the Beatles (despite the various times both John and other people argue the opposite during the sessions).

But saying the footage shows John’s no longer interested in the Beatles still isn’t evidence that he’s excited to work with Yoko. To reach this conclusion, one would have to impose the JohnandYoko narrative on top of it.

And if one could argue this is just supplementing your analysis with information from interviews given then and afterwards, then you need to really use all of the information available. Including the parts when John said he was using Yoko to have the strength to leave the Beatles (if anyone has the quote at hand I’d truly appreciate it!)

And even this piece of information doesn’t paint a complete picture, but it still at least illuminates the order of causality at play: John wasn’t detaching from the Beatles to be with Yoko, he was with Yoko to detach from the Beatles.

Or at least try to. Which we know, from his behavior during the breakup (and the rest of his life) clearly didn’t work!

The thing is, as @sgt-paul was saying, if we continue to take the JohnandYoko narrative at face value (as people seemingly want to do) then we’re no closer to understanding either the breakup of the Beatles or John Lennon as a person!

[walkuntilthedaylight]

John’s not pushing Paul away, but Paul’s watching Yoko now become the creative collaborator John’s excited about.

Whew, boy.

The brilliance of Get Back is that Jackson presented his film with a light enough narrative touch that you can process the emotional arc somewhat objectively, but without context of why everyone is so fucking miserable any viewer can impress their own pre-existing interpretation of the breakup onto what they’re seeing.

This isn’t a bad approach to documentary filmmaking at all, but it’s wild to see how much the JohnandYoko Story is still distorting ppl’s ability to see what’s right under their noses. As always, the elephant in the room is John’s heroin use, and mental health in the post-band period, alongside the assumption that everything that went on in the band had to do with professional egos and artistic differences, rather than interpersonal pain re: private life issues played out in the studio. It’s interesting that Jackson said putting this footage together made him understand that the Beatles were real, textured humans, but he’s still subtly seeing the conflict through the lens of Legend Crafting: “this is about John leaving one legendary artistic collaboration to move onto another equally legendary stage of his career, but actually everyone was sadder about it than we thought.”

Idk, perhaps part of the reason everyone is so miserable and walking on eggshells is bc John is on fucking heroin, acting like a completely different person, and rapidly detaching himself from a social group/support network he’d been embedded in for like ten + years so now he’s impossible to talk to on top of everything. Maybe part of the reason everyone is losing their patience with Paul even though he’s obviously trying his best is bc he keeps running rambling, incoherent interference for John’s toxic relationship anytime someone tries to broach the topic of it being obviously toxic.

Why Paul is doing this, and what John was trying to accomplish with his publicly constructed Love Story, are open to interpretation, but it’s weird that people treat the effect John’s mental deterioration - or the fact that he DID mentally deteriorate at all - as equally debatable, and probably not very important in the grand scheme of things If True.

Like I don’t think the resistance to seeing past the “John wanted to leave for new artistic pastures” reading is even entirely about wanting to avoid “The Yoko Conversation” (its true: absolutely no one wants to be the guy at the party saying “um actually, Yoko DID kinda break up the band…”), but also about not wanting to have the “Heroin Conversation”, or the “Casualty of Fame Conversation”. Some people who claim to be Bigtime John Lennon Fans would literally rather burn in effigy his Cultural Image™ as a sin eater for the entire band than admit that maybe his life went a little off the rails and never got back on track.

I’ve been banging my head on this phenomenon for months, and my only pet theory is that acknowledging the tragedy of John’s life threatens certain sacred pillars of Boomer Coolness. Despite “Men Of A Certain Age” being the primary source of the actual ghoulish anti-Yoko rhetoric, they’re also the primary audience of the JohnandYoko myth. It was more or less designed for the demographic of, and in cooperation with, Rolling Stone magazine. It doesn’t matter if these guys don’t like the music, or don’t like Yoko, the image of a rebel who gives the middle finger to society to go do weird art and edgy drugs with his Cool Bohemian Chick with whom he has finally found True Love is extremely seductive, especially for the suburban raised generation who think it’s normal for men to stop having friends when they get married. These are also the people still propping up the bulwark around popular Beatles discourse, so we’re in a strange situation in which the people most likely to say some genuinely heinous shit about Yoko are also technically her biggest fans and will shut down any conversation which questions the sincerity of John’s supposed artistic convictions, or the state of his mental health when he was with her.

Sorry if this got off topic, I’m just fascinated by the way Get Back has turned out to be such a intense fandom litmus test, and Jackson proving incurious about the obvious clash b/t John’s stated motivations and his behaviour is part of that litmus test playing out. It does indeed mean something that John used Yoko to leave The Beatles, he did not leave The Beatles for her. And it also means something that this decision was a nearly two year slow broil, rather than being set in stone from the moment he and Yoko hooked up.

[onesweetdreampodcast]

👏

[onesweetdreampodcast]

John and Paul, to each other in 1970.

This iconic line from John Lennon is the title of Episode 1 of Lennon Reveals because it captures the heart of the misunderstandings that tore The Beatles apart. Each misreading the other—this moment reveals so much about the dynamics between Lennon and McCartney in 69/70. Hear Lennon’s 1971 account in this episode, and stay tuned—Episode 2 drops next week!"

[paulandjohn]

Lennon Reveals: The St Regis Series Ep #1. "I'm Doing What You're Doing"

Podcast Episode · One Sweet Dream: A Beatles Podcast · 31/12/2024 · 2h 18m

@onesweetdreampodcast yay! 🥳

[javelinbk]

“With the Beatles,” Paul said, “you had a collection of four very like-minded people, with very definite directions in things like marketing. The difference now is, I find it difficult to resist some sort of amazing marketing man really telling me how ‘this is going to make the whole thing a sort of marvelous venture.’ With the Beatles, it was very easy to resist those ideas: you’d just say, ‘fuck off,’ because there were four of you saying fuck off. Now it’s just me, and I’ve got to be absolutely sure that what I’m saying is the right thing.”

Excerpt From The McCartney Legacy, Volume 2, Allan Kozinn

[onesweetdreampodcast]

These books drive me crazy. These authors so often zero in on the negatives, reflecting their biases and views of Paul during the '70s. It's frustrating, especially when I can think of countless positive quotes that completely contradict their narrative. It’s disappointing they couldn’t step outside their narrow perspective to tell a more balanced or original story.

Unfortunately, Paul ended up with a writer from the original wave of '70s critics—someone who clearly isn’t a "Paul guy"—to shape his legacy book. The books contain some valuable new information, but it's a missed opportunity to tell a better story about Paul McCartney's life and work. There is such a GREAT story to tell— but they didn't tell it. And they certainly don't understand the Lennon/McCartney relationship at all since they seem to think Lennon has all the power all the time, which he clearly didn't. Such a shame.

[thewalrusespublicist]

I’m sick of all the good takes on here. What are your terrible/controversial Beatles takes that you know you’re likely wrong on, but stand by anyway?

[gardenschedule]

i literally have a draft ready for this exact question, it was too dumb of a hill to die on to be worth posting so i just left it... until now, here we go!

John probably liked Obladi-Oblada

My evidence:

They had fun writing it in India

Ob-La-Di, Ob-La-Da was born on the steps of one of the low slung cottages where the entourage lived. One day, remembers Saltzman, he was passing by the cottage when he saw Lennon and McCartney sitting on the front steps and strumming the tune on their acoustic guitars. He ran back, picked up the camera and took pictures of the two with a pensive-looking Starr sitting on the side, from outside a wicket gate. Saltzman remembers the two were singing the first two lines of the song "over and over again, going fast and slow, having fun". "That's the riff we have," McCartney told Saltzman, "but no words yet".

Filmmaker Paul Saltzman

George and John had been selected as Prudence’s “team buddies,” a designation comparable to court jesters, appointed to rescue her from a near-catatonic state. “One night when I was meditating, George and John came into my room with their guitars, singing ‘Ob la di ob la da,’ ” she told her sister, Mia, although it seems unlikely they’d play one of Paul’s songs. “Another time John, Paul, and George came in singing ‘Sgt. Pepper’s Lonely Hearts Club Band,’ the whole song!”

The Beatles – Bob Spitz

2. They had fun recording it (at first)

“I remember being in the studio with George and Ringo, struggling with an acoustic version of the song. John was late for the session but when he arrived he bounced in, apologizing, in a very good mood. He sat down at the piano and instantly played the blue-beat-style intro. We were very pleased with his fresh attitude. It turned us on and turned the whole song around. He and I worked hard on the vocals and I remember the two of us in the studio having a whale of a time.”

Many Years from Now

George happened to be absent on the first night the Beatles started running down “Ob-La-Di, Ob-La-Da,” so Chris was the de facto producer. Initially, we all enjoyed doing the track because of its lighthearted up-tempo feel. Even Lennon got into it—at first, anyway—because it gave him a chance to clown around with his silly voices. But then it started going on and on, dragging out over three nights. Paul wasn’t happy with the rhythm of the track or with the way his vocal lay. He was after a Jamaican reggae feel and he wasn’t satisfied that the band had nailed it. The problem was exacerbated by the fact that even Paul didn’t quite know how to lock it in rhythmically, and so he was getting pretty frustrated with himself.

Here, There and Everywhere - Geoff Emerick, Howard Massey

Paul was something of a perfectionist by this point, but he also had to have been upset about the way John had been acting. I couldn’t help but think that perhaps that had something to do with why he was so fussy about the recording of the song—maybe he did that just to annoy John, just to teach him a lesson. Throughout the preceding weeks I had noticed that John’s behavior was becoming increasingly erratic—his mood swings were more severe, and they were occurring more frequently. That was definitely the case with the recording of “Ob-La-Di, Ob-La-Da.” One moment he’d be into it, acting the fool and doing his fake Jamaican patois, the next minute he’d be sulking and grumbling about how the song was more of Paul’s “granny music shit.” You never knew exactly where you stood with Lennon at any given time, but things were definitely getting worse.

Here, There and Everywhere - Geoff Emerick, Howard Massey

Howard: John didn’t like this song Obladi-oblada, am I correct? Paul: Who says?! No, John did like that song. Howard: He liked it? Paul: I think so yeah.

Paul: Well, what happened was, me, George and Ringo were kind of slaving over this and John wasn’t there, he was late again. So were not getting anywhere with it, we’re thinking oh god it’s not happening. And John comes in the studio and says what are you doing, what’s happening, what are we working on? We say Obladi, he goes “Oh, that one!”. He goes over to the piano and goes [mimes opening piano] and we fall in behind him and go “yes!”. Howard: And isn’t that great when someone comes in with a fresh set of ears and just goes okay I got it Paul: It’s a great little memory, yeah

Paul McCartney interview with Howard Stern, 2018

3. John kept listening to and singing it after it was recorded

One night John tuned in to Tom Snyder's late-night talk show, which had as its guests Paul and Linda McCartney. John, amused and intrigued, noted that Linda was in a particularly ornery mood. But he admitted that Paul, whom he termed superficial, appeared to be flourishing. After the show John heard from McCartney, who phoned the Dakota to talk about music. As soon as he retired to his bedroom that night, John pulled out several old Beatles records and even played some McCartney tunes, including "Obla-di Obla-da" and "Eleanor Rigby." Despite his often volatile feelings toward McCartney, theirs was the kind of deep connection for which John continuously yearned. It was a void no one else would ever fill. Yet Lennon never put his stubborn pride aside to repair the once-treasured friendship.

Lennon in America: 1971-1980, Based in Part on the Lost Lennon Diaries

3.31 OB-LA-DI, OB-LA-DA Paul’s Jamaican influenced bass line leads off this slightly off-color (and substantially different) version of a song which originally appeared on “The Beatles.” John does most of the singing here, perhaps as a response to Paul’s having taken the lead vocal on his song “I’m So Tired” a few moments earlier. Someone (perhaps George Martin) pounds out the rhythm on a tambourine throughout. Everyone is obviously having a great time, and John and Paul laugh their way through the performance. It’s interesting that John and Paul sing the same parody lyric simultaneously at one point; presumably they'd done this sort of thing before. It’s also interesting to note that John’s enthusiasm for this number is in marked contrast to his post-Beatle opinion of it, which was consistently negative. As the performance ends, Paul utters some bitter words about entertainer Jimmy Scott who publically claimed that Paul ‘stole’ “ob-la-di, ob-la-da” from him (the phrase, not the song). The final line of the performance is a direct reference to Marmalade’s recording which added a reference to jam to the song as a pun on their name.

24.10 GET BACK / OB-LA-DI, OB-LA-DA This starts out as a half-baked version of “Get Back.” Paul, however, interjects the bass riff from “Ob-La-Di, Ob-La-Da,” which prompts the others to play that song. John sings the first verse (imitating Paul’s voice), as Paul sings backup. This messy hybrid very quickly quits, and The Beatles move on to more serious rehearsal.

3.42 OB-LA-DI, OB-LA-DA John sings a single line of parody lyric.

Get Back, the Unauthorized Chronicles of the Let It Be Disaster (Doug Sulpy and Ray Schweighhardt)

4. Negativity and being critical of each other's songs at this time was greatly exacerbated by their relationship problems

I saw the grimaces flicker across the faces of George Harrison and Ringo, and I’m quite sure that none of us missed the sheer look of disgust on John’s—this was a McCartney composition that Lennon openly and vocally detested. These days, the two former close friends and songwriting partners expressed little but disdain for each other’s contributions; in fact, it seemed that whenever one would even bother to offer a suggestion to the other, it would be rejected out of hand, even if it was a good one. Paul and John weren’t having legitimate musical differences; instead, they seemed to be saying, “I don’t like what you’re suggesting because I don’t like you.” They weren’t necessarily angry at each other, but you could see that both were highly frustrated, and Yoko’s constant presence certainly wasn’t helping matters any. As a result, within what had once been a close-knit group, there was no longer any sense of team or unity; any camaraderie that had once been there had now simply vanished.

Here, There and Everywhere - Geoff Emerick, Howard Massey

JOHN: It’s not that we didn’t like each other. I’ve compared it to a marriage a million times, and I hope it’s… understandable for people that aren’t married, or any relationship. It was a long relationship. It started many many years before the American public – or the British public, for that matter – knew us. Paul and I were together since he was fifteen and I was sixteen. Now, it’s a long long time that the four of us have been together. And what happened was through boredom, and through just the too much of everything, and Epstein was dead, and people were bothering us with business… The whole pressure of it finally got to us. So like people do when they’re together, they start picking on each other. It was like, “It’s because of you, you got the tambourine wrong, that my whole life is a misery!” You know, it became petty. But the manifestations were on each other, because we were the only ones we had.

January 1st, 1976 (Dakota, New York)

[onesweetdreampodcast]

Hi! Is the podcast coming back? Have been missing it!

Yes very soon!!!

[reflectismo]

Now people say your music is a bit more square these days than it used to be. Would you agree with that?

Paul: That's right, yes. I think it's true. I hate it and I wish I didn't play it. But unfortunately I do and I'm just going to do the best I can with it. It's not TOO square wouldn't say so.

How close did the Beatles come to going back on the road around the time of 'Let It Be'?

Paul: I can't remember. I'm not with the band any more.

Do you feel bitter about the people who won't let you stop being a Beatle and just judge you as a new group on its merits?

Paul: I don't mind too much. But I just get bored, because it's the past. I don't want to talk about the past all the time. I like to keep up to the present.

George Harrison said he thought your last album was not very good. Does that kind of criticism hurt you?

Paul: Well, I don't agree with the criticism, but it hurts me. Any criticism hurts me, especially from George.

Are you any nearer to being released from the Klein-Apple deal, or do you think you will be tied up for the next seven years.

Paul: I think it's coming very near. I think it's going to happen. And it'll be great. Certainly I don't think I'll be tied up for the next seven years. I hope not.

— Paul McCartney interviewed by The Record Mirror, August 1972

[reflectismo]

I always enjoy learning new things about Paul and Brian’s relationship. I recently came across a photo of 12 images Paul hand drew and annotated to be used as the set designs for Brian's Saville Theatre. One of these was used for the Four Tops first ever UK performance at the venue during November of 1966.

In preparation for the upcoming performance, Brian needed appropriate backdrops for the Theatre. He commissioned Paul to come up with ideas for the stage designs. Paul presented the designs to Brian and John Lyndon, the Director of Productions at the Saville and one of the images was used as the backdrop.

Annotations of each image from Designer Paul below!

12 mirrors in which the audience catch a glimpse of themselves and entrance

This way up

Slow moving machinery

Red curtains behind here, backed with silver, HINGES, this piece of the set falls on the stage revealing red curtains through which performers emerge, smiling.

Festival set, entrance

Silver, gold, entrance hole

Plain comedy set, comedian enters through mouth, not smiling, crawling. Unnumbered design.

Abc, slide view of this

American set. British group

3 black ducks

Set for female vocalist or male, as the case may be

23 lights hang against background of silver, reflecting, and flickering

[idontwanttospoiltheparty]

Hi, just a little timeline question that I figured you’d probably have an answer to! When exactly did John and Yoko start their romantic relationship? I know they met in 66, but at what point in 67/68 did it evolve into a full-on affair? Thanks!

As far as I'm aware, this isn't really known. They were both cagey about the period between their meeting and going public after John came back from India. The ocean child lyric in Julia is already on the Esher demo, which implies probably that was already in the song when it was written in India. IIRC Yoko told an anecdote of John very awkwardly trying to proposition her and her turning him down before they got together, but there's no date attached to that event. Yoko visited the studio one time in September '67 I think, when they were recording The Fool On The Hill. She was there as a guest because John was sponsoring her art show.

The other side of this is Cynthia's version.... Wherein Yoko was onesidedly and obsessively stalking John for months. Whether you think that was actually a convenient excuse John made up to cover an affair is.... I somewhat up to you. Also could be a mix (as in, she was stalking, John was aware of this, but also into it)

If anyone has any other additions, please feel free to add them.

[royaltyisshe64]

According to the Official JohnandYoko Ballad Mythos Cinematic Universe™, they banged (I think they claim for the first time) after staying up all night recording Two Virgins, which is purportedly part of the name's significance. I can conceivably buy that there was no actual physical sex before that point (somewhere in the neighborhood of 19/20 May 1968); that's about a month after John and Cyn get back from India and, of course, immediately prior to Cynthia famously coming home a bit early from Greece.

It's possible that something physical happened before India, too, and that that precipitated or coincided with John sponsoring the Half-a-Wind show - and that contact then leads to the love/letter bombing in Rishikesh, a growing mutual obsession, and that the true genesis of the JohnandYoko Unit™ per se is still Two Virgins and that any sex prior to that "doesn't count" according to their narrative. Or it could be true that the relationship was unconsummated before that point.

WHO KNOWS YOKO

[onesweetdreampodcast]

"JohnandYoko Ballad Mythos Cinematic Universe™" is the best handle I've ever seen to describe their storyworld.

[onesweetdreampodcast]

Not that Paul has a type but... :) I interviewed Leslie Cavendish once, and he said he couldn't believe how much Jane and Linda resembled each other physically. I didn't really agree until I saw a photo of Jane without her bangs!. Of course, they both have reddish hair—Jane's vibrant red and Linda's strawberry blonde (as described in her high school yearbook). I don't mean to compare them because they aren't especially similar, except in that they are both fiercely talented, lovely, independent women with reddish hair—who happened to be loved by Paul McCartney.

[onesweetdreampodcast]

There’s an episode where you overlay Ram instrumentals with terrible reviews and I am weirdly obsessed with listening to it over and over again (I obviously love Ram).

Thank you! X

Hahaha, thank you, @delightfullyatomicfest! I must admit, I got a little obsessed with it as well! The reactions to RAM were absurd, and the instrumental of MMD plays up the sleaze and circus-like insanity of it all. Like, really? None of you can hear what a jewel the album is? It's going to take you 40 years to hear it? OK. And I looped it to represent the nonstop chorus of criticism Paul faced from 1970 onwards! :)

[kateoflynn]

Sir Paul had a bit of a thing about Lamborghinis for a while and his first was a 400GT in 1967. He also owned an Espada and, the story goes, someone phoned up about an ad for the car. The owner's secretary picked up the phone and said: 'Come have a look,' giving him directions to an address. When he got there, it was McCartney selling the car. He showed him around the car - red, with a fairly hideous matching red interior. He was quite taken with it, was getting on well with the ex-Beatle, and about to make an offer when McCartney said: 'Look, I don't want to sell it to you. I like you and, to be honest, it's not a good car.' It turned out that Linda McCartney had left it parked one night with the handbrake off and it had rolled into a pond. After three days, Sir Paul pulled it out because a Lambo in the lake isn't very ecological. Because of some kind of emotional attachment to it, he had the Lambo rebuilt for around £70,000. 'But, if you want a Lamborghini that's mint, and has never been in a pond,' he said, 'this isn't the one.' - excerpted from Stars, Cars and Infamy: 100 Stories of the Bad, the Daft and the Deadly

[beatlepaul4ever]

After three days, Sir Paul pulled it out because a Lambo in the lake isn't very ecological.

David Attenborough would be so proud.

[onesweetdreampodcast]

OSD Interview with Songwriting Magazine

https://www.songwritingmagazine.co.uk/interviews/one-sweet-dream-beatles

[floatupstream]