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japage3moondog · 10 months

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the beatles forbidden love hc's

i know my beatles history but let's all pretend that they are perfect little faithful angels that respect the sanctity of relationships.

john lennon

paul falls madly in love with you. it's not secret that john and paul are very close and naturally, being john's lover, you see a lot of paul. at first he brushed it off as just john's love of you rubbing off on him but as time went on, he realised that it was just you.

he doesn't really need an excuse to be around you, considering you two are pretty close but it can get tricky for him to explain all the songs he writes about you. no matter how much he changes the lyrics he always feels like john knows.

john is unaware of the extent of paul's feelings but has his own suspicions. as paul gets gradually bolder with his love for you, sneaking prolonged glances, calling you late at night, anonymously sending you bouquets of flowers, john needs more reassurance from you that paul won't get you. this definitely starts arguments, between him and paul and him and you.

paul isn't malicious and he doesn't enjoy seeing you upset so for the most part he keeps his love hidden. but sometimes he just can't help himself.

if he confesses, he does it impulsively and wholeheartedly. he would go down on one knee if he was a little crazier. you reject him but you can never really look at him the same and neither can john.

paul macca

george starts crushing on you. there's something about you that george just can't get off his mind. he denies it completely at first but he knows instantly what it is. he's very ashamed because of how close he is with paul and how happy you are together and it eats away at him.

george tries to stay away from you but he always finds himself by your side almost subconsciously. you'll often sit in on the recordings and every time he sings, he imagines that he's singing solely for you. when george sees paul singing the songs he writes about you, i swear you can see the blood boil in his veins. he's broken strings on his guitar because of it but he never brings it up with you or paul. it's more of like a kneejerk reaction.

paul doesn't realise what's going on for a while. but when he does start to get suspicions he just gets really sad. he loves you a lot and he doesn't want to lose you and also doesn't want you to have to deal with it. even if you know before him he'll try to keep you unaware and talk to george in private.

if he confesses, he does it desperately. after seeing you kiss paul or , in the worst case, after you and paul get engaged. i'm talking driving recklessly to your house in the rain to i have nothing by whitney level devotion. when you reject him he has to take a long break from seeing you, paul or anyone from the band and gets really quiet when he does return.

george harrison

ringo takes a liking to you. he's always had the perfect view of you from the drum kit and seeing you so often, just chatting or dancing to the music, it was no wonder he fell for you.

george notices but doesn't fully realise. ringo is a flirty guy and he acts that way with all the ladies but george'd be lying if he didn't admit seeing his buddy try to get close with you pissed him off a little. as a reaction, george keeps you a little closer, an arm around the waist or a prolonged kiss when unecessary. george doesn't like confrontion, especially with such a close friend, but will do so if ringo crosses a line.

this doesn't really sway ringo's efforts, the guy's nothing if not dedicated and he wasn't really expecting george's blessing. you also assume that this is normal ringo behaviour but you can recognise that george wants to keep the harmless flirting to the minimum.

ringo will let you try on his rings or get you an unexpected thoughtful gift for your birthday, at one point he tried to teach you drums but george shuts it down after seeing him try to get you to sit in his lap.

if he confesses to you, it sounds like a playful joke at first. you laugh but your face falls as soon as you realise he's being serious. you're immediate reaction is to just say you're sorry. with ringo, everything is just turned into this joke, he's literally known as the funny beatle, but your rejection sucks the laughs out of him for a long while.

ringo starr

john develops feelings for you. john is definitely the most scornful. he doesn't understand why you're with ringo when he's trying so hard to show you how compatible you two are. this is due to his own personal traumas and the levels of adoration he experiences from fans.

john is not completely blunt about it but he is more upfront and way more upfront than ringo is comfortable with. he reminds you that ringo isn't your only option too much. he'll move your chin up to look at him when he's talking to you or show up to your house with an impromptu gift just to show you how much he appreciates you, an act he makes sure you know that ringo doesn't do nearly as often.

it's not entirely out of character for john to be cocky and toe the line a little so ringo lets it slide for a little longer than he should but he sees right through it from the start. he pulls john to the side and gives him a talking to but it just ends in an argument which ends nowhere.

if he confesses, it's a matter-o-fact proposal. he's so sure that you've also been in love with him, when you reject him, he damn near blows a fuse. not at you and not in front of you but privately after cussing ringo out. ringo just comforts you and you reassure him that john is not the one for you.

#john lennon x reader #paul mccartney x reader #george harrison x reader #ringo starr x reader #the beatles x reader

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bambi-kinos · 2 years

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Reposted from the McLennon Server on the request of one of my friends. This is an essay I wrote up tonight regarding my interpretation of Paul McCartney’s “However Absurd.”

This builds off a concept that the server started discussing sometime in March 2022 -- the idea that Paul considered himself John’s domestic partner and that this was a desire or interpretation Paul had about their relationship in light of his various interviews where he said he wanted to take care of John. Paul being who he is, he could only imagine this in the context of touring as the Beatles which was safe for them because they were had privacy in hotels and the context of touring meant no one examined that John and Paul were essentially living together, along with George and Ringo. This dynamic would be special for Paul as he finally got to take care of John the way he always wanted but only in the context of being a part of The Beatles.

Leggy Maddingway — Today at 9:04 PM I'm kind of interpreting the above song with this lens:

things changed for John and Paul after John was living with him part time in Cavendish. The Scruffs noted that they often went into work together, John has referred to that year as "domestic," Paul has said since the 90s that he wished he could take care of John and that he basically viewed John as helpless, often referring to him in infantile terms.

We also know from an interview survey (the gamer girl bathwater one that I loled about a few moons ago) that Paul was interested in buying a farm out in the country as early as 1965.

My personal belief re: India is not so much that Paul rejected John when John came on to him, but that John asked Paul for a full blown relationship, as in living together, John divorcing Cynthia (which was already in the works) and being a genuine couple. He'd had a taste of this when he lived with Paul at Cavendish during 1967 before the India retreat. He wanted that full time and was desperate for a change. (Notably at this point he was already writing letters to Yoko Ono. He was looking for an offramp.) But Paul always wants things done a particular way -- I'm not even sure if homosexuality had been decriminalized at that point in the year, but it was still a very dangerous time to be gay even if you're a Beatle -- maybe especially if you're a Beatle since cops were already crawling up your ass trying to arrest you, they had already had conflicts with the police who were trying to bust them for drugs.

So with all that in mind, I posit that Paul said "no" and that he may have further insulted John by offering a really awful alternative -- Paul gets married and has a family while keeping John as the secret lover no one knows about. That would have been incredibly disrespectful to John regardless of circumstances so in my mind, a scenario like this is what would have triggered John into crawling to Yoko and subsequently blowing his life up. I simply don't believe that a "not right now" or a freak out over first-time sex would cause the kind of mental break we saw on John's end. However a firm backhand of disrespect and selfishness from Paul McCartney would.

The thing is, I also believe that Paul wanted to take care of John from a very early moment, maybe even from the moment he met John. This is primarily driven by the story about Here There Everywhere that Paul has told -- that he drove out to John's house to write, that John wasn't awake or wasn't dressed, and Paul hung out by the pool and managed to assemble Here There Everywhere in the time it took for John to at least wash his face and put on a clean pair of pants.

I think Paul must have gone up there, crept into the house, and woke John up from his depression sleep and John told him to fuck off and leave him alone, hence Paul's comments about John not being dressed and ready for the day. But Paul knew what John really meant so he just noodled around the pool with his guitar while John dragged himself out of bed.

Paul has mentioned how John was a tender hearted person and that he wanted to take care of John, and that's the anecdote that tells me he felt that way from the start.

"Here, There and Everywhere" is so obviously about John, I don’t get the people who try to insist that it isn’t and that it’s not related to them at all. But to me anyway it feels so clearly inspired by what's going on in front of Paul's face -- he's with John, John is sick and grumpy but Paul doesn't care: "But to love him is to need him everywhere." IDK, something about the song and the circumstances [that it was written under] shows so much tenderness and even understanding on Paul's part, John wasn't dressed for the day because he was depressed and exhausted and I think he yelled at Paul after Paul drove all the way to Kenwood just to be with John, but the fact that Paul wrote that song anyway just shows me that he knew better than to hold that outburst against John. He wanted John with him and since it sounds like Cynthia and Julian were gone for the day, he went there because he wanted to have John all to himself.

And then we get the quote that Veggie just pulled:

“Yeah yeah, it’s all very well, Paul,” muttered John. “Just because your Dad played in some old time music hall in the thirties doesn’t mean we should go on stage wearing white coats. People will think we’re a bunch of fairies.”

“Wait a minute, John, I’m burning the toast.” Paul, clattering about in the kitchen, seemed oblivious to John’s emphatic statement. He then came out of the kitchen with a pile of buttered toast on a large plate for the ravenous horde waiting.

“What did you say? I couldn’t hear you properly; oh, the white coats, is that what you’re on about? What’s your problem with that? Look John, it’s about time we started smartening up our image because we can’t go on looking like a gang of ruffians just dragged off the streets,” retorted Paul. “We must look professional – we’re on the stage, in the public eye, and appearances are important. If we start looking the part then perhaps you may even be able to get your chords right.”

Paul said this last point in a jovial manner, not wishing to rouse John’s temper, as he knew even after short acquaintance with John that he could soon ‘fly off the handle’ if provoked. John seemed unperturbed by the insinuation that Paul was making about his professionalism (or lack of it).

There was a silence for a couple of minutes as we all munched on our buttered toast.

“Yeah okay – but white coats? I can’t see myself in one of those. Anyway, where would we get them from?”

“Never mind that – Nigel will sort that out. Look, it will be you and me up front from now on as main guitarists and vocalists so it’ll look good, the both of us wearing the same gear. It will be white coats, white shirts and black bow ties – the rest of the group can wear white shirts and black bow ties..."

“Okay, we’ll all be in white then – it’s agreed,” said Paul. John then started up with a song that had recently been popularised: “A white sport coat and a pink carnation, I’m getting dressed up for a dance.” With that John did a little dance around the room. The Quarrymen Committee had arrived at another major decision without too much rancour.

I know this is mostly Paul being a decent host to a bunch of teenage boys but I also think that this is the earliest example we have of Paul already managing John/taking care of him domestically.

So when I see stuff like this:

Ears twitch, like a dog, Breaking eggs in a dish. Do not mock me when I say This is not a lie.

Happy dogs, eggs breaking into dishes, these images are things that I see in a lot of material today that's about romanticizing domesticity. Cottagecore/grandmacore and the like.

"Do not mock me when I say this is not a lie" <- for me this feels like a reference to a fight that they might have had about the sincerity of Paul's feelings. After the India retreat we know that Paul hardcore self destructed (I think seeing John glom on to Yoko so hard was a big shock and he may have realized what he had done). It could have easily lead to a fight anywhere between 1967 to 1980 about whether Paul meant it or not. Paul wasn't deliberate about his word choice, this was supposed to be a nonsense song but that means he was word associating so who else would he be talking about associating domesticity::mockery of him finally being sincere?

There's a lot of ground muttering about Paul lying to John about his feelings or just not articulating them and I think that this is true up to a point but I also flat out don't believe that Paul didn't take the opportunity at some point to finally spit out what he really felt. But it would be extremely on brand for John to mock him for it, regardless of whether he believed it or not.

But Paul has something to feel guilty about -- or he believes he does. "I didn't say what I thought in exactly the right way and if I had then John would still be here." He couldn't say the words. They didn't get his feelings through. So he's still talking to John and trying to make him understand.

Something special between us, When we made love the game was over. I couldn't say the words, Words wouldn't get my feelings through, So I keep talking to you...

I think for someone like Paul McCartney, the idea that two men could live openly together was absurd. And to be fair there was a lot of reality in that thought -- he and John were being targeted by the police, a sodomy charge would be more than enough to put them both away and ruin their careers.

But Paul wanted it. He wanted it was early as 1957. He wanted it when he wrote "Here There Everywhere." He admitted this in the 1990s when he was being questioned about John Lennon. However absurd it may seem, he did in fact want to be a couple with John and just be able to fuck off somewhere with dogs that have twitching ears and you can break an egg into a dish. That's probably what made the rejection so horrific -- not because he rejected John on a reasonable basis but because he thought the idea was too absurd to follow through with despite the fact that he wanted it.

However absurd, however absurd... It may seem. However absurd, however absurd... It may seem.

"Custom made dinosaurs" <- this is just my personal interpretation but when I read this I immediately imagined dinosaur costumes for kids. We have photos of Paul and Linda dressing their family up for Halloween and Paul going full PTA mom by carving pumpkins. Again, the full life he wanted: children and John and pastoral peace.

But it's too late now for a change, John is dead and Paul will never get him back. He's supposed to be the guy with everything but he's lost or estranged from everyone he's ever loved except for Richard Starkey which is...crushing.

Custom made dinosaurs, Too late now, for a change. Everything is under the sun, But nothing is for keeps...

This is not a nonsense song. It may not have been deliberate but this is not nonsense.

mynamesbetty — Today at 9:20 PM Read a quote on Tumblr that was basically "John used his feelings to make music and Paul used music to access his feelings" That's what is happening here

VeggieRavioli — Today at 9:26 PM something something the band and touring as a means to play house something something

Leggy Maddingway — Today at 9:27 PM PRECISELY because they were in private, their women weren't there, Paul tried to get John to tour with him again 1969, that was the context where they could live together openly and Paul could care for John like he always wanted and no one would question it and I just

for fuck's sake Paul hemmed John's trousers in Paris

he wanted to be John's partner, he wanted to live with him, he wanted to be a couple. He did those couple things. He made John toast, he mended John's clothes, he looked after the packing, I just feel insane when I look at this stuff and it's adding up to all this fucking gay shit.

#mclennon #mclennon server #john lennon #paul mccartney #beatles meta #my meta #here there and everywhere #however absurd #the lyrics

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sianagrace · 2 months

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Everybody Dance Now! The Necessity of Song (and Dance) in Happy Feet

Happy Feet is George Miller’s 2006 animated jukebox musical following Mumble, an emperor penguin living in Antarctica with the impressive but othered ability to tapdance, and the unfortunate crutch of not being able to sing. In this world penguins find their soulmates through a “heart song”, so Mumble’s inability to hold a note (or grow a coat) proves detrimental to his social, familial, and romantic life. Rejected by the colony elders, his father, and his peers, Mumble joins a gaggle of Hispanic-coded Adélie penguins (the Amigos) on a quest to figure out why their fish supplies are dwindling. In this final act, the penguins discover overfishing, pollution, and animal abuse, then return to the colony to unite it through song, tap dance, and human intervention.

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The film covers lots of ground, from social othering to environmental destruction. Miller uses song (and, eventually, dance) mainly to uphold the first narrative context. Music is power in this fictional world, an expected talent inextricably tied to love, friendship, community, and social status. The penguins' graduation scene atop the iceberg is a prime example of the score reinforcing the importance of social standings to the narrative.

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In it, we watch the uber-popular Gloria serenade her class with “Somebody to Love” - appropriate given that, after matriculating from music school, they are now meant to find their mates. In the background, Mumble tries and fails to sing along with her and the rest of his class. After his second sour note, Mumble’s classmates cast him away to a broken-off piece of iceberg. (side note: until I was like 10 years old I had no idea who Freddie Mercury was and legit thought “Somebody to Love” was a Gloria / Happy Feet / Brittany Murphy original song. Like listen to her?!?! No notes.)

Another use of music in Happy Feet is to push a narrative of an additional, comedic relief “other”: the Adélie penguins.

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The music in the rock penguin scenes is mostly non-diegetic, including instrumental background music with the occasional vocal insertion from the penguins themselves. The Adélie penguins find their mates through “love stones” not through heart songs, so singing has lessened importance for their community and Mumble finds acceptance for his natural rhythm. Music is still relevant, however, regarding the idea of cultural “authenticity”. The Adélie penguins are meant to be Cuban, their soundtrack mambo-esque, their accents exaggerated, and their mannerisms, especially in male-female interactions, stereotypical to the point of offensiveness. The racialized other in this film is noticeably a smaller, less elegant breed of penguin than the main characters. Though of comparably less importance, the Adélie penguins also use song as a cultural identifier. Mumble’s dance performance eventually becomes an “authentic” and accepted part of his culture, but song is the primary indicator.

Miller shifts the musical framing of Happy Feet gradually to integrate the “unfamiliar or ‘other’ sounds” (tapdancing) into the “familiar set of ‘normal’ musical sounds” (song/singing of popular songs) as Mumble’s story progresses (Armstrong 4). As a jukebox musical, all the selected songs evoke comfort for the audience, especially folks who grew up with Prince, Queen, the Beatles, and the other famous artists included in the soundtrack. The inclusion of the tap-dancing penguin, on the other hand, symbolizes discomfort. As a lesson on welcoming diversity and necessitating change, tap dance becomes a part of the comfortable bits of the film, and the characters still distrusting dance are painted as even more villainous. The key scene of this integration is “Boogie Wonderland”, where we see not only Mumble’s tap dancing, but the entire colony’s tap dancing weaved throughout the song as instrumental backing and solos.

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The “other” adds to the joyful, unifying experience of watching a musical number rather than taking away from or remaining separate from it.

@theuncannyprofessoro

Bonus clip!

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#oxyfilmmusical #animatedmusical #Youtube

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shinygoku · 3 days

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Rubber Soul (1965)

I've been looking forward to this one! It's arguably the point where the band shifts from Consistently Good to Consistently GREAT, and also where some point to as being their apex. While that may seem premature, given what will soon follow, there may be truth in these takes, and I know this album harbours absolutely amazing numbers. Interestingly, the US release actually modified the track listing to be Acoustic Only, which results in some people's preferred version, but I disagree as it means one of my Top Favs is cut (and it goes against the Band's Intent lol). I'm only covering the Original UK Canon for the albums, except for [spoilers lol] MMT and when I gather singles together.

The famous serendipitous distorted image! It's sure conveying A Mood, though I can't say it's a favourite of mine. But I can say that it's possibly the cover I've seen the most, as the music classroom at school had it on the wall among several other non-Beatles records, though I persistently misread the title as "Rubber Soup" instead due to the placement lmao

SIDE ONE

Drive My Car: A bodacious and unique opener here, their first song with a Female Protagonist (if via a Male POV character)! Now only that, but one with ambition and confidence, which really makes this song fun. Even as a Car Disliker, I'm fully on board with the high energy and witty lyrics, and there's something infectious about Beep Beep, M-Beep Beep YEAH! The new Red Album version makes the instruments clearer like the cowbell and tambourine, and it's such a strong first song for this collection~

Norwegian Wood (This Bird Has Flown): The famous Sitar debut! This one's narrative gives it a bit of infamy too, as it seems to be another tale of misread signals, but this one with a somewhat shocking twist at the end! Still, the music is very good even with iffy implications lmao. I also dig the waltz timing and clever description of the scenery.

You Won't See Me: I sometimes get this confused with I'm Looking Through You, as they're both Paul songs with pretty much the same jist. However, I'd call this one the weaker of the two. That's not to say it's bad, but the pessimist vibe and the song seemingly losing energy as it progresses make it less of a bop than the sister song, to me at least.

Nowhere Man: I would like to tentatively claim this song as my Favourite of The Beatle's whole catalog. For one thing, it's their first Original that is NOT about love/sex/"dancing" lmao, which makes it more relatable on top of an already empathetic tale. Hmm... the songs John writes quickly after an art block are real easy to relate to for some reason! ^^;; - The Electric instruments meant the song was omitted from the US version of RS, as they were going for an acoustic only feel. Some people think that was a cool idea, but if it comes at the cost of Nowhere Man, I can't agree!! And of course, while the song is another one of John's autobiographical #mood tunes, the use of this in Yellow Submarine as Jeremy's leitmotif and that gorgeous, lovely animated sequence help this one stick in the noggin even more. I always look forward to hearing it~

But anyway, the music itself has SUCH a beautiful distinct feel to it too, the spoken word intro before the Twang of electric guitar kicks it off! The simple but steady driving bass and drums with beautiful little rolls periodically, the way the song repeats and goes back on itself~ I appreciate how the narrator does offer a little bit of reassurance, too... the Nowhere Man might be going in circles, but there's still hope and potential aid to be found...! Opportunity lies in front of you as long as you can find a path!

Think For Yourself: Here's George's moody number for the album! The buzzing bassy twangs offset by the jingle of what I presume is a tambourine, to match his disinterested lyrics about rejecting someone too keen on hearing his take on things. It's solid and distinct but we still have a ways to go before Peak George (at least, those are my own thoughts, dohoho).

The Word: Hmmm.... this kinda feels like a beta test for what would later become All You Need Is Love, albeit with a decidedly different backing music flavour. Unfortunately the lyrics aren't doing it for me, somehow it feels more repetitive and a bit droning, even though (like AYNIL) it's sending a positive message and psychedelic vibe.

Michelle: I love this one, it's so warm and quite sweet. I'm bad at French so the small amount sprinkled in here sounds convincing enough, I think he's saying something like "My Beauty" "[something something] Very Good Combination" and other such phrases. There's a curious atmosphere, like Paul's already kind of come to terms with the inevitable failure due to the language barrier, but he's indulging in a fun what-if daydream. The loud guitar twangs and gentle pace really sound lovely too~ (Note: Upon googletranslating the French I was a bit off lmao)

SIDE TWO

What Goes On: I want to like this song. I want to enjoy so bad, but I'm afraid I'm struggling to. The backing music is great, and the story being told is solid (if in a Beatles For Sale type scenario lol), but the title getting drawn out over and over kind of irk me. Maybe cause that's where the Harmonies get put instead in a better part of the song? I'm a certified Ringo enjoyer but this doesn't seem to be highlighting his strengths the way previous and future songs do.

Girl: I'm not into ASMR so the part where John goes right up to the mic to suck in air doesn't please me at all! XD;; The rest is fine, I like the gentle guitar rhythm, and the lyrics are clever, but when I keep cringing away from the speakers, it does rather affect my enjoyment of a song.

I'm Looking Through You: Hey, it's the sister song to You Won't See Me! I think this one is a bit stronger. I'm also inclined to wonder if Paul's recurring vagueblogging in song form about his dissatisfaction about his relationship to Jane Asher raised any red flags? I mean damn, twice in one album?! And again in the next one? Still, this one has groovy backing tunes and memorable lines, which YWSM lacked to me.

In My Life: This is another favourite for me! And yet again John's autobiographical lean makes a banger lol. This one is ambiguously framed, it's easy enough to see as Romantic but with how much the past people alluded to, I feel like it makes a better memorial song than the many Lover type numbers they've done. And of course, I must remark on the sped up piano/harpsichord(?) bridge/middle eight (???), as that really gives this already more unique song another serving of special sauce~

Wait: This has suuuuch a great backing instrumental, and the vocals and lyrics ain't bad either~ This feels like (yet) another case where a perfectly good, solid song got overshadowed by the competition, and if it were a non-Beatles release it may've topped charts...! Not to say it's the best of the album or even a favourite, but it's Solid! According to youtube comments, this was actually rejected from the Help! sessions?! If true then that only reinforces my point about how odd the perception is, though it's also possible that they did some improving in the time passing lmao

If I Needed Someone: This one is fine too! I don't have as much to say though, the lyrics are a bit wishy-washy but I can't fault the "Aaaaaaaahhhhhh" harmonies or steady drums :>

Run For Your Life: Oooouuugggghhhhhhhhhhhhh 😬 Isn’t it a shame when an incredible instrumental is tied to awful misogynistic words?! [AVGN Voice] What a shitload of fuck! What were they THINKING!? - Before I heard it I knew there was at least 1 incredibly iffy line, but that was wrong, it's the WHOLE damn thing!

I don't wanna come across as the Purity Culture type, who thinks there isn't room for Le Problematique aspects in art, but the entire song leaves not just a bad taste in the mouth, but it also kneecaps the album at the last hurdle. Rubber Soul is close to a no-skips album for me but this is a bummer. And it could have been amazing if it was less aggressive and unambiguously threatening. Homaging an Elvis line in a way that makes me wanna avoid Elvis songs too. Woopieeee. I know John came to regret this one, and again I emphasise it coulda been great if they didn't pick a shitty gimmick for the Words.

CONCLUSION

Best 3: Drive My Car, Nowhere Man, In My Life

Blurst 3: You Won't See Me, The Word, Run For Your Life

If Help! was the band hitting their stride, Rubber Soul is where they really pick up on speed! Almost every song is either fun, clever, beautiful or just plain catchy, and the ones I'm less into personally remain very strong. I still lament Run For Your Life and find the YWSM/ILTY twins a bit more of a drag, but they aren't numbers where I scramble to avoid the songs as a whole either. And on the other side of the coin are a few I'd call my faves!! In fact, this might just be my favourite album as a whole - if not in the entire release catalog, then absolutely So Far, but time will tell...! So, overall I must brand this album Amazing, while trying to keep in mind the next few that are similar quality but with different flavours, but one at a time XD;;

🪲🪲🪲🪲

The next collection keeps coming around, having some of the most beloved and iconic numbers within and being more of a twirl into the Psychodelic. Revolver shall rotate into position in due time~

#The Beatles #Rubber Soul #CutCat listens to Bug Music #Music Review #Wooo I love this one so much!!#If I made a chart of expected enjoyment then we'd have been up a steep curve up!#The next few are also ones I dig... but how long shall it sustain?#still yeah. This Album SLAPS !!

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topazthecat · 6 months

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John Lennon is a great example of how we are not naturally fixed to be a certain way as females or males, he went from being a psychologically messed up drunk very young guy who hit his girl friends (not wives though, Cynthia Lennon said he only hit her twice before they were married) and got into fist fights with men. But he changed 180% into a pro-feminist,and then also a nurutring house husband and father in just a few short years.

Here is my Blog, John Lennon Became A Feminist & Nurturing House Husband & Father Thanks To His Relationship With Yoko Ono

These are the linked pro-feminist interviews with John through the years that I posted on my blog

In this January 1971 interview with Red Mole John says that Yoko was well into liberation before he met her and that she had to fight her way through a man's world and he said the art world is completely dominated by men and said so Yoko was full of revolutionary zeal when they met.

Then John said there was never any question about it that they had to have a 50-50 relationship or there was no relationship and he said he was quick to learn and he said that Yoko did an article in Nova more than two years back in which she said Woman is the Ni**er of the world.A year later he co-wrote with Yoko the song Woman Is The N*gger of The World,and bravely performed it live on The Dick Cavett show and at Madison Square Garden in 1972 and the song was banned off a lot of radio stations.

John also says in this same interview that it's very subtle how you're taught male superiority.

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This is a great interview with John Lennon and Yoko Ono at The St.Regis Hotel in September 1971. And Yoko was asked if she knew about what really went on during The Beatles tours,and she says she had thought that he's an artist I'm sure he has had a few affairs, and she said she was really shocked and she said Oh God! when John told her the whole story about what he called all of the raving that went on their tours,Yoko said she had never heard the word groupie before.And Yoko was no innocent either,John was her third husband,she had a daughter with her second husband,and she had quite a few affairs and even abortions in the 1960's.

He also said in this interview that he treated Yoko the same as other men, he found himself being a chauvinist pig with her,then I started thinking,well if I said that to Paul or asked Paul to do that or George or Ringo they'd tell me to f**k off and then you realize you have this attitude toward women that is just insane! Then John said it's beyond belief the way we're brought up to think of women.

He said much the same things minus the F word when he and Yoko were co-hosting the Mike Douglas show in January 1972 after Mike Douglas asked Yoko if John's attitude towards her had changed because of the women's movement ,and at first Yoko who was always a feminist who rejected sexist gender roles and gender stereotypes, said John's attitude was the same as when they first met but John was honest enough to say,No I was a chauvinist, I was chauvinist,then he said to Yoko can I just say what you taught me? John then said in this September 1971 interview,And I had to keep saying,well would I tell a guy to do that?

Would I say that to a guy? Would a guy take that? He then said,Then I started to get nervous, I thought, f**k I better treat her right or she's going to go, no friend's going to stick around for this treatment. John also said,It took me a long time to get used to it,any woman I could shout down,most of my arguments used to be a question of who could shout the loudest. Normally I could win whether I was right or wrong,especially if the argument was with a woman,they'd just give in but she didn't.She'd go on,and on, and on until I understood it,then I had to treat her with respect.

Yoko Ono and John Lennon June 1973 radio interview about how feminism has changed John for the better,he says he learned how to cook,& that most men don't do it, and how most women are brought up not to know how to work tape recorders or fix their bikes,most men are brought up not knowing how to cook or take care of themselves.

The interviewer Danny Schechter asked John if besides sharing work,if John had been going through his own changes about his own role,about his relationship to Yoko,to other women,and to other men,and John said,it's completely changed it's been a process of about 4 or 5 years,John said it was like having 1 eye shut and that once you start acknowledging that women are oppressed slaves you can never go back .

John was the only man to attend the first international feminist conference when this interview took place. Two years later when he and Yoko's son Sean was born John became a house husband,changed Sean's diapers,cooked and Yoko worked in their business office.

https://archive.is/hVghp

Great chapter from a 2016 book,Concerning Consequences:Studies In art,Destruction And Trauma by Kristine Stiles discusses how John Lennon became a feminist because of Yoko Ono and how he changed the way he was socially conditioned into gender definitions and they both went against gender roles and stereotypes and he doesn't really get credit for this,and Yoko doesn't get credit in John's feminism and liberation.

Yoko Ono also said in a 1986 interview where she's quoted in this book, John wasn't really macho he was a sweet sensitive person but he had been conditioned by society and she said he was a real feminist and he read a lot of books about it.

In Part 3 Of John Lennon's Last Radio Interview just hours before he was tragically killed by the crazy horrible fan who had been a big Beatles fan since he was 11 and John had been his favorite Beatle,and he shot John 5 times right in front of Yoko,and just hours after John was nice enough to take the time to autograph a copy of his new album,and years later he said he met and shook hands with John's then 5 year old son Sean just two days before he killed John and he said he was the cutest little boy he ever saw and that it never occurred to him that he would never see his father ever again.

DECEMBER 8,1980,

He Said That He's more Of a Feminist now than When he sang woman is the N***er Of The World,that he was intellectually a feminist then but now he's at least put his body where his mouth was and really try to live up to his own preaching. He was referring to the fact that he and Yoko reversed gender roles and he became a nurturing house husband and father to Yoko and their son Sean for the first 5 years of Sean's life until he died.

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Barbara Graystark of Newsweek interviewed John September 1980 and part of what she said to John is,You've come a long way from the man who wrote at 23,''Women should be obscene rather than heard.'' And she asks John how did this happen? And John said that he was a working-class macho guy who was used to being served and Yoko didn't buy that.

John then said that from the day he met Yoko,she demanded equal time,equal space,equal rights.He said that he said to Yoko then,don't expect him to change in any way and don't impinge on his space.

John said that Yoko said to him then she can't be here because there's no space where you are everything revolves around him and that she can't breath in that atmosphere. John then says in this interview that he's thankful to her for the ( meaning feminist) education.

This is a great Article,In Defense Of John Lennon And Yoko Ono's Woman Is The Ni**er Of The World By Joe Raiola He so rightly says that John Lennon made an unlikely remarkable journey evolving from a misogynist, to a feminist, to a house husband.

And Joe also so rightly said that John actually modeled the journey that countless American men need to make. John and Yoko weren't opposites at all, they were actually a lot alike and that's why they had such a great relationship.

John said on the Mike Douglas show when he and Yoko co-hosted it for a week in January-February 1972,that he and Yoko's minds and ideas were so similar,and that they were very similar in their heads,and he said it was incredible that they were so much alike even though they had very different upbringings and environments.

#Youtube

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mi4017nayaninarayana · 11 months

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Hard Day's Night - Group Exercise

Write 15 interesting facts about the the Beatles and their movie - Hard Day's Night.

Group members:

Nayani

Sumera

Beatles

- Consist of four members; John Lennon, Paul McCartney, George Harrison and Ringo Star.

- They were an English rock band formed in Liverpool in 1960.

- Also referred to as the ‘Fab Four’ and known as the most influential band of all time.

- Their music genre was rock, pop, beat and psychedelia and was active throughout the year 1960-1970.

- The Beatles evolved from John Lennon’s previous group called the Quarrymen.

- They made their film debut with the movie, A Hard day’s Night in 1964.

- As of 2012, the Beatles have sold over 2 billion albums.

- They got the idea for their band name from Buddy Holly and The Crickets which was another American rock and roll band.

- John Lennon’s father, Alfred Lennon was absent for much of his life but had tried to reconnect when the Beatles got really popular.

- Even though the band was highly influenced by American pop music, they weren’t sure if America would accept them until they appeared on the Ed Sullivan show and drew a huge television audience.

- The Beatles were rejected by multiple record labels since not everyone in the music industry saw potential in them, until EMI took a chance on the Beatles.

- The band met Bob Dylan in 1964 during their tour of the US and got into the habit of smoking marijuana on a regular basis.

- The Beatles disbanded on 29th December 1974 and Paul McCartney and Ringo Starr are the only two members who are still alive today.

A Hard Day's night

-A Hard Day's night if a feature film that came out in the year 1964.It shows us an "ordinary" day of the life of the famous band, the Beatles, while acting as a promotional video for their album "A hard day's night"

-The film was produced under a cheap budget under a span of 16 weeks. The director, Richard Lester, was handpicked by the Beatles themselves after an Interview.

-While it was initially planned to be a pop musical, the main genre was later switched to a comedy after the producer, Walter Shenson got the chance to meet the Beatles in person and experience their personalities. They had not shown up at the time for their first day in filming and had to be tracked down to their hotel.

-Until "A Hard Day's Night", rock and roll movies were quite tame, and designed to conform to an older audience's sense of morality. The controversial narrative style of breaking socially accepted rules and norms helped its rise of fame.

-Because of the soundtrack consisting of their original songs, it became the first feature film in history to turn a profit while still in production.

-The film only used a few proper actors, as the Beatles portrayed themselves and the scenes of them being chased by fans, consisted of the genuine reactions of their real fans, instead of extras.

This helped give the film a completely improvised feel, as the director wished for.

-A Hard day's night also became popular for its documentary style narrative, including jump-cuts, sped up film and handheld cameras. It also contains little to no plot, as it solely focuses on, and is carried by the soundtrack.

-The film was nominated for two Academy awards, and the Times magazine rated it as one of the top 100 greatest films of all time.

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lindsaywesker · 1 year

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Good morning! I hope you slept well and feel rested? Currently sitting at my desk, in my study, attired only in my blue towelling robe, enjoying my first cuppa of the day. Welcome to Too Much Information Tuesday.

Stephen King's son is called Joe King.

Stressed men prefer big butts. (Stress-free men too!)

Only 28% of people know when they're being flirted with.

Men who vape are more likely to suffer from erectile dysfunction.

The Merchant of Venice is the only Shakespeare play to mention Mexico.

In 2019 there were still 17 US States where it was legal to fire someone for being gay.

The revolving door was invented by a man who hated holding doors open for women.

Cutting people from your life does not mean you hate them, it simply means, you respect yourself.

Not only do mosquitoes bite you and suck your blood, but they also urinate on you before flying off.

The scrotum water frog of Lake Titicaca is on the verge of extinction due to its use as an aphrodisiac.

In March 2014, an Australian Python swallowed a chihuahua and found itself chained to a kennel.

‘Mr. Brightside’ by The Killers was the first 2000s song by a group to surpass one billion streams on Spotify.

According to astronomy, when you wish upon a star, you're actually a few million years late. That star is dead. Just like your dreams.

In 2021, an invisible sculpture was sold for $18,030. Artist Salvatore Garau says his work should, “activate the power of the imagination.”

Charles Darwin thought the menstrual cycle was evidence that early humans lived by the sea and synchronised their lives with the tides.

After King Charles II's wife is said to have caught him picking flowers to give to another woman, there have been no formal flower beds in Green Park since 1660.

In 2017, a Boston man got revenge on his high school bully by sleeping with his mum after he saw her profile on Tinder and hooked up with her for a one night stand.

As we get older, we often feel music used to be so much better because of the 'reminiscence bump', a preference for songs that were popular during our formative years.

Carrie Fisher, who played Princess Leia, and James Earl Jones, who provided the voice for Darth Vader in Star Wars in 1977, met for the first time on a 2014 episode of The Big Bang Theory.

In 1995, a man named Sonny Graham received the transplanted heart of a suicide victim. He then married the donor's wife and later killed himself, in the exact same manner as the donor did.

In 2004, Gary Webb, the California reporter who first broke the story of CIA involvement in the cocaine trade, was found dead with two gunshot wounds to the head. His death was ruled as “suicide”.

Joe Metheny, the infamous serial killer from Baltimore, not only cooked his victims to eat himself, but he also made burgers with their remains and sold them to unsuspecting customers from a roadside food stand.

The marine biologist Joel Hedgpeth was the founder and sole member of the Society for the Prevention of Progress. He rejected all membership applications because “growth in members would represent progress.”

In 1969, Salvador Dalí, the Surrealist painter, gave a derelict castle to his Russian-born wife, Gala, as a present. She welcomed his generosity but also set rules for her new home in Púbol, a village in Catalonia. He could only visit if she sent him written permission.

In 2013, the town of Brunete, Spain instituted a new program to make dog owners pick up after their pooches. They recruited volunteers to watch for anyone leaving poop on the streets, and then mailed it back to the dog's owners.

Eric Idle rang George Harrison when they couldn’t find the money to get ‘The Life Of Brian’ made. George said “Well, when The Beatles were breaking up, Python kept me sane really, so I owe you one.” As a thank you, George was given a cameo as Mr Papadopoulos.

A new drug similar to Viagra can now be sold in pharmacies in the UK without prescription. Cialis, an erectile dysfunction drug will now be sold over the counter in UK pharmacies like Boots, after it was deemed to be safe to take without consulting a doctor or getting a prescription. The pills can last up to 36 hours!!

England is seeing record high levels of gonorrhoea and syphilis sexually transmitted infections, new figures reveal. People are being urged to practice safe sex to protect themselves and get tested if they may be at risk. There were 82,592 cases of gonorrhoea in 2022 - up 50% on the 54,661 recorded the year before, the UK Health Security Agency says. Syphilis cases increased by 15% from 7,543 to 8,692.

Okay, that’s enough information for one day. Have a tremendous and tumultuous Tuesday! I love you all.

#mixcloud #mi soul #dj #music #new blog #lockdown #coronavirus #books #democracy #brexit #cronyism #election #radio #tuesdaymotivation

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brn1029 · 1 year

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On this date in music history…

December 20th

2006 - Procol Harum

Matthew Fisher, a founding member of Procol Harum won a High Court battle over who wrote their song '’A Whiter Shade Of Pale’. Fisher who played organ on the 1967 hit had argued he wrote the distinctive organ melody, but Mr Justice Blackburne ruled he was entitled to just 40% of the copyright, (rather than the 50% he was seeking). The court decided lead singer Gary Brooker's input was more substantial and Fisher's claim for back royalties - of up to £1m - was also rejected. For almost 40 years, the song had been credited to lead singer Gary Brooker and lyricist Keith Reid.

1999 - Hank Snow

Canadian Country singer Hank Snow died. 'The Singing Ranger' released over 100 albums and scored more than seventy singles on the Billboard country charts from 1950 until 1980. A regular at the Grand Ole Opry, in 1954 Snow persuaded the directors to allow a new singer by the name of Elvis Presley to appear at the Grand Ole Opry.

1999 - Jimi Hendrix

Readers of UK Guitar magazine voted Noel Gallagher the most overrated guitarist of the millennium. Jimi Hendrix was voted guitarist of the millennium with Nirvana's 'Nevermind' winning best album.

1980 - John Lennon

Twelve days after John Lennon was shot dead in New York City, '(Just Like) Starting Over', which was taken from his Double Fantasy album gave the former Beatle his first ever UK solo No.1 single.

1974 - Joe Walsh

Former James Gang and Barnstorm guitarist Joe Walsh officially replaced Bernie Leadon in the Eagles after producer Bill Szymczyk had recommended Walsh to The Eagles.

1973 - Bobby Darin

American singer Bobby Darin died aged 37. One of the first teen idols, he had the 1959 No.1 with 'Dream Lover' plus 20 other US Top 40 hits during the 60s including ‘Mack the Knife’, (Grammy Award for Record of the Year in 1960). Darin travelled with Robert Kennedy and worked on the latter's 1968 presidential campaign. He was with Kennedy the day he travelled to Los Angeles on June 4, 1968 for the California Primary. Darin was at the Ambassador Hotel later that night when Kennedy was assassinated.

1969 - Peter Paul and Mary

Peter Paul and Mary went to No.1 on the US singles chart with 'Leavin' On A Jet Plane'. John Denver wrote the song in 1966 with the original title of 'Oh Babe I Hate to Go.'

1969 - Rolf Harris

Rolf Harris was at No.1 on the UK singles chart with 'Two Little Boys', (the song was written in 1902). The Christmas No.1 of 1969 and the last No.1 of the 60s. The song stayed at No.1 for six weeks.

1969 - The Rolling Stones

The Rolling Stones went to No.1 on the UK album chart with their 10th release Let It Bleed featuring 'Midnight Rambler', and 'You Can't Always Get What You Want.' It was the last studio album by the band to feature Brian Jones (who had died on July 3rd of this year after drowning in his swimming pool), as well as the first to feature guitarist Mick Taylor.

1968 - The Beatles

The Beatles sixth Christmas record 'The Beatles' 1968 Christmas Record', was sent to fan club members in the UK and the US. It included the song ‘Nowhere Man’ sung by Tiny Tim.

1967 - Joan Baez

Folk singer Joan Baez was sentenced to 45 days in prison after being arrested during an anti-war demonstration.

1962 - Andy Williams

The Osmonds appeared for the first time on the NBC TV Andy Williams show. The brothers performed 'I'm A Ding Dong Daddy From Dumas'.

1958 - The Quarry Men

John Lennon, Paul McCartney and George Harrison appeared as The Quarry Men at the wedding reception of George's older brother, Harry. The event was held at the Harrison family home at 25 Upton Green, Speke, Liverpool.

December 20th

2006 - Procol Harum

1999 - Hank Snow

1999 - Jimi Hendrix

Readers of UK Guitar magazine voted Noel Gallagher the most overrated guitarist of the millennium. Jimi Hendrix was voted guitarist of the millennium with Nirvana's 'Nevermind' winning best album.

1980 - John Lennon

Twelve days after John Lennon was shot dead in New York City, '(Just Like) Starting Over', which was taken from his Double Fantasy album gave the former Beatle his first ever UK solo No.1 single.

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1974 - Joe Walsh

Former James Gang and Barnstorm guitarist Joe Walsh officially replaced Bernie Leadon in the Eagles after producer Bill Szymczyk had recommended Walsh to The Eagles.

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1973 - Bobby Darin

1969 - Peter Paul and Mary

Peter Paul and Mary went to No.1 on the US singles chart with 'Leavin' On A Jet Plane'. John Denver wrote the song in 1966 with the original title of 'Oh Babe I Hate to Go.'

1969 - Rolf Harris

Rolf Harris was at No.1 on the UK singles chart with 'Two Little Boys', (the song was written in 1902). The Christmas No.1 of 1969 and the last No.1 of the 60s. The song stayed at No.1 for six weeks.

1969 - The Rolling Stones

n your browser.</div></div>

1968 - The Beatles

The Beatles sixth Christmas record 'The Beatles' 1968 Christmas Record', was sent to fan club members in the UK and the US. It included the song ‘Nowhere Man’ sung by Tiny Tim.

ur browser.</div></div>

1967 - Joan Baez

Folk singer Joan Baez was sentenced to 45 days in prison after being arrested during an anti-war demonstration.

1962 - Andy Williams

The Osmonds appeared for the first time on the NBC TV Andy Williams show. The brothers performed 'I'm A Ding Dong Daddy From Dumas'.

1958 - The Quarry Men

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mrsdawg4908 · 2 years

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John Lennon

October 9,1940 – December 8,1980

John Winston Lennon was born at Liverpool Maternity Hospital to Julia (Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon.

In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.

Throughout the rest of his childhood and adolescence, Lennon lived with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and John often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino.

In 1956, Julia bought John his first guitar. The instrument was an inexpensive Gallotone Champion acoustic for which she lent her son five pounds and ten shillings on the condition that the guitar be delivered to her own house and not Mimi's, knowing well that her sister was not supportive of her son's musical aspirations. Mimi was sceptical of his claim that he would be famous one day, and she hoped that he would grow bored with music, often telling him, "The guitar's all very well, John, but you'll never make a living out of it."

On 15 July 1958, Julia Lennon was struck and killed by a car while she was walking home after visiting the Smiths' house. His mother's death traumatized the teenage Lennon, who, for the next two years, drank heavily and frequently got into fights, consumed by a "blind rage". Julia's memory would later serve as a major creative inspiration for Lennon, inspiring songs such as the 1968 Beatles song "Julia".

Lennon's senior school years were marked by a shift in his behavior. Teachers at Quarry Bank High School described him thus: "He has too many wrong ambitions and his energy is often misplaced", and "His work always lacks effort. He is content to 'drift' instead of using his abilities." Lennon's misbehavior created a rift in his relationship with his aunt.

Lennon failed his O-level examinations and was accepted into the Liverpool College of Art after his aunt and headmaster intervened. At the college he began to wear Teddy Boy clothes and was threatened with expulsion for his behaviour. In the description of Cynthia Powell, Lennon's fellow student and subsequently his wife, he was "thrown out of the college before his final year".

At the age of 15, Lennon formed a skiffle group, the Quarrymen. Named after Quarry Bank High School, the group was established by Lennon in September 1956. By the summer of 1957, the Quarrymen played a "spirited set of songs" made up of half skiffle and half rock and roll. Lennon first met Paul McCartney at the Quarrymen's second performance, which was held in Woolton on 6 July at the St Peter's Church garden fête. Lennon then asked McCartney to join the band.

McCartney said that Aunt Mimi "was very aware that John's friends were lower class", and would often patronise him when he arrived to visit Lennon. According to McCartney's brother Mike, their father similarly disapproved of Lennon, declaring that Lennon would get his son "into trouble". McCartney's father nevertheless allowed the fledgling band to rehearse in the family's front room. During this time Lennon wrote his first song, "Hello Little Girl", which became a UK top 10 hit for the Fourmost in 1963.

McCartney recommended that his friend George Harrison become the lead guitarist. Lennon thought that Harrison, then 14 years old, was too young. McCartney engineered an audition on the upper deck of a Liverpool bus, where Harrison played "Raunchy" for Lennon and was asked to join. Stuart Sutcliffe, Lennon's friend from art school, later joined as bassist. Lennon, McCartney, Harrison and Sutcliffe became "The Beatles" in early 1960. In August that year, the Beatles were engaged for a 48-night residency in Hamburg, in West Germany, and were desperately in need of a drummer. They asked Pete Best to join them. Lennon's aunt, horrified when he told her about the trip, pleaded with Lennon to continue his art studies instead. After the first Hamburg residency, the band accepted another in April 1961, and a third in April 1962. As with the other band members, Lennon was introduced to Preludin while in Hamburg, and regularly took the drug as a stimulant during their long, overnight performances.

McCartney took over on bass after Sutcliffe decided to stay in Hamburg, and Best was replaced with drummer Ringo Starr; this completed the four-piece line-up that would remain until the group's break-up in 1970. The band's first single, "Love Me Do", was released in October 1962 and reached No. 17 on the British charts. They recorded their debut album, Please Please Me, in under 10 hours on 11 February 1963, a day when Lennon was suffering the effects of a cold, which is evident in the vocal on the last song to be recorded that day, "Twist and Shout". The Lennon–McCartney songwriting partnership yielded eight of its fourteen tracks. With a few exceptions, one being the album title itself, Lennon had yet to bring his love of wordplay to bear on his song lyrics, saying: "We were just writing songs ... pop songs with no more thought of them than that – to create a sound. And the words were almost irrelevant". In a 1987 interview, McCartney said that the other Beatles idolized Lennon: "He was like our own little Elvis ... We all looked up to John. He was older and he was very much the leader; he was the quickest wit and the smartest."

The Beatles achieved mainstream success in the UK early in 1963. Lennon was on tour when his first son, Julian, was born in April. During their Royal Variety Show performance, which was attended by the Queen Mother and other British royalty, Lennon poked fun at the audience: "For our next song, I'd like to ask for your help. For the people in the cheaper seats, clap your hands ... and the rest of you, if you'll just rattle your jewelry." After a year of Beatlemania in the UK, the group's historic February 1964 US debut appearance on The Ed Sullivan Show marked their breakthrough to international stardom. A two-year period of constant touring, filmmaking, and songwriting followed, during which Lennon wrote two books, In His Own Write and A Spaniard in the Works.

Lennon grew concerned that fans who attended Beatles concerts were unable to hear the music above the screaming of fans, and that the band's musicianship was beginning to suffer as a result. Lennon's "Help!" expressed his own feelings in 1965: "I meant it ... It was me singing 'help'". He had put on weight (he would later refer to this as his "Fat Elvis" period), and felt he was subconsciously seeking change. In March that year he and Harrison were unknowingly introduced to LSD when a dentist, hosting a dinner party attended by the two musicians and their wives, spiked the guests' coffee with the drug. When they wanted to leave, their host revealed what they had taken, and strongly advised them not to leave the house because of the likely effects. Later, in a lift at a nightclub, they all believed it was on fire; Lennon recalled: "We were all screaming ... hot and hysterical." In March 1966, during an interview with Evening Standard reporter Maureen Cleave, Lennon remarked, "Christianity will go. It will vanish and shrink ... We're more popular than Jesus now – I don't know which will go first, rock and roll or Christianity." The comment went virtually unnoticed in England but caused great offence in the US when quoted by a magazine there five months later.

After the band's final concert on 29 August 1966, Lennon filmed the anti-war black comedy How I Won the War – his only appearance in a non-Beatles feature film – before rejoining his bandmates for an extended period of recording, beginning in November. Lennon had increased his use of LSD and, according to author Ian MacDonald, his continuous use of the drug in 1967 brought him "close to erasing his identity". The year 1967 saw the release of "Strawberry Fields Forever", hailed by Time magazine for its "astonishing inventiveness", and the group's landmark album Sgt. Pepper's Lonely Hearts Club Band, which revealed lyrics by Lennon that contrasted strongly with the simple love songs of the group's early years.

In late June, the Beatles performed Lennon's "All You Need Is Love" as Britain's contribution to the Our World satellite broadcast, before an international audience estimated at up to 400 million. Intentionally simplistic in its message, the song formalized his pacifist stance and provided an anthem for the Summer of Love. After the Beatles were introduced to the Maharishi Mahesh Yogi, the group attended an August weekend of personal instruction at his Transcendental Meditation seminar in Bangor, Wales. During the seminar, they were informed of Epstein's death. "I knew we were in trouble then", Lennon said later. "I didn't have any misconceptions about our ability to do anything other than play music. I was scared – I thought, 'We've fucking had it now.'" McCartney organized the group's first post-Epstein project, the self-written, -produced and -directed television film Magical Mystery Tour, which was released in December that year. While the film itself proved to be their first critical flop, its soundtrack release, featuring Lennon's Lewis Carroll-inspired "I Am the Walrus", was a success.

Led by Harrison and Lennon's interest, the Beatles travelled to the Maharishi's ashram in India in February 1968 for further guidance. While there, they composed most of the songs for their double album The Beatles, but the band members' mixed experience with Transcendental Meditation signaled a sharp divergence in the group's camaraderie. On their return to London, they became increasingly involved in business activities with the formation of Apple Corps, a multimedia corporation composed of Apple Records and several other subsidiary companies. Lennon described the venture as an attempt to achieve "artistic freedom within a business structure". Released amid the Protests of 1968, the band's debut single for the Apple label included Lennon's B-side "Revolution", in which he called for a "plan" rather than committing to Maoist revolution. The song's pacifist message led to ridicule from political radicals in the New Left press. Adding to the tensions at the Beatles' recording sessions that year, Lennon insisted on having his new girlfriend, the Japanese artist Yoko Ono, beside him, thereby contravening the band's policy regarding wives and girlfriends in the studio. He was especially pleased with his songwriting contributions to the double album and identified it as a superior work to Sgt. Pepper. At the end of 1968, Lennon participated in The Rolling Stones Rock and Roll Circus, a television special that was not broadcast. Lennon performed with the Dirty Mac, a supergroup composed of Lennon, Eric Clapton, Keith Richards and Mitch Mitchell. The group also backed a vocal performance by Ono. A film version was released in 1996.

By late 1968, Lennon's increased drug use and growing preoccupation with Ono, combined with the Beatles' inability to agree on how the company should be run, left Apple in need of professional management. Lennon asked Lord Beeching to take on the role but he declined, advising Lennon to go back to making records. Lennon was approached by Allen Klein, who had managed the Rolling Stones and other bands during the British Invasion. In early 1969, Klein was appointed as Apple's chief executive by Lennon, Harrison and Starr but McCartney never signed the management contract.

Lennon and Ono were married on 20 March 1969 and soon released a series of 14 lithographs called "Bag One" depicting scenes from their honeymoon, eight of which were deemed indecent and most of which were banned and confiscated. Lennon's creative focus continued to move beyond the Beatles, and between 1968 and 1969 he and Ono recorded three albums of experimental music together: Unfinished Music No. 1: Two Virgins (known more for its cover than for its music), Unfinished Music No. 2: Life with the Lions and Wedding Album. In 1969, they formed the Plastic Ono Band, releasing Live Peace in Toronto 1969. Between 1969 and 1970, Lennon released the singles "Give Peace a Chance", which was widely adopted as an anti-Vietnam War anthem, "Cold Turkey", which documented his withdrawal symptoms after he became addicted to heroin, and "Instant Karma!".

Lennon left the Beatles in September 1969 but agreed not to inform the media while the group renegotiated their recording contract. He was outraged that McCartney publicized his own departure on releasing his debut solo album in April 1970. Lennon's reaction was, "Jesus Christ! He gets all the credit for it!" He later wrote, "I started the band. I disbanded it. It's as simple as that." In a December 1970 interview with Jann Wenner of Rolling Stone magazine, he revealed his bitterness towards McCartney, saying, "I was a fool not to do what Paul did, which was use it to sell a record." Lennon also spoke of the hostility he perceived the other members had towards Ono, and of how he, Harrison and Starr "got fed up with being sidemen for Paul ... After Brian Epstein died we collapsed. Paul took over and supposedly led us. But what is leading us when we went round in circles?"

In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which.

Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturing's will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response to lyrics on Ram that Lennon felt, and McCartney later confirmed, were directed at him and Ono. In "Jealous Guy", Lennon addressed his demeaning treatment of women, acknowledging that his past behavior was the result of long-held insecurity.

Lennon and Ono moved to New York in August 1971. The couple released their "Happy Xmas (War Is Over)" single in December. During the new year, the Nixon administration took what it called a "strategic counter-measure" against Lennon's anti-war and anti-Nixon propaganda. The administration embarked on what would be a four-year attempt to deport him. Lennon was embroiled in a continuing legal battle with the immigration authorities, and he was denied permanent residency in the US; the issue would not be resolved until 1976.

Some Time in New York City was recorded as a collaboration with Ono and was released in 1972 with backing from the New York band Elephant's Memory. A double LP, it contained songs about women's rights, race relations, Britain's role in Northern Ireland and Lennon's difficulties in obtaining a green card. The album was a commercial failure and was maligned by critics, who found its political sloganeering heavy-handed and relentless.

As Lennon was about to record Mind Games in 1973, he and Ono decided to separate. The ensuing 18-month period apart, which he later called his "lost weekend" in reference to the film of the same name, was spent in Los Angeles and New York City in the company of May Pang. Mind Games, credited to the "Plastic U.F.Ono Band", was released in November 1973. Lennon also contributed "I'm the Greatest" to Starr's album Ringo (1973), released the same month. With Harrison joining Starr and Lennon at the recording session for the song, it marked the only occasion when three former Beatles recorded together between the band's break-up and Lennon's death.

In early 1974, Lennon was drinking heavily and his alcohol-fueled antics with Harry Nilsson made headlines. In March, two widely publicized incidents occurred at The Troubadour club. In the first incident, Lennon stuck an unused menstrual pad on his forehead and scuffled with a waitress. The second incident occurred two weeks later, when Lennon and Nilsson were ejected from the same club after heckling the Smothers Brothers. Lennon decided to produce Nilsson's album Pussy Cats, and Pang rented a Los Angeles beach house for all the musicians. After a month of further debauchery, the recording sessions were in chaos, and Lennon returned to New York with Pang to finish work on the album. In April, Lennon had produced the Mick Jagger song "Too Many Cooks (Spoil the Soup)" which was, for contractual reasons, to remain unreleased for more than 30 years. Pang supplied the recording for its eventual inclusion on The Very Best of Mick Jagger (2007).

Lennon had settled back in New York when he recorded the album Walls and Bridges. Released in October 1974, it included "Whatever Gets You thru the Night", which featured Elton John on backing vocals and piano, and became Lennon's only single as a solo artist to top the US Billboard Hot 100 chart during his lifetime. A second single from the album, "#9 Dream", followed before the end of the year. Starr's Goodnight Vienna (1974) again saw assistance from Lennon, who wrote the title track and played piano. On 28 November, Lennon made a surprise guest appearance at Elton John's Thanksgiving concert at Madison Square Garden, in fulfilment of his promise to join the singer in a live show if "Whatever Gets You thru the Night", a song whose commercial potential Lennon had doubted, reached number one. Lennon performed the song along with "Lucy in the Sky with Diamonds" and "I Saw Her Standing There", which he introduced as "a song by an old, estranged fiancé of mine called Paul".

Lennon co-wrote "Fame", David Bowie's first US number one, and provided guitar and backing vocals for the January 1975 recording. In the same month, Elton John topped the charts with his cover of "Lucy in the Sky with Diamonds", featuring Lennon on guitar and back-up vocals; Lennon is credited on the single under the moniker of "Dr. Winston O'Boogie". He and Ono were reunited shortly afterwards. Lennon released Rock 'n' Roll (1975), an album of cover songs, in February. "Stand by Me", taken from the album and a US and UK hit, became his last single for five years. He made what would be his final stage appearance in the ATV special A Salute to Lew Grade, recorded on 18 April and televised in June. Playing acoustic guitar and backed by an eight-piece band, Lennon performed two songs from Rock 'n' Roll ("Stand by Me", which was not broadcast, and "Slippin' and Slidin'") followed by "Imagine".

Sean was Lennon's only child with Ono. Sean was born on 9 October 1975 (Lennon's thirty-fifth birthday), and John took on the role of househusband. Lennon began what would be a five-year hiatus from the music industry, during which time, he later said, he "baked bread" and "looked after the baby". He devoted himself to Sean, rising at 6 am daily to plan and prepare his meals and to spend time with him. He wrote "Cookin' (In the Kitchen of Love)" for Starr's Ringo's Rotogravure (1976), performing on the track in June in what would be his last recording session until 1980. He formally announced his break from music in Tokyo in 1977, saying, "we have basically decided, without any great decision, to be with our baby as much as we can until we feel we can take time off to indulge ourselves in creating things outside of the family." During his career break he created several series of drawings, and drafted a book containing a mix of autobiographical material and what he termed "mad stuff", all of which would be published posthumously.

Lennon emerged from his hiatus in October 1980, when he released the single "(Just Like) Starting Over". In November, he and Ono released the album Double Fantasy, which included songs Lennon had written in Bermuda. In June, Lennon chartered a 43-foot sailboat and embarked on a sailing trip to Bermuda. En route, he and the crew encountered a storm, rendering everyone on board seasick, except Lennon, who took control and sailed the boat through the storm. This experience re-invigorated him and his creative muse. He spent three weeks in Bermuda in a home called Fairylands writing and refining the tracks for the upcoming album.

At approximately 5:00 p.m. on 8 December 1980, Lennon autographed a copy of Double Fantasy for fan Mark David Chapman before leaving The Dakota with Ono for a recording session at the Record Plant. After the session, Lennon and Ono returned to their Manhattan apartment in a limousine at around 10:50 p.m. EST. They exited the vehicle and walked through the archway of the building when Chapman shot Lennon twice in the back and twice in the shoulder at close range. Lennon was rushed in a police cruiser to the emergency room of Roosevelt Hospital, where he was pronounced dead on arrival at 11:15 p.m. (EST).

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inspiteallthedanger · 2 years

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You've referred a few times to the question of what Paul thought John thought of him during the 70s, what with Lennon Remembers (for example). But it seems pretty clear from the outside anyway that John never stopped considering Paul one of/the most important people in his life.

Of course, Paul is/was not looking from the outside and hurtful remarks are hurtful, but is there any evidence that Paul really could have thought John never cared? I suppose I mean from either perspective of, was that ever believable and also do we have evidence of what Paul believed, correctly or not?

Oh, I think it was 100% believable and I think John actively (at times) wanted Paul to believe it was true. The things that turned up in the media were almost entirely negative. There were nice things too. But they weren't as widely reported (for obvious reasons) and sometimes not reported at all. We have access to his demos and anecdotes all collected in one place. Paul doesn't know about all of these because we have accounts of him finding out about them (once even on camera) and being very invested in hearing that the preconceived narrative is wrong. Look at his reaction to Get Back.

Obviously a big part of this is the discourse around the Beatles' break up. The blame was laid at Paul's feet and the idea that he was a nightmare that the others only 'put up with' was pretty common until fairly recently. Indeed, John said that Lennon/McCartney wasn't really a thing after touring ended (which was just a lie which John admitted later saying he was just hurt and lashing out). It would be so hard for anyone not to be influenced by that. And I do think Paul, for all he's the stubbornest man on earth, also is very susceptible to this sort of thing. More than John or George for example. Plus this is the sort of nightmare (your most favorite/most influential person suddenly saying you were nothing and they didn't care) is so hurtful that you can see why he'd take it to heart. This is also combined with how incredibly destroyed he was (however briefly) by the breakup. It seemed like a part of him had been ripped away and he was left (for want of a better word) damaged by it. With all of that baggage, I don’t know that Paul could have heard anything and truly believed John loved him.

As to if Paul personally really believed it, I’m not sure we have evidence of Paul outright saying, “I thought he hated me”. But we do have him saying he was hurt, and that he was influenced by the narrative. Given Paul is Paul, that’s pretty strong. Also, the way he pushes back, so… forcefully(?) like he’s trying to convince himself as well as others is telling. Also. Alllllll of his John songs - especially Here Today, follow the same sort of narrative.

On the other hand, the thing that makes me go ??? is why Paul kept re-engaging at all. It's John that slams the door shut over and over in the 70s. From Lennon Remembers to Melody Maker, to not turning up to Paul's recording sessions after he got back with Yoko, to awful phone calls, to turning Paul away from his front door.

This being John, I do also think he was probably very apologetic and loving at times too. The issue is we still don’t really understand the break up (if Paul feels guilty that might explain some of it) and Paul seems pathological in his need to excuse John's behavior. So... it's a mess, basically.

All of which combined to create this cognitive dissonance for Paul. He knows John told him he loved him. He knows they were close at times. But he also knows that John seemed so furious that he tried to ruin him. How do you deal with those things at once? That's before you get to anything potentially romantic and if Paul missed the boat there/rejected it.

I think it is summed up by the quote where Paul bursts out, "I did love him, you know, and I know he loved me". I think Paul probably felt that (at heart) for nearly the whole time. John releases HDYS and then calls and says "Jealous Guy is about you too". It's that over and over. So, I think Paul was scared John hated him, but was desperate to cling to any hope that wasn't true.

Does that make sense? Let me know what you think!

#beth rambles #mclennon

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midchelle · 11 months

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Northern Songs & NEMS in 1969

I wrote this up to get my head around the business side of things surrounding the breakup and I thought I'd throw it up here for all you people who don't feel like wading through You Never Give Me Your Money/The Love You Make.

Brian had managed The Beatles via NEMS, which is to say that their contract was with NEMS and not Brian himself. The group didn't want to be managed by Clive Epstein and didn't care for Robert Stigwood (who had become partners with Brian, which the Beatles didn't learn till August '67) because he'd rejected them in '62. After the contract expired in September 1967, the group decided to manage themselves. NEMS was jointly managed by Clive Epstein and Robert Stigwood for a while until they split fairly amicably. Clive retained NEMS. The inheritance tax for the holding was due on March 31, 1969, and he did not have the money to pay it.

In early 1969, Clive informed The Beatles that he was looking to sell NEMS*. Paul asked the Eastmans for advice, who told him they should borrow money from EMI to buy NEMS outright. The reasoning being: after Brian's death, it came to light that NEMS was entitled to 25% of the record sales for the next nine years. Owning NEMS would mean the company could no longer claim commission from them. However, Allen Klein advised the group not to go ahead with the purchase, pointing out that the loan they took out from EMI would be difficult to repay.

Paul favoured the Eastmans as the group's managers, while the other three preferred Klein. The Eastmans had several things going against them:

They were Paul's brother and father-in-law and would therefore be biased in his favour.

They were more 'class-conscious' people, which means they owned Picassos and wore suits all the time. Paul was attracted to this kind of thing while John and George were repelled by it.

They made several tactical errors while dealing with Klein and the rest of the group.

When John Eastman, Klein and The Beatles all met for the first time to discuss the acquisition of NEMS, Eastman went in on Klein for all his crooked dealings (he had been accused of insider trading** with a company he owned and had been in trouble with the IRS for failing to file tax returns.) He must've expected Klein to fire back at him in the same fashion but, as per Peter Doggette's book, he 'calmly defused the row,' making Eastman look like a psycho and Klein a reasonable, victimised man. This basically only served to solidify the other three's (John's) support for Klein, but for the time being, they were going to try to work together: Klein was to produce a statement of The Beatles' financial situation, and the Eastmans were appointed legal advisors to Apple Corps.

The arrangement was doomed from the start because Klein wasn't exactly being cooperative with the Eastmans, sending them bundles of documents of no importance whatsoever. Things only got worse after Lee Eastman wrote Clive Epstein to suggest a meeting where they could discuss, among other things, the 'propriety' of the negotiations that Brian carried out with EMI on the group's behalf in '66. This incensed Clive, because what do you mean propriety? Are you calling my dead brother a crook? And he went off and sold Queenie Epstein's 70% stake in NEMS to a Leonard Richenberg of Triumph Investments.

As a reminder, NEMS took a 25% commission on The Beatles royalties. That company is now majority owned by Some Guy. A quarter of The Beatles' earnings are lining the pockets of Some Guy. This was a huge blow to the Eastmans. The Beatles told EMI that all their royalties (including NEMS' 25%) should be sent to their own bankers, but, confused, EMI threw up their hands and decided to withhold the money until they sorted out the issue.

We're up to about February/March 1969 now. Apple is still haemorrhaging money and The Beatles' main revenue source has been blocked off. And we haven't even gotten into the Northern Songs fiasco yet.

Note - pie charts NOT to scale!

Northern Songs went public in February 1965 to reduce its income tax burden and the 1,250,000 shares on offer sold out in sixty seconds. At the time of flotation, John, Paul, Dick James, and Charles Silver (partner of Dick James - no not that way) all had 15% stakes in the company. Dick James Music and NEMS both held 7.5% stakes, and George and Ringo each had 1.6% stakes. In June 1968, George got rid of his shares entirely which, like Ringo's, had by then whittled down to 0.8%.

The situation by 1969 was basically what you see above. As you all know, Dick James and Charles Silver sold their shares to ATV in March 1969, giving them 35% of the company and the majority stake. The Beatles and Co. could only cobble together 30%. But if they could get Consortium, a group that held a 14% stake in Northern Songs, to sell its shares to them, they could take back control of the company.

At the same time, relations within the group continued to deteriorate. The Eastmans advised Paul to not add his block of shares to John's as collateral for the loan they needed for their takeover bid and Klein offered his £750,000 worth of shares in MGM to make up for it. He also informed John that Paul had been buying more shares in Northern Songs. As things stood, John had 644,000 and Paul had 751,000.

While it was true that Paul had increased his standing in Northern Songs on advice of the Eastmans, he couldn't have bought much more than 1,000 extra shares. The real reason for the discrepancy was that part of John's stake, roughly 100,000 shares and 2% of the company in total, had been put aside for Cyn and Julian. Roughly the same distribution in shares had existed since at least 1966*** and Cyn had been allowed to retain the 2% after the divorce. But, if you take that fact out of the equation and just present the massive difference in their stakes and the fact that Paul had been buying more shares, it looks quite damning. After this meeting, John, George, and Ringo effectively banished the Eastmans from Apple.

Meanwhile, since The Beatles had already fulfilled their 1967 deal with EMI, Klein got to work on negotiating a new deal for the group with the blessings of all four Beatles.**** He also got permission from the group to go into Apple and start cutting redundancies. By the end of April, he had drawn up a three-year management contract for The Beatles to sign. The terms were:

ABKCO (company run by Allen and Betty Klein) is appointed exclusive business manager to Apple Corps on behalf of The Beatles and their companies

ABKCO recieves 20% of Apple's income before tax. The percentage would continue for any deals signed while the contract was in force, with a few exceptions. • He would not receive any percentage of The Beatles' royalties until he negotiates a new deal for the group. • He would only receive 20% of the increase royalty, not the full rate. • He could only claim 10% of the income generated by Apple Records

Apple would pay the expenses of Klein and any other ABKCO staff working on their behalf.

The four of them initially agreed to the deal. Loony Toons-type hijinks occurred when the group attempted to sign the contract. It was first brought to John. The version he signed had last minute clause added in by the group's advisors that made the document into a basis for further discussion instead of a binding deal. John showed off the signed contract to Klein, who wanted the clause removed. By this point, the guy who brought the contract to John, lawyer Peter Howard, was already on the way to George's house and discovered that he had left behind the document George needed to sign. George also wanted to phone Paul before he did, but Paul had changed his number and hadn't told anyone, so he couldn't reach him. The lawyer got George to sign a carbon copy, which was then brought to Ringo, then to John and Klein, who added their signatures.

The deal now had to be ratified by Apple's board of directors. When the Beatles later met, Paul was upset because the deal had been signed without him being notified and he thought Klein's percentage was too big. Klein told the board that ABKCO's insisted he got The Beatles' approval that day so there was no time for further negotiations.***** Paul wanted them to wait until his lawyers had drafted another agreement. However, only three directors were required to agree, so John, George, and Neil Aspinall went ahead and ratified the deal. Klein was officially the manager of John, George, and Ringo, but not Paul.

On a brighter note, the NEMS situation was finally resolved in July 1969. The arrangement was:

NEMS drops all claims of representing The Beatles.

The Beatles sell their 10% stake in NEMS.

NEMS was paid a lump sum of £750, 000 as compensation for all the money they might've made managing The Beatles up to 1972.

NEMS took 5% of The Beatles' royalties between 1972 and 1976 - the 5% of North American royalties (which comprised 75% of their global revenue) would come from Klein's commission.

Paul attempted to stage a weak protest against Klein's rule by threatening to pull out of the deal unless Klein agreed to not take any payments for negotiating the deal over the past five months. Klein confronted him at Abbey Road where he, George, and Ringo were working (John had crashed his car in Scotland) and called his bluff. Paul backed down; the deal was signed and the £1.3 million on hold from EMI was finally released.

A few months later, it looked like all the Beatles' business woes would soon be resolved: Consortium were willing to sell their shares. The Beatles sans George (missing because of Louise's brain tumour diagnosis, I assume) and Klein met on September 19 to discuss how the board of Northern Songs would look when they took control. Linda took photos to assure Consortium that The Beatles were all speaking with one voice. I assume these are the pictures:

John Eastman pushed for Paul to have the same number of votes as the other three combined, which baffled everyone - including Paul. However, it all turned out to be for nought when Consortium threw in their stake with ATV. Northern Songs was lost. The next day, the group reconvened to sign The Beatles' new contract with Capitol****** and John Lennon left The Beatles.

* Clive or someone had renamed NEMS Nemperor Holdings at this point, but I’m going to keep using NEMS because this is tedious enough without companies changing names.

** Insider trading is buying or selling a company's stock in accordance with information that is not publically available. For example:

My friends and I are betting on how many hot dogs my cousin David can eat within twenty minutes. Everyone else has to place bets based on guesses, but I know from growing up with him that Dave gets sick after eating seven hot dogs at once, and I bet accordingly.

*** Why didn't John know this? Aside from because he was paranoid, already suspicious of Paul and the Eastmans, and probably on a ridiculous cocktail of drugs, I think he might genuinely not have remembered. It's possible that his accountant called him at some point, said hey, do you want to put some shares aside for your family? And he just said yeah, went straight back to sleep, and it had slipped entirely from his mind by the time he woke up.

**** Per Klein, in the middle of negotiations John Eastman sent a message to Capitol saying that Klein does not represent Paul in any way, which was not true.

***** ABKCO was singlehandedly controlled by Allen Klein

****** A very lucrative deal. It gave them 25% of the wholesale price, a higher royalty rate than any other recording group.

#please feel free to add/correct me!#my dad saw me drawing those pie charts and asked if i was doing horoscopes. said yes cause it's easier to explain #midposts #on lawyers and managers

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themagicalmysticalboy · 2 years

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Tbh I hate the way the conversation has turned into it purely being about his songs being cut because that's not really the point. It was the fact that they created a space where he didn't feel comfortable showing them his songs even when they were incredibly good. Like people should maybe ask themselves why George had such low self esteem. And the reason he went for For You Blue over say, Let It Down, is bc John whined about the chords being difficult. They just didn't give his songs respect.

you’re not wrong bestie. the complaining on john’s part and the hot or cold- overbearing or uninterest- from paul didn’t make a great environment for george to explore his creativity. i’m honestly really proud of ringo for bringing in his own songs bc damn. j&p could unintentionally blow a song off in a harsh way.

i really don’t think j&p understood how hindering they were to george’s song writing until it was too late. it seemed like they were making much more of an effort to take geo seriously in Get Back but it was clear george had been held back too long and just wanted to put out his own stuff so badly. he knew if the planned live performance was like what they experienced before that his acoustic or softer songs would be blasted over by the crowd. so it probably felt like a waste of a song to him to put it on Let It Be. that probably contributed to why he really wasn’t keen on the whole thing. and like you said, he did For You Blue because it made john happy. which is extremely sweet of him but it goes to show he was willing to bend a lot more than the others to keep the peace and was still getting stretched beyond his limits.

he had gone from working with Bob Dylan and the band, feeling like he was being taken seriously as a song writer and guitar player, only to go back to The Beatles where he was third best to j&p again. and you can hear in the way he talks abt his guitar playing that he didn’t think he was good enough for j&p. he mentions that they need Eric Clapton and goes on about how much better of a guitar player he is than george and he’s so convinced of it that when john (i think) says they need george not Eric, george doesn’t take him seriously.

so yeah, trying to take the blame off j&p by saying george was just insecure ignores the root of that insecurity completely. which i think, and other have pointed out, comes from a place of j&p not wanting to grow out of their established relationship dynamics. it sucks that they couldn’t see george for what he was and how much he’d grown.

i relate a lot to george in this “you’ll always be the same person to me” struggle and it fucking hurts. it makes you feel like these people don’t care to learn abt you anymore and just want you to stay in your most docile and agreeable state. it’s not fun to experience from people you would have thought better of and i’m sure george did think them better at first. but maybe i’m just projecting now 😅

not to mention, the whole week before he left the band, his wife, Pattie, had walked out on him and he was stressed about trying to get her back but had no real time to do that being in recording sessions every day. boy was feeling rejected in a million different ways.

#the fool talking perfectly loud #i mentioned the last fact in a stand alone post but thought i’d tac it here too.#it also acts as a reminder for me to look more into that #anon ask #george #g&j #g&p #george harrison

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so-idialed-9 · 3 years

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All Things Must Pass is the third album from George Harrison, and his first one post-Beatles hiatus breakup. Also a song on the album. The song had been rejected by the band for inclusion on the Beatles' Let It Be album, and was later released by Billy Preston. Many have covered the song, including Paul McCartney.

The song references 2 Corinthians 4:17 and the Tao Se-Ching. But like also, remember this photo.

"For our light affliction, which is but for a moment, worketh for us a far more exceeding and eternal weight of glory; while we look not at the things which are seen, but at the things which are not seen: for the things which are seen are temporal; but the things which are not seen are eternal.”

Listen and lyrics

Sunrise doesn't last all morning

A cloudburst doesn't last all day

Seems my love is up

And has left you with no warning

But it's not always going

To be this grey

All things must pass

All things must pass away

Sunset doesn't last all evening

A mind can blow those clouds away

After all this my love is up

And must be leaving

But it's not always going

To be this grey

All things must pass

All things must pass away

All things must pass

None of life's strings can last

So I must be on my way

And face another day

Now the darkness only stays at night time

In the morning it will fade away

Daylight is good

At arriving at the right time

But it's not always going

To be this grey

All things must pass

All things must pass away

All things must pass

All things must pass away

When Harry wears it...especially in context of the I'd love to fellate George Harrison T...I cant help but also get a sense of the other use of "passing," as in being able to portray oneself in a way that is socially more acceptable in order to be decently treated, for safety reasons, in certain risky situations, etc.

Often used in reference to LGBTQ people having to or wanting to pass as being perceived as straight or gender‐conforming. Passing can also be used by people of color, ethnic and religious minorities...any group that doesn't have institutional power.

Like an unlabeled celebrity in a queer relationship in an industry that closets you, perhaps?

#the beatles #harry styles #hslot #harry styles love on tour #solo hs #solo harry #hlupdate #hldaily #harry being harry #blue hat #queer coding #passing #harry styles once said

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lick-me-lennon22 · 3 years

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Ringo X Chubby! Reader: Perfect 💗

(thank you to @push-lennon-off-stage for requesting this! they wanted a Ringo X Chubby!Reader where Ringo asks the reader out in front of the other lads, and the reader thinks he's joking/pranking them :P this is my first one shot, so please be kind! hope you enjoy 💕)

Perfect

You and Ringo have been close friends ever since you met at a concert you were both attending. He saw your band t-shirt and heard you singing along to each song, your beautiful voice prompting him to approach you. You recognized him almost instantly as Ringo Starr, drummer of none other than The Beatles- however you didn't treat him as such, but rather just a person like any other. He complimented you and you two hit it off, hanging out often and becoming very close.

He's since introduced you to the other lads, and they love having you around; Ringo often invites you to their rehearsals and even to the studio while they record. You've certainly grown on them- you're always good fun and add to the atmosphere with witty banter, great ideas, and a fresh perspective. They'll even run song or lyric ideas by you and it's clear that they value your opinion. Though each of the Fab Four care for you dearly and think you're precious, it's obvious that you're closest with Ringo. Aside from being the one who introduced you in the first place and who's known you the longest, he's always extra kind and sweet towards you: complimenting you on your outfits, telling you his best jokes, playing songs just for you... You don't think much of it, shrugging it off as just him being him. You've always secretly admired and pined for Ringo- his big, dreamy blue eyes, his lovely accent, his words of praise and his flirty demeanor toward you all make your heart flutter. However, you've also always been insecure about your body (particularly, your size) and would never dream of asking him out- you're sure he'd laugh and reject you, you'd ruin your friendship, and you'd never be able to show your face around the lads again. So you carry on as Ringo's dear friend, concealing your attraction and enduring the bittersweet torture of it all.

Today in session at Abbey Road Studios, Ringo was looking particularly adorable. You stood and admired his form as he sat at his drum set, skin glistening with sweat as he played, shaking his mop top out gleefully. He turned to you and gave you a crooked smile, along with a mischeivous wink. Your stomach did somersalts and your cheeks turned pink. As Ringo stared at you, distracted, his drumming became off-beat: "Focus, Ringo! No wandering eyes," John chided teasingly. You giggled and Ringo blushed, turning his attention back to his drums: "Sorry lads, won't happen again!" he called back and the band continued on. Ringo often got distracted by you and had to be scolded and brought back down to earth by one of the other Beatles, even when you weren't doing anything to warrant his staring. You never gave much thought to it though, telling yourself it was just his short attention span. You'd always secretly hoped it was something more, but wouldn't allow yourself to get swept away in your daydreams. He'd never be into me, you told yourself; He was famous and had plenty of adoring fans... besides, you were just a friend to him- right?

The boys finished rehearsing, (thankfully) without any further mistakes from Ringo. John, George, and Paul all gave their acknowledgements to you- nodding, smiling, waving- before taking off outside for a quick smoke. Ringo lingered behind in the studio this time, making his way over to you for a chat: "Heya, Y/N! How'd you like that last song?" he asked casually. "I thought it was great, actually!" "Ya did? It's just a little something we've been writing for our next album, we've had it in the works for a while now," Ringo said humbly. "I asked the guys to hold off on rehearsing it until you showed up so you could hear it," he said with a grin, rubbing the back of his neck sheepishly. "Oh Ritchie, that's so sweet! I loved it!" you beamed. "I especially liked the part that went-," you proceeded to imitate the instruments, recreating your favorite part of the band's new song. Ringo chuckled, music to your lovestruck ears. "I suggested that part!" he exclaimed with pride. "You really liked it, Y/N?" "Of course I did, it was amazing!" you praised. "Oh, I'm so glad- I could hardly wait to play it for ye!" "I thought it was wonderful," you complimented, looking down at your shoes and shuffling your feet awkwardly. "Uhh..." Ringo began, looking off to the side and brushing his long fringe out of his eyes. "I think you look lovely in that skirt you're wearin' today," he said nervously. You're taken aback momentarily- He does?

You'd been afraid and almost too insecure to leave the house wearing it, lacking the confidence in your looks. That morning you'd changed in front of your mirror just about twenty times and nearly had a breakdown before deciding to wear the skirt anyway, wanting to doll yourself up a bit because you knew you were going to see Ringo. "Y-You do..?" you manage to stutter out, dumbfounded. "Thank you Ritchie, that means a lot" you tell him earnestly, unable to hide the grin making its way onto your lips. "Well of course, I'm just bein' honest with ye!" Ringo smiled back, suddenly regaining his confidence. "I also just wanted to say, I'm so glad I got the chance to see you today! I'm sorry we haven't been able to spend much time together, the lads and I have been hard at work on our new album and all.." he drew in a deep breath and exhaled before continuing; "I really wish I had more time to hang out with ye," he finished. "Oh, it's no big deal! I understand you've got responsibilities, don't worry," you tell him genuinely. "No, really, I want to be with you... like, all the time- I mean..." he fumbles, and you stand there patiently. "You know, I- You- We're really good friends of course and I just feel so close to you, and-"

And with that the other three men saunter back in- laughing, poking fun, being raucous and jovial amongst themselves. And as soon as they spot you two, you nervously shifting your weight from one foot to the other and Ringo red-faced and stammering, they go quiet. They all exchange looks, John waggling his eyebrows up and down and the other two lads holding back laughter. George wolf whistles and they all start to snicker, Paul shushing them after a moment when Ringo turns around and glares harshly. He turns back to face you and proceeds: "What I'm trying to say is... I know we're great friends, I really enjoy hanging out with you and I don't want to ruin that.." You brace for impact, afraid that he'd somehow discovered your crush and no longer felt comfortable around you. "I just wanted to ask you.." the guys stood and stared, trying to make themselves inconspicuous, but failing when John began to giggle and Paul elbowed him harshly in the ribs. Ringo inhaled yet again, holding his breath for a moment before blurting out: "Will you go out with me, Y/N?"

Your heart pounded in your chest, your breath hitched in your throat, and your mind became shrouded in fog. Before you could even think to respond, a chorus of whoops, whistles, and applause erupted from across the room and you were overwhelmed with emotion. Your face turned bright red with anger and your hands instinctively balled up into fists: How could he make a joke of me like this? you thought, I was sure we were friends.. "You don't have to say ye-" Ringo began, but you weren't having it. "Is this why you were acting so strange just a minute ago? It isn't funny Ritchie, not at all!" Tears welled up in your eyes and threatened to spill down your cheeks. "I can't believe you'd humiliate me like this!" you shouted furiously, eyes frantically darting back and forth between each of the guys' stunned faces as they watched your outburst. "And I really thought we were friends.. I'm such an idiot," you choked out as you grabbed your coat and took off out the door, a monsoon of tears cascading down your face and dripping off of your chin onto the hard tile below.

Back in the studio Ringo stood stupefied and crushed, slowly turning around to face the lads, heartbreak clear in his expression. George gave a low whistle to fill the silence and Paul looked awkwardly down at his shoes. After an extended pause, John was the first to speak up: "Well, I guess that's one way to get rejected." Paul gave him a slap on the arm and reprimanded him in hushed whispers, George tuning the both of them out as he tried to think of something to say. "Did I do something wrong..? Was it something I said?" Ringo pondered aloud, voice wavering. "I really can't imagine so, I mean- we saw the whole thing" said Paul, turning to the other two men who shrugged in response. "Yeah, I thought that was a stellar performance," said George with a half-hearted smile, in an attempt to lift his buddy's spirits a tad. "I just don't understand what went wrong.. she thought I was poking fun at her! I've gone and mucked it all up, haven't I?" he wailed, his baby blue eyes shiny with tears. "Ah, don't be so hard on yourself- I think she just misunderstood ye," John told him, finally becoming serious about the situation. "Yeah! Why don't you go find 'er and explain?" Paul suggested. Ringo hesitated for a few seconds, considering the idea before posing the question: "But what if she yells at me and says she never wants to see me again?" "If you just explain everything honestly, Y/N understand," said George confidently. "Besides- as it stands she already thinks you aren't friends anymore, so it's not like you have much to lose." "Was that supposed to make me feel better..?" Ringo asked. George simply shrugged and Ringo shook his head to snap himself out of his moping. "Hell, you guys are right- I think I'll go try and talk to her. Thanks, lads!" he said with newfound zeal, taking off in search of you. "Go get 'er, tiger!" called John after him.

You drove furiously down the street, your heartbreak playlist blasting from your car's speakers at full volume, hot tears stinging your eyes as you gripped the steering wheel with all of your might. "Stupid, stupid, stupid!" you cursed yourself. "I knew I shouldn't have trusted him," you sobbed aloud, turning into your neighborhood and pulling into your driveway. You unbuckled your seatbelt and hopped out of the car, slamming the door and locking it before storming into your house and sprinting to your bedroom. You crawled underneath the covers of your bed and curled up into the fetal position, tears of heartache and humiliation flowing from your eyes and staining the pillow beneath your head. You continued to throw your pity party, and rightfully so in your mind, when suddenly -tap, tap, tap- you heard three gentle knocks on your bedroom door. Who could that be..? And how'd they get past the front door? you wondered, panic sinking in before you realized: There's only one other person with a copy of my housekey..

"Richard?" you called out, too consumed by rage and embarrassment to stomach using your nickname for him. "Yeah Y/N, it's me, I can ex-" "What do you want? Don't you think you've done enough?" you spat. "Can I come in? Please..? I mean you no 'arm!" he shouts. You consider it for a moment before dragging yourself up out of bed and opening the door for him, sitting back down on the mattress and folding your arms. Ringo takes a step forward into your room. "What are you doing here? I thought I'd made it pretty clear that I don't want to see you again." "Y/N, please hear me out, I don't think you quite understood me back there," he pleaded.

"Oh, don't even try it! I understood you, alright- I heard you loud and clear!" you fumed, "I know the only reason you said that is because one of the guys dared you to and they thought it'd be hilarious- well it wasn't, and you really hurt my feeli-" "What??" Ringo interrupted you, incredulous. "No no no no no Y/N, you've got it all wrong!! Where'd ye get that idea? Why would you ever think I'd do that to you..?" he said, sounding slightly wounded. "Well.. I mean I just thought, because I'm sorta chubby and all, and-" "And? So what? You're still a gorgeous bird, that just means there's more of you to love!" said Ringo. "I.. I adore your curves, if I'm bein' honest. All of 'em." he admitted, blushing.

It took a long moment for this new information to sink in: He.. actually meant that? It suddenly all made sense- the way he'd tuck your hair behind your ears, the words of praise he showered you with every time he saw you, how often he'd get distracted when you were around.. But you still couldn't believe your ears, having convinced yourself for so long that he'd never return your feelings. "You- I- What..? So that wasn't a prank?" "No of course not, I'd never joke about that!" Ringo sat down slowly beside you on the bed, placing a gentle hand on your thigh and caressing your soft skin. "Y/N, you are so beautiful and I think you're perfect. I've had feelings for you pretty much since the day we met! I thought I'd made it obvious.." he confessed, averting his gaze to the floor of your bedroom. "Oh Ritchie, I'm so sorry I overreacted earlier.. I've had the biggest crush on you forever, I just never even dreamt you'd like me back." You placed your hand on top of his and squeezed. He turned and looked into your eyes: "Don't be sorry Y/N, I understand. But what's not to like?" he grinned at you. "And honestly, I thought you rejected me and ran off because you like Paul instead.." "Paul??" you giggled at his words and his obliviousness. "Eww, no, he's like my brother! Why would you assume that?" "Well I dunno, he's pretty and he's everyone's favorite!" exclaimed Ringo. "Not mine," you said, smiling. He grinned back and began to lean his face closer to yours; you mirrored his movements, both of you inching closer and closer until your lips finally met for the first time. The kiss was slow and gentle yet passionate, carrying with it the weight of the admiration you'd both hidden from one another for so long. When the two of you parted after many long seconds, you gazed breathlessly into each other's eyes before Ringo spoke up: "Should I take that as a yes..?" "Yes Ritchie, yes!" you chuckled, and he captured your lips in yet another kiss. You then invited him to stay the night: he of course accepted and it was spent snogging, cuddling, and adoring one another- and there would be plenty more kisses to come ♡

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