Such A Good Writer!!

McLennon

Fic: not like me to pretend

Prompt: John makes up a fake nude drawing assignment and convinces paul to be his model. lots of waxing lustful poetic about paul from if from john’s pov or if it’s from paul’s pov have him try and not get aroused but fail :)

AO3 Link: https://archiveofourown.org/works/40072173

Happy McLennon day! 60 years since John met Paul at the Woolton Church Fete on the 6th July 1957 and started this whole thing off… 

“I just thought, ‘Well, he looks good, he’s singing well and he seems like a great lead singer to me. Of course, he had his glasses off, so he really looked suave. I remember John was good. He was really the only outstanding member; all the rest kind of slipped away.”

[Paul, talking about his first impressions of John, Record Collector Magazine, 1995]

“I was on a battered old guitar, which hadn’t cost much. A bloke named Rodney was on banjo, Pete Shotton was on washboard, I think Eric Griffiths was on another guitar and Len Gary [sic] was on box bass. 

“There was a friend of mine called Ivan who lived at the back of my house and he went to the same school as Paul McCartney - The Liverpool Institute High School. It was through Ivan that I first met Paul. Seems that he knew Paul was always dickering around in music and thought that he would be a good lad to have in the group.

“So one day when we were playing at Woolton he brought him along. We can both remember it quite well. We’ve even got the date down. It was June 15th 1955 [sic]. The Quarrymen were playing on a raised platform and there was a good crowd because it was a warm sunny day.”

[John, talking about how he and Paul met, quoted in Beatles Monthly No 2, September 1963 - and obviously getting the date really wrong - on purpose or not?!]

Pics - top - the first (?) photo of John and Paul together. The Quarrymen, including Paul, playing at New Clubmoor Hall, Broadway, Liverpool on 23rd November 1957. Photo by Leslie Kearney.

Photos on truck taken by James Davis - Rod Davis’ dad, who is the Rodney on banjo that John’s talking about. Photos taken on 6th July, 1957. (John with his eyes closed in the centre of the first photo, he’s obscured by Pete Shotton in the second).

Bottom 2 photos - The Quarrymen playing on 6th July, 1957, the day John met Paul. (Last photo - Geoff Rhind, other photo - Unknown but maybe Geoff Rhind?).

Happy McLennon Day Beatle fans everywhere!

Nice

Paul McCartney | September 1962 © Les Chadwick

I'm so sorry that my timing's off

But I can't move on if we're still gonna talk

Is it wrong for me to not want half?

I want all of you, all the strings attached

Oh, I'm good at keeping my distance

I know that you're the feeling I'm missing

You know that I hate to admit it

But everything means nothing if I can't have you

I can't write one song that's not about you

Can't drink without thinking about you

Is it too late to tell you that

Everything means nothing if I can't have you?

-If I Can’t Have You (Shawn Mendes)

"One of the reasons auntie Jin came down to visit me in London when I was about twenty-four or twenty-five was to talk to me about the sin of smoking pot. Her nickname was ‘Control’, and she had been sent down by the family as an emissary. I suppose the word had got back that ‘our Paul’ was going a bit wild in London, so someone needed to go and check in on him. Anyway, she came down to visit me in Cavendish Avenue, where I’d been living for a while. When your auntie comes to visit, you do some of the old things you did when you were younger. So I was sitting around, playing a bit of piano, having a drink, playing cards, and having a good old chat. It was a very warm atmosphere, and the song arose out of that sense of family"

— Paul McCartney on his aunt Jin and the song 'Your Mother Should Know' from The Lyrics, 2021.

Hey why not? Whatever works.

“Paul used the fact that Brian was gay to get his own way. He’d come in and put on his bedroom eyes. He’d use his own sex appeal to manipulate Brian into doing what he wanted the band to do.”

- Tony Barrow

John & Paul

Get Back Narrative

I’ve received a couple of asks seeking clarification regarding my earlier post about how the Get Back documentary was redefining the Beatle narrative.

I’ll try to summarize. 

1. Media articles like this, this and this regarding Ono’s presence. While it’s obvious that the band was heading toward dissolution with or without Ono’s presence, Ono’s continued presence in the studio, her unsolicited participation in band business (no, she didn’t just sit there and read, as some would claim), and her willingness to speak on John’s behalf is hardly exculpatory. Even Time magazine, which at least attempted a more considered analysis of the Beatle break-up era, claimed, after watching Get Back, that ‘Yoko’s presence was not a huge negative factor, and that none of the band members appear much bothered by her constant presence; they joke and talk with her comfortably”.  This is a shocking claim, given that a) the documentary clearly depicts the deleterious effect of Yoko’s presence upon band members during the failed meeting at George’s house, and b) George, Paul, and Ringo have all gone on record regarding their discomfort in Ono’s presence and the disruptive nature of her involvement in band business. 

(As an aside, I would also like to know in what workplace, no matter how creative or unorthodox, it would be acceptable to bring your lover or spouse to work everyday and insist that the presence of that person was absolutely benign.)  

2. The exclusion of information which would provide context to behaviour, such as John and Yoko’s heroin addiction. “By the advent of the “Get Back” sessions, Ono openly joked about taking heroin being the couple’s form of exercise”).  This was excluded in the Get Back documentary and, as a consequence, from mainstream media. Obviously the inclusion of this information would more accurately contexualize John’s behaviour in the band, including his insistence on Yoko’s presence.  

Another compelling piece of information that was not included in the documentary was that Patti Harrison briefly left George around the time of George’s departure from the band.  Since there was no mention of this event during filming, Peter Jackson decided not to share it, claiming he didn’t want to make any “moral judgements.” To whatever extent his brief estrangement from Patti affected George’s judgement we’ll never know (George didn’t even mention it in his diary of that day), but its exclusion in the documentary is regrettable. 

3.  Editorial Choices by the filmmaker.  Peter Jackson has gone on record that he was not influenced by Ringo or Paul, and nor by Olivia or Yoko at any point in the making of the Get Back Documentary. And there’s no reason not to believe him.  But:  the Get Back documentary reflects his editorial choices–what he believed was important to leave in, and what he believed was acceptable to leave out.  As Erin Torkelson Weber indicated in this earlier post, “the reality is that, without unrestricted access to the hundreds of hours of actual audio and visual tapes Hogg and Jackson used to make their films, fans are still being offered only someone else’s interpretation/vision/translation of the primary source material…so we have to rely on evidence that has already been framed and filtered.” 

And that reality–that we are watching someone’s else’s version of the truth, has escaped mainstream media and a certain cohort of Beatle fans who either find the Get Back version of the Beatle break-up era more commensurate with their own beliefs, or simply don’t know any better. 

So ridiculous.

Psychotherapist Hugo G. Beigel analyzes the sexual appeal of the Beatles. Circa 1964.

This is so perfect!

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