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wow!! that was a great article!! thanks for writing it.
i wondered if you could supply more insight into the quote from paul's bio:
I’d sit and talk to her, and I guess people could tell that it wasn’t worth pulling me. I think you’ve got to give off scents, and respond correctly to certain things, whereas with me it was just flirting.
i thought I was getting better at interpreting him but this leaves me flummoxed. who are the "people" who can tell he's "not worth pulling??" "people" in general, not just April. am I just being dense or is he not fully making sense here?
does he mean he likes flirting with trans people, plural, April being one of them, or something else? (it's ok if you can't explain but I am trying to figure it out and failing...)
Hey! So yeah, this kinda jumps out at me too. I'm not quite sure what Paul means by this, but given the full quote I'm led to two conclusions:
1.) Perhaps because of his level of fame and notoriety, especially at this time during the 1960s, it may not be worth trying to "pull" him (aka, get him in bed).
2.) Still because of reason #1, it might be harder for him to have queer experiences and not worth "pulling".
Now, this was written in the early 90s, so it's possible Paul is fluffing it up a little bit to make it sound vague, essentially to make himself sound less like a slag (lmao). We all know of Paul's exploits in his own accounts and other people's accounts who were close to him during that time, and was known to have multiple girlfriends at once. Paul might have been trying to be like "oh but I wasn't pullable! It wasn't worth pulling such a celebrity like me!" It's sort of his defense mechanism to be like "oh no, not me" but when in reality it's a bit different than that. Think of that one interview during the Wings era where Paul is talking about his romantic encounters before Linda, and then gives a vague answer and asks to clarify and goes "boys" but "IN MY CASE anyways it was girls."
I definitely think he could have meant "people" as in general, rather than a specific group or gender. There are a few instances, like the Wings interview, where he talks in a neutral pronouns about his past experiences, and I'm not one to speculate on Paul's sexuality...but 🤷 He did say he enjoyed being flirted with when April Ashley was flirting with him. So it's not out of the realm of possibility he liked having attention from all genders, just maybe "not worth pulling" or not worth having sex as it might be scandalous since he was such a big star of the era.
Now IF he did (and that's a big if), he probably wouldn't be discussing it. And I also think April Ashley probably wouldn't have said anything about it either. She made some boisterous claims in her life, but I wanted to point out that it could have been rooted in some truth. Either way, it is an interesting aside Paul makes in that quote that makes me wonder if he was truly "worth pulling" after all.
Happy last day of Pride Month, Beatle People! Today, we have a fantastic article written by @monkberryfields about the British trans icon April Ashley, and her association with The Beatles. The article provides an introspective look into her life as well as analyzing how the band interacted with her. Give it a read to end Pride Month off strong!! Check out the link below to read 😁
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“I’ve never known two people that love each other so much, and don’t even realize it.” – Eric Clapton
“ I believe Paul missed George as much as — if not more than — anybody.” – Eric clapton
“I got married in 1966 and Paul was my best man. He cancelled his holiday to do it. Then he got drunk and put a bow-and-arrow through the car window. But until then it was great.” – George
“I just know that whatever we’ve been through, there’s always been something there to tie us together” – George
‘The last time I met him, he was very sick and I held his hand for four hours. As I was doing it I was thinking “I’ve never held his hand before, ever. This is not what two Liverpool fellas do, no matter how well you know each other.” I kept thinking, “he’s going to smack me here.” But he didn’t. He just stroked my hand with his thumb and I thought “Ah, this is OK, this is life. It’s tough but it’s lovely. That’s how it is.” I knew George before I knew any of the others and I loved that man. I’m so proud to have known him.” - Paul
“Underneath it all, I believe that Paul sincerely loved George; and at some level George loved Paul as well. ” – Peter Dogett
“George told me once that I smelt like home. I got all paranoid, you know, thinking I smelt of fish and chip shops or dirty bars or something. But he said no, I just always smelt of home.” - Paul
“Paul is very protective of George.” – Bob Smeaton
“George was always known as the quiet one, but he had a wicked sense of humour. He and Paul tricked two fans into thinking that they were really brothers and George signed his name “George McCartney” for them.” - Denise Theophilus
““They used to jump on me. George used to wake me up by tickling my feet.” – Paul
“There was this guy called Ritter who was in our group at school, and George was in the younger group, and I remember we’d been standing around at playground and I’d tried to introduce George to Ritter, introduce him into my peer group. And being a year younger it was kind of difficult. I said, ‘Hey, this is George Harrison. He’s a mate of mine. We get on the same bus together.’ And we’d been sitting around, and George suddenly head-butted this friend of mine.When asked for the reason for the headbutt, George replied: ‘He wasn’t worthy of your friendship.” – Paul
Interviewer: Is matrimony in the immediate future for the two unmarried members of your group? Paul: Matrimony is not in the immediate future. George: Paul won’t have me.
“God, my mate George, isn’t he a good-looking boy!” - Paul
“Thing is, there’s a lot about me and George that the public don’t know about, and I like it better that way. That night was very personal, and very special to me. It’s one of my favourite memories.” – Paul
“I knew George long before the others. We were good chums despite his tender years as it seemed to me then. We were always together.” – Paul McCartney
“It used to be PaulnGeorge… as one word. They were the kids from the grammar school. That’s how we referred to them. For ages we didn’t even know George really, he was just ‘Paul’s mate’.” – Len Garry
“In Liverpool, Paul would come round my house and we’d play in the living room. Paul knocked me out with his singing especially, although I remember him being a little embarrassed to really sing out, seeing as we were stuck right in the middle of my parents place with my whole family walking about. He said he felt funny singing about love and stuff around my dad.” — George
I think we have now grown old enough to realize that we’re both pretty damn cute!” - George
This global Beatles day, tell us the story of how you got into the Beatles!
Several days late, apologies! Thanks to all who tagged me <3
I said in a post before that "Help!" was a song I always remember knowing, it's like it was part of the universe. I think it was the staggered harmonies, they just embedded myself in my child brain. Aside from that, there wasn't a particular focus on the Beatles when I was growing up. That changed in the mid-1990s when Anthology/Real Love/Free As A Bird came out. My older sister had the first Anthology CD and I remember looking at the collage cover and loving the studio chatter ("Paul's broken a glass, a glass, a glass he's broke today" is wired into me haha).
My sister and I got very into the Beatles then. I remember loving Strawberry Fields Forever and writing "Living is easy with eyes closed" on my school textbooks like an angsty teen lol. I also have a vivid memory of us making the family dog listen to the silent bit before the fadeout of SFF because we'd heard that there was a ultra-high frequency hidden in the audio that humans couldn't hear but dogs would start barking to. (He remained unmoved).
Around the same time I became obsessed with Brian and his relationship with John, so I was interested in an aspect of queer history and the Beatles even then. I read a couple of John biographies but I don't remember which ones.
I stayed liking the band all through college and beyond but they were on the back burner. I remember when George died I thought it wasn't a big deal because he was "old" (SMH). Then was just puttering along for many many years until Get Back came along. I watched it twice and did not pick up on one single thing between J and P lmao! But I really enjoyed it and it got me interested in the music and the drama again. I can't remember when or how I became aware of mclennon, I know it must have been tumblr but I don't know why I was back on tumblr in the first place because I hadn't used it in years. Anyway, when I came across the concept my first thought was utter confusion, as it had literally never occurred to me before. Then I remember having the strangest feeling: It was as though I had just realised something I already knew. That was it for me!
One of the nicest things about getting into the fandom is getting a new and renewed appreciation for this music I've loved for so long. I still adore Strawberry Fields Forever <3
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"However, I do believe his story about being abducted and beaten up by off-duty cops working for Yoko, prior to being arrested."
In the book, Seaman says he took a set of diaries from the Dakota that covered the years 1976-1979 - he makes a point of saying he didn't have the diary for 1980. Is this true? Who knows Yoko! He defends taking the diaries by referring to a conversation with John in which John supposedly said "If anything happens to me, I want Julian to have my diaries." This conversation could have happened, but I don't believe that Fred's only motivation was altruistic, as shown by his immediately showing the diaries to his then-friend Robert Rosen, who was allegedly supposed to copy them so Fred could return the originals, but Robert allegedly kept them and Fred allegedly had to get his therapist (?) and his therapist's other client (???) on the case to get them back. (Rosen eventually wrote a book based on his alleged copies of the diaries). Already sounding very dodgy. Anyway, Fred says his apartment was burgled and he was informed (I forget how) that the Dakota people were looking for the 1980 diary, which he maintained he didn't have. Some time later, Fred says he was grabbed off the street by a pair of off-duty cops who he says he knew moonlighted as security guards for Yoko. He says he was driven to the East River, beaten up and threatened with murder if he didn't return the 1980 diary, which he says he kept telling them he didn't have. Eventually he was brought to a police station and charged with theft of the diaries. A complicated series of lawsuits and counter-suits ensued, and Fred was eventually charged with (I think) a misdemeanor and got a suspended sentence. He says he wanted to bring charges against the cops that abducted him but says he was advised against it because there were no witnesses (though he does say he was in the company of a friend when he was grabbed off the street). The reasons I believe that some version of this story is likely true are 1) Fred names the cops and the precincts they worked in. 2) It's not unheard of for super-rich people to use security guards as goons in this way, especially in the past, and 3) Jack Douglas tells a story about his apartment being burgled in a similar way, and he's a more reliable source than Fred.
I don't think Fred's account should be believed without qualification, and he well could have had the 1980 diary at some point, and he was obviously lying about other things in relation to his taking the diaries etc. But at the same time for the reasons above I can believe that Something like this happened.
(The 1980 diary eventually turned up in a defunct auction house in Germany, where it had arrived via another disgruntled ex-employee of the Dakota. The Story of the Diaries can be read about in more detail at https://www.heydullblog.com/uncategorized/from-victoria-the-lennon-diaries-a-multi-decade-adventure/)
The Last Days of John Lennon by Fred Seaman was published in 1991, after several years of legal fighting between Seaman and the Estate, including a criminal conviction for Seaman. He's still persona non grata from the Estate and many observers' POV, with some good reason, though the Estate's hands don't seem to be clean either. You can read about it all here.
Seaman worked as a personal assistant to John, and in the Dakota Studio One office, in 1979 and 1980. He got the job via his uncle and aunt - his uncle was friends with Yoko and his aunt was Sean's nanny for a while. He stayed on for a while after John's death, until the Drama unfolded and he was gone. Apparently he was trying to get the book published for many years before it finally came out, and he's been known to pop up on Beatles forums with various takes (including getting into fights with Francie Schwartz, lmao).
It's hard to establish how reliable Seaman is. His history with the Estate, his taking of John's diaries and his strong bias against Yoko all work against him. He's also been accused (by Mike "Tree" Medeiros) of passing off other people's experiences and conversations with John as his own. I would say he is a less reliable source than John Green, but is not totally unreliable either.
When Seaman starts his job, John is still partially in his depressive period; spending a lot of time in his room. As they get to know each other better, John is a bit more relaxed, but still a demanding, moody boss. Of course, not as bad a boss as Yoko, who Seaman makes no secret of loathing. In his telling, she's cold, contemptuous of both John and Sean, periodically addicted to heroin, and agoraphobically neurotic.
Like in John Green's account, the Dakota court is chaotic, rife with miscommunication and always full of people dashing about with their hair on fire. Seaman's first trip with the family is to Palm Springs where Julian and Yoko's nieces join them. Seaman witnesses (or claims to witness) John and Julian's awkwardness with each other when they are first reunited, and John's sadness about that. He also observes John as a parent to Sean - trying, but not able to cope with normal toddler boisterousness. Like in Green's account, child Sean seems both indulged and neglected, and acting out as a result. Seaman has Sean once saying "Daddy should join the Beatles again!" and John being annoyed, but that sounds extremely made-up, lol.
One part that does sound real is John talking about the early Beatles years as a time where he felt the power of the muse, was "hot" in his songwriting, and "high on life". Obviously the early years had their complications too, but I can see them holding a magic quality for John simply for that feeling of being in control of his destiny rather than it being controlled by others.
I've heard the Dakota life described as being like an episode of Frasier, and that definitely rings true, haha. Farcical events include:
Fred being sent to collect Yoko's mother Isoko from a Howard Johnson's in Times Square, where she has voluntarily stranded herself for reasons unknown. When Fred arrives, Isoko insists he sit down and join her for ice cream.
Fred repeatedly getting instructions to buy practically the entire contents of bookshops, record shops and video stores for John, Sean and Yoko.
Fred and two flower shop employees gathering hundreds of gardenias in the dead of night and placing them all over the Palm Springs house in lasagne trays, for Yoko's birthday the next day (after which Yoko informs Fred that in Japan, gardenias are traditionally associated with death).
All the staff scrambling to stop the two Sams (Green and Havadtoy, both sort-of boyfriends of Yoko's), turning up at the Cold Springs Harbour house at the same time.
While Yoko is away on a trip with Sam Green to Fire Island, Sam Havadtoy phones John in Bermuda to ask where she is and what she's doing. New level of triangulation unlocked by Yoko.
John and Yoko are not unlike how they are portrayed in John Green's account, with John, at least, alternately mythologising Yoko and being disillusioned by reality. Seaman's account frames Yoko as not giving a shit about John except to control him and spend his money. Frequently John wants her to come to Long Island or Bermuda or somewhere and Yoko keeps refusing - at one point because she is supposedly having a full-blown affair with Sam Green. The incidents Seaman describes could be true but they don't give much insight into Yoko's inner life. I'm inclined to think the more nuanced, anxious Yoko in Green's account is probably more realistic.
John's love of the sea and boats is delightful to witness and a high point in the narrative. Eventually they end up in Bermuda, where Fred is sent after John has sailed there. Now John is writing songs (something he says always makes him "horny") and Fred is beside himself with excitement. I would bet that he talks up his own involvement with the various demo recordings and even familiarity with the material. Also he repeats myths about some songs' genesis, for example "I'm Losing You" being composed from scratch in Bermuda, when demos of it exist from at least the year before.
The Bermuda renaissance has followed a low point in the book - the Lennons' reaction to Paul's arrest, which betrays none of the concern allegedly shown by John to Green. Instead, John and Yoko act like a pair of petty children, laughing at Paul's misfortune, saying it serves him right and John seemingly believing that Yoko effected the whole thing with a magic spell (Seaman indicates he believes it was a set-up at the airport orchestrated by Yoko, but there's no evidence for that). Seaman may be exaggerating but I believe the essence of this childish response is based in truth. They really come across terribly here: toxic, codependent and bringing out each other's worst impulses.
Fortunately things look up when we get to the Double Fantasy recording sessions, for John at least. Again, it's hard to know how accurate Seaman's account is, but the studio-John he portrays seems realistic. Interestingly, his demeanor seems pretty similar to how Paul-in-studio is described - exacting, intolerant of freestyling, expecting the musicians to play exactly what he wants them to and no more. But these traits are never described by anyone as "bossy" or tiresome. Inch Resting.
Seaman dismisses Yoko's songs and has John and the musicians more or less doing the same - I imagine the reality was more nuanced. Both Sams make regular appearances at the studio, but spend most of their time in a lounge with Yoko as she talks on the phone (her favourite activity).
Seaman included a supposed conversation in Bermuda where John talked philosophically about expecting to die violently, as he had been violent when he was younger. It's very hard to know if this has any basis in truth or not. On the one hand, it's a perfect little "just-so" premonition story, of the kind that abound whenever a famous person dies unexpectedly. On the other, Double Fantasy producer Jack Douglas recalled a similar conversation with John in the studio not long before his death, that disturbed Douglas so much that he erased the tape on which the conversation had been recorded. He didn't describe the conversation but intimated that it was about death. So perhaps John was in the habit of talking about morbid subjects. But he's hardly the only person to do that, and like always, the nature of his actual death gives horrible import to such conversations, making them seem like premonitions.
The confusion and anxiety in the Dakota in the days after the murder sounded just awful. Even if Seaman is conflating or exaggerating or expropriating details, the misery and confusion and paranoia feels real. One detail that stayed with me is how long it took anyone to tell Sean what had happened - I'm still not sure who told him and when.
Seaman's own account of the diaries saga sounds extremely sus - he's clearly covering his own ass. I don't believe he took them just to give to Julian. His account also has him reading parts of the diaries while John was alive, claiming that they just happened to be "left open" on a desk somewhere. Bullshit. That part is where any credibility he's built up over the story starts to be whittled away. I also think he may have had more of a role in transporting drugs to various places than he lets on. However, I do believe his story about being abducted and beaten up by off-duty cops working for Yoko, prior to being arrested.
Seaman's John is close enough to Green's John to feel like the same person - he's funny, weird, sometimes pompous, moody, intelligent but often catastrophically unself-aware; other times insightful; prone to monologuing, nervous, childlike, restless, sometimes terribly inappropriate, aggressive and unsettling; other times whimsical and often deeply endearing. He feels like a real, human, flawed, infuriating troubled and lovable person. Seaman's Yoko has moments of humanity, but is mostly quite flattened by his relentless dislike of her, which is probably at least a little bit informed by misogyny and "As John's best friend" syndrome. Not that she is beyond criticism, but when it's cartoonish it's harder to take seriously the moments where Seaman does seem to feel genuinely threatened by her and her goons. Which I think are probably real, but again, exaggerated and his own shadiness downplayed.
If you were just going to read one Dakota memoir, I'd say Dakota Days is probably more reliable, but this book helps flesh out some aspects of the picture. At the same time, you should assess its anecdotes more carefully than that of most books, because of the documented issues with the author's reliability.
George Harrison and possibly one of the owners of the hotel Stanglwirt (the website didn’t specify), Tyrol, Austria, 1990s. Photo courtesy of stanglwirt dot com.
George, Olivia, and Dhani vacationed in Tyrol, and invited Klaus Voormann to join them. The following excerpt was translated from Voormann’s German-language only autobiography Warum spielst du Imagine nicht auf dem weißen Klavier, John?:
“‘We’re at the Stanglwirt in Tyrol, fancy visiting?’ […] We hugged again. He felt a bit chubbier, did good old George, and he looked like a good-natured elderly gentleman in his slippers, the green cord pants, a wool vest and a gray, plain sweater. His apartment was not very large, but comfortable. It consisted of a living area as well as a bedroom for himself and Olivia and a small room for Dhani. […]
While we ate, I constantly had to look at little Dhani. I felt like I had little, seventeen-year-old George from the Hamburg times in front of me. He looked unbelievably like his father, even though his face seemed narrower and his hair was darker. Also he didn’t speak with the Liverpool accent his father had at that time spoken heavily. Dhani seemed hyper and talked nineteen to the dozen. George turned to me. ‘I love my little Dhani more than anything… if only he wouldn’t talk so much,’ he whispered.” - Klaus Voormann, translated from Warum spielst du Imagine nicht auf dem weißen Klavier, John? (x, x)
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Another Paul' senseless absurd song (honestly, one of my fave) -
Morse Moose And The Grey Goose
All these Morse Moose and Grey Goose, "As we were sailing 'round the rocks" sounding a bit like "rock around the clock":
One, Two, Three O'clock, Four O’clock rock…
Grey Goose flew away and that's all Morse - whoever he is - ever thinks about (that's why every verse ends with this - But the Grey Goose flew away)
And now Morse Moose is calling Grey Goose - whoever he is - calling from the bottom of the sea (and by all accounts, Morse doesn't feel good here at all)
But the more desperate his calls, the more they seem like shouting into the void.
Maybe he knows that wild goose chase means chase a ghost - and he is afraid he is looking for something that doesn't exist?
Morse could mean Samuel Morse (and Morse code which Paul uses can implie that this is the case)
Or it could mean a walrus (because - yeah, "morse" also is the archaic or alternative English term (derived from Russian morž - морж) for the walrus, and it remains the standard word for "walrus" in French - un morse)
My name is Morse Moose and I'm calling you
Right on down to the bottom of the sea
Tell me are you receiving me?
My name is Morse Moose and I'm calling you
(This is the Morse Moose calling)
(This is the Morse Moose calling)
(This is the Morse Moose calling)
(This is the Morse Moose calling)
Right on down to the bottom of the sea
(This is the Morse Moose calling)
Tell me are you receiving me?
All of the lonely nights
Waiting for you to come
Longing to hold you tight
I need you so desperately
Waiting for you to come
Bringing your love to me
But I'd wait a million years
Walk a million miles
Cry a million tears
I'd swim the deepest sea
Climb the highest hill
Just to have you near me
As love is reality
When you are near to me
I am in ecstasy (Whoa, whoa, whoa)
I'd swallow the pain and pride
Baby, I just can't hide
All that I feel inside