Beatles at the Indra, uncropped version!
he wasn't even looking at me and he found me
PUT YOUR BEARD IN MY MOUTH
cherry valley forever
styofa doing anything
wallacepolsom

titsay

JVL

Kaledo Art
Alisa U Zemlji Chuda

Misplaced Lens Cap
RMH

çĽćĽ / Permanent Vacation

Andulka
Aqua Utopiaď˝ćľˇăŽĺşă§č¨ćśăç´Ąă
we're not kids anymore.
Sweet Seals For You, Always

Product Placement

seen from Netherlands

seen from Malaysia
seen from United States

seen from Russia
seen from United States

seen from United States
seen from Argentina
seen from Italy
seen from United States
seen from Japan
seen from Canada
seen from Malaysia

seen from Germany
seen from Argentina
seen from United States

seen from United States
seen from Puerto Rico

seen from United States

seen from Malaysia

seen from TĂźrkiye
@serenade-meow
Beatles at the Indra, uncropped version!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
Hey sweetheart, have you seen an interview with Paul and Linda in which the TV host rudely mentions John's latest criticisms of Paul and Paul fucking loses his composure, his eyes full of tears, reddened nose, nervously biting his nails, making Linda sigh and holding his hand tightly. It's fucking incredible the power that John had in Paul's emotions, I had never seen him lose his composure like that. It's a long interview, about 15 minutes, but the part I'm talking about is at the very end.
I think i know what interview is that. Well, at least the part iâm thinking is very similar to the Good Morning America interview, i edited only this part to upload, is this it?Â
Because in this Paul has a hard time holding himself together, he was very shaken and teary, he had talked about John positively and the reporter just went and crushed him with that. 0:49 heâs trying very hard not to cry, that ââsmileââ. Yes, John is one of the few people, perhaps musically the only one, whose opinion Paul took to the heart. He seems lost, not knowing what he could say. I think Paul usually didnât answer to Johnâs words to avoid making things worse because when they talked only the two of them it was one John but in the media and specially with Yoko by his side, it was another John. But itâs undeniable it hurt Paul. I wish John had had the time to fix it.Â
If this is not the interview or part of the interview that you are talking about, send me more details and i try to find. :)
Johnâs 1980 playboy interview in reference. Not that itâs an excuse for cruelty (âPaul died creativelyâ, âthe last gasp from himâ omg) (wait lol Paul-is-dead-heads probably would love the phrasing), but John said many different things concerning Paul through the 70â˛s. He contradicts himself right in this interview: saying he doesnât really listen to Paul, then begins analyzing his music and obscurity. Itâs obviously much more complicated than it was being portrayed.
And I wonder if John saw this particular Good Morning America interview. The whole thing was goofy American morning cable that sorta burns your eyes, but then it just ends with that question out of nowhere, and Paul tearing up (?) Wonder if John watched and regretted it.
Thinking about Johnâs final interviews and specifically his thoughts about him/Paul. Of his final three interviews, two (Newsweek and Playboy) were pretty negative. And itâs always interesting to see Paulâs reaction during the actual time period. But John did express regrets, and they talked it out in this particular instance:
For his part, around the same time, in the press John dismissed the notion of a Beatles reunion as  âan illusion.â As ever, Lennonâs feelings toward McCartney were highly erratic. He confessed that heâd liked âComing Upâ but said he thought Paul âsounded like was depressedâ on âWaterfalls.â âI donât follow Wings,â he curtly told Newsweek. âI donât give a shit what Wings are doing.â The journalist then apparently quoted Paul as saying that, in his opinion, Lennon had gone to ground because he had done everything else in his life âapart from be himself.â At this Lennon exploded. âWhat the hell does that mean?â he roared, accusing Paul of knowing nothing about his life during his-house-husband years. âHe was as curious as everybody else was. Itâs ten years since really communicated with him. I know as much about him as he knows about me, which is zilch.â
This wasnât entirely true, since the pair would still sometimes talk. On October 9, Johnâs fortieth birthday, Lennon and McCartney spoke for the last time on the phone. John had just completed most of his return album, Double Fantasy. Paul called in the evening, and the pair â Lennon perhaps regretting his most caustic comments â discussed how they were always being baited to put each other down in the press.
âDo they play me against you like they play you against me?â John wondered. âYeah, they do,â said Paul.
â Man on the Run
After this sweet phone call, Johnâs final interview in Rolling Stones has that well-known quote about working with Paul:
âThroughout my career, Iâve selected to work with â for more than a one-night stand, say, with David Bowie or Elton John â only two people: Paul McCartney and Yoko Ono. I brought Paul into the original group, the Quarrymen; he brought George in and George brought Ringo in. And the second person who interested me as an artist and somebody I could work with was Yoko Ono. That ainât bad picking.â
thinking about this tonight
excerpt from John Lennon: In My Life by Pete Shotton
Paul McCartneyâs former teachers/Dezo Hoffman on how he was shy/insecure/sensitive and also, according to his teachers, a born leader who had a charm that was âabsolutely natural, quite extraordinary, and quite irresistibleâ (McCartney bio 66):
Jack Sweeney: âPaul is a very complex personâŚPaul had this extraordinary dualism: at any given moment he could be so easygoing and so casual, yet there was also this toughness: he would hold the class entranced. He was a born leader, so gregarious, so popular (Salewicz McCartney bio p. 66)
Sweeney also observes that: â[Paul] was always insecure.â Chris Salewicz then goes on to say âJack Sweeney is not alone in noting the insecurity and sensitivity behind Paul McCartneyâs breezy facade. Alan Durband saw it also, and traces its first appearance to around the time of Mary McCartneyâs death. But perhaps it was also the sense of inadequacy he felt as a boy from a housing project in this academic environmentâ (Salewicz McCartney bio 64)
And then photographer Dezo Hoffman: âA difficulty with which Paul always grappled, [Hoffman] detected, was a shyness that he had worked hard to eradicate but that nevertheless rose almost irrepressibly. âHe was never sure of himself,â says Hoffmann, echoing Jack Sweeney, Paulâs form-master in his sixth year at Liverpool Institute. âHe pretended to beâit was all pretense. Thatâs why he was able to give such fabulous interviews later, because he covered up his inadequacies the only way he couldâby joking, by pretending to jump ahead of anybody who asked him a difficult or intimate question. He would give serious interviews when he was on his own, but when he was answering questions with the others, Paul was unable to really reveal himself at allâthough admittedly theyâd all be joking at such times anywayâ (Salewicz McCartney bio 140).Â
yes. what @marmaladeskiesâ said.  (Iâm linking instead of reblogging b/c I donât want to hijack OPâs post)
Re: the Saint versus Devil versions of John Lennon
The fascinating thing is that on tumblr I see a lot of people bemoaning Johnâs âreputationâ and complaining about all the internet randos calling him a racist abuser wife-beater and yet I have never ACTUALLY seen any of these internet randos! I only see the John-is-a-God people (who are mostly boomers, apparently).Â
That tells me I must be in the âwrongâ (right?) online/fan spaces, which Iâm realizing is most likely due to my age (over 30). Itâs worth noting though that the SAINT version of Lennon is the one that dominates most âofficialâ (i.e. monetized) forms of media - i.e. books, movies, and podcasts. Anything that contradicts this version is highly unusual and met with hostility. Itâs interesting to me that the Devil version is allegedly rampant with younger people⌠makes me think that these older forms of media are becoming less and less relevant.
The people who are trying to cancel John exist, they are especially vocal on reddit (not r/beatles, but when someone makes a John Lennon related post on big subs, such as TIL or in specific r/askreddit threads, thereâs always that someone who comes in with âactuallyyyyy lennon is a terrible abuserâ and goes on to share usually exagerrated, out of context or straight up untrue stories about him), I guess twitter (because itâs prime twitter behavior) and Iâve heard about TikTok being the place for this as well, though I donât use this platform at all, so I wouldnât know the specifics. One of the all time most popular posts on r/unpopularopinion is about John being a terrible human being.
I absolutely agree, that the saint John is very much the main POV that is being held by the autorship and that is a major issue. Iâm very glad weâre getting at least podcasts or your documentaries, that are showing a different point of view to the audience of these authorized books.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
January 8th, 1969: After John dismisses all of the songs heâs come up with for the Get Back/Let It Be sessions, Paul asks John if he has written anything new to make up for it. He hasnât. No one is thrilled about this. Â
PAUL: Havenât you written anything? JOHN: [defiant] No. PAUL: [tense] Havenât you. [pause] Weâll be faced with a crisis, you know. JOHN: When Iâm up against the wall, Paul, youâll find Iâm on my bestâ PAUL: Yeah, I know, I know, but I just wish youâd come up with the goods. JOHN: Now, look. I think Iâve got Sunday off. PAUL: Yeah, well, I hope that you can deliver. JOHN: Iâm hoping for a little rock ânâ roller. PAUL: [sarcastic] Yeah, I was hoping for the same thing, myself, you know. JOHN: [mocking] âSammy loved his mammy, she hammy dammy dammyâŚâÂ
So we all know that John got ÂŁ100 for his 21st and spent it on the Paris honeymoon holiday with Paul. And we all go, âyeah, yeah, ÂŁ100.â but.Â
WAIT
ARE YOU KIDDING MEÂ
YEAH I GUESS HE REALLY MUST HAVE LIKED YOU PAULÂ
Kaiserkeller by Klaus Voormann
January 13th, 1969 (Twickenham Film Studios, London): Over lunch, the remaining Beatles touch on Georgeâs resignation from the band on the 10th, as well as a group meeting held the previous day which ended in less than desirable circumstances (with George leaving the room, frustrated by Johnâs persistently Yoko-filtered standard of communication). While Yoko contends that it would be easy for John (and Paul) to regain Georgeâs favour, John points out that this is a more deeply-rooted issue than it may seem, compounded over the years by John and Paulâs treatment of George and his defaulted status within the group. Upon this problem of overriding egos, however, Paul suggests (passive-aggressively) that it isnât just the Lennon-and-McCartney tandem that is causing George upset and consternation.Â
PAUL: [bleak; joking] So whereâs George?
RINGO: It smells like George is here.Â
YOKO: [to John] Well, you can get back George so easily, you know that. You know, Paul andâ
JOHN: But itâs not that easy, because itâs a festering woundâ
PAUL: Yeah.Â
LINDA: Yeah.Â
JOHN: âthat weâve allowed to â and yesterday we allowed it go even deeper, but we didnât give him any bandages. And itâs only because George, uh, when he comes up, when he is that part of him⌠We have egos. We canât help but haveâ
RINGO: Well, it can be a burden on him.Â
JOHN: Iâll have, you knowâwell, look, you doâ [inaudible]
RINGO:Â [inaudible]
PAUL: RosĂŠ.
YOKO: Can I have one too [inaudible]? But if you wanted it badly enough, you have to, you knowâ
MAL: What do you want, uh, Paul?
PAUL: RosĂŠ, please, for me. Linda?
LINDA: No thank you.
JOHN: [inaudible] I wouldnât say itâs my ego. It was yesterday, really â or, or even the day before when we went to Georgeâsâ
PAUL: I sure as hell know I wouldnât like you to.
JOHN: What?
PAUL: Dig in your heels.
YOKO: Your egoâs great, by the way.Â
PAUL: âCause if Iâm to â if Iâm to look at either of you, you know, I really donât like to be smothered. You knowâ
YOKO: No, no noâ
PAUL: You know, if I could â if you were in a shop on a shelf, Iâdâ [inaudible] âor whatever it isâ
JOHN: Iâm just trying to ask [inaudible] â do I want him back, Paul, Iâm just asking, do I want it back? Whatever it is.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
There is *a lot* going on in George Martinâs With a Little Help From My Friends: The Making of Sgt. Pepper (for one, he quotes from Lennon Remembers way more than youâd expect!), but he also included a mild criticism of Mark Lewisohnâs reading of Paulâs work all the way back in the early â90s:
âIâm sure Paul wrote âWhen Iâm Sixty-Fourâ with his father in mind. Jim [McCartney] loved music-hall stuff, corny popular songs, the kind of thing Paul normally wouldnât tolerate. Nevertheless, âWhen Iâm Sixty-Fourâ was not a send-up but a kind of nostalgic, if ever-so-slightly satirical tribute to his dad.
Paul got around the lurking schmaltz factor by suggesting we use clarinets on the recording âin a classical wayââŚThis classical treatment gave added bite to the song, a formality that pushed it firmly toward satire. Without that, the song could have been misinterpretedâit was very tongue-in-cheek. It is rather like, say, putting a Gerald Scarfe cartoon into a gilded frame, and hanging it in the National Gallery. The form brings you up short, makes you think more carefully about the contentâŚ
Most people think of âWhen Iâm Sixty-Fourâ as a jokey song, a piece of tongue-in-cheek music-hall pastiche, which it is. Nor did the other Beatles take it seriously. The Beatles historian Mark Lewisohn describes it, accurately enough in so far as it goes, as âPaulâs vaudeville-style charmer.â
For my money, though, it has a little more to it than thatâŚIf you look at the lyrics you can see that underneath the jokiness they are saying, âIsnât old age awful? Banality, tedium, nothingness, poverty, routine.â It is Paul with his satirical tin hat on, a bit like, in film terms, Oh What a Lovely War. The bleak underlying vision is dressed up in this very gentle, rooty-tooty kind of charmâŚ
When I heard âWhen Iâm Sixty-Fourâ for the first time, I chuckled at the cleverness of the lyrics. They were so true. They reflected my own experience of family life, the comfort and cosiness, so wellâŚ
The song, then, showed the other side of the Beatle coin on Pepper: it was not psychedelic, mystic, transcendental or any of those other things that have been leveled at the rest of the album. It was an affectionate satire regarding old age from a young manâs point of viewâ (34-38).
PAUL AND LINDA MCCARTNEY at Abbey Road, 1971
1966
John: Letâs stop going on tour
Paul: What?
John: Yeah, you know that electrifying soul strengthening perfect connection we have on stage when weâre performing, letâs not have that any more
Paul: Okay.
John: And all that sharing a room and living in each others pockets and being as close as itâs possible for two people to be, letâs just not do that any more
Paul: Right.
John: Itâll be amazing, nothing will change except we wonât have any of the things that hold us together and help us understand each other and keep my feelings for you from overwhelming me and sending me crazy
Paul: Yeah.
1968
John: oh and you know the special sacred unbreakable two-ness of us writing songs together alone with no one else around just us singing eyeball to eyeball alone where no one can see us or hear us and itâs beautiful and safe
Paul: uh huh.
John: letâs never do that again
Paul: hm.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
Profile on Paul McCartney, RAVE magazine, August 1965
âCriticism is meant to keep you alive and strenghten your talent,â the journalist pointed out. Paul shook his head. âIt doesnât keep me alive,â he said. âIt hurts.â
Can you imagine being John Lennon in 1974, and youâre about to see your ex-best friend/pseudo husband/songwriting partner for the first time in years, plus its a really big moment cause youâre tentatively thinking about working with him again, then the motherfucker shows up looking like this unironically: