Linda & Paul at the launch for Wings single 'Hi Hi Hi', 1972

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Today's Document

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@sgt-suibi
Linda & Paul at the launch for Wings single 'Hi Hi Hi', 1972

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Thinking about Paula McCartney
“PAUL: There’s this thing that’s grown up out of this materialist scene that everyone’s got into, which is that for everything to exist on a material level you’ve got to be able to discount any things that happen which don’t fit in with it. And they’re all very neatly disposed of these days. It’s great. It’s really very neat, I mean the way for instance IT would just be immediately labelled as “just one of those papers, that’s all” and that’s it. And pot is just that, pot is “just drugs” and LSD is “just drugs” and every form of drugs is “just the pit of iniquity, the black pit of terrible decadent disgusting people always fall into”. There is no thought on anyone’s part WHY anyone takes drugs but there’s thought on their part why they take drink. They’re quite willing to think about why they take drink, why they need a drink though they’re not maybe willing to admit that they take a drink to get drunk! I mean most people think: “Oh no, no, no, I don’t drink to get drunk! No, no, no, I take a drink occasionally. I do take a drink at parties but I must say I don’t take a drink to get drunk.” You know, this sort of Annie Walker attitude to it all… There’s something sort of dirty about drinking to get drunk, but if you do happen to get a bit drunk, it’s all right. But nobody will ever admit that they’re all standing there pissed because they wanted to get pissed which is the truth of it. It must be the truth, otherwise they’d stick to orangeade. You see then, the drag is then, that if you’ve seen the possibility, not only the possibility, the probability of there being many many more things than you know at the moment. I mean, I told you for instance that I didn’t like dogs and cats, until I got a dog and a cat and love them for what they are, just ’cause they’re dogs and cats. I’m quite willing to accept that dogs and cats are dogs and cats. And I still find that there’s a vague little sort-of sadistic thing in me about dogs and cats and if I ever have to punish her [his dog Martha] I can do it quite easily. Which I hate. MILES: If you’re able to see everything in its own terms, do you find that this has eliminated the western thing of finding some things beautiful and others repulsive? PAUL: No. You see, the pity about operating like this is that my act is not adapted to this. All that I have learned and the way I talk and the way I act doesn’t really fit in. There are still the kind of hang ups like “I don’t like dogs and therefore…” There is still a lot of me which has learned a lot of wrong things, that has based a lot of things on fallacies. I can’t just accept everything, that’s it, because I can’t just suddenly say, “Right, everything is as I know it is and I know I ought to accept it all.” It’s difficult when you’ve learned for 22 years of your life that it isn’t like that at all, and that everything is just the act and everything is beautiful or ugly or you like it or you don’t, things are backward or they’re forward. And dogs are less intelligent than humans, and suddenly you realise that whilst all of this is right, it’s all wrong as well. Dogs aren’t less intelligent… to dogs, and the ashtray’s happy to be an ashtray. But of course we think it’s just an ashtray and that kind of hang up still occurs. I still keep thinking of things just like that, people just like that as well. It’s pretty difficult to accept someone who’s lousy. I still impose the old rule of “Do I like them or don’t I like them?” [and] then I can’t see anything in them, it’s still difficult to see the good in bad because I’ve been trained that bad is bad… there’s no bad in bad, and I know I’m wrong. And all this is on a wider level. MILES: How does this approach effect your dealings with people? I mean it’s a very isolated position, very objective, existentialist. Does to make contact easier or…? PAUL: It can do. The trouble is, at the moment I haven’t got it going yet. It’s really a question of now seeing more of what it’s about. It’s now a question of trying to put those things into practice and when I think something which sort of says the kind of thing that I’ve learned in days gone by, it tends just to stick. Instead of being able just to say: “Oh well now, that’s rubbish, obviously, because I’ve found since that I do like dogs.” But obviously a little bit if the other, just because of sheer weight, 22 years as opposed to two, trying to learn it like this, see I’m really at the beginning of this stage. This is why other people say: “I see all your ambitions as Beatles have been fulfilled. You know you’ve done just about everything, you’ve played in every country in the world. What does it feel like?” And it feels exactly the same as it did when I was trying to get five quid for a guitar. It’s a beginning again, there’s no end. But I know I’m going to need a new set of rules and the new set of rules have got to include the rule that there aren’t any rules. So I mean… they’re pretty difficult. They’re pretty difficult…”
— Paul McCartney, interview w/ Barry Miles for International Times: A conversation with Paul McCartney. (November, 1966)
Paul the PR-guy
I always think it's weird when people say Paul has "always" been good at PR, and it's used as a weapon against him or whatever. Cause Paul hasn't always been good at PR. At least not while in The Beatles. I think he's good at it NOW, but if anyone was the truly good PR-Beatle, it was Ringo. Always friendly, stayed out of controversy, family man, etc.
Paul has the Maureen Cleave interview where he calls America a lousy country for its race policy, right before they're about to tour America in '66. And then goes on to shit on them for their rigid gender stereotypes lol. And that interview was gonna be the big headline for how controversial it was at the time, had it not been for John 'out-controversialling' him with the "more popular than Jesus" statement. Not to mention the bonkers interview in '67 where he's like, "Yeah, I've dropped acid, lol", which even the other Beatles got mad at him for (I know John defended him for it on several occasions, which is really sweet). And then the biggest cardinal sin of all, leaving for Scotland during the break-up and letting John and Klein (and George, Ringo and Yoko to a lesser extent) shape the narrative for, well, decades to come (I'm not blaming him for going, he should've done what was best for his mental health, just saying that from a PR-perspective it was objectively the wrong choice). I know I've probably forgotten to mention some stuff, but these three instances in particular stand out to me. So no, Paul hasn't always been good at PR. I don't think that just because he was more willing to talk to reporters at the time makes him a phony or a suck-up or whatever. It's like he says in the Hunter Davies biography, when he takes the time to sign some autographs for fans or something (I can't remember the exact words he uses): "I tried not to care, and then realised that trying not to care was more bothersome to me than actually caring." So whenever people call Paul phony or "good at PR" when he takes the time to answer questions or talk to fans, remember, he might go into a mental spiral if he ever refuses
Just another day of Paul unsuccessfully attempting to answer a question :D
he gets soo maddd 🤣🤣

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reminder that Paul is aware of this meme
need this fic to update or I will kms
Paul moves away and less than a year later Jim housekeeper-proposes for the self-admitted purpose of having someone drive him around take care of him. One housekeeping sonwife leaves and he immediately needs to replace him:
I was playing the piano in the living room and Jim came over and put his hands on my shoulders and he said, "I want to ask you something." I looked up and sort of smiled and said, "The answer is yes." He said, "I haven't asked you the bloody question yet." (laughs) So, we sat on the couch. He said, "Well, as you can see, I live in this lovely house, but I'm isolated. I can't drive. I have arthritis. I need someone to take care of me and there are constantly fans outside of the house, breaking over the fence and the back garden and peering in through the windows. Would you consider either being my housekeeper or living with me or would you like to get married?" I would only think about marriage, having a four year old daughter 'cause I was very proper in those days. I didn't want to be thought of as the woman who was living in sin with an elderly man.
- Interview with Angie McCartney
there are about 7 things happening here that are turning me into the joker
I just think that paul calling john darling at roughly the same time as they were starting work on oh! darling should have caused apple studios to explode
I think the Beatles would’ve been happier if they were tiny and they lived in a sewing kit in Brian’s house and they all slept inside the same empty box of cigarettes and they got to play sold out gigs for the mice

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sigh who let the evil twink out of the cage again
Can Paul McCartney’s nephew Jay tell him that he likes Back to the Egg and London Town so that he can finally get over his insecurity complex and release the archive collections
Just realized Paul started working on the new album around the time after get back came out….
paul growling

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now that I'm listening to the complete audio of the Get Back sessions, I'm actually quite pissed off at the Get Back documentary. I get that Peter Jackson had to cut down a lot of footage and give it a narrative, and he did the best he could, but I didn't realise how much the audio had actually been cut up until now. he basically cuts up a scene and mooshes it around so they're saying things out of order
y'know that bit in Get Back on the 14th Jan when George has left the band and they're all sitting around and John's talking nonsense and Peter Sellers even comes in for a bit? well one of the first audio bits I went looking for was that because it's one of my fav bits, and... Peter Jackson literally cut up two different sentences John said and turned it into one sentence. you can't just change someone's sentence to the point it's literally a different sentence, even if the sentence is just mostly nonsense. not to mention! in Get Back, John just looks like he's rambling nonsense and the others are just laughing along, but when you get the complete audio, you hear yeah John is rambling nonsense, but at least the others are actually participating some more, it's not just John who's off his rocker, man
the sentence in question is this... in Get Back, John says "now we were going to discuss this afternoon what religion meant to a popstar, and the popstar we've chosen is Tumble Starker, who's sitting here" (makes him look like he's referring to himself)
in the complete audio, however, John says "now we were going to discuss this afternoon what religion meant to a popstar, and the popstar we've chosen is Ringo McCartney" and then he goes onto banter with Paul, and later he brings up Tumble Starker as if that's Ringo and banters with him
I can kinda understand that for cutting things back tho, but I also found a worse crime. y'know that bit where John goes "I was sort of stoned and high and watching films" and Paul apparently replies "is there any need to do this in public, Mr Lennon?" well Paul does not fucking say that there! Paul is not telling John not to talk about drugs while the cameras are there, he does not give a shit that John says that. instead, the real context is Paul is pretending to be an interviewer talking about Two Virgins which uhhh is obviously a completely different context!
see here:
look, I know it doesn't really matter in the grand scheme of things, certainly wouldn't matter to the average Beatles fan, but it changes my entire read of the scene, y'know? how many of our analyses are wrong because of the editing in Get Back? the original Let It Be film made it look like they just hated each other and it was the end of everything, Get Back at least shows them actually having fun and getting along, but the complete audio shows it even more... why take out the banter and make John look even more like some rambling guy the others are just putting up with...?
alright @thehuntressandthewolf requested I do this for the lunchroom scene as well, so here we are
this is the audio they used in Get Back
as usual, the audio has been cut up and turned into a different conversation. in fact, it's taken out Ringo, Yoko, and Linda who were also participating in the conversation. and someone in the tags of this post mentioned that Ringo barely says anything in Get Back, which yeah, made me think he's the real Quiet Beatle, but then you find that he is literally being cut out of conversations
this vid has (mostly accurate) captions so it's easier to understand (audio is way too long for me to attach it here myself)
so you can see again that in Get Back, the order in which they said things is completely shifted around. for example, in Get Back, it appears that Paul says at the start "he [George] just said 'I'll do it at home'", but Paul actually said near the end of the audio clip, "if he was desperate, he would've just said 'I'll do it at home'" (23:54 on the vid), which is again a different context/meaning
there's lots of interesting self-reflections in the real conversation that were left out of Get Back (e.g. John saying he's always known he's conniving and doesn't realise until he's in it, but he tries not to be so no one is harmed. also they talk a lot about their thoughts on the White Album)
also! Ringo's prospective solo album is mentioned (Stardust) and Paul reassures him that it's not a bad idea (12:10). also interestingly, John says that the Beatles don't have to be the four of them (and apparently George said that too) and he could even be a Beatle on his own (5:08)
I also think it's important that Yoko and Linda join in with the conversation and John responds to them. I mean, when do we ever see any Beatle but Paul interact with Linda in Get Back? (also in the og post I included a bit of audio where Paul says something sweet to Yoko (the end of the stoned and high bit), and where in Get Back does any Beatle but John interact with Yoko?)
cinematic parallels