the-1sttaste

Latest Posts by the-1sttaste

Something I really love about John is how he nakedly objectified Paul.. like a Neanderthal caveman. None of this ‘I’m attracted to your beautiful mind’ crap, he really was like;

‘What that mouth do?’

‘What that ass do?’

‘What that ass look like in stockings and suspenders?’

‘What that ass look like in a gingham pinny making my tea?’

He’s nothing if not consistent!

Hello! Love your blog and your takes, objective and sane and well researched chefs kiss! I had a blast scrolling through it like it was my feed yesterday lol can you elaborate on klaus and Paul if possible? People mostly talk about them like it’s already understood but I don’t understand 😭 I’m kinda lost on their (all of them, including stu) dynamic during the hamburg years specifically when it comes to Paul

Aww thank you anon! Tbh I was starting to feel a bit down about my blog and what I was putting out ( the eternal crisis on how to give full answers and opinions without being stupid, boring and annoying lol). So I really, really needed this. :)

Oh Paul vs/and the Exsis, it's quite a long one so buckle up.

Disclaimer: all of the people involved are essentially art kids/young adults who are famously the most exhausting people on the planet. Do not blame them for being dramatic, it's their natural state of being.

If we want to go into Paul and Klaus, we have to kind of start with the John, Paul and Stu. Now these three are a mess that's too big to go into here (though I have THOUGHTS about how Stu is utilised in the Beatles narrative that I'm more than happy to share if asked lmaooo). But in short(ish):

John and Paul had had an intense year and a bit of closeness. Then John meets Stu at art college.

John and Stu become c l o s e for many reasons (being peers, living together, similar artistic leanings + ego, Stu being a gentle guide to John, sharing art projects/poetry/long letters and feelings etc.) They became 'closer than two men' a friend had seen (remind us of anyone gang?). Most importantly, John could be open about his feelings with Stu in letters. If John had BPD which I subscribe too, I think Stu was his 'favourite person' and as Aunt Mimi said his 'special' and 'closest friend' from this period up until his death (though imho the transference back to Paul was starting prior to his death).

It's not clear what exactly happens as there's differing accounts but Stu uses his money to buy a new bass as John wants him to come to Scotland then Hamburg and play bass as he will 'look good'.

Paul doesen't like being relegated to the seat behind John and Stu when he used to sit next to John. He also isn't thrilled when he gets to Hamburg and not only does he get to sleep in the other room with just Pete but Stu cannot be arsed to play because he's hanging out with his hot new girlfriend Astrid (more on her in a sec). Our boy has spent a lot of money he doesen't have and given up on further education to be here and is jealous and annoyed.

Paul and Stu probably were friends and I think their mutual antipathy is overegged. HOWEVER, can't be denied that Paul is jealous of Stu and Stu is jealous of Paul (and getting flare-ups from increasing brain damage). John and Stu tease Paul and steal his money, Paul is mean to Stu (as are the others encouraged by John). Do I think John was playing games with both of them? Yup. They end up scuffling onstage because Paul said something about Astrid (not clear what, one account is that Paul said that Stu could borrow money off Astrid if he needed it which isn't really that bad a dig but who knows Yoko??).

Why is this dynamic important? Because it directly impacts the 'Exsis' (Klaus, Jurgen and Astrid's) group's relationship with Paul:

The Exsis were young artists living in Hamburg. They were artistic, cool, interesting and edgy. They were paramount in introducing the Beatles to cool new concepts, aesthetics and ideas. They also took themselves VERY seriously ie pretentious as all hell.

Astrid met Stu at Kaiserkeller and hit it off. They embarked on an all-consuming romance.

Letter from Stu to Astrid, c.1961

I've seen people say they were the proto-John and Yoko in terms of making their romance the whole world and influencing John years down the line and I can see that. With Astrid and Stu it's far more endearing though because they ARE young and the right age to have a relationship like that. Stu is popular with the Exsis in general and brings them into the Beatles group.

The Exsis didn't like or trust Paul. Astrid said later it was because Paul was 'too nice' which she herself admits is a ridiculous reason. The others also thought he was a bit of a show-off. It makes sense though if you're cool and edgy and want to stick it to the world to be sus about a guy being friendly show-off with seemingly no inner world. The other problem was a perfectly reasonable one imo, you're not going to like your friends frenemy who you don't connect with. Compound that with Paul not taking drugs as much as George or John and being in the other room and you begin to have a division.

Paul had been popular his whole life, like from what we know since-primary-school-popular. He had never been in this position before, let alone in a foreign country. I believe it became a bit of a brutal feedback loop. Paul's response to this type of behaviour consistently it to go more surface level, snide and passive aggressive. The natural response of any group with a designated 'ugh' person is to become more shady and exclusionary. The cycle continues and gets worse. Stu letters back home at this time says that in a shocking turn of events Paul is hated by everyone but Stu 'just feels sorry for him' (lmao OF COURSE you do Stu, its giving 'loathing' from Wicked lol). Klaus drew a lot of artwork of the early Hamburg Beatles that includes this highly unpleasant picture of Paul in 1961 which I think says a lot:

Klaus is also a musician and fancies himself a place on bass. When Stu leaves to pursue art, Klaus asks John if he could take over but John says that he thinks Paul is going to do it.

Klaus has later gone on to say that he thinks he was a better bass player for the Beatles' sound at the start and then Paul developed into being better for the group. It's one of those I cannot believe those words actually left your mouth and you are not deeply embarrased moments. But it's important to keep this desire and viewpoint in mind.

Klaus stays in touch with all of them and close to John and George, George especially. They visit Klaus on holiday in tenerife in early 60s and Klaus later draws the Revolver artwork.

This whole context of how they met and Hamburg is crucial and has to be taken into account when hearing Klaus' statements. Klaus and Paul started off with a lack of connection and with Paul on the outs, the Exsis got an incomplete view of Paul and an inaccurate snapshot of the Beatles dynamic overall. This is why when Klaus says 'Paul was always slightly apart from the others' and that 'divorce was inevitable' from early 60s we should remember that that is what Klaus is expecting to see as that's what he saw in Hamburg.

Klaus wanted to be the bass player (and was holding out hope to join a band with George and John in the 70s), was really close with George and suffers as many did with 'John Lennon aspiring boy bestie syndrome' (JABBS). Paul had what Klaus wanted and from the Hamburg experience, you could see why Klaus thought he might have an in and may have been jealous of this 'shallow' Paul of all people having the connection that he felt he should/could have with John and George. As with most sufferers of JABBS, he took John's side with everything, always refused to say any regrets about his involvement in How do you Sleep and thought Paul was fine with the song because 'he was even closer to John than [he] was. (Again Klaus to put yourself in that level of closeness with John that it's comparable to Paul is ???.) JABBS and its secondary condition PMIETGSH (Paul McCartney isn't even that good shut up) are virulent diseases that incapacitate sufferers objectivity and judgement, so it's fair to say that Klaus is a source you have to take with a pinch of salt on the early 70s period.

It seems that Klaus and Paul did get on a lot better the older they got (probably without the jealousy complication of George and John) and developed a sweet friendship. Here is Klaus' tribute to Paul for his 80th:

Klaus Voormann

LOVE TO PAUL

LOVE TO PAUL Today - June 18th -  is Pauls 80th birthday. But what to give such a great artist, human and friend on this f

Here is the jam session he's talking about:

He now wants Paul to live in his house lmao so things have gotten warmer. But Klaus and Paul's dynamic is a great example of how and why natural bias, little jealousies and spats can consciously or subconsciously influence our internal narrative and why we need to be so careful about not taking one perspective as gospel.

“You guys only hate Yoko because she’s not a white! Because she’s a woman!”

And yet I adore and feel sympathy, empathy for May Pang, who actually seemed to care for John and wanted him happy, wanted him and encouraged him to be around old friends and family, was warm to Julian, felt for Cynthia, wanted John to become more independent and sure of himself, and had a huge distaste for John’s substance abuse. She cried for him not being able to reunite with Paul, when he seemed so excited, because Yoko pulled her strings and he was back in her clutches (even though May told him not to go back, don’t go see her, and he simply told her he’d be fine– yeah right) and I’ll be bloody shallow– May was beautiful.

So no, majority of us don’t like her because she’s not white and because she’s a woman. Majority of us despise her, or simply cannot support her because of how manipulative she was/is, she stalked both Paul and John, she harassed John, she got him on heroin, she isolated him, she fed into his impulsive, irrational anger and cruelty towards Paul, she was controlling, cruel to Julian and Cynthia, entitled, brought out the worse in John, enabled John’s substance abuse even though she knew it made him violent and unstable because he could be easier to handle when out of it, picked the woman John was to have an affair with and forced them to keep tabs and played puppet master, plays widow even though she’d moved on months before John was unfortunately killed and there were plans to divorce, and then had that man move right in and wear John’s clothes, cremated John even though he vehemently opposed it, didn’t invite any close family or friends to the ceremony, acted like Paul never helped her even though HE DID, made Julian tell Sean John died, wouldn’t give Julian many things of his dad and so Paul had to help buy back a lot of his things to give to Julian, okay'ed putting John’s bloody clothes and glasses up to be gawked at, has never ONCE apologized for anything she’d done, she’s a proud and open sexist(men are subservient and all women of the world are ni**ers), and to this day still uses John and his name. And if I’ve missed anything I’m sorry there’s just so much vitriolic bullshit this woman has done and behaved like.

It’s all very convenient how just, all that she’s done is simply forgotten or whitewashed because you can’t fathom a woman, a woman from a minority, could be, can be a horrible person, and that’s simply why she isn’t liked or supported.

As a woman who is a minority, I think you’re willfully ignorant and stupidly stubborn.

She’s a vile, scummy human being and the fact the lot of you defend her and try to White Knight for her simply because she’s got a pussy, and isn’t white, is embarrassing. You’re near as embarrassing and pathetic as those who openly and proudly stan Amber Heard.

And you cannot change my mind.

John Lennon, by Annie Leibovitz, for the cover of Rolling Stone’s January 21, 1971 issue. “That’s the John that I knew – and I know,” Yoko Ono said. “That’s his spirit coming out.” via Rolling Stone

Paul + Royston Ellis + The Poem

Break me in Easy

Easy, easy, break me in easy. Sure I’m big time, cock-sure and brash, but easy, easy, break me in easy. Sure they’ve been others, I know the way… (Royston Ellis, From Rave published by Scorpion Press, May 1960) 

-

“I suppose I read these at the session attended by John Lennon (and Bill Harry) in the audience at Liverpool University. However, the poem I read backed by the Beetles was called “Break me in Easy” and Paul [McCartney] remembers it to this day (he quoted it to me when we met by chance in a bar in Paris in 2006).”  (Royston Ellis) -

“When I met Paul [McCartney] in the bar at Le Bristol in Paris in 2006, after a few minutes of conversation, he - without any prompting from me - quoted the poem to me, but suggested it was better if it began: “Easy, easy squeeze me in easy.”

It was pretty impressive to hear Paul remembering one of my poems 46 years after we performed it together at the Jacaranda in Liverpool!” (Royston Ellis)

-

“However, I did meet Paul again by chance at Le Bristol Hotel in Paris in 2006 and he immediately recalled the poem I had performed with them and even recited the opening lines: “Easy, easy, break me in easy.” He also recalled then that I had told him in 1960 that statistically one in five people were gay and he wondered which one of the Beatles and their associates was the “fifth man.”

(Royston Ellis)

-

“Paul worried it was about “shagging sailors” while attempting to find the right guitar notes to set it off.

Ellis’s bisexuality was an eye-opener for the Beatles, as he remembers: “There was an expression, ‘Do you still love me?,’ and I think I must have said it to John because all the eyebrows went up ‘What?!’ And I gave them a lecture about the Soho scene and said they shouldn’t worry, because one in four men were queer although they mightn’t know it.” The remark bit deep. As Paul says, “We looked at each other and wondered which one it was. ‘It must be one of us, because there’s four of us…Oh fucking hell, it’s not me, is it?’”

Mark Lewisohn, “1960”, The Beatles - All These Years: Tune In

"Magical Mystery Tour" (1967), The Beatles

Material gráfico contenido en el CD (remasterizado en el 2009) de los Beatles: "Magical Mystery Tour". El álbum fue estrenado en formato LP para los Estados Unidos un 27 de noviembre de 1967 y en formato EP doble para el Reino Unido un 8 de diciembre del mismo año. En este álbum se ven vaciadas todas aquellas producciones que sucedieron asimismo de la temática psicodélica y del concepto del "Sgt. Pepper's Lonely Hearts Club Band".

Como dato curioso, su publicación original se vio acompañada de un largometraje homónimo que escenifica el "tour del misterio mágico"; su recepción en su tiempo no fue del todo buena, hoy en día se vislumbra como algo sumamente curioso para los fans de la banda. Su producción y dirección está acreditada a los Fab Four, sin embargo, -otra curiosidad- de entre los cuatro integrantes Ringo Starr es el único acreditado en una función más específica: la fotografía.

Derek Burrell-Davis - memo to BBC (May 67): “I had a satisfactory two-hour meeting with all four members of the Beatles Group this evening…..I don’t think it is over-stating it to say that they are enthusiastic about their participation in the ‘Our World’ programme and fully aware of the responsibilities they carry. Their approach is extremely professional and they are in complete agreement with the basic idea, which is that they are undertaking a recording session in the Number One Studio at E.M.I., Abbey Road. They cannot yet forecast what they will be doing in any great detail, but they propose writing a new number. Since this number will be heard in 30 countries, they are going to write the lyric in basic English. They suggest that they should use such words as “Hello, love, you, me, us, them, together, we”. They are wondering if it might be possible to use some of those words in different languages and are receptive to the idea that words such as “love”, “together”, etc. might be shown on large cards at appropriate moments in several languages”.

The BBC/broadcasters briefing meeting on 4 June 1967 to co-ordinate the international co-operation for the Our World Broadcast

The lyrics sheet given to the cameramen before broadcast. They were not impressed. On being told the Beatles wrote the music, they only asked "did they write the words as well?"

“...the day before, the doors were thrown open for a free-for-all picture session, at which I managed to have a quick word with — PAUL: Someone’s just asked if I’m leaving the group. And there seems to be another rumour I’m moving. Both are very wrong. I’ve just finished my house and like it a lot. No, I haven’t bought a kilt yet. GEORGE: We will do a TV show before we do a film. Nothing new to tell you about the film project. No script yet. RINGO: My garden is looking great now. Got some of my building men to help the gardening contractor and everything’s okay. JOHN: This song will be our next single. This TV show will give it a nice send-off.

Indeed, with some 6,500 TV workers and 1,000,000 miles of telephone wire working for the disc, it couldn’t be bad!” - - Andy Gray, NME

“When the musicians and TV crew took a meal break the Beatles tried out the musical instruments left lying around [...] Ringo and George try the trumpets, whilst Paul has a go at the trombone and John plays Jack Emblow’s accordion. In the background, in the left side far corner, the large weight box on the back of the Mole Crane is visible, with one of the white painted Murphy TV monitors on its trolley over on the right of the picture.” - - David Taylor, Postfade

“The BBC want a live trail”, Derek told me suddenly over my intercom. No one knew this had been planned, in fact to this day few people seem to know that such a promotion ever took place. [...]

“I had a few words with each of them in turn. What was the song called? Whose idea had it been? (“His”, they said, pointing to each other). And then I put the question to John that was intriguing me. Ninety-five percent of all popular music is in 4-time, but there was more than a hint of unfamiliar 7-time in “All You Need ls Love“.

“Did you know your song was in 7-time?” I asked. I still remember the cool, serious look he gave me as he replied, “Yes, I know”. Then he indicated Paul, adding “- but blame him”.

“Paul himself, alert as ever, noticed how, against my own instincts, I was trying to inject some breezy gaiety into the proceedings. He spoke encouragingly in my ear. “Yock it up, Steve ! ” he said. He knew that it was my preference to be in the narrator’s box doing a technical job, rather than “yocking it up”. I duly yocked.”

“This was the biggest group in the world, but when they went to the canteen, it was just four guys having a cup of tea. Underneath it all, these were ordinary guys who were in a band.” - - David Magnus (photographer)

“There was a real party atmosphere, similar to what we had witnessed during previous real ‘happenings’, but Richard and I were struck by how visibly nervous John was, which was quite unusual for him: we’d never seen him wound up so tightly.” - - Geoff Emerick

“I did sense that John in particular felt rather apprehensive the nearer to transmission we got. However George seemed to be enjoying the moment, while Ringo and Paul showed no apprehension whatsoever.” - - David Magnus

______________________________

Almost this entire post is stolen from postfade.co.uk, written by David Taylor. It's a wonderful write up because it's only actually interested in the cameras used and the technical setup, but it's so interested in those that it covers every moment in glorious detail and pulls together lots of quotes. If you're interested in the ins and outs of outside broadcasting, oh my. There's a cut out diagram of the OB scanner van, and they've taken the video of the entire broadcast and marked up up to show the different camera shots and cuts and equipment used. There's a bit where they read in a book that some of the broadcast wasn't live, and so the author tracks down who wrote that and he says he copied it from Mark Lewisohn, so they track down ML and ask him why he wrote that and ML can't remember but says 'I wouldn't have written it down if there wasn't evidence for it', which they think is a bit weak, so they decide not to believe it. It's nice to see them belittling ML's lifework because they want to believe in the magic of live outside broadcasting, the same way we do when we want to believe in love.

I Wanna Hold Your Hand (Dir. Robert Zemeckis, 1978)

UH PAUL SAYS "ANY TIME IS PARADISE WHEN IM WITH U" TO JOHN AT THE END OF THIS VIDEO CALLED "The beatles talk business sometime in early 1969-" (sorry i couldn't add the link) IDK IF IT'S A QUOTE OR A JOKE BUT I'LL TAKE IT THEY'RE SOOO READY TO FUCK

1:26 - 1:29 Paul to John “Anytime is paradise when i’m with you” and HE RUNS AWAY

John Lennon quizzes Paul McCartney on various Beatle songs in different languages.

John Lennon, 1965: ‘I worry about how people are going to remember me’

2018:

Hey Marco! How are you? I was wondering if you or anyone could help me find the interview or clip of Paul and John talking about putting their feelings into songs and they start singing “I love you and don’t you forget it.” I’m not sure where it’s from.

August 23, 1963.  The Beatles are in Hampshire. The journalist asks:

KLAS: “The songwriters in the Beatles, they are John Lennon and Paul McCartney.”

JOHN: (monotone) “Hurray.”

KLAS: “Tell us something about how you find a song… how you get the idea about a song, to write it down.”

JOHN: “Well, sometimes it’s the words first, and then the music after.”

KLAS: “Very often you’ve got a title, you know… Me and you, and everything like that?”

PAUL: “Yeah. We try to do that, to make it personal so it’s… so we really mean it. When we sing a thing about ‘I love you,’ it’s easier.”

JOHN: (singing) “'And don’t you forget it!’”

JOHN & PAUL: (singing together, jokingly) “'I love you and don’t you forget it!’”

PAUL: “Well, you see, it’s easier than singing something about the cat that lives on the hill, man.”

(laughter)

PAUL: “It’s a lot easier just to sing about what you feel yourself.”

You can also listen to this interview below, this part is from 2:45

John and Paul talk to Italian TV reporter Gianni Bisiach backstage (Odeon Cinema, Cheltenham). (November 1st, 1963) (Note: More gifs from the same interview here and here.)

beatles links for when you’re feeling sad 

when the interviewer spit on george 

“well, we just sort of wanked :o oops sorry!”

“can we talk about your quotes on lsd?” GASP

the whole ken dodd 1963 interview where they were all smiley and laughing 

george pushing john into oncoming traffic 

random singing in an interview followed by fighting 

oh how the tables have turned 

george smiling while ringo is working out how to play octopus’s garden

“morning paul!” “morning rich!”

i talk about george reacting to this boy a lot but it warms my heart 

something about the announcer telling the audience the beatles are so excited followed by a shot of ringo stoned makes me laugh 

paul waiting for his turn with ringo’s attention so he can show him a random painting 

john the baptist 

i don’t even want to know why george was laying there 

“SHUT UPPP.”

“shut up while he’s talking..” 

ringo’s dance moves 

paul mccartney making mashed potatoes 

the good ‘ol shakespeare skit 

“if we did know we’d form another group and be managers.”

“thanks for the purple heart”

everything about this video 

“where could we go” “argentina?”

the way he screams gets me every time 

the beatles first radio interview 

“hey mister can we have our ball back!”

john throwing a pillow at paul 

eric lennon 

baby beatles

“what have you grown up to?” “29.”

“she looks more like him than i do.”

george speaks his own language i swear to god 

iconic george and ringo interview 

pattie and george interview 

learning about new cameras 

“why are you called the beatles?”

morons 

george dancing “aye i like it, do it again for me.”

george dancing again 

john dancing 

this is the saddest thing ive ever heard john say 

their dumb texas interview that includes the “john’s wife” joke 

george hitting himself in the face 

“you’re the first person from liverpool i’ve met” “great.”

mockers 

george being cute and paul being moody 

john and paul doing impressions 

“we aint written no poetry”

these bloopers 

“they’re entitled not to like us and were entitled not to have anything to do with us.”

“i don’t mind whether i’m remembered or not” and he’s now considered one of the greatest artists ever 

i’m sharing the yoko and john screaming in the studio bc it does make me laugh tbh 

cynthia..you deserved the whole world and i hope you’re happy wherever you are. 

love by john lennon 

hey jude by the beatles 

i’m happy just to dance with you by the beatles 

do you want to know a secret by the beatles 

hello, goodbye by the beatles 

all together now by the beatles (it’s catchy. leave me alone)

the guitar solo in i saw her standing there 

john’s stand by me cover 

here comes the sun by the beatles 

in my life by the beatles 

keith moon’s cover of in my life bc i love it so so so much 

“and in the end, the love you take is equal to the love you make.” <3

Genuinely surprised if you haven't come across these quotes from the following YouTube videos yet: "The woman who saved Paul McCartney | 60 Minutes Australia" @6:25 & "Paul McCartney sets record straight on relationship with Lennon | Parkinson Interview 12 Oct 1997" @22:20. Seems to me like Paul's literally admitted he's not straight already and I'm living for it even if it flew under the radar

“Did he love you?”

“Yeah, I think he did actually. It wasn’t a spiky relationship at all, it was very warm, very close, and very loving.....homosexuality was still largely illegal sure...but then the business came and the lawyers arrived...”

PLEASE LISTEN TO THIS I’M MELTING - 22:20

A little place down in Montauk

It's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

-- Studio recording August 1980

I like to think the 'cook' reference is because Linda was invited.

Let's not forget that John Lennon said about (JL)SO: "I'm really talking to the people that grew up with me and saying here I am now, how are you?"

(ps One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark)

Remembering the lovely LINDA McCARTNEY who passed away on this date, April 17, 1998.

“ Linda means beautiful in Spanish, and my Linda was certainly that — inside and out. — Anyone who met her, however briefly, was touched by her genuine interest and gentle kindness. I never stop thinking of her as my girlfriend, even though she became my wife, my children's mother, and my Lady. — The beauty of her spirit never failed to communicate itself to those she encountered, whether they were young or old, male or female, or whatever, they were worthy of respect and so she treated them exactly the same and they invariably felt very comfortable being with her. — Our love of animals was something we discovered, we shared as time went by, and they too enjoyed the same deep respect given to them by her. Her vision of the world was, and is, a simple one. Love, kindness, respect and thoughtfulness for one another and for our fellow species and a deep distrust of people who neglect these values. I am blessed to have shared thirty loving years with this uniquely special woman, a fact which I will remain eternally grateful for. “

— Paul McCartney, Club Sandwich - 1998.

i think one of the most interesting things about the "frankly, i miss paris" quote is the fact of its existence. how did may know that was a significant enough thing to remember and to put in her book? was there something in paul's face? in john's voice? a charged silence, a charged look, an awkward cough, a hurried topic shift?

we know john wasn't talking to may about paul. he declines to discuss him after they see the mccartneys for the first time, and it's also clear that her characterization of paul is heavily informed by public john not private john. so what did you notice, may pang? what did you witness?

it really is a shame john never got to see the eyes of the storm pictures because if someone photographed me like this I’d marry them on the spot

my SWEET lord and savior George Harrison

Mclennon Monday ❤️

:)

on the get back motif

white album's 'can you take me back where i came from' versus let it be's 'get back to where you once belonged' versus abbey road's 'once there was a way to get back homeward'

these lines and their similar language give us a window into paul's attitude towards the beatles at each given point in time. during the making of the white album things are crumbling, cracks are showing and paul is pleading for simplicity, for a return to a life he has control over. then during the get back sessions his ask turns into an order as he tries to force this control, knowing nobody else is going to. his pleas have gone unanswered, and we see him trying to hold the band together because it's the only thing he's ever belonged to. but ordering the rest of them around wont work either, and finally during the making of abbey road he's defeated, knowing there's no way through anymore. maybe at some point they could have fixed their issues, but at this point there's no way to return to the functionality of the early days.

the beatles are dead, and he's eulogizing it.

i really love get back

walking martha and discussing house chores somewhere in 67

Our boys.

Sgt Pepper era.

Just a little discreet physical contact between John & Paul. From shoulders to knees.

No change there then.

Paul McCartney photographed in Paris, March 1976 (x)