Letter From John Lennon To Elliot Mintz | June 1973

Any Day Now, Bob Dylan's songs sung by Joan Baez, 1969. Cover design and illustrations by Joan Baez. x

im sorry but i just can't stop thinking about it. this is insane. im feeling so many things. i need to draw this. i need this to be a scene in a biopic if there ever is one.

What do you make of the infamous hunter davies phone call? Paul does not come off well at all so I do think it was meant to be private. Not that I think Paul would be tell Hunter that he & John did hand stuff or whatever regardless but I do think he truthfully has no idea what had John so upset w him so I agree I don’t think there was some big rejection in India (but then wtf is that get back scene) or elsewhere but I do think John seems driven by some hurt “the wound” as Lindsey-Hogg called it

ugh that phone call i hate it so much like he really wanted all that kept private & it's soooo one-sided like we don't see anything davies said, where he was leading him or not, what he was cutting out... it's just not good journalism, first off, but it's also just so disrespectful

but for the content like....... i think he was really twisted up and in a bad place. it was what, barely 3 months out from john's death? i don't really take Anything he said in that interview at face value like even if he had said "me and john used to fuck like rabbits" in it i would take it with a grain of salt lmao

but anyway re the wound...

i think it's important to note again that these are all fragments of what he said and not like professionally recorded- just written down while they were on the phone.

but i do think there were a lot of things that hurt john about the way paul had been behaving for years (& vice versa) that have nothing to do with their potential sexual/romantic relationship on the surface but i think it was all sort of tangled up. songwriting, friendship, sex- same thing, in what started as a great way and ended up pretty disastrous.

when john talks about the things paul did that pissed him off, he tends to bring up things like this incident w eleanor rigby:

and then naturally w the divorce he tends to bring up the money aspect, paul announcing the break by releasing mccartney and that whole scheduling conflict, paul's treatment of yoko & john's relationship...

i think what's Most Likely, to me, is that:

things started to strain around '65 with john & george doing lsd together and paul turning them down (& them subsequently being dicks to him about it And going off to write she said she said together, which is as far as i know the first time either paul or john actively wrote with someone else like that).

'66 brought the end of touring, john's increasing reliance on lsd to cope, being separated for months for the first time in years when john filmed how i won the war, paul working on the family way (which john later said was hurtful), and paul settling into the sort of "swinging london life" while john was stuck in the suburbs with a family. i think they were, for once, doing things very separately. they had separate lives, when they'd been joined at the hip since at least hamburg. john even later referred to it as them "living together" (in the context of, he lived with paul so he wrote with paul, he lives with yoko so he writes with yoko).

'67 just continued that snowball of Bad bc while they were very close for sgt pepper's, you also have brian dying and paul just continuing to push them all to work on mmt. and i can only imagine the types of insensitive things he was doing similar to that eleanor rigby account without realizing they were hurtful. it's also when john & cynthia's relationship was really starting to deteriorate. paul also proposed to jane in december.

'68 ofc had india, but i GENUINELY do not think anything super crazy happened there. i think they were sober for the first time in ages, meditating for hours on end, and just Thinking. with everything that came before it, i wouldn't be shocked if part of that thinking was about their relationship and where it was going and the beatles in general. the get back scene really reads waaaay too light-hearted to me to be indicative of any serious issues- they're smiling and joking around and paul at Most seems a lil uncomfortable that john's bringing this up in public. which just honestly makes me think that if that Was referencing them fucking, it was just a regular thing. and john was maybe bringing it up to try and poke a bit at that close relationship they had lost along the way. i think paul leaving early did probably set off his abandonment issues a bit, even if it was pre-planned, but i don't think enough to "hurt him worse than anyone ever has"

the rest of '68........ shit was a mess. you have john leaving cynthia for yoko, the cursed apple nyc trip, john & yoko staying with paul (which REALLY would not have happened if there was some huge rejection that made john hate paul), paul doing enough coke to kill a fucking whale, francie, jane & paul splitting, paul meeting linda and getting serious with her, the white album disaster, john starting to rely on yoko as a creative partner where he hadn't let anyone else in before like that aside from paul... just a nightmare all around and i think they probably, if they had a sexual relationship, let it fall to the wayside around this time. they're both busier, they're both in relationships they're actually sort of committed to now, they're growing up, etc.

but by '69, with get back specifically, there's a ton of tension there ofc- but they're still joking around and close and loving in a way that doesn't jive with the wound being some big argument i don't think. i think whatever happened, it happened unsaid. which leads to both of them being hurt, neither of them knowing how badly they hurt the other person, paul scrambling to figure out what he possibly did wrong to hurt john more than anyone in his life... like, to him, in this scenario here i find most likely, it would've just been a slow and meandering end to their relationship, sexual or otherwise, that culminated in john asking for a divorce and then everyone freaking out when he was the one to make that official. so it wouldn't fit with john saying he hurt him more than anyone. for john, i think he'd started feeling terrified as early as '65 that paul was going to leave him- paul was better than him (gotta love yesterday), paul didn't need him, paul was thriving in london while he was stuck in his house depressed and high, etc etc. all these god awful thoughts that only came true, in his view, when paul just let him go. i think john wanted a fight and i think paul thought that handling things peacefully would save the relationship. i don't think either of them really got each other at all, in that instance, and it fucked them.

George Harrison on Let It Be, in an interview for Entertainment Tonight and WEA (taped on 22 September 1987; interview conducted by Laura Gross). No infringement intended, footage is copyrights its respective owner(s).

A look back at how George viewed the movie and The Beatles’ break-up in the 1970s, 1980s, and 1990s; and Dhani on the same subject in November 2021.

“[T]he group had problems long before Yoko came along. Many problems, folks.” - George Harrison, The Dick Cavett Show, 23 November 1971

“When you’re so close, you tend to lock each other up in pigeonholes. Musically, with Ringo and John I had no problem. But with Paul, well, it reached a point when he wouldn’t let me play on sessions. It was part of our splitting up. But at the same time I have a tendency to defend Paul — John and Ringo too — if anyone else said anything without qualification about them. After going through all that together, there must be something good about it. It’s just that around 1968 everyone’s egos started going crazy. Maybe it was just a lack of tact or discretion. Probably the biggest problem of them all was that there was no way Yoko Ono or Linda McCartney was going to be in The Beatles. That really helped put the nail in the coffin. That’s said without any bitterness against Yoko and Linda, because I can really enjoy them as people, but, let’s face it, The Beatles were not with Yoko or Linda. I suppose it was a result of Yoko being an outsider, coming in… and John was pushing her… and she had such a strong ego anyway. Then Paul got Linda to get his own back.” - George Harrison, NME, 11 December 1976

“[Let It Be] was really supposed to be us rehearsing to make a record and they were just filming the rehearsals, and that turned into the movie, you know, Let It Rot (laughs), as The Rutles called it. That, you know, I didn’t like. There’s scenes in it, like on the roof, that was quite good, and there were bits and pieces that’s okay, but most of it just makes me so aggravated that I can’t watch it. Because it was a particularly bad experience that we were having at that time, and… it’s bad enough when you’re having it, let alone having it filmed and recorded so that you’ve got to watch it for the rest of your life. I don’t like it.” - George Harrison, interview for Entertainment Tonight, taped 22 September 1987 (x)

Gerge Harrison: “At that point in time, Paul couldn’t see beyond himself. He was so on a roll — but it was a roll encompassing his own self. And in his mind, everything that was going on around him was just there to accompany him. He wasn’t sensitive to stepping on other people’s egos or feelings. Having said that, when it came time to do the occasional song of mine — although it was difficult to get to that point — Paul would always be really creative with what he’d contribute. For instance, that galloping piano part on While My Guitar Gently Weeps was Paul’s, and it’s brilliant right to this day. On the Live In Japan album, I got our keyboardist to play it note for note. And you just have to listen to the bass line on Something to know that, when he wanted to, Paul could give a lot. But, you know, there was a time there when…” Q: “I think it’s called being human — and young.” GH: “It is… [sighs] It really is.” - interview conducted in 1992; Guitar World, January 2001

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JOHN: [Paul] even recorded that all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was…. But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

(August, 1980: interview for Playboy with David Sheff)

‘More than anything,’ he says, ‘I would love the Beatles to be on top of their form and for them to be as productive as they were. But things have changed. … I would have liked to have sung harmony with John, and I think he would have liked me to. But I was too embarrassed to ask him. And I don’t work to the best of my abilities in that situation.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

PAUL: On 'Hey Jude', when we first sat down and I sang 'Hey Jude…', George went 'nanu nanu' on his guitar. I continued, 'Don't make it bad…' and he replied 'nanu nanu'. He was answering every line - and I said, 'Whoa! Wait a minute now. I don't think we want that. Maybe you'd come in with answering lines later. For now I think I should start it simply first.' He was going, 'Oh yeah, OK, fine, fine.' But it was getting a bit like that. He wasn't into what I was saying. In a group it's democratic and he didn't have to listen to me, so I think he got pissed off with me coming on with ideas all the time. I think to his mind it was probably me trying to dominate. It wasn't what I was trying to do - but that was how it seemed. This, for me, was eventually what was going to break The Beatles up. I started to feel it wasn't a good idea to have ideas, whereas in the past I'd always done that in total innocence, even though I was maybe riding roughshod.

I did want to insist that there shouldn't be an answering guitar phrase in 'Hey Jude' - and that was important to me - but of course if you tell a guitarist that, and he's not as keen on the idea as you are, it looks as if you're knocking him out of the picture. I think George felt that: it was like, 'Since when are you going to tell me what to play? I' in The Beatles too.' So I can see his point of view. But it burned me, and I then couldn't come up with ideas freely, so I started to have to think twice about anything I'd say - 'Wait a minute, is this going to be seen to be pushy?' - whereas in the past it had just been a case of, 'Well, the hell, this would be a good idea. Let's do this song called "Yesterday". It'll be all right.'

( The Beatles Anthology, 2000)

‘There’s no one who’s to blame. We were fools to get ourselves into this situation in the first place. But it’s not a comfortable situation for me to work in as an artist.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘It simply became very difficult for me to write with Yoko sitting there. If I had to think of a line I started getting very nervous. I might want to say something like “I love you, girl”, but with Yoko watching I always felt that I had to come out with something clever and avant-garde. She would probably have loved the simple stuff, but I was scared.’ ‘I’m not blaming her, I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda. We tried writing together a few more times, but I think we both decided it would be easier to work separately.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

JOHN: "I was always waiting for a reason to get out of the Beatles from the day I filmed 'How I Won The War' (in 1966). I just didn't have the guts to do it. The seed was planted when the Beatles stopped touring and I couldn't deal with not being onstage. But I was too frightened to step out of the palace."

(John Lennon, Newsweek, September 29, 1980)

PAUL: As far as I was concerned, yeah, I would have liked the Beatles never to have broken up. I wanted to get us back on the road doing small places, then move up to our previous form and then go and play. Just make music, and whatever else there was would be secondary. But it was John who didn’t want to. He had told Allen Klein the new manager he and Yoko had picked late one night that he didn’t want to continue.

(Paul and Linda McCartney, interview for Playboy, December 1984)

PAUL: I must admit we'd known it was coming at some point because of his intense involvement with Yoko. John needed to give space to his and Yoke's thing. Someone like John would want to end The Beatles period and start the Yoko period; and he wouldn't like either to interfere with the other.

(The Beatles Anthology, 2000)

PAUL: I think, largely looking back on it, I think it was mainly John [who] needed a new direction – that he then went into, headlong, helter skelter, you know, he went right in there, doing all sorts of stuff he’d never done before, with Yoko. And you can’t blame him. Because he was that kind of guy, [the kind who] really wanted to live life and do stuff, you know. There was just no holding back with John. And it was what we’d all admired him for. So you couldn’t really say, “Oh, we don’t want you to do that, John. You should just stay with us.” We felt so wimpy, you know. So it had to happen like that.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

The Beatles split up? It just depends how much we all want to record together. I don’t know if I want to record together again. I go off and on it. I really do. The problem is that in the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays there’s three if us writing prolifically and trying to fit it all onto one album. Or we have to think of a double album every time, which takes six months. That’s the hang-up we have… I don’t want to spend six months making an album I have two tracks on. And neither do Paul or George probably. That’s the problem. If we can overcome that, maybe it’ll sort itself out. None of us want to be background musicians most of the time. It’s a waste. We didn’t spend ten years ‘making it’ to have the freedom in the recording studios, to be able to have two tracks on an album. This is why I’ve started with the Plastic Ono and working with Yoko… to have more outlet. There isn’t enough outlet for me in the Beatles. The Ono Band is my escape valve. And how important that gets, as compared to the Beatles for me, I’ll have to wait and see.

(John Lennon, New Musical Express December 13, 1969)

PLAYBOY: In most of his interviews, John said he never missed the Beatles. Did you believe him? PAUL: I don’t know. My theory is that he didn’t. Someone like John would want to end the Beatle period and start the Yoko period. And he wouldn’t like either to interfere with the other. As he was with Yoko, anything about the Beatles tended inevitably to be an intrusion. So I think he was interested enough in his new life to genuinely not miss us.

(Paul and Linda McCartney, interview for Playboy, December 1984)

Yoko: Paul began complaining that I was sitting too close to them when they were recording, and that I should be in the background. John: Paul was always gently coming up to Yoko and saying: "Why don't you keep in the background a bit more?" I didn't know what was going on. It was going on behind my back. Yoko: And I wasn't uttering a word. It wasn't a matter of my being aggressive. It was just the fact that I was sitting near to John. And we stood up to it. We just said, "No. It's simply that we just have to come together." They were trying to discourage me from attending meetings, et cetera. And I was always there. And Linda actually said that she admired that we were doing that. John: Paul even said that to me.

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

Paul: They’re onto that thing. They just want to be near to each other. So I just think it’s just silly of me, or of anyone, to try and say to him, “No, you can’t,” you know. It’s like, ‘cause – okay, they’re – they’re going overboard about it, but John always does! And Yoko probably always does. So that’s their scene. You can’t go saying – you know, “Don’t go overboard about this thing. Be sensible about it. Don’t bring it to meetings.” It’s his decision, that. It’s – it’s none of our business, to start interfering in that. Even when it comes into our business, you still can’t really say much, unless – except, “Look, I don’t like it, John.” And then he can say, well, “Screw you,” or, “I like it,” or, “Well, I won’t do it so much,” or blablabla. Like, that’s the only way, you know. To tell John about that. Michael Lindsay-Hogg: Have you done that already? Paul: Well, I told him I didn’t like writing songs… with him and Yoko. Michael Lindsay-Hogg: Were you writing much more before she came around—? Paul: Oh yeah, sure. Michael Lindsay-Hogg: Or had you – cooled it a bit, then? Before her. Ringo: Before Yoko got there. Paul: Yeah, cooled it, cooled it. Sure. We’d cooled it because… not playing together. Ever since we didn’t play together… Michael Lindsay-Hogg: Onstage, you mean? Paul: Yes. With the band. Because we lived together, and we played together. We were in the same hotel, up at the same time every morning, doing this all day. And this – I mean, this, you know, it doesn’t matter what you do, [but] just as long as you’re this close all day, something grows, you know. In some ways. And when you’re not this close, only, just physically… something goes. Michael Lindsay-Hogg: Right. Paul: So then you can come together to record, and stuff, but you still sort of lose the… Actually, musically, you know, we really – we can play better than we’ve ever been able to play, you know. Like, I really think that. I think, like – we’re – we’re alright on that. It’s just that – being together thing, you know.

(Paul McCartney, Get Back sessions, 13 January, 1969)

What actually happened was, the group was getting very tense, it was looking like we were breaking up. One day, I came in and we had a meeting, and it was all Apple and business and Allen Klein, and it was getting very hairy, and no one was realy enjoying themselves. It was – we’d forgotten the music bit. It was just business. I came in one day and I said, “I think we should get back on the road, a bit like what you and I were talking about before, small band, go and do the clubs, sod it. Let’s get back to square one, let’s remember what we’re all about. Let’s get back.” And John’s actual words were, “I think you’re daft. And I wasn’t gonna tell you, but – we’re breaking the group up. I’m breaking the group up. It feels good. It feels like a divorce.” And he just sort of sat there, and all our jaws dropped.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Wenner: You said you quit the Beatles first. John: Yes. Wenner: How? John: I said to Paul “I’m leaving.” John: I knew on the flight over to Toronto or before we went to Toronto: I told Allen I was leaving, I told Eric Clapton and Klaus that I was leaving then, but that I would probably like to use them as a group. I hadn’t decided how to do it – to have a permanent new group or what – then later on, I thought fuck, I’m not going to get stuck with another set of people, whoever they are. I announced it to myself and the people around me on the way to Toronto a few days before. And on the plane – Klein came with me – I told Allen, “It’s over.” When I got back, there were a few meetings, and Allen said well, cool it, cool it, there was a lot to do, businesswise you know, and it would not have been suitable at the time. Then we were discussing something in the office with Paul, and Paul said something or other about the Beatles doing something, and I kept saying “No, no, no” to everything he said. So it came to a point where I had to say something, of course, and Paul said, “What do you mean?” I said, “I mean the group is over, I’m leaving.” … So that’s what happened. So, like anybody when you say divorce, their face goes all sorts of colors. It’s like he knew really that this was the final thing…

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

PAUL: But what wasn't too clever was this idea of: 'I wasn't going to tell you till after we signed the new contract.' Good old John – he had to blurt it out. And that was it. There's not a lot you can say to, 'I'm leaving the group,' from a key member. I didn't really know what to say. We had to react to him doing it; he had control of the situation.

(The Beatles Anthology, 2000)

Allen was there, and he will remember exactly and Yoko will, but this is exactly how I see it. Allen was saying don’t tell. He didn’t want me to tell Paul even. So I said, “It’s out,” I couldn’t stop it, it came out. Paul and Allen both said that they were glad that I wasn’t going to announce it, that I wasn’t going to make an event out of it. I don’t know whether Paul said “Don’t tell anybody,” but he was darned pleased that I wasn’t going to. He said, “Oh, that means nothing really happened if you’re not going to say anything.”

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

And – that was it, really. And nobody quite knew what to say, and we sort of then, after that statement, we then thought, “Well… give it a couple of months. We may decide. I mean, it’s a little bit of a big act, to just break up like that. Let’s give it a couple of months. We might all just come back together.” And we talked for a couple of months, but it just was never going to be on.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

John: George was on the session for Instant Karma, Ringo’s away and Paul’s – I dunno what he’s doing at the moment, I haven’t a clue. Interviewer: When did you last see him? John: Uh, before Toronto. I’ll see him this week actually, yeah. If you’re listening, I’m coming round.

(John Lennon interview 6th February, 1970)

Interviewer: What about the Beatles all together as a group? John: …You can’t pin me down because I haven’t got- there’s no- it’s completely open, whether we do it or not. Life is like that, whether I make another Plastic Ono album or Lennon album or anything is open you know, I don’t like to prejudge it. And I have no idea if the Beatles are working together again or not, I never did have, it was always open. If someone didn’t feel like it, that’s it. And maybe if one of us starts it off, the others will all come round and make an album you know.

(John Lennon interview 6th February, 1970)

Interviewer: Why do you think he [Paul] has lost interest in Apple? John: That’s what I want to ask him! We had a heavy scene last year as far as business was concerned and Paul got a bit fed-up with all the effort of business. I think that’s all it is. I hope so.

(John Lennon interviewed by Roy Shipston for Disc and Music Echo, February 28, 1970)

‘Anyway, I hung on for all these months wondering whether the Beatles would ever come back together again…and let’s face it I’ve been as vague as anyone, hoping that John might come around and say, “All right lads, I’m ready to go back to work…”

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

PAUL: For about three or four months, George, Ringo and I rang each other to ask: 'Well, is this it then?' It wasn't that the record company had dumped us. It was still a case of: we might get back together again. Nobody quite knew if it was just one of John's little flings, and that maybe he was going to feel the pinch in a week's time and say, 'I was only kidding.' I think John did kind of leave the door open. He'd said: 'I'm pretty much leaving the group, but…' So we held on to that thread for a few months, and then eventually we realised, 'Oh well, we're not in the band any more. That's it. It's definitely over.'

(The Beatles Anthology, 2000)

PAUL: I started thinking, 'Well, if that's the case, I had better get myself together. I can't just let John control the situation and dump us as if we're the jilted girlfriends.'

(The Beatles Anthology, 2000)

‘John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone. We’re still like brothers and we have enormous emotional ties because we were the only four that it all happened to…who went right through those ten years. I think the other three are the most honest, sincere men I have ever met. I love them. I really do.’ ‘I don’t mind being bound to them as a friend. I like that idea. I don’t mind being bound to them musically, because I like the others as musical partners. I like being in their band. But for my own sanity, we must change the business arrangements we have…’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘Last year John said he wanted a divorce. All right, so do I. I want to give him that divorce. I hate this trial separation because it’s just not working. Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

John: Well, Paul rang me up. He didn't actually tell me he'd split, he said he was putting out an album [McCartney]. He said, "I'm now doing what you and Yoko were doing last year. I understand what you were doing." All that shit. So I said, "Good luck to yer."

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

I think he claims that he didn’t mean that to happen but that’s bullshit. He called me in the afternoon of that day and said, “I’m doing what you and Yoko were doing last year.” I said good, you know, because that time last year they were all looking at Yoko and me as if we were strange trying to make our life together instead of being fab, fat myths. So he rang me up that day and said I’m doing what you and Yoko are doing, I’m putting out an album, and I’m leaving the group too, he said. I said good. I was feeling a little strange, because he was saying it this time, although it was a year later, and I said “good,” because he was the one that wanted the Beatles most, and then the midnight papers came out.

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

Q: "Why did you decide to make a solo album?" PAUL: "Because I got a Studer four-track recording machine at home - practiced on it (playing all instruments) - liked the results, and decided to make it into an album." Q: "Were you influenced by John's adventures with the Plastic Ono Band, and Ringo's solo LP?" PAUL: "Sort of, but not really." Q: "Are all songs by Paul McCartney alone?" PAUL: "Yes sir." Q: "Will they be so credited: McCartney?" PAUL: "It's a bit daft for them to be Lennon/McCartney credited, so 'McCartney' it is." Q: "Did you enjoy working as a solo?" PAUL: "Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda's on it too, so it's really a double act." … Q: "What has recording alone taught you?" PAUL: "That to make your own decisions about what you do is easy, and playing with yourself is very difficult, but satisfying." … Q: "Is this album a rest away from the Beatles or the start of a solo career?" PAUL: "Time will tell. Being a solo album means it's 'the start of a solo career…' and not being done with the Beatles means it's just a rest. So it's both." Q: "Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?" PAUL: "Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't really know." Q: "Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?" PAUL: "No." Q: "What do you feel about John's peace effort? The Plastic Ono Band? Giving back the MBE? Yoko's influence? Yoko?" PAUL: "I love John, and respect what he does - it doesn't really give me any pleasure." … Q: "What are your plans now? A holiday? A musical? A movie? Retirement?" PAUL: "My only plan is to grow up!"

(Paul McCartney, April 9th 1970, press release 'McCartney')

SCOTT: Did you not realize that this was going to happen to you after you’d been the one to actually do it, and say, “Right, that’s it”? PAUL: No – it’s – wrong. Wrong. Sorry. It wasn’t me, it was John. SCOTT: Well, he said it first, but he said it quietly, he didn’t let everybody know. PAUL: No no no no, but the point – what I’m talking about is, see, this is – see, I love this legend stuff, god, you know, you have to actually live with this stuff…

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Int: I asked Lee Eastman for his view of the split, and what it was that prompted Paul to file suit to dissolve the Beatles' partnership, and he said it was because John asked for a divorce. John Lennon: Because I asked for a divorce? That's a childish reason for going into court, isn't it?

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

"And I've changed. The funny thing about it is that I think alot of my change has been helped by John Lennon. I sort of picked up on his lead. John had said, 'Look, I don't want to be that anymore. I'm going to be this.' And I thought, 'That's great.' I liked the fact he'd done it, and so I'll do it with my thing. He's given the okay. In England, if a partnership isn't rolling along and working -- like a marriage that isn't working-- then you have reasonable grounds to break it off. It's great! Good old British justice!

(Paul McCartney, Life Magazine, April 16, 1971)

‘… So, as a natural turn of events from looking for something to do, I found that I was enjoying working alone as much as I’d enjoyed the early days of the Beatles. I haven’t really enjoyed the Beatles in the last two years.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

'Eventually,' McCartney recalled, 'I went and said, "I want to leave. You can all get on with Klein and everything, just let me out." Having not spoken to Lennon for several weeks, he sent him a letter that summer, pleading that the former partners 'let each other out of the trap'. As McCartney testified, Lennon 'replied with a photograph of himself and Yoko, with a balloon coming out of his mouth in which was written, "How and Why?" I replied by letter saying, "How by signing a paper which says we hereby dissolve our partnership. Why because there is no partnership." John replied on a card which said, "Get well soon. Get the other signatures and I will think about it.” Communication was at an end.’

(Peter Doggett, You Never Give Me Your Money, 2009 - P.88)

John phoned me once to try and get the Beatles back together again, after we’d broken up. And I wasn’t for it, because I thought that we’d come too far and I was too deeply hurt by it all. I thought, “Nah, what’ll happen is that we’ll get together for another three days and all hell will break loose again. Maybe we just should leave it alone.”

(Paul McCartney, November 1995 Club Sandwich interview)

Int.: … What else was Klein doing to try and lure Paul back? John Lennon: [laughs] One of his reasons for trying to get Paul back was that Paul would have forfeited his right to split by joining us again. We tried to con him into recording with us too. Allen came up with this plan. He said, "Just ring Paul and say, 'We're recording next Friday, are you coming?' " So it nearly happened. It got around that the Beatles were getting together again, because EMI heard that the Beatles had booked recording time again. But Paul would never, never do it, for anything, and now I would never do it.

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

There’s no hard feelings or anything, but you just don’t hang around with your ex-wife. We’ve completely finished. ’Cos, you know, I’m just not that keen on John after all he’s done. I mean, you can be friendly with someone, and they can shit on you, and you’re just a fool if you keep friends with them. I’m not just going to lie down and let him shit on me again. I think he’s a bit daft, to tell you the truth. I talked to him about the Klein thing, and he’s so misinformed it’s ridiculous.

(Paul McCartney interviewed by student journalist Ian McNulty for the Hull University Torch, May 1972 [From The McCartney Legacy, Volume 1: 1969 – 1973 by Allan Kozinn and Adrian Sinclair, 2022)

JOHN: We’re not – we’re not fighting too much. It’s silly. You know I always remember watching the film with, uh – who was it? Not Rogers and Hammerstein. Those British people that wrote those silly operas years ago, who are they? WIGG: Gilbert and Sullivan? JOHN: Yeah, Gilbert and Sullivan. I always remember watching the film with Robert Morley and thinking, “We’ll never get to that.” [pause] And we did, which really upset me. But I never really thought we’d be so stupid. But we did. WIGG: What, like splitting like they did? JOHN: Like splitting and arguing, you know, and then they come back, and one’s in a wheelchair twenty years later— YOKO: [laughs] Yes, yes. JOHN: —and all that. [laughs; bleak] I never thought we’d come to that, because I didn’t think we were that stupid. But we were naive enough to let people come between us. And I think that’s what happened. [pause] But it was happening anyway. I don’t mean Yoko, I mean businessmen, you know. All of them. WIGG: What, do you think they were – do you think businessmen were responsible for the breakup? JOHN: Well, no, it’s like anything. When people decide to get divorced, you know, you just – quite often you decide amicably. But then when you get your lawyers and they say, “Don’t talk to the other party unless there’s another lawyer present,” then that’s when the drift really starts happening, and then when you can’t speak to each other without a lawyer, then there’s no communication. And it’s really lawyers that make… divorces nasty. You know, if there was a nice ceremony like getting married, for divorce, then it would be much better. Even divorce of business partners. Because it wouldn’t be so nasty. But it always gets nasty because you’re never allowed to speak your own mind, you have to talk in double-dutch, you have to spend all your time with a lawyer, and you get frustrated, and you end up saying and doing things that you wouldn’t really do under normal circumstances.

(John Lennon, Yoko Ono, October, 1971, St Regis Hotel, New York, interview with David Wigg)

Q: "If you got, I don't know what the right phrase is… 'back together' now, what would be the nature of it?" JOHN: "Well, it's like saying, if you were back in your mother's womb… I don't fucking know. What can I answer? It will never happen, so there's no use contemplating it. Even is I became friends with Paul again, I'd never write with him again. There's no point. I write with Yoko because she's in the same room with me." YOKO: "And we're living together." JOHN: "So it's natural. I was living with Paul then, so I wrote with him. It's whoever you're living with. He writes with Linda. He's living with her. It's just natural."

(John Lennon, Yoko Ono, St. Regis Hotel, New York, September 5th, 1971, interview with Peter McCabe and Robert Schonfeld)

'Dear Mailbag, In order to put out of its misery the limping dog of a news story which has been dragging itself across your pages for the past year, my answer to the question, “Will The Beatles get together again?” … is no.’

(Paul McCartney, Melody Maker, August 29, 1970)

‘Just tell the people I’ve found someone I like enough to want to spend all my time with. That’s me…the home, the kids and the fireplace.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

Okay, starting to side with McLennon-ers slightly because what is this

OH JOHNNYYY 🥰🥰

Robert Fraser’s interview with Peter Brown and Steven Gaines, All You Need is Love

Some highlights:

Robert Fraser: Peter Asher was Jane’s brother. I think he brought Paul over to my place. He made me sorry because he saw a sculpture in my apartment and said, “I want that.” It was quite a lot of money for those days, it was like 2,500 quid. Paul never asked the price until he decided to buy something. If he liked it, he wanted it.

Steven Gaines: I guess they didn’t have to think about the price

Robert Fraser: No, but most people, even if they don’t have to think about it, they want to know the price. Paul was very, very open-minded, but he was also more…Well, John was too, but I mean John was sort of very difficult to…He was more difficult to…He was very shy in a way, and it comes out in an aggressive way.

Steven Gaines: It’s an odd decision Paul made to live at his girlfriend’s home with her parents.

Robert Fraser: Paul was a very domestic sort of personality. He liked the idea.

Peter Brown: I didn’t think twice about it, but looking back on it now, it was pretty ahead of its time to move in with your girlfriend’s family.

Robert Fraser: Even now, he’s done exactly what he wants. He’s not really like…He never really lived a rock star’s life.

I’ve only listened one time to Paul’s new single, “Get Enough,” which he released on midnight of New Year’s 2019, and I already know for sure that it is a song for John. Paul sings about walking on the docks with his love, knowing that he’ll need that person forever, being young together, full of hope, dreaming of the future. Remembering that person’s face. He’ll never get enough of that person. Does the other person remember, as Paul does? It’s about their “early days” (as Paul calls it in another truly great song for John) in Liverpool, and their rise to the toppermost of the poppermost.  It’s full of longing and love. Even though the refrain goes “I can’t get enough, girl,” I know that Paul and John both used “girl” and “woman” and “she” and “her” when they wrote and sang songs to and for each other, often.  I know that on the other side, John is listening to it and loves it.

January 13th, 1969 (Twickenham Studios, London): As Paul encourages an unconfident Ringo to go ahead with his plans to record a solo LP, John hedgingly brings up his own apprehensions about following his instincts (especially when he’s not even sure what he really wants to do). In their inimitable and emotionally non-committal fashion, John and Paul engage in metaphors about intentions, conveying these intentions in actions, and how these actions may be conveyed by those who see it. (Basically: what John and Paul talk about when they talk about love.)

PAUL: [to Ringo] The great thing is that you singing like how you really sing – will be it. It will be! 

RINGO: Yes, but the only way is to do it on your own. 

PAUL: Until then – yeah, sure. Until then – until you reach how you really sing, you’ll sing your half-soul. 

RINGO: Yeah. 

PAUL: And it’s probably when we’re all very old, that we’ll all sing together. 

RINGO: Yeah.

PAUL: And we’ll all really sing, and we’ll all show each other how good we are, and in fact we’ll die, then, I don’t know. [Linda laughs; diffident] Probably, you know, probably something sappy or soft like that… I don’t know, but really, I mean, i– it’s really down to all those sort of simple, silly things to me. 

YOKO: But those are the important things, you know. 

PAUL: It’s got to be simple. It’s got to be simple. It can’t be A plus B equals X plus Y plus Z, because that’s them, you know. And it couldn’t be— 

JOHN: [quiet] Maybe that’s what’s evading me. 

PAUL: Yes. [sincere] But it’s okay, that, you know. 

JOHN: [hesitating] I just, uh… because I’m not really sure what or how I feel about it. 

PAUL: No, but you’re—

JOHN: Because any time— 

PAUL: You’re unsure because you’re not sure whether to go left or right on an issue. You’ve noticed the two ways open to us. You know the way we all want to go. And you know the way you want to go. Which is positive! ‘Cause you want to go – now, okay. So your positive thing might actually be to kick that telephone box in. It might occasionally be to do that. So you know that’s the way you’ve gotta go.  

YOKO: Everybody would want to see that, actually.

PAUL: But you don’t want to actually look like you’re kicking the telephone box in. So you have to sort of say to everyone, “Look at that over there, everyone!” And while they’re not looking, you’ll kick the telephone box in, and sort of— [whistles innocently] 

JOHN: I don’t think that’s a fair representation. [laughs] 

PAUL: [conceding] Oh, well, it involves me, that’s me. I do that, too. And I think we all do that. But I think the answer is, that – while you’ve got us all looking at nothing over there, and you’ve thrown us for a minute, we would actually all have dug to see you kick that telephone box in.  Because we wanna see you do it. 

YOKO: But we’d have to say it too, though. That’s another thing. 

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geooooorge... geoooorgggeeeeeee....