George Harrison On Let It Be, In An Interview For Entertainment Tonight And WEA (taped On 22 September

Paul mentioning gay rumors?

So I made a post about this a few days ago but I didn't include the clip:

For context, right before this Paul is talking about his interest in Magritte and the inspiration behind the Apple logo and the Robert he refers to is Robert Fraser. Right after he says "i'm quite secure about my sexuality" he mumbles "yeah, don't know about that" as the audience laughs. And yes, like, to be charitable he could just be referencing the fact his friends still found it "weird" to go on a trip to Paris with a gay man but it's the first time I've heard Paul making reference to his sexuality that's not just him claiming he's straight, 'ungay', what have you (he also immediately brings up the s&m joke he had made earlier to brush past what he said). And I think it would be fair to say one interpretation is paul acknowledging that he wasn't exactly as "secure" about his sexuality as either he thought at the time or is now

I’d Have You Anytime

what if people over a certain height had a special currency called tall coins that short people didn’t know about. And one day you’re walking with your friend (huge) and she drops something and you pick it up and say what is this and she says oh that’s my tall coin don’t worry about it. But you did worry

they make me sick why are they like this

Ok ok ok so basically John Lennon wrote all these sappy love songs about soulmates who never got to be ("if we must start again, we will know, that I will love you", "No need to be afraid, it's real love, it's real") in casettes he was gonna hide forever in his basement titled FOR PAUL, told HIS WIFE that he is bisexual but only has a thing for men who is 'emotionally and artistically' connected with him, constantly referred to Paul as his "ex-wife" in many interviews and that they "divorced" after the beatles broke up, used to jerk off together (I shit you not google this) with Paul and his Beatles mates MORE THAN ONCE, used to have women leaving him because "he never looked at me the way he looked at Paul", and they say rumours about them are overplayed?????

Thelma Pickles, John Lennon’s first girlfriend at Liverpool College of Art, on her relationship with John 

My first impression of John was that he was a smartarse. I was 16; a friend introduced us at Liverpool College of Art when we were waiting to register. There was a radio host at the time called Wilfred Pickles whose catchphrase was "Give them the money, Mabel!". When John heard my name he asked "Any relation to Wilfred?", which I was sick of hearing. Then a girl breezed in and said, "Hey John, I hear your mother's dead", and I felt absolutely sick. He didn't flinch, he simply replied, "Yeah". "It was a policeman that knocked her down, wasn't it?" Again he didn't react, he just said, "That's right, yeah." His mother had been killed two months earlier. I was stunned by his detachment, and impressed that he was brave enough to not break down or show any emotion. Of course, it was all a front. When we were alone together he was really soft, thoughtful and generous-spirited. Clearly his mother's death had disturbed him. We both felt that we'd been dealt a raw deal in our family circumstances, which drew us together. During the first week of college we had a pivotal conversation. I'd assumed that he lived with his dad but he told me, "My dad pissed off when I was a baby." Mine had too – I wasn't a baby, I was 10. It had such a profound effect on me that I would never discuss it with anyone. Nowadays one-parent families are common but then it was something shameful. After that it was like we were two against the world.

I went to his house soon after. It seemed really posh to me, brought up in a council house. We were alone, he showed me round and we had a bit of a kiss and a cuddle in his bedroom. Paul and George came round and we all had beans on toast, then they played their guitars in the kitchen. I had to leave early because Mimi wouldn't allow girls in the house. She was very strict. She wouldn't let him wear drainpipe trousers so he used to put other trousers over the top and remove them after he left the house. We used to take afternoons off to go to a picture-house called the Palais de Luxe where he liked to see horror films. I remember we went to see Elvis in Jailhouse Rock at the Odeon. He didn't take his glasses. We were holding hands and he kept yanking my hand saying, "What's happening now Thel?" John was enormous fun to be with, always witty, even if it was a cruel wit. Any minor frailty in somebody he'd detect with a laser-like homing device. We all thought it was hilarious but it wasn't funny to the recipients. Apart from the first instance, where he mocked my name, I never experienced it until I ended our relationship. We were close until around Easter of the following year, 1959. At an art school dance he took me to a darkened classroom. We went thinking we'd have it to ourselves but it was evident from the din that we weren't alone. I wasn't going to have an intimate soirée with other people present. I refused to stay, and he yanked me back and whacked me one. He had aggressive traits, mainly verbal, but never in private had he ever been aggressive - quite the opposite. Once he'd hit me that was it for me, I wouldn't speak to him. That one violent incident put paid to any closeness we had. I took care to not bump into him for a while. I didn't miss drinking at Ye Cracke with him but I missed the closeness we had. Still, we were friendly enough by the end of the next term. Because he did no work, he was on the brink of failure, so I loaned him some of my work, which I never got back. I've never wondered what might have been. It sounds disingenuous, but I wouldn't like to have been married to John – that would be quite a gargantuan task! He would've been 70 next year and I just cannot imagine a 70-year-old John Lennon. I'd be fearful that the fire would've gone out.

- Interview within Imogen Carter, ‘John Lennon, the boy we knew’, The Guardian (Dec 2009)

Thelma also briefly dated Paul McCartney and later married Mike McCartney’s bandmate, Roger McGough, in 1970.

Thelma also gives more detail of her relationship with John in Ray Coleman's 1984 John Lennon biography. Just to note, she mentions towards the end of the section that their romantic relationship just petered out, and John was never physically violent with her - it's likely the case that by the 2009 Guardian interview above, she would've felt more free to speak about John hitting her as the reason for the relationship's end, rather than this being two contrasting stories.

A year younger than John, Thelma was to figure in one of his most torrid teenage affairs before he met Cynthia.  Their friendship blossomed in a spectacular conversation one day as they walked after college to the bus terminus in Castle Street. In no hurry to get home, they sat on the steps of the Queen Victoria monument for a talk.  ‘I knew his mother had been killed and asked if his father was alive,’ says Thelma. ‘Again, he said in this very impassive and objective way: “No, he pissed off and left me when I was a baby.” I suddenly felt very nervous and strange. My father had left me when I was ten. Because of that, I had a huge chip on my shoulder. In those days, you never admitted you came from a broken home. You could never discuss it with anybody and people like me, who kept the shame of it secret, developed terrific anxieties. It was such a relief to me when he said that. For the first time, I could say to someone: “Well, so did mine.”’ 

At first Thelma registered that he didn’t care about his fatherless childhood. ‘As I got to know him, he obviously cared. But what I realised quickly was that he and I had an aggression towards life that stemmed entirely from our messy home lives.’ Their friendship developed, not as a cosy love match but as teenage kids with chips on their shoulders. ‘It was more a case of him carrying my things to the bus stop for me, or going to the cinema together, before we became physically involved.’ John, when she knew him, would have laughed at people who were seen arm in arm.’ It wasn't love's young dream. We had a strong affinity through our backgrounds and we resented the strictures that were placed upon us. We were fighting against the rules of the day. If you were a girl of sixteen like me, you had to wear your beret to school, be home at a certain time, and you couldn't wear make-up. A bloke like John would have trouble wearing skin-tight trousers and generally pleasing himself, especially with his strict aunt. We were always being told what we couldn’t do. He and I had a rebellious streak, so it was awful. We couldn't wait to grow up and tell everyone to get lost. Mimi hated his tight trousers and my mother hated my black stockings. It was a horrible time to be young!’ Lennon's language was ripe and fruity for the 1950s, and so was his wounding tongue. In Ye Cracke, one night after college, John rounded on Thelma in front of several students, and was crushingly rude to her. She forgets exactly what he said, but remembers her blistering attack on him: ‘Don't blame me,’ said Thelma, ‘just because your mother's dead.’ It was something of a turning point. John went quiet, but now he had respect for the girl who would return his own viciousness with a sentence that was equally offensive. ‘Most people stopped short,' says Thelma. ‘They were probably frightened of him, and on occasions there were certainly fights. But with me, he met someone with almost the same background and edge. We got on well, but I wasn't taking any of his verbal cruelty.’

When they were together, though, the affinity was special, with a particular emphasis on sick humour. Thelma says categorically that John and she laughed at afflicted or elderly people ‘as something to mock, a joke’. It was not anything deeply psychological like fear of them, or sympathy, she says. ‘Not to be charitable to ourselves, we both actually disliked these people rather than sympathised,’ says Thelma. ‘Maybe it was related to being artistic and liking things to be aesthetic all the time. But it just wasn't sympathy. I really admired his directness, his ability to verbalise all the things I felt amusing.’ He developed an instinctive ability to mock the weak, for whom he had no patience.  He developed an instinctive ability to mock the weak, for whom he had no patience. In the early 1950s, Britain had National Service conscription for men aged eighteen and over who were medically fit. John seized on this as his way of ridiculing many people who were physically afflicted. ‘Ah, you're just trying to get out of the army,’ he jeered at men in wheelchairs being guided down Liverpool's fashionable Bold Street, or ‘How did you lose your legs? Chasing the wife?’ He ran up behind frail old women and made them jump with fright, screaming 'Boo' into their ears. ‘Anyone limping, or crippled or hunchbacked, or deformed in any way, John laughed and ran up to them to make horrible faces. I laughed with him while feeling awful about it,’ says Thelma. ‘If a doddery old person had nearly fallen over because John had screamed at her, we'd be laughing. We knew it shouldn't be done. I was a good audience, but he didn't do it just for my benefit.’ When a gang of art college students went to the cinema, John would shout out, to their horror, ‘Bring on the dancing cripples.’ says Thelma. ‘Perhaps we just hadn’t grown out of it. He would pull the most grotesque faces and try to imitate his victims.’ 

Often, when he was with her, he would pass Thelma his latest drawings of grotesquely afflicted children with misshapen limbs. The satirical Daily Howl that he had ghoulishly passed around at Quarry Bank School was taken several stages beyond the gentle, prodding humour he doled out against his former school teachers. ‘He was merciless,’ says Thelma Pickles. ‘He had no remorse or sadness for these people. He just thought it was funny.’ He told her he felt bitter about people who had an easy life. ‘I found him magnetic,’ says Thelma, ‘because he mirrored so much of what was inside me, but I was never bold enough to voice.’  Thel, as John called her, became well aware of John's short-sightedness on their regular trips to the cinema. They would ‘sag off’ college in the afternoons to go to the Odeon in London Road or the Palais de Luxe, to see films like Elvis Presley in Jailhouse Rock and King Creole. ‘He’d never pay,’ says Thelma. ‘He never had any money.’ Whether he had his horn-rimmed spectacles with him or not, John would not wear them in the cinema. He told her he didn’t like them for the same reason that he hated deformity in people: wearing specs was a sign of weakness. Just as he did not want to see crutches or wheelchairs without laughing, John wouldn't want to be laughed at. So he very rarely wore his specs, even though the black horn-rimmed style was a copy of his beloved Buddy Holly.  ‘So in the cinema we sat near the front and it would be: “What’s happening now, Thel?” “Who’s that, Thel?” He couldn’t follow the film but he wouldn’t put his specs on, even if he had them.’

[...] It was not a big step from cinema visits and mutual mocking of people for John and Thelma to go beyond the drinking sessions in Ye Cracke. ‘It wasn't love’s young dream, but I had no other boyfriends while I was going out with John and as far as I knew he was seeing nobody except me.’  On the nights that John's Aunt Mimi was due to go out for the evening to play bridge, Thelma and John met on a seat in a brick-built shelter on the golf course opposite the house in Menlove Avenue. When the coast was clear and they saw Mimi leaving, they would go into the house. ‘He certainly didn’t have a romantic attitude to sex,’ says Thelma. ‘He used to say that sex was equivalent to a five-mile run, which I’d never heard before. He had a very disparaging attitude to girls who wanted to be involved with him but wouldn’t have sex with him. ‘“They’re edge-of-the-bed virgins,” he said.  ‘I said: “What does that mean?” ‘He said: “They get you to the edge of the bed and they’ll not complete the act.” ‘He hated that. So if you weren’t going to go to bed with him, you had to make damned sure you weren’t going to go to the edge of the bed either. If you did, he’d get very angry. ‘If you were prepared to go to his bedroom, which was above the front porch, and start embarking on necking and holding hands, and you weren’t prepared to sleep with him, then he didn’t want to know you. You didn’t do it. It wasn’t worth losing his friendship. So if you said, “No”, then that was OK. He’d then play his guitar or an Everly Brothers record. Or we’d got to the pictures. He would try to persuade you to sleep with him, though.  ‘He was no different from any young bloke except that if you led him on and gave the impression you would embark on any kind of sexual activity and then didn’t, he'd be very abusive. It was entirely lust. 

[...] Thelma was John’s girlfriend for six months. ‘It just petered out,’ she says. ‘I certainly didn’t end it. He didn’t either. We still stayed part of the same crowd of students. When we were no longer close, he was more vicious to me in company than before. I was equally offensive back. That way you got John’s respect. Her memory of her former boyfriend is of a teenager ‘very warm and thoughtful inside. Part of him was gentle and caring. He was softer and gentler when we were alone than when we were in a crowd. He was never physically violent with me - just verbally aggressive, and he knew how to hurt. There was a fight with him involved once, in the canteen, but he’d been drinking. He wasn’t one to pick a fight. He often enraged someone with his tongue and he’d been on the edge of it, but he loathed physical violence really. He’d be scared. John avoided real trouble.’

- Within Ray Coleman, John Winston Lennon: 1940-66 vol.1 (1984)

Beatles biographers saying totally normal things about John and Paul: A compilation

"‘John always used to say,’ Yoko told me at one point, ‘that no one ever hurt him the way Paul hurt him.’ The words suggested a far deeper emotional attachment between the two than the world ever suspected - they were like those of a spurned lover." -Philip Norman

"No matter how much he loved Yoko, the Gibraltar ceremony seems like something close to an on-the-rebound reaction to the loss of his first great love, Paul McCartney." -Chris Salewicz

"Almost in each other’s face, John and Paul quickly gained an unusual closeness, little or nothing hidden. Paul noticed that ‘John had beautiful hands." -Mark Lewisohn

"With Yoko present, Paul McCartney’s reign as Lennon’s princess was doomed.” -Peter McCabe

"John's in love with Yoko," Paul confessed to a reporter from the 'Evening Standard', "and he's no longer in love with the three of us." But for all intents and purposes, he might as well have been talking about himself." -Bob Spitz

'I thought Paul's was rubbish,' opined Lennon, saying that he preferred George's All Things Must Pass. McCartney studied the article with the morbid fascination of a jilted lover receiving a kiss-off letter. -Howard Sounes

“Lennon could have abandoned the (US) immigration case and returned to Britain, and possibly even to McCartney, but that would have meant accepting that his relationship with Ono was over.”-Peter Dogget

"Theirs was a volatile relationship right up to the end, and was fraught with emotional summits and valleys. While the connection between them was strictly heterosexual, it was deep, passionate, and highly explosive." -Geoffrey Giuliano

"John was insecure, and when he saw Paul he wanted to look cool. He gave up all his friends for Paul. Aunt Mimi recalled that John jumped around the kitchen when he told her about his new friend. She sarcastically said to John that they were like ‘chalk and cheese’ meaning how different they were. And John would start hurling himself around the room shouting ‘Chalk and Cheese!'’ smiling and laughing. He was fucking in love with him, he adored him. She understood he found the partner of his life." -Thomas Rhodes

“The last week in August, Paul McCartney returned to Liverpool, tanned and noticeably slimmer. In addition to starting school, he came back to begin a relationship he seemed destined for: hooking up with John Lennon." -Bob spitz

“Seeing Lennon focus on Ono rather than him [Paul] was as devastating as it would have been for Cynthia Lennon to witness the couple making love.” -Peter Dogget

where my ringo enjoyers at ?!

you have to hit that heterosexual 80 year old with the yaoi beam theres no other way

Once upon a time…

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)