Sections Of Ticket To Ride, By Larry Kane, Which Address Anti-Semitism:

Q: "What is for you the height of misery?" John Lennon: "Hot feet."

Q: "Where would you like to live?" John Lennon: "Here."

Q: "What is for you the ideal of earthly happiness?John Lennon: "Now + then."

Q: "Which mistakes have you the most indulgence for?" John Lennon: "Mine."

Q: "Who are the heroes of novels you prefer?" John Lennon: "Me."

Q" Who is your favourite historical personality?" John Lennon: "Me."

Q: "Who are your favourite heroines in real life?" John Lennon: Me.

Q: "Who are your favourite heroines in fiction?" John Lennon: "Me."

Q: "Who is your favourite painter?" John Lennon: "Me."

Q: "Who is your favourite musician?" John Lennon: "Me."

Q: "What quality do you prefer in a woman?" John Lennon: "Tits."

Q: "What quality do you prefer in a man?" John Lennon: "No tits."

Q: "What is your favourite virtue?" John Lennon: "None."

Q: "What is your favourite occupation?" John Lennon: "Floating."

Q: "Who would you have liked to be?" John Lennon: Pope anything.

Q: "What is the chief feature of your character?" John Lennon: "An unearthly."

Q: "What do you appreciate most in your friends?" John Lennon: "Admiration."

Q: "What is your main default?" John Lennon: "Hate."

Q: "What is your dream of happiness?" John Lennon: "Black knickers."

Q: "What would be your greatest misfortune?" John Lennon: "Lose my virginity."

Q: "What would you like to be?" John Lennon: "Happy."

Q: "What is your favourite colour?" John Lennon: "Rainbow."

Q: "What is your favourite flower?" John Lennon" "Forgotten."

Q: "What is your favourite bird?" John Lennon: "Heckle."

Q: "Who are your favourite poets?" John Lennon: "Me."

Q: "What are your favourite names?" John Lennon: "God, Jesus."

Q: "What do you abhor most?" John Lennon: "God, Jesus."

Q: "Which historical character do you despise most?" John Lennon: "All of them."

Q: "What military event do you admire most?" John Lennon: "None at all I'm afraid."

Q: "What reform do you admire most?" John Lennon: "They have not passed it."

Q: "What natural gift would you would like to have?" John Lennon: "Flying."

Q: "How would you like to die?" John Lennon: "Insane but quiet."

Q: "What is the present state of your mind?" John Lennon: "Light to variable."

Q: "What is your motto?" John Lennon: "Me."

— John Lennon for Marcel Proust from Rave Magazine, October, 1965.

The Beatles at the ABC Cinema in Huddersfield, 29th November 1963 - part 3 (part 1, part 2, part 4, part 5) (x)

Hello!

I'm looking for a section of the lunchroom tape (from the Get Back sessions) where John says something to Paul along the lines of "I mean, you've only recently realised what you were doing to me". Does that ring any bells?

You seem to know your way around amoralto's archives, and I'm not having any luck searching there :)

Thanks!

Hi, @i-am-the-oyster (love the name, by the way)!

I think you might be referring to this section of the Lunchroom Tape:

JOHN: And it’s just that, you know. It’s only this year that you’ve suddenly realised, like who I am, or who he is, or anything like that.

I find this bit of the conversation particularly impenetrable; and all the more fascinating because of it. It's here that we have this famed exchange (whose full meaning still eludes me):

JOHN: Because you – ’cause you’ve suddenly got it all, you see. PAUL: Mm. JOHN: I know that, because of the way I am, like when we were in Mendips, like I said, “Do you like me?” or whatever it is. I’ve always – uh, played that one. PAUL: [laughs nervously] Yes. JOHN: So. PAUL: Uh, I’d been watching, I’d been watching. I’d been watching the picture. YOKO: Go back to George. What are we going to do about George?

I encourage folks to go listen to the full audio and transcript and try their hand at decoding it!

I don't know if it's accessible on the mobile app, but @amoralto has a separate page with links to all the Get Back excerpts, listed in chronological order. It's a pretty neat resource if you want to just binge through interesting little snippets from these sessions (some that made it onto the documentary, and many that didn't).

To those curious about the Lunchroom Tape in particular, here's a (play)list of all the transcribed excerpts, with @amoralto's descriptions for context:

We Have Egos

Over lunch, the remaining Beatles touch on George’s resignation from the band on the 10th, as well as a group meeting held the previous day which ended in less than desirable circumstances (with George leaving the room, frustrated by John’s persistently Yoko-filtered standard of communication). While Yoko contends that it would be easy for John (and Paul) to regain George’s favour, John points out that this is a more deeply-rooted issue than it may seem, compounded over the years by John and Paul’s treatment of George and his defaulted status within the group. Upon this problem of overriding egos, however, Paul suggests (passive-aggressively) that it isn’t just the Lennon-and-McCartney tandem that is causing George upset and consternation. 

Jealousy For You

As the problem of George’s current resignation from the band is discussed, John makes it about him and Paul wonders what it’s all worth.

The Way We All Feel Guilty About Our Relationship To Each Other

John contends with how the force of his partnership with Paul and his relationship with Yoko has negatively affected George and perhaps directly contributed to George’s walkout on the group three days prior.

Cabbage

During a discussion on how the rest of the group should move forward after George’s departure on the 10th, John wonders if they should get George back at all, suggesting his role as a Beatle is replaceable (unlike his own or Paul’s), and likens this unkindly to how Ringo first replaced Pete Best. Paul notes that John has been the top buck in getting himself heard (and getting his way) since the inception of the group (which John protests) and quickly reassures Ringo when he wryly declares himself to be little more than rabbit food for the group. Paul admits that both he and John have done one over on George, albeit unconsciously as an effect of the competition and unaware of how it may have hurt George in the process, but John argues that he’s known since early childhood how manipulative he himself can be, and has tried to curb it to little avail.

What You Are

In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth.

Working At A Relationship

While Yoko and Paul conduct their own conversation with each other, Linda talks to John about the inevitable difficulties any relationship faces - even in the context of a musical partnership - and why it doesn’t prove the relationship itself is an expired one. John (inexplicably or not) laments that the White Album doesn’t sound like the genuine, inspired band collaboration they achieved in the past. 

You've Got To Blame Yourself

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.)

How Much More Have I Done Towards Helping You Write?

John and Paul have an obfuscating conversation about their songwriting partnership and creative process, which has been incapacitated by a lack of direction, misplaced (misread) intentions, and the unmet (unrealised) expectations they’ve inflicted upon each other. (In other words: issues. And some projecting of issues onto George, for good measure.)

What We're All About

In the midst of a personal discussion about working together within the band, John tries to explain the disconnect in their process, and why he can’t envision their songs the way Paul can. As both John and Paul circle around the issues of honest communication and (living up to) each other’s expectations, they eventually project onto George bring George into the quandary of the Lennon-McCartney partnership. 

✂️✂️✂️

You're telling me being in close proximity to this in his teens and twenties meant nothing to John Lennon, a man fighting bisexuality? Sure. Sure. Let's just go out and tell lies.

Jimi Hendrix in Ringo Starrs apartment in 1968

him sleeping with that crochet stuffed animal is one of my favorite photos of him, and that velvet blue suit looks so pretty

Yoko for her birthday? Mayhaps John and Yoko with John giving purse dog ?

genius

GRIAN N THE WATCHER👁️👁️

I'll try to be more active on here since I mostly use YT n Instagram the most soooo YAHH ENJOY HEHE

JOAN BAEZ and BOB DYLAN during THE ROLLING THUNDER REVUE TOUR

"paperback writer" is a song about a guy who wants to be a paperback writer who is writing a fictional book about a different, unrelated guy who also coincidentally wants to be a paperback writer, and I feel that we've been neglecting how well this captures paul's approach to songwriting