Another really excellent episode that I will have to listen to at least two more times to fully ingest, despite having lots of diffuse, unconnected notes where I ranted about most of the same text. They really backed up and gave it context and meaning, including adding a lot of things that I didn’t have and making sense of some of the extras that I did. It was both satisfying and frustrating: more satisfying than I expected, and my frustration feels more coherent and focused now.

I think it’s one of the most important episodes.

There is only one point I would add, and that is just that when you listen to the episode it’s important to realize that Paul’s “jealousy” is the most egregiously non-sourced. There are basically two quotes that Mark Lewisohn uses to support this entire theme. The theme which he so beats into the ground that even if you don’t look at the footnotes it feels excessive.

I’ve mentioned before that when I read “Tune In” I was still very, very new to Beatles’ history. A newborn without any of the historiographical context, no understanding of the long, strange, John-deifying background, and therefore I wasn’t on the lookout for it. And that’s important because I went into the book with implicit trust, loved the writing, and still it was evident to me, fairly quickly, that I was reading an opinion column.

It was the cigarettes that did it

Paul’s care with money was noted—Pete says that while they all passed their ciggies around, Paul would “sneak one of his own to himself”—and he was still needling everyone about the Bambi sleeping arrangements, made all the worse now because he was jealous of Pete getting the best girls.

I remember thinking, “Surely not that many people spontaneously bitched about Paul being stingy with cigarettes.”

There are two quotes in the book about Paul and cigarettes that appear to be organic—one being Pete’s “sneak one of his own” quote in this episode—but you’d think that half the people Lewisohn talked to about their memories of some of the most famous people ever, and certainly the most famous from Liverpool, just magically thought that one of the most important things about these four guys was that Paul was stingy with cigarettes. And there is just no way that that is true.

But I also know how this works, inside out. You get “an angle” as a reporter. You have a story you want to tell, and then you interview people with that story—that angle—in mind. You ask questions that you think will elicit the responses that back up your thesis. And then, on the other side of the process, you filter the quotes you choose (and don’t choose) that tell the story you want to tell. And to be fair, every reporter and historian does this to some extent. It may just be to organize ideas in a coherent way, or it may be to focus on a theme. But it has also notoriously been used by historians to warp the truth and further a broader historical lie. (A very good example of this and the one closest to me is “the Dunning School” of the US Civil War and Reconstruction, the first real and condensed story of that conflict that injected into US historiography many complete lies, including the especially insane one that after the Civil War the “Radical Republicans” inflicted pain and humiliation on the South, which despite being the exact opposite of the truth is still the story most Americans “know.”)

Mark Lewisohn had a story he wanted to tell, and I believe that story is most obvious in his “jealous Paul” theme because it’s based on nearly thin air and even then is so ludicrously overblown. But I think it was just too tempting a canvas for Lewisohn. Setting up a dead, pretty kid as a sort of saint that Paul persecuted does so much work for everything else he wants to say about Paul, especially in the upcoming books. Hamburg becomes a pressure cooker where Paul’s true colors come out, and if Lewisohn can use Stu—a sort of perfect near-blank slate who never had time to put any of his memories into context—as a foil to Paul and to paint Paul as petty and jealous and seething, then all the rest of his work is easy. Stu is a layup that paves the way to seeing Paul as a bad guy. The concrete dries and everything else falls into place.

And look, there just is no way to see this theme as organic, because it’s not. It just isn’t. It’s not based on quotes or stories. There are a few completely disconnected quotes stretched to breaking that he uses to try to prop all this nonsense up with, but there is simply no defense for even 90% of the primary usage of them, and certainly not of the whole, big-picture story he creates with them.

I’m going to give one example—and there are many—but I admit to liking this one best because it’s all there in one passage based on one quote that doesn’t say any of this.

Passage:

But, as much as Paul liked exhibiting versatility, he was unhappy—he felt he’d been lumbered, that his multi-instrumental ability was tying him down. Who looked at the drummer? By rights, his place was out front, especially with his new guitar. Here he was, paying off the Solid 7 at ten bob a week and hardly getting to play it. Jealousy of Stu was stoked: Paul was in the back line while he remained out front (even if he was hiding and in dark glasses).

One thing was for certain: Paul wasn’t going to abandon singing.

The only citation for all that Maca-inhabited resentment is the brief Paul quote already in the text, (FN35) and the next footnote—FN36—is from George. There is no citation whatsoever to support any of Lewisohn’s finely-sketched fantasies of Paul’s vanity and jealousy.

FOOTNOTE 35: “I was drumming with my hands, playing the hi-hat and bass drum with my feet and I had a broomstick stuck between my thighs on the end of which was a little microphone, and I’m singing ‘Tell me what’d I say …’ It wasn’t easy!”

• *Note: This quote is also in the text right under the ‘lumbered Paul wanted to be out front’ passage, so in some ways it’s an even thinner spread, if that’s possible.

So, according to Lewisohn:

• Paul liked “exhibiting versatility” (a whole lot because of the modifier “as much as”)
• Paul was unhappy because he felt “lumbered”
• He felt he was being punished because he was TOO TALENTED
• BY RIGHTS his place was out FRONT
• He wanted to be LOOKED AT!
• Jealousy of Stu is grabbed from thin air, based on nothing, and “stoked” by Lewisohn.
• because, again, Stu was out FRONT
• Did you catch the point that Paul is CHEAP?

Again, all of that is cited to this:

“I was drumming with my hands, playing the hi-hat and bass drum with my feet and I had a broomstick stuck between my thighs on the end of which was a little microphone, and I’m singing ‘Tell me what’d I say …’ It wasn’t easy!”

There are at least two more things that I want to say, but this is long enough so I will put them off.