Jane Asher & Paul McCartney attend the premiere of How I Won The War at the London Pavilion in London, England | 18 October 1967
Do you think that john actually did not like jane? I mean i think it’s clear that john was not jane’s favorite person, but like john assumed her and Paul were going to get married and was fine with that. plus there’s actually some nice footage of them walking together in India while listening to the maharishi so idk how against john was of jane..
I don't see much indication that John ever specifically liked Jane, but it makes sense that, despite their differences, they would have learned to get along a bit over the years.
I guess a lot of discussion on tumblr revolves around the idea that John was jealous of her – that wouldn't necessarily contradict John on the whole "getting" what Paul saw in her (understanding that could actually fuel jealousy, I'd say).
I think you do raise a good point by pointing out John said he expected that Paul would marry Jane. It might be a mostly irrational "well it was better BEFORE" reaction to Linda though.
Paul McCartney & Jane Asher with a copy of the Daily Mail following the announcement of The Beatles' MBE Awards | 11 June 1965 © John Knoote
actually, scratch that, re:TLAR potentially being about Jane, when Paul kept talking about his farm in Scotland, which at the time he'd only really spent time with WITH Jane………… I'm a teensy bit compelled
hot take: i know it’s fun to speculate all pauls sad songs from the let it be era are somewhat related to john/band breakup, but honestly my take is that something like the long and winding road could lieterally be about jane? like this man wrote countless songs about her, had a long relationship with her, he considered her his best friend, they lived together for some time and were even engaged. like she was his muse for quite sometime, i really doubt it would be a case of “oh well, we’ve broken up the memories are gone!” lol humans don’t work like that. especially people like paul who really holds on to memories. im not saying he wasn’t in love with linda at the time, but his relationship with her was still new and based on how some people have described paul after jane broke it off, he was a wreck, so i can only imagine some of those feelings would pass in songs of heartbreak. like it hadn’t even been a year. i mean paul literally said in his lyrics book about jane “but the memories don’t fade.”
This is interesting. Re: TLAWR specifically, I think my take on that would somewhat depend on when the song was written. It already existed at the start of the Get Back sessions… (though I know you pointed out it doesn't have to be linear, but I still am unsure) I do wonder if the song Let It Be, which was around in September 1968 already, was maybe somewhat related.
BUT, I think there's another point here. I agree "humans don't work like that" but I think that also applies to how they process things happening to them at the same time. The reality is that the band (and John in particular) took a nosedive at the same time as Jane and Paul's relationship ended, so I think these two things were probably not as easily separable to Paul as they may be to us. It all might just combined into A Generally Shitty Period, y'know.
I have very similar feelings on the songs Paul ascribed to his 1965 fight with Jane – I'm Looking Through You, You Won't See Me, We Can Work It Out – the latter two I've seen theorized as being about John (funny how you don't see the most bitter one ascribed to him though), in relation to John and Paul's ongoing conflict over acid at the time. My take here is that it's very possible that both these fights coinciding made the situation worse than the sum of its parts to Paul. Your girlfriend walking out on you is worse if your best friend has been being a dick to you for months, and it might make everything feel more hopeless and desperate, which could ultimately influence the music, at least indirectly.
So I agree with you and I don't fully, because I don't think it has to be an either/or. I also think songs can change their meanings after having been technically fully written – this is a bit how I feel about Two Of Us. And also, I do want to say that sometimes Paul is just writing stuff and it's not that personal lol. Although I don't think The Long And Winding Road is such an example.
Truly one of Paul's more iconic photos.
Jane Asher & Paul McCartney with Maureen Starkey & Ringo Starr at the Lakshman Jhula Bridge in Rishikesh, India | 20 February 1968
Fiona I’ve been thinking of Is It Over Now? as a Paul and Jane song recently and I NEED to know your thoughts
That's really interesting, tbh, because the common reading of the song is it's about a relationship that is officially over but doesn't feel like it, but your reading kind of instead suggests the opposite: a relationship that is on paper not over but de facto is. The idea of having the decency to keep one's night out of sight is a really Jane sentiment! And "Was it over then? And is it over now?" makes me think of how Paul said that when he and Jane finally broke up it was like… Not as big of a deal to him, because he had already gone through feeling like everything had ended during the 1965 Bristol walk-out. (I think he said this in connection to I'm Looking Through You in MYFN?)
Also "Just to see you come running and say the one thing I've been wanting, but no" is a great way to describe the lack of commitment issue they had.
also, while i was doing research for still mates i found this letter paul wrote to jane (in a random quora answer so idk where it's from) which i thought was cute/interesting
Jane Asher & Paul McCartney with Maureen Cox & Ringo Starr on holiday in Greece | September 1963
Jane and Paul photographed by Harry Benson in 1964.
This photo is published in the new special edition soft-cover LIFE Book, PAUL, currently on sale ($13.99) and is about 3 ½" wide.
Unfortunately there was no information about when and where the photo was taken - but seems to be early 1964. (Sorry about the spots - my old computer died last month and I don’t yet have a real photo program for the new computer - and my scanner isn’t functioning fully with Windows 8. Will scan this again when I have full retouching capabilities restored soon!)
6 March 1966
Paul writes "For No One" in a bathroom while in holiday with Jane Asher in Switzerland.
This is not the only song he wrote in a bathroom while on holiday with Jane.
“One amusing instance of this occurred when Jane arranged to entertain a group of actor friends to dinner, unaware that Paul had simultaneously invited Sue and me to meet him at Cavendish Avenue. We were supposed to go on to Abbey Road with John Lennon, who was going to be there as well. Jane’s friends, six or seven people, were clearly nervous at having Paul and John hovering in the background, working out small details of one of their songs. Though they tried to concentrate on their own company, their attention kept drifting as John and Paul moved around the room and sometimes joined their table. John was in a difficult mood, unpredictable and snappy. All the same, Jane’s guests tried to draw him into the conversation and treat him like any other person. One of the women asked if he knew where the ashtray was. John dropped to his knees beside her and prised open his left nostril. ‘Put it here, lady, put it here.’ Everyone laughed, but a little nervously because John didn’t seem to be joining in the joke. He remained crouching until the woman blushed and Jane, seeing her discomfort, pushed John over with her foot. He rolled over on his back, his feet in the air.”
— On Paul and Jane’s friends colliding, In the Sixties, Barry Miles
Paul McCartney & Jane Asher with a copy of the Daily Mail following the announcement of The Beatles' MBE Awards | 11 June 1965 © John Knoote
Every day in Klosters Paul and Jane started at 9:00 a.m. with their twenty-two-year-old ski instructor, John Christoffel, and were taught until 4:00 p.m. Their visit wasn’t announced, and so no journalists or photographers trailed them. Even Christoffel wasn’t told the identity of his new students and didn’t discover it until he casually asked Paul what he did for a living. At the time Paul was driving his Aston Martin to the ski lift, and he just put on a record and said, “This is what I do.” The record was “Michelle.” Christoffel wasn’t aware of any problems between Paul and Jane. As far as he could detect, they were a happy couple, both keen to learn as much as they could in the short time available. On some evenings the three of them remained together after the lessons to eat or drink. On one night Christoffel took them to a town hall dance in Saas where bands played traditional Swiss folk music on accordions, clarinets, and upright basses.
[—from Beatles ’66: The Revolutionary Year, Steve Turner]
By the time they moved to Cavendish Avenue, Paul and Jane were growing increasingly apart. In October 1965 Jane had joined the Bristol Old Vic and was deeply involved in her career as an actress. She spent most of her time in Bristol, leaving Paul free to enjoy London as a single man. The majority of Jane’s friends were in the theatre. She did not take drugs and clearly felt increasingly alienated from Paul’s drug-taking friends. The relationship hung on, in part, because they were apart so often: if Jane was in a play, Paul would not see much of her unless he attended a performance, and Paul himself was often out of town, touring with the Beatles or at late-night recording sessions, television recordings, official receptions and other Beatles activities. They really only saw each other properly on special occasions like holidays—skiing in Klosters in March 1966 just before moving into Cavendish Avenue, and in November on safari together in Kenya—when they would reaffirm their relationship; but the underlying trend was apart. PAUL: “During that period with Jane Asher I learned a lot and she introduced me to a lot of things, but I think inevitably when I moved to Cavendish Avenue, I realised that she and I weren’t really going to be the thing we’d always thought we might be. Once or twice we talked about getting married, and plans were afoot but I don’t know, something really made me nervous about the whole thing. It just never settled with me, and as that’s very important for me, things must feel comfortable for me, I think it’s a pretty good gauge if you’re lucky enough. You’re not always lucky enough, but if they can feel comfortable then there’s something very special about that feeling. I hadn’t quite managed to be able to get it with Jane.”
[—from Paul McCartney: Many Years From Now, Barry Miles]