Love there that's sleeping
Title: Love there that's sleeping
Pairings: Paul/George as dysfunctional brothers; George/Ringo friendship; John/Paul implied
Rating: PG 13
Warnings: Cursing; events not in linear, chronological order (but as George remembers them)
Summary: George and Paul through the years.
Disclaimer: Everything is fiction and unowned by yours truly. Title ( Read more... )
Pairings: Paul/George as dysfunctional brothers; George/Ringo friendship; John/Paul implied
Rating: PG 13
Warnings: Cursing; events not in linear, chronological order (but as George remembers them)
Summary: George and Paul through the years.
Disclaimer: Everything is fiction and unowned by yours truly. Title ( Read more... )
Comments 22
I love all the detail, especially when George tells Paul about his mother having a tumor. How you express all the emotion there. Also, the few things not a lot of people notice or would pay much attention to, like sharing the lead vocals, who plays what in the song, and the two beetles on Paul's album.
Great job, I loved it very much. :)
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Glad you enjoyed the story, thank you for commenting!
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Such as how you contrast Paul remembering meeting John, whereas George and Paul don't quite remember their meeting.
Poor Georgie and school! These sentences especially summed that up:
and suddenly the prospect of yet another dreary day in school where he hates all the teachers and is convinced they hate him isn’t quite as bad anymore.
Maybe it’s because Paul doesn’t doubt for a moment he’ll be welcome whereever he goes, while George is not. George is convinced half of the world consists of phoneys who are just out to get you, and they’ll probably be in the cinema as well, so he tries telling himself he won’t miss anything. It doesn’t work too well, and he slinks a bit further into his seat, feeling utterly miserable. George comes across as so paranoid, but that perfectly captures the tragi-comedy of school-age angst, especially for bright but shy and socially awkward kids ( ... )
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George and school: "tragi-comedy of school-age angst" is an excellent way to sum it up. (Also, I was thinking of the way Paul's brother Mike described him in a 1965 article about their childhood and teenage years (Mike, like Paul and George, was at the Liverpool Institute): One of his new (i.e. Paul's) friends was George Harrison, who at this time was a bit of a joke at school because he wore his hair so long. And the more the kids laughed and jeered, the longer George let his hair grow. I think in the end he'd have let it grow below his knees if they hadn't all got fed up and left off jeering at him.
Glad the Taxman solo flub explanation made sense; it was the most psychologically sound I could think of.
the poignancy of him telling Paul about Louise's brain tumourFinding out that Louise was diagnosed while the Abbey Road sessions were still going on and that George did tell Paul first was what started this entire fic, ( ... )
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re: Paul - either Colin Hanton or Erik Griffiths, one of the Quarrymen anyway is quoted with the "Paul McCartney, so effortlessy good at everything that you wanted to hate him" description, and iny my own take that you quoted I was slightly paraphrasing a description Simon Callow gives of young Orson Welles, saying the most remarkable thing about Welles as a child, teenager and young man wasn't just the fiendish multitalentedness but the utter fearlessness in new company, the way he never seems to have doubted people would like him and he would be doing fine in new situations, just bypassing teenage fearfulness and angst. I think that is true of Paul without qualifications only until and including India in 1968, though. The later 1968 till ca. 1973 (Band on the Run period) time frame is one relentless battery and removal of pretty much everything he used to define himself by, from the band and the partnership with John to approval by critics and public, and I don't think his self confidence ever ( ... )
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Oh, I see why you didn't include the hand stroking bit. I gotcha. Thanks for explaining, man.
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And you're welcome.
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The Taxman sequence - yes, she says sadistically, heartbreak on George's behalf was totally the goal. (Not least because one has to understand where George is coming from in the HDYS sessions.) It's based on Geoff Emerick's description which, much as I like Geoff, make you cringe because he's so oblivious to what "There was a bit of a tension in that session because George had a great deal of trouble playing the solo (...). So George Martin went into the studio and, as diplomatically as possible, announced that he wanted Paul to have a go at the solo instead. (...) Paul's solo was stunning in its ferocity (...) and was accomplished in just a take or two. It was so good, in fact, that George Martin had me fly it in again during the song's fadeout" must have felt like to George. And then it ( ... )
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Oh yes, I remember that part in Geoff's book... and you're right, he's just so completely oblivious to how that (obviously!) must have negatively affected George. He's just such a Paul-fan, which is fine, but it explains some things. Also, yeah you're so right that people would have complimented George on the guitar solo and OH yeah... salt in the wound indeed.
Paul + kids = total cuteness, always.
I remember reading that story, but I don't quite REMEMBER. xD I do think, however, that telling the HDYS story from George's POV was such a great way to do it originally, and especially the way you told it.
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I imagine the worst case scenario re: compliments for George was probably this one:
Admirer: "George, I just saw Let it Be, and really, what an arrogant ass Paul must be to imagine he could tell you how to play guitar! You're such a great lead guitar player, one of the best in the world! That solo in Taxman alone..."
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first things first, whats this about the cake fight at patti and eric's wedding? is that true? i havent heard it before!!
loved loved LOVED this bit:
"It is unworthy behaviour, and he should know better. He does know better. He would never behave this way with Ravi, or Eric, or Bob, all of whom know the George he wants to be, see the George he wants to be, as opposed to Paul who keeps seeing only the George he used to be. But right now there is freedom in that, because there is no dignity to be lost with Paul, no respect, and so George cries without shame or attempt at spiritual equanimity, curses and shakes while Paul whispers “that’s bullshit, George”, holds on and doesn’t let go."
it's so perfectly summed up and true. well done, man, shit.
yeah, just sooo good. you must write more.
the 'taxman' story is an odd one, because both paul and george insist that george ASKED paul to do the guitar solo. but it's george martin that says otherwise, right?
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Cake fight: from Pattie's book, Wonderful Tonight. She's also the source for the story about Paul playing with her bored little brothers at the wedding and the arrow ending up in his car. The cake fight wasn't just Paul and George, it was all three former Beatles and Eric and started by Eric.
Also , thank you for the feedback!
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