Latest / DISGRACELAND / Paul McCartney: Paul Is Dead, Smuggling Drugs, and Composing the World’s Most Beloved Songs

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Paul McCartney: Paul Is Dead, Smuggling Drugs, and Composing the World’s Most Beloved Songs · DISGRACELAND

0:00
Speaker 1: Previously on Disgraceland. The Beatles were always a great little band,
0:05
Speaker 1: nothing more, nothing less. We're just observing, observing what the
0:11
Speaker 1: effects The dentist replied, effects of what the lsd Somehow,
0:16
Speaker 1: the doors to their own perception of what was possible
0:19
Speaker 1: musically had been flung wide open. The Beatles were booked
0:23
Speaker 1: to perform at Budakan, a sacred venue to the Japanese.
0:27
Speaker 1: The band was met upon arrival at the airport by
0:29
Speaker 1: Tokyo's police commissioner and several thousand armed Japanese troops. The
0:34
Speaker 1: right wing kill Squad was determined to assassinate them for
0:37
Speaker 1: their plans to desecrate Brutakan with their music. The Beatles
0:41
Speaker 1: could no longer stand being in the same room together.
0:43
Speaker 1: Paul McCartney was set to do something about it. The
0:46
Speaker 1: relationship between Paul and John had suffered irreparably, Rumors persistent
0:51
Speaker 1: that a breakup was imminent. But then the phone rang
0:54
Speaker 1: at the office of Applecar and there was bad news.
0:58
Speaker 1: Paul is dead. Disgraceland is a production of Double Elvis.
1:13
Speaker 1: The stories about Paul McCartney are insane. He is one,
1:24
Speaker 1: if not the most successful and revered living musicians. Yet
1:28
Speaker 1: he died in nineteen sixty six, so the story goes anyway.
1:32
Speaker 1: He was arrested numerous times for marijuana, accused of arson
1:37
Speaker 1: by German authorities, supported and literally helped build with his
1:41
Speaker 1: own hands London's avant garde art scene. He hung with
1:45
Speaker 1: notorious junkie William S Burrows, inadvertently inspired Charles Manson, and
1:49
Speaker 1: spent nine days in a notorious Japanese prison. Yet despite
1:54
Speaker 1: all of that, Paul McCartney was considered the safe beadle.
1:59
Speaker 1: Paul mccartny, of course, made great music, some of the
2:02
Speaker 1: greatest music ever made. Unlike that music I played for
2:06
Speaker 1: you at the top of the show that wasn't great music.
2:09
Speaker 1: That was a preset loop from my mellotron called Ganja
2:12
Speaker 1: Dakary slush Rush MK one. I played you that loop
2:17
Speaker 1: because I can't afford the rights to Please Don't Go
2:20
Speaker 1: by KC in the Sunshine Band. And why would I
2:24
Speaker 1: play you that specific slice of My My, My Bag
2:28
Speaker 1: and shoes Cheese? Could I afford it? Because that was
2:32
Speaker 1: the number one song in America on January sixteenth, nineteen
2:36
Speaker 1: eighty and that was the day Paul McCartney's plane set
2:40
Speaker 1: down in Japan, setting off a minor international incident that
2:44
Speaker 1: would land him in one of the world's most notorious prisons.
2:48
Speaker 1: On this episode, Paul is dead, Paul is safe, Paul
2:52
Speaker 1: is in prison. Paul McCartney is not who we were,
2:55
Speaker 1: totally is and I'm Jake Brennan and this is discreen signed.
3:28
Speaker 1: Paul McCartney was dead car accident. His death came at
3:33
Speaker 1: any opportune time. Nineteen sixty six. The Beatles' popularity was raging.
3:39
Speaker 1: Lovable mop topism proved irresistible to the youth market, and
3:42
Speaker 1: was now starting to turn adults on as well. Beatlemania
3:46
Speaker 1: was very much a still growing enterprise. Paul McCartney, John Lennon,
3:51
Speaker 1: George Harrison, and Ringo Starr were generating unheard of amounts
3:54
Speaker 1: of money for their record, label, management and publishing companies.
3:58
Speaker 1: News of Paul's death came to them quietly, and they
4:02
Speaker 1: kept it that way. The night he died, Paul was
4:07
Speaker 1: uncharacteristically angry. He was unable to convince John of the
4:11
Speaker 1: merits of the new tune. He wanted to record a
4:14
Speaker 1: song about a fictional student named Maxwell, a deranged psychotic
4:18
Speaker 1: who took a hammer to his lover's head, a notion
4:21
Speaker 1: that in nineteen sixty six was too dark even for
4:24
Speaker 1: John Lennon to wrap his head around. So Paul split
4:27
Speaker 1: from the studio in a huff. Fuck John. He could
4:31
Speaker 1: follow Lucy around in her newspaper taxi straight to the
4:34
Speaker 1: bottom of the charts with his childlike drivel for all
4:37
Speaker 1: he cared. Paul drove fast out of London and the
4:43
Speaker 1: Aston Martin moved. The M one motorway spread out before him.
4:47
Speaker 1: Paul headed north past Northampton, south of Coventry. It was
4:52
Speaker 1: near the market town of Rugby and Warwickshire where the
4:54
Speaker 1: Aston Martin lost its grip of the slick road. Paul's
4:58
Speaker 1: back end slipped and unexpected the curve on the M
5:01
Speaker 1: one and spun the sports car to its right. Paul
5:04
Speaker 1: compensated with a quick jolt of the steering wheel to
5:06
Speaker 1: his left, and the result was a wrenching jerk of
5:09
Speaker 1: the tiny machine in the opposite direction, and Paul slammed
5:13
Speaker 1: on the brakes and the Aston Martin stopped its spin,
5:16
Speaker 1: but slid instead with tremendous speed, straight off the motorway,
5:19
Speaker 1: through the guard rail, over a small embankment, into a
5:22
Speaker 1: tree and crushed itself with alarming precision. One of the
5:26
Speaker 1: tree's branches shred through the car's windshield at a violent
5:29
Speaker 1: angle and decapitated its driver. Paul McCartney died instantly. He
5:41
Speaker 1: was dead but not unrecognizable, and the small town constable
5:45
Speaker 1: played it smart and rang up a school chum from
5:47
Speaker 1: MI five, the United Kingdom's equivalent to the US's FBI,
5:52
Speaker 1: and the MI five man made quick work at the situation.
5:55
Speaker 1: He secured the crime scene, which to that point had
5:58
Speaker 1: consisted only of himself, constable in a dim witted ambulance driver,
6:02
Speaker 1: and he got hold of the Beatles' manager, Brian Epstein.
6:06
Speaker 1: The news shook Brian to his core, but panicking wasn't
6:10
Speaker 1: an option, the MI five man assured him. Brian knew
6:13
Speaker 1: he was right. He also knew that Paul's death could
6:17
Speaker 1: not be revealed to the public. His first instinct towards
6:20
Speaker 1: secrecy was to ensure the news was distributed to Paul's
6:23
Speaker 1: loved ones and bandmates privately before they heard it in
6:26
Speaker 1: the press. But the MI five men had other plans.
6:31
Speaker 1: No no one can know, he informed Brian. Maybe Paul's
6:35
Speaker 1: family and bandmates, but not the press. Not now public
6:40
Speaker 1: morale in the UK was at a shocking low at
6:43
Speaker 1: the moment. By the mid sixties, the sun had set
6:45
Speaker 1: on the British Empire. The Royal Navy was shrinking, canceling
6:49
Speaker 1: fighter planes and aircraft carrier programs, and the Minister of
6:53
Speaker 1: Defense resigned over it in great public dismay. And the
6:56
Speaker 1: tabloids had Princess Margaret cheating on her husband and celebrity
7:00
Speaker 1: mobsters the Cray Brothers, and the news rubbing elbows with
7:03
Speaker 1: Sinatra one minute and under investigation for a nightclub shooting
7:06
Speaker 1: the next. Cynicism reigned in the news of Paul's death.
7:11
Speaker 1: The grief would be unbearable for the British people, and
7:14
Speaker 1: the Beatles were all they had, and Brian thought about
7:17
Speaker 1: the upside. Paul may be dead, but he could keep
7:20
Speaker 1: the Beatles alive and keep the cash pouring in. Brian
7:27
Speaker 1: Epstein delivered the news first to John, George and Ringo,
7:30
Speaker 1: and they took it in stride, similar to how they
7:33
Speaker 1: would take the news of Brian's own death. A year later,
7:36
Speaker 1: and the plan was laid out. There would be no
7:39
Speaker 1: more live performances by the Beatles. They'd retire to the
7:42
Speaker 1: recording studio and the public would view them intermittently through
7:45
Speaker 1: album covers and impromptu public appearances, but those recordings would
7:49
Speaker 1: still require Paul's voice, and those impromptu public appearances would
7:53
Speaker 1: require someone vaguely resembling Paul. Paul himself was a great
7:57
Speaker 1: impersonator during the height of Beatlemane. While ensconced away with
8:01
Speaker 1: the rest of the band in hotel suites to keep
8:04
Speaker 1: clear of their ravaging fans, Paul would often donn a
8:07
Speaker 1: disguise and hit the streets to take in the sights,
8:10
Speaker 1: most always going unnoticed. I'll out the opening scene in
8:14
Speaker 1: a hard day's night. So the Beatles made like Paul
8:17
Speaker 1: and dressed up as impersonator. The winner of a recent
8:21
Speaker 1: Paul McCartney lookalike contest, an adult orphan from Edinburgh named
8:25
Speaker 1: William Shears Campbell, who would later introduce himself on the Beatles'
8:29
Speaker 1: next album as the One and Only Billy Shears in
8:33
Speaker 1: a fu Manshoe mustache and dark sunglasses, and Dago had
8:36
Speaker 1: already in military garb to distract the unsuspecting public. Paul's
8:41
Speaker 1: impersonator appeared on the cover of their next album, Sergeant
8:44
Speaker 1: Pepper's Lonely Hearts Club Band, alongside the rest of the band,
8:48
Speaker 1: but obscured amidst a backdrop of a sea of famous faces.
8:51
Speaker 1: To further throw off the fans, John Lennon, in designing
8:55
Speaker 1: the cover, couldn't put his cheeky wit in a box.
8:58
Speaker 1: As such, the cover of the album is riddled with
9:01
Speaker 1: hints of the real Paul's death. An open palm appears
9:08
Speaker 1: above the Paul impersonator's head, blessing him before burial. John,
9:13
Speaker 1: George and Ringo are all holding brass instruments. The Paul
9:17
Speaker 1: is holding a black woodwind instrument Black Death. A prone
9:21
Speaker 1: doll lays in the corner on its left hand, a
9:24
Speaker 1: bloody driving glove to signify Paul's deadly accident. At the
9:27
Speaker 1: bottom of the album cover is a bass guitar made
9:30
Speaker 1: of white flowers. You've seen one of these before in
9:33
Speaker 1: news footage of famous musicians funerals and wakes, except this
9:37
Speaker 1: one only has three strings instead of four. Bass guitar
9:40
Speaker 1: Paul's instrument three strings, three remaining beetles. Inside the album,
9:45
Speaker 1: the Paul sits amidst his bandmates. On his shoulder sleeve,
9:49
Speaker 1: a patch with the initials O P D. The British
9:52
Speaker 1: Authorities abbreviated designation for officially pronounced dead, and on the
9:57
Speaker 1: vinyl sleeve, a final image of the band George, John
10:01
Speaker 1: and Ringo stand in a line facing the camera, and
10:03
Speaker 1: the Paull does not. His back is to the camera,
10:06
Speaker 1: setting him apart from the band completely, and the listed
10:09
Speaker 1: title of the leadoff track A Side Too is superimposed
10:12
Speaker 1: over the back of the Paul's head Within You Without You.
10:16
Speaker 1: On the lead up single to Sergeant Pepper's Strawberry Fields
10:19
Speaker 1: Forever you can hear John mouth the lyrics I Buried
10:22
Speaker 1: Paul obscured in the mix, and later on the beatles
10:25
Speaker 1: so called White album, John snuck in another clue on
10:28
Speaker 1: his and Yoko song Revolution number nine. When played backward,
10:32
Speaker 1: the words turn me on dead Man are clear as dang,
10:36
Speaker 1: and the Kude graph of hints rests on the cover
10:39
Speaker 1: of the Beatles' final recorded long player, abbey Road. It's
10:43
Speaker 1: so obvious, it's brazen. But the band whereby then breaking
10:46
Speaker 1: up and John Lennon was fresh out of focks to
10:49
Speaker 1: give about the Beatles. On the cover of the abbey
10:52
Speaker 1: Road album, John cast himself as the band's leader, their angel,
10:56
Speaker 1: dressed in all white, walking across the actual abbey Road
11:00
Speaker 1: leading the dead Man's procession behind him, wearing all black,
11:04
Speaker 1: the Undertaker ringo star behind him, the dead Man, the Paul,
11:09
Speaker 1: barefoot as most corpses were buried at the time, and
11:12
Speaker 1: walking out of step with the rest of the band
11:15
Speaker 1: behind him, clad head to toe and working class denim,
11:18
Speaker 1: is George Harrison, the gravedigger, bringing up the rear. A
11:22
Speaker 1: license played in the background reads LMW twenty eight if,
11:27
Speaker 1: as in, if Paul were still alive, he would be
11:30
Speaker 1: twenty eight years old. The rumors, the clues. They were
11:33
Speaker 1: there from the start, at the time of the car
11:35
Speaker 1: accident in sixty six, but by the time Abbey Road
11:38
Speaker 1: was released in nineteen sixty nine, news that Paul is
11:41
Speaker 1: Dead had taken on international proportions. The album cover was
11:46
Speaker 1: too much. Apple Core phones were inundated with calls from
11:50
Speaker 1: the press demanding to know of Paul McCartney's death. A
11:53
Speaker 1: radio station in Detroit, Michigan, over in the States, gave
11:56
Speaker 1: callers a full hour to work through their grief. Clues
12:00
Speaker 1: were explored. The Michigan Daily, an actual American newspaper, laid
12:05
Speaker 1: the clues out in its pages. Soon, radio stations on
12:09
Speaker 1: both sides of the pond were flooded with calls from
12:11
Speaker 1: listeners pressing insider DJs on news of Paul's death. Wkn
12:16
Speaker 1: R and Detroit gave the subject of Paul's death its
12:18
Speaker 1: own two hour special. New York's mainstream WABC and WMCA
12:23
Speaker 1: discussed the issue at length until their DJs were fired
12:27
Speaker 1: for breaking the respective stations formats. With talk, WABC was
12:31
Speaker 1: syndicated and reached more than thirty eight American states. America
12:35
Speaker 1: convinced itself Paul is Dead, reporters descended onto Apple headquarters
12:43
Speaker 1: in London. Neither Paul McCartney nor his impersonator could be found.
12:47
Speaker 1: Ringo Starr was forced to give a statement, if people
12:50
Speaker 1: are going to believe it, they're going to believe it.
12:52
Speaker 1: I can only say that it's not true. New singles
12:55
Speaker 1: sprung up overnight by groups eager to capitalize on the
12:57
Speaker 1: Paul's Dead sensation. Zacharias and his Tree People found minors
13:02
Speaker 1: success with their song Where All Paul Bearer's Parts one
13:05
Speaker 1: and two, and Jose Feliciano released the song So Long
13:09
Speaker 1: Paul under the pseudonym Worbley Finster. The calls to AppleCore
13:13
Speaker 1: never let up that fall in nineteen sixty nine, where
13:16
Speaker 1: it spread that Paul, the real Paul, not the Paul impersonator,
13:20
Speaker 1: was at his farm in Scotland. To confirm, the BBC
13:24
Speaker 1: sent a pack of reporters, CBS sent a news crew,
13:27
Speaker 1: and Life magazine sent a reporter and photographer to put
13:31
Speaker 1: Paul McCartney dead or alive on its November nineteen sixty
13:35
Speaker 1: nine cover, and there Paul McCartney was found the real
13:40
Speaker 1: Paul McCartney, who was very much alive. Paul McCartney wasn't dead,
13:45
Speaker 1: he was in prison. At the end of nineteen sixty nine,
14:09
Speaker 1: Paul McCartney was in a virtual prison of his own.
14:11
Speaker 1: Making practical minded, easy on the eyes, prone to nowhere
14:16
Speaker 1: man speak to the press. Paul played into the public's
14:19
Speaker 1: perception of him as the safe beetle, particularly in contrast
14:24
Speaker 1: to his bandmate John Lennon, whose sharp witted tongue was
14:27
Speaker 1: legend and whose growing heroin habit, recent drug busts and
14:31
Speaker 1: stupendously unlistenable avant garde singles with his new wife, Yoko Ono,
14:36
Speaker 1: including one in which he and his new bride post
14:39
Speaker 1: fully nude on its cover, had John rightfully cast opposite
14:44
Speaker 1: Paul as the dangerous beetle. Paul himself was no stranger
14:49
Speaker 1: to hard drugs. He snorted cocaine regularly during the Sergeant
14:53
Speaker 1: Pepper sessions. He just didn't feel the need to tell
14:56
Speaker 1: the press about it. He learned that lesson with his
14:58
Speaker 1: comments about l s a few years earlier. But because
15:02
Speaker 1: Paul was so quote unquote safe, nobody even dreamed to
15:05
Speaker 1: think that he was singing a song like got to
15:08
Speaker 1: Get You into My Life about having to get drugs
15:10
Speaker 1: into his life. Being known as the safe beetle had
15:14
Speaker 1: its perks because nobody would suspect you of anything, but
15:17
Speaker 1: it also frustrated him and led him to test the
15:20
Speaker 1: limits of that perception and take more risks, and by
15:25
Speaker 1: the decades end, at the beginning of nineteen eighty, those
15:28
Speaker 1: risks would land Paul McCartney an actual prison. The Yakuza gangster,
15:35
Speaker 1: and the cell four doors down from him knew who
15:38
Speaker 1: he was. In fact, all of his fellow prisoners in
15:41
Speaker 1: Japan's notorious Kosugei prison knew who he was. The conditions
15:46
Speaker 1: could only be described as barbaric. A ten x fourteen
15:50
Speaker 1: foot cell, a thin mattress on the floor, and little
15:53
Speaker 1: else but the taunting broken English from the Yakuza down
15:56
Speaker 1: the hall, Yesterday you sing Yesterday. Paul had seen the
16:03
Speaker 1: Yakuza in the showers. His expansive back tattoo, his broad
16:07
Speaker 1: shoulders that seemingly grew straight out of his ears, and
16:10
Speaker 1: the rumors of his loose attitudes on sexuality were enough
16:14
Speaker 1: to make the long haired musician once known as the
16:16
Speaker 1: Cute One, sleep upright with his back against the wall
16:20
Speaker 1: on that first night for fear of being raped at length.
16:24
Speaker 1: It all added up to Paul obliging his intimidating prisonmate's request.
16:29
Speaker 1: Paul worked out an a cappella version of his most
16:31
Speaker 1: famous song and let the prison's natural acoustics carry his melody. He,
16:37
Speaker 1: like the Yakuza and the rest of the world, loved
16:39
Speaker 1: the sound of his voice. But this song, it started
16:45
Speaker 1: it all for him, gave him the sand to really
16:48
Speaker 1: believe he had it in him, the gift of song,
16:51
Speaker 1: of composition. He couldn't read or write music, but still
16:55
Speaker 1: it wasn't all vis earl. There was something innate in him.
16:58
Speaker 1: He could feel it. Yesterday proved it yet a true
17:02
Speaker 1: gift for melody. This was more than she loves you,
17:05
Speaker 1: more than can't buy me love. And Paul. Though he
17:08
Speaker 1: never say it aloud at the time to anyone, he
17:11
Speaker 1: knew that it was more than anything John was capable of.
17:14
Speaker 1: But where it came from, he didn't know. It just
17:17
Speaker 1: appeared at first, just the melody, no words. In fact,
17:21
Speaker 1: while composing the music, the only lyrics Paul had were
17:25
Speaker 1: scrambled eggs. Didn't matter. The melody was that good. When
17:29
Speaker 1: finally composed, the song was an undeniable sensation and instant hit,
17:34
Speaker 1: so much so that it is to this day widely
17:36
Speaker 1: recognized as the world's most covered song. But again, Paul
17:40
Speaker 1: had no idea how he did it, so naturally he
17:44
Speaker 1: set out to do it again, except this time he
17:49
Speaker 1: was looking for more than a hit. He was looking
17:51
Speaker 1: to prove to himself and not only to the recordbying public,
17:54
Speaker 1: but more important to the stodgy old guard of London
17:57
Speaker 1: academia and society and culture. And he was trying to
18:00
Speaker 1: prove he could write a pop hit. He already did that.
18:03
Speaker 1: He was trying to prove he could compose a song,
18:06
Speaker 1: a truly great song, and thus that he could teach
18:09
Speaker 1: others how to compose a goal worthy of his time.
18:12
Speaker 1: For he knew it then that his time with the
18:14
Speaker 1: Beatles would soon come to an end, and when it did,
18:17
Speaker 1: he'd need a job. Teaching the art of songwriting in
18:20
Speaker 1: one of Britain's prestigious academic institutions seemed like a good
18:23
Speaker 1: way to pass through middle age into retirement. At least
18:26
Speaker 1: the ashers would think so. He would need an audition tape,
18:30
Speaker 1: so eleanor Rigby was born. When Paul felt the melody
18:35
Speaker 1: summon him, he pounced on the lyrics, writing what he
18:38
Speaker 1: knew well and loved Liverputtian characters, half imagined, half based
18:42
Speaker 1: on real life people from his childhood. Glimpses of the
18:45
Speaker 1: broken heart had picked up in passing as a boy
18:47
Speaker 1: previously inarticulate in his mind until his melody gave wings
18:51
Speaker 1: to his memories. When he was done, he dispatched Beatles
18:54
Speaker 1: producer George Martin to draft a score for the recorded
18:57
Speaker 1: accompaniment of a double string quartet, and the effect was
19:01
Speaker 1: nothing short of epic. Paul was pleased with the composition
19:07
Speaker 1: and recording of eleanor Rigby. He knew he was on
19:10
Speaker 1: to something, but was it better than yesterday? He didn't know.
19:14
Speaker 1: Armed with an acetate recording of the track under his arm.
19:17
Speaker 1: He sought validation and headed to Ringo's old flat in
19:19
Speaker 1: monta Hue Square that Paul sometimes used as a demo studio.
19:23
Speaker 1: He also let Barry Miles and John Dunbar our friends
19:26
Speaker 1: he'd met at Better Books London's Hippos bookstore, and hangout
19:30
Speaker 1: for the American Beats whenever they came through town used
19:33
Speaker 1: the studio to record their experimental music. Paul expected Barry
19:37
Speaker 1: and John to be there when he turned up with
19:39
Speaker 1: his acetate, but he didn't expect to find none other
19:42
Speaker 1: than the Dean of the American Beats, William S Burrows,
19:45
Speaker 1: hanging out as well. Burrows was, of course shooting heroin Hi,
19:51
Speaker 1: but eventually lucid Paul played him eleanor Rigby. Borrows loved it,
19:56
Speaker 1: but despite his fondness for Paul's new song, felt obliged
19:59
Speaker 1: to offer what he saws the tracks quote unquote fourteen
20:03
Speaker 1: flaws as constructive criticism. Paul took it in stride. This
20:08
Speaker 1: type of critical thinking was expected from the Better Books crowd.
20:11
Speaker 1: It's why Paul loved the place. It's why he couldn't
20:14
Speaker 1: shut up about it every time he saw John. It
20:16
Speaker 1: was the same with the art that Barry and John
20:18
Speaker 1: ended up featuring in their gallery adjacent Better Books the
20:21
Speaker 1: Indica Gallery. Paul was so taken by the creative potential
20:25
Speaker 1: of this new avant garde endeavor that he literally helped
20:28
Speaker 1: build the space, demonstrating heretofore unknown DIY carpentry skills and
20:33
Speaker 1: offering up his Aston Martin to transfer supplies to help
20:36
Speaker 1: with the build out. When the Indica buildout was complete,
20:39
Speaker 1: the gallery quickly became the vanguard for London's counterculture, as
20:43
Speaker 1: would be expected of a nineteen sixties art gallery named
20:47
Speaker 1: after a strain of the illegal Canvas plan. Quickly the
20:50
Speaker 1: walls of the Indica were filled with fire out exhibitions
20:53
Speaker 1: by UK underground star Mark Boyle and kinetic artist Lillian Lynn,
20:58
Speaker 1: drawing buyers like hotshot young film director Roman Polanski, a
21:02
Speaker 1: regular customer of Indica vendors. The gallery's new find, Alex
21:07
Speaker 1: Martis aka Magic Alex, produced a psychedelic light box that
21:11
Speaker 1: the Rolling Stones bought and incorporated into their stage show,
21:15
Speaker 1: and in nineteen sixty six, The Indica featured an experimental
21:19
Speaker 1: Japanese artists exhibition called Unfinished Paintings and Objects that included
21:24
Speaker 1: an apple on a table with a price tag of
21:26
Speaker 1: two hundred pounds and a live exhibit were a circle
21:30
Speaker 1: of long hair sat around and sewed up holes in
21:32
Speaker 1: a giant canvas bag. The artist's name was Yoko Ono,
21:37
Speaker 1: and it was at the Indica where she would meet
21:39
Speaker 1: John Lennon. And John, of course, had been made aware
21:42
Speaker 1: of the Indica by Paul McCartney, without whom John would
21:46
Speaker 1: never have met his future wife, an occasion that would
21:49
Speaker 1: eventually speed John toward quitting the Beatles. And that was
21:55
Speaker 1: another thing that the press got wrong. Paul breaking up
21:57
Speaker 1: the band not true as on un true as the
22:00
Speaker 1: other press misconception that Paul was the safe one and
22:03
Speaker 1: John was the renegade. The press had it all wrong.
22:06
Speaker 1: Paul's tastes were far the fuck out. Paul's the one
22:09
Speaker 1: who ushered John into London's counterculture. Paul's the one who
22:13
Speaker 1: hung out with Borrows long before John allowed that other
22:15
Speaker 1: beat icon, Timothy Leary, to cozy up to the foot
22:18
Speaker 1: of his bed. And sure, Paul wrote Yesterday and eleanor Rigby,
22:22
Speaker 1: but he also wrote why don't we do it in
22:24
Speaker 1: the road and Helter Skelter. Yet the safe beetle Moniker
22:28
Speaker 1: wasn't going anywhere, and neither was the wrap that Paul
22:31
Speaker 1: broke up the band. John quit the band first privately
22:34
Speaker 1: and had set about recording and releasing solo singles with
22:37
Speaker 1: Yoko long before Paul ever set foot in the studio
22:40
Speaker 1: to make anything without the Beatles, and by the time
22:43
Speaker 1: Paul did so to record his first solo album McCartney,
22:47
Speaker 1: his quitting of the band was a mere formality for
22:49
Speaker 1: all intents and purposes. By the time the Beatles completed
22:52
Speaker 1: Abbey Road in nineteen sixty nine, they were over. When
22:55
Speaker 1: Paul informed John he was leaving the group officially to
22:58
Speaker 1: do what he and Yoko were doing, to make records
23:01
Speaker 1: on his own with his new wife, Linda McCartney, John responded, good,
23:05
Speaker 1: that makes two of us who have accepted it mentally.
23:10
Speaker 1: Yet the press would make Paul pay. It was as
23:12
Speaker 1: if it was just all too much for the press
23:15
Speaker 1: to handle the safe beetle by leaving the Beatles being
23:18
Speaker 1: so decidedly unsafe. His first three records without the Beatles
23:22
Speaker 1: his solo effort McCartney. His next album, credited to himself
23:26
Speaker 1: and Linda McCartney, is simply entitled Ram and Wildlife by
23:29
Speaker 1: his new group Wings. Despite their diy, charm pointed brilliance
23:34
Speaker 1: and ragged moments of glory, respectively. They were each unfairly
23:38
Speaker 1: savaged by critics. Sure there isn't an eleanor Rigby or
23:42
Speaker 1: a Penny Lane among any of these releases, but that
23:44
Speaker 1: doesn't take away from the genius of Ram. But with
23:47
Speaker 1: all the bad reviews, Paul McCartney couldn't be sure. Paul
23:51
Speaker 1: McCartney was thirty years old, one of the biggest pop
23:54
Speaker 1: stars on the planet, one quarter of the world's most
23:57
Speaker 1: commercially and critically successful groups of all time, the Beatles,
24:01
Speaker 1: and here he was in nineteen seventy two, ravaged with insecurity.
24:06
Speaker 1: How had this happened? Was he really any good? Was
24:09
Speaker 1: it all? John's brilliance, after all, was positive critical consensus,
24:13
Speaker 1: completely out of reach, firm without the Beatles, it certainly
24:15
Speaker 1: wasn't out of reach for John. The critics loved John
24:18
Speaker 1: Lennon's first two solo albums, John Lennon The Plasticgono Band
24:21
Speaker 1: and Imagine, and for good reason. They were both truly great,
24:24
Speaker 1: and John was a vicious assessor of Paul's recorded efforts
24:27
Speaker 1: in the press and in song, with his scathing take
24:30
Speaker 1: on Paul in his track how Do You Sleep? He
24:32
Speaker 1: told Paul and the lyrics that the only thing he'd
24:34
Speaker 1: done was yesterday and claimed that the conspiracy theorist had
24:38
Speaker 1: it right when they said Paul is dead. Ouch. Paul
24:44
Speaker 1: responded on Rams too Many People, but his counter didn't
24:47
Speaker 1: pack the requisite punch. Neither did the image on Ram's
24:51
Speaker 1: artwork of two actual Beatles fucking get it a bit
24:57
Speaker 1: too on the nose for the critics. They responded for
24:59
Speaker 1: their loved beadle, John, the authentic one, the artist, making
25:06
Speaker 1: matters worse for Paul. George Harrison, the beadle whose songs
25:09
Speaker 1: historically barely made it onto the band's album. Such was
25:12
Speaker 1: their perceived inferiority to Lend. McCartney. Compositions was enjoying more
25:16
Speaker 1: success than both he and John with the release of
25:19
Speaker 1: his triple album All Things Must Pass in nineteen seventy two.
25:24
Speaker 1: Paul McCartney, as far as the critics were concerned, couldn't
25:28
Speaker 1: get arrested. An actual experience, however, that was proving to
25:31
Speaker 1: be all too familiar for the so called safe beetle.
25:35
Speaker 1: There was the bust in Scotland in seventy three for
25:38
Speaker 1: growing dope on his farm, another bust in Sweden for
25:41
Speaker 1: possession a year earlier, and then his dope bust in
25:44
Speaker 1: la in seventy five. Linda took the rap for that
25:47
Speaker 1: one so her husband could skate. And of course there
25:50
Speaker 1: was the recent arrest in Japan that put Paul McCartney
25:53
Speaker 1: in prison, singing for his security, lulling the yakuza toward
25:57
Speaker 1: golden slumbers with yesterday, We'll be right back after this
26:07
Speaker 1: word word word. There are lots of places around the
26:14
Speaker 1: world to do time, Japan isn't one of them. Their
26:18
Speaker 1: prison system to this day is repeatedly described by human
26:22
Speaker 1: rights organizations with words like horrific and brutal. It is
26:26
Speaker 1: alleged that the Japanese prison system is designed to break
26:29
Speaker 1: prisoners down to elicit confessions for their crimes, either while
26:33
Speaker 1: they're being held on trial or even after they've been convicted.
26:37
Speaker 1: Japanese prisons are barbarically strict. Living conditions are spartan and
26:41
Speaker 1: bleak even by prison standards. It was in this environment
26:45
Speaker 1: that Paul McCartney thrived, blessed with a day trader's optimism.
26:50
Speaker 1: Paul McCartney took his cues from Steve McQueen in the
26:53
Speaker 1: Great escape. Just as McQueen's character Captain Virgil Hilts aka
26:58
Speaker 1: the Cooler King, knew he'd taste free him again one day,
27:01
Speaker 1: so too did Paul. Though escaping Kosu gave prison wasn't
27:05
Speaker 1: on the docket. To free himself, Paul wouldn't rely on
27:09
Speaker 1: his wily will like McQueen. He'd rely on his irrepressible
27:12
Speaker 1: enthusiasm and charm. Roll call was at six am every morning.
27:19
Speaker 1: Paul McCartney made damn sure he was the first prisoner
27:21
Speaker 1: off his mattress and sitting at attention, cross legged in
27:24
Speaker 1: the middle of his cell as what's expected of him.
27:27
Speaker 1: He'd hear his prison numbers shout it out Japanese. For
27:31
Speaker 1: twenty two years of slinging it on stage in Hamburg
27:35
Speaker 1: and Liverpool taught Paul McCartney how to engage in an
27:38
Speaker 1: old fashioned call and response with a proper shout Hi
27:42
Speaker 1: Japanese for yes. Paul then set about cleaning his cell
27:46
Speaker 1: with his miniature broom and dust pan. And there were
27:49
Speaker 1: no blankets and no sheets on his mattress, so he'd
27:52
Speaker 1: just fold his mattress and neatly placed it in the
27:54
Speaker 1: corner of the cell. Breakfast was served in his cell,
27:58
Speaker 1: not in a mess hall. It was virtually solitary confinement.
28:01
Speaker 1: Yet Paul made the best of it, devouring his nearly
28:04
Speaker 1: inedible food to show his gratitude privately thankful that his
28:08
Speaker 1: meals were at least vegetarian seaweed and onion soup for breakfast,
28:12
Speaker 1: bread and soybean soup for lunch, rice, and a bowl
28:15
Speaker 1: for dinner with a piece of fruit for dessert if
28:17
Speaker 1: the guards were feeling charitable. There were no books, no
28:21
Speaker 1: writing tablets, no pens, no pencils, and no guitars he sang.
28:26
Speaker 1: None of the guards nor the other prisoners, least of
28:28
Speaker 1: all the caged yaku, sat down the hall minded. They
28:31
Speaker 1: came to expect it, just as they came to expect
28:34
Speaker 1: Paul's humor. Nobody spoke English, and Paul spoke no Japanese.
28:40
Speaker 1: When he felt he was being shouted at by prisoners
28:42
Speaker 1: from adjoining cells, rather than ignoring them, Paul shouted back
28:46
Speaker 1: the only Japanese words he knew, Kawasaki, Toyota, dotson his
28:51
Speaker 1: prison mats ate it up. They thought it was hysterical.
28:54
Speaker 1: Paul endeared himself to the gangsters and thieves on the inside,
28:58
Speaker 1: just as he endeared himself to the world over on
29:01
Speaker 1: the outside, and the guards soon became enamored of him
29:04
Speaker 1: as well. Moved by his efforts as a model prisoner,
29:08
Speaker 1: they offered the international celebrity alone concession. He could shower
29:12
Speaker 1: in private, thus avoiding the possibility of prison violence, sexual
29:16
Speaker 1: or otherwise, while physically exposed to other inmates and thus vulnerable.
29:21
Speaker 1: Paul declined with gratitude there would be no special treatment.
29:24
Speaker 1: He showered with the rest of the inmates to show
29:26
Speaker 1: that he was no different, a multi millionaire man of
29:29
Speaker 1: the people. The showers became many events, with Paul leading
29:33
Speaker 1: his fellow prisoners in song, shouting at the top of
29:35
Speaker 1: his lungs the simple old standards that his father taught
29:38
Speaker 1: him as a child, melodies that those who spoke another
29:41
Speaker 1: language could easily latch onto. When the red red robin comes,
29:45
Speaker 1: bop bopin along till there was you and a bird
29:48
Speaker 1: in a gilded cage. Paul was making a go of
29:52
Speaker 1: it in prison. He'd have to write Steve McQueen a
29:54
Speaker 1: thank you letter when he got out. Steve wasn't doing
29:57
Speaker 1: well cancer. They said. It had been almost a decade
30:00
Speaker 1: since he last saw Steve. It was in Jamaica, Paul
30:08
Speaker 1: and Linda were on holiday. Paul was worried, Worried he
30:11
Speaker 1: was washed up, Worried he'd never make another great album,
30:14
Speaker 1: Worried the critics were writing him out of the business,
30:16
Speaker 1: Worried he'd lost it. Not worry that all writers have,
30:20
Speaker 1: even songwriters, the worry that you're going to wake up
30:23
Speaker 1: one morning and sit down to write and nothing and
30:27
Speaker 1: no explanation as to where it went. Well, you don't
30:30
Speaker 1: know where it comes from. You don't know if it'll
30:32
Speaker 1: ever stop coming. You pray, won't you develop your own
30:35
Speaker 1: habits to stave off any creative disruption, And for Paul,
30:39
Speaker 1: he wrote constantly, played constantly, always kept a guitar or
30:42
Speaker 1: piano nearby, summoned melodies out of thin air and plopped
30:45
Speaker 1: them down the records. Most he let slip away. The
30:49
Speaker 1: good ones he committed to tape. The very best made
30:51
Speaker 1: it onto wax, where they were decimated by the critics
30:54
Speaker 1: as of way, But what was the point of worrying
30:56
Speaker 1: about hanging on to something if that's something wasn't valued
30:59
Speaker 1: but needed it. Songwriting wasn't only his trade, but his
31:02
Speaker 1: life's blood. Losing it wasn't an option Steve McQueen was
31:07
Speaker 1: oblivious to Paul McCartney's occupational insecurities. He had his own
31:11
Speaker 1: professional worries, like how the hell he was gonna perform
31:14
Speaker 1: his own stunts in Papillon. Cliff jumping seemed a little
31:17
Speaker 1: more daunting than deciding whether or not to augment the
31:20
Speaker 1: Sea Chord by sharpening the fifth. Steve gave Paul and
31:24
Speaker 1: Linda an audience in Jamaica on the set of Papillon,
31:27
Speaker 1: but uncharacteristically retired early after dinner, leaving the McCartney's to
31:31
Speaker 1: his co star Dustin Hoffman. Hoffman was infatuated with McCartney
31:36
Speaker 1: the Beatle, there in the flesh and all of his powers,
31:39
Speaker 1: unknown to himself at the time. To be racked by
31:42
Speaker 1: professional and creative insecurity. Over late night drinks, Hoffman challenged
31:47
Speaker 1: his hero to show him how he did it right there,
31:49
Speaker 1: right then, write a song out of thin air. Come on,
31:52
Speaker 1: you're Paul McCartney, the greatest living composer on the planet,
31:56
Speaker 1: Show me how you do it. Go ahead, I'll jump
31:58
Speaker 1: into character for you right now. And Paul couldn't help
32:00
Speaker 1: but laugh and take Hoffman up on the challenge. Pablo
32:04
Speaker 1: Picasso had just died. It was all over the news.
32:08
Speaker 1: Paul picked up his guitar and out of nowhere, wrote
32:10
Speaker 1: and sang and played on the spot, a tribute to
32:13
Speaker 1: the famed artist Picasso's last words, Drink to Me was
32:19
Speaker 1: born out of a drunken challenge. It seemed like nothing
32:22
Speaker 1: at the time, but it was a confidence builder for Paul.
32:24
Speaker 1: He was off writing again in no time after that,
32:27
Speaker 1: and putting together his next album, Band on the Run
32:30
Speaker 1: with his group Wings, released in nineteen seventy three, The
32:36
Speaker 1: album reignited Paul McCartney's career. Not only was it well
32:40
Speaker 1: received commercially, as all his albums were, it was also
32:44
Speaker 1: well received critically. Paula delivered on the promise of well Paul.
32:49
Speaker 1: Band on the Run was no modest DIY effort like McCartney,
32:53
Speaker 1: nor was it a pisson vinegar flex like ram It
32:55
Speaker 1: wasn't a bandesk ramble like Wildlife, and it wasn't an
32:58
Speaker 1: uncharacteristic swing and a miss like Red Rose Speedway. Band
33:02
Speaker 1: on the Run was bold, big, and befitting of the seventies,
33:05
Speaker 1: perfectly suited for rock and roll's expansion into stadiums with
33:09
Speaker 1: its symthemic singles jet as well as its title track,
33:12
Speaker 1: and the album led from its front foot. There was
33:15
Speaker 1: hope in McCartney's signature melodic grandeur. Paul left the piss
33:19
Speaker 1: and vinegar for his old songwriting partner John Lennon. Get
33:22
Speaker 1: better suited John anyway, But the soulful incantation of let
33:25
Speaker 1: Me Roll It was all Paul Little Richard was always
33:28
Speaker 1: a better model for Paul than Robbie Robertson. There are
33:32
Speaker 1: no swings and no misses on Band on the Run,
33:35
Speaker 1: nor are there on Wings at the Speed of Sound
33:38
Speaker 1: Wings nineteen seventy six release, which is in fact an
33:41
Speaker 1: even better album. What you know like silly love songs,
33:43
Speaker 1: fuck off? Then it's great like the rest of the record,
33:46
Speaker 1: and those two albums, along with the triple live album
33:49
Speaker 1: Wings Over America, are just that truly great. The critics agreed,
33:54
Speaker 1: so too, of course, did the record buying public. Band
33:56
Speaker 1: on the Run went platinum and peaked at number one
33:59
Speaker 1: in the UK. The US and Australia. Wings at the
34:02
Speaker 1: Speed of Sound and Wings Over America both repeated the feed.
34:06
Speaker 1: In the US it was redemption enemy, the British music
34:09
Speaker 1: newspaper declared of Band on the Run. The ex Beatle
34:12
Speaker 1: least likely to re establish his credibility and lead the field,
34:15
Speaker 1: as pulled it off with a positive master stroke of
34:18
Speaker 1: an album. Paul McCartney, despite whatever natural insecurities he felt,
34:23
Speaker 1: remained undaunted in the face of his critics. That enthusiasm
34:27
Speaker 1: pulled him through the rough years in the early seventies
34:30
Speaker 1: until it finally paid off with the release of Band
34:33
Speaker 1: on the Run, and it would pull him through this
34:35
Speaker 1: stint in this Japanese jail cell, however long it was.
34:42
Speaker 1: Despite the conditions, Paul was beginning to not care. Prison
34:46
Speaker 1: offered a new kind of structure that he easily caught into. Paradoxically,
34:50
Speaker 1: it offered him freedom as well, freedom from being Paul.
34:54
Speaker 1: He was caged, sure, but he wasn't expected to be
34:57
Speaker 1: anything but prisoner number twenty two in that for the moment, anyway,
35:01
Speaker 1: was enough. Getting released from prison, he thought, would be
35:05
Speaker 1: a real drag. Arrangements for Paul McCartney, his wife Linda,
35:29
Speaker 1: their children, and their band to arrive in Japan for
35:32
Speaker 1: eleven shows were painstakingly negotiated over the previous months. Due
35:36
Speaker 1: to Paul's criminal record for his prior marijuana arrests. Paul
35:43
Speaker 1: McCartney's entourage landed at Narita International Airport on January sixteenth,
35:48
Speaker 1: nineteen eighty to great fanfare. Japan was ecstatic to witness
35:53
Speaker 1: their first performance from a real life Beatle since the
35:56
Speaker 1: band's concert under Guard in Kamakazi Threat at Bhudha Khan
36:00
Speaker 1: almost fifteen years before. Paul made it through the VIP
36:04
Speaker 1: welcome awaiting his rock star arrival at the gate, posing
36:07
Speaker 1: for photographers and television cameras. He was happy, you could
36:11
Speaker 1: see it on his face. Japanese authorities were not happy.
36:16
Speaker 1: They weren't going to be made out to be fools.
36:18
Speaker 1: Their drug laws were strict for a reason, and despite
36:21
Speaker 1: whatever diplomatic negotiating had gone on behind the scenes to
36:24
Speaker 1: clear the wave for Paul McCartney to enter and perform
36:27
Speaker 1: in their country, there would most definitely still be a search.
36:31
Speaker 1: Paul was escorted with his luggage to a room for
36:34
Speaker 1: what he expected to be a cursory peak into his belongings.
36:37
Speaker 1: They opened one of his suitcases, pulled up a jacket
36:40
Speaker 1: under it a plastic bag, and closed around a large
36:44
Speaker 1: chunk of marijuana. He immediately alarms and the airport started
36:49
Speaker 1: going off. The surgical gloved customis agent began speaking in
36:53
Speaker 1: frantic Japanese cops started flooding into the search room, officious
36:57
Speaker 1: looking gentlemen in sharp suits running everywhere. It be men
37:00
Speaker 1: jetting for phone booths, TV journalists jockeying their cameras, were
37:03
Speaker 1: positioning traveling musicians mentally inventorying their own possessions, fear covering
37:08
Speaker 1: their faces. Paul McCartney was jettisoned off to another room
37:11
Speaker 1: whoferred the searching and more pot was found. He was
37:14
Speaker 1: then taken downtown the Tokyo's Metropolitan Police headquarters and grilled
37:18
Speaker 1: for five plus hours by an angry pair of drug
37:21
Speaker 1: squad detectives eager to learn about whatever other dangerous drugs
37:24
Speaker 1: Paul McCartney was attempting to smuggle into their country, and
37:30
Speaker 1: they clearly didn't get the memo that Paul was the
37:32
Speaker 1: safe beetle. Seven ounces of dope almost a quarter pound,
37:36
Speaker 1: enough to keep Paul high for a long time. He
37:40
Speaker 1: swore it was for him and him alone. He wasn't
37:42
Speaker 1: a drug smuggler, there was no intent to distribute, didn't matter.
37:46
Speaker 1: Off to prison he went, not jail, prison kosu gay prison,
37:50
Speaker 1: no bail. Japan's criminal system didn't account for bail. Japanese
37:54
Speaker 1: authorities were interested in confessions and extended stay in Kosu
37:58
Speaker 1: gay with Garner said confessions break the weak willed. Paul
38:05
Speaker 1: McCartney was a lot of things, but weak willed was
38:07
Speaker 1: not one of them. He was strong, as his stint
38:11
Speaker 1: in Kosuka proved. And now the safe One was doing
38:15
Speaker 1: a brief stint in one of the world's most dangerous prisons,
38:18
Speaker 1: shacking up with yakuza and sharing stories about getting Mick
38:21
Speaker 1: Jagger stoned on grass for the first time at the
38:24
Speaker 1: request of his fellow prisoners, who were demanding to know
38:27
Speaker 1: about his famous friends. He was staring down a ten
38:30
Speaker 1: year sentence, smiling away, recounting the details to his inmates
38:34
Speaker 1: of his previous dope bust, of the time he and
38:37
Speaker 1: Pete Best were busted in Hamburg for arson of inadvertently
38:40
Speaker 1: inspiring Charles Manson out drinking Steve McQueen shutting up Dustin Hoffman.
38:47
Speaker 1: He was behind bars, while John Lennon, the so called
38:49
Speaker 1: dangerous One, was in a domestic prison of his own making,
38:52
Speaker 1: inside his luxury apartment on New York Cupper West Side,
38:55
Speaker 1: baking bread for his toddler. The irony of it all
38:58
Speaker 1: could at least pass entertainment while in prison. Paul didn't care.
39:03
Speaker 1: He'd prove and he could make it without the Beatles.
39:05
Speaker 1: The world now knew that he'd resurrected himself from the
39:08
Speaker 1: critical slang of the early seventies with a series of
39:11
Speaker 1: successes that led him here to Japan, and he'd be
39:14
Speaker 1: released soon, free, but of course still imprisoned by the
39:18
Speaker 1: world's impression of him as the safe one and the
39:21
Speaker 1: expectations that went along with that. But again, what did
39:25
Speaker 1: it matter. Paul McCartney knew who he was, and he
39:28
Speaker 1: was optimistic, and who could tell what lay ahead. Nineteen
39:32
Speaker 1: eighty was shaping up to be a hell of a year,
39:35
Speaker 1: a second solo album McCartney too, and then maybe a
39:38
Speaker 1: creative reconciliation with John, impossibly even with George and Ringo
39:42
Speaker 1: at the same time. Minus George. The three of them
39:45
Speaker 1: jammed in La a few years earlier with Stevie Wonder
39:49
Speaker 1: The cocaine prevented anything from coming of it, but John
39:52
Speaker 1: was healthier now. Domesticity will do that to you. Paul,
39:56
Speaker 1: of course, knew that family man that he was, and
39:59
Speaker 1: though John had refused Paul the last time he showed
40:01
Speaker 1: up at his door in New York. Paul suspected that
40:04
Speaker 1: the creative frost between the two was about to melt,
40:07
Speaker 1: and if there was ever a time for the Beatles
40:09
Speaker 1: to reunite, nineteen eighty could be the year John was
40:13
Speaker 1: working on new material, and a word was that he
40:15
Speaker 1: was inspired, even optimistic, about the decade to lay ahead.
40:19
Speaker 1: With a headwind of his own solo success, John Lennon
40:23
Speaker 1: might be warm to the idea of a reunion with
40:25
Speaker 1: Paul McCartney. If not a performance, then maybe a stint
40:29
Speaker 1: in the studio and the Beatles would play again. Yeah,
40:32
Speaker 1: it seemed inevitable, And then the unthinkable happened. Such a disgrace.
40:46
Speaker 1: I'm Jake Brennan and this this Disgraceman. Disgraceland was created
41:07
Speaker 1: by Yours Truly and is produced in partnership with Double Elvis.
41:10
Speaker 1: Credits for this episode can be found on the show
41:12
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41:16
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41:19
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Speaker 1: Rock a rolla he a bed, a man