There Is The Video Of The Beatles Dissolution Where George Is Running.

“[W]e nearly always went up to his little music room that he’d had built at the top of the house, Daddy’s room, where we would get away from it all. I like to get away from people to songwrite, I don’t like to do it in front of people. It’s like sex for me, I was never an orgy man. So John and I would sit down and by then it might be one or two o'clock, and by four or five o'clock we’d be done.”

— Paul McCartney, Many Years from Now

Hold up ,,, Mal called Paul his love in his diaries?

Yes. In his autobiography. He also analyzed their relationship in his diaries. For some context, here's a longer passage from Ken Womack's book, Living the Beatles Legend (Chapter 31).

As January 1970 came to close, Mal began drifting into an emotional slide that had been developing over the past several years. "Seem to be losing Paul," he wrote on January 27. "Really got a stick from him today. He let me down," and ominously added "Fixing a hole," "Pepper," and "directorship" to a growing list of disappointments. Apparently, the conversation had turned yet again to the issue of Mal's servile role in Paul's life, with the roadie believing that the association was bounded by friendship and love. "A servant serves," Mal wrote, "but he who serves is not always a servant," he added, echoing John's philosophy from December 1968. "Love is as sharp and piercing as a sword, "Mal reasoned, "but as the sword edge dulls — you sharpen it. So love's keenness needs honing — needs honesty." *

[...]

On February 11, Mal joined John and Yoko for a lip-synched performance of "Instant Karma!" on Top of the Pops, with the roadie, clad in beige suit and a light-green tie, playing the tambourine. By this juncture, Mal's long-standing relationship with Paul was in freefall. A few days earlier, he have been awakened by a 1 p.m. telephone call from the Beatle. It went "something like this," he wrote in his diary:

Mal: yeah? Paul: I've got time at EMI over the weekend. Would like you to pick up some gear from the house. Mal: Great, man. That's lovely. Session at EMI?! Paul: Yes, but I don't want anyone there to make me tea. I have the family – wife and kids there. Mal: [thinking to himself] Goes my poor head, "Why????" **

By the next week, Mal found himself behind the wheel of the Apple van, moving Paul's gear from EMI Studios to Morgan Studios, another Northwest London facility where Paul could work incognito. At one point, Neil cornered Mal about Paul's surreptitious recording sessions, demanding to know more. "Where's Paul?" he asked, to which Mal tersely replied, "Not telling you."

In other instances, Mal ordered a Mellotron for Paul, while keeping him fully stocked with plectrums and other gear. In late February, Paul asked Mal to move everything back to EMI, where he was set to record "Maybe I'm Amazed" in Studio 2. For Mal, everything came to a head at 7 Cavendish Ave., when "my long love, Paul, to whom I have devoted so many years of loyalty, turned around to me and said, I don't need you anymore, Mal." *** *, ** : Evans, "Diaries." [1963—1974.] 10 vols. Malcolm Frederick Evans Archives. Entries from Jan 27 & Feb 5, 1970.

***: Evans, Mal, 'Living the Beatles Legend: Or 200 Miles to Go.' Unpublished MS, 1976. Malcolm Frederick Evans Archives.

gay beatles slash fanfiction has existed since beatlemania, unsurprisingly. so here's some stuff on that topic

"The most visible rock based BandFic community during this era is The Beatles.   On August 18, 1960, The Beatles started playing under that name for the first time at an event in Hamburg, Germany. (Whelan)  It would be four more long years before the band would make their American debut, an event that occurred on February 7, 1964 when they arrived in New York City for their first American tour. (Whelan)  According to Barbara Ehrenreich, Elizabeth Hess, and Gloria Jacobs in their essay "Beatlemania: Girls Just Want to Have Fun," this event marked "the first mass outburst of the sixties to feature women – in this case girls, who would not reach full adulthood until the seventies and the emergence of a genuinely political movement for women’s liberation."  This group, composed primarily of middle class, white teenagers, would form one of the core groups in the nascent bandfic community.  In their adulation of the band, they would create many of their own fan related products including stories, zines and art. The fannish oral tradition that is alive today is implicit in the existence and circulation of fictional stories about band members during the early years of the band's history. Because the audience was young and not connected into a professional or underground movement, much of the material created by this group of fan girls never was published.  The production, in most cases, likely consisted of one to five copies of a story being circulated only among the fan’s immediate peer group. The emergence of The Beatles, their popularity and their fans dedication to creating fan works was helped because of the era in which they appeared. The Beatles were at the forefront for many white, middle class teenage girls in helping them redefine their own definition of sexuality and their own definitions of what it meant to be female. (Ehrenreich)  This was taking place in an era where there was that increased debate on subjects like "birth, a woman's obligation to society, and conception, bringing with it all of the bitterness and acrimony that have long surrounded these issues, beginning with perhaps the most obvious one of them all -- Sexism." (Rowland) Legal gender differences between men and women were beginning to fall. (Rowland) For young, white, middle class female Beatles fans, writing stories about the band was an opportunity to challenge their parents, to revel in the new ideas regarding male sexuality, to explore their own and more.  They could write about marrying Ringo or having children with Paul McCartney.  They could write about being noticed by the George Harrison at a concert and all that followed afterward.  Most fans knew that none of those scenarios were likely to happen. Some deeply resented the idea of a member of the band becoming involved with any woman because it destroyed their own fantasies.  They did not want to see that happen. It is highly probable, that given this and the fact that they were writing fictional stories featuring the Beatles, that some of the Beatles were written as homosexual if only as a way to ensure that the object of the fan's lust, since they could not be hers, would never belong to another female fan.  The idea of writing male on male pairings to cut out other female fans is one that would reappear again and again during the next forty years as new bands were discovered and attracted new groups of young female fans." (X)

“He’s great and I love him but at the same time he’s such a bastard”

Now and Then handwritten lyrics

that last part (never included in the demo)

"Remember when

we thought our life had ended

the gods had been offended

then we started again as friends

now we start again as friends

somehow we start again as friends"

(the doodle) (the phone number)

Stuart was going to stay in Hamburg, cos he’d fallen in love with this girl Astrid [Kirchherr], who was part of a little set who called themselves the Exi’s, existentialists. They were very cool in black, tight trousers, little high-heeled boots. She was blonde, she had a short Peter Pan pageboy haircut, she looked dead cool. We’d never seen a chick like it. She dressed like a boy, a very slim little boy, so it was all, Fuckin’ hell, look at her!  I think we all fancied her but she fancied Stuart, who’d been the one guy who’d never been able to pull anything in our band. We’d always pulled before old Stu, but he got these great shades and struck a James Dean pose, got his hair going groovy like James Dean, so she went mad for him. And their group used to really like Stuart. I think it went: Stuart, John, George, me, Pete Best. That was their order of preference. They took some great photos of us. 

- Paul McCartney interview in Paul Du Noyer, Conversations with McCartney (2015) pp.34-35

John was a nail-biter too: a study

'It was just one of his little things... and I was very pleased to see that, 'cause I'd forgotten that...' - Paul McCartney, June 2023

The Beatles' first pet: George Harrison's vomit. ㅡ From the book "One, Two, Three, Four: The Beatles In Time" by Craig Brown.

" we sort of conned my way out of hospital so i didn't have to be there for my 15th birthday. we went down to romford, where my stepdad's family lived. his dad was great, and he knew london like the back of his hand. we went walking all over london and saw the sights, the british museum and the searchlight tattoo.

it was a great day out, but it was a bit long for someone who'd just come out of hospital. "

- ringo starr, PHOTOGRAPH (2013)

I copied and pasted another article about this, fearing the lost of information, since most blogs like these lead to dead links in a few years or so

When Paul met George [article]

George Harrison did not recall his time at Liverpool Institute High School with affection. “That’s when the darkness came in. Be here, stand there, shut up, sit down. You could punch people just to get it out of your system. It was the worst time of my life.”

The ‘punch people’ reference confirms that George was not a model pupil. Paul also refers to George ‘head-butting’ an older boy a perceived slight.

Harrison & McCartney had both passed their 11+ exams, a year apart. This enabled them both to attend selective school in the city centre. The Liverpool Institute High School was a prestigious, academic school — and Harrison hated it from the start.

The Liverpool Institute High School for Boys offered a course in music. To George Harrison’s disappointment, this did not cover either guitars or rock and roll. He did not partake — a statement that could have been applied generally to his secondary education. Most classroom time he spent drawing his favourite guitars.

The school for its part was not impressed by Harrison’s disruptive behaviour. And while over at Quarrybank, John Lennon’s similar unruliness was accompanied by signs of artistic talent, George had no obvious redeeming features.

As Aunt Mimi would disapprovingly observe he presented as ‘very dose’ — in short a lower class loudmouth from Speke, then a notoriously tough area. His loathing of the Liverpool Institute was palpable and the contempt was mutual. His teachers wrote George off as someone destined for factory work, at best.

This was not its perception of Paul McCartney, who while not an academic star, showed promise. Paul (usually) did his homework and (largely) kept himself off the naughty step. He was even enthusiastic about English, though his may be overplayed in his later reflections.

Like George, Paul had no interest in studying music at school. He, too, saw no connection between the rock and roll they listened to and the dusty scores studied in music class.

In playground the age difference between Paul and George was a practical and psychological barrier to socialising. Kids hung out with kids in their year group. Other fraternising was largely reduced to brief nods when you passed your brother/cousin/next door neighbour.

Outside the school’s premises the social rules were looser. Though they lived in different areas, both boys took the same bus into town. This is where their paths would cross, as George would later explain:

he … had the same uniform and was going the same way as I was so I started hanging out with him.”

George later joked that Paul had struck him as odd

he sitting by himself & laughing! I thought we had a real nut on our hands!

Nonetheless, the two boys quickly found they shared musical tastes. Paul was then learning the trumpet his father had bought him for his birthday but not enjoying it. He swapped it for a guitar, which instantly took to.

Soon they were swapping notes, in every sense. They studied chord charts together and carefully observed other musicians trying more advanced sequences. Once they even travelled across the city to meet a man who knew a magical new chord: B7

Even at this stage, Paul was the senior partner and not just because of age. His stronger musical background and innate gifts allowed him to master an instrument intuitively. By the age of fifteen he was confident enough to approach Lennon as an equal if not superior musician.

Very soon a vacancy came up for a third guitarist Quarrymen. Paul knew just the man — or rather boy, as George was still only fourteen. Lennon hated the idea of ‘a bloody kid’ joining his band but Paul persuaded give George an audition.

This famously occurred on the deserted top-deck of a late-night bus. George played Raunchy — note perfect.

Though he may at this stage have lacked Paul’s musical creativity, George was fiercely committed. The endless practice hours of guitar practice had paid off. He was in.

How George and Paul met Being childhood friends George and Paul knew each other the longest. Meeting when they were 12 and 13. They met on the bus. They would take the same bus route into town, they both went to Liverpool Institute of High School, it wasn't common to have younger or older friends, you would stick to your own year, but on the outside it was different. This is where they’re paths would cross.

George says Paul struck him as odd. When George was getting on the bus, he thought Paul was laughing at him, but then realized Paul wasn’t laughing at anyone around him, he was giggling at his own reflection.

“Q: How did you first meet Paul?

A: On a bus coming home from school. He was sitting by himself and laughing! thought we had a real nut on our hands!”