•Paul donated £5000 to John Dunbar towards the cost of opening the Indica Gallery. Other partners were Barry Miles and Peter Asher.

•One of the camera crew on Magical Mystery Tour was not in the union Paul offered to pay his union dues. The union refused and the employee had to resign.

•A reporter asked if there was a deal with the IRS to pay taxes in the UK and how much they would make on this (first U.S.) tour. Paul stated: "Brian does that".

•Much of Paul's furniture at St. John's Wood was bought secondhand.

•Paul mailed Ivan Vaughn's wife, Jan, a check for helping him on the French lyrics to Michelle (Mackenzie. Every Little Thing, p. 177).

•Paul bought his father a house in Heswall, Cheshire.

•Paul bought his father a house, Rembrandt, a five-bedroom house in the Wirral near Liverpool for $8, 750 after the U.S. '64 tour.

•Paul McCartney figured in her life during the sixties when she was already an established actress. He bought her a socking great emerald engagement ring and wrote And I Love Her in her honour. When she was 17, she met Paul McCartney. She was working for the Radio Times, reviewing a concert at the Royal Albert Hall (Good Housekeeping Magazine).

•Paul sponsored an art exhibition by Jonathan Hague: "One day I took my paintings over to John's house and spread them all over the floor in his sitting room. He liked them, hence the exhibition. He dragged Paul in on it, but I don't think he was very keen, although he didn't mind putting up the money" (Harry, B. JL Encyclopedia. p. 302).

•Alistair Taylor on his plans for the filming of the "All You Need is Love" broadcast: When I arrived at Cavendish Avenue, Jane took one look at my shirt and said, "Paul's left a shirt for you to wear, Alistair". "I'm wearing one. I've even left my tie at home!". "Oh no, that's not good enough. He said that he knew you'd dress in straight clothes and you wouldn't want to be in psychedelic gear, so he bought a shirt especially for you to wear tonight" (Taylor, A. p. 77).

•Alistair Taylor: He's quite content with his Aston-Martin DB6 and his custom built Mini. That Mini's a fabulous car; it's got everything you could imagine, including a record player (Taylor, A. p. 116).

•Alistair Taylor: The Beatles still have a Rolls or two. There's George's maroon and black vintage model with his initials on the number plate and Paul has an incredible upright old model painted in blue stripes that he says he's always going to take needy children for rides in (Taylor, A. p. 116).

•While in Sardinia with Alistair Paul bought a "cork postcard" for Alistair's wife on which he wrote a "special message" (Gunby, G. Hello Goodbye, p, 88).

•Paul wanted to buy a place outside London and thought that it would cost him about £30,000. His accountant told him, "You'll have to get a mortgage". Paul was incredulous but he learned for reasons too incredibly complicated to go into here that he had no real money (Flippo, p. 199).

High Park:

•In 1966 Paul bought High Park Farm in Scotland. Jane Asher suggested that he buy it.

•After seeing the photos of High Park given to him by Alistair Taylor, Paul said, "all right then, just arrange for some secondhand furniture to be put in; beds, cooker, that sort of thing. Any old Formica-topped table will do for the kitchen, but make sure that you put in clean bedding (Taylor, A. p. 52).

•The sheep that grazed on McCartney's High Park farm belonged to a neighbor, Ian, who kept an eye on the place in exchange for the grazing privilege (Taylor, A. 52).

•When Alistair Taylor returned from Cambelltown to Paul's farm with tools and nails, the taxi driver asked, "Why does someone with Mr. McCartney's money want to use old mattresses when he could buy a perfectly good three-piece suit?" Alistair replied, "Because he can" (Gunby, G. Hello Goodbye, p. 42).

•Jane cooked our meals on a horrible old electric cooker which we'd picked up cheap (Taylor, A. 53).

•Alistair on an early visit to the farm with Paul and Jane Asher: We did a little bit of decorating this time. All that chocolate brown paint makes the farmhouse look like the inside of an Aero bar. Paul at last decided that he'd had enough of it, so he went down to Campbeltown and bought lots of packets of colored pens. The three of us spent the next few hours just drawing little doodles in all these colors (Taylor, A. 54).

•It's not an easy trip to get to Paul's High Park Farm (next to Paul's Low Park Farm, purchased to discourage sightseers from gaining access to the McCartney acreage) (Flippo, p. xi).

Paul 1965: Philosophy of Making Money:

Paul: "Still, we'd be idiots to say that it isn't a constant inspiration to be making alot of money. It always is, to anyone. I mean, why do big business tycoons stay big business tycoons? It's not because they're inspired at the greatness of big business; they're in it because they're making alot of money at it. We'd be idiots if we pretended we were in it solely for kicks. In the beginning we were, but at the same time we were hoping to make a bit of cash. It's a switch around now, though, from what it used to be. We used to be doing it mainly for kicks and not making alot of money, and now we're making alot of money without too many kicks... except that we happen to like the money we're making. But we still enjoy making records, going on-stage, making films, and all that business." (Beatles Ultimate Experience: Playboy Interview With The Beatles. Interviewed by Jean Shepherd in Edinburgh. Copyright © 1965 Playboy Press).

General Statements:

•Paul being asked by a reporter what he does with his money: "We don't see it. It goes to our office".

•For the Sgt. Pepper cover Paul would call Sir Joseph Lockwood directly during negotiations.

•In 1966 Paul's father's horse wins at 20:1.

•Denis O'Del: Huge sums were mentioned, the prospect of a brand-new Beatles film all but guaranteeing enormous ratings. To my astonishment, however, Paul wanted the film premiered by the BBC, an idea to which I was opposed. Paul insisted, arguing that the corporation had always been good to the Beatles in the past (O'Del, Denis. At the Apple's Core, p. 69-70).

•With NEMS so thoroughly involved with managing their finances, the four Beatles made very few financial investments during the peak years of Beatlemania. The investment activities of the individual Beatles were limited to Ringo Starr's investment in a high-end construction and Paul McCartney's decision (unbeknownst to the other three Beatles) to buy additional shares of Northern Songs. In general, the Beatles seemed content to simply let NEMS take care of business (Granados, p 3. Those Were the Days).

•...consumed with a despair he could not put into words, Epstein tried to sell the Beatles to Robert Stigwood:
"We said, `In fact, if you do, if you somehow manage to pull this off, we can promise you one thing. We will record 'God Save the Queen' for every single record we make from now on and we'll sing it out of tune. That's a promise. So if this guy buys us that's what he's buying.' From Interview, March 01 2000 by Greil Marcus).

•Erika Heubers and claimed she had an a fair with Paul that resulted in the birth of a daughter named Bettina. Erika sued Paul in 1966 and, without admitting paternity, he paid her twenty-seven hundred pounds. "I was told that if the maintenance question wasn't settled we couldn't go to Germany. I wasn't going to sign a crazy document like this so I didn't. Then we actually on the plane leaving for the tour when they put the paper under my face and said that if I didn't sign the whole tour was off. They said the agreement would deny that I was the father and it was a small amount anyway. I've actually seen a letter from Brian saying that it would be cheaper to sign it than not to go to Germany, where we could make a lot of money" (Flippo, p. 105).

•Paul: "Us Communists? Why, we can't be Communists. We're the world's number one Capitalists. Imagine us Communists".

•The Beatles had several other sources of revenue prior to 1967. Their most significant collective investment was Subafilms, the NEMS-run film company that controlled the group's share of the Beatles' film projects, responsible for producing the Beatles' promotional films (in the days before videos) for television (Granados, p. 3-4. Those Were the Days).

•During the filming of the The Fool on the Hill segment Paul's credit was not accepted in France because he left his wallet at home. He had to wire for more money so he could continue working on the film. He also didn't have the right lenses for the camera and had to have them sent to Nice, France. It cost about £4,000 to film the Fool on the Hill segment (Brown).

•Brian approached Paul's brother and asked him if he'd like be a pop singer and join the organization NEMS.

•Beatles Press Conference. Los Angeles, California. August 29th, 1965. Paul: "We're all capitalists, anyway. Don't worry. CAPITOL-ists! Get it?"

•Paul: You see, there was a partnership contract put together years ago to hold us together as a group for 10 years. Anything anybody wanted to do - put out a record, anything - he had to get the others' permission. Because of what we were then, none of us ever looked at it when we signed it. We signed it in '67 and discovered it last year. We discovered this contract that bound us for 10 years. So it's "Oh gosh. Oh golly. Oh heck," you know. "Now, boys, can we tear it up, please?" (LIFE MAGAZINE. vol. 70 no. 14 April 16, 1971).

•Question: You want to get married?
Paul: No good...no good, marriage.
John: Good!
Paul: I don't know yet. Maybe when I got some more money.
Question: You got money?
John: You got more.
(Blokker, The Netherlands, June '64).

•Question: Do you wish they'd be quiet and let you sing sometimes?
Paul: They paid to come in and if they want to scream, well, they paid.
John: Why? They've got the records. (Seattle, '64).

•Question: How long do you plan to continue doing concert tours?
Paul: It's up to Brian and the people who buy the tickets.
(Toronto, August '65).

•Paul: The thing about singing, it doesn't matter because people pay to come in and know what they want. They don't pay to come in and do what other people want them to do. They're having a good time, so leave them alone. Up with the workers! (Toronto, Aug '65).


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