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lick-me-lennon22 · 15 days

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Drunk!Hamburg!Beatles X Reader Headcanons

(thank you to @lfrom-thestars for this adorable request!! I hope this lives up to your expectations 💞 enjoy!)

The Beatles collectively become a chaotic force of energy when intoxicated, bouncing off of each other with endless jokes and antics

the liveliness of the Hamburg nightlife only fuels their escapades, their raucous laughter cutting through the conversations of other patrons and earning them glares that go unnoticed in their drunken haze

when you receive the call that they've been kicked out of their fourth bar of the night, you spring into action and come to lead your boys home, cutting them off since they're clearly too far gone to make that call on their own

almost immediately, impromptu performances erupt on streetcorners, drawing crowds of curious onlookers who are captivated by The Beatles' drunken melodies

you somehow manage to shoo them away and steer the boys toward a less populated route

as the night progresses, they become more unpredictable and you soon find yourself herding them like four mischievous puppies, ensuring they stick together and don't wander off into the chaos of the city streets

Ringo is the first to stray from the group, becoming distracted by some spray painted street art on the wall of a nearby building

you gently redirect him, taking him by the hand and pointing to something shiny up ahead, his short attention span already shifting focus to the new object

next to wander is Paul, stumbling over to a bronze statue and beginning to chat it up

he uses his best flirting tactics but the statue, being... well... a statue, is unaffected by his charms

you grab his arm and sling it over your shoulder to steady him as you walk him back over to the other three boys, Paul leaving sloppy kisses all over your face in the meanwhile

when you finally shrug him off, confident he can keep up on his own, he redirects his affection to John

John, all the more rowdy and brash when he's had a few too many, takes issue with this and becomes fired up, shoving away Paul (though he only returns for more)

just as John is winding his arm back, preparing to slug his clingy mate, you place yourself between the two men and act as a mediator

you suggest Paul go and pay a visit to Ringo, who is more than happy to accept his attention, and instruct John to take a few deep breaths

when the dust settles on this little spat, things are seemingly going according to plan and you're quickly approaching the hotel

that is until George, who has become increasingly more talkative in his drunken state, decides the silence isn't cutting it and decides to fill it with philosophical musings

you passify him as best you can, nodding and feigning interest in his nonsensical ramblings until the hotel is finally in sight

George makes it all of ten yards from the entrance when he stops suddenly, doubling over and heaving as you hold his hair back for him

thankfully he's too preoccupied to notice John's laughter at his plight and, after a few pats on the back, you make it safely inside and up to the room with a few sympathetic looks from the staff

the next morning as they nurse their hangovers, you dole out aspirins and glasses of water to the boys and order a hearty breakfast to get them back to their old selves as fast as possible

as difficult as it is to keep it to yourself, you refrain from reminding them of the silly antics they pulled last night, letting them recover with their dignity (for now)

as shitty as they feel now, they're still exhilarated by the unforgettable night you all shared together on the vibrant streets of Hamburg, and are forever grateful for your care

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mythserene · 5 months

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DRUGS COST MONEY (MARK LEWISOHN, DRUG BUDDY)

I'm late, but I'm here, and this is something I've thought about since I read Tune In the first time.

First of all, Lewisohn's definition and description of what Preludin was is wildly underplayed and misleading, so I have to just get out a few quick Preludin facts. They're helpful.

Lewisohn:

Preludin was an appetite suppressant, an anorectic drug introduced into West German society in 1954, when commercial pressures were making women become more image-conscious. Users maintained an appetite but quickly felt full when eating, and the reduced intake brought about weight loss. Preludin’s primary ingredient, phenmetrazine, was not an amphetamine but an upper, giving the user a euphoric buzz. It was soon sold internationally and used recreationally, and though available in Germany only with a doctor’s prescription...

- “Tune In” - Chapter 19; Piedels on Prellies

(Oh, those women and their obsession with weight.)

I know Lewisohn's not a chemist and I don't expect him to have done extensive study before writing “not an amphetamine but an upper”—which, first of all is just a weird, grade school sounding statement about any stimulant in general that no scientist would ever say or write—but also he makes it sound like it's a fizzy little pill that gives you the sillies.

But definitely not an amphetamine or anything bad like that.

Look, even Wikipedia says right at the top, “[i]ts structure incorporates the backbone of amphetamine,” and although I didn't spend more than a few seconds there, I saw it because it came up first in the search like Wikipedia always does. Just saying it's basically impossible to miss.

And whether he was trying to hide the ball or not, since he wrote so much about them I am going to quickly set the "not amphetamine" record straight before I go on.

“Methamphetamine hydrochloride (Desoxyn) and phenmetrazine hydrochloride (Preludin) are two variants of the amphetamine structure.”

- “Amphetamine Abuse”, Sidney Cohen, MD, JAMA

“The experience in Sweden seems to indicate that phenmetrazine (e.g. Preludin) has the highest potency, and the greatest risk of psycho-toxic, acute and chronic effects (Rylander 1966). Amphetamines and methylphenidate seem to show less dependence-producing and psycho-toxic effects than phenmetrazine.”

- (United Nations Bulletin; Vol XX, No. 2)

Basically, Preludin was synthesized by taking an amphetamine skeleton and boosting tf out of it by adding a very common sort of chemical scaffolding to it called a morpholine ring, allowing them to tweak it by sticking on a nitrogen group. But morpholine rings by themselves also increase potency and usually bioavailability.

So in the narrowest technical sense, Phenmetrazine (Preludin) is classified as a morpholine instead of an amphetamine, but in every way it is an amphetamine on speed. (And every description of it anywhere says so right up front.) It was Amphetamine Plus. The little added synthetic kicker the pharmaceutical company figured out how to attach to the amphetamine made it stronger—gave it the Preludin "kick"—made the high feel better in general (according to all this crap I spent way too much time reading) and also made it way more addictive. It increased dopamine and norepinephrine reuptake, and the compound itself displayed “some entactogen properties more similar to MDMA." It made Preludin far more psychoactive than straight amphetamines. Made smells stronger, sensations more intense, and made you horny and "increased performance." It was taken off the market in 1980 because it was so hyper-addictive and the “psycho-toxicity” was so extreme. People reported doing things they barely remembered, including to a kind of freakish degree, like a lot of users committing crimes for the very first time in their lives. And so the company tried to replace it with a similar drug called Prelu-2, which is apparently still available but also almost never prescribed because even that was excessively addictive compared to non-boosted amphetamines.

And also, it made you feel body odors?

"...perfumes and flowers get a stronger smell, and body odours are felt more strongly than under normal conditions."

- (United Nations Bulletin; Vol XX, No. 2)

What are normal conditions? Maybe my normal conditions are different from everyone else's because I don't normally feel body odors?? But tbh I would literally try this drug just to see if I could.

Okay.

So... John was feeling some serious body odors because my man took a lot of them. Usually with lots of booze.

And apparently they made him more awesome.

George spoke graphically of how they would be “frothing at the mouth … we used to be up there foaming, stomping away.” John, as always, dived straight in, wholeheartedly grabbing another new experience with an open mouth and no thought of tomorrow. The Beatles called them “pep pills”—the commonly used British term of the period—and also “Prellies.”

...Two pills a night were more than enough for most but John frequently took four or five, and in conjunction with hour after hour of booze he became wired, a high-speed gabbling blur of talent, torment and hilarity.

- “Tune In” - Chapter 19; Piedels on Prellies

Yeah, he sounds like a blast. Good thing you got a quote there, my guy. I'm sure the first description that would’ve come to his roommates’ minds would be “hilarity.” Or second, after “hero.” (Sorry, I don't want to be hard on John. I have a lot of bandwidth and patience for drug indulgences, especially in a situation like this, but Lewisohn is unbelievable.)

Ruth Lallemannd, a St. Pauli barmaid who knew the Beatles from 1960, recalls an occasion when “They crushed ten Prellies to powder, put them in a bottle of Cola and shared it between them. They were always wound up.”

Drugs cost money

Amazingly enough though, these prescription-only pills didn't just magically get from people with nice doctors to John’s hands. Someone sold them to someone else and they ended up with “the toilet lady,” Tante Rosa, who sold them.

They looked like little white sweets … but these were no mint drops.

- Chapter 19

So cute!

Preludin small-print advised against its being taken less than six hours before bedtime, in case of sleep disorders.

- Chapter 19

So if Lewisohn is reading the small print of a drug that was discontinued 44 years ago he did not miss the Wikipedia page and must know that “not an amphetamine but an upper” is wildly misleading. Technically true in the chemical classification sense, but not in the medical or pharmacological sense. And true in the same way that “fentanyl isn't morphine” is true.

But that's not my point.

My point is that these “little white sweets” were strong, had wild “psycho-toxic” effects, John took a lot of them, and they weren't free.

Because drugs cost money.

Paul slept fine on just the one pill, John and George didn’t. George would recall “lying in bed, sweating from Preludin, thinking, ‘Why aren’t I sleeping?’ ” John simply took more: “You could work almost endlessly until the pill wore off, then you’d have to have another … You’d have two hours’ sleep and wake up to take a pill and get on stage, and it would go on and on and on. When you didn’t even get a day off you’d begin to go out of your mind with tiredness.”

Or, put another way, John was “a high-speed gabbling blur of talent, torment and hilarity.” And Paul did uncool stuff like sleeping.

Also, what in the...

Tony, George, Paul, John and Pete, along with Rosi and perhaps some stray females, would stagger wearily and noisily up three long flights of wooden stairs...

“Stray females”??? Is he talking about cats? Don't call human beings “strays,” you self-important oddity.

THE GROWNUP

John was never much into paying for stuff. Like rent, for instance. But that's what friends are for.

John was blessed with a particular talent for frittering away his funds (the council grant designed to provide his working materials) and was rarely in a position to pay [rent]. As Rod remembers, “During the week I’d go and have a pint with him and he’d always have money for a beer, but when it came to the day to pay the rent he was always hard up. ‘Could I owe it to you?’ ‘Would you like this jacket?’ One time he paid me with a Mounties-type Canadian jacket he’d probably nicked from someone else.”

- “Tune In” - Chapter 13; “Hi-Yo, Hi-Yo, Silver–Away!”

He paid rent with a jacket? Landlords take those?

I'm not gonna lie, the only real issue I've ever had with Paul—the things I have the most confusion and hesitancy about—are when he seems inexplicably cheap. Like paying the Wings band so little for so long. There's only a few cases that come to mind, but they're my weak point with him.

Still, having done my share of experimenting—as well as dating a guy who became a high-functioning addict before becoming a non-functioning addict before becoming an ex who died of an overdose—I know very well how it feels to see money flow through your hands like water and into someone else's bloodstream. And what happens then is you either both starve or you are the only one eating. In the end, someone has to have money to live, and the more drugs my ex took the more I was forced into being a walking, talking, pissed off safety net.

Stu supposedly got in a fight with Paul because Stu owed Paul money. (Although that doesn't explain attacking Paul out of nowhere on stage half as well as a three-days-awake-Prellie-binge psycho-toxicity does.)

It does, however, mean that at least one guy in the band who was taking Preludin was running out of money between paychecks.

And there's no way that if Stu was running out of funds that John wasn't too. And faster. And according to Lewisohn, George was eating a lot of Preludin, too. Because he was also cool.

That leaves Paul.

John was notoriously bad with money even when he had a lot, and when everyone is living and working together it's almost impossible to be the only guy eating or the only guy smoking. But at the same time if you know you can't do anything to stop your friends from going hard and never thinking at all, it tends to make you more careful. Because you're all you've got and all they've got. You didn't ask for the job, but you drew the short straw. So you hide some cigarettes and share too many, and get increasingly sick of it and resentful, but there's no good answer.

John heaped a ton of spice into the mix by suddenly moving back into Mendips. He’s unlikely to have told Mimi of the Gambier Terrace eviction, but Rod Murray knew little of this hasty departure: John left most of his possessions in the flat and several weeks’ rent unpaid—to the tune of about £15. He just scarpered.

- “Tune In” - Chapter 15; Drive and Bash

“Spice.” Dude really said “spice.” That John, so spicy. And fwiw, that's £300 today.

Maybe John had another jacket to pitch in.

Paul says he's more cautious by nature and I'm sure that's true, but also you know they all relied on him because they knew he wouldn't be as stupid as they were. Who knows what he would've done—whether he would have lived a more libertine life in Hamburg—if he'd felt like that was an option and he didn't have to be the grownup. Who knows what he would have done if anyone else gave a shit whether they ate or smoked.

I'll end by repeating the freakishly weird way Lewisohn told a John psycho-toxicity story that the AKOM ladies pointed out in Ep 8: No Greater Buddy, since it's almost impossible not to talk about John and Prellies without it.

“PAUL AND GEORGE’S HERO-WORSHIP STAYED FULLY INTACT”

George was second only to John in the swallowing of Prellies and knew better than most the sum effect of taking too many for too long, how the combination of pills plus booze plus several sleepless days caused hallucinations and extreme conduct. He’d describe one occasion when he, Paul and Pete were lying in their bunk beds, trying to sleep, only for John to barge into the room in a wild state. “One night John came in and some chick was in bed with Paul and he cut all her clothes up with a pair of scissors, and was stabbing the wardrobe. Everybody was lying in bed thinking, ‘Oh fuck, I hope he doesn’t kill me.’ [He was] a frothing mad person—he knew how to have ‘fun.’ ”

Handling John was something his friends were well used to doing. If he didn’t murder them in their beds there was no greater buddy. They might fear for their lives but they loved him still. No way would they walk out and join another group. John was just John, and Paul and George’s hero-worship stayed fully intact.

- “Tune in” - Chapter 28; You Better Move On

Mark Lewisohn knows nothing about drugs or drug culture. Which is fine. Good. Great, even. But the thing is, it doesn't stop him from knowing everything about it. He has confidently and emphatically stated that John and Yoko weren't doing heroin in the daytime during the Get Back sessions. He even claims that they weren't on heroin during the Two Junkies interview. Even repeating this paraphrase makes me feel ridiculous, but he says that was a hangover from the night before, and that they were too lucid to be high. Which, first of all, is not how heroin fucking works. They were blasted. The aftereffects would be them being antsy and jumpy, not going in extra-slow motion and puking. Blows my mind, the hubris this guy has. To confidently state something he unquestionably pulled out of his ass without even a moment's hesitation. Not only is that not how heroin works, but it is the drug that people wake up to do. Not wake up and do. Wake up to do.

And you can tell from the way he talks about John on Prellies—“a high-speed gabbling blur of talent, torment and hilarity”—that he has never experienced anyone who's been up a few days. And I still have a more daring nature than most of my friends, and am in no way shocked by the drug use. Me and my friends in Houston used to take Fastin and go midnight bowling every Saturday. The memories are good and I regret nothing. But the naive way Lewisohn romanticizes John and low key mocks Paul—as if Lewisohn was the ultimate drug buddy and Paul a total prude—is so weird. It's freakishly, embarrassingly, weird. Like he wants to be the cool guy. Like he thinks he can be the cool guy, and is being the cool guy, but to me it's painfully embarrassing and nothing else makes him look more desperate and delusional.

#beatles #akom #lewisohn #tune in #fine tuning #the beatles #john lennon #paul mccartney #historiography #Prellies #Hamburg #preludin #george harrison #Mark Lewisohn #drugs #drugs cost money #Spotify

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