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#everything is ringo
eppysboys · 1 year
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The Beatles, Studio Session, 1969. Photographs by Martin Weaver
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zilabee · 2 years
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“He was my best friend,” says Ringo softly. “Yeah. I loved Harry.”
rolling stone interview
“Ringo and I spent a thousand hours laughing,” Nilsson said.
ringo: with a little help, by michael seth starr
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Mark Hudson: “I think that Harry's friendship with John was also very very close, but I - I don't think it was as intimate as his relationship with Ringo Starr.”
Harry Nilsson: “I had a relationship with John - we were roommates a couple of times you know, short times […] But uh, Ringo and I are the, Ringo and I are friends. It's funny I always thought I would be closer to John but then over the years Ringo and I ended up being pals.”
Michael Seth Starr: Harry, born in Brooklyn, New York, in June 1941, was less than a year younger  than Ringo. They were both three years old when their fathers (Richard and Edward,  respectively) abandoned their families, never to return.  They both enjoyed alcohol and practical jokes and were garrulous in nature, at  least early in their relationship. Neither man had completed any semblance of an education. Ringo left school at the age of fifteen; Nilsson, who was extremely  bright, dropped out of school in the ninth grade. 
Ringo Starr: “I think I could always call Harry, night and day, and he would come and save me. I'm very lucky with friends like that.”
Chris O'Dell: “They became really, really close friends, and a lot of it was based on how much  alike they were. They shared a sense of humour. You can never  underestimate Ringo’s sense of humour. It’s there, it’s a huge part of who he is.  Harry was also like that. [...] They were like brothers.”
Harry Nilsson: “I saw Ringo in an interview once looking very nervous saying “Well I'm probably the best rock and roll drummer in the world” and the truth is he is. But he looked very scared saying it. I could see him being scared about it, not scared, but not comfortable about it. And I wanted to be right there and say “Yes! You are! It's okay! You are the best rock and roll drummer in the world ever. That's it. Period, the end.”
Doug Hoefer (Harry's Cousin): “They would fight about shit  and hang up on each other. Then time would go by and one of them would call the  other back and they would pick up where they’d left off. I’m not really sure exactly how they pissed each other off, but they would . . . because Harry had a very strong personality as well.” 
Stephanie La Motta: “He said, ‘I’m Harry’ and he goes searching all over the  place - and I’m screaming for Ringo - who comes out and hugs Harry, because he  loved Harry. They had a special bond. It was unbelievable this bond I saw between  them. He loved Harry as much as Harry loved him.”  (she was screaming because Harry was barging into their hotel room and she had no idea who he was)
Ringo Starr: “Harry’s no longer with us. He’s been gone 20 years now. I still miss him.”
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Music played this way All I need is my imagination Take me far away Where I can be with everyone who loves me
Harry's Song, by Ringo, 2008
There's no more oyster bar There's no more Ringo Starr There's no one left to love but you and me
UCLA, by Harry Nilsson
Ringo paid for Harry to have cosmetic dentistry to straighten his front teeth. [...] Some of Nilsson's closest friends believed that self-consciousness about his crooked teeth had been a significant factor in his decision not to appear in live concerts. Samantha Juste, for example, said: "He didn't have great teeth. I remember when he had his teeth fixed, it did a lot for him. In the early days he didn't smile really. Those teeth made a big difference to him, and to his confidence."
- from "Nilsson, The Life of a Singer Songwriter" by Alyn Shipton
Most commentators have focused on "You're Breakin' My Heart" as the one song that expressed Nilsson's emotional torment about [his wife's] departure. However, there is another interpretation, which was that it represented his first quarrel with Ringo Starr. There are coded references to Starr and their social life together, notably in the lines, "You won't boogaloo - Run down to Tramps - Have a dance or two". The reference to the Beatles' Drive My Car [You won't drive my car, might be a star] is another clue to this possible interpretation.
- again from "Nilsson, The Life of a Singer Songwriter"
For reasons of his own, Ringo did not attend Harry’s funeral, which was held on  January 17, a day that was rocked by aftershocks from an earthquake in nearby  Northridge. He claimed to be too grief-stricken, and Barbara went in his place.
- from Ringo: With A Little Help, by Michael Seth Starr
"We tried every which way to get Ringo to talk on camera. What came back to us each time was that there are three people he just does not feel comfortable talking about in person: John Lennon, George Harrison and Harry Nilsson. It’s just too emotional for him and I totally respect his feelings on the matter. Ringo was, however, tremendously supportive of the film including providing us with photos and making it possible to use Son of Drac, a film that Ringo and Harry made in the early 1970s but has been locked away in a London vault since 1974. At the end of the day, we were happy to have his support and understood the decision he made. Sometime later we had heard that he saw the film and liked it but thought some things were missing from the story. And I said to myself, “Yeah, Ringo, you were missing…” (laughs).
- John Scheinfeld, about making 'Who is Harry Nilsson..?'
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(I have found absolutely no evidence that ringo starr knitted this)
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reflectismo · 2 months
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Honestly, I really enjoy diving into Ringo’s earlier interviews, because I feel like out of the four, he showcased a vulnerability and a special ability for grasping and articulating certain emotional nuances that I think truly highlight the band’s dynamic. Take for instance, this quote below from a July 1988 interview of his. It stands as one of my favourite insights into the inner workings and relationships among those four boys in the band, and how these dynamics shaped their music.
INT: I would imagine it was an adjustment personally, but did you feel lost musically?
RINGO: Well, I'd never played with a better band, you see, so I think that's the loss I felt.
INT: Where does one go from the best?
RINGO: It's not even just the best. A lot of it was telepathy. We all felt so close. We knew each other so well that we'd know when any of us would make a move up or down within the music, and we'd all make it. No one would say anything or look at each other; we'd just know. The easiest word is telepathy. The band worked so well, and we were four good friends a lot of the time. But like any four friends, we had rows and shouted and disliked each other for a moment.
Then it ended, and I started playing sessions and had a really good time, but I was just playing. You can play with any band, but that band was something special to me, and it's never been like that again. I've had great sessions, great tracks, but it's never been like that, and you can't expect that if you walk into a studio and play someone's session. You're strangers.
We had all lived together so close; we knew each other so well that it crossed over into the music. We knew exactly what the other was doing. That's even the wrong way to explain it. We just knew that the chemistry worked! The excitement! If things were just jogging along and one of us felt, “I'm going to lift it here,” it was just a feeling that went through the four of us and everyone lifted it, or everyone lowered it, or what-ever. It was just telepathy. When I do sessions now, I'm playing the best I can, and some sessions are really great. But I've never played on anyone's album all the way through, because I always felt it was boring, so I'd do three or four tracks.
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stromblessed · 6 months
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Mizu was wrong to let Akemi be taken because they both deserve better
First, a confession. When I saw this for the first time:
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I was relieved. I knew that was what Mizu was going to say and I felt like it's what I would have said in that situation too.
When Akemi does this:
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I cringed, because if we know anything about Mizu, it's that she (1) isn't quick to make friends (though to be fair, even though Akemi did try to kill Mizu, so did Taigen - multiple times! - and look how that turned out lol), and (2) doesn't take orders.
So when Akemi and Ringo and later Taigen get angry at Mizu, are they being unfair?
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Sure, Mizu isn't obligated to treat Akemi - or Taigen or Ringo or anybody else - nicely, or to serve them, or to be honorable, or be a hero to them, or whatever. No human being is obligated to any other human being. We all have the choice to do whatever we want to anybody else. But the point of flawed characters in storytelling is the tension between those characters and their potential. Their growth into someone who can choose the higher, harder path, who chooses to be obligated to others, who chooses kindness and compassion.
Because Mizu's problem isn't revenge. Nobody is preaching at Mizu that revenge isn't the answer. Her circumstances do suck, her life has been incredibly unfair, she is marginalized, and as far as we and Mizu know for most of the season, she is a child born of violence and no one is saying that that violence doesn't deserve to be repaid in kind.
Mizu's problem is isolation. And the fact that she thinks she has no responsibility toward her fellow human beings, because her hatred of her own circumstances and her having no life outside of her quest devours everything else. This is a problem because it turns Mizu into the worst version of herself. A version that hurts the people who like Mizu, the people who care about her.
Practically, Mizu has just taken on an entire army almost by herself. She's hurt. She's exhausted. If she were to defend Akemi now, it'd be yet ANOTHER fight, this time against horsed and armored samurai.
But that's not the reason Mizu gives Ringo. Mizu's ability or willingness to fight isn't even on her mind. All she says is, "She's better off."
"She's better off" is Mizu deciding what's best for Akemi. Akemi's entire story is about her being a caged bird longing to fly free.
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One after the other, every man and woman in Akemi's life makes her decisions for her. She has to grovel and smile prettily and lie through her teeth just for the chance to be heard. Mizu judges Akemi for being a rich princess who isn't being more grateful for what she has, all without understanding Akemi's situation, and without any curiosity for why Akemi feels the way she does. From Akemi's perspective, Mizu is just one more person (one more man!) in a long lineup who ignores Akemi's wishes and (casually!) makes a decision for her that impacts Akemi's life greatly.
In the end, even Seki concludes that Akemi should get to decide what's best for Akemi. What others think that Akemi SHOULD want does not matter compared to what Akemi wants for her own life. As Madame Kaji said - Madame Kaji, who despite calling out the weirdness of Akemi's situation as well as the childishness of her decision to run away - is the only person Akemi meets who doesn't try to make decisions for Akemi, but instead only challenges Akemi to work for and be worthy of what she wants - she needs to decide what she wants for her own fucking self, and then take it.
Mizu being born female does not make her automatically wiser for letting Akemi be taken, and it does not preclude her from having a hand in giving Akemi back to her jailers. A patriarchy that Mizu knows full well would stop Mizu from achieving her own goals if she didn't present as male.
Mizu is still understandable here. She just had to kill Kinuyo, a disabled girl sold by her father into prostitution, a girl in a situation so far beyond Akemi's worst imaginings that I can practically feel Mizu's world being rocked just by comparing them in her mind the way she most likely is. That still doesn't make it right for Mizu to let Akemi be carried off to be sold into marriage by her father against her wishes. Those "good options" Mizu thinks Akemi has don't exist, no more than they ever existed for Mizu. Akemi and Mizu both have to get creative, make the best of their circumstances, take dangerous risks, and break rules in order to have any control over their own lives.
Even on my first watch, when at first I thought that Mizu had made the right decision and that Akemi was being unreasonable, Akemi screaming Mizu's name while being dragged, LITERALLY DRAGGED, back to her father was haunting as hell.
Mizu had the power to help Akemi, and simply chose not to.
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Mizu lets Akemi be taken, Akemi who has just begun to trust Mizu. Mizu calls Ringo weak and quickly - seemingly easily - turns her back on him. Mizu values her quest over Taigen's life, after Taigen has endured days of torture to protect her, and she not only risks his life in the process, but doesn't tell him that Akemi is engaged to someone else, or that she came looking for Taigen, or that she is in danger.
Mizu's sword breaks because it is too brittle. Too pure. Too singleminded. Mizu only melts down the meteorite metal when she mixes the metal with objects from parts of her life that have nothing to do with her quest. Objects from the people she cares about, and who care about her.
All I'm saying is - Mizu doesn't have to be a hero. But she is the better version of herself when she reaches out to help and connect with others. When she's just a decent, kinder human being. And I think that's what this story is telling us that we should want for Mizu.
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franklyimissparis · 3 months
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the 1967 our world broadcast of “all you need is love” is that point in beatles history where if it was a film you’d be sitting there all warm, hoping it stays like this forever but then you look and there’s still an hour left and you remember that the film was tagged as tragedy and you feel your heart drop into your stomach
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beatleswings · 3 months
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THE BEATLES performing "I Want To Hold Your Hand" on THE ED SULLIVAN SHOW. Taped on February 9 but aired on February 23, 1964.
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ringosmistress · 3 months
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kaladinkholins · 25 days
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Taigen x Mizu mentioned in the The Making of Netflix’s “Blue Eye Samurai”
Taken from the livestream organised by Gnomon
Jane Wu:
Next slide, Taigen...
Brian Kesinger:
Everyone's favourite samurai, uh, Taigen. Uh, so, he was designed a bit over the top. The, the, peak of male samurai, even down to the quite prodigious hair bun, which he doesn't have on screen for much. Uh, but, um, he is the visual opposite of Mizu, right, so it was fun to kinda let her design dictate what his design should be, and, you know, I think that, you know, especially for all you Taigen x Mizu fans out there, I think that might be one of the reasons why he's attracted to her. Um, or in my brain, he's attracted to her, uh, is because she is who she wants to be, and doesn't have to put on airs. Uh, and that's a lesson that he has to learn and he literally, I mean, it's on the nose but, he lets his hair down. And that's the start of his journey of discovery, um, which he needs to go. He's, he's got a lot of growing still left to do. Um—
Jane Wu:
I also think he has a, has a talent—he has like a... sword crush on her right, he has like a martial arts crush on her, yeah. Talent crush, yeah.
Brian Kesinger:
Right, yeah. Talent crush. Yes. Yes, for sure.
---
For context, Jane Wu is Blue Eye Samurai's supervising director and Producer, while Brian Kesinger is the lead character designer. Others presenting for this livestream were production designer Toby Wilson and art director Emil Mitev.
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with-eyes-closed · 1 year
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The Beatles backstage at the Paris Olympia, January 16, 1964 
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trashfactorysstuff · 4 months
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Art dumps are so fun.
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aye-of-newt · 6 months
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mizu brings back souvenirs for dad:
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eppysboys · 1 month
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Incredible things are happening in the 'I Dig Love' comment section
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zilabee · 1 year
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perfect wedding photo. excellent. lovely. can you even imagine how moody the others would be if ringo married brian? and if brian married ringo. they'd be cross and jealous and worried in all directions. they'd demand equal access to both of them. they'd find reasons that they needed to take ringo away somewhere for a week and then not give him back for three months. john and paul would show up at three in the morning and declare that they had private songwriting things to talk about with brian and make ringo leave the bedroom and sleep on the settee. the passive bitchy stuff george would say to the press and then claim it wasn't how it sounded. I think both brian and ringo would really enjoy it. it's not like they'd be getting married to lock the others out of anything, they'd just be getting married to lock everything together. everyone being a bit jealous and in love with them would create unity in its way, and they'd smile softly at it.
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reflectismo · 5 months
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In reflecting on Ringo’s comment about going to each Beatles’ house in 1968 to say that he felt the other three were closer and then each of them responding that they thought it was the other three, it’s peculiar how this crucial moment remains largely overlooked. I feel like this exchange speaks volumes about the band’s evolving dynamic, because it offers a peek into the shifts/sentiments that influenced their overall unity and break.
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Rotating Mizu in my mind, this man is so entirely transgender.
Rotating him with Taigen they are extremely homoerotic. Rotating Akemi she's very surprising. And Ringo so upbeat and sweet despite it all.
Rotating Rotating mm some fucking delicious food.
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neilphen · 10 months
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what a fantastic day to be one of ringos many many many boyfriends
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