#oh to have talked to Peter about The Beatles
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Peter Tork dancing, 1960s to 1980s; clips from “The Spy Who Came In From The Cool,” the Star Collector” sequence, Head, 33 & ⅓ Revolutions Per Monkee, The Monkees live show in Michigan in August 1987, Solid Gold in 1987, and the Pat Sajak Show in 1989. (Audio from Peter’s live performance of “Long Title: Do I Have To Do This All Over Again?” at CBGB on July 31, 1977.)
“Between scenes, Peter’s always reading some book. He’s really the intellectual of the group, interested in various religions and politics. Peter has a smile for everyone who comes on the set no matter how tired he gets. The boys work every day from 7 A.M. to 7 P.M.
[...] Whenever he gets the chance, Peter talks to others about the Beatles. He’s quieter off the screen than he seems on and is always very courteous to others. He loved dancing in high school but now he’s not so crazy about it though he’s still good.” - Ann Moses, Tiger Beat, January 1967
Q: "Being a multi-instrumentalist, did any of the instruments come to you easier than others?"
Peter Tork: "No. It’s all the same. Each instrument has its own facilities, its own challenges. It’s funny. I think I play piano best of all. I think I rank highest as a banjo player among all the people who do what I do at any given thing. In other words I’m in the 15th percentile as a piano player, and maybe 25th as a guitar player and 85th as a banjo player, but I don’t know why that is. One, is it’s simple, I get to relax, I don’t know. Each thing is different and I don’t get to dance as much. I play guitar mostly because I get to dance with it. Piano doesn’t dance. It just sits there – a wallflower instrument – a stick in the mud." - Enigma Online, 2006; published 2015
#Peter Tork#Tork videos#Tork quotes#Tork edits#Tork songs#1960s#1980s#<3#<333#The Monkees#Monkees#Davy Jones#Michael Nesmith#Micky Dolenz#Ann Moses#oh to have talked to Peter about The Beatles#can you queue it
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Let it Be Close-watch
Paul, sweety, it's beautiful, but it's killing the vibe.
Ringo looks like a very old, very tired lab rat whose been put through the maze a few too many times
Somehow the air-brown mostly eaten apple is very appropriate.
She looks far too sweet here to ever let John down. Yoko has very kind eyes.
I love how it makes it seem like Paul and John are calling Maxwell “the corny one” but really we know from Get Back that they're talking about a particular arrangement they were trying out for Don't Let me Down.
I swear he's saying “John” there, not “Joan” and also he said “came down upon His head” so… Oh! And Max died in the end in this version? “Sure that Max was dead” Okay. So Paul kills John and then himself. Murder suicide story. Yeah, Paul, you're doing great mentally, we can all tell.
I love how George getting electrocuted was important enough to make the cut for both films. Poor baby. “If this boy dies you're gonna cop it” from the guy who was just singing about a serial killer.
They're so silly
Yoko does not agree with me
Paul: stealing your man, sweetheart. John: oh no I'm being stolen teehee!
They're so silly
Oh wait, were those bitchy looks at George??? Because there he is. Idk could easily be him or Yoko.
this poor autistic baby trying to use words (not his language) to explain music (his language)
“Good MoOornin! Wooah!” I think I just … You know how Mike said people were booing Paul in the theater watching this? Yeah it's because they were pissed he didn't step out of the screen and onto their necks.
Oh Michael put himself in his own movie too? Huh, cool.
They are always in my heart
The way Paul says “get on the mic” to John??? I would've thrown something, that was so fucking bossy! Just his tone and his face and his angry pointing fingers. So mean. And John just goes “okaaay”. Oof.
Ringo covering his eyes like a little kid watching a scary movie during the orange sweater fight. Same, babe.
Sounds like the original lyric John's going for is something long “All I want is you. Nothing else is gonna do.” But that obviously didn't fit with the tune. I wonder if there was a particular conversation with Paul being controlling that made the “everything has got to be the way you want it to” line click in.
Oh my gosh! So George is showing I Me Mine to Ringo and Paul and he says the “I don't give a fuck it can go in musical” line before he even plays it. Not after John's making fun of him like he does in Get Back. Nagra reels experts: which one is correct??
George: it's a heavy waltz. Ringo:*claps hands angrily and punches the air to a ¾ beat. I love him, he's like the core of “Beatle humor” to me.
Woah there! Okay this is the John/Yoko pda Peter Jackson cut, I see. I wonder if there's a lot more footage of them swapping spit that might make the “oh John was just so in love” theory more reasonable.
It's extremely impressive that George just wrote this whole thing last night. You know? John and Paul have brought in all fragments from what I can tell. He's the only one to come in with a basically finished product.
LMAO and we're just going to Apple now. No reason. Nothing happened. Nothing to see. Moving on.
Ringo is so so cute pretending to hide from the cameras. Really he should've been the cute one.
Is it just me or does Paul drop the sillies and get sad when he sings “always be mine” at John? It's his regular voice, too, for a minute, if I'm not mistaken.
Silly cuties. But John's grin and little sexy tongue action happens the second time Paul sings always be mine, so…
What friendly artistic collaboration looks like when it's not psychosexual
Paul: have you played the dubs? George: yeah. Terrible. Paul: Great! Ringo: terrible. John: laughs Paul: (sarcastic) oh, so dreadful. …. John: where's my guitar? Paul: (still sarcastic) well we're just the greatest band ever. Idk I just like this dialogue. It's very them, you know?
This is adorable.
But I also love how they're already communicating with eyebrows, you know? They just bonded so fast and I find that beautiful.
And then Heather ups their game from taking turns going “chchchchch” into the mic to meowing into the mic. She looks at Paul like “okay your turn” and he sets her down lol he's thinking ‘if I meow into the mic right now after John already had a sex dream last night about me, he might actually cream his pants and we can't have that on camera’
Lol Billy just magically appeared!
Paul you're literally so annoying. You started the goofing off and now you're like “alright lads, that's enough.” Mkay.
He is unbelievably sexy and talented though so you know he does have those little things going for him. Someone write me a Paul/Billy fic please!!
Kinda crazy how they all four just slide straight from “Kansas City” to “Miss Ann” to “Lawdy Miss Claudy”. Makes me think of something they might've done in Hamburg.
I'm sorry but Paul finishes “please don't excite me baby. I'm down in misery.” And John's immediate answer is, “well you can get it if you want it, and if you want it you can get it!” And Paul ends up singing “I want it I want it I want it I want it”. Nice. Very subtle, boys. And that's before John gets kinky.
I love how Heather just forces a hug from George and then immediately runs away. What a cutie.
But really. How did anyone watching this get the idea that John hated Paul? Just confirmation bias I guess?
All the cut off conversations kill me but especially the one where John's working though Paul's anxieties. They're just in the middle of it and then cut. “two of us Sunday driving…”
Someone should do a study of whistling in their songs. I feel like it's another one of their tip offs that “hey this one is about us” Anyway I love John's whistling here. He's so good at it. I can just imagine him as some farm boy picking apples, you know?
Imagine booing this poor stay puppy though, like. What? I mean, what if Johann Weiner was wrong and John wasn't crying at the sight of him and Paul playing triumphant together on the rooftop, but at Paul playing his little heart out about their doomed love. Idk it's probably both. Let's be real, John was bawling through the whole thing.
What is George laughing at? Picture quality is garbage because evil corporations don't let you take screenshots of their content, but he looks like that one kid in your elementary school class that just dumped Cheetos all over his crushes desk and thinks he's a criminal mastermind.
Also I do appreciate all the attention given in the chosen shots to the musicianship. I bet they liked that at least if they had the heart to like anything about the movie at the time.
I'm sorry but I love how in sync Mo and Paul are. With this ducking and later the shimmying. I know it's wrong to ship Ringo’s wife with one of the Beatles she didn't sleep with, but… idk I really want her to have bedded all four at one point, you know? She deserves it, being an og.
Okay but yeah I'd be having a public meltdown if I fumbled that too holy fucking shit
Ringo feeling himself as he should
George just looks like he smells nice. Unlike the others. You know?
John has such a beautiful smile. If somebody looked at me like that I'd put him up on a giant screen behind me on my world tour after he'd been dead for forty years too.
That pleeeaaaheeeaaase though. Looking at Paul. How did he survive I'll never know.
The cut from screaming Paul to grouchy nap lady is extremely painful.
John was so cool in this concert. Like the epitome of cool.
Kevin, my love, thank you for your service
I love Yoko leaning so far and craning her neck. She's like a mom at a school talent show. Like “I only came to see my baby.” Type vibe. Which is exactly what she's doing, unlike Mo, and honestly I find both of them extremely valid
You know in movies where the romantic leads are never looking at each other at the same time?
I think I watched George and John switching back on their amps like fifty times because I just love it so much. And from this angle, you can see John's saying something to Paul about it. He looks serious and he's shaking his head. I wonder what he's saying.
Mal Evans I love you forever for this. Look at his hand on the rail, just blocking them off completely, so protective.
Them turning to each other at the end always gets me. It's automatic, like second nature, and it's the last time ever. They deserved better.
Oh Darling duet in the credits are you fucking kidding me??? Was that in the original? “Believe me, when I tell you.” “Oh I do.” That's the second time that they gave away in this footage that they know they're talking to each other in their music.
Alright, that's it, I guess. And then MLH is haunted by this experience for forty years until he makes Two of Us to purge the demons.
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I probably think way too much about how very little Sam knew about Mary. How John and Dean gave him almost nothing, to the point that she wasn't even really like a ghost shadowing his life, more like the story of one overheard in bits and pieces over the years. And yet, his whole life from when he can first remember—every bit of motivation or guilt, every point of pride or shame—is built around his mother, this person he isn't allowed to know.
I've written a lot of bits and pieces about it before, but never a standalone. This is actually an excerpt from a longer story, but I modified it some and I think it works on its own, hopefully (he knows about hunting already but that's really the only canon difference).
..........................
When Sam's in fourth grade, and has to write a page about his favorite memory, he asks for Dean's help. All he can seem to dredge up at the moment is just too weird or too farfetched. Things that say far too much about the way they live for a teacher to read.
So he asks Dean what he would write about.
After some teasing about his best memories being of all the times Sam's embarrassed himself (and a well-aimed pink rubber eraser hitting him between the eyes) Dean quiets down and turns thoughtful.
"Well, I dunno what my most favorite memory would be, really. I guess…" He bites his lip, chews on it for a second, gaze directed absently into the distance. "I think it would prob'ly be my first memories? It musta been, like, when I was three and four maybe. They're…of Mom."
"Oh." Sam's chest gets a little tight. He speaks quietly, cautiously. Dean—Dean and Dad both—they don't talk about her much. Sam's seen her picture, the one that Dad keeps in his journal, a few times, but he knows so little about her. Just that she was pretty (beautiful), with a smile that reminds of him of Dean's and wavy blonde hair. "What was she—what are they like?"
Dean smiles, maybe a little sad, but it's more than that. Warm, wistful; gaze still unfocused and distant. "Mostly…happy. Like…bright. She'd sing to me a lot, and, like, I didn't know the songs back then, but, when I hear 'em now, I can hear her voice singing them. Beatles, Beach Boys, Simon and Garfunkel, um…Peter, Paul, and Mary, maybe…" Dean chuffs out a laugh. "I remember Puff the Magic Dragon, at least…I think I even remember Dad teasin' her about how she better sing me some real music, too, not just sissy crap, but, I dunno, maybe I made that up."
Dean pauses, that bittersweet expression on his face, still, and Sam doesn't want him to get lost in it. He also doesn't want to miss this opportunity, if he can help it.
"I dunno. He'd say somethin' like that." Dean spares him half a smile, still somewhere else in his head. "What…what else do you remember? What'd you guys do together?"
"Well, not a whole lot. I guess mostly just the normal stuff you do with a little kid. Like legos, I remember we'd build castles an' fortresses and stuff. I wanted her to build me a car but we didn't have enough black bricks, so she made me a little boat instead. Dad said it looked like a bathtub." He smiles. "Um, she'd dance with me, sometimes. To the radio. Make lunch—I mostly remember sandwiches and Mac n' Cheese. I'd sit in that little seat in the cart when she went to the grocery store, and she'd ask me what was on the list and I'd pretend I could read it and make up dumb stuff."
The silence is longer this time. Sam breathes out, carefully. "What kinda stuff?"
"I dunno. Just silly things, like 'elephant steaks!' Or 'a unicorn!' Or 'poop n' rhubarb pie!'"
"Gross." Sam wrinkles his nose.
Dean grins at that. "I think you're, like, the only kid ever who never found poop and fart jokes funny."
"'Cause they're not."
When Dean laughs, muttering little weirdo, Sam looks around for something harmless to throw at him, pouts.
"Don't worry, Sammy, if anyone wonders why you're so weird I'll just tell them it's 'cause you still poop your pants, and you're kinda sensitive about it an' all."
"Dean."
Sam decides that his pencil is perfectly fine to throw after all and, as a concession, doesn't aim it at his head. Dean grins, not seeming too annoyed by the assault, so Sam decides to push his luck.
"Did Mom think it was funny? Your lists?"
Dean's melancholy little smile is back. "Yeah…yeah, I think she did. She'd always laugh, anyways. An' she had the best laugh. I'd make up stuff that just got more and more ridiculous just so I could keep watchin' her laugh." He sighs, shrugs. "Anyways, yeah…that's Mom. That's what I remember."
It gets quiet after that, and Sam can see Dean's face starting to shutter over as he withdraws. It's rare for Sam to get to see his brother so open and unguarded any more. Over the last few years, Dean's started to change; Sam can tell. Still fun, still charming, still affectionate, at least with Sam (mostly when there's no one else around to catch him being so uncool). But, even though they're not always alike—Dean doesn't usually brood, rarely explodes, and he never gets that kind of burning cold John does when he's focused on something—sometimes now he kinda reminds Sam of Dad. He's been more closed off, the way Dad can be, his deeper emotions pushed farther away, out of Sam's reach. Doesn't show when things get to him, like he used to.
It's actually kind of lonely, sometimes.
"So, what are you gonna write about, Sammy?"
When Sam shrugs, Dean suggests the time they ran out of gas on a back road in central Florida. They'd only walked two miles before an Oscar Myer Wienermobile came barreling down the road, seemingly out of nowhere, and gave them a lift to and from the closest gas station (still a good eight miles away). Sam counters with the night in Montana that Dad got so drunk he started fighting with the motel owner about yetis (Dad coming down hard on the side of 'hoax'). They ended up getting kicked out at two am after Dad had cut down the guy’s “Bigfoot Crossing” sign with an axe. They toss back and forth increasingly ridiculous ideas until they're both laughing so hard they're in literal tears. When John comes back, they can't even stop long enough to answer what's so funny. Dad just smiles, bemused and fond, and shakes his head before heading off to shower.
Sam thinks maybe he can add this afternoon to his Good Memories pile.
In the end, he waits until that evening, before bed, and easily fills up a page-and-a-half about the time, last summer, when Dad was on a hunt out west and he and Dean had spent all afternoon exploring tidal pools in Yaquina Head, Oregon, marveling at the tiny little aquatic worlds they found. He invents an older teenage cousin that tagged along so the teacher won't question why two young kids spent the day alone in a national park.
He gets an A.
From then on, Sam keeps his eyes out in thrift stores for cassettes from the bands Dean mentioned; pockets them when he can to listen to later on the beat-up Walkman knock-off Dean stole for him for his sixth birthday. He likes a lot of it, but he's careful about what he keeps; only his favorites. He stashes them in the bottom of his school bag, in the hollowed-out book that Bobby showed him how to make last year, on a rainy day when Sam got bored with watching old Westerns.
For some reason, he doesn't want Dean to know about them. Doesn't want him to feel like Sam's trying to take something away from him. So he slips them in when he's sitting in the back of the Impala alone, on long trips, and closes his eyes. Lets the albums pour into his ears over the headphones; shuts the rest of the world out. Sgt Pepper's. Pet Sounds. Bookends. He tries to imagine his mom, Mary, singing the songs to him, in a sunny kitchen.
But he can never really pull together a complete image of her; just bits and pieces, blurred-together impressions: yellow hair, the smiling face from the picture (looking kind of flat, like a mask), a flowered dress he'd seen in a shop window. And he doesn't know what her voice sounded like, so it kind of just ends up being a composite of the voices of some of his favorite teachers (along with the mother of a classmate back in Indiana who drove him home once when she spotted him waiting for the rain to stop under the playground slide).
So he gives up on trying to picture her, and, instead, just tries to sink into the music, sees if he can feel what she was feeling when she listened to it. Imagines the conversations they might have: which songs would be her favorites, why she would have liked them, where she was the first time she heard them playing.
When he hears those songs on the radio now, or over the speakers in a restaurant, it makes him feel kind of happy and sad at the same time.
They remind him of her.
(Except for America—for some reason, that one makes him think of Dean.)
#spn fic#sam winchester#dean winchester#weechesters#mary winchester#john winchester#sam's lonliness#motherless sam#supernatural fanfic#my fic
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Interview [12/05/82]
[00:00]
Interviewer: Alright Mr.Merridew, ready when you are.
Jack: Just Jack is fine.
Interviewer: Alright Jack, mind if we get started?
Jack: No, not at all.
Interviewer: Perfect! Now, the people are curious. How did your band "Lord of the Flies" come to be?
Jack: Well, it actually started with me and my good friend Ralph Allabach-
Interviewer: Ah yes! Ralph. He was in here a few days ago with that Peter kid.
Jack: [clears throat] As I was saying, Ralph taught me how to play guitar about 2 years ago. It really was just us and his sister Raven in a small, town-home garage. The rest is history I guess you could say. Me 'n Roger have been friends for ever so he started tagging along when he picked up bass. Me and Ralphie met Simon and the twins at the start of the next school semester in our geometry class. From there we just kinda formed our bands with our people. We are all very close. I mean, life's borin without some friendly companion, amirite?
Interviewer: [chuckling] Did you say Ralphie?
Jack: Of course darlin.
Interviewer: I see you have a thing for nicknames. Tell me more about yourself, Jack.
Jack: [note, Jack seems to get anxious after being asked this question] Well, what'chya wanna know?
Interviewer: Let's start simple, how's your school life? If I'm not mistaken, you're sixteen, correct?
Jack: Yup, born in '66
Interviewer: Ah, good times. So you're in...
Jack: 10th grade. I'm a sophomore. Back to your previous question, school sucks ass to be honest. But I can't complain too much. I'm passing and that's all that really matters.
Interviewer: Highschool wasn't the worst years of my life but they certainly weren't the best. I do remember my girlfriend my senior year. Jenny Thompson. Do you have a girlfriend, Jack?
Jack: [chokes on the drink he was previously sipping, his cheeks get noticeably red] No, sir.
Interviewer: Ah that's all right. You've got plenty of time. Tell me Jack, why did you pick electric guitar out of everything?
Jack: I knew it would piss my mom off. I also heard Ralph practicing one day and, I don't know, kinda decided that I wanted to do that too.
Interviewer: I see. Now, why rock? I'm more of a Beatle's fan myself so I'm not familiar with the rock genre.
Jack: Hey, the Beatles are awesome. I've loved rock ever since Ralph and Raven got me into it. My parents are...uptight, so we mainly listen to classical and country in my house. Anyways, I just love the pure, raw emotion in rock, you know? Plus, I love a good riff to play. Simon is, like, insanely good at drums so it's fun to play stuff with him.
Interviewer: [chuckles] I didn't picture you as much of a Beatles fan. Your folks like Johnny Cash?
Jack: No, not really.
Interviewer: Damn shame. I can't help but ask, your hair. Is there a reason you keep it so long?
Jack: Ralph likes it and my mom hates it.
Interviewer: I see. You seem to have a lot of teen angst. Any reason to that?
Jack: My parents are assholes. My mom is an entrepreneur and needs things to be perfect and done her way. My old man's got a thing for cigs and isn't home often. I don't mind really, I'm usually at Ralph's house anyways.
Interviewer: I'm sorry to hear about that. Your folks seem to be busy trying to manage work and home time. Now Ralph, you guys been friends for long?
Jack: I've known of him for a while but we became friends 8th grade year in english.
Interviewer: Ah, I see. That's cool, it's good to have close friends. I have just a few more questions written down here Jack. Sound good?
Jack: Hit me.
Interviewer: [snickers] Alright then. Who inspired your style of music?
Jack: Oh boy. Uhhhh let's see...Queen, for sure. ACDC as well. Billy Idol, Metallica, Talking Heads, Heart, Judas Priest, Pink Floyd, KISS, Ozzy, stuff like that.
Interviewer: You've got great taste from what I know, young man.
Jack: Thank you!
Interviewer: Alright, we are running out of time but I do have room for one last question. What do you hope the future of your band looks like?
Jack: Oh, that's a good question. I uh..I don't know to be honest. I just sorta take things one day at a time. I haven't thought that far ahead.
Interviewer: That's a shame. Well Jack, thanks for your time. It was a pleasure meeting you.
Jack: Same to you sir.
[The two stand up and shake hands]
[Video cuts]
[10:48]
#lord of the bands#tw:implied child abuse#lotf au#jack lord of the bands#lord of the band interviews#the start of the au#lotb#band au#celebrity interviews#jalph#implied jalph
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I've decided that I would like to understand what my mutuals see in the old man music cinematic universe. I have loved and supported their derangement from afar in my life and would like to dip my toes in, so to speak. so I come to you humble now and ask: where can I get information about the beatles that will make me think about old British boy band members exploring eachothers bodies? if it helps, I dont mind their more well known music, but I've never really dug into it properly.
Oh man. You've no idea how tough this is to answer lol. My derangement regarding the Beatles has been built up over 6 years now and I hardly remember how it even began.
I suppose that yes, if you're new, you should begin with listening to all their music because it's genuinely very good stuff. Their filmography is also good. If you haven't seen any of their films yet, it's a great place to start because the Beatles' looks, personalities, and sense of humour are just as important to understanding their appeal as their music is (in order: A Hard Day's Night (1964), Help! (1965), Magical Mystery Tour (1967), Yellow Submarine (1968), and Let It Be (1970) - most of these should be free to watch on Dailymotion).
If you're very serious about the Beatles and into the history on an actual academic level, this is a pretty good list of free resources to browse through.
My personal introduction into becoming an actual gay Beatles truther was a series of fan-made documentaries on YouTube called Understanding Lennon-McCartney. It's been a very long time since I've seen them, but I remember them blowing my mind and making me believe in the concept of soulmates. As fun as it is to make jokes about the Beatles exploring each other's bodies, there's something genuinely profound and beautiful about Lennon and McCartney's relationship that shouldn't be overlooked. Chris Evans said it best:
The Understanding Lennon-McCartney documentaries series is also just the most comprehensive overview of McLennon that I know of, even if it's semi-outdated now. I watched them in 2019 and even in just the last 5 years, a lot of new McLennon info has come out. We are truly living in the golden age of Beatles RPF.
One of the biggest recent developments was Peter Jackson's 2021 Get Back series. They're basically a revamped version of Let It Be (1970) and also required viewing at some point. I know a lot of Beatles fans who were introduced to the band via Get Back so I suppose it's not a bad place to start if you're so inclined, though since they chronicle some of the last days of the band, I think they can be best appreciated if you're already at least somewhat familiar with the boys.
After watching all of that, I think you'll have a pretty decent foundation of what people on Tumblr are talking about. Then oddly enough, I'd consider Tumblr the best resource for info. There's more in-depth Beatles talk on here than any other website as far as I know and, in my experience, I learned a lot just by freely exploring various tags and blogs.
There's also the Beatles biopic cinematic universe which is worth dipping your toes into if you like RPF and want an entertaining way to learn the gist of the band's history. There's a lot of low budget biopics out there about those boys. Even I haven't seen them all yet so I wouldn't say watching them is an absolute must, though there's three iconic "gay john lennon biopics" that are entertaining bc of how genuinely gay they are: The Hours and Times 1991 (about John's relationship to Brian Epstein), Backbeat 1994 (about John's relationship to Stuart Sutcliffe), and Two of Us 2000 (about John's relationship to Paul McCartney; the most iconic and revered of all Beatles biopics).
I don't really know what other reccs to give. If anybody wants to chime in with other suggestions, go forth! There's just so much Beatles lore and it's easy to become overwhelmed by it all so definitely take your time lol. And if you ever have any specific questions about the Beatles, I'd be very happy to answer them!
Happy RPFing!
#i've actually been toying with the idea of making a complete lennon-mccartney manifesto so all the knowledge i've collected over the years#would be good for something but such a project would take so much work and i'd prob need others to help with it lol#the beatles#ask
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April 5th 2024, happy beloved 78th birthday to the one and only Jane! She’s been my inspiration for around 12 years since I first discovered about her. It’s been a wonderful journey getting to share new pictures I find, my scans, colourisations and accurate information in regards of the pictures I found. May I be able to meet her one day. 🤍
This post will be divided in two, as the picture shown was used for two different newspapers that I scanned therefore the subtle mark on the photos. And you might have seen the photos with my old username so I am sharing them with the new one!
Jane Asher and Gawn Grainger as Juliet Capulet and Romeo in “Romeo and Juliet” presentation while being on tour in the USA, 1967.
First picture is my edition and enhancement from historical picture auction scan, second one is my scan from the newspaper, and third one is the scan of the newspaper.
Jane Asher-More Than a Beatle's Bird
In cities all across the U.S. this spring Beatle fans are swarming to a touring production of Shakespeare's Romeo and Juliet staged by the Bristol Old Vic Company. When Juliet appears on stage for the first time the reaction is almost always the same. Applause thunders through the theater. Flash bulbs pop—electrifying the scene like summer lightning. At the end of the play young girls scream the name of the actress who plays Juliet: "Jane Asher! Jane Asher!" This is the girl they have come to see. To a Beatle fan Jane Asher's romance is even more exciting than the story of Romeo and Juliet. Jane Asher, in case you haven't heard, is the girl friend of Paul McCartney-the last unmarried Beatle.
An Interview With Jane
To find out what kind of girl dates a Beatle and also has enough talent to
perform in one of England's most respected theatre groups, CURRENT EVENTS Editor Nancy Malone talked to Jane Asher in New York City. The 20-year-old actress seemed puzzled when asked why teen-age girls scream for her. "I don't really know," she said “and I don’t think they’re quite sure themselves. Once they’re with me, they seem a little lost and aren’t sure what to do or say”.
Miss Asher, in contrast to her fans, is not at all confused. She is looking the forward to a successful career in the theatre—on her own merit, not because of her friendship with a Beatle. The actress with the golden-red hair is well on her way to stardom. Her portrayal of Juliet with England’s Bristol Old Vic company has been highly praised. The company is nearing the end of 16-city american tour, which began in Boston last January. After appearances next month in Bloomington, Ind., Detroit, and Cleveland, the company will perform at expo 67 in Montreal. Then the actors and actresses will retur to England.
Does Jane Asher hope to do more Shakespeare? "Oh, yes." she said, “I'd like to do all the Shakespearean heroines-especially Lady Macbeth. But I'd also like to do modern comedy. I wouldn't like ever to stick to just one thing. For example, I don't want to do all movies or all stage. Though if I had to choose, I'd choose stage. I like having a live audience.
Movie Fame Unimportant
"I know you can become more famous by being in movies,", Jane said. "but I've had a taste of that kind of glamor, and I know I don't want it. I want to be a good actress." Jane, who has been acting since she was five years old, comes from a show business family. Her brother, Peter Asher, has toured the U.S. several times. He makes up one-half of the popular singing duo Peter and Gordon.
But Jane hesitates to encourage outer young people to become entertainers. "It's really not the glamorous life people imagine. It's hard work with rehearsals all day and shows every night. And when you come right down to it, acting is really only pretending you're something else on stage." Although Jane made several films during her childhood, she attended regular m schools—not acting schools for m professionals. "I'm glad I got a normal education," she said. "I think it gave me a more balanced view of life. In addition to several Shakespearean roles, Jane has played Alice in Alice in Wonderland, Wendy in Peter Pan, and Eliza Doolittle in Pygmalion. Juliet, however, is the highlight of her career.
Jane and the Bard
She is particularly delighted that she is helping to acquaint American teenagers with Shakespeare. She commented on her own attitude as a 13-year-old: "I suppose I felt as all English schoolchildren do-that Shakespeare was pretty dull stuff with lots of language I didn't understand. I know I wasn't mad about it." Now, at 20, she believes that Shakespeare wrote "the greatest roles in the world." She added: "On this tour, I've gotten a lot of mail and it has meant a great deal to me. Some of the letters from kids say “We came to see you. We were so surprised. We really liked the play.” “That’s great. That’s a real accomplishment to me —as an actress”.
#jane asher#the beatles#60s#beatles girls#actress#lady jane asher#something about jane asher#model#beatles women#1967#romeo and juliet#redhead#red hair#vintage#1960s
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Hi, it's me again!
Do you know if there's a playlist somewhere of what music the Coffee Gang would listen to?
I feel like maybe a few artists were mentioned in the comics from what I've read so far, but I wonder if you had an inkling/headcanon/any idea what the characters would enjoy.
... Now that I'm thinking about it, the weird temporality of comics might make this an issue...
Oh this is a super fun question which I have no ready-made answer for. (If anyone reading this does have a playlist made or opinions on the subject, share 'em in the notes!)
Going by the comics timeline, I'd start with late 60s/early 70s rock and disco hits. MJ seems the most tuned into new music by way of youth culture and dance venues. Stuff by the Beatles, Beach Boys, Monkees, the Foundations, the whole top 40s list. (ASM #45/130)
Emphasis on female solo acts, maybe: MJ pulls an Aretha Franklin album from Peter & Harry's shelf, and I bet she likes Nancy Sinatra. Wherever she goes, the first thing she does is often to turn on some tunes. For the most part, she's the group tastemaker.
As for Peter, I'm guessing this ask was prompted by ASM 136:
It's a running joke that being Spidey keeps him a decade behind [current date] pop culturally. Ella Fitzgerald's career dates back to the 30s; I like to think that most of Peter's music taste + collection is inherited from Uncle Ben and Aunt May. Though humorously cynical nerd Pete might've had time to latch onto Tom Lehrer pre spider-bite, the way some modern high schoolers have a Weird Al phase.
The Osborn-Parker record collection is probably mostly Harry's, covering similar cultural territory to MJ's tastes. Maybe there's a never-opened Wagner opera in there courtesy of Norman. The girl on the cover of Hip Hug-Her always reminds me of Gwen, but I have no idea where her music taste might go. Movie soundtracks, maybe?
ASM 151 has notes on JJJ's music collection, of all people: Guy Lombardo, good lord. (And Mantovani is an orchestra conductor.)
Flash is a bit mysterious because his background took a while to fill in. In the far future of ASM 574, he listens to Tom Waits on Peter's recommendation. I was kind of nursing the headcanon that his dad kept Johnny Cash around the house and referred it to the only music for real men left in the world but rarely played any of it, until Flash got around to listening on his own and to his surprise really emotionally connected with it and reclaimed it into his own music taste...
In any case, there's a bit of music still left once Gwen leaves the scene. Kung Fu Fighting is PeterMJ's song, for one.
One of the last big nights out of the classic era is to the disco in SSM 24! This delightfully camp villainous music group is unfortunately not available on any music platforms, but KC and the Sunshine Band, the Bee Gees, the Jacksons and the Trammps certainly are.
And finally, based on this random panel whose issue I've forgotten, I like to think MJ got everyone into new wave at some point. The B-52s, Talking Heads and the Waitresses have reminded me of her. I also think her modeling connections would introduce her to the NYC weird art scene of that era, like Klaus Nomi, Grace Jones, and Laurie Anderson. By that time it would mostly be the Watson-Parker music taste, though.
Well, that's a whole lot of links to individual songs and not a coherent playlist at all, but I wanted to cover as many different bands/eras/ideas as I could work in. I'm sure I missed some though.
#ok HERE'S weird trivia: the Aretha album in ASM 130 didn't exist when that issue came out#but a compilation album by that name did come out in 1980. seven years later#coffee bean gang#comics#olivertxt
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The Best Album Per Year for Sixty Years
No-one asked for it, of course, but I do like making lists, so here's me pondering what have been the best Long Players in the album artform the past 60 years. I originally tried to keep it to just one per year, but many years that proved impossible: when listing multiple albums I have tried ranking them with the one I feel narrowly edges out the others first, and I use lower case to indicate an album that is not at the same level as others on the list but was the best I've heard from that time.
Feel free to have fun with the list and make up your own.
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1962 Bob Dylan - Bob Dylan
1963 The Freewheelin' - Bob Dylan
1964 another side of - bob dylan
1965 Highway 61 Revisited - Bob Dylan
1966 Pet Sounds - The Beach Boys / Blonde On Blonde - Bob Dylan / Revolver - The Beatles
1967 Magical Mystery Tour - The Beatles / The Velvet Underground & Nico / Parsley, Sage, Rosemary & Thyme - Simon & Garfunkel / Safe As Milk - Captain Beefheart
1968 Astral Weeks - Van Morrison / The White Album - The Beatles / Bookends - Simon & Garfunkel / We're Only In It For The Money/Lumpy Gravy - Frank Zappa
1969 Let It Bleed - The Rolling Stones / Abbey Road - The Beatles / In A Silent Way - Miles Davis
1970 Bridge Over Troubled Water - Simon & Garfunkel / Plastic Ono Band - John Lennon
1971 Imagine - John Lennon / Blue - Joni Mitchell / What's Goin' On - Marvin Gaye/ 2 - Moondog
1972 Exile On Main Street - The Rolling Stones / Discover America - Van Dyke Parks / Clear Spot - Captain Beefheart / Ege Bam Yasi - Can
1973 Raw Power - Iggy And The Stooges
1974 Blood On The Tracks - Bob Dylan
1975 Horses - Patti Smith / Discreet Music - Brian Eno / Wish You Were Here - Pink Floyd / Velvet Donkey - Ivor Cutler
1976 The Ramones - The Ramones
1977 Low - David Bowie / New Boots & Panties - Ian Dury / Marquee Moon - Television / 77 - Talking Heads
1978 Music For Airports - Brian Eno / This Year's Model - Elvis Costello / Third (Sister Lovers) - Big Star / More Songs About Music & Food - Talking Heads
1979 Unknown Pleasures - Joy Division/ Fear of Music - Talking Heads / Into The Music - Van Morrison / Sheik Yerbouti - Frank Zappa / Rust Never Sleeps - Neil Young
1980 Remain In Light - Talking Heads / Closer - Joy Division / One Trick Pony - Paul Simon / Common One - Van Morrison
1981 Faith - The Cure
1982 Thriller - Michael Jackson / 1999 - Prince / 4 - Peter Gabriel / Too Rye Ay - Dexys Midnight Runners / Big Science - Laurie Anderson / Nebraska - Bruce Springsteen
1983 Swordfishtrombones - Tom Waits / Murmur - R.E.M. / Hearts & Bones - Paul Simon / Off The Bone - The Cramps
1984 Purple Rain - Prince & The Revolution / Hatful Of Hollow - The Smiths / Various Positions - Leonard Cohen / Reckoning - R.E.M. / The Unforgettable Fire - U2
1985 Don't Stand Me Down - Dexys Midnight Runners / Rain Dogs - Tom Waits / Around The World In A Day - Prince & The Revolution / Suzanne Vega - Suzanne Vega / Hounds of Love - Kate Bush / Hunting High & Low - A-ha
1986 Parade - Prince & The Revolution / So - Peter Gabriel / The Queen Is Dead - The Smiths / Graceland - Paul Simon / Steve McQueen - Prefab Sprout / Blood & Chocolate/King of America - Elvis Costello
1987 Sign O The Times - Prince / Strangeways Here We Come - The Smiths / The Joshua Tree - U2 / Actually - Pet Shop Boys / Tango In The Night - Fleetwood Mac
1988 Irish Heartbeat - Van Morrison & The Chieftains / Green - R.E.M. / Viva Hate - Morrissey / The Serpent's Egg - Dead Can Dance / Surfer Rosa - Pixies / Naked - Talking Heads / Introspective - Pet Shop Boys / I'm Your Man - Leonard Cohen / Blue Bell Knoll - Cocteau Twins
1989 Disintegration - The Cure / Technique - New Order / Doolittle - The Pixies / Oh Mercy - Bob Dylan / Avalon Sunset - Van Morrison / Rei Momo - David Byrne / Behaviour - Pet Shop Boys / Candleland - Ian McCulloch
1990 Extricate - The Fall / The Good Son - Nick Cave & The Bad Seeds / Songs For Drella - Lou Reed & John Cale / Jonathan Goes Country - Jonathan Richman
1991 Screamadelica - Primal Scream / Achtung Baby - U2 / The Bootleg Boxset - Bob Dylan/ Having a Party with - Jonathan Richman
1992 It's A Shame About Ray - The Lemonheads / Henry's Dream - Nick Cave & The Bad Seeds / Automatic For The People - R.E.M. / Good As I Been To You - Bob Dylan / The Future - Leonard Cohen
1993 Debut - Bjork / Dubnobasswithmyheadman - Underworld / Neroli - Brian Eno / Exile In Guyville - Liz Phair / Come On Feel - The Lemonheads / Zooropa - U2 / Vena Cava - Diamanda Galas
1994 Selected Ambient Works Vol. II - Aphex Twin / Toward The Within - Dead Can Dance / Let Love In - Nick Cave & The Bad Seeds / Dummy - Portishead / Autogeddon - Julian Cope / Vauxhall & I - Morrissey
1995 Anthology - The Beatles / The Ugly One With The Jewels - Laurie Anderson
1996 Boys For Pele - Tori Amos / Gone Again - Patti Smith
1997 Ladies & Gentlemen We Are Floating In Space - Spiritualized / The Boatman's Call - Nick Cave & The Bad Seeds / Time Out Of Mind - Bob Dylan / Vanishing Point - Primal Scream
1998 Up - R.E.M. / I'm So Confused - Jonathan Richman
1999 Play - Moby / I See A Darkness - Bonnie Prince Billy
2000 XTRMNTR - Primal Scream / All That You Can't Leave Behind - U2 / The Marshall Mathers LP - Eminem / Kid A - Radiohead / KY - Lemon Jelly
2001 Vespertine - Bjork / Love & Theft - Bob Dylan / No More Shall We Part - Nick Cave & The Bad Seeds
2002 The Eminem Show - Eminem
2003 Room On Fire - The Strokes / The Man Comes Around/Unearthed - Johnny Cash / The Wind - Warren Zevon
2004 Has Been - William Shatner / How To Dismantle An Atom Bomb - U2 / You Are The Quarry - Morrissey / The Milk-Eyed Mender - Joanna Newsom / Smile - Brian Wilson
2005 Another Day On Earth - Brian Eno / Le Fil - Camille
2006 Modern Times - Bob Dylan / Surprise - Paul Simon / Love - The Beatles
2007 for emma, forever ago - bon iver
2008 vampire weekend - vampire weekend
2009 No Line On The Horizon - U2 / The XX - The XX
2010 show me the face - michelle gurevich
2011 Angles - The Strokes / So Beautiful or So What - Paul Simon
2012 Life Is People - Bill Fay / Old Ideas - Leonard Cohen
2013 Comedown Machine - The Strokes / Crimson Red - Prefab Sprout
2014 Ghost Stories - Coldplay / 1989 - Taylor Swift
2015 ★ - David Bowie
2016 Lover, Beloved - Suzanne Vega / Stranger To Stranger - Paul Simon
2017 American Dream - LCD Soundsystem / antisocialites - alvvays
2018 music for installations - Brian Eno
2019 weezer (teal album) - weezer
2020 rough & rowdy ways - bob dylan
2021 happier than ever - billie eilish / lindsey buckingham - lindsay buckingham
2022 dragon new warm mountain i believe in you - big thief
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The Great Covid Beatles Binge, Day 1: Nowhere Boy
I am stuck in bed with Covid and have decided to spend my time binging all the Beatles movies, docs and biopics I've never gotten around to. Up first, Nowhere Boy (2009)
OK this opening shot is actually stunning? The first chord of A Hard Day's Night and John running through Liverpool and stumbling just like in that movie. STRONG opener!
“Do I ignore you? No. So please don’t ignore me.” makes me think of "Don’t 'nore me Mimi!"
Oh Uncle George! I don’t know if their relationship was really this lighthearted and warm but it breaks my heart to think that sweet John couldn’t have a positive father figure in his life for long, he clearly needed that.
John making weird little sounds while he doodles and then doesn’t even know that he’s being asked about his favorite guy. “Churchill sir!”
This poor actress has really been type cast as Messy Mom. I feel like she usually plays meaner/more fucked up characters though so I was skeptical, but I like her in this after all.
"I Put a Spell on You" really is a sexy song, damn.
So in the context of this movie, these scene doesn't even feel all that scandalous. This entire movie to this point (and going forward) has been framed a romance between John and Julia, so by the time you get here it's like yeah, I guess that's what we're doing. The writer of this movie read that one quote of John's talking about having feelings of attraction to Julia and really went WILD with it.
I'm shocked that they didn't try to find some way to get the song "Yes It Is" into this movie. Clearly someone has a theory:
If you wear red tonight
Remember what I said tonight
For red is the color that my baby wore
Anyway, this forest scene was hot.
I love Aunt Mimi and John teaming up to haggle with the man for a better price on the guitar. “That’s not very good is it John?” “Borderline mediocre if you ask me”
What is going on with this lodger and Aunt Mimi! I feel like I'm getting a vibe.
OK unsurprisingly, I need there to be like %1000 more significance placed on this scene.
I'm gonna pause here to talk about casting. I don't believe that actors need to look just like the subjects they're portraying, it's more important that they can carry out the essence of the character, but I do feel like sometimes, with certain characters, there are some aspects of appearance that are important. Like I think it is important that Paul is very pretty, both for his own character and for John's perception of him. And in this instance, the John actor is just objectively much prettier than the Paul actor and that's simply wrong. John would never in a million years say this little boy looks like Elvis!
This scene is such a mess, this movie is just making shit up now. Julia at literally every one of their gigs. John being weirdly jealous of Paul's relationship (??) with Julia. Paul being a great and confident lead guitarist! This last point in particular gets me because if that were the case, what's the point in bringing in George? Which happens in the next scene! There's absolutely no build up, it's just like here's George.
Justice for George, once again a nonentity in a Beatles movie. At least in Backbeat he had a couple funny lines.
Mimi made him birthday dinner and bought him a new guitar!! But he didn't show! Excuse me while I sob. This trope always gets me. I think the relationship between John and Mimi is my favorite part of this movie.
Ah the infamous punching scene. It really must have especially irked Paul that it was in the context of John grieving for his mother. Like, how dare they take this thing that was such a tender, emotional bonding experience for the two of them and make it into a display of John's macho anger.
Make me think -- WHAT would John have thought of this movie??
"In Spite of All the Danger," my beloved! This song is so good. Peter Jackson, please work your AI magic on the record to give us a cleaned-up version! I'm so McLennon-pilled though that it's very weird to see it in this context. Also, it's mostly a Paul song!
“Hamburg? Humbug!” Mimi, I love you!
OK sobbing. And as "Mother" plays the movie out? It's on the nose but it's working for me.
Overall, a fine movie. The whole concept of the movie as essentially a romance between John as his mother is questionable at best! But there were a lot of lovely shots of Liverpool and I did like Aaron Taylor-Johnson as John. He captured John's silly, playful side that you don't often see. Definitely the Mimi/John relationship was the best and most authentic feeling part of this movie, so I am glad that it ended on that note.
Next up, Give My Regards to Broad Street!
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- OH GOD Paul surrounded by adoring men at the piano. The shiny love of it. I watched it five times, putting off everything that comes after. Paul Bond is glowing out of his fucking skin, and how is he even meant to cope with Paul McCartney looking at him, and telling him things and his hands and his hair. Fuck. Is this the bit that made David Hepworth wax lyrical about Paul's hair? I feel like it is, because I feel like all men watched this bit and wriggled helplessly the way Glyn Johns does when Paul plays and sings right at him, forcing him out of his moodiness and into love. Fucking hell Paul. It is insane that nobody is screaming at him. When Ringo said he would just watch an hour of Paul playing the piano... honestly 12 hours straight.
- When Paul Bond smiles and nods and looks genuinely like he is going to f l o a t away, and he says 'Yeah, sure', but his voice means ''oh god look at you, I love you, anything you say is fine, please don't notice that I'm hard".
- Glyn Johns not at all sure he can manage another day of sitting about with angsty Beatles. I bet he's been sobbing to George Martin overnight, begging not to go.
- The great thing about a piano is there it all is, there's all the music ever, that's it, you know?
Tiny Kevin!
- Paul deciding they should write a script and make a film, and I know he's just filling time, but oh god inside his head must be a ride. "We're in a band who peddle drugs." I love that Ringo is going to be the kindly schoolteacher who inspires Glyn to lead a better life.
- Ringo wants to do a silent film sped up. We could have had a benny hill beatle chase through twickenham, everyone running from MLH who's trying to herd them onto a plane for africa.
- It's the first thing you ever said to me. At Chiswick Park, years ago, we did something. You said what kind of a tree is that, and I said it's a Yew, and you said no it's not, it's a Me.
- And then another fabrication of a conversation, cut into the wrong times, with all the wrong rhythm, and unreliable reactions. But even without that it's an awful dragging thing, too forced and tired, suffocating them, pulling them down even while they try to make fun.
- Peter Sellers shows up and then quickly shows himself out, because he doesn't want to be part of whatever weird thing it is.
John: We'll hold some sanctions against George. Very tightly.
Paul: Wheat-
John: Yes
Paul: And coal.
John: Wheat and coal. Bread loaves. Meat. Biscuits. Cardboard cutouts.
- How beautiful if they'd just gone to a quiet surreal war with him. MLH wouldn't have had the necessary imagination to turn it into a lovely odd little film, but maybe Denis O'Dell might have called someone.
- Honestly I just find the whole conversation hard to look at and I don't want to think about it. I know lots of it is joking around, some of it should be just fine, but there's no life in it. It's exhausted. It's physically painful watching Paul having to be still and surrounded by people who are sick from drugs and drink and stagnation. I don't know how he wasn't tearing his face off. They need to open all the windows and drink a lot of water.
(If I'm overreacting here it's because I find it so hard to be near people who are in that space, all muted and stagnant. I can't deal with it at all. It makes me claustrophobic in my own skin. I can feel it wrapping around my brain, pulling me down. Somehow John's constant chatter and joking makes it worse not better.)
Paul: To wander aimlessly is very unswinging. Unhip.
John: When I touch you, I feel happy inside. I can’t hide, I can’t hide... Ask me why, I’ll say I love you.
Paul: What we need is a schedule.
John: A garden shed-ule.
- LSKDJfoijweojsdflsdf. Everything about how they talk to each other. SHWSdjfjkwjefuisjdfsdf. No words. (I mean, it's not like Paul wouldn't love a garden shed! Almost as good for him as a schedule probably. They could just get a little one and put it in the corner for him.)
- John stroking his hair when he's talking about how he's late because he stayed up getting stoned and high and watching films. He's so soft with his words about it being wrong to get in late, and it's awful because it's meaningless and they both know it.
- So much of John being kind and tender with Paul through Get Back is meaningless and they both know it, and that itself is this soft close thing between them.
- And then eventually getting up, taking his coat, and having to pull Paul towards the music. "I'll even sing you half a song I was writing, come on." Luring Paul to work with the promise of a new song, like holding out a treat to the dog. It's a lovely softness. I think in real life it comes sooner after Paul's 'we can't carry on like this', as though John does notice then that he's half killing him by being blurred and not quite there, and pulls himself up.
Well there's a madman a-coming, gonna do you no harm, he's wearing pink pyjamas and he lives on a farm, he's gonna get you, got to get to somewhere to be alone [...] Fifteen raw potatoes standing all in a row, don't you try to count them, you just got it to go, you've got to get somewhere to be so glad to be on your own, and nowhere to go, nowhere to go, because you're going alone, nowhere to go because you're feeling alone, feeling alone, go home...
- Is it the little rock and roller he was hoping to write on Sunday? It's about feeling alone and having nowhere to go which is fine. Paul sits turned away from John and curled deep in his music which is also fine. Everything's fine. So that's good.
#get back#get back january#long post again I know I know#I'm sorry#but it's the hardest couple of days for me#couldn't word it but I didn't mean to suggest that John is only moving them to do some work for Paul's benefit#I think it's something he very much needs#and usually Paul would be urging him into and he's confused that it's just not happening#and realises he'll have to do it himself#a bit like Paul talks about how they are cross if he's bossy but then confused if he isn't#get back words
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My thoughts on Guardians Of The Galaxy Vol. 3
Spoilers!!! I'm putting a cut right here so proceed at your own risk!!!
Ok so I am in an 80s phase right now, and this...this was just a movie that I loved. Fun, humorous, yet still having the ability to be emotional and, let's face it, dark.
Guardians has, for a long time, been my favorite series in the MCU. Not necessarily comics but definitely MCU. So even though this was only my second Marvel movie in the theater, I still had to go see it.
There were several parts where I actually thought every main character was about to die. If i were to liken it to any 80s movie, it would be Back To the Future 1,2,3. The way it ping ponged between victory and defeat kind of reminded me of that.
Also, I would have loved to hear Rocky Raccoon by the Beatles just once.
Oh well.
Adam warlock being this indestructible comedic relief who ends up having an inevitable character arc, taking to Blurp, and then saving Peter. The only thing that threw me off is, I'm a Narnia fan. HOW IS THAT THE SAME DUDE WHO PLAYED EUSTACE. CLARENCE. SCRUBB?
I know Floor and Teefs were supposed to be cute??, but idk I couldn't get into it.
There's some lovable villains, sure.
Holy $#!% I wanted to rip this mf's face off myself.
I think I hated him more than Thanos.
Which is saying a lot from me.
Anyways moving on I don't wanna talk about him anymore.
The uncensored F bomb was definitely surprising, but not unexpected. At some point it would either be Tony Stark or Peter Quill, and it ended up being the latter.
I liked the new lineup of the Guardians, and how retired guardians were able to be written out without getting killed off (I'm so friggin glad nobody died omg I was scared). I would like to see Mantis and Peter back together at some point, just so see more of their sibling dynamic, but go take care of yourself first, girl.
And I know everyone has their own opinion, but I'm actually kind of glad that Peter and Gamora weren't right back where they were before her death in IW. It kinda broke the mold of 'everyone gets a happy ending and everything is perfect'. We still got both closure and an open ending if they were to bring that relationship back, which I'm fine with either way.
It was refreshing to see a movie with a realistic, albeit bittersweet ending.
Overall, I loved this movie.
I also have a few things that could be linked to religion, but I'm not sure if this is the platform for that.
I would highly suggest going to YouTube and checking out New Rockstars' breakdown videos of the movie, cause Eric Voss made some really good points and predictions.
Little bits of the movie that I live for and cry about.
Baby rocket. Just, baby Rocket.
Baby Rocket's 'Hurts'.
Kid Rocket's wail after Lylla dies.
Peter and Gamora smiling at each other (whild holding Blurp) before their craft literally blows up and Adam Warlock still didn't die.
Yondu's Marvel force ghost.
Kraglin finally saying that Cosmo is a good dog. (He knew it all along.)
Rocket saving the kits and realizing that he is, in fact, a raccoon.
Mantis' cry for Peter as he's dying.
The fact that Peter just had to go back for the Zune to give it to Rocket. Like, baby you can't give it to him if you're dead.
Adam's awkward contribution to the group hug.
"I bet we were fun."
Nebula finally not being a vengeful outraged blue meanie.
Drax adopting like 200 children.
Jason immediately recognizing his grandson.
Come and get your love.
Space husband in a normal earth house eating cereal was something I didn't know I needed. But I live for it.
#guardians of the galaxy#Guardians of the galaxy vol. 3#Peter quill#Mantis#Drax#Rocket#Nebula#Kraglin#cosmo the space dog#The high evolutionary#Star lord#Adam warlock#gamora
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The Honest Review: All Quiet on the Eastern Esplanade -rating from 1 - 5 ( Part 1 )
5. Perfection!🤩
4. I really like it! 🥰
3. This one feels good 😊
2. Just ok/fine 👍
1. Don't like it. 👎
Run Run Run 5/5 🤩
Love it ! Best first single and time has proven it. It's an upbeat, fast-paced rhythm, strong guitars, and fab drums. I am a sucker for classic 50's-60's Beatles-ish beats which have been part of the classic Libs sound. I hear it and I can imagine them giving a strong vibrant live performance at some music festival. I can hear all of them at the same volume and with the same passion. This is a song to scream with and drive fast with, have a few drinks with, or just get your life restarted with it. Right now I very much identify with the song: there isn't enough time to live !
2. Mustang 5/2 👍
Nice laid-back rhythm, loud chorus, clear lyrics telling us about 3 different everyday people dreaming through their lives. It could have developed each story a bit further but went straight to the point. I wish I could understand the last lyrics Carl is singing behind the female voices at the end.
3. I have a friend 5/5 🤩
This is a critique of politics/government, human behavior, and a view of what war causes in people's lives. Love the overall strong sound to it, the urgency of the rhythm: "This is an important message so hear us, hear the human pain "
4. Merry Old England 5/4 🥰
Listening to it plus having the visuals at the same time made me a little emotional, I've been an immigrant for a short time and have seen, heard, and lived the sadness that leaving home brings and the fear of being rejected in a new place. The migrant crisis is a difficult subject to talk about, yes countries should be able to decide what is best for their land and the people but what's the right answer ?
5. Man with the melody 5/5 🤩
Wow man! This song was so good, the man with the melody got me from the start. I love John's voice and the way it was sung. The extra goodness in it is that they all sing this together, I do believe with this album The Libertines have truly become a band made up of 4 members, not just Carl and Peter.
It is a mellow and sentimental song but not sad, it is peaceful and has a smooth feel to it.
6. Oh Sh!t 5/4 🥰
Imo +Jaimie and then Nicky + Imo ( if I am not mistaken ) starting a new passionate relationship of surviving with each other. A theme of moving fast, loving hard, living fully without thinking about the future or consequences:
" What's it even matter You're just young and in love"
I am happy to hear Carl as the main voice and his talent with the guitar riffs untouched. Carl's voice has changed through the years, it developed nicely but I believe there is still more to his voice that should have been exploited.
7. Night of the hunter 5/5 🤩
Classy ! It begins with a haunting guitar and the Swan Lake sample adds to this beautiful ballad. This person has committed a crime and he is on the run, the time is running out but he knows he won't outrun the law.
Pete is lucky to have a voice that has barely aged (I like to think so), he still has that sweetness, and tenderness to it, and of course, his poetry and the way he writes songs are still faithful to himself although we know that co-writing with Carl completes his songs and takes them to the right direction.
Part II soon ...
#the libertines#all quiet on the eastern esplanade#pete and carl#british rock#new music#album review
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Get Back Rewatch 55 Years On: Day 15
The beautiful mess that would’ve been The Beatles plus Yoko Ono plus Billy Preston plus Bob Dylan plus whoever else. Although I guess that is sort of what George went on to do. He really did just want a group of friends that cared more about each other than the product, and that’s what he created for himself.
John: And the dream I had was you. The camera: zooms in on Paul’s wounded puppy eyes. John: *staring at Paul* d’you get my meaning? Imagine doing that to literally any other human being. I would not be that intimate with my best friend, my husband, my sister . . . anyone. Let alone my ex, (not literally, you all get what I mean) in front of my current SO and multiple cameras. This kind of thing really makes me wonder what kind of insane shit he must’ve said/done when they were alone, especially in happier times.
George painted his own psychedelic guitar, and it looks gorg. Who painted Paul’s. Anyone know?
How can I Not assume “Stand By Me” is *meaningful* if, firstly, this is the second time you’ve sung it at each other during this project, and secondly, if you look at each other like This while singing it? Then again, when are they not uncomfortably intense when singing together?
“Oh, help me, Daddy. I don’t even know how this thing works.” He says about the instrument he plays in the most successful band of all time. Paul can play whatever he needs to to get what he wants out of someone, and that includes dumb.
John’s little “Ookaay.” At Paul’s weird carrying-on about his insecurities with his bass playing. It just screams, “You’re delusional and I’m not getting into this right now.” Which is 1000% valid. Imagine being Paul McCartney and second-guessing your bass skills. Reminds me of that quote where John’s like, “He’s an egomaniac about everything else, but he’s coy about his bass playing. Which is stupid because he’s one of the most innovative bass players . . .”
John and Paul nail the harmony on “HoooooohOoOoOme.” And the LOOKs, you guys.
But also the nonverbal vocal communication! It’s one of my favorite parts about them, really. One of the things that reminds me of how special their relationship is. John makes a face. Paul goes, “brroop”. John replies with a beaming, “Yeah!” To which Paul adds another “brrrrip” as they simultaneously continue the song. It’s just unreal. Nobody does that. They are magical and they were right to think they had special telecommunicative powers.
The lunch orders today are everything you need to know about the Beatles. John: Sparrow on toast. Paul: Boiled testicle. George: Uh, Mal? So, we’ll have whatever the vegetables are, and if they’ve got any cheese sauce for the cauliflower. Ringo: Mashed potato. That’s it. That’s them.
“Then there’s another one,” says Paul, doing a shit job of pretending he hasn’t rehearsed this to sound like some accidental discovery. “Don’t let me down. Oh, darling,” sung suddenly, and forcefully, directly at John, “I’ll never let you down.”
John, beaming like the star quarterback just told him he looked pretty, tucks his hair behind his ears and says, barely hovering in the safety of a joking tone, “Yeah, it’s like you and me are lovers.”
John has of course taken Paul’s game of gay chicken an arm’s reach farther than Paul’s comfortable with, at least in front of cameras, so he can only nod, and brush his own hair back. Stiff, expressionless. "Yeah."
(Of course, Peter Jackson cuts out what eventually evolves into John and Paul singing “we’re a couple of queers” and talking about wearing skirts for the performance)
Am I the only one getting the vibe that John genuinely dislikes Teddy Boy? Not because he thinks it sucks or anything but because he doesn’t like the obvious similarities to his relationship with Julia? Personally, I love it. It was my anxiety song a few years back.
The original lyric to “fancy me chances” was Not “frock” I absolutely guarantee.
Love Paul checking on Billy. Love that they're all, even with everything they've got going, making sure he's set up and taken care of.
Sorry not sorry that I’m so thirsty over literally every woman in this show, but. Hello, Pattie! She just walks in, ignores everyone else, kisses him Like That, whispers something, and gets out to go live her own life. Queen. Gorgeous. Obsessed.
George Martin praising his children for "working so well together." I love that he refused to produce them after the white album, not because they were being disrespectful to him or anything, but because they weren't getting along. And that, although he's not producing, technically, he can't stop himself coming in to make sure they're okay. He's such a good dad, literally.
John over here being emo af by himself, playing “I Feel Fine,” because he definitely does Not feel fine and he’s just as nostalgic as Paul, which is way too fucking nostalgic. Poor baby.
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By Dawn’s First Light I’ll Come Back To Your Room Again
In his book, ‘Paul McCartney The Lyrics’, he’s possibly most coy when discussing ‘I’m Carrying’. He mentions a few theories, none of which seem to be reflected in the lyrics, but leaves the meaning open. As is his right. Fun to leave things a bit enigmatic sometimes.
Author, PR and Beatles Liverpool buddy Billy Harry is more definitive in his book ‘The Paul McCartney Encyclopedia’ when he says that the track was “inspired by a former girlfriend of Paul’s”.
If true, there’s more than a few candidates from the 60s. I’ve seen Maggie McGivern suggested. Could be, who knows.
Or…does that line “by dawn’s first light I’ll come back to your room again”, evoke Paul and Jane’s time living with Jane’s family at 57 Wimpole Street, London?
A tall building, Paul had a room at the top, next door to Peter Asher. Jane and her sister Clare had rooms on the floor below.
In her novel, ‘Losing It’, Jane possibly gives away how things worked for Paul and herself when living under her parents’ roof. A character describes how her boyfriend used to stay at her parents’ house:
In her book ‘Fly Away Paul’, Lesley-Ann Jones. discusses ‘I’m Carrying’. This author had previously started work on what was to be a ghost-written autobiography of Linda but it was nixed (Lesley-Ann thinks Paul vetoed it). Anyway, talking about ‘I’m Carrying” she says:
“No, Paul said, he didn’t write it for Linda. He is supposed to have written it about a lover from another life. Jane Asher? Did he still think about her? Were there still thoughts and regrets unresolved?
”He writes about what he writes about”, shrugged Linda when I asked her. He’s got to have levels inside him where I don’t fit, just as I have where he doesn’t. None of us can deny our past. That would be stupid. We certainly never set out to.”
Elsewhere in his lyrics book, Paul recounts this incident:
“Many years later, long after we had lived together in St John’s Wood, I ran into her when I was going to a doctor on Wimpole Street. I’d been walking down the street from Marylebone, and I passed the house and thought, “Wow, great memories there”. Then I went further down the street to where my doctor was, and I was just pressing the bell when I sensed someone behind me. I turned around, and it was Jane. I said, ‘Oh my God. I was just thinking about you and the house.’ That was the last time I saw her, but the memories don’t fade.”
#Paul McCartney #Paul McCartney Lyrics #I’m Carrying #Jane Asher #57 Wimpole Street
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what inspires your writing?
oh this is such a nice question, anon! thanks for sending!
honestly I don't have a straight answer to this. but a lot of my fics give ideas to even more fics or nuanced strands of ideas i can explore. or usually it coincides with what topic I am researching into at the moment - "research" in quotes because it's just more of lots of Googling and collecting information in a notion page lmao. for example, my recent fic with trystan being this person who relies on trickery to get by, was supposed to be a nod to Veles, essentially the trickster god in Slavic mythology - especially because (i'm taking this from wikipedia for a more simpler definition):
According to reconstruction by some researchers, he is the opponent of the supreme thunder god Perun. As such he probably has been imagined as a dragon, which in the belief of the pagan Slavs is a chimeric being resembling a cross between a bear and a snake that devours livestock.
(did i just see snake, dragons and go "yoooo drakovia"? yes. jk but I have been looking into Veles/Volos's story for quite sometime; blame the mythology hyperfixation that pops up every now and then)
but then the reference never made it in because I just couldn't put it into words. however trystan being a magician-adjacent person has been living rent-free in my head. i dont know, i guess I have a special likeness to 'pathetic clowns who can do magic' trope.
some of my fics have been inspired by songs or films - generally other media. chosen family is, yes, a rina sawayama song. meeting at a crosswalk was inspired by the Beatles's abbey road album art - I was listening to a lot of Beatles. I also never really got over my 'past lives' obsession, with have we met before? and exploring the concept of In-Yun as described in the movie (i don't explain it in the fic, but it draws a lot of inspiration; i remember watching THAT BAR SCENE and just babbling incoherently). fourth wall has a very similar energy to that one 'into the spiderverse' scene where miles and peter b. parker are chased across town.
so i just borrow the 'vibes' if I can call it that from what i see around, but the stuff i build on it is purely dependent on what i'm feeling like at that moment or what works best. (sidebar: i love love talking about my writing process lmao, it's the most chaotic thing ever and brings me so much despair but I just love it for what it is)
so yes, specific vibes; specific themes and whatever goes on top, does. which is why my fics are just so specific lmao. like it is this one specific sliver of emotion which is lost in, what I'd call, a salad bowl of a mess. Believe me I have tried writing from a general standpoint; trying to use writing prompts to help me out but then, it spirals into this specific madness that I can never crawl out of. it's become an integral part and I don't think it is going anytime soon lmao.
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Hi Daphne and Phoebe,
Really enjoyed (is that the word?!) the first episode of your new series. 😥
Like you, I suspect that for all four of them (but especially for John and Paul), the narrative that the split was inevitable was – and is – easier than the idea that it was avoidable.
It’s Hamlet’s (dubious) consolation, after all:
“If it be now, 'tis not to come. If it be not to come, it will be now. If it be not now, yet it will come – the readiness is all. Let be.”
With this in mind, however, I was interested to come across Peter Jackson’s comment on Paul’s contemporary reaction to the Jan 29, 1969, conversation between George and John (revealed in “Get Back”) in which the pair plus Yoko discuss George’s desire for a solo album and how this might be accommodated within the band:
GEORGE: And I’d just like to maybe do an album, of songs.
JOHN: Of – on your own?
GEORGE: Yeah.
JOHN: Yeah.
GEORGE: But I mean, I’d like it so that if… uh… [long pause] ‘Cos it would be nice, it would be nice to mainly get them all out of the way—
JOHN: Yeah. It’d be nice anyway.
GEORGE: And secondly, just to hear what I – what all mine are like all together.
JOHN: Yeah, as long – you see, it’s good. If we put [out] an LP and it’s all safe that will be ‘cos it’s together, but George is doing an album and—
GEORGE: Oh yeah, but I mean it’d be nice to, uh—
JOHN: It’d be the same as me doing an album.
GEORGE: —if any of us can do the separate things, like, as well.
JOHN: Well, I mean—
GEORGE: That way, it also preserves this, the Beatle bit of it, more. ‘Cos then—
JOHN: This – there’s an outlet for every note you want.
YOKO: That’s great. That’s a good idea.
JOHN: Yeah.
How ironic that G + J appear to have found the Saving Grace: almost by accident, they’ve stumbled on the Only Possible Future for The Beatles – while the person who would actually have remembered this conversation and might have held them to it – the one who’d been carrying them all for months – just happens to be out of the room!
Talk about lost possibilities… it’s like one of the medieval Grail narratives. 😭
And how obvious does it seem now that this is what Paul should have pitched on Sept 20, 1969 not the touring idea? 😞🥺
Paul's reaction, as relayed by Jackson in 2021, is heartbreaking in an understated way:
"Oh, I wish I knew they said that at the time."
https://youtu.be/L_HArQpzaYg?t=246
Hello @this-swan!
Sorry for the late reply to this ask, which was received after Episode 1 of A Mistake in Many Ways.
By this point, we've covered much of this in the first three episodes of the series (see Episode 3 for more on why Paul’s touring idea was in fact NOT DAFT 😇), but to address a few of your points:
To a certain extent, we think the breakup was inevitable; at least we think the breakup between John & Paul was. John and Paul seemed to both agree (they've said as much) and disagree (they've said as much!).
As for the band, I think the fairest thing to say was that a breakup of the Old/Original Beatles was inevitable... but that it was at least possible that they could've continued in a New/Revised Configuration. But that's a big "IF" and of course it never got to that point due to John's behavior in the Divorce Meeting. I think it was impossible to negotiate after that, because Paul took John's words/actions to heart. And although John subsequently made NUMEROUS oblique gestures to Paul (as detailed in the podcast) he never said “let’s not break up” to Paul’s face. If he had, things may (or may not!?) have gone differently.
As far as Paul's recent comment to PJ about wishing "they had said that at the time" ...Paul certainly wasn't unaware of the possibility that they could all do solo albums (!?!), so I don't think this changes anything (especially since George had plenty of opportunity over the subsequent 15 MONTHS to make/start his solo album and yet didn't until after the Beatles were officially broken up). So to be blunt, I don’t think Paul’s comment really means much! He doesn’t want to take blame for breaking up the band, so what else can he say?
As we said on the podcast, we think these details, while fascinating and fun to parse out, are not what ultimately caused the split. In the simplest of terms, it was John's behavior in the Divorce Meeting (from Paul’s POV and therefore in functional reality). The amazing and sad thing is that John didn’t seem to understand that, which again suggests (to us) that he wasn’t committed to ending the group.
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