#a time for giving 1969

[thatsprettylane]

A Time for Giving (1969), starring Pete Duel and Kim Darby

[thislovintime]

Peter Tork and Reine Stewart, (in photo 4 with baby Hallie); photos 2 & 3 by Henry Diltz, photo 4 by Nurit Wilde.

A long read, taking a look at Peter from circa 1969 to 1980, with very frank reflections by Peter from the early ‘80s through to 2009.

“[After the end of The Monkees] Tork found out he'd paid half again what his house was worth, so he wouldn't have been able to get back his initial investment, even had he sold it. For a while he leased it to Stephen Stills, who’d gotten over the rejection of not being selected as a Monkee by becoming a superstar on his own, first with Buffalo Springfield, then in a trio with David Crosby and Graham Nash. Tork and his girl friend [Reine Stewart], who was then pregnant, went back East with the idea of becoming organic farmers. Late in 1969 Stills moved out, with a few months of rent paid up, so Tork and his girl friend returned to finish out the decade. ‘We were there for a few months, but it was much less comfortable. Then a fellow came in and took it over, a would-be-guru type, who ran a colony there. When he quit paying the rent, it was foreclosed.’ Next they moved into a house in Beverly Glen owned by David Crosby. Tork's daughter [Hallie] was born there in January 1970. ‘We stayed there for a while, and I became involved with another woman, and my girlfriend and I broke up,’ he said. [...] One lesson, well learned only recently, has put Tork off alcohol since 1980. ‘I was able to change my course as early as I did, relative to some of the stories I've heard, because of my dabblings in Eastern philosophy,’ he said. ‘Because of that spiritual experience I had beforehand on acid (which has since been validated and expanded) and because of a few experiences in community, I've been allowed to recognize that what I really did want to  find on a day-by-day basis was spiritual surrender. Now I am not in charge, not in the sense that somebody else is in charge, but in the sense that what is in charge is larger than I can know by myself, but I have to trust it. ‘I can't ascribe my alcoholism to fame,’ he went on. ‘I can more easily do it the other way around. One of the things about alcoholics, to the extent that I've been able to make any observations, is that we are either above the crowd or below it – or both at the same time. The reason you shoot to be above is because you feel below, and the reason you feel below is because you're not part of, never one of the guys. You envy the people who seem to have a certain contentment. The character makeup that sent me into pop stardom is the same character makeup that sought to anesthetize myself with chemistry. I found that it was not until I put all of that chemistry behind me that I began to get back in touch with my place in the human scheme of things.’” - When The Music Mattered (1984)

Peter Tork: “Yeah, I was a serious substance abuser, I abused some serious substances – and they abused me in return, it was only fair. But I’d like to report now, for the sake of all those who care, that I haven’t abused a single substance in a long time. I’m actually, I’m very happy about it, although I have to say that it has nothing to do with willpower or, you know, strength of character or any of that kind of thing, which a lot of people talk about. It was just surrender, it was just giving up.” Q: “And it was expensive.” PT: “No. It was beer.” Q: “Oh. All right.” PT: “Drank too much beer.” - The Rik Turner Show, January 1994

Peter Tork: “There never was a time I couldn’t drink. My parents let me drink wine if I wanted with dinner, or a sip of cocktails or a bit of beer, nobody ever cared, and I never got too deeply into it when I was young. But it’s pretty clear that everybody’s… that alcoholics have a curve to their disease, to their syndrome, that is basically not affected by life or by anything else, just it’s genetic, it’s in their bones. And I guess my curve hadn’t taken over me, it didn’t… I didn’t even notice I was in trouble until my late thirties. One or two friends of mine knew I was in trouble before that, but not many. [It appears there’s a genetic history] My father died at 86, you know. It’s hard to say that he died of alcoholism, because alcoholics at best die in their sixties, or early sixties, you know, most alcoholics who can survive, who don’t die of anything else, who just die of the organic damage alcohol does to them, die in their sixties. So it’s hard to say, you know. But I think the best teller of the disease; well, there’s two good tells, I think. One of them is: do you drink when it’s against your better interest to do so, and when the information is there that lets you know that it is. And the other is: personality changes, you know. And I used to see my father with personality changes. My mom drank like a fish, but she may not have been an alcoholic, it’s hard to know. But almost certainly my father was. And that’s the only genetic information I have.” (x) [...] Q: “Did anybody approach you, and say, say, 'Peter, man, what are you doing?'” PT: “Nope, nope, nope, nope, nope.” Q: “Wow.” PT: “Because I never... because my... listen, I have a very high-bottom story, really. You know, I would get drunk and behave badly one night, and it wouldn’t happen again for months and months and months. And everybody thought, oh, well, Peter’s just, you know, he’s just had a few too many. And it didn’t happen all the time, and, you know, like the man says, you know, 'I didn’t get into trouble every time I picked up a drink; every time I got into trouble, I’d been drinking.' But if your bouts of trouble are months and months apart, as they were with me, nobody notices the pattern until you come back and say, ‘I’m not drinking anymore,’ and they go, ‘Oh, well, that explains such and such,’ you know. A lot of my friends who weren’t drinking noticed sort of more in hindsight. ‘Oh, yeah, now that you tell me this, now that makes more sense than it did before,’ some event in their memories suddenly makes more sense, and that kind of thing. But, so nobody said to me, ‘Peter, Peter, you’re playing in traffic, and you’re going to get hit.’ [...] In my view, one of the things about my being an alcoholic is that it did keep me from applying the kind of concentration that let me be as good a musician as I want to be. In other words, it’s like every so often I would pick up a new instrument, and so if I could only play many fewer instruments and play them all all commensurately better, I think I’d be a happier musician today. [...] I picked up the trumpet the other day. [...] I really would rather concentrate on the things I can do somewhat well rather than waste time doing things I can’t do at all well.” - Take 12 Recovery Radio, (late?) 2000s

“The bottom came for me in June, 1980. Then I managed to quit drinking. The following January I had my last toke of grass and last toot of snow. Since then my career has been puttering along at a steady rate.” - Peter Tork, The Monkees Tale (1989)

“I was never inherently afraid of my situation. When I found myself [in the early 1970s] in a boardinghouse with my daughter [Hallie] in a room for twenty-five dollars a month, sleeping on a mat on the floor, I was not discouraged.” - Peter Tork, When The Music Mattered (1984)

“[In the mid-1970s] I went to Southern California and sort of assembled a family. My daughter [Hallie] from my previous marriage [to Reine Stewart] came to live with me and my woman [Barbara Iannoli], who I then married and had a son [Ivan] with." - Peter Tork, Goldmine, 1982

“[Hallie] says that she has a better relationship with me than any of her friends have with their fathers. It’s a good thing for us, and I hope that the others’ aren’t catastrophic. Because otherwise it means (laughs), otherwise it’s small praise.” - Peter Tork, WDBB, February 2006

“Somewhere along the line, it finally sunk in. Not only that I couldn’t drink safely, which I knew, but that there was no pretense, no way to pretend to you or me that there was a chance of a pretense of drinking safely. And somehow, that got through to me and I was able to turn and make some requests… and go find the help that I needed. [...] So I got a community. And with a community, who had been through ahead of me what it was I needed to go through, I was able to give up my will. So it was no longer a matter of, ‘Man, what willpower you’ve got, you haven’t had a drink in 28 years, how do you do it, man? If I had your willpower…’ Ah, ah, ah, ah, ah. It’s not having the willpower. It’s giving up the willpower. It’s surrendering, hopefully, to a dedicated community, for starters that — for me — a dedicated community that enabled me to begin the slow process of dealing with all the stuff that I drank about in the first place. Which is all the ways that I had, you know… because I felt like I was — I knew I was a runner-away, I’d run away all the time. And that made me a cheat. And since I knew I was a cheat, I cheated you. Vicious cycle. I cheat you, so… and then I run, and that makes me… and I know I’m a cheat, so it doesn’t matter whether I cheat, because that doesn’t change anything, so I cheat and I run, and I cheat and I run. Everything. Relationships. I was pretty good with cash register honesty, I learned that at my father’s knee. But almost every emotional honesty available to me was not available to me. And I — I’ll tell you the truth, folks, 28 years later, that emotional recovery, emotional honesty, the emotional — the honesty and depth is, right now, my biggest challenge. I ain’t got it yet. It is better than it ever was, and I’m beginning to — I feel like I’m rounding a corner. Of course, I’ve been feeling that for 28 years. But it feels like I’m getting better. And I know I am. The quality of my friendships is richer and deeper and stronger, my friends are more important in my life, and I’m more important in my friends’ lives. And I am able to hear when somebody says, ‘Is that exactly what you had in mind right there? Is that a perfectly honest…’ And I go, ‘Well, maybe not, I think I can probably do better than that,’ and work on it. In other words, because I have what I can rely upon, I am able to get better, and getting better enables me to stay sober, staying sober enables me to get better, and that cycle, which was a  vicious cycle before, is now a benign cycle, and it’s taking me to some really wonderful places.” - Peter Tork, Recovery Fest, 2009

[mooodyblue]

tbh whenever i remember e i always remember him being so GOOFY like he's so funny

- 🐈‍⬛

no literally i love his sense of humor 😭 especially on stage he can say the corniest thing ever but then go on a sing like an angel i love that for him

[assiraphales]

people responses to Sesame Street not getting renewed r so funny bc they’re all like “it’s a show they’re supposed to end” bro it’s been going on since 1969. america loves the muppets. it’s supposed to go on forever. “it’s not that good anymore” bc hbo bought it, cut its run time in half, and hid it behind a paywall. the show was supposed to give underprivileged children access to the early education. “ kids don’t watch tv anymore” huh?? if ur initial reaction to the characters of 123 sesame not having a home anymore is “who cares” then ur not the audience and move on. they’re beloved family members to ME!!!!

[whatevergreen]

That time police peed on food for hungry children...

Bobby Seale Checks Food Bags, 1972 - Howard Erker

Free Breakfast for Children Program and The People's Free Food Program, 1969-1980.

In the early years up to 36 programs were running nationwide, feeding tens of thousands of children and poor families. The great success of this program was viewed as a threat by FBI director J Edgar Hoover:

"Hoover recognized that through the program the Panthers captured the loyalty of many black children by giving them free breakfasts. He was also angry that the breakfast program won liberal whites’ and moderate blacks’ support for the Panthers. Hoover perversely justified FBI attempts to destroy the program because it “is potentially the greatest threat to efforts by authorities to destroy what it [the Black Panther Party] stands for.” The FBI’s attempts to destroy the program included sending forged letters to stores to discourage them from donating food, spreading rumors that the food was poisoned, and even raiding sites while children ate."

And then there's such as this:

Despite such as this, the programs continued helping people in need for many years.

The Seattle chapter of the Black Panther party was the last to hold out, members managing to continue the breakfast program until around 1980, even after the chapters own demise in 1977.

The Black Panther's food programs directly led to the development of the national school breakfast program, and has inspired community based revivals ever since.

Also:

Other less well known services also existed included a Free Shoe Program, and the People's Free Clothing Program which provided quality clothing to Black communities. This program helped children get winter clothing to attend school and helped adults find suitable attire when seeking employment.

Credit for some elements of this post goes to the People's City Council - Los Angeles (@PplsCityCouncil) / X

[freedomfireflies]

Overdrive*

Summary: The one where it's 1969 and Harry likes to drive really, really fast.

Word Count: 5.5k

Content Warning: 18+, smut, multiple orgasms, breeding kink, exhibitionism, very brief daddy kink

Five.

The sound of revving engines echoes between the tall, city buildings. Loud enough to startle a nearby flock of birds on a telephone wire as they take off into the dark night to escape the lurid noise. 

Four.

The smell of burning rubber is everywhere. Tires screech against the pavement as the smoke dissipates into the warm summer air and the drivers prepare for that familiar white flag.

Three.

There’s a murmur amongst the crowd. The bets have been placed and the anticipation has set in. They pick their favorite driver, and they hope that somehow, they’ll be able to beat the unbeatable. 

Him.

Two.

You can see your little speed demon just up ahead as he waits patiently in front of the makeshift starting line. He seems relaxed. Confident. One hand is settled on the steering while the other is flipping the bird to the driver beside him. 

One.

The flag waves and the drivers take off. A streak of color flashes across the street as each of the five cars attempt to take their place ahead of the rest. But nobody can seem to get an edge on the black Lamborghini Miura already skidding around the first curve, effortlessly leaving them all behind.

You grin. It’s harder to see the cars now that they’re on the other side of the buildings, but you can hear them. You can hear his engine, specifically. You’d know the sound anywhere. After all, he spent weeks introducing you to the ins and outs of his favorite toy. Showing you exactly how to care for it, with those rough, practiced hands that also happen to care for you, too. 

You catch a glimpse of his vehicle just before it disappears past the drugstore. He shifts gears and accelerates, just before the blue Stingray to his right can gain on him. You hold your breath as both cars drift around the corner onto the next road and the crowd begins to cheer. 

Harry hasn’t lost a race in weeks. You don’t imagine he could lose if he tried. In fact, he could be blindfolded with no brake pedal and a faulty transmission and somehow, he’d still be miles ahead of the competition. 

It’s one of the things you love most about him. The way his eyes light up when he gets behind the wheel. The way the engine purrs in his hands and the way he can bend the road to his will. 

The Stingray veers to the right in order to get ahead of him, but Harry seems to anticipate this attempt. He cuts the other driver off just before he can speed up and your heart jumps into your throat. The only thing you don’t like about his racing is how careless he can be at times.

If you’re in the car, he takes the utmost care to make sure you’re safe. That you’re never put in harm’s way.

But when he’s alone, he’s in a whole other world of his making. He doesn’t consider the consequences or the repercussions. He doesn’t consider you. The way you’d feel if you lost him. 

And you trust his instincts, you do. But you can’t always say you enjoy the show. 

The Stingray slams on his brakes as Harry takes off and slides around the second to last corner. Tire marks are painted across the cement in his wake and the crowd cheers. 

Your stomach twists. He seems to be doing all right, although one of his fatal flaws is that it’s nearly imposable to tell how he’s feeling. He’s eerily stoic when he’s under pressure and perhaps that’s a good thing. 

But that doesn’t exactly help you now as he zigs and zags across the road before finally reaching the last turn that leads into the final stretch.

This is it. You hold your breath as you watch from the edge of the sidewalk, hands twisting in front of your chest as he races across the last few hundred feet. It’ll be close—the Stingray is gaining on him with each passing second—but Harry’s undeterred. He switches into a lower gear and the engine comes alive. Giving the car torque for those last few inches as he flies across the finish line. And the race is over.

The rest of the cars follow shortly after and the growing crowd of onlookers all swarm the street. They cheer and they holler, and they flock to the handsome driver now stepping out of his vehicle, desperate to congratulate him. But those soft green eyes only search for you. 

When he finally finds you squished between the horde of admirers, he grins, and begins to push his way through to you.

The moment you meet, he picks you up, hugs you to his chest, and spins you around. And you squeal giddily, happy to be back in his embrace as you wrap your arms around his neck and hold on for dear life.

“My little lucky clover,” he whispers proudly. “What did I tell you, hm?”

The nickname makes your insides grow warm. He’s called you his lucky clover ever since that first race when the two of you met. He claimed he only won because he saw you standing there watching and was desperate to impress you. And that every race he’s won since has been because of you and your charming presence. 

You aren’t so sure you believe him, but you have to admit it sounds pretty on his tongue.

You laugh as he puts you back down. “I know, I know,” you finally concede. “You were right.”

“Mhm.” He smirks—cocky—before he’s surging forward to kiss you. Soft and slow and with a desire that almost feels scandalous for such a public place. “I always am.”

His tongue brushes against yours while his hand splays across your lower back to tug your body to his and the crowd cheers as you giggle. But you don’t fight the way he loves you. Instead, you cling to his shirt and allow him to take what he wants.

When he finally allows you a moment to breathe, you gaze at him curiously. “How fast were you going?”

“120 on the main stretch. 80 on the curves,” he says, then chuckles at the way you frown. “M’fine, Clover. I promise.”

“You agreed nothing over 100,” you remind him.

“Yeah, but I needed to win.”

“No, you don’t need to win. You need to stay alive.”

“Well, why can’t I do both?”

Unamused, you huff, and lightly slap at his stomach. “Not funny, H.”

However, he merely laughs aagain and pulls you back between his arms. “Come on, sweetheart,” he says softly. “You know I’d never die on you. I’d miss you too much.”

“Let’s hope so.” You push up onto your toes to bring your lips to his once more. “Cause if you die on me…I’ll kill you.”

His smile is smug as he kisses you hard before he leads you back to his car. The large mass follows, anxious to ask him questions or offer their praise. And he listens to dutifully, perching himself on his hood while pulling you between his legs. 

It’s the same after every race. The other drivers try to tease him while his growing group of fans are desperate to be noticed by him. He might not be inherently famous, but he is to this crowd. They love a lot of things about him. His skill, his confidence, his looks. 

And you can’t exactly blame them.

It’s impossible to tell if you want to be him or be with him. You imagine for most people, it’s both. He has a sort of relaxed assurance that seems to make everyone else around him comfortable. And there’s a mystery about him. An intrigue to know more about the man behind the wheel. About who he is outside of these races. What he’s really like. 

He slings an arm around your shoulder and pulls you back into his chest. He talks to the driver of the Stingray and they exchange comments about the almost collision that makes your stomach turn. But when he notices, he presses a quick kiss to your temple and changes the subject. 

However, the rowdy celebration is cut rather short by the sound of sirens as two police cars come slinging around the side of a building with their lights flashing and their microphones on.

Everybody scatters, a collection of wild cheers and hollering voices as the officers step out of their vehicles in order to round up the crowd and instruct everyone to return home.

But Harry is unfazed as he pats your hip and nods his chin up. He’s rather good at his getaway now. After all, you imagine he’d have to be with all the times the police have broken up these races. 

And he’s only been caught once.

You slip inside just as he starts the engine. The radio comes alive, the sound of Jimi Hendrix enough to rival the roar of the motor as places one hand on the back of your seat in order to look behind him before he speeds away from the scene, hangs a sharp left, and takes off down the adjoining road. 

The sound of sirens follow. There’s a cop car on the next street over, attempting to chase after him as Harry weaves in and out between the scarce traffic. He’s good—incredibly good—but they haven’t given up yet. 

They cross over and skid behind him. They’re getting closer and the red and blue lights are bright in the rearview mirror. Still, Harry is calm. Simply shifting gears with ease as the car accelerates and offers a bit more distance before he takes a last-minute right in order to shake them.

The force of the turn slings you against the side of the door and you huff as Harry shoots you a cheeky grin.

“Sorry, baby,” he calls over the music. “You all right?”

With a grimace, you nod and say, “Mhm. Just great.”

He winks before he’s blowing through one red light and then another. Somehow missing the few cars currently crossing the street while the police are forced to slam on their brakes as somebody passes. And once they lose sight of him, he veers into an old, abandoned alley to hide.

Seconds pass before they finally fly by. Oblivious to his plan as they head further into town while Harry takes another right and disappears from the city.

He cheers victoriously and rolls down the windows and you laugh as you gaze at him. Entranced by the way he nods his head to the music as a gentle, summer breeze blows through his curls. 

Freedom tastes better with him. Life is better with him. His hand on your thigh, squeezing, while he sings along to Jimi Hendrix and grins at the open stretch of road ahead of him.

You wouldn’t want to be anywhere else and he seems to bask in your admiration before he finally looks over.

“What do you say, Clover?” he says with a wicked gleam in his eye. “Wanna see what a hundred feels like?”

A bit hesitant, yet wildly curious, you nod. 

He reaches for your hand in order to help you across the car, and you crawl over the console until you can settle onto his lap. Once you’re snug over his thighs, his arms slip beside your middle to keep you safe while he holds onto the steering wheel, and you scoot back into his chest for support. 

And it feels good. Comfortable. Even though the car is going faster and faster with each passing second, you feel protected. You know he’d never let anything happen to you. And there’s hardly any danger out here, along the old, backroads away from the city and traffic.  

The needle on the dash rises higher and higher. 70…80…90. Harry’s grinning against your cheek as the wind dances across your skin. The moon is bright in the sky, illuminating the road even without headlights and it’s exhilarating. Limitless.

“How’s that, hm?” he whispers. He kisses your jaw before dropping his foot against the gas. “You sure you’re ready, sweetheart?”

You nod quickly and brace yourself in his hold. “Mhm.”

The car reaches 100 and it feels like flying. You laugh, giddy, and he grins. The straight stretch of empty street might as well be a runway and the faster you go, the lighter you feel. As though the tires will simply lift off the ground and carry you into the sky. 

He shifts gears and the car jolts forward as the needle jumps to 110. You gasp and squirm excitedly over his lap before he suddenly groans. The sound is low and strained and you recognize the lustful cadence almost immediately.

Amused, you bite the inside of your cheek. “You okay, H?”

He takes one hand from the wheel and places it on your thigh. Squeezing it once. Pointedly. “Don’t stop.”

You don’t. You squirm again, settling into the feel of the hardening bulge beneath your ass and he makes another noise that goes straight to your cunt.

Your lashes flutter. The world blurs and your heart races. Perhaps you shouldn’t be doing this while you’re going so fast but Harry is calm. He trusts himself and you trust him.

The needle rises.

“Harry,” you whisper and his knuckles go white against the steering wheel. “Harry, please—”

“What?” His mouth rests against your cheek and you whine. “What, Clover? What do you need?”

He wants to make you say it. Wants to hear the words on your tongue and you swallow thickly as you intertwine your fingers with his. “H…”

“What, baby girl?” He nips at your skin with his teeth. “M’I making you nervous?”

You nod and he chuckles. A dark, sadistic sound.

“Do you want me to stop?”

There’s a quiet moment of hesitation before you eventually shake your head. Of course you don’t. How could you?

“No?” He squeezes your leg, touch slowly slipping beneath the fabric of your skirt. “Good girl.”

The car begins to go faster. 115…118…120. The same speed he reached during the race and even if you knew it was fast, this feels infinitely faster.  

You gasp and clutch his hand. Terrified and enthralled all in the same moment. And even if you shouldn’t be, you feel insanely aroused. Legs squeezing together as he subtly bucks up into you.

The music is loud and the wind is loud and the sound of your heart pulsing in your ears is loud. 

And then…the needle drops. The car slows. The speedometer goes from 120 to 50 in only a few seconds, and you blink curiously before glancing back at him.

He says nothing. His expression is firm but stoic and it’s not until he pulls off the road and into the dirt that you understand.

He turns the car off, then pats your hip. “Get out.”

You swallow again and swing the door open. Crawling off his lap before obediently trailing your way to the front of the vehicle while he follows.

“Bend over.”

You do. The hood is warm but not hot and it’s almost inviting as you place your hands against the covering to brace yourself in wait.

“Let me see.”

Your breath catches as you move your fingers to the delicate panties beneath your skirt. You pull them down your quivering thighs and the summer air makes you shiver. You feel nervous under his gaze. Under the way he owns you. But it’s thrilling. Addictive. And it leaves no room for questioning as you drop your underwear to your ankles in the middle of the open desert. 

You hear him step closer. Feel his hand on your hip as he pulls the fabric of your outfit up in order to get a proper look. But he’s quiet. Almost too quiet, and you feel a touch warm as you wait for his remark.

“Have you been this wet all night, Clover?” he finally asks.

You nod once. “…yes.”

“Mm.” Another pause while his other hand begins to trail up the back of your leg, slowly pulling it open. “And when were you planning to tell me?”

“I…I figured you already knew.”

He hums and you can only imagine his smirk. “Is that right?”

“Yes.”

“Is that what you were waiting for, then? For me to do something about it?”

“…yes.”

The tip of his finger drags its way through your folds and the sudden sensation makes you whimper.

“Then why didn’t you ask, sweetheart?” His tone is soft but condescending and you make another noise as you attempt to glance back at him. “Uh-uh. Eyes down, Clove.”

With a huff, you drop your chin to your chest and anxiously wait for more.

“Why didn’t you ask?” he repeats. “Thought I taught you better than that.”

 When your only answer is a needy mewl, he lands his palm against your ass in a sharp smack.

“Speak,” he murmurs. “When I ask you a question, I expect you to use your words and answer me. Is that understood?”

“Yes…yes, I’m sorry.”

“So why didn’t you ask?”

“Was…nervous,” you admit, glancing off into the dark night to hide the shame in your expression. “Didn’t want to bother you.”

He steps closer and his touch becomes gentler. “You were nervous, baby girl?”

“Mm. Knew you were busy and…and didn’t wanna be greedy.”

“Oh, my sweet girl,” he exhales before he’s grabbing onto the cheeks of your ass to pull you open. Allowing him an even better view of the way you drip. “Can always be greedy with me, you know that? Don’t have to be nervous. All I wanna do is take care of you. My time is yours.”

You release a stuttered breath before your eyes fall shut. You love the way he touches you. The way he cares for you. The way he humiliates you, even out here where nobody can see. 

“Look at you,” he whispers and you feel yourself clench around nothing. “Look at how pretty your little hole is when it’s so empty.”

The pad of his thumb brushes through your folds and he ignores the way you gasp his name.

“Think I should fix that?” he asks. “Think I should fill you up? Make it better?”

“Yes,” you pant. “Yes, please—”

“D’you need me to stretch you open? Hm? Play with your little cunny till you’re coming all over my cock?”

The dirty words inside his gentle voice feel criminal. Your mind turns to mush and you can do nothing more than press your chest into the hood as you excitedly wiggle our ass further into his hand.

He laughs, amused by your desperation in a way that only pushes you further toward the endless edge. “Is that a yes, Clover?”

You nod quickly. Your cheek rubbing against the car until you finally—finally—hear the sound of his belt flicking undone. 

The metal clink is music to your ears and you release a deep moan at the thought of the leather against your skin. Of his cock as it brushes against your clit, mindlessly teasing you past the point of no return.

“Easy,” he says. “Give me your hands, sweetheart.”

Slowly, you pull your arms behind you until he captures them in his hand. He wraps the length of the belt around your wrists until he can securely bind them to the small of your back, and once your mobility is gone, you simper.

“There you go,” he coos. “You okay, honey?”

Another nod. “Yes.”

“Gonna tell me if it’s too much, yeah? If I hurt you?”

“Yes…”

“Know it’s a tight fit, baby, but m’gonna make it work. Promise.”

And this vow makes your heart thumb against the inside of your chest before you feel him disappear from behind you.

And then…his tongue.

He’s dropped into a crouch in order to taste you, fingers locked around your wrists to keep you still while his lips suck on your pussy. 

“H,” you inhale, already undone by his technique. “I…”

He says nothing but the noise of wet licking echoes between your ears. His other hand pushes your leg away, creating more room for his head as he mouths at you. He flicks your clit with the tip of his tongue and you steel yourself against the hood, almost as though to get away.

“Careful,” he warns again. He smacks your thigh. “M’having so much fun. Don’t ruin it.”

And you try to be good. Try to stay still so he can do with you as he pleases. But it becomes increasingly harder when he nips at your cunt like he means to feast on you. 

Your fingers wiggle about the air, desperate to grab him. To clutch onto his curls or yank on his arm. But he keeps you restrained, keeps you compliant. And you are nothing but a toy for him to play with now.

You hear the sounds of the world around you. The crickets, the owls, the flock of birds flying overhead. You’re reminded yet again that anybody could drive by, even out here in the middle of nowhere. They could find you, bent over the hood of a Lamborghini as you get tongue fucked by the handsome man on his knees.

And yet…you don’t care. In fact, you almost hope somebody does pass. Because you know Harry wouldn’t stop even if they did. He’d keep going until you were unraveling in his hands as you whimpered his name.

As if to prove this, he adds a finger in beside his devious lips. “Gotta make sure you can take me,” he says in a low grunt. “S’too tight in here, Clove. Don’t think I’ll fit.”

You whine louder and angle your ass closer. Desperate to get his finger in as far as it’ll go. “I’ll take it,” you promise. “I will. Always do.”

“Always do,” he repeats in a soft chuckle. “That’s right, you do. Treat my cock right, don’t you, sweetheart?”

Nearly purring, you allow the subtle thrust of his hand to drag you closer to that blinding pleasure. 

“Do anything I ask. Even have my babies, wouldn’t you?”

The thought nearly does you in. Your tummy all swollen and full of him. Tits leaking milk that he’d eagerly lap up. The way he’d still treat your body like a temple. A prize to behold. Because you were carrying what he gave you. He fucked you so hard and so deep that you became a vessel for him. 

And even past that, you’ve always wanted to be a mother. Always wanted to start a family with him because you know he’d be a wonderful father. He’d take them to races and hold them on his shoulders so they could watch. He’d kiss all over their little cheeks and tuck them into bed. And your kids would know nothing but love. Because they’d look up to the two of you.

It makes you smile.

“What do you say, hm?” he whispers between kitten licks to your pussy. “You wanna have my babies? Wanna make me a daddy?”

He adds a second finger and begins to scissor them almost immediately until you cry out. Loud enough to startle a bird from a nearby branch and this proves to be answer enough for him.

“Okay,” he decides. “Okay, I’ll fuck your little pussy and get it all nice and full. Give you all I’ve got. And you’ll take it, won’t you? Hold it in your little belly like a good mama.”

You cum. Suddenly and without warning as the intensity of the orgasm explodes behind your eyelids like stars in the sky. You cum and you don’t get a chance to warn him or prepare or even hold off as you feel yourself drip down his hand. 

“God, H,” you moan. You sound pitiful. Voice hoarse from the way you’ve been wailing and arms sore from the way he keeps them behind you. Still, you don’t mind. The pain is pleasure in and of itself. “I…m’so…”

“Yeah.” He stands up and tugs his pants down. “I know, baby. I am, too.”

The tip of his cock drags through your soaked and sensitive pussy before he pushes in. He’s right, it is a tight fit. Even with the way you attempt to relax your muscles and draw him in. But it’s always snug with him and truth be told, you almost prefer it this way.

“There you go,” he breathes, dipping down to kiss your shoulder before drawing back his hips. “Just like that. Fucking hell, Clove, I wish you could see. Wish you could fucking see the way you look taking me right now.”

You wish you could, too. As it is, the feeling is enough to make your eyes roll back and send sparks of electricity up the length of your spine.

He keeps your wrists in his hand as he fucks into you. Sharp thrusts that sound sloppy and uncoordinated but feel like heaven. And there’s an urgency here. A desolate need to feel you unravel. He cares for you and he uses you all with the same technique. 

He grabs your leg and forces it up onto the hood. Giving him more room and a deeper angle just to hear you moan. And you hate that you can’t see him. Because you know how pretty he looks when he’s in control. His adrenaline high and his eyes alive with the possibilities of what he could do to you.

Instead, you choose to imagine. The way a few rogue curls must be sweeping across his forehead, unable to stay constrained beneath the sticky gel he likes to put in his hair. His chest is probably heaving, offering peeks of his tattoos beneath the white shirt clinging to his sweaty torso. His thighs will be flexing with each thrust. The muscles rippling in such a way that would surely make you drool. 

You understand why every woman you pass on the street tends to fawn over him. You know they’d do anything to take him home. Cook for him, clean for him, be good for him. Anything to earn his affection.

But you also know, his affection belongs to you. You’ve seen it, time and time again. He doesn’t even glance their way. He doesn’t notice when they giggle over him or when they try to call to him with their eyes. 

Because his eyes are always on you.

“You’re beautiful,” you hear him whisper. It’s soft—restrained. Almost as though he doesn’t mean for you to hear it. But you do and you nearly sink into the car in bliss. “Fucking hell, sweetheart. You’re perfect.”

A fervent heat rushes through your body from his praise and subsequently has you clenching around him. The feeling makes him groan and you’re proud of the way you can still care for him. Even if you can’t see him. Even if he’s the one with all the power.

“This sweet little pussy takes such good care of me,” he says and reaches around your tummy in order to press his palm against the subtle bulge there. “Every…fucking…time.”

You careen forward, cheek squished into the hood, skin dewy from the way your body shakes with pleasure. It’s always this close and somehow, he keeps you there. As though reminding you not to cum until he says so.

The hand on your stomach moves down until his fingers find your sensitive clit. He rubs and he plucks and he plays with your body with the same precision and skill he uses when he drives. Because no matter how much he loves to race, he loves you more. And winning you will always be infinitely better than winning some goddamn race.

“What do you say, hm?” he mumbles from behind you, rubbing the swollen nerves while pistoning his hips to yours. Dragging you closer and closer and closer. “You gonna cum for me? Gonna let me feel it?”

You nod and when you start to waver over that edge, he chuckles.

“Okay,” he agrees. “Okay, baby, cum.”

You do. Again. Harder this time. Louder. It’s almost cruel how easily your body breaks beneath him but before you can indulge in the feel of the way he follows…he’s pulling out. 

He guides you away from the hood and turns you both around. He sits in the spot you once were and he lets you see him. Because this is what you needed. The intimacy, the eye-contact. The beautiful look on his face.

He guides you closer with his hold on your bound wrists before pulling you onto his lap as best he can. He helps you place one leg back on the hood while his other hand moves to guide his cock between your overstimulated folds. Then, he brushes his swollen tip through, just to tease himself, before he’s pushing in.

And you can see him now. Can see the fucked-out expression on his face. The way his vision becomes hazy and his teeth grit together in ecstasy. 

You whimper, whine, cry out. You want to hold him. Want to wrap your arms around his neck and curl yourself into his beautiful, broad chest. 

But you can’t this time. In fact, he uses his grip on the belt to help roll you over his cock. A soft smile on his face as he whispers, “Just one more, sweetheart. Give me one more.”

He’s insatiable and greedy and you love it. Because you’d fuck yourself on his cock for the rest of time if you could. Even out here in the open.

“Wanna watch,” he whispers, then slips his other hand around the back of your neck to bring you down for a kiss. “Wanna watch the way I fill you all full of my babies.”

You make a rather pitiful noise against his mouth and he smirks. 

“You want that, too, don’t you, Clove?”

You nod, although you imagine it should be obvious. You’d do anything for him. 

“This little pussy was made to have my babies, wasn’t it?” he says and kisses the corner of your lips before moving down your neck. “Just made to be fucked by me. Perfect tummy to carry my kids. You’ll be so good, mama. Know you will.”

Your lashes flutter shut. The nickname breeds something new in your chest, a blossoming sort of urgency that almost makes it hard to breathe.

“Harry,” you plead. You nudge your nose against his temple. “Harry, please—”

“Shh.” His voice is soft. Still mischievous but kind. “I’ve got you. Yeah? M’right here. Just let me take care of you.”

And he does. He moves his hand from your neck to your shirt, slipping underneath until he can find your tits and give them a squeeze. 

“There you go,” he coos. “Oh, baby girl. Do anything for you, you know that? Just to keep you.”

He moves from your chest to your clit, and you know the second his fingers make contact, you’ll be gone. You squirm in anticipation, and he grins against your cheek before kissing you hard. Tongues and teeth colliding as he sucks on your lip and murmurs, “Can I cum in your pretty pussy, mama? Will you let me? Please?”

You nod so quick and so hard, your head aches. But it doesn’t matter because nothing else will ever compare to the feel of his hand on your body and his cock in your cunt. Releasing the warm, sticky offering that means infinitely more now than it did before.

He thrusts up into you a time or two, milking himself with your pussy before he drops back down and pulls you with him.

You’re both panting. Heavy, hard. Depleted of all energy as he holds you as close to his heart as he can.

Eventually, he frees you, tugging on the belt with one, easy pull as it comes loose from around your wrists. And the moment your arms are returned to you, you use them to grab onto his shoulders and bury yourself in his embrace.

He laughs. A delicate sound that makes you feel just as warm as his cock does. And you stay there for as long as you can until he finally nips at your earlobe and says, “Need to get you home, Clove. Don’t want you to get cold out here.”

“M’not cold,” you pout. “And we can’t leave until it works.”

“Until what works?”

You look down and he looks, too.

Then, he grins. A big, giddy grin that’s all teeth and dimples. “Oh,” he murmurs. “Can’t leave until you’re pregnant, huh?”

“Mhm.”

“I see.” He squeezes your hips and kisses your neck. “Gonna have to hold me in there, aren’t you? Keep me all snug?”

“Mhm.”

“All right, mama,” he says and you giggle. “We’ll stay until you’re all nice and pregnant. And then I’m gonna take you home and fuck you again. Just to make sure.”

Your stomach flips.

“S’that sound good, Clover?” he asks, and you bring your eyes to his in order to see him fully.

You smile.

“That sounds perfect, Daddy.”

For a more immersive experience, feel free to play All Along the Watchtower by Jimi Hendrix during the chase hehe

Beautiful divider by @firefly-graphics 💞

Taglist: @walkingintheheartbreaksatellite @keepdrivingkisses @swiftmendeshoran @tiredinwinter @straightontilmornin @justlemmeadoreyou @harrysdaydreams @tiaamberxx @myfavfanficsever @littlenatilda @vamprry @fdl305 @ssaama @indierockgirrl @likeapplejuicenpeach @lukesaprince @closureesny @lc-fics @0nlythrowharrybeaux @hannahdressedasabanana @dylanobandposts21 @butdaddyilovehim-hs @floral-recs @itjustkindahappenedreally @samanddeaninatrenchcoat

[elierlick]

This has one of the most heartwarming historical trans stories I've ever read. In 1971, Carl Macmichael and his cis son spoke to the Sunday paper. Not only did Carl's 15-year-old son support his father, but he was delighted to have a trans dad: "I think he's very brave. It's quite handy to have mum and dad the same person."

Shortly after transitioning, Carl asked Thelma O'Sullivan to become his nurse in 1969. She helped Carl medically transition for 2 years while realizing her feelings for him. "Many people have ridiculed Carl, and I suppose some people will think me odd for falling in love with him. But I don't care," she explained. "He has gone through a great deal and I hope I can give him a little of the happiness that he is seeking."

Like most trans people at the time, Carl claimed to be intersex. Having XY chromosomes and being capable of giving birth is extraordinarily rare, leaving us to wonder if he told this to newspapers for legitimacy. All the names in the article are pseudonyms so there was never any follow-up after 1971.

[tavolgisvist]

Paul about the breakup of The Beatles in The Lyrics, 2021

The four of us just knew how to fall in with each other and play, and that was our real strength. That made it all the more sorrowful to think that our breaking up was almost inevitable. So there’s a wistful aspect to ‘Get Back’. The idea that you should get back to your roots, that The Beatles should get back to how we were in Liverpool. And the roots are embodied in the style of the song, which is straight-up rock and roll. Because that was definitely what I thought we should do when we broke up – that we should ‘get back to where we once belonged’ and become a little band again. We should just play and do the occasional little gig. The others laughed at that – quite understandably – because by then it was not really a practical solution. John had just met Yoko, and he clearly needed to escape to a new place, whereas I was saying we should escape to an old place. Reviving the old Beatles just wasn’t on the cards. It was too late to be recommending that we not forget who we were and where we once were from. If my dream at the time really was to get back to where we once belonged, John’s dream was to go beyond where we once belonged, to go somewhere we didn’t yet belong. I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

(Paul McCartney about Get Back (1969), The Lyrics, 2021)

That was coupled with the business problems at Apple Records, which really were horrible. The business meetings were just soul-destroying. We’d sit around in an office, and it was a place you just didn’t want to be, with people you didn’t want to be with. There’s a great picture that Linda took of Allen Klein, in which he’s got a hammer like Maxwell’s silver hammer. It’s very symbolic. And that’s why we have the little nod and a wink in the middle section to ‘You Never Give Me Your Money’, in the lines ‘I never give you my pillow / I only send you my invitations’. That whole period weighed on me to such an extent that I even began to think it was all tied in with the idea of original sin. Even though my mum had christened me as a Catholic, we weren’t brought up Catholic, so I didn’t buy into the concept of original sin on a day-to-day basis. It’s really very depressing to think that you were born a loser.

(Paul McCartney about Carry That Weight (1969), The Lyrics, 2021)

The Beatles stuff all got too heavy, and 'heavy' at that time had a very particular meaning for me. It meant more than oppressive. It meant having to go into meetings and sit in the boardroom with all the other Beatles and with the accountants and with this guy Allen Klein. He was a New York spiv who had come over to London and talked to The Rolling Stones and persuaded them he was the man for them. Prior to that, he had persuaded Sam Cooke he was the man for him. I smelled a rat but the other chaps didn’t, so we had a fight over it and I got voted down. I was trying to be Mr Rational and Mr Sensible, and it all went haywire. It was early 1969, and The Beatles were already beginning to break up. John had said he was leaving, and Allen Klein told us not to tell anyone, as he was in the middle of doing deals with Capitol Records. So, for a few months we had to keep mum. We were living a lie, knowing that John had left the group. Allen Klein and Dick James, who sold our publishing in Northern Songs without giving us a chance to buy the company, were both hanging around in the background of this song. All the people who had screwed us or were still trying to screw us. It’s fascinating how directly we acknowledged this in the song. We’d cottoned on to them, and they must have cottoned on to the fact that we’d cottoned on. We couldn’t have been more direct about it. ...

Contracts were written on funny paper. Lying behind the song is the idea of the contract as a relationship between two people. The negotiations are at once business negotiations and romantic negotiations; I’m thinking of the lines ‘And in the middle of negotiations / You break down’. The breakdown in negotiations is also a kind of nervous breakdown. The problem was that, by this stage, everything was up for negotiation, and miscommunication was the order of the day. We weren’t really writing together anymore. Each person was bringing in little bits of this and little bits of that. And we all knew that phase of our lives, of being The Beatles, was coming to an end. We were working towards an album, knowing it was probably going to be our final fling. Though Let It Be was released later, Abbey Road was indeed the last album we recorded in the studio. There was an upside, however. I’d got married to Linda, and our relationship offered some respite from the dreary infighting and the financial stuff. The lines ‘One sweet dream / Pick up the bags and get in the limousine’ were a reference to how Linda and I were still able to disappear for a weekend in the country. That saved me.

(Paul McCartney about You Never Give Me Your Money (1969), The Lyrics, 2021)

This was just after The Beatles broke up, and I was trying to establish myself as a solo artist with a new repertoire. If it was going to work like the Beatles repertoire had worked, I had to have a hit. One in two songs had to be a hit. So, this was a conscious effort to write a hit, and Phil was very helpful. We knew that if we had a hit, it would cement our relationship and we would keep working together, which we did with the RAM album. It would prove that we were both good – he as a producer and I as a singer songwriter. Releasing my first solo song after the breakup felt like a big moment. Thrilling, though tinged with sadness. It also felt like I had something to prove, and that kind of challenge is always exciting. The song went to number two in the UK singles chart and number five in the US Billboard Hot 100, so it did pretty well. Of course, this was still a time when there was a bit of tension between John and me, and this sometimes filtered into our songwriting. John made fun of this song in one of his own, ‘How Do You Sleep?’The only thing you done was yesterday And since you’ve gone you’re just another day One of his little piss takes.

(Paul McCartney about Another Day (1969/1971), The Lyrics, 2021)

This song was written a year or so after The Beatles breakup, at a time when John was firing missiles at me with his songs, and one or two of them were quite cruel. I don’t know what he hoped to gain, other than punching me in the face. The whole thing really annoyed me. I decided to turn my missiles on him too, but I’m not really that kind of a writer, so it was quite veiled. It was the 1970s equivalent of what we might today call a ‘diss track’. Songs like this, where you’re calling someone out on their behaviour, are quite commonplace now, but back then it was a fairly new ‘genre’. The idea of too many people ‘preaching practices’ was definitely aimed at John telling everyone what they ought to do – telling me, for instance, that I ought to go into business with Allen Klein. I just got fed up with being told what to do, so I wrote this song. ‘You took your lucky break and broke it in two’ was me saying basically, ‘You’ve made this break, so good luck with it.’ But it was pretty mild. I didn’t really come out with any savagery, and it’s actually a fairly upbeat song; it doesn’t really sound that vitriolic. If you didn’t know the story, I don’t know that you’d be able to guess at the anger behind its writing. It was all a bit weird and a bit nasty, and I was basically saying, ‘Let’s be sensible. We had a lot going for us in The Beatles, and what actually split us up is the business stuff, and that’s pretty pathetic really, so let’s try and be peaceful. Let’s maybe give peace a chance.’ The first verse and the chorus have pretty much all the anger I could muster, and when I did the vocal on the second line, ‘Too many reaching for a piece of cake’, I remember singing it as ‘Piss off cake’, which you can hear if you really listen to it. Again, I was getting back at John, but my heart wasn’t really in it. This is me saying, ‘Too many people are sharing the party line. Too many people are grabbing for a slice of the cake, a piece of the pie.’ The ‘sleep in late’ thing – whether that was accurate, whether John and Yoko actually slept in late or not, I’m not sure (although John often was a late riser when I would drive out to Weybridge so that we could write together). They were all references to people thinking that their own truth was the only truth, which was certainly what was coming from John. The thing is, so much of what they held to be truth was crap. War is over? Well no, it isn’t. But I get what you’re saying: war is over if you want it to be. So, if enough people want war to be over, it’ll be over. I’m not sure that’s entirely true, but it’s a great sentiment; it’s a nice thing to think and to say.

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight. The whole story in a nutshell is that we were having a meeting in 1969, and John showed up and said he’d met this guy Allen Klein, who had promised Yoko an exhibition in Syracuse, and then matter-of-factly John told us he was leaving the band. That’s basically how it happened. It was three to one because the other two went with John, so it was looking like Allen Klein was going to own our entire Beatles empire. I was not too keen on that idea. John actually had Allen Klein and Yoko in the room, suggesting lyrics during writing sessions. In his song ‘How Do You Sleep?’ the line ‘The only thing you done was yesterday’ was apparently Allen Klein’s suggestion, and John said, ‘Hey, great. Put that in.’ I can see the laughs they had doing it, and I had to work very hard not to take it too seriously, but at the back of my mind I was thinking, ‘Wait a minute, All I ever did was “Yesterday”? I suppose that’s a funny pun, but all I ever did was “Yesterday”, “Let It Be”, “The Long and Winding Road”, “Eleanor Rigby”, “Lady Madonna”, . . . – fuck you, John.’ I had to fight them for my bit of The Beatles and, in fact, for their bit of The Beatles, which many years later they realised and almost thanked me for. Nowadays people get it, but at the time I think the others felt they were the ones who were victims, who were being hurt by my actions. Allen Klein already had a history with The Rolling Stones. I just thought, ‘Oy oy oy, no, this guy’s got such a bad reputation.’ And good old John says, ‘Oh, if he’s that badly talked about, he can’t be all bad.’ John had this kind of distorted thinking, which was amusing sometimes. But not when someone was going to take everything that John and George and Ringo and I owned and had worked really hard to get.

So, I stood up as the sensible one and said, ‘This is not good.’ Klein wanted twenty per cent, and I said, ‘Tell him he can have ten, if you have to go with him.’ ‘Oh no, no, no,’ they came back. ‘No, he wants twenty.’ It seemed to me they were just fucking out of it and making no attempt to do anything sensible. A lot of hurt went down during that period in the early 1970s – them feeling hurt, me feeling hurt – but John being John, he was the one who would write a hurtful song. That was his bag.

(Paul McCartney about Too Many People (1971), The Lyrics, 2021)

Towards the end of 1969, John had quite gleefully told us it was over. There were a few of us in the Apple boardroom at the time. I think George was away visiting family, but Ringo and I were at the meeting, and John was saying no to every suggestion. I thought we should go back to playing smaller gigs again, but the answer came back: ‘No’. Eventually John said, ‘Oh, I’ve been wanting to tell you this, but I’m leaving The Beatles.’ We were all shocked. Relations had been strained, but we sat there saying, ‘What? Why? Why? Why?’ It was like a divorce, and he had just had a divorce from Cynthia the year before. I can remember him saying, ‘Oh, this is quite exciting.’ That was very John, and I had admired this kind of contrarian behaviour about him since we were kids, when I first met him.

He really was a bit loony, in the nicest possible way. But whilst all of us could see what he meant, it was not quite so exciting for those left on the other side.

(Paul McCartney about Dear Friend (1971), The Lyrics, 2021)

This is one of my favourite songs. It's a ballad with a brass section, but it’s always felt Victorian in style to me. It’s very heartfelt. ‘A love so warm and beautiful / Stands when time itself is falling’. I like that idea, instead of just saying, ‘It will go on forever.’ I got a good feeling writing this song, and listening to it now, I still do. ‘Love, faith and hope are beautiful’. The brass solo is lovely for me because it harks back to the brass bands that were so common when I was a kid; there would often be brass bands in the park or in the streets. My dad played trumpet, as I never fail to mention, and he had his own little band – Jim Mac’s Jazz Band. The first instrument he bought me was a trumpet, and he taught me the scale of C which, when you go on the piano, becomes B-flat. It’s all very complicated. That’s why we didn’t even bother learning music. I realised that I wanted to swap the trumpet for a guitar, so I asked his permission, and he said, ‘Yes, okay.’ ‘Warm and Beautiful’ was written well after the demise of The Beatles, and at this time we knew sadness. I knew about delving into your mind to look for help and looking for some sort of solace in a song. I liked the idea of writing a song in a universal way that dispels the sadness. You write about the wonderful things you know in the world, and you try to write so that it will sing well and be well received by people dealing with grief something that inevitably surrounds all of us at one time or another. On a more personal level, the main inspiration for the song was Linda…

(Paul McCartney about Warm and Beautiful (1976), The Lyrics, 2021)

After The Beatles thing became so depressing, Linda and I decided we’d get out of London and start living full-time on our small holding in Scotland. It was quite a difficult period because of the band’s breakup but it allowed me to see another side of myself. First and foremost, we did everything for ourselves, and at this point it was Linda, Heather, Mary – who was still a baby – and me. If we needed something to eat, we’d go into town in the little Land Rover, come back up, and cook it. We didn’t have anyone helping us, except for one guy, the shepherd, because it was a little sheep farm. It was an experience that allowed me to be a man. <…> I’d grown up in Liverpool and gone on the road with The Beatles around the world and then around again, and now here I was on a farm in the middle of nowhere, and it was sensational. <…> This was the kind of thing I’d never done, ever, in my life, and it was amazingly liberating. I got to do all the things I think a lot of young people still dream about today – the famous ‘gap year’. I sense a lot of people want that freedom, escaping the rat race…

(Paul McCartney about When Winter Comes (1992), The Lyrics, 2021)

After the breakup of The Beatles, I wouldoften just sit around a lot. Sometimes I sat in the kitchen while the kids were playing. Maybe they were drawing. Maybe they were doing bits and pieces of homework. In this case, I came across the chords and I just felt optimistic, and I liked the idea of a song saying that help is coming and there’s a bright light on the horizon. I’ve got absolutely no evidence for this, but I like to believe it. It helps to lift my spirits, to move me forward, and hopefully it might help other people move forward too.

(Paul McCartney about Great Day (1972/1997), The Lyrics, 2021)

Wings, which we began in 1971, was in many ways an experiment to see whether there was life after The Beatles, to see whether that success could be followed. It was the result of asking myself, ‘Am I going to stop now?’ The Beatles were so wonderful and all-encompassing, so successful. Now, should I stop and look for something else to do? But I thought, ‘No. I like music too much, so whatever the something else is, it will be music.’ <…> But it wouldn’t be The Wings, like The Beatles. Just Wings. My problem after The Beatles was, who’s going to be as good as them? I thought, ‘We can’t be as good as The Beatles, but we can be something else.’ I knew that if I were to go ahead with this project I’d have to tough it out, but I had reserves of courage from being part of The Beatles when pennies were thrown at us at the village hall in Stroud, when we were still starting out. <…> Starting off a new band is always a lot of fun, but it’s a lot of hard work too; you have to establish yourself. Following The Beatles was one of the most difficult things for me, just trying to live up to those expectations. It was even more difficult for her [Linda]. I started to write songs for Wings from 1971 onwards, when we got started, and I tried to keep them away from The Beatles’ style. There were avenues I could go down that I wouldn’t have gone down with The Beatles, like bringing in the influence of reggae, which Linda and I got into in Jamaica. I fancied doing something crazy, and Wings allowed me a little bit more freedom. So, this is a love song in which Cupid’s arrow is referenced, but it’s a malevolent arrow. It’s possible I’d seen an illustration of Cupid and thought, ‘Cupid fires a bow, but I’ll switch it. It won’t be love; it will be the opposite.’ The character in the song has been wounded. He’s been cheated on. And it could’ve been a great relationship, could’ve been fantastic. As things stand, you couldn’t ‘have found a more down hero’, because there was nobody more down than me at that moment. So, get it together and bring your love. I have always had a soft spot for this song. There’s a nice horn riff in it, and it’s funky. Sometimes you write to get a sort of feeling rather than a perfectly ‘correct’ lyric. Sometimes the lyric can be secondary to the feeling. This one has as much, or more, to do with the feel of the song, the groove.

(Paul McCartney about Arrow Through Me (1979), The Lyrics, 2021)

John described ‘Coming Up’ somewhere as ‘a good piece of work’. He’d been lying around not doing much, and it sort of shocked him out of inertia. So it was nice to hear that it had struck a chord with him. At first, after the breakup of The Beatles, we had no contact, but there were various things we needed to talk about. Our relationship was a bit fraught sometimes because we were discussing business, and we would sometimes insult each other on the phone. But gradually we got past that, and if I was in New York I would ring up and say, ‘Do you fancy a cup of tea?’

(Paul McCartney about Coming Up (1979), The Lyrics, 2021)

It’s very possible that I’d been feeling down in London. I was back in the solace of family and Liverpool, and what with the Beatles troubles down south, I was likely thinking, ‘Wouldn’t it be nice to get home and have that comfortable feeling again?’ So, there may have been some of that in the background. I wouldn’t rule it out. When I wrote the song, I hadn’t been back home to Liverpool for a long time. But now I was at my dad’s house, which wasn’t quite home because it was a house I’d bought him when I got some money – a five-bedroomed mock Tudor place in Heswall near the River Dee. But it was still Liverpool, and it was ‘homeward’. So I added, ‘Once there was a way to get back homeward / Once there was a way to get back home’. The song turned out to be quite soulful, and I think that’s what attracted me to those lyrics in the first place – that notion of consoling a baby or reading kids a bedtime story. ‘Sleep, pretty darling, do not cry / And I will sing a lullaby’. Those are lines – or something with a similar sentiment – that most parents probably say to their children to soothe them when they’re growing up.

(Paul McCartney about Golden Slumbers (1969), The Lyrics, 2021)

It became a refuge of sorts, and it was nice to get away from London and everything – both the good and bad – that comes with the city. I would drive a Massey Ferguson 315 tractor and mow the hay, and I loved that because I’d been a nature fiend as a kid, and this freedom just gave me time to think – ‘Down to Junior's Farm where I want to lay low’. It was such a relief to get out of those business meetings with people in suits, who were so serious all the time, and to go off to Scotland and be able just to sit around in a T-shirt and corduroys. I was very much in that mindset when I wrote this song. The basic message is, let’s get out of here. You might say it’s my post-Beatles getting-out-of-town song.

(Paul McCartney about Junior's Farm (1974), The Lyrics, 2021)

The context in which the song was written was one of stress. It was a difficult time because we were heading towards the breakup of The Beatles. It was a period of change partly because John and Yoko had got together, and that had an effect on the dynamics of the group. Yoko was literally in the middle of the recording session, and that was challenging. But it was also something we had to deal with. Unless there was a really serious problem – unless one of us said, ‘I can’t sing with her there’ – we just had to let it be. We weren’t very confrontational, so we just bottled it up and got on with it. We were northern lads, and that was part of our culture. Grin and bear it. One interesting thing about ‘Let It Be’ that I was reminded of only recently is that, while I was studying English literature at the Liverpool Institute High School for Boys with my favourite teacher, Alan Durband, I read Hamlet. In those days you had to learn speeches by heart because you had to be able to carry them into the exam and quote them. There are a couple of lines from late in the play: O, I could tell you But let it be. – Horatio, I am dead I suspect those lines had subconsciously planted themselves in my memory. When I was writing ‘Let It Be’, I’d been doing too much of everything, was run ragged, and this was all taking its toll. The band, me we were all going through times of trouble, as the song goes, and there didn’t seem to be any way out of the mess. <…> Around the time we recorded ‘Let It Be’, I’d been pushing the band to go back out and play some club dates – to get back to basics and just bond again as a band, end the decade like we’d begun it, just playing for the love of it. We didn’t get to do that as The Beatles, but that idea did inform the direction of the Let It Be album. We didn’t want any studio trickery. It was supposed to be an honest, no-overdubbing album. It didn’t exactly end up that way, but that had been the plan.

(Paul McCartney about Let It Be (1969), The Lyrics, 2021)

This song is also an analogy for when something goes wrong out of the blue, as I was beginning to find happening around this time in our business dealings. Recording sessions were always good because no matter what our personal troubles were, no matter what was happening on the business front, the minute we sat down to make a song we were in good shape. Right until the end there was always a great joy in working together in the studio. So there we were, recording a song like ‘Maxwell’s Silver Hammer’ and knowing we would never have the opportunity to perform it. That possibility was over. It had been knocked on the head like one of Maxwell’s victims. Bang bang.

(Paul McCartney about Maxwell's Silver Hammer (1969), The Lyrics, 2021)

In much the way that Linda wanted to flee from New York society– the constrictions of Park Avenue and Scarsdale – I wanted to flee from what The Beatles had become. I was hoping to escape, she was hoping to escape. So we had this feeling that we had each pulled the other ‘out of time’. Though the song was written immediately after The Beatles’ breakup, it was somehow included under the Lennon-McCartney rubric, where it doesn’t belong. It was one of my first solo songs, but because of the deal, it got caught in the publishing net. That was very annoying. <…> …the central idea being that there’s so often a split between the inner and outer. <…> The elements of fear and loneliness are very much to the fore. ‘Maybe I’m afraid of the way I love you’ is itself a troubling idea. While it’s true that Linda is the person I’m addressing, it’s also true that I’m dealing in fiction. Starting with myself, the characters who appear in my songs are imagined. <…> In any event, this song isn’t the conventional way of presenting a relationship, or of some of the contradictions that can arise from being in love. <…> It shows the fragility of love.

(Paul McCartney about Maybe I’m Amazed (1970), The Lyrics, 2021)

John went to the exhibition, and I think that was when he and Yoko met, towards the end of 1966. He climbed up a ladder to see what she’d written on the ceiling, and got close enough to it to read it, and it said, ‘Yes.’ So he thought, ‘That’s a sign; this is it,’ and they fell madly in love. Once they were an item, there was the whole Beatles recording thing, where she would be there too. I think this started at the beginning of the ‘White Album’ sessions – so, around the end of spring in 1968. And at first we all – all of us except John – found it pretty intrusive, but we went along with it and worked around her. And eventually I came to the realisation that, look, if John loves her, we’ve just got to let it be, and we’ve got to support this relationship. That was basically my feeling. Then, a year or two later, The Beatles broke up, and it was a bad period, a real low point, where everyone was taking potshots at everyone. And I felt that John and Yoko were particularly good in the potshot department, saying things in interviews, or comments that would make their way to you. They would say not always very pleasant things, and looking back on it, I sort of think, ‘Why? You’re annoyed, so say something unpleasant?’ Over time, the situation eased off and my relationship with John got better, and I used to see him in New York or speak to him on the phone.

(Paul McCartney about Golden Earth Girl (1993), The Lyrics, 2021)

I’m not sure I thought of it at the time, even though this was well after The Beatles disbanded, but I can’t help connecting the oppressiveness associated with that phrase to the oppressiveness that coincided with the end of The Beatles. Not that The Beatles are over exactly. It’s not like we were some little band that never had another record; even though half of us have died, the phenomenon continues stronger than ever. Everything I do seems to be painted with ‘Beatle’…

(Paul McCartney about Put It There (1988), The Lyrics, 2021)

Add to this

[metamorphesque]

im hoping to become a full time, full fledged toxic cinephile filmbro with an air of superiority and condescension. do you have a list of movies i should watch to start my journey?

ah! wrong door for toxic cinephile initiation — this is the department of the humble admirers of cinema. however, I’d be delighted to share some personal favorites if you’d like. the list may expand over time because.. well... cinema is a gift that keeps on giving (and my memory is a treacherous friend)

The Umbrellas of Cherbourg (1964, Directed by Jacques Demy), Ararat (2002, Directed by Atom Egoyan), In the Mood for Love (2000, Directed by Wong Kar-wai), Fallen Angels (1995, Directed by Wong Kar-wai), Chungking Express (1994, Directed by Wong Kar-wai), The Godfather Trilogy (1972, 1974, 1990 Directed by Francis Ford Coppola), Le Bonheur (1965, Directed by Agnès Varda), 2001: A Space Odyssey (1968, Directed by Stanley Kubrick), The Color of Pomegranates (1969, Directed by Sergei Parajanov), Mirror (1975, Directed by Andrei Tarkovsky), Indian Summer (1972, Directed by Valerio Zurlini), The Men (1972, Տղամարդիկ, Directed by Edmond Keosayan), A Piece of Sky (1980, Կտոր մը երկինք, Directed by Henrik Malyan), Mother (1991, Mayrig, Directed by Henri Verneuil), A Special Day (1977, Una giornata particolare, Directed by Ettore Scola), Grave of the Fireflies (1988, Directed by Isao Takahata), A Short Film About Love (1988, Directed by Krzysztof Kieślowski), The Double Life of Véronique (1991, La Double Vie de Véronique, Directed by Krzysztof Kieślowski), Three Colours Trilogy (1993, 1994, Directed by Krzysztof Kieślowski), Damage (1992, Directed by Louis Malle), Phantom Thread (2017, Directed by Paul Thomas Anderson), Léon: The Professional (1994, Directed by Luc Besson), Before Sunrise (1995, Directed by Richard Linklater), Perfect Blue (1997, Directed by Satoshi Kon), Notting Hill (1999, Directed by Roger Michell), Mr. Nobody (2009, Directed by Jaco Van Dormael), Spirited Away (2001, Directed by Hayao Miyazaki), Howl’s Moving Castle (2004, Directed by Hayao Miyazaki), The Lord of the Rings Trilogy (2001-2003, Directed by Peter Jackson), Pride & Prejudice (2005, Directed by Joe Wright), The Phantom of the Opera (2004, Directed by Joel Schumacher), Alexander (2004, Directed by Oliver Stone), A Ghost Story (2017, Directed by David Lowery), Lust, Caution (2007, Directed by Ang Lee), Submarine (2010, Directed by Richard Ayoade), Inception (2010, Directed by Christopher Nolan), Jane Eyre (2011, Directed by Cary Joji Fukunaga), Her (2013, Directed by Spike Jonze), Carol (2015, Directed by Todd Haynes), From the Land of the Moon (2016, Directed by Nicole Garcia), Frantz (2016, Directed by François Ozon)

[jubileemon]

In the music video, Blitzø is represented by the Moon, while Stolas is associated with the ocean, initially walking on it before being submerged in it. This is actually very symbolic of their dynamic. The Moon controls the tides, but at the same time, it orbits around the Earth. Blitzø relies on Stolas and is drawn to the force of his power that he needs to accomplish his goals. However, Stolas is controlled by Blitzø's gravity as well, to the point of drowning in his emotions for the imp. They both profoundly affect one another.

Even the string that ties Blitzø and Stolas together is deeply symbolic. The majority is Stolas's blue, which is representing how much he's put into the relationship so far, as well as the massive amounts of feelings he's going through dealing with possibly losing Bitzø once he gives him the crystal. He has so much length to it because he's being so much more open about his feelings as well.

Meanwhile Blitzø's red is barely there because he doesn't, and possibly can't, put more into the relationship than he currently does. He has so much self-hatred that it's almost impossible for him to love anyone romantically, considering he doesn't even love himself. That and he's scared to put himself out there only to be hurt. He shows so few emotions and so his portion of string is immensely shorter. When it snaps, it all goes back to red on his end as all his trauma and repressed emotions about it flood back and envelope him in the moon once more.

Pay attention to the size of the moon. At first the moon was small, that is, these "walls" were thin or insignificant (this can be recognized from the childhood of Blitzo and Stolas, Blitzo was full of enthusiasm and hope, but now it is slowly fading away). Previously, Blitzo was more open, but after many events in his life, his walls began to increase (he was used by his father for profit, his best friend Fizzaroli suffered because of him, etc.), and eventually became huge and impenetrable (he does not share many things, not even with his own daughter, and he's afraid to trust Stolas on purpose). Even Stolas, with his tall stature, cannot compare with them. This literally shows that Blitzo can't trust anyone.

Stolas sees this and tries to break through them, but until they talk, the walls will not be possible to get through. It is precisely because this "barrier" cannot be destroyed that Stolas will give Blitzo the opportunity not to depend on him because of some kind of grimoire. The Moon's increasing size may also indicate that Blitzo is becoming a significant figure to Stolas. He wants to be with Blitzo not only physically (by type of sexual attraction), but also emotionally. In other words: Stolas fell in love with Blitzo seriously, not in childhood, when it was just sympathy, but real love, which is difficult to get rid of.

The symbolism of Blitzo as the Moon is very reflective of his and Stolas' relationship. Not only is it a callback to the fact that they mostly see each other once a month on a full moon to do “the deed”, but it it's also just a great metaphor for Blitzo as a character. Humanity has been fascinated by the Moon for a long time and tried to reach it for centuries and it was only in 1969 (relatively recently) that they managed to do it. The moon had always been this gorgeous, desirable, yet unreachable thing and that's exactly what Blitzo's love is from Stolas’ perspective.

Stolas' love for Blitzo is represented by the moon. First small and bright, something he can hold close and dear. Then larger, something harder to hold but something still fully within his grasp. Then at the end, impossibly large while also just out of reach

The moon also mirrors the power dynamics between Stolas and Blitzø, at the start with Stolas holding all the power, then Stolas putting himself at Blitzø’s level when he finally tries to look deeper and see what Blitzø needs and his walls. Then the moon grows larger than Stolas as he intends to give Blitzø the crystal so he doesn’t have to depend on him anymore. And now the power in the relationship shifted towards Blitzø. Whether the relationship continues is now up to him.

[literaryvein-reblogs]

Writing Notes: The 4 Kinds of Love

Rollo May, in his 1969 book, "Love and Will," identified 4 kinds of love in Western tradition.

SEX

A biological function that can be satisfied through sexual intercourse or some other release of sexual tension.

Although it has become cheapened in modern Western societies, “it still remains the power of procreation, the drive which perpetuates the race, the source at once of the human being’s most intense pleasure and his [or her] most pervasive anxiety” (May, 1969, p. 38).

May believed that in ancient times sex was taken for granted, just as eating and sleeping were taken for granted.

In modern times, sex has become a problem:

First, during the Victorian period, Western societies generally denied sexual feelings, and sex was not a topic of conversation in polite company.

Then, during the 1920s, people reacted against this sexual suppression; sex suddenly came into the open and much of Western society was preoccupied with it.

May pointed out that society went from a period when having sex was fraught with guilt and anxiety to a time when not having it brought about guilt and anxiety.

EROS

In the United States, sex is frequently confused with eros.

Sex is a physiological need that seeks gratification through the release of tension.

Eros is a psychological desire that seeks procreation or creation through an enduring union with a loved one.

Eros is making love; sex is manipulating organs.

Eros is the wish to establish a lasting union; sex is the desire to experience pleasure.

Eros “takes wings from human imagination and is forever transcending all techniques, giving the laugh to all the ‘how to’ books by gaily swinging into orbit above our mechanical rules” (May, 1969, p. 74).

Eros is built on care and tenderness.

It longs to establish an enduring union with the other person, such that both partners experience delight and passion and both are broadened and deepened by the experience.

Because the human species could not survive without desire for a lasting union, eros can be regarded as the salvation of sex.

PHILIA

Eros, the salvation of sex, is built on the foundation of philia.

An intimate nonsexual friendship between two people.

Philia cannot be rushed; it takes time to grow, to develop, to sink its roots.

Examples of philia would be the slowly evolving love between siblings or between lifelong friends.

“Philia does not require that we do anything for the beloved except accept him, be with him, and enjoy him. It is friendship in the simplest, most direct terms” (May, 1969).

Harry Stack Sullivan placed great importance on preadolescence, that developmental epoch characterized by the need for a chum, someone who is more or less like oneself.

According to Sullivan, chumship or philia is a necessary requisite for healthy erotic relationships during early and late adolescence.

May, who was influenced by Sullivan at the William Alanson White Institute, agreed that philia makes eros possible.

The gradual, relaxed development of true friendship is a prerequisite for the enduring union of two people.

AGAPE

Just as eros depends on philia, so philia needs agape.

May (1969) defined agape as “esteem for the other, the concern for the other’s welfare beyond any gain that one can get out of it; disinterested love, typically, the love of God for man” (p. 319).

Agape is altruistic love.

It is a kind of spiritual love that carries with it the risk of playing God.

It does not depend on any behaviors or characteristics of the other person. In this sense, it is undeserved and unconditional.

In Summary

Healthy adult relationships blend all four forms of love.

They are based on sexual satisfaction, a desire for an enduring union, genuine friendship, and an unselfish concern for the welfare of the other person.

Such authentic love, unfortunately, is quite difficult.

It requires self-affirmation and the assertion of oneself.

“At the same time it requires tenderness, affirmation of the other, relaxing of competition as much as possible, self-abnegation at times in the interests of the loved one, and the age-old virtues of mercy and forgiveness” (May, 1981).

Sources: May, R. (1969). Love and will; May, R. (1981). Freedom and destiny

If these writing notes inspire you in any way, please tag me, or leave a link in the replies. I would love to read your work!

[luigis-slut]

If you need some encouragement from queer elders at this difficult time, Miss Major, a notorious trans activist that participated in the 1969 Stonewall Riot, just posted this to her social media (Alt text in images)

I'm struggling a lot too, but hearing this from a trans elder (especially one that currently lives in my deep-red state) gives me at least a glimmer of hope

[thestarsarecool]

“I like 'You Never Give Me Your Money' and 'Golden Slumbers' and things. You know, Paul always writes nice melodies. In fact, I don't know where he finds them half the time. He's amazing for doing that.”

— George Harrison, October 8th, 1969

[mclennonlgbt]

(JUST LIKE) STARTING OVER WAS DEFINITELY FOR PAUL – a compilation

A meaningful wordplay As you know, John attached great importance to the lyrics of his songs. He liked to smuggle in word games and hidden meanings. Let's look at a fragment of the lyrics of "(Just Like) Starting Over". It's time to spread our wings and fly Wings was Paul's band in the 1970s.

Don't let another day go by

"Another Day" is a song by Paul and Linda that was released as the A-side of a non-album single in February 1971. It was Paul's debut single, following the Beatles break-up in 1970. (Sidenote: giving credits to both himself and Linda, Paul broke up the Lennon-McCartney partnership, angering Allen Klein).

my love

"My Love" is a 1973 song by Wings. The single was viewed as Wings' first significant success.

2. The demos

In the first demo, John uses the word "walrus":

Everyday we used to make it love so why can’t we be making love – it’s easy. The time has come, the walrus said, for you and me to stay in bed again, it’ll be just like starting over

The walrus is a famous motif from Beatles songs. In the song "I Am The Walrus" (1967) John declares that he is the titular walrus, a year later in "Glass Onion" he stated: „And here’s another clue to you all – the walrus was Paul”. In "God" (1970) John sings: "I was the walrus." In an interview from 1969 or 1970, George jokes: „And if you are listening, I am the walrus too”. Regardless of which Beatles was the walrus, John is for sure giving us an interesting clue here.

As for „in bed”:

Here's another fascinating demo... This requires no comment. It's just that John suddenly referred to "Why Don't We Do it In the Road", a song by Paul from the Beatles era.

EDIT:

The whole fragment is:

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

As @i-am-the-oyster pointed out (the screen is theirs) - it's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

3. John explaining who the song is for

„I’m not aiming, I am not aiming at 16 year olds. If they can dig it, please dig it. But when I was singing and writing this and working with her, I was visualizing all the people of my age group from the 60s. Being in their 30s and 40s now, just like me, and having wives and children and having gone through everything together, I am singing to them! I hope the young kids like it as well, but I’m really talking to the people that grew up with me and saying: „Here I am now, how are you? How’s your relationship going? Did you get through it all? Wasn’t the 70s a drag? You know, here we are, let’s try and make the 80s good, you know, because it’s still up to us to make what we can of it. It’s not out of our control”. I still believe in love, peace. I still believe in positive thinking when I can do it. I’m not always positive but when I am, I try and project it”.

Source: https://www.youtube.com/watch?v=rqxPx2Tvf6A

Let’s point out that the song which convinced John to come out of retirement was „Coming up” by Paul. You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say

(…)

You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me

BONUS (this is not evidence or premise, but maybe Paul understood that the song was addressed to him): Paul's reaction to the song after John's death.

„…Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days”.

- Christopher Sandford, „McCartney”

EDIT:

(it's also @i-am-the-oyster's reveal): One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark).

I would take it with a grain of salt, though, because May (for valid reasons) dislikes Yoko.

As @paul-mccartney-official noticed, the stripped down mix of this song begins with:

When they were teenagers, John and Paul identified with their musical idols: John was Buddy Holly and Paul was Little Richard or Elvis.

This is Lennon talking about his and McCartney's meeting at Village Woolton fete:

It is possible that John refers to his youthful years in this dedication. However, there is also an option that he mentioned his former idols, because "(Just like) starting over" musically refers to the 1950s. It depends on you what you believe in.

[sunflowersinthedirt]

GOLDEN SLUMBERS | PAUL MCCARTNEY 🎸

fluff and angst, very needy reader! mentions of weed, cigarettes and alcohol. also mentions of beatles get back/let it be period.

1969!paul mcbeardy.

again, sorry for any typos. english is not my first language and gifs are not mine.

- X -

I was freezing when I decided to go to bed. I drank wine, but not as much as when I'm in Paul's company. It's night, and even with alcohol, Martha, and a fireplace, nothing seemed to warm me up. Maybe I missed Paul.

It had been a couple of days since he slept with me. Get Back and Twickenham were taking up a lot of his time. He seemed grumpy when he got home, but always took some time to cuddle with me as if the external problems that working with his band for the past 18 months were causing. Martha had become my biggest companion in this house, following me wherever I went.

When I got into that bathtub, I didn't think I was that sleepy. I dozed off lightly, and when I felt the water getting cold, I decided to get up, dry off, and go to bed. Martha had been sleeping in her bed for ages. There were some beds scattered around the house for her to rest, as she was a very calm dog. I put on one of Paul's shirts to feel like he was there with me... I had no idea what time he'd be back and he hadn't confirmed anything with me. I inhaled his scent embedded there and turned to the empty side of the bed.

It didn't take long for me to fall asleep. I didn't know if it was the alcohol, the tiredness, the longing... I just know I fell asleep. But it wasn't light sleep, as I woke up every half hour to turn over. Until I felt a chaste kiss on my lips but no weight on the other side of the bed like I wanted. Paul had arrived but hadn't lain down. I could hear his footsteps on the stairs followed by the jingling of Martha's paws. I was alone in that room and it left me feeling colder and longing for their company.

Wrapped in a blanket, I went downstairs feeling small and fragile. I didn't care that the king-size blanket I was wrapped in was dragging on the cold floor.

I heard the sound of piano notes in the living room, something between C Major and a murmuring voice. Paul rarely came home from work and continued working. It wasn't difficult, but Paul didn't like to bring work home. I thought he might be stressed enough not to lie down or not be sleepy.

I approached the piano, saw his figure with downcast eyes, long lashes brushing his cheeks. Paul hummed quietly, noticed my presence, and stopped playing, focusing his attention on me.

"Did I wake you, love?" he asked in an affectionate tone. His tired eyes opened wider.

"No," I replied sleepily, coming closer to him.

"Sit here." He tapped his left leg and made room for me to sit on his lap.

I sat, wrapped in that blanket. Paul adjusted his arms to give him mobility to play the piano keys in front of him, and I hugged him around the waist, snuggling against his larger body.

"S' Much better this way..." he said, his accent strong and drawling, his voice low and husky. I could feel the vibration of his voice and hear his heartbeats. I rested my chin on his shoulder, and he stole a kiss from me. His now-full beard tickled my cupid's bow.

This was what was missing. I felt so relaxed in his company. Paul continued to play the piano.

"Couldn't sleep?" I asked, my eyes were almost closing again.

"No, love. I came home with a melody pounding in my head." He answered, still playing the piano. He smelled of tobacco and herbs. He had been smoking more than usual, and I knew he was stressed. "I'm sorry for bringing work home. I don't have the lyrics yet, but the melody got stuck in my head because I played it at Twickenham before coming here. I was the last to leave the studio today."

"I'd never be upset with you for that. Y’know." I rubbed my face against his beard. "Can you show me the melody?" I asked, sleepy. Martha was already snoring at our feet.

Paul kissed my forehead and continued playing the piano, murmuring some words. I struggled to keep my eyes open.

"Once there was a way..." he sang softly, playing the piano with his leg rocking me to sleep. He was making up these lyrics, or I didn't have such a sharp taste in lullabies like that. "To get back homeward." He repeated the sung sentence, my eyes closing slowly. I felt like a child again. Paul warming the chilly room, the blanket wrapping us like a cloak. "Sleep, pretty darling, do not cry... And I will sing a lullaby."

It didn't take long for me to fall asleep there in his lap, listening to him humming that song. I felt at home and knew I was home.

"Sleep well, princess," he whispered, and suddenly I couldn't hear the musical notes he had played earlier on that piano.

- X -

i’ll take requests soon!

[atleastpleasetelephone]

Kinktober day 28 - Lapdance

A/N: Alright, here come the last few kinktober stories...

Pairing: 1969!Elvis x exotic dancer

Word count: 824

TWs: Grinding, p in v sex, public sex.

Kinktober masterlist

“You want a private dance?”

The girl who's asking is incredibly pretty and wearing a tiny dress that barely covers her ass. Elvis stares at her, drinking her in. He'd invited a bunch of exotic dancers to the party celebrating the end of his first stint in Vegas and they were all gorgeous. None of them were wearing outfits that left much to the imagination either, and each of them had asked him if he wanted a private dance. He'd said no, partially out of awkwardness and partially because he felt like he should be present at his own party. But this girl was…different. He wanted a dance from her, and he also wanted everyone at the party to see her giving it to him. 

“You can do it here, honey.”

She smirks. “Sure. Why not?”

She puts one knee on either side of his hips on the couch, her hands on his shoulders and a sweet smile on her face as she begins to sway her hips back and forth in time to the music. His hands find their way to rest very gently on her waist when her back arches and she tips her head back to give him a great view of her cleavage. 

“You want something fancy or just a bit of grinding?” she murmurs in his ear now, putting her breasts in his face and sticking her ass in the air. 

He groans, pressing hot little kisses to her skin, squeezing her ass as she guides his hands towards it. 

“Honey, do you have panties on?” He breathes.

She giggles, sitting herself down on his lap and staring into his eyes. 

“Why don't you find out?”

His fingers make their way between her legs, feeling the tiny strip of fabric there. 

“Mmm.” His other hand moves to the back of her neck, pulling her in closer, pressing their lips together. “Grinding is good,” he murmurs.

She bites her lip and stares into his eyes again, watching for his reaction as she starts to roll her hips against him. 

“Like this?”

He nods quickly, pulling her lips to his again, his tongue dipping inside her mouth, tasting her. 

Keeping the rhythm going, she feels her barely clothed pussy getting wet at the prospect of doing this in public. Her fingers rake through his hair, kissing him deeply and feeling his hardness against her. 

He moans into her mouth, the fabric of his jumpsuit rubbing his foreskin back and forth as she ruts against him. He feels her hand trail down his chest, pulling the zipper down as it goes. She shifts a little to keep what she's doing from being seen, pulling his dick free and stroking it a couple of times. 

His fingers dig into her hips and he stares up at her as she pulls back from the kiss, flushed and a little breathless. 

“Baby…” He whispers, suddenly becoming aware of the room full of people again. 

“You want them all to see me fucking you, don't you?” She murmurs.

Not waiting for a response, she adjusts herself and sinks down onto him, chewing on her bottom lip to stop herself making noise. Elvis’ chest is heaving as she takes him fully, her tight little pussy hugging his length. She starts to roll her hips like before, her forehead pressed against his. It feels so good but it's not enough. He knows if she moves more it'll be obvious to everyone in the room what's going on, but most of them are drunk by now and he's too turned on to care. 

He grabs her ass with both hands and starts moving her on him properly, sliding her pussy along the length of him, his hips thrusting up into her. 

Struggling not to make more noise as he fucks her from underneath, she whimpers. 

“Don't hold back, baby,” he murmurs in reply. “Be noisy if you want to.”

She moans, eyes rolling back in her head as she feels her orgasm building inside her. Elvis drinks her in, feeling giddy and horny at the idea of making a girl he'd just met lose her mind in a room full of people. He grunts with exertion as his hips snap up into her, and now the whole sofa is rocking and people are looking at them. Their drunken minds don’t fully register what's happening until they hear her orgasm, her head thrown back, crying out in pleasure. 

“Fuck, Elvis.”

Her walls squeeze him and he knows he's taking a risk as he lets himself go, thrusting up into her a couple more times before shooting her full of his release. He flops back on the sofa, exhausted, feeling her lying on top of him. Running his hand through her hair, he pulls her face a little closer to his and she feels his hot breath on her ear.

“Actually, I wanted them all to see me fucking you, honey.”

Taglist:

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