#eleanor rigby

[cosmonautroger]

Stanley Jordan, Eleanor Rigby, 1986

[inksplit]

Eleanor Rigby // The Beatles

[thegonse]

beatletober days 15 & 16

[ssspork]

Some Fanart for https://archiveofourown.org/works/61679998 (which is so awesome sauce go read it) @kenshin1340 (not to sure how to tag people tbh but idk how else u would find this😭)

https://archiveofourown.org/works/61679998

There’s some symbolism which I will explain down below, and perchance a rant about how I adore how Lux is written and the idea of freedom that this fic is exploring

Also the speed paint with the song

ANYWAYS, symbolism time!!

this piece was inspired by Eleanor Rigby, so the “church” Lux is buried in is the lecture room, bc this is Luxs place of sanctuary. Her freedom, though “nobody came” bc she feels so isolated from others, following things she doesn’t particularly like bc she knows she’ll never get that in the future. We see this in the party scene where she wins, but her smile doesn’t reach her eyes. She feels alone.

Than herself, she’s yellow, a color of happiness and freedom and light, like her name itself, but ironically, she is trapped, as is why her dress is so tight. She lays under a spotlight, the same way her family always has its eyes in her. And a incomplete halo of sorts of blood, she is so close to being free, but she can’t nor will be. The blood comes from what I had assumed to be a blunt force trauma injury, but I’m starting to believe it was a contraption and not a injury that left the scar.

Silco is the priest, alone as well, like Lux, he appears to be some sort of parallel (he was what she is) he sees her injury, as is shown with the red eye, and (most likely) sees it in himself(This is a prediction). He is difficult to see, blending into the background as unable to help. As for Lux to be free, she must figure out who will be free first, and allow herself TO be free (see rant).

Than Luxs name is wiped away, and Luxanna written in top. This is because “Lux” is the free version of “Luxanna” and Lux will die if she goes back, as with Pascal, who is also being wiped away. (Pascal would have worked better with the metaphor, however, having a variation of her name being wiped away and her full name ontop works better thematically)

And than Jinx’s signature at the bottom left, a reference to when she drew Lux in the first place. She’s drawing this because, like her father, she is observant (the both of them noticed her scar). Also, this was an accident, but to make a metaphor of it, her name is written like Roman numerals, similar to how VI’s name is. Which could be used as a sorta parallel between Garen and Vi (in some way?? I feel like Vi and Garen are going to be foils or parallels in some capacity)

Anyways, rant time:

The way this fic has handled the idea of freedom is AMAZING. Usually in Lux fics, Lux can’t be free due to external forces, which sometimes have become internal, and to fix the internal, she must fix the external. But here, the external forces are gone, she’s the one who controls her freedom. And despite having freedom, she truly, has none. Because freedom with a end is not freedom.

So to make up for the fact she will no longer have freedom, she does stuff to try to make up for it: for example, the tree fairy costume I don’t remember exactly what it was called (also like drinking and smoking weed). Stuff she knows she won’t be able to do later. But the thing is, she doesn’t like this stuff, in trying to be free, she’s trapped herself. And now she’s trapped in 2 ways, of her attempts to be free, and what’s been instilled inside her.

We see she never truly lets her guard drop (other than 1 time, but that was when she was with Jinx), she always has a set smile for everything, everything is planned out. Just as how she sees her life. Because of this, she can’t let herself be free, because she doesn’t even really know who SHE is. There’s Luxanna, her parents child. There’s Pascal, the free, but her name ISNT Pascal, it’s Lux(Luxanna as well). Pascal is free, but she isn’t really Pascal. She’s Lux, and Lux needs to be free. But who IS Lux?

And WOULDNT YOU KNOW IT?? that’s what Silcos speech WAS ABOUT. It was about how his class with allow his students to find themselves. AUGH ITS SO GOOD. And the fact that Luxs guard WENT DOWN when around Jinx, if just for a second, if just for a accident, and Jinx CAN AND DOES SEE IT. Oh my golly gee I love it when you can see the arc, this is so good,

[ringostarrbignaturals]

who else up eleanoring they rigby rn

[undying-love]

Paul discussing Eleanor Rigby and then turning it into the story of how he met John 🤦

Seriously, this is section of Eleanor Rigby in Paul's book The Lyrics. He is supoosed to be explaining the backstory of the song, and he instead spends more than half the chapter recounting how he met John.

[dontleavemewaitinghere]

♫⋆｡ Beatles Fact: In the song ‘Eleanor Rigby’, Father McKenzie was originally going to be called ‘Father McCartney’, however Paul McCartney did not like this as it sounded too similar to his father. John Lennon believed it would be fine, however Paul was insistent on changing the name. They looked through a phone book, underneath the name ‘McCartney’ and found ‘McKenzie’, Paul instantly liked the name, and used it in his song. This created the iconic character we know of today.

- Info: ‘Paul McCartney Breaks down his most iconic songs | GQ’ (YouTube).

[tavolgisvist]

Paul on Another Day

Think 'Eleanor Rigby' meets Hitchcock's Rear Window. For, much as I hate to admit it, there is indeed a voyeuristic aspect to this song. Like many writers, I really am a bit of a voyeur; if there’s a lit window and there’s someone in it, I will watch them. Hands up, guilty. I mentioned ‘Eleanor Rigby’. But while both that song and this one focus on the same idea – trying to capture the everyday of this character’s life – the language here is more formal, less impressionistic. Eleanor Rigby ‘lives in a dream’, and that’s reflected in lines like ‘Wearing the face that she keeps in a jar by the door’. The protagonist here works in an office, though, and the lyrics are almost like a list, like her itinerary for the day. 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, The Lyrics, 2021)

I'll say the obvious but Another Day and Eleanor Rigby have one commonality between them and it isn't 'a voyeuristic aspect' but the loneliness of the character. 'So-o many miles…' etc

And what kind of blind idiot do you have to be to make fun of a person who sings 'she finds it hard to stay alive'?

[harrisonarchive]

Photo by Leslie Bryce.

“I do know that George Harrison was there when we came up with ‘Ah, look at all the lonely people.’ [Paul] and George were settling on that as I left the studio to go to the toilet, and I heard the lyric and turned around and said, ‘That’s it’” - John Lennon, 1980; All We Are Saying (x)

[k-i-l-l-e-r-b-e-e-6-9]

The Beatles - Eleanor Rigby

[cosmonautroger]

The Beatles, Eleanor Rigby, 1966

[500album]

The Beatles - Revolver (1966)

Újabb Beatles album, újabb kellemes csalódások. Kezdem a legfontosabbal: ahogy végigfutottam a trekklistát, realizáltam, hogy ezen az albumon van az Eleanor Rigby, amit én sosem szerettem különösebben, viszont érdekes és eléggé fun fact, hogy a méltán híres Thong Song Sisqótól eredetileg erre a dalra épült, csak aztán nem engedték neki a hangminta használatát, úgyhogy inkább feljátszottak egy nagyon hasonló dallamot. Tehát egy alapvetően a magányról szóló megaklasszik The Beatles dalból akartak csinálni egy csillivilli kúrós rnb számot - csodálatos a popzene, tényleg! <3 Van erről amúgy egy jó kis videó a YT-on.

Szóval igen, az Eleanor Rigby mellett a másik nagy sláger a lemezről a Yellow Submarine, amit szintén nem szerettem soha, úgyhogy így nyomtam rá a play-re, de aztán rögtön az első szám teljesen falhoz vágott. Najó, még nem vágott rögtön falhoz, ugyanis először a Revolver eredeti felvételét kezdtem el hallgatni, ami 1966-hoz képest egy elképzelhetetlenül friss és innovatív hangzású lemez volt, de az én enyhén audiofil mai fülemnek feldolgozhatatlan volt a hangzása. De szerencsére létezik belőle a 2022-es Super Deluxe verzió, amin már rendesen ki vannak keverve a dalok, és így már igazán hatásos indítás a Taxman.

Ez megint egy olyan szám, amit korábban nem tudtam volna összepárosítani a Beatles-szel. Hát mi már az a basszus?! Meg úgy az egész nagyon fanki és koszos. Ezután már úgy voltam, hogy now you have my attention!

Azt írják, hogy ez az a lemez, amin a leginkább kitüremkedik a zenekar ún. pszichedelikus korszaka, értsd LSD + szitár. Szerencsére ezek inkább ilyen kötőanyagként összetartják a Revolvert, és nincsenek túltolva sem, úgyhogy elviselhető a jelenlétük. Többször is meghallgattam az albumot és igazából a legnagyobb része tényleg ilyen kötőanyag nekem, mert az első és utolsó szám teljesen elviszi a figyelmemet minden másról.

Az utolsó szám a Tomorrow Never Knows, ami tulajdonképpen egy Chemical Brothers szám '66-ból. Vagy akár 2025-ből. És egy újabb releváció, hogy mennyi mindenre volt mekkora hatással ez a zenekar. Az egyik YouTube kommentben azt írják, hogy teljesen mindblowing, hogy ez a szám 2 évvel a She Loves You után készült - és tényleg. Hát, a sok LSD, ugye. (Meg azt is írja egy kommentelő, hogy ez az első drum and bass szám :D azért ne ragadtassuk el magunkat ennyire, na...)

Összességében ez a két szám nekem elviszi a hátán az egész lemezt, és ezek miatt hajlandó vagyok a köztük lévő másik 12-t is végighallgatni. Illetve ami miatt még nagyon érdekes az egész, hogy akkor ez tényleg ilyen űrkorszaknak számított hangzás meg produkció szempontjából. Ennek az egyik oka, hogy ekkor döntötték el a fiúk, hogy nem koncerteznek többet, így egyáltalán nem kellett figyelembe venni, hogy ezeket a dalokat majd élőben is elő kell adni valahogy. Úgyhogy minden létező dolgot kipróbáltak a stúdióban, a visszafelé lejátszott gitárszólótól a közvetlen közelről felvett, ruhákkal kitömött lábdobon keresztül a mindenféle loopolt hangmintákig. Minden olyasmit, ami ma egy kattintás, akkor meg kellett hozzá 6 ember, 3 külön helyiség meg 13 km-nyi magnószalag. Meg sok LSD.

[mtvscreengrabs]

Eleanor Rigby - The Beatles (1966)

[island-ofthelost]

I think they have some kind of fucked up eleanor rigby situation going on

[ladystardustziggy]

Eleanor Rigby by the Beatles is like a beautiful painting that’s lost and forgotten that you only know very little about.