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gardenschedule · 14 days ago

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could you elaborate on your tags from that "writing about white walls" post?

I don't think this is a very unique take here but basically I believe that John was trying to achieve certain goals via Yoko's presence, and it was an intentional and purposeful disruption of the Lennon-Mccartney relationship. John, Yoko and Paul, as well as many fans and authors, treat this disruption as an inadvertent, inevitable side effect of the johnandyoko love story, that they were just so obsessed with each other Paul naturally got pushed to the side and it couldn't be helped, but I really think that was the whole damn point. I wouldn't go so far as to claim that was their point of J&Y's *relationship*, but I certainly think it was the reason John refused to physically separate from her while he was still active in the beatles.

I mean, the thing about John and Yoko is that their relationship was just kind of bizarre and confusing, right? You can, in fact, be in love and also be in separate rooms, you can have a job and a wife at the same time, you can have a creative partner and a romantic partner simultaneously. For some reason John couldn't, and the way he/Paul explain it is so weak and unsatisfactory. Like:

“. . . I mean, I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away. And I understood that. I mean, I couldn’t stand in the way of someone who’d fallen in love. You can’t say, “Who’s this?” You can’t really do that. If I was a girl, maybe I could go out and… But you know I mean in this case I just sort of said, right – I mean, I didn’t say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.”

I mean, that shit is insane?? It makes no sense for a platonic partnership. For Mclennon shippers, it can be interpreted in a way that makes some sense. But the rest of the world can't make sense of it, so they latched onto blaming Yoko for decades. And while it's partially racism and misogyny, it's mostly because people intuitively know there's something really weird about the way things went down and the best explanation they can come up with is that she manipulated or bewitched John somehow. I don't think that's the case. John can be pretty gullible and he loves a guru, but he's not so delusional he wouldn't foresee the conflict and tension that being joined at the hip 24/7 and trying to bring her into the immediate beatles circle would cause. I don't believe he could be manipulated into thinking it would be tolerable or positive for the group. He would never have accepted another beatle doing the same thing, he acknowledged this himself:

JOHN: But I understand how they felt, because if it had been Paul or George and Ringo that had fallen in love with somebody and gotten totally involved, suddenly… It wasn’t like, you know, somebody – George coming in and saying, “I’m going to work with Eric Clapton in a band now, and screw you.” It wasn’t that kind of thing at all. It was just suddenly this involvement.

I think he knew perfectly well it would be received badly, but there were beneficial outcomes he hoped for. On that post I said it could be taken as both an aggressive or defensive move, I reckon it's probably a mix of both. It could be seen as a power grab. He's got himself an ally in the studio who will unconditionally support him, increased artistic credibility (notably in a type of art Paul was also into), the implicit threat that he doesn't need Paul or the group, the leverage that comes with needing the others less than they need him, and the ability to induce creative, professional and personal jealousy in Paul specifically. After all, that's exactly how Paul most effectively hurt John:

JOHN: [Paul] even recorded that all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was. But you know, I enjoyed the track. But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

On the other hand, John at the time was particularly vulnerable and sensitive. Yoko must have been a protective mechanism, a barrier between himself and the person most able to hurt his feelings and his confidence, she made him feel good about himself and his art. He may not have been able to cope with the pressure unless she was there to believe in him and create some distance between him and Paul, to give him some physical and emotional space from the intensity of their relationship and competitive rivalry. And if we put our tinfoil hats on, we can certainly speculate that showing off a shiny new partner is an effective way to deal with unreciprocated feelings or romantic/sexual rejection.

Truthfully, sometimes I feel like John wanted Paul to be badly hurt by this situation so much that he kind of convinced himself of it? I have a tonne of quotes about how Paul reacted to Yoko here, and one thing I notice is that John seems to exaggerate how much Paul hated her, and Yoko's a lot less accusing. That's not to say Paul wasn't jealous, but he clearly made efforts to hide it. We have evidence that Paul tried his best to be accepting and kind despite how negatively it affected him. He went out of his way to help and defend them on multiple occasions, and yet John still thinks that Paul was singing 'Get Back' to her directly or he can't stand them being in love or whatever. It seems almost like wishful thinking on his part, which makes perfect sense if you think his goal was to hurt Paul in the first place.

#the beatles #john lennon #paul mccartney #mclennon #ultimately i don't blame yoko #i blame john's utilization of yoko #her only real crime is not being enough of a beatles fan to prioritize lennon-mccartney over herself and fair enough tbh

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m1ssunderstanding · 11 months ago

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Get Back Rewatch 55 Years On: Day Nine

Here’s the thing. Like, on one hand, Paul loves teaching. But on the other hand, I honestly think he’d be a terrible teacher. He’s genuinely trying to explain songwriting to this kid, and all I’m getting is that I should be able to just look at a piano and it’ll give me whatever I want. “So it’s really just . . .” *plays Martha My Dear* “. . . and from there, you know, like, um, there’s no – unless you stop yourself – there’s no stopping yourself.” Yes, thank you, Professor McCartney. Very informative. Good thing you’re a gorgeous genius because not a word of that lecture made any sense.

Seriously I am BEGging someone to write Paul and Ringo in the 20s as a cabaret duo! With Paul’s talents being songwriting, slutting it up, piano, and vocals and Ringo’s talents being tap-dancing, ventriloquist dummy impersonation, with the occasional piano, vocals, and sly winks. Maybe they meet George and John through organized crime, idk.

“They don’t just sort of come in your head, kind of thing?” “Yeah, sure. Fact, I had one this morning.” You know. As one does.

See, even Ringo’s on board with my plan. “Let’s make a silent movie.” And Paul. “In a club. That’s it. We’re in a band. We’re in a band, but we sell drugs.” And now they're stringing Paul up just for kicks. Maybe they could join the circus!

Literally the minute John starts being silly, Paul gets this fond look on his face and you can see the wheels turning like “quick, think of a way to get close to him.” And John’s into it. But they keep doing this seesaw thing and I can’t help but think how reminiscent it is of their dynamic as a whole.

“I see you’ve given up smoking, Richie.” “Yes, I have.” Reminds me of that classic, “I don’t even smoke,” thing. Seems like five-hundred years ago.

PLEASE tell me Peter Sellers and Ringo had a torrid love affair during the filming of The Magic Christian. The way Peter touches Ringo’s hair and his face! Ringo being a gentleman and getting Peter a chair! And I mean there’s plenty of queer coding between them in the film.

But also laughing my ass off at Peter’s reaction to their song-titles/lyrics/gibberish/other references code.

Yoko, you’re stone-cold and hilarious. “Or what we haven’t.” I honestly have mad respect for her complete disregard/disdain for the Beatles and their art only because that’s how they treat hers for the most part. But girl. You’re married to one of them. He genuinely does love them and what he does with them and you’ve got to respect that or go find someone else, you know?

Also, Paul does Not appreciate the attitude. “Or we’ll just sort of sit here and allow ourselves to be embarrassed. ‘Number nine . . .”

Aaand, just like that, Peter Sellers “must be off.” He lasted all of 1 minute 26 seconds. Weak. George and Ringo lasted fifteen years.

MLH is literally that annoying person that asks you a serious question about yourself just so he can use you as a segue to talk about his problems.

John: just recovering from the day, you know. Yoko: from the night. John: embarrassed (you have no right, dude, you literally played your sex tape for everyone like two weeks ago) Paul: Did not want that image, thanks very much.

It actually KILLS me though that we’ll never understand their code. Paul and Ringo will take it to their graves and no one else knows it and any footage like this we’ve got, and any code songs, will just be mostly uninterpretable for all time.

Okay these few minutes here are soooo special to me. It’s John at his peak lovely, sweet, gentle, kind self. He makes a joke at which Paul can only nod darkly which makes John realize just how bad of a place Paul’s in.

Paul wants them to get to work “achieve something every day.” But John knows he’s not in a good headspace to work and it’ll be shit and then Paul will spiral even more. So, he turns up the humor until Paul is sufficiently cheered.

And then, he says. “Guitars? I thought that’s what they do.” And Paul’s stammering. “Oh, that is what they do, but–” John stands up, does a little head-tilt toward the instruments. “Come on, I’ll even show you about half a song I was writing. Come on.” That last in the tenderest, most coaxing voice. It’s just soooo. Like. We talk a lot about Paul ‘handling’ John, and he did. But John sure knows how to handle Paul.

I SO wish they’d have done something with “Madman”. It’s so fun!! Every single song in this era I will go to bat for, no question.

Ringo’s little hug for Paul!!!! I can’t.

#paul mccartney #the beatles #john lennon #mclennon #ringo starr #get back

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muzaktomyears · 10 months ago

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messages from Paul McCartney and Yoko Ono on the 40th anniversary in 1997 of the Woolton church fête where John and Paul first met

John, Paul & Me Before the Beatles: The True Story of the Very Early Days, Len Garry (2014)

text under the cut

A MESSAGE TO WOOLTON FROM PAUL MCCARTNEY

Ah yes, I remember it well.

I do, actually. My memory of meeting John for the first time is very clear. My mate Ivan Vaughn took me along to Woolton here and there were The Quarry Men, playing on a little platform.

I can still see John now - checked shirt and slightly curly hair, singing Come Go With Me by The Del Vikings. He didn't know all the words, so he was putting in stuff about penitentiaries - and making a good job of it.

I remember thinking 'He looks good - I wouldn't mind being in a group with him'.

A bit later on we met up; I played him Twenty Flight Rock and he seemed pretty impressed - maybe because I did know all the words.

Then, as you know, he asked me to join the group, and so began our trip together. We wrote our first songs together, we grew up together and we lived our lives together.

And when we'd do it together, something special would happen. There'd be that little magic spark.

I still remember his beery old breath when I met him here that day. But I soon came to love that beery old breath. And I loved John. I always was and still am a great fan of John's. We had a lot of fun together and I treasure all those beautiful memories.

So I sent you all in Woolton and Liddipool my best wishes today.

And thanks for remembering - there's no way that when we met here we had any idea of what we'd be starting. But I'm very proud of what we did. And I'm very glad that I did it with John.

I hope you all have a wonderful day and God bless all who sail in you.

PAUL MCCARTNEY

MESSAGE FROM YOKO ONO

What a sweet celebration!

Yes, the meeting of John and Paul was an important event not only for those of us who loved their songs, but for the whole world which went through a social change for the better as a result of their words and music.

John's first thought as Paul showed him what he could do was: "Okay - this guy is good and already the girls are flocking around him - not around me! So if I let him in, he'd going to be a tough one to handle - but I'll have a strong band."

So John took Paul in. I think this story is important in that it shows as a creator and a leader of the band, John went for getting a strong band rather than having an easy time. And John was only a teenager. What a brain! What a guy!

By the way, it's interesting that the meeting took place at a church. Also, the main bulk of their songs were recorded in Abbey Road Studios, in London. Am I the only one who thinks of these coincidences as interesting?

John and Paul were traveling minstrels, who spread the word of love throughout the world. Through their songs, they brought the energy of love to the then gray world, which was still coping with the aftermath of the second world war.

With their words and music, John and Paul showed the world that law and order was not necessarily the most important force in the world. Love was the power and the energy that could change the world. And it did.

But it all started at the Woolton Fete forty years ago. As you celebrate this day, the world joins you in your celebration. Those who cannot come physically to Liverpool join you in spirit. It's a nice day to celebrate and I thank you for doing it. Peace.

#'and when we'd do it together something special would happen'#'he's going to be a tough one to handle'#'so john took paul in'#paul mccartney #yoko ono #john lennon #there's also messages from the queen and tony blair ghjskdhgdksl

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zilabee · 2 years ago

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- The first time I watched Get Back (which is the only other time I've watched Get Back) this was the day where I realised how much a mish mash mess the entire editing of it was, because obviously I know the tapes of day eight much better than the tapes of other days. (on account of it being the day where Paul and John use George as nothing but an excuse to talk about their own broken up feelings and confused affections.)

- Wonderfully, @inspiteallthedanger and @get-back-homeward posted about the cuts and snips in the lunchroom tapes, and how frustrating and impossible it all is, here. So I don't have to kill myself trying to explain how WEIRD the resulting 'conversation' Peter Jackson came up with is. What a strange strange thing he did.

- I'm aware that the art of documentary is cutting bits out, and I know they couldn't put it all in. But I do find it tiring. Even not lunchtime, but all the conversations, all the days. I just want to know what they look like at the appropriate points without having to double guess and think and disregard. We're not allowed that though, until some kind soul steals the full footage and gifts us pure wonder, so unless you can really see their lips move, it's only a mirage.

- But! the full 20 seconds that is given over to watching Paul looking sad where nobody says anything at all is the best 20 seconds Peter Jackson ever spent.

- Paul explaining that obstacles aren't obstacles if you refuse to acknowledge any sadness in your life think about obstacles. I mean he's not untrue, it's not not true, he could make a motivational poster.

- So proud of his terrible news bulletins idea. I actually do think ending a massive spectacular show by having a quiet man come on and quietly announce that you've broken up could be nice though. But really I'm just in love with the fact that instead of worrying about breaking up, Paul has been turning it into a project they can all work on together. (And thinking about how to make it suitably big and show-off break up, because it's the Beatles - I love that he worries about their legacy. George and John are so weighted down by legacy, and Paul's just like 'it's only hard if we don't live up to it, so we should just live up to it'. He's such a lot, but he's true.)

Linda: But you were saying yesterday, you know... you make good music together whether you like it or not. John: I like it. Linda: And making good music is also... John: But it's just... Linda: It's really hard working in a relationship. John: I know.

- I love that they call it feeling guilty about each other.

- I love that when John is talking about how hard it is when Paul won't give in on arrangements, he specifically says that he wants it to work more like it works when they're writing. It soothes me in its easy acknowledgement that the writing is good. (even while he's destroying it I know)

- Paul jokingly saying 'You stay out of this, Yoko' to Linda when she is joining in the conversation is probably one of the first times that joke was made, where it's now a recognisable joke to almost every english speaking person in the world.

- SHUT UP I CANNOT STAND IT. (Literally no idea at what point of the thing I wrote this down but I stand by it.)

- I hope they didn't tell George they only wanted him back as a matter of policy. <333333333

When we're very old we'll all agree with each other and we'll all sing together.

- I love him talking about how it all works better if they sing properly instead of just singing half. I love that they just need to be young again and they're not young, since Brian died they haven't been at all young.

- Love John wanting someone to fact check Paul in case Tucson wasn't actually in Arizona. His surrealism does not stretch to inaccurate geography.

Ringo: The meeting was fine. A lot of good things, but then you know... they all sort of fell apart in the end.

Ringo accidentally writing a perfect little synopsis of the Beatles.

- "I don't feel like the Beatles revolve around the four people. It might be a fucking job." John trying to invent The Plastic Beatles. Or make it a bit like national service for rockstars. Everyone dreading the fucking letter that means they have to leave their families and their homes and their happy bands to go and live in a cauldron with Paul and John for a few months.

MLH: I think at some point we should talk conceptually about the show. Everyone prepares to leave.

#get back #get back january #the beatles #the lunchroom tapes #sorry this is long #but so much I left out because I couldn't wrangle thoughts #about paul and john and their ridiculous wordings #it could have been much worse #get back words

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morgana-larkin · 15 days ago

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After a bit of time, here’s ‘Cool Your Fire Part 7’. There is smut in the part so you’ve been warned! If you wish to be on my Christina Ricci taglist (as I also write for Misty), then let me know. Not edited in the slightest and I hope you like it!

Cool Your Fire - Part 7

Warnings: a bit of possessive Marilyn, smut

Words: 4.35k

The next day you’re getting ready for school. You, Wednesday and Enid are all quietly getting ready, which is unusual as you and Enid usually start a conversation.

“Enid.” You say after you finish brushing your hair and she turns around to look at you. “I’m really scared.” You tell her and she comes over to hug you. “I tried not to let it get to me but knowing I could get killed at any moment, it’s really scary.” You say and she doesn’t stop hugging you until you pull back.

“Why don’t we have a movie night tonight? We could watch whatever movie you want. I could invite Yoko and Divina. Have a girls night. What do you say?” She says, trying to cheer you up.

“Ok.” You say and she smiles at you.

“Ok, perfect. Let’s go have some breakfast and I’ll invite them over when we’re eating.” She tells you and pulls you out of the room.

“Hey girls.” Marilyn says as she was making her way to breakfast as well.

“Hi Ms. Thornhill.” Enid says cheerfully and Marilyn looks at you and frowns.

“Y/n, are you ok?” She asks you.

“She’s a little scared, so I thought a girls night tonight would be fun. An actual girls night this time.” Enid tells her and Marilyn smiles at her.

“That’s a wonderful idea! I hope you have fun tonight.” She tells you both.

“Any plans tonight?” Enid asks her as you three start walking to the caf.

“I’m going to Jericho tonight, I’m going to tell John that nothing is going to happen between us.” She says and you look at her. “While he’s lovely and kind, I’m more interested in someone else.” She says and looks at you with a smile. The three of you get food and then go to the quad to eat before classes start.

“Hey Yoko, Divina, want to join me and Y/n for a movie night tonight?” Enid asks them and they smile at the invitation.

“Would be thrilled too.” Yoko says.

“Sounds like fun.” Divina says. “What movie?”

“I’m letting Y/n choose tonight.” Enid says and they all look at you.

“How about Hotel Transylvania?” You suggest, knowing they’ll groan at the suggestion, and they did not disappoint.

“That movie represents everything wrong with vampires.” Yoko says while pointing her finger at you.

“Relax, little vampire.” You say playfully. “What about Harley Quinn?” You suggest and Divina smirks.

“We all know you have a thing for Poison Ivy, it’s no secret you have a thing for redheads.” Divina says as they all continue eating. Beside you, Marilyn is blushing a little bit, and puts a hand on your thigh.

“So Ms. Thornhill, any plans for tonight?” Yoko asks her and they all turn to look at her.

“You guys remember John? My date to the dance?” She asks and they all nod. “Well I’m ending things with him tonight.” She tells them all and Yoko lets out a big sigh.

“Thank. God.” She says and you all turn to look at her. “He wasn’t right for you Ms. Thornhill. And while he was clearly interested in you, I could tell you weren’t interested in him at all.” She says and Divina nods her head in agreement.

“You seem to be opinionated this morning, Yoko.” You tease her and she sticks her tongue out at you.

“You’re right Yoko. I was never interested in him.” Marilyn tells them.

“Then why did you bring him to the dance?” Divina asks.

“I guess because I wanted a date. I’ve never dated anyone before.” She says and all their jaws drop.

“You’ve never dated anyone?” Enid says in shock and Marilyn shakes her head. “But look at you, how could anyone not be interested in dating you?” She says and slaps your arm as she was right beside you.

“Ow! What the hell was that for?” You ask her in shock.

“Back me up here.” She tells you.

“I think you were making a point just fine on your own. But Enid is right, I can’t believe no one has been interested in you.” You tell Marilyn, the entire time with her hand on your thigh.

After eating then it was time for all of you to head to class, most of you just follow Marilyn to the greenhouse as their first class is Botany.

“So what movie are we really watching?” Yoko asks you and you roll your eyes.

“How about Beetlejuice?” You suggest.

“If you want to watch a goth girl then just watch Wednesday.” Yoko says.

“Please don’t.” Wednesday says from behind you all.

“Nightmare before Christmas?”

“It’s not Halloween anymore.” Divina says.

“Doesn’t mean we can’t enjoy it anymore. Ok how about ‘But I’m a cheerleader’, I need a little gay comedy right now.” You tell them and they all agree on that.

“Ok class, happy Monday and today we’re going to focus on a new carnivorous plant this week.” Marilyn says and sneaks a glance at you.

30 minutes go by and she asks you all to find out as much as you can about the plant.

“Hey Y/n.” You hear behind you and you turn around and see Sally looking at you.

“Hi Sally.” You say. Marilyn hears you talk to Sally and looks up.

“The end of the Rave’N was crazy. We got separated and I also wasn’t able to find you after. Are you ok?” She asks you and you nod.

“Ya I’m fine, I basically just went to my dorm, had a shower and then went to bed.” You tell her.

“Oh well that’s good. So I was wondering if you didn’t have plans tonight if you maybe wanted to hang out with me and Nickie tonight in our dorm room.” She suggests and Enid turns around at that.

“I actually have plans with my friends tonight, movie night.” You tell her and Enid nods happily.

“Oh well how about another night then?” She asks you and you shake your head.

“I’m sorry Sally, while you’re beautiful and really nice, I’m not interested in you romantically.” You tell her and her face changes from hopeful to disappointed.

“Oh, ok. Well I’m glad to have had a nice night with you at the Rave’N at least.” She tells you and you smile awkwardly at her before turning back around. You catch Marilyn staring at you and she gives you a smile before returning back to grading assignments.

*A few hours later*

“So I couldn’t help but overhear the conversation you had with Sally.” Marilyn tells you while you’re both walking to the quad for lunch.

“You mean eavesdrop?” You say with a smile.

“Same thing.” She tells you and she nudges you playfully with her arm.

“Yes, I told her that I’m not interested in her. Hard to be interested in someone when someone else already has my interest.” You tell her quietly and she blushes slightly.

“I know we both have plans tonight, but how about you come to my room tomorrow night after classes?” She suggests and you smile.

“Of course, I’d love to.” You tell her and you both reach the table to eat with everyone.

“Y/n, I just got some interesting news about Britney.” Enid says to you.

“You don’t want to save it for tonight?” You tell her and she thinks about it for a second.

“I guess it can wait.” She says and then goes back to talking about what to do during girls night.

*A few hours later*

“You think we got enough snacks?” Enid asks as you get back to your dorm, after going to Jericho to get snacks for girls night.

“I think a large pizza, 4 bags of chips and dip, and some chocolate is enough.” You tell her and she nods with a smile. “Wednesday are you joining us?” You ask her casually as you and Enid set up the laptop and some blankets and pillows on the floor.

“Why would I waste my time with four giggling girls and watch a movie about a girl coming out?” She asks you.

“Because it’s torturous for you.” You simply say and she looks at you from her desk.

“Fine, but only because I love torture.” She answers with and you nod with a smile. You know deep deep down, Wednesday likes having friends, even if she doesn’t show it.

Once you and Enid are done setting up, there’s a knock at the door and Enid goes to answer it with a slip to her step.

“Hey guys, glad you came! It’s going to be so much fun!” Enid squeals and you smile at her enthusiasm.

You, Enid, Yoko and Divina get settled on the place that’s set up while Wednesday sets up her own place right next to you with her black blankets. You all dive into chatter while you eat the pizza, as well as Enid tells the news she wanted to share earlier, and then you all watch the movie when the pizza is done.

“I always love a gay comedy.” You say when the movie ends.

“That movie was terrifying to watch.” Wednesday says and you look to see her still watching the screen with a certain fear.

“I’m glad you liked it!” You say and everyone continues chatting about anything.

“So Y/n, any girls catch your eye this year?” Yoko asks you and you look at her.

“There is this one girl but I don’t know if she likes me.” You half lie.

“Oohh, tell us about her?” Divina says, very intrigued.

You suddenly have to make up a girl to cover your tracks, you have no idea why you just didn’t say no to Yoko’s question.

“Well she lives in Jericho, and she’s funny, nice and her and I sometimes talk.” You tell them and Yoko and Divina are looking at you with a smile while Enid is looking intrigued.

“Alright good night guys.” Enid says an hour later as Divina and Yoko leave. “Oh hi Ms. Thornhill!” Enid says and you perk up a bit.

“Hey Enid.” You hear her say. “How was girls night?” She asks as she reaches the door and sees you putting the blankets and pillows back on the bed.

“It was so much fun.” Enid tells her and then invites her in. “Were you just coming from Jericho?” Enid asks when Marilyn is inside and she closes the door.

“Yep, told John that it's over. That it was just the one date and nothing else.” She says and you smile at her.

“Was he upset at all?” You ask her and walk up to her.

“A little, but he understands that if there’s nothing there then he can’t change that.” She tells you with a smile. “And there’s definitely nothing there as my interest lie elsewhere.” She says and pulls you into her for a hug.

“You two are disgusting, reminds me of my parents.” Wednesday says.

“I know, they’re so cute!” Enid squeals.

“I’ll let you three get some sleep tonight, but I’m still seeing you tomorrow after classes right?” She asks you and you nod with a smile. “Alright, see you in the morning girls.” She says and gives you a quick kiss before leaving. You stay where you were for a few seconds with a small blush and a smile.

“What?” You ask when you notice both Enid and Wednesday are looking at you.

“Never thought I’d see you so smitten.” Enid says and you roll your eyes at her.

“Well what’s the problem if we both like each other.” You say while you go to get your pjs.

“And no one would think that you hated each other yesterday.” Wednesday says and you turn around to look at her. “Or that 2 days ago you were trying to make each other jealous.”

“Yes we had a rough start but we talked and got over it.” You explained to them.

“Shame, I was enjoying you two being idiots over the weekend.” Wednesday says and goes to get ready for bed while you whip your head in disbelief at her.

*The next day after classes*

“What do you think of this sweater with these jeans?” You ask Enid and she looks at you.

“A plaid sweater with ripped jeans? You look like a sexy lesbian.” She says and you smile.

“Perfect!” You say and then grab your phone and then bid both of them a good afternoon before leaving. You go over to Marilyn’s room and knock on the door. When the door opens, the last thing you expected was for Ms. Weems to answer the door. “Oh hi Ms. Weems.” You say, a bit shocked.

“Hi Y/n, what are you doing here?” She asks you innocently.

“This is still Ms. Thornhill’s room right?” You ask her and she nods.

“Yes Marilyn is right there on the couch. Actually I want to speak to you too. Come in.” She says and you enter and see Marilyn there with a frown on the couch, and you go and sit next to her. “Listen, I've been trying to come up with a way to protect you both from that group. I looked at the files and they’re a very powerful group.” She says and you nod.

“And I told you the only way to deal with it is killing them. Which is impossible as they have really good security.” Marilyn says and sighs. “The only way to keep everyone, especially Y/n, safe is to keep my distance from everyone.” Marilyn says and you look at her.

“Always wanting to talk with students and eat with a group of them is a great way of keeping your distance.” You tell her sarcastically and she raises a brow at you.

“Y/n brings up an interesting point, you’re already quite involved with student life, so what do they mean by close?” Ms. Weems asks and you look at Marilyn.

“I don’t know, and that’s what scares me. Like I don’t know what not to do to keep Y/n safe. And who knows whose second on their list.” She says and puts her head in her hands.

“Marilyn, I think you might be right in how to solve this. But I’m really against murdering a bunch of people. But my oath as the principal is to protect all my students and faculty members.” Ms. Weems says and you look at her. “But this group is a huge danger to the outcast community and this school.” She says and you nod.

“How do we do that?” You ask her and she sighs.

“I don’t know Y/n.” She says and you nod your head disappointingly. Marilyn puts an arm around your back for comfort and you lean into her.

“I’m really sorry Y/n. I never should have come here.” She says.

“Marilyn it’s not your fault, you didn’t know.” Ms. Weems says. “Look I’ll have to think about this but in the meantime, Marilyn, just keep doing what you’re doing.” She tells her and Marilyn nods. “Good night to the both of you.” She says and then leaves the room. Marilyn goes up and locks the door before rejoining you on the couch.

“This is getting intense.” You tell her and she wraps you up in a hug.

“I know honey.” She says softly and gently rubs your arm.

“But I’m glad that it’s not preventing us from being together.” You tell her and she smiles at you.

“Ya?” She asks and you nod.

“Yep.” You say and lean forward and place a kiss on her lips. You pull back before you both smile at each other and kiss her again. This time you don’t pull back, you keep your lips on her and lean closer to her. Marilyn cups your cheeks while you put your hands in her hair. You crawl on top of her and straddle her hips without breaking the kiss and she doesn’t stop you. You moan into the kiss when she deepens it and she immediately pulls back. “Why’d you stop?” You ask her in confusion.

“We shouldn’t go any further.” She says and you stare at her in shock.

“Why not.”

“Y/n, you’re 17.”

“That doesn’t stop the fact that I want to go further with you.” You tell her and cross your arms.

“You’re cute when you try to act tough.” She jokes and places her hands on your hips. “We shouldn’t go forward because you’re a virgin.” She says and she sees you still not getting it. “I want you to be sure since it’s your first time.” She says and then a thought reaches you.

“Wait, aren’t you a virgin too?” You ask her and she nods after a few seconds. “Why are you only focused on it being my first time when you should be focusing on both of our first times?” You ask her and she caresses your cheek.

“I’ve had many years to be sure. I know I want to do it with you but you’re still so young.” She says softly.

“I may be young but I know I want to have sex with you.” You say and buck your hips and Marilyn lets out a soft gasp. Before she has time to react further, you bend down and start kissing her neck. Marilyn unconsciously moves her neck to give you more access and you start sucking. You move a little further back on her neck so she can cover the hickey with her hair. She grabs a hold of your hair while you’re sucking and she lets out a gasp and a whimper.

“W-wait Y/n.” She says and you reluctantly pull back. “Are you 100% certain? Once you lose your virginity, you can’t get it back.” She says and you nod.

“I want you Marilyn, I really want you.” You tell her.

“Alright, get off of me.” She says and you obey. “Let’s go to my bed.” She says and extends a hand for you to take and you immediately take it. She leads you over to her bed and tells you to get comfortable.

You go and lay down on the bed and she climbs on top of you. She starts kissing your lips again and she deepens it by sliding her tongue in your mouth and you moan. You move your hands to the buttons on her sweater and you start unbuttoning it. You finish all the buttons and pull it off and see she’s wearing a shirt underneath and you groan.

“You wear far too many clothes.” You tell her and she giggles before she takes her shirt off and goes back to kissing you. You run your hands all over her now exposed stomach and back and you sigh contentedly at the feel of her skin.

“You like my body honey?” She asks and you nod. “Can I see your body?” She asks and you nod before she unbuttons your plaid sweater. “No shirt underneath the sweater? Were you planning this?” She asks you curiously.

“I was hoping for it.” You tell her and she smiles and shakes her head at you. She then unclips her bra and removes it and it leaves you speechless.

“Cat got your tongue honey?” She jokes and you just stare at her breasts and nod. “Go on, touch them if you want.” She says and you immediately bring both your hands to her breasts and wrap your hands around them. You then put one hand on her back and pull her close to you and put one nipple in your mouth and she moans. You flick your tongue over her nipple a few times and then give it a few ducks and you love the noises you’re pulling out of her. You then pull back and give the same treatment to her other nipple.

“You know I’m kinda glad that you’re a virgin.” You suddenly say when you pull back. “It means no one else has touched you.” You tell her and she runs her fingers through your hair.

“A little possessive are we?” She tells you with a smirk and you nod. “Well I’m just as glad that no one else has touched you as well.” She tells you and then she unclips your bra with ease. You let her take it off of you and she immediately brings her mouth to one of your nipples and you gasp out at the sensation. She then switches to your other nipple when she’s satisfied and does the same thing. You catch her off guard by sliding a hand underneath her skirt and touch her centre over her underwear. She lets out a squeak and immediately pulls back.

“You’re very wet.” You tell her with a smirk and she rolls her eyes at you.

“I’ve got a cute girl underneath me, of course I’m turned on.” She says with faux annoyance. “Let’s see how well you’re fairing.” She says before she gets off the bed and takes your jeans off. And as expected she sees a wet patch on your underwear and that gives her a wave of confidence. She takes her long skirt off before getting on the bed and goes between your legs. She grabs the hem of your underwear and gives you a look and you nod before she takes your underwear off. She looks at you completely bare under her and she smiles. She then wraps her hands around your thighs and brings her mouth to your pussy. You gasp out at the feeling as soon as her tongue makes contact with your centre. You close your eyes and bring a hand to her hair and grab the sheets with your other hand. You bend your knees so your feet are planted on the bed and you can’t help but start bucking your hips. Marilyn pins you down with her hand before she goes to your clit.

“Oh my god.” You gasp out at the sensation. Marilyn then slips a finger in your entrance and you moan at the feeling. You’ve of course fingered yourself before but having someone else’s fingers in you is a different and better feeling. “Oh my god, mommy.” You slip out and you both freeze. Marilyn pulls her hand back and brings herself up your body so you’re face to face but keeps her finger in you.

“Oh how interesting, I’m mommy huh?” She asks with a smirk and she goes back to fingering you after adding a second finger. You’re still a bit embarrassed of your slip up that you keep your eyes closed and keep your hands to yourself and Marilyn notices the change. “I don’t mind being called mommy, babygirl.” She tells you and you open your eyes to see her with a genuine smile. “In fact, it turns me on even more. Makes me want to keep my babygirl all to myself.” She says possessively and you moan at her words. “You like that? Only being mine and no one else’s.” She says and you nod. She then puts her palm on your clit and you have to bite your lip so you don’t let out a huge moan that surely someone will hear. You start bucking your hips again and she has to press her body onto yours to stop you. Your legs start shaking and your breathing is deeper. “Are you close babygirl?” She asks and you nod.

“Yes mommy.” You say and she smirks at the nickname.

“Come babygirl.” She says and a few seconds later you come all over her fingers. She pulls out of you carefully and licks her fingers clean. As soon as she finishes licking her fingers, you calm down enough and flip both of you so that you’re on top of her. “Oof.” She says as it caught her off guard. You then ripe her underwear off and immediately start circling her clit. “Oh my god baby.” She immediately moans out and bucks her hips. You pin her down and then move your body so that you can lick her centre. Your tongue makes contact with her centre and you both moan out. You lick her centre a few times before you slip her tongue in her entrance and she grabs your hair with both her hands. With your tongue inside of her and you circling her clit, it doesn't take long until her legs are shaking as her release is close. She then gasps out as she comes and you lick it all up before you pull back and look at her with a smile. “Come here.” She says as she sits up and pats her lap. She gets you to turn around and then you sit on her lap and lean into her so your head rests on her chest and she puts her chin on your shoulder.

All of a sudden she brings her hand to your centre and starts to quickly circle your clit and you’re gasping and moaning on top of her. “Mommy.” You squeak out and she smirks.

“I just love getting these reactions from you.” She whispers in your ear and you reach behind you and grab her hair with one of your hands. You start grinding on her thigh for friction as the sensation is overwhelming for your body and she lets you. She starts kissing your neck softly so she doesn’t leave a mark and you’re at the peak. You then come for a second time that evening and she pulls out of you and you try to catch your breath and she wraps her arms around your waist. “I love you.” She says and you freeze before turning your head a bit so you can look at her.

“Really?” You ask her and she nods her head with a smile. “I love you too.” You tell her and she wraps her arms tighter around you as you both are just content in the moment.

#marilyn thornhill x reader #marilyn thornhill #x reader #fanfic #wednesday netflix

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shinygoku · 2 months ago

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The Beatles [The White Album] (1968)

So, after the terrific high of Sgt Pepper's Lonely Hearts Club Band, and the rather more wobbly TV Special with some songs made for it that was Magical Mystery Tour (and the subsequent US spin that I covered, in opposition to the Band's original intent), The Beatles were in an odd place. India, Brian Epstein's death, John's controversial new girlfriend, tensions tightening enough that Ringo left for a couple of weeks and, of course, one of the longest damn albums ever. As it's a whopping FOUR sides, I'm gonna be doing a lightning round of sorts, let's crack on. (I don't normally hafta write this, but please scroll past the big white void lol)

Yes indeed, in deliberate contrast to the maximalist Sgt Pepper, this one is beyond minimal. The original pressings also had a unique serial number stamped in, but this has gotta be the most austere covers ever. The way the name is off centre adds a little visual interest, and one can argue this too is fine art (though it's a bit sterile for my tastes) and is suited for the task of holding all the varied songs which lack a unifying theme. Naturally, this stark white-ness gives the album it's much more common name, as just naming it after the band is pretty dull and confusing lol

SIDE ONE

Back In The U.S.S.R.: A parody of both Back In The USA and California Girls, but also a dope rock song in it's own right. Paul brings high energy, quickly but clearly sung lyrics and a slightly controversial sentiment where people aren't sure if it's pro- or anti- communism but chose one side to get pissed off at. As this one was recorded before Ringo re-joined the band, it seems the other 3 all had a certain amount of percussion presence instead. It's a good start to the album but not an all-time favourite.

Dear Prudence: Written in India in an attempt to reach out to fellow Meditation-er, Prudence Farrow, who would hole herself up in her bungalow and not answer for hours on end. It's pretty sounding but I find the name Prudence hard to take seriously... sorry, lady!

Glass Onion: A sequel to I Am The Walrus and packed with references to other Beatle songs, I dig this. It doesn't hafta have secret extra layers to be interesting lol

Ob-La-Di, Ob-La-Da: I am a certified Obladi Oblada ENJOYER and I think anyone who hates it is weak and boring, though I give the band themselves a bit of leeway here as they had to do many, many takes. But the final version is such fun~ And again I find it interesting how said Perfectionist Paul put in that bit about Desmond seemingly doing drag towards the end XD

Wild Honey Pie: Really bad. If it's a sequel to Honey Pie why does it come on before it??

The Continuing Story Of Bungalow Bill: The story of a lameass hunter who needs his Mum with him on hunts lol. I like how we can quite clearly hear Ringo and Yoko's voices in the choruses, adds a unique flavour.

While My Guitar Gently Weeps: FINALLY!! I can say something really enthused about a George Song for the first time since pre-Revolver! Yeah this one kicks ass, the slightly randoms strings of words still come together to make a poignant, emotive song. Though I'm not wild on the moaning at the end, and I much prefer the Acoustic version, which sounds more intimate and doesn't have Icky Clapton on it. The shamisen cover is nice too but that might be my Weeb side showing, the title does make a bit less sense that way too lol. - Anyway yeah, even this early on in the album this is easily one of the strongest numbers and is a nice showing of what George can do with his turn in the Writing Songs department.

Happiness Is A Warm Gun: A title that aged poorly whether literal or the metaphor for heroin, the song itself is another word salad that John's so fond of. The melody changes a lot so it's more interesting for the ears that way, but I'm not enchanted. Kind of like the album as a whole in that it's a mixture with not-so-hidden darkness, I s'pose.

SIDE TWO

Martha My Dear: An upbeat ditty about Paul's beloved dog. Got some of that old fashioned vibe with strings and brass sections. If ya didn't know about the big shaggy Old English Shepherd muse, I guess the lyrics sound pretty bizarre given Pauls' penchant for writing about Girls, or his displeasure with Jane Asher or Girls who may actually be John.

I'm So Tired: Unlike I'm Only Sleeping, this isn't a soothing ode to being in bed, it's more about being tormented. The lyrics get more testy and sharp with the progression and then some mumbling at the end I can't make out. Maybe a bit too good at portraying stress, I'm not into it.

Blackbird: A song in tribute to the struggles of black girls denied basic civil rights, this feels empathetic and reassuring. Even without the subtext it's a very pretty, low-key song, assisted by real vocals from an actual Blackbird, but I do recommend keeping the message in mind for this one.

Piggies: George at it again, this time with satire! Pretty clearly against Capitalism and the class system, based. We even hear a vocal from George's Mum! Even knowing it's part of the lampooning, the harpsichord and string music sounds pretty, and it helps with the juxtaposition baked in.

Rocky Raccoon: A narrative song about an odd Western scene, in which the title character (furriness status unclear) tries to get revenge on his perceived rival but fails. Easy enough to listen to but probably more notable for naming Rocket Raccoon in Marvel Comics [they had to change the name slightly lol].

Don't Pass Me By: Not just a rare Ringo song, the first one he wrote himself! This again goes for a country and western style and the narrative is similar to the Beatles For Sale type of plots. I dig the fiddle though it feels like there's a filter of sorts over Ringo's beautiful voice? That's odd. Anyway I do prefer it to What Goes On but Act Naturally clears this easy ^w^;

Why Don't We Do It In The Road?: Bad. The piano is neat but wasted. Only a smidge better than Wild Honey Pie.

I Will: A very nice song that's been seized by many, many weddings lol - very much short but sweet and I appreciate that youtube comments also apply this to a lullaby for children.

Julia: I know this is a very personal song of John's, being about his mother, and it's certainly more beautiful and heartfelt than most of this album. My main gripe is kinda petty and it's that the words get strung out a bit long. Everything else is very nice and peaceful.

SIDE THREE

Birthday: A cool rocking tune with lyrics that, while not phenomenal, blow Happy Birthday To You out of the water and into the trash where it belongs. It even gets uptempo for the bridge and changes the melody~ I hadn't heard this one until doing this write up though lol

Yer Blues: I'm not into the heavier stuff, especially knowing John's many, many issues and that this song was one of the ones where he leaned into it a bit to avoid detection. Hard Blues may have good musicianship (like this does, ooh that drumming and guitar work!) and be a decent outlet for one's woes, but I can't enjoy it.

Mother Nature's Son: This is back into a calm, gentle vibe with acoustic guitar and basic percussion. Paul keeps it simple and it's stronger for it, leaning into evocative imagery and humming.

Everybody's Got Something To Hide Except Me And My Monkey: This title is too long and that pisses me off. Booooo!! 🍅🍅🍅 It's also a very harsh sound straight after the previous song, so I'll dock extra points for that. Otherwise it's an ok rock song I guess but I ain't digging it.

Sexy Sadie: This has an interesting sound and a lot of narrative focus. I think I like the piano best. It's decent. Maybe another great song vastly overshadowed by their own catolague? lol

Helter Skelter: I really like how proto-Metal music was about a kind of spiral slide found at funfairs. Sure, helter-skelter is also a phrase for things being in disarray, but Paul's lyrics clearly talk about the act of going down one'a these things made for children lmao. There's supposedly a secret extra long version, but the take used on the album still features a long coda and Ringo moment. I hope his fingers soon recovered xx

Long, Long, Long: Another George instalment! It starts off very quiet and intimate, and then crashing drums come and go, without it jarring. Then after the song a strange rattling begins and gets jamming to go along with it, apparently it was a wine bottle vibrating on a speaker? Huh! Song overall is nice but this odd ending feels a bit like a miniaturised version of the album, again!

SIDE FOUR

Revolution 1: A cool rock intro that then becomes a pretty vague kinda-political but unfortunately fence-sitting load of waffling. I get they ain't really in the best position to start calling for Landlords to be tarred and feathered, but living in 2024 and the current hellscape leaves me with less patience for this. Also I've no idea if this is the same as the Revolution without a number, I presume it's slower but I don't wanna go listen to the other one when I already ain't digging this. Piggies clears this easy.

Honey Pie: Why wasn't this before Wild Honey Pie?? This one resembles an actual song! Albeit in a kind of chopped up, ad libbing curiosity which swings. A lot more enjoyable than many other things on this compilation, though!

Savoy Truffle: Another George song (that's good!) and another Clapton having one (oh, that's bad). Not gonna lie though, it does make me want to eat some chocolates.

Cry Baby Cry: Another narrative that doesn't make much sense, but I find myself enjoying the lovely instrumental work. Another song that was brand new to my ears, though allegedly it cameos for a few seconds in Yellow Submarine, so I'll try hearing that next time I watch it :3 - Oh, and there's a coda. My main crit being John using an odd small voice for the whole thing.

Revolution 9: Number Nine. Number Nine. Number Nine. Yeah no, if this is an introduction to Musique Concrete then I don't want any. I can never listen to this whole thing, this write-up being no exception.

Good Night: A nice, peaceful song to cap this Experience off, with Ringo's lovely vocal work on a lullaby John wrote for his son. Critics may find it saccharine but I for one welcome it with open arms. Even with the surprize whispering after the main event, it manages to stay on tone and indeed feel like a parent tucking their child in.

CONCLUSION

I considered doubling the Best / Blurst amount but ehhhh, I'll stay consistent. It might be interesting to see what songs end up in like/dislike piles, but I've already spent ages on this, so maybe after the main Album reviews as a bonus issue. Maybe ¬w¬;;

Best 3: Ob-La-Di Ob-La-Da, While My Guitar Gently Weeps, Helter Skelter

Blurst 3: Wild Honey Pie, Why Don't We Do It In The Road, Revolution 9

Ough. This bitch is Eclectic. There's something for everyone, but that also means there isn't much for some listeners, like myself. I feel this has been my most negative so far but there's some gems, it's just while I generally enjoyed the lesser songs of their earlier work (variable according to how poorly the main jist ages like all the Possessive Songs in AHDN lol), the songs I don't like here feel worse as they're further removed from the music I love, and the Bugs were older and more experienced by this stage and their dumb joke songs feel more irritating. But that's me. I know a lotta people dig the sheer range of choice here, and that's cool. At least in theory.

🪲🪲🪲🪲

Remember how much I wrote and quoted in Sgt Pepper? That was fun. Fortunately I know more amazing songs are coming up, wiiiith (sounds of clicking on another tab) Yellow Submarine, Abbey Road and Let It Be. Ok, as YS only has 4 new songs, I'll group that into the movie review that I'll do later on [and am warmly anticipating!], and Abbey Road was issued first but I am not ending the Albums on Let It Be! I want them to conclude on a HIGH note!!! So yeah, join me in November to Let It C, D, E

#The Beatles #The White Album #The Beatles 1968 #The White Album 1968 #The Beatles (Album)#Album Album #Again idk how many alts to put as 99.9% of people call it The White Album lol #This was sure something :T #CutCat listens to Bug Music #Music Review

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greensparty · 3 months ago

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Remembering Screamin' Scott Simon and Herbie Flowers

Sad weekend for music fans, specifically 70s music fans. Here is my combined remembrance:

Remembering Screamin' Scott Simon 1948-2024

Musician Screamin' Scott Simon has died at 75. He was the pianist for Sha Na Na from 1970 to 2022. The doo wop revival group were known for their variety TV show Sha Na Na (Syndicated 1977-1981). I remember watching it as a kid and getting a kick out of it. The group also appeared in the 50s-set movie musical Grease. Simon himself actually co-wrote the song "Sandy" that John Travolta sings in the film.

Simon on the variety TV show

In 1972, John Lennon and Yoko Ono invited Sha Na Na to be a part of their One-To-One benefit concert at Madison Square Garden. It also needs to be added that a young Bruce Springsteen opened for Sha Na Na in the early 70s.

Sha Na Na played Woodstock in 1969. While that concert was the year before Simon joined, some reports have him listed as appearing with the band at the legendary music festival.

The link above is the obit from Hollywood Reporter.

Remembering Herbie Flowers 1938-2024

Musician Herbie Flowers has died at 86. He was the bassist on hundreds of recordings. He was the bassist for T. Rex from 1976-77. Some of the legendary songs he played on included David Essex's "Rock On", David Bowie's "Space Oddity", Nilsson's "Coconut", and Lou Reed's "Walk on the Wild Side". Wow! That alone makes him legendary!

Flowers with Bowie and Marc Bolan

He played on multiple solo Beatle albums as well: George Harrison's Somewhere in England (that's him on "All Those Years Ago"), Gone Troppo and the posthumous Brainwashed; Ringo Starr's Stop and Smell the Roses; and Paul McCartney's Give My Regards to Broad Street. Quite a discography indeed!

The link above is the obit from Deadline.

#screamin scott simon #rip #sha na na #grease #john travolta #john lennon #yoko one #bruce springsteen #herbie flowers #david bowie #lou reed #david essex #harry nilsson #george harrison #ringo starr #paul mccartney #music nerd

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dreampoetryvisions · 2 years ago

Video

youtube

INSTANT KARMA! (WE ALL SHINE ON). (Ultimate Mix, 2020) - Lennon/Ono with The Plastic Ono Band Intergalactic Radio Station wwwrhythmsectiongatlinburgcom [https://ift.tt/u7LXvEg] JOHN LENNON. GIMME SOME TRUTH. THE ULTIMATE MIXES. The Very Best of John Lennon. 36 tracks completely remixed from the original multitracks in Stereo, 5.1 and Dolby Atmos. Listen to JOHN LENNON like you've never heard him before. OUT NOW → http://bit.ly/JL-GST INSTANT KARMA! (WE ALL SHINE ON) Instant Karma’s gonna get you. Gonna knock you right on the head You better get yourself together. Pretty soon you’re gonna be dead What in the world you thinking of? Laughing in the face of love What on Earth you trying to do? It’s up to you. Yeah you! Instant Karma’s gonna get you. Gonna look you right in the face Better get yourself together darling. Join the human race How in the world you gonna see? Laughing at fools like me Who on Earth d’you think you are? A superstar? Well right you are! Well we all shine on like the moon and the stars and the sun Well we all shine on. Everyone come on! Instant Karma’s gonna get you. Gonna knock you off your feet Better recognise your brothers. Everyone you meet Why in the world are we here? Surely not to live in pain and fear Why on earth are you there? When you’re everywhere Come and get your share Well we all shine on, like the moons and the stars and the sun Yeah we all shine on, come on and on and on on on Yeah yeah alright. Uh huh ahh Well we all shine on like the moon and the stars and the sun Yeah we all shine on. On and on and on on and on Well we all shine on like the moon and the stars and the sun Well we all shine on like the moon and the stars and the sun Well we all shine on like the moons and the stars and the sun Yeah we all shine on like the moon and the stars and the sun Well we all shine on INSTANT KARMA! (WE ALL SHINE ON). (ULTIMATE MIX). Lennon/Ono with The Plastic Ono Band Written by: John Lennon John Lennon: vocals, piano George Harrison: acoustic guitar, piano Klaus Voormann: bass guitar, electric piano Billy Preston: organ Alan White: drums, piano Mal Evans: backing vocals, chimes, handclaps Yoko Ono, Allen Klein and others: backing vocals. Produced by Phil Spector Engineers: Phil McDonald, Andy Stephens Recorded: 27 Jan 1970 , Studio 3, EMI Recording Studios, 3 Abbey Road, London, UK Single UK: 6 Feb 1970 Single US: 20 Feb 1970 Ultimate Mix 2020 Executive Producer: Yoko Ono Lennon Produced by Sean Ono Lennon Remixed and Engineered by Paul Hicks Assisted by Sam Gannon Mastered by Alex Wharton Compilation Producer & Production Manager: Simon Hilton Video: John & The Plastic Ono Band, filmed for BBC 1's "Top of the Pops" on 11 February 1970. https://ift.tt/QBeKGzd

#rhythm section gatlinburg record store #The Rhythm Section #rhythmsectiongatlinburg #rhythmsectiontn

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todayesterday · 3 years ago

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Hi there, darling. :)

I just saw your (completely heart shattering) post about John and Paul’s song “call and response.” I’m wondering if you know where I can find a list of all of the Paul and/or John songs that are confirmed (or speculated) to be about each other or about the other.

Thank you so much. I appreciate you!!

[re: there's a story]

thank you very much for your kind words! i was planning to provide a more complete answer to this ask, and planned to elaborate a little bit on each one - particularly the ones that speculated - to explain with sources and such why they are/might be about john/paul, but i ended up never getting around to it, so i wanted to give you the list i came up with and just a few (not-that-serious, my-mind-deteriorates-more-the-further-down-you-go) thoughts on the songs, with the disclaimer that these are the ones i remembered and the ones i believe to be about the two of them (apart from the ones we know for a fact):

if i fell, by john — speculated, but. but!

in my life, by john — I know I'll often stop and think about them / In my life I love you more. i mean.

here, there and everywhere, by paul — paul wrote this in john's house waiting for john to wake up and join him. plus john said this was his favorite beatle song. and paul said it was his too because john loved it so much. plus, this ain't about jane asher. like, there's no way

hey jude, by paul — ok so john is the one who speculated this might be about him and therefore who am i to argue with him (and i agree that the 'go out and get her' thing might very well be about yoko)

two of us, by paul — not even paul believes himself anymore when he says this is about linda

i’ve got a feeling, by paul — All these years I've been wandering around / Wondering how come nobody told me / All that I was looking for was somebody / Who looked like you (this is speculation and might be a long shot but i don't care they sing this one together and i can't imagine it being about anything else)

the long and winding road, by paul — sad and gay

oh! darling, by paul — sad and gay, very much intesified (plus he sings hey johnny)

don’t let me down, by john — might not be 100% about paul but. they said it themselves, there's a story. they were communicating.

i found out, by john — I've seen religion from Jesus to Paul might be the queerest line ever sang by anybody

too many people, by paul — song wars: the beginning

3 legs, by paul — just trust me

dear boy, by paul — another one where john is the one doing the speculation but i agree with him

how do you sleep, by john — the start of john using paul songs to reference paul

jealous guy, by john — sad and gay, john ver.

dear friend, by paul — paul said so. this one keeps me up at night sometimes

best friend, by paul — this fucking song... dreaming about you... screaming out over you... TELL ME WHY WHY WHY DO TREAT ME SO BAD..

let me roll it, by paul — not the lyrics necessarily but the vibe, which paul admitted is a very big nod to john

beef jerky, by john — so naturally what john does is ripping of the riff of the above song. they did these kinds of shit and called it communicating

i know (i know), by john — yeah.... this one has so many references to paul (yesterday, just like he did with hdys) and it's just... yeah... now I am sad and gay

call me back again, by paul — john lennon for the love of god pick up the phone

coming up, by paul — :( they were about to be together again

(just like) starting over, by john — i could write a 456 page essay on this one and all the paul references he managed to squeeze in but i will say take a trip somewhere far far away is about hitchhiking to paris

grow old with me, by john — this one is on me i just like being sad

i’m stepping out (demo), by john — I MEAN (and another reference to yesterday)

free as a bird, by john and paul — i just think that can we really live without each other

real love, by john — you know, it fits so well with i've got a feeling's "all that i've waiting for was somebody who looked like you"

here today, by paul

the lovers that never were, by paul — I hang patiently on every word you send / Will we ever be much more than just friends? / As for you, you sit there playing this game, / You keep me waiting / When all of the clocks have run down, / We'll be the lovers that never were (do you ever just cry? plus there's a small reference to i know i know there too)

this one, by paul — paul even said this is about john and i do cry myself to sleep listening to it once every blue moon

yvonne's the one, by paul — She'll never know how much I loved her / I never got to tell / We never had the chance to say farewell. speculation too, but it fits very well

early days, by paul — about the beatles in general but about john too

there are probably more out there, but i think these are the main ones. here is a spotify playlist with all of them if you're interested in that as well!

#thank you so much for the ask and i'm truly sorry it took so long and i'm half-assing the reply like this but here it is!#john lennon #paul mccartney #mclennon #john and paul #music #j&p #ask

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inspiteallthedanger · 3 years ago

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So, before we all move on from Get Back (has that happened yet?). I just wanted to bring up another strange editing choice. Me and @mydaroga (and she dug out the transcripts) were talking about this the other day, but I thought a post was due. Just as a reminder that too close a reading of GB might be a risky move.

I was listening to this, and at the 58:30 minute mark something made me do a double take. Essentially, Paul's, "Do we really need to do this in public, Mr Lennon?" isn't anything to do with John talking about doing drugs. It's about John complaining that Apple hasn't done a good enough job promoting Two Virgins.

I have literally no idea why PJ changed the context. In fact, that whole conversation is completely different. Paul and John aren't talking over each other, they're joking around and Paul doesn't seem bothered at all about them talking about drugs. He's worried about rehashing a fight I'm sure they've had before on camera. Especially while George is currently not in the band.

The conversation is much more jokey but Paul is swinging between joining in, remembering the situation and then being frustrated. Which is totally fair enough, and John is actually listening to him and sort of responding (not like he does in later episodes but more than's suggested in the edit).

Transcripts and links under the cut for those interested!

You can hear this bit here

JOHN: It’s a six-inch nail. [long pause] The main point behind it is to open people’s minds to what’s happening today. There are people all over the country humming into tape recorders, and we hope to bring them out into the open. And hum together. [pause] You understand?

PAUL: Hmm.

JOHN: Now sold one thousand three hundred due to the great promotion from Apple Dietetics.

YOKO: [laughs] Which is a figure you don’t want to expose, necessarily.

PAUL: Is it very neat to do this in public, Mr. Lennon?

JOHN: I feel obliged, in the position that I am today as a pop idol and the power I have, to do something for the good, and uh, I feel obliged to speak out… [pause] And that’s as simple as I can put it, really. Take Downing Street. South Orderly Street. Wimpole Street. All owned by the Queen. ‘Nuff said. [silence; fidgeting]

Here and here are the bits about getting

JOHN: I was sort of stoned and high and watching films and I wouldn’t have made it anyway. And uh...

PAUL: Check up.

JOHN: [subdued] Yeah, but it’s not good if – I’m gonna come at ten, I should come at ten, you know.

PAUL: Up with the dawn, down with the sun.

JOHN: You – see, you missed me this morning, I did it for CBS. Just leapt off in the middle of the interview.

PAUL: Did you?

KEVIN: [in background] As a matter of fact, yes.

JOHN: No reason at all, except that I’ve been mistreating my body.

YOKO: I thought it was a happening.

JOHN: It was a happening.

PAUL: There was a lot of nervous tension, you know.

JOHN: Oh, yes.

PAUL: I mean, there was a bloody funny atmosphere in that room, mother.

JOHN: Aye.

#get back #the Beatles #my first post on this blog was about the conversation #and maybe Pete had his reasons for changing it #but I thought it was worth mentioning #because it suggests Paul's worried about things he isn't

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m1ssunderstanding · 11 months ago

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Get Back Rewatch 55 Years On: Day Five

The thing is I absolutely love the album that comes out of this mess. Like I know a lot of people do not like Let It Be, but so many of my favorite songs are on it. One of them being “I Me Mine.” The walz element is haunting, and I can read the lyrics as anti-capitalist even though George himself mostly wasn’t.

Laughing my head off at two boys from one of the best grammar schools in England, who have at this point made millions off of their writing, genuinely not knowing whether it should be “more freer” or “more freely”

The difference in how George shows Paul his new song vs John is striking. For Paul, he’s relaxed, nonchalant. For John, he stands up and performs it. And I think both are a defense mechanism, poor baby, because clearly, although Paul was very supportive of the song while they were alone, when John is roasting it, Paul just laughs along and George has to go “I don’t give a fuck whether you like it.”

Ah, the famous “up-against-a-wall” conversation. Paul comes in all dominant and sure. “Haven’t you written anything else? Haven’t you?” But then John touches him, and makes him laugh, and Paul’s a melted, goo-goo-eyes mess. This is the real reason why John got to be the leader isn’t it? Because Paul was too damn soft on him to ever follow through with his bossiness.

Their scouse sounds BEAUTIFUL compared to the stupid ugly RP and MLH’s transatlantic shit.

“And now John’d like to say a few words on the subject.” John starts singing, Paul strums along and joins in on the “chorus.” They can’t communicate like healthy people, but they Can do this.

So Peter Jackson took out Paul’s bitchy nod at Yoko as he’s stealing her man in real time right in front of her eyes. Unforgivable. But he kept in this adorable laugh, so that’s something.

Three more covers that I think *mean something* “Stand By Me” and “Spinning Like a Top” by Paul, followed by “You Win Again” by John. Yoko’s sweet little shoulder kiss. Thank you for taking care of the poor wet kitten, girly. Maybe don’t introduce the poor wet kitten to heroine, but you do you, I guess. (OP recognizes that poor wet kitten is also an adult capable of making his own decisions)

The cut from Paul literally dancing to get John’s attention straight to John dancing with Yoko while inside Paul’s head a silver hammer is clanging ominously. I can’t. Followed by the knowing, loving smile from Ringo to Paul. You know, those moments when you validate your friend’s bitchy thoughts with a look.

George is literally SO big inside himself, you know? You have to have superhuman self-love abilities to watch your friend – who is supposed to be helping you – shamelessly make fun of your art . . . and just “Do you wanna do that walz on the show? That’d be great.”

But did you guys know John was actually a really great mover?

“Yes, alright. Just sod off.” I love John. Paul’s people-pleasing ass would literally die first and he needs John to do this kind of shit for him and John’s only too happy to.

The moment when Paul and John are on the same wavelength about Dennis O’Dell’s stage.

OK but. Did John get the clear plastic idea from Yoko’s art exhibits?

“Any time we do anything it’s always got to be the best.” Poor Ringo. They’re all literally so tired of carrying so much weight for such a long time.

“See, I’d watch an hour of him just playing the piano. Cause he’s so great.” With that fond, loving, smile. SUCH big dick energy here. The others could NEVER.

“And I’ll have the plastic when you’re finished.” Literally for what, though? John, you little hoarding goblin.

And then Ringo responding to MLH’s “I love you” with “Yes, I love you too.” Yeah, Ringo wins the prize for most healthy beatle of the day.

*Pattie Boyd voice* “I just wish I knew what was going on there. But something. Something.”

Ugh, John looks so hurt. So tender. So heartbroken. While Paul is over there playing a damn funeral march because that’s the only way he lets himself express anything. But I actually love how Dennis O’Dell knows the clearest path to cheering John up is to say that Paul liked his idea. And how well it works. They’re literally so obvious to everyone but themselves.

I love the bit when John walks in on the rest of them discussing the live show and MLH calls, “We’ve decided. We’re going to Africa.” And Paul hurries to cut in, “No we’re NOT.” Because he knows exactly how John can get and he’s going to nip this in the bud before John gets let down. And of course, John is all “YEAH LETS GO LETS GO!” And he’s talking about how they always wish they were recording abroad. “We could be in LA, or FRANCE.” (side eye emoji)

Paul’s “Well said, John.” and “I’ve seen it, John. I went to the premiere. I thought you were great.” Why do all your compliments to him have to be in silly voices? Like, I know you think everyone is going to call you a pussy for saying something genuinely kind to your best friend, but they’re not, and he needs it.

Holy shit this was a long day. See you all tomorrow with another long-winded-ass post.

#paul mccartney #the beatles #john lennon #mclennon #ringo starr #george harrison #get back

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muzaktomyears · 1 year ago

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Cake with Elton, coke with Marianne — my life as a rock biographer

As his latest book about George Harrison is published, Philip Norman reminisces on his run-ins with Yoko Ono, Paul McCartney and the Rolling Stones

George Harrison: The Reluctant Beatle is my tenth and probably last biography of a big rock name. In the gaps between its predecessors I’ve written novels, short stories, feature films, plays, much journalism and three musicals, two of which were produced. Yet there’s been no escape from the typecasting that followed my Shout! The True Story of the Beatles in 1981.

Admittedly, if I’d pursued a career in fiction as I originally intended (after being among Granta’s first 20 Best of Young British Novelists in 1983), I could never have found a comparable readership. Shout! is estimated to have sold about a million copies; the other titles have appeared in America, most of the EU countries, Russia, China, India, Australasia, Japan, South Korea, Macedonia, Mexico and Brazil. Fantasising about this hugely diverse audience, I picture Himalayan yak-herders debating Ringo Starr and Charlie Watts’s rival merits as drummers, and remote Amazonian tribes gripped by the subtext of marital infidelity to John Lennon’s Norwegian Wood.

At parties I’ve come to dread being outed as the Beatles’ biographer. Such is the band’s eternal fascination that I’ll have people waiting in line to rehash the Hamburg strip club days or recall exactly what they were doing when they heard of Lennon’s assassination. I could never totally dislike our former chancellor, George Osborne, having once spent an hour discussing the Revolver album with him in that high Tory sanctum the Carlton Club, where even the portraits of Churchill and Macmillan seemed to be raptly eavesdropping.

Nonetheless, I’m aware of being thought not quite respectable by the literary establishment. When biographers congregate, it’s far more impressive to be able to say “I’m doing Augustus John” than “I’m doing Elton John”. I can hardly complain since no one could think less than I do of “rock writing”. Frank Zappa defined music journalists as “people who can’t write preparing articles about people who can’t think for people who can’t read”; indeed, the subject brings out a latent prattishness even in authors of the calibre of Salman Rushdie and Martin Amis.

Albert Goldman’s infamous biographies of Lennon and Elvis Presley, for me, remain exemplars of how not to do it, with their vestigial research and ludicrous fabrications but, above all, their snobbish contempt for their subjects. To write an 800-page book about somebody one despises is a sublimely pointless exercise. Yes, rock stars can be monsters on a par with the nastier Roman emperors. But, while taking all that into account (and blessing heaven for the high comedy it provides), you have to love your monster.

I’ve bent this rule somewhat with Harrison who, although capable of great generosity and even nobility (witness his historic charity concert for Bangladesh), was often far from loveable and had always seemed to me a miserable character who showed little gratitude for his stupendous good fortune. In 1965, when I interviewed the other three Beatles during their last British tour, Harrison’s gaunt, unhappy face floated in the background as he watched The Avengers on television. In 1969, when I went on the road with his best friend, Eric Clapton, that same gaunt, unhappy face joined Clapton on stage, decorated now by a hippy beard and a black Stetson.

Retracing his tragically foreshortened life showed me how much he had to look miserable about, the guitarist eclipsed by the creative dynamo of Lennon and McCartney for years before proving himself their songwriting equal with Here Comes the Sun, While My Guitar Gently Weeps, My Sweet Lord and Something, acknowledged to be one of the 20th century’s greatest love songs. His final chapters of illness and financial catastrophe — cruelly topped off by almost becoming the second Beatle to be murdered — moved me as much as anything I’ve written.

Few of my biographies have received any meaningful help from the various icons’ PR people. Until I found my brilliant research associate, Peter Trollope, I had to trace every potential source by myself. Having Shout! behind me was a useful calling card; when I did the Rolling Stones, it opened the door to Mick Jagger’s ex-partner, Marianne Faithfull, with whom politeness dictated that I took my first (and only) snort of cocaine.

My most bizarre pursuit was of Elton John’s former fiancée, Linda Woodrow, reputed heiress to the Epicure pickled onion fortune. Already suspecting he was gay, Elton had been so terrified of matrimony that he’d attempted suicide. As recounted in his song Someone Saved My Life Tonight, his lyricist Bernie Taupin came to his rescue, albeit was not entirely convinced the attempt had been for real.

I finally tracked Woodrow’s father, Al, to Davenports magic shop in the arcade under Charing Cross station, where he worked part-time. He wasn’t expecting me and, before introducing myself, I had to wait while he sold a magic trick. What I didn’t realise was that selling a magic trick can take for ever, first the salesperson demonstrating it, then the customer repeatedly trying it out. Which explains why I know so well how to make a ping-pong ball seem to vanish from under an inverted cup.

My longest pursuit was of Buddy Holly’s “widowed bride”, Maria Elena Holly, that poignant presence in Don McLean’s song American Pie, which was inspired by Holly’s death in a plane crash aged only 22. It took me a year just to get her on the phone in Dallas, and then her opening line was “all writers are scumbags”. Eventually she was persuaded that I might not be a scumbag and agreed to see me on condition that it was at her lawyer’s office and I paid for the lawyer’s time. American Pie had suggested a delicate Dresden figurine but she was dressed all in black with a floppy beret like a French fascist policeman in the Second World War. However, rather than an interview in front of her lawyer as the dollars racked up, she suggested the two of us just went off to lunch.

Of all my biographies only one came close to being authorised in the conventional way, when subject tells all to writer and vets the material before publication. But others have been endorsed retroactively or approved by the back door.

Five months after Lennon’s death, while I was in New York publicising Shout!, Yoko Ono saw me on breakfast television and phoned me at the ABC studios. “What you just said about John was very nice,” she said. “Maybe you’d like to come over and see where we were living.” That afternoon, I was inside the Dakota Building, looking around their vast white seventh-floor apartment which was just as Lennon had left it, his guitar still hanging on the wall above his bedhead. One small, twilit room contained every piece of clothing he’d ever worn back to his Beatle days, all on revolving racks like some ghostly boutique.

When I was researching my Elton John book, its subject was undergoing multiple detoxifications, so was inaccessible to any interviewer. But just after its publication, my telephone rang and a familiar voice said, “This is Elton.” I only wish I’d had the balls to ask, “Elton who?” He said the biography was “pretty accurate”, invited me to tea the next day and, over Earl Grey and chocolate cake, virtually dictated a postscript chapter about his rehab.

The most surprising case was that of Paul McCartney, whom I admit to having grossly misjudged in Shout! and who’d since referred to it as “shite”. When I let him know as a courtesy that I was embarking on a biography of Lennon, I expected no response. But one day my telephone rang and a voice said, “Ullo, it’s Paul here.” I wish I’d had the balls to ask, “Paul who?” We talked for about 40 minutes, I not like a writer — because I expected nothing from him — but simply as one bloke to another. The upshot was that he let me interview him for the Lennon book by email. Six years later when I proposed a companion volume about him, he came back personally with his “tacit approval” within two weeks.

On the Lennon biography I found myself de-authorised by rock’s other famous widow. For three years, I’d had Ono’s total co-operation: not only 14 hours of interviews with her — when she even told me what she and Lennon used to do in bed — but conversations with their son, Sean, and her daughter from a previous marriage, Kyoko. The sole proviso was that she’d read my manuscript and, if she liked it, would contribute a foreword (to which my publishers weren’t exactly looking forward).

The final bit of access I hoped for was to read Lennon’s diary, kept locked away in the vaults of the Dakota Building, which seemed guaranteed by Ono’s friendly invitation to drop by for “a cup of tea”. As I walked across Central Park to the Dakota, a thought suddenly popped into my head: “Suppose she’s waiting for me with a lawyer?” In fact, she was waiting with two lawyers. After reading my manuscript, she’d decided the book was “mean to John” and was withdrawing her quotes, as well as those of Sean and Kyoko. For two highly unpleasant hours, she and the lawyers tried to persuade me to hand over the interview tapes. Also present was an unidentified women whose role was unclear until Ono shouted, “How could you say that John masturbated?” (which she herself told me with a smile during our interviews). At this, the mystery woman went “Ugh!” and gave a theatrical shudder, and I realised she was Ono’s personal shudderer.

Our one-page agreement gave Ono no prerogative to withdraw her quotes and the tapes belonged to me, not her. Even so, during the long run-up to publication, I checked my email every day, braced for a legal onslaught from her. But it never came.

My books have received some good reviews, some justifiably critical ones and some verging on the psychotic. I’ve noticed that the lighter and sweeter the music, the more grimly obsessive are its hardcore fans. While promoting the Buddy Holly biography, I realised I was being stalked by a member of Holly’s British “appreciation society”, who’d somehow procured a list of my radio interviews and was appearing on each show ahead of me, warning its listeners not to believe a word I said.

Retribution of a less sinister nature came on the first occasion I used that earlier quip about Elton John being a less portentous biographical subject than Augustus John. It was when I spoke at the Porlock Literary Festival, one of whose supporters, the novelist Margaret Drabble, sat in the front row with her husband, Michael Holroyd.

That’s right, the biographer of Augustus John. Now what were the odds?

(source)

#philip norman is shit etc BUT that bit about yoko is hilarious #'how could you say that john masturbated?!'#john lennon: one of the great masturbators of the 20th century tbh #anyway i'm still undecided about the george biog based on this..... we'll see but i am generally suspicious #philip norman #'i met george harrison 58 years ago and he ignored me' boo hoo

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