#like yeah fuck john and paul it IS their best song I'm always saying this

[menlove]

if while my guitar gently weeps win this whole thing every single slight and egregious result in this poll will have been worth it

[ebiemidnightlibrarian]

Oh, it's already that time of the year.

Hello, there!

Yeah, it's been a while since I posted something, but the thing is, I was just crawling out of the shitty pit I'm in when very suddenly my father fell seriously ill. Now I'm once again spiralling into my anxious pit.

But I'm a bit cheered up by the spooky season (even tho we don't have those around here). So, I decided to share some playlists, (a couple of creepy characters playlists and MORE), I've collected over the years and I hope they make your spooky season a bit more spooky.

Well, let's get started!

♱

First of all, we have the playlist I made for my darling Jerry Dandridge, I shared it a while ago, but tbh it's one of my all-time favourites. It has the vibes of the film and fits the vibes of the character, I just love it.

I'm still mad that Spotify doesn't have the Fright Night music theme by 'the J. geils band' nor the INCREDIBLE theme 'come to me' (both the singing and instrumental version) by brad fiedel. So if I had to say something is missing in this one, I would say these three songs.

Now, this man has taken over my life for almost THREE WHOLE YEARS, and I gotta thank Mike Flanagan for this. I know you already know of whom I'm talking about. Our beloved poor lil meow meow and vampire priest Father Paul.

He lives in my head rent-free ever since he screamed “HOW DOES IT MAKE YOU FEEL?!” into Riley's face. I honestly think I could fix him, or at least fuck him ¯\_(ツ)_/¯

The next is a trash can of a man and has made me question my sanity and my moral compass, and I think that's full Hamish acting skills fault. Well, our favourite unhinged wolf man, John Tyler.

You know, I had two stalkers during my school years, and I think that definitely affected me, anyway I like to believe it's the look of those puppy eyes that had me.

Talking about stalking psychopaths, I think I have a historic, bc David Dastmachian's performance as MacGyver nemesis on the remake of the series changed me on a molecular level. That's right, I'm talking about everybody's favourite hitman, Murdoc!

Yeah, that leather trench coat and black high neck has me on my knees. Also, unironically, mama bear Murdoc it's actually very sexy.

Now my dearest, we get to the new stuff, this I haven't posted yet for some unknown reason, but it's time to let them see the moonlight!

Ngl, Lily Rabe has so may Iconic roles on AHS that I HAD to make her something. So, to my AHS lovers, we have a playlist full of eerie and sacrilegious songs to our favourite possessed nun!

Nobody can convince me that AHS: Asylum isn't the best season from the series, honestly, I always re-watch during the spooky season and always slays.

I'm a fan of themed/pov playlists, I find them very immersive, so I'm always doing them when I have the chance, so, in one of these opportunities, I did a 80s slasher pov playlist, that has such a cool vibe! I hope you guys feel the same!

This one is dedicated to the nostalgia boost that the 80s slashers are to me.

And for the last, but not leat, my Ultimate Halloween Playlist™, it has some of my favourite songs from each one of those playlists, and I'm always adding more. Which are your ultimate spooky season playlist? I'll love to know!

Well, I think that's all for now, have fun everyone and be safe!! Lots of love!!

[poisonouswritings]

Wait r u a starkid fan??? (If not then pls ignore this uwu)

I'm gay and on Tumblr what do you think

No but on a legitimate note I've seen just about every Starkid show (not including the Tin Can Bros stuff because I can't fucking find it on YouTube) except for Ani, and I tried watching that but I'm not into Star Wars so it just fell very flat for me. I got into Starkid because of TGWDLM. I love the Hatchetfield series, Twisted, Trail to Oregon, and Holy Musical Batman. I liked Starship (absolutely loved Dylan's song in that) well enough but the ending was kinda bleh, and I just,, was not a massive fan of Firebringer or MAMD. They're fine enough but I probably wouldn't rewatch them. The Very Potter series was pretty good too but with everything that happened with JK Rowling I kinda distanced myself from it.

I ended up leaving the fandom for a bit because of the whole Robert Manion thing that I'm actually still not sure what exactly happened??? My mental health just could not deal with it at the time. But idk it sounds like stuff got resolved so ?? Idk. I know he got removed from NT2 to 'rebuild trust with the team/cast member in question' but apparently people are saying he's gonna come back for NPMD? If he does come back then I hope it's because everyone - including and especially the person he harassed - has agreed that they feel safe with him. I try to be optimistic in general and he did seem genuinely remorseful about what happened so,,, idk I'm not up to date enough to really have an opinion on all of that. It was a dark time for everyone for sure but I hope things are better.

Also I've been thinking about writing some Hatchetfield stuff and maybe messing with a Last Legacy/Hatchetfield crossover. You can throw some ideas at me if you want.

Anyways when NPMD comes out I will become a fucking monster and I apologize ahead of time.

Rant/Spoilers for Black Friday below because I have a lot of feelings about it:

Okay first and foremost I love Dylan Saunders and I love Kim Whalen but the Tom/Becky relationship was so whatever to me that I just,, didn't care about them tbh. The basic idea of it was sweet but idk!! I think the difference between them and Paul/Emma in TGWDLM (who I love) is that Paul and Emma kinda fell in love throughout the story whereas Tom and Becky kept bringing the plot to a complete grinding halt to do their shit. Take Me Back was just lackluster imo.

I loved Jeff Blim (as I always do lol) He is In A Hurry and him?? As fuckin uh??? Mister John McNamara????? ouGH I LOVE HIM 07. He makes me wanna take a solemn vow to become my best self now. I openly simp for him. He's just a fuckin spectral agent in the Black and White now and I hope he's fucking Wiley's shit up.

Also the way that Joey Richter's voice got all gruff when he said 'a gob of fucking lust'??? orz.

As a neurodivergent younger sibling with a well-meaning-but-sometimes-not-the-best-but-still-trying older sister and an abusive mother, Lex and Hannah hit me right in the chest. Especially because when we were younger my sister always talked about leaving home together. Absolutely loved Ethan but why can Robert Manion never survive the fucking show. Reversed!Ethan killed me and my heart broke for Hannah so bad.

My biggest gripe is that tOM SPENT THE ENTIRE FUCKING SHOW BEING LIKE 'OH I HAVE TO GET THIS DOLL FOR MY SON' AND THEN PAUL AND EMMA SHOW UP AT THE END LIKE 'HEY SHIT IS GOING CRAZY AND WE WERE GONNA RUN TO THE BUNKER BUT TIM REFUSED TO LEAVE YOU' AND INSTEAD OF GOING TO HIS SON (since Tim couldn't be in the group because yeah obviously Hannah needed to be there) (yes Tom would have missed the final number but it would have made way more narrative sense to the fucking character arc he'd been going through) HE STAYS AND GETS NUKED AND TIM DIES IN THAT FUCKING CAR ALL ALONE HAVING NEVER SEEN HIS DAD AGAIN AND I AM FROTHING AT THE FUCKING MOUTH. 'IF I FAIL YOU' GUESS WHAT TOM YOU FUCKING DID

[andypartridges]

girlie list your favourite song from each beatle album... im just asking for a friend....

omg thank u for enabling me <333 i don't think i can pick just one from an album so maybe i'll (attempt to) give myself a maximum of top 3

please please me: the title track is absolutely elite, no contest !! however i have also spent an ungodly amount of time streaming the cover of baby it's you & i think that might be my favourite version of the song (which is saying a lot considering that elvis costello's version with nick lowe gives me severe brain rot)

with the beatles: my favourite song on this as a kid was don't bother me and honestly? past me has taste (and probably some unchecked issues for having that as their fave) because it is still my fave on this album now. and the cover of you've really got a hold on me is just chef's kiss

a hard day's night: genuinely this album is all killer and no filler !!!! like my favourite song changes on this all the time. at the moment it's probably i'm happy just to dance with you, but i'm also a things we said today and i'll be back advocate

beatles for sale: NO REPLY. the most song of all time, the most underrated beatles song and my favourite song by them idc. never has a song about cheating gone so hard. but my other two faves on here are i don't want to spoil the party and i'll follow the sun <3

help!: by far and away the hardest album for me to pick a fave. i've just seen a face, you've got to hide your love away & i need you?? finally some good fucking food. i also absolutely adore it's only love and to the people that think it's just a filler song get well soon <33

rubber soul: in my life is definitely my fave, it used to be my favourite beatles song for a long time. but rubber soul is such an immaculate album !!! i also really love girl & all of george's songs on this record. king of the jangly pop tunes

revolver: and your bird can sing has always been my favourite on this album, but i have a soft spot for i'm only sleeping and for no one. the latter especially was one of my childhood faves, which is.........concerning

sgt. pepper: not to be a basic bitch but a day in the life........man................ we are all truly out here reading the news today oh boy. i also love she's leaving home (i suspect a common theme in my favourite beatles songs is Depression) and lovely rita <3

magical mystery tour: probably strawberry fields forever? i think mmt is very consistent across the board but i do adore that song. if i were picking honourable mentions they would most likely go to your mother should know & the fool on the hill bc paul kinda went off here tbh

the white album: literally any of the quiet songs !!! dear prudence, mother nature's son, i will, julia. naturally happiness is a warm gun is also a masterpiece

yellow submarine: i feel dumb for including this album but hey bulldog is SO fucking good and for what

abbey road: sort of a left field pick but sun king? like hell yeah sing some gibberish to me <3 hot take but i actually don't like abbey road that much and it's not one of my favourite beatles albums by a long way

let it be: across the universe <33 i just remember Going Through It last year and having this song on repeat. all shitposting aside it is genuinely just a beautiful song and i think it's one of the best things john ever wrote

thank you emmi !! i didn't really go into proper explanations as to why these are my faves lyrically/musically (i feel too tired to be intellectual today) but i'm glad u want to hear my opinions <333

[quinnallerton]

I love that both John and Paul wrote a song about a woman who was dead sexy because she was like a man. Its such a bi/pan thing. I'm so attracted to Paul because he's masculine and feminine at the same time. Like fuck yeah John and Paul I relate! People that blur the gender lines and are adrogynous are hot as hell.

This is why they are the best song writers in history!

Letting you try and decipher what the underlying meaning of everything is. Othertimes, throwing it out there full disclosure, only to vaguely say ‘that’s not how we interpreted it.’

The Beatles were always about love ❤️. Any kind, any way. They were the first to say LGBT 🏳️‍🌈 rights!

[imaginebeatles]

You just mentioned that your doing pre writing stuff for the new mcbeardy fic. Is there anything specific you do to help before you start wroting? I'm curious for any pre write tips you have to share!

It depends on the fic, but usually there are a few things that I do before I get down and do any actual writing. With one-shots, I mainly just write down the basic outline of what I want to go for, or just a basic idea. Then start writing and figure it out as I go along. 

For longer fics, however.... 

Before I write the first chapter, there are a couple of things that I try to work out in detail: plot, conflict, motivation (which ties into the conflict) and the characterization. I usually first start with the plot. This can be as simple as a single line, or just an opening scene or a picture or whatever happened to inspire me for that particular story. Then I slowly build on that. I usually try not to force it but let it grow naturally, thinking about the story whenever I’m not doing anything else, so under the shower, during train rides, whatever, and write all of that down. 

Usually I end up with a set-up, a (brief) backstory for the main characters (John and Paul) as well as their (personal) goals during the fic and their motivation for them, the main conflict, and how this will be resolved (or... won’t). I don’t have to have the actual ending, but I’ll usually makes sure I have some vague idea or something I know I will want to work towards. Then I make the conflict and the transformation of the characters explicit for myself and try to fill in the blanks as I work on the characterization.

For the characterization I have a separate document, where I have created characterization sheets I fill in. Usually I can copy most from my previous stories, but I always adjust it to the new plot and try to put the focus on different aspects. I usually do this for John and Paul, and give short biographies for the secondary characters. Usually this documents ends up quite long (mainly because I love doing this, but also most of it I can copy so it’s not that bad really...). 

Sometimes, I will make a spotify playlist with songs that fit the mood for the story (for art and obligation this was usually contemporary piano music, for example, while for poetry nights it was much more happy and upbeat, with Abba, Elvis, and Simon and Garfunkel), so I can listen to that while writing (though I also listen to other stuff, just as long as it gets me in the right mindset). Sometimes I collect reference photos, if I feel like it. 

Then, finally, I create another document where I make an outline of all (or most) of the chapters with a basic description of what happens in each of them.  

Then I finally start writing the first chapter :) Sometimes I start writing it while I’m still doing the final bits of characterization or the chapter outline. For the new daddy!fic, I’ve also started a timeline to keep track of days and weeks and stuff, because I tend to fuck that up 😂😂 if it’s smutty, I might also make a list of sexy stuff I want to write, so I can refer to that if I need to come up with something. 

But yeah, it takes a bit of time, but I like doing all of this, and I just need to know what’s gonna happen and who the characters are before I get on writing stuff properly. The plot can still change as I’m writing, and I won’t have everything planned out completely, but this is how I tend to do things. I write very chronologically, so it helps me. 

For this reason, I also actually start working on fics long before I actually plan on writing them and posting them. The daddy!fic is something that came about more organically, so not so much for that one, but I’m already thinking about what I want to do after Art and Obligation for example. 

I hope this was at all interesting. I just want to say that everyone’s writing process is different and there is no way to write “properly”. Just do what works for you, whether that is planning, or working with post-it notes, or just figuring it out as you write. It really doesn’t matter that much. This just works best for me. But as I said, even if I figure all this stuff out, nothing is set in stone and it’s all subject to change.

[multiverseofimagines]

Hi sorry to bother you love, may I request a borhap/queen ship please? I’m 5’3, I have straight brown hair, dark brown eyes and well, let's say I don't like my body at all. Btw I love drawing, baking, listening to music (I'm a huge fan of Harry Styles and Queen of course). I’m a little bit shy, but once you get to know me I'm outgoing and fun to be around. I’m also very stubborn and emotional.

I ship you with

Joe and John

For Joe

You sat upon a park bench in New York city. Your sketch book laid upon your lap.

Your attention had been caught by a man who sat upon the grass. He was relaxing against a tree, scrolling through his phone. He was beautiful, and definitely worth sketching.

You had been so caught up in drawing that when you had looked up from the sheet, he was gone.

“ Is that me? “ You jumped at the voice, slamming your sketchbook closed as you did so. You turned to him, his eyes wide with gleam, a huge smile spread across his face.

You wanted to run away, your embarrassment taking over. But you just nodded slowly.

“ Sorry to frighten you, I just couldn’t help but notice you staring at me-“

“ Could I keep it?- the drawing?” He asked. You thought about it for a second, opening up your sketch book to look upon the drawing.

“ Yeah- sure. It’s not my best work though.” You shrugged, ripping the page out of the book.

“Well maybe you can draw me again- some other time.” He smiled down at you.

You flipped the page over, turning it slightly away from him, writing your phone number down.

You smiled before handing him the paper, “ Yeah, maybe I could draw you again- some other time.”

Extras

Adore you has to be your guises song, I’m sorry I don’t make the rules.

Your sketch book is literally just his face and body everywhere. He’s your main reference and the muse of your art.

Baking together ( especially around the holidays.) 

When he’s working on an acting project, you will constantly bring homemade cookies and cupcakes to set for the crew and cast.

Getting very annoyed with Joe’s quirks but loving them at the same time.

Joe loves to playfully tease you, especially when you are already annoyed.

Joe loves being by your side, he is your constant cheerleader and will be behind you through everything. Even when you are most defiantly over reacting, he is always there.

For John

You guys are one word; Wholesome.

At the time you had been taking over a managing position for John Reid, due to him being on tour with Elton whilst Queen was on a separate tour.

And though the guys had Paul along with them, John could tell that leaving Paul all alone with the four of them would raise hell. 

So there you were, on tour with the biggest rock band in the world, Queen. 

Every night was a new city as they embarked on a World Tour. And every night brought you the same issues. Brian had misplaced his toothbrush around four times. Roger had brought random girls with him onto the bus. Freddie demanded to stop off at every place possible to call the cats at extremely specific times.  John wanted toast, but the boys had used up all the bread. And Paul refused to help with most of it, as he also brought random men onto the bus.

On one of the days off, a very rare occurrence in their reality, you finally had time to pick up some groceries from the shoppe. The only issue was that almost all the boys had ditched out on you, except for one; John.

“ Why didn’t you go with them?” You asked, the two of you strolling the half empty shopping cart around the supermarket.

“ I have tried skiing more than once y/n. It is not my forte.” He laughed. You couldn’t help but let your heart swell as he did so.

“Why didn’t you ask Paul to do the shopping? You could have gone with them.”

“ Are you hearing yourself Deacon? Ask Paul? That’s like asking a wall to talk.” You sighed, “Plus I’m not super close with you guys, it would be a bit weird, yeah?”

There was a moment of silence before John turned to you, stopping in his tracks, “ What’s holding you back? From being close to us.”

“ I’m just- shy is all.” You admitted, avoiding eye contact from him. 

“ I understand all too well. I’m willing to be your friend though- if you let me that is.”

“ Of course.” You smiled back at him, finally giving in to his eyes. Beautiful eyes that you found hard not to pull away from.

Once you had gotten back from shopping, it felt like things had changed. You both had a desire to talk to each other and build a common ground.

Through out the rest of the tour, you both had each others backs, especially being the shy ones out of the group.

Extras 

He was so smitten with you after the supermarket. I mean, he was also smitten with you beforehand as well. His entire reasoning to come with you was based around him liking you. Roger knew this from the moment John had said no to skiing. John had been skiing plenty of times, and quite enjoyed it whenever him and Roger had planned such a thing.

The guys teasing him quite constantly about his crush on you. 

Freddie coming up with elaborate ideas for John to tell you.

But he ends up telling you by accident due to an argument between the two of you. 

One night after one of their concerts, they decided to head down to a club. John practically dragged you along, despite your many complaints. 

While at the club a girl had come onto him. It had left you jealous, leaving you wondering if anything would ever happen between you two.

Instead of being happy for him, and dealing with it in a calm way, your emotions got way out of hand, leading you to start getting real close and personal with Roger. Of course that wasn’t going to end well, I mean, its Roger.

One thing led to another and John had left the  girl in a fit of drunken anger over what he was seeing unfold in front of him.

He pushed Roger to the ground, whilst spitting perhaps the nastiest of words to ever come from his mouth. 

“ You fucking man whore, what the Christ is wrong with you?”

You grabbed Deaky’s arm, holding him back from Roger so Freddie and Brian could help him up. After they had assisted Roger in standing up, they had guided him back to where they had parked the Bus.

You turned to Deaky, anger seeping out of your body language, before speed walking to meet the others back at the bus.

John had ran after you though, and once you both were outside, it was him who was holding your arm this time. Holding you back. 

“ What the fuck do you want John.” you pulled away from his grip staring up at him.

“ I’m sorry” he cried out to you. “ I can’t do this anymore y/n! I can’t keep pretending that I don’t love you. I can’t keep watching you from afar, as if you are forbidden to me. I try so hard to forget about it, to let it go but I just can’t.” Your eyes went wide at his words. You were confused as to why he was so torn to tell you, it wasn’t as if you were taken by anyone.

“ Then what is holding you back-” You choked out, your voice lowering to a whisper. His drunken tears had invoked your emotions to spiral.

You started to talk again, airing out how you had felt, “ It’s not like I’ve been taken Deaky! Do you know how hard it is for me to sit there and watch you with these random girls every night, only wanting to fuck you to have another Rock stars name on their bedpost- When I would give anything just to hold your hand and-” Your body went still, and your mind was numbed as John had grasped you in his grip again, this time desperate for your touch and closeness, as he planted a soft kiss upon your lips. 

Idk this was shit please forgive me, I’ve been so sick with the flu ahhh.

[sunnyie-eve]

Somebody To Love (Part 12- An Epic Poem)

(Ben!RogerTaylor)

Word count: 1,566

Warnings: None

—————————————————

"You're what?" I finally manage to spit out. "I'm in love with you, Alice Grace White." He takes my hand and I was just a blinking statue. "Let me just say what I have to say. Alice, I have always actually had a crush on you once I actually started to get to know you. I didn't care what you looked like. I like what was on the inside of you. I was and still am jealous of how close you are with Deaky and Brian. I think being here has made me realize that I need to tell you how I feel before it's too late. Our conversation up on the hill about how we will both find our person soon... I want you to be that person." He looks me in the eye and I don't say anything but grab his face to kiss him.

"I hope that answers about how I feel about you." I smile and he kisses me back. "Rog, can we keep us a secret? Just till we actually know this will work out? We saw how my last one went with Brian." I bit my lip hoping not to upset him. "Of course, I'll do anything you want. I'll take this slow like a real relationship and not jump into things." He kisses me again and I push him away. "Okay, so like you interrupted my nap so leave." I get back underneath the covers and he does the same. "I'm tired too after all that singing." He cuddles me and we fall asleep.

~

Finally once the album was finished we headed back home, and I was thankful to sleep in my bed for one night. Roger was on his way to pick me up since we had to meet with Ray so he could here it. "It's open!" I yell as there was a specific knock at the door. "Well don't you look beautiful." Roger says gives me quick a kiss as I grabbed my bag. "Don't you look handsome." I kiss him back making sure to grab my keys as we head out. "Are you nervous?" I ask getting in the passenger seat. "I don't quite know. I mean, he didn't like the idea of it in the first place." Roger looks over at me as he drives. "Well he's stupid because it's a perfect album." I smile at him and he holds my hand.

When we park outside of EMI me and Roger give each other a quick kiss before meeting the other at the door. "Darling, you look beautiful." Fred kisses my cheeks. "Thank you, Freddie." I smile as we stand there for a few minutes. "Why did you give Alice a ride? She has her own car." Brian asks Roger who is caught off guard. "I'm low on gas so I called him." I answer for him since he was frozen. Once we head inside to the lift we walk into Ray's office, I sit at one end of the sofa followed by Roger, Deaky, and Brian standing behind us. Paul sits on the arm of the sofa and I move closer to Roger's side. "Yeah, get away from him." Roger whispers in my ear putting his arm on the back of the sofa behind me. Fred plays Ray Bohemian Rhapsody and once it ends I smile at Roger.

"Well... I'm not entirely sure... that's the album you promised us." Ray let's out a sigh. "No, it's better than the album we promised you. It's better than anyone's ever promised you, darling. It's a bloody masterpiece." Fred says walking in front of Ray's desk. "It is a good album, Ray." John says. "We prefer masterpiece." Roger turns his head to look at him. "It's expensive and as form... Bohemian..." Ray starts and I decide to help him. "Rhapsody." He looks at me, "Rhapsody. What even is that?" He asks and Fred answers him, "An epic poem."

"It goes on forever. Six bloody minutes." Ray says pointing at the sheet. "I pity your wife if you think six minutes is forever." Fred says and Paul sniggers while I giggle a little. "We're going to release it as our single." Fred said making Ray chuckle. "Not possible anything over three minutes and the radio stations won't program it, period. And what I'm earth is it about anyways? Scaramouche? Galileo? And all that Ismillah business! Ismillah?" Ray rants on while Fred looks out the window. "Bismillah." I correct him. "Oh aye. Bismillah. What's it about anyways? Bloody Bismillah?" Ray asks us. "True poetry is for the listener." I say and deep down I was wondering where I got all this courage to speak for the band.

"It ruins the mystery if everything's explained." Brian says and they still go on. "We need the radio. Format is three minutes, I have to agree with Ray." John tells the band. "I actually think the single's Love Of My Life." He adds, "No." Brian says. "How about John's song, You're My Best Friend? You know? Ooh you make me live... Catchy, stronger." He suggests. "What about I'm In Love With My Car?" Ray suggests and we just are wowed. "Are you joking?" I say while Deaky moves his head and Brian says Jesus. Roger looks at all over us then Fred kicks the table.

After a few minutes of arguing about how Bohemian Rhapsody will never be played, Miami gets Ray to shut it for a few seconds. "We're going with You're My Best Friend." Ray says final. "You will forever be known as the man who lost Queen." Freddie says and we all get up following him out the door and Roger takes my hand into his. "Fuck him, Fred. He doesn't know how much he just fucked up." I say was we get into the lift. "You're right and thank you darling... For speaking up for the band in there." He pats the top of my head before we head out.

"Oh I have an idea! Here Fred, throw it." I bend down picking up a brick handing it to him. "Darling, I love you." He takes it from me and throws it there the window. "You can take that out of our royalties! Twat!" Fred tells at him. "Wanker!" Ray yells back. "You can shove your gold disks! You made a mistake Foster!" Brian says as we walk off and I grab Roger's hand again. "That actually was a brilliant idea, Alice." Roger let's go of my hand to wrap his arm around my shoulder. "It was, I say we go out to eat?" Brian suggests to us all. "Sounds nice, I'm quit hungry." Deaky turns around smiling at us. "The usual place?" Roger ask as we make it to his car. "See you darlings there." Fred says getting in his car driving off.

Me and Roger get in the car and put on the radio. "I can't believe how Ray actually suggested your song. Not trying to be rude, but that's definitely not a song you and jam out to in your car." I laugh turning to look at him. "I swear you guys are never going to let that go." He glares at me making me lean in to kiss him. "Oh lighten up, babe. It's not as bad as I thought it was going to be." I smile at him and he kisses me quickly. "Thank you."

~

"I have a question, Alice. You and Roger seem a lot closer now. You actually hold his hand now, sit next to him, and well let him near you." Brian laughs as we were eating. "Yeah, I felt bad for him since I don't give him the same attention I give you and Deaky. Plus sharing a small bed with him back at the farm made us a little more closer. Roger here isn't as bad as I thought he was." I smile at Roger and he smiles back while the others nodded their heads. "That's good, we won't hear him whine about anymore." Freddie's says making Roger glare at him.

As we were waiting for Deaky and Fred to finish eating, I felt Roger grab my hand underneath the table. I let go of his hand and excuse myself to go look at the cakes they had. "Oh, I'll look with you." Roger jumps us and follows me inside from where we were sitting. "Follow me." Roger whispers in my ear and leads me to the big restroom. "What are you doing?" I asks as he locks the door. "I just fell the need to kiss you and I can't do it in front of the band." He smiles down at me and I wrap my arms around his neck. "We can’t be gone too long." I kiss him between each word. "I know." He pushes me against the wall making the kiss a bit rougher.

"Roger, can't you wait till we either go to my place or yours?" I ask as he kisses my jaw and neck. "You're right, then we can cuddle and watch a movie." He kiss my lips before opening the door and we go back to the table. "Nothing catch you eyes?" Deaky asks as we took our seat. "Nope, and this one was too picky to get one." I pat Roger's back as he takes a dink of his tea.

[amoralto]

I was wondering, how is the song "The Long and Winding Road" written fr John by Paul? I mean like, how in what ways was it written for him? Sorry if I'm rubbing off as rude I'm just curious is all.

I would say it wasn’t so much for John (i.e. premeditated and explicit in the way ‘Dear Friend’ or ‘Here Today’ was) as about John (i.e. projected and implicit in the way ‘This One’ or even It Was Always About Linda And Me No More No Less ‘Two Of Us’ was), but I suppose that’s just a matter of semantics. In Many Years From Now, Paul describes the song as a sublimated expression of the emotional turmoil he was going through at the time of writing it: 

It’s a good vehicle, it saves having to go to a psychiatrist. Songwriting often performs that feat, you say it but you don’t embarrass yourself because it’s only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it’s a song, you don’t have to argue with anyone. I was a bit flipped out and tripped out at that time. It’s a sad song because it’s all about the unattainable; the door you never quite reach. This is the road that you never get to the end of. The friendship you’re losing.

It doesn’t take much intellectual acuity to figure out whose friendship Paul was fearful of losing in early 1969, but for your consideration, here are a few exchanges (and non-exchanges) between a increasingly desperate and trying Paul and an at turns unresponsive, ambivalent, and aggrieved John from from the Get Back/Let It Be sessions. Under the cut!

From January 6th, where long-suffering George gets the shortest stick even at an all-time-low in the Lennon-McCartney partnership, and John hedgingly (if ironically) calls for honest communication:

GEORGE: Since Mr. Epstein passed away…

JOHN: Who passed away?

GEORGE: That’s what he was saying.

PAUL: No, it’s – no, it’s because no one will take any—

GEORGE: Mr. Epstein.

PAUL: —any things, you know. [to John] You never say anything. It’s gonna be sort of… I mean, we’ve been very negative since Mr. Epstein passed away. And that’s why we haven’t been positive. That’s why all of us, in turn, have been sick of the group, you know. There’s nothing positive in it. It is a bit of a drag. The only way for it not to be a bit of a drag is for the four of us to think, “Should we make it positive, now?” Or, “Should we fuck it?” You know.

GEORGE: Even – even if this is—

PAUL: It’s – there’s only the two alternatives, isn’t it?

JOHN: I – I have, uh, an incentive.

PAUL: What incentive?

JOHN: Desire to do… because, all the things that we do, the whole point of it is communication.

PAUL: Yeah.

JOHN: And to be on TV is communication. We’ve got a chance… to smile, at people. Like ‘All You Need Is Love’.

PAUL: Yeah.

JOHN: So that’s me incentive for doing it.

PAUL: So the thing is, you see, that’s a—

MICHAEL: ‘All You Need Is Love’ and ‘Hey Jude’ did communicate.

PAUL: Of course they did. Of course they did.

JOHN: Yeah, I sort of thought, today, if we need to think of any incentive, the incentive is to communicate.

From January 7th, the day Paul formally introduced ‘Golden Slumbers’, ‘Carry That Weight’, ‘Let It Be’, and ‘The Long And Winding Road’ to the group: 

PAUL: I don’t see why any of you I’m talking to, or whoever it is who’s not interested, get yourselves into this, then. What’s it for, you know? It can’t be for the money. [pause] I mean, why are you here? I’m here, because I, you know, I wanna do a show, but I really don’t feel an awful lot of support. [ignored; playing continues] You know, I mean, is anyone here ’cause they want to do a show? [someone laughs] Or am I just—?

…

PAUL: [upset; to John] I mean, I’ll – I’ll sit in a corner with Mal, on the tour, or I’ll sit here, and I’ll – I’ll anything. ‘Cause I – I enjoy it all. That’s the only thing I enjoy, actually. [inaudible; drowned out by George’s and Michael’s voices] It’s terrible just to imagine if you – if you don’t, or you’re the only one interested. But I’m not easing you in, easing you in right now. I want to know if you’re interested in that. But you won’t say anything to me about it.

JOHN: [long pause] I said what I’d been thinking. I would. And that is what I have.

PAUL: [tired] Are you still thinking that now? What are you thinking now?

JOHN: [evasive] I’m still thinking about it. [continues playing]

…

PAUL: It’s like Mal said last night. “If you’re gonna do the show here, you’ve gotta decide today.” And he, he sort of said it, almost frightened to say it, you know, to the lads. Didn’t really want to sort of shout at us. But he had to say it, because… if you do the show, you’re gonna have to decide today, you know, and it’s like that. And it’s like, if you’re gonna do these songs, you’ve got to learn the chords. And we all know them. And we’ve got to learn the words. It’s just basic things that we’ve got to do, if we’re gonna do it. And as far as I can see, there’s only two ways, that’s what I was shouting at you about the last meeting we had. There’s only two things, you know. We’re gonna do it, or we’re not gonna do it. And I want a decision. [pause] Because I’m not interested enough to come to spend so many days farting around here, while everyone makes up their minds about whether they want to do it or not, you know. I’ll do it. If everyone else will, and everyone wants to do it, then alright. [laughs; bleak] It’s just a bit – a bit soft, you know?

…

GEORGE: Oh, The Beatles have been in doldrums for at least a year.

MICHAEL: You see, that is – that is terrible to say.

PAUL: We – we haven’t played together, you see! That’s the fucking thing. But when we do come together to play together, we all just sort of talk about the fleeting past! We’re like old-age pensioners! [British geriatric voice] “Remember the days when we used to rock?” You know, but we’re here now! We can do it, you know. But I mean, I’m – all I hoping for is enthusiasm from you—

MAL: [earnest] I’m just saying you are needed, you know. The Beatles are needed. To so many people, you know.

MICHAEL: Yeah, you’re right. [pause]

PAUL: You see the thing is also, I, I get to a bit where I just sort of push all my ideas, you know, and I know that my ideas aren’t the best, you know. They are [mechanical voice] “good, good, good” but they’re not the best, you know. We can improve on it. Because we write songs good, and we improve on it. [to Ringo] And you can improve on your drumming like it is, if you get into it. If you don’t, you know, then okay, I have better ideas, but if you get into it, you’re better! You know. It’s like that.

(Note: I’ve only just realised while putting together this reply how many long-ago transcript bits from the Get Back/Let It Be sessions I haven’t put up on @amoralto​ yet, so I am very sorry about that. Soon!) 

From the morning of January 13th (and John and Yoko haven’t arrived at the studio yet), where Paul defends John and Yoko’s togetherness and yet also speaks with remarkable self-awareness about his own unease with the situation: 

PAUL: But you know, I – I tend to think that about them, too. Like I was saying, you know. “Well, I’d rather write without Yoko, thank you.” Just because it’s – that’s the way I write. If I – like, if I was in Tunisia, I’d go up to the bathroom to write a song, and then come back when it was done to show it to you. And to sort of say, “Let’s do a couple more words, now that’s it all there, you know, now that there’s only a little…”

NEIL: Yeah.

PAUL: But it’s difficult starting right from scratch with Yoko there, ‘cause you start off on a – well, I do. I start off on a Yoko beam, you know. I start off sort of writing songs about white walls. [laughter] Just ’cause I – you know, just ’cause I think she – John and Yoko would like that. And they wouldn’t, you know. I mean, I give them too much credit for – for what I think they’d like. But that’s not true. They wouldn’t. They’re very straight.

Paul goes on to express frustration with John’s apparent reliance on Paul to read his mind for him (and other problems with communication): 

NEIL: I’d just rather not say anything. It’s one of those situations.

PAUL: Yeah. [pause] Well, that’s – that’s the trouble you see, there, ‘cause that’s it. It’s like, with our – heightened awareness, the answer is not to say anything, you know. But it isn’t. ’Cause I mean, we screw each other up totally if we don’t do that. ’Cause we’re not ready for your heightened… vows of silence. [laughs; hapless] We’re really not! Like, we don’t know what the fuck each other’s talking about, when that – we all just sort of get—

NEIL: I think it’s just between the four of you, that get it. That’s what I’d pretend.

PAUL: Oh yeah, right, yeah. But you see, that’s it, that’s why John doesn’t say anything. ’Cause he, you know, he just… There was something the other day, when I said, “Well, what do you think?” And he just stood there and didn’t say anything. And then – and I know exactly why, you know. I mean, I wouldn’t, if… [long pause] Somehow. You know, there’s nothing really much to be said about it. You just – we all just have to do it, and all that, instead of like talking about it. But – but if one of us is talking about it, it’s a drag if the other three aren’t. Because then it sort of throws you off.

…

PAUL: I mean, Yoko’s very much to do with it.

LINDA: Mm.

PAUL: ’Cause she’s very much to do with it from John’s angle, that’s the thing, you know. And I – the thing is that I – there’s— Again, like, there’s always only two answers. One is to fight it, and fight her, and try and get The Beatles back to four people without Yoko, and sort of ask her to sit down at the board meetings. Or else, the other thing is to just realise that she’s there, you know. And he’s not gonna sort of – split with her, just for our sakes.

Before circling back again to defend John and Yoko and confess that it is Yoko’s pervading presence in and of itself that bothers him and causes him to project and indelibly confront his feelings (and not any direct interference in the songwriting process, which Paul insists she has never done): 

NEIL: But when you’re talking to John, you always – these days, anyway – tend to think that you’re talking to Yoko more than you’re talking to John. And that’s when it becomes a drag.

PAUL: [furtive] That’s why I say writing a song with him is a bit embarrassing, because I do think it sort of – I mean, I start examining my emotions, with Yoko there… And it’s probably silly of me! It’s probably silly, because like, Yoko’s not what we’re all sort of thinking she is.

…

PAUL: Yeah, see, that’s the thing. The only one time we’ve actually done it, she’s agreed. She really is alright. It’s like, it’s the thought of her being there when some of—  [faltering] And then you don’t talk to John, so then he doesn’t talk to you, you know. And it’s like, you can screw it up just as much because she’s there, as – as John’s relying on her because she’s there. So that’s the thing. You know, but I mean, like, you’ll notice, if John – if you’re onto a beam with John about something, then he really isn’t, you know, he really won’t let Yoko talk about it. Because he knows when you’re on a beam, and he knows about it, and you’ll – you can talk straighter to him.

But it’s like, we did ‘I Will’. We tried, we were trying to get the last verse to ‘I Will’, and eventually I just ended up doing it, because it – we couldn’t actually do it. [pause; trying] But – I mean, Yoko really tried to stay out of it, [and] just sort of – got on with something, but she just really… you know. They’re onto that thing. They just want to be near to each other. So I just think it’s just silly of me, or of anyone, to try and say to him, “No, you can’t,” you know. It’s like, ’cause – okay, they’re – they’re going overboard about it, but John always does! And Yoko probably always does. So that’s their scene. You can’t go saying – you know, “Don’t go overboard about this thing. Be sensible about it. Don’t bring it to meetings.” It’s his decision, that. It’s – it’s none of our business, to start interfering in that. Even when it comes into our business, you still can’t really say much, unless – except, “Look, I don’t like it, John.” And then he can say, well, “Screw you,” or, “I like it,” or, “Well, I won’t do it so much,” or blablabla. Like, that’s the only way, you know. To tell John about that.

MICHAEL: Have you done that already?

PAUL: Well, I told him I didn’t like writing songs… with him and Yoko.

From the afternoon of January 13th (and John and Yoko have arrived), where projecting onto George is abound and John contends with the vagaries of his feelings where Paul’s concerned: 

JOHN: I’m just trying to ask [inaudible] – do I want him back, Paul, I’m just asking, do I want it back? Whatever it is. [Do I want it back] Enough?

YOKO: Right, do you want this, to have George back, you have [inaudible]—

JOHN: Then if it is enough, I’d have to swallow my ego for you, I’d have to smother me jealousy for you—

PAUL: Mm.

JOHN: —to carry on for whatever reasons there is.

… And on and on and on. In terms of the specifics of the song, the line The wild and windy night / That the rain washed away could be taken as a reference to a certain hurricane-diverting sojourn in Key West (as sung about in ‘Here Today’), but you may find that to be more reasonable conjecture than incontrovertible fact. John himself never commented on the meaning of the song, beyond surmising that “the shock of Yoko, and what was happening” was what impelled Paul to write it.

Anyway, I don’t really feel like I’ve answered you in a clear or concise way, but I hope you’ve at least gleaned some measure of perspective from this! I’ll probably put up a few tracks from the Get Back/Let It Be sessions that depict the early development of ‘The Long And Winding Road’ on the blog soon, as a supplement.