#sing a song about life

[picopubbydawg]

sing a song about life !!

[apelsinys]

†★ SING A SONG ABOUT LIFE ★†

Fan art Vylet Pony!!

i just sooooo like her music :з

[novaneondream]

Anyways what kind of music do you think Eri listens to

[creatureesque]

like the movies

[tavolgisvist]

'Just call him on the phone'

Q: Aside from the millions you’ve been offered for a reunion concert, how did you feel about producer Lorne Michaels’s generous offer of thirty-two hundred dollars for appearing together on Saturday Night Live a few years ago?* A: Oh, yeah, Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired. Q: How did you and Paul happen to be watching TV together? A: That was a period when Paul just kept turning up at our door with a guitar. I would let him in, but finally I said to him**, “Please call before you come over. It’s not 1956, and turning up at the door isn’t the same anymore. You know, just give me a ring.” He was upset by that, but I didn’t mean it badly. I just meant that I was taking care of a baby all day, and some guy turns up at the door … But anyway, back on that night he and Linda walked in and he and I were just sitting there watching the show, and we went, Ha-ha, wouldn’t it be funny if we went down, but we didn’t. Q: Is that the last time you’ve seen Paul? A: Yes, but I didn’t mean it like that.

<...> Q: You say you haven’t really listened to Paul’s work and haven’t really talked to him since that night in your apartment— A: Really talked to him, no, that’s the operative word. I haven’t really talked to him in ten years. Because I haven’t spent time with him. I’ve been doing other things and so has he. You know, he’s got twenty five kids and about twenty million records out — how can he spend time talking? He’s always working.

(John Lennon, 1980, All We Are Saying, David Sheff)

*It was in 25 April 1976 **it was in 26 April 1976

Well, when I, when I was Just a little baby boy, Every night, every night I would call, Because your number, you know, Brought me such sweet joy. I've called your name, John, Every night since then But I ain't never, no, no, never Heard you calling me, My sweet, sweet babe, So, you know, you better call me back again, I call your operator but I still can't get through to you, Call me back again

(Call Me Back Again, presumably, 10 June 1976, Seattle)

Tell me, is she everything i see Or is she really not the one for me? We know, and though some may disagree But do they know the way we want to be? <…> Building something One thing made to last And holding something Special from the past And do I still believe in stories we've been told***? Are all the things she brings me worth their weight in gold? Oh yeah, (oh yeah) pure gold

(Pure Gold, Paul for Ringo, 1976)

***I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another.The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.'

(Paul McCartney to The Big Issue, Feb. 2012)

After you've gone And left me crying After you've gone Ain't no deny You'll feel blue You'll feel sad You'll miss the dearest pal that you ever had

There'll come a time And don't you forget it There'll come a time When you'll regret it****

Someday when you grow lonely Your heart will break like mine You want me only After you've gone After you've gone away

(After You've Gone, 1977, Paul's version - 'just for fun' as he said - of a 1918 popular song written by Turner Layton and Henry Creamer, and it's Frank Sinatra's (and Sophie Tucker!) version.

****the line 'Don't you forget it/When you'll regret it' reminds another old (not as old like After You've Gone but old) song -  I Love You And Don't You Forget It by Perry Como. The song, what our lads were singing in their early years so playfully:

Klas Burling: Tell us something about how you find a song… how you get the idea about a song, to write it down. John: Well, sometimes it's the words first, and then the music after. Klas Burling: Very often you've got a title, you know… Me and you, and everything like that? Paul: Yeah. We try to do that, to make it personal so it's… so we really mean it. When we sing a thing about 'I love you,' it's easier. John: (singing) 'And don't you forget it!' John & Paul: (singing together, jokingly) 'I love you and don't you forget it!' Paul: Well, you see, it's easier than singing something about the cat that lives on the hill, man. (laughter) Paul: It's a lot easier just to sing about what you feel yourself.

(August 23 1963, interview with Klas Burling)

Was I just dreaming or was it only yesterday I used to hold you in my arms And now a baby, and a another on the way [Indescernable] in a farm Now must we be alone? If it don’t feel right, don’t do it If it don’t look right, look right through it If it don’t feel right, don’t do it Just call him on the phone

(John Lennon, Real Life, Feb 1977)

We'd had a bread strike over here***** and I rang him and I was saying, What are you doing? He says. I'm baking some bread.' 'Oh! Me too.' Imagine, with the stereotypes, John and Paul talking about baking bread.

(Paul McCartney, May 2001, interview for Mojo magazine)

*****a bread strike in England was in Nov 1978

Q: Do you regret that your life has become so public? A: I realized that a good fifteen years ago. I remember actually thinking when I went on holiday somewhere, ‘God I’d really better start thinking now about keeping a few countries aside where we don’t sell records. I won’t be able to go anywhere without being recognized.’ But now I think, ‘Really, I’ve reached the point of no return. There’s no going back.’ Even if I didn’t want to sing anymore, I’d just be like Greta Garbo or Brigitte Bardot. They both retired but you’d never know it. John said this to me a year before he died. He said, ‘Be careful what you wish for, it might just come true.’ That’s the way I look at it. I wished for all this and I got it. To regret it would mean I’d have to sit here and live with negative thoughts about it. I know that would only sink me. Even if I had feelings of regret my personality would not really let them out. ‘Look mate, you don’t regret it. Look on the other side,’ that’s me. Not to sink. I always used to do that instinctively, and not allow too many negative thoughts to surface.

(Paul McCartney, April/May 1982, interview for Music Express)

The couple of years after the Beatles broke up it was very touchy because I think we suspected each other of business manoeuvres. So anyone would ring up, it would be like, “Why is he ringing?” And when you put up the defensive like that it’s very difficult to say, “I’m not! Honest!” You just don’t know where to put yourself. So we had a lot of those ups and downs for quite a few years. But the favourite thing was that if ever we talked not business – and what we ended doing, actually, was make a rule not to talk business on the phone – and on those occasions, we had really good vibes, man. And it was great; we just talked kids, we talked family, we talked cats, we talked life, rather than, “oh, what songs are doing with x business affair?” And one of the great things for me, one of the consolation prizes after John was killed, the only thing– you know, you find yourself holding on to little bits of wreckage to keep yourself afloat. And with me it was the fact that our last phonecall was really one of the best we ever had together; it was really warm, we were really friends again.

(Paul McCartney, 1984, interview for CBS Morning News)

Q: Do you remember your last conversation with John? A: Yes. That is a nice thing, a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blowup. It could have easily been one of the other phone calls, when we blew up at each other and slammed the phone down. Q: Do you remember what you talked about? A: It was just a very happy conversation about his family, my family. Enjoying his life very much; Sean was a very big part of it. And thining about getting on with his career. I remember he said, “Oh, God, I’m like Aunt Mimi, padding round here in me dressing gown”– robe, as he called it, ’cause he was picking up the American vernacular –“feeding the cats in me robe and cooking and putting a cup of tea on. This housewife wants a career!” It was that time for him. He was about to launch Double Fantasy.******

(Paul McCartney, Dec 1984, interview for Playboy)

******Double Fantasy released 17 November 1980

I was lucky. The last few wee... months that he was alive, we’d managed to get our relationship back on track. And we were talking and having real good conversations. Real nice and friendly.

(Paul McCartney about This One, interview with Bernard Goldberg for the TV series 48 Hours, 1989)

[charlesemersonwinchesteriii]

BTW RONAN RAFTERY I AM IN YOUR FUCKING WALLS FOR PUTTING THIS ON THE JIRV PLAYLIST

[asurrogateblog]

I think we need to take a page from the fleetwood mac fans and re-sensitize ourselves to how crazy it is to write songs about your breakup while the breakup is happening in a band with the person who you're breaking up with and then performing said breakup songs with said person

[mrcowboydeanwinchester]

women in horror

wanted a sapphicnatural anthem so i wrote one <3

this is dedicated to all the women of supernatural, and especially to the people in the fandom who bring them back to life to give them their sapphic happy endings. happy @sapphicnaturalrights sapphicnatural week !!! i tried to hit as many of the prompts as possible in one go <3

lyrics under the cut!

VERSE home alone late at night cold open in the dark light bubble bath, spilling red wine her scream cues the title card

guest appearance, aren't you lucky exposition, keep it clunky mystery isn't the only thing she makes hard

PRE-CHORUS tiny top, thick makeup white and lacy linen lipstick pop, DD cup bloody in your visions oh, she's a woman in horror come and tell me you want her handcuff torn, baby born losing is a given monster turn, crash and burn i know why you're driven oh, she's a woman in horror come and

CHORUS bury your girls bury your gays you like pretty women (yum) but you love your cliches she's coming back wrong i'm making it right once i get my shovel we'll keep you up at night (oh?) we'll keep you up at night (okay)

([british accent] so basically, she- am i american or not? i can't remember. oh. um. [american accent] is this accent okay?)

VERSE bloodthirsty kiss and chase through hell's fire and heaven's grace slow panning shots up to her face (that's hot) that's a wrap on her screentime

credits rolling, she's the last name find a plot hole, give her the blame she's a hot one but it's a shame about her crimes (ew)

PRE-CHORUS tiny top, thick makeup white and lacy linen lipstick pop, DD cup bloody in your visions oh, she's a woman in horror come and tell me you want her handcuff torn, baby born losing is a given (yeah) monster turn, crash and burn i know why you're driven oh, in a fatal genre she's dead cos you (laughter into manic shriek)

CHORUS bury your girls bury your gays you like pretty women but you love your cliches she's coming back wrong i'm making it right (yeah) since i've got my shovel we'll keep you up at night we'll keep you up at night

([american accent] so his girlfriend burns to death, so he wants revenge, but then she comes back to life, like - nonono, his mom comes back to life, because she also burned to death-)

BRIDGE me and bloody mary are getting off in the back of your daddy's car stole your silver bullets, the witches and i making magic, we go so far for women in white for mothers and wives for demons and daughters resurrection time the write to survive she's coming alive for women in horror resurrection time !!!

CHORUS you bury your girls you bury your gays i love all your women and i hate your cliches she's coming back strong i'm making it right now i've got my shovel we'll bury you deep at night we bury you deep at night

[starry-bi-sky]

mmmm musical cultivator shen yuan again. Feng Xuanlu, the Wind Song. He has this well-loved wooden pipe he inherited from is adoptive father that he uses on occasion. When the traveling day gets slow and he doesn't feel like singing, when he's stressed, when night falls and he's sitting around a fire with his troupe and they've all had a little bit to drink.

His hair is long and black, always tied up into a ponytail or a braid of some sort. When he's in camp he loosens it up until its splayed messily over his shoulder. He has crows feet around his eyes that scrunch up when he smiles. His eyes are bamboo green and his hands are rough and callused from years of plucking strings and work. He has scars on his back that he won't explain the origins of.

His voice is low and warm like a fire, it gets raspy in the mornings or when he's been humming or singing for too long. He speaks like there's sunshine dripping off his tongue. He speaks soft, he speaks and his voice takes up the entire room. He's spent over a decade hearing his praises getting sung and he still gets shy over it sometimes.

Whenever he goes into town he has to have at least three other musicians with him at all times -- not his decision of course, but the unanimous choice of his companions. Shen Yuan gathers admirers everywhere he goes, and his companions have long since learned that their dear friend and leader is completely unaware of it. So they have to beat off these suitors with sticks.

[mee1414]

The Well - The Crane Wives for wild life!shinyduo/gempearl,,,

"All the words I couldn't say to you / Fill up the spaces in my chest / Like spare coins, poised on the tip of my tongue / I make a wish and hold my breath"

"That old house / Those rotting memories / burned easier than i had thought"

Someone remind me to draw something for this later when i dont have school and 10 art gifts to make for chirstmas

[raining-anonymously]

i rewatched the muppets and muppets most wanted on a whim

[fictionadventurer]

My pitch for a High School musical sequel

Sharpay's musical theater career never went anywhere, so now she lives vicariously through her daughter. She terrorizes the East High drama department because she demands her daughter get all the lead roles, and she comes in and micromanages everything, etc.

Sharpay Junior is our sympathetic main character who wants to escape from her mom's control. She likes musical theater, but she's beginning to think that, gasp, she might have other interests! (Shocking, I know).

Gabriella is the school's science teacher, and she serves as a kind of mentor for Little Sharpay, teaching her that it's okay to like music and still do other things.

Troy's the basketball coach, of course, continuing the family tradition of men who cling to their high school glory days.

Maybe Troy and Gabriella's son could be the romantic interest? Little Sharpay has a connection with him, but of course Sharpay doesn't want her daughter involved with the family that stole her lead roles out from under her, and she doesn't want this boy distracting her darling from her theatrical career.

Of course, the process of deciding not to be in the musical requires Little Sharpay to take part in several heartfelt and elaborately-choreographed school-wide musical numbers.

[fumifooms]

Holy mother of Chilchuck and Marcille and marchil-

I don't wanna think about my father dyin' I don't wanna hear my mother cryin' I don't wanna look into the mirror tryin' not to lose my shit Flowin' like lava down the side of a mountain Man in the jungle lookin' for a fountain of youth But he knows that fountain won't appear... fear If it all ends tomorrow I had a blast It looked so beautiful And it hurt so bad What a real good time What a heartfelt world What a fucked up place Searchin' for knowledge Walkin' through fire Man in a garden filled with desire I know my name ain't written in your book... look If it all ends tomorrow I had a blast It looked so beautiful And it hurt so bad What a real good time What a heartfelt world What a fucked up place What a real good time What a heartfelt world What a fucked up place

It’s literally got everything it’s just marchil at the end my god. Death, fear of death & aging, resignation, cheery "whatever, as long as I had a good time!", looking at the world both with romantic glasses and harsh realistic cynicism.……….. The way the first verse can apply to both of them… I am deceased

[bellia-25]

Another Trust Life comic/doodle based on a conversation in the server about "I won't say I'm in love" from Hercules. The idea would not leave my head. I had to draw it.

[ratguy-nico]

BoblinWeek Day 3: Blush/Warm

People this is the only piece I, myself, on my own, made for the @boblinweek mostly cause I made way before and it wasn't mean to be for the event, but hey, it fits XD

I like how it looks... kinda, I think sparks make everything better, and I think I rely on them this time so you would not notice how simple and boring is the drawing in itself

In my defense it was supossed to just be for me to practice drawing Bob and Linda, but also very inspire from a song from a movie I dont like (and didn't like the song that much before either, but now is a Boblin song so I love it)

this is the version whith "background" but I personally prefer it without it

[mastersofunlocking]

AND IF I SAID GELPHIE WHAT THEN HUH