#the beatles for your blacklist

[stephantom]

“I Found Out” by John Lennon just came on on shuffle and I was freshly hit by the scathing delivery of I’ve seen through junkies / I’ve been through it all / I’ve seen religion from Jesus to Paul.

(Sorry, yes, I’m on this bullshit again.)

[neroushalvaus]

Tumblr in the 60s

☮ monkeewholock follow

🎉🎉CONGRATULATIONS UNITED KINGDOM 🎊🎊🎉🎉🎉🎉BYE BYE GROSS INDECENCY!!!!🌈🌈🌈 62 countries have now legalized sexual activities between men🌈🌈🌈

🐞 homophilespock follow

SPIRK CAN FINALLY FUCK

🚀 starrfleet follow

They are American, not British... But I'm pretty sure spirk has always been able to fuck since the show is set in the future.

📻 lesbianbobdylan follow

Christ, this is not about your cutesy uwu yaoi otp, go outside and smoke some grass

10,8 t. notes

🌻 flowerpower follow

Politicians are not your friends but damn Kennedy is fine, I look at one (1) picture of him and my head literally explodes

🌻 flowerpower follow

...i just woke up, why is my askbox full

🌻 flowerpower follow

WHY IS HE TRENDING I'M SCARED

🌻 flowerpower follow

guys stop reblogging this it's been like five years i've changed

290,9 t. notes

🎹 nixonsafascist follow

do you think they call him little richard because he has a little. Richard

🎹 nixonsafascist follow

easy website

58,1 t. notes

🇻🇳 shirellesofficial follow

Being the only lesbian in your friend group sucks so bad. "beatles or stones??" i will kill you

🗣 lavendermenaceisreal-deactivated72537262

Disrespecting female social groups for male validation? Typical lesbian behaviour.

🇻🇳 shirellesofficial follow

Mike Jacker isnt gonna fuck you

🇻🇳 shirellesofficial follow

Oh no I think she couldn't handle that

77 notes

✌ draftdodgerdyke

DM me for the addresses of my Swedish and Canadian friends. Do not put your personal information in the reblogs.

🙍‍♀️ silvermilk follow

You should be ashamed of yourself.

✌ draftdodgerdyke

huh??

🙍‍♀️ silvermilk follow

I said, you should be ashamed of yourself. You disgust me. I assure you, when the commies attack us, you will not find your silly little post "groovy" anymore.

✌ draftdodgerdyke

Jesus, don't flip your wig

🙍‍♀️ silvermilk follow

My father fought in ww2 for you ungrateful degenerate.

✌ draftdodgerdyke

Don't see what your daddy's unsexiness has to do with me and my lads taking a sexy sexy trip to Sweden.

#anyway only hot guys dodge the draft

587 notes

🪕 prostitutesandlesbians follow

in every interview i watch of the beatles they are so DONE and trolling everybody, these fucking annoying BITCHES, i need them inside me so badly

🪕 prostitutesandlesbians follow

#this but not john lennon #i just can't forget the heinous things he said about jesus

idk I actually think it was very sexy of him, stop trying to cancel john in my post

✝️ jesusrevolution follow

The reading comprehension on this website is piss poor. John literally didn't mean he was greater than Jesus or better than Jesus, he was just trying to make a point about the world becoming more secular. Cancel culture has gone too far.

🚷 to-hell-with-the-beatles follow

How dare you say we piss on the poor?? Jesus died for Mr Lennon's sins and it's not "cancelling" to send him a few respectably worded death threats to remind him of that. He cancelled our Lord first!

✝️ jesusrevolution follow

Girl Jesus literally said it's cool, I dropped acid yesterday and saw Him and He told me.

🪕 prostitutesandlesbians follow

help the girls (christians) are fighting in my beatles thirst post

6,008 notes

🛼 donovandyke follow

I will be glued to the tv today. If you don't want to hear about it, just blacklist #moonlanding !!

0 notes

🗣 claudeberger4ever-deactivated98975287

Hi I'm new to the Hair musical fandom so I'm not super invested in the whole discourse, but I just felt like this needed to be said: Friendly reminder that not being against the war in Vietnam does not make you a bad person!

🥁 ringoforpresident follow

it literally does tho

✌ draftdodgerdyke

Another win for us hot guys

17,2 t. notes

[respectthepetty]

Pride Petty Watch (SOTUS) 4.5/5

I'm almost done watching my second blacklisted shows (Love in the Air and The Untamed are the others), but what was only supposed to be a five part rewatch for my former sworn enemy SOTUS has magically turned into six because the last half of this show is AMAZING! I suffered through four other parts to be here in this glorious moment (first, second, third, fourth), so what was supposed to be the fifth and final part is now two parts since I'm saving the finale for its own post.

I'm so fucking hype! LET'S GO!

The picture on Arthits vanity is of The Beatles and their song "HELP!" but I feel that image is speaking directly to me and Arthit because this queer crisis is hurting us both, and I need this boy to kiss another boy RIGHT NOW!

She dated Bright?! BRIGHT?! You know what? It makes sense. I would've done it to.

This awkward tension at the wedding is fucking delicious. Can't even stand next to each other without making it everyone's problem.

The fact that I forgot everything about this show even though this second half is doing everything I love is very telling of the fallout of the Krist bullshit. I'm not elaborating on that drama because if you know, you know, and if you try to gaslight me saying it never happened or try to defend him in retrospect, you can miss me with that bullshit, but in a way, I'm glad I forgot this show because I'm sitting here in 2024 losing my shit over Arthit grabbing Kong to stop him from walking away.

And making small talk about colors to keep Kong standing there because Arthit just needs Kong near him but can't sort his feelings out long enough to understand why he needs him. This is my special brand of drug.

And this is why confessions change things. Arthit can't just be nice to Kong anymore because it will give Kong hope. They can't be like before. Arthit can't have a friend because Kong doesn't want to be just friends. I am seated, sat, and sitted for this pink moment!

AND NOW WE ARE GETTING THE BRIDGE SCENE! Arthit is saying how awful he is and can't understand why Kong would like him, but baby, he likes you BECAUSE YOU ARE AWFUL! He likes that you yell at him. He likes that you push him around. He likes that you drink pink milk. HE LIKES YOU BECAUSE YOU'RE YOU!

Can he accept you?! Kong is the smartest boy in his class and possibly the school, and he wants to fuck you so badly that he looks stupid! So can he accept you?! BITCH, ALL HE WANTS IS YOU! HE IS LIVING AND BREATHING FOR YOU! HE DOES NOT EXIST IF YOU AREN'T TELLING HIM TO EXIST! KISS HIM ALREADY!

That Krist fallout involving kisses is popping back up to attack me and the show is trying to sell this kiss as something big with this background music (MUTE!), but I'm going to give it a pass because, in this moment, it works. Kong is surprised. The kiss is quick. Arthit is still reserved. I can work with this kiss under these conditions.

This entire sequence is saving the kiss moment. Kong is a puppy trying to play, and Arthit is not having it. My GIF is shitty, but the dynamic is elite!

And now Kong is fully embracing his BDE, and everyone in their friend group should know what's up because if I can feel the tension from my screen eight years later, they had to have felt the shift in the air in that hallway.

Kong drinking pink milk. Arthit trying iced coffee. Kong giving Arthit his heart. AND NOW ARTHIT IS GIVING HIS HEART TO KONG. My hair is shining. My skin is glowing. My immune system is thriving!

Yes, he did! It's their kink and they are embracing it. LET THEM LIVE!

Homophobe-to-homo Arthit understood this eight years ago, and some of y'all are still struggling with this today. Sorry I didn't recognize your evolution, King.

Singto and these damn eyes of his! This man can act, and I feel bad for his acting partners because they look weak in comparison to him, which is why He's Coming to Me is my number one Thai BL. Ohm and Singto were breaking my heart with just one glance, and here in this moment, Singto is telling me that Kong felt that icy shift from Arthit when he mentioned kids. The United States had barely implemented marriage equality the year before this, and now I'm in my feels all because Singto can fucking act.

And now that string bracelet is right there between them with Arthit saying Kong could take it off because IT'S DIRTY (break their bond because it's something bad), and Kong saying Arthit was the one who tied it (brought them together), and I NEED A DRINK BECAUSE I'M IN MY FEELINGS over eyes, marriage equality, and string bracelets.

I know I just wrote Singto can act, which implies Krist can't (and it's partially true and why I dislike him - I wrote what I wrote!), but Krist acting out Arthit's uncomfortableness when Prae sees them together is sitting in my throat in a way that makes me want to explode. He keeps shuffling back, crossing his arms, and looking away, until Prae asks if they came together, and even though Kong just said they were on a date, and even though Arthit was so happy about that, he immediately says NO and that they just randomly bumped into each other, and every queer in the audience is ready to breakdown over the trauma of our youth.

This episode is beating my ass on a Sunday while I was just trying to enjoy my tea. The barrier between them during this meal. The stunted conversation. All of it hurts, but what gets me the most is Arthit didn't switch his meal with Kong's. He didn't berate Kong for his 'baby food' choices. If Kong wasn't in pain before, he is definitely in it now because if there is one thing that Kong needs in this moment is reassurance that Arthit cares about him even if it's through punishment, yet Arthit is giving him nothing. Poor little masochist is really going through it at this table.

The way Arthit yelled at Kong to not touch him! This is so good. The second half of this show did not need to go so hard especially after that lackluster first half, yet here it is, giving me everything and more.

ARTHIT IS IN PINK! He is pink and telling his best friend that he likes a guy but doesn't want to ruin that guy's life because Kong is smart and handsome and could be with anybody, but Knot said what every BL boy needs to be reminded of is that Kong wouldn't be happy with anyone else but Arthit. Arthit cannot sacrifice himself when that would make neither of them happy. Arthit is exactly what Kong needs. Now go punish him so he knows you care.

Unlike Bright's casual use of "fag," this "queerbag" feels right. It's from one queer to another and it shows me that Arthit has accepted himself as a queer. Am I getting emotional over a man screaming "queerbag"? Yes.

Kong wrote Arthit a love letter where he states that he is disobedient, self-absorbed, and teases Arthit to the point that it stresses Arthit out, but only Arthit makes him happy, and the kink is staring me directly in my eyes. It is breathing down my neck. It is reaching into my soul. It is touching the deepest part of my heart, and I am in love with this!

The face that Kong (Singto) made when Arthit untied the string was the perfect way to punish this disobedient boy because two seconds later Arthit replaced it with matching bracelets and declared them as boyfriends in front of all his friends and God, and that's how you treat a masochist. That's the thrill you gotta give them. It's pain then pleasure.

I LOVE THIS FUCKING SHOW!

I love it so much that I'm excusing Kong's "I don't like men" because it feels right that he doesn't like men, only Arthit. Once again, watching this from a kinky lens has changed the way I view this plot. Before, I saw it as a BL and this felt like a cop-out, but now it makes sense that he doesn't like anyone. He only likes the one person who reprimands him and rewards him.

He is a dog, and I mean that with all the affection in my entire body.

Much better kiss. The first kiss was a test. The second kiss was a promise.

The smile after the kiss and the way Arthit scrunches up his body to be smaller because he is shy. My heart is exploding. I'm dying. I'm dead. I've died. Deceased.

I did not remember that Arthit spoke to Kong when he was applying to schools and convinced him to stick with engineering. This is so Thai BL of them, but I have no energy to complain about it because Arthit finding his home and queerness in a safe place and giving that to Kong is what I'm taking away from this.

Now to the finale and my final thoughts.

[franklyimissparis]

Sorry to ask, but I saw your tags on the "there's a beatles in my closet" post and was wondering if you could expand? What else was blocked because of gay stuff?

hi! basically there’s this book called “rock bottom” by geoff baker, who was paul’s publicist for many years but was fired in 2003. geoff baker basically got blacklisted in the industry after he cut ties with paul and allegedly further blacklisted after releasing the book. it’s notoriously hard to find a copy of rock bottom because its initial run was quite limited and (for unknown reasons… 👀) it never had a second run and so is basically impossible to buy - it was even taken down from the amazon kindle ebook store at some point. i’ve also heard that it was incredibly hard to get any publisher to look at the book because no one wanted to get involved out of fear of being sued.

the actual book is about a publicist who works for a controlling arsehole closeted bisexual rock star who ends up getting blackmailed with gay photos from the 70s. the rock star’s name is ian taylor (which is significant since one of paul’s pseudonyms is ian iachimoe - which apparently he asked his friends and family to address letters to in order to stand out) and the rock star’s estranged former writing partner is literally named john (but goes by jack) 😭😭 - to my limited knowledge (i.e reading the few excerpts and posts abt it on live journal) there’s nothing that suggests a relationship between those two but still wild.

obviously it’s not 100% confirmed that the book is at all about paul (geoff has said that it’s not, but also advertised that his experience in the industry helped him write it) or that paul had anything to do with killing it but i would say we can make some inferences as to what happened there tbh

[bubblesandgutz]

Every Record I Own - Day 827: Shellac 1000 Hurts

This is a long and tough one, so I'll spare your timeline and force you to make the jump.

On February 21, 2001, one of my husband's closest friends was murdered by a man named Michael Gargiulo. She was stabbed 47 times.

Not surprisingly, my husband does not share my appreciation for slasher movies. I still feel like an asshole for dragging him to a midnight screening of the original Texas Chainsaw Massacre on my birthday years ago. I was an idiot for not realizing that someone who lost a loved one in a brutal act of violence wouldn't find a film recreating that kind of violence entertaining.

"I don't enjoy the sound of people begging for their lives," he told me after the movie. I can't blame him. Even music with "tortured" vocals tends to get an immediate "can we listen to something else?" from him.

Transgressive art is a weird thing. People will always be drawn towards art that's shocking, forbidden, or taboo, but I also assume most people have a line they don't want crossed. I love Texas Chainsaw Massacre, but I hate Cannibal Holocaust. As far as music goes, I have a much easier time ignoring the cartoonish violence of death metal than I have sitting though music laden with brazen sexism or homophobia in the lyrical department.

Content aside, art gets even trickier when the artist's life comes under scrutiny. Again, I assume most people have a line they won't cross. You might not have an issue listening to Michael Jackson, but you would probably have a major issue listening to an artist who assaulted a member of your family. Or maybe you do have an issue listening to Michael Jackson. Maybe you also have an issue listening to an artist because of their political alignments. And maybe you have an issue with an artist simply because of something they've said in the past. There's no shortage of music out there, so why give your attention and money to assholes? On the other hand, artists are human beings, which means they've inevitably hurt someone in the course of their lifetime, so if we blacklist every artist who's ever done something hurtful, we're eliminating art from our lives. Everyone has a line, but I think any rational individual understands that the line will vary from person to person.

I've been thinking about transgressive art a lot since the passing of Steve Albini. The public overwhelming seems to mourn his loss, but I've seen a few people weigh in online with some valid criticisms: he was in a band called Rapeman; he said some sketchy things about child pornography in a zine back in the '80s; some of his lyrics reflected racist elements of society without taking a clear stance against them. Albini addressed these incidents later in life, acknowledging that though he was not advocating for the kind of behavior he was portraying in his art, the ambiguity that made his songs feel dangerous could also be construed as promoting or celebrating the subject matter.

By the time Albini got around to forming Shellac, he seemed to have shed the dodgiest parts of his confrontational persona. That said, I know a few people who take issue with Shellac's most popular song: 1000 Hurts album opener "Prayer to God." True to the title, the song is a literal prayer to God asking for the Almighty to kill the singer's cheating lover and her partner. It's essentially a murder ballad without the actual murder. Or maybe it's more in line with The Beatles and Elvis singing "I'd rather see you dead, little girl, than to be with another man," except in Albini's case the majority of his ire is aimed at the male lover. It's a visceral song, and while it might feel cathartic for someone who's been betrayed by their romantic partner, it might feel too harrowing for someone who's actually dealt with a potentially dangerous jilted ex.

I played "Prayer to God" for my husband once. He wasn't a fan. To be fair, I don't think Albini's brand of minimalist tone-scrutinizing math rock was ever gonna be his cup of tea, but the lyrics certainly weren't going to help. Consequently, I reserve 1000 Hurts for times when I have the house to myself.

And ultimately, I would hope that his reaction to Shellac would be the kind of response we'd see in people who take issue with Albini. Simply put, it wasn't my husband's cup of tea, but he didn't try to convince me that I shouldn't enjoy it. Yes, Albini dealt with some ugly and uncomfortable themes, and by his own admission he took some of it too far. But his music was both a reflection and a reaction to the things he saw around him. Just as the slasher films of the '80s were a reaction to the era's conservative bent and puritanical attempts at censorship, so were Albini's songs (particularly with Big Black) a rebuttal of that decade's benign soft-rock FM radio staples, PMRC campaigns, and right-wing fundamentalist attempts to whitewash the media.

Much like those slasher films, Big Black has aged with an unexpected patina. Yes, there is something still "dangerous" about it, but that danger seems less rooted in pushing back at "the establishment" and more like it's picking at the wounds of the most vulnerable and injured parts of our society. Given even a minimal amount of context, I'd think the average person could appreciate its attempts to say "no, this world isn't perfect and we're not going to pretend that it is," even if those attempts are admittedly a little ambiguous and sloppy at times. But that kind of context doesn't arrive as a disclaimer on the album packaging, so its reasonable to understand how someone could find Big Black's unflinching first-person villain profiles to be a little problematic.

Consequently, I completely understand why someone would take issue with Big Black's "Jordan Minnesota" or Shellac's "Prayer to God." On the other hand, I want art to be uncomfortable sometimes, even if that unease is unintentional. There's no shortage of art out there that aimed to be progressive but aged to show the inherent biases of its time. Just consider the contingent of people wanting to change the racist language in The Adventures of Huckleberry Finn. I'd argue that sometimes the shortcomings, biases, and outdated perspectives in an artist's work are as much a statement on the times as the actual subject matter.

Everyone has a line. And for a lot of folks, Albini probably crossed it a few times in the course of his career. For me, listening to Big Black or Rapeman or Shellac is like watching Texas Chainsaw Massacre---I don't need Steve Albini to explain his lyrics anymore than I need Tobe Hopper to explain that we shouldn't cut people up with chainsaws and turn them into human barbecue. But Albini also dealt with minor horrors that impacted a far greater percentage of the population, and that's something he had to reconcile and acknowledge later in life. For me, his charity work, fierce advocacy for marginalized people, and willingness to stand up to bullies in public forums offset any of his early artistic missteps, but I also understand that making art about human suffering is always going to elicit pain from people who have endured those particular trials.

Everyone has a line.

[slavghoul]

Phantomime is the band's third album of covers, after If You Have Ghosts and Popestar. Cover songs are usually the preserve of young, inexperienced bands. Is doing covers a way to maintain a link with your formative years and not forget where you come from?

Tobias Forge: Absolutely. I think it does that. It serves as a return to the roots, in the same way as for... I don't know, let's say someone who practices martial arts, who starts in a certain dojo and ends up changing it. If you want to become a good fighter, you have to move and train with different people. It's the same for a footballer: if you play with the same team all the time, your team might be very good, but you always have to play against others. I think the same logic applies with covers: it can help to go back. You don't necessarily have to release them. We chose to do a real album, but in parallel I worked on other songs - not only Impera music, but other covers. We selected the best ones, and said, "Let's put these out; this looks coherent and presentable".

How much did learning to play other artists' songs contribute to your formation as a musician? What were the most formative songs in your youth?

The answer to the first question is yes. Listening and playing at the same time is very formative. I've never really been... A lot of guitarists, especially, take the time to read tablature and learn how to play something very precisely, and in my opinion, theorise the music too much. I can't say that I'm not theoretical; I just don't follow the rules or the classic terminology. I try to categorise and understand the logic, but I do it in my own way, based on what I have learned over time. I never spent much time with tablature; I just played to the music. I would put the music on and play. I wasn't trying to learn how to play the song in the same way as the band. I would play as if I were invited to play with them. So my style is very free, because I played The Doors as well as Kiss, Slayer and DJ Bobo! It could be anything. Whatever I heard, whatever I listened to, whatever song I could get my hands on, I would play it. I think the chaos of it all made it... When you understand that, you understand the way I write, the way I do things, and why I sometimes seem to be a bit scattered.

That's what may surprise you when you listen to the EP: you can find Iron Maiden as well as Tina Turner...

Yes, I grew up with both, so it's not strange to me. But of course, in order to go from just wanting to do something to a homogeneous work that is supposed to have some commercial appeal, you have to make decisions. One of those decisions was, "If we're going to do this Tina Turner song, it really needs to be punchy." It's supposed to be a rock EP, it's got to be set to 10. I think that's what sets this cover apart from the moose. By the way, thematically, I didn't think of it as 'a Tina Turner cover', but as 'the Mad Max song'. It fits with the times we're living in.

Phantomime features a cover of Iron Maiden's "Phantom Of The Opera". Two years ago, you also recorded a version of Metallica's "Enter Sandman" for the Blacklist compilation. In rock, people like to pit the Rolling Stones against the Beatles, and I think the metal world tends to do the same thing with Metallica and Iron Maiden. Do you feel more affinity with Metallica or with Maiden?

[He thinks] Good question. I'm trying to formulate a coherent answer. I think... It's so fifty-fifty. Both. Not just in terms of inspiration, but in terms of their whole careers, especially when I was a kid. In many ways, like many fans of both bands, there's a cut-off date where my interest in new music started to wane. But I have such a love for everything they did before that it doesn't really matter. The limit is basically the Black Album and Fear Of The Dark. I mean, I like The X Factor, and Brave New World was an absolutely great comeback album. But as a kid and a teenager, settling down with Live After Death was such an inspiration - not just for what I was hearing, but for the tour dates and everything to do with that. Same with Metallica and the Black Album. That was the first time I saw them, and it was the first time I was confronted with commercial greatness in metal, when a band is on top. It's happening now, they're the biggest band of all time. They're playing in such and such an arena, but when they come back next year, they'll be doing such and such a stadium. Even back then, I had a hunch that not only were they great, but they were doing well in life. These guys are getting richer by the hour [laughs]. That's the kind of thing that matters when you're twelve. "And imagine all the girls they get!" That kind of nonsense.

And of course, these bands inspired me musically and professionally and brought me a lot of joy, but they also became mentors in my professional life. I have so much gratitude and respect for those two bands. If I were to be super picky and specific, I would say that since we are a more melodic band, we are probably closer to Maiden. Metallica is more of a "speed" band, I think. To be honest, what I've always liked most about Metallica, and especially on my favourite albums, which are a lot of people's favourites, is not the speed. The speed and the violence on those albums are just added value. The reason their music was so great in the 80s was because it was so melodic. It's the melodies. What changed in the 90s was that they stopped the melodies. They became a blues band, and all of a sudden all the movements were different. It wasn't neoclassical like in the 80s or on the Black Album. I'm very neoclassical myself, that's why I feel so close to the melodic side of Metallica. On the other hand, I spent my teenage years listening to death and black metal, so I love big riffs and speed and stuff like that, but that's not what we do with Ghost.

For a long time, fans have been asking who could be the Maiden or Metallica of tomorrow. Considering the impressive success of Ghost, do you think you have an answer to that question?

Obviously, I know that George Lucas and Steven Spielberg will die one day, but I don't think Wes Anderson or Quentin Tarantino can be considered as a replacement. These directors don't have that much in common, but you know what I mean, I hope. I don't see us as taking their place. You know, I try to be as transparent as possible. What I do is very much inspired by those two bands. I try to do it in a different way, and with respect. But of course, from a practical point of view, when the day comes when there's no more Iron Maiden and you want to see a rock concert with staging and solos, you can come and see us. It's a very curious concept, but it's obviously relevant, because we live in a time when the previous generation is disappearing one after the other. I think Lars [Ulrich] and James [Hetfield] have spoken about how the physicality of their music is not the same as the Rolling Stones. Charlie [Watts] playing the way he played when he was seventy-nine or eighty, it's nothing like what's expected of Lars. And what is expected of James is also very different from what is expected of Keith Richards, with his very open chord style. The meticulousness of James' riffs and Kirk's solos can be difficult to achieve at eighty - and they're approaching sixty. Kirk already has them, by the way. So, as much as I don't want to think about it or remind people, nothing lasts forever. Sooner or later, fans are going to have to decide which bands they want to go see, because a lot of the people they grew up with won't be around anymore.

Your cover of "Enter Sandman" was very "ghostified", while "Phantom Of The Opera" is more faithful to the original in comparison. How do you decide how to approach a cover? Are there songs that offer more latitude in terms of arrangement and appropriation, and others less?

There are several factors, which differ from song to song, and the result can therefore be different. If you go back in time and take "Waiting For The Night", for example, I always thought that song in its original form... Obviously it's cool, but I thought there was a bigger song underneath. In the original, it's diffuse, vague, underlying. The chords are just hinted at, and the vocals suggest that you can build something bigger around it. When I did the cover with Dave Grohl, he asked me, "Can we do a really slow version of it like Trouble?" I said, "Yeah, that sounds cool." And of course, working with Dave Grohl, it seemed like a good idea at the time. In the end, we thought it was too slow, too heavy and too long. It was a good idea, but the result was not very convincing.

Enter Sandman' and 'Phantom Of The Opera' were conceived in two different ways. If someone had asked me to do a Metallica tribute, I would have accepted, but I would never have chosen 'Enter Sandman', in the same way that few people would choose 'Paranoid' or 'Smoke On The Water'. You automatically try not to pick the biggest hit. But in this case, it was Swedish television that asked me to play. It was for a music award, and they said: "Since Ghost and Metallica are close, you are seen as friends, so you should open the show. And we want you to play their biggest song, 'Enter Sandman'." I asked, "Do I have a choice?" And they said, "Not really! We want you to do it, otherwise we have to rethink the whole show. Could you think about it?" OK, I'll think about it and see what I can do. So I started to play the song and see what I could get out of it. The original structure of the song is very simple, and the melody, like "Waiting For The Night", suggests chords that they don't play. All I had to do was see which chord suggested the melody and fill in the gaps. I ended up with a five-minute arrangement. If I sing the melody with a guitar, this is what chords it suggests. That's the somewhat academic version of the song. I was at the stage where I had a completely different version of the song, and I recorded it and thought, "Fuck, I hope James doesn't hate it..." Because I don't want to disappoint anyone. It's supposed to be a tribute. My version was like, "You guys have all my love, but I was forced to do this! And in the end, the result was great.

"Phantom Of The Opera' was a bit different. I knew I wanted to cover a Maiden song, but not just anything, of course. I wasn't going to do 'The Number Of The Beast'. I've had fun with 'Phantom' in the past, because it's a long song and quite complicated. As a musician, it's quite common to sit on the couch and try to figure out a riff. What are they doing there? [What's the rhythm? How are they counting? Because I couldn't hear the beat. And suddenly, once I understood how the beat works in this song [he sings the riff while snapping his fingers], I thought: "Wow, you can't hear that at all on the record. You can't hear anything, it's just a controlled mess." I managed to figure out how to play other elements of the song, and I was like, "Now I have a reason to record it. Not because I want to improve it, but to come up with a different version where you can clearly hear the different parts." First of all, it was a personal experiment in the studio. I wanted to record it to see what it sounded like, and suddenly, after working on it for a few hours, doubling the guitars, adding the drums and playing everything perfectly with metronomic precision, the track was different and a bit updated, so to speak. So I said to myself, "I'm going to take the gamble of covering this song, and see what happens. It seemed like a good reason. I'm not saying my version is better, I'm just saying it's different. There's a bit more contrast and fluidity, you can hear the different elements better. It underlines how good the song is.

Phantomime's covers also include Genesis' 'Jesus He Knows Me'. Genesis is a rather peculiar band, which started out in progressive rock and ended up with huge radio hits. Do you find yourself in this ambiguity, in this duality?

Yes, I do. The other band on that level that did something similar is Pink Floyd. In the beginning, their music was really strange, really eccentric, and then they became more and more pop as the albums went on. People still mistakenly think they're a prog band, whereas 'Wish You Were Here' is really just a series of four pop songs stretched to the max. Not only am I very inspired by that, but I also feel an affinity with that kind of thing. You try to come up with variations of the traditional, if you like. You try to change the form, to present elements that people know in a different way. It's a bit like running a fusion restaurant and offering an Asian-inspired onion soup and adding coriander to the dish. It's still recognisable, but you try to make the recipe different. Another analogy is Stanley Kubrick, who told stories that weren't very complicated, but presented them in an epic way because of their façade - literally. It was the choice of set and costume and the attention to detail that made the difference. That's why, as a composer, I always try to go back to the simplicity of the writing; the simplicity of 'Another Brick In The Wall'; the simplicity of 'Comfortably Numb'. It sounds like a huge, epic song, but it's not complicated at all. They have a lot of songs like that. For a lot of songs in the Genesis catalogue, especially in the later part of their career, the only thing that makes it a bit weird is the middle part. In "Jesus He Knows Me", that's one of the things that made me want to... Not only have I always loved that song, but there are three factors that made me want to do my own thing with it. One: it's a very upbeat rhythm. The way they play it is so quiet that it literally sounds like they're playing on the table [he beats the rhythm on the table] with an acoustic guitar. There's a real metal track in there.

Do something with those guitars! [Laughs]

Yeah, but I'm glad they didn't, because that means we can! I'm really surprised that a band like Metallica never covered this song, because it sounds like a song from Garage Days. It has the same atmosphere. So I thought, "I'm gonna make it sound like a Garage Days song by Metallica. And I fucking hate the bridge of the original, when they go into white boy raggae. I like reggae, but this is the whitest reggae in the world! And it totally destroys the song. As much as I've always loved the song as a whole, I've always hated that part. So getting rid of that section and making it very heavy was also on the to-do list. I had to go into Trouble mode on this. And of course, that goes without saying, but the lyrics were also perfect. It's meant as a tribute, even though I spit on that bridge a lot. But they've done a lot of these kind of prog bridges, like "Let's do anything here", and they'll throw in a rumba or something like that. Some people might find that really interesting, but in most of their songs, I don't think it adds anything. But yes, Genesis has a lot of... I like a lot of their older prog music, with Peter Gabriel, although I think they almost became even better after they split up. Peter Gabriel did his own music, and he did it very well - very epic music. And Phil [Collins] came in on vocals and they did their own thing. To me, it was the best of both worlds, even if it sounds sacrilegious to say that. I'd love to see Peter Gabriel come back and sing with them, that would be cool, but their separation brought so much to the music, between Peter Gabriel's career, Genesis' career and Phil's career. That amount of work, man!

It's one of the few cases where the split was a real success for everyone, and the result is as good as the original band.

Absolutely, I think so. The most amazing thing they could do now, especially now that Phil is not in good shape... What I wish they had done, or could have done, or would do one day, is a triple tour. For example, Phil and [Peter] could do a solo show each to start with, maybe just five or ten songs, and then get together with Genesis. That way we could have 'Here Come The Flood', 'Another Day In Paradise' and 'In The Air Tonight', and then a bunch of Genesis. I think everyone would love to see that. It would be the perfect concert. For me, it would be one of the best experiences possible.

You see, that's the kind of idea that made Ghost into Ghost. If you can come up with a plan like that for other bands...

[Laughs] You can always call me before it's too late, guys!

Another band that has come up with sophisticated yet super catchy music is Def Leppard, especially on their multi-platinum album Hysteria. Speaking of which, this year you released a new version of "Spillways" with Joe Elliott on vocals. When you hear him on this track, the link is obvious, especially with the very elaborate backing vocals. Would you draw a parallel between your approach to songwriting and arranging and that of Def Leppard?

On this album, yes, because I tried to emulate elements of... It's something that's been done throughout their career, but especially on their two biggest albums, Pyromania and Hysteria, the length of the songs is remarkable. It's very common these days, especially in pop, to be very fussy about the three-minute limit. In the pop world, there's this need to always get to the chorus very quickly. You have to start with the chorus, go straight to the point all the time. In the 80s, there was more courage in songwriting - a more adventurous side. Songs like 'The Riddle', for example, were very strange, very proggy. There were weird chord progressions and stuff that nobody does anymore. The pop world has been so chicken for so long. Of course, I've always had an ear for pop; I'm not exactly impressed with what I hear today, but in my life I've always listened to the radio and liked a lot of what I heard, especially the 80s super hits. That's totally my thing. And I love Eurodisco from the early 90s. There are a lot of great composers in that scene. Max Martin started in Eurodisco, at least professionally, but before that he was in metal. What makes him such a great composer is his metal ear. He was writing Eurodisco songs, and then all of a sudden he started writing huge pop songs for the Backstreet Boys and Britney Spears. This whole school of Swedish songwriters is made up of former metalheads, former rockers, former guitarists.

So I wanted to challenge myself in my own songwriting, because sometimes I keep it too short. Even though "Square Hammer" is a good example of a well-written song, it was almost frustrating, because I thought, "OK, that's one more song like that. Now I have to stop doing that, because it was almost too simple." It was a very intuitive song; I literally wrote it in ten minutes. I had the melody, I played it, and the song wrote itself very quickly. There's almost no finesse in that song, and I thought I should avoid doing the same thing again, because it would be too easy. I wanted to see if I could write in a Def Leppard way. On Hysteria, there are six, seven, eight singles, a good half of which were huge hits. In 1987 or 1988, they were on a par with Coldplay at the height of their career, that's for sure. How could they write five-minute songs, with like five distinct parts? It wasn't conventional, verse-chorus-verse-chorus writing. It was verse, another verse, pre-chorus, bridge, and then finally, after two minutes, you'd get to the chorus. And it was so rewarding, because it was such a long way to get there. I thought, "This is what I have to work towards. I want to dare to add another part, dare not to follow the path. That was a mental exercise I did on Impera, and I'll try to do better in the future. It's an interesting way to challenge yourself.

When people talk about the length of songs on the radio, I always think of the story of "Bohemian Rhapsody": "This is going to be a disaster, it's never going to be played on the radio!" That's it, yes...

For a long time they called that song "Freddie's thing". It's such an anomaly in the middle of what we've just been talking about. Of course, I don't recommend... For a young band that's just got a contract, it's best to avoid the six-minute "Rhapsody". But if you can find a compromise between 'The Passenger' and 'Bohemian Rhapsody', I think you've got something.

On that subject, how did Joe Elliott end up on "Spillways"?

The story is very simple. I talked about Def Leppard a lot before Impera came out because of the mental exercise I mentioned, and both Phil and Joe had been talking about Ghost for a few years. It got to the point where our respective managements wanted us to do something together. In the modern world, that often means collaborating, as hip-hop artists do. I explained that I was willing to explore the idea, but that for me, a collaboration is a trendy but outdated concept. We do it all the time. In hip-hop, it's almost ridiculous to see... If an artist is hot this week and you go look at the American top 40, it's just "this artist feat. this other artist". I totally understand that one plus one can sometimes be three, but it gets very cynical. I don't want to do things cynically. I sing cynical things, I'm a cynical person, but I don't want to be cynical about my fans or my career. So I said yes, I would discuss it with Joe, but we'd have to see if we could agree on something, if there was romance in the air.

Joe and I sent a lot of messages to each other to try and arrange a meeting. He lives in Ireland, but also in LA. I live in Sweden, but I also spend a lot of time in LA, so we tried to find time to see each other. He was getting ready for his tour, I was getting ready for my tour, and we were just hanging out. And then out of the blue, he wanted to experiment; he went into the studio, recorded some vocal lines and sent them to me. I thought it sounded really cool and I said, "Look, I have nothing but good things to say about what you did. It sounds great. I'm not surprised by your voice, but by the fact that we sound so good together. I like that very drawling vocal, you really added something. But I have no desire to throw this on Spotify and say to people, 'Here's another thing you can buy.'" I asked him, "You know we do little skits to communicate with our fans in a funny way? Instead of posting on Instagram saying we'll be in such and such a city, we come up with little episodes." He had seen a few and said, "Yeah, that's funny. Let's do something funny with that." The gag is the important part, and the end result is a bonus.

It's like what we did with 'Kiss The Go-Goat' and 'Mary On A Cross'. The idea for the episode came first, and then we said, "OK, but we need a song. So I came up with the idea for this 60s-style sketch that was "Kiss The Go-Goat". Then, as I was writing and recording 'Kiss The Go-Goat', 'Mary On A Cross' came up in the process, and I thought, "Great, now we have a B-side! It'll be a physical single." So I put that in the script: "Let's start showing the single, now that it's official." Things work in tandem. Looking back, we now know that the end result was different. It was meant as a joke. There was 'Kiss The Go-Goat', which was the joke itself and was very successful. And then it turned out that "Mary On A Cross" was completely different. That's also what I told Joe: we do this to mess around with the band. My job is to write records and entertain people, but apparently I also have to communicate with my fans, and do all this promotion that I'm not really interested in. I have no problem doing this interview, but I don't want a fucking Instagram account where I post pictures of myself. I don't want to be that person. So, I'm doing this so that people... They're diversions, and sometimes those diversions become cool. "What do you say, Joe?" In the end, we found this way to spend time together and do something fun. Instead of turning our creativity into songs, we turned our creativity into episodes. It became something fruitful and fun, and I think it was a great success.

The title of the EP is clever, as it mixes the terms 'ghost' and 'pantomime'. The latter term is defined as "a type of musical for the entertainment of the whole family". Is this your goal with Ghost? Do you see the band as "a musical for the whole family's entertainment"?

Broadly speaking, yes. Of course, that suggests that the more adult elements and innuendos in our show are suitable for children, which I don't claim. But I would also like to stress that I have never asked people to bring children to our shows. So if the children in question are exposed to jokes involving penises, farts and copulation, that's their problem. I grew up in a very liberal family, where there were very few barriers and no censorship. I think it's possible to have a conversation, if others are open to it. I have no problem with whole families coming to us, as long as no one suffers. So, for me, it is indeed entertainment for the whole family. But I wouldn't sell it as such to most people, because there are still elements that are not suitable for all children.

I remember a Rammstein concert where I noticed children in the audience. I thought it wasn't really a good idea... Ghost seemed a bit more appropriate, but for young children, some things can still be a bit biased.

It's hard for me to have a clear line on this, because I'm not just speaking as a musician, but also as a parent. There's a constant debate about the right age to talk about certain things. Now, with two teenagers, things are more open. But that's one of the weird things about being a semi-public figure, talking openly and publicly about your life and what you do and sharing your opinions. My kids read that, too. They are aware of it. As soon as I say something, especially nowadays, where everything becomes a meme or a clip... People may think what I say is funny, which I don't mind, but my son and daughter, now fourteen, heard it when they were eight or ten. It's hard for me to be a parent and say, 'Go to school! Don't do that", when they know perfectly well that I didn't follow any of these precepts. I'm not trying to lie to them at all. I tell them: "I did this, I don't recommend it. I did this; I totally neglected this other thing. But I was lucky and I got there. My career isn't over, so I don't know if I've really "arrived", but for now, I'm here. It was a bit silly of me to be so confident, to think I could burn all the bridges, burn all the ships and throw the oars. I was lucky enough to make it to land, but I don't recommend this technique. Don't do the same thing! [Laughs]

[harrisonarchive]

(Photos 1 & 2) In 1964, photos by Dezo Hoffmann and Bill Eppridge; (photo 3) in 1970 (photo by Tim Boxer).

“That night John and George picked up Estelle and me in a limousine for a feast of ribs and chicken at Sherman’s Barbecue on 151st and Amsterdam in Harlem. And they loved it. Sherman’s is just a little takeout counter today, but back in 1964 it was beautiful, with lots of tables and a great big jukebox in back. But for the Beatles, the best part of all was that they could eat in peace. They may have been mobbed at the Plaza, but very few of their fans followed them into Harlem. In fact, the Beatles were no big deal up in Harlem. The people at Sherman’s were not exactly Murray the K’s crowd. They took one look at these guys with their long hair and funny clothes and went back to their ribs. If anything, they might have thought the Beatles were dorks. But you can bet Sherman never forgot that day. Every so often I still go into Sherman’s for takeout, and whenever I do, Sherman comes out from the kitchen to say hello. ‘I remember you!’ he always says. ‘You’re the little girl that brought the Beatles!’” - Ronnie Spector, Be My Baby (1990)

“[In the early ‘70s] George decided one night that he’d like to take a ride on a New York City subway. He was dressed in his denims and wore a longish beard. Still, he looked like nobody else. We descended the Sheridan Square subway steps, bought our tokens and waited patiently on the platform. We got on the next uptown train with only a few other passengers in the car. Immediately, George drew stares on our trip as the train headed uptown. Otherwise the trip was largely uneventful until we exited the train one stop to the North at 14th Street. At that very moment, a gang of cops with drawn guns was chasing someone up the platform. I think that was George's first and last ride on a New York City subway.” - Al Aronowitz, The Blacklisted Journalist, 2001

“I think they should pull a lot of it down and plant some trees in it. [laughs] I don’t think it’s very healthy at all. It’s crumbling, it's tired, but it still has a kind of atmosphere. In the '60s and '70s for me, it was kind of interesting when we used to hang out, we used to go in weird places. Then there's that kind of thing where you can get into feelin’, ‘Hey, man, yeah, we're in the city and this is city life and we're cool.’ But for me, I have no desire to be in any city, even a small city. I don’t like cities. I want to be as close to nature as possible. Purely just because I want to survive and I think it takes its toll on you — the pollution, the noise, the uptightness, the hostility — and all it does is it fries your nervous system and knocks years off your life.” - George Harrison (on what he thinks of New York City in 1992), The Blacklisted Journalist, published 2001 (x)

[japage3moondog]

the beatles dating hc's

early 60's era.

john lennon (the l in lennon is for lover)

john has light commitment issues, to be honest. he truly is madly in love with you but romantic relationships are super new to him so please be patient.

he struggles to show his physical affections, especially in public and especially since he has a very tight schedule. so whenever he can he'll give you a copy of a book he's been reading or pictures from a tour that you couldn't make. anything that will keep him in your heart when he can't be there in person. and he will call you as often as he possibly can, even if you don't talk, knowing you're on the other line is so comforting for him.

paul macca

paul is literally the reason i believe in soulmates. as soon as he sees you it's like love at first sight. he's way too shy to admit it but he feels the connection instantly. the whole time your talking to him, his eyes are so wide, he looks entranced.

i know the whole love languages thing is a hoax but he truly appreciates quality time above all else. you are his special person.

he has a bit of a controlling tendancy but he catches himself because he doesn't want to scare you off. he'll literally stop himself mid-sentence if he thinks he sounds weird.

george harrison

george will ask you out on a date as quick as he'd ask for your name. when you say yes it takes everything in him not to literally jump for joy, he's so excited.

he is easy to please. like he's happy to just have you in his arms at the end of the day. he's not very big into super flamboyant love but he always lets you know how much he appreciates you.

when he writes songs for you, he'll immediately call you up or if you're available in person so he can play it for you. he constantly tries to teach you guitar except he goes way too fast and you never really learn but it's nice to able to share his interests.

ringo starr

immediately get enamoured by ringo's puppy dog eyes and charm. he'll get like one sentence in and then he starts flirting with you.

he has a weekly rotation of rings and he gives you his favourite to wear, if it doesn't fit you wear it on a necklace.

he's so crazy about you, every anniversary he does something super special. he has all your favourite things memorised. your birthday and your anniversary is blacklisted from gigs because he never wants to miss an important date with you, he's so sweet.

all together now (think of this like one of those massive venn diagrams where this part is the one which all parts have in common)

it goes without saying but, for the most part, you have to be kept out of the public eye to avoid scrutiny which causes a lot of frustation. they will dress up in disguise just to take you down to a pub if needed.

you are a delight to have in the room when they're songwriting or running through a performance. you've been snuck into recording booths at points.

alright one whole band x reader for funsies. it gets very hectic keeping up with four boyfriends who are constantly touring and i feel like brian (the bug's manager if you don't know) would make a schedule. they would follow the schedule at first but it would slowly become a free for all because i feel like john would just ignore it to spend more time with you and then it just goes down hill.

[menlove]

I can forgive (blacklist) the beatlesposting but I cannot forgive (blacklist) the fucking beatles biopic meet & greet dream I had last night which directly implicated you

HAHAHAHA I'm in your mind rent free and so are they

[artsystims]

welcome to artsystims

[PT: welcome to artsystims]

this is an accessible stim blog, providing content warnings, plain texts and image descriptions.

info about blog over cut, more details on content warnings, personal info and blacklist under cut.

blog info

i’m just an average stimboard blog!

i will provide image descriptions and plain text

i tag possible triggers and provide content warnings

request status: open!!

tagging info

i will not have any content related to common triggers, but i will tag the triggers down below as such:

#flashing lights / #flashing gif (any gif that is very flashy)

#eyestrain / #tw eyestrain (anything that might hurt your eyes)

#cw hands / #hands cw (anything that contains up-close hands)

#bugs / bug cw (anything containing real-life bugs)

#eyes / cw eyes (anything depicting eyes)

lemme know if i should tag anything else

personal info

name: aech

main blog: @artsyaech (also a coining blog)

pronouns: xae/xaer

age: 17

this blog has no set DNI (because anyone should be able to have a nice visual stimming experience), but i block freely.

this blog does, however have a blacklist (yes, i am aware it differs from my main���s, but i am updating my main’s blacklist soon)

BLACKLIST

fiction:

danganronpa, DSMP, harry potter, black butler, countryhumans, hetalia, friday night funkin’, lore olympus, vivziepop media, k*lling stalking (i), poppee the performer,

music:

the 1975 (band), marilyn manson (musician), melanie martinez, lana del rey, michael jackson, the smiths (band), red hot chilli peppers (band), BOTDF (band)

media i will only do if you acknowledge the problems with said media (greylist)

fiction:

the barbie movie, fiction depicting real people (hamilton ((especially)), clone high, our flag means death ((i love both of the last ones, don’t come after me))

music:

dance gavin dance (band), kiss (band), led zeppelin (band), the beatles (band), korn (band), type o negative (band), pink floyd (band), escape the fate (band), foo fighters (band), slayer (band), asking alexandria (band),

[spontaneousmusicalnumber]

First up to digitize: the official soundtrack to Sargeant Pepper's Lonely Hearts Club Band, the terrible 80's Beatles movie (featuring zero actual Beatles)!

Found it at an antique shop last month, because it was interesting and $4, and Mom DIED laughing when she learned I had it.

According to her, every teen girl in the 80's

A) knew that movie was absolutely terrible

B) Watched that movie anyway, because they all

C) had a huge crush on Peter Frampton of the Bee Gees

So of course, it's the first album I'm digitizing for her. Most of the songs are unremarkable. I mean, it's competent singers covering other competent singers. Im pretty partial to the Bee Gees 'Nowhere Man' and Aerosmith's 'Come Together'. However... some of that early synth is something else.

The main villain couldn't sing. So, they just had him talk all of his songs. I don't think I could have expected viscerally hating "When I'm 64".

I'll keep reviewing these records under the tag 'mom jams' to follow or blacklist at your own pleasure

[stewy]

thinking of all the followers i’ll lose thursday all for you john lennon

[lostinthemarinarasaucejpeg]

alright so this is my first attempt at writing fanfiction and I wasn’t even sure if i would end up sharing it with anybody. Hopefully I can get the first part edited and up by Tuesday but for now here’s a sneak peek/soft launch??? also I hate how Tumblr formats writing this is absolutely heinous k bye.

-----

“Can you play me something?”

“Your wish is my command. What shall I play for the lady?”

“Beatles?”

Eddie fell to the floor dramatically, face buried in his tangled ringed fingers. “Chrissy Cunningham you did just not ask me to play the Beatles in my own home. I generously receive you in my own, well my uncle’s home, and this is how you treat me?” Chrissy blushed and giggled.

“Normally I’d blacklist you but you’re cute so I’ll let it slide. Just this once. If you ask me to play Beach Boys I will stop acknowledging your existence though.”

Eddie played around with some chords and lyrics, whatever he had heard on the radio, creating a Frankenstein’s monster of a Beatles song.

    “Hey Jude, don’t make it bad.” Chrissy egged him on, Eddie nodded along, finally getting a handle on the melody.

    “Take a sad song and make it better,” she half sang half spoke. Eddie provided back up vocals with additional delayed and off-key las and das.

    Somehow they managed to trudge through ‘Hey Jude’, Eddie even trying to transition into another Beatles song only to fumble lyrics he didn’t even know.

    “Throw me a bone?”

    So Chrissy sang and Eddie didn’t complain. She might’ve not been a choir girl but no one couldn’t convince him she wasn’t an angel.

[frommetoyou-packages]

Introduction

Me trying to make an introduction because I’ve barely used tumblr before <33

Welcome to the blog! @frommetoyou-packages is for you to request a self-care package based off of a certain theme, character, song, movie, so on and so fourth. All you have to do is send in a request (when they happen to be open), send in a prompt, and add any specifics you want. You will be added to my queue and I’ll post your package as soon as possible! This is my first real experience with tumblr, so please pardon me if my formatting is off, hopefully I’ll get better with technical stuff on here with time. Please read my blacklist and check if requests are open before sending in a request!

When requesting a character please specify what franchise they are from

Ps. My username is a Beatles reference

[joker1315]

Tag masterlist

This is a pinned post, it will help you find what you are looking for. (Please let me know if a link doesn’t work.)

Check out my new sideblog: https://joker1315s-whump-sideblog.tumblr.com/

The Blacklist - Broadchurch - The Boys - Doctor Who - The Expanse - Fleabag - Good Omens - Gotham - The Great Race - Hannibal - Harry Potter - The Hobbit/Lord of the Rings - The Hollow Crown - How to Train Your Dragon - James Bond - Jurassic Park - Lucifer - Marvel - Monsters Inc. - Monty Python - Mulan - The Neverending Story - Once Upon a Time - Penny Dreadful - Pirates of the Caribbean - Preacher - Prodigal Son - Robin Hood - Rocky Horror Picture Show - Der Schuh des Manitu - Sherlock - Star Trek - Star Wars - Supernatural - Twin Peaks - War Horse - The Witcher - Winnie the Pooh - X-Men

Actors:

Alan Rickman - Andrew Scott - Benedict Cumberbatch - Billie Piper - Bill Nighy - Brendan Fraser - Buster Keaton - Catherine Tate - Charlie Chaplin - Chris Evans - Chris Hemsworth - Chris Pine - Christopher Eccleston - Christopher Lee - Colin Firth - Colin O’Donoghue - Damian Lewis - Daniel Brühl - Daniel Radcliffe - Danny Kaye - David Dastmalchian - David Tennant - DeForest Kelley - Dominic Cooper - Emilie de Ravin - Emma Thompson - Emma Watson - Ewan McGregor - Gary Oldman - Gwyneth Paltrow - Harrison Ford - Hayley Atwell - Heath Ledger - Helena Bonham Carter - Helen McCrory - Hugh Dancy - Hugh Jackman - Hugh Laurie - Ian McKellen - Jackie Earle Haley - James McAvoy - James Spader - Jamie Lee Curtis - Jared Padalecki - Jason Isaacs - Jennifer Lawrence - Jensen Ackles - Jeremy Renner - Joey Batey - John Barrowman - John Simm - John Hurt - Johnny Depp - Joseph Gilgun - Karen Gillan - Karl Urban - Keira Knightley - Lee Pace - Leonard Nimoy - Mads Mikkelsen - Mark Pellegrino - Mark Ruffalo - Martin Freeman - Matt Smith - Michael Fassbender - Michael Gambon - Michael Sheen - Misha Collins - Nathan Fillion - Orlando Bloom - Patrick Stewart - Paul Bettany - Peter Capaldi - Phoebe Waller Bridge - Rachel Weisz - Robert Carlyle - Robert Downey Jr - Robin Lord Taylor - Robin Williams - Ruth Negga - Samuel L Jackson - Simon Pegg - Stephen Fry - Taron Edgerton - Tim Curry - Tim Roth - Tom Ellis - Tom Hiddleston - Tom Holland - Tom Selleck - Viggo Mortensen - William Shatner - Zachary Quinto

Music:

The Beatles - Brian May - Elton John - Freddie Mercury - George Ezra - George Harrison - John Lennon - Jake Bugg - Mika - Paul McCartney - Queen - Ringo Starr

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[harrisonarchive]

George Harrison and Paul McCartney in the 1950s, 1960s, and 1990s; photos by/© Paul (?), ITV/Shutterstock, Leslie Bryce, Jim Marshall, Linda McCartney, and a screenshot from The Beatles Anthology.

Happy birthday to Paul!

Q: “You met Paul first.” George Harrison: “Yeah, Paul went to school with me. I met him when I was about twelve years old. So I had this guitar, the one I just talked about, and Paul had a trumpet for some reason. His father, in his earlier days, had been involved in a little dance band. He was a piano player. So there was a lot of music in Paul's house too. But [then] we started hanging out together.” - WNEW-FM, 1987

“George put on do-do-do-do [sings the signature riff] which is very much a part of the song [‘And I Love Her’]. Y’know, the opening riff. That, to me, made a stunning difference to the song and whenever I play the song now, I remember the moment George came up with it. That song would not be the same without it.” - Paul McCartney, MOJO, November 2011

“Paul always writes nice melodies.” - George Harrison, Scene and Heard, 8 October 1969

“‘The thing about Paul,’ George says, ‘is that apart from the personal problem of it all, he’s having a wonderful time. He’s going riding and he’s got horses and he’s got a farm in Scotland and he’s happier with his family. And I can dig that.’” - early 1970s; The Blacklisted Journalist, 2001

“I’ve always preferred Paul’s good melodies to his screaming rock & roll tunes. The tune I thought was sensational on the London Town album was ‘I’m Carrying.’” - George Harrison, Rolling Stone, 19 April 1979

“[N]ow we don’t have any problems whatsoever as far as being people is concerned, and it’s quite nice to see him. But I don’t know about being in a band with him, how that would work out. It’s like, we all have our own tunes to do. And my problem was that it would always be very difficult to get in on the act, because Paul was very pushy in that respect. When he succumbed to playing on one of your tunes, he’d always do good. But you’d have to do fifty-nine of Paul’s songs before he’d even listen to one of yours. So, in that respect, it would be very difficult to ever play with him. But, you know, we’re cool as far as being pals goes.” - George Harrison, Rolling Stone, 19 April 1979

“But we do, actually, we do get on. […] I still love him, and it doesn't matter, I’m going to continue my friendship with him regardless of his attitude, because I don’t have time to screw around anymore, you know.” - George Harrison, The Midday Show, February 1988

“Actually, I love Paul, he’s my mate, and it doesn’t matter what they say in the papers, they’re not gonna get much mileage out of that one.” - George Harrison (regarding the media’s claim of a feud between Harrison and McCartney at the San Remo Festival in 1988), Aspel & Company, 5 March 1988

“There’s always a place in my heart for Paul… and Linda.” - George Harrison, Musician, March 1990

Q: “Does Paul still piss you off (tell us the truth)” george_harrison_live: “Scan not a friend with a microscopic glass — You know his faults — Then let his foibles pass.” george_harrison_live: “Old Victorian Proverb.” george_harrison_live: “I'm sure there's enough about me that pisses him off, but I think we have now grown old enough to realize” george_harrison_live: “that we're both pretty damn cute!” - Yahoo web chat, 15 February 2001 (x)