#there are probably a lot of mistakes

[snowontreeleaves]

i wonder how that happened...

i need to learn to just post the cropped screenshot without the drawing

[amelia-yap]

internal screeching

[arorgripi]

6 domande / 6 questions

(Regole: Rispondi alle domande e poi tagga altra gente! / Rules: Answer the qestions and then tag someone else!)

Tag da / Tag from @evadingreallife

1. Ultima canzone? / Last song?

Him - James Marriott

2. Ultima serie tv? / Last tv series?

Il giovane Ispettore Morse - Endeavour (what is this translation)

3. Stai guardando? / Now watching?

Il Trono del Muori su youtube. Fa parodie di diverse serie (da Harry Potter a Berserk), consiglio vivamente. Se non vale e si intende solo media tradizionali allora Ispettore Morse. - Il Trono del Muori on youtube. Sorry but this man is strictly italian, specifically with a roman accent. He's amazing and I love him very much. He does parodies (from Harry Potter to Berserk), if you can understand italian check him out. If it doesn't count and the question regards only traditional media I'll go with Inspector Morse.

4. Stai leggendo? / Now reading?

Peter Pan nei giardini di Kensington (è il meglio di Peter Pan, difenderò questa opinione fino alla morte). - Peter Pan in Kensington Gardens (It's the best Peter Pan, I will die on this hill).

5. Ossessione attuale? / Newest obsession?

Come è ovvio dalle serie, Morse mi ha monopolizzato le ultime settimane dopo aver visto una scena del secondo episodio (su Giallo. Perchè lo stavano guardando i miei): c'è Morse che rincorre un serial killer; ad un certo punto si scontrano, per poi tornare subito a correre. Ovviamente lo perde di vista - siamo solo a metà episodio dopotutto - ma trova i rinforzi dove c'è anche un suo amico, che dice "ma sanguini, stai bene amico?" e allora, solo in quel momento, questo tizio che ha la fobia del sangue e della morte si accascia a terra. Questa scena mi ha fatto salire una rabbia isterica tale che due mesi dopo ho guardato tutta questa serie in inglese, ho quasi finito la serie originale (di cui questa è il prequel) e di cui guarderò il sequel. Per poi recuperare i libri da cui è tratto questo personaggio molto poco stabile. Perchè questo deficiente si è accasciato. Mannaggia a me.

/As is clear from the tv series, Morse monopolized my last weeks after seeing a scene from the secon episode (on an italian channel. Because my parents were watching it): there's Morse running after a serial killer; at some point they fight/grapple briefly to then goback to running. He loses him, of course - we're only half episode in after all - but he finds the backup among which there's also a friend of Morse, who says "you're bleeding, are you alright mate?" and then, just then, this guy who has a phobia of blood and death collapses to the ground. This scene got me so hysterically angry and worked up that here I am, two months later, having seen the entirety of the series in english, almost done with the original series (of which this is the prequel) and of which I'll watch the sequel. And then I'll go and read the novels upon which this very stable character is based. Fuck me.

6. Un'altra ossessione? / Another obsession?

Ne do tre al prezzo di uno.

1- Visto che a fine mese vado a Londra per un concerto (se qualcuno avesse dei biglietti per Lovejoy complimenti a voi, il bagno di sangue per prenderli è stato orribile) sto rileggendo/cercando cosa fare lì visto che resto un paio di giorni. Per ora la lista prevede Kensington (ma va) e la National Gallery. Inoltre mi è salita l'ansia per il locale dove ci sarà il concerto, perchè non danno certe informazioni da nessuna parte. Ho passato due giorni a guardare le foto degli eventi passati cercando risposte.

2- Ho costantemente non meno di 40 pagine di ao3 aperte, di una miriade di fandom, che scelgo in una seduta per poi leggere nei giorni seguenti. Al momento la selezione prevede Detective Conan, Yu-Gi-Oh Zexal, Inception, Endeavour, FMA, IT, Broadchurch, VLD, Sandman, Gravity Falls, Kingdom Hearts, Ritorno al futuro, Dragon trainer e altri.

3- Sto preparando un cosplay per il Lucca Comics a novembre nei minimi dettagli ma solo nella mia testa. Di pronto ho circa un 20%.

/I'll give three at the price of one.

1- Since I'm going to London at the end of the month for a concert (if anyone has Lovejoy tickets I salute you, the bloodbath to get them was horrible) I'm rereading/looking for things to do there since I'll be staying for a couple of days. For now the plan consists of Kensington (duh) and the National Gallery. Moreover I'm getting anxiety for the venue of the concert because there are no informations about certain things anywhere. I spent two days looking for answers in photos of past events.

2- I've constantly at least 40 ao3 tabs open from a multitude of fandoms that I choose in one sitting and then read the following days. At the moment the selection has Detective Conan, Yu-Gi-Oh Zexal, Inception, Endeavour, FMA, IT, Broadchurch, VLD, Sandman, Gravity Falls, Kingdom Hearts, Back to the future, HTTYD and more.

3- I'm preparing a cosplay for Lucca Comics (the biggest italian con) this November to the last detail but only in my head. I've actually got ready about 20% of it.

Taggo / I'm tagging @protesliaus @risingsunresistance

[rafeandonlyrafe]

sparkling juice

words: 1.9k

warnings: 18+ only!!!, p in v sex, unprotected sex, virgin!reader, dubcon, drugging/tricking reader into drinking, established relationship, innocent/shy!reader (at least at first wink wink), kinda dark!rafe but really he just wants to bang reader reaaaaal bad

“this is so sweet, rafey.” you coo, your hand held firmly in his.

“anything for you baby.” rafe pulls you along the path, further out into the meadow until you get to a shaded area under a tall tree.

“here is perfect.” rafe says, setting the picnic basket down and draping the large blanket he brought with him.

“thank you.” you tell rafe, pulling him in for a sweet kiss before sitting down.

“i brought all your favorites.” rafe says, taking a spot next to you and opening up the picnic basket.

you let out a little squeak in excitement and seeing all your favorite foods before your brows scrunch together as you point at a bottle. “what's that?”

“that's um… sparkling juice. that's all, baby.” of course, rafe knows that's not all it is, but you don't need to know that yet.

rafe pulls out some food for you to snack on, not hungry himself, happy to watch you nibble on crackers and bite into juicy strawberries.

“wanna try some juice with me baby?”

“mhm, of course rafey.” you watch his large hands as he fills two plastic cups, handing one to you. “drink slow.”

you nod in response before taking a sip, pulling away and sputtering. “ew!”

“oh, baby.” rafe pouts. “do you not like it? im so sorry i thought you would.”

“let me… let me try to drink it again. i think im just not used to the carbonation.” you take another sip, able to control your reaction better. “it's not bad!” rafe can tell you're lying, but he lets out a fake sigh of relief and smiles at you.

“so glad, baby. we can keep drinking while we talk, yeah? tell me about your day.”

rafe knows the easiest way to get you distracted is to have you talk, and so as you describe your day, which leads into your plans for next week, which leads into how much you love rafe, you keep taking sips as rafe refills just your cup.

“i… my head feels kinda fuzzy.” you frown, setting the drink down, realizing your fingers are also slightly numb.

“uh oh.” rafe pouts, drawing his thumb over your cheek. “maybe it's the heat. why don't you lay down?”

“yeah.” you nod, laying back onto the blanket, surprised how plush it is from the soft long grass underneath it. “im-” you let out a sudden giggle. “im like really in love with you, rafey.”

“im really in love with you too, kiddo.” rafe adjusts himself to lay next to you, propped up on his side to keep an eye on your reaction as the alcohol you didn't know you were drinking slowly takes effect. “that's why i planned out this whole picnic for you. and brought you special juice.”

“was there-” you hiccup, words slurring slightly. “anything special in the special juice?”

“hm.” rafe sits up, picking up the now half empty bottle. his eyes widen in fake shock as he reads the label. “oh no baby! i must have grabbed the wrong bottle! i meant to get us sparkling juice but i got us sparkling wine!”

“im… im drunk?” you put together what rafes words mean, mind working slowly.

“im so sorry.” rafe moves to hover over you, cupping your cheek. “will you forgive me?”

“course.” you nod quickly. “was an accident.”

“you're so sweet baby.” rafe brings his lips down on top of yours, kissing you wildly, mouths and tongues a passionate mess.

“should we go get some water to help… get rid of this feeling?” you ask rafe as he shifts to kissing your jaw.

“that's so smart, baby, but i can't drive us home drunk, and you don't have your license.” 

you knew how to drive well enough, but in your 20 years of life, never felt the need to actually get your license. your parents drove you around as a kid until you started dating rafe a year ago, and then he drove you around everywhere.

“oh, right.” you nod, letting out a small gasp as rafes kisses move lower, exploring your neck. this is where you usually stop him, pull his head back up to kiss your lips and remind him you want to wait. not necessarily until marriage, but a bit longer, until the time is right.

“we should do something to pass the time, baby. until the alcohol is out of our system.”

“doesn't eating help?” you try to remember what you heard your friends talk about, since you're not a drinker yourself. “we could share the rest of the crackers.”

“i was thinking… we could finally make love.” rafe suggests, pulling back to look in your eyes, watching the way your brain is fighting against the alcohol in your system.

“well, you did take me on this nice picnic…”

“mhm.”

“and we have been dating for over a year now.”

“yes.”

“so… i suppose we could.” you shove down any doubting voices in your head, letting the looseness of your inhibitions guide your actions as you lean forward to kiss rafe again.

“thank you baby.” rafe repeats his words between kisses, his weight shifting to his elbow as his other hand holds your waist, before moving up until it's cupping your breast.

“oh!” you gasp, surprised by how good it feels. rafe smiles, tugging at your dress until the material is below your bra, pushing your breasts up.

“what if someone sees?!” you hiss out. it's not likely someone would come by, but rafe doesn't want to ruin his chance to finally have you.

“okay.” he pulls your dress back up, settling for touching you over the material as he distracts you with soft kisses once again. “ill just push your dress up. that way if anyone comes by you can easily cover yourself up.”

“mhm.” you nod, eyes sliding shut, head fuzzy from the alcohol and now from the pleasure building in your system.

rafe reaches down to pull his cock out of his pants, leaving himself mostly covered as well. he begins to slowly stroke himself, already halfway hard just from the excitement.

“oh!” rafe hadn't even realize your eyes had opened up until your outburst.

“it's okay, baby.” rafe says. he's well aware this is your first time seeing his cock as he waits for you to form a reaction.

“i… i want to feel.” you reach down, cautious hand, still numb at the fingertips as you stroke over rafes length, eyes widening when you realize how hard it truly feels..

“can you… can you not look?” you ask shyly, hand still slowly moving as you speak. “at me.”

“baby, you know i find you beautiful. all of you… but if that's what you want, okay.” 

“just… look away for a minute.” you wait for rafes gaze to turn to the meadow, watching the flowers sway in the breeze as he hears you shuffling around on the blanket to take your underwear off.

“okay.” you say.

rafe looks back to you, smile growing as he realizes you're laid back down once again, dress pushed up to your thighs, just enough to hide your privates.

“ill be nice and slow, okay? and you tell me if anything hurts.” rafe moves over you, waiting for you to nod before reaching down with one hand to grab his cock. he keeps your skirt as far down as he can while tucking his dick between your thighs. he moves until he bumps skin, letting out a breath when he realizes you are wet.

he rubs his cock through your folds, watching the way your face twists in pleasure, brows pulling together and mouth dropping open.

you let out a moan when rafe hits what he assumes is your clit. he focuses the head of his cock on it for a moment before sinking lower to your entrance.

rafe manages to keep his word, pushing in slowly. he may have been buttering you up for an entire year just to get in your pants, but now he wants more than just once, you're well and truly his, and he plans on exploring with you until you're transformed from innocent girlfriend into personal slut.

“oh! oh, rafe!” your hands move to grip his shoulders. “that… that feels really good!”

“doesn't hurt at all?” rafe can tell he's stretching you somewhat, but clearly by your rapid shaking of your head no, you're not feeling any pain.

“gonna f-make love to you now then.” he swings his hips back before pushing forward, and soon your moans are filling the meadow, being carried away by the wind as he thrusts into you.

“so, so good, rafey.” you cry out, back arching off the picnic blanket. rafe smiles. your first time, and you're already behaving like this. he's going to turn you into a whore sooner than he thought.

“fu-fudge!” you shout out, making rafe chuckle softly as you use your curse word substitute just like you prefer doing.

“you feel so good round me, baby.” rafe says, bending down to kiss your neck. “love the way you're squeezing me.”

“harder.” you whine out. rafes eyebrows raise, but he doesn't question your demand, pushing his hips faster, slamming into you more. your dress pushed up from all the motion to reveal rafes cock burying itself inside your pussy.

he lets out a moan as you grip onto the blanket, not caring about him being able to see you as you feel a high building inside of you.

“i think im close.” you say.

“cum for me baby. ill cum with you.” rafe says, bringing a hand down to your clit, your moans doubling as he rubs over it with his thumb.

your high hits you suddenly. it takes a perfect thrust from rafe a long with his thumb flicking over your clit and your wall breaks with a scream, hips rising off the checkered fabric as you cum, pussy clenching around rafe as he spills inside of you with a moan of his own.

you both collapse in a heap, faces flushed and chests rising and falling rapidly.

rafe pulls out of you carefully before flopping onto his back.

“that was really good, rafey.” you cuddle into his side, resting your head on his chest.

“thank you for trusting me enough to do that with me, baby.” he presses a kiss to the top of your head.

“of course.” your eyes are on rafes cock, still halfway hard despite just cumming. you reach down, ghosting your fingers along his length before swirling your fingertip over the head then against his slit as rafes hips twitch from the overstimulation.

“do you think we can do that again? and then maybe when we get home? after you're good to drive, of course.” you look up at rafe with what he thought were big, innocent eyes, but he's quickly realizing you've got a different side just below the surface.

-- six months later --

“ugh, rafe!” you groan as he presses buttons on the controller, eyes firmly on the screen. 

“promise baby, will be done in five minutes.” he says, barely glancing to you.

you're tired of being ignored as you pull off the only clothing you are wearing, a big t-shirt of rafes to cover yourself. rafe glances over, realizing you're now completely nude as his fingers freeze.

“i want to fuck. if you're not gonna help me, im gonna go help myself.” you shrug.

rafe tosses the controller onto the floor, a proud smile on his face. you've become just who he's always wanted you to be. “of course im gonna help you baby, come get on this dick.”

[sweet-allien]

If I keep reading comments from people comparing Logan and Colapinto I swear I'm going to stop being a friendly blog and I'm going to be one of the most fucking aggressive blogs.

To begin with, they did not have the same car, LOGAN DIDN'T EVEN HAVE THE SAME CAR AS ALEX and let's not forget that JV was not the one who saw that spark in Logan, he never saw him as a possible driver for Williams or as someone to accompany Alex, the the one who saw that potential in Logan was Jost Capito, not James. Not to mention all those derogatory comments from journalists towards Logan for being American (I really don't understand why that was a problem).

Colapinto has the support of both the Argentines and his own fans and James himself. Logan didn't really have a support network like Franco's, which, realistically, added to the pressure of being in one of the most competitive sports, is not exactly the most favorable for a person's self-esteem and confidence.

Logan was not only compared to Alex, his teammate with more experience in both F1 and Williams, but also to Oscar, Oscar, who drives a McLaren, who probably had more experience regarding F1 cars, Oscar, that always stood out in the rest of the categories and that has Mark Webber as support.

There's really no way to compare Logan and Franco, firstly, because they're both completely different, and secondly, because they were never on equal footing.

[princema-k]

so draw your blade, you wretched fiend and let's you and i fight like the dishonourable dogs we are savage, violent, yet free and when the curtain calls, let me put you out of my misery

[jestroer]

So uh yeah, Redstone and Skulk by @silverskye13 is definitely my favourite fic ive ever read and im totally normal about it. And here's some character designs! :D

[mawguai]

The sky looked beautiful on that day when I made a new friend

[skullpuke]

boys will be boys

[nattikay]

the constant inner struggle of a Na'vi speaker/teacher browsing Na'vi OCs

[stardynamite]

While rewatching ducktales, I realised that they looove foreshadowing, they do it all the time, sometimes they even give the whole plot of an episode in the very first scenes without the viewer noticing lol.

Anyway, I realised that they foreshadowed the whole “duke of making a mess” thing that Huey had in the sword of swanstantine episode!

THE THING IS, EVEN on my first watch, I could tell that this was supposed to be a multiple episode arc but they HAD to make it shorter because ducktales was getting cancelled and I’m PISSED. LIKE ALL OF MY FAVOURITE CARTOONS, THIS COULD HAVE BEEN SO MUCH MORE.

DEWEY had his own arc where he’s trying to uncover his mom’s dissaperance with Webby. LOUIE had his own arc where he was struggling with his place in the family and HUEY. DIDN’T.

Ughhh they foreshadowed the Duke of making a mess in the intern episode and even in Scrooge’s birthday!!

Those are BOTH season 1 episodes (I’m not gonna list more foreshadowing because you get my point) SO THEY’VE BEEN BUILDING UP THIS ARC SINCE THE BEGINNING AND THEY DIDNT GET TO CASH IT INNNNN RAHHHHHH 🗣️‼️‼️‼️‼️

When watching the ONE episode where he appears, you could IMMEDIATELY tell that it should’ve been a bigger deal. I mean come onnnn, they enter Huey’s mind scape and there’s a huge closed up door??? With locks??? DUUUDE THAT WOULD’VE BEEN AWESOMMMMEEE

I’m saying all of this but this is just to vent some frustration about how animation shows will just be cancelled without the chance to say all that they’ve wanted to say… and as the one who wants to hear it: *cries and wails and pees on the floor*

Ducktales was planning so many more seasons and only got 3, like every other great animation show nowadays i fear

[evelynpr]

Genshin Official Relationships and Status

Something to take note off in character relationships is what their "official and known" relationships are. So, I decided to try to make a chart of one with the playable cast and some extras.

This is a draft though. If you have criticisms and comments, absolutely please do leave them because I don't think my interpretations of these government systems are that accurate.

Anyways, here they are! The higher the placement, the higher the authority. Distance does not apply, and the legend is in each of the pictures.

Mondstadt: That's a lotta knights

They can be split between the Church and Knights, but the Church is still under the Grand Master as far as I know.

Power is surprisingly concentrated to 1/2 individuals only for a nation of freedom...Mond you gotta work on that...

Jean, Diluc, Kaeya, and Lisa are arranged the way they are in reference to the Klee summer event where they passed on who was looking after Mond.

Diluc still retains his high position because he has so many high credentials and connections (The Darknight Hero, Mond's richest man, high status in an intelligence network), despite being the Ex-Cavalry Captain.

Rosaria is an official recognized nun, but her vigilante works are by her own accord, hence the colors.

I am not sure whatsoever where Jean and Barbara's father, the Cardinal, should really be placed, or if he even still holds the position.

Poor Noelle does so much more Mond, but is lowest in status...please just make her a knight already T__T

Liyue: Zhongli and his powerful lesbians

I really am not sure if Ningguang is who Liyue's closest "leader", but that is how I felt during most of Liyues events

I'm assuming that the adepti now have a lesser status in Liyue because of the shift in power to the humans during the archon quest

How high Beidou's status is is, completely informal. She's right beside Ningguang because they do find each other to be equal competitors in their own way.

Those directly connected to Zhongli are those I assumed to have taken direct orders from him, hence why Beidou and Keqing are not included although they do respect him as their archon (Keqing in her own way)

I feel like I'm missing people here, compared to Mond, so uh, help me out here-

Inazuma: They just had a civil war...woops

I am reallyyy unsure how to label Sangonomiya island's status. Are they under the shogun? Are they their own separate territory?

Otherwise, Inazuma is pretty straightforward with its 3 factions and families

Sumeru: The whole government was just overthrown

Are there like, genuinely so sages right now, or replacement Grand Sage??? Nahida you need to do something asap-

Scara doesn't exactly have equal status to Alhaitham as Acting Grand Sage, but I felt it was more important to show that Scara is working directly under Nahida

Speaking of which, the title "shadow" is used because it's the same role that Ei served to Makoto, which I find poetic. If there is an official or better title tho, I'd love to hear it.

Hopefully, as time passes, there will be more representatives from the desert with high status. Poor Candace is carrying the desert's status on her back-

Should I have included the Corps of Thirty even if there are no playable characters...?

Fontaine: Fancy Schmancy Titles

I honestly reallyyyy wished that Neuv and Wrio were on equal standing, but in the eyes of Fontaine, that probably just isn't true.

Even so, absolute do not underestimate how important Wrio's role is in Fontaine's justice system, because without the Fortress functioning as it is, so much of Fontaine's justice would fall apart.

Despite Furina's death penalty and retirement, I still believe she deserves the title of archon with the highest status. No matter what happens, she is still Fontaine's idol and savior. (Besides, if she wanted/needed anything, Neuv would give it to her.)

How high Navia, Clorinde, and Chevy's statuses are in relation to each other in reality is...not explicit?

Really, Clorinde is just another employee under Fontaine's justice system, and isn't a head in anyway, while Chevy and Navia are actual leaders. But, Clorinde is the best Champion Duelist, so does that make them cancel out...?

Anyways that's all from me! It's pretty interesting to me just how much of the cast are part of their respective nation's government, which only makes sense given the kind of ruckus the traveler causes. Have a good day!

[sgtpeppers]

"A dark shadow on an otherwise beautiful record": PR, McCartney and The Beatles' Split.

“No, I wasn’t angry – shit, he’s a good P.R. man, that’s all. He’s about the best in the world, probably. He really does a job. I wasn’t angry. We were all hurt that he didn’t tell us that was what he was going to do.”

(John Lennon in Rolling Stone, 21 Jan 1971)

To cut to the chase, I want to explain why this statement from John, claiming Paul is a good PR man is wrong. Largely thanks to quotes like this from John, Paul gets painted as the Beatle with a good media strategy, the insinuation being of course, that he is disingenuous and inauthentic. I don’t believe this is true in general, but what I really want to focus on, and what John is referencing in that quote, is the publicity around Paul’s 1970 album McCartney, which got all tied up with the news of The Beatles split, and how actually, mistake after mistake was made, rather than it being what John claims - a purposeful move to get more publicity for his album. 

This isn’t a moral judgment on either John or Paul, or me saying Paul is stupid for not doing more. In fact, I think it playing out this way is far more interesting and we can gain a lot of insight about his mindset and relationships from his press activities around this time. 

I’m going to do this chronologically as much as possible, but before we dive in it will be helpful for us to keep a few basic PR strategies and tools in mind to help us understand what’s (or perhaps more importantly, what’s not) happening. So what are some things that make for good public relations? 

A clear, cohesive message. What's the story of the album? There should be key phrases that are repeated throughout press activities, and also allow an easy fall back when faced with questions that haven’t been prepared for. Broadly speaking, you want to highlight the good and ignore the bad, without lying or appearing to hide anything.

A good relationship with the press. Having even a couple of journalists on side can be a huge benefit, it makes for friendlier interviews and more forgiving assessments (which isn’t to say journalists are being fake or can be incentivised, but it’s just human nature that if you make friends, you’re going to have an easier time.) Furthermore, you want a reputation in the industry as someone that’s nice to interview, because journalists can and will talk, and if they’re going to come in with a preconception about you, you want it to be positive. 

Reactive messaging. If something comes out that you don’t want to be out, be prepared. Ideally potential problems have already been planned for. Know which journalists to reach out to, know what the story is, then be prepared to go quiet and leave things alone.

Pre-prepared Q&As or FAQs should answer more questions than they generate. They also shouldn’t require in depth answers - save that for conversations where there’s time for explanations. 

So, let’s start back in 1969. The Paul is dead rumours are in full force and Paul, Linda, Heather and Mary are living up in Scotland, trying to escape the goings-on back in London. 

On 24 October, Paul gives an interview to the BBC dispelling the rumours about his death, which goes out on 26-27 October in two parts. A few days later, Dorothy Bacon and Terrence Spencer from Life Magazine make the trip up to his farm to try and get another interview with him, for a piece they’re also doing about the rumours. 

Paul throws a bucket of dirty water at them, they get pictures, and then realising how this will look if published, Paul gives them an interview and promises to have Linda send them some family shots for the articles. In exchange they get rid of the photos they took earlier in the day.

So the first point here, that hopefully I don't need to spell out, is that you don’t wanna go throwing buckets of water at journalists. Thankfully, Paul did realise this and course corrected, but I can only imagine what the fall out would have been had he hadn’t gone after them. But what’s important for this story is that Paul is fed up with journalists and having to share his private life, he's emotional, and his instinct is to lash out.

The other thing that’s interesting here is a line that goes completely unnoticed. At this point, The Beatles split is not public knowledge. 

The Beatle thing is over. It has been exploded, partly by what we have done, and partly by other people. We are individuals, all different. John married Yoko, I married Linda. We didn’t marry the same girl.

(Paul McCartney in Life Magazine, November, 1969)

This is huge, and it doesn’t get picked up by anyone else. It’s not made a big deal of in the Life article, it’s perhaps the clearest statement we get about the state of The Beatles, and yet it flies under the radar. I’d love to know exactly what the deal is here, but there’s not much we can do about that, but what we should start keeping in mind in this: there is no plan in place around The Beatles split. There is just an agreement to not make it public yet. 

The McCartneys go back to London and Paul starts recording music with his new equipment at home. Later he books studio time when he decides he can make an album out of the songs he’s been working on. 

Some key dates: 

Paul finishes the album on 25 February.

The album is set to release on 17 April.

Ringo’s album get rushed to release two weeks early on 27 March and Let It Be is also supposed to be released in April.

On 31 March John and George send a letter, delivered by Ringo, asking Paul to delay the release of McCartney. Paul refuses and Let It Be gets moved instead. 

Which brings us to April. Prior this, Paul realised that if he’s going to be putting an album out he’s going to have to do some publicity, but the problem is… well, there’s a few; he’s never had to do publicity for a solo album and simply doesn’t have the knowledge, his relationship with Apple has completely deteriorated which includes the people who have been handling this stuff for him in the past, and lastly, he doesn’t want to be dealing with press. Refer back to him and the bucket. 

Thankfully, Peter Brown and Derek Taylor from Apple’s press office, tell him he does need to do something and to an extent, he listens. They select a handful of papers he’ll do interviews with, and Peter Brown puts together a Q&A for Paul to answer, which will go out to journalists in the press kit with their early copy of the album (x).

What I would love to do here is a question by question breakdown of that press kit Q&A but I’m conscious of how long this is already so I won’t… but before we get into that, here are a few more key events: 

7 April: The Eastmans issue a press release with news about Paul’s solo album and his acquisition of the film rights for Rupert The Bear. This is covered mostly by American press on 8 April who speculate that this could mean the end of The Beatles. (An important note here is the lack of communication between the Eastmans and Apple, not knowing what materials each other are providing is not helpful).

9 April: McCartney press kits are sent to journalists. 

9 April: Before Don Short at the Daily Mirror clocks off for the night, he is called by an Apple employee who tells him Paul has definitely quit. 

10 April: The Daily Mirror breaks the news with the headline ‘Paul Is Quitting The Beatles’. 

10 April: After doing interviews all day, Derek Taylor issues a statement regarding The Beatles. It doesn’t say much, which he acknowledges, because there’s not much he can say at this point. Another important note here, is that not even the head of publicity of Apple knew what was going on with The Beatles. There is no communication, and with no communication there can be no plan.

(Paul McCartney Project page that covers all this)

So what happened that made The Beatles split go from speculation to a certainty? It’s all to do with that Q&A. Of course, with the Eastman’s press release people were going to start connecting the dots, but that call Short got from his source isn’t presented as a rumour. 

Now, there’s a lot to say about this Q&A because Paul's answer are so unhelpful and you can feel his attitude. I think the fact this was allowed to go out is a fundamental piece of evidence of Paul’s relationship with Apple at the time. No one wanted to tell him no, and he certainly wasn’t going to give them more than the bare minimum. 

And lets be really clear here. This is a Q&A for his new album. Obviously the state of the Beatles was going to be brought up which is why Peter Brown included the questions, but the number of the questions on that topic and then Paul’s answers, make it really confusing and it’s no wonder this is what press picked up on, rather than just talking about Paul’s album. There are 41 questions in total, and 13 of them are asking him about his relationship to the other Beatles, Apple and Klein. That’s just over a third of the Q&A talking about things that he doesn’t want to be talking about. The fact he didn’t just tell Apple that he wasn’t going to answer some of the questions shows how little forethought went into this on his part. There was a much more concise way to do this, and I do not believe for a second Paul wanted further questions about the state of the Beatles when he’s trying to promote his first solo album. 

And remember what I said at the top, about how if you’re gonna be promoting something in the press you want clear messaging around it? That’s already going be difficult now this Q&A has tied so much of the Beatles split into their messaging, despite Paul actually having a pretty clear idea of what the album’s story is aside from that, but the answers Paul gives to those questions just add further confusion. 

Link to full Q&A.

Q: Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP? A: Sort of, but not really. Q: Will they be so credited: McCartney? A: It’s a bit daft for them to be Lennon-McCartney-credited, so ‘McCartney’ it is. Q: Will the other Beatles receive the first copies? A: Wait and see. Q: Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album? A: Not if I can help it. Q: Did you miss the other Beatles and George Martin? Was there a moment eg, when you thought ‘wish Ringo was here for this break?” A: No. Q: Are you planning a new album or single with the Beatles? A: No. Q: Is this album a rest away from the Beatles or the start of a solo career? A: Time will tell. Being a solo album means it’s the start of a solo career… and not being done with the Beatles means it’s a rest. So it’s both. Q: Is your break from the Beatles temporary or permanent, due to personal difference or musical ones? A: Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t know. Q: Do you see a time when Lennon-McCartney becomes an active songwriting partnership again? A: No. Q: What is your relationship with Klein: A: It isn’t – I am not in contact with him, and he does not represent me in any way. Q: What is your relationship with apple? A: It is the office of a company which I part-own with the other three Beatles. I don’t go there because I don’t like the offices or business, especially when I’m on holiday.

So what can we get from this? It’s the start of a solo career for Paul, he doesn’t know if The Beatles break is permanent or temporary, he’s not in contact with Klein and Klein doesn’t represent him, he owns part of Apple but he doesn’t like going there, and he seems very certain that the Lennon-McCartney partnership is over, despite not being sure if The Beatles will play together again or not. 

It’s a mess. It raises further questions. The only reason I can think of for it being so long is Peter Brown trying to cover absolutely everything he could think a journalist would ask, but it’s given Paul far too much scope for muddled answers, and in some cases, factually incorrect ones. He is tied up with Klein whether he likes it or not, because Klein’s tied up with Apple and Paul still has a contract with them. 

It’s no wonder that this becomes the focus of the media narrative, and it makes Paul panic. 

So on 16 April, the day before McCartney was released, Paul sits down with journalist Ray Connolly. And we move from story making, into reactive messaging. There is some thought behind this - Connolly is friendly with The Beatles and had actually already been aware of the split thanks to an off the record chat with John, so he was a good choice. The interview was published in the Evening Standard, a few days after the album had come out. 

And here’s why you want a friendly journalist to talk to, because as the world rushed to say that Paul had broken up the band, Connolly led his article with this: 

Paul McCartney didn’t kill the Beatles. If the group is dead, McCartney might be seen as the last survivor. If he has quit, and he still hasn’t confirmed it, he was the last to go.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

However, the interview is also extremely telling about where Paul’s at emotionally in this moment. 

A few days ago Paul McCartney decided to break his year-long silence and be interviewed. He wanted to clear up the confusion about his relations with the other Beatles and Allen Klein, and to kill the rumours that he was now ‘a hermit living in a cave somewhere with a ten-foot beard’. He wanted to show that he really was a happily married man with ‘a nice family and a good life’. But most of all he wanted to talk, to work things out in conversation, as much, I suspect, for his own benefit as anything.

This is not what you want to be doing with a journalist, you want to have this worked out before the conversation. 

We met for lunch in a Soho businessman’s restaurant. With hardly moments for the hellos, he’d launched into his theme, talking rapidly and intently, and only occasionally allowing Linda to come in as support and verification. He wanted to put it all straight, to show that no one was to blame for what had happened, and when after two and a half hours’ non-stop talking he had cleared up his mind and mine too, he laughed, said he felt better now, got into his car and went home.

This demonstrates the lack of media training he had. It’s a stark difference to the confidence he had doing press with the other Beatles, on his own and with a particular idea to get across he appears nervous and controlling. Long form interviews like this are a marathon, not a sprint, and had he had an advisor or representative that was willing to push back against him, he would have known how to handle this better.

Moreover, an interview of this sort should have been done and published prior to the album coming out, or at least on the day of. Yes, there were always going to be questions about The Beatles tied up with this release, but one long interview like this, that had been properly prepared for, could have gone a long way to keeping the story straight. He also, despite his steamroller-ing of the conversation to begin with, comes across much more balanced about the situation than he does in those Q&A answers, so leading with something like this would have put him on much better footing.

So let's just pause here. What have we got so far? We've got Paul wanting to do as little press as possible, and with a breakdown of communication with his press team resulting in minimal planning and advice. This goes completely against the picture John is trying to paint.

And I’m not done yet. Because now we need to talk about the response to the album which wasn’t what I imagine Paul had wanted. There are two reviews I’m going to focus on here, firstly from Disc & Music Echo, written by Penny Valentine. 

I don’t know what he was thinking when he planned this album. Perhaps he is laughing at us all. That’s fine, but it’s a pretty cruel way of doing it… almost a betrayal of all the things we’ve come to expect.

(Disc & Music Echo review, 18 April 1970)

It’s really harsh, but also this is within her right as a journalist. And what should someone do if they’re getting bad reviews? Ignore them. Thank the fans. Thank the people who say nice things. Don’t highlight negative attention, and certainly don’t lash out. 

And look, there’s a lot to be said about Paul, Linda, John and Yoko’s press communications over the 70s, the Melody Maker letters spring to mind, and I’m very aware that I’m looking at this from 2025 when PR is much bigger and better oiled machine, almost to the point of it being quite boring and predictable. I do, however, also think that ‘don’t lash out at journalists who don’t like your work’ is common sense. 

So Paul and Linda writing to Disc & Music Echo is a bit much to my eyes: 

Dear Penny hold your hand out you silly girl I am not being cruel or laughing at you. I am merely enjoying myself. You are wrong about the McCartney album. It is an attempt at something slightly different, it is simple, it is good and even at this moment it is growing on you, love. – Paul and Linda McCartney.

(Paul and Linda's telegram to Disc & Music Echo, 25 April 1970)

It’s condescending, and if you want to plant the seeds of what your album is meant to be, there are much better places and ways to do it. Again this is reactive, showing little to no planning earlier in the year. 

But here’s the thing that actually, completely baffles me. On the same day, in the same paper, another article gets published, this time by Derek Taylor, with the by line reading ‘Derek Taylor, Beatles Press Officer’. This just shouldn't happen. I can’t think of another case where someone’s PR is coming to their rescue in print. That’s not their job, and yes, Taylor used to be a journalist but he’s not anymore. I think this is way more to do with the way the people that have been with the Beatles since the early days are so emotionally wrapped up in this, they weren’t the people that should have been handling this.

(x)

It also shows though, that however much Paul was distancing himself from Apple, there were people still there who loved him. It’s an emotional, beautifully written piece calling for people to leave Paul alone, but also not a good PR move, especially when he’s highlighting a specific journalist. Whether Paul asked Derek to do this, or Derek did it of his own accord, I don’t know, but it looks defensive and if I was a journalist, I’d be rolling my eyes. 

Which brings us to the final part of this, the Rolling Stone review, published on 14 May 1970, nearly a month after the album came out, and largely not about the album at all, but a lot of  focus on Paul’s handling of the situation. 

The review of the actual songs is pretty complimentary, but this is also a personal attack on Paul. 

(Full review)

Unfortunately, there is more to this album than just music. Accompanying the release of McCartney was a mass of external information — all of it coming directly from Paul himself — which casts real doubt on the beautiful picture which the songs create. 

The sheets contain even more assertions about how happy and peaceful Paul and Linda are these days, and some interview statement from Paul concerning his relationship to the Beatles — statements which drip a kind of unsavory vindictiveness.

My problem is that all of the publicity surrounding the record makes it difficult for me to believe that McCartney is what it appears to be. In the special package of information which Paul wanted to include with the album we find startlingly harsh statements.

The lasting effect of this publicity campaign is to cast a dark shadow on an otherwise beautiful record. Listening to it now I cannot help but ask if Paul is really as together as the music indicates, how could he have sunk to such bizarre tactics?

I don't think this needs much commentary. You know something’s gone wrong with your PR when that becomes the focus, rather than the thing you’re actually trying to promote. 

If we return to the four things I listed above, I think we can pretty resolutely lay out what I wanted to do. 

Was there a clear, cohesive message? Around the album itself, sort of, Paul knew what it was. But it got tied up with the news of The Beatles split, the messaging around which was confusing with no one sticking to the same story. He also didn't do enough before the album came out, to get that messaging about his album stuck in people's heads. So overall, no. 

Did he build good relationships with press? No. He threw a bucket at one. He provided confusing press kit material, even to journalists he was friendly with he came across in a manner that was worth noting in an article, he sent a bitchy telegram to a journalist who wrote a bad review, and this all culminated in Rolling Stone spending more time talking about his publicity than his album.  

Did Paul have reactive messaging prepared? Evidently not, and then given the chance to provide some, he came across as panicked to the journalist he was speaking to. 

Did his Q&A provide clear, simple answers to common questions he was likely to get asked? No, it was overly long, asking the same questions in multiple ways and no editing was done to his short, snappy, confusing, and incorrect answers. 

I don’t want to give the idea that Paul, overall, is just shit at PR. (I mean, there's a difference between being a good spokesperson and good at PR but I won't get into that). He’s a highly successful musician who by all accounts, is now extremely good at interviews and making journalists feel at ease. He’s Paul fucking McCartney. But John saying this, in direct reference to this period of press activities is just not true. The album did well for Paul in the charts and sales, yes, but I’d argue that’s despite all this, rather than because of it. 

And it’s also important to reiterate, that Paul simply wasn’t interested in doing a lot of publicity. He wasn’t even sure this was going to be an album when he started writing the songs. He didn’t want people coming to his farm, invading his new family life (and rightly so), he didn’t want to be on TV or the radio every day. That’s why his Q&A is so terse and why he hadn’t put any thought in how he was going to talk about The Beatles. And whilst how he felt is understandable, what he needed were a team around him willing to push back, steer him, and were separate from Apple. That’s the only way, I think, this could have gone differently.

Even then, he probably wouldn’t have listened to them anyway: 

I don’t think I need a manager in the old sense that Brian Epstein was our manager. All I want are paid advisers, who will do what I want them to do. And that’s what I’ve got.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

And that’s really the crux of it all, because you can’t do good with PR with someone who doesn’t want to take advice and thinks they know best. And I love him for it. 

[turtleblogatlast]

Something I’ve been thinking about lately is that small moment in “Air Turtle” where immediately after the Daves lose yet another game, Leo says how sorry he is and how he’s doing his best as the mascot. This moment is so short but it’s honestly jam-packed with a whole heap of characterization.

His need to apologize for things clearly not his fault - especially when it feels like he messes up the job he was given despite doing the best he can (the phrase “it’s not about you” takes a new meaning when this is one of the lessons to be learned from that - that he is not always solely responsible for things going wrong), his need to save face and make a connection with an older adult man in his life (something he consistently does throughout the series - he’s got a few daddy issues, always collecting potential father figures, it’s no wonder he jumps at the bit to keep rapport), and the way he sounds and looks and the words he chooses really pushes how he is just a kid (“Mr. the Dunk, I’m so sorry”).

Like I know it’s a one off moment that doesn’t truly mean much, but when put against the rest of the series it works really well with the rest of Leo’s established character and helps in solidifying later concepts as well.

[reader-from-another-dimension]

Despite everything, it's still you.

_________________________________

Thinking about them, about how Shockwave lost himself loving Orion, about how absolutely doomed they were from the very beginning. They wouldn't have lasted, neither of them could've kept each other. Not in this line of work.

But still, if one word can be used to describe the two of them, it would be selfish.

Shockwave is selfish in which he refused to let Orion rest, dragging him through hell and back, into the pit of insanity with him. Orion is selfish in which despite everything his partner had done, he still wants Shockwave next to him, close to him. They cling onto one another, hold themselves so close that when they get separated, their claws ripped each other apart.

It changed them, scarred them beyond what they used to be.

Orion, now Optimus, in a body that is not his, with a mind with millions of years worth of memories - Shockwave, with a broken and mind and a shattered heart.

Their past is long dead. But their future, is still very much alive.

And by Primus, Optimus is GOING to drag his dumbaft of a partner kicking and screaming back next to him no matter what. And, hopefully, into a better life.

This new Shockwave caused this big of a mess, might as well help him clean it up. Damn it, Shock', Optimus is suppose to be the troublesome one.

________________________________

This is so self-indulgent sob 😭😭 you can't give me ShockOp and not expect me to go bonkers over them. They are so tragic I HAD to give them a hopeful ending, Primus knows they've suffered enough. Tell me Optimus, the guy who has attachment issues SO BAD that it dragged a war on for millions of years, wouldn't absolutely find any and all excuses to not hand Shockwave over once the shenanigans are over even after what Shock' did to him.

"Erm actually once I told him he can try to revive me if I die during a drinking game as a joke so TECHNICALLY it's fine.☝️☝️ " "He killed hundreds of our men." "I plead insanity."

Also, we kind of need Shockwave if we gonna do the whole 'Jazz gets robot'ed' thingy, so this is an easy fix for any potential plot hole. (and totally not me trying to keep pookie alive) Let Optimus bring Shockwave to Cybertron ‼️‼️

Mecha au by @keferon (sorry for tagging you sm i just love making content for this au 😭😭😭)

[medi-bee]

isat pokemon au, my liege?

my rambling in tags