#was not sure which tag to use for him lmao

[imorphemi]

affection of some sort

[golmorehotgirl]

okay bitch

[holyshit]

.

[the-kipsabian]

[unnonexistence]

ok there was a poll going around a while ago about whether you think your 5-year-old self would recognize you, and I'm curious:

[moeblob]

My children are so stupid and I love them. The fact Right uses nicknames that are indeed Just Like That makes it even harder to differentiate which one needs to be eliminated. (Brent is pretty sure it's his head on the chopping block.)

[odysseys-blood]

im never getting over how belphie just...yoinked beleth's halo. like the artifact says "given" but he very much did not give it 😭

i lowkey think it was to take some of the heat off of beleth for being a fallen angel and to keep others from being too loud about it but still he did it in the most goofy manner possible. (and smthn smthn a crown symbolizing protection for his people and its from the first person he wanted to keep safe personally)

[idontwanttospoiltheparty]

I found a transcript of the Jan 98 Q interview but it won’t let me post a link

https:// groups.google .com/g/rec.music.beatles/c/7clhNbsz3jE/m/stFmXJnzJSMJ

Maybe see if you can view it by removing the space between google and .com. If not I can screenshot and send you pictures

Oh wow, amazing!! thank you so much! this is an old usenet post from December 1997 and the user named Alison Fiddler kindly typed it up 27 years ago :)

I'll post the full transcript (and a bit reformated for legibility) below the cut for everyone.

Paul McCartney Interview for Q Magazine, January 1998 edition

Q. When you first wrote a song with John Lennon, did you realise you would play one of the biggest parts in rock 'n' roll?

(Michael McConnell, Crawley, West Sussex)

Q. If John Lennon could come back for a day, how would you spend it with him?

A. Obviously not. But even with all the so-called "historical" events that followed, you're just too inside it all, too busy doing it to realise anything's "historical". You just get on with it. I'm not a great ponderer. Some people would say that's a mistake but it's just the way I am. It's quite cool not to always get the overall picture because it leaves something to be found out. The musicologists get paid to discover the differences between me and John. I'm only just beginning to see it now, based probably on their analysis. So John is often one note, I'm often more melodic. (McCartney is thinking especially of Ian McDonald's book Revolution in the Head, where he describes the ace partnership in contrasts: Lennon's method is "harmonic, dissonant", McCartney's that of the "natural melodist".) It might sound amazing but we never spotted that when we were writing. We just did our thing. But it is kind of apparent when you bother to analyse it.

(Mark Wilson, Deeside, Flintshire)

A. In bed.

Q. Were you ever envious that Brian Epstein didn't fancy you?

(Nick Gibson, London)

Q. What were the last records you bought?

A. No, I didn't mind. We just used to go to these clubs at night and wonder why there were so many men. It was OK. Brian was very cool about his side to things. I think the nearest any of us got to it was the John-going-to-Spain thing (it inspired the movie, The Hours And The Times) and I'm not sure what the strength of all that was. I think it was power play on John's part. But Brian kept his private life aside. He kept it out of our faces (pause, possibly for effect). He kept it out of mine, anyway.

(Chris Timms, Harrogate)

A. The Prodigy's The Fat Of The Land, Radiohead's OK Computer and Chopin's Nocturnes.

Q. How do you feel about all the animosity between you and Oasis right now?

(Christina Vellano, Syracuse, New York, USA)

A. There is none as far as I'm concerned. What happened was I'd said, Good group, good singer, good songwriters. But people asked me about it so much that one time I decided to take it further and say that they don't mean anything to me. I am not related to Oasis. I wish them good luck and everything. But my kids mean something to me, John Lennon means something to me, but Oasis ....

Q. Who would you pick to play with in your dream six-piece band?

(Alan Thatcher, Essex)

A. Dream? So we're into fantasy, aren't we? Ringo, John, George, that's three. Me. Jimi Hendrix. That makes lots of guitarists, so Little Richard on keyboards.

Q. With Wings, did you feel pressurised to live up to The Beatles?

(Andrew Williams, Neath)

A. Yes, it was a case of "follow that!". Impossible to do. Looking back on it, it's a lot better than I thought, though some of it is just not PLAYED as well as The Beatles. My son (James, co-worker on McCartney's last pop album, Flaming Pie) plays a lot of Wings, so I'm re-listening, and there's good shit that I'd forgotten about. A lot of the lyrics were off the wall, drug stimulated. Things like "Soily - the cat in the satin trousers says its oily". What was I on? I think the answer is stimulants.

Q. Do you still support the legislation of cannabis?

(Grahame Woods, Northwood, Middlesex)

A. I would make a distinction between legalising and decriminalising. I'm in favour of the latter. The problem is that jails are stuffed full of kids doing what a lot of people do. Why stuff the jails with young kids? Plus it's one of the best places to score. I remember when I got busted in Japan, nobody made the slightest effort to rehabilitate me (laughs). Just stuck me in a box for nine days. Obviously you come out and you are fairly resentful.

Q. Do you roll a wicked joint?

(Steve Kline, Bury)

A. I have nothing to say in answer to that question, m'lud. I wasn't even at the venue.

Q. The critics have been harsh on your solo work. Did this ever

discourageyou?

(Robert Hemauer, Madison, Wisconsin, USA)

A. Yeah, sure, but you don't let it kill you. It's a difficult one, because it's never cool for someone to tell you you're shit. Many people through history were damned by the critics of their own time - Cezanne, Van Gogh, Stravinsky, all great painters! Ha ha!

Q. We'd like to see your paintings but can't get to the exhibition in

Germany (McCartney unveils his work for the first time in Siegen, Germany, next year). Any thoughts about putting your paintings on "tour", or publishing a book of them?

(Kathy Goodman, San Diego, CA, USA)

Q. You've done so many things - classical, films, music, art, drugs - is there anything left you might have a go at?

A. A difficult one. If you're a so-called celebrity - like Bowie, Anthony Quinn, Tony Curtis - and you exhibit any art, inevitably, people are not going to think of you as a real painter. Gallery owners come up to me and offer to give me exhibitions. I say, You haven't seen my pictures, and they say, It doesn't matter. Well, it does to me. Otherwise, it's just trading on the name. However, this guy from Germany came over, looked at all my paintings, seems to like them. He's telling me what they're all about.

(Tim Bowler, Swansea)

A. The thing is how reluctant I've often been to have a go. I think we were brought up pretty repressed. Brought up to be seen and not heard, to stay in your place, particularly a working class thing. And I think - I hope - with The Beatles, we got rid of a lot of that. With the painting, for instance, it was Willem de Kooning who liberated me. I used to go to his studio, took in one of my paintings, said, Hey Bill, I hope you don't mind but can you tell me what it is? (Affects American drawl) "Oh, looks "like a couch." Well it looked like a purple mountain to me. And he says, "Well, whatever." Here's one of the greats, his works go for one million, and it was great to see how little bullshit he was bringing to it all. It's really important to explode these myths that surround the arts, music, painting. It's Wizard of Oz time - so many myths, and it's often just a little man behind the screen. The paraphernalia that surrounds them gets in the way. Often you meet leaders in their field and they have none of that. I remember asking a great painter - Peter Blake, maybe - for some advice once, and he said "Just paint a lot". Similar to my approach to music.

Q. How do you know when a song's finished?

(Joyce Slavik, Palatine, Illinois)

A. It's full up. You've answered all of your questions. Normally, I start following a thread: "Eleanor Rigby picks up the rice ... " The thread might come out of nowhere, and I follow it and complete it, like crossword puzzle. When the crossword is full up, the song is finished.

Q. What's more embarrassing: writing Hi Hi Hi or Say Say Say?

(Tien Vu, Costa Mesa, California)

A. (Weighs up pros and cons). Say Say Say.

Q. Why did you give such extensive interviews for an authorised biography (Paul McCartney: Many Years From Now) instead of writing an autobiography?

(Deena Hochberg, Southampton, Pennsylvania)

Q. I'd like to know if Sir Paul sings in the shower, and if so, what does he sing?

A. I don't think I'm a writer. I've never been moved to do it. You have to have a pretty big fire in the belly to do something as big as that. I fancy music more. I'm happier writing in songs rather than in prose, or poetry. Though I wrote something that was never published about the time I got busted in Japan - for my kids. Because I knew one day they'd say, "Hey dad, what was it like, nine days in a Tokyo jail?". So I had a mate of mind, who did all our printing, knock up a few copies, one for each of the kids.

(Jennifer Nash, Bursville, Minnesota)

Q. As a kid you used to play pranks at school by throwing balloons filled with something "worse than water". If you had one of those balloons right now who would you like to hit with it?

A. It's normally the bath. I prefer a good bath. And the answer's Firestarter - "I'm a firestarter, de-de-de-de-dera."

(Brett Yuskiewicz, Leipzig, Germany)

A. Jonathan King. He's a prat from way back.

Q. Which football team did/does each Beatle support?

(WC Chan, Maryland, USA)

A. None of us were big footie types. We weren't very sporty, unlike other groups who were always having knock-arounds. My dad was an Everton fan, which I was most of my life. But then Liverpool started playing well, and Everton didn't, so I took the unprecedented move of supporting them both. It's not allowed, I know, but there you go.

Q. For years, you've claimed it's you in the Walrus costume in the Magical Mystery Tour film. But watching the footage shows that for it to be you, you and John would have had to exchange all your clothes. Are you winding us up, or have you not watched the film in 30 years?

(Dorothy Northcutt, Tucker, Georgia)

Q. What is the quality of each of the other Beatles that you like(d) the best about?

A. The big one. Very good question. I tell you what it was. In the stills we had taken, I was the one with the Walrus head on – in the film it's different. So John then immortalised it in Glass Onion, "I've got news for you all, the walrus was Paul". Obviously at the time you don't care, it's just a Walrus head. You don't realise years later people like our friend from Georgia will analyse it.

(S. Breggles, Richmond)

A. All of them – musical talent. All of them – honesty. Ringo – funny, and kind-hearted. George – straightforward and open. John – witty with a soft centre, or maybe hard with a soft centre.

Q. Do the copulating beetles on the sleeve of Ram (1970) stand for F**k The Beatles?

(Luc Van de Wiele, Wemmel, Belgium)

A. It happened to be a picture Linda had taken. We couldn't resist it just because of the way it looked. She'd caught these two beetles f**king, and then the significance hit us. We saw that pun, yeah, thought why not?

Q. Was there ever a third Lennon song for Anthology 3?

(Jake Lennington, Rush City, MN, USA)

A. There was, but George didn't like it. The Beatles being a democracy, we didn't do it.

Q. I have a Beatles t-shirt which I bought from The Grapes (celebrated Liverpool pub). I was told the band are pictured in their favourite seats - adjacent to the Ladies where you would often catch a glimpse of the girls changing for an evening at The Cavern. True?

(Alan Tomkins, Goring, West Sussex)

A. I hope so. It SOUNDS true. Had there been an opportunity to spot the girls changing, I'm sure we would have sat there.

Q. If you hadn't been a musician, what do you think you would have been?

(Tony Carter, Manchester)

A. The only thing I could have probably qualified for was teaching. So I might have been an English teacher.

Q. Does it do your head in - stuff like the handwritten lyrics to Getting Better selling for $249,000 at Sothebys?

(Peggy Robinson, Trinant, Gwent)

A. It's the price of fame - literally. You scribble them on the back of an envelope, and it gets to be famous. People want it, so it becomes a desirable object. Like Mozart's bog paper, which is another highly desirable object, apparently. More valuable obviously if it's been used.

Q. What is the inscription on the ID bracelet you wear?

(Rachel Hyland, West Harford, Connecticut)

A. It says Paul - for when I forget who I am.

Q. How does it feel to have a star named after you (the christening courtesy of American astronomy fans)?

(John Sales, Barry, Glamorgan)

A. Really cool. The good thing is that as you get on, your fans get on too. And some of them are pretty swotty. Like the people who started Apple, they were just Beatles fans, hence the name. You don't sit around looking at the sky, trying to find it, but it's like getting a very nice birthday present. I'm not religious, I don't believe in any one system - I sort fo think the universe is basically benevolent and we f**k it up - but I am spiritual. I saw Stephen Hawking on TV the other night, and he was saying that we are made of the same stuff as the stars. Which is great. We are all stardust, luv.

Q. What do you want written on your gravestone?

(Tom Mangold, Exeter)

A. Here lies Gracie Fields. Anything to keep people away.

[crows-of-buckets]

Threw his ass in the water today it's okay he deserved it

[dreamsy990]

i drew silly gijinkas of my dogs

the dogs in question

[mordremrose]

I’m just gonna write a little thing! A little thought for Bloom, nothing too intense, just so I don’t forget it!

1000 words later? Whoops

Writing below the cut, major spoilers for the end of Heart of Thorns and implied End of Dragons spoilers but nothing explicit from EoD :]

Bloom

“Kill me, Commander.” Trahearne could hear his own voice tremble, as horror overtook his dear friend’s face. Around them all, their friends— Rytlock, Caithe, Canach, Marjory, Braham— were exhausted. Worn thin by the fight against the jungle dragon, both physical and within the Dream.

“What? No! Mordremoth is dead. We destroyed its mind from the inside.” The commander protested, their fingers curled around the hilt of Caladbolg.

“But I still hear its voice.” Trahearne looked down at his hands, twisted and blighted as they were. His body was not his— he was corrupted. It was only cruel fate that he had kept his mind this long. Or perhaps something more sinister.

“Mordremoth is alive. One last hateful vestige… a terrible seed, planted deep in my mind.”

Trahearne’s hands curled into fist, as he took a deep steadying breath.

“You must kill me, Commander, before that seed grows. Before… before Mordremoth reclaims what it has lost.”

He reached out now, hands on his friend’s shoulders. The tears streaming down their face broke his heart. He did not want this. He didn’t want to hurt them, to see them suffer so.

Trahearne wished there was another way.

“What is left of me can’t survive on its own, my friend.” He croaked, and felt the Commander tremble beneath his hands. Were they always so small?

“Strike now or—“

Against his will, a rage rose up. A sick bile that boiled in his stomach and burned through his chest as his mind lurched.

Through his mouth, Mordremoth spoke.

“I am the future! I am this world! You cannot destroy me!” The dragon roared, hands tightening around the commander.

“Run while you can!” It took everything he had left to force his fingers to uncurl, to release the commander even as the dragon wanted to tear them to shreds to be remade anew.

Caladbolg flashed in the corner of his eye.

“No!” The commander yelled. Strike true my friend! Trahearne wanted to yell. But he couldn’t, and his mind went dark.

There was no great explosion. There was no dying scream.

If you asked those present what happened, none of them gave any concrete answer.

Canach hesitated to answer, but would confirm that Mordremoth was no longer hounding his mind, or any of the sylvari.

All Rytlock would say was that the confrontation wasn’t pretty.

Caithe mourned Trahearne, in her quiet and melancholic manner, and asked not to push the matter further.

Braham would scowl, shake his head, and shove his way past, unwilling or perhaps unable to describe that final blow.

Marjory Delaqua, normally so elegant and clever with her words, who could see the twists of a plot before anyone else— when she was asked, she could only shake her head and reply ‘I don’t know’.

The Commander didn’t answer at all, because no one was able to find them to ask.

Eventually, researchers at the newly established lab of Rata Novus confirmed what the entire world held its breath to hear.

Mordremoth was dead. He had to be, to explain the slow steady trickle of magic escaping the jungle, supposedly as the dragon… decayed wasn’t the right word, but it conveyed the idea well enough. It was a slow death, they said, not quite the explosive reaction from Zhaitan, who had gorged itself on magic before its death, but a gradual decay. It changed things, about magic, about how the people of Tyria and the soon to be established Dragon’s Watch understood the flow of magic around and through the Elder Dragons. But it was dead.

It had to be.

He woke up. His body ached, as it always did, as he woke. A consequence of being too bigsmall. He stirred slowly, limbs stretching out and tail dragging behind. He had buried himself beneath massive vines this time, the weight of them both familiar and restricting. These conflicting sensations, the constant disagreement with himself… it was the only thing he could rely on. Even his name escaped his memory, although he could hear whispers of it on the edges of his mind.

Traherdremaneth.

It didn’t matter, really.

He moved slowly, not truly wanting to rise, but knowing he must.

He was something in between, and there was no stillness for him. No place of his own.

His one companion, if you could call it that, would be upon him soon. A dogged purserer, both a thorn in his side and a trusted ally, trailed behind him. For a time he thought they left him— and the feelings that had wrought left him stationary in a deep cave for nearly a week before they had reappeared.

He didn’t want them close, he knew that much, but they were one of the few things he had, a consistency. He couldn’t see them well, not with the distance between them, but he could always make out the broken blade at their hip. The one that made the scar across his chest ache.

He wondered what would happen if he let them get closer. Would they strike? Would they know him?

They were his enemyfriend. What would they make of him? Caution kept him at a distance from them.

The longer he was awake, the more memories he could half-remember.

The Orrian landscape stretches out before him and it reeks of his sibling, twisting beneath the dirt. The undead don’t notice him, not yet, and he can take a moment to look closer at the coral. It was neither alive nor dead. Not unlike himself and yet so different to him or anything he had ever encountered before.

He missed his siblings, their quiet talks among the then empty roots, among safe coils with their constant presence around him. They were too distant to feel or simply gone now and it unnerved him. This was wrong. Perhaps they could help him make it right.

There was one other thing, other than his sort-of companion and his unsteady roiling mind, that remained constant. And this was the true constant. A steady beacon, that he could not see or hear, but simply felt in a way that he could not describe. A magnetic sort of pull that had him orbiting closer and closer.

It drew him in, out of the depths and dark underbelly of the jungle and the cave systems, towards the strange golden stones, the elegant walls meant to keep out creatures that wished to destroy the beacon. He was not welcome there, not yet, even though he meant no harm. He just needed to be closer.

He didn’t know how he knew that. He just knew it.

[sunscall]

i find dennis' toxic love for the gang sooo interesting. the lengths he goes through to ensure that their group dynamic never changes. the amount of planning he puts in implies that this is one of his fears– how they might one day change and abandon him.

an example of this would be in "frank retires" where he had formed the franquito plan seven years before he needed to use it, which felt devious (towards frank) to charlie, dee and mac, but dennis had justified it by saying he just didn't want them to change. the ending had dennis acting like he didn't mean a word he said, but i doubt it, because just a few episodes before (the gang misses the boat) he concluded that he just wanted things to stay normal in the gang after a minor freakout about how they're all gradually getting more and more insane staying in the bar together.

dennis resisting change is a consistent theme for his character. he does not want the gang to live in virtual realities, charlie to get smart, mac and dee to leave, mac's mom to stay with them, mac to connect with his dad, dee to actually be successful, mac to be so forward in his advances, frank to retire, etc etc. because he already likes the gang so much the way it is.

that is, unless he personally seeks the change. he could get married in a day, because he wanted to. he could kick mac out. he could leave the gang and start a family. he could change his car to a more modern one. but each time he tries to change and leave, he comes back to the gang... and his range rover.

and this is why he seems to hate them too, because most of his hatred comes from his resentment from loving them too much and being unable to leave. and the love he has for them is toxic, because he wants to drag them down together with him. the s13 narrative wants us to know that he's the main reason the gang stays the same for 16 seasons.

it's what makes dennis takes a mental health day so notable to me though. the commentary on systems throughout the episode, and how dennis is sick of it. dennis' rejection of technology when it takes away real life interactions, parallels the episode "charlie rules the world" in s6 which was the major turning point for dennis developing a god complex (where british dennis tells him that 'you create your own reality'). i believe dtamhd will also be a turning point for dennis, perhaps where he starts letting things go without putting as much control (systems) because he wants to live in a reality where he doesn't need to do these things anymore.

[todayisafridaynight]

I’m fairly new to the fandom, but I do have a question if you can answer it! Why do people ship Daigo with Aoki / Masato? I tried looking to see if they’ve interacted before, but couldn’t find anything! Sorry for asking I’m just </3 dumb AND I LOVE YOUR ART OF THEM!!! Nerd looking ahhhhhh

hi ! welcome to the community i hope you're having a lovely time so far and ty for enjoyin my stuff :) no need for apologies it's a very fair question to have :]

i cant speak for everyone (all. ten people into masadai anyway) but Personally To Me i just think the idea of them together is very funny. thats quite literally it im afraid..

[unproduciblesmackdown]

fun connection on this archived kickstarter update from the 2011 production/s of "the bus" as found by @broadway-heere-i-come ft. many pics from their trip to wichita, kansas for several performances there, including this one

fantastic stuff & was noticing that it seems like partly legible lyrics back there, which sent me over to consult that q&a sincerely me vlog again like hang on lol. and sure enough

lo, behold

[waywardsalt]

my recording of the mohg fight, very glad to say that his fight is extremely fun :)