GUYS the key in this photo is from Robert Mapplethorpe’s stay at the Chelsea Hotel in New York in the early 70’s (source)
Guess who else frequented and stayed at the Chelsea Hotel in the early 1970’s, hanging out with up-and-coming artists?
John Lennon!!!
Not saying that that’s him in the photo, but it’s not impossible!!!
We really need someone to find out more about it - exact date of the photo, where it was taken, who’s depicted in it (potentially even who bought it in 2016?) Would be cool to see if it actually is Lennon or somebody else!
By Robert Mapplethorpe, dated 1972, is from when he stayed at the Chelsea Hotel in the early 1970’s
(source - “When Mapplethorpe gifted this work to Henry Geldzahler […] he confided that the key was from his first room at the Chelsea Hotel.”)
Guess who else was known to frequent and occasionally stay at Chelsea’s in the early 70’s, hanging out with up-and-coming artists???
John Lennon!!!!
Now I’m not saying that’s him and Paul in the picture, but like, it could theoretically at least be Lennon that we see facing the camera…
If anyone knows how to possibly find more info about this photo, like exact dates or potentially even the identities of those photographed… we need you! History needs you!
Posted this as a reblog to @dustbunniees before. Decided it was worthy of its own post
Why I hate that Aziraphale and Crowley are at all competent in season 3
Crowley and Aziraphale’s ENTIRE thing is that they did THE actions that made everything else in human history happen. Like:
Crowley tempted Eve into eating the apple, giving us free will but mortal life.
Aziraphale gave Adam the flaming sword, introducing us to a way to fend for ourselves but also a way to attack each other.
Hence their whole conversation on the wall where they worry whether or not they “did the wrong or the right thing”
(and also why Aziraphale later tries to make an argument for guns, because he’s trying to make himself feel less guilty, which Crowley finds very funny)
Which is one of the reasons why it is SO IMPORTANT that HUMANITY are the ones to fix the world - NOT Aziraphale and Crowley - using the tools that they gave them!!!
Free will
Defending each other (which is why each of the Them have to use the sword and not just any other random weapon)
And this point was already made in the original story in season 1, when Adam the Antichrist chose humanity above good and evil.
Which I suspect is the reason why they made Aziraphale and Crowley way more influencial characters this time ‘round. Otherwise, it would just have been the same story, really, but with a Christ-christ instead of an Antichrist.
This is also the entire reason why season 2 was a thing, which explains… a lot.
Like, by the end of season 1, EVERYTHING was resolved.
By the end of season 2, Aziraphale and Crowley suddenly have a NEW conflict that needs to be resolved
Crowley is totally ready to abandon humanity, turning his back on us and peacing out like he did in the 14th century, to be together with Aziraphale
Aziraphale has somehow regained his fear of “doing the wrong thing” and his desire to “do the right thing”
Meaning, season 2 basically erased everything they had learned in season 1.
So in season 3, they just went and made the whole point about fighting for humanity above all else AGAIN. But worse. Hh.
(The TRULY tragic part is, fan-service doesn’t have to be this misguided and ham-fisted.
I worry some people’s take-away from this whole debacle will be: see? When we demand fan-service, our favourite characters end up worse off.
But in an alternate universe, the showrunners would have realised:
“oh wow this Aziraphale and Crowley character are really popular, we’ve got the opportunity to do something creative with them!”
Instead of this train-wreck, imagine a series about Aziraphale and Crowley’s many escapades throughout history!
Maybe such a show would never be as perfect an allegory for the banality of “evil versus good” as the original was.
But they could have explored all manner of things in between. New, original and insightful things. Dived deep down into humanity and all its grey areas, with a bunch of history and biblical mythology and magic mixed in between!
But instead they simply went “WHAT ABOUT THE SECOND COMING?” And never bothered to dig deeper than previously and we got this… total erasure of Crowley and Aziraphale characters (literally and figuratively) instead.
Ah well, nothing could ever beat all the fanfics, anyway <3)
tbh my biggest problem with go3 is that aziraphale and crowley do stuff that affects the plot and actually makes a difference in the story #notmygoodomens. my ineffables do NOT save the world, they are there while the world is saved
you’ve taken the two most useless beings in existence and you made them make a decision. look at them. they’re suicidal now
So true. Their entire thing is that they did THE actions that made everything else in human history happen:
Crowley tempted Eve into eating the apple, giving us free will but mortal life.
Aziraphale gave Adam the flaming sword, introducing us to a way to fend for ourselves but also a way to attack each other.
Hence their whole conversation on the wall where they worry whether or not they “did the wrong or the right thing”
(and also why Aziraphale later tries to make an argument for guns, because he’s trying to make himself feel less guilty, which Crowley finds very funny)
Which is one of the reasons why it is SO IMPORTANT that HUMANITY are the ones to fix the world - using the tools that Crowley and Aziraphale gave them!!!
Free will
Ability to attack threats and defend each other (which is why each of the Them have to use the sword and not just any other random weapon)
And this point was already made in the original story in season 1, when Adam the Antichrist chose humanity above good and evil.
Season 3 is really just a reiteration of the same point.
Which I suspect is the reason why they made Aziraphale and Crowley way more influencial characters this time ‘round. Otherwise, it would just have been the same story, really, but with a Christ instead of an Antichrist.
This is also the entire reason for why season 2 was a thing.
Like, by the end of season 1, EVERYTHING was resolved.
By the end of season 2, Aziraphale and Crowley suddenly had a NEW conflict that needed to be resolved, except it was the same conflict, good vs. evil, fate vs. free will, yadda yadda
Crowley had to realise that humanity was worth fighting for (in season 2, he was suddenly ready to abandon everything to be together with Aziraphale)
Aziraphale had to realise the same, sort of (in season 2, he only chose to stay and fight for us because he somehow had regained his fear of “doing the wrong thing”.)
Season 2 basically erased what they had learned in season 1
So they just went and did the whole thing and made the same point again. But worse.
(The tragic part is, fan-service doesn’t have to be this misguided and flat and ham-fisted.
I wish instead of remaking season 1, they had realised “oh wow this Aziraphale and Crowley character are really popular, let’s do something creative with them, like make an animated series about them and their many escapades throughout history” or something else that would have had the potential for new, original and insightful stories.
Perhaps they couldn’t do any overarching themes as big as “good vs. evil”, but they could have done stories about all manner of things in between. Really explored humanity and all its grey areas, with a bunch of history and biblical mythology and magic mixed in between!
I mean, I think most of us can agree the best thing about season 2 was the flashbacks, anyway.)
What's a crackpot theory about mclennon that you have?
Okay, here it is: I think John and Paul may have recorded themselves being intimate in India (not really something crazy to think about, as we do know they were seen swimming together naked there). In Get Back, when Paul is talking about the India footage, he says that there's a scene where John looked like a philosophy student with his tape recorder. John immediately adds, ‘Yeah, I’ve got all the soundtracks too,’ without elaborating, and then they both share this knowing, mischievous smile. I think this may tie in with the rehersal tape Yoko found (which by now I'm pretty sure it may have happened in 1968 in the studio) of John moaning Paul's name over and over. My theory is that John probably had all kinds of reels mixed together — demos, rehearsals, experimental stuff — and maybe one of those personal recordings, of him and Paul being intimate, slipped into the batch. Yoko stumbled onto it, and it became this awkwardly revealing discovery (even though she believed it was just John because he was the only one saying something) . To me, it even ties into that bizarre moment in ’69 when John played a tape of him and Yoko having sex for people in the studio — almost like he was reenacting or one-upping what had been overheard before, and maybe throwing it in Paul’s face. I know it sounds like a stretch, of course, but I have always thought their smiles in Get Back after talking about having "some soundtracks" and a "tape recorder" must mean something, as well as John saying "yes, what were we doing?" And "in your room" to Paul a bit earlier in a suggestive tone, and of course, John blowing the mic while staring directly at Paul.
My insane analysis on like the most important McLennon moment ever caught on film
IN THIS ANALYSIS, I will compare the original 1969 footage of the Beatles discussing India with the edited footage of the same moment in the 2021 “The Beatles: Get Back” documentary.
The original footage has significant historical relevance, where Lennon makes explicit references to the Bob Wooler incident and the holiday with Epstein in Spain. What’s more is, he does this after Epstein’s death. It’s a risky thing to hint at in casual conversation, and that’s knowing that they’re being filmed.
In mentioning these two incidents, Lennon simultaneously alludes to an, ahem, moment between him and McCartney in India.
Of course, the remarks Lennon makes could be ironic, self-sardonic witticisms - he was wont to make those.
But I find it interesting that exactly these remarks have been so heavily edited and / or entirely omitted. To me, this signals that the documentarists were aware that what Lennon said, if heard in its entirety, would lead to serious speculation.
Throughout the transcript below, there are some highlights to showcase where the documentary deviates from the original recording. I will explain these highlights:
Blue is when original audio has been left in, but as voiceover, meaning original visual footage is left out
Green means original footage has been moved and edited around
Red means original footage has been left out completely
The amount of highlights give a sense of how insanely heavily edited this moment is.
The 1970 documentary “Let It Be” is also guilty of this, but to avoid confusion, I only directly compare this transcript with the 2021 documentary.
If you watch the documentary, additional footage has also been added to the original recording. I don’t include these additions since this is a transcript of the original conversation, but I do point to moments where significant additions have been made in the footnotes.
Beatles transcript, original India discussion, Jan 25th, 1969, compared with the 2021 “The Beatles: Get Back” documentary:
Paul, John, George and Ringo are rehearsing, surrounded by sound- and film-crew. Paul is having an inaudible conversation with Ringo.
JOHN: (singing, unintelligible)
PAUL: Oh, I saw that film last night.
JOHN: What?
PAUL: Of us at the Maharishi’s - I’ve got all the film of it-
JOHN: Oh, yeah.
PAUL: And we all saw them(?) together. Incredible. It’s just got a great opening. (Nods at something) Yeah, (inaudible).
JOHN: The helicopter one, up in the sky.
PAUL: Yeah, I noticed you taking it, so I thought, “oh, I’ll get that.”
JOHN: Well that was the idea, you know, ‘cause you said you were making a film.
PAUL: Yeah. But it’s incredible - the opening is great, it’s just(inaudible) (1)
Paul goes on to talk with the others a bit - it’s mainly inaudible. Meanwhile, John talks about the reels.
JOHN: And on each of my two reels, “by John Lennon - Productions” written on those two reels.
SOMEONE: (Inaudible).
JOHN: I’ve had it - he’s got a few reels, too. But these are(?) my reels, luv, “By John Lennon” all through ‘em, with like subtitles. John Lennon’s reel.
SOMEONE (Paul?): (Laughing) Shut up, John. (2)
GEORGE(?): Here’s a little bit, it’s (inaudible) together, and they make a great… (?)
PAUL: Yeah, sure.
SOMEONE: So, uh… Great-
PAUL: (Talks about the film again, directed at John) It’s incredible, you know, to just sorta(?) see us. What we’re doing. It’s unbelievable.
GEORGE: What were you doing?
JOHN: (Teasingly) Yes, what were we doing?
Paul scratches his head and combs his fingers through his hair.
PAUL: Well, uh- I don’t really know, you know, but it’s like- we totally sort of put our own personalities under, for the sake of it, and you’d(?) really see, you know-
Paul pantomimes a stereotypical obedient school-boy.
JOHN: Who was that writing all them songs?
PAUL: (taken out of it) Oh that was uh- that was probably (inaudible)-
JOHN: In your room…
PAUL: Yeah, right. (Laughs and nods at John) I remember, yeah. (Serious again) But just sort of, uh- there’s a shot- there’s a long shot of you walking (points at John)-
GEORGE: (To Paul) Do you regret having gone there?
PAUL: No, no. Oh, no, no. I mean, you know-
GEORGE: Well, I feel as though I (inaudible).
PAUL: No, I just think what we did there-
JOHN: I don’t regret anything, ever… Not even Bob Wooler. (3)
PAUL: (Facing George but looking at John) No, I just think what we did there- we did, we uh, we didn’t take-
Close-up of John - he looks directly at Paul while he begins to fellate the microphone lewdly. (4)
PAUL: We weren’t sort of really truthful. You know. I mean, we could’ve, I mean- Rishikesh(?), you know there’s things like sneaking behind his back and sorta saying, “it’s a bit like school, isn’t it?” But you can see on the film that it is very like school, and that really we shoulda sorta said-
JOHN: (stops mouthing the mic) You wanna call it-
PAUL: Like we needed(?)-
JOHN: You wanna call it, “what we did on our holidays”. (5)
PAUL: (Glances at camera) Well, you know.
JOHN: (Laughs) I bet you’d love(?) (inaudible) to get it over(?).
PAUL: (Looking away) Yup, yeah… (At John again) But it is very like- there’s a long shot of you sort of walking with him, and it’s just not you, you know-
John also pantomimes an obedient school-boy.
PAUL: It’s just- (laughs) Yeah! Sort of all, “tell me, O’ master.” And that-
JOHN: (Amused) “Tell me, old master.”
PAUL: And that thing- Linda remembered that thing you said the other night as well (laughs) about when you went in the helicopter with him- you just thought he might slip you the answer.
They all laugh.
JOHN: I thought he might fly home.
(1) In the 2021 doc, at this point, additional footage is included, where we see the film from the reels with a voiceover of Paul describing them in greater detail.
(2) They’re saying that Paul didn’t film, so John thought to do it instead. At some point, Paul noticed John filming during a helicopter ride and decided to keep the tapes. Someone is confused and asks John whose tapes they were; he then goes on to clarify that they both used the camera, but jokes about his proprietary rights of the bits he filmed.
(3) The incident at Paul’s 21st birthday party, where John beat Bob Wooler in a drunken fit of rage over Wooler insinuating John and Epstein had had an affair on their holiday in Spain - John apologised for it but despite this, it still made the press. In 71, Lennon said this about the incident: “[...] obviously I must have been frightened of the fag in me to get so angry. You know, when you’re twenty-one, you want to be a man, and all that. If somebody said it now, I wouldn’t give a shit. [...]”
(4) In the 1971 film “Let It Be”, this footage is replaced with another clip of Lennon, where he wears a multi-coloured striped shirt - a shirt he did not wear on January the 25th and does not wear in any of the other clips from this conversation (instead, he wears a white t-shirt and vest). The audio has not been replaced, though, and one can still hear him mouthing at the microphone. The original footage is first included in the 2021 documentary series, where you can see from all the highlights that most of the actual conversation that took place is either edited out or moved around. This is significant, because in both films, at this moment, where Lennon refers to the Bob Wooler incident and then fellates the mic, he is directly referring to a significant historical incident in Beatles history - and yet both films choose to reframe this moment to obscure what Lennon is hinting at.
(5) It is interesting that the 2021 doc leaves this innuendo and the fellatio in, a clear reference to what Lennon and Epstein allegedly did on their holiday in Spain (and a potential double-meaning of what he and Paul did on their holiday in India), yet the mention of the Bob Wooler incident is removed. Was it an attempt to find a middle-ground, where they could include some reference to the alleged affair and simultaneously obscure it? There must have been discussions about what to include and what to leave out, and one can only wonder what the reasoning behind the final end result must have been (and who may have had final authority in the editing room…)
Originally, I meant to leave this analysis a bit open-ended and let people interpret it however they wanted.
But you know what? I’m going to add my own two cents on what I think about John’s behaviour because I want to hear if you guys think I’m reading too much into it.
So, when Paul first says what they were doing on the film was incredible, John chimes in with:
“Yes, what were we doing?”
And goes on to say, as if he’s reminding Paul of something:
“Who was writing all them songs then? In your room…”
The tone here feels very deliberately provocative. It sounds like John thinks Paul is trying to downplay or neutralize something emotionally significant that happened there by brushing it off as “we weren’t ourselves.”
Paul tries to steer the conversation back toward the broader point he was making. But John is still in a provoking and confrontational mood, so he runs with it and says:
“I don’t regret anything ever, not even Bob Wooler.”
Which is, frankly, insane.
First of all, Lennon beat Wooler badly enough that he went to the hospital (and Epstein had to drive him there, btw, poor man). It was serious.
Second, this is barely a year and a half after Epstein’s death. John is making light of this serious past incident which threatened to harm all of their reputations, including Epstein’s, and he’s doing it in front of the three other people apart from himself who were closest to and most hurt by Epstein’s passing. A passing that stemmed largely from Epstein having to hide his homosexuality away.
And he does this while AWARE that he’s being recorded.
And then, as if to underline the sexual implication even further, he literally starts fellating the microphone while staring directly at Paul.
Paul still keeps trying to move the conversation along normally, though, so John escalates even further, saying:
“You want to call it, ‘What We Did On Our Holidays’?”
On one level, he’s obviously referring to the India footage they’re discussing — you know, literally “what we did on our holiday.”
But at the same time, there’s a double meaning there, given the context of the Epstein Spain trip and the sexual innuendo he’s been leaning into.
Even outside a McLennon reading, to me this is historically significant in itself as a source on John’s feelings about the Bob Wooler incident (especially paired with the 1971 quote).
But inside a McLennon reading? It’s fascinating just how hard John seems to resist Paul trying to frame the India period as simply them being “not ourselves.” It’s like he keeps insisting: no, whatever happened there was real.
Now personally, I don’t subscribe to the theory that John and Paul had some kind of dramatic fallout in India. There are accounts that suggest they actually left on good terms. But that still doesn’t mean nothing emotionally significant happened there…
Anyway. I feel insane every time I revisit this exchange because I genuinely think it’s one of the most revealing interactions between them ever caught on tape, and I’m surprised more people don’t talk about it.
If anyone knows more about what else was happening around January 25th specifically, I’d love to hear it, because I feel like John’s mood here might be better understood in a broader context.
My insane analysis on like the most important McLennon moment ever caught on film
IN THIS ANALYSIS, I will compare the original 1969 footage of the Beatles discussing India with the edited footage of the same moment in the 2021 “The Beatles: Get Back” documentary.
The original footage has significant historical relevance, where Lennon makes explicit references to the Bob Wooler incident and the holiday with Epstein in Spain. What’s more is, he does this after Epstein’s death. It’s a risky thing to hint at in casual conversation, and that’s knowing that they’re being filmed.
In mentioning these two incidents, Lennon simultaneously alludes to an, ahem, moment between him and McCartney in India.
Of course, the remarks Lennon makes could be ironic, self-sardonic witticisms - he was wont to make those.
But I find it interesting that exactly these remarks have been so heavily edited and / or entirely omitted. To me, this signals that the documentarists were aware that what Lennon said, if heard in its entirety, would lead to serious speculation.
Throughout the transcript below, there are some highlights to showcase where the documentary deviates from the original recording. I will explain these highlights:
Blue is when original audio has been left in, but as voiceover, meaning original visual footage is left out
Green means original footage has been moved and edited around
Red means original footage has been left out completely
The amount of highlights give a sense of how insanely heavily edited this moment is.
The 1970 documentary “Let It Be” is also guilty of this, but to avoid confusion, I only directly compare this transcript with the 2021 documentary.
If you watch the documentary, additional footage has also been added to the original recording. I don’t include these additions since this is a transcript of the original conversation, but I do point to moments where significant additions have been made in the footnotes.
(Edit: Added some more thoughts here)
Beatles transcript, original India discussion, Jan 25th, 1969, compared with the 2021 “The Beatles: Get Back” documentary:
Paul, John, George and Ringo are rehearsing, surrounded by sound- and film-crew. Paul is having an inaudible conversation with Ringo.
JOHN: (singing, unintelligible)
PAUL: Oh, I saw that film last night.
JOHN: What?
PAUL: Of us at the Maharishi’s - I’ve got all the film of it-
JOHN: Oh, yeah.
PAUL: And we all saw them(?) together. Incredible. It’s just got a great opening. (Nods at something) Yeah, (inaudible).
JOHN: The helicopter one, up in the sky.
PAUL: Yeah, I noticed you taking it, so I thought, “oh, I’ll get that.”
JOHN: Well that was the idea, you know, ‘cause you said you were making a film.
PAUL: Yeah. But it’s incredible - the opening is great, it’s just(inaudible) (1)
Paul goes on to talk with the others a bit - it’s mainly inaudible. Meanwhile, John talks about the reels.
JOHN: And on each of my two reels, “by John Lennon - Productions” written on those two reels.
SOMEONE: (Inaudible).
JOHN: I’ve had it - he’s got a few reels, too. But these are(?) my reels, luv, “By John Lennon” all through ‘em, with like subtitles. John Lennon’s reel.
SOMEONE (Paul?): (Laughing) Shut up, John. (2)
GEORGE(?): Here’s a little bit, it’s (inaudible) together, and they make a great… (?)
PAUL: Yeah, sure.
SOMEONE: So, uh… Great-
PAUL: (Talks about the film again, directed at John) It’s incredible, you know, to just sorta(?) see us. What we’re doing. It’s unbelievable.
GEORGE: What were you doing?
JOHN: (Teasingly) Yes, what were we doing?
Paul scratches his head and combs his fingers through his hair.
PAUL: Well, uh- I don’t really know, you know, but it’s like- we totally sort of put our own personalities under, for the sake of it, and you’d(?) really see, you know-
Paul pantomimes a stereotypical obedient school-boy.
JOHN: Who was that writing all them songs?
PAUL: (taken out of it) Oh that was uh- that was probably (inaudible)-
JOHN: In your room…
PAUL: Yeah, right. (Laughs and nods at John) I remember, yeah. (Serious again) But just sort of, uh- there’s a shot- there’s a long shot of you walking (points at John)-
GEORGE: (To Paul) Do you regret having gone there?
PAUL: No, no. Oh, no, no. I mean, you know-
GEORGE: Well, I feel as though I (inaudible).
PAUL: No, I just think what we did there-
JOHN: I don’t regret anything, ever… Not even Bob Wooler. (3)
PAUL: (Facing George but looking at John) No, I just think what we did there- we did, we uh, we didn’t take-
Close-up of John - he looks directly at Paul while he begins to fellate the microphone lewdly. (4)
PAUL: We weren’t sort of really truthful. You know. I mean, we could’ve, I mean- Rishikesh(?), you know there’s things like sneaking behind his back and sorta saying, “it’s a bit like school, isn’t it?” But you can see on the film that it is very like school, and that really we shoulda sorta said-
JOHN: (stops mouthing the mic) You wanna call it-
PAUL: Like we needed(?)-
JOHN: You wanna call it, “what we did on our holidays”. (5)
PAUL: (Glances at camera) Well, you know.
JOHN: (Laughs) I bet you’d love(?) (inaudible) to get it over(?).
PAUL: (Looking away) Yup, yeah… (At John again) But it is very like- there’s a long shot of you sort of walking with him, and it’s just not you, you know-
John also pantomimes an obedient school-boy.
PAUL: It’s just- (laughs) Yeah! Sort of all, “tell me, O’ master.” And that-
JOHN: (Amused) “Tell me, old master.”
PAUL: And that thing- Linda remembered that thing you said the other night as well (laughs) about when you went in the helicopter with him- you just thought he might slip you the answer.
They all laugh.
JOHN: I thought he might fly home.
(1) In the 2021 doc, at this point, additional footage is included, where we see the film from the reels with a voiceover of Paul describing them in greater detail.
(2) They’re saying that Paul didn’t film, so John thought to do it instead. At some point, Paul noticed John filming during a helicopter ride and decided to keep the tapes. Someone is confused and asks John whose tapes they were; he then goes on to clarify that they both used the camera, but jokes about his proprietary rights of the bits he filmed.
(3) The incident at Paul’s 21st birthday party, where John beat Bob Wooler in a drunken fit of rage over Wooler insinuating John and Epstein had had an affair on their holiday in Spain - John apologised for it but despite this, it still made the press. In 71, Lennon said this about the incident: “[...] obviously I must have been frightened of the fag in me to get so angry. You know, when you’re twenty-one, you want to be a man, and all that. If somebody said it now, I wouldn’t give a shit. [...]”
(4) In the 1971 film “Let It Be”, this footage is replaced with another clip of Lennon, where he wears a multi-coloured striped shirt - a shirt he did not wear on January the 25th and does not wear in any of the other clips from this conversation (instead, he wears a white t-shirt and vest). The audio has not been replaced, though, and one can still hear him mouthing at the microphone. The original footage is first included in the 2021 documentary series, where you can see from all the highlights that most of the actual conversation that took place is either edited out or moved around. This is significant, because in both films, at this moment, where Lennon refers to the Bob Wooler incident and then fellates the mic, he is directly referring to a significant historical incident in Beatles history - and yet both films choose to reframe this moment to obscure what Lennon is hinting at.
(5) It is interesting that the 2021 doc leaves this innuendo and the fellatio in, a clear reference to what Lennon and Epstein allegedly did on their holiday in Spain (and a potential double-meaning of what he and Paul did on their holiday in India), yet the mention of the Bob Wooler incident is removed. Was it an attempt to find a middle-ground, where they could include some reference to the alleged affair and simultaneously obscure it? There must have been discussions about what to include and what to leave out, and one can only wonder what the reasoning behind the final end result must have been (and who may have had final authority in the editing room…)
🤣 They’ve taken out the ‘slightly gay looking boys’ and ‘boys chasing us’ parts of George and Ringo talking about Paris
Ringo Starr and George Harrison talking about the audience in Paris, in the original version of The Beatles Anthology (1995) vs the re-released 2025 version
hey it's me black mold. thanks for running your window air conditioner all summer. whatever you do, do not regularly clean the removable filter. that's not necessary
you should also never ever unplug the air conditioner and stick a flashlight in the vent that blows air to see if we're in there. it's very bad, that place should not be checked
and whatever you do, if you've already made the mistake of unplugging it, don't remove it from the window for cleaning if possible. and whether it's possible to remove the unit or not, don't carefully disassemble the front panel, document where the screws go and plastic bits go, and open up the vent more to be able to get into it easily
as black mold, i'm an expert on this. you should heed my warnings: now, if you've somehow made the mistake of doing all of the above, you should not use warm water and dish soap to CLEAN the inside of the vent thoroughly. DON'T ever use a bottle brush to get into the hard to reach places. and certainly don't rinse and dry the cleaned area before carefully putting it back together
there's nothing wrong with us, black mold. we don't cause or exacerbate breathing conditions like asthma or other illnesses. it's cool, we're cool
furthermore, if you're capable of removing the window unit, DONT take a hose with the same soapy water and wash the portion of the window unit that sits outside the window and is therefore weatherproofed.
whatever you do, don't allow the air conditioner to dry before plugging it back in and turning it on again
and if you have a central air conditioner, you will definitely never ever consult a manual or sources online to perform a similar cleaning procedure on the cooling unit outside.
lastly, if you're physically unable to do the things we (the black mold) warned you not to do above, you should never ever ask someone to help you or hire a service to do it.
Also even if you do not have the time, space or ability to do some of the the things in the OP, definitely do not clean the coils (the awful sharp flat stacks of metal) with foaming coil cleaner. That removes the beneficial black mold (us) holding the unit together. It will be completely unsatisfying to watch the foam clean out the Super Beneficial Black Mold, Mildew, Hair, Lint & Dust Combo™ (that is not only a health hazard but making the unit less efficient at cooling necessary for air conditioner function) and leave the metal shiny.
It is a lot of elbow grease and definitely not just spraying a can and waiting. Especially do not use the ones that are self rinsing via the natural condensation of water around the coils where all you have to do is let the foam settle a couple hours before turning the unit back on. These foaming cleaners are also terrible to use on the removable air intake vent covers. You definitely do not just have to spray the opposite side of all the trapped shit on the plastic mesh and let the foam push it off. Also that stuff on the cover is great for you and your air conditioner.
Trust us. We, the mold, know much more about air conditioners than the people who make aerosol cans you can pick up for like $8 at home depot. Definitely do not do this a couple times a season.
why has ‘this looks like a renaissance painting’ become such a common phrase on the internet to describe momentous, dramatically lit images that are brimming with pathos when the word they mean to say is ‘baroque’
It's kind of tragic how homophobia affects insecure men.
Like sometimes they want to experiment with a bit of anal and instead of just buying a sex toy and some lube like a normal person, they instead shove random objects up their ass that inevitably get stuck and then they try to get them out by themselves which makes things worse and then they lie to doctors about it and like this all leads to all kinds of extra complications like internal damage, risk of infections, bleeding, the fall of Yugoslavia, etc.
Come on guys, just buy a dildo. It's way safer and it leads to way fewer problems.
How fucking annoying is it when you feel so restless with creative energy but you can’t decide what to do with it and when you finally try to create something it comes out shit so you just give up and sit there being all creatively annoyed and jittery.
1 - Decision Making Fatigue is a thing.
--> Make a list of possibilities.
--> Use a random number generator to pick something off the list.
--> If you hate the idea cross it off and generate a new number.
--> Continue until you either find a project or cross off the whole list.
--> If you cross off the whole list pick a random short story prompt, write for five minutes, and call it a good work day.
2. Yeah, of course your rough draft sucks. It’s supposed to.
--> Let it suck.
--> You can fix it in edits.
3. When you’re stressed you aren’t unbiased about your work.
--> Don’t judge your work while your are actively working on it.
--> Remember to drink water, take your meds/vitamins, eat something, and get sleep.
--> Double-check to make sure the restless creative energy is not displaced emotional worries over something else. If it is, displace with intention and let the worries go into your work. You shouldn’t keep stress in your head, put it on a page, or canvas, or in a carving, or a meal, or something. Get it out and let it go.
4. No work is ever wasted.
--> All time spent planning and creating is useful in some way.
--> Failure means you tried, which is good.
--> Try again. Fail harder. Fail better.
--> Keep going until you like what you’re making.
5. Love yourself enough to allow yourself to not be perfect.
--> Seriously.
--> If this is a struggle I highly recommend seeing a doctor or therapist about depression.
--> Because you are dang lovable, my friend. You rock. You do great things. I’m proud of you.
