[Getting so angry it makes my brain disease worse] people sre supposed to be nice..
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@lord-pain
[Getting so angry it makes my brain disease worse] people sre supposed to be nice..
i lob drawing them sleepy and cuddling its sosososo cutee š
imagine ram..... ramagine...
john calling paul "gorgeous" in the novelization of a hard day's night
motherly or wifely gesture
Ohmygawd this DORK
This cozy bookshop is open and waiting for you šššš
Thatās lovely!
Thatās fantastic!
Thatās just what I wanted!
Keep going, itās lovely!
Fantastic!
That was marvellous.
Hellooo!! I'm working on a new little McLennon comic, it's taking me a bit longer than the previous ones hahaha but I thought I'd share some little updates for once :p
I've finished the lineart, all that's left is rendering (very long process); I think I'll be done by next week!
As for my process, nothing's changed, I always start with a paper sketch then go straight to digital (and for once I skipped the detailed sketch to save some time)
To be continuedā¦..
For all the hard work you do for us: thank you!! For this ask, just feel free to talk about any subject youāve been dying to talk about <3
Thank you! This isn't anything dramatic or something that I really have been dying to discuss (in fact, I think I have briefly mentioned this before), but it is something Iāve been thinking about for a some time: the fact that we have we've heard so little from the lower-profile employees who worked in the studios and at Apple Corps. While we have books and interviews from people like George Martin, Geoff Emerick, and Peter Brown, the people further down the ranks have mostly kept their silence. Brian Epstein's personal assistant, Joanne Newfield, was set to publish a book in the 2000s titled Thereās a Beatle in My Closet, but it was shelved for reasons never made public. Freda Kelly gave us a nice documentary and a few short interviews, but she was clearly not sharing everything she knew or experienced. She didn't say anything too revealing (other than hinting that she dated Paul). There is an entire entourage of secretaries, assistants, tape operators, studio engineers, and office staff who witnessed quite a lot, daily. I often find myself wishing I could sit down with some of them privately, where they might actually feel safe enough to open up (I have heard stuff indirectly, second- or third-hand, but it's absolutely not the same as talking to them personally). It would be great to be able to ask them about the specific, everyday dynamic they witnessed between John and Paul. Because based on the crumbs we do have, the people on the inside definitely noticed somethig, given the nicknames they gave them (and not just "John's princess," apparently); they didn't come up with them for no reason. Even Ray Connolly said he witnessed "revealing and bizarre" moments between John and Paul in the late 60s at Apple, which he didn't elaborate on. Also, as I've mentioned before, a part-time driver of the Beatles apparently claimed to have heard talk among the staffers of something going on between John and Paul. And I have the strong suspicion that the elevator kiss scene Michael Lindsay-Hogg included in Two of Us was because he didn't think it was out of character for John to do that. I think he must also have witnessed suggestive "jokes" or actions from John to other people at the workplace, potentially Paul. And we all saw their suggestive banter/flirting in both Get Back and even in the Rubber Soul sessions, with Paul even telling John to stop holding his hand. God knows what other things they did or said at Apple or the studio when their relationship was at its peak; we will never know because those sessions weren't recorded the way the Get Back sessions were. But just think about it: even in Get Back, when they weren't nearly as close as they were before 1968, their dynamic is still so intense that even many people (who are unaware of mclennon) who watched the film were like "wait a minute..." Even Yoko noticed it after a few weeks into the studio in 1968. Just imagine what it would have been like to see their dynamic during the Sgt. Pepper sessions, AHDN sessions, Help! sessions, etc., or pretty much the entire 1963-1967 period. So I just wish someone could speak privately (because that way they would most likely be willing to open up) to lower-profile people who were in their entourage at the time and get new anecdotes and things they witnessed between John and Paul that made them raise their eyebrows. Because based on what we saw in Get Back, as well as the jokes and nicknames people made up for them (which were well-known enough to be mentioned in a 1972 book written by journalists; the "John's princess" thing wasn't only mentioned by Yoko, btw), then we can almost certainly be sure that they must have seen some "Huh?/Wtf?!" moments that we have no idea of.
when the guitar solo starts touching your clit
okay so what i'm gonna need is for everyone to stop tagging this post with my chemical romance related stuff and go and listen to It Takes a Lot to Laugh, It Takes a Train to Cry - Live at Boston Music Hall, Boston, MA - November 21, 1975 - Evening by Bob Dylan
Paul is asked about the looks him and John share while on stage.
Interviewer: Paul I noticed something last night, it was the first concert Iād ever seen - and of course I saw them all on last yearās tour - where I was right in front of the stage, the way it was set up in Detroit, and I guess I was about 15 feet from you guys, and Iād never seen before, the looks you and John - especially when youāre singing on one microphone - looking at each other and laughing out of the corner of your eyes, and just having fun. Now youāre not doing that for the benefit of the audience, because only the first couple of rows can see. Is it really that much fun every time?
Paul: Oh well the thing is, you know, probably things like that - if something goes wrong, say, you know if somebody hits a bum note, we can either just suddenly panic, or try and treat it as a bit of fun, you know. And thatās normally what happens, weāre just laughing about some mistake that we made.
Interviewer: Like?
Paul: Well, Yesterday was pretty foul yesterday. I donāt know, John made some mistake at the end of it, and it put me off, so I made a mistake and it was just-
Interviewer: You played a different melody-
Paul: Oh, yeah! Heās getting too way out that Lennon guy!
Interviewer: Ad-libbing - jazz improvising
Paul: Wonderful though, wonderful. I think heāll be, sort of, top in the jazz guitarists next year.
Paul: oh well the thing is, you know, probably things like thatā¦
𤨠ok Paul why do you sound so wierd and defensive/deflective about sharing happy looks with your friend on stage this is nuts; itās like this how, I absolutely donāt understand people who say thereās nothing, zero, to the idea of a queer McCartney (queer about John that is!) when he got like THISāand continued to be like this decades later, in another interview where how happy they looked together was pointed out.
Laughing about some mistake we made??? Get out of here Paul, is it so hard to say, with enthusiasm, yes we had fun?! And loads of it!!! Thatās my friend John all right. Good friendsā¦
ā¦Sometimes I think to myself that funnily enough the most damning evidence that people close to them noticed something was up is that throwaway line about John and Paul getting marriedābut not to each other, of course! To women.āin that Rutles film. Because it is such a random, out of pocket thing to make a joke about given the era and public perception of the Beatles. And George Harrison was literally right there, providing support and insider commentary during production on that film.
"Though Sue and I had flirted on the edge of trendy London for some months, many of the people we met were condescending or arrogant or both, so it was a pleasant surprise to find someone like Paul who was as down-to-earth and unpretentious as you could get. He said that he was exploring himself in the arts. He seemed to know nothing about underground literature, music or radical politics, but wanted to learn. I lent him some copies of Evergreen Review and played him Call Me Burroughs. He became a regular visitor to our flat, hanging out, smoking pot and playing his way through our shelf of records. Favourite stoned listening included electronic music by Luciano berio; the IBM computer singing 'Daisy, Daisy'; John Cage's Indeterminacy - some stories were longer than others, but he read two-volume Folkways recording of a Japanese Zen ceremony - on one track a bell rang once a minute, nd it was always great when it finally rang; and lots of the latest swuels and shrieks from the ghetto: Albert Ayler's Bells and Spirits Awake; Ron Blake; Pharaoh Saunders; Sun Ra and his Solar Arkestra; Eric Dolphy's honking bird imitations; Free Jazz by the Ornette Coleman Double Quartet: two reeds, two bassists, two drummers, two trumpets, thirty-eight minutes of spontaneous collective improvisation with no preconceptions. It was while discussing this album that we came up with the idea that if you were in complete control of your consciousness, you would be able to differentiate between audio sounds so completely that you could release a record with Bethoveen on the left stereo and the Beatles on the right, playing simultaneously, and the brain could decide one to listen to, or to flip between one and the other. If I introduced Paul to a few things, I in turn learned about pop music from him. He gave me records he thought I should know, like 'Rescue Me' by Fontella Bass. He showed me how to identify James Jamerson's characteristic bass work with Motown - a player he regarded as his only serious rival - and recommended other artists such as Smokey Robinson. One time we were driving though Bayswater in Paul's brand-new Aston Martin DB4 and he turned on the radio. Listening to the BBC was normally like tuning into the early Fifties, so I was astonished to hear all kinds of amazing new R&B records and American releases. Not only that, but the DJ was really funny, presenting the records in a slick, humorous way that combined a parody of American Flash with Goon Show joked and humour. I asked which station it was, thinking it must be some new pirate ship I hadn't heard of. I was slow. It took me a while to realise the DJ was Paul and we were listening to a tape, made using all the records sent to him. The Philips cassette player had just come on the market and he had one installed in his car. Paul was such a good mimic that, even though I now knew it was him, I just couldn't associate that smooth delivery with the man at the wheel. It was uncanny. ... He enjoyed doing impersonations ... Privately he performed a cruelly accurate rendition of his friend Mick Jagger, perfectly capturing his facial expressions. 'He stole all the gestures from Joe Tex, you know,' Paul maintained." - In The Sixties by Barry Miles
i made a playlist with all of these if anybody wants a quick listen
Paulās Christmas gift to his fellow Beatles was an acetate disc of a radio-style show that heād taped at home featuring music tracks by artists he thought they should take note of, linked by Paul speaking in the style of a New York DJ. āIt was something crazy, something left-field just for the Beatles . . . that they could play late in the evening,ā he later explained. āIt was called Unforgettable and started with Nat King Coleās āUnforgettable.ā It was like a magazine programme full of weird interviews, experimental music, tape loops and some tracks that I knew the others hadnāt heard.ā He was clearly hinting at the direction the Beatles might go when they reconvened in the studio, offering the sort of rich palette from which they might choose. Besides āUnforgettableā and the experimental sounds there was āDown Home Girlā by the Rolling Stones, āDonāt Be Cruelā by Elvis, Martha and the Vandellas singing āHeat Wave,ā the Beach Boys with āI Get Around,ā and the Peter and Gordon LP track āSomeone Aināt Right.ā Reflecting on the record selection a few months later George said, āIt was a peculiar overall sound. John, Ringo and I played it and realized Paul was on to something new. Paul has done a lot in making us realize that there are a lot of electronic sounds to investigate. If weāre in the studio we donāt mentally think that this is the Beatles making a new hit LP or single. Itās just us, four blokes with some ideas, good and bad, to thrash out.ā
(Beatles '66: The Revolutionary Year by Steve Turner, 2016)
Have we all watched Elliot explain why We Two is about John yet? And then tease that he's going to do a video about John and Paul .... some day in the future.
And then explain why Come Inside "felt like permission" to read into We Two?
Regarding the sub John sex tape, there are some more details. But grain of salt, because this is coming from that guy on Reddit who says he spoke to Francie and some other sources for that book he claims he canāt get published. I think heās trustworthy but I understand why others wouldnāt.
He claims that the tape was discovered in the studio by Yoko, who played it for the the group and it clearly sounded sexual. Yoko and Francie both thought they were initially hearing a recording of John and Paul having sex. John instead claimed it was āmasturbation artā and Paul froze up and didnāt speak for the rest of the day. This was related to him by Francie.
Okay no wayyy thank you for sharing this with me!!
I waver as to the reliability of mclennongate guy. Another one of those like tenuous semi-beliefs of mine I guess. But if this is true!!
Yoko and Francie both immediately jumping to their boyfriends weird situationship āļø
John claiming it's masturbation artāļø ā
I feel like John would loudmouth in some way but wouldn't his most likely response be to make a dismissive joke? Maybe he's being chivalrous and giving Paul a pass to not be sucked in to more gay allegations if he can avoid it?
Paul freezing up and going nonverbal for the rest of the day āļøā
āwell thatās an interesting oneā said paul