I thought people were making this up- Iâve been looking everywhere for this to the point I thought it wasnât real. Tis. Tis real.
Lint Roller? I Barely Know Her
Phantogram Three
The Stonewall Inn

@theartofmadeline

shark vs the universe
Sade Olutola
I'd rather be in outer space đ¸
taylor price

pixel skylines
Not today Justin

gracie abrams

No title available
let's talk about Bridgerton tea, my ask is open
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cherry valley forever
occasionally subtle

ellievsbear
đ
untitled
"I'm Dorothy Gale from Kansas"

seen from Pakistan
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seen from South Africa

seen from United States
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seen from Philippines

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@poolsofsarrow
I thought people were making this up- Iâve been looking everywhere for this to the point I thought it wasnât real. Tis. Tis real.
Another Paul' senseless absurd song (honestly, one of my fave) - Morse Moose And The Grey Goose All these Morse Moose and Grey Goose, "As we were sailing 'round the rocks" sounding a bit like "rock around the clock": One, Two, Three O'clock, Four Oâclock rockâŚ
Grey Goose flew away and that's all Morse - whoever he is - ever thinks about (that's why every verse ends with this - But the Grey Goose flew away) And now Morse Moose is calling Grey Goose - whoever he is - calling from the bottom of the sea (and by all accounts, Morse doesn't feel good here at all) But the more desperate his calls, the more they seem like shouting into the void. Maybe he knows that wild goose chase means chase a ghost - and he is afraid he is looking for something that doesn't exist?
Morse could mean Samuel Morse (and Morse code which Paul uses can implie that this is the case)
Or it could mean a walrus (because - yeah, "morse" also is the archaic or alternative English term (derived from Russian morĹž - ПОŃĐś) for the walrus, and it remains the standard word for "walrus" in French - un morse)
My name is Morse Moose and I'm calling you Right on down to the bottom of the sea Tell me are you receiving me? My name is Morse Moose and I'm calling you (This is the Morse Moose calling) (This is the Morse Moose calling) (This is the Morse Moose calling) (This is the Morse Moose calling) Right on down to the bottom of the sea (This is the Morse Moose calling) Tell me are you receiving me?
(also it's 1978)
All of the lonely nights Waiting for you to come Longing to hold you tight I need you so desperately Waiting for you to come Bringing your love to me But I'd wait a million years Walk a million miles Cry a million tears I'd swim the deepest sea Climb the highest hill Just to have you near me As love is reality When you are near to me I am in ecstasy (Whoa, whoa, whoa) I'd swallow the pain and pride Baby, I just can't hide All that I feel inside
15 year old paul mccartney after practicing twenty flight rock until his fingers bled and picking out the perfect white sport coat/flower combo to wear to the village fete and have his friend introduce him to the cool older guy from the bus/chippy: what if I told you none of it was accidental and the first night that you saw me nothing was gonna stop me. I laid the groundwork and then jus-
âSimply wanting to make the best music can make you competitive,â said Simon. âYou have no idea how competitive John Lennon was around Paul McCartney. When I first met them, I felt like someone had taken all the oxygen out of the room. I almost couldnât breathe, they were so competitive, and thatâs what made them so great. They wouldnât settle for just good. That was me, too,â he added.
Paul Simon: The Life
I saw them many more times after that. I remember Paul loved my mum. When I went and did interviews, my mum would often drive me and whenever I interviewed Paul in a hotel or somewhere, my mum would just sit in a corner and have a coffee. So Paul got to know her and he really liked her - she was very glamorous and very warm. When they came back from America, there was that famous scene at the airport. All the press were there and it was live on TV. I brought my mum into the press conference. The Beatles arrived and Paul saw Mum in the corner and came straight over to her and told her everything about what happened in America. I think he still needed a mother figure. They were chatting away and everyone was wondering where Paul was and I remember John saying, âHeâs with Dawnâs mum.â So they dragged him back to the press conference. Looking back, the Beatles really were in a class of their own.
â Dawn Slough, Journalist [From The Beatles 1963 by Dafydd Rees (2022) ]
y'know how (Just Like) Starting Over is almost certainly about Paul?
well I found another demo...
some particular lyrics:
take off your clothes and be with me again, oh it's over
remember how we used to just screw, and we were loose to do it all, well now it's over
what can I say except John and Paul shagged many times
of he she they and/or gay I think I'd have to say it's he (ringo) she (john) they (george) and/or gay (paul)
the first rhyme Paul can think of is "queer"
thinking of a very certain duo who once loved and yearned more than any stupid song could ever say
Eddie Klein
This is a character in the cafe during Paul's conversation with Paul Mescal. He appears while Paul is discussing Lost Horizon, and the tape being found by Eddie Klein.
This is Eddie Klein.
The liner notes of McCartney III say
This album is dedicated to the memory of our friend Eddie Klein (1943-2020)
I think Eddie rediscovered Lost Horizon ages ago, and Paul included it on this album to honour him. And I think Eddie was more important to Paul than I ever realised.
I feel like Eddie Klein most often gets name-checked when Paul talks about recording McCartney I, because he was the one who helped set up Paul's home studio - and then did it again when Paul was recording McCartney II. It's sad that he passed away while Paul was making McCartney III, since he played a big role in the whole trilogy's existence. The McCartney Legacy mentions that Klein had been working at EMI since 1967, and he was still working with Paul up to the late 2010s. It sounds like he was a good friend - there's more about him at the Paul McCartney Project, including a longer tribute Paul wrote on Facebook when he died.
Brilliant spot, Oyster! and thank you @ohblado for the link. Hereâs Paulâs tribute, which is very fond:
People often say âwords cannot expressâ etc. and that is how I feel about Eddie. There were so many sides to his character that it seems impossible to mention all of them.
He was a loving man with a twinkling sense of humour and a love of good music. We would hug when we met and he would sometimes bow slightly and call me âmy liegeâ. We go back many years and my first memories were in the studios and corridors of Abbey Road where he worked. We were the crazy artists experimenting with techniques and Eddie and his mates were the engineers who had to make it happen.
When he put my recording studio together, it was done with great expertise and I think the only person who knew what every fader and knob did was Eddie. When we talked music, as we often did, he would often sing in his rich baritone voice to remind me of the melody most people would have forgotten.
I love him for his wit, his skills and his loyalty. I will always remember him and the things we did together with great fondness. What a great man. But as I said at the beginning âwords cannot expressâ.
Love you Ed,
From Paul
October 19th, 1965 (Marquee Studio, London): John has an unenthusiastic second go at reading Tony Barrowâs prepared script for The Beatlesâ annual fan club Christmas record, as Paul encourages him to push through. (Note: For some reason George wasnât around for the recording itself, although he was certainly in the studio prior, as is photographed by Robert Whitaker.)
PAUL: Wonderful Radio Beatle People, broadcasting on oneâ
ENGINEER: Whoo, whoo, whoo. Now.
PAUL: Okay.
ENGINEER: Off you go.
JOHN: Whereâs my copy?
RINGO: In Paulâs hand.
JOHN: Oh.
PAUL:Â [laughs] Are we ready? Whoâs â right, come on, weâre ready now.
JOHN: Whereâs George?
PAUL: Whoâs doing George?
NOT GEORGE: Me.
PAUL:Â [to John] Go on. Now, do it straight nowâ
JOHN: Whoâs doing Paul?
PAUL: Iâm doing me.
JOHN: Iâll do â Iâll do John. [sounds in background]
PAUL: Whoâs that? Shh.
RINGO: Do you mind?
PAUL: Recording here! Right, off we go then, recording.
NOT GEORGE: This is Wonderful Radio Beatle People, broadcasting on one nine nine metres. Remember folks, Wonderfulâ
PAUL: Will you shut up? Itâs his go! [to John] Go on.
JOHN: Ugh. Remember folks, Wonderful Radio Beatle People is Britainâs number one on-shore pirate radio station broadcasting tonight and every night from aâ
PAUL:Â [laughing] Do it right.
JOHN: Iâm doing it right!
PAUL: Youâve got to do it right.
RINGO: Come on, Tonyâs getting annoyed. You know what heâs like when heâs annoyed. [laughter]
Keep reading
This is original hand-drawn poster artwork by John Lennon and Paul McCartney. The poster was used to help promote the Monterey Pop Festival, a star-studded three-day concert event that took place June 16-18, 1967 at the Monterey County Fairgrounds in Monterey, California. [...] Artist, illustrator and photographer Tom Wilkes was hired to be the art director for the Monterey Pop Festival. One of his many responsibilities was to provide the design and layout of the program for the festival. When it was confirmed in February of 1967 that The Beatles would not perform, Wilkes asked Derek Taylor to see if they would be kind enough to contribute something which he could use in the program. Wilkes received this incredible poster in return, which was reproduced as a message to festival goers from The Beatles. The artwork appears on page 16 of the 80 page full-color festival program. Although previously attributed to all four members of The Beatles, in reality this poster was a collaboration between only Lennon and McCartney. Using colored pencils, felt tip marker and ballpoint pen, both jointly wrote from top to bottom down the center: âPEACE TO monterey FROM SGT. PEPPERS LONELY HEARTS CLUB BAND LOVING YO you it happened in Monterey A LONG TIME AGO I LOVE YOU.â The line âit happened in Monterey A LONG TIME AGOâ appears in the popular 1930 song âIt Happened In Monterey,â later popularized by Frank Sinatra in 1956. Although both Lennon and McCartney are responsible for the artwork, it was Paul who signed on behalf of all The Beatles âSincerely John, Paul, George and Harold.â John wrote vertically along the left side âcongratulations elvis. say hello to uncle stan. how are you bob.â Below the âSgt. Peppers Lonely Hearts Clubâ lines, John also wrote the word âBeatlesâ, followed by a heart with an arrow through it, and the word âyou.â The obvious message there being âBeatles love you.â John is also primarily responsible for the intricate psychedelic artwork on the right side of the poster. That area features one large head evocative of the Hindu god Krishna. Contained within that drawing â among many other things â are the heads of the four Beatles with green faces and their new mustached look. There are two pairs of round faces drawn along the top. One pair is more impressionistic and the other pair is more literal, but all 4 faces have holes punched through the eyes. Which of the two â Lennon or McCartney â did that is uncertain but it was clearly not done after the poster was used in the program, as that is how it appears there.
BEATLES | âPeace To Montereyâ Pop Festival Original Artwork (listing no longer exists but the text is available on The Paul McCartney Project)
lots going on here, huh
The Beatles - Like Dreamers Do
listening to this absolute banger and pretending itâs 1958, there aint no days we left behind.
âThe minister attached to the Mission said, âWould anyone like to say grace?â and George in his wonderful deadpan way said, 'Yes, thank Christ for the soup.â The minister said, 'Any more of that and youâre all out.â We ate steaks and we found out later that they were horse steaks. Weâd eaten a horse for Christmas.â
â John Frankland of The Dominoes talking about eating Christmas Lunch with The Beatles at the British Marinerâs Mission in Hamburg
WHAT ABOUT HIS BOOK THEN?
Excerpt from "Skywriting By Word Of Mouth", John Lennon
Why does every female character in this book have d*ck and balls
when the two band members with deceased mothers get lines about their mothers in A Hard Dayâs Night (1964)