Who’s up thinking about Paul and Elvis Costellos collaboration and it’s weird looming John undertone?

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@thedyingcowboy
Who’s up thinking about Paul and Elvis Costellos collaboration and it’s weird looming John undertone?
If you ever feel like you’re making shit up, just remember who pioneered the cause!
a bewildered laugh leaves my lips accompanied by a disbelieving headshake as i remember yoko ono saying that paul would be a great threat to her and john if he was a woman. the laugh becomes hysterical as i remember paul mccartney saying that if he was a woman he could say something about john leaving him for yoko. hysteria leaves me as the laugh breaks into an uglier, smaller sound as i remember john lennon saying that if they could have a homosexual relationship, it could have satisfied it and that he can fuck his best friend now
Paul Weller & Paul McCartney
Eyes Of The Storm.
He continues to fascinate me
me (6f) explaining to my co-worker (28m) the concept of kittens
I consent to Paul McCartney doing anything
rpf -> real paulmccartney facts
this is diabolical on so many levels. sucking face in front of the man that is singing the song he wrote about you and then turning to him, and only him, to immediately justify why because you're still one part of a codependent permanent homoerotic quantum entangled soul bond. paul is trying so hard to be cool but immediately launches into the song only to realize john has used the song to sing about the new person he loves and stops singing mid-sentence. i would kms. heartbreak hard launch singing strawberry fields forever over a bed of newspapers proclaiming john and yoko's love, whilst staring forlornly at john and singing the song paul would later go on to say is quintessential john. they were doing tragedy like no one else
okay, you know what time it is! Queer Temporality in Days We Left Behind ⏰
Looking back at white and black Reminders of my past Smoky bars and cheap guitars But nothing built to last
Right away, Paul manages to render the past both vivid and inaccessible. We begin with old photos, recollections of a life reduced to images, remnants of what was. But at the same time, those remnants are reminders, active triggers rather than passive objects. Paul is not just looking back on his past— the past is pressing itself back upon him, too. The world he recalls may not have been built to last, but this sets up a distinction the rest of the song will build upon. The scene may not have lasted, but what formed within it did. No THING was built to last…but we’re not really talking about things, are we?
Nothing ever stays Nothing comes to mind No-one can erase The days we left behind
Paul is not concerned with forgetting, but with the inadequacy of material objects. No THINGS stay, but no THINGS come to mind, anyway– no THING can fully contain the meaning of his lived experience. The days are behind him, but they aren’t gone; the past persists into the present in spite of change BECAUSE it is untouchable, uneraseable.
See the boys of Dungeon Lane Along the Mersey shore Some of them will feel the pain But some were meant for more
The boys of Dungeon Lane are figures from the past, yet the language used for them isn’t exclusively retrospective. We can see them, now; some “will” feel pain; some “were meant” for more. What a dizzying little tense structure! Present and future and past and destiny are all wrapped up together. The effect is to make the past feel unfinished, as though it still contains its own future within the present memory. The Mersey shore is still, somehow, a space of anticipation.
Nothing stays the same No-one needs to cry Nothing can reclaim The days we left behind
Here’s our Paul using form to mirror function again: nothing stays the same, not even the refrain of this song. Though his ever-present past is unerasable, it’s also unreclaimable; no THING can bring it, tangibly, into the now. Still– no one needs to cry.
We met at Forthlin Road And wrote a secret code To never be spoken I stand by what I said The promise that I made Will never be broken
Phew! Okay! Lots going on here, folks. Forthlin is presented as the origin of a “secret code,” which itself is doing some heavy lifting. It’s a private language, but also a system of meaning for two. More than that, because they “wrote” it, code also sounds like form, pattern, composition— a structure created together. Paul’s relationship with John doesn’t simply persist as a feeling, but as a jointly authored symbolic order. And there's that strange tense-play again: the meeting and the writing happened in the past, but Paul stands by what he said with his feet firmly planted in the present, while the promise he’ll never break projects the bond into the future and beyond. Past origin, present fidelity, and future endurance all in six brief lines. This is not nostalgia, but an ongoing ontological vow.
Nothing ever stays Nothing comes to mind No-one can erase The days we left behind
No one is going to replace or erase his code or his promise or his bond with John. It's theirs.
In the skies the skylarks rise Above the sounds of war Since that day I knew they'd stay With me for evermore
This bond and these memories are active, so the scale continues to expand. We’ve moved from photos into bars into streets and shorelines and homes; now, finally, into the sky, a shift upward and outward. Songbirds rise above the sounds of war, not outside history but above it, cutting through it, outlasting it. They embody the song’s whole temporal logic: distance does not negate presence, and attachment follows the same pattern. It's no longer "here" in worldly, material terms, but it resonates on and on. A single day of knowing extends into evermore. A moment into endless duration.
'Cause nothing stays the same And no-one needs to cry No-one is to blame For the days we left behind
Nothing stays the same, so we’ve got one more change to explore. This song seems to enact the whole cycle of identity work Paul has done after losing John: it moves from epistemic uncertainty to regulation to release. Here, finally, Paul seems to reach beyond acceptance. There's no forgetting, no detachment, no closure— just something like grace. Time changed what it changes. The bond endured what it endures. No more tears, no more blame. Paul has made his peace with the paradox.
“always been there, never had a beginning, it is and it will be forever”
Heather tries to gift John a ball of Paul’s greasy mess from a hairbrush.. I love her.
I’m sorry man but that was not a genuine Paul Squeak™️
these are all the same photos to me!!
No one told me John had the Vivienne Westwood tits t-shirt
John explaining to everyone why Paul is upset // Dig a Pony