#michael session

[dare-g]

Moor Mother: Jazz Codes (2022)

[thebrightsessions]

We got a new merch store, which means we have these cute as hell buttons for sale right now!

[partylikemajima]

They missed an opportunity for Wunmi and Michael to have a cooking session together.

[runtheduels]

some doodles

[tavolgisvist]

Paul to John: Whereas there always used to be*

*about Brain Epstein and group discipline

gifs by sgtpeppers

George:

Child Of Nature

John to Paul: I do 'On The Road To Marrakesh,' which is a sweet number, baby George:

Octopus's Garden

John: What am I playing, Richie? Ringo: You’ll be on drums John: Ooh, drums, right [Yoko chuckles]

John: I think Paul’ll would wanna do drums, wouldn’t he? With his strong left arm [Yoko chuckles]

George and Ringo:

gif by javelinbk

Discussing the rooftop concert

John: Because to me it's all-

Paul: Any time is paradise when I'm with you John: Yeah George:

John: Any time Paul: Yep

John: Any time at all George and Ringo:

gifs by michonnegrimes

+ this from Beatles '64

[thelaurenshippen]

be honest:

[jenijro]

I’m never going to forget how Adam’s first line in the bright sessions was “what the fuck is that supposed to mean???”

[thefigureinthecorner]

hi I’m back with the pillow fort scene <3

[hoziersmilligan]

out of the entire supernatural cast, i feel like the only who who could truly match my freak is jake abel. he would happily sit down and listen to my rambles about the two silly little characters he played in at most six episodes. he would understand. if anything, he would be more freaky than me

[the-ghost-parade]

finally posting my art and ofc its from the bright sessions bc thats been my obsession for seven months now. have some little calebs from my sketchbook. as a treat.

[thebrightsessions]

with walls of the deepest blue // a Caleb mix

be calm fun.; love sucks nathan angelo; like high school matt duke; bigger than my body john mayer; i’ve got atrophy on the brain matt duke; stay where i can see you the starting line; broken heart motion city soundtrack; your heart is an empty room death cab for cutie; comes and goes (in waves) greg laswell; leave glen hansard; gravity john mayer

[sea-owl]

Lucy, one of the most well-adjusted of the friend group: When I am rich

*Points at Simon and Gareth*: You're getting therapy

*Points at Kate and Michael*: You're getting therapy

*Points at Sophie and Penelope*: You're getting therapy

*Points at Phillip*: You're getting DOUBLE therapy

Lucy: Everyone is healing!

[nofatclips]

Apartments by Sun June, live on Audiotree

[jashiethh]

"Together we make green"💚

Bright sessions holds a super special place in my heart, and I can't believe it's been over two years since I first listened to it :(,,,, Additionally, Adam and Caleb changed my brain chemistry, I can't explain the feelings I felt when I finished the College Tapes😭I love all of them dearly <33(Even Damien...he makes me sad though) I want to put more bright sessions art after finals too agghhhh

[tavolgisvist]

Two Virgins and Why Don't We Do It In The Road?

Two Virgins

recorded 3-4 (or 19–20) May 1968, released 29 Nov(UK), 11 Nov 1968 (US)

August 31 Private Eye announced that John and Yoko’s forthcoming album would have a full-frontal nude cover. September 15 Around this date, John and Yoko photographed themselves in the nude, from the front and rear, intending to use the shots as cover artwork for their rst collaborative album. November 11 John: “Originally, I was going to record Yoko, and I thought the best picture of her for an album would be naked. So after that, when we got together, it just seemed natural for us both to be naked. Of course, I’ve never seen my prick out on an album before.”

(The Beatles Diary. Volume1.The Beatles Years by Barry Miles, 2001)

Autumn 1968:

As the meeting was drawing to a weary close, John, not this day with Yoko, who hadn’t seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often they’d shared small rooms in Hamburg, whatever they knew of each other’s love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, “Well, that’s an interesting one.” The others muttered something and the meeting was over.

(Michael Lindsay-Hogg (filmmaker), Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond, 2011)

Inevitably, many people bought Two Virgins for the cover alone: for some of the Beatles’ younger fans, it was to be their first ever glimpse of grown-ups in the nude.

(Craig Brown, 150 Glimpses of the Beatles, 2020)

Paul: So what’s the point behind Two Virgins? <…> Paul [mimicing reporters]: Is there any need to do this in public, Mr. Lennon?*

(Get Back sessions, January 14th, 1969)

Why Don't We Do It In The Road?

recorded 9, 10 October 1968; released 22 Nov (UK), 25 Nov 1968 (US)

designing the White Album poster during Sept-Oct 1968

I was up on the flat roof [in Rishikesh] meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, Huh, I must have imagined it, and she wandered off. And I thought, bloody hell, that puts it all into a cocked hat, that’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple. We have horrendous problems with it, and yet animals don’t. So that was basically it. Why Don’t We Do It In The Road? could have applied to either fucking or shitting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilised and we don’t. But the song was just to pose that question. Why Don’t We Do It In The Road? was a primitive statement to do with sex or to do with freedom really. I like it, it’d just so outrageous that I like it.

(Paul McCartney, Many Years From Now by Barry Miles, 1997)

PLAYBOY: “Why Don’t We Do It in the Road?” LENNON: That’s Paul. He even recorded it by himself in another room. That’s how it was getting in those days. We came in and he’d made the whole record. Him drumming. Him playing the piano. Him singing. But he couldn’t—he couldn’t—maybe he couldn’t make the break from the Beatles. I don’t know what it was, you know. I enjoyed the track. Still, I can’t speak for George, but I was always hurt when Paul would knock something off without involving us. But that’s just the way it was then.

(John Lennon, 1980, All We Are Saying by David Sheff, 2020)

The song’s (very) slightly risqué lyric, all two lines of it, heightened the vague air of controversy surrounding the album. McCartney was already in trouble with the press for allowing a minuscule nude picture of himself to be included on the set’s free poster.

(The Beatles Diary. Volume1.The Beatles Years by Barry Miles, 2001)

“All this work, all this talent — and what [the press] fixate on is one small picture.”

(Derek Taylor)

I did hear him some time later singing it [Why Don’t We Do It In the Road?]. He liked the song and I suppose he’d wanted to do it with me. It was a very John sort of song anyway. That’s why he liked it, I suppose. It was very John, the idea of it, not me. I wrote it as a ricochet off John.

(Paul McCartney, May 3, 1981 with Hunter Daivis)

from too long post

*thank you a lot, @i-am-the-oyster <3

[rubyredbonnetblue]

Hi I'm bad at Internet content but I wrote a song about Adam and Caleb from @thebrightsessions. How did it take me 10 years to actually listen to this podcast? Idk, but I'm having a great time having my heart squeezed just a little too hard like a really good hug