#1968-1970

[scifipinups]

Deanna Lund Land of the Giants (1968)

[70sgroovy]

high schoolers photographed by arthur schatz for life magazine, 1969📚

[coolthingsguyslike]

[sarwah]

Una jena in Cassaforte (1968)

[weirdlookindog]

The Vampire Lovers (1970) & Angels from Hell (1968)

[gmzriver]

Barbra Streisand as Doris in "The Owl and the Pussycat" icons

like if you save or use

[desertangels70s]

Sharon Tate, 1968.

Photographed by Jean Claude Deutsch.

[queen-of-the-scene]

David Bowie, 1968 by Vernon Dewhurst

[ireland54]

Teenager 1970

[get-back-homeward]

—From In His Own Write (1964) | First published in Mersey Beat August 17, 1961 | Written 1958-1959 (see below)

Q: There’s a very, very sad poem at the end of the play about Kakky Hargreaves who is some sort of person whose name changes during the poem who’s gone lost. Who was Kakky Hargreaves?

JOHN: Well, nobody, you know. It was Kakky, or Cathy, or Tammy. So it was all those people. But the point is that you GOT it -- the sadness that I wrote into it. But after you write something, a song or anything, you get the sadness and then you perform it or you put it on paper and then that’s gone. And the only way you get the joy back of writing it or the sadness back, is when somebody like Victor or somebody else comes and reads it to you, or acts it out. Like, when I first saw the rehearsal of the play, and they said these words back to me and I got the sadness from Kakky Hargreaves like I’d never heard it before.

Q: You wrote that one when you were very young.

JOHN: Yes. That was, sort of, pre-Beatle. Eighteen. Nineteen.

VICTOR: (laughs)

Q: And have you written lately?

JOHN: Well I write, I think, all the time. So I mean, it’s the same. I actually don’t put it on paper so much these days, but it goes into songs -- A lot of the same energy that went into those poems. I don’t know what I actually do with the thoughts, but they come out either on film, or on paper, or on tape. I’ve just got lots of tape, which, I suppose if I put onto paper it would be a book. But it’s just a matter of, do I want to make those tapes into paper or make the tapes into records.

Q: Does it feel the same to you when you’re writing something on paper and when you’re writing a song lyric?

JOHN: It does now. In the old days I used to think, if song writing was this... you know, 'I love you and you love me,' and my writing was something else, you know. Even if I didn’t think of it quite like that. But I just realized through Dylan and other people... BOB Dylan, not Thomas... that it IS the same thing. That’s what I didn't realize being so naive -- that you don’t write pop songs, and then you DO THAT, and then you DO THAT. Everything you do is the same thing, so do it the same way. But sometimes I’ll write lyrics to a song first and then I'll get the same feeling as Kakky Hargreaves or a poem and then write the music to it after. So then it’s a poem, sung. But sometimes the tune comes and then you just put suitable words to fit the tune. If the tune is (sings) 'Doodle-loodle loodle-leh,' and then you have 'Shag-a-boo choo-cha.' You know, you have sound-words then, just the sound of it. ‘Cause it IS all sound. Everything is vibrations, I believe, you know. Everything is sound, really, or vision. And just, the difference between sound and vision I’m not quite sure about. But its all just (imitates a vibrating sound) 'vuh-wuh-wuh-wuh-wuh-wuh.'

—BBC-2 Interview of John Lennon and Victor Spinetti (about the In His Own Write play) [x] | June 6, 1968

—Remember by John Lennon | Written: started July 1969 | Recorded: October 9, 1970 (John’s 30th birthday), after seeing his father the last time | Released: December 11, 1970

—Get Enough by Paul McCartney | Written: 2016-2018 (?) | Recorded: 2018 | Released: January 1, 2019 (midnight)

[harrisonarchive]

George Harrison, 1968; photo by John Kelly.

Living In The Material World was released in the USA on May 30, 1973.

“You’re taught to just have faith, you don’t have to worry about it, just believe what we’re telling you. And this is what makes the Indian one such a groove for me, and I’m sure for a lot of other people. Because over there they say, ‘Don’t believe in a thing… if there’s a god we must see him, if there’s a soul we must perceive it,’ and so on. It‘s better to be an outspoken atheist than a hypocrite, so their whole teaching is, Don’t believe in nothing until you’ve witnessed it for yourself.” - George Harrison, Rolling Stone, February 1968

Q: “Is there a paradox between your spiritualism and the atmosphere when you’re touring?” George Harrison: “It is difficult, yeah. It’s good practice in a way, to be, as they say, in the world but not of the world. You can go to the Himalayas and miss it completely. Yet you can be stuck in the middle of New York and be very spiritual. I noticed some places like New York bring out a certain thing in myself while I found in places like Switzerland there were a lot of uptight people because they’re living in all this beauty, there’s no urgency in trying to find the beauty in themselves. If you’re stuck in somewhere like New York you have to look within yourself; otherwise you go crackers.” - pre-Dark Horse Tour press conference, October 23, 1974

Lisa Robinson (journalist): “Is it difficult for you to lead a spiritual life and remain in the music scene?” George Harrison: “Yes. The music scene can be… seedy. It’s pretty difficult and I go back and forth.” - Intelligencer Journal, November 25, 1976

“That’s probably the most difficult of all, because I really relate to these people [musicians]. I love them, and they’re my friends, and from time time I’ve really gotten into that — being crazy and boogying… parties and whatever all that involves. I go from being completely spiritual and straight. Then, after a while, I’ve gone back in with the rockers again. But I’ve got a good sort of tilt mechanism in me.” - George Harrison, There Goes Gravity by Lisa Robinson (2014)

“He said, ‘I’m lucky, I’ve got a tilt mechanism.’ And I used to look at him and go, ‘Well, your tilt mechanism goes beyond mine.’ He felt he always knew when to come back, but it can be a dangerous way to live. Because he had an inner anchor and a very pronounced consciousness — not conscience, but consciousness — he knew: This was bad, I’ve got to get back. And maybe that was the Catholic guilt he was always trying to leave behind. Maybe he never did. Maybe that was the tilt mechanism, I don’t know.” - Olivia Harrison, ArtsBeat, The New York Times, September 23, 2011 (x)

[70sgroovy]

jim morrison photographed by linda mccartney at the cloisters museum, new york, 1968🎞️

[coolthingsguyslike]

[sarwah]

The Girl on a Motorcycle (1968)

[vintage-tech]

Tumblr LOVES cameras, such as this dusty late-1960s Kodak Instamatic 414 that shot 126 film like my mom used to have.

[oscar-nominee-tournament]

Oscar Nominee of All Time Tournament: Round 1, Group A

(info about nominees under the poll)

LYNN CARLIN (1938-)

NOMINATIONS:

Supporting- 1968 for Faces

--

JAMES EARL JONES (1931-)

NOMINATIONS:

Lead- 1970 for The Great White Hope