#Elliot Paul

[inlovewithquotes]

The last time I see paris will be the day I die. The city was inexhaustible and so is its memory.

-Elliot Paul

[labyrinthofstreams]

Jewish musicians of the 1960s

✡︎ Bob Dylan (born Robert Allen Zimmerman; May 24, 1941)

✡︎ Lesley Gore (born Lesley Sue Goldstein; May 2, 1946 – February 16, 2015)

✡︎ Leonard Cohen (September 21, 1934 – November 7, 2016)

✡︎ Barbra Streisand (born April 24, 1942)

✡︎ Marty Balin (born Martyn Jerel Buchwald; January 30, 1942 – September 27, 2018) and Jorma Kaukonen (born December 23, 1940) of Jefferson Airplane

✡︎ Robby Krieger (born January 8, 1946) of The Doors

✡︎ Paul Simon (born October 13, 1941) and Art Garfunkel (born November 5, 1941) of Simon & Garfunkel

✡︎ Phil Ochs (December 19, 1940 – April 9, 1976)

✡︎ Cass Elliot (born Ellen Naomi Cohen; September 19, 1941 – July 29, 1974) of The Mamas & The Papas

✡︎ Mary (December 28, 1948 – January 19, 2024) and Elizabeth Weiss (born November 27, 1946) of The Shangri-Las

✡︎ Neil Diamond (born January 24, 1941)

✡︎ Janis Ian (born Janis Eddy Fink; April 7, 1951)

✡︎ Robbie Robertson (born Jaime Royal Robertson; July 5, 1943 – August 9, 2023) of The Band

✡︎ Gary Hirsh (March 9, 1940 – August 17, 2021), Barry Melton (born June 14, 1947), Joseph Allen "Country Joe" McDonald (born January 1, 1942), and David Cohen (born August 4, 1942) of Country Joe and the Fish

✡︎ Manfred Mann (born Manfred Sepse Lubowitz; October 21, 1940)

[troubledontlastalways1999]

euphoria (2019-present) // herakles, euripides // taxi driver (2021-present) // a little life, hanya yanagihara // take a bite by beabadoobee // mr. robot (2015-2019) // ? // ? // nothings matters anymore but you by madison beer // what was i made for by billie eilish // normal people (2020) // girl from nowhere (2018-2021) // ? // looking for alaska by john green // a pearl by mitski.

[notalicent]

House of the Dragon | Behind the Scenes Photographed by Fabien Frankel

[snailsnfriends]

WHAT A GLORIOUS FEELING, I'M HAPPY AGAIN! - on finding the joy in life

why i wake early (mary oliver) / the lego movie (dir. phil lord, christopher miller) / don't let the good life pass you by (cass elliot) / forest (justine kurland) / gate a-4 (naomi shihab nye) / derry girls (lisa mcgee) / walking on sunshine (katrina and the waves) / the perks of being a wallflower (dir. stephen chbosky) / norwegian wood (haruki murakami) / singin in the rain (dir. gene kelly, stanley donen) / (@/inkskinned) / water for the people (paul d'amato)

[huariqueje]

Little Houde Love Bed - Paul Elliott

British , b. 1962 -

Oil , 46 x 35 in.

[frenchcurious]

Elliot Forbes-Robinson, Paul Newman & Milt Minter (Ferrari 365 GTB/4 Daytona #14437) 24 Heures de Daytona 1977. © LAT / Motorsport. - source Carros e Pilotos.

[cantsayidont]

January to April 2004. Fans of MY ADVENTURES WITH SUPERMAN would likely enjoy this poignant 2004 miniseries by Kurt Busiek and Stuart Immonen, about a young man named Clark Kent in a world very much like ours, where Superman is a familiar — and fictional — pop culture icon. Clark grows up the butt of many jokes, but when he's in high school, he discovers that he really does have powers like Superman's, something that has no precedent in his world outside of comic books.

If this premise sounds familiar, it's because it's a lot like the origin of the Earth-Prime Superboy, before he became a way for Geoff Johns to mock comics fans (and for DC to play out its institutional hostility toward Siegel and Shuster). In the pre-Crisis era, Earth-Prime, one of editor Julius Schwartz's little jokes, was supposed to be our world, where comics artists, writers, and editors transcribed the adventures of the real heroes of the other Earths. In the afterword to the trade paperback compilation of SECRET IDENTITY, Busiek admits that the similarities were wholly intentional, and that while he didn't mention it in his proposal (and DC didn't advertise it as such), this was essentially his extrapolation of that 1985 concept by Elliot S! Maggin, Curt Swan, and Al Williamson.

After moving to New York City in his '20s, this Clark becomes a reporter — though not for the Daily Planet — and meets a young woman named Lois Chaudhari. To my knowledge, this was the first time a counterpart of Lois Lane was presented as an Asian woman (although of course she's not precisely Lois Lane).

Throughout most of the story, Clark uses his powers only in secret, but he does make himself a Superman costume. Eventually, he feels compelled to come clean with Lois:

Like Busiek's ASTRO CITY, SECRET IDENTITY is a very introspective story, less interested in action (of which there's relatively little) than in emotion and small observations of life with superhuman abilities. If you're expecting bigger dramatic stakes, you may find the series underwhelming — there are no supervillains or alien invasions, just Clark's reflections on his life and family, from childhood to old age — and the fact that the story never reveals why Clark has powers may frustrate. However, its autumnal wistfulness is appealing if you're in the right frame of mind for it. Immonen's art is gorgeous, and I can't think of a better artist for this story, which straddles the line between a real-world environment and the "heroic realism" of the modern superhero genre.

Fourteen years later, Busiek tried to do a similar story with Batman, BATMAN: CREATURE OF THE NIGHT, with John Paul Leon, which doesn't work nearly as well, wallowing in some uncomfortable attitudes about mental illness and an inappropriate though deliberately ambiguous supernatural element. Leon's art is interesting, but the story leaves a sour taste, and it does not succeed (at all) in doing for Batman what SECRET IDENTITY does for Superman, which is disappointing.

[the-boney-rolls]

Elliot Mintz has peddled several different versions of the Christmas lunch story over the years. The last one I heard on some sort of audio broadcast (probably his Lost Lennon series) a few years ago, John and Paul ran out of things to say to each other during the course of the day and whatever friendship had existed between them had clearly ‘run its course’. This business of John ‘adoring Paul’ is a new addition to the narrative, Mintz probably acting strategically to suck up to Paul in anticipation of Yoko’s impending departure. None of it rings true. For a start, what’s the likelihood that Paul and Linda would abandon their primary school age children on CHRISTMAS DAY to have lunch with John, Yoko and Elliot Mintz? Zero, that’s what. One wonders what else Mintz will suddenly remember when Yoko finally kicks it. If she hasn’t already, that is, and they are all keeping shtum so she can officially die one day after Paul.

ahahaha CACKLING at the idea of Yoko's people hiding the fact that she's dead until Paul's gone! would not put it past her

Thanks for the context! It is interesting to see how people's narratives shift over time and certainly the dominant narrative has tipped from being very anti-Paul to being extremely pro-Paul so it's no surprise that folks on the outer edges of the Beatles circle would want to change ranks to stay in Paul's good graces. Does that necessarily mean that this event didn't happen? I don't know, I'm not very familiar with Elliot Mintz outside of this but to me it seems unlikely that someone would make up a story like this whole cloth, tell it multiple times and also give it a date, making it easier to refute, all while people involved are still around? I'd be curious if some Paul scholar could figure out if there's a year when this would have even possibly taken place.

But yeah, even just based on this interview I wouldn't call him a reliable narrator. The rest of it was sycophanitically starry-eyed about JohnandYoko and he placed himself in the center of the story more than I think likely. He said they were his best friends, referred to his relationship to both of them as a love story. Like, uh huh sure dude.

To me the most interesting thing about the clip I transcribed was its placement in the middle of an interview that is otherwise built around upholding the ballad of John and Yoko, the inclusion of "I Know (I Know)," the fact that this series was executive produced by Sean and what those choices mean about the shifting "official" narrative around John and Paul.

[theoutsiders25]

Nuno Bettencourt and Paul Geary (Extreme) Joe Elliot and Phil Collen ( Def Leppard )

[flytotheway]

First at all I apoligize for my grammatical mistakes, I'm not a native speaker and surely I am not fluent. Anyway today I rewatched Elliot Roberst's video on Now and Then and guys if before with his video on Get Back while he was commenting the infamous flirting moment between John an Paul as "This moment is very revealing...just perfect" on Now and Then he mentions clearly mclennon and in the end says "They’re letting us know that someday down the long and winding road across the universe, they will return to each other.”

I love this man aside from being a very good content creator he is such a fan

In conclusion his video as taken me to another content creator of my country, and the most interesting thing is the comment

He talks about the tape of Now and Then and the idea who was written for Paul: he says "è una cosa tanto romantica" it's such a romantic thing. My mind in the moment was blowing what a coincidence but for being clear he doesn't believe it because there a no clearly proofs, Yoko could have written that for organize the tapes why John should have written for Paul he didn't know he would have died... a very rational reasoning you can agree or disagree but it's not the point of my post

Te point is that I am always more convinced that even hetero men beatles's fans secretely HOPE John and Paul were a thing

[thewayhomehallmark]

1999 | 2023

[tomsmusictaste]

Elliot Minor // Still Figuring Out

[denimbex1986]

'Actress Claire Foy is ready and braced for a lot of personal reactions to her latest film All of Us Strangers. Adapted from Taichi Yamada’s novel Strangers, writer-director Andrew Haigh’s emotional reimagining finds gay screenwriter Adam (Andrew Scott) working on a script inspired by a devastating personal tragedy: in the early ’80s, both his parents died in a car crash when he was just 12. Seeking inspiration, Adam travels back to his childhood neighborhood where he encounters his parents (Claire Foy and Jamie Bell) — not only still living in his former home but looking exactly the same as the last time he saw them.

DEADLINE: How did you first hear about All of Us Strangers?

CLAIRE FOY: It was actually three or four months before we started shooting. One of my agents, Billy Lazarus, had a very, very emotional response to it, and I knew that it was something quite special. Then I met Andrew [Haigh] and he’s just so open as a person, and unassuming about what he does, which is so encouraging because what he does is so tender and truthful and not precious in any way. I just thought, it’s going to be really special to be a part of this film.

DEADLINE: Did Andrew tell you whether your role of Mum was loosely based on his own mother? Or was it less specific?

FOY: I don’t know whether he was basing it on his mother or a generational group of parents who were the children of war babies in the U.K. And that’s quite a specific generation of people. You have a specific set of values and beliefs that have come out of the war generation about how they were brought up, what you do and don’t do, how you express yourself, what you talk about and don’t talk about. And then it’s like, someone like Adam is the fruit of those people.

I’m from a family where there’s a hell of a lot of women. I’ve got so many aunts in my family, so ‘mum’ became an amalgamation of the many different women in many different moments to me.

DEADLINE: When you knew that Jamie Bell was going to play your husband, did you spend some time with him to work on the relationship we see on screen?

FOY: Not really. I had never met him before in my life, and so when he signed up, I just knew that it wouldn’t be a problem. I think I have loved Jamie Bell since Billy Elliot, as everybody else in the world, and sort of feel a deep affection for him. He’s so engaged all the time, and his emotions are so close to the surface. It’s the most beautiful thing to see in a man that has such access to it all the time.

DEADLINE: It sounds like all the family moments between you, Jamie and Andrew were really natural to shoot.

FOY: I can’t really put my finger on what it was, but it was the coming together of three people who’d known each other a long time. And it was immediate. We were all there. We were kissing each other on the lips to say goodbye in that scene where we say goodbye. And it could have been a sort of weird thing where Adam is kissing his parents on the lips as an adult, but it just didn’t feel weird. It just felt so right. And I just don’t think you can fake things like that. I just think that’s incredible casting by Andrew [Haigh] in that he knew we’d all get on. But we’re also quite similar to Andrew, to the point where we had very little friction ever on set.

DEADLINE: Is it true that this is the first film where you’re not performing with an accent?

FOY: I was very much gunning for being Irish. My family is Irish, and I’ve always said I’m going to do an Irish accent in a film. There wasn’t a lot of prep time, but I was like, I don’t think it’s going to be a problem. So, I spoke to my friend who’s a dialect coach, and I went, “Here’s my Irish accent.” And he went, “OK, so the problem is, you speak with the accent of someone who lived in Ireland a hundred years ago and was a rural farmer.” I guess my accent was inspired by Barry, my granddad, who is 94 now [laughs]. But what’s so amazing about this film, is that it suspends everyone’s reality. Adam moved back to Ireland with his nan after his parents died, and hence he’s Irish and they’re not.

DEADLINE: The moment when Adam comes out to his mother is quite tough to watch. She doesn’t respond in a way that he hoped.

FOY: It’s not sentimental. Andrew Haigh had written it as complicated. I feel like Adam’s journey in the film is one that isn’t tied up in a bow. He has suffered a great tragedy. His parents died at the beginning of his adolescence. It’s terrible to lose to your parents in any way, but for Adam about to step out into the world, he doesn’t have them in a formative period of his life. That in itself is so heartbreaking.

It was really interesting being invited into that scene from a position of having the two Andrews talking about their own experiences. I think Andrew Scott didn’t want it to be a coming out scene. He didn’t want it to be that he had gone there to his mum’s house with the idea that he had to come out. Because he’s a man in his forties, and has an understanding of himself and his sexuality. There was no unresolved business there for him.

I didn’t want my modern sensibilities to get in the way of the fact that whilst everything she says is said dripping in love, he feels judged just by virtue of what she’s saying. I think it would short-change both the audience and the characters to make her say the right thing. I think it had to be that scenario where you had to see the difference in a time period that they haven’t had with each other.

DEADLINE: She’s also processing the information at the same time.

FOY: When we try to understand off thoughts and emotions, that’s when people get hurt because it comes out before you assimilate in your brain. I think she felt upset about missing so much out on his life. She didn’t know what his teenage years were like. She didn’t know what his twenties or his thirties were like. She didn’t know any of that. And then to have your son say something so fundamental about who he is, and she doesn’t know it, I think she’s deeply wounded by that and goes on the defense in a mundane way.

I felt a very strong instinct that she felt she was being criticized. Everything about who he was now as a person was an indication of how she hadn’t fulfilled her job as the mother properly. Everything is an exclusion from his life because she died. Because if she had lived, then she wouldn’t have a gay son. She would have a son who was married with twenty-five children and living in a house. It was really interesting because I genuinely felt like everything Andrew was doing was a criticism.

I also didn’t want to make her nicer. I didn’t want to make her say the right things. I wanted it to be truthful. I knew when I was shooting it that people would have visceral reactions to my portrayal of that person and they’re completely entitled to it. In fact, it is most truthful how these interactions go from what I have learned.

DEADLINE: Was there ever a scene that was even too much emotionally for you to be in?

FOY: The final scene in TGI Fridays with me, Andrew and Jamie. Sometimes something happens in a scene where you think it’s going to be one thing, you do all your prep, you have in your head what you think your character wants out of the scene and then an actor does something and it changes everything.

So Jamie just sat down and we did this bloody scene, and by the end, Andrew and I were just like howling, crying. All three of us were just bawling our eyes out and we were like, this is wrong. We shouldn’t be like this. It was really, really incredible. I suppose I believed everyone so much that I was just in there with them. And then at the end I just worship and bow down to them. That’s what I do.

DEADLINE: I have to ask, what is it like to have Andrew Scott climb into his parents bed in his childhood PJs?

FOY It didn’t feel weird. (laughs) The way Andrew was playing it was so childlike and I think me and Jamie have kids so were so used to that dynamic of, all right, come on in. The only thing about that was Paul Mescal was also in the bed because the scene then switches to Andrew being in bed with him at home. And so there was the added element of, “What’s going on here? I’m in bed with these three men. What’s happened to my life?”

DEADLINE: That’s a photo many people would like to see.

FOY: There is a photo! I’m hoping no one ever sees because I look like a competition winner and I could not be happier to be there. They look really cool and just like, “Yeah, whatever.” And I’m like, “Ahhhhhh!!!” It’s so embarrassing. No one’s ever seeing that photo. I’ll just have it for the rest of my life. I’m going to get it framed. (laughs)

DEADLINE: What is it like to work under the direction of Andrew Haigh?

FOY: He’s very similar to Sarah Polley, who I’ve worked with [on Women Talking]. Like Sarah, he doesn’t pretend to be the big all-knowing director. He often says, “I don’t know.” He’s very human and you feel like you’re genuinely having a conversation with him. I love how he picks up on little things you’re doing. He’s very observant. He’s also just a very kind person, very funny, very cynical, but also full of hope and love, and that’s made him a great director. As someone who is interested in human beings, I feel like he wants to get to the heart of most things in a truthful, honest way.

DEADLINE: The film is very subtle in its portayal of the ghosts that haunt Adam, and the way his denial of the past catches up with him.

FOY: There’s a scene in the film where Adam tells his new boyfriend Harry [Paul Mescal] about the fact that his parents died. And I think it’s the most brilliant piece of acting because it could be, “My parents died when I was 12.” But what he does is he says, “Oh no, it’s not a big deal,” because the trauma and the pain and the loss is so deep in his body, in his muscle, in his bones, he can’t touch it. He’s desensitized to it. This is what I’m projecting onto him in the film. He can’t access that, and the film is all about him attempting to access that grief in some way in order to be able to allow himself to love someone again.

I can think of nothing braver than losing someone you love and then being brave enough to try the whole thing all over again because what a terrifying concept that is. You have to live in denial or live every day knowing they could go, because either way, you can’t deal with it. It’s too much, that human connection. And it’s the one thing that makes human beings incredibly special is that we have the ability to do that.

To play the smells, the textures, the feeling of having parents — I think that’s what he misses his whole life. He didn’t have them, and then suddenly he has them, and he doesn’t want to leave them.

In the end, we’re all going to the same place. We like to pretend we’re not, but we’re all going to die. And inevitably it involves people being left behind. And that’s just the most incredibly painful concept, I think, of what it is to be alive.'

[oceansrose2002]

When the only way to be able to deal with the world is playing stardew valley then your brother has the AUDACITY to say Elliot is dwayne and that Sebastian is just an emo version of Michael. Like I don’t see it. For either of them! Well then again Elliot is a romantic and Sebastiana step father is a dick. I just proved my brothers point. I think I need to play rdo god damn it. (It also doesn’t help that one of the characters name is Sam and gives off sam vibes but looks like goku)

Also Emily is just basically Star. Like that’s what Emily is.

[magpies-gold]

Happy Canada Day from (a decent chunk of) my cast of Space Canucks. We're going to pretend for a hot minute that they actually get along well enough and have a chance to enjoy the best part of the day: explosions!