#Evidence Music

[curryvillain]

Eesah & Little Lion Sound Drop Dubplates Like Bombs In "The Conqueror" Project

The Dubplate culture is not dead, and there are many representatives around the world to keep it going strong. A student of the music, Recording Artist Eesah has been busy connecting with the people, releasing great music, and growing as a creative. When it comes to Dubplates he knows how to handle business, and he aims to entertain the fans and shut up the critics with “The Conqueror“. “The…

[nouvellesdumaquis]

Noga - Shir (Official Video)

Noga dévoile son nouvel album LEV le 14 avril 2023. La chanteuse suisse prépare un album en hébreu qui magnifie le pouvoir de la voix et son rôle cathartique.

Sur fond classique et allures jazz, la musique se teinte de notes tribales, d’éclats moyenâgeux, d’accents méditerranéens, de réminiscences hippies, pop ou fifties… dans un paysage rythmé par la pulse des percussions et la voix bienfaisante de Noga. L’album LEV revisite en hébreu des psaumes et nous transporte avec sa voix irréelle. Couleurs et sons se répondent, dans l’instant présent.

On retrouve sur le disque des musiciens réguliers comme Patrick Bebey (piano, claviers, senza, flûte pygmée, choeurs) et Arnaud Laprêt (percussions). Le premier extrait s’appelle Shir, et on vous le conseille. La musique de Noga est comme un baume apaisant.

Le premier extrait s’appelle Shir :

[snugg-slugg]

Breaking news: Ex-art student is a queer disaster which is a surprise to literally no one.

My last narumitsu post blew the absolute hell up so I thought I’d post a comic I’ve been thinking about. I hope you guys like it :)

[allconsumingrot]

scrapbook of letters reads like this. to me

[todays-xkcd]

[Decades in the future] "Well, the good news is that we've received definitive communication from aliens. The bad news is that they're asking about Cats (2019)."

UFO Evidence [Explained]

[aroaceleovaldez]

forever disappointed in Rick for, when presented with the decision of "what band t-shirt do i give Nico to signify his character and style," having Nico wear a Ramones shirt when the opportunity for Nico in a Welcome To The Black Parade shirt was RIGHT THERE. PEAK EMO AND IT HAS A SKELETON ON IT-

[notllorstel]

rewatching TBT and huh wonder why poppy is suddenly talking about wishing to have a sibling ooh it’s probably from staying again at the troll tree that’s bringing up memories. well there should be some evidence of Viva still there🤔… unless Peppy covered it up😬

[daisyswift3]

A Summary of the 🎃 Messages--The Overarching Story

So I just realized sth abt the 🎃 messages while listening to ttpd—they’re in chronological order!! I am going to try to give a summary of these messages and explain why I believe this. This album has made 99% of her songs, mvs, metaphors, and symbols make perfect sense. There were always some things like getaway car, cruel summer, and the palm trees in rep era that I could never quite figure out but now it's all crystal clear. It's like ttpd is the last piece of the puzzle needed to make everything fall right into place and to see the whole messy complicated story. One thing I want you to take note of as you read this summary is how incredibly consistent Taylor is w her use of metaphors and symbols. This makes solving the puzzle that is her music more like solving a cypher that you can know you solved correctly bc all the symbols will fit together perfectly just like a secret code. Once you understand what one symbol represents you now know what it means every time you see it. Every word or phrase she uses is intentional and there's not a single easter egg that's out of place. You'll notice in ttpd there are several words and phrases that are repeated bc she wants us to know that certain songs are related. 🎃 anon said there would be many connections and foretellings in the messages that we could find if we held them to the light in the coming unfoldings, and boy they were not wrong. So w/out further ado let's get into it (just a warning though this will be pretty lengthy so grab your favorite drink, some snacks, and get comfy).

1st message: The first one starts right before rep era when her rep started going down and she started feuding w her record label. These are the obstacles she didn’t see coming that made her slam on the (getaway bike) brakes (which were cut so she had to use her foot to slow down) and not come out. The "heel damaged" could be a reference to Achilles' heel since this was a weak spot she didn't see or it could be a reference to Jesus' heel being bruised in the 1st ever biblical prophecy (see this post for more on that). This was her first big pivot and change of plans. Many ppl have theorized that TS6 was originally going to be a different album--perhaps lover/daylight--but kimye and BMR got in the way of that. This would explain why she wears an outfit w palm trees on it while cutting the wings off her TS6 jet. She spray paints "reputation" on it which seems to indicate it was a haphazard last minute change of plans (x). Plus the endgame mv has palm trees and shows Miami, Florida (which I think is related to Florida!!! but I'll have to get to that another time) connecting it to "Island breeze and lights down low, no one has to know...In the middle of the night in my dreams I know I'm gonna be with you so I take my time." Miami is the paradise where her endgame happens. This all seems to indicate she was ready for "daylight" or "paradise" during rep era but had to pivot.

The Prophecy: “Hand on the throttle, thought I caught lightning in a bottle, Oh but it’s gone again"

2nd message: This is abt the lover rollout that started in spring of 2019 -> "The time draws near, springtime sunshine causing small drips and fractures." The ice castle likely represents the lover house (her music empire, past eras, and closet) since she burns it down w a match just like she does in the eras tour visuals and midnights -> "You strike a match and blow the smoke toward the structure that shelters and protects you. Suddenly, you hear a crack, a crunch, a whoosh. There is a sudden give beneath you, and you tumble through the broken, melting hole in your palace." The ivy reference (spring breaks loose, the time is near) just solidifies my theory that ivy is a song abt an eventual kaylor reunion that will happen before she burns all the files and deserts all her past lives (eras).

Lover era was her second big pivot. I believe she knew there was a very good chance Scott B would sell her masters all the way back in rep era hence why she says "I'm always waiting for you just to cut to the bone, devils roll the dice" (see this post for more on that). "However, in this suddenness you find yourself still somehow underprepared, kicking yourself for the time you squandered by wallowing in the seeming endlessness of your predicament" -> Her being unprepared to come out along w the mastersheist is what caused her to miss her 2nd opportunity to come out. She was so caught off guard that it made her indecisive. And so she played it safe and stayed in the closet -> "Our coming of age has come and gone, suddenly this summer it's clear I never had the courage of my convictions as long as danger is near." Remember how I said Taylor is very consistent w her use of metaphors? Well I made a post a while back explaining how folkmore represents the seasons bc summer = daylight and winter = closeting and folkmore was Taylor trying to come to terms w her 2nd failed coming out hence the grey and beige ("I'm just a paperweight in shades of greige"); so that means the ice castle = winter = closeting and springtime sunshine = almost daylight = almost being out of the closet (and spring was also the time when the lover rollout started so it has a more literal 2nd meaning to it as well).

The Albatross: "So I crossed my thoughtless heart spread my wings like a parachute, I'm the albatross, I swept in at the rescue." [I think there's a good chance this song is abt Scoots so it makes sense the parachute metaphor, which relates to her masters and failed coming out, would be used in this song]

The Bolter: "By all accounts, she almost drowned when she was 6 in frigid water...It feels like the time she fell through the ice then came out alive." ['Long story short I survived']

3rd message: This is abt the mastersheist (diamond heist) during the summer of 2019. It parallels the I Can See You mv exactly (see this post). In hindsight it now makes perfect sense why 1989 tv didn't have any mvs--bc the Fortnight mv is a direct continuation of the ICSY mv! Before the Fortnight mv, the ICSY mv was the most recent one. She didn't want anything between those 2 mvs so that it was obvious they were directly related. Her losing her masters and her 2nd opportunity at daylight is what drove her to insanity and caused her to end up in the asylum -> "I find the artifacts, cried over a hat...I trace the evidence" // "And so I enter into evidence my tarnished coat of arms, etc" | "Is it okay? Is it you? Or have they come to take me away?"

"Mere feet away from the light of freedom...Your getaway bike begins to leave without you, sparks flying as the tires try and fail to slow down for you. You have frozen in this moment of indecision" // "It was the great escape, the prison break, the light of freedom on my face...he was runnin' after us, I was screamin', 'Go, go, go!'" -> There are 2 getaway car mentions in this message which emphasizes its importance. This is likely for a few reasons: 1) To explain what the song getaway car was actually abt--her feud w BMR, not the beards 2) To show that message 1 and 3 are related; the getaway bike is mentioned in both since both are abt her masters 3) To show that the lover era pivot was actually just history repeating itself; this is what Cassandra and the Prophecy are abt.

Cassandra (notice the piano melody from mad woman): “So they set my life in flames, I regret to say do you believe me now? ['If I'm on fire, you'll be made of ashes too']…They knew, they knew, they knew the whole time that I was onto somethin', [She knew there was a good chance her masters would be sold as shown in cruel summer] The family, the pure greed, the Christian chorus line" ['Now he sits on his thrown in his palace of bones praying to his greed']

Fortnight: "I was supposed to be sent away But they forgot to come and get me I was a functioning alcoholic 'Til nobody noticed my new aesthetic [Her fans didn't notice the shift from rainbows and pastels to black mourning clothes during the lover era] All of this to say I hope you're okay But you're the reason [The you in the song is Taylor; she's the reason she decided to stay in the closet] And no one here's to blame But what about your quiet treason?" [Taylor's indecisiveness is what led her to not come out the 2nd time]

loml (This is from Karlie's pov): "Mr. Steal Your Girl, then make her cry...You shit-talked me under the table talking rings [Paper Rings] and talking cradles, [Lover mv] I wish I could un-recall how we almost had it all, [They were so close to daylight]...It was legendary, It was momentary ['I touch you (daylight/sunshine) for only a fortnight']...Our field of dreams engulfed in fire" ['So they set my life in flames']

Florida!!!: "Little did you know your home's really only a town you're just a guest in, ['I touch you (daylight/sunshine) for only a fortnight'; 'And so a touch that was my birthright became foreign'] So you work your life away just to pay for a timeshare down in Destin" [Taylor did all this masterminding and planning just to end up still stuck in the closet and bearding and only being able to see her lover in stolen private moments]

Fresh Out the Slammer: "Another [cruel] summer, taking cover, rolling thunder, he don't understand me"

The Bolter: "But it always ends up with a town car speeding" [getaway car]

Peter: "Forgive me Peter, my lost fearless leader, in closets like cedar preserved from when we were just kids, Is it something I did?" [Peter is herself; 'I'd be a fearless leader' and the fearless album; 'closets' is obvious]

How Did It End?: "We were blind to unforeseen circumstances, We learned the right steps to different dances, and fell victim to interlopers' glances, Lost the game of chance, what are the chances?...It's happening again" [This is the 2nd time she's lost the opportunity to come out]

I Can Do It With a Broken Heart: "I'm so obsessed with him but he avoids me like the plague" [They're in love w each other but can't be together in public; 'Break my soul in 2 looking for you but you're right here']

Down Bad: "For a moment [a fortnight] I knew cosmic love, now I'm down bad crying at the gym...'Fuck it if I can't have him I might just die it would make no difference'" ['You (Taylor) told Lucy you'd kill yourself if I (Karlie) ever leave']

5th message: Out of all the messages this is the one I'm the most uncertain abt. But I think it is possibly about JA leaving before his contract was up. "You are in a kitchen. Not your kitchen, of course. Your kitchen is soft and cozy and sacred. THIS kitchen is hard and cold and purely functional" -> This is not the sacred kitchen from Cornelia Street that she shares w her lover, this is a PR stunting kitchen that's a false imitation of the real domestic bliss she has. A few yrs ago kaylors were talking abt how Karlie has a kitchen that she only uses for PR/social media purposes so pumpkin anon could've been trying to remind us of that. These 3 messages from flag 🏴󠁧󠁢󠁥󠁮󠁧󠁿 anon make me think the breakup happened sooner than planned.

The July 29 message wasn’t meant to be posted until Oct 8 since it was hinting at the Toe breakup happening 5 months later in mid March, 2023.

The Nov 23 message mentions a “shift of footing” which we all agreed meant Toe 🦶 was over. The Dec 5 message w “the need to flex is sometimes necessary” directly following the Toe breakup message is what really makes me think it wasn’t planned. They had to pivot/flex but “other milestones are resolute” meaning the endgame is still the same—K and T will still reunite and both will be out of the closet at a certain time. Plus there’s the “…” at the end of the Nov 23 message which also indicates the Dec 5 one is a direct continuation of that message.

To add more credibility to this theory, RFI and SIG also have ellipses. RFI always seemed like it was supposed to be a direct continuation of SIG bc SIG sets up the “chess game” w her and her lover doing magic and pulling the wool over everyone's eyes, and RFI is when this chess game officially begins, "baby let the games begin."

Some other kaylors said they thought “the need to flex” meant that she wanted to give anti hero more time on the charts so she was flexing or showing off. But I think it makes more sense for it to be related to London Boy himself and not having him as a beard since that’s the whole purpose of having the 🏴󠁧󠁢󠁥󠁮󠁧󠁿 flag. I could be wrong though.

So Long, London: “Pulled him in tighter each time he was drifting away…Holding tight to your quiet resentment…Every breath feels like rarest air when you’re not sure if he wants to be there” [This may mean that JA kept trying to break free from the contract and Taylor kept trying to convince him to stay but it didn’t work]. "My spine split from carrying us up the hill, Wet through my clothes, weary bones caught the chill" ['They are bowing out, leaving you with double the workload, now half burnt and smoking. Their duties weren’t finished, and yet there is nothing you can do to make them stay. Shaken by this loss, chaos descends upon the team. Most roll up their sleeves to work harder']. "And my friends said it isn't right to be scared, every day of a love affair" [There were several blind items talking abt how JA was hooking up w men in a very unsubtle way; this could be what the 'cheating husband' mentions in ttpd are abt]. “Two graves, one gun” [Makes me think of a smoking gun which could be what the 'smell of smoke' in the message was alluding to. Maybe JA threatened to reveal her secrets if she didn't let him go and he had the smoking gun evidence to do so which was the recipe card. 'This time is different. Because you know this person actually has the means to share the secret menu, and that they have enough proof to make the waiting guests believe them.' -> I mean if anyone could convince the general public it would be the man who was supposed to be her boyfriend for 6 yrs]. “And you say I abandoned the ship but I was going down w it, my white knuckle dying grip” ['But you have never been one to lay your armor down. When you fail, you fail gloriously. When you go, you go kicking and screaming']. "I didn't opt in to be your odd man out" [She didn't want to be his beard just like he didn't want to be hers; and odd man out is a game that's played w 3 ppl where the odd man is the loser who's eliminated bc he didn't have a match]. "I founded the club she's heard great things about" [The Tortured Man Club -> The Tortured Poets Department that she's chairman of]

7th message: This message is all abt the domestic bliss she has away from the public eye. She has worked so hard to make sure her secrets are safe by building a tall impenetrable fence. However, she chooses to intentionally blow a dandelion full of secrets--perhaps ttpd is the dandelion w all the songs being the florets or secrets. There is one floret in particular that she’s worried abt—my guess is it’s Robin since it’s so damning if you know what to look for. Plus the song Robin parallels this message perfectly and evokes the same imagery. And to add even more credibility to this theory, the lyric vid for Robin has dandelion florets in the background. See these posts: (x)(x)(x)(x)(x)(x). "You are walking through your yard. It's one of your favorite places, all sprawling garden rows" -> Betty's garden; "your wife waters flowers," etc. "There are daisies - so many daisies - in every shade of your rainbow"--I don't think I even need to explain this. "Your lover and your fresh baked buns are safe. (The buns, of course, are in the oven turning golden as you speak. It's an old family recipe, jotted lovingly on a recipe card.)" -> The recipe card is perhaps a picture or some other sort of smoking gun evidence of Taylor's family and it connects the 5th and 7th messages together. And the meaning of "buns in the oven" is pretty obvious. "Golden" refers to Karlie.

Robin: "Higher and higher, wilder and lighter" [This may be a double entendre--not only is she encouraging this child to bounce higher on his trampoline or swing higher, she is also encouraging the dandelion floret (the song Robin) to fly higher and go out into the world after she blows on it]

The Albatross: "Wild winds are death to the candle...One bad seed kills the garden" [This may be connected to the dandelion metaphor and I believe there are many layers to these lyrics; wild winds can carry the dandelion seeds into other ppl's yards; if Taylor's secret gets out this can destroy the domestic bliss she has i.e. kill her metaphorical garden or candle; 'love's a fragile little flame it can burn out']

I Hate It Here: "I hate it here so I will go to secret gardens in my mind people need a key to get to, the only one is mine" [There is only one way to get into this garden since a tall impenetrable fence surrounds it; there are other layers in these lyrics as well like the escapism aspect of it]

But Daddy I Love Him: "I'm having his baby, no I'm not but you should see your faces" [Bc it's Karlie that had the babies]

8th message: This entire message parallels the Bolter. I believe this is abt Taylor finally choosing her lover over her reputation and choosing to intentionally destroy it in order to meet her lover down at the bottom like 🌋 anon mentioned. This may be the purpose of the whole Ratty debacle—to tarnish her image (by jumping into shark infested waters) so that when kaylor are together in public again her fans won’t be able to hate on KK w/out being hypocrites bc Taylor has already done all the things she knows they’ll accuse KK of, like being connected to someone who’s quite problematic. I believe this takes place from May 2023-now since this is when MH and her started “dating.” The use of all lowercase in the 🌋 messages may be a reference to the reputation album title to indicate that this is going to be a repeat of rep era but this time the damage to her rep will be intentional. I find it very interesting that the Feb 20th 🌋 message is the only one that has a word capitalized and the word that's capitalized is "Gold." This is in contrast to "fools gold" which is not capitalized or colored.

The self-loathing is palpable in Taylor's music (x) and it is displayed heavily in this message as well. I think it's possible the "enemy" is actually just Taylor herself or her public persona to be more exact. She is her own worst enemy; the Anti Hero mv illustrates this. She's the one that spreads the dandelions in message 7 which is what the enemy does in this message; she's the bear, and in the Bolter she (real Taylor) tames the bear (Taylor the brand). I believe TSMWEL could possibly be abt herself as well. I mean TSMWEL literally has "TS" in the track title. The clean version of the Bolter has the line "Then she'll call him a bore" which parallels TSMWEL, "You said normal girls were boring." It's as if real Taylor is doing an UNO reverse on Taylor the brand by treating her public persona the same way she treated real Taylor for years. This is very reminiscent of the Archer, "I've been the archer I've been the prey." I think TSMWEL, while it is abt herself, is simultaneously abt Scott B. And the reason for this relates back to what I said abt the 2nd and 3rd 🎃 messages--she blames both Scott AND herself for her failed coming out. The mastersheist threw her for a loop, yes, but she could've still come out anyway were it not for her indecisiveness. And I haven't have time to fully analyze MBOBHFT yet but I think it's similar where it can either be read from Karlie's perspective to Taylor after the 2019 failed coming out or from Taylor's perspective to Scott B/the industry.

The Bolter: "But as she was leaving, it felt like breathing, ['When I was drowning that's when I could finally breathe'] All her fuckin' lives flashed before her eyes...He [the 'enemy'] was a cad, wanted her bad just like any good trophy hunter and she liked the way it tastes taming a bear, making him care watching him jump then pulling him under" [This connects to the 10th message: 'You limp over uneven ground, smiling at the pain of the shark bite with each excruciating step - replaying the satisfying splash as you finally chose her over the world. As you grabbed the enemy and dove into the infested waters']

loml: "The coward claimed he was a lion" ['You’re a selfish asshole. So much of your fear is your own. You wince at your cowardice like it is a gaping wound. You so often find yourself unable to meet your own eyes. You scramble into shadows like a black cat. Scared, even, of being scared...You are a coward, but you are not a fool']

I Hate It Here: "I was a debutant in another life but now I seem to be scared to go outside" [In another life she already came out but in this one she's too scared to even leave her house let alone come out]

The Tortured Poets Department (This is from Karlie's pov): "You're in self-sabotage mode throwing spikes down on the road"

9th message: This message is abt her finishing her 11th album, the last chapter of her 11 part story, and then sending it out into the world like a message in a bottle (the Manuscript). So I'm assuming this would take place on April 19, 2024, the release date of ttpd. "You are sitting on a beach, cold and windswept. The sea is dark and angry before you." -> This may be the same beach and sea from the folkmore era. "The sun sets in muted colors." -> Describing the sunset colors as muted is quite interesting since sunsets typically have very vivid colors; this makes me think it's related to the eras tour visuals during the transition from august to illicit affairs (which I explained the meaning of in this post), and the folkmore color palette was mainly muted colors. "You finish scrawling on the parchment. Your pen dries up as you reach the end of a story in 11 parts." // "Feeling like the very last drops of an ink pen," "my veins of pitch black ink." She is sick of having to dilute her truth through metaphors and allegories which is why she is a tortured poet -> "Take me to the lakes where all the poets went to die." Plus there's the "parchment" which she mentioned many times during her eras tour speeches which relates it to the folkmore era (x)(x)(x). "And now it is just a matter of time. The dripping of candle wax. The ticking of a clock." -> (x).

I recommend reading this post which explains how the Manuscript, ATW short film, message in a bottle, the story of us, and 4th, 9th, and 10th 🎃 messages are related. Many ppl pointed out that the Manuscript lyric vid looks like a movie script, and she's been referencing films and books a lot recently which makes me think there's a good chance she's going to release a film and book abt her coming out story. The 9th message and the lyrics in the Manuscript make it clear that Taylor's discography as a whole IS the manuscript i.e. it's the author's (Taylor's) draft of her story that is getting ready to be published. In academia, a manuscript is a draft of your research that you send in to be peer reviewed and if it's accepted it then becomes a published academic article.

The Manuscript: "And the years passed like scenes of a show, the professor said to write what you know, [She's equating her life to a story w the different eras being different scenes or chapters] The only thing that's left is the manuscript, one last souvenir from my trip to your shores, [message in a bottle; 'It may wash up on a sunny beach in Florida, or a rocky shore in the northwest'] Now and then I reread the manuscript but the story isn't mine anymore" ['Once you blow a dandelion, you never get it back. It isn’t yours anymore']

The Bolter: "But she's got the best stories"

10th message: This is a direct continuation of the 8th message and takes place right before she comes out of the closet (the wooden door in the woods). So this would take place after her rep has already been destroyed which I don’t think we’ve gotten to yet. My guess is that things will start ramping up in the next few months. She may start being papped w all her previous beards looking happy w them or sth similar which is all she’d need to do to show that the relationships were all fake and she’s been lying this whole time. This may be the “chaos” that 🫚 anon was referring to (see this post). This lines up with the blood moon glitch vinyl, representing chaos and disruption, being the 2nd quarter of the yr according to the midnights clock (4-6 or April-June, 2024). Plus many ppl think BDILH is abt MH--and Taylor meant for this to happen bc this album is full of red herrings--and in that song she says "He (MH) was chaos" so this might be a hint that the bearding shenanigans are gonna ramp up. Of course things are already plenty chaotic now w everyone thinking ttpd is abt 3 different men, one of which is pretty problematic, so perhaps this is all ginger was referring to. Taylor calling herself "the Bolter" has 2 meanings: 1) She is a coward who often runs away from danger 2) The 2nd more positive interpretation is that she knows "when it's time to go." I think it's very telling that ITTG is the last track on the deluxe edition of evermore and comes right after RWYLM, a song abt being stuck in the closet after the 2019 failed coming out. She's saying that she's not going to stay there forever(more).

The Bolter: "But none of it is changing that the chariot is waiting, ['The story of 2 princesses. No place for a prince'; the Cinderella metaphor (x)] Hearts are hers for the breaking, There's escape in escaping...Ended with the slam of a [closet] door but she's got the best stories, You can be sure that as she was leaving it felt like freedom" [The 6/21/2020 ♠️ riddle spells out 'They Are Free']

11th message: This message takes place after midnight at 3am on Nov 1 after she’s gone through the wooden door. In this post I explain how 3am connects to the witching hr or devil's hr. The fact that this takes place right after Halloween is quite significant since it is a day dedicated to remembering the dead, and death and ghosts are a big theme in ttpd. This symbolizes how after Taylor kills her old self (by dragging her into shark infested waters), she will resurrect as a new version of herself and leave the past behind her. And in doing these things, she will finally be able to go back to her figurative home, her cabin, that she was exiled from. -> "I think I've seen this film before so I'm leaving out the side door," "And I was catching my breath, floors of a cabin creaking under my step...I had a feeling so peculiar this pain wouldn't be for evermore." "The flame🕯️ finally🕯️flickers🌬️OUT" -> The match that started the "goddamn blaze in the dark" is no longer needed now that the lover house (her closet) has burned down, so the flame flickers out. This metaphor shows up in Peter as well, "But the woman who sits by the window has turned out the light," where the light dying represents the woman losing hope that a coming out will happen. Notice in this message from present anon that "Goodbye" has a capital letter G which I believe links it to "Gold" in the volcano message that was mentioned earlier. This may indicate that Karlie is the woman/neighbor holding the light and waiting for Taylor's return home. The Dec 26th 🌋 message is likely from Karlie's pov in this case.

Fresh Out the Slammer: "Now pretty baby I'm runnin back home to you, Fresh out the slammer I know who my first call will be to...But it's gonna be alright I did my time...Get the matches, toss the ashes off the ledge, [the burning of the lover house] As I said in my letters [the anon messages this corner of the internet has been receiving? Could also just represent her songs] now that I know better I will never lose my baby again...Swirled you into all of my poems ['My mind turns your life into folklore (literally and figuratively)']...To the house where you still wait up and that porch light [jack-o-lantern] gleams" [see this post abt the porch]

The Alchemy (This is from Karlie's pov): "What if I told you I'm back?...I haven't come around in so long, but I'm coming back so strong, ['But I come back stronger than a 90's trend'] Cause the sign on your heart said it's still reserved for me"

imgonnagetyouback: "Push the reset button we're becoming something new...Even if it's handcuffed I'm leaving here with you, Bygones will be bygone eras fading into gray, We broke all the pieces but still want to play the game...I'm gonna get you back"

[gardenschedule]

Paul hurting John

And any mention of Paul brought a wintry bleakness to her face. 'John always used to say,' [Yoko] told me at one point, 'that no one ever hurt him the way Paul hurt him.' The words suggested a far deeper emotional attachment between the two than the world had ever suspected---they were like those of a spurned lover---and I naturally included them in my account of my visit for the Sunday Times. After it appeared, I returned to my London flat one evening to be told by my then girlfriend, ‘Paul, phoned you.’ She said he wanted to know what Yoko had meant and that he’d seemed upset rather than angry.

Paul McCartney: The Life - Philip Norman.

Paul McCartney, John’s partner into songwriting history, provokes a bleak and bitter look. “John said that no one ever hurt him the way Paul hurt him. But it’s in the past. It’s gone.” “John used to say he’d had two great partnerships. One was with Paul McCartney, the other was with Yoko Ono. ‘And I discovered both of them,’ he used to say. ‘Not bad going, is it?’”

Yoko Ono, interview w/ Philip Norman for Sunday Times: Life after John. (May 25th, 1981)

KLEIN: I can only tell you what John said when I asked him who he would call among the Beatles if he was in trouble—you know, if he had a real problem. He said he’d call George. That surprised me. Then I asked him if he’d ever been really close with Paul and he said no. Not that he didn’t love him; he did. He just said every time he let his guard down, McCartney hurt him. VETTER: Did he say how? KLEIN: Not specifically. But you know, it’s the kind of hurt where you open up to someone, really reach out, and then they’re just not there. A couple of times I thought Paul and I really had something going and then the next day, it was like it all just slipped away.

Allen Klein, Playboy: A candid conversation with the embattled manager of the Beatles. (November, 1971)

“I don’t have any friends!” John reminded me. “Friendship is a romantic illusion!” He said that he had learned this the hard way after the breakup of his relationship with Paul McCartney, whom he had once regarded as his close friend.

Fred Seaman, The Last Days of John Lennon. (1991)

HARTMAN: Paul, there’s a new interview out that John – you mentioned John a while ago – and he talks very openly. Without going into details, he seems to have a lot of resentment, competition, with you. And he says you kind of died creatively in a way, and he didn’t keep track of you, he said ‘The Long And Winding Road’ was your last gasp… How – he seems resentful of you. Do you know why, or—? PAUL: [uncomfortable] Um… I don’t know, I can guess and stuff, you know, but I’ll tell you, after all of that stuff has sort of gone down over the years, I actually keep a bit quiet now, ’cause anything I say, he gets resentful of. So I don’t know really, I mean, uh… it’s just a weird one. I don’t quite know why he thinks like that. I mean, what do you do about that? I – I really just shut up these days. I think it’s the best policy, David.

Paul’s Good Morning America interview

“No one ever goes on about the times John hurt ME,” said Paul. “When he called my music Muzak. People keep on saying I hurt him, but where’s the examples, when did I do it? No one ever says. It’s just always the same, blaming me. Could I have hurt John MORE than anyone in the world? More than the person who ran down Julia in his car? “We were always in competition. I wrote “Penny Lane,” so he wrote “Strawberry Fields.” That was how it was. But that was in compositions. I can’t understand why Yoko is saying this. The last time I spoke to her she was great. She told me she and John had just been playing one of my albums and had cried.”

Paul and Hunter Davies, 1981

I always felt guilty. Always felt guilty. But looking back on it, I keep thinking, okay, let’s try and analyse this. Now John was hurt; what was he hurt by? What was the single biggest thing that we can find in all our research that hurt John? And the biggest thing that I can find is that I told the world that the Beatles were finished. And I don’t think that’s so hurtful. […] I look at it now and really kind of shudder. At the time it was me trying to answer some questions that were being asked and I decided to not fudge that question. And I say, looking back on it, I don’t think… I mean, if that’s the most hurtful thing I did, I haven’t really heard much else beyond that.

...

And I say, looking back on it, I don’t think... I mean, if that’s the most hurtful thing I did, I haven’t really heard much else beyond that. We didn’t accept Yoko totally, but like I say, how many groups do you know, these days [who would]? I mean, it’s a joke. It’s like Spinal Tap! I mean, it’s Spinal Tap! A joke!

Paul McCartney, interviewed by Chris Salewicz for Musician (October 1986).

John had made it clear that he wanted to be the one to announce the split,' Linda McCartney explained years later, 'since it was his idea.' 'He wanted to be first,' her husband confirmed. 'But I didn't realise it would hurt him that much or that it mattered who was first.' Lennon commented later, 'We were all hurt that he didn't tell us what he was going to do. I think he claims that he didn't mean that to happen, but that's bullshit.' Envy also entered the equation. 'I was cursing because I hadn't done it. I wanted to do it and I should have done it...I was a fool not to do what Paul did, which is use it to sell a record.'

You Never Give Me Your Money – Peter Doggett

At first we agreed not to announce it. But after three or four months, I got more and more guilty about people saying, “How’s the group going?” when we sort of knew it was probably split up. So I did a kind of dumb move in the end, and when I look back on it, it was really… It looks very hard and cold. But I was releasing the McCartney album, and I didn’t really want to do much press for it; so I told a guy from the office to do me a list of questions and I’ll write the answers and we’ll print it up as a pamphlet and just stick it in with the press copies of the album. The questions were quite pointed, and it ended up being like me announcing that the Beatles had broken up. John got quite mad about that, apparently – this is one of the things he said really hurt him and cut him to the quick. Personally I don’t think it was such a bad thing to announce to the world after four months that we’d broken up. It had to come out some time. I think maybe the manner of doing it, I regret now – I wish it had been a little kinder, or with the others’ approval. But I felt it was time.

Paul McCartney, Rolling Stone: The Rolling Stone interview – Paul McCartney. (September 11th, 1986)

JOHN: And then as I said in [Rolling] Stone, both Klein and Paul at that time said, “Well, you don’t have to tell everybody, do you? You don’t have to announce it.” And I said, “Okay. Well, I won’t announce it then.” And then a year later, Paul announced it, right? [laughs; bleak] Good ol’… That was a great trick, you know. Because maybe that’s how when he – [very quiet] He felt that’s how he had to do it. So.

January 1st, 1976 (Dakota, New York)

JOHN: Well, I mean, like – like with anybody, when you say “divorce”, you know, the face goes… all sorts of colours. It’s like he knew, really, that this was the final thing. And then six months later, he comes out with – whatever, you know. I told [British journalist] Ray Connolly, and there was a lot of people knew I’d left, but I was a fool not to do it, you know. Not to do what Paul did, which was use it to sell a record. WENNER: You were really angry with Paul. JOHN: No, I wasn’t angry. WENNER: But when he came out with his— JOHN: No, I wasn’t angry, I was just – “Shit!” You know? I mean, he’s a good PR man, Paul. He – he’s about the best in the world, probably. He really does a job. I wasn’t angry in that way.

December 8th, 1970 (New York): Rolling Stone

"Yet even [John's resentment over Paul announcing the breakup first] does not explain his later remark to Yoko that no one had ever hurt him the way Paul hurt him. It almost suggests that, deep beneath the schoolboy friendship and the complementary musical brilliance, lay some streak of homosexual adoration that John himself never realised. He might have longed to get away from Paul, but he could never quite get over him."

Philip Norman, Shout!, 1981

John would say things like, ‘It was rubbish. The Beatles were crap.’ Also, ‘I don’t believe in The Beatles, I don’t believe in Jesus, I don’t believe in God.’ Those were quite hurtful barbs to be flinging around, and I was the person they were being flung at, and it hurt. So, I’m having to read all this stuff, and on the one hand I’m thinking, ‘Oh fuck off, you fucking idiot,’ but on the other hand I’m thinking, ‘Why would you say that? Are you annoyed at me or are you jealous or what?’ And thinking back fifty years later, I still wonder how he must have felt. He’d gone through a lot. His dad disappeared, and then he lost his Uncle George, who was a father figure; his mother; Stuart Sutcliffe; Brian Epstein, another father figure; and now his band. But John had all of those emotions wrapped up in a ball of Lennon. That’s who he was. That was the fascination.

I tried. I was sort of answering him here, asking, ‘Does it need to be this hurtful?’ I think this is a good line: ‘Are you afraid, or is it true?’ – meaning, ‘Why is this argument going on? Is it because you’re afraid of something? Are you afraid of the split-up? Are you afraid of my doing something without you? Are you afraid of the consequences of your actions?’ And the little rhyme, ‘Or is it true?’ Are all these hurtful allegations true? This song came out in that kind of mood. It could have been called ‘What the Fuck, Man?’ but I’m not sure we could have gotten away with that then.

Paul McCartney, on “Dear Friend”. In The Lyrics (2021).

PAUL: He was hurt. He later explained it by saying that I’d hurt him over some things, and it was kind of bitchy. Um… you know. He just had to do that. It’s fine. And at the time I thought, well, I should really answer all of this, but I took – I thought, no, it’s really going to get crazy if I start answering him and then we’re gonna be talking through newspapers at each other and really bitching, you know. And I decided to not do that.

October 19th, 1984: Paul McCartney talks to Barbara Frum of CBC-TV’s The Journal

"The truth is, deep down they were very, very similar indeed. Each had a soft underbelly, each was very much hurt by certain things. John had a very soft inside to him. But, you see, each had a bitter turn of phrase and could be quite nasty to the other. It was like a tug of war. Imagine two people pulling on a rope, smiling at each other and pulling all the time with all their might. The tension between the two of them made for the bond."

George Martin – Bill Harry, The Paul McCartney Encyclopedia, 2003)

JOHN: [Paul] even recorded that all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was. But you know, I enjoyed the track. But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

August, 1980: interview with Playboy writer David Sheff

‘There’s only one incident I can think of which John has publicly mentioned. It was when I went off with Ringo and did “Why Don’t We Do It In the Road?” It wasn’t a deliberate thing. John and George were tied up finishing something and me and Ringo were free, just hanging around, so I said to Ringo let’s go and do this. “I did hear him some time later singing it. 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. “Perhaps I hurt people by default. I never realized at the time John would mind.

...

“I’ve never come back at him, not at all, but I can’t help hide my anger about all the things he said at the time, about the Muzak, about me singing like Englebert Humperdink….. “If I had to start listing all the times when HE hurt me. Doing that one little song on my own, compared with what he said about ME…. “When you think about it, I’ve done nothing really to him, compared with that. Anyway, he did the same with “Revolution 9″. He went off and made that without me. No one ever says all that. John is now the nice guy and I’m the bastard. It gets repeated all the time.”

Paul and Hunter Davies, 1981

ROBBINS: When are you going to be doing another tour? Do you know? JOHN: No idea. I know we’ve got music to write, as soon as we get back. And Paul’s just signed us up to write the music for a film [The Family Way]. So I suppose it’s off the plane and into bed and – knock knock knock, “Get up and write some songs.” ROBBINS: A film that’s not your own? JOHN: Yes. ROBBINS: Very exciting.

John Lennon, interview w/ Fred Robbins. (October 29th, 1966)

“The healthy partnership and camaraderie that evolved from Paul and John’s competitive streak was only one step away from sibling rivalry. It now transpires that one of John’s earliest ‘hurts’ inflicted by Paul was McCartney’s solo writing of the music for the Hayley Mills film The Family Way in 1966. ‘I was told recently by Yoko that one of the things that hurt John over the years was me going off and doing The Family Way,’ Paul says. The filmmaking Boulting brothers had approached him via George Martin. ‘I thought this was a great opportunity. We were all free to do stuff outside the Beatles and we’d each done various little things.’When he mentioned it to John, Paul said, ‘He would have had his suit of armour on and said: “No, I don’t mind.” However, my reasoning would be that at exactly the same time he went off to make a film. He wrote his books. It was in the spirit of all that. But what I didn’t realize was that this was the first time one of us had done it on songs. John would write a book and I was supposed not to be jealous, which I wasn’t. He acted in a film [How I Won the War]. But I didn’t realize he made a distinction between all those solo things and actually writing music because this was the first time one of us had done it in film scoring. I suppose what I should have said was: “I’d like to write it with John,” and then that would have been OK. It actually didn’t occur to me at that time at all. So I went off, saw and liked the film, said: “Right, come on George [Martin],” and I must say it was all over very quickly.’

Paul McCartney, c/o Ray Coleman, McCartney: Yesterday and Today. (1995)

JOHN: ‘Rigby’’s, um, his first verse, and the rest of the verses are basically mine. But the way he did it was – uh, was he had the song, and he knew he’d got the song. So rather than ask me, “John, do these lyrics—” Because by that period, he didn’t want to say that – to me. Okay? So what he would say was, “Hey, you guys, finish off the lyrics,” while he was sort of fiddling around with the track or something, or – or arranging it, in the other part of the giant studio in EMI. ... But that’s how it – [Paul] just sort of— ‘Cause that’s the kind of insensitivity he would have – which made me upset in the later years – because to him, that meant nothing. But that’s the kind of person he is. So he threw ‘em out and said, “Here, finish these up,” like – to anybody, who was around. [By saying that] actually he meant I was to do it, but – you know, Neil and Mal were sitting there, and…

August, 1980: interview with Playboy writer David Sheff

"As mild and oblique as the comment was [Paul's "You took your lucky break and broke it in two" line from "Too Many People"], it seemed to cut John to the heart. On top of the questionnaire inside the McCartney album and the lawsuit, it was like the tipping point between a divorcing couple that turns love into savage, no-holds-barred hostility. Indeed, John's wounded anger was more that of an ex-spouse than ex-colleague, reinforcing a suspicion already in Yoko's mind that his feelings for Paul had been far more intense than the world at large ever guessed. From chance remarks he had made, she gathered there had even been a moment where - on the principle that bohemians should try everything - he had contemplated an affair with Paul, but had been deterred by Paul's immovable heterosexuality.

Philip Norman, John Lennon: The Life, 2008

[franklyimissparis]

analysing mclennon feels like being an academic and pouring over historical texts and connecting the dots between passages because you basically are doing exactly that

[nightcolorz]

I wonder how AMC Iwtv is going to reveal that the reason Lestat withheld information about vampire kind from Louis and Claudia + refused to travel with them, forced them to stay locked to him, was abusive, neurotic, etc is because a bigger, badder, more abusive blonde man told him the secret origins of vampires (the one thing that every vampire desperately wants to know), and said “ok time for you to forget about all this and start a nuclear family! oh and btw if you tell your future vampire family about anything I just told you I will murder them in front of you lol.” Then dipped

[t4tozier]

let’s settle this once and for all

for simplicity’s sake this is exclusively referring to tgwdlm paul

[cheriboms]

doctober day 23: nostalgia

fact: doc has a saxophone in his garage in both 1955 and 1985, with seemingly no ties to his scientific pursuits. hypothesis: theres some sentimental reason, maybe he played (plays?) it as a hobby since and/or prior to 1955...? conclusion: they def had at least one jam session

[[ proof of my claims >:0 ]]

[instantmilktee]

dumb spicy take: L does not listen to math rock or alternative or indie pop. He doesn’t listen to mitski or cavetown

He listens exclusively to hyperpop-ified tchaikovsky bc it overstimulates his brain and stops him from thinking

[chirpsythismorning]

[t-800]

"I didn't feel a thing, it didn't mean a thing."

Faith No More - Evidence [1995] — dir. Walter A. Stern