#Interview Questions & Answers

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Creating Impact: How Effective Moderation Enhances Audience Engagement in Q&As

Introduction Creating Impact: How Effective Moderation Enhances Audience Engagement in Q&As is pivotal for maximizing participation, enriching dialogues, and fostering a vibrant community. In today’s digital age, effective moderation serves as the backbone for successful Question and Answer sessions, whether at events, webinars, or online forums. Understanding the nuances of moderation can…

[atlaswebdesigns]

Answering Your Questions // Pt. 3

Hey everyone! Welcome to the final part of our Q&A session. A big thanks to everyone who sent in their questions, I really loved answering all of them. Hope you enjoy reading this post… [Click here for part 1 and here for part 2] Thanks to Sophie @ Me & Ink for her questions. Here are my answers to them… What is the most memorable advice you have been given/heard? My comfort advice from my…

[authorajalexander]

Interview With One Of My Characters IX

Hello, Pan Hello A. J. I want to thank you for dropping by today and answer a few questions we have, my readers and myself. Are you ready? I am. But please, hurry up. You know very well it’s unhealthy for me to spend too much time in one spot. I want to be on my way again once the interview is completed. What would you like to know? Let’s start with your name and function. In Greek Mythology,…

[rassicas]

Hey!!! question here

i can’t seem to find. any info at ALL on fuzzy ooze besides fan theories. I was curious if there was any process of mammalisation revealed anywhere?? Im assuming not cus we only recently got sanitisation up to scratch. But is there any important info on fuzzy octos at all? CEO of splatoon lore pls help!!

i was really looking forward to the S3 artbook giving us SOMETHING about fuzzy ooze or filling in any of the numerous gaps in ROTM's story. cannot begin to express how disappointed i was when i opened up the artbook to find that THIS was the only page on fuzzy octarians

the blurb on the top can be boiled down to "why are octavio's troops in alterna? wow theyre fuzzy. do they even have any ego left?" like ok that's just. basic observations and things that were mentioned in promo materials. and we cant say this is like out of spoiler avoidance because the previous page has (also very little) concepts for hugefry and grizz. go girl give us nothing! In terms of dev interviews, the april 2023 famitsu interview has 2 questions regarding fuzzy octos:

----Was it the effects of the fuzzy ooze that caused the Octarians in Alterna to grow hair? Inoue: under the effects of the fuzzy ooze, they're on the verge of becoming mammals.  ----In the case of the new Agent 3, when they come into contact with the ooze they suddenly grow hair. Are the Octarians supposed to be in the middle stage? Inoue: That’s right.

Within less than a year of Octo expansion's release, we got a few dev interviews and a whole artbook giving further clarification on sanitization, tartar's motives, the octarians in the metro...even though some elements were unclear until side order and some responses were dodgy, there still was something to work with and some gaps filled.

in the two years since ROTM we got uh. the one dev interview, which, while that did explain a few things with alterna and smallfry, gave us Nothing about fuzzification or mammalization. whatever it's called. aside from those 2 answers above. is the process reversible? how did grizz get all those troops? why is there an octoplush track that uses dedf1sh's naming scheme? oh yeah, and literally nothing about ORCA or any expansion on grizz's character in ROTM. ORCA goes completely unmentioned in the artbook. hello. im getting side tracked.

and before we couldve gotten another chance for answers on ROTM, side order came out, and all focus in terms of splatoon's story got directed towards that.

I will be genuinely surprised if bancalawalker gives us anything on ROTM since that's seems to be the side order/later update artbook my only hope is that, since there's some suspicious things unanswered for about lil judd and grizzco, maybe, hard maybe, the fuzzy octarians could be addressed in any capacity again, like how side order expanded on OE? But idk it seemed like ROTM was a way to just wrap up the squidbeak saga and they could just Not mention it again lol. one last thing. these amped octostamps, an enemy introduced in rotm, have full 3d renders. notice a uh. lack of fur.

or another wacky thing. is how the only artwork we have of an octarian (non octoling) in the tableturf style is a normal non fuzzy octotrooper.

my Game Theory is that. i think rotm had some... late in development decisions in terms of story direction, with the fuzzy octarians being one of those later decisions.

[bisexualmcqueen]

I'm sorry if you already posted this, but this is about the details of the first cars movie, what was the car Pixar used for Lightning McQueen's sounds, bc I cannot for the life of me remember

ONE OF MY FAVORITEST TOPICS!!!!!!!!!!

so lightning, being a 2006 model/cars being in production in the early aughts, is based off of a gen4 NASCAR build. specifically a chevy monte-carlo of the early aughts, as seen in some of his early designwork:

[jogen klubein, 2000]

[bob pauley, 2002] [the art of cars]

some stats:

(from some sketchy assed 2000 website i wont link it but i do have it written down)

i used to swear up and down that there was a special feature that showed a few of the guys from skywalker sound recording one of the g4s (maybe a blue and white dodge??) at skywalker ranch in california (or at the airstrip with the other cars). it may have been an old interview or its on a blu-ray special feature somewhere, but i havent been able to find it. i either dreamt it up or its been lost?? no idea.

but what i have been able to find is some of the stock audio used in Cars. Supposedly this is work done by Ben Burtt at skywalker sound [lucasfilm] in the late 70's??: [link]

For NASCAR purposes, as far as i could tell their engines didnt change drastically from the 70s-2000's, so its not wholly inaccurate to use older clips.

a thing in my notes:

[mixonline. photo dead from link rot]

and now some examples of real-life mcqueens (an excuse to show you cool old stock cars) :

and a few various other references:

(note the flywheel sound we also hear in Cars!)

^video ive only skimmed so far but seems very informative.

and a few canon refs while im here:

[image mine, circa 2020. official 1:18 scale BANDAI replica with certificate of authenticity, approved by jay ward]

[time travel mater] (his carbon fiber cowl induction cover is very funny to me)

SO. to answer the question: its a mix of custom sound design and stock audio. its based in reality heavily, but i believe its also tuned for fiction/per character personality. i forget which interview said that it might be the mixonline one mentioned above or this old autoweek one. he's got something along the lines of partly SB2.2 and an R07. this does not mean pixar recorded specifically these motors, but prooobably something close.

and cars 3 pisses me off because they very clearly did not use any audio off of the g4s, which had a more specific screaming sound to them at high RPMs. COTR actually portrays his exhaust note more accurately than cars 3. Cars 2 is decent also, but the first film is chefs kiss.

i have more various unorganized lmq references but this ask is long enough now and probably doesnt make much sense because i am literally so amped about this topic. please note that this research is partly accurate and partly speculative/opinion. rejoice, mcqueens be upon ye.

[freebirdsworldburritos]

The classism in the "music gear" scene is fucking atrocious. So many people will shit on other people for using affordable gear as a way to justify within themselves that dropping $3,000 on a guitar was a smart financial move.

About 3-4 years ago I joined a band and a month after I joined we went on some video podcast. Play a few songs, do an interview, something I've never done before but it seemed like it'd be fun.

I wasn't able to really get a word in during the interviews (stuttering/speech impediment/anxiety issues ran wild) but I was able to speak up whenever the host went around and asked us what our favorite instrument/gear brands were. Weird question, but alright buddy.

I've always been a fan of cheaper gear. You don't need all sorts of expensive shit to get the sound you want. So when he asked my answer was "Squier" and the dude just started laughing. Because who possibly would prefer one of the cheaper brands??? (Keep in mind this douche had a whole wall of the absolute worst looking collection of custom shop BC Rich guitars you've ever seen.)

Eventually he backed down once I started arguing with him about it, but his immediate elitist attitude really struck a cord in me because I see that shit all over the internet in music communities. "Oh you only like Squiers/Epiphones/Harley Bentons because you can't afford BIG BOY guitars like a $5,000 Gibson".

Fuck right off with that shit. Why would I pay thousands of dollars for a guitar when I can get something that works amazingly for me for just a few hundred dollars? The extra money I save by not dropping 4 figures on a guitar or amp goes towards paying my bills, feeding my kids, just trying to fucking live and exist.

At this point I've had to sell 99% of my music gear after over a decade of following the gear chase. I only have a "cheap" acoustic I bought several years ago for $350 and it's the best guitar I've ever had. I love my little busted neck Hummingbird to death.

I'm much happier now than I was when I had a huge assortment of pedals and guitars to choose from. The Gear Chase is designed to make you want to spend more and more money in an endless pursuit of finding that "perfect" piece of gear. Guitar companies, partnered youtubers, influencers, and all sorts of advertisement campaigns are purposefully trying to misguide you into thinking you NEED their product. It's marketing and capitalism at work and so many musicians fall for it every time. I fell for it for years before I got completely fed up with it.

Go out and gig with your Squier Bullet Strat and a cheap amp you found at a pawn shop, fuck anyone that gives you shit for it. Go ahead and record with whatever you have at your disposal. Put out an album that's comprised of Voice Memos you recorded on your phone with just an acoustic and your voice.

Music, like any art, is about way more than what you used to get there. It's how you express yourself that really matters. Don't listen to the elitists and marketers telling you the only way you can authentically reach your creative vision is by buying their snake oil.

[azaharinflames]

Reading the interviews (though skimming them a bit, not going to lie), and even seeing the IG's comments on the latest post... I don't know, guys and gals and non-binary pals, it truly gives me the impression that the cast is done and very tired of the (crazy) Buddie fans.

Like you had Gavin answering one question in a way that seemed so final. Gavin. Even Tim is telling the journalists that the will isn't important enough to bring up in a scene. Hell, even Oliver seemed done in the video interview we got. I won't get into how goddamn done Ryan seems and sounds because I'd be here until tomorrow...

I know a lot of people are concerned about the IG's SM presence and how they were teasing Buddie. But, to me, they weren't. They didn't insinuate Buck feels any way for Eddie, rather are amping up the unsolved tension between Buck and Tommy. And if they do it that way, it is very much to farm engagement*, but honestly? Cast and crew are tired, and they aren't even hiding it anymore.

*As a marketing girlie myself, honestly, I'd do the same. You're not confirming a thing, but you're making sure the post is getting interactions. And they knew it was going to bring interactions, considering they were fast to post something else after the last post. I'm telling y'all, whenever it is time for them to do their social media analysis for the month, there is going to be a significant up in engagement whenever Tommy has to do with it. That, on a marketing level, does not go unnoticed.

[gardenschedule]

Paul trying and sometimes failing to be chill about Yoko

Link to masterpost of quote compilations

“I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership.”

1970, Paul to Ray Connolly in the Evening Standard

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight.

The Lyrics: 1956 to the Present

"It just became impossible for me to work with Yoko sitting there watching us," says Paul. "I wanted to write simple things like 'I love you girl' and every time I knew she was listening I felt I had to come out with someone clever and avant garde! "I'm not blaming Yoko -- I'm blaming me. It was no more John's fault for falling in love with Yoko than it was mine for falling in love with Linda. It just meant that we didn't work together anymore. We tried but it didn't work."

Paul McCartney, in his first magazine interview since the split, tells FLIP's Keith Altham... "THE BEATLES ARE FINISHED!"

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!

September, 1986 (MPL Communications, London)

And in John’s thing, you know, when as – you obviously know – he was going through a lot of pain when he said a lot of that stuff. And he felt that we were, um, being kind of vindictive towards him and Yoko. In actual fact I just answered a question on an American TV thing – I think we were quite good, looking back on it, and knowing people in life. Many people would’ve just downed tools with a situation like that and just have said: “Look man, she’s not sitting on our amps while we’re making a film.” I mean, that wouldn’t be unheard of. I mean, Sean Penn... do you know what I mean? Most people would just say, “We’re not having this person here. Don’t care how much you love her.”

But we were actually quite supportive. Not supportive enough, you know; it would have been nice to have been really supportive because then we could look back and say, “Weren’t we really terrific?” But looking back on it, I think we were okay. We were never really that mean to them. But I think a lot of the time John suspected meanness where it wasn’t really there.

September, 1986 (MPL Communications, London)

I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

Paul McCartney, on “Get Back”. In The Lyrics (2021).

MANSFIELD: But, you know, [after John showed me the pictures of himself and Yoko nude for the album cover of Two Virgins], I asked Paul about this. And this, to me, is indicative of their relationship, maybe as much as anything I [had] ever heard. I said, “Paul, you know, what do you think about this?” And Paul says, “I don’t know.” He said, “I don’t really agree with John. But I just am going to figure that John’s ahead of me on this, and that someday I’ll understand and I’ll catch up. So, you know, I’m okay.” ROSEN: And what did that reaction tell you about their relationship? MANSFIELD: That it was an extremely deep relationship.

Ken Mansfield (record label executive and Apple Records U.S. manager), interview w/ James Rosen for Fox News. (December 4th-5th, 2007)

John and Yoko had to visit Sir Joseph Lockwood of EMI with the nude photos to ensure that he would allow their use and there wouldn’t be any censorship problems. Although he personally didn’t like the album or photographs, Paul accompanied the two of them to their meeting. Sir Joseph thought that the fans would be outraged and the Beatles’ reputation would be damaged, but Yoko told him: ‘It’s art.’ Lockwood said: ‘Well, I should find some better bodies to put on the cover than your two. They’re not very attractive. Paul McCartney would look better naked than you.”

The Paul McCartney Encyclopedia by Bill Harry. (also... rekt lmao)

So that – I think, in order to kind of say to Yoko, “Look, my life is now yours,” he had to say things like, “The Beatles were bastards, we were total jerks, we never wrote anything good…” Which I think was rubbish, basically. And as I say, you have to realize that some of that time he was on heroin – so he’s not going to be just talking absolutely lucidly all the time, there. Some of the times, he was having other sorts of problems…

1989, Paul

And I think we would all have continued the Beatles, but Yoko came along, John fell wildly in love with her, he needed a big, big change in his life and he got it! He came to live in New York, he kind of threw over all his English [pause] contacts and everything. And, you know, can’t blame him! If that’s what he wants to do in his life! So we had to kind of, fade into the background to allow them to have their relationship. What were we gonna do, ringin’ him up? ‘Hey John, you know, hey, come and see me! Leave Yoko!’ No, that obviously never gonna happen. [pause] See, you had to let him do what he wanted, and he- he did you know… And he enjoyed it.

Paul McCartney on John’s early 70′s attacks as a sign of his feelings towards him. Interviewed by Bob Costa, 1991.

“. . . I mean, I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away. And I understood that. I mean, I couldn’t stand in the way of someone who’d fallen in love. You can’t say, “Who’s this?” You can’t really do that. If I was a girl, maybe I could go out and… But you know I mean in this case I just sort of said, right – I mean, I didn’t say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.”

Paul McCartney, interview with German tv program Exclusiv, April 1985.

PAUL: ‘Cause she’s very much to do with it from John’s angle, that’s the thing, you know. And I – the thing is that I – there’s— Again, like, there’s always only two answers. One is to fight it, and fight her, and try and get The Beatles back to four people without Yoko, and sort of ask her to sit down at the board meetings. Or else, the other thing is to just realize that she’s there, you know. And he’s not gonna sort of – split with her, just for our sakes.

Twickenham, January 13th, 1969

PAUL: Yeah, see, that’s the thing. The only one time we’ve actually done it, she’s agreed. She really is alright. It’s like, it’s the thought of her being there when some of— [faltering] And then you don’t talk to John, so then he doesn’t talk to you, you know. And it’s like, you can screw it up just as much because she’s there, as – as John’s relying on her because she’s there. So that’s the thing. You know, but I mean, like, you’ll notice, if John – if you’re onto a beam with John about something, then he really isn’t, you know, he really won’t let Yoko talk about it. Because he knows when you’re on a beam, and he knows about it, and you’ll – you can talk straighter to him.

Twickenham, January 13th, 1969

‘All new wives don’t like their husband’s old friends or cronies,’ he replies. ‘I don’t think [Yoko] liked Paul. I think Paul was ready to like Yoko. Maybe she saw Paul as a threat. It was a partnership. The partnership should have been John and Yoko, not John and Paul. I am not saying it was a deliberate process, but it was a natural process. John had a new partner: she. Yoko Ono. It was going to be John and Yoko’s songs and not Paul and John’s songs.’

Don Short (newsman), c/o Sandra Shevey, The Other Side of Lennon.(1990)

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. It occured to me as I was walking down the stairs that what we’d heard could have been an expression of 1960s freedom and openness but was it more likely that it was as if a gauntlet had been thrown down? “You need to understand that this is where she and I are now. I don’t want to hold your hand anymore.”

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

“Paul, in his usual way, tried to be the nice guy and was open-minded about John’s weird choice,” says Brown. “He invited them to stay at [his house in] Cavendish Avenue for a while.” The day after Cynthia’s return, they moved into the second-floor guest bedroom and made themselves at home. “But the problem was that Yoko wasn’t a very warm person—not even able to say thank you in response to anything Paul did for them. And he went miles out of his way to make them feel welcome, being a nice guy. So that didn’t last very long.”

The Beatles – Bob Spitz

PMcC: I always had the impression that Klein had got them to go with him because he was the only one who was ever sympathetic to Yoko. Klein saw the Yoko connection and told Yoko that he would do a lot for her. Give Yoko a lot. And that was basically what John and Yoko wanted, recognition for Yoko. We found her sitting on our amps, and like a football team, an all-male thing, you really don’t like to see a chick in the middle of the team. It’s a disturbing thing, they think it throws them off the game or whatever it was, and these were the reasons that I thought, Well, this is crazy, we’re gonna have Yoko in the group next.

SG: She was giving you advice in the studio?

PMcC: Well, she was definitely turning up. Looking at it now, I feel a bit sorry for her because, if only I had been able to understand what the situation was and think, wait a minute, here’s a girl who’s not had enough attention. I can now not make this into a major crisis and just sort of say, “Sure, what harm is she doing on the amps?” I know they would have really loved me. You know, we didn’t like Yoko at first, and people did call her ugly and stuff, and that must be hard for someone who loves someone and is so passionately in love with them, but I still can’t—I’m still trying to see his point of view. What was the point of all that?

All You Need is Love: The Beatles in Their Own Words by Peter Brown and Steven Gaines (thank you @tavolgisvist!)

Examples of failure to be chill:

PAUL: But it’s just funny to sort of realise that after this is all over, you’ll be off in a black bag somewhere – on the Albert Hall, you know. JOHN: Yes. PAUL: And sort of doing shows and stuff, and you know, digging— JOHN: Yeah, but I— PAUL: —digging that thing of it.

January 25th, 1969 (Apple Studios, London)

Yoko had evidently approached Paul McCartney about appearing in the film, as the Beatles' road manager Mal Evans penned in his diary: "PAUL HAS APPOINTMENT WITH JAPANESE LADY WHO WANTS TO PHOTOGRAPH HIS BOTTOM." Presumably Paul declined, and one must wonder if the same invitation might have been extended to John.

Chip Madinger, Lennonology Volume 1: Strange Days Indeed. (2015) (note: unforgivable rudeness on Paul's part to both Yoko and all of us who would have benefited from him featuring in "Bottoms")

“I was in India meditating about the album, when it suddenly hit me. I wrote Yoko telling her that I planned to have her in the nude on the cover. She was quite surprised, but nowhere near as much as George and Paul. “Paul gave me long lectures about it, and said ‘Is there really any need for this? ‘It took me five months to persuade them.

NEW MUSICAL EXPRESS, JUNE 7, 1969

He wasn’t happy. But the big things that were driving him mad were beyond me. He kept on working and writing, but when John came over, all he could talk about was how much he loved Yoko. That disturbed Paul. In spite of John’s obvious happiness, Paul stifled his jealousy with not-very-cute bursts of racist crap.

Francie Schwartz - Body Count

John & Yoko's perspective:

It’s the same. You can quote Paul, it’s probably in the papers, he said it many times at first he hated Yoko and then he got to like her. But, it’s too late for me. I’m for Yoko. Why should she take that kind of shit from those people? They were writing about her looking miserable in the Let It Be film, but you sit through 60 sessions with the most bigheaded, up-tight people on earth and see what its fuckin’ like and be insulted — just because you love someone — and George, shit, insulted her right to her face in the Apple office at the beginning, just being ‘straight-forward,’ you know that game of ‘I’m going to be up front,’ because this is what we’ve heard and Dylan and a few people said she’d got a lousy name in New York, and you give off bad vibes. That’s what George said to her! And we both sat through it. I didn’t hit him, I don’t know why.

I was always hoping that they would come around. I couldn’t believe it, and they all sat there with their wives, like a fucking jury and judged us and the only thing I did was write that piece (Rolling Stone, April 16th, 1970) about “some of our beast friends” in my usual way — because I was never honest enough, I always had to write in that gobbly-gook — and that’s what they did to us.

Ringo was all right, so was Maureen, but the other two really gave it to us. I’ll never forgive them, I don’t care what fuckin’ shit about Hare Krishna and God and Paul with his “Well, I’ve changed me mind.” I can’t forgive ’em for that, really. Although I can’t help still loving them either.

John Lennon: The Rolling Stone Interview, Part One

JOHN: But I understand how they felt, because if it had been Paul or George and Ringo that had fallen in love with somebody and gotten totally involved, suddenly… It wasn’t like, you know, somebody – George coming in and saying, “I’m going to work with Eric Clapton in a band now, and screw you.” It wasn’t that kind of thing at all. It was just suddenly this involvement.

December 6th, 1980: Andy Peebles talks to John and Yoko

“Lennon stated that “there’s some underlying thing about Yoko in [Get Back]”, saying that McCartney looked at Yoko Ono in the studio every time he sang “Get back to where you once belonged””

David Sheff, All We are Saying: The Last Major Interview with John Lennon and Yoko Ono

TRYNKA: ‘The Ballad of John And Yoko’, with Paul playing drums and bass, seemed like Paul’s tribute to you. Was that the case? YOKO: Yeah. I thought that was beautiful. Paul was trying to be diplomatic about the situation, try to make it well... He meant well. There were other instances where he’d do things that were meant well.

Yoko Ono, interview w/ Paul Trynka for MOJO. (May, 2003)

YOKO: Even now, I just read that Paul said, “I understand that he wants to be with her, but why does he have to be with her all the time?” JOHN: Yoko, do you still have to carry that cross? That was years ago. YOKO: No, no, no. He said it recently. I mean, what happened with John is that I sort of went to bed with this guy that I liked and suddenly the next morning I see these three guys standing there with resentful eyes. SHEFF: Do you think that kind of attitude from people was also jealousy? JOHN: It’s a kind of jealousy. People can’t stand people being in love. They absolutely can’t stand it. They want to pull you down in the hole they’re in.

John Lennon and Yoko Ono, interview w/ David Sheff for Playboy. (September, 1980)

‘He wanted me to be part of the group,’ Yoko says. ‘He created the group, so he thought the others should accept that. I didn’t particularly want to be part of them… I couldn’t see how I would fit in, but John was certain I would. He kept saying, ‘They’re very sensitive … Paul is into Stockhausen… They can do your thing…’ He thought the other Beatles would go for it; he was trying to persuade me.’”

Philip Norman’s 2008 biography Lennon

After the initial embarrassment, that how Paul is being very nice to me, he’s nice and a very, str- on the level, straight, sense, like wherever there’s something like happening at the Apple, he explains to me, as if I should know. And also whenever there’s something like they need a light man, or something like that he asks me if I know of anybody, things like that. And like I can see that he’s just now suddenly changing his attitude, like his being, he’s treating me with respect, not because it’s me, but because I belong to John. I hope that’s what it is because that would be nice. And I feel like he’s my younger brother or something like that. I’m sure that if he had been a woman or something, he would have been a great threat, because there’s something definitely very strong with me, John, and Paul.

Revolution Chaos Tape – Yoko Ono, June 4, 1968

"The line [the walrus was Paul] was put in partly because I was feeling guilty because I was with Yoko and I was leaving Paul. It's a very perverse way of saying to Paul: 'here, have this crumb, this illusion, this stroke - because I'm leaving.'" -John

Playboy, 1980

JOHN: And throwing in the line “the Walrus was Paul” just to confuse everybody a bit more. And because I felt slightly guilty because I’d got Yoko, and he’d got nothing, and I was gonna quit. [laughs; bleak] And so I thought ‘Walrus’ has now become [in] meaning, “I am the one.” It didn’t mean that in the song, originally. It just meant I’m the – it could have been I’m the – ��I’m The Fox Terrier,” you know. I mean, it’s just a bit of poetry.

August, 1980: John talks to Playboy writer David Sheff about ‘Glass Onion’.

“Still, the real reason that people disliked Yoko was because she ordered them about and sent them on errands in a particularly rude way; she was brought up with servants, and that’s how she treated the staff of Apple. George found it particularly galling that she never gave the Beatles their definite article. He told me, ‘She would say, “Beatles do this” and “Beatles do that”, and we would say, “Uh, it’s the Beatles actually, love.” She’d look at you and say, “Beatles do this.”’ And he laughed and shrugged his shoulders. Whether Yoko was ever aware of the disruption her presence caused to the Beatles’ working practices I don’t know. Some people thought she was so involved in her own work and self-interest that she didn’t notice; others thought that it was a deliberate ploy to separate John off from the others.”

Barry Miles, The Zapple Diaries. (2015)

[champstorymedia]

Q&A Mastery: How to Handle Challenging Questions with Confidence

In today’s fast-paced world, possessing the ability to handle challenging questions is vital for success in various settings, from professional meetings to public speaking engagements. Welcome to Q&A Mastery: How to Handle Challenging Questions with Confidence, where we will explore techniques that enable you to tackle difficult queries with poise and assurance. Mastering this skill not only…

[atlaswebdesigns]

Answering Your Questions // Pt. 1

Thanks to everyone who sent in their questions for this Q&A session. I was just taking a look at the questions I received and now I just can’t wait any longer to answer them. But since there were a lot of questions and one-line answers are not my thing at all, I thought I will answer them in three different posts so y’all won’t have to scroll through for too long and get bored reading my answers…

[avengerscompound]

The Interview - Chapter 7

The Interview - A Captain America Fanfic

Masterlist PREVIOUS //

Rating:  E

Warnings:  nothing really

Pairing: Steve Rogers x OFC Melody Danes

Word Count:   1747

Summary:  Melody Danes gets the break of a lifetime when as a lowly intern, she’s assigned to write a profile piece on Captain America.  Steve Rogers is a hard man not to fall for and as she and Melody get closer and Melody’s career takes off, jealousy leads to sabotage, and the potential to bring her whole world crashing down.

Chapter 7

The day Melody’s article was published she was taken out by Bobbi to celebrate.  It felt amazing to see her words on the glossy pages of a luxury lifestyle magazine.  The photos Peter had taken looked so good, being bracketed by her words.  She felt like she’d made it.  However, even that feeling didn’t cover the fact that she was still nervous about Steve reading it.

They had parted on really good terms about a month before the piece was published.  Every time they were together felt more comfortable and more flirtatious than the last.  Steve slowly opened up to her, becoming more comfortable and more real.  It was exciting to get to know Steve's more playful flirtatious side, but it also felt like a privilege.  It was something that was private and meant just for her.  She kept those special pieces of him minimal in the article, holding onto it for herself.

Still, there was a lot of how she felt on those pages and she hoped it spoke to Steve.  They had agreed to wait to decide whether to date after the article came out.  That meant they hadn’t spoken to each other for a month.  In that time, Melody had already started a new piece, this time shadowing Dazzler as the singer prepared for her show at Madison Square Garden.

Her nerves were high by the release of the magazine.  She worried that Steve would have moved on or forgotten about her.  She worried that he’d hate the article and have lost all respect for her.  She worried about the general feedback on the article.  And yet, there was excitement and anticipation in there as well.  She’d done it.  She was a published author.  She was earning money as a writer.  It was the dream she had been working for.  If Steve never called her, she still managed to realize the dream of being a professional author.  Not everyone could say that.  The fact that there was also a potential relationship in the mix, was just the icing on the cake.

The night out with Bobbi was needed, and her cousin took her out for dinner and then drinks to celebrate, and she happily spent most of her first paycheck on the event.  Going out with Bobbi was always a good time, but this just amped it up even more.  She didn’t end up coming home until the early morning, very drunk and feeling very good about herself.

She fell into bed and passed out, sleeping until late the following morning.  It was her phone that woke her.  It was rare to get a phone call and when she fumbled for it, her first thought was that it was her alarm, despite being a completely different tone.

When she realized it was a call, she thumbed the answer icon and pressed it to her ear.  “Hello?” she grumbled.

“You have a crush on me?”

It took a moment for her to register what was being asked of her and another moment to realize who it was that was asking her the question.

“Steve?” she croaked.  Her throat was dry and her mouth felt like it was coated in wax.  She reached over to her bedside table to grab the bottle of water she normally kept there, only to find it empty, and she fell back with a groan.

“How many people have you written about having crushes on?” Steve asked.

“That depends on how far back you want to go,” she said, attempting a joke, even though she felt like she was going to vomit.

Thankfully Steve chuckled softly.  “Okay.  How many people have you written about having a crush on recently?”

“Just the one,” she said, pulling her pillow down to cover her eyes.  “So - did you like the article?”

“I did,” he said.  “I like how you wrote about your feelings about spending time with me.  It made it feel personal and more real than just a regular bio stating all the facts.  Especially seeing as you seemed to like being around me.”

She laughed softly and licked her lips.  “I do like being around you.  A lot.  Was that not clear?”

He chuckled.  “The feeling is mutual,” he said.  “More than mutual.”

She smiled and took a deep breath.  Her heart was beating rapidly.  He liked the article and he liked her.  This was the start of something that could be great and she was in bed, nursing a killer hangover.  “I’m really happy to hear that, Steve.”

“Did I wake you up?” he asked.  “I can call back.”

“No, no,” she said.  “I mean yes, but I don’t want you to hang up.”  She groaned and sat up leaning against her thighs.  “Bobbi took me out to celebrate.”

Steve laughed.  “Oh, I see.  This is the second time I’ve talked to you after celebrating with Bobbi.  Who’s the bad influence, her or you?”

“I think we might both be bad influences on each other,” she laughed.  The sound immediately made her grab her head and groan.  “Oh, that was a mistake.”

He laughed.  “You really went hard, huh?”

“Yes,” she complained.  “You must think I’m terrible.”

“Not at all,” he said.  “I’ll have a drink from time to time, I just can’t get drunk. It’s not like I’ve never tried to.”

“Really?” she said.

“Really.  I’m not a huge partier, but I like to let my hair down from time to time,” he said.  “Maybe a little more low-key than you is all.” 

She laughed softly.  “I’m usually a bit more low-key than this too.  We just ramp each other up so much.”

“It’s good to have friends like that though.  Mine are like that for me,” Steve said.

She relaxed again, letting herself fall back down onto the pillow with a huge smile.  “I’m so glad you called, Steve,” she said.  “I was worried you might not.”

“Why would you think that?” he said.

“I don’t know. It’s been a month, and maybe the article would have scared you off.  I mean I did admit to having a crush on you in it,” she said.

He laughed. “Do you think you were coming on a little strong?”

“Maybe,” she said.  “But I meant what I said.”

Steve made a soft sound that made her heart flutter. “You were right though,” he said.  “It’s been a month. I really want to see you.  Are you doing anything tonight?”

She frowned and her stomach sank.  There was nothing she wanted more than to go out on an actual date with Steve Rogers, but she had a shift at her second, better-paying job.  “I can’t,” she complained. “I have to work.”

“Oh - wow.  New piece?” Steve asked.

“No. I wish,” she huffed.  “I’m an intern at DB - it barely pays anything.  I have a waitressing job to pay the bills.”

“Busy woman,” Steve said.  “That’s commendable.  Another day?”

“I’d really love that,” she agreed.  “I work Thursday, Friday, and Saturday night this week,” she said.  “Other than that…”

“What if we do Sunday brunch?” he said.  “I’ve never actually done brunch before.” 

“You haven’t?” she asked.  “Then we definitely should do that. Brunch is the best.  There's nothing like getting to drink alcohol before lunch and it be socially acceptable.”

As they spoke, Bobbi emerged from her room.  Melody heard her shuffle into the bathroom and close the door.  A moment later the water started in the shower.

“I would have thought you'd be put off drinking so early this morning,” Steve teased.

Melody couldn't help but laugh.  “Yeah, you're right there.  Even the thought of hair-of-the-dog makes my stomach roll over.  But still, brunch is good.  Do you have anywhere in mind?”

“I'm not sure.  What about if I come up to your side of town? I mean - you did travel all over the place for me already,” Steve suggested.

A smile crossed her lips.  Steve was such a gentleman, it made her feel a little giddy.  “That was for work,” she reminded him.  “And some of those places weren't exactly convenient for you either.”

“Even still,” he said.  “I'd like to make the effort.”

“Alright.  I should be able to find somewhere nice that has big portions for growing boys,” she said.  “I'll text you the address.”

“Sounds good,” Steve said.  “Is it weird to say that I missed spending time with you this month?”

Her smile got wider and her heart flip-flopped in her chest.  Here she was waiting on tenterhooks to see if her article would scare him off or to see if he’d forgotten about her, but it turned out absence had made the heart grow fonder for both of them. Steve felt the same way about her as she did about him. “It’s not weird,” she assured him.  “I have missed you too.  I know it was my idea, but I’ve been thinking about you a lot.”

“It was a good idea,” he said.  “There were a lot of good reasons to wait, and we didn’t want to risk starting things on the wrong foot.  Your article is out.  It’s good.  Now we can go out there with everything on the table.”

“Yeah,” she agreed. “But it feels nice knowing we both feel the same way.”

He chuckled.  “Yeah, it does.”  There was a pause where Steve sighed.  “I better get to work,” he said.  “But I don’t want to stop talking to you.”

“Yeah… I better get up and get coffee,” Melody grumbled.

Steve laughed.  “Yes, you better.  Join the real world.  I’ll see you on Sunday.” 

“See you then,” she said.

She disconnected the phone and squealed, kicking her feet in the sheets.  She didn’t notice the sound of Bobbi stepping out of the bathroom.  “You sound excited,” Bobbi said from the other side of the partition.

Melody sat up and crawled to the end of the bed, popping her head over the top of the room divider.  “Steve and I are going out to brunch.”

“Oh, you bitch,” she said laughing.  “That’s awesome.  Congratulations.  I can’t believe my cousin’s going to be dating Captain fucking America.”

Melody laughed along with her.  “I better go have a shower,” she said. “You can work out your jealousy while I'm there.”

“I’ll do one better,” she said. “I’ll make us breakfast, and you can tell me all about the phone call.”

Melody laughed again as she got out of bed.  “You, my friend, have a deal.”

// NEXT

[kevin-the-bruyne]

Well something kind of funny just happened but I think it actually proves my point even more so here goes: I was trying to construct an argument about how the discourse around Thai branded pairs being 'real' or 'fake' is so short sighted and insular because what fans are trying to ask is "do you love and fuck each other within this rigid heteronormative lens" but what they ask is more along the lines of "are your feelings for each other real" and when people answer with a resounding 'YES!' it suddenly turns into lying when the answer to the implicit question turns out to be no.

But the truth is that the relationships between human beings are very complex and things can be intense, real and even be passionate without it falling under romance. I think this is especially true within queer friendships where being a little bit in love with your friends is at this point a widely accepted phenomenon. Anyone here whose job feels less like a job and more like a Trial By Fire knows that the bonds between you and your coworker are very, very real. And one of those jobs is acting - period. In the context of branded pairs that partnership suddenly amps up in intensity until you truly are having a very unique experience with only ONE other person in the entire world. This was of course all leading up to Krist and Singto, about how Krist really, genuinely likes Singto SO much, about that one (recent??) interview that I can no longer find where Singto said that he had to reassure KRIST that he wasn't leaving because of him - about how it's not always clear to the people experiencing the relationship itself what is truly happening between them. And part of that argument was going to include a small anecdote about a friendship breakup I had with a friend I used to do theatre with in middle-high school.

Well. This post is no longer focused on KristSingto so let's just get into the anecdote:

When I was in the 8th grade I started an unusual friendship with an 11th grader (Z) because we used to do theatre together. Many things made it unusual - we were of the opposite gender, a 4 year age gap at that age is HUGE, but also that he was a very reticent dude that almost never hung out with ANY juniors let alone female ones. But we became friends because:

1) We were scene partners, in fact, I was playing Zs secretary so every single one of my scenes was with him, I was almost never backstage without him because my entire role was following him around and saving him from the evil machinations of his adviser. We were backstage alone a lot because our entry and exit cues hugely overlap

2) I was nursing a horrible, terrible crush on a different 8th grader (B) also in the production and somehow this scary, reticent older dude was a HUGE gossip.

3) Z told me several years later that him befriending me during the production was part of a terrible matchmaking plot that the 11th graders had hatched to get me and B together because apparently our yearning for each other was difficult to witness. B had his own 11th grade buddy (the evil advisor in fact lol) coaching him. Spoiler: It didn't work b/c 11th grade boys make for TERRIBLE matchmakers.

But Z and I bonded in a way that was eye catching, part of that was because we were killing it on stage. We had amazing chemistry and we were kids so no one was coaching us to have chemistry. We just did because we trusted each other.

I cannot stress this enough that we were a comedy duo, our scenes were not even remotely romantic in nature. He was the King and I was his Jester but still people were buzzing from just watching our practices. I had unknown random girls come up to me to ask about my relationship with Z (people are always nosy about connection lol). Not only did the 11th graders FAIL but their very plot was one of the big reasons why B and I never got together because B would go on to believe for YEARS after that I was in love with Z 😭

Anyway, Z and I stayed great friends for long, long after that production and well into our adulthoods. A lot of our early years was me being sad over my unrequited love for B but I had more interests lol. We were basically ride or die and even had a marriage pact. We planned our honeymoon, we talked about what our married life would be like. We were completely platonic friends. We stayed good friends long distance for several years when I moved away for school. The friendship ended because I found out he was lying to his GF (now wife!!) about when he'd come to see me/hang out with me. And that was so disrespectful to both me and the girlfriend that I told him that we'll only hang out again if he introduced me to his GF. The reason why this never happened could have been because of a lack of opportunity since I live in a different country but we did completely stop talking after this.

Anyone who's actually managed to read all that is probably like girl your relationship was not COMPLETELY platonic. And like...yeah I'm realizing that now. Getting some clarity on a friendship breakup from 8 years ago that had caused me a lot of pain only because I started writing about it because KristSingto decided to simulate nasty fucking on stage.

Anyway, life is weird and KristSingto are about as real or fake as any other human relationship 🤷🏽‍♀️

[shit-talk-turner]

Also, please, tell me what interview you're talking about with this pudding stuff, thank you. //

audio: https://www.tumblr.com/alexturne/699026844799909889/cluedo-enthusiast?source=share

transcript: https://alexturner2005.tumblr.com/post/698780908672761856/alex-and-matt-answer-rapid-fire-questions-with-jo/amp

video: https://www.instagram.com/reel/CkLQZ1ojdMR/?igsh=MXI4cmFvNTAzNDBveQ== (not the funny quiz part)

i think this is all that’s left of that interview, someone had uploaded it to youtube but the account was deleted so it’s gone :/

thanks friend!

[standupcomedyhistorian]

Good morning! It's the PREMIERE of Jerrod Carmichael Reality Show TONIGHT! 🙌

I've been busy with my new job and packing (moving to my new home on Sunday—woo-hoo!), but I couldn't miss this one...I mean, I was at one of the performances he filmed back in 2022 haha

And we may finally learn WHY Bo was wearing that ski mask at the Emmys! 🤯

Anyway, here is a roundup of all the media I've found pertaining to the show and Jerrod:

Variety interview https://variety.com/2024/tv/news/jerrod-carmichael-reality-show-kardashians-coming-out-bo-burnham-1235954213/amp/

(the way he hides Bo's identity and refuses to acknowledge the lanky ski mask-wearing friend is him is ADORABLE...we know it's him, Jerrod haha)

The figure with the mask over his head is a friend of mine whose identity I’ll protect. I won’t say who it is ever.

Have you worked with this person before?

It’s just a friend of mine. All questions asked about them, I’ll not answer. It’s the amount of protection that I want to provide for this person.

Vulture interview https://www.vulture.com/article/hbo-jerrod-carmichael-reality-show-series-interview.html

New York Times

Indiewire

Entertainment Weekly

Hollywood Reporter

Washington Post

And don't forget to watch tonight at 11 PM (yikes that is late...good thing streaming exists lol)!

Enjoy the articles, and keep it here for more comedy fun! ✌🏼🐔

[keanuquotes]

“Alex Winter and I would have two-bass jams when we made Bill & Ted – I won’t say there wasn’t any weed involved…” Keanu Reeves recalls his Wyld bass duels with his excellent co-star

By Michael Astley-Brown

Bill & Ted may have been guitar shredders, but Reeves and Winter are bassists in real life. And their off-set jams sounded like a lot of fun

With the return of his long-dormant alt-rock outfit Dogstar last year, Hollywood legend Keanu Reeves reminded the world that he’s more than just one of the most famous action heroes on the planet; he’s a bass player, too.

In a world-exclusive interview, Bass Player sat down with the John Wick actor to talk everything bass: what drew him to the instrument in the first place, the evolution of his rig and his all-star jams.

One highlight of our conversation centered around (of course) Bill & Ted. But while its stars – played by Alex Winter and Reeves, respectively – are known for their hair-metal guitar antics onscreen with Wyld Stallyns, off-camera the pair played bass. And they played it together – inspired by each others’ licks and, er, other things...

“Alex and I would have bass jams,” Reeves laughs. “It would be like two-bass jams. And that was wacky, good fun.

“Someone would start a central riff, and the other person would move around whatever that riff was… At the time, I won’t say that there wasn’t any weed involved!”

Naturally, the duo needed to distinguish from each other tonally during their low-end wigouts. And Reeves had just the thing.

“And then I might throw in maybe some distortion,” he recalls. “Once in a while when I played by myself, I would put the old distortion pedal through it.

“The jam space at my house in the ’90s had a Marshall amp, and sometimes I played the bass through the Marshall head and played with the distortion there, which I thought was cool.”

Sadly, he also revealed that making William ‘Bill’ S. Preston Esq. and Ted ‘Theodore’ Logan bass players in the movies was never on the cards – although the series’ own bass hero, Death, would later showcase his own low-end skills in 1991’s Bill & Ted’s Bogus Journey.

One of a number of Hollywood actors who are also bass players, Reeves recently partnered with Fender for a short film called Don’t Quit Your Day Dream, during which he described the purchase of his first bass as “like a bass drug deal”. That video has now received almost two-million views in two months.

Stay tuned to Guitar World for the full interview with Keanu Reeves, where he explains why he doesn’t consider himself worthy of a Fender signature model, what he really learned from his bass lesson with Flea, and reveals the answer to the age-old question: what bass would Neo play?

[fkmarrycill]

Snippets from an interview about Sunshine. I love when he gets amped and goes into a wide-ranging discussion when he answers a question. It must be like Grand Central Station in his head, so many thoughts going off in interesting directions. 😌😍

I also like to watch his hand gestures and mannerisms. I'm soaking all of this up like a sponge for writing purposes. 🤓