#accidental coincidences

[tavolgisvist]

The Lovers That Never Were

(for @i-am-the-oyster because)

As for you, you sit there playing this game You keep me waiting

(The Lovers That Never Were, 1987)

Don't keep me waiting here Lead me to your door

(The Long and Winding Road, 1969)

Linda: The sad thing is that John and Paul both had problems and they loved each other and, boy, could they have helped each other! If they had only communicated! It frustrates me no end, because I was just some chick from New York when I walked into all of that. God, if I’d known what I know now… All I could do was sit there watching them play these games…

(Paul and Linda McCartney, Dec.1984, interview with Joan Goodman for Playboy, 1984)

All of the clocks have run down Time's at an end

(The Lovers That Never Were, 1987)

But in a final tender moment, the Observer said, Lennon wrote under a photo of himself with McCartney: “The minutes are crumbling away.”

(Associated Press: Lennon’s resentment of McCartney reflected in book notes, July 20th, 1986)

So you, you must tell me something,…I love you, Say goodbye or anything

(The Lovers That Never Were, 1987)

And I won't go away until you tell me so No, I'll never go away Yes, I know what I feel to be right

(No More Lonely Nights, 1984)

When all of the clocks have run down All over the world We'll be the lovers that never were

(The Lovers That Never Were, 1987)

In another world we could Stand on top of the mountain With our flag unfurled In time to come In time to come we will be Dancing to the beat played On a different drum

(Tug of War, 1980/82)

We had the whole musical universe to choose from – a rock and roll song, a love song, what would it be? – so I said, “Well, let’s start with Smokey Robinson and the Miracles. Let’s think of them”, so we started off and ‘The Lovers That Never Were’ came out. It was our first song together.

We did a nice but very, very rough demo of it, just Elvis and me, but when we tried to record it properly it didn’t really work out. So I ignored it for Flowers In The Dirt and decided to try it again for this album. And we thought of bringing in a 4/4 bass drum over a 3/4 song ~ this is for the musicians among you – which just makes it swing. It’s an old rhythm trick but it made it come alive, and we then had a version that we liked.

(Paul McCartney, 1993, Club Sandwich)

It was a waltz and not working, until Paul said, How about putting a 4/4 on top of this thing. And that was so complicated, waltz and 4/4 at the same time, but I tried and Paul’s looking at me saying, You all right? I’m struggling (claps in fours, stamps in threes), but I say, Just give me five minutes. A real head twister, but it was such a groove. Made the song happen.

(Blair Cunningham, from the “New World Tour”)

Baby’s In Black we did because we like waltz time – we used to do If You Gotta Make A Fool Of Somebody, a cool 3/4 blues thing. And other bands would notice that and say, ‘Shit man, you’re doing something in 3/4.’ So we’d got known for that. And I think also John and I wanted to do something bluesy, a bit darker, more grown-up, rather than just straight pop. It was more ‘baby’s in black’ as in mourning. Our favourite colour was black, as well

(Paul McCartney, Anthology)

“Baby’s in Black” was recorded by the Beatles on 11 August 1964, and was the first song recorded for Beatles for Sale. Lennon and McCartney sang their vocal parts simultaneously through the same microphone. This was done at their own insistence in order to achieve a closer feel to the performance. (x)

It was very much co-written and we both sang it. Sometimes the harmony that I was writing in sympathy to John’s melody would take over and become a stronger melody. Suddenly a piebald rabbit came out of the hat! When people wrote out the music score they would ask, ‘Which one is the melody?’ because it was so co-written that you could actually take either. We rather liked this one. It was not so much a work job, there was a bit more cred about this one. It’s got a good middle.

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

They performed Baby’s in Black live during their appearances from late 1964 until their last tour in 1966. In 1996, a live version of Baby’s in Black was released as a B-side to Real Love, the second single from their Anthology project.

[starlooping]

i love my women middle-aged and scary

grayscale version:

[almostswagkid]

I don't need sleep, I need answers

[kan-be]

beware of gremblins

[darkdragon768]

He blew it up because he felt attacked on his pride and not, like, revenging his bro or something. Nooo, he would never do that!

Anyway, happy Halloween everybody!

[empty-blog-for-lurking]

I think we should stop giving Lance family problems and instead give everyone else family problems and then drag him into all of them as universe's most unpaid and unqualified therapist. As god intended

[koerinz]

@north-noire emily family

[adobe-outdesign]

this is all I got from the last 4 plot pages

[devildaisies]

Finally finished the Neverafter pixel set! Are there any NPCs you would want to see added?

[redux-iterum]

In bonefalls rewrite riverclan has to band together to slay a wels catfish they named ripwater.

Sounds radical! Please do not inform me of what goes on in other people's rewrites, as a side note.

[tavolgisvist]

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

Two Virgins

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

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

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

Autumn 1968:

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

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

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

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

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

(Get Back sessions, January 14th, 1969)

Why Don't We Do It In The Road?

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

designing the White Album poster during Sept-Oct 1968

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

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

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

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

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

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

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

(Derek Taylor)

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

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

from too long post

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

[leeryhunter]

what did anakin say in the movie: i need to be with him.

what's written in the (official) books: his heart was breaking in yearning, he was knowing that jedi shouldn't overstep, but deep thirst was pushing him forward.

[tiredfoxtf]

I may or may not just spent like 5 hours of night drawing this and desperately need to sleep.

[torchickentacos]

Currently reading and watching reviews of the new-old-camera that I have now, and they're saying it's 'light' and 'convenient', meanwhile I could take a bitch out with a single swing of it. it's like having a small car strapped around your neck. this thing would be my quirky protagonist weapon in a rick riordan book. they could have killed jfk with a canon 400D and a tamron macro lens attachment if they wanted to

[aroaessidhe]

2025 reads / storygraph

This Gilded Abyss

fantasy/thriller/romance, start of a series

gilded-age fantasy world where a rare magical substance is mined deep undersea

a sergeant struggling with grief and trauma of her best friend dying in a mine collapse, is asked by a young royal (…her ex girlfriend) to help her investigate a strange murder - on the luxury submersible heading exactly where she never wants to return to

when there’s another massacre, confirming their suspicions that it’s caused by an illness inducing a violence craze, they have to find a way to survive, trapped on the ship until it arrives at the undersea city

[beneaththebloodylake]

the hair is even the same colour