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writingquestionsanswered · 11 months

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hello, do you have any tips for getting more creative titles? Like going for a more poetic style without it being too much. I like for example, "These Violent Delights" and "Our Violent Ends" by Chloe Gong. They're simple, telling, and short - and I just think it's different (from "The" type titles, and the Blank of Blank and Blank format). I also think "The Folk of the Air" is simple yet creative. I feel like I don't know enough words to get the title. I appreciate any advice! Thank you.

Coming Up with Poetic Titles

Some of the most beautiful, poetic titles often stem from actual prose quotes, either from poetry, classic literature, song titles, public domain lyrics, plays, etc.

These Violent Delights and Our Violent Ends, for example, are actually derived from a quote from Shakespeare's Romeo & Juliet ("These violent delights have violent ends...") which is appropriate since the These Violent Delights duology is a Romeo & Juliet retelling. Other examples are The Lovely Bones by Alice Sebold (I knew a woman, lovely in her bones... “I Knew a Woman” by Theodore Roethke), The Fault in Our Stars by John Green (The fault, dear Brutus, is not in our stars/But in ourselves... Julius Caesar by William Shakespeare), Her Fearful Symmetry by Audrey Niffenegger (What immortal hand or eye/Could frame thy fearful symmetry? "The Tyger" by William Blake), Across the Universe by Beth Revis ("Across the Universe" by The Beatles), To All the Boys I've Loved Before by Jenny Han ("To All the Girls I've Loved Before" by Hal David and Albert Hammond, made famous by Willie Nelson and Julio Iglesias.)

Series titles, like The Folk of the Air series and A Song of Ice and Fire series are usually broad references to what the story is about. I haven't read The Folk of the Air, but I know it's about faeries, so I'm assuming that's a reference to the fae in that story. A Song of Ice and Fire is a reference to a prophecy and history book in the series, but the imagery also references many of the themes and events in the story.

So, whether you're titling a book or series, here are some places you can look for a title:

-- references to relevant source material, such as original fairy tale if you're doing a retelling (Ash by Malinda Lo)

-- references to relevant poems, song titles, lyrics, plays, music, classic literature (Catch a Falling Star by Kim Culbertson)

-- relevant quote, title, person, place, or event that appears in your story (The Hunger Games by Suzanne Collins, The Cruel Prince by Holly Black)

-- beautiful imagery that appears in your story (Under the Tuscan Sun by Frances Mayes)

-- who or what your story is about (The Book Thief by Marcus Zusak, The Martian by Andy Weir, All the Crooked Saints by Maggie Stiefvater)

My post Coming Up with a Book/Story Title has more tips!

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astrxsee · 29 days

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FALSE GOD chap. 3

(chap 1) (chap 2) (chap 3)

percy jackson x child of demeter!oc

𝑰𝑵 𝑾𝑯𝑰𝑪𝑯 Rose St. Claire sets off on a quest to save the goddess in chains.

𝑶𝑹

𝑷𝑬𝑹𝑪𝒀 𝑱𝑨𝑪𝑲𝑺𝑶𝑵 learns to see what is right in front of him.

!CONTENT WARNING! gore, romance, swearing, blood, heavy themes

OMG ITS HAPPENING STAY CALM!! LITERALLY SO EXITED FOR THIS. i love you all and i really really really hope you like this

Whoever's idea it was to send us here, should rot in hell. I plop down onto my designated cot, the poles poking at me through the bottom. My eyes scan around the dull room, the darkness of the interior instantly ruining my mood. Dark green cots were lined up in rows along the edge of the room, with the students things stashed neatly below their respective bed. With nothing on the walls and only one tiny window, it was a dreary place.

I sigh, my head tilted to the side as I glance over at Bianca. Her dark curly hair fell off the back of the lame excuse for a bed. Dark brown eyes scanned the pages of some fantasy novel she held in front of her face. Her dark Westover Hall uniform thrown haphazardly on, with wrinkles lining the button down shirt.

"You know, if you keep your nose in a book all day, you'll fall behind in your classes." I jokingly poke at her, a slight laugh following my words. Her eyes begrudgingly move away from her book to look at me.

"Rose, you have absolutely no room to talk," She snarks back, "You've already fallen behind and we've only been here for three weeks!"

I roll my eyes at her, as I dramatically fall back into my cot. I huff and throw my hands in the air, "I mean, can you blame me?"

She seems to consider my words, "No, not really." Setting the book down on the ground next to her and rolls over to face me, her eyebrows furrowing in concern.

"Like, we were literally living in a casino where times was fucked up and now we're living in the future?" I say incredulously as my sentences quickly turn into ranting. "It's 2007 for crying out loud! The last year I remember being in was fucking 1976, and don't even get me started on y'all! Bianca, there has to be something wrong with us to be stuck in this shit show."

She lets out a small giggle, my ranting not even phasing her. After three weeks of hearing it, I doubt she even pays attention anymore.

"I know this is all so confusing and weird, but there will be an answer. But for now, let it be." Bianca giggles. I groan, catching onto her reference. I crack a smile, her corny play on the Beatles' classic easing my anger.

"Bi, I love showing you my music, but never say that again."

She laughs again and gives a mocking sort of salute before turning back to her book. I stand up from my makeshift bed, smoothing the wrinkles out of my own uniform. I lazily make my way over to the bathroom, wanting to freshen up before Bianca and I went to grab lunch.

The other girls in the dorm were all out making last minute plans for tonight, the annual school dance. As the only little sliver of fun they allow us, the dance is a big deal. All I heard about for the last couple of days was who asked who and who dumped who, blah blah blah. Dances back in the 70s were my favorite thing. I always met up with some of my friends and spent the whole night dancing to our favorite bands. But, to be honest, I'm not really looking forward to tonight's dance.

The last three weeks have been a rollercoaster of emotions. Confusion and unanswered questions clouded my mind every waking second. Weird things that I can't begin to explain happen almost every day. Like the horse with wings I saw on the quad a couple days ago. It seems like I was put on an alien planet.

I feel lost. Memories of my home and my past come back to me like puzzle pieces. Bits and pieces of the same memory keep coming back, screaming at me to put them together. I've seen flashes of a large creature; a larger than life lion with wings and a scorpion tail. A monster you can only find in fantasy books, like the ones Bianca reads. Other flashes of a man, tall and burly with a gruff beard, haunt my dreams. His screams echo around in my head every moment of the day.

The one vision I can see most clearly is vines quickly crawling up the legs and arms of the unknown creature. Vines quickly take over the creatures body as I hear it begin to bellow out, and that's when it suddenly stops. Every night since I left that godforsaken casino, Ive had this eerie dream. I have no idea what it could mean or if it's even real, but I couldn't stop the constant nervousness I felt. My anxiety was at an all time high with the feeling of somebody watching me nagging me every second of the day.

I take a deep breath as I look into the mirror, my mind racing. I lean on the counter to take in my appearance, God was I a wreck. My blonde hair looked greasy and unkempt, the stress of the past couple weeks taking a toll on my body. My green eyes had deep bags underneath them, the usual luster gone. Now they just looked empty and sad. I sigh as I look away, not able to take in the sight of me right now. It's nothing that a shower won't fix, I decide.

˚ ༘♡ ⋆｡˚

I could feel the excitement in the air as everyone made their way to the dance. Giddy laughter rose up from the girls who finally got to put on their nice dresses. Dark blue streamers lined the entrance to the gym as throngs of students made their way into the gym. On the inside of the dance, there were lights and lasers pointing every which way.

I smooth out the wrinkles in my flowy dress. It was orange and pink and ended right above my knees, it is some of the only clothes I still have with me from home. I didn't miss the mean remarks made from students about how I looked straight out of Dazed and Confused.

Our new friend, Grover, came with us to the dance as well. He asked if he could tag along with us as he doesn't have many other friends. Grover joined Westover Hall only a week after Bianca, Nico, and I joined. With us being all new, it was only right for us to become friends.

"Woah! Isn't this cool! I've never been to a dance before." Grover exclaims wistfully as we walk into the gym. I giggle as he looks around like a kid in a candy store.

"You've never been to a dance before?" I ask, a teasing lilt to my voice. My eyes scan the room, trying to ease into the overwhelming atmosphere that comes with dances.

"Nope, I've only ever gone to boring schools." I scoff and give him a look.

"Grover, this is the definition of a boring school."

"I don't know. I'd say this is pretty fun." He exclaims as everyone begins to dance along to the music. I roll my eyes at his antics, starting to make my way over to the bleachers. I quickly feel Grover wrap his hands around my wrist and pull me out onto the dance floor.

"Grover!" I exclaim, my eyes wide. "What are you doing? I don't want to dance."

"Come on! Have fun!" He smiles, letting go of my wrist gently. I stand awkwardly in front of him, not knowing what to do. My eyes dart around the gym hoping nobody was looking, until I realized everyone was in their own world enjoying this small night of freedom.

The next thing I know Grover has Bianca and I dancing to songs I've never even heard of. We were talking and dancing as if we were in some movie. Grover excuses himself to go get a drink, leaving Bianca and I alone on the dance floor. We giggle as we spot Nico alone on the bleachers.

"Nico! What are you doing? Shouldn't you be dancing?" I tease him, as we walk up to his spot on the lower level.

"No!" He quickly exclaims, "I hate dancing. I don't even like this mu-"

"Children, would you please come with me. There is something we need to discuss." A gruff voice cuts Nico off, instantly filling my body with chills. Dr Thorn. What could he even want? Isn't this supposed to be our night of fun?

I roll my eyes before reluctantly nodding, he is the vice principal after all. I notice a nervous aura around the man, his eyes glancing around the gym and suddenly stopping to stare at a boy dancing. I look back to Dr. Thorn as he became more noticeably angry. My eyebrows furrow in confusion as he quickly orders us to follow him.

My eyes land on the boy on the dance floor. He seemed to be having fun, I don't know why Dr Thorn seemed to be wary of him. The raven haired boy peered over at me, our eyes quickly meeting. I slow down as his blue eyes seem to put me in a daze, he sends me a sheepish smile before looking away. His eyes seemed to be looking around in panic. Bianca quickly grabs my hand and tows me along behind her and Dr Thorn.

"Rose, come on." Bianca's chides.

We quickly follow Dr Thorn outside, the cold breeze biting at my nose. I wrap my arms around myself as I subconsciously take a step closer to Bianca. The pit of my stomach begins to turn, like something bad was about to happen.

As we make it about a football field away from the edge of the cliff Westover Hall was perched on, my gaze falls onto my shoes. I begin touching the tips of my fingers together, something I do when I'm nervous. Bianca's shriek of horror quickly draws me out of my anxious state.

My eyes go wide as Dr Thorn begins growing bigger and his hands grow into giant paws with claws like knives. His off putting face morphs into a giant lion's head and from his back grows two giant gargoyle-like wings. I let out a guttural scream as I quickly try to get away from the creature, scurrying back in the wet snow.

He lets out a deep, evil laugh. His wings spreading out to his full span, casting a darkness over my friends and I. My breathing becomes quick and shallow as I desperately try to get away from Dr. Thorn. Was he even Dr. Thorn anymore?

I scramble backwards, as my eyes dart around the vast field next to the school. The raven haired boy from the dance comes running around the corner, out into the freezing wind. My eyes grow wide as he uncaps a regular pen and it instantly turns into a long, bronze sword. What the actual fuck was happening?

Why was the monster in my dreams right in front of me? Was it even a dream? I fall to my knees as I turn back around to face the monster. He laughs, an evil grin spreading across his face. His giant maw opens to speak.

“Rose St. Claire, so nice to see you again.”

˚ ༘♡ ⋆｡˚

taglist: @cxcilla

#percy jackson x oc #percy jackson #percy jackson x reader #annabeth is our friend #annabeth chase #grover underwood #percy pjo #bianca di angelo #nico di angelo

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wingsoverlagos · 3 months

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Lewisohn vs. Cynthia Pt. 3 of 3

Part 1 // Part 2 // Other Sources

Quite by accident, this final section of citations from Tune In referencing Cynthia Lennon's memoirs have something of a theme. There are three citations of A Twist of Lennon (1978, aka Twist) and two to John (2005) to dissect here, and all but one have a commonality: the cited source is either altered or directly contradicted in Tune In.

The odd citation out is the one I'll deal with first, and then we'll dive into the citing-a-source-that-contradicts-what-you-wrote section under the cut. This first citation includes a classic Lewisohn Donut, in which he omits a section of the source quote without using an ellipsis to indicate it. When comparing Tune In to the source, this wasn't my biggest takeaway; what was far more glaring was the context Lewisohn had chosen to cut when adapting the anecdote for his book. Let's get into it.

John p.38 vs. Tune In 11-53

The topic here is John hitting Cyn, so there's a lot to unpack. We'll start with the usual citation comparison, and then we'll zoom out to see what Lewisohn does and doesn't include as context. Here's the source:

And here's Tune In:

Immediately, we see that Lewisohn has omitted a large part of the source without indication, and smushed two different sentences together into one. He should not do this, but, honestly, I was just glad Lewisohn covered John's history of domestic violence instead of glossing over it, so I wasn't too fussed...until I looked at the broader context in Tune In.

Lewisohn is skirting a hairsbreadth away from two pertinent stories. Here's the leadup to the quote used above, where Lewisohn describes the events that led John to slap Cyn:

There’s the quote we just looked at in green at the bottom, with some pertinent context highlighted in pink at the top—we’ll get to the world’s ugliest orange circle in a second.

John was insecure, so he hit Cyn when she danced with a man at a party. “The exact circumstances have varied with retelling,” Lewisohn tells us. Maybe that’s true. If you folks are aware of other versions of this story, please let me know—they may well be floating around! Here’s how Cyn describes it in John (p.37):

Two notable details here that didn't make it into Tune In: Cyn's head being knocked into pipes when John hit her, and the identity of the man she was dancing with: Stuart Sutcliffe.

Even if the details are different in other accounts, it is absolutely WILD to me that Lewisohn wouldn't mention that the cause for John's jealousy, according to Cyn's account, was Stuart. Even if he can't be 100% certain, would it not be worth mentioning that Cyn herself says Stuart was the man she was dancing with when John became incensed?

John’s relationship with Stuart was hugely important and influential in this period of John’s life. Lewisohn doesn't have to state it as fact, but I'm gobsmacked he wouldn't mention the strong possibility that John was enraged by Cyn dancing with his best friend. For someone as jealous and insecure as nineteen-year-old John Lennon, would that not have some lasting effects on his feelings towards Stu? Given how central the John-Stuart relationship is in Tune In, I don't know why Lewisohn wouldn't at least take a sentence or two to explore this possibility and the repercussions it might have had on their dynamic. Maybe this influenced John bullying Stu, or the purported attack on Stu described by Pauline Sutcliffe? Is none of this worth mentioning?

Now, the ugly orange circle. That citation refers to a passage in Hunter Davies' The Beatles (1968) where John and Cyn discuss his violent behavior. Here's some of that section from Davies (1968) p.52-3.

The quote Lewisohn uses is underlined with orange. If you read down to the pink-underlined passage, you'll see an account of John's violence towards Cynthia.

This is a very different account than the one we see in John or Tune In. This incident is distinct enough that I doubt it’s a retelling of the jealousy-induced slap described in Tune In, so there’s a inconsistency here: either the abuse in Hunter Davies’ work didn’t happen, or Cyn’s assertion that the art school slap was the single time John hit her isn’t entirely true.

I’m not trying to attack Cyn’s credibility or honesty in recounting her abuse, but I lean towards her downplaying events in her 2005 memoir. This might be a conscious choice—her ex-husband had since been martyred, and perhaps she didn’t want to tarnish his memory, or dredge up unwanted controversy that might affect her son—or a reflection of the amount of time that had passed, nearly 40 years since she and John got divorced. I don’t see a reason to disbelieve the story in Hunter Davies—John read the manuscript and had to sign off on it, so he could have had the story removed.

Lewisohn is certainly aware of this passage. In addition to the “I was just hysterical bit,” he cites the paragraph directly after Cyn’s account of John hitting her elsewhere in Tune In (see citation 10-10). I’m sure Lewisohn has his reasons for favoring the account from John, but I worry those reasons stem from trying to make John look as good as possible, not from trying to portray the most historically accurate version of events.

Twist p.80-82 vs. Tune In 31-12

(p.81 and p.82 pictured below)

Onto the wedding of John and Cyn. There are two issues here.

First, the witnesses. Cyn gives her brother and sister-in-law as witnesses; Lewisohn gives Paul and Cyn’s sister-in-law as witnesses. I would not be at all surprised if Lewisohn has the facts straight here—Cyn actually gives the wrong year for her wedding on p.80 of Twist—but Lewisohn only gives Cyn’s memoir as a source for “[d]etails of the wedding.” Don’t cite something with a source that contradicts it.

The second bit I’d like to discuss is the description of John et al. in the waiting room before the wedding, highlighted/underlined in purple. This isn’t straight CTRL+C/CTRL-V plagiarism, but Lewisohn leaned heavily on Cyn’s phrasing and word choice here, switching around a few clauses and molding two sections into one. He’s changed this passage less than many of the passages he actually quotes, so I’m not sure why he didn’t put this one in quotes as well.

Twist p.84-87 vs. Tune In 33-35

This passage mostly lines up with the account in Twist, but the highlighted section stuck out to me: Cyn never mentions Dot living in the same building as her at this point. By Cyn’s account, after Paul broke up with Dot, Dot moved out of the bedsit where she and Cyn were neighbors, and the two barely saw each other. Here’s Cyn on p.77 of Twist:

Cyn also doesn’t mention Dot’s residency in the basement flat in John (2005)—but it seems she got the story wrong. On the It’s Only Love webpage (see Lewisohn vs. Cynthia Part 2 for some discussion about this source), there’s a quote from Dot about living in the flat beneath Cyn and John’s. In Bob Spitz’s The Beatles: The Biography (2005), he also says that Dot lived in the basement flat based on an interview he conducted with her. He even says that John helped Dot with rent! (Spitz 2005 p.357)

Don’t take this as an endorsement of Spitz’s version of events—I’m not going to write several pedantic tumblr posts criticizing Mark Lewisohn only to uphold Bob Spitz as a paragon of truth! But Cyn is fallible, and there are at least two sources out there that contradict her version of events. The problem here is that Lewisohn only cites Twist for his passage about the Falkner Street flat. You can’t credit information to a source that directly contradicts that information.

Hmmm, there’s a word for using information from a source without proper attribution, but I can’t quite put my finger on it. I think it starts with ‘P’…

Twist p.87 vs. Tune In 33-37

Lewisohn uses Twist as his source for the section of Tune In where John and Cyn move to Mendips. The difference lies in how that move came about. Cyn says that she encouraged John to visit Mimi since she hated to see family members fall out, then credits Mimi as proposing they move in when she hears about their current living situation. In Lewisohn’s version, John makes the request.

We’ve established that Cyn got some facts wrong in Twist (though not more than one might expect in a Beatles autobiography), so she might have things mixed up here. I know I’m a broken record at this point, but Lewisohn needs to cite his source if he has contradictory information here.

In this case, I think Cyn probably has things right. If you read her memoirs, it is clear that Cyn does not like Mimi, and she doesn’t hide this. I don’t think she would give Mimi credit for a generous act like this if it didn’t happen that way—but that’s just my sense of things, and rather beside the point.

John p.29-30 vs. Tune In 11-21

A minor change, but Cyn’s account has Mimi instigating the fight with Lil only joining when provoked, while Lewisohn draws no distinction between the roles the women played in the argument.

Thank you for reading! Next up...maybe All You Need Is Ears?

Sources:

Davies H. 1968. 2009 Edition. The Beatles. New York (NY): W.W. Norton & Company. 408p.

It's Only Love [Internet]. c2005? Dot Rhone. [cited 2024 Feb 2]. Available from: https://sentstarr.tripod.com/beatgirls/rhone.html

Lennon C. 1978. A Twist of Lennon. New York (NY): Avon Books. 190p.

Lennon C. 2005. 1st American Edition. John. New York (NY): Crown Publishers. 294p.

Spitz B. 2005. The Beatles: The Biography. New York (NY): Little, Brown and Company. 984p. [ebook]

#mark lewisohn #tune in #the beatles #john lennon #cynthia lennon #stuart sutcliffe #a twist of lennon #john (2005)#lewi-sins

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mythserene · 3 months

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Lewisohn: rewriting history in the area where we trust him most – the songs performed

-In which Lewisohn rewrites a Beatles story and completely changes the songs sung, and coincidentally changes them in such a way so that if you know your Beatles trivia you'll think that Paul completely hogged the mic for two-thirds of the show-

Although I’ve come to a place where I’m more surprised to find a Lewisohn quote that turns out to be accurate than I am one that’s butchered, I have tended to believe that he is trustworthy on things like dates and songs performed. I’ve felt like that’s probably his anchor, and that he shapes the rest of his narrative around that.

But perhaps the habit of taking license cannot help but spread into other areas, because I am discovering that neither dates nor song lists turn out to be sacred with Mark Lewisohn.

As far as dates, that is part of a bigger piece that has been tangling me up for a few weeks, but his version of “the Beatmakers” performance shows that Mark Lewisohn will write what he wants, and that he has zero compunction in changing history to suit himself, regardless of subject.

In Chapter 22: “Right then, Brian — Manage Us,” a primary theme is that every promoter was done with the Beatles when Brian Epstein came along. Brian Kelly, especially, is given the role of being fed up with them, and Lewisohn uses “the Beatmakers” performance—Gerry and the Pacemakers and the Beatles going on stage together—as an example of how bad everything was just before Brian stepped in. (I do believe that Brian was a godsend, but that doesn’t mean that Lewisohn’s narrative is supported in every area, and in some places he stretches a lot more than in others. This is definitely one of those areas.)

Here’s the story: before going to the Litherland Town Hall performance, Bob Wooler had been drinking, maybe with the Beatles, and in Lewisohn’s version, Gerry seeing that they were all drunk sent “Gerry Marsden scuttling to the pub around the corner.” Every telling I’ve seen, one way or another, is in agreement that Gerry Marsden as well as Wooler had been drinking, and that the Pacemakers and the Beatles all played together with Wooler introducing them as “the Beatmakers.” Lewisohn adds some highly unlikely Preludin into the mix—“John, pissed and pilled…”—but I’m not going to take that on here.

Along with the chance to tell a riotously colorful story—one that in Lewisohn’s telling goes much farther than any of the source materials I’ve found—the main point of the tale is for Wooler to give us the climax of the—(all unsourced, other than this single, butchered Wooler quote)—frustration Lewisohn tells us promoter Brian Kelly was feeling: “Brian Kelly was fraught with anxiety over it. It was only a short episode and a bit of a shambles.”

The quote by Wooler that Lewisohn uses to try to prove his point, and the one and only reference he gives to support any of his “Brian Kelly fed up/Epstein must save Beatles” narrative is a modification of one of those Lewisohn monsters I call a “donut.” (There’s a hole in the middle. However in this case, as in many others, he also adds words that were never spoken.)

THE ACTUAL WOOLER QUOTE:

“Brian Kelly was fraught with anxiety over it, but the audience liked it. It was a bit of a shambles really, so I lowered the curtain on the proceedings.”

LEWISOHN’S REWRITE:

“Brian Kelly was fraught with anxiety over it. It was only a short episode and a bit of a shambles.”

And while I am very interested in what Lewisohn is using for his Brian-Epstein-saved-the-Beatles-but-Paul-tried-to-thwart-him narrative, I felt the need to pause to look at Lewisohn’s massive and nonsensical alterations to this performance, especially in the songs the improvised combo-band played. (And yet how very authoritatively Lewisohn does it.)

The whole section has problems, but let us deal with the songs.

Mark Lewisohn says they “thundered through four numbers”—

The Beatmakers thundered through four numbers—“Whole Lotta Shakin’ Goin’ On,” “What’d I Say” (extended mix), “Red Sails in the Sunset” and the new Ray Charles record “Hit the Road Jack”—during which John, pissed and pilled, slid from the piano and slumped on the stage.

—‘Tune In,’ Lewisohn – Chapter 22 (Emphasis mine.)

Sticking to the songs, the page referenced in the footnote first quotes Bob Wooler:

“They did a few numbers like ‘Hit The Road Jack’, swopping instruments and the like.”

—FOOTNOTE 9: ‘The Best of Fellas’ – Bob Wooler (Emphasis mine)

Then the next paragraph quotes Gerry Marsden, and I’m going to add boldface to the songs he says they played:

“It worked very well as we all knew the same songs and all played the same songs. Paul, John and I took turns on the piano and Les played the sax. We did ‘Roll Over Beethoven’, ‘Johnny B. Goode’, ‘Great Balls Of Fire’, ‘Pretend’, ‘Blueberry Hill’, ‘I’m Walkin'’ and ‘Sweet Little Sixteen’, probably some others too.”

—FOOTNOTE 9: ‘The Best of Fellas’ – Gerry Marsden (Emphasis mine)

So, either they performed exactly four numbers, including an “extended mix” of Paul wailing ‘What’d I Say,’ —or— they performed at least eight numbers and “probably some others, too.”

“The Best of Fellas” version from Bob Wooler and Gerry Marsden that is referenced in the footnote makes sense in ways that Lewisohn’s rewriting doesn’t. Marsden begins by saying that they all knew the same numbers, and moreover what Lewisohn is telling us is that Paul took over the mic for three out of four numbers, and went so far in his spotlight-hogging selfishness as to sing an “extended version” of ‘What’d I Say.’ It’s a particularly egregious “if you know, you know” insertion that conjures up a very damning image of Paul in this otherwise “mutual mood of cooperativeness.” But not only is Lewisohn’s song list not supported, if Paul had hogged the spotlight that way it’s only reasonable to believe that Marsden would have remembered that, and certainly wouldn’t have described the collaboration in the way he did. And if Paul was hogging the mic and spotlight and had sung song after song where he was the lead, Marsden absolutely, positively, would not have rolled off a list of songs that didn’t include a single, solitary Paul song. That is simply beyond belief.

Gerry Marsden’s recollection also makes a lot of sense in that it’s natural that he would best remember the songs where he sang lead. And indeed, out of the seven songs he names, four are Pacemakers’ songs. (Including the one Wooler names and Lewisohn decides to agree with: “Hit the Road, Jack.”) And none of the songs anyone names are songs where Paul sings lead. Two are John songs and the other is a George song, which lends credence to Gerry Marsden’s “probably some others, too” comment, because it’s likely that there was at least one song where Paul was lead.) But in Lewisohn’s seemingly fabricated four-song list, other than “Hit the Road, Jack” they’re all Paul numbers. So not only does Lewisohn choose to have Paul singing an extended version of a scene-stealing “What’d I Say” but he slyly tells us that Paul basically hogged the microphone for seventy-five percent of the numbers (and even more of the time) that this “cooperative” was on stage together. Now, if you’re not a hardcore fan with a fair amount of knowledge this will probably slip past you, but if you’ve got a dog in this hunt, and especially if you already think Paul McCartney is a self-obsessed prima donna, you’ll get the picture Lewisohn is so deliberately painting. And I write deliberately very—well, deliberately—because if a writer makes the decision to veer away from the record and create a very specific, very limited, and very fictional song list for an anecdote about two groups deciding to get together and sing, and more than two-thirds of the songs chosen for the historical rewrite are Paul songs—and then that writer even goes to the trouble of telling readers that Paul sang an “extended mix” of one of those songs—then of course it’s deliberate. Lewisohn didn’t choose his reinvented song list at random out of a Bingo cage.

Here are the songs referenced in the footnote versus the songs that Lewisohn says they sang.

SOURCE MATERIAL SONG LIST/USUAL LEAD:

“Hit the Road Jack” ✓ /Gerry Marsden

“Roll Over Beethoven”/George

“Johnny B. Goode”/John

“Great Balls Of Fire”/Gerry (and Paul?)

“Pretend”/Gerry Marsden

“Blueberry Hill”/Gerry Marsden

“Sweet Little Sixteen”/John

“I’m Walkin'”/Gerry Marsden

LEWISOHN’S SONG LIST/USUAL LEAD:

“Hit the Road Jack” ✓ /Gerry Marsden

“Whole Lotta Shakin’ Goin’ On”/Paul

“What’d I Say” (extended mix)/Paul

“Red Sails in the Sunset”/Paul

----

P.S. If you haven't been reading all of @wingsoverlagos 's work, you absolutely have to. She's done so much and Lewisohn's inventions are so much worse than I realized.

#the beatles #beatles #mark lewisohn #lewisohn is making stuff up again #dr frankenquote #lewisohn #the beatmakers #bob wooler #fine tuning #tune in #paul mccartney #john lennon #gerry and the pacemakers #the best of fellas

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foxes-that-run · 3 months

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Who is anna about? And baby honey?

I think they are.

Anna, Baby Honey, Complicated Freak and the Studio version of Medicine all leaked 20 April 2022, between Harry's two Coachella performances. After he had debuted Boyfriends.

(The timing of this group is what led me to wonder what role Harry plays in the leaks. The Boyfriends F. you intro was only a few months after Taylor wrote You're losing me and 21-23 April is a date they tend to mark, see Peace ring.)

Anna

The general theme of Anna is a rather common one in Harry's music, there's not much that's specific. However:

"Don't know what you're laying just know it's not me" is super similar to Little Freaks "I'm not worried about where you are Or who you will go home to, I'm Just thinkin' about you"

"I don't know what I'd tell you if I passed you on the street" is someone Harry doesn't see - but "everytime I see your face" is about someone Harry sees not in person, as in on TV/Online - a celebrity.

"So chew me up and spit me out / I've nothing left to lose" really sounds like someone already did a number on Harry, which Taylor says in those words in So it Goes..... I think most of his partners may feel the opposite.

I don't want your sympathy is quite reminiscent, but less mature than, Make My Day's "You don’t wanna hear my tiny violin"

The title Anna, may reference the Beatles song. Maybe it is "Ah nah nah" as in Olivia/Ophelia, it just reminds me of Alison for no good reason. Harry's mum is of course Anne and he said his A tattoo is for his mum, then Louis said 'no it's not a mystery blonde.

He plays it in a mash-up with George Michaels "wouldn't it be nice", Harry got other George Michael lyrics tattooed "Never gonna dance again" 2 days after Taylor wrote WANGBT.

Baby Honey

This song sounds so similar to an older blues/rock song and it drives me crazy trying to place the other song so never listen to it.

It starts with 20 seconds of silence (13+7)

The opening line about her friends not liking his music because it's his. yeah.. 💔

"And I swear that I'm not thinkin' 'bout you all the time" is a reference to Him "I still think about you all the time"

"Now I'm getting older, am I getting over you?" is firstly, he's not over her (Hunger "as one year turns into two I'm still not over you") and Night Changes "We're only gettin' older, baby"

"Oh, I know he's got the money, baby honey, does he make your night?" reminds me of Super Pretty "that big baller that we both knew growing up"

"Is it true he doesn't touch you in the place, the way I know you like?" is classic Harry, never pass a chance to remind us of touching in places. This line reminds me of Without You "Now you’re with him i must admit I’m missing / The part of your skin / You always liked me kissing"

#harry styles #harry styles unreleased

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pointycorgiears · 4 months

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Here is a list of every Beatles song made reference to in my bughawk fic, Dear Prudence!

These are listed in order, by chapter. The songs that are listed as themes appear multiple times throughout the story.

Chapter 1:

Eleanor Rigby

Yesterday

Chapter 2:

Hello Goodbye

While My Guitar Gently Weeps - Crocodile's theme

Across The Universe - Mihawk's theme

Chapter 3:

Here Comes The Sun

Dear Prudence - Buggy's theme

Chapter 4:

Strawberry Fields Forever

Because

Helter Skelter

Let It Be

Chapter 5:

I Want To Hold Your Hand

Octopus's Garden

Chapter 6:

Don't Let Me Down - this is my bughawk love song lol

Something

You Never Give Me Your Money

Golden Slumbers / Carry That Weight / The End

Hey Jude

All You Need Is Love - this was kind of Zoro's theme

Honorable Mention:

Lucy In The Sky With Diamonds - I only mentioned the name "Lucy".

With A Little Help From My Friends - I was thinking about this when I wrote the summary

I will make a spotify playlist with all of these songs as well as covers of songs that helped inspire the story or what happened to be what I was listening to while writing it, if anyone's interested.

This was too fun to do. Thank you all that read my fic! It makes me so happy that you enjoy it!

#this fic is like 40% Abbey Road lol #that is such a good album #I worked on a mural of that album cover once #bughawk #buggy x mihawk #fanfiction #one piece #buggy #dracule mihawk #sir crocodile #hawkeyes mihawk #cross guild

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cozza-frenzy · 26 days

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The Alters Of The Magbox

Last updated March 31st 2024 - Total Headcount is 11 This post is mainly just for reference, but feel free to take a look if you've not met all of us yet, or are just curious.

Terry [Last Name Redacted] Pronouns: They/Them (Neos: Toon/Toons/Toonself, Fin/Fins/Finself) Species: Beyonder System Roles: Host, Conflict Resolution Likes: Seafood, fresh fruit, shirts that look like bowling alley carpet, electronic music Dislikes: Liver, cold and damp weather, getting "front stuck" Theme Song: Battle Scars - Paradise Fears Tag: #Shit Terry Says "I'll carry you home, no you're not alone, keep marching on, this is worth fighting for"

Chaos Loony Whackadoo Danger Crimefighter Gadget Stortion Pronouns: It/Its (Neos: Twist/Twists/Twistself, Spin/Spins/Spinself) Species: Cartoon Likes: Strawberries, rave music, dad jokes, causing problems on purpose, its partner (Len of The Panopticon) Dislikes: Silence, green vegetables, causing problems by accident Theme Song: Louder Than Words - Pink Floyd System Roles: Gatekeeper, Caregiver, Protector Tag: #Spiral Posting "It's louder than words, the sum of our parts The beat of our hearts is louder than words"

Taffy Brewer Pronouns: They/Them (Neos: Star/Stars/Starself, Crown/Crowns/Crownself) Species: Object Head Likes: Vegetarian curry, walking outside, plants and animals Dislikes: Meat, heavy rain, crowds and loud noises Theme Song: Down To Earth - Peter Gabriel System Roles: Self-Care, Caretaker, System Management Tag: #To The Stars "We're coming down to the ground To hear the birds sing in the trees And the land will be looked after We send the seeds out in the breeze"

(Art by our Partner System, @rinjak3 !) Martin Blackwood Pronouns: He/Him, They/Them Species: Beastkin Likes: Comfort food, tea and biscuits, pop music, drag shows, their partners (Jon and Jonny D'ville of The Panopticon) Dislikes: Body shaming, the smell of cigarettes, foggy days Theme Song: North - Sleeping At Last System Roles: Caregiver, Grief Holder, Emotional Regulator Tag: #Tea And Sympathy "Let the years we're here be kind, be kind Let our hearts, like doors, open wide, open wide Settle our bones like wood over time, over time Give us bread, give us salt, give us wine"

Vivien Blackwood Pronouns: They/Them (Neos: Paint/Paints/Paintself) Species: Cartoon Likes: Mint chocolate, authentic ramen, video games, animated movies & shows, making and appreciating art Dislikes: Physical contact without consent, being cold Theme Song: Every Teardrop Is A Waterfall - Coldplay System Roles: Creative Work, Caretaker Tag: #Beyond The Shadows

"So you can hurt, hurt me bad Still I'll raise the flag"

Andy Stortion Pronouns: Any/All (Undecided) Species: Beastkin Likes: Ice cream, french fries with ketchup, stickers, colored pencils, board games, asking questions Dislikes: Raised voices, being ignored, people in mascot suits Theme Song: Ready Now - Dodie System Roles: Trauma Holder Tag: (None yet - Andy is underage in-system, and doesn't post without supervision) "You said "I will listen, tell it all When you're finished we'll talk more" But I didn't know how, so we took it in turns To my surprise we found my words"

Dr. Roy Boss Pronouns: He/Him, It/Its (Neos: Dark/Darks/Darkself) Species: Cartoon Likes: Dark chocolate, BBQ Ribs, thunderstorms, heavy music, mad science Dislikes: Authority figures, bright lights, unfairness and injustice Theme Song: Get Up - Korn feat. Skrillex System Roles: Anger Holder, RSD Holder, Medical Advocate, In-System Medical Care Tag: #Boom Baby Boom

"I am clearly broken And no one knows what to do Pieces of the puzzle don't fit So I pound them into you"

Dagwood Hero Sandwich Pronouns: He/Him, It/Its Species: Cartoon Likes: Ice-cream sundaes, veggie dogs, making people laugh, story books Dislikes: Jokes that "punch down", violent media, swearing (for himself - he doesn't mind if others do) Theme Song: All You Need Is Love - The Beatles System Role(s): Mood Booster, Memory Keeper, System Management Tag: #Bring Me Sunshine "Nothing you can make that can't be made No one you can save that can't be saved Nothing you can do, but you can learn how to be you in time It's easy"

Jenova Destati Pronouns: She/Her, It/Its, (Neos: Fen/Fens/Fenself) Species: Divine Beast Likes: Salads, berries, being outside, peace and quiet Dislikes: Crowds, loud music Theme Song: Sweet Time - Porter Robinson System Role(s): Pain Management, Stress Management Tag: (None Yet) "To live, we're dying Why wouldn't we see our world as dark? But I won't spend time Resenting the way things are"

"Thirteen" (Real name & face withheld) Pronouns: He/Him, She/Her Species: Not Disclosed Likes: Social events, fine dining, "Dad Rock", her partner (Archivist Grian of The Panopticon), being shameless Dislikes: Alcohol, rainy days, gambling Theme Song: The Dying Light - Sam Fender System Role(s): Inner World Architect, Trauma Holder, Life Protector Tag: #Unlucky For Some "But I'm damned if I give up tonight I must repel the dying light"

"Roses" (Real name & face withheld) Pronouns: Any/All (Genderfluid) Species: Not Disclosed Likes: Karaoke, social events, cooking, sweet potatoes Dislikes: Alcohol, loud and grating noises, being outside after sunset Theme Song: Goodbye Yellow Brick Road - Elton John System Role(s): Social Advocate, Trauma Holder, Misophonia Holder Tag: #Restless Nights

"You know you can't hold me forever I didn't sign up with you I'm not a present for your friends to open This boy's too young to be singing the blues"

#Adventures in OSDD #The Magbox Idiot Box #Dissociative Identity Disorder #OSDD-1b System #Actually Dissociative #Endos DNI #Endos fuck off #Endo Supporters DNI

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alienelvisobsession · 1 year

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The Quentin Tarantino Connection

When he was a teenager in the late 1970s and early 1980s, Quentin Tarantino was by his own admission way into ‘50s rockabilly music. “I was like the second coming of Elvis Presley. I dyed my hair black. I wore it in a big ole pompadour”, he said in an interview. In his recent book Cinema Speculation, he writes about discussing cinema with his mom’s black friend Floyd, who was into blaxploitation. He loved hearing Floyd’s first-hand accounts of being a black Elvis fan back in the 1950s, also rebuking claims that the King of Rock ‘n Roll was racist. He even included “Elvis impersonator” in his early résumé and it must have paid out because he was cast as one in an episode of the sit-com The Golden Girls in 1988. Incidentally, Tarantino was born in Elvis’ home state of Tennessee, where his mother is from, and as a kid was even left there for a year, describing his family as “hillbilly alcoholics”.

Elvis often comes up in his movies. For example in a deleted scene of his now classic film Pulp Fiction (1994), Mia Wallace uses a hand-held video camera to interview Vincent Vega with either/or questions. She explains the game as follows: “There are only two kinds of people in the world, Beatles people and Elvis people”. Mia has no doubts about Vincent’s allegiance. With his swagger, callback to “Grease” and dance moves, John Travolta is an Elvis man through and through.

Of course, Mia and Vincent later go a to ‘50s themed diner called Jack Rabbit Slim’s, where they have the famous twist contest dancing to Chuck Berry’s “You Never Can Tell”. The waiters are all dressed like dead stars from the 1950s, such as Marilyn Monroe, James Dean and Buddy Holly. Even though, as Vincent would put it, the King of Rock ‘n’ Roll must have had the night off, in Mia’s words “an Elvis man should love it”. Tarantino said that the design for the diner, where the guests sit in booths made like ‘50s vintage cars and the dance floor looks like a tachometer, was partially inspired by the nightclub with race car motifs in one of Elvis’ movies, Speedway (1968).

Tarantino references Elvis here and there in his work. In the novelization of Once Upon a Time in Hollywood that he wrote, for example, Rick Dalton (Leonardo DiCaprio in the movie) is described by his agent Marvin (Al Pacino) as having spent all his career “running pocket combs through his pompadour”, which by 1969 not even Elvis has anymore.

His biggest Elvis homage came very early on in his career, though. As a matter of fact, to finance what would become his first movie, Reservoir Dogs (1992), Tarantino auctioned a script that he had written, True Romance. It was made into a movie by Tony Scott and it ultimately came out in 1993. True Romance begins with a casual conversation about pop culture in the style of Mr. Brown with his infamous “Like a Virgin” theory in Reservoir Dogs. Clarence (Christian Slater) is at a bar, chatting up a girl. Like Tarantino, Clarence prefers ‘50s Elvis and praises Jailhouse Rock (the movie not the song) where Elvis was everything that rockabilly was about: “Mean, surly, nasty, rude”. And then, obviously interested in picking up the girl, he continues: “Elvis looked good. I mean, I ain’t no fag, but Elvis was prettier than most women, you know. Most women. You know, I always said if I had to fuck a guy – you know, I mean, had to – if my life depended on it, I’d fuck Elvis”. Tarantino establishes the rules for his story right away: just like you have fantasies where you wish you were Elvis or as cool as Elvis, or you wish you could fuck him, this movie is a whole fantasy where you wish you were a hero who had a crazy adventure and passionate love story involving pimps, drugs and guns.

Clarence, an alter ego for the author, falls madly in love with Alabama (Patricia Arquette), a call girl. Clarence loves martial arts movies, comic books, hamburgers and Elvis, just like the film director. He also wears Elvis glasses and drives a purple Cadillac. Throughout the movie, Elvis pops up several times, in magazines, on T-shirts and on furniture or posters. The most striking appearance is obviously when Clarence sees Elvis (Val Kilmer) in the bathroom mirror, dressed in his gold lamé suit but anachronistically sporting his ‘70s big glasses. Elvis tells Clarence that he has to kill Alabama’s pimp, and there the adventure begins.

In Cinema Speculation, which sits halfway between film criticism and memoir, Tarantino goes back to Elvis several times. He writes that Elvis could have been the biggest movie star of the 1960s, if it weren’t for Colonel Parker’s greediness and for the weight of his own enormous success in the music business. He even mentions excitedly that Elvis was considered for the role of Sundance in Butch Cassidy and the Sundance Kid (1969) opposite Warren Beatty, before the roles went to Paul Newman and Robert Redford.

Tarantino has always took a liking for B movies, so it doesn’t come as a surprise to learn that he’s not dismissive of Elvis movies as a whole and writes about a few of them in detail. He considers Flaming Star (1960), for instance, to be “a truly great fifties Western, and maybe the most brutally violent American western of its era.” According to him, the film director, Don Siegel, who would go on to direct Dirty Harry (1971), was a master when it came to film fistfights and chase sequences. This was because of his background in editing and his penchant for violence. Tarantino also praises Don Siegel’s unexpected use of shocking bouts of violence, of which there are several in Flaming Star. His protagonists, including Elvis’ Pacer, were often at odds with the society they lived in, which reflected the way Siegel felt around film executives and producers. “Pod people” is how he called them, in reference to his movie The Invasion of the Body Snatchers (1956) and in this category he included Elvis’ nefarious manager, Colonel Tom Parker.

Tarantino recognizes that Elvis movies weren’t real movies but “ElvIs movies”, but he’s a fan of Roustabout (1964) nevertheless. He describes it as: “a pretty entertaining little picture chock-full of cool elements, Elvis entering the movie on a motorcycle—dressed head to toe in black leather […], a strong Big Valley era Barbara Stanwyck as his colead, a one-line bit at the beginning by Raquel Welch, the best soundtrack of any of Elvis’ color films, including a rarity for the King on film—Elvis singing a cover of somebody else’s hit, the Coasters’ Little Egypt, and the only film where Elvis gets to demonstrate his Ed Parker-taught karate moves.” Because of course Tarantino loves martial arts movies, just like Elvis did. And blaxploitation, hamburgers, comic books and being over the top. They would have been great friends.

Read here my previous posts on Elvis connections. So far I’ve written about Jimi Hendrix, Andy Warhol/Bob Dylan, the Clash and Jim Morrison.

#quentin tarantino #elvis presley #elvis #1990s cinema #elvis movies #true romance #pulp fiction #don siegel #flaming star #film criticism #1960s cinema #speedway #roustabout #tarantino #tarantino movies

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jeremy-hillary-boob · 1 year

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I love the new video for Here, There, and Everywhere because it's pretty and fun and very beatle-y, but also because it reminds me so much of paul's comments (I can't find the original quote at the moment, if anyone knows what I'm talking about please add on) about "making up some feelings" to write a song and @zilabee's thoughts about that which pop into my head constantly. short version: I love how this video takes a song that is facially about an individual human subject and instead makes it a love song dedicated to inspiration itself. it becomes a song about the warmth and creativity shared by the group. given the fact that paul apparently wrote this song in john's backyard while waiting for him to wake up AND given paul's special fondness for it as a song john told him he liked*, it's a more accurate interpretation!

there's this imaginary nebulous "she" in the video that is the ostensible object of the narrator's affection, but she's just a symbol or a pleasant hallucination. she's a personification of art and love. she's The Muse. she and the crowds are faceless; the only "characters" with faces and identities are the beatles themselves. when the action directly matches the narration of the song, it's usually referring to what the beatles are doing, not what The Muse is doing - the most literal example would be "changing my life with the wave of her hand" over a shot of the beatles waving at the crowd; a more figurative one might be "knowing that love is to share" over a shot from A Hard Day's Night of the band playing together informally. The Muse's actions in the lyrics are the beatles' actions on the screen.

the scenery is ephemeral and shifts around the group. in the scene copied from Help! where they're playing cards; they stay in a fixed position while the room changes, from one hotel to the next, with different cities visible out the window of the room. they pass from room to train car to press conference to stage, morphing into one another between scenes while also remaining the only unique, clearly defined elements in the story. everything is a hazy and nonspecific dream except for the four of them, the only real things in the room.

and they can only see or be affected by The Muse when they're together! she appears to paul when they're sitting in the studio control room, she appears in the crowd when they're traveling, she appears to george when the four of them are in a hotel room, she moves between them when they're playing on stage. when they're recording, she no longer appears in the shape of a woman and instead her essence takes over the whole studio. she can impact them only when they create her collectively.

what is this song about? nothing and no one, apparently (paul has very little of substance to say about it in The Lyrics, I checked). there's no specific external inspiration for the feelings described by it, but it's paul's favorite of his own songs, because he just likes it, and because john liked it. what about this song is "real?" not the apparent subject. what's real is the band, and the inspiration they create with and for one another.

*which makes this SUCH a delightful companion to the video for I'm Only Sleeping. related side note, I love that "each one believing that love never dies" plays over an image of the four of them sleeping in the back of a car. it ties in beautifully with the other video, the entire theme of which is john dreaming (but don't worry, he's only sleeping). implicitly related pairs of lennon/mccartney songs, my absolute beloved

#nice of them to keep throwing enrichment into my enclosure #the beatles #here there and everywhere #revolver #the four headed monster #mclennon #mine

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crepesuzette2023 · 2 months

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I just read your reference of “ I only have eyes for you” theme and it’s just so interesting because I’ve recently seen John’s titled collage for Paul (and George, Ringo, and Elton) on the dash and have been thinking about it for a while now. I think it’s interesting how Paul’s is the only one to not have his photo in it, as if the collage is centered on the feeling Paul illicits from him. Which seems to be complex ‘dark’ feelings. The main colors are black and red; which to me evoke a sense of foreboding yet also viscerally sexual. The fact that women feature heavily in it—either a reference to Paul’s Casanova reputation or how women are used as a buffer between whatever was between them? The darkness of John’s collage adds a heaviness to his chosen title, “I only have eyes for you”, it’s not literal but it encapsulates their mutual obsession and possessiveness of their partnership. What do you think? George’s was rather telling as well.

First of all, I love the title John gave his collage for Paul. I Only Have Eyes for You. With Paul having these famously huge eyes, it's clearly (<- ha!) an allusion to his looks. A tease? A compliment? Remember, George drew a caricature exaggerating Paul's eyes and lashes; I wouldn't be surprised if this was a common theme amongst the Beatles (Paul's the prettiest, etc.) if not between Paul and John.

But it's also true the other way around: John's hypnotic gaze (due to his shortsightedness [and refusal to wear his hot pair of glasses]) was also noted. Mike McCartney mentioned it in detail, more than once: how he met only two people with a particular, distant-yet-piercing gaze that made them magnetic and dead cool: Sandie Shaw and John Lennon.

And John only had eyes for Paul. Aw.

The women in the collage are so interesting. Not smiling or seducing, but standing still, or sleeping, or sleepwalking? My attention goes to the face in the upper center. Is she wearing a nun's habit? Is she in agony or in ecstasy? And look at that glow below her, like lava.

The cut out eyes and the cut out fingernails. The eyes like buttons. Breasts as eyes.

It's certainly not a 'pretty girls for the Casanova'—collage!

Are they a buffer between him and Paul? Maybe.

They certainly embody John's love of the brooding and dangerous over the pretty and safe. That applies to women, but probably everyone, including Paul. If Paul had been a good boy with neat handwriting and musical diligence, and nothing more, I don't think John would have had eyes for him.

I love how thick and layered it is. Looking at it, I feel I could dig my hands into it. Speaking of: The visceral sexuality you mention—I see and feel it, too—but what say you, does t come from the bodies, or the hands that are everywhere? There's a lot of touching. The title is a distraction...

Also, a brief final thought: I wonder when John made this. Did he make it while he was still 'under the influence (mentorship)' of Stuart at art college? Maybe John tried to impress Paul. Or give him the message 'this is my language now.'

I don't know anything about the context of John making the collage. If it was a gift for Paul, he put a lot of time and effort in it. I think it's really good. Maybe he made it for class and gave it to Paul later, though.

I admit I have not given as much attention to the other collages yet, and I couldn't find a good, large file of them to look at properly. They look more similar to drawings and less like a painting, I think...? Perhaps a development of John's style? Just speculating, no deep thoughts.

Thanks for the ask, this was fun to think about (and look at...)

#asks #John's collage for Paul #i only have eyes for you #collage #Beatles art #John Lennon art #paul mccartney #the bull of Liverpool #mike mccartney #sandie shaw #(mentioned)

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changeling-fae · 2 months

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random OC ask: does your OC have a favorite animal, or an animal they feel most akin to? what significance does it hold to them?

I'm finally answering the behemoth list of oc asks I've been wanting to answer for weeks. Thank you for the ask!

Nym:

Nym doesn't really notice animals too much. She likes them but with her violent intrusive thoughts she tends to avoid them. She's also a consummate carnivore, and just loves meat. That being said, she's been compared to sheep and goats by my friends (what with her horns, hair, and hooves) and narratively Raphael refers to her as "little lamb". Her journal title would be Silence of the Lamb too. Mostly tied to innocence, loss of innocence, sacrificial lamb, lamb brought to slaughter, and wolf in sheep's clothing imagery and theming.

Trinket:

Visually, deer but as far as a personal favorite animal, she relates to cunning animals; specifically foxes and corvids. If she were aware of ocean denizens, cuttlefish would definitely be up her alley. Her own cunning and risk taking personality is something she takes pride in so animals tied to deception (whether earned or just stereotyped) she'd feel a measure of kinship to.

Flint:

Well he's definitely as big and as strong as an ox. But he's still acclimatizing to the Material Plane after being born and raised in the hells. I think he'd feel kinship with alligators if he ever met one. A creature with endless patience, strength, and ability to hide within plain sight would definitely appeal to him on a professional level. That being said, I can also see him having a soft spot for pandas or capybaras. Chill animals that are just vibing.

Casira:

Oh nightingales and songbirds for sure. Green Finch and Linnet Bird from Sweeney Todd and Black Bird from The Beatles (specifically from the Across the Universe soundtrack) are both on her playlist, lol. Caged bird imagery is very much part of her aesthetic and by design on my part and she absolutely feels a kinship to pet songbirds.

Iluatria:

So Lua is a unicorn trapped in mortal form and on a mission from Selune, so she's already kinda an animal (albeit a magical sentient animal), and her kinship is to other unicorns and creatures in her category. But quoting from one of my favorite books, The Last Unicorn (the obvious inspo), "She did not look anything like a horned horse, as unicorns are often pictured, being smaller and cloven-hoofed, and possessing that oldest, wildest grace that horses have never had, that deer have only in a shy, thin imitation and goats in dancing mockery."

Victyrr:

Victyrr definitely has a kinship with scorpions. He has a spider animal companion in game but if I could I'd give him a large golden scorpion. He's a half-drow who was raised in isolation in the underdark and so I think his kinship with scorpions would be how they're arachnids but not a spider. As a gloom stalker ranger, he's good at striking and hiding in small cracks and from the dark. His name also means in drow, Abyss Scorpion, or Profound Dagger, or Profound Scorpion, etc.

#bg3 #bg3 tav #bg3 durge #oc ask prompts #I have so many ocs this isn't even all of them #gonna try and get through all the asks tonight #thank you for the asks though!#I love being asked #oc: nymurra auvry'val #oc: trinket #oc: flint #oc: casira #oc: iluatria #oc: victyrr

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neutrallyobsessed · 1 year

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OH MY GOD! STAND USER!AU

i was suposed to put the text underneath the images but i love this arragement?? and i guess it could work better to catch your attention so mucho texto y un poco de lore under the cut lel

「STAND MASTER」: Ten Cents 「STAND NAME」: Recovery Ship

Ability: Ferrokinesis. Can lift double his weight on metal by itself and triple if holding it with his body. He can manipulate it to a distance of 2 meters. As seen in the picture, he can make himself fly if he's over something made of metal

Namesake: Song by P-MODEL. And it's a remix of the Guts theme so that's pretty epic, more upbeat and fun ^^. I think recovery ships are actually for recovering spaceships that comeback to Earth and land on the ocean but damn it, it does sound like a synonym for tugboat right? kinda? anyways i hc TC as a Susumu Hirasawa fan 'cause yeah

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「STAND MASTER」: Big Mac 「STAND NAME」: Supernatural

Ability: Detect bad luck. That's it xd

Namesake: Album by Santana. Pretty simple stuff, it is a supernatural ability after all and has Smooth, a fav song :)

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「STAND MASTER」: O.J. 「STAND NAME」: Molchat Doma

Ability: Creating force-fields. Up to 10 meters of diameter on any solid, so nothing on open air (for now)

Namesake: Belarusian post-punk band. They made Sudno. It means boat. I was running out of ideas ok? and then remembered bout this song and its translation and i was like :000 perfect.

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「STAND MASTER」: Top Hat 「STAND NAME」: Englishman in New York

Ability: What do you mean irl railway tugs don't actually move its wheelhouses like Top Hat? I thought that it was based on something real that happend. Well, he can do that now, raise it up 50 meters una cosa asi.

Namesake: Song by Sting. Top Hat🤝Miles Edgeworth -> californian guys who want to be british lol

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「STAND MASTER」: Warrior 「STAND NAME」: Soldiers of the Wasteland

Ability: He just has the tugboat :P

Namesake: Song by DragonForce. C'mon, it has reference to his name and his job, it's perfect. And I think it fits Warrior, this band also made Through the Fire and Flames

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「STAND MASTER」: Hercules 「STAND NAME」: Big Brother

Ability: He can fuse with his tugboat and become this big, strong and fast af, hovering, can walk on water, robo-man and and it's really cool! uhhh ranges of all these metrics tba xd

Namesake: Song by P-MODEL. Self-explanatory and it was named by Ten Cents for obvious reasons. P-MODEL is Hirasawa's band lel

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「STAND MASTER」: Sunshine 「STAND NAME」: Blondie

Ability: Ya bet a guy called sunshine is going to have a high-temperature stand. Up to 1000 kelvin without damaging himself

Namesake: American new-wave band. He's blond, that's all I got, wanted some variety and not name everything after a song :v

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「STAND MASTER」: Grampus 「STAND NAME」: Midnight Crusin'

Ability: He can dive as far as a midget submarine can go, as long as either the human or sub are on the surface.

Namesake: Album by Kingo Hamada. It's where the Machi no Dolphin song is. City Dolphin. Grampus is a dolphin. Dolphin of Bigg City. It fits so well and so does the song ^^

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「STAND MASTER」: Zorran 「STAND NAME」: Yesterday

Ability: Viewing the past recorded on reflective surfaces. The amount of centimeters determines the amounnt of seconds it has recorded. (a 45cm window has 45 seconds of footage, for example)

Namesake: Song by The Beatles. It is clear that main antagonists in Jojo tend to have time-based abilities and what better Zorran to have an ability like that, referencing that theory of playing Beatles songs backwards gives proof that Paul died~ wish I could use one of those songs, but nothing fitted so whatev, obvious reference :P

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「STAND MASTER」: Zebedee 「STAND NAME」: ???

He probably has something other than the tugboat, but it's too afraid of exploring his abilities due to fear of not being able to control the power and feels that having a mf talking boat is enough for him. Also religious trauma, ofc~

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「STAND MASTER」: Zak 「STAND NAME」: Smoke on the Water

Ability: Creating and controlling dark smoke that comes out of his mouth. Doesn't need to smoke to do so, but he'll do it anyway. He has a problem but won't die from it, so he'll continue

Namesake: Song by Deep Purple. Again a very obvious one :v

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「STAND MASTER」: Zug 「STAND NAME」: Fear and Loathing in Las Vegas

Ability: Morph his body into sharp objects

Namesake: Japanese Alt-Rock band. Is the band that did Parasyte's OP, his ability is a direct reference to that. Let me Hear is the name of the song but like it didn't fit? The band name, on the other hand, goes pretty well. They also made Kaiji's 2nd OP, just another banger to listen to uwu

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「STAND MASTER」: Zip 「STAND NAME」: Sussudio

Ability: Phase through walls and any other horizontal solid wall-like things, so not floors nor ceilings. He can make others (living or inanimated) to go with him if he's touching them. His hands are the expection, they can go through anything at his will.

Namesake: Song by Phil Collins. Did you know that sussudio means absolutely nothing? I think that it fits Zip pretty well, a word that he made up on the spot. And I like the song.

#this is tugs #bigg city port #tugs au #tugs ten cents #tugs big mac #tugs oj #tugs top hat #tugs warrior #tugs hercules #tugs sunshine #tugs grampus #tugs zorran #tugs zebedee #tugs zak #tugs zug #tugs zip

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iseesound · 1 year

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𝐈 𝐒𝐄𝐄 𝐒𝐎𝐔𝐍𝐃! 𝐑𝐚𝐝𝐢𝐨, “҉T҉r҉a҉n҉s҉c҉e҉n҉d҉“҉

Aired 01.26.23

Featuring music from Lauren Auder, Alice Coltrane, FKA Twigs, and more. Listen on Spotify and Apple Music.

I first made this set as a test run for the Listening Party events I wanted to do at UIC’s School of Design. With the intention to play it right after students got out of class, I chose to begin with “in god’s childlike hands” by Lauren Auder. Which I first heard play in Virgil Abloh’s last show for LV. This song builds up perfectly, the instruments slowly building up, mimicking an almost alien like forest coming into view, (reminds me of Bjork’s Utopia), I found it fitting that the ‘siren’ that starts around the 2:30 mark almost resembles a police siren, seeing how UIC is in the city.

The next three songs, are a part of what I like to call a ‘run’, where I let the songs play without introduction. “Hyperballad” by Bjork, “Cicada,” by Sega Bodega, and “How Does It Feel,” by Pharrel Williams. These three songs have very similar beats, where it almost sounds as if its reverbing in on itself. (In my head I picture it as the sound bounces off the walls of a narrow hallway.) They transition into each other pretty well despite the difference in genre and overall sounds.

Originally White Willow Bark” by MF DOOM was meant to be an interlude to allow me to explain the set’s overall theme, I did in fact forget when it came to the actual show. However, this interlude does serve to help cut into a different sound. While choosing the music for the set, I kept in mind, what “transcend” meant to me in terms of music. It could mean synths, psychadelia, techno, jazz, hypnotic or grandiose. Listening to “Windowlicker”, specifically A.G Cook’s cover I was immediately impressed at the level of complexity its made with. (Hypnotic techno, smells like sangria). I knew I had to incorporate it somehow. From 4:50, the song is so chaotic its amazing how it doesn’t get muddy, A.G Cook is. a. genius.

The next run in this set is quiet long, “home with you,” by FKA Twigs, “Love’s the Only Way,” by Cage The Elephant, and “Journey into Satchidanada,” by Alice Coltrane and Pharoah Sanders. The perfect example of the beauty that is the Spotify Crossfade. There is no way I would have ever come across this if it hadn’t been for my friend’s suggestion of Cage The Elephant, it was almost by mere coincidence that the two were together in the early draft of the set. “home with you” has these beautiful flutes playing at the end that call back to “in god’s child like hands”. The way it ends, and transitions to “Love’s the Only Way” almost makes it sound as if it were the same song for a moment. If it hadn’t been for the collaboration between Online Ceramics and Alice Coltrane I would have never been introduced to the world of psychedelic jazz that she had created. Her music is incredibly immersive and has a world-building quality to it.

The final run, is made up of “Lucy in The Sky With Diamonds,” by The Beatles, “For Sale?,” by Kendrick Lamar, and “Frosti,” by Bjork (again, yes). Transitioning from Alice Coltrane into The Beatles seemed incredibly fitting, both songs are gorgeous examples of immersive psychadelia, (and both have long titles, jeez). I remember sitting in my 7th grade health class and hearing “Lucy in the Sky with Diamonds,” for the first time, reading the lyrics, and having a discussion on LSD right after and its effects. I don’t remember much of the discussion, I do however remember going home and listening to the song over and over again. “For Sale,” being placed right after “Lucy in the Sky with Diamonds,” the groovy synths and the reverb in the song, along with the references of Lucy over and over, it sounds as if Kendrick is talking about the same Lucy The Beatles sing about. The chime that plays at the end perfectly transitions into the music box that plays in “Frosti,” which comes from Bjork’s album “Vespertine,” which serves as an interlude. Two interludes placed right after the other, who would have thought they would work so well.

The final two songs, I feel, serve as a conclusion, restating the sonic themes from the set. “Bliss,” by Yung Lean and FKA Twigs, (yep, again) and “Falaise,” by Floating Points. With the repeating guitar, the chime, layered with Twigs’s ethereal vocals, along with the lyrics “and I’m seeing sounds.” “Bliss” was the perfect song to close the show. However, there was still time left for me to play one more song. I discovered “Falaise,” on a random spotify playlist one day. It became one of my favorite songs. (It wasn’t until later I would learn the Virgil also used this song in his FW 22 show in Bangkok.) With its hypnotic rhythms, filled with flutes resembling Auder’s “in god’s childlike hands,” the song ends the set with a grandiose transcendental finale.

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mclennonlgbt · 2 years

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John queering and Paul un-queering the Beatles

TW: f*g slur

Reading and watching the various statements by John and Paul, I've noticed that Lennon loves to refer to the Beatles as "four fags" - and if he talks about himself and Paul, he is also heavily queer-coding - and McCartney is very distant from the subject. He doesn't feel comfortable with it and tries to convince himself that the Beatles were 100% heterosexual.

Everyone can draw conclusions for themselves. Here I wanted to put a compilation of those statements.

JOHN LENNON

1971: "The laugh is that nobody ever said – they did say to us Beatles, as Beatles: „Don’t you get on each other’s nerves?” I suppose that was the same question, but they didn’t really… Now they’re howling because we are parted. But there were times that I spent as much time with George, Paul and Ringo as I did with Yoko. I mean I slept with them in the same room – in twin beds of course – on tour… And I lived and breathed with them for 5 or 10 years or something. Nobody said that about 4 young fags living together, right? Not a word!"

1972: "It’s a strange thing, though, that the whole of the world would like 4 men to stay together. In blissful youthfullness – all shaking their heads and being the Fab Four, and never having any women in the scene. Very strange seeing the whole world wants 4 fags to go on together, you know, forever”.

I don't know the year (from the book "The Beatles: Off the Record"): "“The Beatles’ tours were like Fellini’s Satyricon. [...] I mean, we had that image, but man, our tours were likes something else. If you could get on our tours, you were in. Australia, just everywhere! Just Satyricon. Just think of Satyricon with four musicians going through it. Wherever we went, there was always a whole scene going on. We had our four bedrooms separate and Derek and Neil’s rooms were always full of fuck knows what, and policemen and everything. Satyricon! We had to do something, and what do you do when the pill doesn’t wear off, when it’s time to go? I used to be up all night with Derek, whether there was anybody there or not. I could never sleep, such a scene it was". "Satyricon" is s a 1969 Italian fantasy drama film by Federico Fellini. The movie contains quite a bit of sexual innuendo, but very little, if any, is heterosexual.

1980: "Still, in the early days, we didn’t care about lyrics as long as the song had some vague theme… she loves you, he loves him, they all love each other.”

1980: "Nobody ever said anything about Paul's having a spell on me or my having one on Paul! They never thought that was abnormal in those days, two guys together, or four guys together! Why didn't they ever say, 'How come those guys don't split up? I mean, what's going on backstage? What is this Paul and John business? How can they be together so long?' We spent more time together in the early days than John and Yoko: the four of us sleeping in the same room, practically in the same bed, in the same truck, living together night and day, eating, shitting and pissing together! All right? Doing everything together! Nobody said a damn thing about being under a spell. Maybe they said we were under the spell of Brian Epstein or George Martin”.

PAUL MCCARTNEY

The Beatles Anthology, 2000: "It was always obvious Brian was gay and we could talk to him about gay things, but he would never come out with, 'Hello, Paul, you're looking nice today.' I was quite obviously un-gay, due to my haunting of the female hordes, and I think we all must have given the same impression".

1997, Paul talking about the script of „Up Against It”, the movie the Beatles were supposed to star in, but that never happened, to Roy Carr: "We weren’t gay and really that was all there was to it. It was quite simple, really. Brian was gay… and so he and the gay crowd could appreciate it. Now, it wasn’t that we were anti-gay - just that we, The Beatles, weren’t gay".

I don't know the year: “But John, I loved him as a brother, but I’m not writing a love song to him".

Disclaimer: I'm aware that John is mildly homophobic in his statements and that Howard Stern is very pushy on Paul, which really sucks (Howard Stern sucks in general).

#mclennon #queer beatles #interviews #a lot to think about

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imsparky2002 · 6 months

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The Miraculous Beatles

Ok, so I love the Beatles, and I like the characters of Miraculous Ladybug (not the canon show). I decided to make an alternate universe where the 4 boys who in canon had a crush on Marinette are instead the Beatles of their universe. Actually, it'll be 5 soon enough, as Marc is their fifth Beatle and joins later. So they are all from Liverpool (except Marc who is from London) and they formed the group in 1956 at the age of 14. Also they are all middle class. Don't worry, nobody's gonna die and they don't break up after seven years. Also unlike John, Luka doesn't beat his wife or ignore his kid.

Luke Lennon (Luka Couffaine/John Lennon)

Birthday - October 9, 1942

Instruments played in the band - Vocals, guitars, keyboards and harmonica.

Personality - Luke's a mellow guy who has a bit of a rebellious streak in him. Luke is the heartthrob of the group. With his tousled, jet-black hair, he exudes an effortlessly cool and mysterious aura. Luke's soulful and raspy voice captivates audiences, and his lyrics often delve into deep, introspective themes. He and his twin sister Jules (Juleka) like to make weird songs together.

Adrian McCartney (Adrien Agreste/Paul McCartney)

Birthday - June 18, 1942

Instruments played in the band - Vocals, bass, guitars, keyboards and drums.

Personality - The babyfaced charmer of the group. With his striking green eyes and perfectly styled blonde hair, he's the poster boy of the band. Adrian's bass playing is both melodic and solid, providing the foundation for the band's sound. He's known for his upbeat and friendly personality, which draws fans in. While he may be the face of the band, he's also known for his humility and willingness to connect with their supporters. He and Luke form a killer writing duo, even though Adrian's showtunes and more upbeat material is sometimes referred to by Luke as "granny shit".

Nathaniel Harrison (Nathaniel Kurtzberg/George Harrison)

Birthday - February 25, 1942

Instruments played in the band - Guitars, vocals, sitar, keyboards and bass

Personality - Nathaniel is the creative genius of the group. With ginger bangs and a constant look of curiosity in his eyes, he's the band's secret weapon. Nathaniel's guitar skills are unmatched aside from his boyfriend Mark, and his songwriting is often spiritual and introspective. He's the quiet, introverted member, often lost in thought or doodling in his journal. Fans admire his ability to weave stories through his music, creating a unique and enchanting atmosphere during their performances. Nathaniel is gay and dating Marc, and the boys and their loved ones kept it a secret so that they didn't get arrested, since this is the 1960s in UK. It wasn't until 1967 that the two came out after getting married in 1966.

Nino Starr (Nino Lahiffe/Ringo Starr)

Birthday - July 7, 1942

Instuments played in the band - Drums, percussion, keyboards and vocals

Personality - Nino is the powerhouse behind the band's rhythm. His infectious energy and perpetual smile make him the life of the party. Nino's drumming is dynamic and energetic, providing a pulsating beat that keeps the audience moving. He's the joker of the group, always ready with a witty remark or a lighthearted joke to break the tension. Nino's charismatic stage presence and love for improvisation injects a sense of spontaneity into the band's live shows. It should also be noted that Nino is the only POC member of the group, with his mother being a Black Liverpudlian and his father coming from Morocco. He wears his background with pride, being one of the first artists to support the Black Power movement.

Mark Clapton (Marc Anciel/Eric Clapton)

Birthday - March 30, 1942

Instruments played in the band - Guitars, keyboards and vocals.

Personality - An tall anxious boy from London with a cockney accent who moved to Liverpool as a kid and befriended the other Beatles, who were his classmates. He soon fell in love with Nathaniel and they began dating. Mark is an absolute maestro with the guitar. His solos are legendary, evoking a range of emotions from raw, bluesy laments to electrifying rock anthems. His fingers dance effortlessly on the fretboard, and his mastery of the instrument is unparalleled. He is also a master songwriter, forming a lovely writing duo with Nathaniel and also providing songs with his other bandmates. The group had wanted him to join when they first started in 1956, but Mark had a huge fear of crowd's, and said he'd be fine as the unofficial "fifth beatle" until he got over his fear. This meant he would only go on stage if one of the other guitarists got sick, and for albums he would help write songs, provide guitar or background vocals, but never lead vocals. It wasn't until 1969 where he officially became a Beatle.

Well, that's the first part done. Next we'll look at how these guys are a lot more harmonious than the IRL Beatles. Then we will look at their manager and producer, their families, partners (For everyone except Mark and Nathaniel) and more along the way. See ya soon! Lemme know what you think in the comments and reblogs. @artzychic27 @msweebyness

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