#wordplay 5.1

[kingsofeverything]

Thank you for tagging me @absoloutenonsense @disgruntledkittenface & @allwaswell16 😘 I love fic stats 🧡

Rules: give us the links to your fics with the most hits, second most kudos, third most comments, fourth most bookmarks, fifth most words, and fic with the fewest words.

Fic with the most hits:

The Second Hand Unwinds aka exes to lovers + time travel! This is not at all surprising, though it will soon be passed by Say Something.

Fic with 2nd most kudos:

Say Something! Apparently people do like age difference A/B/O mpreg omega Harry & alpha Louis ¯\_(ツ)_/¯

Fic with the 3rd most comments:

The Devil and the Deep Blue Sea. A sleeper hit, if you will. I didn’t expect people to want to read cheating, but this isn’t the first time I’ve been proven wrong (see Say Something above).

Fic with the 4th most bookmarks:

Have Love, Will Travel. I just love this fic so much. What can I say? I’m not the only one who’s soft for these boys. And like, forced proximity? Road trip? Adventures? Communication? Bison? You can’t go wrong tbqh

Fic with the 5th most words:

Heading for Limbo. At the time, it was my longest fic and probably the hardest thing for me to write. I cried many times writing Harry figuring out his sexuality, and there was nothing like the feeling of people telling me they saw themselves in Harry’s experience.

Fic with the fewest words:

Struggle this one’s actually a poem I did for wordplay 5.1 in 2021 (the prompt that week was struggle lol). It’s a diamanté poem so it’s only 16 words written in the shape of a diamond with a pattern of word types

This was fun! Tagging 6 people: @louandhazaf @all-these-larrythings @bananaheathen @comebackassholes @evilovesyou @tommosgun

[baileylang]

Time Will Explain

“It is a truth universally acknowledged, that a failed popstar turned songwriter in possession of a decent career, must be in want of a big hit.”

Louis' career ended when he was outed in The Sun. His new songwriting career is doing well, but it could do so much better if he wrote a hit with Harry Styles. What he hadn't figured into it was how much of a struggle it would be to figure out exactly who Harry Styles actually was.

https://archiveofourown.org/works/32513419

This is part of a Wordplay @wordplayfics prompt challenge for the prompt "struggle". To read the amazing fics that were written by the others on this prompt, click here, and to see all fics written as part of the challenge (including years 1-4), click here. You can also find the masterpost for this year’s challenge here.

#wordplay #wordplay 5.1 #wordplay 5.0 #fan fiction #one direction fan fiction #louis tomlinson #harry styles #anyone fancy doing a bit of artwork or collage? #au songwriters #part of series #part one #not a Jane Austen Hero

[wordplayfics]

STRUGGLE

Here we go! Your first prompt is here. Good luck!

Please remember: the word itself doesn’t need to be used within the fic, but it should be used as the prompt or focus for your fic in some way. There are no word count restrictions or other content restrictions outside of a current or previous member of One Direction being part of the main pairing. You simply must have your fic loaded into the correct collection and tagged appropriately by the deadline of 12 noon EDT next Tuesday, 13 July.

The pinned post on this blog will be the posting instructions and once a collection has been made for this week’s fics, the link to both the collection as well as the link to the blurb to be included in your author’s note will be in that post.

Questions? Please let me know and I’ll get back with you ASAP. Happy writing!

(Here’s a handy little countdown to help you know how much time you’ve got until the fics go live. I hope it helps so you don’t need to translate time zones!)

#mine #prompt 5.1 #wordplay 5.0 #week 5.1

[phdmama]

2021 1D Wordplay Fic Challenge

This fic is part of a Wordplay ( @wordplayfics​) prompt challenge for the prompt "struggle". To read the amazing fics that were written by the other participants on this prompt, click here, and to see all fics written as part of the challenge (including years 1-4), click here. You can also find the masterpost for this year’s challenge here.

Wordplay 2021 Series: I’m Hot for Teacher

5.1 Struggle: My Strange Addiction (1298, M) for @londonfoginacup - Happy birthday, Emmu!!!!

5.2 Reduce: Can’t Take My Eyes Off of You (963, M)

5.3 Divide: Isn't It Madness (He Can't Be Mine) (2424, T)

5.4 Rise: I'll Tell You What I Want (What I Really Really Want) (5396, E)

5.5 Sketch: So Glad That I Found You (4626, E)

#fic rec #my writing #Larry fic rec #hey hey it's a series! #I'm hot for teacher series

[downordic-blog]

The Apple War

A German businessman wants to buy land in southern Sweden for a gigantic amusement park, his new project called "Deutschneyland" (a wordplay of Deutschland and Disneyland). Some of the locals dislike the idea, including the magically talented Lindberg family, and work to frustrate the development plans.

Appelkriget.1971.SWEDISH.DVDR.PAL-PANDEMONiUM 3 ******************************************************************************* Info. =>-Release Date ..............: 18 December 1971 =>-Source ....................: DVDR Retail =>-Runtime....................: 1h 43min =>-iMDB ......................: https://www.imdb.com/title/tt0068025/ =>-iMDB Rating ...............: 6,8 =>-Genre......................: Comedy =>-Language...................: Swedish =>-Subtitles ................ : SWE NOR ******************************************************************************* Plot: A German business man, Volkswagner, comes to Österlen in the south of Sweden to build Deutschneyland, a gigantic amusement park for German tourists. Director: Tage Danielsson Stars: Per Grundén, Gösta Ekman, Sture Ericson ******************************************************************************* Video. =>-Format.....................: DVDR =>-Codec......................: PAL =>-Resolution.................: 720 x 480 ******************************************************************************* Audio. =>-Audio......................: Swedish =>-Codec......................: D.D 5.1 ******************************************************************************* Greet: TWA . PREMiERE . NBRETAiL . RAPiDCOWS . OPUSLAW . MAGGi . Snipermeister ******************************************************************************* Read the full article

[supershylockfandom-blog]

The Whirligig of Gender Will Have Its Revenges

Over the course of our trip, I was very vocal (perhaps too vocal) about two things in particular: 

1) Twelfth Night is my favorite Shakespearean play (save for the possible exception of Hamlet, but lately the odds have tipped from his favor to Viola’s).

2) I absolutely loathed the Globe production that we attended. 

By the end of the play, I was deeply incensed (not to mention a few drinks in)-- so much so that I couldn’t stand to stay for the triumphant finale jig and left early. After that, I called home and ranted to my younger sister until I felt calm again and went back to my flat. To be clear, I have never been so emotional about disliking a theatrical (or cinematic) production of anything to this day. I’ve even seen Twelfth Nights I’ve liked less than the one we saw as a class without being half as disturbed or upset by them. “Why then, did this particular version have such an effect on you?” You are not asking yourself this question, because my opinion is neither here nor there to anyone but myself; I wondered this while half-drunk, actually, and later, once sober again, came upon the answer:

As a preface, I would like to point out that, in the 21st Century, there is no wrong way to interpret Shakespeare, so long as you have a particular vision in mind and follow through on your plans. There are, of course, inadequate methods of performing and staging (for the record, I thought that the blacking and acting we saw was effective and skilled), and some Shakespeareans-- particularly those at The Globe-- are especially staunch about leaning into “original practices,” but theater has evolved so much in the last 400 years that even productions that call themselves traditional Elizabethan stagings are not that (consider the Tim Carroll Twelfth Night: where are the prepubescent boys meant to be playing the Viola, Olivia, and Maria? Why is the blocking so modern?) All that is left is the text and its sparse stage directions. I am aware that my disdain for the Emma Rice production is based mainly upon personal preference. However, I like to believe that my opinions hold enough water to be worth the attention and respect of others.

(Under the cut for length.)

My two favorite things about Twelfth Night are, in order, its inherent queerness and bitterness. Make no mistake, being an Elizabethan comedy, it can just as easily be light, frothy, and straight (as evidenced by what we witnessed last week) and even the darkest versions thereof must make room for fun potty humor and slapstick and heterosexual, cisgendered couplings (as those too, are in the text). Those things, as much as any present queerness or anger, are part of the fun of Twelfth Night, and the former is where most of the comedy comes from. But the genderqueer, non-straight, and angry undercurrents that can be detected in this play (whether placed there by its author knowingly or not) go oft ignored. I am disappointed by this, naturally, but never before have I had it thrown in my face this way by a company so prestigious as the Globe. 

I think my central problem with the Rice staging was her Feste.

Yes, I did notice that Feste was portrayed by a very talented and engaging drag queen. No, that did not help. But did it make my experience worse? Absolutely, 100%, yes. Feste is perhaps the pettiest, most resentful character in the text. He cares not for the emotions of others, particularly not that of his Lady Olivia, who’s grief he mocks and belittles (granted, this is his job, and at his kindest, he has been portrayed as genuinely fond of her, but more often than not, he is a punch-clock entertainer, who cares only for the emotions of others as long as they will pay him for what he elicits) in his first appearance, after being absent from her court for an extended period of time. 

Feste. Good madonna, why mournest thou? Olivia. Good fool, for my brother's death. Feste. I think his soul is in hell, madonna. Olivia. I know his soul is in heaven, fool. Feste. The more fool, madonna, to mourn for your brother's soul being in heaven. Take away the fool, gentlemen (5.1. 357-362).

His only real interests throughout the play appeared to be song, logical wordplay (”simple syllogism[s]”), crude jokes (”many a good hanging prevented a bad marriage”), weaseling pocket change away from the rich, and enacting petty revenge. At his best, he’s a puckish partygoer and delightful busker, at his worst, he is apart from all other social groups in the play and cruel to at least the same degree as the bear-baiting merrymakers. 

“Earlier, Malvolio had mocked Feste for his dependence on others... But [Feste] also mirrors Malvolio specifically as a dependent in a court and as one the play most clearly shows as a solitary character. He is the one who echoes Malvolio’s words about dependency on approval in shortened form, ‘An you smile not, he’s gagged’ (5.1.363-4), back to him at the end. And after he exults ‘Thus the whirligig of time brings in his revenges’ (364), Malvolio in turn mirrors him, promising his own revenge” (66 Novy). 

Feste is at his most useful when existing as a mirror for other characters-- he contextualizes his lady’s grief with cruel mockery, challenges Viola’s wits and disguise, and most importantly, shows Malvolio the cruelty that he callously doles out. When his dialogue is chopped up into saintly wisdom from a loving goddess in the Heavens, his status as a dynamic character and device is stripped from him. When Feste is robbed of his archetypal trickster-status, it weakens the core themes of the play which are written into the very title (as Twelfth Night and the Feast of Fools were, of course, traditionally a day of opposites, much as Feste the wise fool is a natural mirror and walking contradiction). When he is robbed of his anger towards his social betters (Olivia and Malvolio), this is further weakened. 

My qualms with making Feste a benevolent Goddess are based entirely upon the text; my problems with casting said benevolent goddess as a drag queen are two fold. My first is in the broader scope of media representation of drag queens, trans women, and feminine genderqueer persons. Most often, the cinematic and theatrical tradition is to demonize such individuals as lascivious perverts, which is obviously dehumanizing. As well-intended backlash, many younger content creators have thus spun around done the patent opposite by deifying them (this is also, notably, a dichotomy experienced by black women/femmes, be they cisgender, trans, or otherwise gender nonconforming). Deification is in its own way a subtler form of dehumanization. Much like the treatment of so-called virtuous women in the Victorian era, the representation of any group as somehow morally superior or “above” the rest of the rest is restricting. An anti-Semite might do well to wonder: “Hath a Jew not eyes?... If you prick us, do we not bleed?” but any white, cisgendered woman who routinely refers to black women and femme queers as “black goddesses” (which is absolutely a thing, as those of you who frequent tumblr, twitter, pintrest, or instagram most likely know) should be reminded that, just like all people, black queer femmes fart and defecate regularly, and they, like all other members of the human race, run on a sliding scale of morality, wisdom, and grace, depending on the individual. The archetypal example of this “heavenly body” trope is Angel of Rent, being a Latina trans-woman (or gender-fluid person, or drag queen, depending on the interpretation) who is always given the moral high ground, dies a tragically noble death, always has resources to bestow upon the less fortunate, and is literally called “Angel.” Much like Feste, she is the only gender non-conforming femme poc in her cannon, and that, paired with the erasure and demonization of this particular group that has been so common in Western art and media, leaves them as the sole representation of said group to be found in fiction. Each time a character of a group so mishandled as that is brought into play, that character becomes a mouthpiece for the entire population of such individuals that exist in reality. The trope of the black, femme goddess is much kinder than the demonization and willful ignorance of old, but in 2017, we should be beyond this refusal to portray those who exist outside of the white, straight, cis hegemony as anything other than individuals as complex as everyone else in their canon. Anyone who is tempted to bring up the “Sister Topas” scene as a counter-argument is welcome to it, but this derives from a halfhearted attempt to recast Feste as a personification of fate after four acts of being nothing but sage and understanding. It is not deeper characterization, as it is not played as either vengeance or cruelty-- at best, it is a twist of fate personified, at worst, it is whoever doctored the script backing themselves into a character-writing corner by striping Feste of his humanity.

My second challenge to the choice of La Gateau Chocolat as Feste is that her place in the cast is by its very nature misleading. Twelfth Night is well known among Shakespeare fans as one of the (if not the) queerest Shakespearean plays. It is well-known for featuring one of several Shakespearean Antonios, all of whom are noted for their non-explicit homosexual passion (Twelfth Night’s Antonio’s love for Sebastian is second only to the Antonio of Merchant of Venice and his suicidal devotion to Bessanio, and the villainous Antonio of The Tempest finds his match and constant companion in an equally rotten Sebastian.) Also present is the wooing that takes place between two women, and the Duke Orsino’s apparent attraction to one who is “both man and maid,” whom he never ceases to refer to as “boy” or “Cesario,” even after learning “his” true name and gender. Moreover, of all of Shakespeare’s cross-dressing Paige Boys, Viola spends the most time as her male counterpart, who’s name, as we discussed in class, translates roughly to “rebirth” by way of “cesarean section.” I bring these up because each of these characters have been stripped of their queerness systematically. Cesario/Viola is often played as not just a cross-dresser for strategy’s sake but a genderqueer individual in earnest; Olivia’s realization that Sebastian is not his sister has been played as a horrible, sinking realization; Antonio is often left on stage alone to highlight his loss of Sebastian to heterosexual tradition. I am by no means saying that stagings must be this way or that they must reflect this queer undercurrent, and I have liked versions of the play that exemplify few or none of these choices. My problem with Rice’s Twelfth Night is that, not only does it ignore the inherent discomfort that Feste and each of these queer characters experiences when played as such, but she has dressed her staging up as a celebration of queerness and diversity when that diversity only runs skin-deep (at least, in terms of the aforementioned and belabored queerness.)

 I have already explained my problems with Rice’s Feste, so I will now move on to two new subjects: Malvolio and Sir Andrew. These characters are blatantly coded as queer in that Malvolio is played by a cross-dressing woman and Andrew is played as camp gay. However, that is as deep as the queer vein in this staging runs. Malvolio is not traditionally a queer character (although he is often the subject of “genderbending” to varying degrees of success), nor is he played as queer on stage. He is only branded as such due to being played by a woman, despite being played as a man. Andrew’s status is particularly egregious, as-- in being both comically stupid and violently mean-- he is the most difficult to sympathize with of any character; he has no compelling emotional core written into the text, nor is any planted into Marc Antolin’s portrayal of him. He is also a wooer of Olivia’s and, as far as the text and blocking is concerned, more “metrosexual” than homosexual in earnest. What this does is play all stereotypically gay mannerisms (those that he possesses which Antonio, Sebastian, and even the preening Duke evade whether they are played as queer men or not) for laughs and nothing else. “It’s funny,” the audience says, “because he’s in a pink sweater and he’s got a funny lisp.” Meanwhile, Olivia never notices her very real attraction towards another woman, the Duke Orsino’s sexual identity crisis is just barely hinted at, and most questionable of all, Antonio is played as a father figure to Sebastian. Lawman’s Antonio’s body language is neutral and distant, not half as wracked with passions as his lines:“If you will not murder me for my love//Let me be your servant” (1.2.642-3) and “ I could not stay behind you: my desire//More sharp than filed steel, did spur me forth” (3.3.1492-3). 

In conclusion: Rice’s staging of Twelfth Night may be good for a laugh, but it robs the text of its philosophical weight, its bitterness, and its genuine queer discomfort, thus replacing these things with a light gloss of queer acceptance by playing “We Are Family” at the beginning and giving Sir Andrew a pencil mustache. I am not upset that Rice’s staging was not queer or angry enough for my liking; I am upset because her staging insisted (whether she wanted it to or not) that a wave of sequins and a disco chorus should be queer enough for me, and I ought to stop being so angry all the time and accept what I’ve been given. 

SOURCES:

Novy, Marianne. “Outsiders and the Festive Community in Twelfth Night.” Shakespeare & Outsiders. Oxford University Press, 2013. 

Shakespeare, William. "Twelfth Night, or What You Will." Open Source Shakespeare. N.p., n.d. Web. 18 June 2017.

#twelfth night #the globe #twelfth night or what you most definitely won't

[aion-rsa]

Imagine: The Ultimate Collection Review: John Lennon's Dreams Wake Up

https://ift.tt/2IE7qF3

John Lennon's dreams mix with personal nightmares as Imagine: The Ultimate Collection bares its tracks.

Books

John Lennon's Imagine, which just saw the release of an Ultimate Collection spread across four CDs and two Blu-ray discs, is best known for its title song. "Imagine" envisioned an anti-authoritarian nutopia, without the need of heaven, hell, countries or border walls. Critics blasted Lennon's soft anthem as soft politics and the singer an armchair liberal who sent his protests via limousine. Elvis Costello chided "was it a millionaire who said imagine no possessions?" on his song "The Other Side of Summer."

Most of this is true. Lennon practically invented armchair liberalism, possibly inspired by Elvis Presley's Pink Cadillac tour of England, where the rock and roll legend sent only his prized automobile in lieu of personal appearances. The Rolling Stones' Mick Jagger went to the student protests. Lennon sent his MBE, the coveted piece of leather with a cardboard string given to The Beatles for their million dollar exports, back to Buckingham Palace via limo in protest of Britain's support of Vietnam, involvement in Biafra and his heroin withdrawal pang "Cold Turkey" slipping down the charts. Ineffective, in the long run, but funny, in that patented "witty Beatle" way. Sometimes Lennon wasn't even an armchair protester, he and Yoko Ono barely got out of bed for their wedding anniversary hotel peace tour.

Further reading: The Beatles’ Magical Mystery Tour Could Have Been a Great Prog Rock Classic

Lennon himself called "Imagine" "'Working Class Hero' for conservatives," referencing his autobiographically acoustic take on the social divide that included the word "fuck" twice for working class emphasis. But the Imagine album itself cuts much deeper than the peaceful dreams of an artist wanting to make a difference. Lennon takes aim at government in "Gimme Some Truth," with blaring, sneering slide guitars by George Harrison, who also aims his strings at Paul McCartney in the bitter rant "How Do You Sleep." He mocks the conscience-afflicted wealthy class in "Crippled Inside," and fuels the fear and anger behind righteous rage with propulsive and massive drums in "I Don't Want to Be a Soldier Mama I don't Want to Die." He also goes out on a limb in some of his most personal love songs and revealing snatches of self-consciousness. Lennon is as hard on himself as he is on the body politic in songs like "Jealous Guy."

Imagine was released in September 1971. Lennon recorded three solo experimental noise and spoken word albums with Yoko Ono while Beatle were still together: Unfinished Music No. 1: Two Virgins, Wedding Album and Unfinished Music No. 2: Life With the Lions, which all came out in  1969. None of them reached the artistic heights of "Revolution 9" off The Beatles album, better known as The White Album. The biggest controversy coming from a nude cover that record stores had to hide under a brown paper bag. John Lennon and the original Plastic Ono Band, which included Klaus Voorman, who drew the cover of The Beatles' Revolver album, on bass, Alan White on drums, and slow hand guitar master Eric Clapton on guitar, also released the moldy oldie set they performed live at the Toronto Peace Festival. Lennon recorded his Plastic Ono Band album in its purest form, which must have driven producer Phil Spector, renowned for his Wall of Sound, to distraction. But Lennon was in the throes of Primal Therapy and was undeterred in letting it all hang out.

Spector put strings on the Plastic Ono Band sentiment to make Imagine Lennon's first solo record to hit number one. The album is seen as the rhythm guitar and mouth organ player’s return to conventional pop. To fans of the Fab Four, Imagine almost sounded like a Beatles album.

Further reading: The Beatles: In Defense of Revolution 9

Phil Spector was known for his reverberating over-saturation which he also employed for George Harrison’s All Things Must Pass album. The live studio performances are stripped as raw as most of Lennon's vocals. The raw takes show a band with a purpose, the studio chatter, caught in the fourth CD, finds playful ways to inspire serious playing. The Raw Studio mixes are presented in 5.1 surround sound with Lennon in front and the band playing all around and behind. Highlights are the extended renditions of "I Don't Wanna Be A Soldier Mama I Don't Wanna Die," "How Do You Sleep?" and "Oh Yoko!" “It’s So Hard” features a beautiful sax track by the legendary King Curtis, who also blasts “I Don’t Wanna Be A Soldier Mama I Don’t Wanna Die” into another dimension.

The new expanded edition of the album brings the intimacy to the forefront, especially in the Raw Studio Mixes disk that captures Lennon and the Plastic Ono Band bashing through their performances live without overdub, echo or other studio affects. The album proper has been cleaned up for the Ultimate Mixes to allow for deeper definition and clarity, and the Quadrasonic Album Mix gives four speakers equal time for the first time in nearly fifty years.

Imagine - The Ultimate Collection also collects the singles which propelled the album to the top slot. They include "Power to the People," which opens with the line "You say you want a revolution," harking back to The Beatles' non-committal protest song "Revolution," and "Happy Xmas (War Is Over)." The now-holiday staple began as an anti-war song, recorded at the Record Plant in New York with session musicians and the Harlem Community Choir.

Also putting in an official appearance is the little-known single "Do the Oz," which was written to support the underground Oz magazine which had been hit with an obscenity charge, and the hitherto unknown "God Save us," two versions, one with a guest vocalist. The accompanying book is informative, and nicely packaged. It almost makes up for the missing postcard and poster which came with the original release.

The disc In The Studio and Deeper Listening features both surround sound and stereo mixes, along with Elliot Mintz's 29-minute compilation os interviews with John and Yoko. The Elements Mixes includes strings-only versions of "Imagine" and "How?," "Oh My Love" stripped of everything but the voice, and the piano, bass, and drums instrumentation for "Jealous Guy." The Evolution Documentary tells the full story of each song, presenting a fly-on-the wall take from the first writing and demo sessions to the final co-production with Spector. We hear tidbits like how Spector experimented with having Hopkins play the same lines on the same piano as Lennon, but on a higher octave.

Lennon began work on Imagine in February 1971, gathering Voormann, White, George Harrison and pianist Nicky Hopkins to house with him and Spector at Lennon's Georgian country home, Tittenhurst Park, in Berkshire, England, long enough to create a unified audio experience. The songs are diverse, as are the instrumentations. “Crippled Inside,” which has a wonderful dobro performance by Harrison, is a mocking retro-country stomp that could almost be a Skiffle song.

“Oh My Love” is such a straightforward romantic outpouring of devotional love, it is a wonder it isn't played at more weddings. Lennon is at his naturalistic best, lyrically appreciating the trees and skies for the first time through his lover's eyes. He is so lost in the newness of love, several years after meeting Yoko, he also includes the monogamously celebratory "Oh Yoko!" which closes on a positively giddly Bob Dylan style harmonica. But Lennon gives in to existential doubts for the song  “How,” where he asks “How can I go forward when I don’t know which way I’m facing?”

Further reading: Original Imagine Demo by John Lennon Surfaces

Lennon's personal blues usually start with a shade of green. "Jealous Guy” is a somber wake up call to the guy who sang "I'd rather see you dead, little girl, than to be with another man" on the Rubber Soul album song “Run for Your Life.” For such an emotional confession Lennon brought in extra support from friendly musicians, like Mike Pinder from The Moody Blues who he'd known since the Hamburg days. Pinder came in to do a Mellotron part, but the instrument acted up and he banged on a tambourine instead. Lennon also called on Joey Molland and Tom Evans of the Apple band Badfinger. They would also provide soft acoustic backing for Harrison, both on records and in the Concert for Banga Desh. The strings were done by members of the New York Philharmonic, who Lennon dubbed "the Flux Fiddlers." The song was famously, or infamously, covered by Roxy Music, but it doesn't touch Lennon's tortured vocals or baleful, though tuneful, whistling.

The term rock and roll began as a euphemism for sex and "It's So Hard" is pure rock and roll. It's got the I-IV-V twelve bar blues structure of the classics that drew Lennon to the genre, and it's got the sweaty beats to drive it against the wall. Lennon told Rolling Stone magazine that the Beatles first number one hit in England, "Please, Please Me," was about oral sex. The BBC banned the song “Happiness is a Warm Gun” from airplay in the United Kingdom because the singer was "going down." Lennon would at one point be busted for displaying erotic artwork of his lingual enjoyment of Yoko. Here he proclaims whether it's good, whether he's worried, or when things get really hard, sometimes he just feels like going down. He doesn't mince words.

Lennon's wordplay comes to the forefront when he takes on the hypocrisy of the Nixon administration in “Gimme Some Truth.” Tricky Dick hated the song so much he had his people try to deport Lennon and Ono in 1972. Lennon takes down everyone from tight-lipped, condescending, mama’s little chauvinists to schizophrenic-egocentric-paranoic-prima donnas in a proto-punk protest classic backed by the band at full-throttle and Harrison's slide set on incisive insinuation. The two guitarists paired again to pile on another inside threat.

Further reading: John Lennon's 'How Do You Sleep?' Footage Reveals Unrest

McCartney's second solo album Ram, which came out earlier in 1971, opened with the song “Too Many People” which included the line "Too many people preaching practices." Lennon caught the subtle dig and responded by posing while holding a pig by the ears in the postcard insert, and a blistering moment of classic rock for the needle. “How Do You Sleep” begins with an orchestra tuning up like Sgt. Pepper's Lonely Heart Clubs Band before Lennon, the dreamer of the song "Imagine" shatters that illusion with how the album took the melodic bassist by surprise. Lennon sets his lyrics on pun for lines like “the only thing you done was yesterday.” He references McCartney's more recent single "Another Day," by alluding to Harrison's charge that McCartney overplayed the bass part on "Something" and mocks the cute Beatle for his pretty face. “How Do You Sleep” is supposedly a character assassination of Paul McCartney, but Lennon also admits he was writing about himself. He knows he would also "jump when your mama tell you anything.”

Further reading: Original Imagine Demo by John Lennon Surfaces

This brings us to the title song. "Imagine" began life as the song "Child of Nature," which he wrote when the Beatles went to India in 1968. John Lennon composed the song in one session, sitting at the iconic white grand piano featured in a poster that came with the original album. The new collection includes a sparse home recording of Lennon on piano and vocal. Lennon revels in the naiveté of the dreamer as he imagined something that seemed unimaginable in a world made bitter after incidents like the Ohio National Guard troops killing four protesting students at Kent State University. The lyrics were inspired by Ono's "event scores" in her 1964 book Grapefruit. Lennon later admitted to writer David Sheff the song should have been credited to Lennon-Ono. “Imagine" has been labeled communist, anti-American, anti-British, anti-establishment and atheistic. But Lennon also cited a Christian prayer book given to him by comedian and activist Dick Gregory as inspiration.

The song has gone on to be a universal anthem that touches all generations and has been transcribed to all genres. Liza Minnelli, Stevie Wonder, Neil Young, Lady Gaga, Willie Nelson, Pearl Jam, Elton John, Ray Charles, Madonna, Diana Ross, Herbie Hancock, Joan Baez, Avril Lavigne and Chris Cornell have performed it.

The John Lennon/Plastic One Band album is considered Lennon's most naked and raw. His lyrics are direct, without the psychedelic wordplay of his Beatles works. His solutions as primal as the therapy he was shouting. Imagine isn't as spontaneous as Plastic Ono Band, but it is equally revealing. The new discs reveal even more. Imagine - The Ultimate Collection is available now.

Culture Editor Tony Sokol cut his teeth on the wire services and also wrote and produced New York City's Vampyr Theatre and the rock opera AssassiNation: We Killed JFK. Read more of his work here or find him on Twitter @tsokol.

Read and download the Den of Geek NYCC 2018 Special Edition Magazine right here!

5/5

Music

John Lennon

The Beatles

Review Tony Sokol

Oct 5, 2018

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[downordic-blog]

The Apple War

A German businessman wants to buy land in southern Sweden for a gigantic amusement park, his new project called "Deutschneyland" (a wordplay of Deutschland and Disneyland). Some of the locals dislike the idea, including the magically talented Lindberg family, and work to frustrate the development plans.

Appelkriget.1971.SWEDISH.DVDR.PAL-PANDEMONiUM 3 ******************************************************************************* Info. =>-Release Date ..............: 18 December 1971 =>-Source ....................: DVDR Retail =>-Runtime....................: 1h 43min =>-iMDB ......................: https://www.imdb.com/title/tt0068025/ =>-iMDB Rating ...............: 6,8 =>-Genre......................: Comedy =>-Language...................: Swedish =>-Subtitles ................ : SWE NOR ******************************************************************************* Plot: A German business man, Volkswagner, comes to Österlen in the south of Sweden to build Deutschneyland, a gigantic amusement park for German tourists. Director: Tage Danielsson Stars: Per Grundén, Gösta Ekman, Sture Ericson ******************************************************************************* Video. =>-Format.....................: DVDR =>-Codec......................: PAL =>-Resolution.................: 720 x 480 ******************************************************************************* Audio. =>-Audio......................: Swedish =>-Codec......................: D.D 5.1 ******************************************************************************* Greet: TWA . PREMiERE . NBRETAiL . RAPiDCOWS . OPUSLAW . MAGGi . Snipermeister ******************************************************************************* Read the full article

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The Apple War

A German businessman wants to buy land in southern Sweden for a gigantic amusement park, his new project called "Deutschneyland" (a wordplay of Deutschland and Disneyland). Some of the locals dislike the idea, including the magically talented Lindberg family, and work to frustrate the development plans.

Appelkriget.1971.SWEDISH.DVDR.PAL-PANDEMONiUM 3 ******************************************************************************* Info. =>-Release Date ..............: 18 December 1971 =>-Source ....................: DVDR Retail =>-Runtime....................: 1h 43min =>-iMDB ......................: https://www.imdb.com/title/tt0068025/ =>-iMDB Rating ...............: 6,8 =>-Genre......................: Comedy =>-Language...................: Swedish =>-Subtitles ................ : SWE NOR ******************************************************************************* Plot: A German business man, Volkswagner, comes to Österlen in the south of Sweden to build Deutschneyland, a gigantic amusement park for German tourists. Director: Tage Danielsson Stars: Per Grundén, Gösta Ekman, Sture Ericson ******************************************************************************* Video. =>-Format.....................: DVDR =>-Codec......................: PAL =>-Resolution.................: 720 x 480 ******************************************************************************* Audio. =>-Audio......................: Swedish =>-Codec......................: D.D 5.1 ******************************************************************************* Greet: TWA . PREMiERE . NBRETAiL . RAPiDCOWS . OPUSLAW . MAGGi . Snipermeister ******************************************************************************* Read the full article