It's Kinda Funny That Get Back Gave Them Name Credits. Imagine Sitting Down To Watch 8 Hours Of Beatles

GRIAN N THE WATCHER👁️👁️

I'll try to be more active on here since I mostly use YT n Instagram the most soooo YAHH ENJOY HEHE

An absolute must read if you care about Jurgen or John and Paul, or George or gay.

Jurgen is very unapologetically queer.

George Harrison talking about current affairs/climate change during his interview with BP Fallon for RTE Radio 2 Ireland - The BP Fallon Orchestra. (Oct. 1987) 

Full interview: here

Transcript: 

Keep reading

what’s the best sterek fanfic you’ve ever read?

“I first met John Lennon through Tony King, who had moved to LA to become Apple Records’ general manager in the US. In fact, the first time I met John Lennon, he was dancing with Tony King. Nothing unusual in that, other than the fact that they weren’t in a nightclub, there was no music playing and Tony was in full drag as Queen Elizabeth II. They were at Capitol Records in Hollywood, where Tony’s new office was, shooting a TV advert for John’s forthcoming album Mind Games, and, for reasons best known to John, this was the big concept. I took to him straight away. It wasn’t just that he was a Beatle and therefore one of my idols. He was a Beatle who thought it was a good idea to promote his new album by dancing around with a man dragged up as the Queen, for fuck’s sake. I thought: We’re going to get on like a house on fire. And I was right. As soon as we started talking, it felt like I’d known him my entire life. We began spending a lot of time together, whenever I was in America. He’d separated from Yoko and was living in Los Angeles with May Pang. I know that period in his life is supposed to have been really troubled and unpleasant and dark, but I’ve got to be honest, I never saw that in him at all. I heard stories occasionally – about some sessions he’d done with Phil Spector that went completely out of control, about him going crazy one night and smashing up the record producer Lou Adler’s house. I could see a darkness in some of the people he was hanging out with: Harry Nilsson was a sweet guy, an incredibly talented singer and songwriter, but one drink too many and he’d turn into someone else, someone you really had to watch yourself around. And John and I certainly took a lot of drugs together and had some berserk nights out, as poor old Dr John would tell you. We went to see him at the Troubadour and he invited John onstage to jam. John was so pissed he ended up playing the organ with his elbows. It somehow fell to me to get him offstage.”

— Elton John, Me. (2019) (Note: You can watch the Mind Games commercial of John and Tony King in drag dancing here. You can read the continuation of this quote here.)

Hello!

I'm looking for a section of the lunchroom tape (from the Get Back sessions) where John says something to Paul along the lines of "I mean, you've only recently realised what you were doing to me". Does that ring any bells?

You seem to know your way around amoralto's archives, and I'm not having any luck searching there :)

Thanks!

Hi, @i-am-the-oyster (love the name, by the way)!

I think you might be referring to this section of the Lunchroom Tape:

JOHN: And it’s just that, you know. It’s only this year that you’ve suddenly realised, like who I am, or who he is, or anything like that.

I find this bit of the conversation particularly impenetrable; and all the more fascinating because of it. It's here that we have this famed exchange (whose full meaning still eludes me):

JOHN: Because you – ’cause you’ve suddenly got it all, you see. PAUL: Mm. JOHN: I know that, because of the way I am, like when we were in Mendips, like I said, “Do you like me?” or whatever it is. I’ve always – uh, played that one. PAUL: [laughs nervously] Yes. JOHN: So. PAUL: Uh, I’d been watching, I’d been watching. I’d been watching the picture. YOKO: Go back to George. What are we going to do about George?

I encourage folks to go listen to the full audio and transcript and try their hand at decoding it!

I don't know if it's accessible on the mobile app, but @amoralto has a separate page with links to all the Get Back excerpts, listed in chronological order. It's a pretty neat resource if you want to just binge through interesting little snippets from these sessions (some that made it onto the documentary, and many that didn't).

To those curious about the Lunchroom Tape in particular, here's a (play)list of all the transcribed excerpts, with @amoralto's descriptions for context:

We Have Egos

Over lunch, the remaining Beatles touch on George’s resignation from the band on the 10th, as well as a group meeting held the previous day which ended in less than desirable circumstances (with George leaving the room, frustrated by John’s persistently Yoko-filtered standard of communication). While Yoko contends that it would be easy for John (and Paul) to regain George’s favour, John points out that this is a more deeply-rooted issue than it may seem, compounded over the years by John and Paul’s treatment of George and his defaulted status within the group. Upon this problem of overriding egos, however, Paul suggests (passive-aggressively) that it isn’t just the Lennon-and-McCartney tandem that is causing George upset and consternation. 

Jealousy For You

As the problem of George’s current resignation from the band is discussed, John makes it about him and Paul wonders what it’s all worth.

The Way We All Feel Guilty About Our Relationship To Each Other

John contends with how the force of his partnership with Paul and his relationship with Yoko has negatively affected George and perhaps directly contributed to George’s walkout on the group three days prior.

Cabbage

During a discussion on how the rest of the group should move forward after George’s departure on the 10th, John wonders if they should get George back at all, suggesting his role as a Beatle is replaceable (unlike his own or Paul’s), and likens this unkindly to how Ringo first replaced Pete Best. Paul notes that John has been the top buck in getting himself heard (and getting his way) since the inception of the group (which John protests) and quickly reassures Ringo when he wryly declares himself to be little more than rabbit food for the group. Paul admits that both he and John have done one over on George, albeit unconsciously as an effect of the competition and unaware of how it may have hurt George in the process, but John argues that he’s known since early childhood how manipulative he himself can be, and has tried to curb it to little avail.

What You Are

In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth.

Working At A Relationship

While Yoko and Paul conduct their own conversation with each other, Linda talks to John about the inevitable difficulties any relationship faces - even in the context of a musical partnership - and why it doesn’t prove the relationship itself is an expired one. John (inexplicably or not) laments that the White Album doesn’t sound like the genuine, inspired band collaboration they achieved in the past. 

You've Got To Blame Yourself

As Paul encourages an unconfident Ringo to go ahead with his plans to record a solo LP, John hedgingly brings up his own apprehensions about following his instincts (especially when he’s not even sure what he really wants to do). In their inimitable and emotionally non-committal fashion, John and Paul engage in metaphors about intentions, conveying these intentions in actions, and how these actions may be conveyed by those who see it. (Basically: what John and Paul talk about when they talk about love.)

How Much More Have I Done Towards Helping You Write?

John and Paul have an obfuscating conversation about their songwriting partnership and creative process, which has been incapacitated by a lack of direction, misplaced (misread) intentions, and the unmet (unrealised) expectations they’ve inflicted upon each other. (In other words: issues. And some projecting of issues onto George, for good measure.)

What We're All About

In the midst of a personal discussion about working together within the band, John tries to explain the disconnect in their process, and why he can’t envision their songs the way Paul can. As both John and Paul circle around the issues of honest communication and (living up to) each other’s expectations, they eventually project onto George bring George into the quandary of the Lennon-McCartney partnership. 

George Harrison visiting Bob Dylan in Woodstock, New York (Nov. 1968)

I heard someone walk into the room and, assuming it was Barry Imhoff or Gary Shafner, I kept pounding away at the keys of the electric typewriter.

“Hi,” Bob Dylan said, pulling a chair over to my desk and slumping into it. “So have you seen George lately?”

Startled by his voice, it took a few seconds for me to respond. “Not since his tour a year ago,” I said.

“I really like George,” he said, reaching into his jacket and pulling out a cigarette.

I nodded my head. I liked George, too.

“So, I was thinking about it. I remember you from the Isle of Wight.” He turned his head and smiled at me, sideways. “I can’t believe I forgot my harmonicas. That was cool when you flew in on the helicopter.”

“Yeah, that was pretty cool,” I agreed. I wasn’t really sure how to talk to Bob, so I just followed his lead.

“That was a weird show,” he said. “I hadn’t performed in a long time, and I was pretty nervous.”

“You didn’t seem nervous,” I said, hoping to reassure him.

“Yeah?” he turned his head to the side and looked at me, narrowing his eyes, measuring my honesty. Then he seemed to relax. “Well, that’s good. But I sure felt it.”

He laughed, then, almost shyly, and averted his eyes. “I’m glad you’re on the tour,” he said. “Any friend of George’s is a friend of mine.”

- Chris O’Dell, “Santana (September - October 1975)”, Miss O’Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved

hello!! hows the comic going? :) the color palette on the first few pages looks IMMACULATE im gonna eat ur art on a sliver platter

Hi!!! Thank you so much!

I’m actually quite close to finishing it, but as always I got second thoughts about literally every page on it so far. So I’m just taking some time off it :D My whole style changes throughout pages and that’s something I don’t like- but what’s done is done I guess. It’s just a silly smutty comic really that’s what I’m trying to remind myself daily :D here are some panels tho! Since my last semester is starting, I don’t know if i’ll have any time to continue this :((( but I’ll link my AO3 here soon!!

I’d Have You Anytime

shoutout to that time paul simon and john lennon hosted the grammys