It’s Still So Crazy To Me That The Guy Who Wrote This John And Paul A Love Story Book Is A Transphobe

from Paul's self-interview with the McCartney I release.

He had the first two lines of 'Every Night' for "a few years"? D: D:

For reference, those two lines are:

Every night, I just want to go out Get out of my head Every day, I don't want to get up Get out of my bed

Source: The Longest Cocktail Party by Richard diLello

you can't have a man who's been to workmans playing paul mccartney. a man who knows what wowburger is? playing a beatle? that's not how the world works.

worst thing that can happen to a girl is her friend gets a boyfriend

everytime I read this story I'm so disturbed by yoko's manic participation, like she was 38 at this point. girl what are you doing with this mean girl baby nonsense you're nearly forty.

Drawings of John Lennon by Klaus Voormann

me when I'm gay and omw to yell at teachers striking during my son's exams

“Walking . . . is how the body measures itself against the earth.”

On Instagram

The Threepenny Opera

Image: Dada Rundschau by Hannah Höch, 1919.

(A review from last year of the Threepenny Opera in the Gate Theatre. Trying to get this post to nestle into the correct chronological space, but Tumblr seems to have a problem with that kind of reverse-scheduling. Hence this introductory note - this review was written in October 2013.)

Seeing the show in the flesh, in the theatre, after years of exposure to the myth, is a slightly disorientating experience. The expected, stunning musical set-pieces are interspersed with narrative-prolonging longeurs, while the most famous songs (Mack The Knife and Pirate Jenny) pop up at rather incidental points in the story. The political message is less a message than an announcement, clunking the audience over the head with the complaints of the oppressed in rags.  The show itself, as presented by The Gate and directed by Wayne Jordan, is both less strange and more wonderful than I’d imagined it would be. This is a production that takes the source material seriously, as shown by the 18-piece orchestra that starts playing as soon as the curtain lifts. From then on the show dazzles with pitch-perfect (and refreshingly unamplified) singing, choreography that manages to be challenging without being confusing and costumes and set design that convey just the right amount of ragged decadence.

The lack of subtlety and nuance in the original storytelling persists through a game reimagining by Mark O’Rowe, but the music and aesthetic for which the name Threepenny Opera is synonymous more than compensates. Allusions to the present economic situation are kept mercifully subtle. This production is no exercise in superficial window-dressing – it is the very sincerity with which the cast and crew present this musical and visual feast that gives this production its extraordinary power.

Highlights include Hilda Fay as Jenny, Mark O’Regan as Mr Beecham and the aforementioned 18-piece orchestra.

Hate that sneaky spotify tag bro I did not tag you