#Best Love Songs of 1974 | Explore Tumblr Posts and Blogs

crepesuzette2023 · 5 months

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Hi! Because someone just asked me, I'd love you hear your Top 5 favourite McLennon fics!

You made my day! Nothing could have made me happier than this ask.

I'm not going to evade your question. I will post my top-five, even though it hurts to choose. But you inspired me to finally write a longer (okay: very long) post about some (not nearly all!) of my favorites, which will be under the cut.

(Sorry for not knowing every writer's tumblr, by the way. Please feel free to let me know, so I can tag authors where appropriate. Thank you!)

My Top 5:

MIRACLE WORKER by @scurator. What can I say. Every time I need my heart broken and to feel an inkling of what grace truly means, I go to this masterpiece about Paul and Robert Fraser finding each other again at Cavendish in 1981.

COAST STARLIGHT by bookofapril is "Miracle Worker's" cosmic twin. The sun to its night. Paul and Robert Fraser on Fire Island in 1974. Nothing I can say will do it justice, so I won't try. This is the "other world" conjured in "Tug of War," so powerfully and joyfully imagined, it's real. (I'm always thinking of this story, but I did so extra hard when I came across a prompt recently: 'They aren't each other's first love, but they're each other's true love'.)

SAME AS IT EVER WAS by RedheadAmongWolves. My favorite Outsider's POV. An ageing newsstand owner from Liverpool remembers John and Paul as boys and young men. There's something magical about the relationship coming alive in these glimpses. A story filled with tenderness that reminds me to always look closely.

AN ORGASM OF SOUND by @pauls1967moustache. The insanity of John and Paul in 1967 got the tribute it deserves. I sleep easier since I read this story. It feels cosmically right that it exists.

PLANT A SEED by @eveepe. Paul in his slutty sailor outfit in Miami. He and John are into each other, and happy, and fuck slowly. Afterwards, Paul has an idea for a new song. That's it. Tender, glorious, hot perfection. Apply at least once a week for best results.

For more thoughts about some of my favorite stories, sorted into very much defined-ad-hoc categories, read under the cut.

Young Love:

I love the myth of their first meeting, and stories that speculate about the sexually loaded creative fireworks/gritty jealousies/tentative hand-holding/topping and tailing during the first years. Here are some faves:

Paul finds music, and John, and his life is changing. In STREETS OF OUR TOWN (@with-eyes-closed) you can taste the upheaval and promise of first love and growing up. Deeply sensual, even without on-page sex. The shaky, sweet, and all-consuming fire of John and Paul’s first kiss is immortalized in ALL I KNOW SINCE YESTERDAY (RedheadAmongWolves). In NON NOBIS SOLUM (@downtothe-lastdrop), art student John simply has to know how far grammar school boy Paul will go to please him. But Paul matches him play-by-play. In THE CAST IRON SHORE (@m1ssunderstanding) Paul earns extra money through music and sex. John finds out. They fall in love, and hide their mutual pining behind transactions—but in the end, they man up to pair up, and get their band back on track. (The first part is finished; I can’t wait for part 2.) John and Paul’s ’61 trip to Paris has been honored in fiction many times; WHEN YOU ARE YOUNG THEY ASSUME YOU KNOW NOTHING (@lilypadd23) is a slow-burning, blessedly long story that blossoms sweetly. DON’T THINK ABOUT IT is the concept by which Paul measures both his pining for John and their deeply satisfying (but surely not really queer?!) sex life. Perfectly realized Paul POV by @merseydreams. Finally: I NEED YOU DARLIN’ (verse) (by @beatlessideblog) would have fit many categories, but I put it here, because in the end, it’s about young John and Paul becoming friends, making music, having sex, and falling in love. No more, no less. Embedded in a late 50’s/early 60's Liverpool omegaverse in which there's a place for their bond. But, surprise (?!): It’s still complicated. I can’t overstate how charming and satisfying and funny and hot this work is.

Old John and Paul:

Is there anything as lovely as imagining John and Paul growing old together?

In HERE TODAY (@herspecialagent), John and Paul found happiness with each other in Scotland. On 8th December 1980, they invite friends for a party, and fight an inexplicable sense of doom. A reminder that our other lives can be closer than we think, and to keep our loved ones even closer.

GROW OLD WITH ME (@inherownwr1te): Old farmers and husbands John and Paul enjoy domestic bliss, deal with a broken arm, and make sweet love.

HAVING COFFEE (@feathersandblue): John Lennon and Paul McCartney, “one of the most iconic gay couples in history,” look back on their early love, the Beatles, and being outed in the 80’s, in this oh-so-glamourous, well-written 2020 portrait…

Magical re-tellings of J/P and/or the Beatles Story:

No matter where you come down on the blessed vs. cursed continuum—they were living through something magical.

In KISSING THE BLARNEY (@zilabee) the Beatles draw love and music from kissing Paul, and each other, until the stupid world interferes. But fear not, all ends well. How to tell the truth through whimsy: this story demonstrates it.

In WE ARE ALL TOGETHER (also by @zilabee), John and Paul switch bodies. It helps.

I WAS A YOUNGER MAN NOW (THEN) (POST HOC) BY @fingersfallingupwards: Paul is a time traveler and braids his life together with John’s, out of order, through the years. And yes, they do grow old together—but not without losing each other first. I’m in awe of this story.

A darker time-traveling story is A MATTER OF TIME (D12Fan), in which John and Paul love each other, over and over, and never manage to make it work—but Paul won’t give up.

FOR THOUGH THEY MAY BE PARTED (@downtothe-lastdrop): The misery of the 'Get Back' sessions and memory-stunting technology imported from “Severance” are not enough to kill off John and Paul’s attraction and longing for each other. Again, this is basically what happened, so.

John and Paul without the Beatles?

Yes, please! Sometimes, the best way to dissect and celebrate (and fix?) this mesmerizing and exasperating partnership is to lift it from its context and drop it elsewhere. Anything goes.

WHATEVER FATE DECREES by @dailyhowl: A gorgeous, finely spun, securely handled, self-contained vision of how John and Paul could have worked as artists in love, without a band to 'legitimize' and constrain their bond. I love this homage to their deep and complicated love that needed trust and breathing room.

1967 by @walkuntilthedaylight: What if John and Paul had gone to Spain together and not come back? This story not only explores their relationship layer by layer, it also dives into the the feelings of those who knew them 'before' and who now meet them again, as a couple. A fascinating alternate history. Not a fluffy one.

TOMORROW I'LL MISS YOU (@pauls1967moustache): Paul abandons John in Hamburg—or John stays behind without bothering to write, depending on who you ask. This "Before Sunset"—AU reunites them, years later. They ride a bus and write a song, and the love and tension are sweet and painful.

DOUBLE FANTASY (by @javelinbk): Modern AU in which John and Paul meet at John's flower shop and manage to ignore and creatively re-interpret their feelings for one another for a surprising amount of time, before fate has mercy. I love how their sweet, well-matched eccentricity makes the world a warmer place for both of them.

WE ARE STARDUST (Unchained_Daisychain): AU. John and Paul meet at Woodstock, fall hard and fast for each other, and have to decide what to do with it: Paul's life is back home in England...except...

Angst, darkness, and courage:

Pain, fear, grief, and other dark emotions are part of the real J/P story, so it makes sense to honor and harvest them in fiction. One of my favorite brands of McLennon angst is the one triggered by their feelings for each other, and the thing they become once they're together™. When they're scared of how much they need each other, and of what will happen next.

ONE AND ONE AND ONE IS THREE and MANAGING EXPECTATIONS (both by @pauls1967moustache), for instance. The first is a terrifying threesome with Yoko (at John's instigation, of course), in which trust is never rewarded and sex resolves nothing. The second is Paul wondering, in thoughts both messy and crystal clear, whether he exists independently of John. He turns to Brian for answers. They fuck. It feels like a human thing compared to what is going on in Paul's mind. Just astounding.

SUNDAY DRIVER (@boshemians) dives into the theme of Paul and John being afraid of themselves in the aftermath of Paul's accident (moped, sexual) with Tara Browne. This one, like "Managing Expectations," ends on a lovely grace note.

MACABRE (@dovetailjoints). Lennon and McCartney go too far.

OPEN HEART (@paisanas). Paul drinks John's blood. John lets him. But Paul starts to hate himself for how much he needs John, which John feels as rejection. I love how this story ends on Paul embracing his need. You can see the painful, bare bones of their malnourished love under the lush sensuality of the vampire sex. Raw and rich.

SILENCE (@ohjohnnysblog). Short and piercing. If there is someone you love—tell them. Don't wait.

THE LATE, GREAT JOHNNY ACE (@midchelle). Reeling with grief, Paul is recording an album in 1981. George and Ringo are there. John is not. But in the end—he is. And they touch. I've always admired Paul's resilience in the face of having to perform or "prove" his love of John in public, and this story showed me, without sugar-coating, where this resilience comes from.

Light, hope, and fixing things:

There is also much lightness and brightness in McLennon, because John and Paul were ridiculous, and horny, and weird. And also: they deserve a laugh. They deserve the fluffiest of happy endings. They deserve high-quality, life-affirming smut. They deserve silly, because silly is what they were. You know their names, look up their number.

1980. John is in BERMUDA (@scurator), Paul visits. Paul comes prepared, John just comes. Sometimes, it can be this simple. This story always leaves me in such a good mood. Paul is the (more) experienced one, and it...really works for me.

GOT TO GET DOWN (@eveepe): In praise of John's obsession with Paul's...precious. His small and perfect prick.

ADVENTURES IN TOTAL HONESTY (@merseydreams). Pithy and sexy, and, I quote from the tags: #Excessive Margarita Mixing.

ANINUT (@pauls1967moustache): The Beatles heal, together and separately, after Brian's death. Once more, I quote the writer: "The Beatles did not follow any of the Jewish mourning traditions, and frankly, they should have."

The unhinged weirdness of the Mad Day Out, with John and Paul escaping and Francie, Yoko and Mal not missing them...much, is rightfully celebrated in one of the insaner stories I read: JOHN, I'M ONLY DANCING (@skylikeaflame)

FAIR'S FAIR (@javelinbk): John and Paul are being silly during a press conference, resulting in acute arousal requiring John's skilled intervention. I love the unexpected care and tenderness in this one!

WHERE THE POETS WENT (RedheadAmongWolves): Tender and enchanted story in which Paul and John go to a bookstore, where they're not as famous as everywhere else. As delicate as the chiming doorbells and the pages murmuring around them.

TAKEN AWAY (@crumblingcookies) Extraterrestrial Intelligence intervenes to reunite John and Paul.

CAN I TAKE MY FRIEND TO BED? (manhattanvalleys). Paul fucks the band in sequence and gets off in the end, as is his due. This is a story like Prince's KISS. No filler, all effect.

THEY SAY IT'S YOUR BIRTHDAY (@ohjohnnysblog). Warm and nostalgic phone sex in the 70's.

KEEP THE LIGHT WE'RE GIVEN (@backbenttulips). Amidst the rise of Beatlemania, Paul and John expect their first child. This is Paul's 1962 diary.

More Outsider POV's:

STILL MATES (@pauls1967moustache): in 1968, Peter Asher takes the leap to act on his feelings for his sister's spiraling ex fiancé. This isn't about Paul as much as about Peter, and who he wants to be. Gutting character study. It made me love Peter.

ANOTHER GIRL (@boshemians): Astrid reunites with the Beatles during the making of AHDN and registers their words and deeds with the same stark objectivity as her camera. I love how she seeks the shelter of obscurity while they are being dragged into the limelight. But she sees them, wherever they are. J/P in this story feels incredibly real to me.

WHY BUY THE COW (RedheadAmongWolves). The milkman sees everything on his early morning rounds: the arrival of a nice new family, the McCartneys, the mother's illness, the sadness after her death...and the arrival of a new love in the older son's life. He shouldn't approve—should say something, in fact. But a small inner voice holds him back.

SLEEPLESS IN WALES (thinkpink20). Mike overhears Paul and John whisper in bed. He doesn't understand everything they say. I do. Adorable.

Not each other's first love, but each other's true love

THIS YEAR'S FOR ME AND YOU (@skylikeaflame): After a long life, after deep and loving partnerships with other people, John and Paul, encouraged by their grown-up children, finally meet their mutual love head on. A festive story about waiting the perfect amount of time.

THERE ARE ALWAYS FLOWERS (tarenas): The Beatles are in the past; John and Paul's love is in ashes. Paul, who is fragile and bereft, lives with George, who is content. The four ex-Beatles unite for the second wedding of Mike McCartney. At times, the aching grief in this story is almost unbearable. But the love between George and Paul is unusual and real. This is unfinished. I'll keep waiting for the final chapter.

Beyond J/P

WANT ME WHEN I'M NOT THERE (@backbenttulips): Linda catches Paul cheating on her with John. She divorces him. Finally: a story that puts her most likely reaction front and center, with no mercy for the messed-up geniuses.

In the Rebecca-AU LOVE LIKE GHOSTS (@backbenttulips), Yoko becomes Mrs. Lennon. Soon, she discovers that her husband is haunted by the ghost of his first love. It's pleasing how well this re-telling matches the events as they (alas) (almost) happened. The ending is chilling. Genuinely horrifying. I love seeing Yoko as the sensible one and as the focus of empathy.

THE BASS LESSON (@aquarianshift). Paul and Stu fool around without letting go of their mutual resentment for even a moment. And it works. "Let's never do this again." I don't think so.

TELL ME ALL MY LOVE'S IN VAIN (@midchelle). Forget about quote unquote platonically obsessed male rock stars: This about about Maureen and Patti through the years. The web weaving continues.

SPOTLIGHT ON JOHN AND STU (@dailyhowl) A love story in letters—too brief, like Stu's life, but sounding as if the writer transcribed their dictation. Some of the best descriptions of what it must have been like to play on stage with the Beatles during the mania are in NO I IN THREESOME (@with-eyes-closed). George finds himself in the beam of attention between John and Paul, and nearly loses his mind. But he's determined to stay and become part of them. Paul is daddy and "fucks like music" as seen through George's eyes. The whole story is vicious and hot and uncomfortable—until there's the love and quiet at the eye of the storm.

Not for the faint of heart! WHAT THE CIGGIE CARTON SAW (@waveofhand): Paul McCartney having his way with cigarettes.

This is getting out of hand...but I'll stop here. There are so many more stories I love. And I can think of many other categories that would deserve their own post.

So, who knows: To be continued?

#fic rec #mclennon #mclennon fanfiction #mclennon fic #asks #fic recs #overall favorites fic recs

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danaewrites · 8 months

Text

you with the dark curls (you with the watercolor eyes)

part i: and while you were asleep, i was surely awake

james potter x reader // read it on AO3

word count: 2.8k

summary: “Falling in love with your best friend was never a good idea, but you’d managed to do the idiot thing anyway, carrying a torch for a boy who would never look past Lily’s emerald eyes to see the watercolor ones that had always been by his side.”

tags: best friends to lovers, angst with a happy ending, based on the song "dear arkansas daughter" by lady lamb, fem!reader

author's notes: hii y'all, sorry for not posting in a year :P my only excuse is that i didn't feel like taking the energy to actually write out my story ideas. also perfectionism. anyway i somehow wrote this in two hours while procrastinating my college app essays and have plans to make this a multi-chapter fic despite intending to write an angsty oneshot request for a completely different fandom (i see you, beloved anons, and i raise you this completely unrelated fic <3)… the brain of a writer works in mysterious ways.

read it all here: part i, part ii, part iii (coming soon!)

You were in love with James Potter.

It was a fact of life, just like how the sky was blue, or that his favorite dessert was treacle tart, or that you were the only person he’d ever let see him cry besides his mother. You’d loved him from the moment you met him on the train to Hogwarts as a shy, anxious muggleborn unsure of the new world of magic and prejudice you’d been thrown into without so much as a warning. He hadn’t cared at all about your blood status- didn’t even think to ask about it. He had launched himself into your compartment and began talking at you a mile a minute, beaming with every tooth showing once he found out you were hoping to get into Gryffindor, his hazel eyes alight with the joy of making a new friend. And friends indeed you had become; you were proud to remember that you’d known him before Sirius or Remus or Peter did, though it took only an instant after the Sorting for him to become best mates with the rest of them, too.

You and James were inseparable from that moment on, giggling at Professor Binns’ failure to notice Sirius’ antics in the back of class and reassuring each other when home seemed too far away for comfort. He stole sweets from the Slytherin table for you at meals, and you covered for him when the teachers almost caught him pranking Snape– after all, who would believe that sweet, innocent Y/n would ever be involved in such shenanigans? The soft-spoken demeanor and love of everything pastel you’d thought would eventually oust you from the close-knit Gryffindor boys’ group proved to be quite the useful asset when affirming their ‘innocence’.

Not that they only wanted you around because you were helpful, of course. You had quite the talent for exaggerating stories until even Sirius fell off his seat laughing in disbelief, and your creative mind made for some glorious pranks and entertaining mistakes. Peter would blush for an hour straight if anyone mentioned The Great Plum Pudding Incident of Christmas 1974, all thanks to your clever meddling. And Remus– well, he was eternally grateful for your mother-henning during the worst of his moon cycles. You’d been the first to figure out his “furry little problem”, and upon learning that enjoying chocolate was his favorite method of escapism, showed up every month without fail with an armful of Honeydukes sweets. The little ways in which you loved each Marauder meant the world to them. They would do anything to protect you and make sure you were okay, James most of all. You often teased James that he was more bodyguard than friend, with his deep glares at too-forward Hufflepuff boys masking the big softie you knew he was underneath. You remembered fondly the summer days he spent chasing you around your house, scaring your mother half to death with his colander-and-pot ‘armor’ as he declared that as a chivalrous knight, he was meant to save Princess Y/n from the terrible Acromantula King. Privately, you thought James had a few too many Arthurian legends for bedtime stories as a child, but what could you do?

Even now, as sixth years, the bond between you and James never changed, your love for him ever-growing. Your heart melted every time you glanced over your shoulder in the hallway, only to find him chatting softly with a sniffling first-year and guiding them to Professor Sprout’s office for a hot cuppa and a biscuit. You cheered at his Quidditch victories and were euphorically lifted up onto his broad shoulders afterward, whooping as he galavanted through the common room in celebration. You were there when he needed a shoulder to cry on when his grandfather died, softly stroking his hair as he fell asleep in your lap with tear tracks still running down his face. And he adored you in return– braiding your hair while you worked on Herbology essays, racing you on his beloved broom when you stayed with him during the summer, distracting you from your rants about Slughorn’s unfair grading with a trip to the kitchens and a blissfully soft blanket.

James was your lifeline and you his– and nothing in the world could change that.

Except, perhaps, one tiny little complication. A complication with vibrant red hair, sparkling green eyes, and a natural affinity for Potions. A complication that had sparked your jealousy since the first time you noticed James glancing dreamily at Lily Evans in second year Transfiguration, jealousy that had only gotten worse with his grand declarations of love every week. He’d begun to announce his affection for the muggleborn to anyone who would listen in third year, and it didn’t stop there. No, when James Potter loved someone, he loved hard, and that meant that you had to watch as beautiful bouquets appeared on Lily’s nightstand nightly while the rest of the girls in your dorm whispered and swooned. You were a wallflower when he sighed about how lovely her skin was and how bloody talented she was at everything she did during one of your late-night chats in the common room, curling in on yourself with every word he spoke. When he asked her to Hogsmeade the first time (and the second, and the third, and the fiftieth), you observed as she rolled her eyes and shoved past him, despite the small smile on her face.

It wasn’t that Lily wasn’t smart or pretty or talented– far from it. She deserved every good Potions grade she got, and even the pureblood Slytherins begrudgingly noted how she was the darling of Hogwarts society. But you thought that the way she treated your best friend, refusing his advances quite harshly but sending him flirtatious glances and making a show of wearing his flowers in her hair, was rather unkind and misleading. She had James wrapped around her little finger and didn’t seem to want to let go of his attention anytime soon, despite Snape’s protests about how much time he was spending with her. You disliked Severus, but didn’t think he deserved Lily’s bad treatment either. Sometimes you’d see him staring at James and Lily deep in conversation, and shoot him a glance of communal disappointment– before realizing who you were sharing the moment with and resuming an expression of disgust, at least.

At first, you ignored your growing angst about his new obsession, chalking it up to sleep deprivation, stress over your upcoming exams, and even your monthly. But when you started to run out of excuses for the despair slowly overtaking your heart and flashes of his dark curls began to appear in your sweetest dreams, you were forced to admit that your feelings for James ran much deeper than a platonic friendship. From the way he spun you around in the snow to the way he snorted at Remus’ awful puns, you were head-over-heels smitten with your best friend.

The way he’d filled out since the end of fourth year hadn’t escaped your notice, either; you were pretty sure that his pecs should be considered a traffic hazard, with the way you’d fallen flat on your face after seeing him shirtless after a match. He’d rushed over to clean up every one of your injuries, of course, with a touch so gentle it released a whole menagerie of butterflies in your stomach. You’d barely managed to mumble a coherent thank-you before sprinting to take a very cold shower and scream into your pillow with embarrassment. How on earth did Lily Evans even think around him?!

Alas, you’d read your fair share of romance novels, and you knew how this story would end. Falling in love with your best friend was never a good idea, but you’d managed to do the idiot thing anyway, carrying a torch for a boy who would never look past Lily’s emerald eyes to see the watercolor ones that had always been by his side.

That was the state Sirius found you in, broody and lost in thought in a quiet corner of the library. He grinned rakishly, planting a well-polished boot on a nearby chair and leaning over to tap your forehead. “Lots going on in there today, huh?”

You snapped out of your daze and smiled sheepishly up at him. “Sorry, Siri, didn’t mean to ignore you. Just, er, thinking about my Potions essay, do you know how many uses there are for mandelwort? Quite fascinating plants, hones–”

Sirius winced and slid back far across the table. “Oh, no, you are not discussing horrid Potions work with me today when there are so many other wonderful topics.” He gestured to a table of swooning fifth-years gazing dreamily at his backside. “For example, those lovely ladies,” he crooned, sending an exaggerated wink towards them and smirking when they sighed.

You wrinkled your nose and scoffed. “Oh, please, as if I haven’t heard enough about your conquests already. I’m already scarred for life from your stories about that Belgium Veela, let alone the muggle sailor you nearly broke the Statute of Secrecy for.”

He waved a hand, dismissing your allegations of the mental injury caused by his excruciating attention to sordid detail when slightly tipsy in the common room. You made a mental note to charm his shampoo to turn his hair bright lavender for the next week for that little snub. Although, being Sirius, he’d probably just use it as an excuse to sway the rest of the Hogwarts population into going to Hogsmeade with him. “Ah, but darling Y/n, that’s what I’m here for!” He furrowed his brow and stroked his chin in mock consideration. “However, I can’t seem to recall a time when you–” here he poked you in the cheek for emphasis– “confessed to a little tete-a-tete in the hallway. Ever. Which means we have a problem,” he grinned.

You felt rather like prey being hunted for sport. “That would be because I’m not interested in anyone, you dolt!” Crossing your arms, you turned your face back towards your homework. Maybe if you denied romantic interest for long enough, Sirius would leave you alone and go flounce off to flirt with the noisy table of fourth years. “Anyway, I heard Marlene’s been circling Dorcas like a lovesick pigeon lately, so perhaps you should be putting your matchmaking efforts to her benefit instead.”

Sirius rolled his eyes. “C’mon doll, I know you weren’t actually thinking about Potions when I arrived. Who’s the lead actor in those fantasies, mm?” He snatched up your favorite pink gel pen, twirling around his fingers as he looked at you expectantly.

Drat. He wouldn’t be so easily distracted with the latest gossip. You opened your mouth to protest yet again when you caught a flash of red over Sirius’ artfully tousled locks. You watched as James strode up to the alcove where Lily and her friends were studying, transfigured a sheet of parchment into a butterfly clip and held it out to her with a grin. Her laughter pealed out through the library as she let him lean over her shoulder to place it in her hair. He seemed oblivious to the titters of the girls around him while he gazed at Lily adoringly. You felt your heart clench as you recognized the expression on his face; you’d seen it on your own in the mirror after spending time with James, after all. And it seemed like maybe Lily was finally starting to be swayed into accepting his starry-eyed proposals, if the pretty blush on her cheeks was anything to go by.

Sirius tracked your despairing gaze to the couple and immediately paled in realization. “Oh, shit.”

Shit, indeed. Your face turned bright red as you scrambled to pack your bag and leave the area as fast as you possibly could, not sure how you could face Sirius knowing your deepest secret now. The boy had no self-control, fueling the Hogwarts gossip mill with the wild stories he overheard, and he had even less discretion when confessing things to his friends around the common room fire. It’s no wonder he wound up in Gryffindor, you thought miserably. There’s no way he’d be able to keep a secret like the rest of the Slytherins, and definitely not from James. It would only be a matter of time before he let it slip about your feelings to the rest of the Marauders, and— well, you’d just have to face losing your best friend for good once he heard.

Sirius broke your train of thought by wrapping his hands around yours, looking up at you with concern. “Hey, doll, wait— I didn’t know—“

You sniffed and wiped the tears threatening to fall from your eyes away fiercely. “That’s exactly it, Sirius, you didn’t know because you won’t be able to keep it from James.”

He looked guiltily down at the table. “I’m sorry. I’ve been a bit of a git with keeping things private lately, yeah?”

You nodded, covering your face with your hands. Sirius reached out, placing them back down on the table, and softly said, “Listen, I shouldn’t have pried so hard. You don’t have to tell me anything if you don’t want to.” He broke off, pausing to scramble for a handkerchief from his bag to wipe off your rapidly disintegrating mascara. “And I promise not to breathe a word of this to James,” he finished.

You looked up at him, startled. “Are you serious?” At his answering grin, you groaned. “Don’t answer that. But really, are you sure that you’ll be able to resist telling him everything?” You fiddled with the now-soiled handkerchief and whispered, “You two are so close, I don’t want to drive you apart. If James thought you were hiding something important from him, it would destroy him,” you sniffed.

He frowned. “Doll, you know you’re just as important as James is to me, right?” At your answering slump, his jaw clenched and he continued on with more intensity. “You’re like my sister, Y/n, there’s nothing you could do to make me care for you less. Especially not asking for your privacy. Clearly, I haven’t been treating you as well as you deserve if you doubt that.”

He walked around and took a seat in the armchair next to you, pulling you in to lean on his shoulder. “And I can be discreet, you know. I might not show it often, but growing up in a family of the most intensely secretive purebloods ever to exist taught me a few things.” You glanced at him doubtfully, the tiny quirk of your mouth the only sign that you were joking. “Hey, I’m being serious!” He laughed, then quieted suddenly. “This thing with James— you really love him, don’t you?”

You gave him an exasperated look out of the corner of your eye. Sirius released a breath and gazed deeply into the space in front of him. “Hey, we’ll figure this out together, okay?” He poked you in the side. “If he’s too focused on the smell of Evans’ hair or whatever to see that he already has the perfect girl in front of him, he’s not as smart as you think he is.” You giggled slightly, his words warming you. Sirius smiled, happy to see you cheering up a bit.

“Why don’t we go raid the kitchens? The coolest person I know once told me that elf-crafted mint chocolate chip ice cream is the best way to heal a broken heart,” he teased. You groaned, remembering how you’d told him that as a last resort to get him to stop complaining about how he missed his sailor ex-boyfriend every time you two went to Hogsmeade. At least your random advice wound up benefiting you now, you thought as you collected the last of your stationery and exited the library.

Neither you nor Sirius saw how James watched you smile up at Sirius as you walked away, holding his arm and laughing loudly at something he muttered. Anna Dumotier, a Hufflepuff fifth-year and one of Lily’s friends, would remember later that night how he seemed to tune out Lily’s voice for a moment and stared at the doors to the library with a strange expression on his face. His brows were furrowed like he was trying to decipher the answer to an unfamiliar puzzle, his eyes widened with confusion and a glint of something she could only identify as jealousy before Lily brought him back to the conversation with a graceful flip of her hair. But no— she shook her head— that couldn’t be right. What could James possibly be jealous of when he finally had the girl of his dreams in his arms?

taglist: @magpiencrow @that-kid143 @lilly-aliyah @itmustbegreattobecalledtheitgirl

comment if you'd like to be tagged for any of my works/fandoms in the future! :)

read on: part ii

#james potter x reader #james potter x y/n #sirius black #bisexual sirius black #remus lupin #peter pettigrew #marlene mckinnon #dorcas meadowes #fem reader #best friends to lovers #friends to lovers #marauders #marauders x y/n #lily evans #harry potter #hp fandom

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cartermagazine · 2 months

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Today In History

Roberta Flack, internationally hailed as one of the greatest songstresses of our time, was born on this date February 10, 1939 in North Carolina.

She remains unparalleled in her ability to tell a story through her music. Her songs bring insight into our lives, loves, culture and politics, while effortlessly traversing a broad musical landscape from pop to soul to folk to jazz.

Ms. Flack is the only solo artist to win the GRAMMY Award Record of the Year for two (2) consecutive years: The First Time Ever I Saw Your Face won the 1973 GRAMMY and Killing Me Softly with His Song won the 1974 GRAMMY.

Some of her best-known songs are: “The First Time Ever I Saw Your Face,” “Where Is the Love (a duet with former Howard University classmate Donny Hathaway),” “Killing Me Softly With His Song,” “Feel Like Makin’ Love,” “The Closer I Get to You,” “Tonight I Celebrate My Love,” and “Set the Night to Music.”

Roberta Flack has inspired countless artists with her musical brilliance and honesty.

CARTER™️ Magazine

#roberta flack #carter magazine #carter #historyandhiphop365 #wherehistoryandhiphopmeet #history #cartermagazine #today in history #staywoke #blackhistory #blackhistorymonth

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kemetic-dreams · 10 months

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Minnie Julia Riperton Rudolph (November 8, 1947 – July 12, 1979) was an American singer-songwriter best known for her 1975 single "Lovin' You" and her four octave D3 to F♯7 coloratura soprano range. She is also widely known for her use of the whistle register and has been referred to by the media as the "Queen of the Whistle Register."

Minnie Riperton grew up in Chicago's Bronzeville neighborhood on the South Side. As a child, she studied music, drama and dance at Chicago's Lincoln Center. The youngest of eight children in a musical family, she embraced the arts early. Although she began with ballet and modern dance, her parents recognized her vocal and musical abilities and encouraged her to pursue music and voice. At Chicago's Abraham Lincoln Center, she received operatic vocal training from Marion Jeffery. She practiced breathing and phrasing, with particular emphasis on diction. Jeffery also trained Riperton to use her full range. While studying under Jeffery, she sang operettas and show tunes, in preparation for a career in opera. Jeffery was so convinced of her pupil's abilities that she strongly pushed her to further study the classics at Chicago's Junior Lyric Opera.

The young Riperton was, however, becoming interested in soul, rhythm and blues, and rock. In her teen years, she sang lead vocals for the Chicago-based girl group the Gems. Eventually the group became a session group known as Studio Three and it was during this period that they provided the backing vocals on the classic 1965 Fontella Bass hit "Rescue Me".

After graduating from Hyde Park High School (now Hyde Park Academy High School), she enrolled at Loop College and became a member of Zeta Phi Beta sorority. She dropped out of college to pursue her music career.

Her early affiliation with the legendary Chicago-based Chess Records afforded her the opportunity to sing backup for various established artists such as Etta James, Fontella Bass, Ramsey Lewis, Bo Diddley, Chuck Berry and Muddy Waters. While at Chess, Riperton also sang lead for the experimental rock/soul group Rotary Connection, from 1967 to 1971.

On April 5, 1975, Riperton reached the apex of her career with her No. 1 single "Lovin' You". The single was the last release from her 1974 gold album titled Perfect Angel. Riperton's third album, Adventures in Paradise was released in 1975. Despite the R&B hit "Inside My Love", some radio stations refused to play "Inside My Love" due to the lyrics.

Her fourth album for Epic Records, titled Stay in Love (1977), featured another collaboration with Stevie Wonder in the funky disco tune "Stick Together".

In 1978, Richard Rudolph and Riperton's attorney Mike Rosenfeld orchestrated a move to Capitol Records for Riperton and her CBS Records catalog. In April 1979, Riperton released her fifth and final album, Minnie. "Memory Lane" was a hit from the album.

Riperton provided backing vocals on Stevie Wonder's songs "Creepin'" from 1974's Fulfillingness' First Finale and "Ordinary Pain" from 1976's Songs in the Key of Life. In 1977, she lent her vocal abilities to a track named "Yesterday and Karma", on Osamu Kitajima's album, Osamu.

In January 1976, Riperton was diagnosed with breast cancer and, in April, she underwent a radical mastectomy. By the time of diagnosis, the cancer had metastasized and she was given about six months to live. Despite the grim prognosis, she continued recording and touring. She was one of the first celebrities to go public with her breast cancer diagnosis but did not disclose she was terminally ill.

In 1977, she became a spokesperson for the American Cancer Society. In 1978, she received the American Cancer Society's Courage Award, which was presented to her at the White House by President Jimmy Carter.

Riperton died of cancer on July 12, 1979 at the age 31.

During the 1990s, Riperton's music was sampled by many rap and hip-hop artists, including Tupac Shakur, Dr. Dre, A Tribe Called Quest, Blumentopf, The Orb

#african #afrakan #kemetic dreams #africans #afrakans #brown skin #brownskin #african culture #afrakan spirituality #riperton #tupac shakur #dr dre #a tribe called quest #the orb #minnie julia riperton #Minnie Julia Riperton Rudolph

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demolition-lesbians · 1 year

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Rolling Stone #1119 December 9, 2010 - The Playlist Issue

(click for better quality) Here's the playlist if you want to take a listen! Transcript:

Gerard Way: Glam Rock

My Chemical Romance's frontman grew up a metalhead, but when he heard Iron Maiden's lead singer, Bruce Dickinson, cover Mott the Hoople's "All the Young Dudes," he discovered a whole other world, "I knew I had to find out more," Way says, "To some people, glam is just about makeup. To me, it's a very magical thing almost like witchcraft."

1: "Ziggy Stardust" David Bowie, 1972

This song defines glam. It was also the first thing in rock that really challenged people's notions of sexual orientation. Bowie actually sings about a man's ass! 2: "Children of the Revolution" T. Rex, 1972

You always knew Bowie would make it out alive and turn into another character; with Marc Bolan you didn't know that. He came across as very vulnerable. 3: "All the Young Dudes" Mott the Hoople, 1972

This is kind of a cheat because David Bowie wrote it for them, but I always preferred the Mott the Hoople version. By this point, Bowie was talking about the actual glam movement, which is why it's about kids stealing makeup and breaking into unlocked cars. Glam became about the kid in the room, the poster on the wall, putting on a women's short fur coat and eyeliner, with no shirt on, just listening to this music. 4: "Ballroom Blitz" Sweet, 1973

They completely break the fourth wall when the song opens up and they're calling each other by name. We emulated that on our song "Vampire Money." It literally starts out just like "Ballroom Blitz" does. 5: "Cum On Feel the Noize" Slade, 1973

Obviously, everybody knows this for the Quiet Riot version, but when you hear the original you realize just how bold it is. The soundscape they created is probably one of the best out of all the glam-rock bands. 6: "Love Is the Drug" Roxy Music, 1975

Roxy Music took the glam thing and then modified it. Bryan Ferry looks nothing like a glam artist, and that's what I love about him. He's wearing this great suit and he's got short hair and he's so romantic. Maybe some people wouldn't consider Roxy Music a glam band, but I do, for a lot of reasons. A major one is that they used to have Brian Eno behind the keyboard wearing feathers on his shoulders and eye shadow.

7: "Needles in the Camel's Eye" Brian Eno, 1974

Speaking of Eno, this is the first track on his first solo album. It's the glammiest track on the record. As soon as he finishes that song, he's almost over it, and he's moved on to something else. Besides Bowie, Eno is still the most important artist to me of the glam scene. When you heard his first album, you knew it was gonna be his last glam record. He just needed to do it once and he was done. 8: "Clones (We're All)" Alice Cooper, 1980

With "Clones," Alice Cooper was moving into the glam of the future, like this kind of Blade Runner replicant version of glam. Alice Cooper doesn't get enough credit for being a glam artist. A lot of people just say, "Oh, he's shock rock," but I think he's way more Rocky Horror than he is shock rock. 9: "48 Crash" Suzi Quatro, 1973

She's the most unsung glam rocker. She's also the prototype for the Runaways. "48 Crash" is one of her more aggressive songs. She looks amazing on the cover, wearing this black cat suit. Everything about the song is magic. 10: "Personality Crisis" New York Dolls, 1973

They were a lot more punk, but I will always consider the New York Dolls glam by the nature of how they looked and their attitude. They took glam to America and really challenged the sexuality of it. They also had Johnny Thunders, who's basically like the American Mick Ronson.

#can not describe the feeling of finding what issue this belonged to but man was it good #gerard way #glam rock #rolling stone magazine

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thefreakandthehair · 6 months

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@eddiemonth prompt, oct 22nd: First concert | Triumph of King Freak - Rob Zombie | Eager a/n: a missing scene from an older fic, counting stars (when I look in your eyes)! post-canon fix, eddie pov, established steddie, fluff with a dash of angst, mention of eddie's late mother read on ao3 + ao3 masterpost | tumblr masterlist

December, 1988

“Why does your acoustic have that written on it? ‘This Machine Slays Dragons’?” Steve asks as he watches Eddie strum without looking at his hands. It’s a bit mesmerizing, the way his fingers glide along the strings of their own accord.

The song stops and Eddie slaps the body of the guitar in his lap.

“This old girl is an homage to one Woody ‘This Machine Kills Fascists’ Guthrie. Ever heard of him?”

“He did ‘This Land Is Your Land,’ right?”

Eddie claps his hands together and points two finger guns his way. “Ding ding ding, we have a winner. Yeah, he wrote that and a shit ton of other political critique folk music.”

“I didn’t know you liked that sort of thing. Sounds pretty far removed from Metallica, y’know?”

“Only in delivery. You’d be surprised how much overlap there is in meaning. But yeah, my uh—” Eddie stops and pulls the guitar closer to his torso and swallows the dust in his mouth that’s gathered from years of not talking about his mother. “My mom was a big fan of it. She loved Guthrie, Baez, Dylan, Grateful Dead, Cohen. You name it, she loved it.”

Steve’s heart tries to claw its way out of his body to run towards Eddie sitting on the floor with his back against the wall, timid smile, and fidgeting hands.

“That’s really cool, man. She sounds awesome. How come you don’t talk about her more?”

“It just—I don’t know. It still hurts, I guess. Which is stupid, I was eight when she died so it should get easier, right?” Eddie laughs humorlessly and stares at his strings like they hold answers to questions he didn’t know he had. He wants to crawl on top of Steve, desperate for warmth and comfort now, and looking at him makes the urge damn near impossible to beat back. So he doesn’t look up.

Steve adjusts his position on the bed, subconsciously making room. “Hell no, that’s not how grief works, Ed. Wish it was that easy but I’ve seen a lot of death personally and with work, and it changes people. You can tell me to fuck off if I’m like, overstepping here but you were a kid. You’re allowed to be sad about her death, and you’re allowed to talk about it.”

Eddie pauses for a long moment, considering the validation and how much he trusts Steve. He trusts him with his life, his soul, his heart, his everything. Maybe everything could include his past, too. His voice is wistful when he starts.

“She used to sing Dylan’s ‘Forever Young’ around the house.”

December, 1974

Eddie sits cross-legged on the floor, threadbare couch behind him as he flips through a comic book gifted to him by his Uncle Wayne. The page crinkle with each turn and he traces the illustrations of each villain and superhero, the words a bit lost on him but the pictures jumping off of the page. Varying shades of saturated reds and blues disappear and reappear beneath his pointer finger and grins. He hasn’t read the story yet– he prefers to make up his own first– but he can see that the good guy is about to win.

Happy endings are just so rare in real life.

His mom is in the kitchen, singing softly and stirring something on the stove in a corroded aluminum pot. Eddie picks up the delicate scents of tomatoes and peppers, maybe some kind of meat. She’s been in a bright mood today, singing as she cooks, singing as she did her best to clean up the beer cans and bottles that litter the living room. Eddie even heard her singing in the shower that morning.

It’s not lost on him that his dad’s been gone for a few days. Hell, that’s the only reason he’s able to sit in the living room: there’s room for him.

His dad is always too loud, drowning out the soft soprano of his mother’s voice. Everything she sings sounds like a lullaby, so it’s fitting that Eddie closes his eyes to listen.

Eddie loves when his mom sings, especially the song she’s singing now.

May you always be courageous

Stand upright and be strong

May you stay forever young

She never tells him, but he feels like she sings it just for him.

November 1990

Steve hasn’t been this nervous to give Eddie a Christmas gift since that first Christmas of theirs two years ago. Funny enough, the gift then had been related to his late mother, too. Maybe he has a pattern. The envelope shakes in his hands as he sits next to Eddie on the couch– their couch, actually. At least as of a few months ago when they’d put down their down payment on the small, one-bedroom apartment in the heart of Indianapolis.

Eddie glances over and sees Steve’s right hand nearly crumpling whatever his gift is, his fingertips white and his smile tight. Whatever it is must be time sensitive, since he’s insisted on giving it to Eddie so early.

“What is it, Steve? You look like you’re gonna shit yourself.”

Steve laughs, nervous and breathy. “I actually might, and we just bought this couch, so. Just– here. Open it.”

He pries the envelope from Steve’s hand and tears it open, Steve having to caution him against ripping it in half and voiding the fucking the gift. Three rectangles fall out onto his lap, full of typewriter style font.

“Oh shit, concert tickets!” Eddie smiles and knocks his knee against Steve’s. “Why were you so nervous? This is awesome!”

Steve nods at the tickets. “Did you see who it is?”

Eddie’d been too excited about finally getting to a proper concert, one that he doesn’t have to set up and break down with Gareth, Jeff, and Frank. When he looks down and actually reads the headliner, his heart stops.

University of Dayton Arena Presents: BOB DYLAN TUESDAY, NOV 13 1990 7:30 PM

“Steve… is this…?” He can’t find the words, buried and lodged behind the lump forming in his throat.

Steve watches him carefully as he traces the letters with one finger, a habit he’s picked up on over the years, and gently rests a hand on his thigh and gives it a squeeze. “You okay?”

Eddie nods. “Yeah, yeah, I’m definitely okay.”

Okay is an understatement. He’s bewildered, he’s humbled, he’s ecstatic. When Eddie tears himself away from the small rectangles that sit on his lap like the gold bars they are, he looks at Steve with wonderment. First, the music box. Now, this. How is he ever going to keep up?

“I know it’s your first concert but I saw that he was coming around and I just figured it’d be cool, y’know? I don’t know who he’s touring with or anything–”

He does this, Steve knows. He knows that he rambles when he’s nervous or when he’s put himself out there and for some reason, giving Eddie these tickets feels incredibly vulnerable. Even years later, even after Eddie’s constant reassurance that he could never, Steve would hate for Eddie to think that he’s encroaching on special memories.

Before he can finish his stream of thought, Eddie kisses him. Just leans over, tickets still in his lap, and claps both hands on either side of his cheeks as Eddie plants one on him. Then again. And again. And again.

Eddie peppers every inch of Steve’s face with kisses, interjecting in between each one.

“You’re–” Kiss to the nose.

“So fucking–” Kiss to the cheek.

“Perfect–” Kiss to the forehead.

When he finishes, Eddie rests his forehead against Steve’s and wraps his arms around Steve’s neck, feeling them shake beneath him as Steve laughs. “Always so dramatic.”

“And you love it. But, wait,” Eddie pulls back and picks the tickets back up. “Why are there three?”

“Do you honestly think Wayne would ever speak to me again if I got tickets for Bob Dylan and didn’t include him? C’mon, man. Christmas would be so fucking awkward.”

#steddie #steddie fic #steddie fanfic #steddie fanfiction #eddie munson #steve harrington #eddie month #stranger things #stranger things fic #stranger things fanfic #stranger things fanfiction #myblurbs #eddie month prompts

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got-ticket-to-ride · 7 months

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The relevance of "I saw her standing there" between John and Paul

Paul considers "I saw her standing there" one of the best song he has ever written in his book "the lyrics" from 2021.

I think John thought the same? Because he sung this with Elton in 1974 telling the world it is a song from "his estranged fiance Paul". John thought it would be funny to sing it and wondered how Paul would react about it in 1974.

Maybe the song has significance to the both of them? It's the first song on their first official album "Please, Please, Please" from 1963.

The first draft from Paul was genderneutral? IT COULD BE ABOUT JOHN. "You're just seventeen." Which is when Paul met him in 1957.

You're just seventeen

You act like a queen

You.....are beyond compare

So how could I dance with another (feels like a love declaration that's meant to last forever)

When I see you standing there.

"You are beyond compare", remember Paul saying everyone else just faded into background at the Fete when The Quarrymen was performing? You act like a queen would fit John too.

Update: Added Toot and Snore Session from March 1974 his only known jamming session with Paul post The Beatles break up where John said "When I saw me standing there, and I said gee is that me?"

youtube

#mclennon #paul mccartney #john and paul #john lennon #the beatles #lyrics #i saw her standing there #Spotify

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bitter69uk · 2 months

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The Beyhive was abuzz when Beyoncé dropped a teaser for her two new country-adjacent song (“Texas Hold 'Em” and “16 Carriages”) during the Superbowl. But when it comes to African American soul divas dabbling in country music, as so often the case in pop culture history, Queen Tina got there first! I’d always mistakenly assumed Acid Queen (1975) was Tina Turner’s debut solo effort, but no – the record Tina Turns the Country On was released in September 1974 (so it turns fifty this year. Note that Tina started releasing solo material when she was still married to Ike). On it, the R&B tigress wraps her gravelly rasp around material by the likes of Kris Kristofferson, Dolly Parton, Hank Snow, Bob Dylan and James Taylor. While Turns the Country On garnered Turner a Grammy nomination that year for "Best R&B Vocal Performance, Female" it belly-flopped commercially (no singles from it were released) and the reviews were decidedly mixed (“She sounds so woeful doing country on Turns the Country On, you would think she grew up overseas” Ron Wynn concludes in his 1985 book Tina: The Tina Turner Story). You can judge for yourself – the album is streaming on Spotify. Ultimately, as the Saving Country Music website notes “perhaps Tina Turner’s biggest country music contribution came from being a muse, not a performer. In 1969, Waylon Jennings was hanging out at the Fort Worther Motel in Fort Worth, TX when he breezed by an advertisement for Tina Turner describing her as a “good hearted woman loving two-timing men.” Waylon immediately recognized the phrase as the perfect premise for a country song” – and it resulted in his 1972 hit “Good Hearted Woman.”

#tina turns the country on #tina turner #beyonce #lobotomy room #country music #waylon jennings #good hearted woman #rhythm and blues #soul music #soul diva #ike and tina turner #bold soul sister

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laurolive · 7 months

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Paul and Linda, a collection of PDAs: Part 1 - Kisses

In our walk down the memory lane of Paul and Linda’s love story, which still captivates the romantics and the expressive artists out there, we start with an excerpt of an interview.

Rolling Stone cover June 17, 1976: “Yesterday, Today, and Paul.” In this interview, Paul says something interesting:

I mean, I kissed Linda onstage the other night, and for me, that’s kind of, ‘Wow, I must be getting real relaxed,’ ’cause I can’t do that in public, normally. I’m a bit kinda shy.

Paul McCartney shy about showing affection? Well, artists are certainly a different breed. He can sing a heartfelt love song in a venue full of people, but has to work up the courage to give his wife a little kiss? As photos will tell, he soon got over that quirk.

And even before this RS interview, he could certainly be demonstrative when a photographer or videographer was around, whereas the average person would be more guarded knowing that their tender moment would soon be out there as a picture in a magazine or a video clip on TV (we’re talking pre-internet days here).

RS Interview from The Paul McCartney Project

The 1970s: Not Exactly in Public, but There Must Be Someone Holding The Camera

1970 or 1971. Aww, so sweet.

June 1971 The video for the song “Heart of The Country” was made in Scotland. Is that a kiss? We might have to examine the still pic below.

June 1971 A still image from the “Heart of The Country” video. I’ll count this as a kiss.

1974 In the garden of their house with baby Stella between them. It’s a published pic, so I’m counting it as a public kiss. (An “almost-kiss” but close enough.)

1974 Photoshoot for the Apr. 7, 1974, issue of New York News magazine. The cover story was "Just an Old Fashioned Beatle: An Exclusive Visit with Linda and Paul McCartney." Aww, lips softly touching the cheek is something I’m going to classify as a kiss.

Magazine article: @johnflyons.beatles on instagram

Post-1970s: Now We’re Really in Public

Sept. 21, 1982, at Linda's first photography exhibition in London. Photo © Robert Rosen. Rosen talks about the snap in this excerpt from an interview with I-D magazine:

What's one photo you're really proud of? Robert Rosen: I love the shot of Paul and Linda McCartney kissing. As soon as I had it developed I just thought, wow, I did that. I sent them a print but didn't hear anything more until a few months later, when, Paul and Linda turned up to a gallery event I happened to be at. At one point, Linda tapped me on the shoulder and said, 'Are you ignoring us?' She gave me a big hug and told me they loved the photo. That obviously meant a great deal to me.

From The Guardian archive, 21 September 1982: First London exhibition for Linda McCartney

I-D Interview with Robert Rosen Sept. 20, 2017

November 26, 1982, in Paris, France during photography month. An exhibition of Linda’s photographs was part of the event. Okay, his lips are just grazing her hair, so I’m going to call this a “hair kiss.”

Feb. 8, 1983 The 1983 British Record Industry Awards. Paul gets a congratulatory kiss from Linda after winning the 1982 British Male Solo Artist award and the Sony Trophy Award For Technical Excellence. The Beatles won the Outstanding Contribution to Music award.

More pics: The Paul McCartney Project

The same 1983 British Record Industry Awards. Two kisses in one night! Paul can’t hide his surprise.

Nov. 28, 1984 Another congratulatory kiss from Linda as Paul is presented with the Roll of Honorary Freedom of the City of Liverpool.

October 16, 1986 British Video Awards at Grosvenor House Hotel, London.

Rupert and The Frog Song awarded the Best Selling Video of 1985

April 4, 1989 Ivor Novello Awards at The Grosvenor House Hotel. Paul wins, Linda gets a kiss (so they both win 😊).

July 29, 1990 Backstage during the Paul McCartney World Tour 89/90 at Soldier Field Chicago. Linda is bidding farewell to Paul as she heads for the dressing room and he to the press tent.

From I Saw Him Standing There, Jorie B. Gracen, 2000. @thebeatlesofoz2 on Instagram

April 27, 1994 Press Conference for Linda's Home Style Cooking at Beverly Wilshire Hotel in Beverly Hills, California. Paul comes out to endorse Linda’s book, and greets her with a kiss.

Video clip of Paul’s entrance from CelebrityFootage.com

1997 from the video for the song “The World Tonight”

1997 A kiss in the studio, from the documentary In The World Tonight.

Let’s see the whole sequence of that kiss, right from the beginning:

Bonus: Wedding Kisses March 12, 1969

You go Linda! Give your groom a kiss like the cameras aren’t around.

Everyone’s relationship dream: Get someone to look at you the way Linda looks at Paul here.

#Youtube #paul mccartney #linda mccartney #linda and paul #paul and linda romantic #paul and linda mccartney #paul and linda forever #linda louise mccartney #linda mccartney and wings #linda eastman mccartney #paul and linda #lovely linda

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hooked-on-elvis · 3 months

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ELVIS USES THE 'F' WORD DURING A CONCERT 🤬

PICTURE: Elvis performing live at the Hilton (International) Hotel in Las Vegas, Nevada, on August 30, 1974 (Midnight concert, 12:00 a.m.).

Elvis Presley was humble and kind to everyone, everyone — even the ones who demonstrated not being keen to his music or holding prejudices against him, something he usually took it in a stride, showing his understanding and mature side when comprehending it was only their right not to appreciate his music or performance, therefore he didn't hold resentment for his haters/detractors or took it personally in any way, but Elvis wasn't cold blooded and sometimes he snapped back at the rude and mean people that crossed his way showing extremely senseless hate to him.

On August 30, 1974, Elvis was performing in Las Vegas at the Hilton International Hotel. It was his second show at the night (Midnight concert). Out of the blue, while Elvis talking to the audience and getting ready to sing another tune, a fan lady in the audience screamed 'I love you Elvis'. Elvis kindly replied, 'I love you too, sweetheart', and then another person said something to him (inaudible in the recorded material) to which we can hear Elvis replying, 'Well, I don't take that for granted'.

Suddenly, right following this endearing moment between a music idol and his fans, a smart-ass in the audience, probably trying to make Presley uncomfortable or just intending to call some attention for himself, shouted, 'I HATE YOU, ELVIS'. Without even thinking twice, Elvis immediately snapped: 'FUCK YOU.'

Elvis, who was in a great mood, very talkative throughout the concert, cracking jokes and even demonstrating some karate moves at some points, surely wasn't up to go on with that distasteful situation any longer, depriving his fans of some more valuable and joyful moments of his performance, so, without waiting for any kind of reaction from the unwelcome hater, Elvis begins singing 'An American Trilogy' and the show went on as smooth as if nothing of that nature had ever happened.

I wonder if the guy left the showroom or not. Probably he didn't.

Not much time later, Elvis can be heard laughing and then saying, "Just kidding" still in the middle of the "An American Trilogy" performance. I'm sure Elvis didn't feel proud of what happened in the way he responded the "fan" because he knew this could leave a permanent impression on this person. His (somewhat) apologize was not a matter of "damage control" concerning Elvis' image as a performer, in my opinion, but the will not to let that person go home feeling mistreated by him. Elvis was sensitive to other people's feelings. His close friends have said many times how El could be pissed off at someone, act impulsively in his anger but then immediately regret it afterwards and apologize the best way he found suitable. As I said, Presley never treated fans, who took their time to watch his live performances, in that manner but he just couldn't help feeling upset by that guy's bothering remark and that's completely forgivable - even because some of us would have done even worse in his place, if we can be honest with ourselves. As it seems, EP probably regretted the impulsive reply, but the guy totally asked for it.

youtube

This snippet is from a concert in Las Vegas, on August 30th 1974. The moment happened right after he finished singing 'Hound Dog'. You can hear the FULL CONCERT HERE (that moment begins at 35:23).

I recommend you to listen to the full concert. There's many great moments of Elvis on stage that day. One of the nicest things, right at the end of the concert, is when Elvis tells the audience that Dean Nichopoulos (son of his doctor, George Nichopoulos) is in the audience. Elvis tells them that Dean requested for him to perform 'Suspicious Mind', to what he shares with the audience that he would but under one condition. He made a deal with Dean that, if he sang the song, the boy would have to workout in Memphis at the karate dojo there, every day starting from the moment they went back to Memphis after the engagement was over.

This is the friend Elvis was. He wanted the best for the ones he cared for. 🥹⚡ Can we have any more doubt on why his friends and coworkers and all the fans talk so highly on Elvis since always? It is not exclusively because of who he was as a performer, much less because of any favors granted them over the years too. It happens simply because of who Elvis was as a human being and how special and loved he made people feel whenever he was near. Precious boy! My heart can't stand the amount of love and appreciation I have for Elvis, seriously. He was not only one of the greatest performers the world has ever seen. He was one of the precious souls to ever walked the earth - a faulted man at times, but a great human being, a figure of love, generosity, compassion, loyalty, true friendship and so much more. God bless his soul. 💙

LIVE ALBUM 'Elvis: Night Fever in Vegas'. Release: 1997. Recording Type: Live Soundboard Recording. Location: Las Vegas, Nevada. Date: August 30 - 1974, Midnight Show.

CLARIFICATION ON THE LIVE ALBUM COVER PICTURE — 'Elvis: Night Fever in Vegas', released in 1997.

Looking for pictures of that August 30, 1974 concert, I found Elvis wearing different suits. I was so confused on which one was the right picture from that concert that I had to do some research, otherwise I wouldn't be in peace. Here's what I found, I hope it can help clarify some fans too.

At the concert that moment happened, Elvis was not dressed as the cover from the live album shows. He was dressed in the Two-toned Wine Glass Leather Two-piece suit (picture above is from the actual concert on August 30, 1974 - Midnight concert). For the dinner concert earlier that night (8:15 p.m.) he wore the Emperor Beige Leather Two-piece suit. On the live concert album cover released in 1997, is a picture of Elvis dressed in the Chinese Dragon suit, first worn during the latter part of the 1974 August/September Las Vegas engagement. To be exact he wore the Dragon suit for the first time on September 2, 1974, therefore that picture used as a cover to the live album with the recorded August 30, 1974 concert can be either from September 2, 1974 or from one of the next Vegas engagement concerts when he wore the Chinese Dragon suit again (September/October 1974).

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SOURCES ⚡

For last, I'd like to thank/mention www.elvisconcerts.com for being a precious source of enlightenment on Elvis' concerts dates and the suits worn by him, with their amazing index on the website. It helps me A LOT getting the accurate info for the pictures of Elvis onstage (1969-1977) that I share in my posts. Other sources for the info on this post were: elvisoncd.com [concert setlist], Pinterest [pictures], Youtube [ELVIS WORLD and J.R. The King of London (Channel 2) [recorded concert].

#elvis presley #elvis #elvis the king #elvis fans #elvis fandom #elvis history #70s elvis #las vegas #elvis in vegas #1974 #1974 rock and roll #rock and roll history #rock and roll heroes #Youtube

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riaaanna · 2 months

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On the Trail of Queen Live in Manchester (1973 - 1986)

Just in case I haven't mentioned it enough (lmfao) I spent about fifteen months in Manchester which was amazing! I've been home for only two months and it pains me to say that I already miss it. Despite its constantly horrendous weather I do hold this place dear in my heart and so did Queen throughout their touring days!

So while I was there I spent some time to visit all six venues in Manchester where Queen once played live. Now if you think I only got this idea on the last few weeks while I was still in Manchester, you're right lmao. Short daylight during winter time, venue constructions, etc... well at least I could say I was there where Queen was!

All date links below are to queenlive.ca. Images of live shows are from there as well (unless otherwise mentioned), please click date links for the sources. Thank you Bob!

1. Opera House (26 Nov 1973)

Queen first played in Manchester at The Opera House when they supported Mott the Hoople on tour! Its first name was The New Theatre when it opened in 1912. It started off as a cinema, momentarily a bingo hall, then back to a theatre in 1984. (Ticket stubs credits to Martin of queenconcerts).

Just my luck of course, the one time I'm around the area and had the idea to drop by Queen's gig venues in the city, the place seemed to be under massive construction and didn't look pretty at all. (Except that it was where the premiere of a musical using Kylie Minogue's songs so they've got posters of it there which was nice cause I love Kylie!). The idea came up on a whim, when my friend Kumi dropped by to visit me in Manchester and I suddenly had the thought of visiting past venues. We happened to be closest to Opera House at that time, and it happened to be where Queen played here the first time! It was nice so I took it upon myself to continue the rest of the exploration around Manchester.

I reckon they must have mostly finished the construction by now but I'm not there anymore, so here's a nicer picture of what it looked like a year ago! (📸 Trevor West)

Anyway, the place wasn't really on my usual route, I would have had to go out of my way to get there if it weren't for meeting up with my friend, so this was all I could get. I wish I had been there sooner to see what it really looked like! Still, gave me chills to be there where Queen was playing... FIFTY years ago then.

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The best part? We have surviving audio of the show! (Lots more shows on the channel by Leon, if you like it go subscribe!)

2. University of Manchester (20 Mar 1974)

Fair warning this is gonna be a long one... their next gig in Manchester was at the University of Manchester! (Look at that gorgeous old building on a rare sunny day!)

Or, at least, I assumed it was there, because the original listing and every other source I look up only says "University". While I couldn't find any specific record in the University of Manchester's archive (I know, what a failure), I didn't think it was any more likely to be in Manchester Metropolitan University, or even the Royal Northern College of Music (which was only established in 1973 combining the Royal Manchester College of Music and the Northern School of Music). I asked Bob of queenlive.ca if he knew exactly where, but he didn't, and he UNO-reversed me to tell him if I ever finally find out where, which of course I haven't lmfao.

So gigs in the University nowadays are almost always around Manchester Academy at the Student Union. I tried doing a bit of detective work... The Academy's website has a Roll of Honour page listing the famous artists who ever played there and I found more questions instead of answers. On the 1974 page, there is no Queen, but there are others. They listed Steve Harley & Cockney Rebel playing there on 21 March, a day after Queen's gig. I looked it up, and it seems everywhere else their gig was listed as "Manchester University" too. I thought okay that looks consistent, that's how they used to refer the place! But then on the same page, they listed ELO playing there on 18 Feb. I looked that up too, and turns out ELO's gig on that date was not in Manchester University, but it was in Free Trade Hall in Manchester. So was it a mistake on that page, and does it mean the page is unreliable? I would email them but their contact just goes to the Student Union. So I don't even know anymore, but in conclusion, I'm about 70-80% sure that Manchester University refers to this place, and you can decide if that's enough to go along with.

So firstly, the photos above are not mine I'm sorry! I now regret that I take going past these buildings every day for granted and never took my own photos of them from outside. But those are nice pics of mostly students queueing for a gig in the evening, which still blows my mind that it was such a regular thing there. Big positive culture shock. There are four different venues in Manchester Academy. There's Manchester Academy 1, 2, and 3, which are all in the building in the left photo (📸 Joseph Bradshaw). Then there's Manchester Club Academy, which is a smaller venue and is actually inside the Student Union building itself on the right photo (📸 Trevi Yeung).

What I did take some photos of are the inside! Last year I watched Sam Ryder in Manchester Academy 1 and Go_A (from Ukraine!) in Manchester Club Academy. I don't know which of these was the one Queen played in. Of course it's possible that it was an entirely different venue that's been demolished or reconstructed, but this was as close as I could get to where Queen (probably) once played live.

3. Palace Theatre (30 Oct 1974)

Palace Theatre! Another building I pass every single day on Oxford Road, just across Manchester Oxford Road Station. I also never actually went in there unfortunately, I never really found anything playing that I was okay spending a lot of money for, the whole year, and eventually that was the case until I left Manchester. The building first opened as "The Grand Old Lady of Oxford Street" in 1891 and is one of the main theatres in Manchester.

This is the second time that year where Queen played in Manchester! Palace Theatre is also home to an iconic show in Queen's history because according to queenlive.ca:

This is the beginning of Queen's first full-scale European tour. Tonight are the first performances of new songs from Sheer Heart Attack: Now I'm Here, Flick Of The Wrist, In The Lap Of The Gods, Bring Back That Leroy Brown, and In The Lap Of The Gods...Revisited (Stone Cold Crazy had already been performed as far back as 1970).

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And you can listen here for those first performances above!

4. Free Trade Hall (26 Nov 1975) (x2!)

Unlike the other venues in Oxford Road I don't often pass this building. In fact, I think it's actually closer to the Opera House but I didn't realize it at that time. And it's not like I've never been around that area, but at first glance this wouldn't have registered as a concert hall in my head!

There's a nice article about Free Trade Hall here telling its history and how it became a concert hall. It was apparently a historical site, built to commemorate "the repeal of the Corn Laws in 1846" (idk man, but it has to do with pushing towards free trade, as the name suggests). It was also the site of the Peterloo Massacre in 1816, which was marked by the red plaque on the building. I'm not British so I was learning all this for the first time when I looked it up.

But anyway, at some point it became a concert hall and Queen played here in 1975. On the same day they played two shows, at 6 PM and 9 PM. Imagine that happening nowadays! But here's the actual best bit about the show they played here (the first one), according to queenlive.ca:

This show is the first known instance of Brighton Rock being played live, and it contains a superb Brian May guitar solo.

There were actually several shows before this one where Brian probably actually first started playing Brighton Rock Live, we just don't have a recording of it, hence the first known instance. But even so, that settles it, easy as that, of the six venues in Manchester this is my favourite and I claim this mine. And how lucky was I to have lived just around there!

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And here's the aforementioned show, Brighton Rock truly did not disappoint!!!

5. Manchester Apollo (26-27 Nov 1979)

Remember what I said about last-minute ideas and short daylights... this was it. I think this is the furthest I went to visit and take pictures out of the six venues in Manchester. It wasn't that late but it was dark (I'll never get used to that) and there was nothing on, so that was what I got, on the left. Photo on the right (📸 Ed Dro) is when it was nice and sunny with a decent queue for a show!

Apparently it first opened as a cinema and variety theatre before it started to host concerts in 1960s, one of them being The Beatles, and it just became a proper concert venue since then.

Queen played two nights for the Crazy tour (ticket stubs credits to Martin of queenconcerts). And on the second night, according to queenlive.ca: "Liar is performed tonight, its first performance since May 1978." Very proud that Manchester was once graced by the almighty Crazy Tour, and the presence of Liar alone for me is enough indication of what must have been a fantastic show.

6. Maine Road (16 Jul 1986)

Last but absolutely not least! This place is what used to be Maine Road stadium and home to the Manchester City Football Club in 1923 - 2003. This is also a thing btw, just because I lived in Manchester my friends and relatives expected me to suddenly become a football fan. I only know that Manchester United and Manchester City exist, but that is literally it.

When I first looked up this place, I realized this was in Moss Side, and it was so near to where I lived (after I moved out of the student flat)! I couldn't believe how close it was that I could actually just stroll there to such an monumental place. But I already paid for a yearly buss pass so I took the bus for two stops lmfao.

The first picture is what it used to look like in 1991 (from Manchester Evening News). As you can see, it was a huge stadium cramped and surrounded in lots of housings. In 2003 the Manchester City left, and the stadium was demolished. The area is now a housing site, with a circular "centre spot" marking the centre of where the stadium used to be.

I tried to record the engraving on the stone, which reads: "The Centre Spot, heart of Manchester sport, music, and culture. 1923 - 2003. Maine Road - from Moss Side to the world."

On the other side of the circle, if you zoom in to the picture behind where I stood, there's another part of the engraving which is apparently the Manchester City chant which reads: "Listen and you will hear us singing..."

As you can see, this was apparently a legendary stadium in the sports world, or something like that, which makes it stand out from the rest of the venues Queen played in in Manchester. About seven years after the last time they played, they came back with Magic Tour bigger than ever. This was certainly a special one, and it's not just me saying it! According to queenlive.ca:

A few weeks later the Manchester Evening News reported in a piece entitled "Friends of the Fans" that Queen awarded a plaque to Manchester City football club and its fans to recognize the concert. It read: "In honour of one of the best concerts we have held, the reception we received and audience participation was unsurpassed."

Lots of audience bootleg sources for this one but here's a video source of the show:

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And those are the six venues! Now before we close, here's a fun bonus. I've just read this fun fact as I was writing up this post and putting in sources from queenlive.ca:

It's a slight coincidence that Queen played in Manchester on November 26th in three different years - 1973, 1975, and 1979.

I thought huh that's nice. Then I went back to my photos folder to select which ones to upload. Then I looked at the date on the file names, and I thought wait a minute. 20231126?? Lmfao??

Don't mind my silly selfies but guys. I cannot make this shit up. The one day I cramped in most of these visits, only excluding Opera House (the first day I got a lightbulb moment for this "tour") and University of Manchester (kind of doesn't count lol), I did it all on 26 November 2023, without even realizing that it was the same date Queen played in Manchester in three different years. I was pretty much celebrating their anniversaries without knowing. What a nice item to add in my list of Queen coincidences. (#1 on that list is still Roger Taylor in Eurovision.)

This is the end! I don't believe any of you will be reading this sentence by now. 😂 But if you are, whether you read all that or just skimming through, thank you for sticking around! This was a silly little personal tour but I really enjoyed visiting them and sharing the experience. More posts of my time abroad to come. Hopefully soon! (as I always say.)

#queen band #freddie mercury #brian may #roger taylor #john deacon #Ri goes to UK #Manchester #Youtube

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harrisonarchive · 9 months

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George taking a photograph from the side of the stage at a Crosby Stills Nash & Young concert at Wembley Stadium in September 1974 (photo by Gijsbert Hanekroot/Redferns/Getty Images); with David Crosby in 1967 (photo by Leslie Bryce); George and Stephen Stills in the studio, 1970 (scanned from the CD liner notes for Doris Troy‘s Apple Records album).

“I first met George in 1959. We kept in touch throughout our lives, meeting up over the years. I miss him very much. He was a good friend. He was a gentleman, and I don’t say that lightly.” - Graham Nash, Liverpool Echo, November 28, 2011

“Some of the stuff we did in the studio [for Troy’s self-titled Apple album], I’d be messing around on the piano and somebody would walk over and say, what is that? I’d say, this is what I got so far. And they’d go, okay, try this, try this, and that’s how come on the [songwriting credits] you see Ringo [Starr] on some of it, Stephen Stills on some of it, and George.” - Doris Troy, Unknown Legends of Rock ‘n’ Roll (1998)

"I’d worked on a Doris Troy album for Apple. And I was hanging out with George Harrison, Ringo and Eric Clapton, among others when I made my first solo album, Stephen Stills. Eric was coming by the house for a tickle, and a lot of work got done in between a two-year party at Ronnie Wood’s place. Not that Ronnie ever invited me. Going to Apple while The Beatles were breaking up was heavy for a kid from Florida. I’m in a studio with the fucking Beatles? Huh? It was very affirming when they told me: 'Go ahead and do your thing.' But then they’d say: 'But don’t get too successful. This is a small island, there’s not enough room at the top for everyone.'" - Stephen Stills, Louder, May 12, 2014

“George would invite me over for dinner. Actually, George was the one I connected with the most. He was my best friend in that band, although I'm still really good friends with Ringo.” - David Crosby, Music Radar, February 8, 2014

“[George] was my favorite Beatle” - David Crosby, Twitter, February 20, 2015

Q: “memory of George Harrison?” David Crosby: “Wonderful man” - Twitter, March 22, 2015

“They were much more real than we thought, and they were much nicer to us. And particularly George, who’s like, was just the nicest guy you could ask for. He was tough and he was smart and he didn’t kiss your butt, but he was — he was a kind human being, right? I became friends with George to the point where he started talking to me about stuff that mattered. I had just been turned on to Ravi Shankar. Somebody gave me his record, and I had it in my suitcase. And I gave it to George. And that had repercussions. He goes to India because he loves Indian music, and he meets this teacher, right? The Maharishi Mahesh Yogi. […] And I wanted to tell him, ‘Take it with a grain of salt.’ Hell, I wanted to tell him, ‘Take it with a whole shaker full of salt,’ I wanted to say that to George, I wanted to say, ‘Be skeptical.’ […] I was afraid I’d blow the friendship, absolutely. Because he was so valuable to me, and the guy was — he knew everything that I needed to know, he was doing what I wanted to do, he was nice about it, he was, like, my hero. So I couldn’t tell him the truth. Well, so I wrote him a song, I wrote him a song called ‘Laughing.’” - Storytime With Seth Rogen, October 12, 2021 (x) (x)

#David Crosby #Graham Nash #Stephen Stills #George Harrison #quote #quotes about George #Doris Troy #1970s #1960s #The Beatles #The Byrds #CSN #long read

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cartermagazine · 9 months

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Today We Honor Phyllis Hyman

Phyllis Linda Hyman was an American singer-songwriter and actress, born in Philadelphia, Pennsylvania July 6, 1949. She was best known for her singles from the late 1970s through the early 1990s including: You Know How to Love Me, Living All Alone, and Don’t Wanna Change the World.

She performed on a national tour with the group, New Direction. Later she joined All the People while working with another group, The Hondo Beat. She made her acting debut in 1974 in the film Lenny. Hyman also led a group called Phyllis Hyman and the P/H Factor.

Hyman’s debut solo album named Phyllis Hyman was released in 1977 on Buddah Records. When Arista Records bought Buddah Records, she transferred to the new label and released four albums: Somewhere in My Lifetime (1979), You Know How to Love Me (1979), Can’t We Fall in Love Again? (1981), and Goddess of Love (1983).

She also performed on Broadway in the musical, Sophisticated Ladies, the tribute play for Duke Ellington. For that work, she received a Tony Award, nominated for Best Supporting Actress in a Musical, and won a Theatre World Award for Best Newcomer.

In 1983 Hyman recorded the song “Never Say Never Again” for the James Bond movie of the same name which starred Sean Connery but the song she recorded couldn’t be used for the movie soundtrack due to legal reasons. In 1986 Hyman released the album, Living All Alone, on the Philadelphia International label. She also appeared in the movies, Too Scared to Scream (1985), Spike Lee’s School Daze (1988), and The Kill Reflex (1989).

In 1991 Phyllis Hyman released the album, The Prime of My Life, on Philadelphia International, which was the biggest album of her career. It included her first number-one R&B hit as well her first Billboard Top 100 hit, Don’t Wanna Change the World. The album, her last released while she was alive, was certified gold by 1992.

Phyllis Hyman… One of the Greatest Artists of our Lifetime.

CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #phyllishyman #music #blackhistorymonth #blackhistory #history #spikelee #schooldaze #staywoke

#carter magazine #carter #historyandhiphop365 #wherehistoryandhiphopmeet #history #cartermagazine #today in history #staywoke #blackhistory #blackhistorymonth

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bijouxcarys · 2 months

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Hits written by Brian May:

Keep Yourself Alive (1973)

Now I’m Here (1974)

Brighton Rock (1974)

Tie Your Mother Down (1976)

Teo Torriatte (1976)

We Will Rock You (1977)

It’s Late (1977)

Fat Bottomed Girls (1978)

Save Me (1980)

The Flash Theme Song (1980)

Hammer To Fall (1984)

Who Wants To Live Forever (1986)

I Want It All (1989)

Scandal (1989)

Headlong (1991)

The Show Must Go On (1991)

Hits written by Roger Taylor:

I’m In Love With My Car (1975)

Radio Ga Ga (1984)

One Vision (1986)

A Kind of Magic (1986)

Breakthru (1989)

The Invisible Man (1989)

Innuendo (1991)

These Are The Days Of Our Lives (1991)

Hits written by John Deacon:

You’re My Best Friend (1975)

Spread Your Wings (1977)

Another One Bites The Dust (1980)

Under Pressure (1982)

I Want To Break Free (1984)

Friends Will Be Friends (1986)

The Miracle (1989)

And that’s just some out of the 160+ Queen songs that these three have written. And some of the above are mega-hits! The amount of people I’ve come across who just assume that Freddie wrote songs like We Will Rock You, Another One Bites The Dust, and I Want To Break Free is mental.

They are one of the only, if not the only, groups in which every single member has written at least one of their hits.

Roger and Brian both have fantastic solo work out there that they love and continue to talk about. John has also done some instrumental work on other albums with other people. Roger even had another band at one point.

Again… they’re a group of four very talented individuals. Not the Freddie Mercury Band.

#classic rock #70s #80s #90s #queen #Brian May #Roger Taylor #John deacon #music

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lurkingteapot · 9 months

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I've been going through my collection of old (pre-2016 for the most part) academic papers on BL and thought, hey, why not re-read some of them and sum them up so folks can see whether they want to check them out in full?

Today's offering:

Beautiful, Borrowed, and Bent: “Boys’ Love” as Girls’ Love in Shōjo Manga by James Welker, originally presented at the Third International Convention of Asia Scholars, August 19–22, 2003, Singapore, and published in Signs, Vol. 31, No. 3, New Feminist Theories of Visual Culture (Spring 2006), pp. 841-870, UChicago Press. [Jstor]

Welker starts off with a brief explanation of what the BL genre is, what terminology he uses ("BL" as an umbrella term that includes the earlier names of tanbi, shōnen ai, yaoi, and the long-form 'boys' love'):

“Boys’ love” manga emerged as a subgenre of shōjo manga (girls’ comics) around 1970 just as women artists were taking over the shōjo market.(*) It quickly became among the most popular shōjo manga genres, and its creators became some of the best-loved artists in the industry. (* First published in the monthly Bessatsu shōjo komikku in December 1970, Keiko Takemiya’s “In the Sunroom” (Sanrūmu nite [1970] 1976) was probably the first boys’ love narrative. See Aoyama 1988, 188.) - Welker 2006:841

He goes on to challenge the common perception of BL as a genre "by straight women for straight women":

[T]he genre is widely considered to offer a liberatory sphere within which presumably heteronormative readers can experiment with romance and sexuality through identification with the beautiful boy characters. […] Members of the Japanese lesbian community have, however, pointed to boys’ love and other gender-bending manga as strong influences on them in their formative years […] Clearly boys’ love manga can be viewed through a different lens from that which most critics and scholars have been using, and hence the full potential of boys’ love is largely overlooked: that of liberating readers not just from patriarchy but from gender dualism and heteronormativity. - Welker 2006:842-843

He introduces the texts he will analyse (Takemiya Keiko's Song of Wind and Trees 風と木の詩 kaze to ki no uta, 1976-1984 and Hagio Motō's Heart of Thomas トーマの心臓 tōma no shinzō, 1974), and concludes the essay's intro section as follows:

This reading will employ lesbian critical theory, visual theory, and reader responses to these and similar texts to show how 1970s boys’ love manga is not merely queer on its surface but how it opened up space for some readers to experiment with marginalized gender and sexual practices and played a role in identity formation. - Welker 2006:843

Welker goes into the questions of applicability of theories that weren't originally developed for this specific context – visual theories were largely developed through film analysis; European and North American models of gender and feminist theory, while also having informed academic discourse in Japan, in their origin operate on culturally specific assumptions and need to be applied with care.

He talks about the tradition of androgynous and cross-dressing heroines of early shōjo manga and their connection to the earliest BL manga, the dilemma of the "beautiful boy" characters' gender and sex and how to read these – are they boys? idealised self-images of girls drawn onto boys' bodies? neither male nor female? sexless altogether?, and the way Japanese readers in the 1970s, already culturally familiar with gender performance through kabuki or the all-female Takarazuka Revue and similar troupes, received the gender-bending nature of BL stories. He also comments on the role fan interaction via magazines, and the way readers were learning about queer life in Japan:

By the early to mid-1980s, the magazines’ readers were learning in real terms about the world of Shinjuku ni-chōme, Tokyo’s well-known gay district, described as a world full of “beautiful boys like those in the world of shōjo manga” (Aran 1983, 15), as well as various aspects of lesbian life in Japan (Gekkō 1985). In spite of the connections drawn on the pages of these magazines, the possibility that these narratives might be seen to actually depict homosexuality remains broadly denied. To allow that the narratives might truly be about homosexuality—between these girls-cum-beautiful boys—would be an apparently unthinkable invitation to read the narratives as lesbian. - Welker 2006:857

Welker briefly explores how the example texts of Song of Wind and Trees and Heart of Thomas "serve many of the functions lesbian critics and theorists have outlined as roles of lesbian texts" (Welker 2006:858), then goes on to analyse the flower imagery of roses and lilies that is very prevalent in both titles, the intertextuality of these stories with European and French literature (and how the readers were expected to catch on to this intertextuality). On the transgressive and queering nature of writing and reading BL, he says:

[T]hrough acculturation to gender performance in Takarazuka and kabuki and by such cross-dressing manga icons as Sapphire and Oscar, as well as the deliberate ambiguity of the beautiful boy, the reader is encouraged to see not just a girl but herself within the world of boys’ love and, ultimately, is encouraged to explore homoerotic desire, either as a beautiful boy or as herself, either alone or with others, either as her fantasy or as her reality. […] Regardless of whether boys’ love manga were created merely to offer heterosexual readers a temporary respite from patriarchal restrictions on their desire, some readers found in identifying with the beautiful boy a way through the looking glass to a world outside the patriarchy. And regardless of whether he is read as a boy or a girl, the beautiful boy can be read as a lesbian. […] For readers whose experience of sexuality and gender contravenes heteronormativity, works like Song and Thomas offer narrative safe havens where they can experiment with identity, find affirmation, and develop the strength necessary to find others like themselves and a sense of belonging. - Welker 2006:865-866

I've been out of academia so long that I've lost any sense of what a good proportion of direct quotes to original text is, or whether it's even appropriate to quote as much as I did here. This is emphatically NOT an academic article in and of itself -- I'm posting on bloody tumblr. If anyone wants to add to this, I'll be thrilled.

One of the most commonly voiced criticisms of BL is that it's about, but not (or did not in significant part used to be) by or for gay men. This article does not address this point further—Welker does go into this in his more recent articles, iirc; if you've got beef with this aspect, @ him not me. I do however think it's worth noting that this 17-year-old article already recognises that the genre is queer, and has been since its inception.

#bl academia #bl theory #james welker #bl history #yeeting this into the void now #reading academic papers for fun not profit #my nonsense #watch me find errors or typos the minute I've hit post

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