emotionally invested

(x)

He is not drowning but waving. John Lennon’s arms stretch at angles like the sails of a windmill. His face wears a toothy, incandescent smile. Beads of water dance around him like an upside-down waterfall as he swims off Miami Beach. “He’s so carefree,” says Joshua Chuang, director of photography at the Gagosian art gallery. “It’s almost like you’ve never seen him like that; he’s always kind of joking around or brooding or being sarcastic. He’s so happy. It’s his best friend at the time capturing that and, when you know about what happened, it’s so moving.” <…> “It’s like filling in these gaps in the visual narrative and from the most unique perspective you could think of, which is Paul.”

soOO YEAH this whole thing was totally a spur of the moment lol I saw a pic on twitter with a guy in this pose and it was like I got thunderstruck by the gods with the idea

Originally it was supposed to be only the suit ver but oomf hit me with the idea of him wearing the bottom part of starfire’s costume, SO HERE WE ARE

I can safely say it wins my personal contest of fastest art of the year

(for @i-am-the-oyster because)

As for you, you sit there playing this game You keep me waiting

(The Lovers That Never Were, 1987)

Don't keep me waiting here Lead me to your door

(The Long and Winding Road, 1969)

Linda: The sad thing is that John and Paul both had problems and they loved each other and, boy, could they have helped each other! If they had only communicated! It frustrates me no end, because I was just some chick from New York when I walked into all of that. God, if I’d known what I know now… All I could do was sit there watching them play these games…

(Paul and Linda McCartney, Dec.1984, interview with Joan Goodman for Playboy, 1984)

All of the clocks have run down Time's at an end

(The Lovers That Never Were, 1987)

But in a final tender moment, the Observer said, Lennon wrote under a photo of himself with McCartney: “The minutes are crumbling away.”

(Associated Press: Lennon’s resentment of McCartney reflected in book notes, July 20th, 1986)

So you, you must tell me something,…I love you, Say goodbye or anything

(The Lovers That Never Were, 1987)

And I won't go away until you tell me so No, I'll never go away Yes, I know what I feel to be right

(No More Lonely Nights, 1984)

When all of the clocks have run down All over the world We'll be the lovers that never were

(The Lovers That Never Were, 1987)

In another world we could Stand on top of the mountain With our flag unfurled In time to come In time to come we will be Dancing to the beat played On a different drum

(Tug of War, 1980/82)

We had the whole musical universe to choose from – a rock and roll song, a love song, what would it be? – so I said, “Well, let’s start with Smokey Robinson and the Miracles. Let’s think of them”, so we started off and ‘The Lovers That Never Were’ came out. It was our first song together.

We did a nice but very, very rough demo of it, just Elvis and me, but when we tried to record it properly it didn’t really work out. So I ignored it for Flowers In The Dirt and decided to try it again for this album. And we thought of bringing in a 4/4 bass drum over a 3/4 song ~ this is for the musicians among you – which just makes it swing. It’s an old rhythm trick but it made it come alive, and we then had a version that we liked.

(Paul McCartney, 1993, Club Sandwich)

It was a waltz and not working, until Paul said, How about putting a 4/4 on top of this thing. And that was so complicated, waltz and 4/4 at the same time, but I tried and Paul’s looking at me saying, You all right? I’m struggling (claps in fours, stamps in threes), but I say, Just give me five minutes. A real head twister, but it was such a groove. Made the song happen.

(Blair Cunningham, from the “New World Tour”)

Baby’s In Black we did because we like waltz time – we used to do If You Gotta Make A Fool Of Somebody, a cool 3/4 blues thing. And other bands would notice that and say, ‘Shit man, you’re doing something in 3/4.’ So we’d got known for that. And I think also John and I wanted to do something bluesy, a bit darker, more grown-up, rather than just straight pop. It was more ‘baby’s in black’ as in mourning. Our favourite colour was black, as well

(Paul McCartney, Anthology)

“Baby’s in Black” was recorded by the Beatles on 11 August 1964, and was the first song recorded for Beatles for Sale. Lennon and McCartney sang their vocal parts simultaneously through the same microphone. This was done at their own insistence in order to achieve a closer feel to the performance. (x)

It was very much co-written and we both sang it. Sometimes the harmony that I was writing in sympathy to John’s melody would take over and become a stronger melody. Suddenly a piebald rabbit came out of the hat! When people wrote out the music score they would ask, ‘Which one is the melody?’ because it was so co-written that you could actually take either. We rather liked this one. It was not so much a work job, there was a bit more cred about this one. It’s got a good middle.

(Paul McCartney in Many Years From Now by Barry Miles, 1997)