#cloud nine

Twitter trend to draw Pokémon matching their different abilities ! I will soon hold a giveaway on twitter if anyone is interested

“Jeff, nice ass”

I want this picture of Glenn Sturgis that he just casually has in his own office

A WIP withsome cute little cats om the side. Stop looking at me like that you silly sods

“When We Was Fab” — the music video: “I was a bit nervous because Godley and Creme are a couple of loonies, especially Lol [Creme]. They’re very sweet, but I wasn’t sure if they knew exactly what they were doing. I found out they knew sort of ninety percent what they were doing and the other ten percent was a bit of a grey area. But it was very good, very funny. I approached them. I said, ‘Go home and smoke something, listen to this and come up with an idea.’ They came up with the idea and after a few days they started panicking. They said, ‘It’s not going to work, it’s not going to work.’ And they tried to get out of it and I said, ‘Don’t panic now.’ I had to do it; I had three or four days before Christmas and it had to be done, so I said, ‘Just go for a walk in the garden, have a cup of tea, calm down, and then I’ll talk to you in an hour.’ And I talked to them in an hour and they said, ‘I think it’ll be okay.’” - George Harrison, Is This Live?: Inside The Wild Early Years of MusicMusic (2016) “In the new video I got my old Sgt. Pepper suit on but I’m busting out of there all over, that’s why you only see it for like three frames of the movie. [laughter]” - George Harrison, Rockline (February 10, 1988) “[A] Bristol model-making company has given the ex-moptop a hand, quite literally, in making his latest pop video. […] All these hands [in the video] work for Lyons Model Effects […]. Although the video was filmed in London, George came to Stoke Bishop to have a body cast made. This was then dressed as him and propped against a fake wall, behind which the Bristol hands, and attached owners, were secreted. George’s head was then superimposed atop the torso. […] ‘We were told before he came to keep things quiet, that he didn’t want a fuss,’ said Tina, who was caught out when the star arrived unexpectedly early. Chris had gone to collect Godley and Creme from Temple Meads when the security intercom at their Bell Barn Road premises buzzed and a George asked if he could come in, please. ‘I thought it was the lads mucking about, so I went to the door very nonchalantly and was quite taken [a]back to find it was really him standing alone on the doorstep. The Fab One had driven himself to Bristol, and was even modest enough to introduce himself. ‘He really was very nice, and very intelligent,’ said Tina [Lyons]. ‘He had a very dry sense of humor and showed an interest in other people. He was just very normal.’ [...] A special trip had been made to buy tights for George  to wear while he was getting plastered, but he thoughtfully brought his own. His lightly-clad form was then wrapped in cling-film, covered with dental plaster and left to dry for 30 minutes. ‘He was very patient, although at first I think he may have been a bit apprehensive, which is quite understandable,’ said Tina. The Lyons have molded quite a few famous bodies, Stephanie Lawrence, Paul Scofield and Ruth Madoc’s among them, but it wasn’t easy being casual about a Beatle dropping in for the day. ‘When we walked him to his car a lady stopped on the pavement and her jaw dropped. She mouthed “Is it him?”, and when we nodded all she could do was mouth back “I thought so.” Even then, I don’t think she could really believe it.’" - Bristol Evening Post (March 31, 1988) Pictured in photo 2 are all the people behind the special effects of multiple hands — in the center, Paul Wanless, and clockwise, Rick Bennett, David Lawson, Chris Enthwhistle, Tina and Chris Lyons. The single cover art by Klaus Voormann: “George said, ‘I have a song it’s reminiscing about the old days. Can you do a cover?’ I took the same picture from the Revolver cover, the old George, and put a new George on the bottom.” - Klaus Voormann, Uncut (May 2020)

I was never really happy with Cloud Nine's whole design, and I felt that her powers were too vague... so I've made her more cloud-focused and completely reworked how she looks in a way that I *adore* now. Say hell to the brand new, revamped Cloud Nine! Yet, still the same Marsha Rainier...