Apr 28, 2024
fuck I finished the part of the animation with little to no people in it...
now I have to draw people :(
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fuck I finished the part of the animation with little to no people in it...
now I have to draw people :(
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Photo-realistic oil paintings by Klaus Voormann, depicting the years he spent with The Beatles in Hamburg, from 1960 to 1962.
Klaus was part of a group of The Beatles' friends in Hamburg. His "memory drawings" of our Hamburg days are not only beautiful drawings in themselves, but capture the spirit of the times.
â Paul McCartney
The Top Ten Club â96Â |Â The Beatles play the Top Ten Club with Klaus on bass.
Ringo, Keiserkeller Dressing Room â96Â |Â Backstage with Ringo and Rory Storm in the Kaiserkeller dressing room.
Paul and Rosa â96 | Paul is shown receiving slimming pill amphetamines to help sustain round-the-clock performances in the Kaiserkeller.
Stu Betkante
Daybreak â96
Breakfast with John â95
Breakfast with John â06
At the Kirchherrâs Bathtub â12Â
Davidwache Police Station â96 | Prior to being deported, Paul McCartney spends a night in the Davidwache Police Station.
Hamburg Doorways â18
[I am endlessly fascinated by illustrative records made by people that were actually there. Like Paul said, these seem to capture the spirit and the ambience of the moment, with an emotional acuity that photographs normally lack, limited to an instant as they are. Klaus Voormann is a blessing in the sense that he allows us a peek behind the curtains, placing us there with him in the scene, in a way that little else can. I wanted to gather all these pieces in one place, despite having seen some of them floating around. My sincere thanks to those who brought them to my attention in the first place.]
WHEN YOU CUT OPEN A POP SONG, THE 10 TOOLS THAT YOU WILL FIND?Â
We listen to pop songs but do not bother to dredge up the elements. There are often 10 components in a pop song:
1. intro
2. verse
3. pre-chorus
4. chorus
5. outro
6. solo
7. interlude
8. bridge
9. tag
10. hook
The fundamental structural parts of a popular song are the âverseâ and âchorusâ. Pop songs almost invariably have both a verse and a chorus. The basic difference is that when the music of the verse returns, it is usually given a new set of lyrics to develop and tell a story; and the verse may be usually the statement by the singer but the chorus can sometimes be sung by a back-up group.  It is a consequence of the verses. The chorus is mostly the highlight of a song.
The chorus usually retains the same set of lyrics (or repeating a few words) every time when its music appears. Chorus is used to communicate and reinforce the main message of a song. For example, the famous song âAuld Lang Syneâ means âtime gone byâ.  Its chorus is chiefly: âFor auld lang syne, my dear, for auld lang syneâŚ.â
âIntroâ is the opening instrumental section of a song without lyrics. It introduces the mood and most importantly grabs the listenerâs attention with aural pleasures. The song âYesterdayâ of The Beatles shows the short and powerful impact of an Intro of guitar strumming: âYesterday, all my troubles seemed so far awayâŚ.â  Another example is the opening music intro of âHotel Californiaâ by Eagles. Â
Functionally speaking, a âpre-chorusâ may be words or small instrumental section connecting the verse and the chorus. It may be just a couple of bars. Pre suggests âbeforehandâ.  A pre-chorus builds emotional suspense or anticipation for the catharsis of the chorus and can heighten the impact of the chorus.  A good example is found in âDonât Look Back in Angerâ by Oasis.  Every time before the long chorus starts, there is a pre-chorus as follows: âSo Iâll start a revolution from my bed. Cause you said the brains I had went to my headâŚ.â  Then, the chorus proceeds to describe a girl named Sally.
Outro is usually the melody with or without words fading out or repeatedly fading out at the end of a pop song. The fading may be slow or abrupt; and the volume may either drop or rise. Outro leads a listener to the meaningful afterthoughts or aftertastes of a song. Remember Barbra Streisandâs song âEvergreenâ and she sang at the end emphatically: âAgeless and everâŚeverâŚgreenâŚ.â  Another example is the instrumental repeat of âMemoryâ in the musical âCatsâ.
For lyricists, there are 2 trade terms known as âhookâ and âtagâ. A hook is the punch of a song which is often a short riff or phrase that is used to âcatch the ear of the listenerâ. An example is âOne Way Ticketâ by Eruption. The expression âone way ticketâ must have been sung more than 20 times in the song to promote.  Another two good examples are âWhen will I see you again!â sung by The Three Degrees and âY.M.C.A.â by Village People. âWhen will I see you again!â serves as an outro in the song and likewise âY.M.C.A.â repeated the phrases too.
A âtagâ is a line or a few bars in length that are repeated, sometimes at the end of a song and sometimes going back to the chorus. It may only be a few bars in length. Listen to the song âI Will follow Himâ. The tag is âI love him, love him, I love himâ although the hook in this song is âI will follow himâ.  Another tag example is âWhat a Wonderful Worldâ sung by Louis Armstrong.  Hooks may be longer and tags are the shorter tricks to make a song more easily remembered and become popular.
A solo is the section of a song featuring and highlighting a single performer or music instrument. Two good examples are the last guitar solo section by Eagles in  âHotel Californiaâ and the last guitar solo section in the song âMr. Postmanâ by the Carpenters. In pop songs, rock guitar solos are common. Also you must listen to Rod Stewartsâs famous song âI was only Jokingâ for the solo.
A bridge in songwriting is a section that differs melodically, rhythmically or lyrically from the rest of the song. It often links up the verse and chorus and offers a unique surprise and perspective; or serves as an âemotional shiftâ in a song.  The use of a bridge reminds a listener that the song has more than the basic two parts of verse and chorus; and has something refreshing to offer. One good example of a Bridge section is Barry Manillowâs âMandyâ.  The bridge is âYesterdayâs a dreamâŚ.â and it returns to the chorus beginning with âOh Mandyâ.  Another good example of hook is John Denverâs âTake Me Home, Country Roadsâ.   The bridge begins with: âI hear a voice that âŚâ and returns to the hook: âcountry roads, take me homeâŚ.â
An âinterludeâ is an instrumental music break passage that usually comes between the chorus and chorus repeat; or between the chorus and verse repeat in a song.  It is used to present the main melody theme in an instrumental style, rather than just the lyrics part. It can even further present the song differently by offering another cosmetic presentation of the thematic variation. It simply strengthens the songâs main idea in a purely instrumental way.  Examples are the wailing saxophone toward the end of Billy Joelâs âOnly The Good Die Youngâ and the guitar instrumental interlude of âReflections of My Lifeâ by the Marmalade.  Â
It is not easy to write a good pop song. Â But, the music vocabulary introduced above does help understand more about how pop music are structured. Â The chemistry of the 10 components of a pop song is often beyond calculation. Chemistry just happens. It is like falling in love. You can tell you are in love but you cannot explain the ways of falling in love.
(pictures downloaded from internet)
I've been kinda down lately so could yah do anything with Felix and animals? (Sorry Felix with cats and dogs and shit is just so cute in fics???)
Title: Animal Friends for Snow WhiteCharacters: Locus, FelixPairings: GenRating: GWarnings: Someone yells at a dog in a flashback, but no animals are harmed during the making of this fic. Summary: There are times when Locus and Felix live together. Locus expected a bad roommate. He didnât expect the menagerie.Note: I hope this cheers you up a little!
Itâs not just money Felix likes.
ââŚWhere did that come from?â
Sharing space with Felix when they werenât doing jobs was never exactly ideal.
And it wasnât because of the loud music, the reality shows, the fact that he would leave the tv on when he wasnât even there, that he finished milk and put the carton back in the fridge, or even the string of strangers brought home from clubs and discotheques (his word).
All that he expected on the âoff seasonâ as Felix had put it. Rent was tight, and they were used to close quarters with each other. It had made sense.
What he didnât expect was the stray dogs and feral cats.
âŚAnd that racoon one time.
John and Paul naturally sang their own songs; then, in order to give George and Ringo something original to sing, they began to write for them too. It would be some time before George began writing his own material and 'Do You Want to Know a Secret' was written for him. Based on an original idea by John, it was essentially what Paul calls a 'hack song', a 50-50 collaboration written to order. John says that he based the tune on 'Wishing Well' from Walt Disney's 1937 cartoon Snow White and the Seven Dwarfs, which his mother used to sing to him when he was two or three years old.
In Barry Milesâ Many Years From Now (1997).
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When we got to the Cavern, we realised everybody and his uncle knew all the tunes we knew, so we started to move towards the Đ sides and the more obscure tunes like Ritchie Barrett's 'Some Other Guy' [1962]. Of course you only had to do 'em once and everyone had 'em. Arthur Alexander's 'Shot of Rhythm and Blues' [1962], Gerry and the Pacemakers did it. But we always feel we did it better. 'Let them do it, doesn't matter, we'll do it better.' We took James Ray's 'If You're Gonna Make a Fool of Somebody' [1961] to the Oasis Club, Manchester, and Freddie and the Dreamers had it the next week! It was one of our numbers. That was a waltz, a funky soul waltz, and nobody did waltzes. We were looking to be different because we realised the competition out there. Â Â Â Â Â Â Â Â Â Â Â Â There were groups that did Cliff and the Shadows. There was a group called the Blue Angels that sounded exactly like Roy Orbison; they were immaculate. The Remo Four did a lot of Chet Atkins stuff, with clever guitar picking. So we decided we couldn't keep up, we couldn't better any of them, we had to find our own identity. We looked on Bo Diddley Đ sides, we looked for obscure rhythm and blues things: 'Searchin" by the Coasters [1957], 'Anna' by Arthur Alexander [1962]. Â Â Â Â Â Â Â Â Â Â Â Â We did the Shirelles' 'Soldier Boy' [1962], which is a girl's song. It never occurred to us. No wonder all the gays liked John. And Ringo used to sing 'Boys' [1960], another Shirelles number. It was so innocent. We just never even thought, Why is he singing about boys? We loved the song. We loved the records so much that what it said was irrelevant, it was just the spirit, the sound, the feeling. The joy when you did that 'Bab shoo-wap, bab bab shoo wop'. That was the great fun of doing 'Boys'. Â Â Â Â Â Â Â Â Â Â Â Â So at the Cavern we started to introduce a couple of our own songs along with these obscure Đ sides. We thought, There's one way they can't do it, they wouldn't dare do one of our songs. The first couple of songs we did of ours were rather laughed off, but a couple of girls in the audience quite liked them and would request them. 'Like Dreamers Do' was one of the very first songs I wrote and tried out at the Cavern. We did a weak arrangement but certain of the kids liked it because it was unique, none of the other groups did it. It was actually a bit of a joke to dare to try your own songs. They didn't go down very well with Gerry and the Pacemakers and other groups. If they told us what they liked it would be 'What'd I Say' or 'Some Other Guy' or Little Richard stuff that I did. It was the more genuine shit, not stuff you wrote yourself. For you to write it yourself was a bit plonky, and the songs obviously weren't that great, but I felt we really had to break through that barrier because if we never tried our own songs we'd just never have the confidence to continue writing. Â Â Â Â Â Â Â Â Â Â Â Â By the time we got to 'Love Me Do', they started to feel a bit bluesier. When we eventually got down to London, that was the one we insisted on recording rather than 'How Do You Do It', the Gerry and the Pacemakers song, which was more George Formby than anything else. We knew that the peer pressure back in Liverpool would not allow us to do 'How Do You Do It'. We knew we couldn't hold our heads up with that sort of rock-a-pop-a-ballad. We would be spurned and cast away into the wilderness.
Paul McCartney on how the Beatles had to work hard and develop their own identity to stay ahead of the competition provided by the abundance of groups in Liverpool, and how that eventually led them to play their own songs. In Many Years From Now, by Barry Miles (1997).
When we first started it was all singles and we were always trying to write singles. Thatâs why you get lots of these 2 minute 30 seconds songs; they all came out the same length. âHold Me Tightâ was a failed attempt at a single which then became an acceptable album filler.             The thing about the Beatles is it wasnât vulgar. We were actually very good. It was like being in an art group, it was being in an association with a few artistic friends. That was the kind of underlying feeling we had after having been in Hamburg. I remember we had a joke with the sax player from another band. He knocked on the door and I grabbed a volume of Yevtushenkoâs poetry and started quoting from it and the guys all sat around, like really into it, like Beat poets. And the sax player crept in, 'Oh, sorry.â He put his sax back in his case and crept back out again. And we howled. But this kind of cheek gave us a feeling of being different from the pack.             We didnât particularly like the girl adoration, although it was marvellous if you wanted a date. The main thing for us, first of all, was just doing our craft. We were genuinely trying to be artists; weâd actually comment on it, 'Hey, thereâs a guy in the front row whoâs really clocking all your chords!â If we played a good bit, a new technique or an innovative riff, we saw that they noticed; the guys were watching our guitars and our hands, not our legs and willies. That was what we liked.             There was always an underlying ambition to go in a slightly artistic direction, whereas a lot of our fellow groups didnât have that. This is why we didnât do 'How Do You Do Itâ when George Martin suggested it. 'Itâs a number one!â he said, and God knows we needed a number one. We said, 'No, no! No thanks!â And we wouldnât go to America till we had a number-one record either, and again, God knows we wanted exposure, we wanted an American tour. In a strange way we were very conscious of where we were heading whilst having no map whatsoever. We just had a feeling that 'God, this John Lennon guy is pretty special and Paul McCartneyâs not too bad either. And fucking hell, George is a little bit of a head. And Jesus Christ, Ringoâs a dude!â And we all knew, boy, these four qualify for something, there was no dead weight at all. It annoys me when people discount some of us; and obviously the easiest one to discount is Ringo - 'Well, he just hit some skins at the back of it all, didnât he?â George in one book is described 'standing around with his plectrum in his hand waiting for a soloâ. Well, you know, 'Too easy, love. Too cheap a shot. You check George out some time and youâll find a little more there than that.
Paul McCartney on what differentiated the Beatles from other groups and made them succeed. In Many Years From Now (1997), by Barry Miles.
Impregnable lover In your ivory tower Where you endlessly wonder While I'm stuck under hi. first post. i write lyrics. this one feels like a pre-chorus, i think. got some wips in the daw, but theyâre still too rough to share. eventually, i hope to post the musical stuff too. (also, happy birthday Patrick. "this is the love song in my own way". the universe is pushing me to post this today.)