Your Posts Are Making Me So Curious, Kinda Need The Simon & Garfunkel Primer Now

throwing up and crying

Paul McCartney, Is this a self-portrait? Oil on canvas, 35.5x28 cm. (1988)

You dissolve into each other. But that’s what we did, round about that time, that’s what we did a lot. And it was amazing. You’re looking into each other’s eyes and you would want to look away, but you wouldn’t, and you could see yourself in the other person. It was a very freaky experience and I was totally blown away…

—Waiting for you is fear. Beneath a blanket of your sleep, in the back of the brain, now and always here. Round and round like a wind from the ground. Deep and deep a world turns in sleep. Waiting for you is fear.

There’s something disturbing about it. You ask yourself, ‘How do you come back from it? How do you then lead a normal life after that?’ And the answer is, you don’t. After that you’ve got to get trepanned or you’ve got to meditate for the rest of your life. You’ve got to make a decision which way you’re going to go.

—If I woke up now, this would go. If I woke up now… and what would follow?

I would walk out into the garden – ‘Oh no, I’ve got to go back in.’ It was very tiring, walking made me very tired, wasted me, always wasted me. But ‘I’ve got to do it, for my well-being.’

—Now you are treading in lonely corridors. Behind glass walls looking inward, girls sit like tears, counting the days, the months, the years, as they move elusively faster and faster. —A way out. I must find the door.

In the meantime John had been sitting around very enigmatically and I had a big vision of him as a king, the absolute Emperor of Eternity. It was a good trip. It was great but I wanted to go to bed after a while.

—There is no way out provided. Each corridor leads into another corridor. —I must find the door. The open door. Life is not like this. Life is birth and death, laughter and pity, farce and tragedy, and always somewhere an open door! —Beat. Beat with your fists on the double-sided, double-faced mirror at the end of all corridors. Has your conscience provided for the anguish surrounding you? Or the hate and hunger? The desire and the despair?

I’d just had enough after about four or five hours. John was quite amazed that it had struck me in that way. John said, ‘Go to bed? You won’t sleep!’ ‘I know that, I’ve still got to go to bed.’ I thought, now that’s enough fun and partying, now… It’s like with drink. That’s enough. That was a lot of fun, now I gotta go and sleep this off. […]

—Deep and deep a world turns in sleep. You are free. You are free from the night’s disgraces, gently to return to the curled worm, the warm dark smelling places of the bud, the heart, the womb. —It was you who first mentioned fear. You who screamed at corruption where I lay curled. You who placarded the headlined world into my suspended cocoon of peace. You.

I mean, I could feel every inch of the house, and John seemed like some sort of emperor in control of it all. It was quite strange. Of course he was just sitting there, very inscrutably. — Paul McCartney, c/o Barry Miles, Many Years From Now. (1997)

—I. Look into my face and tell. What face do you see? —I see myself. The image is no longer divided. Like a mirror, I am you and you are me.

Q: If John Lennon could come back for a day, how would you spend it with him?

PAUL: In bed.

— Paul McCartney for Q: Cash for Questions. (January, 1998)

—In sleep our shadows cling like those of lovers. —As lovers we can shut out the world, not think upon tomorrow, nor think upon our ruthless awakening.

— Daphne Oram and the BBC Radiophonic Workshop - Private Dreams and Public Nightmares. (1957) (extracts)

One of the paintings is called “Is this a self-portrait?” I ask him if it is. “I don’t know. It looks just a bit like me in the Beatles.” I say it also looks like John Lennon. “Uh huh, well hence the title. ‘Is it a self-portrait?’”

Perhaps Lennon was the other great love of his life - but if this was love, it was a tormented, bilious love.

— Paul McCartney, interview w/ Simon Hattenstone for the Guardian: After Linda. (September 11th, 2000)

Listen, I never meant for you not to be in my house. But you couldn’t because you were it.

— John Ashbery, Valentine.

so fuckign funny

Lennon/McCartney (part 4/?)

(Part 1) (Part 2) (Part 3)

One of the most Shakespearean stories of modern history

late july– balmy nights, languid light, warm skin and cool cotton. we press our feet to wet grass, down on the banks where dragonflies shimmer in the afterglow. you humming, the old river thrumming, warm wine going straight to my head. we pick clover, jasmine, aster; we wade knee-deep in the water and listen; bird songs drifting, willows hushing, dusk falling fig-blue overhead. all around us the smell of damp earth, lilac. the river murmuring a secret; quietly we murmur ours back.

<3333333 . missing nephrosoupp like a motherfucker

happy birthday to Johnny boy !!

my ins: buying cds/dvds/tapes, cd players, local radio, local morning news, local politics, community volunteering, trying, remembering to give up, morning coffee before my laptop opens, forgiveness, being grateful to be here, following up, mostly cooking at home, falling back in love with what i used to love about living, listening to an album all the way through, fresh cut flowers in the living room, pulling a daily tarot card, seeing a dream through to reality, planning, hoping, moving, waiting, knowing it’s coming, letting it go

▪︎"LET ME ROLL IT" (1974) ▪︎ JOHN'S LETTER TO KENNETH TYNAN (1968) ▪︎PAUL'S INTERVIEW TO GQ MAGAZINE (2018) ▪︎ lNTERVIEW AT THE CANNES FILM FESTIVAL (1971) ▪︎"HANDS OF LOVE" (1972) ▪︎ "GRUELING BI CENTENNIAL SCATTERS ENTRAILS" FROM "SKYWRITING BY WORD OF MOUTH" (LATE 1970s) ▪︎ BEATLES INTERVIEW (1964) ▪︎ PAUL IN "MANY YEARS FROM NOW" (1997) ▪︎

so uh

why did you reblog beatles rpf

might've as well asked me why do i feel emotions