Two Sides Of The Same Coin

president john f. kennedy on the phone with the attorney general, his brother, robert f. kennedy in march of 1963, laughing at his own joke about topeka, kansas.

this clip always kills me cuz bobby doesn’t even give him a pity laugh. also the last few seconds being incoherent mumblings but both seem to perfectly understand each other.

call me monica lewinsky cause oh. oh jack. jack you beautiful specimen.

Brokeback Bumsex or whatever that gay ass movies called

Ok. In the end, I decided to draw a portrait of Bobby. Let’s see what comes out of this sketch.

bobby kennedy presidential simulator, let's fucking gooooooooo

Ok ok ok so basically John Lennon wrote all these sappy love songs about soulmates who never got to be ("if we must start again, we will know, that I will love you", "No need to be afraid, it's real love, it's real") in casettes he was gonna hide forever in his basement titled FOR PAUL, told HIS WIFE that he is bisexual but only has a thing for men who is 'emotionally and artistically' connected with him, constantly referred to Paul as his "ex-wife" in many interviews and that they "divorced" after the beatles broke up, used to jerk off together (I shit you not google this) with Paul and his Beatles mates MORE THAN ONCE, used to have women leaving him because "he never looked at me the way he looked at Paul", and they say rumours about them are overplayed?????

Guys I genuinely don’t know what I will do when my fixation with the Kennedy’s is over. It will probably be a WHILE from now but still I think I’ll cry

New York senatorial campaign, 1964.

On the first anniversary of the assassination, Bobby donned Jack's old aviator jacket, adorned with the Presidential seal, and drove to Arlington to kneel before the eternal flame and pray at the grave. Returning home, he said to a friend[John Seigenthaler], “You know, I had a conversation with him a couple of days before it happened. He had called to wish me a happy birthday. The thing is, I can't remember what he said. I've tried and tried and I can't remember. I've searched my mind over and over.”

The Last Brother by Joe McGinniss

I was always interested in finding out what have happens on the photo. What gave them the idea of depict Paul's funeral: why the funeral, why Paul? Well…I have an answer, I suppose

More legendary than most, however, were a band briefly signed to Brian, the Big Three. Other musicians on the scene seemed to regard this band with awe. They were the original power trio, real sonic bruisers who’d built themselves the biggest amplifiers - nicknamed Coffins - that anyone had ever seen.

(Liverpool - Wondrous Place by Paul Du Noyer, 2002)

Epstein made his way to the Cavern club to see the group perform at a lunchtime session on November 9th. He wrote later that he had never seen anything like The Beatles on any stage. <…> "I loved their ad libs and I was fascinated by this, to me, new music with its pounding bass beat and its vast, engulfing sound." <…> The "pounding" bass that Epstein described was due in part to a new addition to The Beatles' equipment line-up. In the early 1960s there was really no such thing as a proper bass amplifier. Most bass players would use the most powerful guitar amplifier that they could get their hands on. But these were not designed for bass guitar, and did not provide the deep, throbbing bass tones that bass guitarists wanted. As The Beatles evolved their sound and Best perfected his "atomic beat" the group were searching for a stronger and more solid bass sound.

The band considered by many to be the loudest and most aggressive in Liverpool was The Big Three. They bad started out as Cass & The Cassanovas, a four-piece until leader and frontman Brian Casser left during the beginning of 1961. The remaining members stayed together to form The Big Three: Johnny Gustafson on bass, guitarist Adrian Barber, and Liverpool's loudest drummer, Johnny Hutchinson, on the skins.

Barber says that when they became a trio there was an instant problem: he and Gustafson weren't loud enough to project over Hutchinson's drumming. Even the relatively punchy Selmer Truvoice amp was not enough. Barber, however, had an interest in electronics from his days in the merchant navy. <…> Barber went out and bought a book about loudspeakers produced by G A Briggs, who owned the British Wharfedale speaker company, and inside he found construction details for various sizes of cabinets. "I decided on one, and Denis Kealing said he could get me a 15-inch speaker," recalls Barber. "I built a set-up for the bass guitar and for the vocal, in a cabinet about five feet tall by about 18 inches square. <…> I used that and mounted it in a metal ammunitions case, so we could carry it around without killing it. Johnny Gustafson used it as his bass amp, and it was very successful. "When we carried it we bad to lower it on its side, because it was long and skinny. The first time we took it down to the Cavern, we struggled down the tiny stairs there. As we carried this black-painted thing across the room it looked just like a coffin - and that's how it got its name: the Coffin. Now, the Cavern was the underground basement of a warehouse, with three vaulted brick-built archways. Over the years water had seeped down and brought calcium deposits with it, which had settled in the ceiling bricks. So when Johnny plucked that first bass note it was like a shower of snow corning down. People went, 'Wow look at that … and listen to that.' So we were really impressed, and I got ambitious at that point." <…> Other bands began to notice the relative sophistication of The Big Three's amplification, especially the bass gear. "Liverpool wasn't a competitive scene, before it got commercial," explains Barber. '"All the bands co-operated with one another and backed each other up. It was a cool scene, and I started to build these things for other people. Paul McCartney asked me to make him a Coffin. It had a single 15-inch speaker in a reflex-ported cabinet, with two chrome handles and wheels on the side."

McCartney started to use a Barber Coffin speaker cabinet during the late part of 1961. <…> McCartney himself recalls, "Adrian made me a great bass amp that he called the Coffin. And, man! Suddenly that was a total other world. That was bass as we know it now. It was like reggae bass: it was just too right there. It was great live." Pete Best too remembers the Coffin. "Neil Aspinall and I used to carry it. Every couple of shows there'd be a flight of stairs which you had to carry this thing up, and it was then we'd wonder why he couldn't have got something smaller. We'd have sweat streaming off us. But the beauty of it was, with all the laughing and joking aside, it did produce a great sound. The first time Paul plugged it in and used it, we just said my god, this is incredible. It added to The Beatles sound."

(Beatles Gear: All the Fab Four's Instruments from Stage to Studio Hardcover by Andy Babiuk, 2010)

So, I guess, Paul is lying on his bass amp that they called the Coffin - and it's the reason of the pantomime on the photo.