all the outfits all the billys

Protector- Pete Dunne


Prompt 3- ‘Touch her again and I’ll kill you’

“C’mon babe. I want you there with me” Pete walked over to you and settled his hands on your arms and gently rubbed them up and down. He was suited and booted with his signature brown trench coat on. You on the other hand stood with your arms folded over your chest, a frown upon your face as you wore your hair in a messy bun and your marvel themed pyjama crop top and shorts.

“I thought we celebrated the other night though… in the bedroom” You mumbled in response, Pete’s fingers lingered on your chin lifting your head. He smiled at you kissed your forehead.
“And it was amazing. You were amazing. But this is a night out with the lads and lasses. A chance to let your hair down.” He replied as he took your hair tie out and let your hair fall over your shoulders. He walked you over to the long mirror that was placed on the hotel wall, he placed you in front of it then stood behind you, his chin resting on your right shoulder and arms wrapped around your waist rubbing circles on your hips with his thumbs. You cracked a smile at Pete showing affection to you which was often a challenge but you knew deep down he wanted to show as much affection as possible but sometimes found it incredibly hard especially in front of others.
“The girls want you there, Tyler and Trent do too. I want you there, I’m the UK champion with the most beautiful girl on my arm. I want to show you off to everyone. Show them that you’re mine and that no one can touch me.” Pete whispered in your ear. His British rough accent was one of the things you loved about him, it always managed to make your legs turn to jelly. You turned around in his arms and snaked your arms around his neck and leaned in to kiss him.
“Honestly I don’t know why you’re so worried about going out.” 

But you did. Johnny Curtis. He wouldn’t leave you alone. He knew you were with Pete and he knew your best mates were Tyler and Trent. Each time he’d push his luck even further. It started off just whispering disgusting things in your ear about how much he wanted you and how I thought about you whilst he was alone. Then he started touching you inappropriately at the gym, backstage even very slyly in front of people like Tyler. He’d act casual by saying hi to him as he’d walk past us. You knew he’d be out tonight with everyone.

“I’m not worried Pete, it’s just… just there someone and”

Pete cut you off walking away from you and grunting. He walked to the hotel door shaking his head making you roll your eyes as you now knew he was in a huff with you. 

“You know what Y/N do whatever the fuck you want. I’m not going to force you to go. I’m going next door with Tyler and Trent, we’re going in an hour. Knock on the door if you’re going. I’m not holding my breath though.” With that he slammed the door behind you. You sighed as you tried to open up to Pete about Johnny but he clearly didn’t care or want to hear it. You decided to go out but you knew wearing a revealing outfit would just entice and provoke Johnny even more, but you wanted to catch Pete’s attention so bad. You got your phone out and text Billie, Peyton and Liv asking for them to come over to your room so you could all go to the bar together and meet the guys there. Thankfully they’d all agreed. You put on your tight lace black dress over your matching silk red bra and thong. Your smokey eye make-up and perky red lips made you look hot as hell. Looking over into the mirror you prayed so bad that nothing would happen with Johnny, and if it did you were determined to stand up to him this time. 

The four of you walked through the pub door, it was like a scene out of Baywatch, where all the guys turned to look at you all stunned. You felt as if there should have been a smoke and wind machine to make your hair flip around.
“Does anyone else feel like we just walked in in slow motion?” Billie chuckled. The four of you laughed before walking over to the bar. You hadn’t noticed Pete or Johnny yet… but they’d certainly noticed you.
“Er Pete, thought you said Y/N wasn’t coming out tonight?” Trent spoke up after sipping on his beer.
“She’s not” He growled looking down at his phone going through his social media.
“Then why has she just walked in looking like the hottest… aaaaaand I’m not going to finish that sentence cause she’s my best friend and your girlfriend” Tyler rubbed the back of his head awkwardly. Trent nudged Pete’s side and pointing over to you at the bar. Pete’s eyes widened at the sight of you, he gulped but looked away determined not to be distracted.
“Why does she have to look so damn good when I’m angry at ‘er?”
You turned your back to the bar, Tyler was waving you over, he scooted over making room for you to sit down. You took sips of your pitcher as a silence fell amongst you four.
“Hi Y/N” Trent smiled at you and stroked his beard. You spoke to Trent and Tyler for most of the night, during the night you turned your head as a thunderous choir of laughs erupted. That’s when you saw Johnny amongst some others, glaring over at you with a disgustingly smug smile making your skin crawl.

Stepping outside to get air and wave of some of the girls you stood near the curb of the road in front of the window where Pete, Tyler and Trent were in sight.
“Girls you sure you’re going to get back alright?” You hugged them all.
“Yeah of course. You going to be okay with the guys?” Billie replied.
“Yeah yeah. He may be angry at me but he would leave me by myself.”
The girls walked away, drunkenly stepping over each other causing you to giggle as you watched them trying to walk.
“Finally got you to myself” That recognisable voice spoke making you cringe, you slowly turned to face Johnny. You gulped feeling extremely nervous but tried not to show it on your face. Johnny slipped his arm around your side and reaching up to your chest. You firmly shook him off, you slapped him across the face hoping to mark your dominance and that you weren’t to be frightened.
“What part of leave me alone do you not understand Johnny? You disgust me!” You spat at him. He laughed in your face and grabbed your arm bringing you closer to him. He began to whisper into your ear making you wince. He then grabbed you by the neck still laughing in your face, you could smell the alcohol on his breath, still no excuse for the way he was behaving. This was the most physical he’d been to you. 

“Oi Pete? Is that Johnny? He’s got a girl by the neck.” Trent jumped out of his seat turning to get a closer look out the window. Pete glared out the window behind him, he recognised your dress. That’s when it had hit him, this is what you were trying to tell him earlier before he stormed off. His faced scrunched up in pure rage, his nostrils flared. Pete’s top lip snarled, he pushed past Trent and made his way over to you outside.
“Shit isn’t that Y/N?” Tyler downed his drink, the pair followed Pete rushing outside.
Next thing you knew a fist came flying past you and two bodies thud against the concrete, Johnny’s hold had been released from your neck. You held your neck holding in the tears. Tyler pulled you close to him. That’s when you broke down into his chest. You watched as Trent, Balor, Ziggler and a few others try to break Pete off Johnny.
“Touch her again and I’ll kill you!” Pete yelled looking down at Johnny on the floor, as he tried to wriggle out the grip of the guys holding him back.
“I swear to god if I see you near my girl, if you even breathe near her, I will fucking fill you” Pete spat. Johnny wiped his nose looking at the blood Pete had drawn, he didn’t nothing but laugh. This only triggered Pete even more, he roared pushing the guys off him and launching at Johnny. Trent stood in front of Pete before he could get to Johnny who was blocked by others.
“Mate. He’s not worth it” Trent yelled, holding his hands up in front of Pete. Tyler stroked your back trying to calm and soothe you.
“Is that a threat Dunne?” Johnny chuckled as he too was being held back.
“Shut the fuck up” Trent tilted his head back after hearing Johnny speaking, he rolled his eyes, swiftly turned his body and smacked Johnny square in the jaw.
“It’s no threat it’s a promise. Now I suggest you walk away like the petty boy you are and never speak of this. I’m sure you wouldn’t want Hunter to find out about the way you’ve been treating his talent, especially the girls.” Pete yelled back, he then turned away and saw you in Tyler’s arms, he began to caress your wet cheeks and moving strands of hairs from your face. You latched onto him, he held you giving you the tightest hug he could. He continuously whispered shhh’s calmly in your ear, the palm of his hands rested on your cheeks as he lifted your head up. He leaned his forehead softly on yours as he saw your blood shot eyes and the horrified look on your face.
“I’m so sorry Y/N, I know you tried to tell me earlier and I was an idiot.” Pete delicately rubbed his thumbs up and down your cheeks. You managed to peck Pete on the lips even though your lips trembled.
“You’re here now” You whimpered, squeezing Pete as hard as you could, your head falling in the crook of his neck.
“I love you Y/N”

Favorite little things from The Magnificent Seven (2016)


-Faraday getting shut down by the pretty girl in the carriage

-Chisholm’s expression while he eats the deer heart with Red Harvest

-Billy Rocks doing all this fancy knife-work and claiming that it’s “easy”

-Chisholm’s all-black outfit 

-Horne getting all awkward with the woman in the bar

-Horne’s little speech at the end about serving with men he respects

-Red Harvest killing Denali 


-Emma cutting off Faraday while he’s explaining how to shoot

-“Seems I was the only one with enough balls to do so.”

- “There’s no such thing as a Texican, cabrón.” 

-Red Harvest’s smirk when they figure out he can speak English

Fallout but instead of being based on an alternate America obsessed with 1950s pop culture and aesthetics it’s based on an alternate America obsessed with late 80s through early 90s pop culture and aesthetics


the plance stylings of chunk

MBTI types as the first 16 My Immortal outfit descriptions
  • ENFJ: A long black dress with lots of red tulle coming out and very low-cut with a huge slit.
  • ENFP: A black low-cut dress with lace all over it sandly. I put on black high heels with pink metal stuff on the ends and six pairs of skull earrings.
  • ENTJ: A black leather minidress that was all ripped on the ends with lace on it. There was some corset stuff on the front. Then I put on black fishnets and black high-heeled boots with pictures of Billie Joe Armstrong on them. I put my hair all out around me so I looked like Samara from the Ring (if u don’t know who she iz ur a prep so fuk off!) and I put on blood-red lipstick, black eyeliner and black lip gloss.
  • ENTP: A black corset with matching lace around it and a black leather miniskirt, pink fishnets and black combat boots. I was wearing black lipstick, white foundation, black eyeliner and red eye shadow.
  • ESFJ: Some black eyeliner, black eyesharrow, blood-bed lipstick and a black really low-cut leather dress that was all ripped and in stripes so you could see my belly. I was wearing a skull belly ring with black and red diamonds inside it.
  • ESFP: A black leather shirt that showed off my boobs and tiny matching miniskirt that said Simple Plan on the butt.
  • ESTJ: In it was a sexy tite low-smut black leather gothic dress. It had red korset stuff and there was a silt up da leg. I put it on. My frendz helped me put on blak fishnetz and blak pointy boots Willow had chosen. Willow and Darkness helped me put on black eyeliner and blod-red lipshtick.
  • ESTP: I put on my black lace-up boots with high heels. Underneath them were ripped red fishnets. Then I put on a black leather minidress with all this corset stuff on the back and front. I put on matching fishnet on my arms. I straightened my hair and made it look all spiky.
  • INFJ: A blak leather low cut top with chains all over it all over it a blak leather mini, black high held boots and a cross belly fing. My hair was al up in a messy relly high bun like Amy Lee in Gong Under.
  • INFP: A short ripped black gothic dress that said Anarchy on the front in blood red letters and was all ripped and a spiky belt. Under that I put on ripped black fishnets and boots that said Joel all over them with blood red letters. I put my ebony black hair out.
  • INTJ: A low-cut black floor-length dress with red lace all around it and black high heels.
  • INTP: A black leather minidress and black leather platinum boots with red ripped fishnets.
  • ISFJ: A black miniskirt that was all ripped around the end and a matching top with red skulls all over it and high heeled boots that were black. I put on two pairs of skull earrings, and two crosses in my ears. I spray-painted my hair with purple.
  • ISFP: A blak corset bar wif purple stuff on it, fishnet suckings and a blak leather thong underneath.
  • ISTJ: A blak ledder mini, a blak corset with urple lace stuff all over it, an black gothic compact boots.
  • ISTP: A black leather dress, a pentagram necklace, combat boots and black fishnets on. I put on four pairs of earrings in my pierced ears, and put my hair in a kind of messy bun.

Q&A with Paul McCartney about the Sgt. Pepper album that took place at Abbey Road’s Studio Two – the very room where the album was recorded! [PMc]: Do you remember coming up with the cover and band concepts? We understand that the original concept came from you doing a doodle on a plane based around an Edwardian military band?
Paul McCartney [PM]: Yeah! Well, what really happened was I was coming back from a trip abroad with our roadie, Mal Evans, just the two of us together on the plane. And we were eating and he mumbled to me, asked me to pass the salt and pepper. And I misheard him. He said [mumbles] “saltandpepper”. I go, “Sergeant Pepper?” I thought he said, “Sergeant Pepper”. I went, “Oh! Wait a minute, that’s a great idea!” So we had a laugh about it, then I started thinking about Sergeant Pepper as a character. I thought it would be a very interesting idea for us to assume alter egos for this album we were about to make.

So that’s what we did. And yeah, I started doing drawings of how the band might look. I sort of got this military look thing going and one of my ideas was that they were being presented by the Lord Mayor of some Northern town in a park. And in the old days they used to have floral clocks, they called them. It was like a clock that was made out of flowers. So I did drawings of the floral clock and then, “Sgt. Pepper’s Lonely Heart’s Club Band”, AKA The Beatles, getting an award. So they’ve got a big cup and they’re getting some sort of award from the town.

So that’s where the idea came from and then I just talked to all the guys and said, “What do you think of this idea?” They liked it and I said, “It will mean, when I approach the mic, it’s not Paul McCartney. I don’t have to think this is a Paul McCartney song”. So it was freeing. It was quite liberating.

So, you know, we didn’t keep that idea up all the time, but that was the basic idea that we would make something that was very free. Something that this other band might make, instead of doing something that we thought The Beatles ought to make. It originally came from that mishearing of salt and pepper!

PMc: Were you doing the drawings on the same flight?
PM: I don’t remember if I did the drawings on the flight, or whether that’s just got morphed into the same story. But definitely on the flight coming back.  That was the start of it when I misheard that. So that’s the essence of the whole idea.

PMc: Had you already started to write the songs for that album?
PM: No, but when I got back I started thinking, “Okay, what would their theme tune be?” So I wrote what became the opening song where they would introduce themselves and then they would introduce another character: Billy Shears, which was Ringo.

It was just to give us all alter egos, to give us all invented characters. So that now we were making this album like a piece of theatre. We were now going in to the studio as other people. And we came down to Soho, in the West End, and had our uniforms made by Berman’s the theatrical costumiere.

PMc: Was there any reason for the different coloured outfits?
PM: No, we just chose a material. Said, “I’ll have that, he’ll have that”. There was no concept, no. It was just whoever wanted what colour.

PMc: We understand there were two drum skins created for the cover. Was there any specific reason for that, or was it just to make sure you had different options?
PM: No, I think the drum skins - as I recall - were organised by Peter Blake, who had someone he knew who did painting for fairgrounds. So you see the rides in the fairgrounds - like the Waltzer, or you know, the House Of Fun and all that - it’s always lettered and painted a certain way, which is quite an ancient tradition, apparently. There’s a specific look to it all and there are people who specialise in those, so I think Peter had those done by those people, and I suppose he just had a spare one made as well. I think we probably would have just said, “That one”.

PMc: We realised in the office that there are some grammar mistakes on the drum skin: a semicolon after ‘Sgt’, and there isn’t an apostrophe in ‘Peppers’. Is that just an accident?
PM: Yeah, that’s an accident! The guy doing it was, as I say, a fairground guy, so all this sort of stuff [Paul points to the logo on the album cover] - the filigree and all these decorative things - are the kind of things you would see on the side of a Waltzer, when you go to the fairground. It’s covered in this kind of stuff.

So I think he will have just been told “Sgt. Pepper’s Lonely Hearts Club Band”, and instead of putting a dot after the ‘gt’ of ‘Sgt.’ - which I think you might naturally do - I think it just looks better as a composition to be down there. And there’s no particular reason for it being a semi colon. It could have just as easily been two dots, or something. And then no apostrophe? There’s no reason for it. He was asked to do that and he came up with that beautiful design.

PMc: Do you remember who’s idea it was to have the cut outs that came with the album? The moustache, medals, stripes and band stand up?
PM: I think those were Peter’s ideas. I certainly gave him the basic idea of the Sgt. Pepper band. There was the floral clock that got changed into the little flower arrangements on the cover. And then the idea was that each of these characters in the “play” would have their own background. So I asked all the guys to come up with a list of people who their character might be fans of. So everyone did that like as a bit of homework, kind of thing.

PMc: Was there anybody who kind of didn’t make the final collage on the cover?
PM: Oh, yeah! I mean, some, because it was just a fun thing. You know, I think someone brought Hitler. And that was vetoed immediately: “No!” And then Jesus was in there. You know, he was an understandable hero. But there were certain ones that might have offended people.

I mean, Hitler, I think was just a joke. No way he was gonna get on there. Jesus was not so much a joke. He could have been in there but we didn’t want to offend Christians.

PMc: Do you remember any specific names you suggested?
PM: [Looking at the album cover] I think these were mine: Aldous Huxley, because I had been reading a book by him. H.G. Wells, Fred Astaire. And then there was Dylan Thomas.

There’s a footballer there, I think that’s Dixie Dean. I mean this is all documented exactly who they are. Laurel and Hardy, we liked them. William Morris, Marilyn Monroe, Terry Southern. This is what the floral clock became at the bottom of the cover. And then people thought this was marijuana, which they weren’t. They were just plants! But, of course, in those days everyone read everything into everything we did.

But that was it. We all had a list of favourites. George put in an Indian guru, that’s Yogananda. And Babaji is in there. So we just each put people in that we admired through history, so that was the idea. It was really just so if a fan magazine had said to the characters in this fictitious band, “Who are your favourites?” They’d go, “Oh, these people”. We’d go, “Okay this character, is that kind of guy. George: he’s more into mystical people, you know. Paul: okay, he’s more into literary ones, or whatever”. So it would give us each an identity. It was really just for background.

There were certain ones we all liked, like Oscar Wilde. Max Miller was a British comedian. And then there’s Stuart [Sutcliffe], who had been our old bass player, who died. Aubrey Beardsley, the artist. The Bowery Boys, they were a TV series when we were growing up, and there was one of them who wouldn’t do it. One of them wanted money for it.

We just wrote to everyone and said, “Do you mind?” Well, at first we didn’t. But the head of EMI, Sir Joseph Lockwood came to my house and complained! He said, “This is going to be a nightmare. There are going to be legal battles!” I said, “No, no, no. People are gonna love it! They’re all on The Beatles cover, you know! It’ll be a laugh, they’ll understand”. He said, “No, you’ve got to write to them all”.

So we did. We got a letter out: “We are planning to do this using your image. Do you mind? Is it okay? Please give us the okay”. And all of them did, except for one of the Bowery Boys who wanted to cut a deal. And we thought, “You know what, we’ve got enough people on here!”

PMc: Did that delay the album release?
PM: No. No the cover wasn’t shot. We had the idea… Or it may have been, it may have been actually. Yeah, I think it was shot, but we just had to ask them all.

PMc: Would you pick different people for the cover today, compared to 1967?
PM: I’m not sure. You know probably, yeah. But just because it wouldn’t be the same time.

PMc: We’ve read that the Sgt. Pepper moustache came about because you had been in a bike accident. Is that true?
PM: Yeah! I had a moped and was with a friend of mine up in Liverpool. It was Tara Browne, who was one of the Guinness family. He and I were going to visit my cousin Betty on these mopeds that we had, little motorised bicycles. And there was a very full moon and I said, “Wow, look at that moon!” Then I suddenly realised I’d lost my balance and I looked back and I smacked the pavement and bust my lip! And we went to my cousin’s house with my hand over my lips saying, “Hey Bett! Don’t be worried”. And she’s thinking, “Oh, isn’t he funny”. And then, “…Ahh!”

So, Betty said, “Oh, I’m gonna get this guy”. This doctor, he’s the local doctor and he came over. But, tell you the truth, he’d had a few. So he said, “I’m gonna have to stitch you!” And I said, “Oh!” Because, you know, it was Christmas time or New Years time, and he definitely was over the limit!

So he got his needle, and he could barely thread it, he couldn’t thread it even. So I think Betty sort of said, “Here, let me do that”. So she threaded his needle up for him and I went, “Ahh… Here goes nothing!”

So he put it in – no anesthetic. Bang! “Oww!” You know, and then he put it through and made a stitch up, put it through the other side, “Oww! God!” I was just sort of standing there. It was not wonderful, but I thought, “Well, he’s got to do it”. He pulls it right through, and the thread comes out. “Oh, we’ve got to do that again, then.” “Jeez.” Was I happy? No!

But yeah, so after that I started growing this moustache to hide quite a big, sizeable bump. There’s a bump still there. But it was quite a good gash, and I broke a tooth!

Yeah but anyway, so he had to do it. He finished it off. It wasn’t a brilliant job. So then, as I was recovering, I let this grow as a moustache. I wasn’t really in the public eye for a while, so then the first thing people knew was that I’d grown that moustache. And the other guys liked it and so we all grew them. It was just like a fun thing. So that’s that!

PMc: At the end of the album - following ‘A Day In The Life’ - you have that very high-pitched tone. And then you have the inner groove loop on the record. Where did those ideas come from?

PM: Okay, so the loop thing was that at that time people were partying a lot and getting stoned a lot. And one of the things is you would be in a party with everyone, you’d be playing an album on vinyl and so the record would end. But everybody would be so sort of stoned that the record would just go [mimics the noise of the record player getting stuck in the inner groove]. You’ve all been there! And people would go, “Ahhh… Yeah…” And no one would turn it off!

So we went, you know what, we should have something there. We should put in a little loop so when that happens, there will be something there! So that was the basis of that idea. So we just recorded something, we just all got around the mic, and we just said stupid stuff. It’s just a loop cut out of some stuff we said.

I think John said something like, “Cranberry sauce, cranberry sauce”. And that was just a little bit of fun for us, because we were always trying to be different from other people who made records. So this would be a very “Beatle-y” thing to do. So we did it, and it was just for that moment where [mimics record player playing the inner groove]. It would say something instead of just, “Cuh-chug, cuh-chug”.

The crazy thing was, as I said, everyone read into everything we ever did in those days. So somebody arrived at my house and the rumour was that if you played it backwards, it said something. If you play it in that groove backwards and then we thought well none of us have ever tried. So I said, “No, it’s nonsense. That’s not true, at all!” And they said, “It is! It is! It is!” And they insisted. So I said well come and show me. So he took it, and somehow, we just went against the player’s motor, turned it backwards, the loop. And sorry folks, excuse my expletives, but it was supposed to say, “We’ll fuck you like supermen”. I went, “This is just ridiculous!” But sure enough, “We’ll fuck you like supermen, we’ll fuck you like supermen”. It sounded like that!

PMc: So that was just by complete chance?
PM: It was, yeah! It was pretty random, but those things happen with the readings, you know. Because people would look into it so much, and that was that.

PMc: And no one had done that kind of inner groove loop before, is that right?
PM: Yeah, nobody had done it on a loop like that. It’s a silly idea. No one was as silly as we were!

But the other thing, that was fascinating: the high-pitched noise [whistles]. We would have great conversations with George Martin in the studio, because he was very swotty, George was. Very mathematics, and he knew the science behind a lot of what we were doing, whereas we didn’t. We just enjoyed it and loved it. But he was talking about frequencies. He said, “There are so many frequencies”. For instance, he said, “Your ears are all younger than mine”. He said, “Let’s do a little test’. So he took a little oscillator that we had and went [whistles from a low to high pitch]. And he got it up to [whistles very high]. And he said, “Can you hear that?” We go, “Yeah…” He goes [whistles higher]. He said, “I can’t hear that, can you?” We go, “Yeah!”

Then he took it higher so even we couldn’t hear it and said, “It’s still there”. The noise, the frequency was still there. He said, “Dogs can hear that. Dogs have a different framework, a different range of hearing”. We went, “Fantastic! We’ve gotta put that on the record!” So when suddenly when everyone’s listening to it, no one can hear it and the dog would perk up. You know, prick his ears up: “What’s that?”

So that arrived from those great conversations. And the other end of that conversation was he said, “Lots of people know this, this frequency thing. And one of the things Hitler had was these sort of PR people, who did movies for him. You know, Leni Riefenstahl. And there was a PR machine behind everything he did”. He said, “And one of the things, and it’s suppose to be true, was that at these rallies, hundreds and thousands of people would arrive, and you see film of it. And he wouldn’t arrive, he wouldn’t be there. And what they would do is they would put a subsonic noise [makes low-pitched hum] through the speakers. But no one could hear it, but it was sort of was rather discomforting. So you can’t hear it, but it kind of puts you off a bit.” It’s like a super sub-bass at a big club. It’s like, it can actually sort of get to you, it can bother you a bit, so he said, “They used to play this, this is the story, and then just before Hitler showed up they would turn it off”.

PMc: So they would get a sense of relief?
PM: Yeah! Like, “I feel so much better, now he’s here!” You know, and nobody knew that there’s a subsonic noise.

PMc: And George Martin told you that story?
PM: Yeah, George Martin. This was all one conversation: “The Highs And The Lows” by George Martin. But you know, we took it all in. We loved him. We loved these little chats and we used it all in our music.

You know, if someone put a tape machine on backwards by mistake once, the tape op, and we were like, “Oh! What’s that?” Whereas I always say any other band would have just gone, “You’ve got it on backwards, stupid! Put it on right!” But we were always, “Ahh, how can we use that?”

George was such a good producer and got it. And he would say, “Well, we could do it. And if we did this, and if we did that…” And so that really made it interesting, because there were all sorts of physical things like that that he would educate us with. Like half speed things. If things were very fast, the guitar solo in ‘A Hard Day’s Night’ [sings the song]. It was very hard to play normal speed. So George would say, “I’ll tell you what we’ll do…” So we took it down to half speed on these studio machines. You have to take it down an octave, that’s what was intriguing. So half speed, the octave would go down. You would play it on a bass guitar or a guitar [sings song again, lower and at half speed], and it’s easy to play! And then you just put it back up [sings at full speed]. So if you listen to that solo that’s at double speed. So we had a lot of fun with that, you know, it’s gonna go down an octave, we’re gonna play it slow.

PMc: I’ve always wondered if you guys slowed down ‘When I’m Sixty Four’ because your voice sounds slightly higher?
PM: Sometimes I would just speed things up a bit. Often, when you make a song you record it and then you think, “It’s not quite fast enough!” So rather than do it again, you just lifted the tape. These days you can lift the tape and not lift the pitch, with Logic and a few other machines. But back then you would actually lift the pitch a bit.

PMc: So another question we quite often see is, in hindsight, do you wish ‘Penny Lane’ and ‘Strawberry Fields’ had been included on the album? And if so, where would you have placed them?
PM: No, I was happy. So we won’t even get into placing them! I was happy that it was the precursor to ‘Sgt. Pepper’. And the thing was, you know, we always liked to release things fresh. We had just made those tracks, so the thought of waiting until we had completed the whole album would not have appealed to us. You know, we liked that as soon as it’s made, at the nearest point to the actual making of the song and the record, we would like to put it out. So I was glad how we did it and it was like a fanfare, that single. Another thing we liked about it was it was simple value for money. You really got two A-sides. But it kind of heralded what was to come.

PMc: Kind of like a road sign showing what was on the way?
PM: Yeah!

PMc: Another question we see is: Did you have any kind of idea at the time just how big this album would become?
PM: No, not really. The only thing we knew was that the music press, I’m not sure who it was – it would probably have been The New Music Express or The Melody Maker, the two music papers that were very big at the time – one of them, somebody from one of those music papers said, “Oh, The Beatles have dried up. They’ve finished. We haven’t heard anything from them, you know, they’ve run out of ideas”. So we were quietly tinkering away at Abbey Road knowing we hadn’t run out of ideas and knowing it was gonna be really great to be able to say, “No, we didn’t run out. Check this out!” And give them ‘Sgt. Pepper’ and go – “Take that back!”

In fact, when it did get released, the music critic from The New York Times said it was terrible. And Linda said she met him in the street and said, “You’re crazy, man. It’s a great album! What are you talking about?” And there must have been a lot of people that said it to him that week, because he took it back a week later. He said, “You know what, it’s grown on me. I like it’.

PMc: And looking back now, what always blows our minds, is that you were only 24 when that album was recorded. That’s quite incredible!
PM: Yeah, I mean there’s quite a few people who feel they’re very grown up when they’re 24. And we did! We’d been doing the group since, well, since we were kinda 19 and 20. So four years at that kind of pace was a long time. And we all smoked Rothman cigarettes. And we had Carnaby Street stuff, so we thought we were pretty hot. So 24 didn’t seem young to us, because we had just been 20!

I mean, I always tell the story of when were 17, me and George - and George would have been 16 - and we used to go round to see John at his Art College, which was next door to our school. We were where LIPA now is, The Liverpool Institute. Next door was the Arts School which is now part of LIPA as well. But that’s where John was, so we’d go round just to hang out and see him during lunchtime and there was a guy who was in John’s year, who was like older than the class. You know that phenomenon and he was 24 and we felt so sorry for him! No, we really did, like a genuine sorrow. [Whispers] “He’s 24? God, it must be awful!” You know, now looking back he was like a child. But, you know, so by the time we were 24, we felt like we had done quite a lot. We had done enough to sort of think we were pretty grown up!

A coda from After we stopped recording our Q&A, Paul carried on telling us some very cool stories, such as how one day in the studio the ‘A’ string on John Lennon’s guitar began to resonate when he leant his guitar against an amplifier. The band jumped up when they heard the noise, saying, “What’s that?!” After George Martin explained how certain frequencies will make objects vibrate, it was agreed they would record this new sound for the start of ‘I Feel Fine’.

Paul told us how he really loved that about The Beatles: when those “happy accidents” happened, the band would want to use it in a song somehow. He likened it to how a painter might see a small, unintended brushstroke on a canvas and decide to leave it in, rather than painting it out.

Another story Paul told us was about how one of the engineers threaded the tape machine the wrong way in the studio during a session. When they pressed “Play” the song played backwards and again, up they jumped asking George Martin if they could use that somehow. Paul told us George’s response was always to rub his chin, look thoughtful then reply, “Well, I suppose we could…” And the rest, as they say, is history!

The Avesnes Aristocracy - 32

Ferdinand decided to welcome his younger sister to childhood in his own way… with pranking her shower! Celeste was so fond of that salmon colour she was literally wearing all the time, so he decided she could use a haircolour that would totally ruin her outfit, hehe… And so Celeste came out of the shower that morning with a turquoise hairdo!
‘FERDINAND!! I KNOW THIS WAS YOU, YOU FREAK!’ she yelled so loud that everyone in the house could hear it, including the toddlers. They got scared of the loud noise and all three of them started crying. Billy, who had JUST put them all in their cribs for a nap was furious! He ran upstairs and called Ferdinand to the bathroom as well to scold him.
‘Are you crazy?! Didn’t you think this house was already chaotic enough without you pranking your sister’s shower?! Go apologize right now! And I don’t want to hear either of you making trouble anymore! Taking care of your younger siblings is stressful enough we do NOT need you two to act irresponsibly as well!’
Ferdinand mumbled something underneath his breath and waited for his dad to leave before he turned to Celeste.
‘Well? What are you waiting for? Apologize!’ she told him, looking at him as if he was some sort of pleb boy. ‘Maybe you should learn some respect for your older brother first,’ he grumbled. ‘Didn’t you hear dad?! If you don’t apologize right now I’m going to scream again and tell him you pulled my hair!’
‘What?! I did no such thing! You little…’
‘OKAY, I’m sorry! Geez, no need to start causing a ruckus again. It was just a little prank and the dye got out very easily anyways. overreacting much…’

Downstairs, Billy was busy pottytraining Madelyn, who refused to go back to sleep after being woken up by her older sister. ‘My dear sweet Madelyn, promise me that when you grow up, you’ll be a nice and quiet kid…’
Madelyn couldn’t talk yet, so she wasn’t able to answer him. Her lovely smile did calm his heart though. Maybe toddlers were a lot of work, but he was definitely going to miss their innocence once they’d grow up.

COMMISSIONED ARTWORK done by: linnoart

Concept and idea: me Colors and shading done by: Nearphotison ______________________ Page 2…the current SFW-ish!! page to shared here, in color!!  All of DAT AZZ in beautiful digital colors!! Also note that certain characters either have camp uniforms that match there original outfit color schemes, the standard red camp uniforms, or colors that show they’re part of particular group. ___________________________ All characters © Cartoon Network

anonymous asked:

Since Captain Marvel is unusable... (which is a laugh considering that lawsuit was in the late 80s and early 90s and both companies made a compromise to let each other use the name out of respect to the original creators and the company) what other name would you choose for Billy Batson's alterego? Shazam (Nu52 style), Captain Thunder, Heroic Lightning, Big Thunder? (subsequently also changing Freddy's and Mary superhero names)

It’s kinda sad that any name change would effect Captain Marvel Jr (fun fact CM Jr was Elvis’ favorite superhero, all his late stage outfits were tributes to Freddy) in any case I’d go with Captain Thunder, I mean with Shazam you run into the problem of the magic word, the hero, and the Wizard all having the same name and that’s no good, and I’d like to have “Captain” in the name, and Captain Thunder has the history. 

Oh, but you’re lovely
        With your smile so warm
                And your cheeks so soft
                         There is nothing for me
                                           But to love you 

                                        - Billie Holiday

( I’ve been having AU ideas in my head all week; 30′s rupphire was definitely one of them. after listening to cheesy 30′s romance songs for days, of course I was going to sketch the two gay space rocks being hopelessly in love. )

My ARTPOP ZONE & ArtRave Experience

Here goes…..

First off I have to say that for the originally scheduled Seattle show I was actually in GA but one APZ ticket came up randomly on and as if fate had finally intervened, it was mine. Finally it was happening to me….

For those who don’t know, I followed Gaga around Australia during the Born This Way Ball tour for a whole month and I can count 20 times that I tried and waited for her at every possible moment I could manage and still missed out. All my friends back in Aus met her…. except me. This is why this past weekend has been so special to me.

Below are some main points of what transpired during the backstage meet and greet in Seattle:

  • We had 1 and a half hours with her
  • Security confiscated all our phones
  • There was a bar backstage
  • Chairs all around the perimeter of the room
  • Gaga came out and sat in the middle on a bar stool next to a raised table. She wore a Skid Row band t-shirt and a  long sequined top with fishnets and studded black booties.
  • She came out with the rolled up painting a fan had created for her and thrown on stage (Lady Salvador)
  • She showed us it straight away (after offering all of us a drink on her! But we already all had drinks so politely declined)
  • She asked how we were doing and if we enjoyed the show
  • She played 3 songs off Cheek to Cheek (Firefly, Bang Bang & Every Time We Say Goodbye) that she playe from her iPod hooked up to Beats speakers.
  • Firefly was my favourite track of the 3.  Very playful & really showed a playful side to her personality through the lyrics especially.
  • She danced around the room and in her chair to the music, she was so candid & adorable and I remember seeing Lane looking at her from the back of the room smiling so proudly and happily at her.
  • People asked about Tony and collaborating with him on their album.
  • She spoke about how Tony is mentoring & teaching her about singing Jazz, he says her vocals sound like Ella Fitzgerald and Billie Holiday. Their friendship and collaboration just came about so organically.
  • She gave us insight into working on the album with him.
  • Do What U Want with Christina came up and she spoke about her performance with her. How she always makes sure she is highly professional throughout the entire process from start to end. She prepared Christina with all the lyrics highlighted in advance, choreography, swatches of their outfits, every little detail was thought out meticulously.
  • Gaga spoke about how her family members are all highly professional so it’s instilled within her too.
  • She spoke with depth about her relationship with Taylor, when they first met, how he gave her his email address on a piece of paper as she was pulling away on the last day of filming and it was an embarrassing one he’d made when he was 15 and how she was amused by it.
  • How she cried for 3 days after filming You & I and meeting Taylor because she knew she had to be with him but at the time she was with Luc.
  • How he takes her out for drives on his motorbike to the ocean to getaway.
  • How he loves it when she changes the way she looks all the time. He’s a weirdo on the inside and she’s a weirdo on the outside.
  • She said she wants children but isn’t ready for them yet.
  • Her work with Marina and wanting to do more performance art pieces in the near future. She spoke about the famous piece Marina did where she laid out all different items and the public could choose what they wanted to do with her. Her Dad doesn’t want her to replicate this but she believes there would always be enough fans there to protect her from any harm.
  • Her work with Robert Wilson in the Louvre and being able to separate the mind from the body, as it was so physically demanding on her.
  • Katy Perry and other artists copying her work visually and about her tweet referring to everyone having green hair and riding mechanical horses suddenly!
  • The gay community and having lots of gay friends growing up, quite often they didn’t even realise they were gay until they were older.
  • Gaga was singing Bang Bang whilst getting ready to take out M&G photos.
  • My friend Larry was the last question of the night but instead of a question it was a request. Asking Gaga to stop for our friend Jon who was outside the exit to the venue waiting for her. He showed Gaga the booklet he had made with Jon’s bio and Gaga looked at it & loved his photo with Michelle Obama. She asked exactly where he was and what his condition was (he has cerebal palsy). We told her & said she HAD to meet him; he’s a big fan and a really great guy. So Gaga told us she would try to find him to meet him.

Now onto the exciting highlights of the night:

When it was photo time Larry & myself made sure we went last of all. This is where it’s all a bit of a whirlwind blur. I remember Larry getting his photo taken then it was my turn. I walked up to Gaga and said “Hi Gaga, I’m Catherine.” “Hello Caaatherine ~” I couldn’t believe she said my name. Hearing her say my name made me lose it inside! Then I blurted out what I really wanted to tell her but not in front of the entire group (even though we weren’t supposed to talk much to her during photo time). I said “I just wanted to let you know that I came out in January this year & I wanted to thank you for your support and dedication towards the gay community”.

(I really desperately wanted to tell her this as it was such a big deal for me coming out this year as a 27 year old woman and the entire BTW Ball experience for my freinds and I was like one giant travelling pride parade. Full of love and acceptance for one another. Born This Way couldn’t have come at a more significant and important moment in my life. The timing was perfect and instrumental to my acceptance of my sexuality.)

Gaga said “You’re welcome” then she pressed her head to mine put her arm around my waist & bam. It was all done. But then!…… she said “Did you guys come together” Do you want a photo together?” Looking at Larry who was watching then to me. “YES PLEASE!” I said. Gaga: “Larry! Come back here!” I told her Larry is my surrogate father. We posed for another quick photo & then I thanked her profusely. Then blurted out right at the end “Thank you for the pizza’s in Melbourne by the way!” Everyone laughed but I just wanted to make her laugh. I really wanted to say so much more to her but time ran out and we had already gone far over the usual time she gives fans. Maybe another time.

Then that was it, or so we thought. We quickly went to the toilets and were the last 2 people to leave the arena. We walked to the exit & immediately saw Jon waiting with his father. We chatted briefly and told him we told Gaga about him and told her to stop for him.  Suddenly 2 black SUV’s came speeding out of the exit & down the street, up the hill past the big crowd of fans waiting at the other exit. “That cant have been Gaga!”, we all said, she would have stopped. I stepped out onto the road & the fans were going crazy, it was her and the SUV’s were heading back down the hill in our direction! “Go Jon go” I yelled and I ran down the street alongside him. Gaga was leaning out of her window pointing in our direction.

She was swarmed by fans and got out of the car surrounded by her security guards.

Gaga said to Jon “Hi. I’ve heard a lot about you from Larry. I hope you feel good.” She asked if Jon enjoyed the show and if he was feeling okay". She spoke about Emma. And asked if Jon had any pain or problem with hip displacement.  Security was surrounding us and keeping the fans back, I asked if we could get a photo, I even managed to film a little during the mayhem:

I quickly took some photos of Jon & Gaga as she posed so happily with him. We all thanked her again and then she left, speeding away into the night.

I will never be able to really express how happy I was for Jon and how happy I was that she actually listened to us and didn’t brush our request off. She didn’t have any obligation whatsoever to stop yet she went out of her way to find Jon, even after a strenuous show, an hour and a half meet and greet and I’m sure her security not being too happy about her wanting to stop. This is another reason why I love and am proud to be a fan and supporter of this woman. Not many other celebrities and rock stars like her would even entertain the thought of going out of their way to see a fan or spend so much time backstage with their fans. It meant so much to us all.

The generosity and down to earth and friendly attitude she had really blew me away. Being able to experience it in person and in a more intimate and low-key setting was a once in a lifetime opportunity and worth every cent. It was like talking to an old friend and not a world-renowned superstar. You could tell that she has absolutely no ego or pretence about herself and it was such a privilege to just sit and be completely engrossed in her thoughts as she was speaking to us. I got first hand exposure to her intelligence and depth. I could have listened to her talk and her thoughts all night long.

After this Larry and I then left around 1:30am to drive to Vancouver for the second show I was to attend. We got into the LMZ line up and I went to stand near the bridge & APZ for the best views. It was really nice to get a different perspective of the show from the GA floor in with all the die-hard fans. Sweating, dancing & having fun & lot’s of laughs. Vocally Gaga sounded stronger than ever before.

In the Seattle Artpop Zone Joe and Tara appeared. I didn’t want to bother Joe but really wanted to see Tara again. I went up to her and asked her for a hug. She said she liked my necklace and I told her I last saw her outside the hotel in Sydney in the cold waiting for Gaga. Tara said “Oh I remember you!” Such a cool moment. It was lovely to be able to witness first hand the interaction between Gaga and her father whilst she sang to him.

Dope and Happy Birthday to Joe:

Gypsy piano version:

Clip of Venus & weed smells wafting through the crowd in Seattle:

During DWUW she did a bit of an add lib and showed off her vocal acrobatics caught in the emotions of the song. She had her back to me then turned, looked right at me and came and stood right over me before running off for the piano section of the show:
Pure magic!

Thank you to everyone I met during my 2 shows, you guys are such fun and genuine people. Yet another perk of this fanbase is the beautiful people you can discover from Gaga and her music. At the end of the day it’s about more than just the music. When I got home and sat on my bed surrounded my my merch and mementos (and bags of confetti) I cried. I couldn’t believe everything that happened and the surreal feeling of it all. It was overwhelming. I cannot thank Larry enough for his support and friendship and probably never will be adequately able to.

To the Seattle & Artpop Zone guys, I’m so happy I was able to experience it with you all. Couldn’t have hoped for a better group of people: @over50lilmnster, @martina_gaga81, @fozzibehr,  Jonathan Napier, @Desdemona1204 and @liberatedbygaga.

The Vancouver artRave friends: @over50lilmnster, @mustiwrite, @monstermommy101 and @dwn2earth. I had so much fun dancing with you guys and sharing my first Canadian show with you all.

This fan base is truly unlike any other I’ve encountered, there really is a sense of family and community, compassion and empathy for one another. At the heart of this story is the message of friendship, love, helping others and the resulting impact we have on others. I’m still feeling that love and happiness that this weekend has given me. My Gaga high is in full effect. She touches people and makes their lives a little brighter and brings magic to the mundane. Thank you Gaga for simply being you. Until we meet again….