Csh0ng0r88 - C4d3/CsH0ng1

hiiiii!!! how was the concertttttt!!!!

IT WAS SO GOOD!! :D

There weren't many people, so the place wasn't completely packed (tho I can handle crowds at concerts, and I wouldn't have minded if there were more ppl), I even had room to dance a little ^^ there was a really cool little dude almost in the first row, he was really rockin' out, and it was cute :3 I'll probably upload some recordings soon

Flirting. (Lennon/McCartney Edition.)

Flirting may consist of stylized gestures, language, body language, postures, and physiologic signs which act as cues to another person. Among these, at least in Western society, are:

Eye contact, batting eyelashes, staring, winking, etc.

“Protean” signals, such as touching one’s hair

Giggling, or laughing encouragingly at any slight hint of intimacy in the other’s behavior

Casual touches; such as a woman gently touching a man’s arm during conversation

Smiling suggestively

Sending notes, poems, or small gifts

Flattery (regarding beauty, sexual attractiveness)

Paul: A young boy’s bedroom is such a comfortable place, like my son’s bedroom is now; he’s got all his stuff that he needs: a candle, a guitar, a book. John’s room was very like that. James reminds me very much of John in many ways: he’s got beautiful hands. John had beautiful hands.

We wrote our first songs together, we grew up together and we lived our lives together. And when we’d do it together, something special would happen. There’d be that little magic spark. I still remember his beery old breath when I first met him here [Woolton church fete] that day. But I soon came to love that beery old breath. And I loved John. I always was and still am a great fan of John’s.

John: I’m just like everybody else, Harry, I fell for Paul’s looks.

I had thought to myself, ‘He’s as good as me.’ Now, I thought, if I take him on, what will happen? It went through my head that I’d have to keep him in line if I let him join [the band]. But he was good, so he was worth having. He also looked like Elvis. I dug him.

Teasing

Q: “What would you like to do after you’re finished singing?” PAUL: “Don’t know. Probably John and I will carry on songwriting.” JOHN: (jokingly) “I’m not doing it with you.” PAUL: “Oh, no!”

Banter *CLICK THIS*

Imitating of behaviors (e.g. taking a drink when the other person takes a drink, changing posture as the other does, etc).

Coyness, affectedly shy or modest, marked by cute, coquettish, or artful playfulness (e.g. pickup lines).

Giving flying kisses.

(Sort of.)

Singing love songs in presence of the girl/boy.

Maintaining very short distance during casual talking.

:

hm yes i like this character. now shoot him 5 times in a parking lot.

reread this post and maybe this is an unpopular mclennon opinion? but i think they both didn't actually understand each other as well as they thought they did. i think both of them believed the other could read their mind and then filtered their subsequent actions as a conscious slight. like. john should know that paul is someone who keeps his feelings very closely guarded, who will always choose to keep the peace and to put on a good face when he's upset. but throughout the breakup, when paul seemingly stays as productive as ever, staying distantly polite to yoko while urging john to keep writing, keep beatling, everything's fine, time to put on a show, john takes it that paul doesn't care one way or another about their partnership dissolving, he's a perfectly capable one-man band hit machine anyway. this is seemingly confirmed by paul announcing the breakup to "sell a record," effectively ending all hope of quietly reconciling and supporting john's theory that paul was done with the beatles (john) anyway and had been on his way out once he learned he could write a #1 song without anyone's (john's) help. all he cares about is hits and money and his new perfect family and farm.

meanwhile. paul should know that john wasn't handling the pressures of the beatles well. he should know that he needed more support. but paul seems to be someone who gets stuck in his ways of thinking about people (see also: george), and doesn't seem to have ever shaken the image of john as the older, cooler teddy boy on the bus who he'd do anything to impress. he thinks the world of john and spends the 60s thinking they're in a friendly competition, not realizing john has started falling into the paranoia that he's losing. you can see it in get back. paul is waiting for john to write his next great song, to set a new bar for paul to push himself to reach. paul got john by impressing him with his music and when he's losing john he doubles down on it because he thinks that's the only valuable thing he has to offer. he might have offered the support john needed instead if he knew what that was, but he didn't. but mid-60s john, who still thinks paul understands him, thinks paul knows he needs him but chooses to spend his time flitting around swinging london instead, which deeply hurts him. john clings to yoko because she's a breath of fresh air from the constant race he's been running for a decade. a creative partner he doesn't have to chase down. someone who needs him as much as he needs her. a woman he can marry, can have a real commitment to. he can be everything to the person who is everything to him. but paul sees this as john finally outgrowing him and finding someone better.

paul also should know that john often speaks first and decides whether he believes what he said later. but it seems he only ever takes john at his word. when john leaves the beatles that's it, no negotiation, because if paul has lost john to someone more interesting, more artistic, then that's that. when john starts to talk publicly about paul's muzak and granny shit that must be true too, it's why john left after all. and granted john just wont stop shit talking him and it's not like he just fell on a keyboard and how do you sleep came out. but this is how you get a paul who starts to see himself as a villain and questions whether john did love him. he doesn't think too many people was that nasty compared to what john was saying about him in interviews because he doesn't realize that one of john's biggest fears is that he's incapable of being a great songwriter without paul. so to john, the lucky break line is paul admitting he agrees with that assessment and twisting the knife. but paul wouldn't see it that way because he's only ever had john on a pedestal.

so by the 70s, on their worst days, john thinks paul is cold marble statue who knows he's better than him and delights in it and paul thinks john is entirely out of love or use for him, if he ever had it in the first place. and of course, they could never talk about any of this openly because neither of them were willing to face the pain of confirming that their love really was one-sided.

„And there was never any hints...”

This video is one of my favorites.

Hate being a boy on his period :[

Get back doodles for fun

Here to show my art (more like sketches) infected by Beatlemania :D

The third one is half done, I was too lazy to draw his clothes, and also, I just ditch drawing eyes whenever John has his glasses on. Also, in the second pic on the right, it's a Paul McCartney sketch (clarifying, cause some ppl said it's not recognizable T-T). Yeah, that's all for now

touring life mornings